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News From Blind Raccoon & Their Artists

“All My Dues Are Paid” by Frank Bey available worldwide on January 17, 2020

The Southern Gentleman of the Blues releases his eagerly-anticipated sophomore album on Nola Blue Records.

In the follow up to his award-winning 2018 album, Back In Business, Frank Bey powerfully asserts his career status with All My Dues Are Paid.  Co-written with Nola Blue Records label mate Kathy Murray, album producer Kid Andersen and co-producer Rick Estrin, the uptempo title track for his sixth album is a celebration of the unstoppable journey of soul bluesman, Frank Bey.

Recorded at Keeping the Blues Alive Award-winning Greaseland Studios in San Jose, California, Bey is accompanied by an elite group of musicians including multi-Grammy winners Jim Pugh (keyboards) and Jerry Jemmott (bass); multi-Blues Music Award nominee Nancy Wright (saxophone); drummer Derrick D’Mar Martin (Little Richard) and percussionist Vicki Randle (Tonight Show band).  Andersen’s reverence and keen exploitation of Bey’s vocal prowess is evident throughout the 13 selections on the album.  Northwest Music Scene reviewer Rick Bowen observes, “The full breadth of Bey’s artistic and emotional power is brought to bear in the dynamic, showstopping arrangement of John Lennon’s ‘Imagine’ that builds to a glorious grand finale.”

Born in Millen, Georgia and starting his musical career in gospel at the tender age of four, Frank Bey is a six-time Blues Music Award nominee.  Currently residing in Philadelphia, PA, Bey is a beloved international performer and recording artist.  “Frank Bey – You’re Going To Miss Me,” A feature documentary film about the life and musical journey of Frank Bey, is currently in post-production.  For more information about Frank, his music and the film, visit www.frankbeymusic.com and www.frankbeyfilm.com.

Frank Bey Recording Session At Greaseland

TOMISLAV GOLUBAN – MEMPHIS LIGHT
Label: Spona
Release date: January 10, 2020

Harp musician Tomislav Goluban presents his latest studio album entitled ”Memphis Light” with an expected January, 10, 2020 release date. His 11th studio album, a sequel of sorts to his previous album ”Chicago Rambler,” which made significant impact outside Croatia and reached top positions on various radio charts in the USA, Australia, France and the UK.

Nine of the ten tracks are written by Tomislav and the tenth is the classic ”House of the Rising Sun.” As suggested by the album title, Goluban took a trip to the Home of the Blues to record at Ardent studio in Memphis, Tennessee. Tomislav Goluban (vocals, harp) and his band ”Little Pigeon” are Jeff Jensen (guitar), David Green (drums), Rick Steff (keyboard), Bill Ruffino (bass). Mark Johnson (slide guitar), Vince Johnson (guitar), Franher Joseph, Reba Russell and Daunielle Hill (backing vocals) guested on various cuts.

Album Trailer ~ Recording In Memphis
Andrew Kastner, guitarist with Jack Mack, talking about how the band got involved with Clint Eastwood’s film, “Richard Jewell.”
Jack Mack and the Heart Attack ~  Live From Centennial Park Atlanta, 1996
Street Date ~ December 6, 2019
In May of 2019, Andrew Kastner, the founding member and guitarist for Jack Mack and the Heart Attack received a call from someone named Tim Moore. “I’m looking for someone from Jack Mack and the Heart Attack” Moore asked. “You wouldn’t happen to have any footage of you guys playing at the Olympics in Atlanta in 1996?”  Kastner asked why and Moore replied that he was a producer on a new movie directed by Clint Eastwood and they were looking for footage of the band to put in the film.  It so happens that approximately three years ago a friend of Kastner’s told him about a film that Leonardo DiCaprio and Jonah Hill were trying to make about the falsely accused guard from the bombing in Centennial Park, Richard Jewell. Kastner called Leonardo’s company on more than one occasion telling them that he was with the band playing on stage the night of the bombing and if they needed any information to call him.  He never did get a call back.

