Artists D Hemifrån - Gut Music For All People

Dafni

When Dafni’s grandmother would sing in the hills around her home in Samos, Greece, her beautiful voice was so compelling that the villagers would stop what they were doing and listen. When the Italians invaded during World War II, Dafni’s grandfather went into hiding because he was in the resistance. His wife was also in danger, but an Italian soldier was so taken with her singing that he hid her from the authorities.

This musical talent lives on in Dafni, whom a friend called “the little girl with a big voice”. She embodies many contrasts, beyond that first, most obvious one. A writer of heartbreaking songs, she is also a doctor of chemistry. A haunter of late night dive bars, she exercises two hours a day. A polite Midwesterner, her drive rivals that of any other dreamer who strikes out for the West Coast. In 'Sweet Time', Dafni’s most personal album to date, she takes a conscious look at her past, her relationships and various facets of her personality.

Dafni grew up in Lake Geneva, Wisconsin, and first realized that she wanted to sing as a child while watching 'The Wizard of Oz'. In fact, she cried at the end of the movie because there wasn’t any more. Soon, she was picking out tunes on a toy piano and later on her godmother’s organ. An involved music teacher taught her the French horn (the school concert band had too many flutes — Dafni’s first choice) and encouraged her to write an original composition. He was the first to tell her she had musical talent, which was a great motivation. An even more common motivation — a crush on a boy — led her to take up bass in her high school’s jazz band.

As she was gaining a basis in classical music and jazz, Dafni was also pursuing an interest in science, first studying psychology in Chicago, then pre-med at the University of Wisconsin, Madison. She switched majors again after falling in love with the bane of most med students’ existence: organic chemistry. She found in science an inspiration similar to that which she found in music — a sense of elegant order with the opportunity to be creative in discovering new ways of doing things. As she worked chemistry problems — which she liked to do at the library while listening to live opera from the Met — her heart would beat fast with excitement, the same way it did when writing a song.

While pursuing her doctorate in chemistry at UCLA, Dafni’s musical career progressed through a combination of hard work and serendipity. Her first original songs were performed on piano at Madison’s student bar, the Rathskeller. When the event moved outside for the summer, she taught herself guitar. In Los Angeles, when her guitar teacher couldn’t go with her to an open mike, she hopped in a cab (she’s one of the few in L.A. who doesn’t drive) and went alone, managing to book a future 45-minute gig — which led to some hustling because, at the time, she only had five songs! Several years later, she met her current bandmates through a chance encounter at a bus stop with the music booker of her local farmers market. (Really, she doesn’t drive.) After sharing the market’s stage with the Richard Glaser Trio, a jazz ensemble, she eventually convinced the rhythm section — Mark San Filippo on drums and Geoff Rakness on bass — to play in her combo as well. Peter Kavanaugh has since joined them by on lead guitar.

“Geoff and Mark have been playing with me for almost five years and Peter now for two”, says Dafni. “I feel so blessed to have them in my band; I adore these guys! I’ve learned so much from them over the years, and we’re more cohesive than ever”.

Dafni quickly became a familiar face in L.A.’s Americana scene, performing her heartfelt songs — combining country, jazz and pop — accompanied by her adept fingerstyle guitar playing, with various friends sitting in on a range of instruments, including Latin-inspired guitar, accordion, fiddle, banjo, piano, and trumpet. She is particularly grateful to the regulars of the Cinema Bar, the heart of the scene, who have been generous with their help and encouragement and inspiring with their music. An avid runner, she says that, as in a race, she looks up to the top performers there as her role models. “The Cinema is like a hidden treasure here in L.A.”, says Dafni. “It’s amazing how many top-notch musicians play there”.

Among her wider influences, Dafni cites Anita O’Day, Billie Holiday, and Nina Simone, as well as, more surprisingly, artists like The Police, Radiohead, and her hero, Jimmy Page. She also admires local indie darlings like Gwendolyn and Eleni Mandell for their songwriting, drive, and strong self-belief.

In recognition of her own expanding sense of confidence as an artist, Dafni wanted her new album to be more personal than the three that came before it, 'Red' (2004), 'Drifting In Circles' (2005), and 'Charlie’s Lonely Sunday' (2007), drawing mostly from real life as opposed to disguising her experiences in fictional tales. In 'Sweet Time', she explores moments from her past, her marriage and her family. The catchy and enchanting 'Anything at All', centered around Dafni’s delayed guitar drone and peppered with Kavanaugh’s graceful interludes, is inspired by her feelings toward her husband, and describes that wonderful moment of first realizing complete comfort with another person.

“We used to joke in the band that it was our ‘Conan O’Brien song,’ the one that would get us on the Tonight Show; maybe there is still hope, one way or the other!”

The title track, 'Sweet Time', deals with a runaway’s torment: whether or not to reconcile with the people she left behind. And 'Under The Blue Skies' deals with a search for a personal heaven.

One new experience for Dafni in the recording of 'Sweet Time' was having someone other than herself or the engineer take over the producer’s reins. She chose her friend Dan Janisch because, in addition to admiring his musicianship, she loves the way he thinks about music. “Dan is a free and spontaneous soul. I knew he was the one to ask after he played guitar with us one night at the Cinema; even his wrong notes sounded good! He sings and plays straight from his heart, and he sounds absolutely beautiful. I trust him a great deal, and I needed someone like that, external to the band, making the decisions in the studio”. Janisch plays the lead guitar parts on 'Floating', an OK Computer–inspired song about escaping to a meditative state, and 'Fly Away', a melodic lullaby that contrasts with a bleak lyric about feeling trapped. He also sings backing vocals and harmonies on the record along with Lisa Finnie, a top-notch chanteuse and songwriter in her own right.

Rounding out the contributors to the album are Michael Bolger and Tony Gilkyson. Bolger played piano, trumpet and accordion and can be heard on the title track, the New Orleans–style gospel 'Save Me', and the sprightly 'Under The Blue Skies. “Mike’s a true musician and he plays just about everything; talk about role models! He can even play piano and trumpet at the same time — I’ve seen him do it with my own eyes!” Gilkyson, a veteran of the L.A. punk, country, and roots scenes, added his tasty licks to 'Under The Blue Skies' in addition to the bittersweet country waltz, 'Part Of Me', and the rebetika-inspired 'Oh, How I Wish'.

“It was an honor to have Tony play on my record; he’s my guitar hero. He has a style that’s all his own, and it’s drop-dead gorgeous. He can play a single note and it stands out. I think if I were blindfolded and put into a room with Tony and 20 other guitar players I would be able to pick out his parts”.

In advance of hitting the studio, the arrangements of almost all of the songs were worked out with her band through a few rehearsals and many live performances. “When I have a new song I usually introduce it at practice; we play it through a few times and then take it apart. Geoff — we call him the ‘The Wolfman’ — is a true master at arranging and always brings a lot to the table”. The eleven tracks on 'Sweet Time' were recorded and mixed by Dennis Moody, a well-respected audio engineer in the L.A. jazz scene, in his Cypress Park studio. “Besides being a great person, there are a lot of perks to working with Dennis: He has a great studio with a beautiful grand piano, he’s very efficient at what he does, and his studio is walking distance from El Atacor #11, which has some of the yummiest tacos I’ve ever eaten!”

The new album, 'Sweet Time, is dedicated to Dafni’s grandmother, who died in 2009. In addition to her legendary voice, she raised four children by herself after her husband’s death and worked as a tailor up until the end. Her grandmother’s strength and aversion to fuss have remained an inspiration to Dafni, who hopes that she has inherited at least some of this work ethic and humility. And perhaps some vocal talent.

www.dafni.us

www.myspace.com/dafni

Damien Dempsey

Damien Dempsey is from Donaghmede on Dublin's Northside. His earliest musical influences were the post-pub singsongs that his parents used to have at their home when he was a toddler. Good, bad or indifferent, everyone had to sing. Today his unique sound reflects the influence of traditional Sean-Nós as well as his musical heroes: Bob Marley and Elvis Presley.

After completing his secondary education Damien went on to the Ballyfermot "Rock School" for 2 years where he studied musical performance as well as the practical side of the music industry. The school had its own small record label and star students were awarded a release on the label. Damien was chosen for that honour and the EP, "The Contender", was released in 1995.

