Two names from the early 80s that I’d never have imagined a connecting thread on are Blitz Kid Boy George and Goth Icon Peter Murphy. Yet, in 2024 here we are with a beautiful new single uniting these disparate talents out today on Metropolis Records. It seemed that Peter Murphy was working with producer Youth on a new album in Spain when he heard Mr. Glover playing something on his phone that caught his ear. It was an unfinished Boy George demo and Murphy was struck by the melodrama of it all and asked if he could work on it. Twenty minutes later it was done. When creative work flows that quickly, you can say that things were “meant to be.”
Metropolis Records | US | DL | 2024
Peter Murphy + Boy George: Let The Flowers Grow – US – DL [2024]
Let The Flowers Grow 5:13
The two artists first met when fan Boy George was asking to go backstage to meet Howard Devoto on a Magazine tour where Bauhaus were the opening act. The resulting song has a definite Scott Walker vibe as George’s personal, coming out lyric got embellishments from Murphy that painted broader strokes of yearning compassion. The track opened with an intimate Murphy singing the first two bars of the opening verse with a naked vulnerability before his soaring baritone took flight, to be met by Boy George on the chorus.
The vibe was rich and orchestral; suggestive of Scott Walker. String synths swelled with a stately drum track and pulsating synth bass to march from the shadows and into the light. Boy George’s vibrato imparted a Roy Orbison quality to it all. Generous amounts of the element X of Arabic Oud, bouzouki, and flamenco guitar; courtesy of of Amir John Haddad [a.k.a. El Amir]. Listen below.
Right now this is just a one-off single but it sounds luscious enough to suggest that maybe there’s an EP or album in the future for George and Murphy? I’ve not paid much attention to Boy George over the years but the post-Culture Club material I’ve managed to catch in the 21st century suggests that he’s making music more to my tastes these days than the bland Pop Soul of Culture Club. It’s yours for only $1.25 and if I were at home right now as I said DJs hit that button.
It was almost two years ago when we wrote about the DLX RM of The Lilac Time’s “Astronauts” album being prepped by Needle Mythology; Pete Paphides’ well curated label whose name was in fact taken from a Stephen Duffy song title. At first mention, an October, 2023 release schedule was mooted and a year later, here we are. Reasonably great for these things! As we thrilled to what they were able to do to Duffy’s “I Love My Friends” opus when given their attention, let’s see what’s in store for Duffymaniacs this time out.
THE SILVER DISCS
Needle Mythology | UK | 3xCD | 2024 | NEMYCD017
The Lilac Time: Astronauts DLX RM – UK – 3xCD [2024]
CD1 Astronauts: The 2024 Remaster
In Iverna Gardens
Hats Off Here Comes The Girl
Fortunes
A Taste For Honey
Grey Skies And Work Things
Finistère
Dreaming
The Whisper Of Your Mind
The Darkness Of Her Eyes
Sunshine’s Daughter
North Kensington
Madresfield
CD2 Softened By Rain: The Making Of Astronauts
Astronauts Meditation
Writing Dreaming
We Came From Anywhere
She Is All Colour
Writing Finistère
This Immortal Promise
In Iverna Dreaming
Hats Off #1
Writing The Whisper
You Come By
North Kensington Idea
Madresfield Demo
CD3 Any Road Up: The Lilac Time Live 1990/91
Fields
The Road To Happiness
Black Velvet
Julie Christie
And On We Go
Dreaming
Icing On The Cake
The Lost Girl In The Midnight Sun
If The Stars Shine Tonight
True Duffymaniacs already have the 1998 JPN DLX RM of 1990’s “Astronauts” album which sported at the time a bounteous seven bonus tracks. Given that CD2 here is unreleased material surrounding the “Astronauts” campaign, the thought is that maybe there’s not all that much “new” material here for our ears? Well, such a thought is dead wrong. Here are the JPN bonus tracks from 1998 below.
