Monthly Archive: March 2019

Record Store Day is Saturday April 13

Biggest List of Record Store Day Releases yet:
LOOK


The NPR affiliate for Sonoma County is KRCB FM and your old buddy Doug Jayne hosts four Music Shows:
~ Midday Music
~ Our Roots Are Showing
~ Jazz Connections
and….

KRCB-FM New Release Hour
Tuesdays 11:00am / Repeat Wednesdays 7:00pm

Doug Jayne and Brian Griffith

Brian Griffith and Doug Jayne highlight the week’s new musical releases and other fun music-related stuff.
We want to keep you up to date with new music coming through our studios, so every Tuesday morning at 11,
Doug Jayne, from The Last Record Store and KRCB’s Mid-DayMusic and Our Roots Are Showing programs,
sits down with morning host Brian Griffith to go over the most interesting and notable of new releases.
Listen at 11 am on Tuesdays or catch the repeat broadcast on Wednesdays at 7 pm


TUNE IN, TURN ON, AND DROP… THE NEEDLE!
Now on 103.5-FM
Your second chance to listen in on the New Release discussion comes with Needle Droppings, a weekly new-release segment with our very own Doug Jayne and a rotating panel of music junkies, including comedian Steve Ausburne, Rob LoVerde (the mofo from MoFi), Bill DeCarli of Hopmonk Presents, The Godfather of Bacon, JC Flugger, and whoever else we can squeeze into the meat-locker-like studio at KSRO.
Needle Droppings airs Fridays as part of The Drive With Steve Jaxon at 4:20-ish pm on KSRO, at 1350-AM, 103.5-FM, and online at ksro.com. Tune in!
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New Releases ~ March 29, 2019


Billie Eilish: When We All Fall Asleep, WHERE Do We Go?
is the debut album from Billie Eilish and includes ‘When The Party’s Over’, ‘You Should See Me In A Crown’ and ‘Bury A Friend’. The album follows 2017’s Don’t Smile At Me EP which peaked at #14 on the Billboard Top 200 chart.



Steve Earle: Guy
Steve Earle was nineteen and had just hitchhiked from San Antonio to Nashville in 1974. Back then if you wanted to be where the best songwriters were you had to be in there. Guy Clark had moved to Nashville and if you were from Texas, Guy Clark was king. Flash forward more than forty years. In the fall of 2018, Steve and The Dukes went into House Of Blues studio in Nashville and recorded GUY in six days. ‘I wanted it to sound live… When you’ve got a catalog like Guy’s and you’re only doing sixteen tracks, you know each one is going to be strong.’ Earle and his current, perhaps best-ever Dukes lineup, take on these songs with a spirit of reverent glee and invention. But in the end Guy leads the listener back to it’s beginning, namely Guy Clark, which is what any good ‘tribute’ should do. Guy is a saga of friendship, it’s ups and downs, what endures. We are lucky that Earle remembers and honors these things, because like old friends, Guy is a diamond.



Son Volt: Union
On Union, Son Volt’s present and past mingle into strong confluence. The thirteen songs written by founder Jay Farrar confront our turbulent politics and articulate the clarity and comfort music can offer in the tumult. The country and blues sounds explored by Son Volt on it’s last two records (2013’s Honky Tonk and 2017’s Notes of Blue) linger in the grooves of Union. But this record nods to many other mile markers along the band’s 25-year path. Some tunes offer a powerful return to the ringing lyrical clarity of 2005’s Okemah and the Melody of Riot and 2007’s The Search. Others harken back to the freewheeling poetic melodicism of 1994’s Trace and 1997’s Straightaways.



Mekons: Deserted
Emboldened by a sold-out tour and a surge of interest in the States after the release of the documentary Revenge of The Mekons, Mekons retreated to the fringes of Joshua Tree National Park and popular culture to record their new album Deserted.
The long-running, genre-hopping, impossible-to-kill British folk-punk collective summoned the forces of magic, fear and superstition for an album of shifting sand Sturm und Drang. It is at once a distorted howl into the emptiness of space as well as a quiet submission to the shimmering allure of a mirage. The heat and endless horizon can lead to madness or clarity, and while there is relief when the sun goes down you know the deep chill is not far off.



