Posts Tagged ‘Georgia’

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As much as people want to dance, or want to mosh their brains out as post punk, surf punk, indie rock festivals (remember festivals?) people also want to chill, to sway to post punk and post rock psychedelia. The music of Reverends is dreamy and the saving grace at any house party.The track “8 Million” is such a song. It is by Atlanta psych rock band Reverends and upon first listen I thought a bit about California indie bands like Allah-Las, Mystic Braves and Cosmonauts (at least the chiller aspects of their surf punk sound) or a combination of all three. On 8 Million, Reverends provide the languid intoxication and chord progs that are classic for this genre and some of those progs have undoubtedly been played by those aforementioned Cali psyche bands. That is no sin, this genre like the blues borrows heavily. The point is how well you do it and Reverends do it so well, they keep the slow burn moving like a buzz when you’re high but provide guitars sounds that shape shift, squeal, turn into bent alien sounds of life and high life and jam nicely too. What else do you need when you just want to drift away?.

Band Members:
Dandy Lee Strickland – Vocals/Guitar/Keys/Etc
Kyle Jones – drums
Andy Watts – guitar/keys
Matt Boehnlein – guitar/bass/keys/vocals
Henry Jack – bass/vocals

“8 Million”, from Reverends’ album The Disappearing Dreams of Yesterday, released on Little Cloud Records.

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Anana Kaye is a Nashville based Indie Alt-Americana Duo. Hailing from Georgia (The country) Anana Kaye and Irakli Gabriel deliver a unique and distinctly European sound rarely experienced in such potent doses today. With influences including Kate Bush, Nick Cave and David Bowie their music is a genre bending experience akin to twisting kaleidoscope

Señor (Tales of Yankee Power)” first appeared on Bob Dylan’s 1978 album Street-Legal, and it’s an urgent-yet-winding enigma. Nashville’s Anana Kaye has recently shared her dusky version of it — a windswept drama with a wild heart shot starkly in black and white. You can find streaming links for it right here, and it’s available from her Bandcamp page as well.

released April 17, 2020
Written by Bob Dylan

Second Helping Lynyrd Skynyrd

“Second Helping”, was the record that contained their biggest hit single and perhaps greatest rock theme tune of all time, ‘Sweet Home Alabama,’ was released on 15th April 1974.  An answer song to Neil Young’s “Alabama” and “Southern Man”. Skynyrd’sfan base had continued to grow rapidly throughout 1973, largely due to their opening support slot on the Who’s Quadrophenia tour in the United States.Second Helping features Ed King, Allen Collins and Gary Rossington all collaborating with Ronnie Van Zant on the songwriting.

After the success of their debut album, 1973’s Lynyrd Skynyrd (pronounced ‘lĕh-‘nérd ‘skin-‘nérd), the Second Helping LP was recorded chiefly at the Record Plant in Los Angeles. That was apart from that signature hit, which the band laid down in Doraville, Georgia. Recording sessions started in June 1973, a matter of weeks after they had signed off on the one before. Their producer, as with the first album and 1975’s third release Nuthin’ Fancy, was Al Kooper, whose notoriety already stretched back some 15 years to his teenage success with the Royal Teens. Kooper’s association from the mid-1960s with Bob Dylan was augmented by appearances with hundreds of other artists, not to mention his own recordings from 1969 onwards.

Kooper was also one of the musicians on Second Helping, singing and playing piano on two tracks. ‘Sweet Home Alabama’ featured the vocals of Merry Clayton, Clydie King and others. Clayton, famously the powerful female voice of ‘Gimme Shelter,’ was not the only Rolling Stones alumnus on the Skynyrd album. Saxophonist Bobby Keys played on ‘Don’t Ask Me No Questions’ (the first single from the set, before ‘Alabama’) and Skynyrd’s cover of JJ Cale’s ‘Call Me The Breeze.

Second Helping outdid its predecessor, which had peaked at No. 27 in the US, by peaking at No. 12. It was certified gold by September 1974 and went both platinum and double platinum on the same day in 1987. “A vast improvement over their first album,” ruled Billboard in their original review at the time, “and a tribute to the combination of skill and good taste.”

