"Patrice Pike brings acoustic electric songs and storytelling every Wednesday to the Mucky Duck from 6:30-8:30."
"Live albums can be risky. For many artists, they can expose weaknesses that a studio can compensate for, but, on the other hand, there are some musi- cians that shine in a live setting...... Patrice Pike, with her soulful clear and soaring vocals, is thankfully one of the latter. " Curve Magazine April 2012
You can hear the lively blend of fiddle, flute and percussion from the muddy sidewalk outside the pub. Inside, musicians pack the corner stage.
On the right are the fiddlers, three or four of them. To the left are the bodhran drummers, holding their ancient Irish tom-toms like shields.
An acoustic guitarist strums the rhythm at center stage, with a couple of penny-whistle players blowing in his ears. All the musicians are playing hard to be heard over the boisterous banter of patrons lifting pints of ale and stout malts at tables or at the bar.
A fiddler calls for The Cliffs of Moher, an instrumental known to Celtic musicians around the world. This leads into a medley of traditional jigs and reels that inspires one lass to do a high-hopping ceili dance in a corner of the room. An older man watches, smiles, claps along for a minute and orders another pint.
THE pub could be in Dublin or Belfast, where Irish folk musicians have passed down traditional tunes from generation to generation. Or it could be in New York or Boston, where tight Irish-American communities have kept a bond with old-country culture.
But it's not. It's right here in Houston's Upper Kirby district. The scene is replayed with minor variations every Wednesday night at McGonigel 's Mucky Duck's long-running Irish session.
“Earthy and gritty, their songs speak of pain, love, revenge and revelry with such spirit that they seem to be carved out of the planks of an abandoned backwoods cabin.” - Relix Magazine
“Every band has their time. This is The Black Lillies’ time. An album a long time coming is here, and very much worth the wait.” - Joe Limardi, Program Director, WSM (home of the Grand Ole Opry)
“With its mix of pedal steel guitar, banjo, and crystalline harmonies, the melancholic and modern Appalachia-meets-Americana sound of Runaway Freeway Blues is firmly rooted in the wandering spirit of a restless heart on the run.” - Glide Magazine
All Tickets are "general admission". Seating will be available on a "first come" basis.
Dinner service will be available inside the Duck.For fifteen years Reckless Kelly has been doing things their way, bucking the mainstream system and playing by their own rules, straddling the fence between country and rock as if they built it themselves. Throughout the years their old school approach to recording has always adhered to one main objective: make each record better than the last. Their latest effort, “Good Luck & True Love” is no exception to this rule.
That’s country rock. That’s old school. That’s Reckless Kelly.
We're throwing a big top birthday bash to celebrate!
What: KPFT 44th BIRTHDAY BASH
Where: McGonigels Mucky Duck, 2425 Norfolk, just off Kirby & 59.
When: Sunday, March 16 starting at HIGH NOON
Who: SHINYRIBS, DEL CASTILLO, LISA MORALES, ANNIKA CHAMBERS, TIM EASTON, PARKER MILLSAP, SIRSY
Why: Really??? It's a birthday party... and you are the gift!
Tickets are $20 and all that goes to support KPFT, your local community Pacifica radio station.
See you there! ...
The son of a welder from rural New England, Rod Picott is a masterful songwriter and soulful singer who carries with him as fine a suitcase of songs as you'll find anywhere. Slaid Cleaves, Ray Wylie Hubbard and Fred Eagelsmith have recorded Rod Picott songs. A former construction worker who hung up his tools when he released his debut CD in 2000, Picott has carved a career for himself with a run of 6 beautifully crafted self released CDs over the last 13 years and a well earned reputation as a engaging, emotion fueled performer.
Hang Your Hopes On Crooked Nail, produced by RS Field [Billy Joe Shaver, Justin Townes Earle, Hayes Carll] is a collection of carefully crafted songs of rugged truth and beauty. Recorded at Joe Pisapia's [KD Lang, Guster] Middletree Studios in East Nashville the CD highlights Picott's particular gift for exploring complex themes in common language. The eleven songs on Hang Your Hopes On a Crooked Nail offer an unblinking albeit wry gaze into our common heart and a clenched fist of defiance against the trials that tear at our humanity.
Amongst many attempts to describe The Whiskey Gentry, perhaps the best take was from Paste Magazine who called them a “toe-tapping, steamrolling kind of band, its fingers picking deep into fields of bluegrass…with a punk-inspired kick drum.”
The Whiskey Gentry’s catchy tunes reel in listeners spanning from music novices to mainstream audiences, while their musical mastery garners the professional praise and respect of those with the most sophisticated of musical palates.
If this American Album is your introduction to Beppe Gambetta, you’re about to learn why musicians around the world count him among today’s absolute best acoustic guitarists.
One ingredient is technical skill and virtuosity. Like only a few of the other great players, Beppe’s guitar is often recognizable whether the tune is unbelievably fast or hauntingly slow. Another is his deep feeling and respect for the traditions of folk music - not just the tunes and songs themselves, but also the lives of the people who made them and the role of music in fostering and shaping cross-cultural communication and community.
But amazing technique and a rich understanding of the past would not have been sufficient to elevate Beppe to the top tier of world musicians. What he also brings is something magical and harder to describe. It is a unique vision and fearless creativity through which he explores and evolves new layers of musical
territory and technique without ever losing a firm footing in his roots.
You hear it on this album from the opening track - a magnificent new piece Beppe composed that could be the soundtrack for a wonderful movie - to the last which is the reimagining of a tune we all know that was written 75 years ago by a Louisiana Governor. In between, there is a new interpretation of an Earl Scruggs tune many music fans including Beppe first heard on the Will The Circle Be Unbroken album in the 1970s, and also a little-known and beautiful melody by Norman Blake. There are medleys honoring the Delmore Brothers and the influential bluegrass guitarists Charlie Waller, Don Reno and George Shuffler. There is an old-timey song rescued from obscurity and a Canadian fiddle tune brought perhaps for the first time to the guitar. And there is more including another of Beppe’s new compositions – this one inspired by a visiting chipmunk who was apparently an Olympic sprinter in training.
As you listen, you may notice yet another important tradition at play here – that of the concept album. While each song and tune is clearly magnificent and quite capable of dazzling on its own, the whole is somehow even more than the sum of its parts. I should mention, I suppose, that Beppe’s roots are not entirely American. Having been born and raised in Genoa, which remains his home for part of each year, Italian traditions also infuse his work. The poetry and spice they add to this aptly-named American Album may be more subtle than on his others, but they are a welcome reminder that great music truly is a universal language ready to enrich our lives.
with special guests at 6:30pm:
Paper Moon Shiners from Austin, Texas. Specializing in vintage songs and originals inspired by the 20's, 30's, and 40's as well as cross-genre experimentation into blues, jazz, swing, rags, americana and folk.
After moving to the Dallas-Fort Worth area from the Midwest in the mid-’80s, Sara Hickman’s Piscean pluck immediately charmed most of the state right out of its Levis….in a live context she’ll make you hang onto your belt loops for dear life. - Austin Chronicle
A former Dallasite who got wise and moved to Austin, Hickman never does what’s expected of her, but always does it well. -Christopher Gray, Austin Chronicle
Hickman brings the kind of exuberance to her music that gives "female singer-songwriters" a good name. Even when exploring miseries, her sweet but not sappy voice really sustains her and gives her a kind of grace. -Austin Chronicle
Jessica Hopper October 31, 2012
"Choffel was one of the only singers on anyone's team this season who had the sort of voice you'd want to listen to for an entire album..." "all the vibe in the world" (The Voice, Season 3)
Jim DeRogatis March 21, 2009
"Hard-to-pigeonhole singer-songwriters are a dime a dozen in Austin, but Choffel, a big winner at the local music awards Wednesday, impressed me more than any I've heard here with a unique sound equal parts Beat poetry, smoky soul grooves and indie-pop eccentricity. Think Feist meets Erykah Badu..."
Jim Caligiuri April 19, 2012
“Not just another singer-songwriter, Suzanna Choffel is sexy and smart. Her band's mix of pop, soul, be-bop and adult themes creates a vision that is unique, thoroughly refreshing and worthy of national attention.”
Mead has announced U.S. tour dates in support of his debut album for
Nashville’s Plowboy Records, Free State
Serenade, a wild ride of hillbilly blues and honky-tonk. Mead, best known
for his work as frontman for BR549, wrote the album based on the stories, legends, crimes and lonesome open
roads of his childhood and formative years in Kansas. Free State Serenade
was recorded with his longtime band The Grassy Knoll Boys.
