Amoeblog

Amoeba Presents Alec Byrne Rock Photography Exhibition in Los Angeles Dec. 1

Posted by Amoebite, November 27, 2012 05:17pm | Post a Comment

Photographer Alec Byrne has been covering rock music since 1960s London, starting when he was just 17 years old. Over the next 10 years, he photographed everyone from The Beatles, The Rolling Stones, Jimi Hendrix, The Who, David Bowie, and Mott the Hoople. Bryne's archive of 50,000 images has mostly been in storage for the last 40 years and has never been seen by the public. You can view some of these amazing photographs and meet the photographer himself one night only, December 1, at Smashbox Studios in Culver City. Admission is free and you can RSVP here.

Amoeba is proud to sponsor this incredible event, along with LA Weekly, Uber ARCHIVES, KCRW, Smashbox Studios, and BowHaus.

What: Alec Byrne: Rock & Roll Time Capsule
Where: Smashbox Studios, Culver City, CA
When: Saturday, December 1 7-10pm
Cost: Free

A pre-sale for limited edition archival quality prints will begin December 1, but you can buy limited edition show catalogs and lithographs online now.

Find out more about this one-night only exhibition.

Alec Byrne Rock & Roll Time Capsule

Remastered Beatles Catalog Releasing on Vinyl Nov. 13

Posted by Billy Gil, November 7, 2012 04:40pm | Post a Comment

The BeatlesAll 14 albums by The Beatles will be released in remastered stereo on vinyl Tuesday, November 13, following their previous release on CD (remember Beatles Day 9/9/09?) and digitally.

The 12 original UK albums, plus Magical Mystery Tour and B-sides collection Past Masters Volumes One & Two, will be released on vinyl and will include such goodies as a reproduction of the White Album poster. Additionally, a limited-edition box set includes every album and a hardbound book by radio producer Kevin Howlett, with a chapter on each album’s creation and remastering, as well as photographs from across the band’s career.

These vinyl releases mark the first time that The Beatles’ first four albums will be available in stereo on vinyl in North America. Watch for the mono vinyl releases coming in 2013. Each record is available for $22.98, except for Past Masters, The White Album and the box set. Links to preorder each of the releases are below:

 

Sgt. Pepper’s Lonely Hearts Club Band

Beatles for Sale

With the Beatles

Abbey Road

Let it Be

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Hurricane Sandy Soundtrack

Posted by Billyjam, October 29, 2012 12:45pm | Post a Comment

New York City, Monday, October 29th 3:45pm: Here in New York City and other parts of the Northeast Coast including New Jersey and Rhode Island we are already feeling the strong winds and rain but are still awaiting the brunt of Hurricane Sandy to hit sometime later today. The massive storm with such a friendly name is expected to wreak havoc here on the Northeast over the next day or more with the worst of it hitting later tonight/early tomorrow morning, according the National Weather Service. Already winds are up near 100 MPH on the Jersey Shore and here in Queens, where I am, some trees have been blown down. Hurricane Sandy, which is arriving  in conjunction with a separate severe cold weather system a couple of days shy of Halloween, has  been dubbed "Frankenstorm" by the media who are always, it appears, delighted to have some potential apocalyptic disaster to report upon. Most folks here in New York and New Jersey that I know are hoping for the best but preparing for the worst. NYC buses and subways have been out of service since last (Sunday) evening and both JFK and La Guardia airports are shut down with flights cancelled through tomorrow (Tuesday) evening. For up to the minute news on the storm YouTube is live streaming The Weather Channel,  while Weather.Com is doing live updates online that you can get on your mobile devices.

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Would You Believe...Beatles 78s?

Posted by Joe Goldmark, April 26, 2012 06:36pm | Post a Comment
To check out extensive LP label and price guides plus cover art, head to the Vinyl Beat website!


78s were totally discontinued in the States by 1960, but not so in other parts of the world. Unbelievably, many Beatles 78s were released in the Philippines and India from 1963-1965, mainly for juke box plays.  There were also a few titles released in South America in Columbia and Argentina. The site Cool78s features all known issues, including 17 from the Philippines and 24 from India. Beatles collectors pay from $500 - $1,200 each for these sides depending on condition and scarcity. Tell your Pilipino and Indian friends to check with their music loving relatives to see if they have a goldmine stashed away in their attic.



Ty Segall's Flying Circus to Blow Through L.A.

