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SuwanneeSpringReunionLineup2019Final.jpg

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

Additions to Round Out Final Lineup Include:
Marty Stuart and His Fabulous Superlatives, Chatham County Line, Joe Craven & Hattie Craven, Shawn Camp Band, Daddy (Will Kimbrough & Tommy Womack), and more!

Artists Already Announced Include:
Steep Canyon Rangers, Billy Strings, Donna The Buffalo, Larry Keel Experience, Jim Lauderdale, Verlon Thompson, The Grass Is Dead,  Jon Stickley Trio ...

Tickets on sale atwww.suwanneespringreunion.com/Tickets  

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Marty Stuart and His Fabulous Superlatives

LIVE OAK, FL – As spring approaches, the excitement builds as folks of all ages make plans to gather at the Spirit of the Suwannee Music Park in Live Oak, Florida to continue a beloved festival tradition that features a range of music genres rooted in original music – Americana: Bluegrass, Newgrass, Folk, Singer/Songwriter, Blues, and more. Literally something for everyone! The gorgeous park with its mossy live oak laden grounds host the 3rd Annual Suwannee Spring Reunion, taking place Thursday through Sunday, March 21-24, 2019.

The Suwannee Spring Reunion adds a batch of artists to round out the final lineup for 2019 including Marty Stuart and His Fabulous Superlatives, Chatham County Line, Joe Craven & Hattie Craven, Daddy (Will Kimbrough & Tommy Womack), Shawn Camp Band, Cicada Rhythm, Balkun Brothers, and Artists At Large: Brett Bass and Nicholas Edwards Williams.

They will join the stellar acts already announced which include Steep Canyon Rangers, Billy Strings, Donna The Buffalo, 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, and Tania & Magic Moon Traveling Circus.

Due to unforeseen circumstances Peter Rowan will not be able to perform this year as previously announced. He is sad to miss it, but excited to let you know that he will be performing at the sister festival, Suwannee Roots Revival, this October.

Most of these artists bring with them storied histories of epic Suwannee performances! “This festival truly is a reunion. Most of the artists have played here before and are part of our Festival Family,” says Festival Director Beth Judy. “It feels like coming home to the artists and the festival community. Even those attending for the first time, whether artist or festival patron, are welcomed into our community and feel a part of something special. Special and more fun than they’ve had lately – maybe ever! It truly is something you have to experience to believe.”

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.

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 at www.suwanneespringreunion.com/tickets/. 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. Current Tickets Rates are $145; Students and military with a valid ID are $130. Get your tickets now before they rise to the next pricing tier on Monday, February 25th. Children 12 and under are free if accompanied by a parent or legal guardian. Single Day Tickets will be available at the Gate only. Please note, Single Day Tickets do not include primitive camping.

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 Final Lineup (New additions in Bold)
Marty Stuart and His Fabulous Superlatives
Steep Canyon Rangers
Billy Strings
Donna The Buffalo
Larry Keel Experience
Chatham County Line
Jim Lauderdale
Verlon Thompson
Shawn Camp Band
The Grass Is Dead
Jon Stickley Trio
Town Mountain
Joe Craven & Hattie Craven
Rev. Jeff Mosier
Daddy (Will Kimbrough & Tommy Womack)
The Mammals
Pigeon Kings
Roy Book Binder  
Nikki Talley
Nora Jane Struthers
Ralph Roddenbery
TKO featuring Duke Bardwell
Cicada Rhythm
Balkun Brothers
Quartermoon
Sloppy Joe
Habanero Honeys
The Adventures of Annabelle Lyn
Artists At Large: Brett Bass and Nicholas Edwards Williams
Jeff Bradley – Comedy + Cool Stuff
Tania & Magic Moon Traveling Circus

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

 

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ReedFoehl_LuckyEnough_13x13_cover
Reed Foehl Releases 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


Available Now On All Outlets to Stream and Purchase → http://hyperurl.co/3xm6td

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.

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 and gospel-tinged tunes to barroom country singalongs and jaunty calypso-flavored, country-infused pop. 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.

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.”