Tim Bluhm: Sorta Surviving
For a moment, you could almost forget what year it was inside the Cash Cabin, the small sanctuary-turned-recording-studio Johnny Cash built roughly 40 years ago in Hendersonville, TN. The Man In Black’s frequent collaborators Dave Roe and Gene Chrisman were back at the bass and drums respectively, and tape was rolling as they counted in the Cash classic “I Still Miss Someone.” Tim Bluhm had to pinch himself.
“Recording in that space with those guys was like a dream come true for me,” says Bluhm. “The depth of knowledge they walk around with in their heads is amazing, and you know you can trust the musical choices they’re making because they have the experience to back it up. When they say, ‘This is what Merle would have done,’ it’s because they know firsthand.” While Bluhm may be best known for the breezy brand of West Coast roots and soul he helped pioneer with his band, The Mother Hips, his brilliant new solo album, Sorta Surviving, revels in his longtime love for classic country music. Recorded and mixed at the Cash Cabin under the guidance of Widespread Panic’s Dave Schools, the collection is earnestly authentic and utterly timeless, and it finds Bluhm backed by elder statesmen like Roe and Chrisman along with younger virtuosos like keyboardist Jason Crosby (Eric Clapton, Dave Matthews) and Jesse Aycock (Hard Working Americans, Elizabeth Cook). “The band brought a certain maturity and experience,” explains Schools. “Tim’s songwriting is so strong that it naturally suggests how to complement itself, but those guys really know how to play and still leave room for a great singer.” Indeed, the arrangements on the album are refined and elegant, yet still stripped-down and raw, enabling Bluhm’s warm, easygoing vocals to sit front-and-center as he weaves vivid tales of ordinary men and women facing down hard days and even harder nights. Mixing new originals and reimagined covers, the record pulls from a half-century of American music to craft a thoroughly modern love letter to a bygone era, one that showcases both Bluhm’s deft musical hand and his heartfelt reverence for the genre. “I’ve been a fan of classic country ever since I heard Merle Haggard sing,” reflects Bluhm. “I just admired his voice and storytelling so much, but I never made an album like this before because I figured it would take me at least 20 or 30 years to get good enough.” Bluhm discovered Haggard around the same time he co-founded the now-iconic Mother Hips, a band the San Francisco Chronicle has hailed as “one of the Bay Area’s most beloved live outfits.” The group began it’s journey at Chico State, where performing at frat parties quickly gave way to club shows, regional touring, and national buzz, and before Bluhm and his bandmates had even graduated, they were already signed to Rick Rubin’s American Recordings on the strength of their debut album, ‘Back To The Grotto.’ “When we signed with American, the label had just put out Johnny Cash’s first Rick Rubin-produced album, which was actually recorded at the Cash Cabin,” says Bluhm. “I got to meet and hang with Johnny a couple times back then, and after that, we opened for him at The Fillmore in San Francisco. I was so impressed with his presence. He definitely lived up to his legend in real life, and he made a big impression on me.” Over the ensuing two-and-a-half decades, the Hips would release nine more studio albums as they cemented their status as festival and critical favorites, sharing bills with everyone from Wilco and Widespread Panic to Lucinda Williams and The Black Crowes along the way. Rolling Stone called them “divinely inspired,” while Pitchfork praised their “rootsy mix of 70s rock and power pop,” and The New Yorker lauded their ability to “sing it sweet and play it dirty.” Ever-curious and wildly prolific, Bluhm simultaneously released a slew of his own solo and collaborative projects on the side. He toured for years as music director with Nicki Bluhm & The Gramblers, teamed up with The Grateful Dead’s Mickey Hart and Bill Kreutzmann among others, and opened up Mission Bells Studio with fellow California favorite Jackie Greene and engineer Dave Simon-Baker. There, Bluhm produced albums for everyone from the Hips and Greene to Hot Buttered Rum and Little Wings in addition to hosting Phil Lesh, Josh Ritter, Rogue Wave, Los Lobos, Jonathan Richman, and more. As if that wasn’t enough to keep him busy, in 2007, Bluhm and the Hips launched the Hipnic, an intimate and immaculately-curated music festival that’s still held annually amongst the towering redwoods of Big Sur. Sorta Surviving marks Bluhm’s first collection recorded outside of California, but one listen and it’s clear that he’s equally at home in the pines of Tennessee. There’s a comfort to the performances, a subtle familiarity that radiates out like a warm invitation. “Most of the songs on this album are second or third takes,” says Schools. “That comes from experience and teamwork, but also from working in a great environment. It’s a palpable thing you feel when you’re working in the room where Johnny Cash wrote his autobiography and recorded some of the best work of his later years. We were definitely all a little nervous meeting for the first time, but we got comfortable real quick there.” The songs are character-driven, valuing the visceral over the cerebral, and Bluhm inhabits his narrators with a voice as tough and as pliable as worn-in leather. “It just felt natural for me to sing this way,” he explains. “It was a chance to put away the books and focus more on the everyday rather than the existential, a chance to pull out the guitar and really tell some stories.” Some of those stories come secondhand: the bluesy “Del Rio Dan” was first popularized by The Everly Brothers in the 1970’s, while the waltzing “Kern River” is a Merle Haggard favorite, and Johnny Cash’s “I Still Miss Someone” gets a melancholy makeover with a tip of the cap to Neil Young’s timeless take on “Oh Lonesome Me.” That the covers fit so seamlessly alongside Bluhm’s original material stands as a testament both to his gifts as a compelling storyteller and his playful way with words. The shuffling “Jesus Save A Singer” tackles struggle and redemption with a wry smile, while the stream-of-consciousness title track sardonically examines our instinct to perpetually press on, and the honky-tonking “Where I Parked My Mind” finds dark wit even in the depths of addiction. “There’s more humor in these songs than anything else I’ve written before,” says Bluhm, “but it’s all very tongue in cheek. That’s a country music tradition.” While tradition guided Bluhm throughout the project, he wasn’t beholden to it, frequently taking risks and pushing boundaries with his performances and arrangements. In the end, his goal wasn’t just to make a country-tinged record, but rather to craft narratives that could truly transport his listeners, that could breathe new life into stories forgotten and stories imagined, tales of dustbowl farmers and oil men and fugitive outlaws and traveling singers. “As a kid growing up in LA, I never even heard of country music,” reflects Bluhm, “but I remember flipping around the radio dial and coming across ‘The Gambler.’ It was a song that just completely transcended genre. It was no more ‘country’ than Mark Twain was ‘country.’ It was a simple, timeless story set to music, and that’s what I’ve ultimately aspired to make myself.”



