{"title":"Releases","description":"\u003cp\u003eBrowse our Releases collection. 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It will be released on \u003cstrong\u003eBig Legal Mess\u003c\/strong\u003e (through \u003cstrong\u003eFat Possum Records\u003c\/strong\u003e) on \u003cstrong\u003eJanuary 25th\u003c\/strong\u003e, 2019.\u003c\/p\u003e\n\u003cp\u003eThough he’s spent his career as a sideman to the stars, \u003cem\u003eGet Your Shit Together\u003c\/em\u003e finds Sales revealing his profound gifts as a songwriter and vocalist. “Whatever I brought to Iggy, whatever I brought to Bowie, whatever I brought to Todd Rundgren … now I’m bringing that to myself, to my own work,” he says. “Look at other drummers — Art Blakey, Tony Williams, Elvin Jones — they all worked with great people, but then they got to a point in their lives where they did their own thing. Basically, they all had to reinvent themselves and start their own bands. So that’s what I had to do.”\u003c\/p\u003e\n\u003cp\u003eThe son of comedian Soupy Sales, Sales started playing drums as a child after he went to a recording session with his dad and glimpsed rock innovator Earl Palmer (Little Richard, Fats Domino) behind the kit. “I heard him play and said, ‘I want to do that!’” Sales would soon find himself sitting at the feet of R\u0026amp;B and jazz giants, learning firsthand from traps masters like Blakely, Jones and Buddy Rich. “Those people helped me out,” he says. “They schooled me as a kid and shared their groove with me.”\u003c\/p\u003e\n\u003cp\u003eSales quit junior high after tasting success with Tony and the Tigers, a teen beat band with his brother and frequent collaborator Tony Fox Sales. Later, the Sales Bros. joined Todd Rundgren for the\u003cem\u003e Runt\u003c\/em\u003e album and project and scoring a Top 20 hit with “We Gotta Get You a Women.” The siblings then kicked around various bands in L.A. before famously hooking up with David Bowie and Iggy Pop on the latter’s \u003cem\u003eLust for Life \u003c\/em\u003ealbum. A decade later, the Sales would reunite with Bowie, as Hunt provided songs, vocals and beats for the Thin White Duke’s late-’80s hard rock effort Tin Machine.\u003c\/p\u003e\n\u003cp\u003eIn the years after, Sales’ music career met many ups and downs, as he plunged deeper into a life of addition and penury. “I’ve been ripped off for lots of money in the music business. But I’ve still got the gold records and they look good on the wall,” he says. “I can look at myself in their reflection when I come home in the evening covered in paint from my job — cause that’s the only thing I can do other than play music. I’m a guy who got an eighth-grade education then hit the road. I’ve been playing every dive and arena in America since I was a kid. I’ve toured in station wagons and Lear jets. I’ve done it all.”\u003c\/p\u003e\n\u003cp\u003eSales rightly sees himself as a survivor, an artist ripe for (re)discovery, not unlike the North Mississippi bluesmen that Bruce Watson and Fat Possum\/Big Legal Mess began sharing with the world 20 years ago. “I am the white R.L Burnside, I am the version of that now,” says Sales laughing. “I’m not saying this done was by design. I’ve been on my own since I was 15. I came up hard in the business and somehow made my way in this life. But I feel like I’m the closest thing to one of these old blues guys.”\u003c\/p\u003e\n\u003cp\u003eLike those of the old blues masters, Sales songs are soaked in sweat, bathed in blood and steeped in sex. 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His 1969 debut \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePrecious Soul\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e was\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003eproduced by Willie Mitchel, who planned for Bryant to be Hi Records’ next star.  Don instead took a supporting role and made a career as a Hi Records hit man, namely as the songwriter and background singer for Peebles, who topped the charts in 1974 with “I Can’t Stand the Rain.”  Ann retired from music in 2012, and Don returned to the spotlight in 2017 with his second album, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDon’t Give Up on Love. \u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“I fell in love with Ann when she first came in to Hi,” he reveals. “But there was so much going on with her—recording, travel, so many around her—it wasn’t my time. 