Holy Man Jam
A Darling Who Can’t Wait To Taste You
Ghetto Child
Galaxy
An Ear For Silent Voices
She Is All Colour
Cest La Vie, Cest La Guerre
With the exception of “She Is All Colour,” exactly none of the tracks on disc two of this new set overlap with the previous Japanese DLX edition. Or the B-sides from the “Dreaming” single in 1990. Making both versions required for any serious Duffy fans. As we know, his perceptive, and economical songwriting gets to the crux of emotional matters most effectively. That’s why we exalt his efforts…and care! Along with the music, there is an 11,000 word booklet of the oral history of the album and liner notes by Mr. Paphides himself. We’re thrilled that the silver discs are here in addition to…
THE LICORICE PIZZAS
Needle Mythology | UK | 3xCD | 2024 | NEMYLP017
The 3xLP will take up more room in your home, and cost more, but is otherwise identical. There also exists a single LP remaster in red vinyl for those who just want the main course. They think of everything these days. And each of the three formats will come with a bonus premium for your purchase. The CD package gets the signed promo photo as seen at the head of this post. The Red LP gets buttons, and the 3xLP gets a signed lyric sheets to “Madresfield.”
RED LP PREMIUM
3xLP PREMUM
The last time that Needle Mythology sold a Duffy product, it was available in their webstore, but this time the goods are being sold on Bandcamp. At the following prices:
3xCD – £24.99/$32.46
3xLP – £58.33/$75.75
red LP – £20.83/$27.05
Pretty good as these things go but I’m glad I don’t obsessively collect Duffy wax. The reissue [there are 600 copies of each format available] wings its way to the world on Friday, November 29th, in just over three weeks. Join me in hitting that button, yes?
Today, appropriately, I just received an email from DEVO Central touting their appearance at the Cruel World Festival for 2025. Inasmuch as I don’t really feel like writing at all today, I’m going to lean into this negative energy. For now. I don’t think I’ve written about the annual Cruel World Festival yet, though I often make a personal not of who’s appearing each year. The festival was scheduled for 2020 but put on ice until 2022 due to the pandemic.
Each year there’s a blend of really iconic names along with new bands far under my limited radar. So that’s how I tend to evaluate such things. “know ’em and love ’em” versus “…who…??” So with that established, let’s take a glance at the lineup this year and break them down into known versus unknown quantities. Band’s I’ve seen in concert in red. One’s I would like to see in blue.
Known Quantities
New Order
Nick Cave + The Bad Seeds
The Go-Go’s
DEVO
OMD
Death Cult
Garbage
Madness
‘Til Tuesday
Alison Moyet
Blancmange
Stereo MC’s
Buzzcocks
Clan Of Xymox
Midge Ure
Unknown Quantities
She Wants Revenge
Chelsea Wolfe
Mareux
She Past Away
Nation of Language
Provoker
Depresion Sonora
Kite
N8NOFACE
Actors
Deceits
Light Asylum
Wisteria
Social Order
That’s about even. Pretty much adhering to the norms I’ve noticed each year with Cruel World Festival. The show takes place at Brookside golf course adjacent to the Rose Bowl in Pasadena, California. It happens next May17th. Of the bands I recognize or have seen, I’ve got some opinions.
Headliners are listed as New Order and Nick Cave + The Bad Seeds. New Order are known to have been one of the least inspiring major bands anyone has ever seen live. I finally saw New Order on the “Technique” tour in 1989 and it was a non-plussing event to the extreme. The word “perfunctory” comes to mind when considering New Order as a live experience, and I’ve not paid a whit of attention to the band in 32 years in any case. On the other hand, I’ve heard good things about Peter Hook + The Light, in spite of my antipathy to the bass player fronting a “tribute act,” and they are coming to my town in early 2025. I just may bother to go, based on various friend’s reportage.