In 1997 "Dublin Town", Damien's first commercial single, reached No. 18 in the Irish charts. Ireland's HOT PRESS remarked that it was "..an underground anthem for disaffected youth and closet balladeer alike". A re-recorded version of the song appeared on Damien's first album; "They Don't Teach This Shit In School" released in 2000.

His next release, the "Negative Vibes EP", (2002) featured Sinéad O'Connor on the title track and led to an invitation to support Sinéad on her 2002/2003 Irish, UK and European tour.
Damien's second album, "Seize the Day", was released May 2003 in Ireland on Clear Records via Sony and entered the charts first week of release at No. 5. It has since achieved double-platinum sales. Released in May 2004 in the UK on IRL, the album was awarded "CD of the Week" in the Sunday Times and received enthusiastic reviews in the National and music press.

Nominated in 4 categories in the 2004 Irish Meteor Awards, Damien walked away with two, the only 2004 double winner. A documentary, "It's All Good: The Damien Dempsey Story" by independent filmmaker Dara McCluskey, that followed Damien's career progression up to the release of "Seize the Day", was broadcast on Ireland's national TV station RTE and shown at film festivals in Ireland and New York.

During 2004 Damien toured extensively headlining his own shows as well as supporting Bob Dylan during the Irish leg of his European tour and making his debut appearances at The Fleadh and Womad.
Damien has earned the passionate support of his peers, one of whom is Morrissey who invited Damien to support him on various UK and Irish dates as well as his autumn 2004 US tour. Morrissey went on to sign Damien to his Attack label, and "Seize the Day" had its U.S. release in October 2004.

His third album, "Shots", simultaneously released in Ireland and the UK in March 2005, entered the Irish album charts at Number 1 and achieved platinum status in December 2005. The album was also released in the U.S. on United for Opportunity Records in June 2006 and Damien undertook a coast to coast tour.

In February 2006 Damien increased his Meteor Awards by winning in The Best Irish Male category.
Recorded in December 2005 at Dublin's Olympia Theatre and released in June 2006 in both Ireland and the UK, Damien's first live album, "Live at The Olympia", entered the Irish album chart at Number 10.
For the second year in a row Damien won Best Irish Male at the 2007 Meteor Awards.

His new album, "To Hell or Barbados", released world-wide in June 2007, entered the Irish album chart at Number 2.

www.damiendempsey.com

Dan Krikorian

When Orange County-based musician Dan Krikorian released his first album in 2008, it was with an eye toward a future that still remained elusively out of focus. A lifelong athlete and business graduate, Dan had previously spent more time on the court and in an office than in any recording studio. Only a year later, the release of his second record "Colors and Chords" now finds Dan at a time when the picture of his future is developing sharp and clear.

"The first album was a raw outpouring of emotion," Dan says. "With 'Colors and Chords,' we were really trying to portray a more crafted and mature musical perspective."

"Colors and Chords" is the latest representation of the lyrical and vocal growth Dan has achieved over the last year. The second album — a sure sign that music is exactly where Dan's future lies — is a collection of talent from multiple artists on many levels, and was recorded and produced by Dan and I See Hawks in L.A. drummer and producer Shawn Nourse at Chun King Studios in Los Angeles. In addition to Nourse's drumming, the skills of guitarist Bob Boulding of the Young Dubliners, bassist Taras Prodaniuk, and keyboard player Carl Byron are featured on the album. Matt Forger, who worked on Michael Jackson's "Thriller," also mastered the record.

After two years, Dan has an established fan base in Southern California and has performed in distinguished venues such as The Gypsy Lounge in Lake Forest, the Dakota Lounge and Genghis Cohen in Los Angeles, and LeStat’s in San Diego. His shows in O.C. and L.A. venues have laid the foundation for his first West Coast tour, which includes stops in nearly every major city from California through Washington and features key shows in San Diego, Los Angeles, San Luis Obispo, San Francisco, Seattle, and Idaho.

Whether it's a venue that houses 1,000 or a coffee shop that seats 10, Dan — aided by natural folk rhythms and honest, poetic lyrics in the vein of musicians Joe Purdy and Josh Ritter — always manages to connect with the crowd. From the catchier, lighthearted tunes like "Fixed on You" or "Somethin' Good," to the more poignant and vulnerable tracks such as "Waste" and "Sidewalks/Mary Jones," "Colors and Chords" covers all realms of a musical mood.

Dan's strength as a songwriter lies especially in the uniqueness of his words, most prevalent in songs like "Tangerine Eyes" and "Bobby Jones." Lyrics such as there's such a thin line between a miracle and a mistake ("Bobby Jones") and if my eyes don't recognize/ your big city smile and your tangerine eyes/ let the road take you in/ cause there's got to be a home for me tonight ("Tangerine Eyes") offer listeners a mix of honesty and literary talent that is the driving forces behind "Colors and Chords' " success.

In the past two years, he has garnered the attention of many and created a buzz in Southern California music circles. Dan and his five-piece band have been featured in publications such as The Orange County Register and The Los Angeles Times, and both "Oxford Street" and "Colors and Chords" have earned airplay on college radio stations across the U.S.

For Dan, music is anything but static as he continues to hone in on where his career is headed. He is currently working on songs for the third album and is planning an eventual East Coast tour. Dan's work ethic is a testament to his respect for and belief in music and the never-ending lessons it offers, and a guarantee to his fans that there is no shortage of material to look forward to in the near future.

www.dankrikorian.com

www.myspace.com/dankrikorianmusic

Daniel Bustone

Torn between the two sides of the ocean, Daniel Bustone’s music sounds like a perfect mixture of Americana and English pop, influenced by the likes of Bob Dylan and Neil Young, but also by David Bowie and the Beatles.

Born in France, Daniel has recorded and collaborated with several different bands in his younger days, before heading to a solo project that gave birth to "Those Thrilling Days Of Yesteryear", a collection of 10 original songs that find their roots in the pop-folk format which he has always been fond of.

“With the latest of my bands, the music we played was very Radiohead-oriented. Then one day, I started to realize that I was making too many compromises by continuing with my fellow musicians and that in the end, it resulted in something I was totally disconnected with”.

“I had to follow my own way…..” This way was to return to the kind of music Daniel Bustone had always been fond of. Writing simple format songs that could be sung under the shower by anyone. No need to play easy-listening muzak to reach that goal. It just takes a bunch of good tunes, coupled with meaningful lyrics, and to deliver the whole thing with all the passion and sincerity it deserves.

“I tried my best to reach that goal with 'Those Thrilling Days', and even though it’s been recorded on a homemade studio within a couple of weeks, I don’t think it sounds amateurish. And I like being spontaneous. I wouldn’t see myself hanging around on the studios for months, trying to find the ideal sound for the bass drum. It’s so alienating to me!”

www.facebook.com/daniel.bustone

www.myspace.com/danielbsustone

Daniel Glen Timms

If you followed the path that independent recording artist Daniel Glen Timms has taken since he first picked up a guitar at age 14, the journey would seem like a trip through the heart and soul of American music. Never satisfied to be pigeon-holed into one genre of music, he explored, absorbed, blended and simmered in the sounds of his early years as a performer and musician in Louisiana to his long stay in California and now more recent years in Nashville. The singer, songwriter, guitarist and producer seems to flourish when he has the freedom to take all of the ingredients of his influences and create his own style that he has nurtured for over three decades, since he first strummed that first chord as a boy in the Mississippi Delta. Not unlike his tasty gumbo that he cooks so well, his music reveals a sound that melts into a rich, flavorful and a
profound musical experience.

From jamming with his friends in the garage as an early teen and his first professional band at age 19, Daniel has performed in coffee houses, bars, the streets of Europe, festivals and has appeared on numerous radio stations throughout his life of playing as a solo artist, in bands and promoting his independently released records on his label Blue Earth Records, which he formed in 1998. With his last album release in 2008, the music was played on more than 200 commercial, non-commercial, internet, European and Americana radio stations around the world, including heavy rotation at many stations. With each release DGT's audience is expanding and the foundation has been set for his newest release to rise to the top.

With his newest record, 'Life's An Illusion', you can hear an artist that has arrived at a place of mastery of his instrument, the studio and the song. The heartbreaks, regressions, reflections and redemption of this American songwriter are not lost in the commercial sensibilities of the new album that is old school in its sound, but timeless in its feeling. 'Life's An Illusion' is a 10-song album by an artist nurtured in the sounds of the 70's, yet like any pure music, rings with truth and clarity of the present. Daniel Glen Timms is a poster child of the independent artist movement, who has never given up on his dream and taught himself how to produce his own records, design his own albums and release his music on his own label, while expanding his audience throughout the world.

