News - Page 4 of 13 - Shelby Lynne
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News - Page 4 of 13 - Shelby Lynne



Marina Del Rey, CA Show Announced

  • By eversorecords

Shelby will perform on July 21 2012, solo acoustic, at Chace Park in Marina Del Rey. This show will be a part of their summer concert series.  Free show!



Shelby Headlines Little Kids Rock May 6th

  • By eversorecords

A Little Lovin’

click to enlarge MusicCC.jpg

The positive effects of music in a child’s life begin with lullabies at home and continue with the presence of music programs in schools. The Little Kids Rock Benefit, featuring Shelby Lynne, supports the Little Kids Rock mission on May 6 at George’s in San Rafael.

“I jumped at the chance to help out a much-worthy cause,” says Lynne. “When I was a kid, I played daddy’s guitar, so I was fortunate to have an instrument lying around I could play on a whim. Musical instruments are interesting for kids. They naturally gravitate toward them out of curiosity, whether they are musically inclined or not.”

Little Kids Rock partners with disadvantaged public school districts to fund teacher training, instrument donations and free lessons for kids. “Music lessons are a gift, and having the ability to read music is a wonderful asset in life, no matter what your occupation is,” says Lynne.

“I knew when I was just a kid, five or six, that music would be my life,” says Lynne. “I carry my childhood influences with me everywhere I play.”

The Little Kids Rock Benefit is on Sunday, May 6, at George’s Nightclub. 842 Fourth St., San Rafael. 6pm. $45–$65. 877.568.2726.



Stolen: Shelby Lynne Guitars

  • By eversorecords

Dear Friends,

After weeks of Shelby’s tour gear shipment being missing, it upsets us to report that it is now considered stolen. Every one of Shelby Lynne’s guitars and other items used on this last run did not return to her. The cartage company never received her items after her show in Virginia. Below is an itemized list and a few photos of the guitars. Please spread the word. Email us at with any information about the goods. There will be a reward offered to anyone with information leading to the recovery of the guitars. We are all hopeful for a happy ending and will be posting updates on the website and facebook.  Please spread the word.

  1. one (1) guitar-shaped blue Calton fiberglass guitar case, containing 1967 Gibson B-25
  2. one (1) guitar-shaped black fiberboard guitar case wrapped with tape, containing 1968 Gibson B-25
  3. one (1) guitar-shaped dark brown hard guitar case, containing 1995 Gibson AJ Acoustic
  4. one (1) smaller guitar-shaped hard ukulele case, containing 1968 Martin Baritone Ukulele


SL B-25 Gibson 1968

1967 B-25 Gibson

1968 martin Uke

1968 martin Uke



Enjoying Turntables Without Obsessing By Roy Furchgott

  • By eversorecords


Buying records is easy. You can find them by the milk crate at yard sales, for a few dollars apiece in used record stores, and there are new, special pressings by contemporary musicians like Shelby Lynne, whose “Just a Little Lovin’” album, at $30, is a top seller. But buying the instrument needed to listen to them, a turntable, is a different matter.

“Young people didn’t grow up with turntables,” said Kenny Bowers, manager at Needle Doctor, a Minnesota store specializing in turntables. “It seems mysterious and complicated because you don’t just push a button and have it play for you.”

There are advantages to old-fashioned analog music, according to some audiophiles. “There is a fuller sound to it, and more depth to the sound,” said Ryan Holiday, the New Orleans-based marketing director for American Apparel. He’s a new devotee of jazz and David Bowie, thanks to LPs. (For the youngsters, that stands for long playing, as in long-playing record; there were also small records called 45s). “I could hear hands going up and down the frets, and stuff that they probably didn’t want you to hear. Which is a nice little surprise,” he said.

Mr. Holiday is not alone in his appreciation. Record sales have climbed for five years. Now turntable sales are growing. They were up 50 percent in January over January last year.

Hi-fi elitists may debate competing technologies of moving coil versus moving magnet cartridges as if Middle East peace depended on the answer, but turntables are really simple machines. It doesn’t cost a great deal to get a good one, and today’s turntables give you more for your money than they did when vinyl ruled. The celebrated Thorens 125 MKII, with tonearm, cost about $500 in 1975. (That’s about $2,000 in today’s dollars.) A comparable one in performance today, like the Music Hall MMF-2.2 or the Pro-Ject Debut III Esprit, costs $300 to $500.

