New Music

The latest releases and other current music news

New Wilco, Avetts, Old Crow and more…

NEW RELEASES Out October 4 (now):


Wilco: Ode to Joy
the 11th studio album from pioneering Chicago-based alt-rock/Americana band Wilco. The album features 11 songs written and produced by Jeff Tweedy and recorded by Wilco at the bands’ own Chicago studio dubbed The Loft. The album is the follow-up to their 2016 album Schmilco and their self-imposed short hiatus. The album’s title comes from Jeff’s absolute determination to demand joy from life, no matter how dire the daily news is; his band and his songwriting are in peak form as you hear on this release.



Angel Olsen: All Mirrors
The descent into darkness is a trope we find time again across history, literature and film. But there’s also an abyss above. There’s a winding white staircase that goes ever upward into the great unknown – each step, each turn, requiring a greater boldness and confidence than the one before. This is the journey on which we find Angel Olsen. Olsen’s artistic beginnings as a collaborator shifted seamlessly to her magnificent, cryptic-to-cosmic solo work, and then she formed bands to play her songs, and her stages and audiences grew exponentially. But all along, Olsen was more concerned with a different kind of path, and on her vulnerable, Big Mood new album, All Mirrors, we can see her taking an introspective deep dive towards internal destinations and revelations. In the process of making this album, she found a new sound and voice, a blast of fury mixed with hard won self-acceptance. “In every way -from the making of it, to the words, to how I feel moving forward- this record is about owning up to your darkest side,” Olsen said. “Finding the capacity for new love and trusting change, even when you feel like a stranger. This is a record about facing yourself and learning to forgive what you see. It is about losing empathy, trust, love for destructive people. It is about walking away from the noise and realizing that you can have solitude and peace in your own thoughts, that your thoughts alone can be just as valid, if not more.”



DIIV: Deceiver
Occupying the corners between fuzzed-out shoegaze bliss, troubadour poetry, and metallic catharsis, DIIV – Zachary Cole Smith [lead vocals, guitar], Colin Caulfield [vocals, bass], Andrew Bailey [guitar], and Ben Newman [drums] – personally inhabit the recesses of their third full-length album, Deceiver. A whirlwind brought DIIV here. On the heels of 2012’s Oshin, the group delivered the critical and fan favorite Is the Is Are in 2016. Praise came from The Guardian, Spin, Rolling Stone and more. Pitchfork’s audience voted Is the Is Are one of the Top 50 Albums of 2016, as the outlet dubbed it “gorgeous.” Simultaneously, frontman Zachary Cole Smith faced down seemingly dormant demons, and the momentum stalled. Two years after embarking on a program of recovery, Smith has emerged with a clear head and renewed focus. For the first time, DIIV lived with songs on the road. During a 2018 tour with Deafheaven, they performed eight new compositions as the bulk of the set. The tunes progressed as the players did. By the time DIIV entered 64 Sound to record with producer Sonny Diperri, the band felt a certain confidence. It’s evident on first single “Skin Game,” which gallops forth on a clean guitar riff before unfolding into a hypnotic hook offset by an off-kilter rhythm and hummable solo. “Being a recovering addict myself,” he says, “there are a lot of questions like, ‘Who are we? What is this disease?’ ‘Skin Game’ looks at where the pain comes from – the personal, physical, emotional, and broader political experiences feeding into the cycle of addiction for millions of us.” A trudging groove and wailing guitar punctuate a lulling apology on the magnetically melancholic “Taker.” For Smith, it’s “about taking responsibility for your lies, their consequences, and the entire experience.” Meanwhile, the ominous bass line and crawling beat of “Blankenship” devolve into schizophrenic string bends with the vitriolic lyrics. The seven-minute “Acheron” offers a dynamic denouement, flowing through a hulking beat guided under gusts of lyrical fretwork and a distorted heavy apotheosis. “We’re proud of this, because we earned it as a band,” Cole says. “I’m really happy and grateful just to do it in the first place. I can see the change. It’s not a record full of solutions, but I’m living my life. I’ve examined the consequences of my lies; I’ve got something to say now.”



The Avett Brothers: Closer Than Together
New release from The Avett Brothers, their tenth studio album overall and the fifth produced by Rick Rubin on his American Recordings label. Says Seth Avett: “We didn’t make a record that was meant to comment on the sociopolitical landscape that we live in. We did, however, make an album that is obviously informed by what is happening now on a grander scale all around us… because we are a part of it and it is a part of us. Closer Than Together is a record of obvious American origin – a creation that fittingly could only come about through hard work, measured freedom, awe-inspiring landscapes, and perfectly flawed individualism.”



Blood Orange: Angel’s Pulse
“My new record is called Angel’s Pulse & I performed, produced and mixed the entire thing myself. I’m calling it a mixtape. I have a habit through the years of making records that I just give to friends, or on tape to people on the street, or no one. Usually this material is made directly after the album I’ve just put out. Somewhat of an epilogue to the thing I’ve made before. This time… I decided to release it. I put as much work and care into it as I do with the albums I’ve released, but for some reason trained myself into not releasing things the rate at which I make them. I’m older now though, and life is unpredictable and terrifying… so here you go mates. Hope you enjoy. Catch you soon.”



Rob Ickes and Trey Hensley: World Full of Blues
Powerhouse acoustic duo Rob Ickes (Dobro) and Trey Hensley (guitar) move beyond the acoustic-centric sound of their previous two releases on WORLD FULL OF BLUES. Working with GRAMMY-winning producer Brent Maher, the topical album juices up their sound with Hammond B3 and a horn section, with plenty of grit and a nod to the rootsy side of Americana. The album was recorded live with minimal overdubs; guests include blues great Taj Mahal, who provides his unmistakable mojo to the title track, and country music legend Vince Gill, who joins the GRAMMY-nominated duo on an inspired rendition of The Grateful Dead’s moonshiner song, “Brown-Eyed Women.”



