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sinceileftyoublog · 4 years

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Boulevards Interview: Funky Gut Punches

Photo by Jordan Rickard

BY JORDAN MAINZER

“I wish I could Men In Black erase my shit so I could listen to it with fresh ears,” Jamil Rashad tells me over the phone from Raleigh, North Carolina. The garage funk artist who records as Boulevards is about to release Brother!, a four-track EP (with an accompanying 2-track single) via Normaltown Records, an imprint of New West. But the restless singer-songwriter’s coming back from recording even newer music, for a potential LP, and has to get in the mindset that in a couple weeks, he’s dropping something he recorded a while back, especially because it’s his most assured (recorded) music to date, all the while exploring new aesthetic and thematic territory.

Rashad finished writing the songs on Brother! early on during the pandemic and messaged various artists he admired to see whether they’d produce the record. Blake Rhein, of Durand Jones & The Indications, bit. Rashad had long admired them. “Durand Jones & The Indications was one of the first soul revival groups in the game,” he said. “They kind of paved the way for Black Pumas and the other cats on Colemine [Records].” It turned out to be the perfect fit for what Rashad was trying to do. “I wanted to do some soul shit but still stay focused to the garage-funk element of Boulevards,” he said, something immediately apparent from the warbling psychedelia of the guitars and strut of the drums from the opening and title track. “I’ve always been chasing my predecessors,” he continued, referring to not only the contemporaries that paved the way for him but classics he grew up listening to with his father, a radio DJ: George Clinton & Parliament-Funkadelic, Curtis Mayfield, and Rick James. Rashad’s always been an avid indie rock and punk listener too, citing The Strokes’ Is This It and early Black Keys albums as just as formative.

You can hear Boulevards’ journey to this genre-averse point from listening to his discography. He released his debut LP on Brooklyn post-punk label Captured Tracks, bouncing around different labels and different styles (earlier this year, he released a collaborative track with “Bulletproof” synth popper La Roux) before finding a home on Normaltown. “I had to make those records in the past to make it to this point,” he said, citing New West’s increasing levels of genre diversity, from Caroline Rose’s pop-rock jamfest LONER to their recent Pylon box set, as a reason why he kept asking them to release his EP. When they said yes, he felt like they got it. “If you’re friends with [Normaltown co-founder] George [Fontaine, Jr.] on Facebook or Instagram, you’ll see how eclectic his tastes are. If anybody could get what I was trying to do, George gets it. It’s not like the Thundercats, the Leon Bridges, the Gary Clark Jr.s of the world,” he said. “This is Carolina soul shit.” As a bonus, Rashad was already friends with a couple New West signees: singer-songwriter Jaime Wyatt and American Aquarium’s BJ Barham, the latter of whom helped Rashad get sober from alcohol.

It’s certainly not lost on Rashad that, in his music community, he’s a Black singer-songwriter surrounded by many white ones, many of whom are his friends but don’t have to face the differences inherent in being Black in America. Some of these differences, he sings about, like on “Shook”, a song about being afraid of the police in Raleigh. But it’s the disparities in the music world that he hopes to directly reduce with Brother! “You have indie rock and the soul revival stuff and the psychedelic stuff, but you don’t have the straight garage funk records unless you see an old record on a Spotify playlist,” he laments, citing the dearth of existence and/or influence of old school, “Black small rare funk bands” as a reason for wanting to bring funk to the forefront. In a post-George Floyd protest world of white American racial reckoning, influencing everything from opinions on law enforcement to music listening habits, Rashad wants to tell his story, share his thoughts on the world, and dance while doing it.

Read the rest of my interview with Rashad below, and check out his live stream from the Cat’s Cradle in Carrboro via NPR tomorrow night at 7 PM CST.

Since I Left You: It’s hard to point to a short EP as a turning point for many artists like this is for you. Why did you want to do just these four songs as opposed to a bigger project?

Jamil Rashad: I mean, I wanted to do a bigger project. That’s why we’re writing an LP right now. But for me, the writing never stops. I’m always writing. At first, I wasn’t even gonna do an EP here. I was gonna do singles and see how my fan base reacted. I wasn’t even gonna have a label. Every record, I always feel like it’s gonna be a turning point. You never know. I was thinking about this the other day. It’s almost like I’m starting fresh. These are songs I’ve been wanting to write--it’s just taken me time as an artist to get to this point to be able to zone in on the sound that I wanted. A 4-song EP is a little bit of the past and what’s to come with Boulevards, which I’m really stoked about.

