Yes Spotlighting one of our favorite troubadours new album gives us great pleasure and I hope all of you listeners too.
Well one has to say that the poster was a poor effort but the album is far from that.
A big thank you to Adam Dawson for supplying the album for promotion.
Yes thats the Adam who tries to play music on a …
Adam Carroll’s musical biography is as winding as the stories in his songs, full of far-away places and close-to-home meditations that encompass a career built on countless shows in Texas clubs, thousands of miles on the road with his partner in life and music, Chris Carroll, accolades of all kinds, and still the burning desire to simply…write the next song.
Thank goodness for that, because Carroll’s songs tap into a vein of the human condition that make them deeply moving but often humorous. As No Depression notes, “Carroll slips easily between observed detail and poetic flight, framing everyday images as literary moments. He’s particularly adept at portraiture, whether it’s a colorful hustler, a rural taxi driver or a karaoke singer, he sees what you might feel, but couldn’t verbalize, capturing a person’s essence in the details of their physical being and actions.”
“The core of what I do is songwriting; it’s the one thing I’m passionate about. It’s the most fulfilling and challenging job I can imagine.” explains Adam. In fact, the scope of Carroll’s songwriting influence was recognized in 2016 when “Highway Prayer: A Tribute to Adam Carroll” was released, featuring esteemed writers/performers like Hayes Carll, James McMurtry, Slaid Cleaves, and Terri Hendrix covering Carroll-penned tunes. It has garnered attention from publications like Texas Monthly and Rolling Stone, the latter which noted that Carroll “is talented beyond his years.”
With tours crisscrossing the USA, Canada and Europe, Carroll is currently focusing on performances as a duo with Chris Carroll, Canadian singer-songwriter and Texas transplant. Their distinct energies and personalities play off each other onstage, and the effect is a both moving and entertaining show that delights crowds from coast to coast.
Carroll’s body of work is expansive with eight independently produced albums to his name. From studio records produced by Grammy Award winner Lloyd Maines (South of Town, Lookin’ Out the Screen Door, Live at Cheatham Street, Far Away Blues) through to his latest releases (Old Town Rock N Roll, Hard Times with Michael O’Connor, Live at Flipnotics), Carroll’s song credits also include co-writes and covers by Slaid Cleaves (“Race Car Joe”, “Hard to Believe”), Hayes Carll (“Take Me Away”, featured in the film Country Strong) and Band of Heathens (“Medicine Man”, “Maple Tears”).
“Among singer-songwriters, Adam Carroll is probably Austin’s best-kept secret. His tunes are marvels of economy; …constantly inventive and decidedly offbeat…Live at Flipnotics offers a typically low-key yet inviting overview of his career. With (Producer) Scrappy Jud Newcomb on guitar, he sparkles.” Jim Caligiuri, Austin Chronicle
“Influences? Adam Carroll. I used to skip my own gigs to go watch him…by far my favorite, somebody whose writing style I emulated in some ways.” Hayes Carll, No Depression 2011
In April 2018, Kramer returned to the studio to record her third full-length album. Valley of the Bones is a triumphant collection of original songs that illustrate and explore the expression human of love in all its various forms.
Tracked mostly live (including the vocal performances,) at Sound Temple Studios in Asheville, N.C., Kramer teamed up with her frequent collaborators: Free Planet Radio musicians River Guerguerian, Chris Rosser and two-time Grammy Award winner Eliot Wadopian; as well as Billy Cardine. The album also includes performances by Nicky Sanders of The Steep Canyon Rangers on violin and Asheville Symphony Orchestra musician Franklin Keel on cello.
The collection of 10 original songs was engineered, mixed and produced by Adam Johnson of Sound Lab Studios and co-produced by Kramer and Chris Rosser. Kramer says of bringing the earliest, tentative versions of her songs to Johnson and Rosser for arrangement help and production ideas, “I have never trusted two people more with my art. In the past, I have seldom let people hear my songs until I felt that they were polished, but as my musical relationship with and respect for [Johnson] and [Rosser] have deepened, it felt important to me to to involve them from the beginning”.
“I know that the songs and the record as a whole are much stronger for it, and their gentle but firmly constructive approach has made me a better artist. I’ve been looking for such allies and mentors for a long time,” she adds.
While most of the aforementioned musicians accompanied Kramer on her acclaimed 2016 release Carnival of Hopes, listeners will hear a distinct difference in the band’s chemistry, cohesion and almost electric intuition with one another on Valley of the Bones.
