2017 release. Together at last! Two folk legends of Laurel Canyon's countercultural music scene join forces on this gorgeous album of all new recordings! Features captivating versions of classic tunes by fellow folk icons Bob Dylan and Leonard Cohen plus a few of their own compositions!
Chris Hillman, whose credits include co-founding Rock and Roll Hall of Famers the Byrds, as well as the Flying Burrito Brothers, Manassas and Desert Rose Band, is truly one of the architects of American music. His newest solo work, Bidin' My Time, produced by Tom Petty and executive-produced by Herb Pedersen, captures a rarity: an icon who has never sounded better, making music with old friends for the sheer love of it. Collaborators and admirers from Hillman's storied career appear throughout the record: Tom Petty; Hillman's Byrds bandmates David Crosby and Roger McGuinn; the Heartbreakers' Benmont Tench, Mike Campbell, and Steve Ferrone; Desert Rose Band's John Jorgenson, Pedersen, and Jay Dee Maness; premier upright bassist Mark Fain; singer/guitarist Josh Jové; and fiddler Gabe Witcher. The album kicks off with a new recording of Pete Seeger's and Welsh poet Idris Davies' 'The Bells of Rhymney,' which the Byrds recorded for their debut. 'Here She Comes Again' was co-written by Hillman and McGuinn and, until now, had only been recorded on a live Byrds album in Australia. 'She Don't Care About Time' was written by Byrds co-founder Gene Clark, and was the original B-side to 'Turn! Turn! Turn!' Covers of the Everly Brothers' 'Walk Right Back' and Petty's 'Wildflowers' round out this understated yet undeniable masterpiece. Folk, rock and roll, bluegrass and the unmistakable country-rock Hillman himself helped pioneer come together seamlessly on the triumph that is Bidin' My Time.
This record is the product of a strange and interesting time. When I started writing Gathering, I felt tired of living in the shadow of my earlier self, my earlier work, but more than discouraged, I felt charged with the possibility and the freedom of cutting myself loose from my own and others expectations. I began with an exciting sense of dissatisfaction, and what emerged, as I began to find my voice, was a record full of storms. Some, like Feels Like Lightning or Friendamine, are physical storms. Others, like Dreams, are interior ones. Listening to these songs now, I hear uncertainty, mania, laughter and sadness, all vying for their place on the album. I was surprised by the new voice.
I have been writing records for almost twenty years now. Each one has been different from the last in subject and form, but with Gathering I feel I've found a new electric dissatisfaction, a new way to rejoice as the storm rolls in.
Digitally remastered CD/DVD edition including bonus tracks and DVD. Location is everything. When Willie Nelson and album producer Daniel Lanois set out to create a cinematic-sounding album, Teatro, they took over a disused movie theatre in Oxnard, California, and pictured it's dusty glory on the cover art. Recorded as-live in situ amid the red velvet seats, Teatro sees Nelson working extensively with his frequent collaborator Emmylou Harris, who joins him for duets and on backing vocals. The other major player is Daniel Lanois, who produces the album, plays guitar and bass, took the cover photo and wrote one of the album's songs, "The Maker", a stunning performance with glacier-thick vibe. Reinvention is key on Teatro, with Nelson revisiting a number of songs he first wrote in the 1960s, including 1968's "I Just Can't Let You Say Goodbye" and 1962's "I've Just Destroyed the World" and "Three Days". Though the songs are familiar, the sounds aren't: Teatro found Nelson experimenting with rhythms and flavors as never before, from the Spanish-influenced "Darkness On The Face Of The Earth" to the double-drum-kit percussive groove of "My Own Peculiar Way". Originally released by Island Record in 1998, Teatro is issued here for the first time as a double disc set, including the original album plus 7 unreleased bonus tracks from the sessions. Disc two is a complete live performance of the album, directed by Wim Wenders, filmed during the album recording sessions and available here for the first time on DVD
The Lone Bellow's earnest and magnetic folk-pop was built to shake the rafters - it's hooky and rousing and performed with absolute commitment. It has been since the beginning and continues with their new album Walk Into a Storm. Recorded at the legendary RCA Studio A in Nashville, TN, the album was produced by Dave Cobb (Chris Stapleton, Sturgill Simpson, Jason Isbell) and includes the first single, Time s Always Leaving.
Whether or not you subscribe to the adage that the devil always has the best music, you can take it on faith that anytime he pops up from a cameo in a Ray Wylie Hubbard song, the results are gonna be pretty damned entertaining. And as any fan of the Hubbard cannon knows, Old Scratch pops up in his songs a lot nearly as often as all of Hubbard's wise-cracking black birds, lyrical and musical nods to Lightnin' Hopkins, bad-ass women (usually Hubbard's own wife, Judy), and a myriad of other grifters, ruffians, and scrappy cats of the gnarly and general lowdown variety. Somewhere or another on just about every Ray Wylie Hubbard album, the devil gets his due and he's now even worked his way up to the top billing on his acclaimed songwriter's latest, Tell the Devil I'm Gettin' There as Fast as I Can.
