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For the series of sessions that laid the foundation for Willie Nelson’s career and thus changed the course of modern country music, these recordings have been treated pretty cavalierly over the years. But first, a little history…Willie Nelson was a struggling songwriter, hungry for work and maybe even just plain hungry, when he moved to Nashville in late 1960 with his wife and kids and met Hank Cochran, who was a writer for Pamper Music. Pamper, which was owned by country star Ray Price, fiddle player Hal Smith, and a baker (!) from Pico Rivera, California named Claude Caviness, was the hottest publishing company in town, thanks to writers like Cochran and Harlan Howard and songs like “Heartaches by the Number” and “I Fall to Pieces.” At first, Willie wasn’t going to sign with Pamper because Hal Smith wouldn’t give Willie the draw he needed, but Cochran told Smith to front Willie fifty bucks a week from his own draw. So Willie, determined to reward Cochran’s trust, got to work. “I was writing to prove I could write,” he said. “To get the money and feel like I was earning it.” He would end most work days with a new song, and then he and Cochran would call a session with A-team musicians who didn’t have major label studio work that day. The result: a body of work that just may well represent the most fertile creative period ever to issue from a country songwriter. The songs Willie recorded for Pamper during the early ‘60s remain among his most famous, and include tunes he still performs to this day: “Crazy,” “Funny (How Time Slips Away),’ “Night Life,” “Pretty Paper,” “Half a Man,” “Hello Walls,” “Healing Hands of Time,” and more. And these, the Pamper demos, are the first recordings of those legendary songs. In other words, this is what artists and label guys back in the day heard when Hal Smith or Hank Cochran handed over a little acetate, and said, “Hey, listen here to what our guy Willie Nelson just come up with.” It simply doesn’t get much more historic than that! But, for some reason, these demos have hitherto turned up in bits and pieces, mostly on budget packages with little documentation or care. Now, finally, these incredibly important recordings are getting the respect they deserve. Things to Remember—The Pamper Demos brings together these 28 performances for the first time (several of which have hitherto eluded compilation), all remastered by Mike Milchner at SonicVision to sound much better than they ever have, and annotated by Grammy-winning writer Colin Escott, with photos courtesy of Bear Family label founder Richard Weize. Available from Real Gone Music as a CD or a gatefold , red vinyl double-LP limited to 1000 copies, this collection is indispensable for any Willie Nelson fan or any lover of great country music…it’s the first blossoming of one of our greatest songwriters, presented the way work of this stature should be, with great sound and packaging.
DOWNEY TO LUBBOCK was born by immaculate inspiration from live shows Grammy winner Dave Alvin and Grammy nominee Jimmie Dale Gilmore performed together in 2017. Just the two of them were swapping songs and cutting up, each with a guitar and a heart full of soul, musicians who ve been on the road their entire adult lives. The result is an album of blues, rock and folk inspired tunes that both of their fans will enjoy. The album contains 12 songs - 10 covers and two originals - and is destined to be a classic Americana album from two Americana legends.
Vinyl LP pressing. 2018 release. Twenty-eight years ago, pissed-off twelve-year-olds around the universe discovered a new planet, a Black Planet. Public Enemy's aggressive, Benihana beats and incendiary lyrics instilled fear among parents and teachers everywhere, even in the border town of Laredo, Texas, home of the future founders of the Latin-Funk-Soul-Breaks super group, Brownout. The band's sixth full-length album Fear of a Brown Planet is a musical manifesto inspired by Public Enemy's music and revolutionary spirit. Chuck D., the Bomb Squad, Flava Flav and the rest of the P.E. posse couldn't possibly have expected that their golden-era hip hop albums would sow the seeds for countless Public Enemy sleeper cells, one that would emerge nearly three decades later in Austin, Texas. Translating sample-based music to a live band turned out to be more of a challenge than they anticipated. Coming off numerous tours as Brown Sabbath and even a stint backing the late legend Prince, Brownout is arguably the tightest and funkiest band on the road today and they're psyched to bring this revolutionary music to the people. For a band without an overt political agenda, they collectively couldn't resist the opportunity to play this music live, especially now.
