Home Blog Page 650

Buck Owens & His Buckaroos Light Up the Stage Again with 3-CD Live Anthology ‘Adios, Farewell, Goodbye, Good Luck, So Long’

0

Omnivore Recordings has announced a new CD set of performances from Buck Owens And His Buckaroos titled Adios, Farewell, Goodbye, Good Luck, So Long: On Stage 1964-1974, to be released on June 27. The 3-CD set includes 78 live performances, 75 of which will appear on CD for the first time, plus 25 previously unissued tracks in the US, and 20 more previously unissued anywhere in the world. The packaging contains a 56-page book featuring photos and an extensive essay from Grammy-nominated writer/producer Scott B. Bomar.

There is no doubt Buck Owens and His Buckaroos were one of the biggest acts in the world from 1964–1974. Not only were they topping the music charts, they were filling concert halls worldwide. They were such a popular concert draw that many performances were recorded and released only in the corresponding foreign market. Unfortunately, much of that material never saw the light of day outside the country in which it was released. Until now.

Adios, Farwell, Goodbye, Good Luck, So Long: On Stage 1964–1974 is the first comprehensive look at Buck and the Buckaroos’ status as perhaps the greatest live country band during this revolutionary time in music. The collection features the recently discovered The Exciting Sounds Of Buck Owens And His Buckaroos Live From Richmond, Virginia, 1964 (on CD for the first time), plus tracks from the international releases Buck Owens’ Show In Japan, Live In New Zealand, and Buck Owens’ Show “Live” At The Sydney Opera House, as well as the US Top 10 albums The Buck Owens Show–Big In Vegas and Live At The Nugget.

What makes this chronological journey through Buck and his Buckaroos on stage even more essential is the addition of 20 performances available for the first time anywhere: sets from Macys 7th Avenue store from 1967, the 1973 Buck Owens Golf Tournament Dinner, and a 1973 Toys For Tots benefit at the Bakersfield Civic Auditorium.

With mastering and restoration from multiple Grammy-winning engineer Michael Graves, Adios, Farwell, Goodbye, Good Luck, So Long: On Stage 1964–1974 is the definitive look at a catalog and career that remains untouched, unrivaled, and unbelievably important to popular music and culture.

Adios, Farewell, Goodbye, Good Luck, So Long: On Stage 1964-1974 Tracklist:

DISC 1
The Exciting Sounds Of Buck Owens And His Buckaroos Live From Richmond, Virginia, 1964
1. Intro
2. Act Naturally
3. Love’s Gonna Live Here
4. Together Again
5. My Heart Skips A Beat
6. Band intros
7. Orange Blossom Special
8. The Streets Of Laredo (The Young Cowboy)
9. I Don’t Care (Just As Long As You Love Me)
10. Close Up The Honky Tonks
11. Mexican Polka / Buck’s Polka
12. Truck Drivin’ Man
13. A-11
14. Release Me
15. Hello Trouble
16. I Don’t Hear You
17. Dang Me
18. Hello Walls No. 2
19. Long Tall Texan
20. Twist And Shout
Macy’s, 1967
21. Intro
22. Act Naturally
23. Buck talks to the audience
24. Together Again
25. Sam’s Place
26. Buck’s welcome & band intros
27. Orange Blossom Special
28. Leave Me Something To Remember You By
29. Round Hole Guitar
30. Tokyo Polka
31. Steel Guitar Polka
32. Medley: Crying Time/Don’t Let Her Know
33. Waitin’ In Your Welfare Line
34. Medley: My Heart Skips A Beat / I Don’t Care (Just As Long As You Love Me) / Love’s Gonna Live Here
35. Medley: Think Of Me / Where Does The Good Times Go
36. Medley: Tiger By The Tail / Open Up Your Heart
37. Medley: Under Your Spell Again / Above And Beyond / Excuse Me (I Think I’ve Got A Heartache) / Foolin’ Around / Hello Trouble / Truck Drivin’ Man

