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Idlewild : Post Electric Blues

admin — Tue, 23 Feb 2010 01:19:56 +0000

Whilst Brit-pop was still in full-swing, Idlewild were dropping out of art school and ingesting early REM, Fugazi, Meat Puppets, Superchunk, and all those small bands on American indie-rock labels. Whilst considered a safe bet for Blur’s label “Food”, their angular indie rock was more in-keeping with the label’s earlier output of the likes of Crazyhead, Woodentops and Diesel Park West, than Blur’s increasingly faux-cockney “sing-along” style that was to define the Brit Pop sound. Food were engulfed by Parlophone/EMI around the same time as Idlewild’s debut mini LP “Captain” was released, and whilst Blur took on the world, their Scottish labelmates quietly got on with the business of producing astounding indie rock. Angular and edgy, but always full of melody, Idlewild were the critics favourite (Steve Lamacq at Radio 1 leading the pack!)

Fast forward to 2009, and with a brace of massive top ten hit singles such as “You Held The World In Your Arms” and “American English” behind them, endless touring (including some very high profile dates supporting REM, and a few triumphant homecomings at T In The Park, Scotland), alongside 5 hugely successful gold and silver selling LPs, and an outstanding Best Of compilation, their creativity shows no sign of abating, which their stunning new album “Post Electric Blues”.

They’re also a band who’ve grown old gracefully with their unfaltering fan base. As the band and their admirers hurtle towards maturity, so they’ve broadened their musical tastes. Roddy Woomble particularly has spent the last few years (re)discovering the fascinating, indigenous sounds of his Scottish folk heritage, and its knack for compelling story telling which he alongside a collective of musicians, have modernised and perfected. The folk-tinged album “Warnings/Promises”, the band’s last for EMI, struck a perfect balance between the old and new Idlewild songwriting ethic, and was the springboard for Roddy’s superb solo album “My Secret Is My Silence”. Roddy has become part of a burgeoning new scene of modern folk artists including Karine Polwart, Heidi Talbot and not forgetting Kris Drever and John McCusker, who’s album with Roddy, “Before The Ruin”, was a real triumph for the Navigator label, pushing boundaries the likes of Richard Thompson had set over thirty years before.

Post Electric Blues loses none of the power chord prowess of their earlier albums (thanks to legendary rock producer Dave Eringa), but sets new crossover standards. With guest vocals from Heidi Talbot, the multi-part harmonies pay homage to trailblazers such as Fairport Convention without sycophancy, whilst McCusker on violin provides that perfect extra element to “Take Me Back To The Islands”.

Available to buy

Idlewild : Post Electric Blues

DIV020LP
Album Information
180g Single LP

New title and new gig confirmed.

admin — Mon, 22 Feb 2010 22:44:28 +0000

We can confirm that DIV021LP will be Chuck Prophet’s 2009 album Let Freedom Ring. Full details of the man himself can be found here and album details here. All Chuck’s previous albums have been released on vinyl so we’re glad to be able to put out this one on Diverse Records.

Chuck has also confirmed a tour of the UK in May and we’ll be putting on the Cardiff date in Clwb Ifor Bach on Sunday 9th May. Support is to be confirmed. Tickets are £12 and available from Diverse Music, Spillers Records and www.clwb.net

Diverse Records announce first gig

admin — Mon, 22 Feb 2010 14:48:30 +0000

After releasing Richmond Fontaine‘s brilliant latest album ‘We Used To Think The Freeway Sounded Like A River’, we were asked if we’d like to put the band on in Cardiff on their latest tour. Needless to say, we jumped at the chance.

The gig is on Monday 1st March, upstairs in Cardiff’s Clwb Ifor Bach venue. Support comes from one of our favourite bands, The Redlands Palomino Company and another old friend, Peter Bruntnell. Tickets are priced at £12 in advance and are available over the counter in both Diverse Music and Spillers Records and online at www.clwb.net

Ron Sexsmith

admin — Sun, 07 Feb 2010 20:57:54 +0000

b. Ronald Eldon Sexsmith, 8 January 1964, St. Catharine’s, Ontario, Canada. Formerly a motorcycle messenger, Toronto resident Sexsmith was first inspired by the music of Tim Hardin and other 60s singer-songwriters. By the age of 17 he was singing cover versions in local bars. Embarking on his own song cycles, he released 1991’s cassette only Grand Opera Lane (the album was eventually re-released on CD almost a decade later). Four years lapsed before Sexsmith teamed up with producer Mitchell Froom to record a proper debut, dedicated to the recently deceased Nilsson, which achieved almost universal press acclaim. Elvis Costello called it the best album of the year, and many others were attracted to the nakedness and intimacy of Sexsmith’s songwriting. Largely comprising basic percussion, minimal keyboards, acoustic guitar and Sexsmith’s fragile, understated voice, it proved a winning formula despite moderate sales.