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I go back to look at situations in my life, work the story in my head…If you can tap into things that people go through, then they want to listen.”\u003c\/span\u003e\u003c\/p\u003e","brand":"Don Bryant","offers":[{"title":"Vinyl","offer_id":55919218294857,"sku":"jhf1787252568575","price":16.79,"currency_code":"USD","in_stock":true},{"title":"Compact Disc","offer_id":55919218327625,"sku":"puw1787252568576","price":8.16,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0937\/7185\/7993\/files\/you-make-me-feel_1.jpg?v=1787252575"},{"product_id":"voice-box","title":"Voice Box","description":"\u003cp\u003eTracklist\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBury Me\u003c\/li\u003e\n\u003cli\u003eVoice Box\u003c\/li\u003e\n\u003cli\u003eAthlete\u003c\/li\u003e\n\u003cli\u003eJetplane\u003c\/li\u003e\n\u003cli\u003eNo Caves\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBlair Howerton started songwriting as a coping mechanism during her formative years. Her vivid lyricism has bloomed into the dazzling, full-band emotional release known as Why Bonnie. The band’s Fat Possum Records debut EP \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVoice Box\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e celebrates unhindered expression via beguiling, propulsive guitar pop. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn a decisive step to start performing her backlogged material, Howerton moved back home to Texas after graduating college in 2015. In Austin, Howerton joined lifelong best friend Kendall Powell, who she met in preschool. Powell’s classical piano chops swapped to synth for the new project. Both active in the Austin scene, guitarist Sam Houdek and bassist Chance Williams later joined to complete the lineup. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn 2018, the band emerged on petite indie outlet Sports Day Records with\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e In Water. \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe EP eulogized Howerton’s older brother, who passed away years prior. Intimately bristling tracks explored the grieving process, introducing the group’s uncanny ability to stir up huge catharsis in a seamless rise. Follow-up \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNightgown \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eexpanded the effort, pulling lush Mazzy Star and Cranberries influences. Embarking on their first DIY tour the same year, Why Bonnie quickly landed opening runs for the like-minded sounds of Snail Mail and Beach Fossils. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe sum of those experiences culminates in the sweeping, layered rock sound of third EP \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVoice Box. \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eFuzzed-out guitars and crystalline vocals drive a tough-edged struggle in the space between suppression and artistic liberty. Howerton explains: “It encapsulates a disconnect between my inner and outer world, and not being able to express myself authentically because of that. But, ultimately knowing I will crash and burn if I don’t.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe intense effort isn’t always pretty. The title track fumes with quiet wisdom, urging: “I know it’s easier to bury your uncertainties in a cloud of masculinity \/ Guess it’s the curse you bear to talk over me.” Breeders-inspired “Athlete” endeavors self-doubt in a blistering metaphor of failed sportsmanship. Fiery “No Caves” rises to a forceful album finale, unleashing the full windswept power of Howerton’s vocals, padded by Houdek. Of the ending ascent, the lead singer decides: “It’s about the freedom of realizing that you can’t hide anymore. You have to put yourself out there.”