Name: The Shepherd's Dog
Brand: Iron and Wine

Bonus disc

Bonus disc: No

Catalogue number

spcd710

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Colour

Colour details

Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: No

Format detail

Format Music GB

Limited edition

Release date

2016-08-30

Signed copies

Signed copies: No

Supplier GB

PIAS

Tax rate GB

Standard:20

UPC / Barcode

0098787071023

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Total Cap

1 / CD / Extended format: No / Rough Trade Exclusive: No / Signed copies: No

Artist

Iron and Wine

Genre GB

Singer Songwriter

Label GB

Sub Pop

Short for "Subterranean Pop" 

The label was an outgrowth of [a=Bruce Pavitt]'s Olympia, WA based (print) fanzine, which became the well respected cassettezine of the same name. 

After his move to Seattle he ran a music column in the Seattle Rocket also called Sub Pop.

After initial forays into the record label world with a [a=Green River] 7" (not officially on Sub Pop) and the Sub Pop 100 LP, the label exploded onto the indie scene with four influential colored vinyl 7"s which included [a=Mudhoney]'s "Touch Me I'm Sick" which made the year-end top 10 playlist of nearly every music journalist in the world.

Subsequent hyping of the label in the English music press put them on the map, and grunge was born.

Label-Code is 03159; rarely found printed on releases (basically only on releases manufactured/licensed by Warner/WEA Germany)

Following a one-record hiatus to collaborate with Tucson collective Calexico on 2005's In The Reins, Iron and Wine (Sam Beam, that is) recoils to the earnestness and intimacy that embodied his first two records, his cerebral words and phrases tunneled beneath an orchestra of guitar, banjo, keyboards, and strings. More definitive than ever, the rhythm and percussion complement Beam's voice, a lulling, almost eerie tone that occasionally recalls John Lennon's early solo work, especially on delicate tracks like the bluesy Wolves (Songs of the Shepherd's Dog and Carousel, with its veiled references to Iraq. Those raised on the lo-fi routine of Beam's earlier work will find rawness and sanctity in the more upbeat selections: The Crosby, Stills and Nash folk-rock of House by the Sea and Boy with a Coin and the atmospheric beauty of Pagan Angel and a Borrowed Car and Shepherd's best song, Lovesong of the Buzzard. With an organ swirling about and a slide guitar adding gentle flourishes, Beam concedes that "no one is the savior they would like to be," without realizing that, when it comes to fluent music and pristine storytelling, perhaps he is.

The Shepherd's Dog

Music GB