​Country music icon Randy Travis continues his remarkable return to releasing never‑before‑heard music with the arrival of his new single “I Don’t Care,” out today. Showcasing the timeless vocals and classic country sound that made him a superstar, the heartfelt track—written by Travis with Michael Curtis—is another gem pulled from the vault and offers fans a glimpse of his first album of new material in more than 18 years, due later this year.

With deeply emotional lyrics, “I Don’t Care” tells the story of a relationship fractured by broken trust, leaving love and hope behind. As Travis reflects on the pain of betrayal, he reaches a point of resignation—no longer caring what happens next because the bond they once shared can never be repaired. It’s a powerful, emotionally charged performance that stands tall among the unforgettable recordings in his irreplaceable catalog.

The song is part of a treasure trove uncovered by Travis’ longtime producer Kyle Lehning, who discovered the tracks after years locked away. Lehning assembled, remixed, and remastered the recordings to bring fans more original Randy Travis music, and this second single continues to highlight the heart, authenticity, and timeless sound that have defined Travis’ legendary career.

The release arrives during a milestone year: 2026 marks 40 years since Travis’ debut multi‑platinum album Storms of Life. This fall, he will conclude his More Life Tour, which has traveled through 54 cities across 24 states, reconnecting Travis with fans nationwide. The tour has touched tens of thousands of listeners in a deeply personal way, further cementing his status as a living legend in country music.

About Randy Travis
With his first No. 1 hit, 1986’s “On the Other Hand,” Randy Travis helped usher in a new traditionalist wave in modern country music. His resonant baritone and pure musical instinct earned back‑to‑back CMA Song of the Year wins for “On the Other Hand” and “Forever and Ever, Amen,” paving the way for more than 25 million albums sold, seven GRAMMYs, 23 No. 1 hits, 31 Top 10 singles, and his 2016 induction into the Country Music Hall of Fame.

Following a near‑fatal stroke in 2013, Travis’ recovery and unwavering dedication to fans have inspired millions. His resilience has earned honors including CMT’s Artist of a Lifetime (2021) and the ACM Milestone Award (2025).

In 2024, Travis released “Where That Came From” with groundbreaking AI assistance through Warner Records Nashville, launching a new chapter of advocacy for creators’ rights and responsible AI protections for artists. His More Life Tour, featuring his longtime band and guest vocalist James Dupré, continues to bring Travis’ music to generations of true country fans.
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​Bruce Cockburn has announced The Blood of Others, a new album arriving October 16 via Sunset Boulevard Records — his 39th release and a rare project built entirely around songs that shaped him long before he began writing his own.

Instead of focusing on original material, Cockburn digs deep into the gospel, blues, jazz, folk, and pop recordings that formed the bedrock of his musical identity. It’s a personal excavation of the influences that lingered at the edges of his artistic landscape for decades.

“What began back in the eighties as a vague notion grew over time into a strong desire to put together a collection of material, written by others, that I found sticking to the edges of my musical landscape,” Cockburn says. “The accumulation of these songs started in the sixties, before I’d even begun to try to create my own.”

The album takes its name from Simone de Beauvoir’s novel The Blood of Others, a title Cockburn chose for its themes of responsibility and moral choice — fitting for a record built around songs he didn’t write but has carried with him for a lifetime.

The collection opens with Robert Wilkins’ gospel classic “Wish I Was in Heaven Sitting Down,” a track Cockburn first encountered in the early ’70s. He reimagines it with the angular harmonies of his DADGAD tuning, preserving the song’s spiritual intensity while reshaping its sonic frame.