DISC TWO
Big In Vegas, 1969
1. Intro
2. Big In Vegas
3. Las Vegas Lament
4. Together Again
5. I’m A Natural Loser
6. Catfish Capers
7. Rovin’ Gambler
8. Along Came Jones
9. We’re Gonna Let The Good Times Roll
Live At The Nugget, 1971
10. Intro
11. Good Ole Mountain Dew
12. Nugget Lament
13. Rollin’ In My Sweet Baby’s Arms
14. Buck talks to the audience
15. Ruby (Are You Mad)
16. We’re Gonna Get Together
17. I’ll Still Be Waiting For You
18. Johnny B. Goode
Golf Tournament, 1973
19. Buckaroo
20. Buck Owens intro
21. Rollin’ In My Sweet Baby’s Arms
22. Buck talks to the audience
23. Big Game Hunter
Toys For Tots, 1973
24. Y’all Come
25. Tall Dark Stranger
26. Together Again
27. Rollin’ In My Sweet Baby’s Arms
28. Big Game Hunter
29. Johnny B. Goode

DISC THREE
The 1974 International Tour Highlights
1. Y’all Come
2. Your Daddy Was A Preacher (And Your Mama Was A Dancing Girl)
3. Big In Vegas
4. Roll Over Beethoven
5. Talk & jokes
6. Rollin’ In My Sweet Baby’s Arms
7. Medley: Act Naturally / Together Again / Love’s Gonna Live Here / Waitin’ In Your Welfare Line / Sam’s Place / Cryin’ Time / I’ve Got A Tiger By The Tail
8. Green Onions
9. Duelin’ Banjos
10. Orange Blossom Special
11. Cajun Fiddle
12. Medley: Diggy Liggy Lo / Louisiana Man
13. On The Cover Of The Music City News
14. Made In Japan
15. Georgia Pineywoods
16. Dust On Mother’s Bible
17. Jackson
18. Somewhere Between You And Me
19. Looking Back To See
20. You’re Gonna Love Yourself In The Morning
21. Johnny B. Goode
22. Good Ole Mountain Dew
23. Ruby (Are You Mad)

Maria Muldaur Channels Her Inner “One Hour Mama” in Sassy, Soulful Blues Tribute to Victoria Spivey

0

Six-time Grammy nominee Maria Muldaur, who’s been dubbed “The First Lady of Roots Music” for previous albums touching on her wide-ranging influences from blues, country, folk, jazz and even jug band music, continues her exploration of the great American roots music songbook with the July 11 release of One Hour Mama: The Blues of Victoria Spivey, from Nola Blue Records. She’s joined on the new disc for duets by special guests multi-Grammy winner Taj Mahal and legendary bluesman Elvin Bishop, plus sessions with acclaimed New Orleans band Tuba Skinny.

From her long-time San Francisco Bay Area base, on One Hour Mama: The Blues of Victoria Spivey, Maria Muldaur honors her mentor, Classic Blues Queen Victoria Spivey. Known for her sassy, spunky Blues delivery, Spivey had her first big hit in 1926 with the self-penned risqué “Black Snake Blues,” the first of many naughty, bawdy Blues she wrote and recorded in her long and prolific career. As a Blues singer, she worked with many of the greats of her day: Louis Armstrong, Lonnie Johnson, Bessie Smith, Memphis Minnie, Blind Lemon Jefferson, etc., but expanded her career to include acting in movies and Broadway musicals throughout the ‘30s and ‘40s. During the folk and blues revival of the 1960s, Spivey started her own label, Spivey Records, giving recording opportunities to many old blues veterans as well as encouragement and support to budding new artists. She was the first to record Bob Dylan and offered Maria Muldaur her first opportunity to record, taking her under her wing and mentoring her in the fine points of performing and singing the blues. Now, more than 60 years later, Maria Muldaur presents an anthology of Spivey’s blues, both well-known and obscure, in loving recognition of both her personal impact and her vast contributions to the genre.

“When I was a young aspiring singer in the early 1960s, one of the great Classic Blues Queens of the 1920s and ‘30s, Victoria Spivey, took me under her wing and mentored me,” Muldaur remembers in the album’s liner notes. “Although, of course, I appreciated it at the time, over the years I’ve come to realize just how important her encouragement and support were to me and so many other musicians!

“To my surprise, a music writer recently dubbed her ‘The Madonna of the Blues,’ but thinking about it, I know exactly what he meant!  Victoria was ambitious, tenacious, sassy, spunky, boldly & unabashedly expressing her sexuality, versatile and multitalented, singing  and writing not just Blues, but pop and novelty songs of the day, dancing, playing piano and other instruments, acting in movies and stage shows, … and entrepreneurial… publishing her own Blues newsletter and starting her own record label, Spivey Records, to give recording opportunities to both old Blues veterans and young hopefuls just starting out (like myself and Bob Dylan, to name a few!). I was so pleased to find and collaborate with so many fine young musicians who are embracing and carrying forward the rich legacy of this ‘vintage music.’ This album is a loving tribute to Victoria Spivey for all she brought to the Blues and for the great influence she was on my musical journey. ENJOY!”

