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Tulsa, OK - The public at large hasn’t heard much from John Fullbright since his critically lauded album Songs; a chasm of eight years that seemed unthinkable for someone with so much hype—including a GRAMMY nod, an Americana Music Association Emerging Artist nomination and awards from ASCAP and the Oklahoma Music Hall of Fame—surrounding his early career. Why did it take so long?

“It’s been a process of learning how to be in a community of musicians and less focusing on the lone, depressed songwriter…just playing something that has a beat and is really fun,” Fullbright says. On September 30th, Fullbright is set to end the dry spell with the release of his new LP, The Liar (via Blue Dirt Records / Thirty Tigers) opening up his newfound trust in musical collaboration for the world to hear. “That’s not to say there are no songs on this record where I depart from that because there are, but there's also a band with an opinion. And that part is new to me.”

The Liar was recorded at Steve and Charlene Ripley’s farm-to-studio compound in northeastern Oklahoma. After Steve’s passing, Charlene flirted with the idea of selling the studio property, so Fullbright mobilized quickly to ensure he was able to record there before it changed hands. He threw together a band made up of, as Fullbright calls them, “the usual suspects.” Anyone fleetingly familiar with Oklahoma music will recognize the roster, which includes Jesse Aycock, Aaron Boehler, Paul Wilkes, Stephen Lee, and Paddy Ryan, all of whom are in more bands than seems possible. Along with a few more friends stopping in to lay down takes, they finished the songs and tracked the album with engineer Jason Weinheimer in a whirlwind four days.

“It was such a collaborative thing with some really cool voices,” Fullbright said, expressing surprise at the ease of the process. “It's just like playing music in Tulsa. Everybody kind of does whatever they do, and it works.”

The grab-and-go momentum landed Fullbright in the studio with some old songs (“Unlocked Doors” also appeared on 2009’s Live at the Blue Door), some new, and some unfinished, making his newfound trust in musical collaboration essential to the arrangements and reflected fully on the final album. The Liar, as a result, utilizes emotional and instrumental dynamics in ways Fullbright hasn’t allowed himself to explore fully before. There’s a noticeable slack here, an indulgent instrumental break there, and the general feeling that the tight-lipped John Fullbright who agonized over the writing process and then hesitated to talk about the meanings behind his songs in the past has eased up.

“What rules didn’t I have?” Fullbright says about his former songwriting self. “Even like, how many syllables were in a line, I had arbitrary rules for. So much of that has gone out the door, and I’m so much happier. It’s really just the idea that you don’t have to do this by yourself. It’s so much more fun to collaborate.”
John Fullbright - The Liar [LP]
$22.98
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Troubadour, meaning an itinerant singer of songs, is a word that dates back centuries, and comes from the French verb “trouver,” which is to find. These musical wanderers would find and invent stories humorous and intellectual, romantic and earthy, performing them as they went from town to town. Troubadour is also the word that acclaimed musician-raconteur Todd Snider leans on to describe himself and his latest release, Live: Return of the Storyteller.

“I think my first thought with this record was I wanted to remind people really quickly that I'm a troubadour,” says Snider. “Playing live is the only chance for me to show, 'This is what I really do.' I've never thought of myself as a recording artist. I'm someone who gets over by traveling around, telling stories, making up new songs and singing them alone on stage.”

Before he even made his professional debut with Songs For The Daily Planet in 1994, Snider already knew that he wanted to be part of this time-honored tradition. “I like the romantic notion of drifting around and laughing your way through life,” he says. “Like Jim Croce or Mark Twain. I felt like I was half-doing that anyway. When I was 19, I was a real drifter and a sofa circuit person. Then when I first saw Jerry Jeff Walker and John Prine play, I became obsessed. I followed them both around like The Grateful Dead. I saw that the difference between a free spirit and a freeloader was three chords.

“And as soon as I figured that out, I knew that it would help me as a person who didn't have a plan. Just to be a busker. I didn't want to sign up for normal life. I wanted to do another thing, and then it turned into a real gig. I was really surprised. It's still funny to be getting away with it.”

That speaks to Snider's modesty about his singular talent and deep catalog of songs of every emotional stripe. Rolling Stone has called him “America's sharpest musical storyteller” while the New York Times described him as “a wryly quotable phrasemaker and worthy antagonist.” Live: Return of the Storyteller – his third live album and nineteenth overall - plays like a masterclass by one man with a guitar and a freewheeling imagination. Threading his husky-voiced phrasing through a likable cosmic cowboy manner, he invites you on a tour of tunes humorous (“Big Finish,” and the have-meets- have-not “In Between Jobs”),  Proustian (“Play a Train Song,” “Too Soon To Tell,” and the lump-in-the-throat snapshot of John Prine on “Handsome John”) and heart-worn (“Like a Force of Nature,” “The Very Last Time,” “Roman Candles”). As the fifteen-song set unfolds, you can feel a tangible bond building between Snider and his fans.

But the songs are only half of what makes the connection so compelling.

Acting as palate cleansers and putty, the stories between numbers offer colorful glimpses into Snider's interior life. Whether he's talking about being mistaken for a homeless guy in a nice hotel, searching for a song in the woods while tripping or the poetry of one of his heroes dying on stage, his spoken interludes are delivered with both meandering charm and deadly comic timing.

Snider credits an unlikely source of inspiration for both. “The comedian Richard Lewis is a friend and a mentor, and we talk almost every day,” Snider says. “We met about six or seven years ago through a drummer who's a mutual friend, and really hit it off. I feel like since I've known him, my storytelling has evolved. I don't know that I've gotten better, but a lot of the ways I approach my shows is from learning things from Richard. Especially this idea of being able to go on and on without just going on and on. To ramble without getting boring.”

Snider is also mindful about not repeating himself when he's returning to a familiar venue, which can add a tightrope quality to his performances. “On this record, when I left Nashville, I didn't know what I was going to say,” he admits. “I just knew that it couldn't be the same shit that I've said.  I was going to have to have some new stories to tell. That's how it's been for years. Then one night, I'll get up there and open my mouth and something new comes out. And then I'll just keep telling it and refining it. It happens under pressure.”

The timing of Live: Return of the Storyteller's release has extra resonance in our post-pandemic era. Snider says, “I'm glad I recorded the tour last year, because that was the sound of the country getting to see live music again. It was unique and it won't happen again. Everyone just hugs at the start of a concert - you can tell that they're glad to see each other, and then they get more excited than they used to be about just being out and seeing music. I'm sure that it will go back to normal, but it hasn't yet.”

While the album captures what Snider laughingly calls his “second tour - because I went out on the road in '94 and never went home until the pandemic” - it acts as both a summing up of a thirty-year career and a look ahead.

“I always think that being a recording artist isn't something that I've thrived at,” he says. “I have fun with it and try all different kinds of music and try to learn more and more, but the only reason I get to do it is because of the main thing I do - which is travel around by myself and sing and tell stories. That thing works. Since I was twenty, that thing has worked. People come to see me do it and I love to do it.”

Todd Snider - Live: Return Of The Storyteller [Indie Exclusive Limited Edition Opaque Sky Blue LP]
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Vinyl LP pressing. 2022 release. Beth Nielsen Chapman returns with her first full length LP since 2018's Hearts of Glass, and it's her first release on UK based indie label Cooking Vinyl. Twice Grammy nominated and a legend in the folk and singer / songwriter world, she's written for & with the likes of Bonnie Raitt, Elton John, Willy Nelson and Faith Hill over her impressive 40 year career. It was produced by Ray Kennedy (Steve Earle, Lucinda Williams) at the well known Room & Board studio in Nashville, Tennessee.
Beth Nielsen Chapman - CrazyTown [LP]
$32.98
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Jim Lauderdale

Game Changer

CD: $11.98 Buy

MP3 Album: $9.99 Download

2022 release. At any given time, you're likely to find Jim Lauderdale making music, whether he's laying down a new track in the studio or working through a spontaneous melody at his home in Nashville. And if he's not actively crafting new music, he's certainly thinking about it. "It's a constant challenge to try to keep making better and better records, write better and better songs. I still always feel like I'm a developing artist," he says. This may be a surprising sentiment from a man who's won two Grammys, released 34 full-length albums, and taken home the Americana Music Association's coveted Wagonmaster Award. But forthcoming album Game Changer is convincing evidence that the North Carolina native is only continuing to hone his craft. Operating under his own label, Sky Crunch Records, for the first time since 2016, Lauderdale recorded Game Changer at the renowned Blackbird Studios in Nashville, co-producing the release with Jay Weaver and pulling from songs he'd written over the last several years. "There's a mixture on this record of uplifting songs and, at the same time, songs of heartbreak and despair-because that's part of life as well," he says. "In the country song world especially, that's always been part of it. That's real life."
Jim Lauderdale - Game Changer
$11.98
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The latest full-length from Old 97’s frontman Rhett Miller, ‘The Misfit’, exists in an enchanted dimension all its own. With its elegant blurring of psychedelia, dream-pop & electronic-leaning indie-rock, the Texas-bred singer-songwriter’s 9th solo effort emerged from a charmed collaboration with Hudson Valley neighbor Sam Cohen (Danger Mouse, Kevin Morby). Miller grounds each track with the vulnerable songwriting and unaffected vocal presence he’s brought to the Old 97’s for the last 3 decades.

Rhett Miller - The Misfit [Light Blue Opaque LP]
$23.98
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Little Big Town

Mr. Sun [Baby Blue 2LP]

Vinyl: $34.98 Buy

MP3 Album: $11.49 Download

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Little Big Town is set to release their brand-new studio album, Mr. Sun, on September 16, 2022. This is their 10th studio album and first new music in over 2 years. It features their latest single, “Hell Yeah.” Little Big Town first entered the music scene more than 20 years ago. The band’s breakthrough albums, Tornado and Pain Killer, produced multiple #1 singles, including “Pontoon,” “Tornado,” and “Day Drinking,” as well as 2015’s history-making, best-selling country single of the year, “Girl Crush.” Their 2017 release, The Breaker, debuted at #1 on the Billboard Country Albums chart and #4 on the Billboard 200 to critical acclaim. “Wine, Beer, Whiskey,” was the latest from their self-produced 9th studio album, Nightfall, which also reached the top of the Billboard Country Albums chart and has garnered over 316 million global streams.

Little Big Town - Mr. Sun [Baby Blue 2LP]
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John Prine's 1986 album German Afternoons was his second release on Oh Boy Records, the independent label he formed with his manager Al Bunetta, and delves further into the country-flavored sound established on his 1984 release Aimless Love. Like Aimless Love, German Afternoons was co-produced by Nashville veteran Jim Rooney but also features contributions from the progressive bluegrass band New Grass Revival, and this accounts for Prine's return to the folk-sound of his early albums on songs like "Lulu Walls" and "Paradise", the latter a rerecording of the self-penned classic which appeared on the singer's debut John Prine in 1971. Perhaps the most significant song that appears on German Afternoons is "The Speed of the Sound of Loneliness", which became a concert staple and an instant classic for many Prine devotees.
 

German Afternoons received a Grammy Award nomination for Best Contemporary Folk Recording.

Available on LP for the first time since its original pressings.

John Prine - German Afternoons [LP]
$24.98
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Charley Crockett will release his latest album The Man From Waco on September 9th via Son of Davy/Thirty Tigers. Crockett wrote or co-wrote all 14 songs on the album, and in many ways The Man From Waco is the purest distillation of his artistry to date. What started as a demo session with producer Bruce Robison at Robison’s studio The Bunker outside Austin, TX turned into the first album Crockett has ever made with his band The Blue Drifters backing him from start to finish. Mostly first takes with only a handful of overdubs, The Man From Waco finds Crockett refining his singular “Gulf & Western” sound which continues to captivate an ever-growing legion of fans.

