The Bride Screamed Murder - title is self-explanatory, yo.

By Blurt Staff

The Melvins release The Bride Screamed Murder on June 1 via Ipecac Recordings - that same day they'll kick off a U.S. tour in San Diego. They'll also drop in at the Bonnaroo festival on June 12.   

The Bride Screamed Murder is the third release featuring Buzz Osborne, Dale Crover and Big Businesses' Coady Willis and Jared Warren.  While the Melvins recently celebrated their twenty-fifth anniversary, the latest incarnation debuted with the highly-praised (A) Senile Animal (2006) and continued with Nude With Boots (2008).

Joining the Melvins on tour for a half dozen shows will be label mates ISIS (who will also perform at Bonnaroo) while Totimoshi will be along for the full run of Melvins dates.

Tour dates:

June 1     San Diego, CA     Casbah

June 2     Tempe, AZ     The Clubhouse

June 3     Albuquerque, NM     The Launchpad

June 5     Austin, TX     Emo's

June 7     Houston, TX     Warehouse Live

June 8     Baton Rouge, LA     Spanish Moon

June 9     New Orleans, LA     One Eyed Jacks

June 10     Birmingham, AL     Bottle Tree

June 12     Manchester, TN     Bonnaroo Festival **

June 14     Athens, GA     40 Watt Club *

June 16     Washington, DC     9:30 Club *

June 17     Philadelphia, PA     TLA *

June 18     New York, NY     Webster Hall *

June 19     Brooklyn, NY     Music Hall of Williamsburg *

June 20     Boston, MA     Paradise *

June 21     Boston, MA     Paradise *

June 23     Cleveland, OH     Grog Shop

June 24     Detroit, MI     Small's

June 25     Chicago, IL     Double Door

June 26     Madison, WI     High Noon Saloon

June 27     Des Moines, IA     House of Bricks

June 29     Denver, CO     Ogden Theatre

July 2     Calgary, AB     Sled Island Festival +

July 3     Calgary, AB     Sled Island Festival +

July 5     Vancouver, BC     Rickshaw Theatre

July 6     Seattle, WA     Showbox at The Market

July 7     Eugene, OR     John Henry's

July 9     San Jose, CA     Blank Club

All dates feature Melvins (2 sets) w/Totimoshi except:

* = Melvins/ISIS/Totimoshi

** = Melvins/ISIS

+ = Melvins

‘Toon time in toyland once again, with Plastic Beach to be released this week by Virgin... but have these musical apes finally slipped on their banana peels?

By Jason Gross

Recently announced: that Gorillaz will be one of the headliners at this year's Coachella festival. But how important is Blur frontman Damon Albarn's futuristic cartoon-themed band?  Virgin parent company EMI actually blamed them and Coldplay for declining profits.  Maybe not surprisingly, since Gorillaz notched up multi-platinum sales when such a thing's become a rarity in the biz.

Keeping a relaxed release schedule, album #3 appears half a decade after Demon Days and maintains the theme of multi-styles (funk/rap/soul/rock) and as many guest appearances than your average rap album.  For anyone who found the first two albums too head-spinning, Plastic Beach is a relief as it's their most consistent release.  Unfortunately, that also makes it their most boring one, too, as their earlier wild highs (singles like "Clint Eastwood" & "Feel Good Inc.") and lows is what made them exciting and interesting.

Albarn keeps his guest list fascinating (including Lou Reed, Mark E. Smith, a mini-Clash reunion, Bobby Womack, and an Arabic orchestra) but except for Womack, they're mostly wasted, doing undistinguished cameos.  As before, the highlights come from the rappers - Snoop Dogg at his languid best introducing the record, and Mos Def near the end ("Sweepstakes").  As for Albarn himself, he sounds kind of tired, whether he's singing or trying rap.

All in all, not a terrible record per se, but not one you'll run to like the first two albums.  Maybe Albarn needs to let the next record gestate a while longer or try to stop being be an over-achiever with his other multi-star bands (Monkey; The Good, The Bad and The Queen).

