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CURSE OF LONO New Album, AS I FELL Out Now Via Submarine Cat Records

New Video About The Story Behind The Title Track, “As I Fell” Is Exclusively On Parade Magazine

CLICK HERE TO WATCH

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“Cinematic and lovely, the song and story share the connection between kindred spirits and the support of those that know and love them.” Parade Magazine

“The quintet, led by vocalist/guitarist Felix Bechtolsheimer, is back August 17 with sophomore album As I Fell, and the LP continues the band’s exploration of its patented Amerigothica sound—one that comfortably rides right alongside both Black Rebel Motorcycle Club and Drive-By Truckers.” – Magnet Magazine

August 17, 2018- Acclaimed London five-piece  Curse Of Lono new album, As I Fellis out now, via Submarine Car Records. Today, the band has unveiled the video behind the story on the title track, “As I Fell.” CLICK HERE TO WATCH exclusively on Parade Magazine. 

Felix, the lead singer says, “’As I Fell’ is the title track off our new album which comes out today. I wrote the song for our bass player, Charis, when her boyfriend, Tom Edwards, passed away unexpectedly last year. They had been together for over four years and were talking about getting married this year. Tom was on tour in the US with Adam Ant when he caught pneumonia, which quickly turned into sepsis. He died on the tour bus on January 25th last year. Tom, who was only 41 years old, was a huge part of our musical family. There were times when we saw more of him than our own families. He was an incredibly charismatic and caring human being as well as a wonderful guitarist who, as well as being Adam Ant’s long-time musical director and lead guitarist, worked with numerous other artists including Edwyn Collins, Roddy Frame, Andrea Corr and Fields Of The Nephilim. His passing has left a huge void and it was important to us to pay tribute to him on the day our album is released.

Recorded between Joshua Tree and London with producer Oli Bayston (AKA Boxed In), the track builds on the band’s deeply cinematic blend of harmony-laden Americana and driving, gothic alt-rock. It’s a sound that owes as much to old faithfuls like The Doors and The Velvet Underground as it does to more contemporary artists such as The War On Drugs and Wilco.

Formed in London in 2015, Curse Of Lono is Felix Bechtolsheimer (vocals and guitar), Joe Hazell (lead guitar and vocals), Dani Ruiz Hernandez (keys and vocals), Charis Anderson (bass and vocals) and Neil Findlay (drums). ‘As I Fell’ is the follow-up to ‘Severed’, one of the most critically acclaimed debuts of 2017, and builds on Curse Of Lono’s deeply cinematic blend of harmony-laden Americana and driving, gothic alt-rock. It’s a sound that owes as much to old faithfuls like The Doors and The Velvet Underground as it does to more contemporary artists such as The War On Drugs and Wilco. Although some of the songs on ‘As I Fell’ revisit familiar themes like murderous jealousy and the death of loved ones, much of the album covers new ground.

Curse Of Lono recently completed a UK headline tour, including a sold-out show at London’s Lexington, and a run of European support dates with both Steve Earle and Southside Johnny & The Asbury Jukes. Catch them at a series of festival dates this summer.

CURSE OF LONO – LIVE
August 19     Beautiful Days Festival, Devon
August 26     Graze Festival, Hampshire
August 28     Stockholm, Bryggarsalen (with David Ramirez)
August 29     Oslo, Café Mono (with David Ramirez)
August 30     Malmo, Folk å Rock (with David Ramirez)

Darren Jessee Shares Stunning “All But A Dream”

“Jessee takes his insightful songwriting chops and churns out his own taste of bold melancholy folk, making The Jane Room 217 one of the years must hear mood records.” – Glide Magazine

“We’re used to seeing Darren Jessee behind a drum kit, with Ben Folds Five, Sharon Van Etten, Hiss Golden Messenger, the War on Drugs and others. But his band Hotel Lights brought him out front, and with his upcoming first solo album The Jane, Room 217, Jessee moves into another musical adventure.” – Billboard Magazine

“A quiet record that has, and will continue to be described as “breathtaking,” The Jane, Room 217 is intimacy incarnate: Little separates listener from artist in these songs as Darren Jessee bares his soul, surrendering his emotions in an utterly beautiful display of musical vulnerability.” – Atwood Magazine

DARREN JESSEE SHARES NEW SINGLE / LIVE VIDEO

“ALL BUT A DREAM”

THE JANE, ROOM 217 OUT AUG 24 ON BAR/NONE RECORDS

 

For someone as soft-spoken as North Carolina-based songwriter Darren Jessee, it might come as a surprise to learn that he has a gold record (in storage somewhere), a platinum record (“I never called them to get it”), and was part of a recent Grammy win (“someone told me they would mail me a certificate if I wanted…”). For years, though, he’s managed that almost impossible feat of remaining both ubiquitous and out of the spotlight at once.

