Pre-Order! Items will ship on or around September 25, 2026.
Sunken Man frontman Michael Rawls grew up between Suffolk and Norfolk, Virginia. Small-town stillness on one side, city noise on the other. Rawls built a full life outside of music: financial advisor, business owner, family... and the songs kept showing up anyway. Then a marriage ended, and in the quiet of a house where a child was sleeping, he started writing in earnest. Songs about heartbreak and rebuilding. About loving someone new while still carrying what came before.
Rawls took the songs to Matthew E. White at Spacebomb Studio in Richmond. White produced the album; Alan Parker, whose credits include Bon Iver, Lucy Dacus, and Dijon, played every instrument himself. The record was mixed by three-time Grammy winner Alex De Jong and mastered by TW Walsh.
The result is nine songs that sit somewhere between Springsteen's emotional directness and Wilco's melodic intelligence. Heartbreak, yes… but also hope. The kind you have to earn.
Rawls is still a financial advisor. Still lives in Richmond. His music grew in the margins, the way the best things do.
Tracklist:
Say A Little Prayer For Me
Hearts
Lay All Your Love On Me
Fall For It Again
Virginia Fog
Carolina Border Town
Fat Condo Kings
Love Like This
Holy Smokes
Limited Pressing, “Honeybee Swirl” Vinyl
Celebrating ten years of Cautionary Tale, Dylan LeBlanc’s acclaimed third album. A decade later, the record’s songs of poignant introspection still resonate as the songwriter comes of age, asking himself what it means to grow into manhood.
Available for the first time on colored vinyl.
“The third album from the Muscle Shoals singer-songwriter unfolds with the wariness of a social and spiritual outsider who broods his way to graceful defiance.” - NPR
”Cautionary Tale never feels cloying or over-the-top—LeBlanc’s voice and arrangements always fit together naturally.” - Pitchfork
Track List:
Cautionary Tale
Roll The Dice
Look How Far We’ve Come
Man Like Me
Easy Way Out
Beyond the Veil
Lightning and Thunder
I’m Moving On
Balance or Fall
Paradise
The debut album from Billy Allen + The Pollies.
There is a ferocious Southern engine inside Black Noise, marking a new chapter in the evolution of the “Muscle Shoals Sound”. The 11-track album sees one of the best young soul singers in Billy Allen alive joining forces with indie rock stalwarts The Pollies. The result is an instant 21st century genre-bending classic, pulling from rock and roll, classic soul, and psychedelic to form a sound of their own.
Alabama’s favorite haunted artists The Pine Hill Haints return with their latest long player, Shattered Pieces Of The True Cross. This collection of southern psychedelic tunes were recorded at the legendary Muscle Shoals Sound on Jackson Highway, captured and mixed by Ben Tanner, Grammy-winning producer/engineer and Single Lock co-founder.
The Haints have long represented a 21st century chapter in the Muscle Shoals music legacy, applying a DIY ethos to folk and blues traditions. Not unlike their Swamper forebears in the same studio, the Haints transcend their myriad influences to sculpt a sound of their own.
The album bears their signature sonic palette - washtub bass, snare drum (no bass drums allowed!), washboard, and the occasional singing saw - and combination of styles: Scotch Irish traditional music via Appalachia (“Ki Yi Woopi Ti Yay” and “Henry My Son”, classic country (“Honky Tonk and Dance With You”) and punk rock (“Svenghoolia”), plus a fresh take on the Grateful Dead song “Loser”.
Gravel Springs is a new project from Luther Dickinson and David Katznelson.
Deep in the hills of San Anselmo, in an octagonal room three stories above the trees (supported by stilts), under the view of Mount Diablo and while birds of prey flew by the windows…over a five-year period of time, two friends who would become known as Gravel Springs recorded Crows Nest Meditations. Every December, for over a decade, Luther Dickinson and David Katznelson would gather to plot musical adventures for the following year. Luther, the legendary guitar player known for his southern slide and picking, David, the road weary music industry vet who released Luther’s first record as producer, Otha Turner’s Everybody Hollerin’ Goat. Ever since Luther’s Dad Jim Dickinson introduced both of them, they have been thick as thieves.
Ambient music had the ear of these two during one of the December plots. The music of William Basinski, Johan Johansson, The Deep Listening band and aspects of The Spacemen 3. What would it be like to take Luther’s guitar playing and surround it with alien sounds…sounds of wombs and spaceways…. drones that link the human to nature? They set up a makeshift primitive studio in the octagonal room a bridge away from David’s house…the Crow’s Nest…plugging in amps and pedals and guitars…using a 4-track digital recorded Luther’s band The North Mississippi All Stars used for live recordings…and began making feedback loops and experimenting with layers of sound. That first recording session was a primitive one, junior sound sculpturists in full-on laboratory mode, channeling 60s Nonesuch electronic sounds, with Luther’s slide guitar providing the compass to humanity; Luther was battling a cold that weekend and picked a melody on his acoustic as the sun set, eyes closed, leaving his congested body behind. Music was, as it always is, the healer,
Five years of random days navigating the air molecules of the crow’s nest with acoustic strumming’s, bowings and pluckings and electronic vibrations waving. A career of experimentation given more life by Phil Lesh and his calling to Luther to be a part of his Terrapin Station band, back in the days that Terrapin Station was a community center for Marin heads and Lesh would often play with carefully curated pick up groups…bringing Luther more often to the Bay, allowing more time for two friends to have a day of exploration. Five years that expanded through the Covid lock-down. Five years with the career of Luther’s engineering prowess beginning primitively and ending with an expert knowledge of the digital tools of the day, editing and even mixing the crazed tracks they as Gravel Springs had measured out and whisked together. What began as two friends fucking around, sending noises through the hills of San Anselmo and Fairfax, led to The Crow’s Nest Mediations, a record of friendship, family (Luther’s father Jim makes a heroic appearance from the netherworld, and David’s kids and dog also appear, with his wife Barbara designing the package), and expanding the idea of possibility through ambient drones, dark wonderings and heroic mistakes.
