News

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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Hank Williams Tribute CD Release Party / KRCB-FM Benefit

JACKALOPE RECORDS PRESS RELEASEFor Immediate Release – September 9, 2019
Contact: Doug Jayne jayne
(707) 696-1100 cell / texts
www.jackaloperecords.com
https://norcalpublicmedia.org/

Hank Williams Tribute CD Release Party / KRCB-FM Benefit
at the Mystic Theatre September 21, 2019 at 8pm
On September 21, we celebrate the music of Hank Williams, with the release of a new 2CD set, The Songs of Hank Williams: a compilation of Northern California musicians.
The CD is a fundraiser for KRCB-FM, Sonoma County’s NPR affiliate.
Hank would have turned 96 on September 17, and plays a big role in the upcoming PBS series, Country Music by Ken Burns.
Ken calls Hank the “Hillbilly Shakespeare”.
For the Mystic show, we have an all-star backing band, The Driftin’ Cowpokes, that will be led by Kevin Russell and features Rick Cutler on drums,
Tim Sarter on bass, Paul Shelasky on fiddle, Sean Allen on pedal steel. CD contributors performing will include:
The Pulsators ~ Timothy O’Neil ~ Dave Hamilton ~ Nell Robinson and Jim Nunally ~ Dirty Cello ~ Solid Air ~ Ring of Truth Trio ~ 3 Acre Holler ~ Sarah Baker ~ Paul Riley & Jonathan Burnside ~ Steve Pile
Heartwood Crossing ~ Jeff Falconer ~ Buzzy Martin ~ Bobby Lee ~ Michael Stadler ~ Doug Blumer & Nancy Irish ~ Doug Jayne and Jim Corbett (Mr. Music) will perform and co-host.
Tickets are only $10 and available in person at The Last Record Store in Santa Rosa, online at Mystic Theater, or by calling KRCB FM at (707) 584-2020 and donating to KRCB’s Fall Fundraiser.
Musicians that contributed to the CD, but are not able to make it to the Mystic on the 21st include David Luning, Royal Jelly Jive, Nate Lopez, Easy Leaves, The Ruminators and Joanne Rand.
Complete album track listing can be viewed here:

http://jackaloperecords.com/the-songs-of-hank-williams/

The Songs of Hank Williams is the 13th CD produced by Jackalope Records since 1996 to benefit KRCB FM
My friend, Johnny Otis wrote a sweet intro to the liner notes of out first CD, “Connections”.
Here’s what it looked like:

Be talking to you,
Doug Jayne

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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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NEW RELEASES OUT August 23 (now):


The Best Taylor Swift album EVER



Raphael Saadiq: Jimmy Lee
is the new album from Raphael Saadiq, the Grammy Award- winning musician, songwriter and go-to collaborator/producer Raphael Saadiq. This collection is Raphael’s first new album in eight years, and is the follow-up to 2011’s Stone Rollin.’ The album was announced in June, 2019 with the release of the single “Something Keeps Calling.”
Jimmy Lee is a deeply personal, musically ambitious work inspired by his brother’s struggles with addiction that explores the razor’s edge people walk as they pursue pleasure that leads to pain — a brilliantly incisive and empathetic work from a master at the peak of his art. The album takes the listener from Saadiq’s native Oakland to Rikers Island as he traces the everyday struggles of addiction and incarceration, taking in both the thrills and pitfalls he witnessed throughout his brother’s life. Comprising narcotic funk, steely gospel affirmations, and quaking protest soul, Jimmy Lee is a resonant examination of modern life, in all its exuberance, destruction and consequence.
Jimmy Lee was self-produced by Raphael Saadiq and recorded at Blakeslee Recording Co. in North Hollywood. The album features contributions from Brook D’Leau, Kendrick Lamar, and Ali Shaheed Muhammad.
Raphael Saadiq came up in the 80s and 90s with the multi-platinum R&B group Tony! Toni! Toné! before embarking on a critically acclaimed solo career. He also has been active as a producer, co-writing career-defining hits for D’Angelo (“Untitled (How Does It Feel)”) and Solange (“Cranes in the Sky”) and working with artists like John Legend, Mary J. Blige, Snoop Dogg, Erykah Badu, Lady Gaga and Stevie Wonder.



