Notes: In the mid-80s, Connors took a partial break from music and focused instead on the art of haiku, for which he received the Lafcadio Hearn Award in 1987. With his wife Suzanne Langille he also co-wrote an article on blues and haiku, "The Dancing Ear," published in the Haiku Society of America's journal. It was during this period that Connors penned the material that appears in Autumn's Sun, a chapbook first published by Thurston Moore and Byron Coley's Glass Eye in 1999. The text features diary excerpts from 1987, lyrically fragmented observations interspersed with haiku-like poems that paint an idyllic impression of the passing seasons in his home of New Haven, Connecticut. With synesthetic perception, Connors gazes from tranquil domestic streets. Sycamore, elm, and catalpa trees are activated by the breeze and made to rustle in unison with their natural and artificial surroundings, including the howling dogs from which Connors derived his "Mazzacane" moniker. As summer fades to winter, Connors portrays death as an undramatic certitude, the flux of his own maturation reflected in musings on his son's. Like his music, Autumn's Sun is tender without being sentimental, conjuring those rare, delicate moments when time stands still.
This edition includes "The Dancing Ear" and an introduction by Lawrence Kumpf.
Review: A LOT can happen in eight years. Just ask Jennah Barry. Releasing her debut solo album in 2012, 'Young Men', between then and now she embarked on an intimidatingly exhaustive tour, went under the surgical knife for an operation that could have laid waste to her entire singing (and, by proxy, musical) career, and gave birth to her first child. Like so many people who have experienced their fair share of life, 'Holiday', the long-awaited response, is as carefree and confident as it is heartfelt, empathetic and sincere. It's country-acoustic-folk-rock business that comes with the kind of sunny disposition reserved for people who acknowledge the bad, and do their best to counter that, but are fundamentally appreciative of still being in a position to see and comment on those downsides.
Review: The NME themselves called this particular show from 1965 "the greatest pop show in the world." Even if you do take that with a pinch of salt, the recording speaks for itself and does a good job of capturing the ambiance, crowd noise and all, of the 3.5 hour show in front of 10,000 fans at Wembley's Empire Pool. The Beatles weren't the only band to play - Tom Jones, The Kinks, The Rolling Stones and Dusty Springfield were amongst many other headliners - so they only performed five songs. Each one is captured here, and each one is a classic in its own right.