Sally Jaye #1703

Sally Jaye
Photo credit Cowtownchad (Chad Cochran)

Sally Jaye launched Cafe Rooster Records with a legendary guerrilla party at AmericanaFest 2016 in Nashville, TN. The cooperative record label began with friend and co-founder, Darrin Bradbury’s album, Elmwood Park, quickly adding a vinyl release of Jaye’s band, Ladies Gun Club, a vinyl re-issue of her solo album, Amarillo, and a digital release of fellow co-founder Brian Wright’s album, The Sneak Ups. Within the first year, Cafe Rooster also released their first two albums “outside” the family, Jon Latham’s acclaimed Lifers and a collaborative record, Strange Freedom: Songs of Love and Protest, to benefit Planned Parenthood. Keeping with the DIY ethos of the artists, the label promotes limited edition, hand-made art, rather than typical merch. With a revived touring schedule of her own (playing in Ojai, CA, and Los Angeles this week), Jaye may be the busiest record label executive in the business.

Catch the podcast below, or in iTunes and other links. Essential production support for this program provided by Sloan Simpson.


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Author: Sloane Spencer

Episode 159: W.B. Walker’s Old Soul Radio Show Podcast (Mariel Buckley, Madison Lewis, & Blake Berglund)

The Music Featured On This Weeks Episode Is From The Following Albums:

Mariel Buckley – Motorhome (2016)

Madison Lewis – Back To Blue (2017)

Blake Berglund – Realms (2017)

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All music is used with permission.

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Author: wbwalker

Boo Ray #1702

Boo Ray recently released Sea of Lights on vinyl, the debut release from Kindercore record pressing in Athens, GA. With a fresh mastering for vinyl and successful showcase at AmericanaFest 2017, Boo Ray and his band continue to tour the US with his distinct brand of Jerry Reed-inspired rock and roll. He’s a heckuva picker and performer and just as laid back and easy-going as you could imagine, laughing at his own jokes because they’re funny.

Catch the podcast below, or in the iTunes and other links.


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Author: Sloane Spencer

Mike “Reno” Lund , 1968-2017

I hate that the thing that drives me to the keyboard most is tragedy. I didn’t know Mike well, we only met a time or two, but he was a really big part of a community that is important to me. So I wanted to let this be said by Reno’s musical family, the folks at the Deer Lodge in Portland, OR. This is from their posts:

“As some of you may know, we lost a brother yesterday: Michael Scott Lund, better known as Reno. He was taken way too soon from us, and he will be dearly missed. Words can’t even express how much Mike will be missed. We’ll miss his music, his home-brewed beer, him manning the grill at Deer Lodge events… we’ll just miss him.

He was an amazing man, and a great friend. As well as a great musician!

But, as you can imagine, with him being taken suddenly, and unexpectedly, there was no planning involved from his wife Linda and son Teless. So, they are now facing the loss of a loved one, as well as the stressful costs of a funeral.

So, we have decided to help out the family and raise money to pay for his funeral. Mike would do the same for any of you, so it’s the least we can do while we mourn.

There are several ways you can help:

You can also buy Reno‘s CD, Bruja, from Deer Lodge Records (or on bandcamp), and all of that money will go as well, we have also set up a YouCaring page where you can donate:


If you can donate, please do. If you can’t, can you please share this link? All the money will go directly to Reno’s wife and son, and every little bit helps.

Thank you very much. Let’s try and ease as much burden as we can from Linda and Teless.

To Mike Lund, we love you.”

                                   – the Deer Lodge


Drunken Prayer is also donating the proceeds from their “Drunken Prayer…with Sam Henry” EP to the family. Mike Lund did the original art for the release and put together each package by hand.

