Category Archives: Legends

Record Store Day Announces 2025 RSD Releases

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Record Store Day has recently announced its list of exclusive titles for RSD Black Friday 2024, which happens on Aprl 12th. See here for the complete list.

Some of the notable country and roots-rock releases include:

The Blasters – An American Music Story: The Complete Studio Recordings 1979-1985 – The Blasters are one of the bedrock acts that formed the template for the “Americana” music movement in the 1980s. Since their inception in 1979, the core members of the band have been Phil Alvin and his younger brother, principal songwriter and guitarist Dave Alvin, drummer Bill Bateman and bassist John Bazz. The box set consists of the band’s four studio albums — American Music, The Blasters, Non Fiction and Hard Line– along with a bonus disc of rarities. The 5 LP set is packaged inside a hard cover slip case box with a 24-page book featuring extensive liner notes by music journalist Chris Morris and interviews with the band members. Includes rare photos from the band’s personal collection with memorabilia and collector’s item images, along with a rare promotional poster for the Non Fiction album. The hand-numbered set will be limited to 1,000 copies and available only in the US. A must have for fans of the legendary American music band.

Jeff Bridges– Slow Magic, 1977-1978 – 3 “Music is the weed that keeps popping out of the concrete in my life. It just seems to want to come out.” –Jeff Bridges
Culled from a single decaying cassette tape labeled “July 1978,” these recordings are a window into the secret musical life of the Dude. Even after becoming one of Hollywood’s biggest stars, Bridges spent all his free time jamming and recording with a trusted circle of musicians composed of childhood friends, artists, and assorted L.A. oddballs. Imagine The Band playing at CBGB with The Exploding Plastic Inevitable. Or Arthur Russell and the Talking Heads collaborating on a suite of mutant disco. Though Bridges and his friends were brought up around the movie industry, they decided to create their own private musical universe, where they could be as weird as they wanted.
•All tracks previously unreleased
•20-pg booklet including liner notes by Sam Sweet, new interview with Jeff Bridges, and never-before-seen archival photos
•Featuring Burgess Meredith (Rocky)
•Vinyl pressed on transparent blue wax at RTI

Patsy Cline – Imagine That: The Lost Recordings (1954-1963) – Imagine That: The Lost Recordings (1954-1963) gathers unreleased performances of legendary country singer Patsy Cline. Though some have traded as bootlegs, all tracks are officially available in this collection and presented for the first time on vinyl. Expertly curated by discographer George Hewitt, this release provides a comprehensive selection of both rare cuts and live versions of chart hits. Introducing 15 new songs, such as “The Wrong Side of Town” and “Old Lonesome Time,” this marks the first new release of a Patsy Cline album in 13 years and is fully endorsed by the Patsy Cline Estate. Presented in loose chronology, this set traces the evolution of Patsy’s artistry from regional beginnings as a featured vocalist with Bill Peer’s Melody Boys in 1954 to hosting radio shows as a national headliner by 1963. Every period of Patsy’s storied career is represented in the tracklist and the book features insights and commentary on the music, the production, the era, and Patsy. Of special note, this collection offers the long sought “missing middle” by including many recordings from the pivotal year of 1959. Then a proud young mother, Patsy relocated to Nashville and soon after joined the cast of the Grand Ole Opry. A string of timeless hit records followed for posterity. This limited and numbered 2 LP set is pressed on 180g vinyl and released for Record Store Day 2025.

Ry Cooder – The Main Point – Live 1972 – The first-ever archival release from Warner’s vaults featuring the legendary songwriter, composer, and producer Ry Cooder. This collection includes a rare solo performance recorded at The Main Point in Bryn Mawr, PA, on November 19, 1972. While one track from this performance appeared on a Warner promotional release in 1972, this marks the first time the entire set will be available on black vinyl.

Cowboy Junkies– More Acoustic Junk – a new collection celebrating the iconic sound of Cowboy Junkies in stripped-down form.This Record Store Day exclusive release features five brand-new acoustic recordings alongside five tracks from the original Acoustic Junk album—three of which have been remixed for this compilation. Known for their haunting melodies and introspective songwriting, the band’s acoustic arrangements showcase the raw beauty and emotional depth that have captivated fans for decades. 180g Yellow Vinyl, Polylined inner sleeve, 3mm Spined LP Sleeve.