The Crow’s Nest Meditations is the new evolutionary amoeba of Americana music, the translation the aliens would make when listening to the Voyager’s Golden Record, the surviving mutation of the last century of musical forms, designed as a singular trip through history and the future.
“Part of the reason why we gravitated towards Americana and country music was that the tradition was so full of complicated characters, and storytelling,’ says Grammy- and Tony-Winner Michael Cerveris, who along with Kimberly Kaye, fronts Loose Cattle, a band who have been part of New Orleans, Louisiana’s uniquely diverse and eclectic roots music scene for over a decade.
The pair of bandleaders—a one-time couple, enduring friends, and lifelong working artists—put such an emphasis on character development and storyline because, well, they’ve spent most of their lives acting, singing, and playing, logging hours under stage lights on- and off-Broadway, in punk clubs and on Warped Tour stops, and in honky tonks and classic theaters country-wide.
On Someone’s Monster—out November 1st on Single Lock Records—Loose Cattle have taken the reins and written their own roles for their first LP where original compositions take center stage. They’ve also written in parts for friends like Lucinda Williams, members of Drive By Truckers, and the Grammy-winning Lost Bayou Ramblers who make guest appearances throughout the record.
You are someone’s monster. But don’t freak out: according to the New Orleans country-rock ensemble Loose Cattle, everyone is. It depends on your point of view, and what you decide to do about it.
Someone’s Monster comes as a deluxe double LP vinyl release.
Someone’s Monster Tracklist:
Further On
Joanne (ft. Lucinda Williams)
Cheneyville
Here’s That Attention You Ordered
God’s Teeth
Crescent City
Before We Begin
Not Over Yet
The Shoals (ft. Patterson Hood)
Antiversary
Big Night Out
Tender Mercy
Previously only available at the band’s merch table, we’re happy to make these special 7” 45RPM singles available to you!
A: All of Me
B: Ridin Wit Chu
Here are the band’s merch table… these are the ONLY places you will find this exclusive single! Get one before they’re gone!
The Vinyl LP comes packaged in a limited edition die-cut Braille cover.
Hailed as "gospel titans" by Rolling Stone, the Blind Boys of Alabama defied the considerable odds stacked against them in the segregated South, working their way up from singing for pocket change to performing for three different presidents over the course of an 80-year career that saw them break down racial barriers, soundtrack the Civil Rights movement, and help redefine modern gospel music forever. The five-time Grammy-winners’ latest album, Echoes Of The South, draws its name from the Birmingham radio program that hosted the group’s very first professional performance back in 1944. Pairing traditional spirituals and long-lost gospel classics with vintage soul and R&B tunes, the collection is as moving as it is timeless, transcending genre and era to touch something deep and fundamental about the human condition. These are songs of love and friendship, joy and gratitude, faith and perseverance. Uplifting as they are, the recordings can feel bittersweet at times, too: 91-year-old Jimmy Carter retired from performing following the sessions, while two longtime members, Paul Beasley and Benjamin Moore, Jr., have since passed away. Despite the losses, the Blind Boys of Alabama show no signs of slowing down.
“The spirit of the Blind Boys isn’t about what you can’t do; it’s about what you can do,” says singer Ricky McKinnie. “As long as we stay true to that, as long as we sing songs that touch the heart, this group will live on forever.”
Echoes of the South was produced by Matt Ross-Spang & Ben Tanner, recorded in the Shoals, and includes musical contributions from Phil Cook, Chad Gamble, Joey Williams, Dennis Crouch, Kerry Gilbert, Ben Tanner and Matt Ross-Spang.
Tracklist:
Send It On Down
Work Until My Days Are Done
Friendship
You Can’t Hurry God
Jesus You’ve Been Good To Me
The Last Time
Keep on Pushin’
Paul’s Prayer
Wide River to Cross
Nothing But Love
Heaven Help Us All
"This is the party music many of us most closely associate with New Orleans and you are invited to crank the shit out of it because the louder you play this one the better it sounds." –Analog Planet
"A true celebration of the party spirit of New Orleans music. Cleary shows his total assimilation of the New Orleans tradition..." –Offbeat
Funk, jazz, R&B – these genres are so deeply rooted in New Orleans that it’s no wonder the young British pianist Jon Cleary was compelled to move to the city to play. In the early 80’s, he was painting the bar at the famous Maple Leaf Bar, where he listened to James Booker play live every week while soaking in the sounds of New Orleans piano greats such as Huey “Piano” Smith, Mac Rebennack, Fats Domino, and Professor Longhair.
