Having just reviewed this for issue #48 of Shindig! and completely fallen in love with this French trio’s charms we’re very happy to introduce this wonderful music to a wider audience. Learn more about this pastoral, eccentric and truly brilliant act here.
It gives us great pleasure to announce that Shindig! have signed a deal with Silverback Publishing. Issue #48 will be arriving in June. Please sign up to the subs list this second for information on subscribing or email firstname.lastname@example.org to pre-order a single issue of #48. Subs options are being worked on and will be ready for the arrival of the magazine with options for combined print and digital subs and solo print and digital subs. The magazine will continue to be available in all of the outlets that it was before.
You’ve seen our statement, you’ve read about us in The Guardianand heard us discuss the situation we have had to deal with on our last podcast and May Pang’s radio show. That’s all behind us now though. We’re back, and more impassioned about the great music and culture that we and you adore. It’s been a hairy year, but we did it. We fought for everything we hold dear with a lot of help from some truly wonderful people who all believed in the importance of the magazine’s continued success. Thanks. The readers have also been incredible and offered us the strength we needed to fight the fight, as have our stockists and advertisers.
Enough of the Oscar acceptance speech. We have work to do. Shindig! is back… and it’ll be better than ever. Jon, Andy (and the Silverback Publishing team Tom, Andy and Maddy) are very excited.
It was a rather good one last night with many of us of a certain age seeing our childhood hero Paul Weller in fine form. Impressive. Garage soul kid Curtis Harding was excellent as well. Yet for Shindig! LA’s finest singer-songwriter and all round charismatic dude Father John Misty shone the most. Bella Union told us they flew him over especially. Worthwhile!
What a busy day for the Shindig! PR Machine. Not only has the magazine and its story ran in The Guardian, Editor-In-Chief Jon ‘Mojo’ Mills has just finished chatting with May and Cynthia about the perils of editing a magazine from the heart. There’s some interesting Beatles chat once Jon leaves too.
A fab take of the perennial psychedelic folk-rocker from Anthony Meynell and pals recorded splendidly well with Buddy Woodward at Fry Pharmacy Studios, Nashville. Available on seven inch single – click on the Squire banner to the right to purchase.
You will be able to read the Squire story, containing many fascinating anecdotes from Anthony, in the coming issue of Shindig!
Three weeks ago Andy rang Jon to say that his local pal, occasional Shindig! writer and Guardian political corespondent, John Harris thought the “hostile Shindig! takeover” had the makings for a decent article – a cautionary tale of a boutique publication screwed by business. The following week Andy called again saying that it was all going ahead and for Jon to get to Frome for the interview and photo session. At the time of the interview the story was somewhat different with the two editors up against Volcano’s bastardised version of Shindig! (Kaleidoscope). Since then the competing magazine has folded and Shindig! are planning their imminent return.. You can read the article here.
The long awaited new album from Vetiver, released on Easy Sound on July 31st, impresses all at Shindig!
After just one listen we are smitten by the forthcoming album by San Francisco freak-folk (and everything else) veteran Andy Cabic’s Vetiver (featuring performances from our long time pal Bart Davenport and Cabic muse Devendra Barnhart). ‘Loose Ends’ is very much in the jangling modus operandi of The Byrds and Tom Petty, but don’t let that sway you into believing that it’s all like this. Complete Strangers covers a wide arena of sounds from the past 40 years with a smooth West Coast sheen quite unlike the early folkish motifs readily associated with Cabic. It’s new, fresh and timeless sounding. As the artist himself puts it, “It feels like someone I’ve just met yet known for a long time.” Quite.
Dublin’s psychedelic rock ’n’ rollers wow on home turf
Friday April 17th, Grand Social, Dublin
Peter Smith of The Urges. Photo by Keith Geraghty
Following their excellent garage-psych/punk debut, Psych Ward, The Urges have totally embraced psychedelia, absorbed it and issued their own perfect strain; a true mix of UK and US genes. The song arrangements are so well-crafted that their influences appear for just long enough to allow a knowing grin to break before they reclaim them as The Urges’ own DNA. Their audience tonight gets an airing of almost all of the new album, which has recently been completed.
This band is exciting to watch. In the past, singer Jim Walters’ garage acrobatics may have disguised the fact that he’s a gifted guitarist. He has a strong, true voice and tonight a Fender Jazzmaster hangs permanently from his shoulder laying down the chords with Peter Smith complementing or cutting through with lead riffs. And those riffs spun from his Gibson SG evoke the best of ’60s UK psych-rock. Also visually striking is the impact of Jim and Pete sharing vocals. Unique for this gig is the appearance of their trumpet-led brass section.
They kick off with two new songs, ‘Face Made For Sorrow’ and ‘Now I See’. Thomas Darcy on Farfisa keyboard (actually a Nord) counterbalances with a strong US garage sound. When he adds his voice to the blend the trio’s accuracy in powerful harmonising is quite something. Jim takes vocals on his own for the excellent ‘Strangers’ with Pete’s ’66 Harrison guitar riff, before their last single, ‘Fire Burning’, appears in between two new and as yet unrecorded songs – ‘Satellite in A’ goes into an orbit parallel with that of ‘Tomorrow Never Knows’ before heading on its own trajectory. ‘Vibration’ gives us stacked vocals in the best West Coast tradition. Their Beck-era Yardbirds tribute, ‘Find Another Way’, follows and the audience is stunned. With Ross McGee so solid on bass it allows Ken Mooney to swoop around the kit driving the band hard at times but also blending jazzy touches to create space as the frontline of guitars and keys create an enviable psych soundscape.
Hard to imagine but the most laid-back song of the night is ‘I’ve Been Here Before’, the flip of their last single, before a longer version of new 45, ‘Passing Us By’, appears. In a short interlude we get a Mexicano trumpet a la CA Quintet followed by a Ray Manzarek-style organ run bookended by bursts of Forever Changes brass. Extraordinary. Only ‘Jenny, Jenny’ from the old repertoire gets an airing before the outstanding ‘Time Will Pass’, with its Byrdsian guitar chimes. The set finishes on ‘Echoes Softly’, the brass punching a ‘Reward’-model Teardrop Explodes onto the musical backdrop. We were warned beforehand that a time curfew would likely prevent an encore and so it was. This was a brave return, and mesmerising. On this evidence The Urges’ new album, due in late autumn, is likely to be a landmark release for them.
The Urges perform their recent single, ‘Passing Us By’
Jacco’s new album Hypnophobia will be released this Tuesday by Full Time Hobby. Shindig! have not only be spinning Hypnophobia on a daily basis, we also caught last week’s intimate live show at The 100 Club and were stunned. Pre-order the album today from the label and let us know what you think. Read JON ‘MOJO’ MILLS’ interview below.(Click the images to enlarge.)
The sainted quintet of Stephen Stills, Neil Young, Richie Furay, Dewey Martin and Bruce Palmer may have existed for barely two years but their influence, even at the time, was enormous, far outstripping their not inconsiderable commercial success.
Boasting three hugely talented singer-songwriters, it was no surprise that their material was quickly seized by a wide range of acts looking to bask in the Springfield’s reflected glory. Here, we present 10 of our favourite contemporary interpretations of their songs.
1. Sergio Mendes & Brasil ’66 – For What It’s Worth (1970)
Supremely funky take of Stills’ rallying cry from the final Brasil ’66 album, 1970’s Stillness. Dozens of acts have covered the Springfield’s signature tune.