[ aquarius records — Country Folk Blues ]

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Showing results 951 through 1000 of 1618.

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Old favorites and out of print rare stuff from Palace/Will Oldham. Includes the infamous "Big Balls" AC/DC cover and FIVE NEW SONGS. Guest musicians include Mick Turner and Jim White from Dirty Three, David Grubbs, etc.

LOVELY album showcases Will's growing talents as a real songwriter.

If the Faheyesque fingerpicking that Jim O'Rourke brought to alt.country/indie rock were made even more sparse and given an almost Windham Hill/Michael Hedges/slightly-Renaissance-Faire quality, you'd have the Will Oldham (Palace) instrumental album. This is soundtrack music for a short film based on The Ode to Billy Joe.

Four new instrumentals from Mr. Will "Bonnie Prince Billy/Palace/Palace Songs/Palace Bros/Palace Music" Oldham. The liner notes tell a brief tale of a ship owner and some sailors, but offer little else in the way of recording information or description. Very mysterious. After trawling the internet oceans, we discovered that these four songs were composed as soundtrack pieces for a documentary film by Jason Massot about four modern merchant seamen. Little did we know that if we'd simply looked more closely at the disc and read the small print, we could have found all of this out sans computer. Ah the modern age! Such short attention spans! All the more reason to take some time to immerse yourself in Oldham's somber, contemplative songs. Slowly creeping acoustic guitar and bass navigations that we -- having not yet seen the film -- can say do indeed evoke the gentle rocking of an old ship and the endless rippling of the waves. The most affecting and foreboding of the four is the final "Emmanuel".

MPEG stream: Emmanuel

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SORRY. 4 songs, none of which appear on the Drag City full length. Recorded up in Santa Rosa with members of the Dirty 3 and Albini behind the board.

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SORRY. Originally released in 1974 to little acclaim, this is the first appearance on cd of Welsh guitarist Oliver's only album. Psych-blues guitar, like a solo Beefheart or something. BEAUTIFUL and highly recommended. Thanks to Aquarius-listmember Nik Carlson for turning us on to this back when it was only available as a $30 piece of collectible vinyl.

MPEG stream: The Rose Society
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After selfreleasing no less than three near-perfect albums as The Original Harmony Ridge Creekdippers, the trio of Mark Olson, Victoria Williams, and Mike "Razz" Russell bestow a fourth offering on the world, via respected roots label Hightone. This is more of the sublime sunbaked modern country/folk/rock material made famous by Victoria during her solo career and by Mark when he led the legendary Minneapolis alt.country group Jayhawks. Just lovely, slightly twangy songs that contain the most heartbreaking chord changes you ever heard. Also augmented with dobro, juice harp, mandolin, dulcimer, and more. Warm, lulling, perfect open air prettiness. We also carry the trio's first three albums.

RealAudio clip: Linda Lee

The Once And Future Herds brings together two overlapping Jewelled Antler duos: The Blithe Sons (Glenn Donaldson and Loren Chasse) and the Skygreen Leopards (Glenn Donaldson and Donovan Quinn). The material on this five song, 18-minute lil' 3" cd-r released by our friends PseudoArcana in New Zealand finds Glenn, Loren and Donovan relaxing back at the ranch (literally, this was recorded on a hillside out at Borges Ranch State Park) after a hard day of wrangling field recordings. As Jewelled Antler efforts go, this leans in a country-folk direction, more strummy and structured than is sometimes the case, with guit-fiddle to the fore and vocals that, at times, remind us of a muffled, mumbled Devendra Banhart. But all the weird, textural nature ambience you'd expect is also fully in the mix. It's really really nice and all you Jewelled Antler fanatics need to jump on it now, as we only have a dozen in stock of this limited release.