“Simply put, it’s because we’ve been playing together a lot over the past three years since I’ve moved back home to Asheville,” she says. “We’ve gotten to know each other personally, had a little time on the road together, sold out some shows in theaters together and have built an incredible mutual respect. We had genuine fun in the studio. I think all of that translates and comes through on the record.”
photo credit : Rose Kaz
Valley of the Bones’ songs tackle a breadth of subject matter, ranging from marriage to miscarriage. Spirituality and self-acceptance are expressed with poetic grace, vulnerability and unapologetically honest grit. Kramer’s endearing, self-effacing humor is also on full display. This warm, easy storytelling is paired with rich, nuanced arrangements that aren’t afraid to be simple when called for, and are punctuated with the unmistakably bittersweet southern wail of Billy Cardine’s dobro.
Standout tracks include the gutsy and reflective “Hymn” (which was a “homework assignment” from Mary Gauthier, Kramer’s musical mentor) the undeniably smart and sassy “Waffle House Song”, and the profoundly poetic and transcendent title track “Valley of the Bones”. This song was dubbed a “masterpiece” by Lydia Hutchinson of Performing Songwriter Magazine. Also noteworthy are the quirky and hilarious country zinger “I’ll See Your Crazy and Raise You Mine” and the sweet, earnest “Singin’s Enough” which speaks candidly of the struggles of a touring musician.
All of the songs on Valley of the Bones show Kramer arriving confidently and comfortably at home inside as both a woman and a masterful songwriter after over twenty years of honing her craft.
‘”Waffle House Song” proves that while Kramer may be eighteen years into her journey, she is solidly serving up a sizzlin’ hot and delicious portion of nourishment for one’s soul…..kinda like that yellow signed place she sings about.” – Tara Joan, The Daily Country
“I have watched Jane Kramer work diligently, patiently and persistently on her songwriting over many years, refining her natural ability with words to the level of songwriting mastery. She has composed a new collection of songs that beautifully serve the bold, confident intensity of her voice, and I could not be more excited about it. Bravo!”
– Mary Gauthier
“Jane Kramer is a folk singer, I dig that”
– Malcolm Holcombe
“For a singer-songwriter, Kramer has presented the holy trinity of brilliant and affecting songwriting, divine vocals that crackle with emotion and high class backing and accompaniment. That the result is a beautifully produced album that is a joy to listen to perhaps shouldn’t be a surprise”
-Pete Churchill, Americana UK
“The North Carolinian’s third album, Valley Of The Bones, is packed with memorable acoustic-led tunes, an expressive and attractive voice with autobiographical stories that leave you staggered at the breadth of topics and profundity.” – Tony Ives, Americana Music Show
“Her strong pretty voice and penchant for vivid lyrics are the deepest talents on display here, though the crack band (featuring Nicky Sanders of Steep Canyon Rangers on fiddle) is surely deserving of praise” – Joseph Neff, The Vinyl District
“A lovely down home voice, a sharp pen and great taste in musical pals make this organic/back porch set a high water mark for Americana that’ll just drive friends of owners of this album crazy since said owners won’t stop playing it.”
-Chris Spector, Midwest Record
“Kramer is a natural and you’ll find that in her music, as the songs take you down quiet, gravel country roads, beautiful forests of peaceful mountain retreats, and the sometimes lonely nights of motels and truck stops on the road of life.” – Sheryl Craig, Nashville Music Guide
“these songs are kick-up your heels good. These are old timey string band tunes with a modern feel, songs that will appeal to traditionalists and Americana fans alike. Turn it up!” -Viola Krause, Making a Scene
“She appears to be more comfortable and confident in herself and her songs than ever.” – Billy Phoenix, Steemit
Recorded at Sound Temple Studios in Asheville, NC www.soundtemplestudios.com
Engineered and Mixed by Adam Johnson of Sound Lab Studios www.soundlabstudios.com
Produced by Adam Johnson
Co-Producers: Chris Rosser and Jane Kramer
Additional Engineering, String Arrangement for “Wedding Vows” and Mastering by Chris Rosser of Hollow Reed Arts in Asheville, NC.
All Songs (Words and Music) by Jane Kramer (ASCAP, Famous Brown Boots Music.)
