lunedì 6 settembre 2010

Smokin Joe Kubek And Bnois King - Have Blues Will Travel




Of all the blues legends the great state of Texas has produced, none sounds quite like Smokin’ Joe Kubek and Bnois King. The two Lone Star guitarists—one a hard-edged, hard rocking blues player and the other a jazzy, elegant rhythm player who delivers raw, spontaneous solos-—have taken their dual guitar attack from the heart of Texas to fans around the globe. Kubek and King’s twin-frontman lineup is unparalleled on the blues scene. Backed by their rock-solid rhythm section, Kubek’s fiery fretwork is perfectly matched by King’s sophisticated rhythm playing and rough-edged, down-home soloing and his soulfully conversational vocals. For more than 20 years and thousands of live shows, the duo’s scorching blues and telepathic interplay has been thrilling fans all around the world. Their new CD (their second for Alligator and the 14th of their careers), Have Blues, Will Travel, is a collection of fresh original songs played with passion, taste and a white-hot intensity. Billboard said the band plays “hard-hitting, original blues. Kubek is one of the fiercest Texas blues guitarists…his fiery leads are complemented by King’s adroit rhythm guitar and classic vocals.”
The band’s Alligator Records debut, 2008’s Blood Brothers, brought the long-time musicians to their largest audience yet and earned the band accolades all across the country. The Chicago Sun-Times declared, “Genuine houserockin’ blues…they boogie till the break of day.” Allmusic described the album as “tough, robust, soul-blues that is as hot as they’ve ever gotten in the studio. Impressive.”


With Have Blues, Will Travel, they take another giant step forward. Kubek and King wrote or co-wrote all twelve songs, and, along with their road-tested rhythm section, they ignite a blues fire with enough heat to fuel an all-night party. The chemistry between Kubek’s blistering fretwork and King’s savvy vocals and unpredictable, multifaceted guitar work creates a roadhouse blend of muscular blues-rock, hip-shaking shuffles and slow-burning blues that is simply impossible to resist. Each song is infused with deep, from-the-heart musicianship, carefully crafted, true-to-life lyrics and delivered with the occasional wry smile. King calls Have Blues, Will Travel the best record the band has ever made. “I’ve been listening to this album over and over again,” he says, “and I don’t get tired of it. In fact, I’ve become a big fan of it, and I start thinking, ‘man, I wish we had made this record.’ And then I remember we did.” Kubek agrees. “We challenged ourselves, went into new territory both musically and lyrically, and came out the other end with something we’re extremely proud of.”

On the surface, it would seem hard to imagine two of the most stylistically disparate guitarists joining forces and creating such a signature sound. Joe Kubek was born in Pennsylvania in 1956 but grew up just outside of Dallas. He was leading his own bands and gigging in clubs all around Dallas when he was only 14. Bowled over by the blues a short time after first hearing Eric Clapton and Jeff Beck, Kubek soon discovered the music of Muddy Waters, Howlin’ Wolf and other early blues masters including Freddie King, Johnny Copeland and Lightnin’ Hopkins. By the time he was 19, he was backing many famous blues players in the area, including legend Freddie King. In 1976, Kubek was about to head out on tour with King when King died suddenly of a heart attack. “I was in awe any time I was around him,” Kubek recalls. “I learned a lot about feeling and execution. He always came onto the stage hot. You have to entertain people from the second you start.”


Kubek next worked with R&B singer Al “TNT” Braggs and made a host of new friends, including Albert King, Stevie Ray Vaughan (with whom Kubek became close), B.B. King and many other blues icons. He often found himself jamming with these larger-than-life blues stars, while playing constantly around the Dallas area. He not only learned tips and techniques, but also soaked up stories and the lessons of being a professional touring musician. One night, he even had the chance to play B.B.’s guitar, Lucille. “B.B. admired my enthusiasm and he encouraged me, which really meant a lot. When times got hard, I always remembered how B.B. King had given me some encouragement.”


In 1989, Kubek met guitarist/vocalist Bnois King at a Monday night Dallas jam session. The two became fast friends, and melded their seemingly divergent styles—Kubek a rocking and fierce picker and slider, King a subtle, fat-chord rhythm player whose solos are spontaneous and unpredictable—into one of the most potent guitar combinations the Southwest had ever produced. Kubek explains the relationship succinctly: “Bnois fires me up. We are constantly pushing each other higher, complimenting each other’s solos. But it’s not planned. We never know what we’re going to do until it’s done. I pull the blues out of him, and he pulls the jazz out of me. Bnois knows so much about jazz it’s amazing.”


Bnois (pronounced Buh-noice) King was born in Delhi, LA in 1943. He was inspired to play guitar by his high school music teacher. Before long, Bnois was playing blues cover songs with a local band. On his own, he traveled through Texas, Oklahoma and Colorado, finding local bands to gig with and also performing with carnival tent show groups. King made his way to Dallas in 1979, gigging with jazz combos until he hooked up with Kubek ten years later. A master storyteller, King didn’t start writing and singing until he joined forces with Joe, when both duties fell on him. “We needed a singer so I sang,” King recalls, “and every time I did the crowds went wild. We needed songs so I wrote about things that happened to me, to people I knew. That’s what I still do today.” As for his guitar work, King is similarly modest. “Joe inspires me a lot,” King says. “When I solo, it’s a spur of the moment thing. I don’t have a plan. I react to what I hear on the bandstand.”


On the strength of their huge local following, Kubek and King signed to Bullseye Blues and released their debut CD, Stepping Out Texas Style, in 1991. After conquering the Dallas scene, the band began touring clubs, concert halls and festivals nationally and internationally. Following a successful series of eight Bullseye releases, they signed to Blind Pig Records in 2003. As their popularity continued to build on the strength of their recordings and the energy of their live shows, the band’s touring schedule grew to over 150 dates per year all across the United States, Canada and Europe (where they have toured more than a dozen times), solidifying their place in the blues world with one jaw-dropping show after another.


Kubek and King signed with Alligator in 2008 and released Blood Brothers. The fresh approach, the smoking hot playing and the original, lover’s slice-of-life lyrics all added up to a blues delight. The Dallas Observer said, “An electric blast of twelve-bar heaven…they blow the roof off.”
More than anything else, Smokin’ Joe Kubek and Bnois King love to perform live. With Have Blues, Will Travel and another massive tour planned, the band will hit the ground running as they gig from coast to coast, bringing their no-holds-barred brand of soul-charged, rockin’ Texas blues to old fans and newcomers night after night. Have Blues, Will Travel is not just the name of the new album. For Smokin’ Joe Kubek and Bnois King, it’s a way of life.

lunedì 28 giugno 2010

Livingston Talylor - Last Alaska Moon




“When you go to see Livingston Taylor perform on stage, he transforms love, joy and spirituality into something so tangible, that you can carry it home with you when the concert is over.”

- Jean Mudge, fan

Livingston Taylor picked up his first guitar at the age of thirteen. Who knew that this would signal the beginning of a career that has spanned over forty years and that has encompassed performance, songwritingcand teaching. Born in Boston in 1950, Livingston grew up in Chapel Hill, North Carolina—the fourth child in a very musical family that includes Alex, James, Kate and Hugh. At sixteen, Livingston moved back to Boston where he finished high school and began performing in the Boston coffeehouse circuit. At eighteen, he met legendary producer Jon Landau, who later produced Livingston’s first recording for Atlantic Records when he was nineteen. That first record initiated a creative output that has filled multiple recordings since. Livingston has written most of his music repertoire, including Top Forty hits “I Will be in Love with You” and “I’ll Come Running” —and, recorded by his brother James, “I Can Dream of You,” “Going Round One More Time” and “Boatman” (all on the double Grammy-winning album Hourglass).

Since those early coffeehouse days, Livingston has never stopped performing, touring with major artists such as Linda Ronstadt; Jimmy Buffett; Fleetwood Mac; Emerson, Lake and Palmer; and Jethro Tull. He also maintains a busy concert schedule on his own, performing an average of 80 shows a year that mostly include his own music, with an occasional cover of folk, rock, a classic Gershwin or something from the best of Broadway. The depth of Livingston’s musical knowledge is belied by his relaxed and comedic onstage presence. Livingston describes himself as a pop singer and tours solo, playing his guitar and the piano. Livingston is a full professor at Berklee College of Music, where he has taught a Stage Performance course since 1989. He teaches young artists invaluable lessons learned over the course of an extensive career on the road. The course is one of the most popular at the College, spawning a sequel, Stage Performance II, this year.

Now Livingston is out with his latest album, Last Alaska Moon, which was recorded in Nashville. It features key members of the Alison Krauss band Union Station, as well as pop/country players Steve Gadd, Vince Gill, and Leland Sklar. For Taylor, the album takes a partial departure from the more contemplative ballads in the Taylor tradition. It bears the bluesy, devil-may-care attitude of Nashville and shows just how versatile Taylor can be. Last Alaska Moon is being released by Coconut Bay, a division of Chesky Records.

