Monthly Archive: February 2020

Ozzy & Huey & Bieber. Oh, my !


Justin Bieber: Changes
Justin Bieber is ready to give the world insight into events that have taken place in his life over the past four years. From marriage to faith and his new outlook on life, Justin is reflecting on changes he’s experienced and the impact they’ve had on him. “Changes” marks a new chapter in his career. The album hinges on themes of personal growth through life experiences, love and commitment, creatively expressed through music, giving a candid look into his evolution as an artist and human being.



Tame Impala: The Slow Rush
the fourth album from Tame Impala (Kevin Parker). Recorded between Los Angeles and his studio in his hometown of Fremantle, Australia, the twelve tracks were produced and mixed by Parker. The Slow Rush is Parker’s deep dive into the oceans of time, conjuring the feeling of a lifetime in a lightning bolt, of major milestones whizzing by while you’re looking at your phone.



Huey Lewis & The News: Weather
the first album in 10 years by West Coast rockers Huey Lewis & The News. Weather is the 10th album from the band and the long-awaited follow-up to their 2010 album Soulsville. Weather is their first release of original material since 2001’s Plan B, and features the new single “While We’re Young,” the first single, “Her Love Is Killin’ Me,” a cover of Eugene Church’s “Pretty Girls Everywhere” and “One of the Boys,” which Lewis wrote for Willie Nelson. The band recorded Weather at their Troutfarm Studio in Marin County, Calif., and brought in Bob Clearmountain, who helped out on some of their biggest hits, to mix the record.



Nathaniel Rateliff: And It’s Still Alright
Nathaniel Rateliff has written and recorded his first solo record since the explosive debut of his work together with The Night Sweats. And It’s Still Alright is an intensely personal 10-song album of vibrant country-blues, badland ballads, ornate Americana and jazz-inflected R&B. Rateliff’s warm baritone, ranging from gently hushed to a guttural howl, imbues these superbly drawn character studies with raw, naked emotion.



Posehn: Grandpa Metal
Comedian Brian Posehn has friends in metal places. The Uncle Nick star has corralled a murderer’s row of metal and rock help for his new metal album Grandpa Metal, released on Megaforce Records. Produced by Jay Ruston (Anthrax), the album features a massive list of guest collaborators, including Fall Out Boy members Patrick Stump and Joe Trohman, Dokken’s Jeff Pilson, “Weird” Al Yankovic, Dethklok’s Brendon Small, Anthrax’s Scott Ian and Jonathan Donais and Slipknot’s Corey Taylor.



THIRD MIND
Dave Alvin, Victor Krummenacher (Cracker, Camper Van Beethoven), Michael Jerome (Toadies, Better Than Ezra) and David Immerglück (Counting Crows, Camper Van Beethoven) form the core of this group of seasoned musicians, who have joined forces to take a trip back to the psychedelic folk/rock sound of the late 1960s and early 1970s. They put their own spin on songs made famous by Alice Coltrane, 13th Floor Elevators, Fred Neil and others, plus an original song, Claudia Cardinale,.



Ozzy: Ordinary Man
Marking his first new solo music in almost 10 years, the album has been preceded by the release of three singles, the #1 rock track “Under The Graveyard,” which was followed by “Straight To Hell” featuring Guns N’ Roses guitarist Slash and “Ordinary Man” featuring Elton John.
“It was a lot of fun to do though it’s a lot different from my other albums,” OZZY says of the album. “We recorded it quickly, which I haven’t done since the first Black Sabbath album. This made it a different process, which I actually enjoyed.”
Recorded in Los Angeles, the album features producer Andrew Watt on guitars, Duff McKagan (Guns N’ Roses) on bass and Chad Smith (Red Hot Chili Peppers) on drums. Beyond the core band, ORDINARY MAN, features a who’s-who of OZZY friends and collaborators including Elton John, Post Malone, and Tom Morello.
“It all just came together,” OZZY explains of the guest stars. “Slash is a dear friend of mine, as is Elton. When I was writing ‘Ordinary Man,’ it reminded me of an old Elton song and I said to Sharon, ‘I wonder if he would sing on it?’ We asked and lo and behold, he agreed and sings and play piano on the song.”



Sonny Landreth: Blacktop Run
mixes genres and styles across a landscape of lyricism and rootsy grooves. A percussive burst of acoustic resonator guitar pushes the narrator on a journey “between the life I left and the edge of next” in the title cut of guitarist, songwriter and bandleader Sonny Landreth’s 14th album. As the singer feels the wind at his back, a rising bass line intersects Landreth’s vocalizing to stretch the fingerpicked tune into Far Eastern melodicism. The south Louisiana artist’s groundbreaking work has long mixed familiarity with experimentation, and this ten-song collection stretches from hard-edged electric instrumentals to wistful acoustic ballads. The project’s range is the fruit of a renewed collaboration. Producer RS Field – who helmed Landreth’s trio of breakout albums – joined the six-stringer and co-producer Tony Daigle to finish the record.



