New Music

The latest releases and other current music news

New Releases for April 2018 (out now)

Save this date:

Saturday April 21: Record Store Day

The Special Releases will blow your mind.
Could be best RSD yet…

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NEW RELEASES for April 2018 (out now) include:


Kacey Musgrave: Golden Hour
the fourth album from country music singer/songwriter Kacey Musgraves. Kacey describes this album as having a “trippy” twist, citing the Bee Gees, Sade, and Neil Young as influences. In addition to reuniting with previous collaborators such as Luke Laird, Shane McAnally, and Natalie Hemby, Musgraves sought out pals Ian Fitchuk and the Silver Seas’ Daniel Tashian as her primary co-producers and co-writers. Musgraves wrote and recorded most of the songs from the album throughout 2017; about the writing process she said: “I have a lot more love songs this time around, and I’ve never been one to write a love song and really feel it,”. She continued: “That probably sounds like the most depressing thing ever. [But] I’m coming off getting married and being in this golden hour of my personal life, where all these things are finally coming to fruition. I found myself inspired to write about this person and all these things he brought out in me that weren’t there before”.



Mary Chapin Carpenter: Sometimes Just The Sky
Sometimes Just the Sky is not a greatest hits endeavor or a remastered compilation. It’s not a celebration or a souvenir. It is a reimagining of a most unusual nature. It is a collection of songs written across the decades, recorded in bucolic western England at Real World Studios with the great producer Ethan Johns. Carpenter sat with new and old friends who circled together in a wooden room and made music, in real time. What we hear is precisely what was played and sung, all at once. There’s a song originally recorded for each of Carpenter’s original studio records, and then there’s a new song, which was aided and abetted by hillside contemplation and a punk poet’s advice.



Ben Harper and Charlie Musselwhite: No Mercy In This Land
No Mercy In This Land is a blues record by Ben Harper and Charlie Musselwhite. Charlie Musselwhite and Ben Harper were introduced to one another by John Lee Hooker. The legendary musician thought the two men should play together, so he brought them into the studio to record a song called simply “Burnin’ Hell.” The two remained friends and their paths periodically crossed out there on the road. But it wasn’t until 2013 that the two met up in a studio to record what would be their Grammy winning album Get Up!. And as good as that record was, it was just the beginning. Both men agree that their friendship deepened in the many months of touring that followed. And it’s that bond, that closeness, that makes this new record something special. At first glance, Ben Harper and Charlie Musselwhite might seem an unlikely pairing. While Ben grew up in in the tree lined Southern California college town of Claremont, a bastion of culture and liberalism just east of Los Angeles, Charlie was raised in Memphis during the time of rockabilly and Sun Records. But while the two might have come to their musical knowledge in different eras and places, as Charlie explains, “We were both searchers and we’re still seeking.” Each of them possess an enduring hunger for musical knowledge that came to them early.



Bettye LaVette: Things Have Changed
For her tenth album and first album on a major label in nearly fifty years, legendary soul singer Bettye LaVette takes on the songs of Bob Dylan with the grit and experience that makes her one of the greatest soul singers alive. Things Have Changed is a masterpiece of interpretation of one of the greatest songwriters alive, by one of the greatest soul singers alive. Produced by Steve Jordan, the album spans Dylan’s catalogue and features guest appearances by Keith Richards and Trombone Shorty.



JOHNNY CASH: FOREVER WORDS
For nearly 60 years, the words of Johnny Cash have reached across cultural, spiritual and ideological borders. He was not only a singer of great songs, but a teller of universal hard truths about justice, faith and independence. It is in this spirit the new album, JOHNNY CASH: FOREVER WORDS, was created.
When Johnny Cash and June Carter Cash passed, they left behind what their son and JOHNNY CASH: FOREVER WORDS producer, John Carter Cash, describes as a “monstrous amassment of ‘things’” which included his father’s handwritten letters, poems and documents, ranging through the entirety of his life.
Over the past two years, a stellar cast of contemporary artists were invited by John Carter Cash to create new music to accompany these newly discovered Cash writings. These artists have adapted his words honestly and uniquely as they see fit, further showcasing the diversity and universality of Johnny Cash as a writer and storyteller.

