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5 Surprising Facts About Marvin Gaye’s ‘Let’s Get It On’

Albums about sex move hips. Let’s Get It On moves history. Released August 28, 1973, Marvin Gaye’s twelfth studio LP shifted the sound of Motown and stretched the boundaries of what soul music could feel like. Romantic, erotic, and deeply spiritual, it showed Gaye’s mastery not just as a vocalist, but as an architect of mood. And if you thought you already knew this record, turn down the lights and let these 5 lesser-known facts remind you: Marvin was playing in a deeper key than anyone realized.

1. “Let’s Get It On” Started as a Religious Anthem
Before the sensual falsettos and sultry guitar licks, “Let’s Get It On” was a spiritual hymn. Co-writer Ed Townsend, fresh from rehab, envisioned it as a message of divine uplift. Marvin recorded a version with political themes, but Townsend redirected it toward love. The music stayed, but the meaning shifted—from salvation to seduction, from Sunday morning to satin sheets. Janis Hunter, then just 17, entered the studio, and Marvin’s delivery turned into a live-wire transmission of real-time desire.

2. “Distant Lover” Took Over 20 Sessions to Perfect
Every whisper, every wail—Marvin bled for this track. “Distant Lover” first appeared as “Head Title” in 1970, captured in a raw falsetto growl with background chatter from Gaye’s niece-in-law Denise Gordy. But Marvin wasn’t done. He recorded take after take over three years. The final version features that heartbreak howl, floating above mellow doo-wop harmonies and ghostly mic bleed. It became a concert staple and one of Gaye’s most hypnotic ballads.

3. The Originals Kept One Track Anchored in the Past
“Just to Keep You Satisfied” first glided through Motown as a love song performed by The Originals. When Marvin claimed it for Let’s Get It On, he rewrote the lyrics to reflect his own crumbling marriage with Anna Gordy. The Originals’ background vocals stayed in, haunting the track like a memory. The result? A breakup song steeped in vintage harmony, personal grief, and gospel-like reverence.

4. The Funk Brothers Brought the Heat, Finally Got the Credit
James Jamerson on bass. Eddie “Bongo” Brown on percussion. The Funk Brothers, long the unsung heroes of Motown’s house sound, laid down the grooves for Let’s Get It On. This time, they got their name on the sleeve. Their syncopation powered the funk in “Come Get to This” and the aching pulse in “If I Should Die Tonight.” These were craftsmen of feel, and Marvin knew exactly how to use their touch.

5. “You Sure Love to Ball” Was Bold Even by 1973 Standards
Heavy breathing. Full moans. A groove soaked in red velvet. “You Sure Love to Ball” was Marvin’s most daring studio moment to date, complete with studio-recorded intimacy right on the track. Radio stations blushed. Some refused to play it. But it charted anyway—proof that soul’s power lies not just in what’s said, but in what’s felt between the lines.

Let’s Get It On is an album of dualities—earthy and divine, soft and raw, vintage and future. It helped birth the slow jam, shaped quiet storm radio, and turned Marvin into a messenger of pleasure and pain. Every groove is a diary entry, every vocal a sermon. And 50 years later, the lights are still low, and the speakers still whisper his name. If you were born in June, 1974, you know why.

5 Surprising Facts About The Beach Boys’ ‘Wild Honey’

The Beach Boys were known for surfboards, harmonies, and sunshine. In December 1967, they swapped the beach for the back porch, the waves for a Wurlitzer, and rode a soul-powered groove straight into Wild Honey. Soulful, stripped down, and sweeter than the jar it was named after, Wild Honey brings California cool into a Motown daydream. If you’ve never danced to this one in your kitchen, it’s time.

Here are five wild, wonderful, and honey-dripped facts about the album that reimagined the Beach Boys’ sound.