Cheyenne Valley Drive is the 3rd studio album (and the first on their brand new label Bud's Recording Services), by Austin's Greyhounds. The band has been aptly described as "ZZ Top meets Hall & Oats" for their blend of gritty guitar riffs, smooth rhythms and soulful R&B. Cheyenne Valley Drive is no exception. Co-writers and singers Anthony Farrell and Andrew Trube mix these elements deftly throughout the 10 tracks. The sessions were recorded and mixed at legendary Sam Phillips Recording in Memphis, TN by Grammy award winning engineer Matt Ross-Spang (Margot Price, Jason Isbell).
After worldwide touring and critical acclaim on 'High Country', The Sword returns with their new album, 'Used Future'. Produced, Recorded and Mixed by Tucker Martine and Recorded at Flora Recording and Playback, Portland, OR.
Red Slushie Colored Vinyl.
Fusing bedroom soul with the ambient expanses of shoegaze, singer/songwriter and multi-instrumentalist Curtis Roush explores love and loss away from the purview of his psych-rock band The Bright Light Social Hour. LP is standard weight, black vinyl, includes download card.
Waco native Wade Bowen began recording Solid Ground intent on making the artistic statement of his career - a high bar considering the twenty years of success he's enjoyed - but as his personal odometer rolled over into his fourth decade, his focus is more on legacy than next Saturday night. Solid Ground is personal but not necessarily autobiographical, peppered with distinct south-of-the-border imagery and good-time revelry.
Their name of their collaboration comes from an exit sign along Interstate 55 in Arkansas that says, "Marie/Lepanto." That exit sits about halfway between where Kinkel-Schuster grew up in Arkansas and Johnson's childhood home in Missouri. Alternating between the lo-fi folk of Kinkel-Schuster's recent solo work and a distorted indie rock that recalls Johnson's work in Centro-Matic, this debut album, "Tenkiller" finds their two voices shadowing one another, with Johnson’s battered vocals and Kinkel-Schuster’s wavering tenor complementing one another.
- Bitter Southerner
The Lone Star-bred collective, The Texas Gentlemen, takes its cues from some of the iconic acts of the past — the quicksilver brilliance of The Wrecking Crew and Bob Dylan’s one-time backers The Band are the most obvious examples. Founding member, Beau Bedford, who shares chief engineering and production responsibilities at Dallas’ Modern Electric Sound Recorders, assembled The Texas Gentlemen as an all-purpose backing band for an eclectic array of singer-songwriters, including Leon Bridges, Nikki Lane, Jonathan Tyler and Paul Cauthen. That deft fusion of what came before with what is right now develops through the members’ unswerving dedication to simply play to the best of their abilities, trusting their instincts, and letting the music guide them. Case in point: TX Jelly was created in less than a week — four days, start to finish — at Muscle Shoals’ singular FAME Studios. Pared down from the 28 songs the Gentlemen recorded in that 96-hour span, TX Jelly effortlessly connects way back to what’s next, summoning the spirits of American songcraft even as it heralds the arrival of 21st century talent. Cut live, with little use for the blinding polish and careful presentation of so much modern music, TX Jelly oozes with skill backed up by that hard-won authenticity. TX Jelly moves between contemplative and raucous, encompassing the full breadth of the American experience. The music touches on blues, soul, folk, country, rock and gospel — from first track to last, you can feel The Texas Gentlemen reaching deep inside themselves and finding what’s genuine — what illuminates the truth of the country’s rich, complicated and singular artistic history — and delivering it the only way they know how: real, raw and righteous.
Whether or not you subscribe to the adage that the devil always has the best music, you can take it on faith that anytime he pops up from a cameo in a Ray Wylie Hubbard song, the results are gonna be pretty damned entertaining. And as any fan of the Hubbard cannon knows, Old Scratch pops up in his songs a lot nearly as often as all of Hubbard's wise-cracking black birds, lyrical and musical nods to Lightnin' Hopkins, bad-ass women (usually Hubbard's own wife, Judy), and a myriad of other grifters, ruffians, and scrappy cats of the gnarly and general lowdown variety. Somewhere or another on just about every Ray Wylie Hubbard album, the devil gets his due and he's now even worked his way up to the top billing on his acclaimed songwriter's latest, Tell the Devil I'm Gettin' There as Fast as I Can.