As if all of this weren't interesting enough, there is another fascinating and unusual aspect to this musician's story. The many unique experiences he has had working at a number of interesting occupations over the years. Daniel has worked at many unusual jobs throughout his life, as an environmental geologist, an oil well drilling engineer, hazmat cleanups, delivery truck driver and as an EKG technician in emergency rooms and intensive care units. Through all of these experiences, music has always been the focus of this fiercely independent artist. Daniel is not the kind to wait around for someone else to give him a break, even if it included working two jobs for seven days a week for many years, in order to produce and release his own records.

The deep, rich and human experiences this independent artist has undoubtedly absorbed by working in these areas, has brought a unique perspective to this American-born singer, songwriter, guitarist and producer. These stories and insights seem to ooze from his material, which vibrates with a high level of musicianship, poetic lyrics and accomplished tonal qualities. If you dig down to the roots of this artist, the lyrics and emotions seem to come alive with authenticity.

www.danielglentimms.com

Daniel Lanois

One of the most distinctive and celebrated producers of his time, Daniel Lanois was also a gifted composer and solo artist; whether performing his own material or helming records for the likes of U2, Bob Dylan and Peter Gabriel, the hallmarks of his singular aesthetic remained the same — noted for his unparalleled atmospheric sensibilities, Lanois pursued emotional honesty over technical perfection, relying on vintage equipment and unorthodox studio methods to achieve a signature sound both viscerally powerful and intricately beautiful. He was born September 19, 1951 in Hull, Quebec; his French-Canadian family was firmly rooted in music, with his mother a singer and both his father and grandfather noted for their prowess on the violin. Following his parents' 1963 separation, Lanois and his mother moved to the English-speaking suburbs of Hamilton, Ontario; there he learned to play guitar, and with his brother Robert began making primitive home recordings on a cheap cassette player. In 1970, the siblings purchased a four-track machine, setting up a recording studio in the laundry room of their home and offering their services to local bands for a $60 fee.

Regularly aiding their clients not only as producers but also as songwriters and arrangers, the Lanois brothers' reputation quickly spread, and as the decade drew to a close, they were able to graduate to larger recording facilities, which they dubbed Grant Avenue Studios. There — after sessions for performers as diverse as Ian Tyson and children's artist Raffi — Daniel first worked with Brian Eno, who in the decade to follow would emerge as Lanois' chief mentor and frequent collaborator. Together, they spent several weeks working on instrumental ambient material, experimenting heavily with sonic manipulation techniques; when Eno eventually returned to the U.K., Lanois remained in Ontario, recording a series of LPs for the local band Martha and the Muffins and, in 1983, producing improvisational guitarist Jon Hassell's album Aka Darbari Java (Magic Realism). In 1984, after working with Eno on Hybrid (a collaboration with guitarist Michael Brook) and The Pearl (another collaborative effort, this time with Harold Budd), Lanois responded to Eno's call to co-produce U2's The Unforgettable Fire; the album was a major hit, and it so impressed another superstar, Peter Gabriel, that he invited Lanois to co-produce the soundtrack to the motion picture Birdy.

Lanois next scored with 1986's So, Gabriel's brilliant commercial breakthrough. However, it was his and Eno's second collaboration with U2, 1987's The Joshua Tree, which launched him to true fame: after the album won a Grammy — and after he subsequently co-produced Robbie Robertson's long-awaited solo debut — Lanois emerged as one of the best-known and most respected producers in contemporary pop music. In 1989, he masterminded Bob Dylan's Oh Mercy — widely regarded as Dylan's best work in over a decade — as well as the Neville Brothers' Yellow Moon, an artistic watershed for the venerable New Orleans group. By this time. Lanois himself was a resident of the Crescent City, setting up Kingsway Studio in a mansion in the heart of New Orleans; there he crafted his own hotly anticipated solo debut, 1989's Acadie. Two years later, he reunited with U2 for the stellar Achtung Baby, and in 1992 re-teamed with Gabriel for the wonderful Us. In 1993, Lanois issued the lovely For the Beauty of Wynona; however, like Acadie, it failed to reap the same commercial awards as his other production ventures. Other albums of note include Emmylou Harris' 1995 masterpiece Wrecking Ball, Luscious Jackson's Fever In, Fever Out, Willie Nelson's Teatro and Dylan's 1997 comeback Time Out of Mind; in between, Lanois also recorded the score to the 1996 film Sling Blade. Lanois sxcored ahain with U2's All That You Can't leave Behind at the end of 2000 along qwith working with Joe Henry and others in a support capacity. 2003 sees the year of his third and finest recording Shine that features guest perfomances from Emmylou Harris and Bono. In 2005 he released the outtake filled, "renegade CD" Rockets through his website, which was followed quickly by Belladonna, a proper album release on Anti.

www.daniellanois.com

“Acadie” and “Rockets” are available here :
www.dotshop.se

Danny O'Keefe

Singer/songwriter Danny O’Keefe began his musical career in the Minnesota coffeehouse scene in the 1960’s In 1969, a meeting with Buffalo Springfield manager Charles Greene led to a telephone audition with Ahmet Ertegun, President of Atlantic Records, resulting in O’Keefe’s first record deal. Atlantic Records released 'O’Keefe' (1972) which featured the top-ten classic hit, "Good Time Charlie’s Got The Blues", followed by the classic 'Breezy Stories' (1973).

Since its initial thrust onto the airwaves, "Good Time Charlie’s Got The Blues" has been recorded by Elvis Presley, Waylon Jennings, Willie Nelson, Leon Russell, Charlie Rich, Jerry Lee Lewis, Charlie McCoy, Cab Calloway, Earl Klugh, and Chet Atkins among others. Mel Torme performed it on the hit television series, "Night Court" and, most recently, it was recorded by Dwight Yoakam for his 'Under The Covers' release, and featured in the film 'Wild Things'.

Between l975 and 1979, O’Keefe recorded a third album for Atlantic Records and two albums for Warner Bros: 'So Long Harry Truman' (1975, Atlantic), 'American Roulette' (1977, Warner Bros), and 'The Global Blues' (1979, Warner Bros).

In 1985, O’Keefe released 'The Day To Day' (Coldwater Records), which was re-released in 1989 as 'Redux' (Beachwood/Chameleon Records). The singles, "Along For The Ride" and "Someday" were charted in both the NAC and the AC charts. A video of "Along For The Ride" was aired on VH1. Throughout the 1970s and into 80’s, O’Keefe toured with many well-known artists and friends including, Jackson Browne, Bonnie Raitt, Jimmy Buffet, Jessie Colin Young, Maria Muldaur, Linda Ronstadt, Loggins and Messina, and the Hollies. He has also performed on the same bill with acts such as Bruce Springsteen, Yes, Tom Waits, John Hammond, Little Feat, Rita Coolidge, Dr. John, The Beach Boys, and others.

Many of O’Keefe’s songs have been recorded by well-known artists such as Jackson Browne, "The Road"; John Denver, "Along For The Ride" (co-written with Bill Braun); Judy Collins. "Angel Spread Your Wings"; Sheena Easton, "Next To You" (co-written by O’Keefe and George Merrill); David Lindley, "The Jimmy Hoffa Memorial Bldg. Blues," "More Than Eva Braun", "Well, Well, Well" (co-written with Bob Dylan), and “Jody” (co-written with Bill Braun) ; Jesse Colin Young, "On The Edge" (co-written with Young) and "Catfish"; David Mallett, Molly O’Brien, and Alison Krauss, "Never Got Off The Ground" (co-written with Mallett). The sensational young bluegrass group, Nickel Creek, recorded O’Keefe’s and Tim O’Brien’s, “When You Come Back Down” on their first Sugar Hill release. Tim O’Brien has recorded both “When You Come Back Down” and O’Keefe and Fred Tackett’s “Into the West”.

Recently Ben Harper and the Blind Boys of Alabama recorded the O’Keefe/Dylan composition for their Grammy award-winning CD, “There Will Be A Light”. A live CD recorded at the Apollo Theatre has recently been released. Bonnie Raitt has recently released a cd/dvd recording of her VH1 special with a performance with Ben Harper of “Well, Well, Well”. Alan Jackson’s release “Like Red On A Rose” has a song written by Danny and Tim Krekl called “Anywhere On Earth You Are”. It was produced by Alison Krauss.