Sexsmith was subsequently able to heighten his profile by supporting Richard Thompson on tour. The follow-up, 1997’s Other Songs, proffered another suite of strangely hesitant, downbeat narratives, the stand-out songs including “Child Star” and “Pretty Little Cemetery”. Whereabouts received excellent reviews and was an assured recording. This time around Sexsmith’s Tim Hardin influence came to the fore. On a number of the tracks the tone and delivery was chillingly similar. Blue Boy was another quality set of markedly livelier material, although the tone of the album seems to have moved Sexsmith out of the bedsitter into the living room.

The artist moved to yet another record label for the follow-up, Cobblestone Runway, released by Nettwerk America in 2002 (a beautifully mastered gatefold vinyl print was issued by Welsh label Diverse Vinyl the following year). Embellished with discrete electronics, the album was Sexsmith’s boldest musical statement to date. The equally accomplished Retriever followed in summer 2004.

Available to buy

Danny & The Champions of the World : Hearts & Arrows

DIV035LP
Album Information
180g Single LP.
6th February 2012

Carrie Rodriguez : Love And Circumstance

DIV032LP
Album Information
180g Single LP, Gatefold Sleeve.
10th November 2011

Cowboy Junkies : Sing In My Meadow

DIV033LP
Album Information
180g Single LP.
24th October 2011

Richmond Fontaine : The High Country

DIV031LP
Album Information
180g Single LP.
26th September 2011

Simone & Ian Felice : Lost Tapes Volumes I & II

DIV030DLP
Album Information
180g Double LP, Gatefold Sleeve.
26th September 2011

Joan Baez : Play Me Backwards

DIV029LP
Album Information
180g Double LP, Gatefold Sleeve.
26rd May 2011

Laura Marling : I Speak Because I Can

DIV028LP
Album Information
180g Single LP, Gatefold Sleeve.
23rd March 2011

Cowboy Junkies : Demons

DIV027LP
Album Information
180g Single LP, Embossed Sleeve.
2nd February 2011

Fionn Regan : The Shadow Of An Empire

DIV026LP
Album Information
180g Single LP.
2nd February 2011

Cowboy Junkies : Renmin Park

DIV025LP
Album Information
180g Single LP, Embossed Sleeve.
15th November 2010

Eleanor McEvoy : I'd Rather Go Blonde

DIV023LP
Album Information
180g Single LP, Gatefold Sleeve.
25th September 2010

Joan Baez : Gone From Danger

DIV022LP
Album Information
180g Single LP, Gatefold Sleeve

Simone Felice : Live From A Lonely Place

DIV024LP
Album Information
180g Single LP

Chuck Prophet : Let Freedom Ring

DIV021LP
Album Information
180g Single LP

Idlewild : Post Electric Blues

DIV020LP
Album Information
180g Single LP

The Duke & The King : Nothing Gold Can Stay

DIV019LP
Album Information
180g Single LP

Eleanor McEvoy : Snapshots

DIV017LP
Album Information
180g Single LP

Various Artists : Heartworn Highways

DIV016DLP
Album Information
180g Double LP : Gatefold Sleeve

Cowboy Junkies : Trinity Revisited

DIV015DLP
Album Information
180g Double LP : Gatefold Sleeve

Mark Olson : The Salvation Blues

DIV014LP
Album Information
180g Single LP : Gatefold Sleeve

Dr John & The Lower 911 : City That Care Forgot

DIV013DLP
Album Information
180g Double LP : Gatefold Sleeve

Eleanor McEvoy : Love Must Be Tough

DIV012LP
Album Information
180g Single LP

Dolly Varden : The Dumbest Magnets

DIV007LP
Album Information
180g Single LP : Gatefold Sleeve

Frank Black & The Catholics

admin — Sun, 07 Feb 2010 20:57:26 +0000