The Band Is:
Jane Kramer – Lead Vocals on All Songs
Chris Rosser – Acoustic and Electric Guitars, Keyboards, Harmonium, Octave Mandolin, Harmony Vocals
Eliot Wadopian – Upright Bass
River Guerguerian – Drumset and Percussion
Billy Cardine – Dobro
Allison Hall – Harmony Vocals
Nicky Sanders (of The Steep Canyon Rangers) Fiddle
Franklin Keel – Cello
Anyway I spend a lot of time reading reviews and looking for “new artists” and I read a couple of excellent ones and listened to “12 More Days Of Blue”
I thought I should reach out to Chad and get a copy of the album to play on TME.fm as it is going to be good. Lets see it climb the RMR charts and enjoy the music at the same time.
Chad told his PR man and I received a copy immediately, also Adam the man has more artists who are top notch and we will be mentioning those another day. Adam the man actually remembers dickthespic, small world.
“Worthy Cause is an album full of honest truths in styles that range from country to zydeco in blended forms, and this song is at the heart of it.” – Melissa Clarke
Chad Richard (pronounced REE-shard) is a native of the Sabine River bottom, where the river merges Louisiana with Texas’ soil as it winds along. Steeped in the mingling influences of the region, Richard’s songwriting and musical sensibilities fuse Cajun, Texas swing, country and blues styles into an effortlessly born offspring of each side of the river.
Richard writes songs from the heart. Like so many of us, he has loved, laughed, experienced fatherhood, suffered break-up, sorrow, and divorce, and loved again. The experiences of trying to do all the right things as single Dad shaped his songwriting in unique ways, as much as the musical influences surrounding him did. Holding it all together by day, working in a chemical plant, he’d still play solo gigs at night. When Walt Wilkins happened upon Richard at one of these gigs in 2012, Wilkins invited Richard to sit in Wilkins’ band, at about the same time Todd Purifoy (producer and photographer for the Texas Music Scene) approached him about making a record. Forces aligned, connections solidified and before long Walt was producing Richard’s successful debut album: Veteran’s Grocery (2015).
His second release, Worthy Cause (2019), was recorded at Jumping Dog Studio in Austin, Texas. Again Richard turned to Walt Wilkins (Sam Baker, Jason Eady, Susan Gibson) for production and the album was engineered by Ron Flynt. In addition to Richard’s songwriting, acoustic guitar and vocals, other musicians contributing to the album include Wilkins and Flynt, Marian Brackney on fiddle, Chip Dolan (The Band of Heathens, Greg Trooper) on pianos and organs, Geoff Queen (Kelly Willis, Jason Boland & the Stragglers) on steel guitar, and Corby Schaub (Ryan Bingham) on lap steel. The rhythm section is Ray Rodriguez on drums and Bill Small on bass.
Worthy Cause is an album with songs characterized by stories as only Richard can tell them. “Slow Rollin’ Stateline” spins a tale of growing up on the Texas/LA border with “Zydeco to the east, Texas swing to the west,” as the song bears the musical marks of those influences. “German Angel” recounts a story of a couple living in a historic German house in the Texas Hill country, where the wife believes a ghost resides to watch over the manor, as told from the ghost’s perspective. “Worthy Cause” highlights Richard’s riveting vocals over hushed acoustic guitar and pedal steel, with an imperfect man’s tribute of gratitude towards the good, faithful woman who loves him. “Waters Rise” was inspired by Richard’s first hand experience of the kindness and humanity that shone through the floodwaters in the wake of hurricane Harvey – “waters rise, but people rise above.” “12 More Days of Blue” narrates the poignant tribulations of a loving, single Dad as he masks adult pain in order to experience the best with his child. The entire record showcases Richard’s striking ability to commandeer attention with his powerful vocal presence and compelling direct narrative style.
