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  • Southern Gothic Southern Gothic Quick View

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    Southern Gothic

    Tyminski (Dan Tyminski) will release Southern Gothic October 20 on Mercury Records Nashville. All 13 tracks on
    the album were co-written by Tyminski who describes the album as holding up a mirror to society without judgment
    or opinions. A 25-year member of Alison Krauss' Union Station, he is also the singing voice of George Clooney's
    character in the film O Brother, Where Art Thou? for which he won two Grammy Awards.
    1. Southern Gothic
    2. Breathing Fire

    3. Gone

    4. Temporary Love
    5. Perfect Poison

    6. Devil Is Downtown

    7. Hollow Hallelujah

    8. Good For Your Soul

    9. Wailing Wall

    10. Haunted Heart

    11. Bloodline

    12. Wanted

    13. Numb
    Tyminski
    $19.99
    Vinyl LP - Sealed Buy Now
  • Hors d'Oeuvres Hors d'Oeuvres Quick View

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    Hors d'Oeuvres

    Having recently relocated to her home state of Virginia from Philadelphia, Annie Sachs (a.k.a. Tickley Feather) has recorded her newest album Hors D'oeuvres. Recorded in an old dilapidated farmhouse in the Shenandoah woods, Hors D'oeuvres brilliantly captures Annie's Southern Gothic meets Existential Hillbilly vibe. Focused around a sense of joy, the new material is a marked change from her previous work and its sense of moodiness and oppression. Imbued with a purposeful anthemic quality, these songs reach out to the listener embracing a hauntingly beautiful tension.

    1. Muscles

    2. Sure Relaxing

    3. Don't Call, Marylin

    4. Buzzy

    5. Trashy Boys

    6. Not A Drum

    7. Roses Of Romance

    8. Fly Like An Eagle

    9. Club Rhythm 96 And Cell Phone

    10. Tickley Plays Guitar
    Tickley Feather
    $16.99
    Vinyl LP - Sealed Buy Now
  • White Buffalo White Buffalo Quick View

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    White Buffalo

    In his native Mississippi and throughout the South, Jimbo Mathus is recognized as the prolific songwriter of born-in-the-bone American music, the torchbearer for Deep South mythology and culture. The lifelong musician and co-founder of the hyper ragtime outfit Squirrel Nut Zippers has signed to Oxford, MS label Fat Possum Records and will release White Buffalo, produced by Eric Roscoe Ambel. Opening with the mandolin-driven Southern Gothic fable In The Garden, Mathus and his band, the Tri-State Coalition, deliver an emotional honest bath of songs that embrace the richness of American Music - gospel, country blues and folk. Mathus' tri-state band, a handpicked group of like-minded players who make up his formidable live band, includes Matt Pierce (Arkansas), Terrence Bishop (Tennessee), and fellow Mississippians Eric Carlton and Ryan Rogers.
    1. In The Garden
    2. (I Wanna Be Your) Satellite
    3. Tennessee Walker Mare
    4. White Buffalo
    5. Hatchie Bottom
    6. Fake Hex
    7. Poor Lost Souls
    8. Self
    9. Run Devil Run
    10. Useless Heart
    Jimbo Mathus & The Tri-State Coalition
    $16.99
    Vinyl LP - Sealed Buy Now
  • The Lost Cause Ministrels The Lost Cause Ministrels Quick View

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    The Lost Cause Ministrels

    Grayson Capps' fifth studio album, The Lost Cause Minstrels, finds the Mobile, Alabama-based singer/songwriter coming of age. That doesn't mean his oft-unholy tales of the Southern Gothic have lost any of their luster. Quite the contrary, Capps' Tao-tinged philosophical musings revealed inside songs shuddering with spit, stomp and snarl are as potent as ever.


    Look no further than Highway 42, No Definitions and Rock N Roll to hear that Capps cedes no quarter. It's just that this time his bark and his bite is older, wiser and more accepting of the unanswered questions mucking up the universe. Occasionally, even a celebratory mood can prevail like the horn-fueled romp Ol' Slac, an ode to the rebirth of the Mobile, Alabama Mardi Gras, or Coconut Moonshine, a character sketch based on Mr. Jim who inhabits the hallowed roadside barbecue joint in Ocean Springs, Mississippi.


