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Reed Foehl To Release 5th Studio Album, Lucky Enough, Feb 1, 2019

Recorded in Austin, TX with The Band of Heathens
Co-Produced by Reed Foehl with Gordy Quist and Ed Jurdi

On Tour with Todd Snider in March!


POWNAL, VT —
With the Feb. 1, 2019, release of Reed Foehl’s fifth solo album, Lucky Enough, fans will get a dose of powerful medicine, a cathartic collection of 10 songs that Foehl recorded with help from a mighty musical force, The Band of Heathens, at their Finishing School studio in Austin, Texas. It’s an album that will undoubtedly solidify his standing as one of the most compelling and vital Americana artists around.

Other artists have long sung the praises of Foehl. As fellow songwriter Gregory Alan Isakov notes, “Reed has the ability to transport the soul, a true master. One of the great songwriters of our time.”

Isakov co-wrote the debut track, “American Miles,” a road song that was inspired by traveling and the great american landscape. Glide Magazine premiered the song and writes, “…the vocals in the beginning immediately conjure images of staring out the window of a car as it cruises along a lonesome highway at sunrise. Foehl keeps the instrumentation sparse, letting a lightly picked acoustic and the quiet thumb of a drum create the groove while the occasional flourish of a piano and a tambourine. His vocals have a dreamy folk quality that reflects the quietly reflective lyrics.”

Listen to “American Miles”→ http://bit.ly/AmericanMiles_GlidePremiere.

Todd Snider, whom Foehl will be touring with in March 2019, says, “Reed Foehl is like a brother to me. We’ve had a lot of miles on the road together, and I don’t think they make better singer-songwriters than him.”

Ed Jurdi of The Band of Heathens, a fellow native of Massachusetts, was downright poetic in his expression of admiration for Foehl, “Reed Foehl is a familiar voice in the wilderness calling you home. His songs are part New England folklore, told around an old wood stove in the midst of a winter’s blizzard and part Southern charm, warm and inviting, like the spring breeze that welcome the magnolia blossoms.”

On Lucky Enough, Foehl touches on a range of Americana styles, all with emotionally charged lyrics and can’t-get-out-of-your-head choruses, from somber folk elegies (“Stealing Starlight” and “American Miles”)  and gospel-tinged tunes (“Carousel Horses”) to barroom country singalongs (“Long Time to Make Old Friends”) and jaunty calypso-flavored, country-infused pop (“Wish I Knew”). These are deeply personal songs for Foehl, and while they were written during some dark days, there’s a sense of optimism and gratitude, an overriding feeling that the hope outshines the heartbreak.

The uncannily cinematic album takes its title from the chorus of “If It Rains,” on its surface a Dust Bowl ballad about persistence in the face of the vagaries of nature. “If it don’t shed a tear, we wait ’til next year, heartbroken but lucky enough,” Foehl sings in the unforgettably melodic chorus. With the final verse, it’s clear the song digs deeper than drought when he sings, in a voice worn and weary but warm:

With the cold came the snow

On our favorite place to go

I carved the slated path

Just thought you should know

And built a wooden bench

Then laid it in cement

Out of love and in memory of.”

Foehl certainly took an unexpected route in getting to Lucky Enough. Then again, he says, “I’ve always done things very unconventionally.”

A New England native who had long lived in Colorado, Foehl was making a big move, heading to Nashville to continue his craft as an artist and a songwriter. That made sense after co-writing the leadoff song (“Fly”) with up-and-coming country singer/songwriter Brent Cobb on Lee Ann Womack’s 2014 GRAMMY nominated album, The Way I’m Livin’.

On the way, he got a call from his mother, Linda. She had lymphoma, and she needed him. He didn’t hesitate, ditching his fully loaded car in Nashville and flying straight home to Massachusetts. “It put in perspective what life’s about,” he says. “This was important, definitely more than any of these records I’ve made.”

While he cared for his mother, Foehl kept at his songwriting, thanks to the sponsorship of a longtime friend and hockey teammate. Keeping the creative flames burning was vital. “It’s not just what I do, it’s who I am. I’m writing songs so people can hear them and so I can be OK. That’s really the gist of it,” he says.

After Foehl lost his mother in July 2017, he knew he had to keep moving forward and started thinking about recording an album. Although he launched his solo career with the release of Spark in 2001, he played in bands for years, notably fronting Acoustic Junction and then as a charter member of Great American Taxi. For his fifth solo album, he thought, why not go into the studio with a full-fledged band? “With all my records. I like to take leaps and chances and want to try different things,” he says. “I said, ‘What about doing it with The Band of Heathens?’”

Foehl had toured as an opener with The Band of Heathens, and he knew and loved their tones and sound and how they worked together. And The Heathens had just opened their own studio in Austin, christening it by recording an update of the entire landmark Ray Charles album, A Message from the People. “These guys are really good,” Foehl says. “If I hire them, it’s a built in sound. They’ve been playing together forever.”

The Heathens, for their part, had really hit it off with Foehl on tour and were primed to help him make an album. “We really dug his stuff and felt like it would be a good match,” said Ed Jurdi, who co-produced Lucky Enough with Foehl and fellow Heathen Gordy Quist, with both Jurdi and Quist adding guitars and vocals on the album. “What I felt our job was, was to put him in a position where he could do his thing, just really make him comfortable. The record is about Reed and his songs, so how do we elevate that by adding what we can do? The idea as a producer is to both create a record the artist likes and making an album that the artist didn’t know they could make.”

The great thing about the Heathens, Foehl says, is they always knew when to hold back and when to let it rip, deftly embellishing the 10 songs on Lucky Enough. “They are very much chameleon-like,” Foehl said of the Heathens, “capable and talented enough to adapt and play any style of music.”

Quist even pitched in on the writing of “Wish I Knew,” helping Foehl take the song in a direction he would never have thought to go. Musically, it playfully moves along at a frisky pace, while lyrically Foehl wrestles with some of the life’s big questions:

If the choices were just black and white

I’d a half a chance to get things right

How to make it through the dark of night

Only wish I wish I knew

In addition to Quist and Jurdi, the other Heathens playing on the album include Trevor Nealon (keyboards), Jesse Wilson (bass guitar), and Richard Millsap, (who played drums as well as electric guitar), along with Geoff Queen on pedal steel. Lucky Enough, which will be released on Green Mountain Records, was engineered and mixed by Steve Christensen and mastered by Fred Kevorkian.