Old Crow Medicine Show : LIVE at The Ryman
Grammy Award-winning modern American roots band Old Crow Medicine Show present Live From The Ryman. Honoring the history and traditions of the legendary venue, Live From The Ryman captures the raucous energy of Old Crow Medicine Show’s performances, recorded throughout their many headlining shows on the hallowed ground of Nashville’s Mother Church. Featuring guest appearances by Lee Oskar, Margo Price, Charlie Worsham and Molly Tuttle, the 11-track collection incorporates a mix of covers and originals including traditionals like “CC Rider,” “Will The Circle Be Unbroken” and “Louisiana Woman, Mississippi Man,” to go along with OCMS classics like “Take ‘Em Away,” “Sweet Amarillo” and “Wagon Wheel.”



North Mississippi Allstars: Up and Rolling
A forgotten roll of film was found. Shot before the turn of the century, the photographs resonate with music. The images inspired an accompanying soundtrack. The music is full of stories. The songs and stories originate in two neighboring rural counties. The cast of characters includes four families of Mississippi musicians, three generations deep, and a photographer from Texas.’ – Luther Dickinson In 2017, Wyatt McSpadden found an old roll of film and tracked down members of North Mississippi Allstars to share his forgotten photographs. The images were so profound and so beautiful that they would come to inspire the latest recording, Up And Rolling. The images inspired the band to ask, ‘What did the music sound like that night in 96? What does Mississippi music sound like now? What would ideally be on the push button AM/FM radio as we drove thru the hills?’ The North Mississippi Allstars would return to the famous Zebra Ranch to record Up And Rolling, inspired by Wyatt’s images. They gathered together, trimmed back the wisteria, and swept out the converted barn recording studio. The fired up the tube amps and old computers and began conjuring up modern Mississippi music, ancient and futuristic all at once. Telling it how it was and how they think it should be. Up And Rolling is modern Mississippi. Transcending time and space, the music reaches out into the dark of night like the wisteria vine, looking for free hearted souls to latch onto and wedge into the foundation of hate, slowly tearing down walls a generation at a time.



Charli XCX: Charli
Pop futurist Charli XCX has returned with her highly anticipated third studio album Charli. The album is a collection of 15 songs and features the hit singles “1999” (featuring Troye Sivan) and “Blame It On Your Love” (featuring Lizzo). The album also features collaborations with Christine and the Queens, Haim, Sky Ferreria, Big Freida, Clairo and more.



Rachael & Vilray
Rachael & Vilray is the debut album by Lake Street Dive singer-songwriter Rachael Price and composer, singer, and guitarist Vilray. The twelve-song set features 10 originals by Vilray, along with two covers from the era that inspired him: Cuban composer Pedro Junco Jr.’s 1943 “Nosotros” and Milton Drake/Louis Atler’s “I Love the Way You’re Breaking My Heart,” first popularized by Peggy Lee. Price and Vilray, who began performing together in 2015, recorded the album with Lake Street Dive pianist Akie Bermiss, a rhythm section, and a small complement of horns, plus a guest performance from pianist Jon Batiste on “Go On Shining.” Dan Knobler, who had worked with Lake Street Dive on the Free Yourself Up album, produced.



Joshua Redman and Brooklyn Rider: Sun on Sand
The album comprises eight compositions from a suite by composer Patrick Zimmerli. Each piece in the suite, which premiered at London’s Wigmore Hall in 2014, represents a different expression of light. Bassist Scott Colley and drummer Satoshi Takeishi perform as well. Redman previously worked with Zimmerli when the latter created orchestral arrangements of Redman’s compositions for the 2013 Nonesuch album Walking Shadows.



Gabby Moreno & Van Dyke Parks: ¡Spangled!
Gabby Moreno ¡Spangled! Is a collaboration between Guatemalan-born singer-songwriter Gaby Moreno and American musician, songwriter, arranger, and producer Van Dyke Parks. The 10-song set celebrates the migration of song across the Americas and spans more than a century, including a bolero from Panama, a bossa nova from Brazil, and an elegiac ballad from the Southwest United States-Ry Cooder, John Hiatt, and Jim Dickinson’s “Across the Borderline,” performed with Cooder and Jackson Browne. The album also includes one of Moreno’s own songs as well as the previously released track “The Immigrants” by Trinidadian songwriter David Rudder



Chick Corea: Trilogy 2
Two CD set. 2019 live release. Chick Corea’s boxed set Trilogy was released in 2014, garnering international acclaim and two Grammy Awards (Best Jazz Instrumental Album and Best Improvised Jazz Solo). The stunning collaboration between Chick Corea, Christian McBride and Brian Blade left many critics, musicians and fans awestruck. Fortunately for us, these three virtuosos reunited for another tour in 2016, resulting in Trilogy 2 – twelve formidable tracks that raise the bar even higher.Two CD set. 2019 live release. Chick Corea’s boxed set Trilogy was released in 2014, garnering international acclaim and two Grammy Awards (Best Jazz Instrumental Album and Best Improvised Jazz Solo). The stunning collaboration between Chick Corea, Christian McBride and Brian Blade left many critics, musicians and fans awestruck. Fortunately for us, these three virtuosos reunited for another tour in 2016, resulting in Trilogy 2 – twelve formidable tracks that raise the bar even higher.