The iconic British songstress kicks the collective ass of posh jazz club Yoshi's on March 3.

By Jud Cost

Raising her hands over her head like a triumphant prize fighter, Marianne Faithfull strides confidently onstage, then coughs into the mic. "Sorry," she says in a well-heeled British accent. "I've got a bit of a cold coming on. Just a little one," she reassures the devotees who have filled Yoshi's, the posh jazz club next to the railroad tracks that run through Oakland's Jack London Square. It's the perfect introduction to the legendary singer who somehow combines an air of nervous vulnerability with an attitude that lets you know she could probably kick your ass from here to the Bay Bridge just down the road.

"I loved Jack London," she says, referring to the namesake of the once upscale, now decidedly lifeless shopping center just across the tracks. "When I was a young girl, I wrote an essay on White Fang." It's opening night of a two-night stand, and a rare chance to catch this rags-to-riches, then rags-to-riches again chanteuse in a fairly intimate setting not much bigger than your living room-if you have a very large living room.

No amps onstage. It's evident tonight will bask in Faithfull's quieter side. "We won't be able to play the rockers," she says, nodding towards Doug Pettibone, the nimble acoustic guitarist seated next to her. "Saying that, could you please turn up the guitar in my monitor," she laughs, ended by a bit of a wheeze. Faithfull's fragile condition has her bundled up in a black sweater with what looks like white ostrich feathers protruding rakishly from the sleeves. She dedicates "Falling From Grace" to old pal Allen Ginsberg. "I really miss Allen," she says of the beat poet who helped her through some tough times. "I felt if Allen can do it, so can I," she says. "But I will not be doing 'Howl' tonight." Then she offers up the first line of the epic poem, anyway, once dragged through the U.S. legal system as obscene: "I saw the best minds of my generation destroyed by madness, starving hysterical naked..."

Faithfull now collaborates with the best minds of a much younger generation, including Colin Meloy of Portland's Decemberists, whose song "The Crane Wife," a highlight of her 2009 album, Easy Come, Easy Go (Decca) sounded even better tonight, stripped to the bone. "Crazy Love," a collaboration with Nick Cave, is simultaneously melancholy and hopeful. "I have to make you listen to my new songs," she smirks. "Then you get rewarded for your attention." The carrot she tosses the faithful is her diary of a mad housewife, "The Ballad Of Lucy Jordan," from her 1979 comeback LP, Broken English: "At the age of thirty-seven she realized she'd never/Ride through Paris in a sports car with the warm wind in her hair/So she let the phone keep ringing and she sat there softly singing/Little nursery rhymes she'd memorized in her daddy's easy chair." 

Equally as heartfelt was "Miss Otis Regrets,"  a Cole Porter chestnut she once warbled as a teenager in coffee bars in her Thames Valley hometown of Reading, about 40 miles west of London. "My god, I thought I was so grown-up at seventeen," she says of the days when she was about to receive "an education" only hinted at by the Carrie Mulligan character in the recent film of the same name.

Her long day's journey into night, which saw Faithfull fall all the way from pop royalty as consort to Mick Jagger to heroin addiction, anorexia and homelessness in the streets of London, was prophesied with deadly accuracy by "Sister Morphine," an eviscerating song she co-wrote in 1969 with Jagger and Keith Richards. "Come on, Sister Morphine, you better make up my bed/'Cause you know and I know in the morning I'll be dead/And you can sit around, and you can watch all the clean white sheets stained red." Faithfull now adds an eyes-wide-open postscript to her lost decade: "I wouldn't change a thing. It's been a long, strange journey, but we're all still here."

When she sings "As Tears Go By," her 1964 debut American hit (and the first song ever penned by Jagger and Richards), Faithfull is old enough now to give the tune a whole new depth of meaning. But nothing could have topped the set-closer to this exquisite evening, "Sing Me Back Home," a Merle Haggard death-row prison tune she learned from Richards and his former compadre, onetime Byrd and Flying Burrito Brother, Gram Parsons. Like her generational peer Van Morrison, and few others, Faithfull is living proof of the old adage: Whatever doesn't kill you makes you stronger. In her case, life's crucible has turned Marianne Faithfull into the singer she was always meant to be.