Hank III– Rebel Within – Unlike most post-millennium country “outlaws,” Hank Williams III has actually been fighting against something concrete instead of just nursing a bad attitude. Hank III likes his music as strong as his drink, and includes both his hard-edged trad-styled country and his “hellbilly” thrash metal project Assjack. There’s an undercurrent of metal/punk creeping through a few tracks on Rebel Within (the bursts of Cookie Monster vocals on the title cut and the breakneck finale of “Drinkin’ Over Momma”), but for the most part, this is the most straight forward country music Hank III has released since 2002’s Lovesick, Broke and Drifitin’; Billly Contreras fiddle, Andy Gibson’s steel guitar, and Johnny Hiland’s guitar give these songs a classic acoustic honky tonk feel while adding just enough electric elements to keep this from sounding like an exercise in retro-nostalgia. More than one writer has noted that Hank III sounds a lot more like his grandfather Hank Williams than his dad Hank Willimas Jr. ever did, and he writes the kind of melodies that suit his weathered, soulful twang just right. Rebel Within captures a tone of bad luck and trouble with a grace and gravity that’s manna from heaven for fans of 100-proof roadhouse music. Rebel Within is strong, heartfelt work that proves Hank III hasn’t turned his back on pure country music. Pressed on acid-washed colored vinyl!

The Jayhawks– Blue Earth -The Jayhawks’ second album, released on Twin-Tone Records, has not been on LP since it was originally issued in 1989. This Record Store Day 2025 release includes a 7” EP with four bonus tracks never on vinyl.

Ralph Stanley– Man of Constant Sorrow – Ralph Stanley cut his first recordings with the Stanley Brothers in 1947, and nearly 70 years later, is still one of the leading stars of bluegrass music, as well as one of the towering figures of American roots music. Long a hero in bluegrass circles, Stanley broke through to mainstream popularity in 2000 with his striking performance of “O Death” in the movie O Brother, Where Art Thou?, and since then he’s continued to record and perform, teaching new fans about the beauty and history of mountain music.On Man of Constant Sorrow, Stanley and his latest edition of the Clinch Mountain Boys are joined by a diverse cast of vocalists who help perform a collection of bluegrass classics; guests include Robert Plant, Dierks Bentley, Ricky Skaggs, Jim Lauderdale, Gillian Welch, Buddy Miller, David Rawlings, Old Crow Medicine Show, and many more. 12″ LP, Coke Bottle Clear vinyl, 4/C Gatefold Jacket, 4/C Inner Sleeve.

Marty Stuart & His Fabulous Superlatives– Space Junk – Space Junk, a 20-track double LP, is the first full instrumental album from country legend Marty Stuart And His Fabulous Superlatives. This limited-edition release features previously unreleased recordings, focusing on a celebrated aspect of Marty’s longstanding recording career. “Dreamcatcher”, the artwork for Space Junk, has been provided by Herb Alpert of Tijuana Brass and A&M Records fame.

Hardcharger Records To Release ‘Poet Of Motel 6’ Posthumous Kinky Friedman Coming March 21

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Kinky Friedman, who is terribly missed, made one last record before he passed away, titled ‘Poet Of Motel 6’ will be available on Jesse Dayton’s record label, Hardcharger Records, on March 21, with the pre-order live now, and a new song, “See You Down The Highway”, out today (see below. Read a great piece on Kinky’s new record full of interviews with Dayton and others in the New York Times today. Hear the new single,Hummingbird Lanai, below.

Vinyl Roots: Elton John – “Madman Across the Water” (1971)

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Madman Across the Water

“Madman Across the Water,” Elton John’s fourth studio album, released in November 1971, stands as a defining moment in his early career and an emblematic piece of 1970s rock. The album marked a shift in John’s sound, exploring darker themes, lavish orchestrations, and emotionally resonant lyrics from longtime collaborator Bernie Taupin.

Recorded at Trident Studios in London, the album was produced by Gus Dudgeon, who also worked on John’s previous albums, helping to cultivate his classic sound. By 1971, Elton John was already gaining fame in the U.S., with his western-themed “Tumbleweed Connection” and 1970 debut resonating well with American audiences. But “Madman Across the Water” was something else. It brought an intensity and a grandiosity that felt almost cinematic, with sweeping arrangements that brought an edge to John’s folk-rock leanings.

