Where do beach balls turn when they’re feeling deflated? Alcohol? Sex? Adventure?
Cinematic rock group, The Grahams (Alyssa & Doug), tackle this question and more with their brand new video for “Just What You Deserve,” the first single off their upcoming record KIDS LIKE US (set for release in early 2020 via3 Sirens Music Group/RED MUSIC/The Orchard). The video follows the rocky relationship of two beach balls, focusing on one’s journey out of their toxic partnership, as well as the self-discovery that strengthens a beach ball from the inside out. While admittedly beach ball-centric, the video’s sentiment, alongside the track’s balmy, graceful, and anthemic brand of dream pop, demonstrates a universal human story of love, loss, grief, and ultimately hope.
“Did you ever deny a love so fiercely that it’s a definitive affirmation?” asks one half of the duo, Alyssa Graham. “This is a song that reveals its own deception. We worked with our longtime co-writer Bryan McCann (BMC) and pieced together this dark love story that all of us know all too well. Deception of self and denial of passion.
The semi-autobiographical album, scheduled for January 18th release is a soundtrack to a musical of the same name, penned by renowned playwright, Amy Hartman.
John Vento is such an interesting human being. He’s as hard-working and blue collar as they come in this town.”
— Michael Stover, President of MTS Management Group
PITTSBURGH, PENNSYLVANIA, UNITED STATES, January 8, 2019 — John Vento is often called a chameleon in the Pittsburgh music scene; and, while his critics may use the term as a pejorative, Vento views it as a compliment. He understands that they’re motivated by the frustration of their inability to lock him into a specific musical style. After all, the front man for the rockin’ Nied’s Hotel Band, is also known for his introspective, brooding solo recordings.
Rather than a drawback, however, Vento considers such diversity to be among his strengths; and his fans agree. They relish sharing his tumultuous trek toward achieving his artistic vision, which he accomplishes by channeling a blend of eclectic influences through his own, raw emotions.
On his new autobiographical album, “Love, Lust And Other Wreckage,” Vento delivers thirteen introspective tunes with the help of some of Pittsburgh’s top musicians. Produced by David Granati (G-Force, Granati Bros.) at Maplewood Studios in Ambridge, PA, Vento is joined on the album by David’s brothers Hermie and Joey, and nephew, Jules Granati; Cherylann Hawk; Joffo Simmons; Bob Fetherlin; and others. The collection was mastered by Brian Foraker in Nashville.
“Love, Lust And Other Wreckage” is scheduled for January 18, 2019 release on MTS Records. The album will also serve as the soundtrack to the musical of the same name, penned by award-winning playwright, Amy Hartman. It opens soon at The Oaks Theater in Oakmont, PA.
“John Vento is such an interesting human being,” said Michael Stover of MTS. “We talked about this project, and I immediately connected with his backstory and the vibe of his songs. First off, he’s a Penn Hills graduate, like myself. He’s as hard-working and blue collar as they come in this town. I think this album is going to really touch listeners and expand upon his already rabid fanbase.”
Back when the Palomino was ground zero for the post-cowpunk California country scene, the Mustangs were an all-girl band who were long on chops and strong on harmonies. 2017 marked a renewal of a band that began in Santa Monica in the late 80’s and performed across the US and Europe through the mid 1990s. With a new name,TheMustangs of the West, the band is back in LA, recording and will be releasing a new single and video “T-Shirt From California”(August 17th) on the Blue Élan record label. This dynamic all-girl band decided to get back in the studio to see what kind of music they’d make today. With 3 of the original members—Suzanna Spring, lead vocals/songwriter/acoustic guitar; herry Rayn Barnett, lead electric guitar, vocals; Holly Montgomery, bass/vocals, and two new additions—Suzanne Morrisette, drums, vocals and Aubrey Richmond, fiddle/vocals— the group is setting their sights on breaking new ground.
MUSTANGS OF THE WEST RETURN WITH A NEW SINGLE AND VIDEO“T-SHIRT FROM CALIFORNIA” (AUGUST 17, 2018)
The All Woman Rock-Tinged Country Band Re-Invents Itself
“This is as classic a heart-tugging Southern California song as anything heard since, well, the Eagles were trying to check out of the Hotel California. Welcome back Mustangs.” —Bill Bentley
August 2018 Los Angeles, CA – California country is back, and The Mustangs of the West are about to ride again with a new single and video, “T-Shirt From California” which will release on August 17, 2018. The Mustangs were an integral part of the budding Los Angeles 80’s and 90’s alt-country scene, opening for Rosie Flores, Jim Lauderdale and Lucinda Williams. An all-female country band, they were an anomaly on the scene and their career paralleled that of The Dixie Chicks. As Barnett reminisced to The Pasadena Weekly, “We were on a lot of the same bills just before the Dixie Chicks Broke. We’d be there one week and The Dixie Chicks the next.” After many years of gigging and touring extensively, the band broke up in 1997 and eventually scattered to various cities.
Twenty years later, The Mustangs are back with a name change (The Mustangs of the West) and three of the original members, Sherry Rayn Barnett (electric guitar, vocals), Suzanna Spring (lead vocals, acoustic guitar), and Holly Montgomery (bass, vocals). They’ve also newly added to the team Suzanne Morissette on drums and vocals and Aubrey Richmond on fiddle and vocals. Featuring the same three and four-part vocal harmonies, the chemistry of their voices and instruments creates a powerful sound that draws on both country and rock influences.
Re-connecting in 2017, Sherry, Suzanna and Holly rekindled their interest in the Mustang sound and decided to take it into the studio where they added Suzanne and Aubrey to record the upcoming single, “T-Shirt From California”, a sentimental song about love gone wrong. The song was written by lead singer, Suzanna Spring (co-written with Wes Hightower), and recorded at the Los Angeles-based Taylor Made Studio. “I wrote T-Shirt from California when I was living in Nashville and homesick for California,” said Barnett. “Sitting on my couch one morning, strumming my guitar, the chorus melody and chorus lyrics came through, almost complete. I took that chorus into a writing appointment with Wes Hightower, and we wrote verses and the story. He had the idea for those great Beach Boys harmonies in the chorus, and Mustangs of the West has such a beautiful vocal blend; it was natural that we’d record this song.”
