2019 release. This title was recorded live at the historic Village Vanguard in NYC in the Fall of 2018 during Jon Batiste’s residency and incorporates original material and covers. The music on this release is primarily instrumental music aside from “The Very Thought of You” featuring Lake Street Dive’s Rachel Price on vocals. Liner notes were written by Jaron Lanier.
Vinyl LP pressing. “Our salivating makes it all taste worse,” croons Ty Segall in “Taste,” the lead single from his latest album, First Taste. He’s talking about us: how we’re the masters of our own destiny, tellers of our own prophecy, makers of our own sickened choices. It’s a warning, but this time, the finger is pointing back at him too. He’s one with us. First Taste is an introspective set for Segall after the extroversions of 2018’s Freedom’s Goblin. Lines of struggle wind through the songs as Segall reflects on family, re-encountering pasts, anticipating futures. He skates through oneness, self-esteem, the parents – all the joys of a rain-filled childhood – while reaching outward in the here and now, feeling for a shared pulse. Meanwhile, the production is far out! Segall’s creative juices suggested some radical (in the older sense of the word) new instrumental territories: koto, recorder, bouzouki, harmoniser, mandolin, saxophones and brass, voices, and a sprinkling of keys. Segall occupies the drum set whenever it’s heard on the left speaker, while Charles Moothart plays the kit on the right side. Segall’s vocal prowess sits in fresh relief against his mutant orchestra, spooling tension through some of his most patient songs, his feral scream in complete control.
Vinyl LP pressing. Echo in the Canyon – the illuminating new documentary film directed by Andrew Slater that explores the beginnings of the Laurel Canyon music scene (1965 -1967) through the stories of those who lived it, and the artists who carry it’s influence to this day – is accompanied by a soundtrack celebrating the music of that era. The soundtrack features new studio recordings of timeless songs by The Byrds, The Mamas & The Papas and more, as interpreted by Jakob Dylan along with artists from the film including Fiona Apple, Beck, Jade Castrinos, Cat Power, Eric Clapton, Norah Jones, Regina Spektor, Stephen Stills, and Neil Young, plus songs exclusive to the soundtrack including a special performance of the Monkees’ classic “She” with Josh Homme.
The long-awaited fourth full-length by Föllakzoid isn’t merely a recalibration for the band. It is a multidimensional reconsideration of what the process of songwriting, performance, and creating a work of recorded music can be. Föllakzoid grows via depuration, aiming with each record to fill longer spaces of time with fewer and fewer elements. The creative perspective of the band has always been about unlearning the narrative and musical knowledge that shape the physical and digital formats and conceptions available, both visually and musically in order to make a time-space metric structure that dissolves both the author and the narrative paradigms. “We found our sonic and metric identity even more in these songs than in our previous attempts,” guitarist/singer Domingæ Garcia-Huidobro explains. Unlike past Föllakzoid records, that were done in single takes with the full band, this record took three months to construct out of more than 60 separate stems – guitars, bass, drums, synthesizers, and vocals, all recorded in isolation. Producer Atom TM, who was not present for recording, was then asked to re-organize the four sequences of stems without any length, structural restrictions or guidelines. Those sequences ultimately became the four long tracks that appear on I. The result of this was a set of songs where neither the band’s, nor the producer’s, structural vision primarily shaped the metric or tonal space shifts, but where both were still subliminally present in each of the parts that form the structure and the frequency modulations that guide them. “We invite you to join us in sharing the experience of being led by this non-rational, sonic artform and it’s energy. It is also an invitation to connect once again with your inner master and his intuition, erasing the systematic rationalization that usually follows creative forces when perceived, to guide you on this holographic simultaneous simulation where reality is rooted in,” Domingae added.
Vinyl LP pressing. With Sublime bassist and co-founder Eric Wilson anchoring the group, Sublime with Rome are armed with a new album that makes a real statement… their statement. Produced by Rob Cavallo, who has worked with Green Day, My Chemical Romance, Linkin Park and many more, this release is an expression of three musicians who truly get each other and who communicate seamlessly through their instruments. The luxury of time had a huge impact on their approach to this all-important release, especially since the band went into the studio without any demos or songs ready to go! That might sound terrifying to some musicians, but Sublime with Rome were invigorated by the situation. “We didn’t have any songs in our pockets,” the frontman said, confessing that while he liked the spontaneity, it also lit a fire under their collective ass. “We showed up to this big studio and we had nothing, so we had to make it grassroots. It felt refreshing to make things on the fly. It really came together with all of us in the room and we loved the result.” He furthered, “Everything was recorded live and together. It’s a little tighter and edgier than our last two releases. We have a lot of influence from Eric and it definitely shows.”
Limited 180gm vinyl LP pressing. John Lee Hooker’s debut on Riverside Records is perhaps the truest to his Mississippi roots. Unaccompanied and playing acoustically instead of his usual amplified guitar, he turned in a wonderfully varied set of deep Delta blues, moans, boogies, one field holler, and even a bit of hokum. Some songs are autobiographical, others reworkings of blues standards-all stamped with the hauntingly personal Hooker touch. The audio for this 60th anniversary release is sourced from the original stereo tapes that were mastered on all analog by Kevin Gray at Cohearent Audio.
Spanning a career well into it’s third decade, Spoon returns with the new compilation, Everything Hits At Once: The Best of Spoon. In addition to the 12 fan-adored tracks making up this single LP, Spoon also offer up the bold new single “No Bullets Spent.” How many rock bands from the past 25 years could get away with a greatest-hits album? Spoon stand alone, with a career-spanning retrospective culled from all over their unique songbook. It’s a flawless compilation of their best-known, best-loved tunes, yet it’s still full of surprises – the only thing you could expect from a band that’s spent their whole career taking people by surprise.