\u003c\/span\u003e\u003c\/p\u003e","brand":"Why Bonnie","offers":[{"title":"Clear Green Vinyl","offer_id":55919218360393,"sku":"rix1787252570420","price":14.7,"currency_code":"USD","in_stock":true},{"title":"Compact Disc","offer_id":55919218393161,"sku":"wnw1787252570421","price":7.9,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":55919218425929,"sku":"jur1787252570422","price":4.76,"currency_code":"USD","in_stock":true},{"title":"mp3","offer_id":55919218458697,"sku":"gkd1787252570423","price":6.57,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0937\/7185\/7993\/files\/voice-box_1.jpg?v=1787252577"},{"product_id":"someone-new","title":"Someone New","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003eLimited Edition Milky Clear Gatefold Vinyl\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eFor Exclusive Bandcamp Bundle w\/ T-shirt click here\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eTracklist: \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e1. Someone New\u003c\/span\u003e\n\u003cdiv\u003e2. Comfort, Edge\u003c\/div\u003e\n\u003cdiv\u003e3. Pale\u003c\/div\u003e\n\u003cdiv\u003e4. Fruit Pit\u003c\/div\u003e\n\u003cdiv\u003e5. Smoking at the Gas Station\u003c\/div\u003e\n\u003cdiv\u003e6. Seven Hours\u003c\/div\u003e\n\u003cdiv\u003e7. Truth Nugget\u003c\/div\u003e\n\u003cdiv\u003e8. Dog\u003c\/div\u003e\n\u003cdiv\u003e9. Lylz\u003c\/div\u003e\n\u003cdiv\u003e10. Mid-Practice\u003c\/div\u003e\n\u003cdiv\u003e11. Fill the Rooms\u003c\/div\u003e\n\u003cdiv\u003e12. The Walk Home\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e13. Clown Neutral\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.592041015625\" lengthadjust=\"spacingAndGlyphs\" textlength=\"383.399963378906\" x=\"126.115997314453\" y=\"-706.467956542969\" data-test=\"textbox\"\u003e \u003c\/text\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.592041015625\" lengthadjust=\"spacingAndGlyphs\" textlength=\"383.399963378906\" x=\"126.115997314453\" y=\"-706.467956542969\" data-test=\"textbox\"\u003eA unique transformation occurs the moment a lover lays eyes on your bedroom \u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.592041015625\" lengthadjust=\"spacingAndGlyphs\" textlength=\"421.680000305176\" x=\"90.4919967651367\" y=\"-692.66796875\" data-test=\"textbox\"\u003efor the first time: the room is suddenly, involuntarily no longer your own. Your curated \u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.592041015625\" lengthadjust=\"spacingAndGlyphs\" textlength=\"285.504013061523\" x=\"90.4199981689453\" y=\"-678.867980957031\" data-test=\"textbox\"\u003e“you” is subject to the impressions of the other, and you try \u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.592041015625\" lengthadjust=\"spacingAndGlyphs\" textlength=\"113.040008544922\" x=\"378.981994628906\" y=\"-678.867980957031\" data-test=\"textbox\"\u003ehard to adopt this filter \u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.592041015625\" lengthadjust=\"spacingAndGlyphs\" textlength=\"415.811996459961\" x=\"90.0959930419922\" y=\"-665.067932128906\" data-test=\"textbox\"\u003eyourself, wondering what information the objects and their position suggest about you.\u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.5919799804688\" lengthadjust=\"spacingAndGlyphs\" textlength=\"13.5360107421875\" x=\"509.919982910156\" y=\"-665.067993164062\" data-test=\"textbox\"\u003eIf,\u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.592041015625\" lengthadjust=\"spacingAndGlyphs\" textlength=\"400.343978881836\" x=\"90.3719940185547\" y=\"-651.267944335938\" data-test=\"textbox\"\u003ein moments like these, the new gaze seems to almost conjure the room, a desperate \u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.592041015625\" lengthadjust=\"spacingAndGlyphs\" textlength=\"269.783981323242\" x=\"90.4199981689453\" y=\"-637.587951660156\" data-test=\"textbox\"\u003equestion arises: what remains of the room without the ot\u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.592041015625\" lengthadjust=\"spacingAndGlyphs\" textlength=\"159.048004150391\" x=\"360.381988525391\" y=\"-637.587951660156\" data-test=\"textbox\"\u003eher? With no external sources of \u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.592041015625\" lengthadjust=\"spacingAndGlyphs\" textlength=\"405.912017822266\" x=\"90.4559936523438\" y=\"-623.787963867188\" data-test=\"textbox\"\u003eappraisal or affirmation, where does the stuff of the self reside, and how does it take \u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"10.9200439453125\" lengthadjust=\"spacingAndGlyphs\" textlength=\"31.5\" x=\"90.6119918823242\" y=\"-609.987976074219\" data-test=\"textbox\"\u003eshape?