Alive Naturalsound Records

Independent record label based in LA. Home to The Black Keys, Two Gallants, Buffalo Killers, Radio Moscow, Lee Bains III & The Glory Fires, Hacienda, John The Conqueror, Brian Olive, Black Diamond Heavies, Left Lane Cruiser, T-Model Ford, Thomas Function, Waves Of Fury, etc. More at

Saturday, May 31, 2008

BUFFALO KILLERS, HACIENDA albums produced by Dan of the Black Keys to be released soon on Alive records

Handpicked Music from the Black Keys' Upcoming Projects

The Black Keys' Patrick Carney and Dan Auerbach dished to the Smoking Section's Austn Scaggs about the slew of upcoming albums they're working on in Issue 1053, and the duo went so far as to handpick tracks from a half-dozen of their projects to share exclusively with



Friday, May 30, 2008

BLACK DIAMOND HEAVIES - Everythang Is Everythang

To say John Wesley Myers has a rough, weathered voice is an understatement. It's not your average gravelly, growl. Dude sings like he's survived his adult life on a diet of unfiltered cigarettes, moonshine, gasoline, and shards of broken glass. While those pipes may be enough to distinguish the Black Diamond Heavies from the rest of the garage rock crowd, there's also the matter of their unique set up. It's just Myers on keys and Van Campbell on drums, responsible that raging and soulful, Southern holler.

Taken from A Touch of Someone Else's Class, the follow to the Black Diamond Heavies' 2007 debut, Every Damn Time, "Everythang Is Everythang," is one ragged romp through the looking for love with all the wrong woman blues. Campbell's drums are pushed far into the red, producing a pounding the sh*t out of a cheap kit effect, while Myers keys belie his woman toubles with something so positively bouncy it almost resembles glee. It may sound like an odd combination, but that's the blues. If your woman's got you down, then the best thing you can do is call together the band and holler about it

MP3: Black Diamond Heavies - Everythang is Everythang

The Black Diamond Heavies' A Touch of Someone Else's Class, recorded with Dan Auerbach of the Black Keys, will be out June 10th on Alive Records. Special guests include Auerbach on guitar, and Ralph Carney, the long time Tom Waits collaborator, and uncle of the Black Keys' Pat Carney, who also guested on The Keys latest disc. - I Rock Cleveland


One of the records I'm anxiously waiting for is the new release from the Black Diamond Heavies. Luckily, Alive is handing out freebies like they are recruiting at a job fair. I've been spinning the old record a lot on this road trip, and I'll just say I hope the album is waiting for me in my mailbox in Halifax.
Here's the second track from the upcoming record - A Touch Of Someone Else's Class - hitting the streets on June 10th.


Everythang Is Everthang
by Black Diamond Heavies
urban/R&B, rock, psychedelic, hard rock, road house blues

American Slag Heap says: Black Diamond Heavies come bursting out of the gates with all guns drawn and their amps-a-blazing with their new single "Everythang Is Everythang" (yes, I spelled it correctly). This is a road rock n' blues musical adventure that goes from 0-100 in 1.4 seconds. I am all over this psychedelic R&B ride and I don't think I ever wanna' get off.



Click here for song picks from upcoming Black Keys collaborations in a special Smoking Section Exclusive

If you worship the Black Keys as much as we do — and you agree that Attack & Release is the best album of ‘08 so far — you should be stoked to know that drummer Patrick Carney and singer-guitarist Dan Auerbach have put their fingerprints on a slew of upcoming albums. Carney is producing fellow Akronites Houseguest, Knoxville’s Royal Bangs (”they’re kind of the shit”) and another Ohio band called Beaten Awake. “Those guys are, like, 33, but they live like they’re still 18,” says Carney, “which is acceptable as long as you don’t have a kid.” Meanwhile, Auerbach is readying records by Buffalo Killers (rockers from Cincinnati), Hacienda (”Mexican-Americans who are obsessed with the Beach Boys”), the low-fi Southern duo Black Diamond Heavies and youngster Jessica Lea Mayfield (”superdark and gloomy — what I like”). In summary, Carney says, “We’re just puttin’ out records, flushing money down the toilet. Unless these bands agree to wear the neon-green outfits I pick out for them, they’ll never be popular.” - Rolling Stone