1. A Jar of Honey Sparked the Whole Groove

You know those moments when inspiration buzzes in out of nowhere? That’s how Wild Honey got its name. Whether it was Mike Love spotting a jar in Brian Wilson’s kitchen or Brian channeling it from the shelf during a tea break, the golden goo became a muse. Love ran with it, penning lyrics imagining Stevie Wonder himself singing to a “wild little honey.” This album title glows with a vibe that’s sticky with soul and sweet with sunshine.

2. Carl Wilson Took the Wheel—and the Mic

Carl Wilson stepped forward in a big way. Brian, looking to pass the production torch, brought Carl deeper into the studio’s glowing core. Carl’s voice—smooth as fresh wax on a surfboard—shines on tracks like “Darlin’” and “I Was Made to Love Her.” With every note, you can feel him sliding into a new role: frontman, producer, and keeper of the Beach Boys’ rhythm ‘n’ blues flame.

3. “Darlin’” Almost Went to Another Band

Before Wild Honey hit speakers, “Darlin’” was almost handed off to another crew. Brian had written it for a new group called Redwood—who’d later become Three Dog Night. But when Carl and Mike heard the demo, they urged Brian to keep it for the Beach Boys. Carl took the lead vocal, and the result is a horn-kissed, Motown-inspired bop that sparkles like Pacific sun on chrome.

4. Recorded at Home with DIY Soul Power

Wild Honey came to life mostly in Brian Wilson’s Bel Air home. With detuned pianos, organ riffs, and the occasional hallway drum thump, the Beach Boys crafted a homespun sound that flows with raw R&B. Motown may have been the influence, but this is California DIY—palm trees, paisley shirts, and soul stitched together with warmth and wit.

5. Out of Step and Ahead of Its Time

During a season filled with sitars and sonic epics, Wild Honey keeps it simple. No sprawling concepts, no cosmic jams—just heart, harmonies, and a whole lotta soul. Artists like Bob Dylan and the Beatles soon embraced this back-to-basics approach. Today, Wild Honey stands as a joyous, unfiltered celebration of rhythm, brotherhood, and the groove of being alive.

So next time you’re chasing sunshine or craving soul, crack open Wild Honey. This record beams with funky warmth, backyard beauty, and the feeling that the Beach Boys were making music for the sheer joy of it.

5 Surprising Facts About Grateful Dead’s ‘Workingman’s Dead’

Some albums light the way forward. Some hold the lantern to the past. Workingman’s Dead does both—while humming a melody that feels carved out of wood and river stone. Born in 1970 under pressure and starlight, it blends back-porch harmonies with cosmic cowboy storytelling. Put on your headphones and open your third ear. Here are 5 facts about Workingman’s Dead that shine like firelight on a mountain trail.

1. Jerry’s Steel Guitar Sparked a New Sound
While on tour in Boulder, Garcia found a pedal steel guitar that sang to him like an old friend. Its voice fit perfectly with the new songs taking shape—warm, rootsy, wide open. Tracks like “Dire Wolf” and “High Time” shimmer with its golden twang, as if the hills themselves joined the jam.

2. Crosby, Stills & Nash Gave Them a Harmony Awakening
Stephen Stills lived at Mickey Hart’s ranch for three months and brought some harmonic magic with him. Crosby and Nash joined in, opening Garcia and Weir’s eyes to the power of voices woven together. That revelation led to the layered beauty of “Uncle John’s Band” and beyond.

3. “Dire Wolf” Howled Its Way Out of Sherlock Holmes
After watching The Hound of the Baskervilles, Robert Hunter imagined the dire wolf as a mystical poker companion in a place called Fennario. Garcia wrote the melody the same day, and suddenly the folklore of Appalachia merged with a dreamlike American myth. “Don’t murder me” became a chant of cosmic survival.

4. Nine Days of Studio Alchemy
With legal trouble brewing and their manager’s trust evaporating, the Dead turned inward and upward. They recorded Workingman’s Dead in just nine days—fast, focused, full of life. Garcia called it “an upper,” and it became a healing ritual disguised as a folk-rock masterpiece.