Hug a loved one, message a friend. Like the lady said “Stay soft, stay brave”

Wannabe Reviews Black Pistol Fire’s ‘Deadbeat Graffiti’

In the newest installment of Wannabeartist Chris Prunckle reviews Deadbeat Graffiti, the new album from hard rocking duo Black Pistol Fire, in his signature six-panel comic strip form. Click on the image for full resolution (best viewed on desktop):

The post Wannabe Reviews Black Pistol Fire’s ‘Deadbeat Graffiti’ appeared first on Glide Magazine.

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Author: Chris Prunckle

Creston Line exclusive track premier “1992”


{Editor’s Note: So…this is weird. Technically, technically, this album is coming out on Twang N Bang Records which I technically am. However, this is kind of a misnomer because I had and have nothing to do with this record beyond telling Jon what release # it was and I think I fucked that up. Or maybe that was last time. Anyway… I will not be writing about anything associated with Twang N Bang ever again, this time is just because I’ve done such a shit job of putting content up here I feel like I need the kick in the ass. And I want everyone to hear this track and get into it. Because I never pick the popular songs on albums for some reason. But I pick the good ones.}


It’s kind of hard for me to write about the Creston Line. It’s a band I know well. When American Dirt guitarist Jon Bartel first wanted to explore a solo project he was calling “Creston Line” I played bass for the first few outings, years ago. The project eventually became a real band with real members instead of hucksters like myself, right around the time American Dirt began hibernating, and with that came a real focus on playing some solid originals.

“1992” has been around just long enough for there to be a few versions floating around. In it’s original form this dead buddy heartbreaker was a rock song through and through, Bartel near shouting the words “A couple of kids back in 1992!” before the band pulled back for the chorus ending lament “I don’t know if there’s a me without you”. In it’s incarnation found on the forthcoming Creston Line record “Vagabonds” (pre-order right here) a gentler approach is taken.

With more than a slight nod to Whiskeytown, Bartel and drummer Taylor Belmore turn in a much more subtle read of the lyrics than previous versions. Without the force of the band to create a dynamic shift the focus instead moves to the voices crossing each other over some light guitar work. The melancholy is cranked to eleven but it absolutely fits the lyrical content. Bartel is less defiant now, more resigned and regretful. The further he gets from his friend’s passing the more honest that sounds.

This track, despite the stripped own nature, is as clear of a mission statement as a band can make. If you like this track you’re gonna love the band.


Jawbreaker, The Mighty Mighty Bosstones, Ministry, The Regrettes Among Standouts at Riot Fest 2017 (FESTIVAL RECAP/PHOTOS)

Since late 2016 it was known that Riot Fest 2017 was going to feel different. For those of you that didn’t know, last December co-founder Sean P. McKeough passed away suddenly from a stroke. After that the fest decided to scale down a bit and instead of appearing in multiple locations, refocused on just the original Chicago fest. Though I’m not aware of all Sean’s responsibilities with organizing Riot Fest, you couldn’t help but feel his absence over the weekend. Things just felt different. The theme of loss was prevalent throughout the entire weekend as sets and songs were dedicated to artists and freedoms that were no longer with us, but overall it was yet another fantastic weekend for one of my favorite music festivals.

Despite the dour foundation, the weekend proved to be one of unity in the face of adversity. Voices of outrage were heard regarding the rampant racism, sexism, classism, heterosexism and general fear of those who are different that has been such a dirge on America as of late. Messages of resist, fight and unite were prevalent in most sets as you’d expect at a festival named Riot Fest. The weather was beautiful, though insanely hot for September in Chicago. The music was loud and generally sounded great. The attendees were out in force, interacting positively with both bands and each other. Here’s my recap of the three days of festivities.

Day One:

Day one was a bit of a slow start, though usually it ends up that way. Saul Williams was probably the artist I was looking forward to the most, but I have a feeling he left many observers wanting. For those unfamiliar, Saul got his start as a stand-up poet and then transitioned into music. He focused his set almost entirely on his poetry and only played one song, an a cappella rendition of “Black Stacy”, leaving some perplexed. His message was on point though, being one of acceptance and against the fascist state we currently find ourselves in. He still maintained a large crowd despite the lack of music, which is in large part due to his ability to command a stage. I loved his performance but questioned its usage in this setting. I feel like he could have mixed in a few more of his songs with his time that only would have helped emphasize the idea he was trying to get across.

