Live Set Featuring Echo & The Bunnymen In Upcoming CD/DVD, Nothing Lasts Forever

Echo Bunnymen Nothing Lasts ForeverFans of Echo & The Bunnymen will be pleased to be able to acquire a CD/DVD set being released via Secret Records (UK) called Nothing Lasts Forever. And while it’s not a reissue or something as sexy and desirable as a new remaster, or even a remix by Steven Wilson, it will be a title that is designed for serious fans.

The set is a live recording from their 2005 (November 1) show at O2 Shepherds Bush Empire in London. That show yielded 19 performance tracks, many of them instantly familiar to fans. The CD replicates the entirety of the DVD in musical content.

Nothing Lasts Forever will be released on June 10 in the UK marketplace on CD/DVD and can be ordered as an import title.

01. Going Up
02. With A Hip
03. Stormy Weather
04. Show Of Strength
05. Bring On The Dancing Horses
06. The Disease
07. Scissors In The Sand
08. All That Jazz
09. The Back Of Love
10. The Killing Moon
11. In The Margins
12. Never Stop
13. Villiers Terrace
14. Of A Life
15. Rescue
16. The Cutter
17. Nothing Lasts Forever
18. Lips Like Sugar
19. Ocean Rain

01. Going Up
02. With A Hip
03. Stormy Weather
04. Show Of Strength
05. Bring On The Dancing Horses
06. The Disease
07. Scissors In The Sand
08. All That Jazz
09. The Back Of Love
10. The Killing Moon
11. In The Margins
12. Never Stop
13. Villiers Terrace
14. Of A Life
15. Rescue
16. The Cutter
17. Nothing Lasts Forever
18. Lips Like Sugar
19. Ocean Rain


Joan Baez 75th Birthday Celebration CD/DVD Arrives In June

Joan Baez 75th Anniversary CelebrationJoan Baez is a integral part of the early years of Rock. Her folk-styled tunes kept her completely relevant into the ’70s. Unfortunately, as time wore on, her importance seemed to dissipate. Nevertheless, her contributions to our music as she wrote and/or sung them in the ’60s and into the ’70s, were vibrant threads of our core. With over 50 years in the world of music, there is much she had to say and sing.

On January 27th, 2016, Joan Baez performed in a show that celebrated her 75th birthday. The show was performed at the Beacon Theatre in New York City. She was joined on the stage by Jackson Brown, David Bromberg, Mary Chapin Carpenter, David Crosby, Judy Collins, Emmy Lou Harris, The Indigo Girls, Paul Simon, Mavis Staples, Richard Thompson, Damien Rice, and Nano Stern. She performed a set of career-spanning songs.

This show is being captured and delivered as a 2CD/DVD Edition called Joan Baez 75th Birthday Celebration. Additionally, the show is being released on a single DVD. The two sets are being self-released on her own Joan Baez Records label but distributed by Universal Music Group. Both sets issue on June 10.

Joan Baez 75th Birthday Celebration – Joan Baez & Friends

01. God is God
02. There But For Fortune
03. Freight Train
04. Blackbird
05. She Moved Through the Fair
06. Catch the Wind
07. Hard Times Come Again No More
08. Deportee (Plane Wreck at Los Gatos)
09. Seven Curses
10. Swing Low, Sweet Chariot
11. Oh Freedom/ Ain’t Gonna Let Nobody Turn Me Around

01. The Water Is Wide
02. Don’t Think Twice, It’s All Right
03. House of the Rising Sun
04. She Never Could Resist A Winding Road
05. Before The Deluge
06. Diamonds & Rust
07. Gracias a la Vida
08. The Boxer
09. The Night They Drove Old Dixie Down
10. Forever Young


Zappa’s Three Volume Road Tapes To Be Re-Released In May

Zappa Records will be placing the three Road Tapes volumes from 2012 back on to shelves in May. These sets were recorded by Frank Zappa on mono and stereo reel to reel tape. He attempted to capture many of his shows. His three volumes of Road Tapes are excellent examples of great Zappa shows back when he was at a peak (if he ever really lost his peak).

