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Ten Years of Pussy (Pre-Order)NASHVILLE PUSSY are a band who hail from Atlanta, deep in the heart of the BBQ NATION and sound like AC/DC slap boxing with LYNYRD SKYNYRD while MOTORHEAD watches. They were formed by a husband and wife team of Blaine Cartwright and Ruyter Suys and were born out of the ashes of Blaine's former band NINE POUND HAMMER back in 1997 (In fact Blaine met Ruyter and original bassist Corey Parks at Nine Pound Hammer gigs). Since then they have played over 1,000 gigs in 40 different countries, gathered a GRAMMY nomination, and have toured with, MOTORHEAD, ZZ TOP, LYNYRD SKYNYRD, SLAYER, and a host of other heroes who became instant fans. Ruyter was even voted one of the best female rock performers ever.They have weathered numerous labels, trends and bass players. And, when counted out, have consistently pulled off resurrections that make Jesus look like a rank amateur.
The 16 studio tracks from TEN YEARS OF PUSSY are taken from the band's 3 SPV releases. The most recent, last year's UP THE DOSAGE, has been called NASHVILLE PUSSY'S BACK IN BLACK and was pick of the week on THAT METAL SHOW. FROM HELL TO TEXAS, the band's 2009 cd, was recorded at WILLIE NELSON'S studio in Texas and features the band's strongest songwriting. And GET SOME from 2005, was the first SPV release and the first collaboration with DANIEL REY, and has more hooks than a hillbilly's tackle box. Put on TEN YEARS OF PUSSY and celebrate the band's recent past and while looking forward to rocking with them in the near future.LP 1
1. Come On Come On
2. Rub It To Death
3. I'm So High
4. Going Down Swinging
5. Before The Drugs Wear Off
6. Hate And Whiskey
7. The South's Too Fat To Rise Again
8. Pussy Time
1. Till The Meat Falls Off The Bone
3. Why Why Why
4. Up The Dosage
5. Lazy Jesus
6. Ain't Your Business
7. Good Night For A Heart Attack
8. Stone Cold Down$19.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
Muswell HillbilliesMuswell Hillbillies is the ninth studio album by the English rock group The Kinks. The album is named after the Muswell Hill area of North London, where band leader Ray Davies and guitarist Dave Davies grew up and the band formed in the early 1960s. The album centered on themes of poverty and working-class life, as well as the destruction and subdivision of old Victorian neighborhoods-a practice that had become commonplace in North London during the 1970s.LP1
1. 20th Century Man
2. Acute Schizophrenia Paranoia Blues
4. Skin and Bone
6. Complicated Life
7. Here Come the People in Gray
8. Have a Cuppa Tea
9. Holloway Jail
10. Oklahoma U.S.A.
11. Uncle Son
12. Muswell Hillbilly
1. Lavender Lane
2. Mountain Woman
3. Have a Cuppa Tea (Alternate Version)
4. Uncle Son
5. Kentucky Moon
6. Nobody's Fool (Demo)
7. Acute Schizophrenia Paranoia Blues (BBC Peel Session)
8. Holiday (BBC Peel Session)
9. Skin and Bone (BBC Peel Session)
10. 20th Century Man (Alternate Instrumental Take)
11. Queenie (Backing Track)
12. Muswell Hillbillies (Radio Spot)$39.99Vinyl LP - 2 LPs Sealed Buy Now
Sad Clowns & HillbilliesHeartland rocker John Mellencamp will release his 23rd full-length album, Sad Clowns & Hillbillies featuring Carlene Carter, the daughter of June Carter Cash and stepdaughter of Johnny Cash, on Republic Records. Sad Clowns & Hillbillies returns Mellencamp to the musical eclecticism that is, itself, a reflection of his wide-ranging musings on life. John Mellencamp is an authentic voice of American music and master storyteller with a commitment to creating traditional rock & roll, bittersweet songs of happiness and melancholia, and fervent political dissent. His passions and experiences resonate beautifully in this showcase of his music. Sad Clowns & Hillbillies is produced by John Mellencamp.
Sad Clowns and Hillbillies is the Rock and Roll Hall of Famer's follow up to 2014's critically-acclaimed, Plain Spoken, Mellencamp's fourth consecutive Top 20 album, dating back to 2007's Freedom Road.1. Mobile Blue
2. Battle Of Angels
3. Grandview (featuring Martina McBride)
4. Indigo Sunset
5. What Kind Of Man Am I
6. All Night Talk Radio
7. Sugar Hill Mountain
8. You Are Blind
9. Damascus Road
10. Early Bird CafÉ
11. Sad Clowns
12. My Soul's Got Wings
13. Easy Target$21.99Vinyl LP - Sealed Buy Now
Mastered At Capitol Mastering By Ron Mcmaster From Original Analog Sources
192 Khz / 24 Bit
180 Gram Vinyl Pressed At RTI
Original Packaging Recreated, Printed At Stoughton Printing
Hillbilly Deluxe is the second album by country music singer-songwriter, Dwight Yoakam. Released in 1987, it was Yoakam's second consecutive #1 album on the Billboard Country Albums chart. Four tracks were released as singles with each becoming Top 10 hits on the Hot Country Singles chart in 1987 and 1988.1. Little Ways
2. Smoke Along The Track
3. Johnson's Love
4. Please, Please Baby
5. Readin', Rightin', Rt. 23
6. Always Late With Your Kisses
7. 1,000 Miles
8. Throughout All Time
9. Little Sister
10. This Drinkin' Will Kill Me$26.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
WARB-WEA-8848xThe Notting Hillbillies
Missing...Presumed Having a Good TimeMissing...Presumed Having a Good Time by The Notting Hillbillies is a studio album originally released in 1990 by Warner Bros. Records in the United States. The result is a low-key, joyous run-through of mostly traditional, blues-based songs with a handful of originals.
In 1990 Missing...Presumed Having a Good Time peaked at 52 on the Billboard 200 album chart.
