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Old music: The Beach Boys – She Knows Me Too Well

- Source: The Guardian Music Blog

She Knows Me Too Well is one of those troubling songs that the 60s throw out without anyone, at the time, seeming to notice its undertow (the prime example, where it's not even an undertow, being the Crystals' He Hit Me (And It Felt Like a Kiss) ). It's a portrayal of the kind of man – capable of sweetness and vileness in equal measure – who prompts the posters on Mumsnet to tell their online friends: "You must leave this man before he turns violent. Run! Run for the hills!"

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The Beach Boys – “That’s Why God Made the Radio”

- Source: Stereogum

The Beach Boys, together with estranged sonic genius Brian Wilson for the first time in decades, played the first show of their reunion tour last night in Tucson, playing a long set of classics that included a few covers and the brand-new reunion single "That's Why God Made The Radio."

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The Beach Boys confirm June release for new album

- Source: GIGWISE

The Beach Boys have confirmed details of brand new album 'That's Why God Made The Radio', to be released in June. The unexpected new material is being released to coincide with the 50th anniversary of the band and sees Brian Wilson reuniting with Mike Love, Al Jardine, Bruce Johnston, and David Marks to release the group's 29th album.

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Lemme Get an Encore: The Beach Boys

- Source: Consequence of Sound

In less than a week, The Beach Boys – read: Brian Wilson, Mike Love, Al Jardine, Bruce Johnston, and David Marks – will embark on their 50th anniversary tour, which includes a highly-anticipated headlining performance at New Orleans Jazz & Heritage Festival next weekend.

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KISHI BASHI

- Source: The Recommender

Check the Wikipedia entry for the genre of progressive rock music and it quotes John Covach who explained it as an " attempt to elevate rock music to new levels of artistic credibility ".

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Lambchop - Gone Tomorrow Video

- Source: VIVA INDIE ROCK

I can't describe this better than they do on the Lambchop website: "As on past Lambchop records, many of the songs on Mr. M are framed with lush strings, and there's a restrained undercurrent of distortion and discord. The core of the music remains the cyclical picking of Wagner's guitar and the soft, warm croaking of his voice. The songs are spacious, even dreamy, as on the Countrypolitan instrumental "Gar," while the lyrics and titles are rich with allusions, some of them obvious, others seemingly unknowable.

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