On May 26, the label will resupply the three volumes of Road Tapes on 2CD sets:

Road Tapes, Venue 1: Live Kerrisdale Arena, Vancouver B.C. – 25 August 1968

Zappa Road Tapes Volume 1CD1:
01. The Importance Of An Earnest Attempt (By Hand)
02. Help, I’m A Rock
03. Transylvania Boogie
04. Flopsmash Musics
05. Hungry Freaks, Daddy
06. The Orange County Lumber Truck
07. The Rewards of a Career in Music

01. Trouble Every Day
02. Shortly: Suite exists of Holiday In Berlin Full Blown
03. Pound For A Brown
04. Sleeping In A Jar
05. Oh, In The Sky
06. Octandre*
07. King Kong

Road Tapes, Venue 2: Live Finlandia Hall, Helsinki, Finland 23, 24 August 1973

Zappa Road Tapes 2CD1:
01 Introcious
02 The Eric Dolphy Memorial Barbecue
03 Kung Fu
04 Penguin In Bondage
05 Exercise #4
06 Dog Breath
07 The Dog Breath Variations
08 Uncle Meat
10 Montana
11 Your Teeth And Your Shoulders and sometimes your foot goes like this….. /Pojama Prelude
12 Dupree’s Paradise
13 All Skate/Dun-Dun-Dun (The Finnish Hit Single)

01 Village Of The Sun
02 Echidna’s Arf (Of You)
03 Don’t You Ever Wash That Thing?
04 Big Swifty
05 Farther O’Blivion
06 Brown Shoes Don’t Make It

Road Tapes, Venue 3: Live Tyrone Guthrie Theater, Minneapolis, MN 5 July 1970

Road Tapes 3

Volume 3 was recorded in Stereo on reel to reel. It showcases two compete shows that features Flo & Eddie, George Duke, Ian Underwood, Aynsley Dunbar, and Jeff Simmons. It contains the following tracks:

01. Tyrone Start The Tape… 1:59
02. King Kong 3:37
03. Wonderful Wino (Zappa/Simmons) 4:47
04. Concentration Moon 2:34
05. Mom & Dad 3:25
06. The Air 3:46
07. Dog Breath 2:01
08. Mother People 2:06
09. You Didn’t Try To Call Me 4:10
10. Agon – Interlude (Stravinsky) 0:36
11. Call Any Vegetable 7:59
12. King Kong / Igor’s Boogie 20:25
13. It Can’t Happen Here 3:05
14. Sharleena 4:59
Show 2
15. The 23rd “Mondellos” 3:13
16. Justine (Harris/Terry) 1:46

Show 2 Continued
01. Pound For A Brown 5:07
02. Sleeping In A Jar 3:37
03. Sharleena 5:49
04. “A Piece Of Contemporary Music” 7:03
05. The Return Of The Hunchback Duke 10:00
including: Little House I Used To Live In, Holiday In Berlin
06. Cruising For Burgers 3:44
07. Let’s Make The Water Turn Black 1:42
08. Harry, You’re A Beast 1:29
09. Oh No/Orange County Lumber Truck 11:01
10. Call Any Vegetable 11:29
11. Mondello’s Revenge 1:46
12. The Clap (Chunga’s Revenge) 13:01


Punky Meadows To Release First Solo Album In May

Punky Meadows Fallen AngelWell, here’s a long-shot discovery for you that will trigger some memory synapses.

Some of you may remember the band, Angel, found on Casablanca Records back in the late 70s into the early ’80s. The band ran through six studio sets including their high-charting third effort, On Earth As It Is In Heaven (1977). That album moved the band along quite nicely due to its hit, “That Magic Touch”. They also released a successful live set, Live Without A Net (1980).

The band was populated by Frank DiMino (vocals), Gregg Giuffria (keyboards), the late Mickie Jones (bass), Jones replacement, Felix Robinson, Barry Brandt (drums), and rock star incarnate, Punky Meadows (guitars). All members went their own ways after the demise of Casablanca Records in 1981.

One of the most enticing members was the glammed out Punky Meadows. His extreme appearance personified the Rock star essence back during the band’s height. After the band dissolved, Punky Meadows went another route eventually opening a tanning salon before completely retiring about ten years ago.

On May 6, Mainman Records will release an all-new Punky Meadows solo album. The album, Fallen Angel, will contain fifteen new songs. On the cover, you can see that Punky Meadows hasn’t strayed too far from his trademark looks. He may not be dressed in all white, but he looks pretty intact.

SO, if you’re an old Angel fan, it might be to your luck to hear how Punky Meadows has evolved musically.


