Kelley truly came into his own upon his arrival to San Francisco. There, Stoltz recorded his debut album The Past Was Faster, which was barely released before the label declared bankruptcy and all copies were locked away in a government warehouse. With all instruments and vocals performed by Stoltz, the singularity of vision here is impeccably clear and executed.īorn and raised in suburban Detroit, Kelley Stoltz hopped off to NYC in the mid-Nineties with the mild task of sorting fan mail for Jeff Buckley.
#Eminem show track 18 full#
a full two decades after he recorded them! The cutting room floor quality here is second-to-none, Stoltz clearly gifted with the curse of writing too many indelible songs, so the newly released “ Too Beck” (originally cast off by Kelley because he thought “it sounded too much like Beck”) and “ Umbrella” stand firm as some of the best, most timeless music Stoltz has ever released. On the expanded version, standout tracks previously relegated to an Australian tour-only CD (like the breathlessly cinematic “ Old Pictures”) see their first-ever vinyl and digital release while there’s an additional 10 songs from the Antique Glow-era seeing their first ever release in any format. Sixties Davies British Invasion through 80’s British Bunnymen post-punk, with appropriate off-shoots into West Coast American pop-psych, Velvets-indebted hooliganism and Drake/CSNY acoustic attenuations, the end result is pure joy.
From the whispering “Here Comes the Sun”-adjacent acoustic underpinnings of album opener “ Perpetual Night” through the fuzz-threaded leads of “ Are You Electric?” Stoltz’s inspirations are impeccable and clear. The songs are by-and-large masterpieces of bedroom pop magic. Original copies featured Stoltz’s clever, wry and fanciful hand-painted adornments overtop reclaimed thrift store LP jackets, Third Man’s release here utilizes some of those original unused images for a die-cut sleeve that ultimately gives the listener ten different possible album covers.
Originally self-released in minuscule vinyl-only quantities in 2001, Antique Glow has served not only as a template for the length of Kelley Stoltz’s twenty-plus year career, but has also served as a compass for other Anglophile, TASCAM 388 home recording acolytes. " I really love the Neil Young Zuma vibe of this song.” “ Recorded at home and with Kevin Ink at his studio in SF… I wanted to make a rain storm with cymbals and reverb tank crashes at the end outro," Stoltz says. Join Stoltz in celebrating the album's release with a show at San Francisco's Great American Music Hall on November 19, featuring support from Vetiver and Almond Joy. Limited-edition silver indie store exclusive vinyl and limited-edition "rainy nights" UK exclusive vinyl will be available on release day. Stream the track HERE, and watch its accompanying video HERE. Heavyweight double vinyl produced by Interscope Records in 2002.Kelley Stoltz has shared " Umbrella," a bonus track from the 20th anniversary expanded edition of his defining album Antique Glow, due November 19, 2021 via Third Man Records. The album features the singles "Without Me", "Cleanin' Out My Closet", "Superman" and "Sing for the Moment". From a brutal retort to his long-estranged and equally troubled mother ("Cleaning Out My Closets") to a surprisingly tender ode to his child ("Hailie's Song"), Eminem examines his life, loves, arrests, addictions, failures, and successes with surprising insight, making this a funk-drenched hip-hop confessional well worth the hype. Armed with a quicksilver flow and a thundering rhythm track, "White America" finds Eminem ferociously mauling the hand that feeds him, lambasting his critics, the industry, and the racism that, in many ways, helped make Marshall Mathers more than just another rapper.Īfter the bombast of The Marshall Mathers LP and Eminem's well-noted use of sexual epithets, this kind of material is made more controversial because it actually rings true. Any lingering doubts as to the depth of Eminem's skills or his potential for raw yet compelling honesty are dispelled on The Eminem Show's first track.
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