Now, four decades later, New Orleans has fully embraced Cleary as one of its own. Coming full circle for this recording, Cleary is backed by James Booker’s rhythm section — from his last studio album Classified — James Singleton on upright bass and Johnny Vidacovich on drums. They are joined on several tracks by James Rivers, a legendary New Orleans saxophone player who played on many New Orleans funk and R&B classics from Big Chief to Carnival Time.
Single Lock is proud to release “So Swell”, previously available only as a limited edition LP, to fans worldwide on CD and digital formats. We want to thank Newvelle Records for their cooperation on this project.
Musicians:
Jon Cleary - Vocals, Piano, B3 Organ, Percussion
James Singleton - Upright Bass
Johnny Vidacovich - Drums
James Rivers - Saxophone
“My family was Londoners but my mom and dad moved down to the country when I was very little. What I heard was what every kid heard at that time. We had one program a week on English TV called Top of the Pops, which was usually pretty dreadful. But through my family I had access to this other world of music. They all were music lovers and they all had tastes that were in a particular area. One of the people I learned the most from was my Auntie, who around ’73 was a striking gorgeous girl with big afro and platform shoes and hot pants. And so I’d go through her record collection and there was Donny Hathaway, and all kinds of hip Staple Singers, Dr John, the Right Place, Wrong Time album. And her brother, my uncle, had recently returned from a long stay here in New Orleans. He was an exotic character that would flit in and out of our lives depending on where he was traveling in the world. One minute he’d be working on sardine boats in the Mediterranean and the next thing he was living in a cave in southern Morocco right on the edge of the Sahara. And then one time he came back and he’d been in New Orleans for about 2 or 3 years and he was raving about a piano player that he would see called Professor Longhair, and that name just always really tickled me, Professor Longhair. So I was probably 10 or 11 years old at that time. And when I’d go up and stay with him and visit he had piles of New Orleans 45s that he’d brought back in suitcases and we’d spend hours .. he knew I was interested and gave me a lot of encouragement and say you should hear this, and check this out. So I got a great education in New Orleans R&B from him. He had 45s by Professor Longhair and Clarence Henry, Smiley Lewis, all kinds of great people. Obscure bands like Jiving Gene and the Jokers that still people don’t talk about. So that was the stuff that I really liked. Part of the appeal perhaps was because it was so rare. No one else knew anything about it. No one else at my school had ever heard of Professor Longhair. No one in England had ever heard of Professor Longhair. There were no ‘Fess albums then, just 45s... So anyway, I learned from records. I didn’t know it was funk at the time. It was just very syncopated music that spoke of something exotic to a young child in England in the 1970’s. ”
--Jon Cleary March 12, 2020
“Weed, Wine & Time” is the new album from Caleb Elliott, available worldwide April 14, 2023.
Like the sprawling branches of a tenured Magnolia, Caleb Elliott’s sophomore album Weed, Wine & Time is beauty and grit personified. From the first track of the record, Elliott lays bare a thesis of hope and healing that continues throughout the album’s entirety. Elliott’s opening chorus states that, “You learn as you go along, simple as a song,” and this theme courses like blood through each of the 11 tracks that follow.
There are songs on Weed, Wine & Time that began over a decade ago in Lafayette, Louisiana, elegantly woven together with younger tunes crafted in Florence, Alabama, (the place Elliott calls his “musical home”). The result is genre defiant grandeur that traces Elliott’s personal growth over the years of his life. There are veins of JJ Cale country, the soul-jazz of Michael Kiwanuka, and the lyric fragility of Sufjan Stevens crisscrossing throughout the album. Track to track, Elliott confidently paints with the full gamut of emotion.
Between its joy, heartache, expertise and timeless feel, Weed, Wine & Time is a veritable gumbo of great music. It is a sonic dish carefully prepared with affection and served with the intent to move and to please, begging you to taste and see, which is fitting when you consider that Louisiana-born Elliott believes, “Nothing says, ‘I love you,’ more than making someone a gumbo.”
Tracklist:
Sweeter Paradigm
Sister
Weed, Wine & Time
Isolation (feat. AJ Haynes)
Any Way The Wind Blows
Broad Daylight
Warships
No Telling
Union of Strangers
FUBC
Blue
A timeless rock & roll band for the modern world, The Prescriptions sharpen their sound with Time Apart. Produced by Ben Tanner (Alabama Shakes) and Brendan Benson (The Raconteurs), the album funnels a half-century of American and British influences — including taut power pop, explorative indie rock, jangling heartland hooks, and New Wave nuances — into something sharp and singular. The result is a warm, widescreen follow-up to The Prescriptions' 2019 debut, Hollywood Gold, its songs balanced halfway between classic craftsmanship and progressive exploration.
Fiery and forward-looking, Time Apart explores both sides of the pop/rock divide. It's a 21st century album rooted in everything that made the classic stuff so compelling — sharp songwriting, ringing refrains, percussive stomp, and guitars that chime one minute and churn the next.
