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Jonathan Byrd & The Pickup Cowboys drop album, epic interview w/No Depression

There at HearthPR, they’re all writers as well as publicists. So to them, there’s nothing more exciting as hearing a great songwriter, who’s also a great writer, wax philosophical. This interview between Jonathan Byrd and No Depression is chock full of great quotes and wild ideas. From his weekly roadhouse poetry readings to his burgeoning love for Kierkegaard, Byrd doesn’t hold anything back. Here’s a few quotes:

“People are interested in stories; there’s something about the way our brains work that keeps us interested in hearing them and telling them. Stories put us in a place where we can entertain ideas that we would never talk about or actions we’d never do or lives we’d never live.”

“Scientists have pretty much figured out how old the Earth is, but they can’t heal your broken heart, and hardly any of them know how to tell a good story.”

Do you have to read books until you’re finished with them, or can you walk away from a book without finishing it?
“I walk away from books all the time. I walk away from shitty people in midsentence. I’m 47. I don’t have time.”

Are there one or two books that have shaped — and continue to shape — your life and work?
“The Bible. It’s the keystone of Western literature. It’s weirder than anything on the internet.”

Singing around the campfire. Music shared person to person around the country, like heirlooms or secret messages. This is Jonathan Byrd’s world. The characters in Jonathan Byrd’s songs crackle with life, each one seemingly drawn from a chance encounter on the road with a true American. And that may be the case, as Byrd is drawn to the nomadic working class of this country, the kind of spit-and-grit souls immortalized in the writing of John Steinbeck or the music of Woody Guthrie.

A songwriter’s songwriter, Byrd is fascinated by wordcraft, passionate about unheralded artists, but most of all driven to contribute to a national community of song lovers, a world that’s little seen outside the mainstream. “There’s this underground musical community that travels around the country,” Byrd says. “We see each other at festivals and conferences. It’s a rich, authentic life of music that I wish more people could discover, because I think they’re actually looking for it.” On his new album as Jonathan Byrd & The Pickup Cowboys, Byrd’s goal was to bring a glimpse of this song-driven life to his audience.

There’s a bit of wry humor to his songwriting, a subtle shade of Randy Newman, as in the song “Tractor Pull” that relates finding love at a redneck jamboree, or the bittersweet smile of “It Don’t Make Sense,” as the singer grapples with love and life lost. But the manifesto of the album is found in “Pickup Cowboy,” a song Byrd wrote for a South Dakota construction worker, his friend and fellow songwriter Matt Fockler. The Pickup Cowboy is a character who doesn’t need much money, fishin’ for breakfast and living on tupelo honey, the hard-worn spirit of the West shines through in the song’s subject. Byrd pays further homage to Fockler by including two of his songs, “Lakota Sioux” and “Do You Dream.”

When you live as much of your life on the road as Byrd does, you learn that home and family are fuel to the creative fire. So he returned home to Rubber Room Studios, a recording studio he helped build by hand, and brought his closest musical friends, the Pickup Cowboys – guitarist and multi-instrumentalist Johnny Waken and cellist Paul Ford – to make the album. But life had other plans. The last day of recording, Ford stayed home, complaining of feeling like he had the flu. He called at the end of the day with the news that the doctor had discovered a terminal brain tumor. Ford never went back to the recording studio and passed away the next year. The shock of losing such a close friend put the Pickup Cowboys on hold for a year, but ultimately, Byrd felt that the songs and recordings deserved to be heard. He and Waken took the recordings to Winnipeg to complete the album with Joanna Miller on drums, and Alexa Dirks and Andrina Turenne on backing vocals. Now Byrd is bringing the Pickup Cowboys on the road, traveling out to the many friends he’s made over years of crisscrossing the US with these new songs to share.


It may seem unusual for a songwriter to cover two songs from another songwriter on his album, but it’s part of Byrd’s ethos and the ethos of his community of song collectors. “This is a golden age of songwriting,” Byrd says. “Community songwriting. It’s person-to-person music. Songs get picked up and passed around and end up around the campfires. We wanted to bring some of that to the record. That kind of authenticity, and the real people and real stories in the songs.”


HEARTHPR
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The Good Paper of Rev. Robert Mortimer

 

GoodPaper
of Rev. Rob Mortimer is:

Rob Mortimer on vocals, guitars, lap steel guitar, pianos, organs, synth; Jeffrey Tonos on guitar, synth, backing vocals; David Morgan on bass; Walter Washington on drums; Art Edmaiston on Saxophones; and Bob Dowell on Trombone.

