BOXING DAY / ST STEPHEN'S DAY MASS
Doors at 11 - Mass at 12pm
With the spirit of Christmas in the air, we remember the Feast of St. Stephen, deacon and martyr of the Church, who was charged with overseeing the distribution of goods to the community. It's also Boxing Day, a traditional British holiday where we remember those less fortunate in our city.
Please bring a donation of food, clothing or blankets that we will give to The Lord of the Streets, in keeping with the Boxing Day tradition of sharing from our wealth to those most in need.
A holy and wholly good celebration!
Pub Mass at noon offered by Bishop C. Andrew "Andy" Doyle to commemorate St. Stephen's feast.
The celebration of Boxing Day, which takes place on December 26 - the feast of St. Stephen, is a part of the holiday season unique to Great Britain.
It is on this day that the alms box at every English church is opened and the contents are distributed to the poor.
Also, this is the day that servants got the day off to celebrate with their families.
At 1pm, following the Mass, we will open for a festive and traditional lunch.
BOXING DAY LUNCH MENU
DECEMBER 26, 2014
At the core of Bob Schneider's talent lies a versatile singer/songwriter. But Bob has too much to say and too much to play to be tied to the limits of that model. All of his many faces are revealed through his solo work and the bands that he fronts.
His fans have come to expect the unexpected from Bob...
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.
For twelve years The Mighty Orq has been performing solo and with his band across the US and Europe. He has won three Houston
Press Music Awards (“Best Guitarist”- 2007, “Best Guitarist”- 2010, “Best Blues” – 2012), two regional International Blues Challenges
(2011 & 2012), and released six albums.
The new album, released in the summer of this year and entitled Soulful City, is a departure from the southern rock-leaning To The
Bone and Lost In Germany. This collection of new songs is a celebration of Orq’s native Houston and of that city’s rich musical
It showcases Orq’s acoustic and resonator guitar acumen, his fluency with different musical styles (blues, americana, pop,
instrumental acoustic), and various instruments (resonator, acoustic, & electric guitar, pedal & lap steel, bass, & percussion) as well as
highlights the continued development of his nuanced and arresting voice.
Additionally, Soulful City reached position # 20 on the Living Blues Radio Chart, and position #19 on the Blues Debut Radio Chart for the months of June and July 2013 respectively. The CD was made possible by a grant from the Houston Arts Alliance, and is available for purchase here.
Redemption through music is something Cory Morrow knows well after surviving nearly two decades in the rough and tumble music business. Battles with personal and professional demons inform Morrow’s music in a manner that many performers don’t have the experience to draw from.
His wide ranging life experiences allow him to be a consummate singer/songwriter. He has the ability to write a tale about heartbreak as effortlessly as he can pen one about a carefree goodtime. That truth and authenticity is balanced by his infectious optimism and excitable personality.
As a songwriter, Sayers manipulates classic tropes, from blues, R&B, and rock into something not quite new, but plenty fresh. Melodies and hooks are his strengths, along with passionate vocals and a plethora of guitar licks.
Showcasing a variety of approaches to the blues, heis consistently engaging and enjoyable. For the most part, Sayers gets in and gets out, gearing his musical statements to three-minute blasts of hook-filled, energetic songs the way they did it back when people bought 45 rpm records.
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
Anyone wondering about Wood & Wire’s sound need not look any further than the four-piece band’s name, which honors the purity of acoustic instruments and the gorgeous music a skilled artist can coax out of just simple wood and wire.
Founded in 2011, Wood & Wire’s core members are Tony Kamel on lead vocals and guitar, Dominic Fisher on Bass, and Trevor Smith on Banjo. Their sound, as Smith puts it, is “a modern take on traditional mountain, hillbilly, and country music”.
In February 2013, the band released their self-titled debut album to much critical acclaim. In March of this year, the guys began work on their follow up album working again with Grammy nominated producer/engineer Erick Jaskowiak in Nashville, TN. Their second effort is a coming of age collection of original songs based on real and personal experiences with a coastal theme and is set for release in early 2015. While Kamel is the primary songwriter and vocalist, his tunes become Wood & Wire tunes when coupled with the talents, insight, and ideas of Fisher and Smith. The album will also feature an original song written and sung by Fisher and an eclectic instrumental composed by Smith.
Touring heavily to round out the second half of 2014, the band has recently enlisted the talents of Billy Bright on the mandolin. Billy is a veteran in the acoustic music world having toured with Peter Rowan for many years and worked with heavy hitting legends like Tony Rice and Vassar Clements.
New Year's Eve Dinner Dance
Supperclub service beginning at 7:00pm.Four course dinner (details to come), party favors.
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.
Austin based indie-folk-americana duo 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. Within a month, 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. Written and recorded from their home in Austin, their debut album has climbed to the top 25 of Billboard's Folk chart.
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 the release of Feather,
his first full length album, Chris Lively strengthens his place in the US Gulf
Coast music scene. Featuring
spacious, layered vocals, non-traditional arrangements, intense introspective
and interpersonal themes, and instrumentation ranging from the telecaster to
the cello, Feather's twelve original songs pull the listener into a
culmination of years of Lively's study and songwriting effort.
Native to Houston, TX, USA, an
English teacher who has long been a musician, Lively began songwriting in the
late 2000's with a focus on lyricism and melody underpinned by euphonic
chording and folk/Americana inspired rhythms. His 2013 debut EP entitled The
a set of four haunting originals which set an artistic frame for his later
At the outset, Lively resolved to
find his own creative voice, document his experiences, and share them with
others -- “I had
been playing guitar and singing for years prior, so all the tools were there at
my disposal….It was
just a matter of learning how to integrate lyrical messages and stories with
melodies and use songs as vehicles for expression. I've had to write a lot of duds to
get to the songs I've wanted want to keep, but the experience of capturing an
emotion that I was after either consciously or unconsciously in a song has
proven unbelievably fulfilling.” Tirelessly performing both solo and
with backup musicians, Lively drives his message home to a growing audience.
Of the new album, Lively remarks, “As a whole, I feel the collection of
songs is really balanced in terms of energy, lyrical content, and overall feel.