New Order’s set was solid, though they seemed to be experiencing quite a few technical issues while on stage. The vocals seemed kind of muddy from where I stood and I found myself really wishing they exuded more energy on stage. I know they are an older band, but wish they would have looked like they were enjoying their time there. Admittedly, this was my first time seeing New Order and they aren’t really in my music wheelhouse, so I’m not sure if this was an anomaly or par for the course. Maybe I’m just not the right person to judge them. That said, they closed out with “Love Will Tear Us Apart,” and that pleased me.

The big standout acts of the first day were both Ministry and Nine Inch Nails. Like New Order, these are two bands that aren’t necessarily my bread and butter, but the power of their sets were undeniable. Ministry was the one band that I would truly say put some “riot” into that first day with their supercharged, energetic, and politically focused set. At 58 years old, there seems to be no slowing down for Al Jourgensen, and based on what I heard, Ministry’s upcoming album is exactly what the world needs right now. This was pure ferocity in the face of adversity and I loved it.


Though I know far more Nine Inch Nails music then Ministry, they are still a band I’ve always appreciated but have never found the desire to see live. If this performance was any indication though, they have captured my utmost respect. From the moment they took the stage they commanded the attention of all that were present. With a fantastic selection of songs including a rousing tribute to David Bowie, I never stopped being captivated by their stage presence. The highlight for me was definitely their performance of “Hurt” to close out day one as Trent’s vocals seemed as good as ever.

Day Two:

Day two started out with the surprise set of the weekend, as Black Pistol Fire completely blew me away. Unknown to me before researching the Riot Fest lineup, this was my first band of the day and proved that Riot Fest still had a lot to offer. A blues rock duo, Black Pistol Fire took an early time slot and filled the fest with an infectious energy that would set the pace for the day. Look for more about this band in a future Wannabe.

To me the stars of day two were The Regrettes. For such a young group – lead singer Lydia Night is only 16 – they took the stage and commanded it with the confidence of a band years beyond their age. Everything I loved about their debut album was on display as they belted out song after song while never forgetting to have fun on stage. You couldn’t help but smile as you watched them thoroughly enjoy every note and realize that this band is something truly special. They even ended their set by inciting a “wall of death” dance party.

The Regrettes

The WTF award of the weekend definitely goes to Peaches. I never thought I’d find a set filled with vagina costumes, exposed breasts and simulated oral sex that was so nonsensical. I guess this falls under punk due to the outrageousness of the performance, but even that just seemed phony and out of place at Riot Fest. I wish Riot Fest would leave acts like this to the Cochella’s of the world and stick to the music and vibe that made them who they are. All that said, she did rhyme Ralph Macchio with pistachio which was pretty awesome.

Other stand outs of the day were Gin Rummy, Fidlar, Potty Mouth, Gogol Bordello and At the Drive In. Wu-Tang Clan put on one of the better performances I’ve seen of theirs. They seemed focused and drew a huge crowd as they went through 36 Chambers, but ultimately fell a few songs short from playing the entire album. Queens of the Stone Age headlined the second night and I found them utterly meh. For a band whose live performances I’ve heard touted over and over, there was just not enough energy to keep me entertained. I constantly found myself looking at my phone or people watching instead of paying attention to the performance. Their set wasn’t helped by what I found to be a pretty clouded soundscape with vocals and instruments all blending together.

Day Three:

Finally, the day I had been waiting for all weekend and it lived up in every way to my expectations. In fact, it was so good that my only gripe with the day is having to make so many hard decisions about who to see. From the moment I got there every band was firing on all cylinders and you could feel that it was going to be a special day, extreme heat and exhausted bodies be damned.

