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Music Industry News

  • Girl Underground Music Debuts Xuan Single

    As Xuan releases her first single “We Were Just Talking” from her up-and-coming album Have Some Fun on November 16th, Girl Underground Music jumped on the opportunity to premiere and review the indie-pop track.

    About the new single Girl Underground Music writer, Janette Ayub, says “Delightfully opening with innocent banter and magical synths, “We Were Just Talking” is the epitome of inner dialogue and wishful thinking when merely talking to a crush. Fluorescent tempo switches dance alongside Xuan’s joyous, yet sotto voce delivery,... read more

  • Ghettoblaster Premieres Balloon Ride Fantasy’s “Welcoming Party”

    As we anxiously await for tommorrow’s arrival of their third release, the six song EP BRF, Ghettoblaster took to the keyboard to write up a premiere for our favorite synth-pop/new wave band, Balloon Ride Fantasy’s, latest track. The title of the track is “Welcoming Party,” and in case you haven’t already listened to it, it’s fire. If you collectively took all the awesome vibes from this song and wired it to power a toaster, it would probably melt your face. You... read more

  • Darren Jessee Bares His Soul in “Letting you Go”

    August 24th will see the debut solo release from Darren Jessee, The Jane Room 217. In celebration of this beautifully sparse, soon-to-be masterpiece, Atwood Magazine has premiered the newest single, “Letting You Go.”

    Mitch Mosk really delves deeply into the song, saying “Darren Jessee captures the heartbreak, longing, and loneliness of saying goodbye to the one you love in his bittersweet breakup ballad, “Letting You Go.” Read the entire write up here

    Since 2004, Jessee’s released four records under the name Hotel Lights, all... read more

  • Bill using Mailchimp

    Y’all wanna see what it looks like when Bill gets to crackin’ on good ole Mailchimp?
    Well, you got it.

    Bill using Mailchimp

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  • Ruston Kelly debut album out 7 September 2018
    Ruston Kelly debut album out 7 September 2018

    Album release: 'Dying Star' by Ruston Kelly
    Release date: 7 September 2018
    Label: Rounder Records
    More info:... read more

  • Gregory Alan Isakov new album out 5 October 2018
    Gregory Alan Isakov new album out 5 October 2018

    Album release: 'Evening Machines' by Gregory Alan Isakov
    Release date: 5 October 2018
    Label: Dualtone Recordsread more

  • Gunship new album out 5 October 2018
    Gunship new album out 5 October 2018

    Album release: ‘Dark All Day’ by Gunship
    Release date: 5 October 2018
    More info: Band... read more

  • Lucero new album out 3 August 2018
    Lucero new album out 3 August 2018

    Album release: 'Among The Ghosts' by Lucero
    Release date: 3 August 2018
    Label: Liberty & Lament... read more

  • Satellite Stories final album out 7 September 2018
    Satellite Stories final album out 7 September 2018

    Album release: ‘Cut Out The Lights’ by Satellite Stories
    Release date: 7 September 2018
    Label: Playground Music Scandinavia
    More... read more

  • Earmilk premieres new single from Nick Andre

    With help from Lateef The Truth Speaker and Hanni El Khatib on vocals, Nick Andre premiered his new single “Guns” with Earmilk. Andre is the co-founder of Slept On Records, which has allowed Andre and team to self-release and work with other artists such as Lateef The Truth Speaker and Gift of Gab.

    “Guns” is the first track to be released from a series of singles, which will premiere throughout the second half of 2018. Earmilk describes “Guns” as “a thought-provoking record…employing a stripped... read more

Featured Articles

  • Lucero-PhotoCredDanBall-1web.jpg

    Album release: 'Among The Ghosts' by Lucero
    Release date: 3 August 2018
    Label: Liberty & Lament / Thirty Tigers
    More info: Band website

    Nashville, TN – Memphis rock/alt country quintet Lucero has announced 2018 fall tour dates in support of their upcoming album 'Among The Ghosts', which releases on August 3rd via Liberty & Lament/Thirty Tigers. The anticipated new album has already received positive responses, including early coverage from Billboard, Garden & Gun, Rolling Stone Country and Brooklyn Vegan, with more to come. American Songwriter posted an exclusive premiere of Lucero’s new track 'Cover Me'. Click here to listen.

