Southside Johnny & The Asbury Jukes

“I've always wanted to be a Juke…and I still do .” (Jon Bon Jovi) “There's one thing I've always wanted to do,” Southside Johnny confesses, “and that is to sing.” And he has been doing just that for over a third of a century. In a business where success is defined as getting a second single and longevity measured in nano-seconds, just surviving for thirty-plus years is a rare accomplishment. But Johnny and the Jukes have not just survived, they have flourished: over thirty albums, several EPs and a box set; thousands of live performances around the globe; a legion of dedicated and enthusiastic fans; dozens of classic songs; a record— HEARTS OF STONE —that Rolling Stone called one of the "top 100 albums of the 70's and 80's"; and the story continues as the band releases its newest studio album, PILLS AND AMMO, full of new material that is already getting rave reviews from fans. While still tinged with the exuberant rhythm and blues feel that is the Jukes' trademark, and loaded with the driving sound of the legendary Jukes horn section, this new CD has a sharper, guitar-oriented, rock and roll feel to it. A harder edge for harder times. But, as always, the sheer joy of making music is obvious throughout PILLS AND AMMO. Tunes like "Umbrella in My Drink" with guest vocals by Gary Bonds; "Keep on Movin'" a homage to Jerry Lee Lewis and the early rockabilly sound; and "One More Night to Rock" all place the band in their classic, jubilant "let's play all night" mood. And the band has never sounded better. To Johnny, it's just what he does. "I grew up on music. We listened to Billie Holiday, T-Bone Walker, Muddy Waters and Big Joe Turner. My parents loved music, the louder the better." Born and raised on the Jersey Shore, Southside's fascination for the club scene started early. "My father played in bands for years, and my mother actually went into labor with me at some seedy New Jersey club. I guess some things were just meant to be." Singing and playing in a number of blues and R&B bands at the now legendary Upstage Club, often joined by pals Bruce Springsteen, "Miami Steve" Van Zandt, and Garry Tallent, Johnny worked at making "meant to be" into "is." It wasn't easy. "We played for years on the shore, but it wasn't until Bruce hit with 'Born to Run' that these A&R guys would drive to Asbury Park to see what was happening." Southside (so nicknamed because of his bent toward the Blues sounds of the Southside of Chicago) and his band, eventually called the Asbury Jukes, worked on growing their reputation as a dynamic live band through the late 60's and early 70's. "We built a big band, a home for lots of musicians, horns and all: sure we called it Southside Johnny and the Asbury Jukes, but it was really just a bunch of guys getting crazy on stage." Then, in 1975, they signed with CBS/Epic Records, released the critically acclaimed I DON'T WANT TO GO HOME, and a legend was begun. What followed has been over three decades of recording and touring and solidifying a place in rock 'n roll history. In 1992, the band released the fan favorite BETTER DAYS album, which found Southside reunited with his original Asbury Park collaborators, Bruce Springsteen and Little Steven, and relative "newcomer," Jon Bon Jovi. In the wake of the record industry turmoil that followed, Johnny, never a fan of the "big record business," took a hiatus from the studio, though he continued to work the road. Johnny spent eight years working on the massive record collection he shares with E Street Band bassist, and childhood buddy, Garry Tallent, ruminating on life and his music, and just plain moping until 1999, when he returned to recording on his own terms and on his own label, Leroy Records. The result, MESSIN' WITH THE BLUES, was a return to making music for the sheer joy of it; a collection of old and new true-blues songs that Johnny had long coveted but couldn't record in the pop-single driven, major label environment. MESSIN' WITH THE BLUES was the catharsis Johnny needed to get the band back in the studio and himself back in the groove. "You can be free do what you want, as you want…we weren't trying to be perfect…we just wanted to play…we were professional about it, while having a lot of fun." Recharged and reenergized, Johnny and the Jukes have kept up the pace since releasing GOING TO JUKESVILLE, the balls-to-the-wall, honest-to-goodness Jukes record in 2002; an introspective, soulful INTO THE HARBOUR in 2005; a live Internet stream of one of their legendary shows in 2008; a new live record of the legendary HEARTS OF STONE album in 2009; and PILLS AND AMMO, their new studio record released in June, 2010. Southside Johnny and the Asbury Jukes are brassing their way full steam ahead the same way they always have, with no holds barred, good time rock and roll. "I'll stack my group against any group out there. We enjoy playing, and the audience enjoys having a good time. Music is a shared emotion. We distill it down to that." When you distill Southside Johnny and the Asbury Jukes, you come down to thirty-five years of great music and good times. . . and counting.

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Train

Over the course of 15 years, Train has made its mark on music history with their Grammy-Award-winning song “Drops of Jupiter (Tell Me)” and chart-topping singles “Meet Virginia” and “Calling All Angels.” Since forming in San Francisco in 1994, the multi-platinum selling band has traveled a long, successful and sometimes arduous journey. Following their 2006 release, For Me, It’s You, the band took a three-year hiatus, and in that time, Train has, for all intents and purposes, experienced an epiphany as a whole. Now, with their fifth album, Save Me San Francisco, Train has channeled their early days, revisiting the roots rock sound that has made the band such a tour de force – and, in turn, the band is united stronger than ever before. “I think taking time away from each other really made the heart grow fonder,” frontman Pat Monahan says of the break. “We realized how important we were to one another and taking a few years off helped us all really look at ourselves and what we could contribute to this band as opposed to what we weren’t getting from the band.” When looking back, Train credits the city of San Francisco with cultivating the band’s identity and foundation, so it’s no wonder than the title track of the record would pay homage to the Bay Area metropolis the band holds so dear. “We owe all of our gratitude to San Francisco because they embraced us back when, if they hadn’t have, no one would have,” Monahan explains. “Basically, this album is our way of paying tribute, giving thanks and also recognizing that we kind of need San Francisco to OK this band before anybody else does. Those were the best times of our lives – even though we didn’t know it – living in San Francisco and struggling to make a band work.” “Save Me San Francisco” is an autobiographical account of Train’s beginnings, and embodies not only the spirit of the album, but also the soul of Train as a band. The song’s lyrics take the listener through the three-piece’s humble start in the mid-90s up through the time when Monahan, in particular, left the City by the Bay. “It’s very related to my existence, but Jimmy, Scott and I have been through a lot together in the last 14-15 years, so it represents a lot to them, too, because they don’t reside in San Francisco anymore, and we all miss it.” Train spent April and May of 2009 holed up in London’s Kensaltown Studios with producer Martin Terefe (KT Tunstall, Jason Mraz, James Morrison) with whom Monahan credits with helping the band “get back to the roots of the first record.” “It was an incredibly refreshing environment that Martin created for the band,” the singer says. “I’m really appreciative of his approach on things because he’s really great at what he does. I had more fun making this record than ever in my life. I think I’ve made seven records and it was by far the most fun.” Save Me San Francisco taps into Train’s organic sound, recalling the blues and folk-infused rock that put the band on the map from the start. “It’s pretty basic,” Monahan explains of the record. “But really cool because there’s super catchy riffs and melodies in it, which I think are way more important that any production trick or great-sounding vocal production. It’s kind of us going backward so we can go forward.” It is befitting that the focus of Save Me San Francisco is as uncomplicated as the record sounds. Monahan explored the age-old concept of love through his signature storytelling lyrics and the album, as he explains, is “about love in every way you can think about it.” “There are certain songs that, instead of there being an intention, there was almost a theme,” he says. “I think a lot of the way I wrote on this wasn’t necessarily, ‘Hey, this reminds me of a situation I was in,’ but more how I see certain things being lived out in life, whether it’s from myself or someone else’s perspective.” In this day and age, career artists are few and far between, and after a decade and a half of being a band, Train is ready to present one of their strongest efforts to date. Monahan recognizes the band’s accomplishments, and, as he states so clearly, is more than grateful for the success they have experienced. However, for a band as consummate as Train is, Monahan still sets his goals high and hopes the band’s fans will continue to come along for the ride. “I still remember what it’s like to paint houses,” he recalls. “I had fun because I loved the people that I worked with, but it’s really not what I want to do – not because it’s a degrading job or anything, but because when I’m on stage I feel so much more connected to who I think I truly am. I just want to stay connected to the highest level myself can be and I think it comes through music. With that said, I’ll never stop wanting to sell out Madison Square Garden, so my goals are very simple, but they’re pretty big at the same time. I think Train fans who have watched the good and the bad, have been a part of all of it and have loved some of the music and not liked some of the music, are really going to like this record a lot -- I think, much more than they have in years.”
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Train's Homepage | Train's MySpace Page | Train's Facebook Page

Dierks Bentley

Not so many years ago, he was singing for tips in Second Avenue bars and soaking up country music history at his day job working in the video tape library of the late, great Nashville Network. Today he's among the most successful and relevant country singers in the business.They say Nashville doesn't work like this anymore - that talented strivers with no connections don't stand a chance. But Dierks Bentley proved that Music City’s engine still runs and that as a place for education, inspiration and validation, it has no parallel. Critics find him credible. Fans pack his shows. There are precious few new artists recording hits today about whom that can be said. Bentley’s kind of country has never been straight-up-the-middle. Instead, the Arizona-native grew up on a potent hybrid of honky-tonk, bluegrass, singer/songwriters, classic country and modern rock & roll, forging his own sound along the way. “I love the feeling of combining the best older stuff with the edginess of newer, more progressive sounds,”says the prestigious CMA Horizon Award winner.“I try to take the real life connectedness of the stories and songs of Hank Williams and Buck Owens, and then try to put a fresh modern sound to it.”Visit: Dierks Bentley's Homepage | Dierks Bentley's MySpace Page | Dierks Bentley's Facebook Page

Bon Jovi

“It’s an interesting question to ask a man my age: Is that a fair dose of motivation or is that a chip on your shoulder?” Jon Bon Jovi posed that question to himself, and it’s worth pondering. You might think that a man whose band has sold more than 120 million records and played before tens of millions of fans in the course of an illustrious 26-year career would be content to rest on his considerable laurels, at least for a while. You might think that, but you’d be wrong, and the new Bon Jovi album, The Circle, provides irrefutable proof.
As its title suggests, The Circle marks a powerful reassertion of Bon Jovi’s commitment to the hard-hitting, uplifting rock & roll that has been the band’s indelible signature since it began. The band share an abiding bond that informs and defines their music. It is a circle that remains unbroken. “The title is about our unity, which is our strength,. Having had 5 studio records in this decade, these songs mark a time not only in our life but in the band’s.” The Circle reflects and demonstrates the years and distance the men in that band have traveled. They are capable of looking inside themselves, but also outside at the larger world. And while they don’t always like what they see, they don’t see the cup as half empty. The new single “We Weren’t Born To Follow” and opening track “When We Were Beautiful” are as uplifting and anthemic as anything Bon Jovi and Sambora have ever written.
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Rick Bartlett's Rockin' Soul Revival

Louisville Superstar Rick Bartlett has stepped out from behind the piano to front Louisville’s ultimate party band. Rick Bartlett's Rockin' Soul Revival is a band dedicated to the classic soul and soul infused rock we all remember. With Chris Tolbert on guitar, Mike Reed on drums, Jimmy Brown on bass, and Mike Brody on keys, you're guaranteed a good time!! With this group of musicians, Rick pays tribute to all the greats: Sly Stone, The Temptations, The Four Tops, Stevie Wonder, The Righteous Brothers, The Rolling Stones, ZZ Top, and, of course, the Godfather of Soul, James Brown. Come out and celebrate the Revival!! Listen as Louisville's own Rick Bartlett raises the roof with the greatest music ever!
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Rick Bartlett's Rockin' Soul Revival's Homepage

Hazel Miller

Hazel Miller is not just a great singer, "she is a force of nature!" quotes the Rocky Mountain News. Her voice has been called "stunning, moving and powerful." Hazel has been a sought after performer in Colorado for the past 24 years. Whether she is singing blues, jazz, pop, or Gospel, her voice charges the songs with a primal dose of genuine soul. Hazel began her 38-year career in Louisville, Kentucky, where she rose to the top of the music scene. She opened for popular artists such as Mel Torme, James Brown, The Temptations, Earl Klugh, Bob James and many others.The city of Denver singled out Hazel as one of 150 people who make Denver a better place to live. This award was bestowed by the mayor on Nov 22, 2008 at the Colorado History Museum. She has been given several awards for artistic excellence: Best Independent Blues-R&B Recording- 2002; Outstanding Performer at Red Rocks Amphitheater. The new musical "Sisters and Storytellers" starred an ensemble cast including Hazel in her first musical theater role. The musical was very well received. Before this production Ms. Miller appeared in "The Vagina Monologues" in Boulder and Denver, receiving a local award for "Best Local Star in a Theatrical Production. Since moving to Colorado she has regularly performed with Big Head Todd and the Monsters. She was a regular performer on the ETown Radio Show, aired on NPR. She has performed at all the major jazz and music festivals throughout Colorado while maintaining a working band which won the Westword Readers Poll "Best Blues/R&B" band for three consecutive years, 1995, 1996, and 1997. She has sung with or opened for such artists as Julian Lennon, John Hammond Jr., Lucy Bleu Tremblay, Peter, Paul and Mary, Stanley Jordan, John Mayall, Charlie Musselwhite, Leo Kottke, Bob Weir, Herbie Hancock, Pop Staples, Five Blind Boys of Alabama, Nil Lara, Roger Clifton, Nancy Griffith, Junior Wells, Buddy Guy, James Cotton, Lonnie Brooks, Lou Rawls, Rickie Lee Jones, James Taylor, Spyro Gyro, Joe Sample, Little Ed and the Blues Imperials, Michael McDonald, and many more. Most recently she is enjoying a great summer of festival appearences in Dillon, Winter Park, Denver, Littleton and many more.
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Chrisette Michele

It has been two years since sultry voiced singer Chrisette Michele released her stunning gold-certified debut I Am. Blessed with a gorgeous instrument and described as a “soulful songbird” by Entertainment Weekly, the Long Island native proved to the world that she could live up to the hype. Nominated for a BET Award for Best New Artist as well as two Grammy’s, I Am was both a critical success and a fans delight. Still, when it came time to begin recording her follow-up, the aptly titled Epiphany, she realized the need to challenge herself. “I felt like I was a little too shy and laidback my first time out,” confesses Chrisette. “On my new project I wanted to raise the bar and step-out of my comfort zone. I wanted to make songs that were more edgy, youthful and urban.Recruiting talented collaborators that include Ne-Yo, the singer/songwriter has infused her jazz vocal style with more pop. Marking a transition away from her traditional leanings to a fuller integration of hip-hop soul, Chrisette Michele was clearly conscious of the next level. Yet, as can clearly be heard on her newest single “Epiphany (I’m Leaving),” the 26-year-old has expanded her musical palette. Constructed by Ne-Yo and Chuck Harmony, the title-track is a beautiful broken-hearted song that reveals the emotional misery behind Chrisette’s lovely smile. “Ne-Yo took out time from his crazy schedule to talk about direction for some of the songs, including the pain of break-ups and the joys of new love,” says Chrisette. Opening with spacey keyboards and girl group backgrounds, Chrisette’s bold declaration of fly girl independence (“It’s over,” she sings) on “Epiphany (I’m Leaving)” sets the tone of most of the disc. “That word ‘epiphany’ just meant so much to me, because it was during the time that I was preparing to record that something clicked in my spirit.” Chrisette’s coming back much tougher! Nowhere does that toughness come across more than on the soulful “Blame It on Me.” An awesome ballad that colors itself with a little Muscle Shoals soul, there is red dirt earthiness that is just completely raw. “You can say whatever you want, as long as its goodbye,” Chrisette wails coldly. That song is an amazing collaboration with Claude Kelly and Chrisette’s writing with Chuck Harmony producing. A producer/ songwriter who is part of Ne-Yo’s production collective Compound Entertainment, Chuck has worked on projects with Mary J. Blige, Janet Jackson and Celine Dion. Since the release of her I Am, Chrisette has always toured endlessly with her band: the Truth and other R&B singers, Raheem DeVaughn, and Solange Knowles. “To me, nothing is more important than touring,” she says. “Communicating with the audience through song can be magical. Singing in the studio is one thing, but you must be able to bring it to the stage too.” Citing Japan and Barbados as two of her favorite spots, Chrisette explains, “In Japan, it is just about the music, and an artist is judged by the material, not the latest gossip. While, in Barbados audiences just show such a passion, like they can pick-up what is going on in your heart.” In addition, Chrisette also found time to record with The Roots (“Rising Up”) and The Game (“Let Us Live”). “Honestly, I was anxious when I went to work with Game, but he turned out to be one of the nicest people I’ve ever met, and now he calls me ‘cuz’” Chrisette admits. As if that was not enough, Chrisette also started working on her acting chops after appearing on an episode of Girlfriends. Playing herself in "What's Black-A-Lacking," an episode directed by series star Tracee Ellis Ross, she says, “That experience was amazing, because they allowed me to have so much input and let me to write my own scenes. Truthfully, there is no feeling like seeing myself on TV.” Ne-Yo and Harmony were inspired to write “Another One.” Opening with a lovely acoustic guitar and Chrisette singing quietly, “Another One” slowly builds to the point of explosion. “That is my favorite song on the album,” Chrisette admits. Mixing rock guitars with hip-hop drum patterns, the track is an obvious winner. “Nobody captures New American music like Ne-Yo and the Compound crew.” Chrisette Michele worked with Rodney Jerkins on the first album. “Anybody who thinks they can go into the studio with Rodney and not work is kidding themselves,” she laughs. While angst and heartbreak is part of Chrisette Michele’s persona on her sophomore project, the power and strength of her material gives Epiphany the sound of a future classic. Without a doubt, this is the first great album of 2009.

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Gladys Knight

Gladys Knight was born to Merald Woodlow Knight and Sarah Elizabeth Woods. In 1952. At the age of 7, after months of competition, due to her powerful singing voice, Gladys won the finals on the very popular Ted Mack's Original Amateur Hour TV show contest. The following year, she, her brother Merald, sister Brenda, and cousins William and Eleanor Guest formed a musical group called The Pips. By the end of the decade, the act had begun to tour, and had replaced Brenda Knight and Eleanor Guest with cousins Edward Patten and Langston George.<
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The O'Jays

TIMELESS! This says it all. The O’Jays are living legends…American Treasures. The term “living legend” is often overused and abused, but with The O’Jays, well, there’s little argument that the honorable tag truly applies. Now this storied trio adds yet another cornerstone to their impressive track record with IMAGINATION… their new CD recorded for Music World Music Records. IMAGINATION…will capture your inner thoughts and allow you to imagine that you are on the front row of a live O’Jays performance. With their place in modern music history secure, The O’Jays could have cruise-controlled to that comfy hammock on a sandy beach, umbrella-decorated drinks in hand--and fans would have been cool with it. Why? (1) An ocean-wide body of work that spawned 24 Top Ten smashes and 59 total charted songs. (2) Incredibly energetic and dynamic live shows. (3) Mad respect for their Olympian vocals. And (4) their social and political impact on generations and nations. But doing things slowly is not Eddie Levert, Walter Williams and Eric Grant’s modus operandi. After 40+ years making such international hits as “Back Stabbers,” “For The Love Of Money,” “Darlin’ Darlin’ Baby,” “Love Train,” “I Love Music,” “Use Ta Be My Girl”and “Have You Had Your Love Today,” The O’Jays are light years away from easing up on the gas. And like fine wine, The O’Jays just improve with time. Through the years, they were blessed to have had the late great choreographer Cholly Atkins around. Atkins taught them the importance of showmanship and how to execute their steps while still delivering their songs. There have been “four faces” of the O’Jays. This vocal group from Canton, Ohio originated with Eddie Levert, Sr., Walter Williams, Sr., William Powell, Bobby Massey and Billy Isles. Their name was coined from the last name of Cleveland DJ Eddie O’Jay by chance. Isles left the group in 1965. Massey left to become a record Producer in 1971 and Levert, Williams and Powell continued as a trio. Powell retired from touring due to illness in late 1975, passing at the age of 35 in 1977. Powell was replaced by Sammy Strain, formerly with Little Anthony & The Imperials. Strain returned to his former group in 1993 and was replaced by Nathaniel Best. After the departure in 1995 of Best, Eric Nolan Grant joined the group. Levert says “Eric was the ideal person for the O’Jays, because he was used to working within a group, which Walter Williams managed. He was really a shoe-in, and he fit perfectly”. Further he states “With his addition, we have been able to keep our performances at a level that we’re used to having-stage-wise and in the studio”. Grant constantly says “Being from Cleveland, the O’Jays were our Heroes. We all looked up to the O’Jays, patterned ourselves after them.” IMAGINATION… is a work of art, with a classic O’Jays sound resounding on each track. The title tune Imagination, written and produced by Jimmy Jam and Terry Lewis is definitely a great steppers song. Levert and Williams wrote and produced “Make-Up”, a slow mellow tune for lovers, “Chauvinistic”, an up tempo tune, which will make you clap your hands and stomp your feet, and “Busy Tonight”, which has a Reggae flavor to it. They didn’t stop there! Levert and Williams collaborated on “Made It Back”, a tune with a great gospel beat and “Separate Ways”, about a relationship which goes sour and causes two lovers to go their separate ways, both produced by Troy Taylor; “Repair Man”, filled with funky guitar rhythms and “One Good Woman”, a song praising a great woman, who could be considered like mom in many ways, produced by Rob Fusari, “I’d Rather Cry”, a slow tune reflecting on heartbreak and pain, produced by Gerald Levert and “Why You Wanna Settle For Less” produced by Jimmy Jam and Terry Lewis. It can be said that IMAGINATION has The O’Jays’ trademark. IMAGINATION… reflects The O’Jays’ uncompromising stance on love. The stage, whether set on American or on international soil, is where the O’Jays let it all out, exhibiting their soulful singing and bring in truckloads of fans. How have they lasted for over 40 years you ask? “It’s hard to get the young acts to tour with us, because they really don’t want old folks like us showing them up. That’s why they don’t want to go on tour with us,” Eddie says. “Sooner or later, it comes down to who puts on the best show. You can have a hit record for only so long. All hit records get old, and then you have to do a show. You have to have a personality. You have to get out and talk with your audience, get personal with them. That’s one of the keys to longevity.” Eddie and Walter’s lifelong relationship, began when Walter met Eddie when he was 6 and Eddie was 7. Their cohesive and long lasting relationship is what they patterned their career after and is just an example of their long commitment to The O’Jays, their commitment to excellence and to their fans. “We have three generations at our concerts…the kids, the moms and dads, and the grandmas and granddads”, says Williams. “This popularity among generations is rare in music today, an exception rather than the rule and that is why The O’Jays are a phenomenon”, says the Management Team of Rosalind R. Ray, Esquire and Andy Gibson. Ray and Gibson add “The O’Jays are more than legends. They are the architects of music that have proven timeless and priceless”. “IMAGINATION… is a CD which we believe everyone, especially longtime O’Jays fans will enjoy”, says Mathew Knowles of Music World Music. He adds “When you listen to this great piece of work use your IMAGINATION, as the O’Jays saturate your mind with their classic sound”. Eddie concludes. “The message on IMAGINATION… is love; love in a relationship, jealousy love, long-distance love, trying to find love.” Walter concurs: “We are pretty much known, as the messengers of love. We try to continue to exude love throughout our songs, while asking our audience to use their IMAGINATION.
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The O'Jays' Homepage | The O'Jays' MySpace Page

Thumper and the Plaid Rabbits

Thumper and the Plaid Rabbits have been rocking for the better part of two decades across the land as one of the country's best loved bands. A "college rock" powerhouse that combines the best of the '80s new wave sounds with the diversity of the best in '90s altpop, an evening with Thumper and the Plaid Rabbits is always unforgettable.
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Exile

