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Travis Bowlin – Secundus is not second its #1 !!!!!

Yep #1 for Secundus on the RMR BLUES ROCK Chart

TME. FM RADIO SPOTLIGHT ALBUM ALSO UP TO #5 ON BLUES CHART

 

That is one bad screenshot

“Sameness is the mother of disgust, Secundus the cure”. Petrarch

“Secundus is like a pile of presents at Christmas, every track a wonderful surprise on playing but you don’t know which to play again there is so much variety”. TME.fm Radio

We sure know how to pick a spotlight album here at TME.fm but when it comes to writing reviews we are the at the bottom of the queue actually we are not in the queue!

So this is what Blind Raccoon and Travis say about the album.

Travis Bowlin’s second studio album, “Secundus,” is a flavorful, driven, yet sultry rock/soul/blues opus that takes us from the jazzy, smoky lounge feeling of ‘Casaurina Sand’ to heavy-hitting rock songs like ‘Dancin’ with the Devil.’ 
There’s plenty of soul in between with tunes like ‘Strange Vibes,’ with its Wilson Pickett feel from start to finish, and the downright dirty blues stylings of tracks like ‘Slow Cooker Man’ & ‘Vicksburg Blues.’ This record is filled with lyrics that take you right there like a movie inside your head. There’s love, hate, happiness, sadness, and plenty of attitude throughout. The 12 original compositions were recorded at Mainframe Recording Studio with Bowlin serving as producer and Nathan Smith as sound engineer. 

“Secundus is Latin for the Second but can also be used to describe being lucky or favorable,” says Bowlin. “I’m the second so named after my father. The Latin way for saying this and the other meanings of the word really resonated with me. My roots are blues and this word, Secundus, and its meanings, reminded me of John Lee Hooker’s song ‘Mr. Lucky.’ I feel very lucky and blessed to be able to do what I do. I have really put a lot of myself into this record in more ways than one. As an artist you never are satisfied with anything you do, but there’s a time when you have to say ok, that’s enough. Here are 12 songs about how I feel, how you might feel, and for everyone to have an opinion on. I am very proud of the music that was made in the studio and the “fun work” put into this record. I’m excited for everyone to hear it.”

 

 

 

GOMEZ RETURN FOR MORE UK TOUR DATES AFTER SELL OUT SHOWS IN THE SPRING

OXFORD, NEWCASTLE, NORWICH, BIRMINGHAM, CARDIFF, AND MANCHESTER SHOWS ANNOUNCED

20TH ANNIVERSARY EDITION OF DEBUT ALBUM ‘BRING IT ON’ OUT NOW VIA UMC

Gomez UK Tour August September 2018 Bring It On Anniversary Poster

Due to the huge success of their Spring UK tour, Gomez will be returning this August and September to celebrate the 20th Anniversary of their Mercury Prize winning record ‘Bring It On’. UMC have also released a super deluxe box set containing: 35 previously unreleased tracks. The collection features 25 demos & 13 songs never released in any form by Gomez, including covers of Neil Young’s “Unknown Legend” and “T-Bone Walker’s Mean Old World” plus the band’s 1998 Glastonbury performance and BBC sessions.

Package includes a 10,000-word essay by journalist Paul Stokes, with new interviews with the band and those close to them. Red & Yellow coloured vinyl edition are available + Standard black vinyl edition both in gatefold packaging.

GOMEZ ‘BRING IT ON’ NEW TOUR DATES UK

AUG 23 THU – O2 Academy Oxford
Oxford, United Kingdom

 AUG 24 FRI – O2 Academy Newcastle
Newcastle Upon Tyne, United Kingdom

AUG 25 SAT – UEA LCR Norwich
Norwich, United Kingdom

AUG 26 SUN – Victorious Festival
Portsmouth, United Kingdom

AUG 28 TUE – O2 Institute
Birmingham, United Kingdom

AUG 29 WED – Tramshed
Cardiff, United Kingdom

AUG 31 FRI – Bingley Festival
Bradford, United Kingdom

SEP 2 SUN – O2 Ritz Manchester
Manchester, United Kingdom

U.K. fans — For sold out shows, please note that Gomez have appointed Twickets as their official ticket resale partner. Twickets enables fans to trade tickets for gigs at face value and helps fans avoid exploitation and overpricing on secondary ticketing platforms.