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Abbey Road Turns 50

NEW RELEASES OUT September 27 (now):


With the Beatles, it turns out that you can go home again. For the third consecutive year, the folks at Abbey Road Studios have treated listeners to remixes and outtakes from yet another classic Beatles album. And “Abbey Road,” following bravura editions of “Sgt. Pepper’s Lonely Hearts Club Band” and “The White Album,” doesn’t disappoint.
But with “Abbey Road,” the nature of the achievement is strikingly different from its predecessors. With “Sgt. Pepper” and “The White Album,” there were plenty of outtakes from which Giles Martin and his team could choose. And both records benefitted greatly from their treatment at the hands of 21st century technology, which widened both sound palettes considerably and allowed them, finally, to breathe.

When it comes to “Abbey Road,” there are simply fewer outtakes available. The LP was recorded over a period of a few scant months in comparison to the Beatles’ earlier masterworks — behemoth projects for which the group and their production team put in hundreds upon hundreds of hours in the studio. In addition to being the first Beatles album recorded explicitly for stereo release, “Abbey Road” also marked the band’s first and only experience with solid-state electronics after years of working with tube equipment.
And the result was, in a word, revolutionary. The sound of the Beatles that had thrilled the world over — the “maximum volume” that Martin had coaxed out of EMI’s aging studio gear — had been conspicuously altered by the subatomic properties inherent in the TG 123545, the solid-state mixing desk that had been installed at the Abbey Road facility back in November 1968, after the Beatles had put the finishing touches on “The White Album.”
With its wider sonic spectrum, the new mixing desk reshaped the Beatles’ sound significantly, affording them with more range, not to mention a warmer, brighter quality inherent in their recordings from that era. In fact, when Abbey Road was released in the autumn of 1969, many listeners blanched at the palpable sonic differences in the Beatles’ sound. As far as they were concerned, the character of the Fab Four had been irrevocably changed.
As the Beatles’ final studio album — released only a few days after they’d secretly decided to call it quits — “Abbey Road” has come to enjoy a vaunted place among the band’s corpus. And the record’s jaw-dropping sales receipts bring that story into stark relief. By June 1970, “Abbey Road” had emerged as the band’s bestselling American LP, with more than five million units sold. By the dawn of the current decade, those figures had grown to an eye-popping 31 million copies.
Not surprisingly, “Abbey Road” exists as the culmination of the band and their production team’s creative artistry, with their songwriting, musicianship, and technical knowhow having reached their zenith. To Giles Martin’s credit, the “Abbey Road” remixes elevate these enduring qualities in both the new versions of the songs and the outtakes.
While the remixes don’t hold any mind-altering surprises regarding the “Abbey Road” recordings, there is plenty to enjoy in the deluxe package. If nothing else, fans will marvel at the stunning beauty of George Martin’s orchestrations for “Something” and “Golden Slumbers/Carry That Weight.” In and of themselves, Martin’s scores demonstrate the ways in which he infused the Beatles’ finest compositions with, by turns, whimsy and dramatic power.

Which brings us to “the Long One,” the band’s sobriquet for the symphonic suite that brought their career to a unique and formidable close. Recorded as a trial edit on July 30, 1969, the medley offers a portrait of “the Long One” in midstream. If the remixes yield any genuine revelations, this is surely it. Still ragged with some transitions lost in the creative process, this version of “the Long One” depicts the Beatles actively working as artists in the act of honing and polishing one of their most admired musical fusions.
In their most charming moments, the outtakes afford us with a window into the Lennon-McCartney partnership. Their banter is on full display in an early take of “The Ballad of John and Yoko,” which the two old friends recorded as a duet without input from bandmates George Harrison or Ringo Starr. During a break in the recording session, Lennon can be heard saying “Go a bit faster, Ringo!” with McCartney good-naturedly replying “Okay, George!” from his place behind Starr’s drum kit. Even more effecting is the studio banter at the conclusion of an early take of “Come Together” where Lennon, exhausted with his guide vocal, chides himself for his “teenage lyrics.”
For Beatles fans in specific and music lovers in general, the “Abbey Road” remixes are not to be missed. And in terms of pop music history, the deluxe package offers a final, fleeting glimpse into the greatest rock ‘n’ roll band that ever was.
by Kenneth Womack : the author of a two-volume biography of the life and work of Beatles producer George Martin. He is Dean of the Wayne D. McMurray School of Humanities and Social Sciences at Monmouth University. His latest book, “Solid State: The Story of Abbey Road and the End of the Beatles,” is available now, in celebration of the album’s 50th anniversary.



Sturgill Simpson: Sound & Fury
Produced by Simpson, Sound & Fury, was recorded primarily at the McGuire Motor Inn in Waterford, Michigan, with his bandmates Bobby Emmett, Chuck Bartels, Miles Miller, who all serve as co-producers along with Grammy nominee John Hill (Cage The Elephant, Portugal. The Man, Bleachers). The album – which Simpson describes as “a sleazy, steamy rock n roll record” – is a marked departure from 2016’s acclaimed A Sailor’s Guide To Earth, which won Best Country Album and was nominated for Album of the Year at the 59th Grammy Awards.



John Coltrane: Blue World
In 1964, the National Film Board of Canada asked John Coltrane to record the soundtrack for a French-language film titled Le Chat Dans Le Sac (The Cat in the Bag). In June of that year, Coltrane’s classic quartet entered Rudy Van Gelder’s studio and recorded five previously-recorded Coltrane originals. For many years, viewers of the film who recognized the music thought that they were listening to the original recordings, though in fact they were new and had never been heard.