Tracklist :

Last Alaska Moon
Everybody's Just Like Me
Henry
I'm Letting the Whiskey Do My Talking
The Girl Is Mine
Kitty HawkNever Lose Hope
Christmas Is Almost Here
Answer My Prayer
I'm In a Pickle
Walk Until It's Heaven
Call Me Carolina

domenica 20 giugno 2010

Kevin Welch e Jim Lauderdale ( testi scritti con Robert Hunter - Grateful Deald )

KEVIN WELCH - A PATCH OF BLUE SKY

A Patch of Blue Sky, Kevin's newest CD is his first solo record since 2001's Millionaire. The album features 10 new songs, all written or co-written by Kevin. It is an ultimately hopeful journey from darkness to dawn.

Kevin Welch's poetic songs paint pictures of real people--people you know, people you've seen--so clearly that you realize quickly he's a keen observer of the human experience. His songs have an almost film-like quality in their vision and beauty.

After growing up in Oklahoma, where he played in a popular regional band, Blue Rose Cafe, Kevin moved to Nashville in the late 1970s, upon the suggestion of his friend John Hadley, a professor at the University of Oklahoma. Once in Nashville, he became a songwriter for Tree International. His songs were recorded by such artists as Moe Bandy, Waylon Jennings, Roger Miller, Jimmie Dale Gilmore, The Highwaymen, The Judds, The Kendalls, Patty Loveless, Reba McEntire, Charlie Pride, Ricky Skaggs, Pam Tillis, Randy Travis, Conway Twitty, Don Williams, and Trisha Yearwood.

When Steve Earle broke through with his Guitar Town album, he and others suggested Kevin get a recording contract, and Kevin was soon signed with Warners, where he put out two albums, Kevin Welch and Western Beat, in the early '90s. Warners let Kevin out of the deal, and along with his friends Kieran Kane, Mike Henderson, Tammy Rogers, and Harry Stinson, he formed Dead Reckoning Records. By putting out records on their own label, none of these brilliant, unique artists had to face the compromises that major labels sometimes insisted on.

Kevin's first release for DR, Life Down Here on Earth, was greeted with rave reviews, as was his follow-up, Beneath My Wheels. His more recent DR recordings, Millionaire and Live Down Here on Earth, a live recording of a gig on Kevin's recent tour down under with the Australian band The Flood, continue the artistic tradition.

Kevin's recordings are popular around the world, with solid followings in Europe and particularly Canada and Australia, which each of his tours is greeted with sold-out houses. One of those tours, with Kieran Kane, was captured in the live recording 11/12/13: Live in Melbourne.

In 2003, Kevin got back together in a concert with his 1970s band, Blue Rose Cafe, to pay tribute to the band's late founder, Pat Long. The concert was so successful the band released a CD and a two-DVD set recorded live at the gig, Blue Rose Cafe: A Reunion and Tribute to Pat Long.

In 2004, Kevin began recording as a band with fellow Dead Reckoners Kieran Kane and Fats Kaplin. After taking their first two albums, You Can't Save Everybody (2004) and Lost John Dean (2006) to number one on the Americana charts, their latest release, Kane Welch Kaplin adds drummer Lucas Kane and continues the groove and intimacy found in the earlier releases. Kevin's tales of lost friends, broken dreams and even serial killers are brought into sharp relief against the pared-down beauty of the music.

And now the new album. Thanks again Kevin.

The Band

Rick Richards, drums
Glenn Fukunaga, bass
Bukka Allen, piano, Wurlitzer, B3, harmonium
Brian Standefer, cello
Dustin Welch, banjo, electric resonator guitar, background vocals
Kevin Welch, acoustic and electric guitars, vocals
Fats Kaplin, pedal steel

The Singers

Andaman Sea, Eliza Gilkyson
Midnight and Noon, Sally Allen
The Great Emancipation, Jeremy Nail
Marysville, Dustin Welch
Patch Of Blue Sky, Jackie Johnson, Preston Shannon, The Trishas (Savannah Welch, Kelley Mickwee, Jamie Wilson, Liz Foster)
Come A Rain, Savannah Welch, Kelley Mickwee, The Burns Sisters (Annie, Jeannie, Marie)





JIM LAUDERDALE - PATCHWORK RIVER

Patchwork can refer to a collection of incongruous pieces, parts not necessarily united into a whole. But sometimes, in the hands of great craftsmen and women, those parts merge into a thing of beauty and warmth. Patchwork River weaves together the lyrical mastery of Robert Hunter and the songcraft of Grammy Award-winning artist Jim Lauderdale into something greater than the sum of its considerable parts.

Jim Lauderdale is a multi-talented performer and songwriter, with successes in both country and bluegrass music. His roots stem from the Carolinas, yet his career has taken him all over the United States and abroad, making him an international recording artist with an ever-growing fan base. Jim won "Artist of the Year" and "Song of the Year" at the first "Honors and Awards Show" held by the Americana Music Association in 2002. Subsequently, he has hosted this same show for the last seven years.

He is among Nashville's "A" list of songwriters, with songs recorded by artists such as: Patty Loveless, George Jones, The Dixie Chicks, Solomon Burke, Mark Chesnutt, Dave Edmunds, John Mayall, Kathy Mattea, Lee Ann Womack, Gary Allan, Blake Shelton. Vince Gill, and George Strait. He also contributed several songs to the successful soundtrack of the George Strait film, "Pure Country." Not content to just write hits for the stars, he's toured with the likes of Lucinda Williams, Mary Chapin Carpenter, Rhonda Vincent and Elvis Costello, among others.

Jim's musical influences include the legendary Dr. Ralph Stanley and George Jones. These influences and his unique sense of melody and lyric help forge a sound that is truly his own. He is a 2 time Grammy winner, winning his first in 2002 with Dr. Ralph Stanley for "Lost in the Lonesome Pines" (Dualtone). His next one came for his second "solo" bluegrass album, "The Bluegrass Diaries" (Yep Roc 2007) at the 50th Grammy Awards! His first CD with Dr. Stanley, "I Feel Like Singing Today" ( Dualtone/Rebel 1999) received a Grammy nomination as did his first solo bluegrass CD titled "Bluegrass"(Yep Roc) from 2006. His current release, "Patchwork River" May 11th, 2010 (his second collaboration with Grateful Dead lyricist, Robert Hunter) is currently climbing the Americana radio charts!

As a performer his credits include production, writing and collaborating on albums such as, "Wait 'Til Spring" (SkyCrunch/Dualtone 2003) with Donna the Buffalo, and "Headed for the Hills" (Dualtone 2004) his first total project with Robert Hunter. The remainder of Jim's 18 albums include: "Planet of Love" (Reprise 1991), "Pretty Close to the Truth" (Atlantic 1994), "Every Second Counts" (Atlantic 1995), "Persimmons" (Upstart 1998), "Whisper" (BNA 1998), "Onward Through It All" (RCA 1999), "The Other Sessions" (Dualtone 2001), "The Hummingbirds" (Dualtone 2002), "Bluegrass" (Yep Roc 2006), "Country Super Hits, Volume 1" (Yep Roc 2006), "Honey Songs" (Yep Roc 2008), and "Could We Get Any Closer?" (SkyCrunch 2009).

"It's been a particularly great period for me," says Lauderdale. "Thanks to the records - I'm performing more and more, which I love. And I love that I can play the Opry one weekend, a jam-band festival the next and then a bluegrass festival the following week. That's really inspiring to me and I think there's a real thread there. The roots are the same for all of them and that's the music I'm interested in."



giovedì 27 maggio 2010

John Prine - In Person & On Stage






The album is a culmination of his last few years touring and contains 14 songs, perfectly balanced between classic hits and new treasures from the Grammy Award-winning “Fair & Square.” Complete with duets from some of John’s favorite touring partners; Iris DeMent, Sara Watkins, Emmylou Harris, Josh Ritter, Kane Welch & Kaplan, this album shows Prine’s passion and relevance still hold true after all these years. These recordings were hand-picked from hundreds of recent concerts, and the result is Prine’s most memorable live album to date. If his biggest fans had a collective voice, it is no doubt these would be the recordings they'd choose. ( No Depression )

Tracks


1. Spanish Pipedream
2. She Is My Everything
3. In Spite Of Ourselves (with Iris DeMent)
4. Long Monday
5. The Late John Garfield Blues (with Sara Watkins)
6. The Bottomless Lake
7. Bear Creek Blues
8. Saddle In The Rain
9. Angel From Montgomery (with Emmylou Harris)
10. Your Flag Decal Won’t Get You Into Heaven Anymore
11. Mexican Home (with Josh Ritter)
12. Unwed Fathers (with Iris DeMent)
13. Glory Of True Love
14. Paradise (with Kane Welch Kaplin)

venerdì 7 maggio 2010

Mary Chapin Carpenter - The Age Of Miracles



I began writing the songs for The Age of Miracles in the summer of 2007. A few months prior, I had suffered a pulmonary embolism which had forced the cancellation of all touring and performing for that year. When I suddenly had a lot of time on my hands after recovering from this life threatening illness, the inclination to look inward and try to answer the question “what now?” was fairly unavoidable.

So I started writing a lot, and as often happens at that point in the creative process, I threw out far more than I kept. But little by little, over the next few years, ideas and threads and themes and feelings and melodies started to stitch themselves together, and the soul of what would become this record began to reveal itself.

