“Coldwater” From Steve Azar + Cedric Burnside in Advance of “My Mississippi Reunion” Album Release

“Coldwater” From Steve Azar + Cedric Burnside in Advance of “My Mississippi Reunion” Album Release

Bob Merlis

Steve Azar foreshadows ‘My Mississippi Reunion’ collection with release of “Coldwater” collaboration with Cedric Burnside

Steve Azar is prepping My Mississippi Reunion, a collection of songs he’s written and recorded over the years that were inspired by his native state. In advance of the album’s digital and CD worldwide October 23 release date, he’s putting out “Coldwater,” a newly recorded track that is a collaboration with friend and fellow Mississippian Cedric Burnside.

Every song on My Mississippi Reunion relates to a locale or aspect of the state.  More than a few take their titles from towns including “Midnight,” “Rosedale,” “Flatlands,” “Rena Lara,” “Greenville,” and “Indianola.” “Sweet Delta Chains” makes titular reference to the state’s legendary delta region; “One Mississippi” and “Mississippi Minute” take their titles from turns of phrase, while “Highway 61” cites the state’s most celebrated thoroughfare. He wrote “One Mississippi” at the request of Governor Phil Bryant in 2017 as the state’s official bicentennial song. The state also recognized him with the installation of a Mississippi Country Trail Marker in Greenville at the same time as Jerry Lee Lewis, Johnny Cash and Jimmie Rodgers were similarly honored.

Steve grew up in Greenville and serves as his state’s Music and Cultural Ambassador. He thought his compilation was complete when he happened to be driving to Memphis a few months ago. He departed the main road, that selfsame Highway 61, and found himself on a back route. Pondering “the impact the COVID pandemic has had on so many of our friends and businesses,” he came upon a road sign for the town of Coldwater which he had seen many times in this past. This time something clicked, Steve remembers, “I thought, we’re in it.” He’s of the mind that “a song writes itself,” so the title begat a lyric and tune and the song soon took shape.

He decided to recruit Cedric Burnside to join him on the track, offering, “I admire Cedric for everything he represents, not just because he’s a world class musician.  He’s a sterling human being and I’ve respected him for years.” Steve organizes and promotes the Mighty Mississippi Festival, a yearly celebration of roots music and noted, “There’s no Mighty Mississippi Festival without Cedric” who has been a mainstay of the event.  “I recall one year when it poured – seven inches of rain – but Cedric stayed out there on stage and so did I.  We were the only ones, along with Deana Carter who joined me. That was a powerful moment and he was a true inspiration.” This year’s festival, slated for the weekend of October 1, is moving from Greenville to Clarksdale where it will take place on land where Muddy Waters lived before he moved to Chicago.

Cedric is the scion of a family that has been tremendously influential in the blues field. His grandfather was the legendary R.L. Burnside who shed light on North Mississippi’s idiosyncratic hill country blues style. His father was the noted drummer Calvin Jackson. Cedric is the recipient of four Blues Foundation Awards and has had two Grammy nominations. “We got in the studio and we knocked it out! We had a lot of fun recording it and I’m really glad Steve wanted me to be a part of this. I hope people enjoy what we made!” he says of “Coldwater.” For his part, Steve says, “You’ve got two Mississippians coming together during these times in song. There’s nothing more powerful.”

Listen to “Coldwater” below.

Following a lengthy career phase spent in Nashville during which Steve enjoyed significant success, he returned to Greenville and became a force in Mississippi music and toured nationally with Bob Seger.  In 2013, he co-founded the Mighty Mississippi Music Festival which has presented such headliners as Chris Stapleton, Old Crow Medicine Show, Dwayne Dopsie, G. Love & Special Sauce, Band of Heathens, Ryan Bingham, the Revivalists, Merlin Morris, Ashley McBride, Government Mule, Kingfish, Jarekus Singleton, Mr. Sipp as well as Cedric Burnside and others.  Two years ago, he released Down At The Liquor Store, an album that was recorded at the legendary Club Ebony in Indianola, hometown of B.B. King. For the project he was backed by The Kings’ Men, a band of veteran Mississippi musicians, the majority of whom had worked for B.B. King with some also doing double duty behind Elvis Presley.

While still Nashville-based, Steve released  Waitin’ On Joe, his breakthrough album. The album’s hit title song went to #1 on CMT and was the focus of an evocative video that featured the participation of fellow Mississippian and Academy Award winner Morgan Freeman.  That landmark album also included “I Don’t Have To Be Me (‘Til Monday)” the recipient of a three Million-Air Award from BMI and ranked in the Top 5 of most-played songs of the decade. Taylor Swift told People Magazine in 2010 that her favorite song of that year was Steve Azar’s “Sunshine.” In the interim, the song has become a popular wedding anthem. His album Slide On Over Here included the hit single “Sunshine” that was also a #1 video.


My Mississippi Reunion track listing:

Rosedale (Steve Azar)

Midnight (Steve Azar)

 Coldwater (Steve Azar)

One Mississippi (Steve Azar)

Flatlands (Steve Azar, Roger Murrah)

Rena Lara (Steve Azar)

Greenville (Steve Azar, Johnny Douglas)

Sweet Delta Chains (Steve Azar, Tony Colton, AJ Masters)

Indianola (Steve Azar)

Mississippi Minute (Steve Azar, Tommy Rocco, AJ Masters)

Highway 61 (Steve Azar, James House)


Pre-order ‘My Mississippi Reunion’


Watch Bruce Springsteen, Jeff Tweedy, Lucinda Williams, and More Celebrate the Life of Joe Strummer

Watch Bruce Springsteen, Jeff Tweedy, Lucinda Williams, and More Celebrate the Life of Joe Strummer

Lauren Leadingham

“Punk rock means exemplary manners to your fellow human beings.” – Joe Strummer

On Friday, August 21, what would have been Joe Strummer‘s 68th birthday, a smattering of talented artists participated in A Song for Joe: Celebrating the Life of Joe Strummer. The two-hour livestream was produced by Jesse MalinJeff Raspe, and Joe Strummer estate manager David Zonshine. Donations went towards the Save Our Stages campaign, which seeks federal assistance for independent music venues affected by COVID-19.

Covers included: Lucinda Williams (“Straight to Hell”), Hinds (“Spanish Bombs”), Grateful Dead‘s Bob Weir and Jesse Malin (“Death or Glory), Jeff Tweedy (also “Death or Glory”), Tom Morello (“Bankrobber”), Butch Walker (“London Calling”), and more. Bruce SpringsteenThe Strokes‘ Albert Hammond, JrBeto O’RourkeFred ArmisenSteve Buscemi, and others shared birthday messages and unique Joe Strummer memories. The livestream also made room for previously unseen live footage of Strummer himself.

Lucinda Tait, Strummer’s widow, said, “To see so many musicians and artists come forward to honor Joe is really touching. Community was always important to him. Whether it was playing music with friends, organizing all night campfires, or hijacking festivals, Joe was always focused on bringing people together. Even though we can’t all be in the same room together, I could not think of a better way for us all to feel united. Joe would have loved this.”

Watch the entire livestream below.


* Feature image: Joe Strummer Foundation

Rare Ella Fitzgerald ‘Lost Berlin Tapes’ Set For Release

Rare Ella Fitzgerald ‘Lost Berlin Tapes’ Set For Release

Lauren Leadingham

Watch the animated lyric video for “Mack the Knife” from ‘The Lost Berlin Tapes’

A never-before-heard live recording from the First Lady of Song, Ella Fitzgerald, has surfaced. The Lost Berlin Tapes will be released on Verve Records on October 2, 2020.

The Lost Berlin Tapes were recorded in stereo at Berlin’s Sportpalast on March 25, 1962 and finds Ella at the top of her game with a trio led by pianist Paul Smith, Wilfred Middlebrooks on bass, and Stan Levey on drums. Fitzgerald played Berlin two years prior, where she famously turned forgotten lyrics into absolutely sensational improvisation — ad-libbing lyrics while channeling her best Louis Armstrong. The first single from the album is a buoyant new take on “Mack the Knife,” the title track from Ella in Berlin.

Watch the animated lyric video below.

The Lost Berlin Tapes tracklist:

1. Cheek To Cheek
2. He’s My Kind Of Boy
3. Cry Me A River
4. I Won’t Dance
5. Someone To Watch Over Me
6. Jersey Bounce
7. Angel Eyes
8. Clap Hands, Here Come Charlie
9. Taking A Chance On Love
10. C’est Magnifique
11. Good Morning Heartache
12. Hallelujah, I Love Him So
13. Hallelujah, I Love Him So (Reprise)
14. Summertime
15. Mr. Paganini
16. Mack The Knife
17. Wee Baby Blues

Pre-order ‘Ella Fitzgerald: The Lost Berlin Tapes’

*Gif image courtesy of Verve Records

Wilson Pickett Legacy Honored with Clark King’s Rendering of “People Make the World”

Wilson Pickett Legacy Honored with Clark King’s Rendering of “People Make the World”

Bob Merlis

“People Make The World,” like 16 other songs in Wilson Pickett’s recorded repertoire, was written by Bobby Womack

“People Make The World” was originally recorded by Wilson Pickett over 52 years ago. While it wasn’t a major hit single on par with “Mustang Sally” or “In The Midnight Hour,” the song’s theme of human understanding resonates and has great relevance in today’s world. It is for this reason that The Wilson Pickett Jr. Legacy, LLC., a foundation headed by the late soul legend’s brother Maxwell Pickett, commissioned a new version of the song and music video. The Wilson Pickett Legacy was established several years ago in an effort to connect the life and work of Wilson Pickett, who died in 2006, not only with long time fans but to successive generations who may not be as familiar with his enduring musical contribution to the culture. WPL has provided educational workshops as well as scholarships for worthy students.

A new version of “People Make The World” features vocals by Atlanta-based soul pop singer Clark King whose remarkable abilities became known to Max Pickett and event producer Kenneth Green creator of the jukebox musical In The Midnight Hour – The Music of Wilson Pickett. Max Pickett has worked with Green on the annual Wilson Pickett Music and Arts Festival that’s been mounted in the Picketts’ Prattville, Alabama birthplace, for the past three years. COVID-19 forced the cancellation of this year’s edition of the festival so, in its stead, the WP Legacy staged an online Wilson Pickett Sing Off where Clark King was “discovered.”

Green took it upon himself, with Max Pickett’s enthusiastic encouragement, to comb Wilson Pickett’s catalog for a song that would serve to salute first responders and frontline workers who are so at risk during the pandemic. He came up with “People Make The World” that had been the B-side of the hit “I’m A Man and Half,” on which Womack had played guitar.  Max Pickett noted, “It’s a great song with a great message.”  Green envisioned a video chronicling the efforts of first responders and frontline workers built around the song’s lyric that include

People make the world what it is                                                            

By how they live and what they give..                                             

People make the world and there we live                                        

We make the world and the lives we lead                                                   

By the friends we have and the books we read                                                    

By the pity we show and in our care                                                              

By the laws we live and love we share

They needed somebody to perform the song in the current context so Max and Kenneth Green recalled Clark King from the Wilson Pickett Sing Off so they asked him to take a crack at it. The result was more than impressive. “I cannot put into words how blown away we were when we heard Clark’s performance,” says Max whose hope for a video has now been realized. It’s worth noting that the whole project was done in compliance with CDC guidelines and, in fact, Max Pickett has never med Clark King in person to this moment, despite the fact that both are Atlanta-based.

