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Avery, Cameron [Ripe Dreams, Pipe Dreams]

March 10 street date. Cameron Avery (Bassist for Tame Impala!!) has arrived as a new breed of nocturnal crooner, a train-wreck romantic creating timeless, ambitious music for the modern age. Utilizing his soulful wit, shrewd arrangements, and a deep, husky baritone, Avery harnesses the dark power and humor of artists like Nick Cave, Scott Walker, and Tindersticks to expertly walk the fine line between vulnerable and venerable. Hailing from the late 2000’s-era Perth, Australia, a healthy scene of hard-hitting garage rock bands, including a long stint as the drummer of Pond, but sought the reward of his own outfit. Encouraged by his friend Kevin Parker of Tame Impala to record on his own, Avery started The Growl as his solo project in 2007, making an EP and an album of aggressive, distorted psychedelic rock and roll. When Parker asked him to join Tame Impala as its touring bassist in 2013. On a break from touring, Avery decided to head to the US to work on his album. He would settle in Los Angeles at the behest of Jonathan Wilson, the Echo Park musician and producer who also encouraged Avery to shine a spotlight on his baritone singing voice, unlike the snarling, obscured vocals of The Growl. Melancholic machismo is written into the very DNA of Ripe Dreams, Pipe Dreams. From the classical, finger-picked guitar on the opener “A Time and Place” and the orchestral vamping of “Do You Know Me By Heart?” to the bombastic, self-assured swagger of “Dance with Me.” He takes an emotive page from the Leonard Cohen songbook-of-longing on “Big Town Girl” just as naturally as he thumbs an aggressive note of Bad Seed strut and Cramps rut on “Watch Me Take It Away.” And by the time he purrs that earnest refrain of “Baby, it’s you” on the album’s closer “C’est Toi,” Avery has surely mastered that drunken tightrope dance. Now a resident of New York City, Avery looks to continue his search for the ultimate sensations from a fresh vantage point.
Black Moon [Enta Da Stage: The Complete Edition (3CD box set)]

February 24 street date. Working closely with the original members, Fat Beats Records is proud to present the definitive Enta Da Stage box set. Reissued together for the first time across three formats – 6xLP boxset, 3xCD boxset, and 3xCassette boxset – this album is the complete encapsulation of an era for anyone seeking to understand the origin and the essence of New York’s Golden Age. All formats include the Da Beatminerz (Evil Dee and Mr. Walt) instrumentals and remixes, plus extensive liner notes by David Ma (Pitchfork, Wax Poetics) with rare and unreleased visual ephemera in an 18 page booklet. Cassette version also available.
Brian Jonestown Massacre [Don't Get Lost]

February 24 street date. “Don’t Get Lost” was recorded & produced at Anton’s new Cobra Studio in Berlin between March 2016 & October 2016. It is the 16th full length release. With band members Ricky Maymi , Dan Al-laire , Collin Hegna & Ryan Van Kriedt .Also Emil Nikolaisen from Serena-Maneesh & Pete Fraser (The Pogues, New Young Pony Club) on saxophone join the band on this album, plus vocal perfor-mances from Tim Burgess, Tess Parks and Shaun Rivers . A new dynamic is heard on this album mixing the shoegaze/psychedelic sound with more experimental twists, on some tracks you might hear PIL (Metalbox) , Primal Scream , or even Ornette Coleman . 14 tracks that will twist and turn through the known and unknown BJM.
Clemons, Jake [Fear & Love]

February 3 street date. Jake Clemons (saxophonist for Bruce Springsteen and the E Street Band and nephew of the late great Clarence Clemons) announces his new album release Fear & Love. Fear & Love was produced by Jake Clemons and Ryan Swinehart (Last Bison) and engineered by L Stu Young (Prince) and Geoff Sanoff (Darlene Love, Bruce Springsteen.). The album was recorded at A Room With No VU –Empire Studios in Belleville Ontario, Steve Van Zandt’s Renegade Studio in New York City, Sick Island Studios, Nashville and mixed at House of Blues Studio “D” in Nashville. Fear & Love features the musician offering a bewitching hint of how much he has to say as an artist and how eloquently he says it. "In the wake of the Clarence Clemons’ 2011 passing, anyone playing a sax on Springsteen’s stage is walking on hallowed ground. In Jake’s case, it’s a bit deeper than filling in for an icon, as Clemons was his uncle. When he plays the burned-in-0ur-memory solos in classics like “Born To Run” and “Thunder Road,” he’s both paying tribute to his uncle’s legacy and keeping it alive." - CBS
Damaged Bug [Bunker Funk]

