The Tubs - Hard Life - VINYL LP
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Upon arriving in the USA for The Tubs' first tour of the country, frontman Owen Williams told The New Yorker, InchWe're here to unite the country. We're gonna come, like, three times. By that point, I think this place will start healing.Inch Then, joyously, they did just that, piling into a van and criss-crossing the States, bringing their literary, bleary-eyed, world-weary, night-of-your-life highwire act to the masses when it was needed most.The Tubs have never lacked for ambition - on Hard Life, theirs is to complicate the Tub-ullar experience. Having perfected their chemistry across two prior albums, hundreds of shows, and an ever-expanding universe of bands affiliated with London's Gob Nation Collective (The TSG, Sniffany & The Nits, Spike, and Garden Centre), the London-based Celtic jangle boyband- Williams (vocals, guitar, keyboards, bass), Dan Lucas (guitar), Taylor Stewart (drums), and Max Warren (bass)- push themselves further into the shimmering heart of virtuosic indie rock. They're joined by frequent collaborators Lan McArdle (vocals), George Nicholls (guitar), and Rachel Kenedy (keyboards), all of whom have orbited various Tubs-adjacent efforts dating back to Joanna Gruesome, but the secret to Hard Life's lushness is the addition of fiddle player Chris Haigh, an instructor and session musician who left an indelible mark on British pop on Steps' Inch5, 6, 7, 8.InchMirroring Williams' use of trilling on vocal melodies, Haigh's fiddle shades the vocalist's rueful croon like a bruise. On InchStoop to Me, Inch the folkiest, jangliest pop song on the album, Haigh's licks complement Williams at his most self-deprecating, the lopsided smile of a guy trying not to let on how wounded he is in unrequited love. On album opener and title track InchHard Life, Inch it's the sweetness of the ascending fiddle lines in the mix that weds the harshness of Williams' lyrics t
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- GenreRockDescriptionUpon arriving in the USA for The Tubs' first tour of the country, frontman Owen Williams told The New Yorker, InchWe're here to unite the country. We're gonna come, like, three times. By that point, I think this place will start healing.Inch Then, joyously, they did just that, piling into a van and criss-crossing the States, bringing their literary, bleary-eyed, world-weary, night-of-your-life highwire act to the masses when it was needed most.The Tubs have never lacked for ambition - on Hard Life, theirs is to complicate the Tub-ullar experience. Having perfected their chemistry across two prior albums, hundreds of shows, and an ever-expanding universe of bands affiliated with London's Gob Nation Collective (The TSG, Sniffany & The Nits, Spike, and Garden Centre), the London-based Celtic jangle boyband- Williams (vocals, guitar, keyboards, bass), Dan Lucas (guitar), Taylor Stewart (drums), and Max Warren (bass)- push themselves further into the shimmering heart of virtuosic indie rock. They're joined by frequent collaborators Lan McArdle (vocals), George Nicholls (guitar), and Rachel Kenedy (keyboards), all of whom have orbited various Tubs-adjacent efforts dating back to Joanna Gruesome, but the secret to Hard Life's lushness is the addition of fiddle player Chris Haigh, an instructor and session musician who left an indelible mark on British pop on Steps' Inch5, 6, 7, 8.InchMirroring Williams' use of trilling on vocal melodies, Haigh's fiddle shades the vocalist's rueful croon like a bruise. On InchStoop to Me, Inch the folkiest, jangliest pop song on the album, Haigh's licks complement Williams at his most self-deprecating, the lopsided smile of a guy trying not to let on how wounded he is in unrequited love. On album opener and title track InchHard Life, Inch it's the sweetness of the ascending fiddle lines in the mix that weds the harshness of Williams' lyrics tArtistThe TubsTitleHard LifeFormatVINYLLabelMerge Records
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Upon arriving in the USA for The Tubs' first tour of the country, frontman Owen Williams told The New Yorker, InchWe're here to unite the country. We're gonna come, like, three times. By that point, I think this place will start healing.Inch Then, joyously, they did just that, piling into a van and criss-crossing the States, bringing their literary, bleary-eyed, world-weary, night-of-your-life highwire act to the masses when it was needed most.The Tubs have never lacked for ambition - on Hard Life, theirs is to complicate the Tub-ullar experience. Having perfected their chemistry across two prior albums, hundreds of shows, and an ever-expanding universe of bands affiliated with London's Gob Nation Collective (The TSG, Sniffany & The Nits, Spike, and Garden Centre), the London-based Celtic jangle boyband- Williams (vocals, guitar, keyboards, bass), Dan Lucas (guitar), Taylor Stewart (drums), and Max Warren (bass)- push themselves further into the shimmering heart of virtuosic indie rock. They're joined by frequent collaborators Lan McArdle (vocals), George Nicholls (guitar), and Rachel Kenedy (keyboards), all of whom have orbited various Tubs-adjacent efforts dating back to Joanna Gruesome, but the secret to Hard Life's lushness is the addition of fiddle player Chris Haigh, an instructor and session musician who left an indelible mark on British pop on Steps' Inch5, 6, 7, 8.InchMirroring Williams' use of trilling on vocal melodies, Haigh's fiddle shades the vocalist's rueful croon like a bruise. On InchStoop to Me, Inch the folkiest, jangliest pop song on the album, Haigh's licks complement Williams at his most self-deprecating, the lopsided smile of a guy trying not to let on how wounded he is in unrequited love. On album opener and title track InchHard Life, Inch it's the sweetness of the ascending fiddle lines in the mix that weds the harshness of Williams' lyrics t
Vinyl LP pressing. After releasing two strong albums for Slash, The Blasters had plenty of critical acclaim and a sizable hometown following, but they hadn't come especially close to landing a hit record, and on the 1985 album Hard Line, they overhauled their approach in the studio in hopes of creating something that sounded more contemporary. Producer Jeff Eyrich pumped up the sound of Bill Bateman's drums (and for a few tracks replaced him with Stan Lynch of Tom Petty & the Heartbreakers), Dave Alvin's guitar tone got thicker and harder and the emphasis was put squarely on new songs. InchTrouble BoundInch and InchHelp You DreamInch showed Dave Alvin's gift for writing in traditional styles was as strong as ever. Alvin's songs took on a darker tone on Hard Line, especially the tale of a small town lynching, InchDark Night,Inch the anti-Reagan rant InchCommon Man,Inch and the busted romance of InchJust Another Sunday,Inch while the fiddle-led acoustic arrangement of InchLittle HoneyInch serves the tune far better than the version X recorded on Ain't Love Grand (with co-author John Doe on vocals). Phil Alvin rarely had a better run as a singer as he did on this album, which finds him better controlled but just as impassioned and expressive as ever. And the closing track, the rollicking InchRock and Roll Will Stand,Inch is a darkly funny appraisal of the music biz that shows The Blasters knew just what they were getting into by trying to scale the charts, and were prepared for the consequences. Hard Line proved to be The Blasters' final studio album with their original lineup, and while it sounds like an experiment that only partially succeeded, the best moments revealed they could move forward without losing what made them special, they held on to their principles far better than the vast majority of roots rock bands who figured a different producer might get them on t
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