Since 2004, he’s released four records under the name Hotel Lights, all while working as a drummer for a series of wildly acclaimed acts. He played drums for Sharon Van Etten in support of her celebrated 2014 release Are We There, and since 2016, he’s been a member of the Durham-based band Hiss Golden Messenger, performing most recently on their 2017 Merge release Hallelujah Anyhow. In 2017 he contributed to The War on Drugs’ A Deeper Understanding, which won the 2017 Grammy Award for Best Rock Album. Before any of that, Jessee made his name as a member of the band Ben Folds Five, for which he co-wrote their biggest hit, “Brick.”

“I always felt like I needed to have a band,” Jessee says. “There’s something about being with a group of people that gives you confidence. But secretly I wanted to have the courage to be a solo troubadour.”

With his new record, The Jane, Room 217 – Jessee’s first as a solo artist – he’s finally seen that through. In late 2016, on the heels of Hotel Lights’ release Get Your Hand in My Hand and a world tour with Sharon Van Etten, Jessee started writing and recording the songs that would become The Jane, Room 217 on a six-track in his New York City apartment.

“I thought it was all just song demos at first,” he says, but after a returning from a tour with Hiss Golden Messenger, he heard the material with new ears. “When I got back around to these songs, I realized it was something I cared about more than just demos.”

Jessee drove the tracks as they were to Richmond, where Trey Pollard of the Spacebomb Records group added strings and Jessee’s longtime collaborator Alan Weatherhead mixed; and for the most part, that’s how Jessee left it.

“I love sparse records,” Jessee says. “I grew up with Willie Nelson playing in the house, I was always a big fan of Leonard Cohen, the early Tom Waits records – just a mixed bag of artful music.”

Dreamy and intimate, The Jane, Room 217 evokes late night drives, low lights, and longing, as on the album’s opener, “Anything You Need,” where so much space is left around the notes that by the time strings swell up under the melody after the chorus, it’s an almost overwhelming rush, like a quiet revelation.

Arrangements on the album are pared down to nothing more than acoustic guitar, a few spare keyboard hooks, piano, Pollard’s strings, and Jessee’s expressive vocals. At once reserved and lush, Jessee’s wistful melodies are shot through with lyrical sparks, as in “All but a Dream,” where he takes a series of impressionistic flashes – “chill though the window screen,” “cortados in Mexico City,” “red tail lights of taxis, running through a summer rain,” “swimming in the briny sea” – and builds them into an epiphany much greater than the sum of its parts.

Quietly devastating, The Jane, Room 217 is a personal exploration of heartbreak and romance – made all the more powerful by its clear-eyed restraint.

“Opener ‘Anything You Need’ is one of The Jane, Room 217‘s standouts, a quiet acoustic-guitar/piano number that’s bathed in breathtaking strings by song’s end.” – Magnet Magazine

Darren Jessee
The Jane, Room 217
Bar/None Records
August 24, 2018

01. Anything You Need
02. True Blue
03. Letting You Go
04. Dying Violins
05. Ruins
06. Leaving Almost Ready
07. All But A Dream
08. Plastic Bag
09. Go On Baby Break Down

Neo-folk newcomers YOUNG WATERS share video for new single “Swimming Pool” / Debut album out Sept 28th

Young Waters share video for new single “Swimming Pool”

Premiered at CLASH
Watch HERE

Self-titled debut album out Sept 28 via YW Records

“a beautiful offering that is pastoral of arrangement
and dexterous of lyric.” – 
CLASH

Young Waters’ twisted neo-folk is a tapestry of emotionally powerful vocals, stirring harmonies, lyrical strings and finely mastered acoustic guitar. Their exhilarating rhythms and intricate melodies, coupled with a repertoire that combines startling original material with unique arrangements of traditional folk songs, makes for a captivating stage presence. This young band is set to make a big impact in 2018.

Today, they announce news of their self-titled debut album and share the video for their new single “Swimming Pool”, premiered at CLASH, who call it “a beautiful offering that is pastoral of arrangement and dexterous of lyric.​”

Share “Swimming Pool” on Spotify HERE

After winning Bath Folk Festival’s New Shoots competition, they earned themselves a recording session at Peter Gabriel’s legendary Real World Studios, where most of this stunning debut album was recorded. A host of festival appearances (including Glastonbury, Broadstairs, Cambridge, Wilderness, Boomtown and Smugglers) have cemented their reputation with fans. Catch them at one of the following tour dates.