I see some continuity between all of my songs in the sense that they are recognizably
me, yet there is a variety, tone, and dynamic range in this record that I’m stoked
about. My intention was simply to explore various styles and integrate them
into something honest and genuine. For the most part I think I achieved that.”
with special guests: Graham Wilkinson and Shawn Nelson
Recorded in Houston by local songwriter Jack Saunders, Jeremy O’Bannon’s debut album Olivia tracks love, loss, and holding on to what’s important in 12 pointed, singular tracks. It’s a songwriter’s album, with accessible guitar licks, definitive storytelling, and a clue of inspired musicianship, the summation of four years of writing sketched into the framework of the disc.
“There’s a theme of escaping in a lot of the songs,” says O’Bannon, 38, of his first collection. “It’s really about escaping this fine line we have to walk in order to be responsible in this world.”
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.
In 1983 Shake was commissioned by the Texas State University in San Marcos to write a song ,''River of Innocence''. for a documentary filmed and produced by the university. In 1986, Shake was asked by longtime friend Bruce Bryant, creative producer at Houston television station KTRK, to compose a theme song commemorating the Texas sesquicentennial. He obliged and wrote the regional favorite, “Traveling Texas.” Shake is a two-time recipient of the BMI “Million Air” award for Clint Black’s recordings of “Put Yourself in My Shoes” and “One More Payment,” both of which he co-wrote with Clint, and a four-time recipient of the BMI Writer’s Award. The Texas Music Association nominated Shake's song, “Cowboy Coffee,” for the “2007 Texas Music Awards Best New Song.” Shake made history by being named Entertainer of the Year for the third time (2004, 2008, 2011) in the Texas Music Awards!
Weaving sophisticated harmonies through his songs and drawing from various genres, Shake created a style of folk-rock that is uniquely his own. His repertoire consists of a blend of love songs, ballads, and waltzes, skillfully balanced with lively rockabilly tunes and soulful rhythm and blues pieces. His lyrics are imbued with beautiful imagery, catchy phrases, and inventive similes and metaphors. But it is the rich, melodious voice of Shake Russell that breathes life and spirit into the lyrics.
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.
Signup at 6:30. Music at 7.
No cover charge
with special guest - Ashley Monical
"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.
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. - Rick Mitchell, Houston Chronicle
Over the last fifteen years, LaVere has become a mainstay of the Memphis music scene with a sound parked at the crossroads of Sun-era rockabilly, alt-country, gypsy jazz, Americana, folk-rock, and about twenty other things I don’t have the space to mention here.
The alchemy of transforming disparate genres into a singular sound has always been a Memphis thing, really the Memphis thing. Memphis is the front doorstep of the Delta and, of course, the birthplace of rock ’n’ roll, a cultural hybrid if there ever was one. You’d be hard pressed to find an artist in town who better exemplifies this heritage of musical juncture and innovation than Ms. LaVere.
Walker’s brilliantly nuanced vocals are as natural, clear, sharp, and as effortlessly elegant as his guitar playing in these songs, and it all fits together into a warm, unadorned little album that reveals itself more and more with each listen. - All Music
It’s a welcome thing that Seth Walker’s chosen to pitch his tent in Americana. On his latest — Time Can Change — Walker has a way with smooth and swinging phrasing and makes classically accessible up-front pleas. - Nashville SCENE
Walker clearly illustrates his diverse musical talent and experience by building on what makes a great blues song. - KDHX 88.1 FM (St. Louis),
This young man is pure talent, a masterful blues guitarist, a singer with some swing in his voice and a writer whose (songs) sound less composed than unleashed.” –Austin American-Statesman
“The evening's best ringer was Ryan Montbleau, who had the task of covering the evening's title song, ‘Here But I'm Gone,’ from Mayfield's final 1997 album New World Order. Montbleau grasped the vulnerability of Mayfield's falsetto and turned every phrase with detail and depth. At times he sounded like Simply Red, other times he was even more transcendent.” - Chicago Sun Times
For those not familiar with Mr. Forsyth he plays a plethora of stringed instruments, both new and quite old, and he is quite adept at playing them.
Just the instruments give you a bit of a clue that you are not getting your ordinary straight ahead folk or singer/songwriter fare. The tunes vary from some strong singer/songwriter tunes based in the blues folk idiom, to a work song/sea chantey, Sink 'Em Low (the Holler), to some pretty heavy rock n' roll, to some almost jazz tunes though most stays close to that electrified blues/singer/songwriter idiom.
A diverse album that is like the title of it put out there for you and he isn't afraid that some of it might not appeal and thus in your mind fail, however he had the courage to put it out there. An interesting disc that is an abundant display of talent.
Sam Baker might be the most captivating songwriter in America. You’ll probably never catch yourself singing one of his songs in the shower, because his melodies generally tend to be as bare-bones servicable as the raspy scratch of his singing; but by God, you listen to what he has to say, hanging on for every line like a baby bird at feeding time. Sometimes his words come out haltingly, one by one; others tumble out of his mouth in spurts of nursery rhyme cadence (“copper penny for your thoughts/copper jacket full of lead/they wanted little Jimmy Cagney dead …”)
By the time he sing-speaks them all, he’s burned a black-and-white image or sometimes even a whole movie in your mind that lingers long after each song ends. Some, like “Juarez” and “Odessa” from 2007’s Pretty World, will haunt you for life. Baker’s fourth album, Say Grace, adds several more masterpieces to that gallery, begining with the title track’s poignant portrait of a woman weighing the ghosts of her past against the lonely onset of advancing age. In “Migrants,” he tells of 14 men who cross the border only to succumb to the elements of the brutal Sonora desert. “Ay mijitos/they looked like dried leaves/scattered in the sun,”
Baker sings with a sadness underscored by Joel Guzman’s keening accordion. “They got 12 lines in a midwestern paper/on the pages with the ads for shoes.” But there’s true grace here, too, from the sweetly touching but unmawkish “Isn’t Love Great” to the surprise sense of humor leavening the blue-collar angst of “Ditch”: “My wife God bless her and for what it’s worth/thinks she and Taylor Swift/were twins at birth/separated at birth/Earth to wife/wife to earth!” — RICHARD SKANSE
“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
John met Exene Cervenka at the Venice poetry workshop Nov 1976 and he started working with Billy Zoom around the same time. When DJ Bonebrake joined X in mid-1977 the line up was complete. They released six studio records, five or six singles and one live record from 1978-1993. Five of X’s records have been re-issued along with two compilations.