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Nico meets Jandek in these beautifully introspective proto-goth dirges by an anonymous woman from Czechoslovakia who moved to Canada and self-released these songs on a series of singles in the late seventies and early eighties. Music was her outlet to deal with the depression and alienation she felt living away from her home country, and these songs are almost laughably dour, though also quite lovably naive. Mostly performed with delicate Eastern-European tinged organ drones, she later recorded under the name, The Triffids (no connection to The Australian group), with an instrumental track that includes percussion and synth. Early demos are also included here, and display a slightly brighter air with acoustic guitar and reverbed vocals that will appeal to fans of Liz Harris (aka Grouper). Perhaps not a record for everyone, but those with unusual and eccentric tastes towards obscure but sincere outsiders will find a lot to love here! Comes with insert with lyric translations. Limited edition of 500.

MPEG stream: Life Is So Hard
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**MISSISSIPPI RECORDS ALERT** **MISSISSIPPI RECORDS ALERT** **MISSISSIPPI RECORDS ALERT** Another fantastic African artifact, this one, the first in a six part series, and as the title suggests, these tracks were recorded in 1970 as part of the First Biennale Of Arts And Culture For The Young. Orchestra Regional De Mopti, was a state funded group, who performed nationwide, in festivals and competitions, their sound incredible, lush and celebratory, looped guitar figures, fluttering flutes, lots of horns, wild drumming, call and response vocals, the music infused with emotion and passion, the sound trancelike, droning and hypnotic, many of the songs lock into super mesmeric grooves, the guitars tangled and gorgeously gnarled, minor key and slightly melancholy, but simultaneously exuberant and effusive, the vocals skipping wildly over the darkly meditative music underneath, while those songs are dark and dour, unwinding and unfurling like lost ballads, others are upbeat and bouncy, danceable even. The band really are incredible, it's hard to pick out just one element, the guitars slip from wild and spidery, to jangly and major key, to woozy and understated, the horn section almost sounds like a marching band, but their playing is so soulful, funky and groovy, and the vocals, slipping from chantlike murmur to mysterious hushed croon, to wild and nimble tongue twisting wail, these sounds, and these musicians are just beautiful and moving and so passionate. Definitely one of our new Mississippi faves, and already dying to hear more. Anyone into Ethiopiques, Sublime Frequencies and the like will dig this big time!

Finally available on cd, the previously vinyl-only debut lp from former Harry Pussy guitarist Bill Orcutt. And as we mentioned in our review of the lp, don't be expecting a blown out noise record, instead, this is solo guitar, Orcutt's take on Fahey, although his take is decidedly more twisted and chaotic and idiosyncratic and NOISY. The cd version features a bunch of bonus tracks not on the original vinyl (but more on those later)... When we first got the lp in, we couldn't keep it in stock, we kept having to postpone reviewing it in fact, 'cause every time a new list Friday would roll around, we'd discover that we had sold out again and would have to wait for Orcutt to drop off more records, when the same thing would happen again. We finally got enough to list and review and they blew out of here, and again, we'd sell 'em as fast as we could get 'em in, until finally there were no more to be had. Thankfully the cd version is less limited and should ne a wee bit more available. But now you're probably asking yourself, what's so great about this, why have they been flying out of here? Maybe it's 'cause this was picked by the editors of The Wire as number 3 in their top 50 albums of 2009. Or maybe 'cause so many AQ customers have an unhealthy obsession with the seminal underground '90s no wavey noise rock outfit that Orcutt used to abuse his guitar in, the notorious Harry Pussy. But this is pretty far from the skronk and spazz of HP. Well, it's still noisy in its way, but what Orcutt is playing here on this solo guitar album is "the blues". In an "American (very) Primitive" style. That's right, it's kinda the Harry Pussy version of John Fahey or something. Totally tangled, out there improvs from a guy who's really really feeling it, you can tell. His steel string acoustic guitar is only strung with four strings (missing the two in the middle, apparently, who needs 'em) and it's recorded up close and personal, played in a choppily percussive, and definitely emotive way. Appalachian angst that's sometimes stark, the background hum or tape hiss somehow somber, but mostly crowded with energetic bluesy bursts of notes spilling all over themselves, punctuated by occasional yelps and hollers as the spirit moves him. Imagine an agitated, ADD old timey outsider artist on Mississippi, also part Tetuzi Akiyama, part Jandek... Sure, there's some folks who might bring out the hoary old argument that "I could play like that too". But they didn't, and Orcutt did, and we're digging it! Definitely for fans of avant electric guitar freakouts - even though this is all-acoustic! The cd version tacks on six bonus tracks, two from a 7" single we never even saw (or heard) and 4 unreleased tracks exclusive to this release, and if anything, the extra tracks are alternatingly more melodic and pretty, more intense and frenzied, but they all sound cut from the same fucked up, outsider psychedelic guitar freakout cloth. So awesome!

