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From a far out moon beyond the rings of Saturn to a dingy studio in Cincinnati, Barrence Whitfield and the Savages' new platter embraces a cosmic and groovy unification. It's a wild, electric phantasmagoria of blues, rock, garage, and soul; it blasts off into diverse orbits only to come back together into a singular Savage cosmology. BW&S shot out of Boston in the mid-'80s with the force of a rocket ship. Through their sweaty dance party shows and love of primal soul, they were to R&B what the Cramps were to rockabilly-a gateway musical drug for nascent underground roots mavens.
When Sidelong, Sarah Shook & the Disarmers' debut album, was released in early 2017, it quickly earned kudos for its blast of fresh, fierce honesty and sly wit. It was a welcome new voice in a genre too often mired in the staid and conventional. Years solidifies the point: Sarah Shook & the Disarmers have moved from getting people's attention to commanding it. Inspired by artists such as the Sex Pistols, Elliott Smith and Hank Williams, Sarah sings with confidence, control, and a hint of menace. The Disarmers match her on every track.
Scheherazade is Freakwater’s eighth album and first in over 10 years.
Like the heroine of Scheherazade’s The Arabian Nights, their longevity sometimes depends on leaving their audience hanging. It is a release of familiarity as much as it is one of change, one that is distinctly different, but never loses sight of what it is that makes them Freakwater: It's new blood from a familiar vein.
Anchored around the fragile and compelling harmonies of Janet Bean and Catherine Irwin and the subdued, oracular bass playing of Dave Gay, their utterly unique sound is distilled from many sources. There’s the elemental ache and loss in the soil & limestone of Kentucky and the songs & struggles that passed over the Atlantic from the British Isles centuries ago. There’s the energy and freedom in the ratty punk clubs of Louisville and Chicago at a time when rules and formalities were meant to be ignored. At once bluegrass, blues, folk, and country, it is also none of them; Freakwater is not dealing in historical artifacts. Rather, it is a product of two voices intertwined with one another for over three decades, creating a sound that might be best summarized as Appalachian soul.
Includes guest appearances from Warren Ellis (Nick Cave) and Eleventh Dream Day's Jim Elkington.
Like the heroine of Scheherazade’s The Arabian Nights, their longevity sometimes depends on leaving their audience hanging. It is a release of familiarity as much as it is one of change, one that is distinctly different, but never loses sight of what it is that makes them Freakwater: It's new blood from a familiar vein.
Anchored around the fragile and compelling harmonies of Janet Bean and Catherine Irwin and the subdued, oracular bass playing of Dave Gay, their utterly unique sound is distilled from many sources. There’s the elemental ache and loss in the soil & limestone of Kentucky and the songs & struggles that passed over the Atlantic from the British Isles centuries ago. There’s the energy and freedom in the ratty punk clubs of Louisville and Chicago at a time when rules and formalities were meant to be ignored. At once bluegrass, blues, folk, and country, it is also none of them; Freakwater is not dealing in historical artifacts. Rather, it is a product of two voices intertwined with one another for over three decades, creating a sound that might be best summarized as Appalachian soul.
Includes guest appearances from Warren Ellis (Nick Cave) and Eleventh Dream Day's Jim Elkington.
The follow up to the staggeringly good Harlem River Blues. JTE's new album was recorded completely live at Echo Mountain Studios in Asheville, NC with many of the same players involved as on Harlem River Blues. Amanda Shires joins on fiddle this time though. Skylar Wilson co-produced w/JTE. It is a decidedly soulful affair, the fingerprints of Memphis all over it.
This is Earle’s fourth release and follows his critically acclaimed 2010 album, Harlem River Blues, which debuted #47 on the Billboard Top 200 chart and led to a “Song of the Year” award at the 2011 Americana Music Awards.
Featured on Rolling Stone's 15 Albums to Look Forward to in Early 2012 "The son of Steve Earle and namesake of Townes Van Zandt has done his country music forefathers proud with his previous efforts, including 2010's stand-out Harlem River Blues. His fourth studio album leans away from traditional country and more toward Memphis soul, with a little folk and Americana thrown in for good measure. If every celebrity's offspring were this talented, we'd have no problem with nepotism."
This is Earle’s fourth release and follows his critically acclaimed 2010 album, Harlem River Blues, which debuted #47 on the Billboard Top 200 chart and led to a “Song of the Year” award at the 2011 Americana Music Awards.
Featured on Rolling Stone's 15 Albums to Look Forward to in Early 2012 "The son of Steve Earle and namesake of Townes Van Zandt has done his country music forefathers proud with his previous efforts, including 2010's stand-out Harlem River Blues. His fourth studio album leans away from traditional country and more toward Memphis soul, with a little folk and Americana thrown in for good measure. If every celebrity's offspring were this talented, we'd have no problem with nepotism."
Mixing lonesome four-part harmonies and high energy rock, Ha Ha Tonka carves out a sound that conveys a sharp sense of place. Ha Ha Tonka's lyrics replicate the paradox that exists in the Midwestern Bible Belt that they know so well, where the realities of meth use, strip clubs, socio-economic hardship, and backwoods prejudices meet the literal interpretations of biblical story-tellers. This Ozark milieu creates some contradictory notions, but also some of the most poignant folk and gospel musical traditions in the nation's history.
To celebrate their 100th release, Bloodshot have culled tracks from many long out of print singles and EPs, as well as some totally unreleased dandies, and brought them together for this collection. Artists include Waco Brothers, Ryan Adams, Andre Williams, Neko Case and The Sadies. As well as original songs, there are also some surprising cover version of tracks from the likes of Jimmy Cliff, P-Funk, Loretta Lynn, Poison, Freddy Fender, Madonna, XTC, and Hank Williams.
Jon Rauhouse brings back the glory and artistry of the instrumental LP with this collection of pedal steel guitar and Haiwaiian guitar gems. You may know him from his recent collaborations. His playing has been a fundamental part of recent recordings by Neko Case, The Waco Bros and Calexico. The arrangements and the musicianship on this album will put to shame any and all dillettante rockers, and with the backing talents of Calexico, and for those who just need the sound of a human voice, guest vocalists Neko Case, Sally Timms and Kelly Hogan - what more could you need?
Bloodshot historical / roots imprint bring you 25 rare and unissued songs from the greatest cowboy groups of the old West. The Sons Of The Pioneers were in prime form in 1941, when they were artists-in-residence for the WLS radio powerhouse in Chicago. During their time in the Windy City, the Pioneers made a series of studio recordings from which "Symphonies Of The Sage" have been resusitated. They offer renditions of Pioneers classics, romanticised portrayals of the West, sagebrush humour and rollicking instrumentals showcasing the diversity and depth of the group's talents. So saddle up you little dawggies.