Nick Cave + The Bad Seeds we saw on tour behind “Skeleton Tree” in our city in 2017. It was a tremendous show and we’d bought tickets to another Nick Cave/Warren Ellis local show during the pandemic that we let go. These gigs will be large scale events, but having seen Nick Cave in action before, I know that he can make a 5000 seat arena feel like a club.
In 1981, The Go-Go’s were a huge thing with me. I played the heck out of “Beauty + The Beat” that summer and the group were a New Wave success story that had no downsides at all that I could see. That summer, The Go-Go’s were the band I probably wanted to see live the most. They played a club in Tampa but I wasn’t making trips to Tampa for gigs yet. That was still years in my future! But come 1982, the magic just wasn’t there with “Vacation” and the group have not been pinging my cultural radar ever since. I’ve never heard the third or fourth albums.
DEVO, DEVO, DEVO. They are the splinter in my musical skin. A spiritual hangnail that has never been addressed. They are such an influential band with me; as they were crucial in exposing me to what lay outside of the margins in modern music. Their artistic point of view is second to none, and their conceptual baggage seals the deal with me. It is one of my biggest regrets that I’ve not seen them ply their trade live. The chances at this point are getting slimmer and slimmer. The band play a handful of shows a year and soon that will end. The clock; she is ticking.
OMD we’ve seen a few times since their reformation in 2008. They are at the top of my core collection bands, and it’s always a great show, but this tour I’m not making any plans to see them. The tepid new album figures into my antipathy. I saw ‘Til Tuesday on their inaugural tour playing for free at an MTV Spring Break concert in Ratona Beach in 1986. Worked for me. I actually preferred their second album but by the third, I’d moved on. I’ve not heard a note of Aimee Mann’s solo career at all. As for Madness, I never really liked them. Slot them next to Squeeze in that respect.
Then there’s Alison Moyet, I’ve never been a big fan of Yazoo. I grudgingly bought a CD of “Upstairs At Eric’s” some years back because it was inexpensive but I’m still not convinced by Vince Clarke. Even less so by Ms. Moyet. I’ve never heard her solo music but what I’ve read about it suggested that I’d like it even less than Yazoo. Blancmange were a band that I only had two albums for, but “Mange Tout” was a splendid album that worked for me like a champ. When traveling in Canada 30+ years ago, I was happy to find that second album on CD and made the effort to buy one! I’d love to hear the modern Blancmange albums; especially since synthmeister Benge was all over them. I need to catch up, but I’d certainly see Blancmange if I had the chance. Next to DEVO, this is the band I’d like to see the most here.
I saw The Buzzcocks during their early reformation phase in the mid-90s and was happy to see Pete Shelley under any circumstances. I can’t imagine the band without him. Full stop. I never had any Clan of Xymox albums but I’m a little surprised that the band were slotted down in the small print here. Considering the “Darkwave” bands I’ve not even heard of listed in bigger type. I feel that they deserve better. Finally, it’s nice to see that Midge Ure is getting a foothold in a show as big as this one. He’s a mensch and deserves as big an audience as he can get. The sad tale of Ultravox in America is a sobering one and to this fan, criminally unfair. All of the bands that wouldn’t exist but for Ultravox whizzing past him in the marketplace back in the day was very infuriating.
⭐⭐⭐⭐⭐
Rating: 5 out of 5.
Tickets for a full day in Pasadena start at $249 general admission – fees included. Not bad for a three stage, 13 hour outlay. Especially in Pasadena. Of course, various perks cost more with VIP starting at $479. Nearly doubling the price nets you faster access to everything, air conditioned restrooms, shade, seating, and a parking pass. Plebe level has to pay $25-75 for parking. Which actually seems like a bargain in So-Cal! The weird thing is “Clubhouse” passes [starting at $1029] where food, water and alcoholic beverages are all included, but you watch the show from a suite with live feed and air conditioning. Does that seems weird to you too?