The arrangements were worked out as a band adding jangly guitars and full harmonies. “Originally the song was called “She’s Got Your Heart, but the band said, “No! It’s T-Shirt From California!” Barnett explains. “It just FEELS like California at the edge of summer, driving with the top down, Highway 1. Singing the chorus always makes me smile.”
BIOS: Sherry Rayn Barnett is a guitarist who loves anything with a good twang. Her passion for 6 strings began as a classical guitar major at NYC’s “Fame” School of Performing Arts. She continued to Los Angeles, lured by the west coast sound of classic country rock, and the opportunity to play with like-minded bands. Sherry was an original Mustang in the group’s first incarnation, and is the founder of the newly reunited Mustangs of the West.
Suzanna Spring: “I’ve always been drawn to outsiders,” says this classically trained musician and prolific songwriter who grew up on both coasts, many parts in between, and now calls northern California home. Discovering Steve Earle, Tom Petty, and Lucinda Williams inspired a writer whose poetry, melodies and haunting vocals seem to embody longing and the quest for home. Suzanna worked as a staff writer and artist at Bluewater Music in Nashville, where she wrote “T-Shirt From California”. An original Mustang, she is currently writing and recording again with Mustangs of the West.
Holly Montgomery first began playing as a Mustang during the mid-90, and now plays bass, sings and writes for the Mustangs Of The West. She is a multi-instrumentalist originally from Kentucky and is currently very active in the DC/Mid-Atlantic area doing live shows with her band and other live and session work. Holly is equally comfortable rockin’ out or adding melodic bass lines to a hardcore country classic.
From the small Canadian town of Chicoutimi, Suzanne Morissette’s family migrated to Quebec where she began studying music earnestly, focusing her energy on drums and percussion in her teens. As a master’s level graduate of the Quebec Conservatory of Music and honors graduate of Hollywood’s Percussion Institute of Technology, she met bassist Holly Montgomery, and together they played all over Los Angeles, reuniting this last year to form the rhythm section for the Mustangs of the West.
West coast born and raised, Aubrey Richmond is a California native who grew up playing fiddle, classical piano, and riding horses amidst the woods and rivers of Northeast Washington State. Her love of music finally led her to Los Angeles where she’s spent the past 12 years building her career as a professional live & studio musician, and the last three of those touring and recording as the violinist/vocalist for Shooter Jennings. A big fan of horses and all-female bands, she is honored and excited to join the MOTW line-up!
Growing up with a single mother in San Benito, Texas, the hometown of Tejano star Freddy Fender was not easy for blues singer Charley Crockett. Hitchhiking across the country exposed Crockett to the street life at a young age, following in the footsteps of his relative, American folk hero Davy Crockett, who lived a wild life on the American frontier. After train hopping across the country, Crockett set off to travel the world and lived on the streets of Paris for nearly a year before searching for home in Spain, Morocco, and Northern Africa.Charley returned home to Texas and released his debut solo album titled A Stolen Jewel in 2015, receiving critical acclaim and landing him a Dallas Observer Award that year for “Best Blues Act”. He released his sophomore record In The Night in 2016 and played over 125 shows that year. Crockett’s song “I Am Not Afraid” received international recognition from top tastemakers after being picked by NPR Music as one of the “Top 10 Songs Public Radio Can’t Stop Playing” and featured on World Cafe. Now in 2018, Crockett releases Lonesome As A Shadow, an album recorded in Memphis at the legendary Sam Phillip’s Recording Service with producer/engineer Matt Ross-Spang. Backed by the Blue Drifters, this album was recorded live to tape during a long year of touring. It’s a musical gumbo that showcases the various depths of Crockett’s sound.
Arkansas Dave’s debut album features a variety of influences including blues, rock and indie and features 13 tracks. The self-taught musician recorded the album in only eight days at Muscle Shoals’ infamous Fame Studios where legendary musicians such as Will McFarlane, Clayton Ivey and Bob Wray all recorded music.
Arkansas Dave may be releasing his debut record but he’s no stranger to the performing scene, having performed on several stages ranging from Austin to overseas in Hamburg, Germany. He’ll be hitting the road again in support of his newest effort, starting out in Little Rock, Ark. on Feb. 6. His late winter tour with several spring and early summer tour dates will conclude on June 22 in Switzerland. Top festivals he’s billed on include the Folk Alliance International conference in Kansas City, Miss.
It’s a romantic cliché to find an escape in music and the blues, but living that life is a different matter. Ask Arkansas Dave about growing up in a broken home, with fundamental Christianity on one side, and crippling drug-addiction on the other, and you can see in his eyes that this is no easy ride, and that at times music really was his only friend.
Chasing his dream of music, Dave played in bands, funding his music with a succession of jobs where he had to find his feet quickly – from busboy to assembly-worker in a trash-bag factory.
His wake up call came at the edge of a breakdown with a cataclysmic weekend epiphany. He headed home for a rare visit, and was persuaded to play a few songs to his family. The response he got from his grandfather sent his mind racing, only for him to find out the next week that his grandfather had died 24 hours later.
Determined to clean himself up, and sort his life, Arkansas Dave enrolled on an audio engineering course at Media Tech in Austin Texas, driving into town with a trailer loaded with all his possessions, ‘like something out of the Beverly Hillbillies’. And that’s where everything changed – the college was housed at that time in the famous Arlyn Studios, home to sessions from Willie Nelson, Neil Young and Ray Charles. Dave with his musical co-horts took the night shift at the studios – laying down tracks and learning the ropes.
A succession of bands followed, picking up a strong local following around Austin. The final part of his musical education saw Dave touring North America as a member of old bluesman Guitar Shorty’s band, where he learned ‘what it took to be a professional musician’
Fast forward to 2016 and Dave has written the album he’s always wanted to create – a wide ranging blues-rock based record that tells the story of his life, but resonates with all of us.
The project just needed one more ingredient, so enter the Swampers, the legendary Muscle Shoals Rhythm Section. In a blistering eight-day recording session at Fame Studios the band laid down the backing tracks, and Dave returned to Arlyn to complete the vocals.
So the next chapter of Dave’s life is about to be written as he pulls his band together and takes his album out on the road – this time on a road that he’s building….