What People Are Saying:

“Certain songwriters have an innate gift for infectious songs that just linger for days on end. Reed Foehl is one of them. Each song on his fifth album, Lucky Enough, tells a story in his quietly understated way that somehow results in powerful imagery and emotions… This is as good as songwriting gets. Foehl’s lyrics are often astonishing and his relaxed, comforting approach works wonders.” —Glide, Jim Hynes

“His voice—smooth, companionable, and flavoured with a touch of palatable wisdom—is the first thing one is likely to notice. But the songs are masterfully constructed, some poetic and symbolic, most situational explorations brought to fruition with elegantly nuanced instrumentation… ‘Stealing Starlight’ and ‘American Miles’—both expansive, grandly produced three-minute epics, worthy entertainment for listeners who appreciate Josh Ritter, Fleet Foxes, or Vance Joy.” Fervor Coulee, Donald Teplyske

The Bluegrass Situation premiered “Stealing Starlight”

“Reed Foehl’s excellent album Lucky Enough takes the listener on an existential journey to fill life’s holes. Written at an impossibly difficult time in Foehl’s life, while he was caring for his mother who was battling cancer, Foehl would be understood for writing a melancholy record. Lucky Enough ducks expectation. It does not feel melancholy. It feels settled. Not resigned, but at peace with life’s challenges and tribulations.” The Marinade with Jason Earle, Listen in to a Podcast Interview

“Reed has the ability to transport the soul, a true master. One of the great songwriters of our time.” —Gregory Alan Isakov. Isakov co-wrote the debut track, “American Miles,” a road song that was inspired by traveling and the great american landscape. Glide Magazine premiered “American Miles”

“Reed Foehl is like a brother to me, we’ve traveled a lot of miles on the road together, and I don’t think they make better singer-songwriters than him.” —Todd Snider  

“He starts out with the gentle strumming ‘Stealing Starlight’ and the quiet acoustics of ‘American Miles,’ which just excels into the beautiful landscape that Reed paints with his words. He begins to pick the tempo up with the steady rhythm of ‘If It Rains’ and ‘He’s On An Island,’ but sandwiched in-between is the piano ballad ‘Carousel Horses.’ Reed Foehl finishes up his new album with the pop/folk tone of ‘Wish I Knew’ and wonderfully, emotion-filled ‘Color Me In.’” JP’s Music Blog, Jim Pasinski

“I fell for this album just a few moments into its first track, ‘Stealing Starlight.’ There is something so sad and yet oddly comforting in Reed Foehl’s vocal delivery that worked on me immediately and pulled me in, so that I wanted to pay closer attention to every word, to see what this voice had to tell me.”
Michael’s Music Log, Michael Doherty

“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.” —Ed Jurdi, The Band of Heathens

“Reed’s songs hit you in the heart, and everything else falls away” —Anais Mitchell

reed guitar hi res photo_ByKateDrewMiller

Reed Foehl. Photo By Kate Drew Miller

More About Reed Foehl & Lucky Enough:

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. 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.”

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.

ReedFoehl_LuckyEnough_back.jpgLucky 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

Engineered and mixed by Steve Christensen
Mastered by Fred Kevorkian
Green Mountain Records

Reed Foehl On Tour Supporting Todd Snider!
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 Mon – 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
5/2 Thu – The Jefferson Theater – Charlottesville, VA
5/3 Fri – The Rex Theater – Pittsburgh, PA
5/4 Sat – Rams Head On Stage – Annapolis, MD

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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ReedFoehl_LuckyEnough_13x13_cover

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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MECO_ALBUM_COVERART
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.

 

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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

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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)

 

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Taylor Martin Releases Song Dogs on 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


First Single: “Little Pictures” Available Now →  https://taylormartin.hearnow.com/little-pictures

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

ASHEVILLE, NC — Taylor Martin brings you music with a beating heart; his raspy, emotion filled voice is instantly recognizable and his lyrics have an unflinching sincerity. Martin releases his third album, Song Dogs November 16, 2018 on Little King Records. On it, he spins tales of the highway, homes, lost love, love regained, redemption, and the overuse of cell phones. 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’s bluesy opener “Little Pictures” tips the brim to people 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 premieres the official music video for “Little Pictures and write, “The song rings instantly familiar and simplifies a complex message in clear lyrical fashion, over catchy, punchy, piano-prominent rhythms.”

A resident of Asheville, North Carolina 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.

The album features some of the finest, most innovative musicians in acoustic music today including, not only The Honeycutters’ Amanda Anne Platt, but also their guitarist and pedal steel player, Matthew Smith. Mountain Heart’s Aaron Ramsey (mandolin, acoustic guitar) and Josh Shilling (Piano, B3, Wurlitzer) perform on much of the album along with Jon Stickley Trio’s Lyndsay Pruett on fiddle. Drummer Richie Jones [Ralph Roddenbery, Donna Hopkins Band] and bassist Matt Dufon perform on all eleven tracks. Asheville guitar legend, Aaron “Woody” Wood, takes the lead on acoustic and electric guitars on a handful of tracks, GRAMMY winner Debrissa McKinney (Secret Agent 23 Skidoo, Empire Strikes Brass) lends harmony vocals on a song and Phil Alley adds some texture with his Telecaster on a track.

