Archive for the 'Media' Category

(Upcoming Release) Friends Gather to Finish Last Game Theory Album – Supercalifragile Out 8/24/17

At the time of his death in 2013, Scott Miller of seminal power pop bands Game Theory and The Loud Family was working on a new record. He was in varying degrees of completed on a bunch of songs– some songs had vocals and guitar, some of them had detailed notes. His wife Kristine reached out to Ken Stringfellow of The Posies to help coordinate finishing this record titled Supercalifragile based on conversations she had with Miller about the album (which, incidentally always included collaborations of singers and co-writers). In May of  2016, a Kickstarter was established to help fund the completion of the record. By July 4th it was 161% funded! At the time of the launch of the Kickstarter, they had already been recording for over a year, so the fundraising was primarily to wrap up some of the sessions, get mastering done and the rest of the process to get physical and digital product completed and distributed.

The list of contributors to Supercalifragile include former members of Game Theory (Jozef Becker, Nan Becker, Dave Gill, Michael Quercio, Gil Ray, Donnette Thayer, and Suzi Ziegler) and notable guests including (of course) Ken Stringfellow (The Posies, R.E.M., Big Star), Jon Auer (The Posies, Big Star), Aimee Mann, Ted Leo, Peter Buck (R.E.M.), Will Sheff (Okkervil River), Doug Gillard (Guided By Voices, Nada Surf), Mitch Easter, Alison Faith Levy (The Loud Family), Anton Barbeau, Jonathan Segel (Camper Van Beethoven), Allen Clapp (The Orange Peels), John Moremen, Stephane Schuck, Chris Xefos, Dan Vallor (GT Reissue producer for Omnivore),  The inclusion of the former Game Theory members helps add continuity of this release to the Game Theory catalog, which has enjoyed renewed focus in the Omnivore Recordings reissues.

In a post to the Facebook group dedicated to Scott Miller, his wife has posted a lot of wonderful insight into how she and Stringfellow curated the release.

“This album is as close to what Scott would have created as is possible. I knew the artists he wanted to work with (he had even contacted a couple himself before he died as the artists confirmed this with me), and in a few cases which instruments he wanted them to play or which songs he wanted them to sing. Yes, he wanted guest vocalists and cowriters all over the record. Scott and I talked about his ideas and as he had worked with (and socialized and played tennis with) Ken Stringfellow, he proposed Ken help him organize and help produce this project. Scott spoke of having various artists bring their “arcs of influence” to the record. He said he would ultimately have veto power if anything got too out of hand (😉), but he was looking forward to having lots of great artists he admired and/or worked with to participate. (Scott even considered making track breaks mid-song when a new artist was introduced to the album. This was an idea we went with in the traditional sense by bringing on artists for entire songs. Not sure Scott would have brought this unusual idea to fruition or not.) So, in this case, with this record, completed without Scott’s final “veto,” no, we can’t possibly make the exact record Scott would have made. (And in fact, even Scott wouldn’t know what it would become until after working with everyone and it was done!) But with so much overwhelming respect for Scott’s work and in honor of his life, we all kept as much of it “Scott” as we could. All his ideas, all his lyrics, all his riffs, all his ideas for bridges and choruses…everything preserved and used as much as musically possible. In some ways, it might in fact be more “Scott” than the record Scott would have made. ❤️ And that’s why I think we all love it so much.”

In August of 2017 the finished product was shipped out to everyone who contributed to the Kickstarter and early reviews and posts to the Facebook group have been glowing. Now that the Kickstarters have been shipped out the team is ready to make the release generally available. In an email sent to people who signed up from the website, the album will be available on Bandcamp (the link isn’t available yet) this week: August 24th in download, CD and vinyl. I’ll update this post to reflect that link when it becomes available. I’ll post a review after I get it.

Tidal featured the first song from the album, a duet with Aimee Mann called “No Love” and it is striking how Mann’s vocals compliment Miller’s.

Here is a video of a rough take of “I Still Dream of Getting Back to Paris” shot at Abbey Road Studios in London during the recording sessions with Anton Barbeau on vocals. Miller (credited as The Loud Family) and Barbeau put out a kind of split release in 2006 titled What If It Works?

