Nashville's Promised Land Sound – inspired by the Flying Burrito Bros, Jim Ford & CAN – deserve much wider recognition.
Here's the scoop from Paradise of Bachelors...
Promised Land Sound, Nashville’s finest purveyors of febrile root-work psychedelia, chose to begin at the beginning; they named themselves after an immortal road-dogging Chuck Berry jam and proceeded from there. For such a young band—though they’re now all in their twenties, some weren’t even of legal drinking age when they released their debut—they’re remarkably attuned to historical precedents.
The self-titled first album mined the same red dirt/swamp boogie as the Flying Burritos, Gene Clark, Jesse Ed Davis, Link Wray, the Band, CCR, Dennis Linde, Johnny Darrell, the Stones, et al. But For Use and Delight is the album on which Promised Land Sound finds their distinctive idiom, the distilled articulation of their mutable live performances, during which songs expand and contract, guitars flicker, flame, and gutter, and the rhythm section achieves a full-throttle locomotive choogle that locates the common/contested ground between J.J. Cale and Can.
You can get Promised Land Sound's recordings directly from their record label Paradise of Bachelors right here. Watch a performance of "Golden Child" below.
Here a recording of Terry Allen's "Gonna California" below. A 7-inch single version is being issued by Paradise of Bachelors.
Here's the scoop...
In conjunction with Hachette Books' publication of Truckload of Art: The Life and Work of Terry Allen, an authorized biography by Brendan Greaves, "Gonna California" imagines an alternate reality where Terry Allen’s long-lost first studio recordings, captured with a full band in LA in 1968, saw a proper release. (Instead nearly the entire pressing was destroyed by a fire set by the so-called “Hollywood Arsonist,” and remaining copies were repurposed in artworks.) This first-ever (re)issue edition, limited to 500 copies, features recently rediscovered and remastered early (and superior) mixes of both songs; the original liner notes by Allen; an excerpt from the book; a lyrics insert; and Allen’s contemporaneous visual art in an arresting gatefold jacket. Pre-order a copy of "Gonna California" directly from Paradise of Bachelors right here. Listen to an alternate version below.
Claimed to be the definitive biography, Truckload of Art is slated for publication on March 19th. He's playing Austin on Feb. 2!
Here's the scoop...
Truckload of Art: The Life and Work of Terry Allen – written by Paradise of Bachelors label boss Brendan Greaves – is the definitive, authorized biography of Terry Allen, the internationally acclaimed visual artist and iconoclastic musician whose work bridges the disparate worlds of contemporary art and country music.
Terry Allen is a songwriter, visual and recording artist, and playwright. He’s released more than a dozen studio albums since his 1975 debut, Juarez, and his wide-ranging artwork resides in collections around the world, including the Met, MoMA, and LACMA. Raised in Lubbock, Texas, since 1989 he has resided in Santa Fe, New Mexico, with his wife and collaborator, the performer and poet Jo Harvey Allen.
“People tell me it’s country music,” Terry Allen has joked, “and I ask, ‘Which country?’” For nearly sixty years, Allen’s inimitable art has explored the borderlands of memory, crossing boundaries between disciplines and audiences by conjuring indelible stories out of the howling West Texas wind.
Pre-order a copy of the Terry Allen biography Truckload of Art via Paradise of Bachelors right here.
About the author: Brendan Greaves is founder and owner of the record label Paradise of Bachelors and has collaborated on numerous projects with Terry Allen, including Pedal Steal + Four Corners, for which he earned a Grammy nomination for Best Album Notes. A folklorist, essayist, and lapsed art worker, he studied at Harvard and UNC, and lives in Chapel Hill, North Carolina.
TRUCKLOAD OF ART: The Life and Work of Terry Allen—An Authorized Biography
Hachette Books | March 19, 2024
$34 | Hardcover | 576 Pages | ISBN: 9780306924545
Terry Allen & The Panhandle Mystery Band play Austin's Paramount Theatre on Feb. 2. Get tickets right here.
Don't miss North Carolina picker Jake Xerxes Fussell playing a rare Toronto show at the Monarch Tavern on Wednesday at 7 pm.
Here's the scoop...