Tegan and Sara: Hey, I’m Just Like You
Twenty years into their career, Tegan and Sara have recorded an album that is based on the first songs they ever wrote. Hey, I’m Just Like You is their ninth studio album overall and first since 2016’s Love You to Death. Hey, I’m Just Like You is a return to Tegan and Sara’s rock and punk roots, with a punch of pop production. Recorded in Vancouver, Canada in April and May 2019, the album recasts the remarkable innate songwriting talents both possessed as teenagers, and allows these previously unreleased songs to benefit from the studio expertise they have gained in the past two decades – a period that has seen them release eight studio albums, earning seven Gold certifications and one Double Platinum certification in the process. Defiant and melodramatic, the songs capture the exultation and grief of first loves, first losses, ecstatic kiss-offs, and psychedelic tributes to friendship.



Opeth: In Cauda Venenum
Sweden’s Opeth are preparing to release their most important record to date with “In Cauda Venenum”. Certainly, fans and critics will have their opinion, but few records in the Swedes’ oeuvre are as engaging, delicate, panoramic, intense, and musical as Opeth’s lucky thirteenth. Sporting a clever Travis Smith cover-replete with inside jokes and a nod to King Diamond-a masterful Park Studios (The Hellacopters, Graveyard) production, Opeth’s usual five-star musicianship, and lyrics entirely in Swedish, “In Cauda Venenum” raises the bar markedly. While a record in Swedish is a first-there’s also an English version-for frontman and founding member Mikael Åkerfeldt, the 10 songs on offer feel and sound completely natural. As if years of listening to and being a fan of Swedish rock and hard rock has paid off. In a way, Opeth have come home. But the Swedish lyrics of the primary edition of “In Cauda Venenum” shouldn’t distract from the quality presented in Opeth’s new songs, the lot of which sneak up and take control after repeated listens. “In Cauda Venenum” is like that, tricky in it’s complicated simplicity, resourceful in it’s ability to charm with delightful if wistful melodies. Really, it’s just Opeth being Opeth.



Grateful Dead: Saint of Circumstance
Widely considered one of the most exciting, inspired, and greatest shows of the Dead’s final decade of performing, the magnificent 6/17/91 show features relentlessly excellent performances, and is filled with surprises. Opening with a shocking ‘Eyes Of The World’, the Dead were firing on all cylinders from the opening notes of the show. Featuring beloved classics such as ‘Truckin’ and ‘Uncle John’s Band’. Rarities played at this show included ‘Saint Of Circumstance’, ‘Might As Well’, ‘New Speedway Boogie’, and ‘China Doll’, but the real standout in regards to the setlist choices was the recurrence of ‘Dark Star’, which wove in and out of the setlist throughout the show, including during the first set, making no less than six distinct appearances during the show. With an encore of The Band’s ‘The Weight’, the Dead cap off one of their most highly regarded shows ever with a perfect song choice to send the crowd on it’s way. Bruce Hornsby and Vince Welnick join Jerry Garcia, Bob Weir, Phil Lesh, Mickey Hart & Bill Kreutzmann to round out this stellar line-up.



Beth Hart: War In My Mind
Beth Hart is as real as it gets. In a music industry full of glossy production and airbrushed photoshoots, this is one artist who throws down her cards, shares her darkest secrets and invites you to join her for the ride. With War In My Mind, this Grammy-nominated talent has never served herself up so raw on a record, one that embraces her merits and flaws, channels her bittersweet headspace and spins gold from her demons. The sleeve shot of Beth pounding a piano below her own personal stormcloud is a fitting representation of new material that hits like a force of nature. Having followed the fascinating career of Beth Hart for a quarter-century, we’ve learned not to rule anything out – so long as it’s real. And now, with War In My Mind, this songwriter has made a record that bares her soul, wears her heart on her sleeve, and makes no apology for it.



New Pornographers : In The Morse Code Of Brake Lights
This is their eighth record as a band and second for Concord Records. The album is full of classic songwriting with twisting lyrical content that touches on the humanistic side of life in current times, craftfully penned by frontman A.C. Newman. The Morse Code Of Brake Lights first single is titled “Falling Down the Stairs of Your Smile.” The song lays out what sounds like a New Pornos take on the “Billie Jean” groove at the beginning, and foregrounds the band’s characteristic blend of A.C. “Carl” Newman and Neko Case of dual lead vocals. In a statement about the album given to Pitchfork, Newman commented that he noticed while writing the record that “lyrically so much of it was pointing toward car songs.” He wrote: “There was so much of that throughout it that I started thinking: ‘Oh, no, there’s too many references to cars on this record!’



Charlie Parr
“Parr is a folk artist for the new American Dust Bowl, a resonator-ready troubadour armed with a well-worn satchel of troubled tales that cut to the heart of a nation mired in fear and in dire need of a roots-music revival.” -Acoustic Guitar
“Taking acoustic blues and folk to the darkest edges of town via driving arrangements which emphasize steam-driven tempos and a doom-slinging attitude over spit and Polish studio shine, Parr nonetheless manages to sound both breathtakingly immediate and authentically antiquated at the same time.” -No Depression “Charlie Parr has made his career hollering, picking, and stomping his way through the Midwest and beyond, leaving a trail of fine records that feel just a shade away from the great rural folk and blues songs of Harry Smith’s epic Anthology of American Folk Music.” -AllMusic CHARLIE PARR is the eponymous new album by the Minnesota-based folk blues artist the same name. The album is a collection of new songs and new studio versions of classics/ audience favorites from throughout Parr’s career. Recorded at Pachyderm Studio in Canon Falls, MN, CHARLIE PARR features Charlie’s trademark resonator guitar and 12-string with co-producer Liz Draper on bass, longtime collaborator Mikkel Beckmen on percussion, Jeff Mitchell on electric guitar, accordion, organ, backing vocals, and Dave Hundrieser on harmonica. The album is an honest and raw recording of Parr reflecting on himself and his career up to this point. It’s a musical reckoning that came after a freak accident less than a year ago that forced him to relearn how to play guitar, causing him to take stock of the songs he’s written over his lifetime. It’s a bit of the new, a bit of the old, and a bit of what’s motivated and moved him. Most importantly, it’s an audio tour of his life and career to date and a celebration of more songs and stories to come. CHARLIE PARR is a stunning folk record that will surely stand the test of time, just like the man himself.



