the band’s first new album in 20 years. Good Times finds all three surviving band members (Micky Dolenz, Michael Nesmith, and Peter Tork) taking turns on lead vocals, playing a wide range of instruments, and sharing new compositions. The unmistakable voice of the late Davy Jones is also included with a vintage vocal on the Neil Diamond-penned “Love To Love.” To produce the album, the band found the perfect musical co-conspirator in Grammy and Emmy-winning songwriter Adam Schlesinger (Fountains Of Wayne, Ivy). Schlesinger also wrote “Our Own World” and co-wrote the album’s finale with Dolenz, aptly titled “I Was There (And I’m Told I Had A Good Time).” Much like The Monkees’ early albums, Good Times features tracks written specifically for the band by some of the music world’s most gifted songwriters, including Rivers Cuomo of Weezer (“She Makes Me Laugh”), Ben Gibbard of Death Cab For Cutie (“Me & Magdalena”), Andy Partridge of XTC (“You Bring The Summer”), as well as a song co-written by Noel Gallagher and Paul Weller (“Birth Of An Accidental Hipster”).
Beth Orton has been one of the most unique and beguiling voices in music for the past two decades. Her folktronica sound, mixing elements of folk and electronica, has re-emerged as she began experimenting with a series of elec-tronic loops that would eventually come together in this career- redefining new album, Kidsticks. Co-produced by Beth and Andrew Hung (F*** Buttons), Kidsticks reframes Beth’s unmistakable voice inside ten pure, audacious, playful and kinetic songs. A res-olutely focused album, it represents a rare chance to hear an established artist get plugged in and completely rework the songwriting process with wide-eyed, open-minded glee.
Dierks Bentley has never had to follow trends; he challenges them and creates his own. On the heels of a career album earning critical acclaim, commercial success and an armful of Grammy, CMA and ACM nominations, Bentley continues one of the most interesting journeys in country music with his eighth studio album. Black is personal – after all, it’s named after his wife Cassidy s maiden name, but it’s really a record about the human heart not any particular human. It explores breakups, hookups, mess-ups and everything inbetween, shining a light on the things that happen after the sun goes down. Produced by Ross Copperman and executive producer Arturo Buenahora Jr., the slow-smoked grit of Bentley s voice keeps the album rooted in country music, while it also appeals to audiences far beyond the boundaries with fresh sonic textures that flourish on the edge of arena rock. Black also makes room for more than a few female firebrands, as Bentley shares the microphone with vocalists Maren Morris, Elle King, Natalie Hemby, Hillary Lindsey and Jessi Alexander. Never before has a Bentley album contained so much input from the opposite sex.
Everything’s Beautiful brings Miles Davis’ sound into the 21st century, blending a diverse group of master takes and outtakes from across Miles’ incredible tenure with Columbia Records (1955-1985) with original reinterpretations. Robert Glasper produced the collaboration. “I didn’t want to do just a remix record,” Glasper noted when discussing the 11-song set. “My idea was to show how Miles inspired people to make new art.” Knowing that “Miles didn’t have one audience,” Glasper recruited a legion of diverse guest artists to add to the magic of the project including familiar collaborators like R&B musicians Erykah Badu, Ledisi, Bilal and KING. They are joined by British soul singer-songwriter Laura Mvula; hip-hop producer Rashad Smith; Grammy-nominated Australian neo-soul quartet Hiatus Kaiyote, rapper/producer Illa J; jazz guitarist John Scofield, who collaborated with Davis; and the legendary Stevie Wonder.
