BIG MEAT COMBO, THE Half Of The Last And Some Of The Rest (self-released) 2cd-r 14.98
Double (cd-r) disc from SF's favorite wild and wooly, rambunctious, foot stomping, bar fighting, beer drinking bluegrass outift, the Big Meat Combo, featuring Chewy Marzolo of Hammers Of Misfortune on BASS (not drums!! Wow!!). On drums is the legendary Ches Smith (from Secret Chiefs, etc...) These two discs collect some live shows and some random studio recordings, that perfectly capture the playful drunken abandon of these guys. Songs about drinking, and fucking, and fighting, Tourette's Syndrome, Guns, and so much more. Steel strings, thumping tubs, harmonica, and harmony vocals, all snarled up in a chair smashing guns in the sky, musical bar brawl. Includes some unlikely covers: theme from Dukes Of Hazzard, "Working In A Coal Mine", "Fat Bottomed Girls", the Jungle Book theme and more. Fans of Bloodshot country, Pine Valley Cosmonauts, Jon Wayne, Waco Brothers, Split Lip Rayfield and the like will definitely dig!


MPEG Stream: "Lowdown"
MPEG Stream: "Fat Bottomed Girls"
MPEG Stream: "If I Were King"

BIRD BY SNOW Antlers And The Sun (Gnome Life Records) lp 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Folky-psyche bliss featuring Spencer Doran (Cloaks)
and members of Whysp and Residual Echoes.
Records are hand screened on recycled sleaves
with clear red vinyl!

BIRD BY SNOW Industrial Collapse (Gnome Life Records) 7" 4.98

BIRD BY SNOW Sky (Gnome Life Records) lp 12.98

BIRDS & BATTERIES Nature Vs. Nature (self-released) cd-r 8.98
Ah folks, proof that you shouldn't judge a book (or cd) by its cover! When Mike Sempert first dropped off a copy of this new cd-r release of his solo project Birds & Batteries its appearance (cover art, title, handmade sleeves, etc) initially struck us as perhaps a Jewelled Antler related or inspired release. Listening to it brought very different impressions. Blending together rootsy Americana, post-rock and electronica, the first song's stuttery programmed rhythms and hypnotic loops of arpeggiated melodies contrast well with Sempert's deep, melancholic vocals and guitar, bass and drums. Winding its way around the proceedings are some slippery stringy sounds that we guess is pedal steel or an e-bowed electric guitar or perhaps a synthesizer. He also enlists his friends to contribute saxophone, clarinet, female vocals (by Ms Heather Masse) and percussion in the form of a box of sugar! A very cool introduction to this recent SF transplant (from the far reaches of the Eastern Seaboard)!
MPEG Stream: "Summersalts"
MPEG Stream: "Goodbye Lullaby"

BISHOP, SIR RICHARD Fingering The Devil (Latitudes 0:07) (Latitudes / Southern) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The newest in the frustratingly limited Latitudes series. Former contributors have included the Grails, Shit & Shine, Will Whitmore, Ginnungagap and Ariel Pink (don't bother asking, they are all long gone). Here we have the Sun City Girls' Sir Richard Bishop, in his solo guitar Improvika mode. Very much in the spirit of the current American Primitive / neo Appalchia sound, exploring similar territory as Jack Rose, Stephen Basho-Jungans, Charlie Schmidt and of course John Fahey, but on these improvised tracks, Bishop injects a healthy dose of flamenco which is sort of surprising. Not that Bishop isn't well versed in various musics of the world, he most definitely is as any number of SCG records will attest to, but it still sounds a little surprising in this context, but the result is truly gorgeous. Moody and emotional, dark and dense, dreamy and lyrical. Just Bishop and a steel string guitar unfurling dense tangles of intricate fingerpicking, as well as slow contemplative melodies, all rich with Spanish flavor. Occasionally Bishop goes for an Eastern raga like vibe instead, and ends up sounding closer to UK guitarist James Blackshaw or Rose at his most drone-y. So so lovely indeed!
Comes packaged in a super intricate hand screened die cut fold over sleeve with a full color insert. The cover has a breathtaking silver foil stamped embossed frontpiece and each copy is hand stamped and numbered. Limited to 1000 copies worldwide, 500 of which made it to the United States, about 50 of which made it here. So you know what that means!
MPEG Stream: "Abydos"
MPEG Stream: "Dream Of The Lotus Eaters"
MPEG Stream: "Romany Trail"

BISHOP, SIR RICHARD Fingering The Devil (Latitudes 0:07V) (Latitudes / Southern) lp 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
We've all been going nuts for Southern's Latitudes series, super limited releases from Ginnungagap, Shit And Shine, Ariel Pink, Grails, Paradise Island, and elsewhere on this list, new ones from Magik Markers and Circle! Well the fine folks at Southern have decided to press a few of those Latitudes discs on vinyl! The first of which is Fingering The Devil from the Sun City Girls' Sir Richard Bishop, in his solo guitar Improvika mode. Very much in the spirit of the current American Primitive / neo Appalachia sound, exploring similar territory as Jack Rose, Stephen Basho-Jungans, Charlie Schmidt and of course John Fahey, but on these improvised tracks, Bishop injects a healthy dose of flamenco which is sort of surprising. Not that Bishop isn't well versed in various musics of the world, he most definitely is as any number of SCG records will attest to, but it still sounds a little surprising in this context, but the result is truly gorgeous. Moody and emotional, dark and dense, dreamy and lyrical. Just Bishop and a steel string guitar unfurling dense tangles of intricate fingerpicking, as well as slow contemplative melodies, all rich with Spanish flavor. Occasionally Bishop goes for an Eastern raga like vibe instead, and ends up sounding closer to UK guitarist James Blackshaw or Rose at his most drone-y. So so lovely indeed!
Comes packaged in a cool diecut sleeve, a variation on the immediately recognizable Latitudes cd packaging, although this time, white on black instead of white on brown. Includes the same insert as the cd. Pressed on cool grey splatter vinyl. And of course, SUPER SUPER LIMITED!!!
MPEG Stream: "Abydos"
MPEG Stream: "Dream Of The Lotus Eaters"
MPEG Stream: "Romany Trail"

BISHOP, SIR RICHARD Improvika (Locust) cd 14.98
Sir Richard Bishop, also known as Rick Bishop of the Sun City Girls, offers up Improvika, the second entry in Locust's Wooden Guitars series, after the compilation of that same name on which he also featured, alongside Tetuzi Akiyama, Jack Rose, and Steffen Basho-Junghans. It's also his second solo record -- his now out-of-print first one, Salvador Kali, was released a few years back on the Revenant, a label begun by the spiritual forefather of the Wooden Guitar concept, John Fahey (R.I.P.). So, as you might already guess, unaccompanied steel string acoustic guitar sketches in the Fahey-established "American Primitive" style are the haps here, with more than a few references to the wide variety of 'world musics' that the Sun City Girls like to celebrate and subvert. Bishop's playing is both impressive and evocative, and anyone caught up in the current craze for Faheyesque guitar solos (and why wouldn't you be?) ought to enjoy Sir Rick's sublime efforts here. Locust, keep 'em coming! (Next up in the series, we believe, will be Pelt's Jack Rose...)
MPEG Stream: "Jaisalmer"
MPEG Stream: "Mystic Minor 23"