Free State Serenade jumps from jaunty mountain airs
like “Neosho Valley Sue,” in which BR549’s Don Herron lends his fiddle to what
Mead calls a “coming of age ditty,” to “Sittin’ on Top of the Bottom,” a
whip-smart ode to “Sittin’ On Top of the World.” “The Devil By Their Side” is a
dark, chugging rock ’n’ roll number about William Quantrill’s murderous 1863
Civil War raid of Lawrence, Kansas.
co-founded three-time Grammy®–nominated alternative country band BR549, who got
their start playing on Nashville’s Lower Broadway before recording seven
full-length LPs and winning a Country Music Association Award. With BR on hiatus, Mead formed the
Hillbilly All-Stars featuring members of the Mavericks, co-produced popular
tribute albums to Johnny Cash and Waylon Jennings, guest-lectured at Vanderbilt
University, and became a staff writer at one of Nashville’s top song
serves as music director for the hit Broadway show Million Dollar Quartet, currently touring throughout North America
to rave reviews. Mead has released two solo albums, Journeyman’s Wager and Back at
the Quonset Hut, with the Grassy Knoll Boys. Free State Serenade was co-produced with longtime friend Joe
Pisapia (k.d. Lang, Ben Folds Five) and features BR549’s Don Herron and Old
Crow Medicine Show’s Critter Fuqua.
According to Mead, “It’s been incredibly liberating to do all these things I’ve
never done before. I’ve already gone from the bars of Lower Broadway in
Nashville to the Broadway stage, and the upcoming album is one of the most
unique and rewarding projects I’ve ever been a part of. I’m looking forward to
where it all brings me next.”
Records’ founders are Eddy Arnold’s grandson and musician Shannon Pollard;
author, professor and music historian Don Cusic; and punk legend Cheetah
Chrome. Their first two releases include Darker
Than Light by Bobby Bare, who was inducted into the Country Music Hall of
Fame last month, and You Don’t Know Me:
Rediscovering Eddy Arnold, a tribute album to one of the most influential
country musicians of all time, featuring a track performed by Mead.
Weeks puts together a batch of consistently evocative, witty lyrics that he sings in a distinctively wry Lou Reed-meets-Willie Nelson voice. His country roots are strong enough that he’s cranked out the instant honky-tonk classic “The One Who Wore My Ring,” yet, like Peter Case, he also obviously knows his Lennon-McCartney songbook well enough to come up with the pure-pop bounce of “That’s What I’d Do.”
Weeks first gained attention when Lucinda Williams recorded his song “Can’t Let Go” on her breakthrough, Car Wheels on a Gravel Road. More than a decade later, he’s still producing snappy compositions that crackle and pop with life ("Summer of Love,” “I Think You Think"). The Will Sexton-producedGoing My Way travels the Americana road with well-worn style and soft leather panache ("Black Coffee and Lifesavers,” “That’s What I’d Do"), Weeks’ distinctive voice sometimes reminiscent of a young Willie Nelson. Since he’s made an auspicious local debut, here’s a reckless wager that Randy Weeks and Texas will be a match made in Lone Star heaven. - Margaret Moser, Austin Chronicle
His recent move from L.A. to Austin led to “Going My Way” being produced by Texas Americana ace Will Sexton, and probably at least partially explains the juicy New Orleans funk they’ve brought to “I Think You Think.” That song and “I Couldn’t Make It” showcase Weeks’ love for language and his engaging wordplay. - Randy Lewis, Los Angeles Times
Each performer gets three songs or 15 minutes on stage.
McGonigel's award winning Open Mic, ongoing since 1990, has been hosted by such well respected musicians as Will LeBlanc, Lisa Morales, Michael Stroup and Wayne Wilkerson. Some pretty famous long tall Texans have made the Duck Open Mic their testing ground for new material.
The Duck stage is open for you to present your original compositions or a favorite song made famous by someone else.
Comedians, poets, jugglers and mimes also welcome.
Don't be shy. Come on out ~ It's your turn to be a Mucky Duck Open Mic Star.
No cover charge
Eliza Gilkyson is a politically minded, poetically gifted singer-songwriter who has become one of the most respected musicians in Folk and Americana music circles. The daughter of songwriter Terry Gilkyson, whose songs were recorded by artists as diverse as Johnny Cash, the White Stripes, and Dean Martin, Eliza was headed for a career in music at an early age.
She has appeared on NPR, Austin City Limits, Mountain Stage, Etown, Sirius/XM, Air America Radio and has toured with Richard Thompson, Patty Griffin and Mary Chapin Carpenter. She has been inducted into the Austin Music Hall of Fame alongside legends Willie Nelson, Townes Van Zandt, and Nanci Griffith, received a Grammy nomination for her 2006 CD "Paradise Hotel", and is an ongoing winner of the Austin Chronicle's various music awards, as well as the Folk Alliance Best Artist, Best Songwriter and Record of the Year.
Eliza’s music has always reflected her vivid vision of the world around her, full of joys and sorrows, each song a window into a life of struggle and triumph in a world she feels is “poised on the edge of moral, economic and environmental bankruptcy.”
Her latest release on Red House Records, "Roses at the End of Time" illuminates the issues, the inspirations and the agonies of our time, and the struggle to remain human in the midst of multi-dimensional crises.
Bless my soul, what’s wrong with me? I should have explained this to you already. Shinyribs is the musical wanderings of Kevin Russell from The Gourds.
Russell has always been a prolific songwriter and performer. Shinyribs is the necessary out growth of this. Russell did the math over the last 18 years and figured out pretty dang quick that he would never be able to include all of his songs or even most of his songs in the shows and recordings of The Gourds. Plus he is seeking to stretch out as a performer and band leader.
A noticeable progression in quality has been evident in his recordings and shows with this group since he began it back in 2008. He began performing once a month at a venue called, Under The Volcano. And within two years he had formed the group of people and songs that would stay in place thru this very day. Shinyribs first recording, Well After Awhile, was released to much critical acclaim in 2010 on Nine Mile Records.
Andrew Dansby of the Houston Chronicle calls the MilkDrive repertoire “a virtuosic blast of bluegrassy string-band music.”
With labels that range from jamgrass and nu-folk to redneck gypsy jazz, the band has built a following that’s as funky and friendly as they are.
The group plays festivals from coast to coast every year, with stops in between at Colorado’s beloved RockyGrass Festival and at home at the Austin City Limits Music Festival.
Following a long-run in the Houston/San Antonio-based folk duo Sisters Morales, Lisa Morales steps out with an astonishingly beautiful solo debut “Beautiful Mistake” that is as cathartic as it is devastating in its fearless confrontation of grief.
Lisa has been a diva in disguise. She sings the love songs of a strong grown woman in a voice that demands that you look her in the eye. One imagines her singing a roadhouse into rapt attention. All of the songs are superbly crafted with verbal and aural hooks.
The years of playing live give her music a Texas flavor delivered with an air of authority.
The music of Shelley King draws from and blends a spectrum of roots music styles, but one word succinctly describes it: soulful. Be it R&B, folk, blues, country, bluegrass or rock — or combinations of and variations on those themes — she delivers the goods straight from the heart with a voice that’s splendidly rich and warm and as big as all outdoors. Writing “a proverbial trunk full of instant hits and yet-unheard classics,” as the Austin Chronicle describes her songs, King has risen from the vibrant music scene in the Texas capital city to charm fans across North America, Europe and Japan, win two Austin Music Awards, and be named the Texas State Musician for 2008.
Robyn’s critically acclaimed new album features a dizzying cast, including Producer/Multi-instrumentalist Gurf Morlix (Lucinda Williams, Blaze Foley), Ian “Mac” MacLagan (Small Faces, Faces, Rolling Stones), John Ludwick, Eddie Cantu, Gene Elders (George Strait, Lyle Lovett), Trish Murphy, and Slaid Cleaves.
Out of These Blues takes Top 10 Albums of 2011 honors from Austin City Limits, No Depression, Texas Music Magazine and 93.3 KGSR as well as Best Album of 2011 by the Texas Music Scene.
Album of the Day: Mike Stinson/Hell and Half of Georgia- I know absolutely nothing about this guy truth be told. The title alone gets points. This is a rocking and rootsy collection. Stinton's voice comes off as the real thing. Not a great singer in the Marvin Gaye sense but authentic and believable and that's what matters. Produced by RS Field.
This is the best bar band record I've heard in a lon...g time and that's not a sideways compliment. How many times do you hear a bar band translate to tape. It's not as easy as you would think. No lyric book- but it's not mixed like a record that begs a lyric book, point taken.
