this is one of my favourite songs of all time. thank you :)

Gorgeous song- Love the unique vocals so wonderfully complimented by the instrumentaions. I am a fan of slide guitar and the resonator....very much digging it's addition to the banjo taking center stage to the music composition.

Hurray for the Riff Raff-collection-

From the new album 'Small Town Heroes' out now!

Hurray For The Riff Raff is Alynda Lee Segarra, but in many ways it's much more than that: it's a young woman leaving her indelible stamp on the American folk tradition. If you're listening to her new album, 'Small Town Heroes,' odds are you're part of the riff raff, and these songs are for you.

 

"It's grown into this bigger idea of feeling like we really associate with the underdog," says Segarra, who came to international attention in 2012 with 'Look Out Mama.' The album earned her raves from NPR and the New York Times to Mojo and Paste, along with a breakout performance at the 2013 Newport Folk Festival, which left American Songwriter "awestruck" and solidified her place at the forefront of a new generation of young musicians celebrating and reimagining American roots music. "We really feel at home with a lot of worlds of people that don't really seem to fit together," she continues, "and we find a way to make them all hang out with our music. Whether it's the queer community or some freight train-riding kids or some older guys who love classic country, a lot of folks feel like mainstream culture isn’t directed at them. We're for those people."

 

Segarra, a 26-year-old of Puerto Rican descent whose slight frame belies her commanding voice, grew up in the Bronx, where she developed an early appreciation for doo-wop and Motown from the neighborhood's longtime residents. It was downtown, though, that she first felt like she found her people, traveling to the Lower East side every Saturday for punk matinees at ABC No Rio. "Those riot grrrl shows were a place where young girls could just hang out and not have to worry about feeling weird, like they didn’t belong," Segarra says of the inclusive atmosphere fostered by the musicians and outsider artists who populated the space. "It had such a good effect on me to go to those shows as a kid and feel like somebody in a band was looking out for me and wanted me to feel inspired and good about myself."

 

The Lower East Side also introduced her to travelers, and their stories of life on the road inspired her to strike out on her own at 17, first hitching her way to the west coast, then roaming the south before ultimately settling in New Orleans. There, she fell in with a band of fellow travelers, playing washboard and singing before eventually learning to play a banjo she'd been given in North Carolina. "It wasn't until I got to New Orleans that I realized playing music was even possible for me," she explains. "The travelers really taught me how to play and write songs, and we'd play on the street all day to make money, which is really good practice. You have to get pretty tough to do that, and you put a lot of time into it."

 

"The community I found in New Orleans was open and passionate. The young artists were really inspiring to me," she says. "Apathy wasn’t a part of that scene. And then the year after I first visited, Katrina happened, and I went back and saw the pain and hardship that all of the people who lived there had gone through. It made we want to straighten out my life and not wander so much. The city gave had given me an amazing gift with music, and it made me want to settle there and be a part of it and help however I could."

 

Many of the songs on 'Small Town Heroes' reflect that decision and her special reverence for the city. She bears witness to a wave of violence that struck the St. Roch neighborhood in the soulful "St. Roch Blues;" yearns for a night at BJ's Bar in the Bywater in "Crash on the Highway;" and sings of her home in the Lower Ninth Ward on "End of the Line." "That neighborhood and particularly the house I lived in there became the nucleus of a singer songwriter scene in New Orleans," she explains. "'End Of The Line' is my love song to that whole area and crew of people."

 

The scope of the album is much grander than just New Orleans, though, as Segarra mines the deep legacies and contemporizes the rich variety of musical forms of the American South for the age of Trayvon Martin and Wendy Davis. "Delia''s gone but I'm settling the score," she sings with resolute menace on "The Body Electric," a feminist reimagining of the traditional murder ballad form that calls on everything from Stagger Lee to Walt Whitman. She juxtaposes pure country pop with the dreams and nightmares that come with settling down with just one person in "I Know It's Wrong (But That's Alright)," while album opener "Blue Ridge Mountain" is an Appalachian nod to Maybelle Carter.

 

NPR has said that Hurray for the Riff Raff's music "sweeps across eras and genres with grace and grit," and that's never been more true than on 'Small Town Heroes.' These songs belong to no particular time or place, but rather to all of us. These songs are for the riff raff.