Digital-only release will be recorded on tour that starts next week, then will arrive on May 18 for those who sign up in advance.

By Blurt Staff

Bad Religion is set to celebrate its 30^th anniversary this year and has announced plans to record a live album, 30 Years Live, during their upcoming spring 2010 House of Blues tour and offer it as a free "thank you" to loyal fans for a limited time only on May 18. 

Beginning today, fans are invited to sign up at www.badreligion.com for a free digital download of 30 Years Live that will be available for a limited time only. Meanwhile, check tour dates below - you just might find yourself attending a gig and becoming part of a live recording.

Bad Religion also plans to enter the studio to record their 15^th studio album which is expected for release this fall.  In a recent interview, prolific singer/professor/author Greg Graffin disclosed new information about Bad Religion's recording plans and the upcoming tour as well as his forthcoming book "Anarchy Evolution" which is due out this fall via HarperStudio. 

Tour Dates:

Mar 17 - Anaheim, CA - House of Blues
Mar 18 - Anaheim, CA - House of Blues
Mar 19 - San Diego, CA - House of Blues
Mar 20 - San Diego, CA - House of Blues
Mar 21 - San Diego, CA - House of Blues
Mar 24 - Los Angeles, CA - House of Blues
Mar 25 - Los Angeles, CA - House of Blues
Mar 26 - Las Vegas, CA - House of Blues
Mar 27 - Las Vegas, CA - House of Blues
Mar 31 - Anaheim, CA - House of Blues
Apr 1 - Anaheim, CA - House of Blues
Apr 2 - Anaheim, CA - House of Blues
Apr 3 - Los Angeles, CA - House of Blues

Album due May 18, Meanwhile, North American tour kicks off next week, too.

By Blurt Staff

As previously announced, Band of Horses third album is to be titled Infinite Arms - it's due May 18th through Brown Records/Fat Possum Records/Columbia Records - and today they revealed the sleeve art. It features the photography of the band's long time collaborator Christopher Wilson.
 

A tour kicks off next week in Colorado. Full itinerary below, including their two-night stand in Austin at SXSW.

Produced by Band of Horses with additional production from Phil Ek, mixed by Dave Sardy,  and recorded over a 16-month period, the songs on Infinite Arms project the essence of the different locales across America that became the setting for the recording and songwriting process behind the album.  The rich musical heritage of Muscle Shoals, AL, the sublime beauty of Asheville's Blue Ridge Mountains, the glamorous Hollywood Hills and the vast Mojave desert all influenced the sounds on Infinite Arms and helped yield the group's most focused and dynamic recordings to date. The serene woods of Northern Minnesota and the band's native Carolinas inspired the songwriting, lending the compositions an air of comfort and familiarity.

 
Band of Horses are Ben Bridwell, Creighton Barrett, Ryan Monroe, Tyler Ramsey and Bill Reynolds. Infinite Arms marks the recording debut of longtime touring members Ramsey and Reynolds, while Barrett and Monroe graced the last album, Cease to Begin. Through touring together in support of Cease to Begin and during breaks in the Infinite Arms recording process, the band have become a cohesive force with all members making invaluable contributions to the unmistakable sound that founder Bridwell has crafted since the band's inception. As Bridwell himself concedes, "In many ways, this is the first Band of Horses record."