Michaela Anne: Desert Dove
is the new album from Michaela Anne and her first on Yep Roc Records. It was recorded in LA and produced by Sam Outlaw and Kelly Winrich (Delta Spirit). Michaela has been lauded for her timeless voice and narrative depth and this record takes that to the next level. The songwriting is confessional and unforgettable without being saccharin or self-indulgent; the tracks call to mind Michaela’s diverse influences – everything from Stevie Nick’s powerful voice and Fleetwood Mac’s vibey arrangements to the Dixie Chick’s incredible balance of conviction and catchiness – all showcasing her stellar voice and distinct vision.



Billy Strings: Home
Billy Strings has been hailed as the future of bluegrass, transcending tradition and genre with his high velocity, flat-picking guitar technique and intense, confessional songwriting. Home, Strings’ remarkable second studio album, is undoubtedly the Michigan-born, Nashville-based artist’s bravest excursion thus far, reshaping bluegrass into his own exceptional form, completely rewiring the aesthetic with elements of punk, country, folk rock, and genuine psychedelic exploration to fashion something altogether original and all his own. From the jump, Strings has infused bluegrass with his own experiences and inspirations, adopting traditional sonic and lyrical idioms to confront contemporary social truths. Songs like “Away From The Mire” and the remarkable title track are rooted in the past but as now as next week, animated by electrifying musicianship, inventive production, and Strings’ irrepressible ambition. HOME marks a landmark on this constantly moving artist’s ongoing creative journey, it’s fearless songs and freewheeling approach recasting string-based American music in his own inimitable image.

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Hank Williams Tee Shirt
Our new snazzy tee shirt has the Howard Finster design on the front,
and our LRS logo on the back. $15 while they last.
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Rest in Peace Robert Hunter
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NEW RELEASES OUT September 20 (now):

NEW RELEASES OUT September 20 (now):


Solid Air : UndertowFollowing their 2017 acclaimed band release “Beautiful World”, Solid Air Trio returns with a triptych of tunes, three unique, lush and quirky songs featuring the baritone twang and slide work of Sam Page nested in three completely different tracks with Allegra Broughton’s powerful vocals and Vic Carberry’s driving drum and percussion work. On Jackalope Records



Country Music Soundtrack
Original soundtrack to the Ken Burns documentary series. “If you write the truth and you’re writing about your life, it’s going to be country. It’ll be country ’cause you’re writing what’s happening. And that’s all a good song is.” – Loretta Lynn. Country Music, the eight-part, 16-hour film by Ken Burns, chronicles the creation of a truly American genre of music through the songs and stories of it’s greatest trailblazers. The Country Music: A Film By Ken Burns soundtrack includes more than 40 timeless classics as heard in the film on two CDs, including songs by The Carter Family, Jimmie Rodgers, Bob Wills, Hank Williams, Johnny Cash, Loretta Lynn, Charley Pride, Willie Nelson, Dolly Parton and many more.
Listen to my interview with Ken Burns HERE


Korn: The Nothing
Korn vocalist Jonathan Davis elaborated on the LP: “Deep, within our Earth lives an extraordinary force. Very few are aware of the magnitude and significance of this place where good/evil, dark/light, bliss/torment, loss/gain and hope/despair all exist as one- pulling at us every moment of our lives. It’s not something we can choose to navigate, but rather an awareness of this ‘presence’ that surrounds us with every breath, as if we are being watched at every moment. It’s the place where black and white energies attach themselves to our souls, and shape our emotion, choices, perspective and ultimately our very existence. There is a miraculous and small realm within this vortex and it’s the only place where balance between these dynamic and polarizing forces exists-where the soul finds it’s refuge. Welcome to… The Nothing.” Produced by Grammy Award-winner Nick Raskulinecz, The Nothing follows the band’s acclaimed 2016 LP, The Serenity Of Suffering, which debuted at #4 on the Billboard 200, #1 on both the Top Rock Albums and Hard Rock Albums charts, #3 on the Current Albums chart.



The Lumineers: III
Two-time Grammy-nominated band The Lumineers are back with their third album, III, a cinematic piece presented as a narrative in three chapters, with each one centering on one main character. III’s concept began while the band was writing in the Catskill mountains, where producer Simone Felice works. Decidedly darker than their previous work in concept, but replete with their trademark expressive vocals and dynamic arrangements, III boldly and expertly goes in an artistic direction not yet traveled by the band. The Lumineers have enjoyed substantial commercial success; their 2012 self-titled debut was certified triple-platinum in 2018, and their sophomore album Cleopatra was certified platinum in the same year after it’s 2016 release. They’ve had multiple #1 hits on the Triple A and Alternative radio charts, and have sold out tours across the world; over 300,000 tickets were sold on 2017’s Cleopatra world tour. The Lumineers have also supported icons and their musical heroes on the road, including Tom Petty and the Heartbreakers and U2’s Joshua Tree tour.



Pixies: Beneath the Eyrie
is the seventh album from the iconic alternative rock band. The album was produced by Tom Dalgety. The album is the follow-up to their 2016 album Head Carrier and is their third album since their reunion in 2003.



