Pop & Rock News

Legendary Hall of Famer Leon McAuliff's long-lost platter of delicious rural-route steel guitar and twin fiddle sounds, mixed with a frenetic, rockin' country band on cuts—a southern stew steeped in the Houston native's Texas roots! Includes the hit single Faded Love.' Recorded in Dallas in 1962, Swingin' Western Strings of Leon McAuliff, was a showcase for McAullif's distinctive steel guitar playing and his skill as a bandleader as he directs his band through a dozen new instrumental arrangements of Western swing and honky tonk classics. Mastered from the original analog mono reels and pressed on blue vinyl, Modern Harmonic says, Take it away, Leon!' for the 21st century!

The sound of Nashville nightlife, circa 1962! Steel guitar pioneer Pete Drake slides and glides through a glimpse of what Music City instro sounds were like mid-century—the kinds you might hear at any neon-draped honky tonk—including everything from sexy-swing to country-cool on a dozen original tunes, ranging from the playful swing of For Pete's Sake' to the honky tonk shuffle of Loves I've Known' to the hip jazz menace of The Spook,' and on through the hillbilly cosmic in the album closer, Galaxie,' in which Drake trades licks with steel guitar legend, Little' Roy Wiggins. Mastered from the original analog mono reels and pressed on red vinyl, Modern Harmonic brings this essential U.S. steel from Nashville to your record collection!

That old blues hound dog Bonnie Raitt probably sang it best and most lucid in her timeless, pedestrian hit Nick of Time": Life gets mighty precious when there's less of it to waste.' And so now, her wise lyrical turn seems to be ringing true for Oakland muso Dick Stusso. When we last caught up with this Bay Area BBQ gaucho on his debut, Nashville Dreams, he'd hit that special zen layer of loserdom. He'd thrown up his hands into the folly of failure. He was the affable, bumbling red-cheeked drunk lurking around the edges of the cookout — bumming smokes, putting down all the white wine and cocktail shrimp he could get away with. But now, a couple years on, that early-30s existential dread has crept its way into Dick's purview. With his sophomore long-player In Heaven, Stusso's numbered human days are on his mind. Without stumbling into pomposity, Dick has taken back the wheel on his life and is doing a bit of hotdogging. The album sounds so assured, you'd never guess the whole endeavor was almost completely down the tubes. I was about 75% done with the album and then my apartment got burgled,' Stusso said of In Heaven's bummer origins. They took it all.' Having laid it almost exclusively to tape, there weren't even files to pull from. But what seemed like another sour turn for Dick actually ended up being a little lemon zest in his G&T. He ended up teaming with psych visionary producer Greg Ashley in a defunct old church, making
for a leap in fidelity on In Heaven. The new peacock strut to Dick's vague longing and malaise suits his countrified T. Rex sound quite well. Exhibit A: album standout Modern Music,' a sort of State of the Union and State of the Soul all set over a warm, gauzy glam bass line. Nobody wants to look at the dark heart, I don't blame you/Nobody wants to look at the dark heart, myself included,' he sings a low-register Orbison sneer. I'm just looking for a good
time and a little cash-uh.' Employing deft songcraft, which includes a wide open ambient midsection to really get you thinking about The Void, Dick manages to take down both capitalism and the bullshit conditions of human mortality without sounding all that put out by either.

Having become something of a cult favourite in their hometown for their raucous live shows, Too Many Things To Hide is the long-awaited debut LP from Birmingham, UK quartet Swampmeat Family Band, which includes members Low Cut Connie, PWEI, Bentley Rhythm Ace, The Castillians, Terror Watts etc. Combining their inner '70s country soul and glam pop with more traditional heartbreak laments the quartet's created a lasting collection of tracks that resides somewhere in the realm between Americana and garage rock, and Too Many Things to Hide is set to be released on March 23 via the Stockholm based indie label PNKSLM Recordings.

