Robert Finley’s story as a musician that finally has their breakthrough on their 50/60s is not unique – see Charles Bradley or Seasick Steve – but always impressing to hear about. After decades of obscurity, blues/soul songwriter Finley was spotted busking outside a music festival in Alabama, and the rest is history. His second album, “Sharecropper’s Son”, produced by Dan Auerbach, is out now. It’s our album of the week.
Cory Hanson’s sophomore solo record, “Pale Horse Rider”, is our album of the week! Better known for fronting LA psychedelic rockers Wand, Hanson’s solo work is more on the mellower side, flirting with cosmic country – an unsurprising turn of events considering his whereabouts.
We haven’t heard of AZITA Youssefi for a while, until one day we get the news that the Chicago-based multi-instrumentalist has collaborated with Drag City labelmates Bill Callahan and Bonnie “Prince” Billy on a cover of “Blackness of the Night”. There, she played all the instruments and did all the arrangements, just like on her first album in nine years, “Glen Echo”, which also serves as a great introduction to her world of song. Enjoy it, and make sure you dig deeper into her discography later.
We had to. In a week full of great releases, we had to feature Fruit Bats’ first collection of new songs in three years, “Gold Past Life”, released on the 21st. Eric D. Johnson cements its place as one of the songwriters of his generation with a better ratio of “great” to “barely decent” songs – almost half of the record’s songs have already been featured in this playlist, so you know it’s true.
Plus: new tracks by black midi, Pip Blom, Super Doppler, Night Moves, Alex Cameron, The Raconteurs, Lucy Dacus, Purling Hiss, Andrew Combs, Nev Cottee Band, Jesse Malin, Tyler Childers, Divino Niño, Steve Gunn, Willie Nelson, Horse Jumper of Love, I am Oak, Mega Bog, Wilder Maker, Native Harrow, and Daughter of Swords.
It doesn’t matter how conservative or liberal you are: people are naturally resistant to change, especially if the previous form of what’s changing was so dear to them. We get it: “if it ain’t broke, don’t fix it”. Judging by the tone and content of most comments we can find online about this year’s Primavera lineup, both in Porto and Barcelona, folks ain’t happy about “the new normal”. Yes, some of the biggest pop artists in the planet have claimed most of the spots with the big font in it. Yes, there’s a shortage of loud, extreme music we often found at the long gone ATP stage, and every year there are less and less historical, cult indie rock bands reforming for a Primavera performance. But, other than that – tiny specks on a lineup of over 120 bands in Barcelona and over 60 in Porto – has it really changed that much? Is the Primavera DNA gone? (Was there really a “Primavera DNA” to begin with?)