ORANGE GOBLIN To Release Live CD/DVD Additional Dates With Clutch Announced

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Candlelight Records today confirms March 12 as the North American release date for A Eulogy For the Fans-Orange Goblin Live 2012. The CD/DVD is the first proper live recording from ORANGE GOBLIN and will be released in tandem with the band’s first full stateside tour in over eight years. The special recording kicks off a planned year of non-stop touring and continues the success found in 2012 in which the band appeared/topped countless “Best Of” magazine and fan generated polls.

A Eulogy For The Fans-Orange Goblin Live 2012 includes ORANGE GOBLIN’s complete performances professionally recorded at Bloodstock Open Air Festival (England-August 11, 2012) and Hellfest (France-June 15, 2012). The DVD further includes the official Tom Cronin directed videos for “Red Tide Rising” and “Acid Trial,” the latter courtesy of Scion A/V, plus the Matt Chance directed “Red Tide Rising Documentary” and Gaetan Chataigner directed “Highway To Hellfest Documentary.” Art and design was once again provided by Jimbob Isaac under the direction of vocalist Ben Ward.

Discussing the album, Ward says, "for years people have been asking us to release a live album. It's a warts and all recording to highlight exactly what you get at an ORANGE GOBLIN show. It's not over-produced; you can hear the bum-notes and the forgotten lyrics as well as the energy and power emanating from the stage. And the crowd! I think that's what a good live album is all about. It's just the sound of us getting up on stage, plugging in and going hell for leather. Crack open a beer, turn it up loud and bang your head."

England’s Classic Rock Magazine says, “put simply, ORANGE GOBLIN are the best metal band in Britain.” A permanent fixture on the metal landscape since their formation in 1995, ORANGE GOBLIN recordings have been embraced by fans the world over. Their live performances have been hailed as one of the best. Kerrang! says, “ORANGE GOBLIN shows are very predictable… you know they are going to be brilliant before they even hit the stage.” ORANGE GOBLIN signed to Candlelight Records late 2008 and immediately began writing new material for the first time in over five years. Teaming with producer Jamie Dodd and two-time Grammy-nominated engineer Andy Jackson (Pink Floyd), the band completed recording of A Eulogy For The Damned late September 2011. The record was released February 14, 2012 entering the UK Top 200 at 96 and landed on Billboard’s Heat Seekers chart at 38. The album hit the top of CMJ’s Loud Rock album chart on March 7 and ended the year at position 6 on the Top 50 Year-End Album chart. Decibel Magazine called the album,” maximum riffage, turbo-doom biker rock… awesome!.” Hellbound proclaimed, “this dish is one spicy meatball.” Popdose confirmed, “possibly the best record from start to finish that they have released yet.”

A Eulogy For the Fans-Orange Goblin Live 2012 features songs that span the band’s extensive repertoire including fan favorites “Stand For Something,” “Scorpionica,” “Quincy The Pigboy,” “Blue Snow,” “Time Travelling Blues,” and the album’s single “The Filthy & The Few” which is set to impact loud rock radio on February 26.

Complete dates with Clutch are noted below. Ticket preorder goes live via Artist Arena Fanclub on January 22. Public on sale date for tickets is January 25.