“This project is both professionally and personally very significant to me,” says Nola Blue Records president Sallie Bengtson.  “Similar to the ways in which Victoria’s support and encouragement of Maria were so important, I feel much the same about an industry icon like Maria placing her confidence in Nola Blue for her ‘bucket list’ project. She and I were first introduced at the conclusion of our label’s tenth anniversary celebration year, and it felt like divine affirmation of our efforts to that point and encouragement to stay the course!”

Maria Muldaur is best known world-wide for her 1973 mega-hit “Midnight at the Oasis,” which received two Grammy nominations, and enshrined her forever in the hearts of Baby Boomers everywhere; but despite her considerable pop music success, her music career could best be described as a long and adventurous odyssey through the various forms of American Roots Music. In September, 2019, The Americana Music Association awarded Maria “The Lifetime Achievement Americana Trailblazer Award” for her lifelong work of covering the depth and breadth of American Roots music and for being one of the pioneers who laid the groundwork for what we’ve come to call ‘Americana Music’. She has recorded 43 solo albums covering all kinds of American Roots Music, including Blues, Gospel, R&B, Jug Band, Jazz and Big Band, but has now settled comfortably into her favorite idiom, the Blues. In recent years, often joining forces with some of the top names in the business, Maria has recorded and produced at least a dozen Blues albums, garnering multi-Grammy nominations and various Blues awards.

One Hour Mama – The Blues of Victoria Spivey Track Listing:
1    My Handy Man    Andy Razaf
2    What Makes You Act Like That?
(duet with Elvin Bishop)    Lonnie Johnson
3    Don’t Love No Married Man    Victoria Spivey
4    Dreaming of You    Victoria Spivey
5    Organ Grinder Blues    Clarence Williams
6    No, Papa, No!    Victoria Spivey
7    One Hour Mama    Porter Grainger
8    Funny Feathers    Reuben Floyd & Victoria Spivey
9    Gotta Have What It Takes
(duet with Taj Mahal)    Victoria Spivey & Harold Grey
10    Any-Kind-A-Man    Hattie McDaniel
11    Down Hill Pull    Victoria Spivey
12    T-B Blues    Victoria Spivey

Tom McGuire & The Brassholes Announce Bold New Album ‘A Name For Everything I’ll Ever Be’

0

Scotland’s irrepressible funk-soul powerhouse Tom McGuire & the Brassholes are back with their most honest and emotionally resonant work yet. Their third studio album, A Name For Everything I’ll Ever Be, lands on May 30, diving deep into themes of fatherhood, identity, and growth—without sacrificing a shred of the infectious groove that’s become their signature.

Born in the bars and on the streets of Glasgow, the band first blew up with their viral anthem “Ric Flair.” Since then, they’ve become one of the UK’s most captivating live acts, sharing stages with the likes of George Clinton and Craig Charles, and selling out venues from Barrowland Ballroom to St. Luke’s. Their latest singles have landed on top-tier Spotify playlists like All Funked Up and I Love My 10’s Funk, a testament to their continued momentum and magnetic appeal.

But beneath the funk-fueled exterior lies a deeply personal core. For frontman Tom McGuire, the birth of his daughter was a life-altering shift—one that sparked an introspective fire powering much of the new album. Songs wrestle with becoming a protector, seeing his own parents in a new light, and making peace with vulnerability. It’s that rare blend of sweat-soaked celebration and quiet reckoning—music that moves your feet and hits your heart.

“Life is confusing and hard, but music is fun and great, so let’s talk about it whilst at the same time, getting down,” says McGuire. That spirit—equal parts reflection and revelry—defines A Name For Everything I’ll Ever Be, and cements the band as not just one of the UK’s most exciting live acts, but one of its most meaningful.

