Singer/Songwriter Abi Tapia, producer Chris Gage and MoonHouse Records announce the release of Abi Tapia's “The Beauty in the Ruin”.
Austinites Abi Tapia and Chris Gage joined forces in 2005 when Gage produced her sophomore effort – “One Foot Out The Door”. The CD spent time in the Top 40 on the Americana chart and established Abi as a bright new talent on the Austin, Texas music scene. The CD was recorded at MoonHouse Studio, Gage’s south Austin studio that he co-owns with partner Christine Albert (Albert and Gage), and the couple got to know Abi well, becoming strong supporters behind the scenes. When Abi returned to Chris to handle the production on her third album the partnership deepened, eventually leading to a licensing agreement for the new album with Albert and Gage’s MoonHouse Records. In the middle of the recording of “The Beauty in the Ruin”, MoonHouse Studio moved to a commercial location and the project was put on hold for six months while remodeling took place. Abi’s music christened the new space.
Tapia’s songwriting and voice are stronger than ever and the CD showcases her knack with a hook and ability to universalize her experience. “The Beauty in the Ruin” explores sadness and frustration, but is never maudlin and is always hopeful. In “The Easy Way”, she flirts with the idea of willingly sinking into depression; “My Miner” explores the helplessness of loving someone who works a dangerous job; and “Beware” lists the endless dangers facing Americans, especially a woman traveling the highways alone. But when it came time to name the album, she found there was a common thread of hope, redemption, and joy in all of these supposedly sad songs. “The beauty in the ruin” is a lyric from “Flying,” mostly written on an airplane over Louisiana, looking down at the complex relationship between ecology and manmade infrastructure, which from 30,000 feet she found awe-inspiring.
The music straddles country, folk, and rock with ease, incorporating fiddle and pedal steel as well as some crunchy electric guitars and big drums. Chris Gage enlisted Austin studio veteran Glenn Fukunaga to play bass and Bruce Logan to fill the drum throne. Gage’s musical versatility is showcased throughout on keyboards, guitar, Dobro, mandolin and percussion, while fiddler Eleanor Whitmore and pedal steel master Buzz Evans sweeten the mix. Background vocals are shared by Abi, Christine Albert, Chris Gage and Bill Small (Walt Wilkins and the Mystiqueros).
"Beauty In The Ruin" available here.
www.abitapia.com
www.moonhouserecords.com
Ad Vanderveen
Ad Vanderveen is a singer/songwriter and guitarist whose star has been rising over the European and American musical landscape throughout the past decade. Although born a Dutchman (Hilversum, 1956), half of his family are Canadian and that may be one of the reasons why his music is firmly rooted in a style nowadays known as Americana.
His early musical influences were 60s Rock & Roll bands and the classic singer/songwriters from the 70s. Vanderveen played guitar and wrote songs from age 14 and played in many R & R bands before founding his own band Personnel in the early 80s. After 2 LP's the band recorded "Personnel Only", their breakthrough CD, for Polydor Records. The follow-up album "Continuing Stories", recorded in Nashville and produced by Bill Halverson, featured guest appearances by Al Kooper, Flaco Jiminez, Al Perkins and Leland Sklar.
Ad decided to leave the band to focus on his work as a solo artist in the early 90s. Since then Vanderveen has produced an impressive body of work, consisting of 11 solo cd's and several side projects, like with his garage band "The O'Neils" and with Eliza Gilkyson and Iain Matthews in "More Than A Song".
Ad Vanderveen's music is often described as colorful and rich in dynamics, ranging from intimate acoustic to full on electric improvisation. His highly acclaimed records and excellent reputation as a live performer are spreading, both in the old world and the new.
"Still Now" available here.
Aggieland
Aggieland is the musical landscape where, by way of their melodious contemplating songs guitar player Stephan Jankowski and singer songwriter Aggie de Kruijf - from The Netherlands - speak their minds. You’ll find clear traces of part singing American folk and country in Aggie’s crystal clear vocals, telling stories that focus on life’s small drama’s and impressions, and how they may affect you. Blues, soul and funk were Stephan’s musical habitat of years as one can hear in his intense and groovy guitar accompaniment.
On ‘Heading For The Sun’ their brand new album (on ICUB4T Records) catchy African percussion accompanies the Euro-American roots songs.
Aggieland was voted Best Band of The Netherlands in the 2006 United Nations MusicAid contest with the song 'Working Wonders' from their debut album ‘Welcome to Aggieland’.
www.aggieland.nl
www.myspace.com/aggielandmusic
Albert & Gage
MoonHouse Records is proud to announce the release of "Albert & Gage – Dakota Lullaby (The Songs of Tom Peterson)". This is the sixth CD for the Austin, Texas duo since teaming up in 1997. Christine Albert and Chris Gage will be continuing their active performing schedule throughout the summer to support the release.
Although Albert and Gage are prolific songwriters, for this project they drew entirely from an extensive catalog of undiscovered gems written by Gage’s old friend from Sioux Falls, South Dakota – Tom Peterson. Virtually unknown outside of South Dakota (although he is somewhat of a legend among his peers in the Midwest), Peterson lived for awhile in Nashville but his songs never found the wider audience they deserve. On the liner notes Gage says “I’ve been singing Tom Peterson songs on stages around the world since 1975, but I had to hear 10,000 other songs before I realized just how great Tom’s are.” And Christine mentions that listening to old recordings of Tom’s music made her feel like she had “just struck gold in the Black Hills”. You can hear the affection and reverence that Albert and Gage have for the songs and for Mr. Peterson himself. Tom Peterson makes his home in Sioux Falls and works in production for a local television news program.
Gage’s multi-instrumental chops are well known through his work as a producer and a sideman (Roy Clark, Jimmie Dale Gilmore, Jerry Jeff Walker) and he guides a world class band through classic Americana style arrangements on Dakota Lullaby. He shines on guitars, piano, organ, and dobro and that distinctive Albert and Gage harmony is prominently featured throughout. The duo take turns singing lead and you can almost hear the prairie wind as they wrap their voices around the ballads, the blues, the country, swing and bluegrass that grace this album. The music is pure Americana and Albert and Gage deliver it with the integrity and care that these great songs deserve.
Austin’s studio A-list, Paul Pearcy, David Carroll and Glenn Fukunaga, make up the rhythm section and are joined here by other hot Austin players - Lloyd Maines on pedal steel, John Mills on saxophone and Michael Austin on clarinet. Chris and Christine took advantage of borderless digital technology and added Canadian Mike Stevens on harmonica and South Dakotans Kenny Putnam on fiddle and Boyd Bristow on harmony vocals.
Al Rose
Somehow you got here and now you're checking things out and you find yourself wondering (maybe to yourself) what is Al Rose's music like? What are Al Rose's songs like? Good questions.
