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March 27, 2018

Pledge Music pre-order campaign offers historical artifacts from the band, as well as house concerts, coffee dates, guitar lessons and other essentials for fans

LOS ANGELES, Calif. — Omnivore Recordings will embark upon an ambitious reissue of three classic albums by the Posies, who celebrate their 20th anniversary this year. A Pledge Music pre-order campaign has launched at

Dear 23 will arrive June 15, 2018; Frosting on the Beater on August 3, 2018. Each of these titles comes as a 2-CD set featuring the original album remastered from original master tapes, plus almost all previously unissued bonus tracks, and on vinyl as a 2-LP set of the original album — mastered at 45 rpm!

Amazing Disgrace will be released October 28, 2018 as a 2-CD set, also with the original album remastered from original master tapes, plus almost all previously unissued bonus tracks, and as a 2-LP package — unlike the others, mastered at 33 1/3 as it was simply too long for 45 rpm.

This is a milestone year for the Posies, fronted by Ken Stringfellow and Jon Auer. The band began its career exactly 30 years prior by releasing a home-recorded cassette called Failure, which to their complete surprise became an instant favorite around the Northwest, earning them critical accolades, radio airplay, and major label interest all in a very short time. They were lucky to find themselves living just a few doors down the road in Seattle from Arthur “Rick” Roberts and Mike Musburger, who joined the band on bass and drums, respectively.

Signed to Geffen Records, the Posies recorded their second album, Dear 23, and toured the U.S., including as support for both Redd Kross and the Replacements. Arthur left the Posies in 1991, Dave Fox joined on bass, and they made the album that put them into the international spotlight: 1993’s Frosting on the Beater.

After blowing away audiences in Europe while supporting Teenage Fanclub, Pulp, and Superchunk, among others, the Posies cemented a following in Europe that remains loyal to this day. The band changed the rhythm section yet again: Enter Brian Young (Fountains of Wayne, Jesus & Mary Chain) on drums and the late Joe “Bass” Skyward (Sky Cries Mary, Sunny Day Real Estate) on bass. With this lineup, they recorded Amazing Disgrace and were packing venues on four continents.

That was the end of the Posies’ tenure with Geffen; the band, overworked and struggling with various issues, released the Success album in 1998 and went dormant for a couple of years. But these three albums on Geffen remain beloved by fans and are the band’s most popular, most often cited, most requested works.

With major changes in the way music is consumed having largely arrived after these albums were originally released, the albums have not been regularly available: CDs out of print, inconsistent presences on streaming, LPs either long out of print ( Frosting LPs on Discogs go for at least $150 these days) or not issued at all, depending on the territory. The CDs themselves, especially Dear 23, which came out in the early days of the format, were not exactly true to the analog masters from which the albums were made.

All that’s about to change thanks to the band’s “favorite label,” Omnivore Recordings, which has, among many releases new and old, previously reissued Failure, as well as releases from Big Star and Game Theory, among others.

The band needs to raise a significant advance fee to license these albums from Universal Music Group, and thus are offering many personal items, experiences, and exclusive merchandise via a fundraiser on Pledge Music, from clothes they’ve worn onstage or in videos to spending quality time with Jon and/or Ken in their adopted city of Paris, or a coffee date in Seattle. Also offered are private shows, music lessons, plus exclusive Jon- and Ken-style guitars. Finally, the band offers VIP experiences and souvenirs from the upcoming 30th Anniversary Tour around the world. Quoting from the band’s PledgeMusic page: “We are basically putting a museum’s worth of items on this campaign … If you’ve ever wanted an authentic artifact of our music, our career, our lives — now is the time! Thank you in advance for your support and we’re very excited to make this music available again to our fans new and old alike.”

To take this celebration around the globe, the Posies, who have had a few lineup changes over the years (always based around the founding duo of Auer and Stringfellow) will be on tour as the 1992-1994 lineup that made Frosting on the Beater — Jon and Ken will be complemented by drummer Mike Musburger and bassist Dave Fox. It’s been almost a quarter century since this quartet has been on the road, and recent warm-up shows have been as explosive as those played by the twentysomethings of yore. Catch the band on tour this spring in North America, and this fall in Europe — their time is now, again.

On-sale date for North American Posies shows is Friday, March 30th.

North America
Fri., May 18 VICTORIA, BC Capital Ballroom
Sat., May 19 PORTLAND, OR Doug Fir Lounge
Sun., May 20 EUGENE, OR WOW Hall
Mon., May 21 BEND, OR Volcanic Theatre Pub
Tues., May 22 SACRAMENTO, CA Harlow's
Wed., May 23 SAN FRANCISCO, CA The Independent
Thurs., May 24 SAN JUAN CAPISTRANO, CA Coach House
Fri., May 25 LOS ANGELES, CA Bootleg Theater
Sat., May 26 SAN DIEGO, CA Soda Bar
Mon., May 28 PHOENIX, AZ Valley Bar
Wed., May 30 SANTA FE, NM Santa Fe Brewing Co.
Thurs., May 31 DALLAS, TX Club Dada
Fri., June 1 SAN ANTONIO, TX Paper Tiger
Sat., June 2 AUSTIN, TX The Parish
Sun., June 3 HOUSTON, TX Bronze Peacock at House of Blues
Mon., June 4 LITTLE ROCK, AR Capitol View Studios
Wed., June 6 NEW ORLEANS, LA The Parish at House of Blues
Thurs., June 7 NASHVILLE, TN Mercy Lounge
Fri., June 8 BIRMINGHAM, AL Saturn
Sat., June 9 ATHENS, GA Georgia Theatre
Sun., June 10 CHARLOTTE, NC Neighborhood Theatre
Mon., June 11 ANNAPOLIS, MD Ram's Head On Stage
Wed., June 13 PHILADELPHIA, PA World Cafe Live
Thurs., June 14 FAIRFIELD, CT Stage One at Fairfield Theatre
Fri., June 15 SOMERVILLE, MA ONCE Somerville
Sat., June 16 WASHINGTON, DC The Hamilton
Sun., June 17 NEW YORK, NY The Bowery Ballroom
Tues., June 19 PITTSBURGH, PA Club Cafe
Wed., June 20 CLEVELAND, OH Music Box Supper Club
Thurs, June 21 KALAMAZOO, MI Bell's Eccentric Cafe
Fri., June 22 DETROIT, MI The Magic Bag
Sat., June 23 CHICAGO, IL Park West
Sun., June 24 MADISON, WI High Noon Saloon
Mon., June 25 DES MOINES, IA Vaudeville Mews
Tues., June 26 ST. PAUL, MN Turf Club
Thurs., June 28 MILWAUKEE, WI Summerfest
Sat., June 30 DENVER, CO Levitt Pavilion
Sun., July 1 SALT LAKE CITY, UT The State Room
Fri., July 6 BELLINGHAM, WA Wild Buffalo
Sat., July 7 SEATTLE, WA Neptune Theatre

Europe: Festivals on sale now, club dates on sale March 29

Fri., Aug. 31 VLIELAND, NETHERLANDS Into the Great Wide Open Festival (sold out)
Sat., Sept. 1 HOOGWOUD, NETHERLANDS Zomerpop Festival
Sat., Sept. 29 BARCELONA, SPAIN Upload
Sun., Sept. 30 ZARAGOZA, SPAIN La Lata de Bombillas
Mon., Oct. 1 CORDOBA, SPAIN Hangar Cordoba
Tues., Oct. 2 CADIZ SPAIN Aulario de la Bomba,
Wed., Oct. 3 GRANADA, SPAIN Lemon Rock
Thurs., Oct. 4 VALENCIA, SPAIN 16 Toneladas
Fri., Oct. 5 MADRID, SPAIN Sala Caracol
Sat., Oct. 6 PONTEVEDRA, SPAIN Teatro Principal (matinee)
Sat., Oct. 6 GALICIA, SPAIN TBA (evening)
Sun., Oct. 7 AZPEITIA, SPAIN San Augustin Kulturgunea
Tues., Oct. 9 PARIS, FRANCE La Maroquinerie
Fri., Oct. 12 HEERLEN, NETHERLANDS Poppodium Nieuwe Nor
Sat., Oct. 13 ALKMAAR, NETHERLANDS Podium Victorie
Sun., Oct. 14 HENGELO, NETHERLANDS Metropol
Wed., Oct. 17 KORTRIJK, BELGIUM Wilde Westen
Thurs., Oct. 18 MECHELEN, BELGIUM Cultuurcentrum Mechelen
Fri., Oct. 19 LONDON, UK The Garage
Sat., Oct. 20 LEEDS, UK Brudenell Social Club
Sun., Oct. 21 GLASGOW, UK King Tut’s Wah Wah Hut
Tues., Oct. 23 MANCHESTER, UK The Deaf Institute
Thurs., Oct. 25 BREMEN, GERMANY Tower
Fri., Oct. 26 HAMBURG, GERMANY Häkken
Sat., Oct. 27 BERLIN, GERMANY Berghain Kantine
Mon., Oct. 29 HELSINKI, FINLAND Savoy Theatre
Wed., Oct. 31 LARVIK, NORWAY Sanden Kafe at Kulturhuset Bølgen
Thurs., Nov. 1 STAVANGER, NORWAY Folken
Fri., Nov. 2 BERGEN, NORWAY Madam Felle
Sat., Nov. 3 TRONDHEIM, NORWAY Teaterhuset Avant Garden
Sun., Nov. 4 OSLO, NORWAY John Dee
Tues., Nov. 6 GOTHENBURG, SWEDEN Pustervik
Wed., Nov. 7 STOCKHOLM, SWEDEN Fasching
Thurs., Nov. 8 MALMÖ, SWEDEN Inkonst

For more information and tickets, head to

Watch (and feel free to post) the Posies trailer:


February 24, 2017

Indie rock sensation’s new glam- and soul-infused
breakthrough, recorded at Ardent Studios in Memphis,
debuts on Omnivore Recordings April 21

LOS ANGELES, Calif. — One of the most improbable and inspiring underdog stories in modern pop opens an exciting new chapter. Cait Brennan’s Third, a raucous, joyful new release, debuts on Omnivore Recordings on April 21, 2017.

Recorded at Memphis’ legendary Ardent Studios, in the same room and on much of the same equipment as the Big Star albums made there, Third — cheekily named after that band’s shambolic, storied swan song — finds Brennan and longtime collaborator Fernando Perdomo channeling some of the beauty and madness of the Memphis legends, while taking inspired sonic leaps and wild hairpin-turns of their own.

Take “Benedict Cumberbatch,” the glam-punk answer to Taylor Swift’s “Mean,” in which Brennan gives an unworthy ex the kiss-off by handing the song to the British heartthrob and Doctor Strange star instead. Or “He Knows Too Much,” which turns retro girl-group angst into straight-up sing-along homicide (with a legal disclaimer just in case they find the body). Or “The Angels Lie,” which finds Brennan clawing at death’s door for a spot in 2016’s afterlife concert of the century.
Cait’s debut long-player, 2016’s Debutante, was one of the year’s most unexpected treats. Recorded with help from fans via Kickstarter and released on the singer-songwriter’s own home label, Debutante landed on multiple year-end best-of lists including the Village Voice Pazz & Jop Poll, Goldmine and Popdose, and was championed by radio presenters including WFMU’s Evan “Funk” Davies and SiriusXM’s Larry Flick. A year out from its release, Debutante still continues to receive national and international attention. Cait Brennan’s Third is a huge leap forward that makes good on all the promise of her debut, and then some.

Its stadium-sized sonic blast plays like a live band at its peak, which makes it all the more remarkable that the record was made by a duo. Third was produced and performed entirely by Brennan and her creative partner Fernando Perdomo, whose musical credits include everything from Emitt Rhodes’ Rainbow Ends to working with Jakob Dylan, Beck, Fiona Apple, Jade Castrinos of the Magnetic Zeroes, and Regina Spektor.

The duo is a casebook in contrasts: Perdomo, the virtuoso multi-instrumentalist, is firmly grounded in the traditions of power pop and classic rock, citing touchstones like Todd Rundgren. Brennan grew up as a fierce devotee of glam, soul, and postpunk, and her eclectic, lyrical and literate songwriting dives deep into indie rock, contemporary pop, hip-hop and R&B. The fearless and fierce clash of styles and eras make for a constant tug of war and a heady brew that packs the fat sonic punch of a great classic rock album —but sounds as fresh and contemporary as it gets.

The creative tension and obvious affection between the two collide in the studio, where Perdomo lays down the majority of the instruments, especially the explosive rhythm section and edgy, expressive lead guitars; Brennan plays a bit of everything, but arranges and sings all of the album’s multi-octave stacks of vocals herself, pushing a preposterous four-plus octave range into service on lush, soulful multitrack harmonies and a lead vocal that swaggers effortlessly from low Bowie territory to St. Vincent to somewhere just this side of Mariah. That versatility has led to some hilarious mix-ups, like when one jaded industry exec groused that he didn’t much like Brennan’s vocals but “the girls singing those harmonies are amazing.”
The album features guest appearances by Van Duran and Robert Maché.

The journey to Ardent and Memphis was a long one. Brennan, who is transgender, came out as a teenager and began writing songs and performing while still in high school in Arizona. After experiencing multiple setbacks and anti-trans violence, she gave up performing music entirely, enduring and overcoming a string of personal tragedies before quietly forging a successful career as an actor, screenwriter and journalist, while continuing to write songs privately for decades. Encouraged by friends, she reluctantly returned to music performance in 2012 to significant early acclaim. A chance meeting with popmaster Fernando Perdomo on an International Pop Overthrow festival bill led to a creative partnership, a self-released debut album, and a groundswell of enthusiastic critics and fans who discovered Debutante via WFMU, SiriusXM and others, and wanted more. The duo had even completed a follow-up album, which by all accounts was excellent. But during the early weeks of the tour, Brennan sustained what became a life-threatening injury and endured a long hospitalization and recovery, very nearly joining the cavalcade of musicians who left us in 2016. “They wouldn’t take me — I’m not that good,” she laughed, a joke that would contribute mightily to two of the album’s standout tracks, “Shake Away” and “The Angels Lie,” in which the afterlife’s greatest concert — “where cocaine and formaldehyde’s all the rage” — is saving her a seat.

“The near-death thing, and the loss of all these artists that I loved so much, just changed everything,” Brennan says. “I loved the album we’d recorded, but the world had changed and I had changed. And then we met Jody Stephens and everything else changed, too.”

While in Los Angeles recording demos for a Sire/Warner Bros deal that ultimately didn’t pan out, Brennan won tickets to a Grammy Museum celebration of Ardent Studios’ 50th Anniversary — an event that took place on Perdomo’s birthday, no less. After the event, the pair talked with Ardent’s Jody Stephens, who invited Cait to come to Memphis and record her third album at the studio. “I didn’t know how, but I knew we had to go,” Cait said. “I was planning the trip before I got out of the parking garage.”

