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.
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.
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
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 HallPrevious 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 HEREand find Benjamin’s Canadian tour info HERE
Yes Spotlighting one of our favorite troubadours new album gives us great pleasure and I hope all of you listeners too.
Well one has to say that the poster was a poor effort but the album is far from that.
A big thank you to Adam Dawson for supplying the album for promotion.
Yes thats the Adam who tries to play music on a …
Adam Carroll’s musical biography is as winding as the stories in his songs, full of far-away places and close-to-home meditations that encompass a career built on countless shows in Texas clubs, thousands of miles on the road with his partner in life and music, Chris Carroll, accolades of all kinds, and still the burning desire to simply…write the next song.
Thank goodness for that, because Carroll’s songs tap into a vein of the human condition that make them deeply moving but often humorous. As No Depression notes, “Carroll slips easily between observed detail and poetic flight, framing everyday images as literary moments. He’s particularly adept at portraiture, whether it’s a colorful hustler, a rural taxi driver or a karaoke singer, he sees what you might feel, but couldn’t verbalize, capturing a person’s essence in the details of their physical being and actions.”
“The core of what I do is songwriting; it’s the one thing I’m passionate about. It’s the most fulfilling and challenging job I can imagine.” explains Adam. In fact, the scope of Carroll’s songwriting influence was recognized in 2016 when “Highway Prayer: A Tribute to Adam Carroll” was released, featuring esteemed writers/performers like Hayes Carll, James McMurtry, Slaid Cleaves, and Terri Hendrix covering Carroll-penned tunes. It has garnered attention from publications like Texas Monthly and Rolling Stone, the latter which noted that Carroll “is talented beyond his years.”
With tours crisscrossing the USA, Canada and Europe, Carroll is currently focusing on performances as a duo with Chris Carroll, Canadian singer-songwriter and Texas transplant. Their distinct energies and personalities play off each other onstage, and the effect is a both moving and entertaining show that delights crowds from coast to coast.
Carroll’s body of work is expansive with eight independently produced albums to his name. From studio records produced by Grammy Award winner Lloyd Maines (South of Town, Lookin’ Out the Screen Door, Live at Cheatham Street, Far Away Blues) through to his latest releases (Old Town Rock N Roll, Hard Times with Michael O’Connor, Live at Flipnotics), Carroll’s song credits also include co-writes and covers by Slaid Cleaves (“Race Car Joe”, “Hard to Believe”), Hayes Carll (“Take Me Away”, featured in the film Country Strong) and Band of Heathens (“Medicine Man”, “Maple Tears”).
“Among singer-songwriters, Adam Carroll is probably Austin’s best-kept secret. His tunes are marvels of economy; …constantly inventive and decidedly offbeat…Live at Flipnotics offers a typically low-key yet inviting overview of his career. With (Producer) Scrappy Jud Newcomb on guitar, he sparkles.” Jim Caligiuri, Austin Chronicle
“Influences? Adam Carroll. I used to skip my own gigs to go watch him…by far my favorite, somebody whose writing style I emulated in some ways.” Hayes Carll, No Depression 2011
In April 2018, Kramer returned to the studio to record her third full-length album. Valley of the Bones is a triumphant collection of original songs that illustrate and explore the expression human of love in all its various forms.
Tracked mostly live (including the vocal performances,) at Sound Temple Studios in Asheville, N.C., Kramer teamed up with her frequent collaborators: Free Planet Radio musicians River Guerguerian, Chris Rosser and two-time Grammy Award winner Eliot Wadopian; as well as Billy Cardine. The album also includes performances by Nicky Sanders of The Steep Canyon Rangers on violin and Asheville Symphony Orchestra musician Franklin Keel on cello.
The collection of 10 original songs was engineered, mixed and produced by Adam Johnson of Sound Lab Studios and co-produced by Kramer and Chris Rosser. Kramer says of bringing the earliest, tentative versions of her songs to Johnson and Rosser for arrangement help and production ideas, “I have never trusted two people more with my art. In the past, I have seldom let people hear my songs until I felt that they were polished, but as my musical relationship with and respect for [Johnson] and [Rosser] have deepened, it felt important to me to to involve them from the beginning”.
