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  • Fritz Kalkbrenner – Drown (Different Spring)

    Sektion: Highlights

    Fritz KalkbrennerMit seinem fünften Album setzt Fritz Kalkbrenner einen Schnitt. Zum ersten Mal kommt ein Album von ihm ohne seine Stimme aus. Er macht sich frei vom Song-Ansatz, mit dem er bekannt wurde und schwelgt in der klangverliebten House Music, die er als junger Mann in der Club-Szene Berlins entdeckte. Mit Hitsingles wie “Get A Life”, “Back Home” und “Sky And Sand” (mit seinem Bruder Paul) hat Fritz Kalkbrenner in den letzten Jahren unser modernes Kompletter Artikel →

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  • Fritz Kalkbrenner veröffentlicht sein fünftes Album mit dem Titel “Drown”

    Sektion: News

    Fritz KalkbrennerMit seinem fünften Album setzt Fritz Kalkbrenner einen Schnitt. Zum ersten Mal kommt ein Album von ihm ohne seine Stimme aus. Er macht sich frei vom Song-Ansatz, mit dem er bekannt wurde und schwelgt in der klangverliebten House Music, die er als junger Mann in der Club-Szene Berlins entdeckte. Mit Hitsingles wie “Get A Life”, “Back Home” und Kompletter Artikel →

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  • Various – Shakin’ All Over – Great British Record Labels:HMV

    Sektion: Musik, Neue Releases

    Image: 1599040 His Masters Voice regularly known as plain HMV is one of the oldest names in recorded sound, while its ‘Nipper’ logo remains, unquestionably, the most iconic image in the history of the record industry. The label is, of course indelibly linked to Electrical & Music Industries Ltd (aka EMI), of which it was a founder member in 1931. However HMV’s own roots go back considerably further, to 1897, and The Gramophone Company. One of the first recording companies to operate in the UK, it was founded by William Barry Owen and Trevor Williams as the UK wing of the United States Gramophone Company, which had itself been inaugurated in Washington in 1892, by German-born US citizen Emile Berliner. In 1898, Berliner also formed Deutsche Grammophon Gesellschaft in his native Hanover, although DGG would abruptly sever links with both its US and UK counterparts at the outset of WW1.

    The name ‘His Master’s Voice’ of course came from the celebrated portrait of Nipper. The image was first used on the cover of the company’s UK catalogue in 1899, and the following year it was registered as a trademark in the United States. In 1909 they’d belatedly started using the Nipper trademark in the UK, after which the label was generally referred to as either ‘His Masters Voice’ or ‘HMV’. The company grew from strength to strength - they opened the first HMV record shop in London, in 1921 - and their success very much mirrored that of their US parent company.

    In 1931, The Gramophone Company was merged with Electrola and the Columbia Graphophone Company to form the giant Electrical & Musical Industries Ltd. In the UK, EMI successfully retained the Columbia, HMV and Parlophone imprints as label names, leading to great rivalry, strong competition and continued success. In 1935 RCA sold its stake in EMI, although it retained Victor and its rights to the ‘His Masters Voice’ trademark in America.

    Like many British record labels, HMV enjoyed considerable success during the post-WW2 economic boom, albeit predominantly with American, RCA-Victor repertoire - e.g. Eddie Fisher, Perry Como, Vaughn Monroe, Glenn Miller, etc. But their roster also boasted a healthy selection of home-based artists, notably Joe Loss, Arthur Askey, Ivy Benson, Max Miller, The Skyrockets, and as the 40s morphed into the 50s, they added Donald Peers, Max Miller, The Tanner Sisters, David Hughes, Malcom Vaughan and, rather more notably, artists like Alma Cogan, Max Bygraves, Frankie Vaughan and Ronnie Hilton, whose careers would all endure.

    The UK’s early forays into R&R were dismal, oft-risible affairs, and HMV’s weren’t greatly different. Nonetheless, most aficionados would agree that Jill Day’s unlikely cover of the Gale Storm/Smiley Lewis US hit ‘I Hear You Knocking’ in January 1956 was one of the UK’s first credible stabs at R&R, a performance very nearly mirrored a year hence by Rose Brennan’s reading of the Georgia Gibbs/Lavern Baker US chartrider ‘Tra La La’.