5. The Album Cover Carries a Thousand Stories
The photo was taken at 1199 Evans Avenue in San Francisco, but it could have been anywhere between 1870 and 1970. The sepia tones, the workingman’s stance, the mystical fog—they all mirror the songs inside. Mickey Hart said it best: it was time to trade the spacesuit for overalls and dig into the Earth.

Workingman’s Dead doesn’t float above—it walks beside you, telling stories, offering songs like sacred bread. It’s an album that invites you to gather ‘round, feel the harmony, and remember that even in the strangest of times, the music will always find its way home.

Meet you at the next chorus.

Texas Headhunters Drop Sly, Swampy New Single “Gimme Some Love” Ahead of Debut Album

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Texas Headhunters aren’t here to play it slick; they’re here to play it real. Today, the trio of Johnny Moeller, Ian Moore and Jesse Dayton, drop “Gimme Some Love,” the third single from their self-titled debut album, out August 22 on Hardcharger / Blue Elan Records.

This time, it’s Johnny Moeller stepping out front. Long known for his razor-sharp guitar work with the Fabulous Thunderbirds, Moeller shows a new side of his artistry here — cool, sly, and soaked in Texas groove. Think Ray Wylie Hubbard swagger meets Delbert McClinton soul, with a little Billy Gibbons grit for good measure.

“This one came together real quick in the studio,” says Moeller. “I’m playing rhythm and singing while Jesse and Ian laid down the ‘ancient art of guitar weaving,’ Texas style, all in one live take. The song’s about looking at this crazy world and realizing we all just need a little more love. I was stuck on the third verse, and my wife said, ‘write something about your dog.’ So, ‘my little sweet Talullah’ made the cut.”

Lyrically, “Gimme Some Love” is a gritty gospel-blues plea for redemption, cut with humor and heart. It’s a song about breaking bad habits, riding the soul train out of trouble, and shining a light in the darkness. Musically, this track rides a low-slung groove. With the swampy pulse of Little Feat, the grit of a Chess Records session, and the laid-back cool of a late-night Austin jam, captured live at Willie Nelson’s Pedernales Studio with producer Steve Chadie.

Texas Headhunters is Ian Moore. Jesse Dayton. Johnny Moeller, three Texas titans with fire in their fingers and soul to burn. Tracked live at Willie Nelson’s Pedernales Studio with Steve Chadie, their self-titled debut is a 12-track blast of groove, grit, and no-bullshit Texas blues revival. Each member sings. Each writes. Each brings decades of sweat, swagger, and skill.

Following the buzzed-about preview run with Samantha Fish’s Paper Doll World Tour, Texas Headhunters have added a special return to Buffalo, NY, playing Iron Works on September 6. Their last Buffalo appearance, at Asbury / Babeville, ended in a fiery encore with all four guitar heroes — Samantha Fish, Ian Moore, Johnny Moeller, and Jesse Dayton — trading licks onstage. Expect more of the same electric energy when they return.

TOUR DATES
Aug 28 Milwaukee, WI Shank Hall
Aug 29 Berwyn, IL Fitzgerald’s Nightclub
Aug 30 St. Louis, MO Old Rock House
Aug 31 Kansas City, MO Knuckleheads
Sept 4 Cincinnati, OH Ludlow’s
Sept 5 Cleveland, OH Beachland Ballroom
Sept 6 Buffalo, NY Iron Works
Sept 7 Warrendale, PA Jergel’s
Sept 11 Shirley, MA Bull Run
Sept 14 Fairfield, CT StageOne
Sept 16 Philadelphia, PA World Cafe Live
Oct 19 Dallas, TX Kessler Theater
Oct 22 Tulsa, OK The Shrine
Oct 24 Houston, TX The Heights Theater
Oct 25 Austin, TX Antone’s

Poptones Draw on UNO-Inspired Chaos for New Single “Say Something Now” off Upcoming Album ‘Pure’

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Danish experimental rock trio Poptones today release “Say Something Now”, the second single from their upcoming album Pure, out September 26th via Happy Metal Records.