Nevertheless, some turntables, like the Clearaudio Master Reference at $28,000, cost as much as a Toyota Camry hybrid.

You are paying for two things, precision and craftsmanship. So here’s a guide to some of the costs. (It was just as confusing back in the 1960s, kids.) A turntable is basically three assemblies: the revolving platform the record sits on, called the platter, and the motor and drive; the tonearm, which moves across the record as it plays; and the cartridge and needle, which sit on the end of the tonearm and pick up the vibrations recorded in a record’s grooves.

Turntables are machines that read vibrations, but they often can’t distinguish a good vibration from a Beach Boys album and a bad one from your stomping across the room. A good turntable is designed to isolate it from the real world.

The motor needs to provide noiseless, consistent speed. A heavy platter helps to keep the speed from varying. But it’s an engineering game of Whac-A-Mole. Heavier platters need bigger motors, which may be noisier (and they cost more). Light platters can more easily transmit vibrations that can cause a ringing sound. The rule of thumb is make sure the table weighs at least 10 pounds. “If not, it’s made of plastic compound. It will sing along with music,” said Harry Weisfeld, the owner of the turntable maker VPI, based in Cliffwood, N.J. He advocates metal platters.

You can also buy mats and special feet to isolate the turntable from outside vibrations.

The kind of motor is even more hotly debated. One way the motor drives the platter is with a belt; the other is to mount the platter directly on the motor. Direct-drive mounting is preferred by some people because there is less chance the speed will vary. Rubber belts can stretch and loosen over time. But a direct-drive turntable is more likely to transmit noise, whereas rubber belts absorb motor vibrations.

The crazy thing is that the least and most expensive turntables tend to be belt-driven. It’s really a personal preference. Trust your ears. The tonearm needs to keep the needle where it picks the most vibrations from the record without so much pressure that it damages the grooves. “The main thing is the weight,” said Scott Shaw, audio solutions specialist for Audio-Technica, an audio equipment maker. “Lighter tracking forces tend to provide better audio quality,” he said.

With some exceptions, the better tonearms are machined in one piece of lightweight steel, not cast or pressed. There are more exotic tonearms of carbon fiber, composites, even wood, but you are going to find that only on turntables that cost more than $1,000, said Mr. Shaw.

The cartridge is mounted on the end of the tonearm and holds the stylus, or needle. “The stylus is where everything happens,” said Michael Pettersen, director of applications engineering for Shure, which makes cartridges. “When you buy a $100 cartridge,” he said, “the needle is $90 of the cost.”

Needles are either elliptical or spherical, with no significant price difference. Elliptical tends to be better at reproducing high-pitched sounds, said Mr. Pettersen. Spherical does a better job riding over flaws in vinyl, though, and may be better for 45s and worn records. (An even older form of record, the 78, require a special, larger stylus.) “If I have a very nasty record, I’ll use the spherical,” Mr. Shaw said.

There are also two kinds of cartridges, moving magnet and moving coil. Most cartridges are moving magnet. While they tend to be heavier than moving coil, you can change the stylus yourself, which you may want to do to adjust to the condition of your vinyl or change the sound you get.

Moving coil is the type often favored by audiophiles because it has less weight, but changing a stylus requires a trip to the manufacturer. Both types typically wear out in 600 to 800 hours of use.

Although the sky is the limit on price, a very good cartridge costs $75 to $100, said Mr. Pettersen.

Getting the most from a turntable requires careful setup, although maybe not as careful as people who sell calibration equipment would have you believe. “Setting up the turntable doesn’t have to be as complicated as they make it,” said Mr. Shaw. There can be leeway from the exact specifications, he said, adding, “Set it up fairly close, it will be fine. My point is, don’t obsess.”

One additional piece of gear Mr. Shaw recommends is a stylus gauge to measure the weight the cartridge is putting on the record. “Don’t rely on the little numbers on the back of the tonearm,” he said. “They are very inaccurate.” Mr. Bowers of Needle Doctor recommends the Shure scale, the SFG-2, available online for $20 to $40.

It may also be worthwhile to buy a tool to make sure the cartridge is lined up properly. Mr. Bowers recommended the Mobile Fidelity Geo-Disc, which is $50 to $80.