b. Charles Michael Kittridge Thompson IV, 6 April 1965, Long Beach, California, USA. This US vocalist/guitarist led highly influential Boston-based alternative rock band the Pixies under the name Black Francis. When that band underwent an acrimonious split in 1993, Francis embarked on a solo career as Frank Black. His self-titled debut featured assistance from Nick Vincent (drums) and Eric Drew Feldman (guitar/saxophone). The latter, formerly of Captain Beefheart’s Magic Band, also produced the set, which featured cameos from fellow Captain Beefheart acolyte Jeff Morris Tepper and ex-Pixies guitarist Joey Santiago. Frank Black showed its creator’s quirky grasp of pop, from the abrasive “Los Angeles” to the melodic “I Hear Ramona Sing”. It also contained a cover version of Brian Wilson’s “Hang On To Your Ego”, which the Beach Boys’ leader recast as “I Know There’s An Answer” on Pet Sounds.

A sprawling double set, Teenager Of The Year, followed in 1994, but critical reaction suggested the artist had lost his incisive skills and a year later it was announced he had been dropped by 4AD Records. A new release on Epic Records, preceded by the highly commercial single “Men In Black” (UK number 37), failed to heighten his reputation and followers continued to revert to praising his work with the Pixies. Backed by the Catholics (Lyle Workman, Dave McCaffrey and Scott Boutier), Black returned to indie cultdom with the rough and ready double whammy of Frank Black And The Catholics (1998) and Pistolero (1999). In an even more welcome move, he enlisted Santiago as guitarist on the excellent Dog In The Sand. Black’s renewed creativity gave birth to simultaneous releases in 2002, Devil’s Workshop and Black Letter Days, and the 2003 album Show Me Your Tears.

In 2004, Black reunited with his former colleagues and embarked on a highly popular Pixies reunion tour through Europe and North America. The same year’s double-disc release Black Francis Demo/Frank Black Francis compiled early solo demo recordings of Pixies material, alongside radical reworkings of some of his previous band’s best-known songs recorded with Andy Diagram and Keith Moliné. In contrast, the following year’s Honeycomb saw Black reverting back to solo recording and also, unusually, featured a number of cover versions. This album and the sprawling following-up Fast Man Raider Man were recorded with leading Memphis sessionmen including Spooner Oldham, Buddy Miller and Reggie Young.

Dolly Varden

admin — Sun, 07 Feb 2010 20:56:36 +0000

The Chicago group Dolly Varden produces rootsy, atmospheric tunes laced with rock, country, and soul influences. The husband and wife songwriting team of Diane Christiansen and Stephen Dawson first came to prominence in cow-punkers Stump the Host. The two founded Dolly Varden in 1995, recording their debut album, Mouthful of Lies, in Christiansen’s converted art studio and releasing it on their own Mid-Fi label. After building up an avid following in Chicago and the Midwest, the group signed with New York indie label Evil Teen for 1998’s sophomore effort, The Thrill of Gravity. The album, recorded once again in the home studio, earned rave reviews and garnered national attention.

Dolly Varden’s third album, 2000’s The Dumbest Magnets (Evil Teen Records), was produced by Brad Jones (Steve Forbert, Marshall Crenshaw) at his live-in studio in Nashville. (The Dumbest Magnets was distributed in Europe on Flying Sparks Records.) For Forgiven Now, released in March of 2002, the group once again recorded with Brad Jones. The effort featured a guest appearance by legendary pedal steel player Al Perkins (Gram Parsons, the Rolling Stones) on “The Lotus Hour” and “There’s a Magic.” Forgiven Now was released through a partnership with Undertow, an independent music collective run by Dolly Varden’s longtime manager, Bob Andrews. Dolly Varden’s well-crafted albums have garnered enthusiastic accolades from such vanguard publications of alt-country as the Austin Chronicle and No Depression.