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Huzzah! The former guitarist for '90s underground noiseniks Harry Pussy is back with a 2nd full length solo lp, his guitar strings once again all in a tangle - maybe six of 'em, but probably less, last we checked he had dispensed with the A and D strings, 'cause he plays a (repaired) broken-necked vintage acoustic that couldn't take the strain. Of course, the way he plays it, we'd think it wouldn't be safe with even one string... 2009's critically acclaimed A New Way To Pay Old Debts was crazy popular, a proverbial hotcake of a seller here, and fans of that record won't be disappointed with this equally emotive follow-up. Wild Bill brings the urgent, alien Appalachia, this album a noisy-as-acoustic-can-be "blues" freakout that's, as we've said before, both frantic -and- focused. Chaotic, tumbling, yet trance-inducing in its intricate intensity. There's also some calmer respites from his sturm-und-drang (strum-and-dang?), like the stark, hushed "Heaven Is Closed To Me Now". Orcutt throws in some wordless vocalizations here and there, getting properly glossolalic at times, which only adds to the "outsidery-ness" of the proceedings - and also conveys even more authentic feeling. This is one dramatic, raw, real record; while this might be what we like to call "fuckery", he's not fucking around. Fans of such folks as Japan's Kan Mikami and Tetuzi Akiyama, Jandek, and of course spiritual "American Primitive" mentor John Fahey (imagine John Fahey meets Derek Bailey!) should find this speaks to them in a language that can't be faked. And non-fans, or not-yet-fans? Well at first blanch you might find this tough going, but stick with it and see if it doesn't stir something in your soul. Currently gatefold vinyl-only, compact disc version to follow in a few weeks. And by the way, nice Stevie Ray Vaughan pick collection on the cover! Rolling in his grave, no doubt...

MPEG stream: The Visible Bosom
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Avant guitar slinger Bill Orcutt, formerly of legendary noise terrorists Harry Pussy, returns with another lp-only offering, a starkly handsome one sided, one song record on crystal clear vinyl, documenting a performance from his recent tour of New Zealand. Anyone who heard Orcutt's limited (and sadly out of print) A New Way to Pay Old Debts lp can look forward to another slab of atonal neo blues performed in a frantic but highly focused way on a battered old acoustic with only 4 strings. Orcutt's runs up the fretboard also come off a bit like strange ragas as the strings resonate and sustain almost like a sitar at times. Though performed in front of an audience, there is a spaciousness to the recording that takes on almost cosmic proportions and works perfectly with Orcutt's guitar work, which sounds huge and menacing but also strangely melodic. Way Down South takes on a weird trancey quality, and one can only assume that Orcutt was definitely "in the moment" here. But unlike so many bands and solo artists now, who rely extensively on loops, pedals, and all kinds of electronic fuckery, this shit is stripped to its essentials - I mean, can you really get more basic than an acoustic guitar? - and ably performed by a guy who can simply shred balls. Way recommended, and not surprisingly, limited to 300 copies!