Virtual band Gorillaz have shared a new song, “Aries,” that features Peter Hook (Peter Hook and the Light, Joy Division, New Order) and Georgia, via a video for the track. It’s the third episode of their Song Machine video series. Gorillaz’s Jamie Hewlett directed the video, which features the virtual band driving around a city. Stick around for a COVID-19 PSA at the end. Check out the song/video below.

The band’s virtual guitarist Noodle had this to say about the song in a press release: “Highly impatient and competitive, many Aries have the fighting spirit of your mythological ruler.”

Previously Gorillaz shared episode one of Song Machine, which showcased a video for the new song “Momentary Bliss” that features slowthai and Slaves. Then they shared episode two of Song Machine, which was the new song “Désolé,” that featured Malian musician Fatoumata Diawara, via a video for the track.


Washed Out is Ernest Greene, a young guy from Georgia (via South Carolina) who makes bedroom synthpop that sounds blurred and woozily evocative, like someone smeared Vaseline all over an early OMD demo tape, then stayed up all night trying to recreate what they heard. Washed Out is the artist we all need right now; I think you just made this pandemic a bit more tolerable.

Washed Out’s Ernest Greene was one of many artists who found themselves in a state of limbo last month after the widespread cancellations of live performances and unexpected travel restrictions. In Greene’s case, the first effect was canceling a long-planned music video shoot in Italy, where he was set to collaborate with an international team of filmmakers.

In response, Greene took the opportunity to engage his fans, launching a collaborative creative project for the new Washed Out song “Too Late.” The result is a beautiful music video touching every corner of the globe that couldn’t have existed a month ago.


Greene writes: I’d spent months planning a music video for a new song called “Too Late.” My inspiration was a Mediterranean sunset I saw late last year, and the plan was to shoot on the coast of Italy with a team of UK and European collaborators. As we got closer to the shoot date, word about the severity and the speed of the virus started becoming daily news, and it became clear it wasn’t going to happen the way we’d planned. We tried to move the shoot several times (to Malta, Croatia, Spain, and eventually the UK), and one after another, countries shut their borders. Seeing Italy hit so hard was especially difficult to see.

I put up an IG post asking for fans to help me come up with the raw footage I had in mind – those first few days, as I was going through photos of my trips and tours, the memories of traveling and experiences I’d had took on a new significance. I wanted the video to capture those same moments for other people in their lives, and give us all an excuse to remember what it’ll look like again when it passes.

I went in thinking if I got 100 clips, I’d have enough to make the video I wanted to make. 30 minutes in, I had the 100 clips, and a few days in, I had over 1,200 clips – from London, Bali, Okinawa, Ann Arbor, Dubrovnik and a few hundred other places around the world. It was pretty amazing for me to see the vids and pics flood in like they did.

I was blown away by the response, and I’m excited to share the project with everyone now. For me, it’s turned out to be a much needed reminder of how connected we can all be when we’ve never been more physically distanced from each other. I hope everyone that contributed and everyone that watches the video gets the joy from it I do.

I don’t know what the immediate future holds for Washed Out... I have a lot of new music in various states, and other projects I was looking forward to working on this summer. I don’t know when I’ll be able to tour again, or when any of the other new music will come out, but I’m staying optimistic about both…. Ernest Greene

The Black Crowes Shake Your Money Maker web optimised 1000

Chris Robinson. Hailing from Georgia, Chris Robinson grew up with the Faces and the Rolling Stones as mentors. With the swagger of Rod Stewart, his band, The Black Crowes, burst onto the scene in 1989 with their debut, “Shake Your Money Maker”. The record was a breath of fresh air as grunge was taking over the airwaves. The stripped down music on the record yielded such classics as “Twice As Hard,” “She Talks to Angels,” “Jealous Again” and the Otis Redding classic, “Hard to Handle.” Robinson’s stage presence was quickly compared to Mick Jagger as he strutted like a rooster. With brother Rich on guitar, the band had a bluesy feel which also drew comparisons to the Stones.