Kastner told Moore that it’s possible that he may still have some footage, but, would need to find it as It had been 23 years since he laid eyes on it. Ironically, a few months before this call, Kastner, who had saved many boxes of tapes and videos from the band’s 40 years, decided they were taking up too much space and probably deteriorating so he threw many of them away. Kastner said he’d call him back and immediately went out to his shed to started digging through the boxes of old tapes and other assorted junk. After 45 minutes of sifting through the dust and spider webs, there they were, four beautiful gray plastic boxes of Sony Beta Cam tapes with “Centennial Park, Atlanta 1996 July 22,24,25 and 26 written on them.” He called Moore back immediately and within 12 hours he and Kastner’s partner in the band, sax player Bill Bergman, and he were sitting with Clint Eastwood, Tim and their team at the Warner Bros. lot in Burbank showing them the footage.

Clint and the team were ecstatic. Apparently, they only had a vague idea of what the stage looked like, what the band looked and sounded like, and what the audience looked like and they were going to start shooting in 20 days. One of Clint’s team told Kastner it was like a miracle that you guys walked in with 3 hours of tape and gave him a huge hug.  Kastner and Bergman basically handed them an entire scene and look for the film.

It so happens Kastner also dug up 4-5 digital tapes of the bands performances on those hot July nights in Atlanta and licensed two songs and the footage for the film.  One of the songs is a cover of the Staples Singers hit, “I’ll Take You There” and the other, a Jack Mack original, “I Walked Alone.” The latter was the song they were playing a few seconds before the bomb went off.  When you listen to the end of, “I Walked Alone,” lead singer TC Moses begins to introduce the next song and is cut off by a white noise as the recording abruptly ends.  That white noise is the bomb going off severing the wires to the sound tower and the tape machine.

Holiday Greetings From Michele D’Amour & The Love Dealers
Reminder About Holiday Music on the Digital Platform
Counting Down The Days ~ The Reverend Shawn Amos & The Brotherhood
Recorded live at Outono Códax Festival, Santiago de Compostela, Spain
November 9, 2019 during their recent sold-out Spanish tour

Dudley Taft Live 2019 Satyr Blues Festival – Edge of Insane

December is here With Miss Bix as Album of the Month and Big news for Blues lovers.

New Album of the Month “Miss Bix & The Blues Fix – We Don’t Own The Blues” Hits the Really Heavy Rotation.

 

Big News for Blues lovers.

 

Radio BluesFlac the new Flagship Flac Blues Station has entered Beta Testing and you can all listen when ever you want. We have waited years to be able to stream in FLAC and thanks to all the great Blues PR companies we have more than enough to fill the playlist 24/7/365.

Website is up and running to, slowly.

And we owe it all to Radio Mast for providing the chance to do it.

We are honored to be involved in a very small way with this new venture and looking forward to years of satisfaction with their service.

So how does it work? We play music and you listen. But behind the scenes there is much to do.

Albert of Radio Mast explains it better than I could.

“We’re pleased to announce Ogg FLAC stream hosting is now available from Radio Mast!

With an Ogg FLAC stream, you can finally deliver a perfect audio reproduction to your listeners with zero loss in quality, for the ultimate audiophile listening experience.

Ogg FLAC streams start at just $++/month for +++ listeners, and include all the perks of our standard streams, including global delivery through our CDN, listener statistics, HTTPS streaming, and more.

What is Ogg FLAC?
FLAC is a lossless audio codec that creates a bit-perfect reproduction of your original audio for your listeners, while still being more compact to store or transmit. FLAC is open source, mature, and widely used by music enthusiasts.

Ogg is a container format which packages up the compressed FLAC audio in a format that makes it possible to stream over the internet. Ogg is what makes FLAC streaming possible, so all “FLAC” streams are really “Ogg FLAC” streams.”

Miss Bix & The Blues Fix has the Spotlight Album for December, “We Don’t Own The Blues”

 

I know it’s early in the month to announce Decembers album of the month but as you can see we need to do some work on the promotion material.

 

BIOGRAPHY

LESLIE BIXLER aka MISS BIX aka LESLIE LETVEN has been writing, recording and performing since her early twenties.  Her first international record “Make It Right” was released on Syndrome Records under her maiden name Leslie Letven and did very well in the smooth jazz category, reaching #12 on the charts, and still receiving radio play today. At that time, she was collaborating with her talented husband Bill Bixler of the Wild Blue Band and nightclub.

