MUSIC

Charlie Megira’s self-reflexive final album found him far from his Beth She’an Valley home, but surrounded by a new cast of Hillbillies. After spending 15 years toying with goth, sound collage, grunge, and dark wave, Megira returned to his surf noir roots, a perfect bookend to a largely misunderstood career. Issued digitally in 2015 via Bandcamp, Boom Chaka Boom Boom is a sprawling mix of plunking country blues, Black Lodge terror, ambient montages, and noodling spaghetti western. Familiar hits like “At The Rasco” and “The Death Dance of the Busty Lifeguard” are revisited and reimagined as bongo-driven beatnik anthems. “We gave all we had to love,” he sings on “Smile Now Cry Later.” “We thought, nothing better to do.” A fitting end to a brilliant discography.

Propelled by his 1956 Lee Hazlewood-produced hit “The Fool,” Sanford Clark was already a rockabilly legend in his own right by the time he swapped his hair gel and switchblade for a pair of cowboy boots on They Call Me Country. Recorded between 1965-67 and originally released as a series of singles for Phoenix’s Ramco label, the 12 tracks on this LP borrow Bakersfield’s outlaw sound and ignore Nashville’s countrypolitan flair, standing as a true lost masterpiece of country music’s third generation. Clark’s booming baritone tells tales of bar fights, heartaches, and drinking til you can’t stand, while Waylon Jennings provides a backdrop of fuzzed out guitar twang. Mastered from the original session tapes and back on vinyl for the first time since the Nixon administration.

You know Dolly, Loretta, Tammy, and Bobbie—but what about Joyce, Mona, Cathy or Judy? Barnyard Beehive lassos 16 Opry hopefuls from across the Numeroverse, corralling the timeless tropes of heartbreak, trouble, and the bottle into one 12" pen.</p><iframe width="560" height="315" src="https://www.youtube.com/embed/u4osQPbApyY?si=92U5vpQMVvUbaj-o" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe><iframe width="560" height="315" src="https://www.youtube.com/embed/uQkaM109Uvo?si=2e3UfXN3Wc54mo3S" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe><iframe width="560" height="315" src="https://www.youtube.com/embed/yhv4ThPRpXY?si=7rQuv27n0jq8i5fn" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>

A ’70s homemaker stuck between the studio and a getting dinner on the table, Joyce Street eked out an arresting countrypolitan discography in the margins of an otherwise traditional American life. With lyrics drawn from the pages of her diary, Street’s stirring Mississippi warble led her into the fly-by-night world of custom studios, cutting tracks for upstart country concerns like Reena, Sonobeat, Revelation, and Arc. Channeling the honky tonk angel energy of Bobbie Gentry, Lorretta Lynn, and Jeannie C. Riley, Tied Down compiles a decade’s worth of melodies disguised as lottery tickets.

A companion to 2016's private country rock overview Cosmic American Music, this second volume goes way past Gram Parsons' “country-rock plastic dry-fuck” and explores the twangy falsettos and commercial curiosity that sent the Eagles soaring. Though rooted in the west coast folk rock of the late-’60s, these new kids in town rendered a safe-for-the-suburbs sound bleached of the hippie era's political strife. 20 tracks, two LPs, and gatefold tip-on sleeve for easy seed and stem separating are included.

