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.
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 band, Creedence 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 July, Craft 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 Me. Craft 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.”
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.
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 hits, six Platinum albums, and one Gold in just four intensely prolific years, all powered by John Fogerty‘s gut-level growl, with Tom Fogerty, Stu 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 1972. CCR‘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.”
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
“Hold To The Light finds Annibale making strides in both songwriting and production, incorporating a wider and more experimental range of instruments.”
“‘Glow’ is a prototype of what Annibale sought for the new set…[It] introduces a sunnier kind of tone to Annibale’s songs, another musical sea change that’s echoed throughout Hold To The Light.”
“Hold to The Light is a pop-progressive album that offers a fusion of textured electronic and traditional instrumentation and ‘Glow’ stylishly represents this shift.”
– Under The Radar
“Brooke Annibale is transitioning from her usual indie-acoustic vibe to a more pop and electronic sound with her latest album Hold To The Light…a fresh take on indie pop.”
– The Wild Honey Pie
“…a more intellectual version of Haim.”
– Glide Magazine
Singer-songwriter/guitarist Brooke Annibale released today her third full-length album Hold To The Light. The new record marks Brooke’s return following her 2015 critically acclaimed album The Simple Fear and features several major departures in terms of both songwriting and production. Brooke sheds a few layers of her folk-acoustic skin and introduces a new indie-pop direction offering a fusion of textured electronic and traditional instrumentation centered around her stunning voice and keen, soulful lyricism. Listen to the album now via Spotify, Apple Music, and all other streaming services.
The songs on Hold To The Light develop like Polaroid photos: each reveals a memory suspended between the perspective of the past with all its wistfulness, pain, and joy, and the revelations of the present. Produced by Sam Kassirer (Josh Ritter, Lake Street Dive, Craig Finn) at his Great North Sound Society in Maine, Hold To The Light features contributions from seasoned artists Zachariah Hickman (Ray Lamontagne, Josh Ritter) on bass; Josh Kaufman (The National, Josh Ritter) on accompanying guitars; Sean Trischka on drums; and Matt Douglas (Sylvan Esso, Mountain Goats) on woodwinds. Brooke’s thoughtful, layered songwriting anchors the production to explore a range of narratives working through themes of seeking truths, letting go, and reconciling the past with the present.
Catch Brooke on tour this Summer which includes stops in Los Angeles, San Francisco, Philadelphia, New York City, and Boston. To purchase tickets, visit www.brookeannibale.com/shows.
06/08 – Pittsburgh, PA @ Three Rivers Arts Festival
06/15 – Philadelphia, PA @ Philadelphia Folksong Society
06/16 – New York, NY @ Rockwood Music Hall
06/17 – Northampton, MA @ The Parlor Room
06/19 – Burlington, VT @ The Skinny Pancake
06/21 – Boston, MA @ Fraser Performance Studio
07/03 – Edgartown, MA @ Harborview Hotel – WMVY Porch Concert Series
07/14 – Los Angeles, CA @ Hotel Cafe – 2nd Stage (w/ The Sweeplings)
07/15 – San Francisco, CA @ Neck of the Woods (upstairs) (w/ The Sweeplings)
07/16 – Portland, OR @ Doug Fir Lounge (w/ The Sweeplings)
07/17 – Seattle, WA @ Sunset Tavern (w/ The Sweeplings)
07/18 – Spokane, WA @ The Bartlett (w/ The Sweeplings)
07/29 – Allison Park, PA @ Hartwood Acres (w/ Lucius)
Album Release Scheduled For June 15, 2018 via RED MUSIC (Sony)
May 18, 2018 – (Los Angeles, CA)JASON CHARLES MILLER is proud to announce the upcominv release of “In The Wasteland,” his definitive new album set to come out June 15, 2018 via RED MUSIC/ SONY.
Mixed and produced by Grammy Award-winner Matt Hyde (Jonny Lang, No Doubt, Deftones) and featuring drummer Kenny Aronoff (John Mellenamp, John Fogerty), “In The Wasteland” showcases 11 tracks that blur the lines between Southern Rock, classic country, and the outlaw attitude that has earmarked MILLER‘s career as a singer, songwriter, producer and performer for more than two decades and over a dozen releases.