“I was supported by mostly local musicians for Song Dogs, says Martin. “Josh came in from Nashville and Richie came from Atlanta, but other than that it’s all friends from Asheville. There’s a lot of love on this record. Having close friends record with you really helps the album go deeper.”

“Working on Taylor’s albums has always been an awesome process,” says Josh Shilling.  “His distinct melodies, chord progressions, and organic recording approach create a unique and extremely vibey song and sound. His ability to pull the perfect band together makes the recording sessions feel amazing, and I love that he’s seeking emotional, human performances more than perfect performances. There’s some grit and soul on this record that feels like it came from another time and place… perhaps an Allman Brothers or Leon Russell time and place.”

“I’ve always tried to write from the heart and to do that there just has to be a story underneath,” says Martin. From the catchy “Here Comes The Flood” to the mellow and rolling “Eden Colorado” (with Wood’s expansive guitar solo and the delicate interplay of Smith’s pedal steel) to the dreamlike “Second Sight (with it’s lucid surf tones and Pruett’s orchestral string arrangement) to the more pop-oriented “Hollywood” (featuring McKinney on harmony vocals), the album will have you hooked.

Our Memories” is a lonesome duet that reflects on remaining in a home after the love has moved out and the remnants are left behind; Martin and Platt’s vocals intermingle with the sultry fiddle and pedal steel melodies of Pruett and Smith. Another duet with Platt, “Milk and Honey” features Aaron Ramsey on mandolin and is a love song that written over the course of many years to express that even in this numbing technological age people can still be in love in the land of milk and honey.

There are three covers on the album including Bob Dylan’s nostalgic “Sign on the Window [New Morning], an upbeat and slightly cajun version of Neil Young’s poignant “Music Arcade[Broken Arrow], and Merle Haggard’s song of tragic loss, “Kern River.”

The album’s title track, “Song Dogs,” lands as the final track and features Shilling on piano paired with Smith’s pedal steel. Martin says, “I spend a ridiculous amount of time in the woods alone. Usually right before dark the coyotes will begin to howl to find each other for the nights hunt. One such evening I wrote these lyrics about the loneliness of the modern age and how difficult it is to ‘stay’ when your heart is restless. And the remorse after you’ve gone too far… I sure do identify with those animals at dusk.”

“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.

 

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Chad Elliott & The Redemptions Release
Rest Heavy on August 10, 2018
Bluesy, Rockin’ and Soulful Original Music
Recorded at Sun Studio in Memphis

LAMONI, IAIowa singer-songwriter, artist and author, Chad Elliott, independently releases Rest Heavy: The Sun Studio Sessions on August 10, 2018. Elliott’s writing weaves love, loss and forgiveness into well-worn lyrics with timeless melodies. “Low, loose, and full of juice. This album’s got a lot of life to it,” said acclaimed Iowa singer-songwriter Greg Brown.

With Rest Heavy, Elliott shows his love of roots-rock, soul, and blues music with a rocking band behind his artfully crafted songs and gravelly delivery. The self-produced album was recorded by Ples Hampton at the famed Sun Studio in Memphis, TN. Hampton said, “It was honestly one of the best sessions I’ve ever had up here. This is gold.”

Elliott, performing on acoustic guitar and harmonica, is joined by his full band, The Redemptions, which includes Tommy Lewis (electric guitar, harmonica, background vocals), Travis McFarlane (piano, B3 organ, keys), Kevin Boehnke (acoustic guitar, trumpet), Joseph Cafaro (upright bass), and Jim Van Dorn (drums).

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Chad Elliott
Photo by Michael Gruich

“I could, literally, feel the shift in the music just by walking through the doors at Sun Studio. The room seemed to have its own electric currency running through it and it made the songs come alive. We walked away feeling like we had an out of body experience. There were times I would just sit in the corners and look into the air of the room to see if that legendary music was still floating there, mixing with ours,” Elliott said.

Elliott’s live performances, whether with a full band or solo, are a blend of engaging storytelling and memorable song lyrics that captivate audiences of all ages. He said, “Live performance is every bit as creative as the writing process. I love the energy created between performer and audience. It can be a heartbreaking solo ballad or a full band, foot-stomping blues song. When it connects there is no better feeling.”

The Daily Country premiered the title track, “Rest Heavy,” and says it, “grabs your heart and soul with its classic harmonica-infused melody, tempered backbeat, and Elliott’s gravelly yet warm delivery that nods to the memory of the greats who made their mark at Sun.”
Listen here http://bit.ly/TDC_RestHeavy_SongPremiere.