That old blues hound dog Bonnie Raitt probably sang it best and most lucid in her timeless, pedestrian hit Nick of Time": Life gets mighty precious when there's less of it to waste.' And so now, her wise lyrical turn seems to be ringing true for Oakland muso Dick Stusso. When we last caught up with this Bay Area BBQ gaucho on his debut, Nashville Dreams, he'd hit that special zen layer of loserdom. He'd thrown up his hands into the folly of failure. He was the affable, bumbling red-cheeked drunk lurking around the edges of the cookout — bumming smokes, putting down all the white wine and cocktail shrimp he could get away with. But now, a couple years on, that early-30s existential dread has crept its way into Dick's purview. With his sophomore long-player In Heaven, Stusso's numbered human days are on his mind. Without stumbling into pomposity, Dick has taken back the wheel on his life and is doing a bit of hotdogging. The album sounds so assured, you'd never guess the whole endeavor was almost completely down the tubes. I was about 75% done with the album and then my apartment got burgled,' Stusso said of In Heaven's bummer origins. They took it all.' Having laid it almost exclusively to tape, there weren't even files to pull from. But what seemed like another sour turn for Dick actually ended up being a little lemon zest in his G&T. He ended up teaming with psych visionary producer Greg Ashley in a defunct old church, making
for a leap in fidelity on In Heaven. The new peacock strut to Dick's vague longing and malaise suits his countrified T. Rex sound quite well. Exhibit A: album standout Modern Music,' a sort of State of the Union and State of the Soul all set over a warm, gauzy glam bass line. Nobody wants to look at the dark heart, I don't blame you/Nobody wants to look at the dark heart, myself included,' he sings a low-register Orbison sneer. I'm just looking for a good
time and a little cash-uh.' Employing deft songcraft, which includes a wide open ambient midsection to really get you thinking about The Void, Dick manages to take down both capitalism and the bullshit conditions of human mortality without sounding all that put out by either.

One of the most influential artists from the southern parts of the United States is undoubtedly Leadbelly. Gifted with the ability to write thought provoking lyrics, he became a true master of the folk and blues scene. More than just a musician, Leadbelly was a force of nature. And one of his songs sparked a revolution when Lonnie Donegan's 1956 hit Rock Island Line inspired not just The Beatles, but pretty well every fledgling Brit rock & roller with a new type of music called skiffle.

LP has download code

* Danny Wilson (Danny and the Champions of the World, Grand Drive), and Robin Bennett (The Dreaming Spires, Goldrush, Saint Etienne) join forces with Tony Poole (Starry Eyed and Laughing), producer extraordinaire, and king of the electric twelve-string Rickenbacker, their voices, guitars, and songwriting combining to marvellous effect in a collection of songs that began as uplifting acoustic music and grew into something far more wide-ranging and transcendent.

* Pulling on influences from the 60s pop of The Byrds, The Beatles and The Beach Boys, through to the harmonies of Crosby, Stills, Nash and Young, with dashes of Petty and Springsteen thrown in for good measure, perhaps the most remarkable thing is that what shines through all of this is the quality and originality of the songwriting. The songs deal with wide-ranging issues and personal truths, from the aptly titled opener 'Soon Enough' through the biographical tale of Danny's family in 'Wilson General Store' and the politically-charged rallying cry of 'Hate Won't Win' to the social commentary of epic album-closer 'Lifeboat (Take a Picture of Yourself)'.

* All three collaborators have had critical acclaim in their own right. Danny Wilson's credentials go back to his days in Grand Drive with brother Julian, and his consistent high calibre output with his Champions of the World led them to sweeping the board at the first UK Americana Awards with Album, Artist and Song of the year awards richly deserved, Tony Poole's Starry Eyed and Laughing were hailed as the English Byrds' on the back of their two CBS-released albums in the mid-seventies and he has since built an enviable reputation as producer and engineer, Robin Bennett has been relentlessly turning out timeless songs from his Oxfordshire base in bands from Goldrush to The Dreaming Spires, alongside founding two award winning festivals (Truck and Wood) and lending his multi-instrumental skills to Saint Etienne.

* But in Bennett Wilson Poole, the trio seem to have stumbled upon that rarity of the whole being greater than the sum of the parts.

On 2nd March 2018 Ginger Wildheart is to release his new album, the aptly titled 'Ghost In The Tanglewood'. A seamless mix of country, folk, roots and rock, the record showcases Ginger's song writing maturity as he wears his heart and influences on his sleeve over 13 deeply personal tracks, channelling his emotions and pouring his soul into every note. Influenced by the likes of Steve Earle, Maria McKee, Tom Waits and Richard Thompson, this is Ginger's music on the mellow side, roots music played by a working class Geordie raised on country and Northern folk music.