The album features contributions from a host of musicians, most notably guitarist Davey Johnstone, who would become a staple in John’s band. Legendary session players like Caleb Quaye and Chris Spedding also contribute, alongside orchestration by Paul Buckmaster. who’s symphonic arrangements give the album a layered texture that underlines its moody, contemplative themes.

1. “Tiny Dancer”
Arguably the most well-known track on the album, “Tiny Dancer” is a powerful ode to the California lifestyle and the sense of freedom that Taupin observed during his time there. The song starts with a tender piano line that builds into a sweeping chorus, underscored by Buckmaster’s lush strings. Although it wasn’t an immediate hit, “Tiny Dancer” became iconic over the years, with its crescendoing arrangement and rich vocal harmonies showcasing John’s knack for balancing personal and anthemic elements.

2. “Levon”
With “Levon,” John and Taupin crafted a narrative about a man caught between family duty and individual desires. Its melancholic melody, driven by John’s poignant vocals and orchestration, hints at an allegorical tone, making “Levon” one of the more enigmatic tracks on the album. The song’s layered production, including an unforgettable piano riff and expressive strings, reinforces its introspective mood. Legend has it that Levon was named after the Band’s drummer Levon Helm, this legend is something Elton himself has denied. Over time, “Levon” has been celebrated as one of Elton’s finest works for its storytelling and musical depth.

3. “Madman Across the Water”
The title track is brooding, dark, and intense, embodying the album’s overarching themes of alienation and paranoia. The lyrics evoke a sense of political and social disillusionment, hinting at the tensions of the time (often interpreted as a critique of American politics). Musically, it’s one of the most dramatic songs on the album, with electric guitar interwoven with piano and orchestral backing. It stands out for its atmospheric, almost ominous tone, and John’s vocal performance is notably raw and impassioned.

4. “Indian Sunset”
In this track, Taupin draws on Native American themes, weaving a narrative about the struggles of indigenous people in the face of oppression. The song builds from a quiet, folk-like beginning into a powerful, symphonic climax, with John delivering one of his most emotionally charged performances. Although it’s rarely played live, “Indian Sunset” remains a standout on the album for its ambitious storytelling and evocative arrangement.

5. “Goodbye”
The album closes with “Goodbye,” a short but beautiful track that provides a sense of melancholic resolution. In contrast to the grandiosity of the preceding songs, this piece is understated and gentle, leaving listeners with a haunting sense of longing. Though brief, “Goodbye” captures the reflective spirit of the album as a whole.

Lyrically, “Madman Across the Water” explores complex themes of isolation, identity, and disillusionment. The album feels introspective and emotionally weighty, a departure from the pop-rock sensibility of John’s earlier works. Taupin’s lyrics are among his most mature and intricate, often avoiding direct interpretations and instead providing glimpses into characters’ inner lives and societal commentary.

Musically, the album represents an evolution in John’s sound. The orchestral arrangements by Paul Buckmaster create a lush, sometimes dark soundscape that gives the album a dramatic, almost theatrical quality. John’s vocals are also notably more expressive on this record, ranging from tender to anguished, complementing Taupin’s introspective lyrics.

Upon its release, “Madman Across the Water” received mixed reviews from critics, who were divided on its ambitious orchestration and dark tone. However, it has since gained a reputation as one of John’s finest albums, appreciated for its artistic depth and cohesive sound. Over time, the album has been re-evaluated as a landmark in John’s career, with songs like “Tiny Dancer” and “Levon” becoming mainstays of his catalog.

In recent years, “Madman Across the Water” has been hailed as a classic, a testament to John and Taupin’s ability to craft songs that are both deeply personal and universally resonant. The album showcases Elton John not only as a pop singer but as a serious musician capable of pushing artistic boundaries. It’s a record that rewards repeated listening, offering new insights with each play.

“Madman Across the Water” is a complex, richly textured album that marks a high point in Elton John’s early career. While it may not have the instant appeal of some of his later hits, it stands as a testament to his artistry and his willingness to explore challenging themes. The album’s mix of orchestral grandeur and personal introspection makes it a unique and lasting work, and it continues to resonate with fans more than 50 years after its release. For anyone interested in John’s evolution as an artist, “Madman Across the Water” is an essential listen.