After the mega-platinum success of Dire Straits' 1984 Brothers in Arms LP, the group's frontman, guitarist extraordinaire Mark Knopfler, opted to temporarily shift gears by forming the Notting Hillbillies, a one-off country side project. Among the band's first recruits was Steve Phillips, a fellow guitar player whom Knopflerhad first met in Yorkshire in 1968. Soon, the two aspiring journalists formed the two-man Duolian String Pickers.1. Railroad Worksong
3. Your Own Sweet Way
4. Run Me Down
5. One Way Gal
6. Blues Stay Away From Me
7. Will You Miss Me
8. Please Baby
9. Weapon Of Prayer
10. That's Where I Belong
11. Feel Like Going Home$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Everybody's In Show-Biz
150 Gram Vinyl
Two Inserts: Original Lyric Sheet Plus Second Insert With Bonus Track Info
Contains The Original 2-LP Plus A Third LP With 9 Previously Unreleased Live And Studio Tracks
First released in August 1972, Everybody's In Show-Biz was The Kinks' tenth studio album, arriving within a year of the acclaimed Muswell Hillbillies (the group's debut album for RCA Records). The original double-LP Everybody's In Show-Biz contained a complete studio album (which premiered the all-time Kinks classic Celluloid Heroes among other tracks) and a live disc chronicling The Kinks' Carnegie Hall appearance in March 1972.
The 2016 Legacy Edition of Everybody's In Show-Biz includes the original album, produced by Raymond Douglas Davies, in its entirety alongside a full disc's worth of previously unissued studio sessions outtakes (recorded for the album in 1972 at Morgan Studios, Willesden, London) and live material (recorded March 2-3, 1972 during The Kinks' triumphant Carnegie Hall concert run).
The new edition of Everybody's In Show-Biz includes in-depth liner notes penned especially for this release by noted rock scholar David Fricke.
A concept album of sorts, Everybody's In Show-Biz drew its themes and inspirations from the trials, tribulations and triumphs of life as a touring musician. (The raucous Carnegie Hall recordings on the album come from one of the first North American concerts performed by The Kinks after the lift of a four-year ban imposed on the group by the American Federation of Musicians in 1965.) The songs on Everybody's In Show-Biz were initially intended to serve as the soundtrack to The Colossal Shirt, a never-realized feature film about The Kinks on the road.
Life keeps using me, keeps on abusing me, mentally and physically, Davies sings on the album's Maximum Consumption. I gotta stay fit, stay alive, need fuel inside, eat food to survive . Stylistically, Everybody's in Show-Biz finds Davies further exploring his interest in Americana-inspired musical arrangements as heard on Muswell Hillbillies.
Everybody's In Show-Biz showcases the second great classic Kinks line-up: frontman Ray Davies, guitarist Dave Davies, bassist John Dalton, keyboardist John Gosling and drummer Mick Avory, joined by brass and woodwind players Mike Cotton, John Beecham and Alan Holmes (all of whom played on Muswell Hillbillies).
The Carnegie Hall recordings include a variety of Kinks originals in addition to unconventional covers including Mr. Wonderful (from the Sammy Davis Jr.-led musical of the same name), the 1920s popular standard Baby Face (made famous by Al Jolson) and The Banana Boat Song (a calypso-folk perennial popularized by Harry Belafonte).
The new Legacy Edition of Everybody's In Show-Biz includes never-before-heard live versions of Sunny Afternoon, Get Back in Line, Complicated Life and the rarely-played Long Tall Shorty as well as alternate versions of Supersonic Rocket Ship, Unreal Reality and the debut release of History, which foreshadowed The Kinks' next concept album, 1973's Preservation Act 1.LP 1
1. Here Comes yet Another Day
2. Maximum Consumption
3. Unreal Reality
4. Hot Potatoes
5. Sitting In My Hotel
7. You Don't Know My Name
8. Supersonic Rocket Ship
9. Look A Little On the Sunny Side
10. Celluloid Heroes
1. Top of the Pops (Live)
3. Mr. Wonderful(Live)
4. Acute Schizophrenia Paranoia Blues(Live)
6. Muswell Hillbilly(Live)
8. Banana Boat Song(Live)
9. Skin and Bone(Live)
10. Baby Face(Live)
1. 'Til the End of the Day (Live)
2. You're Looking Fine (Live)
3. Get Back In Line (Live)
4. Have A Cuppa Tea (Live)
5. Sunny Afternoon (Live)
6. Complicated Life (Live)
7. Long Tall Shorty (Live)
9. Supersonic Rocket Ship (Alternate mix)$29.99Vinyl LP - 3 LPs Sealed Buy Now
Rock Them Back To Hell!Freddy J IV and Brenn Beck are back with an album of voodoo hillbilly punk-blues. Recorded in Fort Wayne IN, and mixed in Detroit by Jim Diamond, "Rock Them Back To Hell!" sees the duo expanding their sonic palette by adding bass, harmonica, organ, and "trash percussion" (that would be a cardboard box, a paint tin, trash can and an electrified five-gallon bucket). The result is an album to wake up the dead, and rock it back to hell!1. Zombie Blocked
4. Juice To Get Loose
6. Be So Fine
9. Paralyze Ya
10. Righteous$16.99Vinyl LP - Sealed Buy Now
UNIM-ROU-6147xBela Fleck / Abigail Washburn
Echo In The Valley (Pre-Order)With one eye on using the banjo to showcase America's rich heritage and the other pulling the noble instrument from its most familiar arena into new and unique realms, Bela Fleck and Abigail Washburn's second album Echo in the Valley is simultaneously familiar and wildly innovative.
"Some of the most interesting things in the world come together in strange and unique ways and show our diversity," reflects Bela, a fifteen-time Grammy award winner who is often considered the world's premier banjo player. "The banjo is just one of those things. It's a great example of how the world can combine things and create surprising hybrids," a reference to the ancestral African roots of the banjo combining with Scotch-Irish music in Appalachia.
Echo in the Valley is the follow up to Bela and Abigail's acclaimed, self-titled debut that earned the 2016 Grammy for Best Folk Album. This time around, the mission was to take their double banjo combination of three finger and clawhammer styles "to the next level and find things to do together that we had not done before," says Bela. "We're expressing different emotions through past techniques and going to deeper places." The results are fascinating, especially considering their strict rules for recording: all sounds must be created by the two of them, the only instruments used are banjos (they have seven between them, ranging from a ukulele to an upright bass banjo), and they must be able to perform every recorded song live.