While leaning towards country music, my fairly unavoidable accent means that the songs come off less Willie Nelson and more Bobby Thompson, but every lyric is purely heartfelt and every song is as true a story as you'll ever hear. This stuff has always been in my blood since I was a wee nipper and it's an honour to finally get it out for people to hear' says Ginger.

The songs largely deal with the traditionally taboo subject of mental health issues, specifically depression, which I have suffered from my whole life. Having recently weaned myself off medication, the music I make now serves as both therapy and comfort. I find relief in this music and hope that the songs bring a similar comfort to the listener. The narrative throughout is pretty confessional in nature, but I think the candid approach showcases the lyrics in a more bold and open way than a traditional rock album.'

Opening with the rousing 'The Daylight Hotel', which was written while receiving treatment in a mental hospital and is a peak into that world and the kind of people that reside within its walls, the album ranges from the beautiful country sounds of 'Don't Say Goodbye' to the folk of 'Golden Tears' (a melancholic but uplifting song about the inner strength we somehow summon to fight adversity), the torchlight closer 'Remains' and 'I Could Have Cared For You', which recalls Paul Westberg at his best.

Recorded in John Kettle's Giraffe Studios in Wigan, 'Ghost In The Tanglewood' was produced by John Kettle and Dave Draper and features an all new gang of seasoned musicians that Ginger handpicked for their feel and experience. The players are Maurice Hipkiss - pedal steel, Emily Ewing - vocals, Matthew Colley - piano, Neil McCartney - fiddle and John Kettle - guitar and mandolin.

'Ghost In The Tanglewood' began life as a Pledge campaign, with profits donated to The Samaritans, with the main cause being suicide prevention. I shouldn't need to explain how very important it is to make people aware of mental health issues and suicide prevention, but this is a subject that can never be talked about enough' says Ginger. Speaking out about mental illness is currently our strongest weapon in the war against suicide. We still live in an age where governments and communities continue to largely ignore this problem, so anything that highlights this issue is a step in the right direction. I hope I can do more to raise awareness and be a small part of the change in attitude that is needed in regards to this issue.'

On 2nd March 2018 Ginger Wildheart is to release his new album, the aptly titled 'Ghost In The Tanglewood'. A seamless mix of country, folk, roots and rock, the record showcases Ginger's song writing maturity as he wears his heart and influences on his sleeve over 13 deeply personal tracks, channelling his emotions and pouring his soul into every note. Influenced by the likes of Steve Earle, Maria McKee, Tom Waits and Richard Thompson, this is Ginger's music on the mellow side, roots music played by a working class Geordie raised on country and Northern folk music.

While leaning towards country music, my fairly unavoidable accent means that the songs come off less Willie Nelson and more Bobby Thompson, but every lyric is purely heartfelt and every song is as true a story as you'll ever hear. This stuff has always been in my blood since I was a wee nipper and it's an honour to finally get it out for people to hear' says Ginger.

The songs largely deal with the traditionally taboo subject of mental health issues, specifically depression, which I have suffered from my whole life. Having recently weaned myself off medication, the music I make now serves as both therapy and comfort. I find relief in this music and hope that the songs bring a similar comfort to the listener. The narrative throughout is pretty confessional in nature, but I think the candid approach showcases the lyrics in a more bold and open way than a traditional rock album.'

Opening with the rousing 'The Daylight Hotel', which was written while receiving treatment in a mental hospital and is a peak into that world and the kind of people that reside within its walls, the album ranges from the beautiful country sounds of 'Don't Say Goodbye' to the folk of 'Golden Tears' (a melancholic but uplifting song about the inner strength we somehow summon to fight adversity), the torchlight closer 'Remains' and 'I Could Have Cared For You', which recalls Paul Westberg at his best.

Recorded in John Kettle's Giraffe Studios in Wigan, 'Ghost In The Tanglewood' was produced by John Kettle and Dave Draper and features an all new gang of seasoned musicians that Ginger handpicked for their feel and experience. The players are Maurice Hipkiss - pedal steel, Emily Ewing - vocals, Matthew Colley - piano, Neil McCartney - fiddle and John Kettle - guitar and mandolin.

