Yesterday I started our affiliate web site “Song of the Day” with the song “Do Ya” from the Austin fella’s album “Neon Headed Fools”. After listening to the rest of the album and not having replaced our ex-expensive reviewer it’s down to me to cobble one together.
First impression left me with the Austin Chronicle headline “Texas Trampled by Turtles” and I will probably regret writing that. The band describe their foot-tapping,finger-clicking and head-bobbing music “browngrass, dirtier than Bluegrass”, 10 out of ten for the catchphrase fellas.
With Swiss yodeling, East European influences, Tejano accordion and fiddles fiddling it sure is different Bluegrass but in an inventive, wanting more way. It’s fun and funny, light heartening funny, Fred Eaglesmith funny, you know what I mean and if you don’t go get a copy and dance round kitchen while making breakfast, guaranteed good day to follow.
No filler songs gets Sour Bridge another 10 out of ten. Left-handed banjo’s another 10, Pucci, punchy lyrics yet another 10. In fact 10 out of 10’s all round so I have to knock the artwork as not being up to the standards of the rest of the production.
What amazes me is that the band has passed me by for the last 9 years, must get their back catalog, maybe if they read this they will send me .WAV files of them, doubt it, the reading not the sending.
It is difficult to give an album 10 out of ten, in fact there are very few out there and they have reached 10 after years of listening, so thanks to the cover work Neon Headed Fool gets a NINE out of Ten, (95%), one in a million rating here at TMEfm radio.
Thanks boys for the snap shot from your web site which is used as a clicky thing to take you there.
Yes Kelly Slot (as they are known here at TME.fm) are back and in style, probably their finest work to date but only been listening and playing on radio a couple of weeks so the final verdict is not in yet.
Released on the 17th of MAY “Can’t Take My Soul” is already climbing the charts and heading for a Top 5 spot real soon, thanks in part to Betsie the Blind Raccoon, all the radio stations playing the album and of course Ms. Zirbes and band members great work getting the Self-Released album out for the world to enjoy.
We finally decided to get rid of our expensive one word reviewer and use the review provided by the PR Company and written by Rick J Bowen, the king of Blues reviews.
Los Angeles-based Kelly’s Lot celebrates 25 years of delivering West Coast Soul with a Texas Heart, an eclectic mix of blues, roots, rock & Americana with their 14th album, “Can’t Take My Soul,” containing 12 original compositions that highlights Kelly Zirbes’ smokin’ hot alto. The mix of original songs written by Kelly and her longtime partner in crime, guitarist Perry Robertson, speaks truth to the issues of the day, from our political climate and world struggles to tender matters of the heart, real-life inspiration and tragedy. Kelly Z opens the album namechecking all her heroes from Muddy to Koko, and Buddy to Etta, on the rockin’ number ‘All I Ever Want Is The Blues.’ She then gets right to the point urging us all to “Don’t Give Up” on the political rebuke ‘All Hope Ain’t Lost.’ The gently swinging blues ‘Alyssa’ was inspired by a young woman born with a terminal illness, who defied the odds and lived to be 23 years old and became a medical pioneer as one of the world’s first to receive gene therapy for Canavan Disease. This song will live on as a loving tribute to her inner strength.
Eddie Baytos joins the crew on accordion and washboard for the Cajun dance party anthem ‘Woe Is Me,’ adding authentic Louisiana spice to the rue. The testament of love, ‘Safe And Warm,’ is delivered on a soft bed of acoustic underpinnings deftly delivered by this veteran band. The notorious French bluesman Jean-François Thomas (recorded by Martial Semonsut at Studio La Vallée in the Auvergne region of France) joins Kelly for a scalding duet ‘Rise Up (Leve-Toi)’ sparing with her in French and English about the fire burning deep inside forbidden love and the Revolution. Frank Hinojosa adds some greasy blues harp to the slinky R&B groove of ‘Broke Myself.’ The acoustic driven ballad, ‘Let It Breathe,’ has that distinct bittersweet and dusty Laurel Canyon feel only Southern California musicians know how to deliver.
Kelly opens a vein and exposes all her depth on the dynamic call for redemption and self-preservation called ‘Dirt,’ a simple title for an expansive and complicated song. She then goes back to her folk-singer roots on the sweet optimistic hymn ‘Little Bit Of This,’ before busting out the rabble-rousing surf rock ‘Can’t Take My Soul.’ We are transported to a sidewalk café in Paris for the final track of the album ‘Mon Ami.’ The lovely encore reveals a softer side of Kelly Z as she serenades us eloquently in French and then translates the images of love and devotion in English with graceful ease.