“I just wanted an honest partnership: do it at your place, live to tape, everybody in the room,” Crockett says of the recording experience, and Robison was happy to accommodate. “The magic is in the performances on that tape. That’s what Bruce wanted to do, that’s what I wanted to do. When we were done, I said ‘these are masters, not demos.’”

There’s a loose narrative thread that ties the album together, but at the center of The Man From Waco is Crockett, who continues to trust his instincts and carve out his own singular space. Eschewing the ever-growing siren song of major labels and GRAMMY-winning producers, Crockett is forging ahead as a mostly DIY artist, calling his own shots and giving himself the space to strive for greatness on his own terms.

“Everybody was telling me: ‘go right, go right, go right,’” says Crockett. “I went left. I had to hold on to what has gotten me this far.”

The Man From Waco will be in a record store near you on September 9th on CD, Vinyl, and an indie record store exclusive edition featuring alternate album artwork. 

Charley Crockett - The Man From Waco [Indie Exclusive Limited Edition Alternate Artwork LP]
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Steve Earle has been creating intimate and personal music for well over four decades now. His songwriting has wound itself along a path from Texas to Tennessee and his education came in the form of learning from the best. 2009’s Grammy-nominated record, TOWNES, was a tribute to his dear friend and mentor, Townes Van Zandt. Ten years later Earle released, GUY. An album concentrated on paying homage to the late Guy Clark and the indelible friendship that they had formed in stories told through song. 2022 welcomes the release of JERRY JEFF. A 10-song collection of songs written by the gypsy songman, Jerry Jeff Walker. Featuring hits like, “Mr. Bojangles” and “Gettin’ By”, Earle & The Dukes honor the late Texan by amplifying the concept and sound of each song with a full-band recording. 

Steve Earle & The Dukes - JERRY JEFF [Indie Exclusive Limited Edition Clear LP]
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Marked by resilience, maturity, and the optimistic joy of a creative resurgence, Pat Green's Miles and Miles of You is the work of an icon reclaiming ground only he himself could have ceded. Ten fresh tracks feel like the spiritual exhale of a celebrated troubadour, taking fans on a journey to the other side of turmoil... and to a place where the old ways feel new again. Credited as one of Texas country's modern-era founding fathers, Green has traveled many roads in the 25 years since his debut album, Dancehall Dreamer. A Grammy nominated singer-songwriter with a restless creative spirit, his career has gone beyond the bounds of a "country star" to include the work of a painter, sculptor, philanthropist, family man and more. But one constant has remained - his vision. Green's 14th album overall, Miles and Miles of You is also his first in nearly seven years - since his inspiration-first writing style means he won't force a song into existence. But that philosophy also makes it possible for a whole album to arrive in a dam-burst of expression, and Green now calls Miles and Miles of You an "effortless" project. "It was just so smooth and natural," he says. "I write the song when it comes, and it was like 'Man, we're on a roll.'" Recorded outside Austin with producer Dwight Baker (Bob Schneider, Josh Abbott Band), more of that story is revealed with each track, as Green and his band mirrored the loose vibe of the songwriting with country balladry, dancehall energy, soul-baring reflection and at times, a swampy blues strut. "The older you get, you just have more to think about," he says. "So that's what this record is - a guy with more to think about, coming through a hard time and into something as fun and beautiful as creation. I'm just gonna take the ball and run with it."
Pat Green - Miles And Miles Of You [LP]
$20.98
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25-year-old GRAMMY-nominated artist Marcus King prepares to release his new album, Young Blood, produced by Dan Auerbach of The Black Keys via Rick Rubin's American Recordings/Republic Records. He has toured with The Marcus King Band for over 10 years, as well as tours with Chris Stapleton, Greta Van Fleet, and Nathanial Rateliff. He’s released 3 LPs with The Marcus King Band before his GRAMMY-nominated 2021 solo debut LP, El Dorado. Indie Exclusive Yellow LP.

Marcus King - Young Blood [Indie Exclusive Limited Edition Yellow LP]
$39.98 Video
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"You can't have good relationships with bad people." The desire to build good things with good people wins in Hoge's opinion, and with themes of love, trust, vulnerability and sacrifice - Hoge explores the real stuff on new album "Wings On My Shoes."

Will Hoge - Wings on my Shoes [Indie Exclusive Limited Edition Ultra Clear LP]
$25.98
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Eric Church

& [LP]

Vinyl: $24.98 Buy

MP3 Album: $6.99 Download

Eric Church will release his & album on August 19, 2022. It was previously only available through the Church Fan Club as part of the Heart & Soul album collection released in 2021. Pressed on 180-gram black vinyl, this 6-track LP is a must-have album for fans and completes the Heart & Soul collection.

Eric Church - & [LP]
$24.98
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Alabama's native son, Early James, returns with his sophomore album, Strange Time To Be Alive. The lyrical wordsmith conjures the ghosts of great southern gothic writers from Eudora Welty to William Faulkner, while channeling the haunted spirits of Tom Waits and Townes Van Zandt. The album evokes a timeless amalgam of forsaken blues, wistful folk, and Tin Pan Alley crooning, anchored by the singer’s unmistakable voice that sways from gravel-filled shouts to pained, forlorn whispers.
Early James - Strange Time To Be Alive [Limited Edition Brown Swirl LP]
$22.98
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Grammy-nominated blues, soul and Americana singer is revered worldwide for her defiant music and fire-breathing performances. Done Come Too Far continues Shemekia's riveting, clear-eyed testimony about our troubled world and the blessings that keep hope alive. The new album is again produced by Will Kimbrough, and an all-star supporting cast includes slide guitar whiz Sonny Landreth, Hill Country blues great Cedric Burnside and Hi Rhythm Section organist Charles Hodges. Done Come Too Far is another exhilarating Shemekia Copeland showcase, as her rousing vocals bring the heat in an infectious array of muscular rockers, stomping blues, swampy soul and heartbreaking ballads. Intense new originals make up most of the tracks and spirited versions of songs by Ray Wylie Hubbard and her father, Johnny Copeland, fit right into the mix.
Shemekia Copeland - Done Come Too Far
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On her new album No Regular Dog, singer/songwriter/guitarist Kelsey Waldon shares a gritty and glorious portrait of living in devotion to your deepest dreams: the brutal self-doubt and unending sacrifice, hard-won wisdom and sudden moments of unimaginable transcendence. Revealing her supreme gift for spinning harsh truths into songs that soothe and brighten the soul, the Kentucky-bred artist ultimately makes an unassailable case for boldly following your heart—a sentiment perfectly encapsulated in No Regular Dog’s raw and radiant title track.

Kelsey Waldon - No Regular Dog [LP]
$23.98
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Twenty years and some 4,000 shows into his career, the name Wade Bowen has become synonymous with Texas country music – and for good reason. An artistic descendant of American icons like Guy Clark, Ray Wylie Hubbard, Robert Earl Keen and more, Bowen is another link in a Texan chain of roots-rock poets stretching back more than 50 years – but his ambition never ended at the state line.

“I will carry that flag proudly,” Bowen says of his well earned Red-Dirt distinction. “But I’ve always said I’m not a ‘Texas artist,’ I’m an artist from Texas, and I think there’s a difference.”

Indeed, Bowen has showed the world that difference since 2001 – by going big on integrity.

Seen as one of the genre’s finest and most authentic modern voices, Bowen’s approach stays rooted in tradition, but also stands on the creative cutting edge. His focus remains on writing unique songs with a literary quality, and shifting his sonic territory to match his life. And while the hard-touring troubadour is constantly breaking new ground, his course was set early on.

Wade Bowen - Somewhere Between The Secret And The Truth [LP]
$20.98
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GRAMMY and Americana Award-winning singer/songwriter and violinist, Amanda Shires, has pushed the reset button with Take It Like a Man, a record that is so unlike anything she has ever recorded that you would be tempted to think it was her debut album instead of her seventh. Shires, who also plays in The Highwomen, worked with producer Lawrence Rothman to make a fearless confessional, showing the world what turning 40 looks like in 10 emotionally raw tracks. Indie Exclusive White LP with lyric sheet.

Amanda Shires - Take It Like A Man [Indie Exclusive Limited Edition White LP]
$25.98
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For genre-bending band Whiskey Myers, 2019’s self-titled and self-produced album offered a watershed moment. With Rolling Stone declaring them “the new torch bearers for Southern music” in a story titled “How Whiskey Myers Won Over Mick Jagger and Made the Album of Their Career;” and the project debuting atop both the Country and Americana album charts, the band celebrated mainstream success a decade in the making.

Now, after spending 21 days isolated at the 2,300-acre Sonic Ranch studio deep in the heart of their native Texas, just miles from the U.S./Mexico border, the Gold-certified renegades have doubled down on what they do best: sharing honest truths with no-holds-barred instrumentation, letting the self-produced music speak for itself. Yet with Tornillo, named for the border town that is home to the pecan orchard-filled recording complex and set for release on July 29 via their own Wiggy Thump Records with distribution by Thirty Tigers, the six-piece band has taken their solid decade-plus foundation and pushed themself to further explore new sonic landscapes.

“It’s going to have a little bit different sound,” lead singer Cody Cannon shared recently with Outsider. “It’s still Whiskey Myers at its core, but it’s kind of fresh… We did a lot of bass and horns on this one, which is something we’ve always wanted to do. Just being fans of all that old music and Motown stuff, and a lot of the stuff coming out of Muscle Shoals, old rock and roll.

“We’re going to bend [genre] even more, I think, with this new record,” he continued. “It’s all over the place. But that’s fun, right? I hate the whole ‘Put it in a box. You gotta be this.’ … That’s not art to me. I love the idea of just doing, really, whatever you feel. It comes out a certain way because that’s just how it comes out. Whiskey Myers never really tried to be a certain way. It’s just how we are. So I think that’s really the whole thing about music, or the beauty about music; it’s just that freedom to create.”

Tornillo as a whole does exactly that, drawing as much inspiration from Nirvana as from Waylon Jennings – even adding the legendary McCrary Sisters’ gospel influence to the project on background vocals. With Cannon leading the way on songwriting, the album also features writes from lead guitarist John Jeffers and fellow bandmembers Jamey Gleaves and Tony Kent, as well as rising singer/songwriter Aaron Raitiere (Anderson East, Oak Ridge Boys, A Star is Born).

Fans will have the chance to hear the new music live on the 40-date Tornillo Tour, launching April 29 in Worcester, Mass. and running through August. Tickets to all headlining dates are on sale to the general public Thursday, Feb, 23 at 10 a.m. local time via WhiskeyMyers.com.

Look for Whiskey Myers' music at your local record store, and pick up a copy of Tornillo on 'Iridescent Copper' color vinyl - only available at independent record stores. 
For more information, follow Whiskey Myers on social media @WhiskeyMyers
Whiskey Myers - Tornillo [Indie Exclusive Limited Edition Iridescent Copper 2LP]
$29.98
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Midland likes their music straight-up. Hardcore country, the kind you find in forgotten bars in Arizona, New Mexico, Texas, wherever the neon's buzzing, but not quite dead. The Grammy-nominated trio plots a resurgence of their thick harmonies, tart lyrics and steel guitar with The Last Resort: Greetings From. Unfiltered, they want their country 120 proof. Whether it's a cheating song, a heartbreak ballad or a shoot-out-the-lights romper, they savor the emotions with a gusto unseen for decades.

