{"title":"Todd Snider","description":null,"products":[{"product_id":"todd-snider-first-agnostic-church-of-hope-and-wonder","title":"Todd Snider - First Agnostic Church Of Hope And Wonder","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eVinyl LP pressing. A folk record with funk elements and street singer elements and psychedelic elements. Todd calls it \"P-Folk\" or \"Folkadelic.\" \"With this album I had the idea for the sound first, I think. I wanted to do what I was calling funk in back and busking up front with [Beatles'] white album-y shit scattered about. I had done a lot of listening to and looking into Parliament and James Brown and lots of reggae music, too.\" Borne from Todd Snider's popular weekly live stream series from The Purple Building in East Nashville (pictured on the album cover). \"The songs started for me when Jeff Austin passed away. I made up \"Sail On, My Friend,\" then the touring stopped, and so I started a Sunday morning show. Viewers started jokingly referring to it as a church and to me as a reverend. I've only reverend-ed twice. But I have the license so in my mind this opened me up to play bossy kinds of songs... then John Prine passed away, and I made up a song for him [\"Handsome John\"].\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eFormat \/ \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLP\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eReleased \/ \u003cb\u003e04\/23\/2021\u003c\/b\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCatalogue \/ \u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003eAMLS-39854\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eBarcode \/ \u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003e787790339854\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eArtist \/ \u003cb\u003eTodd Snider\u003c\/b\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLabel \/ \u003cb\u003eAimless Records\u003c\/b\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eGenre \/ \u003cstrong\u003ePop \/ Rock\u003c\/strong\u003e\u003c\/span\u003e","brand":"Red","offers":[{"title":"Default Title","offer_id":39300930994237,"sku":"POP-S-787790339854","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1487\/4550\/products\/787790339854.jpg?v=1619707587"},{"product_id":"todd-snider-return-of-the-storyteller-indie-exclusive-blue-vinyl","title":"Todd Snider - Return Of The Storyteller [Indie-Exclusive Blue Vinyl]","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"aec-body\"\u003e\n\u003cdiv class=\"container\"\u003e\n\u003cdiv class=\"col-md-10\" id=\"aec-main\"\u003e\n\u003cdiv class=\"aec-product-container\"\u003e\n\u003cdiv class=\"col-md-12 col-sm-12 col-xs-12\" id=\"aec-product-description\"\u003e\n\u003cdiv class=\"aec-desc-review collapse\"\u003e\n\u003cp\u003e\u003cspan\u003eTroubadour, meaning an itinerant singer of songs, is a word that dates back centuries, and comes from the French verb “trouver,” which is to find. These musical wanderers would find and invent stories humorous and intellectual, romantic and earthy, performing them as they went from town to town. Troubadour is also the word that acclaimed musician-raconteur Todd Snider leans on to describe himself and his latest release, Live: Return of the Storyteller.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“I think my first thought with this record was I wanted to remind people really quickly that I'm a troubadour,” says Snider. “Playing live is the only chance for me to show, 'This is what I really do.' I've never thought of myself as a recording artist. I'm someone who gets over by traveling around, telling stories, making up new songs and singing them alone on stage.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBefore he even made his professional debut with Songs For The Daily Planet in 1994, Snider already knew that he wanted to be part of this time-honored tradition. “I like the romantic notion of drifting around and laughing your way through life,” he says. “Like Jim Croce or Mark Twain. I felt like I was half-doing that anyway. When I was 19, I was a real drifter and a sofa circuit person. Then when I first saw Jerry Jeff Walker and John Prine play, I became obsessed. I followed them both around like The Grateful Dead. I saw that the difference between a free spirit and a freeloader was three chords.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“And as soon as I figured that out, I knew that it would help me as a person who didn't have a plan. Just to be a busker. I didn't want to sign up for normal life. I wanted to do another thing, and then it turned into a real gig. I was really surprised. It's still funny to be getting away with it.