I have always made albums with the idea that each one is a snapshot of where you are in your life. That is no different with The Age of Miracles, and the title song was the first one that I finished with a sense that it was pointing the way towards the rest of the songs. It is a personal exploration of regret and resilience but also a larger, more universal expression of wonder at the times that we are living in. The references to the Apollo moon landing, Hurricane Katrina, the anguish of Jena, Louisiana, and the courageous protest of the Buddhist monks in Burma are backdrops to the message of the song, which is: we live in an age of miracles when we can still believe that they are possible. The title song ties together my own personal need to invest in optimism and hope with what I see as the world’s weary yet unwavering ability to teach us lessons of humility and grace.

There are other songs on this record that I would describe as reports from that strange and mysterious territory known as Love and Marriage; there are songs of wishing to be a bird flying above the turmoil, of seeking solace and self knowledge in quietude; of longing to match the outwardly vulnerable person to the inward believer in strength and resilience. There is a song about the very first wife of Ernest Hemingway, using her voice to look back at the lost years of the Lost Generation, just before her husband falls in love with her best friend and changes her life forever.

And there is a song about the artist and activist Chen Guang, who was profiled in the New York Times in the days just before the 20th anniversary of the Tiananmen Square massacre. His dedication to his art and his need to bear witness to the events of that time now put him in daily peril; his unwillingness to be silent is now his life’s purpose.

A few words about my co-producer Matt Rollings, my engineer Chuck Ainlay and the musicians that were gathered to record these songs: the sessions were charmed, in the way that intensely creative recording sessions can be. The energy of the core band [Russ Kunkel on drums, Glenn Worf on bass, Duke Levine on guitars and Matt Rollings on keyboards] never flagged and the generosity of ideas that flowed each day were utter gifts.

So, this is a collection of songs that blends personal tales of discovery and experience with more distant and imagined stories of one’s purpose and relationship to the universe…

In “Mrs. Hemingway,” the line goes, “there’s Sancerre and oysters/and Notre Dame’s cloisters/and time, with its unerring aim…”

All the more reason not to waste a day.

martedì 4 maggio 2010

Anders Osborne - American Patchwork




I’m in the promised land,” says proud American immigrant and Grammy-winning singer/songwriter/guitarist Anders Osborne. The Swedish-born, longtime New Orleans resident is among the most original and visionary musicians performing today. In a city overflowing with stellar artists, bands and performers, Osborne is one of the Big Easy’s favorite musical heroes. His Alligator Records debut, American Patchwork, is a moving collection of soul-baring rock, blues and ballads. Many of the songs on American Patchwork deal with healing and redemption, spirituality and acceptance. It is about rebuilding what has been destroyed, not only a ravaged city, but also a hollow man. Often compared to Townes Van Zandt, Bruce Springsteen and Van Morrison, Osborne is an exceptional and singular talent. Paste Magazine says, “Osborne has an impossibly great, soulful voice and the songs to match.” Living Blues adds, “Osborne is a songwriter of enormous depth and an incredibly passionate musician.”

Osborne and friend Stanton Moore (Galactic) produced American Patchwork, with co-production by Pepper Keenan (of Down and Corrosion Of Conformity). Osborne wrote all ten songs, all imbued with serious lyrical depth, unforgettable melodies and performed with soul muscle. The guitar work is simply spectacular. His vocals soar with natural, emotional power. With musical assistance from Moore on drums, Keenan on percussion and guitar, and Robert Walter on keyboards, American Patchwork is nothing short of a career-defining release for Osborne, and a bright new chapter in his remarkable journey. As far as Osborne is concerned, American Patchwork is a triumphant achievement. “Every note has a purpose, a serious focus. As I was writing it and recording it, everything fell right into place.”


Live, Osborne is a force to behold. His wildly energetic, physical live performances find him ripping notes out of his guitar, forcing out riveting steel-on-steel slide solos, pouring his entire soul into his vocals. His ability to ignite an audience is legendary. Past gigs include repeated appearances at The New Orleans Jazz & Heritage Festival, stops at Bonnaroo, The High Sierra Festival, The Telluride Blues Festival, The Hollowbaloo Music & Arts Festival in Honolulu, The Voice Of The Wetlands and even an appearance at the 2008 Democratic National Convention. He has toured North America and Europe extensively, and has performed with The Meters, Randy Newman, Buddy Guy, Taj Mahal and Little Feat among many others.

As a songwriter and singer, Osborne stands tall. Since his recording debut in 1989, he has written virtually all of his own material and contributed memorable songs to a wide variety of artists. Two tunes co-written by Osborne appear on blues great Keb Mo’s Grammy-winning 1999 release, Slow Down. Country superstar Tim McGraw scored a #1 hit with Anders’ song Watch The Wind Blow By. Osborne’s compositions have been covered by artists as diverse as Brad Paisley, Tab Benoit, Jonny Lang and Kim Carnes. His song What’s Going On Here appeared in the 1996 feature film Fled, and Osborne, along with Ivan Neville, wrote and recorded the title track for the 2010 Kate Hudson film Earthbound.

But it is not just his live performances and songwriting that make Osborne such a success. He is also revered for his jaw-dropping guitar playing. His piercing slide-work and fluid finger picking (oftentimes happening simultaneously) are simply unmatched. His use of Open D tuning (a rare choice for a guitar virtuoso) gives his fretwork a signature sound and feel. “I first heard Open D on Joni Mitchell’s Blue,” he says, “and my fingers just fit the tuning.” His influences range from Ry Cooder and Robert Johnson to the great horn players like Miles Davis and John Coltrane. Always an in-demand guitarist, Osborne has appeared on a host of recordings by Keb Mo, Tab Benoit, Mike Zito and others. Most recently, Anders lent his guitar talents to Dark Water, Galactic’s first single from their new Ya-Ka-May CD.

Osborne was born in Uddevalla, Sweden in 1966. His father was a professional touring jazz drummer who played all over Europe and was exposed to a lot of popular American styles of music. He brought home reel-to-reel recordings of jazz, R&B and early rock ‘n’ roll from artists as diverse as Little Richard, Fats Domino, Bill Haley, Art Pepper and Miles Davis. As a teen, Anders started playing guitar and listening to Bob Dylan, Neil Young, Jackson Browne, and Joni Mitchell records. He fell in love with the vocal styles of Ray Charles, Van Morrison and Lowell George. Then he heard the blues of Robert Johnson and recordings of African drumming, and suddenly, everything clicked. “Blues connected everything together for me,” Osborne recalls. “The early rock, the R&B, the jazz, the singer-songwriters. Blues was like a thread running through everything.”

With a serious case of wanderlust, Anders began traveling on his own at 16. For the next four years he hitchhiked across Europe, North Africa, Southeast Asia and the Middle East, earning money by doing odd jobs and performing on the street or in bars at every opportunity. He worked assembly lines in Israel and dug ditches in Greece. He picked fruits and vegetables in many locales, following the harvest seasons across Europe. He wrote constantly, soaking up the life experience and honing his craft.

In 1985 he landed in New Orleans, a place his grandfather, a sailor, had often told him vivid stories about. When he arrived, he instantly felt right at home. “My grandfather had a lot to do with me settling here,” recalls Osborne. “He would send me postcards and photographs of him in New Orleans. I just felt connected to his memories. Once I got here, everything I heard in my head—the music, the way people treated each other—was happening. I knew I was home.” He effortlessly incorporated the sounds of the Crescent City into his own music, and the city quickly became a large part of his soul.

Anders spent his first few years in New Orleans writing and developing his sound and style, all the while continuing to soak up the music of the city. He cut his first two albums for the independent New Orleans-based Rabadash Records in 1989 and 1993. The excitement surrounding those releases led to a major label deal with Sony’s Okeh imprint in 1995. Since then, Osborne has released a series of successful albums for Shanachie and MC Records, all to wide critical and popular acclaim.

With the release of American Patchwork, Osborne will hit the road hard. In April 2010, he will play three times at the New Orleans Jazz & Heritage Festival (and make many more area appearances during the festival period). He will then start a six-week tour of the U.S. on a double bill with The Stanton Moore Trio, followed by further touring with his own band.

Blues Revue describes Osborne’s music as “an articulate and spellbinding tapestry of sorrow and joy.” New Orleans’ Times-Picayune says Osborne’s music is “genuine, focused and uplifting...guitar fireworks and a well-traveled voice.” The Newark Star-Ledger simply says, “This guy is in his own universe. Comparisons are meaningless.” Now, with a new label, a new recording, and a new appreciation of life itself, Anders Osborne is ready to fulfill his huge potential. As a youth he traveled the globe before settling in New Orleans. Now, he’ll travel from New Orleans, bringing his powerful original songs and soulful, blues-inspired, rock-fueled music to destinations all over the world.

anders osborne vocals, electric and acoustic guitars, piano, percussion
robert walter hammond b3, piano, moog, clavinet, keyboard bass
pepper keenan guitars, background vocals, percussion
stanton moore drums



DISCOGRAPHY

2010 American Patchwork (Alligator Records)
2007 Coming Down (MC Records)
2006 Tipitina’s Live 2006 (Shanachie)
2002 Bury the Hatchet with Big Chief Monk Boudreaux (Shanachie)
2001 Ash Wednesday Blues (Shanachie)
1999 Living Room (Shanachie)
1998 Live at Tipitina’s (Shanachie)
1995 Which Way to Here (Okeh)
1993 Break The Chain (Rabadash)
1989 Doin’ Fine (Rabadash)

martedì 27 aprile 2010

Ian Hunter - Man Overboard




Legendary Mott the Hoople front man and renowned solo artist, Ian Hunter, is out with his new work Man Overboard

With Mott the Hoople, Ian Hunter quickly established himself as an incredibly inventive songwriter with his gritty and thought provoking songs which paved the way for the original wave of punk rock. The 1972 David Bowie produced breakthrough album All The Young Dudes catapulted the band into the British Top 10 and the American Top 40. Additionally, the band was the first act to ever sell out a week of Broadway concerts in New York City. Ian Hunter’s autobiography, Diary Of A Rock and Roll Star, written during the band’s 1972 US Tour and published in 1974, was also acclaimed by Q Magazine as “the greatest music book ever written.”

