From The Desk Of Glenn Morrow: Jackie DeShannon’s “Everytime You Walk In The Room”

Glenn Morrow is a Hoboken, N.J., music treasure. He owns the influential 31-year-old Bar/None label (Yo La Tengo, They Might Be Giants, Feelies, dB’s, Of Montreal). His bands, such as the Individuals and “a,” have helped put the Mile Square City on the indie-rock map for equally as long. His latest project is Glenn Morrow’s Cry For Help, which has a new self-titled album. Morrow will be guest editing magnetmagazine.com all week.

Morrow: Speaking of Boo & Elena, they’ve been running a series of benefits at Guitar Bar Jr. for various causes. Glenn Morrow’s Cry For Help played one for Planned Parenthood recently, and we worked up a version of “When You Walk In The Room,” written and originally recorded by Jackie DeShannon. I read somewhere that her version came out in 1963 on the heels of the success she had covering Sonny Bono’s “Needles And Pins.” I suddenly realized the distinctive 12-string guitar part pre-dated both the Beatles and the Byrds, forays into similar territory (think “Daytripper” and “Turn Turn Turn”). A little research turned up an interview where Jackie says she wrote the lick but got Glen Campbell to play it on the session. I’d say that was the birth of folk rock right there. Let there be jangle.

Video after the jump.

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Essential New Music: Sun Ra And His Arkestra’s “Thunder Of The Gods”

It’s only appropriate. Some long-lost/for- gotten space-age recordings left behind by avant-garde jazz boffin Sun Ra are finally unearthed, and we dutifully listen. The most noteworthy of the three “new” tracks provided here is a lengthy live performance of “Calling Planet Earth—We’ll Wait For You,” probably recorded in 1971 at Slug’s Saloon in NYC. This tune captures Ra’s formidable Arkestra bursting at the seams, including squalling saxophones, the knowing vocals of Ms. June Tyson, high-velocity improvisation, slow serious arrangements and a synthesized sonic maelstrom to boot. The two other tracks included here are less essential, consisting of droning tones and percussion interludes, with Ra leaving his musicians to scratch away at the various stringed instruments that they’d picked up on the road. This particular free-jazz conception was accomplished to greater effect on Ra’s 1966 recording, Strange Strings, but it’s nice to appreciate the freedom one more time.

—Mitch Myers

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In The News: Iron & Wine, Queens Of The Stone Age, Clientele, Lee Ranaldo, Black Kids, Jane’s Addiction, Brian Eno, Vines, Helmet And More

Iron & Wine will release its first new material in more than four years, the 11-song Beast Epic, via Sub Pop on August 25 … That same day, Queens Of The Stone Age returns with seventh album Villains on Matador … The Clientele is back after seven years with Music For The Age Of Miracles, out September 22 via Merge … Lee Ranaldo‘s Electric Trim, featuring guest appearance from Sharon Van Etten, Kid Millions, Nels Cline, Steve Shelley and Alan Licht, is out September 15 on Mute … The Perceptionists (a.k.a. Mr. Lif and Akrobatik) will release their first full-length in a dozen years, Resolution, on July 28 via Mello Music … On August 18, Bloodshot will issue Boy In A Well by the Yawpers … The Fresh & Onlys return with Wolf Lie Down on Sinderlyn … Columbia is issuing Foster The People‘s third album, Sacred Hearts Club, on July 21 … Black Kids are back September 15 with sophomore album Rookie … On September 29, Wolf Alice will release second album Visions Of A Life via Dirty Hit/RCA … Rock Fuel Media/Sonic Films/Cleopatra/MVD will issue Jane’s Addiction‘s Ritual De Lo Habitual Alive At 25, documenting the band’s Sept. 23, 2016, performance at Irvine Meadows Amphitheatre, on DVD, Blu-ray, CD and vinyl … The Age Of Reason is Bronski Beat‘s first album in 22 years, out July 28 on Cherry Red … The Catalogue: 1985-2012 Pet Shop Boys reissue series begins July 28 with the release of Nightlife, Release and Fundamental via Rhino … Metric frontwoman Emily Haines returns with Choir Of The Mind on September 15 via Last Gang/eOne … Rain Parade‘s Emergency Third Rail Power Trip and Explosions In The Glass Palace are being reissued on one CD on August 4 by Real Gone … Also reissued: the TriffidsTreeless Plain and In The Pines, out now via PIAS … Legacy/Rockingale will release Carole King‘s Tapestry: Live At Hyde Park on CD/DVD on September 1 … Bryan AdamsWembley Live 1996 is out via Eagle Rock on June 30 … Cherry Red will issue Howard Jones‘ Best (1983-2017) on July 29 … Limited-edition reissue vinyl alert: Brian Eno‘s Here Come The Warm Jets, Taking Tiger Mountain (By Strategy), Another Green World and Before And After Science (Astralwerks, August 4); the VinesHighly Evolved (Capitol/UMe, July 14); the Velvet Underground‘s The Velvet Underground And Nico (UMe, June 30); the SlitsReturn Of The Giant Slits (Real Gone, August 11); and Helmet‘s Meantime (UMe, out now).