 

MORE ON 20 YEARS OF ‘BRING IT ON’:

“No other record captures that period so perfectly,” says Elbow’s Guy Garvey. “The concerns of the songs. The stories, the experimental sounds. It was so brave for a band to record themselves at that time: it allowed a direct and undiluted account of the band as aspirational, big-hearted friends in love with making music and each other. It dared us to record ourselves. But they did it first. It’s the most deserving recipient of the Mercury Prize in its history: a breathlessly ambitious and lovingly crafted masterpiece. It should be called Bring It ‘The Fuck’ On.

To commemorate the 20th anniversary of Gomez’s Mercury Music Prize winning debut album, Bring It On has been re-mastered and reissued as a super-deluxe 4CD with an accompanying remastered double LP release. The 4CD 20th Anniversary edition of Bring It On contains the original, classic album remastered by Frank Arkwright @ Abbey Road studios and 35 previously unreleased tracks including 25 demos (recorded between January 1996 and August 1997) – 13 of which are appearing on an official Gomez release for the first time.

The band have played the album in its entirety this Spring on their UK & Ireland tour, then going on to Australian and US dates.

Twenty years on, the debut album by Gomez sounds not of its time, but ahead of its time. You can hear its echoes in so much of the music that followed it: not just in Elbow, but in any artist who heard Bring it On and realised the possibilities of combining indie and roots music with lo-fidelity electronics: a modern experimental sensibility with a love of the past. Bring It On was an album that synthesised styles in a way that seemed remarkable then, and now sounds utterly unforced and contemporary. Where so many of its contemporaries sound completely of their time, Bring It On sounds as if it could have come out to equal acclaim at any point over the past 20 years. It’s a record that thoroughly merits its expanded 20th anniversary edition.

Bring it On sounds as if it’s been made by kids who’ve been exploring the outer expanses of Spotify, scouring it for unlikely sources, rather than four lads in a Southport garage, and the fella they met at university. Though, in a way, Bring It On is the pre-streaming version of that very process, bringing together all the five members’ tastes, without ever allowing one style to dominate. You can hear their love of so much different music: Tom Waits, Tim Buckley, Prince, Talking Heads, Johnny Cash, Portishead, The Chemical Brothers, Led Zeppelin, Neil Young, jazz and folk and indie and the West Coast and classic rock. Between them, Ian Ball, Ben Ottewell, Tom Gray, Paul Blackburn and Olly Peacock created something that was far more than the sum of its parts.

In 1998, of course, it sounded revolutionary. “Gomez came along at exactly the right moment,” says the DJ Steve Lamacq, who championed the band on his Radio 1 show. “After Britpop had collapsed in on itself, there was a massive hole on the Evening Session, waiting to be filled. But what we found was, people reacting against the commerciality of the Britpop wave and heading off on all sorts of strange tangents. The audience was really receptive to sounds that maybe wouldn’t have fitted in a few years earlier.”

Gomez hadn’t even recorded with the intention of making an album, which is perhaps why it sounds so unforced. The basis of the album was seven tracks recorded on an ancient four-track recorder. The band’s label, Hut, had to use the home recordings – for practical reasons. “They couldn’t recreate those recordings because they’d done them in one of their dad’s garages on the four-track, and just after they’d finished doing the last one the thing broke,” says Hut’s David Boyd. “So we decided it needed a little bit of mixing and embellishment, but not a lot, and they trotted off to Liverpool to do the touch-ups, but to all intents and purposes that was Bring It On.”

In Liverpool, engineer Ken Nelson awaited them, and helped them turn those seven tracks into a whole album. “They’d have an idea and would look to me to make it work,” Nelson says. “Their home-learned skills transferred well to the studio and I believe we learned so much from each other. I’d never worked with a band who were so creative before: it was truly exciting for me.”

The spectacular results had an immediate impact and influence, Chris Martin admired Bring It On so much that Coldplay hired Ken Nelson to produce their first album (he went on to produce three for them). Indeed, without some of Gomez’s freewheeling influence, it’s much harder to imagine the British music scene making a comfortable home for the innovating likes of Alt-J, Everything Everything & Field Music, or across the pond where subsequent harmony bands blending indie, antifolk and art rock have thrived.