As they emerged on the scene in their paisley-printed tunics and born-again hippie attire, people didn’t know what to make of them at first – as they defiantly claimed to save rock’n’roll. Shake Your Money Maker went on to sell more than 5 million copies, reaching triple platinum status and earning the group the Best New American Band distinction by Rolling Stone readers.

While it seemed like they came out of left field, the success of the Crowes was anything but instant. Chris and Rich Robinson initially formed the band in 1984 while in high school in Marietta, Georgia and went by the unfortunately named Mr Crowe’s Garden.

The brothers went through three drummers and half a dozen bass players between their ’84 debut as Mr Crowe’s and the summer ’89 sessions for Shake Your Money Maker. While they initially dabbled in 60’s psychedelic pop and classic southern rock, they gradually turned to the 70s-era blues-rock that would define the group’s eight studio albums.

Cut to the summer of ’89. With a new sound and new lineup in lead guitarist Jeff Cease, bassist Johnny Colt and drummer Steve Gorman, the band headed into the studio to start sessions on Money Maker. George Drakoulias, a former A&R rep for A&M Records turned producer for Def Jam, not only produced the record but also was responsible for scouting them in the first place and securing the record deal. Having studied at the Mick Jagger school of strutting, Robinson made for quite an charismatic frontman and Drakoulias saw potential.

The Crowes were always conspicuous crate diggers and ardent students of music history. They even named Shake Your Money Maker after a song by legendary blues guitarist Elmore James. One doesn’t have to listen hard to pick up the breadcrumb trail of influences ranging from 60s and 70s groups like AerosmithThe Rolling Stones, the Allman Brothers, to Faces . In fact, they even recruited Allman Brothers keyboardist Chuck Leavell to play piano and organ on most of Shake Your Money Maker‘s tracks.

Picking up where their predecessors left off, the Crowes were equally adept at blending rock, soul, country and gospel into something that felt new and electric. With swagger to spare, the very first track opens the album as a declaration and a promise to rock ‘Twice As Hard’.

From the screeching sounds of a car crash on ‘Thick N’ Thin’ to Rich Robinson’s wondrous dexterity on ‘Struttin Blues’, the whole album has that lighting in a bottle feeling and the raw energy of a live band who can’t be contained. But the real success of the album relied upon a pair of No.1 mainstream rock singles, ‘She Talks to Angels’ and ‘Hard To Handle’, which reached number one on the Billboard Album Rock Tracks chart and No.26 on the Billboard Hot 100.

The album isn’t all boogie rock and hard rock riffs, there are some quieter moments with the weary and wistful ‘Sister Luck’ and ‘Seeing Things’ which both show off the brothers’ lyricism and Chris Robinson’s whiskey worn vocals. Several of the songs on the album, including ‘Could I’ve Been So Blind’ and the surprisingly affecting ballad ‘She Talks to Angels’, come from the band’s original incarnation when they were just teens.

Unaffected by the critics, Robinson forged on as the band released their sophomore effort, “The Southern Harmony” and Musical Companion, which hit the number one spot on the American charts and spawned the hits “Sting Me” and “Remedy.” The band’s next release, Amorica, was quick to please critics, but with the grunge movement in full swing, the record only sold 500,000 copies. While the group would release three more records, their popularity was in question, and they disbanded in 2002 only to reform in 2005, having released three albums. Now considered classic rock, they have been unable to capture the spark of their earlier work. Whether with the Crowes or as a solo act, Robinson continues to perform to the delight of fans.

Drive-By Truckers’ 12th studio album and first new LP in more than three years – the longest gap between new Drive by Truckers albums – “The Unraveling” was recorded at the legendary Sam Phillips Recording Service in Memphis, TN by Grammy® Award-winning engineer Matt Ross-Spang (Jason Isbell, Margo Price) and longtime DBT producer David Barbe. Co-founding singer / songwriter / guitarists Mike Cooley and Patterson Hood both spent much of the time prior doing battle with deep pools of writer’s block.

