With an ageless magnificence and rich musical imagination, Mastodon unleash Leviathan, an unabated testimonial to the band's earthshaking ability to rock. Their thundering musical muscle, talent and vast sea of ideas triumphantly unite on Leviathan, delivering heavy, organic music that melds exhilarating ambitiousness with a well-honed accessibility.
Mike Paradinas, veteran producer and Planet Mu label owner has written a new album called ‘Grush' and it's full of weird bangers that reclaim the 'dance' part of the woeful term IDM. A back-to-first-principles record, inspired in part by the group of artists IDM was coined for; melodic dance music that didn't come out of urban scenes, but interpreted them from a distance. The tracks on ‘Grush’ are all road-tested live favorites developed with feedback from Mike's touring partner and visuals guy Mora (Jan Moravec). It's a detailed and energetic journey which replicates the flow of a live gig. A lot of the tracks have been made in hotel rooms in response to shows, ‘Imperial Crescent’ is named after a Japanese Hotel, as is ‘Belvedere’ in Prague, while some tracks such as ‘Hyper Daddy’ were created specifically to play live. Drums are confidently at the fore here and the album feels like it traces Mike's musical history and interests neatly around his sweetly nostalgic melodies, with atmospheres and structures which twist and turn with a charming softness which contrasts with the tension in the drums. Take ‘Hyper Daddy’s’ spiralling notes and twinkling piano which remind one of early Black Dog or Omni Trio rushing alongside splashy jungle drums, or the aquatic acid footwork of the title track with its drums softly bubbling and kicking. Elsewhere there's territory which harks back to his Tusken Raiders pseudonym, like the heads down Drexciyan funk of ‘Windsor Safari Park,’ which transforms from moody electro into a sunny hardcore track midway.
U.S. Cinematic outfit Whatitdo Archive Group returns to explore the worlds of Mid-Century Exotica and Library Music with "Palace Of A Thousand Sounds," out on May 5th.
From the instrumental cinematic-soul outfit behind 2021's critically acclaimed The Black Stone Affair comes Whatitdo Archive Group's most recent foray into the realms of the esoteric and arcane, and their most adventurous album to date: Palace Of A Thousand Sounds, available May 5th, 2023 on Record Kicks on limited edition LP, CD and digital platforms.
After The Black Stone Affair enthralled record collectors by traversing the cinematic landscape of an imagined 1970s Spaghetti Western, Palace Of A Thousand Sounds finds Whatitdo Archive Group entrenched deeper in the worlds of mid-century exotica and library music—from the Tropicalia-steeped Amazon to the minor key tonalities of the far-out Near East.
When the dust finally settled from their debut album, composer and tireless sound scientist Alexander Korostinsky set out to discover the band's new direction, with the ultimate goal to breathe new life into the mid-century era sound with the compass of modernity as his guide.
From its conception in 2021, Palace has sought to carry on a legacy set in motion by the likes of Martin Denny, Les Baxter and Juan García Esquivel. Korostinsky, guitarist Mark Sexton, and drummer Aaron Chiazza recorded the album in marathon sessions from Korostinsky's Studio "A," in Reno, Nevada—a mysterious sonic laboratory where the year 1970 has yet to happen, and vintage analog equipment interfaces with modern musical perspectives and experimental recording techniques to produce era-defining sounds.
Not content to appeal to the sensibilities of armchair anthropologists, Palace Of A Thousand Sounds finds the band interrogating the genre itself while making studious tributes to the real places and times it draws from. It's in this tension between here and there, fantasy and reality, that Whatitdo Archive Group find their groove.
Drawing from a century of pop and folk sounds from around the world the way only 21st-century crate-diggers can, Palace is rooted in an undercurrent of heavy funk that is decidedly here and now. Whatitdo Archive Group showcase the breadth of their influences with disarming confidence, equally at home behind sweeping harp, loungey vibraphone or Turkish bağlama saz. A lush seventeen-piece orchestra commanded by award-winning composer Louis King (Janelle Monáe, Monophonics) completes the instrumental mélange, enticing listeners to imagine a borderless planet unified by melody and rhythm.
The album is unafraid to explore the strange and uncomfortable in pursuit of an authentic musical identity, subverting expectations in pursuit of forwarding the genre while paying homage to its past. Fans will appreciate the architectural complexity of the record accessible only through multiple listens—each visit to the palace yielding new details to marvel at, curiosities to ponder, grand mysteries to explore.