“Can’t Take My Soul” fully demonstrates the skills and variety in the repertoire Kelly’s Lot have developed over two and half decades performing as an acoustic duo, trio, an electric 5 to 8-piece that are now a mainstay on the Southern California music scene.
Rick J Bowen
‘All Hope Ain’t Lost is one of the new songs from our CD, ‘Can’t take My Soul’. The CD version has background vocals and B3 keys. Get your copy at www.KellysLot.com
One of the best parts of working with Blind Raccoon is they provide everything, not just the music but reviews, biographies and pretty pictures.
Kelly’s Lot was formed in 1994 by Kelly Zirbes (sounds like “service” – likes to go by Kelly Z), a folk singer/songwriter with a heart for the blues. With 14 albums and lots of touring in the USA and Europe, the band will celebrate 25 years since the first night they hit the stage at the Roxy in Hollywood. Kelly Z met soundman, Perry Robertson, in 1996 who soon produced their “Live At The Troubadour” album. Within a year he joined the band, started writing songs with Kelly Z and added the Southern Rock and Texas influences that have shaped their sound. As a duo or band, they have played coffee shops, theaters, festivals, clubs, house concerts and a variety of events.
In the last 15 years they have created a 5 to 8-piece band that is well respected on the American blues scene. Some of the larger festivals they have played are Waterfront Blues, Simi Valley Cajun and Blues Festival, Ventura County Blues Festival, Lavaudieu Music Festival, to name just a few. In France, Jean Francois Thomas joined Kelly’s Lot to play in front of 18,000 for the Nuits De Sologne Festival.
Their songs have been heard in movies and television and covered by other artists. Kelly Z is currently working on songs for a couple film projects while still grabbing some inspiration from her fans on Facebook. Challenging them to look in their hearts and share just one word, she then challenges herself to choose a word and write a song in two hours. Perry Robertson, who shares the band leader title with Kelly Z, has recorded and produced most of the band’s music including the soon to be released ‘Can’t Take My Soul’. Releasing on May 17, 2019, the new CD features a lot of Blues but with a couple Folk and Roots/Rock additions. It’s a journey of messages, inspirations and some toe tapping rhythms. Mostly featuring a 4 piece of guitar, bass, drums and vocals, the CD also offers some accordion, harmonica, keys and even a Kelly Z whistle. As a duo, trio or 5 to 8-piece band they always pack a lot of energy while still getting to the heart of the listener.
Kelly and her band have opened for Tommy Castro, Shemekia Copeland, Marcia Ball, John Mayall, Curtis Salgado, Coco Montoya, to name just a few, and have hosted blues events for charities and for fellow blues musicians. With the support of European fans, the band toured across Belgium, France, Germany, England, Scotland, and The Netherlands.
So there you have all the inside info of the band a great review and pretty pictures, what more do you want?
Social media links, ok.
I will see what I can do about that.
Not the usual run of the mill interview?
You are a demanding reader but we will try our best for you.
An interview with Perry not Kelly Slot?
I don’t know what Kelly Z will say about that, I have it from a good source she is “a bit of a Tom Boy” she might come over to Spain and give me a good slapping!
Listen reader just go listen to Kelly Slot on TME.FM will you.
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
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
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
“The quintet, led by vocalist/guitarist Felix Bechtolsheimer, is back August 17 with sophomore album As I Fell, and the LP continues the band’s exploration of its patented Amerigothica sound—one that comfortably rides right alongside both Black Rebel Motorcycle Club and Drive-By Truckers.” – Magnet Magazine
May 10, 2018– Acclaimed London five-piece Curse Of Lono announces their new album,As I Fell, to be released onAugust 17thvia Submarine Cat Records. Today, the band has unveiled the first single, “Valentine.” CLICK HERE to listen exclusively on Magnet Magazine.
Recorded between Joshua Tree and London with producer Oli Bayston (AKA Boxed In), the track builds on the band’s deeply cinematic blend of harmony-laden Americana and driving, gothic alt-rock. It’s a sound that owes as much to old faithfuls like The Doors and The Velvet Underground as it does to more contemporary artists such as The War On Drugs and Wilco.
Felix says, “Valentine is about the kind of murderous jealousy that twists you up until you don’t recognize yourself anymore. The sort of dejection that will make you do things you know you will regret,” says Felix. “I think the vocal harmonies floating over the tribal beat, distorted bass and filthy baritone guitar going through a tiny 1950’s Selmer practice amp, really capture that feeling.