As a solo artist, Mr. Hunter has been responsible for instantly recognizable classics as “Once Bitten, Twice Shy,” “Cleveland Rocks” (which went on to be the theme song for ABC’s hit series The Drew Carey Show), and many, many more. Both Ian Hunter and Mott the Hoople have been cited as major inspirations for numerous artists including The Clash, Kiss, R.E.M., Oasis, Jeff Tweedy of Wilco, Motley Crue, Blur and Primal Scream among others. Hunter’s influence on modern rock and roll music has been immeasurable, with over 150 different cover versions of his songs.

Man Overboard is Ian Hunter’s 13th solo album since his eponymous debut in 1975. Recorded in late 2008 in Pawling, NY, the 11-song set is a stunning follow up to the overwhelmingly critically acclaimed Shrunken Heads album. Man Overboard was produced by Andy York (veteran guitarist for John Mellencamp) and Ian Hunter and features a backing band of superstar talent comprised of Steve Holley on drums and percussion (Wings, Joe Cocker), Paul Page on bass (Dion), Jack Petruzzelli on electric guitar (Rufus Wainwright, Joan Osbourne), James Mastro on electric guitar (Patti Smith, John Cale), Andy Burton on piano and organ (The Db’s) and Producer Andy York on guitar and backing vocals. Many of the band members are returning from the Shrunken Heads sessions. Regarding Man Overboard, Ian Hunter stated, “When we did Shrunken Heads, I felt like we had a good thing going so I wanted to revisit the experience before anything changed, and that’s what we did.”

Ian Hunter has worked with many musical legends such as the members of Queen, David Bowie, Mick Jones of The Clash, Bruce Springsteen’s E Street Band, Mick Ronson and Ringo Starr’s All Star Band.

venerdì 9 aprile 2010

Pieta Brown - One and All




Pieta Brown is a striking poet-songwriter with a haunting voice and an unmistakable style. Her unique blend of alt-country, folk, blues and indie-rock speaks to music fans around the world and has garnered rave reviews from the likes of the BBC and Boston Globe, as well as a variety of hip music blogs and indie radio stations. Even her own musical hero Iris DeMent is a fan, saying she is “the best poet I’ve heard in a long damn time.” An artist with cross-genre appeal, Pieta has toured with such diverse artists as John Prine, Ani Difranco, Calexico, J.J. Cale and Mason Jennings.

Informed by her travels and the many places she has called home, Pieta writes story songs with beautiful landscapes and vibrant characters. And, coloring it all, a deep abiding saturation in folk and blues that’s beyond her years, showing she is a songwriter to be reckoned with and a talent too good to ignore.

The daughter of two preacher's kids, her early upbringing in Iowa was in a rural outpost with no furnace or running water. There, Pieta was exposed to traditional and rural folk music through her father, Greg Brown, the now beloved Midwestern folk singer. Later, while living with her mother in Alabama during her formative years, Pieta drew on and expanded these influences and began writing poetry and composing instrumental songs on piano.

By the time she left home at 18, Pieta had lived in at least 17 different houses and apartments between Iowa and Alabama. Staying true to the disjointed lifestyle of her childhood she wandered from the West Coast to the East. Each locale left its mark on her, accounting for an artist who brings together the unvarnished humility of Loretta Lynn, the honest modern rock punch of P.J. Harvey, the hipster swagger and poetry of Cat Power, and the airy sophistication of Feist.

After releasing two critically acclaimed albums in the last four years--Remember the Sun (2007) and In the Cool (2005)--Pieta has now signed with Red House Records. A natural addition to the label’s award-winning roster, she spent her early childhood in the very red house that gave the label its name. Her label debut Shimmer (2009) was an EP of stripped-down alt-country songs recorded by legendary producer Don Was (Bob Dylan, Bonnie Raitt, Rolling Stones). Hailed as “incisive and carefully crafted” (All Music Guide), it charted on Americana and folk radio.

Now, with her new CD One and All, Pieta proves she is “one of the best modern songwriters” (Sonic Boomers). Produced by Pieta and frequent collaborator Bo Ramsey, this compelling collection of original songs employs guitars, keyboards, and pedal steel to create hypnotic melodies and raw, soul-tinged grooves.

Pieta is currently touring in support of her new album and will be joining rock music icon Mark Knopfler for his entire 28-date North American tour.

martedì 30 marzo 2010

John Hiatt - The Open Road




Indiana-born John Hiatt is an unlikely but enthusiastic champion of the Midwestern work ethic -- he's been making records since 1974, but 2010's The Open Road is his sixth studio effort since the dawn of the new millennium, and it sounds like the work of a man who isn't about to stop doing this work anytime soon.. The legendary songwriter's 19th studio album is classic Hiatt, picking up the tempo and returning to rock following his previous critically acclaimed Same Old Man. Backed by his touring band, (Kenny Blevins on drums, Patrick O'Hearn on bass and Doug Lancio on guitars), the songs are inspired by life on the road, without looking back. "All the other years, my songs are about coming home," Hiatt says. But within these 11 new songs, home is never the destination.

Time keeps adding a little more grit to Hiatt's voice with each passing year, and he's smart enough to use it in his favor, with the sandy texture of his instrument adding weight and gravity to tunes like "Like a Freight Train" (in which he's bad enough to steal his mom's morphine), "Haulin'" (a road tune that plays like a Dixie-fried Chuck Berry variant), and "What Kind of Man" (another tale of a morally dubious character with shady habits), though the vocals are also a bit lower in the mix than usual this time out. Hiatt's voice and sneaky but literate lyrical style are also a fine match for Lancio's guitar work, full of sliding figures and well-punctuated string bends, and the steady, rock-solid roll of the rhythm section pushes the songs along without forcing them to move faster or harder then they want. And as a songwriter, Hiatt remains one of the best craftsmen in his field; if he doesn't sound inspired as often as he once did on albums like Bring the Family and Slow Turning, the tunes remain slinky and evocative and his stories of men either succumbing to or trying to overcome their lesser instincts still bear the ring of truth and never sound rote. John Hiatt's muse hasn't stopped keeping him on task, and the work he's doing remains satisfying, and anyone who can crank out an album as good as The Open Road every 18 months or so would be well advised to keep up the good work.

Hiatt has written songs covered by a multitude of artists in a wide variety of genres including Bob Dylan, Rosanne Cash, Willie Nelson, Jewel and Bonnie Raitt, who most famously recorded "Thing Called Love." On The Open Road he showcases both his lyrical and musical talent with his blues driven, rock songs including the title track and "Haulin'." Hiatt produced The Open Road himself after recording with his band in his garage-turned-studio.

( Info tratte dal sito New West Rec. e AllMuisc Guide )

domenica 7 marzo 2010

Crazy Heart - The Original Motion Picture Soundtrack



Four-time Academy Award® nominee Jeff Bridges stars as the richly comic, semi-tragic romantic anti-hero Bad Blake in the debut feature film from writer-director Scott Cooper. Bad Blake is a broken-down, hard-living country music singer who's had way too many marriages, far too many years on the road and one too many drinks way too many times. And yet, Bad can’t help but reach for salvation with the help of Jean (Maggie Gyllenhall), a journalist who discovers the real man behind the musician. As he struggles down the road of redemption, Bad learns the hard way just how tough life can be on one man’s crazy heart.

Crazy Heart: Original Motion Picture Soundtrack includes 16 songs from the film. A deluxe edition of the soundtrack featuring all 23 songs from the film, sequenced in their running order, is also available. The soundtrack was co-produced by 10-time Grammy® Award winner T Bone Burnett. Burnett, who co-produced the soundtrack with guitarist/songwriter Stephen Bruton, earned past Grammy Awards for his work on the 8-times Platinum release, O Brother Where Art Thou? and Platinum soundtrack to the Johnny Cash biopic, Walk The Line.

The film is dedicated to Bruton, a lifelong friend of Burnett who passed away in 2009. In a long and distinguished career, Bruton excelled as a musician, songwriter and producer. He played guitar with Kris Kristofferson since the early 70s, had songs recorded by Bonnie Raitt, Willie Nelson, Waylon Jennings and Johnny Cash among others, and released five records as a solo artist, the last three for New West. Just before passing, Bruton was working on Crazy Heart both musically and in a consultation role for Bridges. Bruton was able to see the completion of the project before his death.