The Unheard Music documents their lives and progress as a band from 1980-83. In 2009 the film was included in the Sundance UCLA Archive of greatest films of all time. They appeared several times on American Bandstand, Solid Gold and David Letterman. As one of the last original punk rock bands standing, they continue to tour. The day that X played a free noontime concert in Fullerton, CA, they caused Orange County’s greatest high school truancy rate to date.
In 1988 John started a family and lived in the Tehachapi Mountains, near the “Grapevine” of Highway 5, which separates southern and central California. He has recorded 8 solo records w/ numerous renowned singers and players, more recently including Patty Griffin, Dan Auerbach, Aimee Mann, Don Was, Kathleen Edwards and Greg Liesz.
He has appeared in over 50 films and television productions, with some of his most notable roles in Road House, Georgia, Roadside Prophets, Great Balls of Fire, Pure Country and Roswell. He continues to act these days but more sporadically as his touring schedule has become more demanding.
Other musical side projects include work with the Knitters, Jill Sobule and The Sadies. He continues to write poetry and has even taught workshops from time to time. He currently lives north of San Francisco, California.
Piper Jones band combines the talents of Mucky Duck favorite piper EJ Jones of Clandestine and recent regular of the Grand Ole Opry, Houston native Frances Cunningham.
As the Piper Jones Band, EJ and Frances will join pipe band drummer Dean Atkinson for a night of brilliant bagpipe tunes and Celtic songs.
The Austin, Texas scene has survived and thrived for decades, outlasting brief artistic novae from places like Athens, Minneapolis, Raleigh/Durham and Seattle. Another notch on Austins musical barrel can be attributed to decidedly irreverent 7-piece combo the White Ghost Shivers, who harken back to the string band days of the Roaring 20s while adding elements of bawdy cabaret, bluegrass, swing and raunchy blues. Not unlike a volatile batch of bathtub gin, the music is potent, dynamic, a little dangerous and, once youre properly acclimated, easy to swallow. And funny as hell.
The instrumentation on Everyone's Got 'Em is period-correct: saxophone, prominent banjo, upright bass and acoustic guitar; theyre all played with equal parts precision and abandon. The title tracks jittery rag is chock-full of cheeky humor and old-fashioned vibe. My imagination instantly conjured up the singing frog from that old Looney Tunes cartoon, warbling as several monocle-wearing Monopoly bankers jitterbugged along, fingers wagging. That was during the opening song, mind you.
The bands mixture of pathos and humor shines on Mama Said which features brassy female vocals intoning morbid lines like In the end the worms will have their say, all the while inducing Happy Feet. Its certainly the peppiest rumination on death, the devil and retribution Ive heard in awhile.
The Ghost Song creeps along on a brooding clarinet line and trudging rhythm, while the narrators quavering, almost strangling vocal describes the haunting of someone who once performed a terrible deed. The staircase-climbing-and-falling accordion adds to the almost visual depth of the instrumentation, which effectively conveys a gothic oldness and coldness. Its still a hoot, though.
The jarring My Land is hilariously disorienting, as a retro-genteel rag is overrun by the ribald modernity of its lyrics, which (among other things) mention mullets, Camaros and liquor store robberies.
The White Ghost Shivers give the impression of a particularly aggressive 20s-era band transported to the present and realizing the ruckus they make is not only novel but also highly entertaining - so they naturally step up the energy level another notch. Yiddish fiddles rival modern guitar leads, manic banjos pump out feverish rhythms and horns leapfrog and argue throughout the faster numbers, leaving the listener more breathless than the players.
There’s a haunting voice that can conjure country legends or the best of the singer-songwriters. There’s an understated presence and raw talent. There’s a writer in full command of her craft. “There are definitely aspects of earlier country in there, rockabilly and Western swing, music of the Patsy Cline era,”
Lynn says. “I take some things from people like Conway Twitty and some of the other old country greats, and that’s very different from what country is now. Maybe that’s why the ‘country noir’ label is applied to my music so frequently. It probably should be ‘real country,’ or ‘authentic country music.’”
"Lynn and her band have created a seamless fusion of folk, country, jazz and pop. The songs fit together so evocatively that you won't mind spending some time inside Lynn's heartache." - NPR, All Things Considered
"The Avenues is a unique soldier in the Americana landscape — though there are threads of country in her writing, there's a stronger inclination towards the more free-wheeling, free-form folk of Fiona Apple, Traci Chapman or Joni Mitchell's Turbulent Indigo, even the aggressive, sultry moodiness of Chris Isaak." - Rolling Stone
“Lera Lynn is a strikingly atmospheric performer who has the admirable ability to hold sway over a crowd with just her voice and a melody.” – AXS.com
"...the woman with the golden pipes who plays acoustic and electric guitars is versatile enough to handle ballads ("Whiskey") and blasters ("Good Hearted Man") in folk, country and rock..." - Huffington Post
"Lynn’s indie Americana sound and beautiful harmonies call to mind the sparse style of Gillian Welch. But bolstered by a full band, she rocks a little harder than her traditionalist contemporaries."- Refinery29
“…she is a definite bucket list artist. You cannot say that you have truly understood the power of music until you have seen Lera Lynn perform live.” – AXS.com (top 5 female artists to see at Stagecoach)
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.”
It gets louder when we’re singin’ together,” Eleanor and Chris Masterson sing on the title track off their second full-length album Good Luck Charm. Coming off the acclaim of their debut Birds Fly South, The Mastersons are stronger than ever both vocally and in their songwriting.
Playing off each other’s strengths, they have perfected their craft, with beautifully catchy harmonies and a happy blend of Americana, roots, country and even pop. These two are a match made in heaven.