At the end of the day, I can look at a phenomenon like the Cruel World Festival and nod and grunt then move on with my life. I’m simply not built for an all-day, huge festival with three stages and thousands of punters occupying the Southern California space. It was enough for me to do the similarly themed [but hugely enjoyable] Totally Tubular Festival in Raleigh last summer. Though we roasted in the sun in near triple degree weather in the middle of July, the ticket price was just over 20% of the cheapest ticket cost at Cruel World for my friends and I. That felt like a bargain. If you are having an opposite reaction, then by all means DJ hit that button!
Chris Cross onstage with the Ultravox in their Reformation Era
A door was closed forever earlier this year with the death of founding Ultravox member Chris Cross. An era has ended. His family are putting over 300 pieces from his collection of instruments and music-related personal effects up for auction on Tuesday, the 3rd of December. Guitar Auctions at Gardiner Houlgate will be hosting the auction and Chris’ family are setting aside some of the proceeds to benefit three UK music charities: Music For Youth, Music For All, and Youth Music. So the cycle will keep on spinning with more music happening in Chris’ absence.
I’ve looked at the preview and it’s packed with bass guitars, yes, but there are also plenty of other instruments of many stripes vying for our notice. And there is Ultravox memorabilia of many kinds to catch a fan’s eye. Things like industry awards from ticket agencies as well as precious metallic records for high sales levels met in various countries. Here’s a fan’s overview of what to expect come auction day.
THE BASSES
Gibson EB-5 1969 [Ultravox!]
This Gibson EB-3 bass from ’69 was the bass that Tiger Lily and Ultravox! fans heard most in those early days. The estimate is £1000-2000 for this instrument which is packed with history.
Squier Precision Bass 1982 [Live Aid]
The bass that Chris played in the second half of the Ultravox imperial period included their Live Aid appearance. This Japanese made bass is expected to sell for £3000-5000
Steinberger L2 Headless Bass 1982 [Lament]
We all remember the distinctive Steinberger headless bass prevalent in the early-mid 80s. Here is Chris using it on the “Lament” tour of 1984. Estimate of £1500-2500.
THE GUITARS
Yamaha SG-2000 1980 [Midge Ure’s guitar]
Here’s something different. Midge Ure gave his 1980 Yamaha SG2000 to Chris and this was a guitar baked into the “Vienna” era! It’s been in Chris’ collection for ages, but now it can be yours, estimate £1000-2000.
Custom Esquire-type guitar
Chris had a fair number of custom built guitars. These one-off’s are rare birds, but because they are not comparable to anything, they can be gas for much less than the instruments above. This has an estimate of £200-400.
THE SYNTHS
EMS Synthi AKS 70s [ULTRAVOX!]
The classic British “briefcase synth” made famous by ENO that everyone wants to touch! No actual keyboard, just a printed circuit touchplate to change the notes. This one is going to cost plenty: £10,000-20,000.
Oxford Synthesizer Company OSCar 80s [Love’s Great Adventure]
Another British synth, this was an early programmable model as played on the solo to “Love’s Great Adventure.” Look to pay £2000-4000 for the privilege.
Oxford Novation 61SL MK II MIDI Keyboard 2000s [Return To Eden]
Already have soft synths and just need a quality keyboard? This was what Chris used in the final period of playing with Ultravox onstage. USB MIDI interface. Yours for an estimated £200-200
Casio VLT-1 1980
Here’s an analog classic that’s still affordable 45 years later! The Casio VLT-1, as played on “Get Carter” from The Human League’s Dare.” Not sure where it may have manifested in the Ultravox canon, but it is Chris’s personal unit. Estimates £20-40.
SALES AWARDS
Vienna UK GOLD LP
All of these sales awards form various markets show that releases sold the best all over the world. Here’s the classic “Vienna” in UK gold disc form. A pittance at an estimated £100-200.
All Stood Still UK SILVER SINGLE
“All Stood Still!”The toughest Ultravox MK II hit single. An estimated £100-200.
