AA sound system formed a long time ago when Ayla Brook (singer/guitarist) decided he didn't need other humans to play roots-y music. He programmed some beats and sounds and played some acoustic guitar and sang and tweaked it all into something that even fans of early Beck wouldn't be able to figure out. Then he got a little lonely.
Enter Marek Tyler (drums and vocoder/samples), childhood friend from Prince Albert, Saskatchewan who had been chasing sounds and tails around the northern/western regions of Canada with moderate success in each department. He made the drums ring out live and organically and made aa sound system into a live and breathing sound machine. Years pass along with incarnations of the band and songs, songs that range, by the way, from tree-planting anthems to drunken-folk-fest kickers to contemplative late-night sobbers and forest-fire-survival rockers.
Then enters one Lane Arndt (bass/keys/vocals), a refugee of musical academia and free-jazz guitar skronkery who was beginning to acknowledge the power of the song, the lilt of melody, the grace of the lyric and the pull of an audience that actually cares about stuff.
Here's a poem:
“Rehersals happened and gigs were played, some more time passed and a recording was made.”
"Lily Plain...You're Hardly Poor" was released in the lazy summer of 2004 whereupon it was wholly embraced by college and community radio across Canada, into the states a bit and even out in the european colonies. 'Lily Plain...' introduced the band with a grace reserved especially for alt-country trios with a combined age of nearly 100, take it slow, don't break a hip, and we'll get there when we get there.
AA Sound System has just finished recording album number two "Laissez Faire". A folk-pop-rocker with wicked sounds and songs and great performances all the way around. Aided and abetted by one Danny Michel on producer duty and serving as all-around Walken-impersonating funny-man. This is the record that will take AASS to the edge of the porch to wave at fans and dangle babies for all those who care about good music to see.
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.
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
On her new album Songs for Bright Street, New York-based singer/songwriter Amy Speace demonstrates why she's quickly become one of her adopted hometown's most celebrated emerging artists. Possessing a commanding voice, a distinctive melodic sensibility and an uncanny knack for nailing complex emotions in song, Speace makes music that's both illuminating and effortlessly accessible.
From the rustic rush of "Step Out of the Shade" to the bittersweet lilt of "Water Landing" to the gentle acoustic intimacy of "Two," Songs for Bright Street's 12 original compositions (plus a slyly countrified reading of the Blondie classic "Dreaming") showcase Speace's unique gifts, offering catchy Americana with indelible hooks, sharply observed lyrics and a gritty urban edge. Among those impressed by her sassy songcraft is legendary folk-pop songstress Judy Collins, who chose Songs for Bright Street to release on her new Wildflower label.
Songs for Bright Street was produced by multitalented veteran James Mastro (of Bongos/Health and Happiness Show/Ian Hunter fame) and features Speace's longtime backup combo, the Tearjerks, along with guest appearances by Jayhawks frontman Gary Louris, noted troubadour Cliff Eberhardt and fiddler Soozie Tyrell of the E Street Band.
Amy Speace has already won a loyal grass-roots fan base, thanks in large part to live performances that merge warmth, humor and emotional immediacy, and to a tireless touring schedule that's already taken her across the United States. She's also won considerable critical acclaim, with The Village Voice observing that Speace is "taking her Americana away from twangy contemplation toward tangy confrontation" and noting that she's "not another of those breathy would-be child poets, but a real singing writer of songs." Time Out New York stated, "Amy Speace plays sweet, twangy folk music with a clear voice and an innocent vulnerability," while The Nashville Scene noted that she "balances wry humor with open-hearted honesty." And renowned Nashville critic Robert K. Oermann, writing in Music Row, dubbed her a "new star."
Songs for Bright Street marks a substantial leap forward for Amy Speace, both in the lyrical insight and melodic craftsmanship of her songs, and in the passion and confidence of her performances. In contrast to the confessional introspection of her prior work, her new tunes offer a rich gallery of memorably drawn characters and universal emotional dilemmas.
"The songs on this album follow a thread," Speace explains. "I'm trying to unearth something true about relationships, maybe a darker side, self-doubt, the angst involved with long-term partnerships, marriages, friendships. Not twentysomething wide-eyed innocence, but maybe a harder-earned clarity. I think that most of these songs are about a search for contentment. And I framed the record with two songs that bring it back to the positive-the bright street, I guess."