“From the many different styles of music that have influenced me over the years, to the lyrics that are a mixture of observational storytelling and pure emotional ferocity – some songs are collaborations or even duets, and others were written alone in a darkened room” exclaims MILLER, “If you’ve followed the journey of my career as an entertainer, you’ll hear every place I’ve been, and where I ended up today. I’ve released a lot of music in the last few years for a lot of various projects – other artists, video games, TV shows, musicals and films – but this is my first solo album in six years… you can bet I’ve got a lot to say!”
“In The Wasteland” includes guest performances from the likes of Lynyrd Skynyrd guitarist Rickey Medlocke and keyboardist Peter Keys, legendary Soul vocalist Brenda Lee Eager (Stevie Wonder, Ray Charles and Diana Ross), Blackberry Smoke vocalist Charlie Starr, King’s X frontman Dug Pinnick, guitarist Duane Betts (son of founding Allman Brothers guitarist Dickey Betts), guitaristAdam Shoenfeld (Tim McGraw, Jason Aldean) and ‘Cowboy’ Eddie Long (Jamey Johnson).
MILLER adds, “To be able to collaborate with so many of my heroes on this album is completely surreal, totally mind-blowing and incredibly humbling, all at the same time. If I were to put a dream list of musicians together to play with, every single person on this record would be on that list. This truly is an all-star team of players, singers and stars that I somehow tricked into showing up to the studio… then, while they weren’t looking, I hit the record button! In all seriousness, each and every performance helps elevate the album to a level that I could never achieve alone, and I’m grateful to every single person who helped me bring In The Wasteland to life.”
“IN THE WASTELAND” Track Listing
1. Hundred Pound Hammer (feat ‘Cowboy’ Eddie Long)
2. In The Wasteland
3. No Bridge Left Unburned
4. Get Thee Behind Me (feat. Dug Pinnick, & ‘Cowboy’ Eddie Long & Duane Betts)
5. Trunk Full Of Bibles
7. Old Scarecrow (feat. Charlie Starr & Rickey Medlocke)
8. The Line
10. No More Reasons
11. Finding My Way In The Dark (feat. Peter Keys, Brenda Lee Eager & Adam Shoenfeld)
The album’s debut single, “Hundred Pound Hammer,” is available now across all digital streaming platforms and can be instantly downloaded as an instagrat track with all digital pre-orders.
ABOUT JASON CHARLES MILLER:
Originally from Clifton, VA, MILLER currently resides in Los Angeles, CA where he runs the successful recording complex, Central Command Studios.Having been formerly known as the frontman and founder of acclaimed rock band GODHEAD — who were signed to Marilyn Manson’s label, Posthuman Records, selling over 250,000 albums and touring internationally with heavyweights including Manson, Ozzy Osbourne, Linkin Park, Disturbed, Rammstein, and Jonathan Davis (KORN) — MILLER has co-written songs with a genre-crossing who’s who of artists including Billy Ray Cyrus, Ben Moody (Evanescense), Chuck Goff (Toby Keith Band), Driver Williams (Eric Church Band) and Paul Anka. He has achieved three Gold Record Awards for sales, and his music has been heard on popular tv shows, films and video games including HBO’s True Blood and Hung, WWE Smackdown, The Guild, Queen of the Damned, The Punisher, Disney Channel’s Teen Beach Movie and Metal Gear Rising: Revengeance.
When he’s not writing, recording or performing music, MILLER is a professional voice actor and has appeared in over 100 animated productions and video games. Notable highlights include: Attack On Titan, Hearthstone, Star Trek Online, World of Warcraft, Avatar: The Last Airbender, Batman: The Brave and The Bold, and many more. MILLER is currently host of the popular Geek & Sundry show “Starter Kit” and has also been seen on screen in Battle Planet (SyFy), Stan Lee’s World of Heroes ‘Chatroom of Solitude’, The Guild and squabbling with Lewis Black and Andy Dick in various productions on Comedy Central.
With a voice that is equal parts Rod Stewart, Van Morrison and Sam Cooke, Jon Allen has an uncanny ability to write songs that feel instantly familiar. The British singer-songwriter returns after four years, releasing his fourth album, “Blue Flames”, May 18th 2018. This album represents Allen’s growth into soul elements. The record honors classic 60’s style of Motown, with feel-good sounds accompanied by Allen’s signature raspy vocals. From track to track, Allen ventures into the feelings of joy, love, loss, and change.