Foehl’s solo career has been bookended by loss, losing his father, Billy, in 2001 around the time Spark came out and then his mother preceding Lucky Enough, with three albums in between — 2007’s Stoned Beautiful, 2009’s Once an Ocean and 2014’s Lost in the West. Growing up in Dover, Mass., his parents were a huge influence for Foehl, filling the house with John Prine music and playing for decades together in a bluegrass/country band called The Centre Streeters. His parents encouraged him in his musical passion, regularly taking him to Boston, where he cut his teeth as a performer, busking at the Faneuil Hall Marketplace at the tender age of 11.

Lucky Enough is dedicated to the memory of Foehl’s mother — “the Queen of Everything” — and a keen sense of loss flavors the album. But there’s also a sense of hope, of forward momentum, change and a celebration of love, including not just the romantic variety but the kind a guy has for the oldest of old friends. For Foehl, creating Lucky Enough with The Band of Heathens has been a cathartic process. “If I can help myself, maybe I can help others,” he says. “You’ve got to keep moving forward. I think that’s the important thing. Live to fight another day.”

Reed Foel Holiday Shows This December with Gregory Alan Isakov
12/22-22 Fri-Sat – Gold Hill Inn, Boulder, CO

reed guitar hi res photo_ByKateDrewMiller

Reed Foehl
Photo by Kate Drew Miller

Reed Foehl On Tour Supporting Todd Snider March 2019!
3/13 Wed – The Gramercy Theatre – New York, NY
3/14 Thu – Ardmore Music Hall – Ardmore, PA
3/15 Fri – The Sinclair – Cambridge, MA
3/17 Sun – Infinity Music Hall & Bistro – Hartford, CT
3/18 The Birchmere – Alexandria, VA
3/20 Wed- The Beacon Theater – Hopewell, VA
3/22 Fri – Lincoln Theater – Raleigh, NC
3/23 Sat – The Ramkat – Winston-Salem, NC
3/24 Sun – The Orange Peel – Asheville, NC

Lucky Enough Track Listing
1. Stealing Starlight (3:33)
2. American Miles (3:22)
3. If It Rains (4:48)
4. Takes a Long Time to Make Old Friends (3:18)
5. Carousel Horses (3:00)
6. He’s on an Island (3:26)
7. Running Out of You (3:46)
8. Wish I Knew (2:36)
9. Hello My Dear (4:12)
10. Color Me In (3:28)

Reed Foehl – lead vocals and acoustic guitar
Gordy Quist – guitars, background vocals
Ed Jurdi – guitars, background vocals
Trevor Nealon – keyboards, background vocals
Jesse Wilson – bass guitar, background vocals
Richard Millsap – drums, background vocals
Geoff Queen – pedal steel

For more information and updates, please visit www.reedfoehlmusic.com, www.facebook.com/ReedFoehl, www.twitter.com/reedfoehl, and www.instagram.com/reedfoehl.

 

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Amy McCarley To Release
MECO, Her 3rd Album, February 8, 2019
Co-produced by Kenny Vaughan & George Bradfute

Kenny Vaughan & Chris Scruggs Join McCarley on the Entire Album
Featuring special guests:
Pat Alger, Marty Stuart, Kenny Lovelace, Harry Stinson, and George Bradfute

The sound quality on ‘High Wire,’ like the rest of the album, is clear, spacious and uncluttered… McCarley’s voice rings out like a sultry blues nightclub singer, as the music spins a country waltz on the high wire.
Americana Highways premiered the first single, “High Wire

“High Wire” Available Now → http://radi.al/AmyMcCarleyHighWire

HUNTSVILLE, AL —  With poignant and thought provoking lyrics, Amy McCarley finds balance in a new perspective with MECO, her 3rd studio album due out February 8, 2019. After collaborating in writing new songs with Bluebird Cafe round-mate and Nashville Songwriters Hall of Famer, Pat Alger, McCarley returned to the studio with esteemed colleagues, co-producers Kenny Vaughan & George Bradfute to work on MECO, her highly anticipated follow up to 2014’s Jet Engines. MECO was recorded and mixed by Bradfute in his Tone Chaparral Studios in Madison, Tennessee and mastered by Jim DeMain at Yes Master Studios in Nashville.

A rhythm section all in himself, multi-instrumentalist Chris Scruggs lent his talents not only on drums, percussion, and bass, but also steel guitar. Alongside special guests Marty Stuart, Pat Alger, Kenny Lovelace, and Harry Stinson — the future is bright for fans of Amy McCarley.

Uniquely relatable, this northern Alabama native’s music is embraced by Americana fans across the country and abroad. Vaughan says, “I think all of her songs come from a personal experience. Each song is about something she’s gone through, which is good because it gives her a little edge on the delivery. The emotional content kinda comes through in there.”

MECO, an acronym borrowed from the Space Shuttle program that stands for Main Engine Cut Off, occurred for the shuttle when onboard propulsion systems were disengaged at an altitude where velocity could be maintained by the power of an innate force at work in the universe with periodic adjustments from the vehicle. The album traces McCarley’s experience of what it’s been like leaving life as a NASA contractor to pursue a career in music.

McCarley explains the inspiration behind the album, “Similar to shuttle missions, the trajectory of my path has been defined by how well I have been able to develop personal strength as an artist to the point where the possibility of connecting with the enormous collaborative power of other worldly talent exists. It has taken everything I have plus the guiding unseen hands of time and chance together with support from some incredibly talented generous souls in order for this album to be made and on its way to listeners.”

She says in an interview with Wide Open Country, “It’s taught me to be grateful for every opportunity and all the talented people I’ve had the good fortune to work with on this project. It’s taught me to do my best and then let go of the need for the outcome to be a certain way. Of course, that doesn’t mean I don’t forget and need to relearn all this over and over. I’ve certainly not graduated from the school of life!”

Her sultry voice was lauded by No Depression as “a nuanced instrument” and her drive and determination to continue charging forward is readily apparent on MECO with a blazing backing band to accent in instrumentation what her emotion filled vocals bring forth in each song.

This is McCarley’s second album working with Vaughan (Marty Stuart & His Fabulous Superlatives, The Pretenders, Lana Del Rey, et al) and Bradfute (Webb Wilder, Planet Rockers, et al) at the helm since she left the NASA contracting world in 2013. Both also accompany her in performance on MECO, with Vaughan taking the lead on electric and playing acoustic guitar on the entire album and Bradfute performing on slide guitar, fiddle, mandolin, and other strings.