BISHOP, SIR RICHARD Improvika (Bo Weavil) lp 30.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Now, but not for long, on (limited, expensive) vinyl!
Sir Richard Bishop, also known as Rick Bishop of the Sun City Girls, offers up Improvika, the second entry in Locust's Wooden Guitars series, after the compilation of that same name on which he also featured, alongside Tetuzi Akiyama, Jack Rose, and Steffen Basho-Junghans. It's also his second solo record -- his now out-of-print first one, Salvador Kali, was released a few years back on the Revenant, a label begun by the spiritual forefather of the Wooden Guitar concept, John Fahey (R.I.P.). So, as you might already guess, unaccompanied steel string acoustic guitar sketches in the Fahey-established "American Primitive" style are the haps here, with more than a few references to the wide variety of 'world musics' that the Sun City Girls like to celebrate and subvert. Bishop's playing is both impressive and evocative, and anyone caught up in the current craze for Faheyesque guitar solos (and why wouldn't you be?) ought to enjoy Sir Rick's sublime efforts here.
MPEG Stream: "Jaisalmer"
MPEG Stream: "Mystic Minor 23"

BISHOP, SIR RICHARD The Freak Of Araby (Drag City) cd 14.98
First off, nice pun Sir Richard, nice pun! With a title like The Freak Of Araby, do we really even need to review this? Well, probably not for SRB's legion of fans, who will already have an idea of what to expect here from this master of exotic, intricate guitar playing. For them, the prospect of a new solo album by SRB is automatically a pleasant one, and purchase should occur as automatically as one picks up the new releases on ethnic field recordings label Sublime Frequencies, run by Bishop's brother and fellow former Sun City Girl, Alan. Plus we've heard it, and recommended it too!
Inspired by the music of late Egyptian guitarist Omar Khorshid among others, here SRB presents ten tracks of instrumental improvisations (?) in a Middle Eastern mood. Delicate and detailed, sultry and sandy. Opener "Taqasim For Omar" is quite traditional-sounding, but elsewhere Bishop's electric guitar takes on almost a surfy twang, and thoughts of dusty Spaghetti Western soundtracks might enter ones mind whilst enjoying this record. Most of the tracks feature percussion and other supporting instrumentation, but the focus is certainly on Bishop's adept and evocative six string manipulation. By Sun City Girls standards, this is easy listening, and certainly lovely, reminiscent of some of the SCGs' most accessible stuff. However, echoey FX get laid on thick during track nine, "Sidi Mansour", in case you forgot the "Freak" part of this album's title, while the tenth and final number "Blood-Stained Sands" really shakes things up by abandoning guitar in favor much multilayered buzzing saz (we think it is), for a seven and a half minutes of dervishly whirling, droning delirium that ends the album leaving no doubt about SRB being The Freak Of Araby indeed.
MPEG Stream: "Barbary"
MPEG Stream: "The Pillars Of Baalbek"

BISHOP, SIR RICHARD The Freak Of Araby (Drag City) lp 15.98
First off, nice pun Sir Richard, nice pun! With a title like The Freak Of Araby, do we really even need to review this? Well, probably not for SRB's legion of fans, who will already have an idea of what to expect here from this master of exotic, intricate guitar playing. For them, the prospect of a new solo album by SRB is automatically a pleasant one, and purchase should occur as automatically as one picks up the new releases on ethnic field recordings label Sublime Frequencies, run by Bishop's brother and fellow former Sun City Girl, Alan. Plus we've heard it, and recommended it too!
Inspired by the music of late Egyptian guitarist Omar Khorshid among others, here SRB presents ten tracks of instrumental improvisations (?) in a Middle Eastern mood. Delicate and detailed, sultry and sandy. Opener "Taqasim For Omar" is quite traditional-sounding, but elsewhere Bishop's electric guitar takes on almost a surfy twang, and thoughts of dusty Spaghetti Western soundtracks might enter ones mind whilst enjoying this record. Most of the tracks feature percussion and other supporting instrumentation, but the focus is certainly on Bishop's adept and evocative six string manipulation. By Sun City Girls standards, this is easy listening, and certainly lovely, reminiscent of some of the SCGs' most accessible stuff. However, echoey FX get laid on thick during track nine, "Sidi Mansour", in case you forgot the "Freak" part of this album's title, while the tenth and final number "Blood-Stained Sands" really shakes things up by abandoning guitar in favor much multilayered buzzing saz (we think it is), for a seven and a half minutes of dervishly whirling, droning delirium that ends the album leaving no doubt about SRB being The Freak Of Araby indeed.
MPEG Stream: "Barbary"
MPEG Stream: "The Pillars Of Baalbek"

BLACK FOREST / BLACK SEA s/t (Last Visible Dog) cd 11.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
It seems the Last Visible Dog label can do no wrong of late, now bringing us this wonderful album of mellow, melancholy music full of folkish, creaky ambience from Black Forest/Black Sea. It's tailor-made for the Terrastock Nation, if you know what we mean. If you read Broken Face 'zine, or scarf up Jewelled Antler cdrs, or dig what the Wire calls "The New Weird America", or liked their track on the "Invisible Pyramid" compilation, well then this disc of psych-folk action ought to suit you like that shaggy beard suits Kawabata Makoto.
Black Forest/Black Sea are the Providence, RI duo of Jeffery Alexander and Miriam Goldberg (is one the forest and one the sea? dunno). Jeffery plays guitar and Miriam plays cello, primarily, but there's more than just guitar and cello in the mix. We know a couple of their friends help out at times with some shortwave, sax, and general knob-twiddling. But these songs mostly start with melodic guitar picking, oftimes unaccompanied, that may then be joined by doleful cello drone, wavering electronic organ, or perhaps some slow, steady percussion rhythm -- even, on one track, primitive electronic beats from a Casio or something -- always stirring echoes of old world folk and underground '70s kraut jamming. Much of this is instrumental, with what vocals there are -- it must be Miriam singing -- being quite haunting, sometimes simply lurking in the background, wordlessly, melding with the glitchy reel-to-reel tape noises and other non-instrumental, extra-musical textural effects this band employs that add depth and mystery to their simple but effective songs. From spacious droning, possibly improvised passages to downright tuneful 'folky' hooks, this works and works well. We can't see how any of AQ's psych/folk fan customers would want to pass this up. Recommended.
MPEG Stream: "Blackbird On Gray Sky"
MPEG Stream: "Banjo Song"

BLACK KEYS, THE Chulahoma (Fat Possum) cd ep 10.98
On Chulahoma, Black Keys play six songs by the late blues great Junior Kimbrough. It's not the first time they've covered his music. You might recall their right-on version of "Do The Rump" that was featured on their debut album back in 2002. Here they riff on both the garagey grit of their last album Rubber Factory as well as Kimbrough's traditional raw blues sound. An understated but kick ass tribute to an unsung blues giant!
MPEG Stream: "Have Mercy On Me"
MPEG Stream: "Work Me"

BLACK KEYS, THE Magic Potion (Nonesuch) cd 16.98
We play this game around AQ called "Why? Do you like it?" It's designed to not let us be prejudiced by preconceived notions when listening to music. Once in a while when we're playing a record and a co-worker asks what we're listing to, rather than just telling them, we'll respond instead with "Why? Do you like it?" Thus the person has to decide if they should be honest, risking embarrassment, 'cause if they say they hate it, it might be something they own and supposedly love, and if they say they love it, it could be that record they claim to hate. It actually works out pretty well. We've all had to fess up to liking stuff we supposedly hated. And we've discovered that records we thought we loved (or at least owned) that we didn't really care for all that much.
It's kind of hard to be unaffected by all the things -other- than the music. Stuff you read, how popular a band is, other folks who like the band. It all colors your opinions whether you want it to or not. So, we always just sort of figured we would hate the Black Keys. I'm not sure we ever even heard them, they just sort of seemed like a band we would hate. Then we went to Arthurfest in L.A. last year, and happened upon a stage where some bad ass blown out psychedelic blues rock band was completely destroying. A two piece, just guitar and drums, and they were loud and heavy, soulful and freaked out. Well, it ends up it was the Black Keys and we were forced, happily we might add, to change our tune. And while once in a while, the Black Keys will dip into bad blues or boring jam rock, for the most part, we have to admit, we really dig these guys! After that fateful show, we went back and checked out their records and that just cemented it. These guys kick ass.
So here we have the latest, not sure if this is the 4th or 5th, but it's another blast of blown out proto-metal psychedelic blues. We're usually opposed to bands who choose to ditch an instrument. No bass player, just drums and bass, whatever. It usually sounds like something is missing. Not so here. These guys sound a little stripped down sure, but it suits them. Gives the guitar room to slither all over the place. A warm wild buzz, over a relentlessly groovy drummer, who pounds and shuffles, and hangs all over every riff, like he's adding his own imaginary bass lines. And the vocals are killer, lazy and sun baked, perfectly complimenting the fuzzy psychrock guitar jams. We hear a lot of Groundhogs, some Zeppelin, which is awesome! A few folks here, thought they heard some Fabulous Thunderbirds. Which is maybe not so. It all sort of depends on what sort of musical background you're bringing to the table. Either way, it's hard to resist this Magic Potion, a gloriously fuzzy, laid back, groove laden, buzzy blues rawk and roll concoction.
MPEG Stream: "Just Got To Be"
MPEG Stream: "Your Touch"
MPEG Stream: "You're The One"