2025 UK Tour Dates:
September 5 – Lemon Tree, Aberdeen
September 6 – Beat Generator, Dundee
September 13 – Black Isle Calling, Munlochy
November 20 – The Brudenell, Leeds
November 21 – Manchester Academy 2, Manchester
November 22 – Rescue Rooms, Nottingham
November 27 – Islington Assembly Hall, London
November 28 – SWX, Bristol

Crow Black Chicken Return With Fiery New Album ‘Ghost Dance’

0

After nearly a decade away from the studio, Ireland’s powerhouse blues rock trio Crow Black Chicken are back with Ghost Dance, their long-awaited fourth studio album and their first full-length release since 2016. The new record reaffirms their place at the gritty heart of modern blues rock—a genre they’ve been redefining since their formation in 2009.

Legendary roots artists have taken notice. Ray Wylie Hubbard praises their raw, dirty blues, while Alvin Youngblood Hart boldly declares, “CBC could save rock and roll.” Even Classic Rock Blues Magazine recognized their breakout potential from the beginning, noting the band’s refusal to be boxed in after their 2012 debut Electric Soup.

Ghost Dance was recorded at GAF Studios in County Tipperary with veteran producer Philip Magee, who also helmed their debut. The album’s lead single “Bottom Feeders” arrives with swagger and stomp, while “Make It Right” stretches into Americana territory with its textured guitars and rhythmic backbone. But it’s the blistering focus track, “Hot Molasses,” that fully captures the CBC essence: Christy O’Hanlon’s soulful vocals, Stephen McGrath’s steady basslines, and Gev Barrett’s percussive force, all working in lockstep.

Reflecting on the journey, the band said, “Ghost Dance is a really special album to us. It marks almost ten years from our last release—a decade spent rethinking, evolving, and focusing on the live end of things… It’s been a long road, but getting back into the studio and having the chance to work with Philip Magee again has all made it feel like the right time, almost full circle. We’re proud.”

From its whiskey-aged grit to its electrified soul, Ghost Dance is not a comeback—it’s a reaffirmation. For longtime fans and newcomers alike, it’s a chance to witness a band still burning with purpose and power.

The World’s Most Galactic Party: BigCityBeats WORLD CLUB DOME Launches Into the Moon Edition

0

What happens when you mix 50 Cent, TIËSTO, and astronauts? You get the most insane party on Earth—by way of the Moon. Germany’s premier club music festival, BigCityBeats WORLD CLUB DOME, already known for turning stadiums into interstellar raves, is literally shooting for the stars with its Moon Edition, taking over Frankfurt’s Deutsche Bank Park from June 6–8, 2025.

Ranked #9 in the world by DJ Mag UK and powered by a production budget that could probably launch a real rocket, this festival isn’t just a weekend of music—it’s a three-day galactic odyssey. Picture 700,000 square meters of clubbing real estate, over 180 acts, a main stage inside a football stadium and outside it, pool sessions, forest stages, zombie zones, and yes—an actual Space Tech Hub.

Let’s talk about that lineup. Hip-hop royalty 50 Cent brings the swagger, Macklemore delivers the feels, and Rita Ora and John Newman soar with massive pop-soul vocals. Tiësto, the OG trance commander, returns to claim his throne, while Dimitri Vegas & Like Mike bring peak-hour firepower. Don Diablo warps time with future bass. Ben Böhmer and Folamour bring the vibe. Fisher brings the bounce. Angerfist brings the rage.

Techno-heads, rejoice. Boris Brejcha goes live in his signature masked glory. I Hate Models offers pure, cathartic chaos. Brennan Heart and the harder styles will shake your very atoms.

And just in case the beats weren’t enough, there’s the history. BigCityBeats once turned a plane into a party. They threw a zero-gravity rave with Steve Aoki. They streamed DJ sets from space. Now, with the Moon Edition, they’re not just celebrating club culture—they’re redefining it as an interplanetary experience.

This isn’t a festival. It’s a full-throttle sci-fi soundtrack with lasers, lights, and legends.

Final phase tickets are flying fast—€249 for the 3-day club ticket (plus fees). For liftoff details, visit moon.worldclubdome.com.

See you on the dancefloor… or the launchpad.

5 Surprising Facts About Billie Holiday’s ‘Lady in Satin’

When Billie Holiday walked into Columbia’s 30th Street Studio in February 1958 to record Lady in Satin, she was not the same woman who had swung with Teddy Wilson in the ’30s. Her voice was frayed. Her body worn. But what came out of those sessions wasn’t just another jazz record — it was a requiem wrapped in velvet, a final portrait painted with every hue of heartbreak.