This record makes me wish I was in a bar watching the condensation roll down the side of a Shiner with my arm around the waist of girl in a tank top. Maybe she drives a 72 Ford F-150........ - Rod Picott
Texas Music Magazine’s 2012 Artists of The Year – Mike Stinson
No. 53 (Winter 2013)
Mike Stinson took a leap of faith three years ago, chucking his crown as the reigning king of Los Angeles honky tonkers aside, loading a U-Haul and heading for Texas. Since arriving in Houston in June 2009, it hasn’t been easy; he’s had to claw and scratch and hustle to learn the ways and mores of the Texas scene.
But 2012 finally saw Stinson turn a certain corner as he began to attract the attention of more venues, particularly in Austin. In the past year, though still based in Houston, he and his band have earned their spurs by becoming one of the only Houston roots acts who can regularly draw a decent payday in the Live Music Capitol.
They’ve become favorites of the savvy dance crowd at Ginny’s Little Longhorn Saloon, the longtime stronghold of artists like Dale Watson, Billy Dee and Rick Broussard. He also finally came to the attention of the Continental Club as well as newer venues like the White Horse and Blackheart. And he’s been hand-picked to open shows for Dwight Yoakam, the Gourds, Chuck Prophet and roots rock icon Joe Ely. Not many so-called honky tonk bands are up to that task.
Along the way, Stinson has learned there’s more to Texas than honky tonkin’ and two-steppin’. He is one of the few bands in the state that can do a four-hour country dance gig at Ginny’s or Blanco’s one night and take on all comers at rock joints like Rudyard’s Pub or Sons of Hermann Hall the next. As one female fan was heard to say, “He’s like a cross between Willie Nelson and Joe Ely.” That description is as accurate as any.
A sneak listen to his hook-laden next album, tentatively titled Hell And Half Of Georgia, and dropping in 2013, reveals all the honky tonk songwriting smarts that have made him a favorite of writers like Jim Lauderdale and Jesse Dayton, who produced Stinson’s 2010 celebrated twanger The Jukebox In Your Heart, which contained Houston Press’ Song Of The Year “No One To Drink With.” But in the next album Stinson muscles up and rocks like no other Texas honky tonker. Period. With a crack band that includes former Hayes Carll guitarist Lance Smith, Stinson is just one break away from the next level.
Austin based indie-folk-americana duo Dawn and Hawkes have had an encouraging year. After a happenstance encounter, songwriters Miranda Dawn and Chris Hawkes joined together to multiply their talents and formed a male/female fronted band touring the country and sharing songs, shows, and everything in-between.
Dawn and Hawkes first appeared in front of a large audience at the Kerrville Folk Festival, where Dawn was awarded as a finalist in the New Folk competition for emerging songwriters. By June, they had recorded and released their self-produced EP, GOLDEN HEART, featuring signature harmonies and an indie-folk sound influenced by Americana, country-rock, and classic Beatlesque-pop.
What is now a full-time touring and musical partnership, began with modest expectations. "I was out listening to the blues at a little juke-joint in East Austin and asked this pretty girl to dance" says Hawkes, "We were having a good time dancing and found out we were both singer-songwriters." Dawn continues the story saying, "Our timing and rhythm were just in-sync and when we added harmonies, songs, and guitar playing, it all went together - like dancing."
with special guests: Jason Bancroft and the Wealthy Beggars
Lost & Nameless will be giving away a free CD with every pre-sold ticket for this show! Show your presale receipt/ticket stub and get a free CD.
The Lost & Nameless Orchestra is on the verge of something special.
Festival appearances at Old Settler’s Music Festival - the premier Americana showcase in Central Texas – as well as the Kerrville Folk Festival, Fitzgerald’s American Music Festival in Chicago, plus headlining shows at such esteemed venues as Austin’s Cactus Cafe, Houston’s Mucky Duck, and Gruene Hall in the Texas Hill Country mean a rapidly growing fan base for the supremely talented quartet.
As audiences from Portland, Oregon, to New York City have discovered, the energy coming from the stage when the Lost & Nameless Orchestra is in full flight is astounding. Now, after producing two EPs and a self-titled album on their own, the quartet is preparing for the next step in their evolution.
In August 2013, they entered the Nashville studio of Grammy winning producer Bil VornDick (Alison Krauss, Jim Lauderdale, T-Bone Burnett, Peter Rowan) to record a collection of new songs with hopes of releasing their next record early in 2014. VornDick states, “I feel this album will break them out into the world market. It’s real refreshing.”
Arkansas fiddle champion, Chris E. Peterson met guitarist/vocalist Patrick Conway in St. Louis, and after playing and touring together they ended up in Austin. The lineup solidified with the addition of Nathan Quiring on keyboards and 17-year-old music prodigy, fiddler Kimberly Zielnicki. The resulting chemistry among the foursome has propelled them into new and exciting territory individually and as a band.
Peterson began teaching Zielnicki violin and fiddle when she was 9 years old. She would join them onstage; at first for a song or two, and eventually as a full-fledged member of the band. In the intervening years Zielnicki has studied under nationally recognized names Mark O’Connor and Elana James of the Hot Club of Cowtown. She won the Youth Talent Competition at Old Settler’s in 2012 and later that same year, was recognized as being in the top 1% of all UIL violinists in Texas.
with special guest - Keeton Coffman
After gaining the generous support of fans through a kickstarter campaign in May of 2013, Jennifer headed to the studio with 12 brand new songs in hopes of capturing a fresh new sound. The result is a very pleasing and groovy vibe that is well received by all kinds of listeners – offering a little something for everyone.
Folk Family Revival, comprised of the Lankford brothers – Mason, Barrett and Lincoln – and Caleb Pace, has been described as Americana, folk and country, but their unique sound has influences spanning rock and bluegrass as well.
As the primary songwriter, Mason - who is not yet twenty - fronts the band with vocals and guitar, Barrett plays bass, Caleb is found on electric guitar, mandolin and lap steel, and Lincoln backs the band up on drums and percussion.
Childhood friends (and brothers), the foursome has already been featured on Fox26 and live radio and has opened for artists like Charlie Robison, Cody Canada & the Departed, The Marshall Tucker Band, Rodney Atkins and the Trishas.
In their not-so spare time, the boys enjoy squirrel hunting, practicing new music in their shed, working on cars and reinforcing the bond that makes them such a moving and awe-inspiring act – despite their young age.
"Too country for country radio, Koch these days would get filed under folk, the same place you find too country for country folks such as Lucinda Williams. That’s country’s loss." (Houston Chronicle)
Berkalin Records recording artist and seventh generation Texan Libby Koch (pronounced “coke”) is an Americana singer-songwriter based in Houston. The 2013 Houston Press Music Award winner for Best Songwriter draws from a classic Americana blend of country, folk, and rock, with influences from great artists such as Emmylou Harris, Lucinda Williams, Janis Joplin, Patty Griffin, Gillian Welch, and Dolly Parton. Her goal is to make real, honest music that resonates with people.
Del Castillo began as a CD project for family back in the winter of 2000 and has become a symbol of the cross-cultural power of music with their eclectic blend of Flamenco, Rock, Latin, Blues, and World music.
Between the release of their first CD, Brothers of the Castle back in 2001, to their 2006 release, Brotherhood, Del Castillo has received an astonishing 18 awards including SXSW/Austin Music “Album of the Year” Awards for Vida (2002) and Brotherhood (2006), “Band of the Year (2003)”, ASCAP’S “Best Independent Group of the Year (2005)”, and Austin Music Pundits “Best Live Act (2004)”.
Rolling Stone calls Del Castillo “tumbling brilliance on nylon-string classical guitars” with “eruptions of technique and taste (that) conjure images of Eddie Van Halen fronting early Santana (with an assist from the Gipsy Kings).“
Film Director Robert Rodriguez attended a Del Castillo concert in 2002 and a great friendship developed between the two. Rodriguez then enlisted the group to contribute music to the soundtracks of his movies, such as “Spy Kids 3D”, “Once Upon a Time in Mexico”,“Sin City”, and “GRINDHOUSE”, and perform with him at the premieres. Rodriguez was so impressed with Del Castillo that he wanted to record with them, so together, they formed CHINGON and recorded an amazing electric rendition of the Mexican classic song, “Malaguena Salerosa”. Quentin Tarantino loved it so much that he re-did the ending sequence of “Kill Bill Vol. II” to fit the song into his movie.
with John Staehely John and Evelyn Rubio
Al Staehely has been writing and playing music for a long time. Born and raised in one of the world’s most influential music towns, Staehely often found great inspiration in the nooks and crannies of Austin’s musical landscape. His foray into instrumentation and songwriting began at an early age thanks in part to his mother’s love of good music. An injury in his early teens resulting from the intense heat of a typical Texas summer kept Staehely from further pursuing athletic endeavors. During the year that he was injured, Staehely began to channel his energy into making music. Armed with a guitar, on loan from a cousin who most likely saw Staehely’s true potential, he learned the chords for Ricky Nelson’s “Poor Little Fool” and from that moment forward his passion for making music grew.