    Celebrating 20 years together, Lucero returns to their early rock n’ roll days for the band’s ninth studio album as they pull back on the big arrangements and Memphis-styled horns of their recent work. With lead singer/songwriter Ben Nichols taking a more observational approach, 'Among The Ghosts' showcases his penchant for creating hauntingly vivid imagery with literary-inspired storytelling steeped in Southern Gothic vignettes. The result is an album that is more core Lucero and yet not quite like anything the band has done in recent years. Among The Ghosts is the sound of a band going back to their roots to discover a fresh perspective and cement their legacy for years to come. In recognition of their 20 year anniversary, Lucero just released a home movie-style video featuring entertaining personal footage captured during their earlier days set to the track 'For The Lonely Ones'. View it here.

    Lucero has remained firmly rooted in their blue-collar ethos for two decades, building a loyal legion of fans along the way with their gritty, high-powered live performances and communal atmosphere. Keeping one foot firmly planted in a foundation of Memphis rock and soul, the band consistently brings it night after night, playing over 100 shows a year and continuing to pack houses all over. Lucero’s longevity and ability to evolve while engaging fans both new and old, proves that even after all this time they remain a relevant, dynamic force with staying power.

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  • webSatelliteStories-CouponspromophotobyMichaelMacj.jpg

    Album release: ‘Cut Out The Lights’ by Satellite Stories
    Release date: 7 September 2018
    Label: Playground Music Scandinavia
    More info: Band website

    The fifth and final Satellite Stories album Cut Out The Lights arrives on the 7th September 2018. As fans around the world digested the news, the blow was considerably softened when they heard the first taste from Cut Out The Lights, ‘Coupons’ – with Clash Magazine proclaiming the track “A fizzing, cracking, explosive return.” Today we share with you a new single from the album, ‘Carried Away’. The band's singer Esa Mankinen tells us "Carried away is a song about losing track with reality, but also realizing that's part of life". Listen to 'Carried Away' here

    In September Satellite Stories start their The Final Story – Farewell Tour, playing shows in Finland, Sweden, Denmark, Germany, Austria, Switzerland, France, Netherlands, England and Spain.  

    Satellite Stories are Finland's biggest and most successful indie act ever, with over 60 million streams worldwide, having appeared at over 300 headline shows, in no less than 17 countries spanning 3 continents. ‘Cut Out The Lights’ is an album where the band have taken the decision to self produce, to maintain complete creative control and make certain the ideas come across fully in the manner they wish. “It is all on us again now, which is a position we love, the challenge is immense, we have put everything into this record, a full year in the making,” says lead guitarist Marko Heikkinen.

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  • With help from Lateef The Truth Speaker and Hanni El Khatib on vocals, Nick Andre premiered his new single “Guns” with Earmilk. Andre is the co-founder of Slept On Records, which has allowed Andre and team to self-release and work with other artists such as Lateef The Truth Speaker and Gift of Gab.

    “Guns” is the first track to be released from a series of singles, which will premiere throughout the second half of 2018. Earmilk describes “Guns” as “a thought-provoking record…employing a stripped down, military-esque backdrop.”

    Check out the single at Earmilk!

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  • THE TWILIGHT SAD! ‘I/m Not Here [missing face]’ At Radio Now!

    RiSH Publicity | Recording Industry Servicing Hub

    Off the back of the news of their recent signing to Rock Action Records, Glasgow's The Twilight Sad today announce plans for extensive UK, European and North American tours this autumn as well as sharing a brand new song, 'I/m Not Here [missing face]’.