To some, Lady in Satin was a strange left turn — lush orchestration, no small-group swing, and Billie’s voice worn like a threadbare coat. But that was the point. It was a record that told the truth, even if it didn’t shine. And the deeper you go, the more you discover.

Here are five lesser-known facts about this iconic album — for lovers of jazz, nuance, and the quiet power of someone singing through the storm.

1. Billie Wanted Nelson Riddle. She Got Ray Ellis — and Thank God She Did.
Holiday originally had her sights set on Nelson Riddle, the arranger behind Frank Sinatra’s In the Wee Small Hours. But when she heard Ray Ellis’s interpretation of “For All We Know,” something clicked. She wasn’t looking for bombast — she was looking for beauty. Ellis’s string-soaked arrangements gave her the cushion she needed, and he gave her room to breathe, falter, and triumph.

2. She Was Paid Just $150 a Song. The Orchestra Got 60 Bucks for All Three Sessions.
Columbia gave the album a blank check creatively, but the pay was modest. Holiday received $150 per track in advance. The musicians? Just $60 for the whole thing. Yet despite the low wages, these players — including trombone legend J.J. Johnson and trumpet ace Mel Davis — delivered a masterclass in restraint and emotional weight.

3. These Weren’t Her Standards — They Were Her Confessions.
Unlike her Verve years, where she often revisited earlier hits, Columbia asked Billie to record songs she had never tackled before. The result? A tracklist that feels like she’s whispering secrets she’s never told anyone else. From “You’ve Changed” to “I’m a Fool to Want You,” each lyric fits like an open wound stitched with gold thread.

4. Ray Ellis Called Her Voice “Evil” — And Meant It as the Highest Compliment.
Ray Ellis once described Billie’s voice as “evil” — not in the cartoon villain sense, but in the earthy, biblical way. He heard something in her rasp that was ancient, carnal, and painfully human. He built every orchestral phrase around that texture, treating her voice not as something to fix, but as something sacred to frame.

5. The Studio Itself Had a Reputation for Miracles.
Lady in Satin was recorded at Columbia’s 30th Street Studio — a converted church in Manhattan that became one of the most legendary recording spaces in jazz history. Miles Davis’s Kind of Blue and Glenn Gould’s Goldberg Variations were also made there. Maybe that’s why Billie’s voice, even at its most fragile, sounds like it’s echoing through the rafters of something holy.

Lady in Satin isn’t for everyone — and it was never meant to be. It’s not the Billie of “Fine and Mellow” or “Them There Eyes.” It’s the Billie of late nights, last chances, and songs that sound like farewells.

But if you let it wash over you — if you listen not for the perfect note, but for the feeling behind the cracks — you’ll hear one of the most honest albums ever made.

One satin thread at a time.

5 Surprising Facts About The Who’s ‘The Who Sell Out’

Step right up, folks! In a world where bands scramble for airplay and shelf space, The Who Sell Out didn’t just make an album — they made a statement. Wrapped in faux radio ads and jingles, this 1967 record didn’t whisper “concept album,” it shouted it with the gusto of a DJ hopped up on instant coffee and pop-art irony. But beneath the bathtub of beans, acne cream, and Odorono lies a heap of history and a truckload of clever.

Let’s peel back the label on this psychedelic tin and crack open five lesser-known facts about The Who Sell Out that’ll make you the smartest mod at your next dinner party.

1. The Song That Was Too Good to Use Right Away
Pete Townshend wrote “I Can See for Miles” in the spring of 1966 and, in true poker-faced genius fashion, kept it in his back pocket like a secret weapon. Why? He thought it was too good to waste. Literally. He considered it his ace — a guaranteed hit that would “flatten the opposition.” When it finally dropped as the album’s lead single in ’67, it became The Who’s only U.S. Top 10 hit. Irony? Townshend was disappointed it didn’t chart higher. Imagine being so ahead of your time that your “disappointment” is your biggest international single.

2. They Were Actually Making Real Ads… Seriously
The joke was real life. The Who were making legitimate commercials in 1967 for companies like Coca-Cola and Great Shakes (yes, Great Shakes). So when they poked fun at product placement on Sell Out, it wasn’t satire from the sidelines — it was a wink from the front lines. Some of those jingles ended up on reissues. Imagine being one of the greatest rock bands of your era and still cutting promos between songs. Today’s influencers could never.