On the surface, Clark King seems like an unlikely candidate to advance the legacy of Wilson Pickett as he comes from a family of bluegrass musicians. His background notwithstanding, he is a three-time winner of Amateur Night at The Apollo and has performed or recorded alongside Cissy Houston, Sharon Jones and Donnie McClurkin. He performed as one of the “Stars of Tomorrow” at Aretha Franklin’s induction into the Apollo Hall of Fame. Clark found his niche singing at open mic nights and churches around Atlanta and takes his inspiration from a wide range of performers including the aforementioned Aretha Franklin and Ray Charles, Whitney Houston as well as Judy Garland and Joni Mitchell. Prior to his being tapped to record “People Make The World,” one of his career highlights had been a performance at the 75th birthday celebration for late US Rep John Lewis. He commented, “I am deeply honored to have been asked to be a part of this project, Bobby Womack’s pen was unmatched and following in the footsteps of Wilson Picket to record this song is simply HUMBLING.”

Watch the official music video for “People Make The World” below.

“People Make The World,” like 16 other songs in Wilson Pickett’s recorded repertoire, was written by Bobby Womack. Womack charted a period in his career more at ease as a studio session player and songwriter than as a performing front man. This chapter became more prolific for Womack as he joined forces with Pickett in studios in Memphis and Muscle Shoals. Womack found a kindred spirit in Pickett who literally gave voice to some of his best late ‘60s efforts. Four single releases from that collaboration went on to become major hits on Billboard’s R&B chart including “I’m In Love” and “I’m A Midnight Mover,” both of which crossed over into the pop charts.

Wilson Pickett was inducted into the Rock and Roll Hall of Fame in 1991 and was named recipient of the Rhythm & Blues Foundation’s Pioneer Award four years later. During the course of his 50-year career, he became the personification of soul music’s most energetic and fiery aspects. Originally a gospel singer, his first big break in secular music came in 1962 when, as part of The Falcons, he sang lead on “I Found A Love.” His solo career, initially with Atlantic Records, was marked by 33 Top 20 R&B hits and 16 Top 40 Pop hits. He is considered one of the pillars of soul music and one of the genre’s greatest, most evocative practitioners.

Wilson Pickett Legacy

Watch: Walter Trout’s New Video for “Heartland”

Watch: Walter Trout’s New Video for “Heartland”

Steve Karas

Walter Trout and Provogue Records present music video for “Heartland” – ‘Ordinary Madness’ Coming August 28

For Walter Trout, there is no ‘us’ and ‘them’. Across his five-decade career, the great U.S. bluesman’ s music has always been a lifeline and call-to-arms, reminding listeners they are not alone. Now, as the world seeks solace from a tragedy that has touched us all, he comes armed with a boundary-exploring new studio album and eleven searingly honest songs that bring his fans even closer. “There’s a lot of extraordinary madness going on right now,” considers Trout, of the COVID-19 crisis. “This album started because I was dealing with the flaws and weakness inside me. But it ended up being about everyone.”

Ordinary Madness was completed mere days before the U.S. shutdown, its cathartic songcraft and themes of shared troubles couldn’t chime better with a period in which our souls and spirits are under fire from tumultuous global events.

Admirably open about his troubled youth, and his own ongoing struggles with mental health, the bluesman had spent recent tours soothing himself by scribbling down his thoughts and feelings. It was only later he realized he’d just written the most honest lyric-sheet of his career – and felt he had an opportunity to let fans share and identify with him. “Everybody is dealing with something,” he says. “And I’m no different from anybody else. Ordinary Madness doesn’t mean you’re gonna end up in a mental institution. It’s just being human. It’s common humanity.”

Trout’s formative blues influences are well-documented, spanning from Paul Butterfield’s 1965 self-titled debut alongside Mike Bloomfield to John Mayall’s seminal 1966 ‘Beano’ LP with Eric Clapton. But as he cut his teeth in New Jersey, the young guitarist was also drawn to the maverick songwriters, taking in The Beatles, Dylan and Neil Young’s Crazy Horse. At every step of his career – moving to California in ’74 to back up giants like John Lee Hooker, joining Canned Heat and Mayall’s Bluesbreakers in the ’80s, then flying solo in 1989 – the stockpile of songs kept growing.

This time around, Trout is doing things a little differently. Led in by an electronic intro created by eldest son Jon Trout, the song sets off on a hypnotic groove with a gloriously languid guitar break that’s anything but autopilot blues. “I’ve broken the pinkie on my left hand three times in the past year,” remembers Trout, “so the guitar playing on this album took a little work, and there’s some anger and frustration in some of the solos. I really like that solo on the title track. It took two or three re-takes. But I think I nailed it.”

From that jump-off, a career-best album spilled out, as Trout convened his band of Michael Leasure (drums), Johnny Griparic (bass) and Teddy ‘Zig Zag’ Andreadis (keys) – along with long-time producer Eric Corne, plus special guests Skip Edwards, Drake ‘Munkihaid’ Shining and Anthony Grisham. The backdrop, once again, was the private LA studio of Doors legend Robby Krieger.  “The whole place is full of vintage gear, and it’s all there for you, whatever you want. The keyboard that Ray Manzarek used in The Doors – it’s just fucking sitting there. I remember, on the rhythm track for OK Boomer, Michael Dumas, who runs the studio, comes walking in and says: ‘Here’s the SG that Robby used in The Doors – wanna try this?’ Then, for the rhythm guitar on Heartland, he says: ‘Here’s one of James Burton’s Paisley Telecasters…’”

Musically, Trout’s antennae are up, as he pushes the envelope on the psychedelic layered vocal harmonies of “The Sun Is Going Down,” a song about dealing with aging. Trout shares, “Lyrically, it’s about running out of time. You gotta look at death, deal with it, accept it. That’s a condition of being alive.”  The blissed-out anthemics of “Up Above My Sky,” nods to peak-period Pink Floyd and Trout worked with the U.S. Blues singer Teeny Tucker on the bereft “All Out Of Tears” – a tribute to her late son. On the haunting “Heaven In Your Eyes,” Walter was stunned by Marie Trout’s lyrics about the desperation of trying to find ways to reach the person you love but being unable to find the words.

“As the lyric says in ‘Up Above My Sky,’ he reflects, “sometimes you have to see through the darkness to find the light. I can’t wait get back out there again, meet the people at shows, hug them and pose for a photo. And I’m really looking forward to playing these songs live. Because I think this album speaks to these times…”

Touring plans will be announced in the coming months as The World returns to some level of normalcy enabling all artists to return to staging appearances.

Watch the official video for “Heartland” below.

Pre-order ‘Ordinary Madness’


Americana Artist Justin Townes Earle Dead at 38

Americana Artist Justin Townes Earle Dead at 38

JD Nash

“It is with tremendous sadness that we inform you of the passing of our son, husband, father and friend Justin.”

Americana singer/songwriter Justin Townes Earle has died. News of his passing came via his Facebook page. He was 38.

Justin Townes Earle Photo credit: Joshua Black Wilkins


It is with tremendous sadness that we inform you of the passing of our son, husband, father and friend Justin. So many of you have relied on his music and lyrics over the years and we hope that his music will continue to guide you on your journeys.
You will be missed dearly Justin 💔

“I’ve crossed oceans
Fought freezing rain and blowing sand
I’ve crossed lines and roads and wondering rivers
Just looking for a place to land”

Born and raised in Nashville, Tennessee, Earle is the son of  Outlaw Country artist Steve Earle and Carol Ann Hunter Earle. His middle name comes from his father’s mentor, Townes Van Zandt. Raised almost entirely by his mother, Justin did follow in his father’s footsteps both as an artist, and as a recovering addict.

After playing in a couple Nashville bands, Justin played guitar and keyboards for his father’s band, The Dukes, for some time. Earle developed his own hybrid sound, combining country music, folk, and blues, releasing his first EP, Yuma, in 2007.

Eight full length LPs followed, beginning with The Good Life in 2008. His most recent release was The Saint of Lost Causes in 2019 via New West Records.

It was his 2010 Bloodshot Records album, Harlem River Blues, that landed him on our list of the Top 10 Americana Albums to Own on Vinyl and won Earle the Americana Music Award for Song of the Year for the title track.

Taking his southern roots, and mixing them with a big city feel, this album is as at home being played on a front porch as it is on a fire escape. From the rockabilly vibe of “Move Over Mama,” to Motown-ish groove of “One More Night in Brooklyn,” this is one of the records that you want to play again, as soon as it ends. Spoiler alert: Jason Isbell appears on this Bloodshot Records release, providing guitar, and joining in on the choir vocals.

In 2009, Earle won the New and Emerging Artist of the Year award from the Americana Music Honors & Awards. He also toured with Gillian Welch and David Rawlings, Old Crow Medicine Show and The Felice Brothers that year.

During his all-too-short career, Earle played such prestigious venues as The Grand Ole Opry, SXSW, The Beacon Theater, Bonnaroo, Bumbershoot, and The East Coast Blues & Roots Music Festival in Byron Bay, Australia.

Messages of condolence have already been pouring in from Earle’s contemporaries, friends and fans:

sending love and condolences to Steve Earle and the entire family of Justin Townes Earle… he was always kind to me and he’s gone too soon – Margo Price

Had a lot of good times and made a lot of good music with JTE. So sad for his family tonight. Justin bought the suit I got married in. – Jason Isbell

My friend, Justin Townes Earle, has passed away. Such a tremendous songwriter…he took me on 2 tours and always treated me so kindly….he understood struggle, he understood joy…I saw him at the peaks and valleys of both through the 13 years I knew him…we will miss you JT – Samantha Crain

I am beyond heartbroken. You were my muse, my friend, and my brother. I will always remember your kindness. Your songs will live forever. You can rest easy now. – Sammy Brue

To me, Justin Townes Earle was next in a long line of piss-and-vinegar, do-it-my-way artists. Bending genres to fit their personal demons, Justin, his father Steve, Townes Van Zandt and more all made names for themselves in a type of music that is often criminally underappreciated. It’s not quite blues, although all the composites are there. It’s not exactly folk, but the messages of blue-collar working people are well-represented. It’s not “country” enough for Nashville’s music machine, however, too down to earth for either coast. It’s Americana – the music of the people, by the people and for the people, if you will. And Justin was a master purveyor.

Earle is survived by his wife of seven years, Jenn Marie Maynard-Earle, and their three-year-old daughter Etta St. James Earle. No cause of death has yet been released.

Justin Townes Earle

Blue Water Highway Share “Dog Days,” Announce Release Date for New Album

Blue Water Highway Share “Dog Days,” Announce Release Date for New Album

Sonny Bailey-Lemansky

Watch the official lyric video for “Dog Days”

Today, Blue Water Highway shared their new single, “Dog Days,” along with the release date for their new album, Paper Airplanes, due March 12, 2021.

“This is a song about finding re-enchantment in life, making the best out of the final days of summer,” said Zack Kibodeaux. “The Dog Days are the hottest part of the year, a time of meteor showers, baseball games, trips to the beach, and fireworks. I remember reading somewhere that, ‘these days are made for us to suffer through, or to enjoy, depending on our own point of view.’ “

“Dog Days” is the follow up to “All Will Be Well”, a song off Paper Airplanes which they initially had no intention of releasing as a single ahead of the full album, but given its message and the overwhelming response it received from fans during their recent StageIt shows, they felt it was best not to wait.

Blue Water Highway was started by Zack Kibodeaux (lead vocals/guitar) and Greg Essington (vocals/guitar) who have been best friends since high school. Zack then turned to Catherine Clarke (vocals/keyboard), to complete the three-part harmonies that the band would soon be known for, and they were joined by Kyle Smith (bass). They take their name from the roadway that links their hometown of Lake Jackson, Texas to Galveston. They have released two full length studio albums to date in 2015’s Things We Carry and 2018’s Heartbreak City which includes their hit “Evangeline.”


