Tell Me :
Talk
Keith Richards/Pierre Perone..........Record Collector ........ ...... June 2010
ROCKMAN
And there you have the problem - do you "bury" the link in an existing thread (as I did in a thread which now seems to have vanished forever) or do you start a brand new thread (as you did) and get it re-buried in another thread because there are too many Wingless Angels threads?
You can't win.
Beautiful post - I love Keith's "colouring" on these tracks, proving that you don't have to play loud and showy to add magic to a song. Wingless Angels are a real love-it-or-hate-it affair - if it doesn't get you, there's nothing you or I or anyone can do about it. I love it.
Talk about your favorite band.
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Re: New Wingless Angels CD to be released....
Posted by:
Amused
()
Date: June 6, 2010 13:24
ROOTS REVIVAL
Keith Richards shines a light on the second coming of Wingless Angels
Some musicians are just meant to connect, no matter how long it takes for the results to hit a record store. This particular meeting of the minds starts back in late 1972, when the Rolling Stones hopped a plane for an extended layover in Kingston, Jamaica—a fitting locale to “simmer down” and ease into the sessions for Goats Head Soup at Byron Lee’s laid-back Dynamic Sounds Studio. As guitarist Keith Richards would jokingly recall later, it seemed the island was one of the few places north of the equator where the band’s raunchy rockstar status didn’t cause a stir.
“In Jamaica, especially at that time, I was just one of the crowd,” he tells reggae archivist and author Roger Steffens. “The Rasta thing was really popping, and there were a lot of young dreads around, so I started to drift up to the villages, up in the hills. They had no idea who the Rolling Stones were. They didn’t even give a shit. I guess we were just taken at face value, and the fact that we all got to know each other—I mean, my kids would be up in Steer Town for weeks at a time – no problem.”
A stone’s throw from the birthplaces of Burning Spear, Bob Marley and Marcus Garvey, the village of Steer Town overlooks the white sands of Ocho Rios, and lies at the virtual nexus of reggae music’s popular roots. It also happens to be the home turf of a gifted singer named Justin Hinds, who cut his teeth with producer Duke Reid in the early ’60s with the ska hit “Carry Go Bring Come.” Hinds and his vocal group, the Dominoes, exerted a profound influence on a young Bob Marley—so much so that in a chance encounter years later, Marley was moved to leap from behind the steering wheel of his BMW so he could share his gratitude with Hinds personally.
“Justin is numero uno,” Richards says. “He’s a diamond. When he comes to mind or when you hear his voice, you just get a nice warm glow. He was always incredibly attuned to what was going on around him, and he would calm other brothers down if they were getting too jumpy, or stop a fight from going on if he had to. The thing is he wasn’t really reggae. He was more rocksteady or ska—that’s what he was into. And on top of that, man, he had the best threads [laughs]. He was just an incredible dresser. I don’t know if he had the tailors working full time or what, but I’ll always remember his style—it was amazing.”
In 1972, Hinds was 30 years old—a year older than Richards, but still a “young dread” with his perennially youthful good looks. He’d just split from Reid and was between recording projects, so he spent a lot of time up in Steer Town, drumming and chanting with the local Rasta elders. Meanwhile, down on the beach at Mammee Bay, Richards had met a few of Hinds’ neighbors, and was invited up the road to sit in on a real live Nyabinghi grounation (celebration) circle. He was hooked immediately.
“As I listened to what they were playing, I thought, ‘This is something else,’” he remembers. “Justin would never put himself forward because he was so humble, so it took me a couple of years to learn who he was, but I could see that sometimes he was playing the bass drum, and that’s what sets the whole thing up. He gave me the nod to start strumming an acoustic, and because he said it was okay, I think the rest of them had to accept it—otherwise I was still just a listener, you know?”
Eventually the drums were brought down to Richards’ house in Ocho Rios, and over the next 20 years or so, whenever he was in Jamaica (and sometimes when he wasn’t), a core group of drummers and singers, including Hinds, would come over to his house to play. Almost always, a portable tape deck would be rolling to capture the mood. “From ’72 on, I have some incredible cassette recordings—and those things still hang today.”