Rob Mortimer, is the trifecta of a Mississippi Delta Blues Artist, a Undertaker, and a Reverend.

From the days of playing greasy local juke joints to playing major festivals, Rob Mortimer remains an unfettered, blissful performer, singing with a gravely Mississippi Delta spirit over the bone-deep grooves of his compositions. His stage presence before an audience is something startling and immediate, at times a funk bounce, or sometimes a Weezerish Otis Redding, and other times a sort of mass-absolution for the mortal weaknesses that make him and his audience human. When you see Rob Mortimer, and his emaculate band (GoodPaper) you will see the man is fearless.

Born and raised in the rich, fertile soil of a Mississippi Delta (in the back of a Hearse/Ambulance combo), Robert Mortimer bases his songs on personal experiences of heartache, love, loss, local religion & politics, catfish, cotton, stories, fibs, and lies.
Mortimer is also in the family business; a second generation funeral director, embalmer and cemeterian. Growing up in a funeral home has helped Robert Mortimer see the end as a new beginning and enjoy the happier side of bad situations.
With the wit of Tom Waits and the Southern charm of Conway Twitty, his music overflows with dynamic rhythms and pounding bottoms, while his sextronic lyrics are at times both humorous and thought provoking.

Onstage, Mortimer delivers his songs with compassion and a relentless honesty, but perhaps not until “Lock It Down Tight” 2018,  has a studio record captured the fierceness and intimacy that defines a Mortimer live performance.On the new album, GoodPaper of the Reverend Robert Mortimer offer grace and groove in equal measure, with an easygoing quality to the production that makes those beautiful muscular drum-breaks sound as though the band has set up in your living room.

“Lock It Down Tight” was recorded in early 2018 at American Studios in Memphis, Tennessee. It was rounded off my a Grammy Nominated Horn Section: Art Edmaiston on Tenor and Baritone Saxophone, Marc Franklin on trumpet and flugelhorn, and Bob Dowell on Trombone. The horn section was nominated for Grammys in2017, for their work on Gregg Allman’s “Southern Blood” and Robert Cray “Robert Cray & Hi Rythm” albums.

When he isn’t touring, Mortimer exerts his prodigious energies in the family business, as President of Mortimer Funeral Home, that he owns and operates along with his family.

Released in 2004, Mortimer’s Good Paper album “Peep”, was recorded in a old funeral home next to a cemetery in Indianola, Mississippi. Composed of 11 original songs concerning the book of Revelations, Quentin Tarantino, and the hurt inflicted by women, Peep was well received by their extensive fan base.

Released in 2010, Good Paper’s sophomore album “Our Stupid Selves” was recorded at Tweed Studios in Oxford, Mississippi; This chapter in Mortimer’s life concentrated on Mississippi Delta heritage, local economy, almost love, and the supernatural.

Mortimer’s songwriting is influenced by Muddy Waters, Stevie Wonder, Tony Soprano, George Bush, Ben Harper, JJ Grey, Sly & The Family Stone, John Mayer, John Scofield, past and present girlfriends, Abe Lincoln, Hernando Desoto, animated preacher men, Henry Wadsworth Longfellow, and most of all JAMES BROWN as contributing factors to the evolution of the band.

The band was compared to sounding like “The Beatles with James Brown as a front man.”

Tyler Grant & Robin Kessinger release flatpicking bluegrass guitar duet album

TYLER GRANT & ROBIN KESSINGER
Kanawha County Flatpicking
August 24, 2018

Tyler Grant and Robin Kessinger are two champion flatpicking guitarists, renowned for their skill on their instruments and intuition into the deepest pools of American roots music. They’re also fast friends, with a kind of ersatz father-son relationship. On their new album, Kanawha County Flatpicking, you can hear their virtuosity, but also their friendship, as they crack jokes and chat after takes. This is informal back-porch picking, the kind of super jam you might find at the campground of a major bluegrass fest after hours. They’re exploring the Appalachian heritage that Robin’s family is known for, but they’re also just playing their favorite tunes and songs together in a welcoming, informal session.

LISTEN TO “SOLDIER’S JOY” VIA BLUEGRASS TODAY
TYLER GRANT:
National Flatpicking Champion Tyler Grant is an internationally recognized guitar virtuoso, songwriter, vocalist, producer and leader of the band Grant Farm®. Tyler has appeared at most major US festivals and performed thousands of concerts and guitar workshops worldwide. He was an original member of the Emmitt-Nershi Band and a sideman for Abigail Washburn, April Verch and Adrienne Young. He has produced four solo albums and four releases by Grant Farm for his own Grant Central Records.