 
Tour Dates:

 
March 15th - Boulder, CO - Fox Theater
March 16th - Denver, CO - Ogden Theater
March 18th - Austin, TX - Stubbs BBQ (SXSW)
March 19th - Austin, TX Central Presbyterian Church (SXSW)
April 8th - Paris, France - La Fleche D'or
April 9th - Brussels, Belgium - Orangerie
April 10th - Rotterdam, Netherlands- Motel Mozaique, Schouwburg
April 12th - London, UK - Koko
April 14th - Koln, Germany - Kulturkirche
April 16th - Oslo, Norway - Rockefeller
April 17th - Gothenburg, Sweden - Tradgarn
April 18th - Copenhagen, Denmark - Vega
April 23rd - Raleigh, NC - Walnut Creek Amphitheater (with Widespread Panic)
April 24th -  Raleigh, NC - Walnut Creek Amphitheater (with Widespread Panic)
April 27th - Gainesville, FL - Rion Ballroom
April 28th - Miami, FL - Fillmore
April 29th - Orlando, FL - House of Blues
May 1st - New Orleans, LA  - Jazzfest
May 2nd - Memphis, TN - Beale St. Music Festival
May 27th - Davis, CA - UC Davis Freeborn Hall
May 30th - Bend, OR - Les Schwab Amphitheater (with She & Him)
May 31st - George, WA - Sasquatch Festival
June 5th - Bangor, IE - Ward Park (with Snow Patrol)
June 9th - London, UK - Roundhouse
June 12th - Glasgow, Scotland - Bellahouston Park (with Snow Patrol)
June 19th - Toronto, ONT - Olympic Island Concert (with Pavement and Broken Social Scene)
September 25th - Los Angeles, CA - Greek Theater
 

New album, due May 18, was mostly cut down at Muscle Shoals.

By Blurt Staff

The Black Keys release their sixth full-length album, Brothers, May 18 on Nonesuch Records. It's the followup to 2008 album, Attack & Release, which received praise from pretty much every media outlook you can name. The band will support Brothers with a tour that includes a sold out performance at Central Park's SummerStage in New York City on July 27 (additional dates will be announced soon).

The album arrives on the heels of three other projects the band released in the past year: Dan Auerbach's solo effort, Keep It Hid, the debut LP from Patrick Carney's band Drummer, and Blakroc, a collaboration between The Black Keys and renowned MCs including RZA, Mos Def, Q-Tip, and Raekwon.

Carney says Brothers is the album they've always wanted to make and taps into their creative force as a duo. "Dan and I grew up a lot as individuals and musicians prior to making this album. Our relationship was tested in many ways but at the end of the day, we're brothers, and I think these songs reflect that."

Carney and Auerbach recorded the bulk of the album at the legendary Alabama studio Muscle Shoals with additional sessions at Auerbach's Easy Eye Sound System in Akron, OH and The Bunker in Brooklyn, NY.

Of the album, Auerbach says, "We like spooky sounds...like Alice Coltrane, where a dark groove is laid down. That's the headspace we tried to get into for this record."

The album includes the Danger Mouse-produced song "Tighten Up" and a cover of the Jerry Butler classic "Never Gonna Give You Up." The remaining songs on Brothers are written, performed and produced by The Black Keys. With the exception of a handful of tracks, co- production duties were handled by Mark Neill. The record was mixed by Tchad Blake.  

Carney explains the sound the band wanted for this record: "We are big fans of Tchad Blake. The way he approaches mixing is the same way we approach making music. Respecting the past while being in the present. The mixes he did for us on Blakroc impressed us so much we knew he had to mix Brothers."

Tracklisting:

1. "Everlasting Light"
2. "Next Girl"
3. "Tighten Up"
4. "Howlin' For You"

5. "She's Long Gone"
6. "Black Mud"
7. "The Only One"
8. "Too Afraid To Love You"
9. "Ten Cent Pistol"
10. "Sinister Kid"

11. "The Go Getter"

12. "I'm Not The One"

13. "Unknown Brother"

14. "Never Gonna Give You Up"

15. "These Days"

Commits suicide; gifted singer songwriter had battled depression for years.

