Get a FREE copy (*) of the 68th issue of our compilation series BLUE ROSE NUGGETS - just order 4 items through our mailorder and a copy of the BLUE ROSE NUGGETS will automatically included with your order.
(*) if living inside Europe only!




Leave A Scar:
Live In NC

2-CD € 13,90
CSNY 1974

CD € 13,90
Terms Of My

CD € 12,50
Special Offer!

CD € 14,40
LP € 19,90
Good Luck

CD € 14,90
LP € 18,90
Trouble No More
Live At Town Hall

CD € 14,90
LP € 22,90


New Blue Rose release:
TOM GILLAM - Last Night On Earth

Last Night On Earth

CD € 14,50
€ 27,90
Seven years ago, when Blue Rose Records introduced Americana rocker Tom Gillam to Europe with his fourth album Never Look Back, he was an unknown quantity. Since then, his status has changed drastically! Today, the multi-faceted and multi-talented Tom Gillam has become synonymous with handmade, quality Blue Rose material. He provides proof regularly - on tour in European clubs, be it solo, with his band, in duo settings with Todd Thibaud or Joseph Parsons or as a member of US Rails, - and, of course, with his album releases: seven solo records on Blue Rose since 2007 and four with US Rails.

Before, he had released three albums in the States: His 1998 debut First Of All, the follow up Dallas in 2001 and Shake My Hand in 2004. While his earlier output was clearly in the country/roots/Americana genre, he later broadened his horizons and steered toward a straighter rock direction a la Mellencamp, Hiatt, Walsh, Seger. After Never Look Back and the splendid live recording Play Loud, Dig Deep in 2008 he consolidated his status a year later with his next studio outing Had Enough? In the meantime the New-Jersey-born and Philadelphia-raised musician had moved to Texas and found a home in the creative hotbed of Austin. Around there he plays band gigs with Tractor Pull or solo shows and hosts a successful radio show on KNBT-FM, the much-loved station in the New Braunfels/San Antonio region. In "The Cosmic Power Hour" Tom cultivates his passion for 70s music by playing Poco, Ozark Mountain Daredevils, Outlaws, Byrds, Manassas, the Allmans and lesser known obscurities on Sunday night.

As his 2010 anthology Better Than The Rest with rare and early material indicated, Gillam has been leaning more towards a surprisingly relaxed, predominantly acoustic sound recently. Rustic Beauty marked a return to the 70s-inspired country & roots rock of his first albums. He seemed to reserve the harder rocking, electric, blues & rock'n'roll-drenched numbers and his exquisite slide guitar playing for the US Rails project. On his most recent studio album, Good For You with twelve new songs, he found the right balance of rough-edged midtempo numbers, snappy country rock and energetic numbers on the rock side of Americana!

For his solo tour of Germany in May 2014, Tom Gillam released his second live album. Whereas Play Loud, Dig Deep was a rocking affair, Last Night On Earth - Live, Acoustic & Relaxed is an all-acoustic release. The album was recorded in December 2013 at the Barrington Coffee House in New Jersey, its title comes from a song on Gillam's last studio album Good For You. The CD includes ten songs, a bunch of newer ones like "Till The Morning", "Hand Me Down Blues", "Goodbye Goodtime" and "Right Here Right Now" and some of his classics like "Outside The Lines", "Rainbow Girl" and "Where Is Bobby Gentry". On three songs of this atmospheric album, Gillam is backed by his US Rails colleagues Matt Muir (percussion, vocals) and Ben Arnold (piano, vocals).


Blue Rose Nuggets 68

CD € 5,00
oder kostenlos!
Once again we have almost reached the capacity of 80 minutes on a CD - the 68th issue of the Blue Rose mailorder-only available CD compilation series Blue Rose Nuggets contains seventeen songs with a total playing time of 78 minutes! Half of the CD tracks are taken from brandnew or not even available albums, including the new "family members" Los Lonely Boys, South Austin Moonlighters and NQ Arbuckle. Also new are the Wild Ponies and the Howlin' Brothers, the first two releases on the new label Continental Rose, a collaboration of Blue Rose and the Dutch company CRS. Will Kimbrough finishes the list of new artists with is new album Sideshow Love on the Swedish Rootsy label. The other half of the Nuggets CD contains songs from the hugh label catalog plus two previously unissued covers from Chris Burroughs with the Elvis Presley classic "His Latest Flame" and Reto Burrell with "I Want You To Want Me" from Cheap Trick.

For those of you who are not familiar with this special series: You can either buy it for just 5 Euros OR you'll get it for FREE if your order at our online mailorder includes 4 items or more - no matter how much the total amount of your order is.

1. LOS LONELY BOYS - There's Always Tomorrow / taken from the album Revelation
2. DANNY & DUSTY - Cast Iron Soul / taken from the album Cast Iron Soul
3. JESS KLEIN - Surrender / taken from the album Learning Faith
4. POCO - Hard Country / taken from the album All Fired Up
5. WILL KIMBROUGH - When Your Loving Comes Around / taken from the album Sideshow Love
6. GURF MORLIX - Diamonds To Dust / taken from the album Diamonds To Dust
7. MICKY & THE MOTORCARS - Hearts From Above / taken from the album Hearts From Above
8. DAN BAIRD & HOMEMADE SIN - Thousand Little Pieces / taken from the album Circus Life
9. THE HOWLIN' BROTHERS - Monroe / taken from the album Trouble
10. SUSAN COWSILL - Crescent City Sneaux / taken from the album Lighthouse
11. NQ ARBUCKLE - Back To Earth / taken from the album The Future Happens Anyway
12. THE RESENTMENTS - All Night Long / taken from the album Ghost Ship
13. MICHAEL HALL & THE WOODPECKERS - Lucky Too / taken from the album Lucky Too
14. CHRIS BURROUGHS - His Latest Flame / recorded live at the Red River Saloon in Heilbronn/Germany April 23, 1997 (previously unreleased)
15. SOUTH AUSTIN MOONLIGHTERS - 29 Miles / taken from the album Burn & Shine
16. WILD PONIES - Make You Mine / taken from the album Things That Used To Shine
17. RETO BURRELL - I Want You To Want Me / recorded live at the Take Root Festival at De Smelt in Assen/Netherlands October 5, 2002 (previously unreleased)





Welcome to the Blue Rose family:


CD € 14,50
2-LP € 24,90
With the LOS LONELY BOYS, Blue Rose have managed to sign a major act! For more than ten years, this trio of brothers with Mexican roots from San Angelo, Texas has been riding high on a wave of success. With their edgy mix of blues rock, Latin influences and classic Texas roadhouse rock, the band took the US charts by storm and won over millions of fans in countless live shows all over the world. They were Grammy-nominated a number of times and winners with their #1 hit single "Heaven". What started in dusty roadhouse bars has reached the highest echelon of success with platinum albums and awards. But despite these impressive stats and numbers - even more so considering their roots rock genre - the band have stayed grounded and rooted. Their new album Revelation reveals just that. Their fifth major studio album (not counting numerous live, Christmas or EP releases) - something of a comeback after a three-year hiatus - is the second one on their own label Lonely Tone and their European debut on Blue Rose!

Guitarist Henry, bassist JoJo and drummer Ringo Garza are three brothers who started out in the 90s in their father's backing band. When their move to Nashville with hopes of scoring a major label deal didn't pan out, they moved back to San Angelo, TX (located between Lubbock and San Antonio) and named themselves Los Lonely Boys. They recorded their first professional, eponymous album in 2003 in Willie Nelson's studio with well-known blues & roots producer John Porter. In 2004 it was licensed by the Epic label and sold two million copies. It was followed by Sacred (2006), Forgiven (2008) and the Christmas album Christmas Spirit (2008) as the last release on Epic. They continued on the family-owned indie label Lonely Tone: the EP 1969 featured covers from that year while Keep On Giving from 2010 was an excellent live acoustic record. Rockpango in early 2011 brought new elements to their established sound, enriching it with traces (and more) of Hip Hop, Rap, classical, soul and folk rock.

After a longer hiatus - caused in part by JoJo Garza's voice problems - the Los Lonely Boys are back on the scene with a scorcher of an album: Revelation! It is an eclectic, versatile album with a number of winning songs and a healthy dose of pop appeal. Producers Don Gehman (John Mellencamp, Blasters, R.E.M., Stephen Stills) - responsible for eight tracks - and Grammy winner Matthew Gerrard (four songs which he also co-wrote) may be partly responsible for that. Henry (lead guitar, acoustic, keyboards, vocals), JoJo (bass, acoustic guitar, vocals) and Ringo Garza (drums, percussion, electric guitar, vocals) have found a convincing mix of hard-edged blues rock inspired by Stevie Ray Vaughan/Johnny Winter/ZZ Top ('Don't Walk Away', 'Can't Slow Down', 'Rule The World'), latino rock hymns Santana-style ('It's Just My Heart Talkin') and Mavericks-inspired border pop with a dose of Los Lobos's ethno roots flavors ('Blame It On Love', 'Familia', Dream Away'). A horn section turns 'So Sensual' into a seductive, funky , brown-eyed soul number a la Earth, Wind & Fire, cello enriches 'The Greatest Ever', the album's slowest, most laid-back number with wonderful vocal harmonies and acoustic guitars.

The bulk of the album, however, is dominated by the Garza brothers' straight, dynamic trio rock'n'roll on this highly professional album that will undoubtedly find its way into the charts but will also satisfy their roots-oriented fans.


New release on Blue Rose:
JESS KLEIN - Learning Faith

Learning Faith

CD € 14,50
€ 27,90
Over a career that spans more than a decade and a half and has won her a devoted worldwide fan base, JESS KLEIN - who possesses what Mojo magazine calls "one of those voices you want to crawl up close to the speakers to listen to" and a knack for writing songs that the Cape Cod Times has described as "fully realized, finely observed and deeply felt"-has pursued a remarkable creative evolution that's seen her dig ever deeper for resonant emotional insights, while continuing to refine her eloquently melodic, effortlessly accessible songcraft. As the New York Times noted, Klein is an artist who "has country roots, but who pushes her songs toward philosophical thoughts."

Learning Faith - which marks Klein's third collaboration with veteran producer Mark "Professor Feathers" Addison - boasts ten personally-charged new originals that rank with her most compelling and illuminating work. Such bracing tunes as "Surrender," "So Fucking Cool," "Wish," "Long Way Down" and "If There's A God" (which she was inspired to write after protesting in support of State Senator Wendy Davis' pro-choice 2013 filibuster at the Texas state capitol building) embody the complementary mix of personal fearlessness and musical craftsmanship that define Klein's music.
"It felt a little different this time," the artist notes. "It was the first time that I ever went into a record really feeling that I'd paid my dues, and that now I'm just gonna do and say whatever I want. I finally feel like I really don't care what anybody thinks. That felt huge, and it felt really empowering. I felt comfortable going as dark as I could, and not feeling like I had to pull back from that."

"It's also the first time I've started a record with a concept and tried to follow it through," she explains. "After I wrote the song 'Learning Faith,' that started me thinking about writing a whole album of songs about the process of developing faith-faith in people, faith in the universe, faith in a higher power."
"Another thing that's different for me on this record," Klein continues, "is that I'm willing to admit that I don't have the answer. When you're starting out as a younger artist, you can getaway without being forced to look at yourself or ask why you're doing this, and what you can really offer. As you get older, it starts to feel more urgent, like 'OK, if I'm gonna drag myself all over the world singing these songs, I've got to get out of this what I came here to get.'"
Learning Faith's rich emotional and musical palette is consistent with the level of commitment that Jess Klein has always brought to her music. The Rochester, NY native taught herself to play her father's acoustic guitar in her teens, and began writing songs as a college student in Kingston, Jamaica. After graduation, she relocated to Boston, where she began performing locally and won acclaim for her self-released debut album Wishes Well Disguised. The attention helped to win her a deal with the Rykodisc label, for which she recorded the albums Draw Them Near and Strawberry Lover, which were warmly received by critics as well as Klein's growing audience. Klein's growing notoriety led to such milestones as an appearance on TV's Good Morning America, and a performance for an audience of 70,000 at Japan's Fuji Rock Festival.

By 2008, when she relocated to the independent-minded musical mecca of Austin, TX, Klein had parted ways with Rykodisc and returned to her D.I.Y. recording roots. She continued to stake out brave new lyrical and musical territory on such albums as 2006's City Garden, 2009's Bound to Love and 2012's Behind A Veil, while continuing to tour throughout North America, Europe and Japan. She also became a beloved presence on her adopted hometown's music scene, while collaborating with such fellow troubadours as Jon Dee Graham, Butch Hancock, Jimmie Dale Gilmore, Jimmy LaFave, Slaid Cleaves, Will Sexton, Ray Bonneville, Radney Foster, Randy Weeks, Matt the Electrician and John Fullbright.

"This can be a hard job, and it does require a certain amount of faith to continue doing it," Klein observes, adding, "There have been several points where I've questioned my career choice. But every time I've gotten close to feeling defeated, I've pulled myself back up and come out of it stronger. And the more times I choose to keep doing it, the stronger I feel about it, and the stronger I feel about reaching a little deeper and putting everything out on the table.
"When you're younger, you don't totally know who you are yet, and you're still trying to figure things out. Now I feel more at ease with who I am and why I do this. My motivation now for playing music is to connect with people, and to do that by connecting with myself, which is the hardest and scariest part."
"The reward," she concludes, "is those moments where all the other bullshit subsides and you have a total, pure connection with the audience, or with just one person. I feel so blessed to be able to have this connection with people that's based on something real. That's what I look for now."


Blue Rose proudly presents:

Continental Rose is a partnership of Blue Rose and the Dutch company CRS (Continental Record Services). CRS is well-known by roots music fans thanks to the Continental Song City label which features artists as Blue Rodeo, Elizabeth Cook, Jeffrey Foucault, Tom Freund, John Fullbright, Israel Nash Gripka, Pokey LaFarge, Zoe Muth or Carrie Rodriguez. Blue Rose and CRS have a longtime relationship already which was limited to licensing deals (Gripka) and offering their items through the Blue Rose mailorder. Now both companies get one step further with the launch of Continental Rose Records and the idea to join forces and to give artists a chance who are more or less unknown in Europe in each of the territories where the labels work best. Blue Rose is marketing Continental Rose releases in Germany, Austria and Switzerland.


The first two releases on Continental Rose are the Nashville, Tennessee based bands WILD PONIES and THE HOWLIN' BROTHERS, more to follow. We promise to bring you the same kind of outstanding and beyond the mainstream settled music as we do with Blue Rose for nearly twenty years!

Things That Used To Shine

CD € 14,50
This will be interesting! The WILD PONIES from Nashville are the first act and their debut album is the first release on the newly founded Continental Rose label. Continental Rose is a Dutch-German collaboration of two well-reputed labels, Continental Record Services (CRS) and Blue Rose. It's specifically aimed at promising, fresh acts from the Americana/singer-songwriter/roots field who may not be the biggest names yet but have a bright future in front of them. This is certainly the case with Wild Ponies. Their debut album Things That Used To Shine delivers on all fronts with quality songs and great musicianship.

Wild Ponies are the husband and wife duo Doug & Telisha Williams from Martinsville, Virginia in the Appalachians. For many years they performed as a folk duo and released two albums, Rope Around My Heart in 2006 and Ghost Of The Knoxville Girl in 2009. At some point, though, they were itching to escape the somewhat limiting folk-duo format for a wider-ranging Americana sound. They loaded up their van and left Virginia, motoring west until the car broke down - ideally - in East Nashville. Since 2011 the Williamses have been a part of the East Nashville musical community under their new moniker Wild Ponies. They established themselves quickly as a full-time band with local gigs and farther reaching shows and started writing material for their debut album in 2012.

Early in 2013 they started recording with five-time Grammy winner Ray Kennedy (Steve Earle, Lucinda Williams, Billy Joe Shaver, Todd Snider, Nanci Griffith, Reckless Kelly) as producer. In only three days they cut basic tracks for the album's twelve tunes. In the meantime drummer/percussionist Jake Winebrenner has become a band member and part of a swinging rhythm section with Telisha Williams on the upright bass. Doug Williams has graduated from acoustic to electric guitar and supplies competent, multi-layered licks. Together with Winebrenner and a host of well-known session players recruited by Ray Kennedy, the Wild Ponies move pretty far away from their folky roots to a rough-edged roots rock with elements of rockabilly, cry in your, neo-honky tonk and twangy country rock. Their trio sound is rounded out by Nashville veteran Russ Pahl who not only contributes his typical rocking pedal steel parts but also banjo and assorted guitars, fiddle phenom Casey Driessen, keyboarder Tom Barry and others.

Telisha Williams sings lead on most songs, usually co-written with her husband, with a voice at once bittersweet, mysterious and forceful, not unlike another Williams: Lucinda. You'll hear this on the opening track, the Crazy Horse-like rumble of 'Make You Mine'. It is followed by 'The Truth Is', a song that deals openly with her difficult childhood and the abuse she suffered from her stepfather. Scratchy electric guitars and a menacing pedal steel create a nightmarish noir atmosphere. Then there's the bloody revenge/ murder story of Trigger, a semi-acoustic, fiddle and steel-laced uptempo country rock number. A woman shoots her partner but you only find out why at the very end … many of the songs deal with heady topics like loss, rejection, violence but also new beginnings and hope. Some of this is autobiographical, some of it fueled by the mission to give voice to people on the flipside of the American Dream. This isn't easy listening.
But there's also the bouncy 7/8 rhythm of the album's title track with a classical husband/wife duet. 'Trouble Looks Good On You' is a strong acoustic honky tonk number. The stark, banjo & fiddle-driven alt.folk of 'Iris' and the bittersweet poetry of "Valentine's Day' with its moving duet vocals are other fine Americana tracks. 'Massey's Run' reminds us of the melodic insurgent country rock of the Old 97's and is Doug Williams's first solo vocal number. He also dominates the complex heartland/songwriter ballad 'Revival Wasteland' with exquisite solo turns by steel and lead guitar, fiddle and organ while Telisha steps up to the mic on the enchanting 'Want To Be Gone'. 'Broken', written about their car's "historic" breakdown and other incidents and accidents, is another duet.

But they're saving the best for last: In the six-minute long closing ballad with a powerful guitar, keyboard and pedal steel arrangement, a few desolate, drugged out characters receive 'Another Chance' - with heartfelt hallelujahs sung by Telisha and Doug Williams and their East Nashville friends Anne McCue, Siobhan Maher-Kennedy, Melissa Greener and Amelia White, the 'Bad Ass Gospel Choir'.

If you like Shovels & Rope, honeyhoney and the Civil Wars, if you remember Freakwater and the Handsome Family fondly, if you see the connection between Johnny Cash & June Carter, the Believers and the Mastersons, you will embrace the Wild Ponies and follow them on their exciting musical adventure.


CD € 14,50
THE HOWLIN' BROTHERS from Nashville are the second act to be released on Continental Rose. On Trouble, the surprisingly versatile trio presents itself as an energetic, intelligent acoustic roots combo, equally at home in small clubs and on big festival stages where they win over a growing number of fans as well as in the recording studio. Trouble may not sound like a leitmotif for fun and optimism, yet the album delivers an eclectic and adventurous mix of all imaginable Americana ingredients and is audibly driven by great talent, musicianship and the joy of making music. The Howlin' Brothers are not brothers by birth but certainly show remarkable understanding and mutual trust when playing together.

About ten years ago, they met as students in their hometown of Ithaca/New York. Back then, none of them could have imagined ending up playing this special brand of Southern roots music - Ian Craft was a drummer, Jared Green and Ben Plasse both played electric guitar in loud rock bands. The incentive to look at music in a different light came - motivated by the O Brother phenomenon - when they got into the music of folk & roots icons Doc Watson and John Hartford. In 2005 the trio moved south and started creating its own version of Alt.Americana within the freewheeling East Nashville community, drawing from bluegrass, Cajun, old time, country, blues, r&b, gospel, jazz, rockabilly, honkytonk, Dixieland and even reggae. And Craft turned out to be a multi-talented musician and instrumentalist moving from the drums to fiddle, mandolin and banjo. Green focuses mostly on acoustic guitar, piano and harmonica while Plasse usually plays standup bass. All three of them interweave lead & harmony vocals. The band independently released a few studio efforts during this phase of developing an original style: Tragic Mountain Songs (2007), Long Hard Year (2009) and Baker St. Blues (2011), these were followed by the live compilation Old Time All The Time (2012)..

The Howlin' Brothers achieved their national breakthrough in 2013 with their masterpiece Howl, produced by renowned indie rocker/producer/engineer Brendan Benson (Raconteurs, Jack White, etc.). Critics and prominent colleagues like Warren Haynes and Ricky Skaggs voiced their enthusiasm about their mix of uptempo originals that sounded like traditionals, actual traditionals and songs by John Hartford and Otis Smothers. The results were extremely entertaining and somewhat reminiscent of acts like Old Crow Medicine Show, Dirty River Boys, Pokey LaFarge, Bad Livers, Gourds, Black Twig Pickers, South Memphis String Band, Carolina Chocolate Drops.

