| Hiss Golden Messenger — Hallelujah Anyhow (22 Sept. 2017) |
Hiss Golden Messenger — Hallelujah Anyhow (22 Sept. 2017)
→ 17. album, ale stojí za připomínku, že M.C. Taylor z Hiss Golden Messenger má fascinující minulost: vyučil se ve svém obchodě s různým outfitem, pročesáním Ameriky, koncerty a studií, ponořením se do otcovství — a tak vytvořenou pověst nyní rozvíjí mezi kognoscenty* Americany (*osoby, které mají vynikající znalosti a porozumění určitému oboru, zejména v oblasti hudby, výtvarného umění, literatury a módy světa) se svými inteligentními texty a skladatelským rukopisem, který by si mohl notovat s Van Morrisonem, Bob Dylanem a zřejmě i počátky 70. let Rolling Stones. “Hallelujah Anyhow” je jeho nejnovější verze krásné stylové kolekce, které pohodlně sedí kontext v rámci žánru ... i minulých desetiletí.
→ Mike Taylor, jak je znám svým přátelům, představil svou nejnovější práci a lyrická témata: Vidím tmavé mraky. Byl jsem uznán, abych je viděl. Jsou to stejné mraky strachu a ničení, které zatmívaly svět opakovaně, jen s jinými herci, ale tato hudba je pro naději, to je jediná věc, kterou bych chtěl o tom říct.. Láska je jediná cesta ven. Nikdy jsem se nebál temnoty, je to jen jiný druh světla. A kdyby se v některých dnech tato víra zdála těžší než jindy, hallelujah.
→ 10 autorských skladeb, kde první zastávkou je Jenny of the Roses. Patří mezi rychlejší na albu, melodii určuje klavír, zatímco skupina koloruje zbytek. Nejpomalejší věci Caledonia, My Love a Harder Rain vytvářejí pocit, že byly složeny v Belfastu u nohou Van Morrisona. Sympatická aranžmá s mandolinou (Josh Kaufman), prominentním elektrickým pianem a vokálními harmoniemi (Alexandra Sauser~Monnig, Tift Merritt, Skylar Gudasz, Tamisha Waden) podporují tok vyprávění.
→ John the Gun začíná lehce akusticky, píseň pak pozvolna pozvedne elektrická kytara. Tato píseň je vzorem pro kvalitu všech aranžmá na albu. Pravidelně využívá saxofon (Michael Lewis), harmoniku (Phil Cook) a trombón (Evan Ringel), v dokonalé mixáži (Scott Hirsch, Chris Boerner, Brad Cook), aby vytvořil ten zvuk a tu atmosféru, kterou důvěrně známe z vkusnějších dřevních dob — ověřte si to při opakovaném poslechu. Domino (Time Will Tell) možná není tak hustá, jako aranžmá Stones, ale klavír (Phil Cook) a bubny (Darren Jessee) připomínají něco buď ze Sticky Fingers, nebo z Exile On Main Street. A nikdo si nebude stěžovat!
→ When The Wall Come Down je pro mne vrcholem, zde vyhrávky elektrické kytary (Josh Kaufman) tkají vzorce kolem nezapomenutelného chorusu, zatímco si Taylor odděluje vokál v mixu tak, aby to šlapalo nad jednoduchým aranžmá a snare bubnem. Po smrti Toma Pettyho zde zůstává hlas stejné barvy jakoby připomínkou, že každého postihuje čas a nepředvídaná událost. To sedí: M.C. Taylor viděl tmavší věci než noc.
→ Hallelujah Anyhow is the latest studio album from Hiss Golden Messenger. Its ten new songs, penned by HGM principal M.C. Taylor, were recorded with Brad Cook, Phil Cook, Chris Boerner, Josh Kaufman, Darren Jessee, Michael Lewis, and Scott Hirsch. Alexandra Sauser~Monnig, Tift Merritt, Skylar Gudasz, Tamisha Waden, Mac McCaughan, and John Paul White provided vocal harmonies.
