Posts Tagged ‘New West Records’

After two albums on Universal Republic, The Secret Sisters (aka real-life sisters Laura Rogers and Lydia Slagle) were dropped by their major label which put the fate of the band in question, but then Brandi Carlile took them under her wing. She had them open for her and produced their third album “You Don’t Own Me Anymore”, which came out in 2017 on alt-country label New West Records, and this year the sisters and Brandi teamed up again for another record on New West, the gorgeous “Saturn Return”. The album is named after the astrological phenomenon that represents reaching full adulthood, and it followed some monumental life changes for the sisters; both became pregnant during the making of the album and they lost both of their grandmothers around that same time. “We were still just trying to figure out how you go forward in life without the strong matriarch,” Laura told The Boot. You can hear how these life changes impacted these personal songs — which, unlike their previous albums, were written without co-writers — though Saturn Return also finds the sisters looking outside of themselves, like on the powerful “Cabin,” which was written from the perspective of a woman who has been assaulted, and was written around the time of Brett Kavanaugh’s Supreme Court confirmation hearings. “This song was our way of saying, ‘We hear you, and we know it hurts…we know you’re not over it and that’s okay,'” said Laura. The power in the lyrics is matched by that of the music – warm, timeless Americana that would fit nicely next to anything from late ’70s Fleetwood Mac to the new Jason Isbell album. Brandi’s production is the perfect match, and she also encouraged the sisters to break from their trademark close harmony style and each sing some songs on their own, which very much worked to their benefit. Fans of their harmonies need not worry though — there are still plenty of those, and they’re as lush as you’d hope.

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Laura Rogers – vocals
Lydia Rogers – vocals, acoustic guitar, electric guitar
Brandi Carlile – acoustic guitar, piano, backing and featured vocals on “Water Witch”
Tim Hanseroth – acoustic guitar, electric guitar, lap steel
Phil Hanseroth – electric bass
Chris Powell – percussion
Jacob Hoffman – piano
Cheyenne Medders – electric guitar
Josh Neumann – cello
Sam Rae – cello
Kyleen King – violin

Released February 28th, 2020

All songs written by Laura Rogers and Lydia Rogers

 

candy lunch

Following up on her highly acclaimed Trinity Lane LP (2017), singer-songwriter Lilly Hiatt drops a vivid new video for her single “Candy Lunch”. Directed and edited by Joshua Britt and Neilson Hubbard, the film uses its colour palette to carry the storyteller’s reflections. Although stunning in its brightness, for the most part, the camera’s focus remains on the raconteur. Which in turn provides the kind of intimacy the deeply personal lyrics deserve.

“Candy Lunch” is from the songwriter’s 2020 album, ‘Walking Proof’, out now via New West Records. And according to a label statement, the set is produced by one time Cage the Elephant guitarist Lincoln Parish and features a first-time collaboration with Hiatt’s father, the legendary songwriter-performer John Hiatt. As well as contributions by friends Amanda Shires (The Highwomen) and the famed Aaron Lee Tasjan.

Check out the new video and make sure to follow the links for album updates and details. And spend some time feasting your eyes on the beautiful psychedelic artwork by Kim Radford. Written by Lilly Hiatt

When Justin Townes Earle died in August at the age of 38, the music world mourned the talented singer-songwriter, but none more than his musician-father, Steve Earle. To honour his son, Steve Earle and the Dukes decided to record an album with-songs written by Justin Townes Earle. The new album, “J.T.”, features 10 songs penned by Justin and covered by the band, plus one classic tune from Steve.

That song, “Harlem River Blues,” which was the title track of Townes Earle’s 2010 album, and was re-recorded by his father and his band at New York City’s Electric Lady Studios, the LP will follow on what have been Justin’s 39th birthday, January. 4th, 2021. The record is called “J.T.” because Justin was never called anything else until he was nearly grown,” Steve Earle said in a statement. For better or worse, right or wrong, I loved Justin Townes Earle more than anything else on this earth.