    It's a driving, motorik return from the much-loved Scots, with wailing guitars and swirling synths circling around frontman James Graham's repeated declarations of "I don't want to be around you anymore." Graham describes the track's lyrical basis as being "about my ongoing battle with not liking myself, trying to be a good person but constantly feeling like I’m failing myself and everyone I care about.”

    Exploring its inception, the band's Andy MacFarlane jovially adds, "I was attempting to play 'Ogives' by Erik Satie, but I'm really shit at the piano so it didn't happen, but I came up with the music using those chord shapes. So from my perspective, it's a bad cover version of that piece of music.”

    Listen to 'I/m Not Here [missing face]' here: https://youtu.be/t_2Rdw9BrQE 

    These autumn shows will follow on from appearances at both Barcelona and Porto's Primavera festivals as well as Robert Smith's Meltdown festival and The Cure's BST day in London. Off the back of their extensive touring with The Cure, it's a fairly quickfire return to the stage for The Twilight Sad, however they've never been the kind of band to do things by half measures. Speaking of the upcoming shows, MacFarlane says, “I’m really excited to start playing again. I’ve got the drive and I want us to get back out there and do it from a new perspective. We all enjoy playing, we need to rehearse these songs with a new drummer… but it’s all such uncharted territory, l think that’s why it’s exciting to me. I can’t tell exactly what’s going to happen. I like that chaotic side of it.”

    The band's signing to Rock Action – a home for so much rich, deserving music, particularly in the band's native Scotland – feels like something of a homecoming for The Twilight Sad. Speaking of the union, Graham says, "To be able to say that we’re on that record label, to try and give something back for all the good faith they’ve had in us over the years. Mogwai took us on tour early on, introduced us to Robert [Smith]. They’ve been a through line for us and I’m excited to be a part of that label.”  

    Keep your eyes peeled for further news from The Twilight Sad in the coming months.


    RiSH Publicity

    E: info@rishpublicity.com

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  • MOGWAI! ‘KIN: Original Motion Picture Soundtrack’ Out 31st August!

    RiSH Publicity | Recording Industry Servicing Hub

    Mogwai announce the release of KIN: Original Motion Picture Soundtrack; released on CD, vinyl and digitally on August 31st via Spunk Records.  The album is composed of tracks recorded by the band for the score of the forthcoming sci-fi/crime drama. KIN is directed by Jonathan and Josh Baker, starring Jack Reynor, Zoë Kravitz, Carrie Coon, James Franco & Dennis Quaid.

    Mogwai have already released their sprawling track ‘Donuts’ and today release ‘We’re Not Done (End Title)’, the final track from their soundtrack. Listen now on YouTube 

    Of the soundtrack, Mogwai’s Stuart Braithwaite says: “We were really excited to be asked to record the original score for Jonathan and Josh Baker’s debut movie KIN. It was amazing to do a project that was so different to anything we’ve done before and see how our music fits in a totally different environment to how it’s been used before. The music in the film is some of my favourite Mogwai has ever made and we can’t wait for people to hear it.”

    KIN is Mogwai’s first feature film soundtrack, having previously composed scores for documentaries including Zidane: A 21st Century Portrait, Before the Flood (co-written and performed with Trent Reznor, Atticus Ross, and Gustavo Santaolalla) and Atomic, Living in Dread and Promise. The band also provided the soundtrack for the acclaimed Canal+ French TV series Les Revenants.

    KIN, a pulse pounding crime thriller with a sci-fi twist, is the story of an unexpected hero destined for greatness. Chased by a vengeful criminal (James Franco) and a gang of otherworldly soldiers, a recently released ex-con (Jack Reynor) and his adopted teenage brother (Myles Truitt) are forced to go on the run with a weapon of mysterious origin as their only protection.

    This new soundtrack follows a huge year for the Scottish band, which included the release of their highest charting album to date in Every Country’s Sun, as well as their biggest ever headline show to date last December at Glasgow’s SSE Hydro Arena. Mogwai have already played at this year’s Primavera Sound in Barcelona and will perform at London’s Royal Festival Hall as part of Robert Smith’s Meltdown Festival.