Four months later, Brennan and Perdomo entered Ardent’s studio A for the first time, with Adam Hill engineering and Stephens popping in frequently to offer encouragement. Brennan arrived with a notebook full of half-finished songs and scraps of ideas, banking on the immediacy of the moment and the inspiration that could only come from actually being in the historic space. While Perdomo tracked guitars for one song, Cait was sitting in the control room, writing the chorus for the next. The pace was breakneck. The first day at Ardent, they tracked three songs. The second day, four. The third day, six. The results are by turns urgent, fresh, and inspired, with a frenetic live-set intensity augmented with the lush orchestral and vocal flourishes that made Debutante stand out.
The duo also made extensive use of perhaps the two most storied pieces of gear in the Ardent inventory — Alex Chilton’s fabled Mellotron and Chris Bell’s cherry red Gibson 330, both maintained under Adam Hill’s loving stewardship. Perdomo’s blazing solo on “Bad at Apologies” was played on the Gibson, while Brennan plays it on “Collapse” — an experience that moved her to tears. “Chris meant a lot to me,” she said. “He’s one of the big reasons I make music. To come full circle like that was almost too much. I’m so grateful to the Bell family for making it available for Ardent and for us to use.”

“Big Star’s Third was and is my favorite album of all time,” Brennan says. “I don’t know that our Third sounds much like it, but I like to think that some of the experimentation and chaos and beauty and soul of the original — and all the band’s catalog, individually and together — is a part of what we made at Ardent. It’s certainly a big part of what drives me to make music in the first place.”

Brennan was born in Phoenix, but has family roots in Memphis and the Mid-South that go back generations. The influence of Memphis music is unmistakable. “Stack Overthrow” fuses old-school Stax soul with contemporary Wondaland-inspired R&B in a song that gives rapid-fire nods to Otis Redding, Prince, the Beatles and Sam Cooke’s Soul Stirrers, bridging spirituals, ’80s pop and growling indie guitars with a gutsy vocal that will shake the timbers. The morning-after heartache of “Caitiebots Don’t Cry” sounds like the Three Degrees via Dusty In Memphis, while Memphis legend Van Duren, whose connections to Ardent and Big Star run deep, helped co-write Brennan’s bouncing, Janelle Monáe-influenced soul stomper “Shake Away” and plays guitar on the track. “A Hard Man To Love” lays a few dozen intricate, hip-hop vibe vocal tracks over swirling strings and an irresistible live-drums breakbeat.

Beneath all this spirited glam, power-pop and soul, the undercurrent and uncertainty of life in 2017 is palpable. “Collapse,” with its sparse lyric and gorgeous guest solo by Robert Maché of the Continental Drifters, chronicles a devastating personal breakdown, while the swooning, cinematic “At the End of the World” remakes the power ballad as a promise that whatever’s coming, you won’t have to gave it alone. “Perish the Thought” wryly confronts the rise of an authoritarian darkest-timeline world with a “Biko”-like resistance anthem. The mournful, apocalyptic “Goodbye Missamerica,” with its entirely improvised, slapback-psych vocal, goes straight to Big Star’s “Holocaust” territory, with the ghosts of Ardent in full effect.
Omnivore Recordings, a longtime champion of innovative, iconoclastic artists, seems the perfect home for Cait Brennan. The label’s long history with Ardent and Big Star reached new heights with the acclaimed, lovingly assembled release of Big Star’s Complete Third.

“I had been listening to Cait for a while,” says Cheryl Pawelski of Omnivore. “Serendipitously, I was at the show where Cait met Fernando, and noticed right away, they were the two most interesting people in the room that day. I kept an eye on how her career was going, and after hearing these songs develop into such a strong, unique and addictively catchy album, there was no question, it was obvious.”
For her part, Brennan has long described Omnivore as “the greatest label on the planet” for releasing albums by many of her heroes, including the Muffs, Bert Jansch, Merle Haggard, Game Theory, Emitt Rhodes, Neil Finn and countless others. “There is no label in the world I’d rather be on,” Brennan says. “The people at Omnivore give everything they’ve got for the love of music, and it’s an absolute honor to be on their roster,” Cait says. “I never dreamed I’d have the chance, but now that I do, it feels like home.”

The tracks on Third are by turns darkly hilarious and deeply moving, with the most lacerating self-deprecation and devastating music-relationship tension this side of Buckingham and Nicks. The names may have been changed, but it wasn’t to protect the innocent. “Yeah, I’m the asshole who stole your boyfriend,” Brennan sings on the aptly titled “Bad at Apologies,” a brutal takedown of herself, her man and the “best of friends” who made the mistake of temporarily stepping away from the apartment. It’s the kind of soulful, witty, irresistibly catchy thing Brennan does best.

“I try writing everything as fiction, but the truth always muscles in,” Brennan says. “I’m not sure it’s possible to make good, smart, non-idiotic decisions about love and still write songs, but I’m in absolutely no danger of finding out.”

With songs like these, here’s hoping she never does. Cait Brennan’s Third channels the broken heart and soul of its legendary namesake into a new era, with deep affection for the spirits of the past but with its focus set squarely on the future.


February 6, 2017


Revered collaboration, featuring Billy May & His Orchestra, pays homage to
Tin Pan Alley. Expanded reissue contains seven previously unreleased performances.

LOS ANGELES, Calif. — Anyone who is a fan of a swinging big band and pop vocals knows the names Bobby Darin, Johnny Mercer, and Billy May. But even those who don’t know these names know their sound. Their music is everywhere, being played every day, all around the world.

Mercer had the distinction of being one of the founders of Capitol Records, the lyricist (and sometimes composer) of some of the most beloved and recognizable songs of the 20th century, and a singer himself. May took the songs of the day, many of which are now standards, and set them to brilliant, swinging, swaggering arrangements for legends of the pop vocal era. Darin, a showman’s showman, could do it all, and did do it all.

Originally based on an idea from Darin’s long-time manager Steve Blauner (who also brought the world television series like Bewitched and The Monkees, and classic films like Five Easy Pieces and The Last Picture Show), the 1961 release Two of a Kind put these great talents together, in an homage to the great Tin Pan Alley composers, and mixed it with the vibrancy that only these three giants could achieve.

Years later, he revived his idea with Grammy ® Award-winning producer Cheryl Pawelski, working through the session tapes to present a fuller picture of just how much fun Darin, Mercer, and May were having during the original sessions. Says Pawelski, “I’ve long admired and enjoyed the immense, seemingly unlimited talent of Bobby Darin, and have been fortunate over the years to work with both his Capitol Records and Atco/Atlantic repertoire. This album, however, always finds its way to my speakers before all others because it’s fun. It’s three unbelievably gifted musicians who seemingly toss off these performances as if it takes no skill at all. Make no mistake though, Bobby Darin, Johnny Mercer and Billy May only pull off this musical magic because they’re THAT good!”

This new edition of Two of a Kind, set for release on Omnivore Recordings on March 24, 2017, features the original 13 tracks with seven previously unissued performances — five alternate takes, and two songs recorded for, but omitted from the original album. These additional recordings offer a glimpse into the studio to witness the joy the artists shared in this collaboration. Newly remastered by Grammy ® Award- winning engineer Michael Graves, Two of a Kind has never sounded better.

In his original notes for the 1961 LP, Stanley Green wrote: “ Unquestionably, these ‘two of a kind’ performers were having a ball when they cut this one. I think you will too when you listen to it.”
Sadly, Blauner (who not only discovered Darin, but continued to oversee his estate for the remainder of his career) passed away before his intimate look back at the classic recording could see the light of day. But soon, the expanded edition will be available for the world to experience. It’s apparent that a grand time was had recording Two of a Kind, and now music fans in the 21st century can revel in the fun.

# # #



January 31, 2017

Singer-songwriter’s first album in a decade due
from Omnivore Recordings on March 10

LOS ANGELES, Calif. — Cindy Lee Berryhill marks an affecting, intimate, and dazzling return to record-making with The Adventurist, an ambitious song cycle set for release by Omnivore Recordings on March 10, 2017.

Encinitas, Calif.-based singer-songwriter-guitarist Berryhill describes her elegantly crafted set of new original compositions — her first release since 2007’s Beloved Stranger — as a collection of “tone poems about the experiential feeling of enlovement.”

Written and recorded over the course of the last five years and funded in part by a Kickstarter campaign, The Adventurist was co-produced by Berryhill with David Schwartz, Sheldon Gomberg, Ben Moore, and Lee Ray. Contributing musicians include singer-songwriter Syd Straw, Probyn Gregory and Nelson Bragg of Brian Wilson’s band, DJ Bonebrake of X, and David J Carpenter of Dead Rock West.

While it eschews biographical detail or a confessional tone, the album was inspired by Berryhill’s life with her late husband Paul Williams. Founder of the first modern American rock magazine Crawdaddy in 1966 and a prolific writer and critic, Williams married Berryhill in 1997. Two years earlier, Williams suffered a traumatic brain injury in a bicycling accident. Following the early onset of dementia in 2004 and deepening medical challenges, he was placed in full-time care in 2009; he died in March 2013.

Berryhill says, “I vowed to write Paul a song cycle. Not songs of sadness or the despair I’d felt, but songs that reflected the love I had for him, and a remembering back to the enormous flood of feelings we’d had on meeting and courting. I wanted to write songs that felt like they’d come from that muse-driven place we feel when we fall in love.
“It’s about going from the partner you’ve always wanted to be with,” she adds, “to acceptance, and the realization that that isn’t going to be anymore, and the scrambling that happens, and the various levels of grieving, which includes restlessness — ‘I want to run away! I want to get lost in somebody else.’

Berryhill began writing the songs that were later recorded for The Adventurist in 2011. From the first sessions for the record with David Schwartz in the summer of 2013, Berryhill harkened back to the sound of her widely admired 1994 release Garage Orchestra, which found the onetime “anti-folk” performer delving into a denser, more orchestrated style. Two players from that record, cellist Renata Bratt and percussionist Randy Hoffman, returned for the new collection.

“In some ways you could say that Garage Orchestra, with its orchestral experiments and themes, is directly related to the new album,” she says. “I would offer that they are bookends — Garage Orchestra signifying the beginning of my time with Paul, and The Adventurist being the end of that time.”

Further recording dates followed with Schwartz in Santa Monica, Moore in San Diego, and Gomberg in Los Angeles’ Silver Lake district. The sessions all drew a degree of inspiration from the unusual instrumentation and arrangements and the live-in-the-studio approach heard on Brian Wilson’s groundbreaking ’60s productions for Pet Sounds and the abortive Smile.

“I guess I want things to be more immediate,” Berryhill says. “I really get that old idea, that way of doing it. Something I learned from Brian is that you can have a lot of instruments, but you don’t have to go big. Phil Spector went big with the Wall of Sound. But you can still be intimate and have 14 instruments going.”

The tracks on The Adventurist augment conventional rock instrumentation with strings, horns, vibraphone, glockenspiel, and marimba. In some cases, the idea of conventional “instruments” is dispensed with entirely: Two numbers employ a seven-foot wall heater cover for percussion purposes, while the album-closing instrumental “Deep Sea Dishing” finds Berryhill’s guitar accompanied by a dishwasher.

“Two things happen in a spontaneous setting,” Berryhill says. “Something happens that I didn’t expect — ‘Whoa! That’s a great idea, let’s go with it’ — the surprising interaction that the musicians have, the fun that they have finding something that’s working out. For me, it’s, ‘Is it working or not? I want to know right now.’”

At once musically expansive and close to the bone, reflective and spirited, The Adventurist considers love, loss, and rebirth with melodic acuity, emotional clarity, and warm humor. Berryhill views her highly personal new release as a response to the challenges life handed her.

“My family would say, ‘When the going gets rough, play music.’ I dove really far and really deep into the playing of music, and let the music carry me away. It was my happy place to go to while I went through my daily chores of caring for my husband and my son. It brought me a lot of joy. And it’s an escape — music is the place I go to. It’s the Enchanted Forest.”

# # #

September 15, 2016


November 11 release contains hits, rarities, concert favorites and previously unreleased gems, plus liner notes, ephemera and previously unseen photos.

BRATTLEBORO, Vt. — There aren’t many bands that have lasted for 50 years, and the list of those still at the top of their creative game is even smaller. High Noon: A 50-Year Retrospective will offer a fascinating look at one of the best. Street date for the set is November 11, 2016.

Over the past half century, NRBQ has proven to be a group of peerless and unique musicians, songwriters and performers, continuing to prove it with each new album and live performance.

Omnivore Recordings will celebrate this legendary band with the release of High Noon: A 50-Year Retrospective consisting of five CDs of classic recordings all carefully remastered along with many rare and previously unissued gems in an attractive package featuring extensive notes and previously unseen photos.

High Noon contains 106 songs and offers a new and fascinating look at a great band, with each disc a unique listening adventure unto itself. The set provides a unique perspective for devoted fans as well as for adventurous newcomers who might only know of NRBQ through other artists’ versions of originals like “Me and the Boys,” “Ridin’ in My Car” and “Christmas Wish” or from hearing their music on TV shows such as The Simpsons, Weeds or Wilfred.

Formed in 1966 in Louisville, Kentucky, NRBQ has always been fueled by a deep, far-reaching love of music ─ from Sun Records to Sun Ra, as founding member Terry Adams told The New York Times in 1969. That abiding and unwavering “music first” philosophy, mixed with joy, spontaneity and a playful, unpretentious virtuosity, has served NRBQ incredibly well over the last 50 years ─ whether at the Fillmore East, the Berlin Jazz Festival, the New York Folk Festival, the Grand Ole Opry or in countless clubs, colleges, concert halls and recording studios; as a quartet or quintet; with or without the Whole Wheat Horns; alone or with rockabilly legend Carl Perkins, country singer Skeeter Davisor wrestling manager Captain Lou Albano. And the band’s well-known fans throughout the years are an equally diverse group, including Jimi Hendrix, Bonnie Raitt, the Replacements, Elvis Costello, John Sebastian, and Penn and Teller.

Of High Noon, Adams says, “ I'm very happy to have taken part in this project with Omnivore Recordings. We had a lot of fun putting it together and in doing so, we had to go back to the beginning. It has enabled me to come into direct contact with the original intent. Not only that, but I can feel the spirit of every year of the 50. The band started hot and the band keeps getting hotter!

“NRBQ fans are both brilliant and demented. This music has introduced people who are now lifetime friends. There’s been romance, marriage and babies. We've seen it all. Just about everything you can think of has been said about NRBQ and it's all true...all of the good, all the bad and all of the in between. I think it might be all evident in this box set. Thanks to all involved. We've got a lot of living to do, don't we?”