Where lead single “Skin of Sea” hinted at a shift toward grandeur and intuitive composition, “Say Something Now” takes that impulse further, channelling pure spontaneity through an unlikely creative source: the card game UNO.

The track’s soaring chorus is lifted directly from a unique improvisational game the band devised during an artist residency on Denmark’s North Jutland coast- the same house where former Prime Minister Jens Otto Krag spent his final days. The UNO-Improvisation game, uses the colour-coded and action-based logic of UNO cards to assign musical behaviours to each player. Red means “extreme” and chaotic; green is static and grounded; action cards can flip expectations or double a performer’s output. It’s part structured chance, part deliberate chaos – think Brian Eno’s Oblique Strategies meets John Zorn’s Cobra.

“The chorus was taken straight from that improvisation,” the band shares. “Anders and Simon both drew red, meaning they had to play with intensity and unpredictability. Mads drew green with a ‘turn around’ card, so he had to play his bass backwards – fretting with his right hand. It led to this beautiful tension: the chaos of drums and guitar, anchored by a bassline that barely moves.”

Written and recorded in a matter of hours, the song exemplifies the intuitive, rule-breaking spirit that defines Pure. Though born from a chaotic process, “Say Something Now” reveals a lyrical core that’s introspective and wistful.

In the band’s own words: “The lyrics are about delusionally imagining and dreaming about one’s own future, only to realize that it’s just a dream. A hopeful story of youth and feeling ready to take the next step in life.”

‘Cook’ by Lettuce Drops December 3, New Single “Gold Tooth” Out Now

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Legendary funk sextet Lettuce announced today the December 3 release of Cook via the band’s own Lettuce Records. The band released the new single, “Gold Tooth,” to accompany the announcement.

Lettuce keyboardist and vocalist Nigel Hall says, “This is something that we’ve sat on for a minute, and I’m glad to put some ears on it finally.”

“This is what happens when me and Shmeeans get together and make sumn FUNKY,” says drummer Adam Deitch, and “This song is giving strong 1990s Prince & Chaka Khan vibes,” agrees Eric “Benny” Bloom (trumpet, horns).

Cook, isn’t just a nod to Lettuce’s musical heat; it’s an invitation to join the band at the table, where funk, soul, jazz, rock, and hip-hop come together in one rich, flavorful dish. The album offers a menu of delights that marks a group exploring new sonic territory. On Cook, Lettuce has expanded its ever-widening musical palette again, following tours with both rap icon GZA of the Wu-Tang Clan and reggae legend Ziggy Marley. Earlier in the year, the band released the live album and concert film Lettuce with the Colorado Symphony. Still, there’s a generous dose of Lettuce’s patented funk, paying tribute to the great James Brown and his JB’s and honoring mentors like Tower of Power and Maceo Parker. For these six lifelong partners, the new songs feel like a nourishing meal that entices all of your senses.

“This record is a little more three-dimensional than our past albums,” says Deitch. “It shows a lot more sides to the band, exploring further depths of production and arrangements.”

The band has also recently announced the launch of Lettuce Red Crush and Orange Crush wine brands in collaboration with Aquila Cellars, along with a recipe book featuring pairings to be included with the vinyl album and available in digital form. The wine was brought to life by Bloom and Zoidis’ wine distribution company, Benny & Zoid Selections, who made it accessible to purchase nationwide online.

“Music and food are very related,” said Deitch. “Use the wrong ingredients in either and you can ruin the sound and the meal.”

With Cook, it appears Lettuce has the right recipe for success… both musically and organizationally.

“This is the best team we’ve ever had,” said Deitch of his current management. “We feel like the world is our oyster. Our concepts and ideas can really come to fruition now with our infrastructure. It’s beautiful to be in a headspace of feeling this fresh. It’s the start of a brand-new era for us.”