McCarley says, “What Kenny brings to this whole project as producer and lead guitarist cannot be overstated. Together with a stellar assembled cast —including mighty partner in crime, co-producer / engineer / studio owner, George Bradfute— his influence and signature sound took this album to a place I never would have known to go on my own that I feel so fortunate to be able to share with the world.”

The ten tracks of all original material feature McCarley’s yearning vocals, acoustic guitar, and harmonica. Alger, who co-wrote half of the songs on MECO says of McCarley, “Super, super intense guitar style. And I was so fascinated by it. Everything she did was real. Super intense. She’s just a different kind of performer.”

Throughout the album there are songs of determination and revelation (“A Clue”), perseverance after despair (“Clarksdale Blues”), and cathartic release in a new perspective (“Everything Changed,” “Happy,” “Farewell Paradise”). There are melodies of joyful triumph (“High Wire”), gratitude (”Days”), and a song about finding meaning amidst uncertainty (“Never Can Tell”). Some are plaintive in nature (“How You Do,”)  while others are breezy lighthearted observations on universal topics (“Ain’t Life Funny”).

Based in Huntsville, Alabama, McCarley toured over 200 dates in support of her second album, Jet Engines, and is expecting to tour throughout 2019 with MECO. McCarley has made many festival appearances including Maverick Festival, Kerrville Folk Festival, Kate Wolf Music Festival, W.C. Handy Music Festival, 30A Songwriters Festival, EarleFest, Rocket City Summer Fest and Panoply Arts Festival, as well as unofficial showcases at Folk Alliance International, SXSW, and AmericanaFest. She has performed as an opening act and toured with a variety of performers including Marty Stuart & His Fabulous Superlatives, Ronnie Milsap, John Hiatt, Kenny Vaughan Trio, Pat Alger, Doyle Bramhall II, Kim Richey, Webb Wilder, Kevin Gordon, Claire Lynch, Lilly Hiatt, Delta Rae, Edwin McCain, and The Grahams.

MECO Track Listing & Credits:
1. A Clue (4:41)*
2. Clarksdale Blues (4:18)*
3. Everything Changed (5:28)
4. High Wire (4:20)
5. Days (3:13)*
6. Never Can Tell (2:39)
7. How You Do (4:32)
8. Happy (4:12)*
9. Ain’t Life Funny (3:04)*
10. Farewell Paradise (3:57)

Amy McCarley — vocals, acoustic guitar (all), harmonica (7)
Kenny Vaughan — electric guitar, acoustic guitar (all)
Chris Scruggs — drums, percussion, and bass (all), steel guitar (5,10), backing vocals (10)
George Bradfute — slide guitar (2), fiddle (6), viola and cello (7), fiddle and mandolin (8)
Pat Alger — acoustic guitar (5)
Marty Stuart — mandolin (6)
Kenny Lovelace — fiddle (9)
Harry Stinson — backing vocals (10)

Producers — Kenny Vaughan & George Bradfute
Audio & mix engineer — George Bradfute (Tone Chaparral)
Mastering engineer — Jim DeMain (Yes Master Studios)

*Indicates a song written by Amy McCarley & Pat Alger

© 2019 McCarley Publishing (BMI) & Algerhythms (ASCAP)
All other songs written by Amy McCarley © 2019 McCarley Publishing

For more information, please visit  www.amymccarley.com, www.facebook.com/amymccarleymusic, www.twitter.com/amymccarley,  www.instagram.com/amymccarleymusic.

 

2019 SSR poster 5x8 flyer

Announcing The 3rd Annual Suwannee Spring Reunion March 21-24, 2019
Spirit of the Suwannee Music Park in Live Oak, FL


Featuring:
Steep Canyon Rangers, Billy Strings, Donna The Buffalo, Peter Rowan, Larry Keel Experience, Jim Lauderdale, Verlon Thompson, The Grass Is Dead, and more!

Early Bird Tickets on sale now atwww.suwanneespringreunion.com  

LIVE OAK, FL – For decades the onset of Spring meant gathering at the Spirit of the Suwannee Music Park in Live Oak, Florida for a weekend of fun, family, Bluegrass and string music. A beloved tradition continues as the picturesque grounds play host to a new take on a classic family-friendly gathering with the 3rd Annual Suwannee Spring Reunion taking place Thursday through Sunday, March 21-24, 2019.

For four days in March, you can slip your shoes off and dance under the bright blue vistas and star-studded skies. Wander the endless trails along the Suwannee River, tell stories around the crackling campfire or simply lie back and watch the Spanish moss that drapes the sheltering Live Oaks that sway in the breeze. Dance the days away at the Stages and while away the late night hours around the “Picking Parties” that spring up into the dawn’s early light. There are no wrong choices when you arrive at your home and the place where live music lives for the founding of a new tradition, built on the love of the past, the Suwannee Spring Reunion.

The Suwannee Spring Reunion initial lineup for 2019 features Steep Canyon Rangers, Billy Strings, Donna The Buffalo, Peter Rowan, Larry Keel Experience, Jim Lauderdale, Verlon Thompson, The Grass Is Dead, Jon Stickley Trio, Town Mountain, Rev. Jeff Mosier, The Mammals, Roy Book Binder, Pigeon Kings, Nora Jane Struthers, Ralph Roddenbery, TKO featuring Duke Bardwell, Nikki Talley, The Adventures of Annabelle Lyn, Quartermoon, Sloppy Joe, Habanero Honeys, Jeff Bradley – Comedy + Cool Stuff, Tania & Magic Moon Traveling Circus. More artists to be announced.

Most of these artists bring with them storied histories of epic Suwannee performances! Matching the history on the stage, long time festival creators Beth Judy and Randy Judy along with an amazing staff, are partnering with the Spirit of the Suwannee to make sure that every piece needed is in place to make an epic weekend of music and fun.

Festival Director Beth Judy believes that the perfect gift for music lovers this year is the 2019 Combo Ticket available until January 7th. Beth says “What could be better than a gift of an extraordinary experience not once, but twice in one year when your loved one can attend Suwannee Spring Reunion and Suwannee Roots Revival?  And if not the Combo, an Early Bird Ticket for Suwannee Spring Reunion will make smiling faces all around!”

