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Over the course of his career he recorded six albums, wrote six books, and published hundreds of shorter texts in outlets ranging from Rolling Stone and The Village Voice to the Coleman Chronicle and Democrat-Voice, in addition to founding and operating, with his wife Judy Gordon, Wowapi Press and the underground country music journal Picking Up the Tempo.\u003c\/p\u003e\n\u003cp\u003eAlong the way he cultivated close friendships with fellow Texan songwriters such as Lubbockites Terry Allen, Butch Hancock, and Tommy X. Hancock, as well as Ray Wylie Hubbard, Billy Joe Shaver, and, most famously, Townes Van Zandt, whom he called his brother. Although his work covered a vast array of topics exploring strata personal, local, global, and cosmic alike, Gordon’s primary subject as a writer, musician, and visual artist was always American Indian culture, specifically the ways it collided and coexisted with European American culture in the South and West and within the context of his own life and braided identity.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe ten songs on Crazy Horse Never Died, his first officially released and distributed album, were recorded in Dallas in 1988. “Songs” is perhaps an imprecise taxonomy for what Roxy captured on this and his other albums, all of which remain out of print or were released in instantly obscure limited editions of homebrew cassettes and CD-R’s. (Paradise of Bachelors plans to reissue remastered, expanded editions of his catalog; Crazy Horse is the first.) He only occasionally attempted to sing, and his musical recordings are primarily corollaries of, and vehicles for, his poems. 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On the stark yellow and red jacket of Crazy Horse, which he designed himself, Gordon describes these recordings as innately ambivalent in terms of form, content, and identity: These are poems and\/or songs about the American West, white and Indian. \u003cbr\u003e Crazy Horse Never Died comprises songs that span the personal and political arcs of his writing practice and the poles of his native and white ancestries.\u003c\/p\u003e\n\u003cp\u003eHis introduction to the almost-title track in the strikingly illustrated poetry chapbook supplement to the album (included in the LP edition) draws explicit parallels between the oppression and displacement of Palestinians by Zionists and the similar treatment of Native Americans by Europeans, justifying the historical necessity of resistance to racist imperialism through terrorism.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eFor fans of Terry Allen, Leonard Cohen, Willie Dunn, John Trudell, Buffy St. Marie and Townes Van Zandt.\u003c\/p\u003e","brand":"Secretly Canadian","offers":[{"title":"LP - Black Vinyl","offer_id":45187769925944,"sku":"843563149034","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/5803\/3464\/products\/roxy-gordon-crazy-horse-never-died.jpg?v=1684145117"},{"product_id":"the-front-bottoms-in-sickness-and-in-flames","title":"The Front Bottoms - In Sickness and in Flames","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCelebrating life and purging angst, 'In Sickness \u0026amp; In Flames' finds The Front Bottoms pushing forward with positive and creative energy, and features celebrated singles 'Camouflage' and 'Everyone Blooms'. 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Smooth soulful vocals and the sweet golden tones of a brass section complete the mellowest album this year so far.\u003c\/p\u003e","brand":"Decor","offers":[{"title":"LP - Black Vinyl","offer_id":46528297926968,"sku":"DECOR46LP","price":22.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/5803\/3464\/files\/delines-imperial.jpg?v=1692717639"},{"product_id":"the-dead-south-good-company","title":"The Dead South - Good Company","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Dead South have recorded and released three albums. Their album Illusion \u0026amp; Doubt charted at #2 on the Bluegrass US Billboards. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis, their debut album first released in 2014, is making waves to this day and continues to win new fans. 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Written and partially recorded before lock down the rest of the album was finished last summer, produced by John Morgan Askew at his Bocce studios just outside of Portland, Oregon. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe album features the classic line-up of the band with Amy Boone (vocals), Willy Vlautin (guitars, vocals, songwriting), Freddy Trujillo (bass), Sean Oldham (drums, vocals) and Cory Gray (keyboards, trumpet and arrangements) doing some of their finest work yet. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-mce-fragment=\"1\" mce-data-marked=\"1\"\u003eInterestingly the album cover notes \"Hold Me Slow\" as song 1 on side 2 but the song doesn't actually feature on the vinyl version.\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Decor","offers":[{"title":"LP - Black Vinyl","offer_id":46528530153784,"sku":"5052571099513","price":22.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/5803\/3464\/files\/delines-seadrift.webp?v=1692719109"},{"product_id":"the-delines-colfax","title":"The Delines - Colfax","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePicture Edward Hopper's Nighthawks painting - the bright interior, the couple, the singleton, the dark outside. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Delines album is the soundtrack for that. Dark, late night country soul - this is Willy Vlautin's (Richmond Fontaine) finest yet. The debut album from The Delines, 'Colfax' is a stunning and timeless collection of songs with the intimacy of a midnight confessional. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eLike a beat-up Dusty Springfield after too many long nights working a dreary after-hours bar, Colfax has the skid row heart of Tom Waits, the street-tough weariness of early Rickie Lee Jones, and the cool, laid back sound of Mazzy Star.\u003c\/span\u003e\u003c\/p\u003e","brand":"Decor","offers":[{"title":"LP - Black Vinyl","offer_id":46528630849848,"sku":"DECOR033LP","price":24.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/5803\/3464\/files\/delines-colfax.webp?v=1692719550"},{"product_id":"willy-vlautin-northline","title":"Willy Vlautin - Northline","description":"\u003cp\u003eOnly 500 pressed and available on vinyl for the first time.\u003c\/p\u003e\n\u003cp\u003eRichmond Fontaine and The Delines' singer\/songwriter Willy Vlautin teams up with Paul Brainard to create the soundtrack for Vlautin's second novel Northline which was originally released in 2006 and up until now was only available as a CD supplied with the book. \u003c\/p\u003e","brand":"Decor","offers":[{"title":"LP - Black Vinyl","offer_id":46547699532088,"sku":"DECOR44LP","price":18.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/5803\/3464\/files\/northline-willy-vlautin.jpg?v=1692780246"},{"product_id":"nancy-sinatra-keep-walkin-singles-demos-rarities-1965-1978","title":"Nancy Sinatra - Keep Walkin’ : Singles, Demos \u0026 Rarities 1965 - 1978","description":"\u003cp\u003eDouble LP housed in a gatefold jacket with 24-page book. Special Edition Yellow Wax.\u003c\/p\u003e\n\u003cp\u003eIn 1965, 25-year-old Nancy Sinatra scored her first No.1 hit with “These Boots are\u003cbr data-mce-fragment=\"1\"\u003eMade for Walkin’,” a bold anthem for female empowerment. Brazen, sassy, and\u003cbr data-mce-fragment=\"1\"\u003eutterly infectious, it was a reintroduction of sorts for the eldest daughter of Frank\u003cbr data-mce-fragment=\"1\"\u003eSinatra, who had been struggling to find a spotlight of her own amid a changing\u003cbr data-mce-fragment=\"1\"\u003emusical landscape. Suddenly, audiences who had initially brushed off Sinatra as too\u003cbr data-mce-fragment=\"1\"\u003edemure or out-of-touch were paying attention. Written and produced by Oklahoma-\u003cbr data-mce-fragment=\"1\"\u003eborn songsmith Lee Hazlewood (with swaggering instrumentals, courtesy of Billy\u003cbr data-mce-fragment=\"1\"\u003eStrange and The Wrecking Crew), the song launched the singer’s career, as well as\u003cbr data-mce-fragment=\"1\"\u003eone of music’s most unlikely, yet compelling, creative partnerships.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eOver the next decade, Sinatra continued to notch multiple hits on both sides of the\u003cbr data-mce-fragment=\"1\"\u003eAtlantic, including “Sugar Town,” “How Does That Grab You, Darlin?,” and a\u003cbr data-mce-fragment=\"1\"\u003ehaunting rendition of the Sonny Bono-penned “Bang Bang (My Baby Shot Me\u003cbr data-mce-fragment=\"1\"\u003eDown).” The singer also paired up with Hazlewood for a series of popular duets\u003cbr data-mce-fragment=\"1\"\u003e(“Summer Wine,” “Jackson,” and “Some Velvet Morning”) and collaborative\u003cbr data-mce-fragment=\"1\"\u003ealbums. In between best-selling LPs like Boots (1966), How Does That Grab You\u003cbr data-mce-fragment=\"1\"\u003e(1966), and Nancy \u0026amp;amp; Lee (1968), Sinatra performed the theme song to the 1967\u003cbr data-mce-fragment=\"1\"\u003eJames Bond film, You Only Live Twice, and collaborated with her father on the\u003cbr data-mce-fragment=\"1\"\u003eglobal chart-topper, “Somethin’ Stupid.”