O’Keefe is as well known in environmental circles as he is in musicians’ circles. His inner music naturally led him to an appreciation of songbirds, which have inspired both his music and his activism. In 1998, O’Keefe founded the Songbird Foundation, which seeks to protect songbirds and their habitats that are being destroyed by deforestation caused by non-sustainable coffee growing practices in Latin America. The Foundation educates and encourages coffee-drinkers to drink sustainably grown coffee rather than sun-grown coffee. Sustainably grown coffee is shade grown, organic, and Fair Trade.

The new CD "In Time" is now available. Order the CD at www.dannyokeefe.com

www.myspace.com/dannyokeefedotcom

Dave Gleason’s Wasted Days

There's a jukebox in heaven where the honky tonk heroes gather each afternoon to drink a little poison and swap stories of Bakersfield and Nashville. Charlie Rich laughs it up with Gene Clark while Buck Owens shows off his latest Nudie suit. In the background, Dave Gleason's Wasted Days sings about soul and suds, a jubilant celebration of California country rock that makes the bygone ramblers smile.

Back here on Earth, Gleason's twangtastic reveries rub shoulders with Tom Petty and Dwight Yoakam. The wonderfully tousled Gleason carries the torch for what Gram Parsons called Cosmic American Music, where country mingles with rhythm & blues and good ol' rock 'n' roll. Tunes like "Midnight,California" and "Sad Violins" have a gut level sway that's perfect for truckers, young lovers and anyone else who likes a good time or an honest cry. Gleason's songwriting gifts come to the fore on his latest release, Just Fall To Pieces, an endlessly winning song cycle destined to burn off boot leather in barrooms from Tehachapi to Timbuktu.

Formed in 2000, the Wasted Days move with the confidence and abiding skill of Music Row's best. In their hands, Gleason's heartfelt road songs and beating heart laments swing hard. The current line-up includes Mike Therieau (bass, vocals, songwriting), Pat Johnson (guitars, vocals), John Kent (drums) and Gleason on lead vocals and guitar. A blessed mix of loose and snap tight, Gleason's Wasted Days Band compare nicely with The Paladins, The Jayhawks and Marty Stuart's Fabulous Superlatives. Veterans of the Northern California club circuit, most weekends you'll find some configuration of these guys playing any stage that'll have 'em just for the sheer joy of it.

"Constantly gigging in a music scene where the odds are really against that AND getting to meet and play with many musicians who I'm BIG fan of still amazes me on a regular basis," says Gleason, who's shared the stage with Jim Lauderdale, Chuck Prophet, Bill Kirchen, Albert Lee and The Mother Hips. The band has opened for the likes of The Derailers, North Mississippi All-Stars, Wanda Jackson, Tony Gilkyson and Susan Tedeschi.

Gleason and his boys drink in every encounter like a hungry sponge. Their unabashed love of deep-rooted country, shines through every track on ‘Just Fall To Pieces’, which features guest appearances from guitarists Albert Lee & Jim Campilongo, Red Meat's Michael Montalto, pedal steel whiz Joe Goldmark, keyboardist Dan Eisenberg (Tift Merritt), and Thom Moore of The Moore Brothers.

www.dave-gleason.com

Dave Rawlings Machine

"A Friend Of A Friend" is the first record by Dave Rawlings, the guitarist, producer, singer, and songwriter best known for his work with Gillian Welch and Old Crow Medicine Show. These long time compatriots join Rawlings on this record, beside newer friends Benmont Tench from the Heartbreakers, Karl Himmel, and Nate Walcott of Bright Eyes.

The notion of recording as Dave Rawlings Machine began in 2007. “I had a few older songs that I had written with other artists that I wanted to record myself. Then the last year or so Gillian and I spent a good deal of time in Los Angeles, hanging out with a new group of musicians and songwriters. This inspired a number of songs that seemed to complete the picture. So we started recording. It was as much of a surprise to me as it was to anybody.”

Of the nine songs on the playlist, Rawlings wrote seven. The other two are “The Monkey and the Engineer,” a country blues by Jesse Fuller, who died in 1976, and a medley consisting of “Method Acting,” by Conor Oberst, and “Cortez the Killer,” by Neil Young. Rawlings learned “Method Acting” two years ago while playing guitar on a Bright Eyes tour. “I played ‘Method Acting’ every night on that tour,” Rawlings says, “and it sort of sank into my awareness in a very deep way. ‘Cortez the Killer’ is a song I heard long before I ever played guitar and it changed the way I heard music."

“Ruby” is a plaintive recitation of love for a woman whose affections are remote and self-engaged. “Sweet Tooth,” sung by Welch and Rawlings in their more customary style - two voices, two guitars sparely arranged - is an ironic and wry description of the bittersweet allure of addiction, and the obsessive pleasures and despairs revolving around the satisfaction of a powerful need. “It’s Too Easy” has a narrator blithely content with the simplest indulgences and baffled by why anyone would lift a finger for more. “I Hear Them All,” which was first recorded by Old Crow Medicine Show, is a solemn tribute to the under-equipped, the lost and lonely, the left behind, and overlooked, and a condemnation of the outrages that the powerful practice against the weak. “To Be Young,” a kind of half-apology, half-screed both justifying and rebuking imperfect behavior, was written with Ryan Adams. Rawlings’s version features his banjo playing. “How’s About You” is a rueful, Depression-tinged monologue reflecting on hard times, past and present. The record concludes with “Bells of Harlem,” which has an eerie, spell-like quality. It is the sort of simple, classic-sounding melody that one can imagine being sung by Louis Armstrong or being used as a soundtrack for a David Lynch film. A mesmeric coda, played by strings, trails off at the end like lights rising in a dark theater.

Making "A Friend Of A Friend", Rawlings discovered that different considerations applied when recording himself singing melody instead of harmony. “When I listen to a Gillian record there’s a particular place and feeling in it that has an awful lot to do with the sound of her voice,” Rawlings says. “A lot of things change from track to track, but that has always been the constant. And a lot of the arrangements we’d worked out over the years - the way we put chords, the way we sing together - I was shocked at how little they worked for my voice or my record. We had learned to make records in a particular way because we were always framing her voice, which is this large, takes-up-a-lot-of-space, very intimate, very good sounding thing, a beautiful tone, so you can frame it in a skeletal way. It almost seems to me that the less you put on her records, the more powerful they are, but when we started working that way with my voice, which is so different, it turned out that nothing from that approach was valid, so we had to find different sounds and treatments that we were happy with. I was really surprised when we started that we were in territory as uncharted as we were. We broke new ground from necessity.”

Spontaneity was an important part of the recording. “I've learned over time that as a lead singer, I do my best singing live and on early takes, so it was essential that we capture the band quickly and in an organic way. So when we stood in a circle to rehearse the first song I thought, ‘Well, I guess we better put a mic in the center and be done with it.’ It tied my hands as far as mixing the vocals went, but it helped us capture something in the air. I knew that Gillian and I would be at the core of the recordings, but I became interested in a particular acoustic sound with more vocal parts that I knew the Crows could conjure up. Karl, Benmont and Nate were the icing on the cake.”

"A Friend Of A Friend" has more lavish arrangements than songs from the Gillian Welch catalog typically do. They are more boisterous, but they are built on the same careful spine that Welch songs are. Rawlings’s sly and succinct guitar playing is embedded within ensemble play as opposed to carrying the bulk of the arrangement. The songs are exuberant, sturdy, and carefully constructed, but they also reverberate poetically. The music on "A Friend Of A Friend" is cousin to the deftly modern and haunting music that Welch and Rawlings are known for, but it has here been expanded; the crowd is larger, the party more robust, but the room is the same room.

www.aconyrecords.com

www.daverawlingsmachine.com

www.myspace.com/daverawlingsmachine

David Gogo

“Acoustic”, as the names suggests, is Juno-nominee David Gogo’s exciting new ALL ACOUSTIC CD (ok, he did plug his 1915 Gibson acoustic into an amp on two songs!).

This is his seventh album with Cordova Bay Records and is part of the “Official Bootleg Series – Volume 2.”