From there, Cockburn moves through a series of deeply personal touchstones:

• “As Time Goes By,” complete with its original preamble, reinterpreted with a modern twist.
• “Buddy Bolden’s Blues,” a nod to his early fascination with ragtime and jazz.
• “You Belong to Me,” a childhood favorite that sparked his lifelong wanderlust.
• “That’s Alright,” inspired by the impact Elvis Presley — and especially Scotty Moore’s guitar work — had on him as a young player, though Cockburn leans closer to Arthur Crudup’s original.
• “Four Strong Winds,” a reminder of Ottawa’s Le Hibou coffeehouse and the excitement of hearing Ian & Sylvia on the radio.
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Many selections are tied to vivid memories: buying “God Bless the Child” with Sunday collection money, discovering Mississippi John Hurt over a bottle of Mateus wine, falling in love with Bessie Smith’s “Yellow Dog Blues,” and performing “Fare Thee Well” with the McGarrigle sisters at Pete Seeger’s 90th birthday celebration.

One of the album’s most intimate moments arrives with “I’ll Be Seeing You,” a song Cockburn recalls differently than its original lyrics — a misremembered line that nonetheless struck him with emotional force.

The tracklist closes with “One for My Baby,” “Les Feuilles Mortes,” and “Peace in the Valley,” rounding out a collection that feels less like a covers album and more like a musical autobiography.

Across more than five decades, Cockburn has earned 13 Juno Awards, induction into both the Canadian Music Hall of Fame and the Canadian Songwriters Hall of Fame, the Governor General’s Performing Arts Award, the Order of Canada, and nine honorary doctorates. The Blood of Others adds a new chapter to that legacy — reflective, reverent, and rooted in the songs that shaped one of Canada’s most enduring voices.

Tracklist 
1. Wish I Was in Heaven Sitting Down
2. As Time Goes By
3. Buddy Bolden's Blues
4. You Belong To Me
5. That's All Right
6. Four Strong Winds
7. God Bless the Child
8. Louis Collins
9. Yellow Dog Blues
10. Fare Thee Well
11I'll Be Seeing You
12. Laplegged Drunk Again
13. One For My Baby
14. Les Feuilles Mortes
15. Peace in the Valley

Website:
brucecockburn.com

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Tracks:
01 Speak Your Mind (But Ride A FastHorse)
02 Champagne Taste
03 High Hopes
04 James Alley Blues
05 The Perimeter
06 Heavy Is The Head
07 Junkyard Dog
08 Wire
09 Muhlenberg County Stars
10 Gut Feelin’
11 Factory Reset
12 Painted Skies
13 Muhlenberg County Stars (Acoustic)

Website:
jackbrowning.co.uk

The Mountain Goats have announced their new studio album, Days, which will be released on August 7 via Cadmean Dawn Records. Arriving less than a year after 2025’s Through This Fire Across From Peter Balkan, the album is introduced by its first single, “Charlie Sheen Reaches Out to the Feds.”

Frontman John Darnielle revealed that the project initially began as a sequel to the band’s 2017 album Goths.

“This album began life as Grunges, a sequel to Goths, after I made a joke on social media about writing a song called ‘Contemplating Pearl Jam in the Carolina Dawn,’” Darnielle explained.

He said the songwriting took shape while his wife was away for a two-week residency, recalling a similar period of solitude that inspired the band's acclaimed All Hail West Texas.
According to Darnielle, Days reflects on the passing of time through memories of the 1970s, 1980s, and 1990s.

“These songs are loosely about the ’70s, ’80s, and ’90s, which is to say they’re about the accumulation of days, each one a little further back than the next,” he said. “Sometimes they seem miraculously clearer as they recede, and sometimes they blur into unrecognizable shapes that can be either pleasant or troubling.”

Although many of the songs are written in major keys, Darnielle cautions listeners not to mistake their brighter musical settings for carefree subject matter.

“Most songs here are in major keys, but don’t let that fool you,” he added. “There is nothing on the other side of the bridge. Still, you shouldn’t let that deter you.”
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With Days, The Mountain Goats continue their prolific run of releases, offering another collection of deeply reflective songs that blend vivid storytelling with Darnielle’s signature lyrical insight.
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The Mountain Goats Days tracklist:
1. Song for Layne Staley
2. Charlie Sheen Reaches Out to the Feds
3. Shallow Grave
4. Candlebox
5. Annie Haslam Imperial Phase
6. Crying on Eddie Nash’s Grave
7. Days
8. Best Hard Rock Albums 2013
9. Going to Fennario
10. Woodstock
11. Hidden Majesty of Later Venom Albums
12. Last Day


Website:
mountain-goats.com​

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​British blues-rock guitarist and singer-songwriter Ben Poole has released “Empty,” the second single from his forthcoming studio album, Post-Midnight Behaviour, due out September 25, 2026 via Gypsy Soul Records.

