Before Drive-By Truckers, Mike Cooley and Patterson Hood formed Adam’s House Cat in the Muscle Shoals area of Alabama in 1985. Their songs and friendship became the foundation on which DBT was built. Their one and only “lost” album from 1990 was remixed by David Barbe, remastered by Greg Calbi and is now available for the first time with archival photos and extensive liner notes from Patterson Hood.
Town Burned Down is hitting stores on September 21 on vinyl, and the yellow wax version is available for pre-order now. Below, check out a few tunes that had previously found their way to YouTube.
It wasn’t too long ago when we posted about incredible NYC psych/jazz outfit Dadalon, including some sharp live studio footage. Now the band has a striking new video for the song “D Major” that appears on their eponymous debut.
Phoenix outfit takes a l’il sonic vacation to sunny Florida and hops in a tanning booth….
By Blurt Staff
sure if you’ve heard this yet, but the guy currently squatting in the White House is a real asshole – I mean, seriously, a racist, misogynistic, egotistical dullard appealing to the worst instincts of humanity – so, not a cool guy. The Phoenix-based band Wyves may have caught on to him as well, as they just put out a stellar, rollicking slice of satire with their new single, “Mar-a-Lago,” is a sweet little tune written in the first person as Donald Trump.
“Instead of just talking about how horrible or absurd he is in literal terms, I wanted to take an approach like “A Day In The Life” or “Sympathy For The Devil” to highlight his ridiculous ways by boasting about his base loves about him,” says Wyves singer Corey Gloden “This includes him going to Mar-a-Lago on the weekends to play golf with world leaders and business partners. I wanted the chorus to read like a brochure and like an 80’s tropical beach song in a major key, like “Kokomo”, offset with dark cryptic lyrics.”
The band was cool enough to let us bring it to you for the premier.
The song is off their new record, R U OK? Listen to “Mar-a-Lago”:
Wyves formed in 2015 and released their debut album, Spoils of War, the next year. That first single (sharing a name with the album title) was named #1 single of 2016 by the Phoenix News Times. Over their three years of existence, the band has shared the stage at festivals and as direct support with acts such as Gary Clark Jr, Dr. Dog, Govt. Mule, Juliette Lewis, and many more.
North Carolina indie rock godfather serves up a gem of a flashback. (Photo credit: Daniel Coston)
By Fred Mills
As North Carolina’s Chris Stamey quips, “Here it is, the followup to my first single, ‘The Summer Sun’—after only 41 years!”
The songwriter/rocker/producer is talking about “Greenboro Days,” which we here at BLURT are honored to be able to present to our readership. I’ve been a fan ever since the mid ‘70s, when he emerged as one of indie-rock’s earliest movers and shakers with his outfit Sneakers. Since then he’s consistently delivered the sonic goods, and this new track is no exception, so check it out:
The folk-pop tune’s available now at Spotify as well as Amazon. It was produced by Chris and Jeff Crawford and features Dan Davis (drums) and Jason Foureman (acoustic bass), plus John Teer from Chatham County Line on fiddle and mandolin, and Peter Holsapple from The dB’s (who also has a new record out, the Omnivore-issued Game Day album) on harmony vocals. (The tune will tweak the memories of longtime Stamey/Holsapple watchers who have the pair’s Mavericks collaboration from the ‘90s.) According to Chris, “’Greensboro Days’ is a folk-rock lament about traveling from summer into autumn, on steel wheels.” Those steel wheels can be viewed in the accompanying lyric video, which is considerably more than just a typical “lyric video”:
“Greensboro Days,” then, makes for a fitting followup to Chris’ “Summer Sun” single from ’77. It’s released on Stamey’s recently reactivated Car Records label, which released some true gems in the late ‘70s from Holsapple, Stamey and The dB’s, Big Star’s Chris Bell, and Sneakers. It’s more than appropriate, considering the back pages Chris recently thumbed through in his A Spy in the House of Loud musical memoir. The city of Greensboro is just a few miles from where Chris grew up, in Winston-Salem, and it played an influential role during the late ‘70s and early ‘80s when the North Carolina indie scene—and Stamey himself—was establishing its musical footing. And speaking of the Car label: He also has plans to release a new solo album, The Great Escape, via Car in early 2019, so keep your eyes peeled for that.