In the early ‘70s, Staehely earned his JD from the University of Texas at Austin. Rather than jump straight into practicing law, Staehely opted instead to tuck away his law degree and hop on the first plane to Los Angeles where he joined the well-established ‘60s rock band Spirit. Staehely took on the role of the band’s frontman, bassist, and principle songwriter. The Staehely-fronted incarnation of Spirit toured the world promoting their highly-acclaimed album Feedback. Once the band parted ways, Staehely and his also-musical brother wrote and released an album on Epic Records in 1973. From there Staehely continued to write songs and perform with a number of notable artists including John Cipollina and Nick Gravenites.
Over the past few of decades, Staehely has collaborated with some of music’s greatest musicians. He has lent his signature sound to many an album and has had several of his own songs recorded by Keith Moon, Bobbie Gentry,
Staehely has toured Europe, written songs, performed his work in front of thousands of people and still finds time to cultivate his solo career.
Geoff Muldaur is one of the great voices and musical forces to emerge from the folk, blues and folk-rock scenes centered in Cambridge, MA and Woodstock, NY. During the 1960's and '70's, Geoff made a series of highly influential recordings as a founding member of the Jim Kweskin Jug Band and the Paul Butterfield's Better Days group, as well as collaborations with then-wife Maria and other notables (Bonnie Raitt, Eric Von Schmidt, Jerry Garcia, etc.).
He left the stage and recording world in the mid-1980's for a working sabbatical but continued, however, to hone his craft, albeit 'flying beneath radar'. He composed scores for film and television, and produced off-beat albums for the likes of Lenny Pickett and the Borneo Horns and the Richard Greene String Quartet. Geoff's his definitive recording of "Brazil" provided the seed for - and was featured in - Terry Gilliam's film of the same title.
With his magical voice and singular approach to American music in tact, Geoff is once again touring the world. He performs in concert halls, performance spaces, clubs and festivals througout the US, Canada, Japan and Europe. Geoff may be heard from time to time as a guest on Garrison Keillor's A Prairie Home Companion and has been featured on a variety of National Public Radio shows, includingWeekend Edition, All Things Considered, Fresh Air with Terry Gross, and The World with Lisa Mullins.
“The great Texas rocker and songwriter, Doug Sahm, called Austin "Groove City" hence the Groove of Twang an' Groove.
Songs I have written at my home in Texas always needed a feel that is unique to those hills. This is the sound of Twang an' Groove.
I began recording some of my new songs with Mike Morgan, who plays bass with me now and we¹ve invited some other great players to join the Twang an' Groove experience. I play electric guitar and superlative drummer Jamie Oldaker brings that Tulsa beat to our groove.
I have admired Jamie's approach to the drums since his days with Eric Clapton and later, The Tractors. Twang n' Groove is where Rhythm and Blues meets Reggae at an all-day Bluegrass pickin' party.” - Peter Rowan
“Depending on the Distance,” Jimmy LaFave’s first studio album in five years, lives up to the intriguing promise of its title, finding the Oklahoma-Texas troubadour in a contemplative mood whether he is crooning his new original songs, covering an ’80s pop smash or reinterpreting anthems penned by Rock and Roll Hall of Famers Bob Dylan and Bruce Springsteen.
Much like his mentors Bob the Bard and Oklahoma songwriting icon Woody Guthrie, what the red dirt pioneer’s voice lacks in technical prowess it more than makes up for rootsy, relatable authenticity. The Austin, Texas-based singer-songwriter, who spent his teen years in Stillwater and dug his musical roots in the red dirt hotbed, is in such a mellow mood on the follow-up to his 2007 “Cimarron Manifesto” that the passion of the achingly lovely opener indeed seems to come out of the “Clear Blue Sky” and the sharply written socially commentary of “It Just Is Not Right” sneaks up to prick you in the conscience despite the tip-off of the title.
There’s even an understated elegance to his rendition of John Waite’s often-covered 1984 chart-topper “Missing You,” which LaFave strips of the cheesy, dated production and transforms into an emotionally layered guitar-and-piano ballad with the help of Oklahoma guitarist Travis Linville.
Golden-throated folk songstress Eliza Gilkyson prettily backs the fellow Austinite on his take on The Boss’ “Land of Hope and Dreams,” while big-voiced Texas jazz/soul songbird Tameca Jones amps up the gospel groove of LaFave’s uplifting original anthem “Bring Back the Trains.”
LaFave also boosts the volume and energy on “Red Dirt Night,” his boogie-woogie tribute to his Oklahoma upbringing and the small towns that dot the Sooner State.
But the moments of introspection dominate “Depending on the Distance,” with the wistful ode “A Place I Have Left Behind” lingering in the heart and mind long after the final notes have faded as surely as the lost love affair the song memorializes. — BAM
" It's hard enough to get this many talented guys in one room much less on the same stage. The first time I saw them I could feel the energy and really enjoyed seeing that they were having as much fun as the packed house was. " - Joe Ables Owner of the Saxon Pub
"Moonlighters were one of the TOP shows of 2011 in Luckenbach! The energy is great, the song selections, vocals and musicianship can't be beat. These guys are pros and they are there to make the audience have a good time." Abbey, Talent buyer Luckenbach Events
Nobody expected Lily & Madeleine’s first original song, “In the Middle,” to rack up a quarter of a million YouTube views. The Internet is obsessed with what’s new and what’s next, the fads and memes of viral culture, and so it would have to seem a little incongruous for social networks and content aggregators to embrace gimmick-free, black-and-white footage of an unplugged duo crooning a bittersweet and understated melody.
But there’s something inherently incongruous about the music of Lily and Madeleine Jurkiewicz, a pair of slight teenagers with singing voices this assured and worldly. Their first EP, The Weight of the Globe, sounds like something out of another age, not the work of a pair of sisters born less than two decades ago. No wonder that, on the strength of their viral video performances, Lily & Madeleine managed to sell out the first two live shows of their career, and enlist the help of Asthmatic Kitty Records.
Their songs are the product of two distinct musical personalities. Madeleine, the older sister with a light, smooth singing style, leans towards folkier, singer-songwriter fare; Lily helps lean the duo towards its gentle rock edge, and has a dark, earthy voice to match. But their voices blend into seamless close harmonies, created with the natural ease that could only come from a pair of musicians who have known each other literally their entire lives.
"The cream always rises to the top, and there are young performers out there who will find their audience [such as] Warren Hood, a terrific songwriter and singer." - Lyle Lovett
Warren Hood began playing the fiddle at the age of eleven. He attended Berklee School of Music where he was awarded the school's top honor - The String Achievement Award.
He has since gone on to win numerous awards for string virtuosity and has been recognized three times as String Player of the Year in the Austin Chronicle Music Poll.
The son of Austin, TX music legend, Champ Hood (Uncle Walt's Band, Toni Price), Warren has become an accomplished multi-instrumentalist, songwriter and singer. He has toured extensively as a member of acclaimed Bay Area band The Waybacks (featured on NPR) who accompanied former Grateful Dead founder Bob Weir and as violinist for world-renowned recording artists, The BoDeans.
He has also performed and/or recorded with such noteworthy artists as Lyle Lovett, Joan Osborne, Emmylou Harris, Ben Kweller,Little Feet, Elvis Costello, Susan Tedeschi, Gillian Welch, and Alejandro Escovedo.
"Hood has style to burn, with a knack for composing songs as ageless as they are pleasing to hear." - Margaret Moser, The Austin Chronicle
The Warren Hood Band features Austin guitar ace Willie Pipkin, and singer and pianist, Emily Gimble. Gimble is the granddaughter of Grammy Award winning fiddler Johnny Gimble, who was a member of the original Texas Playboys. Emily has also gained notoriety for her role as lead singer and pianist of the Marshall Ford Swing Band. She has shared the stage with such greats as Ray Benson, Marcia Ball, Bobby Bare and Willie Nelson.