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SORRY. SORRY. Even though I know it's sacrilege to suggest that there are records somehwere in the vicinity of being as good as Gram Parsons two solo records, I'm a'gonna go out on a limb and say that if you are a fan of Gram and Emmylou, you really oughta hear the Original Harmony Ridge Creek Dippers. Since 1997, Victoria Williams, Mark Olson (of the wonderful alt.country group Jayhawks), and Razz Russell have been living in Joshua Tree (scaring up Gram's ghost, no doubt) and selfreleasing their own music on their own label. Recording as the Harmony Ridge Creek Dippers, they've crafted a delicate, sunbaked country rock sound complete with perfectly-written songs (that tell stories, hey!), shuffling twang, and AMAZING harmonies (imagine the break-yr-heart chord changes Jayhawks were famous for, alongside Victoria's completely unique voice). The sound is augmented with "juice" harp, mandolin, and pedal steel, and guests include John Convertino of Calexico and some guy from the Black Crowes. The Creek Dippers actually sound a lot like you'd expect them to, which is a VERY good thing. We HIGHLY recommend ALL of the Creekdippers releases, especially for fans of Victoria Williams who've been wondering what she's been up to, and for fans of the Jayhawks (cos these are the first appearances of Mark Olson since leaving Jayhawks). The selftitled one came out first (1997), Pacific Coast Rambler is the second (1998), and Zola and the Tulip Tree is the new one. Each is 12.98 and we have all of them in stock.

No more Loftus, but there's still Orso and here's a new disc from the same Califone/Red Red Meat Chicago "banjocore" nexus...yay.

More medieval minstrelry!! Last list we reviewed the cd reissue of the first two albums by Germany's Ougenweide, early '70s German krautfolksters produced by Achim Reichel. Here's the another disc of their mainly acoustic "Mittelalter-Rock", featuring their third and fourth albums Ohrenschmaus and Eulenspiegel, both from 1976. Again this cd is a delight for anyone who can dig a Teutonic twist on ye olde folk, with dash of hippie psych/prog, played by people who wouldn't look out of place in a Joanna Newsom video. Singing in Old German -- sometimes in Latin -- Ougenweide took their obsession with the Middle Ages quite seriously indeed. They set old poetry to music, putting 'em in the same realm as that wonderful Kay Hoffman album Floret Silva from circa '77 we reviewed last year, and also reminding us a bit of the approach taken by a more recent (and more metallic!) German band, In Extremo -- remember them? The vocals are lovely, the various stringed things in the band get an, um, incredible workout, alongside hornpipes and jangling percussion... the mood ranges from melancholic atmosphere to pure reeling energy, and if you let yourself get into it, let your mind dance about in Ougenweide's ancient forest glade, you'll find that their melodies and rhythms are utterly infectious. Germany's Bear Family label, best known for their elaborate (and expensive) box sets, of course do a nice job with the packaging here, the thick cd booklet full of liner notes (in English and German), lyrics (not in English), and photos. Just turn to page 33 in the booklet for a gander at the appalling original album cover of Eulenspiegel -- the band playing tug-o-war in full RenFaire get-up, with a jester-garbed child dancing on the rope! This is a LOT cooler, and generally less silly, than that picture would suggest!

MPEG stream: Kommt, ihr Jungfern, helft mir klagen
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Medieval minstrelry!! Andee has been making fun of Allan for liking this so much, so if you want to get into the middle of that argument, give this a listen. This cd reissues the first two albums by Germany's Ougenweide, an early '70s folk-rock act who were sort of a Germanic version of contemporaneous UK folk-rockers Fairport Convention or Pentangle, perhaps. Gryphon, definitely. Or maybe you remember the Norwegian band Kong Lavring, reviewed here some time ago? Ougenweide are sorta like that, but German. (Another parallel would be France's Malicorne.) Sweet female vocals, bombastic male ones, flutes n' lutes, lots of ye olde melodiousness and harmoniousness, alongside some fairly rippin', energetic "hoedown" parts that will kick your ass for thinking this is even a wee bit too twee, though twee it often is. Those plugged-in interludes allow us to consider this troupe a krautrock as well as a krautfolk (?) band. And speaking of krautrock, their first record was produced by none other than Achim Reichel (of A.R. & Machines fame!). So we'll sum up Ougenwiede as dexterous and delightful music made by prancing hippies obsessed with the Middle Ages but willing to throw some fuzz bass in where it will do the most good. Pretty cool if you don't mind your acid folk to have strong RenFaire leanings! (It helps that it's all in German, we think.) The 22 tracks here come from their self-titled debut from 1973 and its 1974 follow-up All Die Weil Ich Mag, and it's the first time on cd for both of 'em. And since this is a Bear Family reissue, it's about as nicely done as a reissue can be, packaged with a 38 page booklet stuffed with liner notes (in English and German), lyrics, and vintage photos. Appropriately, the booklet is styled after an illuminated manuscript and decorated with medieval woodcuts.