Fleck and Washburn met at a square dance and began playing music together a dozen years ago, beginning with the Sparrow Quartet. They married shortly thereafter and became parents to a cute little tot. They've been touring the globe as a duo for years, almost nonstop but for each other's performances with various other musical iterations: Bela with the likes of Bela Fleck and the Flecktones, Chick Corea and Chris Thile, among many others, and Abigail with Wu Fei (a master of the ancient 21-string Chinese zither), The Wu-Force and Uncle Earl.
With the exception of a few restyled traditional tunes, all tracks on Echo in the Valley are originals, and are largely co-written - a different creative approach from their first album, where songs were mostly his or hers.
"This time, we really wanted to truly write together," Bela adds. "We spent a lot of our time on the lyrics, deciding what we want the songs to communicate, both literally and under the surface."
Echo in the Valley reflects relevant issues while simultaneously connecting us to our past through wild re-imaginings of traditional pieces. New original tunes range from "Over the Divide," a song inspired by Hans Breuer, who worked to ferry Syrian refugees to safety, to "Blooming Rose," inspired by Native American voices and lamenting a continual distancing from nature, and "Don't Let It Bring You is an emphatic mantra for hard times.
With I don't wanna cry, cry, cry, oh, "Let it Go" is ultimately about release from the pain of transition, surrendering to growth. The song acknowledges that we must let our children grow up; the concession that youthful innocence will one day give way to adult cares and worries.
Clarence Ashley's "My Home's Across the Blue Ridge Mountains" has been turned into a rural blues, and Bela's well-known piece "Big Country" is framed by the traditional Appalachian tunes "Sally in the Garden" and "Molly Put the Kettle On," a medley Bela and Abigail performed hundreds of times on stage before recording. "'Big Country' is one of the most beauty melodies I have ever heard played on the banjo," says Abigail, who takes the lead on this version.
"Come All You Coal Miners" is the point-of-view of coal-miner advocate Sarah Ogan Gunning, whose passages remain poignant and powerful today. "This song came from a very emotional, mother-driven, daughter-driven, wife-driven place, and there are not many songs throughout history from that perspective, so I am incredibly moved by her," says Washburn.
As the story goes, Bela was struck by the sound of Mr. Earl Scruggs' banjo when hearing the Beverly Hillbillies theme song. He got hold of a banjo, took his musical namesakes (Bela for Bartok, Anton for Weburn, Leos for Yanecek) to heart, and has since continuously broken new musical ground with his instrument. Fleck has the distinction of being nominated in more categories than any other instrumentalist in Grammy history, and has brought his banjo through scorching hot newgrass, traditional bluegrass, otherworldly funk, modern jazz, African originals, transatlantic Celtic, and classical realms, with two self-composed banjo concertos to his name (The Impostor and Juno Concerto), with a third one in the works.
Abigail was similarly jolted into life as a banjoist, but for her it was hearing Doc Watson.
"I was proud to discover that I came from a country where you can hear that ancient sound - from Africa, from Scotland, from Ireland - all mixed up in this beautiful new sound, with those ancient tones in it," Abigail reflects. "The ancient sounds of our culture remind us who we are, and in them, we see a constellation of who we are becoming."
Washburn has imbued this philosophy in all aspects of her work, from the string band Uncle Earl to her acclaimed solo albums, Song of the Traveling Daughter and City of Refuge, and her semi-autobiographical theatrical work, Post-American Girl, as well as in her musical ambassadorship with China, a country with which she has a long, profound history. Abigail is deftly following in the footsteps of the founding mothers of folk, and has become a prominent voice of old-time in our time while bringing to light those ancient sounds of American and Far East cultures in new and exciting ways.
Bela and Abigail's creative process on Echo in the Valley is sonically made manifest in the record's major themes of harmony, empathy and surrender. As Abigail explains, the intense, intimate collaboration that Fleck and Washburn put forward on this project required "a spirit of staying strong, but also a willingness to release into the other's ideas to create something new," possibly something bigger and more beautiful than one could do on one's own.1. Over The Divide
2. Take Me To Harlan
3. Let It Go
4. Don't Let It Bring You Down
5. Sally In The Garden / Big Country / Molly Put The Kettle On
6. My Home's Across The Blue Ridge Mountains
7. Hello Friend
8. If I Could Talk To A Younger Me
9. On This Winding Road
10. Come All You Coal Miners
11. Bloomin' Rose$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
Hors d'OeuvresHaving recently relocated to her home state of Virginia from Philadelphia, Annie Sachs (a.k.a. Tickley Feather) has recorded her newest album Hors D'oeuvres. Recorded in an old dilapidated farmhouse in the Shenandoah woods, Hors D'oeuvres brilliantly captures Annie's Southern Gothic meets Existential Hillbilly vibe. Focused around a sense of joy, the new material is a marked change from her previous work and its sense of moodiness and oppression. Imbued with a purposeful anthemic quality, these songs reach out to the listener embracing a hauntingly beautiful tension.1. Muscles
2. Sure Relaxing
3. Don't Call, Marylin
5. Trashy Boys
6. Not A Drum
7. Roses Of Romance
8. Fly Like An Eagle
9. Club Rhythm 96 And Cell Phone
10. Tickley Plays Guitar$16.99Vinyl LP - Sealed Buy Now
Rock & Roll Nightmare (Awaiting Repress)Rock & Roll Nightmare is the second album by Southern California's LOS INFERNOS. Legend has it that Jello Biafra was so impressed upon seeing them live on various occasions in various towns that he offered them a deal. Eager to get the ball rolling, we released a single called The Outlaw/Beer Run (Virus 225) in April 1999.
LOS INFERNOS are 5 working-class dudes from Riverside in the glorious Inland Empire. Suburbia nestled between the Mojave desert and L.A. They grew up listening to X, Black Flag, Flesheaters as well as Link Wray, the Ventures and Dick Dale. So its no wonder that musically Los Infernos meld together twang, punk, rockabilly, surf, and a touch of hillbilly & blues. They have built up quite a reputation as a hot live band. So hot, in fact, that their van once caught on fire!