“I got my first real paying job when I was 11 years old. The man I went to work for gave me some advice. He said “Don’t ever turn something you love into your job! When you do you’ll soon lose the love for it!” I always remembered that and always kept music as a part time escape from my less than favorite job for fear of losing the love for it. Now with 30 years in a chemical plant and only 2 years left till I retire from this less than favorite job, I’m beginning to wonder if just maybe, there’s a possibility, that perhaps, he may have been full of shit!” – Chad Richard
“Chad doesn’t ever have to insist on himself – His completely unique Louisiana-Texas-Soul-Country voice grabs the listener, and in just a few minutes, everyone who hears him likes him,” – Walt Wilkins, Texas Songwriting Legend, Producer
Chad Richard – Worthy Cause (2019)
1. Slow Rollin State Line 4:03
2. Love Anyway 2:54
3. German Angel 3:41
4. Right Now 3:26
5. Worthy Cause 5:43
6. Fredericksburg 3:08
7. Waters Rise 3:28
8. The Big and The Little Hand 4:25
9. My Name 3:04
10. 12 More Days of Blue 3:49
11. Shawdy and a Shiner 3:01
12. The game 3:50
All Songs FCC Clean
Focus Tracks: 2, 3, 7, 10
All songs Written By Chad Richard, Barn Noise Publishing (BMI)
RECORDING & PRODUCTION CREDITS:
Produced by Walt Wilkins & Ron Flynt
Recorded at Jumping Dog Studio, Austin, Tx.
Mastered by Jerry Tubb at Terra Nova Mastering, Austin, Tx
Chad Richard-Vocals & Acoustic Guitar
Walt Wilkins- Acoustic & Electric Guitars & Percussion
Ray Rodriguez- Drums & Percussion
Bill small- Bass
Corby Schaub-Lap Steel Guitar
Chip Dolan- Piano, Wurlitzer Piano, & B3 organ
Marian Brackney- Fiddle/Violin & Viola
Geoff Queen- Steel Guitar & Dobro
Ron Flynt- Bass, “Waters Rise” & “Shawdy and a Shiner”
Piano, “Waters Rise” & “Worthy Cause”
Wurlitzer Piano, “My Name”
B3 organ, “12 More Days of Blue” & “Waters Rise”
Matt Giles- Electric Guitar, “Slow Rollin State Line”
Kurt Baumer- Fiddle, “Fredericksburg”
Harmonies- Walt Wilkins & Tina Mitchell Wilkins
Artwork- Julie Sckittone
Photography- Cory Hoover Photography
Yes I know you all have listened to it a lot over the last month but we had a three-way tie for the spot, so I asked the artists to decide.
“We would like to choose Blues in My Blood mainly because it is the story of my life and our family. I wrote the lyrics and sent them to Eric and he came back with a melody and a chorus. It happened so organically. We knew it would be the title track as soon as we finished it. The song practically wrote itself. “
On the walls of any local used music shop there hangs a gallery of mysteries. Picked up and handed down across the decades, each instrument contains the imprints and stories of those who have played it before, most of which remain untold. For Kansas City-based songwriter Kelly Hunt the most intriguing of these stories is the origin of her anonymous calfskin tenor banjo. “I really wasn’t looking for it,” she says, “but I opened up the case and it said ‘This banjo was played by a man named Ira Tamm in his dog and pony show from 1920 to 1935.’ I strummed it and said ‘This is unlike anything I’ve ever heard.’ People often think of the banjo as being rather brash and tinny – loud and kind of grating – but this was so warm and mellow, with an almost harp-like quality to it, very soulful” – apt words for the Memphis native’s debut album, Even The Sparrow, coming out May 17 on Rare Bird Records.
The daughter of an opera singer and a saxophonist, Kelly Hunt was raised in Memphis, TN, and grew up performing other people’s works through piano lessons, singing in choirs, and performing theater. “It was a very creative, artistic household,” says Hunt. During her teenage years, influenced by musical inspirations as diverse as Norah Jones, Rachmaninov, and John Denver, she began writing her own songs on the piano as a creative outlet. After being introduced to the banjo in college while studying French and visual arts, Hunt began to develop her own improvised style of playing, combining old-time picking styles with the percussive origins of the instrument. “I’m self-taught, I just started letting the songs dictate what needed to be there,” she says. “I heard a rhythm in a song that I wanted to execute, so I figured out how to do it on the drum head while still being able to articulate certain notes in one motion.” After college, Hunt followed a rambling path that took her through careers in acting, graphic design, traditional French breadmaking, and medicine, all the while making music as a private endeavor. “I wanted get serious about a responsible career choice, but music kept bubbling up. I was writing a lot and playing a lot and started to not be satisfied just playing to my walls of my room.”