  • Album of Johnny Cash’s unknown poetry, lyrics, and letters set to music by an astounding array of contemporary artists
  • Recorded primarily at the Cash Cabin in Hendersonville, TN and produced by Johnny Cash and June Carter Cash’s son, John Carter Cash and Steve Berkowitz
  • Includes recordings by Ruston Kelly & Kacey Musgraves, Chris Cornell, Rosanne Cash, Alison Krauss & Union Station, Kris Kristofferson & Willie Nelson, Brad Paisley, John Mellencamp, Elvis Costello, and more
  • Follows the bestselling book, JOHNNY CASH – FOREVER WORDS: THE UNKNOWN POEMS

Among the featured artists on JOHNNY CASH: FOREVER WORDS:

  • Ruston Kelly & Kacey Musgraves : The real-life couple and newlyweds record, “To June This Morning,” a song with lyrics taken from an actual letter Johnny Cash wrote to his wife, June Carter Cash.
  • Chris Cornell: 21 years after Cash released a cover of Soundgarden’s “Rusty Cage” for the Grammy-Award winning album Unchained, Cornell comes full circle, setting some of Cash’s own poignant and introspective words to original music on “You Never Knew My Mind,” one of his last solo recordings.
  • Rosanne Cash: Cash’s eldest daughter interprets her father’s “The Walking Wounded,” marking only the second time she has collaborated with her half-brother, John Carter Cash.
  • Alison Krauss & Union Station: The Grammy Award winning bluegrass group releases “The Captain’s Daughter,” their first new studio recording together in six years.
  • Kris Kristofferson & Willie Nelson: The American music icons and lifelong friends of Cash open the album with “Forever / I Still Miss Someone” featuring Kristofferson reciting the last poem Cash ever wrote, alongside Nelson’s unmistakable acoustic guitar accompaniment.

Last fall, the publication of the best-selling Johnny Cash – FOREVER WORDS: THE UNKNOWN POEMS (Blue Rider Press) added a new layer to The Man in Black’s artistic influence. This collection of never-before-published poems, edited and introduced by Pulitzer Prize-winning poet Paul Muldoon, gave the reader



Elvis Presley: The Searcher
features 18 tracks including familiar hit recordings (“Heartbreak Hotel,” “Are You Lonesome Tonight?”), powerful vocal performances (“That’s All Right,” “Tomorrow Is a Long Time,” “Trouble/Guitar Man”) and rare outtakes (“Suspicious Minds,” “Separate Ways”). Original soundtrack to the multi-part 2018 documentary Elvis Presley: The Searcher, directed by Thom Zimny and airing on HBO. The Searcher pushes past the larger-than-life image of The King of Rock and Roll, portraying him instead as a man and an artist “who wanted to heal, to find that thing that was always felt to be missing, and to do it through the music.”



The Weeknd: My Dear Melancholy
My Dear Melancholy, is the first extended play (EP) by Canadian singer and songwriter The Weeknd. It has been referred to alternatively as an album and a mini-album, and was released on March 30, 2018, by XO and Republic Records. Primarily produced by Frank Dukes, who serves as an executive producer alongside The Weeknd, it features contributions from Gesaffelstein, as well as DaHeala, Mike Will Made It, Skrillex and Daft Punk’s Guy-Manuel de Homem-Christo, among others. The project has been described as a return to the darker style of The Weeknd’s earlier work, such as Trilogy and Kiss Land.