Midland - The Last Resort: Greetings From [Import Transparent Green LP]
$22.98
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Luke Combs

Growin' Up

CD: $11.96 Buy

MP3 Album: $11.49 Download

Sony Music Nashville - Growin' Up - Luke Combs - Produced by Combs, Chip Matthews and Jonathan Singleton, Growin' Up is Combs' third studio album following 2019's 3x Platinum What You See is What You Get and his 4x Platinum debut, This One's For You. The new album consists of twelve songs, including Combs' first single "Doin' This," which has topped the charts at country radio.

Luke Combs - Growin' Up
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Songs My Friends Wrote is an album I’ve been threatening to make for years. It’s a bunch of tracks that are my versions of a bunch of…songs my friends wrote. I’m fortunate to count a lot of world class songwriters as good pals and I wanted to shine a little light on some of my favourite examples of their work. In most cases I’ve picked relatively obscure songs that have always spoken to me, even though many of them won’t be so familiar to people. There’s a pretty good chance of a Volume Two, Three and Four eventually, because there were a lot of friends and a lot of songs to choose from. The best part about recording all these tunes was that they reminded me of all the people who I haven’t been able to hang out with for the past two years because of the plague we’ve all been dealing with. All of these tunes bring a smile to my face and I hope they do the same for you. - Corb Lund

Corb Lund - Songs My Friends Wrote [Indie Exclusive Limited Edition Autographed Color LP]
$33.98
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Hank Williams, Jr.’s sound has always been built on the blues, and his latest album, Rich White Honky Blues, is a sonic testimony to that. The project came together over three hot days in Nashville, recorded live with the finest blues session players in the country at producer Dan Auerbach’s legendary studio, Easy Eye Sound. Never one to rest on his laurels, even after 56 studio albums, the acclaimed Country Music Hall of Fame member is still finding new creative ground to explore.

Hank Williams Jr. - Rich White Honky Blues [Indie Exclusive Limited Edition Gold Splatter LP]
$24.98
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Patty Griffin

TAPE

CD: $12.98 Buy

MP3 Album: $9.99 Download

2x GRAMMY Award-winning artist Patty Griffin has announced the upcoming release of TAPE, a collection of rare demos and home recordings to be released on her own PGM Recordings label via Thirty Tigers. "At some point in the pandemic, I was digging through my own music streaming to relearn some of my own oldies and found something that had been compiled (perhaps by a computed algorithm) that was titled as a 'rarities' or 'deep cuts' collection," Griffin says. "I looked of course, and it was a pretty boring list for the most part. I later dug through some recordings I had done on cheap home recording apps, including my favorite one called TapeDeck which I'm not sure exists anymore. I really liked some of the songs. They were better than I had remembered. I dug around some more and found things from some GarageBand recordings, and then also a couple of things from an in-studio demo session in Nashville that were pretty interesting, including a duet I did with Robert Plant when we first met. It all seemed worth listening to. Back then I didn't think so, but I do now."

"The sound quality of the majority of things on TAPE is pretty low, but the performances are what really matter to me. My home recordings are almost always my favorite recordings, as far as capturing a fresh, direct feeling. The shy introvert's dilemma...I've always had a hard time creating that same feeling in a studio full of people whose talent is in sound quality. These songs have a feel you can only get when you're by yourself at three o'clock in the morning. To listen to the bulk of these recordings, you do have to let go of the idea of good sound quality and just listen to the performance. I feel better getting some true rarities out there for people to listen to...not compiled by a computer algorithm."

Patty Griffin - TAPE
$12.98
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Carrie Underwood

Denim & Rhinestones

CD: $11.99 Buy

MP3 Album: $11.49 Download

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Carrie Underwood - Denim & Rhinestones

Carrie Underwood will be releasing a brand new studio country album on June 10th called Denim & Rhinestones. The album includes 12 tracks including her latest hit single- "Ghost Story". Carrie is a true multi-format, multi-media superstar, spanning achievements in music, television, film, and as a New York Times bestselling author and successful entrepreneur. She has sold more than 66 million records worldwide, recorded 28 #1 singles (14 of which she co-wrote), and has seven albums that are certified Platinum or Multi-Platinum by the RIAA, all while continuing to sell out arena tours across North America and the UK.

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Welcome 2 Club XIII, DBT’s 14th studio album, marks a sharp departure from the trenchant political commentary of their last three records.

A reckoning with the dualities of the things that make you alive and how they sometimes can kill you. A life affirming flashlight for the dark nights of one’s soul.  The title track is a tongue in cheek homage to a local dive that founding members Cooley and Hood played in the early days. As they say in the song “Our glory days did kinda suck”.

Drive-By Truckers - Welcome 2 Club XIII [LP]
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Four-time Grammy® Award winner Delbert McClinton celebrates his coming-of-age musical heroes and influences with his 27th studio album, Outdated Emotion (Hot Shot Records/Thirty Tigers), coming on May 13, 2022.  The 16-track collection features Hank Williams, Jimmy Reed, Ray Charles, and Little Richard standards, as well as five original songs written or co-written by McClinton.

Delbert has spent much of the COVID isolation in Kevin McKendree’s Rock House Studio in Nashville.  This new album brings his music back to where it started. Outdated Emotion pays homage to McClinton’s earliest influences, Hank Williams and Jimmy Reed with a salute to Ray Charles and Little Richard, as well as five of his own compositions, influenced by the sounds of his heroes.  Along with Kevin and his son, musical prodigy Yates McKendree, Delbert has created the album he has often dreamed of.

“I’ve always wanted to do an album of the songs that influenced me the most. Hank Williams songs, Jimmy Reed songs, and songs that I love. And this was the perfect time to do it. It’s important music from another time. It’s music that people need to hear again, or for the first time. Nobody knows about them. Or has forgotten about them. Or was never turned on to them. There is a whole generation, maybe two generations now, who don’t know this music. My whole idea here was to show them how it was and how we got here.  Hank Williams, Jimmy Reed, Lloyd Price, Ray Charles. These songs take me to my youth. They are good if not better now than they were then, and they were great then. They are songs people should just get to hear.”

Rolling Stone calls Delbert McClinton the “Godfather of Americana Music.” In a career that has spanned more than six decades, his honkytonk blues sound and signature smooth voice have provided a soundtrack for American music history. He is a four-time Grammy winner (Traditional Blues Album in 2020 for Tall, Dark, and Handsome; Contemporary Blues Album in 2006 for Cost of Living and 2002 for Nothing Personal; and Rock Performance by a Duo or Group with Vocal in 1992 for "Good Man, Good Woman"), and received the Americana Lifetime Achievement Award in 2019. Growing up in Lubbock and Fort Worth, Texas allowed Delbert McClinton an early appreciation for the best of 20th century American music, with the songs of postwar America, honkytonk country, and southern blues.  Delbert remembers where he was when he heard his first Hank Williams song. And he knew he wanted to play music for a living when he first heard Jimmy Reed.  Leading the house band in the desegregated roadhouses on the outskirts of Fort Worth, Delbert backed Jimmy Reed, Muddy Waters, Bo Diddley and other blues legends, while making a name for himself as a regional player in the birth of rock and roll, opening shows for Little Richard, Jerry Lee Lewis and other pioneers of the new sound; and even headlining shows in Great Britain with Bruce Channel (“Hey Baby”), with a little-known Liverpool quartet. The Beatles as the opening act.  In the early 1970s, as his “Two More Bottles of Wine” reflects, Delbert “went out west with a burning desire to set the west coast on fire….” He teamed up with Glen Clark for the Delbert and Glen sessions (Clean Records) and released two critically acclaimed albums before returning to Texas as the progressive country/blues awakening movement was starting to happen in Austin. Hippies and cowboys crowded together on sawdust dance floors watching history in the making as Delbert, Doug Sahm, Jimmie and Stevie Ray Vaughan, Freda and the Firedogs and Asleep at the Wheel set the stage for a new sound coming out of Texas. There, Delbert began to develop his signature sound, mixed rocking blues and hardcore country to create the unique style that has served him well through the last half century.
Further solidifying his sound, Delbert went into the famed Muscle Shoals, Alabama studio and called on the Muscle Shoals Horns, who had recorded with everyone from Jimi Hendrix to Elton John. They joined his longtime band to create his next album. That signature horn sound has remained a mainstay in Delbert’s music.
 
When Texas became the rage in New York City, a music venue called the Lone Star Café served as capital of Texas chic. Austin musician Cleve Hatttersley was the manager of the Lone Star.   He said, “Everyone who was anyone came through the door on any given night: Mick Jagger, Johnny Paycheck, Tommy Tune. Jerry Garcia… and Delbert was the biggest star of the bunch. Delbert is the absolute heart and soul of Texas rhythm and blues. We had James Brown, George Strait, Elvis Costello… but the one that all the other stars came out to see was Delbert.” 
Delbert had succeeded in creating his own genre, a melting pot of American music, and people still cannot get enough of it. From those early days in Fort Worth roadhouses until the recent COVID crisis shut down touring shows Delbert and his band have crossed the country playing festivals, theatres, and iconic music institutions. From Farm Aid to Carnegie Hall, his popularity grew, and Delbert continues as a “musician’s musician,” influencing many artists along the way.  Delbert released Tall, Dark & Handsome, (Hot Shot Records/Thirty Tigers) in 2019, to celebrate his 79th birthday. The album earned Delbert his fourth Grammy® for Best Traditional Blues Album. He also received the Lifetime Achievement Award from the Americana Music Association, and has been featured several times in the Country Music Hall of Fame’s series of live performances, programs and podcasts.
 
In May of 2021, Delbert announced his retirement from touring. Fans and music journalists speculated about what he would do next. This was to be the first time in 64 years that he was not traveling interstate highways and backroads, playing a rigorous schedule.  
Outdated Emotion brings Delbert McClinton full circle to the songs that started it all.  

Delbert McClinton - Outdated Emotion [LP]
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Midland likes their music straight-up. Hardcore country, the kind you find in forgotten bars in Arizona, New Mexico, Texas, wherever the neon's buzzing, but not quite dead. The Grammy-nominated trio plots a resurgence of their thick harmonies, tart lyrics and steel guitar with The Last Resort: Greetings From. Unfiltered, they want their country 120 proof. Whether it's a cheating song, a heartbreak ballad or a shoot-out-the-lights romper, they savor the emotions with a gusto unseen for decades.
Midland - The Last Resort: Greetings From
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When a few friends offered to make a debut recordon him, Nashville songwriter Aaron Raitiere simply agreed to go along with it. In the four years since that first session for what would become Single WideDreamer, the auspicious project has retained its casual charm even as its guest list gradually expanded.Anderson East and Miranda Lambert, who co-produced the album, now appear alongside Nashvillemusicians like Dave Cobb, Natalie Hemby, Ashley Monroe,and Waylon Payne, as well as RobertRandolph, Foy Vance, and Bob Weir.“I think the record kind of made itself, and that was the vibe I was going with,” Raitiere says. “It was just a bunch of friends getting together trying to help me create something, because they thought I needed a record." The first sessions took place in East Nashville, where Lambert had just completed work on her album, The Weight of These Wings. Raitiere gave his producers complete creative control, from curating the songs to suggesting arrangements to adding guest vocals.He even rode into the studio with them everyday. Two years later, to round out the project, Eastand Raitiere reunited in RCA Studio A, ultimately ending up with 18 tracks in all and narrowing them down to 10.With a laid-back, speak-singing delivery, “SingleWide Dreamer” immediately conveys Raitiere’s contentment in living a low-key life. And although every song on the album could be considered a love song in its own way, what really ties them together is his observant writing, which is sometimes reflective, sometimes irreverent, but always inspired by his own experiences.