\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eWhile these career landmarks are well-documented in the annals of pop culture\u003cbr data-mce-fragment=\"1\"\u003ehistory, however, much of Sinatra’s catalog remains sorely overlooked. As Keep\u003cbr data-mce-fragment=\"1\"\u003eWalkin’ co-producer Hunter Lea explains, “With the changing taste of the record-\u003cbr data-mce-fragment=\"1\"\u003ebuying public in the late 1960s and the counterculture taking over, artists like Nancy\u003cbr data-mce-fragment=\"1\"\u003eSinatra weren’t in the mainstream as they once were.” Despite that fact, “[Sinatra]\u003cbr data-mce-fragment=\"1\"\u003ekept working, recording, and performing at a voracious pace.”\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eLea continues, “This compilation is a celebration of some of the many glorious\u003cbr data-mce-fragment=\"1\"\u003erecordings that may have been overlooked, forgotten, or never even released at the\u003cbr data-mce-fragment=\"1\"\u003etime. The obscurity of some of these recordings doesn’t mask the genius, brilliance,\u003cbr data-mce-fragment=\"1\"\u003eand effort that went into them; on the contrary, it’s incredible to learn that some of\u003cbr data-mce-fragment=\"1\"\u003ethe lost gems are just as rich as the national treasures.”\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eAmong the highlights is the spritely opener “The City Never Sleeps at Night,” which\u003cbr data-mce-fragment=\"1\"\u003eserved as the B-Side to “These Boots Were Made for Walkin’.” Overshadowed by\u003cbr data-mce-fragment=\"1\"\u003ethe colossal success of its A-side, it’s no surprise that the cinematic tune never had\u003cbr data-mce-fragment=\"1\"\u003eits proper due. Yet, Lea reveals, Hazlewood initially intended to make it the focus\u003cbr data-mce-fragment=\"1\"\u003esingle. Another long-lost B-side is “The Last of the Secret Agents?,” which was\u003cbr data-mce-fragment=\"1\"\u003epaired with the Top 10 hit, “How Does That Grab You, Darlin’?” The playful song,\u003cbr data-mce-fragment=\"1\"\u003ewritten by Hazlewood, served as the theme to the 1966 comedy of the same name, in\u003cbr data-mce-fragment=\"1\"\u003ewhich Sinatra co-starred alongside Marty Allen and Steve Rossi.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eKeep Walkin’ also features several choice A-sides that were never included on\u003cbr data-mce-fragment=\"1\"\u003ealbums and were overlooked for one reason or another. Among them is 1966’s “In\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOur Time,” a rebellious anthem for ‘60s youth, which references drug culture and\u003cbr data-mce-fragment=\"1\"\u003ewomen’s liberation, among other topics. Speaking to the Hazlewood-penned track,\u003cbr data-mce-fragment=\"1\"\u003eSinatra recalls, “That was a fun song. Lee was starting to do his ‘anti’ stuff. He was\u003cbr data-mce-fragment=\"1\"\u003ecynical and it showed in his writing at some point.” But, despite the themes of the\u003cbr data-mce-fragment=\"1\"\u003esong, Nancy laments that she was never embraced by the counterculture. “[drugs]\u003cbr data-mce-fragment=\"1\"\u003eknocked me out of the picture completely. I was so far removed from the hip people\u003cbr data-mce-fragment=\"1\"\u003ein those days. I think they probably made fun of my stuff.” Another stylistic\u003cbr data-mce-fragment=\"1\"\u003edeparture for both artists is “Love Eyes,” a bluesy, soulful single from 1966. The\u003cbr data-mce-fragment=\"1\"\u003esong, Nancy shares, is “one of my favorites. I think what helped Lee’s writing at that\u003cbr data-mce-fragment=\"1\"\u003epoint was the bigger sound.… I really love it. I think it holds up to this day.” She\u003cbr data-mce-fragment=\"1\"\u003eadds that her dreamy vocal performance was inspired by early female R\u0026amp;amp;B stars\u003cbr data-mce-fragment=\"1\"\u003elike Ruth Brown and LaVern Baker.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eThe collection also features several outstanding covers, including a previously-\u003cbr data-mce-fragment=\"1\"\u003eunreleased rendition of the Barry Mann\/Cynthia Weil classic, “I Just Can’t Help\u003cbr data-mce-fragment=\"1\"\u003eBelieving” (a hit for both B.J. Thomas and Elvis Presley). This 1978 recording,\u003cbr data-mce-fragment=\"1\"\u003ereimagined as a duet, marked one of Sinatra’s brief reunions with Hazlewood,\u003cbr data-mce-fragment=\"1\"\u003efollowing his abrupt move to Sweden not long after 1972’s Nancy \u0026amp;amp; Lee Again.\u003cbr data-mce-fragment=\"1\"\u003eAnother choice track finds Nancy interpreting Neil Diamond’s “Glory\u003cbr data-mce-fragment=\"1\"\u003eRoad.”Released as a single in 1971, it features one of the singer’s most cherished\u003cbr data-mce-fragment=\"1\"\u003evocal performances. “After I worked on my voice and improved as a performer and\u003cbr data-mce-fragment=\"1\"\u003eas a singer, I embraced Neil Diamond. Anything I did by Neil Diamond, to me, is my\u003cbr data-mce-fragment=\"1\"\u003ebest work.”