'Ghost In The Tanglewood' began life as a Pledge campaign, with profits donated to The Samaritans, with the main cause being suicide prevention. I shouldn't need to explain how very important it is to make people aware of mental health issues and suicide prevention, but this is a subject that can never be talked about enough' says Ginger. Speaking out about mental illness is currently our strongest weapon in the war against suicide. We still live in an age where governments and communities continue to largely ignore this problem, so anything that highlights this issue is a step in the right direction. I hope I can do more to raise awareness and be a small part of the change in attitude that is needed in regards to this issue.'

Selection of obscure and underrated Country-Funk, Blue-Eyed-Soul, and other swinging Rhythm & Blues oddities from the Sixties and Seventies. The tunes on this album are as good as those by famous artists like Little Richard, Jerry Lee Lewis, Tom Jones, or Jack Hammer.

Since 2010 Al Dual been playing as lead guitar for Pike Cavalero and occasionally for Charlie Hightone at European Rockabilly festivals increasing his experience hitting the stages of emblematic places like

Kensington Club' The Tower Bar', Spike's', Till Two Club', The Juke Joint ,' Eastside Luv and' The Continental Club in Austin, Texas.

Blue's Back In Town', with four self penned tracks, is his first solo vinyl EP.

Carlos Lopez is an essential double bassist on the Rockabilly scene in Spain and Charlie Hightone needs no introduction! They recently teamed to gather a bunch of great songs composed by Carlos with the help of some

prominent names from the cream of the crop of Madrids roots music caracters. The result is the single Drunk Again', a sure winner that will followed by a full lenght album later in the year!

Rozalia by Rodion G.A. is the fourth record release on Inversions. It is a third collection of archive recordings from Rodion Rosca, collated from two radio recording sessions from 1978 and 1983. The music is a rough distillation of Rodion's DIY approach to music and instrumentation, encompassing psychedelic garage and prog styles.

The album has received reviews in Uncut and Shindig magazines to date, with more scheduled in the coming months, including The Wire and Mojo.

Willie Nelson came to musical fame relatively late in life, but grabbed it and followed it with a successful film career. Nelson first became known in Nashville for writing hit songs for established country artists such as Patsy Cline. 'Crazy', was Cline's biggest hit in 1961 although her version is very different from the original. He was inducted into the Country Music Hall of Fame in 1993 and received Kennedy Center Honors in 1998. When he turned 80 in mid 2013, four generations of his family played together at New York City's Hard Rock Café to raise money for his animal rights and biodiesel ventures. His career may have been slow starting, but Willie Nelson's musical legacy is huge. The tracks here showcase just how good he was back in the long-ago pre-fame days.

Buck Owens' self-titled debut album exhibits the American country singer's early development of the Bakersfield sound. The hits Above and Beyond,' Under Your Spell Again,' and Second Fiddle' are among the offerings.

As one reviewer wrote: The sound that became the legend starts right here.' Owens wrote or co-wrote all the songs on his third album, You're For Me' (with the exception of Fool Me Again'). Four became hits: You're For Me,' Under the Influence of Love,' Nobody's Fool But Yours,' and House Down the Block.' There are other fine tracks too, including two polka instrumentals. One of Owens' early Capitol recordings, it is considered by many to be his best.

These two classic albums from Buck Owens, country music superstar and pioneer of the Bakersfield sound, are reissued here on a single LP.

Third album from Britain's answer to George Jones and Tammy Wynette. Audiophile release, as a numbered limited edition of just 300 copies, on heavyweight 180g vinyl with lyric insert.

London-based psych-folk-country quintet The Hanging Stars will release their second album Songs For Somewhere Else in February 2018. Taking cues from both sides of the Atlantic, they mainline the dying embers of the early 70s psychedelic folk and cosmic country scenes, transforming them into an energized new sound for our times. As the title suggests, the album is about escapism from the everyday, against the cynicism and greed that pervades society.