Good Luck Charm is a tightly constructed record from start to finish, with intimate songs that feel like a personal glimpse into not only the lives of Eleanor and Chris, but also our own. These are simple stories about life’s struggles, from the introspective to the interactive.
They capture relationships, private thoughts and sticky situations all in one fell swoop, and they do it with ease. There’s a reason these two have been lauded as an Austin breakout, and it’s written all over this album.
He has lived a rock-'n'-roll road life, of constant travel and impromptu gigs, all the while voyaging by bus (which is sometimes run on cooking oil) and soaking up each moment as it comes.
Fred Eaglesmith wouldn't have it any other way.
I'm not really in the music business, he said in a recent phone interview from Florida. I'm living a lifestyle.
The Canadian-born artist has been in the business quite some time, releasing his first album in 1980. He has watched it change, even since he began writing songs as a child at age 12, but he holds true to the ideals he became familiar with in the days before rock-'n'-roll, and music in general, became a business.
When rock-'n'-roll started in the late '50s, early '60s , the musicians had some control, he said. The industry was behind; the industry was playing Frank Sinatra when the Rolling Stones were coming out, and they couldn't quite catch up so the musicians had it. Then everybody in the world got in the music business, and it was slowly taken away from the artists; slowly they started to tell us what to do.
Eaglesmith has made it a point to stay an independent artist and stray from those who would dictate what he should and should not do. He has enjoyed success through having his songs covered by the likes of Toby Keith and Miranda Lambert, as well as seeing his music used in films by Martin Scorsese and James Caan.
Still, the road beckons. And how could it not, when it fuels much of Eaglesmith's subject material?
I sing a lot of songs about living out on the road, but I also sing a lot of songs about adversity, he said. A lot of songs are just a reflection of how I live. And even though it's about being out on the road, they're not necessarily about me being a musician and being on stage; they're a lot about broke-down trucks and people I see while I'm out there. People come to me after a show, say their wife just left them, their husband just left them. I get material every day.
Then there are the people he meets who remind him just how lucky he is to live the way he does.
Every day I talk to people that don't have their edge; they've lost it. They don't really know why they're alive, and they're sort of existing, and I don't live that way. Every day is very edgy for me. Every day is very alert and very awake, and that's a really nice way to live.
He brings this spark of life to every show he plays with his band, many of which are planned but just as many that are not. Eaglesmith and the Traveling Steam Show will stop and play wherever they see fit.
We just really want to put on a good show for people, wherever we go.
Buxton, who Esquire.com calls one of "2012 Artists to Watch," continue to tour in support of their New West Records debut album Nothing Here Seems Strange heralded by My Old Kentucky Blog as "a well-realized bouquet of emotive, often beautiful imagery that propels its vistas with visceral energy."
Buxton's music is a study in contrasts: rock and folk, subtle yet eccentric, lush harmonies over prickly guitar.
Paste explains, "The sound on Nothing Here Seems Strange fluctuates between traditional Americana and a more garagefolk sound that places the album in a larger scope than you'd expect of a folk band."
" 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
"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
Amanda Shires seems to be the sort of sweet, Southern girl that all boys should be warned about, at a certain age, for her songs lead us to believe that she'll never let anyone trample all over her. She might not even let you walk beside her. She has a strong and strident nature that skates the feeling of all WOMAN and all bad ass, at the same time. She's a rascal. She can yearn for one of those tuck-in-early nights or throw the short skirt on and hit the tavern to make a good dent on a deep bottle.
It's emotional matter that has been wounded and rubbed with salt enough times that it's been conditioned to exist differently - neither soft, nor hardened. It's been written in a few places that she shares a vocal likeness with Dolly Parton, at times, and while it's absolutely an astute observation, it's Parton's proud, bullish and no nonsense attitude and philosophy - deadly effective when partnered in turn with good looks, big hair, bright lipstick and the rest - that are just as appropriate to point out as similarities.
The songs that Shires -- who is Jason Isbell's better half -- writes, take men to task for their behavior and on "I Kept Watch Like Doves," she portrays the protagonist as a woman not about to put up with a man who's been unfaithful. She's a woman with eyes on birds everywhere, able to get wherever her cheating man is heading off to or coming back from and no one's fooling anyone. She sings, "Yeah, I'm asking questions/Come clean/I'm warning you, her perfume's strong," pleading, very sweetly, very foxily, for her man to come right out and tell her what kinds of snaky things he's been up to. Denial is just going to make her madder. It's not an option and she sounds as if she might be as unpredictable and desirable as they come - beautifully dangerous - ready to throw some chloroform into a dude's coffee or willing to give her loyal man the best nights of his or her life.
The man that she lets into her weeded and well-tended garden comes in an fucks it all up. She knows she led him here and she will take as much of the blame that's hers. She saw the storms in his eyes. They were as attractive and radiating as they were hazardous and she's been around long enough to see the signs, but she won't allow her garden to stay the way he left it. There will be a clean-up and she'll regain her control and those cleanly spaced rows and the dirt that will grow something wonderful if the right amount of attention is paid it. - Daytrotter
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.
with special guest Emma Swift
The Man Upstairs sees Hitchcock uniting with legendary producer Joe Boyd (Nick Drake, Fairport Convention) for one of the most unique recordings of his already quite idiosyncratic career.
Rather than simply record a new selection of songs, Boyd suggested what he called ‘a Judy Collins album’ such as Elektra would have released in 1967 – part well-known favorites, part personal discoveries, and part originals.
The multi-tiered approach offered Hitchcock the rare opportunity to record as a performer, not “just another singer-songwriter laying their freshest eggs.”
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.
"Award winning singer/songwriter Paige Lewis is a Houston native, who currently lives in Los Angeles, CA, where she moved in July of 2013. In a style that has been compared to that of Sheryl Crow, Alanis Morisette, and Karla Bonoff, Paige’s music has been inspiring audiences for over a decade. Her songs have been featured in motion pictures such as Ridley Scott’s Matchstick Men, and she has written album cuts for CCM star Rachel Lampa. She has toured with and opened for the likes of Switchfoot, Vertical Horizon, P.O.D., and Katy Perry.