\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eNancy also looks back fondly on her moving rendition of Bill Withers’ “Ain’t No\u003cbr data-mce-fragment=\"1\"\u003eSunshine,” released in 1973 as the B-side to “Sugar Me.” The recording (which\u003cbr data-mce-fragment=\"1\"\u003efeatures particularly lush orchestral arrangements by Billy Strange) reunited Nancy\u003cbr data-mce-fragment=\"1\"\u003ewith another close collaborator, Jimmy Bowen, who produced the singer in the early\u003cbr data-mce-fragment=\"1\"\u003e‘60s and later introduced her to Hazlewood. “I love Jimmy,” she declares. “The\u003cbr data-mce-fragment=\"1\"\u003erecords we did early on…had a depth to them that I appreciated. He heard me and\u003cbr data-mce-fragment=\"1\"\u003esaw me in a different light; he saw me as a much more serious performer, which I\u003cbr data-mce-fragment=\"1\"\u003eappreciated.”\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eListeners will also be delighted to hear a pair of previously-unreleased demos:\u003cbr data-mce-fragment=\"1\"\u003e“Something Pretty” (the 1968 country hit, made famous by Wynn Stewart) and the\u003cbr data-mce-fragment=\"1\"\u003etheme to the 1965 Richard Rogers\/Stephen Sondheim musical, Do I Hear a Waltz?,\u003cbr data-mce-fragment=\"1\"\u003eboth of which were intended for a self-described “disco” record. Despite the two\u003cbr data-mce-fragment=\"1\"\u003ecatchy takes featured on Keep Walkin’, Sinatra calls the shelved album “A disaster. I\u003cbr data-mce-fragment=\"1\"\u003ecalled it the disco fiasco!”\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eOffering additional insight into Sinatra’s career is music director, songwriter, and\u003cbr data-mce-fragment=\"1\"\u003ekeyboardist, Don Randi. A member of the hallowed Wrecking Crew collective, Randi\u003cbr data-mce-fragment=\"1\"\u003ewas one of the most prolific session musicians of the ‘60s and ‘70s with hundreds\u003cbr data-mce-fragment=\"1\"\u003eof credits to his name, including The Beach Boys’ “Good Vibrations,” Linda\u003cbr data-mce-fragment=\"1\"\u003eRonstadt’s “Different Drum,” and “These Boots are Made For Walkin’” – his first\u003cbr data-mce-fragment=\"1\"\u003erecording with Sinatra. For the next fifty years, he would be a fixture at her sessions\u003cbr data-mce-fragment=\"1\"\u003eand live shows. He also appears on nearly every track in this collection.\u003c\/p\u003e\n\u003cp\u003eSpeaking to Lea, Randi delves deep into his time with Sinatra, with a palpable\u003cbr\u003eadmiration for the singer. “She was easy to work with,” he shares. “She was always\u003cbr\u003ewonderful to musicians; nobody even comes close.” The keyboardist, who met\u003cbr\u003eSinatra through Hazlewood, also recalls the magic of that partnership. “I always\u003cbr\u003eliked working with Nancy \u0026amp;amp; Lee. They had something very special that they could\u003cbr\u003eget out of each other. It was a good team.”\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHe continues, “Sinatra stood up for herself [around Lee]…He could be so\u003cbr\u003ecantankerous…but that’s Lee…. [Nancy] saw through it. She was so lovely and\u003cbr\u003ehelpful to him a number of times when he really needed someone to talk to.” That\u003cbr\u003esaid, Randi also appreciates the power of Sinatra’s solo performances. “I never\u003cbr\u003ethought she really needed [Hazlewood},” he reveals. “I thought her shows were just\u003cbr\u003eas well with everybody else; they were excellent.”\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAfter stepping back from the industry in the ‘70s to focus on her young family,\u003cbr\u003eSinatra returned to the spotlight in the mid-90s, releasing a string of new albums,\u003cbr\u003eincluding the star-studded Nancy Sinatra, which paired the artist with some of her\u003cbr\u003ebiggest fans, including Morrissey, U2, Calexico, and Sonic Youth. Since then,\u003cbr\u003eNancy’s legacy has only continued to grow. 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Over in the UK in June to play a few dates with the Reds, Pinks and Purples. \"At the frayed bottom-edge of Indiana – just a moderate bike ride north of Louisville, Kentucky – multiinstrumentalist, artist and songwriter Ryan Davis’’ Americana-noir soundwaves have been emanating for years in a myriad of forms. As driving force for the lauded State Champion, long-running member of Tropical Trash, administrator of the esoteric and excellent Cropped Out festival, and lone proprietor of the Sophomore Lounge label, Davis lays down his first proper ‘solo’ release with Dancing On The Edge, a rich, 2LP tapestry of tunes that absolutely glows over seven expansive cuts. It’s a pure collage of modernity and heritage. After a period of introspection spent re-immersing himself in his drawing \u0026amp; painting practice, as well as his newfound delvings into instrumental music, Davis’ sea change was imminent. “I wasn't sure I would ever make another record of ‘song’ songs,” he says, “but last year I started writing again and it eventually took the shape of the record at hand. I worked painstakingly hard on the material.