Salim Nourallah
Salim Nourallah is a singer/songwriter/producer from Dallas, Texas.
10 years ago, Salim and Farris Nourallah recorded their debut CD "Nourallah Brothers" on an 8-track recorder. Before it was even released the brothers had decided to go their separate ways. They have not recorded music together since.
Salim released his first solo record, 'Polaroid', in May of 2004 on WesternVinyl/Secretly Canadian. He went on to release the critically acclaimed 'Beautiful Noise' in 2005 which won Best CD/Best Song and Best Producer awards in the 2006 Dallas Observer Awards. After the German indie label Tapete Records released 'Beautiful Noise' in the spring of 2006, a headlining European tour followed. It was capped with an appearance at Hamburg's Reeperbahn Festival. Salim's 3rd CD 'Snowing in My Heart' yielded the successful single "Don't Be Afraid" which appeared on HBO's TV show "The Wire." Another European tour followed in the fall of 2007 with performances not only throughout Germany but also in Paris, Vienna and Switzerland.
In the fall of 2007 Salim still found time to produce the Old 97's successful 'Blame it on Gravity' CD.
'Constellation' is Salim's 4th solo CD. It was recorded in the spring of 2008 with singer/songwriter/producer extraordinaire, Billy Harvey. Salim and Billy played and sang everything themselves with the notable exception of guest appearances on the song "Saint Georges" by Austin musicians Bob Schneider (vocals & piano) and Bruce Hughes (upright bass).
'Constellation' is a joyous sonic return to the indie pop sounds of Nourallah Brothers while also maintaining the emotional directness of Salim's previous solo CDs. With soaring vocals, catchy melodies and evocative words it promises to be one of Salim's best efforts to date.
Look for Salim Nourallah on tour in Europe in April/May of 2009.
Savana Lee
"I would like to say a few words about this album that I feel is worthy of mention. It was produced by Anthony Crawford who did an amazing job.
Anthony has a gift of capturing unique and beautiful views and recently took the cover photo for Neil Young's 'Chrome Dreams II'-album. His work has been featured in the fine galleries of L.A. and San Francisco.
The photos of the 'Redbird'-album were taken by Anthony at Neil Young's ranch in California while rehearsing for the 'Chrome Dreams II'-tour. The album was also mastered there.
There are some incredible players on this album including Anthony Crawford (Neil Young/Steve Winwood), Rick Rosas (Neil Young/Joe Walsh), Phil Jones (Tom Petty/Joe Walsh/Rolling Stones/Roy Orbison/Bob Dylan), Spooner Oldham (Aretha Franklin/Bob Dylan/Neil Young) and Waddy Wachtel (Everly Brothers/Bonnie Raitt/Jackson Browne/Linda Ronstadt/James Taylor).
I thank everyone who was involved with this project and truly hope that the world will get to hear it. It holds a piece of my heart." ~ Savana
www.savanalee.com
www.myspace.com/savanalee
The Service Industry
"The service industry" - the 'little' people you never notice who do your cooking and cleaning, wait your table, pull your beer, check you out in the grocery and at the bookstore - have never before had a voice in the entertainment industry… until now.
It's all here, the drudgery, the routine, the hangovers, the cute maids and wait staff.... The people you see every day and don't notice. But they've been watching you… and taking notes. And for the first time, life in the service industry is the concept behind a band. Struggling to make ends meet, to make the car payments, 10 days behind on the rent, falling in love with the new waitress, dealing with no tip creepers, all the angst and heartbreak of a life full of underachievement.
You don't have to know terms like 'section,' 'front of house,' or 'back of house' in wait staff lingo to follow the action. See that cute waitress over there? The really hot young lady who seems to be your special friend every time you come in? She has a boyfriend and just wants a decent tip; she's going to med school, so remember when you make sexist remarks about her she might be seeing you in the ER one day. See that swarthy, scar-faced bar back? He's really an Eastern European refugee who claims to have been a government black ops agent famed for wetwork; when his regime fell, he illegally immigrated to the States and took the only work he could get. He only pretends not to speak English, but he's probably written your name and credit card information down already. And that dude out back, the one you see sitting alone smoking, with 97 tattoos and hair that hasn't been washed since 2005? He's the one who cooked your meal; he was a child prodigy on piano, plays in three bands on indie labels, and sleeps with the hot waitress.
“Keep The Babies Warm” is the new album from the Service Industry and follows quickly on the heels of their February 2008 release "Limited Coverage", arguably the finest piece of 'Bolshevik Psychedelia' the United States has ever produced.
The band’s music and arcane ideology are a direct reflection of their collective brushes with fame cast against the unlikely proposition of receiving a fair wage for doing what they love to do the way they want to do it in the “Live Music Capitol of the World.”
The band seeks to convert musical consumers of all stripes as the well-heeled, slick power-pop of this new set niftily conceals the band’s philosophical message and slyly indoctrinates new adherents to the cause.
”Keep the Babies Warm” delivers adamant everyman anthems with style, charisma and chutzpah and is recommended listening for fans of Cheap Trick, Cracker, Nick Lowe and the Pixies.
www.theserviceindustry.net
www.myspace.com/theserviceindustryband
www.sauspop.com
Shane Alexander
The dynamic collection of ten new songs was recorded over two weeks during late September/early October in Los Angeles. Shane Alexander once again teamed up with critically acclaimed LA production duo, Heroes & Villains, with whom he made his 2006 release Stargazer. Also returning from Stargazer: drummer Charlie Paxon (James Blunt, Colin Hay), Billy Mohler (Macy Gray, Liz Phair) on bass, piano, keyboards and electric guitar and Kim Bullard (Goo Goo Dolls, Tori Amos) on Hammond organ. Chad Crawford on bass and Jeff Friedl on drums also appear. Veteran producer/engineer/mixer Toby Wright (Alice In Chains, Wallflowers, Chris Whitely, Trey Anastasio) mixed the record.
Stylistically, the new album has a sound all its own and features some of Alexander’s best studio performances to date. There are more up-tempo songs than his previous effort, including the anthemic opener “Amsterdam”, the driving “Difference of Opinion” and the groovy “Outside the Lines”. After touring so much as a solo acoustic artist, Shane obviously sought to get back to a “band sound” and something that could get a crowd moving. However, there are still Shane’s trademark acoustic ballads - the title track is a delicate, infectious song with soft finger-picked guitar and doubled vocals that whisper “all is as it should be” and the sunshine-infused “Coffee Kiss” will be sure to please fans of songs like “Valentine” and “Front Porch Serenade” from his two previous efforts.
In 2007 Shane Alexander performed for the biggest audiences of his career when he opened for SEAL’s U.S. tour, in addition to his own touring in the US, Canada, Netherlands, Germany, France and Belgium. Nearly all of the songs from Stargazer were licensed for television, including: ABC’s Brother and Sisters, Big Shots and What About Brian?, FOX’s Bones, MTV’s Real World and Laguna Beach, CBS’s Criminal Minds, ABC Family’s Wildfire, and shows and movies for both Nickelodeon and Lifetime – exposing Shane’s songs to millions worldwide.