Devendra Banhart: Ma
the 10th full length album by the acclaimed singer, songwriter and visual artist. Ma is the follow-up to his 2016 album Ape In Pink Marble. Includes the first single “Kantori Ongaku, ” which is an homage to Haruomi Hosono. Ma is a dedication to motherhood. The title of the album comes from the realization that the word ‘Ma’ is a very good candidate for our first utterance and our very last whisper, the word itself means ‘Mother’ in countless languages. The record contains 3 parallel narratives all pointing back to motherhood. The first is one of loss and helplessness, the narrative of a mother who reluctantly had to put up her child for adoption, still loving them, but unable to be with them. This became a metaphor for my own personal experience of observing my family in Venezuela, not being able to help in any meaningful way, and the constant feeling of complete helplessness. The second narrative is everything I would ever say to the children I may or may not have. The third narrative is one of celebration, of recognizing the Mother in each being, and of gratitude for music and it’s mothering qualities. Ma was recorded in Big Sur and Los Angeles, CA and was produced, arranged, and recorded with my longtime collaborator Noah Georgeson. It features appearances by many, including Cate Le Bon and Vashti Bunyan, the archetype of a mother.



Chelsea Wolfe: Birth of Violence
There is a core element to Chelsea Wolfe’s musica kind of urgent spin on Americas desolation blues that’s existed throughout the entirety of her career. Wolfe has always been a conduit for a powerful energy, and while she has demonstrated a capacity to channel that somber beauty into a variety of forms, her gift as a songwriter is never more apparent than when she strips her songs down to a few key components. As a result, her solemn majesty and ominous elegance are more potent than ever on Birth of Violence. The songs stem from humble beginnings little more than Wolfes voice and her Taylor acoustic guitar. Her longtime musical collaborator Ben Chisholm recorded the songs in their own studio and helped fill them out with his modern production treatments and auxiliary flourishes from ongoing contributors Jess Gowrie (drums) and Ezra Buchla (viola). Every Chelsea Wolfe album introduces new unorthodox textures and approaches, and the trajectory of her creative arc has generally aimed for larger and more imposing sounds, but Birth of Violence deliberately alters that course in favor of a more intimate atmosphere. The result yields Wolfes most devastating work to date.



Janiva Magness: Sings John Fogerty ~ Songs In The Weather
brings Janiva’s blues-oriented, soulful style to 12 classic Fogerty and Creedence Clearwater Revival tunes. Featuring guests Sam Morrow on the swampy “Lodi” and Blues legend Taj Mahal on “Don’t You Wish It Was True,” the album reflects the timeless quality of Fogerty’s work, cutting a broad swath through rock, blues, and country, and trailblazing the eclectic, roots-based Americana genre.



Brittany Howard: Jaime
the debut solo album by the Alabama Shakes frontwoman. Brittany gave Jaime the same name of her sister, who passed away when both were teenagers. “The title is in memoriam, and she definitely did shape me as a human being,” said Brittany Howard. “But, the record is not about her. It’s about me. I’m pretty candid about myself and who I am and what I believe. Which is why I needed to do it on my own.” Brittany assembled a band that included Alabama Shakes bassist Zac Cockrell, jazz keyboardist Robert Glasper and Grammy-nominated drummer Nate Smith to work on material she brought into engineer Shawn Everett’s Los Angeles studio. She came out with an 11-track effort, the first under her own name.



Zac Brown Band: The Owl
the sixth studio album by country music band Zac Brown Band. The Owl is the follow-up to their 2017 album Welcome Home. The full-length is the band’s most personal album to date. On The Owl, the band worked with pop and EDM writers and producers such as Max Martin, Benny Blanco, Ryan Tedder, and Skrillex. The album also includes a collaboration with Brandi Carlile.



Hiss Golden Messenger: Terms of Surrender
Songwriter and bandleader M.C. Taylor’s music is at once familiar, yet impossible to categorize: Elements from the American songbook-the steady, churning acoustic guitar and mandolin, the gospel emotion, the eerie steel guitar tracings, the bobbing and weaving organ and electric piano-provide the bedrock for Taylor’s existential ruminations about parenthood, joy, hope, and loneliness-our delicate, tightrope balance of dark and light-that offer fully engaged contemporary commentary on the present. And then there’s an indescribable spirit and movement: Hiss Golden Messenger’s music grooves. There’s nothing else quite like it.
Taylor says that he wanted to make Terms of Surrender “a wandering record. I wanted where we recorded it to mirror the searching spirit of the music.” Having written upwards of 40 songs-in motel rooms, his studio in North Carolina, and a secluded cottage outside of Charlottesville, Virginia-Taylor winnowed them down to the ten works that comprise Terms of Surrender. With regular collaborators-including Phil and Brad Cook, Josh Kaufman, and Matt McCaughan-and new friends like Jenny Lewis and Aaron Dessner (of The National), the crew decamped to Dessner’s Long Pond studio in upstate New York, Sound City in Los Angeles, and producer Roger Moutenot’s Haptown studio in Nashville to create the most fully realized and genre-defying Hiss Golden Messenger album to date.



Blink 182: Nine
from Grammy nominated California rock heavyweights, blink-182. The album features soon to be classics “Darkside,” “Happy Days,” “Generational Divide,” “Blame It On My Youth,” and others. Blink-182 is Mark Hoppus (vocals/bass), Travis Barker (drums) and Matt Skiba (vocals/guitar). Since their humble beginnings in 1992 in San Diego, blink-182 have sold over fifty million albums worldwide and rocked audiences around the globe, becoming one of the defining and inspirational rock bands of their generation.