\u003cbr\u003eIt felt virtually impossible to complete for a bulk of the time I spent trying to enter into it, but the process pulled me out of a strange place. I was eventually able to live inside of the songs enough to understand the world within them – to ultimately help shape them into what I understood them to be.” Indeed, there’s a load of inspiration captured in the grooves with Ryan’s unfiltered, folk-traditioned approach to poetic twists-of-tongue meeting head on with sublime instrumentation. Recorded in early 2023 with help both in-studio and remotely from peers like Joan Shelley, Catherine Irwin (Freakwater), Will Lawrence (Felice Brothers, Gun Outfit, John Early), Jenny\u003cbr\u003eRose (Giving Up), Christopher May (Mail the Horse), Elisabeth Fuchsia (Footings, Bonnie \"Prince\" Billy), and Aaron Rosenblum (Son of Earth, Sapat), 'Dancing on the Edge' draws backup perhaps primarily from Davis' tight-knit drinking buddies-cum-cast of collaborators in Equipment Pointed Ankh (records on Astral Editions, Bruit Direct Disques, Torn Light) – a five-headed hive-mind from which he drew\u003cbr\u003eimpetus for his own foray into more abstract and improvisational terrain these past few years under the Roadhouse alias. The results herein are melancholic, gentle, minimal yet colorful in mood: a lilting highway accompaniment of crisp instrumentation and a relaxed, amiable approach to vocals with rhapsodic wordsmithery. Fans of the aforementioned artists as well as those of Souled American, David Berman, Kurt Vile and ‘Comes A Time’-era Neil should all easily find bounty. While bare-boned and uncluttered in presentation, many of these pieces track over 6 minutes allowing a fair amount of expansiveness. Dancing On The Edge stares down into the navel\u003cbr\u003eof the American Experience underbelly with a fair amount of outward reach. Besides the Kosmische-synth and violin stabs reaching into a European element, stately organ swells build a musical bridge between 1969 Southern California and Felt’s latter era smooth moves, with layers of intelligent gesture taking this well beyond the realm of its archetypal indie troubadour\/acoustic songwriter tag.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMusic and mint juleps never went down so well together.\" “This is the sound of someone bearing a torch.” - Bill Callahan \/\/\u003c\/p\u003e\n\u003cp\u003e\"Davis’ talents are immense: vivid imagery and clever one-liners pulling epiphanies from the sacred, mundane, and profane.\" (Rolling Stone) \/\/\u003c\/p\u003e\n\u003cp\u003e\"On the latest and perhaps greatest notch in the storied songwriter’s belt, Ryan Davis is tipping his beer to a world in moral and constitutional decline.\" (Aquarium Drunkard, Best of 2023) \/\/\u003c\/p\u003e\n\u003cp\u003e\"(His solo debut) Dancing on the Edge is singular and strong enough to\u003cbr\u003eput Davis in league with some of the very best American songwriters of the past and present. He's someone with the originality, wit and\u003cbr\u003eambition to cut through the murk. Someone worth paying attention to.\" (Uncut) \/\/\u003c\/p\u003e\n\u003cp\u003eHis place at the edge may be perilous, precarious, and\u003cbr\u003eoccasionally lonely, but it’s got one hell of a view.\" - (Pitchfork, *7.9 Best Rock Records of 2023. Associate Editor Sam Sodomsky's #2 Best Album of 2023) \/\/ “A treasure trove of brilliant songwriting and winding, unhurried alt-americana.” - Joe Graham (Americana UK) \/\/\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Cargo Records","offers":[{"title":"2 x Clear Vinyl","offer_id":48585177137464,"sku":"5055869550949","price":32.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/5803\/3464\/files\/RyanDavisandtheRoadhouseBand-DancingontheEdge.jpg?v=1715005080"},{"product_id":"nick-drake-five-leaves-left","title":"Nick Drake - Five Leaves Left","description":"\u003cp\u003eIt's little wonder why Drake felt frustrated at the lack of commercial success his music initially gathered, considering the help he had on his debut record. Besides fine production from Joe Boyd and assistance from folks like Fairport Convention's Richard Thompson and his unrelated bass counterpart from Pentangle, Danny Thompson, Drake also recruited school friend Robert Kirby to create most of the just-right string and wind arrangements. His own performance itself steered a careful balance between too-easy accessibility and maudlin self-reflection, combining the best of both worlds while avoiding the pitfalls on either side.