Stephen Bruton

Renowned, Texas musician, Stephen Bruton had a long and distinguished career as a musician, songwriter and producer. He released five records as a solo artist, the last three for the New West Records label. As a lead guitar player Bruton was in high demand among legendary contemporaries including Kris Kristofferson and Bonnie Raitt. He recorded with Delbert McClinton, T Bone Burnett, Elvis Costello, Carly Simon, The Wallflowers, Sonny Landreth, Peter Case, Ray Wylie Hubbard and a slew of others. He produced records for Alejandro Escovedo, Marcia Ball and Jimmie Dale Gilmore to name a few. Bruton's songs have been widely covered as well, by artists including Raitt, Kristofferson, Willie Nelson, Jimmy Buffett, Johnny Cash, Waylon Jennings, Martina McBride and Patty Loveless.




Tracklist

Hold On You ( Performed by Jeff Bridges

Hello Trouble Performed by Buck Owens

My Baby’s Gone Performed by The Louvin Brothers

Somebody Else ( Performed by Jeff Bridges

I Don’t Know Performed by Ryan Bingham

Fallin’ & Flyin’ Performed by Jeff Bridges

I Don’t Know Performed by Jeff Bridges

Once A Gambler Performed By Lightnin’ Hopkins

Are You Sure Hank Done It This Way Performed by Waylon Jennings

Fallin’ & Flyin’ Performed by Colin Farrell & Jeff Bridges

Gone, Gone, Gone ( Performed by Colin Farrell

If I Needed You Performed by Townes Van Zandt

Reflecting Light Performed by Sam Phillips

Live Forever Performed by Robert Duvall

Brand New Angel Performed by Jeff Bridges

The Weary Kind (Theme From Crazy Heart) Performed by Ryan Bingham





Four-time Academy Award® nominee Jeff Bridges stars as the richly comic, semi-tragic romantic anti-hero Bad Blake in the debut feature film from writer-director Scott Cooper. Bad Blake is a broken-down, hard-living country music singer who's had way too many marriages, far too many years on the road and one too many drinks way too many times. And yet, Bad can’t help but reach for salvation with the help of Jean (Maggie Gyllenhall), a journalist who discovers the real man behind the musician. As he struggles down the road of redemption, Bad learns the hard way just how tough life can be on one man’s crazy heart.

Crazy Heart: Original Motion Picture Soundtrack includes 16 songs from the film. A deluxe edition of the soundtrack featuring all 23 songs from the film, sequenced in their running order, is also available. The soundtrack was co-produced by 10-time Grammy® Award winner T Bone Burnett. Burnett, who co-produced the soundtrack with guitarist/songwriter Stephen Bruton, earned past Grammy Awards for his work on the 8-times Platinum release, O Brother Where Art Thou? and Platinum soundtrack to the Johnny Cash biopic, Walk The Line.

The film is dedicated to Bruton, a lifelong friend of Burnett who passed away in 2009. In a long and distinguished career, Bruton excelled as a musician, songwriter and producer. He played guitar with Kris Kristofferson since the early 70s, had songs recorded by Bonnie Raitt, Willie Nelson, Waylon Jennings and Johnny Cash among others, and released five records as a solo artist, the last three for New West. Just before passing, Bruton was working on Crazy Heart both musically and in a consultation role for Bridges. Bruton was able to see the completion of the project before his death.

Stephen Bruton

Renowned, Texas musician, Stephen Bruton had a long and distinguished career as a musician, songwriter and producer. He released five records as a solo artist, the last three for the New West Records label. As a lead guitar player Bruton was in high demand among legendary contemporaries including Kris Kristofferson and Bonnie Raitt. He recorded with Delbert McClinton, T Bone Burnett, Elvis Costello, Carly Simon, The Wallflowers, Sonny Landreth, Peter Case, Ray Wylie Hubbard and a slew of others. He produced records for Alejandro Escovedo, Marcia Ball and Jimmie Dale Gilmore to name a few. Bruton's songs have been widely covered as well, by artists including Raitt, Kristofferson, Willie Nelson, Jimmy Buffett, Johnny Cash, Waylon Jennings, Martina McBride and Patty Loveless.




Tracklist

Hold On You ( Performed by Jeff Bridges

Hello Trouble Performed by Buck Owens

My Baby’s Gone Performed by The Louvin Brothers

Somebody Else ( Performed by Jeff Bridges

I Don’t Know Performed by Ryan Bingham

Fallin’ & Flyin’ Performed by Jeff Bridges

I Don’t Know Performed by Jeff Bridges

Once A Gambler Performed By Lightnin’ Hopkins

Are You Sure Hank Done It This Way Performed by Waylon Jennings

Fallin’ & Flyin’ Performed by Colin Farrell & Jeff Bridges

Gone, Gone, Gone ( Performed by Colin Farrell

If I Needed You Performed by Townes Van Zandt

Reflecting Light Performed by Sam Phillips

Live Forever Performed by Robert Duvall

Brand New Angel Performed by Jeff Bridges

The Weary Kind (Theme From Crazy Heart) Performed by Ryan Bingham

venerdì 12 febbraio 2010

Eric Wood - Don't Just Dance




Each soul has a voice that speaks to a mystery
Well hidden in someone’s dark spirit
Its song may well penetrate many an ear
Yet only one truly can hear it
To this one its meaning is poignant
His heart can hardly hold it
This pawn in the hand of this powerful poem
Is exalted far beyond the poet


From…. "Let My People Go" by Eric Wood

The music of Eric Wood has been described as intense, compelling, intimate, provocative, poetic and personal by many critics in the U.S, Canada and Europe. An American amalgam of jazz, folk, country and rock meets Brazilian and Middle Eastern musical idioms in his music. Together, they weave the raiment for the poignant, lyrical writings rendered in Wood’s smoky, baritone voice on his new upcoming CD release. Simultaneously romantic & political, Wood occupies a never too far off, yet still somewhat isolated location in the American song-writing landscape. "This sounds too much like it’s really what Eric Wood’s music must be for it to be the result of some calculated gesture," a Music Reviews Quarterly writer reported. In another very recent review of Eric’s first CD, Letters From the Earth (Tangible Music TG129), in London’s MOJO magazine, Pat Gilbert writes; "As a 40something songsmith, Eric Wood ought to have some encyclopedic pedigree. But a 30-year career that started in Ohio’s coffee houses, took in Nashville in the early 70s and ended up in the bars of New York’s East Village has seemingly left an indelible blank on the pages of Guinness and Macmillian." He calls Eric’s first CD "an unhurried melt of folk, blues and wee-hours jazz, often operating over subtle Latin rhythms and unobstrusive strands of jazz instrumentation (vibes, marimbas, sax). It’s a belated solo debut that’s astonishing for it’s gleefully understated musicianship and emotional authenticity."

The new Eric Wood CD, to be released in September on Appaloosa Records /IRD, establishes his musical diversity and extraordinary lyrical prowess with a new band, in a context all its own.

Eric came from an austere background in the Appalachian foothills near the Ohio /West Virginia border. Factory workers that had migrated from mostly Eastern Europe, indigenous hillbillies, and Amish families shared both the turf and the troubles. Each group held tightly to their own beliefs, religions and types of folk music while to the dismay of them all, the radio blasted the new unholy, British invasion music to their kids. While the older music was marrow deep in Wood’s bones, it didn’t calcify until it was thoroughly saturated with the new. To the entire neighborhood’s dismay, Wood’s more than slightly "loosely wrapped" adoptive mother (as he refers to her) often listened to the music of Harry Belafonte, Ray Charles and early Bob Dylan at high volumes. These voices sounded so severe in this environment, even the most open-minded individuals in his home-town had great difficulty listening to them. Eric heard these sounds early on and never thought twice about them. They were just more music to his ears. But life with his mother’s volatile personality nevertheless proved impossible even for him. He left home in the late `60s at the age of 15 to establish a new life among the leftover Beats and newcomer Hippies in San Francisco’s Haight-Asbury district. There, more rhythmically compelling Miles Davis, Dave Brubeck and Thelonious Monk influenced music, brought to his ears by local bands who were mixing it all up, exposed Wood to new currents through which he’d learn to make all those previously diverse forms flow together freely.

Soon after this crucial point in his ever-more musically enriched life, Eric Wood suffered life-changing injuries from a severe car crash that left him hospitalized and without his own brain’s memory-forming functions for more than a year. It was during that time that he turned to writing songs as a way to capture the thoughts and emotions that would otherwise escape him. Songwriting became a kind of temporary memory and a road map out of the convoluted confusion the injuries caused. This is when the songs of one of his mother’s favorites, Bob Dylan, came back to his mind. Suddenly they were the only thing that made perfect sense to him. He began to search for the recordings of other Dylan contemporaries and subsequently came to hear and especially love Tim Buckley (who Wood’s music is sometimes compared to) and Joni Mitchell.