MPEG stream: Der Fuchs
MPEG stream: Nieman Kan Mit Gerten
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The meeting point between country rock/Americana and emo is this San Francisco 'Highway! Although they formed back in '96, and have garnered a loyal local following as a live band, this is their first full length. Our Lady Of The Highway quite often bears a striking resemblance both in voice and word to Mountain Goats' John Darnielle and the Weakerthans' John Samson (and come to think of it, the title's pretty similar to the latter's Left And Leaving album too, isn't it?). This is by no means a bad thing - that's some quality company to be in, two AQ faves who pour their heart and soul into every note! - but it truly is uncanny at times. Key ingredients are Dominic East's heartfelt songwriting and unrestrained, empassioned vocals, Andrew Gerhan's sunset-perfect acoustic guitar strummin', Joshua Housh's mournful languid bass fiddle, and the subtly dynamic drumming of David Clifford (a side note: he is neither the David Clifford who drums for Pleasure Forever nor the man of the same name who drums for Fish of Marillion!). An aching sense of loss and loneliness permeates each of the eleven songs, and it weighs heavier and heavier as the album progresses (even when they kick up the tempo a bit), perhaps peaking at the tenth called "Come Clean". It's such barebones melancholic loveliness laden with generous reverb, it sounds as if it were recorded in a cavernous vacant church or in a big ol' pub long after last call. Offering some glistening solace like the warming amber glow of a freshly poured pint. A fine debut!

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With his high energy honky tonk sound and loud, twangy telecaster playing Buck Owens was not only partially responsible for revitalizing a dying country music scene -- with Nashville favoring ever more slick and syrupy production values -- but he's also often given credit for being the godfather of modern country (Yoakam, Brooks, et al). For the former we are thankful, and to the latter we can justly forgive him. After all, Buck Owens' music has about as similar to those "young country" artists as night and day. The scant 11 tracks included here were all recorded on the very cusp of Owens' fame in the mid-fifties, just before he signed to Capitol. Of particular interest here is a track called "Rhythm And Booze", the b-side to single Owens recorded under the pseudonym Corky Jones. Apparently Owens, then primarily a side man, recorded some sides for an L.A. based label of rockabilly tunes for some extra cash. While this disc is short, just about 20 minutes long, its well worth the investment as there's really not a dud in the batch. Like the other discs in this series there are some excellent liner notes by our friend Kurt Wolff (author of the Rough Guide To Country Music, among other things.)

MPEG stream: It Don't Show On Me
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The very earliest recordings from country star Buck Owens. Though he's most known for his pioneering honky tonk sound, influencing a future generation of country stars including Dwight Yoakam and Clint Black, he's heard here in a much more raw and immediate

Hmm. If CaseQuarter digs up some more gospel music like *this*, I might have to consider actually going to church some Sunday... First they brought us that wonderful Rev. Charlie Jackson collection last year, and now this, a debut album of unique gospel blues guitar stylings and amazing singing from the 72-year old Isaiah Owens. And while the Rev. Jackson disc consisted of private-press singles released in the '70s, Isaiah Owens was playing this stuff live on the radio just a few years ago. It was 1998 when Casequarter's Kevin Nutt first heard Owens on Montgomery, Alabama AM station WMGY (and some of the tracks found here he taped off the radio then!). Of course, Owens had been musically active for some time before this, singing gospel since the '50s in a group called The Flying Clouds of Montgomery, but only picking up the guitar in the '80s! And being such a late starter on the instrument, he developed what you'll discover here to be a quite original style all his own. It's not intentionally avant-garde and atonal but let's just say that his self-taught playing is quite at odds with tradition...and makes for quite an accompaniment to his strong, accomplished vocals. With these raw, loud, rhythmic, dissonant chords he sure aims to get the attention of both the Lord and the radio listener. Casequarter suggests that Owens' guitar sounds like a sanctified Hasil Adkins...we'd concur and also add that if you've heard underground Japanese folk troubadour Makami Kan you will hear a parallel for sure. And like Makami Kan's music, this is certainly some honest, soulful stuff. God-lovin' fervor that can't be faked. You'll feel it. Quite recommended! Includes four cd-only bonus tracks and informative liner notes from Knutt, who's also gospel-show DJ at our favorite station, WFMU.