"Emily Gimble ... sings with an amazing, free, effortless style. She sounds a little bit like Norah Jones and Billie Holliday, but it as not as mannered or stuffy as other female singers ... What I like about Emily is that she is totally unaffected, and the music just pours out of her, like it floats up out of her body, like an essential part of her." - Elana James.
The Freedom to Fail marks an exploration into new territory for 20-year Austin veteran Guy Forsyth. Rather than focus his efforts solely on producing an album that embodied the considerable energy surrounding he and his band’s dynamic live performances, Forsyth instead opted to create a work focused on songcraft. One that reflected the power of the live show, but that also doubled as a cohesive message to his young daughter, instilling upon her – among other things – the importance of living with the freedom to fail.
“These songs represent an articulation of the changes in my viewpoints and the new legality that I see,” Forsyth explains of the album, his first on Houston-based imprint Blue Corn Music. “Becoming a father in this period of time and looking around me and trying to figure out what it is that I had to say to my daughter to explain myself. I don’t feel the need to explain myself to everyone, but I sure as hell feel the need to explain myself to my daughter, because I want her to have that sort of connection with her origins.”
with special guest hometown celeb and veteran of season four of NBC-TV’s The Voice - Savannah Berry
Kristian Bush, one half of platinum-selling country duo Sugarland, has been leaving his mark on music for more than two decades. He is currently on the road with his 2014 Put Your Soul In It Tour. A prolific songwriter, Bush is in the process of narrowing down the 300+ songs in his catalog for his debut solo album, due later this year.
Bush is a Grammy Award-winning singer, songwriter, producer and multi-instrumentalist who started his career with folk rock duo Billy Pilgrim in the early '90s. He and partner Andrew Hyra released a much-lauded pair of albums for Atlantic Records (their 1994 self-titled debut and 1995's Bloom), earning multiple Top 5 singles on the AAA charts, rotation on VH1, and a reputation as dynamic live performers who traveled from the tiny stage of Eddie's Attic in Decatur, Georgia, to a worldwide tour supporting Melissa Etheridge in 1995.
Bush founded Sugarland in 2002; in 2004, he and singer Jennifer Nettles exploded onto the music scene. They have surpassed sales of over 22 million albums worldwide, achieved five No. 1 singles and won numerous awards, including trophies from the Grammys, AMAs, ACM Awards, CMT Music Awards and CMA Awards. In October of 2012, they were inducted into the Georgia Music Hall of Fame.
To date, Bush has won six BMI Awards for his songwriting abilities, and in 2011 founded the music publishing company and songwriting collective Songs of the Architect. Recent producing/songwriting collaborations include Mike Elizondo, Rita Wilson, Dia Frampton, Ellis Paul, Laura Bell Bundy, Matt Nathanson, the dB’s, Martin Johnson of Boys Like Girls, Pretty Little Liars star Lucy Hale, and up-and-comers including Kristina Train, Larkin Poe, Natalie Stovall, Canaan Smith, Jaida Dreyer, Alana Springsteen, and The Voice contestant Savannah Berry.
Bush made his solo debut in March 2013 at the inaugural C2C: Country to Country Festival, held at the O2 Arena in London. His first release as a solo act, “Love or Money,” debuted in the UK and Europe the following week, and in October of 2013, he stood by his promise to release “Love or Money” at home in the US as well – the song is now available worldwide via iTunes and anywhere digital music is sold.
with special guest George Devore.
Her soulful compositions and raspy voice outlive her personal reinvention as she finds driving rock rhythms in her guitar and on her piano – the latest addition to her cadre of talent. Bonnie wrote the new material with a simple notion in mind: You have to love yourself before you can fully love and be loved by anyone else.
Slaid Cleaves. Grew up in Maine. Lives in Texas. Writes songs. Makes Records. Travels around. Tries to be good.
Granted, there’s a whole lot of history and detail that could be shoehorned into that most minimal of bios to flesh out Cleaves' story. But all that’s really called for, from time to time, is a footnote or two to bring folks up to speed on his latest batch of literate, sepia-toned Americana songcraft. This year’s bounty comes baring the foreboding title of Everything You Love Will be Taken Away, but fans of the Austin-based singer-songwriter needn’t fear: Everything you love about the man’s singular voice and music is still very much intact.
It’s been five years since Cleaves’ last album of self-penned songs, 2004’s acclaimed Wishbones, which fans had waited nearly as long for in the afterglow of his 2000 breakthrough, Broke Down. But Cleaves’ slow-and-steady-wins-the-race pace has always yielded albums full of uncommonly fine-tuned songs built to stand the test of time, and Everything You Love . . . is par for his course.
Take the lead-off track, for example. “I think of that song as sort of a breakthrough,” he says of “Cry,” which jumps out as not only one of the most emotionally trenchant songs of his career, but also arguably one of his catchiest. “It showcases a shift in focus that I've taken with my songwriting. It's a bit more internal, personal. I actually recorded that song four separate times, because from the start it felt like something new and special, and I wasn't quite sure how to present it. But I always felt like this one could go all the way if I did it right. I thought it had the bones of a thoroughbred.”
One line in “Cry” lends the album its title and establishes a theme that runs throughout the record. “Whether it’s your loved ones, your way of life, or even just your sense of innocence and hope, every song in some way is about how it all gets taken away," says Cleaves.
To put the new record together, Cleaves teamed again with co-writing buddies like Rod Picott and Adam Carroll, as well as famed roots-rock producer Gurf Morlix. Additional tracks were cut with long-time road-guitarist Charles Arthur in Virginia, and Austin singer-songwriter and producer Billy Harvey was called in help find that elusive, perfect take on “Cry.”
Everything You Love . . . marks Cleaves’ debut on the newly launched co-op label Music Road Records, the brainchild of fellow Austin songwriter Jimmy LaFave. “I’m in on all the decisions,” says Cleaves. “It feels good to have so much more control over my fate now. I figured, I cut my own hair, I fix my own car — so why shouldn’t I be the one responsible for getting this work of mine out into the world?”
Only time will tell how this new journey pans out; check back again in, oh, hopefully sometime before another five years have gone by. But in the meantime, there’s plenty to savor right here and now in the digital grooves of Everything You Love Will be Taken Away. Hold onto it for dear life, and savor every minute of it. - Richard Skanse, Editor, Texas Music
An evening of eclectic blues with the 'freight train rhythm' of Milton Hopkins' guitar playing and the vocals and horn playing of Texas Johnny Boy.
Hopkins, nephew of the great Sam "Lightin' Hopkins, left a career with blues legend BB King both as a recording sideman and bandmate on the road to settle down in Houston. (Lucky us, huh?)
Texas Johnny Boy, who is first and foremost a vocalist, also plays harmonica, flute, and saxophone in the classic Texas and Delta blues styles.
But besides all the music credentials, they're pretty good looking, don't you think? - Houston Press
“Lord have mercy…Wood is a down-home, old-fashioned girl with a wicked streak” — Indie-music.com
“A superb singer/songwriter whose versatility discourages labeling.” — Fort Worth Star-Telegram
“Beth Wood is a musical triple-threat — a thoughtful songwriter and talented multi-instrumentalist with a supple, soulful voice.” — Washington Post
“Wood is about as good as it gets if you appreciate the singer/songwriter genre.” – Charlotte Creative Loafing
“…when you come across a recording like Beth Wood’s “The Weather Inside” you take note and recognize that this is the work of a genuine artist with a remarkable voice determined to make meaningful and lasting art.” –Lone Star Music Magazine
To hear them sing together is to understand opposite attraction, spontaneous combustion and a whole lotta life lived together. Robison and Willis—two decades in—know the way the other leans almost without talking.
For all their differences musically—Willlis explains, “I’m more rockabilly/60s, and he’s got that ‘70s Texas songwriter thing”—they’re both artists deeply rooted in the hard country, yet deeply progressive music scene that’s Texas post-Bob Wills. A place long on big emotions, serious Saturday nights, long necks, roadhouses, big hair, roughnecks and tender hearted women, Texas’ Robison and Willis bridge the gaps and build a refuge for the Venus/Mars continuum that is men and women high on hormones and short on guilt, not to mention the craggy aftermath of same.
They also follow in the tradition of couples making kinetic music of all stripes. Not just Johnny and June and Tammy and George, Waylon and Jesse or even Conway and Loretta, but also X’s roots-steeped punks John Doe and Exene Cervenka. That merging of songs and life, knowing and dreaming adds depth and frenzy to the music.