ROBIN KESSINGER:
A native-born living West Virginia flat pick guitar legend, Robin Kessinger keeps a busy schedule, teaching both beginner and advanced guitar students, and still finds time for memorable concerts, workshops and contests. Robin headlines many festivals and judges up-and-coming flat-pick artists in contests around the country. He has appeared on PBS and BBC television specials and NPR radio shows. He has been an instructor at the Augusta since 1983. Robin lists his influences as “everything I listen to”; his father, Bob; and his great uncle, legendary Appalachian fiddler Clark Kessinger.

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…”

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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Ed Roman’s “Red Omen” Video Gets Online Premiere At NY Lift-Off Film Festival Online

Award-winning Canadian musician Ed Roman’s music video will get its online premiere during the New York Lift-Off Film Festival Online onSunday, June 24th.

NEW YORK, NY, UNITED STATES, June 21, 2018 — Award-winning Canadian musician Ed Roman has always created music videos that were both visually entertaining and, like his personality, a bit quirky and off-center. From the red-pinstriped-clad “Godfather of Love” character in “I Am Love” to the bumblebee-shaded snow traveler in “I Found God,” Ed’s self-directed visual depictions of his songs have left long-lasting impressions, earning accolades and racked up over 75,000 views.

Now, Ed Roman is unleashing his most ambitious visual undertaking to date. At midnight on Sunday, June 24th, 2018, Ed’s animated opus, “Red Omen” will make its world online premiere during the New York Lift-Off Festival Online 2018. The festival will take place for the entire week at http://Vimeo.com/ondemand/nyliftoffonline18. (Please note that the link will not work until the festival is published live.) Winners will be selected from a combination of fan votes, internal judge votes, and Lift-Off community votes.

Ed also plans to use the “Red Omen” video to raise funds for Dyslexia awareness, a cause very near and dear to his heart.

“Red Omen” Credits:
Composer and performer: Ed Roman
Recorded at: Area 51 recording studio, Melanchthon, Ontario.
Produced by Michael jack.
Drums: Anthony Cook
Electric guitar: Chris Taggart
Acoustic guitar, bass, vocals, percussion: Ed Roman
Concept and Early storyboards: Ed Roman
Animation and Development: Nelson Diaz and There Be Dragons Creative Media, New York City

ABOUT LIFT-OFF FILM FESTIVALS: The Lift-Off Global Network is an organization encompassing worldwide live screening events, distribution initiatives, a seasonal awards ceremony, and an ever growing and active community of indie film creators. Initially a film festival, Lift-Off has grown into being a huge platform for emerging artists. This includes feature film content, shorts, commercial, music video content, animations and experimental arthouse. We also feature a script promotion and exchange platform, along with extensive production initiatives.https://www.lift-off-festivals.com/new-york-lift-off-film-festival-2018/

ABOUT NELSON DIAZ: Hailing from Brooklyn, NY, Nelson Diaz is an award- winning animator, who has worked for clients such as Nickelodeon, Dreamworks, McDonalds, Hallmark, Verizon, Ford, Disney, TED-ed, Sesame Street and Food Network. He has been lucky enough to be Emmy nominated for Nick’s 2013 Halloween IDs as well as been part of an Annie Award Winning Project (Kung Fu Panda 2: Secrets of the Masters made by Duncan Studios for Dreamworks.) http://www.nelsart.com

ABOUT ED ROMAN: Ed Roman is an Award-winning singer/songwriter, performer and multi-instrumentalist from Shelburne, Ontario, Canada. Blurring the lines between pop, rock, folk, and country music genres, Ed’s uniquely crafted songs have received regular rotation on more than 100 terrestrial radio stations across North America and more than 600 stations, worldwide. Ed is a 2014 Artists Music Guild Award Nominee, a 2014 and 2018 International Music and Entertainment Association Award Winner, a two-time 2015 IMEA Award nominee, a 2015 and 2016 Josie Show Awards winner, an Akademia Awards Winner, and a two-time Indie Music Channel Award winner. Ed recently won a 2017 Radio Music Award for Best Americana Artist. Ed’s latest release is the critically acclaimed album, “Red Omen.” www.edroman.net

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https://open.spotify.com/track/3gZf8UJ3xzbpOhajc2lqUr?si=EatYWf3MQiyMuklgMaC4nQ

