2004

Rhino Records has set an Aug. 17 release date for two retrospectives celebrating the work of influential quartet Talking Heads. The label’s revamp of the live package “The Name of This Band Is Talking Heads” will mark the first CD issue of a fan-favorite release from 1982, while “The Best of Talking Heads” is the group’s first U.S. single-disc greatest-hits set.

Both titles were assembled with the involvement of all of the band’s members — David Byrne, Tina Weymouth, Chris Franz and Jerry Harrison.

Originally a double-vinyl set, “The Name of This Band Is Talking Heads” has been buffed up to a two-disc release with the addition of 13 previously unreleased live tracks spanning 1977-1981. Also appended to the album are three cuts from a 1979 promotional-only live disc — The Girls Want To Be With the Girls,” an early version of “Drugs” titled “Electricity” and “Found a Job.”

“The Best of Talking Heads” is an 18-track collection of the band’s most popular tunes, including “Psycho Killer,” “Burning Down the House” and “And She Was.”

Last fall, Rhino released the three-CD, one-DVD box set “Once in a Lifetime,” including songs from throughout the band’s career as well as all its videos. A 1992 Sire/Warner Bros. compilation, “Popular Favorites 1976-1992: Sand in the Vaseline,” surveyed each of the band’s studio albums across two discs and added five then-previously unreleased songs.

In related news, former Heads frontman Byrne will follow a July European tour with another North American run. He is touring behind his latest album, “Grown Backwards,” released in April by Nonesuch.

Source billboard.com.

Wilco have settled a lawsuit filed in the U.K. by progressive electronic label Irdial-Discs over the sample that spawned the title of the band’s 2002 album, Yankee Hotel Foxtrot.

The sample, used in the distortion-laced outtro to the song “Poor Places,” is taken from The Conet Project: Recordings of Shortwave Numbers Stations’s “Phonetic Alphabet Nato,” which consists of a woman’s voice repeating the words “yankee, hotel, foxtrot” in a monotone for ninety seconds.

The Conet Project is a historic collection of secret “Numbers Stations,” shortwave radio transmissions used by the espionage agencies around the world to communicate to their agents in the field.” Although the exact origins of the broadcasts are unknown, Irdial claimed that the “distortions, nuances and noises” in its recording make it distinct and available to copyright.

“When it was interpolated into the mix, Jeff [Wilco frontman Tweedy] thought since it was an unidentifiable source, it was not a copyrightable recording,” says Wilco attorney Josh Grier. “The comparison is if somebody goes out and records a lion roaring [and you sample it], the lion can’t sue you, but maybe the person who made the recording can.”

Exact terms of the settlement were not disclosed, but Grier said Irdial will receive a “share of the sound recording royalty on that track.”

Nebraska wunderkind Conor Oberst is taking Bright Eyes on the road for what’s billed as An Evening of Solo & Collaborative Performances Featuring Bright Eyes, Jim James (Of My Morning Jacket), and M. Ward.

The three singer/songwriters mounted a tour under the same name in February. Each performer does a solo set, but all three are on stage throughout most of the show, contributing instrumentation and vocals to one another’s songs.

The jaunt runs from October 8-19, beginning in Fort Worth, Texas at the Ridglea Theatre. The tour runs up the West Coast and wraps in Vancouver, B.C.
M. Ward has several appearances scheduled prior to the tour, including the Merge Records 15th Anniversary Festival July 29 in Carrboro, N.C.

James is currently on the European festival circuit with My Morning Jacket. He’ll appear solo at the Gram Parsons tribute shows in Southern California July 9-10.

Source pollstar.com.

A disc of recently discovered, previously unheard demos for the Clash’s “London Calling” will be included in the Legacy edition of the classic album, due Sept. 21 via Epic. Although a track list for the demos has not been finalized, it is tipped to include songs that did not make the final cut for “London Calling.” The tapes were recently discovered in storage belonging to guitarist/vocalist Mick Jones.