Finally, you can check some of your work with a test record, like the Cardas Frequency Sweep and Burn-In Record ($15 to $30), which plays tones that help confirm that the setup is correct.

You may find that what sounds best is not the recommended settings, or what the gauges and protractors dictate. In the end, it’s as much art as science.

And isn’t that the beauty of analog?


Apr (Concert Review)

  • By eversorecords

“She’s an American treasure.”


A Fan’s Notes: Shelby Lynne – Narrows Arts Center, Fall River, MA

Ken Shane
April 6, 2012

I’ve been a fan since I Am Shelby Lynne appeared in 1999. By that time Shelby had been in the music business for a number of years, but that didn’t stop the Grammys from naming her Best New Artist that year. Not only do I love Shelby’s music, I have undying respect for the choice she made to walk away from the mold that they tried to stick her into in Nashville so that she could write her own songs, and do it her way.

Those estimable choices brought her, armed only with an acoustic guitar, a bag full of great songs, and a soaring voice, to the Narrows Arts Center in Fall River, MA, a couple of weeks ago. It was a performance to remember.

The Narrows is a great place to hear music. The music venue is located on the third floor of an ancient mill building in an old industrial seaport city. As someone who has been dismayed by the audience noise level that seems to be increasing each time I go to a show, I was mightily impressed by the respectful attention paid to the performer by the quiet crowd of 300 people. That experience speaks directly to the intimate nature of Shelby’s performance.

Of course my respect doesn’t extend to the couple who were sitting in front of me and chattered away non-stop throughout the show. Later they asked Shelby to sign something for them at the meet and greet that followed, and told Shelby what big fans they are. Really?

Shelby’s set list touched on all phases of her career, going back to I Am Shelby Lynne for “Your Lies,” and “Life Is Bad.” There was a thrilling performance of “Jesus On A Greyhound” from her 2001 album Love, Shelby, a stunning “When Johnny Met June,” from 2005?s Identity Crisis, and “Old Dog” from the 2010 album Tears, Lies, and Alibis.

Understandably, much of the evening was focused on Shelby’s latest release, last year’s Revelation Road. It was one of my favorite albums of 2011, and it was great to hear the songs played in such an up close and personal fashion. Songs from the album included the title track, which opened the show, “Woebegone,” “I’ll Hold Your Head,” the beautiful “Even Angels, and the profoundly courageous “Heaven’s Only Days Down the Road,” which was a true show stopper.

I must admit to having some concern about how Shelby was going to perform songs from her wonderful Dusty Springfield tribute album Just A Little Lovin’, because the album features tasteful but complex instrumental arrangements that would be hard to reproduce on an acoustic guitar. At the end of the night, she answered that question and then some with a powerful and moving a cappella version of “You Don’t Have To Say You Love Me” that closed out the evening.

Shelby Lynne has been on the road non-stop for some time now. It’s more than likely that she’ll be coming to your town, or one very near to you one of these days. Be sure you go out to see her. She’s an American treasure.



Video Interview: FaceCulture

  • By eversorecords

FaceCulture spoke to Shelby Lynne about Revelation Road, growing up, album covers, lyrics, heaven, own label, major labels, the essence of music, dealing with life, childhood memories, mother and father murder and suicide, Heaven’s Only Days Down The Road, I’ll Hold Your Head, and lots more!



Yahoo! Music World Premiere

  • By eversorecords

Today Yahoo! Music will give GRAMMY winner Shelby Lynne’s new video, “Heaven’s Only Days Down the Road,” its world premiere. The clip echoes the raw candor of her latest independently released album, Revelation Road, weaving footage and photos from her childhood with Lynne’s striking solo performance of the song.



KCRW Performance Broadcast

  • By eversorecords

Shelby plays KCRW’s syndicated music show, Morning Becomes Eclectic on Monday, February 6th, 2012. Listen for free via KCRW’s livestream here. After February 6th, the link will become an archive of the performance.



Elmore Magazine (January/February 2012 Issue) – Live Concert Review

  • By eversorecords

A scan of a live concert review by Matthew Allen that ran in the January/February 2012 issue of Elmore magazine. This is from Shelby’s November 2nd Highline Ballroom show. She will start her 2012 tour on January 12th. See the Shows section for more.