Bruce Cockburn: Crowing Ignites
Bruce Cockburn’s new release Crowing Ignites is another dazzling instrumental album that will further cement his reputation as both an exceptional composer and a picker with few peers. Unlike Speechless, which included mostly previously recorded tracks, the latest album-Cockburn’s 34th-features 11 brand new compositions. Although there’s not a single word spoken or sung, it’s as eloquent and expressive as any of the Canadian Hall of Famer’s lyric-laden albums.



Fitz and the Tantrums: All The Feels
Multi-platinum artists Fitz and the Tantrums have quickly grown from independent upstarts to bonafide hitmakers. The LA-based band release their much-anticipated, fourth full length All The Feels, featuring lead single “123456.” All The Feels follows the band’s 2016 release Fitz And The Tantrums, which spawned the group’s biggest hit to date, “HandClap.”



Robbie Robertson : Sinematic
Sinematic is an enthralling set of songs that explore the darker corridors of human nature. The 13 song collection is his first since 2011’s How To Become Clairvoyant and themes sprang from his recent film scoring for Martin Scorsese’s organized crime pic, The Irishman and his forthcoming documentary Once Were Brothers: Robbie Robertson and The Band. The album features guest stars such as Van Morrison, Glen Hansard, and many more.



Samantha Fish: Kill or Be Kind
Samantha Fish’s prodigious gifts as a genre-bending singer, songwriter, and electrifying guitarist have inspired tremendous acclaim from critics and her peers and have earned an abundance of awards for the young artist. Now, with Kill or Be Kind, Fish is poised for a major breakthrough. The edgy roots music album was recorded at Royal Studios in Memphis and produced by three-time Grammy winner Scott Billington and mixed by two-time Grammy winner Steve Reynolds. Boasting 11 original songs ranging from the Mississippi techno-stomp of “Bulletproof” (played on cigar box guitar) to the sweet Memphis R&B of “Trying Not To Fall in Love With You,” the album features co-writes with Jim McCormack, Eric McFadden, Parker Millsap, Katie Pearlman, and Patrick Sweany and is sure to establish Fish as a potent force in roots music.



Maxi Priest: It All Comes Back to Love
is the new album from Maxi Priest and was executive produced by multi-platinum reggae superstar Shaggy.

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If You Blinked, You Missed It

The new Tool album was released August 30. We sold the 40 or so copies we had in minutes.

Let us know and we can call you if and when it gets released again. Limited Edition indeed !
Here’s what Fear Inoculum looked like:

Limited edition packaging. Continuing their affinity for pushing the boundaries of physical packaging, the Grammy Award winning outfit has created a deluxe, limited-edition CD version of Fear Inoculum. The collectible offering, which was conceived by and directed by Adam Jones, features a 4″ HD rechargeable screen with exclusive video footage, charging cable, 2 watt speaker, a 36-page booklet and a digital download card. 2019 release, the band’s first new album in 13 years. Tool members include drummer Danny Carey, guitarist Adam Jones, bassist Justin Chancellor and vocalist Maynard James Keenan. To date, Tool has released four studio albums, one EP, and one box set. Formed in 1990 in Los Angeles, California Tool emerged with a heavy metal sound on their first studio album, Undertow in 1993. Later, Tool became a dominant act in the alternative metal movement with the release of it’s follow-up album Ænima in 1996. The band’s efforts to unify musical experimentation, visual arts, and a message of personal evolution continued with the release of Lateralus in 2001, and 10,000 Days in 2006 – gaining Tool critical acclaim, and commercial success around the world. Tool has won three Grammy Awards, performed worldwide tours, and produced albums topping the charts in several countries.

NEW RELEASES OUT September 6 (now)

The Highwomen
a highly anticipated, collaborative movement formed by Brandi Carlile, Natalie Hemby, Maren Morris and Amanda Shires. “Anyone can be a Highwoman,” Brandi Carlile notes. “It’s about banding together, abandoning as much ego as humanly possible, holding one another up and amplifying other women every chance we get. Shoulder to shoulder. One push, one love.” Continually demonstrating the importance of inclusion and collaboration, The Highwomen are joined by several guest musicians, vocalists and songwriters across the album. The project features Sheryl Crow (background vocals, bass), Yola (vocals, background vocals), Dave Cobb (acoustic/electric guitar), Jason Isbell (acoustic/electric guitar), Phil Hanseroth (bass, background vocals), Tim Hanseroth (guitar, background vocals), Chris Powell (drums) and Peter Levin (piano and keyboards) with songs written by Carlile, Hemby, Morris, Shires, Isbell, the Hanseroth twins, Rodney Clawson, Lori McKenna, Miranda Lambert and Ray LaMontagne among many others.



Country Music: The Soundtrack
Five CD set. “If you write the truth and you’re writing about your life, it’s going to be country. It’ll be country ’cause you’re writing what’s happening. And that’s all a good song is.” – Loretta Lynn. Country Music, the eight-part, 16-hour film by Ken Burns, chronicles the creation of a truly American genre of music through the songs and stories of it’s greatest trailblazers. Country Music: A Film By Ken Burns (The Soundtrack) includes more than 100 timeless classics as heard in the film, including songs by The Carter Family, Jimmie Rodgers, Bill Monroe, Bob Wills, Hank Williams, Johnny Cash, Loretta Lynn, Charley Pride, Willie Nelson, Dolly Parton and many more. This deluxe set includes 68 pages of liner notes and rarely seen archival photos, documents and memorabilia.



Common: Let Love
Common hasn’t released a new solo album in almost three years. That changes in August 2019. Common will be releasing his new album Let Love on August 30 2019 through Loma Vista Recordings. The album is 11 tracks and features appearances from Daniel Caesar, Jill Scott, BJ The Chicago Kid, Swizz Beatz, Leikeli47, and more.
Let Love, which is based around his memoir Let Love Have the Last Word, is led by the single,”HER Love,” which is a continuation of the “I Used to Love H.E.R.” series. The album will be available to stream but you can also buy the vinyl on the Okayplayer shop.