Available to buy

Dolly Varden : The Dumbest Magnets

DIV007LP
Album Information
180g Single LP : Gatefold Sleeve

Adrian Sherwood

admin — Sun, 07 Feb 2010 20:55:53 +0000

b. 13 August 1958, England. A pioneering force in UK reggae, Sherwood’s first attempts to set up labels in the late 70s were disastrous, and cost him a great deal of money in the process. Despite such misadventures, he persevered, and set up the On U Sound label to house ex-Pop Group singer Mark Stewart’s New Age Steppers project. Hundreds of albums and singles have subsequently been released, including music by Bim Sherman, Dub Syndicate and Mothmen (an embryonic Simply Red). Sherwood styled On U Sound after the reggae model of “house bands” (Revolutionaries, Soul Syndicate, etc.). The label/organization also played out as a sound system, in a similar fashion to its Jamaican counterparts. Among the notable long-term protagonists at On U Sound have been Bonjo (African Head Charge), Bim Sherman and Skip McDonald aka Little Axe, Doug Wimbish and Keith LeBlanc (Tackhead). However, Sherwood is equally renowned for his production skills, which he learned at first hand from Prince Far I and Dr Pablo. Simply Red, the Fall, Depeche Mode, Ministry, Nine Inch Nails and KMFDM have been among his notable clients.

On U Sound came to the attention of the public outside reggae circles when self-styled “white toaster” Gary Clail entered the UK charts in 1991 with “Human Nature”. However, neither this, nor any other individual release, can be described as representative of the rock-reggae-dance fusion that On U Sound have fostered. On U Sound’s eclecticism remains rampant, but as Sherwood himself concedes: “I’m first and foremost a passionate fan of reggae music”. In 1994, he established the Pressure Sounds imprint, dedicated to reissuing classic reggae and dub releases. He released his debut solo album, titled after Jamie Reid’s infamous punk slogan, in 2003.

Richard Thompson

admin — Sun, 07 Feb 2010 20:55:19 +0000

b. 3 April 1949, Notting Hill, London, England. The talented Thompson forged his reputation as guitarist, vocalist, and composer with Fairport Convention which, although initially dubbed “England’s Jefferson Airplane”, later evolved into a seminal folk rock act through such acclaimed releases as What We Did On Our Holidays, Unhalfbricking, Liege And Leif and Full House. Thompson’s sensitive compositions graced all of the above but none have been applauded more than “Meet On The Ledge” (from What We Did On Our Holidays). This simple lilting song oozes with restraint, class and emotion and is one of the most evocative songs to come out of the late 60s “underground” music scene. Thompson’s innovative guitar style brought a distinctive edge to their work as he harnessed diverse influences such as Django Reinhardt, Charlie Christian, Otis Rush, James Burton and Mike Bloomfield.

The guitarist left the band in 1971 and having contributed to two related projects, The Bunch and Morris On, completed an impressive solo debut, Henry The Human Fly. He then forged a professional and personal partnership with singer Linda Peters. The couple, as Richard And Linda Thompson, recorded a series of excellent albums, notably I Want To See The Bright Lights Tonight (1974) and Hokey Pokey (1975), which established the artist’s reputation for incisive, descriptive compositions. Thompson also collaborated with disparate vocalists such as Sandy Denny, John Martyn, Iain Matthews, Elvis Costello, and Pere Ubu’s David Thomas, which in turn enhanced his already considerable reputation.

The Thompsons separated in 1982, although the guitarist had completed his second solo album, Strict Tempo!, a compendium of styles based on hornpipes, jigs and reels, the previous year. Thompson then recorded the acclaimed Hand Of Kindness, which juxtaposed traditional-styled material such as “Devonside” with the pained introspection of “A Poisoned Heart And A Twisted Memory” and “The Wrong Heartbeat”. The superb concert recording Small Town Romance preceded Thompson’s major label debut, Across A Crowded Room, a lesser work featuring the embittered “She Twists The Knife Again”. By now Thompson had set up a permanent base in Los Angeles, California, although his critical eye would continue to remain unerringly focused on his native England. In 1986, he undertook extensive US and UK tours to promote Daring Adventures, leading a group that included Clive Gregson and Christine Collister. The album itself included two of his most affecting ballads, “How Will I Ever Be Simple Again” and “Al Bowlly’s In Heaven”. Thompson then completed the soundtrack to The Marksman, a BBC Television series, before joining John French, Fred Frith and Henry Kaiser for the experimental Live, Love, Larf & Loaf.