A full-length album was in the cards, and one day in 1995, the planets aligned when Richards, in the middle of an all-night jam, got a knock at his door. Friend and engineer Rob Fraboni, who had worked with the Stones on Goats Head Soup, happened to have a few days free with a mobile recording truck, and he liked what he heard. He set up three microphones in the front room of the house, and within a week the raw tracks for what would become the first Wingless Angels album were committed to tape. As Richards saw it, the name he’d chosen for the group was apt: each member sang and played as if possessed by a higher power, but they were all right here, walking the earth.
Of course, many rivers have been crossed since Wingless Angels debuted in 1997 on Richards’ Mindless imprint, through a deal with Chris Blackwell and Island Records. Original group member Vincent “Jackie” Ellis passed on just before the album was released. In 2005, Justin Hinds succumbed to lung cancer, and within months of Hinds, drummer Locksley Whitlock died. The story might have ended there had Richards not already had the foresight to roll tape the year before Hinds’ death, this time with a slightly more professional studio setup. It’s been a long time coming, but this second chapter of Wingless Angels is a fitting tribute to Hinds and his brethren.
“You have to remember, nothing was planned—not the first one, and not this one,” Richards says, explaining that the most essential element of any jam with Wingless Angels was the freedom of it; recording it was almost an afterthought, sometimes even a hindrance, so any taping had to be done in a stripped-down, non-intrusive way in order to preserve the natural flow of the music. “You can’t get artsy with the tracks or anything. It is what it is. I realized early on that this was the way I wanted to record this band. They’ve got to feel free just to do it, and that’s it.”
Richards turned to bassist, engineer and producer Brian Jobson to organize the second recording in a friend’s studio space in the Coyaba botanical gardens, above Ocho Rios. “We jammed for a couple nights before we went in,” Jobson recalls, “so there was a continuity going. We just miked up all of the drums, then Justin was to one side with a mic on his voice alone, and he was playing a drum as well. It was very organic, yunno? Justin would just say, ‘Okay, let’s take up a beat,’ and he would start chanting, with the drums going. We’d start in the afternoon and go ’til 11 or 12 o’clock at night.”
By turns sacramental and bluesy, elegiac and uplifting, extra dry and heavy, the songs here burn with the unwavering flame of rightful conviction that fuels all Rasta beliefs. “Shady Tree” is not only emblematic of Hinds’ proverb-like lyricism—a signature going back to his earliest work with the Dominoes—but as a vehicle for his voice, the song demonstrates he’d lost none of the silky and soulful delivery that made, for example, his two late ’70s albums with producer Jack Ruby, Jezebel and Just In Time, such moving roots classics. For his part, Richards is keyed in, as always, to the underlying root melody of the chant, whether in the sustained guitar chords of “Zion Bells” or the sweetly layered riffs, panned in stereo, on the centerpiece track “Oh What A Joy.” Throughout the album, the ever-reliable backing vocals of Maureen Fremantle, Locksley Whitlock, Warrin Williamson and Milton “Neville” Beckerd seem at times either to lift the music skyward (“Band of Angels”) or keep it firmly grounded (“Come Down”), depending on where Hinds and the heartbeat of the drums may lead them.
As Richards likes to describe it, Wingless Angels make “marrow music.” As old as time itself, this is the Nyabinghi style—calling on the drum and voice to make music that cuts right to the bone, stripping away all but the essence, the raw and righteous spirit of the common people. “I think everybody knows what they have to do day in and day out,” Richards observes, “and this music is a way of separating from that, and getting as pure a spirit going as you can. Everybody knows that you’re still living on this earth, and you’re still gonna have to go through whatever you gotta go through, but it’s a release—an uplifting moment where you can actually forget all your sorrows and cares.”
Keith Richards shines a light on the second coming of Wingless Angels
Some musicians are just meant to connect, no matter how long it takes for the results to hit a record store. This particular meeting of the minds starts back in late 1972, when the Rolling Stones hopped a plane for an extended layover in Kingston, Jamaica—a fitting locale to “simmer down” and ease into the sessions for Goats Head Soup at Byron Lee’s laid-back Dynamic Sounds Studio. As guitarist Keith Richards would jokingly recall later, it seemed the island was one of the few places north of the equator where the band’s raunchy rockstar status didn’t cause a stir.
