Thursday, July 19, 2018

Alejandro Escovedo teams with Wayne Kramer, James Williamson and Peter Perrett for new concept album "The Crossing"

On his cinematic new concept album ‘The Crossing’ – due September 14th – Alejandro Escovedo tells the story of two young immigrants – Salvo from Italy, and Diego from Mexico – working in a Texas restaurant in pursuit of the American dream. Mirroring Escovedo’s own experience as the child of Mexican immigrants, and drawing inspiration from his relationship with Italian co-writer Antonio Gramentieri, their journey navigates cultural identity, ancestral weight, minority rights and racism as they realize they have arrived in a different America – one that’s not as open and free as they believed it would be.

Listen to the first track “Sonica USA” (below) featuring Wayne Kramer of MC5 on guitar. The scorcher serves as an ode to the 70s punk scene where Escovedo found solace as a Mexican-American growing up in Austin, and the solidarity he found in his brother’s own pioneering punk band the Zeros.

Escovedo crossed borders of his own for ‘The Crossing’ sessions, recording outside the US for the first time ever at a farmhouse in Villafranca, Northern Italy with the help of co-producer Brian Deck (Modest Mouse, Gomez, Iron & Wine). Italian all-instrumental group Don Antonio – helmed by co-writer Antonio Gramentiere – bring the record’s narrative to life with their sweeping arrangements, while cameos from Kramer and The StoogesJames Williamson serve as reminders that Escovedo’s punk ethos burns bright (both bands name are checked in the lyrics as well). Elsewhere on the record, alt-country pioneer Joe Ely features on both the title track and his self-penned “Silver City”, while Peter Perrett and John Perry from UK legends The Only Ones reunite for their first recording in almost 40 years on “Waiting For Me.”

Alejandro Escovedo will kick off an international tour later this summer, with Don Antonio joining him on the road as backing band. For some reason, his only scheduled Canadian date is at the Interstellar Rodeo Music Festival which takes place at Hawrelak Park Amphitheatre in Edmonton July 20-22. Go figure.

‘The Crossing’ is available for pre-order here: Here's the audio clip of Sonica USA....

July 22 – Interstellar Rodeo Music Festival – Edmonton, Alberta (w/ US band)
Aug 8 – The Grove KGSR BBQ – Austin, TX (w/ US band)
Aug 19 – City Winery – Boston, MA*
Aug 20 – City Winery – New York, NY*
Aug 21 – City Winery – Washington, DC*
Aug 23 – The Ark – Ann Arbor, MI*
Aug 24 – Old Town School of Folk Music – Chicago, IL*
Aug 25 – Dakota Jazz Club – Minneapolis, MN*
Sept 8 – Mushroom Festival – Kennett Square, PA
Sept 12-13 – Americana Fest – Nashville, TN
Oct 13 – Kafe del Teatro – Lleida, Spain
Oct 14 – Loco – Valencia, Spain
Oct 16 – Tempo – Madrid, Spain
Oct 19 – De Posthoorn – Hamont-Achel, Belgium
Oct 20 – Ramblin Roots Festival – Utrecht, Holland
Oct 22 – Boule Noir – Paris, France
Oct 23 – De Zwerver – Leffinge, Belgium
Oct 25 – Gosforth Civic – Newcastle, UK
Oct 26 – Oran Mor – Glasgow, UK
Oct 27 – The Hubs – Sheffield, UK
Oct 28 – The Lending Room – Leeds, UK
Oct 30 – Bush Hall – London, UK
Oct 31 – Hen & Chicken – Bristols, UK
Nov 1 – Bullingdon – Oxford, UK

*solo dates with Joe Ely

Happy Birthday Bobby Bradford!

Celebrating trumpet titan Bobby Bradford's 84th birthday with his "Song For The Unsung" from 1969. 

Wednesday, July 18, 2018

Jim Lauderdale @ Hugh's Room Live, Wednesday

Along with his new album Time Flies, Jim Lauderdale is also releasing his 1979 bluegrass recording with Roland White. 

This just in from Yep Roc Records...
Jim Lauderdale’s story is a complicated triumph, with a glorious soundtrack. Here are the first and last chapters of the newly revised edition: His initial recording, with bluegrass innovator Roland White of the Kentucky Colonels, and his newest effort, the expansive Time Flies which are being released simultaneously by Yep Roc Records on August 3rd.

