Monthly Archive: September 2019

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

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.

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