The eloquence of her songwriting makes it easy to understand why Amy Speace traded one established career for the riskier prospect of pursuing her musical muse.
"I loved acting, but I never felt comfortable with the auditioning and the schmoozing," she asserts. "But with music, I never had a problem calling clubs and convincing them to let me play. I never got nervous auditioning, and I loved meeting and talking with other singer-songwriters. It's not that I thought I was any better a songwriter than an actor; it just felt more like me. It's me being me, not playing a part. And to watch the immediate reaction-to feel the audience's response in the moment to my words and my voice-was a gift. To get to go on that journey together is really a thrill ride for me."
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.
Annie Minogue Band
Meet AMB! Their driving and energizing sound, which combines a gutsy rock attitude with great pop sensibility and a hint of the blues, is reminiscent of some of rock’s greatest female icons like Heart, Stevie Nicks and Pat Benatar while still exemplifying a unique and contemporary edge.
The lineup which consists of Nunzio Signore (Guitar), Jeff Catania (Guitar), Nick Saya (Drums), Peter Williamson (Bass) and Minogue (Vocals) never fails to stimulate and excite audiences.
The band has put on amazing performances all over the USA alongside some rock legends:
* David Lee Roth's USA tour (opening act)
* Chris Whitley NE USA tour (opening act)
* Guinness Oyster Fest (opening for Dave Navarro)
* Summerfest (opening for Black Eyed Peas/Soul Asylum)
* Sturgis Music Festival (opening for the Steve Miller Band)
* Sundance Film Festival (Featured Performer)
* Texas State Fair (Headlining Act)
Annie Minogue has been a singer, songwriter and musician her entire life. Her father was a professional musician and their household in New York City was always filled with music and talent, giving her a positive perspective of the industry as a wonderful way to make a living. Her musical influences have ranged from Patti Smith to Led Zeppelin and everywhere in-between.
Her breakthrough solo debut album "Home" was released in 2000 on the Nippon Crown label in Japan, pulling in nonstop great reviews and leading to another release on Annie's own imprint Liberty Place Records called "Love Parade."
AMB just released their latest CD “Tripping The Velvet," a true tour de force of songwriting, production and musicality. Just one listen and you will understand why so many people keep falling in love with their music in the first place.
Anshelle
Anshelle from Bern/Switzerland combine on their second album "Rewind Please" catchy pop tunes of international standard with delicate melodies, soulful vocals with a good old pinch of rock. The disco flavor and the dancy computer sounds of the debut album have made room for an earthy band-feeling. No coincidence at all.
The glamour of pop on a salver? From zero to hero like American idols, being cuddled by the media, praised and adored by fans? A nice thought, indeed, also for Michele Bachmann. The singer of the band Anshelle was supporting act for Swiss dance export DJ Bobo, performing in rock stadiums in front of thousands of spectators. The debut album "Part of the Game" (2002, BMG) got a good response throughout Switzerland. The mixture of hooky melodies, soulful vocals and dance floor-oriented beats were praised in the Swiss media.
However, the big breakthrough could not be realized at this stage. The chances would have been bigger riding on the Swiss German pop/rock wave.
Still, Michele Bachmann did not choose the path of no resistance, which guarantees instant success. The Bernese woman, starting her career with the trip-hop band "Neuland", is an artist who deliberately listens to her inner voice. Having lived in Asia during her adolescence, where she mainly spoke English, it was clear to Michele Bachman to sing in English. Bear in mind: the charming woman is strong-minded and has learnt to stand up for her beliefs. Not only in good times. The picture of the woman in boxing gloves, which was the cover of the album "Part of the Game", was not just a nice eye-catcher, but of symbolic character.
Since the end of the "Part of the Game"-tour in 2004 there have been some major changes in the life of Michele Bachmann, both private and artistic.
When Bobby Gertsch, long-time producer and composer, left the band, Michele Bachmann was standing for a short time in front of a heap of ruins. But she pulled herself together, composed and produced with long-time pianist Sandro Marretta and bassist Phil Küffer a whole new album within a couple of months. The final touch to the songs was added in the band room (guitars: André Brügger, drums: Martin Kissling). Michele's memories of her childhood in Wileroltigen were the inspiration for the new album. She refers to the town, with its 400 inhabitants, as 'the most beautiful place on earth'. 'I wanted to go back once again, to remember everything and to anchor it deep within my soul', says Michele Bachmann. 'I wanted to realize this dream with the production of "Rewind Please" - and it came true!'