Tyler, The Creator: Igor
is the fifth studio album by rapper Tyler, The Creator. Produced entirely by Tyler, the album follows the 2017 release of Flower Boy. It features guest appearances from Playboi Carti, Lil Uzi Vert, Solange, Kanye West, and Jerrod Carmichael, along with backing vocals from Santigold, Jessy Wilson, La Roux, CeeLo Green, Charlie Wilson, Slowthai, and Pharrell, among others. Igor received widespread critical acclaim from critics and debuted at #1 on the US Billboard 200, becoming Tyler’s first chart topper.



Redd Kross: Beyond the Door
Redd Kross invite you to explore Beyond the Door, an album inspired by the band’s “total commitment to having the best fucking time we can have while we’re all still here” (what they like to call “the Party”). It’s a rock and roll record and a celebration of everything brothers Jeff and Steven McDonald love, from cultures both high and low. Musically, it’s guitars, bass, and drums topped with a generous portion of sweet vocal melodies often delivered with an ambiguous edge.



Robert Randolph and the Family Band: Brighter Days
the follow-up to the Grammy-nominated Got Soul album, may be Robert Randolph and the Family Band’s best, most diverse album yet. Rooted in gospel and blues, and branching into rock and soul, it is the sound of a veteran artist sure of himself and confident enough to spread his wings. The album was produced by Dave Cobb, known for his acclaimed and award-winning production of albums by Chris Stapleton, Jason Isbell, Brandi Carlile, and the A Star Is Born soundtrack.



Coco Montoya: Coming in Hot
Premiere blues rock guitarist Montoya is the only one of his peers with the soulful vocals to match his six-string prowess. Coming In Hot is jam-packed with stellar, unpredictable, spiraling solos played with Coco’s signature full-bodied tone, and singing that carries fury and passion equal to his powerhouse fretwork.



Vince Gill : Okie
With the album’s title and varied themes, Gill helps Merle Haggard and other inspirations reclaim “Okie,” a term used in the past to disparage Oklahoma natives living on the West Coast during the Dust Bowl and Great Depression years. For Gill, a proud Oklahoman, it now applies to common folks with specific fears and triumphs that are broadly relatable to listeners well beyond the Sooner State.
“I thought this was going to be a songwriter record, not a concept album,” Gill says in a press release. “It wound up being more information than I’d envisioned. A friend sent me an email saying, ‘You could have only written this record after living a 60-year-plus life.’ He said, ‘There’s no struggle in these songs, just truth and your experience.'”
A Letter to My Mama, the album’s lead release, applies Gill’s acoustic-driven, sentimental style to a nod to country music’s time-tested themes of faith, family and home. Readers can press play above to hear the song.



Tanya Tucker: While I’m Livin’
the first album in 17 years from legendary country icon Tanya Tucker. The album was produced by Brandi Carlile and Shooter Jennings.



Slipknot:We Are Not Your Kind
is the sixth studio album by metal band Slipknot. The album was produced by Greg Fidelman. We Are Not Your Kind is the band’s first album in five years. Includes the lead single “Unsainted”. This is the band’s first album since the firing of longtime member Chris Fehn.



Blinded By The Light
Original soundtrack to the 2019 motion picture. Blinded By The Light brings together 12 essential Bruce Springsteen performances ranging from greatest hits and fan favorites (“Born To Run, ” “Dancing In The Dark, ” “Hungry Heart, ” “Because The Night”) to previously unreleased tracks, including the long-sought-after studio recording of “I’ll Stand By You.” Also, for the first time on album, Blinded By The Light: Original Motion Picture Soundtrack presents two live rarities: the debut live performance of “The River” (from No Nukes ’79 – Madison Square Garden, NYC – September 21, 1979) and an unforgettable acoustic solo performance of “The Promised Land” (Concert for Valor – The National Mall, Washington DC, November 11, 2014). In addition to the Springsteen performances, Blinded By The Light: Original Motion Picture Soundtrack includes period tracks and dialog from the film and premieres “For You My Love, ” a new song written for the film by soundtrack composer A.R. Rahman (“Slumdog Millionaire”). Rahman has won six National Film Awards, two Academy Awards, two Grammy Awards, a BAFTA Award, a Golden Globe Award, fifteen Filmfare Awards and seventeen Filmfare Awards South. The film follows Javed (Viveik Kalra), a British teen of Pakistani descent, growing up in Luton, England in 1987. Javed’s turbulent life amidst the racial and economic turmoil of the times is transformed when he is introduced to the music of Bruce Springsteen.