    Two rare but classic American roots numbers are born again here, as well: Taj Mahal's country-blues paen Annie's Lover and Richard Rabbit Brown's jaunty Jane's Alley Blues, (the original recording preserved on Harry Smith's Anthology of American Folk Music). In less metaphorical terms, Capps' real life situation has evolved and it's reflected in the album's spirit.


    Capps co-produced The Lost Cause Minstrels with his longtime partner and revered engineer/producer 12:46:12 AM (Queens of the Stone Age, Dylan Leblanc, Sheryl Crow) and it results in a highly anticipated next chapter from one of the finest Southern troubadours in modern times.

    1. Coconut Moonshine

    2. Highway 42
    3. John The Dagger
    4. Yes You Are
    5. Jane's Alley Blues
    6. Yes You Are
    7. Annie's Lover
    8. Ol' Slac
    9. Paris France
    10. No Definitions
    11. Rock N Roll

    Grayson Capps
    $18.99
    Vinyl LP - Sealed Buy Now
  • Kiss You Kidnapped Charabanc Kiss You Kidnapped Charabanc Quick View

    $24.99
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    Kiss You Kidnapped Charabanc

    Nikki Sudden's collaboration with former Birthday
    Party guitarist Rowland S. Howard peaked with Kiss You
    Kidnapped Charabanc, the duo's 1987 first and only full
    length. Howard's sinister guitar flourishes and malevolent
    lyrical motifs lead Sudden's paisley-clad disposition into
    murkier waters, drudging the same sludge inhabited by
    The Gun Club and Nick Cave's Bad Seeds. Unhinged slide
    guitars, noise and primal drumming draw up demented
    pacts forged in the blood of Southern Gothic swamp
    stomp and Depression-era devotionals-tales of lovers and
    demons split between the vocal transmissions of the two
    minds behind this goth-steeped, blues-punk essential.


    In founding Swell Maps, the post-punk prefacing
    Birmingham art-snots, Nikki Sudden and his drumming
    brother Epic Soundtracks charted new territory for racket
    and corrosive guitar. But after folding Swell Maps at the
    dawn of the '80s, Nikki Sudden plowed through another
    decade's worth of terrifically fertile ground. Drawing on
    his devotion to the Rolling Stones and T. Rex-alongside
    guitarist Dave Kusworth as Jacobites, plus a cheekily named
    cohort of British sidemen-Nikki Sudden cut a string of
    raw, inspired rock 'n' roll records, etched with double-edged travel melancholia and hard-bitten punk dejection.

    1. Rebel Grave
    2. Sob Story
    3. Snowplough
    4. A Quick Thing
    5. Feather Beds
    6. Crossroads
    7. Don't Explain
    8. Better Blood
    9. Debutante Blues
    Nikki Sudden & Rowland S. Howard
    $24.99
    Vinyl LP - Sealed Buy Now
  • Purgatory Purgatory Quick View

    $18.99
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    Purgatory

    Like many great Southern storytellers, singer-songwriter Tyler Childers has fallen in love with a place. The people, landmarks and legendary moments from his childhood home of Lawrence County, Kentucky, populate the 10 songs in his formidable debut, Purgatory, an album that's simultaneously modern and as ancient as the Appalachian Mountains in which events unfold.

    The album, co-produced by Grammy Award winners Sturgill Simpson and David Ferguson, is a semi autobiographical sketch of Childers' growth from wayward youth to happily married man, told in the tradition of a Southern gothic novel with a classic noir antihero who may just be irredeemable. Purgatory is a chiaroscuro painting with darkness framing light in high relief. There's catharsis and redemption. Sin and temptation. Murder and deceit. Demons and angels. Moonshine and cocaine. So much moonshine and cocaine. All played out on the large, colorful canvas of Eastern Kentucky.