    Mogwai’s KIN: Original Motion Picture Soundtrack will be available August 31st via Spunk Records in Australia and is available to pre-order now - https://SpunkRecords.lnk.to/KIN


    WAV / MP3 Request - 'We're Not Done (End Title)' and 'Donuts' available for airplay now.

    RiSH Publicity  
    P: info@rishpublicity.com

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  • This afternoon, Glide Magazine premiered “Don’t Think Just breathe,” a music video, filmed in Nashville, from the comedic Arkansas-native quartet, Couch Jackets. About the music video, Glide states, “Couch Jackets deliver an earful of indie rock openheartedness along with heady musical workouts that remind listeners of Flaming Lips meets Wolf Parade.” The track featured in the video premiere is from their forthcoming album Go To Bed, which is due for release July 27th. Check out the full article at Glide Magazine!

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  • ZUPDATE_Kaya_Article_900x555-900x500.jpg

    Album reissue: 'Kaya' by Bob Marley
    Release date: 24 August 2018
    Label: The Marley Family/Island Records/UMC
    More info: Band website

    On the 24th of August, The Marley Family, Island Records, and UMC will collectively proclaim the sun is shining in celebration of 40 years of Kaya, Bob Marley & The Wailers’ historic March 1978 release. The album's themes of love and peace have resonated across the world and the record reached the top 5 in the UK albums chart upon original release.

    This most special anniversary edition will feature Stephen “Ragga” Marley’s exciting and vibrant new 'Kaya 40' mixes of all ten tracks from the original album alongside its original mixes in 2CD and 180-gram 2LP configurations. (The digital version will be a standalone release of Stephen’s mixes only.) The album will also be available as a limited edition 180-gram 2LP green vinyl version exclusively here.

    Listen to the new mix of 'Is This Love' here.

    Recorded in London concurrently with the material that ultimately comprised 1977’s Exodus — a record proclaimed by Time Magazine in 1999 to be the Best Album of the 20th Century — Kaya is the perfect sonic-sibling bookend that shares all the joy, spirit, and literal DNA of some of Marley’s most ground-breaking material. Kaya contains a number of the most enduring, heartfelt songs in the entire Marley canon, including 'Is This Love', 'Easy Skanking', and 'Sun Is Shining'.

    'Kaya' was initially released just one month ahead of Bob Marley & The Wailers headlining the legendary One Love Peace Concert at The National Stadium in Kingston, Jamaica on 22nd April 1978, an event that featured 16 of reggae’s biggest acts. One Love Peace was heralded as Marley’s triumphant return to his native soil, following his long exile in London after having fled the country as a result of a December 1976 assassination attempt at his Kingston homestead.

    The album was recorded with the then-new configuration of The Wailers that comprised brothers Carlton and Aston 'Family Man' Barrett on drums and bass, Tyrone Downie on keyboards, Alvin 'Seeco' Patterson on percussion, and the I Threes — Rita Marley, Marcia Griffiths, and Judy Mowatt — on backing vocals, along with newest member Julian (Junior) Marvin on guitar. Two of Kaya’s songs had previously appeared in different arrangements on 1971’s Soul Revolution — the title track, and 'Sun Is Shining'.

    Stephen's goal in mixing 'Kaya 40' was to create a balance that drew heavily from the original versions. Using Bob’s vocals from demos from original 'Kaya' sessions that were recorded at different tempos, Stephen synched the vocals with alternate takes and layered it over different instrumental arrangements.  Stephen tried to keep the flavor as authentic as possible. To mix the album, he used a similar minimal approach, basing his version heavily off the classic analog concepts they used in the 1970s.

    Bob Marley’s artistic legacy forever endures, and the 40th anniversary edition of 'Kaya' only serves to reinforce just how much we all share the shelter of this special music.