Vinyl Roots: The Allman Brothers Band – Eat A Peach (Capricorn Records)

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Released in 1972, Eat A Peach stands as one of The Allman Brothers Band’s most cherished records. It captures a period of transformation and emotional depth that few albums in rock history have been able to encapsulate. It’s a poignant blend of blues, jazz, country, and rock, weaving an emotional tapestry through some of the band’s most memorable performances. The album was recorded amid a dark period of grief following the death of founding member and guitar prodigy Duane Allman, a loss that deeply impacted the band and its future performances and sound.

Following the success of At Fillmore East in 1971, which catapulted the band to stardom, the Allman Brothers returned to the studio to work on new material. However, their journey took a tragic turn when Duane Allman died in a motorcycle accident in October 1971. The band’s response was to honor his legacy by completing the album with a mix of new recordings and previously unreleased live performances featuring Allman. The title Eat A Peach reflects Duane’s statement in an interview about eating “a peach for peace,” embodying the free-spirited approach that the band held despite their tragedy.

Tracks:

1. “Ain’t Wastin’ Time No More”
The album opens with Gregg Allman’s introspective “Ain’t Wastin’ Time No More,” a song that addresses the inevitability of loss and the resolve to carry on. Gregg’s soulful, bluesy vocals and Dickey Betts’s slide guitar work create an anthem of resilience. It’s a powerful opener that establishes the band’s commitment to honor Duane’s memory by pushing forward, both musically and emotionally.

2. “Les Brers in A Minor”
This instrumental piece is a showcase of the band’s collective talents. Clocking in at nearly 9 minutes, it’s a dynamic journey through jazz-rock fusion, driven by bassist Berry Oakley and dual drummers Butch Trucks and Jaimoe. The track is experimental and free-form, encapsulating the jam-band ethos that The Allman Brothers helped pioneer.

3. “Melissa”
A tender ballad written by Gregg Allman, “Melissa” was one of Duane’s favorite songs. Its presence on the album gives it a sense of intimacy and nostalgia. Gregg’s vocals are hauntingly beautiful, accompanied by understated guitar work that creates a bittersweet reflection on love and memory. It has since become one of the band’s most enduring songs, cherished for its lyrical beauty and emotional resonance.

4.“Mountain Jam”
Spanning over 30 minutes, “Mountain Jam” is an epic instrumental recorded live at the Fillmore East and split between two album sides. The track, based on Donovan’s “There Is a Mountain,” is a masterclass in improvisational musicianship, with each member given space to shine. Duane’s soaring slide guitar and the fluid exchanges between the musicians illustrate the brotherly chemistry that defined the band’s sound. It’s a testament to Duane’s brilliance and showcases why he’s remembered as one of the greatest guitarists in rock history.

5. “One Way Out”
This live track, recorded at the Fillmore East, captures the raw energy of an Allman Brothers Band concert. Originally a Sonny Boy Williamson song, “One Way Out” is transformed into a blues-rock powerhouse, driven by the interplay between Duane and Dickey’s guitars and Gregg’s powerful vocals. The track has an infectious energy that makes it a staple in the band’s live performances.

6. “Trouble No More”
Another live recording, “Trouble No More” is the band’s rendition of a Muddy Waters classic. The blues-driven groove, led by Duane’s slide guitar, is an homage to the traditional blues that inspired much of the Allman Brothers’ music. It’s a track that highlights their blues roots while allowing each band member to contribute with passionate musicianship.

7. “Stand Back”
“Stand Back” blends blues and funk, with Gregg’s gritty vocals and organ work creating a soulful feel. The rhythm section is particularly tight, and Betts’s guitar work adds a touch of finesse. It’s a groove-laden track that showcases the band’s versatility and ability to incorporate diverse musical influences.

8. “Blue Sky”
One of Dickey Betts’s compositions, “Blue Sky” is a buoyant, country-inspired track that radiates warmth. Betts’s guitar solo, fluid and lyrical, is one of the album’s highlights. Written for his then-wife, the song feels like a hopeful tribute to love and optimism, capturing a brighter, more hopeful side of the band’s sound. It remains one of the Allman Brothers Band’s signature songs and is frequently played on classic rock radio.

‘Eat A Peach’ is a showcase of the Allman Brothers Band’s unique fusion of rock, blues, jazz, and country. The production, managed by Tom Dowd, allows each instrument to stand out while maintaining the integrity of the band’s collective sound. The guitar work, especially Duane’s, is central to the album, creating an emotionally charged atmosphere that reflects both the band’s technical skill and their emotional depth. The use of live recordings from the Fillmore East adds an authentic touch, capturing the spontaneous energy of their performances and preserving Duane’s contributions in an organic way.