Dirty Heads: Super Moon
the seventh album from Southern California-based alternative rock band Dirty Heads. The album was produced by four-time Grammy-winning Nashville, Tennessee-based super producer Dave Cobb (A Star is Born soundtrack, Brandi Carlile, Chris Stapleton, Jason Isbell, Sturgill Simpson). The album was all recorded live in the same room to tape in Studio A in the old RCA building in Nashville, Tennessee, where legends like Johnny Cash and Elvis recorded a lot of their work.



Marc Cohn & The Blind Boys of Alabama: Work To Do
a collaboration from critically acclaimed singer-songwriter Marc Cohn and gospel titans Blind Boys Of Alabama. Produced by John Leventhal, the unique collection combines the songwriting talents of Marc Cohn with the soul stirring harmonies of Blind Boys of Alabama and falls on the heels of more than a year of live collaborative dates. Work To Do is comprised of three studio tracks by Cohn and The Blind Boys, (two originals and a version of the gospel standard “Walking To Jerusalem”) and seven intimate live performances recorded at the Katharine Hepburn Cultural Arts Center in Old Saybrook, CT, during a taping of the PBS series The Kate.



Nick Moss Band: Lucky Guy !
Peerless Chicago blues band, led by razor-sharp singer/guitarist Nick Moss and harmonica virtuoso Dennis Gruenling, return with another sterling collection of combustible, cocksure blues and rootsy rock ‘n’ roll, genuine, deep and potent. Thirteen original songs featuring searing, tough vocals, blazing guitar and powerhouse harmonica. Up-to-the-minute lyrics melded with classic blues sounds.