Lauderdale is the son of a preacher, and of a mother who taught public school and played the organ at church. He was raised in the Carolinas, schooled in bluegrass and the Beatles and worshipful of brothers Everly and Stanley. In the hot summer of 1979, at age 22, Jim hit Nashville, possessed of prodigious talent, indistinct musical ambitions, and nothing in the way of gold or silver. While country radio stations played pop-leaning hits, Lauderdale sought something other than what was in then-contemporary fashion.

He found a mentor and collaborator in Roland White, whose mandolin work with Bill Monroe, Lester Flatt and the Kentucky Colonels helped revitalize and reimagine acoustic roots music. The elder and junior musicians paired to make an album of close harmony and vivacious beauty, recorded in the basement of banjo master Earl Scruggs.

“Earl would come down and serve us coffee from a silver tray, and he’d be wearing an apron,” Lauderdale says. “He wasn’t doing that to be funny, it’s just what he did. I made cassettes and sent them to bluegrass labels with a handwritten note, and got turned down by everybody.”

That album should have, in some hypothetical, just and righteous world, taken its place in bluegrass history with tradition-drenched, progressive-minded classics by J.D. Crowe and the New South, The Seldom Scene, and, come to think of it, the Kentucky Colonels. Instead, the thing went unreleased, and then the master tapes got lost for 39 years. It was the first bummer in an epic series for Lauderdale. Looking back, it all seems like sweet serendipity. At the time, it just felt like heartache.

More serendipitous heartache and heartening growth would follow. There was a stint in New York, and there were music-making friendships with unknowns who would become well-knowns, like Shawn Colvin and Buddy Miller. There was time in California, where he was a key figure in the burgeoning L.A. country music scene that gave rise to Dwight Yoakam, Lucinda Williams, and many more, and that was foundational in what we now call “Americana” music.

There was a late 1980s album produced by Pete Anderson for Columbia Records. Like the Roland White album, that one didn’t come out for decades: Lauderdale was dropped by the label in the weeks before his works’ intended release. Anderson, who had already produced Yoakam’s initial recordings, said he thought Lauderdale’s was the best project with which he’d been involved. No matter. Corporate politics. Bottom-lines. Lauderdale was good at finding something other than what was in then-contemporary fashion.

Jim returned to Nashville, at first on occasion and later for what looks like perpetuity, and wound up with a second major label recording contract, this one with Warner Bros. He made an album called Planet of Love, released in 1991 and produced by Rodney Crowell and John Leventhal. That one was deemed commercially unsatisfactory, though it held songs that would be famously recorded by George Strait, Lee Ann Womack, and other heroes of country music. Then it was on to Atlantic Records, to make a country-rock masterpiece called Pretty Close to the Truth (1994). Then another Atlantic album, and then on to RCA, with every album meriting fist-pump critical reactions that weren’t always met with accompanying sales.

“I don’t fit anywhere,” he said at the time. But he was wrong. He fits everywhere, he just fits differently than others.

George Strait began recording Lauderdale’s songs, and featuring them on top-selling albums and a hit movie. Strait has now recorded 14 Lauderdale compositions, all of them fitting in fine and contemporary fashion. The money was good, and soon Lauderdale’s parents — the preacher and the teacher — had a lovely mountain home in North Carolina. And Jim Lauderdale became the rarest of commodities: A beloved and respected roots music force whose songs were in country radio favor, recorded by Strait, the Dixie Chicks, Solomon Burke, Patty Loveless, Vince Gill, Blake Shelton and many others.

He won Grammy awards, on his own (Bluegrass Diaries, in 2009) and with Ralph Stanley for Lost in the Lonesome Pines, in 2004). He won a Lifetime Achievement Award from the Americana Music Association, and became known as “Mr. Americana.” He released an astoundingly varied catalog of albums exploring bluegrass, soul, rock and country while finding time to collaborate with Elvis Costello, Lucinda Williams, Grateful Dead lyricist Robert Hunter, The North Mississippi All-Stars, and George Jones (about whom he wrote the ballad “The King of Broken Hearts).

Recently, Lauderdale was at the Station Inn, the world’s most storied bluegrass tavern. Roland White came to see him, and casually mentioned, “I think my wife found the tapes to our album, in a box in the basement.” Indeed, she had. Quarter-inch, reel-to-reel. A journey’s beginning. “February Snow” and “Nashville Blues.”