After moving to Kansas City and discovering her mysterious Depression-era tenor banjo, Hunt began recording Even The Sparrow in Kansas City alongside collaborator Stas’ Heaney and engineer Kelly Werts. “It took almost two years to record,” she says, “learning how to let the songs dictate the production.” Having finally come to light, the album displays Hunt’s penchant for masterful storytelling and intriguing arrangement, as researched and complex as they are memorable, punctuated by her articulate melodies and a well-enunciated and creative command of lyrical delivery infused with deft emotional communication. While reminiscent of modern traditionalists such as Gillian Welch–a number of her songs even borrow titles and phrasing from traditional American music (“Back to Dixie,” “Gloryland”)–Even The Sparrow reveals an ineffable quality that hovers beyond the constraints of genre, à la Anais Mitchell and Patty Griffin. In “The Men of Blue & Grey,” what begins as a Reconstruction-era ballad about the repurposing of glass photographic plates in a greenhouse roof soon becomes a meditation on the hope that growth and life may one day be able to emerge from the ruins of suffering and haunting of war. “Across The Great Divide” turns an otherwise traditional accounting of spurned love into a philosophical epic of the ethics of forgiveness and freedom, evoking the ideas of Søren Kierkegaard and Walt Whitman.
As for the original owner of Kelly Hunt’s mysterious tenor banjo, not much is known. “I’ve never been able to find anything about Ira Tamm,” she says. “I think he just had a humble little traveling show,” she says. What’s clear is that the itinerant performer laid down his banjo at the height of the Great Depression, almost eighty years before it would be picked up by Hunt. “That banjo has stories. I wish I knew them all,” she says, though the banjo’s most intriguing story may just be beginning with Even The Sparrow. “The marks of Ira’s hands are still in the calfskin head, so I can see where he played and left his mark,” she says. “Now my own hand marks are there too, in different places, like a kind of portrait.”
Nola Blue, Inc. is delighted to announce the establishment of a new blues festival to preserve, celebrate and support the rich musical legacy of Texas blues. The inaugural East Texas-based event will be held October 25-27, 2019 at Salmon Lake Park. Confirmed performers include Benny Turner, The Peterson Brothers, Steve Howell and Kathy & the Kilowatts. Additional lineup announcements forthcoming.
The festival’s location is significant because the area is considered the westernmost region of the Deep South, and has been fertile ground for some of the most influential blues artists of the twentieth century including Blind Lemon Jefferson, ‘The Father of Texas Blues,’; Lightnin’ Hopkins; T-Bone Walker; Freddie King and more.
Salmon Lake Park’s beautiful 100 acres provides an idyllic setting for the event, with a vintage bandstand nestled in a shaded area, a fresh water lake and plenty of buildings and other nostalgia from a bygone era of East Texas. Well-suited for group gatherings of families or close friends, there are more than 350 RV hookups, furnished cabin rentals and tent camping available for those who wish to spend the weekend onsite. Reservations can be made directly with the park by calling 936-687-2594. Festival tickets will be sold separately.
When her client, Benny Turner, was approached with the opportunity to produce a blues festival not far from where he was born, Nola Blue President Sallie Bengtson knew that it was the right thing to do, at just the right time. Turner embodies a living musical legacy, born on the porch of his Gilmer, TX family home where he and his older brother Freddie King listened to their mother and uncles playing the blues. Turner continues to play the blues to enthusiastic audiences everywhere, more than sixty years after beginning his music career, carrying on a tradition of which he is very proud. Bengtson says, “We look forward to celebrating with Benny on his 80th birthday (October 27, 2019) during this inaugural event.”
NO SPOTLIGHT, NO ALBUM, APRIL WILL HAVE AN ARTIST OF THE MONTH.
Having hit #10 on the Blues Albums Billboard Charts with her 5th album release titled “Take it With You,” Northern California Blues Americana Siren Katie Knipp is equipped with powerful vocals and plays a variety of instruments from boogie woogie piano to slide guitar, to honest harmonica laden stories in between. Her various performance formats from raw solo act to full band captures audiences hearts from her first notes. She has opened for Robert Cray, Joan Osborne, The Doobie Brothers, Tim Reynolds, Jon Cleary, The James Hunter Six, among many others. Her sound has been compared to Larkin Poe, Bonnie Raitt, Joss Stone, Beth Hart, and what the late Taz Digregorio of the Charlie Daniels band once said, “Dylan in a Dress!”
Blues Americana artist Katie Knipp has been on a passionate musical journey her entire life. Always in choir, she was drawn to the piano at the age of 15. Since there was no piano at home, she began teaching herself on every lunch break during high school in the choir room. Beginning college, Katie believed it would be practical to major in medicine. Singing in a choir rendition of Mozart’s Requiem changed her future path. The haunting beauty of the music made tears roll down her face, and she knew that, in order to follow her heart, she would dedicate herself and her studies to music. Attending U.C. Santa Cruz, Katie enjoyed the calm, serene new environment.