John Prine: The Tree of Forgiveness
Highly-anticipated 2018 album from the veteran singer/songwriter. The Tree of Forgiveness is Prine’s first collection of new material since 2005’s Grammy-winning Fair and Square. Prine teamed with Grammy-winning producer Dave Cobb to record in Nashville’s historic Studio A, enlisting friends like Brandi Carlile, Jason Isbell, and Amanda Shires to sing along. The songs are new, although some had waited to be finished for decades, like a co-write with Phil Spectro called “God Only Knows.” Another incomplete song, “I Have Met My Love Today,” now celebrates the unexpected spark that leads to lifelong romance – with a dash of youthful innocence. The musical arrangements may be simpler than on past efforts, yet his unique ability to distill complex emotions into everyday language remains fully intact. Rather than going out on a limb, Prine cultivated the themes that have brought international acclaim since the 1970s. For example, he can take a topic like loneliness and make it funny or heartbreaking.



Beth Hart: Front and Center
Taking it’s name from Public Television’s acclaimed concert series “Front and Center” (which featured this performance), this live release arrives 13 years after Beth’s highly prized release “Live at Paradiso.” Her soulful burnt-honey vocals are in peak form as you watch this set at the Iridium in NYC: “Let’s Get Together,” “Baddest Blues,” “Jazz Man,” “Leave the Light On,” “Can’t Let Go” and more. You get a bonus CD of the concert, and the DVD adds songs not seen in the PBS broadcast plus an interview with Beth! Provogue.



Laura Veirs: The Lookout
A prolific songwriter for over 20 years now, Laura Veirs proves the depth of her musical skill on her tenth solo album, The Lookout. Here is a batch of inimitable, churning, exquisite folk-pop songs; a conceptual album about the fragility of precious things. Produced by Grammy-nominated Tucker Martine, Veirs’ longtime collaborator, The Lookout is a soundtrack for turbulent times, full of allusions to protectors: the camper stoking a watch fire, a mother tending her children, a sailor in a crows nest and a lightning rod channeling energy. The Lookout draws on the talents of a time-tested crew of musicians: Karl Blau, Steve Moore, Eli Moore, Eyvind Kang and Martine. Says Veirs, “These guys are a good hang, ego-free and wonderful players who just want to serve the songs.” Sufjan Stevens and Jim James provide guest vocals. For Martine, who fell, almost two decades ago, for Veirs’ unique sound after listening to a tape cassette she’d sent him in the mail, this album reflects a bar that keeps getting raised. Both familiar and strange, The Lookout gets better with repeated listens, warming to the skin like a cherished saddlebag, critical for the journey ahead.



The Nels Cline 4 : Currents, Constellations
Following the release of Nels Cline’s expansive Blue Note debut Lovers which found him fronting a 23-piece ensemble arranged by Michael Leonhart, the Wilco guitarist pares it down to The Nels Cline 4 for his project Currents, Constellations. The album features Cline alongside fellow guitarist and frequent collaborator Julian Lage, bassist Scott Colley, and drummer Tom Rainey on a set of seven Cline originals plus one piece by composer Carla Bley. Nels Cline first came to prominence in the 1980s playing jazz, often in collaboration with his twin brother Alex Cline, a drummer. Since then, he has worked with a wide range of musicians in punk and alternative rock, notably Mike Watt and Thurston Moore.

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NEW RELEASES for March 2018 include

