Music Releases 04-12-19
While he was working on Oxnard, the ever-ambitious Anderson .Paak was recording Ventura at the same time. As he explains it, both albums showcase the duality that has inspired the Grammy-award winning artist throughout his career. “Growing up in Oxnard gave me the grit and the church to find this voice of mine. One town over I went further and found my depth. [I] held one [album] back because that would have been too many songs to perform live!” Now with a more soulful sound representative of the beautiful, scenic Ventura, Anderson .Paak gives us “King James”, “Make It Better”, and more – with features including Smokey Robinson, André 3000, Nate Dogg among others. Welcome to Ventura!
On April 12, nine-time GRAMMY-winning singer-songwriter Norah Jones is releasing Begin Again, a collection of singles that gathers seven eclectic songs that Jones has recorded over the past year with collaborators including Jeff Tweedy and Thomas Bartlett. Begin Again will be released on 12” vinyl, CD, and as a digital album and features the new song “Just a Little Bit,” which was produced by Jones and features her on vocals, piano, and organ along with Brian Blade on drums, Christopher Thomas on bass, Dave Guy on trumpet, and Leon Michels on tenor saxophone. The singles Jones began releasing last summer ran the gamut from riveting electronic experiments to starkly acoustic folk ballads to organ-and-horn drenched soul songs. With the addition of three more previously unreleased songs, Begin Again presents seven snapshots of creativity from one of the music world’s most versatile and consistently intriguing artists.
With the release of his new record, 99 Cent Dreams, Eli Paperboy Reed begins his second decade as an artist much in the same way he began his first: in love with soul music. Reed is ten years wiser this time around, writing with the kind of freewheeling confidence. The result is the finest of his career. Cut at the legendary Sam Phillips Recording in Memphis, TN, and produced by Matt Ross-Spang (Jason Isbell, Margo Price), 99 Cent Dreams is exuberant, a celebration of life delivered by an ecstatic messenger. Reeds arrangements on the album are lean, filtering vintage R&B, soul, and gospel through the heart of a modern songwriter. His stunning voice remains front and center but his performances have matured, a sign perhaps of the newfound perspective hes gained with fatherhood. Fueled by love and hope, this is a collection that, despite its moments of loneliness and pain, ultimately insists on seeing the bigger picture, on recognizing each and every day for the gift that it is.
The Ghost of Ohio, the second album released under the Andy Black moniker, is both a soundtrack to its comic book graphic novel counterpart and a thrilling standalone record of diverse anthems and ballads, in pursuit of a muse that transcends genre. The Ghost of Ohio saw Andy return to longtime collaborator John Feldmann, the producer and songwriter whose discography includes multiple Number One rock albums and gold/platinum certifications, including releases from Blink-182, 5 Seconds Of Summer.
This Wild Willing is Glen Hansard’s fourth solo album. Written and created in Paris, France with a band of brothers; new friends and old, more than 24 musicians collaborating on the album. From his partners in The Frames (Joe Doyle) and Swell Season (Marketa Irglova & Joe Doyle), to his touring family of players , to three Iranian brothers he met in Paris (the Kroshravesh brothers) , Glen brought together a group of global talents who each left an indelible mark on this recording. “It became quickly apparent in the studio we were onto something interesting. I was finding new ways into the existing songs and we were improvising new ideas every day. When you surround yourself with great musicians and do your best to keep up, stay loose, give little direction, and allow everyone to bring what they bring, something transformative may happen. This collection of songs is mainly made up of those that came through while improvising and following the melodic lines and threads. Sometimes when you take a small musical fragment and you care for it, follow it, and build it up slowly, it can become a thing of wonder. In this sense, some of these songs weren’t written in the traditional form; they were ideas followed to a conclusion. I want to thank all these great musicians for coming and giving these songs their best. All a song wants is to be heard. I hope something in this music can be of use to you. I know it’s been of great use to me to make it. Beauty is in the ear of the behearer.”