As a long-time fan of Scott Miller’s work, I’m really looking forward to getting this release. Like many, Miller’s sudden and unexpected loss was painful; too early in a career arc that certainly would have generated more significant releases. Supercalifragile brings some closure with this release in that regard and should provide influence for future artists the way the Big Star catalog has.

(Upcoming Release) A Reissue of John Cale’s Revelatory “Fragments of a Rainy Season” Album Out 12/9/16

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For me, the early Nineties sent Leonard Cohen crashing into my consciousness thanks to a couple of covers and a couple of soundtrack appearances. The Cohen song “Everybody Knows” was featured prominently in the 1990 Christian Slater film “Pump Up The Volume” both as the original Cohen version as well as the Concrete Blonde cover version. In 1991 we were treated to another in that very 1990’s tradition of tribute albums– this time the I’m Your Fan album, which I bought as a completist of the R.E.M. catalog due to their cover of “First We Take Manhattan.” Other notable covers on that soundtrack were “I Can’t Forget” by The Pixies and Lloyd Cole’s cover of “Chelsea Hotel.” But, the cover on here that would launch a million others was the album closer “Hallelujah” done by John Cale as a stripped down midtempo piano and vocal. According to an episode of Malcolm Gladwell’s podcast Revisionist History, Cale heard Cohen do the song live and was moved to cover it himself. When Cale asked Cohen for the lyrics, he was faxed fifteen pages of lyrics. Cale edits the song into the version that is best known. From the podcast, “Cale says, that for his version, he took the “cheeky” parts. He ends up using the first two verses of the original combined with three verses from the live performance. And Cale changes some words – most importantly, he changes the theme and brings back the biblical references that Cohen had in the album version.”

This is the version that Jeff Buckley heard and was moved to cover for his debut album Grace, which is pretty much the gold standard as far as “Hallelujah” versions go.

Getting back to Cale’s version, it would also make an appearance on his 1992 live album Fragments of a Rainy Season, described by Trouser Press as an “auto-retrospective” of Cale’s career made up of solo performances from his 1992 tour. I happened to hear it being played in a record store in Dubuque and bought it on the spot. I was a fan of the Eno/Cale record from 1990 Wrong Way Up, (from which the version of “Cordoba” on this album comes), so I saw this release as complimentary to that. It’s an album I played a lot and still dig out on occasion. It’s a good distilling of Cale’s solo career in that he experimented a lot with sound over the years, so a compilation of his studio work to me would be uneven at best, and in the minimal solo acoustic setting, the vocals and lyrics really shine. Admittedly, Cale’s piano playing is rudamentary, and his use of repeating pedal notes can be a bit grating, but the energy and emotion Cale brought to those performances draws the attention away from that and still ranks as one of my desert-island discs.

So, it’s with a certain sad coincidence that Fragments of a Rainy Season is getting the much-deserved reissue in light of the passing of Leonard Cohen last week. Domino Records is handling the expanded-reissue on CD, download and either a 2 LP or 3 LP reissue. The 3-LP version adds alternate versions of some of the songs with strings and a Velvet Underground song “Waiting for the Man.” The 2-LP version has the same songs as the original 1992 album, but re-sequenced.

The 1992 CD version of Fragments of a Rainy Season kicks off with five performances that, for me really set up the energy of the album: “A Child’s Christmas In Wales,” “Dying On The Vine,” “Cordoba,” “Darling I Need You” and “Paris 1919.” For the upcoming expanded reissue of Fragments on Domino Records the track sequence of the album is dramatically changed up for an unknown reason, and as someone who listens to the album a lot, it’s jarring. But, not so much that it detracts, and in initial listens for me seems to also set the performances up. The album proper (not including the bonus tracks) still ends with “Hallelujah” appropriately.

I’m looking forward to having Fragments of a Rainy Season available in vinyl so I can play it in my living room along with other essential records in my collection. The version of “A Child’s Christmas in Wales” on Fragments kind of makes it a Christmas-y album a little. The song is a musical interpretation of the Dylan Thomas poem that was originally on his 1989 album of Thomas works Words for the Dying which was produced by Brian Eno.

