J Mascis – ‘Set Me Down’ video

J Mascis – ‘Set Me Down’ video

FROM NEW ALBUM 
WHAT DO WE DO NOW
OUT FEB 2nd ON SUB POP

PRE-ORDER

musical virtuoso J Mascis releases ‘Set Me Down’, the beguiling and electrifying new single from his forthcoming album What Do We Do Now which will be released worldwide via Sub Pop Records on February 2nd. 

Recorded at his studio Bisquiteen in Western Massachusetts, What Do We Do Now is J’s first solo album that features full drum and electric leads, although the rhythm parts are still all acoustic. It features a host of guest musicians including including Western Mass local Ken Mauri of The B-52s on keys and Ontario-based polymath Matthew “Doc” Dunn on steel guitar.

‘Set Me Down’ follows on from the record’s lead single, ‘Can’t Believe We’re Here‘, which features appearances from J and a few of his friends and foes. The video was edited by Adam Bale at Ballad Pictures.


J has scheduled two solo headline shows for 2024 in Australia, which coincidentally happens during a run with his other band, Dinosaur Jr. The dates include Sydney’s Liberty Hall on Tuesday, February 20th, and in Brisbane at The Triffid on Saturday, February 24th. Additional solo dates will be announced soon.
 
Mascis is currently on the road with Dinosaur Jr., who are touring to celebrate the 30th anniversary of their sixth studio album, Where You Been.

What Do We Do Now is the fifth solo studio LP recorded by J Mascis since 1996. This is obviously not a very aggressive release schedule, but when you figure in the live albums, guest spots, and records done with his various other bands (Dinosaur Jr., The Fog, Heavy Blanket, Witch, Sweet Apple, and so on), well, to paraphrase Lou Reed, “J’s week beats your year.”

What Do We Do Now began to come together during the waning days of the pandemic. Utilizing his own Bisquiteen Studio, J started working on writing a series of tunes on acoustic with a different dynamic than the stuff he creates for Dino. “When I’m writing for the band,” he says, “I’m always trying to think of doing things Lou and Murph would fit into. For myself, I’m thinking more about what I can do with just an acoustic guitar, even for the leads. Of course, this time, I added full drums and electric leads, although the rhythm parts are still all acoustic. Usually, I try to do the solo stuff more simply so I can play it by myself, but I really wanted to add the drums. Once that started, everything else just fell into place. So it ended up sounding a lot more like a band record. I dunno why I did that exactly, but it’s just what happened.”

Two guest musicians are playing this time out; Western Mass local Ken Mauri (of The B-52s) plays piano on several tracks. Since J himself has some experience with keys, when asked why he needed a hired gun, he says, “Ken is great, and he plays all the keys. I tried playing some keyboards on the first Fog album, but I’m really only comfortable playing the white notes, so it’s kind of limiting. [laughs] Nowadays, I could just turn the pitch on a mini Mellotron to play different sounds, but black keys just seem hard. For whatever reason, I just like banging on the white ones. Seems like it’s harder to figure out how to stretch your fingers around the other ones.”
 
Mauri has no such qualms and plays all the keys very damn well. He sounds especially great on ‘I Can’t Find You,’ where he is Jack Nitzsche to J’s Neil Young, creating one of the album’s loveliest tunes. The other guest musician, Matthew “Doc” Dunn, is also prominent on this track. Dunn’s steel guitar manages to both widen and soften the musical edges of the music, giving it a full classicist profile. Dunn is an Ontario-based polymath who J met through Matt Valentine. After J played on Doc’s great 2022 Sub Pop single, ‘Your Feel,’ he figured it was time for payback. Both Dunn and Mauri add beautifully to the songs here, helping to transform them from acoustic sketches into full-blown post-core power ballads.