The sound of Anshelle's second album is earthier and less electronic, which is a natural development, because the production is the result of a band which sounds remarkably harmonious, despite its relative young age. Co-producer Gert Staeuble (Zueri West) and mixer Oli Boesch (Zueri West, Lovebugs, ...) have added a homogeneous and timeless touch to the band's sound. "Rewind Please" looks back and at the same time opens a new chapter in the history of Anshelle, which promises an exiting future.
Artie Traum
Artie Traum’s new CD ‘Thief of Time’ was just released on April 15, 2007. After one week he is getting airplay on 22 stations including KBOO (Oregon), WKZE (Connecticut) and Radio Despi (Spain).
- Artie is an award-winning guitarist/songwriter featured on over 35 albums for Capitol, Sony, Shanachie and Narada Records.
-He has produced or recorded with The Band, Bela Fleck, Tony Levin, with John Sebastian, Richie Havens, James Taylor, Pete Seeger, David Grisman, Livingston Taylor, Michael Franks, his brother Happy Traum and dozens of top artists.
Artie Traum’s songs and instrumentals have been recorded by The Band, David Grisman and Tony Rice and he has composed film scores for PBS shows including Do You Mean There Are Still Real Cowboys produced by the actress Glenn Close and directed by Academy Award winning director Jon Blair
He has also written dozens of instructional books and DVD’s about music and guitar styles, published by Happy Traum’s company Homespun Tapes and Hal Leonard. Artie’s article for the New York Times Sunday Travel Section “The Aeolian Islands” won him the Leonardo Award in International Journalism in 2000.
Recently, Artie teamed up with folksingers Chris Shaw and Tom Akstens to release Big Trout Radio: Songs About Fishing, a highly-acclaimed CD. Happy and Artie Traum released “live” recordings from the 1970’s and ‘80’s on Slice of Life Records in Japan in 2006. In 2004 he performed a American Aid Society benefit at the American Cathedral in Paris followed by a tour of England and Scotland. In 2006, Happy and Artie Traum toured in Japan. In April 2007, Artie will appear at the International Guitar Festival in Sarzana, Italy.
“Artie Traum has the natural, soulful touch that other guitarists can only dream about.” - Donald Fagen, Steely Dan
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
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.
Berkley Hart
Hailed as masters of both two part harmony and dazzling song craft, over the past seven years, Berkley Hart have established themselves as one of the premier acoustic duos touring the country. In concert the duo shines, the obvious camaraderie between these two top songwriters driving each performance. Add in virtuoso playing from both Jeff Berkley (guitar, percussion) and Calman Hart (guitar, harmonica) as well as their good natured humor and it’s easy to see why the two have become live favorites. That said, it’s their acclaimed albums which have racked up the accolades, each filled with tunes as catchy as you’re likely to come across. Over their three albums to date, the duo has honed their approach, experimenting with format and instrumentation, even using a band. Now the pair has stripped their sound down to the basics, using only what they can carry, their guitars and their voices.
Just released in March, 2006 is Berkley Hart’s fourth album, Pocket Change. The duo wanted a ‘back-to-basics’ record that captured the spirit and essence of their live performances, just the two of them, playing and singing together into one microphone. Keeping things as authentic -as well as spontaneous- as possible, the disc was recorded in a wooden room, with the guys playing and singing together at the same time. Comprised of road tested material, there were very few overdubs and very few takes during the session, which took sixteen hours start to finish. This pared down musical approach offers the perfect vantage point for inspired harmonies and lyrical deftness built out of a lifetime of performing.
Both Berkley and Hart emerged from the Southern California coffeehouse circuit, each building sizeable followings of their own before joining forces. Berkley is a Kerrville New Folk Songwriter Award Winner, and a founding member of the Joel Rafael Band. Meanwhile Hart has released a trio of albums as a solo artist. Going on seven years together however, the pair's performing style has evolved, in a true ‘less is more’ scenario. Beginning in early 2005, when the duo staged O Berkley, Where Hart Thou, the pair began their quest to hearken back to the ‘old-timey’ ways and only use one microphone, no monitors, amplifiers or direct boxes. In this way Berkley Hart are at their purest in every performance whether they’re in a large outdoor venue or in an intimate house concert setting.