Vienna Australian PLATINUM LP
OZ platinum for the beloved “Vienna” album. Still only an estimated £100-200.
Rage In Eden UK GOLD LP
Here’s what I wouldn’t mind having on my precious wall space. “Rage In Eden” in UK gold. Again, an estimated £100-200.
New Europeans Japan GOLD SINGLE
Real Ultrafox fans have the Japanese only “New Europeans” single, but how many have the gold disc for it? It’s an estimated £100-200.
There’s more where that came from with maybe a third of the collection in preview. The site has a nice tribute to Chris Cross page up as well. It you want to maybe take home some Ultravox history, this is the place to start. There are some inexpensive synths I feel that maybe I should be taking a look at, so I can finally have some musical fun in my old age! The site has a video online and there’s a copy of the same 1977 era 3D sales display conspicuous in the video which I already auctioned off myself this year to help fund the big Eurotrip. Mine was in better condition [I got $250 for mine] but this one going under the hammer next month probably has Chris Cross’ DNA embedded on it. DJs hit that button!
It pays to hit the bookmark folder every now and then because the web keeps changing when we’re not looking. For instance, even though I’m on the Magazine Mailing List from having bought many fine products from their online webstore, I did not see any email touting the latest wrinkle in the Magazine saga. To wit, in “mid-November” we’ll see the reissuing of all five [plus one more] Magazine albums in a comprehensive boxed set filled with tchotchkes and sonic artifacts of a polyvinyl chloride nature.
THE WAX
Wire-Sound | UK | 7xLP [color] | 2024
Magazine: Give Me Everything – UK – 7xLP [color] [2024]
REAL LIFE
Definitive Gaze
My Tulpa
Shot By Both Sides
Recoil
Burst
Motorcade
The Great Beautician In The Sky
The Light Pours Out Of Me
Parade
recoil red vinyl
inner sleeve interview with Dave Formula
12″ x 12″ art print of Linder Sterlings’s front cover monoprint
contact sheet of unpublished Adrian Boot 1978 photos
SECONDHAND DAYLIGHT
Feed The Enemy
Rhythm Of Cruelty
Cut Out Shapes
Talk To The Body
I Wanted Your Heart
The Thin Air
Back To Nature
Believe That I Understand
Permafrost
permafrost green vinyl
inner sleeve interview with Howard Devoto
12″ x 12″ art print of Ian Pollock’s front cover monograph
contact sheet of unpublished Ebet Robert’s 1979 photos
24″ x 12″ poster of original inner gatefold sleeve image
THE CORRECT USE OF SOAP
Because You’re Frightened
Model Worker
I’m A Party
You Never Knew Me
Philadelphia
I Want To Burn Again
Thank You [Falettin Be Mice Elf Agin]
Sweetheart Contract
Stuck
A Song From Under The Floorboards
philadelphia white vinyl
inner sleeve interview with Malcolm Garrett
12″ x 12″ art print of Malcolm Garrett’s front cover design
contact sheet of unpublished B.C. Kagan’s 1979 photos
set of 9 oversize “Correct Use Of Soap” postcards
MAGIC, MURDER AND THE WEATHER
About The Weather
So Lucky
The Honeymoon Killers
Vigilance
Come Alive
The Great Man’s Secrets
This Poison
Naked Eye
Suburban Rhonda
The Garden
poison pink vinyl
inner sleeve interview with John Doyle
12″ x 12″ art print of Malcolm Garrett’s front cover design
contact sheet of unpublished Jamie Morgan 1980 photos
NO THYSELF
Do The Meaning
Other Thematic Material
The Worst Of progress
Hello Mister Curtis [With Apologies]
Physics
Happening In English
Holy Dotage
Of Course Howard [1979]
Final Analysis Waltz
The Burden Of A Song
of course orange vinyl
inner sleeve interview with Noko
12″ x 12″ art print of Odilon Redon’s front cover etching
12″ x 12″ two sided lyric sheet
“No Thyself” carrier back
replica “Viva Le Rock” press advertisement
RAYS AND HAIL [1978-2011]
Shot By Both Sides [single version]
Definitive Gaze
Motorcade
The Light Pours Out Of Me
Parade [live from ‘Play’]
Feed The Enemy
Rhythm Of Cruelty