\u003c\/p\u003e\n\u003cp\u003eThe result was a fantastic debut appearance, and if the cult of Drake consistently reads more into his work than is perhaps deserved, Five Leaves Left is still a most successful effort. Having grown out of the amiable but derivative styles captured on the long-circulating series of bootleg home recordings, Drake imbues his tunes with just enough drama -- world-weariness in the vocals, carefully paced playing, and more -- to make it all work. His lyrics capture a subtle poetry of emotion, as on the pastoral semi-fantasia of \"The Thoughts of Mary Jane,\" which his soft, articulate singing brings even more to the full. Sometimes he projects a little more clearly, as on the astonishing voice-and-strings combination \"Way to Blue,\" while elsewhere he's not so clear, suggesting rather than outlining the mood. Understatement is the key to his songs and performances' general success, which makes the combination of his vocals and Rocky Dzidzornu's congas on \"Three Hours\" and the lovely \"'Cello Song,\" to name two instances, so effective. 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Following up their homespun Grammy-winning release \u003c\/span\u003e\u003ci\u003eAll The Good Times\u003c\/i\u003e\u003cspan\u003e, this ambitious 10 song album mingles full band tracks with intricate duet performances all tied together with the duo's signature sound and remarkable lyricism. \u003c\/span\u003e\u003ci\u003eWoodland\u003c\/i\u003e\u003cspan\u003e was recorded in Nashville, Tennessee at Welch and Rawlings' own Woodland Sound Studio (newly rebuilt after the 2020 tornado) and cements the duo's iconoclastic position at the forefront of acoustic music.\u003c\/span\u003e\u003c\/p\u003e","brand":"Warner Group","offers":[{"title":"LP - Black Vinyl","offer_id":49523506184504,"sku":"","price":32.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/5803\/3464\/files\/woodland.webp?v=1734002894"},{"product_id":"tracy-chapman-tracy-chapman","title":"Tracy Chapman - Tracy Chapman","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ci\u003eTracy Chapman\u003c\/i\u003e\u003cspan\u003e is the debut album by the American singer-songwriter Tracy Chapman, released on April 5, 1988, by Elektra Records. 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Recorded between \u003c\/span\u003e\u003ci\u003eZuma\u003c\/i\u003e\u003cspan\u003e and \u003c\/span\u003e\u003ci\u003eAmerican Stars and Bars\u003c\/i\u003e\u003cspan\u003e as a solo album in a\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003esingle session, the resultant performances are truly breathtaking and passionate. The simplicity of a single voice and guitar captured here is as pure and powerful as it gets, with only Young, Briggs and actor Dean Stockwell in the room at the time of recording. A few of the songs would not appear on vinyl until years later. Some have never been heard, included in the original sessions for Neil Young and Crazy Horse’s \u003c\/span\u003e\u003ci\u003eDume\u003c\/i\u003e\u003cspan\u003e, another unreleased record of original sessions that yielded the classic album, \u003c\/span\u003e\u003ci\u003eZuma\u003c\/i\u003e\u003cspan\u003e. 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The album was recorded from May to December 1977, preceding the release of \u003c\/span\u003e\u003ci\u003eComes A Time\u003c\/i\u003e\u003cspan\u003e in 1978. The two albums share the same country\/folk sound, and three songs (“Goin’ Back”, “Human Highway” and “Field of Opportunity”) appear on both albums. The vinyl release of \u003c\/span\u003e\u003ci\u003eOceanside\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eCountryside\u003c\/i\u003e\u003cspan\u003e includes some tracks that are on the CD of the same name in Neil Young’s Archives Vol. III. However, this track list is how \u003c\/span\u003e\u003ci\u003eOceanside Countryside\u003c\/i\u003e\u003cspan\u003e was originally planned to be released. Recorded on tape, these are the original mixes done at the time of recording. All the songs on “Oceanside” are performed solo by Neil Young. On “Countryside,” Young is joined by a band of his friends: Ben Keith (Steel Guitar), Rufus Thibodeaux (fiddle), Karl T. Himmel (drums), Joe Osborne (bass). On “The Old Homestead” Tim Drummond plays bass and Levon Helm plays drums. “Pocahontas” is Young solo. Please note that while the songs on \u003c\/span\u003e\u003ci\u003eOceanside Countryside\u003c\/i\u003e\u003cspan\u003e appear on Archives Vol.III, the versions are not always the same and the track list is the running order for the original \u003c\/span\u003e\u003ci\u003eOceanside Countryside\u003c\/i\u003e\u003cspan\u003e album. 