What Do We Do Now is the finest set of solo tunes J has yet penned, and the way they’re presented is just about perfect. Asked if he would be touring to support the album, J says he’ll be doing some weekend dates, but he probably won’t be putting a band together. And I’m sure these songs will sound great solo and acoustic, but the arrangements on this album are truly great and put a cool, different spin on Mascis’ instantly recognizable approach to making music.

So, what do we do now? Not sure. But apparently, what J does is to make one of his most killer records ever. Hats off to him.

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Smalltown Tigers announce tour date for 2024

Smalltown Tigers announce tour date for 2024

Fast-rising Italian punks SMALLTOWN TIGERS have announced a new album and UK tour.

The girls from Rimini have had a had a successful year-and-a-bit with two tours with The Damned and a bunch of well-received summer shows, and start 2024 with the long-awaited follow-up to 2020’s Five Things debut mini-album.

The 10-track Crush On You, produced once again by Stiv Cantarelli and Robi Villa – alias blues-punk duo JD Hangover – and mastered by Detroit garage-punk professor Jim Diamond, is set for release on 9 February through Area Pirata.

Sat 10 Feb – Prince Albert, Brighton
Sun 11 Feb – Lady Luck, Canterbury
Wed 14 Feb – Twenty-One, Southend-on-Sea
Thurs 15 Feb – Bird’s Nest, Deptford, London
Fri 16 Feb – Spinning Top, Stockport
Sat 17 Feb – The Hive, Rotherham
Sun 18 Feb –The Vaults, York (matinee 3pm)

As previously announced, the Tigers will also be playing the three Stone Valley Festivals in Hertfordshire (24-26 May), Notts (21-23 June) and Durham (9-11 Aug).

Suzi Moon goes ’99 Miles to Pasadena’

Suzi Moon goes ’99 Miles to Pasadena’
“99 Miles to Pasadena” is the fifth video to be released from singles off Dumb & in Love, following the title track, “Family Memories,” “California,” and “Any Other Way.”

Although currently settled in Washington, DC, Suzi is a California native through and through, and she wrote “99 Miles to Pasadena” while running laps around the city’s legendary venue The Rose Bowl, which shows up in the video.

As for the video itself, it was animated by Tommy Keeling, and viewers of a certain age will instantly recognize the loving nods to the classic cartoons of Hanna-Barbera…particularly the comic book band with “long tails and ears for hats.”

“Josie & The Pussycats is my ultimate fave!” enthuses Suzi. “Tommy made my Archie dreams come true!!!!”

Viewers will find it impossible not to share Suzi’s boundless enthusiasm while watching this undeniably fun video for this catchy, poppy rock ’n roll song “baked in the California sunshine.”

After the incredible response to her first two EPs on Pirates Press Records, the anticipation for the release of the much-anticipated full-length by Suzi Moon reached a fever pitch, and the finished product did not disappoint! Originally from Southern California, but relocated to Washington DC, Moon and her band put together an incredible debut album that is well worth the wait! Recorded and produced by Davey Warsop (Sharp/Shock, Suedehead) they are an eclectic set of catchy as f*** songs that the band immediately took on the road, where they were received by wild crowds worldwide.

Dumb & In Luv was actually written and mostly recorded before the release of her EPs – but she wanted to spend more time working on it to be able to present a cohesive collection of songs. When asked about the album, Moon says “These songs are a bit warmer and power-pop than my previous releases. They’ve been baked in the California sunshine, like the song ‘99 Miles To Pasadena,’ which I wrote while running laps around the Rose Bowl. I picked songs that fit together nicely but also offer a lot of variation, so you’re getting more of a full ride with this album than you did with the EPs!”

She continues, “The ten tracks on Dumb & In Luv represent growth and the human condition. Themes of love, loss, heartache, hope, and celebration are all ones that I have written about before and will certainly revisit again and again. My first EP, Call The Shots, had a straightforward punk ’n roll sound, my second EP, Animal, was a bit more melodic, and Dumb & In Luv is really a mix of those two styles, seeped in the influence of all those great California bands that influenced me while I was growing up, like Social Distortion, Rancid, Green Day, and Sugarcult.”