“That being said,” he continued, “I made this record, like every other record I’ve ever made…for me. It was the only way I knew to say goodbye.”. The album is described in a release as “sombre in parts. [but] ultimately a rousing celebration of a life lived with passion and purpose.”

The new album ‘J.T.’ is available January 4th , J.T., Steve Earle & The Dukes pay tribute to Steve’s late son, Justin Townes Earle (J.T.), who passed away on August 20th, 2020 in Nashville. The album will be released digitally on what would have been Justin’s 39th birthday, January 4, 2021, via New West Records. J.T. finds Steve Earle & The Dukes covering 10 of Justin’s songs – from “I Don’t Care,” which appeared on his 2007 debut EP, Yuma, and a trio of selections from his full-length debut album, The Good Life (“Ain’t Glad I’m Leaving,” “Far Away In Another Town” and “Lone Pine Hill”) to later compositions like 2017’s “Champagne Corolla” and 2019’s “The Saint Of Lost Causes,” which was the title track of Justin’s eighth and final studio album. J.T. closes with “Last Words,” a song Steve wrote for Justin.

100% of the artist advances and royalties from J.T. will be donated to a trust for Etta St. James Earle, the three-year-old daughter of Justin and Jenn Earle. While sombre in parts, the album is ultimately a rousing celebration of a life lived with passion and purpose. The recording features the latest incarnation of Steve’s backing band, The Dukes – Chris Masterson on guitar, Eleanor Whitmore on fiddle & vocals, Ricky Ray Jackson on pedal steel, guitar & dobro, Brad Pemberton on drums & percussion, and Jeff Hill on acoustic & electric bass.

gyrate (2020 reissue)

And how about Pylon? You remember Pylon, right? Oh lord. Pull up a chair… While the B52’s were the first to break the seal on Athens, Georgia as a hotbed of artistic intrigue in the late-70’s, and R.E.M. would become the cities most famous sons, Pylon were arguably the city’s favourite band and deepest influence on their emerging peers.

In the late 1970’s Athens, Georgia was buzzing with a raw but sophisticated music scene.

The turn of the decade began producing new sounds from bands like the B-52’s, R.E.M. and art-rock luminaries, Pylon. before they were a band, Pylon were art-school students at the university of Georgia: four kids invigorated by big ideas about art and creativity and society. in 1980 the band released its first record, “Gyrate” and began touring across the country in support of the release. they would soon develop a following across the country. shortly thereafter, Pylon went back into the studio. they gleefully pulled their songs apart and put them back together in new shapes, revealing a band of self-proclaimed non-musicians who had transformed gradually but noticeably into real ones. Now more than three decades later, both studio recordings have been remastered from their original audio tapes and are set for release on New West Records

Athens, Georgia may have been the breeding ground for the B-52’s, but in 1978 it was, for the most part, still a sleepy college town with few places for bands to play when Pylon began to cohere. (It’s worth remembering that the B-52’s had almost exclusively played house parties before moving to New York and becoming a sensation.) Like more than a few great and original groups, Pylon came together without much of a support system or many first hand influences; they were young people creating their own art and making their own fun with it. While it wasn’t their first release (the epochal “Cool”/”Dub” single preceded it by seven months), 1980’s Gyrate caught Pylon on tape when they were still clearly fascinated with their own creative possibilities, though they were tight enough to sound elemental and straightforward rather than amateurish. The skittery chiming of Randy Bewley’s guitar and the expressive whisper-to-a-scream report of Vanessa Briscoe Hay’s vocals give this music plenty of brains, and the lean, minimal rhythms generated by bassist Michael Lachowski and drummer Curtis Crowe lend it all a strong, muscular body; at a time when America was just falling out of love with disco, Gyrate was a reminder that there was more than one way to make music for dancing. As smart as this music was, it was also fun and engaging in a way that many of their peers and followers were not.

Gyrate is full of joy and subtle, surreal wit, and if it sometimes sounds like the work of arty grad students, they’re still grad students who want to cut loose and get in the groove, and that’s exactly what they do. Gyrate is a classic touchstone of the American underground scene of the ’80s, and it sounds as fresh, challenging, and exciting as the day it was released. R.E.M. would become a lot more famous, but Pylon were the band that made the world aware that there was something remarkable happening in Athens, and this was their first triumph.

