Pop & Rock
21 AUG 14 CONCORD MUSIC GROUP
Rounder Records is very pleased to announce the signing of acclaimed GRAMMY® Award-winning singer/songwriter Shelby Lynne. Lynne recently completed recording at Louisiana’s Dockside studio on what will be her first album since 2011’s critically lauded Revelation Road. The as-yet-untitled album is tentatively set for release in early 2015.
Additionally, Rounder will celebrate the 15th anniversary of Lynne’s landmak breakthrough album I Am Shelby Lynne with a special deluxe reissue of the now classic recording, due for release October 7th, 2014. The 2-disc (1CD/1DVD) I Am Shelby Lynne Deluxe Edition features the re-mastered full-length album plus six previously unreleased bonus tracks from the original sessions.
The special package also contains Shelby Lynne: Live at the House of Blues on DVD, a newly unearthed, never-before-released, 16-song, 90-minute concert performance captured at Los Angeles’ House of Blues on April 28th, 2000. Moreover, I Am Shelby Lynne will be issued for the first time ever on vinyl (180-gram), which includes deluxe, double-gatefold packaging and digital download card containing the six bonus tracks. The digital version of the I Am Shelby Lynn Deluxe Edition includes the full-length album plus the six unreleased bonus tracks.
It’s difficult to overstate the impact that I Am Shelby Lynne’s dazzling blend of country and soul had on Lynne’s career and on popular music in general. Forerunner to albums such as Norah Jones’ Come Away with Me and Amy Winehouse’s Back to Black, I Am Shelby Lynne, with exquisite production from Bill Bottrell and superb songwriting by Lynne and Bottrell, earned worldwide critical acclaim, broad commercial success and the Best New Artist GRAMMY® for Lynne in 2001.
Shelby Lynne: Live at the House of Blues, recorded as she toured in support of I Am Shelby Lynne, documents an artist at the height of her creative powers. The country firebrand delivered a commanding, super-soulful performance that showcased I Am Shelby Lynne in its entirety, plus several gems that didn’t make the original recording along with brilliant covers of John Lennon’s “Mother” and Jimmy Webb’s “Wichita Lineman.” Playing in front of an adoring crowd at the House of Blues on Hollywood’s Sunset Strip, the show was a triumphant homecoming for the Palm Springs (via Mobile, Alabama) resident. “I’ve been waiting 12 years for this damn show,” she declares mid-concert in her trademark southern drawl. Check out USA Today’s video premiere of “Should Have Been Better”, the show’s striking leadoff performance here: http://usat.ly/1rZYppX
Lynne will commemorate the I Am Shelby Lynne Deluxe Edition with a special live performance at Largo at the Coronet in Los Angeles on Wednesday, October 8th.
Tickets available here: http://bit.ly/Sh3lByl1ve
Lynne remarked, "I'm very happy to have a creative home with history-making Rounder Records."
“Shelby Lynne is a songwriter and a soul singer of the first rank. The immediacy of feeling she is able to summon in the studio is a rare form of artistry. Working with her is an exhilarating experience,” said Scott Billington, veteran producer, musician, and Vice President of A&R at Rounder.
Rounder President John Virant concurs: “Shelby Lynne is a truly extraordinary artist who possesses one of the most soulful and profoundly affecting voices in contemporary music. We’re very proud to welcome her to Rounder.”
Buy I Am Shelby Lynne - Deluxe Edition here:
Shelby on Facebook: https://www.facebook.com/shelbylynne
On Twitter: https://twitter.com/shelbylynne_68
19 AUG 14 CONCORD MUSIC GROUP
Rock and Roll Hall of Fame inductee and six-time GRAMMY®-winner Dr. John is New Orleans' most prominent living musical icon. The embodiment of his hometown's freewheeling creative spirit and multiple musical traditions, he's built a visionary, idiosyncratic body of work that's deeply rooted in the Crescent City's myriad blues, R&B, jazz and rock 'n' roll traditions.
So it's fitting that Dr. John's debut on Concord Records, Ske-Dat-De-Dat...The Spirit Of Satch, pays heartfelt tribute to another larger-than-life New Orleans legend: the seminal trumpeter and vocalist Louis "Satchmo" Armstrong, whose musical innovations created the template for 20th-century jazz, and whose playful attitude and life-embracing spirit made him a beloved figure whose worldwide appeal transcended music.
"He's the most famous guy that ever came out of my neighborhood," notes Dr. John. "He became a legend all over, for his trumpet playin' and everything else, and he was the United States' ambassador to the world."
Produced by Dr. John and Sarah Morrow, Ske-Dat-De-Dat...The Spirit Of Satch honors Armstrong's musical genius as well as his effervescent personality with 13 quintessential numbers drawn from various phases of Armstrong's five-decade career, with Dr. John joined by a stellar supporting cast that manages to update the material while maintaining the music's timeless emotional appeal.