Time Apart is an album for the heart, head, and hips. The Prescriptions have never been shy about nodding to the hook-driven rockers who came before them, but here, they carry those influences into uncharted territory, uncovering something that's truly theirs along the way. It was time together that created Time Apart, and The Prescriptions have never defined their ambition or abilities so clearly before.
Tracklist:
April Blossoms
Long Past Tonight
Love is Red
I Get Lost
Compartmentalize
Fire Moon
On Satellite
Not The Issue
I Might Try
Baby Be Nice
Camp Hill
A CD pre-order gets you a compact disc.
An LP pre-order gets you a VINYL RECORD.
A CD/LP BUNDLE gets you BOTH!
Written and recorded in the midst of a dizzying stretch in which nearly everything about the way the band lived and worked was turned on its head, Motel Radio's "The Garden" is indeed a work of relentless hope. The songs are profoundly vulnerable here, and the performances are warm and breezy, calling to mind everything from Andy Shauf and Cass McCombs to Beck and Tame Impala with an easygoing demeanor that belies the deep emotional work underpinning them. Motel Radio generated early buzz in their adopted hometown of New Orleans on the strength of their 2015 debut EP, Days & Nights, which helped land them dates with the likes of Kurt Vile and Drive-By Truckers in addition to festival slots at Firefly, Jazz Fest, and more. The band followed it up with the similarly well-received Desert Surf Films in 2016 and their first full-length, Siesta Del Sol, in 2019, touring the country on a seemingly endless loop as they built up their devoted following one night at a time. Since then, the band had set a goal of becoming more self-sufficient and learning to record on their own, and when it came time to cut The Garden, they dove in headfirst, cutting half the collection in an old fishing camp south of New Orleans with the help of engineer Ross Farbe (Video Age, Esther Rose) and the other half fully remotely while engineering themselves. “There was this real creative freedom that came with working remotely and learning how to run the sessions on our own,” explains co-lead singer Ian Wellman. “Synths, samples, beats, plug-ins; suddenly these whole new worlds of sound were at our fingertips and the possibilities were limitless.” That creative liberation is easy to hear on The Garden, which opens with the mesmerizing “Wise.” Like much of the album, it’s a gentle meditation on finding joy and fulfillment, on spreading love and positivity. “I’ve gotta open my eyes,” co-lead singer Winston Triolo sings over dreamy guitars and a hypnotic digital drum loop. “I only get one life, well now how can I live it wise?” The airy “Outta Sight celebrates the simple pleasures of letting go and being present, while the washed-out “Sweet Daze” revels in the warmth of human connection, and propulsive “Happiness Pie” looks for ways to share the comfort and contentment that comes with self-acceptance. On The Garden, they’ve realized there’s no sweeter garden than the one you grow yourself.
ABOUT THIS RECORD:
Do you want to take a leap of faith?
Rock Eupora, the moniker for Mississippi-bred, Nashville-based artist Clayton Waller, has always been a heart-on-your-sleeve musical endeavor. From his earliest recordings, Waller has never been afraid to ask the big, searching questions of life. Catchy, hooky pop sensibilities have similarly been a consistent through-line in Rock Eupora’s catalogue.
These defining features are still present in Pick At The Scab, Rock Eupora’s latest full-length album, and yet, something feels different.
“I wanted to let the songs breathe a bit,” Waller says of his mindset while writing the material that would become the songs for Pick At The Scab. “I gravitate towards writing up-beat, high energy songs, but this time around, I decided to lean back a little and let the songs speak for themselves.”
In Pick At The Scab, the listener hears Waller opening sores–admitting personal struggles, asking existential questions, exploring new sonic territory–and exposing them to the light, reaching beyond himself with emotionally honest lyrics and ambitious musical arrangements. “Feels like I’m going out on a limb with a crack in it over and over again,” he admits on the back side of the album.
“I have the tendency to want to fix or heal myself,” Waller says, reflecting on the inspiration behind the LP. “This album is very much me trying to ‘pick at the scab’ of my life. The motive is generally pure: I want to clear the scab away so as to speed up the healing process. We all know that picking at a scab usually results in a reopened wound and a bloody mess, further delaying the healing process. And yet we keep picking.”
Rock Eupora began when Waller was a senior in college. Each subsequent release has seen a broadening of scope and range, and Pick At The Scab is the logical successor to that tradition. Alongside every familiar influence––The Shins, Band of Horses, The Beach Boys––is a new friend, a Baby Huey, a Steely Dan, an Elizabeth Cotten, and, yes, even a Beyonce. Put simply, on Pick At The Scab, Rock Eupora is arriving at a destination: Waller, now thirty, has chosen to feel everything, instead of fighting to suppress or ignore the unpleasant or unknown. In so doing, in “feeling all of myself,” Waller has painted a rich, multivariate self-portrait. Through experimentation with new songs and sounds, confronting painful personal issues head-on, striving to find the balance between despair and joy, silliness and seriousness, heartbreak and love, the personal and the universal, Pick At The Scab delivers a full-bodied expression of what it means to live and to feel alive, an experience meant to be felt in a music venue together with others just as much as it can be heard between one’s own ears.
The art print bundle comes with a numbered, limited edition, high quality 12x16” art print of the full painting used on the album cover, by artist Georganna Greene. Art print will ship separately in its own protective packaging.