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Anyone into the magical vibe of late '60s/early '70s British psych folk must get this, the absolutely lovely solo debut from multi-instrumentalist and Tower Recordings founding member Pat Gulber. Together with percussionist/producer Tim Barnes, he's taken

RealAudio clip: The Divine Invasion
RealAudio clip: The fallen leaves that jewel the ground
RealAudio clip: When I Was A Young Man
RealAudio clip: The Shepherd

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Palace release features some of the prettiest songs Will Oldham has ever written, as well some of his oddest lyrics (and this is one of the tame ones): > to see in me a promise of what i could give > and i to see in her a reason to live > which was past just a symbol of woman and luck > that i would never be lacking for something to fuck

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SORRY. 2 songs from 1993.

Yes, this is a Jack Palance album. You know, that scary Ripley's Believe It Or Not guy. Plus he was in some movies and stuff. Of course, you know him, you love him. Back in 1969, someone at Warner Bros. though it would be a good idea for Jack to make a record. Maybe 'cause he'd been in some westerns, or maybe 'cause he dug Lee Hazlewood and Johnny Cash, or maybe 'cause the country-rock thing lends itself well to a semi-spoken word delivery when you can't really sing all that well, Jack grew a moustache, went to Nashville and, with the help of some studio pros, cut this album. Now it's been reissued on cd with a big ol' booklet of liner notes and everything. And it is pretty entertaining, totally orchestrated, with backing singers and so on, Jack Palance recognizable as himself, playing upon his sinister, tough guy screen persona with ballads like "Meanest Guy That Ever Lived" (that one he wrote himself, in fact). Now we wish somebody would reissue the Telly Savalas LP!

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Not to be confused with the heavy sludge doom of Pale Horse, local San Francisco duo of Kyle Ranson and Kimberly Pierce channel apocalyptic doom through a completely different sensibility. Using mainly just spare acoustic guitar, tambourine, and beautiful two-part vocal harmonies, The Gospels is a sermon of haunting southern gothic songs filled with death, despair and hard-living. Their sound reminds us at times like early Palace brothers, or a way stripped down Brightblack (before they added the Morning Light to their name), occasionally conjuring up dusty images in our minds of small town buskers singing for their supper and salvation. Thankfully, Pale Hoarse do not play up the vintage Americana card too heavy-handedly, instead using spare arrangements to tread on dark but universal themes. Perfect for Sunday Mornings coming down from the sins of the previous night and you just can't make it to church. Housed in a silk-screened paper bag with hand sewn leather envelope for the cd and insert with lyrics and drawings. So Beautiful and VERY LIMITED!

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Follow-up to their stellar debut, The Gospels, this eponymous ep by local folk duo Pale Hoarse gives us five more gorgeous tracks of strung out sorrow. One of them a beautiful cover of Gene Clark's "With Tomorrow". This time the songs seem to be less about sin and salvation and more geared towards a nature-reverent British folk approach. Their dual male/female harmonies reminding us of a more mournful John Doe and Exene Cervenka, but on this ep exuding a more smoldering hopefulness than the dusty haunted doom of their debut. Quite lovely!

MPEG stream: Temple Bell Song
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SORRY. A new release on lo-fi stylemakers cassingleUSA label, but don't be mistaken -- this is much more than a cassingle. Papercuts give us 13 songs, soft, sweet and bittersweet, this would not be out of place next to Music Tapes or Casiotone For The Painfully Alone. As a matter of fact, our dear pal Owen of Casiotone plays on track #4.