Imagine (if you will) your favorite café. Maybe it's Kopi Café on Clark Street in Chicago, or some place in Paris, or Rome, or Bali, or New York or some out of the way place in your head. It's late afternoon… or morning (if you've just gotten up). Either way, it's still a touch lighter outside than inside. You step in and your eyes adjust to the warm colors. Some of the tables are worn wood. Some are worn marble. All of the chairs are different and somewhat solid, but you have your favorites and you grab a seat.
Over by the wall, Bob Dylan is playing scrabble with either Allen Ginsberg or Serge Gainsbourg. It's tough to tell because bartender Richard Thompson makes sure to pour a shot of absinthe into every drink. Groucho Marx is over in the corner, chair back on two legs, playing ukulele and swapping songs with William Burroughs in a scene out of a Chagall painting. Henry Miller sits at a table littered with empty glasses and full ashtrays. Lucinda Williams sits on his lap, while under the table he tries, unsuccessfully to work his hand up Emmylou Harris's dress.
Neil Young sits at a table by himself eating popcorn and watching a movie that's playing in his head. While from the outside front window, Greg Brown looks in taking notes and sketching pictures.
Any other questions?
Ali Eskandarian
Ali Eskandarian’s transnational upbringing makes him a prescient voice for our era. The Iranian-American troubadour draws upon influences as discrete as American folk, rock and traditional Persian music to craft songs about love, travel, politics and loneliness. The results have earned him comparisons to greats like Bob Dylan and Jeff Buckley.
Ali was born in Pensacola, FL, on September 11, 1978, to a father who was an officer in the Iranian Air Force. Growing up in Tehran, Iran during the Iranian Revolution, Ali found strength in music. “I was always around music,” he explains. “It’s hard to find an Iranian party without dancing and singing. The Islamic revolution has not been successful in trying to stop people from having a good time.” After the death of Ayatollah Khomeini in 1989, the family was granted political asylum in Germany. After two years, they relocated to Dallas, Texas, where Ali experienced an arts-filled adolescence. After attending college in Plano, Ali moved to New York in 2003 to pursue his dream. He said, “I eventually realized how much music meant to me and that I could be a musician.”
Buzz has built around Ali’s live performances, which include shows at the Living Room, the Rockwood Music Hall and a summer residency at Washington, D.C.’s the Red and the Black. Ali’s highly anticipated debut album, "Nothing To Say", is slated for a late 2008 release on Wildflower Records. Produced by Rob Friedman, whose work was featured on Dan Zane’s Grammy-winning album "Catch That Train!", "Nothing To Say" exhibits diverse sources of musical inspiration. Standout track “Memphis” is motivated by the Americana of Willie Nelson, telling the story of a wanderer who is persistently drawn back to this mystical American city. Meanwhile, “Eastern Fancy” reveals the Persian influence of singers like Farhad and Dariush, with Ali’s powerfully austere voice front and center against an acoustic guitar background.
Ali’s intensely personal blend of East and West is an adventurous, politically compelling addition to the musical landscape of 2008/2009.
"Nothing To Say" available here.
www.myspace.com/alieskandarian
www.wildflowerrecords.com
All Day Sucker
Their time is now.
“As musicians, we use the framework of pop music aesthetics to make pop music wonderful, be it through song structure, melody or harmonies,” All Day Sucker singer Morty Coyle states. “We’ve been praying at the altar of pop music our entire lives. Now we’re ready to take our place in the church.”
All Day Sucker may be somewhat new to the music scene, having just released their second CD that’s brimming with heady, street-smart yet refreshingly sweet, sophisticated melodic rock. What gives their instantly memorable hooks a soulful resonance are sharp musicianship and a grounded lyrical sense that illuminates mature, authentic feelings.
This isn’t a group conceived in a flash-in-the pan marketing plan, or thrown together to appeal to someone’s idea of a target demographic. Core members singer Morty Coyle and keyboardist Jordan Summers started playing together in high school, fronting bands that cut its teeth in jazz, as well as pop, R&B, new wave and blues classics. While recording original material, they became an underground sensation, performing those jaw-dropping covers at Canter’s Kibbutz room open jam in Hollywood.
Eventually, Coyle and Summers decided to get serious with their music career and formed All Day Sucker — although they almost gave that name away. “During rehearsals, we realized that we didn’t have a name, then someone mentioned the Stevie Wonder song, ‘All Day Sucker,’ and we all thought it would be a great name for a band,” Summers recalls. “At the same time, we were friends with Maroon 5, who were originally known as Kara’s Flowers—but they didn’t like their name. We told them to use All Day Sucker, but they told us to use it. It went back and forth for a while until we settled on our respective names.”
With band name in hand, they continued to hone their original material, showcasing their improving musical chops and wizened lyrical perspective. “It was an evolutionary thing,” Summers says. “After listening too much to others early on, we decided to trust our own instincts, bringing in more of our personalities and presenting more rock-pop harmonies that people like to listen to.”
“The difference in our music is as stark as comparing a sandbox star with a professional athlete,” Coyle adds. “In our early songs, we were a force of adolescent hero worship. We were trying to be something that we wanted to be, not what we were. When we finally started All Day Sucker, we wanted to truly represent what we are.
Blessed with great songs, sharp chops, a cunning attitude and a mature sense of self, All Day Sucker is ready to venture into the seen-it-all music scene and emerge as a fresh, clever and unique musical presence. “Jordan and I have never been completely starry-eyed about this, as there always has been a certain level of understanding of what we were doing,” Coyle says. “Now we realize that it’s a much a folly for a 30-year-old to sing about hating his parents, as it is for a 16-year-old to explain what’s it’s like to live in real world. At a certain point in your creative life, you have to speak with your own voice. All Day Sucker has enabled us to find our voice.”
Allan Thomas
Allan Thomas' music, described by the artist himself as a modern amalgam of jazz, blues, R&B, and Latin, first gained attention in Hawaii when the well-known Beamer Brothers recorded his song "You Take my Breath Away" on their "Island Nights" album. The spotlight focused on his talents once again when Brian Kessler, now living in Oahu, wrote and produced the award-winning "Local Motion" jingles using Thomas as his lead singer.
In 1989, Allan Thomas contacted legendary producer Stephen Barncard and over the next few months they created the album 'The Island ". The record, which is released on Thomas' own label, Black Bamboo Recordings, is a collection of Thomas' original tunes written and recorded during 1989-1990.
Not surprisingly, much of the album draws its inspiration from the beauty and tranquility of the Hawaiian Islands, according to Thomas. "But," he quickly adds, "a number of the songs are concerned with other themes, like a world spinning out of control; steamy, secret affairs; windsurfing and visions of global brotherhood." The album features an impressive array of vocal, instrumental, and song writing talents provided by Thomas and his collaborators.