Known for his outspokenness, impassioned live show and Outlaw Country tunes, Aaron Lewis is back with new album STATE I’M IN, the follow-up to SINNER, which went No. 1 on Billboard’s Top Country Albums, Top 200 Albums, and Top Digital Albums Charts. Lewis, who fronted the wildly-successful Rock group Staind, sold 13 million albums worldwide and four consecutive top three debuts on Billboard’s Top 200, including the single “It’s Been Awhile,” which remains the most-played rock song of the decade.
Like their acclaimed ECM release Small Town of 2017 which The Guardian called "wistful and mesmerizing... tonally ingenious and haunting" Epistrophy by guitarist Bill Frisell and bassist Thomas Morgan was recorded at New York City's Village Vanguard. The new album once again captures the rare empathy these two players achieve together in this intimate environment. There are further poetic takes on pieces from the duo's beloved Americana songbook ("All in Fun," "Red River Valley," "Save the Last Dance for Me"), as well as another intense version of a composition by Paul Motian ("Mumbo Jumbo"), an artist whom both the guitarist and bassist knew well. Frisell and Morgan communicate the essence of Billy Strayhorn's "Lush Life" and the Frank Sinatra hit "In the Wee Small Hours of the Morning," so much so that the famous words seem to hang in the air even without a singer. At the center of the album is a pair of pieces by Thelonious Monk: the funky, angular "Epistrophy" and the ruminative ballad "Pannonica." And as with "Goldfinger" on Small Town, Frisell and Morgan offer a glowing duo interpretation of a melody-rich John Barry title tune from a James Bond film "You Only Live Twice."
On her fifteenth studio record, Melissa Etheridge presents her first original material since her 2014 album, This Is ME, following her critically acclaimed Stax tribute record, Memphis Rock and Soul. Produced by longtime collaborator John Shanks, The Medicine Show features some of her most honest songwriting to date, paired with beautiful instrumentation and her signature roaring guitar. Not only topically relevant in 2019, The Medicine Show further solidifies Etheridge’s in the current music scene and reminds us why Etheridge has remained one of America’s favorite female singer-songwriters for more than two decades.
As menacing and unhinged as ever, the pride of Staten Island is back with their fifth full-length offering, V. Raw and absent of the modern technological trappings, the Budos pick up where they left off with 2014s Burnt Offering, and finds the group expanding on the brooding, fuzz-fueled riffs, whilst harkening back to the Ethiopian inspired rhythms and percussive proclivity that put Budos Band on the map.
Shovels & Rope is one of the hardest-working bands out there today. Throughout their career, Cary Ann Hearst and Michael Trent have constantly been touring, and all the while they’ve made music wherever they can, and recently they’ve taken on two giant new challenges; raising a (growing) family, and helming a successful music festival, Charleston’s High Water Festival. Their new album By Blood is a gritty, powerful look into their lives and the world around them, with tender songs commenting on their relationship, and human stories weaving throughout.
Live At The Observatory was recorded on 9/8/18 at the sold out kick-off show for the band’s Hypochondriac album tour. The San Diego based band will be supporting the live album with performances at the Coachella Music & Arts Festival (Indio, CA) in April, and additional tour dates to follow. The live record features tracks from the band’s entire catalog including five tracks from their 2018 album Hypochondriac. A must have any fan of The Frights!