With a stellar rock & roll pedigree, reaching back to when Moon started touring at the young age of 15, she has established herself as a ferocious punk truth teller with both a distinctive personal style and a fiercely untamed stage presence.

Suzi Moon’s effortless channeling of classic ’77 punk rock spirit with a modern twist continues to evolve and grow. The response to her first two releases was fantastic, though not surprising – with support from Little Steven’s Underground Garage and the likes of Iggy Pop singing her praises on the BBC!

Her fanbase has grown immensely over the past few years, and the release of her LP has been one of the biggest things propelling her forward.

Suzi’s electrifying live show is not to be missed, and has made her a favorite at festivals like Xtreme Fest, Rebellion, Punk Rock Bowling, and Punk in the Park (just to name a few), gigs with legendary acts like The Damned, and tours with the likes of Agent Orange, The Briefs, Ravagers, and more! We can’t wait to see what the future will bring for the unstoppable force that is Suzi Moon!.

For more information on Suzi Moon:

https://suzimoon.com/

https://www.facebook.com/SuziMoon/

https://www.instagram.com/thesuzimoon/

https://suzimoon.bandcamp.com/

The Wonder Stuff / Nigel Clark – Shepherds Bush Empire 09.12.23

The Wonder Stuff / Nigel Clark – Shepherds Bush Empire 09.12.23

As 2023 draws to a close it seems right that I find myself somewhere waiting for The Wonder Stuff to rock up and rock out with some anniversary shenanigans or other and tonight it just so happens to be a celebration for their fourth album ‘Construction For The Modern Idiot’. Now, where the fuck did those decades go? Thirty years and counting and one thing is some of us are still here (always a good thing) and again Milo seems to be in great spirits and the Milo of the past few years is a refreshing youngish man and it was commented how nice it is to be nice and Milo looks like he’s having a ball a disposition he’s had for quite a few tours now and we like it.

Anyway, a Late substitution for this evening in the Empire is Dodgy frontman with a wonderful full head of hair and a lovely smile and a fistful of happy-go-lucky songs that are befitting of a man from the midlands with such an engaging smile (must be something in the air round that way). Armed with an acoustic guitar and a few tales he did a sterling job of warming up the quickly filling Empire with some classic Dodgy like ‘Staying Out For The Summer’, ‘In A Room’, ‘Grassman’ and ‘Good Enough’. His voice sounded strong but in a flash, his job was done.

Just before nine the house lights go off and the band move purposefully to their starting blocks and ‘Construction’ begins. The magnificent ‘Change Every Light Bulb’ is the sound of the charge as every track off the much’ underrated ‘Construction For The Modern Idiot’ unfolds and as good as it is to always hear ‘On The Ropes’ or the brutal ‘I Wish Them All Dead’ its also a joy to hear ‘Storm Drain’ or ‘Hush’ in all their glory and boy did they sound good. By the time we reach ‘Sing The Absurd’ it’s a realisation that we’re almost done for the entire album. The introductions are short and sweet and we’re left with a few well-placed B sides like ‘Burger Standing’ and ‘I Think I Must Have Something Really Useful To Say’ before Milo takes the band off for a sneaky smoke and then some more of a best of set. However, if you ask me you’d need another two-plus hours to whip through the remaining “Best Of” set so the second portion begins with a sprightly ‘Ooh She Said’ and a rapid bounce-a-thon ‘No For The 13th Time’ it was like the old days with everybody warmed up it’s like the decades hadn’t passed and to be quite frank there will be a lot of people who might have some regrets come the morning but living for the moment this is like the eight-legged grooves are certainly on manoeuvres. ‘Mission Drive’ is followed by ‘Caught In My Shadow’ and then ‘Size Of A Cow’ wraps up the ‘Never Loved Elvis’ tracks and everyone is beaming (including Milo)

Erika who once again looks splendid in her golden gown moves her bow to signify its ‘Golden Green’ time as ‘Hup’ makes an appearance. Some of the usual suspects are then wheeled out closing the second set with a faultless ‘Give Give Give Me More More More’.