Bring It On went on to win 1998’s Mercury Music Prize, beating Pulp, Massive Attack, Cornershop and The Verve, the judges describing the album as “an intriguing blend of swamp blues, bar-room rock and eerie power”.

Bring It On remains the album Gomez are best known for in the UK, but it was only the starting point for a spectacular career. The band built audiences internationally, especially in the US and Australia. In the States, in particular, Gomez have become bigger and bigger, with their two most recent albums, A New Tide (2009) and Whatever’s on Your Mind (2011), becoming the highest-charting records of their career.

But Bring It On remains the landmark: The introduction to their singular nature. Hence the deluxe reissue. Hence the anniversary tour in the Spring on which many of the shows – including an appearance at the Royal Albert Hall – sold out in moments. Hence more tour dates being added this August and September. Twenty years later? Once again, bring it on.

TME.fm RADIO SPOTLIGHT ALBUM

 

YES FOR 40 DAYS AND NIGHTS SECUNDUS from TRAVIS BOWLIN is our SPOTLIGHT ALBUM.

One of the songs from album played every hour.

 

Travis Bowlin’s second studio album, “Secundus,” is a flavorful, driven, yet sultry rock/soul/blues opus that takes us from the jazzy, smoky lounge feeling of ‘Casaurina Sand’ to heavy-hitting rock songs like ‘Dancin’ with the Devil.’ There’s plenty of soul in between with tunes like ‘Strange Vibes,’ with its Wilson Pickett feel from start to finish, and the downright dirty blues stylings of tracks like ‘Slow Cooker Man’ & ‘Vicksburg Blues.’ This record is filled with lyrics that take you right there like a movie inside your head. There’s love, hate, happiness, sadness, and plenty of attitude throughout. The 12 original compositions were recorded at Mainframe Recording Studio with Bowlin serving as producer and Nathan Smith as sound engineer.
“Secundus is Latin for the Second but can also be used to describe being lucky or favorable,” says Bowlin. “I’m the second so named after my father. The Latin way for saying this and the other meanings of the word really resonated with me. My roots are blues and this word, Secundus, and its meanings, reminded me of John Lee Hooker’s song ‘Mr. Lucky.’ I feel very lucky and blessed to be able to do what I do. I have really put a lot of myself into this record in more ways than one. As an artist you never are satisfied with anything you do, but there’s a time when you have to say ok, that’s enough. Here are 12 songs about how I feel, how you might feel, and for everyone to have an opinion on. I am very proud of the music that was made in the studio and the “fun work” put into this record. I’m excited for everyone to hear it.”

BIOGRAPHY

In 1988, Travis Bowlin was born in a little river town just off the Ohio River called Aurora, IN near Cincinnati, Ohio. He found his love for roots music at the age 11, when he started singing for the honorable Cincinnati Boy Choir in Cincinnati Ohio. He first discovered his joy for playing instruments at age 15 when he received his grandmother’s old acoustic guitar. Throughout his teenage years Travis was very heavily involved in his school’s music program in both band and choir. Through the school Travis was able to perform solo at Disney World twice, the Indianapolis 500, and Cedar Point (Winning outstanding performer). After high school Travis traveled his tri-State of Ohio, Kentucky, & Indiana booking as many shows as he could to work on his craft.

It wasn’t until 2012, when Travis would sign his first independent record deal, that things changed, allowing him to learn more about the music business and taking him to Music City (Nashville, TN). On March 1, 2014 Travis released his first studio single ‘Bad, Bad Man’ that was featured on many radio stations across the world and would land Travis and his band a performance spot on Nashville’s NBC News. 2014 would also bring Travis his first Master and Sync license and first global TV debut performing his original song ‘Traveling Man’ on TLC’s show 19 Kids and Counting for the episode “A Duggar Leaves Home.” During this same time Travis released his second studio single, ‘Got the Goods,’ which received great notoriety in the blues/rock/roots music world and scored him a feature in L.A. based Rock n Roll industries Magazine.

On June 9, 2015 ‘See You Again’ was released together with Travis’ first full length official music video. ‘See You Again’ climbed the charts reaching #5 on iTunes new blues and debuted at #3 on the Roots Music Report Blues/Rock chart. For nearly six months ‘See You Again’ charted on Roots Music Report and was listed on the 2016 Grammy entry ballot in American Root Performance and American Roots Song. His music video was nominated for a Midwest Video Music Award and the RockErie Awards.