Posted by Billy Gil, March 1, 2012 02:30pm | Post a Comment
In a short amount of time, Ty Segall has provided us with so much musical goodness in the recorded form that it’s hard to believe he’ll be releasing two (well, two-and-a-half-ish) albums this year. He’ll release a mini album on In the Red in June under Ty Segall Band, recorded with his touring band, which includes Charlie Moothart guitar (“He’s a complete shredder and dominator, he taught me everything I know about playing guitar,” Segall says), Mikal Cronin on bass and Emily Epstein on drums. The record will be mixed in Berkeley’s Fantasy Studios — where Creedence Clearwater Revival recorded, Segall points out — and recorded with Eric Bauer, who has recorded with Segall several times, including his most recent studio album, 2011’s Goodbye Bread.

A regular full-length also is due on Drag City under his own name in the fall. On top of all that, he’s releasing a collaboration LP with White Fence on Drag City in April, which he’s currently touring behind. Ty Segall and White Fence appear together March 3 at the Troubador.

I took some time to speak to Ty, who’s S.F.-based but was born in Laguna Beach, about his upcoming tours, release schedule, and how many songs he’s recorded.


PST: Last year, around the time Goodbye Bread was released, you said you wanted the next album to sound like Satan in Space, Hawkwind meets Sabbath and that sorta thing. Is that the direction the new material has ended up taking?

Segall: Well, there’s a couple different directions. This is really fun for me because this new record with White Fence I did is not that. It’s like totally weird new thing that Tim (Presley, of White Fence) and I kind of did. It doesn’t sound like either one of us, and it definitely doesn’t sound like [the earlier description]. It sounds pretty all over the place. It sounds almost like a mixtape, almost like a weird comp of some kind, which I’m way into. Working with Tim was great because we both bring something totally different to the table.

There’s this record I’m gonna be recording starting [in February], and that’s totally heavy, fuzzed-out Sabbath, Blue Cheer-like noise rock kinda stuff. Which is rad. And I’m doing that with the whole band. It’s kind of more how we sound live than a lot of the records sound. That’s the weird, heavy, fuzzed-out record. And then I’m working on another one that’s gonna come out in September/October on Drag City. It’s not as heavy or punk or anything. It’s still loud fast rock ’n’ roll. It’s kind of channeling these three different things in these records.

PST: You seem pretty prolific. Is there a steady flow to your songwriting? How often do you write?

Segall: I kind of write whenever I can at home. A lot of the stuff is really bad. I throw away most of the stuff I write, to be honest. I try to write a song a day. If you write 10 songs, there’s gonna be one of them you think is pretty OK that you’ll keep around. That’s kind of my rule. A lot of times you’ll have a riff and it’s like, I’m gonna toss this riff.

PST: If you had to guess, how many songs have you written? How many bands have you been in?

Segall: Aw man, I don’t even know! There are 12 songs on average per record, I’d probably say I’ve released 180-200 songs. There are about 300 throwaway songs that will never see the light of day.

PST: You’d never release them in some form?

Segall: No way. They’re bad, man. They’re real bad. Like me trying things that are out of my comfort zone. It’s like, yeah, there’s a reason it’s out of your comfort zone, man.

PST: Goodbye Bread saw you trim the fuzz a bit. Should we expect the sound to continue to get cleaner and/or more focused, or is it more that that’s just what you happened to want to do then?

Segall: Definitely not cleaner. I think, no maybe you could say it’s recorded better, because Eric [Bauer], who recorded Goodbye Bread, got a new tape machine and it’s technically more high-fidelity. I don’t think it’s cleaner. We’re just using it in different ways. It’s definitely not part of that trajectory. It’s a totally different thing that’s not following that path. It’s a whole different thing, you know what I mean? Which is what I like doing. I like starting over for each record. To be honest I’m not the best at explaining where my head is when I’m making my records. The main idea is to make something different than before and make something that is better. Hopefully better.

… The Drag City release will be more song-focused than fuzz-focused. It’s kind of like the left and right sides of your brains. One is getting really loud and fucked up live and try to sonically hurt people. Like hurt their ears. And that’s something I want to achieve. And the other side is trying to write songs. … I had to get the band that I’m playing with in the studio because I really do feel like they’re a special group of people. We gotta record them because I feel so lucky to be playing with them. … Everybody rips so hard. And it’s totally different than on record. So I’m just super psyched to have them make a record.

PST: As far as the White Fence collaboration goes, how did that come about? And how will those live shows with the two of you play out — one at a time, and then together or something like that?