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what’s truly hers, what can’t be repossessed or demolished, she sees love. “The best thing I ever did in my life was to love people,” Mitski says. “I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I’ve created onto other people.” She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she’s gone. Listening to it, that’s precisely how it feels: like a love that’s haunting the land. Love is always radical, which means that it always disrupts, which means that it always takes work to receive it. This land, which already feels inhospitable to so many of its inhabitants, is about to feel hopelessly torn and tossed again – at times, devoid of love. This album offers the anodyne. “This is my most American album,” Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. But “maybe it’s beyond witnessing,” she says. At times, it feels like the album is an exercise in negative capability – a fearless embodiment and absorption of the pain of other bodies. When I ask her what the album would look like, if it were a person, she says it would be someone middle-aged and exhausted, perhaps someone having a midlife crisis. But through the daily indignity and exhaustion, something enormous and ecstatic is calling out. In this album, which is sonically Mitski’s most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time-traveling to bless our tender days, like the light from a distant star. Mitski wrote these songs in little bursts over the past few years, and they feel informed by moments of noticing – noticing a sound that’s out of place, a building that groans in decay, an opinion that splits a room, a feeling that can’t be contained in a body. It was recorded at both the Bomb Shelter in East Nashville and the Sunset Sound Studios in Los Angeles. The album incorporates an orchestra arranged and conducted by Drew Erickson, as well as a full choir of 17 people - 12 in LA and 5 in Nashville - arranged by Mitski. And for the first time, it felt important to Mitski to have a band recording live together in the studio, to create this new sublime sound. Working with her longtime producer Patrick Hyland, the album has a wide-range of references, from Ennio Morricone’s bombastic Spaghetti Western scores to Carter Burwell’s tundra-filling Fargo soundtrack, from the breathy intimacy of Arthur Russell to the strident aliveness of Scott Walker or Igor Stravinsky, from the jubilation of Caetano Veloso to the twangy longing of Faron Young. From the first track, the album introduces and then heals a wound. “Bug Like an Angel” finds the divine in the ordinary, in the boozy drowning of sorrow. The narrator sings from the strange comfort of rock bottom: “sometimes a drink feels like family.” And suddenly, that choir of angels sings: “FAMILY!” This first track introduces a cosmic paradox: “The wrath of the devil was also given him by God.” This is an album in which dark and light exist in the same gesture, the same broken prayer. Like the Buddha inviting the demon Mara in for tea, The Land embraces brutal, daily pain — the necessary toll of transcendent love. In “Buffalo Replaced,” the wail of a freight train replaces the vibrations of the long-gone stampeding buffalo. Here, hope itself is personified, anthropomorphized into a sleeping creature, and our narrator wonders if life would be easier without her. But then, as though in response, “Heaven” offers a beautiful moment of passion, preserved like a fossil in time even though the “dark awaits us all around the corner.” This oasis is aggressively interrupted by “I Don’t Like My Mind,” a song from the perspective of someone in extraordinary pain. They are begging to keep their job, while actively keeping terrible traumatic memories at bay. Without their employment, these memories might take over, consuming them as relentlessly as the cake that they ate one “inconvenient Christmas.” The toggling between hope and despair in these four songs is masterful — the good, the bad, and the ugly in America’s backyard. This mythology continues to deepen with the stunning “The Deal,” in which someone is so burdened by their soul that they beg for it to be taken from them. Soon, the singer’s soul is revealed to be a bird perched on a streetlight. In a coup of songwriting, the narration does not switch into the newly-souled bird’s voice. No, we stay with the soulless “I.” The bird calls down: “You’re a cage without me. / Your pain is eased but you’ll never be free.” This song reinforces the album’s tug-of-war between the intoxication of love and the pain of isolation. Close on its heels is “My Love Mine All Mine,” an instant classic and the beating heart of the album, wherein the singer imagines their love shining down on the earth from the moon, long after the speaker is gone. “It’s just witness-less me,” she sings on “The Frost,” which suddenly takes us from the anticipation of loss right into the aching loneliness of it. On the subject of witnessing, Mitski says: “I’ve always been the person on the outside watching. And I’ve also done that with myself... outside of myself, witnessing myself, watching myself.” She thinks that she might have adopted this habit as a condition of being a woman of color, and that it’s led to the occasional post-apocalyptic fantasy of being the only person left in the world. We talked about Samuel Beckett’s Krapp’s Last Tape, in which a man is profoundly alone, with only an archive of old tapes to keep him company. He remembers the seismic event of an old sexual encounter, but now it’s: “Past midnight. Never knew such silence. The earth might be uninhabited.” The Land repeatedly offers that same hypothesis. Without love, is there anyone here? After the alien lift of “Star” comes the album’s showdown. “I’m Your Man” feels as inevitable, bloody, and haunting as a Sergio Leone duel scene. The “Man” in the title isn’t some fella proclaiming devotion, Mitski says, but rather the man inside her head, the haunting patriarch who treats her like a dog and can destroy her at whim. Despite his confidence and swagger, he is tracked down by a pack of hounds — who have unionized in the name of catharsis. After this violent reckoning, a Fowler’s Toad calls out in what sounds like a human scream. The night settles into silence. The earth might be uninhabited. We glide into the liberating closer, “I Love Me After You,” in which someone is truly alone but truly free. King of all the land. “I don’t have a self,” Mitski observes. “I have a million selves, and they’re all me, and I inhabit them, and they all live inside me.” Loving all of these selves does not yield the easy burst of a pop song. It’s the “long, complex, deep love, that you can never get to the end of, that’s always evolving, like a person. And there’s just no end to it. It feels like space travel.” The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It’s a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Maybe this is what our best artists do: take a spaceship into the furthest reaches of pain, in order to bring back the elixir that we already had inside us. The unknowable known of love. “You have to go to both worlds all the time,” Mitski says, by which she means the mysterious world of making and the brutal world of living. This album is an act of hyperlocal space travel. Love is that inhospitable land, beckoning us and then rejecting us. To love this place — this earth, this America, this body — takes active work. It might be impossible. The best things are.