BLACK TWIG PICKERS North Fork Flyer (VHF) cd 13.98
Backwoods Appalachian folk twang from this trio composed of fiddle, guitar, and clawhammer banjo courtesy one of the members of Virgina's drone-psych outfit Pelt. This is straightforward old-timey music with absolutely no modern affectations. Warbling vocals and the sounds of distant trains a'passin' by. Almost all the songs are traditional numbers such as "Fair and Tender Ladies", "Sail Away Ladies", "Lonesome Clinch Mountain", etc. It seems like every city and town has got a band like this, who play standards for the love of it, and Black Twig Pickers do it well.
RealAudio clip: "Spike Driver's Blues"
RealAudio clip: "Fair and Tender Ladies"

BLACK TWIG PICKERS Soon One Morning (VHF) cd 13.98
Second full length from Virginia backwoods trio who play old timey music heavy on the fiddle. Serious barnstorming party music. Cello and homemade baritone banjo make appearances. Any fan of those Revenant releases that have done so well here at AQ (Dock Boggs, Charley Patton, Charlie Feathers, Stanley Brothers) will like these guys.
RealAudio clip: "John Brown's Dream"
RealAudio clip: "This War is Killing Me"

BLACK TWIGS, THE Midnight Has Come and Gone (VHF) cd 13.98
Third album from these Virginia natives formerly known as the Black Twig Pickers. Building on their previous albums the now quartet -- fiddle, banjo, guitar and bass -- has expanded their sound outwards from their strictly old-timey roots to include more of a bluegrass repertoire. They're vastly improved by the change, with the songs on this album having a greater variety of tempos and arrangements: from lush bluegrass ballads to sparse high lonesome tunes with scratchy fiddle and clawhammer banjo. Additionally the Black Twigs have been woodshedding their songwriting skills, the results of which here are a majority of originals and only four renditions of traditional numbers and standards. Those still lamenting the demise of The Bad Livers should definitely pay heed.
MPEG Stream: "Original Natural Bridge Blues"
MPEG Stream: "Twilight on the Radford Army Ammunition Plant"

BLACKSHAW, JAMES Celeste (Tompkins Square) cd 14.98
We went on an on in the original reviews of these Blackshaw records, about what a shame it is that records this good were doomed to remain limited cd-r's, some kept getting reissued, but always in runs way too limited...
Finally, someone (thanks Tompkins Square!) had the good sense to gussy these discs up and give them the actual proper cd reissue they so deserve.
This amazing record from James Blackshaw is totally different from what you might expect, considering it was originally released on Campbell Kneale's Celebrate Psi Phenomenon label, home to all things whir and rumble and skree and grrr and rrroooaarrr. This is a whole 'nother ball of... um.. steel strings apparently. Long before Blackshaw was a household name (at least in modern freak folk and neo-Appalachian lovin' households) we were fawning over this gorgeous chunk of modern acoustic guitar alchemy. Celeste is made up of two 15 minute tracks (one played in open C major tuning, the other in open C minor) of totally mesmerizing Appalachian raga folk, performed mainly on 12-string acoustic guitar with occasional farfisa organ and cymbals. Fans of John Fahey, Jack Rose, Matt Valentine and all things free folk will be completely blown away. There's still an element of drone in the repetitive raga-like riffing, but this is mainly and most definitely a weird and wonderful modern avant bluegrass / folk record. Lovely!
Remastered and with new artwork.
MPEG Stream: "Celeste Pt. 1"

BLACKSHAW, JAMES Glass Bead Game (Young God) lp+cd 15.98
NOW ON VINYL!! (Includes free cd of the album too!)
So on his last album, Blackshaw stepped into new territory with some orchestral instrumentation, even laying down a few piano tracks. And even though we didn't think it was possible, he just might have outdone himself, yet again, with his most dynamic album to date, The Glass Bead Game, released on the infamous Young God Records. Most aQ costumers are well aware of the talent and mystery that surrounds Mr. Blackshaw and his twelve-string mastery. And while we've really dug all of his numerous past albums, it seems like Blackshaw has never sounded so confident in his mantra-like finger picking and ornate compositions. With the freedom to compose works for piano, strings, flute, clarinet and a choir, Blackshaw's vision has grown from a small sprout into a sea of blooming vines.
It baffles us how cinematic this stuff is. These tracks all tell epic tales of being lost at sea, nighttime woodland campfires, sad goodbyes and lonely mornings, all without any lyrics. Sometimes there are these moments where Blackshaw will simply change chords and suddenly the piece takes on a whole new feel, a whole new sound, and you can't help but feel emotionally struck. His playing is so recognizable and distinguished from his solo-guitar peers, a perfect marriage of patients and skill, droning and droning on one chord only to build suspense and anticipation before suddenly revealing the next movement, so good! And there's something about his playing that is so European, so different from the Americana-type sound of other finger pickin' contemporaries. Blackshaw's pieces seem to shimmer with an ethereal haze that faintly glows like an old lantern in the woods, casting flickering light on faces of spirits in the night.
The Glass Bead Games starts things off running with a lush harmonium drone and Blackshaw's quick, raga-esque finger picking soaring above. Gradually female vocals and strings creep in to blanket Blackshaw's guitar in a silky ambience, creating an almost dreamlike experience. We really love how the vocals have this Philip Glass or Steve Reich orchestral kind of vibe. Instead of long swells the voices are short, repetitive wordless ohs and ahs, kind of like some carousel organ or angelic harp. "Cross" builds and retreats in some cosmic ebb and flow, continually swirling with deep, melodic range and heartfelt emotion, all with the twelve string at its glowing core. "Bled", the second track, begins with a slow, contemplative mood. Notes plucked then left to dissipate into thin air. Somber and desolate, the piece only grows into a dark journey through Eastern ragas and into celestial radiance, only to return in the 9th minute to the opening, contemplative passage.   
The album comes to a gorgeous close with the 18 minute "Arc". With James on the piano, he builds from quiet contemplative drops of rain into huge waves of quickly flourishing arpeggios, not all that different sounding from his guitar picking. We totally love how his style and aesthetic remains intact, whether he's sitting at the piano or with a guitar on his knee, his close attention to detail and use of hypnotic, emotionally captivating melodies shines throughout. Notes flickering and shimmering about as overtones soar above like clouds. There's so much about this record that you can get fully wrapped up in, so much detail it would be impossible to absorb it all in just one listen. We've already been listening to Glass Bead Game for over a week, and still new details keep popping out of the woodwork. And to top it off, beautifully fitting, earth-toned artwork of various birds of prey perfectly adorns the album with some magical visual hex. By far our favorite Blackshaw album to date and quite possibly his best, highly and fully recommended!
MPEG Stream: "Cross"
MPEG Stream: "Bled"