Talia’s Notes: In Fond Remembrance Of Billy Paul (Paul Williams)

Billy Paul RIPContrary to popular belief, it actually does get cold in California-especially the Bay Area. The nights were definitely chilly. I remember it so well. There was a period in December of 1972 when a new dimension was added into my 5th Grade mind while laying on the floor of my bedroom. My left ear was smashed up against the speakers of my little portable system I had while listening to the radio in the dark. December of 1972 was when “Me And Mrs. Jones” took off like a rocket and charted all the way to #1 in the United States. Not only was I getting to hear another then new to me Philadelphia International label artist and a stunning voice to go with it, but “Me And Mrs. Jones” was the song which made me begin to think about how the music was arranged. I took notice of how the bass was meeting up with the orchestra in ascension and then in descending patterns. I was also getting my first rudimentary thoughts about how orchestration was used to magnify emotional intensity within a song. I loved how the sax was used to emphasize the building intensity at points. What I didn’t know then was that this song was going to grow exponentially in meaning to me as time went on. And here in 2016, the song has taken on multi-dimensional meaning to me emotionally and in my own personal life to go with the musicality of it. I can’t even begin to tell you of how many married women I’ve had crushes on over the years. I can tell you that the song has helped me through having intense feelings for women who were not married too.

“Me And Mrs. Jones” proved to me, beyond the shadow of a doubt, that Kenny Gamble and Leon Huff and PIR were a force to be reckoned with. I was introduced to their music with “Back Stabbers” and “999 Arguments” from the O’ Jays. And then I saw another side of Gamble and Huff when “If You Don’t Know Me By Now” from Harold Melvin & The Blue Notes came out. All of these were released in ‘late ’72 before “Me And Mrs. Jones”. And when d.j.’s at KFRC and KLIV kept putting the names Gamble and Huff and Philadelphia International in the same sentence together, it was certified in stone that a new and very big new musical identity in Soul had been forged and was not going away. Billy Paul put the exclamation point on that.

Beyond that, Billy Paul’s vocals hit me like a ton of bricks. He seemed to be in complete command while conveying vocal power as well as laying back all at once in one song. As a kid, I knew what the song was about, but not in its full adult essence. It didn’t matter. Just his incredible way he was conveying the urgency and the depth of the need in this relationship, in turn, gave me added emotional depth just by listening to it. I latched onto this song on those cold December nights in the South Bay Area. I still have not let go on this rainy night in the Pacific Northwest after all of these years.

When the Grammy Awards were broadcast in 1973, Billy Paul sang it for an audience of millions. I watched it while being totally enraptured by his performance. On top of it, I thought he looked like the coolest guy on the planet that night. He came out in a suave green suit and matching hat and just killed it. For about 5 months after that broadcast, I wanted to be Billy Paul. I had been a fan of Soul Music for a good solid two years by then and my thinking was this was where it was at for the definition of cool. I found the picture I could put into my own personal dictionary. Years later, I was able to get a hold of the musical director for the Grammy Awards throughout the ’70s, Martin Pasetta, and I conveyed to him how envious I was of him to have been able to be a part of that specific moment while communicating with him almost 10 years ago. (A side note: I knew Martin as a child at the Grammar School I went to in Santa Clara. He was my Mom’s organist in the choir for the church I used to go to across the street from my school).

What made Billy Paul so unique was that he came from a Jazz background and applied what he learned in context of Soul Music. He even used to say that he preferred being referred to as a Jazz singer even though he was singing in context of the Soul genre. Being a Jazz singer is what gave him his unique stamp on the Soul scene of the time. He had a completely different range compared to other Soul guys. To this day, I’ll never understand why he never made it back to the Top 40 charts and the Bay Area AM stations I was listening to at the time. The follow-up single was “Am I Black Enough For You?” In scanning my memory, I can’t recall ever hearing it back then. Billy continued making great albums, but his singles career stopped cold in its tracks after the humongous success of “Me And Mrs. Jones”. At the time, there was still racial sensitivity going on among programmers even though Soul was selling big units. For some markets, “Am I Black Enough For You?” was considered too controversial and wasn’t played. The same could be said for “Me And Mrs. Jones”. I’m sure it wasn’t played in some Southern and Bible-Belt markets. It is one of the great tragedies in Soul Music history because Billy had a good solid two more years of putting out another possible smash before things would change once Van McCoy’s “The Hustle” would alter Soul afterwards in May of ’75.