Asked to comment on "The Island", Thomas said, "It proves to me that if you have a vision and keep it near, you can make it real." He also notes that Donald Fagen and Walter Becker of Steely Dan expressed his feelings best in their song" Deacon Blue" when they sang:
"I cried when I wrote this song. Sue me if I play too long. This brother is free. I'll be what I want to be."
The album was dedicated to Thomas' late stepfather Carl Thomas who gave him early encouragement, and to the late Rhonda Lynn Jerald, his former spouse and dear friend who provided much inspiration for the music.
In 1996, Thomas continued his prolific songwriting on his second Black Bamboo CD, "Coconut Culture" (featuring, among others, Graham Nash on harmony vocals), which departed from the jazz-based format on the first CD, and leaned toward a more traditional feel reflecting his love for the indigenous music of his adopted islands.
His songs have been covered in Hawaii by The Hawaiian Style Band, The Beamer Brothers, and Norman 'Kaawa' Soloman, among others. In 1999 two of the songs from Coconut Culture ('I'll Find You Yet' and 'Ka Wai Aloha') we're used in a feature film called 'Beyond Paradise', produced out of LA and fimed on the big island of Hawaii.
He continues to play locally and also in Los Angeles, NYC, Toronto and other places in North America, and is just about to release his new CD ‘Making Up For Lost Time’, again exploring the world of altered tunings.
Allan can always be found surfing or windriding the waves on the North shore of Kauai and riding gain in his recording studio, producing, mixing or songwriting. And of course he's never too far from the water.
Ally Kerr
One of Scotland’s fastest-rising songwriters returned to Japan in April 2008 for some acoustic shows – the third visit to play there in just four years. Ally Kerr’s success in Japan followed the release of his critically-acclaimed debut album 'Calling Out To You', much of which was written as Ally travelled between the East Coast of the USA and the West Coast of Scotland. It was subsequently self-funded and recorded on a shoestring budget back home in Scotland and was first released on tiny Japanese label Quince Records. Its inclusion in a major Japanese music magazine’s list of “Top 20 Albums Ever To Come Out Of Scotland”, was testament to the strength of the songs and the album happily sat alongside the seminal works of Orange Juice and Belle & Sebastian.
During his first-ever-headlining tour of Japan, Kerr received word that one of his songs was to feature as the theme tune to a major new Japanese animated TV series 'Mushishi', based on a hugely popular comic book. 'The Sore Feet Song' was released in Japan as a CD single and his fanbase in far-flung corners of the world is continually growing as a result of this exposure. New converts in the USA, South America and Europe have been eager to find out more. The series has been broadcast in several countries and was released on DVD in North America last year. A truly international artist, Kerr was also featured in the China Daily (the country’s biggest English newspaper) and has many fans across this country and also other parts of Asia. Second album - 'Off The Radar' - was licensed to Universal Records in the Philippines in late 2008. The singer/songwriter’s international profile rose another notch after he was selected to play at the North by North-East music festival – Canada’s biggest and most important music festival, rivalling South by South-West in Austin, Texas.
The home team finally took notice and 'Calling Out To You' received a full release on Neon Tetra Records in 2005. Although echoes of Belle & Sebastian, Big Star, Kings Of Convenience, Simon & Garfunkel and many other artists resonate, Kerr’s style is singularly distinctive. One of Scotland’s broadsheet newspapers - Scotland on Sunday - recognised him as “one of the most interesting and creative musicians working in the country right now” in its rundown of the “Hottest New Scottish Talent”. Melodious, heartfelt, beautiful, melancholic, and quirky are adjectives regularly used to describe his music. The release of the debut album followed the critical success of his limited edition debut EP, 'Midst Of The Storm', which was released on 7-inch white vinyl by cult Spanish label Elefant Records (Lambchop, Camera Obscura) and garnered airplay around the world. Kerr continues to receive regular press and radio support from top Spanish DJs and BBC Radio 1’s John Peel was one such DJ who championed Kerr’s very earliest work on his shows.
Self-effacing, yet single-minded and determined, Kerr released his second album 'Off The Radar' on Much Obliged Records and in Japan on the Ultra-Vybe label. This new collection of twelve songs has received glowing reviews, international airplay and continued ‘word of mouth’ support across the internet with many agreeing that this new album is a real step-up from the much-lauded debut. A tour of Germany was completed in September and Kerr will venture to other parts of Europe and Asia later this year.
www.myspace.com/allykerr
www.muchobligedrecords.com
Amy Raasch
"She's got her own inner groove; nothing tentative about it. A force to be reckoned with.” - Don Was
Amy Raasch’s win in the 3rd Annual GINA/LAWIM Singer/Songwriter Contest for the Missing couldn’t come at a better time. She is just finishing up her debut album, which will feature her winning song, “Missing:” the story of a missing child told from the perspective of the child’s best friend. Likened to songwriting powerhouses Joni Mitchell, Ryan Adams, and Jane Siberry, her debut is an organic, intimate exploration of love versus independence.
"Her music is extremely inventive & narrative; it turns me on.”
- Michael Mollura, Music Connection
Every song is personal: it’s as if she crawls into the skin of the characters that speak through her songs. In fact, her first song was written in the voice of the character she played in feature film “the four corners of nowhere,” a Sundance pick soon to be released on DVD.
“Sophisticated, solid and comfortable like the seats of a Rolls Royce...Miss Raasch opens delicately for us the doors to her kingdom. One would have to be deaf -- and blind – to stay outside.” - Hector Zazou
Smoldering with breathy intensity one moment and exploding into full-voiced ecstasy the next, her dynamic live sound has lit up stages from Genghis Cohen, the Knitting Factory, Room 5, and Dragonfly to legendary NYC venues the Bitter End and CBGB’s. Following her acclaimed six-month residency at Tempest, she was named one of Music Connection’s "HOT 100 Unsigned Artists" for 2006.
"In a world full of derivative artists, she has a sound all her own."
- Paul Ill (Christina Aguilera, Linda Perry), Paul’s Pix, L.A.
Her distinctive guitar sound is based on open tunings of her own invention, and is complimented by an accomplished group of musicians. Drummer Dony Wynn (Robert Palmer) laid the foundation at Music Lane Studios (Sheryl Crow) in Austin, Texas. The production team included Austin-based producer Emile Millar (Kelly Dalton, Postfontaine, The Lapdancers), engineer Thom Flowers (Bad Astronaut, Sugarcult, Tim Cullen), and multi-instrumentalist Gar Robertson (Valentine’s Revenge, Sredni Vashtar). Patrick Warren (Fiona Apple, Aimee Mann) contributes lush, vintage keyboard sounds, with Milo DeCruz (Ryan Adams, Duncan Sheik) on bass and Stevie Blacke on strings.
Recently, she recorded a song for internationally acclaimed French producer Hector Zazou. Hear her multi-layered harmonies on “J’irai Pleurer Sous La Pluie” (“Cryin’ in the Rain”) on Zazou’s next record, “Looking in the Rear View Mirror.”