Signed at 16 to Word Records and Warner Chappell Publishing, Paige has released four studio albums. Her most recent album, One Good Day (2012), gained much local attention in Houston, and ultimately led to a showcase at The Rutledge in Nashville, TN for industry execs. The song “One Good Day” was released as the first radio single, where it debuted at #18 on Airplay Direct charts.
Her most recent musical endeavor is a collaboration with songwriter Adrian Bourgeois, son of the lead singer for 80’s band Bourgeois Tagg. Lewis and Bourgeois call themselves “See How They Run”, and they perform in Los Angeles and the surrounding areas. They are currently recording their first single to be released early 2015.
Float away on the sweet, jazzy vocals of this singer/songwriter cherished for her vintage pop and “timeless-sounding voice” (NPR)
• When jazz, boss nova, and the spirit of the Great American Songbook are combined, the result is Kat Edmonson's unique brand of vintage pop.• Growing up, Edmonson found inspiration in classic cinema—her appreciation for bygone eras was revealed in her debut albumTake to the Sky (2009) which included covers from Gershwin's "Summertime" to The Cure's "Just Like Heaven.• "If Kat Edmonson were singing in the 1940s or '50s, her name would be mentioned alongside those of Peggy Lee, Dinah Washington, Julie London, and Anita O'Day—maybe even Billie Holiday."—The Boston Globe• Her 2014 release, The Big Picture, showcases her "flair for breezily evocative performing...she's a savvy student of '60s film soundtracks, jazz-pop stylists and Brill Building songcraft, nodding to her influences at every turn." (NPR)• Nashville-native Robert Ellis' country music embraces jazz, Americana, and indie folk influences. For fans of The Avett Brothers, Ray LaMontagne, and Justin Townes Earle, Ellis will quickly become a favorite.• "Ellis' purist, even traditionalist, voice is the perfect vessel for his sanguine portraits of ordinary people, battered and bruised but never without hope."—Uncut Magazine• 2013's Way Down Low includes original compositions and peaked at No. 1 on Billboard's Top Heatseekers chart and No. 3 Billlboard's Jazz Albums chartKat Edmonson WebsiteRobert Ellis Website
If Texas ever needs a First Lady of Country Music, Kelly Willis would fill the job nicely. No doubt she could be in Nashville singing whatever anyone tells her will be a hit, but she tried that game and found it didn't suit her.
Instead, she stays in Austin with her children and when she records, it's what she wants. Look no further than her last album, Translated from Love (produced by cult rocker Chuck Prophet), to hear that Willis's taste and palette are way too broad for Taylor Swift's Nashvegas.
As Prophet told us, Willis "can make something ordinary suddenly become amazing." On a more personal note, I was on my way to a wedding with my father when I put Willis's One More Time: The MCA Recordings in the CD player.
My dad is hardcore old school when it comes to country music, but he completely fell in love with Willis. When we got back home, he drove to his local Walmart and was disappointed to find they didn't carry Willis's records, so he drove 40 miles to Waco and ordered them from a record shop there.
Yes, he became a fan. The mother of four doesn't tour much anymore, so don't miss this full-band gig by one of Texas's rarest artistic treasures.
Christine Lavin is a singer/songwriter/guitarist/recording artist living in New York City. She is currently (2014) working on her 21st solo album, and in December 2013 she co-produced her tenth compilation CD JUST ONE ANGEL v2.0 showcasing the holiday songs of 19 songwriters whose work she loves. The food-themed compilaiion One Meat Ball, includes a 96-page cookbook that Christine edited. For four years she hosted "Slipped Disks" on xm satellite radio, playing CDs slipped to her backstage by compatriots, and is the occasional guest host for the City Folk Sunday Breakfast Show on WFUV-FM at Fordham University.
She also writes freelance for various publications (including The Washington Post, Huffington Post, The St. Petersburg Times, The Performing Songwriter, and Delta "Sky" Magazine). Her song "Amoeba Hop" was turned into a science/music book by illustrator Betsy Franco Feeney (Puddle Jump Press), received the stamp of approval from The International Society of Protistologists, and a "Best Book Award" from the American Association for The Advancement of Science.
Betsy and Christine have collaborated again on HOLE IN THE BOTTOM OF THE SEA, a children's book with CD that tells the story of an oil spill with an emphasis on clean, alternative energy. More than 50 singers from around the world are included on the CD. That book was crowd-funded by Kickstarter and is currently looking a publisher.
The book THE PLUTO FILES: THE RISE AND FALL OF AMERICA'S FAVORITE PLANET, written by Neil deGrasse Tyson, head of the Hayden Planetarium in NYC, includes the complete lyrics to Christine's song "Planet X," which details Pluto's history and planetary status debate in rhyme. The book is published by W.W. Norton. And Christine got a "D" in Astronomy in college (see kids? You CAN make up for the mistakes of your youth).
Christine performs concerts all over the US, Canada, and points beyond (Australia, Germany, Israel), and hosts knitting circles backstage prior to each show. Songs of hers have been performed by artists as diverse as Broadway stars Betty Buckley, Sutton Foster, and David Burnham, cabaret divas Andrea Marcovicci. Barbara Brussell, and Colleen McHugh, the college a cappella Dartmouth Decibelles, and The Accidentals, winners of the National Harmony Sweepstakes championship.
Her book, COLD PIZZA FOR BREAKFAST: A MEM-WHA?? is available in paperback, kindle, iPad, and audio book formats. Just One Angel, her first holiday compilation project, (22 artists, 22 Christmas/Hanukah/Solstice/New Year's songs) became a four-artist west coast tour that hit the road in December of 2011, 2012, and 2013.
AWARDS: Christine received a 2012 NYC Nightlife Award given annually to the best concert and cabaret performers. In November 2011 her book COLD PIZZA FOR BREAKFAST: A MEM-WHA?? won the 43rd Annual ASCAP Deems Taylor Award for excellence in non-fiction writing about pop music. Christine has also won five ASCAP composer awards, the Backstage Bistro Award for Best NYC Singer/Songwriter Of The Year, The Kate Wolf Memorial Award, and her album Good Thing He Can't Read My Mind won Album Of The Year from the National Association Of Independent Record Distributors.