Once again the beloved tree-lined amphitheater is home to early morning sing-a-longs and night time musical pyrotechnics from the park’s stellar cast of alumni and new favorites. There will be music on four stages including the Amphitheater, Porch, Music Hall, and Music Farmers Stages. Suwannee Spring Reunion attendees will also enjoy music in the campground with jamming at Slopryland and the Bill Monroe Shrine as well as camp pickin’ parties.

Hands-on and performance workshops will be held throughout the weekend with a variety of artists set to perform.  Expect to get professional instruction at the hands on workshops and some out of the ordinary intimate musical experience from the different presentations.

Placing a strong emphasis on embracing the traditions that have made the park a national treasure, there will be a wide array of arts & crafts as well as an array of culinary delights ranging from healthy to decadent in the Vending Village. The park itself is a place where kids of all ages can remember why they fell in love with the magic mixture of sights, sounds, and sensations that constitutes a weekend of paradise that is the Spirit of the Suwannee Music Park.

Tickets are on sale now. Suwannee Spring Reunion offers a multi-day Weekend Ticket that includes festival admission for four days of music, as well as primitive camping on Thursday, Friday, Saturday, and Sunday nights. Early Bird Tickets are $130; Students and military with a valid ID are $120. Children 12 and under are free if accompanied by a parent or legal guardian. Get your tickets now before they rise to the next pricing tier. Single Day Tickets will be available at the Gate only. Please note, Single Day Tickets do not include primitive camping.

Also available is the 2019 Combo Ticket Featuring one multi-day Weekend Ticket for both Suwannee Spring Reunion and Suwannee Roots Revival priced at $260, available until January 7th.  

SOSMP is located between Jacksonville, Florida & Tallahassee, Florida about 30 minutes south of the Georgia State line, about 45 minutes north of Gainesville and is host to a variety of events.

Suwannee Spring Reunion 2019 Initial Lineup
Steep Canyon Rangers
Billy Strings
Donna The Buffalo
Peter Rowan
Larry Keel Experience
Jim Lauderdale
Verlon Thompson
The Grass Is Dead
Jon Stickley Trio
Town Mountain
Rev. Jeff Mosier
The Mammals
Roy Book Binder
Pigeon Kings  
Nora Jane Struthers
Ralph Roddenbery
TKO featuring Duke Bardwell
Nikki Talley
The Adventures of Annabelle Lyn
Quartermoon
Sloppy Joe
Habanero Honeys
Jeff Bradley – Comedy + Cool Stuff
Tania & Magic Moon Traveling Circus

For more information, tickets, and to reserve camping, please visit www.suwanneespringreunion.com.

 


TheseThings

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‘Tis the Season and the end of the year! Here’s a rundown of the albums that Dreamspider Publicity publicized in 2018 in order of release date. Please do keep listening to and supporting live and recorded music! THANK YOU to all the artists, writers, DJs, listeners, and concert goers!!

Cheers and have a fantastic Holiday Season!


~Erin Scholze, Dreamspider Publicity
These Things Just Don’t Happen By Themselves… 

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Love Canon – Cover Story
Released on Organic Records: July 13
www.lovecanonmusic.com

“Charlottesville, VA’s Love Canon have established themselves as prodigious interpreters of others’ songs. Their latest is chock full of circa 1980’s classics, each imbued with an acoustic charm. In some ways it speaks to the flexibility of the underlying song… In others it speaks the group’s ability to transform the song.” —Twangville, Mayer Danzig

“A guest-filled ride through familiar old favorites, interpreted not as party reboots but as thoughtful reimaginations. Songs from an era known for indulgent electric sheen get broken down and rebuilt with serious bluegrass chops… Throughout the record, the band dips into its deep rolodex of musical friends, tapping quirky troubadour Keller Williams to sing lead on R.E.M.’s ‘Driver 8,’ which features blazing solos and an extended reggae breakdown. Ace fiddler Michael Cleveland and singer Aoife O’Donovan also show up for one of the album’s best tracks, a mountain-hop version of Paul Simon’s ‘Graceland.’ Bluegrass has always been about passing songs down the line and sharing them with friends; Love Canon is toying with that tradition in a good way.” Blue Ridge Outdoors, Jedd Ferris

“Stripped of its slick ’70s country production and replaced with upbeat horns and killer harmonies, ‘Islands in the Stream’ is a perfect laid-back love ballad when performed by Love Canon. The band’s friend Lauren Balthrop evokes Parton in the high harmonies, and Bobby Read and John D’Earth provide a little bit of funk on the saxophone and trumpet, respectively.–The Boot, Amy McCarthy

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Hot Buttered Rum –
Lonesome Panoramic
Independently Released: July 20
www.hotbutteredrum.net

“Tight Tunes and Whispers of Tom Petty: Lurking behind each song is a rhythmic urgency that’s less prog-bluegrass and more rock oriented… Over its 15-plus-year career, the band has proven itself capable of pulling together strands of country, folk, bluegrass, and jam music into an energetic, good-time experience. But with the batch of well-crafted, sharply performed tunes they cooked up on Lonesome Panoramic, Hot Buttered Rum has managed to blend its ragged charms with that of a well-oiled musical machine.” —No Depression, Jim Shahen

“Ultimately, Lonesome Panoramic reflects the work of a talented group of close-knit colleagues who know how to share their skills and play in sync, with no one individual eager to overshadow the others. The band emphasize subtlety over sizzle, finesse as opposed to frenzy, and a confidence and assurance that makes melody the primary focus. It’s a decided skill set to be sure…” —Bluegrass Today, Lee Zimmerman

“Probably best described as a tangling of jam, country, folk, and bluegrass that results in a timeless energy and easily enjoyable spirit, this is a criminally underappreciated outfit and a fantastic album.” —The Daily Vault, Tom Haugen

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Chicago Farmer –
Quarter Past Tonight  – Live Double Disc Album
Independently Released: August 3
www.chicagofarmer.com

“I’d never heard of transplanted son of the soil Cody Diekhoff and you probably haven’t either. But this tenth-anniversary double-live, 24 songs and eight spoken bits that include a tribute to his heroically supportive wife entitled ‘Benefits’… he’s funny, he’s kind, and he’s preparing an instructional video about ‘how do you get that drawl that you do—it’s kind of a mix between a small-town big-city kind of a northernly southernly easterly westerly stuck-in-the-middle type of a drawl.’”  Noisey, Robert Christgau