SILY: You can tell that immediately from the title track, the first track on the EP. It’s got that psychedelic, garage element to the guitars, but it’s also really funky.

JR: I was tested a lot on this record, learning how the voice interacts with the microphone. Blake was pushing me to do it, which no producer has never done before. It’s turned out really dope. The goal was always to be the face of garage funk. Back in the day, my parents and your parents had the George Clinton records, Isaac Hayes, [Curtis Mayfield], they had all these different artists that were bringing the wave of funk. James Brown. You don’t really have that now. You have soul acts, R&B acts, indie rock acts, country acts, Americana acts, but you don’t have anyone that [brings] the funk shit. That’s what Boulevards is all about.

SILY: More than ever for you, these songs are political. Did you want the EP to be both a thematic and aesthetic turning point, or was that just a coincidence?

JR: It was both. Being 36 at this age, and looking at what’s going on in America, there are things you can’t ignore. I’m not a political expert, but maybe I should post what I’m feeling, what I’m seeing from white friends and Black friends and what’s going on with my community, and put it into these songs. I don’t think if a lot of this stuff didn’t happen with George Floyd, the pandemic, small businesses struggling, and people struggling, I would have been able to write these songs. I’m still gonna stay true to love and heartbreak, and self-growth, and trying to overcome obstacles and things of that nature. Those things I’m always gonna write about. But what was going on in the world definitely inspired and influenced those lines and crafting those songs. I’m not one to preach--you have a lot of these artists who have political records and preach. I wanted to make something about what I’ve experienced that people can still vibe and groove too.

SILY: Only “Shook” seems to be outwardly political. The rest of the songs are about Black life, but they’re really about your Black life.

JR: Of course. Me being a Black man and my struggles and things I’ve been through and seen other people go through. “Shook” is a song about being afraid of police. Being a Black man, every time I leave my house, I have to calculate every move that I make. It’s not like that for a lot of my white friends. That’s fine--that’s what America is. Well, actually, it’s not fine, it’s where America’s at. If I see Raleigh PD and am walking in a predominantly white neighborhood, are they gonna stop me? I live in this neighborhood I worked my ass off to be in. Are they gonna stop me because I don’t look the part and look like I’m up to something? So that’s what inspired “Shook”. Elijah McClain, just doing his thing, cops killing the brother. I didn’t want to do it in an overly preachy way, but at the same time, as America, we have to have uncomfortable conversations with each other. White on white America needs to show awareness with each other for things to actually change.

“Brother!” is mostly about working. Working your ass off for somebody and nothing changes. [laughs] You’re putting in the hours and the time, you’re making money for somebody else who doesn’t give a shit about you. You’re trying to get the promotions, you’re putting on a face. I worked at Best Buy, you can imagine being a touring artist and then having to put on a blue shirt and dealing with customers over some TV or kitchen appliance shit. I’m obviously doing my job, but I’m not gonna get a promotion there or get an advancement there. It’s about being a Black man in the work force and making somebody else money. At the time, I wasn’t sober, too, so the bar was my only release. It was the only way I could cope with that. [At the same time,] being in the Black community and being in Raleigh, and seeing my father interact with other Black men and even white men, saying, “Brother so and so” [inspired the song.] That’s how we greet each other sometimes. It’s also talking to myself talking to a man out there.

SILY: Whether these songs are about your personal experiences growing up or problems you’re facing now, as serious as they are, you can dance to them.

JR: Curtis Mayfield was good for that. Funkadelic, even Marvin Gaye. That’s what I wanted to be able to accomplish. Funk hits people in the gut. You can still politically come from a serious perspective.

SILY: Tell me about the video for “Luv n Pain”.

JR: It’s a simple, fun video. [Director] Patrick [Lincoln] pitched the idea. He wanted to have a day of Boulevards alone in his home, reflecting on being alone, reflecting on the things that have caused me personal heartbreak, without a partner. Getting ready in the morning, drinking coffee, wanting to share it with somebody but not having anybody to share it with.

Every video I’ve done up till this point, I’m always dancing. He wanted to slow things down, but still have it be Boulevards, stay true to me, have me dance in certain scenes but also have me reflecting, looking at the fire, up at the ceiling, things we do in our own homes. We [also] wanted to make something visually appealing and fun with bright colors. We didn’t really try to overthink it. Something simple that reflected Boulevards. When I’m at home, I’m always dancing.