Travis is currently traveling and performing in about 30 US states and 3 countries. He has performed at the Bayfront Blues Festival, Aurora Farmers Fair, National Cornbread Festival, Riverfront Nights, and Texas River Fest. He has headlined the Delta Dragon Riverboat Regatta, the Bendigo Blues & Roots Music Festival, and has shared the bill with Ricky Skaggs, Cyril Neville, John Mayall, Samantha Fish, Big Something, Eugene “Hideaway” Bridges, and Big Smo. In 2016 he was a “Best Band in Nashville” nominee and in 2017 toured Australia extensively. He is currently preparing for a tour to Iceland at the end of August and has recently been endorsed by Lace Music Products as their first and only Cigar Box Guitar pickup artist.

Listen to new track from Alejandro Escovedo. Album release 14 September

Yea a new album from legend Alejandro Escovedo coming.

The Crossing will be released September 14th

 

First listen to New country artist Mark Williams single “Lady On The Run”

FIRST LISTEN> Yes I read everything below before listening and my feet and heals were tapping after ten seconds, after 3 minutes and forty seconds I came to the conclusion Mark might have grown up with Willie Nelson and Garth Brooks playing all around him but he wasn’t listening.

“New” country it definitely is, that new I didn’t recognize it as country.

Now here at TME.fm we have 7 shows a day and one of them is country, Lady On The Run will not get played on that show.

It will get played on the Americana show, we could swing it for some plays on the Roots show and hopefully on the Charts show.

Right remember I am writing after the first listen,the only listen so far, yes so far, I will be playing Lady On The Run a lot, it is a very good song, it has a great sound, cracking lyrics, ok the voice isnt a Bruce Springsteen or a Neil Young but it is OK, overpowered by the instruments a little but not everybody can afford a T-Bone.

One thing for certain I look forward to hearing the rest of the album to encounter some “country” hopefully it will be “Country Americana” and not “NEW”.

VERDICT. A very enjoyable song, a song to listen to again and again(if only to hear where the country is, I might have heard a mandolin in the opening 20 seconds), 7 out of ten aint bad Mark, but country?

 

Mark Williams has been performing on the music scene for a number of years as a singer/songwriter.  Formerly under the name Marc Lavoie, Mark hit the BDS TOP 40 charts with his single ‘Bang ‘Bang’ and played to audiences in major venues across the country including  Montreal’s Formula 1 Grand Prix (70 000+ people), and hockey’s “Remparts de Quebec” show (20 000+ people), plus many shows at Club Soda with a number of of renowned artists such as Gabrielle Destroismaisons, Luc De La Rochellière, Rick Hugues, Les BB, Andree Waters, and more.

 

Now, with hundreds of shows and two albums under his belt, Mark can certainly be called an accomplished artist, passionate about all projects he undertakes. Whether in pop, rock or country, Mark gives every ounce of energy he has to please his fans and his audience.

 

In October 2017, Mark began work with music producer/arranger Michel Francoeur (Robby Johnson, Bobby Bazini). Growing up with country music all around him with influences such as Willie Nelson and Garth Brooks, Mark decided it was time for him to jump into the “new-country” style for his next album.  The 12 new songs from his upcoming album ‘In Motion’ were mastered by Abbey Road Studios in London and features his debut release to country fans called ‘Lady On The Run’.

 

A national tour is planned for 2018-2019 which will give an opportunity for new country lovers to enjoy Mark’s brand new material, as well as covers of the biggest country classics from yesterday to today.

LISTEN TO THE SINGLE ON SPOTIFY

LISTEN TO THE SINGLE ON SOUNDCLOUD

WATCH THE VIDEO HERE

Website : www.markwilliamsmusic.com

Spotify: https://open.spotify.com/album/4vuVdRoGnKZd6B3h5rVn3v

Itunes: https://itunes.apple.com/us/album/lady-on-the-run-single/1400909167

Facebook : https://www.facebook.com/Mark-Williams-Music-159628774754738/

Youtube : https://www.youtube.com/channel/UCLJViTC5P_tEqKJ2aDkl-SQ?view_as=subscriber

Soundcloud: https://soundcloud.com/markwilliamsmusic

Instagram: https://www.instagram.com/markwilliamsmu/

Twitter: https://twitter.com/MarkWil56757358

Youtube (Lady On The Run): https://youtu.be/AuMkuR8cHmE

 

For more information please contact:

Media (International)/Radio (Canada):
Last Tango Productions Ltd.
E: [email protected]
P: 416-538-1838

Ellen Starski – Ode to Nanny and Cookie

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During the years leading up to her solo debut, The Days When Peonies Prayed for the Ants, songwriter Ellen Starski explored both her homeland and herself, traveling from the coal country of rural Pennsylvania to the roots-music hotbed of Nashville, Tennessee.

