Red River Dialect - Abundance Welcoming Ghosts - VINYL LP

Whilst touring during the early months of 2018 in support of Broken Stay Open Sky, their fourth album and first for tag Paradise of Bachelors, Red River Dialect uncovered a new depth of communication in their playing, and the follow-up bears the fruit. Abundance Welcoming Ghosts finds the British folk-rock band relaxing into a natural, playful confidence tangling with the thickets, wading in the river, digging the peat, and disappearing into the mountains. It was recorded at Mwnci Studios, in a quiet valley in Southwest Wales, during four days in August 2018, just a month before the band's songwriter David Morris left the UK for a nine-month meditation retreat at a remote Buddhist monastery on the cliffs of Cape Breton, Nova Scotia. This plan had not yet taken shape when he wrote these songs during the spring of 2018. By the time the band reached the studios, the imminent hiatus lent a poignant and celebratory atmosphere to the sessions. The compositions had not been fully formed prior to recording, but any pressure was transmuted into invigoration, resulting in the jubilant energy that adorns even the most turbulent songs. The album title gestures towards a fullness that the songs fulfill, a sonic and lyrical plenitude, but any density achieved by the band opens up further space. This expansiveness bears testament to the skill of long-term collaborator and guide Jimmy Robertson (Michael Chapman, Arctic Monkeys, Depeche Mode), who engineered and mixed the songs. Guest musicians Joan Shelley, who sings the hidden spaces on InchSnowdonInch and InchPiano,Inch and Tara Jane O'Neil (Rodan, the Sonora Pine), who plays sweet aching slide guitar on InchMy Friend,Inch complement the core sextet. Ed Sanders' violin alternates between soaring with crisp highland sadness on InchBV KistvaenInch and burying jaws into the flesh of songs like InchSalvation.Inch Coral Kindred-Boothby

Baby Lemonade had been performing as LOVE since 1993, once playing in a club where only three people, with one being the sound guy, showed up, so playing in the Glastonbury Festival was a very big deal... and Arthur knew it. As mercurial as Arthur Lee could be, he showed no concern in playing before 65,000-and-growing Glastonbury concert-goers, who all came to see if Arthur Lee & Love could pull off Forever Changes in a festival setting. The talent and abilities of each musician on that stage was unparalleled and Rusdty, Love's musical director was the link between the amazing ensemble of Swedish string and horn players and this loud, kick ass, take-no-prisoners rock-and-roll outfit. The blend was perfect. It was Mozart meets Thin Lizzy. After a really cool introduction, and with the sun squarely in their eyes, they hit the stage and rocked the crowd with InchYour Mind & We Belong Together.Inch Somewhere in the middle of a guitar solo, one of the speakers blew, creating a noticeable drop in volume and tone. Guitarist Mike Randle simply asked the monitor dude to InchCrank the guitar in my monitor!Inch and kept going. Arthur introduced the Stockholm Strings & Horns and they went down the line, playing every song on Forever Changes, in the order it appeared on the Album, a 36-year-old album played with the energy of a new . By the time we'd hit the last notes of that one, the sun was setting and left this beautiful orange and red trail of clouds in it's dust. At the end of the set, Arthur thanked everyone and then said, InchThis next song is called Seven... and Seven... and Seven... 1! 2! 3! 4!Inch The band tore into that first A minor chord, echo fuzz bass, tremolo reverb, and machine gun snare like it was the end of the world. Arthur stepped to the microphone and spat out the words like it was the end of the world. Love came to Glastonbury with the hopes of just playi

Anthony Ferrara for his third album here teams up again with the dream rhythm section of Versace/Anderson/Drummond. Ron McClure who was one of Ferarra's teachers at NYU once commented on this group, InchThis is a four-way conversation between four men who have a mutual respect of the process of making music, always cognitive of the group effort. Had they played the Manhattan phonebook, they would have made it work.Inch InchWhat is particularly impressive about Ferrara is that he not only has a mature, confident and appealing sound, but also is finding his own voice. Ferrara is also a capable composer, penning a diverse set of songs that invite repeated hearings, a huge challenge for any musician at the beginning of their career.Inch (Ken Dryden - NYCJR on SCCD 31938 Cold Faded)