Tuesday, May 27, 2008

THOMAS FUNCTION - Covert Curiosity

Celebration is the perfect name for this debut full-length from Thomas Function. Basically, it is forty minutes of nothing but pure rock & roll fun. The Huntsville, Alabama group write fast-paced songs that feature catchy vocal hooks and shouted choruses that will have your head bopping in no time. There's a good reason that just about every review you'll find will contain the word 'infectious', the melodies seem to have no end, the production is crisp and clean, and many tracks build into a stomping climax that is hard to resist.

There are plenty of good press quotes on Thomas Function at the label site, but I think this is one of the best:
"Many of the songs here fit rather neatly into genres, like the C&W "2012 Blues," the bluegrass hoedown of "Relentless Machines," the psych styling of "Filthy Flowers" and "Can't Say No," the driving R&B of "A Long Walk" or the "Earthworms"'s blues. However, even these numbers aren't quite as straight-forward as they initially seem, for each is tinged with a touch of other sounds and styles. "Snake in the Grass," for example, is a musical homage to The Buzzcocks, but swishes psychedelic organ into the mix.

"Conspiracy of Praise" is reminiscent of the Violent Femmes or even The White Stripes, but also boasts a psychedelic organ break, a western flavor, and a guitar solo beholden to the Rolling Stones. By the time listeners get to "Swimming through a Sea of Broken Glass," most will have given up even trying to identify all the elements within -- in "Sea"'s case, punky C&W, mixed with bluegrass, as alternately played by Simple Minds and the Velvet Underground. And its here that TF reach their greatest heights, punching through a pile of musical envelopes and into a dizzying sound all their own."
Check out a couple of tracks below, and head to Alive Records to make it your own.
Covert Curiosity

Saturday, May 24, 2008


Black_diamond1 The Black Diamond Heavies played at a venue called The Junction last night in the Ancient Cathedral City of York. They are an American two-piece, comprised of a drummer, and a lead vocalist who plays over-amped, heavily distorted Fender Rhodes electric piano. They basically make a sound which is like all the best bits from any good Detroit garage / RnB / southern soul band with an organ, with all the shit non-organ bits taken out and replaced by nothing but organ & drum breaks for an hour, and the organ is cranked up 100 times louder and uglier than any sound you've ever heard, and the drums are thunderously loud and funky, and you wonder after about 5 minutes of watching them why anybody would ever bother having any other instruments in a band, especially an electrified guitar, which the screaming Fender Rhodes does a fair impression of at times anyway, only better. The lead vocalist / keys player sings in the Louie Armstrong / Howlin Wolf / Beefheart gravelpit style, and plays simple bass lines on the lower end of his piano like The Doors used to do, thus erasing the need for bass players. When they hammer away at max. tempo, they sound like The Stooges, with the Ashton brothers replaced by a really really loud Fender Rhodes piano. When they slow it down and groove, they sound like a broken down Booker T & The MGs / the theme from 'Taxi' being run-over by a taxi. They are, in parts, genuinely funky, and as jazz as a rock concert gets these days. They swing. I preferred them when they were on this low-slung groovin' tip, but whether they were careering wildly through a crazed punk-blues or lazily loping through a Al Greenish soul number, they were pretty much better than anything else I've heard this year. If Black Diamond Heavies play anywhere near you, go see 'em, unless you've got something else on, in which case they'll understand and the gig will probably go ahead anyway. I mean, you can't get to everything right, people lead busy lives and there's the credit crunch to contend with, shit, I almost couldn't be bothered to go to this gig myself just 'cos it had got to 9.15 in the PM or whatever and I was watching 'Men In Black' on video (Tommy Lee Jones' character 'K' is a White Album fan, and there's a good Elvis gag too, what, like I'm menna be watching 'The Trip' or 'Apocolypse Now' or 'The Last Waltz' or some shit just 'cos I'm a Hip Rock Journalist?) but 'cos I'd promised the local support band (98 Pages: early 70s Sabbath / Hawkwind proto-metal, v, good) I'd go see 'em I dragged my sorry ass out the house for a couple of hours. All in all, Black Diamond Heavies are the best band in the entire history of last night in York, they've got a myspace or you can probably Google them or whatever. - Electric Roulette