“In Jamaica, especially at that time, I was just one of the crowd,” he tells reggae archivist and author Roger Steffens. “The Rasta thing was really popping, and there were a lot of young dreads around, so I started to drift up to the villages, up in the hills. They had no idea who the Rolling Stones were. They didn’t even give a shit. I guess we were just taken at face value, and the fact that we all got to know each other—I mean, my kids would be up in Steer Town for weeks at a time – no problem.”
A stone’s throw from the birthplaces of Burning Spear, Bob Marley and Marcus Garvey, the village of Steer Town overlooks the white sands of Ocho Rios, and lies at the virtual nexus of reggae music’s popular roots. It also happens to be the home turf of a gifted singer named Justin Hinds, who cut his teeth with producer Duke Reid in the early ’60s with the ska hit “Carry Go Bring Come.” Hinds and his vocal group, the Dominoes, exerted a profound influence on a young Bob Marley—so much so that in a chance encounter years later, Marley was moved to leap from behind the steering wheel of his BMW so he could share his gratitude with Hinds personally.
“Justin is numero uno,” Richards says. “He’s a diamond. When he comes to mind or when you hear his voice, you just get a nice warm glow. He was always incredibly attuned to what was going on around him, and he would calm other brothers down if they were getting too jumpy, or stop a fight from going on if he had to. The thing is he wasn’t really reggae. He was more rocksteady or ska—that’s what he was into. And on top of that, man, he had the best threads [laughs]. He was just an incredible dresser. I don’t know if he had the tailors working full time or what, but I’ll always remember his style—it was amazing.”
In 1972, Hinds was 30 years old—a year older than Richards, but still a “young dread” with his perennially youthful good looks. He’d just split from Reid and was between recording projects, so he spent a lot of time up in Steer Town, drumming and chanting with the local Rasta elders. Meanwhile, down on the beach at Mammee Bay, Richards had met a few of Hinds’ neighbors, and was invited up the road to sit in on a real live Nyabinghi grounation (celebration) circle. He was hooked immediately.
“As I listened to what they were playing, I thought, ‘This is something else,’” he remembers. “Justin would never put himself forward because he was so humble, so it took me a couple of years to learn who he was, but I could see that sometimes he was playing the bass drum, and that’s what sets the whole thing up. He gave me the nod to start strumming an acoustic, and because he said it was okay, I think the rest of them had to accept it—otherwise I was still just a listener, you know?”
Eventually the drums were brought down to Richards’ house in Ocho Rios, and over the next 20 years or so, whenever he was in Jamaica (and sometimes when he wasn’t), a core group of drummers and singers, including Hinds, would come over to his house to play. Almost always, a portable tape deck would be rolling to capture the mood. “From ’72 on, I have some incredible cassette recordings—and those things still hang today.”
A full-length album was in the cards, and one day in 1995, the planets aligned when Richards, in the middle of an all-night jam, got a knock at his door. Friend and engineer Rob Fraboni, who had worked with the Stones on Goats Head Soup, happened to have a few days free with a mobile recording truck, and he liked what he heard. He set up three microphones in the front room of the house, and within a week the raw tracks for what would become the first Wingless Angels album were committed to tape. As Richards saw it, the name he’d chosen for the group was apt: each member sang and played as if possessed by a higher power, but they were all right here, walking the earth.
Of course, many rivers have been crossed since Wingless Angels debuted in 1997 on Richards’ Mindless imprint, through a deal with Chris Blackwell and Island Records. Original group member Vincent “Jackie” Ellis passed on just before the album was released. In 2005, Justin Hinds succumbed to lung cancer, and within months of Hinds, drummer Locksley Whitlock died. The story might have ended there had Richards not already had the foresight to roll tape the year before Hinds’ death, this time with a slightly more professional studio setup. It’s been a long time coming, but this second chapter of Wingless Angels is a fitting tribute to Hinds and his brethren.