Sheryl Crow: Threads
Nine-time GRAMMY Award-winner Sheryl Crow’s new album of collaborations, THREADS, is out on The Valory Music Co.
Unveiling the cover art and full tracklist across social platforms, she premiered “Still The Good Old Days” featuring Joe Walsh and performed the song on The Graham Norton Show during a run of dates in Europe. Crow shared, “’Still The Good Old Days’ totally captures what Joe and I believe about getting older…that life is still fun no matter what stage of life you are at, and that living isn’t just for the young.”
Other advance tracks already setting the pace for this diverse collection include “Redemption Day” featuring Johnny Cash, “Live Wire” featuring Bonnie Raitt and Mavis Staples and “Prove You Wrong” featuring Stevie Nicks and Maren Morris.
Further elaborating on the project, Crow reflected, “I became inspired to record an album of musical experiences with the legacy artists who inspired me to want to be a great songwriter, musician, and producer. It is a celebration with them, and a tribute to them. Just as importantly, I wanted to work with younger artists on this record, who I believe will pick up the torch and continue to light the way for humanity with their stories and their songs for many years to come. Their music inspires me every day.”



Lana Del Rey: Norman Fucking Rockwell
It is Lana Del Rey’s highly anticipated fifth studio album, following four previously released singles, including her Alternative radio hit, “Doin’ Time.”



Bon Iver: I, I
Bon Iver’s most expansive, joyful and generous album to date. If For Emma, Forever Ago was the crisp, heart-strung isolation of a northern Winter; Bon Iver the rise and whirr of burgeoning Spring; and 22, A Million, a blistering, “crazy energy” Summer record, i, i completes the cycle: a fall record; Autumn-colored, ruminative, steeped. The autumn of Bon Iver is a celebration of self-acceptance and gratitude, bolstered by community and delivering the bounty of an infinite American music. The sales and accolades are well-known – multiple Gold albums, multiple Grammys, chart-topping collaborations and festival headlines. But even more significantly, with each release Bon Iver quietly shifts the state of modern music. From the boundaries of folk, to the rules of autotune, to production work for others, Bon Iver’s fingerprint finds it’s way across the mainstream every time. Vernon has always been a master collaborator, and on i, i that desire becomes maximal, with guests ranging from Moses Sumney and Bruce Hornsby to Wye Oak’s Jenn Wasner and the Brooklyn Youth Chorus. Here, the music – and band, and themes, and creative space – are bigger than ever.



Tinariwen: Amadjar
Amadjar means ‘the unknown visitor’ in the language of Tamashek, the one who seeks hospitality and who’s condemned to an inner exile, within a territory or within himself. The story of Amadjar, the ninth Tinariwen album, begins at the end of 2018, at the Taragalte Festival of nomadic cultures in the Moroccan Sahara. After a concert and a sandstorm, Tinariwen hit the road and head for Mauritania, via southern Morocco, Western Sahara and the Atlantic coast. The destination is important but no more so than the journey itself. Tinariwen are joined by their French production team, who arrive in old camper van that’s been converted into a makeshift studio.



Miles Davis: Rubberband
Miles Davis shocked the music world in 1985 when he left Columbia Records after 30 years to join Warner Bros. Records. In October of that year, he began recording the album Rubberband in Los Angeles at Ameraycan Studios with producers Randy Hall and Zane Giles. The musical direction Davis was taking during the sessions marked a radical departure, with the inclusion of funk and soul grooves; with plans to feature guest vocalists Al Jarreau and Chaka Khan. Eventually, the album was shelved and Davis went on to record Tutu, leaving the Rubberband songs unheard and untouched for over 30 years. It was finished by the original producers Hall and Giles; with Davis’ nephew, Vince Wilburn, Jr., who played drums on the original sessions for the album in 1985-86.



Death Cab For Cutie: Blue
EP release from the eight-times Grammy Award-nominated alt rock band. Along with all new tracks “Kids in ’99” and “Blue Bloods” – produced by Peter Katis (The National, Interpol, Kurt Vile) – the EP also includes “To The Ground” and “Before The Bombs,” produced by Rich Costey during the recording sessions for the band’s critically acclaimed ninth studio album, Thank You for Today and held for this planned subsequent EP. The fifth track on the project, “Man in Blue,” was self-produced by the band itself.



Chrissie Hynde: Valve Bone Woe
Chrissie Hynde has a new album ‘Valve Bone Woe’ release date September 6th, 2019. The album features reinterpretations of classic material penned by Brian Wilson, Frank Sinatra, Hoagy Carmichael, Charlie Mingus, John Coltrane, Nick Drake, Rodgers and Hammerstein, and Hynde’s former partner Ray Davies.
The record was seemingly inspired by pre-war jazz sounds, and was recorded with the Valve Bone Woe Ensemble at London’s AIR Studios.
I’m not hugely interested in branching out into other musical genres, being a devout rock singer as such, but jazz is something I grew up around (thanks to my bro) and I’ve always had a soft spot for it. I often bemoan what I regard as a decline in melody in popular music and I wanted to sing melodies.



Iggy Pop: Free
Free is the eighteenth studio album by rock icon Iggy Pop. It features contributions from Noveller and Leron Thomas. The album has been described as “reflect[ing]” the exhaustion of post-tour life” as well as “uniquely somber and contemplative” by Iggy Pop, who also called it “an album in which other artists speak for me, but I lend my voice”.

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The BEST Weather Map.

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