Available now on all major streaming platforms alongside an official lyric video, “Empty” offers another glimpse into Poole’s first album of all-new material since 2018’s Anytime You Need Me. While firmly rooted in blues rock, the upcoming record expands its sonic palette with influences from soul, country, alternative rock, and more atmospheric textures.

One of the first songs written for the project, “Empty” helped shape both the musical and emotional identity of the album.

“I wanted there to be a mix of darkness and light throughout, as I’ve always valued dynamics both emotionally and musically in music,” Poole says. “I honestly feel this is one of the strongest songs I’ve ever written. We poured so much time, care and energy into every detail, musically and lyrically, and I can’t wait for people to hear it.”

That contrast is reflected in the song’s structure, with the verses unfolding in a somber E minor progression before bursting into an uplifting E major chorus.

“I’ve always loved that rush you get when a song lifts from minor to major,” Poole explains. “The verses sit in this emotionally heavy E minor sequence before everything opens up with a dramatic shift as that huge E major chord kicks off the chorus.”

The dynamic approach also extends to the song’s guitar solo, which Poole expects will become a standout moment during the album’s upcoming tour.

Recorded primarily with a Gibson Les Paul through a Volt amplifier, “Empty” also features the distinctive sound of a vintage 1960s Mosrite Fuzzrite pedal. Rather than relying on flashy guitar work throughout, the track showcases a more restrained and emotionally driven approach, allowing subtle grooves, memorable hooks, and carefully crafted dynamics to take center stage.

Poole says the album reflects his artistic growth after years of relentless touring.

“For several years, I have performed over 150 shows a year across more than 20 countries,” he says. “My guitar style and technique have developed, my singing voice has matured, and my influences have varied. The new album is a journey that combines blues, rock, soul, country and alternative rock. I still get to let loose on the guitar, but within a more subdued and reflective manner.”

Although Poole has released several live albums in recent years, Post-Midnight Behaviour marks his long-awaited return to the studio. He says the extended gap allowed him and his songwriting team to focus on every aspect of the record, from composition and arrangements to production.

“I took my time over the new album so that it would be fully realised in every aspect,” he says. “We dug deep to make sure the songwriting was of the highest quality, and the arrangements were carefully structured and perfectly executed. It was well worth the wait.”
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Post-Midnight Behaviour will be released on CD, vinyl, and digital formats on September 25, 2026. “Empty” is available now on all major streaming platforms.
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Max Hightower has announced the release of his new album, The Blues Chooses You, arriving October 9 via MoMojo Records. Recorded live-to-analog tape at Nashville's The Bomb Shelter and produced by Hightower himself, the album captures the raw, unfiltered spirit of classic blues while featuring acclaimed Chicago guitarist Joe Moss. Following the release, Hightower will embark on a European tour throughout October.

The 12-track collection follows Hightower's acclaimed 2025 album Nothin' But the TRUTH and blends mostly original material with inspired interpretations of Guitar Slim's "Things I Used to Do" and Johnny Shines' "I Don't Know." The sessions brought together drummer Brandon Phelps, bassist Steadman Fleetwood Sr., pianist Rob Davis, and Moss, with every track recorded live in a single room using vintage analog equipment and no overdubs.

"There's a reason I called this album The Blues Chooses You," says Hightower. "I believe everybody who loves this music has a story about how the blues found them. I sure wasn't looking for it—I didn't even know what it was."