“You have to remember, nothing was planned—not the first one, and not this one,” Richards says, explaining that the most essential element of any jam with Wingless Angels was the freedom of it; recording it was almost an afterthought, sometimes even a hindrance, so any taping had to be done in a stripped-down, non-intrusive way in order to preserve the natural flow of the music. “You can’t get artsy with the tracks or anything. It is what it is. I realized early on that this was the way I wanted to record this band. They’ve got to feel free just to do it, and that’s it.”
Richards turned to bassist, engineer and producer Brian Jobson to organize the second recording in a friend’s studio space in the Coyaba botanical gardens, above Ocho Rios. “We jammed for a couple nights before we went in,” Jobson recalls, “so there was a continuity going. We just miked up all of the drums, then Justin was to one side with a mic on his voice alone, and he was playing a drum as well. It was very organic, yunno? Justin would just say, ‘Okay, let’s take up a beat,’ and he would start chanting, with the drums going. We’d start in the afternoon and go ’til 11 or 12 o’clock at night.”
By turns sacramental and bluesy, elegiac and uplifting, extra dry and heavy, the songs here burn with the unwavering flame of rightful conviction that fuels all Rasta beliefs. “Shady Tree” is not only emblematic of Hinds’ proverb-like lyricism—a signature going back to his earliest work with the Dominoes—but as a vehicle for his voice, the song demonstrates he’d lost none of the silky and soulful delivery that made, for example, his two late ’70s albums with producer Jack Ruby, Jezebel and Just In Time, such moving roots classics. For his part, Richards is keyed in, as always, to the underlying root melody of the chant, whether in the sustained guitar chords of “Zion Bells” or the sweetly layered riffs, panned in stereo, on the centerpiece track “Oh What A Joy.” Throughout the album, the ever-reliable backing vocals of Maureen Fremantle, Locksley Whitlock, Warrin Williamson and Milton “Neville” Beckerd seem at times either to lift the music skyward (“Band of Angels”) or keep it firmly grounded (“Come Down”), depending on where Hinds and the heartbeat of the drums may lead them.
As Richards likes to describe it, Wingless Angels make “marrow music.” As old as time itself, this is the Nyabinghi style—calling on the drum and voice to make music that cuts right to the bone, stripping away all but the essence, the raw and righteous spirit of the common people. “I think everybody knows what they have to do day in and day out,” Richards observes, “and this music is a way of separating from that, and getting as pure a spirit going as you can. Everybody knows that you’re still living on this earth, and you’re still gonna have to go through whatever you gotta go through, but it’s a release—an uplifting moment where you can actually forget all your sorrows and cares.”
Re: New Wingless Angels CD to be released....
Posted by:
Silver Dagger
()
Date: June 6, 2010 13:25
Is Sonny Barger still with them?
Re: New Wingless Angels CD to be released....
Posted by:
whitem8
()
Date: June 6, 2010 13:28
Yeah all the rumors about fighting and falling out and boom! keith comes out with something from the heart! Wonderful, thanks Rockman for the alert.
Re: New Wingless Angels CD to be released....
Posted by:
Rockman
()
Date: June 6, 2010 13:30
Keith Richards/Pierre Perone..........Record Collector ........ ...... June 2010
ROCKMAN
Re: New Wingless Angels CD to be released....
Posted by:
Justin
()
Date: June 6, 2010 23:06
A lot of artists have been doing album-themed shows...Brian Wilson, Van Morrison, Roger Waters...devoting the entire show just to a full album. A shame the Stones have no interest to also do it. But we've already discussed in another thread why it'd probably be best if the Stones don't touch Exile live...
Re: New Wingless Angels CD to be released....
Posted by:
austrianstones
()
Date: June 7, 2010 21:03
i like this wingless angels stuff very much ! great there`s more coming ...
it`s really a good mood music in an carribean summer or somewhere else
it`s really a good mood music in an carribean summer or somewhere else
Re: New Wingless Angels CD to be released....
Posted by:
andy js
()
Date: June 7, 2010 21:21
If the Stones could pull of an 'Exile' gig nobody would be happier than me
But you only need to listen to the album to realise half of it wouldnt work live even back in the day. Never mind now
But you only need to listen to the album to realise half of it wouldnt work live even back in the day. Never mind now
Re: New Wingless Angels CD to be released....