R. Buckminster Fuller is credited with coining the phrase, “the sum of the parts is greater than the whole.” What he was really trying to say was that if a group of individually talented people work together successfully “that teamwork will produce an overall better result than if each person” was trying to do their own thing. That’s a overtly mathematical explanation for a successful band. But with a successful band, you got your math and then you got your chemistry. The end result is an unpredictable outcome of the collision between math and chemistry…with a whole bunch of emotion in between. And when it works out, it’s a miracle. Exile may well be the most textbook illustration of this theory; if not in deed certainly in accomplishment and longevity. Case in point: How many other bands formed in 1963 are still speaking to one another? God would probably not singled out Richmond, KY, 1963, as the starting point of His grand cultural experiment. Since the primary industries in this smidge of a central Kentucky community were tobacco-growing, whiskey-distilling, the Blue Grass Army Depot and God-fearing, band-rearing is in nearly direct conflict with the mission of the neighborhood. Cooking up rabble-rousing musical concoctions of rawknroll, R&B & LA-scenster pop are all dern good reasons to cast out the long-haired, mod clothes-wearing, rebellious rascals. So cast out were “The Exiles” as the band was originally named. The lemons-to-lemonade good news in being cast out, in part, gave them their name. It also planted the “sing for your supper” seeds they would use grow their career from that point forward. As usually happens the first big performance moment is best remembered for what went wrong. Founding member, J.P. Pennington recalls, “It was our big debut in the Richmond City Park, summer ’63. We’d told everyone we were related to and everyone we knew about our big night. We were nervous. It got off to a good enough start then suddenly we were upstaged…by a fist-fight right in front of the stage.” With skivvies changed and more tunes in tow The Exiles embarked on a heavy diet of sock hops, pool parties and any other gathering that music made better through ’63 into ’64. Every performing artist wants to hear more than their echoes playing when they are done. That’s why God invented the miracle of garage recording. It’s the classic cheap-but-effective path to musical immortality. Their miracle arrived in 1964. While not all the details can be recalled, the recording of “The Answer To Her Prayers” is a readily cited turning point for the fist-fight inspiring sock hoppers. It seems like no time at all now but a long two years later came the seminal “big break” every artist prays for: The opening and backing band slot on the vaunted “Dick Clark Caravan of Stars.” As “American Idol” of its time, the exposure & experience gained doing the 15 minute opening slot then backing the likes of Freddy Cannon, Bryan Hyland and B. J. Thomas was wrapped in the package of great advice dispensed by Mr. Clark himself. After several shows he recognized the potential and boiled it down the primary essence. To J.P. it seems like yesterday Clark delivered his cogent career advice. “We had just finished a blazing show and were beside ourselves. We thought we’d done about as good a job could be done when Dick came over and gathered us around him. He looked us all right in the eye and said, ‘boys, you aren’t out here to entertain yourselves; it’s about the people who bought the tickets. Never forget your audience.’ ” It’s the band’s mantra to this day. 1967 found the band residents of the Big Apple all sharing a one-bedroom 4th story walk-up apartment on the upper west side. When Central Kentucky decides to take mid-town there’s gonna be a learning curve. Communicating with the locals, running with the “Blade Runner” traffic & how to get a slice without getting cut are the kindergarten lessons. They coped by moving in and unpacking their tried-and-true play-live-and-loud tools. The performance-addicted band utilized the band-on-the-lunge method & assaulted the area’s vibrant music scene. In their own way they stood out as soon as they drove up to a gig. It was unclear what their chosen mode of transportation said about their hopes or image. A hearse is either a sign of obtusely dark sense-of-humor or things to come. For The Exiles the crucial “thing to come” was a record deal with Clive Davis’ Columbia Records. The recordings were highlighted by “Church Street Revival,” a song written, produced and performed with Tommy James who was as bright a star in the musical universe as there was at the time. They met opening a show for him in Baton Rouge that wowed the white hot star enough to offer his tune and talents. It was straight to the Columbia studios for marathon 30-solid-hour session to cut this track. It also brought J.P. the first cut of his young songwriting career for the B-side, “John Weatherman.” In 30 hours you can think of everything; except maybe a way home. Midtown gas stations closed long before the track was wrapped and they were on empty. Time on the road spawns a strange brew of skills. Ironically among them is siphoning gas. But this was a band with a conscience: they left cash under the windshield wipers of the “vampired” vehicles. Considering it was cash left out in the open on cars on a New York City street they will not take bets as to whether it was still there when the owners returned to their fuel-lightened rides. It’s the thought that counts, right? Although the road took them out of New York for a couple of years, it brought them back for a second all-in-one-room arrangement in 1968. This time it was the venal Broadway Central Hotel near the not-so-upper-west-side Bowery. No place does skid row like NYC & the Bowery. Only Army-cots-as-beds can make it the completely unforgettable experience. It brings its own share of history being known as the birthplace of Major League Baseball hosting the formation of the league’s first team, the Cincinnati Redlegs…along with birthing more cockroaches and rats than NASA could count. Their collective experience to that point taught them they were one skill set short of a total band: songwriting. Their Bowery proximity fueled the motivation to write their own music which has transformed musicians to artists since time immortal. That motivation is best summed up by oft-repeated, seldom-thought-through phrase: “Well, hell. I can do that.” By 1971 they were writing incessantly. Shows & records from that point were dominated by their homegrown songs. It’s the whet stone for an image and the sharp edge on identity. Things always change when that set of artistic hormones kick in. The first big change was the name. The more semantically economic “Exile” became the handle. The just-opened Wooden Nickel/RCA became the label home. Chicago became the recording locale. The renovated recording blueprint was an album that was half-studio, half-live and the exiting-member revolving door spun at an unprecedented pace. The two albums that emerged from this period were Exile and Stage Pass on Wooden Nickel/RCA Records. Short of a conversion to country music, not much else could have changed. Even that would come later. While on the right path, the road got longer. Oh, and they found out that Chicago is freakin’ cold in January. The next creative bastion to haunt were the warmer climes of Los Angeles and that was home base by 1973. At this moment in show biz history the shift of geometric center of the rock music business from New York to L.A. was in full swing. Though they were camping in a new town, they kept it old school, whuppin’ out the axes at every showcase venue and gathering with a P.A. and lights in Hollywood they could, just to play live. The menu was broad & deep: The Whiskey-A-Go- Go, The Troubadour, The Roxy, maybe even a Hamburger Hamlet or two; hold the Jerry’s Famous. The first memory highlight in the LA chapter was a meeting with legendary entertainment executive, Jerry Weintraub. As excited as they were about the meeting, the enthusiasm ran out of gas faster than they did in New York when he made plain he expected to be addressed only as “Mr. Weintraub.” The real highlight, however, was the connection with ûber producer/writer team, Mike Chapman & Nicky Chinn known collectively as “Chinnichap.” The Australian Chapman had already revolutionized the early 70’s British pop scene as a member of “Tangerine Peel” when he met creative partner Nicky Chinn. Star producer Mickie Most hired them to produce and write what turned out to be a string of 19 top-40 hits in ’73 & ’74 alone for the likes of Suzi Quatro, Smokie, Hot Chocolate, Mud, then more with Sweet & Toni Basil. The point is that dudes were a Big Deal and Exile was ready to elevate their game with the right Big Deal producer. An Exile tape made it onto the desk of Chapman in 1975 who decided he’d discovered the “Steeley Dan of The South” as the band had returned home to Lexington, KY. A brief creative romance ensued. Chapman crossed the country to Lexington, loved what he saw, cut an album on them and got them a deal on Atlantic that produced the barely-charting single, “Try It On.” It didn’t fit and they were dropped without an album coming out. But all was not lost. Along with meeting the Chinnichap guys, this time period brought some of the most significant upgrades to the band personnel yet. Keyboard player Marlon Hargis came aboard in 1973 and he recruited and bass player/singer/songwriter Sonny LeMaire who joined in 1977. Sometimes, mining the misery of a failure can produce the path to success. The short flight and quick crash landing convinced the band’s creative brain trust by ’77 that a change in musical direction was the answer. The harder-edged rock gave way to a more pop sensibility. Groovemeister drummer Steve Goetzman was now the rhythm section rocket and the songwriting had seemed to be drifting that way for some time. So it felt a natural evolution. Re-enter Chinnichap. Always intrigued by the band’s potential Chapman made another trip to Lexington at their urging to witness their version of the new direction. This moment was magic. Writing custom-made hits they produced was Chinnichap’s stock-in-trade. The rabbit pulled out of this hat was the iconic ’78 hit, “Kiss You All Over.” The third-time-is-the-charm LP, Mixed Emotions, exploded around the world on the strength of this mega-hit. Selling five million units, it was the classic story of how three minutes and thirty seconds can change several lives, virtually overnight. One week they were playing for the door at a club in Lexington working schlubby jobs like landscaping; the next week they were in LA taping “Midnight Special.” It went that fast. All the frat gigs and bar band gigs got cancelled and in their place came major tours with Fleetwood Mac, Boston, Heart, Aerosmith, Dave Mason and Seals & Crofts among others. Everything they had hoped, dreamed and worked for over the long preceding decade was coming true. The tour dates were better, the money was much better, the road longer—stretching as far as Europe and South Africa. The second single, “You Thrill Me” didn’t raise any goose bumps in the U.S. but the hits continued to roll across the pond and further away in South Africa. They pragmatically followed the Yellow Brick Money Road the hits paved there. There were wise strategic business moves that fell in place at this time as well. Among the most beneficial was signing with the highly regarded manager, Jim Morey, who had guided careers as diverse as The Osmond Bros, Dolly Parton, The Pointer Sisters, Whoopi Goldberg and Neil Diamond. A low-profile, high-powered master of the behind-the-scenes career direction, his was the perfect temperament and experience base to guide the transition and channel the band’s energy as much as any band makes that possible. Morey recalls his “a-ha” moment of discovery in late ’78. "I was on the road driving in a Hertz car somewhere and I heard 'I Want to Kiss You All Over.' I pulled the car over to hear the song turned up loud. Since there were no cell phones in those days I quickly found a pay phone, called my office and said.......’find out who they are, I want to manage them.’ As it turned out my friend Dick Clark had the information I needed. I flew to Lexington and we made a deal. It’s a signing that I am still very proud of today." The dark lining to the silver cloud was that the internal conflict had never been worse. There is an inverse relationship between success and happiness they don’t tell you about in Rock Star School. The fourth album, All There Is (Warner/Curb Records), was completely recorded and then lead singer Jimmy Stokely decided he’d had enough. That ensured no singles being released from the album so the record company advances hit drought mode. The live show money stayed mean-and-green abroad but not so much at home. A three-month-and-out tenure for new lead singer, Randy Rickman, opened the door for the hiring of Mark Gray and Les Taylor, both in the course of one day in 1979. A new & enduring career path was also minted after this album: make record, release record, have little success, beg Curb Records’ executive Dick Whitehouse to get off the label, get request denied then repeat cycle. A fifth album was made called Don’t Leave Me This Way (Warner/Curb Records) and yielded one single in “Take Me Down” that was a career record …years later for trailblazing country super group, Alabama. For Exile it was top-80 track. Although something they would be aggravated at the time but very happy about later, there was another career record for Alabama on this album in the presence of “The Closer You Get.” Aggravating because it was not the stuff Exile’s career would be made of. With gnashed teeth and bloodshot eyes on the horizon they were absolutely certain they had a smash follow-up in the track from their sixth album called “Heart and Soul” which was also the LP title. And they were absolutely right; it was a huge hit…for Huey Lewis and The News several years later. A side-by-side comparison would convince the most discerning musicologist that Chinnichap had just put Huey’s voice on the Exile track. Why records don’t work first time out of the gate with an act who’d had a hit and did with another act a short time later is a mystery of life. One that was devastating to the band. What were they going to do now? Go country? The unflappable Mr. Morey shrewdly saw the logic and lodged the suggestion. Robin Williams never got the laughs Jim did when he proposed the country conversion to these heart-proud rockers. Nonetheless, they thought enough of the idea once the laughter subsided to start listening to country radio. Turns out, country wasn’t as bad as it first sounded. There was even connection between the songs they were writing and what was beginning to work in country. When they began to hear their songs on country radio performed by others, the verdict was in. Perhaps most importantly, Morey was able to finally get the band released from Warner/Curb Records which freed the bird to fly. Delving deep into their own creative soul they took themselves out to the woodshed for what turned into two years of top-to-bottom reinvention. The game plan was a new musical direction, new songs, a new vocal group sound to soup up the strong-as-steel band chassis and a new industry home as the target in Nashville. Now they were good to go country. Another crucial move Morey made was to put the band in the arms & ears of producer/publisher Buddy Killen. Aside from playing bass for Hank Williams’ Drifting Cowboys and co-founding Nashville publishing juggernaut Tree Music Publishing, Buddy was a prolific and successful producer. From Dolly Parton to Joe Tex with Roger Miller squeezed in between, Buddy was as diverse as a happening producer can get. It was love at first cut. Then, with the new direction neatly folded into hot new recordings, the band only had to go to Nashville to showcase for labels twice before being snatched up by CBS’ Epic Records. They got off to a roaring start by Exile standards. The first single, “The High Cost of Leaving” clawed its way to #14. But the second single, previously the bane of their musical existence, shot to #1 in early ‘83. “Woke Up In Love” woke up the career-in-waiting like a marching band stomping into their bed and you can bet they were never happier to see that bunch of tuba players. This opened the floodgates on nine consecutive #1 singles: “I Don’t Want To Be A Memory”, “Give Me One More Chance”, “She’s A Miracle”, “Crazy For Your Love”, “Hang On To Your Heart”, “I Could Get Used To You”, “It’ll Be Me”, “She’s Too Good To be True” and “I Can’t Get Close Enough”. The record sales and award recognition that had eluded them for more than 20 years was finally in their hands. Points in fact include three gold albums, two Greatest Hits CDs, several multi-platinum singles and thirteen award nominations from the Academy of Country Music (ACM) and the Country Music Association (CMA). All totaled they notched 11 number ones and a respectable host of top 10’s in the Epic years. Morey retained the William Morris Agency. In a company as large as William Morris even successful acts can have important opportunities pass them by without an enthusiastic, experienced agent on the inside that has their back and shares the vision. With Ray Shelide as their responsible agent they had the right guy. The dates came in fast and furious. Shelide recalls, “Exile was my first ‘responsible agent’ duty shortly after joining William Morris. This band had hit hard one time before only to watch it all go away. They were a great band AND unique vocal group which has always been a rare combination, especially in country music. I was honored to help them make the most of this second chance. And they delivered, above-and-beyond the call of duty at every show. It was a great relationship that lasted for close to 8 years.” One of the first big touring opportunities that came along was to open the Ricky Skaggs tour. Although they all laugh about it now, Ricky sent word to the guys that they could not perform “Kiss You All Over” while opening his dates. His organization felt it sent the wrong message to his audience. Given the impact of their live performance they were once again awash in tour opportunities. They shared shows with the biggest stars on the scene including Lee Greenwood, The Oak Ridge Boys & The Gatlin Brothers. At one time the Judds opened for Exile then as the Judds’ career exploded their roles reversed with Exile opening for the ladies. Remember that inverse relationship between success and happiness? It never goes away. It only gets worse. By 1986, tempers and tolerance were short & fragile and the demand on their time & energy longer & harder than ever. In the best of times dispute resolution on all levels of importance is a challenge. When one stirs in fatigue, distractions, financial inequities, creative differences, less-than-coherent thought & decision making processes, all hopped up with a healthy dose of Ego Rollerball, it’s amazing the cracks didn’t form before 1986. First off the ship was keyboard player, Marlon Hargis. “To quote B.B. King, the thrill was gone. We were doing things because we had to, not because we wanted to anymore.” Then went Les Taylor. “It’s an age old story: I had so many people telling me that I ought go my own way, I finally gave in to try it out.” J.P. Pennington was not far behind. "I was tired and missed my family and they missed me." What was left of the band left Epic. J.P. and Les got their opportunity to spread their solo wings with Epic clinging to Les and MCA eagerly signing J.P. Each had one hit single before the bloom was off their solo rose. Still on board were Sonny LeMaire & Steve Goetzman. Lee Carroll replaced Marlon. Les’ absence thrust Sonny into a more prominent role with lead vocals and Mark Jones filled Les’ spot onstage. Paul Martin took up some of J.P.’s slack. Given some divine providence in the timing department, Tim Dubois was opening the Nashville division of Arista Records and he was looking for a marquis artist to launch the label. The updated Exile landed the spot. A rose by any other name may still be a rose but the romantic logic doesn’t apply to bands. While each of the gentlemen who replaced the members who left is very talented and worked hard, plainly this wasn’t the same band despite the name. This wasn’t a mystery to Lemaire or Goetzman. Lemaire elaborates, “When we signed with Arista we tried, unsuccessfully, to convince Tim to allow us to change our name. We felt we were a very different band with the new members & new sound emerging. Songs I was writing were taking a different turn from the things J.P. & I used to write.” Dubois’ insistence on a marquee artist to kick things off made the idea a non-starter. After two albums and four top-ten singles the long and winding road wound down for the Exile brand in February ’94 leaving Goetzman and Lemaire tired of mind, body & spirit. Dubois puts it in perspective saying, “Although we didn’t achieve the success we dreamed of, I am incredibly proud of the music we made and proud to have played a small part in a huge career. I love these guys.” Lemaire goes even further. “After we asked off Arista, I was certain we'd find another label. It became apparent after some time that the winds of change had caught up with us. Labels didn't want an old act with ‘baggage’ no matter how good we sounded. I felt I couldn't continue without being able to do new music so my passion for continuing just ‘left the building.’” I struggled for some time with my decision to quit but I finally could not deny my true feelings. After I told the guys I could not go on, we came to a mutual decision to lay it all down with dignity.” With every ending come new beginnings. What sets the Nashville music business apart from the other major hubs is that it is a songwriter-publisher driven community where the others are artist-driven. Whether the artist is Kenney Chesney or Keni Thomas, virtually every Nashville artist has to make the pilgrimage to Songwriter River for the songs they need to make their records. Some artists decide they, too, want to write songs and seasoned songwriters know writing with the artist gives them a better chance of getting a song recorded. Some artists end up “sitting in the room and on the song” while the pros do the real work. Others like Pennington, Lemaire & Taylor have an aptitude for the trade and used their place in the Artist Food Chain to learn how to write really well. While riding the crest of hits, the best-of-the-best songwriters beat a path to the bus to write with Exile’s writing trio. The three guys, in turn, reached outside their own nest to cultivate quite the healthy peer group of co-writers. It proved to be an important career decision on their part. This was the tether to the business for Pennington, Lemaire & Taylor when the wheels came off their artist vehicle. They honed their skills to the point they all had hits on other artists. Among many others, J.P. had “The Closer You Get” and “Take Me Down” for Alabama; Sonny scored hits such as “When She Cries” for Restless Heart and “Beautiful Mess” for Diamond Rio; Les clocked in with “It Ain’t Easy Bein’ Easy” for Janie Fricke as well as cuts on Travis Tritt and Shelby Lynne.. Lemaire has remained most rooted in the Nashville songwriting community and has a crystal clear perspective on what this skill set means. “Outside cuts are validation of your work. In our case it gave us ‘props’ that we were, indeed, the real deal. In a town & business where the song is everything, the fact that we could deliver the goods for other artists, gave us credibility. It was a major factor in Exile getting a second shot, which rarely happens in this business.” Les has reflected on his decision to go solo and then move back to Lexington many times in the intervening years, commenting, “If I had it to do over, like most people I would do a lot of things differently. First, I realized what being in a great band really meant to me. Second, Lexington is a beautiful, charming place. It’s home but it’s not Nashville. It doesn’t have 10 songwriters per square mile; the unbelievable creativity that feeds my stream. I have a great life but I really miss being smack dab in the middle of it all like we were.” Goetzman snapped up the opportunity to go into management with guitar wizard Steve Wariner and later Eric Heatherly. J.P. dug into developing the regional music he found back home, recording and writing as much as ever. Marlon played with Jerry Reed, dabbled in management, ran a music store and honed his production chops. Some other members of the later versions of the band put away their dancing shoes and exited Nashville and show biz; wiser for the wear. It seemed as though all they had collectively wrought would simply fade into history. The primary five went their own way treating every day as the rest of their lives without being in the band. Opportunity is like water running down a roof; it will find a way in through the smallest openings. After years apart a common cause created reconnection. Former road manager Raymond Patrick had suffered a serious motorcycle accident. Unable to work he was drowning in medical bills. A lasting band reunion was not the first thought J.P. had when the urge to help an old friend out of a bind popped up. He observes, “It became apparent that the best way the five of us could help him was to stage a benefit show to raise funds for him.” Old friend and fellow musician, Doug Breeding donated his club, The Blue Moon, in Lexington. Solely by word of mouth the show sold out in one lucky week for the St. Patrick’s Day 2008 benefit. Another former tour manager, Clarence Spalding (who now manages Brooks & Dunn and Jason Aldean) jumped in to help as well. The evening was a stunning success. Between ticket sales and auctions, $20,000 was raised. Being the blue-through-and-through, Kentucky gentleman he is, Spalding wrote a check matching the gross. Nearly 23 years after having played the last note as a band they found themselves back in familiar positions. The unbounded excitement of a successful show enveloped by the like-we-never-left gathering of brothers & others made playing together again a must. Soaked in a shower from the Band Fountain of Youth the band talked openly about the previously unconsidered: A reunion. A few rehearsals, some more discussion and a few more months elapsed before they scheduled a show at Nashville showcase venue, 3rd & Lindsley. Nov 5, 2008 became the chosen night. Looking back Goetzman grins as he remembers, “It was an amazing night; one of those incredible ‘supposed to happen’ kind of nights. We had so many friends like members of Restless Heart, Diamond Rio and all the songwriters who showed up to cheer us on. We can’t tell you what that support meant to us.” And now here they stand. Reinvigorated from the sabbatical; energized in making new music and reinforced by new appreciation of the good old days. They have learned a good bit along the way and the distilled wisdom tells them to not cast all their other interests aside as they embark on the new chapter. They have learned that the individual talents and interests offstage are intrinsic to the collaboration onstage. There’s therapeutic value in knowing once the Exile gig is finished tonight, each has other responsibilities to meet tomorrow. Those activities are as varied as the potpourri of personalities. Here on the website you can read more about what each member’s journey into, out of and back to the band. It’s their stories in their words. Please don’t leave until you check that out. The moral is the right combination is a group is the magic. Steven Van Zandt of Springsteen’s E-Street Band has been quoted as saying, “If you’ve got a band that works, it’s a miracle—hold on to it and don’t let it go. Exile’s story, wrapped in Little Steven’s insight, would constitute proof-positive that “the sum of the parts is, indeed, greater than the whole.” In the end one could either say the band was always a group of guys on the way to the middle…of their career. Or, better yet, they’re back where they belong: In Exile.

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Blood Sweat and Tears

A musical institution, Blood Sweat & Tears has left an indelible mark on the American music scene since 1968. One of the greatest horn bands in the history of popular music, BS&T’s alumni roster reads like a Who’s Who of the world’s greatest jazz and rock musicians. As BS&T has evolved through the years, it has maintained its commitment to high standards by including in its current roster the most talented musicians available. Starting out in Greenwich Village in New York, the band won world-wide acclaim, becoming the first in many categories: first band to tour behind the Iron Curtain, first band to have 3 hit singles from the same record, first band to combine rock with jazz and of course Sunday night Woodstock, YES the real Woodstock. Racking up sales in the millions, BS&T earned multiple gold albums, 10 Grammy nominations and won 3 Grammy Awards, including the most prestigious of them all, Album of the Year. A band with a social conscience, at selected concerts BS&T awards the Elsie Monica Colomby music scholarship award to deserving students to help pay for lessons or to the music departments of schools to help buy instruments, as they did after the devastation caused by hurricane Katrina in New Orleans in 2005 when BS&T had the entire high school marching band join them on stage for a jam session—a night those kids and some very proud parents will never forget. Through there’s been many changes in the bands line up over the years BS&T continues its tradition of finding and showcasing the brightest talent around the world. Whether playing their greatest hits, or new arrangements of classic songs, the band provides a night you will never forget. At all the band’s performances, the musicians are available to answer any questions, to sign autographs, and to talk to young people about the joy and importance of having found music in their lives. As BS&T’s longstanding audiences bring their children to the band’s performances, a new generation joins an existing wide demographic of loyal fans. BS&T concerts has brought record attendance and sold out shows throughout the world. Blood Sweat & Tears has once again proven that great musicians produce great music, the main reason the band is in such high demand. The horn section has recorded with Jazz great Jeff Lorber for his 2007 Grammy nominated album “He Had A Hat”. 2008 Saw the return of Founding Father Steve Katz to the BS&T line up on select shows. Also in 2008 BS&T was named Honorary Ambassador of Peace by Kim, Jin-sun Governor of Gangwon Province Republic of Korea. What’s on tap for 2009? More shows all over the world and some package shows with our good friend Chuck Negron. Past BS&T Alumni: Chris Albert, Don Alias, Dave Bargeron, Randy Bersen, Randy Brecker, Forrest Buchtel, Bruce Cassidy, Bobby Colomby, Jim Fielder, Barry Finnerty, Vern Dorhge, Bobby Economou, Joe Giorgianni, Dick Halligan, Jerry Hyman, Steve Katz, Steve Khan, Tony Klatka, Fred Lipsius, Tom Malone, Lou Marini jr, Richard Martinez, Ron McClure, Jaco Pastorius, David Piltch, Robert Piltch, Earl Seymour, Mike Stern, Neil Stubenhaus, Lew Soloff, Bill Tillman, Georg Wadenius, Jerry Weiss, Larry Willis, Chuck Winfield, David Clayton-Thomas, Al Kooper, Jerry Fisher, Jerry LaCroix, plus many more great musicians
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Blood, Sweat & Tears' Homepage | Blood, Sweat & Tears' MySpace Page | Blood, Sweat & Tears' Facebook Page

B-52S

It has been said that the B-52s are as quintessentially American as the Beach Boys. And twenty-five years and over twenty million albums into their career, the B-52s remain among the most beloved rock stars ever. Any mystery concerning the longevity and ongoing appeal of the B-52s is immediately solved when exposed to the B-52s unique concert experience. From the timeless gems of "Rock Lobster," "Planet Claire" and "Private Idaho" to the more recent classics of "Channel Z," "Love Shack" and "Roam", the B-52s unforgettable dance-rock tunes start a party every time the music begins. Formed on an October night in 1976 following drinks at an Athens, GA Chinese restaurant, the band played their first gig at a friend's house on Valentine's Day 1977. Naming themselves after Southern slang for exaggerated 'bouffant" hairdos, the newly christened B-52s (Fred Schneider, Kate Pierson, Keith Strickland, Cindy Wilson and Ricky Wilson) began weekend road trips to New York City for gigs at CBGB's and a handful of other venues. Before long, their thrift store aesthetic and genre-defying songs were the talk of the post-punk underground. A record deal soon followed and their self-titled debut disc, produced by Chris Blackwell, sold more than 500,000 copies on the strength of their first singles, the garage rock party classic "Rock Lobster," and "52 Girls." The B-52s began to attract fans far beyond the punk clubs of the Lower East Side — galvanizing the pop world with their 'stream-of-consciousness' approach to songwriting and outrageous performance. They had clearly tapped into a growing audience for new music that was much larger than anyone could have anticipated. "We always appealed to people outside the mainstream," says Kate Pierson, "and I think more people feel they're outside the mainstream these days." With the release of their second studio effort, Wild Planet (1980), the B-52s and co producer Rhett Davies proved their success was no fluke with hits like "Private Idaho," "Give Me Back My Man" and "Strobe Light." In just two albums, the B-52s created a lexicon of songs, styles, phrases and images which would set the standard for the development of the 'alternative music scene' for the next decade. The success of Mesopotamia, produced by David Byrne (1982), and Whammy! (1983) positioned the B-52s as MTV regulars as well as alternative radio staples. At the time of their greatest achievements, however, they suffered their greatest tragedy — the death of guitarist Ricky Wilson from AIDS. "He really had a vision…," said sister Cindy Wilson. "He was one of the strongest elements of the B-52s from the beginning. Ricky Wilson's passing in 1985 came just after the sessions for Bouncing Off The Satellites (1986). The album, dedicated to Wilson, had taken nearly three years to complete but was worth the wait, serving up the fan favorites "Summer of Love" and "Wig." As a period of mourning, Keith, switching from drums to guitar, gradually resumed writing music for a new album. Working together on vocal melodies, lyrics and arrangements for the new tracks, Keith, Kate, Fred and Cindy re-emerged with the Don Was/Nile Rodgers co-produced Cosmic Thing (1989). The album proved to be the greatest commercial achievement for the group, and its success propelled the band to international superstars. Cosmic Thing soared to the top of the Billboard Album chart, sold five million copies and yielded their first-ever Hot 10 hits — "Love Shack" and "Roam" and a Top 40 hit with "Deadbeat Club." The B-52s advanced their reputation as the greatest party band on the planet to a whole new generation of music fans. They played to sold-out audiences worldwide on a tour that would last more than 18 months, including an Earth Day gig before nearly 750,000 people in New York City's Central Park. Soon after, Cindy Wilson amicably departed. "I'd been a B-52 for a long time, and it just felt like time for a change," said Cindy. Before long, Wilson had successfully completed her first solo project — a baby girl. Meanwhile, Kate collaborated with other artists, including Athens compatriots R.E.M., for whom she guest-starred on their 1991 album Out of Time. She also scored a hit with fellow CBGB's alum Iggy Pop on his lovelorn duet "Candy." Fred, meanwhile started work on a solo project, Just Fred (1996), with producer Steve Albini, his second solo project since the release of 1984’s Fred Schneider and the Shake Society. As a trio, Fred, Keith and Kate re-enlisted the tag team of Was and Rodgers to produce the energetic Good Stuff (1992). With its popular title cut and concert favorite "Is That You Mo-Dean?," Good Stuff is more than just a worthy follow-up to Cosmic Thing: the album stands as the group's most overtly political album. "We're out there to entertain people," said Fred, "but it's great to get people thinking and dancing at the same time." Reuniting permanently with Cindy, the B-52s wrote and recorded two new tracks that fit perfectly into Time Capsule, a 1998 stellar collection of hits. The first single from the Best Of collection, "Debbie" is a metaphorical tribute to band friend and supporter Debbie Harry and the whole CBGB's scene of the late '70s. With the release of the two-disc collection Nude on the Moon: the B-52s Anthology (2002), the B-52s took much-deserved credit for a body of work that is unique, beloved and timeless in its own way. The B-52s influence cuts a wide path through much of so-called 'modern rock' — from the low-fi efforts of nouveau garage bands to the retro-hip of ultra-lounge, to the very core of dance music itself. "We just did our own thing, which was a combination of rock 'n 'roll, funk, and Fellini, and game show host, and corn, and mysticism," says Fred. It is indeed all these things (and much more). In 2008 the B-52s released their first new album in 16 years, the aptly titled Funplex. With its primal guitar hooks, driving drums and the B-52s' unmistakable vocal style, Funplex is instantly recognizable as quintessential and contemporary B-52s. Newsweek Magazine declared, “Like a sonic shot of vitamin B12, the dance floor beats, fuzzy guitar riffs and happy, shiny lyrics keep the energy going.” As the B-52s continue to take their party-music revolution into the 21st century they show no signs of slowing down, serving up their own unique blend of music and showmanship to millions of fans around the world.

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Doobie Brothers

The Doobie Brothers are one of the very few American musical groups that have been able to achieve a phenomenal level of success and sustain it for a period of time measured in decades; it is a success that has sold more than 50 million records worldwide. This includes: multiple Grammy awards, 27 chart singles, 16 top 40 hits (including two number 1s), 11 multi-platinum albums, 13 Gold albums and that most rare of distinctions, The Diamond Award, for the sale of 10 million units of a single title, Best Of The Doobies: Vol. 1. Combined with their consistent appeal on the road, The Doobies have earned a fanatical loyalty for their high-energy shows, and are truly one of America's most loved rock and roll bands. One of the secrets to their success is most certainly in their diversity. A look at the evolution of the group and the histories of its four long-time core members also gives some insight into the reasons for the group’s enduring appeal. In early 1970, Tom Johnston met fellow Bay area musician Patrick Simmons. Simmons’ musical leanings – with strong acoustic finger picking guitar stylings – were complimentary with the more bluesy orientation of Johnston’s approach. Their mutual recognition of the possibilities that the pairing of their talents might yield led to an artistic alliance of these founding members of the group, and by the fall of 1970, The Doobie Brothers were born. Musical history was about to be made – the band was soon signed to Warner Brothers Records. The next core member to join the group was drummer Michael Hossack. Michael’s contributions are to be heard as an important part of the group’s first wave of hit recordings, starting with the classic “Listen to the Music” from the group’s breakout album, Toulouse Street. Producer Ted Templeman has often referred to Michael’s drumming as one of the first instances of a drummer who was a member of a group being of a quality on a par with that of a professional “session” drummer – high praise indeed. The last of the core members to join the group began his tenure more than two and a half decades ago. By the late ‘70s, the group’s musical diversity had reached a point where the need for an instrumentalist capable of facility in a wide range of styles, and on various instruments, led to the addition of “super session” player John McFee to the lineup. McFee had already been part of some of the biggest selling recordings, by some of the most respected artists, of all time; a look at his credits speaks volumes about his versatility and virtuosity – consider: Van Morrison, Steve Miller, The Grateful Dead, Boz Scaggs, Emmy Lou Harris, The Beach Boys, Elvis Costello, Huey Lewis and the News, Link Wray, Rick James, Bill Wyman of the Rolling Stones, Ricky Scaggs, Nick Lowe, guitar legend Michael Bloomfield, Japanese superstar Eikichi Yazawa, and many others. A look at the group’s recordings reveals one of the more interesting musical histories in popular music. Upon release of their breakthrough album in 1972, Toulouse Street, featuring the hit single “Listen to the Music”, the legend began. This album also produced the hits, “Jesus is Just Alright” and “Rockin’ Down the Highway.” The Captain And Me was released in 1973, and produced the hits “China Grove” and “Long Train Running”, as well as classics such as “South City Midnight Lady” and “Without You”. The Doobies’ 3rd multi-platinum album, What Were Once Vices Are Now Habits, featuring “Black Water”, “Another Park, Another Sunday” and “Eyes of Silver,” built on the success of the previous albums. In 1975 the band released Stampede and from that album came the classics “Take Me In Your Arms (Rock Me)”, “Sweet Maxine”, and “I Cheat The Hangman.” The following year, Michael McDonald joined the band for the album Takin’ It To The Streets, which produced more hit singles, including the number one “Takin’ it to the Streets” and “It Keeps You Running.” The stylistic expansion of the group, with more jazz influences being incorporated, led to even more successes. 1977’s album Livin’ on the Fault Line, with hits like “You Belong to Me”, “Little Darlin’”, and the title track, showed the group’s commitment to continue to grow musically. The next year brought even more success with the multi-Grammy winning Minute by Minute, with chart topping singles such as “What a Fool Believes”, “Minute by Minute”, and “Dependin’ on You.” The group’s next album, One Step Closer, produced more hits, with the hauntingly beautiful “Real Love” and the title track, “One Step Closer”. The album also contained the group’s first Grammy nominated instrumental track, John McFee and Chet McCracken’s jazz composition “South Bay Strut.” In 1982 the band embarked on their farewell tour, after which the musicians went their separate ways. However, they did remain in close contact, and performed once a year at benefit concerts for The Children’s Hospital at Stanford University. In 1987, on an 11-city tour they raised more than 1 million dollars for a variety of charitable causes. The tour concluded with a performance on July 4th, 1987 at a peace concert in Moscow. This tour reignited interest in The Doobie Brothers for both audiences and the band members. The Doobies then returned to the recording studio for Capitol Records. The resulting album, Cycles, included the top 10 hit “The Doctor” and went Gold. Since that time The Doobies have toured and in 1998 signed with WEA distribution, Pyramid Records. In 1999 the band was awarded the RIAA Diamond Award of the sale of 10 million copies of Best of the Doobies: Vol. 1. The group spent the next two years working on the 2000 release Sibling Rivalry. Time was not an issue and the band was determined to make a milestone record that was a real musical statement. They succeeded in creating a true musical evolution in a group effort that highlighted all of the multi-faceted talents the band possessed. The essentially self-produced album was unlike anything the Doobies had released before. It is a testament to the incredible diversity that has come to be known as “Doobie Brothers Music.” After 30 years, The Doobies made music history by releasing their last studio album on the Internet through iMix.com, and 60 days later in stores everywhere through Pyramid's WEA distribution. As part of that historical release, on June 9th, 10th and 11th, 2000, The Doobie Brothers recorded their greatest hits live. Those live tracks accompanied the Internet release of the studio album and were exclusive to the Internet. Keeping with the Doobie tradition of touring and supporting album releases, 2001 through 2003 found the band performing all over the world. This included a US amphitheater tour in the summer of 2003 with long-time associates Huey Lewis and the News and a special performance to celebrate the 100th birthday of Harley Davidson. 2004 found the band comfortably on the road again. During the 2004 tour, The Doobie Brothers headlined a special acoustic performance in April at the Meyerson Symphony Hall in Dallas as a fund-raiser for the Dallas Symphony. Over the years, The Doobie Brothers’ music has evolved from a country/blues base into a sound emphasizing everything from R&B and Jazz elements, to guitar fueled rockers like “China Grove” and “Long Train Running,” to the folky chart topper “Black Water.” They have continually defied categorization, while maintaining their signature sound. Forever in pace with the American Spirit, The Doobie Brothers will continue to rock well into the future.
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Doobie Brothers' Homepage | Doobie Brothers' MySpace Page

J.D. Shelburne

J.D. Shelburne has come a long way from the family farm in Taylorsville, Kentucky. A tiny town 25 minutes east of Louisville, Kentucky has been home to his family for generations. His father, a high school principal/ athletic director and his mother a homemaker taught J.D. and his brother the skills it took to live a successful life down the right path. J.D. spent many summers in between high school sports and tobacco crops. "I swear I was either on a wagon stacking hay bales/ tobacco sticks or on the court/ ball field sweating my tail off...but I wouldn’t trade those days for anything" laughs J.D. All that hard work and dedication taught me who I was growing up in my teenage years. Those days were times J.D. still has etched in his suntan skin. Back in the early 90's, J.D. Shelburne followed in the footsteps of his dad and his uncles excelling in 3 sports from elementary to high school. J.D. was a starter for the high school basketball, baseball and golf team. Basketball/ baseball got to be a full time job, so golf was dropped later. After a scholarship in basketball and baseball was often thought about, it was other interest that drove him to Lexington - A relationship and the dream of attending the University of Kentucky. In the time of the college transition J.D.’s dearest grandmother passed unexpectedly the summer between his freshman/ sophomore year of college. In the midst of confusion, loss and clean up of his grandmother house...an acoustic guitar was discovered and stumbled upon. “I never saw that guitar until days after she died...and I swear my brother and I trampled all over her house throughout our childhood years." says J.D. "I swear this was an instance that was meant to happen." The guitar belong to his Uncle Tommy who through the years never showed much interest for it. "Thankfully he never sold it or I would have never came across it." states J.D. Many days and nights were spent setting in awe and frustration from the passing of his grandmother. " I think the county shut down for her funeral.....she was loved by everyone." says J.D. While home during the summer and in the midst of regrouping and having to move life forward from the shocking of the loss, the guitar was dusted off and tuned up just enough to sound like a guitar. "One day it just hit me...and I picked it up." J.D. spent months creating chords and words into songs enough to sing it all at the same time. "A chord book just happened to be in the guitar case and I just thought this is what she wanted me to do....so here I am." states J.D. “It was a book showing Garth Brooks tunes. The first song in the book was “Unanswered Prayers”, a worldwide hit for Garth in the 90’s and it just seem to take a toll on my life from that point on…what an unanswered prayer it was.” Many nights were spent learning guitar, cutting my fingers and bleeding from the strings and hours of frustration trying to figure it out. Dedication and persistence put J.D. on his first stage in just one year of practice." I hadn’t ever felt so comfortable in my life doing something. Growing up in his hometown Baptist Church, no one knew J.D. as a singer much less as a guitar picker. It shocked everyone. Everyone in the church congregation was crying" laughs J.D. "I'll never forget that." Upon college graduation and huge success in Lexington, Louisville and back home in Taylorsville, KY....J.D. Shelburne packed his bags and headed to Nashville in February of 2008. J.D. received a production contract in Nashville and was prompted to move to Nashville to begin work on an album that would eventually land J.D. in magazines and radio stations worldwide. It was all just the beginning of a career that would eventually spark attention from fans nationwide. "It has really been overwhelming with all the overall response from fans of my music and this crazy dream...people get starstruck sometimes..and I'm just still the same small town country boy I was before I left." J.D. Shelburne has accomplished enough credits and awards in performing and honors that a book could be written. J.D. has also shared the stage with some of country music’s hottest stars. He has opened for stars ranging from Kellie Pickler to Daryl Worley to Joe Nichols to the Kentucky Headhunters. Stay tuned for the upcoming album release from Taylorsville, Kentucky native J.D. Shelburne in the summer of 2009! Country radio is really starting to believe in J.D. Shelburne and from this point on doors keep opening and his dreams are getting fulfilled. "I am grateful for so many people taking chances on me, buying my music, spending gas to drive to my shows, and most of all being fans...I owe all of this to my fans...if not each one of you..I wouldn't be here."
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J.D. Shelburne's Homepage | J.D. Shelburne's MySpace Page | J.D. Shelburne's Facebook Page