Blue Water Highway

Watch: Tom Petty’s ‘Wildflowers’ Comprehensive Collection Due in October

Watch: Tom Petty’s ‘Wildflowers’ Comprehensive Collection Due in October

Lauren Leadingham

Video for “Wildflowers (Home Recording)” Premieres Today

Wildflowers, Tom Petty’s 1994 solo album rightfully hailed as his solo masterpiece, is getting its long-awaited reissue. Wildflowers & All The Rest is set to be released on October 16 via Warner Records. Half the songs on Wildflowers were left on the cutting room floor, with Tom writing more songs than he could release at the time.  “I broke through to something else. My personal life came crashing down, and it derailed me for a while. But I was at the top of my game during that record,” he told Rolling Stone in 2014. 

Petty’s family, bandmates, and collaborators are fulfilling the vision he had for a comprehensive project. Daughters Adria and Annakim Petty, wife Dana, Heartbreakers Mike Campbell and Benmont Tench, and engineer/co-producer Ryan Ulyate have curated a compilation of previously unheard tracks, solo demos, and live performances they call “many, many hours of pure sonic joy.” 

Wildflowers & All The Rest will be released in multiple formats. Wildflowers & All The Rest—Deluxe Edition features 15 recordings made by Tom in his home studio as he was writing the album. The Deluxe Edition culminates with 14 live performances of songs from Wildflowers, recorded on tours from 1995 to 2017. Wildflowers & All The Rest—Super Deluxe is a Direct to Consumer Limited Edition set featuring Finding Wildflowers—16 studio recordings of alternate takes of Wildflowers songs as Tom, band members and Rubin honed-in on the final album.

Watch the video for “Wildflowers (Home Recording),” available now with pre-order of the Deluxe Edition, in addition to the recently released “There Goes Angela (Dream Away)” and “You Don’t Know How It Feels.” The video features never-before-seen footage of Tom at his home, shot by Martyn Atkins during the recording of Wildflowers. The video was co-directed by Alan Bibby and Jonny Kofoed and produced by Assembly.

Wildflowers & All The Rest: A 2-CD and 3-LP set that features 25 tracks, with five unreleased songs. Includes lyrics to all the songs on Wildflowers and All The Rest.

Disc 1: Wildflowers (15 tracks, as per the 1994 released album)

Disc 2: All The Rest (10 tracks—five unreleased songs)

LP 1 and 2: Wildflowers

LP 3: All The Rest

Wildflowers & All The RestDeluxe Edition: A 4-CD and 7-LP set that features 54 tracks, eight unreleased songs and 24 unreleased versions. The 4-CD includes the Rick Rubin introduction, track-by-track for all the songs included on these formats, while the 7-LP also includes the David Fricke essay and lyrics to all the songs on Wildflowers and All The Rest.

Disc 1: Wildflowers

Disc 2: All The Rest

Disc 3: Home Recordings/Demos (15 tracks—three unreleased songs; 12 unreleased versions)

Disc 4: Wildflowers Live (14 tracks—12 unreleased versions; two distributed to Fan Club only)

LP 1 and 2: Wildflowers

LP 3: All The Rest

LP 4 and 5: Home Recordings/Demos

LP 6 and 7: Wildflowers Live

Wildflowers & All The RestSuper Deluxe Edition: A 5-CD and 9-LP Direct to Consumer, Limited Edition set that features 70 tracks, nine unreleased songs and 34 unreleased versions. Includes Rick Rubin introduction, David Fricke essay, track-by-track for all music and lyrics to all the songs on Wildflowers and All The Rest. This set also comes with a hardbound book, cloth patch of Wildflowers logo, sticker of Wildflowers logo, replica of “Dogs with Wings” tour program (the 1995 Tom Petty and The Heartbreakers tour), hand-written 4-song lyric reprints in vellum envelope, a litho of new and exclusive art by Blaze Ben Brooks for the song “Only A Broken Heart,” and a (numbered) Certificate of Authenticity.

Disc 1: Wildflowers

Disc 2: All The Rest

Disc 3: Home Recordings/Demos

Disc 4: Wildflowers Live

Disc 5: Alternate Takes (Finding Wildflowers) (16 tracks—one unreleased song; ten unreleased versions)

LP 1 and 2: Wildflowers

LP 3: All The Rest

LP 4 and 5: Home Recordings/Demos

LP 6 and 7: Wildflowers Live

LP 8 and 9: Alternate Takes (Finding Wildflowers)

Wildflowers & All The RestUltra Deluxe Limited Edition: A 9-LP Direct to Consumer, Limited Edition set (only 475 copies will be sold). The package includes the same contents as the Super Deluxe Edition, as well as an exclusive unique unisex necklace—hand-made by Maria Sarno in a faux suede pouch, an exclusive lyric book with the illustrations by Blaze Ben Brooks, an exclusive 7” of “You Don’t Know How It Feels,” packaged in a custom fabric bag with a metal Wildflowers logo as the closuredesigned and made by Los Angeles-based, Made Worn.


1). Wildflowers

  • Wildflowers
  • You Don’t Know How It Feels
  • Time to Move On
  • You Wreck Me
  • It’s Good to Be King
  • Only a Broken Heart
  • Honey Bee
  • Don’t Fade on Me
  • Hard on Me
  • Cabin Down Below
  • To Find a Friend
  • A Higher Place
  • House in the Woods
  • Crawling Back to You
  • Wake Up Time
  • 2). All The Rest

  • Something Could Happen
  • Leaving Virginia Alone
  • Climb That Hill Blues
  • Confusion Wheel
  • California
  • Harry Green
  • Hope You Never
  • Somewhere Under Heaven
  • Climb That Hill
  • Hung Up and Overdue
  • 3). Home Recordings

  • There Goes Angela (Dream Away)
  • You Don’t Know How It Feels
  • California
  • A Feeling of Peace
  • Leave Virginia Alone
  • Crawling Back to You
  • Don’t Fade on Me
  • Confusion Wheel
  • A Higher Place
  • There’s a Break in the Rain (Have Love Will Travel)
  • To Find a Friend
  • Only a Broken Heart
  • Wake Up Time
  • Hung Up and Overdue
  • Wildflowers
  • 4). Wildflowers Live

  • You Don’t Know How It Feels
  • Honey Bee
  • To Find a Friend
  • Walls
  • Crawling Back to You
  • Cabin Down Below
  • Drivin’ Down to Georgia
  • House in the Woods
  • Girls on LSD
  • Time to Move On
  • Wake Up Time
  • It’s Good to Be King
  • You Wreck Me
  • Wildflowers
  • 5). Alternate Versions (Finding Wildflowers)

    *Note: only available on 9-LP and 5-CD formats*

  • A Higher Place
  • Hard on Me
  • Cabin Down Below
  • Crawling Back to You
  • Only a Broken Heart
  • Drivin’ Down to Georgia
  • You Wreck Me
  • It’s Good to Be King
  • House in the Woods
  • Honey Bee
  • Girl on LSD
  • Cabin Down Below (Acoustic Version)
  • Wildflowers
  • Don’t Fade on Me
  • Wake Up Time
  • You Saw Me Comin’
  • Pre-order ‘Wildflowers & All the Rest’

    Leyla McCalla Sets Langston Hughes to Music on ‘Vari-Colored Songs’

    Leyla McCalla Sets Langston Hughes to Music on ‘Vari-Colored Songs’

    Lauren Leadingham

    McCalla’s Haitian influences richly intersect with American folk music, just as Hughes unified Black speech with stunning poetry

    Multi-instrumentalist, cellist, and singer Leyla McCalla (known for last year’s Songs of Our Native Daughters) has announced the reissue of her debut album, 2014’s Vari-Colored Songs, out October 16 through the graces of Smithsonian Folkways. Featuring poems by Langston Hughes set to music, the album also includes original compositions and traditional Haitian folk songs. “All of these songs are manifestos of my life as a Black, Haitian-American woman and the daughter of Haitian immigrants, and an homage to the humanity and creative spirit of Langston Hughes,” McCalla says.

    Following her conservatory training and her time playing with the Carolina Chocolate Drops, McCalla found she connected Hughes’s poems to music. While reading “Vari-Colored Song,” she was forever transmogrified by the rhythm, imagery, and melody of his words. Setting Hughes’s lyrical realism to music, juxtaposing his works with folk arrangements from Haiti (the first independent Black nation and homeland of her parents), seemed like the most natural progression.

    McCalla offers perspective on “Song For a Dark Girl,” based on a 1927 poem that describes a lynching:

    Fast forward nearly a century after Hughes wrote these words, to the week of George Floyd’s murder; Black men were found hanging from trees in the United States. Their deaths were quickly ruled suicides. Numerous Black bodies have been killed by the police since the protests that brought the Black Lives Matter movement into our mainstream consciousness. What becomes evident here is that history is not the past. History is a living, ever present part of life. In light of the COVID-19 crisis, at such an uneasy time in our history, we need to be reminded that our past will haunt us if we are not willing to look at it. Our failure to care for each other is literally killing us.

    I can see clearly now how acutely Hughes’s work reflects the harm imposed by the white supremacist American paradigm. His work — which spans all genres of writing — celebrates Black culture and Black contributions to American life, countering the chronic dismissal of Black lives, Black feelings and Black thought. To be re-releasing this collection of songs to a wider audience, through the graces of Smithsonian Folkways, at such a critical time in both world and American history, my intention is that these songs will help us to see ourselves again — our tragedies, our humor, our potential and our humanity.

    Along with collaborators Rhiannon GiddensLuke Winslow KingHubby JenkinsYah Supreme, and more, McCalla’s Haitian influences richly intersect with American folk music, just as Hughes unified Black speech with stunning poetry. Vari-Colored Songs is out October 16 on CD/LP/digital. Pre-order now.


    Leyla McCalla


    Steve Lukather Releases New Recording and Video for “Run To Me”

    Steve Lukather Releases New Recording and Video for “Run To Me”

    Steve Karas

    Performances from Ringo Starr, John Pierce (Huey Lewis & The News), and Joseph Williams Bring Composition Written By Luke, Joseph Williams and David Paich To Life

    Steve Lukather and Mascot Records have announced the release of a newly recorded composition titled “Run To Me,” and an accompanying video. The song is heavily influenced by the artist’s fond connection to music from the late ’60s. The track was co-written by David Paich, Joseph Williams and Lukather. Performances include Lukather on guitar, Joseph Williams on keyboards and background vocals, John Pierce from Huey Lewis & The News on bass, alongside Luke’s band-mate and close friend Ringo Starr making a special appearance in both the video and on the record itself.

    Lukather shares:

    I wanted to release this now because it fits the moment. A time where we all need a happy song for an unhappy time. When I got together with Joseph Williams and David Paich to collaborate on the songwriting, there was pure collective inspiration amongst the three of us to articulate this message of hope directed towards our daughters. Musically, the song is absolutely influenced by my growing up in the Sixties, inspired by some of my favorite elements of the repertoire that defined that indelible era.

    And, Ringo, what can I say. It is an honor to have his contribution captured on a song of mine, much less his gracious presence in the video. Over the course of the last decade, we’ve become dear friends traveling the world with one another, and much like Paich and Williams, I am certainly blessed to have these talented, amazing human beings in my life as both band mates and friends. As we all look towards the unknown of this crazy world we are living in, simply my hope is this tune brings a little peace, love and pleasant distraction to these uncertain times.

    The recording was mixed by Kenneth Freeman, and mastered by Freeman’s body double.  Additional engineering by Bruce Sugar (for Ringo) and Joseph Williams.

    “Run To Me” can be heard on all streaming services globally, and is available for download.  Details on Steve Lukather’s forthcoming solo album coming in early 2021 will be shared in the coming months.

