Club 8 - Seasonal Echoes - VINYL LP

The history of Canned Heat is also a history of excesses, drug abuse, mental illness and pill addiction, combined with an affinity for internal band funerals. Drummer Adolfo 'Fito' de la Parra recently said in an interview 'I'm still with Canned Heat after more than 55 years. To still be alive at all is a triumph here'. After all, Fito had been with the band since their second official album 'Boogie With Canned Heat', which was released on the US tag Liberty in 1968. - In 1970, 'Future Blues' was released, the first album with the new guitarist Harvey Mandel. With 'So Sad (The World's in a Tangle)', the album contains the band's first environmental protection song. It is about the constant smog over Los Angeles. 'Let's Work Together', a cover version of Wilbert Harrison's 'Let's Stick Together' from 1962, became a top ten hit for Canned Heat worldwide. The concert recording '70 Concert Recorded Live In Europe' followed in the same year. Recorded at various venues during the tour through Europe (including London's Royal Albert Hall), this is the band's first official live album and also the last audio document of Canned Heat with Alan 'Blind Owl' Wilson, who died of an overdose of pills in September 1970. - With 'Final Vinyl', Canned Heat recently released their last album; 'Future Blues' and '70 Concert Recorded Live In Europe' are among their essential albums, when the band in it's key line-up with Al Wilson, Bob Hite, Fito de la Parra, Harvey Mandel and Larry Taylor had reached the zenith of their creative output at the end of the 1960s / beginning of the 1970s. Wilson's death left a gap that could no longer be filled, especially as Larry Taylor and Harvey Mandel had also left Canned Heat shortly beforehand to join John Mayall's 'USA Union' ban.

Club 8 - A Year With Club 8 [VINYL LP] Ltd Ed date 02/21/2025

Julien Ehrlich and Max Kakacek could hear the staggering differences in the songs they were writing for their third album as Whitney, SPARK the buoyant drum loops, the effortless falsetto hooks, the coruscant keyboard lines. They suddenly sounded like a band reimagined, their once-ramshackle folk-pop now brimming with unprecedented gusto and sheen. But could they see it, too? So in the ad hoc studio the Chicago duo built in the living room of their rented Portland bungalow, a shared 2020 escape hatch amid breakups and lockdowns, Julien and Max decided to find out. Somewhere between midnight and dawn every night, their brains refracted by the late hour and light psychedelics, they'd play their latest creations while a hardware store disco ball spun overhead and slowed-down music videos from megastars spooled silently on YouTube. Did their own pop songs-so much more immediate and modern than their hazy origins-fit such big-budget reels? InchWe'd come to the conclusion we weren't going to be filming Super 8 videos to this stuff anymore,Inch Julien remembers with a grin. InchHow about something more hi-fi, cinematic?Inch When the footage and the tunes linked, Julien and Max knew they had done it, that they'd finally found Whitney's sound. SPARK reintroduces Whitney as a contemporary syndicate of classic pop, it's dozen imaginative and endearing tracks wrapping fetching melodies around paisley-print Dilla beats and luxuriant electronics. What's more, Whitney reduces three years of extreme emotional highs and lows into 38 brisk but deep minutes, each of these 12 tracks a singable lesson in what it is they (and, really, we) have all survived. The recalcitrant ennui of opener InchNOTHING REMAINS,Inch the devastating loss of InchTERMINAL,Inch the sun-streaked renewal of InchREAL LOVEInch However surprising it may sound, SPARK is less a radical reinvention for Whitney than an