LATEST PROJECTS: Christine started creating videos for her songs in 2011, and now creates them for other artists (John Margolis, Don White, Honor Finnegan, Craig Werth). She has many posted at youtube and vimeo. This one: http://www.vimeo.com/28256675 won a weekly contest on WNET in NYC and was broadcast on Channel 13 in NYC. Her Mom grew the roses, Christine snapped the photos. Make sure you play it to the very end -- what's at the end no doubt helped this video win.
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
Tickets tonight include a romantic four-course dinner.
Dinner service starts at 7pm. Performance begins at 8pm.
Austin-based singer/songwriter and guitarist Jimmy LaFave brings a passionate rock & roll energy to his original folk songs, whether he's playing solo or with a band.
Quite a fixture on the Austin music scene, upon his return to Texas in 1986, LaFave racked up critical accolades among not only Austin–based publications, but periodicals across the country and two Austin Music Awards, in addition to other laurels.
LaFave’s visibility on the musical radar increased with an appearance on Austin City Limits and at the Rock and Roll Hall of Fame tribute to Woody Guthrie, where he was hand–picked by Guthrie’s daughter to appear.
National Touring Artists Greg Greenway, Pat Wictor, and Joe Jencks have made their mark as veteran touring singer-songwriters, but Brother Sun is no songwriter's round. The trio's harmonies, as much as their lyrics, tell what they are about: warm as a campfire, stirring as a gospel church, rousing as a call to arms. Fusing folk, Americana, blues, pop, jazz, rock, and a cappella singing, Brother Sun is an explosion of musical diversity and harmony, in the finest of male singing traditions.
From three major points on the map Boston, New York, and Chicago - Greg, Pat, and Joe have blended themselves into Brother Sun: a unique celebration of the amazing power of singing together. As they will tell you, the music of Brother Sun is not resident in any one of them – but rather it exists in the space between them. Audiences feel this sincerity immediately. Their combined musical skills make for an unforgettable experience - three rich voices blending on a well-crafted foundation of guitar, slide guitar, piano, ukulele, and bouzouki.
Brother Sun's self-titled debut CD announced to the world that these respected singer-songwriters had banded together to produce some of the most powerful male harmonies on the acoustic music scene. After two years of nationwide touring and performances marked by outstanding songwriting, ethereal harmonies, off-the-cuff humor, and standing ovations, they have releasedSome Part of the Truth, a CD that goes a large step further in revealing Brother Sun not only as singers, but as complete musicians.
Some Part of the Truth is cinematic in its sweep, each song like a short film. The CD takes listeners on an evocative and vivid journey through America's cities and heartlands, where unsung heroes struggle and sometimes win the daily battles of life and love. Grammy-winning Producer Ben Wisch shaped the mood and atmosphere of each song, with Greenway, Wictor, and Jencks all providing instrumental touches ranging from subtle to bold. Superlative bassist Zev Katz, percussionist Joe Bonadio, and cellist Brian Sanders fill out the sound beautifully. With even richer and more varied arrangements than on their debut, Brother Sun keeps reaching farther, and their obvious joy in singing together gives this latest CD its indelible optimism.
The response to the trio’s music has been tremendous! From main stage performances with standing ovations at Kerrville, Falcon Ridge, Philadelphia, Old Songs, Connecticut and other Folk Festivals; to sold out concerts throughout the U.S.A, Brother Sun has earned the respect of fans, colleagues, and presenters alike. And, their music and message appeals to fans of both contemporary and traditional music.
Some Part of The Truth (2013) debuted at #1 on the Folk-DJ Chart, where it remained for 2 months, and received strong airplay for the entire year, ending as the #1 CD on the chart for all of 2013. The CD also rose to #2 on Sirius XM’s Americana Chart. "Lady of the Harbor," the lead track, was also the #1 song on Folk-DJ for 2013, and was featured on Lufthansa Airlines In-flight Program January and Feburary of 2014.
Brother Sun’s self-titled first release (2011), debuted at #2 on the Folk DJ Chart, and was named the #8 album of 2011 on FOLK-DJ. In addition, Brother Sun made the "Best of 2011" and “Best of 2012” lists for over a dozen radio stations in the US, including WUMB- Boston, WFUV - NYC, and WFMT - The Midnight Special - Chicago.
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.
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,
“… their instrumental virtuosity … and sophisticated songwriting touch moves their music beyond fun revivalism. ... They're capable of moving in most any direction they wish.” - Nashville Scene
“… the sextet is one of Austin’s most musically accomplished and adventuresome, mixing gypsy swing, big-band jazz, a touch of bluegrass and some Walter Hyatt covers into a unique mix that flows like a whiskey river.” - The Austin Chronicle
“Mix hot-saucy Texas honky-tonk, city-slicker indie pop, jam-grass mischief, cool jazz and big-band swing, and you’ve about half-described this hot Austin band …” - The Boston Globe
Bridging the gap between generations of music-lovers and redefining blues-based American music for a contemporary audience, Loomis created his own path and built a loyal following by blending myriad influences, clever songwriting, and an expressive voice into a sound that defies description.
Feeling his current style, layered onto his bluesy foundation, will attract a new generation of fans, Loomis looks forward to the appeal GIVE IT BACK will have on today’s young listeners.
"Not quite country, somewhere beyond folk, Holcombe's music is a kind of blues in motion, mapping backwoods corners of the heart." ~ David Fricke - Rolling Stone Magazine
When you meet someone for the first time, they either seem familiar or alien to you. When you hear a song for the first time, it's the same way, it's like meeting someone. The kind of songs that Margo Price sings are both. Familiar and alien. Sure it's country, but it also has shades of all her many other influences. Her sound is as much Karen Dalton as it is Loretta Lynn, as much Neil Young as Waylon Jennings.