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Maybe it was an epiphany of sorts. As Buck tells it, “One day I was watching Austin City Limits and Dwight Yoakam was on, then he dedicates the program to ‘Buck Owens.’ So I said, I’m going to see what this kid is like.” It wasn’t long after that he was on stage with Dwight singing his old hits. Buck was bitten by the bug to return to music, after calling it quits almost ten years earlier. This man from Sherman, Texas - probably best-known as the wide-grinning rube on Hee Haw for so many years - started a country music revolution. Or more accurately, a counter-revolution. It was called “The Bakersfield Sound.” He and fellow revolutionary Merle Haggard were cranking out raw, hard-driving honky-tonk music that stood the country-pop coming out of Nashville on its head. When Buck Owens and the Buckaroos would launch into “I’ve got a tiger by the tail, it’s plain to see....!” the packed crowds would be on their feet and headed for the dance floor. Along the way Buck inspired none other than The Beatles to record their first country song, his classic “Act Naturally,” and the master of soul, Ray Charles, to immortalize one of the best-known country songs ever, “Crying Time.” Buck always loved his home state, and once flew to Austin on his private jet to make surprise visit to a club that celebrated a “Buck Owens Birthday” night every year. He was also one of the few artists to ever write a handwritten note thanking us for inviting him on the show. “Many thanks,” he wrote, “it is very representative of what I am all about.” In my mind, Buck Owens will always be a rock star. - Terry Lickona (Producer Austin City Limits)
Twenty-something Dwight Yoakam was literally the new kid in country music when he stepped onto the Austin City Limits stage in October 1988. But even then, as he has ever since, he was doing things his own way. Dwight was born in a small Kentucky town and grew up listening to mountain and bluegrass music, and unlike most of the mainstream country-pop crooners of the eighties, he almost single-handedly revived the rockabilly / honky tonk / hillbilly sound that was one of the cornerstones of country music’s formative years. Early on he discovered the fabled “Bakersfield” sound of the 60’s and adopted it as his own, in the tradition of country legends Merle Haggard and Buck Owens. Buck, in fact, became his hero and friend. When Dwight was playing a fair in Bakersfield, he stopped by Buck’s office and coaxed him into playing a few songs with him onstage that night. The result was a lasting friendship and their historic duet, “Streets Of Bakersfield.” Much like his heroes, Dwight has been true to his roots and breaking new ground for almost 20 years. - Terry Lickona (Producer Austin City Limits)
One of the most influential singer-songwriters of all time releases his latest studio album, The Laughing Apple. The Laughing Apple features original songs and covers, though the covers on this album are Yusufs own. He celebrates some of his earliest material, with new presentations of the songs. Conceptually, The Laughing Apple returns to the journey of the Tillerman, as he recalls his travels and life lessons to a younger generation. The albums cover features Yusufs own illustration, the first time he has designed one of his covers since 1972. Yusuf has drawn additional works of art for each of the 11 songs on The Laughing Apple.
THOMAS RHETT scored his first hit in 2012, introducing a sound that mixed the southern swagger of Country music with Pop hooks, R&B grooves, soulful strut and the anything-goes attitude of Rock. During the years since, thanks to eight chart-topping singles, he is now a headliner of massive arenas. And, he's become a husband. A father, too. His third release, LIFE CHANGES will be released on September 8, 2017 with The Valory Music Co.
Multi-PLATINUM singer/songwriter Kip Moore announces his upcoming third studio album SLOWHEART, available Sept. 8. Moore, who was inspired to name the release after his fiercely loyal fans who have adopted the name SLOWHEART themselves and who "defines himself by his honesty, which feeds directly into his music, which earned him a fan base of die-hards and helped make him a breakout star in Nashville,” (Washington Post) gave fans the opportunity to view and share the album cover first via social media. The cover image, taken in Costa Rica during Kip’s extended break earlier this year, speaks to the personal nature of the collection which Rolling Stone praises for its "gut-punch of a vintage album, the vocals out front and clear as crystal."
"My former guitar player called me a ‘slowheart’ many years ago, claiming I don't just jump the gun and show all my cards or my emotions on what I truly feel," said Moore. "He always said 'you're a slowheart, man...you observe before you act.' I eventually named the band the slowhearts, and my fans are the slowhearts too. And so, its only fitting that the record I've been waiting to make, was named SLOWHEART."
Co-written by Moore, his current Top 15 single and the lead track “More Girls Like You,” is the fastest rising single of his career so far and is receiving praise from critics such as Entertainment Weekly declaring he “has made a name for himself weaving vignettes of Southern, blue-collar life and love into rollicking country anthems.” As he "consistently serves up clever roots-rock riffs and rhythms that separate Moore from the rock-meets-rap focus of his Nashville peers" (Associated Press), the release of "More Girls Like You" follows the acclaim that surrounded his sophomore album WILD ONES heralded as "an impressively singular release from Music Row" by The Guardian. Moore first turned heads with his debut album UP ALL NIGHT which was certified GOLD by the RIAA and spawned three No. One hit singles including GOLD certified "Beer Money," PLATINUM certified "Hey Pretty Girl," and the DOUBLE PLATINUM breakout hit "Somethin' 'Bout A Truck. Following an extended break, Moore is back out on the road playing some of country music’s biggest festivals this year, as well as headlining dates in U.K this fall stopping in Birmingham, UK (10/2), Manchester, UK (10/3), Glasgow, UK (10/4) and culminating in a special show as part of Country Music Week in London, UK at O2 Shepherd’s Bush Empire on 10/6. Moore will also return to Ireland later this summer for Harvest 2017, stopping in Westport, IE (8/26) and Enniskillen
On Songs of Bob Dylan, Joan Osborne unleashes her sizable gifts as a vocalist and interpreter upon The Bard's celebrated canon. With performances honed by the time Osborne spent polishing them during 'Joan Osborne Sings The Songs Of Bob Dylan' two critically acclaimed two-week residencies she performed at New York City's Café Carlyle in March 2016 and 2017, the seven-time Grammy-nominated, multi-platinum-selling singer and songwriter, whom The New York Times has called 'a fiercely intelligent, no-nonsense singer,' winds her supple, soulful voice around Dylan's poetic, evocative lyrics, etching gleaming new facets in them along the way.