She is very proud to support GINA 411, a nonprofit organization whose mission is to bring together media agencies and artists to create an avenue of hope and awareness that can guide people whose family members become missing.
Amy Speace
"I kind of spilled blood all over this project," Amy Speace says of her new album 'The Killer In Me', which marks a quantum creative leap from the artist's 2006 breakthrough effort 'Songs For Bright Street'. While that release won her widespread critical acclaim and a loyal international fan base, 'The Killer In Me' finds the New York-based singer/songwriter forging into deeper, darker lyrical and musical terrain, borne largely out of her self-imposed isolation during the final separation of her long marriage.
"This is the record that I needed to make," Speace states. "In many ways, it was the hardest thing I've ever done. And in some ways, it was the easiest. Writing the songs was emotionally difficult, deep and intense - it was kind of an exorcism. But in the end, the songs flowed pretty quickly. You write the things that you’re afraid to say out loud.”
'The Killer In Me's' 12 soul-baring new songs maintain the effortless melodic appeal of her prior work, while delivering complex emotional insights that give the album startling intimacy and resonance. "The Killer In Me" chronicles a strangled co-dependent relationship, while "Haven't Learned A Thing" offers absolution for the continuing struggle in the attempt to connect with another and never getting it completely right. “This Love” speaks to the hope and uncertainty that comes with the onset of a new relationship. The album covers more terrain than romantic relationships, closing with “Piece By Piece,” written as a prayer to her father, wishing him peace and love after the death of his brother.
Most of the album was written in the rural isolation of a rented cabin in the Catskills after her final separation from her husband. "It was just me, some books, my journals, my guitar and the songs, with no phone and no TV," she explains. "I spent a lot of time reading and hiking and chopping wood for the stove, and wrote the songs that form the emotional center of this album.”
"The situation," she continues, "forced me to sit with a lot of silence, fear and confusion and make a kind of peace with them by writing songs to keep from going crazy. That's when the album started making sense to me and became a whole different thing. Something shifted when I realized what was going on in the world outside mirrored what was going on inside of me, and I wanted to write songs that bridged that divide.”
Speace recorded 'The Killer In Me' with her longtime producer and lead guitarist James Mastro, of Bongos/Health and Happiness Show fame, and her longstanding live band the Tearjerks, comprised of guitarist Rich Feridun, bassist Matt Lindsey and drummer Jagoda. The sessions took place at alt-pop legend Mitch Easter's Fidelitorium studio in North Carolina, with Easter lending his talents as engineer. Also on board is English rock icon Ian Hunter, who adds his distinctive vocals to a pair of songs.
Born in Baltimore and raised in small-town Pennsylvania, Speace initially had her sights set on a career as a playwright/actor, graduating from Amherst College and toured with the prestigious National Shakespeare Company. After moving to New York, she had roles in various off-Broadway productions and independent films, ran her own theater company, and taught Shakespeare in the New York City school system. After teaching herself to play guitar, she began setting her poetry to music, and quickly found songwriting to be the most creatively fulfilling thing she'd ever done. She soon began performing as half of the female duo Edith O. Speace made her solo debut with the 2002 release 'Fable', recorded with $5000 donated by fans and released on her own Twangirl label. Giving up her hard-won acting career to become a full-time musician, she hopped into her car and hit the road, booking herself into every club, café and college that would have her. After catching a performance at the SXSW music-industry festival, Judy Collins' manager brought Speace to the attention of Collins, who signed her to her Wildflower label. Her debut for the label, 'Songs For Bright Street', received warm praise from critics, including those in Europe, which has enabled her to build a strong touring base there.
Reflecting on making 'The Killer In Me', Speace concludes, "I got into music with my eyes wide open, having already been doing something else. I knew that the kind of music I wanted to make might be outside the realm of what's on the radio, but I didn't care. I just wanted to make something that's real. I’m as proud of this album as I am anything I’ve ever done."
"The Killer In Me" available here.
Anna Wolfe
Anna Wolfe was born on March 10th, 1972, the third of five children and raised on an Arabian horse farm outside of the two stop light town of Kirtland, Ohio. Anna’s family lineage is filled with artisans.
It was the woods that gave her inspiration, as she would literally imitate the songbirds as she walked and played outside. She gave her first performance at age three and started to make up songs in play soon after. Her mother reports that “Anna came out singing and hasn’t stopped since.” At age nine, with guitar lessons, came the further knowledge that she could write songs, and she wrote many throughout grade school and beyond recording six albums of all-original material.
In 2008, Anna was signed to the Muddy Sunshine label in Nashville, TN, the town in which she now calls home. "Love", her seventh all original recording, is her first release on this new label.
Wolfe's music has been compared to such greats as Joni Mitchell, Laura Nero, Joan Baez, Annie Lennox and Kate Bush. With classically inspired piano and guitar and with vocals and lyrics that stem from roots folk, she performs with poetic grace and natural wisdom. Having fronted five bands, including her Albuquerque band, "Anna Wolfe and the Hounds of Carlisle", Anna is currently booked as a solo act.
"Love", is true to her solo, live performance. With fantasia, faith and authenticity, Anna’s compassionate lyrics offer comfort and character. Her music is a gentle hand on the brow and loving arms for anyone who may need them. Her imagination exceeds the ordinary and blossoms free with melodies of grace. Wolfe’s music is gentle, yet vivacious. Anna Wolfe is unassuming and down to earth with one ear to the sky.
www.annawolfe.com
www.muddysunshine.com
www.myspace.com/annawolfesings
Annie Keating
“Keating is a wise mix of Lucinda Williams songwriting, Gillian Welch guitar and a vocal all her own. One of these singer-songwriters that lets her music do the talking. Her style invokes a cross between Willie Nelson and John Prine, and you don’t get any better than that!”
You don’t get any better than that. No frills, just passionate music and intimate songs, both tough and tender. Her sultry voice cuts straight to the heart.
Childhood, relationships, battles won and battles lost. There’s an honsety here, real and brave, that lets you know this is a woman who will travel roads not taken and go the distance.
Through her journeys, Annie Keating writes songs that takes us places.
Anthony Crawford
Anthony Crawford, born May 5, 1957, in Birmingham, Alabama, was a "star" in the hospital nursery where he was tagged "Pistol Pete" by the nurses, and has been known by his parents as Pete ever since. His musical talent began to bud at age five when asking for a twelve string guitar. His little hands were too small to fit around the neck and the guitar was later replaced. He had a natural yearning to pursue music and will tell you that he was/is influenced by everything really.
"I always wanted to feel the coordination between both hands, always fascinated by artists who could finger pick. I never thought of music as an avenue to be famous...it was the act of doing it that intrigued me. It was never a self serving highway of success in my mind. And still to this day it is about the love of music instead of what it can do for me."