Rest Heavy ranges from modern gospel love songs like the title track (with its throwback soul sound) to the tale of unrequited love in “Alberta.” He delves into country soul with “Hills of Tennessee,” recalls early Tom Waits in the jazzy Cadillac Problems, Buick Times,” adds in some Parlor blues in “Slow Again,” and offers some bottom feeder blues with “Dirty River (Catfish Blues).”

An American ramble song that tips its hat to beat poets, musicians, and ramblers of the world, “Shy of Shameless” is a travel log of sorts. It depicts Elliott’s years of touring and wandering America, living out of a vehicle.

Embarcadero Street” has a raw feel to it with its slinky slide guitar, trashy drums, and the lyrics “Never would’ve guessed I was on the edge… Because I kept myself so clean… Shaved my beard up good and tight… Tried to wash away all the mean… Elliott said, “Years ago, Embarcadero Street in San Francisco was my stomping grounds during a difficult time in my life. I slept on park benches and abandoned piers. This song is like a brief journal entry for me.”

A deeply personal song, “Shining Stars” has a more ethereal sound, highlighting the acoustics of the room and the B3 organ, making this intimate song feel like a throwback to the 50s. Similarly, Water Under the Bridge” is a mending song with a serene groove. Elliott said, “Forgiveness for the sake of peace — that is what ‘Water Under the Bridge’ is about. Finding a place of atonement so one can move on past pain and fear.”

St. James Infirmary,” the only cover on the eleven-track album, is an old New Orleans flavored traditional. Elliott said, “We were in Memphis, so we picked up the tempo and did it in just one take as a bonus track. I have always loved the dark mystery of this song. It was an added bonus track and the entire band let loose.”

Elliott’s early career demonstrates a love of folk, roots, and singer-songwriter music. He has worked with many greats and shared the stage with artists of the highest caliber, including Odetta, Tom Paxton, Loudon Wainwright III, R.L. Burnside, Greg Brown, Ruthie Foster, Jimmie Vaughan, etc.

“Chad’s songs are inspired by real life and by real people,” said Bronson Herrmuth, “They’re not conjured up in a cookie cutter fashion designated by songwriting rules or regulations. He sings out loud and proud about the places he’s been, the things he’s seen, his life experiences, and those of his family and friends.”

Elliott has released 22 albums including The Den Sessions in 2010 which is a ten-volume set. His most recent being RINGGOLD (2017) and Wreck and Ruin (2015). He has been featured on Iowa Public Radio’s Java Blend (“rootsy, gravely growl and impressive, tasteful guitar work”), showcased at Folk Alliance International, composed and performed music for several IPTV documentaries, and won prestigious awards, such as the Woody Guthrie Song Contest (2009).

Elliott performs more than 200 shows each year and is lauded as “Iowa’s Renaissance Man” by Culture Buzz. He has cultivated over 1,000 songs in his career while also honing his skills as a painter, sculptor, and children’s book author/illustrator (Wilderman’s Treetop Tales). He recently published a poetry book, Rumble & Flash.

Rest Heavy jumps right at you and doesn’t let go,” said Rob Ellen of The UK’s Medicine Show Radio. “The whole piece has an edge you can shave with.”

Rest Heavy Track Listing:
1. Rest Heavy  (3:12)
2. Shy of Shameless  (5:23)
3. Hills of Tennessee  (3:29)
4. Shining Stars  (4:22)
5. Cadillac Problems, Buick Times  (4:56)
6. Alberta  (4:20)
7. Slow Again  (3:47)
8. Dirty River (Catfish Blues)  (3:45)
9. Embarcadero Street  (5:08)
10. Water Under the Bridge  (7:06)
11. St. James Infirmary  (6:21)

Chad Elliott – vocals, electric guitar, harmonica
Tommy Lewis – electric guitar, harmonica, vocals, track 10 chorus
Travis McFarlane – piano, B3 organ, keys, track 10 chorus
Kevin Boehnke – acoustic guitar, trumpet, track 10 chorus
Joseph Cafaro –  upright bass, track 10 chorus
Jim Van Dorn – drums (all), track 10 chorus
Roger D. Feldhans – track 10 chorus

All songs written by Chad Elliott except “St. James Infirmary” (Anonymous)

For more information, tour dates and news from Chad Elliott, please visit, www.chadelliott.net, www.facebook.com/elliottmusic, www.twitter.com/chadelliottlive, and www.instagram.com/chadelliottmusic.

 

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