SILY: You reference Gil Scott-Heron on “Shook” (“The revolution is now being televised.”) When was the first time you were aware of him?

JR: When I was a kid. My dad used to pick me and my sister up from track practice, and he worked at the radio station and was always getting these records. Gil Scott-Heron, “The Revolution Will Not Be Televised”, “Whitey on the Moon”, all these songs. He’s a poet. I started out as a poet before I became a rapper, MC, or funk artist. Every time I do spoken word on a record, it’s never written. The verses and hooks are, but here, I said to the engineer, play these couple bars and just let me talk. It just came out. It also came from watching peoples’ stories and thinking, “The revolution is being televised now.” We’re seeing the anger, the pain, people expressing their frustration with the system of racial inequality in America. Not just Black people, but white people and Latino too. [Before,] they didn’t want people to see what was going on in America. Now, people are seeing it and are looking and are more aware of it now.

SILY: What’s the story behind the album art?

JR: Sly Stone and Funkadelic, predecessors I grew up loving. That was influenced by a Sly Stone record. 60′s/70′s swag. I worked with a photographer in Raleigh named Jordan [Rickard]. I wanted to do something simple. I did it in my crib at my front porch. When I’m working on a record, I always have these vision boards. I always think about the colors, being a Black man, what’s gonna look good. I reached out to a stylist in L.A. who’s a good friend. I’ve always wanted to do a burnt orange background, and the sky blue represents Carolina blue because I’m a big Tar Heels fan. That color coordination blue and orange looks good together.

SILY: Why are you also putting out a two-track single in addition to the 4-track EP?

JR: That was more the label, how we wanted to go about the campaign. Initially, “Luv n Pain” was the first single I wanted to release regardless. “Shook” would be too predictable. There were so many artists releasing protest songs. “Luv n Pain” is more the past and present of Boulevards. When we finished it in the studio, [I knew.]

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ustribunenews-blog · 6 years

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Listen to 'Dude, The Obscure' by T. Hardy Morris on Spotify

Listen to ‘Dude, The Obscure’ by T. Hardy Morris on Spotify

22-Jun-2018: ‘Dude, The Obscure’, album by T. Hardy Morris Released on Label: Normaltown Records.

T. Hardy Morris’s third album was just released on Normaltown Records and can be streamed on Spotify. The album is not rated on Last.FM, indicating it’s not too popular or needs some time to get played.

Album cover for T. Hardy Morris’s new album: Dude, The Obscure

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#album #album release #music #news #Normaltown Records #T. Hardy Morris

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independentartistbuzz · 3 years

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BOULEVARDS TO RELEASE “ELECTRIC COWBOY: BORN IN CAROLINA MUD” FEBRUARY 11th, 2022 VIA THE NEW WEST RECORDS IMPRINT NORMALTOWN RECORDS

Features Members of Black Pumas, Twin Peaks, Nikki Lane, Macie Stewart of Ohmme, Durand Jones & The Indications & more

AFROPUNK Premieres “Surprise” Video Today to Appear at Savannah Stopover &SXSW Music Festival

