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The creator of some of the finest power-pop of the ’80s, he’s a Grammy Award-winning singer, songwriter, and musician who has sold 25 million albums and scored 17 U.S. Top 40 hits, including “Jessie’s Girl,” “Don’t Talk to Strangers,” “An Affair of the Heart,” “I've Done Everything for You,” “Love Somebody,” and “Human Touch.”\u003c\/p\u003e\n\u003cp\u003eSpringfield’s latest musical effort is Rocket Science, his 18th studio album, which he will release in February through Frontiers Music. Written largely with his longtime collaborator and former bass player Matt Bissonette, the album delivers the expertly crafted wide-ranging pop-rock songs Springfield is known for. “I wanted the album to be very open and electric — rock and roll with some country elements, and always with great hooks,” he says. 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Along with harnessing the Bay Area-based band’s dynamic energy for a more powerful impact than ever before, Soulrocker again shows Franti’s singular ability to channel frustration into music that’s both thought-provoking and triumphantly hopeful. In a departure from the largely self-produced albums that comprise the rest of the Spearhead catalog, Soulrocker was made in collaboration with Jamaican producers Stephen “Di Genius” McGregor (son of reggae luminary Freddie McGregor) and Dwayne “Supa Dups” Chin Quee (known for his work with artists like Bruno Mars and John Legend). 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But the group’s new album, Morning Report, betrays a more irreverent, adventurous ethos that more readily recalls the cut-and-paste approach of hip-hop beatmakers than the plug-and-play attack of a live rock band, with click-tracked rhythms, subliminal samples, electronic pulses, and sax and violins threaded into the richly textured mix.\u003c\/p\u003e\n\u003cp\u003eCertainly, this is Arkells’ most eclectic album to date, from the piano-pounded, “California Love”-schooled swagger of “Private School” to the silver-lined break-up song “My Heart’s Always Yours,” the sort of ascendant, blood-pumping anthem you can easily imagine sparking an arena full of waving illuminated smartphones. 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Gothic and ambitious, with a rustic, lived-in sound, it’s a meditation on love curdling into its opposite, on recrimination defining relationships, on hope finally filtering through doubt.\u003c\/p\u003e\n\u003cp\u003eFar from the grind and glamour of Nashville—where he worked for years as a working songwriter before stepping into the spotlight himself—White settled in his hometown of Muscle Shoals, Alabama, a wellspring of gritty Southern rock and soul since the 1960s. Together with Alabama Shakes keyboard player Ben Tanner and Shoals native Will Trapp, he founded and runs Single Lock Records, a local indie label that has released records by some of the Yellowhammer State’s finest, including Dylan LeBlanc, St. Paul \u0026amp; the Broken Bones, and legendary songwriter and keyboard player Donnie Fritts. The label is based in a small ranch house a stone’s throw from White’s own home, which would come in handy when those songs started invading his head.\u003c\/p\u003e\n\u003cp\u003e“Honestly, I tried to avoid them, but then I realized the only way I was going to get rid of them was if I wrote them down. I got my phone out and I’d sing these little bits of melody, then put it away and move on. But eventually I got to a place where it was a roar in my head, and that pissed me off.” Due to his experiences as a gun-for-hire in Nashville, White was reluctant to romanticize the creative process, to turn it into a spiritual pursuit. “Then one day I told my wife I think I’m going to go write a song. She was as surprised as I was. I went and wrote probably eight songs in three days. It was like turning on a faucet.”\u003c\/p\u003e\n\u003cp\u003eMost artists would kill for such a downpour, but White was wary of the consequences. He knew that writing songs would lead to recording them, which would result in releasing them, and that means touring and leaving home for weeks at a time. “As soon as I write a song, I start thinking what other people might think of it. I’ve talked to friends about this: What is it about us that makes us do that? Why can’t I just sit on my back porch and sing these songs out into the ether? I don’t have an answer for it yet, but I think it’s just part of who I am. I need that reaction. I need to feel like I’m moving someone in a good way or in a bad way. I need to feel like there’s a connection.”\u003c\/p\u003e\n\u003cp\u003eWhite threw himself into the project, no longer the reluctant songwriter but a craftsman determined to make the best album possible—to do these songs justice. He cut several songs at the renowned FAME Studios in his hometown, where Aretha Franklin, Wilson Pickett, the Allmans, the Osmonds, Bobbie Gentry, Arthur Conley, and Clarence Carter recorded some of their most popular hits.