    Steve Lukather


    Two Archival Allman Brothers Live Albums Coming in October

    Two Archival Allman Brothers Live Albums Coming in October

    JD Nash

    Allman Brothers Band founder and guitarist, Duane Allman, was killed in a motorcycle accident 12 days after October 17, 1971 show.

    An extraordinary piece of rock history will finally be heard this October with the release of the Allman Brothers Band‘s last show with founder and guitarist Duane Allman. Recorded October 17, 1971 at the Painters Mill Music Fair in Owings Mills, MD, the recording marks Duane’s last show, as he was tragically killed in a motorcycle accident 12 days later. Recorded on a hand-held cassette machine by 18-year-old radio journalist Sam Idas, this music will be released for the first time on October 16.

    The ABB were riding a wave of great success in late 1971 and wrapped up an intense summer of touring with the two shows at Painters Mill that day. The July 1971 release of their breakthrough At Fillmore East live album had brought them critical acclaim, hordes of new fans, and even a little money. The band-Duane Allman, Gregg Allman, Dickey Betts, Jaimoe, Butch Trucks and Berry Oakley-had toured all summer long and were looking forward to some time off before heading back to the studio.

    The Final Note package features some remarkable never-before-published photos from that night’s show, extensive liner notes from ABB archivist John Lynskey plus a photo of the actual cassette Idas used. On hand to interview Gregg Allman after the concert, Idas recalls how it happened: “My only intention was to record the interview. This was a brand-new cassette recorder with an internal microphone, and I had one 60-minute cassette tape. I was sitting there with the recorder in my lap, and I remember thinking ‘Why don’t I try this out? I can record the concert!’ It was a totally spontaneous decision. I’d been to many concerts, but this was the only time I had the thought-and the motivation-to record the show.” The cassette went forgotten by Idas until a few years ago when his old roommate asked him if he still had it. Word of this incredible piece of ABB history reached the group’s manager Bert Holman, who immediately knew the importance of this find.

    Captured on this simple audience recording were eight tracks from the band’s standard setlist, including smoking versions of “Statesboro Blues,” “Hot ‘Lanta” and “Whipping Post.” Despite the obvious limitations that come with a 50-year-old cassette tape, modern technological enhancements help restore the magic of this significant night. The Final Note is a must-have for anyone who appreciates the musical excellence of the original Allman Brothers Band.


    Throughout their illustrious 45-year career, the ABB have played many legendary venues and widely-praised live shows; however, up until this point, the sold-out show on July 19, 2005 at the Warner Theatre in Erie, PA hasn’t been included on that list. Long hailed as one of their best ever by the band members themselves, on October 16 fans will have the opportunity to experience this spectacular show for themselves with the commercial release of a 2-CD set via Allman Brothers Band Recording Company, distributed by The Orchard.

    By the summer of 2005, the Allman Brothers Band had moved into a comfort zone of stability and superb chemistry. The line-up–Gregg Allman on vocals and keyboards, drummers Jaimoe and Butch Trucks, Warren Haynes and Derek Trucks on guitars, Oteil Burbridge on bass and percussionist Marc Quinones–had been together since 2001 and had established a groove, both on and off the stage.

    The 2005 tour was a typical ABB run of festival and amphitheater shows, with a sprinkling of casino and theater appearances thrown in along the way, Warner Theatre being one of them. In the weeks leading up to this show, the band had traveled a great deal with long drives and performed three shows in a row before arriving in Erie early on July 18, a much-needed day off. The band came into this show rested and ready to turn things up for the last five shows of the run.

    A major ingredient to the success of this night was the meticulously crafted setlist from Warren Haynes, with input from the other members. Since this was one of a few “Evening With” theater shows, and was to be a two-set show with intermission and no opening act, this gave the band room to stretch and set the tone differently from an amphitheater show. With the recent release of 2003’s Hittin’ The Note, there was a lot of new material to pull from as well as exceptional new covers which had recently been brought into the fold (“The Night They Drove Old Dixie Down” and “Don’t Think Twice, It’s All Right” with guesting vocalist Susan Tedeschi). The group kicked things off with rare show-opener “Mountain Jam” and it was evident that the band was firing on all cylinders, right from the jump.

    When asked when he realized that this performance was something special, Bert Holman, the ABB’s manager since 1991, noted, “I was feeling it while they were playing. Ultimately, I knew it had been a great night when they started coming off the stage and everyone was like, ‘Man, that was a great show!’ I remember Oteil and Derek particularly being pumped about it, Haynes was pleased, and Butch was just raving about how over-the-top the show was. They all told me that they needed a copy of the show, which says a lot right there.”

    The Final Note (October 17, 1971) Set List
    “Statesboro Blues”“Trouble No More”“Don’t Keep Me Wondering”“One Way Out”“In Memory Of Elizabeth Reed”“Hot ‘lanta”“Whipping Post”Warner Theatre (July 19, 2005) Set List

    Disc 1
    “Mountain Jam”
    “Statesboro Blues”
    “Firing Line”
    “Good Morning Little School Girl”
    “Midnight Rider”
    “The High Cost of Low Loving”
    “Trouble No More”
    “Mountain Jam (Reprise)”
    “The Night They Drove Old Dixie Down”
    “Don’t Keep Me Wonderin’”

    Disc 2
    “Into the Mystic”
    “Leave My Blues at Home”
    “Leave My Blues at Home (Reprise)”
    “Don’t Think Twice, It’s All Right” — featuring Susan Tedeschi
    “One Way Out”

    Allman Brothers Band
    The Big House Museum

    *Feature image courtesy of The Big House Museum

    Sugar Ray and the Bluetones ft. Little Charlie Baty to Release ‘Too Far from the Bar’

    Sugar Ray and the Bluetones ft. Little Charlie Baty to Release ‘Too Far from the Bar’

    Press Release

    The new album marks one of the last recordings from beloved/acclaimed guitarist Charlie Baty, who passed away unexpectedly in March of this year.

    Severn Records announces a September 18 release date for Too Far from the Bar, the new album from Sugar Ray and the Bluetones, featuring Little Charlie Baty. Produced by Duke Robillard, who also adds his tasty guitar licks to four tracks on the new disc, Too Far from the Bar was recorded at Severn Sound Studio in Annapolis, Maryland, and boasts a value-packed 15 tracks, including a number of original songs penned by the band’s members, showcasing their songwriting abilities as one of the group’s many strengths. The core band for the recording sessions was comprised of Sugar Ray Norcia – vocals and harmonica; Charlie Baty – guitar; Anthony Geraci – piano; Michael Mudcat Ward – acoustic bass; and Neil Gouvin – drums.

    The new album marks one of the last recordings from beloved/acclaimed guitarist Charlie Baty, who passed away unexpectedly in March of this year. Baty also contributed liner notes to the album, putting a perspective on when he first met and heard Sugar Ray Norcia and relating the genesis for them recording together.  He was in splendid form throughout the sessions, spicing up the songs with his retro guitar tones adding just the right touches to each track. “Little Charlie was so excited about this project and what a thrill it was to record together,” Norcia says about the sessions. “Charlie and I seem to have been cut from the same cloth and musically we were like two peas in a pod. On this recording, we swing, we jump and we get low down. Sadly I’ll miss my brother in the blues but his music will live forever.”

    “Producing this album was extremely special for me,” Robillard adds. “Sugar Ray and the boys – who I’ve known forever it seems – plus Little Charlie on guitar was obviously going to be a killer combination. There was just no doubt about it. Right from the first track it was in the groove. Ray and the guys had written some great material and Sugar pulled out a few obscure tunes that knocked me out. Helping pick takes and make suggestions was part of my job but the vibe and flow of the session made it smooth enough that I even jumped in for a few numbers! The band got to do a few tours with Charlie in the guitar seat and I was fortunate to do one of them on second guitar. These guys were so hot on this session they even set one of the multi-track tape machines on fire!”

    The incident Robillard is referring to is noted in the searing, appropriately-titled original instrumental, “Reel Burner,” which is also reprised at the end of the album on an alternate take. It’s one of nine original songs on Too Far from the Bar written by Norcia, Ward or Geraci.

    The cover tunes picked are the cream-of-the-crop, with “Don’t Give No More Than You Can Take,” a jumping number originally recorded by the 5 Royales kicking things off in grand style. Other choice covers come from the likes of Sonny Boy Williamson (“Bluebird Blues”), Little Walter (“Can’t Hold Out”), Jerry McCain (“My Next Door Neighbor’) and Otis Spann (”What Will Become of Me” – with pianist Anthony Geraci channeling the spirits of both Otis Spann and Pinetop Perkins), as well as the blues/jazz chestnut, “I Got a Right to Sing the Blues.”

    As Baty closes in his liner notes, “This historic CD features many original tunes and some spirited guitar exchanges between Duke Robillard and myself. It features the stellar vocals of Ray Norcia and his incredible harp playing. This recording showcases the enthusiasm and originality of two different forces of swing and jump blues, backed by a top notch band, and guided by one of the premier guitarists and producers of our generation. Blues aged like a fine cognac – don’t stray Too Far from the Bar!”

    Too Far from the Bar is the band’s eighth album for Severn Records and follows their highly-successful 2016 CD, Seeing Is Believing, which garnered them Blues Music Award nominations for Album of the Year, Band of the Year and Traditional Blues Album; plus individual nominations for Sugar Ray Norcia (Traditional Blues Male Artist, B.B. King Entertainer of the Year) and additional nominations for band members in their respective instrument categories. Their 2014 CD, Living Tear to Tear, grabbed seven Blues Music Award nominations.

    Sugar Ray and the Bluetones Severn Records

    *Feature image The Bluetones with Charlie Baty by Tom Hazeltine – courtesy of Mark Pucci Media

    ‘Of Course Black Lives Matter’: Dolly Parton Honored with Mural in Nashville

    ‘Of Course Black Lives Matter’: Dolly Parton Honored with Mural in Nashville

    Lauren Leadingham

    “As soon as you realize that [something] is a problem, you should fix it. Don’t be a dumbass. That’s where my heart is…”

    Dolly Parton made headlines last week when she voiced her support for anti-racism and anti-police brutality in a Billboard cover story. “I understand people having to make themselves known and felt and seen,” the septuagenarian said in the interview. “Of course black lives matter. Do we think our little white asses are the only ones that matter? No!”

    Unfortunately, and predictably, that statement didn’t come without denigratory commentary. Stuart Baker, who performs under the stage name Unknown Hinson, heedlessly characterized Dolly as a race traitor on his Facebook profile: “So, now this freak-titted, old Southern bimbo is a BLM Lover? Remember, slut, Rednecks made you a Millionaire!”

    Following the remarks, Baker’s Facebook page has been deleted and he’s also been fired from his longtime acting job as the main character on Cartoon Network’s Squidbillies. The music company who worked with him on his signature guitar model, Reverend Guitars, has since severed ties as well.

    Inspired by Dolly’s stance, Nashville-based artist Kim Radford painted a mural promptly memorializing the “Queen of Country.”

    View this post on Instagram

    “Of course black lives matter. Do you think our little white a**es are the only ones that matter” #dollyparton #ofcourseblacklivesmatter #kimradfordart #blacklivesmatter #nashville #eastnashville #nashvillemurals @dollyparton

    A post shared by Kim Radford (@kimradfordartist) on Aug 14, 2020 at 6:10pm PDT

    Radford completed the mural, which graces a wall at the 5 Spot music venue in East Nashville, on August 14th. She made this statement to CNN today:

    The day before I finished the mural, Dolly had an amazing press release about her upcoming Christmas album and her interview with Billboard. As I painted the final touches I knew her sassy loving quote, “Of course Black lives matter. Do we think our little White asses are the only ones that matter?” would be a perfect finish. This piece was a passion project and the timing was a happy accident coinciding with her press.