→ “I see the dark clouds. I was designed to see them. They’re the same clouds of fear and destruction that have darkened the world since Revelations, just different actors. But this music is for hope. That’s the only thing I want to say about it. Love is the only way out. I’ve never been afraid of the darkness; it’s just a different kind of light. And if some days that belief comes harder than others, hallelujah anyhow.” — M.C. Taylor Location: Durham, NC
Album release: 22 Sept. 2017
Record Label: Merge
Duration: 36:19
Tracks:
01. Jenny of the Roses 3:39
02. Lost Out in the Darkness 3:23
03. Jaw 3:13
04. Harder Rain 4:16
05. I Am the Song 2:49
06. Gulfport You’ve Been on My Mind 4:42
07. John the Gun 3:28
08. Domino (Time Will Tell) 3:45
09. Caledonia, My Love 3:00
10. When the Wall Comes Down 4:04
Credits:
→ M.C. Taylor: Acoustic guitar and singing
→ Brad Cook: Bass guitar
→ Phil Cook: Acoustic and electric piano, slide guitar, harmonica and singing
→ Josh Kaufman: Electric and acoustic guitars and mandolin
→ Darren Jessee: Drums and percussion
→ Michael Lewis: Saxophone
→ Evan Ringel: Trombone
→ Alexandra Sauser~Monnig, Tift Merritt, Skylar Gudasz, Tamisha Waden, Mac McCaughan, and John Paul White: Harmony
→ All songs written by M.C. Taylor
→ Produced by M.C. Taylor and Brad Cook
→ Engineered by Scott Hirsch and Chris Boerner
→ Mixed by Brad Cook and Chris Boerner
→ Mastered by Chris Boerner at Kitchen Mastering, Carrboro, NC
→ Cover artwork by Sam Smith
→ Cover photograph by Andy Tennille
→ Interior photographs by Matt McCaughan
→ Layout by Daniel Murphy
→ Tift Merritt appears courtesy of Yep Roc Records.
→ Copyright 2017 M.C. Taylor/Prophecy Connection, BMI
→ Our grateful thanks.
Notes:
φφ→ “Rhythm? I learned it over twenty years in the back of rented vans, in attics and back rooms — hard places to get to, harder places to get out of. And now rhythm is my clock and I live by it. We all do. But it’ll kill you if you’re not careful. It might kill you even if you are. Hallelujah anyhow.” — M.C. Taylor
Review
by Stephen M. Deusner, SEPTEMBER 21 2017 / Score: 7.9
φφ→ Hiss Golden Messenger’s bittersweet, new LP is full of fluttery soul~grooves, borrowing from various regional folk and blues traditions. It speaks to what it means to be a compassionate citizen today.
φφ→ M.C. Taylor has been making music for more than 20 years, first as a member of the hardcore act Ex~Ignota and later as frontman for the California country~rock group the Court & Spark. He formed his latest incarnation, Hiss Golden Messenger, when he moved to North Carolina in the late 2000s, but only in the last five years has that band become a full~time gig for the folklorist and family man. During that relatively short time, he has not changed his approach or his subject matter: He still writes intelligently and insightfully about America as both a place to inhabit and a story to tell, about the trials of faith and the lure of doubt, about family and its incumbent responsibilities.
φφ→ Taylor has not changed, but the times certainly have. Bridging two extremely different presidential administrations, Hiss Golden Messenger suddenly sounds all the more prescient in 2017 than it did even on the group’s most recent album, last year’s Heart Like a Levee. Taylor’s constant theme has been joy in the face of misery, jubilation during times of tribulation, hope despite the tide. As he sings on “Jenny of the Roses,” the first song off Hallelujah Anyhow, “I’ve never been afraid of darkness, it’s just a different kind of light.” With its burbling tempo and gospel piano, it sounds like a joyful tune, but the lyrics reveal gradations of regret and despair as Taylor celebrates the life of someone long departed. “Jenny of the Roses” is the very definition of bittersweet, as are the songs that follow.
φφ→ There is something comforting in the contradictions Taylor explores on Hallelujah Anyhow, something that speaks generally to what it means to be a conscientious and compassionate citizen at a time when every day seems to introduce some new travesty. How do you find and express joy when the world is crumbling all around you? That’s been the subject of nearly every Hiss Golden Messenger album, but it’s especially pronounced on Hallelujah Anyhow, a record of fluttery soul~grooves and complicated insights. (The album title is perfect, the album cover not even close.) Taylor has said it’s not a protest album. Instead, it might be called a persist album. It doesn’t speak truth to power, but reassures and invigorates those who feel powerless.