Posted by:
fiftyamp
()
Date: June 8, 2010 03:56
Great News! Looking forward to it
Re: New Wingless Angels CD to be released....
Posted by:
JJFlash2010
()
Date: June 8, 2010 04:12
Really glad Keith is putting out this new one. I still have my copy of the original first cd. I wonder if I could upload it to the buy/sell/trade forum, since it's long out of print? I could put up rapid share links or something if it would be allowed. Probably most people on this board have most everything anyway. Just a thought..... If not, if anyone needs it, I suppose you could pm me. Actually, do you have pm's on this site?
Re: New Wingless Angels CD to be released....
Posted by:
JJFlash2010
()
Date: June 8, 2010 04:45
And by "copy", I mean the original cd I bought in the store. It's my copy. I'll wait to hear back from bv on it. Maybe I should sell it on ebay. I sold my Stones tongue phone there. Anyone ever seen one of those little tongue clocks they sold around the time of the phones? I've still got that.
Re: New Wingless Angels CD to be released....
Posted by:
with sssoul
()
Date: June 8, 2010 10:28
more Wingless Angels?! what a beautiful buzz :E
Re: Wingless Angels II
Posted by:
inopeng
()
Date: June 8, 2010 06:43
What a great sound...thrilled to have a whole disc of this stuff coming...
Free download: Great new Keith Richards track
Posted by:
twenny revlights
()
Date: June 8, 2010 11:34
Yeah I know you could find this info buried in one of
threads announcing a new Wingless Angels album, but I
think it deserves highlighting because, with all the
talk about what Keith supposedly cannot do anymore,
this track shows off wonderfully what it is that Keith
and only Keith can do. Since I don't think this skill
has an agreed-upon name, I'll have to come up with
something, but first, if you haven't already, do
yourself a favor and download the track and listen
to it a few times. I mean, REALLY listen to the
acoustic guitar...
[www.winglessangels.com]
Oh what a joy. And a comfort.
I remember when Forty Licks was released, Keith stated
his only contribution to "Don't Stop" was to "add
colors" to it. He didn't play rhythm on it, he didn't
play lead, he played "colors". And that's exactly what
he does on this Wingless track. Rhythm guitar would have
added nothing, the drums being all the rhythm anyone
could wish for. And there's just no place for lead guitar
whatsoever. So Keith has discovered the perfect solution
on guitar. Colors.
More and more I hear hardcore Stones fans complain about
the fact that it is less common these days for Keith to
rip off a fiercely on-point solo or completely take
the driver's seat at the front of the rhythm section.
And I agree that it is true. The glories of the past
haunt us all, mainly because they can never be revisited.
But please don't let the brilliance of the past blind
you to the immense pleasures of the present and future.
Please don't miss the amazing colors that Mick and
Keith and company are still producing.
Which bring me back around to "Following the River".
The key line in this song I think is when Mick says
to the lover he is sorrowfully leaving, "Because you
always saw the best in me." That is very much one of
Mick's double-edged lines. Because in this case he is
directing it to all those of you who always measure the
Stones against a specific skill set that necessarily
peaks, even for demi-gods like Mick and Keith, in
one's twenties and thirties. Mick is saying, if all you
can see of us is what we could do best years ago, then...
Goodbye. We'll miss you. But goodbye.
The song then goes on to say, for the rest of you, who
are sticking with us, me and Keith are going to do our
very best to keep on rolling, like the big muddy, until
it joins hands with the sea, that is, until death do
us part.
To which I say... Oh what a joy. And a comfort.
threads announcing a new Wingless Angels album, but I
think it deserves highlighting because, with all the
talk about what Keith supposedly cannot do anymore,
this track shows off wonderfully what it is that Keith
and only Keith can do. Since I don't think this skill
has an agreed-upon name, I'll have to come up with
something, but first, if you haven't already, do
yourself a favor and download the track and listen
to it a few times. I mean, REALLY listen to the
acoustic guitar...