Jamil Rashad, who performs under the name Boulevards, is set to release Electric Cowboy: Born in Carolina Mud on February 11th, 2022 via the New West Records imprint Normaltown Records. The 12-track set was co-produced by Blake Rhein of Durand Jones & the Indications and Colin Croom of Twin Peaks and was recorded in Chicago, Nashville, and Atlanta. In addition to appearances by Rhein and Croom, the album also features Adrian Quesada of the Grammy-nominated neo-soul act Black Pumas (who also lent additional production), Nikki Lane, Macie Stewart of OHMME and backing vocals courtesy of Ashley Wilcoxson and Leisa Hans (who work frequently with Dan Auerbach at Easy Eye Sound and are featured on recent albums by Tony Joe White and Yola). The full length album follows the Boulevards Brother! EP released in 2020, which American Songwriter stated “Simply put, this EP earns the exclamation point at the end of its title.” ��Electric Cowboy: Born in Carolina Mud is caked in the soil where Boulevards grew up, mired in the muck of the place—not stuck but freed. Rashad says, “I was born in the North Carolina mud. That’s where I have my roots. I’ve lived in Los Angeles and New York, but I keep coming back here. This is home. This is where I’ve learned the most. North Carolina doesn’t get nearly the credit it deserves, but there are all these amazing people doing it a very particular way that is very inspiring. It’s always been at the center of so many different scenes—soul, country, jazz, hip-hop, indie rock. I wanted some of that dirt on this record. I’m leaving my footprint in that mud.” All of those styles and genres inform Electric Cowboy, but the dominant sound—the dominant mindset—is funk: gritty, warm, weird, psychedelic, charismatic. Rashad says, “On Electric Cowboy I wanted to make some modern funk, but still have some soul elements and some punk elements,” listing James Brown, Shuggie Otis, and Baby Huey as well Bad Brains, Gang of Four, Television, and The Cramps among his heroes. Today, Afropunk premiered the video for the album standout, “Surprise,” saying, “Boulevards’ Jamil Rashad has a gift for crafting songs that blend killer hooks and propulsive grooves with a vibe that’s always raw and unexpected. His latest is the almost impossibly hot ‘Surprise.’” See the “Surprise” video, directed by Matthew Reamer HERE. SPIN previously shared the album highlight “Where Is Da Luv?,” saying “...its snappingly smooth twang can only excite us on what is to come on Electric Cowboy” while Flood Magazine premiered the album highlight “Better Off Dead” featuring Nikki Lane. Magnet Magazine also premiered the video for “How Do Ya Feel,” which was directed by Alec Basse. Electric Cowboy: Born in Carolina Mud is an album full of demons. Rashad sings about some of the same troubles that shook his idols: drug abuse, racism, violence, systemic oppression, professional and romantic self-sabotage. It doesn’t wallow in the darkness, but counters those tribulations with wild, electric grooves. “On the cover you see a black man on a horse running away from his demons. That’s me. You can hear it all in the songs – struggling with demons and still coming out on top of it all. That’s what funk is! You got some heavy, dark shit, but you also got some joyful compositions, funky basslines, dope harmonies, infectious hooks. So that’s me on the cover, the Electric Cowboy, slaying anything that comes in my path. I gotta keep riding, keep trucking, keep fighting, keep pushing.” Boulevards has been announced to appear at the Hargray Capitol Theatre in Macon, GA and the Savannah Stopover Festival before appearing at the SXSW Music Festival in Austin, TX March 14-20th, 2022. Please see dates below with additional live performances announced soon. Boulevards’ Electric Cowboy: Born in Carolina Mud will be available across digital platforms, on compact disc, standard black vinyl, and a limited Red & Black Swirl vinyl edition available at Independent Retailers. A strictly limited to 500 “Carolina Mud” Brown Swirl vinyl edition autographed by Jamil Rashad will be available at retailers in North & South Carolina and is also available for pre-order NOW via NEW WEST RECORDS.

Boulevards Electric Cowboy: Born In Carolina Mud Track Listing

1. Turn 2. Together 3. How Do Ya Feel 4. Surprise 5. Hooked 6. Where is Da Luv? 7. Better Off Dead (feat. Nikki Lane) 8. God Bless Ya (Be Thankful) 9. Ain’t Right 10. Modern Man 11. Time 12. Problems Boulevards

On Tour: March 11 — Macon, GA — Hargray Capitol Theatre March 12 — Savannah, GA — Savannah Stopover Festival March 14-20 — Austin, TX — SXSW Music Festival boulevards.band normaltownrecords.com

For More Information, Please Contact: Brady Brock | New West Records | [email protected] Unsubscribe / Change Profile

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bluestownmusic · 3 years

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Recensie: T. Hardy Morris - The Digital Age Of Rome

Recensie: T. Hardy Morris – The Digital Age Of Rome T. Hardy Morris – The Digital Age Of Rome Format: CD / Label: Normaltown Records – PIAS Release: 2021 Tekst: Peter Marinus Na beluistering van het nieuwe album, ‘The Digital Age Of Rome’, van singer-songwriter T. Hardy Morris uit Athens, Georgia, blijf ik compleet gevloerd achter. Lui hangend in mijn fauteuil, van genoegen spinnend. Zijn…

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#T. Hardy Morris

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sean-dunn · 3 years

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Psyched to work with @thepinkstoners for the flagpole cover. Fantastic new record out tomorrow, release show 4/15 @sobrewco! (at Normaltown) https://www.instagram.com/p/CNaLgXsL_hE/?igshid=sb8aky8j2j30