June 28, 2016

Photo Courtesy of Brother Records, Inc.


Recordings date back to band’s pre-Capitol days in Hawthorne, Calif., providing glimpse of band’s earliest studio work

LOS ANGELES, Calif. — In September of 1961, Brian Wilson, Mike Love, Al Jardine, Carl Wilson and Dennis Wilson stepped up to a microphone together for the first time at the home of Hite and Dorinda Morgan to demo the Beach Boys’ first three songs. Between that September date and March 1962, before signing a seven-year contract with Capitol Records on May 24, 1962, they committed nine songs to tape under the direction of the Morgans.

Some iconic, others obscure — “Surfin’,” “Luau,” “Lavender,” “Surfin’ Safari,” “Surfer Girl,” “Judy,” “Beach Boy Stomp” (aka “Karate”), “Barbie,” and “What Is A Young Girl Made Of”— Every surviving take, false start, master take and studio banter during these historic recordings is gathered on this landmark collection, Becoming The Beach Boys: The Complete Hite & Dorinda Morgan Sessions.

On August 26, 2016, Omnivore Recordings will release Becoming The Beach Boys: The Complete Hite & Dorinda Morgan Sessions , the first-ever release of all of the group’s earliest recordings. In these 62 tracks, with more than 40 previously unissued, the genesis of one of the greatest vocal groups of the 20th century can be heard. The liner notes detail the origins of the band and their earliest songs, and the booklet includes photos of the early rare records drawn from these recordings, as well as tape boxes from the sessions. The set is fully authorized by the Beach Boys.

From the liner notes by Jim Murphy, author of the book Becoming The Beach Boys, 1961-1963: “Appropriately enough, “Surfin’,” the Beach Boys’ first effort, released in late November 1961, had its origin near the ocean. During a Saturday morning fishing trip on the Redondo Beach Pier, Mike and Dennis noted there were guitar instrumentals conjuring the feel of surfing, but no one had yet sung about it. ‘I remember Dennis and Michael going to the beach, and when they came back they were talking about making a song about surfing,’ Carl recalled. ‘That’s the first thing I remember as far as the reality of a group actually forming.’”

With a career spanning 55 years, the Beach Boys have sold more than 100 million records, charted over 80 songs worldwide, had 36 U.S. Top 40 hits, and are widely recognized as one of the most critically acclaimed and influential bands of all time. They were inducted into the Rock and Roll Hall of Fame in 1988 and the album Pet Sounds has been preserved in the National Recording Registry by the Library of Congress and inducted into the Grammy Hall of Fame. In 2001, the group received a Grammy Lifetime Achievement Award.

According to Murphy’s notes, “Here in these seminal recordings are the nascent Beach Boys, the premier vocal group of American popular music, and this is where it all began.”



April 1, 2016

Reissues of these classic recordings feature an impressive roster of guest musicians including Ben Harper, Robert Randolph, Charlie Musselwhite, David Lindley and John Hammond, as well as previously unreleased live tracks
from 2001-2002

LOS ANGELES, Calif. — Omnivore Recordings will release expanded reissues of two turn-of-the-century Grammy Award-winning albums by the Blind Boys of Alabama: Spirit of the Century and Higher Ground. Street date for the CD and digital editions is May 13, 2016.

Formed in 1944, the Blind Boys of Alabama have been trendsetters musically, socially and spiritually. At the dawn of the 21st Century, almost 60 years into their career, one would think the Blind Boys had nothing more to prove. However, 2001’s Spirit of the Century not only showed how relevant they still were, but how they could continue to reinvent the genre they helped bring to the mainstream, and to win their first Grammy while doing it.

Produced by John Chelew with assistance from Chris Goldsmith, Spirit of the Century mixed soulful new arrangements of traditional hymns with songs by the Rolling Stones (Exile on Main Street’s “I Just Wanna See His Face”), Ben Harper and Tom Waits — including “Way Down in the Hole,” which became the theme for HBO’s first season of The Wire, performed by the Blind Boys.

Accompanying the Blind Boys’ soaring vocals is a who’s who of iconic players including David Lindley, John Hammond, Danny Thompson, Charlie Musselwhite, and more. To make this release even more special, seven live performances of album tracks recorded with the Spirit studio band at New York’s Bottom Line club have been added, as well as a new essay from Davin Seay.

Fifteen years after its original release, Spirit of the Century has lost none of its power. It’s time to feel the Spirit once again.

After winning the Best Traditional Soul Gospel Album Grammy for Spirit of the Century, the Blind Boys of Alabama wasted no time recording their next album. Once again helmed by Chelew and Goldsmith, Higher Ground picked up where Spirit of the Century left off, and moved even further. With backing by Robert Randolph & the Family Band (and guest appearances from Ben Harper), new arrangements of gospel classics were supplemented by songs from Harper, Curtis Mayfield, Funkadelic, Aretha Franklin, Jimmy Cliff, Prince and the classic title track by Stevie Wonder. The outcome was rewarded by the Blind Boy’s second consecutive Grammy for Best Traditional Soul Gospel Album, as well as having Harper’s tune, “I Shall Not Walk Alone,” featured on television’s Lost.

In addition to a new essay by Seay, seven live performances of album tracks recorded for KCRW-FM’s Morning Becomes Eclectic have been resurrected and added, making Higher Ground even more exceptional. Newly refreshed with these previously unreleased live tracks, this important release finally returns.

# # #

Watch (and feel free to post) the Blind Boys of Alabama trailer:


December 16, 2015

Game Theory


Available on CD, LP and digitally (with first LP pressing on translucent dark green double vinyl with download card), deluxe reissue features liner notes from Okkervil River’s Will Sheff and interviews
with producer Mitch Easter and band members and associates.

Influential power-pop group celebrated in SXSW 2016 panel
and recently published book.

SAN FRANCISCO, Calif. — When Game Theory emerged with their fourth full-length release in 1987, there was not only a new line-up of the band, but it took two LPs to capture all of the magic. Once again produced by Mitch Easter (R.E.M., Pavement, Let’s Active), Lolita Nation was the culmination of all that had come before, and pushed the boundaries far further than Game Theory had gone before. Lolita Nation became their most critically acclaimed work — grabbing a Bay Area Music Award (BAMMY) nomination for Outstanding Independent Label Album in 1988. It has since been revered as a classic by fans and critics, though — sadly — it has remained out of print for quarter of a century.

As Omnivore Recordings continues to reintroduce this seminal band to the masses, Lolita Nation now requires a second CD to collect alternate mixes, live recordings, and radio sessions. The original’s 27 tracks are joined by 21 bonus performances. In addition to the previously unheard and much sought-after eight-minute version of “Chardonnay” and illuminating alternate mixes of key album tracks, the bonus material features covers of David Bowie, The Modern Lovers, Sex Pistols, Elvis Costello, The Smiths, The Stooges, Joy Division, The Hollies, and Public Image Ltd. Classics and a never before heard song by Scott Miller from Lolita Nation era. Truly as eclectic and all-encompassing as Lolita Nation itself, and just as revolutionary.

Omnivore’s deluxe reissue of Lolita Nation will be available February 5, 2016 as a double CD, Digital and double LP (first pressing on translucent dark green vinyl, with black to follow). The LP contains a download card for the entire 48-track CD program. All formats feature new liner notes from Okkervil River’s Will Sheff, interviews with the band and original album contributors and previously unseen photos.

Reissue co-producer Dan Vallor notes: “Lolita Nation is the middle child of Game Theory’s San Francisco period. The three albums of this era are like an advancing, engulfing, and receding aural storm, with Lolita Nation its tempest. The Big Shot Chronicles has warmth and elegance, but also sadness and anger expressed in ways that Scott Miller hadn’t mined before. It’s like a child’s eyes opening to coming maturity, seeing the world as new and different and romantic; yet also a provocation to petulance and indignation.” (Reissues of both Big Shot Chronicles and Two Steps From the Middle Ages will be forthcoming to round out the core catalog).

The story of Scott Miller and Game Theory has been eloquently chronicled in Brett Milano’s recently published book, Don’t All Thank Me at Once: The Lost Pop Genius of Scott Miller, and a SXSW 2016 panel titled “No One’s Twisting His Arm: Game Theory’s Scott Miller,” composed of producer Dan Vallor, band member Gil Ray, Omnivore’s Cheryl Pawelski with author Brett Milano slated to complete the panel.


November 12, 2015


The singer-songwriter, whose 1971 debut is a power-pop classic, was joined by special guests Roger Joseph Manning Jr. & Jason Falkner of Jellyfish, Nels Cline, Aimee Mann, Susanna Hoffs, Jon Brion, Bleu, and members of Brian Wilson’s band.

SXSW 2016 showcase confirmed.

PledgeMusic campaign underway, providing premiums varied from deluxe editions of recording to a day in Rhodes’ studio.

LOS ANGELES, Calif. — Emitt Rhodes began his career in his teens, as drummer for the SoCal band the Palace Guard. He eventually took the reigns as leader of the Merry Go Round, who scored pop hits with “Live” and “You’re a Very Lovely Woman” in the late 1960s. At the release of his critically acclaimed eponymous debut in 1971, he gained a reputation as a “one-man Beatles,” since he wrote, recorded and produced the album in his home studio. But then, the way many music stories unfurl, after battling bad contracts and industry demands, Rhodes saw his last release, Farewell to Paradise, in 1973. Emitt Rhodes never recorded another full-length LP. Until now.

On February 26, 2016, Omnivore Recordings will proudly release Rainbow Ends, Emitt Rhodes’ first new studio album in 43 years, on CD, Digital and gatefold, colored vinyl. A PledgeMusic campaign has been set up for pre-orders, offering exclusive collectibles, the album itself, and even a day in Rhodes’ studio. Details are available at

After connecting with producer Chris Price in 2013, Rhodes revived his home studio with help from Price and an all-star band, all of whom had been enamored of Rhodes’ work: Roger Joseph Manning Jr. and Jason Falkner (both solo artists, members of Jellyfish, and currently in Beck’s studio and touring band), indie producer and musician Fernando Perdomo, Rooney’s Taylor Locke and New Pornographers’ drummer Joe Seiders. They would cut the new record live in that space.

More special guests appeared to make this momentous release even more special: Aimee Mann, Susanna Hoffs (Bangles), composer and producer Jon Brion, Wilco’s Nels Cline and Pat Sansone, Bleu, and Probyn Gregory and Nelson Bragg from Brain Wilson’s band, among others. What was achieved is more than what folks thought would ever happen. They made Emitt’s first full-length in more than four decades.

Rainbow Ends is the album generations have been waiting for. Eleven new tracks for longtime fans who’d held onto their out-of-print ABC albums, for those who found out about Rhodes via “Lullaby” being featured in The Royal Tennenbaums, and for the uninitiated who’d heard their favorite artists and friends rave about his small, but truly vital and influential catalog.

An Emitt Rhodes showcase at SXSW 2016 will be a highlight of the annual music festival, and more dates are in the works.

Producer Price says, “I view this as a continuation album, meaning it isn’t meant to be recreating the sound from his first record, but instead what he might have sounded like after his third album, Farewell to Paradise, if he kept making music in the mid-to-late ‘70s.”

According to Rhodes, “I had a spurt there, you know. I just wrote a whole bunch of songs. I’m just gonna write what my heart tells me, because that’s the only thing that really matters, isn’t it? Sometimes you don’t know, and then the light goes on and you do know.

“The music is very good on this record. I think that these guys are all wonderful players and there’s all sorts of interesting stuff. I hope people like it, and I want you young guys to be able to get your due.

“I think whenever it happens, it happens on time.”

It’s rare to have your dreams come true. For many, a new Emitt Rhodes recording has only been a fantasy. In 2016, the Rainbow Ends at a true pot of gold.

Track Listing:

Dog on a Chain
If I Knew Then
If It Isn’t So
This Wall Between Us
Someone Else
I Can’t Tell My Heart
Put Some Rhythm to It
It’s All Behind Us Now
What’s a Man to Do
Friday’s Love
Rainbow Ends

# # #

Watch (and feel free to post) the Emitt Rhodes Pledge Music trailer:

The Wall Street Journal premiered a track from the album, "Dog on a Chain":


September 30, 2015

Bobby Rush

Bobby Rush
ON NOVEMBER 27, 2015

Chicken Heads: A 50-Year History of Bobby Rush box set contains nearly five hours of music with 32-page booklet, noted by Bill Dahl, with quotes from Mavis Staples, Keb’ Mo’, Elvin Bishop, Leon Huff, Al Bell and more.
“Bobby Rush is among the most treasured blues singers of all time. Because when the blues saints go marching in, Bobby Rush will be in that number.” —Leon Huff

LOS ANGELES, Calif. — When you’ve played with Elmore James, Howlin’ Wolf, Muddy Waters, and Jimmy Reed, you must be on to something. When you’ve had a multi-generational career in music, spanning blues, soul and funk, that’s something else.

Bobby Rush’s incredible half century of recorded music is ready to be devoured by those who’ve never tasted and those who want another helping on Chicken Heads: A 50-Year History of Bobby Rush, due out November 27, 2015 on Omnivore Recordings.

Nearly 100 tracks from the three-time Grammy ® nominee’s storied career are finally collected in this unprecedented set. Including his Checker, Galaxy, and Jewel sides through Philadelphia International, Malaco/Waldoxy, LaJam, and Urgent cuts, as well as material from his own Deep Rush label, Chicken Heads tells the story of Bobby Rush: unfiltered, unedited and unbelievable. With almost five hours of music on four CDs, Chicken Heads traces his career from 1964’s “Someday” through the title track, from 1979 collaborations with Gamble & Huff to tracks from 2004’s FolkFunk.

The 32-page, full-color booklet is filled with photos, ephemera, liner notes from Bill Dahl and testimonials from friends and fans including Mavis Staples, Keb’ Mo’, Elvin Bishop, Denise LaSalle, Leon Huff, Al Bell, and many more. With mastering and restoration by Grammy ® winner Michael Graves, Bobby’s vintage recordings have never sounded better.

Born in Homer, La. in 1933, Rush cut his musical teeth in the Pine Bluff, Ark. area with the likes of Elmore James and Big Moose Walker. A move to Chicago in the 1950s put him in the company of Muddy Waters and Jimmy Reed, and led to sessions at the city’s Chess Records. 1971’s “Chicken Heads” proved his breakthrough, notching #34 on the Billboard R&B chart. He since recorded for a variety of labels and relocated in the 1980s to the Deep South, where he became one of the kings of the Chitlin’ Circuit. His crossover began largely in the early 2000s when he was included in the Martin Scorsese-produced, Clint Eastwood-directed The Blues documentary for PBS. Since then, he’s received three Grammy ® nominations and 41 Blues Music Award nominations (of which he’s won ten, including 2015’s award for B.B. King Entertainer of the Year). He performed with Dan Aykroyd and the Roots on The Tonight Show With Jimmy Fallon in 2014, and appeared in the documentary film Take Me to the River, pairing blues and soul legends with young artists. At the age of 80, he still performs more than 200 shows all over the world.