Green River Ordinance

Green River Ordinance is an American rock band from Fort Worth, Texas. Their name refers to Green River Ordinances, laws which prohibit door-to-door sales unless the house's owner gives permission to do so. Bassist Geoff Ice and guitarist Jamey Ice are brothers. Early in their career (circa 2003), the band regularly did opening gigs with Flickerstick in Texas, and by 2005 had toured with Collective Soul and played with Eisley and Mutemath, among others. Currently (summer and fall of 2009) the band is opening on the Declaration Tour with David Cook. The band's initial releases, a 2005 full-length and a 2007 EP, were both released on the small independent label For Mona. Their debut release for Virgin Records, Out of My Hands, was released in February 2009, and garnered comparisons to 1990s mainstream rock acts such as Sister Hazel, Third Eye Blind and Matchbox 20, as well as contemporaries like Augustana and The Fray. Out of My Hands peaked at #10 on the Billboard Heatseekers chart.
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Green River Ordinance's Homepage | Green River Ordinance's MySpace Page | Green River Ordinance's Facebook Page

Sam Bush

Hailed the "King of Newgrass" by fans and media alike, Sam Bush has been considered one of contemporary string music’s most compelling performers and one of the foremost innovators in acoustic music for over 30 years. He was the driving force behind the hugely influential band New Grass Revival (1971-1989) a group of innovative and aggressive high caliber musicians who challenged the preconceived notions of traditional bluegrass music by fusing a wide range of styles that included gospel, rock, pop, reggae, jazz and country.
In addition to his work with his own band, Bush has collaborated with other progressive artists including Joshua Bell, Bela Fleck, Edgar Meyer, Emmylou Harris and David Grisman. An in-demand session player, Bush, who plays mandolin, fiddle and guitar, has also recorded on albums by Lyle Lovett, Leon Russell, Doc Watson, Steve Earle, Garth Brooks, Dolly Parton, Emmylou Harris, Trisha Yearwood and Leftover Salmon among many others. Bush has also produced albums by Jon Randall and Chris Thile (Nickel Creek). His talents have intorduced a new generation to acoustic music and have earned him numerous honors including three Grammy Awards and a 2009 Lifetime Achievement Award from The Americana Music Awards. AMA Lifetime Acheivement Award - 2009 International Bluegrass Music Assoc: Mandolin Player of the Year: 1990, 1991, 1992, 2007 Grammy Award: Emmylou Harris & The Nash Ramblers 1992, Bela Fleck & The Flecktones 1996, Down From The Mountain 2007 (Album of the Year)
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Sam Bush's Homepage | Sam Bush's MySpace Page | Sam Bush's Facebook Page

Gloriana

Amid the soaring four-part harmonies and electric stage presence, it's clear that Gloriana represents an exciting new and vibrant force in country music. The group--Tom Gossin, Mike Gossin, Rachel Reinert and Cheyenne Kimball--consists of four uniquely talented and enthusiastic young musicians joining forces to create a fresh, one-of-a-kind sound that reflects the best of today's Nashville.
From the outset, Gloriana has been winning supporters at all levels from Grammy-winning producer/label owner Matt Serletic and premiere Nashville songwriter Jeffrey Steele to the fans who've already had the chance to experience them live. Their self-titled debut album reflects both the sheer talent of its members and the level of commitment they have put into making every note count. Gloriana got its start in the winter of 2007, when brothers Tom and Mike, who had moved to Nashville after sweating it out in clubs in North Carolina, discovered Rachel. "We had never combined our duo with a female voice before," says Mike, "but singing with her gave us that high harmony and opened us up to something new.” It wasn’t long after seeing the group perform at 3rd and Lindsley that Cheyenne fell in love with Gloriana. “When I saw them perform for the first time, it renewed my passion for music,” said Cheyenne. So immediately after the show, she asked the trio if she could get together with them and jam. When they did, it was magic. "The three of us definitely felt we had something special," says Rachel, "but when Cheyenne came into the picture, the four-part harmony completed us. Her skills on the mandolin, combined with the guys’ guitar talent helped us to replicate the group’s live sound. It felt complete.” From that point on, commitment was everything. "We spent the next six months getting our songs and our live sound together," says Tom. "We accomplished a lot, working non-stop, playing shows, making sure we were tight and ready to go." The band sent a demo to Emblem Music Group, the new label founded by Matt Serletic, known for his work with Willie Nelson and Matchbox Twenty, among many others. Emblem is an evolution of Melisma Records, Serletic’s Diamond and multi-Platinum award-winning label, with over 50 million album sales to its credit. “The first time I heard Gloriana I was blown away,” says Serletic. “I don’t think that I’ve ever heard four distinctive, powerful singers combine to create such a unique, fresh sound. These talented young musicians were meant to make music together.” An intense creative process got underway. “Emblem helped to introduce us to some of the best that Nashville has to offer,” says Rachel. Serletic began writing with one of Nashville’s finest songwriters, Jeffrey Steele (Rascal Flatts, Trace Adkins, Tim McGraw, etc.) and co-wrote their high-energy debut single “Wild At Heart” with Josh Kear and Stephanie Bentley. At the same time Gloriana was collaborating with a talented array of Nashville songwriters including Trey Bruce, Kyle Cook, Ben Glover, Chuck Jones, Kevin Kadish, Wayne Kirkpatrick, and Danny Myrick. The band members moved in together and secluded themselves to begin making their mark on the songs. “We spent an intense month putting our stamp on the songs," says Tom. "In our minds it’s critical; it’s what makes the music authentic, heartfelt and true.” One at a time, they worked up songs, and performed them before the best critics that any artist has…the fans. “Playing for a live audience helped us to know what worked and what didn’t work,” said Cheyenne. “It really was valuable to do that before entering the studio.” “By the time we went into the studio we knew exactly what we were doing and how we wanted the songs to sound,” adds Rachel. “Guess you could say that the fans helped us to make this record.” That sense of assurance and the hard work they put in are evident in every track of their debut CD. The feels vary from “The Way It Goes” and “How Far Do You Wanna Go?,” which display the four-part harmonies, energy and big sound that make the group so exciting on stage, to “Lead Me On” and “All The Things (That Mean The Most),” songs whose passion and intimacy are undeniable. “I know how much music has impacted all of our lives,” said Tom. “It connects us all, it moves us and it can change a person,” added Mike. “We hope that our music will do that for others for a long time to come.”
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Gloriana's Homepage | Gloriana's MySpace Page | Gloriana's Facebook Page

Colbie Caillat

Ever since her mom gave birth to her in their Malibu home overlooking the ocean, Colbie Caillat has been the quintessential California girl. Her idea of a good time is hanging out with her friends at a beach bonfire or hopping in the car, tunes at the ready, and driving up the Pacific Coast Highway. On “Coco,” her Universal Republic debut, the songs mirror Caillat’s low-key, refreshing style. Armed with her acoustic guitar and her dusky vocals, she evokes the same gentle, yet spirited style of her musical influences John Mayer, Bob Marley, Lauryn Hill and The Weepies. As befits the organic style of her music, Caillat’s fan base has grown by word of mouth, one person at a time. Last year, she began posting her songs on her myspace.com; tunes like “Bubbly,” a delightful confection about romance, and “Tailor Made,” Caillat’s joyful message to her sister over seeing her sibling find the perfect mate. With no marketing push and only the power of the music behind her, Caillat became a sensation on the social networking site. Last October when she had 6,240 friends, Rolling Stone highlighted her as one of the top female artists on myspace. Ultimately, Caillat became the #l unsigned artist for over four months and her number of friends swelled to more than 100,000. Her profile has been visited over 3 million times, and she has more than l0 million plays. As her online popularity grows, so does the recognition factor. “I’m not even famous yet and every time I go shopping, the young girls who work in the stores, they know who I am. They’ll ask, ‘Are you Colbie from myspace?’” she recounts with delight. Grateful for the recognition, the laid-back, natural beauty lamented, “Great, now I’m going to have to put on make up every time I leave the house!” But she quickly reconsidered. “I’m kidding. But I am hoping that I can show my fans that it’s okay to be yourself.” Indeed, even the album’s title reflects her desire to remain true to herself: Her parents nicknamed her Coco while she was still an infant and it’s a tag that has stuck. Caillat started singing around home as a small girl, but a pivotal moment came when she was 11. “I heard Lauryn Hill sing ‘Killing Me Softly.’ I think her voice is absolutely beautiful and it made me want to start singing, so I sang one of her songs at a talent show in sixth grade.” Her household was filled with music. Her father, Ken Caillat, co-produced Fleetwood Mac’s legendary “Rumours” and “Tusk” albums and later ran his own record label. “My dad was always producing and mixing and he has the console in our house. A few years ago, he remixed ‘Tusk’ so I’ve always been around music.” She recalls Mick Fleetwood and John McVie hanging around: “All of my dad’s friends are in the business, so I’ve learned from them. Now that I’m in it, I can go to them and they have advice for me, so it’s really cool.” Her dad even suggested that the renowned drummer play on “Coco,” but Caillat knew she needed to go her own way. But she still relied heavily on dad’s words of wisdom. “I just wanted to be a singer and he said if you write songs, you get respect from people; you’re having them relate to a part of you that you’re sharing with them.” So the singer turned into a singer/songwriter and discovered an innate talent for observing and capturing nuanced, yet significant moments, such as that first blush of love or passage into adulthood. She also found two great collaborators in the process. Mikal Blue, whom she met when she was 15, hired her to sing the tunes he wrote for the St. John Knits’ fashion shows. Their professional partnership led to writing together and his producing her album. She also connected with singer/songwriter Jason Reeves. Together, they crafted the songs on “Coco.” Writing happens organically for Caillat after a small gestation period. “I just let stuff build up inside of me and I’ll write three songs in a weekend. It’s a release,” she says. “I don’t pick something to write about. When I’m playing guitar, a melody comes out and whatever words come out, I go along with that.” And at some point, she instinctively heads toward water, but of a different sort than one might expect. “I always go write songs in the bathroom because it sounds so good in there,” she says. “It’s like you’re in a cathedral! It makes it sound a lot better, which gives you more confidence. I think melodies come out easier.” Inspiration comes from different places: conversations with family and friends or reflections on her own life. For example, her love of Hawaiian music is reflected on “Tied Down”: “I’ve been going to Hawaii twice a year since I was 12. At one point, I moved there for two months with friends and got a job and got a Rent-a-Wreck, went longboarding, it was lots of fun. I’ve always wanted to have a ukulele on a song. I just love that laid-back sound. Hawaii is a huge part of me.” Or the frustrations of trying to conquer a fear in “One Fine Wire”: I took an improv class at junior college because I’m really shy in front of people up on stage. I ended up dropping the class because I had a scene I had to do. My parents were so mad at me because I just quit something I was trying to overcome. So I went upstairs into my room bawling and wrote ‘One Fine Wire’.” Luckily for Caillat, just as she continues to evolve as a writer, she is growing as a live performer. “I’m getting used to it. I have my band now, I just love these guys. I interact with them on stage. It’s so much fun.” On a more serious note, the 21-year old realizes young girls will look up to her. “I think it will be cool,” she says. Indeed, who better than a young woman admired by her peers for her talent and work ethic, instead of for hanging out at nightclubs. A young woman who constantly wants to improve—she’s starting piano lessons as well as continuing guitar because she thinks it can open up another dimension to her songwriting. “In the past few months I’ve been preparing myself for this crazy adventure. I know many challenges and frustrations lie ahead, and I am going to learn a lot. But if I can come home with some great new songs, amazing experiences, and new friends,” says Caillat, “it will all be worth it.”

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Colbie Caillat's Homepage | Colbie Caillat's MySpace Page | Colbie Caillat's Facebook Page

Brushfire

Formed in 1977 by Greg Breeding, Brushfire has travelled the region and Kentucky State Parks thrilling audiences with their classic sound and superb musicianship. Their years of performing have made them one of this area’s most popular acts.

Cumberlands

The Cumberlands have been performing for a wide variety of audiences since the 60's. Beginning as a folk trio, they have appeared in nearly every state in the nation, expanding not only geographically, but in their appeal to broader segments of our diverse society. From energy-packed, driving bluegrass to ballads, their appeal is universal. The Cumberlands have recorded 12 albums, had their own TV series, and have been seen on ABC-TV, PBS-TV, the Grand Ole Opry, night clubs throughout the country, and they have shared the stage with countless international acts. This entertaining group has performed at rodeos, fairs, conventions and corporate functions with amazing results.
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The Cumberland's Homepage

Whiskey Bent Valley Boys

Now these boy’s will take you back through the hill’s of old Kentucky. Performing at any street corner, county fair, flea market, festival. You name it, they’ll pick it. You can find them pickin’ from sun up to sun down, pounding out the swing dancing , foot stomping, hard driving tunes that’ll tickle your innards.
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Whiskey Bent Valley Boys' Homepage | Whiskey Bent Valley Boys' MySpace Page

The Travelin' McCoury's

Ron McCoury on mandolin, Rob McCoury on banjo, Jason Carter on fiddle, and Alan Bartram on bass, with featured guests on guitar and vocals, is the latest incarnation of the most awarded band in the history of bluegrass -The Del McCoury Band. Known for their individual prowess on their instruments and their rapidly expanding reputation as collaborators with the members of numerous musical icons from Vince Gill to the Allman Brothers and Phish, this touring unit blends the best of the Appalachian tradition with the improvisational magic of jazz. Unique live collaborations are the hallmark of their performances, and demonstrates why critics and musicians across the country hail them as the best bluegrass band in the world.

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The Travelin' McCourys' MySpace Page | The Travelin' McCourys' Facebook Page

Sara Evans

Strength, versatility and a spunky sense of adventure are qualities more often associated with literary heroines than successful country singers, but then there’s nothing typical about Sara Evans. Whether dominating country radio airwaves with one of her many hit singles or attracting a new legion of fans with her spirited turn on “Dancing with the Stars,” Evans’ drive, talent and determination have placed her in an elite class of artists who transcend musical genres to become a household name. Her musical accomplishments are celebrated with the release of “Sara Evans - Greatest Hits.” The 14-song collection features 10 of Evans’ signature songs as well as four inspired new songs, worthy of taking their place alongside such modern classics as “No Place That Far,” “A Real Fine Place to Start,” and “Born to Fly." The greatest hits package marks the first time Evans has worked with acclaimed producer John Shanks (Bon Jovi, Kelly Clarkson, Keith Urban, The Wreckers). That collaboration produced four new tunes, including “As If,” the lead single from Evans’ hits collection. “He’s just amazing to work with and he was exactly what I needed for this project. I know I’ll work with him again - IF he’ll have me,” Evans says with a smile. “He doesn’t do anything like everybody normally does. He has no formula.” For Evans, releasing a greatest hits package is like looking back through a photo album; each song is a snapshot that brings a flood of memories. “My first No. 1 record came when I was pregnant with Avery,” she recalls of “No Place That Far” which hit the top of the charts as she was expecting her son, now eight-years-old. “I remember that time because it was the most amazing time in my life. I thought things could absolutely not get any better. I was expecting my first child and having my first No. 1 record.” Indeed, Evans was on her way to becoming one of the most successful female artists of her generation - a compelling, heart-in-the-throat heir to Loretta Lynn and Tammy Wynette. She’s won numerous accolades, among them the Academy of Country Music’s Female Vocalist of the Year and the Country Music Association’s Video of the Year for “Born to Fly”. She was named 2006 Female Vocalist of the Year in the R&R Reader’s Poll and has been celebrated as one of People magazine’s “50 Most Beautiful People.” Evans has earned numerous #1 hits, two of which she co-wrote, including “Born to Fly,” “No Place That Far,” “Suds In The Bucket” and “A Real Fine Place to Start,” which spent two weeks at the top of the country charts. Of the five albums Evans has released, her sophomore set, “No Place That Far,” has been certified gold; 2001’s “Born to Fly” is double-platinum and 2003’s “Restless” and 2005’s “Real Fine Place” are both platinum. Such accomplishments have been a dream come true for the Booneville, Missouri native. One of seven children, Evans began singing country music with her family’s band when she was five-years-old. By the time she was 16, she landed a gig singing regularly at a club in Columbia, Missouri. Of course, Nashville is Mecca for all aspiring country artists and Evans made her way to Music City determined to realize her dreams. She got her first break when legendary songwriter Harlan Howard heard her amazing voice and tapped her to sing his demos. A deal with RCA Records followed soon after. Produced by Pete Anderson, her debut disc, “Three Chords and the Truth,” earned praise from critics, but it was her second disc, “No Place That Far,” that brought Evans the commercial success to match the critical acclaim. Her next album, “Born to Fly” spawned four hit singles, which are included on “Greatest Hits” - “I Could Not Ask for More,” “Saints and Angels,” “I Keep Looking,” and the title track. “It was the first time I ever wrote with Marcus Hummon,” Evans recalls of penning “Born To Fly.” “It was basically a biography of my life on the farm - talking to a scarecrow and dreaming. I had such huge dreams of doing something that nobody where I came from did.” Evans says “I Keep Looking” is another song that captures who she is and what she’s really about. “That song was more about me just wanting to express my true nature, how I am as a person,” she relates. “I’m totally that way. I keep looking forward and asking how to make things better. What can I do next?” Always looking to stretch herself artistically, Evans has continued to develop her gift as a songwriter. Her fourth album, “Restless,” spawned the hit “Perfect,” which Evans penned with Tom Shapiro and Tony Martin. The album also featured one of Evans’ signature hits, the high-spirited “Suds in the Bucket.” She followed “Restless” with “Real Fine Place,” which served up four hits singles - “Cheatin’,” “You’ll Always Be My Baby,” “Coalmine,” and the title track, which spent two weeks at No. 1. Writing and recording four new songs for the greatest hits package - songs strong enough to fit comfortably alongside her already impressive body of work - was a challenging task, but Evans is pleased with the outcome. “I could only choose four songs,” Evans says of rounding out the collection with new tunes, “but they are exactly the songs that this project needed.” “As If” is a buoyant exploration of budding romance, written by Evans, Shanks and Hillary Lindsey. “We wrote ‘As If’ on the very first day,” Evans says of working with Shanks, whom she met at the 2006 ACM Awards, following her female vocalist win. Her collaboration with the award-winning producer proved very fruitful. She and Shanks cowrote  with Aimee Mayo on two new tunes that made it onto “Greatest Hits” - “Love You With All My Heart” and “Pray for You.” Evans, Shanks, Lindsey, and Evans’ brother Matt penned “Some Things Never Change.” “Love You With All My Heart” is a sexy number that finds Evans tapping into her sultry side. “This song is just about being in a new relationship. This song is all about attraction, really nothing else,” says Evans. “We wrote the song when Aimee was huge pregnant and it’s funny because when I was huge pregnant, she and I wrote another passionate song called ‘Secrets That We Keep’.” On the other end of the spectrum, there’s “Pray for You,” a poignant ballad about the comforts of family and faith. “That song was very inspired,” Evans says. “John and Aimee and I were just sitting there and it just sort of flowed out. It was such a blessing to have that song come out. It says I’ve got babies of my own and I’m the one that they are counting on to be here through every little tear and I’ll do the best I can. It talks about calling your mom. I think that’s what all girls do, I sure do. So that song is very, very special to me.” Evans says “Some Things Never Change” was her brother Matt’s idea, and they brought it to a writing session with Shanks and Lindsey to flesh it out. The result is an engaging number that celebrates the enduring joys of family and love. “The main feel of that song is love,” says Evans. The lyrics paint the picture of a family and the daily routines that define every day life. It’s that ability to write songs that connect with the heart of her audience that has made Evans such a successful artist, and it’s her willingness to take risks and embrace a challenge that has widened her following. “Some things just feel right,” she says, citing her participation in ABC’s “Dancing with the Stars.” “It totally, totally changed my career. It was one of the best times of my life. I loved it.” Releasing a Greatest Hits package generally signals the close of one chapter in an artist’s career and the beginning of a new one. It is often a time for introspection and taking a hard look at the factors that contributed to those hits. Evans humbly credits her success to “luck, the kindness of country radio, and a good record label.” Obviously, there’s been so much more involved. Sara Evans is a vibrant, talented woman with a distinctive voice and an innate ability to relate to her audience. She’s a songwriter, a mother of three, and a master at multi-tasking, but above all, she’s real. It’s that honesty and integrity that resonate throughout her music. “I’m just really grateful for what I have. I want my life to mean something and I want to make music that matters.

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Sara Evans's Homepage | Sara Evans's MySpace Page | Sara Evans's Facebook Page

Jason Aldean

After selling two million copies of his first two albums, topping the charts with five smash hits, racking up award nominations and hitting every stop on the requisite “new artist” tour circuit for the last three years, country rocker Jason Aldean is running full throttle into Spring. Having just wrapped his first full and very successful headlining tour, he’s prepared to leverage that momentum with the release of his highly anticipated third album, Wide Open, due out April 7. The Macon, Georgia native wrapped up 2008 on a high note. Aldean’s debut of “She’s Country,” the first single off the forthcoming CD and now the fastest-rising single of his carreer to date, was introduced with a lights-out performance on the CMA Awards in November.
Upon hearing the lyrics and energy in the demo of “She’s Country,” Aldean knew it would be a great fit for his live show. “When we got in the studio and played it for the first time, it flew out of the speakers!” he exclaims. Written as a southern shout-out to all the country girls, the song champions the big guitars and solid backbeat that form the nucleus of Aldean’s signature sound. It also gives fans a taste of what lies in store on the rest of the album.As the title implies, Wide Open celebrates the unlimited opportunities life offers, while recognizing the all-too-familiar speed bumps along the way.“Wide Open is the only way I know how to live,” explains Aldean. “I don’t do anything half-ass, and you never have to guess on where I stand on things. I’m pretty much an open book. I understand there may be hitches along the way, but if I’m in, I’m in no matter what.”Aldean kicks in to the title track with a heavy percussive drone of dual guitars riffing respectively in stereo. The song tells the story of a young waitress biding her time at a diner until she comes up with a better plan.“I like the underlying meaning of this song, that the world’s wide open and the possibilities are endless,” Aldean says. “I also like the line in the chorus, ‘Slingin’ eggs and bacon with a college education,’ because it is really vivid description of the situation she’s in. She’s doing what it takes to pay the bills for the moment, but there’s something bigger waiting on her.”During the song-selection process for the album, Aldean’s own experience of leaving his small hometown to follow big-city dreams is what drew him to several songs co-written by hit tunesmith Neil Thrasher.“Neil came to the table with a lot of cool stuff, and I consider him to be a good friend, who really knows me, and one of the best writers in Nashville,” says Aldean, who co-wrote “Keep the Girl” with Thrasher and Wendell Mobley.“Keep the Girl” offers a different spin on freedom and the price of chasing dreams. “When we were writing this song, I put myself in the frame of mind of when I was leaving Macon and moving to Nashville while dating my wife, so it’s definitely autobiographical,” recalls Aldean. “It’s hard, because there’s this one thing you love that you want to do, but if you do it, your jeopardizing something else you love, and it’s like, ‘Why can’t I have both?’”In contrast to its title, “Fast” is a slow, bittersweet retrospective of a young man’s transition from the life he once knew to one marked with uncertainty. “A lot of me is in this song,” explains Aldean. “When I left home for Nashville, I left behind friends, family and the places where I grew up. Even though I was only five hours down the road, it felt like I was leaving and never coming back.”With a riff-driven, mid-tempo groove, “This I Gotta See” serves as a soundtrack for the rural scenery in the verses, setting up a power chorus that vividly describes the woman any man would like to have waiting for him. Aldean muses, “I can relate to everything this song talks about, especially when I’ve been on the road a lot.”Aldean unleashes a full-on guitar assault for “Crazy Town,” a burning love/hate letter to Nashville from all the dreamers. “For any musician who has ever come to this town and tried to make it in the music business, I think this song sums it up,” he remarks. “When I think about all the crazy times I had after I moved here—trying to get a record deal, being told no, and now being able to look back on it and know that I was right about a lot of those things—it makes me so proud of what I have accomplished.”Every guy in a relationship will appreciate the message in “Don’t Give Up on Me,” a heartfelt ballad from a man who asks for patience while he works to correct his character flaws. “I’m the voice of all the men in America with this song,” jokes Aldean. “As guys, a lot of times we don’t really do and say all the things we probably should, and this song addresses that.”Continuing the journeyman theme of Wide Open, Aldean chronicles life on a metaphorical road with “On My Highway.” Written by longtime friend and former bandmate Justin Weaver, along with Brett James and Kelly Archer, the reflective lyrics intertwined with lonesome steel guitar passages make this one of Aldean’s favorite songs on the album. “It’s just a really well-written song that talks about the ups and downs you go through in life, including the curves you are thrown, but at the end of the day, you’re living.”The simple, carefree days of a young couple starting out are longed for in “Love Was Easy,”“Sometimes, you look back to when you didn’t have a lot of responsibility other than to go to class and deciding what party you were going to hit on Thursday night. But once you’re married, you start making house payments, car payments, then kids come along, and couples don’t make time for themselves. For all those who are married and going through the headaches of everyday life, this is their song.”A modern-day carriage ride is sent up southern style in “Big Green Tractor,” a quirky love song co-written by David Lee Murphy and Jim Collins. “David Lee has been a friend of mine for a while, and I’ve cut his songs on the last two albums,” Aldean explains. “Before we went in to finish Wide Open, he sent over this song and it just hit me … a country boy’s chariot for his lady!”The hidden anguish men deal with after a painful breakup is uncovered in “Truth.” This poignant ballad recognizes the need to come off strong while maintaining one’s sanity. “This is one of those songs that I heard the first time and knew I wanted to cut,” says Aldean. “Anybody who has had a relationship go bad can relate to this song.”Though known for his unapologetic, southern-rock style, Aldean’s musical influences also reflect the more traditional end of the spectrum. In that vein, “The Best of Me” serves up the classic ingredients for the quintessential country song. Bourbon, strong memories, steel guitar and a mournful melody combine in this plaintive ballad.“One of the lines in the song says, ‘I remember it all too well, riding 441 down to Milledgeville,’ a highway that happens to lead out of Macon,” Aldean notes. “It’s a traditional-sounding song for the record, and I thought it was very visual—the fact that it talks about my hometown was just an added bonus.”A self-professed Alabama “super fan, almost borderline stalker” Aldean revisits his roots by paying homage to the Fort Payne legends, offering his take on their ’80s hit “My Home’s in Alabama.”“This is actually the first song I learned to play on guitar,” Aldean explains, “And in some ways, I feel like it chronicles my life. Randy Owen and Teddy Gentry wrote this song back when they were playing clubs. It talks about being a kid, growing up and playing in the bars, and not really understanding everything that’s going on.”In a fortuitous twist, Aldean’s new Broken Bow Records labelmate is none other than Owen, who makes a guest appearance on vocals. “Randy is probably my biggest influence,” Aldean says, “so to have him be a part of this record is just about the coolest thing that has happened to me in my career.”The modern, aggressive country sound of Wide Open, as well as Jason Aldean and Relentless, can be attributed both to producer Michael Knox and Aldean’s touring band, who infuse Aldean’s live sound into the studio recordings, melting the two into an unstoppable force his fans have come to recognize with the first note.“I’ve worked with Michael Knox for 10 years. We’re great friends and he has a real good idea of the kind of songs I like,” Aldean says. “We took about a year to find all the songs and record them between gigs. We were able to keep the sound we created together consistent by using my live band in the studio. We almost read each other’s minds.”With a calendar full of dates and a power-packed set anchored with hits and highlighted by new material, Aldean is ready to hit the road with superstars including Keith Urban and Toby Keith and live every day the only way conceivable —wide open! Visit: Jason's Homepage | Jason's MySpace Page | Jason's Facebook Page

Kenny Chesney

When Kenny Chesney released “Young” at the end of 2001, he never intended it to become the soundtrack for coming of age at the dawn of a new century. Having had double platinum success as a country singer, the young man from Luttrell, Tennessee just wanted to sing songs that weren’t so much hits, but rather reflected who he – and the people he knew growing up – was and where he came from.“I’d had a song a lotta people made fun of, but I saw what it did, the way people responded when we played it live,” Chesney said. “And it told me if I sang songs about who I was, the places I had grown up and the things we’d all done… there’d be a lot of other people no one was singing for who wanted to hear lives in the music.”What followed was the quadruple platinum all-genre Billboard Top 200 #1 debut No Shoes, No Shirt, No Problem, an album that merged Chesney’s inimitable sense of small towns and growing up with his country roots, his love of the ocean, and his affinity for the arena rock he was raised on. With “Big Star” empowering the unknown to believe in their dreams, Academy of Country Music Single of the Year “The Good Stuff” making the case for small things with lasting value and “Live Those Songs Again” ratifying the power of music to balm even a Vietnam vet with the power of meaning, Kenny Chesney hit bedrock of a nation united in song.