    Childers had been searching for a certain sound for his debut album for years as he honed his craft, and was finding it elusive when his friend, drummer Miles Miller, introduced him to Simpson, the Grammy Award-winning musician and fellow Kentuckian. Childers sent Simpson a group of his songs, then went to visit him in Nashville.

    And he said, 'There's this sound. I know what you're trying to get at, the mountain sound,' Childers recalled. 'So I asked, 'What are you doing?'

    Intrigued, Simpson enlisted the aid of Ferguson, the Grammy Award winning sound engineer. They assembled a band that included multi-instrumentalists Stuart Duncan, Michael J. Henderson and Russ Pahl, bassist Michael Bub and Miller on drums, of course, and helped Childers make a debut album of consequence that announces an authentic new voice.

    I was writing an album about being in the mountains, Childers said. I wanted it to have that gritty mountain sound. But at the same time, I wanted a more modern version of it that a younger generation can listen to-the people I grew up with, something I'd want to listen to.

    1. I Swear (to God)
    2. Feathered Indians
    3. Tattoos
    4. Born Again
    5. Whitehouse Road
    6. Banded Clovis
    7. Purgatory
    8. Universal Sound
    9. Honky Tonk Flame
    10. Lady May
    Tyler Childers
    $18.99
    Vinyl LP - Sealed Buy Now
  • Beyond The Bloodhounds Beyond The Bloodhounds Quick View

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    Beyond The Bloodhounds

    Adia Victoria spent the last few years writing, recording, touring and performing, while entrenched in the infamous artist R&R world - restaurants and retail work. Day jobs at a laundry list of Nashville it and not so it spots gave the musician lots of people watching time as well as the mental and emotional space to marinate in her art.


    Adia blows the social hush-hush lid off the mental and emotional state of a young black woman growing up under the poverty line in the Deep South and all the implications of such. No pretense. No jive. But also, like the writing of Eudora Welty and Tennessee Williams, there is plenty of Southern Gothic styled, marrow deep joy.


    In a recent feature story, Fader encouraged us to, Meet Adia Victoria, A Poet Making Country Music a Little Creepier. She is found in album cuts like Sea of Sand and Stuck in the South, revealing some of her place-based aha moments. In the latter, she notes, I don't know nothin' about Southern belles/ But I can tell you something about Southern hell. As songs like Head Rot, and first single Dead Eyes show us, Adia says, it's an album of falling in love, dealing with loss, confusion, anger, love, and loving myself.


    Produced by Roger Moutenot (Yo La Tengo, Sleater Kinney) and the artist herself, recorded at Nashville, Tennessee's Haptown Studios, Beyond the Bloodhounds features the indelible lyrics, voice, and guitar solos of Adia Victoria along with a band of talented musicians including Tiffany Minton (Drums), Alex Caress (keys), Mason Hickman (guitar), and Jason Harris (bass). She recalls, the studio is a Music City treasure. It used to be a car repair shop. You walk in and there are no windows. It's dark and moody. It feels like walking into the mind.


    The result of a lifetime of introspection and a younger self marked by silent observation, Adia Victoria's Beyond the Bloodhounds was three active, recording years in the making. The title pays homage to a line in Harriet Jacobs' Narrative in the Life of a Slave Girl.


    Ultimately, Victoria's debut album is more both/and, than either/or. The complexity of her Southern, barrel-aged roots and world traveling, bookworm woman ways will lure you out of the status quo.


    Publications like American Songwriter, Rookie, and NPR are taking notice.


    Now on the brink of her 30s, fluent in the language of her own self, Adia Victoria stands poised to take her place in a line of true artists. Her mother warned that she feels too much and would be torn up by the world. Adia will tell you that proved to be true. I've felt shredded, but I'm now blessed to embrace the intense feelings as part of my job. That's what I do. It's my bread and butter. My art depends on me feeling and experiencing. I show up, live, and come back and say, oooooh Honey, it was like this...