Queen City Jubilee from The Slocan Ramblers

Queen City Jubilee
The Slocan Ramblers

Release Date: June 15, 2018

It’s not that Toronto’s The Slocan Ramblers are old-fashioned, it’s that they’re making bluegrass that harkens back to an older need. They’re not here for the concert halls, they’re not here for the flash and glitz of the music industry, they’re here to grind out the hottest tunes they can, picking fast and furious through traditional and original pieces, and they’re here to sing their songs to hardworn people looking for release. They came out of Toronto’s gritty bluegrass scene, playing late-night bars to rowdy crowds in a city once known for its industrial pigmeat industry. The dust in banjo player Frank Evans’ voice fits perfectly into an older world of bluegrass that still remembers its roots in working class communities. They’re more Louvin Brothers than Ricky Skaggs, and some of this comes for their long-term interest in and respect for old-time Appalachian traditions. Evans moves back and forth between clawhammer and Scruggs-style banjo, while mandolinist Adrian Gross has the speed and aggression of Big Mon himself in his playing. Thundering bassist Alastair Whitehead has a softer voice than Evans, but with a hint of world-weary wistfulness. Guitarist Darryl Poulsen’s as steady as rolling train, shoveling coal into the red-hot furnace of racing bluegrass tempos. These four young men are at the top of their game, each of them powerful enough in the genre to move these old sounds in fascinating new directions. On their new album, Queen City Jubilee, out June 15, 2018The Slocan Ramblers mix original and traditional songs with instrumental tunes, tapping the old vein of Appalachian music that first inspired so many early bluegrass bands, but also looking to the softer side of folk and Americana for its complex, interwoven songcraft.
To make their new album, Queen City Jubilee, titled after an old nickname for Toronto, The Slocan Ramblers retreated to Canadian engineer Andrew Collins’ studio in an old warehouse in Toronto’s West End, and worked closely with long-time mentor Chris Coole (The Lonesome Ace String Band) to hone their live-off-the-floor sound. The studio was near a chocolate factory in Toronto, so at least it smelled nice, and rumors abounded that Drake had a secret studio in the same building. That’s Toronto, where industrial history rubs shoulders with high-fashion, and nobody cares as long as there’s music to dance to and good beer to drink. Maybe that’s why the city’s embraced bluegrass so much. “There’s tons of venues presenting bluegrass here,” Evans says. “You could see it seven nights a week. Toronto’s got world class talent too, and we didn’t even realize it when we were coming up.” Encouraged by Coole, Evans started attending famed Appalachian stringband festival Clifftop as a kid, and he began to incorporate the rough-and-tumble world of Appalachian old-time music, known for rowdy all-night jams and square dance tunes played for 30 minutes straight on one chord, into the band’s bluegrass roots. “The old-time community is so fun,” Evans explains, “it’s what drives the scene. The music is good, but the hang is great.” The Slocan Ramblers have internalized that hang, that up-all-night raucousness that they learned firsthand, and blaze a new path with Queen City Jubilee. They don’t see the divides in the music, they’re just looking to write songs and play tunes that make people want to stay up all night dancing.
Queen City Jubilee
The Slocan Ramblers

Release Date
June 15, 2018

Holidays over.

We are all back and rested after our break and normal schedule is back.

Hope you all enjoyed the music while we where away.

JASON CHARLES MILLER Announces New Album via RED MUSIC, Debuts First Track “Hundred Pound Hammer”

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JASON CHARLES MILLER Announces Details On New Album, “In The Wasteland”

Unveils Debut Single “Hundred Pound Hammer”
Click Here To Listen

Album Release Scheduled For June 15, 2018 via RED MUSIC (Sony)

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May 18, 2018 – (Los Angeles, CA) JASON CHARLES MILLER is proud to announce the upcominv release of “In The Wasteland,” his definitive new album set to come out June 15, 2018 via RED MUSIC/ SONY.

Mixed and produced by Grammy Award-winner Matt Hyde (Jonny Lang, No Doubt, Deftones) and featuring drummer Kenny Aronoff (John Mellenamp, John Fogerty), “In The Wasteland” showcases 11 tracks that blur the lines between Southern Rock, classic country, and the outlaw attitude that has earmarked MILLER‘s career as a singer, songwriter, producer and performer for more than two decades and over a dozen releases.