Each of Berkley Hart’s three previous releases has built on the promise of the one before. 2000’s debut album, Wreck ‘n’ Sow, was a critical success out of the box that won that year’s San Diego Music Awards (SDMA) prize for Best Local Recording, and took home the coveted Best New Artist trophy to boot. SLAMM magazine said, "Sometimes an album surfaces that is so emotionally and musically authentic that it crumbles resistance to its genre." Two years later the duo released Something To Fall Back On, receiving that year's SDMA for Best Adult Alternative Album. This time out Relix Magazine proclaimed, "The band infuses its rich, harmony-laden songs with strains of bluegrass, folk, country and rock…while…their solid and finely-crafted songs are a good melding of yesterday and today." More recently, Twelve was released in 2004. Self-produced and recorded entirely in a home studio, the album received an SDMA for Best Americana Album. The All Music Guide noted, "Twelve...reveals that [Berkley Hart] know how to create appealing, harmony-rich country-rock songs. In fact, this disc...feels like an excellent calling card for Nashville."
All of which leads us to Pocket Change. Both an excellent introduction to the Berkley Hart sound, as well as the album that long time fans have been hoping for, the eleven tunes on offer won’t disappoint. In Pocket Change, the duo have crafted an album that can touch both soul and whimsy, ably confirming the pair’s dedication to both song hooks and wordplay. Perhaps the perfect condensation of the talent that is Berkley Hart.
Beth Hirsch
Until now, Beth Hirsch has been best known as the voice and co-writer be-hind Air's internationally acclaimed debut album 'Moon Safari' with their classic hit, "All I Need" as well as "Everything", the sultry and hau-nting duet with Senegalese singer Wasis Diop from the Pierce Brosnan film, "The Thomas Crowne Affair".
Her first and second solo albums, "Early Days" and "Titles & Idols" from K7 Records were met with outstanding critical reviews bringing her folk and singer-songwriter origins to the fore-front.
Her latest solo effort, WHOLEHEARTED, is now being considered her best work to date thanks to the superb production of Jez Colin, Phillippe Balatier & Pascal Reva and first-rate musicianship from keyboardist Deron Johnson (Miles Davis, Seal), guitarist Jaime Kime (Jewel) and trumpetist Enzo Villaparedes (Earth, Wind & Fire).
"Who knew modern jazz could sound this incredible? For any jazz fan out there I would highly recommend that you give the latest release by Beth Hirsch a listen. Even those not into her genre of music will be vastly impressed. The works of Beth Hirsch are a great find from a talent that deserves to be internationally recognized."
L. Anne Carrington / Helium US
Beyond Reach
Conventional wisdom warns us that creative alliances are short-lived and generally best in the beginning. That gives us all the more reason to celebrate Beyond Reach, a richly-textured and lyrically substantive tapestry of songs by Randle Chowning and Larry Lee, cornerstone members of the seminal 70’s country rock conglom-eration, The Ozark Mountain Daredevils.
Thirty years after the Springfield, Missouri-based outfit helped construct the bridge between rock and country, Lee and Chowning have crafted a thoughtful, infectious record which clearly showcases their individual strengths as singer-songwriters and exemplifies the rare achievement of artistic maturation in a collaborative context.
“This record isn’t manufactured,” notes Lee. “We went anywhere we felt like going, but it still has a cohesive center. Things are kept fresh by having a different voice on every other song.” Beyond Reach originated when Chowning solicited his former band mate’s input into a collection of songs composed for a music publishing project. Both longtime residents of Nashville, Chowning and Lee had sung the Daredevils’ best known hits, If You Wanna Get To Heaven in 1973 and Jackie Blue in 1975, respectively.
“Making this record was exceptionally easy because we have spent so much time together,” observes Chowning. “Anything I missed, Larry caught. He’s much more methodical and patient. I plow ahead and want to keep rolling. Some of my weaknesses are his strengths and vice-versa. He’s very British Invasion, pop-influenced. I’m more raw, bluesy and folksy.”Their musical differences are clearly complementary and reflect the similarities in their personal backgrounds. Randle Chowning was born on April 4,
1950 in the Ozark hamlet of Mountain View, Missouri. Surrounded from childhood by guitars and amplifiers in his father’s radio and television shop, Chowning was quickly exposed to the tools of his trade.