In 2006, Alexander was asked to open two US tours with Jewel and one US tour with Lisa Marie Presley – armed only with an acoustic guitar; he won over thousands of new fans night after night.
In 2005 the debut album The Middle Way earned accolades and abundant regional airplay in the states. The song “The Open Road” received national airplay in the Netherlands which led to a distribution deal in Holland and Belgium with Lucky Dice Music. Playboy Netherlands gave the record 4 stars - this would happen again in 2006 with Stargazer.
Shane Alexander’s The Sky Below is scheduled for a February 19th release with a full band international tour to follow.
Shelley Jones
Shelley Jones is a contemporary vocalist, but her musical influences range from pop and jazz to R&B, gospel and blues. Influenced by jazz singers Sarah Vaughan, Dinah Washington and Ella Fitzgerald to soul singers such as Al Green, Aretha Franklin, Etta James and Tina Turner, Shelley spent many years listening and learning. Dedicating her life to developing and fine-tuning her talent, Shelley has become an original artist with a style that has been described as soulful, passionate, intense and rhythmic.
Since graduating from the Grant MacEwan College jazz music program, Shelley has gone on to become a highly experienced stage and studio performer, showcasing her talent and versatility in many different musical settings. From pop/R&B bands, jazz trios and big bands to symphony orchestras, Shelley has successfully done it all. Her vocals have also appeared on numerous independent recordings and radio/television jingles. As a songwriter and solo artist, she has also co-written and recorded three CD’s. Shelley continues to perform and record regularly and her passion and commitment for music is clearly evident in every style of musical setting.
Shelley's self-titled CD gave her an opportunity to combine her musical influences. As the writer/co-writer of all nine tracks, this stellar recording highlights Shelley's strength as a vocalist and her development as a composer.
Shelley's second CD "Love on Time" was a collaboration with songwriter Ron Varze and encompassed elements of Pop, Jazz, Latin, R&B and Gospel. Many of the songs from this recording received radio airplay.
Shelley's third and latest CD “Faithfully” has her collaborating with producer/writer Andrew Glover. Together, they have co-written ten tracks, which are a mixture of Smooth Jazz, Pop, Blues and Latin. Ever passionate and committed, Shelley continues to grow as an artist with her own unique, inventive and original style.
Slowman
Born April 1957 in Linköping, in the middle of Sweden. Residence, the south of Stockholm, capitol of Sweden. Stage history; Bought his first guitar at age seven. Became a local guitar hero in the 70’s. Participated in several CBS-labeled records and national tours in the 80’s with the Swedish bands 2001 (rock-pop) and Station (soul-pop). A wide range of experience; from Sababas (afrofunk/highlife) to musician and composer when The Pero Theater launched in 1983. Known from local pubs and clubs for his Jimi Hendrix’ acts and the cover-power-trio Crossroads.
But twenty-four years ago Svante Törngren (aka Slowman) turned his back on record companies and producers – for good, he thought. It was back in 1985 and the industry had a different structure. As an artist, composer and musician you depended upon a few producers and the standards of commercial success in the 80’s. After a couple of records with other bands, Svante Törngren formed his own, and quite a few big companies were interested in their demo. But he couldn’t stand the interference, picking in details and nitty gritty. So; Svante closed the door with a slam and made his living elsewhere.
But now he is back. With his own material, skilled fellow musicans and a lasting urge to express himself. The name ”Slowman” is an ironical tribute to the fact that it took some 20 years to come up with a debut album.
"The Best Of Slowman" available here.
Sorta
“Oh, it’s over,” sings the choir at the end of Sorta’s eponymous new record, and so, in a way, it is. Not in a they-planned-it-that-way sort of (sorta) way; not every band gets the luxury of a premeditated grand exit, a la The Band’s 'Last Waltz'. Sometimes the tape just runs out, right in the middle of a solo, song or a band just getting good and warmed up, and, just like that, it’s over. Everyone looks around at each other, the same stunned, puzzled look on everyone’s face, and after a long moment, without anyone needing to say a word, it’s decided to just let it be.
In the late summer of 2007, the members of the Dallas-based band were well on their way toward completing their fifth full-length album. Producer/engineer Stuart Sikes (White Stripes, Cat Power, Modest Mouse) was relentless, pounding live take after live take out of the band, not in pursuit of studio perfection, but rather those magically ragged-but-right performances that sometimes surface when musicians are past the point of exhaustion and operating on almost pure instinct. It was brutal but exhilarating, and Sorta — singer-songwriter Trey Johnson, bassist Danny Balis, lead guitarist and piano player Carter Albrecht, pedal steel player Ward Williams, guitar and keyboard player Chris Holt and drummer Tom Bridwell (new to the band, but a longtime friend and fan) — all rose to the occasion. As would only be expected from six journeymen musicians in their 30s, and from a critically lauded group with multiple Dallas Observer Music Awards to their collective credit.
But then something unexpected happened: the tragic Sept. 3 death of Albrecht. A year later, his loss still seems surreal an unexplainable to everyone who knew him, and anyone who ever heard him play. Albrecht one of the most prodigiously talented, respected and beloved musicians in Dallas, whose credits included not only Sorta and his own band, Sparrows, but also work with Edie Brickell, Paul Simon, Charlie Sexton and the Dallas Symphony.
The rest of the band was still very much in mourning by the time they reconvened to finish the album (which was mastered in late 2007). The decision was made to “clean up a few loose ends” with minimal overdubs, but no more songs were tracked and Albrecht’s recordings were left untouched. For the album-closing song “Afraid of the Dark,” a group of friends was brought in to sing the aforementioned “it’s over” refrain through tears as Albrecht’s pre-recorded guitar line answered back through the studio speakers. Neither that song nor any of the others were written about their late friend, though of course, for all involved, the entire album will forever play like a bittersweet benediction — not only for Albrecht, but for the band Sorta itself.
“The future is uncertain,” the band writes in the album’s liner notes, “but the past is full of distinct memories, pain and pleasure, and most importantly, music made with love.” Frontman Johnson, who began playing as an acoustic duo with Balis eight years ago before Albrecht made it a trio and subsequent members helped fully define Sorta’s continually evolving sound, says that there are plans to support the album’s release with live dates, but notes that sorta will most likely stand as Sorta’s final bow. In the months since the record was mastered in early 2008, the band members have dispersed to work on separate projects: Holt — recently named Musician of the Year at the 2007 Dallas Observer Music Awards — fronts his own band, the Slack; Ward moved to Nashville to pursue session work; and both Johnson and Balis are at work on their first solo albums. Carter’s posthumous solo debut — recorded at the same time as the Sorta album — is due for imminent release, too. “Carter’s album will melt you,” Johnson enthuses.