Aaron Raitiere - Single Wide Dreamer [LP]
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Following the 1973 Whitney Biennial, in which songwriter and visual artist Terry Allen and fellow iconic artist Horace Clifford “Cliff” Westermann both exhibited, Allen maintained a lively long-distance correspondence and exchange of artworks and music with Westermann, whose singular and highly influential art he admired enormously. In a February 1981 letter to his friend and mentor, written shortly after the late 1980 release of his third album Smokin the Dummy, while he and his family were living in Fresno ,California, Terry explains the genesis of the album title: MY KID BUKKA GOT A CHARLIE MCCARTHY DOLL FOR CHRISTMAS ONE YEAR WHEN HE MADE UP HIS MIND HE WAS GOING TO BE A VENTRILOQUIST. HE IMMEDIATELY PAINTED IT UP TO LOOK LIKE A VAMPIRE ... AND I JUST AS IMMEDIATELY PUT ONA PAIR OF JO HARVEY'S SUNGLASSES AND THE SLEAZIEST JACKET I COULD FIND (western slime) AND SAT FOR FAMILY PHOTOS ... ANYWAY, I BLEW RINGS OF SMOKE ON THE DUMMY AND BUKKA SAID I WAS SMOKIN THE DUMMY. I GUESS IT RANG SOME KIND OF DEMENTED BELL ...

Westermann died shortly after receiving this letter, enclosed with a Smokin the Dummy LP, the minimalist black jacket of whichAllen suggested that Cliff fold into a jaunty cardboard hat if he didn’t like the music. That response was unlikely, since Westermann loved Terry’s music, calling his debut record Juarez (1975) “the finest, most honest and heartfelt piece of music I ever heard.”

Recorded at Caldwell Studios in Allen’s hometown of Lubbock, Texas during the summer of 1980, exactly two years after his masterpiece Lubbock (on everything) (released in 1979) manifested in the same jury-rigged room, the feral follow-up is less conceptually focused but more sonically and stylistically unified than its predecessor. It’s also rougher and rowdier, wilder and more wired, and altogether more menacingly rock and roll. This was by design. The Panhandle Mystery Band had only recently coalesced during those 1978 Lubbock sessions, Lloyd Maines’s first foray into production. Through 1979, they honed their sound and tightened their arrangements with a series of periodic performances beyond Allen’s regular art-world circuit, including memorable record release concerts in Lubbock, Chicago, L.A., and Kansas City. Terry sought to harness the high-octane power of this now well-oiled collective engine to overdrive his songs into rawer and rockier off-road territory.

His first album to share top billing with the Panhandle Mystery Band, Dummy documents a ferocious new band in fully telepathic, tornado-fueled flight, refining its caliber, increasing its range, and never looking down. Alongside the stalwart Maines brothers—co-producer, guitarist, and all-rounder Lloyd, bassist Kenny, and drummer Donnie—and mainstay Richard Bowden (who here contributes not only fiddle but also mandolin, cello, and “truck noise theory,” the big-rig doppler effect of Lloyd’s steel on “Roll Truck Roll”), new addition Jesse Taylor supplies blistering lead guitar, on loan from Joe Ely (who plays harmonica here). Jesse’s kinetic blues lines and penchant for extreme volume—he was deaf in one ear from a near-fatal car accident—were instrumental in pushing these recordings into brisker tempos and tougher attitudes. Terry was feverish for several studio days, suffering from a bad flu and sweating through his clothes, which partially explains the literally febrile edge to his performances, rendered largely in a perma-growl. (By this point, he was regularly breaking piano pedals with his heavy-booted stomp.)

Like the album title itself, the songs on Smokin the Dummy ring various demented bells. The tracks rifle through Terry’s assorted obsessions—especially the potential energy and escape of the open road, elevated here to an ecstatic, prayerful pitch—and are populated by a cast of crooked characters: truckers, truck-stop waitresses, convicts, cokeheads, speed freaks, greasers, holy rollers, rodeo riders, dancehall cheaters, and sacrificial prairie dogs, sinners seeking some small reprieve, any fugitive moment of grace. In an echo of “Amarillo Highway (for Dave Hickey),” which opens Lubbock (on everything), “The Heart of California (for Lowell George),” another driving song and the first track of Dummy, is dedicated to Terry’s recently departed friend, the leader of Little Feat, who covered Allen’s “New Delhi Freight Train” before he died.

As on Lubbock, many other songs are older, culled from a decade and a half of songbooks, demos, and work tapes. Allen wrote “RedBird,” a deceptively simple ditty that combines two longstanding fascinations—New Orleans and bird symbolism—as an art student in L.A. in 1964 and performed it onShindig! the following year. He considered it his first “real” song worth keeping, and it rates as the personal favorite of many of his oldest friends, including Bruce Nauman. “Cocaine Cowboy,” composed in 1968, lent its title to a 1974play by Allen’s colleague George Lewis, starring Terry’s wife and collaborator Jo Harvey and featuring his own dada-inspired costume designs, including a giant Gogolesque ambulatory nose wearing a cowboy hat. “Roll Truck Roll” and “The Night Cafe,” a diptych of automotive dramas, with counterpoint perspectives on the labor cultures of trucking and food service, both date to 1969. (During this era, Allen was a great enthusiast and denizen of diners, particularly Denny’s, and Jo Harvey wrote and performed a play called Counter Angel, based on her oral histories with truck stop waitresses.) The glowering, bruised 1975 rodeo song “Helena Montana” was inspired by his friend Dave Hickey’s fine rodeo number “Calgary Snow” and Terry’s impending participation in The Great American Rodeo exhibition at Forth Worth Art Museum the following year.

The other four songs, like the aforementioned “The Heart of California,” were of more recent vintage. One of only two covers in Allen’s catalog (the other is David Byrne’s “Buck Naked”), “Whatever Happened to Jesus (and Maybeline)?” interpolates Chuck Berry’s automotive lament within a skewed gospel song of Allen’s own devising, a characteristic imbrication of sacred and profane gestures.Allen completed the furiously frayed album closer “The Lubbock Tornado (I don’t know),” about the devastating 1970 tornado (still a painful local memory ten years later), in a hot Texas Tech practice room during the recording sessions. It takes the American vernacular tradition of disaster ballads into sinister and hilarious spaces, implicating governmental, religious, and alien conspiracies—including the Lubbock Lights—as possible meteorological motivations. In 1980, as in 2022, we can rationalize any calamity with conspiracy theories.In other words, this is deathless American music. Play it again.

Terry Allen  & The Panhandle Mystery Band - Smokin The Dummy [LP]
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Since 1970, when they met in Allen’s studio in his hometown of Lubbock, Texas, one of songwriter and visual artist Terry Allen’s great foils and friends was the sometimes cantankerous but always brilliant art critic and writer Dave Hickey, with whom he sparred on topics musical, visual, and beyond (and to whom this reissue is dedicated in memoriam, in the wake of his passing in 2021.) Hickey, a fellow Texan paddling against the currents of the hermetic New York-centric art world, was an accomplished songwriter in his own right, and he and Terry pushed each other to refine their respective practices. In 1983, the two were thick as thieves—brothers in blood—and Hickey’s wry but big-hearted presence haunts the history and periphery of Bloodlines, the album Terry released in June of that year. Dave stood among the chorus of singers on the reprise of the title track that ends the record. Terry reprised the album cover concept, a detail of a painting of Jesus carrying a lamb that he found in the gutter outside a Lubbock botánica and manipulated, for Dave’s 1989 collection of youthful short stories, Prior Convictions—but with Jacques-Louis David’s 1793 bloody-bathtub painting “The Death of Marat” as a replacement savior. Hickey wrote the tour de force catalog essay for Allen’s 1983 solo exhibition Rooms and Stories, which featured, two months before the release of Bloodlines, the premiere of his theater piece Bleeder. Finally, there’s Hickey’s sardonic quip about the dim commercial prospects of Bloodlines. Buckets of blood and ink were spilled.

Hickey’s commercial doubts notwithstanding, critical recognition was not in short demand. In a 1984 review of Bloodlines, the L.A. Herald Examiner called Allen “one of the most compelling American songwriters working today ... making the most unique art-pop of our time,” elsewhere comparing him not only to Moon Mullican and Jerry Lee Lewis, but also to the Velvet Underground and Philip Glass (probably the first time that unlikely quartet ever appeared together in one sentence). In 1983, against all odds, such sentiments were growing in underground prominence, as Allen’s records gained a fanatical word-of-mouth following—they weren’t easy to find in those days, so sometimes they existed only as a words-in-mouth—that began among fellow artists and within the rarefied air of the art world, and then, following the 1979 release of Lubbock (on everything), circulated farther afield, among musicians and fans of “outlaw country,” a loose (in all ways) sub genre and scene named in part for Hickey’s 1974 essay “In Defense of the Telecaster Cowboy Outlaws.” Allen’s early audiences included an outsized contingent of potters and bikers, due, respectively, to enthusiastic ceramicist friends and an unexpected endorsement of Smokin the Dummy (1980) in Easy riders magazine. The Rooms and Stories opening reception at the La Jolla Museum of Contemporary Art was packed with leather-clad bikers.

On his manifold fourth album, Allen contemplates kinship—the ways sex and violence stitch and sever the ties of family, faith, and society—with skewering satire and affection alike. Bloodlines, which compiles thematically related but disparate recordings from miscellaneous sources both theatrical and historical, is itself kin to its predecessor Smokin the Dummy (chronologically and in terms of its Panhandle Mystery Band personnel and its wide-ranging subjects) and to its descendant, 1993’s The Silent Majority (Terry Allen’s Greatest Missed Hits) (which similarly anthologizes stray and orphan songs). Recorded piecemeal at Caldwell Studios in Lubbock, in sessions spanning August 1982 through January 1983, Terry self-released it, like all his previous records, on his own Fate Records imprint. Despite his frustration with the protracted timeline and some anxiety about the correspondingly higher budget, the production onBloodlines—courtesy, once again, of master guitarist Lloyd Maines—is slicker, cleaner, and more dynamic than prior efforts, and it reached a broader audience than ever before. UK label Making Waves reissued it in 1985, facilitating semi-reliable European distribution for the first time as well as a 1986 UK tour, on which the great BJ Cole filled in for Lloyd on pedal steel.

Allen wrote two songs as themes for plays: the Pasadena idyll “Oh What a Dangerous Life” for Joan Hotchkiss’s 1982 play Bissie at the Baths and the gospel-coughing hymn “Hally Lou” for his wife and collaborator Jo Harvey Allen’s 1983 performance piece of the same name, in which she plays the titular revival preacher. Bloodlines is the first of several albums to revisit selections from Terry’s 1975 debutJuarez with full-band arrangements: a comic take on “Cantina Carlotta” that inhabits the tone-deaf tourist’s perspective of the hapless narrator, and a terrifying road-rage, burnt-rubber rendition of “There Oughta Be a Law About Sunny Southern California ”featuring Jesse Taylor, in his final Panhandle Mystery Band recording, on “asphalt vendetta guitar” (Maines Brothers guitarist Cary Banks deftly handles lead guitar elsewhere). The irreverent hellfire-hitchhiker-on-highway ballad “Gimme a Ride to Heaven Boy” (featuring Joe Ely), in which Jesus steals the narrator’s car and beer for a joyride to the hereafter, remains a fan favorite.Terry wrote the final verses in a Texas Tech practice room the day they recorded it. “Manhattan Bluebird,” a surprisingly earnest (and unexpectedly moving) lament for the cultural insularity and provincialism of a New Yorker deluded by her own alleged cosmopolitanism, boasts one of Allen’s most beautiful minor-key melodies. On tour in Belfast in 1996, Allen’s tour mates feared “Our land,” a thinly veiled satire of the IRA’s hypocrisy amid the Troubles in Northern Ireland, would incite a riot and urged him not to play it. Of course, he didn’t listen.