You don’t hear many albums these days like this two-CD set, which hearkens back to a time when solo folk artists like Tom Paxton and Arlo Guthrie strode onstage offering nothing but their voices, guitars, harmonicas, visions, and wit.”  The Morton Report, Jeff Burger

“A great example of his songwriting and performing chops is ‘I Need a Hit,’ the first song off disc one. It’s about a road-worn troubadour dreaming about a John Hartford scenario — meaning he’d have a money-maker like ‘Gentle on My Mind’ funding his traveling circus.” —Wide Open Country, Bobby Moore

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Chad Elliott & The Redemptions –
Rest Heavy: The Sun Studio Sessions
Independently Released: August 10
www.chadelliott.net

“Iowa suggests such names as Greg Brown, Bo Ramsey, and Pieta Brown among others but now singer-songwriter, artist and author, Chad Elliott can join their esteemed company with Rest Heavy. Even if you didn’t know that these tracks were recorded at Sun Studios in Memphis, you’d still sense a bit of that Elvis Presley style in Elliot’s mix of roots-rock, soul, blues and modern gospel… This album just oozes soul, truth, and seems rather timeless as it could have been recorded almost any time in the last fifty-sixty years.” –Elmore, Jim Hynes

“Rest Heavy… opens with an arpeggiated piano riff and cymbal crash before launching into a leaned-back, eyes-closed, soulful-howl gospel-blues tune of which Sam Cooke would have approved… As he croon-wails his way through tracks that range from hardscrabble stories and ain’t-life-like-that tunes to songs of somber reflection, his constellation of influences is clear, with stylized moments and melodic arrangements that evoke the likes of Tom Waits, Eric Clapton, Bruce Springsteen and Doc Watson.”
Little Village Magazine, Lucas Benson

“ … there is a timeless feel all along the tracks that tell his talent.. roots rock, gospel, soul, blues in a perfect spirit… I would even say this album is the perfect tribute to the spirit of the Sun Studios. I already listened at least 10 times to it and these songs take me with them…” ISA Radio, Mike Penard, France

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Rudi Ekstein –
Carolina Chimes: Rudi Ekstein’s All Original Bluegrass Instrumental Showcase Featuring Stuart Duncan, Jeff Autry, Mark Schatz
Independently Released on Foxfire Recording: October 5
www.carolinachimes.com

“The bulk of [the songs] are flat-out, hold-on-to-your-hat wild rides that he takes you on… The entire album brings back many great memories to me of John Hartford’s many musical excursions through the years, jam sessions with Mike Marshall down in Florida back in the ’70’s and all sorts of good stuff... I would suggest the best way to listen to this CD is on a nice drive through the country or anywhere.” Elmore, Ken Spooner

“These twelve original numbers flow brilliantly, a set of mandolin-based bluegrass the likes we haven’t experienced in a number of years. I’ve hit ‘repeat’ more than once listening to the set, the minutes passing by much too quickly…. An absolute stunner of a bluegrass album.” –-Fervor Coulee, Donald Teplyske

“This is some serious, hard core bluegrass played with a lot of fire… Good stuff.” —Mandolin Cafe

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Edward David Anderson –
Chasing Butterflies
Independently Released on Black Dirt Records: October 18
www.edwarddavidanderson.com

“Key tracks are the disturbing epic tale of race and injustice (with majestic, swirling fiddle) in ‘The Ballad of Lemuel Penn’, the brutally honest ‘Bad Tattoos’ (‘The story of my life’s written on my skin’) and the hypnotic ‘Crosses’ with its rousing and extended instrumental section closing out the track… On Chasing Butterflies, Edward David Anderson commands our attention with his accomplished songwriting and sublime presentation. He certainly has mine. It’s a triumph.” —Listening Through The Lens, No Depression, Rob Dickens

“…nothing here is overplayed: the sound is light, mainly acoustic and upbeat… Judging by his self-penned songs, Anderson observes his world and writes what comes to mind. On his second solo release he covers family, misspent youth (tattoos), dogs, inspirational friends, bleak Montana landscapes and injustices… All in all an interesting outing that explains his wide fanbase.” –Americana Music Show, Tony Ives

“The quality of songwriting here is exemplary. Without exception we are treated to consistently strong melodies with memorable hooky choruses that will live with you after only a few listens. There is a very strong and diverse lyrical theme to these songs while the musicianship on the record is outstanding throughout.” —AmericanaUK, Mark Hegarty

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Roy Schneider & Kim Mayfield –
Reckless Saints
Independently Released on Shiny Gnu Records: Nov 2
www.RecklessSaints.com

“This husband and wife team runs the gamut from engaging acoustic folk to driving bluesy tunes, with hints of twang sprinkled in… The ringing impression from this offering is the seamless blending of so many forms of roots music, combined with meaningful and often insightful lyrics. It works beautifully.”
Making A Scene, Jim Hynes

“Reckless Saints is an acoustic duo comprised of Roy Schneider Music on guitar, harmonica, dobro, drums, banjo and bass with wife Kim Mayfield on guitar, baritone ukulele, mandolin and piano. They both sing and they both write. Their self-titled debut only has one cover: “Election Day” by the late Blaze Foley (the subject of Ethan Hawke’s new movie, Blaze.) Bonnie Raitt bassist Freebo is on hand as is the legendary Nashville harmonica player Charlie McCoy and fiddler Keven Aland. It all amounts to an Americana gem that fans of real pure mountain-stream country will love.” —The Aquarian Weekly, Mike Greenblatt

“Enlisting Blaze Foley’s old musical partner Gurf Morlix for help, Schneider and Mayfield cover Foley’s classic ‘Election Day’ with rough passion, but the beautifully rendered ‘If I Die Tomorrow’ and ‘Poison Arrow’ swoon in their arms. All who cry out for salvation from Reckless Saints might experience the same effect.”
Elmore Magazine, Peter Lindblad

TaylorMartin_SongDogs_CoverArt_2018
Taylor Martin –
Song Dogs
Released on Little King Records: Nov 16
www.taylormartin.org