Meanwhile, Lauderdale was working on new songs, with new-century music heroes like Chris Scruggs, Kenny Vaughan, Jay Weaver, and John McTigue. Those songs became an album called Time Flies. And time does fly, though it often seems to creep. And heartache can be serendipitous. And a life well-lived is a complicated triumph.

Jim Lauderdale is an American music-master, and the author of a soundtrack both glorious and expansive. We’d be sort of dumb not to listen. And, so, let’s listen. Time flies. Music sustains. Pre-order Yep Roc's limited-edition Time Flies bundle right here.

Watch Jim perform "Forgive and Forget" off the previously unreleased 1979 session Jim Lauderdale & Roland White following the clip for "Where The Cars Go By Fast". 

Tuesday, July 17, 2018

Prophet claws back from the depths of 80s funk obscurity

Prophet cut the Bay Area funk gem Right On Time in '84 then vanished but He's back with a new Stones Throw LP.

Monday, July 16, 2018

Happy Birthday William Bell!

Cheers to soul great William Bell on his day – here's a tiny desk concert performance from 2016.

Whaddya mean you don't know The Montereys

Drummer Ben Clark is the rhythmic force behind The Montereys heavy-funk classic Get Down for NGC.

Sunday, July 15, 2018

Exploring the hidden world of 70s Croatian jazz funk

The previously unknown recordings of Davor Rocco's Spektar Combo & Grupa Hej were uncovered by Black Pearl.

Nat Birchall salutes John Coltrane with new Jazzman single

Check out the Nat Birchall Quintet's update of Billy Gault's Mode For Trane off their new single with art by Emma Davis

Saturday, July 14, 2018

Pearl Charles, Blind Matty, Fascinator @ The Rec Room, Saturday

Check out the hilarious Pearl Charles interview with Noah Rubin following her performance of Behind Closed Doors. 

B-Side Wins Again: Mohjah

The synth-enhanced flipside of Mohjah's Jovert (Breakaway) single from 1984 is the soca/disco fiya. 

Friday, July 13, 2018

Mel Davis gem "Just Another Smile" gets 45 reissue

Colemine's archival subsidiary Remind recently recirculated the tough-to-find San Fran stormer on Golden State. 

One For The Weekend: Joe Chambers

The spiritual jazz gem "Medina" is off the Joe Chambers-led album "The Almoravid" on Muse from 1974. 

Thursday, July 12, 2018

Tony Joe White's raw new Bad Mouthin' album due September 28th

Check out the swampy-sweet title track off Tony Joe White's forthcoming Bad Mouthin' album below.

Tony Joe White’s music is as primal as a lizard’s backbone. It echoes from the magnolia groves and bayous of his Louisiana childhood, and looms into the present every time he unleashes the molasses and tanned-leather combination of his guitar and voice. The legendary songwriter’s new blues-based album, Bad Mouthin’, which arrives September 28, comes straight from the swamps with its blend of classics and five White originals, including two of the first songs he wrote—just before penning his breakthrough hits “Polk Salad Annie” and “A Rainy Night in Georgia” in 1967.

“When and where I grew up, blues was just about the only music I heard and truly loved,” says White, who’s 75 and, if anything, an even more visceral performer than in his youth. “I’ve always thought of myself as a blues musician, bottom line, because the blues is real, and I like to keep everything I do as real as it gets. So, I thought it was time to make a blues record that sounds the way I always loved the music.”

And that’s down-to-the-bone raw. Over the course of Bad Mouthin’ s 12 songs, White conjures a world of meaning that transcends the lyrics of classics like Jimmy Reed’s “Big Boss Man,” Lightnin’ Hopkins’ “Awful Dreams,” and Charley Patton’s “Down the Dirt Road Blues,” using his deep river of a voice and the dark, spartan tones of his guitar to evoke the mystical South—a place where ghosts roam among abandoned pecan groves covered in Spanish moss and, indeed, the Devil might be encountered at a moonlit crossroads.

That White—who has penned hits and cuts for a compendium of fellow legends from Elvis Presley (“Poke Salad Annie”) to Brook Benton (“A Rainy Night in Georgia”) to Dusty Springfield (“Willie and Laura Mae Jones”) to Eric Clapton (“Did Somebody Make a Fool Out of You”) to Tina Tuner (“Steamy Windows”) to Willie Nelson (“Problem Child”) to Kenny Chesney (also “Steamy Windows”) to Robert Cray (who recorded White’s “Don’t Steal My Love” and “Aspen, Colorado” just last year)—would now craft a blues album after more than 50 years establishing himself as a heroic figure spanning the rock, country, R&B, and Americana genres is an incredible testament to his versatility as well as to his roots.

