HIGHTONE RECORDS
O
riginally founded in 1983 by Larry Sloven and Bruce Bromberg and with a catalogue of over 300
albums, Hightone can claim to be one of America’s most important roots labels. It’s a hugely
ANA
impressive catalogue, now acquired by Shout Factory, itself an independent entertainment company,
founded by veterans of the wonderful, eclectic Rhino Records Richard and Garson Foos and Bob Emmer.
The good news is that the pedigree of these protagonists ensures this great music hasn’t simply been grabbed
to sit in a vault somewhere gathering dust. The first signs of new life are 4 superb artist retrospectives, from Dave
Alvin, Hot Club of Cowtown (see page 17), Buddy Miller and Tom Russell. Distinguished by being compiled by
the artists themselves, these aren’t mere compilations, but more essential guides to the artists and to the whole
American roots music scene at its best.
Y AMERIC
Dave Alvin
The first fruit was Blue Boulevard, which contributes 4 tracks
to this set. Dry River with its repeated couplets hints at the
Alvin is a name
blues via Dylan, with vivid imagery of man at odds with
synonymous with the
nature in his native California used to express the bitterness
COUNTR
early 80s’ roots rival
of unrequited love. Haley’s Comet ups the tempo and cleverly
in American music, as mourns the decline and death of Bill Haley, sounding very akin
brother’s Dave and Phil to an American Richard Thompson. Blasters fans will instantly
formed the legendary dig the barrelhouse rocker of Wanda And Duane, while Why
Blasters. They forged Did She Stay With Him is an easy rock ballad spiked by Dave’s
a souped up amalgam
lyrics of lovers in turmoil.
of rockabilly, blues,
Museum Of Heart and King Of California from 93 and 94 add
country, rock ‘n’ roll
six tracks between them, including the title tracks from each
and even a little
with Dave swapping from electric to acoustic mode, proving
jazz and blazed a trail across the USA and Europe. As is
equally adept at both. Indeed, King Of California’s folksy lilt is
often the case when the prevailing musical frontiers are
a stark contrast to its predecessor’s high-octane, brass-fuelled
challenged, critical acclaim remains infuriatingly inverse
boogie. Black Jack David and his Grammy winning Public
to commercial success and with the pressures rather than
Domain provide all bar three of the rest of the 18 tracks, there
sales mounting, Dave quit in 86.
isn’t a false note to be heard. It also has to be noted that
After a brief spell with LA punk legends X Dave went solo, but
Dave is a published poet and his songs are packed with acute
with sales still elusive he found himself without a record label
observations, a forthright humanity and an eye for the devil in
by the end of the 80s. It’s at that point that our story really
the detail.
begins. Enter Hightone, the Oakland based indie, who had Anyone who already owns all Of Dave’s records, well done,
started life by releasing Robert Cray’s Bad Influence. you probably don’t need this. Everyone else does.
Garson Foos of Shout Factory explains We’re going to release a new album by Tom
what’s behind their acquisition of Russell in late summer 2009. There may
Hightone. be additional artists that we sign that are
appropriate for Hightone. We’ll be active
“As Rhino Records alumni many of us
with reissues and are currently looking at
here are big fans of Hightone as we have
a Robert Cray multi-disc set, hoping that
a long standing relationship with and
Universal will allow us to licence tracks
fondness for the label. There was always
spanning his career.
great integrity in the music, so we want
to reissue the catalogue and maintain the We’re also considering more best of
high standards set – proper compilations, collections for a few other artists, including
great sound and packaging. And any new the great modern bluesman Joe Louis
album on Hightone must reflect the fact Walker. It’s also possible that we will make
that great roots music that has always new albums with other artists
been found on the label. from the Hightone roster.”
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