Driven to continually grow, she taught herself guitar on the beaches of California’s coast. “The waves would drown out any mistakes I made, so that I wouldn’t be embarrassed by wrong notes,” says Katie. As she dug deeper into her music major, it became clear to Katie that she also wanted to write her own material. Witness to a gruesome on-campus suicide on her 21st birthday, she decide she needed a change of scenery; she transferred to Cal State Hayward, where she would earn her Bachelor’s Degree in Music with an emphasis in vocal performance. The dark experience of the suicide, however, would stay with her, and became one of many events that helped mold her writing into the gutsy, soul-on-a-platter type material. To date, Katie has released four studio albums, a DVD, and played hundreds of venues throughout California. Sacramento News and Review nominated her for Best Blues Artist in Sacramento in 2017.
Readers of The Northbay Bohemian voted her band “Number One Band in Marin County” for two consecutive years. Currently laying down roots in Sacramento, Katie has worldwide radio support, has opened for such acts as Robert Cray, The James Hunter Six, Jon Cleary, The Doobie Brothers, Tim Reynolds and Tommy Castro, and shared the stage as a back up singer for Barry Manilow. Her music can be found on iTunes, many other digital mediums, as well as retail cds on www.katieknipp.com. Katie unflinchingly maintains the goal of being a viable force in the music world. Her success is largely based upon her willingness to take risks, diversify her format and learn from collaboration with others. Katie performs in several formats, from solo to full band. Equipped with a powerful voice, Katie also plays piano, guitar, dobro and harmonica. Her hard work has shaped her into a mature artist, focusing on the organic, free elements that reach people the most. She is also busy raising her two toddler boys as well as teaching piano and voice lessons in Rocklin, California.
Hard-luck stories can have happy endings. Especially in Francine Honey’s world. “Some of these songs are about going through tough times and then getting to the other side,” the Ontario singer-songwriter says of her third recordTo Be Continued... “I know I’ve certainly been through my share of struggles. But it’s important to have hope and know you’re not alone. If you’re going through something, someone else has gone through it too. And you have to remember: You don’t know what’s around the corner. Your ‘to be continued…’ might be beyond what you ever imagined.”
To Be Continued…is an album that showcases Honey’s most striking and stirring compositions. “I’m so happy,” she says. “I’m really proud of this record and how it all came together.” Cut in Nashville with Grammy-nominated producerNeilson Hubbard(John Prine, Mary Gauthier, Jason Isbell) and first-call players like guitarists Will Kimbrough and Kris Donegan, pianist Dan Mitchell, bassist Dean Marold and legendary fiddler Eamon McLoughlin,To Be Continued…takes Honey’s mix of Americana, Country, Rock, Canadiana and Blues to the next level, capturing the sound she’s been chasing for years. “It’s hard to articulate what you hear in your head and get it to come to life through other musicians,” she says. But after getting Hubbard’s name from singer-songwriter Gretchen Peters, she knew she’d found her man. “I looked up the songs he produced and went, ‘That’s what I’ve been hearing!’
Although she’s made music since childhood — “I wrote my first song in 1976” — Honey never dreamed of making it a career. However, along the way, the down-to-earth artist has displayed extraordinary dedication to her craft. Francine’s debut self-produced albumAn Ordinary Womancame out in 2008 and was followed in 2014 byRe-Drawn, produced byLang Blissin Nashville. As a graduate of theBerklee College of MusicProfessional Singer-Songwriter Certificate Program, Francine regularly makes the nine-hour drive from Ontario, Canada, to song-writing workshops in Nashville, where she has been mentored by icons likeBeth Nielsen Chapman(who contributes backup vocals to Honey’sSnowflakes On My Eyelashes), Mike Reid (I Can’t Make You Love Me),Mary Gauthier(Mercy Now),Verlon Thompson(Boats to Build),Gretchen Peters(Independence Day) andJonatha Brooke(My Mother has 4 Noses). Francine is a member of the Songwriter’s Association of Canada (SAC), Nashville Songwriter’s Association International, Canadian Country Music Association and Americana Music Association. She co-ordinates the SAC’s Leamington/Windsor Regional Writer’s Group, mentoring other songwriters. She has showcased at theTexas Songwriters Symposiumfour years in a row, the WinterFolk Blues and Roots Festival in Toronto, the Kingsville Folk Music Festival and the Folk Music Ontario conference. Francine’s music and song-writing have not only taken her through Canada and the U.S but to the U.K., Switzerland and Italy.
