2017 release. Together at last! Two folk legends of Laurel Canyon's countercultural music scene join forces on this gorgeous album of all new recordings! Features captivating versions of classic tunes by fellow folk icons Bob Dylan and Leonard Cohen plus a few of their own compositions!
This record is the product of a strange and interesting time. When I started writing Gathering, I felt tired of living in the shadow of my earlier self, my earlier work, but more than discouraged, I felt charged with the possibility and the freedom of cutting myself loose from my own and others expectations. I began with an exciting sense of dissatisfaction, and what emerged, as I began to find my voice, was a record full of storms. Some, like Feels Like Lightning or Friendamine, are physical storms. Others, like Dreams, are interior ones. Listening to these songs now, I hear uncertainty, mania, laughter and sadness, all vying for their place on the album. I was surprised by the new voice.
I have been writing records for almost twenty years now. Each one has been different from the last in subject and form, but with Gathering I feel I've found a new electric dissatisfaction, a new way to rejoice as the storm rolls in.
Digitally remastered CD/DVD edition including bonus tracks and DVD. Location is everything. When Willie Nelson and album producer Daniel Lanois set out to create a cinematic-sounding album, Teatro, they took over a disused movie theatre in Oxnard, California, and pictured it's dusty glory on the cover art. Recorded as-live in situ amid the red velvet seats, Teatro sees Nelson working extensively with his frequent collaborator Emmylou Harris, who joins him for duets and on backing vocals. The other major player is Daniel Lanois, who produces the album, plays guitar and bass, took the cover photo and wrote one of the album's songs, "The Maker", a stunning performance with glacier-thick vibe. Reinvention is key on Teatro, with Nelson revisiting a number of songs he first wrote in the 1960s, including 1968's "I Just Can't Let You Say Goodbye" and 1962's "I've Just Destroyed the World" and "Three Days". Though the songs are familiar, the sounds aren't: Teatro found Nelson experimenting with rhythms and flavors as never before, from the Spanish-influenced "Darkness On The Face Of The Earth" to the double-drum-kit percussive groove of "My Own Peculiar Way". Originally released by Island Record in 1998, Teatro is issued here for the first time as a double disc set, including the original album plus 7 unreleased bonus tracks from the sessions. Disc two is a complete live performance of the album, directed by Wim Wenders, filmed during the album recording sessions and available here for the first time on DVD
The Lone Bellow's earnest and magnetic folk-pop was built to shake the rafters - it's hooky and rousing and performed with absolute commitment. It has been since the beginning and continues with their new album Walk Into a Storm. Recorded at the legendary RCA Studio A in Nashville, TN, the album was produced by Dave Cobb (Chris Stapleton, Sturgill Simpson, Jason Isbell) and includes the first single, Time s Always Leaving.
Whether or not you subscribe to the adage that the devil always has the best music, you can take it on faith that anytime he pops up from a cameo in a Ray Wylie Hubbard song, the results are gonna be pretty damned entertaining. And as any fan of the Hubbard cannon knows, Old Scratch pops up in his songs a lot nearly as often as all of Hubbard's wise-cracking black birds, lyrical and musical nods to Lightnin' Hopkins, bad-ass women (usually Hubbard's own wife, Judy), and a myriad of other grifters, ruffians, and scrappy cats of the gnarly and general lowdown variety. Somewhere or another on just about every Ray Wylie Hubbard album, the devil gets his due and he's now even worked his way up to the top billing on his acclaimed songwriter's latest, Tell the Devil I'm Gettin' There as Fast as I Can.
Maybe it was an epiphany of sorts. As Buck tells it, “One day I was watching Austin City Limits and Dwight Yoakam was on, then he dedicates the program to ‘Buck Owens.’ So I said, I’m going to see what this kid is like.” It wasn’t long after that he was on stage with Dwight singing his old hits. Buck was bitten by the bug to return to music, after calling it quits almost ten years earlier. This man from Sherman, Texas - probably best-known as the wide-grinning rube on Hee Haw for so many years - started a country music revolution. Or more accurately, a counter-revolution. It was called “The Bakersfield Sound.” He and fellow revolutionary Merle Haggard were cranking out raw, hard-driving honky-tonk music that stood the country-pop coming out of Nashville on its head. When Buck Owens and the Buckaroos would launch into “I’ve got a tiger by the tail, it’s plain to see....!” the packed crowds would be on their feet and headed for the dance floor. Along the way Buck inspired none other than The Beatles to record their first country song, his classic “Act Naturally,” and the master of soul, Ray Charles, to immortalize one of the best-known country songs ever, “Crying Time.” Buck always loved his home state, and once flew to Austin on his private jet to make surprise visit to a club that celebrated a “Buck Owens Birthday” night every year. He was also one of the few artists to ever write a handwritten note thanking us for inviting him on the show. “Many thanks,” he wrote, “it is very representative of what I am all about.” In my mind, Buck Owens will always be a rock star. - Terry Lickona (Producer Austin City Limits)