BLACKSHAW, JAMES Litany Of Echoes (Tompkins Square) cd 14.98
With each new James Blackshaw release, we're always amazed at how someone who works within such a small musical framework can continuously exceed our expectations. Definitely a favorite among favorites of solo guitarists, Blackshaw has bulked up his arsenal of compositional approaches by introducing for the first time the use of piano as a key element. Bookending the album are two long form pieces of solo piano in a minimalist style that remind us of Charlemagne Palestine or Lubomyr Melnyk. When the twelve string is first heard on the second track, it's not before we're set up with a foundation of resonant timbres of violin and viola (played by Fran Bury) that give weight to the airy modal improvisations of the guitar. Adding subtle layers of richness and dynamics, the strings ground and support the ringing overtones of the 12 string creating complex harmonies to the pulsating melodies. We can't imagine we'll ever tire of hearing Blackshaw's shimmering textural pieces. Amazing how sound so deep, dark, damp and resonant can be so transcendentally uplifting.
MPEG Stream: "Gate of Ivory"
MPEG Stream: "Past Has Not Passed"
MPEG Stream: "Echo And Abyss"

BLACKSHAW, JAMES Lost Prayers & Motionless Dances (Tompkins Square) cd 14.98
Of these three new James Blackshaw cd reissues of long out of print cd-r's, Lost Prayers & Motionless Dances is the only one of the three that we never managed to carry at all. We've long gone on and on about how records this good deserve to be heard by more than the 100 or 200 lucky folks who manage to get their hands on the limited cd-r's, and finally, someone (thanks Tompkins Square!) had the good sense to gussy these discs up and give them the actual proper cd reissue they so deserve.
Originally released as a cd-r on Digitalis, limited to 200 copies in 2004, this one slipped right under our radar, which is a huge shame as it is just as good as Sunshrine or Celeste. But it's also quite different. Where as the other discs focus on Blackshaw's deft fingerpicking, and mastery of the steel string guitar, this disc is just as much about the drone and the ambience. Not to say, Blackshaw doesn't get to unleash dexterous little tangles of Appalachian filigree, but those stretches of strum and shimmer are set amidst thick harmonium drones and blissed out field recordings.
The disc begins with a warm whirring drone, all thick wheezes and rich lustrous chords, Eastern melodies, drawn way out into long soft smears. Eventually the guitar joins in, but simple spare strums, soft chords, and gentle fingerpicking, nestled amidst the softly undulating harmonium in the background, the sounds of crickets chirping in the distance, bits of slippery sitar style squiggles. The sound gradually slips into something much more familiar, 'that' Blackshaw sound we love so much, a lot like the other reissued discs, until the guitar fades out, leaving a murky muted shimmer, which soon fades out as well, leaving nothing a strange high end hiss-scape of weird processed percussion and shortwave radio, peppered with bits of high end jangle and distant upper register guitar scrape and disembodied clatter, before the track finally shifts gears once again, filling the last few minutes with urgently strummed guitar, big chunky chords, moaning harmoniums, and billowing splashes of deep resonant cymbal shimmer, a glorious kinetic finish to a another gorgeous sprawling languorous guitardronedrift.
Remastered and with new artwork.
MPEG Stream: "Lost Prayers & Motionless Dances"

BLACKSHAW, JAMES O True Believers (Important) cd 14.98
We often lament the state of musical affairs that would render records that are as good as anything and everything we've heard by James Blackshaw to be so limited as to only be heard by a mere handful of people. But until now that has indeed been the case. Cd-r after gorgeous cd-r, limited to 200 copies, 100 copies, even less in some instances. But music this beautiful, this lush, this lovely definitely deserves a wider audience, even if its cd-r / underground / outsider / avant folk / new weird America cache suffers accordingly. Who cares? Who -can- care when faced with the sounds on O True Believers. Over the last few years, Blackshaw has found a home amongst free noise fellows and their fans (Celebrate Psi Phenomenon, Birchville Cat Motel, Rameses III, Vibracathedral Orchestra, Sunroof!, Avarus, etc.) even though his sound hewed much closer to Fahey and the like, a stark but sweet steel string Appalachia. Here, that sound is even more stark, more spare and oh so even sweeter. The opening two tracks will have you swooning, or drifting off, or swaying in some glorious mesmerized state or whatever it is you do when you find yourself submerged in some lush swirl of tonal dreaminess, 30 full minutes of guitar, mostly just guitar, spacious and grand, lilting and delicate, no whir or fuzz or rumble or any of the other sonic detritus that usually decorates most of the music like this we love -- no this is crystal clear and crystalline, shimmering and glistening, as if Blackshaw was some strange musical alchemist who discovered how to use a guitar to describe leaves covered in dew, green grass sparkling with morning frost, the sun reflecting on a placid pond, silvery streaks of sunlight filtered through the interwoven branches overhead. It's like wandering into a lost glade, laying in a thick soft patch of grass, and slowly sinking into the ground, until you BECOME the forest around you, sinking into a warm, wash of tranquil otherworldliness. Towards the end of track two, the guitars are joined by cymbalon, tamboura, and bells, and what was only moments earlier some sort of mysterious Appalachian folk, becomes a slow burning blissed out raga, steel strings buzz, each note smeared into warm drones, then sprinkled with delicate chimes and reverberating bells. Track three is equally as blissful, but is constructed quite differently, the guitar lines speed up and become intense and intricate tangles of notes, so snug that the melodies blur and stretch out melodic whirs, while lush major key swells, ebb and flow in the background, a swaying swooning sweetness. The final track is almost jubilant by comparison and 'rocks' as much as any foresty free folk Appalachia can be thought to rock, dense steel string strums, a simple percussive framework of cymbals and chimes, the whole thing wrapped in the wonderfully warm wheeze of a harmonium, adding a thick warm fuzzy patina to the sparkling steel shimmer beneath.
MPEG Stream: "Transient Life In Twilight"
MPEG Stream: "Spiralling Skeleton Memorial"

BLACKSHAW, JAMES O True Believers (Bo Weavil) lp 27.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
BACK IN STOCK!!
NOW ON VINYL!! Expensive but really nice vinyl...
We often lament the state of musical affairs that would render records that are as good as anything and everything we've heard by James Blackshaw to be so limited as to only be heard by a mere handful of people. But until now that has indeed been the case. Cd-r after gorgeous cd-r, limited to 200 copies, 100 copies, even less in some instances. But music this beautiful, this lush, this lovely definitely deserves a wider audience, even if its cd-r / underground / outsider / avant folk / new weird America cache suffers accordingly. Who cares? Who -can- care when faced with the sounds on O True Believers. Over the last few years, Blackshaw has found a home amongst free noise fellows and their fans (Celebrate Psi Phenomenon, Birchville Cat Motel, Rameses III, Vibracathedral Orchestra, Sunroof!, Avarus, etc.) even though his sound hewed much closer to Fahey and the like, a stark but sweet steel string Appalachia. Here, that sound is even more stark, more spare and oh so even sweeter. The opening two tracks will have you swooning, or drifting off, or swaying in some glorious mesmerized state or whatever it is you do when you find yourself submerged in some lush swirl of tonal dreaminess, 30 full minutes of guitar, mostly just guitar, spacious and grand, lilting and delicate, no whir or fuzz or rumble or any of the other sonic detritus that usually decorates most of the music like this we love -- no this is crystal clear and crystalline, shimmering and glistening, as if Blackshaw was some strange musical alchemist who discovered how to use a guitar to describe leaves covered in dew, green grass sparkling with morning frost, the sun reflecting on a placid pond, silvery streaks of sunlight filtered through the interwoven branches overhead. It's like wandering into a lost glade, laying in a thick soft patch of grass, and slowly sinking into the ground, until you BECOME the forest around you, sinking into a warm, wash of tranquil otherworldliness. Towards the end of track two, the guitars are joined by cymbalon, tamboura, and bells, and what was only moments earlier some sort of mysterious Appalachian folk, becomes a slow burning blissed out raga, steel strings buzz, each note smeared into warm drones, then sprinkled with delicate chimes and reverberating bells. Track three is equally as blissful, but is constructed quite differently, the guitar lines speed up and become intense and intricate tangles of notes, so snug that the melodies blur and stretch out melodic whirs, while lush major key swells, ebb and flow in the background, a swaying swooning sweetness. The final track is almost jubilant by comparison and 'rocks' as much as any foresty free folk Appalachia can be thought to rock, dense steel string strums, a simple percussive framework of cymbals and chimes, the whole thing wrapped in the wonderfully warm wheeze of a harmonium, adding a thick warm fuzzy patina to the sparkling steel shimmer beneath.
MPEG Stream: "Transient Life In Twilight"
MPEG Stream: "Spiralling Skeleton Memorial"