Jack White: Boarding House Reach

BOARDING HOUSE REACH is the new solo album from Jack White, and is a testament to the breadth of the artist’s creative power and his bold artistic ambition. This new material finds Jack White expanding his musical palate with perhaps his most ambitious work thus far, a collection of songs that are simultaneously timeless and modern. Written and conceived while holed up in a spartan apartment with literally no outside world distractions, White exclusively used the same kind of gear he had when he was 15 years old (a quarter-inch four-track tape recorder, a simple mixer, and the most basic of instrumentation). The album explores a remarkable range of sonic terrain — crunching rock ‘n’ roll, electro and hard funk, proto punk, hip hop, gospel blues, and even country — all remapped and born anew to fit White’s matchless vision and sense of restless experimentation.
BOARDING HOUSE REACH was produced by Jack White III and recorded at Third Man Studio in Nashville, TN, Sear Sound in New York, NY, and Capitol Studios in Los Angeles, CA. The album was mixed by Bill Skibbe, Joshua V. Smith, and White at Third Man Studio in Nashville, TN. The album features White on vocals, acoustic and electric guitars and drums, organ, and synthesizers. He’s backed by a remarkable new lineup of musicians that includes: drummer Louis Cato (Beyoncé, Q-Tip, John Legend, Mariah Carey), bassists Charlotte Kemp Muhl (The Ghost of a Saber Tooth Tiger) and NeonPhoenix (Kanye West, Lil Wayne, Jay-Z), synthesizer players DJ Harrison and Anthony “Brew” Brewster (Fishbone, The Untouchables), keyboardists Neal Evans (Soulive, Talib Kweli, John Scofield) and Quincy McCrary (Unknown Mortal Orchestra, Pitbull), percussionists Bobby Allende (David Byrne, Marc Anthony) and Justin Porée (Ozomatli), and backing vocalists Esther Rose and Ann & Regina McCrary of Nashville’s beloved gospel trio, The McCrary Sisters, as well as longtime collaborators like drummers Daru Jones (Nas, Talib Kweli) and Carla Azar (Autolux, Depeche Mode, Doyle Bramhall II). Singer-songwriter C.W. Stoneking also appears, contributing a stirring spoken word performance to the album’s “Abulia and Akrasia.”
Jack White is a 12-time GRAMMY® Award-winner and 35-time nominee. His most recent full-length release, 2016’s JACK WHITE ACOUSTIC RECORDINGS: 1998-2016 (Third Man Records/Columbia), collected 26 acoustic-based songs from throughout White’s wide-ranging musical career, spanning album tracks, B-sides, remixes, alternate versions, and previously unreleased material from The White Stripes, The Raconteurs, and White’s groundbreaking solo career. The collection debuted at #1 on Billboard’s “Vinyl Albums” chart upon its September 2016 release – a position also achieved by 2012’s RIAA gold certified solo debut, BLUNDERBUSS, and 2014’s chart-topping LAZARETTO, both of which debuted at #1 on the Billboard Top 200 as well.


The Decemberists: I’ll Be Your Girl

The Decemberists explore a new sound on their inspired eighth studio album I’ll Be Your Girl. The acclaimed Portland, Oregon-based band worked with producer John Congleton (St. Vincent, Lana del Ray) and embraced influences such as Roxy Music and New Order to spark a new creative path, as evidenced on synth-driven lead single “Severed.” I’ll Be Your Girl is the band’s first studio album since 2015’s What a Terrible World, What a Beautiful World. In addition to their lyrics, which often focus on historical incidents and/or folklore, The Decemberists are also well known for their eclectic live shows. Audience participation is a part of each performance, typically during encores. The band stages whimsical reenactments of sea battles and other centuries-old events, typically of regional interest, or acts out songs with members of the crowd.



Chris Smither: Call Me Lucky
A new Chris Smither album is always an event and this one is no exception with its eight new original Smither songs and three covers – Chuck Berry’s “Maybelline”; “Sitting On Top of the World” by The Mississippi Shieks and “She Said She Said” by The Beatles. There are two CDs – the first one with the eight new songs and the three covers and the second (the ‘B side’) contains different versions of five of the new songs.