In anticipation of the release of Cook, Lettuce is also set to perform around the world with dates reaching into 2026. The full schedule of shows, happening across North America, Europe, Japan, and Australia, can be found below, including just-announced East Coast dates in 2026.

As part of the 2026 run, fans can also access the exclusive “Cookin’ with the Band” VIP experience, a pre-show hang designed for funk lovers and foodies alike. Available for all January and February shows, the package includes soundcheck viewing access; setlist voting power; early merch shopping + discount code; and limited-edition keepsakes like a custom ‘Cook’ apron, a printed recipe zine, and a signed tour laminate.

‘It’s Never Over, Jeff Buckley’ Documentary Hits Theaters Aug 8, New Trailer Out Now

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From Academy Award-nominated director Amy Berg, IT’S NEVER OVER, JEFF BUCKLEY is in theaters starting August 8th and a brand new trailer has been released.

IT’S NEVER OVER: JEFF BUCKLEY, directed by Oscar-nominated filmmaker Amy Berg (DELIVER US FROM EVIL, JANIS: LITTLE GIRL BLUE, WEST OF MEMPHIS), covers the life of the rising young star with an otherworldly voice and boundary-pushing artistry, who left the ’90s music world reeling when he died suddenly, at age 30, after the release of his critically acclaimed debut album “Grace.”

Told through never-before-seen footage from Buckley’s archives and intimate accounts from his mother Mary Guibert, former partners Rebecca Moore and Joan Wasser, Jeff’s former bandmates, including Michael Tighe and Parker Kindred, and luminaries like Ben Harper and Aimee Mann, IT’S NEVER OVER, JEFF BUCKLEY illuminates one of modern music’s most influential and enigmatic figures.

Hannah Anders Defies the Odds of Young Love on New Single ‘Break Us’

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 Nashville country artist Hannah Anders releases new single “Break Us”, The single is now available on all digital streaming platforms. When you hear the term “young love,” you might assume it begins and ends in the same breath-a fleeting, innocent kind of affection you look back on with a soft smile. But with Hannah Anders’ newest release, “Break Us,” she challenges that narrative, revealing just how deep and lasting young love can truly be. That it’s not always naive-sometimes it’s the start of everything. The ultimate “when you know, you know.”

From the very first strum, you’re drawn in by a Chicks-esque rhythm that feels both nostalgic and fresh. There’s an urgency to the guitar, like a heartbeat leading you into something worth listening to. Then Anders delivers the opening line: “May be 5th grade but, what do you say, we just make a little pinky promise, to rise above all the problems this world throws our way.” With that, she sets the tone-not just for the song, but for a relationship built on conviction. She’s not just singing about love; she’s singing about commitment, about choosing the same person again and again, no matter the season.

Speaking on the song and the relationship that inspired it, Anders says, “What’s kept us strong isn’t some magical formula-it’s the choice we make every single day to keep showing up for each other, even when it’s hard.” It’s a grounded kind of romance, one rooted in resilience and the everyday decision to stay.

As the song builds to its emotional climax, her voice swells with purpose. You can feel the weight behind the line: “And I know what we’re made of, so let ’em try to break us and watch us survive.” It’s not just a lyric-it’s a declaration. Love isn’t always smooth or easy, and yes, life will throw challenges your way. But real love-the kind that sticks, stretches, and strengthens over time-endures.

With “Break Us,” Hannah Anders gives us a rare kind of love story. One that started young, stood the test of time, and continues to grow. She and her husband are living proof that sometimes, young love isn’t just the beginning. It’s the whole story.

The Snozzberries Launch Southern Tour July 24, With Live-to-Vinyl Show at Purple Bee Studios August 2

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Asheville’s own psychedelic funk powerhouse, The Snozzberries, are taking their electrifying, mind-bending live show on the road this summer, bringing a kaleidoscope of groove-soaked jams to cities across the Southeastern U.S.