And it wasn’t just the hit singles. Whether a stark and haunted take of Bruce Springsteen’s “One Step Up” or the yearning “I Can’t Go There,” this was a fistful of Polaroid’s from a life lived as the rest of us do. This became the signature of the next eight years – which saw Chesney sell over a million tickets each of the past seven summers and become the leading ticket-seller of the 21st century – putting people’s lives in songs and giving them the kind of live shows that made them, if only for the night, forget whatever it was that might bother them.“Music was always such a part of my life… and my friends’ lives,” laughs the four-time consecutive Academy of Country Music and four-time and current Country Music Association Entertainer of the Year. “Sports and friends and school and music: those were the things that mattered growing up – and me and my friends marked so many of the things that happened by what song was playing when it did.”That notion held for “I Go Back” from Chesney’s 2nd all-genre Top 200 #1 debut When The Sun Goes Down. Name-checking songs by Steve Miller, John Mellencamp, Billy Joel and the gospel of his grandma’s dirt floor church, Chesney anchored moments that defined who he was and who he became against a backbeat that stuck with you.Starting with the wistful “There Goes My Life,” a 6 week #1 hit and the percolating title track duet with Uncle Kracker that was nominated for every Vocal Event category imaginable, the CMA Album of the year further established the soft-spoken acoustic guitarist as a man with his finger on the pulse of his constituency. Drawing on lean country for his own “Being Drunk’s A Lot Like Loving You,” the ferocious slice of unhinged college life “Keg In The Closet” or the two week #1 “Anything But Mine,” dedicated each night to “anyone who’s ever had a summer love,” When The Sun Goes Down distilled the feel-good, live-fully ethos that made CMA Male Vocalist of the Year’s songs connect with so many people.“There was never a master plan,” he explains. “I was trying to make a record that was even more who I was, who the guys around me were. No Shoes showed me I was right about what I thought; When The Sun Goes Down was trying to see how far we could take these songs about things that I knew by heart.”Closing with the hushed “Old Blue Chair,” Chesney’s found a new path to explore, anchored in his growing faith in his audience seeing their own dreams in the things he valued. With the response to “Old Blue Chair,” the high energy performer decided to do the unthinkable: a spare singer/songwriter record revolving around his life away from the spotlights. With no single, no marketing push and a few interviews, Chesney saw Be As You Are: Songs From An Old Blue Chair also debut at #1 on Billboard’s Top 200.“Some people didn’t understand why I wanted to do that,” Chesney allows. “But what’s the point of having the success if you can’t make music that goes in other places? Old Blue Chair is kinda the map of where I go… and then later Lucky Old Sun was more the state of who I am down there. And it’s funny: I get lots of people who tell me those are their favorite records, that they don’t like country, but they like ‘the boat records’ or ‘the water records.’ Again, it’s about my life… but it’s about their lives, too.”Certified platinum, Old Blue Chair demonstrated that the world of Kenny Chesney wasn’t just boat buoys, cold drinks and tan lines. There was thought going on beneath the surface, and if the folks clamoring to the NFL stadiums he began playing – Boston, Pittsburgh and Washington, DC – in 2004 were any indication, they liked their fun, but they also were invested in their lives.The Road & The Radio came that fall – leading with “Who You’d Be Today,” a brooding ballad for those cut down too young. About lives lost in their prime, it was another moment of consideration for how lucky we are to be here… and it set the stage for the jubiliant trifecta of the six-week #1 “Summertime,” two week chart-topper that was the state of Chesney’s personal trajectory “Living In Fast Forward” and the three week #1 “Beer In Mexico,” which Chesney wrote in Caba San Lucas, alone at Sammy Hagar’s pool while everyone else had gone deep sea fishing. And so it continued. More football stadiums. The first of the many Entertainer of the Year Awards. Stages shared with Dave Matthews, Eddie and Alex Van Halen, Joe Walsh and a rosterful of athletes. It was a slow growth, a rise that only began after the first Greatest Hits. But once it hit, it just kept going. Even Willie Nelson – who dueted on the Tin Pan Ally standard “Lucky Old Sun” – signed up, asking Chesney and co-producer Buddy Cannon to helm his critically-lauded Moment of Forever.“I just tried to do what I do… to sing what made sense, what I believed,” says the man who’s sold in excess of 28 million records. “If I’m honest, if I make records that feel right, there’s nothing else. I think that’s what people have come to expect – and it’s what I’m determined to give them.”Starting with the breezy homage to back home “Never Wanted Nothin’ More” and the plain-spoken life philosophy of “Don’t Blink,” Chesney’s Just Who I Am: Poets & Pirates debuted at #1 on Billboard’s Top Country chart. Accentuated by the churning “Wild Ride,” the calypso “Shiftwork” featuring George Strait and the quiet “Better As A Memory,” it was another overview of how vast the tides of life can be. Though party songs like “Got A Little Crazy” played to the obvious, “Demons” offered a reckoning.“Life isn’t always easy,” begins the man who got his start as a staff songwriter at Acuff Rose Publishing. “That part you can’t change… and you need to recognize it. But you know, how you live is your decision, and I think my fans are the kind of people who want to enjoy every possible moment. They wanna laugh and rock and be loud – and we don’t act like things don’t get rough from time to time, but rather that we’re gonna deal with it and get on to feeling good.”Feeling good is everything Kenny Chesney believes in. It’s why his current “Out Last Night,” inspired from a real lost evening on his Christmas vacation, feels so right. With its tropical beat, its good time vibe and the details that capture any bar where the party’s happening, it’s a slice of life the way Chesney and his vast audience choose to embrace it.But true to form, Chesney also enlists good friend for Dave Matthews for “I’m Alive,” a Chesney original first recorded by Willie Nelson. Slower and more serious, the duet considers how much there is to be grateful for, how many memories are left to make and how intense everything is in the balance. Lulling, yet inspiring, it’s everything Kenny Chesney hopes his music can be.

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Kenny Chesney's Homepage | Kenny Chesney's MySpace Page | Kenny Chesney's Facebook Page

Duke Tumatoe and the Power Trio

You may remember the Tumatoe tours of local clubs and endless spins of his songs on college radio in the ’70s and ’80s. You may not know that he played in a FIJI house band (Lothar and the Hand People) at the University of Illinois, the band name created by Bill Geist, CBS Sunday Morning News Correspondent; recorded for Warner Bros. (I Like My Job, produced by John Fogerty of Creedence Clearwater Revival fame); and was a member of REO Speedwagon — he left in 1969, evidently taking all rocking bluesy rootsy-ness with him — and he grew up on the South Side of Chicago, a blues-loving youth who hung with the legends.Now he’s still at it, playing over 200 shows a year, covering over 60,000 miles. Tumatoe promises “A good time, a little mischief, a lot of great music.” The man would like people to know he’s not all about the joke. “There’s a great deal of musical ability in the band,” Tumatoe said. They focus on the music, “just as much as on the twists in the lyrical content.” Tumatoe learned drums at 10, moved to guitar as a teen, and became active playing in the Chicago area in the ’60s. He grew up on the South Side, in the exact time and space of the golden era of electric blues. He knew, and played with, the greats, and now can’t believe that he took that for granted as a kid, Tumatoe said. “Those guys were kinda like available, just as a natural course of daily activity. … You never thought it was such an earth-shaking experience to have grown up in the crux of all that but it really, really is.” Tumatoe knew all the “old guys,” he said, ran into them every day. “Played with a lot of them,” Tumatoe said. “Muddy (Waters), Willie Dixon, Bo Diddley — who’s still with us — Buddy Guy — who’s still with us … Albert King, J.B. Hutto. … Having grown up in that city, you just experience that stuff.” Duke’s fans consider him one of music’s best-kept secrets and they selfishly admit they want to keep it that way. They know his show will be one of those sweaty, anything can happen things and they look forward to the freely dispensed and practical advice from the Doctor (”When you’re in a basement you should drink whiskey”).
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Duke Tumatoe and the Power Trio's Homepage | Duke Tumatoe and the Power Trio's MySpace Page | Duke Tumatoe and the Power Trio's Facebook Page

Jimmy Church

The Jimmy Church Band is one of the mid-south's leading dance and show groups. This high-energy band consists of a rhythm section, horn section, dazzling choreography and the titillating voices of two beautiful female singers. Jimmy Church, Jimmy Church Band and The Jimmy Church Band, featuring Honey, Spice, and Sugar, is one of the Mid- south's finest dance/party/show bands. The Jimmy Church Band has performed for such events as the Inaugural Balls for Governors of the States of Tennessee, Arkansas and Kentucky.

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Jimmy Church's Homepage | Jimmy Church's MySpace Page

Musiq Soulchild

"The aim for this record," says Musiq Soulchild about "LUVANMUSIQ," his first album for Atlantic Records, "is basically to reintroduce myself." As if he really needs an introduction. After debuting in 2000 with the brilliant "AIJUSWANASEING," and following that up with "JUSLISEN" (2002) and "SOULSTAR" (2003), Musiq Soulchild became known for creating some of the most compelling soul of the new millennium. Crafting ear-caressing tracks that blended old-school soul fervor with new-school hip-hop rhythms, he went on to sell three million albums in the U.S. alone, gathering a string of major awards in the process.It is Musiq's quiet devotion to his sonic impact as a musician that drives the man to want to re-introduce himself, to set up his return to the airwaves and the clubs as a new beginning of sorts, and not take for granted his status in the music industry. "I've been away for a little while," he says. "The industry's changed and so have I - personally, mentally, psychologically. I look at my previous three albums as grade school, middle school, and high school. Now with this new album, "LUVANMUSIQ," its like I'm going off to college." And college never sounded so good. If college is that place where you learn who you are and what you want to contribute to the world, "LUVANMUSIQ" is the album Musiq Soulchild was meant to make, crammed with full-bodied tracks that take soul music to the high level he has always reached for. From the funky, hip-hop-inflected, "Heartbeat"-throwback "Buddy," to the stunningly beautiful "Teach Me" and the Stevie Wonderesque "Questions," "LUVANMUSIQ" is a generous, open-armed declaration of heart and soul. It is a collection full of the musings of a man who appreciates the perks of maturity, and who doesn't have time for the child-like games and sounds that seem to define so much modern music. It sounds like the music of a Man, a man trying to maintain, a man not driven by the more youthful priorities that seem to dominate music today. Which is exactly what Musiq was aiming for. "I like to write and perform songs that have a more realistic perspective on things," says Musiq. "A lot of people use songs for escapism and poetic aesthetics, but I would like to think that humanity has evolved. I would like to inspire people to start thinking that way. Look, man," he adds with a laugh, "I'm not twenty-one anymore, so I'm not talking about that same stuff." What he is doing is trying new things. Check out "Buddy," featuring the MC-ing of one of the best singers that modern R&B has to offer. "I'm kind of easing my way into MC-ism, even though I've wanted to do it for a loooong time," says Musiq. "I hadn't really warmed up to it before because I respect the craft. It's not something you can just jump into and do. I love hip-hop, the idea of it. I love the culture of it, the basics and the foundation of it. And I want to contribute to that culture. Bit by bit, I'm doing my best to contribute to the culture because there's more to me musically than what has been put out there." There's more to Musiq on many, many levels. The Philly native, the oldest of nine kids (and the self-described "black sheep of the family"), found himself homeless after dropping out of high school at seventeen. Knowing what he knows now, he believes he could have handled things differently. "I could have used that forum to my advantage 'cause there were people whose job was to teach me," he says now. But at the time he just "felt patronized. When you're young, you just want what you want and you don't see better." Much to his parents' chagrin, he found himself working menial jobs and sleeping on friends' couches just to get by. But even when things were at their worst - when he couldn't find a friendly sofa, for instance, and found himself sleeping on the train or on a bench in the park - Musiq found a creative way to get himself through the hard times. "It's crazy," he remembers, "because when I look at my life now, I realize it was pretty bad back then, but I didn't look at it like that. You can call it wishful thinking or you can call it neurotic, I don't know and I don't care, but I knew that it was all just a movie and I was just going through the part of the movie where I was down. You couldn't tell me different; I just knew. That's how I chose to look at it." But even at the worst of times, there was always music. He remembers playing dresser-piano and air guitar when he was a kid, and singing along to his father's Stevie Wonder and Donny Hathaway records before he really knew what they meant. But then he realized that "I can sing. I just looked at it as something I could do and something I wanted to get better at and something I could get attention from." So much attention, in fact, that the thing he loved - the thing he was known for when he was gigging around Philly and hanging out with other musicians - became his actual name: Musiq. "There were people who knew of me but didn't really know me; they just knew me as 'that music dude.' So after getting that so much, I was like 'Just call me Musiq.' It was so fresh to me because if I had to be called anything, I would have wanted to be called Music. That's how much I dug it; when you see me, I want you to automatically think of music." And the Soulchild? "Musiq Soulchild is technically two ideas. 'Musiq' is the front man and 'Soulchild' is the idea behind it. It's basically me as an artist in this generation, representing the traditions and the legacies of the past soul stars." Legacy: The best artists understand it, cherish it, revel in the possibilities of adding their own struggles and voice to the continuing legacy and love of music that defines what caresses the ears of the world. Musiq Soulchild - whose new CD contains lyrics that get right to the heart of that legacy ("Show me the way to surrender my heart... Teach me how to love") - understands that idea more than most. Music, for Musiq, is salvation, love, mystery, community, life. And he appreciates his position within it. "I have to lead by example," he says. "So many artists bitch and complain, but I'm like, 'Dude, what are you doing to contribute to the change?' I'm manning up and contributing to the change. And hopefully I will inspire enough people who are willing to help contribute to the change. The change I'm trying to contribute to is about things going back to how they used to be - not just because stuff was great then, but so that we can take it to another level, in the present as well as the future." * * * * * * Inspired by such icons as Stevie Wonder, James Brown, and Ray Charles, Musiq made a blockbuster debut right out of the gate with 2000's acclaimed "AIJUSWANASEING." Fueled by the breakthrough singles, "Just Friends (Sunny)" and "Love," the album went on to earn RIAA platinum for sales exceeding 1 million. In addition, Musiq was honored with a number of awards, including Billboard Music Awards for "Best New Artist," "Top R&B Artist," "Top R&B Male," and "Top R&B Single" (for "Love"); the Soul Train Music Award for "Best R&B/Soul Single" (for "Love"); and the ASCAP Rhythm & Soul Award for "Top R&B/Hip-Hop Song" (for "Love"). Further nominations came from the Grammy Awards, American Music Awards, The Source Awards, BET Awards, and NAACP Awards. In May 2002, Musiq unveiled his second album, "JUSLISEN," which entered both the Billboard 200 and Billboard's "Top R&B/Hip-Hop Albums" chart at #1. The collection, which featured a pair of hits in "Dontchange" and "Halfcrazy," was soon certified RIAA platinum and again earned Musiq a variety of prestigious awards. Among the trophies were Soul Train Awards for "Best R&B/Soul Album" and "Best R&B/Soul Single" (for "Dontchange"); an ASCAP Rhythm & Soul Award for "Award Winning Song" (for "Dontchange"); and a BMI "Urban" Award (for "Halfcrazy"). What's more, Musiq received nominations from the Grammy Awards, MTV Video Music Awards, BET Awards, NAACP Awards, and Billboard Music Awards. "SOULSTAR," Musiq's third album, arrived one short year later and he was once again greeted with both critical and popular success. Hailed as one of the year's finest collections of contemporary R&B, the album featured two radio smashes, "Forthenight" and "Whoknows." The winner of the Soul Train Awards' "Best R&B/Soul Album," "SOULSTAR" also reaped nods from the Grammy Awards and BET Awards. In addition to the many honors he has received for his solo albums, Musiq also scored a 2004 Grammy Award nomination in the "Best Urban Alternative Performance" category, acknowledging his take on the classic "Are You Experienced?," found on the "POWER OF SOUL: A TRIBUTE TO JIMI HENDRIX" collection. Other extracurricular efforts include contributing guest vocals to the Roots' "Break You Off" (found on 2002's "PHRENOLOGY") and Carlos Santana's 2002 "SHAMEN." And now, with "LUVANMUSIQ," the evolution continues...
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Musiq Soulchild's Homepage | Musiq Soulchild's MySpace Page | Musiq Soulchild's Facebook Page

Michael McDonald

“You just try to pick the songs that are most meaningful to you,” says five time Grammy-winner Michael McDonald about the inspiration for his new album, Soul Speak. “These songs span my life—they’re the ones where I can remember where I was when I first heard them, the ones that made me interested in becoming a recording artist, the songs I’d always imagined myself singing.” Soul Speak is the natural follow-up to McDonald’s two smash explorations of the Motown Records songbook—the platinum-selling Motown from 2003, which was nominated for two Grammy awards, and the next year’s gold-selling Motown Two. But this time, McDonald didn’t restrict himself to any one style or record label or decade; he wanted to interpret songs that he loved, regardless of genre. So while some of the selections—“For Once in My Life,” “Walk on By,” or the album’s first single, “Love TKO”—fall squarely within the blue-eyed soul territory that we associate with Michael McDonald, others, like Leonard Cohen’s “Hallelujah” or Van Morrison’s “Into the Mystic,” are a bit more surprising.The creator of such hits as “I Keep Forgettin’," the Grammy-winning “Yah Mo B There," and the Number One pop single “On My Own," McDonald isn’t afraid to challenge expectations.. “Everybody always wants you to keep doing what you did last time,” he says. “You’re always met with, ‘Oh, you don’t want to do that, you’ll lose your fan base.’ But I’ve found that whenever I got back on the radio, it was with something completely different than what I’d done before.” Besides, he adds, his own responsibility to a song doesn’t change just because its sound does. “I approach them all the same way—can I find that place in me where I feel I’m being sincere with the song?” McDonald, 56, has been a fixture in American pop music for over three decades. After emerging out of the local scene in his hometown of St. Louis, he first came into the spotlight as part of Steely Dan’s touring band in the early 1970s. He contributed vocals and keyboards to the band’s classic albums Katy Lied, The Royal Scam, Aja, and Gaucho. While working with Steely Dan, McDonald also joined the Doobie Brothers, where his voice became the group’s focal point on such songs as “Takin’ It to the Streets,” “Minute by Minute,” and, unforgettably, the Number One single “What a Fool Believes,” which won the 1980 Grammy as Song of the Year. McDonald’s distinctive, instantly recognizable voice may be his signature, but on Soul Speak, he wanted to push himself to match the songs rather than the other way around. “A lot of these songs call on me to step up to the plate as a vocalist even more than the songs I write,” he says. “But if I’m going to do a record that’s well known, I won’t lower the key. That’s part of the ingredients of respecting the original—whether it’s in the most comfortable key for me or not.” That same traditional philosophy determined the way in which Soul Speak was recorded. “On the Motown records,” says McDonald, “we built the tracks on computers and then brought in the musicians. But this time was really more old-school, done live in a couple of takes. Other than things like the horns, these tracks were all done pretty much as you hear ‘em.” This approach allowed McDonald to try out many more songs than he was able to use, and to be more spontaneous in the studio. For instance, he was working on a version of “Hallelujah” for a Leonard Cohen tribute concert at UCLA. “I came up with something a little different, a little more blues/R&B version,” he says. “Fifteen minutes before the session, we made the decision to try to cut it. Those are the moments that make recording a really rewarding experience.” The selection on Soul Speak that may be most special to McDonald, and which he confesses intimidated him the most, is “Redemption Song,” with its simple folk melody and classic Bob Marley lyric. “I love the song, but it’s so personal to Bob Marley, to a culture, I thought, how do I sing this lyric? Is it presumptuous?,” he says. “But I think it says so much about what all the other songs are about, looking for redemption in a person or a place, and staying humane in the process. That lyric just says it as it is—that there’s victory out there, but it’s never going to come in the form or the time you expect it to.” Soul Speak also includes three original songs by McDonald, a reminder that he has a significant history as a writer as well as an interpreter. “We actually went back and forth choosing the originals,” he says. “’Only God Can Help Me Now’ and ‘Getting Over You’ are kind of retro feeling, so they fit pretty easily. ‘Enemy Within’ stands on its own, but (producer Simon Climie) thought it added a little bit of a turn that the album needed, so it wasn’t just a collection of oldies.” McDonald expects that his next project will be more focused on his own songwriting, but notes that his busy touring schedule makes it difficult. “More and more, if I’m not careful, I find that I’m out working all the time, and I have to search for any time to be able to woodshed and write.” But of course, the key to a project like Soul Speak is that even if most of these songs weren’t written in Michael McDonald’s own words, that doesn’t make them any less personal. The album is the story of a musical life, of the thoughts and sounds and influences that helped shape a legendary career. Not that these fourteen songs are the beginning and end of that tale. “The only frustrating thing,” says McDonald, “is that the deeper into the list of songs you go, the more you realize that it’s inexhaustible. The more you think about it, it just seems to get longer, and the more impossible it becomes.”
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Michael McDonald's Homepage | Michael McDonald's MySpace Page | Michael McDonald's Facebook Page

Al Green

The title of Al Green’s Lay It Down truly tells it like it is. Conceived as a collaboration between the soul legend and a handful of gifted young admirers from the worlds of contemporary R&B and hip hop, the album is drawn from a series of inspired sessions that yielded the most high-spirited, funky and often lushly romantic songs of Green’s latter-day career. The album is a refreshingly old school jam, with everyone laying down the music together, face to face, heart to heart, soul to soul.The project features the sophisticated R&B voices of singer-songwriters John Legend, Anthony Hamilton and Corinne Bailey Rae, and it was co-produced with Green by two of hip-hop’s most innovative players, drummer Ahmir “?uestlove” Thompson from the Roots and keyboardist James Poyser, the go-to guy for high-profile artists ranging from Erykah Badu to Common. Add in Brooklyn’s celebrated Dap-Kings Horns (Sharon Jones, Amy Winehouse), guitarist Chalmers “Spanky” Alford (Mighty Clouds of Joy, Joss Stone) and bassist Adam Blackstone (Jill Scott, DJ Jazzy Jeff), among others, and you’ve got a modern soul-music dream team, fronted by the most expressive voice in the business. “The reason why we are doing this is because we all idolize Al Green,” declares ?uestlove. “Even today, nobody has range like him.” Green himself envisioned this project as a way to reach out to younger artists, particularly in the hip hop community, to find common musical ground and help spread his healing message of, as he likes to put it, “L-O-V-E.” He gamely plunged into the world of the Roots and their posse, cutting tracks with them in New York City. His youthful collaborators took this as an opportunity to get right into Al’s head, turning the sessions into a master class about how to create that sublime Al Green sound and keep it relevant for today.As Green explains: ”They didn’t want to get too far out from the foundation that [Hi Records producer] Willie Mitchell and I built—‘Call Me,’ ‘I’m Still In Love With You,’ ‘Let’s Stay Together.” That’s all good, they said, but we want to play what we hear you being about in 2008. We want to keep all of the aura, but we would like to have freedom enough to spread our wings and express ourselves. The Roots, all the guys from Philly who came up to do this stuff with us—they were incredible. I could relax because I knew the people were capable. Everyone was coming up with ideas, everybody was pitching in, everybody was helping.” It all began in 2006. ?uestlove and Poyser arranged for a get-acquainted session at Electric Lady Studio in Manhattan’s Greenwich Village. As Green recalls, “That was such a session. We sketched out eight songs and really started the project. We were just spitting out songs right and left; there’s no possible way I could write them all out. I was writing the verses to this one, the bridge to that one. Everybody contributed and that’s why it feels so good. There were no big ‘I’s and little ‘you’s in there. All of us dreamed it up together.” That date provided basic tracks for nine out of eleven tunes. Subsequent recording took place over the next two years to accommodate the artists with whom Al wanted to work. Each session replicated the feel of that first one, with the players swapping ideas, grabbing pads and pencils to furiously scribble lyrics, singing out snatches of melodies, passing along riffs. Green himself vocalized many of the parts that the strings and horns would later play. He admits, “That’s the only way I know how to work, that’s what I’ve done all my life. You just write it from here.” He taps his heart. “That’s what we do every Sunday. We never write a sermon now. If you can’t preach out of here”—tapping his chest again—“you have nothing to say anyway. It’s all from the heart, this whole album, from start to finish.” “It’s an honor to be able to work with Al Green, who I have always loved and respected,” says John Legend. “He has been an important part of black music history, and pop music history for that matter. Al really is a magical singer.” Legend had come in to sing on one track the band had worked up, but then heard an unfinished version of “Stay With Me (By The Sea),” a song Green had been developing with Bailey Rae. Legend immediately knew that one was meant for him. That song illustrates the cooperative spirit that distinguishes Lay It Down. ”John is singing it, I’m singing it, Corinne and I are singing the background,” Green explains. “We’re all included. It’s personal, about my own life, but still everyone can feel what I’m talking about.” Green was especially impressed that Bailey Rae flew all the way from London to sing with him. She was just honored to be there: “I was really drawn in by Al's voice; it’s so distinct, and so fluid.” After she arrived, Green recalls, Corinne went straight to work: “She’s a tiny little thing with a big guitar. She’s just playing and singing and the musicians went to sit in, the drummer, the bassist. She wrote a verse, then I wrote a verse and we both worked on the bridge.” In fact, Green insisted that Bailey Rae start it off, performing in her warm, intimate style the verse she’d just written. Hamilton and Green perform gospel-style testifying over the slow-burning groove of the title track, and the pair engages in fierce call and response on the funky chorus to “You’ve Got the Love I Need.” “It feels good when you listen to him,” Hamilton says of Green, and Green returns the compliment: “On his records, Anthony is always singing about pleasing and satisfying his lady—I want you to be happy, I want us to be together. I’ve been preaching for 30 years and I said, that’s right, the more we need each other, the less difference we see between us. You have to take a chance on love. I know there are some hateful people in the world that would break your heart in an instant. But the big man upstairs is saying you’ve got to take a chance. It’s better to love and be heartbroken than never to have loved at all.” Looking back on these collaborations, Green decides: ”I couldn’t ask for any more than what Corinne, Anthony and John put into the album, because they came and they sung their heart. And when a person does that, I’m going to give you the best I feel too.” But he offers us even more on the final track, “Standing In the Rain.” The arrangement is an ebullient update of classic Memphis soul and the words convey the sort of message that the Reverend Al would like to leave all of us with, from the young listeners about to discover him to the loyal fans who’ve followed him all these years." ’Standing in the Rain’—that don’t mean good times,” Green explains. “I’ve got afflictions, I’ve got trials, I’ve experienced all the things that can hold you back. But I refuse to be held back.” Lay It Down is surely testimony to that. Al Green may occasionally sing about his own tribulations, but mostly he wants to offer the answer to ours: L-O-V-E is all you need.
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Al Green's Homepage | Al Green's MySpace Page | Al Green's Facebook Page

Kim Taylor

Cincinnati based Kim Taylor's songs have appeared numerous times in shows like Flashpoint, Eli Stone, Hawthorne, One Tree Hill, The Ghost Whisperer, Army Wives, and The Unit among others. Taylor has independently released two full-length albums and two EP’s. David Dye and NPR's World Cafe featured Kim's 2006 release "I Feel Like A Fading Light" and Kim landed a studio session with David in the spring of 2007.In November 2008, world renowned mastering engineer, Greg Calbi (known for records like Springsteen's Born To Run and John Lennon's Walls and Bridges) launched a vinyl only label called Experience Vinyl and invited Taylor to be one of his few and first vinyl releases. In August of 2009, Paste Magazine featured her as the Best of What's Next and her song "Days Like This" was featured on their yearly music compilation. Kim has also been Cincinnati's singer-songwriter of the year 3 years in a row. She has toured with a variety of artists such as Aqualung, Grace Potter, Over the Rhine, Ron Sexsmith and her most recent run with Australia's Kasey Chambers and Shane Nicholson. Her current project is "Little Miracle", a digital only album recorded at the Maid's Room in NYC in late October 2009. "Little Miracle" was released Christmas Day of 2009.
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Kim Taylor's Homepage | Kim Taylor's MySpace Page | Kim Taylor's Facebook Page

Ben Sollee

For a stalwart young artist who creates different means to an end, Ben Sollee has enjoyed a whirlwind year replete with remarkable success and warm, exciting music to match. Sollee hails from Kentucky, yet sounds nothing like the colloquial music one traditionally associates with the state (or anywhere else for that matter). He eschews traditional singer-songwriter and folk boundaries, choosing a cello rather than a guitar as his divining rod, and utilizing unique plucking and percussive bow techniques juxtaposed against his blue-eyed soul meets Antony Hegarty vocal leanings. Ben enjoys collaborating with musicians as disparate as Otis Taylor and Bela Fleck, touring with indie rock royalty, and covering Sam Cooke as an homage to blues. When he ventures out of Louisville, sometimes he'll just strap this cello to his back and ride his bike rather than enjoy the comforts of a van or bus, as he did on his southern trek in the summer of 2009 -- playing intimate shows in every town he hits between his larger headlining performances. Yes, Ben's always done things a bit differently. Perhaps that's one reason why his 2008 debut album, Learning to Bend, received such lauding from hardened critical ears. No Depression put the album on their top five of 2008, Paste listed him on The Best of What's Next, NPR raved and invited him to play a World Cafe set, and music blogs provided (and continue to provide) Sollee a steady torrent of praise and journalistic intrigue. His inviting and impressive debut, saturated with sweeping moods and a visceral maturity way beyond his 25 years, also landed him prominent spots on the festival circuit, including Austin City Limits and Bonnaroo, as well as a riveting set on Jimmy Kimmel Live. Not interested in slowing down, Sollee spends his spare time championing issues close to his heart, such as ending mountaintop removal through his volunteer work, playing benefit concerts for Kentuckians For the Commonwealth and Oxfam, as well as assembling the aforementioned bike tours to encourage greener living. Ben wears his conscience on his sleeve without proselytizing or taking away from what matters most, his imaginative music. The next year looks to be just as exciting as the previous. Ben will release a collaboration with Daniel Martin Moore, also of Kentucky, on Sub Pop due out February 2010 called Dear Companion. The album was produced by My Morning Jacket's Jim James, making the whole project a family affair. Though the project promises to be one of the most prolific for both Ben and Daniel, they are donating their artist proceeds to environmental advocacy group Appalachian Voices. Yes, Ben truly traces his own trajectory. And perhaps that's what will keep him both an engaging artist and person for years to come.