Bibio returns in 2019 with Ribbons. Following his ambient atmospheric project, Phantom Brickworks, Stephen Wilkinson returns to the path of structured songwriting last explored on 2016s A Mineral Love. Ribbons yields folkloric charm with an organic palette, incorporating a mostly acoustic-led approach exploring 60s and 70s psychedelia, soul, ambient, electronic and field recordings. The album will be released on the 12th April through Warp Records.A self-taught musician, singer and producer, he plays nearly all of the instrumental parts on the album and unveils new instruments to his palette, bringing in mandolins, fiddle and other stringed instruments which give a new flavor to his music. But, while the sonics of the album are based around acoustic and other traditional instruments, the title Ribbons is extractedfrom the most electronic-leaning track on the album: Pretty Ribbons And Lovely Flowers. On the track, haunting, processed female vocals illuminate a route through dark ambiance and a repeating earthy distorted chord sequence. Referencing the endless ribbons of analogue tape and film used in his music, photography and cinematic work, the album artwork is designedby Wilkinson, where his portrait offers a window onto an English woodland scene with spring bluebells adorned with ribbons.Wilkinsons folk influences span 60s and 70s styles from Britain, Ireland and America; he mixes influences of homegrown acid folk with the dreamy harmonies of its Californian counterpart. He also pays homage to his past J Dilla and Madlib inspired works, this time drawing influence from the eras and records those producers sampled, such as 60s and 70s Dionne Warwick, Dee Dee Sharp and other soul artists, but rather than relying on sampling records, Wilkinson creates his homages from scratch with appropriate instrumentation. With his latest album Ribbons, Wilkinson oscillates between genres, pairing the unknown with the familiar and moving forward in a way that only he knows how to.
First time vinyl release ever of the LIVE AT THE PARAMOUNT concert. All editions include a 12x24” poster insert and a cloth sticky VIP pass replica of the original pass used that very night of the concert as the vinyl download card insert with download instructions on the paper-backing. Pressed on 2LP 180G vinyl.
Photobook (4 versions), CD, Mini Book (4 versions), Postcard, Clear Photo Picket (Limited randomly), Photo Film, Poster (4 versions).
All sales count towards SoundScan and the US Billboard Charts, as well as the Korean Hantao and Goan charts
Rhye’s sophomore LP Blood is getting the remix treatment. Blood Remixed finds over a dozen artists and producers reworking tracks from the original album, including Moon Boots, Jacques Greene, Channel Tres, Little Dragon, Jeff Samuel, and more.
Acoustic Space is the first installment in The Invisible Light trilogy helmed by Grammy- and Oscar-winning producer T Bone Burnett in collaboration with Jay Bellerose and Keefus Ciancia. Burnett describes the trilogy "as an experimental song cycle" which consists of a single piece of poetry broken down into distinct songs. The albums explore the idea that society has been subject to over a century of electronic programming, a "programming epidemic," which is causing us to lose our ability to differentiate fact from fiction. The Invisible Light is a fusion of trance, electronic, folk, tribal and global music, providing the listener with the unique opportunity to stretch their mind and attention span. At the heart of this trilogy is technology and how it has advanced significantly throughout the course of the last century, with radio, film, television and the internet serving as central parts of our lives. The Invisible Light: Acoustic Space explains that "the center is everywhere and there is no border," that people have the ability to hear from every direction.
Absolute Zero is Bruce Hornsby's fourth studio album as a soloist; his discography is eleven total studio albums, including his recordings as Bruce Hornsby and the Range and Bruce Hornsby and the Noisemakers. The album was produced by Bruce Hornsby; Justin Vernon (Bon Iver) and Brad Cook co-produced "Cast Off" and Bruce Hornsby and Tony Berg, co-produced “Meds”. Featured guest artists - yMusic, Jack Dejohnette, Blake Mills, Justin Vernon, The Staves, Sean Carey (Bon Iver), Henry Mancini Institute Orchestra - University of Miami (or the Orchestra of St. Hank’s as Bruce calls them), among others including Bruce’s band The Noisemakers.