Kicking off in Mobile, AL on July 24, 2025, this string of dates marks the band’s most anticipated Southern run yet—blending high-energy performances, wild improvisation, and a loyal fanbase that keeps showing up ready to dance.

With a reputation for turning every venue into a full-blown cosmic playground, The Snozzberries have become a staple of the jam/festival circuit—sharing the stage with acts like Pigeons Playing Ping Pong, Papadosio, and The Werks, and gracing lineups at festivals like Hulaween 2025.

“There’s something special about the Deep South—we always feel like the energy’s just dialed all the way up down here,” says Ethan Hellar, guitarist and singer for the band. “This run is going to be pure fire. We’re excited about every show, but especially our August 2nd show at Purple Bee Studios outside of Austin in Volente, TX.”

“It’s a hybrid event: the first set is fully interactive, where the crowd helps steer the jams, there’ll be hilarious stunts, and chances to win prizes. Then we shift gears for the second set, which will be recorded live, straight to vinyl.”

“Pre-sales for the vinyl are happening now and will run through the end of the show—after that, the window closes. So, head over to the Purple Bee website and reserve your copy! We’re stoked to be trying something totally new with this fan-driven format.”

Tour Dates:

Jul 24 Mobile, AL Brickyard

Jul 25 Jackson, MS Martin’s Downtown

Jul 26 New Orleans, LA Les Bon Temp Roule

Jul 27 Orange Beach, AL Undertow

Jul 28 New Orleans, LA Parallel Threads at Banks Street Bar

Jul 31 Dallas, TX Electrik Ants at Deep Elem Art Co.

Aug 1 Shreveport, LA Sauce at Seventh Tap

Aug 2 Volente, TX Purple Bee

Aug 9 High Point, NC Ziggy’s

Aug 14 Columbus, OH Woodlands Tavern

Aug 15 Covington, KY Madison Live!

Aug 22 Boone, NC Boone Saloon

Aug 23 Roanoke, VA Martin’s

Aug 28 Stuart, VA Front Porch Fest 2025

Aug 29 Ansonia, OH Fall Hookahville 2025

Sep 11 Virginia Beach, VA Lunasea

Shawn Camp Announces ‘The Ghost of Sis Draper’—A Long-Awaited Album Honoring Guy Clark, Out September 12

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“This is as much Guy Clark’s album as it is mine,” says GRAMMY-winning producer, songwriter, and member of traditional bluegrass torchbearers, The Earls of Leicester, Shawn Camp. The album? A concept of sorts, built on the songs born from Camp and Clark’s most revisited muse, Sis Draper, and one which Guy Clark fans have been looking forward to almost as much as Camp himself. 

Camp was seven years old when a traveling fiddle player named Sis Draper finally arrived at a pickin’ party in the hills of Perry County, Arkansas. To young Camp, Draper was already a legend—and he was dying to play with her. Twenty-five years later, in Guy Clark’s basement workshop in Nashville, Camp and Clark were stumped on what they’d write their next song about. Camp told Clark about Sis Draper; the lore, the excitement. “Guy said, ‘Well, there’s your song,’” Camp remembers. “We wrote ‘Sis Draper’ that day. ‘Magnolia Wind’ came next. For years, we would work on other songs, then fall into ‘Sis.’ If we got stuck on something, we’d end up going to the Sis Draper project.” 

On September 12, Shawn Camp’s The Ghost of Sis Draper—featuring ten songs co-written by Camp and Clark and one solo Clark composition—will be released on Truly Handmade Records, the perfect resting place for over a decade’s worth of imagination between the two songwriters. “Now, Truly Handmade Records, the label that manages Guy’s legacy, is the home of Shawn Camp and The Ghost of Sis Draper, a masterpiece album that only Shawn could record,” says Tamara Saviano, President and Creative Director of Truly Handmade Records. “Shawn is the keeper of the flame of Sis Draper. Truly Handmade Records is the keeper of Guy’s legacy. It’s a match made in folk music heaven.” 