White Denim: Side Effects
Coming to Mystic Theatre & Music Hall, Petaluma, CA on Tuesday, April 23, 8:30 PM

Side Effects sees White Denim unmasking the darker side of themes from their previous album, Performance. The bands 9th studio album, Side Effects includes the first studio recordings by their current touring roster a formidable lineup that is selling out shows on both sides of the Atlantic. As always, the album is heavy on musicianship, but it also marks a return to the wilder, weirder side of White Denim.

 

New Releases Out Now

NEW RELEASES OUT NOW include:


Karen O & Danger Mouse: Lux Prima
Lux Prima is the debut album from Yeah Yeah Yeahs vocalist Karen O and acclaimed producer Danger Mouse. Includes the single, ‘Woman.’ The straightforward rock stomper puts the Yeah Yeah Yeahs frontwoman’s vocals on display as she screams and croons. “‘Woman’ came like a bolt out of the blue when we were in the studio,” explains O. “We did a first pass where I was blurting unintelligible words and Danger Mouse and I were like ‘Dang! That was intense. What’s that word I keep saying? Woman.’ The atmosphere was volatile with it being just after the election. A lot of people felt helpless like you do when you’re a scared kid looking for assurance that everything is gonna be alright. I like to write songs that anyone can relate to but this one felt especially for the inner child in me that needed the bullies out there to know you don’t f*** with me. I’m a woman now and I’ll protect that inner girl in me from hell and high water.”



Tim O’Brien Band
After many years navigating the outskirts of bluegrass and acoustic music, Tim O’Brien’s dusky, unmistakable vocal timbre and instrumental stylings have this time landed with two feet squarely back in bluegrass. Born in Wheeling, West Virginia, the Grammy winning singer/songwriter and multi instrumentalist grew up singing in church and school, and after seeing Doc Watson on TV, became a lifelong devotee of old time and bluegrass music. ‘Tim O’Brien Band’ is the coming together of a group of musicians perfectly aligned in intention and ability. Purposefully hack, the title is a nod to the nuts and bolts of trad bluegrass, and the singular energy a band such as this can conjure. Well known instrumentalists Mike Bub (bass), Shad Cobb (fiddle) and Patrick Sauber (banjo/guitar) bring the same team effort to the studio that O’Brien fans know from recent live performances, forging Tim’s song choice and delivery into something fluid and breathing.