So too will sorta, the last record this wonderful band made together before — nay, as — the proverbial tape ran out. Under different circumstances, it might have been a slightly longer album. Albrecht might have wanted to revisit some of his parts, many of which had only been recorded as demo or scratch takes before his death. But many of the songs here feature Johnson’s scratch vocals, too, chosen over later takes not out of necessity but because they best fit the sound of the band playing as a band, capturing the urgency and majestic beauty of Sorta’s live shows in a way that never before fully survived the translation to disc on the band’s previous studio albums (2001’s 'Plays for Lovers', 2002’s 'Laugh Out Loud', 2004’s 'Little Bay' and 2006’s 'Strange and Sad but True'). The songs here, too, are arguably the best the band ever worked on together — lifted both by the sterling performances all around and some of Johnson’s most engaging and — however ironic in hindsight — lighthearted and even playful lyrics. There’s sadness here — always a Sorta/Johnson specialty — but also songs like “Poor Little Child” and the wickedly sly, bouncy “Fool’s Gold” that sound every bit as fun to listen to as they were for the band to record. Even “I’ll Be There” — written about the death of another friend of the band’s — soars on the wings of Albrecht and Holt’s guitars, layered together in such a way you’d swear George Harrison was in the mix, too.
The end result is a snapshot in time of a band that had only just begun to truly realize its full potential, poised for what surely would have been only the beginning of its greatest output. Instead, it’s Sorta’s swansong. But it’s hard to imagine the band going out on a higher note — or saying goodbye to their friend in a way more fitting manner than to share with the world the beauty of the irreplaceable role he played in making Sorta the very special band it was, and everyone who played with him the best they musicians could be.
“The band did good,” Johnson offers matter-of-factly. “I mean, as not cool as I am with the ridiculous tragedy and loss, I’m very satisfied with what we did. The record’s a perfect statement and document of what the band sounded like, and for me especially, that’s very valuable. More than anything, I just want people to have the chance to hear it. It can be a very difficult to listen to — there are some moments on here that will make you cry, even if you’re able to forget the circumstances around it. But I think it’s a beautiful record. Everybody who makes records wants to make records that move people. And this one does; it moves me, and I hope it moves other people, too. I hope it finds a home.”
www.sortaweb.com
www.myspace.com/sorta
Stacie Rose
For many recording artists, the process of cranking up the writing machine to begin a new record can be a daunting task. But not for rising singer/songwriter Stacie Rose.
After her 2005 release of 'Shadow & Splendor' earned unanimous raves, (songs were featured on FX’s 'The Riches', MTV’S 'The Hills' and an ESCADA 'Sunset Heat' episode) the Jersey born Rose was ready to rock when her muse came calling again.
“I won’t pick up a guitar or mutter a word of melody for months. Then I’ll go through a spell where I can’t tear myself away from the guitar or mini recorder. This time, I got a lot of ideas on the fly, so I’d be calling my answering machine and singing ideas into it. Yes, it’s true; I’m that crazy person on the street singing into her cell phone! Once the songs begin to come, they start a flood. Especially, with this batch. That’s how much of the album came to be."
The end result, 'Shotgun Daisy' is a collection of songs with lush vocals, hook-laden melodies and engaging lyrics. It is clearly her most personal and direct recording yet. The title is a nickname given to Rose and refers to her all or nothing, mile a minute approach to life.
This time, 'Shotgun Daisy' had a new mantra. “I knew I needed to take a deep breath on this one, to come at it a bit differently. With time being so precious, I wanted to manage it properly. The crew all had binders with lyrics and notes. That way during the recordings everyone could literally be on the same page. It sounds a bit geeky but it really kept things together.
With a the stellar cast of musicians on 'Shotgun Daisy', it’s no wonder many have called her a musician’s musician!
The record includes performances by Gerry Leonard (David Bowie's music director & guitar player - currently touring with Rufus Wainwright), Jack Petruzelli, (also on tour with Wainwright) Shawn Pelton, Shawn Mullins, Steve Conte, Lucy Woodward, James Maestro (Ian Hunter & Patti Smith), David Patterson (Shawn Mullins and Indigo Girls). Jeff Allen, one of the producers, and bass player (Avril Lavigne and Duncan Sheik & currently touring with Rosanne Cash and Marc Cohn), Robert Smith, also a producer of the record (David Bowie and Rickie Lee Jones).
“Working with co-producers Jeff Allen and Robert L. Smith was a dream. We had some good fun and it was great to have a team! I love the fact that we were all trying to make the same songs speak and have a life. True collaboration allows each song to really grow up and find its space and emotion. I revel in the process. It’s what I love most about making music”.
So Stacie Rose, Jersey girl — 'Shotgun Daisy' is back and better than ever. The irresistible melodies, the mile-wide hooks, the revealing lyrics, dark comedy mentality, and that all enveloping voice. They’re all in tact and they all add up to a self-portrait of an artist who’s truly come of age.
Stefanie Fix is a rather recent arrival to Austin, TX but she always seems to attract the cream of the crop [more on this below]- she's a songwriter's songwriter - she's inspired to push the envelope on the confines of what defines the genre of singer/songwriter. She says she just got bored with the straight forward, "well crafted" approach to writing songs- first and foremost Stefanie is an Artist, make no mistake- she means it with a capital "A" and she make no apologies for her approach. She's also an accomplished guitar player transitioning easily from percussive strumming to melodic picking to slide guitar.
Stefanie's about to head back into the studio to make what will be her fourth CD- there's no working title yet since that will grow out of the sounds they create- It's being produced by Stephen Doster [Willie Nelson, Nancy Griffith, Dr.John] & Johnny Goudie [Goudie, Canvas, Endocine]. She's also enlisted some of the top players not only in Austin but in the world on this recording they include Dony Wynn on drums [Robert Palmer, Steve Winwood], Brad Houser on bass [Edie Brickell & the New Bohemians], Stewart Cockran on keyboards [54 Seconds] & John Sanchez on guitar [The Summer Wardrobe]. The line up alone is enough to make you sit up and take notice.
She says, "When I decided to pair these two guys together I just thought they were both so talented. Johnny is a great musician and he's had a lot of exposure to the bands that really started to influence me in past few years. Stephen on the other hand is a great guitar player and songwriter and he's produced a ton of albums- he has a musical depth and sensitivity that speaks to the kind of songs I'm writing now. Stephen and I just feel the same way about what music is- that is, what music means to us and what we want to achieve by continuing to make music. I just thought it'd be a really challenging, inspiring pairing- they both have such different strengths that I thought either we're going to tare each others heads off or we're going to make something really great".