The album, from which “Me And Mrs. Jones” came, 360 Degrees Of Billy Paul. is a stone-cold Soul classic. It should be in everyone’s music collection. There’s not a bad track on the entire album. All of the early albums of Billy Paul’s were classics and you would do well to search them out and get them. If you want to get the full scope of Billy’s Jazz background, you should get a copy of his first album. It came out in 1968 (and re-released in 1973) and is called Feelin’ Good At The Cadillac Club. You’ll be able to hear how he could push his voice. You’ll hear all of his vocal parameters on this album. Two years later, his great run of early ’70s Soul albums began. Ebony Woman came out in 1970. His fantastic precursor to 360 Degrees of Billy Paul came out in 1971 and is called Going East. It stands equally alongside 360 Degrees Of Billy Paul. 1972 was the year for 360 Degrees Of Billy Paul. And then in 1973, he came out with War Of The Gods.

What reveals themselves to the listener is that Billy Paul had a gift for picking out well-chosen covers and make them purely his own. This can especially be heard on Ebony Woman and on 360 Degrees Of Billy Paul. The best mastering for 360 Degrees Of can be found on the Sony/Legacy label Total Soul Classics series while all of the other aforementioned titles can be found on the U.K. BBR label. If Legacy was wise, they would start releasing the stuff BBR has put out and do it right. Obviously, he made more albums than the ones I’ve mentioned, but these were the ones which present to a listener the height of his powers.

It has been my dream for the past 10 years or so that the 360 Degrees Of Billy Paul album would come out as an SACD hybrid. It still hasn’t, but I suppose one could hope. I’ve always wanted to hear “Me And Mrs. Jones” in 5.1.

I wish I could have met Billy Paul (real name-Paul Williams). I really wanted to have a discussion with him about how the arrangement came together for “Me And Mrs. Jones” and how many times he took a stab at laying down his vocal track before he nailed the final take. I have read some vague statements from people over the years who claimed that he could be a little difficult to work with. If that’s true, then the fights had to have been worth it because he left a body of work that was also socially relevant. Throughout his albums, he dealt not only with relationships. He also dealt with social and spiritual issues. He was not a one-dimensional artist.

He should have gotten to be known for more than one song and one album. For all of my knowledge of Soul Music, I am terribly saddened that I never got to know and own the albums put out by the BBR label earlier. It wasn’t until only recently as each were reissued that I was able to discover just how complete an artist he was. It depresses me that his music and his catalog will likely never get another go-around. There is no magic wand which could help great numbers of people learn who this man was. He was a magnificent talent. I am not ashamed to admit that I cried upon reading the news that Billy Paul passed away after a bout with cancer this evening. He wasn’t young. I knew that this day was eventually going to come, but it hit me with great force anyway. God Bless Billy Paul. His was a great achievement.

–Steve Talia

In Memoriam – Lonnie Mack

Lonnie Mack RIP

The unfortunate passing of Lonnie Mack is greatly overshadowed by the high-profile passing of Prince. And not to detract from the importance of Prince as an influence in the vast universe of Rock and Roll, but Lonnie Mack was also an influence that should have his time in the headlines as well.

Lonnie Mack was a master on the guitar. His bluesy style was adored, envied, and replicated by many in the world of Rock and Roll. Those influenced included the late Duane Allman, Eddie Van Halen, Jeff Beck, Ronnie Wood, Keith Richards, the late Rory Gallagher, Eric Clapton, Jimmy Page, the late Stevie Ray Vaughan, and many other luminaries, some still with us, some not. And you have to admit, that’s already quite a list of admirers.

Lonnie Mack forged a career on his ability to make his Flying V guitar (serial number 7!!!) do string acrobatics that few guitarists could apply themselves to – and many dreamed of. With a career beginning in the early ’60s, Lonnie Mack made a too small stable of fans that will not deny his greatness. Since that time, he has become the legend that few too people outside the industry are aware of. Lonnie Mack was as great a guitar player as ANY of them. Maybe better than some!

Lonnie Mack quietly passed into the next phase of Rock and Roll with his death on April 21. His departure is greatly felt and should be as much a headline as Prince.

Lonnie, may you help smoke the stage at your reuniting with Buchanan, Gallagher, Hendrix, Allman, and Vaughan.

Enjoy the stunning video below!