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criminalrecordsatl · 3 years

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Here’s a look at some featured #newmusic releases out tomorrow [April 9]: Parker Millsap - Be Here Instead (CD/LP) (Okrahoma), Rev. Peyton’s Big Damn Band - Dance Songs For Hard Times CD/LP (Family Owned Records), Rhiannon Giddens w/ Francisco Turrisi - They’re Calling Me Home CD (Nonesuch) *LP out 06/11, Silver Synthetic - Silver Synthetic CD/LP, The Pink Stones - Introducing The Pink Stones CD/LP (Normaltown). Slide through for all. Reminder: instore inventory differs from online inventory, so feel free to call or email the shop using the contact button on our page here before you pass by. 📍Shop hours: Tuesday - Friday 12pm-6pm, Saturday + Sunday 12pm-7pm. Limited capacity. Mask required. Physical distancing in effect. Thank you for supporting your local independent record store. (at Criminal Records Atlanta) https://www.instagram.com/p/CNaLcMXBIp-/?igshid=wiyuy04t9wj3

#newmusic

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pascal1972 · 5 years

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musiconanironingboard · 3 years

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26 February 2022: Let Down, Lilly Hiatt and the Dropped Ponies. (Normaltown, 2012)

About five years ago I found a cheap used copy of Nashville-based songwriter and bandleader Lilly Hiatt’s 2017 third album Trinity Lane in a store in Atlanta. I’d been curious about her for a while. Children of famous musicians deserve to make their own way, but I’m of the age that I liked her father John Hiatt and gravitated to her because of him. Trinity Lane was good on its own merits and I followed that by buying her next album, 2020′s Walking Proof. Eventually I picked up a copy of 2015′s Royal Blue, but I always lacked her 2012 debut. It seemed to be sold out everywhere and simply long gone. I saw Hiatt perform last Saturday—this was a ticket I bought before the pandemic, the Saturday show the culmination of multiple reschedulings—and lo and behold she had copies of that debut for sale at the merch table. I was really happy to secure a copy. Hiatt was selling the merchandise herself, and it was the final night of her tour. I really wanted to ask her if her latest album, 2021′s Lately, is ever going to come out on a format other than cassette, but she didn’t seem in a big mood to talk to me (I had been watching the show from very near the merch table and she materialized behind it seemingly seconds after she stopped playing; she was probably exhausted; I didn’t expect her to sell her own merchandise). I forgot to ask anyway. It’s just as well.

Above is the front cover. Below is the back; I couldn’t get the tray out to photograph the liner on its own, so you get my ironing board’s stripes reflected in it.

Here is the open jewel case, showing the disc.

Last, I always like to show these title strips when they are present. Most new CDs haven’t come with these for a while. If you see one, at least one that’s not from a corporate record label, chances are it’s at least ten years old.

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communityboard · 7 years

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Take a break and check out some local music from Normaltown Records at our listening station. . . . #athensmusic #athensga #listeningstation #retro #headphones

#retro #listeningstation #athensga #headphones #athensmusic

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houstonlocalus-blog · 8 years

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Half Bae: The Best of The Week

Robb Bank$. Photo: BFOS Booking

Well, this is the last week we’ll have to navigate our city with ease before a bunch of tourists visit and make us all really hate the NFL. The week is stacked with sets from French comic Gad Elmaleh, rapper Robb Bank$, and more alongside locals who will help fill up the days in between. Houston, here’s how to spend the next seven days.

Wednesday you can get going over at Walter’s for the screamy second wave emo sounds of Chicago’s Homesafe. Here in support of last year’s Evermore, this three piece has grown in popularity while distancing themselves from most of the bands in their genre with a more melodic sound. The pop punk of Oklahoma’s Life Lessons will be on as direct support while the indie folk of Indiana’s Chase Huglin will open the all ages show with doors at 6 pm and tickets between $10 and $12.

There’s a pretty legit art opening featuring the El Rincon Social artist’s’ works at MKT Bar. The opening reception will have art from Jonathan Paul Jackson, Theresa Escobedo, and more. The all ages event has more information here, it gets going around 6 pm, and it’s 100% FREE.