2019 release. Sugar Drops is the first album on Red House Records from Davina and the Vagabonds and marks the first time singer/songwriter/pianist Davina Sowers entered a proper studio to record an album. The Minneapolis-based artist holed up in Nashville’s Compass Sound Studio with producer (and Compass Records co-founder) Garry West, along with her trumpeter, string arranger and husband, Zack Lozier, and a rotating cast of powerhouse players including Todd Phillips (David Grisman, Robbie Fulks) on bass, Doug Lancio (Patty Griffin, John Hiatt, Tom Jones) on guitar and Reese Wynans (Stevie Ray Vaughan, Joe Bonamassa) on Hammond B3. Sugar Drops is distillation of bluesy barroom baritone and bravado, graveyard jazz grooves, and noir-ish confessional lyricism backed by boisterous piano, guitar, and strings. Eclectic, engaging and instilled with a deep respect and knowledge for the Great American Songbook.
2019 release from the country singer/songwriter. Country Squire is the follow-up to his 2017 album Purgatory. The album was produced by Sturgill Simpson. The album cover artwork was done by Tony Moore (the Walking Dead, Deadpool, Fear Agent and Punisher).
Vinyl LP pressing. With their latest album Blood Year, Russian Circles forsake the sonic crossroads of divergent musical paths found on albums like Guidance and Memorial to offer up the most direct and forceful collection of songs in their discography. With guitarist Mike Sullivan, drummer Dave Turncrantz and bassist Brian Cook all residing in different states, Russian Circles have typically crafted their albums by piecing together song fragments and home recordings into meticulous texture-rich studio productions. But after 7 tours in North American and 5 trips to Europe in support of 2016’s Guidance, the band made a conscious effort to approach Blood Year with the same organic feel of a live show. In an age where rock records are often built on a computerized grid, Russian Circles tracked the foundations of the songs together in one room as complete takes without click tracks. While it retains the dexterity, multi-faceted techniques, and dramatic compositions that have been a trademark of Russian Circles since day one, Blood Year fully embraces the most forceful aspects of the band’s repertoire. It was expertly captured by Kurt Ballou at Electrical Audio in Chicago, where they previously tracked Enter, Geneva, and Memorial.
Twenty-five years after it’s initial release, Julee Cruise’s sophomore album The Voice of Love is being issued for the first time on vinyl. It would mark the final full-length collaboration between Cruise, David Lynch, and Angelo Badalamenti. In 1994, after the release of Twin Peaks: Fire Walk With Me, Lynch, Badalamenti, and Cruise returned to the studio with new compositions as well as the intent to craft previously instrumental score-based material from Fire Walk With Me and Wild at Heart into Julee Cruise songs. The result was 1993’s final studio album The Voice of Love. “In the studio, David would always say ‘[sing] like an angel…” Cruise remembers. In many ways, this quest for “angelic” was the seed that grew an entire genre out of the inability to utilize This Mortal Coil’s “Song to the Siren” for Blue Velvet. It’s eerie to ponder what might not have been had the song actually been within reach for that film. Fitting that all these years later, Twin Peaks concluded on a similar question followed by Cruise’s performance of “The World Spins”: What happens if Laura Palmer was never murdered?
Volbeat -“Rewind, Replay, Rebound” VOLBEAT emerged from Copenhagen in 2001. Since then, they’ve tirelessly clawed their way to hard rock’s upper echelon with endless touring and a string of six beloved full-length albums. Recently, their 2010 album Beyond Hell/Above Heaven, which features hit singles “A Warrior’s Call” and “Heaven Nor Hell,” received RIAA Gold Certification. 2013’s Outlaw Gentlemen & Shady Ladies bowed at #9 on the Billboard Top 200 upon release marking the highest U.S. chart entry for a Danish Act since 1997.
180gm vinyl LP pressing. Third Man Records presents Ann Arbor Blues Festival 1969, a 50th anniversary celebration collecting 24 previously unheard songs by such blues legends as Howlin’ Wolf, Muddy Waters, B.B. King, James Cotton, Son House, Magic Sam, T-Bone Walker, Junior Wells, Big Mama Thornton, Clifton Chenier, Son House, Mississippi Fred McDowell, Lightnin’ Hopkins, Pinetop Perkins, J. B. Hutto & His Hawks, Roosevelt Sykes, Luther Allison, Otis Rush, Big Joe Williams, Charlie Musselwhite and more.
Double vinyl LP pressing. Live archive release. This album represents the first-ever official release of Creedence Clearwater Revival’s legendary Woodstock performance in it’s entirety. CCR were one of the few bands to appear at Woodstock, who had already achieved notable chart success. However, for many their appearance flew under the radar – largely in part to the band not appearing in the movie or the soundtrack which were released post-festival. Their hour-long set took place shortly after midnight on 17 August 1969, a later than planned start due to the Grateful Dead’s set over-running. Kicking off with “Born on the Bayou,” the album features the band’s biggest singles of the day, plus selections off their first three LPs, including “Commotion,” “Ninety-Nine and a Half (Won’t Do)” and “Bootleg.” Full of creative energy, John, Tom, Stu, and Doug delve deep into their music, playing extended improvisations of “I Put a Spell on You,” “Keep on Chooglin'” and “Suzie Q.