For My Mother's Wedding: Live in the Booth at Third Man Records

by Goodnight, Texas

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We in Goodnight, Texas present this collection as a wedding gift to Avi's mother Judy and stepfather Rodney, who were married on August 20th, 2016 in San Francisco. Judy was a major influence on Avi’s love of early folk and blues recordings that sound as old and scratchy as this collection, which we recorded straight to vinyl in a refurbished 1947 recording booth at Third Man Records in Nashville.

Judy first heard ”For A Wedding" as performed by Avi and Patrick during her wedding processional. ”Hey Olive,” the theme song of Judy and Rodney’s indefatigable poodle mix, is a living room staple of trips to their home in Los Angeles.

In addition to new renditions of some Goodnight, Texas songs ("Submarines," "Hayride," "Many Miles from Blacksburg”), and older solo material (“Santa Cruz,” “Coattails”), you’ll find our bassist/beardist Scott Griffin Padden singing his own "The Boy Who Took You Out,” and a Vic Chesnutt cover by our drummer Alex Nash ("When The Bottom Fell Out”).

We are delighted to share this exclusively on Bandcamp. Pay what you want! Any American dollars raised will help fund the mixing and mastering of our 3rd LP, which is almost ready to be mixed and mastered!

We send all our love to Judy and Rodney, and to everyone else, we hope this finds you well.
-Avi, Patrick, Scott and Alex


released August 22, 2016

Recorded in the Third Man Records recording booth, Nashville, TN
Mastered by Jonathan Kirchner

Tracks 1, 2, 4, 8, 10 written and performed by Avi Vinocur
Tracks 3, 5, 6 written and performed by Patrick Dyer Wolf
Track 7 written and performed by Scott Griffin Padden
Track 9 written by Vic Chesnutt, performed by Alex Nash



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Goodnight, Texas San Francisco, California

Goodnight, Texas is the garage roots Appalachian collaboration of San Francisco’s Avi Vinocur (formerly of The Stone Foxes) and North Carolina’s Patrick Dyer Wolf.
The band conjures a feeling of a different heavy era in the United States - part 1930s, and part 1860s. The trick: heaviness comes from organic acoustic instruments. In this case, a banjo, acoustic guitar and a 1918 mandolin.
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