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From The Desk Of Glenn Morrow: “Jesus Was A Liberal”

Glenn Morrow is a Hoboken, N.J., music treasure. He owns the influential 31-year-old Bar/None label (Yo La Tengo, They Might Be Giants, Feelies, dB’s, Of Montreal). His bands, such as the Individuals and “a,” have helped put the Mile Square City on the indie-rock map for equally as long. His latest project is Glenn Morrow’s Cry For Help, which has a new self-titled album. Morrow will be guest editing magnetmagazine.com all week.

Morrow: Local Hoboken running buddies Elena Skye and Boo Reiners made a pretty great roots-rocking album this year with sympathetic production by Tom Beaujour. It’s great batch of songs that are well-written and emotionally powerful. They take a Buddy Holly groove through Blondie and Ramones territory and bring it back home with some updated twang in this true song of the times: “Jesus Was A Liberal.” Elena & Boo’s “Jesus Was a Liberal”

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Happy Birthday Mick Fleetwood

Happy birthday to Mick Fleetwood (Fleetwood Mac). Read the Vulgar Boatmen on Mick in MAGNET here.

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Essential New Music: Ecstatic Vision’s “Raw Rock Fury”

Ecstatic Vision guitarist and founding principal Doug “Snake Sustaine” Sabolick spent (most of) 1998 to 2013 in the same essential seat for metalcore giant A Life Once Lost, whose final dispatch, the post-hiatus Ecstatic Trance (2012), toyed with as many psych and ’70s prog accents as the parent style would allow. Sabolick’s second act isn’t so much the Hawk- wind, heavy krautrock or early-’70s proto-punk love letter the promo copy claims, but it does bear a resemblance to the late-’80s-through-early-’00s cross-sections of Monoshock, Li- quorball, Temple Of Bon Matin, Brainbombs (in “gentler” mode), Vermonster, early Comets On Fire, Tono-Bungay, Vokokesh, the Mike Gunn and Japan’s P.S.F. Records roster that renders “uncanny” a gross understatement. Raw Rock Fury, the sophomore follow-up to 2015’s Sonic Praise, packs a convincing energy and wall-to-wall pummel that suggest the live show, make for a sentimental reminder of the aforementioned forgotten (relative) obscurities and completely negate the psych-rock 101 dilettantism of King Gizzard & The Lizard Wizard.

—Andrew Earles

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Normal History Vol. 431: The Art Of David Lester

Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 33-year run, with text by vocalist Jean Smith.

Dead Bird’s Feet

Dead bird’s feet
mounted on the wall
they don’t have a right side up
they don’t have an up side down
they were something else
now they’re on the wall
on the wall

Wanting conflict to be neat
we name the opposition
forever it will be the things they do
that are wrong
that are wrong

Men hate women
making it easy for women to hate men
women hate men
making it easy for men to hate women
men to hate women

We are handing out stiff starched pajamas
to sex offenders
in concrete halls

We are wincing and creating opinion
slamming steel doors
and turning in the breeze
in the breeze
of right and wrong
of right and wrong
outside where air is pure
air is pure
air is pure

Right and wrong
outside
outside where air is pure
air is pure

“Dead Bird’s Feet” from Water Cuts My Hands (K, 1991) (download):

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From The Desk Of Glenn Morrow: Club Gaga

Glenn Morrow is a Hoboken, N.J., music treasure. He owns the influential 31-year-old Bar/None label (Yo La Tengo, They Might Be Giants, Feelies, dB’s, Of Montreal). His bands, such as the Individuals and “a,” have helped put the Mile Square City on the indie-rock map for equally as long. His latest project is Glenn Morrow’s Cry For Help, which has a new self-titled album. Morrow will be guest editing magnetmagazine.com all week.