Jake Xerxes Fussell is a singer and guitarist based in Durham, NC. His latest album Good and Green Again was released by Paradise Of Bachelors to critical acclaim in January of 2022. The album was produced by British-born, Chicago-based songwriter/guitarist James Elkington (Richard Thompson, Steve Gunn, Joan Shelley, Freakons) and featured some formidable musicians, including Casey Toll on upright bass, Libby Rodenbough on strings, Joe Westerlund on drums, Joseph Decosimo on fiddle, and others. Bonnie “Prince” Billy contributed additional vocals.
Read Uncut's "Album of The Month" review here, or better still, check out the performances below and grab a ticket for Jake's show with fellow NC singer/songwriter Rosali (listen to her recent Merge single "Stuck Inside A Cloud" below) at Monarch Tavern on November 15 right here.
Before quitting the music biz, Mike Cooper cut one last album with jazz greats Louis Moholo, Harry Miller and Mike Osborne.
Here's the scoop from Paradise of Bachelors HQ:
Mike Cooper wrote his final songwriter record, a suite of gloaming glam-rock anthems performed with a spiritual jazz trio, while living on the Costa Tropical of Granada, Spain, an era when he was considering retiring from music altogether. A chance encounter and a last-ditch record deal convinced him to make one last album, which he recorded in 1974 at Pathway Studios in London, with “The Greatest Rock and Roll Band in the World,” featuring the inventive South African jazz rhythm section of Louis Moholo and Harry Miller with UK saxophonist Mike Osborne.
The Paradise Of Bachelors label's release of Mike Cooper's Life and Death In Paradise (out July 14th) includes a bonus CD of Milan Live Acoustic 2018, a previously unreleased solo set that represents Cooper’s return, after forty-four years pursuing free improvisation and electronics, to a new, deconstructed approach to singing, steel guitar, and songcraft.
The deluxe LP+CD edition also features a six-panel insert with additional artwork and an essay by the artist about both records. The deluxe 2xCD gatefold edition features an eight-panel version of the same insert.
“Beautiful, fucked-up mid-70s rock that’s really not like anything else. A mélange of mersh/avant/blues/folk/rock/jazz shiteroo, Life and Death in Paradise is a most splendid anomaly with hints of everyone from Gram Parsons to Michael Hurley to the Welfare State … Allow it into your head, and it will blossom like the strange mushroom it is.”– Byron Coley
Life and Death In Paradise
In the wake of his magisterial triptych of early 1970s avant-folk-rock records—Trout Steel (1970), Places I Know (1971), and The Machine Gun Co. (1972) (all previously reissued by Paradise of Bachelors)—the British songwriter, guitarist, and fledgling improviser Mike Cooper retreated to the Costa Tropical of Granada, Spain. With no prospects for touring or recording again, his fiery band the Machine Gun Co. had disintegrated. Cooper sets the scene in his liner notes of the first-ever reissue of his unjustly forgotten next album Life and Death in Paradise (1974):
"No one came running with offers of fame and riches, and we fell apart, and I left the country and headed for the beach, disillusioned and a bit disorientated musically. I went to Almuñécar in Andalusia, a place I had been going since 1969, because a painter friend from Reading, Rowland Fade—who made the collage in the gatefold of my earlier album Trout Steel—had moved there in 1968.
"It was not exactly a paradise. Palm trees were not native there, so they had been imported by the mayor, purchased from his brother who, legend has it, sourced them from Cuba."
It was in this synthetic coastal “paradise,” unmoored and adrift, considering retiring from music altogether, that he began tentatively writing new songs.
"Time passed slowly in Almuñécar, and I made leather bags, painted the insides of empty swimming pools, attempted to sell some of my artworks at a market in Málaga, and generally hung out drinking and smoking (cigarettes) at the beachside bars."
A chance encounter with producer Tony Hall, who offered Cooper a last-ditch record deal on Hall’s nascent Fresh Air label, convinced him to make one last album—with the stipulation that he could assemble what he called “The Greatest Rock and Roll Band in the World.”
"I told Tony that I would do it if I could hire some of my South African jazz musician friends that I had used on my Pye/Dawn albums and some friends from Reading that I still knew and admired. Tony loved jazz and was more than happy for me to use whomever I wanted. I called up Harry Miller, Louis Moholo, and Mike Osborne, who were in fact a trio at the time … and several local Reading heroes, including the singer-songwriter Terry Clarke."