BLACKSHAW, JAMES Sunshrine (Digitalis Industries) cd 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
More gorgeously lush neo-Appalachia from James Blackshaw, finally released on a real cd instead of an ultralimited cd-r, which makes perfect sense as this is way too good to be so limited. Two tracks, the first an extended thirty minute epic, a lush and completely gorgeous steel string raga, huge dense sweeps of intricately finger picked guitar, dense with reverb, accompanied by sarod, harmonium, Farfisa organ, glockenspiel, bells and bowed cymbals. Overwhelmingly beautiful and impossibly otherworldly. Expressive and aggressive but completely delicate and introspective at the same time. The end of the track is especially powerful when the guitars fade out and all that is left is the thick wheezing drone of the harmonium and a cloud of tinkling bells. The final three minutes is a very Fahey-esque, steel string guitar workout, gorgeous folky twang, simple and so lovely.
Packaged in a gold metallic paper sleeve with a small printed insert.
MPEG Stream: "Sunshrine (Excerpt)"

BLACKSHAW, JAMES Sunshrine (Tompkins Square) cd 14.98
We went on an on in the original reviews of these Blackshaw records, about what a shame it is that records this good were doomed to remain limited cd-r's, some kept getting reissued, but always in runs way too limited...
Finally, someone (thanks Tompkins Square!) had the good sense to gussy these discs up and give them the actual proper cd reissue they so deserve.
Sunshrine was originally released on Digitalis, 1000 copies that time, but still not enough, which makes sense when you hear how goddamn beautiful this disc is.
More gorgeously lush neo-Appalachia... Two tracks, the first an extended thirty minute epic, a lush and completely gorgeous steel string raga, huge majestic sweeps of intricately finger picked guitar, dense with reverb, accompanied by sarod, harmonium, Farfisa organ, glockenspiel, bells and bowed cymbals. Overwhelmingly beautiful and impossibly otherworldly. Expressive and aggressive but completely delicate and introspective at the same time. The end of the track is especially powerful when the guitars fade out and all that is left is the thick wheezing drone of the harmonium and a cloud of tinkling bells. The final three minutes is a very Fahey-esque, steel string guitar workout, gorgeous folky twang, simple and so breathtaking.
Remastered and with new artwork.
MPEG Stream: "Sunshrine (Excerpt)"

BLACKSHAW, JAMES Sunshrine / Celeste (Bo Weavil) lp 27.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Managed to get about 20 more of these back in. But these could very well be the last copies...
A very limited (and very expensive) lp version (pressed on nice thick vinyl and housed in a gorgeous sleeve) of the two most recent releases from guitarist James Blackshaw (one a new cd reviewed elsewhere on this list, the other a cd-r release from earlier in 2005). We only got a handful of these and once they are gone, they are probably gone for good.
Here's what we had to say about the Celeste cd-r:
Celeste is made up of two 15 minute tracks (one played in open C major tuning, the other in open C minor) of totally mesmerizing Appalachian raga folk, performed mainly on 12-string acoustic guitar with occasional farfisa organ and cymbals. Fans of John Fahey, Jack Rose, Matt Valentine and all things free folk will be completely blown away. There's still an element of drone in the repetitive raga-like riffing, but this is mainly and most definitely a weird and wonderful modern avant bluegrass / folk record. Lovely!
And here's what we have to say about Sunshrine:
More gorgeously lush neo-Appalachia from James Blackshaw, finally released on a real cd instead of an ultralimited cd-r, which makes perfect sense as this is way too good to be so limited. Two tracks, the first an extended thirty minute epic, a lush and completely gorgeous steel string raga, huge dense sweeps of intricately finger picked guitar, dense with reverb, accompanied by sarod, harmonium, Farfisa organ, glockenspiel, bells and bowed cymbals. Overwhelmingly beautiful and impossibly otherworldly. Expressive and aggressive but completely delicate and introspective at the same time. The end of the track is especially powerful when the guitars fade out and all that is left is the thick wheezing drone of the harmonium and a cloud of tinkling bells. The final three minutes is a very Fahey-esque, steel string guitar workout, gorgeous folky twang, simple and so lovely.
MPEG Stream: "Sunshrine (Excerpt)"
MPEG Stream: "Celeste Pt. 1"

BLACKSHAW, JAMES The Glass Bead Game (Young God) cd 14.98
So on his last album, Blackshaw stepped into new territory with some orchestral instrumentation, even laying down a few piano tracks. And even though we didn't think it was possible, he just might have outdone himself, yet again, with his most dynamic album to date, The Glass Bead Game, released on the infamous Young God Records. Most aQ costumers are well aware of the talent and mystery that surrounds Mr. Blackshaw and his twelve-string mastery. And while we've really dug all of his numerous past albums, it seems like Blackshaw has never sounded so confident in his mantra-like finger picking and ornate compositions. With the freedom to compose works for piano, strings, flute, clarinet and a choir, Blackshaw's vision has grown from a small sprout into a sea of blooming vines.
It baffles us how cinematic this stuff is. These tracks all tell epic tales of being lost at sea, nighttime woodland campfires, sad goodbyes and lonely mornings, all without any lyrics. Sometimes there are these moments where Blackshaw will simply change chords and suddenly the piece takes on a whole new feel, a whole new sound, and you can't help but feel emotionally struck. His playing is so recognizable and distinguished from his solo-guitar peers, a perfect marriage of patients and skill, droning and droning on one chord only to build suspense and anticipation before suddenly revealing the next movement, so good! And there's something about his playing that is so European, so different from the Americana-type sound of other finger pickin' contemporaries. Blackshaw's pieces seem to shimmer with an ethereal haze that faintly glows like an old lantern in the woods, casting flickering light on faces of spirits in the night.
The Glass Bead Games starts things off running with a lush harmonium drone and Blackshaw's quick, raga-esque finger picking soaring above. Gradually female vocals and strings creep in to blanket Blackshaw's guitar in a silky ambience, creating an almost dreamlike experience. We really love how the vocals have this Philip Glass or Steve Reich orchestral kind of vibe. Instead of long swells the voices are short, repetitive wordless ohs and ahs, kind of like some carousel organ or angelic harp. "Cross" builds and retreats in some cosmic ebb and flow, continually swirling with deep, melodic range and heartfelt emotion, all with the twelve string at its glowing core. "Bled", the second track, begins with a slow, contemplative mood. Notes plucked then left to dissipate into thin air. Somber and desolate, the piece only grows into a dark journey through Eastern ragas and into celestial radiance, only to return in the 9th minute to the opening, contemplative passage.   
The album comes to a gorgeous close with the 18 minute "Arc". With James on the piano, he builds from quiet contemplative drops of rain into huge waves of quickly flourishing arpeggios, not all that different sounding from his guitar picking. We totally love how his style and aesthetic remains intact, whether he's sitting at the piano or with a guitar on his knee, his close attention to detail and use of hypnotic, emotionally captivating melodies shines throughout. Notes flickering and shimmering about as overtones soar above like clouds. There's so much about this record that you can get fully wrapped up in, so much detail it would be impossible to absorb it all in just one listen. We've already been listening to Glass Bead Game for over a week, and still new details keep popping out of the woodwork. And to top it off, beautifully fitting, earth-toned artwork of various birds of prey perfectly adorns the album with some magical visual hex. By far our favorite Blackshaw album to date and quite possibly his best, highly and fully recommended!
MPEG Stream: "Cross"
MPEG Stream: "Bled"

