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I can feel you creep into my private lifeTune-Yards' magnum opus will arrive in the form of new album I can feel you creep into my private life. Thematically, the 12 new songs tackle race, politics, intersectional feminism and environmental prophecies head on. But in the billows of intense subject matter, the album arrives as Tune-Yards' most immediate and upbeat music yet- this is Tune-Yards' music to dance to.
On I can feel you creep into my private life, Tune-Yards is officially a duo. Garbus is joined by longtime collaborator Nate Brenner who produced and wrote the album together with lyrics by Garbus. Tune-Yards worked with mixer Mikaelin "Blue" BlueSpruce (Solange, Kendrick Lamar). Tune-Yards' 2014 release Nikki Nack was one of the most well-received albums of the year. New York Magazine called it "possibly the catchiest record of the year," the New Yorker praised its "joyful energy" and "surprisingly sweet singing and catchy tunes," and Entertainment Weekly said, "life needs joyful noise like this."
Since the release of Nikki Nack, Tune-Yards has kept busy collaborating with legendary musicians David Byrne, Laurie Anderson and Yoko Ono, as well as penning the standout track, "Action," from Mavis Staples' 2016 album.1. Heart Attack
2. Coast to Coast
3. ABC 123
4. Now As Then
7. Look At Your Hands
10. Who Are You
11. Private Life
12. Free$22.99Vinyl LP - Sealed Buy Now
WhokillWhokill is the second album from New England native Merrill Garbus' Tune-Yards. The release was recorded shortly after Garbus transplanted herself from Montreal to sunny Oakland, California. Whokill retains the honesty of the lonely bedroom confessionals of her early work, but with the addition of the fangs, claws and dented metal of her new surroundings.
Indeed, Oaklands particular landscapes serve as primer for what you hear on Whokill, with the citys unique vitality fuelling the album's brightness. By applying the Tune-Yards live approach to her studio work for the first time, Garbus added more buttons and joints to those already being used, one essential new joint is dexterous bass member Nate Brenner, who co-wrote a few songs.
Produced by Garbus herself and working with engineer Eli Crews, they show theres no substitute for a good microphone, and the sonic nuances that can only be achieved through masterful recording techniques.1. My Country
8. You Yes You
9. Wooly Wolly Gong
$22.99Vinyl LP - Sealed Buy Now
Thao And MirahIn 2010, Thao Nguyen, leader of Thao With the Get Down Stay Down, and singer/songwriter Mirah (K Records), linked up for a tour. And now, the two have joined forces to release the self-titled album, Thao & Mirah. The duo recorded the album in a two-week period, with Tune-Yards mastermind Merrill Garbus co-producing, guesting, and writing one song. Various Bay Area musicians also contribute.1. Eleven
3. Little Cup
4. Rubies and Rocks
6. Spaced Out Orbit
7. How Dare You
8. Sugar and Plastic
9. Likable Man
11. Squareneck$15.99Vinyl LP - Sealed Buy Now
Livin' On A High NoteMavis Staples has been a soul and gospel music legend for more than 50 years. Her work fronting the legendary Staples Singers defined the sound of politically-committed soul and influenced generations of musicians. As a solo artist in her own right she has helped to define much of what is righteous and soulful in American music.
With Livin' On A High Note, Mavis Staples has delivered the most joyful and uplifting record of her career. 12 original songs written exclusively for Mavis by some of the finest songwriters of our time including M .Ward, Ben Harper, Valerie June, Neko Case, tune-yards, Nick Cave, John Baptiste, Justin Vernon, Aloe Blacc, and more.1. Take Us Back
2. Love And Trust
3. If It's A Light
5. High Note
6. Don't Cry
9. History Now
10. One Love
11. Jesus Lay Down Beside Me
12. MLK Song$19.99Vinyl LP - Sealed Buy Now
ADAD-POL-1310xSonny & The Sunsets
Moods Baby Moods
180-Gram Orange Vinyl
On previous records, the Sunsets have plundered a
wide spectrum of musical appropriation (garage-rock,
forgotten AM radio fodder, Modern Lovers, late-era
Clash, Doo-Wop, and the Velvet Underground, to
name a few.)