3. That Heinz Bathtub? Ice Cold. Like, Hospital Cold.
Roger Daltrey may have looked like the picture of British bravado in that now-iconic Heinz Baked Beans bathtub shot, but behind the scenes, things weren’t so cozy. The beans had been pulled straight from the fridge. Daltrey reportedly caught either pneumonia, the flu, or “the worst cold of his life” depending on which interview you believe. It’s the kind of commitment you don’t see in album covers anymore — unless someone’s jumping into a dumpster full of oat milk for a TikTok.

4. The First Few Seconds of “Rael” Are Mono Because… A Janitor
Somewhere in a New York City studio, a janitor unknowingly altered rock history. After the band recorded a full take of “Rael,” the original tape — intro and all — was accidentally trashed. Pete Townshend, upon hearing this, allegedly hurled a chair through the control room window. The only salvageable version? A mono mix of the intro patched onto the stereo take. So when you hear that shift at the beginning, you’re not just hearing a song — you’re hearing disaster narrowly avoided by studio wizardry.

5. The Lawsuits Were Realer Than the Ads
Here’s the rub: while the album was pretending to advertise products, it also got in trouble as if it actually had. Odorono wasn’t thrilled to see their name on a giant stick of deodorant applied to Pete Townshend’s armpit. Heinz wasn’t jazzed about Daltrey’s chilly bean bath. Radio London’s jingle producers PAMS Productions even threatened legal action over the band’s unauthorized use of their signature sounds. Turns out, parody may be the sincerest form of flattery — but it still needs a contract.

The Who Sell Out is Technicolor critique of the very culture that birthed it. It’s pop art meets pop hooks. It’s irony with a power chord. And like any good campaign, it knew how to sell the message by being the message.

And now, back to our regularly scheduled programming. Stay tuned — same Who time, same Who channel.

Photo Gallery: Ministry, My Life With The Thrill Kill Kult, and Die Krupps at Toronto’s History on May 18, 2025

0

All photos by Mini’s Memories. You can contact her through Instagram or X.

Ministry
Ministry
Ministry
Ministry
Ministry
Ministry
Ministry
Ministry
Ministry
Ministry
Ministry
My Life With The Thrill Kill Kult
My Life With The Thrill Kill Kult
My Life With The Thrill Kill Kult
My Life With The Thrill Kill Kult
My Life With The Thrill Kill Kult
Die Krupps
Die Krupps
Die Krupps
Die Krupps
Die Krupps

Bryce Leatherwood Tips His Hat To Tradition With “In Lieu Of Flowers” On Self-Titled Debut Album

0

For Mercury Nashville singer/songwriter Bryce Leatherwood, his love of country music began with listening to the likes of George Jones, Merle Haggard and Conway Twitty in his grandfather’s truck. That love and a passion for performing took him from local stages playing for beer in college to being crowned season 22 champion of “The Voice” just over two years ago.

But in many ways that crown was just the beginning of his journey. What followed has been years of firsts. His first time in a writers room, first time on the Grand Ole Opry stage, his first headlining tour and now another first…the release of his self-titled, debut album available today with Saving Country Music observing “his voice is definitely a stellar vehicle for delivering country music.”

“I’ve been chasing this dream ever since the eighth grade when my daddy handed over his much loved Conway Twitty Greatest Hits CD,” shared Leatherwood. “To finally have my very own album out in the world, I am just over the moon and so excited for fans to hear it. I hope people listen to it and walk away feeling like country music is alive and well!”

The Woodstock, Georgia native is carrying the influences and country-music foundations built while bumping along in that old pickup on his granddad’s farm with him for the debut LP American Songwriter praises as, “a true 21st-century country music album with flares that pay homage to the past.” A mix of originals and expertly crafted outside cuts, Leatherwood lets his resonate vocal loose over 12 diverse tunes – centered on his rock solid country roots, but ranging from the pure-emotion of classic balladry to an expanding genre’s bleeding edge. Taking a hands-on approach with producer Will Bundy (Riley Green, Ella Langley), Leatherwood threads the needle between the timeless and trendy with surefooted ease.