Haunting and lovely avant-folk recording from French multi-instrumentalist Emmanuelle Parrenin. Recorded in 1977, Parrenin's fascination and adeptness with ancient traditional stringed instruments such as the harp, hurdy-gurdy, spinet, and dulcimer, gives a unique spin on her more forward thinking compositions. Often compared to Vashti Bunyan and Linda Perhacs due to her sweet multi-tracked vocals which accompany about half of the songs, we think the later recording date puts her more in line with Kay Hoffman's Floret Silva (another progressive folk masterpiece recorded the same year) or the kosmiche pastoral vibe of Popol Vuh due to the layered Celtic-inflected droning harmonies she evokes from her instruments. Beautiful and so recommended!

MPEG stream: Chibault et L'Arbre D'Or
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Normally a discovery like this, lost unreleased recordings of the late great Gram Parsons, would have everyone freaking out. I mean, this is the grievous angel! He was personally responsible for some of the most beautiful country rock ever, AND he was in the Byrds and the Flying Burrito Brothers. But our initial excitement may have been a bit premature. These are home recorded demos from 1965-1966, a time when GP was immersed in the New York folk scene, so most of the songs have that Greenwich Village/Dylan/folkie vibe, not much of the twang that would become his 'sound'. The sound we've all come to know and love. The covers range from Buffy Saint-Marie to Fred Neil to Lieber and Stoller. And normally, unreleased/unheard tracks would be the treasure here, but in this case it's the songs that would resurface later (albeit in different incarnations) that are the most interesting. Probably his most famous song, 'Brass Buttons', is included here, stripped down and kind of tentative sounding, and it's just really cool to hear a 'classic' in its fetal stages. Too bad there wasn't more of that. The bottom line, is that this one's for the completists and GP obsessives and I imagine there are quite a few of you out there.

RealAudio clip: Brass Buttons
RealAudio clip: Another Side Of This Life (Fred Neil)

Wow, here's something we're sure a few folks -- specifically Gram Parsons fans -- wished they'd found under the tree a few days ago! Ah well, better late than never! Here's just the facts: Gram Parsons and The Flying Burrito Bros. Live at the Avalon Ballroom here in SF. Two evenings back in April 1969. Awesome. These two cds feature 25 remastered live recordings as well as two recently unearthed home recorded demos! they're packaged in a beautiful 5"x5.75" hardcover 20-page book. It sounds great. It looks great. A fantastic document of '60s Americana!

Newly Reissued on Vinyl!!!!! The enigma of Gram Parsons remains ever elusive. Considered the Father of Country Rock by pioneering the concept of a rock band playing country music through his contributions with The Incredible Submarine Band, The Flying Burrito Bros, and The Byrds later output, namely Sweetheart of the Rodeo. But it's Parson's two solo records on Reprise, G.P. from 1972 and Grievous Angel from 1973 that cemented his legend and legacy... due to his untimely death from a morphine and tequila overdose near the Joshua Tree National Monument only weeks after the Grievous Angel sessions were completed. He was 27 years old. Previously only available as a two-fer cd, these absolutely essential solo albums have now been given room to breathe and stand up as two completely individual listening experiences. So utterly heartbreaking. The only happiness that comes from these sessions is the magical presence of EmmyLou Harris who was introduced to the world with these records and was an equal partner in their making, and without her, the legacy of these recordings would not shine as brightly.

An absolutely essential album in any self-respecting country rock music fan... seriously. It just doesn't get much better than this. A true classic. 'Nuf said.

Rhino releases a very nice anthology covering the broad swath of Gram Parsons' short (he died in his mid-twenties) but brilliant career, thru almost all the bands he took part in, including the International Submarine Band, the Byrds, and the Flying Burrito If you don't already have his solo records and the single Byrds album he appeared on (Sweetheart of the Rodeo), then why not give this anthology a try. It's got one previously unreleased Int.Sub.Band outtake (that's quite good), copious liner notes, including notes on each song included, plus lots of photos of Parsons in his Nudie suits that I'd never seen before, some words from Emmylou, and it's all packaged in a very nice slipcase. Recommended. Note: we always carry the two solo albums he made -- GP and Grievous Angel -- which have been released on one disc.