Released in May 2018, The Days When Peonies Prayed for the Ants acts as the soundtrack to that period of self-discovery. It’s an autobiographical album, rooted in a lush mix of indie-folk, orchestral Americana, and organic pop. Starski wrote the songs during a span of a dozen years, tracing her trek from Reynoldsville, Pennsylvania — where she began playing guitar at 19 years old, before cutting her teeth as the singer of a bluesy bar band — to Knoxville, where she kicked off her solo career with pub gigs and open mic performances. The journey then winds its way to Nashville, Starski’s adopted hometown since 2008. It was there, alongside producer Anne McCue and a handful of the town’s top sideman, that she recorded The Days When Peonies Prayed for the Ants.

It’s a record that’s as dynamic and driven as its creator. Sonically influenced by Leonard Cohen, Bob Dylan’s Desire, and the Alison Krauss/Robert Plant collaboration Raising Sand, The Days When Peonies Prayed for the Ants offers up a combination of sweeping string arrangements, stripped-down piano ballads, finger-plucked folksongs, and everything in between, all held together by a voice that’s both emotional and elastic. “I’ve been singing in front of people since I was a child,” says Starski, whose lyrics shine a light on the triumphs, missteps, and stories she’s picked up along the way. “I’ve been writing songs for years, too, but I’d always hide them when I was singing with blues bands and funk groups. They didn’t fit. Things changed once I had my daughter. It opened up a whole new world to me, and I knew I was strong enough to express how I feel.”

The album’s title nods to the symbiotic relationship between peony flowers and ants, who rely on one another for growth. Peonies produce nectar outside of their buds, encouraging ants to climb up the flowers’ stalks in search of food. In doing so, the plants’ dense flowers are opened. At the end of the process, the plant fully blooms and the ants walk away with full stomachs. Starski’s writing explores similar themes of give-and-take and cause-and-effect.

“The record is about growth,” she explains. “It’s about all these things that have happened to me, which have helped me blossom as a human being.”

There are songs about loss, heartbreak, and family, all of them filled with details from Starksi’s own life. “Miss You Mary” pays tribute to her mother, who helped steer her daughter out of a dark hole as a teenager. Laced with acoustic guitars and cinematic strings arranged by McCue, “Ode to Nanny and Cookie” opens the album with a salute to Starksi’s two grandmothers. Meanwhile, her own daughter inspired the lovely, lilting “Daughter of the Sea,” while the country-inspired “Honey I’m Not Him” was written during a nighttime drive around along the Nashville backroads, with her infant sleeping in the backseat. Personal anecdotes are woven throughout, but The Days When Peonies Prayed for the Ants ultimately delivers a universal message: that you cannot come to grips with yourself until you come to grips with the beautiful wreckage of your past.

Raised on a wide spread of music — the Lilith Fair-era earnestness of Tori Amos and Sarah McLachlan; the heartland rock of Tom Petty; the moody, nocturnal music of Portishead; the articulate, lyric-based writing of Aimee Mann — Ellen Starski shows her full range as a writer, vocalist, and storyteller with The Days When Peonies Prayed for the Ants. The album is a team effort, with a number of music-industry heavyweights (including drummer Paul Griffith, bassist Jimmy Sullivan, pianist Carl Byron, strings Deanie Richardson, manager Erin Anderson, and producer/guitarist/mentor McCue) all pulling their weight. Starski is the captain of this ship, though, and Peonies points her toward a genre of her own making.

PopMatters.com – “Ode to Nanny and Cookie” track premiere – “…the album acts as a soundtrack of sorts for Starski’s life leading up to its moment of completion, scrap-booking essential moments of her life into song. From her travels in coal-led rural Pennsylvania to the roots music capital of Nashville, the troubadour details the good, the bad, and the in-between in picturesque detail.”