Upcoming UK Tour Dates

22nd June – Serta International Folk Festival, Portugal
6th July – Rollright Fayre, Oxfordshire
27th July – Bimble Inn, Sussex
12th August – Boomtown, Winchester
17th August – Purbeck Folk Festival, Dorset
24th August – Shambala
20th September – Green Note – London – Album Release Show

Young Waters are:

Theo Passingham (vocals and guitar)
Kerry Ann Jangle (vocals and percussion)
Liam O’Connell (double bass and vocals)
Calum Smith (violin)
Rowen Elliot (viola)

Young Waters’ debut album Young Waters is released on September 28th via YW Records. Distributed, Published and Marketed by Monokrome Music.

Young Waters: Website | Facebook | Twitter | Instagram | Spotify 

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

Yep #1 for Secundus on the RMR BLUES ROCK Chart

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

 

That is one bad screenshot

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

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

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

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

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

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

 

 

 

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

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

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

Gomez UK Tour August September 2018 Bring It On Anniversary Poster

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

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

GOMEZ ‘BRING IT ON’ NEW TOUR DATES UK

AUG 23 THU – O2 Academy Oxford
Oxford, United Kingdom

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

AUG 25 SAT – UEA LCR Norwich
Norwich, United Kingdom

AUG 26 SUN – Victorious Festival
Portsmouth, United Kingdom

AUG 28 TUE – O2 Institute
Birmingham, United Kingdom

AUG 29 WED – Tramshed
Cardiff, United Kingdom

AUG 31 FRI – Bingley Festival
Bradford, United Kingdom

SEP 2 SUN – O2 Ritz Manchester
Manchester, United Kingdom

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

 

MORE ON 20 YEARS OF ‘BRING IT ON’:

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

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

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

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

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

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

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

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

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

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

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

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

TME.fm RADIO SPOTLIGHT ALBUM

 

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

One of the songs from album played every hour.

 

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

BIOGRAPHY

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

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

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

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

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

Yea a new album from legend Alejandro Escovedo coming.

The Crossing will be released September 14th

 

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

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

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

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

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

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

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

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

 

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

 

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

 

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

 

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

LISTEN TO THE SINGLE ON SPOTIFY

LISTEN TO THE SINGLE ON SOUNDCLOUD

WATCH THE VIDEO HERE

Website : www.markwilliamsmusic.com

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

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

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

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

Soundcloud: https://soundcloud.com/markwilliamsmusic

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

Twitter: https://twitter.com/MarkWil56757358

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

 

For more information please contact:

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

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

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

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

MORE ANNOUNCEMENTS TO FOLLOW INCLUDING A SPECIAL RELEASE DUE THIS AUTUMN

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

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

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

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

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

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

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

Click here to watch the video.

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

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

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

More about Creedence Clearwater Revival:

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

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

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

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

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

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

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

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

Creedence Clearwater Revival on Facebook

Harper Grae’s “Bloodline” Music Video Premiered t’other day.

First Video in the Buck Moon Medleys Four-Song/Four-Music Video Set

Nashville, TN  June 8, 2018 —  The music video for “Bloodline,” the first release in a concept four-song/four-music video set from Harper Grae, premiered a few days ago. The song and music video companions are part of Grae’s upcoming Buck Moon Medleys EP.  Each song and its correlating video will be released every eight weeks over the course of the year, and are interconnected, with each release carrying forward the story thread of the collection — does the apple fall far from the family tree?

The EP was produced by Jennifer Hanson and Nick Brophy, and the music written by Grae and some of Nashville’s most creative writers, including Hanson, Brophy, Fred Wilhelm, Dakota Jay and Will King. “Bloodline,” a “Must Hear Song” according to Rolling Stone Country, is already garnering high praise from fans and music critics alike.  The song “has all the creative ingredients that hit records are made of,” according to Billboard Country Update editor Tom Roland. Music Row’s Robert K Oermann declares it “her best yet,” and adds “despite the toe-tapping tempo and upbeat mood, the underlying message is a desperate quest to know the mother she never had. Very involving.”

The music video for Bloodline was produced and directed by Robby Stevens and Alexander Jeffery of Midtown Motion. For all of the latest information on the Grae Area Records/ONErpm artist, including announced tour dates, please visit harpergraemusic.com.

Photo ID (l-r): Robby Stevens, Grae and Alexander Jeffery
Contact:
Jennifer Bohler/Alliance
615 292 5804
[email protected]