 

Soul Step Records Announces the Second Pressing of SSR-066!

Soul Step Records is proud to announce that the stone country classic album “Hell of a Woman” by Nashville-based Emily Nenni is coming to vinyl again after being out of print for years!

“Hell of a Woman” was released to critical acclaim in 2018. This album is a quintessential Nashville Stone Country record. This album is something that country purists will love.

“Hell of a Woman” is a record made for those who long for those smokey Nashville barrooms where the neon lights shine bright into the night and the pedal steel guitar rings loud. 

Emily Nenni is a singer-songwriter from the Bay Area and recently set roots in Nashville, Tennessee. Emily’s musical inspirations range from the girl groups of the 1960’s to the outlaw Country of the 1970’s. Emily Nenni sang her first songs on stage at Robert’s Western World in Nashville by bribing the band and doorman with cookies. She has since honed her Honky-Tonk skills in double-wide trailers on Sunday nights, clubs across the south, as as well playing for ranchers and wranglers in Wyoming, Montana, and Colorado.

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This is a work released in 2008 by Dragging an Ox through Water, a solo project by Portland-born musician Brian Mumford, and was later released on CD by Yellow Swans' Pete Swanson's label Freedom To Spend and the famous Japanese indie label Sweet Dreams Press! It's a masterpiece of deviant, underground country music, filled with a penchant for industrial, noise, and punk, and exuding an outsider atmosphere throughout!

“Rocky Top Ballads” is the debut album of Copenhagen singer/songwriter and producer Fine. Woven around Fine's voice, with guitars, drums, samples, and synthesisers, the album visits both country and folk moods but with an underlying electronic world counter weighing. Recorded, produced, and mixed by Fine.

Exploring late-night, after-hours meditations on sound; ‘Everything Above The Sky (Astral Travelling with Luke Una)’ is a new compilation by the titular DJ, promoter and enigmatic cultural curator. Off the back of the E Soul Cultura phenomena, this compilation comes at a timely point in Luke’s rich career as he soars the heights of playing all over the world. Avoiding any chance of his sound being pigeonholed, Luke has put together a tracklist of songs and music that have a transcendental feel, after coming off the grid, going back to source, outside the city walls . Music has long been believed to aid out of body experiences and many of us have searched long and hard for a combination of those elusive ingredients that might alleviate some of the monotony of everyday life, our daily routines and obligations, and those things that seem to block us from the spirit of the universe. In this collection, Luke selects music with all the right ingredients in just the right quantities, allowing the listener to engage in an esoteric journey of enlightenment through sound. Being a prolific collector of music, Luke initially delivered enough tracks to compile several compilations, making the licensing process the biggest effort to date for the label. The music moves softly and slowly, never becoming too intrusive, exemplifying the wonderful elevating properties of simple songs played from the heart. Luke’s Everything Above The Sky manifesto reads, “Astral Travelling in the meadowlands with acid folk, spiritual jazz, around midnight hocus pocus, cosmic psychedelic soul, magical spellbound whirling swirling love songs, Brazilian ballads of light into machine soul gospel utopia dreaming, Balearic bossa, Outer Space ancient African drum, the breath of trees, escaping the big bad modern world, gathering round winter fires, walking amongst the bracken in Padley Gorge in late summer twilight, overlooking the Hope Valley, escaping ego, detaching and finally letting go amongst the stars with the slowly floating people. It’s beautiful beyond. Everything above the Sky”. Beginning his career as an original Sheffield house young blood in the mid 1980s, Luke’s move to Manchester and partnership with Justin Crawford saw the birth of Electric Chair, a cornerstone cult night in the UK underground club scene. Then came Electric Elephant, a Croatian festival paying homage to their wild eclecticism from Balearic to Brazilian to É Soul, house, disco and techno. Luke’s much loved, long-running Homoelectric night and more recently Homobloc sell out festival for 10,000 souls has been at the forefront of Manchester’s LGBTQ+ cultural landscape. Luke’s Friday evening show on Worldwide FM captured imaginations and became a cult four-hour must-listen monthly journey for fans all over the world. Today, Luke remains, as ever, at the forefront of a changing milieu, pairing the momentous legacy of Manchester’s 80s and 90s scene with the delivery of what today’s club communities need to get down.