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  • Mothers_Press_Photo_web_res1.jpg

    Album release: 'Render Another Ugly Method' by Mothers
    Release date: 7 September 2018
    Label: ANTI- Records
    More info: Band website

    Mothers attempt to exist in two places at once - both singular and collaborative, sprawling and concise, present and distant. Kristine Leschper, songwriter and founding member of the project, says that it is in the space between opposites that she finds herself. The multifaceted is, by nature, fragmented - each facet reflecting a slightly different perspective of the whole.

    Mothers have announced their new album 'Render Another Ugly Method', set for a 7th September release date via ANTI- Records. Courtesy of NPR Music listen to the first track 'Blame Kit' here.

    “A blame kit is exactly what it sounds like - an apparatus or social mechanism that aims to shift or imply guilt onto a particular person, group, or idea,” Leschper explains. “It is the first of many songs on the record that deals with the body as an object that can be expanded or collapsed, inhabited or deserted. The second section was inspired by a passage I discovered in a book of case studies of schizophrenic and autistic children: ‘His body will at one moment expand to contain things and events that are outside of it, and at the next shrink to near-nothingness…Uncertain of the boundaries of his body, things on the outside become terribly important.’ I couldn’t stop thinking about that.”

    In contrast to 'Blame Kit', a new album teaser features a portion of a second track, 'Baptist Trauma'. A composition of stop-start drums and shards of jagged guitar, the song is ultimately a dissection of Leschper’s practice and work ethic, self-described as ‘ugly, at times seeking validation through itself.’ Watch it here.

    Now based in Philadelphia, Mothers originated in Athens, Georgia where Leschper was attending printmaking school. In 2016 they released their debut album When You Walk A Long Distance You Are Tired to great critical acclaim. Named a Stereogum ‘Band To Watch’, Pitchfork’s review of the album compared Leschper to Angel Olsen and Sharon Van Etten while Noisey exclaimed that the record “is singer-songwriter prog rock for grown up emo kids.” When You Walk also kicked off a sprawling eight months of touring across the US, UK and Europe, as the group honed their take on left-of-center indie rock with an explosive and surprising live show that displayed how forceful the songs translated to a full-band setting.

    "The first time I heard Mothers I knew it was a band that I wanted to work with,” said John Congleton, who produced Render Another Ugly Method. “So special and idiosyncratic, it is impossible to ignore their point of view. I loved making the record and seeing them work."

    “Mothers have returned with new songs that are more challenging to listen to, with a sound that is less benevolent, and somewhat demanding in its tone.” – Bob Boilen, NPR Music

    “Shifting, polyrhythmic song structures and unexpected refrains are sure to disorient in a way that can only be pulled off by a band like Mothers. You won’t be able to figure out where the song goes next, you’ll just have to drift along with it and maybe do some reckoning of your own.” – Stereogum

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  • Yazz-Ahmed-006-Photo-Credit-Jamie-Cameron.jpg

    EP release: 'La Saboteuse Remixed' by Yazz Ahmed
    Release date: 3 August 2018
    Label: Naim Records
    More info: Artist website

    • Shares new remix featuring Hector Plimmer
    • Announces new remix EP featuring DJ Khalab, Blacksea Não Maya and more
    • See the premiere via The Vinyl Factory here
    • Hear/share via Soundcloud here

    We are witnessing a burgeoning jazz scene in London, a resurgence that looks set to give us a return of the jazz filled 20s once again. One of the driving forces at the heart of this tidal wave of compelling, new music, is British-Bahraini composer and trumpet player, Yazz Ahmed, who has been cited as ‘redefining what jazz means in the 21st century’. La Saboteuse Remixed is her latest offering, released on Naim Records this summer. 

    Following the 2017 release of 'La Saboteuse', her highly acclaimed psychedelic Arabic jazz album, this remix EP brings together three of Europe's eminent electronic DJs. This confluence of individual artistic visions creates music of deeply saturating polyrhythms, placing the listener into a curious state of relaxed tension. The sense of a personal narrative runs through all of Ahmed’s work and here is no exception. La Saboteuse as a whole is a journey of self-examination and with this remix EP, the reflection continues in both linear and abstract directions.