March 10 street date. New solo album by John Dwyer of Thee Oh Sees! Oh my, what is this? The alien globule of Damaged Bug’s errant planet has circled the sun and is re-entering our orbit where last year’s Cold Hot Plumbs left off. Urgent falsetto morbidities detail this most rhythmically adventurous offering yet: Bunker Funk — syncopating lush landscapes with moon-shot death rays. Witness in horror the tractor beam pull of “Slay The Priest” — a breathless sprint through unfamiliar enemy territory — erratic laser beam synths dredge the lake, hard panned double drums resurrect dead heartbeats: load thy crossbow, friend, this night is long and we appear beset on all sides. The Bug is back and more hideous than ever — join us as we gawp at its iridescent shell, its alien mandibles… and the guts streaming from the wound.
Daughters [Hell Songs]

March 10 street date. Hell Songs back in print on vinyl for the first time in ten years. Remastered for vinyl, packaged in a heavyweight tipon sleeve with printed inner sleeve. After a lengthy hiatus Daughters are back in action, touring and recording - so this reissue is just in time for their triumphant return. “Hell Songs” is Daughters’ second studio album, and breakthrough recording - the beginning of their true cult ascendence. All other Daughters vinyl is currently out of print, each pressing selling out quickly. This will certainly be no exception. The tale of Daughters is not over yet. The mythology that surrounds the band is again being expanded as they careen towards some unknown future. But their refusal to stay buried reminds us of the first real trauma the band inflicted on the musical landscape: the 2006 release of Hell Songs. While they utterly baffled listeners with Canada Songs, the spastic, blunt screamo the Rhode Islanders blasted through on that breakneck debut turned out to only be a warning of how subversive, innovative, and unrepentant they could be. The opening of Hell Songs immediately became an iconic moment: Frontman Alexis Marshall crooning, “I’ve been called a sinner,” like a fire and brimstone preacher with a flask of rotgut hidden in his Bible. And over the course of roughly 23 minutes, Marshall’s vocals squirm, howl and rant over a storm of songs that eschew a traditional sense of pretty much everything. At times aurally nauseating, the guitars are piercing, anti-riffs that skitter and squeal around each other in demented patterns. And pulling them together is some of the most inventive drumming in extreme music -- deconstructed, shambolic rhythms played with a virtuosic precision. It would be almost impenetrable if the songs weren’t so bizarrely anthemic and obscenely addictive. We have to wait and see what’s next for Daughters but right now, fuck the future. Hell Songs is a landmark album, dynamic and unyielding, and still stands today as a revolution.
Dillinger Escape Plan w' Mike Patton [Irony Is A Dead Scene]

February 10 street date. In 2002 THE DILLINGER ESCAPE PLAN was without a vocalist and began a nationwide search for a new frontman. During that search, Mike Patton (Faith No More/ Mr Bungle vocalist) agreed to help the band produce an EP and handled vocal duties. The group released this EP via Epitaph Records, titled Irony Is a Dead Scene which has sold over 65,000 units. The recording features guitarist Ben Weinman, drummer Chris Pennie, guitarist Brian Benoit, bassist Liam Wilson, and Mike Patton on vocals, with ex-bassist Adam Doll assisting with keyboards and sample effects. The EP contains three original songs and a cover of the Aphex Twin’s “Come to Daddy.”
Graffin, Greg [Millport]

March 10 street date. Millport is a country rock album, a solo outing for Bad Religion frontman, GREG GRAFFIN. The players on this album include several esteemed cohorts from the LA punk scene including Social Distortion members Jonny ‘Two Bags’ Wickersham, Brent Harding and David Hidalgo, with Bad Religion co-founder Brett Gurewitz handling the producing.
High Plains [Cinderland]

March 10 street date. High Plains is the duo of Scott Morgan and Mark Bridges. Morgan, based in the Canadian Pacific Northwest, is predominantly known for his drifting, textured soundscapes released under the pseudonym loscil. Bridges is an accomplished, classically-trained cellist residing in Madison, Wisconsin. They first collaborated when Bridges contributed cello parts to Morgan’s generative music app ADRIFT, recorded in Seattle in 2015. In early 2016, the duo embarked on a collaborative set of compositions in the oxygen thin air of Wyoming, spending two weeks holed up in a refurbished school house in the town of Saratoga, where this album was recorded. Inspired by Schubert’s Die Winterreise and the rolling landscapes of their surroundings, the collaboration culminated in a collection of recordings that evoke a shadowy, introspective and dizzying winter journey. Cinderland takes cues from classical, electronic and cinematic musical traditions but is mostly a product of the rugged, mythic landscape; vast and sprawling with a wild, uncertain edge.
Ibibio Sound Machine [Uyai]