Incidentally, fans wanting to dive a bit deeper into “Greensboro” can snag a free download of Chris’ sheet music for the song at THIS LINK that he kindly provided. The sheet music is from his songbook New Songs for the 20th Century.
Rockin’ two-track advance teaser for Nashville band’s upcoming full-length.
BY FRED MILLS
Self-described as “a collaborative rock & roll effort,” Nashville-based Sour Ops here serves up a righteously rockin’ slab of 12” wax, “Phonograph” b/w “Mind Like Glue” courtesy Feralette Media. On the “Phonograph” A-side, the group is paying tribute to, you guessed it, the joys of recording for, pressing up on, and listening to, vinyl. Gee, how’d they figure out BLURT might be predisposed to liking this ditty?—which, sonically speaking, is a tight-but-loose chip-off-the-ol’-Stooges/MC5-block. (Listen close, and you might also here a couple of sneaky Stones licks in there as well.)
Over on the flip, “Mind Like Glue” picks up the baton and bolts with it via a crunchy, riff-powered progression that marks the band as latterday sons of Nuggets. Which comes as no huge surprise, considering the bandmembers list Panther Burns, Snakehips, the Upstairs Party, Botswanas, and Sixty-Nine Tribe on their collective C.V. Led by guitarist Price Harrison (who also heads up the Feralette label, which has previously brought us music from Snakehips, Marshall Chapman, Boo Ray, and Palmyra Delran), Sour Ops has a full length, Family Circuit, due out in late October, and this limited edition single makes for quite a fine teaser.
Resident Blurt editor also has direct experience with legendary title’s sales history…
By Uncle Blurt
The news about a Canadian copy of Prince’s The Black Album, from 1987 and cancelled for release by The Artist and Warner Bros., selling on music marketplace Discogs.com for $27,500 did not escape our attention. As Noisey.com reports:
“This record-breaking copy of The Black Album isn’t the most expensive Black Album ever sold—a sealed copy went for $42,298 earlier this year—but it is special. It was salvaged from the vinyl slaughter by a pressing plant employee in Canada, who had no idea of its value until five sealed American copies of the album surfaced in 2016. The unnamed man then contacted Jeff Gold, a former executive VP at Warner who now runs a music memorabilia store.”
Indeed, the aforementioned Prince vinyl has always been a sought-after artifact in its original, unreleased state, and a hot item among vinyl and CD bootleggers, not to mention digital file swappers. (It’s readily available these days among file traders despite Prince and his estate’s efforts to the contrary.) No less than Blurt Editor Fred Mills reports, “A number of years ago, long before the record saw official release on CD, I had bought a vinyl bootleg of it, complete with solid black artwork and sticker title, at a record swap show. Ultimately, during a purge of my record collection – I had always thought of Black Album as more of a curiosity than a ‘real’ Prince album, what with so many throwaway tunes, and that Prince himself had made the right call in yanking it – a ‘friend of mine, whose name I forget’ sold that bootleg copy for in the neighborhood of $400. Gee, who was that? I must have been drunk when I loaned it to him/her… And that was just for a bootleg. i would venture a guess that $27k for an actual copy of the real deal, while excessive by my personal budget standards, is about right.”
Available at random download sites, depending on the state of Prince estate whack-a-mole efforts…
Terrific tune culled from eponymous album, due out this week on Omnivore. Above: Jason Falkner and John Brodeur.
By Fred Mills
Brooklyn-based John Brodeur has been releasing top-shelf pop records for a number of years now, and in his current incarnation as Bird Streets and new album Bird Streets he’s knocking the ball out of the park. The album was produced by the mighty Jason Falkner (Jellyfish, Beck, etc.), who also plays on it and shares co-writing credit with Brodeur on all but two tracks. It drops August 10 via Omnivore, and we are extremely pleased to be able to unveil a track for our readership. Check out “Carry Me”:
Sings Brodeur, tellingly,
“Let’s raise a toast my friends To new beginnings and bitter ends Flip the hourglass again ‘Cause morning’s breaking soon…”
Brodeur comments on the song, saying, “I left Falkner’s place one evening having been instructed to return with ‘something that rocks.’ This old lyric full of car crashes and explosions seemed to fit the bill. We knew almost immediately that ‘Carry Me’ was going to open the record, it just had this undeniable vibe. In a way, it was the first Bird Streets song—the one that made me realize we weren’t making just another John Brodeur record.”