The songs that eventually emerged are among Drive-By Truckers’ most direct and pointedly provocative, tackling the myriad horrors of our new normal through sincere emotion and unbridled heart. Indeed, Armageddon’s Back in Town takes a whirlwind joyride through the whiplash of events we collectively deal with each day while the concluding Awaiting Resurrection dives headfirst into the despair and pain roiled up by these troubled times.


The remarkable songcraft found on The Unraveling receives much of its musical muscle from the sheer strength of the current Drive-By Truckers line-up, with Hood and Cooley joined by bassist Matt Patton, keyboardist / multi-instrumentalist Jay Gonzalez, and drummer Brad Morgan – together, the longest-lasting iteration in the band’s almost 25-year history. The LP also features a number of special guests, including The Shins’ Patti King, violinist/string arranger Kyleen King (Brandi Carlile), and North Mississippi All-Stars’ Cody Dickinson, who contributes electric washboard to the strikingly direct Babies In Cages.

Released January 31st, 2020

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Athens, Ga., has long been a hotbed for great rock music (and music of all types) for the better part of the last 50 years, and it doesn’t look like that’s going to change . Raspy roots-rockers Futurebirds are four albums deep a decade into their career, but the arrival of their fifth is still a cause worth commemorating. Their earnest brand of country-tinged, sultry singsong fits right in alongside all your favorite indie-folk and Americana records. But Futurebirds are doing something different from many of those bands: Their three-part harmonies range from heartbreaking to chill-inducing, yet most of their songs possess a laid-back summery feel.

The songs on album number 5, “Teamwork”, find Futurebirds leaning into the psychedelic side of things, yet they’re as twangy as ever. “Trippin” takes delight in human error, “All Damn Night” is an escapist mountain holler tune and “Dream, Fam!” is a suspicious jam. This record could take Futurebirds to the next level—bigger venues, heftier touring schedules—but for those of us who’ve been around with this band since the beginning, Teamwork is just another chapter in this century’s great southern rock story. 

Band Members

Futurebirds’ new song from the new album Teamwork, out January 15th.

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Prolific Athens-based experimentalists Je Suis France are releasing their most ambitious record to date today, following the band’s sharing its first fizzling, thrashy-trashy cut, “House Style,” . Unlike the band’s latter records, Back to the Basics of Love wasn’t written in a constant flux or hashed out between slow internet connections. The record was the product of all of the members of the band coming together from their half-dozen separate cities and communities, and letting their creativity sync up in unison for the first time since 2003’s Fantastic Area.

Je Suis France doesn’t have an off switch. Back to the Basics of Love, which comes out this November from the Ernest Jenning Record Co., will be their seventh official full-length album, but they’ve also released dozens of digital releases and CD-Rs stretching back to the early ‘00s. The band, which first came together in Athens, Georgia, in the ‘90s, has prepared a new release for almost every show they’ve played since 2004. Despite that long history of experimentation, Back to the Basics of Love has all the energy and urgency of a debut from a band that’s 20 years younger. It’s a record that sounds like it could’ve come out in the 1990s, the 2000s, or the 2010s, but that couldn’t have existed at any point other than now.

Je Suis France – House Style – from the album Back To The Basics Of Love

Atlanta misfits, The Black Lips join forces with independent record label Fire Records revealing first track ‘Odelia’ from new album coming early 2020.

Twenty years into their career the exuberant quintet are currently touring across the US and head over to Europe for an extensive tour this November.
A powerhouse of angst wrapped in traditional melodies, it’s a wild rumble fusing their musical journey from garage rock, punk and psychedelia into a mind-blowing hybrid of cosmic broken country, fragmented Paisley Pop and heart-on-the-sleeve back porch reportage, all delivered with vengeance in their eyes.


What Black Lips do so well is tease the horror out of wholesomeness and recast golden-age rock’n’roll in a strange, discomforting light” Pitchfork


Returning to their roots, Black Lips headed into Laurel Canyon’s newly reopened legendary Valentine Recording Studios recording studio, and with the help of engineer and co-producer, Nicolas Jodoin, they recorded direct to 2″ tape. New single ‘Odelia’ will be available digitally from 17th October with news of their ninth studio album to be revealed imminently.

released October 17th, 2019