Recovery came slowly and left Eric with a singular new direction. Within another year, he was performing his own songs nationwide at college concerts and coffee-houses. While functioning as the opening act on a Pure Prairie League tour, Kris Kristofferson heard his music and offered him a publishing deal at Combine Music in Nashville. After moving there, Eric held staff writing positions at two other publishing houses and produced 2 recordings that the country music establishment found very difficult to swallow. They were never released. Wood’s rhythmic orientation, lyrics and melodies weren’t going to lead him to the stage of the Grand Ole Opry. He left for New York City in 1979. In the subsequent 20 years, Wood recorded & performed with top jazz players including Bobby Previte (Depth of Field) and Lindsey Horner (Koch Records) performing at the Bottom Line and The Knitting Factory to growing audiences. Subsequent U.S. tours with Suzanne Vega, Shawn Colvin and Richard Thompson brought more fans and critics to hear him. Finally in 1997, Eric was signed in New York to Tangible Music and his first CD was released. It garnered high critical acclaim from many publications including Entertainment Weekly, The New Yorker, The Chicago Tribune and Rolling Stone, as well as a front page, Giancarlo Susanna review in one of Rome’s largest newspapers, La Unite. More European acclaim in Musica, Late For The Sky, Muccio Selvaggio, JAM Magazine, MOJO, Rock ‘N Reel and many others soon followed. Buscadero rated it #8 in the top 10 albums of 1997. And Billboard Magazine rated Letters From The Earth #9 in a "Year End Critics’ Poll". This was quite an accomplishment for a debut record. One solo European tour and another with Wood’s entire band soon followed.

In September 1999, the Eric Wood group’s 1998 summer tour will finally come to an end with the new release on Appaloosa /IRD Records. For Eric and the rest of his band (T. Xiques, Carlo DeRosa, Jeff Berman & Luis Perdomo), it actually began in the spring of `98 in the Brooklyn rehearsal space /apartment of string bassist DeRosa. The next two months were spent rehearsing and performing for audiences at The Living Room in NYC where they worked up new songs Eric planned to record as well as older material from Wood’s first CD for their scheduled upcoming tour dates in northern Italy. Then, during the Eric Wood group’s Italy `98 tour, an impromptu live recording session was arranged at B&B Production Studios near Ferrara, Italy. It was only a couple of days before their headline performance date at the Sotta Le Stella festival at Ferrara (Dylan headlined the year before). But the band had too little studio time left to listen back to the tracks before another band came in. The tapes were subsequently stashed in a gig bag and not heard until Eric later returned to the states. While still in Italy, Franco Ratti at Appaloosa /IRD Records suggested to Eric that he record his new CD for that label. Wood agreed, not knowing he was already carrying the crucial tapes in his bag. Later, the project was completed at World Studios in NYC. During one of his 1998 performances in Italy, singer-songwriter Cristina Dona’ ("Tregua" Mescal-Mercury) joined Eric onstage. The memory of her magic voice singing with him prompted Eric to send some of these newly recorded tracks back to Italy for Cristina to sing on.

martedì 9 febbraio 2010

Ray Wylie Hubbard - A. Enlightenment B. Endarkenment ( Hint : There is no C)







It wasn’t that long ago that Ray Wylie Hubbard allowed to an acquaintance that he wouldn’t mind being a hybrid of Guy Clark and John Lee Hooker. Now, I’m no seer or mystic, but my instincts suggest that wish came true. And then some. A. Enlightenment, B. Endarkenment (Hint: There is no C) confirms it.

Ray Wylie Hubbard writes the kind of songs that make you want to ride along no matter where he’s going, because you know it’s gonna get strange somewhere along the way. The references to Muddy Waters being as deep as William Blake (“I really do believe it,’’ Ray says) and lipstick pickups, resonator slides, the dreams of drunken poets, deceased call girls, opium, wasp’s nests, clouds growing a tail, his ability to segue seamlessly from primal exclamations of carnal lust into songs about salvation without pausing for irony;
and a craftsmanship that manages to rhyme mescaline and gasoline and Volkswagen with dragon while painting vivid portraits of characters both real and unreal, all evoke a sense of place that is larger than life but in no way made up.

Anyone who’s followed Ray Wylie Hubbard over the long and winding path he has traveled already knows he possesses the kind of exceptional gift for observation that any songwriter yearns for. His sense of wonder is tempered by an accumulated wisdom and knowledge that comes with experience that has elevated him into the Wylie Lama of Texas Music, freely imparting songwriting verities to all kinds of aspiring musicians, which allows him to lay all his cards on the table and let the listener decide what it all
means.

In case you’re wondering where he’s been since his last album Snake Farm, Ray’s been writing, only he moved out of the song category to test his chops as a screenwriter, conceiving an outlaw western straight out of the Peckinpah school of blood and vengeance (“set in 1912 so we can have a Buick and a motorcycle and automatic weapons well as horses”). That his first screenplay actually got funded, filmed and slated for release is a testament to the caliber of his writing, the fact that Kris Kristofferson, Dwight Yoakam, and Lizzy Caplan appear among the ensemble of accomplished actors speaks volumes of the respect he has earned among his peers.

Besides the movies, a weekly Tuesday radio show and constant touring as well as producing other artists, his focus remains fixed on the song - constructing and performing stories set to music that resonate like no one else’s. Not for nothing is he the dark literary, cat daddy of Americana songsters who was outlaw long before it was cool.

But don’t take my word for it. Ray Wylie is far better versed explaining how the sacred and the profane, the yin and the yang, the eternal and the now, the hippies and rednecks, the saved and the damned are all part of the same conversation.“I like to look at both enlightenment and endarkenment,” he declares. “I feel comfortable observing each.

Now I really feel like I gave up the right to judge anybody a longtime ago. With my behavior back in my twenties and thirties, I don’t have that right. I really don’t.” That doesn’t stop him from taking note of what’s going on around him. “It’s so turbulent right now,” he says. “Like the idea of The Four Horsemen of the Apocalypse. That’s pretty strong and scary stuff, especially since I try to stay here in this Pollyanna world of hope and idealism I’ve created, but I’m able to get in that mind set and look at it and write it from the point of view of one who believes it.”

“In ‘Rise Up,’ I can go in there and see the need for that kind of Salvation and understand why that need is there but then read about Chet Baker and heroin and think, yeah, man, it does make the deep things appear (which he captures in ‘Opium). “I feel very fortunate, being able to see that, but not really go there.”

“Four Horsemen of the Apocalypse” and “Rise Up,” two straight up gospel pieces that could be sung in a four square church are “straight, basic fundamental Pentecostal Bible,” Ray explains with a sly grin. “Then all of a sudden I write about a naked woman in ‘Drunken Poet’s Dream.”

So what’s up with the unusual title song? “It is my honoring Edgar Allen Poe’s ‘The Raven,’” he says, breaking into a conspiratorial smile. “That is my favorite poem of all time. It still is. I re-read it and as I was going to bed I thought, I should write something like this. I couldn’t use a raven so I used a black sparrow. And it started. It was so weird, just laying in bed thinking, OK, here’s Edgar Allen Poe, he’s drinking, he’s just lost the most precious thing in his life and all that. What would happen if I was in that frame of mind and suddenly this bird lands by my bed? What would it say? 'A. Enlightenment, B. Endarkenment (Hint: There Is No C).' ''

He continues “ Finally, a little bit later, came the line I’d heard my grandmother say when I was a kid, ‘Heaven pours down rain and lightning bolts’– that line kind of sums it all up for me as far as everything, really... Heaven is this beautiful place and yet it pours down rain and lightning bolts on both the just and the unjust. So being mindful of this, I was reminded of one of my wife Judy’s spiritualisms ‘the days I can keep my gratitude higher than my expectations, those are good days,"’

“When it’s all said and done and the record is released whether I ride through the streets in a chariot with rose pedals falling upon me and thousands cheering my name or I find myself standing against a wall being asked if I want a cigarette and a blindfold, I am extremely grateful for each of these songs. And if the truth be known, after every song I write I always say, 'thanks' '' With a keen eye of observation and a wise man’s knowledge, Ray Wylie Hubbard composes and performs songs that couldn’t spring from anywhere else but out of his fertile rock and roll bluesy poet-in-theblistering- heat southern noggin.

Hint: the answers are all within A. Enlightenment, B. Endarkenment.

mercoledì 3 febbraio 2010

Steve Earle - Townes


GRAMMY WINNER

We are proud to announce that last night Steve was presented with the award for Best Contemporary Folk Album at the 2010 Grammys for his most recent album, “Townes.” This is Steve’s third Grammy Award for Best Contemporary Folk Album







Steve Earle’s new album Townes, is his highly anticipated follow up to the Grammy Award winning album Washington Square Serenade. The 15-song set is comprised of songs written by Earle’s friend and mentor, the late singer-songwriter, Townes Van Zandt.

The songs selected for Townes were the ones that meant the most to Earle and the ones he personally connected to. Some of the selections chosen were songs that Earle has played his entire career (“Pancho and Lefty,” “Lungs,” “White Freightliner Blues”). He learned the song “(Quicksilver Daydreams of) Maria” directly from Van Zandt. Earle taught himself “Marie” and “Rake” specifically for making this record. Earle recorded the New York sessions solo and then added the other instruments later on in order to preserve the spirit of Van Zandt’s original solo performances to the best of his recollection.

The track “Lungs,” was produced and mixed by the Dust Brothers’ John King and features Tom Morello of Rage Against the Machine/The Nightwatchman on electric guitar.

