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Showing 1–24 of 76 results

  • Paterson Joel - Let It Be Guitar! Joel Paterson Plays The Beatles (LP)

    22,00

    As a follow up to his well-revered holiday album Hi-Fi Christmas Guitar, Joel Paterson will release a collection of vintage instrumental, guitar-centric covers of songs from the Beatles’ catalog, entitled Let It Be Guitar! Joel Paterson Plays The Beatles.

    The album – out on September 20th – features the guitarist’s signature blend of vintage jazz, exotica, blues, rockabilly, western swing and country, and uses classic Beatles songs as a sonic template for the mid-century musical journey

    Let It Be Guitar! Showcases fresh new arrangements of these familiar tunes, employing a wide variety of musical styles and guitar sounds, paying tribute to Paterson’s biggest influences including Les Paul, Chet Atkins, Jorgen Ingmann, James Burton, Buddy Emmons, Ernest Ranglin and many more. Of the inspiration for the album, Paterson says, ”This is the guitar record I’ve always wanted to make. I love the Beatles and their artistry and attention to detail in the recording studio-and I love all-things-guitar. So, I had a great time diving into these amazing songs, coming up with my own arrangements, and at the same time paying tribute to some of my favorite guitarists and vintage recording techniques of yesteryear.”

    The album’s liner notes were written by singer/songwriter and fellow vintage appreciator J.D. McPherson and give further explanation of the project, ”Each of Joel’s interpretations of these songs are concise, genre-bending, stylish tone poems, mixing both Joel’s and the Beatles’ own century-spanning inspirations into one zesty musical stew. Contained within certain tracks, you may even find nods to OTHER instrumentalists who have delved into the Beatles’ body of work… It’s almost the meta-sonic equivalent of a Liverpudlian Rube Goldberg drawing.” Recorded in Chicago at Reliable Recorders and at Paterson’s home studio, Let It Be Guitar! #features Joel on guitar, pedal steel, and lap steel; Beau Sample (Devil in a Woodpile, The Modern Sounds, The Fat Babies) on bass; Alex Hall (The Flat Five, The Western Elstons, The Fat Babies) on drums; and Chris Foreman on Hammond B3 organ. One of the busiest musicians on the roots music scene today, Paterson can be heard playing with The Modern Sounds, The Joel Paterson Organ Trio featuring Chris Foreman, Devil in a Woodpile, The Western Elstons, and many other Chicago-based projects.

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  • Paterson Joel - Let It Be Guitar! Joel Paterson Plays The Beatles (CD)

    18,00

    As a follow up to his well-revered holiday album Hi-Fi Christmas Guitar, Joel Paterson will release a collection of vintage instrumental, guitar-centric covers of songs from the Beatles’ catalog, entitled Let It Be Guitar! Joel Paterson Plays The Beatles.

    The album – out on September 20th – features the guitarist’s signature blend of vintage jazz, exotica, blues, rockabilly, western swing and country, and uses classic Beatles songs as a sonic template for the mid-century musical journey

    Let It Be Guitar! Showcases fresh new arrangements of these familiar tunes, employing a wide variety of musical styles and guitar sounds, paying tribute to Paterson’s biggest influences including Les Paul, Chet Atkins, Jorgen Ingmann, James Burton, Buddy Emmons, Ernest Ranglin and many more. Of the inspiration for the album, Paterson says, ”This is the guitar record I’ve always wanted to make. I love the Beatles and their artistry and attention to detail in the recording studio-and I love all-things-guitar. So, I had a great time diving into these amazing songs, coming up with my own arrangements, and at the same time paying tribute to some of my favorite guitarists and vintage recording techniques of yesteryear.”