Moving back to LA, Leslie and Bill produced and self-released “Porcupine,” which she sold at gigs and on CD Baby. After the birth of her son, Leslie turned her attention to children’s music, spending several days a week doing music circles with preschool age children. It was there that she wrote and test-ran several children’s songs which attracted the attention of Dick Van Dyke and Chad Smith (drummer of the Red Hot Chili Peppers), whose child was in her class. She produced two albums “Moon Food” with Dick Van Dyke and “Rhythm Train” with Van Dyke and Chad Smith. She toured with Dick and Chad promoting those albums and received notable press from many celebrities and publications and won a parent’s choice award.

Once her son grew up, Leslie’s yearning for a new musical start led her to Clarksdale Mississippi where she fell seriously in love with the blues, something she had always gravitated towards. Working with co producer collaborator Ralph Carter (former Musical Director with Eddie Money and co-writer of his hit tune ‘Shakin’’) Leslie began writing “We Don’t Own The Blues,” a group of blues-based songs that reflect a new and exciting musical direction: passionate, intense, and sultry.

November’s Album of the Month will be….. SEAN POLUK’S “NEVER GOING TO LOSE”

 

A decision taken after much difficulty. So many great albums have been sent to us lately the choice was hard almost cruel.

Why did “NEVER GOING TO LOSE” get it’s nose in front and win the race?

Songs being “Radio Friendly” helped.

Sean is a great guy but then so are the other artists.

You listen to a track from “NEVER GOING TO LOSE” and you think “that’s good”, listen to them all and they all sound good.

Listen to “NEVER GOING TO LOSE” again the songs sound different, you check to see if you are playing correct song, yes you are. There is so much going on during a song that it’s a different song the second,third… play.

Sean makes magic, magic music, that’s how he won the race.

 

Buy Album here

 

 

 

 

Sound Arts Recording Studio Incorporates New Music Delivery Mechanism For Artists

Americana Folk artist Courtney Hale-Revia among the first to adopt technology

If CDs are going away what will you sell at your live shows? 

Today’s Artists Read the Tea Leaves

CDs are going away and where does that leave merchandise sales at live performances?  Performances are one of the few places where artists can continue to earn a nice living.  Therefore on site music sales are important and making some profit would be nice too.  Brian Baker, President, Sound Arts Recording Studio has a reputation for embracing technologies of the past and getting cozy with new technologies.  He realized that the industry was making a major shift and his insatiable appetite for all things technology kept his eyes on new developments within the music delivery systems market.  Courtney Hale-Revia is an upcoming forward thinking Americana Folk artist that knew going into the Sound Arts Recording Studio that she wanted to present her music in multi-format options such as vinyl for example.  Her train of thought was and remains let audiences decide on what format they wish to take home.  While Brian’s focus was on the technology Courtney’s was on audience appeal.

Shown: Three choices for show sales: Vinyl, Compact Disc, Credit Card USB
However, a third factor comes into play from a business point of view, profitability. With all of this in mind the two of them began to review options together. One option was this rather new device which is a credit card size delivery mechanism that was priced right and would not only hold audio files but Courtney’s video files and PDFs as well.  This would mean that Courtney could add her new video onto the device along with her bio and audio files.  You could actually have two different credit card size options if you wanted to – one with just the audio files on it and a second with both audio and video files on it. Therefore presenting two consumer price points. The bottom line is that a trusting partnership between the studio and the artist allows for crystal clear examinations of a non-stop evolving industry, the music industry.  In this case it worked beautifully.  If you are an independent artist and your CD sales have declined it’s probably not your music just that less and less people are using CD platforms these days.  Auto manufacturers are not even putting CD players in new cars anymore unless you special order one.  Because you need to protect one of the last bastions of profit, income from your live shows, you definitely need delivery options.  Courtney Hale-Revia is an insightful songwriter and she is quite the entrepreneur.  She comes by it honestly as her father has been a
A Unique Delivery Platform

Courtney Hale-Revia is both a forward thinking artist and venue owner.  To the left you can see how she addressed the reverse side of her new credit card size delivery mechanism.

These storage devices can even be blister packed and include custom made messaging on the perimeter of the container including your logo.

life long folk songwriter and artist for as long as she can remember.  As he has shared the beauty of creation and the enjoyment of sharing with his daughter over the years Courtney could not help but fall in love with the process herself.  However, Courtney has taken her foray into music a step further.  She opened a remote listening room back off the beaten path of interstate 10 just south of Beaumont Texas.  Artists and music lovers alike love it.  Her listening room embraces the intimate experience of being up close and personal.  Sort of like when your Dad or Mom or one of your Uncles or Aunts might have performed at home so many years ago.  There’s just something about these settings that sets the soul free.
Brian Baker of Sound Arts Recording Studio Houston Texas

Changes at TME.fm Radio as from ….NOW!