Limited to one pressing, Fragments of A Rainy Season will be released on triple gatefold 12” vinyl featuring an LP of 8 previously unreleased tracks.On Heavyweight Vinyl With Download Card

DISC 01
Side A
01. A Wedding Anniversary (Live)
02. Lie Still, Sleep Becalmed (Live)
03. Do Not Go Gentle Into That Good Night (Live)
04. Cordoba (Live)
05. Buffalo Ballet (Live)
Side B
06. Child’s Christmas In Wales (Live)
07. Darling I Need You (Live)
08. Guts (Live)
09. Ship Of Fools (Live)
10. Leaving It Up To You (Live)
DISC 02
Side C
11. The Ballad Of Cable Hogue (Live)
12. Chinese Envoy (Live)
13. Dying On The Vine (Live)
14. Fear (Is A Man’s Best Friend) (Live)
15. Heartbreak Hotel (Live)
Side D
16. Style It Takes (Live)
17. Paris 1919 (Live)
18. (I Keep A) Close Watch (Live)
19. Thoughtless Kind (Live)
20. Hallelujah (Live)
DISC 03
Side E
21. Fear (Previously Unreleased)
22. Amsterdam (Previously Unreleased)
23. Broken Hearts (Previously Unreleased)
24. Waiting For The Man (Previously Unreleased)
DISC 04
Side F
25. Heartbreak (Previously Unreleased)
26. Fear (Previously Unreleased)
27. Paris 1919 (Previously Unreleased)
28. Antarctica (Previously Unreleased)

Pre-order Fragments of a Rainy Season:
Limited edition triple gatefold 12” vinyl from Domino Mart — http://smarturl.it/FragmentsReissue
Standard double 12” vinyl from Domino Mart — http://smarturl.it/Fragments2LP
Double CD http://smarturl.it/FragmentsReissue
Digitally http://smarturl.it/FragmentsDownload

Prince Greatest Hits Collection “Prince 4Ever” With Vault Track Out 11/22/16 – Comparison to 1993 “Hits”

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Warner Brothers Records in conjunction with NPG Records announced today that they’re releasing a new 40-track greatest hits collection titled Prince 4Ever. Due out strangely on Tuesday 11/22 (the release day in the US was moved generally to Fridays), this marks the first posthumous new release for Prince since his untimely death in April.

This release marks the first of the legendary “Vault” of unreleased recordings seeing the light of day since his estate has been taken over. Prince had released some things in the past– notably on the Crystal Ball box set as well as the Warner Brother contract-obligation release The Vault: Old Friends for Sale.

This release reminds me of the 1993 releases The Hits 1, The Hits 2 and the 3-CD collection The Hits/The B-Sides.  The way I remember those releases was that The Hits 1 was considered a “clean” release, and The Hits 2 was more of a “dirty” release, so people could choose to avoid the racy songs. I can’t find any reference to that being the case, but if you look at the tracklists, certainly 2 has the racy singles on it. Sadly, the epic anthem “Purple Rain” is on the 2nd disc, so it would be disappointing to just buy one of the CD’s. The 3-CD version has both 1 & 2 and adds a third disc of B-Sides. As a collector of Prince 7″ and 12″ singles, I was delighted to get CD versions of those songs, which were often as good or better than the album songs.

Prince 4Ever’s track list, as you might imagine is very close to that 1993 collection. The 1993 collection was based on the single versions of the songs instead of the album versions. I don’t have track times to compare it to verify, however. I think that Prince 4Ever does a much better job of featuring a wider selection of the Warner Brothers catalog. The 1993 collection seemed to stay away from the deeper tracks on All Around The World In A Day and Parade and we get a few more here.

Also interesting about this collection is that it stops at the same year the 1993 collection does– with tracks from the 1992 Love Symbol Album. It does not include the four contentious Warner Brothers albums that followed: Come, The Black Album, The Gold Experience, Chaos and Disorder, or The Vault: Old Friends For Sale. Admittedly, those albums didn’t have many big singles on them, so stopping at 1992 marks the last of the big singles period for Prince. Below is the tracklist of Prince 4Ever and I’ve indicated what tracks were not on the original compilation.