Throughout his career, Allen has become a go-to favorite for US music supervisors, with his songs being featured in hit prime time TV shows such as Homeland and Bones, along with movies like The Oranges, Safe Haven and Army of One.
The first single off the album, “Jonah’s Whale” released March 9th, starts of the record with reminiscent vibes funk and soul. The upbeat single ignites the album.
On the process of writing the single Allen states:
“With ‘Jonah’s Whale’ I stumbled upon the groove and chords first and wanted the lyric to evoke the sense of joyfulness I was getting from playing it through on an acoustic guitar. I settled upon the concept of a central character, head over heels in a love bubble, blinded to the outside world’s troubles. If this song doesn’t make you feel good, I have failed.”
It was the experience of immersing himself in the production and vibe of classic recordings of the sixties and seventies from iconic record labels such as Motown, Stax, Atlantic and Chess that made Allen think it would be great to bring more of that earthiness to his sound for Blue Flame’s recording sessions.
Today, Jon Allen, is looking forward to sharing the soulful excitement of “Blue Flame”, out May 18th 2018.
Winchester-born, Jon Allen was originally discovered by Mark Knopfler in 2006 (who later offered to play guitar for him), but it was the single “In Your Light” from Allen’s 2009 debut album Dead Man’s Suit that landed him a coveted spot on “Later…with Jools Holland”. Allen’s second album ‘Sweet Defeat’ (2011) continued his rise, spawning the Radio 2 A-listed hit track “Joanna” – the song that made it onto the soundtrack of the global TV smash Homeland.
Allen toured extensively during this period, both solo and with his band, appearing with Mark Knopfler, Emmylou Harris, Seal (who would tell Jon every day he should be making soul records) and Damien Rice, amongst others. ‘Deep River’, Allen’s last album, released in 2014, received the best reviews of his career to-date from the UK’s national press and was made BBC Radio 2’s ‘Album of The Week’. After his UK tour to promote ‘Deep River’, Jon took a break to write songs with and for other artists, while also writing music for films.
1.Jonah’s Whale *
2. Keep On Walking
3. Since You Went Away
4. It’s Just the End of the World
5. If You Change Your Mind
7. Hold You In My Heart
8. Better Day
10. Waking Dream
11. Blue Flame
12. You (US Exclusive Bonus Track)
Virginia-based band of brothers Sons of Bill have shared a new track, “Easier,” from their forthcoming album Oh God Ma’am.The track is currently streaming via Rolling Stone Country who writes “It’s a gorgeous ballad – half resigned and half optimistic, with a rainy-day aesthetic that the bandmates partially credit to one of their album’s two engineers, rock vet Phil Ek.” Oh God Ma’am will be released on June 29th.
“It’s a love song, and I’m so glad Molly Parden agreed to make it a duet with me. Her voice adds a haunting depth to every song she touches,” writes singer/guitarist James Wilson. Reflecting on the song’s inspiration, Wilson writes “there’s a strange unspoken
malaise with my generation – ironic and sad… but I think it’s important to try and sing about love and hope in some genuine way now more than ever. We have to remind each other in some way that it’s going to get easier, even if we know in our heart of hearts that that may not be true.”
“Easier” follows the group’s lead single “Believer / Pretender,” an opening salvo that encapsulates the approach the group takes on their latest record – blending their lyrical Americana roots with a polished, driving set of songs punctuated by crystalline guitar riffs and tasteful synth flourishes. “Believer / Pretender” debuted via Brightest Young Things who declared it “…an absolute stunner, a sweeping piece of ‘80s-tinged guitar rock that recalls the sounds of New Order, The War on Drugs, and R.E.M., while still being unmistakably Sons of Bill.”
Oh God Ma’am is the followup to their 2015 album Love and Logic, which Q magazine called “a glorious sour mash of every great Americana trope of the last 50 years– think Dylan, R.E.M, Wilco, — Blended with top notes of Husker Du, Big Star, and The Replacements… A family affair welcoming one and all.” Recorded both in Seattle with west coast indie legend Phil Ek (Shins, Fleet Foxes) and in Nashville with Sean Sullivan (Sturgill Simpson) and mixed by Peter Katis (The National, Interpol) Oh God Ma’am movesbeyond the galvanic americana-rock comfort zone of previous efforts, for a more elegant and restrained sound– a darker, and more complexly layered rock record that manages to be the band’s most emotionally intimate and sonically expansive.