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThat speaks to Snider's modesty about his singular talent and deep catalog of songs of every emotional stripe. Rolling Stone has called him “America's sharpest musical storyteller” while the New York Times described him as “a wryly quotable phrasemaker and worthy antagonist.” Live: Return of the Storyteller – his third live album and nineteenth overall - plays like a masterclass by one man with a guitar and a freewheeling imagination. Threading his husky-voiced phrasing through a likable cosmic cowboy manner, he invites you on a tour of tunes humorous (“Big Finish,” and the have-meets- have-not “In Between Jobs”),  Proustian (“Play a Train Song,” “Too Soon To Tell,” and the lump-in-the-throat snapshot of John Prine on “Handsome John”) and heart-worn (“Like a Force of Nature,” “The Very Last Time,” “Roman Candles”). As the fifteen-song set unfolds, you can feel a tangible bond building between Snider and his fans.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBut the songs are only half of what makes the connection so compelling.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eActing as palate cleansers and putty, the stories between numbers offer colorful glimpses into Snider's interior life. Whether he's talking about being mistaken for a homeless guy in a nice hotel, searching for a song in the woods while tripping or the poetry of one of his heroes dying on stage, his spoken interludes are delivered with both meandering charm and deadly comic timing.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSnider credits an unlikely source of inspiration for both. “The comedian Richard Lewis is a friend and a mentor, and we talk almost every day,” Snider says. “We met about six or seven years ago through a drummer who's a mutual friend, and really hit it off. I feel like since I've known him, my storytelling has evolved. I don't know that I've gotten better, but a lot of the ways I approach my shows is from learning things from Richard. Especially this idea of being able to go on and on without just going on and on. To ramble without getting boring.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSnider is also mindful about not repeating himself when he's returning to a familiar venue, which can add a tightrope quality to his performances. “On this record, when I left Nashville, I didn't know what I was going to say,” he admits. “I just knew that it couldn't be the same shit that I've said.  I was going to have to have some new stories to tell. That's how it's been for years. Then one night, I'll get up there and open my mouth and something new comes out. And then I'll just keep telling it and refining it. It happens under pressure.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe timing of Live: Return of the Storyteller's release has extra resonance in our post-pandemic era. Snider says, “I'm glad I recorded the tour last year, because that was the sound of the country getting to see live music again. It was unique and it won't happen again. Everyone just hugs at the start of a concert - you can tell that they're glad to see each other, and then they get more excited than they used to be about just being out and seeing music. I'm sure that it will go back to normal, but it hasn't yet.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWhile the album captures what Snider laughingly calls his “second tour - because I went out on the road in '94 and never went home until the pandemic” - it acts as both a summing up of a thirty-year career and a look ahead.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“I always think that being a recording artist isn't something that I've thrived at,” he says. “I have fun with it and try all different kinds of music and try to learn more and more, but the only reason I get to do it is because of the main thing I do - which is travel around by myself and sing and tell stories. That thing works. Since I was twenty, that thing has worked. People come to see me do it and I love to do it.”\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eFormat \/ \u003cb\u003eLP\u003c\/b\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eReleased \/ \u003cb\u003e09\/23\/2022\u003c\/b\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCatalogue \/ \u003cstrong\u003eAMLS-38507\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBarcode \/ \u003cstrong\u003e793888101678\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eArtist \/ \u003cstrong\u003eTodd Snider\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLabel \/ \u003cb\u003eAimless Records\u003c\/b\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eGenre \/ \u003cb\u003ePop \/ Rock\u003c\/b\u003e\u003c\/span\u003e","brand":"Red","offers":[{"title":"Default Title","offer_id":40249350651965,"sku":"POP-S-793888101678","price":29.