The album features ten brand new tracks that are steeped in the blues, roots and folk tradition that have influenced the two time Maple Blues “Guitarist of the Year” throughout his career. Recorded at his home in Nanaimo, BC in between his extensive tour schedule, Acoustic offers fans an intimate and personal look at the acoustic side of his talents as singer, songwriter and guitarist. Acoustic spans the full spectrum of David’s career with songs like “Years Since Yesterday”, a Paladins tune he first performed when he was 19 years old and “As The Crow Flies”, a Tony Joe White song David indicates “I first heard on a Rory Gallagher record. It’s funny how you get turned on to North American music through European musicians dating back to the Beatles and the Rolling Stones.”

One of David’s five originals, “She’s Breakin’ Through” is pure Canadiana. Based on a true story and facts he researched through history books, David tells the tragic tale of his Great Grandfather, who was one of nineteen men killed in a 1915 mining accident in the Black Track mines in South Wellington, near Nanaimo.

While David performed most of the work at home, he did make a trip down to Nashville, TN to write “All I Can Do” with one of the top roots songwriters in the world, Gary Nicholson. Gary has written award winning hits for the likes of Willie Nelson, The Dixie Chicks, Bonnie Raitt, Delbert McClinton and most recently Los Lonely Boys amongst many others. “The great connection with Gary was immediate” states David. “It was like meeting someone who is really successful but very cool and talented and with similar influences.”

The impetus for Acoustic draws from his first acoustic CD Bare Bones but was re-inspired by a couple of very successful acoustic performances that David played with Colin James and Colin Linden in 2005. “People really like the acoustic show and as a player, it keeps things interesting and challenges you” says David.

Like a true troubadour, David is looking forward to hitting the road and performing solo in support of the new record and sharing his passion for the music with the world at large. With the broad range of material on this release, it will no doubt appeal to a wide audience.

www.davidgogo.com
www.cordovabay.com

David Mead

Born in New York, singer-songwriter David Mead's family relocated to Nashville where he spent the majority of his formative years, honing his craft in pop bands such as Verdant Green, Blue Million and Joe, Marc's Brother. Mead eventually ventured out on his own, collaborating on a demo of his songs with local keyboardist Jason Lehning. The recording subsequently landed him in the offices of RCA Records where he performed his tunes alone with a guitar. The label signed him shortly thereafter. With the aid of Lehning (credited as associate producer) and producer Peter Collins (Jewel, Brian Setzer), the 25-year old Mead was given a relatively free hand on his 1999 debut for RCA. The resulting album, The Luxury of Time, is a collection of well-crafted tunes that tap classic writers from George Gershwin and Cole Porter to Lennon and McCartney and Paul Simon for inspiration without ever coming across as contrived or less than fresh. Mead, who moved back to New York at the time of his first recording, cites his years in Nashville for his growth as a writer and for his appreciation of the proverbial three minute pop song. The follow up Mine and Yours was released in early 2001. Indiana surfaced three years later.

www.davidmead.com

”Wherever You Are” is available here:
www.rootsy.nu

"Tangerine" is available here:
www.dotshop.se

Dean Owens

‘Every time he sings a song, he means it and feels it with every fibre of his being. Now that is something special – Scotland’s most engaging and haunting singer-songwriter’ – Irvine Welsh

On February 24 Edinburgh's Dean Owens releases 'Whisky Hearts', his first album on Navigator Records. Recorded in Nashville with a stellar cast of Stateside guests, it sees Owens buoyantly expanding his creative & expressive horizons.

The eloquently emotive singing, incisively pared-down lyrics & Americana stylings that have long been his trademarks feature here alongside a range of influences stretching from classic Scottish pop, summery 60s vibes to Celtic-tinged folk.

Several of the artists featured on 'Whisky Hearts' have worked with Owens on previous projects, including pedal steel legend & former Gram Parsons cohort Al Perkins, guitar ace Will Kimbrough, Mavericks drummer Paul Deakin & his bassist band mate Robert Reynolds, as well as Owens' longtime sidekick from home, Kevin McGuire, also on bass. It was through this network of connections that the remaining guests came on board, among them Flecktones saxophonist Jeff Coffin, ex-Jayhawk Jen Gunderman on keyboards, singer-songwriter Thad Cockrell plus producer Elijah ("Lij") Shaw.

'Whisky Hearts' represents a kind of artistic homecoming for Owens. Nowadays, he's the proud owner of a vintage Airstream trailer, which he keeps in California's Joshua Tree country, & where several of the new songs were written, during sojourns there in 2005 & 2006.

Despite the depth & weight of its subject matter, though, Whisky Hearts is a winningly upfront & approachable album, replete with hummable hooks & deftly layered arrangements, centred around the burnished colours, masterly phrasing & vibrant timbres of Owens' singing.

www.deanowens.com

http://navigatorrecords.co.uk

Delaney Bramlett

Delaney Bramlett's musical history spans three decades making it difficult to pinpoint in such a short space his contributions to the world of music. Known as a great songwriter, singer and musician, he has also been a mentor to some of the very best: Eric Clapton, George Harrison, JJ Cale and Bobby Whitlock to name just a few.

From modest beginnings in Pontotoc, Mississippi, Delaney worked his way to the top, but not before a few side adventures. Life in his hometown wasn't for the budding music man and the only way to survive was to pick cotton or join the Armed Services. Delaney joined the Navy for three years and said goodbye to Mississippi. After his release from the Navy with Mississippi in his heart and his feet in Los Angeles he moved his family to be with him, where he has remained ever since.

Living in Los Angeles now, he became a regular on the TV show Shindig as a Shindog, the house band. He was already busy writing with the likes of Joey Cooper, Mac Davis and Jackie DeShannon. Over the years, some of his songs have reached "standard" status such as "Superstar", "Never Ending Song of Love" and "Let It Rain”, among others.

After Eric Clapton joined Delaney on tour he produced and co-wrote songs for Clapton's first solo LP. Due to contractual obligations he relinquished the writer credit to his then wife, Bonnie Bramlett enabling him to keep them in the family. Clapton still credits Delaney for pushing him to sing and teaching him the art.

George Harrison had his first slide bottle placed in his hand by Delaney who quickly taught George how to play slide and write a Gospel song. Out of that lesson came "My Sweet Lord".

He has produced an assortment of artists such as Etta James, Dorothy Morrison (on "Happy Day") and wrote for and produced Elvin Bishop, John Hammond, Bobby Whitlock and the Staple Singers.

He did the late great King Curtis's last LP and taught Curtis to sing, out of which two hits came, "Teasin"' and "Lonesome Long Way From Home". King Curtis kept a room at Delaney's and they spent hour after
hour playing and recording together.

The term "Friends" was coined by Delaney to describe his band and soon the world became his friend. Those involved with Delaney over the years have been many. Joe Cocker sang on the "Motel Shot" LP and Jimi Hendrix joined the "Friends" for a couple weeks of touring. Clapton, Harrison, Duane Allman, Dave Mason and Billy Preston all have been friends too. John Lennon and Delaney collaborated together and Delaney played the friend role as a member of Lennon's Plastic Ono Band. Jerry Lee Lewis requested Delaney's presence during the recording of his famous "London Sessions" album in England. But Duane
Allman and Delaney became best friends sharing ideas, musical licks and a never-ending friendship which to
this day he remembers fondly.

Legendary producer and founder of Atlantic Records, Jerry Wexler says some of the best music he ever heard was played by Duane and Delaney on his back porch. They played many nights there, doing old Robert Johnson and Jimmy Rogers tunes

A few of the artists who have recorded Delaney compositions are Luther Vandross, Ray Charles, Chrissie Hynde, Phoebe Snow, Staple Singers, Sonic Youth, Osmonds, The Carpenters, The Everly Brothers, Crystal Gale and even Lawrence Welk used "Never Ending Song of Love" as an opener for one of his shows.

Over the years songwriting partners have included longtime friends like Spooner Oldham, Leon Russell, Steve Cropper, John Lennon, Eric Clapton, Billy Burnette, Dorsey Burnette, George Harrison, Mac Davis, Tony Joe White, J.J. Cale, Gary Nicholson and Dennis Morgan.

There isn't a singer or musician in the world that doesn't feel comfortable with him, regardless whether it's on the front porch, in the studio or playing in front of thousands.

Delaney Bramlett has always attracted the best and had the magical ability to make them even better. It's easy to say every musician under the tutelage of Delaney has become a "Superstar".