Mood Baby Moods follows suit, and on this outing we
find the Sunsets, along with producer Merrill Garbus
of tUnE-yArDs, repurposing early '80s funk and new
wave with rap beats and collages from both sides of
the ocean (be it Niles Rogers, Jah Wobble, The Gap
Band, Orange Juice, Trans-era Neil Young or The Tom
Tom Club.) These are songs that juxtapose the haze of
today with a vibrant and colorful explosion of sounds
and 180 degree turns.1. Death Cream part 2 "Watch Out for the Cream"
3. Modern Age
4. Well But Strangely Hung Man
6. Reject of the Lowest Planet
7. White Cops on Trial
8. Check Out
10. My Little Death
11. Dead Meat on the Beach
12. The Hospital Grounds at Night$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Second AlbumBack in 1995, Bay Area rap was at the big-ballin' peak of the mobb music craze, LA was chronically gripped in a G-funk indo smoke haze, Atlanta was
enjoying its Southernplayalistic days, and NYC was entering a shiny-suit phase. There was no frame of reference for two lyrical emcees experimenting
with the tonality and resonance of rhyme patterns. This was uncharted territory. The pairing of Lyrics Born and Lateef the Truthspeaker into Latyrx was an accident, LB recalls. Both emcees were solo artists, but when LB heard the pre-Endtroducing DJ Shadow beat which would become Latyrx' eponymous debut single, his reaction was, Oh my God, I gotta get on this.
Latyrx was a syllabic tour de force which began with two dissonant voices -- one gruff and bassy, the other higher-pitched and trebly, both hella fluid -- it
transmogrified into a harmonic convergence of doubled verses simultaneously assaulting eardrums. Undeniably, it was great... but weird. It was ill,
Lateef recalls. We really felt like we had something unlike anyone else had done, he adds. Latyrx' first and thusfar, only, full-length, 1997's Latyrx: the Album, set the tone for what Solesides and Quannum would do, LB recalls, while 1998's Muzappers Re-Mixes EP spawned one of the only feminist-affirming club bangers in hip-hop history, Lady Don't Tek No.
Though Latyrx never officially broke up, after Muzappers, both members followed their chosen paths to considerable solo success. Yet no matter how
much acclaim each attained individually, the notion of someday making another Latyrx record was always present. It's probably the number one thing I
got asked about in my career, LB says. 16 years (!) after the release of Latyrx: the Album, LB and Lateef have finally answered the prayers of long-starved fans who have begged, pleaded and, by now, tweeted about the possibilities of a reunion. An impromptu Latyrx set at a 2010 Jazz Mafia concert at San Francisco's Mezzanine led to an
appearance at 2011's Outside Lands festival, Google's Summer Concert Series (they were the first ever hip-hop act to perform) and a last minute
appearance as part of HITRECORD At The Movies -- a unique film and music traveling showcase curated and hosted by actor and artist Joseph Gordon-
Most recently the duo have performed at the Wintersalt Festival in San Francisco last December and toured the United States with super funk group,
Galactic. Having just released a brand new EP titled 'DISCONNECTION' late last year, LB & Lateef are hard at work on the proper follow up to their debut album, a
new record aptly titled, 'THE SECOND ALBUM'.
Featuring a long list of producers and special guests, the album credits read like a music festival with artists from Tune Yards and Forrest Day to
Blackalicious and The Decemberists stepping in to help create one of the most highly anticipated records of all time. What Latyrx brings to the table is a technical difficulty level rare these days in hip-hop and matched only by a few groups in the genre's entire history: Run -DMC, Jurassic 5, Blackstar, Freestyle Fellowship. Their challenging, intricate back-and forth arrangements evoke a lyrical version of bebop, with layer
upon layer of rhythmic syncopation and vocal patterning constantly pushing the envelope.