Paul Thorn: Don’t Let The Devil Ride

Don’t Let the Devil Ride collects soulful songs originally cut by black southern gospel groups, and features guests Blind Boys of Alabama, the McCrary Sisters, the Preservation Hall Jazz Horns, and Bonnie Bishop. The album was recorded at three temples of sound: the Sam C. Phillips Recording studio, whose namesake gave another son of Tupelo his start; at FAME Studios in Muscle Shoals, where Thorn worked as a songwriter for legendary producer Rick Hall early in his career; and at Preservation Hall, where horn players from the celebrated jazz venue lent songs a New Orleans vibe. Few of the songs here are well known. Billy Maddox, album co-producer, found most of them while digging through releases from small gospel labels in Mississippi and Alabama. The most familiar track here is no doubt Thorn’s relaxed tempo version of the O’Jays “Love Train,” a song whose feel-good qualities readily adapt to a gospel setting. The new release marks Thorn’s first time recording gospel music, after a dozen albums in roots-rock mode, though his upbringing has previously been reflected in his creation of a body of strikingly original songs. The other songs stretch back much farther, but their themes – of redemption, taking stock of one’s life, and resilience in the face of troubles – are universal, making them readily adaptable to the fresh takes here.


Best Of The Grateful Dead Live: 1969-1977

Two CD set. Made for die-hard Dead Heads and new fans alike, The Best Of The Grateful Dead Live is the ultimate live collection. Includes recordings selected from the band’s official live albums on Warner Bros. And Arista, plus a few tracks from their many archival live releases, beginningwith “St. Stephen” -from the group’s first official live album, 1969’sLive/Dead- and ending with the poignant “So Many Roads, ” taken from the band’s final concert at Chicago’s Soldier Field in July of 1995.


Wynton Marsalis: United We Swing

Recorded between 2003 and 2007, United We Swing finds an unparalleled array of musical talent that collectively boasts 94 Grammy Awards joining Jazz at Lincoln Center Managing and Artistic Director Wynton Marsalis (a nine-time Grammy Award winner himself) and his Septet. Together, they perform blues-inflected versions of iconic American repertoire and celebrate the red, white, and Blues. These one-night-only, live performances have never been released before. They include Lenny Kravitz performing Marsalis’s hypnotizing, New Orleans-inflected arrangement of Kravitz’s own song, “Are You Gonna Go My Way”; Susan Tedeschi and Derek Trucks uniting for a stirring, infectious take on Civil Rights anthem “I Wish I Knew How It Would Feel to Be Free”; Bob Dylan adding harmonica licks to a deeply felt, in-the-pocket rendition of “It Takes a Lot to Laugh, It Takes a Train to Cry”; and Ray Charles taking the stage for one of his final performances to play “I’m Gonna Move to the Outskirts of Town.” Together these artists raise their voices to highlight jazz’s importance to America’s cultural heritage and to remind us that, even in divided times, music can unite us all. All proceeds from the album will go toward Jazz at Lincoln Center’s education programs, which introduce thousands of children to jazz each year.

NEW RELEASES for March 9, 2018 include:

Jimi Hendrix: Both Sides of the Sky

Both Sides Of The Sky presents 13 studio recordings including 10 which have never before been released. All but two of these studio recordings were made during a fertile two year period between January 1968 and 1970. Jimi’s mastery of the studio and his increasing use of them as a proving ground for new songs resulted in a growing collection of extraordinary material. Both Sides Of The Sky completes a trilogy of albums [with Valleys Of Neptune and People, Hell & Angels] intended to present the best and most significant unissued studio recordings remaining in the Hendrix archive. The songs include fascinating alternate versions of “Stepping Stone,” “Lover Man” and “Hear My Train A Comin’” as well as recordings where Jimi is joined by such special guests as Johnny Winter and Stephen Stills. Both Sides Of The Sky was mixed by Eddie Kramer, the engineer for all of Hendrix’s albums throughout the guitarist’s lifetime, and produced by Janie Hendrix, Kramer and John McDermott.