"The Body Electric" by Hurray for the Riff Raff

On February 26th, 2012, Trayvon Martin was shot to death in a Florida suburb. A young black man barely 17 years old brought to his end for no reason other than suspicion. It also happened to be my birthday. As I celebrated another year on Earth, I was haunted by the fact that his life ended so soon. After a visit to the Civil Rights museum in Memphis, TN I wrote this song. Today is the one-year anniversary of his death and we must not forget him. We must not forget about the work that lies ahead of us. - Alynda lee Segarra, February 26, 2013

Alynda lee Segarra with Kate Cavazos
Recorded by Sarrah Danzinger
Mixed by Andrija Tokic

"Everybody Knows (for Trayvon Martin)" by Hurray for the Riff Raff

honestly, change is the scariest thing for me sometimes, and it can be really hard for me to handle. something about life tends to pick me up and push me forward anyway...

i wish i couldnt change

LONELY BABY//LOVER BABY

Black Moon Spell

Rainbow's Run

"This was initially intended for a full band with a string section and all, but after we tracked the demo live in the room it just felt right and I didn't wanna touch it after that. So that's how we left it." - HEK

http://hannielkhatib.com/
https://www.facebook.com/pages/Hanni-El-Khatib/41886037465
https://twitter.com/hannielkhatib

http://www.innovativeleisure.net
https://twitter.com/ILRecords

(c) 2016 Innovative Leisure

Hanni El Khatib - "Miracle"

Look Out Mama

Take Me - Hurray for the Riff Raff

Young Blood Blues - Hurray for the Riff Raff

Relief available on iTunes: http://itunes.apple.com/gb/album/relief-single/id548287526?uo=4

Teenage five-piece, Coastal Cities are set to release a new single on Once Upon A Time Records on the 30th of July 2012.

‘Relief’, a song about the desperation of youth to break out and start living their dreams, is the bands second single and comes backed with another new song ‘The Voyage’. Both tracks were recorded earlier this year in Hackney, London, with new British producer Hugh Worskett.

Available to download, the new single is the follow up to their recent debut  ‘Think Tank’ EP which was released in December 2011 and picked up airplay from amongst others Huw Stephens, Jen Long and Rob Da Bank at Radio 1, Steve Lamacq and Chris Hawkins at 6 Music, XFM’s John Kennedy, Charlie Ashcroft and Paul Lester at Amazing Radio amongst others.

Coastal Cities formed 2009 in High Wycombe, Buckinghamshire, when Declan (guitar/vocals), Sean (guitar) and Lewis (drums) met in school detention and discovered a mutual love of 80's New Wave and dance music as well as a shared lethargy with the pop-punk/hardcore bands that dominated the local music scene. The three started practicing together in a family garden shed and after recruiting Dan (bass) and William (keys). Although the band have so far only played a handful of live shows they are developing a growing fanbase and can count The Drums as well as the aforementioned radio disc jockeys among their followers.

Coastal Cities will play the following shows over the Summer, more dates will be announced in the very near future.

LIVE DATES: 
JUN 15TH STRANGER DANGER @ 93 FT EAST , LONDON 
JUL 04TH SIMPLY RAD @ QUEEN OF HOXTON, LONDON 
AUG 17TH BELUSHI'S, BATH W/ CRASH & THE COOTS 
SEP 01ST 1234 FESTIVAL, SHOREDITCH, LONDON 
OCT 27TH THE DRY BAR, MANCHESTER, UK

“These young kids should make followers very soon. You only need to hear the irresistible Think Tank to be convinced” Les Inrocks (FR)

“Coastal Cities are the UK's next bright young things” Neon Gold (US)

“Better make room for a new band crush” Nylon Magazine (US)

“Coastal Cities display a collective union that all the best groups possess” Breaking More Waves (UK)

“What we actually have here is a set of young creative artists that have produced an EP of such skillful design that it simply cannot be ignored”  The Recommender (UK)

Relief (Edit)

Stream the full album at http://fanlink.to/speakinginspirits
LYRICS: https://genius.com/albums/The-copper-children/Speaking-in-spirits

Speaking In Spirits is a nine-track album written by The Copper Children released on April 19, 2019. The songs vary in style, genre and mood, ranging from heart-wrenching introspective to uptempo, four-on-the-floor jams. 