“Reaching far beyond their Americana roots, Sons of Bill brew up a lush, literate sound with this year’s Oh God Ma’am, a wide-ranging album that mixes honesty, hooks and headiness in equal measure.” – Rolling Stone
Oh God Ma’am is currently available for pre-sale HERE.
As three sons of a venerated theology and literature professor at the University of Virginia (who also taught his sons how to play guitar and write songs,) Sons of Bill were always keen to represent the american south with a slightly higher brow– an upright and literary aspect of the southern culture that rarely gets an adequate hearing in pop music. And like so many of the southern writers they grew up reading (James teaches and is currently writing a book on William Faulkner) The Wilson brothers often pull songs from the darker regions of the human imagination– slyly and earnestly scratching at their own spiritual scabs with both humor and sincerity, as a way of exploring life’s enduring complexities: faith, love, and the weirdness of time. It gives the whole record a unique atmosphere of tragicomedy– equal parts post-adolescent anxiety and old-soul humility. In search of the proper nomenclature, one critic would simply describe Sons of Bill as “metaphysical American music.”
Sons of Bill Tour Dates:
August 2 – Richmond, Virginia – The Broadberry
August 3 – Washington DC – Union Stage
August 4 – Charlottesville, Virginia – The Jefferson Theater
August 13 – Brighton, UK – The Hope & Ruin
August 14 – London, UK – OMEARA
August 15 – Bristol, UK – The Tunnels Bristol
August 16 – Leeds, UK – Brudenell Social Club
August 17– Glasgow, UK – Broadcast
August 18– Manchester, UK – Soup Kitchen
August 19 – Nottingham, UK – Rescue Rooms
August 21 – Cologne, Germany – Blue Shell
August 22 – Munich, Germany – Milla Club
August 23 – Berlin, Germany – Musik & Frieden
August 24 – Hamburg, Germany – Stage Club Hamburg
August 25 – Amsterdam, Netherlands – Once In A Blue Moon Festival
Richard Thompson has announced an extensive UK tour for October and November 2018 in advance of a new studio album which will be released later this year on Proper Records, kicking off in lovely Liverpool’s Philharmonic on 11th October. Last year, Thompson released two volumes of acoustic recordings: ‘Acoustic Classics Vol. II’ featuring acoustic renderings of songs from the Richard Thompson catalogue, and ‘Acoustic Rarities’ featuring new recordings of some of the more obscure songs in his repertoire. He celebrated the 50th anniversary of Fairport Convention, the groundbreaking band he co-founded as a teenager in the ‘60s, with a performance at its annual Cropredy Festival last August. He also briefly did a remarkably authentic stint as Abe Simpson when he berated the state of modern music at the AMAUKs last year.
Richard Thompson UK Dates 2018
Thu 11 Oct – Liverpool Philharmonic
Sat 13 Oct – Perth Concert Hall
Mon 15 Oct – Canterbury Marlowe
Tue 16 Oct – London Barbican
Wed 17 Oct – Bath Forum
Thu 18 Oct – Nottingham Royal Concert Hall
Sat 20 Oct – Stoke on Trent Victoria Hall
Sun 21 Oct – Manchester Opera House
Mon 22 Oct – York Grand Opera House
Tue 23 Oct – Hull City Hall
Wed 24 Oct – Gateshead Sage
Fri 26 Oct – Birmingham Town Hall
Sat 27 Oct – Southend Cliffs Pavilion
Sun 28 Oct – Oxford New Theatre
Tue 30 Oct – Cambridge Corn Exchange
Wed 31 Oct – Salisbury City Hall
Thu 1 Nov – Bexhill De La Warr Pavilion
Fri 2 Nov – High Wycombe Swan
Sat 3 Nov – Woking The New Victoria
James Scott Bullard’s , Full Tilt Boogie, was released in the US on April 27th and marks his 9th release and 6th LP Release. Bullard may be a new name to your ears, but he is not new to the country/Americana music scene. Having shared the stage with David Allan Coe, Butch Walker, Dex Romweber and The Steel Woods. Bullard is a man with many stories to tell and he tells those stories with truth and passion.
