Sloppy Drunk Blues/Steppin & Steppin (7" Single)

Honestly laying down his bare soul at the people’s feet once again in a way that very few can, this record dips and sways, as always, in true Biram fashion, with tales of hard, homesick traveling, lost love, over indulgence, spiritual rejoice, and, of course, some tributes to some of his favorite music pioneers.

"This record is called 16. Though it's not a tribute to Street Legal, that Bob Dylan record is the source of the songs here. Back in the 1970s, 12-inch LPs were the common currency. Mostly "rock"—white guys with claims on Art & Meaning—but you could often follow the trails outward to country, gospel, R&B, and so on."

For our 25th anniversary, we summoned 10 songs from the good Rev. Biram's God-fearing side of his psyche. Includes unreleased and pre-Bloodshot material.
Stay on the side of the righteous and the raucous with this Sunday-morning-hurts-after-Saturday-night collection.

Ground Zero outlaw David Allan Coe’s “Monkey David Wine” gets a sinister gut bucket blues duet treatment. It lands about 11 feet away from Screamin’ Jay Hawkins on a ten foot chain. Pass the bottle, friends.

Side B is Gary Stewart’s “Single Again.” The cool-as-can-be song is a shaggy-haired, floppy-hatted prime taste of 70’s rebel country. Pass the weed, brother.

This collaboration between Grammy-nominated singer-songwriter Robbie Fulks and rock-and-roll royalty Linda Gail Lewis, gleefully lives up to its title. Subversive as it is reverential.

Mixes country, blues, R&B, rock ‘n’ roll, and folk influences intuitively and masterfully. Both stately and approachable, manifestly proficient but deeply personal.

The Bad Testament lands somewhere west of the Old Testament and south of an AA handbook. It’s a record of hard-grinding lost love, blues and deep, dark Americana.

On I’m Glad Trouble Don’t Last Always, his fifth album and third for Bloodshot Records, Luke Winslow-King draws from a deep, dark creative well, turnin

Built on the sonic intersection of the Bad Livers’ lawless next-gen traditional country & bluegrass, and Black Flag’s burn-it-all-down revolt and breakneck tempos. High wire musicianship, debilitating despair, wild-eyed hope, and sharp-elbowed views of social (in)justice.