1. 1999
2. Little Red Corvette
3. When Doves Cry
4. Let’s Go Crazy
5. Raspberry Beret
6. I Wanna Be Your Lover
7. Soft and Wet
8. Why You Wanna Treat Me So Bad
9. Uptown
10. When You Were Mine
11. Head
12. Gotta Stop (Messin’ About) ** on The B-Sides, non-album single from 1981, but was B-Side to “Let’s Work”
13. Controversy
14. Let’s Work ** not on Hits
15. Delirious
16. I Would Die 4 U
17. Take Me With U ** not on Hits
18. Paisley Park ** not on Hits
19. Pop Life
20. Purple Rain
21. Kiss
22. Sign ‘O’ The Times
23. Alphabet Street
24. Batdance ** not on Hits
25. Thieves In The Temple
26. Cream
27. Mountains ** not on Hits
28. Girls & Boys ** not on Hits
29. If I Was Your Girlfriend
30. U Got The Look
31. I Could Never Take The Place of Your Man
32. Glam Slam ** not on Hits
33. Moonbeam Levels ** not on Hits – the lone song from the Vault on here.
34. Diamonds and Pearls
35. Gett Off
36. Sexy MF
37. My Name Is Prince ** not on Hits
38. 7
39. Peach **debuted on Hits as a non-album single
40. Nothing Compares 2 U

This compilation is in many regards a better compilation than Hits was. I like the songs that they added to this, and some of the songs that Hits included are not missed: “Adore,” “Pink Cashmere (debuted on Hits 1),” “Pope” (A tribute to comedian Bernie Mac. Not a bad song, but certainly not really a great single from Prince.). The loss of the essential “Dirty Mind” is unfortunate, and I think that “Do Me Baby” is essential in the catalog. “I Feel For You” is probably better known as a Chaka Khan track than a Prince one.

The lone Vault track on here is “Moonbeam Levels” a song originally recorded in July of 1982 for 1999 and re-recorded for the aborted Rave Unto The Joy Fantastic (not to be confused with Rave Un2 The Joy Fantastic which was released in 1999, or Rave In2 The Joy Fantastic released in 2001). Incidentally, “Pink Cashmere,” from Hits 1 was also a track considered for the aborted album.

According to Wikipedia, The Hits/The B-Sides sold 40,000 copies following Prince’s death, allowing it to re-enter the Billboard 200 at #6. With the Warner Brother reissue campaign in full swing, it makes sense to capitalize on Prince’s catalog with a new compilation of his best-known songs. Just in time for the holiday rush, and before Black Friday, it’s sure to end up in stockings and under trees. The only pre-sale information I’ve seen lists this as a 2 CD. I have to believe they’ll do vinyl, but It would have to be 3 or 4 LP’s.

(Upcoming Show) California Guitar Trio at CSPS, Wednesday 8/3

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The last two times California Guitar Trio played CSPS they were heralding new eras for the venue. Their October 2008 show was the first show in CSPS since the Flood. They generously donated parts of the proceeds of the show to CSPS. Their 2012 show was after CSPS was re-opened following the substantial overhaul of the venue. So, it is certainly fitting that California Guitar Trio is back playing CSPS in 2016– the 125th year the venue has been in existence. Coincidentally, it is the 25th year of the Trio!

The band has been back in the studio working on a new album– their first since Masterworks, their 2011 album of classical music. The recording is complete, and mixing, mastering and the rest of the release process is left to do, so they’re going to do a Kickstarter to get that funded. Some of the perks from that Kickstarter include a DVD of rare video performances from the band’s archives!

The trio always sounds amazing in CSPS, so this is a show not-to-miss!

Wed Aug 3 2016 – 7:00 pm • CSPS Hall
$17 advance | $21 door

Details and to purchase tickets visit the Legion Arts website.

(Upcoming Release) Bo Ramsey Returns With Instrumental Solo Record Wildwood Calling Out 8/2

bo ramsey wildwood cover

On August 2nd, Bo Ramsey is going to release his first new album since 2008’s fantastic and understated Fragile. Titled Wildwood Calling, the album is 13 tracks of instrumental guitar backed by a band which includes in addition to Bo, JT Bates (The Pines, Marijuana Deathsquads) on drums and percussion, Marty Christensen from Bo’s original Backsliders band on bass and son Alex Ramsey of The Pines on piano and keyboards. The album– which is on Pieta Brown‘s new “underground” record label Lustre Records— was recorded over two days in April at The Kitchen in Iowa City, and was mixed and mastered by BJ Burton, who is house engineer for Justin Vernon’s April Base studio, and also worked the boards on Brown’s Paradise Outlaw and her EP of outtakes Drifters.