[www.winglessangels.com]
Oh what a joy. And a comfort.
I remember when Forty Licks was released, Keith stated
his only contribution to "Don't Stop" was to "add
colors" to it. He didn't play rhythm on it, he didn't
play lead, he played "colors". And that's exactly what
he does on this Wingless track. Rhythm guitar would have
added nothing, the drums being all the rhythm anyone
could wish for. And there's just no place for lead guitar
whatsoever. So Keith has discovered the perfect solution
on guitar. Colors.
More and more I hear hardcore Stones fans complain about
the fact that it is less common these days for Keith to
rip off a fiercely on-point solo or completely take
the driver's seat at the front of the rhythm section.
And I agree that it is true. The glories of the past
haunt us all, mainly because they can never be revisited.
But please don't let the brilliance of the past blind
you to the immense pleasures of the present and future.
Please don't miss the amazing colors that Mick and
Keith and company are still producing.
Which bring me back around to "Following the River".
The key line in this song I think is when Mick says
to the lover he is sorrowfully leaving, "Because you
always saw the best in me." That is very much one of
Mick's double-edged lines. Because in this case he is
directing it to all those of you who always measure the
Stones against a specific skill set that necessarily
peaks, even for demi-gods like Mick and Keith, in
one's twenties and thirties. Mick is saying, if all you
can see of us is what we could do best years ago, then...
Goodbye. We'll miss you. But goodbye.
The song then goes on to say, for the rest of you, who
are sticking with us, me and Keith are going to do our
very best to keep on rolling, like the big muddy, until
it joins hands with the sea, that is, until death do
us part.
To which I say... Oh what a joy. And a comfort.
Re: Free download: Great new Keith Richards track
Posted by:
marcovandereijk
()
Date: June 8, 2010 12:25
Great post!
Don't have the time to respond on the content of your post, but I enjoyed reading it.
Don't have the time to respond on the content of your post, but I enjoyed reading it.
Re: Free download: Great new Keith Richards track
Posted by:
KeithNacho
()
Date: June 8, 2010 12:51
i must hear this tune................
Re: Free download: Great new Keith Richards track
Posted by:
austrianstones
()
Date: June 8, 2010 12:57
well said 
Re: Free download: Great new Keith Richards track
Posted by:
KeithNacho
()
Date: June 8, 2010 13:08
Is it MT in it??? Does he play any lick or solo??
Re: Free download: Great new Keith Richards track
Posted by:
Rolling Hansie
()
Date: June 8, 2010 13:26
Thanks
-------------------
Keep On Rolling
-------------------
Keep On Rolling
Re: Free download: Great new Keith Richards track
Posted by:
souldoggie
()
Date: June 8, 2010 13:46
Thanks twenny revlights, best post I've read on this forum in a long, long time.
Re: Free download: Great new Keith Richards track
Posted by:
SwayStones
()
Date: June 8, 2010 13:53
Well written,twenny .Thanks for the link .
with all the
talk about what Keith supposedly cannot do anymore,
To answer to this part of your post, I just want to say that "Keith cannot do anymore" was ,IMO,meant about his playing on stage ,don't you think ?
I am a Frenchie ,as Mick affectionately called them in the Old Grey Whistle Test in 1977 .
with all the
talk about what Keith supposedly cannot do anymore,
To answer to this part of your post, I just want to say that "Keith cannot do anymore" was ,IMO,meant about his playing on stage ,don't you think ?
I am a Frenchie ,as Mick affectionately called them in the Old Grey Whistle Test in 1977 .
Re: Free download: Great new Keith Richards track
Posted by:
windmelody
()
Date: June 8, 2010 15:09
Sorry, but I cannot help laughing my head off, I would need lots of grass to find joy and comfort while listening to this. I wish these guys all the best, but I doubt that this album will bring prosperity through unity, as each and every man has to understand. It is fine if they had a nice time.
Re: Free download: Great new Keith Richards track
Posted by:
Stones Blah
()
Date: June 8, 2010 15:15
[quote="twenny revlight
I mean, REALLY listen to the
acoustic guitar.
[/quote]
I REALLY listened but I don't hear any acoustic guitar???!!!