Tracklisting:
I Love You Because I Want To
Intimacy
New Perspective
Nothing Ever Happens
I Will Never Be Happy
Island Intermission (Just A Taste)
Can You Feel The Weight?
I Don’t Want To Feel Anything Anymore
I Would Tell You
The Accuser
Ode To My Friends
The record was pressed at RTI and comes in gatefold packaging with a Stoughton tip-on jacket. It’s also available as a gatefold packaged CD.
GRAMMY AWARD WINNER!!!!!
I Be Trying might be the title of the new record from two-time GRAMMY nominee Cedric Burnside, but it’s also a mission statement in an era when plenty of us have discovered what “the blues” really means. Recorded over three days at Royal Studios in Memphis (the home studio of Al Green and Hi Records in the 60s and 70s), this album is the ultimate statement of purpose for a critically acclaimed artist who has proudly carried the mantle of Mississippi Hill Country blues around the world.
Over thirteen tracks, Burnside delivers his bruised but unfettered truth over blistering guitar and deep pocket drums—a sound birthed in his soul but developed and perfected on the road. But no matter how far he travels, the righteous sound he makes could only come from one place. I Be Trying is the sound of modern Mississippi.
Produced by second-generation Memphis soul trailblazer Boo Mitchell (“Uptown Funk”) and featuring guest appearances from Luther Dickinson (North Mississippi Allstars) and Zac Cockrell (Brittany Howard), I Be Trying takes the sound that Burnside learned from his grandfather, blues legend R.L. Burnside, and reinterprets it into a modern, bold Black American sound that expands the sonic landscape while respecting and honoring its roots.
Tracklisting:
The World Can Be So Cold
Step In
I Be Trying
You Really Love Me
Love Is The Key
Keep On Pushing
Gotta Look Out
Pretty Flowers
What Makes Me Think
Bird Without A Feather
Hands Off That Girl
Get Down
Love You Forever
Almost Home is the GRAMMY-nominated and critically acclaimed new album from the Blind Boys of Alabama, released August 28, 2020.
The 12-song collection serves as a fitting capstone to a seven-decade career that has both defined the sound of the American South and pushed it forward from the 20th century and into the 21st. NPR Music hails the record as “a gorgeous rumination on the body’s labor and soul’s legacy.”
This album is available in CD format only.
Track listing:
Stay On The Gospel Side
Let My Mother Live
God Knows Everything
Pray For Peace
Singing Brings Us Closer
Almost Home
Live Forever
I Shall Be Released
Train Fare
I Can See
I Kept On Walking
I Was Called
See By Faith
ABOUT THIS RECORD:
For more than twenty years, Duquette Johnston has been amongst the vanguard of Alabama music. From the founding of the seminal indie-rock band Verbena, his work in Cutgrass and the Gum Creek Killers, to his acclaimed solo releases "Etowah" and "Rabbit Runs a Destiny", Johnston has consistently pushed the boundaries of what Southern American music can sound-- and feel-- like. On his latest, The Social Animals, Johnston partnered with producer John Agnello and an all-star cast of players including Sonic Youth's Steve Shelley to create his boldest and most powerful music to date.
In a career that's taken him from stages with Pavement, Foo Fighters and The Strokes, to the Etowah County Correctional Facility, and then into the world of fashion with his Birmingham-based company Club Duquette, Duquette Johnston has gone to the edge and survived. Throughout that, he's won acclaim from NPR's World Cafe, Paste Magazine and Rolling Stone.
On The Social Animals, he opens the door into that experience with eleven songs that shake off the typical Southern Americana sound and present a lush, loud, and eloquent meditation on the human experience.
Tracklisting:
Year to Run
Whiskey and the Wine
Baby Loves a Mystery
Holy Child
Motorcycles
To My Daughters
Forgive Me
Mystics
Run With the Bulls
Fortunate Ride
Tonight
With a storyteller's eye and sly sense of humor that echoes not only his “honorary uncle” Del Reeves, but Tom T. Hall and Roger Miller, The Kernal delves deep into everything from family dysfunction to road trips to matters of the heart on his new LP, Listen to the Blood.
The music, which he describes with a laugh as “diet country,” embodies the spirit of that genre without any of the slavishness or self-seriousness of much modern Americana. Rolling Stone has called his style “sweetly subversive, intellectual and addictive,” while Lo-Down said “the songs have an air of nostalgia but they sound far from old - modern, yet timeless. ”
From the joyous, southern-fried grooves of “U Do U” and “Pistol in the Pillow” through the revved-up rockabilly stomp of “Green Green Sky” and the cinematic travelogue of “Wrong Turn to Tupelo” to “The Fight Song,” a sparkling '80s style duet with Caitlin Rose, it's a nine-song sequence that showcases The Kernal's warm, confidential voice while managing to make profound connections with the head, heart and feet.
“When people ask me what kind of music I play, I say, 'It's like sixteen-foot trailer country music,'” he says. “You pull up a hay trailer in a field and you barbecue a bunch of stuff and there are people setting off fireworks and there are kids running around in diapers with ice cream running down their bellies. You get up there, turn it up and have a good time. I just love seeing people have a good time, and I think that's why I like country music. The groove of it. It speaks to people's legs. They loosen up and enjoy themselves and it's no big deal. I love that. And I love to be able to contribute to that.”