“Indeed, Martin, an Asheville, NC resident, delivers a stunning work of eight original and three covers all done in a sometimes rock, sometimes blues, sometime ballad and sometimes folk style. His cover of Neil Young’s ‘Music Arcade’ is definitely a Cajun themed sound. Martin’s voice is rather gravelly sounding and is surprisingly easy to listen to for an entire CD… All in all, Song Dogs is an excellent release of music to which almost any listener can relate. Lets face it, maybe some of us can’t relate to love lost or being on the highway. But seriously, who among us can’t claim overuse of a cell phone, at least at some point in time. This is just great music. Highly recommended.” —Audiophile Voice, Paul Wilson

“The piano driven, haunting title song comes last, inspired in part by coyotes howling (per cover art) to find each other at night… It may seem that it stands apart from the others in tone and style, but several listens to Martin will have you hearing an array of styles and influences. That’s what makes it so infectious. Each song stands apart.” Country Standard Times, Jim Hynes

“The song [‘Little Pictures’] rings instantly familiar and simplifies a complex message in clear lyrical fashion, over catchy, punchy, piano-prominent rhythms.” —Americana Highways, Melissa Clarke

NEW FOR 2019!

Be on the lookout for a new book about Leftover Salmon in February entitled Leftover Salmon: Thirty Years of Festival! Written by Tim Newby

New albums in early 2019:
Amy McCarley
MECO  – (Feb 8, 2019)

Reed Foehl
Lucky Enough – (Feb 1, 2019)

 

Edward David Anderson Shares “Bad Tattoos” Video
From His New Album Chasing Butterflies
Recorded at the NuttHouse in Muscle Shoals

What folks are saying about the song “Bad Tattoos”

“He comes across genuinely here and displays a dry wit on other songs,
especially in the catchy ‘Bad Tattoos.’” —Country Standard Time,  Jim Hynes

“The album’s best track, ‘Bad Tattoos,’ also serves as a bit of a mission statement for the new Edward David Anderson. The song, which humorously recounts the bad decisions of a high school boy who inked his girlfriend’s name on his body and a woman who put her favorite band’s logo on her chest, only to discover that their popularity faded long before the ink would. It could have been a cautionary tale, but Anderson chooses to cast it as a permanent record of a life lived, good and bad.” Concert Hopper, Chris Griffy

“You will be humming the chorus of ‘Bad Tattoos’ after just one listen…”
Americana UK, Mark Hegarty

‘The bluesy ‘Bad Tattoos,’ for instance seems like Alison Kraus jamming with Cab Calloway with vocals by Duke Tumatoe. The humorous yarn of regret and acceptance could be heard from a church choir or a chain gang.” —The Community Word, Bill Knight

“I do indeed have a few bad tattoos and got to thinking about how each of them represent who I was at a certain time in my life. And how that’s not a bad thing. It’s easy to forget who you were and where you came from. The anecdotal verses are also based on people I know.”
Edward David Anderson

EDApress1kimandersonBLOOMINGTON, IL —  “The story of my life’s written on my skin,” sings Edward David Anderson on the devilishly sardonic “Bad Tattoos” from his new album Chasing Butterflies (Black Dirt Records – Oct. 19, 2018). The song, like the artist, is brutally honest and has a worn feel; like it’s coming from someone that has been around and put in the miles. “I don’t think I could have written these tunes when I was 25,” Anderson explains. “Everything I’ve done, the people I’ve met, all the places I’ve been, have brought me to this moment.”

Watch the official video of “Bad Tattoos” here from with shots from the studio showing EDA, Nutt, and Kuhn come together on the song for the group vocals as the “Bad Tatts Choir”→ https://youtu.be/uTbl7w2Hs8Q

The gifted songwriter and multi-instrumentalist, who spent a decade fronting the revered Midwest rock band Backyard Tire Fire, broke away and released his ambitious debut Lies & Wishes in 2014. The album was lauded “a superb solo effort” by No Depression and David Dye (NPR World Cafe) praised the follow-up Lower Alabama: The Loxley Sessions as “a wonderfully soulful record.”

It was through a tip from a friend that Anderson connected with GRAMMY Award winner Jimmy Nutt (SteelDrivers) from the iconic Shoals region of north Alabama. During their first conversation it was clear the two had a natural rapport and he quickly set a course for Jimmy’s NuttHouse Recording Studio in Sheffield. Diverging from past albums EDA used local session musicians for his backing band. “I felt the way to get the most authentic Shoals sound was to play with people who live and work there,” he said. Nutt played bass and brought in Jon Davis (Dylan LeBlanc) on drums, Brad Kuhn on keys, Todd Beene (Lucero) on pedal steel, and Kimi Samson on violin, and the chemistry was instant.

The core of the 10-track album was cut live in just a few short days with minimal overdubbing, making it feel both cohesive and human. “We brought in strings on a few and pedal steel on one, but didn’t want to get too carried away,” Anderson recalls. The result is a stunningly sublime, less-is-more snapshot of a writer in his prime.

Chasing Butterflies is available now on all outlets → http://smarturl.it/8bdvv6

EDA Butterfly cover 2CD CoverChasing Butterflies Track Listing:

  1. Harmony (3:19)
  2. The Ballad of Lemuel Penn (4:02)
  3. The Best Part (3:23)
  4. Bad Tattoos (4:19)
  5. Crosses (4:03)
  6. Only in My Dreams (4:49)
  7. Dog Days (2:32)
  8. Chasing Butterflies (4:19)
  9. Sittin’ ‘Round at Home (2:23)
  10. Seasons Turn (5:45)

Edward David Anderson – vocals, acoustic, electric & baritone guitars, banjo
Jimmy Nutt – Bass, Percussion
Jon Davis – Drums, Percussion
Brad Kuhn – Keys (Wurlitzer, Hammond A100, Yamaha C7 Grand, Rhodes)
Kimi Samson – Violin (2,6,9)
Todd Beene – Pedal Steel (8)

For more information, please visit www.edwarddavidanderson.com, facebook.com/edwarddavidandersonmusic, twitter.com/edanderson72, and instagram.com/edwarddavidanderson.