March 3 street date. Ibibio Sound Machine is a clash of African and electronic elements inspired in equal measure by the golden era of West African funk, disco, modern post-punk, and electro. Since their self-titled debut in 2014, the band has forged a reputation as a high-energy live act appearing on stages such as Later… with Jools Holland, Glastonbury, Roskilde, and the BBC 6 Music Festival, as well as at iconic venues such as Shakespeare’s Globe Theatre in London as part of Lauren Laverne’s “Wonder Women” series. The album title Uyai (pronounced ‘you eye’) means “beauty” in Ibibio language and refers to the strength and free spirit of women in general and in particular, the courage of the women in lead singer Eno Williams’ family, to whom she often refers in her writing. Folk stories, recounted to Eno by her family as a child in her mother’s Ibibio tongue, form the creative fabric from which the band’s unique musical tapestry is woven. Evocative poetic imagery and empowering messages set against an edgy, Afro-Electro soundscape give the band a unique space within the current wave of modern Afrocentric sounds sweeping across the globe. Ibibio Sound Machine is Eno Williams (vocals), Alfred Kari Bannerman (guitar), Anselmo Netto (percussion), Jose Joyette (drums), John McKenzie (bass), Tony Hayden (trombone, synth), Scott Baylis (trumpet, synth), and Max Grunhard (saxophone, synth).
Laj, Dany And The Looks [Alive & Kicking]

February 17 street date. Montreal's Dany Laj and the Looks are once again ready to take their catchy power-pop energy to the corners of North America, with a new album in hand to spread across the land. Laj and his Looks are excited to announce the launch of their brand new full-length album, Alive & Kicking, along with a new 7" single, Sweet Pretender, and can't wait to hit the road in support of their efforts. The release is the band's fourth, following critically acclaimed EP's The Match (2010, Boppa Do Down) and Telepathic Voices (2012, Boppa Do Down) and full-length LP Word On the Street (2015, Squirtgun Records). Alive & Kicking is a new collection of songs from Dany Laj and the Looks, recorded over a hot Montreal summer and produced by Laj himself. Longtime listeners will recognise the band's signature power-pop hooks, and fans old and new will find themselves immediately bopping their heads and tapping their toes to the finely crafted instant classics like the first single, Sweet Pretender. The Sweet Pretender single will be released on 7" on February 17th (both available through Some Call It Pop Records).
Lambchop [Is A Woman (2LP re-issue)]

March 3 street date. 2LP Gatefold reissue with bonus album download code. Lambchop’s Is a Woman is a very quiet album best heard loud. On a musical landscape of sophisticated, uncluttered melancholy, Kurt Wagner’s lyrics are given unprecedented space, allowing every guttural detail of every single word to be heard, revealing densely poetic texts as intimate as they were incisive, as comic as they were confessional. To discover the true spirit of Is a Woman, listen to the remarkable “My Blue Wave,” one of the band’s finest recordings to date. Here, Wagner depicts a world of helpless tragedy in which comfort can nonetheless be found in the smallest of gestures, as he journeys from the contented sight of his pets—“You lay around the house… Just bones and squirrels inside your head”—to recollections of a devastating phone call from friend and bandmate William Tyler: “And William called and tried to tell me / That his sister’s boyfriend has just died / He’s not sure what to do / And I’m not sure what to tell him he should do / Sometimes William, we’re just screwed / In my blue wave.” Fifteen years later, Lambchop continue to confound and astound in equal measures, but this startlingly private song captures the magic of Is a Woman at its most distilled. With their sound consistently shifting and surprising, the band’s line-up has morphed and adapted repeatedly since then, but the lingering mood of lachrymose but compassionate elegance of “My Blue Wave” helps explain why this extraordinary, idiosyncratic record is now considered to be one of the band’s finest.
Loscil [First Narrows (2LP)]