Once the needle drops, W.A.G carefully guides you from room to room, sound to sound within the walls of the album's sonic palace. Listening becomes an aural journey providing glimpses into different worlds both real and imagined; you are everywhere and nowhere all at once—a guest in the grand halls and hanging gardens of time and sound.
Steeped in obscurity, a cult following of crate-diggers and musical oddity collectors has been brewing over the mysterious releases of the Whatitdo Archive Group. Surfacing in 2009 from the high deserts of Reno, NV USA, this three-piece recording collective(Alexander Korostinsky, Mark Sexton and Aaron Chiazza) focuses solely on curating, performing and preserving esoteric soundtrack, library and deep-groove collections. As an onlooker, it's hard to tell whether the music they are procuring is actually archival, music of their own creation, or both. Their debut LP The Black Stone Affair, the formerly lost soundtrack music of a once-shelved Italian cinematic masterpiece, was released in 2021 and received praise from the likes of Wall Street Journal, Mojo Magazine, Uncut, Shindig, Blues & Soul Magazine, BBC 6, FIP Radio (FR), KCRW (US), JazzFM (UK) and more. Two years later, the Whatitdo Archive Group is back. Get ready for an exotic adventure with their sophomore full-length effort: Palace of a Thousand Sounds.
Color Vinyl[31,30 €]
Following two revered albums, ‘Dissolve’ in 2017 and ‘Avalanche’ in 2019, London-based electronic songwriter and producer Tusks, aka Emily Underhill, has returned with her third: ‘Gold’.
‘Gold’ took form slowly over several months spent rewriting and reworking; half created at home in the middle of London and half during two solitary trips to Devon, where many of the songs found their inspiration. In need of some space, away from a shared house that had just been through a pandemic together as well as from a relationship that was coming to an end, she travelled to the south-west. It was here that she would get the bulk of her writing done, recognising there were some things she would have to work through alone, and in no small part it came to her in the form of a torrential storm. Bringing the album back to London, Tusks partnered with producer Tom Andrews to bring the tracks to life from studios like Ten87 in Tottenham and SS2 Recording in Southend.
We are very happy to announce our brand-new full-length album, "Supersonic Megafauna Collision"! This product of impenetrable evil is coming out on April 5th by Heavy Psych Sounds Records! Get ready to be overtaken by a storm of pachyderm guitar riffs, wooly bass, explosive drumming, and witchy vocals! "Supersonic Megafauna Collision" is an unholy celebration of all things heavy, and as the album progresses it just keeps getting doomier! It is an evil and explosive album, with 666% fuzz! Recorded, mixed & mastered at Descent Studio. Drums recorded at Ritual Studios. Artwork by Branca Studio.
We are very happy to announce our brand-new full-length album, "Supersonic Megafauna Collision"! This product of impenetrable evil is coming out on April 5th by Heavy Psych Sounds Records! Get ready to be overtaken by a storm of pachyderm guitar riffs, wooly bass, explosive drumming, and witchy vocals! "Supersonic Megafauna Collision" is an unholy celebration of all things heavy, and as the album progresses it just keeps getting doomier! It is an evil and explosive album, with 666% fuzz! Recorded, mixed & mastered at Descent Studio. Drums recorded at Ritual Studios. Artwork by Branca Studio.
Utrecht (NL) based Tusky proves that punk-rock is alive and well in 2024, with the release of their fist-in-your-face-but-you-love-it new album: ‘Tusky’. Their third studio album will be released March 8th 2024 on Suburban Records
.
On previous releases, the band has been known to be in charge of their own recordings and productions, but with the new album they took it a step further: They converted their rehearsal space into a studio. By doing this, they have built a space in which they were able to record their new album in peace. “Having your own space is awesome! A place where you can take all the time you need, to experiment with different amps, pedals, guitars, mics. Each day we could go on as long as we wanted, but we could also decide to take a break and go for a swim in a nearby lake,” singer Vladimir Stevic elaborates.
Antoni Maiovvi Has Made a Name for Himself for 15 Years With a Multitude of Releases on Tusk Wax, Vivod, Omnidisc, Giallo Disco, Italo Moderni or Even Bordello a Parigi. Emeritus Producer, Influenced by Obscure Disco, Synth Disco or Italo Disco, His Sound Is Definitely Analog. His Magnificent Ep Is a Concentrate of All His Influences and More. We Are Very Proud to Welcome Him to Our Sub-Label Dedicated to This Specific Genre, Cosmic Club. a Future Classic Without a Doubt...