The new album "A New Kind Of Blues" was released in 2008 and "Rise Up" will follow soon.

Delaney's world is music.

www.delaneybramlett.com

Delaney Gibson

"In 15th century Germany, it was supposed that the wearers of the Forget-Me-Not would not be forgotten by their lovers. This is a flower connected with romance and tragic fate. It was often worn as a sign of faithfulness and enduring love."

Delaney Gibson was dealing with the end of a long term relationship, living on friend’s couches, and working hard to start a new life. Even in such chaos, she was beating the pavement with her debut album, 'The Worst Kind Of Way'. Delaney was determined to make a place in this world for her music.

From great misery though often comes great art, and that’s exactly what happened in Delaney’s case. Her nomination in multiple categories to a local music awards show came to the attention of producers and songwriters, Aaron Goldberg and Chris Jay, who are best known as members of the popular rock band, Army Of Freshmen. Goldberg and Jay, who also live in Gibson’s hometown of Ventura, CA, had never met Gibson before, and without her knowledge, came to see her play in December of 2008 at a local show. Blown away by her natural vocal ability and songwriting strength, immediately after her set, the two introduced themselves, and on the spot offered, to produce Gibson’s next record.

“I was losing sight in who I was personally and professionally”, explains Gibson. “It was a scary time in my life but when I started writing again and putting my feelings into the music, the songs came pouring out me. Looking back now I wasn’t losing sight of anything. I was finding out who I really was”.

Inspired by the New Year and working relationships, Gibson embarked on a whirl wind period of the most expressive songwriting of her career. Touching on all her recent highs and lows, the result is 'Hurricanes & Forget Me Nots, a powerful 10 song collection of introspective and moving songs that have already caught the attention of music supervisors. Songs from her new album have been featured on MTV’s 'The Real World D.C.' and Oxygen Network’s, 'The Bad Girls Club'.

From the anthemic opener, “Paper Boats” to the closer, a haunting jazz laced hymn, “Happy New Year”, the album is filled with striking imagery as well as a respectable share of hooks like the radio ready, “La Di Da” and the rocking, “Better Version of Me”. As for the ballads, you’d be hard pressed to find more achingly beautiful songs than “Careful” or "Kill Me Now".

“Well... I am a singer songwriter and with that things can get a little serious from time to time”, laughs, Gibson. “Still, I always try to have fun at my live shows. I try and keep it light and off the cuff. I wanted that to show through on this album and in these songs. So lyrically I try to approach some of the subject matter from a different light”.

This isn’t "woe is me girl loves boy fluff”. Gibson’s observations on life and relationships both good and bad have a unique lyrical perspective presented with her already well documented vocal and musical ability. Performing nearly all her life, Gibson, a pianist and guitarist, has studied opera and as a vocalist has backed musical legends such as Barbara Streisand and Andre Bocelli in concert. While she can be seen and heard in multiple commercials and TV shows and despite all the professional work her vocal ability has provided, her real passion has always been her own songwriting and performing.

“In 2008 and 2009, I played over 300 shows. West Coast, East Coast, Midwest - Anywhere that would have me. Almost secretly. No label pushes. No internet campaigns. It was more for me than anything else. I really wanted to focus on my craft. Watching how people react to certain songs that a stranger is playing was fascinating. I found that as long as the songs were real and honest, they got it. I didn’t intend to make my second album so soon after my first, but the way my life was going, I almost had to. It’s the album I also wanted to make!”

It may be the album that Gibson has always wanted to make, but it's also the album that proves Gibson is no longer “that girl with the amazing voice” but, now also that girl with the amazing songs.....

www.delaneygibson.com

www.myspace.com/DelaneyGibson

Derby

Anyone who’s caught a live Derby show knows the raw and infectious emotion the boys are known to dish out. These unique qualities are exemplified in the band’s new release, “Madeline”. Breaking from tradition, the band is forgoing an LP and will be releasing a new group of songs on an EP, plus a limited edition 7″, with a digital EP. The EP features the rocker “Don’t Believe In You”, the acoustic-pop melody, “One’s A Lonely One”, and “If Ever There’s A Reason” - which is the new featured song of the 2011 Ford Explorer ad campaign.

The band approached the “Madeline” recordings with an increased degree of spontaneity and impulse. This “act first, think about it later” attitude gave Derby a new-found freedom in recording music, resulting in a fresh, new sound for the band. With Frontman Nat Johnson’s cutting and over-driven guitar tones providing an electrifying punch to the gut on tracks “Don’t Believe in You” and “Creeping Crawling” in addition to Dave Guilick's tender serenade on “One’s A Lonely One”, “Madeline” showcases a more lively and invigorated Derby.

The band’s new material departs from the well-orchestrated pop of their sophomore release “Posters Fade”, which saw success on college radio and gained visibility with placements in Coca-Cola commercials, MTV’s The Hills and a variety of film and commercial exposure. This time, the band decided to keep things more raw and frayed around the edges, while still retaining their signature brand of catchy rock built on hooks and harmonies.

Expect releases in similar size and nature from Derby - and with greater frequency in the coming months.

“Madeline” was recorded and engineered by Jordan Leff at Secret Society Studios in Portland, Oregon. The record was mixed by Elton Jordan and Derby, and was mastered by Jeff Saltzman (Death Cab For Cutie, Menomena, Decemberists, Sleater Kinney).

www.derbyrock.com

Devonsquare

Rex Fowler and Tom Dean emerged as prominent folk-rock artists in the 70's. Rex’s band, Aztec Two Step, burst upon the scene with their self-titled debut album on Elektra Records in 1972. This, and their three subsequent albums on RCA Records, were staples of college and progressive FM radio and helped usher the music of the 60's into the 70's and beyond.

Tom Dean and Alana MacDonald's band Devonsquare was signed by Ahmet Ertegun, the legendary chairman of Atlantic Records, after hearing Dean’s "Walking On Ice" from their self-released album of the same name. Devonsquare went on to record another CD for Atlantic titled "Bye Bye Route 66", which spawned several critically acclaimed singles including "If You Could See Me Now", featuring Alana's powerful vocal performance.

Collectively they have toured worldwide, been reviewed in Rolling Stone, performed on David Letterman and shared stages with such musical luminaries as Bruce Springsteen, Bonnie Raitt and The Band, and continue to distinguish themselves as esteemed song-writers, performers and recording artists in the venerated genre of folk-rock music.

Along with several prominent studio musicians, Rex and Tom have teamed up in this labor of love to celebrate the genius and artistry of John Lennon. As a gift to John for his 70th birthday on October 9, 2010, they have re-imagined exquisite acoustic renditions of Lennon’s legendary Beatles songs. Besides a smattering of tasteful percussion, Rex and Tom’s distinctive acoustic guitar and vocal stylings and the beautiful voice of Alana MacDonald, featured instrumentation include cello, violin, mandolin, mandola, bass, slide guitar, accordion and chromatic harmonica.

Happy Birthday John!

www.devonsquare.com

www.tomdeansongs.com

www.johnlennonsongproject.com

Diane Schuur

One of contemporary jazz leading vocalists, Diane Schuur, has signed with Vanguard Records. She will be releasing her label debut, "The Gathering", on June 7th, 2011. With a distinguished career that spans nearly three decades, Schuur’s new album is unique in both material and style, and features special guests Alison Krauss, Vince Gill, Mark Knopfler, Larry Carlton and Kirk Whalum.

"The Gathering" is a collection of 10 classic country songs, mostly written during the golden era of the 60's, and is the first time Schuur has featured this genre of music. On selections like Willie Nelson’s “Healing Hands Of Time”, Roger Miller’s “When Two Worlds Collide”, Merle Haggard’s "Today I Started Loving You Again" and Tammy Wynette’s “Til I Can Make It On My Own,” Schuur’s great vocal versatility shines through.

"The Gathering" was recorded almost entirely in one day in early December in Nashville, TN. The singer has always wanted to record there and work with some of the city’s top musicians. Her new association with Vanguard allowed her to achieve that dream. “I knew when the label approached me it was time to do something I always wanted to do”, Schuur says, “and the way it came together seems like magic”. The album sessions started at 9 a.m. on December 6th, 2010, and by late afternoon all ten songs had been completed. Produced by Music City veteran Steve Buckingham, almost all the recording was done totally live, and most of the finished versions on the album are first takes. Other songs on "The Gathering" include “Why Can’t He Be You”, “Beneath Still Waters”, “Don’t Touch Me”, “Til I Get It Right”, “Am I That Easy To Forget” and “Nobody Wins”.