Pre-order Bad Mouthin' on white vinyl right here.
Mostly, Bad Mouthin’ features White accompanied solely by his road-worn 1965 Fender Stratocaster, the guitar he’s favored for his entire career. That’s all he needs to conjure the same kind of simmering emotional magic that John Lee Hooker distilled into his historic solo recordings—just one man and one guitar essentially defining what it means to be human in a story as simple and yet as profound as a Zen koan.

Five of Bad Mouthin’s stories, “Stockholm Blues,” “Rich Woman Blues,” “Cool Town Woman,” “Sundown Blues” and the title track, are plucked from his own past. When he sings “Bad Mouthin’,” about an abusive lover, White’s voice rings with the weariness of a man pushed to his limits. And in “Sundown Blues,” his spare lyrics capture the essence of a lonely heart over a slow smoky shuffle reminiscent of Hooker’s famed lowdown boogie beat.

On both of those tunes—which are early, rediscovered compositions that White first recorded for a local label in Corpus Christi, Texas, in 1966—and two others, drummer Bryan Owings backs White. Owings is White’s frequent accompanist on tour, in the two-man band format that White enjoys. Owings has also performed and recorded with Emmylou Harris, Justin Townes Earle, Wanda Jackson, and many others. The duo are joined by bassist Steve Forrest on two numbers. And the album was produced by Jody White and engineered by Ryan McFadden.

Their recording strategy was unconventional. White moved a hodgepodge of gear from his home to his barn, where two former horse stalls became their studio. “The cement-floor saddle room with unfinished wood paneling had a window unit air conditioning box that had to be turned off for recording,” says McFadden. “The next stall over had a dirt floor covered with glued composite board. Tony cancelled the first session, saying he couldn’t sing in there because of the chemical smell of the glue. When I went back, Tony had filled the stalls with bowls of coffee grounds, cups of rice, dryer sheets, and decorative brooms made of bound twigs that were drenched in a cinnamon scent, sold at grocery stores around Halloween.” After that, each song was cut live in one or two takes. The approach perfectly captured the laidback open sound and sliding chords with thumb-plucked low-string lines that defines White’s blues-drenched guitar style. Since White plays good and loud, they put his 1951 Fender Deluxe amplifier in the back of his Land Rover, so its bawling tones wouldn’t interfere with the vocals and percussion tracks.

White, who was born in 1943 as the youngest of seven children on a cotton farm about 20 miles from the nearest town, Oak Grove, Louisiana, says the foundation of his music “comes from hearing blues singers play guitar with maybe just a harmonica or stomping their feet for accompaniment.” Adding a drummer, he cut his teeth playing school dances and then moved on to nightclubs along the Texas and Louisiana “crawfish circuit” of rough and tumble watering holes. And then the hits started happening, with “Polk Salad Annie” reaching number eight on the pop charts in 1968. Two years later, Brook Benton’s recording of “A Rainy Night in Georgia” topped the soul charts, and it’s been a wild ride since: decades of touring and recording marked by hit songs and collaborations with the likes of Eric Clapton, Jerry Lee Lewis and Mark Knopfler.

“If there’s anything like a line connecting everything that I’ve done, I would say it’s realness,” says White. “Even my songs that are sweet little love ballads—those are all real, inspired by real love and real life. Being real, being focused on what’s really going on around you, is something I learned early in my life.”

He pauses and laughs. “When you’re a little kid growing up down in the swamps, and you step on a cottonmouth … that’s real.”

Wednesday, July 11, 2018

UK-based jazz mag Straight No Chaser issue #99 due July 16

Here's the scoop from Straight No Chaser HQ...
It was in the summer of 1988, three decades ago, that Straight No Chaser – the magazine of World Jazz Jive was launched. Back then, the venture was a “designer fanzine” and in many respects that definition still holds true. The magazine evolved as a hub for a global community of music devotees committed to exploring diverse cultures of the African diaspora. From Sun Ra to Jeff Mills, Straight No Chaser explored ‘Intergalactic Sounds: Ancient To Future’ but in 2007, with the arrival of the internet, we were forced to call it a day.