Grimes: Miss Anthropocene
her long awaited new album Miss Anthropocene on 4AD. Includes the singles So Heavy I Fell Through the Earth and Violence and featuring collaborations with 潘PAN and i_o. The album’s name is a pun on the feminine title “Miss”, and the words “misanthrope” and “Anthropocene”, a neologism popularised in the year 2000 by Paul J. Crutzen that was proposed to denote the current geological age the Earth is in. The album is a loose concept album about an “anthropomorphic goddess of climate change” inspired by Roman mythology and villainy. Miss Anthropocene is Grimes’ final album on record label 4AD, to which she has been signed since 2012. Sonically, the album is a departure from Grimes’ 2015 album Art Angels: Miss Anthropocene is primarily darker in style containing inspiration from the sounds of nu metal and ethereal wave compared to Art Angels’ brighter and more upbeat sounds.



Pat Metheny: From This Place
features 10 compositions by Metheny, who is joined by long-time drummer, Antonio Sanchez, Malaysian/Australian bassist Linda May Han Oh, and British pianist Gwilym Simcock as well as the Hollywood Studio Symphony conducted by Joel McNeely. Meshell Ndegeocello (vocals), Gregoire Maret (harmonica), and Luis Conte (percussion) are special guests on From This Place, Metheny’s first album of new material since 2014’s Kin.



Miles Davis: Soundtrack
the definitive audio companion to the critically-acclaimed new documentary directed and produced by Stanley Nelson. The soundtrack is an essential Miles Davis playlist for seasoned fans and new listeners alike, lovingly curated by the director and paired with short audio excerpts from the film for a unique listening experience. It brings together recordings and performances spanning labels and the artist’s musical evolution-from “Donna Lee” to “Moon Dreams” from the groundbreaking 1949 Capitol sessions that were ultimately collected on the album Birth Of The Cool, through the seminal 1950s pieces for Columbia that revolutionized the worlds of jazz and popular music. The album also highlights Miles’s evolution in the 1960s with tracks from Sketches of Spain and Someday My Prince Will Come to his iconoclastic invention of electric jazz/fusion. Finally, it documents his triumphant mid 1980s comeback, while premiering a brand-new track, “Hail To The Real Chief.” The new track features unreleased Miles Davis studio trumpet performances combined with music written by Lenny White, produced by White and Vince Wilburn, Jr and featuring an all-star collection of Miles band alumni and acolytes including White, Wilburn, Marcus Miller, Emilio Modeste, Jeremy Pelt, Antoine Roney, John Scofield, Bernard Wright, and Quinton Zoto.



Courtney Barnett: MTV Unplugged
On October 22nd Courtney Barnett performed a unique and special show at the invitation of MTV Australia in her hometown of Melbourne. The Unplugged performance features Barnett as you’ve never heard her before, warm, vulnerable and emotional. Under a garland of lights and a canopy of florals in the outdoor courtyard of Howler, Barnett performed a stirring set of eight songs to an intimate audience including “Depreston”, “Avant Gardener” and “Sunday Roast”. Joined by her usual band Dave Mudie and Bones Sloane, she also enlisted cellist Lucy Waldron. Barnett made the night even more iconic by inviting some of her favorite musicians to collaborate including legendary songwriter Paul Kelly, angelically-voiced New Zealander Marlon Williams and Milk! Records label-mate Evelyn Ida Morris. The performances included covers of Leonard Cohen, Archie Roach and Seeker Lover Keeper as well as a never-before-heard original track from Courtney herself titled “Play It On Repeat”.



Cindy Cashdollar: Waltz For Abilene
Dobro, lap steel, and steel guitar are all tools of the trade for Cindy Cashdollar, five-time Grammy recipient, who steps out for her long awaited second album, Waltz For Abilene. As before, she has gathered another all-star line-up of guest artists, good friends all, including Sonny Landreth, Amy Helm, Albert Lee, Marcia Ball, John Sebastian, Omar Kent Dykes, Rory Block, & Ray Benson. The thirteen tracks, a combination of both instrumentals and vocals, travel a vast landscape of blues, bayou, swing and traditional, all ending on a poignant note with Cindy’s own composition “Waltz For Abilene”. Her years on the road with Asleep At The Wheel, Dave Alvin, Ryan Adams and Van Morrison amongst others, and appearances on countless albums by a myriad of artists reflects the respect she has earned from her peers for her ability to complement in many different styles. She is THAT good; and so is this album!