Diane Schuur has built a stellar career by embracing and exploring nearly every corner of the 20th century American musical landscape. Her expressive and powerful vocal deliveries have placed her amongst jazz greats such as Dinah Washington, Ella Fitzgerald and Sarah Vaughn. Schuur has performed in some of the most prestigious venues including New York’s Carnegie Hall, the Kennedy Center and twice at the White House.

With an illustrious recording career that began in the 80's, Schuur has received numerous awards including two Grammys: "Timeless" (1986) and "Diane Schuur & The Count Basie Orchestra" (1987). The recording with the Basie Orchestra spent an impressive 33 consecutive weeks at No 1 on the Billboard Jazz charts and received three Grammy nominations: "Pure Schuur" (1991), "Love Songs" (1993) and ‘The Christmas Song’ from the compilation album "Christmas Collection" (1993).

She has proven her staying power with a steady flow of releases including "Heart To Heart" – a collaborative recording with B.B. King that entered the Billboard Jazz charts at No 1, "Love Walked In, Swingin’ For Schuur" with Maynard Ferguson, "Midnight" (produced by Barry Manilow), "Schuur Fire" with the Caribbean Jazz Project and "Some Other Time", a tribute to her late mother.

www.dianeschuur.com/

www.vanguardrecords.com/publicity

The Disappearing Act

The Disappearing Act’s debut LP is a collection of unique and reflective songs co-written by two longtime friends in Texas that will appeal to listeners spanning the spectrum of the indie alternative, college radio, and the new alternative rock genres.

The Disappearing Act’s lead singer and co-writer, Salim Nourallah, released his first solo effort, ‘Polaroid’, in May of 2004 on Western Vinyl/Secretly Canadian. He has since gone on to make three more critically acclaimed CDs and toured Europe in 2006, 2007 and 2009. His songs have also been featured on many television shows - most notably HBO’s “The Wire” and NBC's “Smallville”. Based out of his own recording studio in Dallas, Salim has also had a very successful decade producing and recording other artists. He has won the Dallas Observer “Best Producer” award five consecutive years now while helping the Old 97s, Deathray Davies, Carter Albrecht, Rhett Miller and many others.

The other half of The Disappearing Act’s writing team is Bob Blumenfeld, an El Paso-based songwriter. In addition to his status as co-writer, Bob also serves as the band’s rhythm guitarist.

John Lefler, who is also featured prominently on ‘The Disappearing Act’ CD, has been the lead guitarist of Dashboard Confessional since 2002 and released his solo debut ‘Better By Design’ in 2009 (which Salim Nourallah happened to record and co-produce). John plays lead guitar and more for The Disappearing Act.

‘The Disappearing Act’ CD was recorded at Dallas’ Pleasantry Lane Studios from 2008 to 2010.

Other musicians who contributed to the recording include Rip Rowan (percussion, keyboards, mixing, co-production), Daniel Hopkins (drums), Rick Nelson (strings), Richard Martin (keyboards), and Paul Averitt (background vocals).

www.thedisappearingact.net

www.myspace.com/thedisappearingactband

Doc Schneider

From his beginnings as a nasty tyke, Doc Schneider was raised on Long Island in a family that treasured song, stories and sorrow. On his 14th birthday, he was given a Harmony guitar and a Hitachi reel to reel tape recorder. Five years later at age 19, he wrote a song on Newport's shore.

By age 38, he decided to write songs in earnest. In between, he became a trial lawyer at a renowned international law firm and is sure to end his days that way somehow.

Along the way, he has fallen in with some extraordinary musical talent, including Eugene Ruffolo (a songwriter's songwriter and performer), Jeff Jacobs (of Billy Joel and Foreigner) and Ben Wisch (the famed New York producer).

Doc began turning out some pretty decent acoustic gems in the tradition of his heroes, though he's never been a rhymin' Simon and he's never been the same as James. Now, at 55, he has hit the speed limit, turning out three indie releases - including his new release with Eugene Ruffolo - called 'Songs & Stories Live', an intimate concert at the fabled Eddie's Attic in Atlanta, in the spring of 2009.

He remains a lawyer by day and night in Atlanta, and a songwriter everywhere else in between. He travels with one little Z and gaggles of girls, perfect angels who call him by name, including the dazzling McKenzie, a 9-year old budding star (and his granddaughter) who was last seen up on a roof in New York City's trendy Meatpacking District, in a tiny fedora strategically dipped below one eye, singing Miley Cyrus' "Party in the USA".

www.legalguitarist.com

Doghouse Roses

Guitarist Paul Tasker and singer Iona Macdonald formed Doghouse Roses in late 2005 after one too many nights listening to old music whilst drinking red wine. They soon developed a sound that lies in the spaces between Pentangle and Fairport Convention, with a nod to Gillian Welch on the way. Doghouse Roses have released two EP's to date and their full length debut, “How’ve You Been All This Time” will be released on March 10. 2009.

The first Doghouse Roses EP was recorded in their kitchen after gigging extensively around Scotland, England and Holland. Released in September 2006, this EP featured five original songs, one instrumental and the traditional folk song “Nottamun Town”, previously recorded by such legends as Bert Jansch, Fairport Convention, Jackie Leven and Roger McGuinn.

In September 2007, Doghouse Roses released a second EP, “Folk & Blues Part 1” and embarked on a 25 date European tour with US “folk-noir” band, the Willard Grant Conspiracy. Tasker & Macdonald appeared as Doghouse Roses in the support slot and played as members of the headlining Willard Grant Conspiracy at sold out shows. Doghouse Roses have since returned to Germany for their own tour as headliner, and performed at a Popkomm showcase in Berlin in October 2008.

Both Tasker and Macdonald are accomplished performers in their own right - Paul Tasker began playing the guitar after hearing legendary guitarist Bert Jansch in a Glasgow working men’s club in the early 1990’s. He has played hundreds of gigs, from backing fiddle players to playing a telecaster in a “folk techno fusion band”, and in 2004, as songwriter and guitarist for Sal, Paul won a coveted Danny Kyle Award at the Celtic Connections festival.

Iona Macdonald has gained acclaim as a distinctive and accomplished singer with “vocals reminiscent of such folk luminaries as Sandy Denny and Linda Thompson” (Americana UK, Feb 2007). Her growing reputation has led to Macdonald being much in demand as a session singer, and recently performed with Howe Gelb and featured on the 'Willard Grant Conspiracy Pilgrim Road Tour'.

She and Tasker recently spent time in the studio with 60's icon Nick Garrie, working on his new album “49 Arlington Gardens” This album, his first in 40 years since the release of the “lost classic”, ‘The Nightmare Of J B Stanislas’, also features Norman Blake of Teenage Fanclub and Duglas T Stewart of the BMX Bandits. Tasker & Macdonald also appear on the critically acclaimed WGC album, “Pilgrim Road” where they have been singled out for praise in reviews for their contributions.

The duo recorded their album of 10 original songs, “How’ve You Been All This Time” with producer/composer Malcolm Lindsay, who has previously written and arranged for The Delgados and The Willard Grant Conspiracy, and, among numerous credits for TV and film music, scored the Ewan MacGregor film, “Young Adam”, with David Byrne.

The new album available here.

www.doghouseroses.org

www.myspace.com/ukdoghouseroses

Donal Hinely

With roots sunk deep in the same storytelling tradition of Texas singer-songwriters like Steve Earle and Townes Van Zandt, Donal Hinely speaks in a voice that is both intimate and authentic. Spinning tales of hard luck, love, missed opportunity and die-hard hope, Hinely writes songs that skirt the outer fringes of country, folk, and straight ahead rock. As Paste Magazine wrote, Hinely has a gift for "vivid storytelling lyrics peppered with pieces of reality that make each song memorable".

Born and raised in Denton, TX, Hinely began writing songs at an early age and honed his craft in several original music projects including a regionally successful college rock band called the Agents Of Kaos and the acoustic duo Glasnots. In 1994, he moved to Nashville to join the songwriting community where he has since garnered recognition for his stirring songs and honest performances.