Jesse Dayton: Mixtape Vol. 1
“If you open your arms to the world, it’s amazing what will come back atcha,” drawls East Texas native, singer/songwriter/filmmaker/author Jesse Dayton, who has a bunch more homespun wisdoms where that came from. A veteran of more than 30 years as a musician, Dayton was discovered as a young teenager playing “a toilet dive” in his hometown of Beaumont by legendary club owner Clifford Antone, who booked him into his famed Austin venue, then immediately shifted him over to the honky-tonk Broken Spoke, where the likes of Willie Nelson, George Strait and Ernest Tubb have had residencies.
“When I first got to Austin, everybody else sounded like Stevie Ray Vaughan, but I sounded more like Jerry Reed. I didn’t think I was cool, either, because this was before every punk sported that image of Johnny Cash flipping the rod.”
Equally steeped in Texas/Louisiana blues, old-school country and punk-rock, Dayton is the music world’s best-kept secret, hiding in plain sight as a guitarist for Waylon Jennings, Johnny Cash, Ryan Bingham and L.A. punk pioneers X, as well as touring alongside Social Distortion, the Supersuckers and John Doe.
After releasing 11 studio albums and an EP as a solo artist, Dayton’s new album, Mixtape Volume 1, is a series of 10 cover songs he thoroughly makes his own, reinterpreting and revisiting them in a brand-new way. On the first track and single, Jackson Browne’s “Redneck Friend”, Dayton takes the song to a place where it would be equally at home on the first two Eagles albums or as a Rolling Stones collaboration with Gram Parsons. He transforms Neil Young’s “Harvest” into a country plaint complete with pedal steel guitar and hurdy-gurdy piano, while offering a majestic take on Gordon Lightfoot’s “If You Could Read My Mind”.
Brought up on his older sister’s Laurel Canyon folk records, the FM album rock and punk he listened to as a teenager plus the array of country acts who used to tour through Beaumont – including Johnny Cash, Johnny Paycheck, David Allen Coe, Conway Twitty, Hank Jr., and George Jones – Dayton has managed to create a genuine hybrid that takes alt-country and Americana in new, exciting directions.
“The world doesn’t need another outlaw country singer covering Waylon Jennings,” he says of his stylistic mix. “Everyone where I was growing up had no idea Neil Young wrote Waylon’s ‘Are You Ready for the Country?’ or that George Jones’ ‘Bartender’s Blues’ was written by James Taylor, a stoned junkie at the time.”
Turned on to the music’s possibilities by attending an early Clash/Joe Ely tour, Dayton
transforms the U.K. punk icons’ “Bankrobber” into a kind of Bo Diddley shuffle, just as The Clash similarly turned Bobby Fuller Four’s “I Fought the Law” into a three-chord rave-up. He relocates the roots of ZZ Top’s “She’s a Heartbreaker” on the Texas / Louisiana border with some sawing Cajun fiddles, while AC/DC’s “Whole Lotta Rosie” gets the harp-honking Jimmy Reed treatment. The Cars’ new wave ditty, “Just What I Needed”, is reimagined as a George Jones honky-tonk lament, while Bruce Springsteen’s “State Trooper” combines Johnny Cash gravitas, Jim Morrison’s dark bravado and the Boss’ own New York punk duo fave Suicide’s doom-laden theatricality into a compelling whole.
Although he tours nearly 250 days a year, Dayton keeps the home fires burning in the same Austin house he bought thanks to earning 75% of the publishing royalties from writing songs for the soundtracks of three Rob Zombie horror flicks, including The Devils Rejects and Halloween 2 (performing a cameo as Captain Clegg, a roll he revived nightly as the support act on Zombie’s U.S. tour that year).
Dayton’s own career path includes such Zelig-like moments as being recruited by iconic
producer Huey P. Meaux to record with zydeco star Rockin Dopsey at Houston’s famed
Sugarhill Studios; recording his debut album, Raisin’ Cain, with Doug Sahm, Flaco Jiminez and Johnny Gimble, topping the Americana radio charts. He went on to record with Waylon Jennings, Willie Nelson, Johnny Bush and Glen Campbell.
Dayton has more than 50 songs licensed to film and television, writing and directing what he calls a B-movie Roger Corman monster flick, Zombex, in New Orleans, featuring an eclectic cast including Malcolm McDowell, cult actor Sid Haig, Walking Dead’s Lew Temple, Corey Feldman, Slayer’s Tom Araya and X’s John Doe, who promptly asked him to sit in for Billy Zoom, recovering from cancer treatment, on a 40-city tour. His next project is writing his memoirs and short stories for a book to be published next year, and he just finished playing guitar on Guns N’ Roses bassist Duff McKagan’s new solo album.
“You have to be honest with yourself about who you are,” he says, explaining his longevity as a performer. “In terms of surviving, you have to pay attention to the macro as well as the micro.”
Active politically – he’s played several benefits for fellow Texan presidential candidate Beto O’Rourke (once a punk-rock guitarist himself) – Dayton had an intense one-on-one with President Bill Clinton after playing his inaugural ball with Lucinda Williams.
“I’m scared to death about what’s happening now, so I remain vigilant,” he says.
Jesse Dayton has come a long way from the backwaters of his Beaumont hometown,
encouraged by his parents to escape the stranglehold the oil industry-dominated region has on the town’s inhabitants.
“They always pushed me to be an artist,” he says. “You don’t want to be anybody’s slave.”
On Mixtape Volume 1, Jesse Dayton pays tribute to his past, but never keeps his eye off what’s next.