Tracklisting:
U Do U
Pistol In The Pillow
Green, Green Sky
Wrong Turn To Tupelo
The Limit
Long, Cool Finger
Fight Song
She’s Seeing Somebody
Super (Marijuana) Wal-Mart
Corrie Took the 409 (Bonus Track)
Produced by Ben Tanner
Assistant Production by Austin Motlow
On the Pine Hill Haints' latest long-player, The Song Companion of a Lone Star Cowboy, they go there and to other colorful places on the Americana and Appalachian trail. The fifteen song sequence kicks off with “Fall Asleep” and “Back to Alabama,” a fiery pair of rockabilly-meets-Irish-jig rave-ups, then winds through standout tracks like the Bo Diddley-grooved “Pretty Thing,” a pounding tom-tom and fiddle take on the traditional “John Henry” and the catchy, cajun-flavored squeeze box pop of “Lone Star Kid.” There are excursions into Sun Records-style country (“Midnight Mayor” and “Louise”) and swampy blues (the saw-singing “Wade in the Water” and “Downtown Blues,” which features guest J.D. Wilkes on harmonica).
Throughout, Barrier's strong tenor voice rings familiar and friendly, with deep echoes of everything from John Lee Hooker to Buddy Holly to Johnny Cash. And the band plays with a sense of abandon that comes from thousands of gigs behind them. It all sounds deceptively simple, but anyone who plays music knows better.
The Haints do something very few roots bands can, which is to transcend influences and sculpt age-old sounds into soul music for our time.
released May 14, 2021
TRACK LIST
Fall Asleep
Back to Alabama
Pretty Thing
Satchel Paige Blues
John Henry
Lone Star Kid
Drop and Fall
Midnight Mayor
Catfish Blues
Fighting For The Wrong Side
Stare At The Fire
Louise
Downtown Blues
Wade In The Water
Tithy Dunbar
Produced by Ben Tanner
Assistant Production by Austin Motlow
FOR A LIMITED TIME: AVAILABLE ON MARDI GRAS COLORED VINYL!
PLEASE NOTE: THE VINYL LP IS CURRENTLY BEING RESTOCKED, WHICH MAY ADD A COUPLE OF DAYS TO YOUR ORDER. THANK YOU!
GRAMMY-nominated New Orleans band Cha Wa will return on April 2 with My People, a new collection that honors and builds upon the rich culture and traditions of the city’s Mardi Gras Indian community. Arriving via the renowned southern independent label Single Lock Records, My People is an exuberant homage to the sounds of the Mardi Gras Indians - a group predominantly made up of New Orleans' African American community which pays respect to the area's Native American tribes with their wardrobe, music and dialect. Packed with a vivid assemblage of New Orleans sounds and stories, this new Cha Wa record infuses the traditional chants of the Mardi Gras Indians with grooves reminiscent of a ‘70s New Orleans funk band like The Meters (particularly on offerings like “Wildman” and “Bow Down”) and takes clear influence from the city's rich history of jazz, R&B, hip-hop, rock, soul and African-inspired arrangements (including a chilling cover of Bob Dylan’s “Masters Of War” in this style).
With roots dating back to the 19th century, Mardi Gras Indians are most commonly associated with internationally-known New Orleans celebrations like Fat Tuesday, but the tradition is said to have started as a way for the city’s African American community to express gratitude to Native Americans for giving shelter to black New Orleanians fleeing enslavement. Cha Wa’s music has deep roots in this Mardi Gras Indian community, with vocalist Joseph Boudreaux Jr. serving as Second Chief of the Golden Eagles tribe and his father, Big Chief Monk Boudreaux, having played a pioneering role in bringing Mardi Gras Indian music onto the national stage for the first time as a member of The Wild Magnolias. In more recent years, Mardi Gras Indians have displayed their role as community leaders with front line responses to both Hurricane Katrina and the unlawful NOPD conduct that resulted in investigations by the Obama administration.
Cha Wa was formed by bandleader Joe Gelini shortly before the release of the group’s 2018 debut album Spyboy, which was recognized with a Best Regional Roots Album nomination at the GRAMMYs that year. A student of the legendary New Orleans drummer Idris Muhammad, Gelini was taken by Mardi Gras Indian culture and began to immerse himself in the community’s musical circles after moving to the area. Working with Boudreaux and many of the top musicians from New Orleans’ Social Aid & Pleasure Clubs and Second Line brass bands, Cha Wa quickly became a staple of its city’s street culture before bringing Mardi Gras Indian music to the GRAMMYs and around the world. My People represents the next step for Cha Wa in preserving and advancing these sacred New Orleans traditions.
CHA WA TRACKLIST
My People
Wildman
Bow Down
Morning Glory (Intro)
Morning Glory
Uptown
Firewater
Love In Your Heart
Second Line Girl
Masters Of War
Shallow Water
Space Tyger's 3rd full length album and first release for Single Lock, "Bittersweet," now available on cassette!
About:
Bittersweet is the new album from Florence/Muscle Shoals, Alabama songwriter and musician Kyle Bragwell, who operates under the moniker Space Tyger.