BLACKSHAW, JAMES Waking Into Sleep - Goteborg 27.05.06 (Kning Disc) cd 14.98
AT LAST REPRESSED, BACK IN STOCK... but still probably quite limited (Kning Discs are usually not long for this world!) live release from AQ fave UK guitarist James Blackshaw. Recorded in Goteborg, Sweden at the end of May this year, Blackshaw's live performance of the best of his catalog (Sunshrine, Celeste, and two songs from O True Believers) does not disappoint. For those who are not familiar with Blackshaw's majestic 12-string finger picking abilities (O True Believers was record of the week, a few lists back), this live document is a true testament to his amazing skills. Not a note is out of place and the sound quality is breathtaking. Don't miss out, we may or may not be able to get any more of these when we run out...
MPEG Stream: "Sunshrine"
MPEG Stream: "Spiralling Skeleton Memorial"

BLANCHARD, JACK & MISTY MORGAN Life And Death (And Almost Everything Else) (The Omni Recording Corporation) cd 17.98

BLANCHART, JACK & MISTY MORGAN Weird Scenes Inside The Birdhouse (The Omni Recording Corporation) cd 17.98

BLAST BEAST Evercrushing Death Splatter (Relapse) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, MAINLY BECAUSE IT WAS AN APRIL FOOLS JOKE! HEE HEE! SO PLEASE DO NOT ORDER IT. SORRY.
Fuck yes. It had to happen. The mother of all grindcore bands has descended upon us and you have simply never in your life heard anything as monstrously bone-crushing as this. Featuring not one, not two, not three, but SEVEN separate vocalists, bellowing forth, respectively -- ultra gut-rumbling low, maniacally cat-butchering mostly low, illegally brutal low-mid, hardcore shout, slightly high yelp, catatonic maple screech, and tree-felling supersonic scream -- the almighty Blast Beast is augmented additionally by four distinct drummers, two of which do nothing but blast in tandem, virtually quadrupling standard drum speeds. One drummer is left doing fills and rolls incessantly while the last Batteronimus Maximus (supposedly his legal birth-name!) plays a 12-piece kit assembled entirely of bass drums, leaving the notion of double bass a thing of the past. In fact the liner notes of the record include certified testimony from the controversial Auditory Regulation Statutes and BPM Limitation Committee of Canada that an estimated 72 to 73 percent of the sound recorded on this release is physically too fast for the human ear to discern, registering only a piercing single note to people but deemed "highly unsuitable" for households including dogs or feathered pets. Still the few moments you can make out are fucking steam-rolling bulldozingly insane! Think Brutal Truth meets Discordance Axis meets Nile at Human Remains' practice space with the guys from Pig Destroyer, Cryptopsy, Morbid Angel and Mortician jamming along -- all at the same time! With a whopping 147 songs (eighteen minutes total) this release is simply too fucking brutal for words -- get this now!
MPEG Stream: "Fast"
MPEG Stream: "Faster"
MPEG Stream: "Even Faster"
MPEG Stream: "Holy Shit, That's Fast"

BLIND BLAKE Back Biting Bee Blues (Monk) lp 22.00
Ever wonder, why are so many blues guitarists blind? Talk about an occupational hazard. This is the fourth blind blues guitarist the Monk label has featured after Blind Willie McTell, Blind Willie Johnson, and Blind Lemon Jefferson. Perhaps it's the visionary contradiction of their particular affliction, that gives them such an incredible insight into the human condition. Like biblical prophets and ancient oracles, the only ones who 'see' things as they truly are happen to be blind. Blind Blake (not to be confused with the calypso Blind Blake of the fifties) may be the most obscure of the four (at least to us), but he was immensely successful for the Paramount label in the twenties and early thirties. Hailing from Florida, Blake was known for being the "King of Ragtime Guitar", for his unique guitar style that sounded like he was playing ragtime piano using the six strings of the guitar. His technique was so formidable that it has been little copied. Recording at least 79 songs in his incredibly short life span (he died at the age of 40 under mysterious and rumored to be scandalous circumstances), this collection covers 17 of his earliest and most popular recordings and is not to be missed for any fan of vintage blues.

BLITZEN TRAPPER War Is Placebo / Booksmart Baby (Record Store Day) (Sub Pop) 7" 5.50
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

BLOOD & TIME At The Foot Of The Garden (Neurot) cd 14.98
Slo-mo country-folkish atmospherics from members of Neurosis (Scott Kelly and Noah Landis, plus two non-Neurosis dudes). Gloomy and low key, with Scott's Lou Reedish vocals dragging raw over the proceedings. Neurosis fans into Scott's previous solo outing Spirit Bound Flesh or the similar solo works of Steve Von Till ought to dig this disc of desolate 'rock' music. Non-Neurosis fans too! Gruff yet weepy.
MPEG Stream: "Deep Inside Of You"
MPEG Stream: "Remember Me"

BLOOM, KATH Come Here (self-released) cd-r 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
I (Windy) came to love folksinger Kath Bloom's frail, plaintive, birdlike voice through her recordings with the avant guitarist Loren Mazzacane Connors -- the pair made 5 gorgeous LPs in the '70s which are no longer available, but from which a current best-of cd has been compiled. (Highly recommended.) I've since been sort of obsessed with tracking down Kath Bloom and have finally succeeded. She is still making music, thank goodness, and thus we're proud to be carrying her self-released Come Here cd-r (I think we might be the only store to do so). Kath's voice is as fragile and trembly as ever, and the instruments accompanying here are likewise light -- airy guitar, harmonica, bittersweet fiddle. Most of the pieces are from the mid-'90s. Very nice, but an acquired taste, so make sure to listen to the soundclips.
RealAudio clip: "Come Here"
RealAudio clip: "Fall Again"
RealAudio clip: "What is Really Beautiful"

BLOOM, KATH Thin Thin Line (Caldo Verde) cd 14.98
On her eighth album, Ms Kath Bloom proved she still has many stories to sing from her thick songbook with many pages still to be filled. As always, her voice and words are steeped with raw nerve honesty and open hearted emotion. Often Bloom's delivery wavers precariously on the edge of despair. Clearly it's a voice that's lived through the thick and the thin, but that has not lost all hope. Hers is utterly unadorned folk of the most fragile kind, but there is a palpable resolve that underscores the seemingly frail proceedings. As intimate and tenderly true blue as ever, Thin Thin Line is sure to please her loyal fans! Released on Mark Kozelek's Caldo Verde label... yes, a man with good taste!
MPEG Stream: "Thin Thin Line"
MPEG Stream: "Like This"

BLOOM, KATH / LOREN MAZZACANE CONNORS 1981-1984 (Megalon) cd 13.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
GORGEOUS. Windy's new favorite record. Folksinger Kath Bloom's frail, plaintive voice is perfectly suited to Mazzacane's meandering folk guitar. Here's what Mazzacane says in the liner notes: "These recordings were made between 1981 and 1984. I produced and released them on the St Joan label in editions of 200 copies. There were 5 LPs total, from which the best songs were taken for this release. While Bloom's songs were clearly in the 'new folk' style, my free-form playing and vocalizations were too unsettling for most folk music fans. The music therefore received more acceptance in the small avant music scene than in the much larger folk scene of the time."