Pylon band photo

Athens, Georgia art rock group Pylon have announced a new 4xLP box set. “Pylon Box” arrives November 6th via New West Records. The set includes remastered versions of both of their studio albums—1980’s “Gyrate” and 1983’s “Chomp”—as well as the group’s first-ever recording, Razz Tape, and more. Listen to “The Human Body” (from Razz Tape) and a live version of “3 x 3”, and scroll down to see a teaser video for the box set. band that married post-punk, new wave, dance and funk, will be celebrated this fall with a new box vinyl box set that collects newly remastered pressings of their first two albums and adds two records of rarities and early recordings.

The songs on Gyrate and Chomp have been remastered from the original tapes and pressed to vinyl for the first time in roughly 35 years. 18 of Pylon Box’s 47 tracks are previously unreleased recordings. A limited number of box sets will be issued with coloured vinyl.

The set also includes an 11-song collection titled Extra, which features a recording from the group before frontwoman Vanessa Briscoe Hay joined the band, as well as a 200-page hardbound, full-colour book with archival images. It features writing by the B-52’s’ Fred Schneider and Kate Pierson, members of Gang of Four, Sleater-Kinney’s Corin Tucker and Carrie Brownstein, Steve Albini, and more. Each copy of “Pylon Box” will be autographed by Pylon’s surviving members: Vanessa Briscoe Hay, Michael Lachowski, and Curtis Crowe.

Pylon spoke about the new box, their influences early on, and more. Here’s an excerpt of what Vanessa Briscoe Hay said about Razz Tape:

Chris [Razz] wanted to record us. He’d recorded us at Chapter Three or at a party or something. He was just a nut about wanting to record things. And so we said sure. I don’t remember that we ever used this for anything, but it was late summer or early fall because it was so warm. I remember that.

I was set up in the hall outside of where [Michael] and Curtis and Randy were. And he kept the tape machine in the hall, which was outside of Michael in my studio, and it was also the band’s practice space. He set the mic up for me in the hall. There were two mics in the room: one was for the drums and the other mic was shared by both the bass and the guitar. Y’all couldn’t see me; I couldn’t see you.

We had some songs that we were trying out that were very recently written. “Read a Book” has the instrumental version; I hadn’t written the lyrics for it, yet. And we’d just written “Cool.” We just went through it. We just plowed through it. It’s not overdubbed, but that’s just what it is. And I cringe at some of the things, but the overall sound and feeling of it is very spontaneous. It’s a beautiful record just because of that and, of course, we threw out a bunch of those songs and they were never recorded.

Pylon formed in 1979 at the University of Georgia. They were contemporaries of Athens groups like the B-52’s, R.E.M., and others.
Pylon Box’ is coming November 6th, Colour Vinyl Version Limited to 500 Copies Worldwide.
This comprehensive set includes:

The studio albums ‘Gyrate’ and ‘Chomp’ – newly remastered from the original tapes, and available on vinyl for the first time in more than 30 years
‘Extra’ – a collection of singles, B-sides, rarities and live recordings
‘Razz Tape’ – the first-ever Pylon recording, a 13-song unreleased session that predates our 1979 debut single, “Cool”/”Dub”
Plus a 200 page, full-colour, hardbound book featuring a treasure trove of never before seen images and artifacts from the band’s personal archives, and writings by R.E.M., Kate Pierson of The B-52’s, Corin Tucker & Carrie Brownstein of Sleater-Kinney, Steve Albini, Jon King & Hugo Burnham of Gang of Four, and many more
47 tracks including 18 unreleased recordings
‘Gyrate’ and ‘Chomp’ are also available in exclusive coloured vinyl from New West Records (clear editions), Vinyl Me, Please (marble handpour editions), and from independent record stores (opaque red and teal editions).