I’ll be writing a review of the album for Little Village in the coming weeks. I’ll link to it here when that goes up.

Tracklisting:

  1. Fly On (Part 2)
  2. Through The Trees
  3. Feather Trail
  4. Glide
  5. Sky Light
  6. Jump n Run
  7. Out Here
  8. Rise
  9. Come On Back
  10. Flip Top
  11. Across The Field
  12. Movin’ On
  13. Fly On (Part 1)


 

Expressions Trace A Template of Loss in Kalispell’s Printer’s Son

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Kalispell on the turntable, as The Multiple Cat looks on.

Kalispell is the side-project from Shane Leonard who, among other projects, is part of Field Report. He just released his second album under the Kalispell band name on Davenport, IA label Cartouche Records — home of recent releases by The Multiple Cat, Land of Blood and Sunshine, Brooks Strause, J.E. Sunde, and Daytrotter.com illustrator Johnnie Cluney’s band Bedroom Shrine. Fantastic releases all, and you should check them out, and be on the lookout from releases by Devin Frank (of Poison Control Center) and Chrash in July.

Printer’s Son is one of those rare records that is so completely imagined and executed that when you first listen to it, it seems to drop unexpectedly out of the ether. It’s a record that defies any convenient genre classification. Elements of ambience and folk and jazz come together to help deliver a grippingly emotional and personal album. The album reminds me another album that slips from the grasp of genre: David Sylvian’s 1987 landmark solo record Secrets of the Beehive. For his second release Sylvian took another step away from the New Wave-ish synthpop of his band Japan. He enlisted some Jazz artists including Ryuki Sakamoto and Mark Isham which gave that album a delicate ambience. Printer’s Son carries a similar jazz folk vibe. Additionally, the dry production of Leonard’s vocals suit the intimacy of the album.

Printer’s Son owes some of its woody atmospherics to the fact that it was partially recorded at Justin Vernon’s April Base Studios and was engineered and co-produced by Brian Joseph, who was on the boards for Bon Iver’s 2012 Grammy-winning album. Bon Iver is another album that similarly made beautiful soundscapes out of impressionistic personal stories and accounts. Leonard takes recent painful events and uses them as the basis for Printer’s Son. He talks about this on The Current show Radio Heartland:

I had this wildly unforseen year of just this radical change. I thought I had my path pretty set– music was going well and I was living in Chicago. All within this year, my dad was diagnosed with cancer, and his passing forced me– ultimately I think in a really important and helpful way even though very difficult– to reconsider a lot of assumptions I had. And, right after he passed our family dog died and then my dad’s father also passed. It was all at the same time and I was moving and also moving away from a relationship that I had been in a long time. So, it was like the world got turned over and then I just started thinking differently as a symptom of that.

Some albums have stories that we can identify with.  On Printer’s Son, I feel the sentiments, the memories, the connections. Leonard tells his stories and like a good book or film, they become part of the listener’s own fabric. I can picture that canyon climb with the banded walls in “Windfall.” I feel the ghost itch from the overgrowth scratching skin on the fading road in “Parting Ground.”

David Sylvian’s Secrets of the Beehive has become part of my permanent soundtrack. I feel that Kalispell’s timeless tapestry of folk and jazz in Printer’s Son is destined to be another album that I will hold onto.

Listen to Printer’s Son below and be sure to order yourself a copy from Cartouche.

(Upcoming Release) Tom Petty & The Heartbreakers 1993 “Greatest Hits” Reissued on 2 LP 180g on 7/29/2016

TPH - Greatest HitsFrom the Under the Radar department: I happened to notice on Amazon yesterday that Tom Petty and the Heartbreakers‘ 1993 Greatest Hits was getting the 180g vinyl treatment. Though some might deem it unnecessary to reissue this again, it has only ever existed on vinyl as a foreign pressing. While this compilation is the greatest-selling release in Petty’s catalog at 12 Million copies, it is one that exists only because of an exit strategy that Petty needed to get out of his contract with MCA.