After this success, the band wanted to work with Benson again. His pointers here and there, arrangement suggestions and ideas provide a red herring for the flow of the album and create an intense, captivating aura. No two songs sound alike and yet in the end they all fit together like the pieces of an elaborate puzzle. This time around, the entire album was written by the threesome even if some of the songs (again) sound like traditionals. Trouble is a lot like a Howlin' Brothers live show - everything thrown into the pot to achieve a simmering mixture. There's the dynamic opener 'Pour It Down' with its acoustic Sun Studio rock'n'roll sound with jug band and gospel ingredients. It's followed by Appalachian mountain string band music on 'Boogie', feverish, harp-drenched southern soul blues on 'Night & Day' and the Cajun-flavored 'Monroe' replete with fiddle, accordion and washboard. 'World Spinning Round' is stone country from the 50s with weeping steel guitar provided by Mike Fried (of Wylie & The Wild West) while the hauntingly-sung, piano-driven 'Troubled Waltz' combines honky tonk and gothic Americana. 'Sing A Sad Song' is lavishly orchestrated with VIP guest Ricky Skaggs' mandolin next to multi-part harmonies, acoustic & electric guitars, bass & drums. 'Pack Up Joe' is a banjo-driven bluegrass number Flatt & Scruggs-style. 'Love' is a modern "Americana reggae" number with plenty of percussion and a psychedelic electric guitar part. The bluegrassy 'Hard Times' features Ricky Skaggs again on mandolin. 'I Was Wrong' is a strong midtempo ballad relying on banjo, piano and an Avett Brothers-style call & response vocal. It is followed by the Cajun flavored road song 'Louisiana' and album closer 'Yes I Am' with its classic chain gang/gospel vocals.

The Howlin' Brothers not only demonstrate their versatility on Trouble, they also establish their standing as one of the most interesting string bands on the Americana scene today. Brendan Benson says they "live the life they sing about. They're obsessed with music and totally authentic." In short: The Howlin' Brothers are the real deal!




Live in

DVD € 15,00
Europe Live

CD € 15,90
2-LP € 18,90
Foot Hill Stomp

CD € 14,90
United States

CD € 14,90
Get Back

CD € 13,90
LP+CD € 16,90

CD € 15,50




Take Pride In
Your Long Odds

CD € 14,90

CD € 13,90
Holy Ghost

CD € 15,50

CD € 14,90

CD € 12,90
LP € 18,90
The Diving

Del.CD € 9,50
Special Offer!
Make My Head Sing

CD € 15,50

Changing Light

CD € 15,50
Songs From
The Road

2-CD € 16,90
Beauty & Ruin

CD € 13,90
LP € 18,90
World Of

CD € 15,90
Great Western

CD € 14,50
2-LP € 14,50
The Blues
Came Callin'

CD € 15,90
CD+DVD € 16,90
2-LP € 21,90

CD € 15,50
LP € 18,90


New Blue Rose release:

Resolution Road

CD € 14,50
LP+CD € 22,90
In the winter of 2008, Tim Easton (Nashville, TN), Leeroy Stagger (Lethbridge, AB), and Evan Phillips (Anchorage, AK) set up a recording studio in an Alaskan cabin. The three contemporary troubadours wanted to capture a sound that contained the smoke of the bonfire and the steady, honest manifesto of the front porch stomp. The result was a full length album, One For The Ditch, and the beginning of a new band, EASTON STAGGER PHILLIPS.

ESP released One For The Ditch in the fall of 2008, touring Alaska as well as Ireland and Europe. After the tour, the members went their separate ways, each of them focusing on their respective solo and band careers.

Four years passed, and even with their personal and professional lives getting busier by the year, the band decided it was time to make their sophomore album. Ideas and demos were exchanged, and a recording date was set. The new batch of songs would be a departure from One For The Ditch's low key feel, and the band made a commitment to push themselves, and each other, into new artistic territory.

Resolution Road is a genre-blending suitcase of 10 classic-sounding folk and rock songs. ESP's evolution from their first to second album is notable as Resolution Road features layered vocal harmonies, drums, electric bass, piano, organ, and electric guitars. The outcome is a very nuanced and tastefully produced set of tunes that takes listeners on a sonic road trip.

From the massive opening harmonies of Phillips' "Always Came Back To Me" through the road-worn vocal delivery of Stagger's "Life Of Crime" to Easton's poignant album closer "Baby Come Home", Resolution Road is the unexpected journey you take when combining the styles of three veteran songwriters.




Common Ground

CD € 14,90

CD € 15,50

CD € 15,90
Carter Girl

CD € 15,90

CD € 17,50

CD € 13,90
LP € 18,90
Invisible Hour

CD € 14,90

Gets Loaded

CD € 14,90
Let It Go

CD € 14,90
Stand Alone

CD € 14,90
Runaway's Diary

CD € 14,90
Silver Ladder

CD € 15,90
Hang Your Hopes
On A Crooked...

CD € 15,90

2-CD € 17,90

Ceaseless Sight

CD € 14,90
Sounds In...

CD € 14,90
Folk Singer
Vol. 1

CD € 14,90
Our Year

CD € 14,90
A Letter Home

CD € 13,90
LP € 18,90





CD € 13,90
CD+DVD € 17,50
Turn Blue

CD € 13,90
Tour de Force
Royal Albert Hall

2-CD € 15,90
3-LP € 25,90
Tour de Force

2-CD € 15,90
2-LP € 21,90
Tour de Force

2-CD € 15,90
3-LP € 25,90
Tour de Force
Shepherd's Bush

2-CD € 15,90
3-LP € 25,90
The Basics

LP € 26,90
The Cautionary
Tales Of...

CD € 13,90

Wine Dark Sea

CD € 15,50
A Special Life

CD € 14,90
Fresh Air

CD € 14,90
Indie Cindy

CD € 13,90
Goin' Home

CD € 15,90
Del.CD € 16,90
2-LP € 19,90

CD € 14,90
LP € 15,90
A Letter Home

LP € 18,90
Music Of Nashville
Season 2 Vol. 1

CD € 14,90


Old Sock

CD € 6,90
August And...
Live Town Hall

CD € 6,50
Selected Works

3-CD+DVD € 17,90
When I'm President

CD € 5,90
Coming Down

CD € 6,90
Analog Man

CD € 7,90


Welcome to the Blue Rose family:

Thieves Of Chicago

CD € 14,50
2-LP € 24,90
This great indie rock band has certainly made a name for itself in Germany and Europe. With their eighth album, THE GREAT CRUSADES from Chicago - who have been with Glitterhouse Records for many years - are becoming a part of the Blue Rose family. Thieves Of Chicago delivers straight rockers songs and a number of their patented dramatic ballads but also ventures into new territory with country and folk flavors and a simmering desert atmosphere. In May/June 2014, the Great Crusades are coming back over here as a well-reputed, exciting live act - it will be their 20th tour of Europe. Fans may look forward to a freshly renovated set with their first new songs in four years.

In 1997 the Great Crusades, founded by band leader, singer and lyricist Brian Krumm, released their debut album The First Spilled Drink Of The Evening. Krumm is a strong-voiced singer and convincing performer slightly reminiscent of Mark Lanegan, Nick Cave, Tito Larriva, Gary Floyd, John Kay, Joe Pena and Guy Kyser of Thin White Rope - an easily recognizable singer & storyteller. He plays guitar, harmonica, and a banjo here and there. Since moving from the Illinois hinterland to Chicago in the late 90s, he has been accompanied by guitarist/keyboarder Brian Leach, bassist Brian Hunt and drummer/keyboarder Christian Moder. Together they recorded the (Glitterhouse) albums Damaged Goods (2000), Never Go Home (02), Welcome To The Hiawatha Inn (04), Four Thirty (06), Keep Them Entertained (07) and Fiction To Shame (10) and now their Blue Rose debut Thieves Of Chicago. On some tracks they receive finely nuanced support from experienced Chicago studio players like Brian Wilkie (pedal steel), Jake Brookman (cello), Stephen Wright (trumpet), Curtis J.Brewer (guitar) and a female backing vocal group.

Opener 'This City Is A Shambles Tonight' with its mix of Mott The Hoople and Sister Double Happiness is an all-out rocker. It leads into the hypnotic desert feel of 'The Devil And All His Relations' - Calexico meets Tito & Tarantula with trumpets, castanets, Spanish guitars and electrified desert twang. 'Sometimes On Sunday Too' is a piece of storytelling folk rock in the Dylan/Lanegan/Cave tradition while 'Another Song About You' (with Hawaiian-sounding guitars) and 'Naked Arms' (with Krumm in the crooner role) are a return to desert rock a la Greyhound Soul and Thin White Rope. With 'The Right Way To Be Wrong' the Great Crusades raise their level of volume, electrification and punch. The song is a roaring blues rocker based on a riff that'll remind experienced listeners of Norman Greenbaum's 'Spirit In The Sky'. 'Why Did You Make Me Care' is the album's only cover, written by Beck (Hansen), a whiskey bar/sea shanty-type number (think 'Alabama Song' in the Doors' version) with a wonderfully "chaotic" arrangement of horns and steel guitar.

It's followed by the title track - slow and dramatic with cello, acoustic guitars and mesmerizing, slightly crazed talk-singing. 'Vandalia' is an homage to St. Louis, a former lover and Uncle Tupelo - midtempo country rock with beautiful pedal steel and casual vocal delivery by Krumm. After the straight, no-frills three-minute rock of 'Time Capsule' and the slow-burn pathos ballad of 'Cruel Joke', the album ends with two very different tracks. There's the aggressive, slide-guitar driven badass rock of 'Til The Needle On The Record Goes To Bed' - a hymn for vinyl lovers everywhere -, and the steel-drenched, slow country rock of 'Old Lovers, Old Friends' which indeed puts the (virtual) needle to bed after 50 minutes of new Crusades music.


Welcome to the Blue Rose family:

The Future Happens Anyway

CD € 14,50
2-LP+CD € 26,90
The originally named Canadian band NQ ARBUCKLE is one of the most esteemed purveyors of the (alt.) country rock/prairie rock genre. After a much-too-long hiatus of six years, the Toronto quintet surrounding band leader (and namesake) Neville Quinlan presents their fourth album. The Future Happens Anyway is their European debut on Blue Rose Records. Chock full of excellent song material, passionate playing and their leading man's strong vocal performances the album effortlessly follows its highly acclaimed precursors The Last Supper In A Cheap Town (2005) and XOK (2008) while also highlighting the band's development.

When speaking of the Canadian version of quintessentially American roots music based in country, folk, blues and rock'n'roll - often entitled CanAmericana -, Blue Rodeo, The Sadies or Blackie & The Rodeo Kings are often mentioned, as well the giants of Canadian music like The Band, Gordon Lightfoot or Neil Young. While NQ Arbuckle are one of the most beloved and respected bands of the genre in their native country (winner of numerous Juno awards), driving fans in droves to their soulful live shows or into record stores for their new album - outside of Canada they are still something of an insiders' tip.

Regardless of the musical excellence of bassist/producer John Dinsmore, brothers Peter (lead guitar & other string instruments) and Mark Kesper (drums) - who have been playing together for more than ten years now - and new pianist/keyboarder Jason Sniderman, frontman Neville Quinlan is the band's clear focal point. With his versatile, charismatic, raspy voice he can cover a lot of ground between Richard Buckner, Josh Ritter, Bruce Cockburn and Bruce Springsteen. He delivers thoughtful, desperate ballads as convincingly as driving, passionate rockers.

Constantly building story rock like 'Back To Earth', 'Death' and 'Hot Shot' are classic NQA material just like the country twang of 'Red Wine' or the shimmering prairie folk of 'Art O'Leary'. The yearning ballad 'I Wish That My Sadness Would Make You Change' is self-explanatory - with its exquisite harmony vocals and weeping pedal steel adding drama, it could be the break-up song of the year. There's not much solace to be found, either, in 'Panic Pure', a moving cover of one of the late great Vic Chestnutt's most important songs. Then again, 'Hospitals' and 'Life Boat' with their riff-rocking drive and blue collar attitude are clearly reminiscent of the E Street Band - both could be radio hits! 'Rotary Phone' is a great cinematic hymn with a rhythm section in The Band tradition and beautiful electric guitar stylings by Peter Kesper and guest Luke Doucet. 'The Civil War Is Over' sounds like Tom Joad-era Springsteen and 'Sleepy Wife', a dramatic, piano-dominated ballad ends the album on a half-hopeful note "lie is better than death."

Besides Luke Doucet and his wife Melissa McClelland (of the duo Whitehorse), there are other musical guests from Elliott Brood, Great Lake Swimmers, Wooden Sky contributing to this exquisite album which has come together over the last four years. NQ Arbuckle are back on the CanAmericana map!



CD € 14,50
LP € 17,90
More than four years after his last studio album Breather, Switzerland's outstanding blues & roots musician and Blue Rose artist HANK SHIZZOE finally presents his new album. There was good reason for this unusually long hiatus - for over two years Hank was a band member of Stephan Eicher, an international top star who fills large arenas and stadiums in France and Switzerland, reaches the top of the charts with every release and sells six or seven-digit figures of his albums. Shizzoe was not only Eicher's guitarist, their long-time collaboration proved fruitful for both parties. They wrote songs and developed ideas together and started collaborating in the studio. The result is Songsmith: A courageous opus magnum that breaks rules and crosses boundaries by being eclectic - it'll certainly be something to talk about in roots and open-minded music circles.

Hank Shizzoe has been one of the big names on the highest international level in terms of blues power, roots rock expertise and slide guitar craziness for two decades now. He has performed together with Sonny Landreth, Ali Farka Touré und David Lindley, has opened for Bob Dylan, ZZ Top, Bo Diddley and Charlie Musselwhite, is a part-time actor, music producer and always open to new ideas and projects. After six excellent releases on the internationally renowned blues label CrossCut Records, the man from Berne/Switzerland born as Thomas Erb, debuted on Blue Rose in 2007 with Headlines. This marked a move from the blues to the farther-reaching world of Americana with innovative songwriting and swampy Southern rock. Between two live releases in 2009 and 2011, Blue Rose released Breather - and now Songsmith.

The album's twelve tracks draw their intensity and tension from the friendly, respectful connection between Shizzoe and Eicher. The multi-lingual Swiss superstar who was successful in the late-Eighties with Grauzone in the popular German New Wave movement (NDW), experimented later on with rock, chanson, electronic, blues and folk and created his own highly successful amalgam thereof. Eicher produced the album, co-wrote eight of the songs and played guitars, bass, keyboards, percussion in addition to singing backing vocals and acting as "sound designer". Two musicians from his stable, soundtrack composer & keyboarder Reyn Ouwehand and Simon Baumann, an experienced Swiss drummer with a knack for electronica, also participated in the sessions. Hank Shizzoe, of course, is the primus inter pares with his prowess on many instruments (all kinds of acoustic and electric guitars, lap steel, ukulele, bouzouki, bass, piano, percussion) and his one-of-a-kind scratchy baritone voice. And, obviously, with his songwriting. The album title Songsmith was deliberately chosen, Shizzoe is extremely proud of this collection - rightfully so!

The album starts off with a bang: opener ‚Rocket Ship' is a dangerous brew of sci-fi/voodoo/swamp sounds with acoustic & electric slide guitars snaking around a riff and a stomping, electronic-fueled beat. It's followed by 'He Is Not', a thoughtful piano ballad with sparse acoustic guitar. 'I Talk Too Much' combines talk-singing with swelling keyboards and a beeping synthie backdrop. 'Light Up' is a beautiful chanson/folk ballad with acoustic guitars, bouzouki, lap steel - in duet with Shirley Grimes, an Irish singer-songwriter living in Berne (she already guested on Breather). 'Like In 1929' brings Tom Waits to mind with its bizarre cabaret/1920s party music backdrop and sarcastic lyrics that link 1929's Black Friday with today's economic crisis. In the album's center we find the title track 'Songsmith', a de-celerated songwriting blueprint, developing from a slow-mo atmosphere into playful guitar sounds. 'The Ghost Of Pain' presents a desert scenario like a Calexico-inspired road movie with twangy licks, weeping steel guitar and a Western touch to Shizzoe's sonorous voice. 'iTune (Song for Jony)' starts out as a ukulele miniature but moves into a deceptively happy singalong with built-in loops from the Eicher soundscape. 'Planned Obsolescence' is a melodic piece of roots pop with swinging drums, space sounds in the background and a rock'n'rolling lead guitar. 'Thanks To You' starts out reminiscent of Johnny Cash's American Recordings with acoustic guitar and a voiceover before keyboards and layers of guitars develop a lusher, levitating atmosphere. It is juxtaposed with a one-riff roots & blues rocker, 'Where I Come From' featuring Baptiste Gemser (from Eicher's band) on bass and Michael Fleury on trombone. 'I Sing' ends the album with music that could come from a silent movie or a circus, replete with furioso piano and organ.

In the end it's clearly Hank Shizzoe's most eclectic and diversified album so far: 12 songs and not one of them sounds like the other.

Both CD and vinyl contain a downloadcard for a free digital download of the album in high-resolution 24-bit/96 KHz PCM stereo quality to transfer to your computer (file size 1,3 GB). The 24-bit/96 KHz audio provides greater detail and reproduces the music's full dynamic range, from the softest to the loudest sounds.


Welcome to the Blue Rose family:

Rose Queen

CD € 14,50
LP € 19,90
With two critically esteemed album releases already under his belt, WILLIAM CLARK GREEN is back and this time it is getting personal. Give Green a pen and paper and he is a lyrical force to be reckoned with. On his critically acclaimed third release, Rose Queen, he is puts it all on the line and makes absolutely no apologies. "Songwriting is reality. People are scared to put reality on paper, but this is 10 times more reality than my past work," he explains bluntly. The past few years have been consumed with Green touring heavily in the booming Texas scene and persistently writing a plethora of songs that are pulled from true to life experiences. Green has adamantly pushed his boundaries as a writer revealing, "Songwriting is exactly what is in your heart, in my opinion, it is not about writing a hit. It is about revealing your heart and your feelings on the paper."

The music on Rose Queen ranges from the familiar Cajan flare he is known for on "Let's Go" to the highly reflective and introspective "Welcome to the Family." In the candidly honest lead single, "It's About Time," Will tackles the harsh reality that a significant relationship must end. He explains, "I think the new record will connect with a certain demographic of people who have been effected by something in their lives and therefore can identify with my stories."

Not only has Green raised the bar with his seasoned writing and musicianship, he also enlisted a team of powerhouses to mold his full package of artistry. Music industry veteran Rachel Loy was recruited to undertake producing the new record. Green declares, "I was sold on her in just 30 minutes. She installs confidence and challenges me to be better." Also, in the last year he signed with new management, 415 Entertainment, as well as landed a booking deal with Nashville's Paradigm Agency. For the first time, Green embraced the nature of co-writing and included 4 tracks of co-writes on the new album.

William Clark Green is definitely no stranger to the music scene; he knew at the ripe age of 13 that he would embrace his passion and work vigorously in order to make a name for himself. As a 7th grader with substantial ambition, he began receiving guitar lessons and spending free time with his cousin writing music and bouncing ideas off of one another. Green draws inspiration from his personal musical hero Willis Allan Ramsey, as well as his father who Green has fond memories of with a guitar in hand.

While attending college at Texas Tech University, Green played for a live audience whenever he could and steadily gained notoriety on the Texas music scene. He credits the Blue Light in Lubbock as his unofficial home, where he spent many nights honing on his craft and gaining a loyal army of followers.

Rose Queen has already marked a number of milestones for the young storyteller. The debut single, "It's About Time", was welcomed at radio with open arms and earned William's first Top Ten song on Texas Radio. The momentum did not stop there as his follow up single, "She Likes The Beatles," recently scored the #1 position on both the Texas Music Chart (TMC) and the Texas Regional Radio Report (TRRR) in seemingly the blink of an eye.

At this rate, the sky is the limit as everyone waits to see what William Clark Green has up his sleeve next.




In My Soul

CD € 14,90
LP € 16,90
Tarpaper Sky

CD € 13,50
LP € 18,90
Lion City

CD € 14,90
LP € 15,90
Live Amsterdam

2-CD € 16,90
2-DVD € 16,90
Blu-ray € 17,90
3-LP € 24,90
A Dotted Line

CD € 15,90
Till Midnight

CD € 14,90
Images 13

CD € 14,90


Chimes At Midnight and How Shall We Then Live?

CD+DVD € 18,50
- Shortly after beginning to record the songs for “How Shall We Then Live”, the idea of making a short film came to mind. I thought it would be interesting to have two separate mediums that complimented each other but also were autonomous, packaged together as one piece of art. “How Shall We Then Live” as an album was very short, only six songs. The idea for the film came from wanting to expand on the creative process itself, to show the strange alchemy that creating something brings about.