Mavis Staples attests, “He’s been a longtime friend, an honorable man, and my father loved him. He’s a joyful, happy person, and that rubs off on you when you run into him — you can’t help but feel good when you’re around Bobby. He’s always been respectful of me and my sisters, and he was like a son to Pops. I’m a big fan.”

According to Rush, “ It’s very exciting. Truly I feel honored that someone would think enough of me to do this. The record side of it is the glory side of me and that’s the side that I want people to know and I’m grateful for that. I’m happy that someone thought before I leave this land to tell my story. I’m proud of it and flattered about it. I want the world to know that this is my first time and I want to say it for people to be enthused about me. I’m not enthused about all of the songs because at the time I didn’t think they were all good. But after you become a ‘legend,’ you look back and it all looks good. There are things you had in the can you didn’t want to put out, and then you get asked what you have in the can that’s never been heard to put it out.”

As annotator Dahl comments at the opening of his essay: “Blues never get funkier than when Bobby Rush swaggers up to the mic and lets fly with his homespun truisms. He’s always in motion, always smiling, always on fire as his skintight band cooks up irresistible elastic grooves behind him.”

So, prepare to get funky with Chicken Heads: A 50-Year History of Bobby Rush!

# # #

June 11, 2015

photo by Vicki Berndt


Reissue features ten bonus tracks and liner notes by the band.
Special guests include Jon Spencer and Korla Pand

LOS ANGELES, Calif. — The Muffs burst onto the California music scene at the beginning of the ’90s, and after a few independent singles and EPs, they were quickly snapped up by Warner Bros. Records. Produced by David Katznelson and Rob Cavallo (who would go on the helm records from Green Day, Goo Goo Dolls, and more), The Muffs roared from speakers across the country in 1993. According to renowned critic Jim DeRogatis, “You’d have to reach all the way back to Blondie’s Plastic Letters to find punkish power pop this endearing.”

The quartet rips through the album’s 16 tracks, ranging from an Angry Samoans cover to the college-radio smash “Lucky Guy.” In addition, alt-rock superstar Jon Spencer (Pussy Galore and his own Blues Explosion) adds some theremin (“I Need You”), and the Godfather of Exotica, Korla Pandit, contributes Hammond organ (“From Your Girl”). The album includes a 31-second version of the Angry Samoans’ “Stupid Jerk.” The beverage Fruitopia caught the Muffs buzz, using the track “Everywhere I Go” in a popular television campaign.

This reissue, released with full cooperation from the band, contains the original album and adds a whopping 10 bonus tracks: a radio remix of “Lucky Guy,” a version of “Everywhere I Go” that was only available on the cassette of
The Muffs album, and eight previously unissued demos from the band’s vocalist and lead guitarist, Kim Shattuck — who filled the role of departed Kim Deal on the Pixies’ 2013 tour. Street date for the reissue is August 14, 2015 via Omnivore Recordings.

Shattuck and bassist
Ronnie Barnett provide new liners, and they have opened their archives for photos and other ephemera.

According to Barnett in the notes: “This album did find its audience, if not a huge one. It’s the first album Rob Cavallo produced (his second one was called
Dookie by some buddies of ours from the Bay Area who were fans). It has its flaws, but it’s never gone out of print. It may or may not have too many songs, and there may have been too many cooks in the studio, but it is what it is — our first album. It had heart, it had songs, and is the basis for our ongoing — after all of this time — career. Kim and I used to dismiss this album, but I now think it’s time to embrace it.”

Last year the band reunited and issued their first new release in a decade, garnering critical lauds and playing to enthusiastic crowds. Now it’s time to go back to where it all started. It’s time for the Muffs!

Track Listing:
1. Lucky Guy
2. Saying Goodbye
3. Everwhere I Go
4. Better Than Me
5. From Your Girl
6. Not Like Me
7. Baby Go Round
8. North Pole
9. Big Mouth
10. Every Single Thing
11. Don’t Waste Another Day
12. Stupid Jerk
13. Another Day
14. Eye To Eye
15. I Need You
16. All For Nothing

Bonus Tracks:
17. Lucky Guy (Radio Remix)
18. Everywhere I Go (Cassette Version)

Even More Bonus Tracks

(4-Track Demos)
19. All For Nothing *
20. Do You Want Her *
21. I Don’t Expect It *
22. My Face *
23. Something On My Mind *
24. Ethyl My Love *
25. Not Like Me *
26. Saying Goodbye To Phil *
* Previously unissued

# # #


April 21, 2015


The Textones

Carla Olson’s ’80s band combined punk, power pop and Texas roots.
Albums feature guest appearances by Gene Clark, Ry Cooder,
Ian McLagan, and Howie Epstein,
plus co-write with former Textones member Kathy Valentine.


LOS ANGELES, Calif. — Taking the early ’80s L.A. club scene by storm, the Textones were respected by those in the know for both their song craft and musicianship, as well as for their groundbreaking hybrid of new wave and what would one day become known as Americana. On May 26, 2015, Omnivore Recordings will reissue expanded editions of the band’s first two albums, Midnight Mission and Cedar Creek.

The Textones released an EP in the U.K. and a single in the U.S. But it was after singer/guitarist Carla Olsonbrought in guitarist George Callins, multi-instrumentalist Tom Junior Morgan, bassist Joe Read, and former Dwight Twilley Band member Phil Seymour on drums to the lineup that the magic truly happened.

Signing to Danny Goldberg’s Gold Mountain label, the Textones’ debut album, Midnight Mission, encompassed everything they’d done, and took it a step further. Produced by Barry Goldberg and Brad Gilderman, and featuring contributions from Gene Clark, Ry Cooder, and Don Henley, Midnight Mission was a mix of rock, blues, and country that captured the band’s live energy. After Olson appeared in Bob Dylan’s “Sweeheart Like You” video, he offered up an unreleased song, “Clean Cut Kid,” which blended perfectly with the band’s originals.

This reissue features five bonus tracks — three songs recorded for the film Sylvester, as well as a two previously unissued live cuts from their performance on Rock of the 80’s, recorded in 1984 at the Palace in Hollywood.

Robert Hilburn wrote in the Los Angeles Times: “ Olson, a lanky singer and songwriter moves about the stage with the sensual confidence of Tom Petty ... Midnight Mission is a refreshing blend of American rock purity and clear eyes commentary ...”
Echoed Mikal Gilmore in the Los Angeles Herald-Examiner: “ A roaring and thoughtful delight. Workingman populism and Rolling Stones-style rave-ups ... Like Bruce Springsteen, Olson took an unsparing look at the dissolution of the American Dream and newly resolved. Listening to her, so did I.”

It would be three years before the Textones followed up their acclaimed debut, Midnight Mission. But, it was well worth the wait.

Cedar Creek appeared in 1987 on a new label, Enigma Records, and Carla Olson, George Callins, Joe Read, and Tom Junior Morgan were joined by new drummer Rick Hemmert.
Produced this time by Michael Stone and the band, Cedar Creek features nine originals, including a co-write with original Textone (and Go-Go’s member) Kathy Valentine, who left the group in 1981 to find fame with the Go-Go’s. And, much like its predecessor, legendary contributors like future Rock ’n’ Roll Hall of Famers Ian McLagan and Howie Epstein make appearances.

John Fogerty said of the song “No Love in You” (three versions of which are included amongst the two reissues): “ Not only is ‘No Love in You’ my favorite [song] of 1984 but I always look forward to driving somewhere so I can listen to it four or five times.”

In addition to the original album the oft-bootlegged 1987 performance from the Catalyst in Santa Cruz gets an official release. The blistering eight-track set features songs from both of the band’s albums. According to Olson in the new liner notes, “I don’t wag my tail much about this, but the Catalyst show is one of the best examples of how well I can sing when it all works. It’s some of the best singing I’ve ever done.”

Olson is excited to have this music out there once again: “ As the sticker on the original release of Cedar Creek announced, ‘Rock With Roots, the great Rolling Stones album the Stones never recorded.’ That kind of high praise was unexpected, especially in light of the similar response Midnight Mission received and its middling commercial success. It further stated, ‘Take a pinch of Austin, Texas, a dash of L.A., mix in commanding vocals and crackling guitars and you've got the perfect recipe for a classic album.’ We were ahead of our time or just didn’t get the breaks needed? An artist never knows. What I do know is that when the Textones played together we created a musical fabric never far from our many influences and diverse backgrounds and that the connection we felt between us was one of the joy of entertaining and the hopefulness of our music. We are glad the music is being made available again especially with the live set that we've added to Cedar Creek. We were one hell of a rock ’n’ roll band.”



April 15, 2015



Iconic power pop band’s final three releases — Zoom, Normal as the Next Guy
and Live From the Rock ’n’ Roll Fun House — remastered and expanded

LOS ANGELES, Calif. — While The Knack’s debut album, and its hit “My Sharona” were two of 1979’s biggest records, the band continued to record and perform into the 21st century. Omnivore Recordings is proud to bookend the story begun with Havin’ a Rave Up! Live in Los Angeles, 1979 and Rock ‘n’ Roll Is Good for You: The Fieger/Averre Demos by reissuing the Knack’s last three official releases, beginning May 19, 2015.

1998’s Zoom was the band’s first album in five years, spurred on by “My Sharona” charting for the second time, 15 years after its initial release, due to its inclusion in the film Reality Bites. Original members Doug Fieger, Berton Averre, and Prescott Niles were joined by drummer Terry Bozzio (Missing Persons, Frank Zappa). The album was a return to form, and was often called his favorite Knack album by Fieger. This reissue features five bonus tracks, four of which are previously unissued. Of particular note is an unheard version of “My Sharona” with Bozzio behind the kit. Zoom will be available on CD and digitally on May 19, 2015.

According to bassist Niles in the liner notes: “T he only way for the band to get the energy and passion back was to play some live shows. We had a new manager, the late Danny Sugerman, to help guide us. The key to our comeback was two shows at the Viper Room in Los Angeles. We knew we had it after we gave a prime Knack performance that got continued encore shouts. We needed a drummer to record with, and Terry Bozzio’s name came to our attention . . . We were inspired by Terry’s brilliant playing and joyfully started recording the full album.”

Normal as the Next Guy was released in 2001, as the band took off on its Rock ’n’ Roll Fun House tour, and featured 11 new tracks, as well as a cover of Serious Fun’s “One Day at a Time,” which was climbing the charts as their post-Capitol label, Charisma, began to fold. The CD and digital version will be released on June 9, 2015, and features three previously unissued songwriting demos from Fieger.

From Niles’ liner notes: “
Normal as the Next Guy , in hindsight, was the bridge that helped return us Knack exiles to our homeland. After the rightful and bitter disappointment of the experience with our comeback album, Zoom, all Berton, Doug, and I could do was splinter off and consume ourselves with our own musical projects. We did our best collective work on Zoom and believed our fans, and maybe even the music aficionados, would hear it and possibly get it, and us, once again. No such luck! . . . However, playing brought us together again as a group, and we did many shows and tours after that strange night. Doug was feeling inspired and said that we would soon make our best album and leave our legacy of greatness. But sadly, Doug’s diminishing health did not provide us the opportunity. So Normal as the Next Guy should be remembered as a good album and the start of The Knack’s last page.”

Live From the Rock ’n’ Roll Fun House was the soundtrack to the DVD of the same name, featuring the Knack performing in an imaginary 1960s television show. Essentially a live greatest hits package, the band plays material from their previous five albums, and this reissue adds two from Normal as the Next Guy, recorded for the program, but never used. It hits stores on CD and Digital on July 14, 2015.

Live From The Rock ‘n’ Roll Fun House offers fans everything they love about The Knack – stellar songs and a rocking performance. While this would be the last album released by the group before the passing of Doug Fieger, it represents why they maintained a rabid fan base. They were an incredible live band.

All three reissues contain updated artwork, new liner notes, and commentary and remembrances from the band’s Berton Averre and Prescott Niles. Together they form the definitive statement on the final chapter of the Knack’s story.

September 12, 2014


Package available as 2-LP set, CD, digital and DVD,
with notes by Big Star’s Jody Stephens, Ardent’s John Fry,
and director Danny Graflund

LOS ANGELES, Calif. – The gig poster said “BIG STAR IN THEIR FAREWELL U.S. PERFORMANCE.”Luckily, this iconic Memphis band’s homecoming show was nothing of the kind. As Jody Stephens points out in his liner notes, “We played Los Angeles three days later and went on to play together for another 16 years. No one ever said anything about the poster.”

Omnivore Recordings is proud to present Big Star’s first appearance in Memphis since 1974, and only known professionally filmed show in its entirety. Live in Memphis chronicles that October 29, 1994 performance on CD, 2-LP (with download card), Digital, and DVD.

All audio formats contain the complete 20-song set, which includes Big Star classics like “Thank You Friends,” “September Gurls,” and “The Ballad of El Goodo,” Chris Bell’s “I Am the Cosmos,” and covers of T.Rex, The Kinks, Todd Rundgren and more, performed by Big Star: Alex Chilton, Jody Stephens, and Jon Auer and Ken Stringfellow from the Posies.

Also included are notes from filmmaker Danny Graflund, Ardent Studios’ John Fry, Jody Stephens, Jon Auer, and Ken Stringfellow in both the CD and LP packaging, as well as in the DVD. Per Omnivore tradition, the first pressing of the LP will be limited to 1,000 colored vinyl, with black to follow.

According to Stephens, “This second life for Big Star begins on April 25, 1993, in Columbia, Missouri. The performance gets recorded and released. We now have a record to support and a reason to tour. A handful of dates far and wide followed, but then an offer came from the

to play Memphis. Pretty exciting! Walking into the New Daisy that night brought on a rush of ’70s friends I hadn’t seen in years. So much support there from well-wishers, which included John Fry and my parents. Stepping onstage that night in Memphis with Alex, Jon, and Ken was an incredibly good time and a bit of magic. It wasn’t so much that we were playing to the audience as we were sharing the music with them, and they were sharing themselves with us. We all cared.”

Stingfellow wrote: “ It might seem intimidating, and at the same time look presumptuous, to step in and complete the lineup of Memphis’ most beloved cult band on their home turf. However, Jon and I were (and to this day remain) absolutely passionate about the music of Big Star, and that sense of devotion and belief propelled us forward and, hopefully, silenced any grumbles about what two kids from Seattle were doing there in that lineup. By the time we rolled into town to play this show, we’d gone from the initial, delightfully fragile, show in Columbia, Missouri, to engagements in London, San Francisco, and Tokyo. There would be more heft to the show, and we were getting to know Alex and Jody in even deeper ways, musically and personally. You might even say . . . we were a band.”