This album follows on from their critically acclaimed 2016 debut Over The Silvery Lake, which received praise from The Times, who described it as; "An album with enough of a hazy, sun-dappled charm to make the capital's dreariest weather bearable', as well as Uncut, who proclaimed that it was; "a promising debut from London's The Hanging Stars, who switch deftly between deliciously sentimental Americana and swaggering psychedelia'. They picked up a good amount of support at Radio 2 and 6 Music, with lead single 'The House on the Hill' scoring a much-coveted 10/10 by John Robb on Steve Lamacq's Roundtable.

The new album is more varied than its predecessor and sees them expanding into new territories whilst continuing to channel an English wistful ethereality grown from American soil. Tracing their inspiration from Dennis Wilson to Gram Parsons and On The Beach era Neil Young, they equally draw from early gospel soaked Spiritualized, jangle pop, spaghetti western soundtracks ('Mean Old Man'), old Bossa Nova records ('Water Song') and prohibition-era blues ('Too Many Wired Hours').

The recording for Songs For Somewhere Else commenced prior to the release of Over The Silvery Lake and captures the development of a band who had toured Europe in the winter of 2015/16, and went on to play coveted support slots with Teenage Fanclub, The Clientele, Wolf People and GospelbeacH, as well as Liverpool's International Festival of Psychedelia. Joining founding members - songwriter, singer and guitarist Richard Olson (The See See, Eighteenth Day of May), Sam Ferman on bass and Paulie Cobra on drums - were contributions from now permanent members Patrick Ralla (Alan Tyler Show, Edwyn Collins) on guitars, keys and vocals, and Joe Harvey-White (pedal steel, dobro), bringing new perspectives to the bands' work.

Recording was again conducted at the legendary Bark Studios in Walthamstow with Brian O'Shaughnessey (The Clientele, Primal Scream, My Bloody Valentine) at the helm. They had a collective attitude to performances on the album, with additional input from US friends Collin Hegna (Federale, Brian Jonestown Massacre), Miranda Lee Richards (on the emotive duet 'How I Got This Way'), and Christof Certik (Brian Jonestown Massacre, Winter Flowers), as well as Alison Cotton on viola (Left Outsides, Eighteenth Day Of May), Luke Barlow (Nought) on flute and Thomas Wake on clarinet. 

Touching on themes of fear of pain, death and failure, the songs strike a rich emotional chord. From the pensive melancholia of album opener 'On A Sweet Summer's Day', to the Big Star tinged lead single 'Honeywater' and the gorgeous instrumental 'Djupsjön', inspired by the dense Southern Swedish pines of Olson's childhood, the album is a varied delight. 'For You (My Blue Eyed Son)' is co-written by Patrick Ralla and is perhaps the most traditionally country song on the album, with two-part lead vocal continuing throughout, supported by finger-picked guitars and classic drum shuffle, whilst 'Dig A Hole' has the rare combination of being part shoegaze and part country, enhanced by gorgeous brass interludes, hinting at old miners brass bands of northern England.

With this album, The Hanging Stars usher the next phase of their musical development, with Olson's astute lyrical observations and honeyed vocals at the fore, backed by the band's creative musical arrangements. These aren't just songs for somewhere else, they are songs for right here and right now. The perfect timeless antidote to these troubling times.

"Times To Come" will see the light of day. It will be the third record of Duesseldorf based LOVE MACHINE.
It's their first collaboration with Unique Records.

In times of emerging cold and fear LOVE MACHINE preach the joy of love . Their new record is an indirect witness of the last moving years that have been passed since the release of LOVE MACHINE's last record.
"Times To Come" shows the band's unbound lust to play and their deep believe in the power of eternal groove.
Folk Rock and Rock'n'Roll influences connect with contemporary Psychedelia, harmonic vocals and slide guitars meet up with analog synthesizers and Voodoo percussion. All that parts melt to a sweaty, mind-opening cocktail of Americana and Kraut Rock.
Pushed be the "beardiest" rhythm section of our time and finalized by two guitar's great love story, LOVE MACHINE offer nothing less than salvation.
Singer Marcel Rösche is the shaman, the maniac and visionary, enthroning above everything and being beyond any doubt.
Rösche's vocals are supported by the harmonies of Bonn based weird Folk duo The Mañana People.
With the release of pre-album "CIRCLES" in spring 2016 LOVE MACHINE established their status as the hottest must-see in German underground.
The video of the single "Sun Paradox" is rotating on MTV Germany, legendary Klaus Fiehe calls the album "craziest shit" and his new favourite German album of 2016.
Followed up by endless touring all over Germany and performances on festivals such as Copenhagen Psych Fest, Open Source, c/o Pop or Burg Herzberg as well as supporting acts like von Kikagaku Moyo, Acid Mothers Temple, Boris and The Flying Eyes.