It’s easy to see why this compilation is so popular, Petty’s stint with Shelter/MCA from 1976 to 1993 produced the biggest and most beloved singles and albums of his career. But, by 1993 Petty was already secretly signed to Warner/Reprise by Mo Ostin and Lenny Waronker, and holding the critically-acclaimed Rick Rubin-produced Wildflowers to be the first release on his new label– a result of his increasing disappointment with MCA and in particular label head Al Teller’s handling of his catalog. Petty instructed his manager Tony Dimitriades to meet with Teller and negotiate getting out of his contract without fulfilling the last record due the label, and certainly not giving MCA Wildflowers— what Petty considered to be an artistically important one. Dimitriades recounts the negotiation in Warren Zanes’ book “Petty: The Biography”

“I get to the point and tell [Al Teller] that Tom doesn’t want to give him the last album. Al says, ‘What do you mean he doesn’t want to give us the last album?’ I say, ‘He’s not going to give it to you. He wants to leave. He’s unhappy.’ We’re in this restaurant, you know? And Al says, ‘You can’t do this to me!’ But I could. The artist we were talking about was a guy who chose to file for bankruptcy rather than deliver an album.”

Dimitriades and Teller negotiate and arrive at a greatest hits release (one that they were already planning) with the stipulation that Tom and the Heartbreakers record a new song for it. An idea that Tom hated since he didn’t understand the idea of a new song being on a greatest hits. Conveniently, the song was “Mary Jane’s Last Dance” which became a greatest hit, too.

In 1995 Seagram bought 80% of MCA and rebranded it Universal Music Group and fired Teller in November of that year. In 2003 the MCA catalog was absorbed by UMG label Geffen, which explains why, in 2008, the reissue of Greatest Hits was on Geffen instead of MCA. The 2008 reissue dropped the Thunderclap Newman cover of “Something In The Air” in favor of “Stop Draggin’ My Heart Around” and gave it a new cover.

This new vinyl reissue of Greatest Hits restores the 1993 track list, but uses the 2008 cover– a symptom of it being on Geffen Records, now I expect. They also add the song “Anything That’s Rock n Roll” which was on the UK version of the 2008 reissue.

Side A
1. American Girl
2. Breakdown
3. Anything That’s Rock n Roll
4. Listen To Her Heart
5. I Need To Know
6. Refugee

Side B
1. Don’t Do Me Like That
2. Even The Losers
3. Here Comes My Girl
4. The Waiting
5. You Got Lucky

Side C
1. Don’t Come Around Here No More
2. I Won’t Back Down
3. Runnin’ Down A Dream
4. Free Fallin’

Side D
1. Learning To Fly
2. Into The Great Wide Open
3. Mary Jane’s Last Dance
4. Something In The Air

(Upcoming Show) Play B-Sides “Top 20” Artist Charlie Parr at Daytrotter Studios Grand Opening – Saturday 1/23

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As part of the week of Grand Opening celebrations for the Brand Spankin’ New Daytrotter HQ in Davenport, Duluth, MN country blues aficionado Charlie Parr is playing a “Four O’Clock Rock” matinee show! Parr’s new album Stumpjumper made my list of “Top 20 of 2015.” Produced by another of my Top 20 recipients Phil Cook, it gives Parr’s signature boogie a much-deserved fleshing out.

The new digs for Daytrotter are a big upgrade over the old location in Rock Island– with its climate control issues and its control and live room dating back to its original use as a TV studio– but that was part of its charm, certainly. The expanded facility now has a live venue in it and I’m sure they brought some of the mojo from the old location with them. I bet that minifridge stocked with PBR is somewhere in the new space.

Charlie will be hitting the stage at 4PM– doors are at 3PM– on Saturday, January 23rd. Tickets are a reasonable $8, and while you’re there you can try out their selection of Daytrotter Pale Ale beer brewed by Exile Brewery. The new location is at Renwick Building at 324 Brady St. next to the Davenport Public Library.

Get your presale tickets HERE.

Listen to Charlie Parr’s latest Daytrotter.com session, which includes songs from Stumpjumping.

Here is Charlie Parr performing my favorite song “Over The Red Cedar” from Stumpjumping.