Rock & Roll Nightmare carries on where their debut album Planet Kaos left off. SoCal surf, Riverside rockabilly, and hillbilly hardcore that should appeal to sweaty pompadours, Gear-heads, as well as Fat Wreck-kids.1. We Gotta Get Out
2. Gimmie the Gun
4. It Brings Me Down
7. Nowhere Fast
8. Dead and Gone
11. Rise and Fall
12. When I Was Young$7.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Kid RockKid Rock is the self-titled sixth album by Kid Rock, originally released in 2003. It was critically acclaimed by Rolling Stone, which named it one of the 50 Greatest Albums of 2003. This is the last album to feature material in the genres of rap metal and hip hop before Rock crossed over to more country rock. Black Bob and Jackson, Mississippi were recorded for his 1996 album Early Mornin' Stoned Pimp in 1995, but were left off the album. Feel Like Makin' Love, Cold and Empty, Intro, Hillbilly Stomp and Run Off to LA were recorded for the demo sessions for 2001's Cocky, but did not make the cut has well. Feel Like Makin' Love originally had Sheryl Crow on the song. Country singer Kenny Chesney co-wrote Cold and Empty.1. Rock N Roll Pain Train
2. Cadillac Pussy
3. Feel Like Makin' Love
4. Black Bob
5. Jackson, Mississippi
6. Cold And Empty
8. Rock N Roll
9. Hillbilly Stomp
10. I Am
11. Son of Detroit
12. Do It For You
13. Hard Night For Sarah
14. Run Off To LA
15. Single Father$21.99Vinyl LP - 2 LPs Sealed Buy Now
$22.99 $16.09 Save $6.90 (30%)
Lawdy, Lawdy, Lawd (On Sale)Warrior horse-woman of myth or chimerical beast of the late 1970s funk? It is simply Centaura, available here for what amounts to the first time. For Atlanta hillbilly impresario BOB RILEY, the "spiral Series" of 12"s was part put-on, part hustle- but for Birmingham, Alabama's Centaura, that spiral-in logo appeared as a long-shot leg up. Their record's two-color, one-idea cover was mass-produced for Riley's envisioned run of potential releases though nothing but the enigmatic Centaura ever filled the jacket - and just barely.
Recorded in 1978, LAWDY, LAWDY, LAWD is a long-playing Golden Fleece of funk, disco, boogie, and deep post-Muscle Shoals balladry that would've surely failed to exist without Riley's extreme penny-pinching tactics in service of a failed marketing ploy so ludicrous, it kept the LP out of stores, relegated to extreme scarcity forever.
On SIDE ONE, Jesse Daniel and Cedrich Rutledge trade energized beats and freaks, before the synth-washed slowdown of "One Of A Kind'. SIDE TWO features Riley's two textbook funk cuts and album-ender "Just Don't Love You' -a mysterious tack-on of the Carbon Copies' Git Down Inc - issued 45, plus a heaving "Distant Lover" that sexes Marvin Gaye's original into softcore porn territory.1. Funky Beat
2. Doing the Freak
3. It's Cool
4. One of a Kind
5. Just You and Me
6. Distant Lover
7. Lawdy Lawdy Lawd
8. I Need Love
9. Just Don't Love You$22.99 $16.09 Save $6.90 (30%)Vinyl LP - Sealed Buy Now
Loaded: Best of Blake SheltonLoaded: The Best of Blake Shelton, is a solid collection of the country singer's singles, hits, and favorites from his five studio full-lengths, and the two six-track EPs he released in the latter year. Fifteen tracks deep, it begins with the two cuts that put him on contemporary country's radar -- Ol Red and Austin -- from his self-titled debut album in 2001.
The Dreamer, from 2003, is represented by the its two best cuts, The Baby, and the classic Playboys of the Southwestern World. There are three from 2004's Blake Shelton's Bar & Grill, including Shawn Camp's stellar Nobody But Me, and Shelton's reading of the Conway Twitty smash Goodbye Time. Pure BS, from 2007, is showcased by a pair of numbers, including The More I Drink and a third, Home, comes from the deluxe edition of album.
There's a solid version of She Wouldn't Be Gone from 2008's Startin' Fires to round things out. The first 11 tracks were a given, and Shelton's annotations in the booklet make a solid case for their inclusion. That said, Shelton also tacks on the title track from the Hillbilly Bone, Six Pack, as well as Kiss My Country Ass from the same set.
Further, Who Are You When I'm Not Looking and the title track from the second EP are here. All four of these songs were released earlier in the calendar year, making their appearances seem redundant at best and, frankly, like a cynical money grab at worst. Oftentimes, less really is more.LP 1
2. Ol' Red
3. The Baby
4. Playboys Of The Southwestern World
5. Some Beach
6. Goodbye Time
7. Nobody But Me
1. Don't Make Me
2. The More I Drink
4. She Wouldn't Be Gone
5. Hillbilly Bone (feat. Trace Adkins)
6. Kiss My Country Ass
7. All About Tonight
8. Who Are You When I'm Not Looking$19.99Vinyl LP - 2 LPs Sealed Buy Now
Live From Austin, TX (Dwight Yoakam)Twenty-something Dwight Yoakam was literally the new kid in country music when he stepped onto the Austin City Limits stage in October 1988. But even then, as he has ever since, he was doing things his own way. Dwight was born in a small Kentucky town and grew up listening to mountain and bluegrass music, and unlike most of the mainstream country-pop crooners of the eighties, he almost single-handedly revived the rockabilly / honky tonk / hillbilly sound that was one of the cornerstones of country music's formative years. Early on he discovered the fabled Bakersfield sound of the 60s and adopted it as his own, in the tradition of country legends Merle Haggard and Buck Owens. Buck, in fact, became his hero and friend. When Dwight was playing a fair in Bakersfield, he stopped by Buck's office and coaxed him into playing a few songs with him on stage that night. The result was a lasting friendship and their historic duet, Streets Of Bakersfield. Much like his heroes, Dwight has been true to his roots and breaking new ground for almost 20 years.
- Terry Lickona (producer Austin City Limits)LP 1
1. Guitars, Cadillacs
2. Smoke Along The Track
3. What I Don't Know
4. Home Of The Blues
5. 1,000 Miles
6. Please, Please Baby
7. Little Ways
8. Honky Tonk Man
9. Streets Of Bakersfield
1. Buenas Noches From A Lonely Room (She Wore Red Dresses)
2. Always Late With Your Kisses
3. Little Sister
4. I Sang Dixie
5. This Drinkin' Will Kill Me$28.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
ADAD-SEC-9017xWar On Drugs, The
Philadelphias The War on Drugs, the vehicle of Adam Granduciel, frontman, rambler, shaman, pied piper guitarist and apparent arranger-extraordinaire, returns with Slave Ambient. On their debut, the life-affirming Wagonwheel Blues, and the follow-up EP, Future Weather, The War on Drugs seemed obsessed with disparate ideas, with building uncompromised rock monuments from pieces that may have seemed like odd pairs. Folk-rock marathons come damaged by drum machines. Electronic and instrumental reprises precede songs theyve yet to play, and Dr. Seuss becomes lyrical motivation for bold futuristic visions. Now, Granduciel has done it again, better than before: Slave Ambient, their proper second album, is a brilliant 47-minute sprawl of rock n roll, conceptualized with a sense of adventure and captured with seasons of bravado.