    Of course, HMV initially had the biggest ace in the R&R pack in the shape of Elvis Presley, but when RCA-Victor terminated their licensing agreement in 1957, it (a) knocked a huge hole in their release schedules and (b) forced them to concentrate more on home-grown acts. They attempted a few half-hearted stabs at Skiffle, whilst R&R singers like Ricky James and Barry Barnett fared little better. HMV even issued a couple of Adam Faith 45s in 1958, including a creditable cover of Jerry Lee Lewis’ ‘High School Confidential’, but it would be another year - and on a different label - before Adam hit his stride. At this stage of the game, HMV were still rather more comfortable with established Variety-styled singers like The Three Kayes, Yana, Joan Regan and Ronnie Hilton, or Novelty material like ‘The Army Game’ and its Bernard Bresslaw spinoffs - they were still at it a few years later, with releases from Barbara Windsor and Patricia Phoenix.

    Instrumentals were often viewed as Novelty records around this time, although the advent of The Shadows in 1960 would soon put a stop to all that! HMV were well served for Instros, with artists like saxman Ken Mackintosh and trombonist Don Lang, while Ozzie Warlock & The Wizards’ (in reality writer/arranger Tony Osbourne’s) driving ‘Juke Box Fury’ was the original theme tune to BBC TV’s Juke Box Jury. Once ‘Twang’ had arrived, so did groups like The Planets, The Krew Kats (i.e. Marty Wilde’s former Wild Cats, with Big Jim Sullivan on lead guitar) and even old stager Bert Weedon, whilst guitar virtuoso Richard Harding sprang from The Cresters to cut a one-off killer 45. When HMV finally got to grips with R&R they did so in spectacular style, with Johnny Kidd & The Pirates, whose riveting ‘Shakin’ All Over’ topped the UK charts in the Summer of 1960 and seemed to fuel a mini-boom of bequiffed young teen oriented crooners. Following Helen Shapiro’s breakthrough in the Spring of 1961, UK record companies were quick to try and cash in and for the next eighteen months or so, you could hardly move for unknown teenaged girl singers. Finally, cult indie producer Joe Meek saw an enormous number of his revered RGM productions released on HMV, by a plethora of artists. Featured herein are several big sellers and a handful a genuine collectors’ rarities, most notably songwriter Geoff Goddard’s falsetto-laden ‘Girl Bride’. Erhältlich ab 25.09.2015 Getaggt mit:
  • Billy Joe Shaver – Long In The Tooth (Gatefold LP+MP3)

    Sektion: Musik, Neue Releases

    Image: 1590575 Deluxe LP-vinyl packaging in gatefold sleeve with printed lyrics to sing along and additional leaflet. "I'm listening to Billy Joe Shaver and I'm reading James Joyce" (Bob Dylan)


    Legendary Texas outlaw songwriter celebrates upcoming 75th birthday with “the best album I’ve ever done.”

    WACO, Texas — Billy Joe Shaver’s finest songs prowl (“Hard To Be an Outlaw”) and punch (“Music City USA”) with welterweight fury. Evidence: The legendary outlaw’s seamless Long in the Tooth. Shaver’s first studio album in six years showcases a singular songwriter in absolutely peak form as he unearths his trademark truths around every corner (“Last Call for Alcohol,” “The Git Go”). “This is the best album I’ve ever done,” he says. “It’s just dangerously good. I expect it to change things and turn things around the way Honky Tonk Heroes did.”

    Long in the Tooth, set for August 5, 2014 release on Lightning Rod Records through Thirty Tigers, charts his journey as an unrepentant outlaw. Accordingly, Shaver delivers the classic country fans expect but also brings all new sonic tricks this time around. “Each song is different with different beats and different kinds of music,” he says. “I even have one rap song. The titles are all so catchy like ‘It’s Hard to Be an Outlaw’ and ‘The Git Go.’ Those are pretty hard to beat. Songwriting is gut wrenching, but if you dig down and write real honest you’ll find something real great. I believe everybody should write. It’s the cheapest psychiatrist there is and, God knows, I still need one.”

    Long in the Tooth spotlights all the highs, lows and in-betweens from Shaver’s storied career, an evolving narrative never short on color. “The record’s about me,” says Shaver, who turns 75 years old in August. “I’ve written a lot of great songs and I’m still writing great songs, but I felt neglected. I have been, actually. The reluctance to play old people’s music is as bad as it was to play young people’s music. I think it should level out where everyone can hear good art, but it seems like radio doesn’t play older people’s music. Man, it’s like throwing out the Mona Lisa. I don’t understand, but I’m just so proud of Long in the Tooth. This record will be a gigantic step.”