Formed in London in 2015, Curse Of Lono is Felix Bechtolsheimer (vocals and guitar), Joe Hazell (lead guitar and vocals), Dani Ruiz Hernandez (keys and vocals), Charis Anderson (bass and vocals) and Neil Findlay (drums). ‘As I Fell’ is the follow-up to ‘Severed’, one of the most critically acclaimed debuts of 2017, and builds on Curse Of Lono’s deeply cinematic blend of harmony-laden Americana and driving, gothic alt-rock. It’s a sound that owes as much to old faithfuls like The Doors and The Velvet Undergroundas it does to more contemporary artists such as The War On Drugs and Wilco. Although some of the songs on ‘As I Fell’ revisit familiar themes like murderous jealousy and the death of loved ones, much of the album covers new ground.
Having spent much of 2017 on tour in Europe and the UK, Curse Of Lono will be embarking on their first UK headline tour in May this year. They have also been invited to open for Steve Earle and for Southside Johnny & The Asbury Jukes in Europe in July and in the UK in October.
CURSE OF LONO Tour Dates May 17 – The Alternative Escape, Brighton May 24 – Fat Lil’s, Witney (UK Headline Tour) May 25 – The Lexington, London (UK Headline Tour) May 26 – Dot-To-Dot Festival, Mr Wolf’s, Bristol May 30 – Greystones, Sheffield (UK Headline Tour) May 31 – Hug & Pint, Glasgow (UK Headline Tour) June 1 – Gullivers, Manchester (UK Headline Tour) June 2 – The Ent Shed, Bedford (UK Headline Tour) June 22 – Black Deer Festival, Kent June 24 – Isle Of Wight Festival July 7 – Maverick Festival, Suffolk July 12 – Oltrivierenhof, Antwerp (with Steve Earle and Southside Johnny) July 13 – Toogenblik, Brussels (headline) July 14 – Paradiso, Amsterdam (with Southside Johnny) July 18 – Fabrik, Hamburg (with Southside Johnny) July 19 – Kaufleuten, Zurich (with Southside Johnny) July 21 – The Sage, Gateshead (with Steve Earle – Summertyne Americana Festival) July 22 – Summertyne Americana Festival, Gateshead (main stage) August 26 – Graze Festival, Hampshire
Super Exciting!! The Crooked Jades have been working their music alchemy in the studio, completing their 9th album, “Empathy Moves the Water.” We’re about to head out on our CALIFORNIA TOUR, including our San Francisco hometown show at the Great American Music Hall! And we are thrilled to have Megan Adie, our beloved bass player, coming in all the way from Sweden! Come on down!
The band’s following have been clamoring for a new album, and one fan in particular, who wants to remain anonymous, is helping to make this possible. He was so impressed with the Crooked Jades’ performance at the California Bluegrass Association Father’s Day Bluegrass Festival in 2017, that he became a benefactor to financially sponsor the new recordings with the band’s present configuration. We thank you!
O N T O U R I N C A L I F O R N I A
• THURSDAY MAY 17 – MICHAEL’S ON MAIN (Soquel/Santa Cruz) • FRIDAY MAY 18 – GREAT AMERICAN MUSIC HALL (San Francisco) • SATURDAY MAY 19 – CLAREMONT FOLK FESTIVAL (Claremont) • SUNDAY MAY 20 – TOPANGA BANJO & FIDDLE CONTEST (Topanga)
LIVE PERFORMANCES BY: • Dave Alvin and the Guilty Ones – Roots Rock Legends • The Crooked Jades – Old-Time, Old World Music Revolutionaries • Bula – Puerto Rican Community Bomba Group • Mostly Kosher – Jewish Cultural Revivalist Klezmer Band • Snap Jackson & the Knock on Wood Players – Bluegrass Quartet • Tom Freund – Singer Songwriter and Multi-Instrumentalist • Fivacious – West Coast Gospel
…and many more.
All day event starting at 10am. Free parking at Pomona College parking structure.
Featuring art & music workshops for all ages, vendors village, local food & libations!
More info at link above.
Sunday, May 20 / 9am-6pm (Jades performance @ 2pm)
LIVE PERFORMANCES BY:
Richie and Rosie, Jenna Moynihan and Màiri Chaimbeul, Jeff Scroggins and Colorado, Echo Mountain, Mike Mahaney & Friends, Latimer & Osborn, Ross Altman, and more
PLUS! Dance Barn with our pals Skillet Licorice, Ira Bernstein and more.
All day event with 4 Stages, Contests, Vendors, Food, Arts & Crafts and more. Info at link above.