\u003c\/p\u003e\n\u003cp\u003eOne product of those sessions is “What’s So,” which introduces itself by way of a fire-and- brimstone riff, as heavy as a guilty conscience—the kind of riff you wouldn’t be surprised to hear on a Sabbath album. But White’s vocals are gritty and soulful, a product of the Shoals, almost preacherly as he sings about earthly and eternal damnation: “Sell your damn soul or get right with the man, keep treading water as long as you can,” he exhorts the listener. “But before you do, you must understand that you don’t get above your raisin’.” It’s the heaviest moment on the record, perhaps the darkest in White’s career.\u003c\/p\u003e\n\u003cp\u003eAt the other end of the spectrum is “The Martyr,” one of the catchiest tunes White has ever penned. The spryness of the melody imagines Elliott Smith wandering the banks of the Tennessee River, yet the song is shot through with a pervasive melancholy as White wrestles with his own demons. “Keep falling on your sword, sink down a little more,” he sings over a dexterous acoustic guitar theme. This is not, however, a song about some unnamed person, but rather a pained self-diagnosis: “These are the wounds that I will not let heal, the ones that I deserve and seem so real.” White knows he’s playing the martyr, but he leaves the song hauntingly open-ended, as though he isn’t sure what to do with this epiphany beyond putting it in a song.\u003c\/p\u003e\n\u003cp\u003eThe rest of Beulah was recorded in the Single Lock offices\/studio near White’s home. “I can be more relaxed about the process. We can all just sit there and talk about records or baseball without feeling like someone’s standing over our shoulders. That’s a big deal to me, not to feel pressured. 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In the weeks that followed, Dessner produced the record at his home studio. “He didn’t want it to sound too pretty,” Hannigan says. “He wanted it to have a texture rather than have big arcing melodies.” At Swim is in part about homesickness and isolation as well as about love.\u003c\/p\u003e","brand":"Lisa Hannigan","offers":[{"title":"Default Title","offer_id":25683513030,"sku":"2209144","price":15.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0882\/5118\/products\/Lisa-Hannigan-At-Swim-CD-With-Autographed-Booklet-2209144.jpg?v=1470252324"},{"product_id":"ingrid_michaelson-it_doesnt_have_to_make_sense_with_autographed_cd_booklet","title":"It Doesn't Have To Make Sense With Autographed CD Digipak","description":"\u003cp\u003eTo say Ingrid Michaelson is prolific is an understatement: In just a decade, she has released six albums (five of which have charted) and ten singles (eight charted). But to say she’s an emotional multitasker? That’s a relatively new accomplishment for her. The love’s-labors-lost banger “Hell No,” is her first single in a year. It’s also surprisingly playful. Because over the past two years, Michaelson has grappled with not only the personal and familial sickness chronicled in her previous album, ‘Lights Out,’ but also the death of her mother and demise of her marriage. For some, it can take a lifetime to navigate the stages of so much grief. But Michaelson did it in record time.\u003c\/p\u003e\n\u003cp\u003eHer new album, the aptly named ‘It Doesn’t Have to Make Sense’ is a powerfully honest time capsule of her undoings and rebirths. “Allowing myself to not try to make everything make sense was freeing for me,” she explains the New York-based singer. “Life doesn’t always make sense.”\u003c\/p\u003e\n\u003cp\u003eThough her last album teemed with melancholia, she introduced it with the uplifting hit “Girls Chase Boys.” (It ended up being her highest Billboard Hot 100 single since “The Way I Am.”) Similarly, the joyful “Hell No” is a gateway to the all-parts-of-the-buffalo ‘It Doesn’t Have to Make Sense.’ “There are heart-wrenching songs on it, but some are just fun for fun’s sake,” she says. “You can choose the path of darkness or you can choose the path of light. The record reflects a positive motion.”\u003c\/p\u003e\n\u003cp\u003eCo-written with Nashville songwriter Luke Laird — who also contributed to the back-porch party “Celebrate,” her album’s other contact high — “Hell No” is essentially a country song gussied up as a pop song. “It’s about an angry woman who is going to leave this cheating man,” she says. “The lyrics are not about a specific relationship — it’s about 5 or 6 different ones, culled together.”\u003c\/p\u003e\n\u003cp\u003e“I think on ‘Lights Out,’ I was learning how to let people in,” she says. “This time around, I kind of knew what I was getting into. I was just going into songwriting in such a different way — I was so unguarded.” Which was a particularly gutsy leap of faith, since so much of ‘It Doesn’t Have to Make Sense,’ being inspired by her mom, is so close to her.