BLUE MOUNTAIN Dog Days (Roadrunner) cd 16.98
Back in the nineties, for a while there, it was all about No Depression. Or Alt-country, or perhaps the worst genre identifier ever, Y'alternative. Painful to even type. Whatever you call it, modern country folks bands were everywhere, born of a love of punk rock, and classic country, blue grass and indie rock. THE No Depression band was of course Uncle Tupelo, who would go on to spawn Wilco and Son Volt, but back in the day, Uncle Tupelo were the shit, heavy and super rocking, raucous and wild, but always with plenty of twang and able to strip down to straight bluegrass at the drop of a hat. Their album No Depression is where the genre got its name (and that record of course was named for the Carter Family song), and Uncle Tupelo and their record, and the legion of bands that followed in their wake even inspired a magazine covering all the various No Depression bands. Richard Buckner, Whiskeytown (featuring Ryan Adams), Freakwater, Old 97's, Bad Livers, Jayhawks, Waco Brothers, Scud Mountain Boys, Pernice Brothers, Robbie Fulks,  Pine Valley Cosmonauts, Handsome Family, the Sadies, Tarnation, Be Good Tanyas, Split Lip Rayfield... We could go on and on, many of those bands continue to play today, a bunch broke up but various members went on to record on their own. Then there was Blue Mountain, a band that had brief flirtations with success, but seemed to continually hover just shy of the mainstream, which is a huge shame, as they were (and are, as far as we know) just as good as any of those other bands, if not better. 
Fronted by the husband and wife duo of Cary Hudson and Laurie Stirratt, Blue Mountain hewed sonically close to the No Depression blueprint created by Uncle Tupelo, that killer mix of crunchy guitars and classic twang, but where UT came from a much more punk rock background, Blue Mountain seemed to be much more purebred country. Hudson and Stirratt's vocals sounded perfect together, amazing harmonies, crunchy guitars, incredible hooks. Blue Mountain's first proper record, 1995's Dog Days, still ranks as one of the best record of the whole No Depression era. Some of the songs were dark and brooding and heavy, others were twangy and acoustic, folky and almost straight bluegrass, most were a mix of the two. But like always it was all about the songs, and the songs here are fantastic, totally catchy and timeless, and on top of the killer songs, Hudson has one of the best rock voices since Jay Farrar. Listen to the sound samples. If you dig Uncle Tupelo and any of the above mentioned bands, odds are you're gonna dig this. Definitely sounds as good as it did in 1995. 
The reissue tacks on a whole mess of bonus tracks, new liner notes, extra photos, and comes housed in a slipcase.
MPEG Stream: "Mountain Girl"
MPEG Stream: "Let's Ride"
MPEG Stream: "Blue Canoe"

BLUES CONTROL s/t (Holy Mountain) lp 14.98
NOW ON VINYL! Here's our review from before when we highlighted the cd version:
Don't let the punny name fool ya, this surely isn't "blues rock". Nor blues. Nor rock. Not really. Nor is it of Yugoslav origin, despite the biographical misinformation posted on the Holy Mountain website that claims Blues Control to be an obscure '70s psych band from Yugoslavia. Nope, Blues Control are an instrumental Brooklyn duo on guitar and synths and drums, making a wonderfully fucked up yet pleasantly listenable psych-squabble of a sound that's not super easy to describe, actually... let's just say that if it were blues rock, it'd be druggily confused, utterly EXPERIMENTAL blues rock. The eight tracks found on this eponymous debut wander through mellow, spacey passages, interludes of seasick synth symphonics, and blown-out epic episodes full of fuzzed-up motorpsycho guitar leads, drunken and damaged sounding. Blues Control's two-man trash team are up to something strange here, counter-intuitive creativity that can make a cool track out of some pretty piano dropped into a droney wash, followed up by a broken-amp bass solo and some off-kilter beats, ferinstance. This totally fits in on the out-there Holy Mountain label alongside the likes of Residual Echoes and Aufgehoben, especially considering how fractured and distorted they can get, almost like a fuzzed-out Starfuckers on the very first track. We're digging this a lot.
MPEG Stream: "Blues Control"
MPEG Stream: "Boiled Peanuts"
MPEG Stream: "No Sweat"

BOGGS, DOCK False Hearted Lover's (Monk) lp 25.00
We're pretty excited about this new vintage reissue label, Monk, that's releasing these nice deluxe vinyl versions of early recorded music that are hard to come by these days: blues, folk, country, bluegrass, Western swing and early jazz. Sure there's Mississippi records, but these have nicer packaging, are well researched, and compiled, and just a bit more, well, deluxe. Plus Monk also seems to be focusing on the veritable stars of these genres like Charley Patton, Charlie Poole, Dock Boggs and Django Reinhardt, providing a fine selection of their best early recordings.
Dock Boggs, if you aren't familiar, was a singer and banjo player, discovered playing in mining camps as he worked the mines all over the Appalachian Mountains. A contract from Brunswick Records in 1927 got him out of the mining camps to record these 12 songs after which he had the start of a fine career, touring extensively and playing parties before the Great Depression hit and he was forced to give up professional music. It wasn't until the folk revival of the sixties where he was re-discovered and recorded three more records for Smithsonian Folkways. This record represents his complete recordings for the Brunswick label made between 1927 and 1929, and a more sadly intense and beautiful document of early Appalachia may nary be found!

BOGGS, DOCK Legendary Singer & Banjo Player (Smithsonian Folkways) lp 16.98
A few lists back we reviewed Dock Boggs' False Hearted Lovers on the ever reliable Monk reissue label. That slab focused on Boggs' initial recordings on the Brunswick label dating back to the late 1920s. In the ensuing years, the financial setbacks of the Great Depression forced Boggs to retire from music, and most of the world failed to take note of his work. With the growing interest in folk music in the '50s and '60s (Boggs was included on Harry Smith's Anthology of American Folk Music back in 1951), Boggs was rediscovered by Mike Seeger in 1963 and given another chance to show people a thing or two. These recordings were first released in 1964 by Smithsonian Folkways, who have thankfully re-released them on vinyl (definitely the most appropriate format for this kind of thing) for a new generation of music obsessives. By this point, Boggs was an old man, but it's more than apparent that he's still got it. Though Boggs' voice obviously shows signs of age, his nasally croak is still full of energy, passion, and humor, and the songs here, including reworked versions of classics like "Oh Death" and "Pretty Polly", are the work of a man who grew wise with age and had no difficulty maintaining his remarkable style of banjo playing. The songs display a nice hillbilly sort of sound, a raw and no frills approach that Boggs delivers with everything he's got. The recordings are clear and powerful, and even though the songs themselves are relatively simple - after all, it's just an old man and a banjo - they take on a higher level of intensity than anyone would expect.
This handsome reissue comes with a cool pasted on image of Boggs in his early days and includes detailed liner notes with explanations for the songs and even some banjo tunings!

BONNIE "PRINCE" BILLY (All City Nomad) 7" 3.99
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
A.K.A. Will Oldham of Palace. This single also features Mick and Jim from Dirty Three, and David Grubbs, and was recorded by Steve Albini. This must be the material recorded two years ago up in Santa Rosa, no? Nonetheless, we highly recommend this single as it contains what quite possibly is Will's best song in years, wherein he sings with a woman and it just reminds us of Gram and Emmylou.