The Ghost of Sis Draper is a concept album that plays by its own rules, loosely calibrated by Camp and Clark. The songs are tied to one another by characters, narratives, and kernels of old-time fiddle tunes. Arkansas fiddle great Tim Crouch breathes life into the legend of Sis Draper’s fiddlin’, supported by Mike Bub on bass, Chris Henry on mandolin, Jimmy Stewart on dobro, Cory Walker on banjo, and of course, Camp on guitar and vocals. Captured in one day at the studio formerly known as The Cowboy Arms Hotel and Recording Spa, now simply called Clement House, the album immerses listeners in a sharply drawn world: The devil’s box is temptation and salvation; life is beautiful, but death lurks nearby; and the hero is a wayfaring, fiddle-wielding woman called Sis. 

Camp and Clark co-wrote every song on the album, save one, which Clark wrote alone. Clark released six of the songs on his own albums over the years, but the seven other tunes on The Ghost of Sis Draper are being released for the first time. “It’s partially fairytale and partially truth,” Camp says with a grin. “We intentionally wrote songs that fit together.” So here, for the first time, is the definitive conclusion of the Sis Draper saga and a beautiful tribute to Camp’s old pal Guy Clark and their time writing songs together. “That’s part of my passion for putting it out,” says Camp. “To try and keep him alive!” 

To pre-save The Ghost of Sis Draper ahead of its September 12th release, please visit this link. Camp will appear at the Mini Music Fest in Key West, Florida, July 30-August 2. A full list of Camp’s tour dates can be found below. For more information, check out shawncamp.com

“This is as much Guy Clark’s album as it is mine,” says GRAMMY-winning producer, songwriter, and member of traditional bluegrass torchbearers, The Earls of Leicester, Shawn Camp. The album? A concept of sorts, built on the songs born from Camp and Clark’s most revisited muse, Sis Draper, and one which Guy Clark fans have been looking forward to almost as much as Camp himself. 

Camp was seven years old when a traveling fiddle player named Sis Draper finally arrived at a pickin’ party in the hills of Perry County, Arkansas. To young Camp, Draper was already a legend—and he was dying to play with her. Twenty-five years later, in Guy Clark’s basement workshop in Nashville, Camp and Clark were stumped on what they’d write their next song about. Camp told Clark about Sis Draper; the lore, the excitement. “Guy said, ‘Well, there’s your song,’” Camp remembers. “We wrote ‘Sis Draper’ that day. ‘Magnolia Wind’ came next. For years, we would work on other songs, then fall into ‘Sis.’ If we got stuck on something, we’d end up going to the Sis Draper project.” 

On September 12, Shawn Camp’s The Ghost of Sis Draper—featuring ten songs co-written by Camp and Clark and one solo Clark composition—will be released on Truly Handmade Records, the perfect resting place for over a decade’s worth of imagination between the two songwriters. “Now, Truly Handmade Records, the label that manages Guy’s legacy, is the home of Shawn Camp and The Ghost of Sis Draper, a masterpiece album that only Shawn could record,” says Tamara Saviano, President and Creative Director of Truly Handmade Records. “Shawn is the keeper of the flame of Sis Draper. Truly Handmade Records is the keeper of Guy’s legacy. It’s a match made in folk music heaven.” 

The Ghost of Sis Draper is a concept album that plays by its own rules, loosely calibrated by Camp and Clark. The songs are tied to one another by characters, narratives, and kernels of old-time fiddle tunes. Arkansas fiddle great Tim Crouch breathes life into the legend of Sis Draper’s fiddlin’, supported by Mike Bub on bass, Chris Henry on mandolin, Jimmy Stewart on dobro, Cory Walker on banjo, and of course, Camp on guitar and vocals. Captured in one day at the studio formerly known as The Cowboy Arms Hotel and Recording Spa, now simply called Clement House, the album immerses listeners in a sharply drawn world: The devil’s box is temptation and salvation; life is beautiful, but death lurks nearby; and the hero is a wayfaring, fiddle-wielding woman called Sis. 