\u003c\/p\u003e\n\u003cp\u003e“Light Me Up” is, hands down, the rawest wound on the album. Penned in late 2014, just a week after her mother’s death, the fluttering song is a snapshot of her anguish, warts and all. “These are fresh, in-the-middle-of-the nightmare vocals,” she says. “That song came from a place of wanting to see her again, not really understanding where she’s gone.” Rendering it live will be painful, “But,” clarifies Michaelson, “I’ll never write a song that I don’t want to sing over and over again.”\u003c\/p\u003e\n\u003cp\u003eWhat she probably didn’t anticipate was her grief sparking a surge in creativity. “I have odder pieces of music that I put on the record,” she says. “It would be a lie to say that I didn’t care. But I cared less about what people think.” The cinematic “Another Life,” for instance, packs a lot into one song: string arrangements, tempo changes, nightingale vocals. “That song came out of a little assignment where I wanted to write a song with as many bizarre chord changes as I could. I kind of just sat at the piano and made the melody fit over it,” she says. It’s about the romance of feeling connected to someone. “It was a very simple sentiment wrapped up in a very intricate piece of music,” she says. “I was really just trying to make a symphony in three minutes.”\u003c\/p\u003e\n\u003cp\u003eThe concept of symphony is key. Much of ‘It Doesn’t Have to Make Sense’ is Michaelson broadening her musicianship by endeavoring to communicate more through evocative sounds than her actual lyrics. While the album does not belabor any aural theme, it does make spectacular use of strings and harmony in its gut-wrenching laments. “Drink You Gone,” written with Busbee in just two hours, is a classic love song that relives the moment Michaelson was holding the hand of her mother, as she faded away in the hospital. Meanwhile, the heartbreakingly quiet “The Old Days” captures the feeling of “moving forward, but never forgetting the love.” If there is a thread to the randomness of ‘It Doesn’t Have to Make Sense,’ it is that one can only purge emotions after nearly drowning in a rush of them.\u003c\/p\u003e\n\u003cp\u003e“This was me was finding my way out of the darkness. And asking, ‘Where do I go from here?'” she says. “It’s been a struggle to become fulfilled again. And I had to put that sorrow into something.” In that sense, ‘It Doesn’t Have to Make Sense’ is an epic break-up album, in which Michaelson finally bids farewell to demons.\u003c\/p\u003e","brand":"Ingrid Michaelson","offers":[{"title":"Default Title","offer_id":25683516422,"sku":"2210296","price":19.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0882\/5118\/products\/Ingrid-Michaelson-It-Doesnt-Have-To-Make-Sense-CD-With-Autographed-Booklet-2210296_1c7b9f02-dd96-4924-936d-c2226c069446.jpg?v=1470422867"},{"product_id":"amos_lee-spirit_with_autographed_cd_booklet","title":"Spirit With Autographed CD Booklet","description":"\u003cp\u003eAmos Lee is one of the newest additions to the Republic family after recently signing to John Varvatos Records. Lee is a Philadelphia-born singer-songwriter whose musical style encompasses folk, rock, and soul. With this album Lee takes an enormous creative leap by taking on not only the role of artist, but also producer.\u003c\/p\u003e\n\u003cp\u003eLee is certainly not a newbie. He has previously toured with legendary artists including Bob Dylan and Paul Simon, as well as collaborated with Norah Jones, Lucinda Williams and Willie Nelson.\u003c\/p\u003e\n\u003cp\u003eWith a new hit single “Vaporize,” Amos Lee’s success shows no indications of slowing down.\u003c\/p\u003e","brand":"Amos Lee","offers":[{"title":"Default Title","offer_id":25751885894,"sku":"2209146","price":16.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0882\/5118\/products\/Amos-Lee-Spirit-CD-with-Autographed-Booklet-2209146.jpg?v=1470754555"},{"product_id":"the_head_and_the_heart-signs_of_light_with_autographed_cd_booklet","title":"Signs Of Light With Autographed CD Booklet","description":"\u003cp\u003eRecorded in Nashville with producer Jay Joyce (Eric Church, Cage The Elephant), Signs Of Light, crackles with the upbeat, sing-a-long energy of the Head And The Heart's finest work. Lead single \"All We Ever Knew,\" which was written during the \"Let's Be Still\" era but never captured to the band's satisfaction until now, is sure to be a crowd-pleaser, while \"Turn It Around\" seems primed to be a future concert staple, matching its inspirational message with a lush and multi-layered soundscape.