We have a good chemistry and it's kind of unique, Lateef says. We step up each others' game content, and both of us push each other in the originality
department. What we've talked about is very simply, picking up where we left off, LB explains. The return of Latyrx stands as Very Good News for true hip-hop fans,
lyrical aficionados, boom-bap beatniks, urban bohemians, wee tots in Reeboks, and Muzappers of all shapes, sizes, colors, and ages.1. Arrival [prod. by Jel of Anticon]
2. It's Time [feat. Zion I, prod. by Amp Live]
3. Reload [prod. by Jel of Anticon]
4. Exclamation Point [feat. Forrest Day, prod. by Forrest Day]
5. Deliberate Jibberish [prod. by tUnE-yArDs]
6. Close Your Eyes [feat. Busdriver, prod. by Antonionian]
7. Nebula's Eye [feat. 1-O.A.K. & Joyo Velarde, prod. by G-Koop & O-Man]
8. The Power of Rumor (Leonard Is Lost) [prod. by Adam Theis and Lyrics Born]
9. Watershed Moment [feat. The Gift of Gab of Blackalicious, prod. by tUnE-yArDs]
10. Sometimes Why? [prod. by Chris Funk of The Decemberists]
11. Every Man For Himself [feat. Joyo Velarde, prod. by Future People]
12. Electric Chair [feat. Corey Glover of Living Colour, prod. by Kaveh Rastegar & Jeremy Ruzumna]
13. Gorgeous Spirits (Aye, Let's Go!) [prod. by The Bangerz]$24.99Vinyl LP - 2 LPs Sealed Buy Now
Red Hot + Fela
18th In A Series Of Original Albums To Raise Money And Awareness In The Global Fight Against HIV/AIDS
Fela Kuti lives on. Since his death in 1997, he's been transformed from musician's musician with a cult-like following to a worldwide musical icon. The last four years have seen the Broadway hit FELA! win Tony Awards and tour the world, Knitting Factory Records reissue the prolific Nigerian's back catalogue, and now, Red Hot.
Red Hot is an AIDS awareness organization currently partnering with cross-genfre collaborators representing rock, hip-hop, Americana, and classical for a forthcoming album release of Fela Kuti compositions, Red Hot + Fela. The release includes classic Fela anthems like Lady recorded by tUnE-yArDs, Questlove, Angelique Kidjo, and Akua Naru, Zombie recorded by Spoek Mathambo, Cerebral Cortex, and Frown, and Trouble Sleep Yanga Wake Am recorded by My Morning Jacket, Merrill Garbus (from tUnE-yArDs), and Brittany Howard (from Alabama Shakes) and Sorrow, Tears & Blood reworked by the Kronos Quartet along with TV On The Radios' Kyp Malone and Tunde Adembimpe.1. Buy Africa - Baloji & L'Orchestre de la Katuba featuring Kuku
2. Lady - tUnE-yArDs, Questlove, Angelique Kidjo + Akua Naru
3. Yellow Fever - Spoek Mathambo + Zaki Ibrahim
4. No Buredi - Nneka, Sinkane, Amayo + Superhuman Happiness
5. Who No Know Go No - Just A Band + Childish Gambino
6. Trouble Sleep Yanga Wake Am - My Morning Jacket w/ Merrill Garbus + Brittany Howard
7. Sorrow Tears and Blood - TV on the Radio's Kyp Malone and Tunde Adebimpe, Kronos Quartet + Stuart Bogie
8. ITT - Superhuman Happiness w/ Sahr Ngaujah, Abena Koomson + Rubblebucket
9. Afrodisco Beat 2013 - Tony Allen, M1 + Baloji
10. Gentleman - Just A Band, Bajah + Chance the Rapper
11. Hi Life Time - GendEr Infinity
12. Zombie - Spoek Mathambo + Cerebral Cortex + Frown
13. Go Slow - King$22.99Vinyl LP - 2 LPs Sealed Buy Now
BeingMozart's Sister - the solo project of Montreal's Caila Thompson-Hannant she started back in early 2011 - delights in making glittering, celebratory pop with an underlying strain of brittle, claustrophobic energy. By marrying the accessible with the decidedly off-kilter, she displays a similar vigor and charisma to female contemporaries Grimes and tUnE-yArDs, both of whom too learned their trade among the same fertile hometown scene as her.