“Omnivore is thrilled to release what may be the only complete Big Star concert ever professionally filmed. The exuberant Memphis hometown crowd reception made this a night to remember, and even though the concert was not recorded with the intent to become an album, we know that fans will want to be in the front row for this show,” says the release’s co-producer, Omnivore’s Cheryl Pawelski.


August 15, 2014


Standards, set for September 30 release
in the U.S. on Omnivore Recordings,
reunites Cole with Fred Maher and Matthew Sweet,
adding Joan (As Police Woman) Wasser and more.

LOS ANGELES, Calif. — “ I believe you should allow the songs to be boss, ” said Lloyd Cole in discussing the muse behind his new album Standards . “ And the songs were saying, ‘ You need to make a rock record. ’”
It ’ s been 30 years since Lloyd Cole appeared on the radar of music fans around the world with his band,The Commotions, and their stunning debut,Rattlesnakes. Cole has kept busy, releasing solo albums since 1990, and Omnivore Recordings will release to present his latest, Standards , in the U.S. on September 30, 2014.

Though he ’ d never be so gauche as to suggest it himself, Cole has enjoyed something of a renaissance with Standards (see raves below), a gloriously electric rock ’ n ’ roll record that fans and critics alike have hailed as his best work since Rattlesnakes. However, Standards was originally only available overseas. Now Omnivore is correcting that by offering the title here on CD and LP (with download card). A Limited Edition album will be available on clear vinyl, with black to follow.

Recorded in late 2012 to early 2013 in Los Angeles, New York and at his home in Massachusetts, the album is produced by Lloyd and mixed by maverick German producer Olaf Opal. All songs are by Lloyd Cole apart from “ California Earthquake, ” which was written by American folk artist John Hartford.

Inspired in part by the vitality he found in septuagenarian Bob Dylan ’ s acclaimed 2012 album Tempest, says Cole: “ I took it as a kick up the backside . . . I had spent much of the 2000 ’ s focused on making age appropriate music, and I ’ m happy with those albums, but listening to Bob — I don ’ t think he knows how old he is. And I wondered what might happen if I didn ’ t worry about it. Well, this is what happened.

The band Lloyd assembled for Standards comprises Fred Maher (Lou Reed, Material, Scritti Politti) on drums and Matthew Sweet on bass reforming the rhythm section from Lloyd ’ s debut solo album, 1990 ’ s Lloyd Cole and its follow-up Don ’ t Get Weird On Me Babe .

With Joan (As Police Woman) Wasser on piano/backing vocals, and Cole not only singing but playing synths amidst some of the crispest, stormiest, most stinging electric guitar, it ’ s a tight ship with a tight sound that tautens and relaxes according to the temper of the song. Augmenting the basic band are Lloyd ’ s son Will, Mark Schwaber and Matt Cullen on guitars, Commotions keyboardist Blair Cowan, percussionist Michael Wyzik and, from Cole ’ s post-Commotions band the Negatives, backing vocalist Dave Derby.

Says Lloyd: “ I wanted to make an album with a small fixed palette of sounds, like a Van Gogh, like Highway 61. The album format is supposedly dead, but I still want to make them. Not bunches of songs — albums. For the last 10 years I ’ ve been primarily an acoustic musician but this is an album for electric guitars, electric bass and loud drums, with piano and synthesizer. Not quite monochrome, then, but not ever-changing either: it has a unique identity — a sound. ”

British press acclaim for Standards :
“… a rocking, reinvigorated return … terrific ” 8/10 — Uncut
"Captivating!" 4* — MOJO
“ Effortless craftsmanship from a gifted storyteller. ” — Q
“ Standards is the work of a bristling, alive and fresh-as-a-daisy master, drawing on all of his experience for a mid-life career high. ” — Daily Mirror
“ A sound replete with twisting, cyclical guitar lines and tints of keyboards … there ’ s a confidence and flexibility to his disparate themes … may be his best album. ”
The Independent
“ Like when Dylan went electric … it ’ s not a fanciful comparison — Cole ’ s lyrics are profoundly poetic and linked to some glorious tunes … terrific. ” — The Big Issue
“ Gloriously, pertinently verbose . . .career-best …” — Record Collector



March 31st, 2014


On May 20, Omnivore Recordings will issue 24 songs and jingles recorded in Nashville, and last heard generations ago.

LOS ANGELES, Calif. — Omnivore Recordings will soon release the full-length version of The Garden Spot Programs, 1950, featuring 24 performances, unheard for 64 years, from country music legend Hank Williams. Rescued from obscurity, these shows originally aired more than six decades ago; The Garden Spot Programs, 1950 collects material from the four episodes now known to exist. Due out May 20, 2014, the set follows the release of Omnivore’s collectible 10” vinyl Record Store Day EP sampler.

From hits to standards to songs rarely (if ever) performed, this is pure Hank Williams, including playful between-song banter. Featuring fully restored audio, The Garden Spot Programs, 1950 is an exceptional listening experience. Painstakingly transferred, restored and mastered from original transcription discs by Grammy Award winning engineer Michael Graves. Williams’ daughter, Jett, is excited that her father’s lost material is not only seeing the light of day decades later, but will be available on CD, digital and LP.

The CD packaging contains rare photos and liner notes from the collection of set co-producer and Williams biographer Colin Escott. Also available on LP, the first pressing will be on limited edition, translucent red vinyl (with black vinyl to follow), containing Escott’s informative notes and a download card.

Escott writes in his notes: “Set the time machine for early morning on KSIB-AM, Creston, Iowa. February 1950. Country radio was beginning its slow transition from live music to DJ shows. Live music and DJ shows were augmented by transcribed shows. After buying 15 minutes of airtime on small-market stations, sponsors would prerecord shows with well known artists, duplicate them, and ship them out on 12 or 16-inch transcribed discs.”

“That’s how Hank Williams came to be on KSIB in February 1950. Sandwiched between the local ‘live’ acts, it was almost as if he were visiting with Skeets and those Radio Rascals. His sponsor was one of the nation’s largest plant nurseries, Naughton Farms, seven hundred miles south in Waxahachie, Texas. Given that Naughton was a big player in the nursery business, Hank’s shows were almost certainly shipped to many small stations, but only KSIB’s copies survived. Those of us who have studied Hank’s life and career had no idea that these recordings existed.”

Any music from Hank Williams is worth celebrating. Discovering material that has been unheard for generations is monumental.

“It’s incredible to me that we’re still finding new recordings by my dad — great ones at that,” says Jett Williams. “No one even suspected that these recordings existed. We partnered with Omnivore Recordings for this release, and I especially love it that they’re taking my dad back to vinyl.”

# # #



March 6th, 2014


Making their debut on Record Store Day (April 19), CD and LP feature liner notes from set co-producer Robert Trujillo (Metallica) and Jaco biographer Bill Milkowski

Release coincides with the upcoming documentary, Jaco, the official Record Store Day film for 2014

LOS ANGELES, Calif. — When Jaco Pastorius’ solo debut appeared in 1976, a new standard in both jazz and the electric bass guitar was born. Many of the tracks on that eponymous album had their genesis two years earlier when a 22-year-old Pastorius and friends used after-hours time at Criteria Studios to work out songs and jam. Eventually, six of those session tracks were pulled to an acetate. Many of the songs would later find their way onto Jaco’s self-titled debut, but some remained unreleased until now. All tracks appear here in their full, unedited form for the first time.

Omnivore Recordings will release Modern American Music . . . Period! The Criteria Sessions on April 19, 2014 — Record Store Day. Produced in conjunction with the Pastorius estate and Metallica’s Robert Trujillo, this release contains 11 revolutionary tracks from one of the world’s greatest musicians. The CD and LP feature 11 tracks from the Criteria sessions, essays from Trujillo and Pastorius biographer Bill Milkowski (writer for DownBeat and Jazziz), and unseen photos from the family’s archives.

According to Milkowski, from his notes, “Raw and uninhibited, these Criteria demo sessions showcase a working band reveling in the energy that they brought to the bandstand on any given night in 1974 while revealing a young, fully-formed Jaco Pastorius standing on the verge of taking over the world.”

The original six-song acetate is being reproduced for Record Store Day in a special multi-colored vinyl version that will include a sought-after bonus track, "Havona/Continuum." The special Record Store Day LP will also contain a download card for the entire CD program (being released the same day), as well as an insert with both essays and rare photos.
This material was unearthed and restored in conjunction with the upcoming documentary, Jaco, the official Record Store Day film for 2014. Director was Stephen Kijack; producers, Rob Trujillo and John Battsek.

While these tracks, recorded at the beginning of Pastorius’ incredible career, may be from the past, they, like all of Jaco’s music, transcend time and space.

According to Metallica’s Trujillo: “Omnivore’s release of Jaco Pastorius’ ‘Criteria Sessions’ is a raw unique statement — a statement that lets you know you are experiencing a powerful historical musical moment. Jaco’s sound, and facility alone, take you on a trip that is totally new and fresh! This is punk at its best, and the attitude and edge is pure.” Record Store Day director Michael Kurtz said: “I fell in love with Jaco Pastorius in 1976 when I heard Weather Report’s Black Market being played in my local record store. In 1977 I caught the band on its Heavy Weather tour and heard Jaco perform live. It was like I had been exposed to a force bigger than life. Performing on the Fender bass he’d personally stripped of frets, Jaco propelled the band with ferocity and finesse. He was shirtless, with an axe bold as love. Thirty-seven years later it is a dream come true to be a part of helping Omnivore unearth and release the recording of a very young Jaco performing with his own band in Miami’s Criteria Studios.”

Mary Pastorius, Jaco’s daughter, added: “Once I allowed the memories associated with records to come in, it was like opening the proverbial floodgates — especially so when I started looking through my own records, having a visceral sensory overload experience with every one. Them records is powerful stuff!”


January 4th, 2014


Produced by Jim Dickinson, featuring Mudboy & the Neutrons (on two tracks), and with photos by William Eggleston, the album portended greatness. Perhaps now it will find its audience.

MEMPHIS, Tenn. — Sid Selvidge’s The Cold Of The Morning is a mid-’70s Memphis classic that almost never saw the light of day. Selvidge and producer Jim Dickinson (Big Star, Ry Cooder, The Replacements) created this 12-track song cycle live in the studio in 1975, with Selvidge on vocals and guitar, plus Dickinson on piano with Memphis’ iconic Mudboy and the Neutrons on two tracks. The cover photo was by William Eggleston. The record seemed destined for greatness. But when Peabody Records’ benefactor decided not to put it out at the last minute, he gave the rights to the recently pressed LP to Selvidge, who drove down to the plant, loaded up his car and distributed the discs himself. The album eventually found its way into regional stores and the national press, even reaching the Cashbox charts; this was enough to take Selvidge to New York. But life intervened, and bigger record deals were not in the cards.

On March 11, 2014, Omnivore Recordings will issue this indelible piece of the Memphis music canon on CD (unavailable for more than two decades and with newly discovered bonus tracks) and on LP for the first time since its original release. The LP, the initial run of which will be pressed on blue vinyl, will contain a download card for the entire album plus bonus tracks.

Co-produced by Sid’s son, Steve (The Hold Steady), The Cold Of The Morning has been expanded to include six previously unissued tracks from the original sessions. (The CD/digital contains the full 18-track playlist; the LP has the original 12 tracks with a download card for the full 18 songs.) Consisting of originals, blues standards, and Broadway classics, the record is not only a snapshot of a time and place, but of Selvidge himself. The package includes rare photographs and an in-depth essay by Bob Mehr of Memphis’ Commercial Appeal.

Selvidge would eventually turn Peabody into a boutique label, issuing records by Cybil Shepherd, and even Alex Chilton’s solo debut, Like Flies on Sherbert. He continued to record, releasing a 1993 album on Elektra and a triumphant swan song, I Should Be Blue, in 2010. The Greenville, Miss. native and former DJ also co-founded the syndicated Beale Street Caravan radio program, beaming the influential music of Memphis to the world.

But it all began on The Cold Of The Morning. “He said, ‘Look, I’ve made my classic record,” recalls his son, Steve. “It was almost like he was apart from it. It really was the perfect capturing of the perfect moment, and it made for his most perfect statement.”

# # #



December 3rd, 2013


Both titles set for CD and 180-gram vinyl formats,
with 19 bonus tracks between them,
on Omnivore Recordings February 4, 2013

LOS ANGELES, Calif. — When indie superstars Camper Van Beethoven signed with Virgin Records in the late ’80s, it seemed inconceivable. How could that irreverent act, a band with great wit and wide-ranging instrumentation, move to a major label without “selling out” and sacrificing all that made them great? As it turned out, the first three tracks on Our Beloved Revolutionary Sweetheart were a pop song, an instrumental and an adaptation of a dirge about death. Heck, the release even had a love song for Patty Hearst. No, Camper Van Beethoven hadn’t sold out. They just had better distribution now.

On February 4, 2014, Omnivore Recordings will proudly revisit a time when Camper Van Beethoven helped pioneer American alt-rock, with reissues of the band’s first two Virgin albums: Our Beloved Revolutionary Sweetheart and Key Lime Pie.

Produced by Dennis Herring (Elvis Costello, Counting Crows, Modest Mouse), Our Beloved Revolutionary Sweetheart finds itself reissued on CD with 10 bonus tracks, and on vinyl for the first time since its original issue.

Featuring new photos and liners in both the CD and LP, the album is being released in tandem with its acclaimed follow-up Key Lime Pie, with full cooperation from the band itself.

Key Lime Pie, also produced by Herring, was a logical next chapter in the saga of CVB while offering higher production value. From a track about Jack Ruby to a cover of Status Quo’s “Pictures of Matchstick Men,” Key Lime Pie was a slice above the rest and a fitting dessert for the 1980s.

This reissue contains nine bonus tracks on the CD. The nearly hour-long album was originally pressed on one LP, but Omnivore has expended it to two LPs (for better sound) and added a bonus track to Side 4 that plays at 45 rpm.

It’s been a few years since the end of the ’80s but Camper Van Beethoven has proved timeless. Our Beloved Revolutionary Sweetheart attests to that. It’s even spelled out in the title: beloved, revolutionary and a real sweetheart.

The band, which broke up after the two Virgin recordings, has reunited and continues to record and tour today.

# # #



November 14th, 2013


“Will be my last solo album.
It will however, not be my final recording,”
says the U.K. singer/songwriter of session recorded in Au

LOS ANGELES, Calif. — While probably best remembered in the United States for his 1978 smash “Shake It” (#13 Billboard Pop Singles), Iain Matthews has been a worldwide music icon for more than 45 years. Whether as a founding member of Fairport Convention, Matthews Southern Comfort (who hit #23 with their cover of Joni Mitchell’s “Woodstock” in 1971), Plainsong or as a solo artist, Matthews has taken listeners on a journey with each recording.