February 17 street date. This is the first vinyl issue of the classic third loscil album originally released in May of 2004... From the original onesheet: First Narrows is the third Loscil album and the first in which Scott Morgan uses real instruments and input from other musicians. Using sound sources that ranged from sampled instruments to miscellaneous lo-fi mini-cassette recordings, Morgan generated music on computer by custom programming sequencing and processing designed so that no two performances of the patches would be exactly the same. In turn, Jason Zumpano on fender rhodes piano, Tim Loewen on guitar and Nyla Rany on cello improvised over those electronic sequences. Morgan then edited and mixed the live and premixed sections together. First Narrows is named after the first gap to the entrance of the Burrard Inlet, over which the Lions Gate Bridge spans; the main entrance into Vancouver from the Pacific Ocean. By including a loscil track on their compilation of Canadian electronica alongside artists like Tim Hecker, Polmo Polpo, Ghislain Poirier and Thomas Jirku, the intr_version label confirmed that Loscil deserves placement among the unique practitioners of electronic sound arrangement. “This is calm, unhurried stuff; warm, fuzzy and expansive.” BBC // “loscil have always threatened to make a truly great record - 'First Narrows" is it.” Boomkat // “Slow suffocation, with rhythm.” Dusted // “The first great Loscil album.” Resident Advisor // “...a work of drifting coherence and gently blurred boundaries.” The Wire
Melvins [King Buzzo]

February 24 street date. In 1992 the Melvins’ fascination / adoration / denigration of the mighty KISS rock and roll universe compelled them to excrete out three solo masterworks inspired by the KISS solo LPs. The first in the series is King Buzzo, from the Melvins’ giggling guitar grumpus. Four songs of atmospheric clanging and rockin’ banging. Also features the many talents, drumming and otherwise, of a famous Grunge™ superstar, whose name sort of rhymes with New Wave Asshole. The second in the series is Dale Crover, from the Melvins’ sleepy drum caveman. Four songs of gloomy heaviness, with Dale doin’ the drummin’, singin’, guitarin’, and dancin’. The third in the series is Joe Preston, from the Melvins’ electronic beard warlord. Three songs of fuzz bass computer drone temper tantrum. All three 12-inches reissued on vinyl after 100,000 years out of print. Magical digital download included !!
Menzingers [After the Party]

February 3 street date. For their fifth full-length After the Party, The Menzingers set out to make the quintessential jukebox record: an unstoppably melodic album primed for bar-room sing-alongs. Delivering anthemic harmonies, furious power chords, and larger-than-life melodies, the Philadelphia-based garage-punk four-piece amply fulfills that mission while achieving something much more deeply nuanced. With its delicately crafted storytelling and everyman romanticism, After the Party ultimately proves to be a wistful but life-affirming reflection on getting older but not quite growing up. “We spent our 20s living in a rowdy kind of way, and now we’re at a point where it seems like everyone in our lives is moving in different directions,” says Tom May, who joined fellow singer/guitarist Greg Barnett, bassist Eric Keen, and drummer Joe Godino in forming The Menzingers as teenagers in their hometown of Scranton. With each song unfolding as its own fully realized story, After the Party came to life thanks largely to an introspective yet outward-looking lyrical sensibility on the part of Barnett and May. Produced by Will Yip (Title Fight, Balance & Composure, Pianos Become the Teeth) and recorded in Yip’s Conshohocken, Pennsylvania-based Studio 4, After the Party finds the band breaking into new sonic terrain. The Menzingers’ most refined album to date, After the Party was also shaped from an intensive writing and pre-production process that involved holing up for five weeks in Yip’s studio. Along with sculpting more expansive arrangements, the band focused on experimenting with new effects and production techniques to forge the album’s dynamic but intricately textured sound.
Naz Nomad And The Nightmares [Give Daddy the Knife Cindy]

March 3 street date. A vinyl release for the imagined 1967 film soundtrack. Recorded by the 1984 incarnation of the Damned, featuring Dave Vanian as Naz Nomad on vocals, Roman Jugg as Sphinx Svenson on guitars and as Ulla on keyboards, with Rat Scabies as Nick Detroit on drums and Bryn Merrick as Buddy Lee Junior on bass. Features songs recorded by the 60s psych bands that had influenced the Damned, including the Electric Prunes, the Litter, Paul Revere and the Raiders and the Human Beinz, plus two original Damned songs in the same style. Comes with an inner bag that has unseen photographs from the original club and carnival shoots, plus a period biography of “the band”. A must have for psych pop collectors everywhere!!
Real McKenzies [Two Devils Will Talk]