“I know that the songs and the record as a whole are much stronger for it, and their gentle but firmly constructive approach has made me a better artist. I’ve been looking for such allies and mentors for a long time,” she adds.
While most of the aforementioned musicians accompanied Kramer on her acclaimed 2016 release Carnival of Hopes, listeners will hear a distinct difference in the band’s chemistry, cohesion and almost electric intuition with one another on Valley of the Bones.
“Simply put, it’s because we’ve been playing together a lot over the past three years since I’ve moved back home to Asheville,” she says. “We’ve gotten to know each other personally, had a little time on the road together, sold out some shows in theaters together and have built an incredible mutual respect. We had genuine fun in the studio. I think all of that translates and comes through on the record.”
photo credit : Rose Kaz
Valley of the Bones’ songs tackle a breadth of subject matter, ranging from marriage to miscarriage. Spirituality and self-acceptance are expressed with poetic grace, vulnerability and unapologetically honest grit. Kramer’s endearing, self-effacing humor is also on full display. This warm, easy storytelling is paired with rich, nuanced arrangements that aren’t afraid to be simple when called for, and are punctuated with the unmistakably bittersweet southern wail of Billy Cardine’s dobro.
Standout tracks include the gutsy and reflective “Hymn” (which was a “homework assignment” from Mary Gauthier, Kramer’s musical mentor) the undeniably smart and sassy “Waffle House Song”, and the profoundly poetic and transcendent title track “Valley of the Bones”. This song was dubbed a “masterpiece” by Lydia Hutchinson of Performing Songwriter Magazine. Also noteworthy are the quirky and hilarious country zinger “I’ll See Your Crazy and Raise You Mine” and the sweet, earnest “Singin’s Enough” which speaks candidly of the struggles of a touring musician.
All of the songs on Valley of the Bones show Kramer arriving confidently and comfortably at home inside as both a woman and a masterful songwriter after over twenty years of honing her craft.
‘”Waffle House Song” proves that while Kramer may be eighteen years into her journey, she is solidly serving up a sizzlin’ hot and delicious portion of nourishment for one’s soul…..kinda like that yellow signed place she sings about.” – Tara Joan, The Daily Country
“I have watched Jane Kramer work diligently, patiently and persistently on her songwriting over many years, refining her natural ability with words to the level of songwriting mastery. She has composed a new collection of songs that beautifully serve the bold, confident intensity of her voice, and I could not be more excited about it. Bravo!”
– Mary Gauthier
“Jane Kramer is a folk singer, I dig that”
– Malcolm Holcombe
“For a singer-songwriter, Kramer has presented the holy trinity of brilliant and affecting songwriting, divine vocals that crackle with emotion and high class backing and accompaniment. That the result is a beautifully produced album that is a joy to listen to perhaps shouldn’t be a surprise”
-Pete Churchill, Americana UK
“The North Carolinian’s third album, Valley Of The Bones, is packed with memorable acoustic-led tunes, an expressive and attractive voice with autobiographical stories that leave you staggered at the breadth of topics and profundity.” – Tony Ives, Americana Music Show
“Her strong pretty voice and penchant for vivid lyrics are the deepest talents on display here, though the crack band (featuring Nicky Sanders of Steep Canyon Rangers on fiddle) is surely deserving of praise” – Joseph Neff, The Vinyl District
“A lovely down home voice, a sharp pen and great taste in musical pals make this organic/back porch set a high water mark for Americana that’ll just drive friends of owners of this album crazy since said owners won’t stop playing it.”
-Chris Spector, Midwest Record
“Kramer is a natural and you’ll find that in her music, as the songs take you down quiet, gravel country roads, beautiful forests of peaceful mountain retreats, and the sometimes lonely nights of motels and truck stops on the road of life.” – Sheryl Craig, Nashville Music Guide
“these songs are kick-up your heels good. These are old timey string band tunes with a modern feel, songs that will appeal to traditionalists and Americana fans alike. Turn it up!” -Viola Krause, Making a Scene
“She appears to be more comfortable and confident in herself and her songs than ever.” – Billy Phoenix, Steemit
Recorded at Sound Temple Studios in Asheville, NC www.soundtemplestudios.com
Engineered and Mixed by Adam Johnson of Sound Lab Studios www.soundlabstudios.com
Produced by Adam Johnson
Co-Producers: Chris Rosser and Jane Kramer
Additional Engineering, String Arrangement for “Wedding Vows” and Mastering by Chris Rosser of Hollow Reed Arts in Asheville, NC.