The album, which Country Now notes “introduces Leatherwood in his most authentic form,” features previously released tracks like the rollicking sweep-you-off-your-feet Saturday-night anthem “Neon Does,” “The One My Daddy Found” inspired by the decades-long love shared by his parents, “Where the Bar Is” which pops a country-rock top on a quick-hitting tale of late nights and open tabs, “The Finger” a tongue-in-cheek fan favorite sing-along to getting shafted by love and “Shenandoah” penned by Leatherwood with Jeffrey East and Josh Kelley about love and total romantic devotion.

Unreleased tracks on the debut LP include “In Lieu of Flowers” proclaiming his eternal honky tonk allegiance – requesting Joe Diffie and a longneck toast when his time finally comes, the transformative jam “Something Bout A Girl” tracks the making of a man – with the help of a woman’s touch, while the feel-good “God Made” mixes twangy Telecaster with tasteful beats for a tale of physical perfection, the bluesy vocal stunner “What If She Does” imagines losing it all and “Cheap Cologne” traces the other side of the story – an aching done-me-wrong anthem nodding to Leatherwood’s classic favorites.

Leatherwood has marked release week with a flurry of activity including a stop at NBC’s “Today with Jenna & Friends” on Wednesday, May 14, to give fans a preview of the album with a performance of “In Lieu of Flowers.” He also received a surprise message on the show from Blake Shelton with his former Voice Coach sharing, “Man, it still seems like literally yesterday that I watched you win ‘The Voice,’ and I’m still just as proud of you today,” Shelton said. “Go get em’ brother.”

Leatherwood will return to “The Voice” stage for the NBC hit’s finale on May 20, joining a star-studded line-up that will include performances from Alicia Keys, Blake Shelton, Chance the Rapper, Sheryl Crow, Joe Jonas, Kelly Clarkson and more.

And the country crooner is showing no signs of slowing down. Leatherwood will celebrate the new album with a return to the Grand Ole Opry on May 24 and the Good Molecules Reverb Stage at CMA Fest next month. Fans can also find him at festivals across the US this summer with more touring news to be announced soon.

Youth Code Unleash “I’m Sorry” And Return With Brutal New EP ‘Yours, With Malice’

0

American EBM virtuosos Youth Code have returned with their first musical output in four years: Yours, With Malice, has been officially released on Sumerian Records.

Nothing hits harder than life, as they say, and the series of bloody-knuckle bouts to get to the release of Yours, With Malice led to some deep introspection by Youth Code regarding who they are, what they’ve accomplished and their next steps. These last few years of self-reflection found Youth Code stewing in a simmering cauldron of bile and vitriol as Yours, With Malice is clearly their most intricate, well-crafted and blood-thirsty release to date.

Yours, With Malice roars and tramples like an armor-plated, weaponized bulldozer, pulverizing skulls into fine powder, while bubbling sub-bass, bone-snapping snare hits, sizzling hi-hats and rib-rattling kicks bounce off of the floors like spent shells. Sanford Parker’s powerful mix gives the effort a strong shove in the right direction- the subtle but careful ear for melody that connects all the songs, grounds them, and keeps the listener chained to the “repeat” button. Today, the EP closer “I’m Sorry” arrives to celebrate release date.

While some of the sounds and references on Yours… come from classic 90s influences such as Nine Inch Nails’ classic Broken/Fixed duality, the untouchable middle period Ministry era that spawned The Mind is a Terrible Thing to Taste, in addition to a plethora of others like Front 242, Cabaret Voltaire, and Portion Control, the core attack has not changed much for the Los Angeles-based duo.

What has changed is Youth Code’s attention to detail and their hyper focus on execution in songwriting, two things that can only come from the wellspring of knowledge found in a band that has been at it for more than a decade. The group began in 2012 as a project between partners Ryan George and Sara Taylor, inspired by the classic sounds of New Order, Depeche Mode and the hardcore punk that soundtracked so much of their youth. What emerged was a demo cassette that led to a 7″ release on Angry Love, the first band unrelated to the legendary Psychic TV to be released on that label. A self-titled album followed, then 2014’s A Place to Stand EP, and 2016’s Commitment to Complications LP, all while touring with a diverse groups like Chelsea Wolfe, HEALTH, Skinny Puppy, and more, in addition to arena shows with My Chemical Romance and main stage appearances with Nine Inch Nails. Heaps of press accolades followed before the pandemic hit, and now, in 2025, Youth Code return with their magnum opus.