YEP CHANGES here at TMEfm. New widgets on the web site courtesy of Online Radio Box

A new player which gives you a much larger list of songs played. A top ten songs chart exclusive to TMEfm (OK it will take time to show a true chart, be patient)

Still don’t know what I was waitin’ for
And my time was runnin’ wild
A million dead end streets and
Every time I thought I’d got it made
It seemed the taste was not so sweet
So I turned myself to face me
But I’ve never caught a glimpse
How the others must see the faker
I’m much too fast to take that test

 

If you use the link to Online Radio Box you get the radio’s page where there are lots of interesting clicky things to click, get going and explore.

Ch-ch-ch-ch-changes
Turn and face the strange
Ch-ch-changes
Don’t want to be a richer man
Ch-ch-ch-ch-changes
Turn and face the strange
Ch-ch-changes
There’s gonna have to be a different man
Time may change me
But I can’t trace time

 

Mmm, yeah
I watch the ripples change their size
But never leave the stream
Of warm impermanence
And so the days float through my eyes
But still the days seem the same
And these children that you spit on
As they try to change their worlds
Are immune to your consultations
They’re quite aware of what they’re goin’ through

As for the Schedule, it’s changed, finally we are officially under the genre of BLUES at ShoutCast so that means we have said bye bye to Country music show, not to Harry just Country music. If you go to Online Radio Box via the link above you will not find schedule but you will find program, click it and see what happens.

 

Ch-ch-ch-ch-changes
Turn and face the strange
Ch-ch-changes
Don’t tell them to grow up and out of it
Ch-ch-ch-ch-changes
Turn and face the strange
Ch-ch-changes
Where’s your shame?
You’ve left us up to our necks in it
Time may change me
But you can’t trace time
Strange fascinations fascinate me
Ah, changes are takin’
The pace I’m goin’ through

 

What is Harry going to do then?

He has a new show called “Harry Spins the Singles”. Yes you guessed, songs that are, have and will be on the RMR SINGLE charts. He has a good choice, there are over 200 charts on RMR and Shane and his Dad started RMR in 1998, that’s a lot of singles.

Ch-ch-ch-ch-changes
Turn and face the strange
Ch-ch-changes
Ooh, look out you rock ‘n’ rollers
Ch-ch-ch-ch-changes
Turn and face the strange
Ch-ch-changes
Pretty soon now you’re gonna get older
Time may change me
But I can’t trace time
I said that time may change me
But I can’t trace time

 

Any more CHANGES?

Well I trimmed my beard this morning, as for more browse the site and see if you can find any.

 

 

Disclaimer.

Any offence to Country Music lovers was unintentional and there will still be some Country songs played on TMEfm, guess you will have to stay tuned in.
Any bias toward Blues musicians and their PR companies is intentional as they send most of the music we receive, thank you!

Thanks to Helen Green for the best GIF ever and will be so forever and ever and to the late, great David Bowie for being David Bowie and never CHANGING.

 

JULY ALBUM OF THE MONTH. Simon Kinny-Lewis – A Day In San Jose.

Here at TME.FM Radio we always try to avoid favoritism when choosing an Album of the Month, be it a Country, record label, PR company, sex of artist or genre. All we do is choose a favorite album of ours over the last few months.

 

 

This month we have another Australian taking the place of Liza Ohlback June’s Album of the Month, Simon Kinny-Lewis and his album of covers A Day In San Jose.

 

Seeing as we still have not replaced our review writer and this is not a Blind Raccoon record I will copy/paste from Simon’s Bandcamp Page

the excellent review by Ethan Burke of The Blues Source.

 

Simon Kinny-Lewis (SKL) is the full package. If you get the pleasure of seeing him live (either solo with his acoustic guitar, or with his full band) he beams with energy, soul and passion for the music. His vocals have been compared to Joe Bonamassa’s, but his overall style and delivery is unique and peppered with character. Also, Simon’s guitar playing is up there with the best guitarists of today, conveying all of the right elements that make an enthusiast satisfied, including tastefulness, technique and great tone.