(Upcoming Show) The Pines Return to CSPS Thanksgiving Weekend 11/28 – New Album Details

The Pines at csps

To add to the things we’re thankful for this year, The Pines are making a return to CSPS Thanksgiving Weekend! The combination of the soft atmospheric folk of this band and the passionate, attentive crowds and the huge ambience of the room (and frankly, well stocked selection of handcrafted beers and local wines) always makes for a memorable not-to-miss show.

This show is on the heels of the announcement of their new album Above the Prairie, due out February 5th on Red House Records. This is their first new album since the brilliant Dark So Gold in 2012. In the interim, the band released a digital single of “The Highwayman” in 2013,  and earlier this year they released an EP of covers titled Pasture: Folk Songs.

Above The Prairie includes help from the extended Ramsey and Brown families with contributions from Greg Brown, Iris DeMent, Pieta Brown and Bo Ramsey, who also co-produced the album with The Pines. The first listen we’re getting from the new album is “Aerial Ocean” with Benson Ramsey on lead vocals, it has all of the trademark nuances of The Pines– the chimey clean picking, the washes of synths, but owes a lot to classic Dire Straits. But, they always kind of had that same vibe as mellow Mark Knopfler as well as JJ Cale.

So, grab a quick sandwich of leftover turkey and dressing on your way out the door to CSPS Saturday night to see The Pines. I can’t think of a better way to cap off the weekend.

The Pines with opener Ryne Doughty

Details at LegionArts.org

Sat Nov 28 2015 – 8:00 pm • CSPS Hall
$16 advance | $19 door

Above The Prairie tracklist:
Aerial Ocean
There in Spirit
Lost Nation
Hanging From the Earth
Here
Where Something Wild Still Grows
Sleepy Hollow
Villisca
Come What Is
Time Dreams feat. John Trudell & Quiltman

New EP From Pieta Brown Collects Paradise Outlaw Outtakes, Remix by Justin Vernon

Pieta Brown Drifters Cover

This week Pieta Brown announced a new EP for sale. Titled Drifters, it is a collection of outtakes from the sessions for Brown’s 2014 album Paradise Outlaw. Recorded at Bon Iver frontman Justin Vernon’s studio April Base, Paradise Outlaw was another new spin on the ethereal folk sound Brown has crafted over six albums. Paradise Outlaw really seemed to capture the spirit of the sessions at April Base- like friends gathering around the campfire in the woods telling stories and singing songs. Crazy-talented friends who were writing songs at that campfire, but you get the idea. I exchanged emails with April Base engineer BJ Burton back in September 2014 about those sessions for the review I wrote for Little Village, but ran out of space, so I didn’t use it. Here’s what he said about those sessions.

…There are times when I catch myself smiling in the control room because I realize that I’m working with the best in the world. Working on Pieta’s record was one of those times. I wanted to capture the entire vibe of the session, and let each musician bleed into one another. More than any other record that has come out of April Base to date, Paradise Outlaw captures what the live room is capable of manifesting.

The six-track Drifters EP is released on Brown’s new, in her words, “underground label” Lustre Records and is currently only available from her website and from her at shows– tonight’s show at the Englert in Iowa City with Iris DeMent is the first opportunity to buy it directly from her at a show. Helping Brown out on the EP is Outlaw session sidemen Bo Ramsey, Jon Penner, Michael Rossetto, JT Bates and David Mansfield. Greg Brown, Constie Brown and Iris DeMent show family support on “Goin’ Up The Country.” The EP also includes a remix of the instrumental track “Little Swainson” by Justin Vernon and BJ Burton which was sacrificed when the album changed from being a double to a single.

Brown’s liner notes sum up her motivation for releasing the tracks,

After many sweet inquiries at shows from fans about the songs Goin’ Up The Country, Drifter, and Just Slip Away I decided to go back and listen to the outtakes. In spite of many rough edges, I could hear and feel the openness of the session and the music coming through. Offered now with love and hope for more musical experiments everywhere. x pieta

Drifters is available today via Pieta Brown’s website for $15 (which includes U.S. shipping) HERE. You can purchase most of her other releases here as well, including the fantastic vinyl pressing of One And All.

Tracklisting:

1. Goin’ Up The Country
2. Parataxis Blues
3. Drifter
4. Why Now
5. Little Swainson (Remix)
6. Just Slip Away

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