Back To Nature
Permafrost
Because You’re Frightened
You Never Knew Me
A Song From Under The Floorboards
I Want To Burn Again
Sweetheart Contract
This Poison
Naked Eye
Physics
Holy Dotage
Final Analysis Waltz
burn again yellow vinyl
New 2024 running order by Howard Devoto
inner sleeve interview with Rory Sullivan-Burke [author of John McGeoch bio]
12″ x 12″ art print of Damian Wayling’s front cover CD design from 1987
set of 21 oversize postcards featuring illustrated lyrics from the songs
THE TEES
Magazine comprehensive t-shirts for those who can’t choose a single LP era
The t-shirt commemorating the box is in two designs: cool blue and hot black. I’m betting that the box and shirts were Malcolm Garrett designs even though his name was not bandied about in the store. Because. Amazingly enough, I already have a Magazine t-shirt [it came with the “Real Life + Thereafter” DVD/CD-pack], but either of those are highly appealing, especially at a modest £20 each.
The fascinating factor here, apart from the many items only included with this boxed set [listed as bullets] was the first appearance of “Rays And Hail” on LP format as an expansive 2xLP edition. Re-compiled by Devoto himself to take in the full story, including the noble fifth album from 2011.
So you should already know and love this material. The facts on this box are that the album may be available separately at normal retail but the omnibox is only available directly from the Wire-Sound website. There are 500 copies of this being made and as of the 4th of November, 2024, there are only 135 left at a price of £200.00 per, plus signed shipping.
If you’d prefer to pick and choose, each LP [and its attendant bonus materials as shown here but not included on standard retail copies] are also available from the Wire-Sound webstore at £33.00 each. £45.00 for the 2xLP “Rays And Hail [1978-2011]” It’s all a little too rich for my blood, and already having the silver discs of this material; redundant for me. But don’t let me stop you! Anyone reading these words who has yet to hear the can’t-be-bettered songwriting of Howard Devoto and fantastic playing of Magazine should buy immediately. DJ hit that button!
We just got the news that the new Head Noise single was released today. Almost just in time for Halloween, though the über-scarce 7″ version of this single will in fact be on sale at the merch table for their Halloween show tonight at Clwb Y Bont in Pontypridd, Wales. Just a half an hour from now! With the amount of stagecraft that Head Noise normally bring to a gig, this will no doubt be the most thrill-packed night this year to take in a glimpse of the hippest art-damaged Synth Punks in Aberdare.
To ramp up for such an event, at least we’ve got their brand new single, hot on the heels of last spring’s new album, glistening as if enveloped in a miasma of stage blood and simulated viscera. And, shades of The Damned, to be damned, it sports the perfect title of “I Was A Teenage Video Nasty.” The cover art gets immediate props for being a perfect rip of the British Board Of Film Censors title card of yore for maximum frissons of nostalgic wallowing. Let’s give it a “spin” on the personal device and report back with out findings!
Bandcamp | UK | DL |2024
Head Noise: I Was A Teenage Video Nasty – UK – DL [2024]
I Was A Teenage Video Nasty 3:23
80% Proof Apparition 3:06
How much more appropriate can it get? The single opened with the distinctive sound of a VHS tape being loaded into a VCR. Something the current generation have probably never heard. Then it kicked into jittery, high BPM gear with a DEVO-esque synth pulse as it extolled the virtues of gnarly physical media before the battles of the Streaming Wars. The tune climaxed with singer Mitch Tennant reciting the titles of some of the films that sparked the very 80s UK phenomenon of the “Video Nasties.”