But the LOVE MACHINE is not satisfied with spreading the love only on the German territory. Also France, England, Denmark, Switzerland and Poland have already been in the machinery of love.
And LOVE MACHINE won't rest until every human being has tasted the pulp of love and peace.

In his first nationally televised appearance, on the big band leaders Tommy and Jimmy Dorsey's TV variety show, Elvis Presley shocked the country with his sultry and sensational version of all-time classics like "Heartbreak Hotel" and "Blue Suede Shoes". And, although the Dorsey Bros. show might have been his first national appearance, it was the legendary Ed Sullivan performance that truly put him on the map, so to speak.

Collection of obscure and underrated Country-Funk, Blue-Eyed-Soul, and other swinging Rhythm & Blues oddities from the Sixties and Seventies. The tunes on this album are as good as those by famous artists like Little Richard, Jerry Lee Lewis, Tom Jones, or Jack Hammer.

One of the most influential artists from the southern parts of the United States is undoubtedly Lead Belly. Gifted with the ability to write thought provoking lyrics, he became a true master of the folk and blues scene. The list of artists that have paid tribute to him by covering his songs is endless, among these are Elvis Presley, The Beatles, The Animals, Bruce Springsteen and Lonnie Donegan to name but a few. Although many people are familiar with Lead Belly's songs, only few know the true story of the interesting person behind them.

The pop contains on this compilation is timeless - 18 stories of teenage angst that can still stir emotions in the Facebook age. Don and Phil Everly brought another dimension to pop music, not only in their distinctive vocal harmonies but also in addressing the concerns of school-age American teenagers. While Elvis Presley bellowed his raw desires like the bluesmen of old, the brothers from a musical Kentucky family expressed the feelings of being
caught between an eternal triangle of school rules, parental expectation and a growing interest in the opposite sex.

Jerry David DeCicca

Time the Teacher

Impossible Ark (Europe)/ Bandcamp (US)

Jerry David DeCicca's second solo album,Time the Teacher, resides in the Texas Hill Country where dance halls and cedar post fences are as naturally occurring as a river or a cavern. But the fiddles and acoustic guitars of this terrain's Godfathers, like Jerry Jeff Walker and Townes Van Zandt, has been replaced by saxophones, piano, trumpet, and soulful backing singers.

Produced by Jeb Loy Nichols and Benedic Lamdin (Nostalgia 77) in London, DeCicca recorded his vocals with Stuart Sikes (Cat Power, White Stripes) in Austin, Texas between bites of BBQ. Nichols met DeCicca when he was a 20 year old working in a used record store in Ohio, while touring hisLover's Knotalbum. Years later, in 2007, they collaborated on producing the final recordings of Larry Jon Wilson.Time the Teacheris the hymn and highlight of their 20 year friendship.

DeCicca is the former leader of The Black Swans. His 2014 solo debut,Understanding Land, was a collection of home recordings featuring Will Oldam, Kelley Deal, and Spooner Oldham. He is also the producer of outsider songwriter albums by Ed Askew (Tin Angel), Chris Gantry (Drag City), and Will Beeley (Tompkins Square). He works in social services and lives in the rural town of Bulverde, Texas.

"Jerry David DeCicca'sTime the Teacherengages with the big, timeless subjects we expect to find in poetry—love, place and the ghosts of place, loss, memory—but it's also full of the delicious particulars of a particular life, from 'watermelon/ pink as a sunset' to a neon Pegasus sign. Textured with piano, horns, even some gospel choir, the songs relaxed and soulful, they pan wide in narrative mode but also come in for the lyric close-up. What strikes me most aboutTime the Teacheris how dialed in DeCicca is to pleasure, and how that pleasure translates to the listener. This album feels true. I believe, again and again, every word."