Across the wide seas, distant mountains, and the vast complexity of the soul, The Crooked Jades new release “Empathy Moves The Water” emphasizes the lonesome in “High Lonesome” music. The band’s old-time roots reflect the cultural melange and longing implicit in the shadows of America – from haunting ballads punctuated by hypnotic fiddles that express digital isolation and humanity lost in a rapidly changing land, to the high energy revival songs inspired by early rural gospel blues. Reaffirming their reputation as an innovative old-time string band closer in spirit to Tom Waits and Nick Cave, The Crooked Jades create a unique and soulful modern sound by exploring the roots of Americana and interweaving the diverse musical influences of Europe and Africa.
With a bold vision and drive to innovate and inspire, the Crooked Jades release their brand new album “Empathy Moves The Water” on their own label, Jade Note Music. Largely recorded at Berkeley’s famous Fantasy Studios, this new album is produced by the highly celebrated Bruce Kaphan. The band once again features their signature mix of inspired re-arrangements of rare and obscure old-time gems and beautiful original compositions, played on vintage and eclectic instruments, including Hawaiian slide, Vietnamese jaw harp, harmonium, ukulele, banjo, ukulele, arco bass, and minstrel banjo.
The Crooked Jades continue their mission to move old-time music out of segregation and show its relevance in modern times. Their evocative, cinematic music has appeared in soundtracks for Sean Penn’s Oscar-nominated film Into The Wild and the PBS documentary Seven Sisters: A Kentucky Portrait.
PHOTOS BY STEPHEN JOHNSTON & CO. / COLLAGE BY LISA
“Going Across the Sea” (Erik & Jades at The Sweetwater) & “Girl Slipped Down” (Erik & Megan at Cyprian’s)
Known for their rare and obscure repertoire, inspired arrangements and eclectic, often vintage instrumentation, The Crooked Jades began with band leader/founder Jeff Kazor’s vision to revive the dark and hypnotic sounds of pre-radio music. Their new music continues their mission to re-imagine old-time music for a modern age, pushing boundaries and blurring categories with their fiery, soulful performances. Building on an old-time foundation, the band filters old-world sounds with universal and ancient themes through a post-9/11 lens, seeking to make sense of the future, reaffirming the importance of connecting to our roots in a time of intense digital connection. Writes Bluegrass Unlimited, “Chords in unexpected places, out of this world harmonies, and some of the most powerfully-arranged material I’ve ever encountered.” Innovative and fearless, constantly evolving and passionate, they bring their driving dance tunes and haunting ballads to rock clubs, festivals, traditional folk venues and concert halls across America and Europe.
The Crooked Jades core consists of founders Jeff Kazor (vocals/guitar/ukulele) and Lisa Berman (vocals/slide guitar/banjo/harmonium), with long-time member Erik Pearson (vocals/banjos/ukulele/harmonium/slide guitar), and the invaluable Megan Adie (vocals/bass) and Emily Mann (vocals/fiddle). This current line-up builds on 20+ years of The Crooked Jades performances and recordings. The band has traveled countless miles across 4 continents, 10 countries, and many festivals, resulting in 8 critically acclaimed albums.
“The two adjectives that keep coming to me during repeated listenings to The Crooked Jades are profound and transcendent. This is visionary music, forged from the raw materials of old-time forms and instruments. It’s easy to forget that the first old-time music recorded was a mirror of the times the musicians lived in. That was almost 100 years ago. Here, in the beginning of the 21st century, people in appreciable numbers are feeling as though they’re teetering on the brink of apocalyptic times. Through the lens of tradition, The Crooked Jades are voicing this feeling convincingly and beautifully.” – The Old-Time Herald
Growing up with a single mother in San Benito, Texas, the hometown of Tejano star Freddy Fender was not easy for blues singer Charley Crockett. Hitchhiking across the country exposed Crockett to the street life at a young age, following in the footsteps of his relative, American folk hero Davy Crockett, who lived a wild life on the American frontier. After train hopping across the country, Crockett set off to travel the world and lived on the streets of Paris for nearly a year before searching for home in Spain, Morocco, and Northern Africa.Charley returned home to Texas and released his debut solo album titled A Stolen Jewel in 2015, receiving critical acclaim and landing him a Dallas Observer Award that year for “Best Blues Act”. He released his sophomore record In The Night in 2016 and played over 125 shows that year. Crockett’s song “I Am Not Afraid” received international recognition from top tastemakers after being picked by NPR Music as one of the “Top 10 Songs Public Radio Can’t Stop Playing” and featured on World Cafe. Now in 2018, Crockett releases Lonesome As A Shadow, an album recorded in Memphis at the legendary Sam Phillip’s Recording Service with producer/engineer Matt Ross-Spang. Backed by the Blue Drifters, this album was recorded live to tape during a long year of touring. It’s a musical gumbo that showcases the various depths of Crockett’s sound.