The result, recorded live with minimal overdubbing at Pathway Studios in London, was Life and Death in Paradise, an utterly singular suite of gloaming glam-rock anthems performed with a spiritual jazz trio comprising the inventive South African jazz rhythm section of Moholo and Miller with UK saxophonist Osborne. Unlike anything else in Cooper’s extensive catalog, the record’s six interwoven songs, world-weary metanarratives about music and the artist’s sunstricken exile in Andalusia, vibrate with heat shimmer and polyphonic pastiche, prefiguring his later tropical travelogues.
"That title of the album became so loaded for me as the years passed and also reflected (still does) my attitude toward certain aspects of the music business. Despite going back to record, I was still not convinced about many things, and a lot of the lyrics on the record express my doubts and anger about it."
Fresh Air fizzled, and Life and Death became Cooper’s final record as a songwriter, having pushed the form as far as he could. Drifting north from Spain back to the UK, he fell into the scene of the London Musicians Collective (LMC)—including Paul Burwell, David Toop, and saxophonist Lol Coxhill, Cooper’s bandmate in the Recedents—and fully embraced free improvisation.
"I decided that I was no longer interested in the direct, personal experience, narrative type of song or the form in which most songs were framed and presented … I was musically more interested in improvising and not having to play the same thing at every performance."
He was still, however, interested in singing and lyrics, so, influenced by Tom Phillips, William Burroughs, and Brion Gysin, he began experimenting with text collage and cut-up techniques, arriving at his own hybrid compositional strategy for improvisatory songs.
The previously unreleased solo set Milan Live Acoustic 2018 represents Cooper’s return, after more than four decades pursuing free improvisation and electronics, to a new, deconstructed approach to singing, lap steel guitar, and songcraft. Presented here together with Life and Death in Paradise, the two records provide fascinating bookends to Mike Cooper’s long, mercurial, and pioneering practice as a songmaker.
"In my early years as an acoustic blues player, there was no amplification, even for voice, in most folk clubs where I was performing. Milan Live Acoustic 2018 is in a way a return to my roots as a solo acoustic singer/guitarist, as last fully documented on Life and Death in Paradise forty-four years earlier. It’s just me: my voice, guitar, and some small electronic devices played with no amplification. The only preparation was the lyrics, which can change from performance to performance as well. Everything else is improvisation. What else is there?"
Mike Cooper's Life and Death In Paradise + Milan Live Acoustic is out July 14th. Pre-order a copy via Bandcamp right here. Listen to "O.M.M. Coda" and "Peach Trees (live)" below.
Terry Allen discusses his 1979 classic "Lubbock (on Everything) reissued by Paradise of Bachelors.
Here's the scoop...
Legendary Texan artist Terry Allen occupies a unique position straddling the frontiers of country music and visual art; he has worked with everyone from Guy Clark to David Byrne, and his artwork resides in museums worldwide. Widely acclaimed as a masterpiece, his deeply moving (and hilarious) satirical second album, Lubbock (on Everything) – originally issued in 1979 – is a complex memory palace to his West Texas hometown of Lubbock.
The Paradise Of Bachelors' reissue of Lubbock (on Everything) was produced in collaboration with the artist and meticulously remastered from the original analog tapes. This is the definitive edition: the first to correct the tape speed inconsistencies evident on all prior versions; the first U.S. vinyl reissue; the first CD to restore the full track listing; and the first to contextualize the record within Allen’s 50-year career.
Deluxe 2×LP package includes tip-on gatefold jacket with lyrics, printed inner sleeves, download code, and 28 page book with related artwork and photos, an oral history by Allen, and essays by David Byrne, Lloyd Maines, and PoB. 2×CD edition features replica jacket, sleeves, and tipped-in 52 page booklet.
Get a copy of Terry Allen's Lubbock (on Everything) right here. Watch the short documentary followed by an interview about his songwriting origins and performances of a few songs from the album including "New Delhi Freight Train" from 2016 along with "Amarillo Highway" and "My Amigo" for KUTX from 2017 below.
Durham, NC's Jake Xerxes Fussell and Toronto's Lonesome Ace Stringband each owe a bit to Roscoe Holcomb's take of "Hills of Mexico"
Sez Jake Xerxes Fussell...