If it must be defined, Space Tyger makes compelling, well-written, irresistible synth-pop. Throughout nine songs written, performed and recorded solely by Bragwell, Bittersweet follows his path from the disorienting madness of misdiagnosed manic depression to love found, love lost, and an eventual positive outcome.
It’s the sound and story of someone who touched the edge… and grew from it.
The hallmark of Muscle Shoals music is that it comes from the heart—real songs delivered by real people in an honest and compelling way. It’s likely not what you expect from rural Northwest Alabama, but as Space Tyger, Kyle Bragwell cements himself as part of the musical heritage for which the area is known.
Tracklist:
Youth
Dopamine
Shake
Bittersweet
Bummer
Weather
Esteem
Zephyr
Coda
Tis the season for Christmas music— and this limited edition 7” vinyl record comes courtesy of The Pine Hill Haints. They’re on Christmas Colored Vinyl and limited to 250 copies. The packaging and liners are screen printed by the band at Black Owl Trading Company in Florence, Alabama! Once they’re gone, they’re gone!
A: The Ghost of Christmas Past
B: Curoo, Curoo, Christmas Day in the Morning
The Hurting Kind is the third solo release from 4-time GRAMMY winner John Paul White. This special deluxe edition LP was originally offered exclusively for Record Store Day 2019. It includes an additional 7” 45 RPM vinyl with tracks “Loving the Day Away” and “See If I Care.”
This item is limited—once it’s gone, it’s gone!
Leading up to the sessions for The Hurting Kind, White was inspired by artists like Jim Reeves, Patsy Cline, Roy Orbison, Chet Atkins and Bill Porter. Drawing on these timeless influences, White sought out classic writers like Whisperin’ Bill Anderson and Bobby Braddock to collaborate with. “Coming out of each and every one of these situations, I got a resounding thumbs-up that I was on that right track,” says White of the collaborations. “I didn’t need anybody else’s approval after that.”
Please note - the additional Black Friday 20% off music discount does not apply to this item.
Track List:
The Good Old Days
Wish I Could Write You a Song
Heart Like a Kite
Yesterday’s Love
The Long Way Home
The Hurting Kind
This Isn’t Gonna End Well (Feat. Lee Ann Womack)
You Lost Me
James
My Dreams Have All Come True
Deluxe 7”:
Side A:
Loving The Day Away
Side B:
See If I Care
Nicole Atkins is back with her new album, Italian Ice!
"It really evokes Nicole Atkins' spirit. She's one of those people who is so inventive in everything she does." - NPR Music
The wild magic of the Jersey Shore boardwalk has inspired musicians across generations, but it takes a uniquely distinct vision to go find that slice of regional wonder in Northern Alabama. On Italian Ice, that’s exactly what Nicole Atkins has done, taking over the hallowed Muscle Shoals Sound Studio with a one-of-a-kind band featuring members of the Bad Seeds, Dap-Kings, the legendary Swampers and more. “Musically, it doesn’t make any sense,” says Atkins half-jokingly. “But I’m a superfan of all of them, and we ended up with the weirdest, craziest band ever. It just became this awesome misfit party.”
For the Italian Ice sessions at Muscle Shoals Sound studio, Nicole gathered a group of her “best musical friends” – who just so happen to be Jim Sclavunos and David “Moose” Sherman of Nick Cave & The Bad Seeds, The Dap-Kings’ Binky Griptite, and drummer McKenzie Smith (St. Vincent, Midlake) – along with Spooner Oldham and David Hood of the Muscle Shoals Rhythm Section. Co-produced by Nicole and Ben Tanner, Italian Ice also features special guests Seth Avett, John Paul White and Erin Rae, and songs co-written with Hamilton Leithauser, Britt Daniel and Carl Broemel from My Morning Jacket.
Named dually for her favorite summer treat growing up in Asbury Park and an alter ego she’s taken on while shooting dice, Italian Ice has been described by Nicole as “an acid trip through my record collection,” at turns as opulent as symphonic pop and as gritty as garage punk with shades of psych-rock, honky-tonk and girl-group melodrama. Conjuring the romance and danger of the Jersey Shore, Italian Ice’s eleven tracks ultimately channel an endless summer set to the sounds of the AM radio dial.
Track List:
Mind Eraser
Domino
Forever
Captain
Never Going Home Again
St. Dymphna
Far From Home
A Road to Nowhere
These Old Roses
In The Splinters
In partnership with Arkam Records, we’re proud to present a new 7” vinyl record from The Pine Hill Haints, “Satchel Paige Blues b/w Whiskey in the Jar”. It’s the first sounds from a new record the Haints are recording for Single Lock. Recorded live to tape at Sundrop Sound in Florence, Alabama by Ben Tanner, two days before Christmas 2019.
The A side is about Mobile Alabama’s legendary Satchel Paige, a King among the Negro Leagues baseball teams and Major League as well, featuring the royal blues harmonica played by the Col JD Wilkes...the B side consists of an old traditional Irish tune “Whiskey in the Jar.”
NOTE: This is a 7” VINYL record. Some call them 45s. This is one of those!
Track List:
Satchel Paige Blues
KERN! LIVE! is a live recording of The Kernal compiled from a performance at Brooklyn’s Union Pool and Florence, AL’s 116 E. Mobile, both in 2018.