My main objective in doing this was to create a piece that focused on the mystery, beauty and romance of creating something in general, whether it be music, film, photography, painting, story-telling, etc. When we view or listen to art, we engage in some way in what another person has created. In this case, it was even more interesting to focus on the act of creating, something that continually is referred to as a “mystery.” Mysteries are becoming increasingly few but the act and chemistry of musicians playing together continues to mystify both the musicians and the listener. In fact, it enthralls them in a strange way.

I contacted J. Hawkins and Chip Tompkins to discuss my idea. They seemed to find it equally interesting and took the songs, and my initial ideas, to develop into a film. In about six months, we had a storyboard, a cast, a location and started to make the film itself.

The little town I live in was involved, local folks mixed with actors, musicians, painters, photographers, designers and other artists completed the cast. The result is something I’m proud of: It accomplishes what I wanted it to from an artistic perspective but also is not heavyhanded in forcing those ideas on the viewer. It does, however, focus on beauty, romance, story telling and imagination. I’m glad to share it with you. I hope you enjoy it.

- Steven Collins, Lockart, Tx, January 2014


Exodus Of The Deemed Unrighteous

CD € 14,50
LINCOLN DURHAM’s seamless Exodus of the Deemed Unrighteous scorches (“Sinner”) and seethes (“Strike Us Down”) with unwavering force. The singular songwriter’s new collection showcases a rapidly rising talent unquestionably coming into his own (“Ballad of a Prodigal Son”).

“We all wander through this shattered old world getting more glass in our feet,” Durham growls early on, “leaving bloody tracks everywhere we turn like a morbid hide-and-go-seek.” “I write the emotions that I’m feeling at the time,” he says. “This album was full of angst and anger and resentment, piss and vinegar. Exodus of the Deemed Unrighteous is a poetic way of saying I’m distancing myself from all the people I felt stabbed me in the back. This album is my release to the demons I was facing.”

His haunting backdrops simply speak volumes. Durham’s driving guttural beats backbone howling instrumentation throughout the album. The result: He effortlessly transcends genres with dark narratives as sharp as Steinbeck (“Rise in the River”) and poetic as Poe (“Beautifully Sewn, Violently Torn”). Durham’s thunderclap immediacy clearly shakes souls and turns heads.

“Lincoln plays guitar like a grown man,” legendary songwriter (and ace guitarist) James McMurtry says. “Like the howl of the wind and rumble of a thunderstorm,” echoes singular songwriter Hayes Carll, “Lincoln Durham's music is raw and real, the way it should be.”

Add: Swiftly evolving. Exodus of the Deemed Unrighteous doubles down on early influences (Townes Van Zandt, Muddy Waters) with even more eclectic resources (Nick Cave, Tom Waits). “I’m starting to change directions in my writing style and coming into my own,” Durham says. “I think I’ve found who I am musically and my voice. I’ve really adopted the one-man band thing and it’s caught legs.”

Witness his fiery and furious hurricane force live show. “I’m a one-man band but have a big, beefy full-band sound,” he says. “It’s loud, obnoxious and it’s not a show you’re gonna slow dance or fall in love to. It’s a lot of dark music for dark people, very electrified with the kick drum, floor tom, the snare, the fiddle, the banjo, a harmonica, a cigar box guitar. It’s a sideshow. Come out and see what you think.”




Blue Rose Nuggets 65

CD € 5,00
or free!
From 1996 through 2002 the now defunct radio station HOT-FM, based in Hof, Bavaria/Germany, ran a special show called "9 square meter sessions". Many Blue Rose artists made a stop at the station when on tour to record a few songs in the tiny studio. Two double CDs, both deleted for many years, have been released as Blue Rose HOT-FM Broadcasts in 1999 and 2001. This Blue Rose Nuggets edition contains snippets from the CDs plus never before issued recordings from the sessions.

For those of you who are not familiar with this special series: You can either buy it for just 5 Euros OR you'll get it for FREE if your order at our online mailorder includes 4 items or more - no matter how much the total amount of your order is.

1. CONTINENTAL DRIFTERS - Watermark / recorded May 7, 2000 (previously unreleased version)
2. ELLIOTT MURPHY - Been Up These Stairs Before / recorded April 26, 1999
3. CHRIS BURROUGHS - Way Of Life / recorded October 12, 1998
4. TODD McBRIDE - Somebody Else / recorded December 26, 1997
5. SHAKIN APOSTLES - Wild Wild West / recorded April 29, 1998
6. JULIAN DAWSON - Fragile As China / recorded March 5, 2001
7. RAINRAVENS - Wandering Heart / recorded November 28, 1997
8. RICH HOPKINS - Elizabeth Moy / recorded April 28, 1999 (previously unreleased)
9. THE SCHRAMMS - Out Of The Earth / recorded March 31, 2000
10. TRISH MURPHY - Concession Stand Song / recorded October 22, 1998
11. MARKUS RILL - An Eye For An Eye / recorded December 19, 1997
12. STEVE WYNN - Silver Lining / recorded January 30, 1998 (previously unreleased)
13. TODD THIBAUD - Cold / recorded April 9, 1999
14. BIG IN IOWA - Into The Mystic / recorded January 10, 2000
15. JOSEPH PARSONS - Boy Next Door / recorded April 26, 1999
16. RUSS TOLMAN - Monterey / recorded May 12, 1998 (previously unreleased)
17. MICHAEL HALL - Let's Take Some Drugs And Drive Around / recorded November 11, 2000








CD € 14,90
2-LP € 25,90
Let's Fly A Kite

CD € 15,90
Hard Working...

CD € 14,90
2-LP € 24,90
Lucinda Williams

CD € 16,50
LP € 20,90
Tales From The
Realm Of The...

CD € 15,50
LP € 17,90
Word Of Mouth

CD € 15,50
LP € 18,50

Have Fun With

CD € 15,90
LP € 17,90
Other World

CD € 16,50
LP € 25,90
A Day In

CD € 15,50
LP € 18,50
Black Beehive

CD € 14,90
Flesh & Blood

CD € 13,90
The Art Of

CD € 14,90


Welcome to the Blue Rose family:

How It Feels To Fly

CD € 14,50
2-LP+CD € 26,90
The "eternal sideman" DAVID GRISSOM has successfully been working on a solo career for a number of years now. With his 4th album, the exceptional Texan guitarist finally arrives where he belongs: on the Blue Rose label. With its roots/guitar/Americana roster, Blue Rose is the natural home for the Austin-based string wrangler and will contribute to his long-overdue breakthrough in Europe. How It Feels To Fly is the album title - and indeed, Grissom plays music that will elevate your spirits - be it at full volume in your home stereo or on stage. He will soon play his first headlining tour through German clubs!

John Mellencamp, Joe Ely, James McMurtry, Storyville, Charlie & Bruce Robison, Chris Knight, the Allman Brothers, Robben Ford, Ringo Starr, John Mayall, Buddy Guy, Chris Issak and the Dixie Chicks can't all be wrong. And those are only the most important cornerstones of Grissom's career. The guitarist is the go-to guy when a singer-songwriter wants to up the rock factor of their music. David Grissom has succeeded in creating his own sound and a stellar reputation based on his bone-dry Keith-inspired riffing and his signature no frills-lead guitar attacks. But amid his busy schedule as a sidekick he has never lost sight of his true dream which he has been making come true since 2008: writing his own songs, singing them with a surprisingly charismatic voice, recording and producing them at home (Spicewood Studios, Texas) and … obviously, putting his inimitable style of playing the guitar in focus! In 2008 he debuted with the aptly titled Loud Music, followed by 10,000 Feet in the spring of '09. The latter put a little more focus on the songwriting without, of course, neglecting his love for electric roots'n'roll and blues rock. In late 2011 Grissom continued his streak with the album Way Down Deep featuring six numbers - 3 songs and 3 instrumentals, all of them more than five minutes long.

How It Feels To Fly with twelve tracks and a running time of 63:25 minutes is a new full-length album full of David Grissom. It features eight brand-new songs recorded at Grissom's own Spicewood Studios located northwest of Austin, Tx., the other four songs (a full half-hour long) are live recordings from April 2013 at Austin's legendary Saxon Pub. Everything was recorded by the four-piece band without outside overdubs. The sole exception are some backing vocals from Kacy Crowley, Candi Sanders and singer-songwriter Drew Womack on the studio tracks (which, by the way, have the same power and attitude as the live tracks). Keyboarder/backing vocalist Stefano Intelisano (Honeybrowne, Danny Schmidt, Jesse Dayton), bassist Scott Nelson (Toni Price, Doyle Bramhall) and drummer Bryan Austin are the powerhouse band behind singer and guitarist extraordinaire David Grissom.

"Bringin' Sunday Mornin' To Saturday Night" is a riff-rocking, hooky blues rocker that gets the album started and every air guitarist in ecstasy. From the driving title track - which reminds us in its raw power of Tommy Keene and The Who - and the lively Southern roots rock of "Georgia Girl" we get to "Never Came Easy To Me", the first song featuring Grissom on acoustic guitar - before he adds a few master class electric guitar solos. The instrumental "Way Jose" is a typical Texas blues shuffle like all of Grissom's idols from Freddie King to Stevie Ray Vaughan used to play them - delivered first-rate with a beautiful organ excursion by Stefan Intelisano. Smack in the center of the album are the Americana numbers: The mostly acoustic roots rock ballad "Overnight" with beautiful harmonies by co-writer Kacy Crowley, the folk-blues rocker "Gift Of Desperation" and the Southern-soul-inspired "Satisfied" on which Grissom presents himself as a Texas storyteller with the ability to play a pristine acoustic solo and, again, gets excellent support from Crowley.

And from there on out Grissom (blues) rocks the album home in mindblowing fashion. First there's the Allman Brothers classic "Jessica" in an authentic 9-minute version including a Check Leavell-type solo by Intelisano, then there's two original numbers from the Way Down Deep CD: the title track (6:47) in a well-tempered shuffle rock version and "Flim Flam", a kickass Southern blues rock/jam/instrumental. The album ends with a heartfelt, powerful version of "Nasty Dogs & Funky Kings", originally by ZZ Top (Fandango, 1975) which are undoubtedly a major influence on David Grissom and his straight, uncompromising mix of rock'n'roll and blues. All of this makes How It Feels To Fly his masterpiece so far, a satisfying, hot mix of Southwest roots rock & blues.


Welcome back to the Blue Rose family:

Empire Bridges

CD € 14,50
For more than 15 years, popular US singer-songwriter JOSEPH PARSONS has been one of the most consistent pillars of the Blue Rose label. Most of his solo albums as well as his collaborative projects from Hardpan to US Rails have been released on Blue Rose. At the very top of the new year, he presents Empire Bridges, a brand-new, ambitious solo record. It is the likeable artist with the characteristic velvety baritone voice's 10th solo effort since 1995, a collaboration of his own label Meer Music and Blue Rose.

Joseph Parsons grew up in Philadelphia, lived in L.A., Boston, New York and Louisiana, and played on the streets of Barcelona and other European cities. In the early 90s, he settled in Philadelphia before his Blue Rose debut 5 a.m. was released to rave reviews in '98. It was followed by Joseph Parsons and Live In Europe in '99 which featured the highlights of his '99 band tour through Germany. In the fall of 2001, Joseph and his colleagues Chris Burroughs, Terry Lee Hale and Todd Thibaud started Hardpan. Their studio CD and the live double album remain some of the label's highlights in the last decade!

After a short stint in 4 Way Street - another all-star quartet with a CSNY slant - Parsons established himself as a first-rate songwriter with The Vagabond Tales (2005), The Fleury Sessions (2006) and Heavens Above (2008), all on Blue Rose. The tall blonde with the striking, expressive voice constantly wins over a broad spectrum of folk rock and Americana fans. This is also true of his recent shows as demonstrated on the 2-CD set Slaughterhouse Live released at the end of the last decade. His latest studio album Hope For Centuries (2011) was released on Joseph's own Meer Music label but in the summer, US Rails - another super group of four immensely talented singer-songwriters with Parsons, Ben Arnold, Tom Gillam, Scott Ricklin and drummer Matt Muir - released an album on Blue Rose.

Two and a half years have passed since Hope For Centuries but Joseph Parsons has been far from idle - quite the opposite, in fact. In addition to playing various shows, he recorded a second duo album with Todd Thibaud, two studio albums with US Rails and even reunited with Hardpan for the recent Blue Christmas party 2013. But the first quarter of 2014 will be dedicated exclusively to his solo work. In February and March he will take his longtime band out on an extended European tour to present his excellent new songs. And just in time for that tour, Empire Bridges is released!

Right from the start Joseph Parsons indulges in and perfects his well-known personal style with endlessly melodic melancholic ballads in semi-acoustic arrangements, uptempo roots pop numbers and driving, edgier midtempo folk rock tracks. This attractive mix is virtually irresistible with its stylish, eloquent and sophisticated sound and thoughtful, introspective lyrics - and it's also very fresh, young and dynamic: Joseph Parsons is back! And he's teamed up again with the band that has been supporting him for more than five years with American studio ace Ross Bellenoit on electric guitars and lap steel, the German rhythm section of Freddi Lubitz and drummer Sven Hansen. German songwriter/Parsons friend and studio crack Tom Albrecht added electric guitar and keyboard parts and mixed the album. Avantgarde/jazz/classical composer and arranger John Hodian from Philadelphia arranged some complex string parts while Parsons accompanies himself on acoustic guitar, plays organ and percussion. But of course, it's his inimitable singing that takes the spotlight.

Empire Bridges was recorded predominantly in Hilden/Germany and in Parsons' creative home near the Steinhuder Sea in Germany. The album's eleven tracks were all penned by Parsons and carry his mark in a diversified balance of ballads and melodic rockers. In his ambitious lyrics, the eloquent songwriter deals with our current society's sensibilities as well as with personal ones. At the heart of the album are topics like searching for truthfulness, striving for positive change and building bridges. Songs with self-explanatory titles like the opener "Seek The Truth", album closer "The Bridge" or "Live Like The King", "True", "Minefields", "Leave This Town" and "Endless Sky" may stand out, then again, the other songs have the same potential. The true favorites will emerge from the live performances on the upcoming tour!


The Gears EP

CD € 7,90
Keyword: Americana Rock. In a time when the lines between classic country, 70s rock, Alt.Americana and No Depression get blurred and at the same time commercial country is crossing over into rock & pop, it becomes increasingly difficult for a young band to stand out with original, identifiable, enduring material. SONS OF BILL from Charlottesville, Virginia manage to do so with ease.

After releasing the strong debut A Far Cry From Freedom in 2006, they put out two more at least equal albums, One Town Away and Sirens, both on Blue Rose.

To help pass the time until the new full length album is done and to promote the upcoming 5-week European tour in February/March 2014, the quintet, featuring the Wilson brothers James, Sam and Abe, is releasing a 7-song CD entitled The Gears EP. The 35 minutes running disc includes three brand new tracks from the forthcoming album Love & Logic, produced by ex-Wilco member Ken Coomer ("Brand New Paradigm", "Road To Canaan" and "Bad Dancer"), two live songs ("Turn It Up" from the digital-only available album With Kerosene Instead and "Unknown Legend", a Neil Young cover) plus two acoustic versions from the Sirens album, "Santa Ana Winds" and "Radio Can't Rewind".




Songs From The Movies

CD € 15,90
The River &
The Thread

CD € 14,90
Del.CD € 17,90

CD € 14,90
High Hopes

CD € 12,90
CD+DVD € 17,90
2-LP € 26,90
KGSR Broadcasts
Vol. 21

2-CD € 19,90



Welcome to the Blue Rose family:


CD € 14,50
The brand new Joe Nolan album, produced by Colin Linden.

Joe Nolan went back to Nashville in February, 2013 to record the follow up to the acclaimed album “Goodbye Cinderella”. Once again, Juno award winning producer Colin Linden was at the helm, with fellow Blackie and the Rodeo Kings members Tom Wilson, Gary Craig and John Dymond on board, as well as Marco Giovini (Robert Plant, Norah Jones) and John Whynot (engineer and keyboards) contributing as well.

Joe Nolan is on the cusp of a major breakthrough. The last recording put Joe on everyone’s radar and the new recording will put him in a leading role in the burgeoning roots music scene.

Year 2012 was a landmark year in the career of rising roots music artist, Joe Nolan. This Alberta based artist, just 22 years old, had released his album “Goodbye Cinderella”, in the fall of 2011. A trip to the Americana Music convention in Nashville secured a European licensing and distribution deal, and, he was also signed to the prestigious American booking agency, Mongrel Music. ??In 2012, Joe Nolan played 170 shows, including a very well received 24 show European tour. The “Goodbye Cinderella” disc garnered Joe a nomination as Best New / Emerging Artist at the Canadian Folk Music Awards and received banner reviews in Canada, Europe and the US. Joe toured extensively, playing clubs, festivals and theatres from coast to coast in Canada, the aforementioned European tour, and a handful of prestigious showcase dates in the US. He shared stages with Whitehorse, Deep Dark Woods, Amelia Curran, Kevin Breit, Blackie and the Rodeo Kings, Tom Wilson, Dan Mangan and more.

The Year We Tried To Kill The Pain

CD € 14,50
A welcome comeback from Bob Woodruff. The brand new album was recorded in Sweden and we get a mix of newe songs and re-recordings of some favorites from the past.

Bob Woodruff is a critically acclaimed songwriter and recording artist from NYC. He has recorded for various labels including, Restless/Enigma, Elektra/Asylum, Imprint and Interscope Records. More than a few top critics have stated that his albums are among the finest country-rock records ever released.

His songs, which meld R&B, Country and Rock, have attracted some of the most talented players in the world to his recording sessions and are sweetened by many Rock ‘n’ Roll and Country Music Hall of Famers including: Emmylou Harris, Benmont Tench (Tom Petty & the Heartbreakers), Gary Tallent (Bruce Springsteen and the E Street Band), Bernie Leadon (The Eagles), James Burton (Elvis), Glen D Hardin (Elvis), Marc Ford (Black Crowes), Sam Bush (New Grass Revival) and Pig Robbins to name only a few.

While Bob took some time to pursue other interests outside the music business for awhile, he is currently living in Los Angeles where he is writing songs and composing music for motion pictures, television and other recording artists. Bob is also playing live these days, backed up by a fab LA band, His Royal Giants and working on new material for his next album. Sound Asleep Records, a Swedish label, has recently released a recording session he did in Nashville several years ago entitled,“The Lost Kerosene Tapes 1999”. There’s also been some recent talk of re-releasing his debut CD, “Dreams & Saturday Nights” on vinyl.

“For my money his debut album, Dreams & Saturday Nights was the best country album released in the 90’s and one of the best recordings of that decade. This new CD The Year We Tried To Kill The Pain is like stumbling into something new by Elliott Smith, Nick Drake or Jeff Buckley. Only Woodruff isn’t dead, through no fault of his own. Healthy and in fine voice these days, the accompanying music played mostly by a group of fine Swedish musicians and a couple of superb players from the States including Benmont Tench finds him moving away from straight honky tonk and closer to a rootsy soulfulness that melds rock, R&B and country befitting these songs about love and loss, pain and redemption.”
- The Houston Chronicle

Because Of You

CD € 14,50
Chet O´Keefe’s brand new album Because Of You ranges from deep, dark and moving songs all the way to upbeat and light numbers. It fits on pretty much every occasion. The sound is very pleasant and easily approachable if you are just looking to lay your head on the shoulder of a beautiful country album, but it also has the quality and depth to really move you if you are ready to completely introduce your heart to a great singer-songwriter.

Peering out from behind a pair of black spectacles, beneath the brim of a dark hat, singer-songwriter Chet O’ Keefe watches the world turn ’round.

At first glance, he quietly radiates the aura of a mysterious, wandering nomad; a rootless troubadour; a Huckleberry Finn-meets-Bob Dylan-meets-John Prine. Upon observation, however, you realize there is a good reason why. When it comes to music, O’Keefe is as real as it gets.
“I got my first records when I was 6 years old,” he says. “They were The Moody Blues’ To Our Children’s Children’s Children,’ a self-titled John Edwards record, and Cat Stevens’ ‘Tea for the Tillerman.’ In 1998, in my early 30's, I won a songwriting contest put on by a Massachusetts radio station, and time in a professional recording studio was part of my prize, so I finally got to make a record of my own.” Since then, he now has three albums on the shelf: His debut record, “Four Wheel Low,” (1998), the 2012 release, “Gamebird” and the brand new ”Because Of You”.

Asked about his musical influences, and he thoughtfully begins to list names. “Albert King, Albert Collins, Roy Buchanan,” he responds. “A lot of those old guitar players influenced my musicianship.” This is becomes obvious when he, on occasion, transforms from smooth songsmith to razor sharp guitar slinger, wielding his signature turquoise telecaster, hand-built by a friend over 20 years ago. “But as I started becoming more interested in crafting songs, not just playing guitar,” he continues, ”I began to turn to guys like John Prine, Guy Clark, Townes Van Zandt, and Bob Dylan.”