Slave Ambient features a team of Philadelphias finest musicians, including multi-instrumentalists Dave Hartley and Robbie Bennett, and drummer Mike Zanghi. Recorded throughout the last four years at Granduciels home studio in Philly, Jeff Zieglers Uniform Recording and Echo Mountain in Asheville, NC, the album puts the weirdest influences in just the right places. Synthesizers fall where you might expect more electric guitars (and vice versa); country-rock sidles up to the warped extravagance of 80s pop.
Instant classic Baby Missiles is part Spingsteen fever dream, part motorik anthem. Original Slave might sound like a hillbilly power drone, but City Reprise #12 suggests Phil Collins un-retiring to back Harmonia. I Was There is Harvest rebuilt by some selection of psychedelic all-stars, while the shuffling, sleepy opener Best Night offers a band with too many ideas to be in a hurry. During the mid-album centerpiece Come to the City, Granduciel howls and moans, All roads lead to me/I've been moving/Ive been drifting. Indeed, however unlikely that might seem, all these sounds arrive cohesively in one unmistakable place. Every song on Slave Ambient is instantly identifiable and infinitely intricate, a latticework of ideas and energies building into mile-high rock anthems.1. Best Night
3. I Was There
4. Your Love Is Calling My Name
5. The Animator
6. Come To The City
7. Come For It
8. It's Your Destiny
9. City Reprise #12
10. Baby Missiles
11. Original Slave
12. Black Water Falls$19.99Vinyl LP - Sealed Buy Now
Texas Oil Patch SongsPressed On Petro-Blue Colored Vinyl
Drillin' & Drivin' Rig Ringers!
Country singer and disc jockey Slim Willet's ode to tool-pushin'! Texas Oil Patch Songs was issued in 1959 by the artist on his own Winston label, and now is an impossibly-rare LP to dig up-and this Modern Harmonic edition is faithful to the original, including all twelve tracks, liner notes, and restored artwork! And on petro-blue vinyl!
Ahh the "Concept Album" Critics write of Sinatra's In The Wee Small Hours or of groundbreaking 60's rock opera opuses but while the big studios set the scene for rainy night walks or drug-fueled psychedelic trips, a Great Lost Treasure from the Great Texas Oil Fields lay buried deep in the bargain bins of Saint Peters' Holy Blood Of The Christ Thrift Store! For sure, Slim Willet's mighty collection of blue collar, well-digging classics stood little chance to begin with - only a few hundred were pressed - and, well, oil songs never really caught on in the way the similar trucking-songs boom would several years later. Maybe had Slim put this out during the great Gas Station/Truck Stop 8-Track Market of the 70's this could have been a hit album. But, with Slim's passing in 1966, it was never to be.
Slim Willet (born Winston Lee Moore) was certainly a Big Fish in a Small Pond in the Independent Country Music World of the late 40s & early 50s. He's best known for penning "Don't Let The Stars Get In Your Eyes," a hit song for Ray Price, Skeets McDonald and Perry Como, all. Slim worked for many years with Bill McCall at 4-Star, made a stack of records as a singer, started his own Winston label, managed Dean Beard and various other hillbilly and rockabilly artists, but never really hit the big time. His greatest masterpiece, 1959's Texas Oil Patch Songs, was never fully appreciated until now. For all the tool pushers, roughnecks, derrick men & chain hands, THIS is your soundtrack."
- G-Minus Mark1. Rig Moving Man
2. Toolpusher (on a Rotary Rig)
3. Oil Patch Girls
4. El Paso Gas
5. Off Shore Drillin' Rig
6. Boom Town Man
7. Smell That Sweet Perfume
8. Johnny Don't Drill Any More
9. Drill Bit Honky Tonk
10. Morning Tower
11. Haywire Jones
12. Roughneck$24.99Colored Vinyl LP - Sealed Buy Now
I Remember ElvisWanda Jackson was a mere 16 years old when she cut her first single, but while she was a better than average country crooner from the start, it wasn't until the summer of 1956 that Jackson began to sing like the force of nature now recognized as the first great female rocker. A few things happened to Jackson during that two-year stretch between her recorded debut and her shift into high gear, and one of them was meeting Elvis Presley, who was still recording for Sun when she first played a show with him on July 20, 1955. Jackson generously acknowledges that Elvis taught her how to bring out her inner rock & roller, and they were close friends for years (and for a little while boyfriend and girlfriend). On this album, Jackson pays homage to the Hillbilly Cat by covering 13 songs associated with Elvis, most dating from his days at Sun or from the early years of his tenure with RCA, along with one new song, I Wore Elvis' Ring, and two spoken word cuts in which she shares her memories of Presley. For the most part, the production and arrangements are in the classic rockabilly mode, with guitarist and producer Danny B. Harvey, drummer Clem Burke, and veteran pianist Don Randi playing with skill and high style without getting in the way of the star of the show, and while Jackson's voice has started to show some slight signs of wear, she dives into these tunes with audible enthusiasm and a great feel for the material. Jackson brings her own style and personality to these songs, no small accomplishment, and while her phrasing leans toward the honky tonk material that dominated the greatest part of her career, her performances reveal what she learned from Elvis as well as what she found in her own musical personality when she embraced the joys of rock & roll. I Remember Elvis is something short of revelatory, but it is a sincere and loving tribute to an influential artist from someone who learned from him first-hand, and it proves that Jackson is still the Queen of Rock & Roll just as much as Elvis remains the King. Fine stuff.