Compact Disc only.
Track List:
Intro
Cold Shoulder
Knock-Kneed Ballerina
At the Old Taco Bell
Where We’re Standing
Try Again
Green, Green Sky
Pistol In the Pillow
Just the Other Side of Nowhere
I Understand
“Hollywood Gold” is the debut full-length record from The Prescriptions, an Alabama-born and Nashville-based indie pop/rock quartet that made their initial splash at SXSW 2019. What followed is a summer of tour dates with John Paul White, radio spins across the AAA spectrum, and a slot on Jason Isbell’s Shoals Fest playing in between Mavis Staples and Sheryl Crow. Not bad.
Track List:
Setting Sun
Hollywood Gold
She Is Waiting
Broken Wing
I’m Out
Cuts Like a Knife
Can’t Ask For More
Loose Ends
Night Before I Lost My Mind
All Your Life
Days Go By
The Hurting Kind is the third solo release from 4-time GRAMMY winner John Paul White.
Leading up to the sessions for The Hurting Kind, White was inspired by artists like Jim Reeves, Patsy Cline, Roy Orbison, Chet Atkins and Bill Porter. Drawing on these timeless influences, White sought out classic writers like Whisperin’ Bill Anderson and Bobby Braddock to collaborate with. “Coming out of each and every one of these situations, I got a resounding thumbs-up that I was on that right track,” says White of the collaborations. “I didn’t need anybody else’s approval after that.”
Track List:
The Good Old Days
Wish I Could Write You a Song
Heart Like a Kite
Yesterday’s Love
The Long Way Home
The Hurting Kind
This Isn’t Gonna End Well (Feat. Lee Ann Womack)
You Lost Me
James
My Dreams Have All Come True
Forever to Fade is Caleb Elliott’s debut album for Single Lock.
”Caleb Elliott's Forever to Fade is a truly unique artistic statement, one that combines cinematic string arrangements with Muscle Shoals-inspired grooves.” - The Bluegrass Situation
Track List:
Makes Me Wonder
Burns Like Hell
Get Me Out of Here
Forever to Fade
On Your Own
Till the Tides Turn
Are You Ready
Try
Old Souls
Don’t Go Losing Your Head
El Paso
Black Lungs
Produced by Ben Tanner
Assistant Production by Austin Motlow
Benton County Relic is Cedric Burnside’s debut record for Single Lock. It was honored with a nomination for “Best Traditional Blues Album” at the 61st GRAMMY Awards. It was Cedric’s second nomination and Single Lock’s first.
“Cedric Burnside carries the mantle — the joy and the burdens and the history of the North Mississippi hill country blues, a style like no other in Southern music.” - The Bitter Southerner
Grammy-nominated Blues musician Cedric Burnside remembers his roots— NPR Weekend Edition
“The Big Bad Burnside Sound is back… and how!”- MOJO
“If you’re tired of typical I-IV-V fare, Cedric just might be your man, and Benton County Relic might be the tonic you’ve been wanting.” - Premier Guitar
Track List:
We Made It
Get Your Groove On
Please Tell Me Baby
Typical Day
Give It To You
Hard To Stay Cool
Don’t Leave Me Girl
Death Bell Blues
There Is So Much
Call On Me
I’m Hurtin
Ain’t Gonna Take No Mess
Pre-Order! Items will ship on or around October 16, 2026.
Every great song is essentially a secret told to a stranger. And when the truth is clear, the stranger recognizes themselves in it. Mary Bragg describes the title Secrets to Strangers as a "zoomed-out representation" of her latest release, a collection of deeply personal stories offered to the outside world. "All these spaces are invitations to share a truth for the sake of connecting your own experience to another human being's," Bragg says.
Across twelve songs, she approaches memory, longing, and self-acceptance with grace and lyrical finesse. Recorded at FAME Studios in Muscle Shoals, a legendary room that captured landmark records by Aretha Franklin, Etta James, and countless others, one gets the sense, as more of Bragg's songs go to tape, that what is taking place will be a major career breakthrough. The hooky "Kid Flamingo," the bossa-tinged "I Like It Here," a poetic embrace of life's messiness: all come to life with co-producers Ben Tanner and John Paul White, stretching Americana to include indie rock, pop, early '80s radio vibes, and southern soul. "It's geographically neutral," Bragg says. "I like that it's not trying to satisfy the bounds of one genre." A dream team of players including Chad Gamble (Jason Isbell's 400 Unit), bassist Zac Cockrell (Alabama Shakes), and guitarist/keyboardist Jay Gonzalez (Drive-By Truckers) helped build the album alongside collaborators Maia Sharp, Mindy Smith, and John Paul White.
Bragg has quietly become one of Americana's most admired artists. NPR called her breakout Lucky Strike "one of the year's best," and Rolling Stone praised Violets as Camouflage for its "mix of classic country twang and gentle chamber-pop." A Berklee-trained producer herself, she handed off production duties this time, wanting to "expand what the songs could become in a way that was newly open to possibility."
The result is an album about giving yourself permission to enter a day without all the answers. "I hope that people who hear the record will immediately feel called to honor their own voices," Bragg says, "to hear their own joy and pain, and say, 'Yeah, that's me too.'"