Friday, May 23, 2008

RON FRANKLIN - All Music Guide

On his third album, Ron Franklin is messing with the blues again, though that's hardly all he has on his mind. Ron Franklin opens with "Western Movies," a tune that cops its title from an oldie by the Olympics, and its sound and style from Buddy Holly before making way for "Call It a Night," an acoustic number which could pass for an early Bob Dylan copyright in dim light, and while Franklin's Memphis loyalties shine through the cracks in both tracks, he manages to sound like someone who respects the blues tradition while still finding the space to play with its conventions at the same time. (This becomes all the more evident on "Dark Night, Cold Ground" and "The Elocutionist," which hit closer to the roots of traditional blues while still twisting the framework with their fuzzy tone and aggressive simplicity.) Nearly all the songs on Ron Franklin capture the man performing all by his lonesome, either on acoustic or electric guitar, with occasional overdubbed percussion while Franklin's reedy vocals and harmonica hover over it all. The results are simpler but more satisfying than 2007's City Lights; where on that album Franklin's challenges to convention sometimes played out like a hipster's parody, with less gingerbread his sincerity, as well as his imagination, are more evident, even as ghosts of pop, folk, and garage rock are plainly visible on the horizon and lyrical lifts from classic songs dot the landscape. Stark, simple, and subtly witty, Ron Franklin suggests this artist has a bright future as long as he remembers that less can be more. - Mark Deming / All Music Guide

Tuesday, May 20, 2008

THOMAS FUNCTION - Rock Around The Blog

Celebration é o “debut” dos Thomas Function, banda de Alabama (US), que depois de excitantes singles e Ep´s contendo um contagiante rock'n'roll, levaram-me a pensar o que poderiam fazer num longa duração, imaginando que podia este conter um profundo e até dramático nível de qualidade, não me enganei, "Celebration" é irresistível, cheios de ritmos galopantes, fantásticas elevações vocais, que atropelam um oscilante e bem colocado órgão, destacando-se esse hino que é "Relentless Machines", que nos corta a respiração. Obrigatório, sem dúvida.
Celebration is the “debut” of Thomas Function, band of Alabama (US), that after exciting Singles and Ep´s, containing an contagious rock'n'roll, had taken me to think it what they could make in a long duration record, imagining that this one could contain a deep one and up to dramatic level of quality, I was not wrong, "Celebration" is irresistible, full of galloping rhythms, fantastic vocal elevations, which run over an oscillating one and well put organ, when is standing out this hymn that is "Relentless Machines", which cuts us the breathing. Compulsory, undoubtedly.
Thomas Function Myspace

RADIO MOSCOW - June tour dates

May 31 @ Dam to Dam Des Moines, Iowa
Jun 11 @ Back Porch Spearfish, South Dakota
Jun 12 @ The Filling Station Bozeman, Montana
Jun 13 @ Neurolux Boise, Idaho
Jun 14 @ Fun House Seattle, Washington
Jun 15 @ The Space Salem, Oregon
Jun 16 @ Aunty Mo's Arcata, California
Jun 17 @ Caspar Inn Caspar, California
Jun 18 @ Rickshaw Stop San Francisco, California
Jun 19 @ Mr. T's Bowl Los Angeles, California
Jun 20 @ Zombie Lounge San Diego, CA w/ the Bloody Hollies
Jun 21 @ Plush Tucson, Arizona
Jun 23 @ House SHOW! Las Cruces, New Mexico
Jun 24 @ Ralli's Pub Albuquerque, New Mexico
Jun 25 @ The Conservatory Oklahoma City
Jun 26 @ The Continental Tulsa, Oklahoma
Jun 27 @ Crosstown Station Kansas City, Missouri
Jun 28 @ The Blue Fugue Columbia, Missouri