Earle met Townes Van Zandt in 1972 at one of Earle’s performances at The Old Quarter in Houston, TX. Van Zandt was in the audience and playfully heckled Earle throughout the performance to play the song “Wabash Cannonball.” Earle admitted that he didn’t know how to play the tune and Van Zandt replied incredibly, “You call yourself a folksinger and you don’t know ‘Wabash Cannonball?’” Earle then silenced him by playing the Van Zandt song “Mr. Mudd and Mr. Gold,” not an easy feat due to its quickly-paced mouthful of lyrics squeezed into just over two minutes of song. Their bond was immediately formed. On Townes, Earle and his son, singer-songwriter Justin Townes Earle (named after Van Zandt) trade verses on the tune, a song the two of them have been playing together since Justin was a teenager.

The songs selected for Townes were the ones that meant the most to Earle and the ones he personally connected to (not including selections featured on previous Earle albums). Some of the selections chosen were songs that Earle has played his entire career (“Pancho and Lefty,” “Lungs,” “White Freightliner Blues”) and others he had to learn specifically for recording. He learned the song “(Quicksilver Daydreams of) Maria” directly from Van Zandt, and taught himself “Marie” and “Rake” specifically for the album’s recording. Once a song he played during his live show, Earle relearned “Colorado Girl” in the original Open D tuning that Van Zandt played it in. Earle recorded the New York sessions solo and then added the other instruments later on in order to preserve the spirit of Van Zandt’s original solo performances to the best of his recollection.

When speaking about Townes, Earle stated, “This may be one of the best records I’ve ever made. That hurts a singer-songwriter’s feelings. Then again, it’s some consolation that I cherry picked through the career of one of the best songwriters that ever lived.”

Townes Van Zandt’s debut album, For The Sake Of The Song, was released in 1968. His last, No Deeper Blue appeared in 1995. His life and songs are the subject of the critically acclaimed 2006 documentary film, Be Here To Love Me. Van Zandt died in 1997 at the age of 52.

While being a protégé of Van Zandt, Earle is a master storyteller in his own right, with his songs being recorded by Johnny Cash, Willie Nelson, Emmylou Harris, Waylon Jennings, Travis Tritt, The Pretenders, Joan Baez and countless others. 1986 saw the release of his debut record, Guitar Town, which shot to number one of the country charts and immediately established the term “New Country.” What followed was an extremely exciting array of twelve releases including the biting hard rock of Copperhead Road (1988), the minimalist beauty of Train A Comin’ (1995), the politically charged masterpiece Jerusalem (2002) and the Grammy Award Winning albums The Revolution Starts…Now (2004) and Washington Square Serenade (2007). Earle also produced the Grammy nominated album, Day After Tomorrow, by the legendary Joan Baez in 2008.


martedì 19 gennaio 2010

Don Michael Sampson - Copper Moon




I want to point the music lover towards a product of absolute quality that needs no fear of comparison with the most important singer/songwriter products of 1995.

Trust .... a truly serious thing. For my part I remember that I trusted Sampson immediately, when I bought his first two records AMERICANSONGS and COYOTE in the United States directly after their release --- these are also two great records. What genre is he, whom does he resemble? Simple questions, but difficult to answer. He writes songs, he sings them one after another in a linear fashion, with a stentorian voice, supported by an exact and refined instrumentation, simple and classic, based on acoustic and electric guitars, bass, drums.At times something different is added to the mix, or the rhythm section disappears, as in several songs on this COPPER MOON album. Thats all? Well, any Simple Simon can do that, someone might object. Thats just it. When a true artist does it, the result can be a masterpiece! Now Don Michael Sampson, he's a true artist, as God is my witness: a great singer/songwriter -- one whose backpack is loaded with substance --- and I assure you that his records are an absolute priority for the demanding listener. Dry and decisive musicality that unwinds sinuously, enchanting, in a folk/rock context of absolute quality. Everything is reduced to essentials: nice sound with only a few instruments, big, very big impact beyond a doubt. Don Michael Sampson does not have a great voice, but he has 'that' voice ... the voice of someone who has wandered in the desert, of someone who has lost his belongings, of someone who suffers. As a guitarist, he does what he has to, and it's fine like that. At times it seems to me almost as if you could think of Sampson as a possible evolution (dimensionally parallel but inevitably differentiated) of ...well, John Prine, for that way of doing country rock and folk rock so offhandedly that it does'nt even seem to be that any more. Listen to the first song on COPPER MOON (Three White Horses) and judge for yourself. This is also the first of six instrumental pieces, with Ben Keith on steel, slide and tambourine. Warren Haynes on electric (lead and slide), Michael Rhodes or Dave Pomeroy on bass. Chad Cromwell or Craig Krampf on drums. On two occasions you also hear Larry Knechtal's piano. Sampson plays acoustic (Martin, Gibson) and also the twelve-string. There is sadness in the grooves of this disk, at times desperation; always there's something magic, something bewitching. I should list the songs at this point: listen, they are all beautiful. I would not know how to choose. An indispensable album, which you really can't do without ... it is still hard for me to realize that it really exists."


Renato Bottan

"This is the fourth album release by one of America's closest guarded secrets, the unique talent known as Don Michael Sampson. Judging from his recordings, his influences range from the Johnny Burnette Rock n Roll Trio through to Neil Young and thrown into the melting pot for good measure are his own smoky tinged vocals, all in all a potent mixture which deserves to be heard by audiences who appreciate true artistry. 1995 sees the issue of his latest offering COPPER MOON. This is a veritable potpourri of compositions, tempos and themes but all bearing a personal identification. Sleeping Dogs is a song cut at the first take with a strong blues influence, mean and moody vocals and lyrics full of apprehension. Three White Horses and Blue are good honky tonk shuffles which leave the listener feeling happy in the first instance and with mixed emotions in the latter case. 61 Road has a Richie Valens chugging style guitar and Black Tambourine is an atmospheric song with a crying guitar. Both paint a portrait of a guy on a stage in a corner of a smoke filled bar pouring his heart out in song. Red Bird In The Rain has full backing from the likes of Larry Knechtal, Ben Keith, Dave Pomeroy and Craig Kramph and is just a plain old beautiful song. Acoustic offerings include Dark Horse Rider, Strongest of Stars, Lonesome Ace and All There is To Know which all have meaningful lyrics demanding to be listened to. Thieves has a degree of improvisation evident (and how many classic songs have come about in this manner) and Long Time Ago has a strong gospel feel. Both songs evoke a picture of life in the Southern backwoods. This is certainly one of the better offerings of 1995 and is well worth seeking out."

Tony Wilkinson

This record is the surprise of the year in the group made of nocturnal songs of the wish and loners with unquiet blood. The songs play and I listen carefully breathing in a Nebraska haze, a rough Southern sound and moonlight made ballads. Formerly from California this poet/artist has for the most part been unjustly overlooked for his prior albums AMERICANSONGS, COYOTE and the more recent CRIMSON WINDS. Lets hope this magnificent and shadowy COPPER MOON can repay Don Michael Sampson, songwriter of quality and experience and shining poetry. The presence of an itchy slide like that of Warren Hayes (Government Mule) tell a lot about the swampy atmosphere of the tracks. Sampson exhibits his guitars, mainly acoustic and extracts from them seducing sounds with a suffering and autumn voice, made of sorrowful intimacy. All songs have been written by him, many recorded at his home. These songs are enlightened by bright light and sad like the day overwhelmed by shadows. But the dark zones are a leit-motiv of this record, mind you. The introspection of Strongest of Stars, the rough blues of 61 Road ....hard and full of bloodlines at the surface and whispered between teeth on the dull and original wires of a 30's guitar (he brought for $5 in the California desert). And the smoky Thieves coming from an acoustic guitar with a slide reigning alone in winding lines. Guitars, like old wine --- let's enjoy, if an old guitar gives us a magnificent Red Bird In The Rain. Lonesome Ace bent in melancholy, is the clearest water of the record -- my favorite, and Warren Haynes solos that rave in the electric Sleeping Dogs, the airy rhythm of Three White Horses valuable country to be played in a Chevrolet driving along the plains. Blue intrigues me, written in a moment of sadness and dedicated to a dog ---one of the same name, like mine, who died some years ago, always in my mind (pardon my sentimentality). Don Michael Sampson is a true craftsman, working by himself, in the silence of his room, while the dark night stands still hearing. Sincere to the bone, essential in the magic of his singing. Easy owner of one of the records on the year."

Francesco Caltagirone
Buscadero/Italy


Don Michael Sampson has his own unique style, very distant from the so called Nashville sound. He sounds more like Neil Young or Johnny Burnette. His ballads radiate a melancholy, very much like the songs of Leonard Cohen. He creates an atmosphere of a troubadour traveling the world, with a guitar on his back. His lyrics give you this abstract, mysterious unreachable feeling. This CD is a Groeiplaat --- which means the more you listen to the songs the better they get."

Hans van Dam

"Although he's a country lad at heart, Sampson skirts through troubadour folk country, tangles heavily with blues and even dabbles in a spot of near-space rock, showing off influences that include Neil Young, Johnny Burnette and Townes van Zandt. His sound is a varied combination that relies heavily on word play and atmospheric background strummings to create moods that sweep over the listener like moisture-heavy clouds."