Todd Snider: Cash Cabin Sessions, Vol. 3
After spending the last six years making rock albums, Todd Snider is going back to folk. Cash Cabin Sessions, Vol. 3 was recorded at Cash Cabin in Hendersonville, TN. Snider wrote the set of songs and played all the instruments on the record, displaying his growth as a musician and vocalist. Of the five songs on which Snider serves up his humorous brand of socio-political commentary, three are performed in the talking blues style. He even had his friends, Jason Isbell and Amanda Shires, contribute backing vocals on a few of the tracks. If Snider is anything, he is a true artist, and he reminds us of that on Cash Cabin Sessions, Vol. 3. At a point in time when the world has never been more complicated and confusing, with people getting louder and louder, Snider did a 180, went back to his roots as a folksinger, to a simpler, quieter form of expression; and it might be what the world is waiting to hear; a man, his guitar, and the truth.



Stephen Malkmus: Groove Denied
Following hot on the heels of 2018’s Sparkle Hard comes Groove Denied, the rejected album Stephen has been telling everyone about. Groove Denied was written in Berlin and Oregon between Malkmus’ soundtrack to the Netflix series Flaked and Sparkle Hard. It finds Stephen in a playful, exploratory mode – recorded by himself in Oregon; Malkmus plays bass, organ, drum machines, a Roland 2080 and a Memorymoog alongside other instruments interspersed with loops and vocal effects. His first album as a solo artist since 2001, Groove Denied is a fine companion to Sparkle Hard, echoing the experimentation (Auto-Tune, genre-dabbling) found there.



The Brian Jonestown Massacre
The Brian Jonestown Massacre burst into 2019 with the release of their 18th full-length album, just seven months after their last one, Something Else (AUK 043CD/LP). The self-titled, nine-track album is released on Anton Newcombe’s A Recordings, and it was recorded and produced at Anton’s Cobra Studio in Berlin. The album was originally going to be released in September of 2018, but due to a hugely successful global tour – taking in USA, Canada, Australia, New Zealand and Europe – the release was delayed. Recorded in early 2018, the album features Sara Neidorf on drums, Heike Marie Radeker (LeVent) on bass, Hakon Adalsteinsson (BJM, Third Sound, Gunman, Holy Ghost) on guitar, and Anton Newcombe on multiple instruments. Also making a guest vocal appearance on “Tombes Oubliées” is Rike Bienert who has sung on previous BJM albums. The band performed songs from the album throughout the European leg of the 2018 tour. Anton Newcombe has been a very busy man over the past few years, having released four critically-acclaimed Brian Jonestown Massacre albums and an EP, one soundtrack album, and two albums with Tess Parks. All releases were fully recorded and produced at Anton’s studio. The Brian Jonestown Massacre track “Bon Bon” was used in the 2015 Palm D’Or winner Dheepan. Anton penned the soundtrack for Moon Dogs, a film directed by multi-BAFTA nominated Philip John (Svengali, Downton Abbey, Being Human).



Snarky Puppy: Immigrance
Immigrance, the new Snarky Puppy studio album, is all about movement. “The idea here is that everything is fluid, that everything is always moving and that we’re all in a constant state of immigration,” explains Michael League.



Jerry Garcia Band: Electric on the Eel
Six CD set. On August 29, 1987 Grateful Dead front man Jerry Garcia led both the Jerry Garcia Band and the Jerry Garcia Acoustic Band for performances at French’s Camp On The Eel River in Piercy, California. Garcia would bring the JGB back to the scenic venue on June 10, 1989 and on August 10, 1991 – now get ready for the spectacular Electric on the Eel set showcasing the Jerry Garcia Band’s electric sets from 8/29/1987, 6/10/1989, and 8/10/1991. The collection features several unreleased rarities including the seldom performed “See What Love Can Do”, “Twilight”, “Lazy Bones”, and “I Hope It Won’t Be This Way Always.” Other rarities from the release include “Everybody Needs Somebody to Love”, “Struggling Man”, “Lay Down Sally” and “You Never Can Tell [C’est La Vie]”.



Tom Russell: October in the Railroad Earth
Singer-songwriter, painter, and essayist Tom Russell describes the songs and sound as: “Jack Kerouac meets Johnny Cash… in Bakersfield.” There are ten new original Tom Russell songs, including the title song from the Irish film Small Engine Repair, featuring Bill Kirchen on lead electric guitar and Eliza Gilkyson singing backup. The GRAMMY-Award winning Texmaniacs appear on Isadore Gonzalez, a track about a Mexican cowboy who died in England during Buffalo Bill’s Wild West Show. A wonderful ride from stories through time and space from an American treasure.