“My dad made five landings as a radio guy with Patton in North Africa, Sicily and Italy,” recalls Chowning. “After World War II, he had steel guitars and Hawaiian guitars mixed in around the shop with radios and televisions. He would clean the volume pots and do the soldering work. Technical stuff came into play early on for me.”
In 1960, the Chownings moved to Springfield, where Randle became serious about learning to play guitar and continued to absorb the influence of his mother, who sang frequently around the house with near perfect pitch.
At a high school pep rally in 1964, Chowning (a freshman) was impressed with the drumming of upperclassman Larry Lee. “I remember seeing him out in the hallway every day. He wore Beatle boots”, Chowning relates.
In 1971, Chowning was a student at Southwest Missouri State University and playing local clubs in a variety of bands when he again crossed paths with Lee, just back from a tour of service in the Navy and now working the local bar circuit.
Listening to Lee perform an original song, singing and playing drums, Chowning was immediately drawn to the prospect of working together. A few months later, Chowning heard that Lee was between gigs and approached him with the idea of starting a band with another singer/songwriter, John Dillon. When Lee agreed, the three of them brought in bassist Michael “Supe” Granda and songwriter/poet/harmonica man Steve Cash to form what became The Ozark Mountain Daredevils. The group’s eponymous debut album went gold and spawned an international following that continues today.
Chowning departed in 1976, released a critically-acclaimed solo record on A&M in 1978 and eventually relocated to Nashville, where his songwriting skills have led to success with artists like Billy Gilman.
For Larry Lee, who was born in Springfield in 1947, music was more than a career choice-it was a matter of bloodline. Lee is the only son of a noted big band singer and, following in his father’s footsteps, formed his first band at the age of twelve. Of his trademark Beatles boots, Lee reveals that they were first purchased at a retail store in Kansas City shortly after the Beatles landmark appearance on The Ed Sullivan Show.
Following military service during the Vietnam era, Lee’s tenure with the Daredevils lasted for eight years; capped-off by his signature crystalline vocals on the smash radio staple Jackie Blue. Lee moved to Nashville in the early 80’s, working as a songwriter and background vocalist.
In 1986, rocker Jimmy Buffet asked Lee to tour with his legendary Coral Reefer Band. Lee established a production partnership with tour mate Josh Leo, leading to a stellar career as a record producer for artists like Alabama, Restless Heart, Juice Newton and others. Along the way, the duo racked-up numerous multi-platinum albums and thirteen number one singles. As a writer, Lee scored with songs covered by top artists like the Everly Brothers. Lee’s lifelong affinity for British pop lives on through his spirited side project, The Vinyl Kings.
With Beyond Reach, both artists have come full circle. Randle Chowning’s distinctive, world-weary vocals and Larry Lee’s sweet, pristine approach make for a finely-balanced presentation of intelligent, insightful and emotive renderings. The gems on Beyond Reach are the culmination of years of quality craftsmanship.
“If this is the last thing that I do, I’ll be happy,” Lee says of the satisfaction derived from the project. “I love this record for the fact that no one was standing over us. There was no pressure. We just took it to its natural conclusion.”
Musing on the path that brought them to this point and the prospect of delivering Beyond Reach to an audience searching for lyrical and melodic substance, Chowning is ironic and succinct.
“This may be closure and something else opening up at the same time,” he says, reinforcing the idea that worthy endeavors are not always beyond reach.
Bill Bourne
The traditional image of a spiritual seeker does not usually conjure top hat, boots, shades and a '68 Lincoln Continental, let alone a Gibson flat-top to go with, but like any living tradition, it's open to change.
Born into a musical family with deep poetic roots*, Bill Bourne is a gifted and creative musician. An activist for social justice and an 8 time Juno Award nominee and winner, this one man tour de force has been critically acclaimed across the western hemisphere for his recordings and live performances. Voodoo King was dubbed "...as much performance art as it is musical. Stellar." by the respected Doug Sloan of Metronome Magazine. Gary Joyner of the San Diego based magazine Acoustic Guitar adds - "This powerful CD's 11 masterful songs are full of broken hearts and reflective regrets balanced by a street wise philosophy of acceptance." Phrases such as 'an intelligent songwriter'; 'exquisite'; 'raw'; 'inimitable'; 'eerily beautiful'; 'significant and compelling performances'; 'a true mystic'; are used to describe Bill Bourne's music.