 

TaylorMartin_SongDogs_CoverArt_2018
Taylor Martin’s
Song Dogs Out Today, November 16, on Little King Records
Produced by Amanda Anne Platt at Sound Temple Studios in Asheville, NC
Featuring Members of Amanda Anne Platt & The Honeycutters, Mountain Heart, and more

Available Now To Stream and Purchase → https://taylormartin.hearnow.com
(Please note that this link takes you to the correct album on Spotify; however, it currently
attributes the album to the wrong Taylor Martin, working with Spotify to correct this)

More about Taylor Martin at https://about.me/songdogs

ASHEVILLE, NC — Taylor Martin’s Song Dogs is out now on Little King Records (11/16/18). Spinning tales of the highway, homes, lost love, love regained, redemption, and the overuse of cell phones, Martin’s soulful, relatable lyrics and raspy, emotion filled voice is instantly recognizable. The Honeycutters’ Amanda Anne Platt took the lead as Music Producer (along with adding harmony vocals on a handful of songs) with the help of Co-Producer and Engineer, Robert George, and Martin’s visions for the album. The album was recorded at Sound Temple Studios in Asheville, North Carolina.

“Taylor Martin is a killer songwriter,” declares Platt. “He’s got a great sense of melody and an ability to write classic, accessible songs about things we all take for granted. It’s also to his credit that he hits all sides of the spectrum– there are toe tappers and tear jerkers on this album and everything in between. I’m a big fan of the saying, ‘Great songs produce themselves,’ I certainly found that to be true in working with Taylor.”

The album features a number of special guests including Platt, Mountain Heart’s Aaron Ramsey and Josh Shilling, GRAMMY winning Secret Agent 23 Skidoo’s Debrissa McKinney, and Jon Stickley Trio’s Lyndsay Pruett on fiddle, among others.

To celebrate the album’s release, Martin shares a video for the album’s title track “Song Dogs which is full of stunning imagery. Taylor says, ”when I heard that the filmmaker Aladin Aathmani, was heading to Morocco, I jumped at the opportunity to have my musical vision put in a distant landscape. His emotional video interpretation of ‘Song Dogs’ is very moving and like nothing I imagined (in a great way).”

The piano driven, haunting title song comes last, inspired in part by coyotes howling (per cover art) to find each other at night,” writes Country Standard Times’ Jim Hynes of the song. He continues, “It may seem that it stands apart from the others in tone and style, but several listens to Martin will have you hearing an array of styles and influences. That’s what makes it so infectious. Each song stands apart.”

DSC04126.jpgA resident of Asheville since 2004, Martin has been creating music since 1994. He blends musical styles: the approach to music he grew up with in Richmond, Virginia; the western spirit he experienced living five years in Paradise, Utah; and the sounds of southern rock, country, and rhythm n’ blues.

Jeff Burger writes, “The North Carolina–based Taylor Martin, whose raspy vocals recall Levon Helm and, occasionally, Dr. John, features eight originals on this third album, along with three well-chosen covers: Bob Dylan’s ‘Sign on the Window,’ Neil Young’s ‘Music Arcade,’ and Merle Haggard’s ‘Kern River.’ Martin’s own lyrical subjects are all over the map: ‘Little Pictures,’ the funky opener, is about excessive cellphone use, for example, while ‘Hollywood’ references Marilyn Monroe, and the melancholy ‘Eden Colorado’ is about looking for a friend, a dream, and some hope. The music—sometimes funky, sometimes folky, sometimes poppy—is just as varied.”

Martin previously released a video for the album’s bluesy opener “Little Pictures,” which is a song that tips the brim to artists like Professor Longhair while having a contemporary social commentary. The song is what Martin calls his, “observation of people being lost to reality and the death of empathy and the human experience. People being on cell phones too much are missing out on the beauty of the world.” It also invites the listener to put down their electronics and sink further into the experience of the album. Americana Highways premiered the video and wrote “The song rings instantly familiar and simplifies a complex message in clear lyrical fashion, over catchy, punchy, piano-prominent rhythms.”

“Taylor Martin is a singer-songwriter who will remind you of everything good from Tom Waits to the Everly Brothers or the Avett Brothers with some surf rock thrown in. Well-sung, well-played, well-written and relevant…” writes Asheville Citizen Times.

Asheville’s veteran songwriter is just below the forty mark with a bright future as a songwriter and performer ahead of him. Although as jaded and bitter as some road worned heroes, Martin finds refuge in a good sense of humor. “I would have been a terrible dentist,” he laughs. “I’m here, music is why, this is Earth, let’s make more music.”


Taylor Martin – Song Dogs Track Listing

  1. Little Pictures   3:34
  2. Here Comes the Flood    2:59
  3. Eden Colorado   3:17
  4. Music Arcade [Neil Young] copyright Silver Fiddle Music   4:25
  5. Second Sight   3:41
  6. Hollywood   3:41
  7. Our Memories   3:49
  8. Kern River [Merle Haggard] copyright Mt. Shasta Music   4:00
  9. Milk and Honey   3:22
  10. Sign on the Window [Bob Dylan] copyright Big Sky Music   3:39
  11. Song Dogs   4:49
     

     

MUSICIAN CREDITS
Taylor Martin – Lead Vocals, Acoustic Guitar (all)
Richie Jones – Drums, Aux Percussion (all)
Matthew Dufon – Bass (all) Harmony Vocals (2,10)
Aaron “Woody” Wood – Acoustic Guitar (3,8), Electric Guitar (5, 6,10)
Matthew Smith – Electric Guitar (1, 2), Pedal Steel (3,7,8,11)
Aaron Ramsey – Acoustic Guitar (2,4,7,9,10), Mandolin (9)
Josh Shilling – Piano (1,2, 6,7, 8,10,11), B3 (1,2,5,6,7,10), Wurlitzer (5)
Phil Alley – Telecaster (7)
Lyndsay Pruett – fiddle (4,5,7,8)
Amanda Anne Platt – harmony  vocals (2,4,7,9,10)
Debrissa McKinney – harmony vocals (6)

Recorded @ Sound Temple Studios in Asheville, NC
Recorded & Mixed by Robert George
Produced by Amanda Anne Platt
Co-Produced by Robert George & Taylor Martin

For more information and tour dates, please visit www.TaylorMartin.org and www.facebook.com/taylormartin.org and www.twitter.com/song_dogs.