The Cinematic Orchestra: To Believe
The release of their fourth studio album, To Believe, in March 2019, is the next step in a process of constant evolution. Born out of the band’s latest formation, it’s a creative partnership between founder Jason Swinscoe and longtime friend and collaborator Dom Smith, along with an extended family of regular bandmates and collaborators. Guided by a communal spirit, the changing members are consistent with their ethos, where no individual ego takes precedence. Guest vocalists on To Believe include the art-soul singer Moses Sumney, legendary UK rapper Roots Manuva, longtime vocal collaborator Heidi Vogel and many more. To Believe is the product of a long period of gestation, a reflection of the kind of album they wanted to make – the kind of album, that is, they’ve always made: deep, textured, and layered with meaning. With artwork by The Designers Republic™ (Aphex Twin) and mixed by 15 time Grammy Winner Tom Elmhirst, at the legendary Electric Lady studio built by Jimi Hendrix, it’s a masterful return that stands as their most definitive statement as a group. Surveying the musical landscape of 2019, it’s easy to forget how The Cinematic Orchestra have helped to shape it. They’ve long bridged deep-thinking jazz, a soundtrack sensibility and electronic music into new shapes, starting with their 1999 debut, Motion. They’ve forged a path for acts like Floating Points, Kamasi Washington, Ólafur Arnalds and BADBADNOTGOOD, artists who blur different disciplines together to carve out their own new niches. In this sense, the band’s recorded absence is less a break than an embrace of it’s unique relationship with space, with kinship, with dissent, of course with art and sound, but most of all, with one another.



The Faint: Egowork
The Faint’s long-awaited new album, Egowerk, is set to release on March 15, 2019. Made up of vocalist Todd Fink, drummer Clark Baechle, keyboardist Graham Ulicny, and guitarist and bassist Michael “Dapose” Dappen, the group that ignited an electro-pop-punk movement is back with an 11-track deep-dive into themes on modern society, the internet, and ego – specifically social media and it’s dark effects. Opener “Child Asleep” echoes well-loved Faint singles from the Danse Macabre days, with rapidfire techno beats that sear so hot, your forehead will break into a sweat regardless of proximity to a dance floor. And though the synths should sound familiar to any Faint follower, the song’s monotone message is at once classic and current: “If I was wise, I would see I’m a child still asleep.” Elaborating further, Todd says, “It would be amazing if I could wake up from the world that I think I’m awake in already. If there’s a better way of understanding life, I’d love to be privy to it. You see the wisdom of all Gurus in the East, and you know they’re not bothered by this or that. They’ve attained something, and the rest of us are just kind of banging into stuff, trying to figure out what to do with our lives.” It’s been four years since The Faint dropped a proper studio album, and more than two decades since they first tore onto the Midwest scene, alongside area staples Cursive and Bright Eyes, with anxious electro-pop-punk anthems that meshed doomsday themes with thudding dance-floor hooks. The group began to construct Egowerk shortly after releasing their 2016 career-spanning record, CAPSULE:1999-2016, with Baechle making frequent trips back to Omaha from his new home in Philadelphia to mix the record. The band made a unanimous decision to self-produce the entire record, making it unique and far more involved than any of their past work. Despite The Faint’s nihilistic musings on Egowerk, Fink and Baechle remain optimistic that things can improve if society is willing to absorb dueling perspectives. “The more you learn about any issue, any issue at all, the more you understand that it’s more complicated than you think, ” Fink says. “I’d like to see people less convinced that they’re right about everything all the time. I guess I think we’ll figure it out as time goes on.”



Andy Statman: Monroe Bus
Andy Statman further explores the subterranean caverns of American roots music on ‘Monroe Bus’, tapping deeper into the sources that have energized his playing for nearly 50 years. The 2013 NEA National Heritage Fellow and Grammy nominee has become a near-legendary figure in modern bluegrass and string music. From the sublime to the surreal, his ever-changing repertoire is a challenge and a delight to his audience and to fellow musicians. Monroe Bus was originally conceived to be a collection of interpretations and improvisations on the instrumentals of Bill Monroe. Statman says ‘Bill’s music had a tremendous influence on me when I started out as a mandolin player, and has continued to do so ever since… As the project progressed, I found myself writing my own tunes, inspired by some of Monroe’s musical ideas. Some melodies more closely reflect the master’s influence; others go to other places, but still bear that influence. During the mixing, it once again became clear to me how the music one plays and writes is a reflection of the life a person lives”.
For Andy, Bill Monroe’s music was an ongoing conscious synthesis of the music he heard and his life experience. These tunes were written and played in the same spirit, reflecting his experiences and those of his fellow musicians on these sessions. He brought back Grammy nominated fiddler Michael Cleveland, who contributed mightily to his last CD, Superstring Theory, along with veteran trio members Jim Whitney (bass) and Larry Eagle (drums). Completing the core group, and also significantly expanding the aural palette of the ensemble, is Glenn Patscha (keyboards), who was a member of the New York Americana group Ollabelle and who most recently toured the country in Ry Cooder’s band. Michael Daves (acoustic guitar) rounds out the group on three of the tracks.