At 72, Morrison can still belt the blues with passion and swagger. The opening title track is an original that pays homage to Willie Dixon‘s “Hoochie Coochie Man” riff. He elaborates on the wrongs in life and love, but exhorts listeners to get up and move on without self-pity. He follows with the single “Transformation,” a trademark Celtic R&B tune and the set’s outlier; his vocal interaction with Beck‘s tasty slide guitar is irresistible. “I Can Tell,” with Beck and Farlowe, is the first of two Bo Diddley tunes, and offers a fantastic lead-in to the medley of T-Bone Walker‘s “Stormy Monday” and Doc Pomus‘ “Lonely Avenue.” Morrison has cut the former several times dating back to Them, while a version of the latter appeared on 1993’s Too Long in Exile. Beck shines, unfurling his guitar wrangling with fire as Farlowe (who had a hit with “Stormy Monday in the early ’60s) and Morrison exchange verses effortlessly, making these the singer’s definitive versions. Fame vocally opens the original “Goin’ to Chicago” with a jazzman’s swing, accompanied only by double bass. Harmonica, electric guitar, and drums follow his organ on the second verse and Morrison enters on the third in a fingerpopping slow burn. Morrison first recorded “Bring It on Home to Me,” for the live It’s Too Late to Stop Now…. While that version was far more animated, this one offers the soulman’s nuanced best as a vocal stylist and he sings the hell out of it. Beck‘s solo on the tune is his own watermark on the set. Morrison‘s “Ordinary People” is a stomping, textbook case in how to write classic-style blues in the 21st century. A stride piano is the engine for the growling read of Sister Rosetta Tharpe‘s gospel blues “How Far from God,” and Morrison‘s passionate delivery makes every word believable. “Teardrops from My Eyes” was Ruth Brown‘s first number one hit; led by Fame, the band lays down swinging R&B, creating a solid backdrop for Morrison to wail. Little Walter‘s “Mean Old World” was once an oft-covered standard, and Morrison reminds us why by reviving its fiery spirit. A rowdy, raucous take on Bo Diddley‘s “Ride on Josephine” closes out this party on a proper note, with Morrison letting the backing chorus and the tune’s trademark boogie riff guide him. On Roll with the Punches, Morrison revisits his roots without nostalgia or overt reverence. For him, these songs are as vital and important to him as his own songs. The spontaneity on this set is more akin to a live record than a studio effort, making it a most welcome entry in his catalog.
Kelly Z’s solo album, “Rescue,” is a collection of 60’s Funk, Rock and R&B produced, mixed and recorded by the acclaimed Chuck Kavooras. The eight tracks of inspired cover songs were recorded in 2011, but because of a set of fortunate and unfortunate events, never completed. When Chuck and Kelly Zirbes started talking about doing another project together, Chuck remembered the abandoned tracks and played them for Kelly. Both decided they were just too good to sit in a box, where no one would hear the power of these songs and skillful effort of the musicians. Kelly was brought in to sing on the tracks and finish the project. The whole album was recorded on analog at Slide Away Studios, recreating that big vintage sound, and featuring a full horn section, special guests – Teresa James, Shari Puorto & Lisa Orloff Staley – and the core studio band of Rick Reed, Bryan Head, John Marx, and Mo Beeks.
Kelly’s powerhouse rough and ready vocals draw instant comparisons to fellow blues belters, Lydia Pence, Dusty Springfield, Tina Turner and Irma Thomas. She rips out the scorching plea, ‘What Do I Have To Do,’ on the James Brown funk and fury opener, then dials it back for the smoldering soul of ‘Baby It’s You,’ and digs deep into her emotional tool kit for the slow blues ‘You Don’t Realize.’ Guitarist Perry Robertson plays Kelly’s foil on the Ike and Tina standard from 1963 ‘It’s Gonna Work Out Fine,’ complete with “Ikette” backups from Teresa, Shari & Lisa. Kavooras himself adds greasy slide guitar to the swamp rocker ‘Trying To Find My Mind.’ Soul classic ‘He Called Me Baby’ is given a tender but robust treatment and you can sink your teeth into the sexy groove of Isaac Hayes’ ‘Do Your Thing.’ The folk chestnut, ‘You Are My Sunshine,’ is given the full “Funky Broadway” treatment of a thundering jungle beat and blazing horn jabs to bolster Kelly’s steamy vocals. This collection was so worth every effort needed to complete the “Rescue.”
Rick J Bowen
Kelly Zirbes and her band Kelly’s Lot have been playing and recording in Los Angeles since the mid 90’s, and have recorded eleven albums and toured nationally and internationally, amassing a strong following. Currently, the full band is Kelly Zirbes on vocals, Perry Robertson and Rob Zucca on guitars, Matt McFadden on bass, Sebastian Sheehan on drums, Bill Johnston on sax, Dave Welch on trumpet, Bobby Orgel on keys and Frank Hinojosa on harmonica.
“Test Drive” gave the band its first official release. Through the first ten years they recorded three live albums, “Live At The Troubadour,” “Stop And Make A Difference” and “Trio,” headlined local festivals, toured regionally and embarked on two national tours. Many radio stations, have played their albums including their seven-song EP “Come To This,” which was recorded to showcase the band’s journey towards more blues.
Kelly’s Lot has been featured on many media outlets for the music and charity work the band has embraced. Some of the appearances include ABC Perspectives, Channel 4 in Milwaukee, Rock City News, LA Times, Pasadena Weekly, Independent Songwriter Magazine, Mixdown Magazine, The Debra Duncan Show, Good Morning Texas, The Gordon Keith show and Fox TV Houston to name a few.
In 2008 “The Light” was released, which showcased more of the rock and blues the band was getting known for. Their next release in 2009, “Pastrami and Jam,” included a list of covers the band enjoys playing.
Kelly and her band have opened for Tommy Castro, Shemekia Copeland, Marcia Ball, John Mayall, Curtis Salgado, Coco Montoya, to name just a few, and have hosted blues events for charities and for fellow blues musicians. With the support of European fans, the band toured across Belgium, France, Germany, England, Scotland, and The Netherlands. In 2011, they released a live album from Brussels, “Live in Brussels,” which was released both in Belgium and the U.S. “Plain Simple Me” came next and brings the listener back to the roots of this band, when Kelly was playing solo shows as a singer/songwriter.