Killah Priest’s Mystery Channel EP is his first release on 600 Block Records after his acclaimed features on Pugs Atomz’ Test Drive LP in 2022. The EP, coming on limited edition vinyl, features two original productions from Tusk57, an amazing Tall Black Guy Productions remix, and instrumentals of all three tracks. Tall Black Guy’s remix of Mystery Channel is a soulful jazzy take on the EP’s namesake, bringing his signature style to his first collaboration with 600 Block Records. From humble origins in Detroit, raised on a healthy diet of Motown, Jazz and early Hip Hop...Tall Black Guy has become a standard bearer for the current hip hop beats scene. Through a steady stream of productions filled with incredibly clever sample flips and deft production chops, he has won fans across the world, including Gilles Peterson, Lefto, Jazzy Jeff, Questlove and countless others. Killah Priest made his first appearances on such Wu-Tang side and solo projects as Gravediggaz’ 6 Feet Deep, Ol’ Dirty Bastard’s Return to the 36 Chambers, and Genius/GZA’s seminal Liquid Swords. His contributions to those releases especially Liquid Swords’ “B.1.B.L.E. (Basic Instructions Before Leaving Earth),” essentially a Priest solo track paved the way for the release of the MC's acclaimed debut album, 1998's Heavy Mental, and a lengthy and respected career in the hip-hop underground. In addition to his prolific solo work, he was an integral member of the groups Sunz of Man, the HRSMEN (aka the Four Horsemen), and Black Market Militia. About Tuskb 7 - A musician turned producer, Tusk57 brings a live feel to recording sessions and is most at home leading a band in front of a live audience. He is a multi-instrumentalist songwriter who has released multiple records under many other stage names in various genres, garnering critical acclaim including a Billboard hit. He is how based in LA and is using this moniker to develop a signature textured sound for hip hop and soulful music.
On their sophomore effort Tusky, surrealist duet Robbie & Mona ascend beyond the lo-fi scrawlings of their debut album to something altogether more grandiose. Between the lights down drama of sprawling opener ‘Sensation’, to the ‘roll credits’ coda of closer ‘Always Gonna Be A Dead Man’, Tusky exists as a glitzy, lucid journey playing out before the listener.
While debut album EW captured William Carkeet and Ellie Gray as they were finding their feet with one another, creating Tusky was a wholly symbiotic process from day one. “We got better at knowing what each other wanted,” William offers. “This was the album that we were trying to make from the beginning.”
Simultaneously evoking multiple eras of music, the album drifts through worlds of synth pop, jazz, trap, drill, ballroom waltz and leftfield electronica, with the scatterbrain sound palette melded by a peppering of instrumental motifs and William’s addiction to sampling sounds across multiple tracks. “I wanted there to be this weird dimensional thing going on,” William explains, “where songs from the album are playing in multiple places.”
The record sees an expansive cast of musicians assembled, with a much heavier focus on live instrumentation than previous outings. Alongside the expected fare of crackly synths, samplers and drum machines, Tusky gets its glossy sheen from a rich tapestry of jazz drums, double bass, grand piano and saxophone.
Most of the tracks are laden with improvised saxophone from Campbell Baum (Sorry, Broadside Hacks) and Ben Vince (Housewives, Joy Orbison), much of which was scrambled by William in post-production, lifting scraps from one song and layering them atop an entirely different track. Elsewhere, session musicians were cherry picked, including Bingo Fury, his drummer Henry Terrett, and a string ensemble led by Caelia Lunniss and Jo Silverston (Spindle Ensemble).
Most surprising is a rap feature from Monika (of South-East London collective Nukuluk), who brings album centrepiece ‘Mildred’ to new heights with a fiery verse on pain. Aside from being the most unlikely addendum to a sombre piano ballad, it demonstrates Robbie & Mona’s natural state of playfulness, forever following emotions and sensuality over any notion of traditional compositional boundaries.
Many of Tusky's tracks owe their inception to cinema, be it the soundtrack to Betty Blue, the glowing films of Wim Wenders, or the surprising parallels between La Belle Et La Bete and Bad Boys. Equally, much of Robbie & Mona's new-found sense of tension and spectacle comes from William’s recent work soundtracking independent filmmakers, while Ellie gave greater priority to threading a narrative through her stream of consciousness writing style.