Since attracting a ton of buzz for her entrancing live shows and for first EP Hello, Mozart's Sister (aka Caila Thompson-Hannant) has been head-down in her bedroom writing her debut album. For anyone who's been following her work - and for new listeners - Being is Mozart's Sister expressing macrocosmic ideas about life with panache and abundant hooks.
Inspired by Discovery-era Daft Punk, Post-era Bjork, and Betty Davis, Caila produced, recorded and wrote the album using a cheap sound card and Ableton software, approaching it with a do-it-all-by-my-self ideology.
Being is fundamentally a pop record. But if you're looking to catalog her music more than that, you're going to have a hard time; Caila describes Being as an intentionally fractured album. "It was far reaching. Things didn't always connect, but that was part of the whole idea," she says. Which is representative of the best music, and maybe the best of life: looking for order in chaos, not always finding it, and living with whatever happens next.1. Good Thing Bad Thing
4. Lone Wolf
5. A Move
6. Bow a Kiss
7. Salty Tear
8. Do It to Myself (Run Run)
9. Don't Leave It to Me
10. My House Is Wild
11. Chained Together$16.99Vinyl LP - Sealed Buy Now
This Is SteveThis is Steve, DELICATE STEVE's first new record in 4 years, and first for the ANTI- imprint, is an articulation of his spirit. Joy. Love. Positivity. Perseverance. Meditation. A general communion with the people and world around him. Easy to call such things hackneyed in this cynical time, but in Steve's case, it's very hard to separate the person from the art. It's real. It's pure. This, is Steve. Melody begins with the needle drop on This is Steve, and it's this hallmark as a songwriter on display in tune after tune that has defined all of DELICATE STEVE's work. It's his incredible capacity to write wordless songs that are impossible not to sing along to. He works in no genre, there are no words, but there is never a question as to what he is saying.
DELICATE STEVE (aka Steve Marion) had cornered the status of 'your favorite band's favorite band', as Steve himself became a fixture in and an on-demand collaborator among disparate scenes, players, and bands, making some of the most celebrated and forward thinking music today: Co-signs and work with David Byrne, Dirty Projectors, tUnE-yArDs, Mac DeMarco, Dr. Dog, and most recently, providing guitar on Paul Simon's new record. Likely the only guitarist alive who will cut records with Sondre Lerche and Death Grip's Zach Hill.
Steve produced and played all the instruments on this record. He created it as an introduction from himself to you, and named it appropriately. If there is a question as to who This is Steve's creator is, you'll find it imbued in these ten songs. As he has done from the start, Steve lets the music speak for itself. Without a word.1. Animals
3. Cartoon Rock
10. This Is Steve$19.99Vinyl LP - Sealed Buy Now
La Isla Bonita
Gray Colored Vinyl
For years, Deerhoof was the only band that sounded like Deerhoof. Deerhoof's
neck-snapping syncopations, classical melody, minimal gear and maximal music has
slowly become part of the vocabulary: St. Vincent, Flaming Lips, Tune-Yards and Dirty
Projectors are just a few of the bands to have absorbed some Deerhoof DNA.
Deerhoof banged out recordings to send to producer and Godmode Records
honcho Nick Sylvester. No one gave much thought to microphone placement and
other technical matters, or playing the parts perfectly, or even staying in tune. It was
unselfconscious, spontaneous and fun, all four musicians playing in the same tiny
room at the same time. "We forgot," says Greg, "that the camera was there." The
music was ineffably evocative and powerful.
In May, Sylvester recorded the vocals, and that's where the album's pop side comes
out: Satomi's singing is front and center, and if it sounds like she's commanding the
band, it's because she was. Satomi was determined to make a record that was not
just for hardcore Deerhoof fans but instead would speak to everybody.