Welcome to The Art of Obscurity, Iain Matthews’ first new release in his staggering fifth decade of recording and performing music, and his first American album in 15 years, due out January 28, 2014 on Omnivore Recordings. Recorded in his adopted home of Austin, Texas with producer Bradley Kopp (Jimmie Dale Gilmore, Joe Ely, and Tish Hinojosa), this 12-track release highlights Matthews’ knack for acoustic folk with jazzy undertones — capped off by his rich singing voice and reflective and insightful lyrics.

Matthews declares that The Art of Obscurity “absolutely sits up there with my four or five finest recorded moments.” In his liner notes, he states, “The Art of Obscurity will be my last solo album. It will however, not be my final recording. Music is in my blood. Music motivates me. Music is my mistress.”

We hope Iain reconsiders. If not — he has left us with a glistening gem in his crown of musical achievements. While “obscurity” translates as “the state of being unknown,” The Art of Obscurity will put you in a state of bliss.

“The realization that The Art of Obscurity is my 25th solo album prompted me to do some deep thinking about where I am, where I’m going and what I still want to achieve from this life in music,” says Matthews. “In my heart I feel vital and passionate about the creative process and that my best work is the next one I finish. It doesn’t necessarily work out that clean, but for me, it can be the only touchstone.”

Matthews will launch the new album with a PledgeMusic campaign

Through PledgeMusic, he will offer his fans opportunities to talk directly to him, buy his new music (with access to additional bonus material), and acquire rare personal treasures from his archives.

# # #




November 4, 2013



Twelve tracks, including nine unissued performances,
set for release on CD, red vinyl and digital.
Liner notes include testimonial from Dolly Parton, a fan of the band.
Street date January 14, 2014

LOS ANGELES, Calif. — It can be difficult to capture the live power of band in a studio recording. Luckily for us, Lone Justice (Maria McKee, Ryan Hedgecock, Marvin Etzioni, and Don Heffington), forerunners of the alt-country movement, went to Suite 16 Studios in December of 1983 and laid down much of the set list with which they were packing Los Angeles area clubs.

Recorded direct to two-track tape by engineer David Vaught and with no overdubs, those 12 tracks can finally be heard in their entirety as This Is Lone Justice: The Vaught Tapes, 1983 , out January 14, 2014 on Omnivore Recordings. As Los Angeles music journalist Chris Morris writes in his liner notes, the release “offers the best representation of the band in its infancy — hot, full of piss and vinegar, and ready to take on the world.”

Nine of the tracks are previously unissued, and include originals (such as “Soap, Soup and Salvation,” which would appear on their Geffen debut two years later) as well as the covers they made their own in concert (Johnny Cash and June Carter Cash’s “Jackson” and “Nothing Can Stop My Loving You,” written by George Jones and Roger Miller).

Available on CD, LP (the first pressing is on translucent red vinyl) and digitally, the package includes, in addition to Morris’ liners an essay from the band’s Ryan Hedgecock, as well as a remembrance of David Vaught from Marvin Etzioni — even a loving endorsement from Dolly Parton, who writes, “I have loved Lone Justice and Maria McKee since they first started out as a group. I remember going to see them at the Music Machine in Los Angeles in 1983; I was so impressed. I especially love this album. It has some of my favorite old songs on it and some new favorites that I've never heard. Hope you enjoy Lone Justice, everybody! I know I will.”

With unseen photos and memorabilia (including images from the band’s personal archive), this collection is what Lone Justice fans have been waiting for. This Is Lone Justice: The Vaught Tapes, 1983 takes us back to a time when music had an energy that was hard to contain.

Thanks to that studio in Van Nuys, Calif., and this release, Justice has been served!

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August 2, 2013

Watch out, punk is coming!


Features 20 songs by CBGB pioneers Talking Heads, Television, Dead Boys, Joey Ramone, Richard Hell & the Voidoids, Johnny Thunders & the Heartbreakers, Wayne County & the Electric Chairs, The Dictators, The Velvet Underground, The Stooges, MC5, The Police and more, plus a new version of “Sunday Girl” by Blondie.
Movie opens nationwide in October.

NEW YORK, N.Y. — By the end of 1973, New York City was bankrupt, Watergate had compromised the credibility of the U.S. government, and the Carpenters were the best-selling young recording act in America. Rock ’n’ roll was dead! The story of Hilly Kristal and his legendary club that put the punk back in rock will come to movie theaters this October when CBGB hits the big screen. Omnivore Recordings will release CBGB: Original Motion Soundtrack on October 8 with deluxe digital version coming the same day from Rhino.

The film features an all-star ensemble cast headed by Alan Rickman (the Harry Potter series, Die Hard), who plays Kristal. Co-starring with Rickman are Malin Akerman (The Proposal, Suburgatory), Ryan Hurst (Sons of Anarchy), Ashley Greene (The Twilight series), Johnny Galecki (The Big Bang Theory), Stana Katic (Castle), Freddy Rodriguez (Planet Terror, Six Feet Under), Rupert Grint (the Harry Potter series), Mickey Sumner (Francis Ha), Taylor Hawkins (Foo Fighters), Donal Logue (Grounded For Life), Richard DeKlerk (Repeaters), Bradley Whitford (West Wing) and Joel David Moore (Avatar). CBGB is written and produced by Jody Savin and Randall Miller and directed by Miller (Bottle Shock). The movie, distributed by XLrator media, opens in theaters in New York and Los Angeles and other select cities on October 11.

Omnivore Recordings is proud to present CBGB: Original Motion Picture Soundtrack on CD and, naturally, double-LP (with first pressing on translucent pink vinyl). An essential collection of songs that made the punk movement, CBGB presents 20 classics of original American punk and new wave, many rarely compiled or unavailable for years. A deluxe digital exclusive version featuring an expanded track list will be available from Rhino.

The soundtrack contains music from influential artists who informed the scene
(The Velvet Underground, The Stooges and MC5) as well as acts who broke through to huge commercial acclaim (Talking Heads, Blondie and The Police). And there’s even music from bands whose legendary status will forever be linked to the club that gave them a voice (Dead Boys, Television, Wayne County, The Dictators and more).

Hilly Kristal dreamed of running a country and blues bar in the Bowery. Instead, the club he opened, CBGB (Country, Bluegrass, Blues) became the birthplace of punk and underground music. CBGB was the modern-day salon for the disenfranchised youth of New York City and Kristal offered these young local bands a stage.

The album contains a performance by Kristal (“Birds and the Bees”) and a new version of “Sunday Girl” by Blondie.

The soundtrack CD and LP will be in stores in time for the CBGB Music Festival October 9–13, in New York.

Track Listing:
1. Life During Wartime – Talking Heads
2. Kick Out the Jams (Uncensored Version) – MC5
3. Chatterbox – New York Dolls
4. Careful – Television
5. Blank Generation – Richard Hell & The Voidoids
6. Slow Death – Flamin’ Groovies
7. I Can’t Stand It – The Velvet Underground
8. Out of Control – Wayne County & The Electric Chairs
9. Psychotic Reaction – The Count Five
10. All For the Love of Rock ’n’ Roll (Live) – Tuff Darts
11. All By Myself – Johnny Thunders & The Heartbreakers
12. California Sun (Original Demo) – The Dictators
13. Caught With the Meat in Your Mouth – Dead Boys
14. I Got Knocked Down (But I’ll Get Up) – Joey Ramone
15. Get Outta My Way – The Laughing Dogs
16. Sunday Girl (2013 Version) – Blondie
17. I Wanna Be Your Dog – The Stooges
18. Sonic Reducer – Dead Boys
19. Roxanne – The Police
20. Birds and the Bees – Hilly Kristal

# # #


May 2, 2013


With movie opening July 3, 22-song CD, 2-LP and digital soundtrack
contain all previously unissued versions of classic songs
from pop music’s greatest cult band.

LOS ANGELES, Calif. — The story of Big Star will finally hit the big screen in the feature-length documentary Big Star: Nothing Can Hurt Me (Magnolia Pictures) After years in the making, the movie comes to theaters, On Demand and iTunes on July 3.

On June 25, Omnivore Recordings will release the soundtrack to the film featuring 22 tracks, all of which are unissued versions of classic Big Star songs. The soundtrack will be available on CD, double-LP in a gatefold sleeve with a download card included, and digitally. A limited edition of the LP version was made available on Record Store Day and sold out immediately, following previous successes with the 2011 Record Store Day release of the legendary Third [Test Pressing Edition] and Alex Chilton's Free Again: The "1970" Sessions in January of 2012.

An official selection of the SXSW Film Festival (2012), winner of the Best Documentary at Indie Memphis (2012), and a hit at the BFI London Film Fest and DOC NYC, the Big Star: Nothing Can Hurt Me film chronicles the initial commercial failure and subsequent critical acclaim of Big Star, further solidifying the enduring legacy of one of pop music’s greatest cult bands.

Big Star: Nothing Can Hurt Me traces the origins and history of the legendary group — from 16-year-old Alex Chilton skyrocketing to stardom in the late ’60s with the Box Tops and their #1 hit, “The Letter”; to the serendipitous meeting of Chilton and local Memphis singer-songwriter-guitarist Chris Bell; through the tumultuous recording of Big Star’s landmark albums, #1 Record, Radio City, and Third; culminating with the band’s implosion due to lackluster record sales, personal breakdowns, and the tragic death of Bell in 1978.

The three original Big Star releases, each of which charted on Rolling Stone’s “Top 500 Albums of All Time,” have become critically lauded touchstones of the rock music canon. A seminal band in the history of alternative music, Big Star has been cited as an influence by R.E.M., The Replacements, Belle & Sebastian, Elliott Smith, Wilco, Beck, Jeff Buckley and The Flaming Lips, to name just a few. With never-before-seen footage and photos of the band, in-depth interviews and a rousing musical tribute by some of the bands they inspired, Big Star: Nothing Can Hurt Me is a story of artistic and musical salvation.

The Omnivore Recordings soundtrack plays like an audio version of the documentary, capturing its essence. It features previously unissued versions of classic Big Star, Chris Bell and Alex Chilton songs, including demos, plus alternate original and new mixes made especially for the film.

Track listing:
1. O My Soul (Demo, 1973)
2. Give Me Another Chance (Control Room Monitor Mix, 1972)
3. In The Street (Movie Mix, 2012)
4. When My Baby ’s Beside Me (Alternate Mix, 1972)
5. Studio Banter (1972)
6. Try Again (Movie Mix, 2012) Rock City
7. My Life Is Right (Alternate Mix, 1972)
8. The Ballad Of El Goodo (Alternate Mix, 1972)
9. Feel (Alternate Mix, 1972)
10. Don’t Lie To Me (Alternate Mix, 1972)
11. Way Out West (Alternate Mix, 1973)
13. Thirteen (Alternate Mix, 1972)
14. You Get What You Deserve (Alternate Mix, 1973)
15. Holocaust (Rough Mix, 1974)
16. Kanga Roo (Rough Mix, 1974)
17. Stroke It Noel (Backward Intro, 1974)
18. Big Black Car (Rough Mix, 1974)
19. Better Save Yourself (Movie Mix, 2012) Chris Bell
20. I Am The Cosmos (Movie Mix, 2012) Chris Bell
21. All We Ever Got From Them Was Pain (Movie Mix, 2012) Alex Chilton
22. September Gurls (Movie Mix, 2012)

All tracks by Big Star except where noted. All tracks previously unissued.

More information about the movie:

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April 11, 2013


Early ’70s albums are re-mastered, available on CD
and 180-gram vinyl, with notes by Colin Escott

LOS ANGELES, Calif. — Even though Townes Van Zandt may not be a household name, he is a legend to songwriters and the music fans who love them. As the recently issued Sunshine Boy: The Unheard Studio Sessions & Demos 1971-1972 proved — receiving five-star reviews from American Songwriter and Mojo, along with a ten-out-of-ten-star piece from Uncut — the world was ready to rediscover not only Van Zandt, but the studio albums those sessions came from.

Omnivore Recordings now offers reissues of Townes’ two seminal recordings: High, Low and In Between and The Late Great Townes Van Zandt, each available on CD and — for the first time in decades — on high-quality, 180-gram vinyl, with a release date of May 21, 2013.

High, Low and In Between, Townes Van Zandt’s fifth album, originally released by Poppy Records in the fall of 1971, was an album that saw Townes becoming the songwriter revered today. Full of original material, including “You Are Not Needed Now,” “Blue Ridge Mountains,” and “To Live Is To Fly,” it opened eyes and ears to his abilities. His backing band included folks like Larry Carlton, who would play on Joni Mitchell’s Court & Spark, who accompanied Steely Dan on The Royal Scam (playing that solo we all know and love on “Kid Charlemagne”), and who was a member of Jazz’s elite Crusaders. High, Low and In Between is, in the end, a classic Townes Van Zandt album. And one that should be re-examined.

The Late Great Townes Van Zandt, his sixth effort, hit the shelves in 1972. The album built on High, Low and In Between, adding texture in both song and production. It’s probably best known for “Pancho & Lefty” — the song Emmylou Harris covered for 1977’s Luxury Liner and which Willie Nelson & Waylon Jennings would take to the top of the charts in 1983. Full of originals, as well as covers like Hank Williams’ “Honky Tonkin’,” the release was Van Zandt’s perfect storm, with every element in place. The Late Great Townes Van Zandt might be his masterwork. This release should be in every collection of great American music.

The gloriously remastered editions of High, Low and In Between and The Late, Great Townes Van Zandt will be available on CD, in a digipak with liner notes from award-winning scribe Colin Escott, as well as on 180-gram vinyl, with the first 1000 pressed on orange and clear colored vinyl respectively. (Future pressings will be on standard weight, black vinyl.)

It’s not too late to know and love the Late Great Townes Van Zandt.

# # #


May 28, 2013

(featuring RSD co-founder Michael Kurtz)

April 20 is RSD. Support your local brick-and-mortar record retailer
with these incredible collectibles. Supplies won't last!

LOS ANGELES, Calif. — Record Store Day (April 20, 2013) is an opportunity for music fans across the nation to re-experience the lost art of purchasing music over the counter. But it’s more than that. Record stores, while scarcer than they were ten years ago, remain a place to hear about new music, discuss it with fellow fans, and experience non-virtual face-to-face social networking.