\u003c\/text\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.5919799804688\" lengthadjust=\"spacingAndGlyphs\" textlength=\"58.5600051879883\" x=\"126.379997253418\" y=\"-596.188049316406\" data-test=\"textbox\"\u003e   \u003c\/text\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.5919799804688\" lengthadjust=\"spacingAndGlyphs\" textlength=\"58.5600051879883\" x=\"126.379997253418\" y=\"-596.188049316406\" data-test=\"textbox\"\u003e These blood\u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"5.72406005859375\" lengthadjust=\"spacingAndGlyphs\" textlength=\"3.02400207519531\" x=\"185.431991577148\" y=\"-596.18798828125\" data-test=\"textbox\"\u003e-\u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.592041015625\" lengthadjust=\"spacingAndGlyphs\" textlength=\"301.89599609375\" x=\"189.295989990234\" y=\"-596.18798828125\" data-test=\"textbox\"\u003edeep paranoias set the stage for Helena Deland’s debut album, \u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.592041015625\" lengthadjust=\"spacingAndGlyphs\" textlength=\"67.3679885864258\" x=\"90.1079940795898\" y=\"-582.388000488281\" data-test=\"textbox\"\u003eSomeone New\u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.592041015625\" lengthadjust=\"spacingAndGlyphs\" textlength=\"206.675994873047\" x=\"158.227996826172\" y=\"-582.388000488281\" data-test=\"textbox\"\u003e, an exploration of gender, power, time and \u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.5919799804688\" lengthadjust=\"spacingAndGlyphs\" textlength=\"146.495971679688\" x=\"368.109985351562\" y=\"-582.388061523438\" data-test=\"textbox\"\u003ethe “self” that finds Deland in \u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.592041015625\" lengthadjust=\"spacingAndGlyphs\" textlength=\"429.63599395752\" x=\"90.4919967651367\" y=\"-568.587951660156\" data-test=\"textbox\"\u003efull control of her sound and style, even as she asks whether control is ever possible. The \u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.592041015625\" lengthadjust=\"spacingAndGlyphs\" textlength=\"409.560089111328\" x=\"90.4559936523438\" y=\"-554.787963867188\" data-test=\"textbox\"\u003ealbum was written and recorded over a period of two years, beginning with Deland’s \u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.592041015625\" lengthadjust=\"spacingAndGlyphs\" textlength=\"228.060005187988\" x=\"90.3839950561523\" y=\"-540.957946777344\" data-test=\"textbox\"\u003eguitar and expanding into a lavish sonic sphere \u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.592041015625\" lengthadjust=\"spacingAndGlyphs\" textlength=\"193.848052978516\" x=\"318.649993896484\" y=\"-540.957946777344\" data-test=\"textbox\"\u003ethat blends elements of hypnagogic pop \u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.592041015625\" lengthadjust=\"spacingAndGlyphs\" textlength=\"400.967987060547\" x=\"90.4559936523438\" y=\"-527.157958984375\" data-test=\"textbox\"\u003eand classic folk. Deland’s voice ties it all together, sometimes hushed in a whisper, \u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.5919799804688\" lengthadjust=\"spacingAndGlyphs\" textlength=\"305.964027404785\" x=\"90.6119918823242\" y=\"-513.358032226562\" data-test=\"textbox\"\u003esometimes shrouded in distortion, and sometimes full and clear\u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"5.72406005859375\" lengthadjust=\"spacingAndGlyphs\" textlength=\"6.1920166015625\" x=\"396.574005126953\" y=\"-513.357971191406\" data-test=\"textbox\"\u003e–\u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.592041015625\" lengthadjust=\"spacingAndGlyphs\" textlength=\"112.679992675781\" x=\"405.658020019531\" y=\"-513.357971191406\" data-test=\"textbox\"\u003ebut always inviting the l\u003c\/text\u003e\u003ctext class=\"_3ziulaHePS\" direction=\"ltr\" height=\"14.5920104980469\" lengthadjust=\"spacingAndGlyphs\" textlength=\"111.840003967285\" x=\"90.3839950561523\" y=\"-499.678009033203\" data-test=\"textbox\"\u003eistener into her world.