The record was primarily produced and recorded at Rhetoric studio in Los Angeles, and among the other musicians appearing on the record are Miranda Lee Richards and Luther Russell.
Both Brodeur and Falkner will be appearing onstage together for some shows August 25-26 in Los Angeles; joining them will be bassist Keith Hosmer and drummer Ben Lecourt. Brodeur’s official album release party will be August 9 in NYC, and you can keep track of the shows at his Bird Streets website.
Stompin’ tune taken from latest album Children of Paradise. (Photo by Cristina Arrigoni)
By Fred Mills
“I wanted it to feel like Judgment Day.”
That’s veteran rocker Willie Nile, on his song “Earth Blues,” an apocalyptic-lined powerhouse of a number even by Nile’s own blazing standards. And it’s no surprise, either, as his new Children of Paradise album (released July 27 on his own River House label) is a relentless, topical look at the turbulent darkness that currently engulfs us, what with tracks like “Getting’ Ugly Out There,” “Seeds of a Revolution,” and “All Dressed Up and No Place to Go.”
We’re pretty stoked to be able to premiere the video for “Earth Blues.” It was directed by Ehud Lazin, and Nile notes that he “filmed a show in June in Asbury Park, NJ, and used footage from that along with shots of the environmental chaos going on around the world. Lazin did a great job directing it. It’s got all the things I like about rock ‘n’ roll. It’s heartfelt, pissed off, in love, on fire, and out of its mind all at the same time.” Check it out:
Of the song, Nile says, “I wanted to give the earth a voice with all the chaos that’s going on with it. The ocean level’s rising, the weather’s changing for the worse and the climate for living a decent life here is going to hell. There’s a mass of plastic garbage the size of Texas floating in the Pacific Ocean for cryin’ out loud! A hundred years from now, the people responsible for letting it fall into ruin will be long gone and won’t give a damn and our descendants will be left to suffer and deal with the darkness and difficulties to come. They do it all for the money and nothing else, and our grandchildren and great grandchildren are going to have to pay for it. It’s not right and it’s not ok. That’s why I wrote ‘Earth Blues.’ I wanted to write a rocker with an anthemic chorus and I’m thrilled with how it came out. The band was on fire the day we cut it. I wanted it to feel like Judgment Day.”
Indeed it does, sir.
Nile’s 12th studio album was co-produced with Stewart Lerman (Elvis Costello, Patti Smith, Norah Jones) and cut with his crack live band (guitaristMatt Hogan, bassist Johnny Pisano, drummer Jon Weber). Also on the album are guitarist/multi-instrumentalist Steuart Smith (Eagles/Rosanne Cash/Rodney Crowell) and keyboardist Andy Burton (John Mayer/Rufus Wainwright/Ian Hunter), plus backing vocals by singer-songwriter James Maddock, Leslie Mendelson (Bob Weir), and Frankie Lee.
Check out the remarkable ‘shroom-fueled video for a key track from the album, which arrives Sept. 21. Tour dates at the bottom.
By Fred Mills
They’re called the Artisanals, they hail from Charleston, SC (where the once-sleepy tourist town now boasts a thriving indie rock music scene), and no less an artist than Band of Horses’ frontman Ben Bridwell is a major fan and supporter. The group features Johnny Delaware, late of SUSTO, but more important is the fact that their long-playing eponymous debut is stuffed with some of the most memorable rock ‘n’ roll you’ll hear all year, with sonic and songwriting touchstones ranging from Tom Petty and Bruce Springsteen to Dawes and the aforementioned Band of Horses.
Check out the Zach Hellmuth-directed video for album track “Drag,” below, for an advance taste, and mark your calendars for Sept. 21, when the album arrives via AWAL. You can also preorder it at the band’s PledgeMusic campaign.