    The album’s liner notes were written by singer/songwriter and fellow vintage appreciator J.D. McPherson and give further explanation of the project, ”Each of Joel’s interpretations of these songs are concise, genre-bending, stylish tone poems, mixing both Joel’s and the Beatles’ own century-spanning inspirations into one zesty musical stew. Contained within certain tracks, you may even find nods to OTHER instrumentalists who have delved into the Beatles’ body of work… It’s almost the meta-sonic equivalent of a Liverpudlian Rube Goldberg drawing.” Recorded in Chicago at Reliable Recorders and at Paterson’s home studio, Let It Be Guitar! #features Joel on guitar, pedal steel, and lap steel; Beau Sample (Devil in a Woodpile, The Modern Sounds, The Fat Babies) on bass; Alex Hall (The Flat Five, The Western Elstons, The Fat Babies) on drums; and Chris Foreman on Hammond B3 organ. One of the busiest musicians on the roots music scene today, Paterson can be heard playing with The Modern Sounds, The Joel Paterson Organ Trio featuring Chris Foreman, Devil in a Woodpile, The Western Elstons, and many other Chicago-based projects.

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  • Fulks Robbie - Country Love Songs (180 Gram Vinyl, Digital Download Card) (LP)

    22,00

    Robbie Fulks’ debut album – now on vinyl for the first time – was the surprise hit of ’96, and at the time served notice that a) Country Music did NOT have to suck b) that he was a top-notch songwriter and performer and c) things in the underground country scene were never going to be the same. Truly the bar had been raised. Let’s let Robbie describe it: ”13 original country songs with an early 50’s production aesthetic (hot vocals, robust bass, live instrumental tracks) and arrangement, reviving certain types of songs long abandoned by mainstream country music. Likewise in retro spirit, these songs will frequently violate current country songwriting trends which hold as taboo themes of negativism, forceful expression, and points of view uncongenial to the prevailing ideology of fatuous feelgoodism; they will instead reflect a modern sensibility in their emotional graphicness, vigorous iconoclasm, and sense of humor. In composition and presentation the music will honestly reflect the heart and personality of it’s author/singer, and in it’s fundamental sincerity will stand resolutely against the poisonous tides of camp.” Co-produced by Steve Albini, and features appearances by the Skeletons, and Tom Brumley (of the Buckaroos!), and drop-dead, now classic cool honky tonk gems like ”Every Kinda Music But Country,” ”The Buck Starts Here,” and the sing-a-long fave ”She Took A Lot Of Pills (And Died).” Foodies will love ”The Scrapple Song,” duet fetishists will adore ”We’ll Burn Together” and sinners will love ”Let’s Live Together.”

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  • Whitey Morgan And The 78`s - Born, Raised & Live From The Flint (LP)

    23,00

    Recorded Live at The Mashine Shop on November 25th, 2011.

    Superb, old school honky tonk country album in the tradition, Of Ray Wylie Hubbard, D.A. Coe, Waylon,Willie and Jerry Jeff!

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  • Fulks Robbie & Linda Gail Lewis - Wild! Wild! Wild! (LP)

    23,00

    2018 release. The collaboration between Grammy-nominated singer-songwriter Robbie Fulks and rock ’n’ roll royalty Linda Gail Lewis, Wild! Wild! Wild, gleefully lives up to it’s title.

    Subversive as it is reverential, the album confidently jumps the genre tracks of nitty-gritty rock ’n’ roll, Americana, country & western, rockabilly, and all of their offshoots.

    Recorded at Chicago’s Reliable Recorders by Alex Hall (JD McPherson, Pokey LaFarge, The Cactus Blossoms) and produced by Robbie Fulks, the album features a band of American roots music legends, stalwarts, and peers.

    Linda Gail Lewis says, ”I love singing with Robbie. It reminds of singing with my brother, Jerry Lee. The duets we did were so much fun. And the songs Robbie wrote are out of this world. My husband was a promotion man for Stax and Chess, and he felt like he was back at Stax when he heard ’Foolmaker.’ Robbie is a soul singer. That was a surprise.”