March 3 street date. For the last quarter century, the merry band of miscreants known as THE REAL McKENZIES have circumnavigated the globe, bringing their punk rock gospel to an ever-adoring throng of rebels, scallywags and ne’er do wells. In celebration of their 25th anniversary The McKENZIES return with their 10th full-length Two Devils Will Talk. Brimming with 14 tracks of invigorating Celtic-tinged punk, Two Devils Will Talk is a non-stop boot-stomping wassail. From the anthemic epic “Due West” to the rollicking reworked classic “Scots Wha Ha’e”, the album heaves with a youthful energy throughout. This is due in no small part to the addition of a few new members to the McKENZIES’ clan; shooting a fresh breeze up their collective kilt. Two Devils Will Talk sees a resilient, triumphant and defiantly hopeful band at the very top of their game and delivers a rousing blast to anyone within earshot.
Russell, Arthur [Instrumentals (2LP)]

February 24 street date. Remastered double LP with 12 page booklet including liner notes by Tim Lawrence, Ernie Brooks and Arthur Russell. Track list: “Instrumentals” Vol. 1, “Instrumentals” Vol. 2, Sketch for “Face Of Helen”, and Reach One All material previously released on the Audika CD compilation First Thought Best Thought. Before Disco, and before the transcendent echoes, ARTHUR RUSSELL wanted to be a composer. His journey began in 1972, leaving home in Oskaloosa, Iowa. Heading west to Northern California, Arthur studied Indian classical composition at the Ali Akbar Khan College of Music followed by western orchestral music at the San Francisco Conservatory of Music, before ending two years later in New York at the Manhattan School of Music. Traversing the popular and the serious, Arthur composed Instrumentals in 1974, inspired by the photography of his Buddhist teacher, Yuko Nonomura, as Arthur described, “I was awakened, or re-awakened to the bright-sound and magical qualities of the bubblegum and easy-listening currents in American popular music”. Initially intended to be performed in one 48 hour cycle, Instrumentals was in fact only performed in excerpts a handful of times as a work in progress. The legendary performances captured live in New York at The Kitchen (1975 and 1978) and Franklin St. Arts Center (1977) feature the cream of that eras downtown new music scene including Ernie Brooks, Rhys Chatham, Julius Eastman, Jon Gibson, Peter Gordon, Garrett List, Andy Paley, Bill Ruyle, Dave Van Tieghem, and Peter Zummo. Pitchfork lauded “Instrumentals” Vol. 1 as a masterpiece and one of Arthur’s “greatest achievements”. Americana touching on Copeland, Ives, and maybe even Brian Wilson. “Instrumentals” Vol. 2 is a moving, deeply pastoral work performed by the CETA Orchestra and conducted by Julius Eastman. Also included are two of Arthur’s most elusive compositions, "Reach One," and "Sketch For 'Face Of Helen.' Recorded live in 1975 at Phill Niblock’s Experimental Intermedia Foundation, "Reach One" is a minimal, hypnotic ambient soundscape written and performed for two Fender Rhodes pianos. "Sketch For 'Face Of Helen' was inspired by Arthur’s work with friend and composer Arnold Dreyblatt, recorded with an electronic tone generator, keyboard and ambient recordings of a rumbling tugboat from the Hudson River. For this remastered vinyl edition, a key part of Arthur’s musical life has been restored. The sparkling, multidimensional results take the listener closer to Arthur’s coast-to-coast journey: his iconoclastic determination to combine pop and art music; and his desire to make music that would resonate in the present and, ultimately, across time.
Shadow Band [Wilderness of Love (Gatefold/Download code)]

February 24 street date. Wilderness of Love is the smoke-colored debut album by mystical prophets Shadow Band. The eleven songs here travel on a journey through lantern-lit psyche-folk dirges and deathknell blues, the homespun production mirroring the low-lit environment in which the album was made. Mellow but godless, Shadow Band creates their own reality, reflecting on the embers of haunted dreams but moving ever forward through the dusk. Black Vinyl Gatefold LP comes with download code and printed inner sleeve.
Six Organs Of Admittance [Burning the Threshold]