Sleater-Kinney: The Center Won’t Hold
is Sleater-Kinney’s midnight record on the doomsday clock. After twenty-five years of legendary collaboration, rock’n’roll giants Brownstein, Corin Tucker, and Janet Weiss rise to meet the moment by digging deeper and sounding bigger than we’ve heard them yet. Here are intimate battle cries. Here are shattered songs for the shattered survivors. “The Center Won’t Hold drops you into the world of catastrophe that touches on the election,” says guitarist/vocalist Tucker of the title track. “We’re not taking it easy on the audience. That song is meant to be really heavy and dark. And almost like a mission statement, at the end of that song, it’s like we’re finding our way out of that space by becoming a rock band.”



Thee Oh Sees: Face Stabber
Hey there, human kids, lift your face out of the feed trough and pluck that feculence from your ears. Hark! A sonar blip from beneath the pile of bodies-the latest Oh Sees, Face Stabber! Boop, blip, ughhh… people churning like a boiling swamp. Man, this din is nauseating. The screen flickers for the first time this year with a transmission from two months in the future: “the internet has deemed guitar music dead and you are free to do whatever the f*** you like… long live the new flesh!” This album is Soundcloud hip-hop reversed, a far flung nemesis of contemporary country and flaccid algorithmic pop-barf. No songs about money or love are floating in the ether. Just memories, echoes, foggy blurs, blip-blop goes the scope, heavy funk, dystopia-punk canons, long jams, bloated solos dribbling down your caved-in chest. Human cattle like a beef avalanche, right on your burned out face hole. Spider-legs fuzz crawling in your brain. Lots of curse words for your mom. You’ve gotten the over-population blues, so let’s have some art for art’s sake. What else are you gonna do? Stare at the sky? Please… fifty carbon copies of you look back at you as you walk the streets. Take a breath, you’re going to need it. Take drugs, you’re going to need those just to stand in line at the air and water reclamation center soon enough. There’s no fruit, buddy. You’re at the bleak-peak. They will squeeze you till you’re all squeezed out. Or fans of fried prog burn-out, squished old-school drool, double drums, lead weight bass, wizard keys (now with poison), old-ass guitar and horrible words with daft meanings. If you don’t like it then don’t listen, bub. Back to the comments section with you! Easy over and out.



King Gizzard & the Lizard Wizard: Infest the Rats’ Nest
the 15th studio album by Australian psychedelic rock band King Gizzard & the Lizard Wizard. The album sees the band exploring more into heavy metal, which the band had only ever briefly touched upon on previous albums. Infest the Rats’ Nest was recorded with only three of the band’s usual seven-man lineup. The album showcases influences completely derived from heavy metal music. The album mixes thrash metal with the bands signature garage rock influenced guitar tones along with their psychedelic and space rock sounds. The album makes consistent use of double kick drumming influenced by heavy metal pioneers Motörhead. The albums themes include ecological disasters and aliens migrating to different planet in which frontman Stu Mackenzie stated was based on events that are happening in real life. Mackenzie also cited the albums strong thrash metal influence derived from bands such as Metallica, Slayer, Exodus, Overkill, Sodom and Kreator.



Rodney Crowell: Texas
Featuring Willie Nelson, Lyle Lovett, Ronnie Dunn, Billy F Gibbons, Randy Rogers, Vince Gill, Lee Ann Womack, Steve Earle, Ringo Starr and more, the 11 tracks on TEXAS represent not just a fresh batch of weathered poetry from one of Americana’s finest craftsmen, but also an iconic singer-songwriter letting loose with his friends.



Eilen Jewell: Gypsy
Described as “one of Americana’s most intriguing and creative voices” (American Songwriter), Jewell has written 11 new songs for Gypsy and is calling it her favorite album yet: new sounds, old sounds, electric guitar-driven rockers, classic country, and tender ballads. Gypsy continues to solidify Jewell’s reputation as one of the most distinctive and potent voices in the Americana world today.



Lillie Mae: Other Girls
From the new track’s opening line, “I ain’t your baby,” the Nashville singer, songwriter, downtown scene slayer, and most-wanted fiddler signals a reclaimed confidence and bold evolution, telling women’s stories – including her own – that build on the strength of her “nervy” (NPR Music), 2017 Jack White-produced debut.

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