Segall: I just asked him, dude, we gotta do a record together man. I was like, I bet you I could get Drag City to do it. And they were like, yeah man, just go ahead and do it, and when it’s done, we’ll do it. So Tim came up like four diff occasions for two days, and we just wrote a lot of songs together and already had two each. It was super fast and really fun. He’s just insane at what he does, and it was really cool to have a different perspective on songwriting and push you to do things you’re not used to doing. He plays guitar like Jimi Hendrix, man. He’s a psychotic guitar player. … We’re basically gonna pick two or three of our favorite songs from the record and maybe play it in the middle of my set, Tim’s just gonna walk up and play it in my set, but it’s basically gonna be White Fence set and then my set after, and then in the middle of it we’re gonna play two or three songs from the record.

PST: When did you start playing music? What was your first band?

Segall: I started when I was like 15. I started playing drums. My first band was this like no wave dancepunk band called Love This. (laughs) We only played house parties. It was a ridiculous band. And Mikal Cronin was in that band. He played saxophone.

PST: I loved the Ty Rex mini album (a six-song T. Rex cover EP, released last year for Record Store Day). Would you do another for another artist?

Segall: Yeah man. Totally. I don’t know which artist. It’s not on the top of my agenda right now. I’d like to do a Bowie one. … Basically I tried to think of the most ridiculous thing I could think of that you’re not supposed to do. … It was like really fucking scary, man. You’re not supposed to do that. I think it turned out pretty good. I tried to do like 10 songs, but I ran out of time.

PST: Speaking of covers, I also really like the “Bullet Proof Nothing” [by Simply Saucer] cover you did and the Sabbath cover I saw you play in Eagle Rock last year. What covers are you playing lately live? Or would that ruin it?

Segall: We don’t really have any new covers. Usually we just throw in a couple of things — we covered “The End” by The Doors the other day. I haven’t figured that out yet. But hopefully something will come. Something ridiculous. I wanna cover that song “Moonage Daydream.”

Ty’s World
Ty Segall has some seven albums, two splits LPs, nine EPs/45”s, five split EPs and countless collaborations to his name, in addition to the albums he’ll release this year. Here’s a quick rundown of some of the best releases from Ty and his collaborators.
 
Ty Segall SinglesSingles 2007-2010
 (2011, Goner)

A great overview of his records, singles et al. and as good a place as any to start with Segall’s catalog. It’s also a great place to pick up non-album tracks, like his screamy, nasty cover of OG punks Chain Gang’s “Son of Sam.”






Goodbye Bread
(2011, Drag City)

His most put-together record, aided by slightly cleaner production and slower tempos, which allow his hooks to shine through. Segall taps into late-era Beatles territory in songs like the spare title track and glam rock with the terrific “You Make the Sun Fry.”




 
ty segall meltedMelted
(2010, Goner)

As usual, Melted sports a variety of sounds, from sludgy rockers (the title track) to Beatles-esque folk rock (“Caeasar”), but it feels like his most cohesive and well-considered release to this point. And it has perhaps Segall’s catchiest song yet — the acidic “Girlfriend.”






Ty Segall LemonsLemons (2009, Goner)

 
Psych-folk adds to the lineup of rockers for a rough-and-tumble set. Maybe his most psychedelic record.







Ty Segall Ty SegallTy Segall
(2008, Revolver)

This is lo-fi rock ’n’ roll at its finest. Like early White Stripes or Jay Reatard, it’s raw and unpolished in the best way possible, but you never get the sense he’s just dicking around — there are great tunes under the din.







Horn the UnicornHorn the Unicorn (originally released on tape in 2008; reissued in 2010 on Captcha Records)

Segall’s first solo release wears its influences more proudly on its sleeve, from the Nuggetsy organ on songs like “Apples” and “Skin” to the old school punk of “Shoot Me in the Head” to the T. Rex stomp of “Can’t Talk to You.” If it’s less cohesive than other releases, it shows the scope of what Segall would undertake with future releases.



Mikal CroninMikal Cronin – Mikal Cronin
(2011, Trouble in Mind)

This beautiful psych-pop record from Segall’s longtime friend and collaborator was released last year and was a little too slept-on for my taste. A great and tuneful rock record with some gloriously heavy moments (“Green and Blue”).





White FenceWhite Fence – Is Growing Faith
(2011, Woodsist)

Super weird psych-pop from Segall’s current collaborator. “And By Always” sounds like a C86 tape left in the wash, while “Enthusiasm” makes compelling listening out of hearing a catchy garage-rock song try to escape the copious noise piled atop it. Recommended for fans of Elephant 6, ’80s college rock, weirdo garage rock — everyone, really.
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