Chris Robinson Brotherhood - Anyway You Love, We Know How You Feel 2LP SAR16 LP

	£		16
	$		21

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The Chris Robinson Brotherhood have announced the release of their fourth studio album, Anyway You Love, We Know How You Feel, out July 29, 2016 via Robinson’s own Silver Arrow Records. The band relocated to northern California for the sessions, recording on the side of a mountain overlooking the foggy Pacific Ocean and channeling the natural majesty of their surroundings into the album’s eight sprawling tracks. Having spent the prior two years touring relentlessly, the CRB were road-tested and in peak form to capture their kinetic chemistry and immersive sound, which Uncut Magazine called, “…a celebration of how American musical traditions can be at once honored and psychedelically expanded.”

“It was an opportunity to see where our expression could take us. For us, when it comes to making records, the looser it gets the better,” says Robinson. “It’s all about taking our intuition and following it to where our ideas can really manifest themselves. This turned out to be the most spontaneous record I’ve ever been a part of.”

Indeed, when the Chris Robinson Brotherhood entered the studio to begin recording the album, no one knew just what to expect. These would be the band’s first recordings with new drummer Tony Leone (Ollabelle, Levon Helm) and their first time producing themselves. Robinson purposely left as much open-ended as possible. Rather than coming into the studio with a collection of finished songs as he had in the past, he would present the group with sketches—a verse and melody here, a chorus and chord progression there—and let the band follow its collective muse to bring the music to life. They’d lean into the improvisational nature that makes their live shows such enthralling spectacles and thrive on the unexpected.

“All it takes is one good, small idea, and then if everyone’s focused and in the moment, a few hours later, you can have something that you realize you’ll be playing for as long as you’re making music,” Robinson continues. “I think when everyone’s aware that that’s the sort of magic that we’re looking for. More than any other session that I’ve ever been a part of, that’s how all of these songs were done.”

The album kicks off with “Narcissus Soaking Wet,” a psychedelic toe-tapper that marks Robinson’s first co-write with keyboardist Adam MacDougall. It touches on everything from Dylan and Parliament Funkadelic to psych rock and Chicago rhythm and blues. “Ain’t It Hard But Fair” calls to mind the soulful Americana of The Band, while “Oak Apple Day” is a mediation on life in the CRB, and “Forever As The Moon” came together in a stream of consciousness between The CRB’s lead guitarist Neal Casal and Robinson. “Leave My Guitar Alone” was a song Robinson had been sitting on for nearly 15 years, but only once he presented it to the rest of the band did it roar to life in a way that had eluded him for more than a decade. Some of Robinson’s finest writing to date arrives in the album’s final minutes, with the country-soul, gospel-tinged closer “California Hymn,” which finds him singing “Glory glory hallelujah / It’s time to spread the news / Though my good words may sound profane to some.”

The Chris Robinson Brotherhood emerged in 2011 by playing close to 50 shows over nine weeks in California before ever leaving the Golden State or officially releasing music. Their introduction on the national stage came in 2012 when they’d release not one, but two acclaimed full-length albums within a few months of each other. Critics hailed their sprawling debut, Big Moon Ritual, as a revelation, with The Independent raving that Robinson had “finally found the ideal vehicle to indulge his taste for ‘Cosmic California Music.'” The reviews were similarly ecstatic for its immediate follow-up, The Magic Door, which was praised by Relix as “classic rock in the finest sense.” The band’s epic tour schedule brought their shimmering acid-Americana around the world for a staggering 118-date tour, firmly establishing the CRB as the new standard-bearers of the psychedelic roots torch. In 2014, they returned to the studio for Phosphorescent Harvest, a masterful collection that showcased the blossoming songwriting partnership between Robinson and Neal Casal. Rolling Stone raved that the album was “electrifying…boast[ing] a vintage rock vibe that’s at once quirky, trippy, soulful and downright magnetic,” and Guitar World called it “a treasure trove of soul that advances the band’s bluesy, kaleidoscopic sound.”