After searching for the right studio following the closure of the New Orleans facility where he recorded his previous album, Hightower found the perfect setting at The Bomb Shelter. Working with engineer Jack Tellmann, the band embraced a completely live recording approach, removing isolation barriers and relying on microphone bleed, vintage tape machines, and spontaneous interaction to capture authentic performances.

The sessions became as much about chemistry as musicianship. Mornings began with Joe Moss cooking breakfast before the band worked through arrangements, allowing ideas to evolve naturally in the studio. Hightower says the sweltering Nashville heat—combined with the lack of air conditioning—only added to the intensity of the performances.

Rather than striving for digital perfection, The Blues Chooses You celebrates the imperfections that give blues its soul. Guitar feedback, shifting tempos, microphone bleed, and the energy of five musicians performing together were all intentionally preserved, resulting in a record that reflects the spontaneity and honesty of traditional blues recording.
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With its live-to-tape production, vintage sound, and heartfelt songwriting, The Blues Chooses You promises to further establish Max Hightower as one of the most authentic voices carrying the blues tradition into a new generation.

​The Texas Headhunters roar back into action with “Rise and Shine,” the title track from their upcoming sophomore album, arriving October 9 via Hardcharger / Blue Élan Records. The guitar‑driven trio  Ian Moore, Johnny Moeller, and Jesse Dayton  return with the firepower fans expect: searing fretwork, deep‑grooved rhythms, and the unmistakable spark that ignites whenever three of Texas’ most distinctive players plug in together.

Following the breakout success of their self‑titled debut, Rise and Shine pushes the band’s sound even further. The new album sharpens their songwriting, amplifies their fearless musicianship, and delivers the kind of six‑string fireworks that have quickly become their signature. It’s a record steeped in Lone Star tradition, yet never confined by it — modern, muscular, and unafraid to stretch.

If Texas guitar heritage had a genetic code, it would look a lot like the combined résumés of Moore, Moeller, and Dayton. Across more than three decades, each has carved out a singular path through blues, rock, country, and Americana. Moore brought soulful psychedelia into the blues; Moeller injected razor‑edged funk and bending‑string ferocity into the Austin scene; Dayton fused punk energy with outlaw country swagger. Together, they’ve become one of the most electrifying guitar bands to emerge from Texas in recent memory.

Written by Johnny Moeller, “Rise and Shine” is a bruising shuffle rocker built on infectious grooves and pointed social commentary. Moeller takes the first verse, followed by Dayton and Moore, before all three join forces on the harmonies. Moore steps forward for the track’s blistering guitar solo, adding another highlight to the band’s growing catalog of six‑string moments.

“It’s got some heavy lyrics,” Moeller says. “It’s like Stephen Stills playing a blues shuffle. There’s some Pops Staples influence, too.”
Moeller a member of The Fabulous Thunderbirds since 2007 credits The Texas Headhunters with reshaping his approach to songwriting. “I’ve never thought of myself as a real songwriter before, but being in this band has taught me a lot and quickly. We seem to work on deadlines ‘We’re going in the studio!’ and that lights a fire under my ass.”

Since their debut last summer, The Texas Headhunters have earned widespread acclaim for their fearless blend of blues, rock, country soul, and roots music. SiriusXM featured three of their songs simultaneously across Outlaw Country, Bluesville, and Little Steven’s Underground Garage, where they also earned the coveted “Coolest Song in the World” honor.
With Rise and Shine, the trio looks ready to raise the bar once again  louder, sharper, and more unified than ever.

Tracklist:

1. Everybody's Gettin' Some
2. Keep Your Friends Close
3. California Burning
4. Gulf Of Mexico
5. Hawaiian Eye
6. Tossin' Pebbles
7. Burning Bridges
8. Jealous Hearted Fool
9. Twin Cities Blues
10. California Bound

Website:
www.rjblues.com


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​Jersey City singer-songwriter Eddie Skuller presents ‘You Can Never Hold Back Spring’, a fine rendition of one of Tom Waits’ most quietly affecting songs, revealing a gentler side of Waits’ catalog, where grit gives way to tenderness and reflection. Following ‘Downtown Train’, this is the second offering from his ‘Blind Love’ EP, bringing a raw, analog intimacy to these compositions, exploring the space between homage and reinvention.