    1. I'm With You
    2. Borderlines And Aliens
    3. Schoolboy
    4. Ways To Go
    5. Shark Attack
    6. Sit Still
    7. Hippy Hill
    8. What I Know
    9. Didn't Have To Go
    10. Bitin' The Bullet
    11. News To Me
    12. Raspberry
    13. Save The Party For Me
    Adia Victoria
    $19.99
    Vinyl LP - Sealed Buy Now
  • Beulah Beulah Quick View

    $18.99
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    Beulah

    Beulah. It's a small, complicated word with a tangle of meanings.


    It's the title of John Paul White's new album, his first in nearly a decade, a remarkably and assuredly diverse collection spanning plaintive folk balladry, swampy southern rock, lonesome campfire songs, and dark acoustic pop. Gothic and ambitious, with a rustic, lived-in sound, it's a meditation on love curdling into its opposite, on recrimination defining relationships, on hope finally filtering through doubt.


    Beulah is also a White family nickname. "It's a term of endearment around our house," White explains, "like you would call someone 'Honey.' My dad used to call my little sister Beulah, and I call my daughter Beulah. It's something I've always been around."


    Beulah is also something much loftier. For the poet and painter William Blake, Beulah was a place deep in the collective spiritual unconscious. "I won't pretend to be the smartest guy in the world," says White, "but I dig a lot of what he's written. Beulah was a place you could go in your dreams. You could go there in meditation, to relax and heal and center B photo credit: Allister Ann 119 west 57th street, penthouse north, new york, ny 10019 t 212.741.1000 www.sacksco.com SACKS A CO. N D yourself. It wasn't a place you could stay, but you came back to the world in a better state."


    And perhaps the music on this album originated in that "pleasant lovely Shadow where no dispute can come." According to White, the songs came to him unbidden-and not entirely welcome. "When these songs started popping into my head, I had been home for a while and I was perfectly happy. I wasn't looking for songs. I didn't know whether any would pop back in my head again, and I was honestly okay with that. I'm a very happy father and husband, and I love where I live. I love working with artists for a label that I think is doing good work."


    Far from the grind and glamour of Nashville-where he worked for years as a working songwriter before stepping into the spotlight himself-White settled in his hometown of Muscle Shoals, Alabama, a wellspring of gritty Southern rock and soul since the 1960s. Together with Alabama Shakes keyboard player Ben Tanner and Shoals native Will Trapp, he founded and runs Single Lock Records, a local indie label that has released records by some of the Yellowhammer State's finest, including Dylan LeBlanc, St. Paul & the Broken Bones, and legendary songwriter and keyboard player Donnie Fritts. The label is based in a small ranch house a stone's throw from White's own home, which would come in handy when those songs started invading his head.


    "Honestly, I tried to avoid them, but then I realized the only way I was going to get rid of them was if I wrote them down. I got my phone out and I'd sing these little bits of melody, then put it away and move on. But eventually I got to a place where it was a roar in my head, and that pissed me off." Due to his experiences as a gun-for-hire in Nashville, White was reluctant to romanticize the creative process, to turn it into a spiritual pursuit. "Then one day I told my wife I think I'm going to go write a song. She was as surprised as I was. I went and wrote probably eight songs in three days. It was like turning on a faucet."


    Most artists would kill for such a downpour, but White was wary of the consequences. He knew that writing songs would lead to recording them, which would result in releasing them, and that means touring and leaving home for weeks at a time. "As soon as I write a song, I start thinking what other people might think of it. I've talked to friends about this: What is it about us that makes us do that? Why can't I just sit on my back porch and sing these songs out into the ether? I don't have an answer for it yet, but I think it's just part of who I am. I need that reaction. I need to feel like I'm moving someone in a good way or in a bad way. I need to feel like there's a connection."


    White threw himself into the project, no longer the reluctant songwriter but a craftsman determined to make the best album possible-to do these songs justice. He cut several songs at the renowned FAME Studios in his hometown, where Aretha Franklin, Wilson Pickett, the Allmans, the Osmonds, Bobbie Gentry, Arthur Conley, and Clarence Carter recorded some of their most popular hits.