By the time Anthony was older, he and his brother cut grass and worked odd jobs in order to buy a Martin guitar. This really inspired him, and the Martin became his constant companion. Anthony began performing while in Mt. Brook High School, singing in such school productions as 'South Pacific'’ and 'Fiddler On The Roof'. He also performed in a couple of nightclubs around town which brought plenty of recognition and a steady following. After winning a contest in downtown Birmingham, he found himself on the stage of The Grand Ole Opry with Roy Acuff.
Nashville became home to Anthony, performing live at Opryland, touring with the Sonny James Band, and doing television shows with Ralph Emery and Hee Haw. He caught the eye of many in Nashville including Rounder Records and Little Dog Records. After traveling throughout the Southeast, playing various string instruments, his associations expanded to include tours with Neil Young & The Shocking Pinks, Neil Young & The International Harvesters, Neil Young & His Electric Band, Steve Winwood ('Roll With It'-tour), Dwight Yoakam, Pegi Young Band, Nicolette Larson and Blackhawk. He currently is on the road touring with Neil Young on what's been coined 'The Neverending Tour', otherwise known as 'The Continental Tour'. Playing improvisational blues riffs on Neil's 'Tonight's the Night and 'Speakin' Out', Neil has taken full advantage of what Anthony is capable of bringing to the table and he has not disappointed.
Known in the industry not only as a musical prodigy for the ability to play any instrument, Anthony has proved himself to be a gifted photographer as well, taking the album cover photo for Neil Young's 'Chrome Dreams II'. His inspiration came from seeing Neil's old rusted out cars at his home in Redwood City, CA while rehearsing for the Chrome Dreams Continental Tour. The collection can now be viewed at various museums throughout California.
With a seemingly unending array of gifts, videographer has now been added to Crawford’s list of professions, soon releasing a new documentary on CD/DVD titled, ‘On The Road With A Rock Star’ that captures day to day life with Neil Young and the gang as well as internal thoughts and views while on the road.
A prolific songwriter, Crawford has unbelievably written over four-hundred songs and had them recorded by artists such as Steve Winwood, Pegi Young, Kenny Rogers, Lee Greenwood, Nitty Gritty Dirt Band, Billy Burnette and Lorrie Morgan. It’s no wonder his talent has lead him to the forefront of musical greats. Having created several solo albums including his self-titled debut album and 'Radio Cafe', his latest, 'Five Is Red', is his proudest accomplishment to date. It is a true collaboration recorded with the band Everest (who records on Neil Young's Vapor Records), as well as Bo Koster from My Morning Jacket.
www.anthonycrawford.com
www.youtube.com/woottoots
www.myspace.com/crawfordanthony
Arthur Adam
September 2007. Arthur Adam and Dutch producer Maarten Besseling headed for Valdemarsvik, Sweden for a project called "In a Cabin With...".
There, in a wooden house, in the quiet, they recorded 10 songs in 7 days. Some songs were written at home, some were written on the spot. They worked day and night and came home with an album that is atmospheric, a little sad, quiet, yet intense and colorful, like a sunny day in September. Arthur Adam's "In a Cabin With..." was the first only-download album to have ever been elected "Album of the Week" by www.3voor12.nl, the most influential Dutch indie/rock-website/community. The album got lots of great reviews and led to many interviews and radio and tv appearances in the Netherlands. In April 2008 Arthur Adam was elected artist of the week by www.MySpace.com in the Netherlands.
What people say about Arthur Adam :
"We don’t know if Arthur ten Cate called himself Adam because his songs sound as pure as life in Paradise once must have been. What we do know is that this talented multi-instrumentalist and songwriter seems to be able to write jazzy pop songs effortlessly. The songs are intimate, vulnerable and stay exciting. Need to compare? Think Joni Mitchell, Brian Wilson, Damien Rice and Sufjan Stevens. " (www.P60.nl)
"The song material on "In A Cabin With..." is of amazing quality."(www.FileUnder.nl)
"A special singer-songwriter album, carried by his haunting vocals and tasteful and subtle arrangements ... it will not let you go." (Volkskrant)
"Arthur Adam recently entered the realms of the category singer-songwriter extra-ordinaire. People that have seen him play already knew…: the man has a phenomenal voice, a huge reach, giant hands, a lovely guitar playing style and great slightly twisted songs." (Radio 6)
What he has to say for himself :
"I am a singer/songwriter and multi-instrumentalist from Amsterdam, the Netherlands. As Arthur Adam I write, sing and play my own sensitive and slightly different tunes, (since it is not really common for music to be meant to listen to anymore, I might as well state: my music is meant for (your) ears). But I am not your average hopeless romantic, although I tend to lose hope and cling to some romantic hippie ideals. I sing about love, doubt, death and often about the strangeness and awkwardness of everyday life…"
www.myspace.com/arthuradammusic
Audrey Auld
Audrey Auld is a musician in the ‘Americ-kinda’ style - traditional American country and folk influences with strong Australian roots. "Music With The Dirt Left On" is how she describes her sound. Audrey Auld is a spontaneous, engaging comedian & writer of humorous, provocative & poignant songs, with a trad country vocal style - a little bit Loretta Lynn and a touch of Randy Newman with that distinctive Aussie humor. Whether performing solo or accompanied by a stellar lead player she connects with her audience.
Despite playing classical violin from age 6 and eventually performing with the Tasmanian Youth Orchestra at 14, an introduction in Art School to Texas music and traditional Country lead to a passionate exploration of the history of American roots music.
Now, with 7 albums to her credit, her own record label (Reckless Records), 11 years of international touring, winner of the Chris Austin Song Contest (MerleFest 2006), several Australian Recording Industry Assn. and Gold Guitar nominations and cuts by various artists, Audrey Auld is established as one of Australia’s most-respected singer/songwriters and since her relocation to the USA in ‘03 she’s fast becoming a favorite with American audiences too.
"Audrey Auld is a great singer songwriter. She holds a unique place in contemporary Americana/Roots music. She is one of the most honest original artists I know." ~ Fred Eaglesmith
Barney Bentall
Growing up on the Islands off the BC coast, Barney Franklin didn't choose music as a career until relatively late in life. Though he'd played in a variety of groups as a teen and his early 20's, developing a song-writing partnership with high school chum Gary Fraser, he'd worked in a fish market, as a courier and in construction. Going under the name of Brandon Wolf, he formed a band in 1978 with guitarist Doug McFetridge, Will Froese on keyboards, drummer Jack Guppy and Kevin Swain on bass.
They honed their chops doing local clubs in and around the Vancouver area, playing all the hits of the day as well as mixing in some of their own tunes. They convinced A&M Records to sign them, releasing a 4 track EP in '79. Simply titled BRANDON WOLF, it was full of what would become Bentall's trademark satirical tongue-in-cheek look at life. Unfortunately tho it wasn't quite what execs were looking for.