Although one of SKL’s strengths is song-writing too (be sure to check out his albums ‘Street Blues’ and last year’s ‘Bad Whiskey’), we were ecstatic to hear that the next album would be Blues standards, classics and covers. And where would an Australian Blues-man go to record such an album? The Home of the Blues – the U.S.A., of course.

The successful and well received 2018 tour of the states saw Simon and his also Aussie drummer Tony Boyd team up with Californian musos Nate Ginsberg (keyboards), Dewayne Pate (bass), Andy Just (harmonica), and Walter Jebe (slide guitar), for a one day session at premiere studio Reeds Recordings. The resulting new album – ‘A Day in San Jose’ – is magnificent and a golden highlight in Simon’s discography.

It could have been a risky affair executing an entire album of covers of Blues classics. Blues purists might throw a phrase like: “Muddy got it right the first time,” but these are the closed-minded ones, scared of the new. What Simon is doing is paying tribute to some of his heroes, with the help of an experienced and respectful group of musicians. Nothing sounds old or tired either. Freshness circulates through each track as Simon offers every slice of his individual talent and energy to the performance, while keeping true to the soul of the originals.

We get a hard-driving ‘Crossroads’, before the laid-back cool of Robben Ford’s modern classic ‘Chevrolet’, followed by Blues favourites such as ‘Further On Up The Road’, ‘Hoochie Coochie Man’, ‘Rollin’ and Tumblin’’, and ‘Walking Blues’, the latter two of which are perfectly complimented and supported by the slide guitar skills of Walter Jebe.
Freddie King’s ‘Have You Ever Loved a Woman’ is carried along by Just’s raucous honking mouth-harp as the band swings and struts, before the album closes with a cover of Blind Willie Johnson’s gospel Blues masterpiece ‘Nobody’s Fault But Mine’. Led Zeppelin already had a turn with this song on their 1976 album ‘Presence’, but Simon’s arrangement of the song makes it the most impressive track on the album, sounding like no other cover we’ve heard of this song before.
Nate Ginsberg’s keyboards flow like a zephyr in the background, while Simon’s sustaining guitar pierces through in spires of tone. And leading towards the climax, we get an impressive and funky bass solo from Dewayne Pate.

Along with others such as Ray Beadle and Matty T. Wall, Simon Kinny-Lewis is a shining beacon of musicianship and talent on the Australian Blues scene, now making a crossover to pleased U.S. audiences. Awesome releases like ‘A Day In San Jose’ simply support that the Blues is still a genre of strength to keep your eyes and ears on.

Simon Kinny-Lewis – Vocals/Guitar
Tony Boyd – Drums
Nate Ginsberg – Keys
Dewayne Pate – Bass
Andy Just – Harmonica
Walter Jebe – Slide Guitar

Produced by Simon Kinny-Lewis

Engineered by Adam Reed at Reeds Recordings San Jose, CA, USA

Mixed and Mastered by Simon Cotsworth

All songs arranged by Simon Kinny-Lewis except #3 Walking Blues and #7 Rollin’ And Tumblin’ by Walter Jebe

Photography by Kevin Case, Paul Rutigliano, John Mcdonald, Rachel Kumar, Brian Phillips

Artwork by Simon Kinny-Lewis

 

BENJAMIN DAKOTA ROGERS – BETTER BY NOW REVIEW!

Well our permanent reviewer has been working hard again, was a bad day when he found out about “copy/paste”.

Or maybe a good day when you read some of his reviews.

 

Good job there are plenty of music blogs that write great reviews.

 

So here is a video that I inserted for your enjoyment.

 

 

Now you have watched that you can read what was “copy/pasted” from the wonderful PR Company

 

We cover a lot of acoustic singer-songwriters around here, so when we do feature one it has to be good. Rogers is talented. The way he cranks up the intensity of the vocal on the “really oughta know better by now” on the chorus reveals something deep and satisfying. It’s disturbingly personal….it’ll rip your damn soul out.” EAR TO THE GROUND MUSIC

Benjamin Dakota Rogers made his highly anticipated return to the folk world with his brand new single, digitally released January 25. Better by Now, strips the genre down to its core and emotionally charges it with raw human experience, immediately earning a top 40 single spot on the Airplay Direct Folk chart. With the release of his new single, this award-winning singer-songwriter and multi-instrumentalist folk-phenom proves he’s at the top of his game in every way imaginable.