Friday, May 9, 2008


New album "A Touch Of Someone Else's Class" out June 10th
May 9 @ Mr Wolf's - Bristol UK
May 10 @ Hare and Hounds - Birmingham UK
May 11 @ Tap House - Kidderminster UK
May 13 @ Head of Steam - Newcastle UK
May 14 @ Junction - York UK
May 15 @ The Gramaphone - London UK
May 16 @ Sugarclub - Dublin, Ireland
May 18 @ Baker Place - Limerick UK
May 20 @ Place Vandamme - Cassel, France
May 21 @ Le Fiacre - Bordeaux, France
May 22 @ Des Lendemains Qui Chantent - Tulle, France
May 23 @ Savoy Club - Gijon, Spain
May 24 @ Puerto Norte - San Esteban de Prava, Spain
May 25 @ Mars Attack - Angouleme, France
May 26 @ Le Saint des Seins - Toulouse, France
May 27 @ Sputnik Bar - Nantes, France
May 28 @ Mundial Bar - Antwerpen, Belgium
May 29 @ Db's - Utrecht, The Netherlands
May 30 @ Carlo Levi - Liege, Belgium
May 31 @ Leicester City Blues Festival - Leicester, Midlands UK
Jun 9 @ Bessie Smith Strut --- Miller Plaza Stage 5:15 PM - Chattanooga, TN
Jun 9 @ JJ's Bohemia - Strut AFTERPARTY - Chattanooga, TN
Jun 12 @ The Gypsy Hut - Cincinatti, Ohio
Jun 13 @ Musica - Akron, Ohio
Jun 14 @ Mid City - Ft Wayne, Indiana w/ Left Lane Cruiser
Jun 15 @ Belmont Bar - Detroit, Michigan
Jun 16 @ Points East Pub - Milwaukee, Wisconsin
Jun 18 @ High Noon Saloon - Madison, Wisconsin
Jun 19 @ Ned Kelley's Pub - Green Bay, Wisconsin
Jun 20 @ 7th Street Entry - Minneapolis, Minnesota
Jun 21 @ Solstice Shakedown - Sturgis, South Dakota
Jul 3 @ Northside Music Festival - Cincinnati, Ohio
Jul 10 @ JJ's Bohemia - Chattanooga, TN
Jul 11 @ Ham Bagby's Wedding Bash - Tuscaloosa, Alabama
Jul 12 @ Schlafly Tap Room - St Louis, Missouri
Jul 19 @ Deep Blues Festival - Lake Elmo, Minnesota

TWO GALLANTS European dates
May 9 @ Botanique Festival - Brussels, Belgium
May 10 @ Artrock Festival - Saint Brieuc, France
May 11 @ 4AD - Diksmuide, Belgium
May 12 @ Pfingst Open Air Werden (free show) Essen, Germany
May 13 @ Olympia Theatre - Dublin, Ireland
May 14 @ Olympia Theatre - Dublin, Ireland
May 15 @ Olympia Theatre - Dublin, Ireland
May 17 @ Stiff Kitten - Belfast, Northern Ireland
May 18 @ Dolans - Limerick, Ireland
May 20 @ Roisin Dubh - Galway, Ireland
May 22 @ Electric Avenue - Waterford, Ireland
May 23 @ Cyprus Avenue - Cork, Ireland
May 24 @ Dot To Dot Festival - Nottingham, UK
May 25 @ Dot To Dot Festival - Bristol, UK