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  • Fulks Robbie & Linda Gail Lewis - Wild! Wild! Wild! (CD)

    18,00

    2018 release. The collaboration between Grammy-nominated singer-songwriter Robbie Fulks and rock ’n’ roll royalty Linda Gail Lewis, Wild! Wild! Wild, gleefully lives up to it’s title.

    Subversive as it is reverential, the album confidently jumps the genre tracks of nitty-gritty rock ’n’ roll, Americana, country & western, rockabilly, and all of their offshoots.

    Recorded at Chicago’s Reliable Recorders by Alex Hall (JD McPherson, Pokey LaFarge, The Cactus Blossoms) and produced by Robbie Fulks, the album features a band of American roots music legends, stalwarts, and peers.

    Linda Gail Lewis says, ”I love singing with Robbie. It reminds of singing with my brother, Jerry Lee. The duets we did were so much fun. And the songs Robbie wrote are out of this world. My husband was a promotion man for Stax and Chess, and he felt like he was back at Stax when he heard ’Foolmaker.’ Robbie is a soul singer. That was a surprise.”

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  • Luke Winslow-King - Blue Mesa (CD)

    18,00

    Luke Winslow-King’s’ 2018 album is an example of craftsmanship at the highest level, radiating a warmth and timeless elegance. Adept at mixing country, blues, R&B, rock ’n’ roll, and folk influences intuitively and masterfully, Luke shapes a mood from many sources and shepherds it to a unifying place of acceptance and hope. Blue Mesa is both stately and approachable, manifestly proficient but deeply personal.

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  • Luke Winslow-King - Blue Mesa (LP)

    20,00

    Luke Winslow-King’s’ 2018 album is an example of craftsmanship at the highest level, radiating a warmth and timeless elegance. Adept at mixing country, blues, R&B, rock ’n’ roll, and folk influences intuitively and masterfully, Luke shapes a mood from many sources and shepherds it to a unifying place of acceptance and hope. Blue Mesa is both stately and approachable, manifestly proficient but deeply personal.

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  • Earle Justin Townes - Harlem River Blues (Digipak) (Käytetty CD)

    10,00

    ”KANTRISTA BLUESIN KAUTTA KOUKATEN ROCKABILLYYN! Justin Townes Earle’s previous records were promising if uneven recordings that revealed a considerable talent trying to find a unique musical identity as a songwriter apart from his parental heritage. It may have taken him three albums, but Harlem River Blues delivers in spades what his earlier offerings hinted at. With co-production by Earle and Skylar Wilson and the backing of a killer, intuitive band, the songwriter drops 11 weighty originals steeped in American musical tradition yet bearing his own inimitable lyric and stylistic signature. The title track is an electrifying rockabilly-cum-truck-driving shuffle adorned by slapping bass, guitars, snare and cymbal, and a Hammond B-3. Despite the upbeat tempo and finger-popping rhythmic thrust, Earle’s lyrics reveal the protagonist’s intention to commit suicide by drowning. With a country gospel vocal chorus complete with handclaps on the refrains, the lyrics and music are intriguingly at odds; somehow the sense of near gleeful purpose in the protagonist’s view — revealing a sense of relief at the prospect of release from this plane of existence — makes the tune gell. On the breezy summertime groove of ”One More Night in Brooklyn,” the Tennessee backwoods meets the urban street corner, led by guitars, a skeletal drum kit, Wilson’s vibes, and a popping upright bass. ”Move Over Mama” is a scorching rockabilly-and-reverb number, full of erotic bravado à la Warren Smith or Billy Lee Riley. (And does that bass ever get slapped!) ”Wanderin'” captures the spirit of early Bob Dylan under the influence of Cisco Houston and Woody Guthrie, but the lyrics and sense of necessity and acceptance of the situation at hand are pure Earle. With a country fiddle added to the mix, you can also hear traces of early string bands and even the ghostly presence of A.P. Carter in the refrains. The horns on ”Slippin’ and Slidin’ marry the late Eddie Hinton’s brand of Muscle Shoals R&B to laid-back country rockabilly. The narrative love song ”Christchurch Woman” is among the moving things here; Earle’s vocal is underscored by a female backing chorus and organic instrumentation that also includes beautifully arranged horns — as if Tom Waits’ ”Downtown Train” or ”Jersey Girl” were filtered through Memphis R&B and Waylon Jennings’ early-’60s country. ”Ain’t Waitin'” is a rockabilly blues, so skeletal it could be played on the back porch. Anyway you cut it, Harlem River Blues is utterly balanced, skillfully crafted, and exquisitely written and produced. Earle proves that he is a force to be reckoned with; in these grooves he embodies the history, mystery, and promise of American roots music.”

