Steve Earle - Washington Square Serenade (metallic Gold Color) - VINYL LP

Limited transparent gold colored vinyl LP pressing. Terraplane takes it's title from the 1930s Hudson Motor Car Company of Detroit model, which also inspired the Robert Johnson song, InchTerraplane Blues.Inch It is Earle's 16th studio album since the of his highly influential 1986 debut Guitar Town. As it's title suggests, the album is very much a blues record, some of which was written while Earle toured Europe alone for five weeks with just a guitar, a mandolin and a backpack. Earle, who was raised outside of San Antonio before migrating to Houston, offers about Texas blues, InchThere was Fort Worth where the model was Freddy King and there was the Houston scene which was dominated by Lightnin' Hopkins. Two very different styles.Inch He saw both of these giants and was also exposed to Johnny Winter, Jimmy and Stevie Ray Vaughn and Billy Gibbons - all of which make their influence heard here within Earle's masterful storytelling.

How would you define The Wild Feathers? Some may immediately check a box for Americana - and they wouldn't be wrong. Others may lean on a version of rock Country-rock, folk-rock, heartland rock. They'd all be right, too. Blues? A Southern flare? Occasional punk attitude? It's all in there. Now, it's time to hop on the bus and sing along.The longtime Nashville band returns this year with Sirens, a new LP of road-worn, sharply-woven tales chronicling a life worth living, love worth holding and the hard-earned lessons found along the ride. To cut the follow-up to 2021 album Alvarado - the band's debut on independent tag New West Records - The Wild Feathers decamped from Music City, U.S.A., to Los Angeles for sessions with producer Shooter Jennings (known for his work with Brandi Carlile, Turnpike Troubadours and Tanya Tucker, among others) at Dave's Room in North Hollywood. Listen intently and without genre in mind. Because when the so-called Sirens make their sound on this new album, don't worry about how to define it. Just enjoy the ride.

The album of the Witold Lutoslawski Chamber Philharmonic in Lomza, devoted to contemporary instrumental concertos, makes it possible to confront the aesthetics of three Polish composers, highly regarded today. Each of the pieces recorded on this album is maintained in relation to the others in a somewhat related (corresponding to the 20th-century neoclassicism) postmodern aesthetics, which undoubtedly facilitates the perception of the whole material. Although the presented concertos in no way refer to the musical tradition of the avant garde, many of the applied compositional resources (ingenious instruments, varied means responsible for the form's architecture) testify to the individualism of these three works.