    Ahmed’s symbiotic collaboration with illustrator Sophie Bass also continues, in celebratory style. Above a familiar desert landscape, dripping with symbolism and intrigue, the ever present fish soars high in a galaxy of stars, overseeing the eternal dance between the demonic Saboteuse and the spiritual creative force of the Sufi. Harmony and balance is restored through the natural healing power of water. 

    Produced by Noel Langley, the original album paints a sinuous far reaching soundscape. The reevaluation of the inner well of self doubt as a strength, a resource to be celebrated, to take nourishment from, is heavily sewn through all the tracks. Three pieces from the original album have been reimagined. Meaning and substance, borrowed from the source tracks, are filtered through an alternative perspective, each collaborator adding their own strand to the unfolding story. These virtual conversations between the artist and the remixer, with the addition of her own creative response to this process, result in four stand-alone pieces, which together will extend the listener’s journey through a mystical land of snakes and desert sands. 


    Hector Plimmer
    Hector Plimmer’s forte is the combination of visual and auditory arts. Around for a little while, he had a track released on Gilles Peterson’s Brownswood Bubblers label compilation in 2014. The recipient of the prestigious PRS Steve Reid InNOVAtion Award in 2015 this led to tutorship by Four Tet, Floating Points and Gilles Peterson. The South London based DJ and graphic artist, released Sunshine in 2017, his full length debut, on Albert's Favourites, earning industry distinction. Following this release Plimmer conducted a full self-remix album of both the tracks and artwork, leading Subtempo to say, “It's hard to improve an original piece of music as good as the album itself, but with these remixes, this rises to a new level.” An Escheresque tessellation of shapes form the basis of the album artwork, splintering across the page while retaining a cohesive shape. With The Lost Pearl, he shows us yet another facet to his art, deftly sculpting a mesmeric original into a rarified groove to get down to. 

    DJ Khalab 
    The Italian self proclaimed ‘Afro-Futurist Beatmaker’, has had releases on close collaborator Clap! Clap!’s Black Acre and in 2015 produced the eponymous DJ Khalab and Baba Sissoko with Malian master musician Baba Sissoko. The weaving, electronic substrata of the album is imbued with tribal drums and fervent synths, creating mesmeric, complex and layered musical structures. With Jamil Jamal, Khalab takes Ahmed’s original track, suggestive of a caravan traversing a vast desert, and morphs it into a more frenetic examination of space and time. Starting with suspicious circumspection, the restless progression of the track is buoyed midway through, with the power of Shabaka Hutchings’ bass clarinet. Occasionally pausing in suspenseful anticipation, before descending again into an agitated world of overgrown jungle, whereby, at the end of the progression, Yazz’s horns are morphed into a myriad of whirling synths. 

    Blacksea Não Maya
    Straight outta Lisbon, represented by Portugal’s chief dance music label PRÍNCIPE, Blacksea Não Maya are dedicated representing the fundamental realities of life in the suburbs, projects and slums of the city they call home. The trio is formed of brothers DJ Noronha and DJ Kolt, and their long-time friend, DJ Perigoso. They have been collaboratively developing their talents since 2009 and were picked up by PRÍNCIPE in 2012. Since then they have aimed to share their wish that all can “live every day in the festive ambience of Lisbon”. Their dynamic tunes exemplify a vast range of persuasive dance music within each release, coercing and cajoling the listener into a rapturous state. Their phantasmagorical rejig of Al Emadi, Ahmed’s tribute to the ancient Arabic tribe of her forefathers, is transformed into a club banger. 

    In the whirlpool of global excitement and glowing reviews surrounding the release of 'La Saboteuse', Ahmed had her interest piqued by comparisons made to the work of Jon Hassell & Brian Eno’s Fourth World project and the output of Flying Lotus, music which she had not encountered previously. Inspired by these new discoveries and the concept of collaborating with remixers, she decided to contribute a new track of her own to close the EP. 