Eat A Peach reached #4 on the Billboard charts and has since been certified platinum. Its influence on southern rock, jam bands, and blues-rock is undeniable, and it remains a cornerstone of The Allman Brothers Band’s discography. The album marked a turning point for the band, representing both the end of an era and the beginning of a new chapter. It’s a fitting tribute to Duane Allman, capturing the spirit of a musician who played with unparalleled passion and soul.

Eat A Peach is a tribute to resilience, memory, and the healing power of music. It reflects both the joy and sorrow that come with great loss, encapsulating a band determined to carry on while paying homage to one of rock’s greatest guitarists. For fans of the Allman Brothers and for newcomers alike, this album is a journey through profound grief, musical exploration, and, ultimately, celebration. It’s a timeless piece that continues to resonate, demonstrating the unique and enduring power of The Allman Brothers Band.

A must-have for any roots music fan.

Vinyl Roots – Linda Ronstadt: Silk Purse

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One of the most lasting genres to come out of the 1970’s is country-rock, and few did it better than Linda Ronstadt. In her stint with the folk trio the Stone Poneys Ronstadt was already shining through with their charting single cover of Mike Nesmith’s (From Monkees fame) “Different Drum”.

Soon after the Stone Poneys folded and with Capitol Records still seeing something in this fledgling chanteuse bankrolled her debut “Hand Sown … Home Grown” (1969) to generally favorable reviews. She had relied on bandmate Bobby Kimmel for songwriting she was in need of material to record a follow up. So, like much of her solo debut, she would draw on country music she heard as a child growing up in Tucson, Arizona.

Songs covered by Hank Williams, the Cliff Friend and Irving Harold Mills penned “Lovesick Blues,” the Mel Tillis penned and recorded “Mental Revenge” and Gene Clark and Bernie Leadon’s written song “He Darked the Sun” are featured on the album. The Gary White’s penned Countrypolitan cut “Long Long Time” was one of two singles released and it became Ronstadt’s first charting single in the US and Canada.

‘Silk Purse’ was given generally positive reviews and it was Ronstadt’s first to make chart positions in Australia, Canada and the US. The recording of ‘Silk Purse’ took place at Cinderella Sound Studios and Woodland Sound Studios, both in Nashville, Tennessee, between January and February 1970.

The record starts out with the aforementioned “Lovesick Blues” which Rondstadt covers with exuberance and deftly nails the yodeling bits. Next up is the Mickey Newbury penned track “Are My Thoughts with You?” featuring mournful harmonica that brings to mind another Mickey (Raphael) and a chorus of backup singers.

The Brill Building power couple Carole King/Gerry Goffin penned heartacher “Will You Still Love Me Tomorrow,” made famous by the girl group the Shirelles in 1960 (their first song to top the Billboard Hot 100 chart) and included on King’s seminal 1971 album Tapestry. Rondstadt has her work cut out for her on this cut but her heart-wrenching performance, complete with backup singers and guitar with just a touch of psychedelic tendencies, wins the day.

On the charting single “Long Long Time,” Rondstadt’s take on this unreciprocated love longing proves that the Countrypolitan crown that once resided on the late Patsy Cline could rest comfortably on her head.

The inclusion of Tillis’ “Mental Revenge, ” which was cemented in country fans as a perfect remedy for heartache by Waylon Jennings. Here Rondstadt sounds like she’s having a grande time, with a swinging fiddle that emphasises the getting even theme by a slowing swagger of the chorus.

A must-have for any roots music fan.

Vinyl Roots – Ry Cooder: Boomer’s Story

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Vinyl Roots is a random selection dive into my record collection.

Ry Cooder’s third record, Boomer’s Story is a masterwork by an eclectic musician and intrepid musical global traveler/archeologist. Akin to his previous work Cooder reflects back to blues and country greats including blues legend Sleepy John Estes who adds guitar and vocals on the cut “President Kennedy,” and songwriter Dan Penn, who adds backing vocals, and Jim Dickinson (father of Luther and Cody) plays piano, bass and adds backing vocals as well.

The title track, previously recorded as “The Railroad Boomer” by Bud Billings (aka Frank Luther) and Carson Robison in a performance recorded at the studio at Liederkranz Hall in New York on September 9, 1929. This version allows Cooder mournful bottle-neck guitar and his mottling mandolin to shine.