”Like the Velvet Underground before them, Pylon could be your favourite band’s favourite band.”
NPR Music

Pylon Box Set

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New West Records has created a rad compilation album exclusively benefitting their artists. The album is available today, in conjunction with Bandcamp’s pledge to waive fees for artists. 100% of proceeds go to the artist. The setlist is included below. The album is only available digitally, and only from Bandcamp or at newwestrecords.com. Link to purchase: http://newwst.com/forthecure.

Any collection that kicks off with Nikki Lane channeling Wanda Jackson is worth having by definition. The rest is just fine, too, especially Seratones’ apocalyptic take on State Trooper. New West clearly curated this collection with care.

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1. Nikki Lane – Funnel of Love
2. Justin Townes Earle – Rocket 88
3. The Texas Gentlemen – Dream Along (Bonnaroo Haybale Session)
4. Jaime Wyatt – I Miss Drinkin’
5. Ron Gallo – Always Elsewhere (Bonnaroo Haybale Session)
6. Andrew Combs – You’re Like The Country
7. Sammy Brue – Before It Gets Good Again
8. Seratones – State Trooper (Live on WFUV)
9. Robert Ellis – Heartbeat
10. Kacy & Clayton – The Gallery
11. Dan Luke and The Raid – Be Good
12. Caroline Rose – More Of The Same (Bonnaroo Haybale Session)
13. Sam Doores – True To My Luck
14. American Aquarium – Darkness on the Edge of Town (Outlaw Session)
15. Lilly Hiatt – No Good
16. Pokey LaFarge – Oval Room

All proceeds from the sale of this album go to the artists involved.
released May 1st, 2020

Midnight Manor, the much anticipated sophomore album of the six-piece rock outfit The Nude Party is released via New West Records. This is the good time album of 2020 that has energy, passion and instant pop nuggets. It takes bits of early 70’s Rolling Stones, The Modern Lovers, The Velvet Underground and classic Southern rock, and makes something you can’t help but put on repeat.

Following two years of non-stop touring in support of their eponymous debut release, the band returned to their farmhouse in New York’s Catskill Mountains to record the follow up to their acclaimed 2018 self-titled debut. Like The Band’s sacred home-recording habitat The Big Pink, The Nude Party’s communal dwelling provided the landscape and proximity to focus on deepening their bonds through music. It was at the Manor that the band of childhood friends could shift their energies from the archetypical emotional journeys of mid-twenty-somethings towards rebuilding their road-worn relationships with one another, leading them to write Midnight Manor – an album that lead singer Patton Magee describes as “a stone skipping over troubled waters”. With Midnight Manor, The Nude Party shine a light on their past while at the same time moving towards a brighter future.

We’re excited to announce the new album from The Nude Party, Midnight Manor –– due out October 2nd. The first single from the LP, “Shine Your Light” was released this week .

Lilly Hiatt’s new album Walking Proof may prove to one of 2020’s most universally relatable thanks to a single line on the chorus of “P-Town”: “Don’t you hate when people say it is what it is?” Unless you’re Joe Pesci in The Irishman and you’re adding in a contraction, there’s never a time when “it is what it is” benefits the person you’re saying it to: You’re better off with either a shrug. They’re useless gestures, but at least they’re transparently useless. Think about the last time you had a shitty day and an acquaintance told you that you were fated to have a shitty day, so you might as well accept the shit; you’ll find yourself wishing “P-Town” had existed at the time so you could shake off that flaccid old bromide with big, swaggering guitar riffs and swelling electric organ.

This is music to liberate yourself to-music that reminds listeners of Americana’s versatility as a genre and the palliative effects a good, expressive rock song can have on the soul. We’ve all taken a road trip that wound up going wrong, whether the kind of wrong where everything goes off the rails or the sort where everyone’s out of sync and nothing’s as fun as it’s supposed to be. That’s the heart of “P-Town” specifically, but the spiritual relief derived from rock ’n’ roll and Americana makes up Walking Proof’s whole. It’s baked into the record from start to finish: “I throw caution to the wind, and don’t give a damn,” Hiatt chimes on the record’s opener “Rae,” a twangy tune about the dual pleasures of pretending to be someone other than who you are and having someone in your life who knows you on a molecular level. There’s a caution to “Rae” in its first 45 or so seconds that belies Walking Proof’s prevailing confidence: Hiatt’s voice rings so quietly, so meekly, that for but a moment it feels like she’s tricking her audience. Walking Proof is, after all, neither quiet nor meek, though it does have its share of hushed tracks.