    In creating the haunting track 'The Space Between The Fish & The Moon', Langley and Ahmed had already begun experimenting with self-sampling and deconstructing existing compositions to make something new. This is the same approach that they used here, taking elements from Spindrifting (La Saboteuse Chapter Three), a few groovy bars of Corinna Silvester’s riqq, fragments of Lewis Wright’s bowed vibraphone, re-worked and re-orchestrated to form a flugelhorn melody. Disparate elements used as material for a collage, endlessly rearranged and reshuffled until the music began to discover what it wanted to be. This is the way Ahmed and Langley work together, things evolve, elements are added, elements are discarded, new material is layered over old, improvisations are developed, themes emerge. Samuel Hällkvist was invited to respond to the work in progress, adding the pulsing guitar arpeggios and Yazz felt this was the right time to reveal her longstanding collaboration with Jason Singh, the voice sculptor and sound designer, incorporating material from one of the soundscapes he had created for her. 

    'Spindrifting' is a rich, dark tapestry of timbres and moods, almost orchestral in places, underpinned by a deep fragmented undulation. It intriguingly points to one of several possible future directions that Ahmed might take with her next full release….

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  • CCRvideostills20181.jpg

    Video release: 'Fortunate Son' by Creedence Clearwater Revival
    Release date: Out now
    Label: Craft Recordings
    More info: Band Facebook

    Craft Recordings proudly announces the 50th anniversary of America’s greatest rock band, Creedence Clearwater Revival. It was in the summertime half a century ago that CCR, a group that would reach sky-high success while retaining a resolutely rootsy, earthbound sound, released their debut album. This marked the beginning of an incredible legacy that was formed over just four years of unbridled creative output (1968-1972).

    CCR's canon has become a staple in the Great American Songbook. Songs like 'Bad Moon Rising', 'Down on the Corner', 'Have You Ever Seen the Rain', 'Proud Mary', and 'Up Around the Bend' have been ingrained into the pop-cultural consciousness—not just as classic rock staples, but as American standards.

    As the United States speeds towards another anniversary of its own on 4th July, Craft is kicking off the CCR50 campaign by releasing an official music video (the first ever) for one of the band’s most enduring classics, 'Fortunate Son', a song as vital now as ever.

    Beyond its anti-war sentiment, 'Fortunate Son' is an anthem for the 99%ers, condensing a critique of elitism and class privilege into three simple, but powerfully defiant words: It Ain’t Me. Craft partnered with director Ben Fee (Band of Horses, The War on Drugs, The Lumineers, Aesop Rock) to give a whole new generation a visual entry point into the world of Creedence.

    The song already has an undeniable place in history as one of the most visceral, attention-grabbing protest tunes of the Vietnam era. With the new video, Fee extends the reach of 'Fortunate Son' even further. "For me, protest right now is just showing pure positivity in the face of division and anger." Says Fee, “I wanted to highlight the community and positivity that everybody shares…I wanted to show what America feels like when you actually hit the road and drive throughout the states."

    Though the Vietnam war is decades away in the rearview mirror, the people CCR were speaking for in the song are still the heart and soul of America, and they're still the underdog, facing a whole new set of challenges. So, Fee turned the video into a celebration of their indomitable spirit, giving viewers a glimpse of the broad array of characters comprising the patchwork that is our country at its core.

    In spotlighting the diversity and unconquerable spirit of America's so-called 99%, Fee created a concept as relevant to today's world as it is to the original 1969 setting of "Fortunate Son." "I met so many beautiful people," says Fee of the folks he shot for the video. "I went to the Taos Pueblo people, into their land, and met with the war chief, and they were very big fans of CCR. They were so welcoming because they knew the song and the band, and they really loved the idea of protest through positivity." 

    Click here to watch the video.

    Fee’s video road trip took him across the country, from Los Angeles to Miami and all points in between. The footage captures people across America of diverse ages, cultures, ethnic backgrounds and locations (including Florida, Louisiana, Texas, New Mexico, California, Washington and Hawaii) to document the true spirit that makes up the fabric of the United States, for which CCR have been the soundtrack for 50 years.