THE RED ELVISES are a party band, as you might expect from the title of their latest album, "Drinking With Jesus." A group of mostly Russian emigres playing surfabilly and singing comical lyrics in a Russian accent, dropping "a," "an" and "the," for effect, the Red Elvises' 13th album continues their tradition of reliably enjoyable novelty music with a few terrific tunes per platter. "Jesus" isn't their best album, but considering the political climate, it might be their most diplomatically important.
Since their early albums, they've cultivated eclecticism. Here, there's the klezmer-influenced "Lara's Wedding," the shantylike "Into the Sun," the cabaret "Paris Waltz" and the interesting but unsatisfying N'awlins-inflected album closer, "Bourbon Street." The rest of the songs are less distinguishable, though "Twist Like Uma Thurman" nearly lives up to its nonsensically playful name.
The band has undergone several personnel changes in its 13-year career, but the sound hasn't changed much, as lead guitarist Igor Yuzov and bass balalaika player Oleg Bernov have hewed closely to the surf rock and American kitsch they've been winking at since their first record. The Red Elvises are at their best live. They're silly and fun. What more do you need? -- Alexander F. Remington, Washington Post
“If blues, soul, and rock can be said to form a triangle, you’ll find Hamilton Loomis right in the center of it”, says Guitar Player Magazine. An apt description, as young Loomis is one of the young artists at the forefront of bringing blues based American music into the 21st century and redefining it for a contemporary audience. Spanning youth and tradition, Loomis bridges the gap between generations of music-lovers both in the U.S. and around the world.
Whereas similar aged acts like Black Keys, Robert Randolph and White Stripes play American rock music with heavy blues influences, Loomis plays the inverse. His is an undeniably blues based artist escalating into what All Music Guide calls “…a mixed bag of modern blues, modern funk, and slick soul.”
Join us for a great Moa Beer Brunch today at 1pm
More Than Just Horn Rims and Hair.
With music born on the bayous of Houston and injected with influences from the Mississippi Delta to the boroughs of NYC, John Evans has already taken over his hometown with EIGHT STRAIGHT YEARS OF HOUSTON PRESS AWARDS including six time BEST MALE VOCALIST, four time BEST SONGWRITER, two time MUSICIAN OF THE YEAR and BEST ROOTS ROCK.
“Fullbright synthesizes the best songcraft from his home state — [Jimmy] Webb, Leon Russell and, by default, Merle Haggard.… He’s got a tune called ‘Forgotten Flowers,’ a thoughtful country lament, that Tom Waits and Randy Newman could fight over.” — Thomas Conner, Chicago Sun-Times
2012–2013 has been a groundbreaking period for John Fullbright, and the Grammy nomination for From The Ground Up was just one of many highlights. Since its release in May 2012, Fullbright’s first studio album has garnered high praise from peers and pundits alike, making the young Oklahoman the most talked about young singer/songwriter in music today.
In December 2012, Jimmy Webb presented John with the prestigious ASCAP Harold Adamson Lyric Writing Award, calling John “one of the best writers I have heard in a long, long time.” Earlier in the year, John was invited to sing for the Chuck Berry Rock & Roll Hall Of Fame Tribute.
While the rest of the cast strapped on Fender guitars, John played “Downbound Train” on piano as Chuck sat twenty feet away.
2012–2013 has been a groundbreaking period for John Fullbright, and the Grammy nomination for From The Ground Up was just one of many highlights. Since its release in May 2012, Fullbright’s first studio album has garnered high praise from peers and pundits alike, making the young Oklahoman the most talked about young singer/songwriter in music today.
Radney Foster crafts story songs with singular grit and grace. Clear evidence: The celebrated songwriter’sDel Rio, TX 1959.
Twenty years ago, the contemporary country classic showcased a songwriter in peak form with hits brassy (“Just Call Me Lonesome”) and bruised (“Nobody Wins”) and buoyant with blues (“Easier Said Than Done”). “Del Rio’s arguably the best country record I’ve ever made,”
Foster says. “So many young singers and songwriters come up to me and say, ‘I wore that record out.’”
Take Darius Rucker. “I told Capitol in my second meeting that if they wanted me to record Del Rio, TX, 1959 all over I’d be fine with that,” the country superstar says. “Radney Foster’s my biggest influence.”
It may have been Moore's guitar talents that first won him attention.
But as Tucson Weekly recently noted, "His recent albums have positioned him as one of the most soulful singer-songwriters around, and one of the most diverse."
Or as Seattle's influential weekly The Stranger said not long ago, "Your new favorite artist has arrived."
Similar praise greeted Moore on his national debut nearly 15 years ago, because for Moore. the path and process to where he is going has always been his focus, and it has consistently made arriving at each destination that much sweeter.
Salim Nourallah has spent the last decade putting together an impressive collection of music and has established himself as a noteworthy producer. With his latest album, Hit Parade, recorded with an energetic band of established musicians, Nourallah has expanded his pop sound into something more assertive and raucous.
He’s always been a smart songwriter, but he’s further developed his ability to tap into domestic experience in ways that work. Coupling catchy rock with mature but not old lyrics, Nourallah has assembled the best album of his career.
Billy Harvey continues to play his own brand of Post-Modern Pop, working also as a producer for artists like Charlie Mars, Bob Schneider, Slaid Cleaves and Steve Poltz. A prolific writer, he's received an International Songwriters Award for Best Rock Song, "Frozen Through," and broke into the Top 100 on the CMJ Charts with Bear Sick. His songs are being showcased in films and TV. "Heading for the Hills," from his latest album was featured on ABC's Private Practice. "The Greatest Escape" won a Best Song Award when it was highlighted in Strings, a multiple award winning festival release in which Billy starred as a troubled musician, who in the wake of his daughter's death is duped by an experimental therapist who convinces him to leave his old life behind and take on a new identity until the musician realizes the therapist is using his patients to commit vigilante crimes and sneaks back to visit the life he left behind.
Alex Dezen is the lead singer and songwriter for the American rock and roll band The Damnwells. He is also a multi-platinum selling songwriter.[ He holds an MFA degree in English from The University of Iowa's Iowa Writers' Workshop, and has since released songs with artists such as Justin Bieber, Matt Hires, Court Yard Hounds, Cody Simpson, and others.
He has also written for and worked with a number of additional artist such as The Dixie Chicks,Dave Grohl, Gary Louris of The Jayhawks, Sara Bareilles, Jason Derulo, Christina Perri, Genevieve Schatz of Company of Thieves, Kelly Clarkson, Simple Plan, Jesse & Joy and many others. As a guitar player and singer, he has performed on albums for such artists as Cody Simpson, Matt Hires, Stoney LaRue, and Justin Bieber. He's currently signed to Warner Chappell Music Publishing.
Flat-picking harmony duo The Milk Carton Kids have emerged in the last three years as a powerful voice defining the continuing folk tradition. A refreshing alternative to the foot-stomping grandeur of the so-called "folk revival", an understated virtuosity defines The Milk Carton Kids to the delight of traditionalists and newcomers to the folk movement alike.
Indeed, Garrison Keillor has called them "absolute geniuses in close-harmony", while cultural purveyors like T Bone Burnett and Billy Bragg continue to refer the importance of The Milk Carton Kids among a group of new folk bands expanding and contradicting the rich tradition that comes before them.
The Los Angeles Times lauds their latest Anti- Records release "The Ash & Clay" as displaying "absolute mastery of their craft" while Paste Magazine emphasizes the "intellectual sophistication of their songsŠmaking The Milk Carton Kids an option for purists unsatisfied with some of the pop tendencies seeping in to the genre."
Beyond their inventive guitar lines and intricately interwoven vocals, the road-addicted duo is celebrated for the wry and biting humor that has become a beloved mainstay of their shows, with Fretboard Journal declaring, "The Milk Carton Kids are funny. Seriously funny. And what is only hinted at on their albums and within some of the lyrics is on full display during their live performances."
Best Female Blues Artist
Ruthie won Female Blues Artist of the Year in the 20th Annual Living Blues Awards – Critics’ Poll! You can check out the full list of winnershere
Best Female Vocals
Ruthie “Best Female Vocals” at the 2013 Austin Music Awards
[read all about it here]
Ruthie Wins the Koko Taylor Award
Congratulations to Ruthie for winning the 2013 Koko Taylor Award (Traditional Blues Female) at the 34th annual Blues Music Awards!
The Blues Music Awards are universally recognized as the highest honor given to Blues artists.
Ruthie Voted One Of The Top Current Female Vocalists
The Alternate Root Magazine puts Ruthie Foster at #23 on their list of “The Top 30 Female Vocalists – Right Now”!
What the Critics are saying.......
