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.
William Elliott Whitmore & Esmé Patterson are both critically acclaimed and beloved by their fans for their distinct voices and style of songcraft.
Slingin’ Rhythm is just right, a finely honed, day-in-the-life brand of juke joint rhythm sitting in the sweet spot of American music invention between country, hillbilly, jazz and western swing.
The many touchstones (a gamut stretching from The Beach Boys and The Boswell Sisters, to Trip Shakespeare and Dr. Dog) were gathered on the shores of late night AM radio and get tossed at the listener with a giddiness that jumps outta the grooves.
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, turning heartbreak and divorce into an inspired soundtrack for picking up the pieces.
The album plays like the jukebox at the full service honky-tonk saloon, jazz club, Tin Pan Alley pitch house, and blues joint along the tracks. Get off at the Carrboro station.
Struggles between balance and outburst, infectious choruses fronting emotional torment are sung with a sneer, a spit, or a tenderness and openness that is both intensely personal and universally relatable. It is, as the title suggests, real.
Side A is a down home slice of Alabama jive, all syncopation and kazoo. It'll have you dancing around the bonfire, shoes off and your drink on...
A psychedelic soul mantra. Taken as a meditation, it stabilizes and focuses. There might be roaches in the kitchen, but there’s roaches in the ashtray, too.
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.
Fulks's storytelling through folk and bluegrass music on 'Upland Stories' delivers the quieter, sometimes unsettling truths of humanity.
With a body of work known for the indelicate and raucous, this may be their most deliberate and punchy yet—no one’s more dangerous than a man with nothing to lose. The title can be read two different ways, after all.
Oft performed, never recorded...here's a raw-kus collection of mutilated covers from the ample arsenal of the Wacos.
At once bluegrass, blues, folk, and country, it is also none of them. It is a product of two voices intertwined with one another for over three decades. It might be best summarized as Appalachian soul. Pure Freakwater