In all its majesty, Tusky celebrates creativity with creation. “If you begin to see fiction as real, you can reincarnate and become different things. You can grow,” Ellie implores. “Nothing stays the same. You can shed old characters in yourself. There’s great joy in that.”
Essential listening for fans of Fallujah, Insomnium, Lorna Shore and Alcestis- Traversing the realms of a genre that has been rehashed and redesigned many times, The Dark Alamorte' confronts black metal's conventional soundscape by weaving in their own brand of ambience and death metal. An ethereal avalanche that will consume you as the ghostly melodies carry the listener into a wave of dissonant bliss. Accompanied with unrelenting drums and devastating vocals, The Dark Alamorte' will leave you in what feels like a haunting memory.
Soundscapes shaped by moments of dark brooding doom and
relentlessly riff-heavy and psychedelically charged movements
For Hodges and Dimmock the chemistry they share is unshakeable both live and in the studio. Their unmistakeable energy and ferocity has marked them out as UK sludge metal's most exciting prospects.
Kapingbdi came together in Liberia, West Africa, during the late 1970’s and had their own unique style. This six to seven-piece band played original compositions in a vibrant mix of African Rhythms, Soul, Spiritual Jazz, Funk and Rock. Led by Kojo Samuels on sax, flute and vocals “Born in The Night” presents the essential tracks from their rare studio LPs produced between 1978-1981. The work has been carefully edited and remastered in 2019 for vinyl LP and a 6-Page Digipack CD, which includes two additional recordings. Kapingbdi toured through Europe and the U.S. and were the only Afro funk band to ever come out of Liberia.
Kapingbdi hail from Liberia, West Africa and have their own imitable style. They effortlessly combine traditional African music in a modern mix of Jazz, Funk, Soul and Rock. The band is a fusion of the old and the new.
The word "Kapingbdi" is taken from the Sierra Leone language Mende and means "born in the night". Kojo Samuels was given the name by his Latin teacher whilst attending high school in Freetown, They often meet and debate at night in the city and soon after Kojo is called Kapingbdi. The name serves as a description of his origin. Born In Lagos, Nigeria in 1943. The son of slave children. His mother from Nigeria and father from Sierra Leone who moved the family to Liberia, during the 1950’s.
Kojo has played music for as long as he can remember. He starts with the harmonica and later becomes a drummer and percussionist in his first band at school. During his art studies 1965-1972, he tours Germany and works as an art teacher in the USA. His band Kapingbdi is reorganized five times and consists of up to seven musicians. In a VW-Bulli he drives the group from concert to concert and if the drummer fails, he jumps in himself. Between 1978 and 1981 three Kapingbdi LPs are produced for the independent label Trikont, recorded in Hamburg and Munich. During this creative period, the band plays at festivals in Africa and Europe. In 1984, the band tours the United States and shortly after, they came to an end.
At their best, Kapingbdi would rouse the audience with original compositions like "Human Rights", justice for all, especially for South Africans, and "You Go Go You Go Come". The officials and employees in the government departments have no time for the common man, for any questions such as job search, scholarship or similar, he receives the answer "go, come back tomorrow" and the same thing the following day. Or "Now Is The Time For Cry For Love." Now it is time to scream for love and finally, time for humanity and justice. Despite immense difficulties, the musicians consciously live and work in Africa and are at home in Liberia.
On April 12, 1980, ordinary soldiers and non-commissioned officers organize a coup against the government. This is an attempt to put an end to a policy of exploitation of the Liberian people. Whilst efforts to eradicate poverty, lawlessness and illiteracy are obvious throughout the country, Liberia is still Americanized to a high degree. This is evident, as the radio programs of that time almost exclusively played American disco music. Under these conditions, the people seek a reconnection to their folk music, and Kapingbdi were aware of this. Kojo tried many times to come together with traditional Liberian musicians. This passion takes him north of the country. Meeting and playing with the old hornblowers and playing music on traditional instruments, such as the elephant tusk.
Kapingbdi make high quality tape copies of their own vinyl LPs and patiently try to displace all unauthorized tapes from the domestic "market". Nevertheless, it is hard to make a living through music in Liberia. Kapingbdi, is now celebrated. The radio plays are in abundance, but royalties are not forthcoming. Their musical link is the feeling of Afrobeat and Highlife, which is found in each of the many Kapingbdi pieces. They embody Jazz, which is understood to be the most refined example of black music outside of Africa. In Liberia, Jazz is virtually impossible to hear. Bright shining names such as John Coltrane, Charlie Parker or Miles Davis were widely unknown. Thus, the Black Jazz, including its Back-To-Africa movement of the 60’s and 70‘s, passes by without leaving a trace in Africa itself.