Desert Skies

CD € 15,90
What A Dream...

CD € 13,90

CD € 16,50

CD € 14,90
Opening Day

CD € 15,90
This Train

CD € 12,90
Prayer Of
The Woods

CD € 14,90
This World Oft
Can Be

CD € 14,90

I'm A Stranger

CD € 15,90
Silver Bell

CD € 14,90
Wild Animals

CD € 12,90

CD € 14,90
The Spirit And
The Spine

CD € 13,90
Excitement At
Your Feet

CD € 15,90
Old Time

CD € 13,90
Might Crash!

CD € 16,50


CD € 12,90
LP € 18,50
Big Big World

CD € 15,90
OLD 97's &
Old 97's And...

EP-CD € 9,50

CD € 15,90
The Why And
The What For

CD € 13,90
Fellow Travelers

CD € 15,90

CD € 14,90
Cluck Ol' Hen

CD € 13,90

Someting About

CD € 14,90
Blur The Line

CD € 14,90
Live At First Ave

CD+DVD € 15,90
LP+DVD € 19,50
Pioneer Lane

CD € 13,90
Fool Moon

CD € 12,90
Wild Feathers

CD € 13,90
Willie Sugarcapps

CD € 14,90
LP € 18,50
Inside Llewyn
Davis (O.S.T.)

CD € 16,50





Some Old, Some New, Maybe A Cover Or Two

2-CD € 14,90
Texas native, Southern rock/alt-country singer CODY CANADA (former lead singer of Cross Canadian Ragweed) is releasing Some Old, Some New, A Cover Or Two, a solo acoustic album on Nov. 19. It was recorded this past summer at Third Coast Music in Port Aransas, Texas. The 19-track, 2-disc album, includes songs from his own bands, past and present, along with a few covers. Cody shares a number of behind-the-scenes stories about the songs and the song makers. His bantering with the live audience is interesting to hear.

The album will be in stock around Novewmber 20th. We collect all the pre-orders and ship once the album is available.


Say Grace

CD € 17,90
B-Sides And
Confessions Vol. 2

CD € 14,90
I'll Find A Way

CD € 14,90

CD € 13,90

CD € 14,90
Exodus Of The
Deemed Unrighteous

CD € 14,90
Rose Queen

CD € 14,90
Let's Be Still

CD € 14,50

Build Me Up
From Bones

CD € 14,90
Before The Sun
Comes Up

CD € 13,90
Mountains Of Sorrow
Rivers Of Song

CD € 14,90
Del.CD € 17,90
Among The Grey

CD € 15,90
Rain Plans

CD € 12,50
LP € 14,90
Tin Star

CD € 13,90
High Life

CD € 13,90
Celebrates 50
Years Of Music

CD+DVD € 21,90


CD € 13,90
Won't Be Long Now

CD € 15,90
New Constellation

CD € 14,50

CD € 14,90

CD € 11,90



Welcome to Blue Rose:

In Our Nature

CD € 14,50
2-LP € 27,90
26 years after the release of their first album, BLUE RODEO prove that their creativity continues to bloom as they announce a plethora of information regarding the release of their 13th studio album, titled In Our Nature. The striking artwork adorning the cover is a hand drawn painting created by Jud Haynes.

In Our Nature was produced by Blue Rodeo, primarily at Greg Keelor’s farm studio, Lost Cause. While at Keelor’s farm, the band had each musician set up and perform in separate rooms around the house giving the record a very warm and communal character.

“Recording at Greg’s farm was key to the groove of this record,” says Jim Cuddy. “I was a little unsure at the beginning whether it was a good idea to encamp at Greg’s as we have a great studio downtown [The Woodshed]. But by the time we got comfortable at Greg’s, after a few days, it was obvious that being in his farmhouse and being surrounded by the great outdoors was having such a positive effect on the collective spirit. It was very unifying.”

Blue Rodeo has been previewing new songs live for their fans during recent tour dates while selected recordings from the album have been posted on

“Doing a lot of touring while making this record helped a lot,” says Greg Keelor. “Everybody was getting along and the band was playing well together. I think it’s a good crop of songs and everyone just played it right and they played it beautifully.”

With the addition of guitarist/singer Colin Cripps to the Blue Rodeo line-up, the band is now a seven piece; Jim Cuddy (vocals/guitar), Greg Keelor (vocals/guitar), Bazil Donovan (bass), Glenn Milchem (drums/vocals), Bob Egan (guitar/pedal steel, mandolin), Mike Boguski (keyboards), Colin Cripps (guitar / vocals).

Also available from Blue Rodeo at our webshop:


Welcome to Blue Rose:

Behind The Veil

CD € 14,50
2-LP € 24,90
For over a decade, JESS KLEIN's gutsy "tell it like it is" folk pop has been embraced by tastemakers from Tokyo to London, from Australia to her new home state of Texas.

Graced with one of the most enviable voices in Americana music - that's her singing harmony on John Fullbright's Grammy-nominated album From the Ground Up, Jess is equally at ease with a sultry whisper or a rock'n'roll wail. MOJO Magazine writes "Jess Klein has one of those voices you want to crawl up close to the speakers to listen to." The NY Times describes her songwriting as having "stranger, more personal things to say than one could get away with most of the time in Nashville." And No Depression's Lee Zimmerman calls Klein's latest release Behind A Veil "An excellent album - a career-maker in fact." In fact, Klein has released eight critically acclaimed albums of her own and toured the globe, sharing the stage with such greats as Arlo Guthrie, Steve Earle, Jimmy Dale Gilmore, Shawn Colvin, Radney Foster and Alejandro Escovedo.

Klein has grown into her Texas surroundings easily. No stranger to culture shock, the Rochester, New York native first picked up the guitar and started writing songs while living as a student in Kingston, Jamaica in her late teens. After returning to the states, Klein moved to Boston and began performing locally, releasing her first album, Wishes Well Disguised independently. After winning the Telluride Troubadour Songwriting Contest, and garnering several Boston Music Award nominations, she was spotted and signed to Rykodisc. Her first release for the label, Draw Them Near, launched Klein on a worldwide tour that saw her wow 70,000 attendees at Japan's Fuji Rock Festival. Soon after, Klein joined the songwriter collective Voices on the Verge, along with Erin McKeown, Rose Polenzani, and Beth Amsel. The foursome was featured on Good Morning America performing Klein's song "Little White Dove" and brought sold out crowds in small theaters across the U.S. to their feet nightly with their blend of harmonies and eclectic styles.

After a move to NYC, Klein recorded her second solo effort for Ryko, Strawberry Lover (2005), which debuted as the No. 1 most added album at triple A radio a week before its release and garnered four stars from MOJO, as well as having the title track named one of the "Top Ten Sexiest Songs of the Moment" by the NY Daily News. Draw Them Near, Strawberry Lover and 2006's City Garden would capture the attention of critics and fans worldwide.

Always searching for new adventure and inspiration, Klein relocated to Austin, Texas in 2008, where she quickly embraced the music of her new home. In between tours, which included a stint in Ireland supporting folk legend Arlo Guthrie, Klein found time to collaborate with some of Austin's most talented artists: Jon Dee Graham, Randy Weeks, Radney Foster, Jimmy LaFave, Slaid Cleeves, Matt the Electrician, Drew Womack, Josh Abbott, Stoney LaRue, Butch Hancock, Jimmie Dale Gilmore, Will Sexton, Ray Bonneville and Oklahoma-based John Fullbright.

Behind a Veil marks Klein's second album with Austin based producer Mark Addison, the first being 2009's critically acclaimed Bound to Love. In Bound to Love, Klein keenly embraced the dusty roots of Texas songwriters while reveling in her new surroundings. Behind a Veil goes deeper, chronicling her feelings during a particularly hard year; the loss of her father after a 5 year battle with ALS, a split with a long-time lover, and the self-empowering decision to move forward with no record label.

Jess explains: "You never really know what the big picture is to a situation - sometimes the meaning is veiled. It can seem really bad, but then later you can look back at the same moment and feel so grateful it went that way; I love that about life. Sometimes things are just really hard and really painful, but also beautiful."

On Behind a Veil, Jess writes honestly and courageously about the conflicting emotions of love, loss, joy and pain. But even in the most delicate passages you can hear the triumph in her voice.

With each purchase of Behind A Veil we include a downloadcard for an exclusive free digital copy of Jess' new six-song EP, Shy Girl (for a limited time only, offer expires November 30, 2013).


Stories They Tell

2-CD € 14,50
OWEN TEMPLE is certainly one of the finest Texas troubadours of the younger generation. Stories They Tell is the remarkable followup to the critically acclaimed Mountain Home, Temple's Blue Rose debut from two years ago - along with a short tour - won him many fans on this side of the Atlantic. For Stories They Tell Temple wrote eleven songs about people in the Southwest: keen observations and in-depth characterizations conveyed through intelligent, evocative lyrics. Owent Temple is more a folk singer in the tradition of Townes van Zandt than a country artist. Stories They Tell is an excellent Americana album, fresh out of Texas in 2013!

Temple is a dyed-in-the-wool Texan, almost always recording with local musicians in Austin, TX. After his early releases General Store (1997) and Passing Through, he recorded Right Here And Now (2002) in Nashville, a one-off experience. After a hiatus, Two Thousand Miles followed in 2007. Dollars And Dimes from 2009 was his first album to gain international recognition, reaching #1 on the Euro-Americana chart. Then came Mountain Home!

Gabriel (Gabe) Rhodes was the producer and main sideman of these last two albums and continues his winning streak with Stories They Tell. He plays intricate licks on acoustic guitar and contributes slide guitar, mandolin and at times organ and accordion. Country rock veteran Tommy Spurlock (pedal steel, dobro) and Owen Temple's live rhythm section round out the studio band. Colin Brooks (ex-Band Of Heathens) and Jamie Wilson (The Trishas) add beautiful harmonies. If you're looking for an honest and edgy yet to professional state of the art Texan Americana sound, you'll find it here.

Stories They Tell employs Texas philosophy to explore the topic of time and how we use it. In Temple's own words, these eleven songs create a context for the things mankind has created in the last 10,000 Years and yet manages to put into question again and again. Needless to say, terrific songs like opener "Looking For Signs", the swampy, slide-driven "Make Something" and the steel-drenched ballad "Man For All Seasons" work just fine for themselves without this big picture approach. In "Cities Of Gold", a wistful border song, the narrator is looking for his el dorado, in "Hometown" for his roots and in "Johnson Grass" he tells us about the desolate veteran life of his once-so-vibrant father. "Six Nations Caledonia" is a folk song describing the dreary fate that befell the Native Americans in the Canadian Grand River Reserve.

Stories They Tell comes in a "Limited Collector's 2-CD Edition". The bonus disc contains a live recording from Austin's legendary Saxon Pub from March 17, 2012. Owen Temple and his band played an acoustic storyteller set with great introductions and strong songs from the Mountain Home album.

Stories They Tell is available through our mailorder now, in fine selected record stores across Europe from mid October.


Welcome back to Blue Rose:

Long Night Moon

CD € 14,50
2-LP € 25,90
RECKLESS KELLY - this high-caliber, Austin, TX-based Americana/country rock band's name is as familiar to the Blue Rose Records fan base as if they had been releasing albums on the label for years. Musically, they are a natural fit, in December 2012 the Willy Braun-led quintet performed a blistering set at the Blue Rose Christmas Party and their brother band Micky & The Motorcars has indeed become a torch bearer for the label's red dirt/country department. But Reckless Kelly have in fact only released their 2010 album Somewhere In Time on Blue Rose. Now their new album Long Night Moon is a new addition!

Long Night Moon is Reckless Kelly's tenth release since they started out in the mid-90s. Back then, they were an insider's tip in the ever-lively Austin scene, releasing three early albums before the turn of the century. Their breakthrough came with the fantastic Under The Table & Above The Sun on Sugar Hill Records in 2003. Reckless Kelly had arrived on the modern roots music scene and seemed to provide the missing link between classic country rock, Poco or Nitty Gritty DirtBand style, and the singer-songwriter movement of Steve Earle and Buddy Miller. Wicked Twisted Road in 2005 featured more ballads with Texas & Celtic folk influences contrasted with hard-rocking, Southern boogie-infused numbers. Up until then they were five-time winners of the "Best roots & country rock band in Austin" award. In 2006 the double live CD & DVD set Reckless Kelly Was Here was the last release in their fruitful Sugar Hill era.

The band was ready to take the next step and signed with the internationally active Yep Roc label. Bulletproof was a polarizing album in 2008 with its Americana-friendly rock'n'roll attitude and the anti-war, patriotic hit "American Blood". In 2010, Somewhere In Time was a concept album and an about-face in terms of style and content. After the testosterone-driven power roots rock-phase, the band returned to their country rock roots. All the songs were written by Pinto Bennett, an old friend of the Braun family. This was Blue Rose's first effort to establish Reckless Kelly on this side of the Atlantic. Unfortunately, Yep Roc's policy made it impossible to license the magnificent 2011 follow-up Good Luck & True Love. But our paths cross again and 2013 offers another opportunity for Blue Rose and Reckless Kelly to collaborate on an album release.

Late Night Moon is an inspired album on all levels, conveying an overview of this excellent band's range and the strengths of all their previous albums while allowing for new ground to be discovered. There has been a personnel change: Founding member Chris Schelske on bass has been replaced by Joe Miller, previously of Back Porch Mary. Willy Braun, the band's charismatic frontman, songwriter, lead singer, and guitarist, and his brother Cody Braun (fiddle, mandolin, tenor guitar, percussion, harmony vocal) are the emotional and spiritual backbone of the band. Experienced drummer Jay Nazz is also a founding member, lead guitarist & lap steeler David Abeyta has been in the band since 2000. Prominent members of the Texas scene like pedal steel ace Lloyd Maines, keyboarder Bukka Allen and Jeff Plankenhorn of The Resentments on electric dobro guest on the album.

Long Night Moon offers a diversified set with a clever arc of suspense derived from twang-rocking roots'n'roll numbers, moving ballads, and casual, free-flowing backporch country rock. The opening title track is a slow burning song with a dramatic buildup of David Abeyta's lead guitar and Cody Braun's fiddle. "Real Cool Hand" brings their well-known uptempo country rock with an excellent mix of acoustic & electric guitar, strong organ and a great hook. It is followed by the predominantly acoustic "Irish Goodbye", a moving ballad with fiddle and steel guitar. Willy Braun's ballads are generally shrouded in melancholia, dealing with topics like "Lost Love", aimlessness, saying farewell, traveling without getting anywhere and a unique definition of home. In "Be My Friend (In Real Life)" Braun tackles the topic of social networks and appreciates true friendships. This "anti-Facebook" song is a simmering rocker with loud drums, swinging electric guitar and storytelling verses. The acoustic Texas folk of "Didn't Mean To Break Your Heart" is another song from that mold, gathering drive with guitar, fiddle and harmonica before David Abeyta turns up the electric guitar.

"Every Step Of The Way" and "I Can't Stand It" are faster songs with confident vocals, meaty electric guitars and a driving rhythm section. "The Only Home I've Ever Known" is a mix of Irish Waltz and honky tonk with special ingredients from Jeff Plankenhorn's dobro, Cody Braun's fiddle and David Abeyta's nervous electric guitar licks. Strong melodies and harmonies dominate "The Girl I Knew": Reckless Kelly on a Westcoast trip replete with jingle-jangle guitars, pedal steel and an Eagles-inspired sound. From the short intro-y and soundtrack-y instrumental "Long Night Moon (Reprise)" we get to "Idaho", a monumental song. Despite having settled in Texas, the Braun family's roots lie in Idaho. "And I'm on the road, I'm bound for home, back to what I know, back to Idaho", they sing in this beautiful song full of longing and yearning.

While "Idaho" is the regular album closer, the Blue Rose edition offers an exclusive bonus track for European listeners: "Any Direction From Her" is not available anywhere else!

Long Night Moon will be available through our mailorder from October 4, in stores across Europe from mid October.


Life And Soul -
A Retrospective

€ 23,50
JULIAN DAWSON has now been active as a musician and songwriter, in Europe and the USA, for almost forty years, breaking away occasionally from live performance long enough to make a few recordings. The current count stands at twenty-one solo albums (three of them compilations), as well as numerous guest appearances as singer, session player (with his signature harmonica) or as producer.

The distinctive melodic and lyrical features of his writing have been well served over the years by a production style that's gratifyingly uncluttered - and he has always surrounded himself with outstanding musicians.

While many artists tend to find a successful formula and stick to it, Julian's career has been a constant journey of re-invention, with influences drawn from British folk, raw blues, classic country and sixties pop music. From his beginnings in the UK pub-rock environment, the mid-eighties saw a move to experimental German rock band Can's Inner Space studio near Cologne, where he recorded two fine albums (As Real As Disneyland and Luckiest Man In The Western World) for Polydor.

A first visit to Nashville in the early-nineties led to many successful co-writes and to the recording of two entirely different sounding albums (Fragile As China and Headlines), produced by E Street Band bass-player Garry Tallent, and featuring a host of local talents.
Trips to America then became a regular part of his life and two New York-based albums followed (How Human Hearts Behave and Travel On), featuring collaborations with like-minded colleagues such as Dan Penn, Nicky Hopkins and Lucinda Williams.

All these diverse productions are represented here and those already familiar with Julian Dawson's albums or live concerts will relish this anthology. It gathers together some of his finest work, combining long unavailable tracks with never before released rarities and demos.

Personally I can't think of another artist with a career path eclectic enough to comfortably include brushes with avant-garde performers Can, jazz with Toots Thielemans, country with Vince Gill and the Louvin Brothers, soul with Dan Penn and Lucinda Williams, rock with Gene Parsons and Little Feat, folk-rock with Richard Thompson, Iain Matthews and the Roches and a peppering of legendary performers the calibre of Duane Eddy to round things off.

The unifying thread to his still vibrant musical life remains the songs, the singing and a deep love of performing. Here's a look back at some of the highlights…

Geoff Wall - Musicologist and publisher, July 2013

Life And Soul - A Retrospective 1982-1995 comes as a gorgeous 3 CD set containing 56 songs in a box. CD 3 features sixteen rare and unissued tracks. All three CDs are in a slipcard, the box also contains a 40 page booklet with liner notes and detailed song information as recording date, musicians and short stories. The icing on the cake are numerous photos from Julian's private archives.


Sunday Morning Record

CD € 14,50
LP+CD € 17,90
Beloved Austin Americana combo confronts changes and conquers new musical territory with upcoming album

In the course of their evolution from loose assemblage to world-class rock 'n' roll outfit, THE BAND OF HEATHENS has built a potent body of recorded work that's won the Austin, Texas ensemble a reputation as one of its hometown's most vital musical resources. They've won a fiercely loyal fan base and a reputation as one of America's hardest-working touring acts, while revealing a musical and lyrical depth that consistently enriches the band's infectious songcraft.

Sunday Morning Record, the band's fourth studio album (and eighth overall), marks a milestone in the resilient outfit's development, capturing the musicians' remarkable creative chemistry along with the deepening melodic and emotional resonance in the songwriting of founding singer-guitarists Ed Jurdi and Gordy Quist. The 11-song set, produced by Austin studio vets and longtime BOH collaborators George Reiff and Steve Christensen, is the product of an intense period of change within and around the group.
"Sunday Morning Record was born in the midst of change," agrees Quist. "Life changes, lineup changes, geographic changes. It was a rollercoaster of a year, but that change served the album well and became our muse."
"We set out to make a record that chronicled the journey of the band through a really difficult and uncertain time," Jurdi states. "In the midst of all of this, Gordy and I were writing songs, starting families, moving families and trying to find a thread to hold onto with our music."

The musicians' journey is documented with insight, humor and empathy on such compelling new tunes as "Shotgun," "Caroline Williams," "Miss My Life," "Girl With Indigo Eyes" and "Records in Bed," which embody the catchy tunes and punchy performances for which BOH is known, while showcasing the subtlety and introspection that have become increasingly prominent in the band's work, with an added emphasis on the acoustic textures that have long been present in their arsenal.
"I really think that this is the most personal group of songs we've ever released," asserts Quist. "We had over 30 to choose from, and they were written while we were pondering some major life changes and digging to find the essence of what the band is."

Sunday Morning Record also benefits from the powerful rapport between founding members Jurdi and Quist, longtime keyboardist Trevor Nealon, and the most recent addition to the band, Richard Millsap on drums.
"We closed the circle smaller around us," Jurdi notes. "We worked at George Reiff's house and kept the vibe as relaxed as possible. We worked fast, cutting a song a day. We worked in the moment, creating songs during the session, changing others, and eliminating the ones that didn't fit."

The qualities that make Sunday Morning Record so compelling have been built into The Band Of Heathens from its origins in 2005. It was then that Jurdi, Quist and Colin Brooks - all of whom had already issued solo albums and were working separately as singer-songwriters around Austin - joined forces after informally sitting in on one another's sets at the now-defunct West 6th Street club Momo's.