    You can find more of the artist’s work here.

    In case you missed it, here is a reimagining of “Jolene” about science-denying Karens:

    Diana Krall Previews New Album With “How Deep Is The Ocean”

    Diana Krall Previews New Album With “How Deep Is The Ocean”

    Lauren Leadingham

    Listen to the first single of Diana Krall’s upcoming album, ‘This Dream Of You’

    Canadian jazz pianist and singer Diana Krall will release her new album, This Dream Of You, on Verve Records September 25th. The first single from the album, “How Deep Is The Ocean,” is a slow-burning reimagining of the Irving Berlin classic.

    Krall self-produced This Dream of You back in May, working with sessions she recorded in 2016 and 2017 with the late Tommy LiPuma, her friend and longtime creative partner. Some of the tracks were recorded with a quartet: John Clayton, Jeff Hamilton and Anthony Wilson. Others were recorded with a trio featuring Christian McBride and Russell Malone. There are also some duo songs with pianist Alan Broadbent.

    This Dream of You is what Krall describes as a “long-playing record,” one that’s “very far from a record of outtakes or unfinished music.” She likens it to a movie you’d watch with that one friend whom you know will stay until the final reel. As Diana says, “If ‘But Beautiful’ is the overture, then ‘Singing In The Rain’ is the end title.”

    This Dream Of You – Tracklist

    1. But Beautiful

    2. That’s All

    3. Autumn In New York

    4. Almost Like Being In Love

    5. More Than You Know

    6. Just You, Just Me

    7. There’s No You

    8. Don’t Smoke In Bed

    9. This Dream Of You

    10. I Wished On The Moon

    11. How Deep Is The Ocean

    12. Singing In The Rain

    Pre-order ‘This Dream of You’

    The Doors’ Robby Krieger Releases First New Solo Album in 10 Years

    The Doors’ Robby Krieger Releases First New Solo Album in 10 Years

    Mascot Label Group

    The album features Krieger’s long time writing partner, co-producer and former Zappa bassist Arthur Barrow

    The legendary guitarist and songwriter of The Doors and Rock and Roll Hall of Fame inductee Robby Krieger will be releasing his first solo album in 10 years on April 24, 2020. The Ritual Begins At Sundown will be released via his new home at The Players Club, a division of the Mascot Label Group.

    The Doors weren’t just one of the most iconic bands of their generation, but one of the most influential bands in rock history and Robby Krieger was responsible for writing some of their biggest hits in ‘Light My Fire,’ ‘Love Me Two Times,’ ‘Touch Me’ and ‘Love Her Madly.’

    The Ritual Begins At Sundown is a 10 song instrumental record with 9 originals and one cover, the Frank Zappa song ‘Chunga’s Revenge,’ The album features Krieger’s long time writing partner, co-producer and former Zappa bassist Arthur Barrow, and Zappa alumni Tommy Mars (keyboards) and Chad Wackerman (drums). Highly recommended for Zappateers and fans of adventurous guitar histrionics.

    Robby Krieger


    Listen: Elvis Costello Releases “We Are All Cowards Now”

    Listen: Elvis Costello Releases “We Are All Cowards Now”

    Lauren Leadingham

    “I wanted the record to be vivid, whether the songs demanded playing that was loud and jagged or intimate and beautiful.” – Elvis Costello

    Today sees the release of Elvis Costello‘s “We Are All Cowards Now,” from a forthcoming album called Hey Clockface. The album is scheduled for an October 30th release date via Concord Records.

    Before the pandemic, Costello recorded several songs in Helsinki, alone in the studio and at the helm of every instrument. “We Are All Cowards” is the third advance bulletin from “The Helsinki Sound.” The other two songs from the solo session are “No Flag” and “Hetty O’Hara Confidential.”

    ‘Hey Clockface’ was recorded in Helsinki, Paris and New York and mixed by Sebastian Krys in Los Angeles. Of the Paris sessions, Costello states: “I sang live on the studio floor, directing from the vocal booth. We cut nine songs in two days. We spoke very little. Almost everything the musicians played was a spontaneous response to the song I was singing. I’d had a dream of recording in Paris like this, one day.”

    Attractions/Imposters keyboardist Steve Nieve, as well as Bill Frisell and Nels Cline make guest appearances on the album.

    The motion picture of “We Are All Cowards Now” by Eamon Singer & Arlo McFurlow features images of flowers & pistols; smoke & mirrors; tombstones & monuments; courage & cowardice; peace, love and misunderstanding.

    Pre-order ‘Hey Clockface’

    The Barrett Anderson Band Is Ready to ‘HypnoBoogie’ You on New Live CD

    The Barrett Anderson Band Is Ready to ‘HypnoBoogie’ You on New Live CD

    Press Release

    We wanted to play groovy music to get down to – Music that makes you feel something deep down, deep down.  That is HypnoBoogie.

    The Barrett Anderson Band announces a September 25 release date for their exciting new live album, HypnoBoogie, on Whitaker Blues Records. Captured during one show at The Fallout Shelter in Norwood, Massachusetts, on February 1 (by special arrangement with Bill Hurley),  HypnoBoogie packs all the energy and passion of the band’s legendary live shows their fans have come to expect on the new disc.

    The Barrett Anderson Band is Barrett Anderson – vocals and guitar; Charlie Mallet – guitar and vocals; Doug MacLeod – drums; and Jamie “Black Cat Bone” Hatch – bass and vocals

    HypnoBoogie features seven blazingly original songs that also allow the band excursions into the outer edges of the blues/roots genre, as well as four scintillating covers of songs from Bo Diddley -“Mona;” Magic Sam – “Lookin’ Good;” Son House – “Grinnin’ In Your Face;” and The J. Geils Band – (“Ain’t Nothin’ But a) House Party.”

    “We brought it,” Anderson says of that special night’s recording. “The Barrett Anderson Band delivered. We managed to capture the entire album in front of an audience that night – one take of each song – and we played hard. We boogied. We moved. We grooved. We let it all out, and once it’s out, it can’t go back in.”

    “We simply did exactly what we had hoped to,” Mallet chimes in. “We tuned in, closed our eyes, and played our music the only way we know how – with everything we have.”  “This is a live band,” MacLeod adds. “We improvise every night, striving for a feel or a spirit while letting the music guide us there.  We couldn’t have captured this in a studio. This soul, this energy, this vibe is something we all tune in to when we walk on stage.”  “HypnoBoogie is a mix of influences,” Hatch summarizes. “It’s not blues, although there are blues influences.  It’s not rock, although we’ve taken plenty of cues from The Rolling Stones.”

    Anderson started playing the guitar at 13, and shortly thereafter discovered and fell in love with the blues. His first professional experience came at age 15, backing up the legendary Pinetop Perkins and “Steady Rollin’” Bob Margolin. When he was 16, Anderson joined Ronnie Earl & The Broadcasters, who he played with from 1999-2002.  During this period, he was also heavily immersed in country blues, studying with Paul Rishell, and was particularly taken by Son House and Skip James. From 2002-2005, Anderson was a member of The Monster Mike Welch Band, and is featured on the 2005 recording, Adding Insight to Injury.

    In 2007, Anderson released his debut album, All The Way Down, recorded in North Mississippi and produced by Jimbo Mathus of Squirrel Nut Zippers. His second album, The Long Fall, was released in 2012 and featured an organ trio lineup consisting of Anderson, Ron Levy and Per Hanson, which had a five-year run. In 2013, he won a Boston Music Award as “Blues Artist of the Year,” edging out Roomful of Blues, and James Montgomery.

    “I’ve always valued originality in music,” Anderson states. “ I love the early days of Chicago blues, when Muddy, Wolf and Walter were inventing the genre every night in sweaty clubs full of people there to get down to business. I love Magic Sam and Junior Wells in the ‘60s, pushing the music forward by adding soul and R&B to the mix. I love Jimi Hendrix somehow synthesizing everything that came before into a beautiful squall of sound you could feel. Find influences where you can and celebrate them. Drive the music forward. Don’t treat music like a museum piece. We were striving to play songs that feel vital and alive on this album. We didn’t want to just play 12-bar blues shuffles all night. We wanted to play groovy music to get down to – music that makes you move, makes you swing and sway. Music that makes you feel something deep down, deep down.  That is HypnoBoogie.

    The sounds of Boston are embedded in the band’s DNA. “While I was a teenager in the ‘90s, there was a vibrant blues scene here,” Anderson recalls, “and it was easy to see national touring acts and local legends every night of the week – and I did. I took in all I could.”

    In addition to the blues influences he was soaking up, Anderson absorbed all the sounds of the diverse scene around him. “Morphine (the ‘90s “low rock” band led by 2-string slide bassist Mark Sandman) is one of my favorite bands,” Barrett says, “and you can especially hear that influence in the swampy, sultry groove in our song, ‘Emma Lee’.”

    The Barrett Anderson Band also acknowledges another one of Boston’s great groups, the mighty J. Geils Band, with a red-hot cover of a classic, “House Party,” that closes the album. “We all grew up with The J. Geils Band,” MacLeod says. “Regardless of what decade we grew up in, The J. Geils Band was part of it. It’s an honor to include ‘House Party’ on our album”… It just seems fitting.”

    “We’re trying to make something new; something that can stand tall next to our influences,” Anderson says. “We all get intense joy from making this music together and that joy is at the heart of this recording. This is the best music I’ve ever been a part of. This is a crystallization of everything – all the influences, emotions, sounds, and styles – I’ve been trying to capture since I first picked up the guitar 24 years ago.”

    Intensity, originality, creativity, and passion are at the heart of what The Barrett Anderson Band does, and they’ve managed to document all this on their powerful new release, HypnoBoogie.

    The Barrett Anderson Band

    *Feature image by Adam Signore

    Marcus King Raises $80,000 for MusiCares

    Marcus King Raises $80,000 for MusiCares

    JD Nash

    King also last week announced a string of drive-in shows, beginning in September, performing as Marcus King Trio

    24 year old phenom singer and songwriter, Marcus King, announced Four of A Kind, Live From Nashville live stream event series and auction raised $80,000 for MusiCares, with Spotify matching proceeds donated through their Spotify COVID-19 Music Relief project.

    The series took place over four weeks every Monday July 13 – August 3 and included notable musical guests such as Billy Strings, Brent Hinds from Mastodon, Jennifer Hartswick, Devon Gilfillian as well as singer-songwriter Early James. The event received widespread media acclaim from tastemaker media and was held in a safe and socially distant production space in Nashville and on-demand viewing of the performances ended yesterday. Watch performance clips including “Say You Will” here and “Honey” here.

    King also last week announced a string of drive-in shows, beginning in September. Performing as Marcus King Trio at outdoor venues up and down the Eastern United States. Dates and locations below.

    Friday, September 4 – Cape Cod, MA @ The Yarmouth Drive-in
    Saturday, September 5 – East Swanzey, NH @ Cheshire Fair
    Sunday, September 6 – Scranton, PA @ Circle Drive-In
    Tuesday, September 8 – Morris, CT @ South Farms
    Thursday, September 10 – Butler, PA @ Starlight Drive-In
    Friday, September 11 – Richmond, VA @ City Stadium Drive-In
    Saturday, September 12 – Kodak, TN @ The Smokies Stadium

    Marcus King Band MusiCares

    John Németh Signs With Nola Blue Records Announces New Album & Releases New Single

    John Németh Signs With Nola Blue Records Announces New Album & Releases New Single

    JD Nash

    Nearly two decades after his debut album,Németh returns to his roots for his tenth career release with some low-down blues and fresh rockin’ tunes.