Jim Driver

martedì 12 gennaio 2010

Clarence Bucaro - New Orleans




>"New Orleans is a record that manages to feel deeply peersonal, soulful and uniquely American; with 29 year old Bucaro's voice sounding like the perfect cross between Ben Harper and Brett Dennen."
- The Music File

"...warm cozy songs that hark back to late 70's Van Morrison"
- New York Times

New Orleans, the new release by Hyena Records' newest artist, Clarence Bucaro, was released on October 13 and so far the reviews have been great!

The Cleveland, Ohio native moved to New Orleans in 2004 after a long two-year haul touring the U.S. and Europe and hiking the entire length of the Appalachian Trail. Inspired by his new home and a new relationship, Bucaro teamed up with longtime mentor and collaborator Anders Osborne and recorded a collection of freshly penned songs in a single six-hour session. Bucaro adandoned the project, however, immediately after laying the tracks to tape, the personal nature of the material weighing heavy on him. Soon thereafter, he would head west to Los Angeles to find new direction before eventually settling a year later in New York City. After the 2008 release of his critically acclaimed 'Til Spring, Bucaro decided to open up the material from the "New Orleans" session, going on to complete it and now share it for release.

The final results are 10 intimate songs that range from the sweet syncopated soul of "Let Me Let Go of You" to the skewed rocker "The Other End," the pleading gospel-tinged "Light in Your Eyes" to the intimate ballads "Matter of the Heart," "On My Coast" and "Abandoned Mine." The warm tone of the recording paired with Bucaro's love worn lyrics and heartfelt delivery call to mind artists like Jackson Browne and Van Morrison, but never impeding on his uniqueness as an artist.

lunedì 11 gennaio 2010

Terry Clarke - Lucky




Anglo/Irish Terry Clarke is from Reading, Berkshire, west of London in the Thames valley but he sings like his heart belongs in Sligo, Ireland and his bones are happiest in Austin, Texas, he tells stories about loners, freewheelers and passionate home- comings ...

Songwriter, bandleader, singer/raconteur, producer/arranger, 12 string guitarist and mandolin player, lately his own photographs and paintings have appeared on his album artwork ...

Writing and singing melodic songs that echo and reverberate with; country, rockabilly,Irish laments, poetry and street language, Terry Clarke has established himself as one of the most important acoustic Rock/Beat/Folk writers and performers of his generation ...

"Recorded in Texas with Champ Hood and Lisa Mednick ...mood is laid back and blues in the night ... included is a cool cover of Johnny Cash's 'I Still Miss Someone'"
Village Records, Kansas

Of all English speaking peoples, even if the language wasn't of their choosing, the Irish have best perfected the art of melancholy and Clarke's work can, I think, be seen as a postmodern expression of the mournful dirges with which generations of exiles lamented their lost patrimony. His songs are far more complex and intelligent than the 'take me back to the lakes of Killarney and that redheaded colleen I loved' tradition, but there's an essential continuity. ... a lineup that keeps the title from being merely ironic and provides gorgeous atmospheric to Clarke's restrained intensity, (Jesse) Taylor yet again demonstrating his telepathic rapport with singer-songwriters. ... Johnny Cash's 'I Still Miss Someone' and 'Bye Bye Blackbird' ... can be taken as general indicators of the general mood, which hits that Irish spot of being sad but not depressing. ... Clarke is regarded as an honorary West Texan ..
3rd Coast Music, Texas

The Clarke originals prove that he remains one of our finest and most diversely influenced composers. His Irish (influenced) canon advances still further with 'Did He Sing Danny Boy' and the stunning, pseudo-traditional 'By The Light Of The Plough'. 'Gardenia Blues' is a slow soulful number underscored by languid guitar lines, while (Lisa) Mednick's support vocal is well to the fore on 'Crow Blues'. Should you wish to envelop yourself in a dreamy laid back jazzy ether, then for over five minutes. 'Mr Lucky' will fulfill your wildest fantasies. Pickin' clover or pickin' strings, life can most surely be 'Lucky'
Kerrville Kronikle

BIOGRAPHY


Terry Clarke's music is infused with the warm, breezy subtleties of Johnny Mercer and Hoagy Carmichael, the rough-hewn, hard-living country of Johnny Cash and the kind of street poetry and vivid imagery that make him one of the most important writers of his generation.

Whether he is calling up the spirit of the blues, tearing through a good, honest rock & roll song, introducing you to one of his flesh, blood and bone character studies or breaking your heart with a lonesome lament his work has the weight of history behind it - the history that gave us Son House, Dion, Springsteen, Johnny Cash, Jimmy Webb and Mercer - but his work pulses with a contemporary heart that continues to make his music full of surprises.

As well as producing 10 fine albums, which are coloured by his love of the blues, of rock & roll, as well as by his Anglo Irish roots and by his long association with Austin Texas, he has enjoyed the respect of, and collaborations with, some of the best.

During his twenty-year writing association with blues slide guitarist Michael Messer he has been responsible for the modern classics of the genre that are winning Messer increasing recognition. The feted bluesman's new album, Lucky Charms, out in February 2006 is, as ever packed with Clarke laments and finely drawn character studies which keep the blues flame burning.

Clarke's friendship with one of Austin's favourite adopted sons, Wes McGhee, led to the two of them getting together in the studio last year to produce Night Ride to Birmingham - a flashing, neon, jukebox of an album full of rockabilly swing, rock & rollers, and homages to Clarke's heroes such as Johnny Burnette, Johnny Cash, Gene Vincent, Elvis and Laura Nyro. As their fans will attest McGhee and Clarke are natural allies both on stage and in the studio, with a shared musical language and this album marks a new and exciting phase in their long relationship. The pair have just returned from a UK tour, with writer, musician and cult legend Ronny Elliott, making up the Unholy Trinity.

Other recent projects for Clarke include a tour this month of North Carolina, West Virginia and Ohio, alongside David Childers and the Modern Don Juan's, who tear up the music venues of those states with a potent liquor of rockabilly and rock & roll played with skill of experience and the heart of a rowdy teenager.


Clarke has very recently relocated to Swansea, Wales, the home of one of his writing heroes Dylan Thomas. As is his habit, Clarke is assimilating the culture, the history and the richness of his new surroundings to produce a fine body of work hewn from the local landscape.

To date he has enjoyed some great performances in Wales, including at the Dylan Thomas Centre and he is working on a number of new projects here, notably with the actor Peter Read, that will take him into new musical and performing territory.

December sees Clarke share a bill at the Cluny in Newcastle with Jackie Leven and with Hank Wangford in Clerkenwell. London.

venerdì 8 gennaio 2010

Dirk Hamilton - Too Tired To Sleep ( Ap 061 )






Singer-songwriter Dirk Hamilton was born in Indiana and raised in Northern California. He picked up a guitar as a youth and was writing songs and playing live performances by the time he was in high school. He moved to Los Angeles in the late 70s and recorded four critically acclaimed albums: two while at ABC Records, and two while at Elektra/Asylum Records. A poet and musician known for his uniquely intelligent lyrics and passionate performance style, Hamilton creates music that can't be pigeon-holed into one genre or another, so indie rock, alt-rock, roots music, americana and folk-rock are often used. For his lyrics and performance style he is most often compared to Dylan, Van Morrison, and John Hiatt.

Hamilton took a hiatus from music in the early 80s, during which time he took a position counseling troubled teens in Northern California. Eventually though, music began to call to him anew. He formed a band and returned to entertaining audiences with his particular brand of live music. Before long, his inspiration to write resumed as well and he began recording albums again.


In the late 80s, Hamilton was told his music had a large following in Italy. He accepted an offer to do some concerts there, and ever since then, he returns to Italy every year doing concert tours for his fans there.

In 2004, he was introduced to musicians in an Italian band called The Bluesmen, which led to their performing and collaborating on new music together. They tour Italy as Dirk Hamilton and the Bluesmen usually during the summer months.

Hamilton also takes his American rock ensemble, The Dirk Hamilton Band, out for tours of Italy as well as America. Members of this band are long-time collaborators on stage and in the recording studio with Dirk. Concerts featuring this line-up promise a particular soaring creative energy — the kind that is only achieved by musicians who have worked together a long time. The ensemble includes Don Evans on lead guitar, Eric Westphal on bass, and Tim Seifert on drums.

Dirk is just as comfortable playing solo and often tours by himself, singing and playing guitar and harmonica. In more intimate settings such as these, the wit and humanity of his music shines through in a way that only solo performances can provide. Recently he has also enjoyed popularity as a house concert performer, and is happy to arrange those as he travels to do concerts at larger venues. He plays live most often in California, Texas and Italy, with regular venues hosting him in Los Angeles, the San Francisco Bay Area, Austin and Dallas.


Dirk Hamilton is a prolific artist who has released a total of 16 albums under various labels, including his own, Acoustic Rock Records. The latest is The Ghost of Van Gogh, released in December of 2007. A new CD is already recorded and is planned for release in 2008. Hamilton's vast catalogue is a veritable treasure trove of original songs that lend themselves perfectly for use in soundtracks for film and television.