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Ben Sollee's Homepage | Ben Sollee's MySpace Page | Ben Sollee's Facebook Page

War

Singer/keyboardist, Lonnie Jordan is best known as a founding member of WAR. One of the most popular funk groups of the '70s, WAR were also one of the most eclectic, freely melding soul, Latin, jazz, blues, reggae, and rock influences into an effortlessly funky whole. Although WAR’s lyrics were sometimes political in nature (in keeping with their racially integrated lineup), their music almost always had a sunny, laid-back vibe emblematic of their Southern California roots. WAR kept the groove loose, and they were given over to extended jamming -- in fact, many of their studio songs were edited together out of longer improvisations. Even if the jams sometimes got indulgent, they demonstrated WAR’S truly group-minded approach: no one soloist or vocalist really stood above the others (even though all were clearly talented), and their grooving interplay placed WAR in the top echelon of funk ensembles.Even beyond WAR’s catalogue releases, in the great search of the groove, countless numbers of musicians, producers, remixers and DJ’s have turned to WAR’s unique Afro-Cuban, Jazz-Funk character to provide structure for their own musical impulses. From Offspring’s “Pretty Fly For A White Boy” (Remix of “Low Rider”), to Tupac’s “Young Black Male” (“Where Was You At”), new artist on a quest for hidden gems are pilfering WAR’s catalogue and producing their own unique musical expressions while retaining the pass. For WAR, the rise of sampling culture has ushered in a rebirth of sorts as well as a sense of attribution for the bands profound influence on contemporary American music. The end result is a long list of sample credits as well as a revived interest in the music. Recent examples of sample usage include Janet Jackson’s “You” (Cisco Kid”), TLC’s “I’m Good At Being Bad” (“Slippin Into Darkness”), Macy Gray’s “Do Something” (Heartbeat”) and Macy’s video for “Been Around The World” (“Galaxy”). Along with sampling, WAR has seen a dramatic increase in the number of covers being produced over the past few years by wide variety of artist from an eclectic mix of genres. From Alternative bands (Smash Mouth “Why Can’t We Be Friends” / Korn “Low Rider”) to rap/urban artists (Redman/Method Man “Cisco Kid”). WAR timeless melodies are still being heard on multi-formatted radio stations around the country. More than 30 years after they first appeared on a Los Angeles stage, WAR can still "deliver the word." The multi-platinum performers came to Rhino recently to celebrate the release of the new THE VERY BEST OF WAR collection on Avenue/Rhino Records. The two-CD set features 34 of their best songs, including "Why Can't We Be Friends," "All Day Music," and "Slippin' Into Darkness" -- as well as a handful of hits that the group played for a large and appreciative audience of Rhinos. Though such in-house performances usually take place in the 2nd floor commissary of Burbank's Pinnacle building (Rhino's home), it would've been a WAR crime to try to squeeze the seven-man line-up and its full electric sound into such a confined space, so a stage was erected on the front lawn outside the lobby. On the grass, basking in the L.A. sunshine -- right next to a newly installed sculpture that proved the perfect perch for a couple of onlookers -- it was an idyllic setting for an afternoon of live music. As last-minute adjustments were made to the sound system, the rhythm section (drummer Salvador Rodriguez, percussionist Marcos Reyes, and bassist Francisco "Poncho" Tomaselli) launched into an extended groove to bring WAR co-founder Lonnie Jordan to the stage for one of the band's biggest hits, "The Cisco Kid." With Fernando Harkless on clarinet doubling the harmonica lines, "Cisco" sizzled, as did the following number, "Me And Baby Brother," highlighted by Jordan's fine keyboard work. WAR then slowed the pace a little with a moodier take on "The World Is A Ghetto," in which Fernando ventured out into the crowd for an extended saxophone solo, and Lonnie - still in exceptionally fine voice - added an improvised speech to the still-topical song before bringing it to a close with harmonies from the group. That there are other fine singers in WAR was further underscored by the next two numbers sung by Salvador from behind the drum kit: "Cinco De Mayo" from 1982's Outlaw and "So" from the Why Can't We Be Friends? album. As Lonnie explained, the song that followed was written because the band always seemed to be away from home during the holidays. "Gypsy Man" typically features acoustic guitar, but given the setting, guitarist Stewart Ziff played lead on his trusty electric guitar this time. The soothing "Don't Let No One Get You Down" came next, in which Harkless showed he was also a skilled flute player. "Ain't nothin' like a War groove," remarked Lonnie Jordan -- and the band drove the point home with a hit from its early years with Eric Burdon, "Spill The Wine." In an extended rap about a dream he had, the singer proved a captivating frontman. The group brought the show to a close with the classic "Low Rider," throwing in band member intros and a snippet of "I Wanna Take You Higher." On this hot July afternoon, WAR certainly accomplished that. Their sound captured the heart and soul of America's streets. From the late-'60s all the way to the present day, Los Angeles-based WAR played the music that made people dance and think. Fusing rock, Latin rhythms, funk, blues, jazz, and soul into a distinctive sound all their own, WAR, the self-described Afro-Cuban-rock-jazz-blues band, was a righteous force coming straight out of "the neighborhood." Avenue/Rhino's THE VERY BEST OF WAR is a triumphant collection of hits-songs that resonate with the youth of today as well as those who can say they were there at the dawn. "Spill The Wine," "The World Is A Ghetto," "The Cisco Kid," "Gypsy Man," "Why Can't We Be Friends?," "Low Rider," and many more classics can be found in this ultimate collection of groove, color, and passion. Producer-songwriter (and the guiding force behind WAR since the beginning) Jerry Goldstein enthuses, "This is the 'I didn't know they did that song too' package. Over the years, I've found that a lot of people don't connect WAR with all the great music we've made and they know. The group's many influences make each song sound different from the next. I think everyone will get it when they see and hear it all together in our TV-advertised campaign and live concerts". The group was created in the late-1960s by Goldstein and British singer Eric Burdon, who was then living in Los Angeles and eager to seek out new collaborators after several years with The Animals. In the future members of the band that would be known as WAR, Burdon found musicians who were able to back his improvisational flights-of-fancy with the ease of jazz masters, and, as such, the albums Eric Burdon Declares WAR and The Black-Man's Burdon soon became cultural touchstones of the '60s. After Burdon moved away from the group, WAR's career skyrocketed in the early '70s, as their exhilarating sound spoke to millions of Americans about the troubled times of Vietnam, Watergate, racial strife, and the tensions of the inner cities. "The diversity of influences on us was not only musical but was social as well. As a result we tried to be entertaining while also spreading the word of peace, harmony and brotherhood," says singer-keyboardist Lonnie Jordan, who has been there since the group's inception. “Our instruments and voices became our weapons of choice and the songs our ammunition. We spoke out against racism, hunger, gangs, crimes and turf wars, as we embraced all people with hope and the spirit of brotherhood”. WAR would one night find themselves mingling with Hollywood luminaries, sports legends and show business millionaires, and next see themselves back in their warehouse rehearsal spaces, playing till dawn for their pals in the 'hood. WAR is a band that spans social classes, races, and causes. THE VERY BEST OF WAR traces this revolutionary band's free-form beginnings on into their journey through cultural shifts in taste and styles. Two full CDs worth of hits that still sound as fresh as the day they were recorded. While currently touring the world this year, WAR will once again enter the studio to do what they do best: Make Music. After thirty years of pushing the harmonic envelope, the band’s twenty-fourth album release can be expected sometime in the not too distant future!!
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War's Homepage | War's MySpace Page | War's Facebook Page

John Kay & Steppenwolf

"The central theme of Feed The Fire," says John Kay, "is, 'don't let the bastards get you down!'" Lyrically, songs such as "Rock & Roll Rebels" and "Hold On" focus on the resiliency of the human spirit in spite of life's many setbacks. The title song speaks to the needs of the inner flame that burns in all of us and drives us in our quest for fulfillment. Other tracks, such as "Man On A Mission", "Rock Steady" and "Rage", are songs of defiance and passion, while "Bad Attitude" and "Give Me News I Can Use", rely on tongue-in-cheek and at times sardonic humor to make their point. In Kay's words: "This album is about and for all the rock and roll rebels, be they 14 or 54, who refuse to throw in the towel and who struggle to keep their dreams alive in the face of ever diminishing freedom."With "Feed The Fire," their most potent album in years, Kay and company have written the newest chapter of the Steppenwolf legend. Kay has certainly lived the life of a rock and roll rebel himself. After a perilous midnight escape from post-war East Germany as a child, he grew up with a steady diet of Armed Forces Radio and became inspired by the likes of Little Richard and Chuck Berry. At age 13, John decided to make rock and roll his life. "Considering I was only 13, legally blind, spoke the wrong language and was on the wrong side of the ocean, maybe I was a little optimistic," he says.In spite of these considerable adversities, by his 14th birthday John miraculously found himself with guitar in hand on the other side of that ocean in Toronto, Canada. John learned English from the speed rapping disc jockeys and music from the artists of the day, and he began to perform on amateur radio shows in his mid-teens. After high school, John roamed the American continent performing acoustic blues in coffee houses and bars. He soon met and joined the Canadian band "The Sparrow" while playing in Toronto's Yorkville Village in 1965. The group, migrating from Toronto to New York and later to San Francisco, became part of the Bay Area music scene. The Sparrow broke up in 1967, after several unsuccessful attempts at recording for Columbia Records. A couple of months later, John formed Steppenwolf in Los Angeles. Powered by his gritty vocals, the band's blues-based rock burst upon an unsuspecting public in the summer of 1968, creating timeless classics as "Born To Be Wild","Magic Carpet Ride", "The Pusher" "Rock Me." Following Kay's decision to break up the band in the mid 70's, he embarked on a solo career that saw the release of albums such as: "Forgotten Songs and Unsung Heroes", "My Sportin' Life", "All In Good Time" In the late 70's John learned that several bogus groups, using the name Steppenwolf, were touring and trashing the very reputation of the band that Kay had created. In 1980 he decided to act and the John Kay Band quickly became John Kay and Steppenwolf. Several years of intensive touring followed and resulted in the rebuilding of the name. Since the early 80's, the group has featured the considerable talents of John's coproducing and writing partner, Michael Wilk (keyboards/bass/vocals) and long time drummer/vocalist Ron Hurst. Recently, they were joined by newest member, lead guitarist/vocalist, Danny Johnson. Since re-establishing the name, John Kay and Steppenwolf have released five albums and have toured annually on a worldwide basis. In 1994, Kay returned triumphantly with the Wolf to play concerts in the former East Germany, where he was reunited with friends and relatives he had not seen since he was 4 years-old. With sales in excess of 20 million units worldwide (and increasing annually) and songs licensed for use in 37 motion pictures and 36 television programs (as of this writing), the group continues to focus on the future. Recent projects and activities include: • May 1994 saw the first annual Wolf Fest which draws the Wolfpack Fan Club from all parts of North • America and Europe to celebrate a weekend of special events and activities with their favorite band. • John Kay's autobiography entitled, "Magic Carpet Ride" released in 1994. • John Kay and Steppenwolf, Live at 25 (The Silver Anniversary Tour Recordings), a double CD, • Released February 1995. The album contains 23 tracks including many of the hits from the 60's, 70's and 80's along with two new songs.• John Kay was inducted into the Canadian Academy of Recording Arts and Sciences (CARAS) Hall of Fame, in March, 1996. • The Summer of 1996 saw the launch of the group's World Wide Web site, www.steppenwolf.com, which has become "Wolf Central" for the groups' international fan base. • "Feed The Fire", the first single and video (from the album of the same name), was released in August, 1996 and continues to be supported through special promotions, and John Kay & Steppenwolf's 1997 concert tour. "Looking back, it has always been my inner fire that has pushed me to overcome life's obstacles and allowed me to realize my dreams," says Kay. For in depth information on the life and times of John Kay & Steppenwolf, read John Kay's autobiography "Magic Carpet Ride" as written by John Kay and John Einarson.
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John Kay & Steppenwolf's Homepage | John Kay & Steppenwolf's MySpace Page | John Kay & Steppenwolf's Facebook Page

Huey Lewis and the News

Huey Lewis and The News have been defying the rock oddsmakers for over two decades. Formed from two rival Bay Area bands in 1979, their contagious brand of straight-ahead rock n’ roll has outlasted countless trends, selling over 20 million albums worldwide in the process. Huey Lewis & The News have carried the banner as the quintessential American rock band, endearing them to millions of fans and earning them the right to mark their place on the pop history map.These Grammy Award winners have written and performed such classic Top Ten Hits as “Heart of Rock & Roll”, “Stuck With You”, “I Want A New Drug”, “If This Is It”, “Hip To Be Square” and “Workin’ For A Livin’”. The group also wrote and performed “The Power of Love” and “Back in Time” for the hit film Back To The Future. “The Power of Love”, which was nominated for an Academy Award, went all the way to #1 on Billboard’s singles chart. As great a recording career as the band has had, it’s their live performances that remain the stuff of legend. They have continued to tour doing approximately 60-70 shows a year. Huey Lewis & The News have incorporated a variety of musical influences, including R&B and soul, to create their own unique sound. One highlight of their show is their a cappella rendition of early rock n’ roll classics such as “Sixty Minute Man”, “Under The Boardwalk” and “It’s Alright”.Huey Lewis & The News are: Huey Lewis (vocals and harmonica), Johnny Colla (saxophone, guitar and vocals), Bill Gibson (drums, percussion and vocals), Sean Hopper (keyboards and vocals), Stef Burns (guitars and vocals) and John Pierce (bass). Their live show features a horn section of San Francisco bay area luminaries: Marvin McFadden (trumpet), Ron Stallings (tenor saxophone) and Rob Sudduth (baritone saxophone).
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Huey Lewis and the News' Homepage

Brigid Kaelin

Brigid Kaelin is a plucky redhead. Recently returned from a month-long tour in Europe in support of her new record, West 28th Street, Brigid is starting 2009 by crossing off a lifetime goal: be a musical guest on A Prairie Home Companion. Brigid Kaelin made the front page of the Nashville newspaper on her very first day in town. Wherever she goes, people pay attention. In the past year, Kaelin has played accordion-piano-musical saw-and sung with Elvis Costello & the Imposters, and accordion with No1-charting rock band Seven Mary Three, and piano with saxophone legend Maceo Parker, Sun Records producer/engineer Cowboy Jack Clement, Johnny Cash's drummer W.S. "Fluke" Holland, Shannon Lawson, Days of the New, and many others. Kaelin's novelty Chanukah record, Mazel Tonk!, received national airplay on countless radio stations, and the video for her single, "Blue Dreidel No. 9," was one of the most popular YouTube videos of the holiday season. But Kaelin is more than just a novelty act. Recently voted "Best Singer-Songwriter in Louisville" and Number 33 in WFPK's "Greatest Artists of All Time" Countdown (John Prine was 34 and Bob Dylan 29), Brigid Kaelin is a Louisville favorite and bestseller. Brigid Kaelin was one of 56 worldwide finalists in the USA Networks's 2007 season of Nashville Star,, and her song "Future Mr. Used-to-Be" won an Honor Award in the Great American Song Contest. After graduating summa cum laude from New York University at age 20, Brigid Kaelin produced documentaries for CBS News in NYC. The youngest Associate Producer on staff, Kaelin left her career behind her when her mother was diagnosed with cancer. While her mother went through treatment, Kaelin began singing in Louisville dive bars. She never went back to television. Known for her clever songwriting and energetic live show, Brigid Kaelin is also a seriously trained musician. You may come to the show for her red hair, and you may laugh at the yodeling. But then you’ll be completely amazed by her virtuosic chops on the accordion, piano, guitar, and musical saw, and suddenly you’ll realize that you love her songs too. Part vaudeville, part rock, Kaelin writes killer songs and knows how to entertain. Kaelin is also a top-notch session musician and a sought-after utility player. She loves touring in other people's bands and playing her own music along the way. And when she’s in charge of the microphone, the whole room listens. Her dream job is playing accordion for John Prine, but she loves supporting good, talented, fun songwriters in any style of music. And she knows that you need more accordion in your life. It's just what you've been missing. Brigid can be found in Louisville, Nashville, or on the road.
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Brigid Kaelin's Homepage | Brigid Kaelin's MySpace Page | Brigid Kaelin's Facebook Page

The VilleBillies

Arising from Louisville, Kentucky’s underground scene, The Villebillies have worked hard over the years to achieve recognition in the music industry and earn the admiration and respect of fans and fellow musicians alike. With their down home attitude and an eclectic, crossgenre musical style, The Villebillies display a realness and originality that is all too rare in the world of popular music.It’s difficult to pin The Villebillies musical style to any one genre. Rap and rock elements are most prominent but the band goes far beyond with their skillful incorporation of a wide variety of sounds. The band doesn’t follow a specific songwriting formula or focus on one particular message or vibe. Instead, each song reflects a different experience within the greater context of the Villebillies’ story. The bands signature is a well choreographed vocal style that features hard hitting rap verses, infectious melodic hooks and intricate soulful harmonies. Each of the three frontmen brings their own technique and personality to the stage with lyrics that touch on a wide variety of subjects that listeners can relate to. The backbone of the Villebillie multigenre instrumental style is a rock band type lineup. Drums, bass, acoustic, and electric guitar form the foundation with additional accompaniment that can include anything from hiphop style samples to hillbilly banjo licks to classical strings. It’s this nolimit approach that has given The Villebillies an uncanny ability to reach across cultural boundaries in a way that few other bands can. On stage, The Villebillies present an exciting performance that can be enjoyed by music lovers from all walks of life. The band has played hundreds of shows across the United States, sharing the stage with independent and major acts, from Hed PE to Hank Junior, to Nelly. The Villebillies’ originality and authenticity has turned the heads of even the most skeptical audiences, earning the band a large and diverse fan base. The Villebillies are Demi Demaree, Derek “Child” Monyhan, and Dustin “Tuck” Tucker on vocals. Tim Bernauerdrums, Ron Pingbass guitar, Justin Reidelectric guitar, and Adam Goffacoustic guitar.
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Ben Folds

Over the last 15 years, Ben Folds’ first-class melodic gifts, irony-laced lyrics, and punk-rock tendency to play piano as if it were a contact sport have earned the North Carolina native a legion of devoted fans of all ages. These people, quite simply, are going to go nuts for Way To Normal. The album, Folds’ third solo studio release, is dominated by the kind of irresistible hooks and piano-pounding pandemonium that listeners haven’t been treated to since Folds’ years with his previous band, the platinum-selling Ben Folds Five. Way to Normal is an exuberant, raucous, and sometimes profane mix of sure-fire crowd-pleasers (“Hiroshima,” “Bitch Went Nuts,” and the frenetically fuzzed-out “Dr. Yang”), cheerful snark-fests (“The Frown Song,” “Brainwascht”), and thoughtful, moving ballads (“Cologne,” “Kylie From Connecticut”) that Folds wrote at the end of 2007.“This new album is really about me being free, which is why it feels cathartic and expressive,” Folds says. “It’s about me coming back to being myself.” (Hence the title.) The album’s buoyant mood could also be due to the fact that Folds recorded the majority of it at his own studio near his home in Nashville, with his friends, long-time bassist Jared Reynolds and drummer Sam Smith. “We were just having a good time,” Folds says. “This was the most fun I’ve ever had recording.” Here are some of the album’s highlights: “Hiroshima” — “I fell off the stage and landed on my head during a show in Japan,” Folds explains. “I had a concussion and got x-rays of my head. I just wanted to recount it literally, because when you are that literal, it can produce a surreal effect. The song is kind of about public failure, or perceived public failure. The video could almost consist of famous shots of important people at their worst moments where everyone’s watching.” “The Frown Song” — “That’s about nouveau riche, bourgeois motherfuckers who forget how close they are to being the servant,” Folds says, acknowledging that it’s one of the more sharply acerbic songs on the album. (The lyrics skewer faux New-Age types who gossip about which of their friends is “fucking the guru.”) “I’ve seen so many people like that in spas, fancy shops, and yoga studios,” Folds says, “people who don’t tip their waitress and walk around bumming out baristas when they’re supposed to be in some kind of spiritual place.” “You Don’t Know Me” (featuring Regina Spektor) — “One of the things that’s not often said in pop songs, or in real life for that matter, is how sad it is to spend significant time with someone and realize that you just don’t know each other because the most important things are completely off-limits,” Folds says. “That’s a failure not many people are happy to admit.” Folds recruited singer-songwriter Regina Spektor to sing breathy back-up on the track. “She gave it more life,” he says. “I think she’s one of the best singers out there, she’s just so talented.” “Cologne” — “It’s both a love song and a break-up song,” says Folds. “The ‘4-3-2-1‘ chorus comes out of two people on the phone not wanting to hang up, like when you finally go, ‘Okay, we’ve gotta hang up, we’ll count it down, and then we’ll both hang up.’” The emotional centerpiece of the album, “Cologne” features imagery that meant something to Folds regardless of how universal he felt it to be, like the reference to former astronaut Lisa Nowak who “put on a pair of diapers and drove 18 hours to kill her boyfriend,” as Folds puts it in the song. “That was exactly what was going on in my mind when I wrote it, so I left it in. You do a song a real disservice by going too wide sometimes.” “Bitch Went Nuts” — “First off, can I just point out that this is the first time I’ve ever personally written the word ‘bitch’ into a song?” Folds says. “[Ex-Ben Folds Five drummer] Darren Jessee wrote the ‘Give me my money back, you bitch’ line on [Whatever and Ever Amen’s] ‘Song for the Dumped’ and then we covered Dr. Dre’s ‘Bitches Ain’t Shit,’ so I’ve become the ‘bitch’ guy, which is one reason I didn’t want this song on the record.” But producer Dennis Herring convinced Folds to keep the track by telling him it was one of the most fun songs on the album. “I agreed and so we’re stuck with it,” Folds says brightly. “But no one ever ‘stabbed a basketball.’ That’s silly.” Several things keep the mood light on Way To Normal: the sheer musical virtuosity, the joyful melodies, the laugh-out-loud humor, and Folds’ heart-breaking tenor voice. “We wanted to keep the smile in the record,” Folds says. That job fell to its producer, Herring (Elvis Costello, Modest Mouse, The Hives), who was also tasked with getting Folds to stop stalling and get to work. “Not only did I need to work with someone who knew more about record-making than I did, which Dennis does, but I really needed someone to just kick me in the ass,” Folds says. “Before, we’d play for two hours then I’d decide we should all go get coffee, then come back and sit around and watch YouTube. It was pathetic. So this guy came in and made me work. He didn’t want to see an idea rot on the vine, he wanted to see it done.” Folds has been going pretty much non-stop since the 2001 release of his debut solo album Rockin’ the Suburbs, which has sold more than half a million copies worldwide. In short order, Folds has released a live album (2002’s aptly titled Ben Folds Live) and a pioneering series of three Internet-only digital EP’s: Speed Graphic (which topped the Billboard Internet Album, iTunes, and Soundscan Downloadable Tracks charts), Sunny 16, and Super D in 2003-2004; co-wrote and produced William Shatner’s 2004 solo album Has Been; released 2005’s pensive Songs for Silverman (which featured the Adult Top 40 hit “Landed”); contributed three original songs to the soundtrack for the 2006 film Over the Hedge; and produced a forthcoming solo album by Dresden Dolls frontwoman Amanda Palmer. In 2006, Folds released Supersunnyspeedgraphic, The LP — a compilation of tracks from the Internet-only EP’s and B-sides, including an inspired cover of Dr. Dre’s “Bitches Ain’t Shit,” which climbed to No. 71 on the Billboard Hot 100 and has now sold 132,000 digital singles at iTunes. “It’s my biggest hit,” jokes Folds. Along the way, there have been numerous tours, including a few with The Bens, a “supergroup” Folds formed with fellow singer-songwriters Ben Kweller and Ben Lee in 2003, as well tours with Rufus Wainwright and Guster in 2004, and John Mayer in 2007. A classically trained percussionist, Folds has also gone back to his roots by performing with various orchestras over the years, including the West Australian Symphony and the Baltimore Symphony in 2005 and the Boston Pops in 2007. In September 2008, Folds will perform with the Nashville Symphony, opening their 2008-2009 season. Beginning in May 2008, Folds began to give songs from Way To Normal their first public airings as he made the rounds of several outdoor festivals, including the legendary Glastonbury Festival in England and the annual Bonnaroo Music & Arts Festival in Tennessee. His electrifying performance at the latter led one critic to call Folds’ performance “pop music at its most satisfying.” “The songs have been getting a great reaction,” Folds says. “It makes me look forward to having a new album out there because it’s been a while. This feels like a really free period in my life and I’m really enjoying it.” Way to Normal will be released by Epic Records on September 30th, 2008.
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Ben Folds's Homepage | Ben Folds's MySpace Page | Ben Folds's Facebook Page

Joan Osborne

Joan Osborne was born on July 8, 1963, in Kentucky. Originally, Joan attended NYU's film school, but began singing at clubs around New York City after singing Billie Holiday's "God Bless The Child" at a bar's open-mic night at the urging of friends. In 1992, Joan formed her own label Womanly Hips and released a live LP, Soul Show. Joan then released the EP, Blue Million Miles and signed with Mercury Records not long after. Joan displayed that she is gifted not only with her voice, but with her complex lyrics that invoke both the imagination and the mind. She put rock and soul qualities in all her songs, creating infectious and personable music.Joan's first major label breakthrough LP Relish was released in March 1995. The LP found critical success, but didn't find commercial success until "One Of Us" hit the radio airwaves and video channels in 1996. The track hit #1 for 2 weeks and allowed other tracks on the LP to get more exposure (notably, "Right Hand Man" and "St. Teresa"). Relish went on to sell over 3 million copies in the U.S. and was named Album of the Year by Entertainment Weekly. Joan went on to receive 7 Grammy Award nominations: Song of the Year and Best Female Pop Vocal Performance for "One Of Us," Best Female Rock Vocal Performance for "St. Teresa," and Best New Artist. Although she went home empty handed, Joan had established herself as a major female recording artist. Joan was the catalyst for some Grammy controversy in 1996. Religious groups were complaining that Joan's songs "One Of Us" and "St. Teresa" were anti-religious. Grammy officials did not give in to the controversy. Ironically, Joan's ability to express potent imagery with her lyrics had teenagers singing "What if God was one of us" while religious zealots cried blasphemy. In November '96, Joan released Early Recordings which contain selections from Soul Show: Live At Delta (from '91) and Blue Million Miles (from '93). Joan was nominated again in 1997 for a Grammy Award: Best Female Rock Vocal Performance for "Spider Web." Also in 1997, Joan participated in the highly successful Lilith Fair tour. At one point during the tour, Joan took a stand for pro-choice rights. Planned Parenthood had problems being allowed to set up a booth due to the venue's policies. The tour's organizer, Sarah McLachlan, and Joan stated that in the future they would not perform at the Cynthia Woods Mitchell Pavilion in Texas. Osborne later graced the stage with a Planned Parenthood t-shirt and stated to the crowd, "I'm the face of pro-choice Texas." Furthermore, I'd like to reiterate and emphasize Joan's feminist & political interests. She has participated in many pro-choice events, giving support for women's reproductive rights. She's an honorary member of Planned Parenthood's Board Of Advocates which she admits is more symbolic than anything but nevertheless significant for the attention it draws. Joan has also supported Rock the Vote, donating her voice to "I'm Just a Bill" on the Schoolhouse Rocks the Vote album. Joan, also, has a strong interest and love for Qawwali music, an ancient form of spiritual, Indian music. She studied briefly with late Qawwali master Nusrat Fateh Ali Khan. In addition to classic influences such as Etta James and Ray Charles, Joan continues to seek and learn different styles of music. She's performed with an eclectic group of notables such as Stevie Wonder, Melissa Etheridge, Taj Mahal, Lucianno Pavarotti, Spearhead, Bob Dylan, The Chieftains, and Isaac Hayes. Joan has made quite an impression through touring and other live appearances, earning many critical accolades as having one of the strongest voices in rock. Steve Peters adds: ...the passion of her recorded output thus far seems indicative of an artist well on her way to earning a place among the best blues rock vocalists ever, male or female.
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Joan Osborne's Homepage | Joan Osborne's MySpace Page | Joan Osborne's Facebook Page

Gov't Mule

Balancing evocative songs and expressive improvisation, Gov’t Mule is a band rooted in both the personal and musical chemistry between its members. “It’s not one of those groups that can make a change overnight,” explains founding guitarist/vocalist Warren Haynes. It is only after six months of rehearsing, jamming, and hanging out with bassist Jorgen Carlsson that he has been added to the band as their new permanent bass player, replacing Andy Hess, who joined in 2003. When founding bassist Allen Woody passed away in 2000, Haynes explains, “We were faced with the daunting task of replacing a one-of-a-kind musician, which I'm sure was intimidating for Andy, who did a wonderful job and brought his own personality into the music. Jorgen’s style is somewhere between Woody's and Andy's. He brings some of Woody's aggressive spirit back although he is very much his own man.” Carlsson was born in Sweden and has been active as a session musician and studio owner since arriving in the US in 1991.
Founded by Haynes, Woody, and drummer Matt Abts in 1994 as a power-trio, Gov’t Mule has, over the course of eight studio albums, several more live projects, and over 1300 concert performances, built both an extensive, evolving body of work and a devoted fan base. In addition, the band has sold 1.5 million downloads on its website mule.net, sold over one million albums, and received a Grammy nomination. Keyboardist Danny Louis joined as a full-time member in 2003. With Hess leaving to pursue other opportunities, Haynes sees the addition of Jorgen as connecting the past and future of Gov’t Mule: “Having worked with Jorgen over the last several months, we are very excited to explore some new directions while at the same time going back a little closer to our roots.” On September 16th, Gov't Mule will release the double live DVD The Tale of Two Cities, which spans the entire preceding era of the band with Andy Hess on bass. It is composed of two complete shows filmed the first date of the fall 2004 Deja Voodoo tour and the last date of the winter 2006 High and Mighty tour. Gov't Mule’s Kinder Revolution fall tour begins on October 30 and runs through November 22nd, and includes performances on Halloween at the Orpheum Theater in Boston, two night stands at the Pantages Theater in Minneapolis and the Fillmore in San Francisco, shows at the Tower Theatre in Philadelphia, the Chevrolet Theatre in Wallingford, CT, and more. Following the tour, Gov’t Mule will, for the seventh year in a row, celebrate the new year with a series of performances in New York City: two acoustic shows on December 27th and 28th at the Angel Orensanz Center in the Lower East Side, then two electric shows at the Hammerstein Ballroom on December 30th and 31st, with the New Years’ Eve show featuring the traditional three sets.
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Gov't Mule's Homepage | Gov't Mule's MySpace Page | Gov't Mule's Facebook Page

BlueZenGrass

BlueZenGrass, as the name implies, is a harmonious, well-balanced blend of….you guessed it…. blues and bluegrass music. But we don’t just stop there. We do a little country, pop rock, heart & soul and gospel. The banjo guy (Jim Allen) is in the full circle world of acoustic, Americana, and bluegrass. The lead guitarist (Mark Helm) has the crispy clean and rich blue-zy flat-pickin’ guitar going on. The fiddle lady (Natalie Hall) is a classically trained violinist. The bass guy (Rick Vincent) ties it all together with his rock-n-roll acoustic background. The rhythm guitar guy (Mark Hall) does plenty of singing too. Special guest Rebecca Helm joins the band with her Alison Kraus style vocals on occasion. BlueZenGrass gets its inspiration from the differences in their individual influences. Every song they perform has each member’s personal touch creating a refreshingly different rendition. We can adapt our performance to any venue or occasion. From easy listening blues to glass cutting high energy bluegrass. From heard and not seen background music to an entertaining stage performance. Phil Leadbetter Phil Leadbetter has been playing the resonator guitar since 1974. Graduate of Gibbs High School / Knoxville, TN in 1980. He is a current member of the group GRASSTOWNE which features Alan Bibey and Steve Gulley. Grasstowne's 1st CD titled "The Road Headin' Home" was released in Summer of 2007 on Pinecastle Records. The CD and the song "Dixie Flyer" both debuted at 1 on the Bluegrass Music Profiles Chart. By December, the album had reached 1 on the BU National Chart, and remained there for 3 straight months (Dec, Jan and Feb). In February '08, the song "Dixie Flyer" became the number one single. The CD "The Road Headin' Home" picked up "Album Of The Year", and Phil picked up "Dobro Player Of the Year" at the 2008 SPBGMA Music Awards in Nashville, TN. Phil was also awarded SPBGMA "Dobro Player of The Year" in 2009. Phil was a founding member of the group Wildfire where he was a member for 6 years, recording 3 CDs while there. He has also been a member of J.D Crowe and The Newsouth where he was a member for 11 years. He appears on 2 recordings with Crowe, including "Flashback" which received a Grammy nomination in 1994 for "Best Bluegrass Album". Phil also worked for CBS Recording Artist Vern Gosdin and also the late Grand Ole Opry Star, Grandpa Jones. Phil has numerous "Dobro Player Of The Year" nominations through both the IBMA and SPBGMA, and in 2005 was voted "Dobro Player Of The Year" by The International Bluegrass Music Associations (IBMA). In 1997, Phil released "Philibuster" on Rounder Records. This all instrumental CD made the list for The Chicago Tribune's best CDs of the year. Phil's current CD "Slide Effects" on Pinecastle Records has charted in the top 5, and the song" California Cottonfields" has reached number 1 two straight months (October and November 2005) on the National Bluegrass Chart. This CD also was voted "Best Instrumental CD" by the International Bluegrass Music Association in 2005. Gibson Guitars introduced The Phil Leadbetter Signature Dobro Guitar to their product line several years back, and today is one of their best selling resonator guitar. OVERALL STATS: 2008 and 2009 SPBGMA "Dobro Player Of The Year" 2008 SPBGMA "Album Of The Year" / The Road Headin' Home (Grasstowne) 2006 IBMA "Album Of The Year" / Celebration Of Life (Skaggs Family Records) 2005 IBMA "Dobro Player Of The Year" (9 times nominated) 2005 IBMA "Instrumental Album Of The Year" (Slide Effects) 13- times nominated "Dobro Player Of The Year" by SPBGMA Charted Two-Straight months at number 1 "California Cottonfields" (From the "Slide Effects" CD / October and November 2005 / BU National Bluegrass Chart) "Slide Effects" CD reached number 4 on BU National Bluegrass Chart "California Cottonfields" reached number 1 (Prime Cuts Of Bluegrass / 2005) Charted number 4 for total plays on Music Choice Chart ("Slide Effects") "Slide Effects" voted top 10 Bluegrass CD of 2005 by CMT "Slide Effects" voted number 1 CD of 2005 by Cybergrass "California Cottonfields" voted number 1 song of 2005 by America's Bluegrass Grasstowne "The Road Headin' Home" CD charted Number 1 BU National Chart / December 2007, January 2008 and February 2008 Single "Dixie Flyer" number 1 / BU National Chart / February 2008 "Big Mon" from CD "Philibuster" (Rounder Records) reached number 1 (Prime Cuts Of Bluegrass / 1997 1994 Grammy Nominee / J.D Crowe and the New South "Flashback" CD

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The Tillers

The Tillers came into being while busking for nickels, dimes and burritos in the gaslight Clifton district of Cincinnati. In August 2007, Westside comrades Mike Oberst and Sean Geil united their fondness for thumping out old-timey folk and street-style blues. With Oberst on banjo, Geil on guitar, and soon finding a bassist in Jason Soudrette, the trio plunged into the Cincinnati pub scene, serving a concoction of old-time traditionals, labor standards, and some less typical songs of the people's perspective. The band is both traditional and progressive. They resurrect songs of America's past, touching on themes both historical and timeless. The dusty songs of dead generations take new life and energy before spry young audiences. Clawhammer banjo, accoustic guitar, and wooden upright bass meet high mountain harmonies that belt and croon, lament and rejoice. Stories of work and struggle are revived and rekindled. Country blues classics meet new, less known ballads while we all stomp and sing along.
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The Tillers' Homepage | The Tillers' MySpace Page | The Tillers' Facebook Page

Relic

RELIC is a four piece band based in Louisville, Ky stamping their trademark on the bluegrass music scene. Drawing from an array of influences, Relic creates a new, distinctive approach to the traditions of Bluegrass Music, THE definitive American folk genre.RELIC includes Chuck Sharp singing lead and harmony vocals and playing guitar; Adam Bibelhauser singing lead and harmony vocals and thumpin’ on the bass; Dave Howard on lead and harmony vocals as well as mandolin; and Aaron Bibelhauser on lead and harmony vocals and 5 string banjo. Aaron Bibelhauser - Louisville, Kentucky Aaron helps to create the vocal drive that is crucial to good Bluegrass Music- tenor harmonies. Relic’s musical resonance is further extended through Aaron’s versatility on the five-string banjo. Studying the piano since youth, Aaron has taken chord structure and melody to a new level on the banjo. Listen for Aaron’s polished lead vocal execution in Relic’s current repetoire. Dave Howard - Owensboro, Kentucky Dave Howard, perhaps the most musically agile member of the group, adds perfect lead and baritone vocals to the Relic sound. In addition to his hard driving mandolin technique, Dave is also an accomplished fiddler, further enhancing the instrumental capabilities of the group. Adam Bibelhauser - Louisville, Kentucky Adam handles the upright bass, potentially the most powerful instrument in the world of acoustic music. He demonstrates even more enthusiasm in his role as a lead singer. Adam’s knowledge and application of Bluegrass vocals goes unparalleled. Keep your eyes and ears on this guy. Chuck Sharp - Elizabethtown, Kentucky Drawing from years of experience performing in popular blues outfits, Chuck Sharp provides excellent lead vocal arrangements. Chuck blends the best blues and flatpicking techniques together to create a unique approach to modern bluegrass guitar. His tasteful playing and singing continues to impress music lovers from show to show.