I mean, REALLY listen to the
acoustic guitar.
[/quote]
I REALLY listened but I don't hear any acoustic guitar???!!!
Re: Free download: Great new Keith Richards track
Posted by:
Green Lady
()
Date: June 8, 2010 15:43
Quote
twenny revlights
Yeah I know you could find this info buried in one of
threads announcing a new Wingless Angels album,
And there you have the problem - do you "bury" the link in an existing thread (as I did in a thread which now seems to have vanished forever) or do you start a brand new thread (as you did) and get it re-buried in another thread because there are too many Wingless Angels threads?
You can't win.
Beautiful post - I love Keith's "colouring" on these tracks, proving that you don't have to play loud and showy to add magic to a song. Wingless Angels are a real love-it-or-hate-it affair - if it doesn't get you, there's nothing you or I or anyone can do about it. I love it.
Re: Free download: Great new Keith Richards track
Posted by:
Green Lady
()
Date: June 8, 2010 21:42
oh no, it's her again...
When you download the track, you have to give your email address, and this is the email I just got:
Wingless Angels II Announced
Wingless Angels:
Justin Hinds & Jamaican Nyabinghi Drummers, Featuring Keith Richards
September Deluxe Box Set with Exclusive Online Offerings, Archival Photos, Interviews and Keith Richards Illustrations
Keith Richards' tribute to his decades-long friendship with legendary ska and reggae singer Justin Hinds has a new chapter. Produced by Brian Jobson, Wingless Angels II (Mindless Records; reorders: August 1, release: September 23, 2010), is a collection of new recordings featuring Hinds' last sessions before his passing, and a special re-release of the much-sought-after original album, long out of print.
To honor Hinds' memory, both albums will be released in a redesigned double CD, complete with lavish liner notes. A deluxe edition, available only at www.winglessangels.com, will include drawings by Richards inspired by his Jamaican friends, and a limited number of copies will be signed by Richards himself. Digital downloads of the albums will be available worldwide from iTunes, Amazon and eMusic.
"I think Nyabinghi music gets as pure a spirit going as you can imagine," Richards explains. "It's about uplifting moments where you forget all of the sorrows and cares of the world."
When you download the track, you have to give your email address, and this is the email I just got:
Wingless Angels II Announced
Wingless Angels:
Justin Hinds & Jamaican Nyabinghi Drummers, Featuring Keith Richards
September Deluxe Box Set with Exclusive Online Offerings, Archival Photos, Interviews and Keith Richards Illustrations
Keith Richards' tribute to his decades-long friendship with legendary ska and reggae singer Justin Hinds has a new chapter. Produced by Brian Jobson, Wingless Angels II (Mindless Records; reorders: August 1, release: September 23, 2010), is a collection of new recordings featuring Hinds' last sessions before his passing, and a special re-release of the much-sought-after original album, long out of print.
To honor Hinds' memory, both albums will be released in a redesigned double CD, complete with lavish liner notes. A deluxe edition, available only at www.winglessangels.com, will include drawings by Richards inspired by his Jamaican friends, and a limited number of copies will be signed by Richards himself. Digital downloads of the albums will be available worldwide from iTunes, Amazon and eMusic.
"I think Nyabinghi music gets as pure a spirit going as you can imagine," Richards explains. "It's about uplifting moments where you forget all of the sorrows and cares of the world."
Re: New Wingless Angels CD to be released....
Posted by:
Rocky Dijon
()
Date: June 8, 2010 22:17
Twenny Redlights, that was from the soul. Beautiful and heartfelt. Thanks for sharing your thoughts.
Re: New Wingless Angels CD to be released....
Posted by:
Rocky Dijon
()
Date: June 8, 2010 22:28
Just saw Lili Haydn adds violin to WINGLESS ANGELS II. She did a nice job on "Any Way You Look At It" during the BRIDGES TO BABYLON sessions. This will be nice to hear. Laid-back Sunday Morning Music.
Re: New Wingless Angels CD to be released....
Posted by:
jp.M
()
Date: June 9, 2010 00:53
...just the keith's guitars on the record..!!??
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