New Blues Pills Album Expect In Summer Of 2016

Photo - John McMurtrieIf you like your Soul and Blues filled to the core with Rock n Roll, then you really don’t need to look much further than Blues Pills. Their standard of Rock will take you back to the days of Hendrix and other long gone gems of early, fiery Rock and Roll.

As a history, Blues Pills began their journey in 2011. Comprised of Dorian Sorriaux, a French guitarist extraordinaire, Americans, Zack Anderson (bass) and his half brother, Cory Berry (drums), and one of the more incredible voices this side of Janis Joplin in the Swedish singer, Elin Larsson, who, I may add, is drop dead gorgeous. Since, the band has refined to include André Kvarnström, who replaced Cory Berry in 2014.

After a small flurry of smaller releases, Blues Pills signed with Nuclear Blast Records, and released their debut album, Blues Pills. In Europe, the band has thrived. And while they have yet to capture the attention of America, they are making inroads. The debut is a hot bed of Rock in its rawest and purest form. It definitely requires your attention.

On some ‘as yet determined’ date in the summer, Blues Pills will release their next album. It’s titled Lady In Gold. Lady In Gold will delivered ten brand new tracks of powerhouse Rock and Roll, I’m sure. For now, that’s all we have. But i is exciting news for those that are aware of Blues Pills. If you’re not at this reading, time to get crackin’!

Lady In Gold – Blues Pills

01 – Lady In Gold
02 – Little Boy Preacher
03 – Burned Out
04 – I Felt A Change
05 – Gone So Long
06 – Bad Talkers
07 – You Gotta Try
08 – Won’t Go Back
09 – Rejection
10 – Elements And Things



Talia’s Notes: Observations On The Passing Of Prince

Prince and I were both nearly the same age. He was three years my senior. He and I both both shared one thing in common. We both loved Soul Music of the ’60s and the ’70s. At the time that Prince decided to get a professional contract, I had pretty much dropped out of full-time scanning of the radio airwaves for new Soul that I could fall in love with. During the late ’70’s period, it was pretty much set in concrete within my mind that the Soul and Funk that I had listened to up the pre-Van McCoy-“The Hustle” period was gone. I was resigned to a fate of only hearing a Soul song here and there that gave me some temporary enjoyment and hope. I regret that things had changed enough in music that I came to this feeling. It laid the foundation for me to miss Prince begin the process of putting Soul, Funk & Rock elements together and to do it respectfully while changing the entire musical landscape of the times that he lived in.

My doses of Prince were very small. I read and heard about the 1999 album back in 1982. In particular, I read about the attention being paid to “Little Red Corvette”. As the ’80s progressed and musicians were taking in what this guy was doing, none other than Bruce Springsteen cited “Little Red Corvette” as being a favorite of his. He would even go on to perform it at least one time (that I know of).

During Bruce’s Born In The USA Era, Price came roaring back with the Purple Rain OST and prevented Bruce from reaching Number 1 when Bruce released “Dancing In The Dark” as a single and had to compete with “When Doves Cry”. This was where I was most exposed to Prince. You could not get away from the Purple Rain soundtrack. I admired what he was doing from a distance. My personal tastes prevented me from taking a complete plunge, but I appreciated that I was hearing in his music a kind of seriousness and respect for his peers which was emanating from the craft of melding together genres to create his own blend.

So, why am I writing a tribute column to Prince this evening when I wasn’t much into his music? It’s very simple. I didn’t have to like the music completely in order to really respect him for bringing up some very important issues as an artist and to also, knowingly or unknowingly, throw a mirror in front of the radio and record industry in order to reveal to them what they really were and are to this very day.

Prince and I split into two different directions during that fateful time in the late ’70s when I saw that AM radio was tightening their playlists. Prince decided to attempt to reunify it in brave fashion while carrying the music further. It is here where I feel that Prince’s existence as an artist was most important. He revealed the hypocrisy of the radio and music industry by proving that radio only wanted hits and that both radio and the industry in general only wanted a repeat formula of anything successful. He got foot in the door airplay with 1999. And then he got massive airplay with the overwhelming success of Purple Rain back in 1984. He got cursory airplay from FM Rock radio programmers for Around The World In A Day in the hopes that the iron was still hot. Sadly, the programmers weren’t bothering to play much Soul music from both the past or the present in order to make sense for audiences of what his success meant. By the time the Parade album rolled around, Rock radio had swept him under the rug. I certainly didn’t get to more fully appreciate why the guy was creating these great heights of achievement.