    One product of those sessions is "What's So," which introduces itself by way of a fire-andbrimstone riff, as heavy as a guilty conscience-the kind of riff you wouldn't be surprised to hear on a Sabbath album. But White's vocals are gritty and soulful, a product of the Shoals, almost preacherly as he sings about earthly and eternal damnation: "Sell your damn soul or get 119 west 57th street, penthouse north, new york, ny 10019 t 212.741.1000 www.sacksco.com SACKS A CO. N D right with the man, keep treading water as long as you can," he exhorts the listener. "But before you do, you must understand that you don't get above your raisin'." It's the heaviest moment on the record, perhaps the darkest in White's career.


    At the other end of the spectrum is "The Martyr," one of the catchiest tunes White has ever penned. The spryness of the melody imagines Elliott Smith wandering the banks of the Tennessee River, yet the song is shot through with a pervasive melancholy as White wrestles with his own demons. "Keep falling on your sword, sink down a little more," he sings over a dexterous acoustic guitar theme. This is not, however, a song about some unnamed person, but rather a pained self-diagnosis: "These are the wounds that I will not let heal, the ones that I deserve and seem so real." White knows he's playing the martyr, but he leaves the song hauntingly open-ended, as though he isn't sure what to do with this epiphany beyond putting it in a song.


    The rest of Beulah was recorded in the Single Lock offices/studio near White's home. "I can be more relaxed about the process. We can all just sit there and talk about records or baseball without feeling like someone's standing over our shoulders. That's a big deal to me, not to feel pressured. And I'm only about twenty yards away from home, so I can walk over and throw a baseball with my kids or make dinner with my wife."


    Some of the quieter-but no less intense-songs on Beulah were created in that environment, including the ominously erotic opener "Black Leaf" and the Southern gothic love song "Make You Cry." As he worked, a distinctive and intriguing aesthetic began to grow clearer and clearer, one based in austere arrangements and plaintive moods. These are songs with empty spaces in them, dark corners that could hold ghosts or worse. "There were certain moments when Ben and I would finish up a song, listen back to it, and think how in the world did we get here. But that's just what the songs ask for. These are the sounds in my head. This is the sound of me thinking and living and breathing and doing."


    Once White had everything assembled and sequenced, it was time to give the album a title, to wrap everything up for the listener. Beulah stuck-not only because of family history or Blake, but because White realized that making music was his own trip to Beulah. "If you had to sum up what music is for most people in this world, it's that. It's that escape. It's that refuge. You go there and you come back and you use that to help you with your life. You always have that as a place to go."

    1. Black Leaf
    2. What's So
    3. The Once And Future Queen
    4. Make You Cry
    5. Fight For You
    6. Hope I Die
    7. I've Been Over This Before (Feat. The Secret Sisters)
    8. The Martyr
    9. Hate The Way You Love Me
    10. I'll Get Even
    John Paul White
    $18.99
    Vinyl LP - Sealed Buy Now
  • The Trigger Complex The Trigger Complex Quick View

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    The Trigger Complex


    Ultra Clear Vinyl


    Influential Southern California punk rock pioneers T.S.O.L. will make their awaited return in 2017 with a new record label and their 11th studio album, The Trigger Complex.


    T.S.O.L., short for True Sounds of Liberty, struck a nerve in the early 80's with their defiant, politically charged self-titled debut EP. At the intersection of punk and gothic new wave, the band's evolution of sound continued resulting in their critically heralded, full-length record Dance With Me (1981) as well as many other fan coveted albums, with various lineup changes and reunions along the way, that cemented their legacy in the punk scene as one of the most influential bands to come out of California.


    Now, nearly four decades later, original members Ron Emory, Mike Roche and Jack Grisham have returned to creative heights with one of their most inspired albums in decades with The Trigger Complex. Comprising of thirteen songs, the band's new record runs the gamut of charging punk anthems to brooding rock songs that will no doubt please listeners. Given the country's turbulent, divisive political climate it could not be better timing for the return of one of punk's most important and vocal bands.
    "It's a great time to be making music; to have a voice that can be heard," says Grisham. "I'm glad that things look bleak. Political turmoil breeds strength as well as strife. This record allows us to remind people that they aren't alone. We're here."