—Maggie Smith, author ofGood Bones

New play written & directed by Conor McPherson based on interpretations of classic Bob Dylan songs. Performed at Londons Old Vic theatre to unanimous rave reviews. Recorded at Londons iconic Abbey Road Studios.

This essential LP edition includes one of Atkins' finest albums, the brilliant and seductive Teensville (1960). Originally released by the RCA-Victor label, it has been long unavailable on vinyl. This long play blends the inimitable style of Chet Atkins with both popular hits of the early '60s and some unknown gems. Take a Message to Mary', Don Gibson's Oh Lonesome Me', and Come Softly to Me' bear the essence of the light, sweet sounds of the original versions, as do White Silver Sands', Night Train', and Sleep Walk'. Boo Boo Stick' and the album's title track, Teensville', capitalize on the rhythmic influence of Bo Diddley. Django's Castle' is a tribute to the great jazz guitar master Django Reinhardt. Hot Toddy' is a sweet melding of an Atkins chordal melody with some fine, breathy sax work by Boots
Randolph. Finally, One Mint Julep' captures Atkins' wry country jaunt with some innovative volume pedal work on the last verse.

The most popular acoustic folk music group of the 1960s, Peter, Paul and Mary mixed great songs with political and social activism. They brought folk music to a new prominence in the post-McCarthy era, putting lyrics about politics and morality on the radio amid the syrupy boy-girl love tunes that dominated the airwaves when the trio began playing together.

This essential LP edition includes the trio's second album (Moving), which was originally issued by Warner Bros. and recorded during late 1962. The album got off to a slow start but it found its way to number two on the charts and a 99-week run with help from Puff, The Magic Dragon,' a song that Peter Yarrow had written in college. The single rose to number two that spring and became one of the most beloved children's tunes of all time, as well as the trio's passport through any potential controversy. Having expended some of their best material on their debut LP, the trio reached further for songs here, including Paul Stookey's Big Boat' and Mike Settle's Settle Down (Goin' Down That Highway),' neither of which clicked as singles, despite rousing
vocals on both and some distinctive guitar virtuosity on the former. Other album highlights include the haunting Pretty Mary,' the beautiful Flora,' the startlingly intricate A Soalin',' and the Woody Guthrie number This Land Is Your Land.'

- 180 GRAM AUDIOPHILE VINYL
- REMASTERED AUDIO
- FEATURING THE HIT-SINGLES 'DIRTY OLD EGG SUCKING DOG', 'THE ONE ON THE RIGHT IS ON THE LEFT' & 'BOA CONSTRICTOR'

Everybody Loves a Nut is the 23rd album by Johnny Cash, originally released in 1966. The album consists largely of humorous novelty songs. The album's cover art was created by Jack Davis.

Cash would reprise a number of the tracks on this album in later venues such as TV performances, and live versions of Dirty Old Egg Sucking Dog' and Joe Bean' would be featured on his later live album At Folsom Prison. Cash also performed Dirty Old Egg Sucking Dog' a decade later during an appearance on The Muppet Show. Please Don't Play Red River Valley' would also later be performed by Cash on his TV series as a musical comedy routine with his wife, June Carter Cash.

The Singing Star's Queen' features lyrics poking fun at Cash's friend and fellow performer Waylon Jennings. Joe Bean' incorporates the lyrics and melody of Happy Birthday to You'.

The song Dirty Old Egg-Sucking Dog' was used in a 2012 commercial for the Volkswagen Jetta.

Despite her last name, Anna St. Louis was born and raised in Kansas City. She grew up a painter and singing in punk bands, eventually leaving her hometown to attend art school in Philadelphia. After graduating she made the move to Los Angeles where she began teaching herself guitar, writing songs and recording them on her own in her bedroom. First Songs is the sound of someone discovering their talent in real time - a peak into the collage of a wonderful mind that is absorbing their new surroundings and using new tools to put them into the room. Listening to this collection you can feel the sun coming in through the window - Anna on the foot of the bed with a guitar on her knee, finding her voice. St. Louis wears her influences well - think Patsy Cline singing over John Fahey - but has a style all her own. And while you can take the artist out of the midwest, you can't take the midwest out of the artist - so let this be known, this is Midwestern music ran through a California filter. I believe Anna will have many more releases in her lifetime, but let it all begin here - First Songs.