Changing his pseudonym to Barney Bentall, he re-grouped the next year with The Legendary Hearts, taken from a Lou Reed album title. Consisting of Wolf-alumni Guppy on drums, guitarist Colin Nairne, Barry Muir on bass and Cam Bowman on keyboards, they again made a name for themselves in and around the Vancouver area. They hired Bob Rock (later best known for his work with Payolas) to produce some demos and headed to the studio, resulting in the independant EP LOSING CONTROL in 1980. But despite some slick production - it flopped.
Bentall again re-grouped - this time for nearly 7 years, touring frequently and re-thinking the whole process. He was signed to a major deal with CBS in '87 and began putting the finishing touches on the latest project. Though execs were pushing Barney o use a slick producer like Rock again, or even Bruce Fairbairn, he was intent on using David Tickle and waited until his schedule permitted it. Recorded at Vancouver's famed Mushroom Studios, most noteable for the work done there by the likes of Heart & Chilliwack, "Something To Live For" preceeded the album and lit up the charts. The self-titled album hit the stores the next spring and and saw "Come Back To Me" and "The House of Love" push the album gold. A more 'refined' version of "Something To Live For" was re-released early in 1988 to coincide with the video, his third, just prior to "She's My Inspiration", their fourth single.
A cross-country tour ensued, following which they began working on the next record. LONELY AVENUE was met by rave reviews when it hit the shelves in 1990. The lead-off track was the first single and "Crime Against Love" paved the way for what looked like another sure-winner, with "Life Cold Be Worse", "I Gotta Go" and "Nothing Hurts Like The Words" also released as singles. The sombre "Dark Nights/Dark Road" also gave an inside look at a more sombre songwriter. But problems with CBS caused them to be dropped, forcing Bentall to once again re-think his strategy.
Sony Music picked him up and released '92's AIN'T LIFE STRANGE, a more interspective look at life. Feeling he had a better idea of what he wanted his music to sound like, Bentall took over production duties with songwriting partner Gary Fraser. "Living In The 90's hit the radio as the first single, floowed by "Doin' Fine", Family Man", "If This Is Love" and "Belly of The Sun" following over the next year. They set out on another cross-Canada tour, also landing some gigs in the US and further entrenched themselves as one of Canada's most entertaining live acts.
The next record came in the form of 19100's GIN PALACE. Slightly more upbeat and arguably his most mature writing, "Do Ya" - the first single - ate up the airwaves and was followed by "I'm Shattered". Other noteable cuts included the title-track and "U Shook Me All Night Long". His now infamous legendary raport with the audiences again hilighted another extensive tour which took him well into '96. While on the road, Sony released GREATEST HITS '86-'96, containing 16 of Bentall's biggest hits.
His next new material came in the form of 'TIL TOMORROW. The eagerly-anticipated record came out in '97 and had some of Bentall's strongest writing to date. The lead-off track "Shoulder of The Road" was indicative of the album - well-written hard pop with tight hooks and seemless melodies. The irony of "Making The Bed (When The House Is On Fire)" harkened back to Bentall's sense of humour which was laced throughout the majority of his material. "So Electric", "Always You" & "Take Me To The Moon" all helped establish 'TIL TOMORROW as Bentall's most diverse record to date. Following some extensive touring he all but dropped out of sight, still making the occasional gig. Barney has signed with True North Records and has released his CD titled "Gift Horse"
"Gift Horse" is available here :
www.rootsy.nu
Barry Charles
Australian singer, Barry Charles, is renowned for his exceptional vocal range and technique. With inspirational inflections from the likes of Tom Waits, Otis Redding, Percy Sledge, Tim Buckley and Al Green evident in the emotional colour of his delivery, Barry is an engaging performer, passionate and wonderfully alive.
He was born into a family of singers, his grandfather was a bass baritone and his father a tenor. Barry can incorporate in a performance innovative scatting, interwoven with the unmistakable sounds of Tuva singing with influences here from [the late] Paul Pena. He also explores the technique of split harmonics and his phrasing is quite unique.
His song writing touches the soul with observations of life, love, the environment, indigenous causes, fantasy, humor - darkness and light. His guitar playing has loads of power and passion, which he delivers rhythmically and percussively. Sometimes referred to as an 'extreme vocalist', his performances showcase his song-writing skills, incorporating some very innovative scatting that has its roots in the blues, soul and jazz idioms.
Barry has recorded three albums of his original songs. Just released is the new album titled "Something Going On Out There..."
Batdorf & Stanley
Fans of Crosby Stills & Nash, Buffalo Springfield, “Rubber Soul”, The Eagles, or classic Beach Boys-harmonies are in for a real treat.
Can you imagine what the Rolling Stones songs would have sounded like if Mick Jagger and Keith Richards were California boys with acoustic guitars? Would “Satisfaction”, “Ruby Tuesday”, or “Last Time” have been as powerful if they had been played on acoustic guitars and filled with vocal harmonies? Curious?
So were James Lee Stanley and John Batdorf, purveyors of acoustic rock music for decades. They took 11 Rolling Stones-classics and turned them into something totally unheard of. You don't have to live in California or play acoustic guitar to be enchanted by "All Wood and Stones" ... an amazing collection of Rolling Stones tunes played on acoustic guitars and brimming with joyous vocal harmonies.
“All Wood and Stones” — a unique sounding album of classic Rolling Stones songs.
Bill Price
As a fan of The Beatles and Bob Dylan as a teenager, Bill Price set his sights on being a songwriter. “I don’t know if it was the realization that I was always going to be just an average guitar player, or the fact that I always have an opinion, that got me headed in the songwriting direction. 
But, for whatever reason, I just got that fire. I was inspired by certain music to try and do the same thing, and I still am.”
Early collaborations with his cousin Dave Price and later on with Mario Noche were also based around writing original music. “Dave was the first person I knew that actually thought about having a “concept” for a song. Being in my early twenties, I thought that was pretty unique.”
The collaboration with Mario Noche was also a fertile creative period. “I think we both respected each other’s songwriting ability and that inspired us to always try and bring something of quality to the table.”
In 2000 Price recorded his first album of original material, “Bones & Apples.” It received airplay in the US and Europe on college and independent radio. He also teamed up with Indiana bluesman, Gordon Bonham to form “The Brains Behind Pa” - a three, sometimes five-piece band inspired by Dylan’s songs and influences. “Gordon and I both have a love of Dylan’s music and much that inspired him, so we started a side project to kind of explore all of that music.” The result was “Old Hat,” an EP CD that contained seven traditional, folk and blues songs. It also received airplay, on college and independent radio stations across the US, in Canada and Europe.