\u003c\/text\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Helena Deland","offers":[{"title":"Black Vinyl","offer_id":55919218491465,"sku":"rcn1787252571403","price":16.33,"currency_code":"USD","in_stock":true},{"title":"Compact Disc","offer_id":55919218524233,"sku":"qle1787252571404","price":7.8,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":55919218557001,"sku":"epa1787252571405","price":4.76,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0937\/7185\/7993\/files\/someone-new_1.jpg?v=1787252577"},{"product_id":"old-flowers","title":"Old Flowers","description":"\u003ch1\u003e\u003cspan\u003e2021 GRAMMY NOMINATED FOR BEST AMERICANA ALBUM\u003c\/span\u003e\u003c\/h1\u003e\n\u003cp\u003e Tracklist\u003cbr\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBurlap String\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-weight: 400;\"\u003eGuilty\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-weight: 400;\"\u003eIf I Told\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-weight: 400;\"\u003eTogether Or Alone\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-weight: 400;\"\u003eCarnival Dream\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-weight: 400;\"\u003eOld Flowers\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-weight: 400;\"\u003eBreak The Spell\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-weight: 400;\"\u003eHow You Get Hurt\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-weight: 400;\"\u003eIt Must Be Someone Else's Fault\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-weight: 400;\"\u003eShips In The Night\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eA Note on Old Flowers\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eYou can’t water old flowers. Yes, you fall in love, you make mistakes, and so do they. You run through blackberry fields in the summer of your youth, dream in passenger seats gazing past towns and fields, imagining a future life where everything works out. I fell head over heels in love at nineteen. The kind of love where you call up your best friend and say, “I think I’ve found my soulmate.” The pull towards that first true love is strong. It consumes you, makes you question your own dreams. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWe taught each other, grew up together, we were family. We fit just right, for a time. Then one day, after a long and rocky nine year road, life changed and became a complicated mess too hard to untangle. We couldn’t get our love back, no matter how many dreams that shadowed this hard truth. We grew resentful, selfish, harboring past mistakes and holding them up like armor from every blow. We grew up and our paths diverted. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOn New Year’s Day, 2018, a great horned owl dropped dead at my exes’ feet in my mother’s yard. It felt like a daunting omen, ushering on change for the both of us. We were distraught. We couldn’t afford the taxidermy, so we placed it in a big blue plastic garbage bin. Now it felt so cheap, that mystic creature in a plastic coffin. That’s how love feels sometimes – like we don’t serve it the ending it deserves. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe omen was true. That year, I started to see the woman I could be, the woman I wasn’t yet. Anytime I felt like myself, I was alone and wandering, and I knew that was a sign that it was time for change. New Year’s Day 2019, I said goodbye to my first true love and moved across the country. Losing someone you spend every day for nearly a decade with is intense. We talked in our dreams. I knew where he was, even before I entered a place. He’d always be there if I had a feeling. Humans are connected in unexplainable ways. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eI was writing a lot after we broke up as a healing technique, preserving each memory like an emotional archaeologist. Late one night, I woke up from a dream where I was searching for him, my ex, at a carnival. It was so vivid. I woke myself up to write a song on my piano. The next morning, he reached out to me for the first time in months. We went out, had a drink, caught up, and he told me that the hardest part about our separation was a reoccurring nightmare where he searched for me at a carnival. In that moment, I knew, humans have ways of connecting beyond words and touch. I truly believe that. We had the same dream, without seeing each other for months. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eEven with all the mystic symbolism that year presented, this is an age-old story I can’t make up. We fall in love, we grow up, we change, and they don’t change with us. ‘Old Flowers’ is about heartbreak. There are a million records and songs about that, but I did not lie when writing these songs. This album is about loving and caring for the person you know you can’t be with. It’s about being afraid to be vulnerable after you’ve been hurt. It’s about a woman who is alone, but okay with that, if it means truth. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis was my truth this year – my nine year relationship ended, and I’m a woman alone in the world, but happy to know herself.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThese songs came to me alone, late nights in Bisbee, Lisbon, Nashville, and London. Sometimes I’d just cry and sing, and a song would come out. I drank too much wine while writing this record, lit too many candles. You could say this was my attempt to summon the muse, but that’s bullshit, because she was just standing there naked looking me in the eyes. So I told her the truth. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis is my story of the most heartbreaking, but soul-revealing, year of my life. I drove myself mad. 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I found him to be my midnight rider.” The traditional “I’ll Fly Away” is done here a la Chuck Berry’s “Maybellene,” fast and joyful.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eBorn in Grenada, MS, King grew up in Charleston to a mother who taught her to sing. “I would sing hymn songs,” she says. Often ill as a child, she turned to song as a way to get through. As she grew up, she learned to interpret them in her own style. She laughs as she says, “I like to move when I sing.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eMarried and moving to Memphis in 1960, followed by a short stint in Chicago (“I couldn’t get used to the weather or how they went to church”), then back to Memphis, King first joined the Gospel Souls in 1969 after seeing them in concert. (The male vocal band had previously been on Halo Records and Designer Records, the latter catalogue explored in several exemplary Big Legal Mess releases.) She had always envisioned being backed by male singers. She was told, “If they got jealous wives, I wouldn’t.” But it worked out. She says, “I stayed 33 years with them.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eProducer Juan D. Shipp, a gospel DJ-cum-label impresario, thought he would get a richer sound than the gospel music studios in common use in Memphis at the time when he stumbled on Tempo Studios downtown, which became his go-to. “It was a compact studio but boy did it sound good,” Shipp recalls, continuing, “You had to walk up the stairs to it.” He first recorded King and the Gospel Souls in 1972, issuing “I Heard The Voice” (which was later sub-leased to the Messenger label).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eShipp continues, “When you come to the studio, I worked the devil out of you to make it what it should be. We were working at ‘I Heard The Voice.’ I said, ‘Sing it like you making love to God.’ That song skyrocketed. It was 5½ years at #1. Nobody could sing it like the original!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eShipp brought in Lynn Askew on guitar and musicians affiliated with Tempo Studios for the rhythm section and keys.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eWorking a day job for a florist, she was in a serious car accident that inspired “I Heard The Voice” B-side “Waiting on the Lord.” King says, “I had no feeling in my body. I couldn’t do nothing but pray. The fire department had to cut me out of it. I thought about it that day, that song.” She still has pain in her body every day.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eWhen the single was released, it caught on quickly. “I was riding down Union Ave.,” says King. “Rev. Shipp, he was on [the radio]. I say, ‘What,’ turn up the radio real loud. A guy from Memphis was at the red light. I said, ‘It’s me!.’ Every day, look like every twenty minutes, they was playing it. The phone started to ring. It kept us going everywhere.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eIn order for King and the Gospel Souls to tour, but keep their day jobs and church commitments in town, they would hit the road on weekends, playing Saturday night and Sunday evening, eating after each concert, and driving back to Memphis in time to be at work by 8AM Monday morning. Plus, King would attend church services during the weeknights and work on choir rehearsals on Tuesday nights.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThe band was once asked to perform for inmates at the Tennessee State Prison farm near downtown Nashville, TN. “Everything was on lockdown ‘cause womens was fighting. I was so scared. 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