For a few years Margo has been the leader of the psych rock/ soul band Buffalo Clover, but this is an animal all it's own. This solo project has an earthier, down home, ***-kickin feel. Boasting a rotating cast of Nashville's finest, including Kenny Vaughn, Pete Finney, Sturgill Simpson, Kevin Black, Ian Craft and many more, you can never expect the same thing twice.
James McMurtry spins stories with a poet’s pen (“Long Island Shores”) and a painter’s precision (“She Loves Me”). Proof: The acclaimed songwriter’s new Complicated Game. McMurtry’s first collection in six years spotlights a craftsman in absolutely peak form as he turns from political toward personal (“These Things I’ve Come to Know,” “You Got to Me”). “The lyrical theme is mostly about relationships,” McMurtry says. “It’s also a little about the big old world verses the poor little farmer or fisherman. I never make a conscious decision about what to write about.”
Complicated Game, set for February 24, 2015 release on Complicated Game Records (yes, it’s complicated) and produced by CC Adcock and Mike Napolitano, delivers McMurtry’s trademark story songs time and again (“Copper Canteen,” “Deaver’s Crossing”). However, the record brings a new (and certainly no less energetic) sonic approach. First, recall blistering beats and gnashing guitars from his magnum opus Just Us Kids (2008). Now, unplug. “The label head wanted more acoustic,” McMurtry explains. “We built everything as we went so we ended up with more acoustic guitar as we went. We just played whatever sounded right for a given song, but we weren’t necessarily saying this is an acoustic record.”
Celebrated tunesmith’s highly anticipated record, due February 24, 2015, an elegant collection “mostly about relationships” and “the big old world”
“James McMurtry may be the truest, fiercest songwriter of his generation” – Stephen King
She shows up with a quiet, a sad, a sensitive, a strong, a big voice and a big message for us all couched in the beauty of philosophical love songs, not only romantic but those other kinds of love we all encounter; soulful poetry about eternal human concerns in our contemporary lives.
The arrangements, the melodies, the excellence of the music, the musicians, and the technicians, her voice with its subtle expressiveness giving deep meaning to her words, I haven’t the gift to write it down to get across the effect the songs have had on my heart.
The way she uses language, repeats certain words or lines, the unexpected next thought, and the variety of song formats all fitting within the general realm of rock, astonishing and moving!
It’s all right if words fail me.
- Uncommon Music
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.
"From Day One, Red Molly conjured musical magic. A decade later, they've honed their songwriting, their covers, their playing and, above all, their harmonies into something joyful and sublime." -John Platt, WFUV FM, Sunday Breakfast
Americana powerhouse vocal trio Red Molly is known for their gorgeous harmonies, crisp musicianship, infectious songwriting, and warm, engaging stage presence. Laurie MacAllister (bass), Abbie Gardner (Dobro), and Molly Venter (guitar) weave together the threads of American music—from folk roots to bluegrass, from heartbreaking ballads to barn-burning honky tonk—as effortlessly as they blend their caramel voices into their signature soaring, crystalline three-part harmonies.
Organic musicianship, a respect for the traditions of American music, and an obvious love of crafting music together lend a joyous atmosphere to their legendary live performances, and a natural balance to their studio recordings.
Gracing stages from Denver to Denmark, from Australia to Austin, Red Molly is renowned for their live shows. Four-time featured artist at MerleFest, breakout stars at RockyGrass, and the darlings of the Bristol Rhythm and Roots Reunion, the "Mollies" bring audiences to their feet, whether it's on a grand festival stage or in an intimate concert hall.
Their latest CD, "The Red Album", was featured in USA Today and CMT Edge. It debuted at #1 on the Folk DJ radio chart and is currently at #10 on the Americana Radio chart, and climbing.
"Femme Phenom! No root from the grand tree of music is left untouched - classic country heartbreak, undeniable swing, authentic folk, gospel rock with an edge, and Americana stomp. With smart production, a strong thread runs throughout the album and every note sung is upheld on cosmic harmony. Red Molly is unstoppable. Highly recommended."
-Mary Sue Twohy, SiriusXM Satellite Radio
Jim Kweskin and Geoff Muldaur have been playing American roots music for nearly ?fty years. The Jim Kweskin Jug Band, a major in?uence on John Sebastian and the Lovin Spoonful as well as the early Grateful Dead, was probably the original Americana band.
"Rock historian Alex Ward of the New York Times went so far as to place the Kweskin Band alongside the Beatles, the Rolling Stones and the Byrds as that period's most in?uential groups."
Geoff Muldaur, an original member of the Jug Band, as well as a longtime member of the Paul Butter?eld Blues Band, is a musical star in his own right.
English folk-rocker Richard Thompson has said: "There are only three white blues singers, and Geoff Muldaur is at least two of them.”
Hayes Carll is an odd mix. Wildly literate, utterly slackerly, impossibly romantic, absolutely a slave to the music, the 35-year old Texan is completely committed to the truth and unafraid to skewer pomposity, hypocrisy and small-minded thinking.
In a world of shallow and shallower, where it’s all groove and gloss, that might seem a hopeless proposition. Last year, “Another Like You,” Carll’s stereotype’s attract duet of polar opposites, was American Songwriter’s #1 Song of 2011 – and KMAG YOYO was the Americana Music Association’s #1 Album, as well as making Best of Lists for Rolling Stone, SPIN and a New York Times Critics Choice.
But more importantly than the critical acclaim is the way Carll connects with music lovers across genres lines. Playing rock clubs and honkytonks, Bonnaroo, Stones Fest, SXSW and NXNE, he and his band the Gulf Coast Orchestra merge a truculent singer/songwriter take that combines Ray Wylie Hubband’s lean freewheeling squalor with Todd Snider’s brazen Gen Y reality and a healthy dose of love amongst unhealthy people.
“I guess you could say I write degenerate love songs,” Carll says. “That, and songs about people who’re wedged between not much and even less; people who see how hopeless it is and somehow make it work anyway. “And the best kind of irony, sometimes, is applying no irony and letting reality do the work.”