For a final encore and much deserved I might add Milo announces that this is definitely the last fuckin time we will get to hear ‘Dizzy’ but he said that last week. ‘Unbearable’ only leaves a magnificent ‘Ten Trenches Deep’ and we are now definitely done. Sadly no time for ‘Good Night Though’ which would have been the cherry on the icing on the cake for me but that can happen next time, right Milo? A triumphant return to the Empire and a magnificent set that paid respects to a much-underrated album that is ‘Construction For The Modern Idiot’ I only wish is we could do this all again in the not-too-distant future. Tonight the Wonder Stuff were once again dishing out the Wonderful Stuff. I know it’s only rock n roll but boy do I like it. Have I said it was magnificent? Well, it was.

Author: Dom Daley

Two For Tuesday – The Boatsmen & Autogramm

Two For Tuesday – The Boatsmen & Autogramm

pre-orders for Sweden’s The Boatsmen.  Action rock from shirtless Swedish Sailors!  Available in Europe from Ghost Highway Recordings and everywhere else from Spaghetty Town Records.

The video for the track “Born Losers”. sees Autogramm’s tongue-in-cheek brand of video making, “Born Losers” was shot and directed by Tyler McLeod on location at Sasquatch Mountain Resort in British Columbia. The video features a sasquatch, an epic backflip on skis, Kokanee beer and a banana on a shrimp platter. “Born Losers” is a song about being an outsider and finding your place in the world. The encouraging refrain of the song tells the listener, “We’re all born losers until someone lets us win, we’re all just outsiders until somebody lets us in.” The music video reinforces this narrative by portraying a story of acceptance among friends in a hilariously silly plot. Their new album ‘Music That Humans Can Play’ is available now from Stomp Records in North America and Beluga Records in Europe.

Idles: new song and tour dates

Idles: new song and tour dates

SHARE NEW SONG: “GRACE”
STREAM ON ALL SERVICES HERE

TAKEN FROM NEW ALBUM:
‘TANGK’
OUT 16 FEBRUARY, 2024 VIA PARTISAN RECORDS
PRODUCED BY NIGEL GODRICH, KENNY BEATS & MARK BOWEN

+ 2024 UK TOUR DATES

As they build towards the February release of their eagerly anticipated new album ‘TANGK’, the irrepressible IDLES share the new single “Grace”.

STREAM “GRACE” ON ALL SERVICES HERE

“The song came from nowhere and everything. It was a breath and a call to be held,” says Joe Talbot, “The only words or singing that came from our sessions with Nigel and I needed it, truly. All is love.”

“Grace” is a relatively slowburner by IDLES’ standards, as it takes the time to amplify the tension before detonating with a life-affirming crescendo. “No god, no king, I said love is the thing,” sings Joe Talbot, delivering IDLES’ new manifesto of love triumphing over nihilism with arguably his most soulful (yet still slightly menacing) vocal to date. As with the rest of the upcoming album, “Grace” was produced by Nigel Godrich (Radiohead, The Smile, Beck), Kenny Beats (Denzel Curry, Vince Staples, Benee) and the band’s Mark Bowen.

Extending an explosive run of unerringly stirring albums, ‘TANGK’ is this band’s most ambitious and striking record yet, and is available to pre-order HERE. Set to be released via Partisan Records, it follows IDLES’ 2021 album ‘CRAWLER’ which led to their first two GRAMMY Award nominations.

As they began to lay the groundwork for ‘TANGK’, “Dancer” announced IDLES’ return in style, a track which blended their kinetic intensity with a new-found lascivious playfulness and was further spotlighted with guest backing vocals from LCD Soundsystem duo James Murphy and Nancy Whang.

Additionally, IDLES’ 2024 world tour has kept on expanding, including a newly announced North American tour, plus UK tour legs in July and then November / December.