ORANGE GOBLIN

3/08/2013 Bogart’s – Cincinnati, OH
3/09/2013 Marathon Music Works – Nashville, TN
3/10/2013 Pop's – Sauget, IL
3/11/2013 Juanita's Cantina Ballroom - Little Rock, AR
3/12/2013 Cain's Ballroom – Tulsa, OK
3/14/2013 Palladium Ballroom – Dallas, TX
3/18/2013 Black Sheep - Colorado Springs, CO
3/19/2013 The Depot - Salt Lake City, UT
3/21/2013 House of Blues - W. Hollywood, CA
3/22/2013 The Marquee – Tempe, AZ
3/23/2013 Hard Rock Café - Las Vegas, NV
3/24/2013 House of Blues – Anaheim, CA
3/26/2013 Regency Grand Ballroom - San Francisco, CA
3/27/2013 Knitting Factory – Reno, NV
3/29/2013 Showbox at the Market – Seattle, WA
3/30/2013 Roseland Theater – Portland, OR
3/31/2013 Knitting Factory – Boise, ID
4/01/2013 Wilma Theater – Missoula, MT
4/02/2013 Knitting Factory – Spokane, WA
4/03/2013 Commodore Ballroom – Vancouver, BC
4/05/2013 Flames Central – Calgary, AB
4/06/2013 Odeon Events Centre – Saskatoon, SK
4/07/2013 Union Hall – Edmonton, AB
4/09/2013 Garrick Centre – Winnipeg, MB
4/10/2013 First Avenue – Minneapolis, MN
4/11/2013 Wooly's - Des Moines, IA
4/12/2013 House of Blues – Chicago, IL
4/13/2013 Orbit Room - Grand Rapids, MI
4/15/2013 Wescott Theater – Syracuse, NY
4/16/2013 Toad's Place - New Haven, CT
4/18/2013 Sound Academy – Toronto, ON
4/19/2013 Stage AE – Pittsburgh, PA
4/20/2013 Ram's Head Live – Baltimore, MD

ORANGE GOBLIN is vocalist Ben Ward, guitarist Joe Hoare, bassist Martyn Millard, and drummer Chris Turner. The band delightfully use/endorse Meinl Cymbals, Lace Pick Ups, Fender Guitars, Marshall Amps, Vater Sticks, Orange Amps, Natal Drums, Rotosound, and Jagermeister.

http://www.orange-goblin.com
http://www.facebook.com/orangegoblinofficial
http://www.myspace.com/theorangegoblin
http://www.youtube.com/orangegoblinofficial
http://candlelightrecordsusa.com

Billy Joel - Piano Man (2 CD Legacy Edition)

 

There's no doubt about it.  Billy Joel deserves his place in the Rock N Roll Hall of Fame.  Just the work over his pivotal 3 albums, The Stranger, 52nd Street, and Glass Houses cements this.  But prior to those albums,in late 1973, Columbia Records released Billy Joel's first major album, Piano Man. The album went on to sell more than 4-times RIAA platinum to date, and is one of the corner-stones of Billy Joel's Columbia catalog of nearly 20 studio and live albums.

Still, back in the day, I could never get into Piano Man.  Yes, I loved the title track (more on that later) but the rest of album left me flat.  It is a strange album after all, not utilizing the Billy Joel band, but a bunch of California studio musicians.  Plus, there's this inexplicable country-western vibe to the album, so different from the NY street level storytelling of The Stranger.  Perhaps it was this bluegrass feel that turned me off. Or the muddied production.  Or the lack of a "Just the Way You Are."  Whatever, I couldn't get into it like the following three.

Almost four decades later, Piano Man (Legacy Edition) brings the 10-song album back in the spotlight.  Completely re-mastered, the album finally clicks for me.  Finally, the sound is where it's supposed to be, vibrant and clear and full of punch.  The bluegrass vibe of "Travelin' Prayer," works this time, sounding rousing and hopeful, as does the rest of the album.  Still, not as developed as Joel's later work, and not as important as the following three albums, Piano Man finally sounds like a fitting introduction to a man who had a major impact on American music.

 Then of course, there's the title track, "Piano Man," still one of my favorite songs of Joel's ever.  The Lonliness and despair he brings forth in his observations about the regulars at the bar in LA where he had a piano-bar residency for 6 months are spot on.  The emptiness is clear.  The longing is palpable.  When he sings in the voice of the bartender, "Bill, I believe this is killing me, as the smile ran away from his face." it's one of those transcendent moments in music for me (like Harry Chapin's "Cat's in the Cradle") where I actually feel moved to the brink of tears. He evokes that kind of emotion.  Amazing stuff.

But don't buy Piano Man for the remastered version of the album (even though it sounds better than ever before.)  If you're a Billy Joel fan, buy the Legacy Edition for the second CD, an entire previously unreleased 1972 live radio concert (predating Joel's Columbia signing by a year).