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1487\/4550\/products\/793888101678.png?v=1663685372"},{"product_id":"todd-snider-return-of-the-storyteller","title":"Todd Snider - Return Of The Storyteller","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"aec-body\"\u003e\n\u003cdiv class=\"container\"\u003e\n\u003cdiv id=\"aec-main\" class=\"col-md-10\"\u003e\n\u003cdiv class=\"aec-product-container\"\u003e\n\u003cdiv id=\"aec-product-description\" class=\"col-md-12 col-sm-12 col-xs-12\"\u003e\n\u003cdiv class=\"aec-desc-review collapse\"\u003e\n\u003cdiv id=\"aec-product-description\" class=\"col-md-12 col-sm-12 col-xs-12\"\u003e\n\u003cdiv class=\"aec-desc-review collapse\"\u003e\n\u003cp\u003eLive: Return of the Storyteller - his third live album and nineteenth overall - plays like a masterclass by one man with a guitar and a freewheeling imagination. Threading his husky-voiced phrasing through a likable cosmic cowboy manner, he invites you on a tour of tunes humorous (\"Big Finish,\" and the have-meets- have-not \"In Between Jobs\"), Proustian (\"Play a Train Song,\" \"Too Soon To Tell,\" and the lump-in-the-throat snapshot of John Prine on \"Handsome John\") and heart-worn (\"Like a Force of Nature,\" \"The Very Last Time,\" \"Roman Candles\"). As the fifteen-song set unfolds, you can feel a tangible bond building between Snider and his fans. - While the album captures what Snider laughingly calls his \"second tour - because I went out on the road in '94 and never went home until the pandemic\" - it acts as both a summing up of a thirty-year career and a look ahead.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eFormat \/ \u003cb\u003eLP\u003c\/b\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eReleased \/ \u003cb\u003e09\/23\/2022\u003c\/b\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCatalogue \/ \u003cstrong\u003eAMLS-38507A\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBarcode \/\u003cb\u003e 793888438507\u003c\/b\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eArtist \/ \u003cstrong\u003eTodd Snider\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLabel \/ \u003cb\u003eAimless Records\u003c\/b\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eGenre \/ \u003cb\u003ePop \/ Rock\u003c\/b\u003e\u003c\/span\u003e","brand":"Red","offers":[{"title":"Default Title","offer_id":40249372835901,"sku":"POP-S-793888438507","price":27.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1487\/4550\/products\/793888438507.jpg?v=1663685750"},{"product_id":"todd-snider-crank-it-were-doomed-indie-exclusive-translucent-orange-vinyl","title":"Todd Snider - Crank It We're Doomed [Indie-Exclusive Translucent Orange Vinyl]","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"aec-body\"\u003e\n\u003cdiv class=\"container\"\u003e\n\u003cdiv id=\"aec-main\" class=\"col-md-10\"\u003e\n\u003cdiv class=\"aec-product-container\"\u003e\n\u003cdiv id=\"aec-product-description\" class=\"col-md-12 col-sm-12 col-xs-12\"\u003e\n\u003cdiv class=\"aec-desc-review collapse\"\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSometimes an artist makes a record, then decides not to release it. Neil Young and Prince are two artists who famously did that multiple times. Todd Snider is another artist who has done it, putting three albums on the shelf in a career now spanning three decades.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWhile Snider may not be as well known as Young or Prince, he is just as committed to his art, and his decisions to shelve those three records were artistic ones. But now Snider has decided to take one of those albums off the shelf. Sixteen years after it was recorded, \u003c\/span\u003e\u003cspan\u003eCrank It, We’re Doomed\u003c\/span\u003e\u003cspan\u003e will finally get its release via Aimless Records.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSnider was in the midst of one of the most creative periods of his career when he recorded \u003c\/span\u003e\u003cspan\u003eCrank It, We’re Doomed\u003c\/span\u003e\u003cspan\u003e in 2007. He was writing at a frenetic pace and experimenting with musical ideas he would develop more fully on later releases. He not only finished and recorded the 15 songs on \u003c\/span\u003e\u003cspan\u003eCrank It \u003c\/span\u003e\u003cspan\u003ethat year, he also wrote and recorded the seven songs that appeared on \u003c\/span\u003e\u003cspan\u003eShit Sandwich\u003c\/span\u003e\u003cspan\u003e, the digital-only EP released in 2010 by his alter ego Elmo Buzz \u0026amp; the Eastside Bulldogs. The tracks on \u003c\/span\u003e\u003cspan\u003eShit Sandwich\u003c\/span\u003e\u003cspan\u003e made up the bulk of Snider’s 2016 full-length release,\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“It was very much a blur,” he says, looking back on that year. “A blur not because of the party going on, but because of how many songs I was coming up with. It was probably the pinnacle of my time making up songs. Like they were really coming at me, and I didn’t know what to do with them all.