Long highway miles between moments of communion and magic have given his music and his vision a kind of breadth and depth that is rare.
The road, both paved and metaphysical, runs through all his music. He has seen more of this country and several others than most of us ever will. You can hear it in his music, steeped in Cajun, Celtic, World Beat, Flamenco, funk - and a lot of blues.
There is also a perspective that is not the world-weariness one could reasonably expect, but rather a deep connection with both a river of song and an energy that is distinctly spiritual. It is a generous, sensual kind of spirit, in the way his fingers stroke the strings on that flat-top, the intimate tremor in his voice and the way the music itself dances.
Small town Alberta might also go some distance to explaining Bill's comfort with space; with the kind of wide shot perspective in both his music and his words. He grew up in a farming family and learned the value of hard work early on.
Bill has been an important part of roots music for a long time. He was a member of Scotland's Tannahill Weavers for several years, with world renowned piper Alan MacLeod for a time, then with fiddler Shannon Johnson, blues greats Hans Staymer & Andreas Schuld, and most recently with Tri-Continental. His work with Madagascar Slim and Lester Quitzau (Tri-Continental) has been very well received on both sides of the Atlantic. Bill's current collaboration with Eivør Palsdottir of the Faroe Islands is a deep, and powerful musical union that is undeniable in it's shine and relevance.
There are 12 recordings of this musical journey and an armful of awards and nominations.
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.
Black Lab
In 1998, Paul Durham and his rock band, Black Lab, released their Geffen Records debut Your Body Above Me to critical acclaim. The album yielded the top 10 rock and alternative single "Wash it Away," and the top 40 ac and pop track "Time Ago."
Paul Durham grew up in Twin Falls, Idaho before moving to San Francisco to pursue his passion for musical invention. He recorded and toured with a group of friends under the moniker “Durham,” and made an acoustic-based singer/songwriter record with celebrated jazz producer Lee Townsend. (now available at blacklabworld.com under the title Ten Million Years: songs from the nineteen nineties).
“Durham” split, but a deal with Geffen Records followed, a new band was built, and Black Lab's debut was tagged as "one of this year's breakout records" (Billboard). Hollywood called, and the band contributed songs to the soundtracks for Can't Hardly Wait, Varsity Blues, Permanent Midnight, and Buffy the Vampire Slayer. After a year of touring, Black Lab was poised to fulfill their destiny as "the American U2" (San Francisco Chronicle) when their record label was quickly shuttered. Over the next two years, Durham left his band, fired his manager and moved to LA. "In the end, all I had were my guitars and the songs I was writing." Durham wanted to control the sound around his voice, so he bought a computer and learned to use it. "I had to get back to how it was in high school -- just me and my four-track."
The resulting demos got Durham a new deal with Epic Records. "The first thing I did was buy a giant ProTools system." The only problem was, he didn't know how to install the software. On advice from a friend, Durham hired Andy Ellis to set up his studio. "So, we're sitting around waiting for the computer to reboot," remembers Durham, "And this guy picks up my guitar, without asking. I was cringing inside, afraid of what he would play. But he was great. I wanted to sing over the top of everything he played. Pretty soon, we were writing together."
At 23, Ellis was already an accomplished guitarist, keyboard player and programmer. He had been working as an assistant to some of the best engineers in the business and knew how to twiddle some serious knobs. Durham had found the missing link between what he heard in his head and what came out of the speakers. "Working with Andy is the first time collaboration has ever been easy," says Durham. "Instead of the whole hell-is-other-people thing, we have a blast just making sounds.
See the Sun has a depth and emotional range that broadens with each listen. Much of the album was mixed by Tom Lord-Alge (Live, Blink 182, Avril Lavigne). What shines brightest is the band's pop sensibility – the liquid swirl of "Remember," the epic sweep of "See the Sun," the raging loss of "Without You," and the open-armed surrender of "Lonely Boy."