Stefanie's last full length CD, SUVIVAL was co-produced by Larry Campbell [Bob Dylan's Guitar/Fiddle player] and the late Bob Mayo [Hall & Oates/Peter Frampton Piano player]. It was recorded at The Loft Recording Studio when she was living in upstate New York. The CD received a plethora of great reviews - AMG gave it 4 stars and Stefanie was touring all over North America with SUVIVAL in tow.
Stefanie gradually began to realize that the music she was most excited about wasn't necessarily the type of music she was making. This became the seed for her next project Limited Sight Distance [LSD]. She wanted to create a sonic experience for the listener that could match the power, intensity and content of her lyrics, while simultaneously using her versatile and expressive voice in a less conventional manner. Having mastered "the craft" of songwriting, Fix made a clear and conscious choice [with LSD], to abandon those confines for the sake of pure expression and artistic exploration. The project included contributions from Adam Snyder, Jason and Justin Russo [all formally of Mercury Rev] and John Parker [Varnaline]. It was produced by Kevin McMahon whose past credits include Home [Jet Set Records] Cakelike (Vapor Records) and The Mooney Suzuki (Telestar Records). See, what we mean about attracting the cream of the crop. Folks like this just always want to work with her because what's she's doing is worth being a part of.
With the new CD Stefanie says she wants to find a way to merge these two different styles of music. "I really want to make something that I haven't quite heard anywhere yet- I want to draw on classic, brilliant producers like Daniel Lanios and George Martin while at the same time get the raw lo-fi qualities of producers like Dave Friedman and Kevin [McMahon]. With this in mind I don't want to lose the song to the sound- I really want us to find a way to allow the listener to fully hear the song as a crafted piece but have these sonic landscapes and movements where they can lose themselves in the music if they want to".
Be looking for the new CD in the spring of 2007. In the meantime Stefanie plans to keep playing live in the Austin area.
Stephen Hedley
Stephen Hedley is one of those singer-songwriters whose music defies easy comparisons. Brought up in Windsor, Ontario, Hedley grew up only minutes from the Ambassador bridge which connects the the Canadian industrial city of Windsor to it’s U.S. counterpart Detroit, Michigan. With a
clear signal from Detroit’s massive radio market, Stephen enjoyed a diverse diet of Otis Redding, Jeff Buckley, Stevie Wonder, Nick Drake, Marvin Gaye, The Stooges, U2, Neil Young, Philip Glass and everything in between.
Son to a British Anthropologist and an American classically trained pianist, with sabbatical years spent New Zealand and Newfoundland as a child, it’s no wonder that Stephen’s outlook, and his songwriting, have always been unique and genre bending.
His debut CD “Scenes’ (Wundertone Recordings) reflects many of those influences, from the soulful falsetto of ‘Yellow Dog’ to the achingly beautiful ‘Why Can’t You Be Satisfied’ to the song-along rock choruses and disco undertones of the title track ‘Scenes’. Stephen’s intuitive sense of melody, and his ability to bring together such diverse influences in the context of a pop makes his debut CD an album that is both immediately gratifying and one that can be returned to time and time again.
Steve Mednick
Steve Mednick’s untrained voice, melodies and lyrics work well around a full acoustic band, and also when he scales down to solo singer-songwriter mode on piano or guitar.
Sure, he’s got an anti-Bush song (“Sidestepping [in the Dark]”) — those are now mandatory by law in the folk community.
But instead of going down the same well-worn, rutted folk road, Mednick has a John Hiatt/Warren Zevon aura around his work, especially on “Second Heart” and “Roxbury Interlude.”
Mednick released his debut album “Dark Ages Reprise” late 2006, and early 2007 saw the release of “Bucket Of Steam”.
For release in December 2007 is his brand new album ”Ambling Toward The Unknown”, and as if this wasn’t enough, a 4th CD, “Sunset At The North Pole” is ready for release early next year.....
"Sunset At The Northpole available here.
Steve Noonan
Steve Noonan released his first album in 1968. It was such a huge smash success that he is releasing his follow-up immediately forty years later!
Way back in the 1960’s there was a hip music magazine called Cheetah. The first issue featured a nude picture of Mama Cass on a bear skin rug. Did you know Mama Cass had a tattoo? It was Cheetah that labeled Tim Buckley, Steve Noonan and Jackson Browne as “The Orange County Three.” All three were friends who performed at the Paradox in Orange County and other folk clubs and all three were very talented songwriters. At that time Jackson Browne was not much of a singer and it would be a few years before he would make his first album, but Elektra Records had signed Tim Buckley and he had recorded his first LP. Looking for another singer songwriter to duplicate Buckley’s success, Elektra signed Steve Noonan in 1967. It seemed like a dream come true to the teenaged Noonan, but, sadly, it wasn’t. It turned out to be the worst thing for Steve Noonan’s professional ambitions.
Just as the Nitty Gritty Dirt Band had a Top 40 hit with 'Buy For Me the Rain', a song written by Steve Noonan and his friend Greg Copeland, Steve went to New York to record his album. Paul Rothchild, the legendary producer of the Doors and Janis Joplin was brought in to produce the album. But Elektra and Rothchild wanted Tim Buckley II, not Steve Noonan. They tried desperately to recreate Noonan in Buckley’s image and Steve resisted. The clash led to Rothchild storming out and taking his name off the record. Steve said, “You can take my name off it, too.” The record came out. Elektra spent twenty dollars on promotion and it sunk like a stone. I bought a copy for sixty-six cents at Aaron’s Records on Melrose. The album and the artist who made it deserved better. 'Leaning Back & Laughing' is as fine a track as anything ever released on the label.
The second Steve Noonan album is the work of a seasoned artist, a singer songwriter who has labored in relative obscurity for all these years. While Tim Buckley fell victim to rock’s excesses, and Jackson Browne rose to fame and played intimate songs in baseball stadiums, Steve Noonan played coffee houses and living rooms, always writing and playing and singing. Most of the artists of the sixties did their best work in their twenties. But here we find Steve Noonan just a bit older and doing some of the strongest work of his life. The songs on this new album were mostly written in the last few months. Listening to these songs now is like hearing an exciting new discovery. It’s like finding a forgotten gem for sixty six cents in the bargain bin at Aaron’s.
www.stevenoonan.com
www.myspace.com/stevenoonanmusic
Steve Postell
That golden California Sound comes alive again on 'Time Still Knocking', Steve Postell's Immergent Records debut. This rich, organic work draws on rock, folk, blues, country and R&B, all distilled through well-honed craftsmanship coupled with genuine heart and the musical camaraderie of a staggeringly talented group of musicians.
A singer-songwriter, guitarist, producer, Steve's remarkable career begins a new chapter on 'Time Still Knocking' which features a wide array of legendary musicians. Contributors and collaborators include David Crosby, Jennifer Warnes, John Oates, Robben Ford, Eric Johnson, Paul Barrere, Dave Koz and many others.
“I was with the band, Little Blue, for nine years and I wrote a lot of the material, so when I was signed, the original thought was to create a new band around me," Steve says. "But after I started working on the album, it became clear that this was an artist-driven project. We felt it was time for me to make a solo record."