“Cherry Ball Blues” is a slow-trucking instrumental, originally by Skip James, that lays the groundwork for Cooder’s latter work (especially his excellent ‘Paris, Texas’ soundtrack.)

On “Crow Black Chicken” Cooder gives this cut a funky treatment while providing some tasty bottle-neck guitar to an originally bluegrass novelty cut.

“Rally ‘Round the Flag” has Cooder, and his partner in sardonic rhyme Randy Newman on piano, originally titled “Battle Cry of Freedom” by George Frederick Root and published in 1862 – during the Civil War – pushes the patriotic spirit into a contemplative dirge. The Doc Watson-style guitar performance of the World War II standard “Comin’ in on a Wing and a Prayer” has a sense of hope and elated idealism.

This is a must-have for any roots music fan.

George Strait Announces New Album + A Song with Chris Stapleton

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At the George Strait show at Lucas Oil Stadium in Indianapolis Saturday night (5/4) Strait not only confirmed a new album is on the way, he also debuted two new songs from it, including a cut with Chris Stapleton entitled “Honky Tonk Hall of Fame.”.

Strait said during the concert that, “We’ve got a new record that’s called ‘Cowboys and Dreamers. It’s gonna be coming out soon.” (See below)

So Strait fans, it looks like the cowboy won’t be riding away anytime soon, and thank goodness.

Listen Up – Randy Travis – “Where That Came From” (video)

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At this point in country music history Randy Travis has been cast along with some of the greatest voices in the genre. Even now, as this track shows, Travis’ voice can still melt butter on a January morning. In 2013 Travis experienced a stroke in that left him unable to speak or move without assistance. He spent over 2 years in daily therapy to regain the abilities. As this song, first song in a decade, proves the man is back in fine form.

“You’ll hear much more about the special team of folks who came together to help make this magical moment in my career possible in the coming week.In the meantime, just know that when it comes to singing songs for you, there’s always more where that came from.” Travis posted on his Instagram.

The song is a bittersweet recollection of a love that has now gone, delivered in Travis’ signature baritone.

There appears to be some hoopla via AI filling in for much of Travis’ vocal issues. But not from me. As I type this on my laptop, who am I to point a finger and judge a legend. It sounds good and that’s enough for me.

Review: Lucero – Should’ve Learned by Now

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In a time of sobriety the alt-country Memphis rockers bring us a round and and takes us back to the rowdy old days.

There was a time, in the early 90s, when if you swung a cat youâ’d hit a country influenced rock band. Local hers Slobberbone and the Old 97s as well as the underground kings, Uncle Tupelo. The Drive-By Truckers developed in their wake and MTV brought Lone Justice, The Georgia Satellites and Jason and the Scorchers into unsuspecting suburban households. Dwight Yoakum moved from the L.A. underground to start a neo-trad movement as he and his skin tight jeans took off into stardom.

These days, unfortunately, alt.country bands are as rare as hen’s teeth. Well, good ones anyway.

Stalwarts of the genre Luceros dirty dozenth release blasts out of the shoot with Roy Berry beating his cowbell like a rented mule. Brian Venable rips into his guitar then pulls back into a tasteful melody and Rick Steff tickles the ivories with an E. Street wide throttle. Vocalist Ben Nichols has had enough of a bar fly buzzing around his whiskey. “It wasn’t like I came here thinking, ‘Man, this bar is great to drink in’,” Nichols declares in his familiar velvet-gravel voice, “It’s one more ‘fuck you,’ that’s it and I’m gone.”

The redneck rave-up “Macon If We Make It” is about waiting out a gale force in some Florida bar while reminiscing about another Gail forcing herself into his mind.

“The bar starts to sink
And all my ears do is ring
I heard you crying
All I hear’s wind howling now”

“At the Show,” is Nichols reflecting back on life as well as the audience as he puts himself in their boots. All the while hoping that a certain young lady will come around and hear his song he’s written just for her.

“Nothing’s Alright” is an epic heart buster that could easily bring a tear to even the hardest soul.

“But I don’t think about her anymore
The way she looked when she walked through the door
We all fell hopelessly in love
Now I don’t think about her much”

Lucero has dicked around with horns and blues scales recently, which I’d all fine and good. But this is the band at their best. Lean songs for troubled times. Simple love and a fistfight between friends.

And whiskey all around. God bless alt.country and Lucero.