    - Graham Spark (Decibel Geek)

    1. Give Me More
    2. Sometimes
    3. Strange World
    4. Satellites
    5. The Right Side
    6. Why Can't We Do It Again
    7. I Wanted To See You
    8. Wild Life
    9. Nothing Ever Lasts
    10. Going Steady
    11. You're Still The Same
    12. Don't You Want Me
    13. Bats
    T.S.O.L.
    $18.99
    Colored Vinyl LP - Sealed Buy Now
  • Holly Holly Quick View

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    Holly

    Think music ain't what it used to be? Then you haven't heard Nick Waterhouse. His jumped-up take on 1950's rhythm 'n' blues is the real deal."
    - GQ


    A timeless talent for spirited rock and rhythms that anyone can appreciate.
    He draws from the classic sound of '50's American pop with a distinctive
    voice of his own, shouting and growling with infectious vigor."
    - NPR


    Waterhouse is definitely a star."
    - LA TIMES


    The music sounds like a party in full swing, each instrument playing exactly what is needed."
    - CHICAGO TRIBUNE


    Between the chattering keys, bomping saxes, gorgeous guitar tones and
    the bandleader's voice-which slides effortlessly from cool quaver to feral
    howl - the end result is undeniable."
    - SPIN


    Nick Waterhouse's art springs from a simple idea: everybody wants to be sombody else. One of his heroes, Van Morrison, got his start covering Bobby
    Bland, whose own musical idol was Nat "King" Cole. In Waterhouse's view,
    emulation is a journey; you never truly succeed, but as the singer, guitarist and songwriter puts it, "You become something on the way there."


    Nick was born in 1986 and grew up in Huntington Beach, known predominantly for
    UFC, commercial surf culture, and tanning salons. He established his musical sensibilities in the middle of the burgeoning southern California Psych-Garage scene (Burger
    records, Ty Segall, McHugh's Distillery studio) while retaining his unique perspective
    on the spirit of American Rhythm & Blues and Rock & Roll.


    Waterhouse started performing as a teenager. "It was really motivated by fear," he
    recalls. "I'm kind of an introvert, so it was an uncomfortable situation. It was a way
    to force a crisis." The young artist experienced an exhilaration he'd never felt before,
    and hasn't found anywhere else since. "It's a feeling of heightened awareness that goes
    beyond pleasure," Waterhouse explains. "It has something to do with seeing ahead in
    time and behind in time all at once. You don't just get the immediate reward; you get
    the potential that rewards you the same way."


    Waterhouse explored the idea of potential on his breakthrough single, "Some Place," a
    beautifully lean, propulsive track recorded at all-analog studio the Distillery and self
    released in 2010 on his own Pres label. "Well, there's someplace that I'd rather be,"
    Waterhouse sang in a fierce yet plaintive register. "And it's something that's been on my
    mind almost constantly."


    These days, Waterhouse is a successful recording artist, with one well-received LP and
    and several high-profile tours and collaborations to his name. But his latest work still
    embodies the struggle of his early forays. During "This Is a Game," Waterhouse sets up
    a snarly, post-surf guitar solo with a succinct statement of a cynical outlook: "This is a
    game / Please remember my words / And don't get upset when you don't get what you
    think you deserve." And on the gothic-soul strut "Let It Come Down," he meditates on
    the inevitability of pain. "If there's gonna be rain tonight," he sings in a stoic croon.
    "Let it come down."


    It's clear from this material that Waterhouse is in the midst of his own becoming. He
    isn't the type to let ecstasy take over, like Van Morrison, or to drawl away in a consummately laid-back register, like Mose Allison. In the tension between his wry lyrics and
    crisp arrangements, you hear the expression of a worldly skeptic who's also-when it
    comes to his art-a sanctified believer. Whoever it was that Nick Waterhouse wanted to
    be matters less now; these days, he just sounds like himself.