Tuesday, May 6, 2008


Thomas Function
by Jason MacNeil

Let the celebrations begin! Thomas Function is an Alabama band that wants you to know that it’s okay to love blues, country, hillybilly, punk and garage rock—and combine all of them at once. The group, led by Joshua Macero, offer up a wide-reaching array of styles that rarely sound like the band is reaching for something they can’t fully grasp. Whether it’s the lean rockabilly-leaning rocker “Filthy Flower”, The group also sound ready to cut a rug with “Can’t Say No”, a retro-rock tune that has plenty of boogie in it. Even when they go down a far quirkier path as is the case with “Conspiracy of Praise”, one gets the sense the only thing separating them from the Soundtrack of Our Lives is a beard, tambourine and tunic. Thomas Function also functions perfectly on the urgent, passionate “Snake in the Grass” which comes up and bites one in the ass. It’s hard not to enjoy this album as there’s a surprise around every corner, especially on the slow, country-tinged “2012 Blues” and the rambling and rollicking “Relentless Machines”. Too much good music here to praise! And if you need more proof, take a listen or nine to “Swimming Through a Sea of Broken Glass”. This is a record that would put more woogie in your boogie, without question.
— 6 May 2008 / PopMatters

Sunday, May 4, 2008


Julian Cope's album of the month

Nathaniel Mayer - Why Don't You Give It To Me?
Review #96, May 2008 CE

Nathaniel Mayer
Why Don't You Give It To Me?

Released 2007 on Alive Records
Reviewed by Julian Cope

Side One
  1. Why Don’t You Give it to Me? (5.07)
  2. White Dress (3.30)
  3. I’m a Lonely Man (4.39)
  4. Please Don’t Drop the Bomb (2.39)
  5. Everywhere (3.38)
Side Two
  1. What Would You Do? (3.28)
  2. Doin’ It (8.51)
  3. Why Dontcha Show Me (7.01)

This is not a parody

This Album of the Month is nothing less than an heroic act, being both an extraordinary art statement of cavernous Detroit Psychedelic soul AND a major mission of Cultural Retrieval. For, with the help of four contemporary musicians at least 25 years younger than himself, veteran Detroit R&B star Nathaniel Mayer has with this single LP lifted himself out of the worthy but Old Timer Chicken-in-a-Basket Soul Revue scene, and been delivered into the welcoming hands of the drooling and mightily entranced Underground. And believe me, kiddies, retrieving the voice of Nathaniel Mayer for our own delectation makes the musicians in question into true culture heroes; so let’s scream out major hails to the Black Keys’ Dan Auerbach, SSM’s Dave Shettler, the Dirtbombs’ Troy Gregory, and (most especially) to mainman and prime mover Matthew Smith. For, despite claims to the contrary, even Mayer’s recent 2004 LP I JUST WANNA BE HELD still suffered from boring, nay, dutiful sax, boring ‘authentic’ guitar tones and songs written in the Retro/Retread soul vein. Well, not anymore! Now, it’s welcome to weeping dual fuzz guitars, proto-punk garage rhythms, nuclear burn-ups of free-rock De Twat, and all topped off with a changeling R&B guy whose vocal range takes in everything from Screaming Jay Hawkins to Dionne Warwick, via George Clinton, early I-Tina, Ray Charles and James Brown by way of the Monks. WHY DON’T YOU GIVE IT TO ME? is an instant party and an instant classic, an immensely stoned groove and an exhilarating and swampy hybrid of the early call-&-answer heavy soul of Funkadelic (first 3LPs), the cacophonous Glam Soul of John & Yoko’s SOMETIME IN NEW YORK CITY, the fuzzy earnestness of early early early Bob Seger (‘Heavy Music’-period), the abandoned lyrical Free Association of Kim Fowley’s berserk Psychedelic Psoul Revue on OUTRAGEOUS, plus the murky voodoo gunk of Night Tripper-period Dr. John. Yes, from its very first sub-sub-Chocolate Watchband/very early Stones opening bars, this new Nathaniel Mayer record screams: “Here I AM!” Better still, after his aforementioned stilted 2004 album I JUST WANNA BE HELD1, it’s enthralling to hear this veteran 64-year-old Detroit R&B singer finally united with a truly sympathetic backing band chock full o’garageheads who been raised on such errant fuzzarama garage compilations as PEBBLES 1-12, BACK FROM THE GRAVE 1,2&3, HIPSVILLE 29BC, OFF THE WALL, TURDS ON A BUM RIDE and their glorious ilk, suddenly lending Nathaniel the kind of guitar-heavy demented amphetamine yawp that forces his own performance sky high. The results are no less than immediate and spectacular. Indeed, from the moment Nathaniel Mayer nobbled me with the title track’s lyrical opening gambit – ‘You gave it to him, why don’t you give it to me?’ – well, I knew this artist would have Album of the Month just so long as he didn’t fuck up the remaining thirty-six minutes TOO much. Ja, mein hairies, this 6-month-old vinyl slab is truly one motherfucker of an album.

