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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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The Contribution To Release New Music Throughout The Year
Tim Carbone, Phil Ferlino, Jeff Miller, Keith Moseley, Sheryl Renee, Matt Butler, & Duane Trucks, Join Musical Forces To Release Their 2nd Album, Wilderness And Space, on LoHi Records

Singles to be released for seven months, with 100% of proceeds going to non-profits and the first single paired with Rex Foundation to come out February 17, 2017

When Relix magazine announced the The Contribution’s debut record, Which Way World [2010], and called them a “jamband supergroup,” they also recognized, “the band serves the songs first and foremost.” Although the band is comprised of some of the scene’s heavy hitters, the first listen to their music reveals their love of 60s pop and soul coupled with their ability to flat-out shred. It’s what makes the band appealing to music lovers from all walks of life and they are pleased to release tracks from their upcoming LoHi Records album, Wilderness And Space, one song at a time over the course of seven months, with full proceeds of each single going to a different non-profit with each track.

The Contribution is the brainchild of Tim Carbone of Railroad Earth (violin, guitar, vocals) together with Phil Ferlino (keyboards, vocals) and Jeff Miller (guitar, vocals) of New Monsoon. Keith Moseley (String Cheese Incident), has been the bass player from the band’s inception along with vocalist Sheryl Renee (The Black Swan Singers). The drum chair has been occupied by Jason Hann (String Cheese Incident), Matt Butler (Everyone Orchestra), and currently Duane Trucks (Widespread Panic). Both Matt Butler and Duane Trucks appear on the band’s new record, Wilderness And Space.

The first song will be released on February 17, 2017 and all proceeds will be donated to Rex Foundation. Consecutive songs will come out each month, each paired with it’s own art and a different non-profit partner. Others taking part include Conscious Alliance, HeadCount, and a handful of other organizations that support the arts, environment, and health. The full ten song album will be released on vinyl this Fall.

SONY DSCReleasing records and touring is a cycle that is connected and a part of each member’s individual careers. Initially conceived as a studio project that would play select live shows, the emphasis for The Contribution was always on writing and recording. Rather than releasing a full record with expectations of touring to support it, Carbone wanted to find a way to live up to the band’s name, which in itself provided the clue as to how, and this is what they cooked up as a way to keep it going and give back in the process.

How could the creation of music be leveraged best for the betterment of the world at large? A lofty goal. The band has never been about personal profit and individually the members have been advocates and activists for various environmental and social causes. Now they have thought of a way to meld the two worlds the band holds dear. They are The Contribution, after all.

Carbone says, “We feel blessed to be able to make this music and have it help people in need… and we would like to empower those who share our passion and provide a resource for them to take action with us.”

All songs written and produced by Tim Carbone, Phil Ferlino and Jeff Miller. The songs from Wilderness And Space were recorded mainly at Silo Sound Studio in Denver, Colorado and engineered by Todd Dival with additional recordings at TRI Studios in San Rafael, CA, (engineered by Rick Vargas). The full ten-song album will come out on vinyl in the Fall of 2017.

Wilderness And Space will be released on LoHi Records, of which Carbone is one of the partners along with singer/songwriter and record producer Todd Snider, Hard Working Americans’ Chad Staehly, who is also with Gold Mountain Entertainment in Nashville, and entrepreneur and marketing veteran Jim Brooks.

Hear more about the Wilderness And Space project from Tim Carbone →

For more information, please visit www.TheContribution.net, www.facebook.com/TheContribution, www.twitter.com/thecontribution, and www.instagram.com/thecontribution.

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MidwestSideStories_Front_FINAL-03

Singer/Songwriter, Chicago Farmer Releases Midwest Side Stories Out TODAY 9.30
Get it now at iTunes, Amazon, and CD Baby

Head on over to Live For Live Music (L4LM) for the world premier of “9pm to 5”
“…Cody is fully present, as the subtle and not so subtle jokes and metaphors he employs to such ingratiating effect are fully evident”
Listen in here→ http://bit.ly/ChicagoFarmer_9pmto5_L4LM_Premier

BLOOMINGTON, IL — Chicago Farmer, the moniker Bloomington, Illinois’ Cody Diekhoff performs and writes under, independently released his 7th album, Midwest Side Stories, September 30, 2016. Midwest Side Stories is about hope, depression, job loss, meth, skateboards, a divided nation, used cars, the late shift, farms, factories, the destruction of our environment, and still being around to sing about it. The new release contains ten tracks all of which were written by Diekhoff (pronounced dee-cough), with the exception of the John Hartford classic “I’m Still Here.”

Folk hero Todd Snider says, “I love Chicago Farmer’s singing and playing and songs, but it’s the intention behind the whole of his work that moves me to consider him the genuine heir to Arlo Guthrie or Ramblin’ Jack Elliott. He knows the shell game that goes on under folk music… which is sacred to me. Chicago Farmer is my brother; if you like me, you’ll love him.”

Diekhoff co-produced Midwest Side Stories, with engineer Chris Harden at I.V. Labs Studios in Chicago, Illinois. Harden also played Glockenspiel and harmonized vocals on select tracks. Others on the album include vocalist and guitarist Ernie Hendrickson, drummer Darren Garvey, vocalist Heather Horton, and a handful of other Midwestern mainstays.