In 1988, Thompson switched outlets to Capitol Records, teaming up with Daring Adventures producer Mitchell Froom once again to record the over-cooked Amnesia. Froom’s production was also a problem on the 1991 follow-up Rumor And Sigh, although some of the material (“Read About Love”, “I Feel So Good”, “I Misunderstood”, “1952 Vincent Black Lightning”) was among the finest of Thompson’s career. Thompson recorded with the Golden Palominos, and performed with David Byrne during the same year. The 1993 3-CD compilation Watching The Dark collected many unreleased live performances, and helped to put into perspective Thompson’s remarkable contribution to rock music from his debut with Fairport Convention onwards. If Watching The Dark was Thompson’s past, the double CD set You? Me? Us? (1996) and follow-up Mock Tudor (1999) represented his future. In musical terms, nothing had changed; Thompson’s lyrics remained as dark and bleak as ever, and the guitar playing was exemplary. Two new Thompson classics arrived in the shape of “Cold Kisses” (on You? Me? Us?) and “Dry My Tears And Move On” (on Mock Tudor).

Thompson’s association with Capitol ended with 2001’s compilation set, Action Packed, which featured a gorgeous duet with his son Teddy Thompson on the ballad “Persuasion’ (lyrics by Tim Finn). In 2002 he launched his official website Beesweb, which has made a number of valuable live and archive recordings available on CD. Thompson relocated to the independent label Cooking Vinyl Records for 2003″s The Old Kit Bag, a recording on which his quality control remained as high as ever. In the same year, Thompson began touring his 1000 Years Of Popular Music show. Inspired by Playboy asking him to name his favourite songs of the millennium, Thompson took the magazine’s question literally and compiled a list starting in 1100. The live show devised around the list saw the artist tackling material from the 13th century English round “Summer Is Icumen In”, Orazio Vecchi’s “So Ben Mi Ca Bon Tempo” from the 16th century, up to Britney Spears’ “Oops! … I Did It Again’. His second Cooking Vinyl release, 2005’s Front Parlour Ballads, was the artist’s first acoustic studio album since 1981″s Strict Tempo!

Despite his lack of commercial success, Thompson’s future continues to looks bright as he appears to be able to deliver time and time again without any repetition. He is one of the most important songwriters of the present day.

Dr John & The Lower 911

admin — Sun, 07 Feb 2010 20:54:05 +0000

b. Malcolm John Rebennack, 21 November 1940, New Orleans, Louisiana, USA. Dr. John has built a career since the 60s as a consummate New Orleans musician, incorporating funk, rock ‘n’ roll, jazz and R&B into his sound. Rebennack’s distinctive vocal growl and virtuoso piano playing brought him acclaim among critics and fellow artists, although his commercial successes have not equalled that recognition.

Rebennack’s musical education began in the 40s when he accompanied his father to blues clubs. At the age of 14 he began frequenting recording studios, and wrote his first songs at that time. By 1957 he was working as a session musician, playing guitar, keyboards and other instruments on recordings issued on such labels as Ace Records, Ric, Rex and Ebb. A gunshot injury to his left ring finger resulted in a switch to the piano as his main instrument. Rebennack made his first recording under his own name, “Storm Warning”, for Rex during that same year, and others followed on Ace and AFO Records with little success. In 1958 he co-wrote “Lights Out”, recorded by Jerry Byrne, and toured with Byrne and Frankie Ford. He had his first taste of success in 1960 when “Lady Luck” became a big hit for Lloyd Price.

By 1962 Rebennack had already played on countless sessions for such renowned producers as Phil Spector, Harold Battiste, H.B. Barnum and Sonny Bono (later of Sonny And Cher). He formed his own bands during the early 60s but they did not take off. By the mid-60s he had moved to Los Angeles, where he fused his New Orleans roots with the emerging west coast psychedelic sound, and he developed the persona Dr. John Creaux, The Night Tripper. The character was based on one established by singer Prince La La, but Rebennack made it his own through the intoxicating brew of voodoo incantations and New Orleans heritage. In 1968, Dr. John was signed to Atco Records and released Gris-Gris, which received critical acclaim but did not chart. This exceptional collection included the classic “I Walk On Guilded Splinters” (also written “I Walk On Gilded Splinters”) and inspired several similarly styled successors, winning respect from fellow musicians including Eric Clapton and Mick Jagger. The same musical formula and exotic image were pursued on follow-up albums, Babylon (1969) and Remedies (1970). Meanwhile, he toured on the rock festival and ballroom circuit and continued to do session work.