Letting reality do the work has sure worked for the lanky Texan who walks slow and talks slower. Born in Houston, he went to college at Hendrix College in Conway, Arkansas – getting a degree in History, then heading back to Crystal Beach to play for a wild assortment of people either hiding out, hanging on or getting lost in the bars along Texas’ Gulf coast.
Letting reality do the work has sure worked for the lanky Texan who walks slow and talks slower. Born in Houston, he went to college at Hendrix College in Conway, Arkansas – getting a degree in History, then heading back to Crystal Beach to play for a wild assortment of people either hiding out, hanging on or getting lost in the bars along Texas’ Gulf coast.
The eclectic range of Mulvey’s tireless past pays handsome dividends on this stylistically sweeping, LA-recorded album. A crack specially convened band (including regular Dylan drummer David Kemper) adhere to his well-established live and direct recording approach and allow the performer’s deeply matured, naturally wry and hard-edged Americana to attain full, flowing life.
From the raunchy melodic pop of “Sympathies” through suburban requiem “Remember the Milkman”, the dizzying weirdness of “If You Shoot At A King” and even Led Zeppelin modal thunder on “Copenhagen Airport”, Mulvey’s troubled visions attain striking clarity. – Gavin Martin, Uncut
Slaid Cleaves spins stories with a novelist’s eye and a poet’s heart. Twenty years into his career, the celebrated songwriter’s Still Fighting the War spotlights an artist in peak form. Cleaves’ seamless new collection delivers vivid snapshots as wildly cinematic as they are carefully chiseled. Dress William Faulkner with faded jeans and a worn six-string for a good idea. “Slaid’s a craftsman,” says Terri Hendrix, who sings harmony on “Texas Love Song.” “He goes about his songs like a woodworker.”
Accordingly, Cleaves’ earthy narratives stand oak strong. “Men go off to war for a hundred reasons/But they all come home with the same demons,” he sings on the album’s title track. “Some you can keep at bay for a while/Some will pin you to the floor/You’ve been home for a couple of years now, buddy/But you’re still fighting the war.” Few writers frame bruised souls as clearly. Fewer still deliver a punch with such striking immediacy.
with special guest Joseph LeMay
“Strong hooks elevate every song, providing a significant but unobtrusive foundation for Watkins’ thought-provoking lyrics. Melodically and poetically sound, the latest release from Nickel Creek’s guitarist rivals the genre-blurring trio’s best work.” – Glide Magazine
Glide Magazine Review of All I Do is Lie
Pigeonhole Carrie Rodriguez at your peril. Sure, she has gained notoriety as an Americana singer-songwriter as highlighted by last year’s studio effort, “Give Me All You Got”, which reached no. 1 on the Americana Music Charts. But musical predictability isn’t in her world view or her performing reality.
"I have to say I am very impressed. She's got something unique in her voice that's very subtle and a little smoky and sweet. She's got a refreshingly spunky attitude to go along with it." - Lucinda Williams
"There's a real earthiness in both Carrie's singing and fiddle. She's hot and steamy one minute and pure Nashville the next." - MOJO
"…Rodriguez is a triple-threat artist who sounds more formidable with each successive release." - Gary Graff / Billboard (Critics Pick)
Double CD Release!
Tom Russell songs have been recorded by such icons as Johnny Cash, Dave Van Ronk, Jerry Jeff Walker, Doug Sahm, Joe Ely, Nanci Griffith, Iris Dement, and Ramblin’ Jack Elliott, among others.
No less than Lawrence Ferlinghetti, the legendary poet, has said that he shares “a great affinity with Tom Russell’s songs, for he is writing out of the wounded heart of America.”
It is the smile that is the key for reading the musical universe of Beppe Gambetta. An open and disarming smile that is also the contagious and unresistable smile of a person who invites you to a musical journey with light heart and curiosity. The destination, as for any traveller, is not totally defined because it is beautiful, at the very last, to find ourselves where we never would expected to be.
With the horizon's line as a challenge and attraction, Beppe is continually composing his personal mosaic of sounds and flavours. From his unique background as an Italian musician in love with both American roots music as well as the music of his native country, Beppe has travelled the world and even crossed the “Iron Curtain” to dazzle and charm music enthusiasts everywhere. After eleven CDs, DVDs, teaching books and collaborations with many other top-flight musicians, Gambetta is increasingly known as one of the true live master innovators of the acoustic guitar.
While Beppe still lives in his native Genova, he travels to North America at least three times each year. His reputation in the U.S. and Canada is reinforced by his participation inprestigious festivals like the Walnut Valley Festival in Winfield, Kansas, Merlefest in North Carolina, the Four Corners Festival in Colorado and Canadian Folk Festivals in Winnipeg and Edmonton, as well as events like the radio shows “All Things Considered” and “E-Town”. Beppe has performed in prestigious rooms like the Ryman Auditorium in Nashville, Tennessee and the Metropolitan Museum of Art in New York. In his career he has performed with some great heroes of the folk scene like David Grisman, Gene Parsons, Doc Watson, Norman Blake and with the band Men Of Steel: an international guitar summit (Dan Crary, Tony McManus and Don Ross) of different guitar schools with complex musical interactions.
In a world dominated by the trends and logic of the market Gambetta's playing and singing stand out for their intimate emotions, communication, research in tone, sobriety and humour. An inspired music thatt modestly avoids relying solely on his high level of technical excellence, but also reveals the innermost feelings of a brilliant, playful mind that is always exploring and innovating while staying firmly routed in tradition.
With America in his heart and his roots in the sun and the olive trees of the Mediterranean sea, he naturally and seamlessly bridges the shores of the two continents, creating in spite of the interposed ocean a musical "koiné" (fusion) where American root music and Ligurian tradition, emigration songs and folk ballads, steel string guitars and vintage harp guitars not only co-exist but interact, weaving a deep dialog unaware of any rigid classification.
Music on its way, proud of the past but looking to the future, able to talk to us in the present because it is rooted in the history of generations of men and women so different but so equal to us. Strolling music, intolerant of frontiers and passports, exclusions and obsessions. Vital music, passionate but sober. It is waving to us. Let's follow it.
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."
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