φφ→ That modest ambition supplies the music with a certain spark. Taylor recorded the album in a matter of days, bringing his road~hardened backing band into the studio to flesh out the songs quickly, as though any hesitation might lessen their urgency. Replacing longtime drummer Matt McCaughan (out on tour with Bon Iver) is Darren Jessee, best known as one~third of Ben Folds Five. He brings a staunch backbeat to these songs, moving “Lost Out in the Darkness” along at an almost martial pace and punching up the AM country groove of “John the Gun.” While there’s nothing quite so experimental as the jagged stomp of “Like a Mirror Loves a Hammer” off last year’s Heart Like a Levee, the arrangements on Hallelujah Anyhow are intricate without being showy, borrowing from various regional folk and blues traditions to imply a sense of movement across the map. Taylor has always made good use of reed instruments going back to 2012’s Poor Moon, and here Michael Lewis’ saxophone tugs at the edges of “John the Gun,” fraying the seams until the song unravels in a long, beautiful coda. Music — and the joy we might find in our favorite songs or albums — is perhaps the dominant theme on Hallelujah Anyhow, which see Taylor referring but not deferring to his heroes. That wheezing harmonica solo on “Lost Out in the Darkness” sounds like a nod to early Dylan, just as the title of “Gulfport, You’ve Been on My Mind” echoes “Mama, You’ve Been on My Mind.” There’s a strange reference on “John the Gun” to the infamous goth act Sisters of Mercy and more than a few toasts to Van Morrison, most obviously on “Domino (Time Will Tell).” That song, which shares its title and its general tempo with a song from Morrison’s 1970 album His Band and the Street Choir, might have been corny if the band didn’t convey such excitement in the tribute.
φφ→ Not that you need to trace every footnote or easter egg to enjoy this album. Rather, the allusions thrum just beneath the surface of these vivid songs, as if to suggest that specific moments of music can get us through hard times or even just move us a little further down the road. Taylor does not seem to harbor the ambition to join those ranks; he’s too much of a fan himself, down here in the pits with the rest of us. “Give me a fiddle and a flattop guitar, give me the gospel of the jukebox in the Lost Horse Bar,” he begs on “Domino,” sounding weary but not beaten. “We’ll be alright tonight.” φφ→ https://pitchfork.com/
Also:
Paul Mardles, Sunday 24 September 2017 08.00 BST / Score: ****
φφ→ The second album in 12 months by MC Taylor’s Hiss Golden Messenger is shot through with both darkness and light. From the heady opener Jenny of the Roses (“I’ve never been afraid of the darkness”) to the closing When the Wall Comes Down, there are several allusions to the dark, while Taylor’s mystical brand of country~soul has a rapturous quality rarely found in rock. It’s there in Jaw, one of the gentler tracks, all fidgety rhythms and Taylor’s husky voice, and in the aching Gulfport You’ve Been on My Mind. But every song possesses passion and gravitas, making Hallelujah Anyhow a spiritual descendant of Van Morrison’s Veedon Fleece.
φφ→ https://www.theguardian.com/
By Tony Ives on August 26, 2017
φφ→ https://americanamusicshow.com/review-hallelujah-anyhow-by-hiss-golden-messenger/
AllMusic Review by Mark Deming; Score: ****
φφ→ http://www.allmusic.com/album/hallelujah-anyhow-mw0003097045
Bandcamp: https://hissgoldenmessenger.bandcamp.com/album/hallelujah-anyhow
Soundcloud: https://soundcloud.com/hissgoldenmessenger
Twitter: https://twitter.com/hissgldnmssr
Facebook: https://www.facebook.com/HissGoldenMessenger/
Label: https://www.mergerecords.com/
Studio albums:
•°• Country Hai East Cotton (2008, Heaven & Earth Magic Recording Company)
•°• Bad Debt (2010, Blackmaps)
•°• Poor Moon (2011, Paradise of Bachelors)
•°• Lord I Love the Rain (2012, Heaven and Earth Magic Recording Company)
•°• Haw (2013, Paradise of Bachelors)
•°• Lateness of Dancers (2014, Merge)
•°• Heart Like a Levee (2016, Merge)
•°• Vestapol (2016, Merge)
•°• Hallelujah Anyhow (2017, Merge)
EPs:
•°• Glad (2013, self~released)
•°• Southern Grammar (2015, Merge)
•°• Lagniappe Sessions ~ Hiss Golden Messenger (2017, Aquarium Drunkard)
Live albums:
•°• 042207 ~ Live in Big Sur (2008, Heaven & Earth Recording Company)
•°• Root Work ~ Live WFMU 2009 (2010, Heaven & Earth Recording Company)
•°• Plowed: Live in Bovina (2011, Heaven & Earth Magic Recording Company)
•°• London Exodus (2013, self~released)
•°• Parker’s Picks Vol. 1: Live at Parish, Austin, TX 10/18/2016 (2017, self~released)
•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•
| Hiss Golden Messenger — Hallelujah Anyhow (22 Sept. 2017) |
→ Mike Taylor, jak je znám svým přátelům, představil svou nejnovější práci a lyrická témata: Vidím tmavé mraky. Byl jsem uznán, abych je viděl. Jsou to stejné mraky strachu a ničení, které zatmívaly svět opakovaně, jen s jinými herci, ale tato hudba je pro naději, to je jediná věc, kterou bych chtěl o tom říct.. Láska je jediná cesta ven. Nikdy jsem se nebál temnoty, je to jen jiný druh světla. A kdyby se v některých dnech tato víra zdála těžší než jindy, hallelujah.