BONNIE "PRINCE" BILLY Ease Down The Road (Palace) cd 13.98
A couple years back Will Oldham adopted the Bonnie 'Prince' Billy moniker and released what stood as the crowning achievement of his career, the brilliant I See a Darkness. Now he returns to form with an album that is quite possibly even more heartbreaking, yet strangely more upbeat and optimistic. Instead of grim songs about death, we get lonely songs of love filled with spirit and hope and even a little joy. The instrumentation is much more eclectic, and the compositions range from dark a capella to backwoods country swing. With guest spots from Freakwater and Dave Pajo (and Harmony Korine?!?), Oldham has created an album that has raised the bar yet again. It's funny how the guy manages to renew your interest even after you swore you were tired of him (as I do often).
RealAudio clip: "The Lion Lair"

BONNIE "PRINCE" BILLY I See A Darkness (Palace) cd 14.98
Will Oldham has adopted a new alter ego. No longer Palace, not even just Will Oldham, he's the artist currently known as Bonnie 'Prince' Billy. While the past few Palace/Oldham records weren't anything really to write home about, almost all of the Bonnie 'Prince' Billy singles and this album have been exceptional. Idiosyncratic vocals that don't warble all that much and the working class approach to acoustic based rock are what you expect from him, but you'd never guess he'd get so scary.

BONNIE "PRINCE" BILLY I See A Darkness (Palace) lp 13.98
Will Oldham has adopted a new alter ego. No longer Palace, not even just Will Oldham, he's the artist currently known as Bonnie 'Prince' Billy. While the past few Palace/Oldham records weren't anything really to write home about, almost all of the Bonnie 'Prince' Billy singles and this album have been exceptional. Idiosyncratic vocals that don't warble all that much and the working class approach to acoustic based rock are what you expect from him, but you'd never guess he'd get so scary.

BONNIE "PRINCE" BILLY Master And Everyone (Drag City) cd 14.98
The new album from Will Oldham & friends is simply wonderful. And we know we rave about Oldham a lot, from his work with Palace Bros to the solo material, but really we mean it -- this is one of his best records. In fact, I think that without the charming but sometimes syrupy twang prevalent on his earlier efforts, Master and Everyone has finally launched Oldham into the same lofty, hallowed territory as other iconoclastic folk practitioners such as Townes Van Zandt. Yeah, this is that good.
The new record has the same kind of low-key charm as his last offering, Ease On Down the Road, although while that record had a sunny back-porch vibe and moments of sly, naughty humor, the laconic, mellow sound of Master And Everyone is tinged with melancholy -- as is much of Oldham's recorded output -- but doesn't try to reach into the inky realms of cathartic intensity found on I See A Darkness (which is one of the best records he's made). Instead, the feeling is familiar and comforting, as Oldham wraps a honeyed falsetto or low, secretive whisper around distant stories of love and lonelines, filtered through the phrasing of early god-fearing folk balladeers. Female harmonies add to the sweetness. Gone is Oldham's faux Appalachian hillbilly guise, and the tenuous, always-cracking vocal warble, and the sometimes pointlessly peurile lyrics, and in its place is a warm, muted, dark folk record. Very reminiscent of seventies British folk, especially Nick Drake, with gorgeous female vocals perfectly complementing Oldham's warm languorous voice. A perfect drifiting off record.
Probably the best testimonial to the goodness of this record is not the fact that the AQ staffers who're already Bonnie Billy fans like it, but the fact that Andee, a.k.a. staunch Oldham naysayer (likes nothing after the Palace Bros debut), LOVES this record too. And that's saying somethin'!
RealAudio clip: "Hard Life"
RealAudio clip: "Maundering"
RealAudio clip: "Even If Love"

BONNIE "PRINCE" BILLY Master And Everyone (Drag City) lp 13.98
The new album from Will Oldham & friends is simply wonderful. And we know we rave about Oldham a lot, from his work with Palace Bros to the solo material, but really we mean it -- this is one of his best records. In fact, I think that without the charming but sometimes syrupy twang prevalent on his earlier efforts, Master and Everyone has finally launched Oldham into the same lofty, hallowed territory as other iconoclastic folk practitioners such as Townes Van Zandt. Yeah, this is that good.
The new record has the same kind of low-key charm as his last offering, Ease On Down the Road, although while that record had a sunny back-porch vibe and moments of sly, naughty humor, the laconic, mellow sound of Master And Everyone is tinged with melancholy -- as is much of Oldham's recorded output -- but doesn't try to reach into the inky realms of cathartic intensity found on I See A Darkness (which is one of the best records he's made). Instead, the feeling is familiar and comforting, as Oldham wraps a honeyed falsetto or low, secretive whisper around distant stories of love and lonelines, filtered through the phrasing of early god-fearing folk balladeers. Female harmonies add to the sweetness. Gone is Oldham's faux Appalachian hillbilly guise, and the tenuous, always-cracking vocal warble, and the sometimes pointlessly peurile lyrics, and in its place is a warm, muted, dark folk record. Very reminiscent of seventies British folk, especially Nick Drake, with gorgeous female vocals perfectly complementing Oldham's warm languorous voice. A perfect drifiting off record.
Probably the best testimonial to the goodness of this record is not the fact that the AQ staffers who're already Bonnie Billy fans like it, but the fact that Andee, a.k.a. staunch Oldham naysayer (likes nothing after the Palace Bros debut), LOVES this record too. And that's saying somethin'!

BONNIE "PRINCE" BILLY One With The Birds (Palace) 7" 3.99
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
A quietly-released single that is only being offered direct to stores (bypassing distros) at this time, this is the second Bonnie Princ Billy single from Will Oldham and company. Like the one before it (which we still have a few copies of), this is Oldham in a less abject, less stark phase, very pleasant to the ears. Buy now or cry later!

BONNIE PRINCE BILLY Beware (Drag City) cd 14.98
Seems like everywhere you look these days you're bombarded with praise and press for Will Oldham. From The New York Times to Wire Magazine it's been hard to escape images of ol' Bonnie Prince Billy, but truth be told, he is one fine songwriter who deserves much of the praise and accolades coming his way. While not all of his recent outings have totally blown us away, we're very much digging the rich and sometimes dark country sounds on Beware. The instrumentation is a bit more nuanced and compelling than on his previous effort Lie Down In The Light. It kind of made perfect sense that a customer who was in the store the first time we played this asked what Lee Hazlewood record this was, and were surprised and happy to find out that it was actually Will Oldham. With appearances on the big screen, a recent artist in residency in the Marin Headlands over the Golden Gate Bridge from here, and this new set of songs, Oldham has been one busy bee and we think well worthy of all that adoration and praise.
MPEG Stream: "You Can't Hurt Me Now"
MPEG Stream: "I Don't Belong To Anyone"
MPEG Stream: "Beware Your Only Friend"

BONNIE PRINCE BILLY Beware (Drag City) lp 15.98
Seems like everywhere you look these days you're bombarded with praise and press for Will Oldham. From The New York Times to Wire Magazine it's been hard to escape images of ol' Bonnie Prince Billy, but truth be told, he is one fine songwriter who deserves much of the praise and accolades coming his way. While not all of his recent outings have totally blown us away, we're very much digging the rich and sometimes dark country sounds on Beware. The instrumentation is a bit more nuanced and compelling than on his previous effort Lie Down In The Light. It kind of made perfect sense that a customer who was in the store the first time we played this asked what Lee Hazlewood record this was, and were surprised and happy to find out that it was actually Will Oldham. With appearances on the big screen, a recent artist in residency in the Marin Headlands over the Golden Gate Bridge from here, and this new set of songs, Oldham has been one busy bee and we think well worthy of all that adoration and praise.
MPEG Stream: "You Can't Hurt Me Now"
MPEG Stream: "I Don't Belong To Anyone"
MPEG Stream: "Beware Your Only Friend"