If that’s not your thing, then you could swing by the Foundation Room at House of Blues for a set from Houston’s Sobe Lash. The punky and raw hip hop of Lash is something you need to see for yourself, as her sets are energetic and her sound from last year’s The Pretty Reckless EP is tough to beat. An opening set from DJ 4k will also be on hand for the 21 & up show with doors at 7 pm and tickets between FREE with RSVP or $10 at the door.

You might remember the band Soul Coughing, and if you do then you should head to White Oak Music Hall to catch their lead singer Mike Doughty. While Soul Coughing was best known for a mediocre song that blew up, Doughty’s solo work is far ahead of what the band ever did and his newest album The Heart Watches While The Brain Burns from last year is pretty solid. New York’s Wheatus, best known for their hit song “Teenage Dirtbag” will open the all ages show with doors at 7 pm and tickets between $20 and $24.

Funeral Horse. Photo: Jordan Asinas

Satellite Bar will host the stoner doom of Louisiana’s Shadow Giant. While I don’t know much about these guys, I can say that what I heard of their music, I liked. However, the fact that Houston’s Funeral Horse will be on as direct support should be enough to attend. I feel like you’ve been missing out if you haven’t seen this metal band dominate a stage with their intensity and their last two albums 2015’s Divinity For The Wicked and 2014’s Sinister Rites of the Master are both epic to say the least. Dread Pixels opens the all ages show with doors at 8 pm and a $10 cover.

On Thursday the campfire gothic folk of Austin’s Name Sayers will be over at Nightingale Room. while they have an almost eerie sound that’s like serenading the moon, their latest drop New Moon is pretty interesting. The bluesy psych of Houston three piece Mojave Red will open things up with doors at 7 pm and it’s 100% FREE.

The Secret Group will have Austin comedic rap duo Vanilla Presley to drop one of the funny sets. While they don’t have an album yet, their single “What’s Up Girl?” is pretty funny. The duo will do more than rap funny rhymes for the all ages show with doors at 7:30 pm and tickets for $5.

New Madrid. Photo: Normaltown Records

Rockefeller’s will host the psych garage rock of Athens’ New Madrid. The four piece has made plenty of waves since they began, and their latest album magnetkingmagnetqueen is pretty impressive. The tongue in cheek meets we don’t care sounds of Houston’s Get A Life will provide direct support while the garage psych of Bernie Pink will open the 18 & up show with doors at 8 pm and tickets between $12 and $15.

God Fearing Fuck is kicking off their tour with a set over at Walter’s. I’m not sure if you’ve seen these guys yet, but man are they solid live. Their latest release Wasteland Hymns is dark metal meets d beat punk in a haze of scary sounds. The sleaze glam of The Killer Hearts will be on as direct support while the tongue in cheek punk of The Cops will go on prior. Hel-Razor will bring their thrash metal on as well and DaggerHead will open the all ages show with doors at 8 pm and a TBA cover.

On Friday you can get started with the ladies of Dem Damn Dames at Numbers for their Third Annual Legislate This benefit show for Planned Parenthood. The always successful event will not only feature those from the Houston based troupe, but special performances from May Hemmer of NOLA, JD Hicock, and many many more. There’s an opening set from everyone’s favorite daredevil clown, Skabz alongside Nicole Quinn and Kris Broken. The 18 & up show is hosted by Al E Cat of Benefit Betties, the doors are at 7 pm, and the tickets are $20.

Khalid. Photo: Uncredited/Courtesy of Artist/Facebook

In the Bronze Peacock Room at House of Blues, you can get down with the sounds of El Paso’s Khalid. This guy has been burning up since he dropped the hit single “Location,” and his infectious sound should be worth making it out for. His latest single “Saved” is definitely a jam, and the all ages show with doors at 7 pm has a lowly $12 ticket, meaning you can tell people you saw him before he blew up.

Fitzgerald’s will have the get down show when Houston’s Kay Jay drops by to release his new album Seize The Moment. While Kay Jay might not be a household name yet, his rhymes and positive attitude alongside a strong live set make him an act to see sooner than later. Houston’s favorite Devin The Dude will be on as direct support for the all ages show with doors at 8 pm and tickets between $5 and $10.

Satellite Bar will have the intriguing and sometimes proggy three piece Mockingbird Brother over to perform. These guys mix genres, so it’s best to call them rock; but oh are their live sets worth seeing. They’ll have the uptempo roots Americana of Son of Bitch on as direct support while the lo-fi garage sounds of Snow Indian goes on prior. The psych pop of Austin’s Brother Sports will open the all ages show with doors at 8 pm and a $7 cover for the adults, or $10 for under 21.