From the many different styles of music that have influenced me over the years, to the lyrics that are a mixture of observational storytelling and pure emotional ferocity – some songs are collaborations or even duets, and others were written alone in a darkened room” exclaims MILLER, “If you’ve followed the journey of my career as an entertainer, you’ll hear every place I’ve been, and where I ended up today.  I’ve released a lot of music in the last few years for a lot of various projects – other artists, video games, TV shows, musicals and films – but this is my first solo album in six years… you can bet I’ve got a lot to say!

“In The Wasteland” includes guest performances from the likes of Lynyrd Skynyrd guitarist Rickey Medlocke and keyboardist Peter Keys, legendary Soul vocalist Brenda Lee Eager (Stevie Wonder, Ray Charles and Diana Ross), Blackberry Smoke vocalist Charlie Starr, King’s X frontman Dug Pinnick, guitarist Duane Betts (son of founding Allman Brothers guitarist Dickey Betts), guitaristAdam Shoenfeld (Tim McGraw, Jason Aldean) and  ‘Cowboy’ Eddie Long (Jamey Johnson).

MILLER adds, “To be able to collaborate with so many of my heroes on this album is completely surreal, totally mind-blowing and incredibly humbling, all at the same time. If I were to put a dream list of musicians together to play with, every single person on this record would be on that list. This truly is an all-star team of players, singers and stars that I somehow tricked into showing up to the studio… then, while they weren’t looking, I hit the record button! In all seriousness, each and every performance helps elevate the album to a level that I could never achieve alone, and I’m grateful to every single person who helped me bring In The Wasteland to life.

“​IN THE WASTELAND” Track Listing
1. Hundred Pound Hammer (feat ‘Cowboy’ Eddie Long)
2. In The Wasteland
3. No Bridge Left Unburned
4. Get Thee Behind Me (feat. Dug Pinnick, & ‘Cowboy’ Eddie Long & Duane Betts)
5. Trunk Full Of Bibles
6. Riverbank
7. Old Scarecrow (feat. Charlie Starr & Rickey Medlocke)
8. The Line
9. Running
10. No More Reasons
11. Finding My Way In The Dark (feat. Peter Keys, Brenda Lee Eager & Adam Shoenfeld)

The album’s debut single, “Hundred Pound Hammer,” is available now across all digital streaming platforms and can be instantly downloaded as an instagrat track with all digital pre-orders.

Listen to “Hundred Pound Hammer” HERE: 
https://www.youtube.com/watch?v=OPv-r6orS1o

Pre-order “IN THE WASTELAND” HERE: 
https://red.lnk.to/HundredPoundHammer

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Photo Credit: Martin Hausler
ABOUT JASON CHARLES MILLER:
Originally from Clifton, VA, MILLER currently resides in Los Angeles, CA where he runs the successful recording complex, Central Command Studios.Having been formerly known as the frontman and founder of acclaimed rock band GODHEAD — who were signed to Marilyn Manson’s label, Posthuman Records, selling over 250,000 albums and touring internationally with heavyweights including Manson, Ozzy Osbourne, Linkin Park, Disturbed, Rammstein, and Jonathan Davis (KORN) — MILLER has co-written songs with a genre-crossing who’s who of artists  including Billy Ray Cyrus, Ben Moody (Evanescense), Chuck Goff (Toby Keith Band), Driver Williams (Eric Church Band) and Paul Anka.  He has achieved three Gold Record Awards for sales, and his music has been heard on popular tv shows, films and video games including HBO’s True Blood and Hung, WWE Smackdown, The Guild, Queen of the Damned, The Punisher, Disney Channel’s Teen Beach Movie and Metal Gear Rising: Revengeance.

When he’s not writing, recording or performing music, MILLER is a professional voice actor and has appeared in over 100 animated productions and video games. Notable highlights include: Attack On Titan, Hearthstone, Star Trek Online, World of Warcraft, Avatar: The Last Airbender, Batman: The Brave and The Bold, and many more. MILLER is currently host of the popular Geek & Sundry show “Starter Kit” and has also been seen on screen in Battle Planet (SyFy), Stan Lee’s World of Heroes ‘Chatroom of Solitude’, The Guild and squabbling with Lewis Black and Andy Dick in various productions on Comedy Central.​

JASON CHARLES MILLER Online:
https://www.facebook.com/jasoncharlesmiller
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TME.fm Radio is back on TuneIn.

Yes finally we are back on TuneIn.

https://tunein.com/radio/TMEfm-Radio-s243730/

 

Or search for TME.fm Radio.