Track synopsis’:

  • Mannish Boy – The first ever studio session by the group Hendrix would christen as his Band Of Gypsys. Hendrix, Cox & Miles shared a love for the blues as this driving, uptempo reworking of “Mannish Boy” by Muddy Waters makes clear.
  • Lover Man – Just two weeks before their triumphant New Year’s concerts at the Fillmore East in NYC [yielding both 1970’s Band Of Gypsys and 2016’s sequel Machine Gun], Hendrix gathered with Cox and Miles to cut this dynamic rendition of what had become a favorite concert staple.
  • Stepping Stone – A totally unique take on this Hendrix favorite, with Jimi showcasing both blues and country styled licks atop a relentless, galloping beat.
  • $20 Fine -Stephen Stills joined Jimi, Mitch Mitchell and Buddy Miles Express keyboardist Duane Hitchings at this September 1969 session. With Stephen handling lead vocals and organ, Jimi added multiple guitar parts to this rollicking Stills original.
  • Power Of Soul – This 1970 studio session came three weeks after the Band Of Gypsys concerts at the Fillmore East. While a live version remains one of the highpoints of Band Of Gypsys, Jimi never released a studio version during his lifetime. For this album, we present the mix that Hendrix and Kramer prepared of the complete song at Electric Lady on August 22, 1970.
  • Jungle – The influence of Curtis Mayfield can be heard here as Jimi expands on the “Villanova Junction Blues” theme he made famous by its inclusion in the 1970 Woodstock documentary.
  • Things I Used To Do – Jimi is joined for this rendition of Guitar Slim’s blues classic by Johnny Winter. Jimi’s trademark guitar work and Winter’s deft slide playing weaves in and around the foundation set by bassist Billy Cox and Crosby, Stills, Nash & Young drummer Dallas Taylor.
  • Georgia Blues – Jimi reunited with some old friends from his pre-Experience days. Lonnie Youngblood, with whom Hendrix played in R&B groups like Curtis Knight & The Squires, voiced this superb twelve bar blues neatly underpinned by Hendrix’s sublime rhythm and lead guitar work.
  • Sweet Angel – With Axis: Bold As Love only just released, Jimi immediately turned his focus to recording what would become Electric Ladyland. This gorgeous, instrumental reading of “Angel,”, features Jimi on guitar, bass and vibraphone joined by Mitch Mitchell.
  • Woodstock – Stephen Stills came to this session fresh from having visited Joni Mitchell, who had a new song that Stills was excited to try and record. Long before CSNY’s version, Stephen, Jimi and Buddy Miles recorded this amazing rendition.
  • Send My Love To Linda – A superb new Hendrix original composition recorded with Cox and Miles in the aftermath of their successful Band Of Gypsys performances at the Fillmore East.
  • Cherokee Mist – Together with drummer Mitch Mitchell, Jimi created this moody, evocative original complete with his playing of a sitar to complement his traditional electric guitar.

David Byrne: American Utopia

from the veteran singer/songwriter and former Talking Heads frontman. American Utopia fits hand-in-hand with Byrne’s vision for his series Reasons To Be Cheerful, named for the song by the late Ian Dury. Over the last year, Byrne has been collecting stories, news, ideas, and other items that all either embody or identify examples of things that inspire optimism, such as a tech breakthrough, a musical act, a new idea in urban planning or transportation-something seen, heard, or tasted. Just as the album questions the current state of society while offering solace through song, the content of the series recognizes the darkness and complexity of today while showcasing alternatives to the despair that threatens us. – While David Byrne has collaborated on joint releases with Eno, Norman Cook (AKA Fatboy Slim), and most recently St. Vincent over the past decade, American Utopia is Byrne’s first solo album since, 2004’s Grown Backwards, also on Nonesuch. American Utopia morphed during the writing and recording process, beginning with longtime collaborator Eno, and eventually growing to include collaboration with producer Rodaidh McDonald (The xx, King Krule, Sampha, Savages) alongside a diverse cast of creative contributors including Daniel Lopatin (AKA Oneohtrix Point Never), Jam City, Thomas Bartlett (St. Vincent producer, AKA Doveman), Jack Peñate, and others. The album was recorded in New York City at David’s home studio, Reservoir Studios, Oscilloscope, XL Studios, and Crowdspacer Studio and in London at Livingston Studio 1.