The album’s opener, the inviting, bluesy '3:45 Coming Through', is one of the few tracks that Steve wrote on his own as most of the songs are collaborations. His songwriting partners ranged from rockl veteran John Oates (Hall & Oates) on the baroque folk-rock of 'Straight For the Moon', to hard rocker Kip Winger on the churning 'Change in the Circle'. “Even though Kip, John and the others are all different, there’s a kind of common thread, true of every person who worked with me on this record,” Steve says. “They all understand and strive for a very high level of artistry. That’s what connects everything, not their styles.”
The music on 'Time Still Knocking' crackles with a sense of discovery, yet is also instantly familiar. The rising harmonies in 'Background Noise' and 'Catch The Wind' tap into a legacy that includes CSN&Y and the Eagles, among others. Steve also pays tribute to his influences with Buzz Feiten’s 'Long Way Home' (featuring Buzzy and jazz legend Dave Koz) and Little Feat’s 'Missing You', sharing vocals with the song's writer, guitarist Paul Barrere.
For Steve Postell, 'Time Still Knocking' is the culmination of dedicated work, lasting friendships and creative partnerships for a complete musician who knows where he’s been and looks to the future with anticipation.
“My primary inspiration was always to be a singer-songwriter, but I wanted to understand as much about the process as possible,” he says. “It’s always been about songwriting first, though the studio – engineering, how you record, arrange and so on – is a big part of it too. Assembling all the talent for this record, from the incredible musicians to mix engineer Nathaniel Kunkel and up to the final days with legendary mastering engineer Bernie Grundman, gave me the chance to watch these songs come into existence from their birth as mere ideas."
www.stevepostell.com
www.myspace.com/stevepostell
Steven Alvarado
Steven Alvarado arrived in New York City, seven years ago, after a stint in Nashville and a childhood in Los Angeles. After releasing "Mercy" (Del-Fi) and "Bleed" independently, Alvarado finally achieved breakthrough success on an international level with the 2005 release of The Howl Sessions. Alvarado switches emotional gears and takes an honest look at human relationships on his upcoming 10-track set Let It Go.
Alvarado's stateside success with The Howl Sessions was just the beginning. The buzz on his critically acclaimed album and charismatic performances traveled quickly across the Atlantic. Howl received extensive airplay on France's popular Radio Dio, which chose the collection as one of the Best Albums of 2005. Alvarado was also the only American performer, and the only solo acoustic artist, who played at Radio Dio's 25th anniversary festival; following which he performed at a Large record and comic book store in St. Etienne. In the UK, he headlined The Porter in Bath and The Troubadour in London, a famed venue where Bob Dylan made his London debut. Howl received extensive airplay domestically as well. "Wish You Were Here (Postcards From Hell)" was featured on the second season of the PBS TV show Road Trip Nation.
On Let it Go, Alvarado draws on a lifetime of personal experiences, moving beyond the edgy religious and political commentary of his earlier works. In creating his "album about heartbreak," the singer has once again surrounded himself with some of NYC's finest. Playing on the record are guitarist Marc Ribot (Tom Waits, Elvis Costello, T-Bone Burnett, Sam Phillips), drummer Kenny Wollesen (Norah Jones, Rufus Wainright, Rickie Lee Jones), pianist Rob Burger (Beth Orton, Lucinda Williams, Rufus Wainright), and bassist Joe Quigley (Shawn Colvin, Lisa Loeb, Syd Straw).
"When I began Let It Go, everything that came out tapped into all of these intense personal experiences I've had in my life," Alvarado says. "The album explores the dynamic when things fall apart and the reality that follows. It's not about a specific person, but an amalgam of different people I've had relationships with over the years. When writing Howl, I was trying to get a lot of things off my chest about the way things were in the world, but with the current Let It Go, I'm addressing a lot of left-over emotions unresolved from my past."
Let It Go is not all darkness; the jangling, high-spirited "New York" is a celebration of the wildness of living in the city. "It's For You" has an uplifting, percussive groove that contrasts with the harsh reality of feeling numb after a relationship falls apart, while the softer, more reflective "Nobody Knows" starkly reflects the sadness one feels over missing someone when they are gone.
Anticipating the release of Let It Go, Alvarado is eager about getting back out on the road and touring the U.S. and Europe more extensively in 2008. The album is already gaining momentum in the press. USA Today (a major national American newspaper) picked it in their top 10 favorites. Steven is also a featured artist in the upcoming music issue of The Advocate (a major national American magazine) along side Bob Mould. And Pro Sound News (an important U.S. music trade magazine) did an extensive interview with him in their February issue about the recording process.
Let It Go will be released in the U.S. April 1, 2008.
www.stevenalvarado.com
www.myspace.com/stevenalvarado
Steven Casper & Cowboy Angst
Steven Casper is a Los Angeles based singer and songwriter. Growing up in Japan, Italy, Nigeria and Mexico, one of his main connections to American culture was through his parents' record collection. At a very young age he discovered the magic of Hank Williams, Leadbelly, Bob Wills, Mahalia Jackson, Woody Guthrie and many other American icons.
Moving back to the United States at age 17, he started his first band shortly after hearing The Ramones. Through the years his songwriting has evolved from rock and roll, to the more roots oriented music of his early days, sitting in front of his parents' record player. Steven is currently playing the Los Angeles club circuit with his band.
Just out is the new EP "Topanga Ranch Motel".
www.caspermusic.com
www.myspace.com/caspermusic
Steven Jaymes
Steven Jaymes for over 20 years has been battling alcohol and depression that has seen him disappear hitch hiking into the mountains of Mexico and Cuba looking for solace and peace away from the madness of his nightly work in the bars and clubs all around the world. He has had his front teeth cracked and chipped numerous times by drunks falling over his Mic stand.
He has gone from performing with the likes of Gavin DeGraw and Keith Urban in such legendary venues as The Bitter End in New York and Ronnie Scotts in London, to playing in a piano bar in Switzerland which was a front for a brothel.
As he said, "It is a hard one to reconcile going from a beautiful venue with such respect and appreciation, to a piano bar where people are so drunk they passed out sitting at the piano while girls so trashed take off their tops and roll around on top of the piano doing their best Michelle Phiffer impressions." He has played over 5000 professional gigs yet still admits to getting a little nervous when dragged up to play for family and friends. He has survived smashing his left arm in a hang gliding accident that saw him as the only one armed piano player in town wearing a contraption of wires and steel to regain the use of his fingers from the nerve damage.
While still gigging nights he has worked as a builder's labourer, barman, laid railroad track, a truck driver a window cleaner, but mostly just a professional gypsy musician.
He has played in Spain, Japan, Belgium, Germany, Switzerland, Norway, United States, Ireland, England, Denmark, New Zealand, Sweden, Cuba and Australia, yet does not really live anywhere, but dreams of building a cabin in the mountains of New Zealand where he was born.