→ 10 autorských skladeb, kde první zastávkou je Jenny of the Roses. Patří mezi rychlejší na albu, melodii určuje klavír, zatímco skupina koloruje zbytek. Nejpomalejší věci Caledonia, My Love a Harder Rain vytvářejí pocit, že byly složeny v Belfastu u nohou Van Morrisona. Sympatická aranžmá s mandolinou (Josh Kaufman), prominentním elektrickým pianem a vokálními harmoniemi (Alexandra Sauser~Monnig, Tift Merritt, Skylar Gudasz, Tamisha Waden) podporují tok vyprávění.
→ John the Gun začíná lehce akusticky, píseň pak pozvolna pozvedne elektrická kytara. Tato píseň je vzorem pro kvalitu všech aranžmá na albu. Pravidelně využívá saxofon (Michael Lewis), harmoniku (Phil Cook) a trombón (Evan Ringel), v dokonalé mixáži (Scott Hirsch, Chris Boerner, Brad Cook), aby vytvořil ten zvuk a tu atmosféru, kterou důvěrně známe z vkusnějších dřevních dob — ověřte si to při opakovaném poslechu. Domino (Time Will Tell) možná není tak hustá, jako aranžmá Stones, ale klavír (Phil Cook) a bubny (Darren Jessee) připomínají něco buď ze Sticky Fingers, nebo z Exile On Main Street. A nikdo si nebude stěžovat!
→ When The Wall Come Down je pro mne vrcholem, zde vyhrávky elektrické kytary (Josh Kaufman) tkají vzorce kolem nezapomenutelného chorusu, zatímco si Taylor odděluje vokál v mixu tak, aby to šlapalo nad jednoduchým aranžmá a snare bubnem. Po smrti Toma Pettyho zde zůstává hlas stejné barvy jakoby připomínkou, že každého postihuje čas a nepředvídaná událost. To sedí: M.C. Taylor viděl tmavší věci než noc.
→ Hallelujah Anyhow is the latest studio album from Hiss Golden Messenger. Its ten new songs, penned by HGM principal M.C. Taylor, were recorded with Brad Cook, Phil Cook, Chris Boerner, Josh Kaufman, Darren Jessee, Michael Lewis, and Scott Hirsch. Alexandra Sauser~Monnig, Tift Merritt, Skylar Gudasz, Tamisha Waden, Mac McCaughan, and John Paul White provided vocal harmonies.
