News

October 19 New Releases

NEW RELEASES Out October 18 (now):

Big Thief: Two Hands
a completely new, fully-realized, 10-song album by Big Thief, will arrive just five months after their breakthrough U.F.O.F., one of the most acclaimed albums of 2019. In sharp contrast to the wet environment of the U.F.O.F. session, Two Hands had to be completely different- an album about the earth and the bones beneath it. The songs were recorded live with almost no overdubs. All but two songs feature entirely live vocal takes, leaving Adrianne’s voice suspended above the mix in dry air, raw and vulnerable as ever. Where U.F.O.F. layered mysterious sounds and effects for levitation, Two Hands grounds itself on dried-out, cracked desert dirt. Anybody who has borne witness to Big Thief in the wild will find songs they recognize here. Much of the album’s tracks (“The Toy”, “Those Girls”, “Shoulders”, “Not”, “Cut My Hair”) have been live staples for years. Two Hands has the songs that I’m the most proud of; I can imagine myself singing them when I’m old,” says singer/songwriter Adrianne Lenker. With raw power, intimacy, and honor, Two Hands folds itself gracefully into Big Thief’s impressive discography. This body of work grows deeper and more inspiring with each new album.



Kim Gordon: No Home Record
With a career spanning nearly four decades, Kim Gordon is one of the most prolific and visionary artists working today. A co-founder of the legendary Sonic Youth, Gordon has performed all over the world, collaborating with many of music’s most exciting figures including Tony Conrad, Ikue Mori, Julie Cafritz and Stephen Malkmus. Most recently, Gordon has been hitting the road with Body/Head, her spellbinding partnership with artist and musician Bill Nace. Despite the exhaustive nature of her résumé, the most reliable aspect of Gordon’s music may be it’s resistance to formula. Songs discover themselves as they unspool, each one performing a test of the medium’s possibilities and limits. Her command is astonishing, but Gordon’s artistic curiosity remains the guiding force behind her music. It makes sense that this “American idea” (as Gordon says on the agitated rock track “Air BnB”) of purchasing utopia permeates the record, as no place is this phenomenon more apparent than Los Angeles, where Gordon was born and recently returned to after several lifetimes on the east coast. It was a move precipitated by a number of seismic shifts in her personal life and undoubtedly plays a role in No Home Record’s fascination with transience. The album opens with the restless “Sketch Artist,” where Gordon sings about “dreaming in a tent” as the music shutters and skips like scenery through a car window. “Even Earthquake,” perhaps the record’s most straightforward track embodies this mood; Gordon’s voice wavering like watercolor: “If I could cry and shake for you / I’d lay awake for you / I got sand in my heart for you,” guitar strokes blending into one another as they bleed out across an unstable page. Front to back, No Home Record is an expert operation in the uncanny. You don’t simply listen to Gordon’s music; you experience it.



David Grisman’s Dawg Trio
Mandolin legend David Grisman reinvents himself yet again with an exciting new band – Dawg Trio featuring his talented son Sam on bass and Texas born banjo virtuoso, Danny Barnes, recipient of the 2015 Steve Martin Prize for Banjo.



Municipal Waste: The Last Rager
Virginia Metalheads Municipal Waste return with a fresh EP for fall 2019. It’s been few years and several hundred live shows since the Waste oozed out the much celebrated Slime and Punishment album. Back with 4 ripper tracks that embrace all the bands punk and street metal roots without clutching the past. That honest formula has led the Waste to innovate the festival scene with the opening track and party of the summer “Wave of Death”. Charged by the exotic and biting wit of vocalist Tony Foresta. Turbo charged by the dual guitar aggression of Ryan Waste and Nick Poulos. Locked in and ready for takeoff by rhythm section LandPhil Hall on bass and Dave Witte on Drums. Partiers, you’ve been taught the “Art” and now it is time for an advanced lesson. Thrashers on alert! Municipal Waste is delivering, The Last Rager.



Kendell Marvel: Solid Gold Sounds
Over the past two decades, Kendell Marvel has become one of the great legendary songwriters in Nashville. For years, he’s quietly written massive hits for Country royalty – from George Strait to Jake Owen, Gary Allan to Chris Stapleton – but now has stepped from behind the pen and paper into the studio and spotlight. The result is Solid Gold Sounds – a stellar album that weaves a rich tapestry of deep southern songwriting with the unique gravity and talent Marvel brings as a one-of-a-kind performer. On Dan Auerbach’s Easy Eye Sounds Record Label.



Jimmy Eat World: Surviving
the 10th album from the Mesa, Arizona-based rockers. Jimmy Eat World have already released nine studio albums, the last eight featuring the current lineup. Surviving is the follow-up to 2016’s Integrity Blues.



Mark Lanegan: Somebody’s Knocking
From the opening bars of “Disbelief Suspension” onwards, it’s clear that Somebody’s Knocking is an album made by someone deeply obsessed with how music – with all it’s primal, spiritual healing power – truly penetrates the soul. As a result, there’s joy in the music, as if created from a perfect set of inspirations smashed and grabbed from God’s own record shop. Some of the influences are oblique, others direct and fully respectful. From the Raw Power-esque garage metal grind of that opener to “Letter Never Sent’s” rocket-powered take on Love-era kaleidoscope-psych, through the pensive subterranean murk of “Dark Disco Jag” and on to “Playing Nero’s” sun-bleached riff on Joy Division’s “Atmosphere,” there’s the glee of infatuation running deep in the tracks.



Cody Jinks has 2 new albums !
After The Fire. Was released October 11. The Wanting was released on October 18th.



Jim James: The Order of Nature
The Order Of Nature presents a hypnotic meeting of the classical and folk-rock worlds with both classic and brand-new material by Jim James (lead singer of critically/commercially successful My Morning Jacket) and fused with Teddy Abrams’ inspired orchestrations with the Louisville Orchestra.


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“Me Next !”

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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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Hank’s For The Memories

New 2 CD set of local artists covering Hank Williams
29 of Hank’s classic songs performed by David Luning, Royal Jelly Jive, Nate Lopez, Easy Leaves, The Ruminators, Joanne Rand, 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)
Proceeds benefit KRCB-FM

Hank Williams Tribute Concert / CD Release Party
Saturday September 21 at 8pm
The Mystic Theatre Petaluma CA

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. Performers 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 $12 at Last Record Store
also available at Mystic Theatre dot com
Proceeds benefit KRCB-FM

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