When in the States He was offered some wonderful opportunities in Nashville but couldn't stomach the hypocrisy and racism so went back to New York where he finished his third album "Hemingway's Cats" and where he lived for two years including dealing with being downtown on September 11th.
The new Album is "Black 17" but don't ask me to describe what sort of music this is, except that Steven seems to collect and combine amazing musicians and artists from far flung places.
He has been compared to Jackson Browne, Ben Folds, Leon Russell, Van Morrison and Joe Jackson. Some call it the best jazzy roots you will ever hear others call him a folk rocker, I think the "new" term is singer songwriter.
There are tales on everyday life, on brothels in Belgium and Gay bars in Christchurch. There is humour romance and bawdiness, stories of love and tragedy. The result is a sensitivity that draws you in and holds you close while at the same time setting you free and not a sign of a rapper in here anywhere.
Steven Jaymes is unwaveringly musical in style with a dark velvety soulful voice that sounds like it has been well tested and through the fire of experience.
I think Michael Smith from the Drum Media summed it up best when he wrote, "He's just doing his thing without an ounce of pretension and there is something refreshing about that."
Stew Kirkwood
Stew Kirkwood just released the best record he’s ever made. Which is quite an accomplishment considering his debut “And a One and a Two”, which garnered Stew critical praise and charted on numerous radio stations across Canada. This new CD “Free to Fly on a String That’s Tied” caps a body of work that can be matched by few. The ten tracks on this fine recording could function as textbook examples of how to write a well-crafted song.
Nothing human is alien to Stew, and his tunes cut a swath as big as life. A first-class writer who avoids all the trappings of drivel, he’s a poet for detail and his sophistication always come to the fore. This is evidenced by tunes such as Make Your Move, Old 45 and You Can Drive from his debut release. and from the most newly released CD, Don’t Wait Up and The One You Need Now.
First a guitarist, then multi-instrumentalist, vocalist, and songwriter; Stew now has spent a great deal of time in the studio as an engineer, producer and arranger, working with a remarkable range of musicians, which are apparently well used in his live band.
Attention on optimizing organic sounds has become his trademark and Stew leaves no stone unturned when it comes to composition, dynamics, or the use of instruments - including his far-reaching voice. His style is nothing but the truth.
The album’s got a major dose of originality; Stew is a writer that wears his influences on his sleeve without sounding derivative. If you must try to compare him to anyone else you'll be picking out greatest parts of pros such as The Band, The Beatles, Daniel Lanois, and Elliott Smith.
“Free to Fly on a String That’s Tied” is one of the best records you’ll hear this year.
Sugarcane Jane
As it turns out, Sugarcane Jane is not just another promising Nashville upstart paying its dues as a tour warmup act. Instead it's a new name for a couple of familiar faces, and the latest step in the evolution of a partnership rooted right here in Lower Alabama.
There is no Jane. The act is a duo consisting of Anthony Crawford and Savana Lee. She's a Baldwin County-based singer-songwriter. He's a Birmingham-native whose day job happens to be playing guitar and other instruments for a guy named Neil Young.
A couple of years ago, after meeting in Nashville, they recorded an album of folksy adult pop titled "Redbird." Her name and face appeared on the cover; the songs were his, but she sang them as if they were hers.
She moved back to Baldwin County. Disaffected with Nashville and wanting to be closer to his parents, who live in Daphne, so did he. "It's really been a blessing to come back to Alabama and be close to family," he said.
To say working for Young keeps Crawford on the go would be an understatement. He figures that in the last year Young's tours have taken him to Europe four times, to Canada twice, and across the United States several times, not to mention jaunts to such far-flung places as Australia.
"He has been very prolific of late, and it seems I've been involved in every episode of it," Crawford said. "When I come home, I make good use of it."
Crawford, it turns out, is pretty prolific in his own right. On the Internet, he's been posting installments of a humorous video documentary titled "On The Road With A Rock Star", based on his experiences with Neil Young's band. He recently released a new solo album, "Five is Red." He and Lee have put together a no-frills live recording of Sugarcane Jane-material (which they will release soon), and are hard at work on a new studio album.
"It's just two people doing what they love to do, and coming from a real honest space," he said. "Our parents seem to like it, so we know we're onto something."
"I want to be a part of the moment. I'm not here to impress upon anybody," he said.
www.sugarcanejane.com
www.youtube.com/sugarcanejane
www.myspace.com/sugarcanejanemusic
The Summer Wardrobe
November 18th, 2008, saw the release of "Cajun Prairie Fire", the new full-length release from Austin-based 'Southern Dream Pop Quartet' The Summer Wardrobe. The album is the follow up to their highly acclaimed self-titled 2006 release for Rainbow Quartz.
Having recently completed a tenure as psychedelic legend Roky Erickson’s backing band (including NY, LA, and SF appearances and an Austin City Limits taping with Erickson), the disc is darker and denser than their previous work, a pseudo-concept sci-fi ride that zig-zags the underbelly of a South and Southwest sometime in the not-too distant future and past, by turns.
The lyrical imagery, tinged with the fantastic of Castaneda and the paranoid decadence of Burroughs, is perfectly complimented by Jon Sanchez’s lilting yet elegant delivery and the group’s hypnotic, guitar laden musical assemblage. Rounded out by the dynamic production of Mark Addison (Ian Moore, Curt Kirkwood, Will Sexton) and inclusion of the T-Rex informed cover of Erickson's 'Mine, Mine, Mind', "Cajun Prairie Fire" possesses a classic feel that will appeal to fans of disparate groups including Pink Floyd, Supergrass, The Gun Club and The Byrds.
www.thesummerwardrobe.com
www.myspace.com/thesummerwardrobe
www.sauspop.com
Ted Russell Kamp
A workingman’s musician with a thorough grasp of his craft, Ted Russell Kamp comes into his own as a solo artist and songwriter of note with 'Poor Man’s Paradise', slated for U.S. release in February on Kamp’s Poetry of the Moment label (PoMo) and European release November 25, 2008, with distribution in those territories through Dualtone (and Proper UK in Britain and Northern Ireland). It follows on the heels of Kamp’s most recent CD, the widely praised 'Divisadero', which was named one of the Top 40 Americana releases of 2007 and which No Depression called “…terrific.”
'Poor Man’s Paradise' is a juicy gumbo of country, Southern-fried rock and soul in the style of Kamp’s lifelong inspirations J.J. Cale, The Band, and Kris Kristofferson. Kamp wrote or co-wrote all 11 songs, with a storyteller’s flair for offbeat characters, interesting turns of phrase and a sense of realism that sometimes belies an uncommon circumstance. The lead track, the anthemic “Just a Yesterday Away,” sets the tone, followed by the Jerry Reed-style “Just Go South.” The disc is full of detailed story songs such as the humorous “Ballad of That Guy,” the waltzing “Player Piano” and the heartbreaking, melodic weeper “Let Love Do the Rest.”