His breakthrough CD, "We Built A Fire", established Hinely as one of the premier Americana artists today. Co-produced by David Henry (Cowboy Junkies, Josh Rouse), "We Built A Fire" features appearances by Grammy-nominated singer-songwriter Kim Richey, recording artist Mindy Smith, guitarist Will Kimbrough (Todd Snider, Rodney Crowell), and members of Wilco, Edwin McCain Band and Hayseed Dixie.

Hinely's 2005 release, "Giants", received significant attention from folk and roots radio, remaining on the Americana Music Association album airplay chart for 11 weeks and debuting at #6 on the Euro Americana Chart. In November 2005, “Giants” was the most added single in US folk radio according to the FOLK-DJ list survey. Critically lauded by both indie and mainstream press, "Giants" was nominated for album of the year by the Independent Music Awards, the Indie Acoustic Project, and the Acoustic Music Awards.

Hitting all points of the compass in 2006, Hinely was a showcase artist at South by Southwest Music Conference in Austin, Texas and the North by Northeast Festival in Toronto, Canada. In 2007, Hinely was named a New Folk Finalist at the Kerrville Folk Festival in Texas. 2008 saw the release of "Blue State Boy", his first collaboration with Atom Records. A critical success, the album ended up on over 12 best of the year lists. The release of "The Famous Rocket Cage" in 2011 resulted in an opening slot for the Nitty Gritty Dirt Band during the midwest swing of their national tour.

Hinely is also a noted practitioner of the glass harmonica and plays a homemade set of 24 water-tuned wine glasses and brandy snifters. As a glass player he has performed for thousands of patrons at festivals and street fairs and has three albums of instrumental glass music to his credit.

http://donalhinely.com

DownTown Mystic

DownTown Mystic is the alter ego of American Rocker, Robert Allen. When asked about how he got the name DownTown Mystic, Robert says, “I wanted a name that could work for a group, as well as represent me personally. One fateful day I was driving up to Boston and saw a little sign that said ‘NEXT STOP DOWNTOWN MYSTIC’. I immediately knew that was the name I was looking for… DownTown represents my rock’n’roll nature and Mystic represents my imagination… It’s perfect!”

DownTown Mystic’s CD, “Standing Still”, is the 1st release under a new deal with AGR Television Records. On "Standing Still", Robert is joined by a stellar cast of musicians, including drummer extraordinaire Steve Holley (Paul McCartney/Wings/Elton John/Ian Hunter) & urban legend Paul Page (Dion/Ian Hunter) on bass, as well as one of the great rhythm sections in the history of American Rock'n'Roll - Garry Tallent and Max Weinberg of Bruce Springsteen’s E Street Band.

The sound of DownTown Mystic is “vintage yet modern”. The music is rooted in all the great traditions of rock‘n’roll, blending story telling songs with vintage guitars and analog recording into a unique style that owes nods to Buffalo Springfield, The Byrds, Poco, The Beatles and Rolling Stones.

On playing roots/rock‘n’roll, Robert says, “There’s a good deal of country in the roots of rock ‘n’roll. Going back to Elvis, Chuck Berry, Buddy Holly, Everly Brothers and even the skiffle craze in Britain that had a big influence on The Beatles. Country was in the ‘feel’ that was a big part of that music.”

And it’s a big part of what makes “Standing Still” DownTown Mystic’s most fully realized album, landing on both the EuroAmericana Top 25 Chart in Europe and the Americana Chart in the US, thanks to a good deal of Americana Radio airplay. And it seems like radio has played a big part in the career of DownTown Mystic.

It started with veteran tastemaker, Jed The Fish, playing a DownTown Mystic track as his “Catch of The Day” on KROQ in Los Angeles, one of the most influential stations in the US. This would be followed by the “Mayor of The Sunset Strip”, legendary KROQ DJ Rodney Bingenheimer, playing another track and leading to national airplay.

From there, DownTown Mystic was off and running. Besides gaining recognition from radio programmers, DownTown Mystic has also had music placed on American TV, including MTV and the History & WE Channels.

www.shala.com

www.agr-music.com

Downtown Ramblers

They call it “nordic urban bluegrass”. A mixed expression that indicates the music they play, where they’re from and what they love. Their music is based on traditional bluegrass with influences from all kinds of music, including Swedish folk, pop and jazz.

It all started in December 2005, when singer Emelie Junsten asked Pär Öjerot if he wanted to play some country music with her, and together with Martin Blomberg and Oskar Ruter they formed Downtown Ramblers. In early stages the band played all kinds of country covers. However, their focus gradually shifted towards being a dedicated bluegrass band only. When bass player Kalle Annerhult joined, Downtown Ramblers took the form that still remains the same to this very day.

After several gigs and showcases the turning point came in September 2007 when Downtown Ramblers won the Swedish Bluegrass Championships in Sälen. Due to the success in Sälen, the following summer they performed at almost every major country and bluegrass festival in Sweden. Later that year, in December 2008, they released their first, self-titled album, with all original material.

Only a few months after the CD release, in May 2009, Downtown Ramblers attended the European World Of Bluegrass Festival, in Voorthuizen, Netherlands, where they were voted #1 European Bluegrass Band 2009. The award gave the band the opportunity to perform at the International Bluegrass Music Association’s World of Bluegrass 2010, in Nashville, USA.

In October 2010 Downtown Ramblers attended the yearly I.B.M.A. conference where they presented some new nordic bluegrass music for the Nashville audience.

In 2011 Downtown Ramblers releases their 2nd album, "On The Other Side Of The City". On this CD you can hear Grammy Award winner Tim O'Brien doing a beautiful duett with Emelie, and marvelous fiddler Brittany Haas from Crooked Still on three tracks.

www.downtownramblers.com

www.facebook.com/downtownramblers

Dublin Gospel Choir

The hand-clapping, foot-stomping Dublin Gospel Choir started 2010 with a real sense of purpose with the release of their brand new album ‘Doing Their Thing’. Packed full of true gospel classics and surprising future favourites, The Dublin Gospel Choir will release the album all over Europe in 2010.

Not too many acts can boast of sharing the stage with music industry heavyweights such as Rod Stewart, John Legend, Damien Rice, and The Chieftains. But that is exactly what the Dublin Gospel Choir has achieved over the last few years.

From their modest beginnings as a local school choir in Dublin’s inner city 13 years ago, they have become a household name in Ireland, playing a huge number of tour dates and appearances every year. Add to that their annual slot at Ireland’s internationally-acclaimed music festival The Electric Picnic (at which they play the Main Stage again in 2010) and a performance to a sell-out 82,000 crowd ahead of a major football game at one of Europe’s largest sporting arenas - Croke Park - in 2008, and you have a group of people who are really going places.

The choir also featured on a special New Year’s Day BBC Songs of Praise programme which was broadcast to over 35 million viewers worldwide. Whereas the religious audience is one target market for them, the Dublin Gospel Choir seems to have broad appeal. Collaborations with people like Rod Stewart, John Legend and Damien Rice have also won them a much younger audience and one that remains a large part of their audience wherever they perform.

Being favourites on Irish radio and TV, 2010 has already seen the Dublin Gospel Choir playing The Meteor Ireland Music Awards in February, The Saturday Night Show in March and throughout this coming summer, they will appear at many music festivals before touring in the UK and other European countries from September onwards.

www.dublingospelchoir.com

www.myspace.com/dublingospelchoir

Dyl

Dyl was born and raised in South France, and the first connection with music was his mother’s Jacques Brel and Charles Aznavour record collection. Soon came the punk-rock explosion. Dyl has slept with his guitar since then...

He moved to South America and spent years in French Guana where he started his first band (The Brown Band), playing some noisy folk-rock to people more inclined to Creole rythmns. At the same time he started to write for music magazines in France (Rolling Stone, Rock Sound, Le Cri Du Coyote) and never stopped.

Back in Europe, he forgot about this musician and singer thing. The virus came back around 2005 and he decided to gather a lot of friends from all over the world (Sweden, USA, Argentina, Italy, France) to record his own material, songs written by friends and a handful of covers (Bruce Springsteen, Joe Henry, Sam Phillips, The Sonics, Jean-Louis Murat). The result is «Folk Off», mastered by Al Ursini (Michelle Shocked, Cheap Trick) in Chicago.

Dyl is currently working on a side-project with Petra Borén Supparo (Göteborg, Sweden), in an alternative folk duo: Dyl & Petra.