Lloyd Maines wept when Terry first played him the poignant eponymous ode to the arteries of ancestry and landscape, which sounds as ancient and eternal as a psalm. But that didn’t stop Lloyd from complaining about having too large a chorus on the album-closing extended version (he’s a notorious stickler for tuning and pitch). Twenty-five friends and family members packed the studio that day, including Dave Hickey, Joe and Sharon Ely, and Stubb of BBQ fame. “Bloodlines II” represents the recorded debuts of the Allens’ sons Bukka and Bale as well as Lloyd’s eight-year-old daughter Natalie Maines, later of the (Dixie) Chicks—a true testament to the power of blood. In 1998 Lucinda Williams covered it in a spookily spare version on Allen’s soundtrack for Jane Anderson’s film Baby Dance, starring Laura Dern and Stockard Channing. As the credits roll, the river runs through the mountains, under the moonlight. Hear the song.

Terry Allen  & The Panhandle Mystery Band - Bloodlines [LP]
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Willie Nelson

A Beautiful Time [LP]

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Willie is back with his 72ND solo studio album. A full-fledged album of new studio material produced with long-time collaborator Buddy Cannon, it will come on Willie’s 89th birthday and shows off just how prolific he continues to be as the album includes some of his finest songwriting and performances in years! The 14 tracks include 5 amazing new Willie Nelson/Buddy Cannon compositions, new songs from Chris Stapleton & Rodney Crowell (the first single “I’ll Love You Till The End Of Time”) and a cadre of top Nashville songwriters, plus a couple of plum covers by Leonard Cohen (“Tower Of Song”) and The Beatles (“With A Little Help From My Friends”) given expert interpretation by Willie.

Willie Nelson - A Beautiful Time [LP]
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Scheduled for release in April 2022, the 10-song sophomore full-length album showcases Kirke’s unselfconscious, country-twinged vocals alongside a brightly colored candy shop of glam-twang guitar riffs, department store tv commercial synth stylings, and swooping, lilting, unabashedly feminine background vocals. Lady For Sale channels a high-spirited insouciance that feels invigorating and familiar, decidedly more easy-going and fun-loving than what we’ve come to expect from its genre (and the world in general) in recent years. This is a party you’ll want to attend.

Lola Kirke - Lady For Sale [Indie Exclusive Limited Edition Lime Green Marble LP]
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True North, the fourth album from Caroline Spence, showcases Spence’s refusal to exalt or commodify her own experience, and instead reaches for a far more magnanimous exploration of grief, growth, and the endless complexities of human nature. The result is a body of work that affirms Spence as a truly incomparable songwriter, reinforcing her profound capacity to pack so much insight into songs that illuminate and mesmerize.

Caroline Spence - True North [LP]
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Vinyl LP pressing. 2022 release. Eli 'Paperboy' Reed pays homage to country legend Merle Haggard by putting a soulful spin on some classic tunes. Recorded in Brooklyn with longtime collaborator Vince Chiarito (Black Pumas, Charles Bradley), Reed taps into all the heartache of Haggard's iconic catalog and channels it into explosive, high-octane performances that blur the lines of genre, geography, and race to reveal the common, distinctly American threads tying them all together.
Eli 'Paperboy' Reed - Down Every Road [LP]
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Hot on the heels of her recent 2022 Academy of Country Music Awards win for Entertainer of the Year, Miranda Lambert is set to release "Palomino," her ninth solo album, on April 29, 2022.

During a recent interview with Billboard, Lambert gave an update on the progress of her much-anticipated upcoming album, which was mostly penned at her Tennessee farm.

Lambert -- who is now the most-awarded artist in ACM history -- has already released the Jesse Frasure co-written single "If I Was A Cowboy" and the just-premiered, low-key, 70s rock-tinged "Strange" (featuring Dick and Hemby as writers) from the new project. "Palomino"'s other reported influences include acts like Little Feat, Bruce Hornsby, the Range and Emmylou Harris.

The album includes a cover of Mick Jagger's 1993 solo album title single "Wandering Spirit," plus an album track entitled "Music City Queen," which features backing vocals from pop icons the B-52s.

Her first single off the project, "If I Was A Cowboy," is just a "sneak peek" for what's on the horizon for Lambert. "I've got some stuff coming out that is from a really creative time," she said.

MIRANDA LAMBERT / PALOMINO

Miranda Lambert - Palomino [2LP]
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Joshua Hedley is “a singing professor of country & western,” he declares on his raucous and witty new album, Neon Blue. It might sound like a punchline, but it’s not. An ace fiddle player, a sharp guitarist, and a singer with a granite twang, he’s devoted his entire life to the study of this genre. Ask him about it and he’ll explain: “When all my friends went off to college, I went to Nashville. I was 19 years old playing honkytonks and getting an education.” His 2018 debut, Mr. Jukebox, showcased his deep knowledge of country’s history, in particular the beery ballads of the 1950s and ‘60s. His mentors were George Jones, Ray Price, and Glen Campbell, but his most remarkable accomplishment was putting his own spin on their style.

Neon Blue, on the other hand, examines a very different, often forsaken era: the early 1990s. “The last bastion of country music,” says the professor, “was the early 1990s, roughly 1989 and 1996. You could turn on the radio and immediately know you’re hearing a country song. You could still hear steel guitar and fiddle. But there was a hard fork around 1996 or ’97, when country veered off into pop territory. Neon Blue asks, What if that fork had never happened? What if country kept on sounding like country?”

That era may have been dismissed by traditionalists at the time as slick or overproduced, but Hedley finds something exciting in that old hat-act sound, and Neon Blue plays up the excitement of bigger-than-life choruses, the relatable emotions of those sad-eyed ballads, and the inventiveness of the lively production. “The sound is modern,” he says, “but it’s still discernibly country.”

Joshua Hedley - Neon Blue [Indie Exclusive Limited Edition Coke Bottle Clear LP]
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Country legend and rockabilly icon Dale Watson cuts loose on a set of divebar jukebox classics for this brand new studio album!Hear Watson's unmistakable voice outgrit Bob Seger on "Turn The Page," outshine Willie Nelson on "Always On My Mind," and outplay Kenny Rogers on "The Gambler" plus many more favorites!Includes special guest performances country diva Lorrie Morgan, Stax legend Steve Cropper, Swiss rockabilly shakers The Hillbilly Moon Explosion, and more!Produced by rockabilly superstar Danny B. Harvey! Limited edition GOLD vinyl in a gatefold jacket!
Dale Watson - Jukebox Fury (Gold) [Colored Vinyl] (Gate) (Gol)
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Jamestown Revival have made the quietest record of their career with Young Man, yet it may resonate the most. Recorded in their home state of Texas, it is their first project without electric guitars, with the emphasis instead on skillful songwriting, flawless harmony, and intricate fingerpicking. In addition, it’s the first time that bandmates Jonathan Clay and Zach Chance have created an album with a producer -- in this case, Robert Ellis, a fellow Texan and a recording artist in his own right.

“I really think this is an album about coming of age and settling into an identity,” Clay says. “It’s about losing your identity and searching for it. It’s feeling like you found it and then realizing that’s not it. And it’s about our experiences over the last 15 years of making music – the successes and failures and all of those things mixed up together.”

Sonically the album draws on inspirations such as Crosby, Stills, Nash & Young and The Doobie Brothers (particularly “Black Water”), yet there’s also a dusty Western feel to Young Man, similar to a Guy Clark or Townes Van Zandt album where the detailed backdrop and acoustic arrangements convey the story as eloquently as the lyrics do.

“This is our first excursion with fiddle and we didn’t hold back,” Chance says. “We wrote a lot of these songs about the questions and the perspectives now that we’re a lot older and have been doing this longer. It’s almost like having a conversation with ourselves at times. We wanted it to feel earthy and rootsy, so the fiddle was a big part of that identity.”

A sense of spaciousness came naturally in past projects like 2014’s Utah, recorded in the Wasatch Mountains, and 2019’s San Isabel, recorded in a Colorado cabin. This time, the band opted for a studio for the first time, choosing Niles City Sound in Fort Worth, Texas. Studio co-founder Josh Block engineered Young Man to evoke the experience of musicians huddled together, singing and playing without headphones or click tracks. Chance and Clay are joined on the session by their longtime rhythm section of bassist Nick Bearden and drummer Ed Benrock.

“The songs move, the tempos move, but we really wanted to capture the performances,” Clay explains. “We wanted the songs to push and pull as they needed to, and not to have to adhere to a grid. It feels like the songs straighten out too much when that happens, so it was cool to be in a studio with an engineer and producer who really supported that idea.”

Chance continues, “All of the adventures we’ve had recording in different places have been fun, but the burden of bringing our own gear, setting it up, and then being our own producer is a lot to carry on our shoulders sometimes. With Robert, he always has an opinion and he could help us pick a direction. We could relinquish control and focus on capturing our best performance.” 

Young Man opens with “Coyote,” a plaintive ballad the duo wrote on their ranch near Huntsville, Texas, about an hour north of their hometown of Magnolia. With its lonesome tones and sly title character, it sets the tone for the album, pulling in listeners with blended voices and a narrative that befits a campfire setting. From there, songs like “Young Man,” “Moving Man,” “Northbound,” and especially “These Days” further explore their restless frame of mind, due in no small part to the pandemic.

As Clay explains, “I think what we asked ourselves a lot throughout this process were questions like, ‘Damn, where did our fire go? Do we still have it?’ I didn’t pick up a guitar for six months after our tour got canceled when COVID hit. I just felt like music had turned on me. I felt like I was asking, ‘Am I a musician anymore?’” Chance agrees with that sentiment, adding, “It’s easier for us whenever we’re in motion. I don’t think you ever stop to question how fragile it actually is, and then it gets taken away. You lose the ability to identify with it.”

Even as “One Step Forward” finds the duo seeking a silver lining, “Slow It Down” shows them embracing the situation – by strumming their guitars, driving down dirt roads, and catching crawfish. That homegrown approach carries over into “Way It Was,” even as the opening lines address the inevitable changes in life.  Meanwhile, “Old Man Looking Back” is a co-write with Ellis, completed in Chance’s kitchen in the weeks leading up to the sessions for Young Man.

However, it’s a different gathering that set Jamestown Revival on the course to make Young Man. After a year apart of not playing together, Chance and Clay invited their band to the ranch to hang out and to record a few songs in their hay barn. The results served as an unintended pre-production of sorts, sparking ideas that they eventually carried into the sessions with Ellis. They also wrote “Coyote” during that time, as well as the album’s closer, “Working on Love.” 

Asked about the message of that final song, Chance replies, “For me, it was about the idea of love – and not just intimate love but love in general – being a lifelong journey. It’s similar to how you’ve got to plow the fields and replant the seeds and water it and tend to it. It’s the same way you have to approach your patience for love in your life.”

