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IRON AND WINE

Calexico And Iron & Wine

In The Reins

    Iron & Wine's Sam Beam and the members of Calexico convened in December 2004 at Calexico's home base of Wavelab Studios in Tucson, Arizona. The idea of working together had been tossed around for over three years, though neither bands' schedule loaned itself into making it a reality until then. The resulting session "In the Reins", is a mini-album that is a truly harmonious affair sure to satisfy fans of both bands. The seven tracks are Sam Beam originals and were fleshed out by the full Calexico band. The record also features newcomer Natalie Wyants on vocals, Salvador Duran, a local fixture of the Tucson Flamenco scene, on vocals and Botas. Of course no Wavelab experience would be complete without the appearance of Nick Luca (NL Trio/John Doe Band) and Craig Schumacher, both of whom contributed to the record in the form of engineering and performance.

    TRACK LISTING

    He Lays In The Reins
    Prison On Route 41
    History Of Lovers
    Red Dust
    16, Maybe Less
    Burn That Broken Bed
    Dead Mans Will

    Sam Beam

    Love And Some Verses : A Collection Of Lyrics, Photos, Art, And Ephemera From Iron & Wine

      This gorgeous collection of never-before-seen artwork, behind-the-scenes photos, handwritten lyrics, exclusive commentary, and personal ephemera from Grammy Award-nominated artist Iron & Wine (aka Sam Beam) is a must-have collector’s item for every Iron & Wine fan. Accompanied by commentary from Sam himself, Love and Some Verses compiles the lyrics of more than 160 iconic Iron & Wine songs, capturing a distinctive musical legacy. Whether you're a devoted fan or a newcomer to the spellbinding world of Iron & Wine, within these pages you will form an intimate connection to the songs that have touched millions around the world.

      Iron & Wine

      Ghost On Ghost

        Following 2011’s ‘Kiss Each Other Clean’, which debuted at number two on the US Billboard chart, ‘Ghost On Ghost’ is to be the fifth studio album from Austin-based Sam Beam.

        While Rolling Stone said of ‘Kiss Each Other Clean’ that “pop music hadn’t seen anything like it since the heyday of Cat Stevens,” and Pitchfork said it “more closely resembles the lush, gold-toned singer songwriter records of the late 60s and early 70s - ‘Astral Weeks’, ‘Goodbye Yellow Brick Road’”, Beam felt it time to move from what he called the “anxious tension” from this record and his previous one (‘The Shepherd’s Dog’). “This record felt like a reward to myself after the way I went about making the last few,” he says.

        Recorded in New York and produced by Beam’s longtime associate Brian Deck (Modest Mouse, Califone, Fruit Bats), helping achieve Beam’s vision were a group of stellar musicians including Rob Burger of Tin Hat Trio, Steve Bernstein, Tony Scherr, Kenny Wollesen, and Briggan Krauss of Sex Mob, jazz drummer Brian Blade, trombonist Curtis Fowlkes of The Jazz Passengers, bassist Tony Garnier (Bob Dylan’s band), cellist Marika Hughes, Maxim Moston and Doug Wieselman of Antony And The Johnsons, and Anja Wood. Burger (Tin Hat Trio) has worked with Beam intermittently through the years and handled arrangements for strings and horns on ‘Ghost On Ghost’.

        For the album’s cover, Beam, who is also a visual artist, chose an image from the series ‘Private Views’ by noted photographer Barbara Crane.

        STAFF COMMENTS

        Andy says: Another mellow delight from Sam Beam. Lovely.

        TRACK LISTING

        Caught In The Briars
        The Desert Babbler
        Joy
        Low Light Buddy Of Mine
        Graces For Saints And Ramblers
        Grass Windows
        Singers And The Endless Song
        Sundown (Back In The Briars)
        Winter Prayers
        New Mexico’s No Breeze
        Lovers’ Revolution
        Baby Center Stage

        Iron And Wine

        Kiss Each Other Clean

          New to 4AD, Iron And Wine deliver the perfect way to start any year.

          It’s been over three years since Iron & Wine released "The Shepherd’s Dog", a collection of songs that Sam (Beam) himself described as an attempt to replicate something in the vein of Tom Waits’ "Swordfishtrombones".

          While Waits fans might gasp at such a notion, making the kind of records that had brought much of their early successes would have been all too easy and living up to folks expectations never sounded all that interesting to Sam.

          After all, the most fascinating journeys are the ones where you have no idea where you’re headed, and that’s what the experience of making the record turned out to be. In the end, they were rewarded with a warm reception from both fans and critics alike.

          "Kiss Each Other Clean" is the next logical step and should have been done sooner had life not got in the way. As is well documented, Sam resides outside of Austin, Texas close to the middle of nowhere where he and his wife tend to a rather large homestead.

          As one journalist who visited him once said, “he lives exactly as you hoped he would”. Good for us, sometimes difficult for him.

          When possible, recording sessions were taking place over the course of 2010 in Chicago with Brian Deck at the helm again as well as a number of familiar names who pop up to contribute musically.

          Not one to rest on laurels, "Kiss Each Other Clean" takes off where "The Shepherd’s Dog" left us with layer upon layer, rhythm upon rhythm and of course some acoustic guitar and whispering vocals for good measure. In a recent interview Sam said that the resulting ten tracks make for a “more focused pop record”, albeit with “straight-up jazz, blues and African elements” experimentally thrown in.

          If we are to believe Sam on his earlier Waits-ian comparison then it’s safe to say that "Kiss Each Other Clean" could be the second phase in his own trilogy a la "Rain Dogs". One thing is certain, he’s yet to show any sign of letting up.

          Iron And Wine

          Boy With A Coin

            "Boy With A Coin", the first single to be taken from forthcoming album "The Shepherd's Dog", is darkly playful, tumbling under its cascading melody and backwards guitar textures. A worthy example of the highest standard of songwriting displayed on the rest of the album and marks a departure in style from Beam's previous work, without betraying his blissful Americana roots.


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