Valhalla Bar on the Rice University campus will host a local show headlined by the hip hop of Houston’s Tim Woods. Woods has made a name for himself with his crazed live sets and his latest drop Pushing Daisies from last year. The R&B of Milky Wayv will go on beforehand and the hip hop of Dallas’ David Morgan will be on to open the all ages event sponsored by KTRU. Things get going around 8:30 pm and it’s 100% FREE.

Angiesliste. Photo: Vibes Not Bribes/Courtesy of Artist/Facebook

The Trust Me Daddy series returns with a headlining set from NYC DJ/producer Baltra. You might not know this guy, but Mixmag and audiences around the globe have praised his sexy tunes. Austin’s deepcreep will bring her techno jams on as direct support while Ledef from House of Kenzo will be on prior. Houston’s Angiesliste will get things going as only she can for the BYOB event with more information here, doors at 10 pm, and tickets for $20.

Saturday, The Heights Theater will host a special show featuring one of my favorite honky tonk acts, Dale Watson who’s partnering with Ray Benson of Asleep At The Wheel for this show. The two have a new album called Dale & Ray that’s basically the best tonkin you’ll hear going today. Aside from the fact that both of these guys can bring it when they play on their own, their harmonies together on this release is pretty special. The all ages show has doors at 7 pm and tickets between $26 and $224.

Unknown Hinson. Photo Atomic Music Group

Of course, I’d guess if you were going anywhere, it’d be to Continental Club to catch the hillbilly sounds of Unknown Hinson. Four hundred year old vampire, borderline comic, or just plain entertaining, Hinson has become best known for portraying Early Cuyler on the cartoon Squidbillies, but I’d be lying if I said his live shows weren’t close to amazing. The 21 & up show has doors at 8 pm and tickets for $20.

Satellite Bar will host the always fun sounds of Austin’s Sailor Poon. Finishing their tour in Houston, the all female garage punks have been making waves recently with great videos and plenty of press. Their latest drop, last year’s Yeast Pigeon is definitely worth giving an ear to. The energized punk of Giant Kitty will provide direct support while Houston’s Whit will go on prior. The Wipers meets Wire punk of Houston’s Ruiners will open the all ages show with doors at 8 pm and a $10 cover.

Only Beast. Photo: Courtesy of Artist/Facebook

At Rockefeller’s you could check out the alt rock sounds of Houston’s Another Run. These guys have been treading the line for over a decade, their music has grown a ton since they started, and aside from a crazy energy in their live sets, their latest drop 700 Days from last year just proves they aren’t quitting soon. The bluesy grooves of Houston’s Fox Parlor will be on beforehand and the insane and not to be missed energy of Only Beast will open the all ages show with doors at 8 pm and a $10 cover.

Rudyard’s will host what could be an epic event for the Linus Pauling Quartet vs. Hearts of Animals show. For starters, it’s two sets no matter how you slice it, both bands are killer with new albums to drop, and the 21 & up show with doors at 9 pm carries a measly $8 cover meaning you have no reason to miss both of these groups.

Sunday, if you were lucky enough to get tickets, then you’ll be catching France’s Gad Elmaleh at Warehouse Live. Considered the Jerry Seinfeld of France, Elmaleh is a pretty funny guy and he’s known to delight any audience he’s in front of. The doors are at 7 pm and it’s SOLD OUT.

Monday you could head upstairs at White Oak Music Hall to catch the sunny rock charm of Florida’s Surfer Blood. While this band got a bad name after some allegations that were later dropped, their music has always been worth checking out. Their live sets have always been fun and their latest releases have been singles from their upcoming release; the latest tracks being the easy going “Frozen.” Houston’s Young Mammals will be on the bill as direct support and openers. Their latest album, last year’s Jaguar is their most focused to date, and their live shows will probably blow the headliners off of the stage. The all ages show has doors at 7 pm and tickets between $13 and $17.

Walter’s will have an epic show when Florida’s Robb Bank$ rolls by to drop a set. Bank$ has become well known for his crazed live shows and his latest release C2:Death of My Teenage is a trip. New Jersey’s Da$h will be on as support while the hip hop of Wifisfuneral will go on before. Houston’s Craig Xen will also be on the bill and Ski Mask The Slump God will open the all ages show with doors at 9 pm and tickets between $15 and $50, the latter including a meet & greet option.