RealAudio clip: You Don't Miss Your Water
RealAudio clip: $1000 Wedding
RealAudio clip: To Love Somebody
RealAudio clip: Knee Deep in the Blues

The enigma of Gram Parsons remains ever elusive. Considered the Father of Country Rock by pioneering the concept of a rock band playing country music through his contributions with The Incredible Submarine Band, The Flying Burrito Bros, and The Byrds later output, namely Sweetheart of the Rodeo (An interesting side note: the recent reissue of Sweetheart of the Rodeo restores Parsons vocal tracks which originally had to be removed due to contractual obligations with Lee Hazelwood's LHI label who released the sole Incredible Submarine Band album.). But it's Parson's two solo records on Reprise, G.P. from 1972 and Grievous Angel from 1973 that cemented his legend and legacy due to his untimely death from a morphine and tequila overdose near the Joshua Tree National Monument only weeks after the Grievous Angel sessions were completed. He was 27 years old. While there have been numerous 2 disc compilations and anthologies highlighting various periods of Parsons short but incredibly productive and influential career, including his years as a Greenwich village folkie, as well as live sets, there has never been a box set to completely round out his influence. So this new 3 disc box set showcasing his two solo records with a bonus disc of stripped down alternate takes and interviews will only offer minimal new insights. Previously only available as a two-fer, these absolutely essential solo albums have now been given room to breathe and stand up as two completely individual listening experiences, while the alternate takes only emphasize the loss of one of the finest country voices. So utterly heartbreaking. The only happiness that comes from these sessions is the magical presence of EmmyLou Harris who was introduced to the world with these records and was an equal partner in their making, and without her, the legacy of these recordings would not shine as brightly.

MPEG stream: A Song For You
MPEG stream: Brass Buttons
MPEG stream: In My Hour of Darkness

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY.

The timeless songbird of country music again explores her bluegrass roots. Employing many of the bluegrass stars on her previous album The Grass is Blue, Dolly tackles some standards ("I Get a Kick Out of You", "I Don't Believe You've Met My Baby", and her own "Down from Dover") and eight self-penned originals. Some country, some bluegrass. Alison Kraus again guests as harmony vocalist. And Dolly's not above letting the musicians display their talents without her voice in the forefront, like the smoking mandolin solo on "I Get a Kick Out of You." Wonderful and strong!

RealAudio clip: I Don't Believe You've Met My Baby
RealAudio clip: Mountain Angel
RealAudio clip: Marry Me

Oh Dolly! How we love you so. And how could we not. Dolly is like the wise, fun and sassy aunt we wish we all had. Someone who tells it like it is but never lets the hardships of life take away her spirit or sass. Mission Chapel Memories is without a doubt the greatest collection of Dolly's songs in a brief yet totally special moment of her musical career (1971-1975). During this prolific era she released eight albums as well as four duet collections with her mentor the late great Porter Wagoner. From classic songs you might know like "Coat Of Many Colors", "The Bargain Store" and "Jolene" to more obscure Dolly tracks that just might become your new favorites, as well as some secret weapons / devastating tracks for the next mix you make like "Loneliness Found Me", "Comes And Goes" and "When Someone Wants To Leave." This is Dolly at her most pure and raw. Proving that well before she became a huge pop star and cultural icon, she was responsible for writing, singing and playing some of the most sad, striking and salt of the earth country songs ever recorded. What makes Dolly so amazing and important is how truly universal her songs and sentiments are. No one else could draw as diverse of a fan base and loyal following as Dolly. From country music enthusiasts and southern baptists to punkers and queer activists everyone can relate and grasp onto the magic of Dolly. In recent years folks like the White Stripes, The Gossip and Jenny Hoyston have helped champion Dolly's music, exposing it to a new generation that maybe would have missed out on some truly amazing songs. And if you've been looking for that one document that really captures Dolly's music in its full glory this is the one to have!

MPEG stream: Bargain Store
MPEG stream: When Someone Wants To Leave
MPEG stream: Love Is Only As Strong (As Your Weakest Moment)