The like-minded tunesmiths soon forged a long-term collaboration, and the aggregation became a full-fledged rock 'n' roll band.

The Band Of Heathens' imposing reputation as a live act was reflected in their decision to launch their recording career with a pair of live albums, 2006's Live From Momo's and 2007's CD/DVD Live at Antone's. 2008 saw the release of their eponymous first studio effort, produced by iconic Texas troubadour Ray Wylie Hubbard. That album won widespread fan approval and copious critical acclaim, as did 2009's One Foot in the Ether, which, like its predecessor, reached the #1 slot on the national Americana charts. Also in 2009, the band gained substantial TV exposure, performing live sets on PBS' Austin City Limits and the legendary German music show Rockpalast, as well as being honored as Best New Band at the Austin Music Awards.

In 2011, the Band of Heathens' third studio album Top Hat Crown and the Clapmaster's Son became the group's most expansive and adventurous statement to date, expanding their sound with a dose of psychedelic sensibility. It was followed by the two-CD/two-DVD set Double Down: Live in Denver, which once again spotlighted the band's mastery as a live unit.

Later in 2011, the Band of Heathens experienced its first major personnel shakeup, with Brooks deciding to move on to new projects, founding member and bassist Seth Whitney and drummer John Chipman soon exiting as well. Jurdi and Quist reorganized with keyboardist Trevor Nealon, a longtime friend of Gordy's who had joined in 2009, and new drummer Richard Millsap, who had been recommended by his predecessor Chipman, along with a revolving assortment of bassists. The retooled lineup proved its mettle through some diligent road-testing before getting to work on Sunday Morning Record.

Meanwhile, other changes were afoot, with Gordy and his wife preparing for the birth of their first child, while Ed was in the process of relocating his family to Asheville, North Carolina. The longtime bandmates both agree that the finished results on Sunday Morning Record justify the extra effort that went into the album's creation.
"This record's a bit on the quieter side dynamically, but I feel like it's sharper around the corners, both lyrically and musically," adds Jurdi. "I think people see us as a rock 'n' roll band, which we are. But for us, a lot of the best stuff we've done is our quieter stuff, and we did more of that on this record. The further into life you get, the more you realize that life isn't black and white, and that there are millions of shades of grey in between. And as we become better songwriters and better musicians, I think we're better able to explore those grey areas a little more."

Sunday Morning Record's more intimate focus is also reflected in the album's title, which was inspired by a line in "Records in Bed" and nods to the value of escaping from the noise of everyday life in order to absorb music, art and life in a more personal and immediate way.
"It seems like it's gotten harder and harder for people to turn off the constant stream of information and distractions and just lose themselves in art for a little while," says Quist. "Now we're connected to everything in the world at all times, and maybe that makes our lives richer in some ways. But I think that there's also a richness that we miss out on, of just being present in the now and experiencing the world directly. I hope this album moves people to turn off the noise of life for a morning to connect with themselves and with some friends through our music."

"I'm interested to see how these songs are received when we take them out on the road, because I think that they may make people think differently about the band," Jurdi concludes. "In all of the chaos surrounding us, music has been a refuge from all of the madness. We chronicled our trip through a strange, weird and intense time. You can hear it all here: the joy, the heartache, the disappointment, the longing and ultimately the resolution that this band has found to continue to make albums and perform shows together."


Welcome to Blue Rose:

The Long Haul

CD € 14,50
2-LP € 24,90
One of the freshest and stylistically most authentic No Depression/alt. country rock albums of the season comes to us straight from … no, not Austin, Minneapolis, Portland, Raleigh or Louisville but from Edinburgh in Scotland. It's true, you need to see the passports of these guys to believe their origin - that's how American the WYNNTOWN MARSHALS sound with their brew of 70s country rock, poppy guitar rock with an 80s tinge and today's Americana. The title of their second album The Long Haul allows for different interpretations. The airplane on the cover alludes to a long-distance flight - and the band's music definitely draws from across the Atlantic ocean! But the band also has come a long way full of hard work and is now - after being around for six years - reaping the rewards. The Wynntown Marshals have arrived at the top of fans' and critics' estimations and they continue their winning streak with the release of The Long Haul on Blue Rose Records - the peak of their career so far.

In 2007, the Wynntown Marshals took the baton from the Sundowns, one of the strongest, Americana-oriented folk-rock bands in Scotland in the mid-2000s. Their eponymous 6-song debut EP from 2008 already featured bandleader, songwriter, guitarist & lead singer Keith Benzie and his throaty, ragged, likeable voice reminiscent of Sid Griffin, Jeff Tweedy and Ryan Adams as well as his songs ranging from melancholia to driving rock. Iain Barbour (electric lead guitar), Simon Ritson (bass, mandolin) and drummer Keith Jones completed the original line-up, and Iain Sloan guested on pedal steel. It was followed in May 2010 by the much-lauded full-length debut Westerner which earned praise in many well-reputed media outlets (Maverick, Heaven, Americana UK, No Depression). The album's eleven strong songs more clearly ventured into country-rock territory ranging from the Flying Burrito Brothers to Son Volt with a dose of Stones and Tom-Pettyish powerpop ingredients. Co-producer Graham Deas (KT Tunstall, Super Furry Animals) and Iain Sloan - now a fully-fledged band member - helped enhance the band's guitar-driven sound.

Additionally, the Wynntown Marshals acquired an excellent reputation as a live band in those years. In 2008 they toured the UK opening for Chuck Prophet and shared the stage with Marty Stuart, Tift Merritt, Richmond Fontaine and Jason & The Scorchers. The time after Westerner was a particularly fast-moving period. In addition to their incessant touring, the band was booked for radio shows on BBC Radio 2, BBC Radio Scotland, in the Benelux states, in Germany and for the legendary Dutch "2 Meter Sessies". They also began to work on new songs. This challenging schedule resulted in some personnel changes in the rhythm section and with original guitarist Barbour leaving the band. In the end, a new quartet formed around band boss Keith Benzie and guitarist Iain Sloan with new members Murdoch MacLeod (bass, backing vocals), and Kenny McCabe (drums, backing vocals), with keyboardist Richie Noble recently added to augment the live line-up. In 2012 they started their first recording session in their own studio in Edinburgh and now they're presenting the result - The Long Haul - in all its glory.

Produced, recorded and mixed by Andrew Taylor, who also contributed keyboards, mandolin, banjo and percussion, the album is a huge leap forward. The somewhat dusty 90s sound of Westerner has been replaced by a contemporary Americana rock production with Iain Sloan's carefully layered guitars and - brand-new for the Marshals - first-class, intricate, three-part harmonies. Musically, they do not veer too far from their previous sound but the country part of the country rock equation is less pronounced while a new fresh, dynamic DIY aesthetic comes to the fore. Some fans might be surprised by some of the ballads: the Eagles-inspired, idling "Whatever It Takes", the all-acoustic, piano and string-duo accompanied "Curtain Call" or the album-closing "Change Of Heart", a challenging, epic, 6-minute song with pedal steel, strings and backing vocals from Dolly Varden's Diane Christensen. This sounds like Harvest-era Neil Young meets Tumbleweed Connection-era Elton John.

Still, the album is identified by its uptempo songs like the enthusiastic opener "Driveaway" (with a "Life In The Fast Lane" reference in the chorus), the Byrds-like, Rickenbacker-driven "Canada" and the central number "Tide" with its Wilcoesque twin guitars, a sluggish Crazy Horse-beat and CSN-inspired harmonies. It comes as no surprise that a number of Wynntown Marshals songs touch upon traveling and a yen to see someplace new, figuratively or literally - "Low Country Comedown" with its charming Jayhawks-style is a fine example of this. It's the going, not the getting there, it's the roll in rock'n'roll that matters - the Wynntown Marshals are in it for The Long Haul.


Ghost Ship

CD € 14,50
2-LP € 24,90
Ghost Ship - it's true, the legendary RESENTMENTS from Austin, Tx. are releasing a brand-new studio album! That alone is a major development after everything the Americana/roots super group has been through in the last few years. The Resentments have undergone personnel changes, taken in fresh influences and slightly modified their musical style while preserving the integrity and calibre of their musical brand. The band still performs every Sunday at the Saxon Pub in South Austin - with some new members and plenty of new songs - but their spirit and attitude haven't changed: They're having fun playing music together, are staying real, showing emotion and great musicianship. Ghost Ship is the first release of the "new" Resentments and it shows that they have managed to capture this positive, professional attitude in the studio once again.

In the early 2000s Stephen Bruton, Scrappy Jud Newcomb, Jon Dee Graham and Bruce Hughes (early on with drummer Mambo John Treanor, after his premature death in August 2001 with John Chipman) started loosely getting together to put a fun ending to weekends with some well-informed fans & friends. In the beginning, no one figured this would lead to an extensive discography - available on Blue Rose Records - and numerous live tours through half of Europe. It all started in 2002 with the live album Sunday Night Line Up followed by the studio albums The Resentments (04), Switcheroo (05), On My Way To See You (06) and Roselight (09). In December 2012 Blue Rose released the substantial live package Welcome To Our Living Room. This live recording from the Stuttgart Laboratorium in December 2006 was the last missing piece of the puzzle for The Resentments, Mark I. They would never play together again in this formation.

Jon Dee Graham (True Believers, Alejandro Escovedo, John Doe, Calvin Russell) was the first to leave in early 2007 to focus on his solo career. He has by now released eight solo albums. The Resentments continued as a four-piece - under complicated circumstances. Stephen Bruton (guitarist, session player and solo artist extraordinaire, sideman to Kris Kristofferson since the 70s, Bonnie Raitt, Bob Dylan and others) was diagnosed with throat cancer and had to undergo treatment. In the summer 0f 2008 he played his last concert, he passed on in May 2009. Nothing would've been more natural than disbanding the band at this point. Scrappy Jud Newcomb (ex-Loose Diamonds, session guitarist and solo act), Bruce Hughes (ex-Poi Dog Pondering, Ugly Americans and Bob Schneider's bass player & guitarist) and John Chipman (played with the popular Band Of Heathens until 2012) were all independent, sought-after musicians. But they all felt indebted to Stephen Bruton and the Resentments legacy and in late 2009 replaced him with two musicians who fit the all-star requirements.

They were already playing some of string-wizard, songwriter and singer Jeff Plankenhorn's songs so when he moved from Nashville to Austin with his mentor Ray Wylie Hubbard, he was a natural addition. Plank (Hubbard, Eliza Gilkyson, Hayes Carll, Slaid Cleaves) is a proponent of the band's country, folk, roots and Americana stylings which Bruton and Graham had represented. With guitars, dobro, lap steel and mandolin he adds beautiful colors to the Resentments' palette. The other newbie is Miles Zuniga, former head of the power pop/rock trio Fastball (1996-2009) who landed a hit in 1998 with "The Way". He writes sophisticated, Beatles-influenced pop songs sprinkled with rock, power pop, glam pop, guitar rock and a little Americana. Zuniga has a strong, original voice and alternates between acoustic & electric guitars, keyboards & bass.

Giving all of its members equal time in the spotlight has always been part of the band's concept and this is also true of Ghost Ship. Bruce Hughes is the front runner, followed by Jud Newcomb, Miles Zuniga and Jeff Plankenhorn and then the whole spiel starts again. Thus, it's a diversified ride from Hughes' rhythmic and dynamic opener "Nothing I Can Do" to Plankenhorn's rootsy, dobro & mandolin-accompanied ballad "Time Won't Heal". In-between there's "Space Between" an acoustic rocker sung by Newcomb in his trademark raspy voice. His "Lookout Mountain", a first-rate melancholy ballad, also has what it takes to become a Resentments classic. Zuniga has not only learned from the Beatles (as "Love Ain't Through With You" shows), he also stands out like a young David Crosby on the album's title track with its subtle electric guitar parts. The other Plankenhorn numbers also deserve to be mentioned, "Trouble Find Me" and "Mystified", a co-write with Ellis Paul and Eliza Gilkyson. Plank is certainly the Americana guy within this band which takes a rejuvenated course towards acoustic pop. The Resentments can not only rock the Saxon Pub, every music club of the world will open their doors for them. Ghost Ship will be the key!


Live Labor

CD € 14,50
€ 29,90
AD VANDERVEEN, currently the Netherlands' most distinguished songwriter in the Americana genre, is serving his fans with a big heaping helping of music these days. His successful album Driven By A Dream, filled to the brim with strong songs, has spawned two live records not even a year after its October 2012 release. On the heels of a Dutch radio channel's solo acoustic recording Live At Crossroads comes the rocking, full band companion piece on Blue Rose Records. Recorded at Scheune Wredenhagen in March 2013, Live Labor is a scorcher of an album presenting rock'n'roll, hand-crafted in a labor of love by the popular Dutchman with transatlantic roots.

Ad Vanderveen was born in 1956 in Hilversum/Netherlands but half of his family hails from Canada. And obviously, those are the genes and influences that dominate his musical output. Since the early 90s he's been touring the middle European club scene and later on the world. Today he is one of the few European musicians that would fit right in on the American songwriter scene along with Hank Shizzoe, Markus Rill, Iain Matthews - all of them Blue Rose artists. Ad Vanderveen is an open, communicative guy who enjoys collaborating with others. On his 20 albums and in uncountable live shows he has worked with high caliber artists like Eric Andersen, David Olney, Al Kooper, Herman Brood and Eliza Gilkyson. In recent years he has worked in a duo with his girlfriend, talented singer Kersten de Ligny, while from time to time reviving the Iain Ad Venture (with Iain Matthews). And then there's his longtime backing band The O'Neils always ready to rock and rumble on full-band studio recordings or live shows.

Ten years ago Blue Rose began working with Ad Vanderveen on his breakthrough album The Moment That Matters. In a latent on-and-off relationship mutual projects like Still Now (2008), Cloud Of Unknowing (2009) and Days Of The Greats (2011) and recently Driven By A Dream (2012) are certainly among the high points of the versatile artist's discography. Live Labor presents the Dutch singer/songwriter and his live band as co-conspirators who are enjoying playing together and who certainly know how to please an audience. The new songs are being presented with a rougher edge but still stay within the acoustic/electric folk rock realm while some older Vanderveen classics evolve into elaborate ten-minute jams.

Comparisons to Neil Young & Crazy Horse are unavoidable, once again. Ad has had to live with comparisons to his idol since the very beginning. He has certainly long established himself as an original artist thanks to his excellent songs and yet his vocal and guitar-playing are undeniably reminiscent of the Canadian legend, especially in collaboration with his longtime backing band. They carry their O'Neils name with dignity and tongue in cheek and collaborate with Vanderveen in electrifying Zuma meets Ragged Glory fashion. Timon Van Heerdt is an excellently sympathetic guitarist, Martijn Van Donk (bass, backing vocals) and Roel Overduin (drums) provide the rhythmic foundation and Kersten deLigny privedes beautiful harmony vocals as well as some keyboards and percussion. Vanderveen once again proves himself to be a masterful guitarist working up a storm on electric or gently accompanying himself on acoustic.

AD VANDERVEEN & THE O'NEILS played an intelligent mix of younger and older material on March 31, 2013 at Scheune Wredenhagen. The concert's first half is dominated by Driven By A Dream's strong songs 'Time Has Told', Wouldn't That Be A Shame', 'Will And Testament' and the title track. A neat acoustic twang version of 'Days Of The Greats' complements the folk-rock part of the show before it's time to rock. 'Water Under The Bridge' (12:43) is a slow burner a la 'Cortez The Killer', 'Well Of Wonder' (10:43) morphs from an acoustic song into a desert rocker of epic proportions, 'Soul Power' (9:54) sounds like a jam session of Neil Young and Rich Hopkins with sheer endless noodling - beautiful! And the end point is an entirely new song. 'The Abyss' (10:00) creeps up on you with edgy rock and is a testament to the band's tightness and Ad Vanderveen's class as a great singer. Live Labor is a convincing performance of more than 72 minutes.

01.08. präsentiert:

Holy Ghost Power

CD € 14,50
Louisiana musicians often blend zealous religious lyrics with the most raucous, rowdy accompaniment. From Ferriday’s rocking Jerry Lee Lewis and his preacher cousin Jimmy Swaggart, to the funky gospel guitarists Elder Utah Smith of New Orleans, and Reverend Charlie Jackson, of Baton Rouge -- to name but a few -- Louisiana music has long straddled that fine line between Saturday night blow-outs and Sunday morning reflection. The latest band to joyously explore this passionate roots-music border zone is the Lafayette-based MERCY BROTHERS -- as heard on their exuberant debut CD Holy Ghost Power. Formed in 2011 by veteran musicians Kevin Sekhani, Mark Meaux and Garland Theriot, the Mercy Brothers blend the spiritual fervor of an old-time tent revival with the rambunctious feel of a rural roadhouse -- combining the best elements of celestial and honky-tonk heaven. This unique holy hubbub hybrid, and a reputation for electrifying live shows that inspire impassioned sing-alongs, has won the band a loyal -- dare we day devout -- following. In 2012 they tore it up at both the Festival Internationale de la Louisiane and Festivals Acadien et Créole in Lafayette, and at New Orleans’ coolest new club, Chickie Wah-Wah, garnering glowing press from the Times of Acadiana and the New Orleans Times-Picayune, and starting a buzz in music circles around the nation. While the uptempo energy of Mercy Brothers’ country-tinged rocking songs can virtually make the lame walk again, the band’s original lyrics look beyond earthly pleasures to consider deeper issues:
“When you feel downtrodden and you think He don't care, Get some Holy Ghost power
And your looking for an answer so very clear, Get some Holy Ghost power
When you just can't put that bottle down, Get some Holy Ghost Power!!
Just pick your ass up off the ground, With some Holy Ghost power!”

Jesus is mentioned often in the Mercy Brothers’ lyrics. But the Mercy Brothers are not a Born Again band, nor proselytes for any one certain denomination; instead, the band takes the pulpit right to the people with songs of faith and devotion, love and despair, and tales of the spirit from high and low sides alike. What’s more, they do so with deliberate, intriguing ambiguity. As Mark Meaux explains, “Basically we're tapping into the tradition of the struggle for the spirit that produced Jerry Lee Lewis and Jimmy Swaggart. We're not basing it on any religious philosophy per se, but drawing on the shared cultural language of gospel music and televangelist hucksterism and the earliest rock and roll. It's good versus evil, and sincere expression versus show business, all swirled together, so it’s open to interpretation. There’s an inherent carnie aspect balanced with total sincerity. At the end of the day, it’s all rooted in respect. We’re not mocking anybody, whether it’s the hipster atheist or the Evangelical folks. Kevin truly inhabits the role of a preacher, the band walks a line, and we let the audience draw their own conclusions.” The Mercy Brothers also extend a gospel music tradition of bringing salvation to the heathens, so to speak, by performing in secular venues where alcohol is served. The venerable gospel group the Blind Boys of Alabama once faced criticism for this approach -- some gospel artists simply won’t do it -- but, as founding member Jimmy Carter explained “One of the best things that happened to us was going into the nightclubs. We have had people throw their drinks away when they heard our message. All the smoke and every¬thing is worth it if we can get one man to even think about a changed life."

The Mercy Brothers don’t go quite so far as advocating total abstinence -- they encourage two-step dancers rather than twelve-step programs -- but, like the Blind Boys, they do want to make their audience think about redemption:
“I wake up in the middle of the day
Head full of doubt and vision full of pain
I wake up having traded my soul
For a taste of the flesh and some
Calf made of gold
I wake up in the middle of crying
Just looking for love, though a heart that's dying
I wake up I wake up
Time to get right now with Jesus
Get right now with the lord
Get right now with Jesus
And your soul will be lost no more”

Lead singer Kevin Sekhani and lead guitarist Mark Meaux write almost all of the Mercy Brothers’ original material. Both come to the band with decades of professional experience in both Lafayette and Austin, the best known result of which is the quarter-century run of the Cajun-punk band The Bluerunners, which Meaux founded in 1987. Keyboardist Garland Theriot, who contributes mightily to the band’s arrangements, grew up near Lafayette listening to everything --- rock, country, Cajun music, zydeco, blues, funk, and more -- but “it was the gospel I listened to as a kid that led me to play piano.” Sekhani, Meaux, and Theriot are anchored by the mighty rhythm section of bassist Matt Thornton and Dave Nezat, who hold down the sanctified groove.


Truth Be Sold

CD € 14,50
2-LP € 24,90
Heartland rocker LEEROY STAGGER from Canada is an extremely productive and creative musician. A mere year-and-a-half after his much-lauded and award-winning Radiant Land album he surprises us with his next bull's eye-hit. Although the band is not credited on the cover this time around, there's a lot of team spirit on this album. Truth Be Sold is the title of this excellent, his 8th studio oeuvre and a real statement album. It brings us a look back on his earlier, more rock, sometimes even punk approach - through the eyes of the matured songwriter he is now. Truth Be Sold rocks - in music and lyrics. "Alt. Country World Punk Music" is what Leeroy Stagger calls this mix of eleven convincing tracks - and hits the bull's eye again.