    Of course, Honky Tonk Heroes was the record that skyrocketed Shaver into public consciousness four decades ago. Waylon Jennings’ landmark album delivered Shaver-written classics practically every measure: “Old Five and Dimers Like Me,” “Willy the Wandering Gypsy and Me,” “Ride Me Down Easy,” the title track and the Top 10 hit “You Asked Me To.” In fact, 10 of the album’s 11 songs were written or co-written by Shaver. It established him as a singular songwriter, a man whose earthy poetry resonates across the board. He’s doubled down ever since.

    No one sings Shaver’s songs like the man himself, but plenty have tried: Everyone from Johnny Cash (“I’m Just an Old Chunk of Coal”) and Tom T. Hall (“Willy the Wandering Gypsy and Me”) to the Allman Brothers (“Sweet Mama”) and Asleep at the Wheel (“Way Down Texas Way”) has cut his tunes. “That’s kind of like my trophies,” Shaver admits. “Instead of getting CMA Awards, that means a whole lot more to me. When you write songs, and you write good songs, people will always remember you. Words will always outlive us. And if your name is attached to those words, you’re gonna live forever.”

    Shaver spins yarns linking sacred (“Jesus Christ, What a Man”) and secular (“That’s What She Said Last Night”) with a devil’s grin. High watermarks have become instant standards (“Georgia on a Fast Train”). “These days it seems that every young songwriter in Texas wants to grow up to be Billy Joe Shaver,” Kinky Friedman wrote recently. “Like the defenders of the Alamo, I predict that one day they’ll be naming schools after Billy Joe, the man who wrote the immortal lines: ‘I got a good Christian raisin’/And an eighth grade education/Ain’t no need in y’all treatin’ me this way.”

    His most wistful (“Live Forever”) and weary (“Blood Is Thicker Than Water”) blur lines between life and art. In fact, Shaver, who lost parts of four fingers in an early sawmill accident, has lived through several tragedies that could serve as blueprints for teary country songs. Most notably, he endured the “cosmic misfortune” of his mother, first wife and only son (guitarist Eddy Shaver) dying within a year of one another. Life’s simply treated him hard. Shaver hasn’t aged gracefully, either. (Spin “Wacko from Waco” for his account of shooting a man in the face outside Papa Joe’s Texas Saloon in spring 2007.)

    The Corsicana, Texas native’s Lone Star State roots run deep: His great-great-great grandfather, Revolutionary War veteran Evan Thomas Watson, was one of the founders of the Republic. Shaver was raised in hardscrabble circumstances by his grandmother, working on farms and selling newspapers on the street in his youth. He sang and made up songs “since I could talk,” and was inspired in his childhood to keep at it after sneaking out of home one night to catch a country music show where he heard Hank Williams early in his career.

    He drew a connection between country and blues from an uncle’s record collection and the neighboring African-American farm workers’ music. “Country music is really close to being the blues, and rock ’n’ roll ain't nothing but the blues with a beat. That’s about it," he says. Shaver was given a Gene Autry guitar by his grandmother at age 11 and began playing until his stepfather gave it away a few years later as payment for yard work. Following a brief stint in the Navy at age 16, a stab at professional rodeo, and the aforementioned incident losing parts of his fingers, Shaver took up playing guitar again and devoted himself to songwriting.

    He hitchhiked to Nashville in 1965 and eventually earned a $50-a-week writer’s deal with Bobby Bare’s publishing company. Soon Jennings picked up those Shaver classics for Honk Tonk Heroes. As the Washington Post notes, “When the country outlaws were collecting their holy writings, Billy Joe Shaver was carving out Exodus.” He followed his debut on the Monument label with three albums on Capricorn Records and two on Columbia through 1987, seeing little commercial success with his recordings but winning rave reviews and the admiration of his musical peers.

    In 1993, he broke through with new generations and broader audiences as the currently booming Americana and Texas roots music and singer-songwriter scenes were gathering steam with the acclaimed Tramp On Your Street, united with his late guitar-playing son Eddy as simply Shaver. He has since issued 11 more independent albums, was honored with the first Americana Music Award for Lifetime Achievement in Songwriting in 2002, and inducted into the Nashville Songwriters Hall of Fame in 2004.

    As his well deserved public recognition came in the 1990s, Shaver was cast by his friend and fan Robert Duvall in his acclaimed 1996 film The Apostle, and has since played parts in three other theatrical and TV movies. He was the subject of a 2004 documentary produced by Duvall, A Portrait of Billy Joe, and published his autobiography, Honky Tonk Hero, the following year. He also sings the themes to the Adult Swim television show Squidbillies, and “Live Forever” was included in the award-winning hit movie Crazy Heart as its end-credit song.