Glide Magazine – full album premiere – “The album encapsulates Starski’s talent as both a songwriter and a singer… with lush yet quiet textures that allow her voice to really shine. Mostly quiet yet powerfully striking, the album is an impressive solo debut from an artist with much to offer.”

Cowboys & Indians – “Chasin’ The Sun” track premiere – “…a lighthearted song that seems to float on a cloud, channeling a feel-good bubbly tone powered by accordion, ukulele, and glockenspiel.”

The Daily Country – “Honey I’m Not Him” track premiere – “…a foreboding, banjo-led track which finds a determined, protective Starski issuing chilling words of caution to another to steer clear of her man.”

BlastEcho.com – “making of the album” video premiere – “…pretty damn enjoyable…”

Creedence Clearwater Revival – Celebrating 50 Years – Watch video for “Fortunate Son”

CELEBRATING 50 YEARS OF AMERICA’S GREATEST ROCK BAND, CREEDENCE CLEARWATER REVIVAL

“FORTUNATE SON” RECEIVES THE OFFICIAL MUSIC VIDEO TREATMENT –WATCH HERE

MORE ANNOUNCEMENTS TO FOLLOW INCLUDING A SPECIAL RELEASE DUE THIS AUTUMN

Craft Recordings proudly announces the 50th anniversary of America’s greatest rock bandCreedence Clearwater Revival. It was in the summertime half a century ago that CCR, a group that would reach sky-high success while retaining a resolutely rootsy, earthbound sound, released their debut album. This marked the beginning of an incredible legacy that was formed over just four years of unbridled creative output (1968-1972).

CCR‘s canon has become a staple in the Great American Songbook. Songs like “Bad Moon Rising,” “Down on the Corner,” “Have You Ever Seen the Rain,” “Proud Mary,” and “Up Around the Bend” have been ingrained into the pop-cultural consciousness—not just as classic rock staples, but as American standards.

As the United States speeds towards another anniversary of its own on 4th JulyCraft is kicking off the CCR50 campaign by releasing an official music video (the first ever) for one of the band’s most enduring classics, “Fortunate Son,” a song as vital now as ever.

Beyond its anti-war sentiment, “Fortunate Son” is an anthem for the 99%ers, condensing a critique of elitism and class privilege into three simple, but powerfully defiant words: It Ain’t MeCraft partnered with director Ben Fee(Band of Horses, The War on Drugs, The Lumineers, Aesop Rock) to give a whole new generation a visual entry point into the world of Creedence.

The song already has an undeniable place in history as one of the most visceral, attention-grabbing protest tunes of the Vietnam era. With the new video, Feeextends the reach of “Fortunate Son” even further. “For me, protest right now is just showing pure positivity in the face of division and anger.” Says Fee, “I wanted to highlight the community and positivity that everybody shares…I wanted to show what America feels like when you actually hit the road and drive throughout the states.”

Though the Vietnam war is decades away in the rearview mirror, the people CCRwere speaking for in the song are still the heart and soul of America, and they’re still the underdog, facing a whole new set of challenges. So, Fee turned the video into a celebration of their indomitable spirit, giving viewers a glimpse of the broad array of characters comprising the patchwork that is our country at its core.

In spotlighting the diversity and unconquerable spirit of America’s so-called 99%, Fee created a concept as relevant to today’s world as it is to the original 1969setting of “Fortunate Son. “I met so many beautiful people,” says Fee of the folks he shot for the video. “I went to the Taos Pueblo people, into their land, and met with the war chief, and they were very big fans of CCR. They were so welcoming because they knew the song and the band, and they really loved the idea of protest through positivity.” 

Click here to watch the video.

Fee’s video road trip took him across the country, from Los Angeles to Miami and all points in between. The footage captures people across America of diverse ages, cultures, ethnic backgrounds and locations (including Florida, Louisiana, Texas, New Mexico, California, Washington and Hawaii) to document the true spirit that makes up the fabric of the United States, for which CCR have been the soundtrack for 50 years.

In addition to the video, the half-century celebration will continue in the coming months to fill out the CCR story even further. Craft will be honouring the band’s musical legacy via a diverse array of media, products and events; including a special release coming this autumn. The fête will also provide fans with new ways to engage with CCR online–sharing their memories, streaming new content, and diving deeper into the band’s legendary history. Stay tuned to CCR50.com for more details, coming soon.