By Fred Mills

News began getting out last night that Sparklehorse frontman Mark Linkous is dead. He committed suicide yesterday, March 6, although no other details have been disclosed as of this writing. He was reportedly in his forties, although no exact date of birth appears on his Wikipedia page. At the time of his death he was finishing up a new album for Anti- Records, and just this week it had been announced that the Danger Mouse-Sparklehorse collaboration Dark Night of the Soul would finally see release following the resolution of a dispute with EMI.

A statement from Linkous' family published by RollingStone.com read: "It is with great sadness that we share the news that our dear friend and family member, Mark Linkous, took his own life today. We are thankful for his time with us and will hold him forever in our hearts. May his journey be peaceful, happy and free. There's a heaven and there's a star for you."

Linkous had struggled with depression for years. There was that notorious incident in 1996 when Sparklehorse was on tour in England when he took an overdose (possibly accidental) of valium and antidepressants and he reportedly "died" for two minutes; he was unconscious for 14 hours, cutting off circulation to his legs (leading to multiple subsequent surgeries) and also suffering a heart attack.

According to BLURT contributor John Schacht, who interviewed Linkous last year, "I liked his [sense of] humor - nice guy, very damaged though. When I hung up the phone the last time, he was walking into a therapist's in Asheville, and [I sensed] I'd never speak to him again. You could feel the weight of his depression."

Just the same, Linkous' career yielded a number of impressive peaks over the years. He got his start in the ‘80s with Virginia-based band Dancing Hoods, then gained national acclaim in 1995 with the Sparklehorse debut Vivadixiesubmarinetransmissionplot. Several other albums followed, notably 2001's It's A Wonderful Life (featuring guests Tom Waits, PJ Harvey, Vic Chesnutt and others. The last Sparklehorse album appeared in 2006, Dreamt for Light Years in the Belly of a Mountain.

Along the way Linkous also became a producer, working with the Cardigans' Nina Persson, Daniel Johnston and others. (He helmed a Johnston tribute album, 2004's Discovered Covered, which included a collaboration between Linkous and the Flaming Lips.) In more recent years he'd settled in Hayesville, NC, several miles southwest of Asheville, and was spotted around town in Asheville on numerous occasions, sometimes checking out other bands in the local clubs. He will be greatly missed.

By way of tribute, BLURT will republish John Schacht's interview with Mark Linkous tomorrow.

Famed archival label gets bootlegged so plans to release a bootleg of the bootleg.

By Blurt Staff

From the mid ‘80s through the early ‘90s, the Street Beat label brought the world what would someday become the legendary Ultimate Breaks and Beats 25-volume collection.  Featuring tracks that were known for their breaks from 3 distinct decades, UBB highlighted some of the best R&B and soul groups of the time and paved the way for many modern DJs and hip-hop artists. 

More recently, over the course of the past 7 years, more than 70 releases have appeared on the acclaimed archival label Numero Group. Along the way, a dedicated fan created a 40 minute mega-mix and pressed up a white label breaks record.  This bootleg LP release found its way to the dance floor and into the hands of some of the most discerning tastemakers in the DJ community.  Word got back to Numero and instead of issuing the obvious cease and desist letter, Numero decided to bootleg their own bootleg.  On June 8th, the Numero Group will deliver a proper LP and CD release of the bootleg as an homage to the breaks and beats collections of yore.

June 8 brings Eccentric Breaks & Beats - truth in titling - on Numero imprint Numbero.

The creator of this collection is none other than the apocryphal label and production team, Shoes, who have previously re-worked Moodyman, Al Green, Miles Davis, and dozens more.  Featuring over 50 tracks from some of the best artists associated with the Numero Group, the mix set also has some eyebrow-raising artwork (see above) that will tweak the memories of headz and crate diggers alike.

1,000,001 Jimi Hendrix fans can't be wrong... new/unreleased collection guaranteed to pry open your wallets long enough to make you salivate for the back catalog deluxe editions, too! And you don't even have to be drinkin' bootleg Hendrix Electric Vodka to dig it!