Nathaniel Rateliff & the Night Sweats: Tearing At The Seams

Nathaniel Rateliff & the Night Sweats make their long-awaited return with Tearing At The Seams, a staggering album of rock ‘n’ soul music. Propelled by driving rhythms, blazing hornplay, and Rateliff’s rowdy, soul drenched vocals, Tearing At The Seams’ 12 tracks crackle with emotion and intensity. From anguished sorrow to ecstatic heights, Rateliff’s expressive tenor is unvarnished on the record’s tender R&B ballads and nitro-fueled rave-ups. Features “Be There,” “A Little Honey,” “Say It Louder,” “Hey Mama,” “Babe I Know,” “You Worry Me,” the title track and more. Nathaniel Rateliff is a singer and songwriter based in Denver, whose influences are described as folk, Americana and vintage rhythm & blues.


Brad Mehldau: After Bach

After Bach comprises Brad Mehldau’s recordings of four preludes and one fugue from J.S. Bach’s Well-Tempered Clavier, each followed by an After Bach piece written by Mehldau and inspired by it’s WTC mate. “There have always been elements of Mehldau’s style that recall Bach,” writes Timo Andres in the liner note. “After Bach surveys their shared ground as keyboardists, improvisers, and composers, making implicit parallels explicit.”


Judas Priest: Firepower

the 18th album from the legendary British heavy metal band. Firepower is something these heavy-metal pioneers have never lacked-and they sound as explosive as ever on this studio album. Guitarist Glenn Tipton and bassist Ian Hill have been with Rob Halford since ’74; they’re joined by second guitarist Richie Faulkner and drummer Scott Travis here plus producer Tom Allom (who helmed all of the band’s 1979-88 releases). Grammy-winning producer Andy Sneap joined that team for this recording, bringing a modern flair to Tom’s throwback metal approach. The songs are vintage Priest, and the band recorded ’em the old way, just getting in a room together and blasting through “Firepower,” “Lightning Strike,” “Evil Never Dies,” “Necromancer,” “Flame Thrower” and more.

 

NEW RELEASES for March 2, 2018 include:

The Breeders: All Nerve

The Breeders announce their return to 4AD with the infectious album All Nerve, the first music to be released by the classic lineup behind the iconic album, Last Splash. “A blurt of jolting joy” – NPR. “A classic Breeders bruiser, packed with punchy drums, sugar-rush power chords and lead riffs” – Rolling Stone “Wait in the Car” runs through all the hallmarks of a classic Breeders song: layered harmonies that manage to sound both euphoric and weary, vacillating between power chords, and a sneering Kim mandate. Though it has been 24 years since these last four recorded together, “Wait in the Car” effortlessly brushes away time”


Jackie DeShannon: Stone Cold Soul–the Complete Capitol Recordings

Stone Cold Soul-The Complete Capitol Recordings Presents All 25 Sides DeShannon Recorded for Capitol, Including the Songs Album and All of Her Memphis Material Featuring Five Previously Unreleased Tracks. Songs Featured Covers of Bob Dylan’s “Lay Lady Lay” (Retitled “Lay, Baby, Lay”) and Hoyt Axton’s “Ease Your Pain” Plus a Shimmering Trio of DeShannon Originals: “Salinas,” “Bad Water,” and a Remake of “West Virginia Mine.”


Joan Baez: Whistle Down The Wind

Produced by Joe Henry (Bonnie Raitt, Allen Toussaint and many others) Whistle Down The Wind features songs by Tom Waits, Josh Ritter, Mary Chapin Carpenter, Eliza Gilkyson and others. Joan Baez remains one of the most celebrated and influential artists of her generation. Her impact on successive generations of singer/songwriters and female artists in particular is wide-reaching and crosses all genres and boundaries. Fellow artists from Emmylou Harris and Bonnie Raitt to Jackson Browne, Mary Chapin Carpenter and Indigo Girls cite her as a primary influence on their own careers. A new studio album from Baez is an event that will be celebrated by the media.