But there's a darkness to the songs. While Satomi's voice might ring like a sweet bell,
John and Ed's guitars resound with uncanny, virtuosic abandon, and Greg drums
with his ingenious wallop, the gnomic lyrics juxtapose images of false paradise with a
sense of declining empires and decay, a foreboding portrait of an American Weimar.
La Isla Bonita is the glorious sound of four musicians owning their own hard-won and
richly deserved legacy. Even as western civilization goes down the tubes.
-- Michael Azerrad1. Paradise Girls
2. Mirror Monster
4. Last Fad
5. Tiny Bubbles
6. Exit Only
7. Big House Waltz
8. God 2
9. Black Pitch
10. Oh Bummer$18.99Colored Vinyl LP - Sealed Buy Now
SONM-MAS-5711xThe Blind Boys Of Alabama
I'll Find A Way
Features Special Guests: Casey Dienel of White Hinterland, Justin Vernon of Bon Iver, Merrill Garbus of tUnE-yArDs, Patty Grifn, Sam Amidon, And Shara Worden of My Brightest Diamond
Produced by Justin Vernon (Bon Iver, Kathleen Edwards), I'll Find a Way is a unique collaboration between one of popular music's longest-running acts and one of its fastest-rising stars. Known primarily for his work in the indie and folk realms, the Bon Iver frontman proved a perfect fit to work with the Blind Boys, exhibiting a deep knowledge and
appreciation of gospel music. Vernon, and old friend and band mate Phil Cook (Megafaun, The Shouting Matches) corralled a lively backing band for the album and hand-picked a range of songs for the Blind Boys to sing. I'll Find a Way features some of the Blind Boys' most fervent vocals as well as contributions by a new generation of Blind Boys
fans - Sam Amidon, Shara Worden of My Brightest Diamond, Merrill Garbus of tUnE-yArDs, Casey Dienel of White Hinterland, Patty Grifn and Justin Vernon himself. The result is a rousing collection of gospel songs, new and old, that address life's most desperate hours but also savor the triumphs and reassurances of faith.
I'll Find a Way represents a strong new chapter for the Blind Boys of Alabama, whose career stretches back more than seventy years. Formed in the late 1930s at the Alabama Institute for the Negro Blind in Talladega, the group has harmonized throughout
the turbulent twentieth century and well into the twenty-rst: from Jim Crow through Civil Rights and into the Obama era. They have, however, enjoyed some of their biggest and most rousing successes in the last ten years, during which they've won ve Grammys, four Gospel Music Awards and multiple invitations to sing at the White House.
For I'll Find a Way, their ninth studio album of the twenty-rst century, the Blind Boys of Alabama - which includes Jimmy Carter, Eric "Ricky" McKinnie, Joey Williams, Tracy Pierce, Ben Moore and newest addition Paul Beasley - decamped to the wintry wild of rural Wisconsin to record at Vernon's April Base studio. Known primarily for his work in the indie and folk realms, the Bon Iver frontman proved a perfect t to work with the Blind Boys, exhibiting a deep knowledge and appreciation of gospel
"It's not just singing," explains the 82-year-old Carter. "We're bringing the message to the people, and that message is the good news of God. We sing from the heart, and what comes from the heart reaches the heart. If you have any feeling in you,
you will feel the Blind Boys."1. God Put A Rainbow In The Cloud
2. I'll Find A Way (to Carry It All) (Featuring Shara Worden Of My Brightest Diamond)
3. I Am Not Waiting Anymore (Featuring Sam Amidon)
4. I Shall Not Be Moved
5. Take Me To The Water
6. I've Been Searching (Featuring Merrill Garbus Of Tune-yards)
7. There Will Never Be Any Peace (until God Is Seated At The Conference Table) (Featuring Casey Dienel Of White Hinterland)
8. Take Your Burden To The Lord And Leave It There
9. Every Grain Of Sand (Featuring Justin Vernon Of Bon Iver)
10. My God Is Real
11. Jubilee (Featuring Patty Griffin)$19.99Vinyl LP - Sealed Buy Now
Changing LightOn her fifth solo album, Mirah breaks it down and builds it back up
again with the street smarts that only years behind the wheel of
love can inspire. Ready with the maps and driven to the rhythms
on the radio dial, Changing Light's ten songs carry us from
heartbreak to wholeness and all the places in between.