New Releases + Free LIVE Music in your future…


Star Blue and The Sea Shells at The Last Record Store
Saturday February 15, 2020 2-4pm
FREE SHOW yes YAY !
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NEW RELEASES out February 8, 2020 (now):


eminem



Meghan Trainor: Treat Myself
is the third major-label studio album by singer-songwriter Meghan Trainor. Treat Myself was preceded by the release of three singles, “No Excuses”, “Wave”, and “Evil Twin”, as well as the promotional single, “Workin’ On It”



Ke$Ha: High Road
is the 2020 album from the modern pop icon Kesha, and the follow up to her 2017 Grammy-nominated album Rainbow. High Road finds Kesha on a joyful musical journey of self-discovery. The album is filled with emotional and stylistic range, and is a blend of heavenly highs and emotional depths. Kesha’s swagger is front and center, with frisky, rap-based tracks that show-off her skills as a lyrical spitfire, and also a folkier side that emerges. With a dream-pop ode to a best friendship, a reflective ballad about growing up without a father, and plenty of lust and laughter, High Road traverses the emotional spectrum. For High Road, Kesha enlisted an eclectic roster of collaborators/songwriters/producers including John Hill, Dan Reynolds, Stuart Crichton, Jeff Bhasker, Drew Pearson, Brian Wilson, Sturgill Simpson, Nate Ruess, Justin Tranter, Stint, Wrabel, and Pebe Sebert, among others.



Lil’ Wayne: Funeral



Destroyer: Have We Met
Dan Bejar initially conceived of Have We Met as a Y2K album. He was already active during the era but not heard overhead in a cafe or salon, which is perhaps what the idea of the Y2K sound evokes nearly two decades later. Bejar assigned frequent producer and bandmate John Collins the role of layering synth and rhythm sections over demos with the period-specific Björk, Air, and Massive Attack in mind, but he soon realized the sonic template was too removed from Destroyer’s own, and the idea of a concept was silly anyway. So, he abandoned it and gave Collins the most timeless instruction of all: “Make it sound cool.” Atmosphere and loose approximations of a place or feeling are what we’ve come to expect from any new Destroyer record-certainly not an easily defined and stridently adhered to theme or concept. Have We Met manages to meet somewhere between those disparate Y2K reference points and Destroyer’s own area of expertise, gliding deftly into territory that marries the old strident Destroyer with the new, aged crooning one of late.



Drive-By Truckers: The Unraveling
Drive-By Truckers is kicking off the new election year with The Unraveling, their first new album in 3 1/2 years (the longest space between DBT albums ever). Those years were among the most tumultuous our country has ever seen and the duality between the generally positive state of affairs within the band and the turbulent world outside (or as Patterson Hood puts it: watching so many things we care about be decimated and destroyed) informed the writing of this album to the core.



Green Day: Father of All Motherfuckers
the thirteenth album from the five-time Grammy Award-winning rock trio. The album’s title is Father of All Motherfuckers. Keepin’ it classy! Formed in 1986 in Berkeley, CA, Green Day is one of the world’s best-selling bands of all time, with more than 70 million records sold worldwide and 10 billion cumulative audio/visual streams.



Stone Temple Pilots: Perdida
New album from the hard rock/grunge band. Perdida is the eighth studio album by Stone Temple Pilots. It is the band’s second album with lead vocalist Jeff Gutt. Perdida is a deeply personal album that weaves introspective lyrics and unexpected instruments together across 10 songs for an emotional and musical journey.



The Lone Bellow: Half Moon Light
The Lone Bellow’s album Half Moon Light is replete with the trio’s signature powerhouse harmonies, passionate performances, and honest songwriting. The 15-track album touches on personal topics like family, loss, overcoming struggle, and letting things go. The band expertly traverses several moods throughout the record, going from gentle, soothing lows to enormous, sweeping highs, and their musicianship shines through in each and every track.



Khruangbin + Leon Bridges: Texas Sun
Driving anywhere in Texas can cost you half a day, easy. For example, it’ll take you over four hours just to get from R&B singer Leon Bridges’ hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you’re in. And it’s all baking under the Texas Sun that lends it’s name to Bridges and Khruangbin’s new collaborative EP. “Big sky country, that’s what they call Texas,” Khruangbin bassist Laura Lee says. “The horizon line goes all the way from one side to another without interruption. There’s something really comforting about that.” On Texas Sun, these two members of the state’s musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas’ past, present, and future-a dreamy badlands where genres blur as seamlessly as the terrain. It calls equally to the cowboys boot-scooting at Billy Bob’s in Fort Worth, the chopped-and-screwed hip-hop fans rattling slabs on the southside of Houston, the art-school kids dropping acid in Austin, the cross-cultural progeny who grew up on listening to both mariachi and post-hardcore out on the Mexican borders of El Paso. All of these things, overlapping in a multicolored melange, purple hues as vivid and unpredictable as one of the state’s rightfully celebrated sunsets. A journey through homesick reminiscences, backseat romances, and late-night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you. Like the highways that inspired it, Texas Sun is guaranteed to get you where you’re going-especially if you’re in no particular hurry to get there.



John Moreland: LP5
Critically acclaimed and revered songwriter John Moreland is set to release his fifth solo album, LP5, on February 7th via Old Omens/Thirty Tigers. Produced by Matt Pence (Jason Isbell, The Breeders, Sarah Jaffe) at The Echo Lab, LP5 marks the first time that Moreland has worked with an outside producer. The elevated and brilliant production on LP5, provides a stunning backdrop for Moreland’s masterful and poetic lyrics, creating his most powerful work to date.


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“In my dream, I’m in a large auditorium, surrounded by people.
They’re all looking at me-and that’s when I realize I’m completely naked”
thank you The New Yorker !

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