“Learn to Crawl” was tapped as the fourth track on the platinum Spider-Man soundtrack. Produced by Durham and veteran mixer/producer Tom Lord-Alge, the song wraps an aggressive guitar riff around what Rolling Stone calls "Black Lab's tightly spun, highly melodic rock."
The title of "Ecstasy," a pulsing shadow that wakes to full rock glory, was inspired by Durham's experience recording: "The freedom to do what I wanted – in the studio across the hall from my bedroom – was amazing. I would get up late, go to the beach, then work until four or five in the morning. I got to record this album the same way I wrote it."
While See the Sun represents a zenith in Black Lab’s songwriting and production, the band continues to push and expand its sound into uncharted territory, contributing a vicious techno track called “This Blood” to the worldwide hit movie Blade : Trinity. Black Lab also continues to produce music for television (MTV’s Real World, “What I Like About You,” “The Days”) as well as the upcoming film Lovewrecked.
Ears. You can put them to the ground. They can prick up.
Since 2000, The Boat People have been causing the latter to occur on anyone who engaged in the former.
A union of high school students James O’Brien (vox/bass), Robin Waters (vox/keys), Charles Dugan (vox/guitar) and Tony Garrett (drums) on NYE 1999, the foursome developed a solid repertoire and strong live following releasing four CDs to date, The Boat People EP (2001), Squeaky Clean EP (2002), Three Pieces For Small Ensemble EP (2003) and Tell Someone Who Cares (2004), as well as touring the east coast 12 times in the last four years.
Appearances at the Big Day Out, Woodford Folk Festival, live to air on Triple J and supports with many of Australia’s most talented artists such as george, Pete Murray, Missy Higgins, Little Birdy, The Whitlams, David Bridie, Motorace and Dallas Crane, have galvanised the band’s full potential and has taken them to new levels.
But 2005 was the year that everyone (even the clean-eared) found out who The Boat People are. For the band, it could not have been bigger, including supports with The Shins, Dogs Die in Hot Cars, Idlewild and David Byrne and the recording and release of their debut album, yesyesyesyesyes.
With ‘yesyesyesyesyes’, The Boat People delivered what has been hailed across the country as one of 2005's best Home-Grown releases, a loaf of A-grade indie-pop which illuminates a different Australian creative outlook, usuallyconcealed beneath the midden of dredged pub-rock nostalgia. So far it has provided three Triple J high-rotators with still more up its sleeve.
After spending the last two months on the road (including stints with Drag and Alex Lloyd) and with another tour coming up in December, things show no sign of slowing down.
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.
The Brains Behind Pa
The Brains Behind Pa play both traditional and original music. They perform traditional songs with a certain essence and attempt to recreate some of that same essence in their original work. It’s music that embodies energy, integrity, wit and soul. Their CD of traditional music “Old Hat,” released in 2002, received air play on independent and college radio all across the US and in Europe. Their latest CD, “Better For The Deal” has fifteen original songs, and has also received a warm reception.
The Brains Behind Pa originated when singer/songwriter Bill Price and bluesman Gordon Bonham crossed paths in 2001. They discovered a common ground in Bob Dylan’s music and where Dylan’s music sprang from - traditional folk and blues. They quickly added Garry Bole to form an acoustic trio. Within a year, they were a full, five-piece band playing both acoustic and electric sets.
Bill Price is a singer/songwriter who plays guitar and harmonica. Bill’s unique voice and honest delivery complement his vision and songwriting perspective for The Brains Behind Pa. Gordon Bonham is one of the most respected bluesmen in the midwest. His Gordon Bonham blues band has opened shows for blues legends such as Koko Taylor and B.B. King, and he has played countless blues festivals. Gordon’s soulful playing, tasteful guitar tone, and harmony vocals add a true earthiness to the band.
Garry Bole is an accomplished multi-instrumentalist adept on, piano, mandolin, accordion and organ. Garry’s unique approach to his instruments adds much of the “color and texture” to the music. One of the most solid and consistent drummers in the midwest, Jeff Chapin lends a steady “backbone” to the band. Jeff also performs with Gordon’s blues band, but is comfortable performing with rock and jazz players as well. Jeff Stone on bass, is a solid and versatile musician, adept at jazz, rock and blues. Jeff is one of the most sought after bassmen in Indiana for both live and studio work.
“The common thread running through the music they play is a preference for honest songs rooted in traditional styles, always true, never slick.”