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His biggest hit in years, this album found Dylan embracing his spirituality-and his fans celebrating a new set of unmistakably inspired songs. The hit \u003c\/span\u003e\u003ci\u003eGotta Serve Somebody\u003c\/i\u003e\u003cspan\u003e leads to \u003c\/span\u003e\u003ci\u003ePrecious Angel, I Believe in You, Slow Train, When He Returns, When You Gonna Wake Up\u003c\/i\u003e\u003cspan\u003e and more!\u003c\/span\u003e\u003c\/p\u003e","brand":"Lasgo","offers":[{"title":"LP - Black Vinyl","offer_id":50271700746552,"sku":"","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/5803\/3464\/files\/Slow_Train_Coming_bea81afb_thumbnail_4096.webp?v=1747914152"},{"product_id":"neil-young-and-the-chrome-hearts-talkin-to-the-trees","title":"Neil Young and The Chrome Hearts - Talkin To The Trees","description":"\u003cp\u003e\u003cem\u003eTalkin To The Trees\u003c\/em\u003e is the debut full-length album from Neil Young And The Chrome Hearts.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTalkin To The Trees\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a personal and powerful album featuring ten new compositions by Young. “Big Change”, the first song from the album, comes with a message that left no doubt where Neil Young stands in these challenging times.\u003c\/p\u003e\n\u003cp\u003eThe Chrome Hearts are Spooner Oldham (Organ); Micah Nelson (Guitar and Vocal); Corey McCormick (Bass and Vocal); Anthony LoGerfo (Drums); with Neil Young (Guitar, Harp, Piano, Vibes). 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Recorded in 2002, these timeless tunes mark the first chapter of Zimmerman in the 21st century.\u003c\/p\u003e\n\u003cp\u003eThe one overriding similarity between the two Zimmerman’s (Bob) is their masterful and distinctly American poetic sensibilities. Believe me, if you like the music made in 1969, you’ll love these.”-Jon ‘Mojo’ Mills Shindig! Magazine. On my last visit to Tucker in the Belgian countryside, I picked my tea, as previously, from Marie-Claire’s great tray of assorted blends and was invited to choose my mug for the week. I apparently selected ‘Dave’s mug’ and was drinking ‘Dave’s English tea’. I felt very pleased, sat there with Tucker and his wife, next to the warm stove. Dave Evans is on this album. Why tell that story? Well Tucker's work is tied up with - and of equal importance to - his domestic life. His beloved wife and friends. This doesn't undermine his craft. I would say the opposite, that it affirms it and makes it uncompromised. Sure he could have been a wealthier man or more well known, but that is not the fuel. When in their home, next to the stove you feel a level of purity. That’s what fuels his work.\u003c\/p\u003e\n\u003cp\u003e“We’re all so delicate \u0026amp; fragile it’s beyond belief” is a line from the spine tingling beauty of ‘It’s Beyond Belief’. It sits near the end of this strong set of songs, written by the 60 year old Song Poet as he casts his eye over what it is to be alive. The sentiment articulates the soul of this collection. Tucker undoubtedly took a brief break from recording whilst - among other things - setting up baseball in Belgium and raising a son. But his life in art just went on and still goes on, either alone or with friends. He built his own studio in 1971 and owns a guitar so there really is no stopping him. In this environment he has made some of his classics, the self titled (Black Album) stripped back minimal beauty from 1971 \u0026amp;\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWord Games\u003c\/em\u003e, his electronic album from 1983.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMusic By River Words By Ear\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas also made in this environment. A wooden studio, in a wood, nestled on a little hill. Tucker \u0026amp; I curated this album pretty easily as it is clearly a session, a collection, an album. I believe a very different album than any he's released before. His sixty year old voice in fine form, mature, passionate, heartbreaking and strong. We hope you enjoy it as much as we do. -Nick Holton\u003c\/p\u003e\n\u003cp\u003e“Zimmerman conjures up a kind of Arcadian folk surrealism that is utterly his own” MOJO Andrew Male\u003c\/p\u003e","brand":"Cargo Records","offers":[{"title":"LP - Black Vinyl","offer_id":50412056641848,"sku":"","price":22.