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eCrank It, We’re Doomed\u003c\/span\u003e\u003cspan\u003e was supposed to be the follow-up to a pair of acclaimed records that had taken his career to another level — \u003c\/span\u003e\u003cspan\u003eEast Nashville Skyline\u003c\/span\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cspan\u003eThe Devil You Know\u003c\/span\u003e\u003cspan\u003e. The album was mastered and ready to be manufactured when he decided to pull the plug on it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWhen asked recently why he decided against releasing the album, Snider puts on his best movie trailer voice and says, “The year was 2007 —  the sea was angry that year.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSnider gets the laugh he’s going for, but the question remains because the \u003c\/span\u003e\u003cspan\u003ewhy\u003c\/span\u003e\u003cspan\u003e is not so easy to explain. His decision to shelve the record all those years ago was as much intuitive as it was the product of deductive reasoning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“At the end, I was torn,” he says. “I felt like not only did I have all these story songs, sort of normal songs, there also were all these protest songs. And really that is where I lost the plot. I had too many scenes in the movie, and I had too many songs. It was all over the map. But I also remember feeling like it wasn't done either. Like it needed \u003c\/span\u003e\u003cspan\u003emore\u003c\/span\u003e\u003cspan\u003e songs.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSnider had intended \u003c\/span\u003e\u003cspan\u003eCrank It, We’re Doomed\u003c\/span\u003e\u003cspan\u003e to be a double album with the Rolling Stones’ \u003c\/span\u003e\u003cspan\u003eExile On Main Street\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eThe Beatles\u003c\/span\u003e\u003cspan\u003e (White Album) and Bob Dylan’s \u003c\/span\u003e\u003cspan\u003eDesire\u003c\/span\u003e\u003cspan\u003e as its sonic touchstones\/boundaries, and it unquestionably shares some musical similarities with all three of those releases. But with 15 tracks totaling 49 minutes in length, \u003c\/span\u003e\u003cspan\u003eCrank It\u003c\/span\u003e\u003cspan\u003e does fall a bit short of double-album length. \u003c\/span\u003e\u003cspan\u003eExile\u003c\/span\u003e\u003cspan\u003e has 18 tracks totaling 67 minutes, while the White Album has a whopping 30 tracks that run more than an hour and a half.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAlthough Snider decided to not release \u003c\/span\u003e\u003cspan\u003eCrank It, We’re Doomed\u003c\/span\u003e\u003cspan\u003e, he did include five of the tracks he recorded for \u003c\/span\u003e\u003cspan\u003eCrank It\u003c\/span\u003e\u003cspan\u003e on his next two albums (\u003c\/span\u003e\u003cspan\u003ePeace Queer\u003c\/span\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cspan\u003eThe Excitement Plan\u003c\/span\u003e\u003cspan\u003e), with three of the songs getting new titles. In addition, he recorded new versions of six other songs from the record which were released on \u003c\/span\u003e\u003cspan\u003eThe Excitement Plan\u003c\/span\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cspan\u003eAgnostic Hymns \u0026amp; Stoner Fables\u003c\/span\u003e\u003cspan\u003e. Some fans, possibly many, will prefer the original versions of the songs on \u003c\/span\u003e\u003cspan\u003eCrank It\u003c\/span\u003e\u003cspan\u003e, which in some cases are dramatically different. The record also includes four other tracks no one outside the musicians and Snider’s inner circle have ever heard, and those recordings are pure gold.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSnider recorded \u003c\/span\u003e\u003cspan\u003eCrank It, We’re Doomed\u003c\/span\u003e\u003cspan\u003e at Eric McConnell’s East Nashville studio where he recorded \u003c\/span\u003e\u003cspan\u003eEast Nashville Skyline\u003c\/span\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cspan\u003eThe Devil You Know\u003c\/span\u003e\u003cspan\u003e and was backed by the core of musicians he worked with on those albums: guitarist Will Kimbrough, drummer Paul Griffith, violinist Molly Thomas, and either McConnell or Peter Cooper on bass. He also brought in keyboardist Jimmy Wallace for the sessions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAt some point after Snider decided to put \u003c\/span\u003e\u003cspan\u003eCrank It, We’re Doomed\u003c\/span\u003e\u003cspan\u003e on the shelf, the stereo masters were lost. Over the years, both Snider and McCullough made efforts to locate the masters with no luck. The subject came up again recently when they met to discuss making another record together.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“We were sitting there just wracking our brains, ‘Where could it be,’ ” Snider recalls. “And finally Eric said, ‘I guess DeMain might have it.’ ”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMcConnell was referring to mastering engineer Jim DeMain, and sure enough, DeMain had the masters. Snider’s mythic, lost album was found.