In 1971, Dr. John charted for the first time with The Sun, Moon & Herbs, an album that marked the start of his transition towards a more traditional R&B sound. The following year’s Dr. John’s Gumbo, a collection of New Orleans R&B classics produced by Jerry Wexler, charted, as did the single “Iko Iko”. His biggest US hit came in 1973 with the single “Right Place, Wrong Time”, which reached number 9; the accompanying album, In The Right Place, was also his bestselling, reaching number 24. These crafted, colourful albums featured the instrumental muscle of the Meters, but despite a new-found popularity, the artist parted from his record label and subsequent work failed to achieve a similar status. In the mid-70s he toured with the Meters, and recorded Triumvirate with Mike Bloomfield and John Hammond. He continued to record throughout the 70s and 80s for numerous labels, among them United Artists Records, Horizon and Clean Tracks, the latter releasing Dr. John Plays Mac Rebennack, a solo piano album, in 1981. In the meantime, he continued to draw sizeable audiences as a concert act across the USA, and added radio jingle work to his live and recorded work (he continued to play on many sessions). He the late 80s he recorded Bluesiana Triangle with jazz musicians Art Blakey and David “Fathead” Newman and released In A Sentimental Mood, a collection of interpretations of standards including a moody duet with Rickie Lee Jones, on Warner Brothers Records.

Despite employing a low-key approach to recording, Dr. John has remained a respected figure. His live appearances are now less frequent, but this irrepressible artist continues his role as a tireless champion of Crescent City music. In 1997, he signed to Parlophone Records, and recorded tracks with a host of younger English artists including Spiritualized, Supergrass, Paul Weller and Primal Scream for the following year’s Anutha Zone, which broke into the UK Top 40. A relaxed tribute to Duke Ellington followed in 1999. In between two fine collections of laid back New Orleans R&B (2001’s Creole Moon and 2004’s New Awlinz: Dis Dat Or D’Udda), Dr. John launched his own Skinji Brim imprint. The first of several archive live recordings, All By Hisself: Live At The Lonestar, was released in autumn 2003. In the mid-00s he was notably active in promoting the relief fund for victims of Hurricane Katrina (which had devastated his home town in August 2005), including recording the four-song EP Sippiana Hericane. In 2006, he released a collection of Johnny Mercer standards.

Available to buy

Dr John & The Lower 911 : City That Care Forgot

DIV013DLP
Album Information
180g Double LP : Gatefold Sleeve

Mark Olson

admin — Sun, 07 Feb 2010 20:53:26 +0000

b. 18 September 1961, Minneapolis, Minnesota, USA. Best known as a one-time leader of Minneapolis-based roots rockers the Jayhawks, singer-songwriter/guitarist Mark Olson also issued several releases as part of the Original Harmony Ridge Creek Dippers, a unit that at one time included his then wife, Victoria Williams.

Formed in 1985, the Jayhawks’ sound was a mixture of classic rockers such as Neil Young, the Rolling Stones, and the Flying Burrito Brothers. It appeared as though the songwriter tandem of Olson and Gary Louris would soon become one of music’s finest, but after several albums failed to introduce them to a wider audience, Olson left the band, and promptly formed a new unit with Williams (billed as Mabel Allbright), the Original Harmony Ridge Creek Dippers. Joining the duo was Mike “Razz’ Russell (violin/bass/banjo), with the trio issuing three releases in as many years. On 1998’s Pacific Coast Rambler and the following year’s Zola And The Tulip Tree, the trio was joined by a cast of musicians including Marc Ford (guitar), John Convertino (drums), Eric Heywood (pedal steel), and Don Heffington (percussion). For their fourth release, 2000″s beguiling My Own Jo Ellen, the band’s name switched to Mark Olson And The Original Harmony Ridge Creekdippers. The subsequent December’s Child included Olson’s first collaboration with former band mate Louris since his split from the Jayhawks several years earlier, titled “Say You’ll Be Mine”.

Available to buy

Mark Olson : The Salvation Blues

DIV014LP
Album Information
180g Single LP : Gatefold Sleeve