Arriving as the hippy movement was discovering its peaceful easy '70s feelings, Sandy Harless' Songs LP is Chillicothe, Ohio's lone contribution to the Cosmic American Music movement. Financed from a 27-aquarium fish breeding business, the album shows its Appalachian roots with a tight weave of mountain folk, rural rock, and pastoral country. Real people music.

絵葉書のようなジャケット・アートに惑わされてはいけません！70年代半ばのレコード売り場に並んでいたメジャー・レーベルのカントリー・ロック・アルバムの中でも、頭ひとつ抜けた知られざる名作であるJimmy Carterの77年のアルバム『Summer Brings The Sunshine』が〈Numero Group〉からアナログ再発。ナッシュビルやロサンゼルスから送り出される何百、何千もの洗練されたプロダクションを横目にミズーリ州の田舎で農夫やセミプロたちと共に77年に録音した作品。味わい深い女性のバッキング・ヴォーカル、物憂げなペダル・スティール、気迫のこもったギター・リックなど、コズミック・アメリカン・ミュージックの高貴でピークに近いスライスに溢れています。

Between 1993 and 2001 the trio released two LPs and an EP on Vernon Yard—a Virgin subsidiary—and two LPs on Vapor, the L.A.-based label founded by Neil Young and manager Elliott Roberts. In that span, they were selected to tour with Oasis, Mazzy Star, The Verve, and Spiritualized. Against a rising tide of post-Nirvana grunge and slipshod indie rock, Acetone tapped into a timeless Southern California groove by fusing elements of psychedelia, surf, and country.

Michael Nau is set to release his fifth full length record under Karma Chief Records on 12/8/2023. Since the mid 2000’s, he’s crafted a catalog of thoughtful, reflective songs as the frontman of indie-rock mainstays Cotton Jones, Page France, and Michael Nau & The Mighty Thread. All 11 tracks come together to paint a beautiful picture. The lyrics invoke the listener’s imagination throughout. They’re introspective, but vague and open-ended. The indie rock backdrop shows signs of psych-soul influence with dry and punchy drums, lush synth lines, and tastefully verb-soaked vocal production. Sweeping string arrangements and French horn runs add cinematic motion to the waltz-y “Shiftshaping” (track 4). Slide guitar and a shuffling snare drum add some get-up-and-go to “Painting a Wall” (track 2). Nau’s vocal delivery falls somewhere between crooning to a crowd, telling stories to a loved one, and musing to himself. The singer-songwriter’s relaxed attitude toward making records is discernible in the sound. A while back, veteran producer and engineer Adrien Olsen (The Killers, Lucy Dacus, Fruit Bats), approached him about recording in his Richmond, Virginia-based studio. For the first time in a while, Michael had some sessions on the calendar. He called a few old friends and put together a band. “I didn’t have much of a plan before Adrien reached out, so I wrote some songs specifically for the session,” Michael explained. “I was thinking about what would be fun to play with this specific group of guys." The band consisted of several long-time collaborators and musicians who had participated in Nau’s various recording and touring efforts over the years. “It had been a while since I’d made music in a room with other people,” Michael shared. “We just sort of started playing and didn’t really talk about what was happening.” The combo’s newfound chemistry was a primary source of inspiration and, with the help of Olsen, ultimately led to an album’s-worth of music. Nau and the band spent five days at Montrose Recording and left with a plan to return and finish up a few months later. “After the first session, I took a copy of the recordings with me to overdub a few things at my spot,” Michael shared. While he was working through it, he found a bunch of beautiful moments of jamming in between the takes. “I grabbed a bunch of the pieces and tried to work them in. Then, I dumped the whole thing onto a cassette as one long stream of songs.” With the record mostly complete, the final session at Montrose would consist of some simple overdubs and finishing touches. But somehow, in the months between, he lost the overdubs. “Going into the second session, all I had was the cassette,” Michael explained. The band got back together and performed another batch of songs. At the end of their second session, they had enough music to pick and choose from for the new full-length. “The songs, as they appear on the album, are basically how they were recorded as a live band.” Grab a copy of Accompany on 12/08/2023 and keep an eye out for tour dates in the coming months.