February 24 street date. In preparing for the first album of non-Hexadic Six Organs of Admittance music since 2012’s Ascent, Ben Chasny had a think about what he’d be saying in his own tongue for the first time in a half-decade. As ever, a head-full of ideas were driving him to think and speak music as a spirituality superimposed onto a reality, with the ghosts of both whispering at each other. In the end, what sits in our listening ears is the sound of communion. Burning the Threshold brings a wealth of Six Organs-styled lightness into one of his sweetest musical meditations yet. Ben is in a particularly expansive mood this time around, singing and playing while thinking of birds in the morning, anarchy, Third Ear Band, Gaston Bachelard, The Gnostics, Ronnie Lane and/or The Faces, Deleuze, Aaron Cheak, Odysseus, This Heat, Takoma Records, St Eustace, Dark Noontide and a HELL of a lot more than that, with all the thoughts affixed to a quiver of potent melodies launching forth and arcing out through dimensions, seeking infinite space. Like so many other Six Organs records, Burning the Threshold was created mostly solo, but features the singing talents of Alex Nielsen, Haley Fohr and Damon and Naomi; the drumming of Chris Corsano; a guitar duet with Ryley Walker, and keys and mixing from Cooper Crain. With this new music, Ben Chasny has created a potent tonic for our times. The gentleness found here, balanced on top of his classical asceticism, provides much of what we need in 2017 and beyond: love, forgiveness, reality and an ever-wider view, with the understanding of our circular path in this lifetime. Looking at the world through clear eyes beneath a knitted brow, but with a laugh rising up from its heart, Burning the Threshold brings us a powerful draught of essence.
Tinariwen [Elwan (2LP)]

February 10 street date. For the last five years, Tinariwen have been busy criss-crossing the globe bringing their triumpant tours to all five continents and expanding their audience. During this time their beloved homeland in the Adrar des Ifoghas, a Saharan mountain range that straddles the border between north-eastern Mali and southern Algeria has, in effect, been transformed into a conflict zone, a place where nobody can venture without putting themselves in danger. These conflicts have forced the band into exile to record their 8th album, Elwan. Elwan means ‘the elephants ‘ - an animal metaphor to describe those ‘beasts’, whether militias or multinational consortiums, who have trampled everything in their path: in the desert, where both the human and ecological equilibriums are extremely fragile. Tinariwen chose to record this album is several locations around the world, including for 4 days at the desert hideaway of Rancho De La Luna studio in Joshua Tree, CA, the studio known as a favored refuge for many an eclectic artist from Queens of the Stone Age to Daniel Lanios to Arctic Monkeys to Iggy Pop and more. For Tinariwen, the geographical location of the studio proved to be particularly propitious in terms of creativity. And the human climate was just as favorable. A few friends dropped in during the sessions to add some magic to a few tracks including, Kurt Vile (electric guitar), Mark Lanegan ( Vocals on ‘Nànnuflày’), Matt Sweeney (electric guitar) and producer/guitarist, Alain Johannes (Cigarbox guitar). Sessions were also recorded in Morocco, where the band were accompanied by local musicians, in a land where they are considered musical legends. Lovers of those sensual yet abrasive riffs that are Tinariwen’s signature won’t be disappointed. But neither will those who love their funky, danceable side, which comes through loud and clear. All that potential has been wonderfully honed by the album’s mixing engineer Andrew Schepps, known well for his work with the Red Hot Chilli Peppers, Johnny Cash, and Jay Z.
V/A [Woody Guthrie's Roll Columbia (2CD)]

February 10 street date (date change). Roll Columbia: Woody Guthrie’s 26 Northwest Songs is a trove of new discoveries, and a celebration of Guthrie’s genius and lasting contributions to both the history and musical traditions of the Pacic Northwest.In 1941, the Bonneville Power Administration commissioned Guthrie to write songs to help promote to the public the construction of dams along the Columbia River. 75 years later, present-day artists with ties to the Pacic Northwest who have been inuenced by this fruitful time in Guthrie’s career have gathere together to record their own interpretations. Roll Columbia is the rst and only complete collection of these 26 songs, including nine that had never before been recorded, such as “Eleckatricity and All” and “Portland Town to Klamath Falls,” as well as classic Guthrie tunes “Pastures of Plenty” and “Hard Travelin’.” Featuring: Carl Allen, Kristin Andreassen, Peter Buck, Darrin Craig, Steve Einhorn, Chris Funk, Tony Furtado, David Grisman, Tracy Grisman, Ben Hunter, Michael Hurley, Al James, Orville Johnson, Scott McCaughey, John Moen, Cahalen Morrison, Bill Murlin and Fine Company, Jon Neufeld, Kate Power, George Rezendes, Pharis and Jason Romero, Caitlin Belem Romtvedt, David Romtvedt, Joe Seamons, Martha Scanlan, Timberbound, and Annalisa Tornfelt and the Tornfelt Sisters.

Latest News

 

TINARIWEN "ELWAN"
EXCLAIM! REVIEW SCORE 8/10
(Anti 87467 2LP or CD)
http://exclaim.ca/music/article/tinariwen-elwan


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