In the meantime, you can dig in to more from the Creedence Clearwater Revival catalogue (and build your 4th July playlists) via Apple Music (click here for the Essentials) or Spotify (click here for This Is).

More about Creedence Clearwater Revival:

Creedence Clearwater Revival’s 1968 self-titled debut album introduced the world to guitar-playing brothers John and Tom Fogerty, drummer Doug Clifford, and bassist Stu Cook, four young men out of El Cerrito in the San Francisco Bay Area. Though they emerged in a place and time where trippy psychedelic visions were the order of the day, CCR bucked the trends and instead tapped into a rich, traditional seam of American music that connected to blues, country, rockabilly, gospel, folk and R&B.

While their contemporaries were unfurling mind-bending musical excursions with elaborate productions, Creedence crashed into the upper rungs of the album and singles charts with songs that wasted nary a note or word, overflowing with raw soul and unbridled energy. Although the band members were only together for four years under the Creedence Clearwater Revival appellation, they managed to accomplish more than many artists do in their entire career – they released 14 Top 10 hitssix Platinum albums, and one Gold in just four intensely prolific years, all powered by John Fogerty‘s gut-level growl, with Tom FogertyStu Cook and Doug Clifford providing just the right kind of gritty, in-the-pocket punch to propel CCR‘s vision.

The band’s West Coast origins notwithstanding, Fogerty‘s voice contained echoes of everything from the Chicago blues bite of Howlin’ Wolf to the Alabama twang of Hank Williams and the Memphis swagger of Elvis Presley, creating an archetypal example of Americana decades before anybody ever thought of using that term to define a musical genre.

For all the indelible guitar hooks and commanding vocals the CCR catalogue contains, their songs are more than catchy tunes. CCR was a people’s band in more ways than one; hand in hand with the accessibility that made their music relatable to just about everybody, there was a strong sense of identification with America’s common folks, the ones whose stories were told in the songs.

On tunes like “Born on the Bayou” and “Green River,” Creedence harnessed the sonic hoodoo of almost dangerously deep, “swamp rock” grooves to propel vivid New Orleans imagery. “Long As I Can See the Light” floats luminously with the kind of sanctified soul feel that we’ve come to expect only from the South. And the spry country two-step of “Lookin’ Out My Back Door” finds its feet in Nashville, at least in a spiritual sense. While CCR‘s signature song, “Proud Mary,” is a Southern-soaked riverboat travelogue, with stops in Memphis and the Crescent City.

Even some of the covers of Creedence‘s tunes have become part of history—Ike & Tina Turner’s sped-up, R&B-slathered 1971 recording of “Proud Mary” almost rivaled the original in popularity. And an astonishing array of artists, from Johnny Cash and Willie Nelson to R.E.M. and the Ramones, have recorded “Have You Ever Seen the Rain,” to home in on the reach of just one of their profusely covered songs.

The group also performed a historic headlining set at Woodstock, and toured the world before disbanding in 1972CCR‘s music endures today – still in popular rotation on the radio, and heard regularly in films and TV shows. Having sold over 30 million albums in the U.S. alone, Creedence received a rare Diamond certification from the RIAA in 2016, marking 10 million units in sales for their 1976 compilation album, Chronicle: The 20 Greatest Hits.

The appeal of Creedence Clearwater Revival isn’t tied to any one era or milieu; whether it’s 50 years ago or 100 years from now, all you need is a pair of ears to pick up on their sound. As John Fogerty once sang on a certain 1969 hit single, “Over on the corner there’s a happy noise/People come from all around to watch the magic boys.”

Creedence Clearwater Revival on Facebook

Kara Grainger – Living With Your Ghost

“Talk about star power, a killer voice and guitar skills. She said to the band as much to the audience, “I think tonight, we’ll just play some blues.” Playing slide guitar, Grainger began with rootsy blues, her voice full-bodied with plenty of soul. There was clarity there too with that unmistakable bell tone mixed with grit. We were in for some serious musicianship with Kara Grainger. Her vocals packed a punch and she played monster guitar solos that had the crowd whooping andclapping. Nice to see a female musician kick some a** like that”. – Rock & Blues Muse

“But the highlight of the opening set will be Aussie soul slinger Kara Grainger who is known for her groove-rooted sound and mean slide guitar; her sultry vocal melting hearts and minds, a true delight to see”. Zaki Zufri, Insing.com

 

Her music career began in a small suburban town of Sydney Australia and since then  has taken her on an incredible journey throughout the globe.  Combining tasteful blues and slide guitar, soulful vocals and a heartfelt approach to songwriting,  Kara’s  truly unique sound will leave you  uplifted, inspired and always wanting more.