This is an official release from the prestigious [Mississippi Records] of a compiled compilation of material from the 70's by Abner Jay (1921 - 1993), an American multi-instrumentalist from Georgia and a lone one-man band and outsider bluesman. This is another solo band style, with one man playing drums, banjo, vocals and harmonica. The name of the song is "Cocaine," and it's a slow, country-style performance with a heavy dose of poison. His voice is very convincing, perhaps because of his checkered, haphazard, and reckless life. This is a bluesman!

The first volume in a survey of a form of Brazilian country music known as música caipira ("hillbilly music") - a stripped-back forerunner to música sertaneja, the Brazilian equivalent to US country & western which in it's contemporary form has come to dominate the domestic music industry in recent decades. This collection covers some of the earliest recordings made by the pioneering folklorist Cornélio Pires at the end of the 1920s, through to records from the 30s, 40s & 50s and the beginning of the 60s. Somewhat rooted in Portuguese troubadour folk traditions, música caipira is typically performed by a duo singing in parallel thirds and sixths, drawing upon a Portuguese-Brazilian style known as moda de viola - with the viola being the viola caipira, a Brazilian-style ten-string guitar that is the core instrument of the music. Born out of the "outback"-style region in north-eastern Brazil, these songs tell stories of pain, love, loss & betrayal - often backed by homemade guitars using invented tunings. Away from the polished pop country & western-stylings of the sertaneja, these recordings could be viewed as the Brazilian equivalent to the roots music of the American dustbowl or Appalachia.

Kevin Morby writes (and records, and imagines) at an almost incomparable clip, and his most recent album, This Is A Photograph, studies life, time and mortality through myriad lenses. It’s a dynamic, buoyant record on big, heavy themes, so it only makes sense that Morby found he wasn’t quite done with it on its completion. More Photographs (A Continuum) finds new nooks, corners and vantage points. “If This Is A Photograph is a house that you have been living inside of,” says Morby, “then More Photographs is, perhaps, the same home just experienced differently. As if you, its inhabitant, have taken a tab of something psychedelic and now, suddenly, you've replaced your eyeglasses with kaleidoscopes.” Here, Morby returns to his landmark album's bottomless themes with new wisdom, new imagination, and the winking, looping callbacks that tie his full body of work together in uniquely special ways. “Everything you once thought was familiar,” he continues, “suddenly appears differently, shifting shapes, color and sonic landscapes.” “Five Easy Pieces Revisited” captures the same moment from Bobby’s point of view; “This Is A Photograph II” takes a similar tack, revisiting its predecessor from a different angle. “Triumph” explores more of the myths and deaths that surround Memphis, TN, this time inspired by Big Star’s Chris Bell. And “Kingdom Of Hearts” arrives as an origin story to both This Is A Photograph and its new companion. “With every collection of songs,” says Morby, “I feel I must cast them out of me before moving onto the next project, and here I knew that what I had begun with This Is A Photograph was not finished. Releasing this collection is my tying a bow on that time and place in my creative life.” With a luxurious nine tracks – three re-imaginings and six brand new songs – More Photographs (A Continuum) is prequel, sequel and primer to an already rich and generous record from one of our most luminous modern songwriters.

Heavy Weight Vinyl. The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono has put his unmistakable stamp on hundreds of recordings as a session player, producer, and auteur of his own idiosyncratic musical world. Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums.