See all tour dates below and visit Idlesband.com for more information.

JULY 2024 – JUST ADDED
12th – Cardiff, Castle
13th – Halifax, The Piece Hall
20th – Margate, Margate Summer Series
21st – Cornwall, The Wyldes

NOVEMBER 2024 – JUST ADDED
17th – Belfast, Telegraph
23rd – Glasgow, OVO Hydro
24th – Newcastle, O2 City Hall
25th – Nottingham, Rock City
29th – London, Alexandra Palace

DECEMBER 2024 – JUST ADDED
1st – Brighton, The Brighton Centre
3rd – Birmingham, O2 Academy
6th – Manchester, O2 Apollo
7th – Manchester, O2 Apollo

****


IDLES – NEW ALBUM: ‘TANGK’ – OUT 16 FEB 2024. PRE-SAVE HERE
LISTEN TO NEW SINGLE “GRACE” HERE

FOR MORE INFORMATION
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Thunder get set to release not one but two live albums

Thunder get set to release not one but two live albums

Among the most popular and enduring British hard rock bands of the past 25 years, Thunder are to launch two previously unreleased live albums on January 26, 2024, on earMUSIC.

Preorder Leeds Live: Here

Preorder Islington live Here


 
The first of the pair, “Live At Islington Academy”, captures the South London based band during the touring cycle of their eighth studio album, ‘Robert Johnson’s Tombstone’. The quintet had already completed a lengthy circuit of the UK in promotion of the record when they were contacted by Planet Rock Radio (UK) about the possibility of performing a set before a live audience at the station’s first annual Christmas Bash. As fun lovers of the most devoted kind, how could Thunder possibly say ‘no’?
 
A mere 800 lucky fans got the opportunity to see Thunder perform at the Planet Rock Christmas Party on December 19th, 2006. Hosted by Rob Birnie and Mark Jeeves, the event was a massive success as the band offered up a storming, surprise performance dominated by golden classics such as ‘River Of Pain’, ‘Low Life In High Places’, ‘You Can’t Keep A Good Man Down’, ‘Love Walked In’, ‘Backstreet Symphony’ and ‘I Love You More Than Rock ‘N’ Roll’, followed by a hot, sweaty encore of the hit single ‘Dirty Love’.
 
“From what I recall, no one in the audience seemed to have a clue that we would attend the party, let alone play, so they were all pretty shocked when we stepped on to the stage,” says frontman Danny Bowes. “It was boiling hot inside the venue, also freezing outside, and we worked them pretty hard. They looked pretty hot and sweaty when it was done. I reckon a fair few of the crowd must have caught colds on the way home.”


 
The second live album, “Live At Leeds” was a more official affair, recorded nine years later on March 3rd, 2015, as part of a three-date arena tour in support of ‘Wonder Days’, one of the finest studio records of Thunder’s career. In the pages of Classic Rock magazine, the late, great journalist Malcolm Dome declared: “‘Wonder Days’ a massive reminder that class is both timeless and incandescent.”
 
The resulting tour was shorter than the group’s traditional treks as it marked the first steps of public rehabilitation for Ben Matthews, the rhythm guitarist and keyboardist who was in recovery from throat cancer. Unsurprisingly, these shows were emotionally charged for both band and audience.
 
“My overriding memory of that night at the First Direct Arena in Leeds was mainly the look on Benny’s face when the audience reacted to him being back,” grins guitarist Luke Morley, who describes a first spell of his band stepping up to headline arenas in their homeland at last as “very satisfying”.
 
A 16-song set delivered a hatful of hits and no less than six numbers from ‘Wonder Days’, namely its title cut, ‘Black Water’, ‘Resurrection Day’, ‘Broken’, ‘The Thing I Want’ and ‘When The Music Played’.
 
Both concerts, “Live At Islington Academy” and “Live At Leeds”, stood as further evidence of Thunder’s prowess as live entertainers. And now at last you can re-live the experience.
 