Uprooted from her home after a scorching break-up, Mirah spent
four years rambling and recording. Tracks were laid down in almost
two dozen houses and apartments - from the Northwest to
Southern California to the East Coast. Sparse demos were
recorded with co-producer Christopher Doulgeris in Portland and
Los Angeles. Embellishments were then added by a slew of friends
and collaborators, including Greg Saunier (Deerhoof), Mary
Timony, Emily Wells, and Heather McEntire (Mount Moriah). In
Philadelphia, Mirah and her sister Emily Zeitlyn (Divers) penned
"LC," an homage to childhood inspiration Leonard Cohen.
Seattle-based composer Jherek Bischoff drew up intricate string
arrangements which were recorded in the living rooms of each
individual player. And Tune-Yards producer Eli Crews
co-produced several tracks with Mirah in her new hometown of
Brooklyn, New York.
Changing Light's reassuring compass is found in Mirah's
shimmering vocals and incisive descriptions. There is yearning
("Gold Rush" and "Fleetfoot Ghost") and hot anger ("Goat
Shepherd"), but no shortage of lyrical and musical playfulness.
Whether it be the T. Rex-inspired rough edges of "Radiomind,"
the rollicking lo-fi bang-and-pop of "Goat Shepherd," or the lush
pop balladry of "Turned the Heat Off," the album corrals string
sections and vintage synths with horns, a multitude of guitar tones
and overdriven drums. With calm and clamor, Mirah brings us all
closer together through her universal honesty and occasional use
of the vocoder.
"It's a break-up record. It has some moments of darkness, some
twists and turns , but ultimately, there's a resolution," says Mirah.
So much can happen in four years, even forgiveness"
While Mirah has been making independent pop records for well
over a decade, Changing Light is the debut release on her new
imprint, Absolute Magnitude Recordings.1. Goat Shepherd
2. Oxen Hope
3. Turned the Heat Off
4. Gold Rush
5. Fleetfoot Ghost
6. I am the Garden
7. No Direction Home
8. 24th St
10. Radiomind$18.99Vinyl LP - Sealed Buy Now
Lily-OLily-O, a new album of reimagined folk songs by Vermont-born singer/fiddler/banjoist/guitarist Sam Amidon will be released by Nonesuch Records. The album was produced by Valgeir Sigurðsson (Björk, Bonnie "Prince" Billy, Feist) and features the innovative jazz guitarist and composer Bill Frisell, along with Amidon's other frequent collaborators, bassist Shahzad Ismaily and drummer Chris Vatalaro.
Frisell has been a hero of Amidon's since the young Vermont native first heard the guitarist play at the Village Vanguard during a teenage visit to New York City. The two musicians stayed in touch and had their first live collaboration in 2011; not long after, Amidon began contemplating a return to Iceland to make a third album at Sigurðsson's Greenhouse Studios. He eventually invited Frisell to join him and Sigurðsson, along with Ismaily and Vatalaro, to record what became Lily-O.
"I decided to put us all in a room together in Reykjavik for a few days," Amidon said. "I knew if I got Bill together with those guys they would get into a deep situation. I imagined that we would do something weird and fiddle-based, but when we got in there it just felt great to sing the songs I had gathered. Recording took about four days. I'd teach them the basic structure of the song; we'd do a few takes, and move on to a new one. There's maybe one or two overdubs but otherwise you're hearing what we played."
Lily-O's ten songs are mostly traditional folk songs gathered from disparate sources and refashioned in Amidon's signature way. The interplay between the four musicians is informed by their backgrounds in improvised music and the spontaneous nature of the sessions. As always, the central element is Amidon's voice, which, in his deceptively understated manner, tells tales of adventure, love, violence and redemption.