After Happy End’s amicable break up in 1973, Hosono released Hosono House, an intimate slice of Japanese Americana recorded at home with a back-to-basics approach akin to Music from Big Pink or McCartney. While his former band helped pave the way for the rise of “city pop” that reflected upon urban themes and city life, Hosono took a 180 degree turn towards the countryside for his highly-regarded first solo album. Located an hour from Tokyo in Sayama, Saitama Prefecture, the actual Hosono House was one of several American-style houses originally built for the families of troops stationed at the nearby Johnson Air Base, active during the post-war occupation years. By the early ‘70s this small community had become a hub for creative types looking for a break from Tokyo’s hustle and bustle – and cheaper rent. For Hosono, this was as close as he could get to living in America without leaving his home country. With rooms filled to the edges with recording gear, the house became a live-in studio for Hosono and his crack band – soon to become known as the in-demand session group Tin Pan Alley. The songs on Hosono House display the breadth of Hosono’s talents, from the hushed acoustic folk of “Rock-A-Bye My Baby” and the country twang of “Boku Wa Chotto” to the New Orleans funk of “Fuyu Koe” and the unexpected breakbeats in “Bara To Yajuu.” Lauded by artists such as Jim O’Rourke and Devendra Banhart, Hosono House remains a touchstone of the early phase of Hosono’s career.

Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO), who made their debut in 1978. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.

Following on the heels of Light In The Attic’s vinyl LP release of One and Two From The Vault comes the final release in the trilogy of From The Vault releases by the Grateful Dead. These releases are distinguished from the more abundant Dick’s Picks series in that Dick’s Picks are “direct from the soundboard” recordings, while the From The Vault series were professionally recorded on multi-track tape and then mixed down (decades) later for release. Recorded live at the Capitol Theatre (Port Chester, NY) in 1971, this is the worldwide vinyl debut release of this seminal show featuring the 5 piece line-up of Pigpen, Garcia, Weir, Lesh, and Kruetzmann (Mickey Hart had temporarily left the band at that point), freshly remastered in 2014 by Joe Gastwirt for your pleasure. 20 classic songs on 8 sides of wax, this show has previously only been available on CD; this is the first ever vinyl LP release! The band played six shows over the course of seven nights at the Capitol Theatre in February of 1971, and this was the second of that run, recorded on the 19th. Their previous two studio albums had been their landmark recordings of Workingman’s Dead and American Beauty, and while songs from those albums were certainly featured, the Dead debuted seven brand new songs on this night–all of which went on to become Dead “standards” including “Playing in the Band,” “Greatest Story Ever Told,” and two absolute classics: “Bird Song” and “Deal.” Essential Dead.

Singer-songwriter Bob Lind will forever be remembered for the 1965 hit "Elusive Butterfly," but his career is so much more interesting than the fading wonder of that one song. Once a hard-partying buddy of Charles Bukowski, Lind was the inspiration for the character "Dinky Summers," a down-on-his-luck folk singer in Bukowski's 1978 novel Women. Lind also doubled as a writer, penning a number of novels and plays as well as serving as a longtime staff writer at the lowbrow tabloid Weekly World News. If that wasn't enough, Lind is also responsible for one of the greatest major-label "loner" albums of all time, 1971's Since There Were Circles. After several years languishing without a second hit for the World Pacific label, Lind signed to Capitol and went into the studio with some of the biggest names in the LA country-rock scene including Doug Dillard, Gene Clark, Bernie Leadon and legendary session bassist Carol Kaye. While the record was well-received critically, it sold poorly and marked Lind's bitter departure from the music business for several decades. The intervening half-century has been incredibly kind to Since There Were Circles, and it is now regarded as a cult masterpiece that pairs perfectly with Gene Clark's No Other, Bobby Charles' self-titled Bearsville album and Lee Hazlewood's Cowboy In Sweden. Lind's songwriting here is vastly darker and more self-reflective than anything from his folk-pop period, and the production is simultaneously loose and rootsy, yet lushly orchestrated and occasionally bombastic. Lind somehow manages to bring it all together with wry delivery and literate detail. Comes with lyric booklet.

