Bill Toms - Keep Movin' On - VINYL LP

This project started in 2022 in the basement of Graham Jonson's (Quickly, Quickly)'s home in Portland, Oregon. We made Scared (To Admit It) in a day, and I let it sit for a looooong time. I had a song blow up online, which led to new creative friendships, people I didn't know listening to my music, starting to work with Acrophase Records, Jai Paul reaching out to me about working together; it all felt very new and unreal. What followed was a writing frenzy, going through old voice memos looking for promising song ideas, and working with four different producers that each allowed me to tell a different story with their incredible help and talents. I spent a month in Nashville recording the majority of the project with Josef Kuhn. He and I were paired up by our tag to work together, and I can't imagine working with anyone else on these songs. I felt free to experiment, ask questions, change my mind, and we ate so many epic sandwiches on our lunch breaks. InchDragonflyInch feels like a patchwork quilt of me post-college. Realizing the dumb decisions I had made (maybe don't get that tattoo in your dorm room), the things I should've said, the ways in which I've changed. The actions I've taken that have resulted in self-sabotage. Friendships and relationships that have gone sour. Traveling the world solo, and how fun and scary it can be. Surviving sexual harassment and assault, and allowing myself to speak about it freely after spending almost a decade being ashamed. It's kinda all over the place, but so am I. I'm no longer afraid to say everything on my mind since working on this project. My friend Amelia McDonnell made the Delft tiles for the album cover. She and I worked together at a paint-your-own-pottery studio in Boston when I lived there, and she is one of my closest, most talented friends. I sent her lyrics from the project that I wanted to be turned into drawings,

Music in Continuous Motion, Bill Orcutt's latest entry into his 21st-century repertoire of quartet guitar music, pointedly steps away from the cut-and-paste constructivism of Music for Four Guitars into a sonic stratum that's yearningly melodic, resolutely human, and built for performance. Conceived for a 2026 NYC concert, Music in Continuous Motion shares the concision of it's predecessor-but rather than the discrete, mechanistic precision of Music for Four Guitars, the tracks on Music in Continuous Motion unify-each song weaving four gleaming threads into the warp and weft of an evolving, complex texture that employs simple, repeating motifs to build new melodies from counterpoint itself. It accomplishes this in the most efficient manner possible most of these 12 tracks hover around two-and-a- half minutes, each iterating first the substrate, then the melody and it's variations, then slamming shut like a clockwork music box.Based on previous recorded evidence, Orcutt is fond of boundary conditions for his studio guitar records. Much of the time, his launchpad is obvious (The Four Louies, How to Rescue Things); with others, it's intentionally obscured. When recruiting me to write about each , he might send me a clue (InchThis is a bridge pickup record more than a neck pickup record,Inch Orcutt helpfully offered for Music for Four Guitars). Although any given dispatch is a potential red herring, up until now, each has implied an Oulipian conceit (however obtuse) that at least somewhat determines the outcome. Thus, I was a bit surprised by his statement on Music in Continuous Motion-InchThe mystery of how [the] same person, same process, same gear produces different results.Inch When pressed, he elaborated that the record features Inchno triplets,Inch something I've yet to count out to determine for myself.Whatever overarching form the recording process may have mapp

Double vinyl LP pressing. For the first time on vinyl,  Keep Movin' On, a 23-song collection that encompasses some of Sam Cooke's best loved and most incisive songs and represents the artist both at the very pinnacle and, tragically, at the very end of his ground breaking career.  The songs that comprise Keep Movin' On were, for the most part, written and produced by Sam Cooke following his successful fight for complete creative and economic control over his recordings and repertoire. The notion of artistic self-determination was an unheard-of concept for virtually any recording artist, let alone a young rhythm and blues singer in the early 1960s. Reatures an essay by notable Sam Cooke biographer Peter Guralnick, written expressly for the initial CD in 2001. Guralnick defines Cooke's recordings sound Inchas spontaneous, as elegant, as full of mirth, sadness, and surprise as when it first came out of his mouth, translating somehow across the ages in ways that have little to do with calculation or fashion and everything to do with spontaneity of feeling, with a kind of purity of soul. Inch Album Tracks 1. (Ain't That) Good News 2. Rome (Wasn't Built in a Day) 3. Meet Me at Mary's Place 4. Basin Street Blues 5. Cousin of Mine 6. Tennessee Waltz 1. Falling in Love 2. When a Boy Falls in Love 3. Good Times 4. Shake 5. Yeah Man 6. It's Got the Whole World Shakin' 1. The Riddle Song 2. I'm Just a Country Boy 3. Try a Little Love 4. There'll Be No Second Time 5. Another Saturday Night 6. Sugar Dumpling 1. That's Where It's at 2. You're Nobody Til Somebody Loves You 3. (Somebody) Ease My Troublin' Mind 4. A Change Is Gonna Come 5. Keep Movin' on