    Nola Blue Records has announced the signing of eminent blues vocalist and harmonicist, John Németh. Stronger Than Strong, the forthcoming 12-track album produced by Németh and recorded at Electraphonic Recording in Memphis, features 10 original compositions.

    Németh says, “I am excited to be working with Nola Blue. The band and I had a ball cutting this record. I love the thrill of cutting live to a tape machine like all my favorite classic records. This young band is truly inspiring and have the experience to back me up. I felt the need to cut loose after rising from a crippling injury and struggling to stay positive through these trying times. My fans have been so good to me, it’s really unbelievable. I’m so grateful to share this record with the world right now. Enjoy!”

    Nearly two decades after his debut album, The Jack of Harps, Németh returns to his roots for his tenth career release with some low-down blues and fresh rockin’ tunes all delivered in his unmistakable vocal style and range. Joined in the studio by his touring band, The Blue Dreamers, 19 year-old guitar prodigy Jon Hay, Matthew Wilson on bass, and drummer Danny Banks all share backing vocal duties as well.

    Widely acclaimed internationally as both as a performer and recording artist, Németh is a tw0-time Blues Music Award winner and has received 18 BMA nominations, including five for B.B. King Entertainer of the Year. He is also a Living Blues magazine Blues Vocalist of the Year winner. Represented by Intrepid Artists International. Németh tours regularly, to the delight of a very loyal and ever-growing international fanbase.

    For label president Sallie Bengston, it is a thrill to welcome Németh to the Nola Blue family. “John represents the best of both worlds as a reverent advocate of traditional blues while infusing a contemporary approach to connect with today’s audience. He is engaging in every way.”

    Born and raised in Boise, Idaho, Németh moved to San Francisco in 2004. He spent the next nine years working with Anson Funderburgh, Junior Watson, Elvin Bishop and more. Relocating to Memphis, Tennessee in 2013, Németh both honors and continues the rich legacy of the music scene in his adopted hometown.

    Stronger Than Strong is set for release on October 16th. Pre-order the new album beginning tomorrow, August 14th, and receive the first single, “I Can See Your Love Light Shine.” Plans are also underway for a virtual album release event on Friday, October 16th.

    As I look out at my audiences, I see pure joy and radiance beaming from their faces. Music is such a powerful connection. It’s what keeps me going. I live to see your love lights shine. Thank you for your continued support! – John Németh

    John Németh

    *Feature image by Laura Carbone courtesy of Nola Blue Records

    11 Guys Quartet – “The Rona Stomp”

    11 Guys Quartet – “The Rona Stomp”

    JD Nash

    On the heels of their successful ‘Small Blues and Grooves’ album, the 11 Guys Quartet record this blues instrumental in isolation, “The Rona Stomp.”

    The 11 Guys Quartet is BACK!! After the glorious success of their recent release Small Blues and Grooves (no one was more surprised than them!) the band has come together (sort of) to record a brand new song in isolation, appropriately entitled “The Rona Stomp.”

    Small Blues and Grooves was recorded in 2008, and not released until this past January so this is the band’s first new recording in 12 years. Sounds like they have not lost their groove. Since the album was recorded SO LONG AGO, they seem to be eligible for A Blues Blast Music Award in the Vintage/Historical category!

    The 11 Guys Quartet are: Paul Lenart (guitar), Bill “Coach” Mather (bass), Chuck Purro (drums) Richard Rosenblatt (harmonica).

    Sturgill Simpson Set to Release ‘Sound and Fury’ Graphic Novel

    Sturgill Simpson Set to Release ‘Sound and Fury’ Graphic Novel

    Lauren Leadingham

    In conjunction with both the album and film, ‘Sound & Fury’ will now receive the graphic novel treatment

    Sturgill Simpson‘s 2019 album, Sound & Fury, came with an accessory in the form of a Netflix anime film by the same name. The film, set to the album, highlights a mysterious driver in a post-apocalyptic hellscape facing two opponents. Slated for November, Simpson and Z2 Comics will release the film’s prequel, Sound & Fury: The Graphic Novel, exploring the driver’s beginnings.

    The 144-page novel offers two different formats: a standard paperback version and a deluxe hardcover edition in a slipcase. Each is available for preorder. The project features the artwork of Rufus Dayglo, Deathburger, Rosi Kampe, Vasilis Lolos, and Takashi Okazaki.

    Deathburger artwork


    “Creatively this is one of the most ambitious projects we have published to date, with an incredible team behind it” says Z2 Comics publisher Josh Frankel. “The end result will not only be worth the wait, but will be one of the most complete realizations of any artist’s vision in the history of our company.”

    The singer-songwriter performed a bluegrass livestream concert at Nashville’s Ryman Auditorium this summer to raise money for MusiCares COVID-19 Relief, Special Forces Foundation, and the Equity Alliance. In April, Simpson said he tested positive for COVID-19 after a long struggle to find testing. Now in good health, he is working on a bluegrass album.

    Watch “A Good Look” from Sound & Fury below.

    Sturgill Simpson


    Blues Icons Elvin Bishop and Charlie Musselwhite to Release New Album

    Blues Icons Elvin Bishop and Charlie Musselwhite to Release New Album

    JD Nash

    The two history-making musicians – both Blues Hall Of Famers – are blues legends  in their own right, with over 100 years of professional musicianship between them.

    Alligator Records is pleased to announce the September 25, 2020 release of 100 Years Of Blues, the first-ever album by Rock And Roll Hall Of Fame guitarist Elvin Bishop and Grammy-winning harmonica master Charlie Musselwhite. 100 Years Of Blues is front-porch, down-home music with Bishop and Musselwhite trading licks and vocals on 12 rootsy, spirited songs, mixing nine originals with three reimagined classics.

    The two history-making musicians – both Blues Hall Of Famers – are blues legends  in their own right, with over 100 years of professional musicianship between them. They are among the most famous bluesmen in the world. Although they’ve known each other since the early 1960s and recorded as guests with John Lee Hooker (and other friends), this is the first time that they ever teamed up to make a full record. According to Musselwhite, “This is us sitting down to play the music that we love and resonating together effortlessly because we’re ‘coming from the same place’…on many levels.”

    The idea for the album was sparked in 2017 when the two icons laid down the original version of the song 100 Years Of Blues for Bishop’s Big Fun Trio album. They realized that, with their soul-deep understanding of the blues, they had a special musical chemistry between them. In 2019, Bishop and Musselwhite played a series of stripped-down shows – along with their mutual friend, master pianist/guitarist Bob Welsh – swapping songs and telling stories. The audiences went wild, and Elvin and Charlie had so much fun they knew they had to capture the magic in the studio.

    100 Years Of Blues is blues at its deepest, warmest and most engaging. “It all fell together so quickly and easily,” says Bishop. “We each brought about half the songs and recorded them all in one or two takes.” As for his cohorts, Bishop says, “Charlie is the real deal. He didn’t learn his licks off of records; he lived them. He’s always himself. And Bob Welsh is so versatile on guitar and piano. When you play with people who are real good, it ups your game too. I just did the best job I could.” Of Bishop, Musselwhite says, “Elvin is always a joy to play music with. We see things pretty much the same. Musically it’s like fallin’ off a log. It’s so easy and it just makes sense.”

    The album was recorded at Kid Andersen’s Greaseland Studios and Bishop’s Hog Heaven Studios in northern California. It was produced by Andersen and co-produced by Bishop, Musselwhite and Welsh. The laid-back, spontaneous nature of 100 Years Of Blues highlights the heartfelt passion of each performance. The richly detailed, autobiographical title track (freshly recorded for this album) tells Elvin’s and Charlie’s tales with sly good humor, recalling specific times and locations in their amazingly colorful lives. The potent “What The Hell?” finds Bishop taking on current events, winking an eye while speaking truth to power. Throughout the album, the interplay of guitar, vocals, harmonica and piano is virtually telepathic.

    Both Bishop and Musselwhite got their start in the early 1960s on Chicago’s blues-rich South Side. Bishop, from Oklahoma, befriended and was taught by guitarist Little Smokey Smothers. Musselwhite, from Memphis, was mentored by his pals Delta bluesman Big Joe Williams and harmonica master Big Walter Horton. Although they were young, white newcomers, Bishop and Musselwhite were accepted by the Black blues fans and by the established musicians because they were, like the bluesmen themselves, “from down home”, and also because they played the blues with real feeling. As Musselwhite explains, “It was great the way Elvin and I were not only welcomed but also encouraged by the blues giants of the day. When I first got to Chicago I was content just to hang out and socialize and listen to the great blues, but when Muddy Waters found out I played harmonica, he insisted that I sit in. That changed everything, because other musicians heard me and started offering me gigs. Boy, did that get me focused. I might not’ve ever had a career in music if men like Muddy hadn’t been so welcoming and encouraging.” Young Elvin was also welcomed onto South Side bandstands, gigging with Hound Dog Taylor, Junior Wells and J.T. Brown.

    Both men went on to win fame by introducing blues music to the rock and roll audience – Bishop with The Paul Butterfield Blues Band and his own genre-bending Elvin Bishop Group, and Musselwhite with his wide-ranging and influential recordings as leader of his own band. Both performed with and made friends with countless blues giants. They immersed themselves in the blues tradition before blazing their own trails, beginning with their initial recordings. As Bishop and Musselwhite began adventurously expanding the boundaries of the genre, the new audience eagerly went along for the ride. Although they had only occasionally crossed paths in Chicago, by the late 1960s — after Musselwhite and then Bishop relocated to California — they began regularly running into each other and became occasional fishing buddies. In the 1980s, they toured Hawaii together. In 2002, they headlined a national tour of performing arts centers, further cementing their friendship.

    Since then, Bishop and Musselwhite have continued touring with their own bands and creating critically acclaimed, award-winning music. Their stories – rich as they already are – are still being written, and this album is a new chapter. Their subtle, soulful musicianship and relaxed, conversational vocals fuel every song. Infused with their deep understanding of the blues tradition mixed with the good-time spirit these two old pals stir up, 100 Years Of Blues is one of the finest, most memorable recordings of either artist’s career.

    Elvin Bishop Facebook
    Charlie Musselwhite Facebook

    *Feature image courtesy of The Kurland Agency

    Black Stone Cherry to Release Seventh Studio Album, ‘The Human Condition’

    Black Stone Cherry to Release Seventh Studio Album, ‘The Human Condition’

    Steve Karas

    The guys went in with four songs, wrote some new ones and recorded a few beloved, unreleased favorites

    Black Stone Cherry is set to release their seventh studio album, The Human Condition, on October 30th via Mascot Records/Mascot Label Group. The collection will be available on Red Transparent Vinyl, Limited Edition CD Boxset and Digitally.

    The Human Condition was completed mere days before the COVID-19 lockdown was imposed and as events progressed, it became apparent that the album the Kentucky band were completing featured lyrics that were eerily prescient.

    “There was a real urgency and fear of the unknown during those sessions – it was a scary time,” recalls drummer, John Fred Young. “Every song on this album tells a story of the experiences we all go through – our happiness, our struggles, and how we have to adapt.”  The album’s opening lyrics are: “People, people, your attention please, I need to tell you about a new disease” (from “Ringin’ In My Head”). The song was written 4 years ago, but powerfully captures the hysteria around the COVID-19 outbreak. On “Push Down & Turn,” BSC masterfully use space to achieve crushing swamp-metal dynamics. The stirring track talks about mental health, boldly advocating getting treatment if you’re struggling. “I suffer from manic depression and I have severe anxiety. I want to convey it’s okay to go to a doctor and talk about these issues. There is no shame or stigma there,” vocalist / guitarist Chris Robertson shares.