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RELIC's Homepage | RELIC's MySpace Page | RELIC's Facebook Page

Ricky Skaggs

Sometimes in life, things come full circle. That's the story of Ricky Skaggs. By age 21, he was already considered a "recognized master" of one of America's most demanding art forms, but his career took him in other directions, catapulting him to popularity and success in the mainstream of country music. Now the road has brought him back to where it all began - bluegrass music.
2009 marks Ricky's 38th year as a professional musician, and this fourteen-time Grammy Award winner continues to do his part to lead the recent roots revival in music. Known affectionately today as bluegrass music's official ambassador, Ricky has brought the genre to greater levels of popularity in the past few years than the father of bluegrass music, the legendary Bill Monroe, could ever have imagined. With eight consecutive Grammy-nominated classics behind him, all from his own Skaggs Family Records label (Bluegrass Rules! in 1998, Ancient Tones in 1999, both Soldier of the Cross and Big Mon: The Songs of Bill Monroe in 2000, History of the Future in 2001, Live at the Charleston Music Hall in 2003, Brand New Strings in 2005, and Ricky Skaggs and Kentucky Thunder Instrumentals in 2007), bluegrass music is undoubtedly in good hands, with the masterful Skaggs at the helm. Ricky was born on July 18, 1954 in Cordell, Kentucky, and was already an accomplished singer and mandolin player by the time he reached his teens. In 1971, he entered the world of professional music with his friend, the late country singer, Keith Whitley, when the two young musicians were invited to join the band of bluegrass patriarch Ralph Stanley. Ricky soon began to build a reputation for creativity and excitement through live appearances and recordings with acts such as J.D. Crowe & the New South. He performed on the band's 1975 debut album for Rounder Records, which is widely regarded as one of the most influential bluegrass albums ever made. A stint as a bandleader with Boone Creek followed, bringing the challenges of leadership while giving him further recording and performing experience. Beginning in the late 1970s, Ricky turned his attention to country music. Though still in his 20s, the wealth of experience and talent he possessed served him well, first as a member of Emmylou Harris' Hot Band and later as an individual recording artist on his own. With the release of Waitin' for the Sun to Shine in 1981, Skaggs reached the top of the country charts and remained there throughout most of the 1980s. As his popularity soared, he garnered eight awards from the Country Music Association (CMA), including "Entertainer of the Year" in 1985, four Grammy Awards, and dozens of other honors. These achievements also placed him front and center in the neo-traditionalist movement, bringing renewed vitality and prominence to a sound that had been somewhat subdued by the commercialization of the 'Urban Cowboy' fad. Renowned guitarist and producer, Chet Atkins, credited Skaggs with "single-handedly" saving country music. In 1997, after Ricky's then-current recording contract was coming to an end, he decided to establish his own record label - Skaggs Family Records. Since then, Skaggs and Kentucky Thunder have released an amazing 8 consecutive Grammy-nominated classics, (6 of which went on to earn the revered award) while also opening the label to a variety of other musical artists all the time keeping emphasis on bluegrass an other forms of roots music. Since then, Ricky and Skaggs Family Records have had the privilege of working with many musical talents including, The Del McCoury Band, Jerry and Tammy Sullivan, Blue Highway, The Whites, Mountain Heart, Melonie Cannon, Ryan Holladay, Keith Sewell, Cherryholmes, and Cadillac Sky. Ricky's first release for Skaggs Family Records, Bluegrass Rules!, set a new standard for bluegrass, breaking new sales records in the genre, winning Skaggs his sixth Grammy Award, and earning the International Bluegrass Music Association's (IBMA) Album of the Year Award. In 1999, his second all-bluegrass album, Ancient Tones, won a Grammy Award for Best Bluegrass Album - his second consecutive Grammy in that same category. Just one year later, Ricky won his eighth Grammy Award in the Best Southern, Country, or Bluegrass Gospel Album category for Soldier of the Cross, his first-and-only all-gospel recording project to date. Ricky made further progress with the release of his fourth bluegrass album in 2000, Big Mon. This project injected new fire and energy into the fertile fields of bluegrass, celebrating the music and the life of Ricky's mentor, Bill Monroe. By assembling an all-star cast of musicians ranging from The Dixie Chicks and Travis Tritt to Joan Osborne and Bruce Hornsby, Big Mon received much critical acclaim, including a Grammy nomination for Best Country Collaboration with Vocals. The album was re-released by Lyric Street Records in 2002 under a new name, Ricky Skaggs and Friends Sing the Songs of Bill Monroe. The fifth consecutive bluegrass album for Ricky and Kentucky Thunder came in 2001, with the release of History of the Future - a timeless collection of both traditional bluegrass standards and newly conceived acoustic gems that paid tribute to not only bluegrass music's original founders, but also introduced some of the genre's best new songwriters, sounds, and styles. Not surprisingly, the album received rave reviews and industry accolades including a Grammy nomination in the Best Bluegrass Album category and an IBMA nomination for Album of the Year once again placing Skaggs among the leading innovators in the genre. Skaggs' first all-live album with Kentucky Thunder, Live at the Charleston Music Hall, helped the band net the award for the IBMA's Instrumental Group of the Year - an award Skaggs and Kentucky Thunder has taken home 8 times in the last decade. The decision to record a live album was an obvious one for Skaggs. The current configuration of Kentucky Thunder ranks among the best group of musicians he has ever worked with. "This group of guys meets my approval every night," Ricky says. "Each and every one of the pickers in Kentucky Thunder totally amazes me in every show...and that, to me, outweighs any award we could ever win." The all-star lineup of Kentucky Thunder includes Andy Leftwich (fiddle), Cody Kilby (lead guitar), Mark Fain (bass), Paul Brewster (tenor vocals, rhythm guitar), Ben Helson (baritone vocals, rhythm guitar), and Jim Mills (banjo). Live at the Charleston Music Hall was honored in 2004 with a Grammy Award for Best Country Performance by a Duo or Group with Vocal for the Harley Allen-penned track, "A Simple Life." In 2005, Ricky earned his 10th career Grammy (Best Bluegrass Album) for Brand New Strings - a beautiful collection of music featuring four Skaggs originals as well as several tunes by some of his most admired contemporaries, including Harley Allen, Guy Clark, and Shawn Camp. His next Grammy trophy came by way of Mister Rogers. In 2006, Skaggs was honored for his contribution to Songs from the Neighborhood: the Music of Mister Rogers with a Grammy Award for Best Musical Album for Children. Greater success followed with the release of Ricky Skaggs and Kentucky Thunder Instrumentals - an album of all-original, all-instrumental material in Fall 2006. Praised by fans and critics alike as a landmark album for Skaggs, Instrumentals debuted at No. 1 on Billboard's bluegrass album chart and earned Ricky his 12th career Grammy (Best Bluegrass Album). Beyond his award-winning recordings, Ricky continues to lead the charge in bringing renewed vitality to country music's most down-to-earth art form. From a string of high-profile tour dates with the Dixie Chicks in 2000, to his position as host of the unprecedented "All*Star Bluegrass Celebration" which aired nationwide on PBS in 2002, to his participation in the wildly successful 41-city 'Down from the Mountain' tour - Ricky has become one of bluegrass' most talented and dynamic performers. Cross-pollination has been a mainstay throughout Ricky's career. From his weekly collaborations with various artists as host of The Nashville Network's Monday Night Concerts in the 1990's to his most recent pairing with renowned pianist and songwriter (not to mention Virginia native) Bruce Hornsby. Backed by Kentucky Thunder and a few special guests, Ricky Skaggs and Bruce Hornsby (Sony/Legacy) draws from deep roots in mountain music - adding piano and Hornsby's inimitable songwriting to the core bluegrass lineup of mandolin, guitar, bass, fiddle, and banjo. A major CMT Crossroads special accompanied the album, released in March of 2007. His next recorded project, released in September of 2007 on Skaggs Family Records, was a literal family affair. After years of blending their voices from the living room to the stage, Ricky Skaggs and The Whites have teamed up for their first collaborative gospel album entitled Salt of the Earth. Ricky, wife Sharon, sister-in-law Cheryl, and father-in-law Buck each share lead vocals on the album with Skaggs' award winning band Kentucky Thunder laying the foundation for their tight family harmony. Traditional hymns, a few familiar tunes, and brand new treasures flow throughout the album providing an intimate look into the heart of one of music's most beloved families. Salt of the Earth also earned Ricky his 13th career Grammy Award for Best Southern, Country, or Bluegrass Gospel Album in February 2008. As one of bluegrass music's most recognized ambassadors, Ricky Skaggs has always felt compelled to educate today's listener about the genre's rich history. In 2008, Skaggs paid tribute to the man he has often referred to as his "musical father", Bill Monroe, and the original lineup of the Bluegrass Boys (Earl Scruggs, Lester Flatt, Chubby Wise and Howard Watts) with the release of Honoring the Fathers of Bluegrass: Tribute to 1946 and 1947, earning a 14th career Grammy Award for Best Bluegrass Album. A musical father in his own right, Skaggs continues on the full circle path with the addition of a ReIssue Series of his groundbreaking country music masterworks to the Skaggs Family Records catalog in 2009. Beginning with 1982's Highways & Heartaches, and followed by 1981's Waitin' for the Sun to Shine and 1983's Don't Cheat in Our Hometown, the ReIssue Series will include nine albums total and includes bonus retrospectives with each release, which feature Ricky, in his own words, sharing never-before-told stories about the making of each project. Skaggs' first-ever solo album, Ricky Skaggs Solo: Songs My Dad Loved (available September 15, 2009 on Skaggs Family Records), celebrates the man that caused him to fall in love with music - his father, Hobert Skaggs. He elaborates, "If I could've gotten my dad into the studio, this is how I would've wanted him to sound." Playing every instrument and singing every note on the album, Ricky brings raw, emotional honesty to the songs. By coming home to the music that meant so much to him as a child, Ricky has tapped into a wellspring of passion that he channels into every tune. It's as though he willed himself back to his family's house in Kentucky, and in doing so found the purest expression of his music to date. Ricky Skaggs has often said that he is "just trying to make a living" playing the music he loves. But it's clear that his passion for bluegrass puts him in the position to bring this lively, distinctively American form of music out of isolation and into the ears and hearts of audiences across the country and around the world. Blessed with a close-knit family, and abundance of talent, a lifetime of musical experience and a crack band behind him, Ricky Skaggs is well on the way to showing the world that "country rocks, but bluegrass rules!"
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Ricky Skaggs's Homepage | Ricky Skaggs's MySpace Page | Ricky Skaggs's Facebook Page

Avett Brothers

There is no harmony like brotherly harmony. Something indelible in the weave of voices and play of sensibilities is stamped into the fraternal DNA and also stems from a lifetime of shared experiences. You can hear it in classic brother acts across the musical spectrum, from the Louvin Brothers to the Everly Brothers and on down the decades through the Wilson brothers (Beach Boys), the Davies brothers (Kinks), the Allman Brothers and even the Brothers Gibb (a.k.a., the Bee Gees). You can clearly hear fraternal magic at work in the songs of Scott and Seth Avett, better known as the Avett Brothers, as well. That magic is abundantly evident on "I and Love and You," the Avett Brothers’ big-label debut. Its 13 songs are delivered in a style that defies pigeonholing but might be described as a rootsy amalgam of folk, country, bluegrass, rock and pop – even a jab of punk-style dynamics here and there. Drawn by the naked honesty of their songs and the rousing intensity of their live shows, legendary producer and talent scout Rick Rubin signed the Avett Brothers – consisting of siblings Scott and Seth, plus bassist Bob Crawford - to his American Recordings label in 2008. “As soon as I heard the depth in their singing and songwriting, I was in for the ride,” says Rubin, who has worked with some of the most talented mavericks in the business, including Johnny Cash, Tom Petty and The Dixie Chicks. “The Avetts’ songs have such a sincere emotional resonance. The purity of the messages stops you in your tracks. It’s unusual to hear such open-hearted personal sentiment from young artists today.” For their own part, the Avett Brothers instantly felt at home in the studio with Rubin. “While growing up, his work influenced us in some weird way to do what we do, and it influenced our sound quite a bit, too. I mean, from the Beastie Boys to the Red Hot Chili Peppers to Johnny Cash, we explored all those records he did in depth. We felt comfortable working with someone we had faith in based on his credentials and track record. We wouldn’t be that way for anybody, we really wouldn’t.” By the time Rubin found them, the Avett Brothers had compiled their own impressive track record. They’d already issued five full length albums and two EPs, on their manager’s Ramseur Records label. They debuted in 2001 with a self-titled six-song EP and then issued a full-fledged album, Country Was, a year later. The heart of their catalog is the albums that followed: Mignonette (2004), Four Thieves Gone (2006) and Emotionalism (2007), which offered a generous 49 songs among them. The Avett Brothers’ latest release, an EP called The Gleam II, reached #82 on Billboard’s Top Albums chart in 2008 – quite a showing for an independent CD with minimal marketing and publicity. Over the years, the Avett Brothers built up a sizable following based on their rowdy, infectious stage shows. In concert, the high-flying ensemble tears through tunes with unbridled energy, popping banjo and guitar strings right and left while inciting stomping singalongs among audiences that appear to know every word. At times they would seemingly create their own subgenre onstage - “punkgrass,” for lack of a better word. This much is for certain: the Avett Brothers are a grassroots phenomenon, built from the ground up. "I and Love and You" marks the point at which they’re poised, with perfect timing, to break through to a broader audience. "I and Love and You" was rehearsed and recorded at the Document Room, located high on a hillside in Malibu, California. After cutting discs at various spots around their native North Carolina for eight years, the Avett Brothers were ready to take on the challenge of making an album at a top-of-the-line studio on the far side of the continent. The brothers were hardly unfamiliar with the Golden State, as they’d been visiting family in the Sacramento area since childhood and had gigged around California in recent years. But working with Rick Rubin in Malibu represented a giant step forward. “A benefit of making the record in California is that it switched everything up,” says Seth. “It helped put us in the mind set that we’re starting a new chapter. We’re looking to make a record in a different way than we have in the past, and we want to be open to these new methods. There’s no better way to try something new than to work in a place you’ve never been.” The results speak for themselves. From the 17 songs they cut with Rubin, 13 made the final cut. Rubin sequenced "I and Love and You" – the only time the Avetts have delegated that task to someone else. “This is the first time we have not been critical of the song sequence,” Scott noted approvingly. In fact, the Avett Brothers are rightfully proud of "I and Love and You" in every aspect. It is, they feel, an album they’ve been building toward. “Years ago, Seth had told me that he someday wanted to make a record where everything was as crisp and clear and well-produced as it could possibly be,” recalls bassist Crawford. “And with the help of Rick Rubin and [engineer] Ryan Hewitt, we’ve done that.” “It’s how I’ve always wanted our band to sound,” affirms Seth. “What I like is an absolute presentation of clarity. It’s not that I want to be glossy, and I don’t know that we ever could be glossy in the way that some pop artists are. But I love music you can grasp hold of because there’s no mistaking what the person is saying and presenting, and I feel like we’ve come the closest to that on "I and Love and You.” Themes that recur on the album have to do with commitment, maturity, and moving forward through life with a positive outlook. "I and Love and You" has little to do with the ephemeral world of latter-day pop, even if several songs (notably “Kick Drum Heart” and “Slight Figure of Speech”) are tuneful and catchy enough to merit radio play. The Avett Brothers mean to create music of substance for the long haul. Seth Avett is just under thirty years of age while Scott is slightly over. A lot of what they’ve been writing about lately has to do with transitioning from youth to adulthood. You can hear this clearly on such songs as “The Perfect Space” and “Head Full of Doubt, Road Full of Promise,” thoughtful disquisitions that serve as the album’s thematic centerpieces. “It’s hard to tell where some of these songs are coming from and they can have many meanings,” Seth allows, “but I think on the whole the album makes some comment on the fact that we are young men, but that youth is fleeting and it goes by very quickly. When you’re moving out of your twenties and into this time when you’re hoping to build something, it’s a beautiful thing and a scary thing. It still feels like things are up in the air like they were in your twenties when everything was up in the air and you didn’t know what the hell was going to happen and who you were going to be. But during that time you start gaining the tools you’re going to use in the rest of your life.” The Avett Brothers have spent much of the past decade nurturing their skill as songwriters, along with their proficiency as vocalists and musicians. Although Seth and Scott are principally identified with acoustic guitar and banjo, respectively, from their live shows, both brothers also play piano, drums and most anything else with strings. (The brothers possess formidable artistic skills, too, and their sketches and paintings adorn their albums.) Clearly, however, songs are the center of the Avett Brothers’ universe. The brothers turn out songs in profusion. They write them individually, and they write them together. Each might write an entire song, or credit might be split down the middle or any conceivably fractional way. There is no set method to their songwriting. The point is, Seth and Scott generate songs constantly, because that’s what they feel that they were born to do. “There’s not an option,” explains Seth. “It feels like a living thing, and if we want to keep it alive, we have to nourish it. There are so many things we have to consider now - the stage show, business issues, our relationship to different people and our fans - but at the heart of it is the songwriting and the connection we have with ourselves and others through that writing. It’s an essential and imperative element to our existence.” “On top of all that, it’s just exciting,” Seth continues. “Scott and I and Bob get these new songs going, and that is our lifeblood. It’s obvious we’ve got to keep rolling with it. Whether the records come out or don’t come out, and whether there’s a market or not a market, the important thing is that we’re writing songs. They’re not just for a release date; they’re for posterity.” The Avett Brothers formed in 2001 in Charlotte, North Carolina when banjoist Scott Avett and guitarist Seth Avett joined forces with standup bass player Bob Crawford. At the time, the brothers fronted a neo-punk band called Nemo. They enjoyed blowing it out on electric instruments but eventually began feeling the tug of the acoustic music they’d heard growing up. They were raised in the textile town of Concord, about a half-hour north of Charlotte. Their dad, Jim Avett, had a box of eight-track tapes that Scott and Seth picked through, listened to and digested. It included albums by Bob Dylan, Neil Young, Crosby, Stills & Nash, and Jim’s own folksy duo, Common Decency. Other roots musicians from the folk and country realms filtered into their subconscious, too. Thus, in 2001, the brothers launched an acoustic side band, called Nemo Back Porch Project, for which they added upright bassist Crawford. He recalls the initial meeting with Scott and Seth: “They were wanting to do some of the music they were raised on via their dad, which was old songs by Rambling Jack Elliott, Kris Kristofferson, Hank Williams and Tom T. Hall. I met up with them on a Sunday night in an empty parking lot. I got out my bass, and these two guys showed up in a gold Ford Taurus station wagon wearing flannel shirts and cutoff pants. They were total grunge kids. We sat in the parking lot, just the three of us, and played ‘Going Down the Road Feelin’ Bad’ and ‘More Pretty Girls Than One.’ Then they showed me an original song called ‘Kind of in Love,’ and it was very interesting. It wasn’t like any of those traditional songs. Different chord structure, with all these minor substitution chords. I was like, ‘This is really unique.’” From there, Nemo’s acoustic sideshow blossomed into the main attraction, and the Avett Brothers were born out of it. Still and all, while they built up a loyal following around their home state in places like Charlotte, Greenville and Chapel Hill, they weren’t exactly setting the woods on fire beyond those pockets of regional fandom, and Scott and Bob forged ahead with plans to attend graduate school in the fall of 2002. However, there was one unfinished piece of business in Crawford’s mind. “I said, Listen guys, I’ve always wanted to go on the road with a band,’” Crawford recalls. “’If I book a tour, will you guys go? Can we just go on the road for a couple weeks this summer?’ And they were like, ‘People have said things like this to us before, but if you do it, we’ll do it.’” And so Crawford got on the Internet and booked a month-long 21-city tour. They camped out or slept in the truck when they couldn’t find a floor to sleep on, subsisted on peanut butter and banana sandwiches, and returned home with $4,000 and a flock of new fans in 21 cities. The Avett Brothers were off and running, and grad school got shelved. Live shows remain the Avett Brothers’ calling card. In the spring of this year, they opened selected dates for the Dave Matthews Band. On their own, they’ve filled a 7,000-seat venue in Cary, North Carolina, and sold out two nights at the Crystal Ballroom in Portland, Oregon – one of their strongholds. In June 2009, they performed back-to-back sellouts at New York’s Fillmore East. With "I and Love and You," they’ve also taken a giant step forward on the recording front. Whereas they’d previously opted for a first-take freshness, now they wanted to proceed at a more deliberate pace, taking advantage of the options that Rubin’s wisdom, a bigger budget, a better studio and more time allowed them. In short, while they’d always tried to bottle their live magic in the studio, this time they set about making a more nuanced and well-crafted record. “We were totally up for spending more time on it,” says Scott. “As time goes on, you become more critical about your work. And the more critical you become, the more willing you are to explore the options. We did a lot of revising and reworking in the studio. For instance, it was like ‘Let’s try drums in this part.’ ‘No, that won’t sound good.’ ‘Well, how do you know, we haven’t tried it?’ ‘Okay, you’re right, let’s try it.’ There was a lot more of that going on.’” In harnessing the tools available to them in the service of the strongest set of songs they’ve written so far, the Avett Brothers have surpassed themselves on "I and Love and You." There’s really no great secret or magic formula for what they’ve achieved here. It comes down to honoring inspiration with an awful lot of hard work. “The brothers have an incredibly strong work ethic,” affirms Rick Rubin, “and they continually worked at honing their craft. Hearing brothers who have sung their whole lives together – singing the truth – was a revelation each new day.” “We know what we’re worth, and we’ve been campaigning for a long time to be heard,” notes Scott without false modesty. “Rick is helping that by sitting up and saying, ‘Let me work with you.’ We can tip our hats and pat ourselves on the back momentarily and say, ‘Good job guys, we have been heard by somebody who’s been heard by a lot of people, and he’s let us in his camp.’ I really look at it as a positive thing and a good milestone. And when it comes time for the next step, we’ll do our best again and keep moving.” “We’ll just keep writing our songs and making our records, and how it goes is how it goes,” concludes Seth. “We’re trying our hardest and having some fun doing it, and that’s all it needs to be.”

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The Avett Brother's Homepage | The Avett Brother's MySpace Page | The Avett Brother's Facebook Page

Zac Brown Band

Playing upwards of 200 dates a year, more than 3,000 shows in their career and selling more than 30,000 CDs independently, Zac Brown Band has only begun its ascent. The band's aggressive touring has helped it develop a fanatical grassroots following by winning over believers one person at a time. Driven by awe-inspiring musicianship, skillful songwriting and a dynamic live show that inspires word-of-mouth buzz, Zac Brown Band is already embraced by audiences who sing along with every word. The Foundation was released on November 18th, 2008 on Atlantic Records and debuted at #17 on the Billboard Top 200 Chart and #3 on the Top Country Albums Chart. The first single “Chicken Fried” peaked at #1 on the Billboard Hot Country Chart and maintained that position for two weeks and also debuted as the second most downloaded country single on iTunes.
“It’s kind of crazy how we can go to a place where no one’s heard of us before and by the time we leave people are singing the songs,” bandleader Zac Brown says. “We’ve got a great following.” It’s not an easily pigeonholed crowd either; loyal country music fans, jam lovers and seemingly everyone in between are enjoying the shows. The Zac Brown Band has already landed support slots with artists such as Sugarland, ZZ Top, Travis Tritt, Etta James, Lynyrd Skynyrd, The Allman Brothers Band, Willie Nelson and BB King. Zac Brown gigged as a solo artist for several years with jaw-dropping flat-picking skills and an extensive catalog of originals, as well as an encyclopedic knowledge of popular songs. He formed the current incarnation of the Zac Brown Band four years ago. Members of the band include bassist John Hopkins, fiddler Jimmy De Martini and more recent additions of guitarist/organist Coy Bowles and drummer Chris Fryar. In January of 2009 multi-instrumentalist and songwriter Clay Cook joined the band; perhaps best known for his co-writes with Grammy-winner John Mayer, Cook rounds out the ZBB sound on guitar, vocals, organ, mandolin and pedal steel. While one wall of the band’s rehearsal space sports a whiteboard chock full of upcoming coast-to-coast tour dates, the other is graffitied with hundreds of song titles—sharing space on a wall that also includes a Bob Marley banner and a framed portrait of Willie Nelson and Waylon Jennings. “Everything has to do with the song,” Brown observes. “Every song is born and wants to go its own direction. When audiences hear a new song for the first time, if at the end of it they’re going crazy and cheering, you know you’ve pulled it off.” As important as the songs are, the band is equally serious about its ability to perform, holding the virtuosity of a bluegrass outfit like Alison Krauss & Union Station as the standard for musicianship. “Everybody in my band is able to burn his instrument down to the ground,” Brown notes, matter-of-factly. “I’m blessed because the people I play with are just fantastic.” Brown’s love for musical diversity is apparent from the first single, “Chicken Fried,” an utterly authentic take on his Georgia-bred existence during which audiences routinely are pressed into service to sing the choruses; “Toes,” which calls Jimmy Buffett to mind in its ode to beach life; and “Free,” which has turned into an audience anthem during recent tour stops. And music only scratches the surface of what Zac Brown is all about. The Dahlonega, Ga.-raised husband and father is a chef and former restaurant owner renowned for his homemade special sauces and savory Southern cooking. Additionally, he's developing a charitable foundation to run a children’s camp (lending even more resonance to the album’s title). Despite all the irons in the fire, Brown nonetheless calls his foundation and camp plans his “life’s work.” “Having the camp and giving back is important for me,” he says. “I’m very blessed to have what I have, and I know a lot of that’s on credit for what I do down the road. It’s very important for me to keep that in mind. I want to leave something behind that does some good after I’m gone.” But the Zac Brown Band is far from gone. And no one will be having a better time along the way. “We laugh all the time,” he observes. “You’re either sleeping or up laughing and having a good time. Or we’re playing music. It’s better than I could have dreamed of.” There are probably a few thousand—or hundred thousand—shows between now and the end of the line. And Brown is confident more will want to join the party.

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Zac Brown Band's Homepage | Zac Brown Band's MySpace Page | Zac Brown Band's Facebook Page

Dave Matthews Band

Dave Matthews Band, sometimes shortened to DMB, is an American band formed in Charlottesville, Virginia in 1991. Founding members include singer-songwriter and guitarist Dave Matthews, bassist Stefan Lessard, violinist Boyd Tinsley, and drummer Carter Beauford. Founding-member saxophonist LeRoi Moore was part of the band until his death in August 2008. His spot is now occupied by Grammy Award-winner Jeff Coffin, of Béla Fleck and the Flecktones fame. With band members who each have roots in differing genres, including jazz, classical music, soul music, and Afrobeat, the combination of each member has created a sound which has earned them fans from a variety of quarters.
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Dave Matthews Band's Homepage | Dave Matthews Band's MySpace Page | Dave Matthews Band's Facebook Page

Terry Adams Rock & Roll Quartet

“OK, NRBQ was a great band, and pianist Terry Adams has now built another one.” So began the Schenectady Gazette’s review of the very first show of the very first tour of The Terry Adams Rock & Roll Quartet in November 2007.Terry Adams, NRBQ founding member and irrepressible keyboardist for these many years, has been bringing his unique musical vision to the listening public for decades, on numerous albums recorded with the incomparable New Rhythm & Blues Quartet and at countless live performances around the world. Terry formed his new band in 2007. He chose three great players based on simple but hard-to-find criteria – talent, enthusiasm, and the desire to make music for the right reasons. Chicago’s Scott Ligon, of whom the Chicago Reader says, “he’s earned a reputation as a versatile musician with a vast repertoire,” is on guitar and vocals; New York’s Pete Donnelly, of The Figgs and Graham Parker, is on bass; and on drums is Conrad Choucroun from Austin, who has played with numerous Texas musicians including The Damnations, Banana Blender Surprise, and Kelly Willis (and who was recently voted Austin’s #3 drummer). Like his previous band NRBQ, Adams’s Rock & Roll Quartet never plays the same show twice. “Terry Adams treats set lists the way 7-Up treats caffeine. Never had one, never will,” says the Raleigh NC News & Observer. That’s why a Terry Adams live performance is always unique and authentic – he’s present and accounted for, playing the music each occasion calls for. A brilliant bandleader, Terry still calls the songs as he goes during live performances. The Quartet has command of the NRBQ catalog, but, says Terry, “I took with me only what I put in!” - which are countless originals and arrangements. The Quartet is equally at home with a steady supply of new compositions and unique takes on both popular and obscure songs. The Terry Adams Rock & Roll Quartet toured in Japan for the first time in October 2009 and ended the year with an appearance as the Official Three Stooges New Year’s Eve Marathon house band for Boston’s TV38. In early 2010, the band released their first CD – Crazy 8’s – ten tracks recorded live over one weekend in May ’09, and will make their first European trip in the summer of 2010. Also in the works for 2010 is a new Terry Adams Rock & Roll Quartet studio album.
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Terry Adams Rock & Roll Quartet's Homepage | Terry Adams Rock & Roll Quartet's Facebook Page