“Hills of Mexico” is one of many narrative ballads where the singer-narrator is approached by a stranger in transit with a business proposition that turns out to be not so great for singer-narrator. Many of the European ballads of this kind deal with highwaymen and their exploits, mostly in the 17th and 18th centuries. In this particular (19th century) instance the proposition entails going to Mexico to work the cattle drive. Many regional variants from this family, alternately known as “The Trail of the Buffalo,” have been sung in a variety of musical contexts and communities. My version borrows heavily from Roscoe Holcomb’s narrative, which is mysterious in that it omits the Mexico part itself almost entirely.
Thanks to Kevin McNamee-Tweed for the artwork: “Steamboat,” 2018, Glazed ceramic, 9.25” x 7”.
Currently on lockdown near Joshua Tree, Itasca decided to hook a generator up to her amp and knock out a few tunes including a sweet Warren Zevon cover.
UK singer/songwriter Michael Chapman's True North album (produced by Steve Gunn) is out February 8th on Paradise of Bachelors.
The masterful follow-up to his universally celebrated 2017 album 50, Michael Chapman’s True North finds the elder statesman of British songwriting and guitar plumbing an even deeper deep and honing an ever keener edge to his iconic writing. This authoritative set of predominantly new, and completely devastating, songs hews to a more intimate sonic signature—more atmospheric, textural, and minimalist than 50, stately and melancholy in equal measure. Recorded in rural West Wales, True North unflinchingly surveys home and horizon, traveling from the Bahamas to Texas to the Leeds of Chapman’s childhood, haunted by the mirages of memory and intimations of mortality. Joining him on this introspective journey is a cast of old friends and new disciples: once again Steve Gunn produces and plays guitar, and fellow UK songwriting hero Bridget St John sings, collaborating with cellist Sarah Smout and legendary pedal steel player BJ Cole, who has accompanied everyone from John Cale to Scott Walker to Terry Allen to Björk. Check out "It's Too Late" below.
Michael Chapman’s elegiac new record True North, the latest chapter in the long story of one of our greatest living guitar stylists and songwriters, navigates the same treacherous and tenebrous territory of time. The album begins with the gnawing regret of “It’s Too Late,” and every song Chapman sings thereafter directly references the passing of time—its blind ruthlessness, its sweet hazy delights—in noirish language almost mystical in its terseness and precision. (The two transportive, gorgeous instrumentals, one per side, both have appropriately evocative—though decidedly not Northern—pastoral place names for titles: Eleuthera is an island in the Bahamas where Chapman habitually holidays every winter, and Caddo Lake straddles the border between Texas and Louisiana.) This is Chapman at his darkest and most nocturnal, yes, but also his most elegant and subtle, squinting into the black hours with an unseen smile.
“Sometimes no disguise is the best disguise of all,” he sings on the unaccompanied ballad “Vanity & Pride,” offering a lyrical key to unlock the album. By the time True North is out in the world, Chapman will be seventy-eight years old and will have released nearly as many records, a staggering achievement. True North represents the most nakedly personal album of his career, his most authoritative, unguarded, and emotionally devastating statement. His universally celebrated full-band 2017 album 50 flirted with much-deserved triumphalism, offering a retrospective of his illustrious career, revisited in the company of the fellow UK songwriting hero Bridget St John and a rowdy gang of younger acolytes including Steve Gunn, James Elkington, and Nathan Bowles. (Intergenerational collaboration has been central to Chapman’s periodic reinventions and perennial relevance since the 1960s—he is the only musician ever to have played with Mike Cooper, Mick Ronson, Elton John, Don Nix, Thurston Moore, and Jack Rose.) The distinguished quartet of old friends and new disciples that supports him on True North features old friends and new disciples alike, but the sonic strategy this time is intentionally subtractive rather than additive. Once again Steve Gunn produces and plays guitar, and Bridget St John sings, collaborating with cellist Sarah Smout and legendary pedal steel player BJ Cole, who has accompanied everyone from John Cale to Scott Walker, Elton John to Terry Allen, Felt to Björk to Brian Eno. Cole is the album’s secret weapon, contributing sublime, skyscrapingly sculptural steel leads, weaving in sympathetic warp and weft with Chapman’s and Gunn’s guitars and Smout’s hovering cello.