Here are three more reasons to get to a record shop on April 20: Omnivore Recordings will release limited-pressing vinyl collectibles that are musts: The soundtrack to the long-awaited feature-length Big Star film documentary Big Star: Nothing Can Hurt Me will be available in a special, limited edition (4,000 worldwide) 180-gram, two-LP translucent yellow vinyl pressing ahead of its standard release configurations; a collaboration between the Old 97’s and Waylon Jennings will be released as disc one of a double 7" 45 rpm gatefold single on yellow vinyl (the second disc features two Old 97’s demos) in a limited edition of 1,500 world wide; and the North Carolina band Three Hits will issue Pressure Dome, a 12" five-track EP of released and previously unreleased material (1,000 world wide). Their original 45 release by the same name came out originally on the Hib-Tone label (home of R.E.M.’s debut single), and the band bears other connections to the early era of American indie-rock.

Big Star: Nothing Can Hurt Me (Original Soundtrack): After years in the making, the band’s story will finally hit the big screen in the feature-length documentary Big Star: Nothing Can Hurt Me (Magnolia Pictures), coming to theaters this summer. An official selection of the SXSW Film Festival (2012), winner of the Best Documentary at Indie Memphis (2012), and a hit at the BFI London Film Fest and DOC NYC, the film chronicles Big Star’s initial commercial failure and subsequent critical acclaim, further solidifying the enduring legacy of one of pop music’s greatest cult bands. Big Star: Nothing Can Hurt Me traces their origins and history — from 16-year-old Alex Chilton skyrocketing to stardom in the late ’60s with the Box Tops and their #1 hit “The Letter,” to the serendipitous meeting of Chilton and local Memphis singer-songwriter-guitarist Chris Bell, through the tumultuous recording of the landmark albums #1 Record, Radio City and Third, culminating with the group’s implosion due to failed record sales, personal breakdowns, and the death of Chris Bell in 1978.

Those three records (all of which are on Rolling Stone’s list “Top 500 Albums of All Time”) have become critically lauded touchstones of the rock music canon. A seminal band in the history of alternative music, Big Star has been cited as an influence by R.E.M., The Replacements, Belle & Sebastian, Elliott Smith, Wilco, Beck, Jeff Buckley, and The Flaming Lips, to name just a few.

With never-before-seen footage and photos of the band, in-depth interviews, and a rousing musical tribute by some of the bands they inspired, the film is a story of artistic and musical salvation. The Omnivore Recordings soundtrack captures the essence of the documentary and plays like audio version of the film, featuring all previously unissued versions of classic Big Star, Chris Bell and Alex Chilton songs. The soundtrack includes 21 previously unheard period mixes, new mixes made specifically for the film, and alternate takes and demos.

For this special, limited, first-edition Record Store Day pressing, the double LP will be released on 180-gram RTI HQ translucent yellow vinyl (download card included), with mastering by Larry Nix at L. Nix Mastering. The project was overseen by the documentary’s executive producer, John Fry, at Ardent Studios in Memphis. The additional standard configurations (CD, CD/DVD deluxe, double-LP standard weight black vinyl and digital) will be available at a later date to be announced.

Old 97’s & Waylon Jennings: Old 97’s & Waylon Jennings: Imagine if Waylon Jennings came to see your band. Imagine if Waylon Jennings liked your band. Liked them enough to talk you up in press like The Austin Chronicle. Imagine your A&R guy telling you to write Waylon to thank him and see if he wanted to record some music with you. Imagine if Waylon said yes.

Waylon Jennings attended an Old 97’s gig in 1996, and later that year joined Ken Bethea, Murry Hammond, Rhett Miller and Philip Peeples in a studio in Nashville to cut two tracks. Imagine the youthful energy of Old 97’s with the classic delivery of Waylon Jennings. Sadly, Waylon passed away and these recordings — some of Jennings’ last — never saw the light of day. Until now.

Omnivore Recordings will issue the first-ever release of those two songs, “Iron Road” and “The Other Shoe.” “Iron Road” would eventually arrive as a live version on 2005’s Alive & Wired along with “The Other Shoe” (which first appeared on Old 97’s second album, 1995’s Wreck Your Life.) Two more previously unissued demos are added: “Visiting Hours” (a live version appeared on 2011’s The Grand Theater Vol. 2) and “Fireflies” (re-recorded by Rhett Miller for his acclaimed 2006 solo album The Believer). These four songs will be available on double yellow vinyl 7" set, packed in a gatefold sleeve with art from Jon Langford (of the Mekons and Waco Brothers, and renowned painter of Country Music icons) and insightful and hilarious liners from the band’s Rhett Miller, which put you right there in the studio. The package also includes a download card, offering digital files of the four tracks.

Alt-Country, Outlaw Country, or just plain Awesome Country, the Old 97’s & Waylon Jennings double 7" is a must for fans of any or all of those genres. These historical documents finally see the light, 17 years after being recorded!

Three Hits: Pressure Dome: It’s pretty cool to be label mates with a band like R.E.M. The Rock & Roll Hall of Famers’ first single was released on Atlanta’s Hib-Tone Records in 1981. Four years later, a band named Three Hits would also be on that label’s roster with the 7" single “Pressure Dome” b/w “Numbers,” produced by Don Dixon at Mitch Easter’s Drive-In Studio, much like R.E.M.’s. Three Hits was started by Sheila Valentine and Michael Kurtz at Appalachian State University. Along with classmate Jim Biddell, they began rehearsing between the bins at Schoolkids Records, eventually adding Michael’s brother Danny and touring up and down the East Coast — even sharing the bill with Alex Chilton at CBGB’s in New York. Twenty-two years after “Pressure Dome” was released, Kurtz co-founded Record Store Day — a yearly feast for music junkies, where references to labels like Hib-Tone are commonplace — it’s only fitting that Three Hits’ classic single should be available for the first time in nearly three decades for Record Store Day 2013.

Now wait, why is it on a 12" purple piece of vinyl if it was just a single? Well, in addition to the original singles’ two tracks, there’s a third song from the Dixon sessions, “Picture Window,” plus and additional two tracks produced by Huw Gower (The Records) from their long out of print 1989 E.P. Fire in the House. The download card also offers up two previously unissued songs, “Just One of the Guys” and “Wild Volcano,” for a total of seven downloadable tracks. In a celebration of independent music, independent labels and independent record stores, Omnivore Recordings is proud to present the Three Hits 12" EP Pressure Dome for Record Store Day 2013.

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January 23, 2013


In 1970 former Byrds singer and songwriter moved to Northern California to escape Los Angeles. There he found inspiration for the songs that became his first solo album of the ’70s, White Light.

LOS ANGELES, Calif. — By 1970, weary and wary of the fame game in Los Angeles with the trappings of “the star-maker machinery” surrounding him at every turn, ex-Byrds songwriter and singer Gene Clark was looking for a refuge. On March 26, 2013, Omnivore Recordings will release Clark’s Here Tonight: The White Light Demos, a glimpse into the songwriting craft of Clark at the inception of the compositions that would become his first ’70s solo album, White Light, for A&M Records, released in August of 1971.

Of the tracks on this 12-song album, six (“White Light,” “For a Spanish Guitar,” “Where My Love Lies Asleep,” “The Virgin” “Because of You” and “With Tomorrow”) appeared in final form on White Light. Two (“Opening Day” and “Winter”) appeared in final form as bonus tracks on the 2002 A&M/Universal reissue of the album. One track (”Here Tonight”) is an alternate version of a song that appeared on the Flying Burrito Brothers compilation Honky Tonk Heroes.[J1] <#_msocom_1> And three songs (“For No One,” “Please Mr. Freud” and “Jimmy Christ”) have never been issued previously in any form. Liner notes are by John Einarson, author of Mr. Tambourine Man: The Life and Legacy of Gene Clark (Backbeat Books, 2005). The collection is being reissued with the full cooperation of the estate of Gene Clark.

Precipitating Clark’s move to a secluded life in Northern California, events of the prior four years had elevated the reclusive Kansas-raised boy to the top of the rock ’n’ roll pantheon. The Byrds had topped the charts with their 1965 debut single, “Mr. Tambourine Man” and followed it with a string of folk- and country-influenced songs, many of them from Clark’s own pen. With a little help from Bob Dylan, the Byrds gave rock a literary sensibility. In his own songwriting, Clark had come to embrace the Dylan style of oblique lyric poetry and accrued considerable attention for his songs, to the chagrin of his band mates. Fissures in the band hierarchy ensued.

With his sudden departure from the Byrds in 1966, Clark withdrew from the public eye. His attempt at a solo career later that year was hampered by a reluctance to tour or fly (earning him the title of “the Byrd who wouldn’t fly”). Teaming up with banjo demon Doug Dillard in 1968, the Fantastic Expedition of Dillard & Clark recorded two trail-blazing country-rock bluegrass band around Gene’s well-crafted songs. By early 1970, he left the band, left L.A. for the open spaces of Little River, Calif., near Mendocino, accompanied by his girlfriend Carlie McCummings. The two were equally captivated by the tiny seaside community and were married in June of that year.

Away from the pressure of the music business and inspired by the pastoral beauty of the area, Clark began to write songs that took on a reflective, introspective direction. His songs became more folky and stripped down as Clark swore he’d never again play electric guitar. “There was no deadline,” says McCumming. “He wasn’t under any pressure. And as a result, the songs just flowed out of him. The lyrics were so pure. They don’t come out of any manufactured experience.” Clark also began exploring the nature of spirituality and the human condition in his lyrics, inspired by friend Philip O’Leno. At the end of the Dillard & Clark partnership, Gene owed A&M Records two additional albums. Company co-founder Jerry Moss himself paid Gene a visit in Little River and managed to entice him and Carlie back to L.A. to record. Jesse Ed Davis, with whom Gene had struck up a friendship during the Dillard & Clark sessions, was enlisted to produce.

Clark first recorded the songs meant for the White Light album in demo form on acoustic guitar. It’s these demos, lost for decades and recently discovered, that comprise Here Tonight: The White Light Demos with the songs presented as Clark had originally conceived them in his Mendocino Coast cabin. “His voice was absolutely perfect at that point,” notes Carlie. Included are songs that would later appear on the A&M debut, as well as several that failed to make the cut. Jesse Ed Davis maintained much of the simplicity and honesty of the demos in producing the finished album. Rolling Stone drew comparisons to Clark’s mentor Bob Dylan. It was voted “album of the year” in the Netherlands, whereupon Clark boarded a rare airplane to tour internationally.

Sadly sales were slim. Clark returned to Northern California to write the next album at his own pace. Eventually he returned to L.A. to sustain his career. The rigors of the road eventually tore his marriage apart, leading to a tailspin of alcohol, drugs and death in 1991. He was 46.

As biographer and reissue annotator John Einarson writes, “In the intervening decades, the songs Gene Clark wrote and demoed for White Light, offered here, stand as a deeply personal statement to an enduring talent at peace with himself, his surroundings and his life choices.”

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December 11, 2012

Omnivore Recordings



Ten-inch vinyl EPs made available on Black Friday provided a sneak preview of Merle Haggard’s The Complete ’60s Capitol Singles, George Jones’ The Complete United Artists Solo Singles,and Wanda Jackson’s The Best of the Classic Capitol Singles.

LOS ANGELES, Calif. — Omnivore Recordings will release definitive compilations by three giants of country and rockabilly music — Wanda Jackson, Merle Haggard and George Jones — on February 12, 2013. Having released musical appetizers in the form of ten-inch vinyl EPs on Record Store Day’s Back to Black Friday, Omnivore will serve the main course on compact disc in the form of Merle Haggard’s The Complete ’60s Capitol Singles, George Jones’ The Complete United Artists Solo Singles, and Wanda Jackson’s The Best of the Classic Capitol Singles. All three compilations feature A & B sides from the artists’ most influential years. The vinyl EPs were companion pieces, containing rarities not found on the CDs.

Wanda Jackson’s The Best of the Classic Capitol Singles contains 29 songs from her Capitol stint, which began in 1956. Each was taken from the original analog mono 45-rpm masters. Idolized by three generations of rockers, the Queen of Rockabilly made musical side-trips into country and gospel. For every A-side rave-up like “Mean Mean Man” or “Fujiyama Mama,” she offers B sides of equal intrigue: a weeper like “(Every Time They Play) Our Song” or the hillbilly tragedy of “No Wedding Bells for Joe.” She tore through songs that Elvis sang, and also drew from the jazz greats, R&B legends, doo-woppers and the Nashville hit machine. And she made each song her own.

In the ’50s, Capitol Records ad men scratched their heads, looking for a way to position Wanda Jackson’s sound, gamely settling on “jumping rock ’n’ waltz novelty.” Today, as she plays before indie-rock-aged crowds, supporting recent albums produced by Jack White and Justin Townes Earle, we know she’s no novelty. The Best of the Classic Capitol Singles, with extensive liner notes by Daniel Cooper, is her most definitive career retrospective to date.

Jackson’s Capitol label-mate Merle Haggard became one of country music’s greatest stars while recording his Bakersfield-honed songs at the tower at Hollywood & Vine from 1965 until 1976. The Omnivore compilation The Complete ’60s Capitol Singles features 28 A & B sides taken from the original analog mono 45-rpm masters. Neo-rockabilly artist and part-time journalist Deke Dickerson, a longtime Haggard fan, wrote the liner notes.

From “Swinging Doors” in 1965 until the end of the decade, Haggard had an impressive string of hits. “The Fugitive” (b/w “Someone Told My Story”), his first #1 single, was a composition by the esteemed songwriter Liz Anderson (Lynn Anderson’s mother). “I Threw Away the Rose” b/w “Loneliness Is Eating Me Alive” went to #2 on the charts in 1966. Other chart-toppers on this volume include “You Don’t Have Very Far To Go” b/w “Good Times” and “The Legend of Bonnie & Clyde” b/w “I Started Loving You Again.” “Working Man Blues,” written when Haggard “needed (his) own ‘Folsom Prison Blues,’” became a blue-collar anthem and shot to #1. The collection closes with “Okie From Muskogee,” the unlikely political pop crossover that sent mixed signals to younger listeners. Most have since delved deeper into Haggard’s five decades of music and consider him a hero. He continues to record today.

United Artists Records was eventually married to Capitol when it, along with parent label Liberty, was acquired by EMI in 1978. But when country star George Jones recorded for the label (following stints at Starday and Mercury) from 1962 til 1966, United Artists and Capitol were Hollywood crosstown rivals. It was at UA that Jones mastered all the flavors of country: lovelorn ballads, inspirational gospel, uptempo honky tonk, humorous novelty numbers, old-timey murder ballads — even holiday and Western songs. Most of his UA work was done in Nashville featuring the city’s A team: guitarist Grady Martin, pianist Hargus “Pig” Robbins, bassist Bob Moore, drummer Buddy Harman and Hal Rugg on pedal steel. The Jordanaires provided background vocals.