A roots-savvy crew of pals recorded basic tracks with Kamp in Los Angeles, including guitarists Tony Gilkyson and Kenny Vaughan, drummer Don Heffington, Marvin Etzioni on mandolin, Waylon Jennings/Highwaymen pedal steel player Robbie Turner, and Bastard Sons of Johnny Cash front-man Mark Stuart. Kamp’s own instrumental prowess is heard on guitar, mandolin, bass, keyboards, lap steel, accordion, trombone and trumpet. “Music is a language,” he points out, “and each instrument helps you speak it a little differently.”
Kamp discovered rich source material in his travels as longtime bassist for Shooter Jennings, with whom he tours regularly. Colorful regional colloquialisms overheard at truck stops and biker festivals pop up in revealing couplets, while fans, musicians, waitresses, desk clerks and others he’s encountered along the road inspire characters like the nostalgic bartender in “Player Piano” and the “poor man” of the title track (co-written with Grammy-winner Chris Tompkins), looking for paradise in the arms of a wayward lover.
“We all go through similar things in life,” he muses. “That’s one of the reasons I relate to songwriting: telling these stories can be very personal and very universal at the same time.”
Kamp got into music as a shy child in a very vocal and expressive family in New York, which honed the observational gifts that sharpen his songs. He’s since become a confident entertainer on stage, but he feels most connected with the “solitary, slow process” of songwriting. He worked on the tracks for Poor Man’s Paradise on his computer in hotel rooms across the country between and after gigs on the road and likens the collection to an intimate journal.
“I know I need to find a way to make it through all my tomorrows/ So when I need the strength I say you’re just a yesterday away,” he sings on the first single, the choogling “Just a Yesterday Away.” That lyric to a lost lover, like most of Kamp’s new songs, reveals more than one meaning; as much as it references the sentiments of the past, it also conveys his innate hopefulness and connection to the artists whose “intensity and heart” remain a vital creative wellspring for him. “I’m influenced by the ‘60s and ‘70s,” he acknowledges. “That’s an era I always come back to when I’m looking for inspiration.”
Those influences are richly evident in the funky grooves of songs like the double entendre-laden “Long Distance Man,” the New Orleans-flavored “Old Folks Blues,” and the road-trip anthem “Just Go South,” which takes a loving page from the Leon Russell playbook on how to “tell a story and be honest but still be funky and groovy at the same time.” The late Charlie Rich would likely appreciate the elegant piano, and the taut mix of heartbreak and humor, in “Dixie,” co-written with Kamp’s Nashville buddy Trent Summar. With its tongue-in-cheek lyrics (“The thrills are getting cheaper and the hills are getting steeper/ But this high life is my life and I think it’s a keeper”) and instrumentation (banjo, Dobro, horns and a Hammond organ solo “that takes you to church a little bit”), Kamp says “Old Folks Blues” has “as much to do with Little Feat as it does with Rev. Gary Davis, and the talking-blues tunes of early Bob Dylan.
“The sincerity, the old-school feel of it, music that’s new and rootsy at the same time — for me, that’s what Americana stands for. I alternate between serious songs and lighthearted songs, so you can listen to the album like you'd follow a good conversation or a movie. I wanted each song on this album to go to a different place lyrically and musically and hopefully listeners will enjoy that journey.”
"Poor Mans Paradise" available here.
Tim Bragg
Despite having an innate love of music, Tim Bragg began his musical career somewhat late. First taking up drums, he imagined this would be his sole role as a musician. But the vagaries of band-life are such that he would often give loyalty and service to a group only to find the singer and/or songwriter throwing a tantrum and ‘moving on’ – leaving the rest of the band ‘high and dry’. It was obvious that being a drummer who could write songs would further integrate him into whichever band he was playing with. He sang from behind the kit but needed to demonstrate his songs harmonically too. Picking up a friend’s guitar he began tentatively playing chords and soon after was given a flute – and was thus able to explore many song melodies.
Having grasped melodic and harmonic rudiments, Tim was happy playing and recording his stuff either with bands or calling on friends. Life chugged on… Later he took up another long-held dream – writing novels and short stories. In the nineties he had a number of short-stories published and won some prizes – but in 2001 he had his first novel published and three others followed quite quickly (these had been written over many years – there was no overnight success – though some critical acclaim!).
In 2006 he heard how musicians were writing their own stuff and then recording it on home computers – learning surprisingly quickly (being somewhat of a technophobe!) he recorded his first solo work – 'Fields Of England' (though some of the tracks were recorded in a “proper” studio).
A string of albums followed and Tim’s technical skills improved as well as his production. These albums weren’t always completely successful but held an appeal and a certain charm. On the back of his album 'Take The Fruit?' he got a publishing deal for the song “Rise Above It” and later “Perfect”. With the purchase of his Roland TD6 Tim was able to record the jazzy, ambient 'Night Ferry' where he played all instruments.
His latest album 'Waiting For The Light' is without doubt his most accomplished. Tim’s work is always interesting lyrically but with this CD he finally seems to have captured his songs in their best light (no pun intended!). Tim plays drums, percussion, bass, keyboards and some guitar on this album (and sings of course) but the added contributions of guest guitar players and sax and harmonica give it more depth and breadth. There is more space and life in its production too – a definite maturing of production skills. For the past seven years Tim has also been playing drums in a jazz band and more recently flute and bodhran in an Irish-flavoured folk outfit. There might well be more novels to follow too. And definitely more albums! But for the time being 'Waiting For The Light' is his acknowledged consummate work.
Tim Steward
Tim is better known as the frontman for Brisbane’s Screamfeeder. The band has been around for over 10 years and have established a dedicated international fan-base.
Somewhere along the line Tim realised he had too many songs in his head for the band alone and he started recording them at home. He then started hiring studios and producers and doing it all properly. It took 5 years of working in between other projects to bring the album to completion, and of course new songs were added along the way.
The album is varied - some of the songs feature piano and strings, some are acoustic guitar or keyboard based and a couple rock out. All are driven by lyrics and melody and Tim’s unique vocal delivery.
The album represents the cream of a 10 year writing period, recorded by the country’s greats; Wayne Connolly, Magoo, Matt Maddock and Bryce Moorhead.
Tim performs live in various modes; completely intimate and solo, duo, small band and big band – numbering up to 10 people on stage, including 3 backup singers.
www.tsteward.com
www.myspace.com/timsteward
www.screamfeeder.com
www.myspace.com/screamfeederrock
Tom Freund
Tom Freund, the critically hailed singer/songwriter who often accompanies himself on standup bass as well as guitar and piano, has completed his fourth, full album titled "Collapsible Plans", set for a September release on his own indie imprint Surf Road Records.