On January 26, 2024, both concerts will become available on CD, Vinyl as well as digital download and streaming.

“From Europe with Rock: Brezno” – The Craggy Collyde Diaries

“From Europe with Rock: Brezno” – The Craggy Collyde Diaries

“From Europe with Rock: Brezno” – The Craggy Collyde Diaries

02.12.2023

Travelling to central Slovakia is a delight, especially when the country is lying under a vast expanse of snow. The drive through the mountains some way past Bratislava always fills me with an excitement that perhaps my Slovak compatriots don’t quite understand as they are well used to it by now. It is indeed particularly beautiful as the darkness begins to fall around us on the motorway towards Brezno. 

We travel through some towns we’ve already stopped in this year, such as Banská Bystrica, before arriving in Brezno (the name deriving from the Slovak word for “birch”), a pretty little town but with very little going on this Saturday night. Soon we turn up at the legendary Bombura NKP club, our venue for this evening’s entertainment. The club is based in an old liquor factory that is still run by the same family as back in the First Republic (with a break during the communist period in between). It’s certainly one of the nicest places we’ve played this year, complete with an impressive Scalextric set-up in a room out the back. The venue is owned and run by a guy called Maroš Pavúk (that’s Maros Spider to English readers), and he does a good job of it, but the whole town is certainly quiet tonight.

A friend of Veronika’s who is from the area mentioned how the good days for rock clubs are past. It can be said for so many venues in the smaller towns of these republics, but there’s always someone here who will enjoy it. And it has to be said that despite the constant hard work and complications, turning up in a small town I’ve never been to, hanging out with friends and playing music we love is a magic all of its own.

Jablko Noci are the band joining us tonight. Fronted by twins and backed up by their uncle on the drums, their music can be described as rather alternative. It’s certainly a very alternative set, largely instrumental with lots of different sounds and tech, and it’s difficult to pin them town to any particular genre. They also have another band, Večerný Motýľ, that features our very own Veronika playing percussive instruments (this includes a triangle but no cowbell). It’s interesting to consider how we will follow them but, of course, it turns out fine. People in small towns know how to drink and have a good time. We decide to run through an alternative set ourselves, playing many songs we don’t often do live, including particularly “In the Shade of the Wild Oak Tree”, which gets one couple slow dancing like it’s a school disco in 1990.  

It’s time to leave and go back to the accommodation, so we try to get the waitress to pour some beer into plastic bottles for us to take with us, only they’ve run out of beer. Tom’s hungry, but Brezno is one of those places – every kebab house and pizza place is closed before 12. Petrol station breakfast tomorrow, then.

Gene Loves Jezabel – ‘X – Love Death Sorrow’ (Cleapatra Records)

Gene Loves Jezabel – ‘X – Love Death Sorrow’ (Cleapatra Records)

Rising from the ashes of punk South Wales brothers fused their vision of punk with gothic rock (influenced by Bowie, Reid and Iggy no doubt). Eventually they embraced American 80s radio-friendly rock. The band danced in and out of the shadows with fleeting moments of recognition from the mainstream with some hits on the charts. From the cold dark Goth roots the band fractured and had very public break ups that are visible to this day with the crazy scene of there being two versions of the band on either side of the Atlantic but the whys and wherefores of that debate might be for others,I’m here to focus on this new album and the music of Jay Aston, James Stevenson and Peter Rizzo. To be fair the trio have dished up some wonderful music on both 2017s ‘Dance Underwater’ capturing their sound perfectly from the roots of Rock and Goth and their mash up of what they’ve stood for for decades. That was 2017 so fast forward a pandemic and into the here and now and the brand new record ‘X’.

Twelve new songs, well, when I say new songs some are certainly not new songs but that will become apparent. If you’re familiar with the band and the sound they’ve turned out for many years will be up to speed with what to expect and this record doesn’t disappoint. When I say it sounds like classic Jezabel you’ll know. Its got an often lush, dreamy smooth feel with plenty of space in the music where the scene is made with broad strokes that deliver a big well rounded sound with excellent production and well-constructed songs that are played immaculatly.