Leeroy Stagger has been a member of the Blue Rose family for five years now, first as a member of the ESP trio whose wonderful, mellow album One For The Ditch was a hit in 2008. ESP (aka Easton Stagger Phillips) was a friendly collaboration, a bit of pure, unplanned magic from longtime Blue Rose artist Tim Easton, Whipsaws bandleader Evan Phillips from Alaska, and Leeroy Stagger who had already gained a reputation as a singer/songwriter with a rootsy country-rocking sound with four albums between 2004 and 2007. His Blue Rose debut Everything Is Real in 2009 marked another step forward in terms of professionalism and earned Stagger comparisons to genre greats like Steve Earle, Tom Petty, Paul Westerberg, John Mellencamp, Ryan Adams, Chris Knight or Son Volt's Jay Farrar.

This of course didn't stop him from carving out his own CanAmericana/prairie rock niche with generous helpings of classic country rock, hooky guitar pop, heartland rock, alt. country, rough roadhouse rock and semi-acoustic songwriter-y folk rock with honest, hard-hitting lyrics which often deal with politics gone awry or social issues on a global or individual scale. Little Victories in 2010 was similarly structured with songs about life's little lies and everyday troubles but also about the charm of living in a prairie town. By then, Stagger had moved from the Westcoast metropolis of Vancouver to the Canadian hinterland of Lethbridge in the province of Alberta. In early 2012 it was time for Leeroy Stagger And His Band. The idea to Radiant Land came out of a two-month tour of the US in the summer of 2011 with drummer Nick Stecz, Stagger (guitars, vocals) and Evan Uschenko (guitar, bass, backing vocals). Under the auspices of experienced producer Robin Eaton the trio recorded what Stagger called his best material to date.
For Truth Be Sold Stagger teamed up with another well-known producer: Steve Berlin of Los Lobos! For the wolves he is like an extra band member - he has also helmed sessions for Chuck Prophet, Dave Alvin, Tragically Hip, Katy Moffatt, Stephen Fearing, the Paladins, Buckwheat Zydeco, String Cheese Incident, Raul Malo, Michelle Shocked, Leftover Salmon, Fabulous Thunderbirds. Leeroy Stagger now joins these ranks. The two of them became fast friends and were on the same page as to how Truth Be Sold was supposed to sound: rough-hewn, direct and predominantly rock. The opener "Memo" makes the listener think that heavy metal might follow the song's opening licks. But (luckily) the Canadian's well-known voice comes on just then. The next song "Goodnight Berlin" brings more drum-bashing and guitar-cranking - it's a joy to hear. "Celebrity" is the first of a number of ballads, describing the pros & cons of celebrity worship. "Cities On Fire" is a typical Stagger message song built around a hypnotic, repeating, dry rocking riff.

It's followed by a little relief for the listener's ears: "Break My Heart" is a pedal steel weeper (provided by Bryan Daste of Scotland Barr & The Slow Drags) that finds its way straight to the heart. The upbeat country rock of "ESP" delivers a fine No Depression atmosphere and talks about the aforementioned Easter Stagger Phillips project. The slow waltz of "Sold Down The River" is not the only song dealing with the monotony of life on the road - it's a fine example of how the trio of Stagger, Uschenko & Stecz has found its groove.

In fact, Stagger has included both of them on every song's writing credits! After the country rock of "Mister", "Have A Heart" gets rowdy with fuzz guitar and garage boogie before "Jackie", a Whiskeytown-esque number, closes the album beautifully.


The Whipsaws

CD € 14,50
2-LP € 24,90
The glorious, musically satisfying comeback of a band that was just about to break through to a wider audience a few years ago when their lead singer Evan Phillips was taken out of commission and live performance for seven months because of an obstinate injury. We're talking about THE WHIPSAWS, a hopeful combo from Anchorage, Alaska, a region that has so far not been known for its plethora of talent in the Americana/ genre. After Phillips's recovery, the band got back together, played some shows, wrote new songs and recorded this album. It's not an accident that the album is self-titled like debuts usually are. This is a second coming. No question: The Whipsaws is a success, it ties in with their earlier output and yet it's a reboot - Alaska is back to claim its place on the map of rock'n'roll!

Anchorage, Alaska? We've all heard of these special places in the States that heroes like the Drive-By Truckers, Bottle Rockets, Son Volt, Whiskeytown, Blue Mountain & co. come from: Athens, St.Louis, Raleigh, Oxford or simply Austin, Nashville and Memphis are towns with a certain guitar flavor to them. The Whipsaws have no ties to these places, they have developed their sound independently and grown into an original, distinguished band in their remote corner of the USA. 2008 was the first time they left their home, working as backing band for Tim Easton, touring all across the USA and leaving quite a mark, particularly at SXSW in Austin. None other than Lucinda Williams was full of praise for the band after they shared a gig at Antone's. Blue Rose Records were equally blown away and took the opportunity to sign the Whipsaws practically right from the stage.

A prudent investment: 60 Watt Avenue was exactly the second album people had been hoping for from a band that had made a lot of insider's ears perk up with their locally released debut Ten Day Bender. Critics called them the "Bottle Rockets of Alaska" or "the Drive-By Truckers of Anchorage". Or rather: Fantastic music that sounds like it came from south of the Mason-Dixon line but must have found their way up north. Ten Day Bender was proof they were able to deliver that kind of music, 60 Watt Avenue demonstrated a development to a higher level of songwriting and production quality while maintaining their edge and guitar-driven aesthetic.

Then came the above-mentioned compulsory break - while band leader, songwriter, lead singer & guitarist Evan Phillips had to work on his recovery, the other band members - lead guitarist, pedal steeler, banjo and mandolin picker Aaron Benolkin, bassist Ivan Molesky and drummer James Dommek jr. - worked on other projects. But according to the motto "what doesn't kill you will only make you stronger" the four of them found a way out of the hole and booked the Water Music Recording Studio in Hoboken, New Jersey to record Whipsaws there. Yo La Tengo, Amy Rigby, Gov't Mule, die dB's, Steve Wynn, the Feelies and Willie Nile are some of the other artists who have worked there previously.

The opener "Took My Tears" foreshadows much of what is to come in the 45 minutes: loud, electric rock music with a prominent 70ies flair, a straight and hard-working rhythm section and an unleashed Evan Phillips who may not be able to carry his own amp again but who sings with a passion and provides - together with lead guitarist Aaron Benolkin - a wealth of powerful guitar riffs. "Wait It Out" starts with pedal steel in mode a la Whiskeytown & co. before numerous guitar overdubs turn it into a Southern rock jam with a full-on finish. On "Cave In" Phillips follows in Chris Robinson's footsteps as a rock shouter before he creates a poignant singer-songwriter/troubadour atmosphere on "Coralee" with its acoustic guitar/pedal steel/bass & drums arrangement. "Tried Not True" is an exquisite hard'n'heavy number with a nice buildup and intelligent twists. The album's center piece is the 6:36 minute-long "Shutdown Checklist" which allows the instrumentalists to let loose in almost a prog-rock manner, supported by a two-piece horn section. After a short synth/steel/noise interlude the guitars are back to the fore on "Reno" vying for attention with Pink Floyd-like keyboard sounds. "What Are The Chances" is a beautiful No Depression-hymn on the highest Whiskeytown level with a moaning pedal steel, Bonnie Whitmore's harmony vocals and a surprise break after four minutes when the guitars and organ seem to fly away. Yes, obviously we have arrived at the album's home stretch Americana section: "Lay Down By Me" is another ballad with a very melodic folk flavor thanks to mandolin, banjo, acoustic guitars and harmony vocals.

And at the very end is another highlight. "Daylight" in all its 6.30-minute glory, with measured drumming, ringing electric guitars, smart keyboards, twin guitar solos and Evan Phillips' Jeff-Tweedy-like vocals - the song sounds like Wilco in their finest moments, reminiscent of "Impossible Germany" or "One By One". Perhaps "Daylight" is the best example of what a close-knit unit the Whipsaws have become.


Welcome back on Blue Rose:

American Ride

CD € 14,50
LP+CD € 17,90
When WILLIE NILE recently sought help in underwriting his new album American Ride with a fundraising campaign on, his fans turned out in huge numbers, reaching his goal amount in a mere four days and ultimately exceeding it.

Anyone who's familiar with the New York-bred singer-songwriter's large and impressive body of work will have no trouble understanding why he commands such devotion and loyalty from his fan base. And anyone who's paid attention to his recent output knows that Nile is currently in the midst of a creative renaissance that's produced some of the most compelling music he's ever made.

The timeless qualities of melodic craft, lyrical insight and emotional engagement that have endeared Nile to listeners around the world are prominent on American Ride, which ranks among the most powerful and personally charged work of his three-and-a-half-decade recording career. "It's pretty rockin' overall, but there are some left turns and right turns along the way," Nile says of the album. "There are songs about the rights of man, songs about freedom, songs about love and hate, songs about loss, songs about God and the absence of God, and songs about standing up for your fellow man. It's upbeat and full of life. I'm thrilled with how it came out."

American Ride offers a bracing set of 11 original compositions, and one well-chosen cover, that rank with the catchiest and most vivid music that Nile's ever delivered. From the everyday wisdom of "Life on Bleecker Street" and "Sunrise in New York City" to the broader observations of "This Is Our Time" and "Holy War" to the rock 'n' roll abandon of "Say Hey" and the road-tripping title track, the album consistently lives up to the artist's reputation for writing songs that are as impassioned as they are infectious, and performing them with the fervor of a true believer. Several of American Ride's recurring themes come into focus on the last two songs, "The Crossing" and "There's No Place Like Home," which end the album on a note of humanistic uplift. Another highlight is a fiery reading of Jim Carroll's "People Who Died," recorded as a tribute to both Carroll, who passed away in 2009, and to Nile's late brother John.

American Ride features backup from Nile's live band - guitarist Matt Hogan, bassist Johnny Pisano, drummer Alex Alexander, and Nile on guitar and piano - along with guest appearances by Eagles/Rosanne Cash guitarist Steuart Smith and New York singer-songwriters James Maddock and Leslie Mendelson. Nile also worked with some notable songwriting collaborators, including Eric Bazilian of The Hooters, who co-wrote "God Laughs"; The Alarm's Mike Peters, who contributed to the title number; and Nile's frequent writing partner Frankie Lee, who co-wrote four tracks. The release was produced by the team of Grammy-winner Stewart Lerman (who has worked with Nile since the '90s), and Nile himself. Additional production by Pisano and Alexander.

Having launched his recording career at the height of the major-label era, and never comfortable with the baggage that comes along with being a major-label commodity, Nile has in recent years embraced the autonomy and freedom of his current indie status. To bring American Ride to fruition, he decided to take his case directly to the fans, financing the album's recording, manufacturing and promotion via the aforementioned campaign.
"The record business is completely changed from what it was when I started," he observes. "Artists can be independent now and make music on their own terms, and I love the freedom of that. I've been very fortunate in that fans and friends have been getting behind the work I've been doing, and it's amazing and heartening to get that kind of support."

Willie Nile's fans include Bruce Springsteen, with whom he's guested onstage on multiple occasions, and Pete Townshend, who personally requested him as the opening act on the Who's 1982 U.S. tour. Other avowed Nile admirers include Bono, Lou Reed, Paul Simon, Ian Hunter, Graham Parker, Jim Jarmusch, Adam Duritz, Little Steven and Lucinda Williams, who once remarked, "Willie Nile is a great artist. If there was any justice in this world, I'd be opening up for him instead of him for me."

Born into a large Irish Catholic family in Buffalo, N.Y., Willie began writing songs in his early teens. After graduating from the University at Buffalo with a B.A. in Philosophy, he moved to Manhattan's Greenwich Village. During his first winter there, he was sidelined by pneumonia. While spending nearly a year recuperating, he concentrated on honing his songwriting skills. After his recovery, Nile became a popular fixture in the Village's folk clubs, while drawing inspiration from the emerging downtown punk scene. His budding career received a major boost from a high-profile New York Times piece by legendary critic Robert Palmer, who called Nile "an exceptional talent" and "one of the most gifted singer-songwriters to emerge from the New York scene in years."

The local buzz stoked by the Times story led to a deal with Arista Records, for which Nile recorded Willie Nile and Golden Down, released in 1980 and 1981, respectively. Those albums won a sizable audience and generated reams of press raves, with one critic likening Nile to a "one-man Clash," and another calling his debut effort "one of the most thrilling post-Byrds folk-rock albums of all time." But his progress ground to a halt after legal disputes with his label caused Nile to walk away from the music business, beginning a recording hiatus that lasted for nearly a decade.

Although he continued to write new material, Nile maintained a discreet distance from the spotlight until 1991, when he reemerged with a new deal with Columbia Records and a new album, Places I Have Never Been, which restored the artist to prominence with fans and critics. The following year, he went the independent route with the four-song EP Hard Times in America. Willie Nile - Archive Alive, a vintage document of a 1980 performance in New York's Central Park, was released in 1997. In 1998, Nile lent his unmistakable voice to the all-star concept album Largo.

In 1999, Nile released Beautiful Wreck of the World, which marked the start of an exciting new chapter in his career, one in which he's wholeheartedly embraced his new indie status to create and distribute his music free from corporate agendas. His new approach yielded substantial results, with Beautiful Wreck of the World chosen as one of the year's Top Ten Albums by critics at Billboard, The Village Voice and Stereo Review. During this period, Nile substantially stepped up his touring activities in Europe, where he's since built a large and enthusiastic following.

The well-received Streets of New York, from 2006, ushered in the most productive and prolific period of Nile's musical life. The CD Live From the Turning Point and the DVD Live From the Streets of New York followed in 2007 and 2008, respectively, as did another widely celebrated new studio album, House of a Thousand Guitars, and 2011's The Innocent Ones, which won some of the most enthusiastic notices Nile's ever received.

The BBC called The Innocent Ones "stunning . . . THE rock 'n' roll album of the year," and Rolling Stone included it in its "Top Ten Best Under-the-Radar Albums of 2011." USA Today named the album's anthemic lead track "One Guitar" as the number-one song in the nation. It was also one of five songs chosen to be played on Occupy Wall Street's 1000-guitar march, alongside Woody Guthrie's "This Land Is Your Land."
"It's been a great time," Nile says of his recent activities. "I've been touring more in the last two years than in my entire career up until then. I'm in Europe four months a year and we've really built something solid over there. The fans are so great, so vocal, so supportive, and I'm deeply grateful to each and every one of them."

With American Ride now a reality thanks to his - and his fans' - efforts, Willie Nile is moving with the unmistakable momentum of a deeply accomplished artist who's just hitting his stride.
"People who've heard this album say it's as good a record as I've ever made, and I don't disagree," he states, adding, "I definitely think it's as good a collection of songs as I've put together. I'm still learning as I go, and it gets easier every time in. I still love what I do and I'm probably feeling more inspired now than I ever have. I really do feel like I'm just getting started."


Mystery Drug

CD € 14,50
2-LP € 24,90
Psychedelic country rockers I SEE HAWKS IN L.A. announce the birth of a new CD, Mystery Drug, a gathering of their longtime musical tribe, with stellar guest contributions from California's finest roots country musicians.

New and old Hawks listeners will be struck by the chances taken in this latest phase of the Hawks journey - mixing serious country cred (members have played with Dwight Yoakam, Emmylou Harris, John Denver, Hazel and Alice, and in every honky-tonk from Mississippi to Malibu) with wild lyricism and surreal story telling. Audra Schroeder of the Austin Chronicle calls the Hawks: "Americana, traversing the landscape of the Golden State like Didion on horseback. It's a divine fusion of humor and twang that's definitely high, but not that lonesome."

I See Hawks In L.A. were founded in 1999 by Minnesotan turned Echo Park dweller Rob Waller and Cal natives Paul and Anthony Lacques and have been named "the city's premier roots band" by the Los Angeles Times and "trance-inducing, the stories transfixing, the vibe completely Californian" by alt country bible No Depression.

Mystery Drug, the band's 7th release, cuts a wide swath of post-Gram Parsons California country music, with surreal musings on commerce as love ("My Local Merchants"), desert marriage rituals ("One Drop Of Human Blood"), and the vanishing of spirits and aquifers of the American west ("Sky Island"). Musical guests include pedal steelers Rick Shea (Dave Alvin, Wanda Jackson) and Pete Grant (Grateful Dead, The Dillards, Rodney Crowell). Honky tonk and cowpunk grooves, a Celtic musing on death and ancestry, three memorable love ballad, the signature Hawks harmonies, and lots of cosmic acousticism make Mystery Drug a complex and varied voyage, full of wit and surprises.

Hawks records have always mixed traditional bar room musings with tales rooted in geography: mating dances of whales; the life of Senator Byrd from West Virginia; a Humboldt pot grower's flight to Tibet; boom and bust in guitarist Lacques's Mojave desert homeland; wandering hippie caravans; the imminent collapse of suburban Houston. In 2002 the Hawks were decidedly ahead of the curve in condemning the Bush administration's drums of war.

Despite this out on a limb perch, I See Hawks In L.A. have been embraced by legends of contemporary country, requested as an opener by Lucinda Williams and Chris Hillman (who plays on '06's California Country), hitting the Americana Charts, #2 on XM radio's alt country, and three #1's on the Freeform American Roots Chart. They've toured the U.S. many times, and are returning to Europe/UK for the 4th time May 22-July 8.

You might catch the Hawks at outdoor Hempfest and Belladrum Fest, Scotland, Joe's Pub in NYC, Old Town School Of Folk Music in Chicago, House Of Blues and McCabes in L.A., or on the main stage at the Folk Alliance in Memphis. From acoustic folk to raging big stage country rock psychedelia, the Hawks cover it all.


Welcome to Blue Rose:

Elvis Club

CD € 14,50
€ 26,90
"We didn't start with any agenda, other than to make a great record," Scott Kempner says of the DEL-LORDS' unexpected return to action following a two-decade layoff, which has yielded Elvis Club, the band's first new album since 1990.

Elvis Club finds the New York-bred foursome pretty much picking up where they left off, embodying the same musical swagger and true-believer passion that originally made them one of America's most compelling rock 'n' roll bands, while adding a new sense of experience and perspective that lends new depth to Kempner's personally-charged songwriting and the band's infectiously gritty urban garage-roots-rock.

In their original 1982-1990 lifespan, the Del-Lords helped to restore fans' faith in real rock 'n' roll at a time when real rock 'n' roll was in short supply. Over the course of four studio albums and countless sweat-soaked club sets, the band won widespread critical raves and earned the devotion of a large and loyal fan base around the world.

Now, with singer-guitarist Scott Kempner and fellow founding members Eric Ambel (guitar and vocals) and Frank Funaro (drums) joined by new bassist Michael DuClos, Elvis Club ups the ante with such indelible new Kempner compositions as "When the Drugs Kick In," "All of My Life," "Chicks, Man!" and "Letter (Unmailed)." Ambel, who in the '90s and '00s built up his frontman credentials as leader of Roscoe's Gang and member of roots-rock all-stars the Yayhoos, steps up to the mike to deliver persuasive lead vocals on a trio of tunes: "Me and the Lord Blues," "Flying" and Neil Young's "Southern Pacific."
"Elvis Club confirms to me what I always felt the band could do," says Ambel. "To me, it's a different kind of record for us, in that there isn't so much of a theme to it as a feel, a real band feel. I didn't really think of it as unfinished business; it was more like 'Here's what we can do now."

Kempner (who'd first made his mark as "Top Ten" of '70s punk pioneers the Dictators), Ambel (a founding member of Joan Jett's Blackhearts) and Funaro, along with original bassist Manny Caiati, first joined forces in the early '80s to help breathe life into downtown Manhattan's temporarily moribund live music scene, quickly winning local renown for the uncompromising intensity of their live sets. Between 1984 and 1990, the band released four studio albums - Frontier Days, Johnny Comes Marching Home, Based on a True Story, Lovers Who Wander - which documented the evolution of Kempner's provocative songwriting and the band's tightly wound instrumental rapport.

In the years since the Del-Lords hung up their spurs, the band's members have trod notable individual paths. Kempner emerged as an acclaimed solo artist with a pair of acclaimed solo albums, Tenement Angels and Saving Grace, played reunion gigs with the Dictators, and collaborated extensively with first-generation rock 'n' roll legend and fellow Bronx native Dion (who co-wrote the poignant Elvis Club track "Everyday" with Kempner). Ambel accumulated extensive credentials as a solo artist and member of the Yayhoos, as well as hired-gun guitar hero (for Steve Earle, among others), producer (for the Bottle Rockets, Nils Lofgren and countless others) and proprietor of the now-legendary East Village nightspot the Lakeside Lounge. Funaro continued to ply his percussive trade with Cracker and Camper Van Beethoven, and joined forces with Kempner and Dion in the short-lived but fondly-remembered Little Kings. Meanwhile, the Del-Lords' reputation continued to expand in the band's absence, retaining a place in the hearts of longtime fans while resonating with new generations of listeners.