Throughout the band hews to an intimate, hushed sonic signature that is more atmospheric, textural, and minimalist than 50, stately and melancholy in equal measure. Without a regular rhythm section—Gunn and Chapman provide occasional, austere drums and bass on an ad hoc basis—arrangements drift dreamily, ebbing and flowing, following Chapman’s confiding growl and helical guitar figures wherever they lead. Michael cites the Jimmy Giuffre Trio’s performance, without a rhythm section, in the 1959 film Jazz on a Summer’s Day as “a revelation” and direct influence on True North. The production hearkens back to Chapman’s classic Millstone Grit (1973), as well as recalling Bob Dylan’s Time Out of Mind (1997); True North shares something of that album’s spectral gloaming, midnight heartache, and sly, self-knowing winks. Integral to the shift in scale and the production decisions were the remoteness and natural beauty of the recording environment. True North was recorded at Mwnci Studios, a residential studio in rural, woodland West Wales. Jimmy Robertson, who has earned nine Mercury Music nominations for his work with the likes of Depeche Mode, Ride, and Arctic Monkeys, engineered and mixed.
Compositionally, True North finds Chapman plumbing an even deeper deep and honing an ever keener edge to his iconic writing. Compared to 50, these recordings feel narrower in range, less overtly narrative and dynamic and more impressionistic and restrained, but they are correspondingly more piercing and arrow-like in their rending impact, more concerned with an archer’s deadeye aim than pyrotechnics. And Chapman’s aim remains true. Whereas 50 featured two new songs among radical reinterpretations of material from Chapman’s deep catalog, True North includes twice as many new numbers among its quiver of eleven arrows—“It’s Too Late,” “Eleuthera,” the fiery “Bluesman,” and slow-rolling album centerpiece “Truck Song”—confirming the exultant return of Chapman the songwriter. The other songs were selected from various obscure corners of Chapman’s vast catalog (“Youth Is Wasted on the Young” was previously recorded with Thurston Moore and Jim O’Rourke for a compilation, for example.) In these renderings they receive their definitive treatments, utterly transformed. “After All This Time” and “Full Bottle, Empty Heart,” two of the moving duets with St John, are as weightless and lovely as “Hell to Pay” is alternately brooding and menacing.
True North zooms in and focuses the lens more tightly not just musically, but also visually. The title suggests the geography of memory, evoking the Northern England that is Chapman’s home, ancestral and current. Born and raised in Leeds, for many years he has lived in isolated, ravishing Cumbria, near Hadrian’s Wall and the Scottish border. The jacket photographs date to 1963, when Chapman was working as a photography instructor at a college in Bolton, Lancashire, after completing his postgraduate degree. During this period he stopped playing music for three years to concentrate on visual art. It’s fitting that these beautiful, ghostly images of a vanished North grace the album artwork, because, more than any other record in his oeuvre, True North surveys home and horizon.
Following the levitating lament “Youth Is Wasted on the Young,” Chapman leaves us with a moment of levity, the solo number “Bon Ton Roolay.” Appropriately, this sole moment of unbounded joy and ragged hangover humor dissolves. It remains unfinished, unseamed and tossed aside with a chuckle. The work of time is never done. Where Chapman says good times, he means years, means life.
Durham, North Carolina singer and guitarist Jake Xerxes Fussell grew up in Columbus, Georgia, son of Fred C. Fussell, a folklorist, curator, and photographer who hails from across the river in Phenix City, Alabama (once known as “The Wickedest City in America” for its rampant vice, corruption, and crime.) Fred’s fieldwork took him, often with young Jake in tow, across the Southeast documenting traditional vernacular culture, which included recording blues and old-time musicians with fellow folklorists and recordists George Mitchell and Art Rosenbaum.
As a teenager Jake began playing and studying with elder musicians in the Chattahoochee Valley, apprenticing with Piedmont blues legend Precious Bryant (“Georgia Buck”), with whom he toured and recorded, and riding wild with Alabama bluesman, black rodeo rider, rye whiskey distiller, and master dowser George Daniel (“Rabbit on a Log”). He joined a Phenix City country band who were students of Jimmie Tarlton of Darby and Tarlton; he accompanied Etta Baker in North Carolina; he moved to Berkeley, where he hung with genius documentary filmmaker Les Blank and learned from Haight folkies like Will Scarlett (Jefferson Airplane, Hot Tuna, Brownie McGhee) and cult fingerstyle guitarist Steve Mann (“Push Boat”); he appeared on A Prairie Home Companion. He did a whole lot of listening, gradually honing his prodigious guitar skills, singing, and repertoire.