Taj Mahal

Composer, multi-instrumentalist and vocalist Taj Mahal is one of the most prominent and influential figures in late 20th century blues and roots music. Though his career began more than four decades ago with American blues, he has broadened his artistic scope over the years to include music representing virtually every corner of the world – west Africa, the Caribbean, Latin America, Europe, the Hawaiian islands and so much more. What ties it all together is his insatiable interest in musical discovery. Over the years, his passion and curiosity have led him around the world, and the resulting global perspective is reflected in his music today. Born Henry St. Claire Fredericks in Harlem on May 17, 1942, Taj grew up in Springfield, Massachusetts. His father was a jazz pianist, composer and arranger of Caribbean descent, and his mother was a schoolteacher and gospel singer from South Carolina. Both parents encouraged their children to take pride in their diverse ethnic and cultural roots. His father had an extensive record collection and a shortwave radio that brought sounds from near and far into the home. His parents also started him on classical piano lessons, but after only two weeks, young Henry already had other plans about what and how he wanted to play. In addition to piano, the young musician learned to play the clarinet, trombone and harmonica, and he loved to sing. He discovered his stepfather’s guitar and became serious about it in his teens when a guitarist from North Carolina moved in next door and taught him the various styles of Muddy Waters, Lightnin’ Hopkins, John Lee Hooker and Jimmy Reed and other titans of Delta and Chicago blues. Springfield in the 1950s was full of recent arrivals, not just from around the U.S. but from all over the globe. “We spoke several dialects in my house – Southern, Caribbean, African – and we heard dialects from eastern and western Europe,” Taj recalls. In addition, musicians from the Caribbean, Africa and all over the U.S. frequently visited the Fredericks home, and Taj became even more fascinated with roots – the origins of the various forms of music he was hearing, the path they took to reach their current form, and how they influenced each other along the way. He threw himself into the study of older forms of African-American music, which the record companies of the day largely ignored. Henry studied agriculture at the University of Massachusetts at Amherst in the early 1960s. Inspired by a dream, he adopted the musical alias of Taj Mahal and formed the popular U. Mass party band, the Elektras. After graduating, he headed west in 1964 to Los Angeles, where he formed the Rising Sons, a six-piece outfit that included guitarist Ry Cooder. The band opened for numerous high-profile touring artists of the ‘60s, including Otis Redding, the Temptations and Martha and the Vandellas. Around this same time, Taj also mingled with various blues legends, including Howlin’ Wolf, Muddy Waters, Junior Wells, Buddy Guy, Lightnin’ Hopkins and Sleepy John Estes. This diversity of musical experience served as the bedrock for Taj’s first three recordings: Taj Mahal (1967), The Natch’l Blues (1968) and Giant Step (1969). Drawing on all the sounds and styles he’d absorbed as a child and a young adult, these early albums showed signs of the musical exploration that would be Taj’s hallmark over the years to come. In the 1970s, Taj carved out a unique musical niche with a string of adventurous recordings, including Happy To be Just Like I Am (1971), Recycling the Blues and Other Related Stuff (1972), the GRAMMY®-nominated soundtrack to the movie Sounder (1973), Mo’ Roots (1974), Music Fuh Ya (Music Para Tu) (1977) and Evolution (The Most Recent (1978). Taj’s recorded output slowed somewhat during the 1980s as he toured relentlessly and immersed himself in the music and culture of his new home in Hawaii. Still, that decade saw the well-received release of Taj in 1987, as well as the first three of his celebrated children’s albums on the Music For Little People label. He returned to a full recording and touring schedule in the 1990s, including such projects as the musical scores for the Langston Hughes/Zora Neale Hurston play Mule Bone (1991) and the movie Zebrahead (1992). Later in the decade, Taj released a series of recordings with the Phantom Blues Band, including Dancing the Blues (1993), Phantom Blues (1996), and the two GRAMMY® winners, Señor Blues (1997) and the live Shoutin’ in Key (2000). Overall, he has been nominated for nine GRAMMY® Awards. During this same period, Taj continued to expand his multicultural horizons by joining Indian classical musicians on Mumtaz Mahal in 1995, and recording Sacred Island, a blend of Hawaiian music and blues, with the Hula Blues Band in 1998. Kulanjan, released in 1999, was a collaborative project with Malian kora player Toumani Diabate (the kora is a 21-string west African harp). He recorded a second album with the Hula Blues Band, Hanapepe Dream, in 2003. Zanzibar, a European release, followed in 2005. Taj continues to tour internationally, doing as many as 150 shows per year throughout the U.S., Europe, Australia, New Zealand and beyond. He joined the Heads Up International label in the fall of 2008 with the worldwide release of Maestro. This twelve-track set – his first U.S. release in five years – marks the fortieth anniversary of Taj’s rich and varied recording career by mixing original material, chestnuts borrowed from vintage sources and newcomers alike. This anniversary gala includes performances by Ben Harper, Jack Johnson, Angelique Kidjo, Los Lobos, Ziggy Marley and others – many of whom have been directly influenced by Taj’s music and guidance. “The one thing I’ve always demanded of the records I’ve made is that they be danceable,” he says. “This record is danceable, it’s listenable, it has lots of different rhythms, it’s accessible, it’s all right in front of you. It’s a lot of fun, and it represents where I am at this particular moment in my life. This record is just the beginning of another chapter, one that’s going to be open to more music and more ideas. Even at the end of forty years, in many ways my music is just getting started.”
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The Black Crowes

After months of fan and media speculation, on January 11, 2005, THE BLACK CROWES announced their highly anticipated and long-awaited return to the live concert stage with five special shows--billed by brothers CHRIS and RICH ROBINSON as “ALL JOIN HANDS”--at New York’s Hammerstein Ballroom. All five shows sold out instantly, marking the fastest New York sell-out that THE BLACK CROWES have experienced to date. To meet the absolutely overwhelming fan demand, two more shows were added at Hammerstein. And those sold out. Total tickets sold in New York City: 22,000.>High-profile invitations to perform on the main stage at Bonnaroo and the New Orleans Jazz & Heritage Festival followed--all without a single note even being played. And now the story continues. THE BLACK CROWES--Chris (vocals), Rich (guitars), Steve Gorman (drums) and Sven Pipien (bass), recently joined by Paul Stacey (guitars) and Rob Clores (keyboards)--have returned in full force to share “15 Years of Cosmic Rock-n-Roll” with their devoted fans. From the beginning, when they roared out of the gate with their multi-platinum debut album SHAKE YOUR MONEYMAKER in 1990, THE BLACK CROWES have played by their own rules. They’ve gone against the grain and formed an intimate connection with their audience, while maintaining their independence and creative freedom from standard industry practices. This has earned them the title of “The Most Rock ‘N Roll Rock ‘N Roll Band In The World.” CHRIS and RICH have never veered from their mission of creating rock and roll that is fierce and genuine, with a sound that doesn’t conform to easy categorization. You can hear it in the band’s six studio albums--which have racked up worldwide album sales exceeding 19 million--and in their panoramic live shows. They performed over 2000 shows between 1990 and 2001, and their gigs became legendary for set lists that changed every night and signature incendiary musical explorations. THE BLACK CROWES are one of the few contemporary bands who’ve shared the stage with Jimmy Page, Bob Dylan, The Rolling Stones, Aerosmith, AC/DC, The Who, Neil Young, The Grateful Dead and many other legendary artists.

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The Black Crowes' Homepage | The Black Crowes' MySpace Page | The Black Crowes' Facebook Page

Steve Miller Band

The Gangster is back!In his first new album in almost twenty years, Steve Miller returns with the same sleek blues-rock sound that made his music some of the best-loved records of his generation. He is currently putting finishing touches on what remains of more than three dozen tracks he cut in March 2008 at the magnificent orchestral recording studios at George Lucas’ Skywalker Ranch with Led Zeppelin engineer Andy Johns behind the board. Joining the Steve Miller Band is the first new member since Miller reunited his finest backup musicians of his career more than twenty years ago, vocalist Sonny Charles, a rhythm and blues veteran and founding member of the Checkmates. Charles lived and worked in Las Vegas with his lifelong musical partner Marvin “Sweet Louis” Smith, who died in December 2007, which paved the way for Charles joining forces with the Miller band. The Steve Miller Band continues to be one of the top concert attractions on the road every summer. Songs such as “Fly Like an Eagle,” “Rock ‘n Me,”“The Joker,” “Jet Airliner,” “Livin’ In the U.S.A.” continue to air daily on classic rock stations across the country. His “Greatest Hits” album sold more than 18 million copies. Steve Miller is one of rock’s all-time greats, at the peak of his performing powers, with a new album coming that could easily be one of the best in his career. Miller first emerged as a headliner at the Fillmore Auditorium during the Summer of Love, but his roots go back even further. He learned his first guitar chords from Les Paul (his father was best man at Les Paul and Mary Ford’s wedding) and T-Bone Walker taught20him how to play lead. He started his first band at age 12 and by the time he was 15 years old, he was backing up Jimmy Reed in Dallas nightclubs. His Goldberg-Miller Blues Band blasted out of the Chicago club scene in 1966 with a hit single, a nationwide TV appearance on “Hullabaloo,” and a New York nightclub residency where the band took over from the Young Rascals. He returned to Chicago and played guitar in the Buddy Guy band before pitching all his gear in a Volkswagen bus and heading to San Francisco. His first night in San Francisco, with five dollars in his pocket, Miller sat in with Chicago buddies the Paul Butterfield Blues Band at the Fillmore Auditorium (it was the same night that Grace Slick first sang with the Jefferson Airplane). He announced from the stage that he was moving to town and starting a band and received a standing ovation. The Steve Miller Blues Band was one of the outstanding acts to appear on the historic Monterey Pop Festival, although few remember Miller was even there because his hippie manager wouldn’t allow him to be in the movie. When his high school pal and bandmate Boz Scaggs showed up in San Francisco that fall, Miller made room in the band for him. The Steve Miller Band recorded its debut album in London with engineer Glyn Johns, in between his work on Beatles sessions. Deejay Tom Donahue chose the title track to “Children of the Future” as the first track to be played on the country’s first ‘round-the-clock FM rock radio station when KSAN went on the air in June 1968. Miller’s early albums were staples of the burgeoning underground radio format, featuring tracks like “Space Cowboy,” “Kow Kow Calqulator” and “Going To Mexico.” With his 1973 No. 1 hit, “The Joker,” Miller moved into a different category. By the time he had released his multi-million-selling albums “Fly Like an Eagle” and “Book of Dreams” within a year of each other, Miller was playing to sold out crowds at football stadiums and universally recognized as one of the great names in the golden era of rock. He is cited as a vital influence on musicians as diverse as Sheryl Crow and Kenny Chesney. His album tracks have been used in movie soundtracks and commercials all over the world. His greatest hits album is one of the best-selling records of all time. With his new record, Miller harnesses once again the trademark sound of his trilogy -- “The Joker,” “Fly Like An Eagle,” “Book Of Dreams” – more classic rock from the man some call Maurice, the one and only Stevie “Guitar” Miller, the Gangster of Love. Coming your way in about a minute. 

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Steve Miller Band's Homepage | Steve Miller Band's MySpace Page | Steve Miller Band's Facebook Page

Olivia Henken

Born and raised in Louisville, Kentucky, this up and coming singer is 'Big Star Bound'! With numerous credits from Musicals to National appearances, Olivia definitely has the talent to succeed. A graduate of Pleasure Ridge Park High School and currently a senior at the University of Louisville, Olivia is a hometown girl. She already has credits such as leading roles in Fame, Little Shop of Horrors, and School House Rock, held four Miss Kentucky titles for the National American Miss and American Co-ed Pageant systems and was the 2008 National American Miss Teen and 2005 National American Miss Junior Teen. She has traveled the country sharing her vocal ability in over 15 states and has performed the National Anthem numerous times with highlights being three University of Louisville Men's Basketball Games for sold-out crowds of 20,000 or more.

At the young age of 21, Olivia has accomplished more of her dreams than she ever thought imaginable. She believes looking out at an audience of 20,000 plus was the thrill of her life as she was able to perform on the main stage of the Chow Wagon on Thunder Over Louisville the past two years headlining both shows. Also, opening up for Chuck Wicks at 4th Street Live and Jason Jones at Jim Porter's Good Time Emporium have also left high marks in Olivia's eyes.

As of now, she is working on her biggest career goal of becoming Country Music's Entertainer of the Year. She is busy working on her first original album in Nashville, Tennessee where she is working with the best of the best musicians and producers around. After local attention, she was asked to record "DerbyTown", a tribute to Louisville as we embark on the most famous week of the year. Currently, this is available for download on iTunes, Rhapsody, and Napster.

Her high energy and charisma shine throughout her performances. She has the confidence it takes to become successful in this business. This Kentucky native is proud to say she cannot wait to share her god-given talent with the world. She is honored to have such wonderful opportunities come her way and at such a young age. Through belting out ballads and rocking out each and every show, Olivia has what it takes to entertain all ages. Olivia knows it is her fans who keep her going and seeing a smile on one persons face, makes every show worthwhile. It is important to her that everyone is having as much fun as she is.

Stealing Angels

Country music is about to get a visitation from three heavenly artists – Caroline Cutbirth, Jennifer Wayne, and Tayla Lynn – collectively known as Stealing Angels.In case any of their last names sound familiar…they should. These young women are descended from American icons, including country great Loretta Lynn, film legend John Wayne and American folk hero Daniel Boone. But it will be their music, not their background that promises to make their names as well known as their famous families. Stealing Angels is already making a name for itself thanks to ABC’s Robin Roberts who featured the group on her one-hour TV special on country music, nationally aired on ABC on November 10th. In a segment called “What’s In A Name,” Roberts poses the question if talent is genetic using examples including Johnny and Rosanne Cash, Vince and Jenny Gill and, of course, Stealing Angels and their famous relatives.The band is currently in the studio in Nashville with award winning producer Paul Worley (Dixie Chicks, Martina McBride) working on their debut CD, set for release early in 2010.Stealing Angels found each other in the music city when Texas-native Caroline Cutbirth moved to Nashville in 2006 to follow her dream of breaking into music. Says Caroline, “I’ve always wanted to be a singer...always! I didn't know anything about the music industry but I knew I need to go somewhere where I could learn and perform. Something kept pushing me to Nashville. So without a clue, I packed it all up and moved there, just like that. It was scary at first, but it seemed to me that if I wanted to be a part of music, I needed to be in the Music City.” In Nashville, Caroline met California-born Jennifer Wayne, who had also moved to pursue a solo singing career.Born into the Hollywood mix, Jennifer had always dreamed of singing country music. A nationally ranked tennis player from childhood, Jennifer’s young life changed when after one of her grandfather’s best friends, Merv Griffin, heard her sing and opened a record label just for her. As a result, she moved to Nashville begin recording. Sadly, Merv passed away soon after her arrival and the label was dissolved. So Jennifer, like Caroline, found herself doing the music circuit, performing, writing and trying to be heard by record executives and A&R people. Although their musical genres were polar opposites (Caroline sang pop and Jennifer, country), they both began to write music together.In 2007, the two young singers were approached by a reality show producer looking to create a show called, “All in the Genes.” The premise of the show was to focus on the ups and downs of two women from famous families. As the granddaughter of John Wayne and a descendant of Daniel Boone, Jennifer and Caroline were perfect for the project. The producer then decided that a third cast member was needed. After much searching, she found Tayla Lynn, granddaughter of Loretta Lynn, and also a solo singer. Tennessee born and bred, Tayla was crawling around Loretta’s bus before she could walk. “I can’t remember a time that I wasn’t in the wings in some town somewhere watchin’ my “me-maw” and my daddy on stage. I’ve never wanted anything other than to be a singer and a performer,” says Tayla. Tayla, Caroline and Jennifer immediately hit it off and soon became inseparable.Although the three eventually realized that travelling down the reality show road wasn’t for them, they continued to grow closer as friends, supporting each other through the difficulties of trying to break solo careers. Not surprisingly, the local music scene soon began seeing the girls as a trio since they were playing (as solo artists) on many of the same bills, and eventually even began to help each other out by singing harmonies to each other’s songs. They also continued writing together. It was around Christmas time 2008, when the idea really sank in that their music was stronger as a group, far more so than three solo artists. And although their singing styles still differed – ranging from pop to country and alot in between – there was no denying the music they created together meshed in a way that was unmistakably beautiful and unforgettable.They, of course, credit many mutual music influences they began to create, including Lee Ann Womack, Dixie Chicks, old country, 80’s punk, Patty Griffin, among others.Visit:Stealing Angels' Homepage | Stealing Angels' MySpace Page | Stealing Angels' Facebook Page

Justin Moore

“It’s a dirt road, a fishing pole, a cold beer sittin’ on a tailgate, an old church, a kind word, it’s where I was born and raised, Heaven ain’t that far away.” The lyrics from Justin’s self-penned song “Heaven Ain’t That Far Away” typifies his philosophy on life. In music and in life, Justin embodies the soul and character of a kid from a small town. He was born and raised in Poyen, Arkansas, population 272. The town has no streetlights or street names. His grandfather “Paw” Charles gave each one of his children 15 acres of land to build their homes on and to raise their families in - and that’s exactly what they all did. Paw and grandma Faynette (Maw) raised cattle on their farm and from a young age Justin would help with the chores. He’d bush-hog the land and feed the cows and learn about hard work. His other grandparents, Tom and Becky (PaPa and Nanny) live a mile down the road in Poyen.PaPa took Justin out to his first deer stand before he was one year old. He taught him how to hunt and fish and they haven’t missed a season since Justin was a boy. Justin’s parents, Tommy Ray and Charlene, recognized at an early age Justin’s ability to remember songs and to sing them. Tommy Ray has a recording of a two-year-old Justin singing the George Strait song “Baby’s Gotten Good At Goodbye”. Says Tommy Ray, “We bought him boots and a cowboy shirt and a toy ukulele when he was 4 or 5 and he became obsessed with the Dwight Yoakum hit “I’m A Honky Tonk Man”. He would sing it into a fake microphone constantly. ‘Bout drove us crazy.”Soon Justin was singing gospel songs at church. He won the talent search at Poyen High School when he was 8 years old. In high school Justin was a starter on their basketball team and helped lead the team to a 39-0 season as well as win the state championship. He was an all-region catcher on the baseball team and received multiple scholarship offers for both sports and academics; however, Justin took a bold leap and moved to Nashville in October 2002 – just a few months after graduating from high school.By this point Justin had a manager and a writer/artist offer from Zomba music. As things sometimes go in the biz, Zomba was purchased before Justin could sign his deal. His manager hired a top Nashville attorney to help keep things moving and Justin’s attorney hooked him up with an up-and-coming young producer/songwriter named Jeremy Stover. Together they wrote and recorded some great songs that reached celebrated producer Keith Stegall (Alan Jackson). Keith loved what he heard and in March of 2004 signed Justin as an artist/writer to his publishing company, Big Picture Music, with the intention of getting Justin a record deal.Justin’s first ‘big gig’ was New Years Eve 2001 at The Music Mountain Jamboree in Hot Springs Arkansas, where he performed 4 songs with the house band and got a standing ovation. “That was pretty exciting,” says Justin. “I had never been in front of 500 people before so I was a little nervous until I got going, but then I just loved it. I really wished I could have done a few more, but it put the fire in me to go after this as a career”.He later played at The Roundup in Jonesboro, Arkansas, to a sold-out crowd of 600. The word was getting out in Arkansas about this kid from the small town of Poyen who was making some waves with the big boys on Music Row in Nashville. In March 2005 Justin returned to his hometown for a sell-out concert with his own band. The enthusiastic crowd of over 700 went wild when it heard Justin’s new material.“It’s a lot of fun playing in the clubs around Nashville, like The Wildhorse, The Bluebird, The Stage, The French Quarter and all of the others, but nothing’ beats going home to play for family and friends and all the people who are supporting me in my journey.“ In June 2005 Justin traveled home again to play at the annual “Brickfest” festival in Malvern, Arkansas, to an estimated crowd of about 2000.Needless to say the hometown fans were great to Justin and he to them. The show was so well received that he was booked to play it again in 2006, this time to a crowd of 4000. 2007 has been equally exciting for Justin, as he recently signed a recording contract with the Valory Music Co., sister label to Big Machine Records which is the home of Taylor Swift, Jack Ingram and Trisha Yearwood as well as the exclusive radio promoter for Garth Brooks. Look for a new release in 2008.Visit:Justin Moore's Homepage | Justin Moore's MySpace Page | Justin Moore's Facebook Page

Loretta Lynn

For over four decades now, Loretta has fashioned a body of work as artistically and commercially successful—and as culturally significant—as any female performer you’d care to name. Her music has confronted many of the major social issues of her time, and her life story is a rags-to-riches tale familiar to pop, rock and country fans alike. The Coal Miner’s Daughter—the tag refers to a hit single, an album, a best-selling autobiography, an Oscar-winning film, and to Lynn herself—has journeyed from the poverty of the Kentucky hills to Nashville superstardom to her current status as an honest-to-goodness American icon.
Her Grammy award-winning album, the Jack White-produced Van Lear Rose, reminds the world yet again of Lynn’s power as a vocalist and her skill as a songwriter. As she puts it on “The Story of My Life,” the album’s closing track: “Not half bad for this ol’ KY girl, I guess...Here’s the story of my life. Listen close, I’ll tell it twice.” Loretta was born in Butcher Holler, Kentucky, the second of Clara and Ted Webb’s eight children. Just as she would later sing in “Coal Miner’s Daughter,” Loretta’s family eked out a living during the Depression on the “poor man’s dollar” her father managed to earn “work[ing] all night in the Van Lear coal mine [and] all day long in the field a-hoein’ corn.” As she also notes in that song, “I never thought of leavin’ Butcher Holler.” But that was before she met Oliver Lynn (aka Doolittle or Doo, or “Mooney” for moonshine), a handsome 21-year-old fresh from the service who swept the young Loretta Webb off her feet. The couple married when Loretta was barely 14. Looking for a future that didn’t require him to work the mines, Doo found work in Custer, Washington, and Loretta joined him in 1951. The following decade found Lynn a full-time mother—four kids by the time she began singing seriously in 1961—of precisely the sort she would one day sing to and for. In her spare time, though, with Doo’s encouragement, she learned to play the guitar and began singing in the area. During one televised talent contest in Tacoma, hosted by Buck Owens, Loretta was spotted by Norm Burley who was so impressed he started Zero Records just to record her. Before long, Loretta and Doo hit the road cross-country, stopping every time they spotted a country radio station to push her first Zero release, “I’m a Honky Tonk Girl.” By the time they reached Nashville, the record was a minor hit and Loretta found work cutting demos for the publishing company of Teddy and Doyle Wilburn. One of these, Kathryn Fulton’s “Biggest Fool of All,” caught the ear of Decca Records producer Owen Bradley. He thought the song would be perfect for Brenda Lee, but the Wilburns worked a deal—you can have the song if you record Loretta. Soon, Loretta was in the studio cutting sides with Bradley, producer at the time not only for Lee but Patsy Cline, Bill Anderson, and Webb Pierce. At this early stage of her career, Loretta was greatly influenced by Kitty Wells, the groundbreaking “girl singer” who turned the tables on several decades worth of male double standards with the 1952 classic, “It Wasn’t God Who Made Honky-Tonk Angels.” Like Kitty’s, Loretta’s delivery on “I’m a Honky Tonk Girl” was twangy and nasal, rhythmically straight up and down, plainspoken and emotionally understated. Such a down-home vocal style was Loretta’s birthright; it was more or less the way she had sang back in Kentucky, it was the style she took with her to Washington, and it was a vocal approach particularly well-suited to the duet sides she soon made in Nashville with honky-tonk legend Ernest Tubb. (“Mr. and Mrs. Used to Be,” from 1964, was the pair’s first and biggest hit.) Working with Bradley in Nashville, however, Lynn quickly fell under the musical spell of new friend Patsy Cline. Patsy’s distinctive style, marked by dramatic slides, growls and crescendos, was more modern and “pop” sounding than that of Wells’ and the other female country singers of the day. It’s not surprising then that “Success,” the 1962 single that became Loretta’s first Top Ten hit (and that was later covered by Elvis Costello on his Almost Blue album) showcased Loretta in a full-throated, string-backed setting that’s more than a little reminiscent of Patsy Cline. Out of these influences, Lynn soon fashioned her distinctive style—a mature fusion of twang, grit, energy and libido—an approach she first perfected in the songs of other writers. In “Wine, Women, and Song,” “Happy Birthday,” and “Blue Kentucky Girl,” each a Top Ten hit in 1964, Loretta played a plucky young woman who alternated between waiting for her wayward man to walk back in the door and threatening to walk out herself. Such hits were early hints of Loretta’s undeniably strong female point of view—a perspective unique at the time both to country music specifically and to pop music generally and a trend in her music that became further pronounced as she began to write more of her own songs. In her first self-penned song to crack the Top Ten, 1966’s “Dear Uncle Sam,” Loretta presented herself as a woman who was going to fight to keep what was important to her, even if that meant questioning the wisdom of her government. Indeed, “Dear Uncle Sam” was among the very first recordings to recount the human costs of the Vietnam War. “Doo encouraged me to write that one,” she recalls today. “I was wondering what it would be like to have someone over there and what I would do if I did.” (The song made a return to Lynn’s live sets with the coming of the Iraq war.) Over the next few years, Loretta wrote a string of hits unprecedented for their take-no-crap women narrators. In “You Ain’t Woman Enough (to Take My Man)” [#2, 1966], “Don’t Come Home A’Drinkin’ (with Lovin’ on Your Mind)” [#1, 1967], and “Fist City” [#1, 1968], among others, Loretta presented a new character on the country scene: a woman unafraid to stand up for herself, just like real women did. Drawing upon her own experiences as a harried young wife and mother, and upon a homespun sense of humor at once both pointed and hilarious, Loretta issued warnings to soused and philandering hubbies everywhere—and to the female competition—that she was not to be trifled with. In her words, “You better close your face and stay out of my way if you don’t wanna go to Fist City.” [Note: As on most of Lynn’s biggest solo hits, the studio band for the above numbers included members of Nashville’s famed A-Team: guitarist Grady Martin, six-string electric bassist Harold Bradley, bass player Junior Huskey, pianist Floyd Cramer, drummer Buddy Harman, and pedal steel guitarist Hal Rugg.] As the ‘60s turned into the ‘70s, Lynn forever solidified her reputation as an advocate for ordinary women. Typically, Loretta’s brand of women’s liberation was attuned specifically to the lives of her blue-collar audience, the wives and mothers who were far too overwhelmed by the demands of, say, childcare to place much stock in symbolic foolishness like bra burning. Indeed, while a guest on The Dick Frost Show, Loretta once famously dozed off while listening to the upper-middle class feminist Betty Freidan talk theory with the show’s host. Loretta was more interested in life as it was lived-in the kitchen and in the bedroom-by millions of working-class women everyday. For example, “One’s on the Way,” a Shel Silverstein-penned hit from 1971, let Lynn voice the concerns of a harried Topeka woman, worn out from raising her kids, cleaning the house, and dealing with a husband with enough free time to be calling her from a bar while she’s home making dinner. But it was with her own songs that Loretta best conveyed the complexity of women’s lives. In “I Wanna Be Free,” Loretta reveled in the possibilities a divorce might bring (“I’m gonna take this chain from around my finger, and throw it just as far as I can sling ‘er”), while in “Rated X” she complained that new divorcees were inevitably treated like easy women. In “I Know How,” she boasted of her sexual prowess; in “When the Tingle Becomes a Chill,” she bemoaned the loss of desire that accompanies a bad marriage; and in “The Pill,” a record banned by many radio stations in its day, she captured perfectly the power of birth control to let women love without the passion-dowsing fear of pregnancy: “The feelin’ good comes easy now since I’ve got the pill!” Each of the above songs was a Top Three country hit between 1968 and 1975, and Loretta Lynn (to paraphrase the title of a 1970 album) both wrote ‘em and sang ‘em. The same was true, of course, of her signature song, the 1970 chart-topper “Coal Miner’s Daughter,” which chronicled for all time the strides women were making in these years—from country to city, from home to workforce and, in Lynn’s case, from “girl-singer” to superstar. The immense popularity of these songs, as well as other straight-shooting hits like “Your Squaw Is on the Warpath,” “Women of the World (Leave My World Alone)”, and “You’re Looking at Country,” culminated in 1972 when Lynn won her second Best Female Vocalist award from the Country Music Association—and when she became the first woman to win the CMA’s most prestigious award, Entertainer of the Year. It didn’t hurt that sprinkled among her many solo hits was a series of amazing collaborations between Loretta and her dear friend, singer Conway Twitty. Indeed, Loretta also won her first Vocal Duo of the Year award in 1972, with Conway, a title the team held onto through 1976. (And this in the years when the duet competition annually included Porter Wagoner & Dolly Parton and George Jones & Tammy Wynette!) The pair’s close harmony style and dramatic song selections—especially, “After the Fire Is Gone,” “Lead Me On,” “As Soon As I Hang up the Phone,” and “Feelin’s”—explored adult romantic relationships as wrenchingly as any records ever made. Through the next decade, Loretta scored more and more hits—and became more and more famous beyond her country base. In 1973, she appeared on the cover of Newsweek; in 1976 her autobiography (written with journalist George Vescey) became a New York Times Bestseller; in 1980 the book was made into a hit film starring Sissy Spacek and Tommy Lee Jones. By the time of her last major hit—“I Lie,” in 1982”—Lynn could count 55 Top 10 hits and 27 #1’s. Loretta Lynn spent the '90s largely away from the spotlight, caring for her ailing husband Doo and, after he died in 1996, grieving his loss. The music scene has changed considerably in her absence but it’s also a scene she helped create. Indeed, it would be all but impossible to imagine the likes of Shania Twain’s “Any Man of Mine” and Deana Carter’s “Did I Shave My Legs for This?” or any number of Dixie Chicks hits, without her. Van Lear Rose, with its moody, propulsive arrangements, loud and rocking guitars and intimate songwriting, can only extend Lynn’s profound influence into a new century—and to a new generation of fans.
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Loretta Lynn's Homepage | Loretta Lynn's Facebook Page

Dwight Yoakam

Few entertainers have attained the iconic status of Dwight Yoakam. Perhaps that is because so few have consistently and repeatedly met the high standard of excellence delivered by the Kentucky native no matter what his endeavor. His name immediately conjures up compelling, provocative images: A pale cowboy hat with the brim pulled low; poured-on blue jeans; intricate, catchy melodies paired with poignant, brilliant lyrics that mesmerize with their indelible imprint. Then there’s Yoakam the actor, who seemingly melts into his roles, impressively standing toe-to-toe with some of the world’s top thespians: Jodie Foster, Tommy Lee Jones, Forest Whitaker, Nicholas Cage. Add to that Yoakam the entrepreneur and you have a singular talent without peer.
Is it any wonder that Time Magazine dubbed Yoakam “A Renaissance Man?” But that’s getting ahead of the story. Much has been made that the Kentucky-born, Ohio-raised Yoakam was too country for Nashville when he first sought out his musical fortune in the mid-80s, but the truth is his music has always been too unique, too ruggedly individualistic to fit neatly into any one box. Like the icons he so admires --Elvis, Merle, Buck-- Yoakam is one of a kind. He has taken his influences and filtered them into his own potent blend of country and rock that honors his forbearers and yet creates something beautifully new. As Vanity Fair declared, “Yoakam strides the divide between rock’s lust and country’s lament.” The long-time Los Angeleno has sold more than 25 million albums worldwide, placing him in an elite cadre of global superstars. Yet the sales have never come at the expense of his musical integrity. Whether singing about the twisted wreckage of romance or broken dreams of this hard life, Yoakam brings a knowing, glorious edge to his delivery and stands, in a world of artifice and flash, as a beacon of authenticity. He has 12 gold albums and 9 platinum or multi-platinum albums, including the triple platinum “This Time”. Five of those albums have topped Billboard’s Country Albums chart with another seven landing in the Top 10. More than 30 singles have charted, with eighteen going top 20, including the incomparable hits “Honky Tonk Man,” “Please Please Baby,” “Little Ways,” “I Sang Dixie,” “It Only Hurts When I Cry,” “Fast as You” and “Thousand Miles from Nowhere.” He’s won two Grammys and earned a staggering 21 nominations. His debut album, “Guitars, Cadillacs, Etc., Etc.,” had critics and fans alike taking notice, heralding a new voice that arrived fully formed with no contemporary rival. With those 10 songs, full of twang and truth, Yoakam led the New Traditionalist movement. From the start, it was clear this jaded, often inscrutable troubadour could put a voice to our thoughts, expressing them better than we ever could. Over the next several albums, Yoakam morphed from talented newcomer to musical legend. With “Hillbilly Deluxe,” People’s Ralph Novak aptly praised Yoakam for his “uncluttered natural style, with a little rockabilly sob in his voice that harks back to Hank Williams.” Indeed, as his artistry continued to develop—through such albums as “Buenas Noches from a Lonely Room” and “This Time”--- Yoakam progressed on a singular path. No less than the Washington Post’s Jon Podhoretz declared Yoakam “as serious a country performer as there is today.” Furthermore declaring him, “the best songwriter going.” The New York Times’ Peter Watrous confirmed Yoakam’s much broader role as the eyes of this country: "He fits into a general cultural reinvestigation of things American, including jazz and grassroots rock-and-roll.” Fellow New York Times scribe Jon Pareles compared Yoakam to one of his heroes: “Like Presley, he doesn’t always stay within musical genres; even more important, he makes sure a song’s conflicting emotions all come through. His breakup songs are blue and lovelorn, but angry, too; his rambling-guy songs are footloose but regretful; his come-ons are both seductive and menacing.” As stellar as his recordings are, his live performances are transcendent (check out 1995’s “Dwight Live”). Upon his appearance at the Kentucky State Fair in 2006, the Louisville Courier Journal’s Marty Rosen declared that “in his best moments, Dwight Yoakam ranks with the scant handful of country singers (or, more accurately, singers in any genre, from opera to blues) who can legitimately be called geniuses.” So broad is his appeal that he was the only artist to appear this year at both indie rock extravaganza Coachella and at country music festival Stagecoach. His performances, as always, drew rapturous acclaim from critics: “I haven’t yet encountered another devoted love fest like the one Yoakam got this weekend,” wrote August Brown in the Los Angeles Times this spring. “Every alt-kid, rockabilly survivor, Latina hot-rodder and the rest of Stagecoach’s misfits all came under this tent to pay rowdy respect to a singer-songwriter who’s done as much as any to keep the fangs in modern pop-inclined country.” Yoakam also recently headlined the last night of the CMA Festival in Nashville, marking his first appearance at the event in two decades. The potency of his performances makes him a much in-demand guest on the television circuit. So much so that he holds the record for the most performances by any musical artist on the top-ranked “The Tonight Show with Jay Leno”. But the music only tells part of the story. Over the last 15 years, Yoakam has carved out a niche as one of the top character actors on film. Starting with a role as a truck driver in John Dahl’s spicy film noir “Red Rock West” in 1992, Yoakam was an instantly mesmerizing presence on the big screen. However, nothing prepared viewers for his riveting appearance as the malevolent Doyle Hargraves in the Academy Award winning film “Sling Blade,” for which he and his co-stars were also nominated for the Screen Actors Guild’s award for outstanding performance by a cast. In David Fincher’s box office hit “Panic Room,” as the brilliantly underplayed antagonist Raoul, Yoakam once again seamlessly shapeshifted in front of our eyes. As David Smith for the BBC wrote, “…the film is stolen by Yoakam.” His performance in Tommy Lee Jones’ Cannes Film Festival award-winning “The Three Burials of Melquiades Estrada” was effusively praised for its penetrating honesty. Entertainment Weekly’s Sean Smith told USA Today, “As a character actor, he disappears into his roles. There’s something amazingly natural about what he does. All his characters have this tense undertone to them.” Yet just when Yoakam appears to get pigeonholed, he deftly transcends categorization. This holiday season he’ll once again display his vast range when he plays the hilarious Pastor Phil alongside Reese Witherspoon and Vince Vaughn in the broad comedy romp, “Four Christmases.” He then returns to action when he reprises his role as the infectiously eccentric Doc Miles with Jason Stratham in “Crank 2: High Voltage,” the sequel to the 2006 smash “Crank.” There is Yoakam the artist, and then there’s Yoakam the entrepreneur. In typical Yoakam fashion, even his endeavors that start out as a genial gesture at a friend’s behest somehow turn into a brilliant move. In the mid-90s, Buck Owens repeatedly joked with Yoakam about creating something special for the opening of Owens’ Crystal Palace club and museum. In typical tongue-and cheek fashion, Yoakam created a fictitious brand of biscuits to be served to mark the occasion, dubbed Dwight Yoakam’s Bakersfield Biscuits. Once again, Yoakam’s creative instincts led to something lasting. The initially imaginary Bakersfield Biscuit and Dry Goods Company has evolved into a successful national brand with dozens of products in stores across the country. At the core of Yoakam’s creative expression, whether it is musical, theatrical or entrepreneurial, is an unwavering desire to articulate human connection. The thread that ties it all together continues to be Yoakam himself, and his devotion to discovery. But we’ll let Yoakam have the final word. As he told Newsweek, “I’m committed to an earnest exploration of life, no matter what medium I’m using.”
Visit:
Dwight Yoakam's Homepage | Dwight Yoakam's MySpace Page | Dwight Yoakam's Facebook Page

Andrea Davidson

Twenty-four year old singer/songwriter Andrea Davidson began her love affair with performing and composing music when she was a senior in high school at the age of 17. She wrote her class graduation song after playing the guitar for only 3 1/2 months. Following high school graduation she worked at a law firm long enough to save for all the necessary equipment she needed to make a living playing music. At the age of twenty she left Madison, Indiana to broaden her performing skills in a more fertile music environment. She chose her birth place, Louisville, Kentucky, as a first professional home.