Ditty TV recently debuted the video “Wicked Ways” on the show Eleven. Keep your eye out for the video and you can also watch on youtube
In Case you missed it! Gary Hayes Countryand a live review of the Americana Roots Hoedown Pre-Party Dee’s Country Cocktail Lounge in Nashville which was presented by MagnoliaRoads!
Europe and UK praise:
“Full Tilt Boogie is getting into its groove and is outpacing many albums in its sort I’ve heard recently as is competing full on with my favourites in the genre…The title in the right hand corner is nothing but a statement, full disclosure. Brace yourself to rock!– Wout de natric, WoNo Music Blog (Netherlands)
From “Warpath” to “Jesus, Jail, Or Texas”, from “Leavin ‘On My Mind” to the final “Back To You” with his clear guitar duets that refer to the Allman Brothers Band of the “Eat A Peach” period, all contributes to forming a group to be strongly recommended. A (for us) beautiful discovery. —Lonestartime (Italy)
“Full Tilt Boogie is full of up-tempo songs that combine influences from country rock, blues rock and Southern rock, combining a traditionally sounding roots sound with wonderfully teasing guitars. It occasionally reminds me of the early records of R.E.M., which were much more rootsier than the most successful records of the band. All in all a nice plate. A very nice plate even.” – Erwin Zijleman, De Krenten Uit De Pop (Netherlands)
“Full Tilt Boogie is full of booming honky tonk, where the blues are drowned in shots of whiskey.”—Altcountry.nl
“‘Full Tilt Boogie’ sees songs such as Lord, Have Mercy, Wicked Ways, the sublime and rather fabulous Jesus, Jail, or Texas, Leavin’ On My Mind and Back To You inhale deeply, take in the rush of air that surveys the scene from the deep south and lets go with unnerving majesty.”—Liverpool Sound and Vision
“WOW! Bullard has a delightfully leathery voice and his band are red hot, to the point of melting the CD Player on that opening track; and it’s fair to say……things only get better from then on in!” — TheRockingMapgie (UK)
” This is unrelenting, full throttle outlaw country assault with screaming guitars and riffs that sound at times like the Allman Brothers on steroids. “– Jim Hynes, Elmore Magazine
“Full Tilt Badassery…It is a rowdy, raucous good time, that changes pace when necessary to settle you down and allow Bullard to really unleash himself on you. It’s a very full and robust record that takes you on a journey with stops including rowdy women, living your own rowdy existence, and all points in between.”—Country Music Armadillo
“This is straight-up entertaining fare – musically and lyrically – and I could take a whole album of it. Luckily, there’s one on the way.”— Jolene Country Music Blog
“Calvin plays a double shot of the new southern rock sounds of Mr. James Scott Bullard. His new album is called Full Tilt Boogie and it lives up to its name…“James Scott Bullard has delivered a Southern Rock album par excellence.” — Tony Ives /Americana Music Show
“Waving flags is a hazardous business these days but James Scott Bullard is a deserved standard bearer of the southern rock tradition. Drawing on impeccable sources he has created his own original, authentic style that flies high above some very pale imitations of one of music’s finest genres.”—Lyndon Bolton, Americana Music Show
“If you are looking for your next honky tonk hero, I think I may have found him. His name is James Scott Bullard (JSB) and he is pure, 24 karat gold.”— TwangriLa
“James Scott Bullard’s ‘Full Tilt Boogie’–“This album is great from start to finish…Don’t think twice. Get this one now.”— Bob Leggett, LA Music Critic
‘”The South Carolinian’s burly baritone appeals with the rough warmth of an overly loved flannel shirt, making hard-luck tales like “Lord, Have Mercy,” “Wicked Ways” and “Jesus, Jail, or Texas” more relatable. RIYL Jamey Johnson, Waylon Jennings, Jerry Reed.”—Pasadena Weekly
“Walmart parking lot music for the country folk that don’t go to Sunday meeting. Down and dirty, loaded with electric blues, when you’re piloting that big rig on reds, this record becomes totally clear.” — Chris Spector/Midwest Record Entertainment News
“The raw, high-energy boogie of “Hey, Hey Mama” and the swinging tempo of “Evil Lovin’,” showcases Bullard’s fun, delivering an edgier country rock sound. ” — J. Pasinski/JP’s Music Blog