"Working with Eric as producer really opened up the musical palette," Kempner notes. "He was never at a loss for ideas, and he's quickly inside the music and hears everything from all angles. He can take ideas, including my own, digest the intent, and more often than not, come up with a tweaked version of the idea that's better than the one suggested. He also knows his way around the lunch options in the neighborhood, which is a crucial contribution, and has the best coffee of any studio I've ever worked in. On top of that," Kempner continues, "Eric's playing has really expanded. Other than 'Everyday,' he plays all the leads on the record. That in itself was a big sea change for us, but he kept coming up with ideas and I loved every one of them. The same was true with Frank; his playing has grown tall and strong, and busted a hole in our ceiling."

The band's reunion came about unexpectedly, after a Spanish promoter/superfan's offer to book a Del-Lords tour prompted the original quartet to reform for a string of live dates in Spain, as well as some low-key gigs at the Lakeside Lounge, for which the band was pseudonymously billed as "Elvis Club." Deciding that it would be nice to have some new material to play on stage, they worked up some new tunes, which they recorded for the limited-edition tour EP Under Construction. The musical results stoked the musicians' interest in continuing their rekindled collaboration on a longer-term basis. Although founding bassist Manny Caiati, now a family-law attorney working with at-risk children, was unable to continue his participation after the Spanish tour due to his other commitments, Kempner, Ambel and Funaro decided to forge ahead with an album of new material.

The making of Elvis Club - whose title is a reference to a favorite anecdote from the band's early days, in which a passing prostitute bestowed the eponymous sobriquet upon the then-pompadoured combo - was a substantially different experience from the band's prior recording projects. With Ambel producing the band for the first time, and the sessions taking place at his Brooklyn studio Cowboy Technical Services, the band was able to record on its own terms and in its own time.
"That was a big departure from every record we've made in the past," Ambel observes. "Playing with the guys felt effortless and natural, and it was fantastic to build this thing ourselves, from the ground up. We made the record we wanted to make, based on our own enjoyment. That's as good as it gets for me."

With no permanent fourth member at the time, the band began cutting tracks for Elvis Club with some notable guest bassists, namely ex-Suicide Commandos/Beat Rodeo vet Steve Almaas, Ambel's Yayhoos bandmate Keith Christopher, and Ron Sexsmith/Ani DiFranco sideman Jason Mercer. Eventually, it became clear that Michael "Duke" DuClos, who came on board in the latter stages of recording, was the man for the job.
"He just fit in instantly," Kempner says of DuClos, a seasoned vet whose extensive resume includes a stint playing alongside Funaro in Cracker. "A great guy, a great player, a total wise-ass, and the only man to have played with both Pete Townshend and Buddy Hackett!"

Now operating on their own terms and free from the music-biz politics that ruled artists' lives back in the day, the Del-Lords - older, wiser and more determined than ever - are now back to finish what they started.
"We're just going to get out there and take it to the people, as they say," Kempner asserts, adding, "We're doing this now for no other reason other than that we all want to, and that alone is a huge change. Back in the '80s, everything in our lives depended on it, and with that came a lot of pressure. But now, we have no obligations, and we're no longer on the hamster wheel of record/tour/record/tour etc. The future is wide open at this point. We will just keep pushing on, with no due dates and no deadlines, just making it up as we go along. I always knew how lucky I was to have a band this good that related to my songs, and this time that feeling was more pronounced than ever," Kempner concludes. "Now I can take a step back and just marvel at how great Eric and Frank, and now Duke, are. They are good enough to play with absolutely anyone, but they're still happy to play my songs. That really is an honor. But don't tell them that, because they'll want more money."

Elvis Club will be available through our webshop on June 1st, at good selected stores throughout Europe from mid June.


Ramble On Privilege Creek

CD € 14,50
€ 26,90

If we're honest, the true weight of any band or artist is chiefly determined by how they translate to us in a live performance setting. Can they breach that intangible border between the stage and the gathered onlookers? Can they slip in like a steady rising state of inebriation, stealing our attention, controlling our emotions and ultimately drawing us into their world? Does their energy continue to vibrate within us well after the last chords have been played and our daily life comes to reclaim us? These are probably some of the questions one writer from Rolling Stone Magazine had running through his head before he proclaimed The Statesboro Revue as one of the highlights of the 2009 South by Southwest Conference and Festival. The Statesboro Revue goes back to 2008, but the evolving vision of front man and primary songwriter Stewart Mann goes back much further. It's a journey down many roads from Texas to Tennessee to California and back, all in a search for that perfect, unspoiled place for his music to grow roots. Year after year in city after city, it became clear that those roots had taken hold on stage and from there grew into a groove oriented, old school rock and roll band, the likes of which have not been seen in quite some time.

Never being afraid to aim high, The Statesboro Revue released their debut album Different Kind Of Light, produced by Grammy Award-Winning David Z (Prince, Jonny Lang, Buddy Guy, Govt Mule), in 2008. Hitting the Texas Music Chart with two Top 20 singles, the blues rock effort quickly drew a dedicated fan base to their stages, but was just a prelude to the tour de force that is their brand new album Ramble On Privilege Creek. Described by Mann as earthier with catchier hooks, this new music is pure living energy that winds through light and lofty atmospheres down through the depths of sweet Celtic miseries and over to angry growls through clenched teeth…all without ever losing that gypsy pulsation that is the very definition of rock and roll. "This album is extremely broad in subject matter and style, in musicality and production, and I couldn't be happier about it. I've always strived to create a sound that doesn't try to reinvent the wheel; merely merge the little idiosyncrasies of all my influences and shape them in a manner that might someday be looked upon as my own unique sound. I think this record is as close as I have ever been to accomplishing that goal."

Reminiscent of singers from decades past, Stewart Mann's soulful voice is both evident and familiar. His seasoned timbre is well- worn, but polished enough to have landed him the starring role in Buddy: The Buddy Holly Story that opened at the historic Cameo Theatre in San Antonio, Texas last year. Joining Stewart is younger brother Garrett Mann, the lead guitar player who holds down the fort then lets loose when the song calls for it. On bass guitar is Musicians Institute alumnus Ben Bradshaw, providing backbone and foundation, all while mixing in melodic leads and runs that only a player of his experience can muster. Drummer Luke Ayer's ability to both drive the tunes and lay down a lazy snare for the slow groove furthers the dancing frenzy that ensues at a Statesboro Revue show. The all-star list of shared stages more than hints that this all-inclusive working band is truly worth their weight. The Statesboro Revue has played with the Los Lonely Boys, The Wailers, the Allman Brothers Band, Cross Canadian Ragweed, Whiskey Myers, Dirty River Boys, Willie Nelson, Charlie Robison, Ryan Bingham, Reckless Kelly, Turnpike Troubadours, Randy Rogers Band, Bob Schneider, War, Arrested Development, Eli Young Band, Marshall Tucker Band, The Fabulous Thunderbirds and Will Hoge.


Welcome to the Blue Rose family:

Block Out The Sirens Of This Lonely World

2-CD € 14,50
CHIP TAYLOR follows his string of critically acclaimed albums with Block Out The Sirens of This Lonely World, an astonishing album of moody, sometimes foreboding, songs that find dark clouds everywhere but a few silver linings as well.

After making records for more than 50 years, this album is truly different for Taylor than all of his earlier ones. The songs were born out of a somewhat dark period for Taylor following the 2011 Norway massacre. Taylor was in the country at the time preparing to play at a festival. In the wake of the killings, he instead wrote and performed a new song, »This Darkest Day«, at a benefit in honor of the victims. The experience led to some of the most somber and serious songs of his long illustrious career. And for the first time since he was a teenager, Taylor allowed someone else - Goran Grini - to guide the project.

One listen to Block Out the Sirens and you will hear and feel the thread that joins the entire album - the struggle and stress that people endure in their confusing lives and relationships. These songs find Taylor reflecting on his own problems and those of the people he knows - many through his travels all over the world playing music. Despite the often bleak subject matter, there is a strong undercurrent of hope that runs through the album as Taylor finds solace in the simple and basic connections between people.

The lead producer of Block Out The Sirens, Goran Grini, is largely responsible for the remarkable passionate feeling of the album. Grini, a keyboard player from Norway, had previously joined Chip's band, The New Ukrainians (who are actually mostly Swedish), on Taylor's last album, F**k All The Perfect People. Following that project, Grini produced an album for Norway's top folk singer, Paal Flaata, which was a collection of Taylor compositions (both old and new). Wait By The Fire was released to critical and popular acclaim last year, hitting the top 10 in Norway and receiving a Grammy nomination.

When Grini heard the guitar-voice demos of Chip's new songs at the Flow Festival in Helsinki in August of 2012 with Taylor’s blessings, he enthusiastically began shaping the mood and direction of the album. He and Taylor wanted to keep the spare and direct feeling of the demo versions and Grini was able to incorporate both orchestration (for the first time on a Taylor album since Gasoline in 1971) and the New Ukrainians without sacrificing the raw power at the heart of the songs and Taylor's gritty vocals.

The New York Times says it best about Chip Taylor. “If you only know him as the as the guy who wrote ‘Wild Thing’ and ‘Angel of the Morning” — you don’t know him! Chip Taylor is making some of the most distinctive acoustic music around today.” Americana star performer/producer Buddy Miller last year said »Chip Taylor could've rested on his laurels years ago and still been way ahead of everybody else today. Lucky for us he didn't and he's making some of the most relevant music out there.« With Block Out The Sirens Of This Lonely World Taylor raises the bar again and his amazing comeback streak remains unbroken.

A brief tour with The New Ukrainians days before the making of Block Out The Sirens found Chip in the mood to knock out several new fun band songs. Loosely recorded on the final day of the tracking sessions, they are included on a special bonus disc with the album titled Is That The Final Take?


Shinin' Live

€ 17,90
€ 34,90

Shinin' Live - " It doesn't get much more alive than this" - the announcer was spot on! Only having been there in person could be better than this blistering dvd/cd package by STACIE COLLINS & her band taken from their soulful appearance in October 2012 at the legendary Bootlegger's Bar in Kendal/North West England. This powerful woman from Nashville, TN has released three studio albums between 2000 and 2010, the last one Sometimes Ya Gotta... being her Blue Rose debut. However, Stacie Collins on record and Stacie Collins live are two very different kettle of rock'n'roll fish. The extensive presentation on Shinin' Live shows clearly what a powerful, intense musician and entertainer she is, with deep roots in American roots & blues rock.

Even as a teenager, Stacie dreamed of becoming a singer but only after marrying pro musician Al Collins (bassist for Jason & The Scorchers) did her career gather steam. She learned to write songs, sing with confidence and play the blues harp. Her eponymous debut showed considerable promise in 2000. At the time, the couple still lived in Cleveland, Ohio and Stacie's music was very country-oriented in the style of Emmylou Harris or Kelly Willis. This changed drastically after their move to Nashville, TN. When Southern roots rock with a heavy dosage of blues, boogie, rock'n'roll and country rock became her main playing field - the dirty raw side of Americana, if you will. Her second album The Lucky Spot from 2007 showed her development into a rockin' lady shouter with sharp harmonica skills - moreover, her songwriting with her husband was significantly improved and more varied. A major factor in her development and her new rough & rowdy sound is the couple's friendship with Dan Baird, ex-Georgia Satellites & Yayhoos, producer for Chris Knight, Blue Mountain, Will Hoge and Jason & The Scorchers. Through the Scorchers connection he became friendly with the Collinses and produced The Lucky Spot as well as Sometimes Ya Gotta... which was released in late 2010 on Blue Rose. With her third album Stacie Collins - already a successful artist in the States - managed to win over European audiences.

Speaking of Europe - in 2012 alone she and her band crossed the Atlantic four times to play more than 80 shows in eleven different countries. And in the fall the time had finally come. Two shows in one of her favorite venues, the venerable Bootleggers Bar in Kendal in northwest England, on October 20 & 21 were filmed and recorded and are now available in the great DVD/CD package Shinin' Live. It's the first live release of this passionate and authentic performer. Stacie Collins and The Al-Mighty Three are pulling out all of the stops and then some. And that's how we come to be witnesses to this extraordinary, loud, bad-ass live show that captivates and moves the audience in a major way. To quote the album sticker: This is is first-rate "southern rockin', harp howlin', twang bangin' rock'n'roll".

On the CD's and DVD's 15 tracks Stacie Collins sings, growls and howls for 80 minutes like a woman possessed, works her blues harp harder than many crack players and leaves the Al-Mighty Three plenty of room to shine. Husband Al Collins is an extroverted, always moving bassist, often joining in on vocals and sometimes using his instrument as a rhythm guitar. He and young drummer Brad Cummings make for a great team in the engine room, keeping the motor running. Guitarist Jason Graumlich contributes his considerable skills on lead, slide and rhythm guitar, rounding out the band perfectly. Together they play mostly original Collins/Collins material from their last two albums plus a few choice covers from within and without the greater rock & blues world.

The show opens with the cracking opener "Baby Sister" and a rough version of Wllie Dixon's "I Don't Care Who Knows". From the rolling honky tonk of "Ramblin'" and "I Won't Do You Like That" which is undecided whether it wants to sound more like the Stones, the Faces or the Black Crowes the show moves to the electrifying "Hey Mister" and the slow blues of "Get In Line" which Stacie Cllins presents a a seductie blues vamp. "If You Wanna Get To Heaven", an Ozark Mountain Daredevils cult classic from the 70s, is sung with a lot of heart by Al Collins and finds the band jamming for more than six minutes. "Carry My Away" is clearly country-influenced as is the hymn-like "It Hurts To Breathe" on which Jason Graumlich shines on guitar. He also picks a mean twang guitar and acts as Stacie's duet partner on the Gram & Emmy number "Ooh Las Vegas". "Don't Doubt Me Now" is a mean straight & dirty rocker with British cult guitarist Paul Guerin (Quireboys, Bap Kennedy) guesting. Calvin Carter's "I Aint Got You" provides the backdrop for one of Stacie Collins' legendary harp-playing, 5-minute-long dancing walks through the audience, atop the bar and back to the stage. Needless to say, it's a spectacle to behold! In closing the boogie stomp of "Show Your Mama" segues into a 9-plus-minute-jam on the Stones' "Jumpin' Jack Flash". On the CD you'll get one more song for a spectacular finish, AC/DC's "It's A Long Way To The Top" (but you'll be missing "Ooh Las Vegas" which is exclusive on the DVD).

Shinin' Live is now available at our mailorder as DVD+CD, 2-LP+CD+DVD (Personal Vinyl Edition) and at regular stores as DVD+CD and download (CD only) soon.


Heartbreak Superstar

CD € 14,50
2-LP € 24,90
US RAILS is a band that can be best described in one word…HARMONY.

Echoing the great multi-singer-songwriter collaborative bands of the last four decades, US Rails makes music in that time-honored tradition. With an emphasis on live performance, their line-up is a classic, straightforward, rock band format of acoustic & electric guitars, bass, drums and piano. Each musician contributing stellar songs and a skillful ease instrumentally, all in support of the main attraction: five part vocal HARMONY. A rarity in the age of loops, auto-tune and samples, US Rails is fusing some of the best eras in popular music.

With the release of their third studio album Heartbreak Superstar, the band finds itself a stronger, more bonded collective than ever. These 13 brand new songs feature the US Rails melding their stylistic differences into one solid new, yet familiar sound.

Heartbreak Superstar is next in line in what has proven to be a rather vast catalogue of recordings since their original US Rails self-titled release debuted in 2009. Since then, the band has released the well received Southern Canon (2012), Europe Live 2012 DVD as well as an all acoustic re-working of some of their best songs on last years Wire and Wood.

What is unique (and sometimes challenging) about US Rails is that all members continue to individually nourish thriving solo careers. What is special is that which is hunted, scavenged and experienced is brought back into US Rails' musical fabric. Both geographically as well as stylistically, US Rails merge a gamut of influences in a very natural cross-pollination. While they all share and retain deep Philadelphia (U.S.) area musical roots, their current distance has not interfered with their musical energy or strong friendships.

The voices of US Rails
Ben Arnold o Bluesy and soulful growl
Scott Bricklin o Passionate pop
Tom Gillam o Kick and shout tenor
Matt Muir o High indie rock falsetto
Joseph Parsons o Emotive baritone

As on every US Rails record, each member is showcased track by track on Heartbreak Superstar. Their individual "sound", both vocally and instrumentally rise to the top of a rich and rustic stew. But the magic really happens when these five voices come together to create a unified sound considered "one of the most oddly beautiful blends in recent rock history." Although one could find many more adjectives and comparisons to "collectives" past to describe and contrast the sound of US Rails, the fact remains; theirs is the unique and beautiful result of years of experiences, the ultimate in artistic collaboration and a truly united vision totally unto itself. US Rails has elevated this even further on this sprawling new record.

Live on stage, the band may take broader strokes but welcomes the challenge of a totally different atmosphere. Delivering equally elegant, quiet and spacious moments as well as ferocious rocking highs ensure the audience is along for a dynamic and enthralling night of original, inspired and honest music. It is during these shows when it is not only the band, but the listener too who is in HARMONY with US Rails!

Heartbreak Superstar will be out europewide on May 17 (release date may vary in European countries), available through the Blue Rose webshop from May 1st.


Welcome to Blue Rose:

Somewhere Beneath These Southern Skies

CD € 11,90
2-LP € 24,90
“Youth may be in their blood, but tradition guides their instincts”, reveals M! Music and Musician’s Magazine. “The DIRTY GUV'NAHS are wise in the ways of rock n’ roll beyond their tender years”. The swell of grassroots momentum for this 6-piece rock n’ roll collective from Knoxville, TN is undeniable. “The Guvs” have been steadily growing their fan base across the country, selling out shows in theatres and bars alike, and making standout festival appearances at Bonnaroo, Wakarusa, and SXSW, to name a few. The band has also shared the stage with a diverse and notable list of major artists, including Wilco, Zac Brown Band, Levon Helm Band, Grace Potter and the Nocturnals, Train, Dr. Dog, and Chris Robinson.

After two independent releases and relentless touring, The Dirty Guv’nahs’ new album, Somewhere Beneath These Southern Skies raises the bar significantly for this explosive ensemble. Somewhere Beneath These Southern Skies was recorded in Nashville, TN with producer Ross Copperman and Grammy winning engineer Richie Biggs (The Civil Wars).

Somewhere Beneath These Southern Skies marks another successful milestone for The Guvs, showcasing an energetic blend of rock and soul interwoven with a distinctive modern edge. The result is a joyous 14-track offering that combines honest, heartfelt lyrics with gritty and passionate musicianship. Standout tracks “3,000 Miles”, “Don’t Give Up on Me”, and “Temptation” exemplify the band’s keen ability to effectively infuse traditional rock sounds with contemporary relevancy. Upbeat foot-stompers like “Good Luck Charm” and “Can You Feel It” conjure the familiar American rock feel that The Dirty Guv’nahs began fashioning on their 2010 Release Youth Is In Our Blood.

The Dirty Guv’nahs’ unlikely genesis took place when band members were introduced through a mutual friend, nicknamed “The Guv’nah”, who eventually became the band’s namesake. Their following grew quickly and after a string of sellout shows in their hometown of Knoxville, Tennessee, they were offered their first performance slot at Bonnaroo. That concert led to a recording opportunity in December of 2009 at roots-rock mecca Levon Helm Studios, and the band hasn’t looked back since.

The Dirty Guv’nahs’ live show is led by the soulful holler of frenetic front man James Trimble. Brothers Justin and Aaron Hoskins’ lay down a sturdy foundation of tight rhythms on bass and drums (respectively), while Chris Doody’s thick Hammond organ and bluesy piano along with Michael Jenkins’ and Cozmo Holloway’s tasty guitar stylings round out the group’s sound. The result is accurately described by a recent review in Music Connection Magazine: “The Dirty Guv’nahs don’t just play music; they capture the human experience through song.”

Relix Magazine was so impressed with The Guv’s live show; they recently made the group one of their “On the Verge” artists for March 2012. Upon witnessing the band’s blue-collar approach, they commented, “Musicians today that don’t want to connect with their fans are just missing the whole point. The Dirty Guv’nahs are grassroots all the way.” The Guvs grassroots success story received its most recent validation when the band funded their new album entirely through Kickstarter donations from fans. The band raised 100% of their target funding in 3 days, prompting recognition of the Guv’nahs campaign in Billboard Magazine, and went to work creating an album that is sure to stir the hearts and shuffle the feet of their organic fan base. Somewhere Beneath These Southern Skies is a riveting collection of songs for a new generation of listeners starving for a fresh and authentic rock n’ roll music experience.