Better By Now, the lead track, “a beautifully sad folk pop ballad” (Folk Roots Radio with Jan Hall) sets the tone, proving the depth and maturity of Benjamin coming of age, as he delves into the state we find ourselves while in a relationship and come to realize we “really ought to know better by now.” Cut two is an upbeat song featuring brilliant unbound violin bidding Fare Thee Well, as we realize we love someone but we need to move on. The third track leans into the love of dark starry midnights, reminiscing about Pretty Girls, and featuring haunting harmony with Meg Conti, the song paints a vivid landscape traveling town to town away from those we are far from.

’Til I Die leaves the listener feeling an ache of loss and a yearning to continue the search in the ocean “though she’s six feet in the ground” in these poetically gorgeous, yet grief-stricken lyrics and sorrow filled melody. Benjamin gives us a glimpse of his growing career as a musician in $7, the money needed, ironically, to continue carving his musical path singing “just need seven more dollars to ride that train.” Followed up by an interlude midway in the cd as Benjamin begs the Lazy Old Moon “bring me home safe to her” after fighting another man’s war.

Life is supposed to hurt, to make you feel, and Benjamin does just that in the gripping tale of Home “because if it doesn’t hurt when everything’s said and done and over with what was the fucking point.” Leading next to a reflective time laying in a field realizing friends and family will be missed as Benjamin’s career begins to take off, with instrumentation and vocals that soar in Rockabye. Bluesy, gritty folk storytelling lends further depth to the album in the next track about a fugitive being hunted by a Mercy (less) bounty hunter, inspired by a 1911 Rangers badge in Benjamin’s antique collection.

She Was A Singer is a song about a father telling his child about his Mother “in one of those old timey rock and roll bands” but she is gone. The final track, begins as a lilting, brutally honest love song launching into an energetic almost frenetic near end chorus with well-appointed harmonies and intense instrumentation buildup about living with mental illness and addiction: Saints And Sinners “you won’t find it in that bottle full of answers, that I found on the drug store shelf.

A multi-instrumentalist, singer songwriter and composer, Benjamin Dakota Rogers pushes the boundaries of traditional folk. Combining fiddle, guitar and mandolin with his unique voice and strong lyrics he is creating music that demands attention.” Jan Hall – Folk Roots Radio with Jan Hall  Previous interview

ABOUT BENJAMIN DAKOTA ROGERS

Benjamin Dakota Rogers found a passion and purpose in folk music after inheriting his Great-Grandfather’s violin at the tender age of seven. From budding musician to awe-inspiring performer, his love of creating meaningful music has taken the reins and garnered much attention from folk artists and enthusiasts alike. “Rogers’ unique voice, thought-provoking lyrics, energetic performances and dynamic fiddle techniques leave this up-and-coming musician in a class of his own.” – InSpades Magazine 

With the release of his most ambitious project to date, Benjamin continues to redefine the genre with an infinite sound evolution that promises to deepen the path he’s already carved for himself for years to come. This is an album that can only be delivered from the honesty and grit of a farm boy’s hands. Hailing from the countryside of rural Ontario, Benjamin funnels his penchant for starry nights and nostalgia into his stylized folk sound, reaching far beyond to include influences of roots, blues and country music.

Read more HERE and find Benjamin’s Canadian tour info HERE

 

P.S.

I THINK THE ALBUM IS GREAT

YOU MAY QUOTE ME

Spotlight Album for the next 28 days will be? Oh yes, “I Walked In Them Shoes” by Adam Carroll.

Yes Spotlighting one of our favorite troubadours new album gives us great pleasure and I hope all of you listeners too.

 

Well one has to say that the poster was a poor effort but the album is far from that.

A big thank you to Adam Dawson for supplying the album for promotion.

Yes thats the Adam who tries to play music on a …

 

 

Adam Carroll’s musical biography is as winding as the stories in his songs, full of far-away places and close-to-home meditations that encompass a career built on countless shows in Texas clubs, thousands of miles on the road with his partner in life and music, Chris Carroll, accolades of all kinds, and still the burning desire to simply…write the next song.

Thank goodness for that, because Carroll’s songs tap into a vein of the human condition that make them deeply moving but often humorous. As No Depression notes, “Carroll slips easily between observed detail and poetic flight, framing everyday images as literary moments. He’s particularly adept at portraiture, whether it’s a colorful hustler, a rural taxi driver or a karaoke singer, he sees what you might feel, but couldn’t verbalize, capturing a person’s essence in the details of their physical being and actions.”

