In their debut album Last Spring, Dawn Riding has crafted a project that is somehow fierce, intimate, outlaw, passionate, and psychedelic, all at the same time. Having cut their teeth in basements, underground venues, and punk houses around the country, it only made sense for Dawn Riding’s debut to come to life in a dusty mid-fi recording studio run out of a San Francisco garage. The eight psych-tinged songs that came out of the Last Spring sessions unveil the stories of songwriter Sarah Rose Janko’s fabled friendships, renegade icons, and uncompromising ethos, and serve as a perfect introduction to Dawn Riding’s dreamy, gritty sound.
You might expect a band that calls itself Yarn to, naturally, tend to spin a yarn or two. “that’s what we do, we tell stories, live and in the studio, truth and fiction” singer/songwriter Blake Christiana insists. “We don’t always opt for consistency. There’s a different vibe onstage from what comes through in our recordings. There’s a difference in every show as well, you never know what you’re going to get.”
This year, the band reissued its 2016 album This Is The Year on vinyl. Grab it now!
Phil Ranelin’s love for the slide trombone stems from the almost royal tradition that the trombone holds in Indianapolis’ Jazz heritage: and from the slide trombone’s spiritual position within the genesis of Jazz as an indigenous American cultural treasure.
Phil Ranelin is a fourth generation Indianapolis native son and as such, he is a modern day continuum of J.J. Johnson and his “Naptown” slide trombone forefathers such as Reggie DuValle (Ranelin’s first private instructor), Tillman Buggs, Slide Hampton and others.
As a Straight Ahead innovator, Phil Ranelin continues to explore new realms of collaborations with younger generations, with the presentations of atypical configurations, and with complex-rhythmic and melodic-groove juxtapositions.
Collaborators include: Kamasi Washington, Calvin Keys, Big Black, Pharoah Sanders, Henry Franklin, Roger Glenn and more.
Born as Javier Alberto Mendoza in the state of Virginia to a Spanish mother and Mexican/American father, Javier’s love for music burned bright from a young age. He started his musical career joining Warner-Chappell as a staff writer in Miami, FL. There he spent his time writing tunes for mega pop sensations such as Enrique Iglesias, Juan David, Ricky Martin, Rosario and more. The ever-winding path of life took him to Saint Louis: City of Miles Davis, Tina Turner and Chuck Berry, where he saw musical success with his new following. In 2014 Mendoza moved to Music City, Nashville, TN where he is embarking on a project as Hobo Cane.
Sometime in the 1960s Hank Mullen’s friend and fellow Buffaolian Carl LaRue, an organ player, traveled with his group (Carl LaRue and His Crew) all the way to Phoenix, Arizona, where he’d secured a steady gig as the house band at the local Zanzibar club. Soon after starting the job, he would invite a young (16yr & 19yr old) vocal duo to perform some of their original songs in front of his band during shows.
Ernest Johnson Jr. and Eddie (Edgar) William Campbell were eager to make it in music and for the next 10 odd years would attempt to do so.
They managed to record and release a handful of singles across varied imprints spread throughout the United States, from South Carolina to Chicago, from New York to Phoenix. One of their singles, “Time Waits for No One” hit #1 on New York’s WWRL, which subsequently landed on the bill at the Apollo, appearing alongside soul heavyweight’s Gene Chandler, Wilson Pickett, and the Temptations. Through ups and downs, none of their pair’s recordings ever served to catapult them to greater fame and sadly in the early 70’s, Eddie’s premature death would close the door on their partnership.
One of the duo’s last recordings, “Bullets Don’t Have Eyes” was never released at the time of its creation in 1972. The 45 was eventually released on Daptone imprint Ever-Soul in 2009.
Exclusive to the Super Soul Super Store, this 45 features a different b-side, “You Make My Life A Sunny Day,” a staff favorite here at House of Soul, and recently sampled by Jay Z & Beyoncé for The Carters’ “Lovehappy” on Everything Is Love (2018).
Shane McMahon and Matt Caflisch each contribute songs on the record, which was recorded in Los Angeles and Minneapolis. Other musicians lending their talents include: Davin Odegaard (bass), Tim Baumgart (drums), Luke Cissell (cello/violin), and Preston Edmondson (organ/piano).