Brian Kramer
When Brian Kramer from Brooklyn was barely out of his teens he was hanging out with legendary blues men, picking up tips and advice from folks such as Buddy Guy and Junior Wells when they would visit his hometown in N.Y.C.
Junior took a particular liking to Brian and paid careful attention in showing him the right moves and how to play from the heart.
In 1989: Junior would join Brian on his first record Brian Kramer and the Bluesmasters featuring Junior Wells, Win or Lose. He backed Brian up on almost every track and Brian backed Junior up on four of his songs.
Former Rolling Stone, Mick Taylor was also part of these sessions as well as a gathering of the finest, most respected sidemen in the U.S.
Throughout the 90’s Brian toured and continued to be a fixture within the New York club scene, performing frequently with the great Blues man Larry Johnson until re-locating overseas, seeking a broader range of opportunities.
In 1998: Brian was asked by internationally acclaimed artist Eric Bibb to join up with him and perform on the road.
Over the next two years, he accompanied Bibb on four successful coast-to-coast tours of the U.S. and Canada, throughout England, Scotland, Ireland, France, Germany, Scandinavia and Japan.
Brian is also featured on Bibb’s W.C Handy nominated CD release Home To Me, where from the opening notes of the very first track till the final riff of the last cut, Brian’s National slide guitar is like a thread in the tapestry on some of Bibb’s most important and diverse music.
In 2000: he recorded, Brian Kramer Trio and Friends, Live at the Folklore Center, an intimate, all acoustic recording. This recording has caught the attention of renowned writer-producer Sam Charters who has praised the music saying;
”This is wonderful, spirited music, I’m a sucker for that kind of blues”.
In 2001: Brian & his band were invited to the UK by Armadillo Records to record with legendary blues man and old friend, Larry Johnson for his CD; Larry Johnson featuring Brian Kramer & the Couch Lizards, Two Gun Green (available internationally). Sam Charters, who wrote extensive liner notes for this project once again praises Brian & his crew, writing;
In 2002: Brian, in collaboration with label Armadillo records, released the CD; Everybody’s Story to positive reviews:
In 2004: Armadillo Records released No Regrets (ARMD 00019) recorded in the UK and distributed Internationally.
No Regrets has risen to the “Top 25” Roots/Blues chart on National U.S radio, as reported in Living Blues Magazine.
In 2006: Brian completes his latest CD: I Want My Illusion … (BKB 0003) featuring Bob Brozman, unparalleled exponent of the National Slide Guitar & internationally acclaimed world music artist. Brian met Bob when helping to arrange his first show in Stockholm. They became friends right away.
The Tavla Foundation for the arts in Sweden has awarded Brian a culture prize, in recognition of using his music within the environment with a positive focus.
When he’s not touring you can find him every Saturday afternoon hosting his famous jam session at club Stampen in Stockholm.
Brian has been an active part of Scandinavia’s club and festival scene, often appearing at Club Fasching, also the Stockholm Water Festival and Stockholm’s International Jazz and Blues Festival. Other international events include The Cambridge Folk Festival, Bull Durham Blues Festival, Chicago World Music Festival, Notudden Blues Festival, Portugal Simply Blues Festival etc.
Brian has opened shows as special guest artist for Taj Mahal, John Mayall and has shared the stage & traded licks with Alvin Youngblood Hart, Bobby Rush, Bernard Allison, Eugene “Hideaway” Bridges, Bob Brozman, Geoff Muldaur, Sven Zetterberg, Otis Grand, Jimmy Dawkins and many others.
He also teaches, conducts workshops and performs benefit concerts.
Whether he’s with his full band, acoustic trio, duo or just by himself with his National Steel guitar, Brian will no doubt leave you with an unforgettable impression. His desire is to lift the spirits of his audience, connecting life to life through dynamic music.
AA Sound System
Allan Thomas
Amy Raasch
Amy Speace
Annie Keating
Annie Minogue
Anshelle
Artie Traum
Barney Bentall
Batdorf Stanley
Berkley Hart
Beth Hirsch
Beyond Reach
Bill Bourne
Bill Price
Black Lab
Boat People
Bob Cheevers
Bob Lanois
Bob Wiseman
Brad Colerick
Brains Behind Pa
Brian Kramer