P-Town released on New West Records, 2020-01-31
Composer: Lilly Hiatt

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The impossibly talented 19-year old Utah musician Sammy Brue has just shared the latest song from his forthcoming album, “Crash Test Kid”. “Megawatt” is the fourth track to be released from the already critically lauded young artist’s sophomore album, Crash Test Kid. (June 12 via New West Records) . Having just completed tours opening for Michael Kiwanuka and Marcus King before the Covid-19 crisis, Sammy was forced to cancel his trip to SXSW, and has spent the past several weeks at home in Utah, where he’s been performing live on his Instagram Stories and recently took part in Consequence Of Sound’s livestream tribute to one of his musical heroes, John Prine.

Since writing his first song (a fingerpicked, autobiographical tune titled “The Woody Guthrie Song”) at the age of 11, Brue has released three homespun EPs, his New West full-length debut, I Am Nice and a 2018 EP, Down with Desperation . In the process, the Ogden, Utah native has been hailed as an “Americana prodigy” by Rolling Stone , a “wunderkind” by American Songwriter and one of the “teenagers shaping pop” by The New Yorker . Alongside this, Brue has performed at the Newport Folk Festival and played shows with the likes of Lucinda Williams, Lukas Nelson and Hayes Carll; and toured alongside Justin Townes Earle, who has become a mentor of sorts.

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Brue recorded his debut full-length, I Am Nice , in Muscle Shoals with Ben Tanner of Alabama Shakes and John Paul White of The Civil Wars producing. But for his new album he took a different approach, collaborating with Irish producer, singer-songwriter Iain Archer , who has worked with the likes of Jake Bugg and Snow Patrol.

released June 12th, 2020
All songs written by Sammy Brue and Iain Archer

Steve Earle examines the physical strength and life-risking bravery of Appalachian miners in “Devil Put the Coal in the Ground,” the first preview of the singer’s new album, “Ghosts of West Virginia”. The follow-up to the Texas-born singer-songwriter’s 2019 Guy Clark tribute album, Guy, Earle and his band the Dukes’ Ghosts of West Virginia has roots in the New York theater community.

Earle was approached by playwrights Jessica Blank and Erik Jensen, with whom he’d worked on The Exonerated, to collaborate on a play about the 2010 Upper Big Branch disaster in West Virginia, which killed 29 men. The finished work, Coal Country, features Earle as a kind of Greek chorus and opens March 3rd, with shows running through March 29th, at the Public Theater in New York. During a production of Coal Country, Earle sings seven of the songs that have been recorded for Ghosts of West Virginia, which also centers on the Upper Big Branch disaster. For composing around this theme, the famously liberal Earle challenged himself to write songs that would embrace and sympathize with people who may not align with him politically.

Steve Earle’s latest release — “Union, God and Country” — from his forthcoming album, Ghosts of West Virginia,

“One of the dangers that we’re in is if people like me keep thinking that everyone who voted for Trump is a racist or an asshole, then we’re fucked, because it’s simply not true,” he says in a release. “So this is one move toward something that might take a generation to change. I wanted to do something where that dialogue could begin.”

Over the course of the album, Earle examines hardship and loss, but also sets his sights on the mining company whose safety violations doomed the miners and the union-busting politicians who eroded their bargaining power. But in “Devil Put the Coal in the Ground,” Earle employs a heave-ho work-song rhythm to conjure the pride of working men as they descend into the mines. With a bluesy, hypnotic musical backdrop of banjo, droning fiddle, and pounding percussion, Earle drawls his lyrics in a way that almost sounds like a taunt: “The good lord gimme two hands/Says is you an animal or is you a man.” It transforms into a psychedelic guitar odyssey, thrilling and anxiety-ridden all at once.

Steve Earle’s latest release his forthcoming album, Ghosts of West Virginia, available May 22nd, 2020