-All Music Guide1. Wanda Introduction
2. Good Rockin' Tonight
3. Blue Moon Of Kentucky
4. Heartbreak Hotel
5. I Don't Care If The Sun Don't Shine
6. Trying To Get To You
7. Baby, Let's Play House
8. You're Right, I'm Left, He's Gone
9. Mystery Train
10. Ain't That Loving You Baby
11. I Forgot To Remember To Forget Him
12. I Wore Elvis Ring
13. Too Much
14. Love Me Tender
15. Wanda Talks About Elvis$14.99Vinyl LP - Sealed Buy Now
Between The DitchesRoaring out of the southern Indiana foothills comes Reverend Peyton's Big Damn Band playing a brand of Americana and Blues that stands alone. Delta blues and hillbilly fervor combine with musical acuity sharp as razor wire, this trio is a force to be reckoned with. Their new album Between The Ditches is a chronicle of this lifestyle. Their fifth album celebrates the growl of a good truck engine, the fiercest passion for their country home and the importance of family.
The uncanny ability to breathe new life into old forms of music gives the Big Damn Band a pedigree many Americana acts would kill for and an ironclad work ethic keeps them on the road playing for the people with hurricane force. Locked in with an audience, the band create their own community and welcome the crowd into it, transporting them away from their troubles to joyous release, the way great musicians have done for centuries. The Rev. J. Peyton, his wife Breezy and distant cousin Aaron "Cuz" Persinger are a living breathing embodiment of the traditions and hard work ethic native to their Brown County, Indiana home.
With a reputation for their incendiary live shows well established, The Big Damn Band set out to make the album that would finally capture the same heat. Recorded at White Arc Studio in Bloomington, Indiana, the album was produced by The Rev. Peyton and Paul Mahern (John Mellencamp, Iggy Pop) and mastered by Brian Lucey (Black Keys, Dr. John, Shins). For previous albums, the band had recorded live, straight through in the same mode as a live show. Between The Ditches came together more slowly, with care. "We approached it saying we were going to make a record this time, not just a recording," explained the Rev. He used a different guitar set up on almost every track, employing two '30s National guitars, a cigar box guitar, a custom shop Gibson flattop 1929 L2 and an Airline map electric guitar. The primary amps are custom Weber amps made by Weber speakers, both are one of a kind.
Between The Ditches features a new level of craftsmanship in both recording technique and songwriting. The guitar playing alone should put the Rev. in the same class with his much revered idols. The songwriting boasts an added maturity and runs the gamut in subject matter from the barn burning, tongue in cheek, "Shut the Screen," (where "It's too dang hot and the bugs are too dang mean") to the evils of strip mining, an issue close to the hearts of this Indiana band in, "Don't Grind It Down." There seems to be a theme expressed throughout the album and stated clearly in their first single "Devils Look Like Angels": "Devil don't live down in hell, the devil's right here doing very well."1. Devils Look Like Angels
2. Something For Nothing
3. We'll Get Through
4. Big Blue Chevy '72
5. Shut The Screen
6. Shake 'em Off Like Fleas
7. Easy Come Easy Go
8. I Don't Know
9. Don't Grind It Down
10. The Money Goes
11. Move Along Mister
12. Between The Ditches
13. Brokedown Everywhere
14. Brown County Bound$13.99Vinyl LP - Sealed Buy Now
ADAD-PAR-6848xJake Xerxes Fussell
Jake Xerxes FussellThe Southern half of the Georgia-Alabama border follows the Chattahoochee River, which cleaves Columbus, Georgia from its decidedly less reputable neighbor, Phenix City, Alabama. Georgia's second city is the hometown of "Mother of the Blues" Ma Rainey and novelist Carson McCullers, but it was local hillbilly duo Darby and Tarlton's 1927 hit "Columbus Stockade Blues" that first immortalized Columbus in popular culture. Back in their day, if you ended up in lockup in Columbus, chances are you did your dirtiest deeds across the river. Historically rife with vice of every conceivable variety-gambling, prostitution, moonshining, and endemic corruption and violence perpetrated by both gangs and police-the notoriously anarchic Phenix City was once known as "The Wickedest City in America."
A similar frontier liminality and skewed sense of place characterize the music of Durham, North Carolina singer and guitarist Jake Xerxes Fussell, whose self-titled debut record, produced by and featuring William Tyler, transmutes ten arcane folk and blues tunes into vibey cosmic laments and crooked riverine rambles. Jake Xerxes (yes, that's his real middle name, after Georgia potter D.X. Gordy) grew up in Columbus, son of Fred C. Fussell, a folklorist, curator, and photographer who hails from America's Wickedest City. Fred's fieldwork took him, often with young Jake in tow, across the Southeast documenting traditional vernacular culture, which included recording blues and old-time musicians with fellow folklorists and recordists George Mitchell and Art Rosenbaum (which led Jake to music, and to some of the songs herein) and collaborating with American Indian artists (which led Jake eventually to his graduate research on Choctaw fiddlers.)
As a teenager Jake began playing and studying with elder musicians in the Chattahoochee Valley, apprenticing with Piedmont blues legend Precious Bryant ("Georgia Buck"), with whom he toured and recorded, and riding wild with Alabama bluesman, black rodeo rider, rye whiskey distiller, and master dowser George Daniel ("Rabbit on a Log"). He joined a Phenix City country band who were students of Jimmie Tarlton of Darby and Tarlton; he accompanied Etta Baker in North Carolina; he moved to Berkeley, where he hung with genius documentary filmmaker Les Blank and learned from Haight folkies like Will Scarlett (Jefferson Airplane, Hot Tuna, Brownie McGhee) and cult fingerstyle guitarist Steve Mann ("Push Boat"); he appeared on A Prairie Home Companion. He did a whole lot of listening, gradually honing his prodigious guitar skills, singing, and repertoire. In 2005 he moved to Oxford, Mississippi, where he enrolled in the Southern Studies department at Ole Miss, recorded and toured with Rev. John Wilkins, and, last year, met up with acclaimed artist William Tyler to begin recording his first solo album.
Collaborating with Tyler and engineer Mark Nevers in Nashville was a conscious decision to depart cloistered trad scenes and sonics for broader, more oblique horizons. Tyler, a guitar virtuoso known for his own compositions that untether and reframe traditional six-string forms and techniques, helmed the push boat in inimitable fashion, enlisting crack(ed) Nashville session vets Chris Scruggs (steel guitar, bass, fiddle: Bonnie "Prince" Billy, Marty Stuart), Brian Kotzur (drums: Silver Jews), and Hoot Hester (fiddle: Bill Monroe, Ray Charles) to crew.