This music has been the soundtrack for the band's life for the past few years and much of what they sing about has already transpired in a strange and beautiful way. 

The album consists of all analog recordings, bringing a warmth and nostalgia that is integral to the experience of Speaking In Spirits.

Connect with us!
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The Copper Children - Drama In The City

RELEASE DATE: JUNE 2013 (LP/CD/digital.) 

https://lnk.to/PoB8
www.paradiseofbachelors.com/steve-gunn

In the city we’re all angling for Quittin’ Time, laboring along and among the hours, searching and scheming for the sweet sound of those two easy words: Time Off. It’s something you take—or sometimes steal, like a thief or a baserunner—but seems you can never get enough of it. It’s regulated, rationed, and billed by volume, like water or electricity or ice cream. Sometimes you have to beg the boss for more, or even for a trifling taste. So let’s make time! Let’s roll the dice and get these old bones out on the road again. 

Steve Gunn’s new album imagines the fugitive moments afforded us during time off, out, and away as occasions for dilatory investigations into our immediate environments and interiors. Time Off (PoB-08) showcases the virtuosic guitarist and songwriter’s oblique character sketches and story-songs, some of which, like “Lurker” and “Street Keeper,” portray specific denizens of his Brooklyn neighborhood. “Old Strange” celebrates Jack Rose, a dear and departed friend and muse. 
Those contemplative studies frame Gunn’s most affecting, accessible and articulate work of pure songcraft to date. His definitive statement as a songwriter, Time Off represents the culmination of nearly fifteen years of stylistic experimentation as a solo artist, a member of GHQ and the Gunn-Truscinski Duo, and more recently, as a guitarist in fellow Philadelphia-bred troubadour Kurt Vile’s touring band the Violators. 
Gunn’s first eponymous album with a full band, Time Off harnesses a core trio format to launch his compositions into new, luminous strata; the songs have evolved through disciplined trio interplay with longtime collaborator John Truscinski on drums and Justin Tripp (formerly of Aspera and Favourite Sons) on bass and guitar. Helena Espvall (Espers) also guests on cello. Steve’s keen baritone voice features more prominently than ever before on these tunes, each of which feels both more rigorous and expansive than previous efforts. 

Here, Gunn the guitarist masterfully deploys the discursive, deconstructed blues style, at once transcendent and methodical, that has become his signature. Close listening reveals the influence of Delta and Piedmont country blues, ecstatic free jazz, and psych, as well as Gnawa and Carnatic music, on the continually unfolding compositions. The fresh emphasis on narrative, characters in counterpoint, and those heavy-duty vocals likewise recall the finest work of Steve’s friend and sometime touring partner, Michael Chapman.
Building on his established penchant for charting musical travelogues that ramble through city and wilderness alike, these dispatches about home are not merely descriptive but corporeal. Gunn’s evocative writing and ductile instrumental phrasing, buttressed by the band’s intuitive playing, carries the listener along bodily for the “Trailways Ramble.” It’s a real collection of foot-tappers and head-nodders, perfect for summer sessions. 

The album opens with the sublime, meditative “Water Wheel”—a paean to “the water wheel’s constant turn/open views and days to burn”—and indeed Time Off sounds as if Steve has swum full circle to reach the headwaters of his musical practice. This is Gunn at the top of his game, utterly unique but steeped in traditions both vernacular and avant-garde. Jump in. 

•	Steve Gunn’s first album with a band, featuring John Truscinski and Justin Tripp
•	His most affecting, accessible, and articulate work of pure songcraft to date, with a new emphasis on vocals
•	Available on virgin vinyl, in a deluxe, limited edition, as well as on CD and digital formats
•	Vinyl edition features matte, tip-on jacket, full-color inner sleeve, and digital download coupon
•	CD housed in heavy 20 pt matte gatefold wallet
•	Package features artwork by Anthony Campuzano, Constance Mensh, and Justin Tripp

Young Blood Blues - Hurray for the Riff Raff

hurray for the riff raff

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