What folks are saying about Chicago Farmer’s Midwest Side Stories:

“At heart, Diekhoff is a protest singer, who in this election year paints a rather dark picture of the country. Unfortunately, many of the subjects he sings about ring true, but Diekhoff is smart enough to offer hope and some solutions too. Besides the hope, we find tales of depression, job loss, meth, skateboards. A divided nation, used cars, the late shift, farms, factories, the destruction of our environment and the gift of still being here with a chance to effect change.” —Elmore Magazine, Jim Hynes

“Previously, frequent comparisons to the works of famed folk troubadour Arlo Guthrie have been spot on. With this impressive step forward in song craft and dimension, Chicago Farmer has moved beyond any previous limitations and associations. Storyteller, humorist and heartfelt proponent of the core values of humanity itself, Chicago Farmer has always had a message of compassion that the world truly needs to hear. Thanks to the added power backing his insight and infectious spirit he is ready to take his message farther than ever before, as he does to wonderful effect on Midwest Side Stories.” —Live For Live Music (L4LM), Rex Thomson

“[Chicago Farmer] has a style that reminds me of the country/folk pop singers of the early 70s—the R. Dean Taylors, John Denvers, and Ray Matericks of the day. Earnest. Bold. Honest.” —Fervor Coulee, Donald Teplyske

Midwest Side Stories begins with the Neil Young-like ‘Umbrella.’ With a strumming guitar and lyrics such as, ‘I want to sing you a sad, sad song that I hope will make you smile,’ the resemblance between Diekhoff and Young is unmistakable — and undeniable. But, he is no mere imitator. He springboards from that auspicious beginning to songs generally about the current state of the formerly industrious Midwest, offset with its many rural areas, and their many problems: job loss, meth, farms, shift-work factories, social divisions, etc.” —No Depression, Amos Perrine

“And that is where Diekhoff shines, as a phenomenal storyteller in the vein of Prine, Earle, and his somewhat mentor, Todd Snider (who provided a glowing recommendation in the liner notes of the record).

Midwest Side Stories is strong from start to finish.” —No Depression, The Broken Jukebox, Adam Dawson

“Midwest Side Stories is full of great lyrics and wonderful music. It doesn’t matter if you live in the American Midwest or somewhere else. These songs will speak to you in a language the is easy to understand. If you are a regular person who works for a living, you will find yourself absorbed into the stories. In other words, if you are an earthling you will get great enjoyment by listening to Midwest Side Stories by Chicago Farmer.” –Independent Midwest Music

“Chicago Farmer’s songs have always been thoughtful, and there is definitely a somber tone at the start of opening track ‘Umbrella’. However, it does quickly establish the singalong vibe that has more and more people heading to Chicago Farmer shows. The hard-rocking ‘Revolving Door’, with its Decemberists-esque harmonica intro, really pulls you in and demands your attention, with a backing band of music scene friends contributing to the down-by-the-water feel before heading into an outro that just gets stuck in your head for days.” —News Gazette, Andrew Howie

“Songs like ‘Revolving Door’, ‘9pm to 5’, ‘Farms & Factories’, and ‘Rocco and Susie’ all paint the picture of life in a Central Illinois town from the perspective of the 3rd shift clock puncher, families getting squeezed, or the couple losing their dream and their sanity along the way. Warts and all.” —Tomorrow’s Verse, Kevin Foss

“He calls each song, each ‘Midwest Side story,’ a chapter in the album’s book of life as he sees it. The tone can waver from the plaints of ‘Revolving Door,’ about the loss of manufacturing jobs hereabouts, to the darkness of ‘Rocco N’ Susie,’ which grapples with meth addiction.” —Pantagraph, Dan Craft

“Chicago Farmer, aka Cody Diekhoff, is neither a farmer nor – any longer – a Chicagoan, but his family history in rural farming communities runs through all his work. Fellow folk journeyman Todd Snider calls him ‘the genuine heir to Arlo Guthrie or Ramblin’ Jack Elliott’ and he’s the perfect person to honor his fellow Midwesterner John Hartford.” Stream Chicago Farmer’s version of John Hartford’s “I’m Still Here at  Cover Me Songs www.covermesongs.com/2016/09/chicago-farmer-covers-john-hartford.html

Further information can be found at www.chicagofarmer.com, www.facebook.com/chicagofarmer, and twitter.com/chicagofarmer.