So it's no accident that Jake approaches the songs and styles represented here with both interpretive respect and unfussy irreverence, imbuing them with equal parts vaporish, percolating atmosphere and academic rigor, honoring the folksong headwaters by emphasizing their liquid mutability, alien strangeness, and sly humor above preconceived notions of static authenticity. Fussell recognizes that folk revivalist preciousness about spurious genre boundaries often feels absurdly at odds with the unruliness and restlessly inventive practices of tradition bearers-no revival or reenactment gear is necessary when the music lives and breathes and throws around hips and knees like these. Likewise, when you examine their lyrical content, ostensibly linear tales about rivers and work (labor of the hands, as in "Boat's up the River" and "Man at the Mill" and labor of the heart, as in "Star Girl" and "Pork and Beans") reveal themselves as fractured, riddled with narrative lacunae that open up the texts as squirrelly riddles or gentle metaphysical jokes.
For Fussell, these odd disjunctures demonstrate the way that verses and choruses, the stories we tell, disintegrate and erode over time, worn smooth as river stones and transmogrified by their repeated telling, more lovely for their fissures and absences than for any imaginary original integrity. (Aptly, "Chattahoochee" may mean something like "writing on rocks" in Muscogee or Yuchi.) Each song rendered here contains its own twinned inversion-its own Columbus, its own Phenix City-and Jake navigates their shoals with intuitive grace and authority.1. All in Down and Out
2. Let Me Lose
3. Star Girl
4. Raggy Levy"
5. Rabbit on a Log
6. Boat's up the River
7. Man at the Mill
8. Push Boat
9. Georgia Buck
10. Pork and Beans$21.99Vinyl LP - Sealed Buy Now
RampantNazareth's second 74 album Rampant finds the group tempering the four-on-the-floor hard rock attack they developed on Loud and Proud by working a surprising and effective Southern rock edge into the songs. The end result is an album that sounds like a early AC/DC meets Lynyrd Skynyrd at their hardest rocking. Some of the country-tinged highlights include Glad When You're Gone a funny kiss-off to an unwanted lover that airs hillbilly-styled singing with wah-wah-drenched guitar riffs, and Jet Lag a tongue-in-cheek look at life as a touring rock & roller that is driven by some. However, the finest song in this vein is the powerful opener Silver Dollar Forger, which feels like the theme song to the great 1970s car chase movie that never was.
This gatefold sleeved edition of the album contains the B-side to the Love Hurts 7 single as a bonus. Rock on!1. Silver Dollar Forger
2. Glad When You're Gone
3. Loved and Lost
4. Shanghai'd In Shanghai
5. Down 3:54 (bonus track)
6. Jet Lag
7. Light My Way
9. (A) Shape Of Things
(B) Space Safari$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
$49.99 $44.99 Save $5.00 (10%)
Shady Grove (On Sale)
A Natural, Acoustic Portrait of American Folk, Country, and Bluegrass Standards by Two Virtuosos: Jerry Garcia and David Grisman's Shady Grove Filled with Endearing Joy and Spirited Playing
Mastered from the Original Master Tapes and Strictly Limited to 3,000 Numbered Copies: Mobile Fidelity 180g 2LP Set Sounds Incredibly Realistic, Features Deluxe Booklet in Gatefold Jacket
Jerry Garcia began recording with longtime friend David Grisman at the beginning of the last decade of his life, the refreshing excursions marking a full-circle return to the roots fare the white-bearded virtuoso originally performed before co-founding the Grateful Dead. Garcia's dalliances with Grisman also served another equally important purpose given they provided a much-needed outlet from the demanding pressures, schedules, and business affairs associated with his main band. The endearing joy, contagious enthusiasm, and free-spirited playing on Shady Grove attest to the collection serving as not only the finest musical snapshot of Garcia's final years, but among the best of his storied career.
Mastered from the original master tapes, available on vinyl for the first time, and strictly limited to 3,000 numbered copies, Mobile Fidelity's 180g 2LP set presents the 1996 collection in exquisite sound. Originally recorded at Dawg Studios between August 1990 and June 1993, Shady Grove bowed as the first release of Grisman-Garcia collaborations in the wake of the iconic guitarist's August 1995 death - and remains, by way of its genre-specific organization, a passionate albeit naturally relaxed portrait of folk, country, and bluegrass standards that provide the foundation of American songbook. To experience it all in such brilliant fidelity is to pull up a chair at the sessions themselves and enjoy a transparent view into lasting tradition and instrumental virtuosity.
Entirely unplugged, the material emerges in three-dimensional detail on this very special audiophile pressing, the wooden tones and organic textures unfolding with wondrous openness, ease, and realism. Nothing is forced, brittle, or exaggerated. What you hear is on par with the acoustics you'd encounter at a world-class hall. Garcia and Grisman's clean, rustic picking on guitar, banjo, mandola, and mandolin harbors a rare intimacy mirrored by an equally uncommon chemistry evident by the seamless interplay.
These traits remain in tact even when the soul mates are occasionally joined by pals such as Jim Kerwin (acoustic bass) and Joe Craven (fiddle and percussion). Garcia's singing, replete with the slight, graceful, dignified shakiness that forever defined his deliveries, comes across with utmost purity and transparency. Emotions and eagerness pour over every note. At the end of several tracks, Garcia and company exchange remarks and laughter - all indicative of the camaraderie, looseness, and spirit that carries through each tune here.
Mobile Fidelity's audiophile edition of Shady Grove also features the kind of deluxe packaging only the best physical media can provide. Sixteen 12-inch x 12-inch pages bound to the gatefold jacket provide extraordinary insight into the songs, atmosphere, and history. Images of artifacts and telling photos serve as a visual guide. New Lost City Ramblers member John Cohen pens extensive liner notes that reveal the lasting importance and timelessness of the tunes herein. Among his observations:
Jerry and David's performances of these traditional folk songs and ballads reconnect us all - folk singers, Deadheads, university students, hillbillies, country and western musicians - with the America [poet Kenneth] Rexroth wrote about; that [Carl] Sandburg wrote about; that the cynicism of American wars and politics, culture wars and culture politics just couldn't destroy.