Lily-O follows four albums by Amidon including his 2013 Nonesuch debut, Bright Sunny South. 2010's I See The Sign and 2008's All Is Well were made for the Icelandic label Bedroom Community and featured orchestral arrangements by composer Nico Muhly. Along the way Amidon has performed worldwide in myriad contexts, collaborating with musicians such as Muhly, Thomas Bartlett/Doveman, Beth Orton and Glen Hansard. He has appeared as a guest artist on recent albums by Tune-Yards, Aoife O'Donovan and the Blind Boys of Alabama.1. Walkin' Boss
2. Down The Line
3. Blue Mountains
4. Pat Do This, Pat Do That
6. Groundhog Variations
7. Won't Turn Back
8. Maid Lamenting
9. Your Lone Journey
10. Devotion$24.99Vinyl LP - Sealed Buy Now
Excitable Boy is the third album by Warren Zevon, released in 1978. It includes the top 40 success Werewolves of London, featuring Mick Fleetwood on drums and John McVie on bass. The album brought Warren to commercial attention and remains the best-selling album of his career.
The tracks Excitable Boy and Werewolves of London were considered macabrely humorous by some critics. The historical Veracruz dramatizes the United States occupation of Veracruz, and likewise Roland the Headless Thompson Gunner is a fictionalization of a mercenary in Africa. Lawyers, Guns and Money is a tongue-in-cheek take on Cold War paranoia. In addition, there are two ballads about life and relationships (Accidentally Like a Martyr and Tenderness on the Block), as well as a dance tune (Nighttime in the Switching Yard).
Additional musicians included in the album's creation are band members Jorge Calderón on vocals, Danny Kootch Kortchmar on percussion and guitar, and Russ Kunkel on drums. Among others, also Jackson Browne, Jeff Porcaro, Linda Ronstadt and Waddy Wachtel are featured as session musicians.1. Johnny Strikes Up The Band
2. Roland The Headless Thompson Gunner
3. Excitable Boy
4. Werewolves Of London
5. Accidentally Like A Martyr
6. Nighttime In The Switching Yard
8. Tenderness On The Block
9. Lawyers, Guns And Money$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
BeulahBeulah. 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$15.99Vinyl LP - Sealed Buy Now
Swim (Out of Stock)Blue Colored Vinyl
Blue Cranes are a key player in the Portland, Oregon creative music/DIY scene and are a microcosm of what "post-jazz" has become at the regional level as a result of bands like The Bad Plus, The Claudia Quintet, Happy Apple, Dave Douglas and others.
Swim, produced by The Decemberists' bassist Nate Query, highlights the band's song-centered esthetic.
This is the band's fourth full length release, and first to come out on vinyl. The vinyl pressing includes a digital download card and is on blue vinyl.
This record will receive full service to all jazz, college and freeform radio stations and key regional and national press in the US by Cuneiform, Groov Marketing & Fully Altered Media. The individual members of the band bring a unique array of experiences to the group, including work with The Decemberists, Laura Veirs, AU, Rebecca Gates, Laura Gibson, Ethan Rose, Black Prairie, and Spoon.
Guest performances by violist Eyvind kang (Bill Frisell, Laura Veirs) and members of tUnE-yArDs, Los Lobos, the Devil Makes three, Portland Cello Project, Radiation City, and Au. Blue Cranes have toured regularly up and down the West Coast since 2007 and in 2011 they embarked on acrowd-sourced 30-day national tour by Amtrak train. More touring will commence with the release of this long awaited album!
Blue Cranes are: reed Wallsmith (alto saxophone),
Joe Cunningham (tenor saxophone), rebecca
Sanborn(keyboards), keith Brush (bass), and Ji Tanzer (drums) and this the band's fourth full length release.1. Beautiful Winners
2. Everything Is Going To Be Okay
3. Cass Corridor
5. Great Dane Small Horse
7. For Chris
8. Painted Birds
9. Goldfinches$23.99Vinyl LP - Sealed Temporarily out of stock