All Songs (Words and Music) by Jane Kramer (ASCAP, Famous Brown Boots Music.)
The Band Is:
Jane Kramer – Lead Vocals on All Songs
Chris Rosser – Acoustic and Electric Guitars, Keyboards, Harmonium, Octave Mandolin, Harmony Vocals
Eliot Wadopian – Upright Bass
River Guerguerian – Drumset and Percussion
Billy Cardine – Dobro
Allison Hall – Harmony Vocals
Nicky Sanders (of The Steep Canyon Rangers) Fiddle
Franklin Keel – Cello
Anyway I spend a lot of time reading reviews and looking for “new artists” and I read a couple of excellent ones and listened to “12 More Days Of Blue”
I thought I should reach out to Chad and get a copy of the album to play on TME.fm as it is going to be good. Lets see it climb the RMR charts and enjoy the music at the same time.
Chad told his PR man and I received a copy immediately, also Adam the man has more artists who are top notch and we will be mentioning those another day. Adam the man actually remembers dickthespic, small world.
“Worthy Cause is an album full of honest truths in styles that range from country to zydeco in blended forms, and this song is at the heart of it.” – Melissa Clarke
Chad Richard (pronounced REE-shard) is a native of the Sabine River bottom, where the river merges Louisiana with Texas’ soil as it winds along. Steeped in the mingling influences of the region, Richard’s songwriting and musical sensibilities fuse Cajun, Texas swing, country and blues styles into an effortlessly born offspring of each side of the river.
Richard writes songs from the heart. Like so many of us, he has loved, laughed, experienced fatherhood, suffered break-up, sorrow, and divorce, and loved again. The experiences of trying to do all the right things as single Dad shaped his songwriting in unique ways, as much as the musical influences surrounding him did. Holding it all together by day, working in a chemical plant, he’d still play solo gigs at night. When Walt Wilkins happened upon Richard at one of these gigs in 2012, Wilkins invited Richard to sit in Wilkins’ band, at about the same time Todd Purifoy (producer and photographer for the Texas Music Scene) approached him about making a record. Forces aligned, connections solidified and before long Walt was producing Richard’s successful debut album: Veteran’s Grocery (2015).
His second release, Worthy Cause (2019), was recorded at Jumping Dog Studio in Austin, Texas. Again Richard turned to Walt Wilkins (Sam Baker, Jason Eady, Susan Gibson) for production and the album was engineered by Ron Flynt. In addition to Richard’s songwriting, acoustic guitar and vocals, other musicians contributing to the album include Wilkins and Flynt, Marian Brackney on fiddle, Chip Dolan (The Band of Heathens, Greg Trooper) on pianos and organs, Geoff Queen (Kelly Willis, Jason Boland & the Stragglers) on steel guitar, and Corby Schaub (Ryan Bingham) on lap steel. The rhythm section is Ray Rodriguez on drums and Bill Small on bass.
Worthy Cause is an album with songs characterized by stories as only Richard can tell them. “Slow Rollin’ Stateline” spins a tale of growing up on the Texas/LA border with “Zydeco to the east, Texas swing to the west,” as the song bears the musical marks of those influences. “German Angel” recounts a story of a couple living in a historic German house in the Texas Hill country, where the wife believes a ghost resides to watch over the manor, as told from the ghost’s perspective. “Worthy Cause” highlights Richard’s riveting vocals over hushed acoustic guitar and pedal steel, with an imperfect man’s tribute of gratitude towards the good, faithful woman who loves him. “Waters Rise” was inspired by Richard’s first hand experience of the kindness and humanity that shone through the floodwaters in the wake of hurricane Harvey – “waters rise, but people rise above.” “12 More Days of Blue” narrates the poignant tribulations of a loving, single Dad as he masks adult pain in order to experience the best with his child. The entire record showcases Richard’s striking ability to commandeer attention with his powerful vocal presence and compelling direct narrative style.