"The whole thing felt pretty special, and I desitively was in a different zone for this record," says Dr. John, who co-produced the album with his longtime trombonist and Nite Tripper band directress Morrow, who also arranged the album. "I wanted to pull together some of his hits and some of the songs he wasn't as well known for, and make them feel fresh and different. Sarah wrote some slammin' charts that kept everything spacious and hip. And everybody played and sang great, and gave it their own spirit."
"It's an honor to produce and write for Dr. John-he's open-minded, adventurous and positively-spirited," Morrow says. "The combination of my writing and his one of a kind voice keeps things fresh and over the top!" Adds Dr. John, "Sarah and I are one of those rare and hiply waited duos that make a truly great musical combination. She's a genius-ocity of the highest order."
The subtitle The Spirit Of Satch is particularly appropriate given the album's birth cycle, which Dr. John says was set into motion when the late Armstrong-whom he'd only met once during his lifetime, in the office of their mutual manager Joe Glaser-came to him in a dream.
"Louis' spirit came to me and told me to do something, that's how this whole thing started," says Dr. John, who's previously released tribute albums to musical giants Duke Ellington and Johnny Mercer. "Louis told me, 'Take my music and do it your way.' It was the most unexpectable thing in the world to me, to have Louis' spirit show up like that, but he gave me a concept of where to roll with it that was spiritually correct. That made me feel very open to try some different things, because I felt was that his spirit had ok'd this record."
Prior to making the album, Dr. John honored Satchmo on stage, presenting rapturously received tribute concerts, dubbed "Props to Pops," at New York's Brooklyn Academy of Music in March 2012 and at the Hollywood Bowl in July 2013.
In addition to Dr. John's trademark vocals and piano, and backup from some of New Orleans' finest musicians, Ske-Dat-De-Dat...The Spirit Of Satch features a stellar assortment of guest singers and players. Bonnie Raitt shares the spotlight on a swinging reading of "I've Got the World on a String," Ledisi and the McCrary Sisters lend gospel authority to "Nobody Knows the Trouble I've Seen," Anthony Hamilton is featured on a mournful "Sometimes I Feel Like a Motherless Child," Shemekia Copeland trades verses with Dr. John on a playful reworking on "Sweet Hunk O' Trash," and the Blind Boys of Alabama lend their powerful voices to "What a Wonderful World" and "Wrap Your Troubles in Dreams."
Since Ske-Dat-De-Dat...The Spirit Of Satch is a tribute to the man who popularized the trumpet for a worldwide audience, it's fitting that the project should feature some of today's greatest trumpeters, namely Nicholas Payton (on "What a Wonderful World" and "Gut Bucket Blues"), Terence Blanchard ("Mack the Knife," "Wrap Your Troubles in Dreams"), Arturo Sandoval ("Tight Like This," "Memories of You"), Wendell Brunious ("Thats My Home") and James Andrews ("Dippermouth Blues"), along with New Orleans' legendary horn ensemble the Dirty Dozen Brass Band ("When You're Smiling").
Ske-Dat-De-Dat...The Spirit Of Satch is the latest achievement in a singular musical history that stretches back to the 1950s, when Dr. John-then still known by his given name, Mac Rebennack-emerged as an in-demand producer, guitarist, pianist and songwriter on New Orleans' studio scene, working for such local labels as Ace, Ron and Ric, collaborating with the likes of James Booker, Earl King, Professor Longhair, Art Neville and Frankie Ford, and scoring the regional solo hit "Storm Warning."
In the early '60s, he relocated to Los Angeles, where he played on countless sessions before debuting his flamboyant new musical persona, "Dr. John, The Night Tripper," with his first solo album, 1968's Gris-Gris, which introduced the world to his uniquely eclectic voodoo-funk. In the years since, he has remained a distinctly prolific and powerful force, releasing more than 30 albums of his own while collaborating with a broad array of acts including the Rolling Stones, Sonny and Cher, Van Morrison, Aretha Franklin, Gregg Allman, Mike Bloomfield, Levon Helm, Ringo Starr, Rickie Lee Jones, B.B. King and Christina Aguilera. He also performed in such films as The Last Waltz and Blues Brothers 2000, and pursued a successful two-decade songwriting partnership with legendary tunesmith Doc Pomus.
Dr. John was inducted into the Rock and Roll Hall of Fame in 2011, and won the most recent of his six GRAMMY® Awards in 2013 when Locked Down was voted that year's Best Blues Album.