This concert is legendary in Joel's fans hearts, and launched his career.  Early support for Joel came from Philadelphia, specifically the top-rated FM station WMMR, which programmed a live concert series taped in the intimate Sigma Sound Studios. Billy recorded a concert for the series on April 15, 1972. Three of the 12 songs that he performed were destined for inclusion on his next album (more than a year and a half away) Piano Man: "Travelin Prayer," the Aaron Copland-esque "The Ballad Of Billy The Kid," and the notorious "Captain Jack." Tapes of the 'MMR concert made the rounds, with "Captain Jack" turning into an "underground" FM favorite. Some of those listeners happened to work for Columbia Records, and soon the groundwork was being laid for Billy Joel to come to New York and audition for the label. The rest is history.

But what fascinates me most about this show are how fully developed a talent Joel was at that early point in his career and how positively awkward he was as a performer.

Musically, his songs shine bright.  His playing was impeccable, his voice superb.  And his early rendition of "She's Got a Way," is breathtaking -- still one of his best melodies ever.  Yet, as a performer, this awkward kid from New York was a hilarious mess.  His between song banter is reduced to horribly, ill-fated jokes, stutters, awkwardness, and loud slurps from his mug of beer.  And I mean loud slurps.  May even be a burp or two in there.  Truthfully, his banter was so bad, it would be painful to listen to if I didn't know how it was going to all turn out for him years later.  Still, as a snapshot of a young artist, it's priceless.

Piano Man, will never be The Stranger to me, but in this version it's an album worthy of the space it takes up on my Billy Joel shelf. 

--Racer

Thin Lizzy - At the BBC

 

This holiday season there are some very cool presents for the heavy rock fan in your life (i.e. yourself, your dad, older brother, the dude you buy weeed from behind the gas station). Deep Purple has a killer looking 2LP/2CD collection of all their BBC sessions and there's a box set of all the good Whitesnake albums (meaning the ones up to 1982). But number one on everyone's wish list should be this monster 6CD/1DVD Thin Lizzy box set of all their BBC recordings. Jeezus, these guys were busy! Thin Lizzy was pumping out albums on a regular basis and touring constantly but still managed to do all of these killer radio sessions and concert broadcasts.

Thin Lizzy did a total of eighteen sessions for the BBC between 1971 and 1977 and all of them except four are represented here. Given the BBC's tendency to erase tapes from the library it's a miracle we have 3 very full CD's of primo performances in excellent fidelity. Disc one is with the early trio version of the band with Eric Bell on guitar. This is an era I'm the least familiar with so it's great to finally get acquainted with songs other than "The Rocker" and "Whiskey In The Jar." This line up was clearly Hendrix inspired but also trying to find their way. The playing is top notch and the songs are good but it's easy to see the band still had a ways to go before becoming the powerhouse unit we all know and love. Disc two is killer because about half of it is still the trio but with Gary Moore as the guitarist. I'd always wanted to hear more from this line up and now I finally have it. Too bad they never did a full album together in 1974 but the 12 songs here are the closest we'll ever get until we join Gary and mainman Phil Lynott upstairs. Gary smokes on a raunchy sounding "Little Darling" and the VD inspired "Sitamoia." There are very funky versions of "Showdown" and "It's Only Money" that hint at what Thin Lizzy would later do on "Johnny The Fox Meets Jimmy The Weed."

The second half of disc two and all of disc three is the classic line up with Scott Gorham and Brian Robertson on twin lead guitars. Phil was tired of guitarists quitting the band leaving him as a duo with drummer Brian Downey. It's fun to compare their version of "It's Only Money" from just a few months after Gary's version and hear how it changed. It took awhile for this group to find their niche but when they did, they were totally unstoppable. I don't care how many times you've heard "Rosalie," "Emerald," "Warriors," "Killer Without A Cause" and all the other classics before, having different KICK ASS performances of them is totally mandatory. The arrangements are the same as the records but the takes are more raw and a bit faster.