Omnivore’s 32-song George Jones compilation, The Complete United Artist Solo Singles, leads off with chart toppers “She Thinks I Still Care” b/w “Sometimes You Just Can’t Win,” produced by the legendary Cowboy Jack Clement. Both sides of the single pointed the way to the sound that would mark his signature style in decades to follow. The collection also includes Jones’ 1965 smash “The Race Is On.”

“Country music is like a religion to me,” he told Holly George-Warren, author of this compilation’s liner notes. Jones’ early ’60s work for United Artists will make a believer out of you.

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November 27, 2012

Townes Van Zandt



Sunshine Boy: The Unheard Studio Sessions & Demos 1971-1972
is a 28-track set featuring versions of notable songs from the artist’s most prolific period, 1971-72. Liner notes by Colin Escott.

AUSTIN, Texas — As musicologist Colin Escott writes in his liner notes for the upcoming Omnivore Recordings release of the late Townes Van Zandt’s Sunshine Boy: The Unheard Studio Sessions and Demos 1971-1972, “The art of Townes Van Zandt reveals a little at a time. Every hearing brings forth something you can’t believe you missed all the other times, or something that rings even truer today than way back when.”

Omnivore will give listeners more to discover in Townes Van Zandt when the 28-song, two-CD set is released on February 5, 2013. The recordings that comprise the set have been hidden away in the vault since their initial recording and are now presented with the cooperation of the estate. Due to acquisitions by various labels of the initial Poppy Records recordings, these session recordings have sat on the shelf with no one knowing quite where to find them — until now.

Following ten studio albums, several singles and several live albums, the troubled life of the influential singer-songwriter, performer and poet came to a close on New Years Day 1997.

Omnivore is pleased to finally be able to present, after many years in the works, a two-CD set of previously unavailable music from the Texas singer-songwriter’s classic albums High, Low & In Between and The Late Great Townes Van Zandt. One disc features outtakes and alternate takes/mixes of tracks from the sessions for those LPs; the other highlights solo demos. The set offers a window into the work that went into those two brilliant recordings, from a time when Van Zandt was at the height of his songwriting powers.

With alternate takes and mixes of songs like “To Live Is To Fly” (presented in both alternate take and demo form) and the classic "Pancho & Lefty" a mix made alongside the known version, but without the strings and horns of the commercial version), Sunshine Boy is an essential release for all true Townes Van Zandt fans. The quiet and largely solo demo disc provides an intimate portrait of Van Zandt demo-ing songs, some of which would become his best-known compositions.

As Escott explains, “alternate versions add an entirely new dimension, like seeing someone you thought you knew so well in a new light. The new songs are simply good to have when it seemed the barrel was empty. And so here are more than two hours of Townes Van Zandt — music unheard since the engineer peeled off a little splicing tape to seal the box 40 years ago.”

Escott’s comprehensive liner notes, unseen photographs from the era and some entirely unheard songs, make this collection a must-have for fans of one of the best songwriters of his time.

November 12, 2012


Owens’ 18 tracks from the Hee Haw era and Rich’s only solo album
were never released until now. Street date is January 23.

BAKERSFIELD, Calif. — The San Joaquin Valley city with a population of just over 300,000 served as the Western counterpart to Nashville from the ’50s on through the ’70s, producing such stars as Buck Owens & The Buckaroos, Merle Haggard, and the Maddox Brothers & Rose. Owens and Haggard topped the country charts for decades while retaining their Central California roots. But it wasn’t until 2012 that Omnivore Recordings, digging a little deeper, found two albums worth of never-before-released music from the Buckaroos camp: Buck Owens’ Honky Tonk Man and Don Rich Sings George Jones. Both CDs are set for release January 23, 2013.

The 18 tracks on Buck Owens’ Honky Tonk Man were culled from the vast trove of material he recorded at his Bakersfield studio for the rural hit comedy TV series Hee Haw in the early ’70s. The set is a concise tutorial on the history of country music — from “In the Jailhouse Now,” a song first popularized by Jimmie Rodgers in 1928, to “Rednecks, White Socks and Blue Ribbon Beer,” a hit for Johnny Russell in 1973. Many of the songs Owens did for Hee Haw were originally recorded by his biggest and earliest influences: Bob Willis & His Texas Playboys’ “Stay a Little Longer”; Hank Williams’ “My Bucket’s Got a Hole in It,” “Jambalaya” and “Hey Good Lookin’”; Hank Snow’s “I’m Moving On”; and Jack Guthrie’s “Oklahoma Hills.” Owens also nodded to fellow Bakersfield Sound stalwart Merle Haggard on “Swinging Doors.”

The CD’s title track, “Honky Tonk Man,” is a song first popularized by Johnny Horton in 1956. Thirty years later it became an even bigger hit for Dwight Yoakam, an avowed Bakersfield Sound disciple.

An unreleased Owens track is a rare thing indeed. To have 18 previously unreleased sides collected in one CD is a Bakersfield-sized bounty of riches for Buck Owens fans everywhere.

Until his tragic death in 1974, guitarist, fiddler and vocalist Don Rich appeared on nearly all Buck Owens’ hit records, beginning in the late ’50s. Don Rich Sings George Jones is one of the most exciting country music discoveries in decades — the only solo album ever recorded by the legendary lead guitarist and harmony vocalist for Buck Owens & the Buckaroos. Even more amazing is the fact that this album sat in Owens’ tape vault — unreleased and long forgotten — until now.

In the mid-’60s, with Owens a key part of the Capitol Records roster for a decade, the Buckaroos were issued a separate recording contract with the label, allowing the band to make its own recordings. The band recorded a dozen LPs, over half of which hit Billboard magazine’s best-selling album chart. While primarily known for sizzling instrumental tracks, almost all these albums featured vocals by Rich and other members. With Don’s vocal songs becoming charting singles in their own right, making a Don Rich solo album became pretty much a foregone conclusion.

As fellow Buckaroo Jim Shaw recalls, “Buck went to Don and said, ‘Why don’t you do an album of George Jones covers?’ I suspect Buck thought, ‘That’s a good commercial way to go. George Jones has a huge pile of hits to choose from.’” As to why the album languished in the tape vault for over 40 years, since Owens and Rich are both gone (Rich died in a 1974 motorcycle accident while leaving the Bakersfield studio), there’s no one to provide the answer. But Jim Shaw points out that Rich wouldn’t have bothered to remind anybody about the recording: “Don didn’t have a lot of ambition to be a solo artist. He just wanted to read books about military airplanes and ride his motorcycle.”

The album features such Jones hits as “A Girl I Used To Know,” “White Lightning” and the fittingly Bakersfield-esque “The Race Is On.” In addition are four never-before-released George Jones covers by Buck himself: “The Race is On,” “Four-O-Thirty Three,” “Root Beer” and “Too Much Water.”

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October 30, 2012


Also from Omnivore, Jellyfish’s two-CD set Stack-a-Tracks offers
rare glimpse of band in an instrumental mode

LOS ANGELES, Calif. — Record Store Day comes but once a year, but its Back to Black Friday event in November brings the focus back to independent record stores during the biggest shopping day of the year. And for Omnivore Recordings, it’s an important and fun event.

“Everyone at Omnivore is a fan and a collector, most of us have worked at a record store at some point in our career, and as a label, Back to Black Friday gives us an opportunity to make something that we might not otherwise get the chance to make,” says the label’s Cheryl Pawelski. “We love supporting record stores because we all grew up in them and feel that they are an important part of how people learn about music.”

In order to celebrate Black Friday Record Store Day (November 23, 2012), Omnivore has prepared four ten-inch vinyl EPs by country legends Merle Haggard, Wanda Jackson, George Jones and Buck Owens, with much of the material making its vinyl debut. At another end of the musical spectrum, Jellyfish’s Stack-a-Tracks presents never-before-heard instrumental mixes of the band’s two studio albums in a limited-edition, numbered, first edition digipak.

On November 23, 2012, Omnivore will release these ten-inch discs, which will preview full albums due in 2013: George Jones’ United Artists Rarities; Wanda Jackson’s Capitol Rarities; Merle Haggard’s Capitol Rarities; and Buck Owens’ Buck Sings Eagles. Jellyfish’s Stack-a-Tracks also hits the racks on the same day.

According to Pawelski, “Our very first Omnivore release, the Big Star — Third [Test Pressing Edition] is an example of being a little extra creative for Record Store Day. It was an expensive release to make, and without the event that is RSD, we probably couldn’t have pulled it off. It gave us that extra latitude to be able to push the creative limits as far as we could go and justify it.”

The November 2012 Record Store Day Back to Black Friday releases:

George Jones – United Artists Rarities: As Jones prepares for his farewell tour in 2013, Omnivore is planning the release of The Complete United Artists Solo Singles. Jones had two label homes prior to signing to UA in 1962, and while his tenure there was short (four years), it produced hits like “She Thinks I Still Care” and “The Race Is On.” The United Artists Rarities ten-inch vinyl EP in a beautiful picture sleeve presents four alternate versions of UA recordings plus two previously unissued duets with Melba Montgomery (“There Will Never Be Another” and “Alabama”).

Wanda Jackson – Capitol Rarities: 2012 was a big year for the Queen of Rockabilly on the heels of career-reinvigorating new albums produced by Jack White and Justin Townes Earle. While Omnivore puts the crowning touches on its 2013 release The Best of the Classic Capitol Singles, the six-song vinyl EP Capitol Rarities sets the stage. Included are previously unissued versions of songs recorded between 1956-62 including “Step by Step” “In the Middle of a Heartache,” “The Wrong Kind of Girl” and three more.

Merle Haggard – Capitol Rarities: One of the pioneers of the Bakersfield sound, Haggard toured with Buck Owens in the early ’60s and in 1965 was signed to Capitol Records (already home to Buck) by producer Ken Nelson. Omnivore is planning a full-length CD The Complete Capitol ’60s Singles for 2013 release, to which the Capitol Rarities ten-inch vinyl EP sets the stage. The EP contains songs never released back in the day, and alternate versions of well-known tunes. All six songs emanate from unique Nashville and Hollywood recording sessions, making this EP a very cool, collectible piece.

Buck Owens – Buck Sings Eagles: If Buck Owens, Father of the Bakersfield sound, wasn’t already a household name by 1968, the advent of the hit TV series Hee Haw cemented his fame. Music for the show was recorded in Buck’s studio and then played back on the show with live-to-track vocals. Omnivore will issue these previously unissued made-for-TV recordings as Honky Tonk Man: Buck Owens Sings Country Classics in 2013. Among these recordings were four previously unissued cover songs by the California country-rock torch-carriers the Eagles that comprise the ten-inch vinyl EP.

Jellyfish: Stack-a-Tracks: While recording their two pivotal studio albums, 1990’s Bellybutton and 1993’s Spilt Milk, “instrumental” mixes of each record were created by Jellyfish and their producers. Unheard and untouched for decades, these recordings will finally see the light of day on Omnivore Recordings’ Jellyfish – Stack-a-Tracks. This is not a “re-imagining” of what these records “might” sound like as instrumentals. They’re the real deal, transferred from the original 1/4-inch masters. With an individually numbered edition of 2,500 units, housed in a digipak for the limited first edition with new illustrated artwork (created for the release by artist Mike McCarthy), this two-CD set is destined to become the newest gem in the collection of power-pop fans everywhere.

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October 25, 2012


Available on limited edition vinyl and as a two-CD set combining the original with a previously unissued 14-track live show from 1981

LOS ANGELES, Calif. — Omnivore Recordings will release a newly remastered 30th Anniversary limited edition LP and two-CD set of the long lost, out-of-print, landmark 1981 album Heartbreak, by seminal Scottish folk guitarist, singer, and composer Bert Jansch on November 6. The first pressing of the LP will be issued on 1,500 pieces of clear vinyl (with subsequent pressings on black vinyl), while the two-CD collection includes the original Heartbreak album in its entirety along with 14 previously unreleased tracks recorded during an intimate live show in June 1981 at the storied venue inside McCabe’s Guitar Shop in Santa Monica, Calif.

Set for release just days after what would have been Jansch’s 69th birthday (November 3), this is a collector’s must-have, featuring extras including special photos and liner notes by legendary English folk musician Ralph McTell and the album’s original producers.

Recorded in June 1981 (and released in 1982), Heartbreak was produced by two enthusiastic fans, Rick and John Chelew. This was the first time in the studio for Rick and his brother John (producer of the pivotal John Hiatt album Bring the Family, three Grammy award-winning albums for The Blind Boys of Alabama, and many others). They borrowed money from their mother to finance the sessions and to pay enlisted musicians like renowned guitarist Albert Lee (Eric Clapton, Emmylou Harris, The Everly Brothers, Bill Wyman) and noted singer/songwriter Jennifer Warnes to accompany Bert in the small Silverlake Studio where the album was recorded. During the sessions, Bert played a few live solo shows around California, including the legendary folk club McCabe's Guitar Shop in Santa Monica. Fortunately, Rick and John had the foresight to document these concerts, and now the 30th Anniversary Edition of Heartbreak has been further enhanced by a previously unreleased, complete live show from McCabe's Guitar Shop.

Bert Jansch was one of the most important and central figures in folk music, both for his solo recordings and his work with influential British folk group, Pentangle. Born in Scotland, he was steeped in American blues and jazz, North African music, and folk early in his career, and by the beginning of the ’60s he was playing the British folk clubs, extending his musical education. Artists like Martin Carthy and Anne Briggs turned him on to songs in the British folk tradition.

By the mid-’60s Jansch had set up residence in London where he began and playing live shows, and began making the studio recordings that would come to influence a generation of songwriters, singers, and guitar players. Classic artists like Jimmy Page, Neil Young, Paul Simon, Donovan, Elton John, and Nick Drake, all the way up to present artists like Fleet Foxes and Devendra Banhart, have acknowledged Jansch as a major influence and innovator of acoustic guitar playing.
By his second album, Jansch was collaborating with John Renbourn, another seminal British folk guitar giant. Together in 1967, they formed Pentangle, one of the most important British folk groups of the ’60s. Bert Jansch is listed as one of Rolling Stone magazine’s “Top 100 Guitar Players of All Time.”
According to McTell on his liner notes, “Around this time, Bert was in a very dark place. . . Heartbreak marked an opening up in Bert’s approach to his work, and from here on, although times were often difficult, Bert began to sort out his life through his music.”

Jansch died on October 5, 2011.

About Omnivore Recordings:
Founded in 2010 by longtime, highly respected industry veterans Cheryl Pawelski, Greg Allen, Dutch Cramblitt, and Brad Rosenberger, Omnivore Recordings preserves the legacies and music created by historical, heritage, and catalog artists while also releasing previously unissued, newly found “lost” recordings and making them available for music-loving audiences to discover. Omnivore Recordings is distributed by EMI.



Artist Photo