In addition to the original album and the aforementioned demos, “London Calling: The 25th Anniversary Edition” will boast a DVD chronicling the Clash at that point in its existence. A 45-minute documentary was created by longtime biographer Don Letts, and features recording studio footage, previously unreleased live performances, interviews with Jones, the late Joe Strummer, Topper Headon and Paul Simonon and a rare conversation with band manager Kosmo Vinyl.

The new edition will also feature full song lyrics, a new essay and rare photos by band photographer Pennie Smith.

Released in 1979, “London Calling” has come to be regarded as one of the best albums of the punk era. It features such Clash classics as the title cut, “Train in Vain,” “Clampdown,” “Guns of Brixton,” “Spanish Bombs,” “Rudie Can’t Fail” and “Death or Glory.”

Source billboard.com.

The Black Keys will rumble again with the release of their third album, Rubber Factory, September 7th on Fat Possum Records. The Akron, Ohio, garage blues rawk duo’s new set follows their breakthrough album, 2003’s Thickfreakness, which earned the band a spot in the final ten albums for the Shortlist Prize.

Among Thickfreakness’ converts were Sleater-Kinney and Beck, both of whom offered the Black Keys opening spots on tours last year. Those bits of good fortune were tempered by the fact that singer-guitarist Dan Auerbach and drummer Patrick Carney barely left the road all year, a rugged schedule that prompted them to postpone a European tour late last year due to exhaustion.

“We were given opportunities we really couldn’t pass up,” Auerbach says. “But that touring really kicked the shit out of us. I just saw some pictures from Europe and we looked so fucking miserable. So we took a little time off, because we didn’t want to have anything to do with each other.”

Auerbach had started to write some of the songs for Rubber Factory while on tour last year, but the bulk of the new material began to take shape after he and Carney were able to spend a few weeks apart. When the time came to record, the Black Keys had to find a new haven to do so, as Carney’s landlord sold the house he was renting, depriving the duo of the basement that yielded Thickfreakness. Earlier this year, Auerbach and Carney hopped in the car and began to scout new locations. “There’s no shortage of old, empty industrial buildings in Akron,” Auerbach says. They settled on a warehouse that housed a tire manufacturer, a locale that gave the new album its title.

“I guess it’s probably not ideal for a studio,” Auerbach says, “but then, we don’t really know what ideal would be. The first floor of this place is a cavernous room where they stored the tires. The second floor was the lab with the offices. They just put us in the corner by ourselves, where no one could hear us.”

Auerbach promises a bit of evolution from the Black Keys, as on “The Lengths,” a song that he says features a “hypnotic vibe.” “There are a few slower songs, some acoustic guitar, there’s a more atmospheric thing going on,” he says. “And I’m happier with my songwriting. It’s still simplified and raw, but more experimental.”

But Rubber Factory won’t be a shocking departure from the spare racket of their previous two albums. “We still know what we want to do,” Auerbach says, “the same as we did when we were seventeen. I’ve heard enough records with bands changing their format that end up sucking ass to know better. We upgraded our tape player — the tape is now a bit thicker. That’s about the only thing that changed.”

Source rollingstone.com.

Ben Folds is pushing back the release date of his next solo album to early 2005 in order to give William Shatner’s upcoming collection, “Has Been,” his full attention. The set is being targeted for a September release by Shout! Factory.

“It is a great record and it is really worth going out and doing some shows in major cities,” Folds tells Billboard.com. “[Shatner] is not a musician at all — he’s not rapping or singing — but he is still part of the music. I’ve never heard a record quite like it.” Shatner previously guested on Folds’1998 solo album “Fear of Pop, Vol.1”

Shatner’s album was produced and written mostly by Folds and includes cameos by Henry Rollins, Aimee Mann and Joe Jackson, who duets with Shatner on Pulp’s “Common People.” Author Nick Hornby (“High Fidelity”) also co-wrote a song with Folds for the project.

Currently on the road with Rufus Wainwright and Guster through mid-July, Folds plans on returning home to Nashville after the tour to finish his next studio release. Due out in January via Epic and currently untitled, the album includes new tracks such as “Trusted” and “Late,” as well as a few remixed or alternate versions of tracks from Folds’ recent EPs.