At the age of 16 Kara joined with her brother Mitch Grainger to form the band “Papa Lips”. The band toured consistently throughout Australia and produced two studio albums that received national air play.

The band was heavily influenced by the sounds of Stax recording in Memphis, and by the Funky style of blues and soul that derived from New Orleans.

In 2008 Kara signed to Australian label “Craving Records” and was invited to the US by producer David Kalish where she recorded her debut solo album. The recording entitled “Grand and Green River” received critical acclaim and remained in the top 30 of the Americana Charts for 38 straight weeks.

Since then Kara has made two further albums whilst residing in the US. In 2011 “LA Blues” was recorded live at Studio City Sound. The cd paid tribute to some of Kara’s earliest blues inspirations and in 2013 kara recorded and released”Shiver and Sigh” through Los Angeles record label “Eclecto Groove.” The album was produced by grammy award winning producer David Z with some of LA’s finest musicians, including Mike Finnigan, Hutch Hutchinson, James Gadson and Kirk Fletcher among others.

Recently Kara was invited to play in North east India by the Himalayan Blues Foundation. Her performance at the “18 degrees cultural Festival” introduced the local community in Shillong to roots and blues music for the very first time.

She has traveled to Indonesia several times to perform at the the Jakarta International Blues Festival, performing together with her US band and also as a special guest with “The Jakarta all Women Blues Review”.

In 2011 she toured Japan with “The Swampers and Donnie Fritts”, the infamous house Rhythm section for “Fame Recordings” in Muscle Shoals…She has taken her band to Switzerland where she performed at the “Sierre Blues Festival” as well as “Lucerne”. The band has also toured in Belgium, Germany, France, Luxembourg and Spain..

In 2015 Kara performed at the “Beautiful swamp Festival” in Calais France and also to sell out crowds on her debut tour of the Uk. One of the highlights was perfoming at “Ronnie Scotts”, Londons premier blues and jazz venue.

In the US Kara has performed at several Festivals such as ‘The Portland Waterfront Blues Festival’, ‘Blues from the Top’ in Colorado and “Austin City Limits”. She has also opened the show for many extraordinary acts such as Peter Frampton, Buddy Guy,Taj Mahal and Jonny Lang, to name a few.

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Al Basile – Me & The Originator

 

Me & The Originator is Al Basile fifteenth release on Sweetspot years. It’s a concept album which tells a story through a hybrid of narration and songs about an imaginary musician who has a career which harbors a dark secret. This CD asks the questions ‘who makes the song?’ and ‘Who can can call a song their own?’ – another way of thinking about the history of blues as it has passed down to us latter day interpreters. Produced by Duke Robillard, with the same lineup as on Al’s BMA nominated best contemporary blues album Mid-Century Modern in 2016.

  Al Basile grew up in a park in Haverhill,             Massachusetts. He graduated from Phillips       Academy  in 1966, and in 1970 he was the first to receive a Master’s Degree from the Brown University Writing Program. He began his musical career as a cornet player with Roomful of Blues in 1973, and has worked with the Duke Robillard Band as a songwriter and recording member since 1990, appearing on twelve CDs and a DVD; his songs have been used in films and television and covered by such artists as Ruth Brown and Johnny Rawls, and bands New Jump Blues and the Knickerbocker All Stars. He has fifteen solo blues and roots CDs out under his own name, the majority having reached the top 15 on the Living Blues airplay charts in their year of release. They have all been produced by Robillard and feature his guitar playing and many former Roomful members: guest artists have included the Blind Boys of Alabama, jazz great Scott Hamilton, and the late Sista Monica Parker. He has been nominated seven times since 2010 for a Blues Music Award as best horn player; his 2016 CD Mid-Century Modernwas nominated as Best Contemporary Blues Album. He is also a prize-winning poet, with two published books, 2011’s A Lit House and 2017’s Tonesmith. He taught full time at the Providence Country Day School in East Providence, RI from 1980-2005 and since then has concentrated on his  writing, performing, and recording.