Kojo's claim at the time, was to make African music with the depth, sensitivity and the freedom of the technical level of Jazz. This makes Kapingbdi the torchbeares. The underpaid prophets in small Liberia. It is the passion with which the founder of the band continues to work on their music for years. Tirelessly, stimulating and encouraging his fellow musicians. This is ultimately responsible for the success of Kapingbdi in Liberia itself. The local audience seems to listen to the band in fascinated astonishment. One wonders about the ability to develop as demonstrated by Kapingbdi on the basis of their music. It is African and unusually jazzy, danceable and better than the American disco music heard on the radio.
Rather than chase the money and the job opportunities in Europe, Kapingbdi are firmly rooted in Africa. The musicians live in Monrovia, the capital of Liberia, at the Kabingbdi workshop, located in the Congotown area on the eastern edge of the sprawling city. Kojo works here as a sculptor, painter, batik artist and musician. The sales revenue that his activities generate, gives him the opportunity to support the development of African Jazz music. The highest percentage of funds are from Germany and Kojo’s work ethic is “to work on your own thing“. The stance taken aims to support the welfare of Liberians and Africans. The other musicians of the group live in a second house that is nearby.
For the sake of consistency, Kapingbdi is a full-time band. However, the revenue, from all of the sources, could not keep them afloat. Equally, as important to the group are Kojos's knowledge of traditional African music and his sculpting skills. His knowledge is shared with others at the afternoon workshops. It is here that they discuss new lyrics, engage in political debate and the self-imposed task of improving conditions in Africa. At times the debate became heated, especially during rehearsals. This was regarded as good and integrative, sowing the seeds of innitiative to keep the band together.
From 1980 to 1985 Kojo also opened and ran the club "Panjebota", located on the grounds of the U.S. Consulate in Monrovia. Almost every evening Kapingbdi perform the song "Wrong Curfew Walk", whose lyrics lament the killing of citizens during the curfew imposed by the Liberian government. When the head of state Samuel Doe hears the song, he behaves agressively and forces Kojo to close the "Panjebota". Kojo had already moved on. Soonafter he meets Fela Kuti at the Africa-Festival and plays concerts in Germany with Cecil Taylor's workshop band.
Kapingbdi is for thinking, dreaming, dancing. What they sing about is what they have experienced. Kojo Samuels is 76 years old today and still follows his vocation as a critical musician, artist and activist.
Ekkehart Fleischhammer / Sonorama 2019 (with the help of original press sheets and the memories of Kojo Samuels)
Soundtrack to the film ‘Supernova’, composed by
UK cult folk rock hero, artist and poet Keaton
Henson (‘Something Better to Come’, ‘Young
Men’).
Pressed on classic black vinyl.
“Keaton Henson’s mournful score adds gravitas to
Firth and Tucci’s phenomenal turns.” - thejc “Keaton Henson’s music is an element worth
considering” - Variety
“A suitably moving piano-based score by Keaton
Henson also enhance the elegance of the story” -
heyuguys. Released in conjunction with the film.
When Fleetwood Mac released their first live album in December 1980, it captured the legendary band’s most iconic lineup on stage demonstrating the full scope of their collective, creative powers. Recorded mostly during the world tour for Tusk, Fleetwood Mac Live delivered a double-album’s worth of exhilarating performances that included massive hits like “Dreams” and “Go Your Own Way,” “Rhiannon,” and “Don’t Stop.”
Back in April, Rhino gave the band’s live debut a much-deserved encore with a new 3-CD/2-LP collection that features a remastered version of the original release plus more than an hour of unreleased live music recorded between 1977 and 1982. Following this, Rhino will make the newly remastered live album available as a double vinyl on 25th June 2021.
a a1. Monday Morning [3:55]
[b] a2. Say You Love Me [4:18]
[c] a3. Dreams [4:18]
[d] a4. Oh Well [3:44]
[e] a5. Over & Over [4:54]
[f] a6. Sara [7:23]
[g] a7. Not That Funny [9:04]
[h] a8. Never Going Back Again [4:13]
[i] a9. Landslide [4:55]
[j] b1. Fireflies [4:25]
[k] b2. Over My Head [3:37]
[l] b3. Rhiannon [7:43]
[m] b4. Don’t Let Me Down Again [3:57]
[n] b5. One More Night [3:43]
[o] b6. Go Your Own Way [5:44]
[p] b7. Don’t Stop [4:05]
[q] b8. I’m So Afraid [8:28]
[2:25]
Still just shy of legal US drinking age, GRAMMY®-winning Atlanta hard rock juggernaut Mastodon turns 20 this year! Celebrating two decades together, the group will unleash a rarities collection, Medium Rarities, which includes among the many rare highlights an unreleased track “Fallen Torches,” recorded in 2019.