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  • Barrence Whitfield And The Savages - Soul Flowers Of Titan (CD)

    7,50

    Limited 180gm vinyl LP pressing including digital download. Titan is the largest moon orbiting Saturn, a planet which astrologically symbolizes pain, struggle and hard knocks on the human path to wholeness, and liberation among many other things. Soul Flowers of Titan is a collection of songs representing cosmology, struggles and influences. People shooting guns, separating, coming home (someday), in love, running around, leaving this earth, going crazy, drinking coffee, and thinking about Sun Ra. Titan’s a forbidding, poisonous place with mountains, rivers and oceans of methane and ammonia, cloaked in a dense shroud of gases. The kinds of flowers that would grow there would be the hardy beasts that survived to make this strange bouquet.

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  • Barrence Whitfield And The Savages - Soul Flowers Of Titan (180 gram, Limited) (LP)

    20,00

    Limited 180gm vinyl LP pressing including digital download. Titan is the largest moon orbiting Saturn, a planet which astrologically symbolizes pain, struggle and hard knocks on the human path to wholeness, and liberation among many other things. Soul Flowers of Titan is a collection of songs representing cosmology, struggles and influences. People shooting guns, separating, coming home (someday), in love, running around, leaving this earth, going crazy, drinking coffee, and thinking about Sun Ra. Titan’s a forbidding, poisonous place with mountains, rivers and oceans of methane and ammonia, cloaked in a dense shroud of gases. The kinds of flowers that would grow there would be the hardy beasts that survived to make this strange bouquet.

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  • Ruby Boots - Don`t Talk About It (CD)

    15,00

    ”A genre-busting delight…comes across as a compelling mix of Dixie Chicks and Deborah Harry. [She is] sultry and sassy, fierce and feisty…The album is swaggeringly assured, it oozes confidence and class.” — Stack (Australia)

    Aussie born and Nashville living, the album is informed as much by the wide-open landscapes of her homeland as the intimate writing circles of Nashville, ’Don’t Talk About It’ may range far and wide but always maintains a firm sense of place. Echoes of first wave UK power pop and jangly punk intersect with the every(wo)man indie and pop-inflected muscle of Best Coast.

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  • Ruby Boots - Don`t Talk About It (LP)

    20,00

    Limited 180gm vinyl LP pressing including digital download.

    ”A genre-busting delight…comes across as a compelling mix of Dixie Chicks and Deborah Harry. [She is] sultry and sassy, fierce and feisty…The album is swaggeringly assured, it oozes confidence and class.” — Stack (Australia)

    Aussie born and Nashville living, the album is informed as much by the wide-open landscapes of her homeland as the intimate writing circles of Nashville, ’Don’t Talk About It’ may range far and wide but always maintains a firm sense of place. Echoes of first wave UK power pop and jangly punk intersect with the every(wo)man indie and pop-inflected muscle of Best Coast.

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  • Lydia Loveless - Boy Crazy And Single(s) (CD)

    15,00

    A new collection of Lydia Loveless’s summery 5-song EP Boy Crazy plus six non-album singles and B-sides including original songs in addition to inventive and bare-bones covers of Prince, Elvis Costello and Kesha.

