Gene Loves Jezebel occupy a musical universe that is all their own. The distinct vocals of Jay Aston and the unique chemistry between his bandmates James Stevenson, Pete Rizzo and Chris Bell has led the band from the dungeons of Goth to the lofty highs of anthemic Rock and everywhere between. It doesn’t matter if they’re tackling a haunting ballad or a riff-roaring rocker, Gene Loves Jezebel remain one of the most riveting yet under-appreciated bands of our generation. And with DANCE UNDERWATER, their first studio album in years, it is time that you put that band back on your radar and pay attention.
This compilation offers a fascinating peek into the Japanese Folk and Rock movement of the late ‘60s and early ‘70s. Though influenced by Western music, the music contained on EVEN A TREE CAN SHED TEARS: JAPANESE FOLK & ROCK 1969-1973 is undeniably infused with a deep connection to their very own Japanese culture.
handed their walking papers by the press, who latched onto the shouty, belligerent Punk kids. By ’79, you were more likely going to read about the exploits of Sex Pistols, The Damned and The Clash before you’d stumble upon a review of ELP’s latest live gig. And by that time, reviews of ELP, Yes and the like were leaning towards scathing.
For nearly 20 years, Guilderland, NY-based Wounded Bird Records has been quietly reissuing a plethora of CD titles that are generally geared for collectors but most definitely appeal to causal music lovers as well. Not a label to focus on one genre, Wounded Bird has just about every musical style covered – from OC punks Agent Orange to Jazz legend Joe Zawinul. In between, you’ll find releases by the golly-ricious Jim Nabors, Hard Rock heroes Montrose, former Eagles members Don Felder, Joe Walsh and Timothy B. Schmidt and way too many others to list. In the early days, Wounded Bird was a straight reissue label – no bonus tracks or liner notes. However, over the years, they’ve started adding bonus material to some of the releases, which makes them even more exciting.
Roger Waters, the creative power and songwriting force behind Pink Floyd, announces his first rock album in 25 years, Is This The Life We Really Want?. The album will be available for pre-order on April 21 and released globally on Friday, June 2 on Columbia Records.
STEPHEN SPAZ SCHNEE: Your self-titled album is about to be released. How are you feeling about the journey to make this album and the reaction to it so far?
ROBYN HITCHCOCK: Well, the people that normally like my records like this one, so far. And that’s it really – if you like this one, you’ll probably like the others. If not, I’m not your flavor. That’s why the record is simply my name. The journey? Well it was the lucky coincidence of my moving to Nashville at the same point that Brendan Benson was getting in touch, asking if I’d like to come and record with him there.
Judy Collins is an American treasure. From her early Folk recordings – her debut album was released in 1961 – up through her brush with the Pop charts in the latter half of the ‘60s and into the ‘70s, she has possessed one of the most beautiful voices in Pop music. With hits like “Both Sides Now,” “Chelsea Morning” (both penned by Joni Mitchell) and Stephen Sondheim’s “Send In The Clowns,” Collins has built up a catalog of remarkably timeless recordings that never seem to age – much like the singer herself. Her gentle, moving performances have inspired generations of performers spanning all genres. Whether she is performing a song she composed or interpreting someone else’s musical creation, the song becomes Judy and Judy becomes the song. And fifty-six years after she made her recorded debut, Judy’s voice sounds better than ever. If you have ever fallen under the spell of Judy Collins, I’m fairly certain you are still hypnotized by her talent.
DAVE RAYBURN: The new album is titled WESLEY STACE’S JOHN WESLEY HARDING, and is your second record under your given name that you’ve reverted back to. I understand that, among several factors involved in choosing the title, there was a bit of a nod to Jeff Lynne in the mix. Can you elaborate?
WESLEY STACE: I can. My last album, SELF-TITLED, was the first released under my real name, Wesley Stace, but I felt the word didn’t quite get out, so I thought it was worth clarifying. Secondly, I happened to see the new version of ELO. For whatever legal reason, they are billed as “Jeff Lynne’s ELO”, presumably partly to differentiate it from any other rogue version of ELO. This reminded me that, though I had, in a sense, broken up John Wesley Harding, I didn’t want any interlopers touring under that name, playing my songs and pretending to be me, when I was elsewhere being me too, playing those same songs (better). With WESLEY STACE’S JOHN WESLEY HARDING, I am reminding you that this version of John Wesley Harding is the only version that counts. And finally, I wanted to differentiate myself, once and for all, from the Bob Dylan album of the same name. I have many times been mistaken for this album, due to a certain similarities between the name of this artifact, an LP from 1967 made of vinyl and cardboard, JOHN WESLEY HARDING, and my erstwhile performing name, John Wesley Harding. Obviously, it’s a ridiculous mistake, but still. So this isn’t Bob Dylan’s JOHN WESLEY HARDING; it’s Wesley Stace’s JOHN WESLEY HARDING.