    1. High Tiding
    2. This Is A Game
    3. It no. 3
    4. Let It Come Down
    5. Sleepin' Pills
    6. Holly
    7. Dead Room
    8. Well It's Fine
    9. Ain't There Something Money Can't Buy
    10. Hands On The Clock
    Nick Waterhouse
    $18.99
    Vinyl LP - Sealed Buy Now
  • Swampblood (Out Of Stock) Swampblood (Out Of Stock) Quick View

    $15.99
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    Swampblood (Out Of Stock)

    Th' Legendary Shack*Shakers southern gothic epic has its latest chapter. With Swampblood the Colonel JD Wilkes takes the muddled influence of his new home in western Kentucky, pours it through the funnel of eerie south Louisiana bayou culture, and shakes it up 'til it explodes with the thick swamp blues of Slim Harpo. With this new offering the band plays with a heavy but accessible chug, like the sound of a pirogue's plodding diesel outboard moving past the fire-breathing refineries of Port Sulfur.


    Though treading new ground, Swampblood holds true to the Shackshakers' signature aesthetic, resting on the dark fringes of American culture, more interested in the sinister nuances behind a frequently Rockwellian facade. Musically, straight swamp blues swirls with rockabilly, minor key polkas, and industrial rock all draped over Bo Diddly's primal thumping heartbeat.

    Dawn

    Old Spur Line

    Hellwater

    Eastern Flesh

    Swampblood

    Dusk

    Cheat The Hangman

    Born Again Again

    The Deadenin'

    Down And Out

    Jimblyleg Man

    He Ain't Right

    Angel Lust

    Preachin' At Traffic

    When I Die

    Bright And Sunny South

    Legendary Shack*Shakers
    $15.99
    Vinyl LP - Sealed Temporarily out of stock
  • Wild Moon (Out Of Stock) Wild Moon (Out Of Stock) Quick View

    $19.99
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    Wild Moon (Out Of Stock)

    Plowboy Records' latest signing, J.D. Wilkes and The Dirt Daubers, release 'Wild Moon', their third album. Produced by Cheetah Chrome, 'Wild Moon' finds The Dirt Daubers - previously an old-timey, acoustic group - plugged in and wailing away on raw, blissfully distorted rock-n-roll and blues. The
    Dirt Daubers were formed by Legendary Shack Shakers front man, artist, director and country punk pioneer J.D. Wilkes in 2009 with his wife Jessica. Wilkes' "gothic preacher" persona and frantic blues harmonica whips 'Wild Moon' into a frenzy, trading lead vocal duties with his feminine foil.


    J.D. and Jessica are joined by electric guitarist Rod Hamdallah and drummer Preston Corn. Smoky baritone sax grooves are provided by Tom Waits' sideman Ralph Carney, with piano played by Wilkes himself - delving deeper into the bluesy
    recesses of American music. Jessica emotes pained lyrics about life, love and loss on tunes like "No More My Love" and "Apples and Oranges," while J.D. continues his southern storytelling style on "Angel Crown" and the title track.


    Wilkes is also an accomplished harmonica player, having recorded for such artists as Merle Haggard, John Carter Cash, Mike Patton, and Hank Williams III. He can also be spotted playing harmonica for Hank Williams III in the 2004 American Masters film Hank Williams: Honky Tonk Blues. His song `Swampblood` can be heard on the Grammy-nominated
    soundtrack for HBO's True Blood series. Shore Fire Media on board to spearhead publicity and marketing efforts.


    "Wilkes writes mind-blowing lyrics rife with Biblical references and ruminations of life, death, sin and redemption " -BILLBOARD

    1. French Harp Hustle
    2. Apples and Oranges
    3. Wild Moon
    4. Drive
    5. No Rest For the Wicked
    6. No More My Love
    7. Angel Crown
    8. Let It Fly
    9. You Know I Love You
    10. Hidey Hole
    11. Don't Thrill Me No More
    12. River Song
    13. God Fearing People
    JD Wilkes
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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