By Hal Bienstock

Despite releasing just three studio albums while he was alive, Jimi Hendrix has one of the biggest catalogs in rock history, with dozens of live performances, outtakes and remasters appearing and disappearing from print. Often thrown together haphazardly, those albums didn't serve the Hendrix legacy well.

Now, his label and his family are hoping to change that by reissuing deluxe editions of his three original albums - Are You Experienced?, Axis: Bold As Love, Electric Ladyland -and the album he was working on at the time of his death (First Rays of the New Rising Sun). But the biggest news for Hendrix fans is a fifth CD, Valleys of Neptune, that includes never before released studio recordings. Most of the material on Neptune was recorded in 1969, as the original Jimi Hendrix Experience was breaking up (some of the later tracks on this album feature Billy Cox on bass, replacing Noel Redding) and Hendrix was beginning to add more funk and R&B to his blues-based sound, something that would come to full flower soon in his Band of Gypsys.

While the band may have been in the process of splitting apart, it's in fine form here, blazing through previously unreleased songs like the title track and "Ships Passing Through the Night," as well as versions of well-known songs like "Fire" and "Hear My Train A-Comin'" that serve as studio counterparts to the expansive renditions of these songs that Hendrix had worked up for the stage.

This is Hendrix in his prime - on fire technically and creatively. Anyone wondering why he's still considered the greatest guitarist of all time need look no further for proof. These aren't scraps dug up by people trying to make a buck off a legend. Many of these tracks are full-fledged songs that Hendrix simply hadn't decided what to do with. The others are rehearsals for a major concert at Royal Albert Hall that was meant to be a theatrical film.

As with most Legacy reissues, Neptune sounds great and comes with extensive photos and liner notes that give the stories behind the songs and the sessions that produced them. (All of the other Hendrix reissues also come with DVDs with newly-created documentaries that offer fans additional insight into the making of the album and include interviews with Experience band members. Neptune doesn't.)  

If there's one flaw with Valleys of Neptune it's that it doesn't hang together as an album as well as the rest of Hendrix's studio catalog. More than anything else that has to do with the inclusion of alternate versions of songs you've heard before. (It's hard to imagine Hendrix would have released another studio version of "Fire" - no matter how good - three years after releasing the first one). But that doesn't make it any less enjoyable or important, either as a document of a transitional period in Hendrix's short career or simply as some of the best music ever made. 

If Neptune is a must-have, the other reissues are more problematic. If you bought the last round of reissues, the DVD, remastering and liner notes probably aren't enough reason to open your wallet again. But if you're still holding on to earlier versions of the CDs - especially the horrible sounding ones from the ‘80s - or haven't yet replaced your old vinyl, you'll be very happy with these new editions.

Valleys of Neptune is released next Tuesday, March 9.

An impressionistic look at the new Jurado album, due May 25 from Secretly Canadian.

By Blurt Staff

Saint Bartlett opens up with a grandiosity yet unheard on a Damien Jurado album. It strips away the many layers of paint from the house down the street where we know Jurado has occupied for the last decade. The new coat is exhilarating. It makes the whole neighborhood shine. It's a modest grandiosity; still homegrown. The mellotron swells, heavenly handclaps ring in stereo and big drums create a sky for the songs to fly in. And the words. Words spring forth from within the volcano of Jurado, full of hope. There's so much hope, in fact, that album opener "Cloudy Shoes" turns into a call-and-response with himself, as though it were a dialogue between two halves of himself.ado and Swift as the performers.

"I wish that I could float up from the ground / I will never know what that's like"

Heavy stuff. Richard Swift's Spector-esque production is spot-on. He ferries Jurado across the river, where the metamorphosis occurs. He then ferries him back, and it is through Swift's lens that we see Jurado not as a folk singer, but as a mystic - somewhere between Van Morrison, Scott Walker and Wayne Coyne. Saint Bartlett was made entirely at Swift's National Freedom studio in Oregon, in just under a week with only Jurado and Swift as the performers.

Check out an MP3 - speaking of Phil Spector - for new track "Arkansas"