→ “I see the dark clouds. I was designed to see them. They’re the same clouds of fear and destruction that have darkened the world since Revelations, just different actors. But this music is for hope. That’s the only thing I want to say about it. Love is the only way out. I’ve never been afraid of the darkness; it’s just a different kind of light. And if some days that belief comes harder than others, hallelujah anyhow.” — M.C. Taylor Location: Durham, NC
Album release: 22 Sept. 2017
Record Label: Merge
Duration: 36:19
Tracks:
01. Jenny of the Roses 3:39
02. Lost Out in the Darkness 3:23
03. Jaw 3:13
04. Harder Rain 4:16
05. I Am the Song 2:49
06. Gulfport You’ve Been on My Mind 4:42
07. John the Gun 3:28
08. Domino (Time Will Tell) 3:45
09. Caledonia, My Love 3:00
10. When the Wall Comes Down 4:04
Credits:
→ M.C. Taylor: Acoustic guitar and singing
→ Brad Cook: Bass guitar
→ Phil Cook: Acoustic and electric piano, slide guitar, harmonica and singing
→ Josh Kaufman: Electric and acoustic guitars and mandolin
→ Darren Jessee: Drums and percussion
→ Michael Lewis: Saxophone
→ Evan Ringel: Trombone
→ Alexandra Sauser~Monnig, Tift Merritt, Skylar Gudasz, Tamisha Waden, Mac McCaughan, and John Paul White: Harmony
→ All songs written by M.C. Taylor
→ Produced by M.C. Taylor and Brad Cook
→ Engineered by Scott Hirsch and Chris Boerner
→ Mixed by Brad Cook and Chris Boerner
→ Mastered by Chris Boerner at Kitchen Mastering, Carrboro, NC
→ Cover artwork by Sam Smith
→ Cover photograph by Andy Tennille
→ Interior photographs by Matt McCaughan
→ Layout by Daniel Murphy
→ Tift Merritt appears courtesy of Yep Roc Records.
→ Copyright 2017 M.C. Taylor/Prophecy Connection, BMI
→ Our grateful thanks.
Notes:
φφ→ “Rhythm? I learned it over twenty years in the back of rented vans, in attics and back rooms — hard places to get to, harder places to get out of. And now rhythm is my clock and I live by it. We all do. But it’ll kill you if you’re not careful. It might kill you even if you are. Hallelujah anyhow.” — M.C. Taylor
Review
by Stephen M. Deusner, SEPTEMBER 21 2017 / Score: 7.9
φφ→ Hiss Golden Messenger’s bittersweet, new LP is full of fluttery soul~grooves, borrowing from various regional folk and blues traditions. It speaks to what it means to be a compassionate citizen today.
φφ→ M.C. Taylor has been making music for more than 20 years, first as a member of the hardcore act Ex~Ignota and later as frontman for the California country~rock group the Court & Spark. He formed his latest incarnation, Hiss Golden Messenger, when he moved to North Carolina in the late 2000s, but only in the last five years has that band become a full~time gig for the folklorist and family man. During that relatively short time, he has not changed his approach or his subject matter: He still writes intelligently and insightfully about America as both a place to inhabit and a story to tell, about the trials of faith and the lure of doubt, about family and its incumbent responsibilities.
φφ→ Taylor has not changed, but the times certainly have. Bridging two extremely different presidential administrations, Hiss Golden Messenger suddenly sounds all the more prescient in 2017 than it did even on the group’s most recent album, last year’s Heart Like a Levee. Taylor’s constant theme has been joy in the face of misery, jubilation during times of tribulation, hope despite the tide. As he sings on “Jenny of the Roses,” the first song off Hallelujah Anyhow, “I’ve never been afraid of darkness, it’s just a different kind of light.” With its burbling tempo and gospel piano, it sounds like a joyful tune, but the lyrics reveal gradations of regret and despair as Taylor celebrates the life of someone long departed. “Jenny of the Roses” is the very definition of bittersweet, as are the songs that follow.
φφ→ There is something comforting in the contradictions Taylor explores on Hallelujah Anyhow, something that speaks generally to what it means to be a conscientious and compassionate citizen at a time when every day seems to introduce some new travesty. How do you find and express joy when the world is crumbling all around you? That’s been the subject of nearly every Hiss Golden Messenger album, but it’s especially pronounced on Hallelujah Anyhow, a record of fluttery soul~grooves and complicated insights. (The album title is perfect, the album cover not even close.) Taylor has said it’s not a protest album. Instead, it might be called a persist album. It doesn’t speak truth to power, but reassures and invigorates those who feel powerless.