“The core of what I do is songwriting; it’s the one thing I’m passionate about. It’s the most fulfilling and challenging job I can imagine.” explains Adam. In fact, the scope of Carroll’s songwriting influence was recognized in 2016 when “Highway Prayer: A Tribute to Adam Carroll” was released, featuring esteemed writers/performers like Hayes Carll, James McMurtry, Slaid Cleaves, and Terri Hendrix covering Carroll-penned tunes. It has garnered attention from publications like Texas Monthly and Rolling Stone, the latter which noted that Carroll “is talented beyond his years.”

With tours crisscrossing the USA, Canada and Europe, Carroll is currently focusing on performances as a duo with Chris Carroll, Canadian singer-songwriter and Texas transplant. Their distinct energies and personalities play off each other onstage, and the effect is a both moving and entertaining show that delights crowds from coast to coast.

Carroll’s body of work is expansive with eight independently produced albums to his name. From studio records produced by Grammy Award winner Lloyd Maines (South of Town, Lookin’ Out the Screen Door, Live at Cheatham Street, Far Away Blues) through to his latest releases (Old Town Rock N Roll, Hard Times with Michael O’Connor, Live at Flipnotics), Carroll’s song credits also include co-writes and covers by Slaid Cleaves (“Race Car Joe”, “Hard to Believe”), Hayes Carll (“Take Me Away”, featured in the film Country Strong) and Band of Heathens (“Medicine Man”, “Maple Tears”).

“Among singer-songwriters, Adam Carroll is probably Austin’s best-kept secret. His tunes are marvels of economy; …constantly inventive and decidedly offbeat…Live at Flipnotics offers a typically low-key yet inviting overview of his career. With (Producer) Scrappy Jud Newcomb on guitar, he sparkles.” Jim Caligiuri, Austin Chronicle

“Influences? Adam Carroll. I used to skip my own gigs to go watch him…by far my favorite, somebody whose writing style I emulated in some ways.” Hayes Carll, No Depression 2011

 

Jane Kramer : Valley Of The Bones

Another great artist from the Broken Jukebox Media, Adam Dawson sure knows how to pick them.

In April 2018, Kramer returned to the studio to record her third full-length album. Valley of the Bones is a triumphant collection of original songs that illustrate and explore the expression human of love in all its various forms.

Tracked mostly live (including the vocal performances,) at Sound Temple Studios in Asheville, N.C., Kramer teamed up with her frequent collaborators: Free Planet Radio musicians River Guerguerian, Chris Rosser and two-time Grammy Award winner Eliot Wadopian; as well as Billy Cardine. The album also includes performances by Nicky Sanders of The Steep Canyon Rangers on violin and Asheville Symphony Orchestra musician Franklin Keel on cello.

The collection of 10 original songs was engineered, mixed and produced by Adam Johnson of Sound Lab Studios and co-produced by Kramer and Chris Rosser. Kramer says of bringing the earliest, tentative versions of her songs to Johnson and Rosser for arrangement help and production ideas, “I have never trusted two people more with my art. In the past, I have seldom let people hear my songs until I felt that they were polished, but as my musical relationship with and respect for [Johnson] and [Rosser] have deepened, it felt important to me to to involve them from the beginning”.

“I know that the songs and the record as a whole are much stronger for it, and their gentle but firmly constructive approach has made me a better artist. I’ve been looking for such allies and mentors for a long time,” she adds.

While most of the aforementioned musicians accompanied Kramer on her acclaimed 2016 release Carnival of Hopes, listeners will hear a distinct difference in the band’s chemistry, cohesion and almost electric intuition with one another on Valley of the Bones.

“Simply put, it’s because we’ve been playing together a lot over the past three years since I’ve moved back home to Asheville,” she says. “We’ve gotten to know each other personally, had a little time on the road together, sold out some shows in theaters together and have built an incredible mutual respect. We had genuine fun in the studio. I think all of that translates and comes through on the record.”


photo credit : Rose Kaz
Valley of the Bones’ songs tackle a breadth of subject matter, ranging from marriage to miscarriage. Spirituality and self-acceptance are expressed with poetic grace, vulnerability and unapologetically honest grit. Kramer’s endearing, self-effacing humor is also on full display. This warm, easy storytelling is paired with rich, nuanced arrangements that aren’t afraid to be simple when called for, and are punctuated with the unmistakably bittersweet southern wail of Billy Cardine’s dobro.