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAfter hearing the record for the first time in more than a decade, Snider was no longer bothered by it being “all over the map.” So he shared it with a few friends and advisors, who recognized its historical importance and encouraged him to release it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“I couldn’t see it conceptually back then,” Snider says. “But now I can see it was about a guy losing the plot.”\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eFormat \/ \u003cb\u003eLP\u003c\/b\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eReleased \/ \u003cb\u003e11\/10\/2023\u003c\/b\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCatalogue \/ \u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003eAMLS-59821\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBarcode \/ \u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003e691835753027\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eArtist \/ \u003cb\u003eTodd Snider\u003c\/b\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLabel \/ \u003cb\u003eAimless Records\u003c\/b\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eGenre \/ \u003cb\u003ePop \/ Rock\u003c\/b\u003e\u003c\/span\u003e","brand":"Red","offers":[{"title":"Default Title","offer_id":40844081692733,"sku":"POP-S-691835753027","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1487\/4550\/files\/unnamed_2_17ea32d9-7ecb-4d75-987e-bf1e6f302208.png?v=1699316370"},{"product_id":"todd-snider-crank-it-were-doomed","title":"Todd Snider - Crank It We're Doomed","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"aec-body\"\u003e\n\u003cdiv class=\"container\"\u003e\n\u003cdiv id=\"aec-main\" class=\"col-md-10\"\u003e\n\u003cdiv class=\"aec-product-container\"\u003e\n\u003cdiv id=\"aec-product-description\" class=\"col-md-12 col-sm-12 col-xs-12\"\u003e\n\u003cdiv class=\"aec-desc-review collapse\"\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eSometimes an artist makes a record, then decides not to release it. Neil Young and Prince are two artists who famously did that multiple times. Todd Snider is another artist who has done it, putting three albums on the shelf in a career now spanning three decades.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eWhile Snider may not be as well known as Young or Prince, he is just as committed to his art, and his decisions to shelve those three records were artistic ones. But now Snider has decided to take one of those albums off the shelf. Sixteen years after it was recorded, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCrank It, We’re Doomed\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e will finally get its release via Aimless Records.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eSnider was in the midst of one of the most creative periods of his career when he recorded \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCrank It, We’re Doomed\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e in 2007. He was writing at a frenetic pace and experimenting with musical ideas he would develop more fully on later releases. He not only finished and recorded the 15 songs on \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCrank It \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ethat year, he also wrote and recorded the seven songs that appeared on \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eShit Sandwich\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e, the digital-only EP released in 2010 by his alter ego Elmo Buzz \u0026amp; the Eastside Bulldogs. The tracks on \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eShit Sandwich\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e made up the bulk of Snider’s 2016 full-length release,\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e“It was very much a blur,” he says, looking back on that year. “A blur not because of the party going on, but because of how many songs I was coming up with. It was probably the pinnacle of my time making up songs. Like they were really coming at me, and I didn’t know what to do with them all.\"\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCrank It, We’re Doomed\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e was supposed to be the follow-up to a pair of acclaimed records that had taken his career to another level — \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eEast Nashville Skyline\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e and \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Devil You Know\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e. The album was mastered and ready to be manufactured when he decided to pull the plug on it.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eWhen asked recently why he decided against releasing the album, Snider puts on his best movie trailer voice and says, “The year was 2007 —  the sea was angry that year.