Chance and Clay envision Young Man as a collection of songs that should be played all the way through, like reading a book. “We had the most amazing time recording this album. We laughed nonstop,” Clay says. “When I listen to this album top to bottom, I’m really proud of what we did. I hope that this album transports people because it’s like a time capsule. It takes us right back to that studio and to that couple of weeks. It felt like we were doing what we were meant to do.”

Jamestown Revival - Young Man [LP]
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Kaitlin Butts

What Else Can She Do

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Sophomore album from Tulsa native Kaitlin Butts. "What Else Can She Do" is a collection of songs told from the perspective of different women, all asking the same question: What else can she do? What other choice does she have, right or wrong? Kaitlin elaborates, "I don’t think that life is all that pretty sometimes and it comes with pain and pushing through hard times, or being stagnant, going through the motions and not knowing what to do, or just being flat-out angry with whatever life has put on your plate. Although only a few songs are autobiographical, I feel like I see myself in all of these women and their stories. Sometimes all we want to be is seen and I see these women, my friends, and family all around me going through life-altering, tough times but somehow, are still resilient and come out on the other side okay."

Way out on the Western plains, you can see storms make their way across the horizon. Lightning strikes brighten darkened masses of fearsome clouds as they roll on down the line. They sway and swirl giving the promise of rain. They thunder and clap with threats of hail or worse.

Kaitlin Butts is a thunderstorm. A tornado warning. The siren wail of a small town’s caution system still in use. Behind her flowing locks of auburn hair, Oklahoma twang, and wry grin, grows a demanding voice and equally devastating storyteller. This high-rising Oklahoma native is steadily blooming into a quick-witted writer who has the ability to pick the right details to make a song and story believable and real.

She shifts between infectious Cosmic Cowgirl flare with lush desert-swept pastels, desired & heartfelt tearjerkers, and hard-bitten & calloused murder ballads. Through them all, she exhibits a knack for character and a nose for narrative. They come in like a summer shower patting down the dust. Other times, Butts is torrential downpour wreaking havoc.

Kaitlin Butts - What Else Can She Do
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Acclaimed singer, songwriter and musician Molly Tuttle will release her anticipated Nonesuch Records debut, Crooked Tree, April 1 (on CD and digital. LP will be May 13) with her new bluegrass collective Golden Highway.

Recorded live at Nashville’s Oceanway Studios, Crooked Tree was produced by Tuttle and Jerry Douglas and features collaborations with Sierra Hull, Old Crow Medicine Show, Margo Price, Billy Strings, Dan Tyminski and Gillian Welch. The album explores Tuttle’s love of bluegrass, which she discovered through her father, a music teacher and multi-instrumentalist, and her grandfather, a banjo player. Across these thirteen tracks, all of which were written/co-written by Tuttle, she honors the bluegrass tradition while also pushing the genre in new directions.  

“I always knew I wanted to make a bluegrass record someday,” Tuttle says. “Once I started writing, everything flowed so easily: sometimes I’ve felt an internal pressure to come up with a sound no one’s heard before, but this time my intention was just to make an album that reflected the music that’s been passed down through generations in my family. I found a way to do that while writing songs that feel true to who I am, and it really helped me to grow as a songwriter.”

In celebration of the new music, Tuttle and Golden Highway—Bronwyn Keith-Hynes (fiddle), Dominick Leslie (mandolin), Shelby Means (bass) and Kyle Tuttle (banjo)—will embark on an extensive headline tour beginning tonight with shows at Seattle’s Tractor Tavern (two nights), Portland’s Mississippi Studios (two nights), Los Angeles’ Roxy, Salt Lake City’s State Room, Boulder’s Fox Theatre, Asheville’s The Grey Eagle and Nashville’s Station Inn, among several others. Full details can be found at mollytuttlemusic.com/tour.   

In addition to Tuttle (vocals, guitars), Douglas (dobro), Keith-Hynes (fiddle) and Leslie (mandolin), Crooked Tree also features musicians Darol Anger (fiddle), Ron Block (banjo), Mike Bub (upright bass), Jason Carter (fiddle), Viktor Krauss (upright bass), Todd Phillips (upright bass) and Christian Sedelmyer (fiddle) with additional harmony vocals from Tina Adair, Lindsay Lou and Melody Walker.

Molly Tuttle - Crooked Tree
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Maren Morris is releasing her new album, Humble Quest on 25th March via Sony Nashville. The album features lead single, `Circles Around This Town' and 10 other songs from the Grammy-winning superstar.

She began writing the songs on Humble Quest at the beginning of the pandemic as a series of major life changes unfolded-new motherhood, an upended career, the death of beloved friend and collaborator Michael Busbee and more, further compounded by the lockdown.

Maren found herself reckoning with humility in ways she'd never imagined, as she thought about how the goal of appearing humble puts artists - especially women - in a box with unrealistic demands to keep them small.

It's Morris' first studio album since the release of her 2019 album, Girl.

MAREN MORRIS / HUMBLE QUEST

Maren Morris - Humble Quest [LP]
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Like the creeks that run and tributaries that trickle throughout singer-songwriter Ian Noe’s homelands in Eastern Kentucky, water flows throughout his new LP. Thoughtfully and intentionally named, River Fools & Mountain Saints highlights Noe’s storytelling prowess through 12 country rockers and Appalachian ballads, depicting contemporary and historical life in the region.

Water’s in the name, of course — River Fools & Mountain Saints, which is due out March 25 via Thirty Tigers — but water also informs the tales Noe tells and the metaphors of perseverance, sustenance, and strength within them. The major floods that decimated the southeastern part of the state in February 2020 remained close at heart during his writing process, as well.

The album title came to Noe before any of the songs, serving as a concept and a guiding principle. “That landscape and that geography of growing up in Lee County, Kentucky,” he begins, “I've got so much material of things that I can write about, of stories of all these people and just life in general of growing up there.

“You think about the river? It's down here. It’s low. And then you got the mountains up high. You've got everything in this way! You can go all over the place with that type of landscape, and that's how [the writing] starts.” 

From there, Noe pieced together what would become Side A, or “River Fools,” and Side B, “Mountain Saints.” He writes in character studies — the man who introduced him to “Johnny B. Goode” while working in the Lee County oilfields, the woman he saw hustling weed in the foothills, and even state legends like Muhammad Ali and family members become their own heroes in songs like “River Fool,” Mountain Saint,” and “Strip Job Blues,” respectively.

Noe often sings about members of his community, honoring the Indigenous people and cultures of the region on “Burning Down the Prairie” or the many veterans of the town on songs like “POW Blues” and “Tom Barrett.” But on other tracks like on the pedal-steel laced “Lonesome As It Gets,” he takes a more autobiographical approach, turning the lens back on himself while living alone in his grandparents’ old house.

Even with nature’s guidance, people remain at the core of the record. And while Noe calls Bowling Green home these days and Kentuckians influenced the songs’ creation, these stories capture universal themes relatable to all listeners.

Broader in scope and brighter in tone than his lauded debut, 2019’s Between the Country, River Fools & Mountain Saints boasts a fuller sound with more diverse instrumentation. Noe name-drops full-length masterpieces like Bruce Springsteen’s Darkness on the Edge of Town as readily as Arcade Fire’s Neon Bible for structural inspiration, as well as Neil Young’s harmonica work in “Heart of Gold” and Jimi Hendrix’s guitar playing in a rare version of “Voodoo Child (Slight Return)” from 1970 for specific tones.

Noe also cites Alabama Shakes’ self-titled debut and Margo Price’s records as sounds that led him to work with producer Andrija Tokic in Nashville. “The fact that I got to work with him is surreal to me after all these years later…romanticizing the sound he’s getting here and the name of the place — The Bomb Shelter,” he exudes. Noe also expanded his sound with the help of band members including "Little" Jack Lawrence (The Raconteurs) on bass and Derry deBorja (Jason Isbell & the 400 Unit) on keys.

They recorded on reel-to-reel tapes in short spurts over the course of two years, without the pressure of time, which enabled a wider range of experimentations, collaborations, and sounds. As a result, River Fools & Mountain Saints switched from rocking like Creedence Clearwater Revival to intoning like John Prine or Tom T. Hall; it swaggers with keys on on songs like “Pine Grave (Madhouse),” bursts with French horn bombast “On More Night,” and swells with orchestrated strings on the gutting closing ballad, “Road May Flood/It’s A Heartache.”

“You wanna write a song that’s been there forever,” he says. “When you listen to ‘Up On Cripple Creek’ by The Band, you don't think about what year it is. It sounds like it’s always been there.”

He continues, “But you just can't sit down and make it happen like that. If it happens, then you have to recognize that you’re on to something. I tried to make each song like that; I wanted to make each song a solid as possible. That was my goal.”

Despite being written in quarantine and in the wake of natural disasters, River Fools & Mountain Saints remains a positive record. Noe maintains it’s about good moments growing up in a hard place. But most importantly, it’s about music as redemption, romanticism, and release.

Ian Noe - River Fools & Mountain Saints [LP]
$21.98
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Rogue. Poet. Rocker. Texas Texture. Ray Wylie Hubbard made such a mark with Co-Starring, his first major label outing with an all-star lineup of his vast network of friends, the always shape-shifting songwriter decided once was not enough. So the louche beacon of cool went even wider and deeper into his coterie of confidantes, emerging with Co-Starring Too. The second set features a surprisingly eclectic and Texas-centric collection - Willie Nelson, The Bluebonnets, Band of Heathens, The Last Bandoleros and Steve Earle, plus a Red Dirt collab with Wade Bowen, Randy Rogers and Cross Canadian Ragweed's Cody Canada. The next wave of Lone Star songwriting icons Hayes Carll, James McMurtry, Dalton Domino appear next to tracks from creative torque Wynonna, Jaimee Harris, Charlie Sexton and Gurf Morlix. The far-reaching rock & roll/country music/musicians/Texas Music Hall of Fame team of Ringo Starr, Lucas Hubbard, Steve Lukather (Toto), Eliza Gilkyson and Ann Wilson (Heart) assemble alongside metal slayers Lzzy Hale and John 5 with an amplified Blues-fusion from Kevin Russell and the Shiny Soul Sisters. Always eviscerating songwriting, Co-Starring Too is a post-outlaw country take on what it means to be a man holding his own, a rake unafraid of a good time and a romantic wildly committed to the ideals of the heart. Unabashed and unafraid to work from the fringes, bringing the rest of us along for the ride, there is only one Ray Wylie Hubbard.

GUEST ARTISTS:

Willie Nelson, Kevin Russell and the Shiny Soul Sisters, The Bluebonnets, Steve Earle, Lzzy Hale, John 5, Hayes Carll, James McMurty, Dalton Domino, The Last Bandoleros, Wade Bowen, Randy Rogers, Cody Canada, Wynonna Judd, Jaimee Harris, Charlie Sexton, Gurf Morlix, Ringo Starr, Lucas Hubbard, Steve Lukather, Eliza Gilkyson, Ann Wilson & The Band of Heathens.

  • Collaboration Album On Translucent Green Vinyl!
  • Features Ringo Starr, Willie Nelson, Steve Earle & More!