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/5803\/3464\/files\/tucker.webp?v=1750053252"},{"product_id":"bob-dylan-rough-and-rowdy-ways","title":"Bob Dylan - Rough And Rowdy Ways","description":"\u003cp\u003e\u003ci\u003eRough and Rowdy Ways\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eis Bob Dylan’s first album of original material in 8 years and his first since becoming the only songwriter to receive the Nobel Prize for Literature, in 2016.\u003c\/p\u003e\n\u003cp\u003eIts 10 tracks include the three new songs released this spring: the album’s lead-off track, \"I Contain Multitudes\", the nearly 17-minute epic \"Murder Most Foul\" and \"False Prophet\".\u003c\/p\u003e","brand":"Dead Sea Records","offers":[{"title":"LP - Black Vinyl","offer_id":50545615405368,"sku":"","price":30.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/5803\/3464\/files\/7d3cb66a-c34c-4ad4-9aca-594cc15bc918_thumbnail_4096.webp?v=1751036639"},{"product_id":"crosby-stills-and-nash-crosby-stills-and-nash","title":"Crosby, Stills and Nash - Crosby, Stills and Nash","description":"\u003cdiv class=\"Description_reasons-to-buy-wrapper__0CthD\"\u003e\n\u003cdiv class=\"Content_description-wrapper__XbO9z\" data-is-open=\"true\"\u003e\n\u003cdiv class=\"Content_inner-wrapper__xBJ2L\"\u003e\n\u003cdiv class=\"Description_truncated-text__yUXZD\"\u003e\n\u003cdiv class=\"Description_descriptionBody__bEN2t\"\u003e\n\u003cdiv class=\"Description_descriptionText__Lgv7A\" data-testid=\"description-product\"\u003e\n\u003cp\u003eOriginally released on may 29, 1969,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eCrosby, Stills and Nash\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eremains one of rock 'n' roll's most impressive debuts. It was big news in 1969 when former key members of the Byrds, Buffalo Springfield, and the Hollies - three of the finest bands of the '60s - splintered off to form their own trio. Despite their already-proven talents, few could have imagined the gossamer vocal blend that would become the trademark of supergroup Crosby, Stills and Nash. The band's debut effectively provided the soundtrack to the summer of '69. For his part, Steve Stills keeps exploring the progressive folk-rock sound that he'd pioneered with Buffalo Springfield; signature tune\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSuite: Judy Blue Eyes\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis an expansive, multi-section affair that makes full use of the group's vocal skills. Fresh from the Hollies, Graham Nash adds an accessible pop sensibility, epitomized by the effervescent ditty\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMarrakesh Express\u003c\/i\u003e. David Crosby, always the wild card in the Byrds, here adds rough edges and flashes of mystery with his cutting protest rocker\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLong Time Gone\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand the exquisite art-folk of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eGuinnevere.\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eWith this kind of firepower under its belt, it's no wonder csn quickly became one of the biggest groups of their era.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Lasgo","offers":[{"title":"LP - Black Vinyl","offer_id":50627261104440,"sku":null,"price":24.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/5803\/3464\/files\/Crosby_Stills__Nash_23c2098f_thumbnail_4096.webp?v=1751630602"},{"product_id":"bob-dylan-the-times-they-are-a-changin","title":"Bob Dylan - The Times They Are A Changin'","description":"\u003cp\u003eBob Dylan's third album\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Times They Are A Changin'\u003c\/i\u003e, released in 1964, might not have been such a landmark as\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Freewheelin' Bob Dylan\u003c\/i\u003e, but it still was a very strong album.\u003c\/p\u003e\n\u003cp\u003eThis album was political and social statement like no other. Most of the songs on his protest album are about very dark subjects, such as murders, racism, war, and hardship. As the album released two months after president John F Kennedy's assassination, the powerful title track became an anthem for the generation.\u003c\/p\u003e\n\u003cp\u003eThe lyrics are absolutely brilliant and Dylan's singing, and playing is simple, but powerful.\u003c\/p\u003e","brand":"Lasgo","offers":[{"title":"LP - Black Vinyl","offer_id":50627417538872,"sku":null,"price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/5803\/3464\/files\/The_Times_They_Are_A-Changin_c7a7962b_thumbnail_4096.webp?v=1751630987"}],"url":"https:\/\/www.deadsearecords.co.uk\/collections\/americana-country.oembed?page=5","provider":"Dead Sea Records","version":"1.0","type":"link"}