The album begins with the mid-tempo ‘The Man That Time Forgot’ with its reverb dripping guitar chimes and driving bass line and Ashton’s distinguishable vocal delivery, sounding as strong as it did when they first started making records. The song flows nicely with lots going on from swirling keys to hypnotic drum beats and a wall of Stevenson guitar. One that will certainly sit nicely with long-term fans. A romantic charm and something is comforting about the pace of this album. Sure it’s safe and often warm but sometimes that’s exactly what an album needs, nothing risky or groundbreaking just doing what you do and doing it really well.

The one thing that most intrigued me about this album was it contained five cover songs including the Cures ‘In Between Days’ Edwin Collins ‘A Girl Like You’ Marianne Faithfuls ‘Broken English’ Magazines ‘The Light Pours Out Of Me’ and closing the record with the mighty Only Ones ‘Another Girl Another Planet’. What they have done here is treat the originals with respect but, they haven’t just regurgitated them with tribute-like versions instead take The Only Ones ‘Another Girl’ for example, they’ve not gone for a straight mirror version nor have they tried to be clever they’ve slowed it down and given it a ballad like treatment that has taken ownership of the song and with Jays unique vocal owned it and moved it in another direction that is engaging and enjoyable which isn’t something that’s always easy to do.

Anyway, Back into the thick of this new album the sprawling Goth rocker that is ‘Serpent Queen’ is an uptempo chest-beating rocker that brings to the fore the vital elements that made you fall in love with Gene Loves Jezebel in the first place.

Of the gentler songs on offer the atmospheric ‘Breathe Easy’ is acoustic guitars and synths painting a starry picture glued together with some great vocals to showcase James dreamy guitar breaks. The album is heavily leaning in the direction of the more Balladlike material that will take plenty of plays to fully appreciate but on initial plays, I’m impressed by the songs they’ve written and the covers they’ve reconstructed in what is a most welcome Gene Loves Jezabel record especially impressed with ‘You Can”t Hurt Me Anymore’ and the mid-tempo ‘Lone Rider’. Diolch yn fawr iawn Jay and band I’m always happy to add a new Gene Loves Jezabel album to my collection especially when it’s this good.

Buy Here

Author: Dom Daley

Teenage Wasteland : The Who at Winterland, 1968 and 1976

<strong>Teenage Wasteland : The Who at Winterland, 1968 and 1976</strong>

Teenage Wasteland : The Who at Winterland, 1968 and 1976

By Edoardo Genzolini and Foreword by Joel Selvin

An all-access look at the legendary concerts with

firsthand accounts and previously unpublished photos

Coming February 28th, 2024 via Schiffer Publishing

Preorder Here

In February 1968 and March 1976, the Who performed shows in the same venue, almost ten years apart: San Francisco’s Winterland. Generally considered as two marginal years in the Who’s career, they are only apparently so. These two years represent a screen grab of the band taken in its purest form: live, and harder than ever, right before and right after the huge success the Who struggled to live with in the years between.

Winterland was the perfect setting to see the band live in the city that welcomed them as a second home, San Francisco. At the Who’s first Winterland show in February 1968, just a few hundred hippies turn up. In March 1976, the venue is crammed to capacity—5,000 tickets are sold. Still, as the Examiner noted, “The Who could have sold eight times as many,” since 43,000 requests for tickets were sent!

This all-access look at those two shows is a glimpse of what it was like to see the Who at Bill Graham’s legendary concert venue, and features firsthand accounts and previously unpublished photos by fans at the shows, as well as details the band behind the scenes and onstage.

Available February 28th, 2024

DETAILS:

Size: 11.0in x 8.5in

Pages: 256 | Over 520 color and b/w photos

Binding: Hardback

ISBN: 9780764367359