The band explains, “‘Fallen Torches’ is an unreleased track from Mastodon that will appear for the first time on Medium Rarities. This classic Mastodon track was recorded in Atlanta in 2019, originally planned to be released in support of a European tour, the track was delayed so the band could focus on the release of Stairway to Nick John, a tribute to their late, long time manager Nick John, with proceeds going to the Hirshberg Foundation for Pancreatic Cancer Research in his honour. ‘Fallen Torches’ is written by Mastodon and features guest vocals by longtime friend and collaborator Scott Kelly from the band Neurosis.”
Medium Rarities presents a bevy of classic covers, soundtrack contributions, instrumentals, B-sides, and live recordings on one complete package for the very first time. Among an eclectic array of covers, the musicians tackle “A Commotion” by Feist, “A Spoonful Weighs A Ton” by The Flaming Lips, and “Orion” by Metallica. It also features soundtrack cuts such as “White Walker” Game of Thrones and “Cut You Up With A Linoleum Knife” [Aqua Teen Hunger Force]. Meanwhile, they get under the hood with instrumental versions of “Asleep in the Deep,” “Toe To Toes,” “Jaguar God,” and “Halloween.”
Another new Mastodon track “Rufus Lives” will be included in the forthcoming Orion Pictures film Bill & Ted Face The Music, expected to be released in September 2020. Written, performed and produced by the band and recorded in their hometown of Atlanta, the track will also appear exclusively on the film’s official soundtrack album. Further details to be revealed shortly.
The anniversary celebration only continues. At the moment, Mastodon are hard at work on their anxiously awaited ninth full-length and first record since the GRAMMY® Award-winning Emperor of Sand in 2017.
‘You Don’t Have to Live in Pain’ is the debut album by
Teeth Agency, curated by Stones Throw founder
Peanut Butter Wolf.
The album includes collaborations with Mercury Prizenominated artist ESKA and producer and musician
Bullion.
Their EP ‘Piano Man Breeds Love’, released on Stones
Throw in summer 2020, received support from 6
Music, KCRW, WWFM, NTS and more.
The Teeth Agency collaboration has already resulted in
the release of art books, exhibitions and audio/visual
based work.
The pair have had four releases with Nyege Nyege
Tapes under the alias Metal Preyers - their self-titled
LP sold out within days of its release and was included
in 2020 End Of Year lists by Crack andd The Vinyl
Factory.
Teeth Agency is the audio/visual project of London
based multi-instrumentalist and producer Jesse
Hackett and Chicago visual artist and gallerist Mariano
Chavez.
The duo are united by their interest in experimental
visuals and a varied range of unconventional musical
styles including lizard lounge jazz, stoner doom psych
and absurdist soul horrorrama. The fourteen songs on
their debut album take the listener through a diverse
range of moods and settings.
For fans of Wilma Archer, Duval Timothy, Paul White,
Bullion, Sam Gendel.
When Fleetwood Mac released their first live album in December 1980, it captured the legendary band’s most iconic lineup on stage demonstrating the full scope of their collective, creative powers. Recorded mostly during the world tour for Tusk, Fleetwood Mac Live delivered a double-album’s worth of exhilarating performances that included massive hits like “Dreams” and “Go Your Own Way,” “Rhiannon,” and “Don’t Stop.”
Rhino gives the band’s live debut a much-deserved encore with a new 3-CD/2-LP collection that features a remastered version of the original release on both 180-gram vinyl and CD, plus more than an hour of unreleased live music recorded between 1977 and 1982 on the third CD. The set also includes a bonus 7-inch single featuring previously unreleased demos for “Fireflies” and “One More Night.”
This Super Deluxe Edition is presented in a 12 x 12 rigid slipcase and comes with a booklet filled with rare photos, a full itinerary for the Tusk Tour, plus a history of the live album by writer David Wild.
FLEETWOOD MAC LIVE: SUPER DELUXE EDITION will be available from 9th April 2021.