“Don’t Give My Blues Away,” the next studio recording, was released with a horn section and keys with guest artists Teresa James, Robert Dill and Fred Mandel lending their musical genius to the project, which helped book new gigs for the group including the Valencia Jazz Festival and The Simi Valley Cajun and Blues Festival. “Bittersweet,” their early 2017 release is a mix of many genres and features a new side of the duo’s songwriting. Kelly and Perry have written songs for a 2018 blues release.
The 14 new tracks were recorded at the famed Blackbird Studio in Nashville by a production team led by Grammy-winning producer, drummer and songwriter Tom Hambridge. The group of A-list players involved also includes Michael Rhodes on bass, Reese Wynans on piano and Hammond B3, Pat Buchannan and Rob McNelly on guitar, and the “Heart Attack Horns,” led by Bill Bergman and Lee Thornburg. If this wasn’t enough fire power, Allchin and Hambridge recruited Niki Crawford, Wendy Moten, Seattle soul man Mycle Wastman, and international blues super star Keb’ Mo’ to join in on vocals, rounding out the all-star team.
The core quartet opens the album on the rockin’ blues shuffle “Artificial Life,” with Allchin extolling the turmoil and tribulations of the modern day working man blues. The team then heads south of the border on a rollicking trip to “The Mexican End,” an easygoing four-on-the-floor groove with hot horns and blistering lead guitar. Allchin then cranks up the volume for the heavy-hitting track ‘Bad Decisions,’ featuring more molten fret work and organ from Wynans on one of several songs co-written by Hambridge. The mood mellows for the introspective ‘Healing Ground,’ with Allchin trading verses with Keb’ Mo’ speaking to the precious gift of life that surrounds us and the power of healing available to all, if we will only listen.
The house-rockin’ shuffle “Blew Me Away” features the “Heart Attack Horns,” who bolster Allchin’s guitar chops on a good old-fashioned song about falling in love at first sight. The piano driven “She Is It” continues the theme as he testifies to the virtues of the love of his life during the easy pop ballad. The gang whips out all the Nashville cat tricks on the blazing boogie woogie instrumental “Just Plain Sick,” trading hot licks like old pros. The barn-burning “Friends” rolls out like a staple from the B.B King songbook, with Allchin delivering a sermon on trust and being wary of fair-weather toady’s and sycophants. Allchin dons an acoustic guitar to emphasize his point and our need for peace and understanding delivered via the easy-going country blues of “You Might Be Wrong,” celebrating our differences in a party atmosphere to sell an important life lesson.
The second instrumental on the record centers around soaring guitar melodies and intertwining harmonic lines that ebb and flow with emotion. The edgy “Don’t Care” finds Allchin playing the role of a man done wrong and standing his ground while his guitar does most of the talking. He then digs deeper into the blues for the torch song “Stop Hurting Me,” featuring dulcet piano from Wynans and a solo from Allchin that rips like Gary Moore. The tender tribute “My Father’s Eyes” will touch the hearts of anyone who lost a parent at an early age and longs for them to know how much they are missed and still loved. The album closes with a third guitars-driven instrumental simply titled “Destiny,” with Allchin pouring out the passion he feels for this magical instrument through his fingertips.
Jim Allchin describes the collection in the album notes as a study in the decisions we make in our life about identity, relationships, and “how to live life authentically.” Themes reflected in the lyrical content and in the choice of every note from his cerebral guitar work and soulful vocals. This is quite an album; the stuff dreams are made of.
Fifteen years and seven studio albums into a career hovering at the edges of the music business, fighting for a seat at the table, Ron Pope is now in the midst of flipping that table over. It took a decade to become an overnight success. Hundreds of millions of streams, millions of singles sold, concerts packed out into the street all over the world; all of a sudden Ron Pope is part of the discussion. “At the very least, now I don’t really have to give a shit what anyone in the business expects from me. That’s pretty liberating. It’s like ‘Everyone’s making music that sounds like such and such this year’ and I can say ‘Cool. I don’t give a fuck; my fans just want me to do something good and they’ll stick with me as long as what I record is real and honest and full of songs that are worth listening to. So I’m just gonna keep doing what I do.’ That’s the freedom that holding onto my independence for so long and finding real success has bought me” Pope says from the East Nashville office of Brooklyn Basement Records, the label he runs alongside his wife and manager, Blair Clark.
For his newest album “Work,” Pope once again co-produced with Grammy Award winner Ted Young (The Rolling Stones, Grace Potter, Sonic Youth). The duo decided to record in Nashville at Welcome to 1979, an analog-centric studio. For Pope, this album marked his first recorded to tape. “It forced us to make choices. Digital recording allows you to do a limitless amount of takes. In the past, we could do five or ten takes of everything and pick and choose, but on this record, if we wanted to record another take of something, we often had to erase what was already there. Those decisions influenced us to play like we meant it on every take. Our friend Charles Ray, who’s my favorite trumpet player, came in to help on the record and what you hear on ‘Dancing Days’ is his first take, no editing, no fixing, no reconsidering. That’s just what he played and we all just yelled ‘Next’ and moved on! The spontaneity and looseness flavored this album in a way that feels really exciting and new to me.”
“On some of these songs, you can hear Nashville. On others, we’re walking down the street in New Orleans giving away beers to strangers, or I’m down on the Florida panhandle at 19 arguing with a frat boy when my blood ran a little hotter than it does now, or I’m back home in Georgia playing the bars I grew up in or singing quiet songs in my bedroom, looking back and looking forward; you find us a lot of places on this record.”
The concept for this album came into existence one afternoon in Texas. “The boys and I were playing a daytime party in Austin, packed into the corner of this little bar on the east side of the city. Everybody was on top of each other, sweating through our boots, amps turned up, day-drunk. The horn players were almost touching the drummer; the stage was so small that the guitar players and the keys were on the floor. We only played for about an hour, but we murdered that gig! I was playing guitar solos on my tiptoes, dancing with the people who were standing in front of me; they were sweating on us, we were sweating on them, it was madness! It felt like when I was back playing the bars as a kid. The only difference was, we were just playing my songs (and people actually wanted to hear them). I wondered what it would be like to make a record that was driven primarily by those kind of songs, tunes that your favorite bar band could play, that felt new but somehow also familiar. And that’s what this new record ‘Work’ is all about.”