Keith Jarrett: After The Fall

“After The Fall” [2 CD] The group colloquially known as “the Standards trio” has made many outstanding recordings, and this album must rank with the very best of them. In his liner note Keith Jarrett writes “For me, it’s not only a historical document, but a truly great concert.” The concert, recorded in November 1998, marked Jarrett’s return to the stage after a two year hiatus. Joined by improvising partners Gary Peacock and Jack DeJohnette, he glides and soars through classics of the Great American Songbook. Keith Jarrett, Gary Peacock, Jack DeJohnette.


Lucius
Lucius: Nudes, a collection of acoustic recordings. The band’s Jess Wolfe and Holly Laessig currently sing backup for Roger Waters on the Pink Floyd bassist’s still-ongoing Us + Them Tour. They recorded the 10-track album during gaps in Waters’ tour.
Lucius’ new album features covers of Tame Impala’s “Eventually,” Gerry Rafferty’s Right Down the Line” and the Lead Belly-popularized “Goodnight Irene,” featuring Roger Waters. Additionally, Wilco’s Nels Cline contributes to the original song “Million Dollar Secret.” The Brooklyn band also unveiled Nudes‘ smokey, folk-pop first single, “Neighbors”. “Amidst nearly every performance over the past few years, we’ve had the opportunity to strip away everything – be it at the center of the crowd, or on stage around one microphone, or in tiny, unexpected rooms around the world – all to share and create an intimate, heartfelt connection with our audience,” Wolfe and Laessig said of their new album in a statement.
“It’s these moments that have inspired our newest project, Nudes. Recorded over two days at New York’s legendary Electric Lady Studios, Nudes is a collection of acoustic songs: new, from our back catalog – reimagined, and covers we’ve always wanted to record. It is a record giving homage to what has been … and a hint at what’s to come.”
The singers will rejoin Waters in February for the Australian leg of the Us + Them tour, after which Lucius will embark on their own North American trek throughout March before Waters’ jaunt heads to Europe in April.


Moby: Everything Was Beautiful & Nothing Hurt

Everything Was Beautiful, and Nothing Hurt is the 15th studio album by electronica musician Moby. The title of the album is a reference to Billy Pilgrim’s epitaph in Kurt Vonnegut’s 1969 novel Slaughterhouse-Five. Featuring LA-based soulstress Raquel Rodriguez, the album’s first single “Like a Motherless Child” is a re-work of the well-known spiritual with origins in the slavery of the American South. The album is a glowing tapestry exploring spirituality, individuality and the brokenness of humanity and finds Moby returning to his orchestral, soul, trip-hop and gospel roots.


Sue Foley: Ice Queen

Sue Foley is a multi-award-winning musician and one of the finest blues and roots artists working today. She is a veritable triple-threat of musical talent as a guitarist, songwriter and vocalist. The Ice Queen features a trio of legendary Texas guitarslingers, Jimmie Vaughan, Z. Z. Top’s Billy F Gibbons and Charlie Sexton, as well as a host of other Lone Star State all-stars. Foley holds the record for the most Maple Blues Awards in Canada and has earned three Trophees de Blues de France. She has also garnered several nominations at the Blues Music Awards from The Blues Foundation.


Titus Andronicus: Productive Cough

Since debuting in 2008, Titus Andronicus has been conditioning faithful listeners to always expect only the unexpected, consistently zigging where others would zag and maintaining a steadfast dedication to fearless ambition. With the release of the new studio album A Productive Cough, the group has executed the most shocking departure yet – but only if, as ever mercurial singer-songwriter Patrick Stickles insists, “you haven’t been paying attention.” In a move that may infuriate the black-denim-and-PBR set, A Productive Cough finds Titus Andronicus setting aside the leadfooted punk anthems of yesteryear in favor of a subtler, more spacious approach that pushes Stickles’ soul-baring songwriting to the fore, creating a conversational intimacy between artist and audience with which previous Titus Andronicus efforts had only flirted.

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