Now,To Be Continuedtakes Francine’s listeners on a journey. Courageously drawing from her own life, Honey’s latest songs run the gamut of emotion.Snowflakes on My Eyelasheschannels the grief of loss;Can’t Break Through to Youexamines PTSD; and the movingMarilyndocuments a harrowing health scare. “That’s a very tough subject and a very personal song,” she confesses. “The room goes quiet when I play it. But I’ll see someone wipe a tear from their eye, and know that song has touched someone.” It’s not alone:Staywas a semi-finalist in the Canada Songwriting Contest andMamas Take Bad Dreams Awaymade the top five in the Canada South Songwriting Contest.
Equally laudable are cuts on the lighter side of the roster: The upbeat driving odeOpen Road, the sexy come-hither blues ofHoneyand the uplifting title cut that chronicles her romance with a friend who re-entered her life at just the right time. “I sure had to kiss my share of frogs,” she quips. “I thought I was just meant to be single and figured we would just be friends, and I was happy with that. Little did I know!” And aboutShacked-Up Sweetie, Francine’s latest single release and video, “I wrote this song for my sweetie and I. We talked about getting married and decided not to. It took me a while to work through my feelings about not getting married, but in the end, I realized that it’s really all about the commitment you make to each other, not the church ceremony. True love is just bigger than all of that.”
Francine’s music can be heard onCBCradio,Sirius XMand country stations across North America and she receives millions of views on her videos. She has appeared and been interviewed onCTV News,CFRU’s Folk Roots Radio and more.
Provided us with a copy of the new single from Kelly’s Lot.
We provide you all a chance to listen to this beautiful, sad song.
Kelly Z told us
“Alyssa is the first song released from our upcoming CD, ‘Can’t Take My Soul’. Alyssa was the daughter of DJ Mark Mushin. We met on facebook after he started playing my last release ‘Rescue’ He asked me for a station ID, personalized for his daughter. He told me stories about Alyssa, her spirit and her battle with Canavan Disease. A few months later she passed away and the song was inspired by all the stories Mark told me. By writing the song, Perry and I wanted to reach out to everyone who needs to be reminded that we must grab a hold of the joy we have today because we don’t now how long it will last.”
A note about Alyssa from her family -“Alyssa was born with Canavan Disease, a rare and fatal genetic brain disease. In her short 23 years, without ever speaking a word, Alyssa was able to shine her light on everyone around her. She had a smile that would melt your heart and her laughter would always sooth your soul. Her amazing journey started with me holding her for 4 hours when she was born, forming a bond that will live for all time. She then became a medical pioneer being one of the worlds first to receive gene therapy. She continued to share her pure spirit throughout her whole life making all who knew her the best they could be and taught us all the meaning of true love. Although her earthly experience is done, she still sends us signs from above and continues to inspire us all.”
Written by Kelly Zirbes and Perry Robertson Kelly Z – Vocals Perry Robertson – Guitar Matt McFadden – Bass Mike Sauer – Drums Bobby Orgel – B3 Background vocals – Jenna Mushin, Andrew Mushin, and Jeri Goldenhar Mixed by Fred Paragano Mastered by Mike Milchner at Sonic Vision Mastering
It’s there in your heart not trapped in your mind And easier to feel than to search out and find And Alyssa she knew the way to get you through She was never behind but one step ahead of the blues
Some just don’t know what’s right there to see Looking for easy to set them free And Alyssa she knew these things don’t get you through She was never behind but one step ahead of the blues She was never behind but one step ahead of the blues
Don’t hold on to worry when the answer is there Don’t try to fix every why, when and where Take a deep breath and throw away your fears Cause it’ll all be gone before you know that you’re here
She was never behind but one step ahead of the blues
Don’t hold on to a worry when the answer is there Don’t try to fix every why, when and where Take a deep breath and throw away your fears Cause it’ll all be gone before you know that you’re here.
Stop chasing the questions when its all right there No one promised this life would be fair And Alyssa she knew the way to get us through She was never behind she was one step ahead of the blues She was never behind she was one step ahead of the blues She was never behind she was one step ahead of the blues