RAY HUBBARD / CO-STARRING TOO / CO-STARRING TOO

Ray Wylie Hubbard - Co-Starring Too [Translucent Green LP]
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Without exaggeration, Jason Isbell has become one of the most respected and celebrated songwriters of his generation. He possesses an incredible penchant for identifying and articulating some of the deepest, yet simplest, human emotions, and turning them into beautiful poetry through song. Isbell sings of the everyday human condition with thoughtful, heartfelt, and sometimes brutal honesty, and The Nashville Sound is no exception. The Nashville Sound is the critically acclaimed 6th studio album from Jason Isbell, and the 3rd album alongside his band, The 400 Unit. The album debuted at #4 on the Billboard Top 200 and #1 on the Rock, Americana / Folk and Country Albums charts, and earned the band 2 Grammys at the 2018 Grammy Awards: Best Americana Album and Best American Roots Song for "If We Were Vampires". 

Jason Isbell And The 400 Unit - The Nashville Sound [RSD Essential Natural w/Black Smoke LP]
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Poor Little Critter on the Road - The Knitters - It's been 37 years since the release of Poor Little Critter on the Road, the debut album from The Knitters, the original Alt-Country band comprised of three members of X, one Blaster and a Red Devil. It was in 1985 that Exene Cervenka, John Doe and DJ Bonebrake joined Dave Alvin and Jonny Ray Bartel to record the critically acclaimed debut for a sound that Alvin described as "It's like if the guys at Sun Records dropped LSD and made a record with Lead Belly and the Carter Family. That's what The Knitters sound like." Fat Possum
Knitters - Poor Little Critter On The Road
$22.98
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Shinyribs defies genres as a sonic melting pot of Texas blues, New Orleans R&B funk, horn-driven Memphis soul, country twang, border music, big band swing, and roots-rock. The Austin-based nine-piece (sometimes 10-piece) supergroup is led by Kevin Russell, the charismatic frontman with colorful suits and extravagant shoes who continuously swaps out an electric guitar for a ukulele and never falls short of creating a cinematic experience with on-stage antics that often include him donning a light-up cloak or leading a conga line through the crowd. Late Night TV Gold is filled with Caribbean organs, verbed-out distant delay vocals, chunky fatback guitars, dance hall horns, trip-trap, soul-tap, boldface bass, mellotron traced, late-night rhythms, -isms and -gasms, prisms, schisms, and chasms, this'ems and that'ems of molecular musical atoms splitting hairs and lost heirlooms. "This record reminds me of the tortoise from the old story with the hare. It has this sort of stout, relentless march to it. It's hopeful and resolute but pushing through resistance. I guess the world went from all hare to all tortoise so it's less-than-surprising that you can feel the reflection of that in the songs. There is a lot of blur and shade and random splattered sinewy mop bucket melody. I like that it's shaking hands with a lot of roots music that one doesn't instantly associate with my voice," Russell shares.
Shinyribs - Late Night Tv Gold [Colored Vinyl] (Ofgv)
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Country/Bluegrass album, Run, Rose, Run that will be released along with a novel co-written with the famed author, James Patterson, sharing the title Run Rose Run. The 12 songs were inspired by the book storyline and feature Country and Bluegrass artists; Joe Nichols, Rhonda Vincent, The Issacs, and Dailey & Vincent. Dolly & James will be doing book and album promotions together - presenting a unique co-marketing opportunity.

Dolly Parton - Run, Rose, Run
$13.49
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Loney Hutchins

Appalachia [LP]

Vinyl: $22.98 Buy

MP3 Album: $9.99 Download

The sole, full length album from Loney Hutchins's most productive era in the 1970"s. Tracked over 3 days in '79 at Lee Hazen's Studio by the Pond by Jack 'Stack-a-Track' Grochmal- the resulting country rock album was too folksy for LA and too electric for Nashville. Featuring a rhythm section from Dolly Parton's live band during her 'Jolene' period, and searing hot country licks, this reissue is restored from the original 2" multitrack tapes, including two never before heard tracks. Pressed on standard weight, single pocket LP.

Loney Hutchins - Appalachia [LP]
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Sturgill Simpson will be releasing his new concept album, The Ballad of Dood and Juanita, on CD on August 20th, vinyl release will be December 3rd.  This is the Grammy-winning singer/songwriter's third album in twelve months and his most ambitious project to date.. Written and recorded in less than a week, and featuring the same ace musicians who played on last year's Cuttin' Grass albums, the record tells a classic American story of a Civil War-era couple torn apart by violence and reunited by love—what Simpson calls "a simple tale of either redemption or revenge."
“I just wanted to write a story—not a collection of songs that tell a story, but an actual story, front to back,” says Simpson. He describes the concept album as a “rollercoaster ride through all the styles of traditional country and bluegrass and mountain music that I love, including gospel and a cappella.” 

In a career marked by risk-taking and rule-breaking, Simpson has previously challenged genre conventions with 2016’s soul-inflected A Sailor’s Guide to Earth, which won the Grammy award for Country Album of the Year and was nominated for Album of the Year, and 2019’s Sound & Fury, which was nominated for Rock Album of the Year.
The Ballad of Dood and Juanita is available on an indie record store-exclusive CD that includes a printed illustration from the album artwork. A standard CD is also available. On 12/3/21, the vinyl will be available on indie-exclusive Translucent Natural vinyl, and will include another 11x11 print of the illustration on the front cover. Standard black vinyl is also available. Support your local independent record store. 
Sturgill Simpson - The Ballad of Dood and Juanita [Indie Exclusive Limited Edition Natural LP]
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The songs of Still Life were written in quiet moments between tours and recorded away from Texas in Ontario with Canadian musician and producer Daniel Romano. The phrasing and tones recall John Cale, The Kinks, Richard and Linda Thompson-like-minded artists of the late '60s and early '70s, another era of transition and innovation. Still Life is an offering of deliberation, an exposé of conscience, a confirmation that creation is an act of hope.
Carson McHone - Still Life [LP]
$18.98
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Limited colored vinyl LP pressing. With their professional lives on hold during the pandemic, The Band of Heathens found a year-long creative workaround. Every Tuesday night, the five-piece group came together via Zoom from their respective homes - from L.A. to Asheville - to host the Good Time Supper Club, a ninety-minute variety program. That segment of the show, called Remote Transmissions, became a much-anticipated fan favorite each week. And it is now the title of their latest album, featuring covers of ten classic songs with guest vocals by the likes of Margo Price, Ray Wylie Hubbard and Charlie Starr.
The Band of Heathens - Remote Transmissions Vol.1 [LP]
$22.98
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With its latest album, “Get Yourself Outside,” Colorado-based quintet Yonder Mountain String Band once again echoes out into the universe its place as not only a pioneering jam-grass act, but also one of the most innovative, intricate groups in the live music scene — something the groundbreaking ensemble has proudly held high for the better part of a quarter-century.

“The whole thing has always been about the energy and the connection with all of us onstage and everyone out in the audience,” says guitarist Adam Aijala. “And with this third iteration of Yonder Mountain, we’re really tapping into that onstage connection once again.”

This “third chapter” of YMSB is one of my facets. Aside from the obvious nature of the new album, it’s a complete restart for the live music industry. Internally, it’s also a fresh start for the group in welcoming its newest member, mandolinist Nick Piccininni.

Recorded during the shutdown at Cinder Sound Studio (Gunbarrel, Colorado) with producer John McVey, “Get Yourself Outside” (Frog Pad Records) is a musical odyssey of string instruments and sonic textures.

There’s the usual foot-stomping jingles and sorrowful ballads that reside at the core of the Yonder Mountain signature tone. But, there’s also a deep, honest sense of renewal and rejuvenation running through the heart of the record.

And, by being back on the road, Yonder Mountain has been taking note of its long, bountiful journey from its foundation in 1998 to the here and now — with its 25th anniversary just around the corner.

It’s also a testament to the life and legacy of Yonder Mountain that three of the founding members — Aijala, Kaufmann and banjoist Dave Johnston — remain at the helm of this American musical institution, something complemented and accelerated in recent years by the fiery fiddle work of Allie Kral, who joined the group in 2015.

Looking back on those early days, the members of Yonder Mountain can’t help but shake their heads in awe — of where it all originated from, and what the live music landscape looked like at that time.

From selling out Red Rocks Amphitheatre at a time when that was unheard of for a string act, to standing at the microphone in front of tens of thousands at festivals like Bonnaroo, Yonder Mountain was the initial spark in an acoustic inferno decades ago that endures headlong into the 21st century — one burning brightly in an ongoing tidal wave movement that now includes marquee names like Billy Strings, Greensky Bluegrass, and The Infamous Stringdusters.

Yonder Mountain String Band - Get Yourself Outside [LP]
$22.98
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2xLP in celebration of the 20th anniversary of Lucero's debut album Never before pressed on vinyl!
Lucero - Lucero: 20th Anniversary [2LP]
$32.98
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Shovels & Rope

Manticore [LP]

Vinyl: $22.98 Buy

MP3 Album: $9.99 Download

Charleston, SC rock duo Shovels & Rope are back with Manticore, their new album to be released on Dualtone on February 18, 2022. Originally planned as a stripped-down acoustic-leaning release, Manticore's tracks were written prior to the pandemic, but recorded during it, when Michael Trent and Cary Ann Hearst suddenly had much more time at their disposal. The duo reimagined the original arrangements, resulting in 10 new songs that range in sound from heartbreaking, stark piano to rollicking hard-rock and danceable guitar and drum numbers. Manticore reveals the band's most personal stories about love, family, marriage, self-realization, and more to date, and it carves out it's own distinct place in the Shovels & Rope canon.
Shovels & Rope - Manticore [LP]
$22.98
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Four decades after releasing the first openly gay country album, Patrick Haggerty & Friends are back with a fresh batch of songs as poignant as ever. Running the gamut from gut-wrenching ballads to rowdy marxist singalongs, Haggerty uses his knack for sharp storytelling to shine a light on institutionalized racism, sexism, classism, and homophobia. The current emergence of fascism and the deep political divisions in American culture are making Lavender Country a critical component of progressive and radical politics.

'Now 74 years old, Haggerty again respects no limits lyrically or musically. Where else can you hear a honky-tonk number about author and activist Clara Fraser, a socialist and radical feminist who died in 1998?' - Country Queer

'The band on the album is both cross-generational, cross-gender, and multi-racial, the kind of Lavender Country community described in the title track of the first album' - Adobe & Teardrops

'The new music blends a striking mix of radical queer and socialist politics, rural aesthetics, and classic country sound. Haggerty examines the risks intimacy, lust, and unconventional values pose to those seeking human connection and purpose in life' - Slate

Lavender Country - Blackberry Rose [Limited Edition Blackberry LP]
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HOUSE OF CONFUSION is Trace Mountains’ third album & the rugged, earthier follow-up companion to 2020’s Lost in the Country. The songs& arrangements on HOUSE OF CONFUSION lean ever-more into the rootsier impulses of Lost in the Country, relying heavily on live recording & instrumentation that features the acoustic guitar &pedal steel. This shift reveals a new, understated complexity within the songs & the tangible, tactile nature of the performances, evoking the free-flowing nature of influences like Tom Petty or Built to Spill, all-throughout imbued with the energy of Country icon Emmylou Harris’ cult classic & band favorite, Wrecking Ball. The album is comprised of road songs, rock songs, country songs, religious songs, disco songs, satanic songs, jams & simple tunes, laid out in careful presentation — to use at your leisure.

Trace Mountains - HOUSE OF CONFUSION
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One Day is the third album from the Cactus Blossoms - featuring eleven songs written, produced, and harmonized by brothers Jack Torrey and Page Burkum. Recorded and mixed by longtime collaborator Alex Hall using a mobile rig in Page’s Minneapolis basement, the album continues the evolution of the band's signature blend of country, soul, and 60’s rock sounds, all anchored by the brothers’ core sibling harmony vocal style.