7 Track EP from Reggae Legend Culture. • Includes 4 Previously Unissued Tracks. • Liner Notes From Nighthawk Founder/Producer Leroy Jodie Pierson. Culture began recording in 1976 with an early cut of “This Time” which was only released on an obscure Jamaican single. Composed in response to the state of emergency declared by the Jamaican government in that year, the early recording is a tame and lyrically altered version of the original song as finally presented on this album. “We couldn’t do it in dem time, We gonna give you the real ‘This Time’.” During the late 1970s Culture recorded seven fine albums, three for Joe Gibbs, three for Sonia Pottinger, and one issued in America by April Records, which Joseph Hill regarded as a bootleg. Culture was truly in their prime when they recorded the material included on this album. The first three tracks were recorded in 1981 with backing by the Roots Radics. The remaining tracks were taped in 1983 with backup by The Wailers band. —Leroy Jodie Pierson “Calling Rastafari,” “Dem A Payaka,” and “This Time” were all originally included on the 1982 Nighthawk compilation album, Calling Rastafari. Most of the tracks released on the classic, roots reggae compilation, were recorded during a three-day session in 1981 at the Harry J studio in Jamaica. The Culture songs appeared alongside tracks by Gladiators, Mighty Diamonds, Wailing Souls and others, with most of the songs being unique to the album including those by Culture. “Can They Run” and “Mister Music” and their respective Versions were recorded two years after Calling Rastafari was issued and languished in the Nighthawk vaults until the release of this special, limited-edition EP. Omnivore Recordings is proud to present these historic recordings (on three different vinyl colors) to honor the legacy of Culture on this Record Store Day!
The annals of music history are over flowing with gifted guitar players whose egos prevented them from reaching their full potential: rather than being content to be exceptional members of a band, they instead create unexceptional records as leaders in vain attempts to prove their worth as solo artists. Guitarist-songwriter-bandleader Chris Forsyth is the rare exception that proves the rule. Rightfully but somewhat reductively known as a guitar player par excellence, one listen to Forsyth's latest double album, All Time Present, reveals that while his dazzling musicianship can always be taken for granted, it's hardly the whole story. Forsyth's albums-presented with his Solar Motel Band or nominally solo, as here-have always been evidence of a musical mind brimming with ideas. Forsyth is joined on All Time Present by bassist Peter Kerlin and multi-instrumentalist Shawn Edward Hansen, both longtime foils; new to the group is Ryan Jewell, a sublimely talented drummer whose musicality is seemingly bottomless. With this group, Forsyth is at the peak of his powers. All Time Present is the rare double album that goes by in a ash. Indeed, one of Forsyth's greatest strengths as a composer and bandleader is his consistent ability to sustain interest even when at his most brazenly improvisational: he drifts, but he never meanders. On All Time Present, Forsyth's particular drift is like that of a proverbial wall flower with a sudden surge of unselfconscious courage: toward the dance floor.
Only You Can See It is a devastatingly beautiful collection of prismatic pop songs reckoning with the complexity of self-possession. Following the release of her acclaimed 2013 full-length Olive Juice, Reo spent five years writing, recording, arranging, producing and mixing these ten songs—at her apartment in Brooklyn, and at various studios and friends’ homes around New York. It’s her most intricate web of poetry yet, with prismacolor melodies winding through a vast pop vision. Reo employs her classical vocal training more than ever, her sweeping falsetto delivering doubletime verses brimming in metaphor and mesmerizing layered soundscapes alike. For over a decade, Reo’s vocoder pop songs have played with the space between natural and metallic sounds—with every turn of her voice sounding sweeping, symphonic.
As one of the world’s most renowned and imaginative interpreters of Irish folk music, Dervish have devoted the last three decades to gently reinventing the traditional songs of their homeland. On their debut release for Rounder Records, the Sligo-based band take that effort to a new level by joining up with over a dozen luminaries across an eclectic range of genres. Featuring such beloved artists as Vince Gill, Steve Earle, and David Gray, The Great Irish Songbook both preserves the boundless spirit of each song and brings a whole new vitality to iconic traditional songs of their homeland, one that’s sure to endure for generations to come. Produced by Graham Henderson (a musician known for his work with artists like Sinéad O'Connor), The Great Irish Songbook delivers 13 of the most iconic and best-loved songs in the Irish tradition.
Tired Eyes Slowly Burning is the debut album of the Canadian band The Tear Garden (formed by Edward Ka-Spel of The Legendary Pink Dots and cEvin Key of Skinny Puppy). Think Pink Floyd on a scary electronic acid trip and you're getting close.