“I got my first real paying job when I was 11 years old. The man I went to work for gave me some advice. He said “Don’t ever turn something you love into your job! When you do you’ll soon lose the love for it!” I always remembered that and always kept music as a part time escape from my less than favorite job for fear of losing the love for it. Now with 30 years in a chemical plant and only 2 years left till I retire from this less than favorite job, I’m beginning to wonder if just maybe, there’s a possibility, that perhaps, he may have been full of shit!” – Chad Richard
“Chad doesn’t ever have to insist on himself – His completely unique Louisiana-Texas-Soul-Country voice grabs the listener, and in just a few minutes, everyone who hears him likes him,” – Walt Wilkins, Texas Songwriting Legend, Producer
Chad Richard – Worthy Cause (2019)
1. Slow Rollin State Line 4:03
2. Love Anyway 2:54
3. German Angel 3:41
4. Right Now 3:26
5. Worthy Cause 5:43
6. Fredericksburg 3:08
7. Waters Rise 3:28
8. The Big and The Little Hand 4:25
9. My Name 3:04
10. 12 More Days of Blue 3:49
11. Shawdy and a Shiner 3:01
12. The game 3:50
All Songs FCC Clean
Focus Tracks: 2, 3, 7, 10
All songs Written By Chad Richard, Barn Noise Publishing (BMI)
RECORDING & PRODUCTION CREDITS:
Produced by Walt Wilkins & Ron Flynt
Recorded at Jumping Dog Studio, Austin, Tx.
Mastered by Jerry Tubb at Terra Nova Mastering, Austin, Tx
Chad Richard-Vocals & Acoustic Guitar
Walt Wilkins- Acoustic & Electric Guitars & Percussion
Ray Rodriguez- Drums & Percussion
Bill small- Bass
Corby Schaub-Lap Steel Guitar
Chip Dolan- Piano, Wurlitzer Piano, & B3 organ
Marian Brackney- Fiddle/Violin & Viola
Geoff Queen- Steel Guitar & Dobro
Ron Flynt- Bass, “Waters Rise” & “Shawdy and a Shiner”
Piano, “Waters Rise” & “Worthy Cause”
Wurlitzer Piano, “My Name”
B3 organ, “12 More Days of Blue” & “Waters Rise”
Matt Giles- Electric Guitar, “Slow Rollin State Line”
Kurt Baumer- Fiddle, “Fredericksburg”
Harmonies- Walt Wilkins & Tina Mitchell Wilkins
Artwork- Julie Sckittone
Photography- Cory Hoover Photography
Yes I know you all have listened to it a lot over the last month but we had a three-way tie for the spot, so I asked the artists to decide.
“We would like to choose Blues in My Blood mainly because it is the story of my life and our family. I wrote the lyrics and sent them to Eric and he came back with a melody and a chorus. It happened so organically. We knew it would be the title track as soon as we finished it. The song practically wrote itself. “
On the walls of any local used music shop there hangs a gallery of mysteries. Picked up and handed down across the decades, each instrument contains the imprints and stories of those who have played it before, most of which remain untold. For Kansas City-based songwriter Kelly Hunt the most intriguing of these stories is the origin of her anonymous calfskin tenor banjo. “I really wasn’t looking for it,” she says, “but I opened up the case and it said ‘This banjo was played by a man named Ira Tamm in his dog and pony show from 1920 to 1935.’ I strummed it and said ‘This is unlike anything I’ve ever heard.’ People often think of the banjo as being rather brash and tinny – loud and kind of grating – but this was so warm and mellow, with an almost harp-like quality to it, very soulful” – apt words for the Memphis native’s debut album, Even The Sparrow, coming out May 17 on Rare Bird Records.