14 AUG 14 CONCORD MUSIC GROUP
Béla Fleck and Abigail Washburn, “the unofficial First Family of the Banjo” (NPR), will release their eponymous debut album October 7th on Rounder Records. Béla Fleck & Abigail Washburn is a front porch banjo and vocal album of new music, Appalachian murder ballads, gospel, chamber and blues; the culmination of a yearlong tour as a duo in 2013, following the birth of their son, Juno.
Listen to the track “Railroad” via Paste here: http://bit.ly/1nSVs7a
Both widely credited for revitalizing and revolutionizing the banjo, Fleck and Washburn decided they were ready to collaborate. “We didn’t want any other instruments on there, because we’re into this idea that we’re banjo players, and that should be enough,” says Béla. “Sometimes when you add other instruments, you take away from the ability of the banjo to show all its colors, which are actually quite beautiful.”
The opening song “Railroad,” Abigail’s favorite as a little girl, was something her mother would sing to her. “Béla heard me singing this trippy version to Juno and said ‘you’re on to something there,’” says Washburn. The duo learned “Pretty Polly” from the recordings of another husband and wife team in music, EC and Orna Ball. The Victorian murder ballad is answer by Washburn’s heavy, driving “Shotgun Blues,” played on the cello banjo. She adds, “In almost all murder ballads in Appalachian music, it’s the woman that dies at the hands of some nasty misguided male. I take the reins in this song and seek retribution for all the ladies.”
In 2012, after attending Doc Watson’s funeral, Abigail began performing “And Am I Born to Die,” a sacred harp piece recorded by Watson. “Doc is one of the main reasons I play the banjo and sing American old-time music,” says Washburn.
A fifteen-time GRAMMY winner, Béla has devoted time away from his genre-busting ensemble Béla Fleck and the Flecktones to a staggeringly broad array of musical experiments, from writing a concerto for the Nashville Symphony to exploring the banjo’s African roots to jazz duos with Chick Corea, while Washburn has drawn critical acclaim for her solo albums, done fascinating work in folk musical diplomacy in China, presented an original theatrical production, contributed to singular side groups Uncle Earl and The Wu-Force and become quite a live draw in her own right.
“I’m a big fan of Abby’s playing,” adds Fleck. “I do a lot of heady music. When I play with Abby, there’s an opportunity for me to make music that hits you in a different place emotionally. That’s one of her gifts, is a pure connection to the listener, taking simpler ideas and imbuing them with a lot of personality and a point of view.”
“I come from the old-time world,” says Abigail, “which is more about communally trancing-out on old fiddle and banjo tunes. It has very little to do with soloing or anything technical or virtuosic. So for me to try to learn Béla’s music has been a big challenge, but a wonderful one. Although I'm a very different type of player, I feel very lucky that he’s a musical mentor to me. It’s a beautiful part of our connection.”
07 AUG 14 CONCORD MUSIC GROUP
Meiko will offer her highly anticipated third full-length album entitled Dear You on October 14th, 2014 via Fantasy Records/Concord Music Group. “Be Mine,” the album’s glistening first single, premiered today at PASTE.com. You can stream it here: http://bit.ly/1pEnw25
Dear You follows Meiko’s acclaimed 2012 release The Bright Side, which climbed to #1 on the iTunes Singer-Songwriter chart, as the buoyant hit single “Stuck on You” garnered the attention of influential tastemakers worldwide and found numerous placements in film and on television.
The eleven songs on Dear You consist primarily of her private, unsent letters. "I like writing letters: love letters, pissed-off letters, breakup letters," she explains. "I rarely wind up mailing those letters, though. Instead, I turn them into songs. Dear You is an album mostly filled with those unsent notes." Meiko turned her secret letters into a revealing, eclectic collection of songs including infectious alt-pop ("Be Mine"), electronic lullabies ("The Cloud Song"), minimalist indie rock ("Deep Sweat"), and digital folk ("Wake Up").
Dear You’s decidedly darker tone is, in many ways, the flipside to the sunnier disposition fans found on The Bright Side. Longing, betrayal, heartbreak and reprisal are intimately acknowledged and explored here, supported by Meiko’s increasingly stripped down, sophisticated songwriting. Recorded in her adopted hometown of Los Angeles and produced by Jimmy Messer, who also helmed a good chunk of The Bright Side, Dear You’s sparse soundscape beautifully underscores the album’s highly confessional tone and Meiko’s uniquely personal vocals. The pair handled the vast majority of the production themselves only turning to drummer Don Heffington (Bob Dylan, Sheryl Crow) and the Grooveline Horns (Jason Mraz, Dave Matthews Band) for cameos on a handful of tracks.
Meiko professes, “It’s not all candy and roses, but sometimes you just need the grit and that’s exactly how I imagined Dear You being—completely confessional. It was good for my soul and I’m happy to finally let it out into the world.”
BROWSE ARCHIVE OF POP & ROCK VOICES