This four-track personal tribute to Waits’ songwriting revisits a storyteller with a rare ability to capture human character, emotion and melody, as well as his ability to find beauty and humanity in unexpected places. With his own unique vocal style, Skuller performs ‘You Can Never Hold Back Spring’ with reverence, restraint and emotional intelligence, allowing the song’s emotional complexity to emerge through a delivery that favors intimacy over imitation.

In addition to his solo work, Skuller is a perennial guest vocalist with The Losers Lounge, the acclaimed tribute series curated by The Psychedelic Furs’ Joe McGinty and regularly held at Joe’s Pub and City Winery in NYC. His live performances have drawn praise for their authenticity, emotional clarity, and musical integrity.

For this EP, Skuller worked with producer Nick Kinsey, known for his work with Kevin Morby, Waxahatchee and Scott McMickey, who helped shape a recording that embraces the spontaneity and imperfections of analog production.

Skuller re-centers the songs around narrative and feeling, revealing layers of tenderness, nostalgia, and quiet hope. Captured without edits or vocal overdubs, the track preserves the spontaneity of the recording, with Skuller’s vocal captured live with the band. The arrangement also features Ryder Cooley of the Dust Bowl Faeries on accordion, Kinsey on drums and keyboards, Jack Skuller on guitars, and Jeremy Chatzky (Springsteen, Steve Earle, Ronnie Spector) on bass.

“What makes this recording experience unique for me is that it was recorded live in studio to tape. I wanted Nick Kinsey to produce because I was familiar with his aesthetic sensibilities and the warmth that analog recording can provide. The songs became meditative dirges and the lyrics read as pure poetry," says Eddie Skuller.

“There’s a key line in this song that hooks me every time I hear it: ‘even though you’ve lost your way, the world is dreaming, dreaming of spring. Using spring for a sense of renewal, hope, and a chance to reset—it’s as memorable and moving as any classic jazz-pop standard such as Sinatra’s ‘Young at Heart.’”

The music video grew out of a creative connection sparked through social media. Skuller discovered SPX ETC, founded by artist Sandrine Pagnoux and photographer/editor Sophie Etchart, after encountering Sandrine’s Tom Waits editorial work for 46pgs magazine. Skuller shares, “I followed them on Instagram with the thought that I’d someday have the opportunity to work with them”.

Ceating a dreamlike world blending collage, illustration, photography, typography, and animation, Sandrine developed the artwork using Sophie’s photography, while Sophie assembled and refined the final piece. Throughout the video, manipulated self-portraits of Skuller also appear through Sandrine’s distinctive approach. Pagnoux explains, “The lyrics are pure poetry. Joy, renewal and hope will always return after periods of darkness. Eddie’s emotional cover is magical and full of deep feelings.”

As of July 29th, 'You Can Never Hold Back Spring' is available everywhere digitally, including Spotify, Apple Music and Bandcamp, where 'Downtown Train' can also be found. The 'Blind Love' EP will be released on August 26th.

TRACK LIST
01 Eddie Skuller - Blind Love
02 Eddie Skuller - Downtown Train
03 Eddie Skuller - House Where Nobody Lives
04 Eddie Skuller - You Can Never Hold Back Spring

CREDITS
Written by Tom Waits & Kathleen Brennan
Produced & Mixed by Nick Kinsey at the Chicken Shack Studio, New York
Mastered by Christopher Colbert at National Freedom Studio, Oregon
Eddie Skuller - vocals
Jeremy Chatzky - bass
Jack Skuller - guitar
Nick Kinsey - drums, percussion, keyboards
Ryder Cooley - accordion
Single cover photo & design by SPX ETC
EP cover photo and design by Eddie Skuller
Video produced by Sophie Etchart & Sandrine Pagnoux for SPX ETC
Photos by Eddie Skuller
Publicity by Shameless Promotion PR

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