Side One of WHY DONCHA GIVE IT TO ME? commences with the title track, whose enormous Bats In The Belfry belltone guitar riffing and cranky leaden drums immediately sets the listener on edge, before our hero steps into the spotlight and immediately crouches down on one knee to confess his pain to his coy mistress, the half-written lyrical abandon of Nathaniel’s song-writing (spawning such couplets as “You made him a happy man all across the land”) reinforcing our suspicions that this record’s producers knew they had limited studio time in which to make this record, before the whole shithouse exploded in their faces. Next up is the Electric Manchakou-style teenage exuberance of ‘White Dress’, another work-in-progress being sketched out before our very eyes, like some wide-eyed and ageless shaman/woman cooing and billing in wonder at the opposite sex over three minutes of ‘Shake Appeal’-period Stooges replete with handclaps and endless questions. This is followed by ‘I’m a Lonely Man’, four minutes of the most shameless (and tuneless) BACK FROM THE GRAVE-stylee garage voodoo, as Nate vamps and grunts the song’s title over & over. Next up, the chorale-and-heavy-riffology of ‘Please Don’t Drop the Bomb’ is pure early Funkadelic ambient ice-rink funk, whilst Side One closes with the three-and-a-half minutes of ‘Everywhere’, which – with its boys-being-chicks backing vocals and wide-eyed asides, sounds like a wonderful hybrid of John Sinclair’s super-exuberant late acolytes the Up playing a song by Leslie West’s soul garage outfit the Vagrants. Side Two opens with the ‘Knock On Wood-styled ‘What Would You Do?’, another lost classic riff, followed by the weird West Coast 9-minute free rock of ‘Doin’ It’, whose cheese-grater wa-guitars, bubbling bass, clatter-chatter drums and belltone blues lead axe all conspire to create a wild, almost proto-Comets on Fire rush that sounds like it coulda come off any of the best Detroit rock LPs anytime in the past 40 years. No wonder this record has been filed under ‘Rock’ on iTunes. Indeed, only on the 7-minute closer ‘Why Dontcha Show Me?’ does Nate return to his sultry soul roots. Commencing with a Ray Charles-styled piano-only opening coupla verses, this exquisitely crafted and sexy song suddenly metamorphoses into a percussion-heavy bossanova somewhere between Tim Buckley’s ‘Sweet Surrender’ and Timmy Thomas’s ‘Why Can’t We Live Together?’. This record is one mind-manifesting rock behemoth, but the confidence of this final statement lifts the entire LP up even another coupla notches.

In Conclusion

And so there we have it for another month. With regard to where Nathaniel Mayer takes him next step, well, we probably shouldn’t set our hopes up too high considering Mayer’s first hit ‘Village of Love’ was way back in 1962, thereafter ambling and shambling through long periods of bandlessness, giglessness, even homelessness. However, even a perfunctory trawl through Nate’s current youtube performances suggests that this sexagenerian singer is once more enjoying himself enough to attempt to sustain what he’s currently achieving. And, on the huge evidence of this wonderful Album of the Month, we can only cross our fingers and selfishly hope that he barfs out a few more in this present stylee, before the (inevitable?) next crash. For the time being, however, we need only take a cursory glance at rock’n’roll history to feel a sense of optimism. For example, we only gotta look at Alex Harvey to see the renewal that an Old Timer could achieve just through taking on a much younger backing band. Later, at the inception of punk, mother-of-two Vi Subversa split up her cabaret duo and lead her own outfit the Poison Girls, all twenty-odd-years younger than her, and became the co-leader of the new punk alongside Crass. Unfortunately, we just have to hope that Nathaniel’s current ensemble can find time in their busy careers to stay around and keep him buoyant. What has made WHY DON’T YOU GIVE IT TO ME? so successful is the abandoned-yet-still-dignified character that Nathaniel brings to the party, so on the case that none of the producers has felt tempted to cast him as a mere eccentric outsider, a path trod by so many lesser talented or less honourably-minded mentors. Which is why this particular Album of the Month is so fucking refreshing, because – instead of recruiting as lead singer for their new project the local gangliest youth with the biggest garage rock LP collection in his basement, instead, several enlightened and currently successful rockers have come together to back a forgotten 64-year-old R&B singer, a man of undoubted song-writing talent and possessed of a genuinely extraordinary set of vocal chords, but whose luck has been intermittent to say the least. That three successful contemporary rock’n’rollers should have sought out and championed such a lost hero is heroic in itself, and Dan Auerbach, Troy and – most especially – Matthew Smith should be praised to the skies. That the chosen artist should rise to the occasion in such a manner is even more thrilling, which is why I say to Nathaniel Mayer:

“Bravo, Lord Motherfucker, and deep gratitude for laying this Righteous Thang upon us.”


Head Heritage

NATHANIEL MAYER suffers stroke

Veteran soul man Nathaniel Mayer suffers stroke

LOS ANGELES (Reuters) - Detroit soul singer Nathaniel Mayer, who embarked on an unlikely comeback four years ago, is slowly recovering from a stroke that has hampered his speech and movement, his representatives said on Monday.

Mayer, 64, who was stricken on April 13, could make "a considerable recovery," according to a post on Mayer's MySpace page (

"The X-rays reveal that the damage from the stroke was limited to a small area," the post said.

Mayer, a devotee of James Brown, enjoyed a minor hit single in 1962 with "Village of Love." But he largely abandoned the recording business until 2004, when he made the album "I Just Want To Be Held" for Fat Possum Records, the boutique Mississippi label famed for its raw sound and salty bluesmen.

He released a follow-up last August, "Why Don't You Give It To Me?" (Alive Records), helped by a crew of young punk and soul revivalists, including Black Keys guitarist Dan Auerbach.

Reporting by Dean Goodman / Reuters

Saturday, May 3, 2008

Buffalo Killers – Let it Ride out July 8, touring with the Black Keys in May

Let It Ride, the Buffalo Killers' new album, produced and recorded by Dan Auerbach at Akron Analog, will be released July 8th, 2008 on Alive Records. The first 500 copies of the vinyl will also include a 6-song live bootleg from our show with The Black Crowes at The Orpheum Theater back in October. For a preview, check out the free download of Homegrown on our myspace page. We'll be hitting the road in May with The Black Keys (dates below).
May 12 w/The Black Keys @ 9:30 Club :: Washington DC : All Ages
May 13 w/The Black Keys @ 9:30 Club :: Washington DC : All Ages
May 15 w/The Black Keys @ Terminal 5 :: New York, NY : 16 and up
May 16 w/The Black Keys @ The Electric Factory :: Philadelphia, PA : All Ages
May 17 w/The Black Keys @ Orpheum Theatre :: Boston, MA : All Ages
People With Animal Heads

PsychPop trio Buffalo Killers completed its second album, Let It Ride, with Dan Auerbach of The Black Keys at Dan's Akron Analog studios up north. The release is slated for July 8 and, like its eponymous predecessor, it will be put out by the Alive Records imprint. A vinyl version will also be made available and the first 500 copies of that edition will include a "bootleg" from a live show the band recorded while on tour with the Black Crowes last year. - Spill It

Well check out some of this electrifying rock n’ roll. Produced by none other than the AMAZING Dan Auerbach, of the kick ass Black Keys, comes to you the Buffalo Killers’ new album Let it Ride. Some pretty cool 70’s looking bearded fellas, kind of like Auerbach. Their music has some cool psychedelic rifts, pleasantly complemented by some blues under tones. I definitely digg “Heavens you are,” off their previous, self-titled album. It’s super sexy and dreamy. Check out and listen to their tunes here. Let it Ride drops on July 8th, and they tour with the Keys this May, so get on it! - Grimy Goods

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