Produced by Ben Harper, the album also features guest appearances by Jackson Browne.
New York City native Freund now hangs his hat in Venice, California. When he first moved out to Southern California in the early ‘90s, he formed a duo with Ben Harper, which resulted in an album entitled 'Pleasure And Pain'. Freund spent the mid-‘90s touring with the indie rock cult faves The Silos. In 1998, he released his debut album 'North American Long Weekend' on Red Ant label. The record received an avalanche of critical accolades, most notably in The New York Times in which Ann Powers called it an “unexpected gem” and ranked it #3 in her year-end best-of poll.
2001’s 'Sympatico' drew even more raves. No Depression proclaimed that Freund’s lyrics “capture slices of Americana in a way that many attempt, yet very few actually master,“ while All Music Guide, called it “truly unique and absolutely brilliant.” Freund also is a favorite of NPR’s “Weekend Edition” and has been championed by Los Angeles’ powerful KCRW-FM, where he has performed live on “Morning Becomes Eclectic.”
The Washington Post, listening to the third CD 'Copper Moon', wrote: “Freund clearly delights in enigma. His vocals could go from laconic to impassioned without such obvious trickery as cranking up the volume. His lyrics are full of curveballs.”
Freund is highly respected by his fellow musicians as well. Folk chanteuse Victoria Williams calls Freund’s 2000 disc 'L.A. Fundamental Music' (a soundtrack-oriented EP) “a classic.”
Graham Parker added: “"Listening to 'Sympatico', Tom Freund's second solo release, I find myself just as impressed as I was after hearing 'North American Long Weekend', his solo debut. His songs fill me with an interesting mixture of yearning and melancholy that is somehow thoroughly uplifting at the same time. I get shivers down my spine on almost every tune. Along with Lucinda Williams, Freund is the best singer/songwriter operating today."
"Collapsible Plans" available here.
Too Slim and the Taildraggers
Underworld Records anno-unces a March 17 release date for 'Free Your Mind', the new CD from Seattle-based Too Slim & the Taildraggers, with national distribution by Burnside Distribution. 'Free Your Mind' was produced by Todd Smallwood and Timothy Langford and – as its title implies – showcases an impressive musical expansion from the band, which consists of Tim Langford (AKA Too Slim) on guitar and vocals, Dave Nordstrom on bass and Rudy Simone on drums.
The new CD takes the group’s blues-based music to new heights, adding rock and Americana influences that make the disc a joyous listen. All of its 11 songs were written by Tim Langford and demonstrate his growth as a songwriter and observer of the human condition. The CD’s opening track, “When You Love Somebody,” marries the heartland rock of John Cougar Mellencamp with the southern rock influences of Lynyrd Skynyrd for a rousing breath of fresh air; while the second track, “Last Train,” is a slice-of-life song inspired by its author reading the crazy stories in the daily paper.
On the rest of 'Free Your Mind', the band stretches its musical muscles, with tough, sinewy blasts of Langford’s crunchy guitar work and soulful vocals layered over a rhythmic framework of Dave Nordstrom powerful bass and Rudy Simone’s kicking drums. With songs such as “Devil In A Doublewide,” “Been Through Hell,” “Testament” and the anthemic title track, Too Slim & the Taildraggers take many twists and turns, but ultimately arrive at a journey well-worth taking.
Langford’s insightful songwriting owes a debt to Tom Petty on many of the songs, especially on “Bottle It Up” and “Throw Me A Rope,” but remains true to his own muse. The album closes with the powerful gospel-influenced ballad, “The Light,” which also features a strong guest vocal appearance by Lauren Evans and some beautifully evocative guitar work by Tim Langford, whose tones on both electric guitar and slide throughout the CD stake his claim as a major guitarist on the rise.
Trey Johnson
Although you may own all the Sorta back catalogs, might have attended their gigs with religious zeal, memorized the words to every song, and be the virtual president of the gone-but-not-forgotten band’s fan club, you’re still in for 44-plus minutes of surprise when you drop your laser on Trey Johnson’s debut CD, "Mount Pelée".
“To me it all sounds like songs that basically came from the same well,” Johnson says with characteristic self-effacement, “but according to Don [producer Don Cento] it sounds dramatically different. He was wonderful about taking these songs and presenting them in different ways.”40-year-old Johnson, who’s best known to fans as Sorta’s songwriter, voice and musical compass, isn’t one to recycle ideas or fluff up the pillows in his comfort zone. With "Mount Pelée", he comes of age as a mature songsmith on a creative high-wire and establishes himself as an artist who can stand on his own two feet without a band, drawing instead, on empathetic session players and an imaginative production team to realize his vision.
For Johnson, a Dallas native who’s married and the father of two, songwriting has always been key: His influences range from Dylan to Cobain to “all the Hanks” and beyond. “Stumbling on melodies that seem fresh and alive is the most exciting thing for me,” he enthuses. “And one thing that’s really influenced this record is children’s books: I’ve been swimming in nursery rhymes for the last five years, and a few of these songs started as children’s songs, bouncy and really repetitive.”
In producer/arranger Cento and co-producer/engineer Stuart Sikes he’s found a dream team of kindred spirits, and the collaborative gestalt imbues "Mount Pelée" with the élan of arrival. “Stuart likes pure sound, and I do, too,” Johnson says. “Sonically, he doesn’t want to just fill up empty space, or put butter all over the sound of a particular instrument. Don was willing to take chances and put weird faces on things. I’d bring in songs that wound up being something totally diff erent than I’d initially thought. It was great, and very exciting.”
Unlike Johnson’s earlier, guitar-driven material, most of the songs on "Mount Pelée" were written at the piano: "Songwriter credits that departure as a significant change in direction. Cento’s astute arrangements, which involve everything from horn section to string section, Hammond to Wurlitzer, mandolin to female voices, recall at times the pioneering work of Jack Nitzsche with Neil Young, Jon Brion with Aimee Mann and T-Bone Burnett with Sam Phillips. As a first-time producer, his contributions to "Mount Pelée" are auspicious. Immediate standout tracks include the wryly humorous 'Unfavorable Way', the artful chamber-pop of 'Old Reactions', and the quietly dramatic confessional that is 'Struggle To Find'. “I’m as happy right now as I’ve ever been in my whole life, and certainly my family is a huge part of that,” Johnson acknowledges. “And I’m so pleased to be able to be a songwriter, and thankful I made that decision.”
Salim Nourallah
Savana Lee
Service Industry
Shane Alexander
Shelley Jones
Slowman
Sorta
Stacie Rose
Stefanie Fix
Stephen Hedley
Steve Mednick
Steve Noonan
Steve Postell
Steven Alvarado
Steven Casper
Steven Jaymes
Stew Kirkwood
Sugarcane Jane
Summer Wardrobe
Ted Russell Kamp
Tim Bragg
Tim Steward
Tom Freund
Too Slim
Trey Johnson