The Dream Syndicate

2x7" € 17,90
THE DREAM SYNDICATE was an alternative rock band from Los Angeles, California, active from 1981 to 1989. The band was associated with the Paisley Underground music movement. The original line-up was Steve Wynn (vocals, guitar), Kendra Smith (bass), Karl Precoda (guitar) and Dennis Duck (drums).

The band's debut record was a four-song EP, recorded at the home of Tom Mehren in Pasadena with Paul B. Cutler engineering and producing and released in 1982 on Wynn's Down There label.
The band quickly achieved local attention for its often aggressively long, feedback-soaked improvisations. Obvious sources were The Velvet Underground (The Dream Syndicate could be called early VU revivalists) and Television, but echoes of the Quicksilver Messenger Service and Creedence Clearwater Revival could also be discerned.

The band's debut 4-song-EP was previously available on vinyl-LP and CD and is deleted since many years. Blue Rose now is releasing a remastered edition as a never before available double 7" set in a gatefold sleeve with new liner notes by Steve Wynn. The two singles feature the songs "Sure Thing", "That's What You Always Say", "When You Smile" and "Some Kinda Itch".

The set is limited to 1,000 copies.

Steve Wynn about the recording: "We were making a demo tape. I mean, that's what you did to get gig. And we were a new band who wanted to play gigs. Did I mention we were a new band? The first time that Karl, Kendra, Dennis and I had played together had only been 3 weeks before we stepped into Tom Mehren's home studio in Pasadena. I sang in the kitchen. The band played in the living room. You might notice that I actually cut off the last "itch" from "Some Kinda Itch" because I had to step out of the kitchen to cue the ending to the band in the other room. Dennis' pal Paul B. Cutler, who I already knew quite well as the phenomenal guitarist in 45 Grave, was brought in to engineer since we knew that he knew how to get sounds and run a board (and he replaced Karl on guitar just 3 years later). We recorded all of the songs completely live in one afternoon. Hardly the stuff of legend but we were so excited by what we had done that we decided to put out our demo tape as an actual record. I mean, why not? We liked and thought it only made sense that others might as well. As it turns out the record caught fire and within weeks of its April Fools Day release in 1982, we were headlining every club in LA and getting reviewed worldwide for that very demo tape that we knocked out in an afternoon. And you know what? None of us were surprised. We knew then, just as I can hear now when I listen to this record, that we had done something special. We got the gigs. And a lot more."


Welcome to Blue Rose:

All Fired Up

CD € 14,50
2-LP € 19,90
LP ab 20.4.
Blue Rose Records proudly announces the release of All Fired Up, the first studio effort since 2002 of one the most influential and popular country rock bands of all time - POCO!

For 45 years, Poco has been making music in the realm of the classic country rock sound that they helped found in the late '60's, one that inspired other acts to follow suit - bands such as The Eagles, Firefall, The Little River Band and Pure Prairie League. But to persist across six decades, you need to have a rabid fan base that considers your music to be a soundtrack to their lives, or continue to evolve and refine your sound while staying true to your roots. Poco does both and it's why their new studio album - their first in eleven years - All Fired Up, is a celebration of longevity and unparalleled songwriting.

Still led by singer and songwriter Rusty Young, the addition of two more excellent songwriters in bassist Jack Sundrud and keyboardist Michael Webb as well as drummer George Lawrence over the past decade, helped to re-shape Poco for another generation. "The music has evolved over the years," said Young. "Different band members bring different voices to the sound and in many ways keep the music fresh. History shows that Poco has always had great musicians in the band and it's no different today. We're growing musically, challenging ourselves and moving ahead to create the best music we've ever made."

All Fired Up, which was self-produced and recorded at several studios including Sixteen Tons in Nashville, the home studios of Sundrud and Webb, Wildwood Lodge in Missouri and Sound Emporium in Nashville, shows a band that has no problem celebrating its storied past while enjoying every minute of the present. And Young explains the diversity of the material that also manages to stay cohesive.
"Most of the songs were written in the last year or so," he says. "It took me two years to get 'Regret' to the point I was happy with it and 'A Little Rain' is a song we've been doing in concert for the last three years. Jack's 'Hard Country' is a concert favorite we've been playing for a number of years too. The title track was a song that was written just for the CD. We wanted to give a nod to the classic Poco sound that everyone loves from the early days and we think 'All Fired Up' nails it. Michael (Webb) has Bobby Keys playing sax on one of his songs, 'That's What Rock 'n Roll Will Do,' which is very cool. Jack's 'Hard Country' is destined to be a Poco classic. I'm especially excited about a song called 'Rockin' Horse' for a couple of reasons. I think it's unlike anything I've written before, and Poco IS a Rockin' horse!"
There is also the tongue-in-cheek 'Neil Young', which talks about Rusty not being Neil's brother. "I don't think Neil has heard it yet," Young joked. "I would hope he'd get a kick out of it and I wonder how many times people have asked him about his brother Rusty." Young is also celebrating his induction into the Steel Guitar Hall of Fame in St. Louis alongside other steel players that helped influence him. In addition, Young is in Guitar Player Magazine's "Gallery of Greats" along with the likes of Jimi Hendrix, Eric Clapton and Stevie Ray Vaughn. In addition Poco boasts a Grammy nomination for 'Instrumental of the Year' and fans can find the band's memorabilia on display at the Rock And Roll Hall of Fame and the Country Music Hall of Fame.

Poco, which has never stopped touring over the years despite lineup changes, will tour a bit more vigorously in support of All Fired Up. "We're anxious to show everyone that we're excited about the future for Poco and we're fired up and ready to go," said Young. "We're hoping to reintroduce Poco to the fans that may have drifted away over the years, and to remind them of why they were fans in the first place. And it would of course be great if the CD captures new fans. We're always trying to attract new Poconuts."
Of course, it's inevitable that the longer a band stays together, the more it often has to change in order to adapt and stick around-and also has to love what they do. That's the takeaway from a poignant narrative written by Lawrence for the album. "There is nomanual for a 45 year old rock band," he said.
"Long time Poco fans will find plenty of nods to the earlier sound, while new-found fans will hear the new energy and direction," said Sundrud. "All Fired Up is aptly titled, relevant to the band's musical roots and blazing a new trail into the future. The songs are rocking, thought-provoking, fun and most of all, pure Poco."

Pioneers of the country-rock sound that soared out of California in the late sixties and early seventies, Poco was founded by Richie Furay, Jim Messina, and Rusty Young, a trio whose lifetime musical journey began while working on the Buffalo Springfield's final album, The Last Time Around. With the addition of George Grantham and Randy Meisner, the initial Poco lineup was set. Renowned music critic Robert Hilburn of The Los Angeles Times proclaimed the band as "the next big thing", and Rolling Stone went so far as to call them "a country-tuned Derek and The Dominos," giving the band's 1969 debut, Pickin' Up The Pieces, a perfect rating. After that, the band went through several personnel changes including the departure of Jim Messina and Richie Furay, as well as when bassist Randy Meisner left to join The Eagles.

Poco went on to chart several times with hits like 'Crazy Love' and 'Heart of the Night' (both from the critically acclaimed Legend album), as well as 'Rose of Cimarron', 'Good Feeling To Know' and 'You'd Better Think Twice'. In 1989, the band brought back Messina, Furay and Meisner to record Legacy, which spawned a few more of the band's Top 40 hits, 'Call It Love' and 'Nothing To Hide'. Poco's new milennium releases - 2002's Running Horse, 2005's Bareback At Big Sky, the 2004 live CD/DVD Keeping The Legend Alive and now 2013's All Fired Up - are among the best of their career. With 45 years, more than 25 albums and thousands of fans behind them, Poco was, is and forever will be the defining voice of country/rock.

All Fired Up will be out europewide on April 12 (release date may vary in European countries), available through the Blue Rose webshop from April 1st.


Welcome to Blue Rose:

The Other Life

CD € 14,50
LP € 19,90
When SHOOTER JENNINGS named his new album The Other Life, he didn't mean to entice fans with songs about a secret life they know nothing about. Instead, Shooter, the son of Jessi Colter and the late Waylon Jennings, says the songs cover aspects of his darker side.
"Five of these songs were recorded when we were doing Family Man (Shooter's last album), and when we were deciding what to do with it we broke it up into two records. The Other Life is representative of the other side of the coin from Family Man and the way my life has been going in a lot of ways," Shooter says. "The song represented the overall theme of the record. At first we were going to call it The Outsider, but once we got into the film we thought, 'Well, it's like a mirror, a dark mirror of what Family Man was.' The record deals with the darker side, while Family Man was pretty positive. Not that The Other Side is negative, but it's a more realistic representation of the other side of me. I'm 33, figuring life out, and there is a lot of light and dark going back and forth. This record encapsulates that, accepting oneself and the helter-skelter of life."

The film Shooter is referring to is a 32-minute movie, utilizing six of the songs from the album. Working with Blake Judd and R.D. Hall, Shooter's film is about a man saying goodbye to his family and hitting the road. When he does, he finds the road is not the same, and he becomes haunted by a mysterious woman who is more than what she seems. The man is forced to face his other side and deal with self-discovery, temptation, isolation and rebirth.

The CD has some very diverse songs on it, from the opening number with its dark tones, "The Flying Saucer Song," to the bluegrass feel of "Outlaw You," in which Shooter addresses today's country music trend of name-dropping legends in song and singing about dirt roads, although he doesn't drop any names as to whom he's referring to in the song. The singer-songwriter says he thinks younger artists don't realize that the name "outlaw" didn't mean being a badass, but had a totally different meaning to those who wore it back then.
"I've had lots of fans and other artists say 'How dare you talk about this?' I knew there would be negativity from it, but I wasn't trying to put negativity out there. I don't look at getting in a fight with them, I'm upset that these dudes are using the outlaw moniker because I don't think they realize where outlaw came from. My dad and Willie were fighting for their music. My dad didn't like the term; he thought it took away from the music. I'm just trying to put for the the truth about the scenario. I would be happy if they put that word away entirely."

While Shooter wrote most of the CD, he recorded a couple outside songs, including one penned by Steve Young, who wrote Waylon's "Lonesome, O'nry and Mean" and "Seven Bridges Road," by the Eagles.
"Steve and I became friends, and he helped me in my confidence on writing Family Man, so when I ran across 'The White Trash Song' I wanted to do it," Shooter says of the tune, which summarizes the life of a beer-loving man who lost his church woman to Jimmy Swaggart and winds up in jail. "I brought Scott [H. Biram] in, who is one of my favorite artists and friends, to sing on it with me."
Another song, "Wild and Lonesome," features Patty Griffin. Shooter says he wrote the song in about an hour. "It just came out. I was able to feel and relate to it. When I was writing it, I just followed the words wild and lonesome, and it just kinda came out. I was writing how I felt at the time. We went in the studio and I wanted a female voice on it, I thought that would be nice. I remembered Patty doing 'Rose in Paradise' with Kris on the Waylon tribute so I reached out to her and she said yes. I am honored to have her on it."

Shooter says the best way he can describe the album is that it is where he is right now. "As I've gotten older, I'm bringing in all my influences into my records without worrying about it. I'm coming into my own. I'd suggest fans buy the first song, 'Flying Saucer,' and if they understand it, they'll know what the album is about."

As for what he found out about himself as he explored his darker side, Shooter pauses before answering. "I guess I discovered that I'm a lot more dangerous than I thought I was," he says. "I'm just trying to figure out how to navigate life and leave the biggest trail of debris that I can behind."

The Other Life will be out europewide on April 19 (release date may vary in European countries), through the Blue Rose webshop now!



CD € 14,50
LP € 17,90
Has it really been more than four years since TODD THIBAUD's last studio album? It's hard to believe but true. Since the change of the century that's just about how long he takes between "proper" albums. However, the Boston-based singer-songwriter is ever-present in the public eye thanks to his numerous tours, live releases and collaborations with other musicians, in Hardpan or with Joseph Parsons in Parsons Thibaud. After his successful 2008 album Broken, it is now time for a new album by Thibaud who has been with the Blue Rose label since 1997. In the spring of 2013 the likeable artist releases Waterfall, truly a proper Todd Thibaud album.

Todd Thibaud is a consistently convincing, reliable artist who always stays true to his musical vision. He does not change things up dramatically but finds variety in nuances of arrangement and production. After all, the consistently high quality of his songs and his mellifluous, warm voice create an irresistible and familiar atmosphere. This was already true of his first band, The Courage Brothers, in the early to mid-90ies. With his 1997 solo debut Favorite Waste Of Time, the man from Vermont made his first mark on the songwriter/pop canopy. It was followed by a slew of classic Blue Rose studio albums Little Mystery (99), Squash (00), Northern Skies (04) and Broken (08). In-between there was a very interesting extensive phase with the Hardpan super group, which brought together Joseph Parsons, Chris Burroughs, Terry Lee Hale and Thibaud for a studio and a live album and tours. More recently, he has toured and released albums with Parsons Thibaud - the debut Parsons Thibaud (07) and Transcontinental Voices (11). To mention every CD or DVD live release is practically impossible - Thibaud is a prolific man.

Besides his engaging vocals and a subtly melancholic yet powerful attitude, melodic songs with meaty riffs and hooky choruses are Todd Thibaud's calling card. His songs are undeniably catchy and want to be listened to again and again even though they are far from lightweight or superficial. On Waterfall, Todd Thibaud once again succeeds masterfully in this balancing act between writing meaningful songs and songs with "hit potential" (for a better world).

While his previous album Broken was mostly ballad-y and introspective, Waterfall is clearly dominated by dynamic mid- and uptempo songs with gritty guitars and rocking band arrangements. Thanks to the album's more extroverted character, it reminds us of his excellent albums Favorite Waste Of Time and Northern Skies - this is music with a clear pop/rock mandate and an excellent sound between westcoast, heartland & prairie rock based on strong songwriting and harmony-laden indie roots/guitar pop that was created in the 90ies by bands like Vigilantes Of Love, Gathering Field, Floating Men, Swinging Steaks, Cravin' Dogs and the Courage Brothers. In other words, Waterfall combines all the virtues of the Heartbreakers, Wallflowers, Jayhawks, BoDeans and Gin Blossoms with a healthy dose of Bruce Springsteen. But, of course, the result is clearly a Todd Thibaud album.

The power triple of "What May Come", "Not For Me" and the album's title track comes straight to the point. Any Thibaud fan knows: This was well worth the wait! The semi-acoustic "When The Evening Falls Apart" is a little slower and supported by Chris Toppin's (ex-Fuzzy) harmony vocals. "Hollow" is a guitar rocker with Bill Janovitz of Buffalo Tom guesting and "Lonesome June" sounds tailor made for a roadside inn dance floor. The swampy roots rock of "Stranger" with its saloon piano and horn section sounds a lot like New Orleans - this is new stylistic territory for Thibaud. The ballad "All In A Dream" starts slowly and gathers Thomas Juliano's slide guitar and Ben Zecker's e-piano along the way - subtle arrangements that deliver proof of the formidable backing band's empathy. On "My Own" and "Wears Me Down" they are let loose to rock again. Todd Thibaud demonstrates his versatility in the two decidedly different quiet album closers: The easy sparkle of "Change A Thing" with its grand chorus and "Evermore", an acoustic-folk love song with Sean Staples' mandolin and once more Chris Toppin's beautiful harmony vocals.

The album's twelve tracks were helmed by well-reputed Boston producer Ed Valauskas (Juliana Hatfield, Gentlemen/Figgs, Kay Hanley/Letters To Cleo) and recorded with the same basic band that supported Thibaud on his 2009 European tour with appearances at "Crossroads/Rockpalast": His longtime companions Thomas Juliano (guitar) and Sean Staples (mandolin) plus the rhythm section of bassist Joe Klompus (Jack Drag, Submarines, Eileen Rose) and drummer Pete Caldes (Gravel Pit, Juliana Hatfield) and new keyboarder Ben Zecker. A bunch of friends like Russell Chudnofsky (Sarah Borges, Catie Curtis, Amelia White), keyboarder Phil Aiken and backing vocalists Bill Janovitz (Buffalo Tom), Chris Toppin, Mike Gent (Figgs), Tim Gearan, Matt Tahaney contribute the the album's perfect euphony.

Waterfall comes in a digipak with tasteful artwork and a booklet including all song lyrics.

Waterfall will be out europewide on April 19 (release date may vary in European countries), available through the Blue Rose webshop from April 1st.


Welcome to Blue Rose:

Goodbye Normal Street

CD € 14,50
LP € 17,50
Times are tough for just about everyone these days, especially for those who live in what is often referred to as the "flyover states," in the heart of the country. People have become tougher, their skins have grown thicker and they have become much harder to win over. That especially holds true when it comes to the music that rolls into the bars, music halls and honky tonks of their towns. The overwhelming success that TURNPIKE TROUBADOURS have had on the so-called Red Dirt circuit of those states says a lot about the quintet's authenticity and fire, particularly because their music is not exactly what that scene in known for producing.
"When we first started playing, people couldn't have cared less that we were there," recalls Troubadours' frontman Evan Felker. "They were there to drink beer and raise hell and they didn't really care what music was playing while they did it. But as we went on and as we got better, they started to listen. I mean, they were still drinkin' plenty of beer, but before too long, they were actually coming to hear us and asking us to play our songs, and not just covers of traditional favorites and all the other stuff we'd been doing."

Not only did the crowds get more attentive, they kept getting bigger. As time went on, and the Troubadours broadened their touring circle, they moved on from tiny clubs in the more obscure corners of the Sooner state and started hitting - and selling out - prestigious venues like Cain's Ballroom in Tulsa, the Firehouse Saloon in Houston and Antone's in Austin.
Over the course of the past five years, Felker, bassist RC Edwards, fiddle player Kyle Nix, guitarist Ryan Engleman and drummer Gabe Pearson, have honed the rowdy, quick-witted sound that's brought folks of all stripes together in front of those stages. And on Goodbye Normal Street, the Troubadours' third full-length album, the band takes that blend of nice and easy and nice and rough and distills it into a 43-minute ride that takes in the scenery of America's Heartland and the inner workings of a group of 20-somethings on a quest for something better.
"This time around, we tried to balance things out," says bassist Edwards, who shelved a steady gig as a pharmacist in late 2011 to concentrate on the band. "We wanted to combine the idea of getting something perfect, the way you can only do in a proper studio, with the energy of playing in front of a thousand people jumping around and screaming."
They attack that goal with gusto on Goodbye Normal Street, putting the pedal to the metal on "Before the Devil Knows We're Dead" (a breakneck romp about regular folks who lived hard and died in a blaze of glory) and dialing back to a sensual closing-time waltz on "Call a Spade a Spade" (a cheater's lament on which Felker duets with Jamie Wilson of the Trishas).
Felker, who writes the majority of the lyrics - with an assist from Edwards, who penned the semi-autobiographical "Morgan Street," about the band's hardscrabble early days - has a knack for capturing slices of life in vivid detail. He can hit hard emotionally with a song like "Blue Star" (a bittersweet tale of a veteran returning from war) or tweak the listener with something like "Gin, Smoke and Lies" (on which he contrasts his own romantic plight with that of a rooster who manages to satisfy 20 partners, and not just one).
"All the songs are about people we know," he says. "And yeah, some of them are probably about me to some degree - the guy who ticks off the wrong girl from Arkansas, and the guy who doesn't always like what he sees himself becoming. Mostly though, I think they're just honest."

The band - which took its name from the Indian Nation Turnpike that connected so many of the smaller towns where they cut their teeth - gradually evolved from offering acoustic explorations of tunes by Townes Van Zandt and Jerry Jeff Walker to kicking out three or four sets a night of full-throttle roadhouse country - tinged with the punk rock attitude that was in the air during the members' teen years.
"We all pretty much grew up with hardcore country music around us," says Felker. "I mean, sure, there was rock stuff in there, but the real old-school stuff, plus exposure to folks like Jason Boland and Cross Canadian Ragweed, really affected what we were playing. We're really a product of both our influences and our environment. It wasn't something that we sat in a room and dreamed up in one day."
That's clear. The raw-boned energy of their 2007 debut, Bossier City, cut on a shoestring budget and aimed squarely at getting boots on the dance floor earned raves from many corners, including No Depression, which dubbed it "a testament to the small towns in which they were raised … with stories of longing, humor, tragedy and general life in rural America." The quintet broadened its horizons on its sophomore outing, Diamonds and Gasoline, which spawned the Americana favorite "Every Girl" and brought them to the attention of folks throughout the country, and overseas.

And with Goodbye Normal Street - the name a reference to another longtime band residence as well as a state of mind that they left behind long ago - they set their sights on conquering even more expansive territories. With songs like the blue-collar anthem "Southeastern Son" and the universally understandable breakup plaint "Wrecked," they look pretty likely to conquer them.
"This music, at its best, can put into words what we have been thinking for our entire lives," says Felker, "and even at its worst, it gets people drinking beer and makes people happy. Either of those is fine with me."

Goodbye Normal Street is now available through our webshop on CD, LP and digitally.