    In addition to the video, the half-century celebration will continue in the coming months to fill out the CCR story even further. Craft will be honouring the band’s musical legacy via a diverse array of media, products and events; including a special release coming this autumn. The fête will also provide fans with new ways to engage with CCR online–sharing their memories, streaming new content, and diving deeper into the band’s legendary history. Stay tuned to CCR50.com for more details, coming soon.

    In the meantime, you can dig in to more from the Creedence Clearwater Revival catalogue (and build your 4th July playlists) via Apple Music (click here for the Essentials) or Spotify (click here for This Is).

    Creedence Clearwater Revival’s 1968 self-titled debut album introduced the world to guitar-playing brothers John and Tom Fogerty, drummer Doug Clifford, and bassist Stu Cook, four young men out of El Cerrito in the San Francisco Bay Area. Though they emerged in a place and time where trippy psychedelic visions were the order of the day, CCR bucked the trends and instead tapped into a rich, traditional seam of American music that connected to blues, country, rockabilly, gospel, folk and R&B.

    While their contemporaries were unfurling mind-bending musical excursions with elaborate productions, Creedence crashed into the upper rungs of the album and singles charts with songs that wasted nary a note or word, overflowing with raw soul and unbridled energy. Although the band members were only together for four years under the Creedence Clearwater Revival appellation, they managed to accomplish more than many artists do in their entire career – they released 14 Top 10 hits, six Platinum albums, and one Gold in just four intensely prolific years, all powered by John Fogerty's gut-level growl, with Tom Fogerty, Stu Cook and Doug Clifford providing just the right kind of gritty, in-the-pocket punch to propel CCR's vision.

    The band's West Coast origins notwithstanding, Fogerty's voice contained echoes of everything from the Chicago blues bite of Howlin' Wolf to the Alabama twang of Hank Williams and the Memphis swagger of Elvis Presley, creating an archetypal example of Americana decades before anybody ever thought of using that term to define a musical genre.

    For all the indelible guitar hooks and commanding vocals the CCR catalogue contains, their songs are more than catchy tunes. CCR was a people's band in more ways than one; hand in hand with the accessibility that made their music relatable to just about everybody, there was a strong sense of identification with America's common folks, the ones whose stories were told in the songs.

    On tunes like 'Born on the Bayou' and 'Green River', Creedence harnessed the sonic hoodoo of almost dangerously deep, “swamp rock” grooves to propel vivid New Orleans imagery. 'Long As I Can See the Light' floats luminously with the kind of sanctified soul feel that we've come to expect only from the South. And the spry country two-step of 'Lookin' Out My Back Door' finds its feet in Nashville, at least in a spiritual sense. While CCR's signature song, "Proud Mary," is a Southern-soaked riverboat travelogue, with stops in Memphis and the Crescent City.

    Even some of the covers of Creedence's tunes have become part of history—Ike & Tina Turner's sped-up, R&B-slathered 1971 recording of 'Proud Mary' almost rivaled the original in popularity. And an astonishing array of artists, from Johnny Cash and Willie Nelson to R.E.M. and the Ramones, have recorded 'Have You Ever Seen the Rain', to home in on the reach of just one of their profusely covered songs.

    The group also performed a historic headlining set at Woodstock, and toured the world before disbanding in 1972. CCR's music endures today – still in popular rotation on the radio, and heard regularly in films and TV shows. Having sold over 30 million albums in the U.S. alone, Creedence received a rare Diamond certification from the RIAA in 2016, marking 10 million units in sales for their 1976 compilation album, Chronicle: The 20 Greatest Hits.

    The appeal of Creedence Clearwater Revival isn't tied to any one era or milieu; whether it's 50 years ago or 100 years from now, all you need is a pair of ears to pick up on their sound. As John Fogerty once sang on a certain 1969 hit single, "Over on the corner there's a happy noise/People come from all around to watch the magic boys."

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