Speaking of fast and raw, the other three CD's are all live recordings. It's well known that I love live albums and this is definitely my favorite half of this great box set. There's a show with Eric Bell from 1973 that opens with an excellent version of "The Rocker" and a Jimidelic "Gonna Creep Up On You." Brian Downey really pounds his drums hard and young Phil's voice is spectacular. A 1974 concert with Gorham/Robertson finds the band playing with even more confidence and laying down a heartfelt "Still In Love With You." The solos on "Showdown" are very funky. By 1981 Brian Robertson had been replaced by Snowy White and disc five contains a full hour from Hammersmith Odeon in London. The albums this line up made are kind of a mixed bag but they were still a potent live band. Heavy versions of current songs like "Angel Of Death," "The Pressure Will Blow" and "Killer On The Loose" mix well with the older classics. Disc six from 1983 captures the line up with John Sykes replacing Snowy White. Sykes definitely gave the band a heavier sound and he plays great. Sometimes he plays a bit too much and his use of pinch harmonics can be a bit annoying but that's a minor complaint. The addition of keyboards to the band was never really a plus in my book, either, but there's really no reason to complain about any live Thin Lizzy, is there?

The DVD contains the same "Live And Dangerous" show you've owned for years as well as the 1983 show that came as a bonus on the original DVD. There are appearances on Top Of The Pops from 1973 through 1981 that's the band lip synching to their current hits. It's cool but nothing you're going to watch too often. The footage of Gary Moore & Friends from 1979, however, you'll watch all the time. You've probably been drooling over it on youtube for a few years now but now you can enjoy it in better quality. Gary Moore, Cozy Powell, Scott Gorham and Phil Lynott make an incredible team. Too bad they didn't do more together.

Anyway, 2011 has been a pretty crappy year but you've been good. Do yourself a favor and end the year with a bang and treat yourself to this. You won't regret it. Special thanks to Joerg in Germany for hooking me up with a cheaper copy due to the shitty US economy and favorable exchange rate for Europeans. Cheers!

--Woody

Ripple News - Alive Records to Release the Plimsouls LIVE! BEG, BORROW & STEAL album FEB. 23RD!

Live! Beg, Borrow & Steal showcases The Plimsouls at the height of their power, tearing the roof off and on the verge of starting a riot on L.A.’s old Sunset Strip. Recorded at the Whisky A Go Go on October 31, 1981, this previously unreleased 18 song live album includes many of The Plimsouls’ classics as well as plenty of surprises. It has been stunningly remastered,features previously unpublished and gorgeous photos by renowned photographer Bob Matheu, and also includes three pummeling tracks (“New Orleans,” “Hey! Hey! Hey! Hey!” and “Run Run Run”) with special guests The Fleshtones.

The album will be in-stores (in both vinyl and CD) and digitally online through Alive Records on February 23rd. The first vinyl pressing of the record will also include a poster and is limited to 1,000 copies. Considering that all of The Plimsouls official studio releases are currently out of print, this explosive live document of the band igniting The Whisky nearly three decades ago stands as not only a highly anticipated release from the band, but also as a testament to the power of pure, unadulterated rock & roll.

Formed in 1978 by Peter Case (vocals, guitar) following his departure from The Nerves and The Breakaways, with Louie Ramirez (drums), Dave Pahoa (bass) and Eddie Muñoz (guitar), The Plimsouls effectively blended roots, British Invasion and garage rock into one unique soul-punk, garage-pop combo. “They boasted a soulful front man and gifted songwriter in Peter Case; a brittle, unconventional lead guitarist in Eddie Muñoz; and a gutsy, power-packed rhythm section in bassist Dave Pahoa and drummer Lou Ramirez. The ‘Souls didn’t just replicate the cliches of power pop, as so many others did – they, and especially Case, were intent on putting their own imprint on the rock and R&B styles they derived their sound from. Their keen originality and their ‘let’s-rock’ attitude removed them from the run of the mill.

The Plimsouls – http://www.myspace.com/plimsouls

Alive Records – http://www.alive-totalenergy.com