    With these accomplishments behind him, Shaver has been thinking his creative well finally dried up. After all, he hasn’t released an album with new songs in six years. Thankfully, he was wrong. Credit East Nashville’s favorite son with lighting the fire. “I didn’t think I had another hope in the world of doing another studio album,” Shaver says. “Then Todd Snider encouraged me to come up to Nashville and I listened. I knew if I didn’t come out with new songs, it wouldn’t be right. I’ve promised hundreds of critics that I would. So, I just buckled down and got the new songs together. Sure enough, it turned out great.” Erhältlich ab 08.08.2014 Getaggt mit:
  • Nobelkommittén – Vi Som Ville Nagon Annanstans

    Sektion: Musik, Neue Releases

    Image: 1590526 On the album "Vi Som Ville Någon Annanstans" the members of Nobelkommittén deals with the love/hate relation to the small towns from where they origin while they also deal with ambivalence that exists in a larger city like Malmö.

    Where people have no place to live, where you slowly work your way into solitude at the same pace as the industries assembly line, where people bury themselves in alcohol and drugs and where you're making enemies.

    But also where people meet, create new dreams, make friends and fall in love with one another and the city's myriad.

    After their last album "Innan Livet Exploderar" bands like Ebba Grön, Imperiet and KSMB where often mentioned in the same breath as Nobelkommittén.

    Sure, these legends where there as inspiration, but also a whole lot more than that. The influences of more modern punk and folk-rock legends are easier to find on "Vi Som Ville Någon Annanstans" than on "Innan Livet Exploderar", but you can still recognize the unpolished, raw and honest approach that where significant for the debut.

    Yes, Nobelkommittén still stands strong with one foot in the 80's punk, but the other one has surely taken its place in modern times.

    But you can also notice some influences from Ulf Lundell and Bruce Springsteen from the 70's.

    With a larger production signed Tommy Tift (Sista Sekunden/ Vånna Inget) and with superb contributions from Dan, Linda, Linn, Karro, Frank and Joakim from bands as different as Bustups, Vånna Inget, Pestens Tid, Vienna Heat and Speakasy, it is a psyched and energy filled Nobelkommittén that still wants to go somewhere else. Erhältlich ab 13.06.2014 Getaggt mit:
  • Vervain – Rigshospitalet

    Sektion: Musik, Neue Releases

    Image: 1590373 Vervain – “Two steps forward and one step backwards.”
    After having written and rehearsed the material for Rigshospitalet, Vervain played all 12 tracks in clubs all over the south of Sweden. Everywhere they went the audience really appreciated felt the intensity and energy of the group's material performances which led to the decision to go in to the studio.

    Vervain have gone a long but not an illogical way to fou¬nd their sound which reaches over the whole punk- and hardcorespectre. All members come from different backgrounds and different periods within the style. Francke from The Mockingbirds, Pär Johansson, CCC, Little Otto - The Parttimers and Nobelkommitén, Chris Steen - The Bratpacks and Jonte from The Headlines. Together they all added an personal and extra touch which led the band to where they are today. 80's hardcore with a lot of 90's-feeling played in the 21'st century!

    The album is recorded during the spring of 2009 together with an (according to himself) ”living hardcorelegend” - Tommy Tift from Sista Sekunden.


    1. Häxjakt
    2. Start over
    3. Relate to
    4. Tjafsa inte
    5. Great expectations
    6. Wolfbane
    7. Crawling
    8. Välkomen in
    9. Preludes and nocturnes
    10. M.A.S 83
    11. 93-96
    12. The fall Erhältlich ab 13.06.2014 Getaggt mit:
  • Mitarbeiter-Charts 2013

    Sektion: Features, für Facebook

    Mitarbeiter-Charts 2013Das Jahr 2013 neigt sich dem Ende entgegen. Aus diesem Grund haben wir wieder einige der Angestellten von Groove Attack, Rough Trade und GoodToGo befragt, was ihre ganz persönlichen musikalischen Highlights der vergangenen zwölf Monate waren. Nachfolgend haben wir ihre Antworten aufgelistet. Gleichzeitig möchten wir die Gelegenheit nutzen und uns im Namen des gesamten Teams bei allen Geschäftspartnern, Medienpartnern und Labels für ein Kompletter Artikel →

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