Rick Astley. Photo: Shore Fire Media

Tuesday you can get “Rick Rolled” in the ballroom at Warehouse Live when Rick Astley swings by to perform. Known for his good time hit “Never Gonna’ Give You Up,” the British singer is still going strong with a new album from last year called 50. There’s no word of openers but he will be performing favorites old and new for the all ages show with doors at 7 pm and tickets between $30 and $35.

If that’s not your thing, you could head to Mucky Duck to hear Houston’s Nathan Quick. Quick doesn’t seem to slow down, his live shows are a mix of emotion and fun, and his latest release The Sound from last year sounded like a call to arms, full of bluesy influence and swagger. The 21 & up show has doors at 7:30 pm and tickets between $15 and $17.

That’s about all that’s happening around the city this week. No matter what you decide to do, remember that a safe ride home is just an app or a call away.

Half Bae: The Best of The Week this is a repost

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newcountryradio · 3 years

Text

New country #1080 (639) van 5 juli 2021 (wk 27) tussen 19.00 -22.00 op Smelne fm

Album van de week*Clay Walker *Texas To Tennessee * Show Dog Nashville

Artiest nummer label

1. Martina McBride Independence Day *rca nashville

2. Keith Urban Wasted Time *hit red - Capitol

3. Old Dominion I Was On A Boat That Day *arista

4. Lady A What A Song Can Do * Big Machine

5. Nelly /Florida Georgia Line Lil Bit * Columbia |

6. Toby Keith Old School * Show Dog Nashville

7. Chris Young & Kane Brown Famous Friends *RCA #3

8. Dierks Bentley Gone *capitol #2

9. Luke Combs Forever After All *river house #1

10. Clay Walker Anything To Do With You * Show Dog Nashville 11. Clay Walker Catching Up With An Ol’ Memory* Show Dog Nashville 12. George Navarro Like You Do * George Navarro Music.

13. The Wilder Blue The Conversation . *self released

14. Creed Fisher People Like Me * Dirt Rock Empire

2e uur :Artiest nummer label

15. Black berry Smoke /J. Johnson - Lonesome For A Livin’ * /Thirty Tigers *favoriet

16. Johnny Cash San Quentin *columbia

17. Johnny Cash A Boy Named Sue *Columbia

18. Riley Downing Start It Over *new west /pias

19. The Lasses & Kathryn Claire Follow The Heron *self

20. Eric Church Bunch Of Nothing *EMI

21. Gary Allen Waste Of A Whiskey Drink *mca nashville

22. Walker Hayes /Jake Owen Country Stuff *Monument

23. Morgan Wallen Blame It On Me big loud republic

24. Justin Moore Jesus And Jack Daniels * sofi

25. Clay walker Country Side * Show Dog Nashville

26. Clay walker Cowboy Loves A Woman * Show Dog Nashville 27. Lukas Nelson Perennial Bloom (back To You)*fantasy records /concord

28. Zac Brown Band Colder Weather 2011 *southern ground

29. Jamie O’Neal There Is No Arizona *mercury 2001

30. Steve Wariner Life’s Highway (trucksong )

31. Martina Mc Bride Where I Used To Have A Heart *rca

32. Doyle Lawson & Quicksilver You Ain’t Heard Lonesome Yet juweeltje

33. T. Hardy Morris Shopping Center Sunsets * Normaltown Records / PIAS

34. The Northern Belle Summers End * Jansen Records / PIAS

35. Raoul Malo & Marina Mc Bride Feels Like Home * Sanctuary Records 3 in 1

36. John Mellencamp Grandview *republic ( 3 in 1)

37. Jimmy Buffett Trip Around The Sun *mailboat/rca 3 in 1

38. Clay walker *I Just want To Hold You * Show abum vd week

39. Clay walker *Loving You Then * Show Dog Nashville

40. Jan Van Bijnen Modest Man *Howlin’Chicken/CRS-Coast To Caost

41. Douwe Bob Born To Win, Born To Lose *dutch corner

42. The Young River Highway * *dutch corner

43. Willie Nelson Only Me * Upper Management

44. Kenny Chesney The Good Stuff *BNA

45. Brooks & Dunn The Long Goodbye *arista

#maandagavond smelne's country avond #playlist New Country

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