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eSnider gets the laugh he’s going for, but the question remains because the \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ewhy\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e is not so easy to explain. His decision to shelve the record all those years ago was as much intuitive as it was the product of deductive reasoning.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e“At the end, I was torn,” he says. “I felt like not only did I have all these story songs, sort of normal songs, there also were all these protest songs. And really that is where I lost the plot. I had too many scenes in the movie, and I had too many songs. It was all over the map. But I also remember feeling like it wasn't done either. Like it needed \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003emore\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003esongs.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eSnider had intended \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCrank It, We’re Doomed\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e to be a double album with the Rolling Stones’ \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eExile On Main Street\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Beatles\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e (White Album) and Bob Dylan’s \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eDesire\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e as its sonic touchstones\/boundaries, and it unquestionably shares some musical similarities with all three of those releases. But with 15 tracks totaling 49 minutes in length, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCrank It\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e does fall a bit short of double-album length. \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eExile\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e has 18 tracks totaling 67 minutes, while the White Album has a whopping 30 tracks that run more than an hour and a half.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eAlthough Snider decided to not release \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCrank It, We’re Doomed\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e, he did include five of the tracks he recorded for \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCrank It\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e on his next two albums (\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ePeace Queer\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e and \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Excitement Plan\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e), with three of the songs getting new titles. In addition, he recorded new versions of six other songs from the record which were released on \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Excitement Plan\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e and \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eAgnostic Hymns \u0026amp; Stoner Fables\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e. Some fans, possibly many, will prefer the original versions of the songs on \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCrank It\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e, which in some cases are dramatically different. The record also includes four other tracks no one outside the musicians and Snider’s inner circle have ever heard, and those recordings are pure gold.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eSnider recorded \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCrank It, We’re Doomed\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e at Eric McConnell’s East Nashville studio where he recorded \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eEast Nashville Skyline\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e and \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Devil You Know\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e and was backed by the core of musicians he worked with on those albums: guitarist Will Kimbrough, drummer Paul Griffith, violinist Molly Thomas, and either McConnell or Peter Cooper on bass. He also brought in keyboardist Jimmy Wallace for the sessions.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eAt some point after Snider decided to put \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eCrank It, We’re Doomed\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e on the shelf, the stereo masters were lost. Over the years, both Snider and McCullough made efforts to locate the masters with no luck. The subject came up again recently when they met to discuss making another record together.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e“We were sitting there just wracking our brains, ‘Where could it be,’ ” Snider recalls. “And finally Eric said, ‘I guess DeMain might have it.’ ”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMcConnell was referring to mastering engineer Jim DeMain, and sure enough, DeMain had the masters. Snider’s mythic, lost album was found.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eAfter hearing the record for the first time in more than a decade, Snider was no longer bothered by it being “all over the map.” So he shared it with a few friends and advisors, who recognized its historical importance and encouraged him to release it.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e“I couldn’t see it conceptually back then,” Snider says. “But now I can see it was about a guy losing the plot.”\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eFormat \/ 2\u003cb data-mce-fragment=\"1\"\u003eLP\u003c\/b\u003e\u003cbr\u003eReleased \/ \u003cb\u003e11\/10\/2023\u003c\/b\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCatalogue \/ \u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003eAMLS-59821A\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBarcode \/ \u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003e691835759821\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eArtist \/ \u003cb\u003eTodd Snider\u003c\/b\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLabel \/ \u003cb\u003eAimless Records\u003c\/b\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eGenre \/ \u003cb\u003ePop \/ Rock\u003c\/b\u003e\u003c\/span\u003e","brand":"Red","offers":[{"title":"Default Title","offer_id":40844082544701,"sku":"POP-S-691835759821","price":29.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1487\/4550\/files\/4252468-3057652.jpg?v=1699316639"},{"product_id":"todd-snider-high-lonesome-and-then-some-colored-vinyl","title":"Todd Snider - High, Lonesome, And Then Some [Colored Vinyl]","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eLimited colored vinyl LP pressing. Imagine you're driving down a rural two-lane road somewhere in the South, and you come upon a little beer joint. You pull over and go inside where there's a band-three guitars, bass and drums and a couple of female backing vocalists-playing some dirt road blues. The mood is loose, the band is tight and the lead singer has a voice that sounds like he's spent a lot of time traveling up-and-down dirt roads living and singing the blues. That's the sound of High, Lonesome, and Then Some, Todd Snider's 15th studio album.\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFormat \/ \u003cb\u003eLP\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eReleased \/ \u003cb\u003e10\/17\/2025\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eCatalogue \/ \u003cb\u003eAMLS-17236\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eBarcode \/ \u003cb\u003e732388217236\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eArtist \/ \u003cb\u003eTodd Snider\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eLabel \/ \u003cb\u003eAimless Records\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eGenre \/ \u003cb\u003eCountry\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Red","offers":[{"title":"Default Title","offer_id":42747030929469,"sku":"CNT-S-732388217236","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1487\/4550\/files\/4452714-3446702.jpg?v=1764089202"},{"product_id":"pre-order-todd-snider-best-of-all-my-songs-indie-exclusive-yellow-vinyl-box-set-release-date-06-26-2026","title":"Todd Snider - Best Of All My Songs [Indie-Exclusive Yellow Vinyl] [6-lp Box Set]","description":"\u003cdiv class=\"ProductDetailView_containerPrimary__Y8s3v\"\u003e\n\u003cdiv class=\"ProductDetailView_desc__rv0Re\"\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"Description_reasons-to-buy-wrapper__0CthD\"\u003e\n\u003cdiv class=\"Content_description-wrapper__XbO9z\" data-is-open=\"true\"\u003e\n\u003cdiv class=\"Content_inner-wrapper__xBJ2L\"\u003e\n\u003cdiv class=\"Description_truncated-text__yUXZD\"\u003e\n\u003cdiv class=\"Description_descriptionBody__bEN2t\"\u003e\n\u003cdiv class=\"Description_descriptionText__Lgv7A\" data-testid=\"description-product\"\u003e\n\u003cp\u003eThis exclusive 6LP box set captures the essence of Todd Snider’s remarkable 30-year journey, recorded live at The Purple Building in East Nashville. During the pandemic, Todd’s Sunday livestreams became a lifeline for fans. These performances brought music, humor, and storytelling together, creating a sense of community when it was needed most. 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Confident in the feel and in his studio band’s pliability, Todd recorded vocal and guitar first, with no accompaniment or click track, so the band would have to follow wherever he led.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eBy mid-October, he had finished vocal, guitar, and rhythm section recordings for at least an album’s worth of material, originally aiming for a double album. 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