    The recordings span from 2012 to 2015; many of which are on CD and LP for the first time. Boy Crazy is Lydia Loveless’s ””rock and roll tribute to baseball pants and youth.”” Featuring sun-washed rebel-powered pop songs presenting a conversation about judgment and loss of innocence as one transitions from good old American naivete to you-should-knowbetter ””wisdom.”” These songs see Lydia and her band roping in their signature twangy pedalsteel-laden rock beat-em-ups and tying them tightly with the crisp Southern air of Tom Petty and the Heartbreakers’ Damn the Torpedoes and the snarling-but-sweet delivery of Juliana Hatfield’s heyday. It’s a summer set that arrives a little tardy this year just in time to prolong those long buzz-chasing July days when you hang out where you know you aren’t supposed to. This time you just don’t care about getting caught.

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  • Sarah Shook & The Disarmers - Sidelong (CD)

    15,00

    2017 release. North Carolina’s Sarah Shook sings with a conviction and hard honesty sorely lacking in much of today’s Americana landscape. Always passionate, and at times profane, Sarah stalks/walks the line between vulnerable and menacing. You can hear in her voice what’s she’s seen; world weary, hard lessons learned-or not-but always defiant. She level-steady means what she says. The Disarmers, with their snarling boom-chicka-boom guitars and an Old 97’s swing in the rhythm section, keep it in the pocket. Tight and tough. Sidelong rides in the middle seat, before seat belts, of a ’77 Buick Riviera blasting down a dirt road. Rowdy punk rock sneer to the right, a bottle in a bag; organic country three chords and the truth honesty on the left-one eye in the rear view mirror and one eye on the rough road ahead. It’s a hell of a ride. Writing with a sense of urgency-so refreshing these days it’s almost startling, Sarah’s lyrics are in turn smart, funny, mean and above all honest. Sly turns of phrase so spot on they feel as old and true as the hymnal. Anger that’s confrontational as it is concise. Humor that’s as wry and resigned as a fallen sage’s.

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  • Scott H. Biram - Bad Testament (CD)

    18,00

    With the heart of a genuine Texas Bluesman, the head(banging) of a Zappa and Lemmy disciple and boots resting in the dust outside of town at sunrise, Scott H. Biram journeys through the harrowing human condition like no one else. A walk on the Birams-side straddles the chasm between sin and redemption, and ’The Bad Testament’ lands somewhere west of the Old Testament and south of an AA handbook. It’s a record of hard-grinding lost love and deep, dark Americana with songwriting on the razor’s edge of aggression and deftness, thoroughly contemporary but steeped in the back waters, back porches, and back alleys of our collective musical heritage.

    He is a one-man band, but never falls in a rut, alays shifting, from the wandering Country-Soul of Jimmie Rodgers and the laid-back cool of Merle Haggard to the distorted, unvarnished, unhinged aggro-roots,

    Biram proves yet again he’s not jus A one-man band, he is THE one-man band. The master of the realm. Why? Because even though he’s one man, he ain’t just one thing.

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  • Scott H. Biram - Bad Testament (LP)

    25,00

    With the heart of a genuine Texas Bluesman, the head(banging) of a Zappa and Lemmy disciple and boots resting in the dust outside of town at sunrise, Scott H. Biram journeys through the harrowing human condition like no one else. A walk on the Birams-side straddles the chasm between sin and redemption, and ’The Bad Testament’ lands somewhere west of the Old Testament and south of an AA handbook. It’s a record of hard-grinding lost love and deep, dark Americana with songwriting on the razor’s edge of aggression and deftness, thoroughly contemporary but steeped in the back waters, back porches, and back alleys of our collective musical heritage.

    He is a one-man band, but never falls in a rut, alays shifting, from the wandering Country-Soul of Jimmie Rodgers and the laid-back cool of Merle Haggard to the distorted, unvarnished, unhinged aggro-roots,

    Biram proves yet again he’s not jus A one-man band, he is THE one-man band. The master of the realm. Why? Because even though he’s one man, he ain’t just one thing.

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