“…a masterful approach to song craft reminiscent of John Hiatt and James Taylor…-NoDepression.com
“…an unforgettable album.” –SomethingElse.com
“Solid songwriting meets with soulful vocal delivery and a brilliant guitar tone…” -Roots Music Report
On the radio:
Blues: #8 Living Blues Chart
Americana: #40 CHART DEBUT
”An Americana Sensation” – WSM 650
“The future of original string music…” Keith Harrelson, Moonlight on the Mountain
“Harpeth Rising, warm, honest and true music by four exquisite musicians.” Peter Zeijl, Folk En Zo
HARPETH RISING’S music is the convergence of a classical education and a passion for folk music, Americana, blues, bluegrass and all things acoustic. Named for the small but powerful river in Tennessee, they create original songs that layer rich instrumental arrangements with four part harmonies and lyrics that depict wanderlust, eternal curiosity, class struggle and extraordinary love. The result is a sound that defies category. The four members met while earning performance degrees at the Indiana University Jacobs School of Music, and despite their diverse beginnings (hailing from vastly different cultures and geographic areas,) found in each other a unified musical idea – and a brand new one at that.
Beginning in the mind of Canadian-born Kentuckiana-transplant Jordana Greenberg (violin), Harpeth Rising crawled out of the river when California-native Rebecca Reed-Lunn (banjo), joined Greenberg in a youthful cross-country spiritual quest. Their adventures through the desert and on to Hawaii via the Telluride Bluegrass Festival convinced them that folk music was their path, and Harpeth Rising was truly born when Chris Burgess (percussion), and Maria Di Meglio (cello), came aboard. Burgess’s Kentucky roots and Di Meglio’s ethnic Brooklyn background added new dimensions to their sound, allowing them to both honor and expand musical traditions. Despite the presence of only four instruments on stage, Harpeth Rising produces a profusion of sound generally created by a much larger ensemble. Di Meglio transitions fluidly between providing the bass line and taking the melodic lead, while Burgess constructs a matrix of percussive elements that blend seamlessly into the musical texture. Reed-Lunn’s highly original style of claw hammer banjo–learned mainly by watching YouTube–is both surprisingly lyrical and intensely driving. Greenberg takes on the role of concert violinist and accompanist with equal facility, and ensures that a lead guitar is never missed. Their harmonies, two, three and four-part, run the gamut from traditional Bluegrass to full on Gregorian organum.
Their live performances are high-energy, kinetic events in which both their ability and their love of music are obvious. Harpeth Rising can create a listening room from a rowdy bar crowd, and inspire rowdiness in even the weariest of audiences. After only a few months as a band, they embarked on a self-booked tour of England, which included a performance with The Bath Philharmonia. They were invited to perform at The Cambridge Folk Festival the following summer, and have since played folk festivals across England and the United States. Building their fan base in the tradition of all wandering minstrels, passionately and by word-of-mouth, they now perform to sold-out audiences internationally. They have released three albums in as many years – Harpeth Rising (2010), Dead Man’s Hand (2011) and The End of the World (2012), a collaboration with master wordsmith David Greenberg, father of Jordana Greenberg. Their fourth album, Tales From Jackson Bridge was released October 3, 2013 to acclaim from audiences and critics alike.
The California Guitar Trio can play the last movement of Beethoven's Ninth Symphony, minus the voices but with pretty much everything else intact, on three guitars and nothing else.
They play progressive rock, surf music, jazz, blues, country, probably the definitive version of "Bohemian Rhapsody," and some traditional North African and Asian sounds for good measure. Like most Californians, the three members of the California Guitar Trio all come from someplace else: Bert Lams is Belgian, Hideyo Moriya is from Japan (where the band has a strong following), and Paul Richards is from Salt Lake City.
The CGT is a melding of diverse talents unlike anything you've heard before, and one you can't afford to miss. They recently celebrated their 20th anniversary with the release of a fine new album, "Andromeda."
Thirty-five years after Steve Forbert’s first release, Alive on Arrival, the muse of a true romantic continues to burn.
Over With You, his 14th studio album, points out the lyrical brilliance of Forbert, an expert in capturing the essence of human interaction since
bursting onto the global music scene in 1978.
Forbert says, “The album’s very personal, mainly about the friction inrelationships…as in mine.”
His debut album, Alive On Arrival, now considered a classic, was recentlyfeatu red in the book Please Allow Me To Introduce Myself.
Originally from Meridian, Miss., he traveled to New York in 1976 and playedfor spare change in Grand Central Station while seeking work in the local folk venues. The crowds at CBGB’s accepted his performances as much as the audiences in traditional clubs and theaters.
He vaulted to international prominence with his second album, Jackrabbit Slim, which went gold behind the hit single, “Romeo’s Tune”, and his tribute to Jimmie Rodgers, Any Old Time, was nominated for a Grammy Award in 2004.
“I didn’t invent folk-rock or country rock, I was keeping a particular American tradition alive,” Forbert says.
Forbert’s lengthy discography has established him as an American treasure.
Wood & Wire features Matt Slusher on mandolin, Tony Kamel on guitar, Trevor Smith on Banjo, and Dom Fisher on bass. When the original trio got together in the fall of 2011, things started happening quickly.
From the very beginning, their chemistry made collaborating easy, and they practiced relentlessly as they built their sound. Focusing hard on three-part harmonies, thought-out arrangements, and some hard-driving pickin’, all of which is anchored by Dom’s solid bass playing.
Old tunes that Slush and Tony had written in the past were given new life, and the group’s collective energy created inspiration for new songs along the way. Trevor started jamming and performing with the trio in December 2011 and officially joined the band in March 2012, adding a whole new element to the quartet.
For more than three decades, Texas singer-songwriter Shake Russell has been entertaining audiences throughout the region with his unique, Americana style of folk-rock. A prolific songwriter, Shake has written or co-written hundreds of melodies.
Through the years, Shake’s songs and albums have frequented the Billboard charts, with many, including “Deep in the West,” “You’ve Got a Lover,” “Put Yourself in My Shoes,” “One More Payment,” and “Our Kind of Love” being recorded by such distinguished artists as Waylon Jennings, Jessi Colter, Ricky Skaggs, Clint Black, and Carolyn Dawn Johnson. Ricky Skagg’s hit recording of “You’ve Got a Lover” has appeared on three of Ricky’s albums.
Part of the beauty of Terri Hendrix’s music is she’s among the best at recognizing, writing about and celebrating resilience and common ground, the things we can all cry, and laugh, about.” — Jim Beal Jr., San Antonio Express-News
“ ... She is the consummate triple threat, excelling as a songwriter, performer and recording artist. With more than a dozen albums in her catalog, she seems equally comfortable with blues, folk, story songs, ballads, folk-rock, country and a surprisingly fresh take on New Orleans-style jazz and jazz swing.” — Jim Lipson, Feature: Owning Her Own Universe, Tucson Weekly
He is a songwriter's songwriter, cut from the same cloth that propels an artist on a committed journey to experiencing life as a series of creative events and fulfilments. Even though the musical high road is typically scattered with twists of fate and a few u-turns along the way (all of which make for great lyrics), Michael continues to forge ahead by just keeping on doing what he loves.
an American Grammy Award-winning gwriter. He was born and raised in Lubbock, Texas and is now based in Bulverde, Texas.
Arguably best known as a pedal steel player, Maines is a multi-instrumentalist who has also performed and/or recorded playing dobro, electric and acoustic guitar, mandolin, lap steel guitar,banjo and bell tree. He toured and recorded as a member of the Joe Ely Band and has also played with Guy Clark, Butch Hancock, Terry Allen, Jimmie Dale Gilmore, Golden Bear, and other Texas musicians.
Maines was a member of The Maines Brothers Band in the late 1970s and early 1980s and has contributed to alt-country releases, including Uncle Tupelo’s Anodyne and Wilco’s debut, A.M..
Hailing from one of the most famous lineages in American music would surely create challenges for most artists to create their own identity, but not for singer-songwriter Holly Williams. The granddaughter/daughter of Hank Williams, Sr. & Hank Williams, Jr. respectfully, makes her independence evident on her third studio album – The Highway – released on her own imprint, Georgiana Records, earlier this year.
Co-produced by Williams and Charlie Peacock (The Civil Wars), The Highway contains 11 original tracks written or co-written by Williams and features guest vocals from Jackson Browne (“Gone Away From Me”), Jakob Dylan (“Without You”), Dierks Bentley (“’Til It Runs Dry”) and Academy Award winner Gwyneth Paltrow (“Waiting On June”). Raised in Nashville, Tennessee, Williams embraced music by playing songs on the guitar and writing songs as a teenager. Soon after, she started booking herself in nightclubs and hit the road driving her mother’s suburban across the country. In 2004, her debut album, The Ones We Never Knew, was released and she soon expanded her touring around the world opening for Keith Urban, John Hiatt, and John Prine.