Indeed, the versions of barn-dance tunes (Shady Grove), jug-band standards (Stealin', also performed in the early days of the Grateful Dead), Delta ballads (Louis Collins), Civil War era fare (The Sweet Sunny South), and campfire songs (Down in the Valley) here astound with depth, soulfulness, and warmth. Deadheads will also find Garcia and Grisman putting a spin on two more tracks - Casey Jones and Jackaroo - long part of the iconic group's repertoire. In countless ways, Shady Grove is not to be missed, particularly on this unsurpassed pressing.
This title is not eligible for further discount.1. Shady Grove
3. Off to Sea Once More
4. The Sweet Sunny South
5. Louis Collins
6. Fair Ellender
8. The Ballad of Casey Jones
9. Dreadful Wind and Rain
10. I Truly Understand
11. The Handsome Cabin Boy
12. Whiskey in the Jar
13. Down in the Valley
14. Hesitation Blues$49.99 $44.99 Save $5.00 (10%)180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Live At Third Man Records (Pre-Order)You don't need to be from the South to understand Billy Wayne Davis' particular brand of humor, but being the Nashvillians we are (both transplanted and native), this up-and-comer is one of our favorite used-to-be local (and soon-to-go-global) stand-up comedians. Davis has gone from surprising crowds at the comedy club down the road with his ''like-hillbill-ity,'' to winning over the alt comedy scene of Seattle, to hangin' with Marc Maron and working with the likes of Lisa Lampanelli, Louis CK, and Mitch Hedberg since his most recent move to Los Angeles. Third Man Records was thrilled to have Tennessee's much-missed ''thinking man's hillbilly'' to our stage for a little Southern hospitality and to record another addition to what is becoming a pretty formidable series of live comedy records. Some of our absolute favorite releases over the past seven years have been made without the use of a single guitar, and we expect Billy Wayne Davis Live at Third Man Records to join those very ranks.1. Rambling Heartfelt Intro
2. Opening Prayer
3. The Middle East
7. Crossville, TN
8. Coon's Age
9. Honest Dime
11. More Kentucky
13. Thanks Marty & Storme$14.99Vinyl LP - Sealed PRE-ORDER Buy Now
Highway QueenNikki Lane's remarkably dazzling third album,
Highway Queen, sees the
young Nashville rebel emerge as one of country and
rock's most gifted songwriters. Produced by Lane
and fellow singer-songwriter Jonathan Tyler, and
recorded in Denton, Texas and Nashville, Tennessee,
Highway Queen is an emotional tour-de-force.
Blending potent lyrics, unbridled blues guitars and
vintage Sixties country-pop swagger, Lane's new music
will resonate as easily with Black Keys and Lana
Del Rey fans as those of Neil Young and Tom Petty.
Highway Queen starts with the whiskey-soaked
restlessness of "700,000 Rednecks," a rowdy call to
action, and ends on the profoundly raw "Forever
Lasts Forever," where Lane belts freely, mourning
a failed marriage - the "lighter shade of skin" left
behind from her wedding ring. Lane's journey to
heartbreak takes exquisite turns. "Companion" is
pure Everly Brothers' dreaminess ("I would spend a
lifetime/ Playing catch you if I can"). Elsewhere, she
goes on a Vegas bender on the rollicking "Jackpot,"
fights last-call blues ("Foolish Heart") and tosses
off brazen one-liners at a backroom piano ("Big
Lane, a Greenville, South Carolina native, is a unique
songwriter who didn't take the traditional country
artist path. Her backwoods roots are undercut by
her chosen career as a fashion entrepreneur (she's
the owner of vintage clothing boutique High Class
Hillbilly) who has lived - and been heartbroken
in - Los Angeles, New York and Nashville. So it's no
surprise that her music seamlessly crosses musical
genres with lyrics steeped in the doomed perseverance
only a true dark horse romantic knows.
Lane's rapid rise in music is thanks to the fervent critical
acclaim of her debut record Walk of Shame
and 2014's Dan Auerbach-produced All Or
Nothin'. With Highway Queen, 2017 is poised
to be Lane's major mainstream breakthrough. So as
she sings on the title track: place your bets, if you
ain't folding.1. 700,000 Rednecks
2. Highway Queen
3. Lay You Down
6. Big Mouth
7. Foolish Heart
8. Send The Sun
9. Muddy Waters
10. Forever Lasts Forever$20.99Vinyl LP - Sealed Buy Now
Tomorrow's Gonna Be Another Day / High on A Mountain of LoveKentucky born, Ohio raised; Tennessee jilted, California praised. That's the way the story goes, at least. In 1977 when Dwight Yoakam moved to Nashville to pursue his honky-tonk dreams, Nashville was moving away from the traditional and Countrypolitan sound it had spent the better part of a century developing, and more towards the pop-country that still holds the airwaves hostage. Dwight found that his musical aspirations were better suited for the post-Bakersfield, ''Hillbilly'' Los Angeles scene, and that his music was better received by the West coast punks and drunks than it ever was by the Music City establishment. It's a real stain on Nashville's history books, because Dwight Yoakam turned out to be one of the best damn artists country music has ever known. You know for certain now that Nashville has recognized its mistake by the sheer number of times ''Guitars, Cadillacs'' is picked on lower Broadway each day. It never gets old. It's practically the city anthem.
Third Man Records, as you know, is thrilled to call Nashville home to its label headquarters, and calling Nashville home means putting out some real country music records. We did it earlier this year from one Margo Price, and we're doing it again now, just in time for the CMA Music Festival next week. Dwight Yoakam recently took to the studio with our fearless leader Jack White III to record two of the swingin'est tunes we've ever had covered in our Blue Series: ''Tomorrow's Gonna Be Another Day'' (Boyce/Venet, popularized by The Monkees) b/w ''High On The Mountain of Love'' (Dorman, popularized by Kenny Lynch, then Johnny Rivers, then the Beach Boys, and recorded by many others along the way). Produced by White and backed by the Third Man band of all-stars - Lillie Mae Rische, Daru Jones, Cory Younts, Dominic Davis, Fats Kaplin - these two renditions, into which Dwight's delivery breathes new life, proves that with the right artist behind the microphone, any song'll make an even better country song. Now, have you ever heard anything more Nashville than that?1. Tomorrow's Gonna Be Another Day
2. High on A Mountain of Love$6.997 Vinyl Single Buy Now