“All of the best characters from my own life pop up on this record; girls who burned me down and threw the ashes out the window as they drove away, the 7th grade teacher who told my mother that I’d end up in prison, my father who usually speaks in parables like the Bible, Grandpa who’s taught me a lot about how to grab life by the throat, different versions of me, both from today and as a much younger, more dangerous version of myself, my stupid friends of course, my brother who keeps me honest…the gang’s all here. Some of it is serious, some of it is playful, but all of it is honest. Whether I’m screaming over booming Memphis flavored horns or whispering an acoustic love song, I’m just trying to tell you who I am and what’s on my mind without any bullshit.”
“We ended up using a bunch of the rough mixes that I put together in the studio; they just captured the vibe right and I didn’t want to over-mix and ruin it. Sometimes ‘better’ is the enemy of ‘good’ or whatever that expression says,” Ted Young commented.
“Paul Hammer and I sat down to write but we’d gotten as drunk as two shithouse rats the night before and were the worst versions of ourselves that morning. He looked like he might cry or fall asleep at any moment and I could barely sit upright. We started talking about how we can’t really drink like we used to, but we’re not ready to hang up our dancing shoes just yet and before you know it, ‘Dancing Days’ was born. There’s lots of little snapshots like that, from different moments in my life all over this record. Like the song says, I’m just gonna keep on dancin’. I’m dying to put these songs on wheels and get out on the road to work up a sweat with the fans every night.”
“I had a teacher, she told my mother that she better find me a trade/because boys like me well, we all grow up to be long term guests of the state,” Ron Pope reveals to us in the title track from his upcoming album Work. From that inauspicious childhood memory, Pope was inspired to take up songwriting and has established himself as a soulful force in the Americana scene, even creating his own record label, Brooklyn Basement Records. The album’s title track, while touching on the dire predictions of his teacher, is a testament to Pope’s refusal to be trapped by the expectations of others. “Sometimes at night I wake with a shiver/sweat soaking clean through my sheets/but then I remember I am who I am, not who they said I would be,” Pope sings with his trademark velvety voice, tinged with sadness but brimming with relief.
While Work is inspired from an emotional turning point in Pope’s life, he refuses to allow the album to be a dreary soul-searching endeavor. Instead, it’s an unabashed celebration of his life, which is full of sentimental memories, yearning, troubles avoided, and a few confessions. On “The Last,” Pope reflects upon a fleeting romance and only remembers the best. Knowing that his lover will one day leave him, but refusing to be heartbroken, Pope embraces the beauty of his partner and the thrill of passion, all glorified over a toe-tapping beat and jaunty banjo. On “Can’t Stay Here,” the romantic tables are turned when Pope pushes an ex-love out of his life. With driving guitar and resolve in the voices of Pope and guest artist Katie Schecter, it’s more a statement of freedom than a mournful breakup song.
Reflecting on where Pope is in life, “Dancing Days” recognizes that he has aged a few years, but he’s not going to let that slow him down (even if he might regret some of his decisions the next morning). Drawing instant comparisons to Beggars Banquet-era Rolling Stones, “Dancing Days” features a bluesy rock growl in Pope’s voice, and lively acoustic guitar, jangling keys, and jazzy horn. In album opener “Bad For Your Health,” Pope channels his dangerous side as he rails against fake cowboys, loves wildly, and lives on the edge. You can’t help but wonder if the song’s anti-hero is Pope’s alter-ego—maybe the person he might have been if he hadn’t focused on songwriting. Downright infectious with its Bruce Springsteen vibe, “Bad For Your Health” is a bold departure from Pope’s more stoic pieces—full of horns, southern rock swing, and powerful vocal grit.
Work is a lyrical celebration of Pope’s life—where he started, the missteps he avoided, the whims and beauty of love, with some hell-raising thrown in for good measure. Having rolled up the sleeves on his blue-collared shirt at a young age, Pope has deliciously defied those early expectations and built the creative life he envisioned for himself.
Few things are as pure as the sound of a solo vocal and sparse acoustic accompaniment. That singularity of purpose led to the latest collaboration from veteran blues man Steve Howell and his partner, Jason Weinheimer; “A Hundred Years From Today.” The wonderful ten song collection of rural country blues and traditional jazz offerings in the intimate setting of guitar, bass and vocals is set for an August of 2017 release. Texan Steve Howell provided the melodic and seasoned finger style guitar and soulful vocals while Jason Weinheimer lent his considerable and widely recognized skills on bass, engineering, mixing and mastering. The album opens with the jaunty trad jazz tune, ‘Lulu’s Back In Town,’ that was a staple of Fats Waller’s repertoire. The old-time country blues tune from 1927, ‘Kansas City Blues,’ shows off Howell’s adept finger picking skills and the inspiration he drew from Mike Bloomfield. Howell then digs deep into the songbook of fellow Texan Lightnin’ Hopkins for the share cropper’s blues ‘Going Back To Florida.’ The loose yet tight two-step feel of ‘Louis Collins,’ cleverly disguises the dark beauty of the great American murder story from the 1920’s, first recorded by Mississippi John Hurt.
Howell pays tribute to another one of his heroes, and Texas legend, jazz man Jack Teagarden, on the sweet lilting title track, ‘A Hundred Years From Today.’ Weinheimer keeps the bass walking as Howell trades rhythm, leads, and verses on the country blues boogie ‘Got The Blues, Can’t Be Satisfied,’ another standard from the catalog of Mississippi John Hurt. The duo then pays tribute to the Crescent City, (New Orleans) the birth place of Jazz on a loving reading of ‘Basin Street Blues.’ Howell deftly merges the jazz standards ‘Limehouse Blues’ and ‘After You’ve Gone’ into one with an extended instrumental intro of more finger picking magic that sets up his easy swinging vocals. Bo Carter and The Mississippi Sheiks wrote and recorded some of the most varied Delta Blues material and are well known for bawdy songs such as ‘Who’s Been Here?’ that would have been considered “blue material” back in the day. Howell delivers here with the light hearted, tongue-in-cheek humor that was intended. The much-loved standard, from the great American songbook, ‘Rocking Chair,’ closes out the set with Howell slowing the tempo and imbuing the motif of a dialog between an aged father and his son, with the deep melancholy from someone facing mortality.