As she began gigging throughout the Louisville scene, playing bars, clubs, music venues and private parties, time proved the singer and the city to be a fabulous musical match. Davidson is blessed with a powerful roomy voice that retains emotion, unique timbre and uncanny dynamic control. More importantly she has a special connection to her many fans that can be witnessed singing along to her most familiar songs.

"There have been countless amounts of outstanding songs and enlightening conversations that have played a part in what I write," Davidson says, "However, I've been most influenced in my life by the giving and receiving of love and compassion.” It's this love and compassion that punctuates her songs with insight and depth far beyond her twenty-four years.

Her honest lyrics and soulfully intense voice can be experienced with the release of her new album Retracing Steps. Embracing skills earned and perfected from her 800 plus performances since she's been to Louisville, she draws 12 songs from her vast catalogue of original compositions into an astute and musically incisive album. Through this sparkling debut, Andrea is feeding her fans an intimate invitation into her emotions. Her music is suffused with a multitude of influences ranging from the melodic vibrations of The Beatles to the lyrical resonance of Bob Dylan, the soulful sounds of Bill Withers and Marvin Gaye, to the acoustic feel of Ray LaMontagne and Patty Griffin.

Andrea interrupted her year long process of recording Retracing Steps to travel to Cape Flats, South Africa. While there she taught music for two months to underprivileged school children. Her interests lie in making changes through her music. She is dedicated to increasing awareness of social justice, environmental issues, and achieving peace through nonviolent action. Andrea is a humanitarian, seeking ways to merge her music and her desire for global betterment into one powerful package.

Taddy Porter

Taddy Porter is simply a rock band – one that knows how to live in a groove, emote feeling, and draw in all those that encounter their passion. The quartet’s roots have their foundation in Stillwater, Oklahoma, with branches that have begun to stretch throughout mid-America and the South. Since October 2007, Andy Brewer (lead vocals / guitar), Joe Selby (lead guitar / backing vocals), Doug Jones (drums) and Kevin Jones (bass) have been collaborating to create timeless, undeniable rock songs that have found fans in markets across the country. Bassist Jones shares, “Stillwater is a great town. It’s really been a big part of the band because all of our friends are here and the town really supports what we are doing.” “The town has helped shape us by not pushing us in to a mold,” brother and drummer Doug continues. ‘Being from a smaller town has helped us forge our own style rather than conform to a scene that is already established.” It was this small-town environment that allowed for the creation of Taddy Porter in the first place. Doug recalls, “I threw a party that Andy came to through a mutual friend. He heard music being played in the back room and walked in where I was playing drums, and pulled a guitar down hanging on the wall. After playing through a few covers and some of his originals, we decided to go forward with it somewhat as a two piece like The Black Keys. We were at a Wolfmother concert a few months later, when my brother Kevin asked if he could be a part of the band. We were reluctant to take him on being so young, but he proved he could hold his own. In order to get a more Southern sound Andy decided to take guitar lessons to improve his slide skills and signed up for lessons with Joe. He invited Joe over to check out what we were doing, and he fell in immediately with our style. We played our first show October 19, 2007 in Stillwater. As opposed to pursuing the predictable record company path, Taddy Porter has found believers in Primary Wave Music Publishing, who’s CEO Larry Mestel shared, “Simply stated, we love this band. While we have purposely stayed out of the record business for the past three years, Taddy Porter’s music and live performances are so compelling, we knew we had to do both recording & publishing deals with the band.” When asked if they envisioned the band’s career coming along as quickly as it has, Guitarist Selby states, “It's safe to say that nobody thought it would come together as quickly as it has. That being said we try to stay aware of how quickly it could be taken away, so we try to work as hard as we can.” The four band members have a lot to share about one another. In respect to singer Brewer, Kevin shares, “The first time I heard him sing, I thought to myself I have to get in to this band.” Doug goes on, “he has been my friend from the beginning and represents the artistic level that I think we should all strive to attain.” As Guitarist Selby comes up, Doug continues, “Joe is a great drinking partner who wails on guitar, and can piss you off and make you laugh in the same sentence.” Kevin shares in respect to drummer Doug Jones, “When I think of him, the rest of my family enters my mind. I am really lucky to be in a band with my brother.” Bassist Kevin Jones according to Singer Brewer, “has more energy than anyone I know, especially on stage. Ultimately, he symbolizes the youth in our band.” With the world at their fingertips, and dreams within their grasp, the four band members are unbelievably grounded. In discussing their dreams, Kevin shares, “I would just like to make music. Fame is unimportant.” Selby adds, “I’ve always said that if I get to board a plane and travel the world with my guitar, then I have made it. Entertaining people along the way is everything. The cool thing about live music as an art is the fact that it is happening in the present moment. Every show is going to be a little different from any other, and that includes the crowd.” Doug Jones adds, “Playing music is why we started doing it in the first place. Having someone appreciate what you have worked hard towards is amazing. We love going to the merch booth after the shows, and meeting the people that keep us on the road. Playing live doesn't require a lawyer or any other facet of the business side of being in a band. You can just let loose and do what got you there in the first place.” This fall, Taddy Porter will be the opener aka “The Freshman” on the inaugural run of the Class of 2009 Tour. The 20 date excursion hits the road in San Antonio, TX on October 27. The band’s debut is filled with tracks that are reminiscent of the qualities that made classic rock thrive in its first incarnation. Lead single “Shake Me” is an energy packed anthem that according to Andy, “once people know the words, all you gotta do is dance.” The track “Long Slow Drag” is a big ballad that lyrically Doug shares, “everyone can relate to. We have all had to leave someone at some point in time, and this is about enjoying the time you have.” The song “Big Enough” as Doug offers, “is like medicine. Love has its ups and downs, Mostly downs, so if you think you can handle it saddle up and let’s try. I like this song because it just flat out says what most people are thinking. Don’t waste my time, and if you think you can handle me then I am willing to give it a try.” Joe adds, “It is one of my favorite tracks on the album, it has a weird time signature in the intro (11/8 for all of you keeping score). The first like of the chorus is ‘Let’s try love,’ which pretty much sums up our message as a band.” The name Taddy Porter to the band members reflects the images and thoughts they hope fans will think of when the moniker is spoken. They share words that include class, genuine, and enduring, and thoughts along the lines of having a good time. Andy sums it up best in simply offering, “Life, Love, and Fun!” Taddy Porter has the elements that in a just world with the stars aligned will deliver a career for the ages. Kevin offers in summation, “We just want everyone to know how much we really care about our music. It is an art and a creation with the intention of making those around us find enjoyment.” And, as Andy offers, “Be kind to everyone…”
Visit:
Taddy Porter's MySpace Page | Taddy Porter's Facebook Page

Tonic

Six Top 10 singles. Over 4 million records sold. Grammy nominations, platinum albums, numerous awards and hit songs around the world, plus the #1 most-played rock song of 1998. Tonic was a musical powerhouse, merging the raw honesty of rock to unabashed melody…and ushering rock n roll into a new millennium. Many bands would be content with that sort of history. Not Tonic. The band is back in the studio after a two-year break, working on a follow up to their last album, Grammy-nominated Head On Straight. “When we play music together it feels like going home,” explains singer and guitarist Emerson Hart. “Getting together, playing some rock-n-roll: it’s the best feeling in the world.” Hart founded Tonic with guitarist Jeff Russo – a childhood friend – adding bassist Dan Lavery shortly after inception. After storming the charts with debut album Lemon Parade and its monster hit “If You Could Only See,” the band released two additional studio albums (Sugar and Head On Straight) as well as a live EP, Live & Enhanced. They’ve been featured on a number of soundtracks, including the lead single from “American Pie” (“You Wanted More”). The band also released a Greatest Hits CD/DVD package in July of 2009. Tonic’s well-earned reputation as a massive live act came at a price. After finding themselves on the road for the better part of a decade, the band was ready to take a breather. “We toured relentlessly,” Lavery admits. “It was a whirlwind.” “We needed a break,” Hart agrees. “We toured for so long – we were on the road for ten years – and everybody needed the room to do something else, work on other projects, and come back stronger.” In Hart’s case, that meant releasing a critically-acclaimed solo album, 2007’s Cigarettes & Gasoline. The album spawned two Top 20 singles. While Lavery built a recording studio and recorded/toured with a variety of acts including The Fray and the Revisionists, Russo was focused on composing for film and television (including “Crossing Jordan,” “Bionic Woman,” and “The Unusuals”) and releasing an album with side project Low Stars. All three acknowledge the break was a welcome respite. In addition to exploring other creative outlets, the trio focused on their favorite project to date: fatherhood. “Now that I’m a father, I see the world a little differently,” Hart says. “It affects my lyrics and my music; I’m inspired to work harder. We’re all more mature now, and much stronger musicians for it. “Of course,” he adds with a laugh, “We’re in a rock band, so that translates to 60% maturity and 40% nine-year-old.” But it wasn’t long before the band was compelled to get back together and start recording. “Tonic is like my baby,” Russo says. “I know Emerson and Dan feel the same way. My other projects are very important to me, but there’s something both comfortable and exciting about playing together.” Putting the finishing touches songs on their new album – scheduled for a Spring 2010 release – and planning a summer tour, the band is hitting their stride and energized by what the future holds. “We’ve been doing this long enough – it feels like it’s what we’re meant to do,” Lavery explains. “And once you find the people that you enjoying doing it with, everything just falls into place.”

Visit:
Tonic's Homepage | Tonic's MySpace Page | Tonic's Facebook Page

38 Special

Since the release of their debut album in 1977, 38 Special has created a musical legacy that appeals to many generations. With gold and platinum albums, Top 10 hits, and sold-out stadium tours to their credit, 38 Special has broken the Southern Rock mold and established themselves as a classic American rock-and-roll band. In the 90s, however, traditional rock-and-roll has taken a back seat to such new genres as rap, grunge, alternative, gothic, ska, and industrial. Still, 38 Special, like a chameleon, continually adapts to the diverse musical environment. Rather than rest on their laurels, they chose to continue their artistic journey by pushing for unique means to express themselves. The result is Resolution, their most creative effort to date. This album reflects the wisdom and insight that only comes from maturity, with lyrics that are as sensitive and thought provoking as they are dynamic and soulful. "It's just another different way of presenting another song from 38 Special," vocalist Donnie Van Zant told Herald and Review in 1997. "If we did the same thing over and over and over again, or like we did five years ago, it would be very boring for us. And I think as writers and musicians, we have matured." Vocalist and guitarist Don Barnes agrees. "The more you explore paths that are not necessarily familiar, the more you can learn about the craft of songwriting. Believe me, it's a very insecure place to be when you are constantly challenged to understand what you don't know. But a good writer HAS to experiment with new ways of expression so he won't become stale." With immense talent and unwavering persistence on their side, 38 Special will be making music for years to come. "We'll just continue to grow and evolve into better songwriters, whether writing for 38 or collaborating with other artists," Barnes says. "And we will always tour if the fans are still with us. As long as it's still fun, we'll continue to do it. It's a great life to be able to see happy faces every night because of music that you've created. You can really take pride in what you do."

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38 Special's Homepage | 38 Special's MySpace Page | 38 Special's Facebook Page

Kansas

A highly successful American band in the mid-to-late 70's, Kansas combined British-style progressive rock with elements of both early 70's heavy metal and classical music, while maintaining a hard rock edge throughout. Instrumentally, the music of Kansas is noted for the ubiquitous presence of violin as a lead instrument, dual lead guitars (ala Wishbone Ash), extensive orchestration and melodic interplay, and tight playing. Kerry Livgren's philosophical/spiritual lyrics are well-rendered by Steve Walsh's strong, smooth vocals, often sung in duet with violinist Robby Steinhardt. Kansas started as a bar band in Topeka, Kansas in the early 70's. The original line-up, which remained constant for nearly ten years, featured Steve Walsh on vocals and keyboard, Kerry Livgren on guitar and keyboard, Robby Steinhardt on violin and vocals, Dave Hope on bass, Rich Williams on guitar, and Phil Ehart on percussion. Songwriting duties were shared by Livgren and Walsh, with occasional contributions from other band members. Kansas' first album, the self-titled Kansas, features lengthy symphonic-style works such as "Journey from Mariabronn" and "Death of Mother Nature Suite," all with a strong heavy metal edge. Kansas also exhibited its bluesier side on tunes such as "Can I Tell You" and "Bringin' it Back," a J.J. Cale composition, notable as a rare song recorded by Kansas but not authored by a band member. The contrast between symphonic works and more earthy compositions would pervade many Kansas albums, with Livgren crafting epics of myth and search for ultimate truth, and Walsh portraying an angrier, more worldly view. The semi-acoustical ballad, "Lonely Wind," fit neither camp, but was the band's first single. Their second album, Song for America, saw a softening of Kansas' sound, with more classical influences evident, but still betraying hard rock origins. "Song for America," "Lamplight Symphony," and "Incomudro-Hymn to the Atman" are lengthy, intricate pieces, while "Lonely Street" is straightforward blues, and "Devil Game" is a tightly wound, fast-paced rock shuffle, all sung with great emotion by Walsh. The third album by Kansas, Masque, is lyrically quite dark. "Mysteries and Mayhem," a very fast-paced progressive piece in a hard rock vein, segues into "The Pinnacle". The compositions are based upon a nightmare that Livgren once had, while "Child of Innocence" dwells on the certainty of human mortality. "Icarus-Borne on Wings of Steel," is based on the Greek myth of Icarus, who flew too close to the sun and perished. Only in the reassuring "All the World" does good prevail. Kansas finally became a major attraction with their fourth album, Leftoverture, on the strength of the hit single "Carry On Wayward Son." "Carry On," with its heavy guitar riffs and high vocals, became a signature piece for Kansas. "The Wall," with its thickly textured sound and vaguely spiritual lyrics, remains a fan favorite. Perhaps the most bizarre piece is "Magnum Opus," a lengthy, mostly instrumental piece composed of six sub-sections with whimsical titles. "Leftoverture" represents the maturation of the band's sound--interlocking melodies, tight playing, and almost fugue-like sections combined into a crisp fusion of hard rock and progressive influences. Most reviewers of the time concurred, and while "Carry On" was becoming a hit, most of the album received heavy play on FM stations. Having achieved stardom with Leftoverture, Kansas followed up with the even more successful Point of Know Return, spearheaded by the haunting acoustical piece "Dust in the Wind." "Dust in the Wind" portrays a bleak view of the impermanence of the world, while "Nobody"s Home," "Sparks of the Tempest," and "Lightning's Hand" dwell on the folly of man and the likelihood of his self-destruction. "Point of Know Return" saw Kansas move more towards shorter, compact songs, which still exhibit melodic interplay and Livgren's philosophical lyrics. Kansas was always known for their tight live performances, and fans were gratified by the release of Two For the Show, a double-album live release. "Two For the Show" is an outstanding live recording of most of Kansas' best-known songs. Unfortunately, the CD re-release of this album required cutting one song ("Closet Chronicles" from Point of Know Return) to get everything onto a single compact disc. Kansas returned to the studio and delivered Monolith, their first self-produced album. The opening song, "On the Other Side," has proved enduring, and "People of the South Wind" was a minor hit as a single. However, the album failed to hold the audience built through Leftoverture and Point of Know Return, as sales dropped. A year later, the band followed up with Audiovisions, the last production of the original band lineup. The songwriting rift between Livgren and Walsh, evident on Monolith, was even more pronounced on Audiovisions. Livgren's recent conversion to Christianity was reflected increasingly directly in the lyrics of even minor hits like "Hold On," a mostly acoustic ballad, and "Relentless," a straightforward rocker. "No One Together," a holdover from Monolith, still demonstrates a progressive edge that by the time of Audiovisions was on the wane in Kansas. In the interval between Monolith and Audiovisions, both Livgren and Walsh produced solo albums of modest success. Livgren's album, Seeds of Change, was effectively a Christian rock album with guest appearances from a diverse array of talent, including Jeff Pollard of LeRoux, Ronnie James Dio of Black Sabbath, Barriemore Barlow of Jethro Tull, and David Pack of Ambrosia, as well as members of Kansas. While content to let his guests supply most of the voices, Livgren did manage to make his vocal debut on the blues number "Whiskey Seed," proving that, as a vocalist, he was a heck of a guitar player. Walsh's solo effort, "Schemer Dreamer" was a much more straightforward rocker. It, too, featured a number of band and guest appearances, including Steve Morse of the Dixie Dregs. The title track received a reasonable amount of AOR/Top 40 airplay. While in hindsight the two solo albums clearly articulate the musical and lyrical differences between the two, at the time they seemed merely to be a typical indulgence of the era--the opportunity to work with other artists in a more casual atmosphere. Citing artistic differences over the direction that Kansas should take, and hoping to establish a solo career, Walsh left the band just before the recording of their next album Vinyl Confessions. Walsh soon after founded a decidedly non-progressive rock band called Streets. He was replaced by John Elefante, a fine vocalist to whom fell the unenviable job of filling Walsh's shoes. Vinyl Confessions, under Livgren and Elefante's direction, had a strong Christian influence, which, coupled with Walsh's departure, alienated many long-time fans. Robby Steinhardt left the band after the Vinyl Confessions tour. As Livgren went through severe writer's drought, most of the next album, Drastic Measures, was written by Elefante. The absence of Steinhardt's violin and Walsh's vocals and much of Livgren's creative impetus resulted in an album that seemed to many fans to be a Kansas album in name only. The Christian lyrics are only slightly more subtle than those on Vinyl Confessions, while musically the album is nearly straight-forward rock. Kansas disbanded in 1984 as Livgren and Hope left to form the Christian rock band AD. The retrospective Best of Kansas release included one new song, "Perfect Lover," from the Elefante era. Walsh, Ehart, and Williams re-founded Kansas in 1986, adding acclaimed guitarist Steve Morse, and bass player Billy Greer from Walsh's now defunct band Streets. Their release Power saw Kansas re-enter the spotlight, as the soft ballad "All I Wanted" received extensive play on Top-40 radio. Pieces such as "Musicatto" and "Taking In the View" recaptured a touch of the progressive feel of earlier Kansas, but overall Power had a strong pop flavor to it. In the Spirit of Things is Kansas' only attempt at a concept album, detailing the destruction of a Kansas town by a flood. While not commercially successful, Morse's guitar work and Walsh's vocals recaptured the interest of some early Kansas fans, although "In the Spirit of Things" sounds nothing like early Kansas. "Bells of St. James" and "Rainmaker" are notable tracks. Once again, the members of Kansas "retired." A second retrospective "best of" album called Carry On was released but contained no new material. However, in 1990 a German promoter made an offer to the group to reform and play some shows in Germany. Initially the reunion band included all the original members except Steinhardt, along with Billy Greer and Greg Robert (who had been a session player for Power and In the Spirit of Things) on keys. After a short time, Livgren and Hope dropped out, and Steve Morse came back aboard. The reunion was originally a temporary deal, but the group enjoyed the European shows and decided to start touring the U.S., in early 1991. Since then, Kansas has toured fairly steadily, playing small-to-medium venues all over the country. Livgren was with the group during their European tour, but dropped out of regular touring at some point early in the U.S. tour, though he has made several guest appearances since then. In April of '91, Kansas added violinist/guitarist David Ragsdale. After a few months of U.S. touring, Morse dropped out, leaving the band with its current lineup. In 1992, Kansas released their second live album, Live at the Whisky, recorded in April of that year at The Whisky, a Los Angeles club, with Livgren guest-starring on two tracks. In July 1994, Kansas released a 2-disc (or 2-cassette) boxed set, entitled KANSAS. It consists mainly of remastered "greatest hits," some unreleased live tracks, and a new studio song, "Wheels," written by Livgren. In June 1995, Kansas released their first new studio album in seven years, entitled Freaks of Nature, on the Intersound label. Freaks of Nature, strikes a balance between covering new ground while simultaneously attempting to return to Kansas' progressive roots. Ragsdale's violin is featured prominently, and Ragsdale receives writing credits on many songs. The complex arrangements and instrumentation are reminiscent of Point of Know Return or Masque. Some listeners claim similarity to groups like Dream Theater. Kerry Livgren contributed the song "Cold Grey Morning." "Desperate Times" is the first single to be released from Freaks of Nature. The album has been very well received by Kansas fans. KANSAS' first public statement appeared on their self-titled album in 1974, "From the beginning, we considered ourselves and our music different and we hope we will always remain so." Little did this legendary rock group realize that back in the early 70's, what "seemed to be different," was actually ahead of its time. The members who make up KANSAS are; Phil Ehart (drummer), Billy Greer (bass guitar, vocals), Robby Steinhardt (violin, vocals), Steve Walsh (lead vocals, keyboards) and Richard Williams (lead and acoustic guitar). From the beginning, KANSAS achieved success by playing only their original music. This "garage band" from Topeka was discovered by Wally Gold who worked for Don Kirshner and released their first album in 1974. The band has produced eight gold albums, two triple Platinum albums (Leftoverture, Point of Know Return), one platinum live album (Two for the Show) and a million-selling gold single, "Dust in the Wind." KANSAS appeared on the Billboard charts for over 200 weeks throughout the 70's and 80's and played to sold-out arenas and stadiums throughout North America, Europe and Japan. In fact, "Carry On Wayward Son" was the #2 most Played Track on classic rock radio in 1995 and went to #1 in 1997. Original member and keyboard wizard Steve Walsh said of the band, "We're heading into a new century with new ideas and discoveries ahead. Once again, we want to spark the imagination." The sparks are now coming from an orchestral tour, with the accompaniment of top-caliber symphony orchestras, the group delivers a sound in a new setting that is strictly KANSAS...ahead of its time...again.
Visit:
Kansas' Homepage | Kansas' MySpace Page

Kentucky Blue

Kentucky Blue is a well known bluegrass band from central Kentucky. They have been together for more than twenty years. The band instrumentation includes acoustic guitar, five string banjo, mandolin, fiddle, upright bass fiddle and vocals. Kentucky Blue has been nominated as the Entertaining Bluegrass Act of the Year by the SPBMA (Society Preservation of Bluegrass Music Association). All the popular standard bluegrass tunes are included such as “Rocky Top,” “Dueling Banjos,” “Fox On The Run, “ “Orange Blossom Special, “ “Blue Moon of Kentucky,” and much, much more. They also include more widely known tunes such as “Bye Bye, Love,” “House Of The Rising Sun,” “Charlie Brown,” “Margaritaville,” and tunes from the movie “Oh, Brother, Where Art Thou” and many original tunes. With great 2, 3 and 4 part harmonies and red hot blazing instrumentals, this group will leave you wanting more. Their energetic show includes their great music, comedy , and has the crowd involved from the first note.

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Kentucky Blue's Homepage | Kentucky Blue's MySpace Page

Hog Operation

The Hog Operation is an ensemble that is steeped in Kentucky’s rich music tradition. This group gives high-energy performances created by the cross-pollination of many American roots music styles including Blues, Bluegrass, Celtic, Country and Rock. Hog Operation plays a style of supercharged Bluegrass music using traditional instrumentation-guitar, banjo, bass, fiddle and mandolin - that accompanies silky smooth three-part harmony vocals. The players are Steve Cooley, Screamin’ John Hawkins, Larry Raley and Chubby Spud (a.k.a. Mike Schroeder). This Louisville-based band has released two CDs New Litter featuring all original music and Nice Ham Bites, covering a variety of Bluegrass and Country standards. This ensemble draws musical inspiration and repertoire from the lonesome sound of the early Celtic settlers, as well as the field hollers and blues of the first African Americans that created the true beginnings of the Bluegrass Style.

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Hog Operation's Homepage | Hog Operation's MySpace Page

Michael Johnathon

"Michael Johnathon is a folksinger, songwriter, concert performer, author ... and now playwright ... who has a worldwide radio audience approaching a million listeners each week. He also created the world's first multi-camera weekly series broadcast on the internet.This 'Woody Guthrie in a Cyber World' grew up in upstate New York along the shores of the Hudson River. At 19 years old, he moved to the Mexican border town of Laredo, Texas and found a job working as the late night DJ on KLAR-FM. One night, he played 'Turn, Turn, Turn' by the 60's folk rock group The Byrds. As the song played, he recalled seeing Pete Seeger and Harry Chapin performing in his Dutchess County hometown in New York. By the time the song had ended, he decided to pursue a career as a folksinger. Two months later, he bought a guitar and a banjo and settled into the isolated mountain hamlet of Mousie, Kentucky. For the next three years, he traveled up and down the hollers of the Appalachian mountains knocking on doors and learning the music of the mountain people. Michael experienced hundreds of front porch hootenannies throughout Appalachia where folks would pull out their banjos and fiddles, sit on their front porches with him and play the old songs that their grandparents taught them. Soon enough, he began performing concerts at hundreds of colleges, schools and fairs. He performed two thousand Earth Concerts, plus benefits for the homeless, farm families, and shelters helping battered women and children. In all, he sang to over two million people in one four-year stretch. Billboard Magazine headlined him as an "UnSung Hero." He has been featured on CNN, TNN, CMT, AP, Headline News, NPR, Bravo and the BBC ..."
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Michael Johnathon's Homepage | Michael Johnathon's MySpace Page

Rhonda Vincent

Rhonda Vincent’s destination was determined long before she even realized it. Bluegrass being the family business, waking up each morning to the sounds of music, and spending each afternoon and evening playing the music her family plotted as their destination before she was even born.

In 2009, Rhonda Vincent moves toward her destination in life, with exciting changes, by introducing new music, and new members. With her goal clearly in focus, while climbing to new heights; she surrounds herself with a fresh new aura. The Wall Street Journal deemed her The NEW Queen of Bluegrass, but this All American Bluegrass Girl continues a rigorous tour schedule, and tireless work ethic; traveling and touring in the tradition of Flatt & Scruggs, on the Martha White Bluegrass Express, while living her dream and perfecting her newest Rounder Records project Destination Life.

“Destination Life”, available June 16, 2009 on Rounder Records, presents the bluegrass queen and her court, at the top of their game; and the greatest edition of The Rage formed to date.

Destination Life features only Rhonda and her Rage members; showing off the multitude of talents, musically and vocally; and raising the bluegrass bar to a higher echelon. Each member singing on a variety of songs, with various combinations; and contributing music tailored to their talents, of historical precedence.

Songs collected from around the world. Introducing new writers from destinations as far reaching as New Zealand, North Carolina, and California -- Destination Life, Heart Wrenching Lovesick Memories, Anywhere Is Home. Three originals co-written with friends -- What A Woman Wants To Hear, Last Time Loving You, I Heard My Saviour Calling Me. And familiar favorites like -- Stop The World, Crazy Love, 8th of January, and an inspirational straight from the hymnal, “When I Travel My Last Mile”. These, along with songs from seasoned writers Pete Goble and Paulette Carlson -- I Can Make Him Whisper, Crazy What A Lonely Heart Will Do.

Destination Life projects a new vigor, cleverly crafted, and passionately delivered by award winning musicians:

Hunter Berry begins his 8th year as a member of the Rage -- featured on fiddle and mandolin. He lends his unique vocal style to the newly penned “I Heard My Saviour Calling Me.” He recently bought his first home, and lives in his hometown of Elizabethton, Tennessee.

Mickey Harris cumulatively begins his 8th year as a member of the Rage – Mickey is featured on acoustic bass and brings a new instrument to The Rage sound with a WEBER Resophonic Guitar. He also lends his high-tenor harmony on many cuts. Mickey grew up performing in a musical family in Murfreesboro, Tennessee; and continues to live in the area with his wife Crystal, daughter Mikayla, and son Jackson.

Ben Helson is a relative newcomer to the bluegrass world. Born in the bluegrass state of Kentucky, toured with Ricky Skaggs & Kentucky Thunder, while simultaneously attending Bethel College in McKenzie, Tennessee. Ben leaves listeners spell bound with his expressive guitar work and vocal prowess; matching the 7-Time Female Vocalist of the Year note for note, as their voices blend beautifully together on the waltzing ballad “Crazy What A Lonely Heart Will Do”.

Aaron McDaris moves to the forefront as one of the top banjo players in bluegrass today, as he fingers his way throughout the project with innovative interplay on both banjo and 3-finger style guitar. His rich vocals are a warm addition to the trios on “I Can Make Him Whisper” and “Heart Wrenching Lovesick Memories”; and complete the gospel ensemble with his step-out bass vocal.

Rhonda Vincent leads the men of the Rage throughout the entire session. Singing with a renewed quality that reflects a relaxed yet refined performer. Her mandolin style tingles through several tunes, defining a distinct player, who can show her stuff, or support her band mates to build the foundation for one of the most popular groups of today’s generation of bluegrass music.

Destination Life is a new classic for traditional bluegrass lovers anywhere: and an exciting discovery for new listeners from all destinations.