However, 10 years down the line, a fresh, bold jazz influenced, nu-generation have emerged and it felt right to pick up where we left off with #SNC98. Over 130+ pages, this issue – #SNC99 (out July 16th) – connects with band-leaders Cassie Kinoshi (SEED Ensemble), Tenderlonious (22a), Femi Koleoso (Ezra Collective) and keys whiz Joe Armon-Jones.

Also in the mix are a host of spirited individuals like Nat Birchall (left), Midori Takada, Nabihah Iqbal, and Ben LeMar Gay. The London-Lagos-Accra connection is explored alongside Durban’s Qgom scene. On the indie label tip there’s Gondwana, Jazz re:freshed, Detroit Love and On the Corner.

For the crate diggers there’s Motown’s Black Forum + nuff reviews. #SNC98 sold out in under three weeks and though we’ve printed more mags there’s no room for complacency when it comes to getting your copy. You can pre-order Straight No Chaser #99 right now, right here.

Whaddya mean you don't know Shina Williams

Nigerian bandleader Shina Williams just had his sought-after 1984 album African Dances reissued by Mr. Bongo. 

Montreal's NOBRO join Darlene Shrugg & Biblical @ Lee's Palace, July 27

Listen to "The Kids Are Back" off NOBRO's forthcoming Sick Hustle album.

Tuesday, July 10, 2018

M. Ward, Nellie McKay @ The Mod Club, Wednesday

Watch M. Ward tour Hollywood in Elvis Presley's Rolls Royce and a trailer for Eugene Jarecki's new film "The King."

Listen to Ty Segall & White Fence's new single Body Behaviour

"Body Behaviour" is off Ty Segall & White Fence's forthcoming Joy album out July 20th – check it out below. 

Alternative French footy anthems: Ann Sorel

 Here's a sweet soundtrack for today's much-anticipated World Cup semi-finals match between France and Belgium.

Donnie Fritts records tribute to pal Arthur Alexander

Donnie Fritts has called his salute to fellow Florence, Alabama legend "June" which was Arthur Alexander's nickname – short for Junior.

Donnie Fritts writes...
"I'm proud to announce my new record. It's called June, and it's a tribute to my friend, the late, great Muscle Shoals R&B legend, Arthur Alexander.

"Over four evenings in 2017, me and my friends John Paul White, David Hood, Ben Tanner & Reed Watson gathered at Muscle Shoals Sound Studio to lay down basic tracks and bring this vision to life – a tribute to my friend and my hero.

"These ten tracks are mostly Arthur's songs, some we co-wrote, and they chronicle our relationship and songwriting partnership. June opens with the title track, a song I wrote shortly after Arthur's death in 1993. It was such an honor to do this album, and I hope it means as much to you as it does to me and my family.

"June will be released locally on July 27 (with an album release show in Florence, Alabama at 116 E Mobile) and worldwide on August 31. The first single, our version of the 1962 hit "You Better Move On", is available right now on streaming services. If you preorder a copy of the album, I'll sign it for you. Just click right here." It's also available as a download right here.

Check out Donnie's own version of "Rainbow Road" (off 1974's Prone To Lean album) which Arthur Alexander turned into his signature tune.

Monday, July 9, 2018

Happy Birthday Frank Wright

Remembering free-blowing tenor titan Frank Wright on his day with an overlooked swinger from 1982.

Courtney Barnett @ Danforth Music Hall, Tuesday

Here's Courtney's recent appearance on the German TV program Aspekte. 

B-Side Wins Again: DOOMSTARKS

Check out Madlib's remix of the MF Doom & Ghostface Killah collabo "Victory Laps" on Nature Sounds. 

Sunday, July 8, 2018

Omnivore issues rare Gene Clark recordings from 1967

The Gene Clark demos collection "Sings For You" is out now. Read all about it. 

Here's the scoop from Omnivore...
Gene Clark’s musical legacy is most certainly assured as a singer, songwriter and member of some exclusive company as an inductee to Rock and Roll Hall of Fame, a founder of The Byrds, and collaborator in groups such as Dillard & Clark, Gene Clark and the Gosdin Brothers, McGuinn Clark & Hillman and later as the duet partner of Carla Olson (The Textones).