“A Hundred Years From Today,” from Howell and Weinheimer, offers an interesting and accessible set list, recorded with an eerie clarity missing in the quality of most audio production, that breathes new life into gems from the past and taps the depths of the human condition.
by Rick J Bowen
When Steve Howell first heard Mississippi John Hurt’s happy style of fingerpicking country blues in 1965 at the age of thirteen, he immediately knew that the tame, folky style of strumming the guitar was a thing out of the past for him. As his journey progressed, Mississippi John Hurt begat Blind Willie McTell and Leadbelly, who begat Robert Johnson, Son House, Rev. Gary Davis, Blind Willie Johnson, Blind Blake and a host of other black acoustic guitar players and vocalists. His interest in rural, folk-blues styles and the history of the music led him to learn more about how this music came to town and melded with the horn-oriented bands prevalent in the cities, creating a strong affinity for him with the traditional jazz and New Orleans music of the first half of the twentieth century. This led to a journey through music which, of course, included the pop, country, rock and blues music of the times, as well as the music of Miles Davis, Bill Evans, Lester Young, Louis Armstrong, Jack Teagarden, Art Tatum, Count Basie, Duke Ellington, Chet Atkins, Johnny Smith, Wes Montgomery, Bucky Pizzarelli, Joe Pass, George Van Eps, Lenny Breau, and many other great jazz artists. Although very interested in many other music styles (bebop, rock ‘n’ roll, rhythm and blues, and others), the heart of his playing and singing is very much rooted in the rural acoustic blues and traditional jazz genres born in the American South.
Born in Marshall, Texas, Steve lived in Kilgore, Texas, until the age of seventeen, when his family moved to Shreveport, Louisiana. Upon Steve’s graduation from Captain Shreve High School in Shreveport, he lived in Dallas, Arlington, Austin, and spent some time in Pennsylvania during 1972-1973. Late 1973 brought the beginning of a hitch in the U.S. Navy which took him to Key West, Florida, and then to Havorfordwest, South Wales, for 3 1/2 years. During this time, he played folk clubs in South Wales, as well as in the South of England with his partner, fingerstyle and slide guitarist and mandolinist, Arnie Cottrell. They also played several folk music gatherings including the Pembroke Castle Folk Festival in the spring of 1976.
Upon his return to the United States ‘77 and back to Shreveport, Louisiana, Steve performed through the late 70’s & 80’s, with numerous gigs around East Texas, initially as a duo with guitarist David Dodson in 1977 and then with his partner, Shreveport restauranteur Jim Caskey. Since 2006 Steve has recorded the music he loves so much as well as continued to perform, oft times with his Mighty Men. Steve is the Recipient of the 2012 Academy of Texas Music Historical Significance Award.
A veteran songwriter and performer, Jason Weinheimer has spent the last decade focused on recording and producing albums for other artists at his studio, Fellowship Hall Sound www.fellowshiphallsound.com. He has recorded albums by John Moreland, Buddy Flett, and Jim Mize, among many others. In addition to his studio work, he plays bass in a few bands, most notably Steve Howell & the Mighty Men. His solo album “Skies Are Grey” was released in 2016 under the name The Libras.
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. She has opened for Robert Cray, Joan Osborne, Jimmie Vaughan, Jon Cleary, The Doobie Brothers, Tim Reynolds, The James Hunter Six, and more. #10 on Blues Albums Billboard and 2019 SAMMIE award winner for best blues artist.
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Mary Gauthier - Rifles & Rosary Beads
Sep 08, 2019
Co-written with U.S. veterans and their families, the eleven deeply personal songs on this album reveal the untold stories, and powerful struggles that these veterans and their spouses deal with abroad and after returning home.
_"You’ll be hard-pressed to hear a more powerfully moving work than Rifles & Rosary Beads this year — or any other.”
Last year we saw the release of Jim Allchin’s Decisions album which garnered good critical review for it’s great songs and musicianship. Allchin returned to the studio this past Spring to once again collaborate with Tom Hambridge and his team. Hambridge has produced Grammy winners before and to make things even sweeter he and Allchin invited Mike Zito, Bobby Rush and The Memphis Horns to join them on this production.
The output of all that is 14 new songs, 3 penned by Allchin alone and the other 11 were collaborations between Allchin, Hambridge and a couple of other folks here and there. In addition to Allchin on vocals and guitar are Bob Britt, Kenny Greenberg and Rob McNelley on rhythm guitar, Hambridge on drums, Kevin McKendree on keys, Glenn Worf on bass, Mycle Wastman on backing vocals and the aforementioned guest musicians.
Peter Rowan has paid his dues, spending more than 50 years in and around bluegrass, sharing the stage with everyone from Bill Monroe and Jerry Garcia. Now, he’s paying tribute.
His new CD on Rebel Records is called Carter Stanley’s Eyes. But the title cut isn’t the only nod to the man many consider the best lead singer in bluegrass. Cut after cut, including two written by Carter, two written by his brother Ralph, and one by Monroe, the songs conjure up memories of the artist who left us far too soon, in 1966.
But the title cut, one of three songs on the CD written by Rowan, seals the deal. The Light in Carter Stanley’s Eyes recounts the day in 1965 when Monroe and Rowan — a member of the Blue Grass Boys who wasn’t yet old enough to vote — visited Carter near the end of his tragically shortened life.
The song includes a spoken part, in which Rowan recalls Monroe telling Stanley that he had been one of his favorite Blue Grass Boys, and his favorite lead singer. It also recounts Stanley asking Rowan if he was “going to stick with it,” which Rowan answered affirmatively. Given that more than half a century has passed between the question and this new project, Rowan clearly kept his end of the bargain.
The song, with it’s built-in oral history of an important moment in bluegrass history, will help make Carter Stanley relevant to new generations of pickers. And it should add momentum to the push to add Carter and Ralph to the Country Music Hall of Fame, an oversight that frankly should have been corrected long ago.