 

Leftover Salmon: Thirty Years of Festival!
New Book By Author Tim Newby Due Out February 2019 on Rowman & Littlefield

“History is made by those who write it, not the musicians who can’t remember it, Tim Newby knows our history and now it’s up to him to teach us what happened!” —Vince Herman (Leftover Salmon)

“Tim Newby has somehow managed to capture the unique combination of personalities that is Leftover Salmon; a feat that I would have thought fairly impossible. As unique as their music, Tim weaves his story through the sensibilities of the individual players which creates a wonderful kaleidoscope resulting in the definitive biography of a band that is still constantly changing and growing into their 4th decade.”
-Steve Berlin (Los Lobos)


Book CoverDENVER, CO — Few bands stick around for thirty years. Even fewer bands leave a legacy during that time that marks them as a truly special, once-in-lifetime type band. And no band has done all that and had as much fun as Leftover Salmon. Since their earliest days as a forward thinking, progressive bluegrass band who had the guts to add drums to the mix and who was unafraid to stir in any number of highly combustible styles into their ever evolving sound, to their role as a pioneer of the modern jamband scene, to their current status as elder-statesmen of the scene who cast a huge influential shadow over every festival they play, Leftover Salmon has been a crucial link in keeping alive the traditional music of the past while at the same time pushing that sound forward with their own weirdly, unique style.

As Leftover Salmon nears their 30th year, their inspiring story is set to be told in a brand new book, Leftover Salmon: Thirty Years of Festival! that will be released February 2019 by Rowman & Littlefield. In this book, critically acclaimed author of Bluegrass in Baltimore: The Hard Drivin’ Sound & It’s Legacy, Tim Newby presents an intimate portrait of Leftover Salmon through the personal recollections of its band members, family, friends, former band-mates, managers, and the countless musicians they have influenced. Leftover Salmon: Thirty Years of Festival! is a thorough guide covering a thirty-year journey of a truly remarkable band. It is a tale of friendships and losses, musical discoveries and Wild West adventures, and the brethren they surround themselves with who fortify Salmon’s unique voice. Their story is one of tragedy and rebirth, of unimaginable highs and crushing lows, of friendships, of music, but most importantly it is the story of a special band and those that have lived through it all to create, inspire, and have everlasting fun.

LosColor_creditBobCarmichael.jpg

Leftover Salmon. Photo by Bob Carmichael

Heading into their fourth decade Leftover Salmon is showing no signs of slowing down as they are coming off the release of their most recent album, Something Higher (released in 2018), which has been universally hailed as one of the band’s finest releases. Something Higher shows how even upon preparing to enter their fourth decade Leftover Salmon is proving it possible to recreate themselves without changing who they are. The band now features a line-up that has been together longer than any other in Salmon history and is one of the strongest the legendary band has ever assembled. Built around the core of founding members Drew Emmitt and Vince Herman, the band is now powered by banjo-wiz Andy Thorn, and driven by the steady rhythm section of bassist Greg Garrison, drummer Alwyn Robinson, and keyboardist Erik Deutsch.

The new line-up is continuing the long, storied history of Salmon which found them first emerging from the progressive bluegrass world and coming of age as one the original jam bands, before rising to become architects of what has become known as Jamgrass and helping to create a landscape where bands schooled in the traditional rules of bluegrass can break free of those bonds through nontraditional instrumentation and an innate ability to push songs in new psychedelic directions live.

Salmon is a band who, over their thirty-year career, has never stood still; they are constantly changing, evolving, and inspiring. If someone wanted to understand what Americana music is they could do no better than to go to a Leftover Salmon show, where they effortlessly glide from a bluegrass number born on the front porch, to the down-and-dirty Cajun swamps with a stop on Bourbon Street in New Orleans, to the hallowed halls of the Ryman in Nashville, before firing one up in the mountains of Colorado.

 

Leftover Salmon On Tour:

2018

Thanksgiving Run- featuring pre/post shows and a Day of Giving at Moe’s BBQ Englewood
11/23 Fri – Gothic Theatre – Englewood, CO w/ Gasoline Lollipops
11/24 Sat – Gothic Theatre – Englewood, CO w/ Tenth Mountain Division

12/7-11 Fri-Tues – Strings & Sol – Puerto Morelos, Mexico

New Years Run
12/28 Fri – Crystal Bay Club Casino – Crystal Bay, NV
12/29 Sat – Sierra Nevada Brewing Co – Chico, CA
12/30 Sun – Terrapin Crossroads – San Rafael, CA
12/31 Mon – Terrapin Crossroads – San Rafael, CA

2019
1/15-20 Tue-Mon – Jam Cruise – Miami, FL
1/31 Thu – Soreng Theatre – Eugene, OR*
2/1 Fri – Revolution Hall – Portland, OR*
2/2 Sat – The Triple Door – Seattle, WA (2 shows)*
2/14 Thu – Wheeler Opera House – Aspen, CO*
2/15 Fri – Vilar Performing Arts Center – Beaver Creek, CO*
2/16 Sat – Washington’s – Fort Collins, CO*
2/21 Thu – The Steifel Theatre for the Performing Arts – Salina, KS*
2/22 Fri – Sheldon Concert Hall – St. Louis, MO*
2/23 Sat – North Shore Center for the Performing Arts – Skokie, IL*
2/24 Sun – Turner Hall Ballroom – Milwaukee, WI*
2/26 Tue – Woodward Theatre – Owensboro, KY*
2/27 Wed – Minglewood Hall – Memphis, TN*
2/28 Thu – City Winery – Atlanta, GA (2 shows)*
3/1 Fri – The Caverns – Pelham, TN*
3/2 Sat – Dave Finkelman Auditorium – Middletown, OH*
3/14-16 Thur-Sat – Alyeska Resort – Girdwood, AK
3/22-24 Fri-Sun – Boogie at the Broadmoor – Colorado Springs, CO
3/29-31 Fri-Sun – WinterWonderGrass – Tahoe, CA
4/13-14 Sat-Sun – Bender Jamboree – Las Vegas, NV
4/26 Fri – Stoughton Opera House – Stoughton, WI*
4/27 Sat – Stefanie H. Weill Center for the Performing Arts – Sheboygan, WI*
4/28 Sun – Sheldon Theatre – Red Wing, MN*

*Stories From the Living Room Shows:
Each of the SFTLR shows listed will feature Leftover Salmon’s acoustic Living Room set with stories and chatter about Thirty Year Of Festival from the band.
Tickets On Sale for SFTLR show: Friday, Nov. 16, 10am MST

For more information, tour dates, and other LoS news, please visit www.LeftoverSalmon.com.
Stream and purchase Something Higher at https://lnk.to/SomethingHigher.