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Community Market saved The Last Record Store.

Now let’s pitch in to save them…

Back in 2003, LRS was unceremoniously kicked out of our 20 year home in Downtown Santa Rosa. It was a precarious time in the record biz. Vinyl was on the way out, Best Buys was selling CDs below cost, and folks were enamored with free music downloads from Napster and their ilk. So after spending 20 years building a business, we found ourselves kicked to the curb, so to speak. Not sure which way to turn, I got a phone call from Amber at Community Market. “We would be honored to have you share our building at 1899 Mendocino Ave.” I had no Plan B, so this was about the greatest news for the record store.
Fast forward to now, and thanks to our loyal customers, the resurgence of vinyl, and to Community Market, we are thriving once again!
Please consider making a contribution to their recovery fund. Let them know that you appreciate the fact that they bailed out LRS.
Here is a link to their GOFUNDME page: CLICK
Even 5 or 10 bucks would help. They have 70 employees, many are not working because of the flood in The Barlow.
THANKS

Kepi Ghoulie LIVE ~ Mystic Theater Ticket Give Away

Saturday March 9 at 3:30pm
Kepi Ghoulie LIVE @ Last Record Store

laughKepi Ghoulie (Groovie Ghoulies) plays live, solo acoustic
for Burger Records’ Burger Revolution day, March 9th 2019 3:30-5pm
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MYSTIC THEATER TICKET GIVE AWAY:
Because you have perused my newsletter this far, you are eligible to get FREE tickets (while they last)
to a wonderful show this Sunday March 10.

Ripe + The Brook & The Bluff

Sunday, March 10, 2019 8:30 PM
Mystic Theatre & Music Hall, Petaluma, CA

Ripe: Ripe is a Funk/Pop band out of Boston, MA that was born as a result of its seven members’ uniting over one belief: with enough passion and honesty, music can still make the earth shake. With one eye looking back to the inception of both funk and psychedelic music, and the other looking forward with a modern concept of what makes people move, Ripe seeks both to honor musical history as well as to make it. The perfect fruit is equal parts past and present, and this is the approach of the Ripe sound.

With a strong devotion to consistently creating an unforgettable live experience, Ripe has kept the groove going touring nationally from coast to coast. With a recently released sophomore EP, Hey Hello, and plans to start recording a full-length album in the coming year, Ripe is shifting into overdrive with every intention of taking this to the stratosphere. The Ripe family asks you to get loose, get down, and get ready. The party is just getting started.

The Brook & The Bluff: Established in Birmingham, AL, The Brook & The Bluff is a four-man band that consists of frontman Joseph Settine, drummer John Canada, guitarist Alec Bolton and bassist Fred Lankford.

The guys have quickly become recognized for their evocative blend of instrumental talent and vocal harmony. These elements are readily apparent in the band’s debut track, “Masks.” Having initially gained momentum via Spotify, the song has helped spur the band forward in their musical pursuits.

The group’s first year as a full band has been widely successful. From charting on Spotify’s US and Canada Viral 50 Playlists, performing at the NAMM shows in both Nashville and Anaheim, and selling out shows in Atlanta, Birmingham, Huntsville, Nashville and Opelika, the band has had an exhilarating first year.

Originally an acoustic duo, Alec and Joseph started turning heads in local venues with clean vocals and expert guitar work. John noticed the talent and potential of the duo and offered to play drums and sing with the guys. Soon after, he officially joined the group, expanding their sound with driving rhythm and an added voice. The trio instantly locked in and have been playing together ever since. With their new bassist Fred Lankford, The Brook and The Bluff relocated to Nashville in 2018.

Call (707) 525-1963 and tell the friendly person that answers the phone that you want FREE tickets
to Ripe + The Brook & The Bluff.
Easy, huh?

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