Jim Kirchstein founded Cuca Records in 1959 to capture the undocumented musical talent of rural Wisconsin. Originally a tiny recording studio in the corner of a record store, the independent label quickly expanded in response to the success of its early releases. Despite its remote location in the hills of Wisconsin’s Driftless Area, the label’s growing popularity attracted a diverse group of artists and performers from Wisconsin, Michigan, and the Chicago area. The combination of the label’s remote location and the area’s cultural diversity created a unique catalogue that was often divergent from the current music trends. The country music that Kirchstein recorded is best described as “outsider country”—lo-fi, dreamy, and just a little too weird to make the charts. Driftless Dreamers tells the story of these artists and their takes on the term “country.” Driftless Dreamers takes its name after the Driftless Area, a geological region of the American Midwest untouched by the last continental glacial movement. The majority of the Driftless Area lies in southwest Wisconsin, but extends into the corners of Minnesota, Iowa, and Illinois. The area’s lack of glacial drift is what preserved the land’s rugged terrain of forested ridges, inhabited caves, carved river valleys, and some of North America’s last true prairies. As a preserved area, the Driftless is home to many species of rare wildlife species, unknown to the rest of the country. The area’s black, fertile earth is also very suitable for farming. In the 19th century European immigrants poured into Wisconsin and began to farm. Small agrarian communities dotted the hills of the Wisconsin Driftless. Agriculture was, and still is, the lifeblood of these communities, as is music. The mainly German and Irish immigrants established community bands to carry on the musical traditions that they carried with them from their homelands. The domination of farming as the main industry in the Driftless area encouraged these musical styles to develop into the country music that Jim Kirchstein would record in the 1960s. After a stint in the Navy, Jim Kirchstein returned home to the Driftless Area to pursue an electrical engineering degree at the University of Wisconsin-Madison. Kirchstein lived on the eastern boundary of the Driftless in the sleepy town of Sauk City, close to his school in Madison. To support his new family, Kirchstein started selling records out of the basement of his brother’s hobby shop, located next to their family’s grocery store. Through his work at the record store Kirchstein soon recognized a need for a recording studio for the area’s local musicians. In 1959 Kirchstein founded the original Cuca recording studio in his basement record shop. Despite its remote location, the studio drew in a variety of artists from across the Midwest. The studio was also popular with local communities, whose mixed heritages produced a variety of folk and country genres. Jim Kirchstein intended for his recording studio to serve the local population’s need for both a creative outlet and historical documentation of their music traditions. As the label grew, Kirchstein created genre-specific sublabels, including Top Gun Country. The Driftless Dreamers series is a glimpse into this trove of recordings, focusing on the isolated interpretations of popular country music and the lonesome twang of outsiders. Driftless Dreamers in Cuca Country Volume 1 is a survey of the range of Wisconsin’s country music. This volume starts with a regional hit and ends with an echoing ballad from an untrained voice. Along the way we visit some family band bluegrass, teenage Nashville sound, rockabilly, and improvised bar tunes.

The first volume in a survey of a form of Brazilian country music known as música caipira ("hillbilly music") - a stripped-back forerunner to música sertaneja, the Brazilian equivalent to US country & western which in it's contemporary form has come to dominate the domestic music industry in recent decades. This collection covers some of the earliest recordings made by the pioneering folklorist Cornélio Pires at the end of the 1920s, through to records from the 30s, 40s & 50s and the beginning of the 60s. Somewhat rooted in Portuguese troubadour folk traditions, música caipira is typically performed by a duo singing in parallel thirds and sixths, drawing upon a Portuguese-Brazilian style known as moda de viola - with the viola being the viola caipira, a Brazilian-style ten-string guitar that is the core instrument of the music. Born out of the "outback"-style region in north-eastern Brazil, these songs tell stories of pain, love, loss & betrayal - often backed by homemade guitars using invented tunings. Away from the polished pop country & western-stylings of the sertaneja, these recordings could be viewed as the Brazilian equivalent to the roots music of the American dustbowl or Appalachia.

Cosmic American Music from the far flung reaches of rural Oregon. Issued in 1979 on Allan Wachs' own True Vine imprint, Mountain Roads and City Streets gathers a decade of songs written while hitchhiking up and down the west coast. Screeching pedal steel, lilting flute, and tingly dulcimer are peppered throughout Wachs' tales of brief affairs, invisible dogs, and getting lost in a changing America.

ssabæ is a nebula of friends gathering in studios, meadows and tiny apartments all over France : the tracks of azurescens were recorded during those sessions. we’d like to send love to all the friends involved in this project, it’s a special one (and it’s been in our head and in production for a f… long time)