    The Human Condition was self-produced and tracked in bassist Jon Lawhon’s recording facility, Monocle Studios. The guys went in with four songs, wrote some new ones and recorded a few beloved, unreleased favorites. For the first time, the band opted to not record basics live and instead meticulously multi tracked. Each member endured grueling sessions to ensure the collective studio mindset of achieving “epic performances.” The results are stunning; the grooves feel organic, the riffs are mountainous, the performances are urgent and the hooks shine gloriously.  Sonically, The Human Condition is one of BSC’s most visceral and hooky releases.  Guitarist/vocalist Ben Wells explains, “With this one, we cranked up the amps, the drums are in your face, and there are some really heavy riffs. After 19 years and 7 albums, we wanted to prove that we still kick ass. This album feels like a rebirth.”

    The complete track listing features, “Ringin’ In My Head,” “Again,” “Push Down & Turn,” “When Angels Learn To Fly,” “Live This Way,” “In Love With The Pain,” “The Chain,” “Ride,” “If My Heart Had Wings,” “Don’t Bring Me Down,” “Some Stories,” “The Devil In Your Eyes,” and “Keep On Keepin’ On.”

    “When I listen back to this record, I feel all these different emotions,” Lawhon says. “We started when we were teens, and life has taken its course, especially now. Through it all, your heart and your perspectives change, but one thing that hasn’t changed is our connection as friends.”  Chris affirms: “This is a brotherhood. It’s been amazing to stick around with all four original members and still be inspired. Here’s to 7 more albums and another 19 years!”

    Black Stone Cherry
    Pre-Order The Human Condition

    *Feature image © Mike Rodway courtesy of SKH Music

    “The Twist” Entered the Billboard Charts 60 Years Ago and Nothing’s Ever Been the Same

    “The Twist” Entered the Billboard Charts 60 Years Ago and Nothing’s Ever Been the Same

    Bob Merlis

    “The Twist” at 60 celebrated with physical releases of original ‘Twist with Chubby Checker’ album, plus ‘New Dancin’ Party: The Chubby Checker Collection’ + ‘The Twist’ 7″ EP!

    ABKCO Records has announced a celebration of the 60th anniversary of “The Twist,” Chubby Checker and the legendary Cameo Parkway labels with commemorative releases September 25th. The definitive album Twist With Chubby Checker album has been remastered and will be made available for the first time on vinyl since the 1960s this September.

    The date dovetails with the 60th anniversary of “The Twist” having first reached #1 on Billboard’s Hot 100 on September 24, 1960. A special 45 rpm 7” vinyl of “The Twist” with two B-sides will also be available along with the physical editions of the new, definitive Dancin’ Party: The Chubby Checker Collection (1960 – 1966) on both CD and LP. Dancin’ Party collects twenty-one tunes that includes seventeen Top 40 hits, twelve of which hit the Top 20; seven hit the Top 10 with two going to #1, including the pinnacle recording of “The Twist,” a single that two trips to the top. Pre-order here.

    Twist With Chubby Checker has also been remastered for a digital release, with the single for “The Pony” available immediately to stream and as an “instant grat” track with pre-orders of Twist With Chubby Checker.

    CD versions of two other newly compiled Cameo Parkway sets, You Got The Power: Cameo Parkway Northern Soul 1964 -1967 and You Can’t Sit Down: Cameo Parkway Dance Crazes 1958 – 1964 are also being made available on September 25. Pre-order here.

    In summer of 1960 “The Twist” was released and first hit the Billboard chart on August 1st, sixty years ago this week. The tune raced to the #1 spot on Billboard’s Hot 100 on September 24th a matter of weeks later.  Most remarkably, after the song was re-released in late 1961, it again arrived at the #1 spot on January 13, 1962, making “The Twist” the first record to occupy the #1 slot in two different run-ups, a feat unequaled to this day. The first release of the single in 1960 included “Toot” on the flip side and the 1961 version carried “Twistin’ USA” on its B-side.  In recognition of that singular achievement the newly remastered version of “The Twist” EP includes both “Toot” and “Twistin’ USA.”

    At the 2018 Rock and Roll Hall of Fame ceremony in Cleveland, a new class was inducted, this time in recognition of their respective impact on music and culture. First among these in terms of cultural and commercial transcendence was “The Twist” by Chubby Checker. Steven Van Zandt had the honor of inducting “The Twist,” recalling the song would, “along with The Pill, Hugh Hefner’s Playboy philosophy and Helen Gurley Browns’ ‘Sex and the Single Girl,’ be credited with starting the sexual revolution.”

    When Billboard celebrated the 50th anniversary of its Hot 100 singles chart in 2008, “The Twist” was declared the number one song of that half century span.  That designation was bestowed on the record again in 2013 and 2015 and, yet again, when The Hot 100’s 60th year was observed.  Each time, “The Twist” held on to the top spot among over 27,000 individual titles by more than 7,500 artists.  “The Twist” by Chubby Checker is in the National Recording Registry at the Library of Congress and was inducted into the Grammy Hall of Fame more than 20 years ago.  In its own time, “The Twist” was recognized by the Recording Academy as the Best Rock & Roll Recording at the 1961 Grammy™ Awards.

    Concurrent with the massive success of “The Twist,” Cameo Parkway became one of the industry’s most successful independent companies on par, in that era, with Motown.  It accrued a vast artist roster with a strong emphasis on dance-oriented hits and its shares were even traded on the American Stock Exchange, a first for a record label. Checker’s initial follow-up, “Let’s Twist Again” was emblematic of this as were his many other dance floor and chart successes which are all collected on Dancin’ Party: The Chubby Checker Collection (1960 – 1966).  

    You Can’t Sit Down: Cameo Parkway Dance Crazes 1958 -1964, features well known dance repertoire by the full spectrum of Cameo Parkway stars. Among whom are The Orlons, Dovells, Dee Dee Sharp, Bobby Rydell, The Applejacks and others along with Chubby Checker. Highlights are seven Top 10 hits including The Orlons’ “Wah-Watusi,” Dee Dee Sharp’s “Mashed Potato Time,” “The Bristol Stomp” and “You Can’t Sit Down” by the Dovells, “Slow Twistin’” by Chubby Checker and Dee Dee Sharp as well as Bobby Rydell’s “Cha Cha Cha” plus sixteen moreAs with the Dancin’ Party, You Can’t Sit Down includes liner notes by British music historian and author John Broven, author of Record Makers and Breakers (University of Illinois Press). 

    You Got The Power: Cameo Parkway Northern Soul 1964 -1967, a more specialized set, highlights the fact that numerous Cameo Parkway singles would go on to become part of the soundtrack of Britain’s Northern Soul lifestyle phenomenon. Northern Soul’s emphasis was on obscure yet danceable records, a number of which became the focus of a cult-like worship years after they were first issued.  Singles by Frankie Beverly & The Butlers, Bunny Sigler, The Orlons, Evie Sands, Candy and the Kisses, Christine Cooper and Eddie Holman are highlights of the 20-track collection.  The set includes liner notes by Ady Croasdell, DJ-founder of London’s 6Ts Rhythm ‘N’ Soul Club, home of Britain’s longest-running Northern Soul night.

    Twist with Chubby Checker (Remastered) – vinyl and digital                                                         

  •   Twistin’ U.S.A.                                                       
  •       The “Ooh Poo Pah Doo” Shimmy                                                                                
  •       The “C.C. Rider” Stroll     
  •       The Strand                                                                                                        
  •       The Chicken                                                                                                           
  •       The Hucklebuck                                                 
  •       The Twist                                                                                                               
  •       The Madison                 
  •       “Love Is Strange” Calypso                                                                                    
  •     The “Mexican Hat” Twist                                                                                                      
  •     The Slop                                               
  •     The Pony 
  • The Twist (Remastered) 7’’ EP and digital                                                                                                

  • The Twist                                                                                                                         
  • Toot                                                                                                                          
  • Twistin’ U.S.A. 
  • Dancin’ Party – The Chubby Checker Collection: 1960 – 1966 – CD 

  •     The Twist **
  •     The Hucklebuck 
  •     Pony Time **
  •     Dance The Mess Around 
  •     Let’s Twist Again **  
  •     The Fly **
  •     Dancin’ Party 
  •     Slow Twistin’ **
  •     Popeye The Hitchhiker **
  •   Limbo Rock **
  •   Let’s Limbo Some More 
  •   Twist It Up (single version) 
  •   Birdland (single version) 
  •   What Do Ya Say! 
  •   Loddy Lo 
  •   Hooka Tooka 
  •   Hey, Bobba Needle 
  •   Lazy Elsie Molly 
  •   (At The) Discotheque 
  •   You Just Don’t Know (What You Do To Me) 
  •   Hey You! Little Boo-Ga-Loo 

    You Can’t Sit Down: Cameo Parkway Dance Crazes 1958-1964 – CD 

  • The Twist – Chubby Checker 
  • The Wah-Watusi – The Orlons 
  • Bristol Stomp – The Dovells 
  • Mashed Potato Time – Dee Dee Sharp
  • You Can’t Sit Down – The Dovells
  • The Third House (In From The Right) – Bobby Rydell
  • Do The Bird – Dee Dee Sharp 
  • Slow Twistin’ – Chubby Checker w/Dee Dee Sharp
  • Shimmy Shimmy – The Orlons 
  • The 81 – Candy And The Kisses
  • (Everybody Do) The Swim, Pt 1- The Marlins
  • The Popeye Waddle – Don Covay
  • Do The New Continental – The Dovells
  • Baby, Do The Froog – Dardenelles
  • Rocka-Conga – The Applejacks
  • The Hucklebuck- Chubby Checker
  • The Mash – Tom Young & The Hippies
  • Mexican Hat Rock – The Applejacks
  • The Cha-Cha-Cha – Bobby Rydell
  • When You Dance – The Turbans
  • Everybody South Street – The Taffys
  • Twistin’ U.S.A. – Chubby Checker
  • You Got The Power: Cameo Parkway Northern Soul 1964-1967 – CD 

  •     You Got The Power – The Four Exceptions 
  •     Because Of My Heart – Frankie Beverly & The Butlers 
  •     (Whoa, Whoa) I Love Him So – Nikki Blu 
  •     Girl Don’t Make Me Wait – Bunny Sigler 
  •     It’s Rough Out There – Jerry Jackson 
  •     Envy (In My Eyes) – The Orlons 
  •     Picture Me Gone – Evie Sands 
  •     Country Girl – Vickie Baines 
  •     Night Owl – Bobby Paris 
  •   Village Of Tears – Ben Zine 
  •   You Just Don’t Know (What You Do To Me) – Chubby Checker 
  •   The 81 – Candy And The Kisses 
  •   Shake And Shingaling (Part 1) – Gene Waiters 
  •   S.O.S. (Heart In Distress)  – Christine Cooper 
  •   Eddie’s My Name – Eddie Holman 
  •   Pass Me By – Hattie Winston 
  •   The Grass (Will Sing For You) – Lonnie Youngblood 
  •   (Your Love Was Just A) False Alarm – Tari Stevens 
  •   Who Do You Think You Are – The Soul City 
  •   You Didn’t Say A Word – Yvonne Baker 

    Alison Mosshart Releases Album ‘Sound Wheel’ and Art Book ‘CAR MA’

    Alison Mosshart Releases Album ‘Sound Wheel’ and Art Book ‘CAR MA’

    Press Release

    For a multi-disciplinary artist like Mosshart working on a variety of projects, now including her own music, is exactly how she likes it.