I was a teenage video nasty Before fun turned obsolete But I won’t subscribe – just don’t! To bone-crushing defeat
Waste the hours diving in The hole at the bottom of the bargain bin
“I Was A Teenage Video Nasty”
The B-side sported frantic drumming juxtaposed with a cheerful synth topline as Tennant seemed to weave a scenario featuring seances and regretful mixology into a frantic Synth Punk cocktail. I’ll make the assumption that the lyrical references to “Apparition in good condition, what a mighty fine year that was” are references to this Canuk vintner. Why not listen now?
As usual, it’s a mere pittance of £1.00 for the full-res DL so why not top off your purchase to better keep Head Noise in a permanent state of mischief? And stop press…I just ran across evidence of this on the Head Noise merch site…I’d completely forgotten that frontman Mitch Tennant also fronts Ant Trouble, the hottest Adam + The Ants tribute band in Wales! And the combo have got t-shirts and a live CD for sale but act fast, they’ve only got two left! Yours for only a £5.00 investment.
As for me, I’ve already dropped my coin. And I eagerly await the next in a series of high-energy hi-jinx from Head Noise; Aberdare’s No. 1 rated Synth Punk band! DJ hit that button!
In recent years Dr. Robert of Blow Monkeys kept very busy not only with the mothership band, but also a variety of collaborative excursions, like the three [three!] Monks Road Social albums he released while I was struggling to catch up during the pandemic. I recently got the latest Blow Monkeys album [which I need to add to their Rock G.P.A. one day – what you must think of me] and have yet to find the time to sink my teeth into it for a review and we find that Dr. Robert has teamed up with Matt Deighton, his Monk’s Road Social cohort, with an album coming our way next spring.
It’s called “Instant Garden,” and it will also be released on the furiously busy and righteously proper [non-profit!] label Last Night From Glasgow. Who seem to be signing all of my favorite artists these days, so I’m very down with that. The Good Doctor describes the vibe as being akin to “Fred Neil and Marc Bolan bonding over [Nick Drake’s] “Five Leaves Left.” An earthy and intimate excursion to react against the increasingly ornate Soul Pop that The Blow Monkeys are crafting these days.
The first single, the title track, has apparently dropped on the last day of summer [Sept 22, for those who weren’t keeping track…or had a hurricane drop in] so let’s just pop over to the iTunes store and buy it. Don’t worry. I’ll put an embed here you can listen to for free. Let’s listen!
Wow. This sounds very stripped down! Just voice and guitars; both electric and acoustic. The one concession to artifice are the rather elaborate backing vocals [including vocal percussion!] overdubbed in to the mix. The funky wah-wah gets plenty of room to stretch out and wail while the acoustics keep the rhythm flowing steadily. I daresay that John Fogerty would proclaim the duo were “chooglin'” on this session. Listening to it sounds like we’re in the room when it was recorded. Can someone front these two the budget for a living room tour? Pretty please?
Last Night From Glasgow | UK | CD/DL/LP | 2025 | LNFG148
Dr. Robert + Matt Deighton: Instant Garden – UK – CD [2025]
Already There
Dude In A Roller
Giving Up The Ghost
Gardening In The Mediterranean Way
Supernatural Seas
God Is Nature
Instant Garden
Philosophy
Ten Paces Safe
Endless Circle
Superstitious Woman
Crying Like A Child
The release date will be the first day of spring: March 21st, 2025. Last Night From Glasgow have the following on offer:
CD w/instant garden – $17.00
Sage Green LP w/instant herb garden – $35.00
White Rose LP w/instant flower garden – $35.00
How cool that you get seeds to plant along with the music? The next single will happen on the first day of winter [Dec. 21st] so it looks like we’ll have some Dr. Robert to give us a break from the piped in xmas music. If you’re ready for some of this sauce, then DJ hit that button!
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Post-Punk Monk 