The Chris Robinson Brotherhood will tour throughout 2016 in support of Anyway You Love, We Know How You Feel, including Summer festival appearances at Mountain Jam, High Sierra Music Festival and LOCKN. They’ve also recently announced the addition of bassist Jeff Hill (Larry Campbell, Shooter Jennings) to the line-up. Individually, Robinson has launched his own radio show, Gurus Galore via SiriusXM Jam On, to share favorite psychedelic gems from his expansive record collection. With a new record in hand, their first tour of Europe this past Winter and a growing number of sold out shows across the U.S., Robinson is as energized as he’s ever been in what’s already been a long and historic career as one of rock music’s most prolific and successful songwriters and frontmen.

“This band is about being a part of a community, it’s our little CRB culture,” explains Robinson. “These are our services when we play our music. And when it’s at its best, we feel like the music makes a connection with people that’s on a level that has nothing to do with commerce or nostalgia. There’s some other gravity that keeps us all together in those moments, and it’s representative of that kind of magic spell we’re chasing.”

Artist - Chris Robinson Brotherhood

A1 Narcissus Soaking Wet   
A2 Forever As The Moon   
B1 Ain't It Hard But Fair   
B2 Give Us Back Our Eleven Days   
C1 Some Gardens Green   
C2 Leave My Guitar Alone   
D1 Oak Apple Day   
D2 California Hymn

Catalogue No. - SAR16 LP

Record Condition - Mint (Sealed)

Cover Condition - Mint

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PAYMENT

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POSTAGE

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PACKAGING

We’re record lovers too and hate receiving items marked as ‘Mint’ and turns out to be scuffed or ripped. This can be avoided!

We use top quality packaging materials - so all our items arrive with you, the buyer, in top notch condition.

Please note: all records are removed from their sealed packaging UNLESS REQUESTED OTHERWISE. Once removed from their packaging, they are kept in a 250g polysleeve which ensures protection. The record(s) and its sleeves are then placed between 2 stiffeners. This ensures that everything arrives exactly as you’d want it to.

Remember - we all need to recycle where possible, so with larger orders and larger items, we re-use the packing boxes and protective wrapping received from our suppliers.

The charges for packaging are based on the following:

FORMAT

PACKAGING

COST

7”

1 polysleeve, 2 stiffeners, 1 card envelope

£0.80

10”

1 polysleeve, 2 stiffeners, 1 card envelope

£1.00

12” / LP

1 polysleeve, 2 stiffeners, 1 card envelope

£1.00

2 x12”

2 polysleeve, 2 stiffeners, 1 card envelope

£1.10

CD

1 Jiffy bag

£0.60

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Grading based on Record Collector Guidelines:

Mint   The record itself is in brand new condition with no surface marks or deterioration in sound quality. The cover and any extra items such as the lyric sheet, booklet or poster are in perfect condition. Records advertised as sealed or unplayed should be Mint.

Excellent   The record shows some signs of having been played, but there is very little lessening in sound quality. The cover and packaging might have slight wear and/or creasing.

Very Good   The record has obviously been played many times, but displays no major deterioration in sound quality, despite noticeable surface marks and the occasional light scratch. Normal wear and tear on the cover or extra items, without any major defects, is acceptable.

Good   The record has been played so much that the sound quality has noticeably deteriorated, perhaps with some distortion and mild scratches. The cover and contents suffer from folding, scuffing of edges, spine splits, discolouration etc.

Fair   The record is still just playable but has not been cared for properly and displays considerable surface noise, it may even jump. The cover and contents will be torn, stained and/or defaced.

Poor   The record will not play properly due to scratches, bad surface noise, etc. The cover and contents will be badly damaged or partly missing.

Bad   The record is unplayable or might even be broken, and is only of use as a collection-filler.

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