A songwriter that is in a band inspired by Bob Dylan is bound to take the next logical step - that is, write original music for his band. “It’s an obvious extension of what we were exploring in all the old songs and Dylan's music. It was time to apply those qualities that we like in all of that music, to our own music. Carve out our own identity.” The resulting album, “Better For The Deal,” released in May of 2006, has fifteen original songs and strongly reflects the band’s influences. It has also received airplay in the U.S. and Europe on college and independent radio.
Bob Cheevers: Americana's Master Storyteller
Bob says, “I don't know if these stories are true…but they happened to me”.
Upon listening to Bob Cheevers' story songs like “Me And Dan And The Spoonman” or “The Soul Of Savannah” on his delightful new CD Texas To Tennessee, I'm struck by the fact that this guy shares a similar last name with one of America's great modern short story writers, the late John Cheever.
Few folks know the work of John Cheever (1912-82), the Pulitzer Prize-winning author of short stories in which he delineates, in clear, elegant, and frequently lyrical prose, the drama and sadness of life in comfortable suburban America. Bob Cheevers' characters are more rural than John Cheever's suburban ones and the singer-songwriter's haunting voice adds a dimension unavailable to the great short story writer. But the two are equally honest and captivating in their work.
Polygram's John Tita once said, “Bob Cheevers is the New Mark Twain and the Great American Writer.” The widely admired music journalist Bill Ellis of Tennessee's top newspaper, The Memphis Commercial Appeal, wrote of Cheevers, a Memphis native “Bob Cheevers has a Delta heart and an acerbic tongue, giving his music an honesty about the South rarely touched on by any other artist in the contemporary music scene.”
Cheevers left Memphis for LA in the mid-1960s after attending college. In Hollywood he scored a solo artist deal first with Dot Records, and then met up with Dan Dalton, a record producer who recruited Bob for a group called The Peppermint Trolley Company. Anyone of a certain age who remembers the ABC-TV sketch comedy program “Love, American Style,” with the fireworks display opening, knows some of Bob's early work, because The Peppermint Trolley Company sang the program's upbeat theme.
But while Dalton was pulling Bob to the commercial side of the LA street, Bob had discovered the emerging LA folk scene on Sunset Blvd. and the Troubadour, and singer/songwriters like Jackson Browne, who in a recent telephone interview Cheevers called “my all-time favorite artist.” On albums like Saturate Before Using (1972) and For Everyman (1973), Browne gave pop music an interesting fusion of folk, country, and rock stylings on deceptively simple but well constructed songs.
Cheevers knew what he wanted musically and knew he wasn't getting it under Dalton's direction, so they parted company. Cheevers moved to a 40-acre ranch in the Northern California highlands to write songs for MCA Music Publishing. The Canadian native and ex-Buffalo Springfield maven Neil Young became another hero. Ron Stone had worked with Neil, and Bob signed a management deal with Ron as well. Thus Cheevers got to hear tapes of the songs on Young's breakthrough album Harvest months before the general public did, and he was truly inspired.
MCA was not. “They dumped me,” Cheevers said. “I kept on writing songs that reflected the lifestyle of the ranch I was living on, and they wanted songs about urban love affairs.”
Bob honed his craft in Northern California and Indiana before eventually relocating to Nashville where he currently lives. On the new record, he and his good friend and Back 9 label mate, Brad Colerick, dug into Cheevers' vast catalog of over 1,000 songs to mine some gems for Texas To Tennessee, which is magnificently produced by Charlie White. “I've always tried to stay true to what I believed,” he says. “Jackson Browne did it, Joni Mitchell did it. Those were people who were my own personal favorites because of what they were saying. They stood by it.”
Now, Cheevers is standing by the power of his great writing, and folks in the US and Europe are taking notice. Two of his previous albums charted Top 20 at Americana radio. Johnny Cash asked Cheevers to open for him on Johnny's final tour; and his music has attracted the attention of not only music fans but of the late, great Civil War historian Shelby Foote, who wrote that Bob's songs about the South and the Civil War “show an understanding of war as a thing of shame as well as glory.”
Happily, after decades of wars with his own producers and music publishers, Cheevers has found his voice both as a singer and songwriter. The result is a record of great power through simple songs and crystal clear production. Now, we're hearing the real Bob Cheevers. We're listening to an artist who may be mellowing a bit but who still never pulls a lyrical punch, and a songwriter whose melodies and stories have been haunting and delighting listeners for nearly 40 years.
Latest album “Texas To Tennessee” available here :
www.rootsy.nu
Bob Lanois
"An invitation to collaborate with my brother, master arranger/musician Daniel Lanois took us on the trip of a lifetime through our family's Quebecois roots and ancient European history, driven by the pulse of the big city of Toronto. He enabled my fledgling harmonica style to emerge from a hidden place in the woods to meet the world.”
— Bob Lanois
When you have a superstar for a brother, it’s hard not to hit him up for a little help from time to time.
Bob Lanois embarked on creating his first solo album with a musical god on his side. Younger brother Daniel is spoken of in the hushed tones reserved for a deity. And why not, it was U2’s Bono who referred to him as the best musician he has ever known, while “Rolling Stone” gushed that he was “the most important record producer to emerge in the ’80s.”
A celebrated engineer and producer himself, Bob stepped away from the knobs and dials of the control room, and, freed from the tangle of cables and microphones, took a chance with his own collection of songs — varied, moody, engaging instrumental pieces — produced by the genius of Daniel.
“I totally had to ‘give’ while working with Dan,” says Bob. “He demands it and is somewhat of a shaman that way in that he will trick you into revealing your true self.”
Bob’s first solo project, “Snake Road” is an exit ramp off the superhighway of contemporary sonic exploration. It envelops the past, while pushing another envelope on what today’s — or even tomorrow’s — music should sound like.
“It’s forward moving. I believe I am more a futurist than I am a traditionalist,” proffers Bob. “I would rather plunge into the future. You can hear it on ‘Snake Road’.”
What you will hear is the signature dreamlike landscape of Daniel, with the surprisingly lithe harmonica of brother Bob piercing and challenging the rich, shifting textures of ethereal backdrop.
The nine tracks on “Snake Road” are anything but ignorable. Nor is the fact that Bob has been on the cutting edge of ambient since Eno spent two years living at his house while pioneering the sound at Grant Avenue Studio in the early 1980s.
While it’s hard to imagine the rough and tumble, blue collar streets of Steeltown as a womb for music that’s been referred to as “room colouring” and “sonic wallpaper”, that’s how the story goes.
“Ambient music was born in Hamilton, Canada,” Bob will tell you.
That’s where Daniel and Eno worked on seminal Eno recordings like “On Land” (1982) and “Apollo: Atmospheres and Soundtracks” (1983) — in the studio designed and built by Bob.
While the word “ambient” is literally defined as surrounding and encircling, it doesn’t, according to its creator, necessarily define “Snake Road”.
“I don’t consider ‘Snake Road’ an ambient record,” Bob says. “I consider it a timeless piece of work that could have been made at any time in history.”