Early sets by Beach Slang and Hot Water Music established the theme for the day. Here was the loud raucous punk music that Riot Fest became known for. Both sets were flawless as their energy pulsated through the crowd like a triple shot of espresso. It was weird seeing these two bands so early in the day, but they seemed unfazed by it as did the fans who were still there en masse. Both bands put on performances well deserving of more prestigious time slots that hopefully find them in the future.

The set of the weekend, in my opinion, goes without a doubt to The Mighty Mighty Bosstones as they played the entirety of Let’s Face It for the album’s 20th anniversary. As they pointed out, it’s sad that the album’s themes of racism and disparity in our country are still so relevant today. I’ve seen the band countless times over the years, and this performance was as good as any I’ve ever witnessed. The entire crowd fed off the band’s energy as the sound and atmosphere were ideal. You know something special is happening when a guy wearing a Slayer vest is skanking with a group of two tone kids. This album had such a fundamental role in making me who I am that no other band could match the sentimental narrative that this performance carried for me. I made sure to take a moment to myself, breathe it all in, shed a few tears of joy and smile as I remembered what made me fall in love with music in the first place.

There were so many bands that filled the day’s lineup with exceptional performances. The Menzingers, That Dog., TV on the Radio, Dinosaur Jr., and Best Coast were all phenomenal, fueling the midday sets with more than enough energy to allow concert goers to forget their tired legs. Pennywise also gave an extremely memorable performance including a heartfelt rendition of “Broken” that was dedicated to the late Chester Bennington.

I’d heard some questionable things regarding Prophets of Rage’s live performances, mostly reviews based on their early shows together as a unit, but I’m happy to say that the band seems to have finally gelled and figured out how all their individual elements fit together. The set was filled with renditions of songs by Rage Against the Machine, Cypress Hill, Public Enemy, and a smattering of originals too. The most heartfelt moment of the weekend was when yet another fallen artist was honored as an instrumental version of “Like a Stone” by Audioslave was played in Chris Cornell’s memory. I’d find it hard to believe there was a dry eye in attendance.

Finally, it was time for Jawbreaker to take the stage. Except for one small set as a warm up, this would be the first time they’d perform for a crowd in 21 years, but you’d never guess it by the way they played. From the moment they took the stage and started playing “Boxcar,” you could tell this was something special. Riot Fest has become known for its ability to reunite bands that were believed to be irreconcilable with historical performances, and they pulled it off again. Where any other night Prophets of Rage might have commanded the headliner slot, Jawbreaker came out and showed what so many of us have known for years, they are worthy of punk god status. After 14 songs, Jawbreaker said farewell with a legendary performance of the epic “Bivouac” concluding in true rock star fashion with their drums crashing off the risers. And just like that, another Riot Fest was in the books.

Chris Prunckle illustrates and writes the weekly album review column Wannabe the Comic. You can also keep up with his work at

The post Jawbreaker, The Mighty Mighty Bosstones, Ministry, The Regrettes Among Standouts at Riot Fest 2017 (FESTIVAL RECAP/PHOTOS) appeared first on Glide Magazine.

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Author: Chris Prunckle

Wannabe Reviews Jon Latham’s ‘Lifers’

In the newest installment of Wannabeartist Chris Prunckle reviews Lifers, the new album from Nashville singer-songwriter Jon Latham, in his signature six-panel comic strip form. Click on the image for full resolution (best viewed on desktop):

The post Wannabe Reviews Jon Latham’s ‘Lifers’ appeared first on Glide Magazine.

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Author: Chris Prunckle

Episode 158: W.B. Walker’s Old Soul Radio Show Podcast (Live From W.B. Walker’s Barn & Grill – Jonathan Bassin)

This Weeks Episode Features Live Music From:

Jonathan Bassin

To Contribute To The Harrah Family:

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Author: wbwalker

Episode 157: W.B. Walker’s Old Soul Radio Show Podcast (Live From W.B. Walker’s Barn & Grill – Bill Dotson)

This Weeks Episode Features Live Music From:

Bill Dotson

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Author: wbwalker