In 2005 he moved to Oxford, Mississippi, where he enrolled in the Southern Studies department at Ole Miss, recorded and toured with Rev. John Wilkins, and, last year, met up with acclaimed artist William Tyler to begin recording his first solo album for North Carolina's Paradise of Bachelors label with help from Nashville session vets Chris Scruggs (lap steel, bass, mandolin: Bonnie “Prince” Billy, Marty Stuart), Brian Kotzur (drums: Silver Jews), and Hoot Hester (fiddle Bill Monroe, Ray Charles). You can check out that recording right hereafter watching the Jake's living room concert below.
Jake isn’t just a rare bird, he’s the professor you always wished you had, the friend you never get tired of epic hangs with, the human jukebox, the guitar player and singer who makes any band that he’s in better. He’s a southern scholar and gentleman in the tradition of Jim Dickinson, George Mitchell, and Les Blank. He’s a Dave Van Ronk for SEC country. – William Tyler
Jake is one helluva bluesman: my favorite of his generation, in fact; and, in my opinion, the best young traditional blues artist performing today. – George Mitchell
Jake X. Fussell is certainly one of America’s finest young tradition-based songsters and guitar pickers. He had an ideal start: as a kid traveling the back roads of Georgia, Alabama, and even out to the Indian regions of Oklahoma with his folklorist dad, hearing and absorbing not only the vocal styles and guitar licks of such greats as Precious Bryant, but also developing a sure sense of the expressive core of Southern roots music. From Georgia’s Sea Islands and Chattahoochie Valley to the Mississippi Delta to the Blue Ridge Mountains, Jake is still listening and learning, and coming up with music that takes us to a deep place in the American spirit. – Art Rosenbaum
Steve Gunn's new album Way Out Weather was released on October 7. Watch his Tiny Desk Concert below.
Steve Gunn is a New York-based guitarist and songwriter. With a career spanning nearly fifteen years, Steve has produced volumes of critically acclaimed solo, duo, and ensemble recordings. His astounding solo albums, as well as his work with GHQ and longtime collaborating drummer John Truscinski, represent milestones of contemporary guitar-driven, forward music. A voracious schedule of international performances has cultivated a fervent fanbase for Gunn’s music throughout the world. These days you can find him playing with his band as well as sometimes serving as guitarist in fellow Philadelphia-bred troubadour Kurt Vile’s band the Violators.
Mining the catalogs of Basho, Bull, Chapman, and Sharrock, among other titans of stringed-things and record-session royalty, Steve has steadily processed these inspirations into a singular, virtuosic stream. Friendships and collaborations with Jack Rose, Tom Carter, Meg Baird, Mike Cooper, and Michael Chapman colored the disciplined evolution of the discursive, deconstructed blues sound, at once transcendent and methodical, that is now Gunn’s signature. Close listening reveals the influence of Delta and Piedmont country blues, ecstatic free jazz, and psych, as well as Gnawa and Carnatic music, on the continually unfolding compositions.
Gunn’s 2009 solo album, Boerum Palace (availble here), demonstrated a fully realized power for songcraft; Steve started to sing more and developed a commanding vocal style equal to his guitar practice. His acclaimed instrumental duo recordings with Truscinski, Sand City (2010) and Ocean Parkway (2012), cemented his place among the top of his peers, both present and past. These documents display Gunn’s compositional penchant for charting musical travelogues that ramble through city and wilderness alike. Dispatches home are not merely descriptive but corporeal; the evocative, rhythmic power of his writing and phrasing carries the listener along bodily. Steve builds songs as exploratory vessels, opens them up for mechanical tinkering, and lives in them through ceaseless improvisatory permutations.
In 2013 Paradise of Bachelors released Time Off, his first album as leader of a trio including longtime friends John Truscinski on drums and Justin Tripp on bass, and a record on which Steve’s compelling singing features more prominently than ever before. The album features his oblique character sketches and story-songs about friends, acquaintances, and denizens of his Brooklyn neighborhood, using the trio band format to launch his compositions into new, luminous strata. This is Gunn at the top of his game, writing his most memorable tunes and lyrics, utterly unique but steeped in traditions both vernacular and avant-garde.
A heady and elliptical travelogue, Gunn’s follow-up, Way Out Weather (available via Paradise Of Bachelors), demonstrates a radical widescreen evolution, featuring a larger band and lighting out for lusher, more expansive, and impressionistic territories than Time Off. This is the virtuosic guitarist and songwriter’s career-defining statement to date.