Like I said, whether knowingly or not, he exposed the radio industry for what they really were. As a result, we were all made the poorer in the process. There has been a consistent and overbearing willingness on the part of the radio industry over the years since the mid-70s to shut out Black artists, both past and present, out of relevance in the eyes of a sadly musically uneducated public. And if the radio industry and the music industry is ever going to regain any modicum of respect in the eyes of the guys like me who know better, it is about to time to tell programmers that the days of boring and repetitive playlists are over and to fully integrate Rock radio to include Soul Music, R&B, Country, Jazz and even Classical elements into fully functional playlists. It’s up to the programmers to decide whether they want to concentrate on only certain time periods or if they want to include music that is being made today into the equation. But it’s time for the terrestrial radio industry (and even satellite radio) to wake the hell up and show people why people like myself pine away for the days when we lived through those days when radio really was integrated. The kids today deserve integration of music. Instead, they are being fed institutionalized racism.

The other big issue I’ve always respected Prince for was his staunch support for the rights of artists. His fight with Warner Brothers over the rights to own his masters are legendary. He reminded aspiring musicians, for what seemed like the billionth time as a result of so many musician business-end casualties, to make damn sure that you came into the industry loaded with spectacular talent and one hell of a good entertainment lawyer in tow.

It is my great hope that the vast amount of unreleased music that Prince created will be curated with loving care and presented in careful context and not haphazardly released in packages that have no organization or unity. I would hope his family, his friends, his fellow musicians, technical workers, the lawyers and record industry will do right by this man and knock heads because he absolutely stood for integrity of the highest order. Hell, I didn’t know much about his music, but the message of his integrity came through loud and clear to me over the years. The word is that the officially released music that the public got to hear in his lifetime as an artist was only a sliver compared to what he has stored away in his vault. So, be forewarned music industry people! Do it once and do it right when you begin the mining! Otherwise, the mirror will be held up to you once again.

–Steve Talia



Mott (Mott The Hoople) To Get Limited Edition Remastered Vinyl Reissue

Mott Mott The HoopleMany of us have those classic albums in our lives. Some of them are so important to us in many, many ways. They can be an incredible bookmark, an effective soundtrack to a point in our time-span. They can be perfect through and through, every song a masterpiece. They can be the best album in a favorite band’s body of work. Whatever they are, they’re perfect for us. Therefore, they never lose value. They never lose traction. They always seem to hang out in our minds somewhere. You know exactly what I’m talking about.

For me, one of those albums is Mott by Mott The Hoople. Released in 1973, Mott represented – in many ways – the end of Mott The Hoople. It was the last to feature Mick Ralphs before his departure to the brighter lights and bigger stages of Bad Company. Of course, The Hoople, which followed up Mott, was the swan song of the band. And it was good. But Mott was just classic, start to finish.

It’s with great delight that I can tell you that Mott is being reissued in vinyl form and featuring brand new remastering. And it’s not just a run of the mill re-release designed to capture a bit of the surging market of vinyl repurchases. It’s being lovingly reproduced for the serious fan of Mott by Drastic Plastic, a reissue label from Omaha, Nebraska. The label already have  200g (black) and 150g (opaque red color) vinyl reissues (with new remastering) of All The Young Dudes, currently available at their web store.

This vinyl LP edition of Mott will be limited in production. There will only be 1000 copies pressed. It will be a split run that will provide 500 LPs, pressed on 200g(!) weight black vinyl with another 500 copies being pressed on 150g-weight white vinyl.

The jackets for the black vinyl will be foil-numbered in silver, while the jackets for the white colored vinyl will be foil-numbered in gold. Both issues will feature the original artwork, just as it was originally released.

Currently, the hope is for a nearby release date for Mott. But there is a surge in vinyl pressing popularity that sometimes obscures even the most hopeful of dates. Bear in mind that a date is close and will soon be here. And remember, there will only be 1000 copies pressed.



New Tegan and Sara Album, Love You To Death, In June

If you’re a fan of Tegan and Sara, then it should please you to know that their next album, Love You To Death, is slated for release on June 3. The duo released a front-running single, “Boyfriend”, as well as a “U-Turn”, on April 8. The new album will feature ten songs.

Love You To Death will be released on CD, DD, and a colored vinyl LP edition.

Tegan And Sara Love