“Right now, it doesn’t feel like an album that has a title,” says Folds. “I think because the songs are basic enough to me, it almost has a debut solo artist feel to it. It seems less like a tangent to me in the songs and the production than ‘Rockin’ the Suburbs’ [Folds’ last studio disc], which seems like an over-the-top pop kind of [album]. This doesn’t seem like a direction to me, it just seems like songs I wrote and they are approached much more from the piano and with a little more of a live, rougher edges, feel.”

While Folds enjoys the unfettered creativity and spontaneity associated with releasing EPs (“I love putting out EPs — that keeps me sane,” he says), he foresees a day when all of his non-album projects will be released as “a cheap box set of EPs.”

Fans are finally about to get Folds’ third EP, which is due out in a few weeks and will be available via online and at his shows. Originally scheduled for release last November, “Super D” includes new tracks “Rent a Cop,” “Adelaide” and “Kalamazoo,” along with a cover of the Darkness’ “Get Your Hands Off My Woman” and, more than likely, a live version of the late Ray Charles’ “Them That Got.”

Source billboard.com.

Former Pearl Jam/Red Hot Chili Peppers drummer Jack Irons gets a lift from a host of his ex-bandmates on his solo debut, “Attention Dimension,” due in August. Pearl Jam vocalist Eddie Vedder takes the mic on a cover of Pink Floyd’s “Shine On, You Crazy Diamond,” featuring Primus’ Les Claypool on bass. Chili Peppers bassist Flea guests on “Suluhiana” and “Water Song,” the latter boasting Pearl Jam’s Stone Gossard on guitar.

Irons left Pearl Jam for health reasons in early 1998, following the release of the album “Yield” and an Australian tour. “I had to dedicate myself to living a life that would promote healing and a right way of life for me and my family,” he says. “The music on these recordings [is] what was creatively inspired along the way. I could not tour at that point but I still needed to create.”

“Making this music was a way for me to work through all the changes and growing I had to do to become healthy again,” he continues. “This music also helped me reconnect with some old friends and former bandmates, who I am very happy and thankful to say have performed as guest artists.”

Irons is abetted throughout “Attention Dimension” by his Eleven colleague Alain Johannes, who plays an array of instruments on seven tracks. Eleven’s Natasha Shneider offers vocals on “Hearing It Doubled,” while Pearl Jam bassist Jeff Ament augments the groove on “Dunes.” The cut “Breaking Sea” includes a sample of Spectrasonics’ “Heart of Africa.”

Irons joined Pearl Jam for two songs during an all-star concert last October in Santa Barbara, Calif. It was just the second time he had played with the group since he left.

Here is the track list for “Attention Dimension”:

“Jackie Groove” featuring Alain Johannes
“Suluhiana” featuring Flea, Johannes
“Ocean’s Light”
“Hearing It Doubled” featuring Johannes, Natasha Shneider
“Shine On, You Crazy Diamond” featuring Eddie Vedder, Les Claypool, Johanne, Shneider
“Underwater Circus Music”
“Dunes” featuring Jeff Ament, Johannes
“Come Running” featuring Johannes
“Water Song” featuring Flea, Stone Gossard
“Breaking Sea” featuring Johannes
“Aquaman’s Electric Band” featuring Johannes

Source billboard.com.

David Crosby and Graham Nash will release their first album as a duo in 28 years Aug. 10 via Sanctuary. Recorded earlier this year in Los Angeles, the two-disc, 20-track “Crosby-Nash” was produced by the artists and the father/son team of Russell and Nathaniel Kunkel. Russ Kunkel, who played drums on 1972’s “Crosby & Nash,” also contributes to the new album, as does guitarist Dean Parks, bassist Leland Sklar and Crosby’s son, James Raymond, his bandmate in the group CPR.

Crosby and Nash, who have released three previous albums a duo, will kick off a tour with Stephen Stills as Crosby, Stills & Nash July 1 in Prior Lake, Minn. At some point following that outing’s Sept. 22 close in Woodinville, Wash., they will stage a tour in support of “Crosby-Nash.”

Source billboard.com.