\u003c\/p\u003e\n\u003cp\u003eOn Signs Of Light, that gamut of emotions is felt most deeply on the Josiah Johnson-penned title track, which none of the other members had ever heard until they happened to walk in on him playing it over and over at the piano during pre-production in El Paso, Texas. \"It was one of those moments where no one talks,\" Russell remembers. \"No one needs the chords; no one is looking up. You simply pick up your instrument and play. The next thing you know, nearly 10 minutes have gone by and you have no idea how or why or what just happened.\"\u003c\/p\u003e","brand":"The Head And The Heart","offers":[{"title":"Default Title","offer_id":25840717446,"sku":"2212894","price":14.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0882\/5118\/products\/The-Head-and-the-Heart-Signs-of-Light-CD-with-Autographed-Booklet-2212894.jpg?v=1470427551"},{"product_id":"lydia_loveless-real_cd_with_autographed_boy_crazy_ep","title":"Real CD With Autographed Boy Crazy EP","description":"\u003cp\u003eBoy Crazy EP signed by Lydia Loveless ships with order of Real.\u003c\/p\u003e\n\u003cp\u003eRejoice! Singer-songwriter Lydia Loveless’s highly anticipated fourth album, Real, will be released August 19th.\u003c\/p\u003e\n\u003cp\u003eReal was recorded at Sonic Lounge Studios on her home turf of Columbus, OH and was engineered and produced by Joe Viers. “I chose to work with Joe Viers, engineer and producer of my last three releases, again because I trust him completely not only with my music but with my words,” Lydia said. “There was a lot to say this time around and I wanted to return to that sort of playground and (sometimes literally) throw things at the wall. Whereas our previous records could be described as blunt or raw, this one I wanted to be known as honest, as true, as real (rimshot),” she added.\u003c\/p\u003e\n\u003cp\u003eReal is one of those exciting records where you sense an artist truly hitting their stride, that their vision is both focused and expansive, and that their talent brims with a confident sense of place, execution and exploration. Whether you've followed Lydia's career forever, like us, or if you are new to her ample game, Real is gonna grab your ears.\u003c\/p\u003e\n\u003cp\u003eOn her first two Bloodshot full-length releases (2014's Somewhere Else and 2011's Indestructible Machine) there were fevered comparisons to acknowledged music icons like Loretta Lynn, Stevie Nicks, Replacements, and more: She's half this, half that, one part something else. We hate math. But, now Real and Lydia Loveless are reference points of their own. Genre-agnostic, Lydia and her road-tightened band pull and tease and stretch from soaring, singalong pop gems, roots around the edges to proto-punk. There are many sources, but the album creates a sonic center of gravity all its own. Song to song, moment to moment, you may find yourself thinking \"that could be...\" or \"there are moments of...\" but you are quickly transported away to another moment, another thought, another sound, another shot at honesty.\u003c\/p\u003e\n\u003cp\u003eAlways a gifted writer, Lydia gives the full and sometimes terrifying, sometimes ecstatic force of the word \"real.\" Struggles between balance and outburst, infectious choruses fronting emotional torment are sung with a sneer, a spit, or a tenderness and openness that is both intensely personal and relatably universal It is, as the title suggests, real.\u003c\/p\u003e\n\u003cp\u003eBut what is \"real\"?\u003c\/p\u003e\n\u003cp\u003eIn the hands of a performer like Lydia, however, it is cast to almost Plantonic depths:\u003c\/p\u003e\n\u003cp\u003e\"We refer only to things fully formed and everlasting as \"real\". If a marriage ends it was \"fake\" and everything was a \"lie\". We ask if quickly made up tunes are \"real songs\". The veil of depression causes to wonder if we're real people, feeling discarded, sitting at the kid's table. Am I real even if I stayed in bed all day? Is love real even when it's over or goes entirely unfulfilled? Are we real after we die, even if no one remembers us? Or is anything temporary merely a fake, a phony, a stand in. I was thinking about this a lot when I was writing these songs. What makes someone, even someone lacking the confident to show their true selves a \"real\" authentic person.\u003c\/p\u003e\n\u003cp\u003eWhen I strip away my vices who am I really. Am I only myself when I'm dancing on a table and making the most vulgar of wisecracks, even though I hate that person, it gets a rise out of myself. The party monkey side. But the side with any amount of grace is often met with concern or disdain. Who are you really, at the end of the day, entirely alone, without all the daydreams and the bullshit and the performance art we go through all day every day, even non performers or as we call them, \"normal\" people. Because I feel like I spent my formative years flopping around like a fish, masking pain with substance abuse and somewhat ashamed of who I was—a hayseed, a phony, I felt—it was absolutely necessary for me to become a stronger, more confident human, or I was going to die. 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