Standout tracks include the gutsy and reflective “Hymn” (which was a “homework assignment” from Mary Gauthier, Kramer’s musical mentor) the undeniably smart and sassy “Waffle House Song”, and the profoundly poetic and transcendent title track “Valley of the Bones”. This song was dubbed a “masterpiece” by Lydia Hutchinson of Performing Songwriter Magazine. Also noteworthy are the quirky and hilarious country zinger “I’ll See Your Crazy and Raise You Mine” and the sweet, earnest “Singin’s Enough” which speaks candidly of the struggles of a touring musician.

All of the songs on Valley of the Bones show Kramer arriving confidently and comfortably at home inside as both a woman and a masterful songwriter after over twenty years of honing her craft.

‘”Waffle House Song” proves that while Kramer may be eighteen years into her journey, she is solidly serving up a sizzlin’ hot and delicious portion of nourishment for one’s soul…..kinda like that yellow signed place she sings about.”
– Tara Joan, The Daily Country

“I have watched Jane Kramer work diligently, patiently and persistently on her songwriting over many years, refining her natural ability with words to the level of songwriting mastery. She has composed a new collection of songs that beautifully serve the bold, confident intensity of her voice, and I could not be more excited about it. Bravo!”
– 
Mary Gauthier

“Jane Kramer is a folk singer, I dig that” 
– Malcolm Holcombe

“For a singer-songwriter, Kramer has presented the holy trinity of brilliant and affecting songwriting, divine vocals that crackle with emotion and high class backing and accompaniment. That the result is a beautifully produced album that is a joy to listen to perhaps shouldn’t be a surprise”
-Pete Churchill, Americana UK

“The North Carolinian’s third album, Valley Of The Bones, is packed with memorable acoustic-led tunes, an expressive and attractive voice with autobiographical stories that leave you staggered at the breadth of topics and profundity.”
– Tony Ives, Americana Music Show

“Her strong pretty voice and penchant for vivid lyrics are the deepest talents on display here, though the crack band (featuring Nicky Sanders of Steep Canyon Rangers on fiddle) is surely deserving of praise”
– Joseph Neff, The Vinyl District 

“A lovely down home voice, a sharp pen and great taste in musical pals make this organic/back porch set a high water mark for Americana that’ll just drive friends of owners of this album crazy since said owners won’t stop playing it.”
-Chris Spector, Midwest Record

“Kramer is a natural and you’ll find that in her music, as the songs take you down quiet, gravel country roads, beautiful forests of peaceful mountain retreats, and the sometimes lonely nights of motels and truck stops on the road of life.”
– Sheryl Craig, Nashville Music Guide

“these songs are kick-up your heels good. These are old timey string band tunes with a modern feel, songs that will appeal to traditionalists and Americana fans alike. Turn it up!”
-Viola Krause, Making a Scene

“She appears to be more comfortable and confident in herself and her songs than ever.”
– Billy Phoenix, Steemit

In Depth Interview with Melissa Clarke of Americana Highways 

Interview with Matt Pieken on Blue Ridge Public Radio

Interview on Making a Scene

Review on Roots time by Freddy Cellis

Recorded at Sound Temple Studios in Asheville, NC
www.soundtemplestudios.com
Engineered and Mixed by Adam Johnson of Sound Lab Studios
www.soundlabstudios.com
Produced by Adam Johnson
Co-Producers: Chris Rosser and Jane Kramer
Additional Engineering, String Arrangement for “Wedding Vows” and Mastering by Chris Rosser of Hollow Reed Arts in Asheville, NC.
www.chrisrosser.com
All Songs (Words and Music) by Jane Kramer (ASCAP, Famous Brown Boots Music.)

The Band Is:
Jane Kramer – Lead Vocals on All Songs
Chris Rosser – Acoustic and Electric Guitars, Keyboards, Harmonium, Octave Mandolin, Harmony Vocals
Eliot Wadopian – Upright Bass
River Guerguerian – Drumset and Percussion
Billy Cardine – Dobro
Allison Hall – Harmony Vocals
Nicky Sanders (of The Steep Canyon Rangers)  Fiddle
Franklin Keel – Cello