φφ→ That modest ambition supplies the music with a certain spark. Taylor recorded the album in a matter of days, bringing his road~hardened backing band into the studio to flesh out the songs quickly, as though any hesitation might lessen their urgency. Replacing longtime drummer Matt McCaughan (out on tour with Bon Iver) is Darren Jessee, best known as one~third of Ben Folds Five. He brings a staunch backbeat to these songs, moving “Lost Out in the Darkness” along at an almost martial pace and punching up the AM country groove of “John the Gun.” While there’s nothing quite so experimental as the jagged stomp of “Like a Mirror Loves a Hammer” off last year’s Heart Like a Levee, the arrangements on Hallelujah Anyhow are intricate without being showy, borrowing from various regional folk and blues traditions to imply a sense of movement across the map. Taylor has always made good use of reed instruments going back to 2012’s Poor Moon, and here Michael Lewis’ saxophone tugs at the edges of “John the Gun,” fraying the seams until the song unravels in a long, beautiful coda. Music — and the joy we might find in our favorite songs or albums — is perhaps the dominant theme on Hallelujah Anyhow, which see Taylor referring but not deferring to his heroes. That wheezing harmonica solo on “Lost Out in the Darkness” sounds like a nod to early Dylan, just as the title of “Gulfport, You’ve Been on My Mind” echoes “Mama, You’ve Been on My Mind.” There’s a strange reference on “John the Gun” to the infamous goth act Sisters of Mercy and more than a few toasts to Van Morrison, most obviously on “Domino (Time Will Tell).” That song, which shares its title and its general tempo with a song from Morrison’s 1970 album His Band and the Street Choir, might have been corny if the band didn’t convey such excitement in the tribute.
φφ→ Not that you need to trace every footnote or easter egg to enjoy this album. Rather, the allusions thrum just beneath the surface of these vivid songs, as if to suggest that specific moments of music can get us through hard times or even just move us a little further down the road. Taylor does not seem to harbor the ambition to join those ranks; he’s too much of a fan himself, down here in the pits with the rest of us. “Give me a fiddle and a flattop guitar, give me the gospel of the jukebox in the Lost Horse Bar,” he begs on “Domino,” sounding weary but not beaten. “We’ll be alright tonight.” φφ→ https://pitchfork.com/
Also:
Paul Mardles, Sunday 24 September 2017 08.00 BST / Score: ****
φφ→ The second album in 12 months by MC Taylor’s Hiss Golden Messenger is shot through with both darkness and light. From the heady opener Jenny of the Roses (“I’ve never been afraid of the darkness”) to the closing When the Wall Comes Down, there are several allusions to the dark, while Taylor’s mystical brand of country~soul has a rapturous quality rarely found in rock. It’s there in Jaw, one of the gentler tracks, all fidgety rhythms and Taylor’s husky voice, and in the aching Gulfport You’ve Been on My Mind. But every song possesses passion and gravitas, making Hallelujah Anyhow a spiritual descendant of Van Morrison’s Veedon Fleece.
φφ→ https://www.theguardian.com/
By Tony Ives on August 26, 2017
φφ→ https://americanamusicshow.com/review-hallelujah-anyhow-by-hiss-golden-messenger/
AllMusic Review by Mark Deming; Score: ****
φφ→ http://www.allmusic.com/album/hallelujah-anyhow-mw0003097045
Bandcamp: https://hissgoldenmessenger.bandcamp.com/album/hallelujah-anyhow
Soundcloud: https://soundcloud.com/hissgoldenmessenger
Twitter: https://twitter.com/hissgldnmssr
Facebook: https://www.facebook.com/HissGoldenMessenger/
Label: https://www.mergerecords.com/
Studio albums:
•°• Country Hai East Cotton (2008, Heaven & Earth Magic Recording Company)
•°• Bad Debt (2010, Blackmaps)
•°• Poor Moon (2011, Paradise of Bachelors)
•°• Lord I Love the Rain (2012, Heaven and Earth Magic Recording Company)
•°• Haw (2013, Paradise of Bachelors)
•°• Lateness of Dancers (2014, Merge)
•°• Heart Like a Levee (2016, Merge)
•°• Vestapol (2016, Merge)
•°• Hallelujah Anyhow (2017, Merge)
EPs:
•°• Glad (2013, self~released)
•°• Southern Grammar (2015, Merge)
•°• Lagniappe Sessions ~ Hiss Golden Messenger (2017, Aquarium Drunkard)
Live albums:
•°• 042207 ~ Live in Big Sur (2008, Heaven & Earth Recording Company)
•°• Root Work ~ Live WFMU 2009 (2010, Heaven & Earth Recording Company)
•°• Plowed: Live in Bovina (2011, Heaven & Earth Magic Recording Company)
•°• London Exodus (2013, self~released)
•°• Parker’s Picks Vol. 1: Live at Parish, Austin, TX 10/18/2016 (2017, self~released)
•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•