A near-fatal car accident with her sister Hilary two years later left the emerging songstress unsure if she would be able to play the guitar, but she was able to overcome her injuries and began playing and writing songs. In 2009 she released her follow up album, Here With Me. People Magazine declared the album, “One of the Top 10 albums of the year”, and Billboard said it was “...one of the best singer/songwriter albums to come out of Nashville”.
During this same time she married fellow musician Chris Coleman, and launched a high-end women’s boutique in Nashville called H Audrey.Reflecting back on her life, Williams once again became inspired to write and record another album. The Highway, she says, is her coming of age record. “These songs really brought a focus into my life personally. I turned 30, I got married, my grandparents passed away, I opened a clothing store, my husband tours the world...there’s a lot to keep up with,” says Williams. “But the highway came calling and I suddenly had this serious longing for the road, storytelling, and sharing the life I live.”
Williams collaborated with songwriters Lori McKenna (“Without You”), Cary Barlowe (“’Til It Runs Dry”), Sarah Buxton (“A Good Man”) and even penned 3 of the albums tracks with her husband Chris.
Many a green song writer has squeezed callow lyric from near-empty diaries, hoping that one day life might catch up with their words. Robyn Ludwick entered the world of song primed by years of life lived. When pen did come to paper, it teemed with ink—and was driven by a hand softened by love and strengthened by life.
Her earliest nights found her sprawled across the folding chairs of many a Hill Country dancehall, eyelids closing on her grandparents, as they twirled each other over creaky wooden floors. Her older brothers would grow to be Two of Texas’ favorite sons, Bruce and Charlie Robison.
Some part Mary Gauthier, some part Sugarland, some part country Dylan, all parts love and lust and desire, Ludwick brings it strong and true.
So in all seriousness, if you are the kind of person that likes to catch a rising star, catch Ludwick's now. Her music is powerful and outside the mold of Nashville and outside the Country-Rock community of Tift Merritt, Kid Rock and Sheryl Crow.
Bill, father of Kasey Chambers is one of those growling singers who owes a substantial debt to both Bob Dylan and John Prine. Perhaps it’s a result of those early weathered years he spent roughing it in the outback with his family.
"My kids Nash and Kasey grew up listening only to the music I played on cassettes or on my guitar around the campfire. Songs of Hank Williams, the Carter Family, Johnny Cash, Jackson Browne and John Prine," remembers Bill. "I'm entirely self taught. I guess that's why I sound like I do."
There's much more to Bill Chambers than just being Kasey's dad. The patriarch of the Chambers Clan is considered by some to be Australia's premier alt-country guitarist. He can be a master of delicate picking on Dobro or Lap Steel and a demon on Slide. Along with producing albums for the likes of Catherine Britt, Audrey Auld, Bec Willis (co-produced with Kasey) and the Dead Ringer Band, Bill has still found time to write most of the songs on his albums - the ARIA nominated 'Sleeping With The Blues' , ‘Frozen Ground’ and his most recent, 'Drifting South'.
"What I love the best is to get out on the road and perform the songs. I still play in Kasey's band when she's on the road and the gigs take us all over the world. That's where I get many of the stories for my songs," says Bill.
Most recently Bill recorded his first DVD ‘Live At The Pub, Tamworth’, reliving the great atmosphere that his Tamworth sessions have become famous for. Showcasing Bill’s best original songs, his large collection of guitars and guest appearances by the likes of Shane Nicholson, Kevin Bennett and Kasey Chambers. Richard Jinman from The Sydney magazine describes Bill’s music as reminiscent of Daniel Lanois eerily spacious work, all elongated guitar phrases, shuffling drums and ambient rumbling, the combined effect is as seductive as hell.
Raised in Beaumont, TX, near the childhood home of George Jones, Jesse Dayton grew up on the hardcore honky tonk of Jones, Hank Williams, Sr., and Lefty Frizzell, but also blues artists such as Lightnin' Hopkins and Mance Lipscomb....
John can boast six wins for Best Male Vocalist, four for Best Songwriter and a pair for both Best Roots Rock and Musician of the Year. You won't hear him boast, though. He's as humble as they come. And the most personable performer on the road. He'll make each and every audience member feel like a family member.
Imagine you are Texas singer-songwriter Bruce Robison on any given Saturday night, and you might be forgiven for thinking life looks pretty good. You’re on your way to headline at one of the Texas Hill Country’s legendary dancehalls—the Broken Spoke, say, or Gruene Hall or Floore’s Country Store—when one of your songs comes on the radio. Maybe it’s Tim McGraw and Faith Hill’s hit version of “Angry All the Time,” or George Strait’s cover of “Wrapped” or even the Dixie Chicks’ No. 1 hit, “Travelin’ Soldier.” It’s a pleasant interlude in what Dan Jenkins used to call “Life Its Ownself.”
As one of the most acclaimed tunesmiths to come out of Austin, Bruce has worked in the traditional musical model all his life: Sign with a label; Record an album; release single; tour to support same…and repeat.
After leaving an indelible mark after a successful run on season three of NBC's The Voice, and earning high praise from the likes of CeeLo Green and Blake Shelton along the way, the rest of America now knows what her fans learned long ago—Emily Earle is one of the most uniquely talented and genuine singer/songwriters to come along in quite awhile.
After cultivating her talents during three years at Berklee College of Music in Boston, Emily set out for New York City, where she further honed her one-of-a-kind style by playing Gotham’s subways.
Now living in Nashville, Emily Earle continues her musical journey every day. In addition to her national television appearances, she has also performed on stage in Las Vegas with CeeLo Green and The Muppets, toured with her uncle (legendary American singer/songwriter) Steve Earle, and has had her work featured on AmericanSongSpace.com.
“With a stylistic sweep that encompasses country, blues, jazz and practically everything in between, Texan Terri Hendrix has created a flourishing cottage industry with a consistent string of albums hailed by fans and critics alike.” — Lee Zimmerman, M: Music & Musicians
USA Today spotlighted the song “Einstein’s Brain” as a “Playlist” top 10 pick of the week, calling it “a bittersweet reflection on life’s limits, rendered with Hendrix’s usual rootsy grace.”
Griffin House writes a great pop song. That isn't such an unusual talent in Nashville, a town where every other drink is poured by an aspiring songwriter. (And a lot of drinks get poured in Nashville.) There are sardonic artists in Nashville and, alternately, singer/songwriters who treat the stage like a confessional. But House manages to pull off both wry and sincere at once. He then he sets it all to viscid melodies that stick in your ear like a warm hunk of taffy. That is pretty damned unique.
His latest album, Balls, was funded by his fans through Kickstarter. It's a stripped-down sound that showcases his voice, his guitar, and his knack for songcraft. Bostonians will appreciate the references in "Fenway, though there's clearly a lot more going on in the song than a trip to a Red Sox game. "Colleen" is a catchy, up-tempo tribute to a lusty crush he once had on his sister's roommate. And then there's "Woman With the Beautiful Hair," House's ode to the murder ballad.
House is more accustomed to dabbling in the typical singer-songwriter fare -- love, loss, crush, heartache -- but with a detail and specificity that only comes from personal experience. A song with a refrain like "Relationships I don't know why, they never work out they just make you cry / but the guy that says goodbye to you is out of his mind," could only be written by a guy who once spoke those words to a woman -- or at least terribly wanted to. Likewise, "Ah, Me" is an unflinching tale of a broken engagement too candid not to have actually happened. (And yes, it did.) "New Day," one of his best, is a soaring gospel-inflected tribute to finding redemption after loss, could only have come from someone who -- well -- found some redemption after a loss. - Huffington Post
At home in the worlds of both classical and popular music, Eden MacAdam-Somer is one of the most exciting and versatile young violinists and singers performing today. She has been a featured soloist with symphony and chamber orchestras, jazz and swing bands, bluegrass, DAWG and American folk groups.
Eden is also well-versed in the music of other cultures, including Irish music, Eastern-European music, and European music from the Medieval and Renaissance periods.
She has been an artist at the Aspen and Beijing International Music festivals, soloist at Texas and Wimberly jazz festivals, performer at Texas and St. Louis Renaissance fairs, and has appeared on numerous recordings in folk, rock, jazz, and classical genres.
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