Name: Crazy Horse Never Died
Brand: Roxy Gordon

Tax rate EU

Default:19

Supplier EU

375 Media

Total Cap

Format detail

Colour details

Discogs ID

Limited edition

Colour

Format Music EU

Extended format

Extended format: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Signed copies

Signed copies: No

Download code

Download code: No

Bonus disc

Bonus disc: No

Release date

2023-05-12

Format multiplier

Catalogue number

POB068CD

UPC / Barcode

843563149041

Black

POB068LP

843563149034

Artist

Roxy Gordon

Label EU

Paradise of Bachelors

Genre EU

Classic

Paradise of Bachelors is a record label, company, and archive based in North Carolina. With a passion for preserving and promoting *authentic* music, the label has become a trusted source for music enthusiasts worldwide.

Founded with the aim of supporting independent artists and showcasing their talent, Paradise of Bachelors has built a reputation for releasing high-quality records across various genres. From folk to country, blues to rock, the label's diverse roster ensures there is something for every music lover.

With an unwavering commitment to exceptional sound quality and artistic integrity, Paradise of Bachelors consistently delivers unique listening experiences. By collaborating closely with its artists throughout the creative process, the label fosters an environment that allows musicians to fully express themselves.

Newest Listed Items

The Choctaw, Assiniboine, and Texan poet, journalist, visual artist, American Indian Movement activist, and musician Roxy&nbsp; Gordon (First Coyote Boy) (1945–2000) was above all a storyteller, known primarily as a writer of inimitable style and unvarnished candor, whose wide-ranging work encompassed poetry, short fiction, essays, memoirs, journalism, and criticism. Over the course of his career he recorded six albums, wrote six books, and published hundreds of shorter texts in outlets ranging from Rolling Stone and The Village Voice to the Coleman Chronicle and Democrat-Voice, in addition to founding and operating, with his wife Judy Gordon, Wowapi Press and the underground country music journal Picking Up the Tempo. Along the way he cultivated&nbsp;close friendships with fellow Texan songwriters such as Lubbockites Terry Allen, Butch Hancock, and Tommy X. Hancock, as well as Ray Wylie Hubbard, Billy Joe Shaver, and, most famously, Townes Van Zandt, whom he called his brother. Although his work covered a vast array of topics exploring strata personal, local, global, and cosmic alike, Gordon’s primary subject as a writer, musician, and visual artist was always American Indian culture, specifically the ways it collided and coexisted with European American culture in the South and West and within the context of his own life and braided identity. The ten songs on Crazy Horse Never Died, his first officially released and distributed album, were recorded in Dallas in 1988. “Songs” is perhaps an imprecise taxonomy for what Roxy captured on this and his other albums, all of which remain out of print or were released in instantly obscure limited editions of homebrew cassettes and CD-R’s. (Paradise of Bachelors plans to reissue remastered, expanded editions of his catalog; Crazy Horse is the first.) He only occasionally attempted to sing, and his musical recordings are primarily corollaries of, and vehicles for, his poems. His sharp West Texan drawl, tinged by formative years of reservation living in Montana and unmistakable once you hear it high, lonesome, flat, and cold-blooded as a bare rusty blade instead patiently unfurls in skewed sheets of anecdotal verse and discursive narrative rants. His songs are essentially recitations over backing tracks of fingerpicked guitars, rubbery washtub bass, and buzzing, oscillating keyboards. On the stark yellow and red jacket of Crazy Horse, which he designed himself, Gordon describes these recordings as innately ambivalent in terms of form, content, and identity: These are poems and/or songs about the American West, white and Indian.&nbsp; Crazy Horse Never Died comprises songs that span the personal and political arcs of his writing practice and the poles of his native and white ancestries. His introduction to the almost-title track in the strikingly illustrated poetry chapbook supplement to the album (included in the LP edition) draws explicit parallels between the oppression and displacement of Palestinians by Zionists and the similar treatment of Native Americans by Europeans, justifying the historical necessity of resistance to racist imperialism through terrorism. For fans of Terry Allen, Leonard Cohen, Willie Dunn, John Trudell, Buffy St. Marie and Townes Van Zandt.

Crazy Horse Never Died

Music EU