The Cactus Blossoms - One Day
$15.98
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Amos Lee

Dreamland [LP]

Vinyl: $23.98 Buy

MP3 Album: $9.99 Download

The newest album from singer/songwriter Amos Lee, in a bold sonic leap forward.
Amos Lee - Dreamland [LP]
$23.98
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Raul Malo

Quarantunes Vol. 1

3 x LP: $35.99 UNAVAILABLE

From the home studio of Mavericks frontman Raul Malo, enjoy this holiday season with the long-awaited pressing of his signature Quarantunes series on stunning colored vinyl. This special triple disc LP features the 30 recordings that entertained millions around the globe in the darkest days of the pandemic, plus bonus track ‘To All The Girls I’ve Loved Before’ duet with the legendary Jamey Johnson. This beautiful edition is limited to only 500 autographed copies (only 200 available at indie retail!), to be released Dec. 10th, 2021 on Mono Mundo Recordings. Pre-order yours now.

“As the pictures came in of empty streets across the globe, it was apparent this pandemic was going to last a while. This project stemmed from the idea that we were all in this together — everyone at home, doing what they can. It started in my home studio one rainy day, just me and the Mellotron, recording songs I’d never done before. As time went on, I brought in other talented players to contribute: Hector Tellez Jr, my sons Dino and Max, my friends The Band of Heathens, and of course The Mavericks. Although this quarantine chapter will be behind us one day, I hope this record can serve as a reminder that even in the darkest of times, there’s always room for a song.” — Raul Malo

Featuring artwork & design by Nick Farrow, this 3LP package includes a dual-pocket gatefold, full-color printed inner sleeves with images from throughout the Quarantunes, Lime Green, Ducky Yellow and Violet discs and a special 12x12 Raul Malo autographed insert. Pressed by Blue Sprocket Pressing in Harrisonburg, VA. 

Raul Malo - Quarantunes Vol. 1
$35.99
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2022 release produced by Stone Gossard of Pearl Jam. "I'm very excited to be working with Loosegroove Records and to have had Regan Hagar and Stone Gossard produce this album. We made the unabashed folk record that I have been wanting to make for years. Kind of a love letter to the acoustic guitar and to musical intimacy. It was recorded in Minnesota and Seattle and features some rich and wonderful instrumentation including horns and strings. The cover art is a woven wall hanging that my wife Josie made that is hanging on our lakehouse wall. That sets the tone: warmth, home, and intimacy. Hope you enjoy!" -Mason Jennings
Mason Jennings - Real Heart
$13.98
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Lu's Jukebox is a six-volume series of mostly full-band performances recorded live at Ray Kennedy's Room & Board Studio in Nashville, TN. Each volume features a themed set of songs by other artists curated by the multi-Grammy award winner, Lucinda Williams. The series aired as ticketed shows through Mandolin in late 2020 with a portion of ticket sales benefitting independent music venues struggling to get by through the pandemic.
Lucinda Williams - Lu's Jukebox Vol. 6: You Are Cordially Invited....A Tribute To The Rolling Stones [LP]
$29.98
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Brent Cobb follows in the footsteps of his country music heroes with his new gospel album, And Now, Let’s Turn to Page…. By offering eight familiar hymns alongside an original song written with his wife, the collection feels reverent as well as rowdy—and completely in his comfort zone.

Although the album has been a long-time dream for Cobb, it has only come to fruition now due to a near-death experience in July 2020, when the vehicle that he was driving, with his young son inside, got T-boned at a rural four-way stop. Following the crash, Cobb found himself with a renewed outlook on life, remembering, “You just start piecing together how everything is sort of intentional…I’d always had it in the back of my mind to make a gospel album. That moment of clarity, of almost getting killed, made me think I should just make the gospel album now.”

Produced by Dave Cobb in RCA Studio A in Nashville, And Now, Let’s Turn to Page… continues a tradition established by legends such as Jerry Lee Lewis, Willie Nelson, and Elvis Presley, who could invoke their spiritual side without losing sight of their musical foundation. “I’ve always wanted to make a southern gospel album because it’s what I come from, but also it used to seem like a rite of passage for country singers to make a gospel album,” Brent says. “It all comes from gospel music. That’s where country music came from. I’m just trying to carry that torch.”

Born and raised in Georgia, Brent returned to his home state a few years ago after establishing a career as one of Nashville’s most creative and compelling songwriters. He explains that he considers each of his past albums like a message to his kids: Keep ‘Em on They Toes explores his thoughts, Providence Canyon describes the people who influenced his life, and the Grammy-nominated Shine on Rainy Day reveals who he is. For the gospel album, he adds, “this is what I believe in.”

Grammy-nominated singer, songwriter and musician Brent Cobb will release his debut gospel album, And Now, Let’s Turn To Page…, January 28 via his own label, Ol’ Buddy Records.

Brent Cobb - And Now, Let's Turn To Page... [LP]
$20.98
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Bill Fay has always sung about attempting to understand the most universal questions: those of nature, spirituality, humanity. His songs are “calming hymns for another chaotic time”, he says. His influence can be traced through many artists’ work, and so it only seemed right to celebrate this with a collection of newer voices interpreting his timeless tracks. Originally released in2010 by David Tibet (Current 93), Still Some Light was released as a double CD, made up of70’s album demos (Disc One) and 2009 home recordings (Disc Two). This year, for the first time, this collection of recordings will be pressed to vinyl and released digitally, presented alongside contemporary reimaginings of the tracks by Kevin Morby, Steve Gunn, Julia Jacklin and Mary Lattimore. Bill Fay’s words and melodies remain unaffected by the passing of time and changing trends; and here alongside the original recordings, these reinvented versions still calmly guide us through another moment of chaos.

Bill Fay - Still Some Light: Part 1 [2LP]
$31.98
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In December of 2020, The Wild Feathers hauled off to a pre-civil war built cabin in VanLeer, TN where the ideas and songs from Alvarado met for the very first time. In the past, the band typically liked to collect all the tunes they’ve written over the past year, brainstorm, conceptualize, and rehearse isolated in a cabin before heading into the studio. This time for their 4th studio album, they decided to bring the studio to the cabin. The guys spent a week jamming and creating while having the ability to capture the performances while they were fresh. Produced by the band, Alvarado is the truest representation of The Wild Feathers to date. No outside musicians, no outside opinions, just us playing our new songs in a room with the best mics they could find.

The Wild Feathers - Alvarado [Indie Exclusive Limited Edition Orange and Black Blob LP]
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The Willie Nelson Family finds Willie joined in his Pedernales Studios by a host of his family members and extended family of long-time band members, performing songs that they have performed for much of their lives. Sister Bobbie, sons Lukas and Micah, and daughters Amy and Paula all contribute plus band members Mickey Raphael, Kevin Smith and Billy and Paul English. Produced by Willie and Steve Chadie and shaped around a setlist of 12 favorite spirit-driven songs from the Nelson Family repertoire, the album draws on deep Americana (including A.P. Carter's "Keep It On The Sunnyside" and the traditional hymn "In The Garden") while celebrating classic songwriting from Hank Williams ("I Saw The Light") and Kris Kristofferson ("Why Me") to George Harrison ("All Things Must Pass") and Willie Nelson (who penned half of the album's compositions). Willie's son Lukas (who fronts his own band, Lukas Nelson & Promise of the Real) sings lead vocals on two of the album's tracks--"All Things Must Pass" and "Keep It On The Sunnyside"--while sharing lead vocals with Willie on "I Saw the Light," "I Thought About You, Lord" and "Why Me." These songs represent the final recordings Willie made with his longtime drummer and pal Paul English who was Willie’s drummer for over 50 years before he passed away in February 2020.

Willie Nelson - The Willie Nelson Family
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Steve Earle was nineteen and had just hitchhiked from San Antonio to Nashville in 1974. Back then if you wanted to be where the best songwriters were you had to be in there. Guy Clark had moved to Nashville and if you were from Texas, Guy Clark was king. Flash forward more than forty years. In the fall of 2018, Steve and The Dukes went into House Of Blues studio in Nashville and recorded GUY in six days. 'I wanted it to sound live...When you've got a catalog like Guy's and you're only doing sixteen tracks, you know each one is going to be strong.'
Earle and his current, perhaps best-ever Dukes lineup, take on these songs with a spirit of reverent glee and invention. But in the end Guy leads the listener back to its beginning, namely Guy Clark, which is what any good 'tribute' should do.  Guy is a saga of friendship, its ups and downs, what endures. We are lucky that Earle remembers and honors these things, because like old friends, Guy is a diamond.

Steve Earle & The Dukes - Guy [Limited Edition Red and Orange Swirl 2LP]
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Terraplane takes its title from the 1930s Hudson Motor Car Company of Detroit model, which also inspired the Robert Johnson song, "Terraplane Blues." It is Earle's 16th studio album since the release of his highly influential 1986 debut Guitar Town. As its title suggests, the album is very much a blues record, some of which was written while Earle toured Europe alone for five weeks with just a guitar, a mandolin and a backpack. Earle, who was raised outside of San Antonio before migrating to Houston, offers about Texas blues, "There was Fort Worth where the model was Freddy King and there was the Houston scene which was dominated by Lightnin' Hopkins. Two very different styles." He saw both of these giants and was also exposed to Johnny Winter, Jimmy and Stevie Ray Vaughn and Billy Gibbons - all of which make their influence heard here within Earle's masterful storytelling. This is the first time this record has been pressed on color vinyl.

Steve Earle - Terraplane [Limited Edition Transparent Gold LP]
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Country singer/songwriter Hayes Carll returns with his eighth album You Get It All, produced by Allison Moorer and Kenny Greenberg. Carll's talent for storytelling and creating compelling lyrical narratives shines through as brightly as ever, and You Get It All exemplifies his ability to span a wide range of musical styles while staying true to himself. Featuring songs co-written by Brothers Osborne, Brandy Clark, and Sean McConnell, You Get It All is both heartbreaking and lighthearted, a combination that Carll has honed on his records throughout his entire career. "I like to tug at heartstrings, find commonality with others, reflect on my own life, and sometimes I do it in a lighthearted way," says Carll. "A lot of musical styles found their way onto this record, but my first and most formative influences came from country music. This is a country singer-songwriter record. It's just unapologetically me."
Hayes Carll - You Get It All [LP]
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SUSTO

Time In The Sun [LP]

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Time In The Sun is the 4th full length album from Charleston, SC band Susto. The album was written and recorded in the midst of a lot of life changing events for lead writer/singer Justin Osborne. Like everyone around the world, Osborne was navigating the global issues felt from the pandemic while normal life continued with its own blessings and challenges.. "We were navigating the global and national issues that everyone else was dealing with, but also I became a father and also lost my father. There was a lot of contemplation going on in my brain, a lot of personal evolution going on in my life, and songwriting was my way of working through it all. The title Time in the Sun is meant to be a monument to my own human existence and also a tribute to the human experience in general. I wouldn’t claim to understand what it means to be a human, from the countless different perspectives of the world, but I do have my own experience to reflect on and I want to be able to express and explain that in some way. I guess this album is an attempt at that. At the core though, it’s just a collection of songs about my life and my feelings." Time In The Sun is set for release on October 29, 2021 via New West Records. 

SUSTO - Time In The Sun [LP]
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