Camp and Clark co-wrote every song on the album, save one, which Clark wrote alone. Clark released six of the songs on his own albums over the years, but the seven other tunes on The Ghost of Sis Draper are being released for the first time. “It’s partially fairytale and partially truth,” Camp says with a grin. “We intentionally wrote songs that fit together.” So here, for the first time, is the definitive conclusion of the Sis Draper saga and a beautiful tribute to Camp’s old pal Guy Clark and their time writing songs together. “That’s part of my passion for putting it out,” says Camp. “To try and keep him alive!” 

To pre-save The Ghost of Sis Draper ahead of its September 12th release, please visit this link. Camp will appear at the Mini Music Fest in Key West, Florida, July 30-August 2. A full list of Camp’s tour dates can be found below. For more information, check out shawncamp.com

The Ghost of Sis Draper Tracklist (all songs written by Shawn Camp and Guy Clark except where noted): 

1. Sis Draper

2. Magnolia Wind

3. Soldiers Joy 1864

4. The Fiddlin’ Preacher

5. Old Hillybilly Hand-Me-Down (by Shawn Camp, Guy Clark, Verlon Thompson)

6. The Checkered Shirt Band

7. Big Foot Stomp

8. Grandpa’s Rovin’ Ear

9. Cornmeal Waltz

10. New Cut Road (by Guy Clark)

11. The Death of Sis Draper (part 1)

12. Hello Dyin’ Day

13 The Death of Sis Draper (part 2)

14. The Ghost of Sis Draper

Catch Shawn Camp On Tour:

July 30-August 2 – Key West, FL – The Mini Music Festival

August 30 – Mill Spring, NC – The Earl Scruggs Music Festival *

August 31 – Mill Spring, NC – The Earl Scruggs Music Festival ^

October 5 – Birmingham, AL – Fundraiser In-The-Round

October 17 – Edmund, OK – UCO Jazz Lab *

October 23 – Stephenville, TX – Keith Sykes Songwriter Weekend

October 28 – Nashville, TN – Country Music Hall of Fame

November 9 – Rockport, TX – The Rockport Songwriter Festival

November 22 – Nashville, TN – 3rd & Lindsley – Alzheimer’s Benefit Show 

* as part of Shawn Camp & Verlon Thompson: The Songs & Stories of Guy Clark

^ as part of The Earls of Leicester

1. Sis Draper

2. Magnolia Wind

3. Soldiers Joy 1864

4. The Fiddlin’ Preacher

5. Old Hillybilly Hand-Me-Down (by Shawn Camp, Guy Clark, Verlon Thompson)

6. The Checkered Shirt Band

7. Big Foot Stomp

8. Grandpa’s Rovin’ Ear

9. Cornmeal Waltz

10. New Cut Road (by Guy Clark)

11. The Death of Sis Draper (part 1)

12. Hello Dyin’ Day

13 The Death of Sis Draper (part 2)

14. The Ghost of Sis Draper

Catch Shawn Camp On Tour:

July 30-August 2 – Key West, FL – The Mini Music Festival

August 30 – Mill Spring, NC – The Earl Scruggs Music Festival *

August 31 – Mill Spring, NC – The Earl Scruggs Music Festival ^

October 5 – Birmingham, AL – Fundraiser In-The-Round

October 17 – Edmund, OK – UCO Jazz Lab *

October 23 – Stephenville, TX – Keith Sykes Songwriter Weekend

October 28 – Nashville, TN – Country Music Hall of Fame

November 9 – Rockport, TX – The Rockport Songwriter Festival

November 22 – Nashville, TN – 3rd & Lindsley – Alzheimer’s Benefit Show 

* as part of Shawn Camp & Verlon Thompson: The Songs & Stories of Guy Clark

^ as part of The Earls of Leicester