Morrow: The U.K. band Happyness turned me on to this band Club Gaga from Athens, Ga. How did I miss these guys? Well, maybe everyone did. Athens was the southern-most hub of the scene that considered Hoboken’s Maxwell’s the East Coast clubhouse. Athens did not disappoint as a musical mecca when my band the Individuals made it there in the early ‘80s. But we did not get to experience Club Gaga. This video of a street fair brings back that special Athens magic. In a town that gave us the B52’s, Pylon, R.E.M., Of Montreal and Neural Milk Hotel, you know the citizenry loves to dance! And Club Gaga is a singular band it’s hard to take one’s eyes and ears off of—almost like three different bands in one. They start rockin’ at 1:57.

Video after the jump.

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MP3 At 3PM: Jupiter Deluxe Tube

Orange County’s Jupiter Deluxe Tube recently put out Product Of Insomnia, and that title is a good peek into the vibe of “Home.” The gentle synth-pop track unfolds gracefully but unexpectedly into bleary-eyed atmosphere, the perfect song for watching the sun rise after a long waking night. Check it out below.

“Home” (download):

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Fast Romantics: United States Of Grief

Toronto’s Fast Romantics find their American beauty.

Matthew Angus doesn’t hate the United States—quite the opposite, actually. “It’s terrifying,” is how the primary visionary for Fast Romantics describes looking on from inside Canada at the ongoing spectacle unfolding in Washington, D.C. “Anyone in the U.S. who would challenge the notion that this affects all of us just doesn’t get it. It makes us feel even closer to our American friends, because it’s a grief state that we all have to go through.”

That dismay with political events south of the border led Angus to rethink the direction he was heading on his Toronto-based band’s latest release. “I realized that love doesn’t happen in a vacuum,” he says. “It happens despite all the chaos around us.”

American Love (Light Organ/Postwar) lives up to its title, delving into the real and imagined foibles and vagaries of falling in love in the 21st century. But it also drags the turmoil of an uncertain world order into the bedroom, where it messes the sheets, piss- es on the toilet seat and occasionally kills the mood. Ultimately, though, such broad strokes bring universality to the power of human connection—something that’s needed now more than ever. “We’re gonna die,  I  can see it in your eyes and you can see it in mine—it’s in the way that they shine,” sings Angus in his sultry Bryan Ferry-cum-Tom Jones lilt on “Ready For The Night.” “After that, I don’t know what happens, but I’m sure it’s all right.”

Chilling inevitability and unbridled optimism collide often on American Love, which was recorded over two years in Toronto and Brooklyn by Gus van Go and Werner F (Wintersleep, Whitehorse). The album’s lavish production is a grand-scale melding of slathered-on early-’80s synth drama and mid-’60s echo-chamber finesse that owes as much to Midge Ure as it does to Brian Wilson.

Angus founded a quite different version of Fast Romantics in Calgary with bassist Jef- frey Lewis in 2008, but the original lineup couldn’t hold it together after the release of intermittently brilliant 2013 LP Afterlife Blues. As Angus and Lewis worked on reinventing the band, Fast Romantics were generating buzz in Canada, winning 2014 pop group of the year at the SiriusXM Indie Awards and taking home the prestigious 2016 SOCAN songwriting prize for the irrepressible “Julia,” a new version of which appears on American Love.

The sextet’s most pronounced addition is multitalented singer/songwriter Kirty, whose sole contribution to American Love, “How Long Is This Gonna Last?” is also one of its most resonant moments. “Maybe on the next album, there will be more of Kirt,” says Angus. “She’s really infiltrated the sound and the spirit of my songwriting. It’s sort of like beauty and the beast.”

Hobart Rowland

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