His songs have been covered by Tom Petty & The Heartbreakers, Iain Matthews, Robert Plant & Alison Krauss, The Rose Garden, and Chris & Rich Robinson of The Black Crowes among many others. As well documented as Clark’s career has been, there have been remarkable discoveries over the years (see Omnivore’s Here Tonight: The White Light Demos for example), but now the Holy Grail of Clark’s post-Byrds career is finally about to see the light of day:

 “For longtime Gene Clark fans and aficionados, the tracks on this remarkable archival CD are the stuff of legend. Since word first spread in the 1980s about the discovery of these 1967 recordings on a rare acetate in Liberty Records’ vaults, fans have come to regard Gene Clark Sings For You as nothing less than the Holy Grail of the singer/songwriter’s extraordinary body of work. Shrouded in mystery and the subject of much speculation and conjecture, few have ever had the opportunity to hear these forgotten gems from one of Gene Clark’s most prolifically creative periods. Until now.”   John Einarson author of Mr. Tambourine Man: The Life And Legacy Of The Byrds’ Gene Clark

In addition to the 8 tracks from the Gene Clark Sings For You acetate, recorded in 1967 after he famously left The Byrds, there are an additional 5 previously unknown tracks from a further 1967 acetate given to the band, The Rose Garden, for recording consideration. This new compilation also includes a previously unissued demo rescued from a tape in the collection of John Noreen, member of The Rose Garden. This demo of the song “Till Today” is Clark running through the song for the band who would cut it on their only album, the 1968 self-titled effort on Atco Records (also being reissued and expanded at the same time as Gene Clark Sings For You).

Released with the full approval and cooperation with both the Estate of Gene Clark and the band, The Rose Garden, Gene Clark Sings For You is produced for release by Grammy®-winner, Cheryl Pawelski with restoration and mastering by Grammy-winner, Michael Graves. Liner notes by John Einarson, author of Mr. Tambourine Man: The Life And Legacy Of The Byrds’ Gene Clark (Backbeat Books) and previously unseen photos. Check out the tracks "Big City Girl" and "Doctor Doctor" below.

7:30 MODE

Femi Kuti & Positive Force @ The Opera House, Wednesday

Check out Femi Kuti's recent performance on Later... with Jools Holland and the Felabration Festival 2017.

Saturday, July 7, 2018

Catl @ Toronto Island Marina's Upper Deck, tonight

Your last chance to catch the whumpin' Catl in Toronto this summer will be this evening at the Upper Deck... and it's free!    Photo: Walter Sobczak

Friday, July 6, 2018

Cody Dickinson's Hill Country Revue release HCR III

Preview "Gave Me The Blues" and "We Don't Stop" from HCR III below while you can. 

One For The Weekend: The Mad Plaids

Check the Mad Plaids' instro ripper "Blood Rare" on Golden Crest. 

Thursday, July 5, 2018

The Chills preview forthcoming Snow Bound album with two new songs

Listen to "Complex" and "Lord Of All I Survey" off The Chills' Snow Bound album out September 14 on Fire.

Happy Birthday Shirley Collins!

Cheers to the amazing Shirley Collins who's still going strong at 83! 

B-Side Wins Again: Orchestre Abass

For some reason, Togo's Orchestre Abass hid the party rockin' Haka Dunia on the flip of Operation Bye Bye in 1972. 

Wednesday, July 4, 2018

Happy 75th Birthday Fred Wesley!

Cheers to composer/arranger and trombone great Fred Wesley on his day. 

Listen to Mary Margaret O'Hara at London's Dominion Theatre in 1989

Tuesday, July 3, 2018

Bombino @ Lee's Palace, July 3

Here's Bombino performing Adounia Idagh (This Life) off his new album Deran. 

Iggy Pop reveals another side with Underworld

"I'll See Big" is off the new Underworld & Iggy Pop collabo Teatime Dub Encounters. 

Monday, July 2, 2018

Happy Birthday Ahmad Jamal

Celebrating the 88th birthday of jazz pianist Ahmad Jamal with two stellar performances overseen by Richard Evans.

R.I.P. Roy Carr, 1945-2018

Sadly, UK music journalist and historian Roy Carr who helped compile many great NME tapes passed away July 1. 

Sunday, July 1, 2018

Happy Canada Day!

Celebrating Canada Day with Jenny Rock singing Walking The Dog en Français!

Whaddya mean you don't know Sonny Boy Holmes

Sonny Boy Holmes cut 4 sides for John Dolphin that were issued as two 78s in 1952 and then vanished.