Buddy Guy stands as one of the last true traditional blues legends of his time; an era that predated the rock ‘n’ roll explosion of the mid-1960s. Few remain, and even fewer are still releasing albums that remind us as to why they have enjoyed such a lengthy and illustrious career. The Blues Is Alive And Well is very much one of those albums. As a follow-up to his 2015 release, Born To Play Guitar, and his eighteenth solo studio album, The Blues Is Alive And Well features collaborations with Jeff Beck, Keith Richards, and Mick Jagger, and is certainly one of the best blues records to be released this year.
Becky’s body of work is already vast and impressive, as a songwriter and as artist, and she has the awards and accolades to back it up. But, as Crepe Paper Heart demonstrates, she’s not about to rest on her laurels.
From the opening notes of Another Love Gone Wrong to the closing of Phoenix Arise, the 12 songs will take you on an emotional roller coaster of thrills, tears, longing and loss. The stories are compelling, as her songs tend to be. And the performances are top drawer. Again, that’s no surprise if you’ve followed her on stage and on record. With the collective strength of her band and an all-star lineup of guests, anything less would be shocking.
Heartbreak is never any fun, but it sure seems to be good fuel for the creative process. Nicki Bluhm first found an audience for her rich, smoky voice while making music with her husband Tim Bluhm, who produced her early albums and co-founded their band, the Gramblers. But in November 2015, the Bluhms revealed they were getting a divorce, and their creative partnership ended along with their marriage. Splitting up was clearly not a pleasant experience for Nicki, and she lays out all her hurt and disappointment on her 2018 album, To Rise You Gotta Fall. This is a breakup album if there ever were such a thing, but Bluhm doesn't sound like the experience has weakened her. There are bittersweet moments in "Staring at the Sun" and "Last to Know" where Bluhm reveals her emotional wounds, but more often she sounds clear-eyed in her postmortem of her relationship ("Something Really Mean") or defiant as she moves past the wreckage ("Can't Fool the Fool" and "Things I've Done"). Musically, To Rise You Gotta Fall is steeped in vintage R&B and soul with a dash of country for seasoning, and the bluesy angles of the music are a perfect match for Bluhm's ruminations on a love that used to be. The album was cut in Memphis at the legendary Sam Phillips Recording Studio, and producer Matt Ross-Spang has put together a band that can evoke the sounds of R&B past without sounding dated or falsely nostalgic. And To Rise You Gotta Fall features some of Bluhm's finest vocal work, filled with passion and nuance at the same time, and for all the powerful emotions in play here, she doesn't overplay, and the focus and restraint only make this music more intense. Hopefully Nicki Bluhm won't have to get dumped again for her to make an album this good, but at least she found a way to put her broken heart to good use, and To Rise You Gotta Fall ranks with her best music to date.
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Kinky Friedman - Circus of Life
Sep 08, 2019
Before he was a novelist, and before he ran for governor of the state of Texas, Kinky Friedman was known as a musician. Proof of that can be found in his first new album in close to four decades, Circus of Life, being released on his own Echo Hill label.
As the lead singer of Kinky Friedman and the Texas Jewboys he was responsible for such country classics as “Asshole from El Paso” and “They Don’t Make Jews Like Jesus Anymore”. The band also hold the distinction of being one of the few who were filmed for the famed TV show Austin City Limits but whose segment was never aired. (It is available on DVD if you look hard enough).
While Kinky has mellowed somewhat since those halcyon days, only “Little Jewford” Shelby (piano) still rides with him, and his songs aren’t as in your face as they used to be, none of that impacts on the quality of the material you’ll find on this album. For while the twelve songs on the disc only add up to just over 35 minutes of music, their substance can’t be measured by how much time they take up.
A new album from John Prine is always reason to celebrate, but an album in which he wrote or co-wrote all the songs is an even bigger reason to rejoice. The Tree of Forgiveness is the first album since 2005’s Fair & Square where Prine has written the songs. He has issued albums since then, but like Bob Dylan, they have been albums of cover versions, but this album is Prine and, I would argue, Prine at his best.
Prine co-writes with old friends and longtime collaborators on this album. He even wrote a song with Phil Spector — he started writing the song, “God Only Knows”, decades ago. Pat McLaughlin, Roger Cook, and Keith Sykes have worked with Prine in the past. He has made some new friends too in Dan Auerbach, who co-wrote the brilliant “Caravan of Fools”, and Brandi Carlile, who duets with Prine on the beautiful “I Have Met My Love Today”.
When Nashville-based singer/songwriter/producer Tom Hambridge decided to pay tribute to the city of New Orleans with this CD, he had no trouble recruiting several of the biggest names in Big Easy music – including Ivan Neville, Sonny Landreth and the late Allen Toussaint — to help him. But that should come as no surprise to anyone who’s aware of the rich legacy he’s already created in the worlds of blues, country and rock.
A native of Buffalo, N.Y., who graduated from Berklee College Of Music and spent three years on the road as the percussionist for guitar legend Roy Buchanan, Hambridge has earned Grammys as a producer of Buddy Guy’s Living Proof and Born To Play Guitar albums as well as more nominations for his collaboration with a who’s who of entertainers, including Eric Clapton, B.B. King, Van Morrison, Johnny Winter, Gregg Allman, Kid Rock, George Thorogood, Susan Tedeschi and many others.
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Mark Knopfler - Down the Road Wherever
Sep 08, 2019
Mark Knopfler’s ninth solo studio album ‘Down The Road Wherever’ features unhurriedly elegant new songs inspired by a wide range of subjects, including his early days in Deptford with Dire Straits, a stray football fan lost in a strange town, and the compulsion of a musician hitching home through the snow. Mark has a poet’s eye for telling details that infuse his songs with his unique psychogeography – ‘where the Delta meets the Tyne’ as he describes it – and his warm Geordie vocal tone and his deft, richly melodic guitar playing are as breathtaking and thrilling as ever.
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JP Harris - Sometimes Dogs Bark at Nothing
Sep 08, 2019
JP Harris doesn’t fancy himself a musician as much as a carpenter who writes country songs. With his forthcoming album, Sometimes Dogs Bark at Nothing (out October 5 on Free Dirt Records), Harris is back after a four-year hiatus to remind us what it's like to actually live the stories we hear so often in country music. Born in Montgomery, Alabama, Harris left home at 14 and traveled the country hopping freight trains, working the odd job, and living without electricity or running water for over a decade. For this record, his third full-length, he tapped a handful of his favorite players and called on the production prowess of Morgan Jahnig (Old Crow Medicine Show) to capture the stories of his stranger-than-fiction life. Dripping with pedal steel and telecaster twang, the record has the rugged edges of outlaw, the danceability of honky tonk, and classic country's beloved emotional candor. After more than a decade in the trenches, Harris is more in love with country music than ever. If he hasn't already, his latest effort will make you a believer.