The daughter of an opera singer and a saxophonist, Kelly Hunt was raised in Memphis, TN, and grew up performing other people’s works through piano lessons, singing in choirs, and performing theater. “It was a very creative, artistic household,” says Hunt. During her teenage years, influenced by musical inspirations as diverse as Norah Jones, Rachmaninov, and John Denver, she began writing her own songs on the piano as a creative outlet. After being introduced to the banjo in college while studying French and visual arts, Hunt began to develop her own improvised style of playing, combining old-time picking styles with the percussive origins of the instrument. “I’m self-taught, I just started letting the songs dictate what needed to be there,” she says. “I heard a rhythm in a song that I wanted to execute, so I figured out how to do it on the drum head while still being able to articulate certain notes in one motion.” After college, Hunt followed a rambling path that took her through careers in acting, graphic design, traditional French breadmaking, and medicine, all the while making music as a private endeavor. “I wanted get serious about a responsible career choice, but music kept bubbling up. I was writing a lot and playing a lot and started to not be satisfied just playing to my walls of my room.”
After moving to Kansas City and discovering her mysterious Depression-era tenor banjo, Hunt began recording Even The Sparrow in Kansas City alongside collaborator Stas’ Heaney and engineer Kelly Werts. “It took almost two years to record,” she says, “learning how to let the songs dictate the production.” Having finally come to light, the album displays Hunt’s penchant for masterful storytelling and intriguing arrangement, as researched and complex as they are memorable, punctuated by her articulate melodies and a well-enunciated and creative command of lyrical delivery infused with deft emotional communication. While reminiscent of modern traditionalists such as Gillian Welch–a number of her songs even borrow titles and phrasing from traditional American music (“Back to Dixie,” “Gloryland”)–Even The Sparrow reveals an ineffable quality that hovers beyond the constraints of genre, à la Anais Mitchell and Patty Griffin. In “The Men of Blue & Grey,” what begins as a Reconstruction-era ballad about the repurposing of glass photographic plates in a greenhouse roof soon becomes a meditation on the hope that growth and life may one day be able to emerge from the ruins of suffering and haunting of war. “Across The Great Divide” turns an otherwise traditional accounting of spurned love into a philosophical epic of the ethics of forgiveness and freedom, evoking the ideas of Søren Kierkegaard and Walt Whitman.
As for the original owner of Kelly Hunt’s mysterious tenor banjo, not much is known. “I’ve never been able to find anything about Ira Tamm,” she says. “I think he just had a humble little traveling show,” she says. What’s clear is that the itinerant performer laid down his banjo at the height of the Great Depression, almost eighty years before it would be picked up by Hunt. “That banjo has stories. I wish I knew them all,” she says, though the banjo’s most intriguing story may just be beginning with Even The Sparrow. “The marks of Ira’s hands are still in the calfskin head, so I can see where he played and left his mark,” she says. “Now my own hand marks are there too, in different places, like a kind of portrait.”
Nola Blue, Inc. is delighted to announce the establishment of a new blues festival to preserve, celebrate and support the rich musical legacy of Texas blues. The inaugural East Texas-based event will be held October 25-27, 2019 at Salmon Lake Park. Confirmed performers include Benny Turner, The Peterson Brothers, Steve Howell and Kathy & the Kilowatts. Additional lineup announcements forthcoming.
The festival’s location is significant because the area is considered the westernmost region of the Deep South, and has been fertile ground for some of the most influential blues artists of the twentieth century including Blind Lemon Jefferson, ‘The Father of Texas Blues,’; Lightnin’ Hopkins; T-Bone Walker; Freddie King and more.
Salmon Lake Park’s beautiful 100 acres provides an idyllic setting for the event, with a vintage bandstand nestled in a shaded area, a fresh water lake and plenty of buildings and other nostalgia from a bygone era of East Texas. Well-suited for group gatherings of families or close friends, there are more than 350 RV hookups, furnished cabin rentals and tent camping available for those who wish to spend the weekend onsite. Reservations can be made directly with the park by calling 936-687-2594. Festival tickets will be sold separately.
When her client, Benny Turner, was approached with the opportunity to produce a blues festival not far from where he was born, Nola Blue President Sallie Bengtson knew that it was the right thing to do, at just the right time. Turner embodies a living musical legacy, born on the porch of his Gilmer, TX family home where he and his older brother Freddie King listened to their mother and uncles playing the blues. Turner continues to play the blues to enthusiastic audiences everywhere, more than sixty years after beginning his music career, carrying on a tradition of which he is very proud. Bengtson says, “We look forward to celebrating with Benny on his 80th birthday (October 27, 2019) during this inaugural event.”
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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