the eighth album from the Bay Area thrash metal band. Three decades into their celebrated career, Death Angel remain as hungry as ever. As a result, uncompromising urgency and unpredictability define The Evil Divide. The group – Mark Osegueda [vocals], Rob Cavestany [lead guitar], Ted Aguilar [guitar], Will Carroll [drums], and Damien Sisson [bass] – satiate the appetite for buzzsaw speed riffs, double bass mayhem, and scorching vocals over the course of 10 new anthems. The Evil Divide stands out as the culmination of 30+ years of music for Death Angel. It kicked off with legendary debut, The Ultra-Violence, in 1987. The classic Frolic Through The Park began to cement their legacy and even earned the distinction of landing on Loudwire’s list of the “Top Ten Thrash Albums NOT Released by The Big 4.” The group broke up following 1990’s Act III only to reunite in 2004 on Art of Dying for the next generation. A powerful trifecta followed. In 2010, Relentless Retribution boasted a cameo from virtuosos Rodrigo y Gabriela, while 2013’s The Dream Calls For Blood bowed at #72 on the Billboard Top 200, selling 5,400 copies first-week and earning the group’s first-ever entry onto that respective chart. Beyond continued public praise from the likes of James Hetfield of Metallica and Robb Flynn of Machine Head, the band’s music has popped up everywhere from Carl’s Jr. commercials to Leatherface: The Texas Chainsaw Massacre III. Their fire burns brighter than ever in 2016.
You might remember him from Polk Salad Annie; With a deep, come-hither voice” (Mother Jones) and an “ability to turn that throbbing, thumping uh-uhh hazy guitar beat” (PopMatters), the “King of Swamp Rock” Tony Joe White will release his nineteenth studio album, Rain Crow, in May 2016 on Yep Roc Records. Recorded at his own studio and produced by his son, Jody White, Rain Crow summons recollections of long ago, when animals foretold the weather, tongue-talking worshippers proved their faith by handling snakes and a “bad wind” could drive a man to edge of insanity. The 9-song set features new compositions White wrote over the past three years, including co-writes with his wife, Leann, and Billy Bob Thornton on “The Middle of Nowhere.
New release from the Italian metal band. With their eighth studio album, Lacuna Coil decided it was time to up the ante, switch into heavy mode and finally take full creative control over every aspect of their album Delirium. They created an audio-visual setting that is allowing for flashing glimpses of a dark place that will take their listeners on an entrancing trip. Or as Lacuna Coil say in their very own synopsis of Delirium: “Delirium is about the horrors that we must face in everyday life by exploring the unknown, and to one day, hopefully find the cure.” After being heavily involved with previous productions Marco Maki Coti-Zelati took over the leading role as producer together with his fellow bandmates. Marco Barusso co-produced as well as recorded the guitar solos for Delirium. Mark Vollelunga of Nothing More added a solo to “Blood, Tears, Dust” while Myles Kennedy (Alter Bridge and many more) came up with a tailor-made one for “Downfall”. However, Lacuna Coil went even further with Marco Maki Coti-Zelati creating the artwork for Delirium himself, based on an atmospheric session captured by Italian photographer Alessandro Olgiati.
Frank Zappa: The Lumpy Money project / object
Lumpy Money part of a Zappa Family Trust Project/Object Audio Documentary series celebrates the 40th Anniversary of Frank Zappa’s Masterworks ‘Lumpy Gravy’ & ‘We’re Only In It For The Money.’ Contains unique & rare versions of both legendary albums (released digitally in pristine audio quality for the 1st time), nuggets from the Vault (studio outtakes, single versions, instrumental mixes, FZ interviews) with extensive booklet featuring photos & liner notes from David Fricke & Gail Zappa.
The pride of the Sonoma Valley; recorded at Jackalope Records
Read about it: Sonoma Index-Tribune
the eighth studio album by Scottish alt-rock/pop band Travis. Released on their own label Red Telephone Box, Everything At Once features the single ‘3 Miles High,’ a beautifully understated and uplifting acoustic track, featuring backing vocals from up and coming Norwegian artist Aurora. Written by Travis and produced by Michael Ilbert at the legendary Hansa Studios in Berlin, Everything At Once positively overflows with conviction and confidence; pushing boundaries while maintaining their classic sound. Travis have twice been awarded best band at the BRIT Awards, and are often credited for having paved the way for bands such as Coldplay and Keane. The band named themselves after the Harry Dean Stanton character Travis Henderson from the film Paris, Texas.