Steve Forbert’s new album ‘Magic Tree,’ recorded in Meridian (his birthplace in Mississippi), Nashville, New York, New Jersey and Virginia, is a collection of his own songs and the music loses nothing in its quality of production despite the country wide recording venues. Throughout the album his folk roots shine clear, as does his song writing ability honed over his forty years in the music industry.
It might be naive to think you can detect authentic music without being familiar with the particular genre. Paul Thorn’s Don’t Let the Devil Ride, is an incredible gospel and gospel-influenced album that sounds like the real deal: From its production, which sounds like it was recorded inside an old hot wooden church stuffed full of sinning parishioners, to the songs, which make the listener feel like they’ve stumbled into perhaps the South’s most exciting church service. It’s all the more amazing given that Thorn isn’t a gospel artist.
The album kills because it’s intense without being noodle-y. Every song sounds like great musicians trying–somewhat unsuccessfully–to hide just how talented they are. As is often the case with gospel, much of this comes from the organ, which propels many of the songs here. The album kicks off with “Come On Let’s Go,” which is propelled by that organ, as mentioned earlier. An infectious hand-clap keeps the beat, with horns popping in and out of gospel-tinged background vocals. The song builds to a manic climax before collapsing into a swirl of organ. Truthfully, if Thorn had ended the album on that first song, everyone would have felt like they got their money’s worth.
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Sugarcane Jane - Southern State of Mind
Sep 08, 2019
Sugarcane Jane, the Alabama Gulf Coast-based husband and wife duo of Anthony Crawford and Savana Lee have recorded Southern State Of Mind with producer Buzz Cason. The recording starts off with a rousing "Cabin On The Hill", already a favorite with Sugarcane Jane fans. It is followed by "Campfire", the first single. The thought-provoking, fresh and exciting "Man Of Fewest Words" precedes the title track, "Southern State Of Mind", the tale of the joys of Southern living. "Destiny", a raw rocker, is foreshadowed by the inspirational "Rainbow". "Red Flags Warning", a true gem from the pen of Anthony Crawford is cut #7. Savana Lee is featured beautifully on "The One Before Me". "How Do You Know" and "We Can Dream" wrap up this eclectic collection of songs from the duo.
Brooklyn based but with a somewhat nomadic background, Ana Egge is one of those songwriters who seem to hover around the edge of the mainstream. She gets great reviews but she’s certainly not a household name even in the most dedicated of Americana infested households. Her album with The Stray Birds, ‘Bright Shadow’, did cause a bit of a buzz, perhaps down to that trio’s reputation but we can safely say here that ‘White Tiger’ is a much more multi faceted affair than the folky infused ‘Bright Shadow’, bursting as it is with imaginative arrangements adorned with horns and synths.
Tas Cru’s bio begins like this, “Raucous, rowdy, gentle, sweet, eccentric, quirky, and outright irreverent are all words that fittingly describe Tas Cru’s songs and testify to his reputation as a one of the most unique of bluesmen plying his trade today. ”
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Dave Alvin & Jimmie Dale Gilmore - Downey To Lubbock
Sep 08, 2019
DOWNEY TO LUBBOCK was born by immaculate inspiration from live shows Grammy winner Dave Alvin and Grammy nominee Jimmie Dale Gilmore performed together in 2017. Just the two of them were swapping songs and cutting up, each with a guitar and a heart full of soul, musicians who’ve been on the road their entire adult lives. The result is an album of blues, rock and folk inspired tunes that both of their fans will enjoy.
The album contains 12 songs - 10 covers and two originals - and is destined to be a classic Americana album from two Americana legends.
Joyann Parker brings a full range of talent to her performances as an accomplished singer, pianist, songwriter must-hear lead guitarist, currently endorsed by Heritage Guitars in Kalamazoo, MI. She has performed for thousands at major venues and festivals across the country.
For one so young (he was born in 1988), Travis Bowlin has already achieved a hell of a lot. Not only can he play the guitar, he can make them too! At first he made cigar box guitars for his own use but people seeing him use them, created a demand that he now meets through his separate business, Bowlin Box Instruments. Travis was born near Cincinnati and raised in a household full of many genres of music…so he soaked up blues, rock ‘n’ roll, gospel and country. He got his first guitar aged 15 and very soon started to perform around his home and surrounding states. To take his devotion a step further, he moved to Nashville and released his first album in 2014, called See You Again. His influences have a wide range as he cites Led Zeppelin, BB King, Robert Johnson, Prince, Steppenwolf, 3 Dog Night and Albert King amongst others.
He has now released his follow up album called, rather neatly, Secundus, as it means second but can also, apparently, be used to mean ‘lucky’. It contains 12 all original tracks and shows a development from that first outing with its more developed, blues-oriented feeling and manages to cover virtually every emotion a human being can experience. There are many more flavours to be discerned and I can hear jazz and soul in the mix and I even picked up a hint of progginess in a Yes kind of way.
In the past several years, Sideline has jumped from being a literal side project for some bluegrass A-listers to a fully-fledged band working its way to the top of the bluegrass world. With a few of those original “sidemen” on board, as well as the addition of several younger faces, Sideline has continued to up their game with the release of their new Mountain Home album, Front and Center.
Opening track Thunder Dan has captivated radio audiences with its catchy chorus and bluesy, mash-style grass. Penned by Josh Manning, it’s a take on the familiar “mountain man” story, featuring a title character with an itchy trigger finger and strong vocals from Troy Boone. The song hit number one last month and was back at the top spot on the Bluegrass Today chart this past week. Lysander Hayes is another rough character, keeping his mama up worrying and praying while he picks and drinks and runs around. Skip Cherryholmes pulls out the clawhammer banjo for this song, which along with Nathan Aldridge’s fiddle, makes for a nice old-time-with-drive vibe.
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