In fact, he continues, every cut on “Snake Road” has a distinct and memorable melody based on a standard structure of verse, chorus and modulated breaks.
“Each and every one is, in fact, a classically crafted piece of arrangement genius of a very structured kind,” says Bob. “It’s almost the opposite of ambient where chance and randomness could even be an element.”
“Snake Road” is not Bob’s first foray into playing on an album, but this record is the first project he can take ownership of — his first solo release.
Bob played harmonica on the critically acclaimed “The Shack Recordings” Volume 1” (2005) with Tom Wilson (Junkhouse and Blackie and the Rodeo Kings), an album he also co-produced with the triple Juno winner.
Look for a sequel soon.
“Tom’s been hounding me every day for the last year, ‘When are we going to start?’ he keeps asking.”
Bob Wiseman
Bob Wiseman is a gifted Canadian piano player, filmmaker and a highly individualistic singer-songwriter. His contributions to the world of folk, improvisational piano and pop are boundless, and his work is always liable to provoke and inspire.
Having released a lot of albums since his debut in the 90’s, his latest album is “Themes & Variations”.
Recently toured Europe as opener for Feist.
Brad Colerick
Brad Colerick drew a line in the dirt 20 years ago when he gave up making records to make music for commercials. With the release of ‘Cottonwood’ last year, he crossed that line and now takes a big step forward with his follow up CD, ‘Lines In The Dirt’. With contributions from Suzy Bogguss, Larry Klein, Herb Pedersen and April Verch, Dirt fulfills the promise of ‘Cottonwood’. Boasting nine more compelling originals and two well-chosen covers, Colerick takes the listener on a journey through his life and his stories. Once again the playing is sharp and crisp, the songs deep and affecting. Colerick delivers another round of intimate and thoughtful vocals for an album bound to please any fan of honest songwriting and music making. “Cottonwood took 19 years to make,” Colerick says, only partially joking. “I made a couple of records in the 80s, before I came to California, then I succumbed to ‘blue check fever’ as it was known” -- a reference to the color and allure of union residual checks.
During that period, he created music for some of the world’s largest corporations but not for himself. “Two years ago I got serious about my own music again. Cottonwood evolved slowly and included some older tunes, but since then I’ve been playing live and finding my voice as an artist.” Most of the songs on Lines were written in the last year and road tested as Colerick traveled the West, winning converts with his down-home style. The album was recorded and produced by Ed Tree at his Treehouse Studio. “Ed’s like a bodyguard -- he never lets anything get in the way of the song or the vocal, but every player gets a chance to shine.”
Colerick’s music blends Americana, Folk and Country to create smooth, catchy melodies that seep into your heart with a single listen. His finely wrought, plainspoken lyrics find the poetry in everyday language to celebrate the often forgotten moments that make life worth living. “My California” contrasts the dreams of a mid-western boy with the reality of LA, a wry reflection on the perceptions and misconceptions of the Golden State. Its loping beat and chunky rhythm guitar take us down Sunset Boulevard with a perfect combination of wide-eyed wonder and smoggy cynicism. “Juarez,” a story about the hard lives of immigrants, was inspired by a bumper sticker. “My car broke down in El Paso, and I saw a bumper sticker that said ‘Jesus Lives’ as I was looking out over the border at Juarez. I thought, “Jesus lives where? Here? I feel a lot of compassion for immigrants who come and work incredibly hard under difficult conditions to support their families.” The tune has a bluesy, Norteño vibe, a compelling vocal and pedal steel that shimmers like the heat rising off an asphalt road.
“Remember Me” has a nostalgic 40’s feel, and Colerick whistles a sprightly solo that adds to the tune’s classic air. The song has already been licensed for an Etch-A-Sketch ad campaign. The title track is a sympathetic meditation on the paths in life that we all inherit and the choices and inner struggles we face. The music is subtly dramatic with a ghostly pedal steel and soulful organ complementing Colerick’s emotional vocals. There’s also “We’re Gonna Laugh,” a jaunty celebration of love on a credit card; the swampy bounce of “Let Her Fall In Love,” highlighted by the swooning fiddle of April Verch; and a slow, smoky reinvention of the Johnny Cash hit “Ring Of Fire,” with Suzy Bogguss.
Colerick and Bogguss met years ago when they were both struggling performers. When she heard Colerick’s take on the tune, she asked if he would consider making it a duet.
While Colerick’s friends add plenty of sparkle to ‘Lines in The Dirt’, it’s the songs that make the album memorable. Colerick’s understated delivery and beautiful melodies reveal new levels of emotional complexity with every listen. It’s a deep, rich album - a welcome addition to the canon of great American music.
Brian Kramer
He has been called “…the biggest U.S. Blues resident star in Europe these days” by Real Blues Magazine.
Brian Kramer, Brooklyn, NY, certainly has earned his repu-tation, performing alongside legendary and acclaimed artists like; Taj Mahal, Junior Wells, Larry Johnson, Eric Bibb, Bob Brozman, Tomani Diabate and many others. Brian has toured the world travelling extensively to the UK, Canada, US, Portugal, France, Germany, Scandi-navia, Poland, Netherlands, and Japan.
Most recently in 2007 Brian was invited to perform and conduct workshops by the Dept. of Culture at one of the largest cultural festivals in South Africa. Specifically with Brian in mind the Aardklop festival initiated the “Empower-ment through Music” program where he was able to meet with many young musicians in the local Township area and share his ideas on how to use music in a positive, value creating way.
His latest release; "Brian Kramer & The Nights Of Blu-topia - Live At Club Stampen" has taken this a step further, bringing the listener to Brian’s home base Club in Stockholm where he has performed to a full house week after week for the past ten years and influence a new generation of young performers.
- “One important step in broadening the interest in blues music was the starting in the late 1990s of jam sessions at the club Stampen in Stockholm by the American singer and guitar player Brian Kramer.” -
This high quality, multi-track recording features some of Sweden’s finest musicians as special guests and showcases Brian’s original material that spans the scope of his world/blues influences. From Brooklyn NY to the Delta to Mali, you can hear the fine thread that overlaps & connects each genre as it filters through Brian’s personal experience with his unique style and National slide guitar. This recording is his most intimate and at home and it is 100% live so all the raw energy is there. So, relax and take a journey to Blu-topia with Brian Kramer, you might not want to leave.
"Live At Club Stampen" available here.
Abi Tapia
Ad Vanderveen
Aggieland
Albert & Gage
Al Rose
Ali Eskandarian
All Day Sucker
Allan Thomas
Ally Kerr
Amy Raasch
Amy Speace
Anna Wolfe
Annie Keating
Anthony Crawford
Arthur Adam
Audrey Auld
Barney Bentall
Barry Charles
Batdorf Stanley
Bill Price
Bob Cheevers
Bob Lanois
Bob Wiseman
Brad Colerick
Brian Kramer