    Alison Mosshart (The Kills, The Dead Weather) has revealed details of Sound Wheel, her first solo spoken word album and companion piece to her printed collection of paintings, photographs, short stories and poetry, CAR MA. Both were released August 7th on Third Man. CAR MA’s first limited edition print run sold out in one day upon release in May 2019. It will now be made widely available for the very first time via Third Man Books.  The Special Edition bundle includes both hardcover, signed, limited edition CAR MA book and limited edition vinyl Sound Wheel LP, available direct from Third Man only.

    Sound Wheel is an album about cars, rock n’ roll, and love. It’s an album about America, performance, and life on the road. It’s an album about fender bender portraiture, story tellin’ tire tracks, and the never-ending search for the spirit under the hood.

    Mosshart imagines the auto body shop like some other Coney Island. And America’s highways – the last great roller coasters. She shows us that the engine on fire is connected to the guitar feeding back since birth. And the sensation of walking on stage and facing an audience is like the laugh before the scream in a car without brakes.

    She ruminates that automobiles- with their doors and mirrors and windows, engines and wheels and radios- portray us. Mirror our need to be in or to exit, our inward reflections and outward visions, our lifetimes of tinkering with the mysterious heart. That which runs until it doesn’t.

    Throughout history the car has been a symbol of freedom and hopeful adventure. It stands to reason it is also a symbol of our subsequent spinning out… over things we never thought could happen during a song that f’king good with the volume up that f’king loud.

    Baby Ruthless, the gnarly lead singer of blues-punk foursome The Dead Weather, Mosshart is a forever moving force. Over the years she’s collaborated with everyone from her Dead Weather bandmate Jack White to the Arctic Monkeys, Primal Scream, Gang Of Four, Cage The Elephant, Foo Fighters, James Williamson and Mini Mansions. But her new and boldest move yet finds her embracing her solo bonafides.

    For a multi-disciplinary artist like Mosshart — whose paintings have been shown in galleries across the world, and who recently published her first book, CAR MA, a collection of her art, photography and writing that doubles as a love letter to automobiles  — working on a variety of projects, now including her own music, is exactly how she likes it.  Currently, she is working with Jamie Hince on the next Kills record and dreams of the day in the hopefully not so distant future, (pandemic-willing) when they’ll be back on the road with exciting new music to share.

    CAR MA (Special Edition) & Sound Wheel (Limited Edition) Bundle Third Man Store

    *Feature image by David James Swanson

    Little Days New Single – “Touch Me”

    Little Days New Single – “Touch Me”

    JD Nash

    “Touch Me” is an intimate piece about the energy that transfers between lovers through the power of touch.

    Mini Diaz and Gov’t Mule bassist Jorgen Carlsson met at The Grove School of Music in 1991. Jorgen was enrolled in the bass program while Mini worked there as a supervisor for the students in the recording engineering program. They hit it off so well, they became life partners. Mini writes, sings, plays guitar, ukulele and has occasionally been playing the role of a co-producer and recording engineer.  Jorgen produces as well as writes, engineers, and plays various instruments.  In the turn of the millennium, two records were conceived when they began to release their independent albums in the hopes of getting a publishing deal for the studio band they affectionately call “Little Days”. In 2008, Jorgen joined Gov’t Mule, but in between a busy touring schedule these last several years, they have found time to rekindle Little Days and continue working on new song ideas.

    We spoke to Jorgen last year just before the release of their album Pop & Tacos. Today they release the more Americana flavored single, “Touch Me.”

    Some call it fate but Jorgen and Mini call it luck. Back in 2016 Little Days’ recording studio, Rogers Boat, had a break in.  Among the loot were hard drives containing works in progress.  At the time, Jorgen was busy touring with Gov’t Mule so they thought the opportunity to re-record wouldn’t happen anytime soon and were saddened about the fact that the magic was lost. Fast forward to COVID19 lockdown. With extra time on their hands a deep “spring cleaning” ensued and back up drives of their work were discovered giving Jorgen and Mini a second chance to finish what they started. Vocal and bass tracks were redone and now “Touch Me” is ready to be introduced to the world and is the first single of a series Little Days lovingly call The Lost File Sessions.
    Listen to and purchase “Touch Me”

    Single: “Touch Me”

    Release Date: 8/7/20

    Genre: Rock (Americana/Folk)

    Musician Credit: Erik Eldenius; Drums (Billy Idol)

    Jeff Young; Organ & Wurlitzer (Jackson Browne) 

    Jorgen Carlsson; Bass, Guitars & Percussion

    Mini Diaz; Vocals

    Description:An intimate and sexy number about the energy that transfers through touch between lovers. 

    Song Writers: Jorgen Carlsson, Mini Diaz & Holly Mathis

    Follow up to Little Days’ 2019 Pop & Tacos

    Little Days

    Listen: Previously Unreleased Tom Petty ‘Wildflowers’ Track

    Listen: Previously Unreleased Tom Petty ‘Wildflowers’ Track

    Lauren Leadingham

    “There Goes Angela (Dream Away)” was recorded during the making of ‘Wildflowers’

    Tom Petty’s Wildflowers album (1994) is commonly hailed as his solo masterpiece, but you may not know that half of those recordings actually ended up on the cutting room floor. Which is why the Petty estate is prepping the release of an expanded version of Wildflowers soon. Details to be announced.

    Following the 8-track demo version of “You Don’t Know How It Feels,” which served as a teaser for the imminent project, is another unearthed demo called “There Goes Angela (Dream Away).” You can take the fun quiz on the Tom Petty page and unlock the song, or you can listen below.

    *Feature image courtesy of the artist’s page

    New Pre-order from Loma – ‘Don’t Shy Away’

    New Pre-order from Loma – ‘Don’t Shy Away’

    Sub Pop

    New album from Loma out October 23 via Sub Pop

    On December 26th, 2018, Emily Cross received an excited email from a friend: Brian Eno was talking about her band on BBC radio. “At first I didn’t think it was real,” she admits. But then she heard a recording: Eno was praising “Black Willow” from Loma‘s self-titled debut, a song whose minimal groove and hypnotic refrain seem as much farewell as a manifesto: I make my bed beside the road / I carry a diamond blade / I will not serve you. He said he’d had it on repeat.

    At the time, a second Loma album seemed unlikely. The band began as a serendipitous collaboration between Cross, the multi-talented musician and recording engineer Dan Duszynski, and Shearwater frontman Jonathan Meiburg, who wanted to play a supporting role after years at the microphone. They’d capped a grueling tour with a standout performance on a packed beach at Sub Pop’s SPF 30 festival, in which Cross leapt into the crowd, and then into the sea, while the band carried on from the stage—an emotional peak that also felt like a natural ending. “It was the biggest audience we’d ever had,” she says. “We thought, why not stop here?”

    Following the tour, Cross went to rural Mexico to work on visual art and a solo record, while Meiburg began a new Shearwater effort. But after a few months apart (and Eno’s encouraging words), the trio changed their minds and reconvened at Duszynski’s home in rural Texas, where they began to develop songs that would become Don’t Shy Away.

    Loma writes by consensus, and though Cross is always the singer, she, Duszynski and Meiburg often trade instruments. Meiburg compares their process to using a ouija board, and says the songs revealed themselves slowly, over many months. “Each of us is a very strong flavor,” he says, “but in Loma, nobody wears the crown, so we have to trust each other—and we end up in places none of us would have gone on our own. I think we all wanted to experience that again.” The album that emerged is gently spectacular—a vivid work whose light touch belies its timely themes of solitude, impermanence, and finding light in deep darkness. Stuck / beneath / a rock, Cross begins, as if noticing her predicament for the first time. Then she adds: I begin to see / the beauty in it.

    Listen to the single, “Ocotillo,” from forthcoming Don’t Shy Away.


    Keep the Music Playing with ‘Save our Stages’ Campaign

    Keep the Music Playing with ‘Save our Stages’ Campaign

    Lauren Leadingham

    Your voice matters. Help to save our stages!

    The time is now to help save our beloved independent music venues. Today, the National Independent Venue Association is asking music lovers for a final push of letters to Congress. There won’t be another opportunity. Please help #SaveOurStages now. By filling out a simple form, tell your legislators to support the RESTART act, which would financial aid in various forms to small businesses such as venues.

    The mission of the National Independent Venue Association (NIVA) is to preserve and nurture the ecosystem of independent live music venues and promoters throughout the United States. They estimate that without assistance in the shape of such grants and other governmental assistance, as many as 90% of independent music venues could be lost with a projected $9 billion in losses if ticket sales don’t resume before 2021. The Ticket Refund Tax Credit would sustain venues and promoters while they refund tickets for canceled shows.

    “Our members told us months ago that if the shutdown lasted six months or longer and there wasn’t federal relief to hold them over, 90% of them would fold permanently,” Dayna Frank, president of NIVA and CEO of First Avenue Productions, said in a statement. “With no revenue and immense overhead, four months in, it’s already happening. The warning light is flashing red, and our only hope is for legislation like Save Our Stages Act or RESTART Act to be passed before Congress goes on August recess. Otherwise, most businesses in this industry will collapse.”

    Support NIVA More info on RESTART Act

    Kronos Quartet Honors Pete Seeger on ‘Long Time Passing’

    Kronos Quartet Honors Pete Seeger on ‘Long Time Passing’

    Lauren Leadingham

    “Education is what you get when you read the fine print. Experience is what you get if you don’t.” – Pete Seeger

    Pete Seeger, a lodestar for post-war America, had always been present: civil rights demonstrations, protest marches, picket lines. And for yet another generation sacrificed on the altar of tribalism and willful ignorance, Seeger is still present in spirit and legacy.

    Smithsonian Folkways and the GRAMMY-winning Kronos Quartet are honoring the music, political philosophy, and social impact of Pete Seeger with upcoming album Long Time Passing: Kronos Quartet and Friends Celebrate Pete Seeger. You can pre-order the Freshgrass Foundation-commissioned album on CD, double LP, and digital, out October 9.

    While a string quartet might not be the first artists you associate with a folk giant, San Francisco’s Kronos Quartet (David Harrington, violin; John Sherba, violin; Hank Dutt, viola; Sunny Yang, cello) stemmed from protest. In response to the Vietnam War, Harrington was inspired to form the quartet in 1973. Kronos have cut more than 60 albums exemplifying Seeger’s worldview and message of peace — whether it’s speaking truth to power (1996’s Howl, U.S.A.) or sharing its platform with a global community of artists (including Homayun Sakhi and Alim and Fargana Qasimov on Folkways’ 2010 release Rainbow: Music of Central Asia Vol. 8). Citing the live album We Shall Overcome, Harrington says, “Pete Seeger has been part of my life for as long as I can remember.”

    Joining the group are Sam Amidon, Maria Arnal, Brian Carpenter, Lee Knight, Meklit, and Aoife O’Donovan. Kronos’ and Jacob Garchik‘s arrangements movingly interpret Seeger’s banjo-playing with two violins, viola, and cello. Together, the collective gives further expression to Seeger’s songs of struggle and makes clear the continued moral imperative.

    For the Pete Seeger superfan, you can purchase Long Time Passing as part of the Spirit of Seeger Bundle, including Pete Seeger: The Smithsonian Folkways Collection, released in 2019 in celebration of Pete Seeger’s 100th birthday, and featuring all of Pete’s classic songs plus previously unreleased material. As a bonus you also get a limited-edition t-shirt featuring art from Pete’s classic release, Where Have All the Flowers Gone?

    If you’re interested in hearing more from Kronos Quartet, pick up the Kronos Quartet on Folkways Bundle, which includes the group’s 2010 album Rainbow from the Music of Central Asia series, showing the groundbreaking quartet performing music from Azerbaijan and Afghanistan. Each release has been discounted, but these bundles will only be available until October 9.

    Listen to the first single from Long Time Passing below.

    Kronos Quartet Smithsonian Folkways Recordings