Chicago Farmer Midwest Side Stories Tour Dates

Full Band
9/30 Fri – Redstone Room – Davenport, IA
10/1 Sat – Castle Theatre – Bloomington, IL
10/2 Sun – The Bootleg – St. Louis, MO

Solo Shows
10/5 Wed – Woodlands Tavern – Columbus, OH
10/6 Thu – Steiner’s Tavern – Chillicothe, OH
10/7 Fri – Southgate House Revival – Newport, KY
10/8 Sat – Radio Radio – Indianapolis, IN
10/11 People’s Brewing CO. – LaFayette, IN
10/13 Thu – Knuckleheads Retro Lounge – Kansas City, MO
10/14 Fri – Blue October – Hannibal, MO
10/15 Sat – Bar None – Springfield, IL
10/20 Thu – The Walnut Room – Denver, Co
10/21 Fri – Lazy Dog Saloon – Boulder, CO
11/3 Thu –  Five Spot – Nashville, TN
11/4 Fri – Paducah Beer Werks – Paducah, KY
11/5 Sat – Hangar 9 – Carbondale, IL
11/9 Wed – The Cedar Cultural Center – Minneapolis, MN
11/10 Thu – The Root Note – LaCrosse, WI
11/11 Fri – Lincoln Hall – Chicago, IL

Midwest Side Stories Track Listing
1. Umbrella 4:32
2. Revolving Door 5:09
3. Rocco N’ Susie 6:00
4. Skateboard Song 3:03
5. Two Sides of the Story 5:19
6. New Used Car 4:05
7. 9pm to 5 3:33
8. Farms & Factories 4:07
9. Homework 4:01
10. I’m Still Here 5:57

*All songs by Chicago Farmer except #10 “I’m Still Here” by John Hartford

Album Cover by Jay Miller at Reverb Soul
Album design layout by Jon Griffin

Further information can be found at www.chicagofarmer.com, www.facebook.com/chicagofarmer, and twitter.com/chicagofarmer.

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Town Mountain’s ‘Southern Crescent’ OUT TODAY on LoHi Records

Available April 1, 2016 on iTunes → http://apple.co/1QW52ZJ
Limited edition signed CD bundles directly from the web store → www.townmountain.net/shop

ASHEVILLE, NC — Raw, soulful, and with plenty of swagger, Town Mountain, based in Asheville, NC, releases their 5th studio album Southern Crescent on April 1, 2016 through LoHi Records. Produced and engineered by GRAMMY winner Dirk Powell, the album was recorded in Powell’s studio The Cypress House in Breaux Bridge, LA. It was mixed by Mixed by Scott Vestal at Digital Underground in Greenbrier, TN.

TownMtn_BySandlinGaither2015_3

Town Mountain. Photo by Sandlin Gaither.

With an insatiable musical hunger, the members of Town Mountain (Robert Greer on vocals and guitar, Jesse Langlais on banjo and vocals, Bobby Britt on fiddle, Phil Barker on mandolin and vocals, and Nick DiSebastian on bass) made their way to the little south-central Louisiana town of Breaux Bridge, where they recorded their most cohesive, most satisfying album to date. Adam Chaffins* plays bass in the touring outfit.

Southern Crescent was recorded in a decidedly old-school way, live, with minimal fixes and overdubs, with all the musicians in the same room and no noise-reducing baffling between them. Each of Town Mountain’s members contributed songs to Southern Crescent, with Barker, Langlais and Greer the chief writers in the band.

From the boogie-woogie piano of Jerry Lee Lewis that inspired the delightful (and danceable) “Coming Back to You,” to Greer’s cleverly penned and fast-paced “Tick on a Dog,” which offers a taste of another major bluegrass influence, Jimmy Martin, Southern Crescent is tailor-made to keep live audiences on their feet, but it’ll also keep those who think they can easily peg Town Mountain on their toes.

That variety is indeed part of what drives Southern Crescent, which opens with Britt’s delightfully dizzying fiddle work on “St. Augustine,” and showcases Greer’s hard-country vocals on “House With No Windows” and on the freewheeling composition “Ain’t Gonna Worry Me,” (penned by Barker). The group members’ palpable chemistry (and individual artistry) are displayed throughout such instantly memorable tracks as “Wildbird,” (Barker) and “I Miss the Night,” which Langlais penned (with Mark Bumgarner) after experiencing 22 hours of daylight during Alaska’s summer solstice.

The new album is being released on LoHi Records
. Based in Greensboro, N.C., the label is a partnership formed by entrepreneur and marketing veteran Jim Brooks with singer/songwriter and record producer Todd Snider, record producer Tim Carbone (who also plays fiddle in newgrass band Railroad Earth) and Chad Staehly from Gold Mountain Entertainment in Nashville.

Go Behind The Scenes with Town Mountain In “The Making of Southern Crescent” → https://youtu.be/VZD7avVtI4U

Listen to the world premier of “Comin’ Back to You” at The Bluegrass Situation → www.thebluegrasssituation.com/read/listen-town-mountain-comin-back-you

Final Cover Lo ResWhat Folks Are Saying about Town Mountain and Southern Crescent:

“Produced by Dirk Powell, Southern Crescent is hard-charging, grits-and-gravy authentic, the kind of emotions on the strings of Bill Monroe and Flatts and Scruggs pioneered more than 60 years ago. But Town Mountain is no copy band. With Songs written by each band member, and instrumental and vocal originality, Town Mountain honors the Ancients while bringing a collective and generational identity to their art.” —Raleigh News & Observer, Jack Bernhardt

“Southern Crescent reflects the band’s loose, dance-able music, more reflective of their festival and club sets that a staid performing arts center straight-bluegrass set. I’m not sure if the Southern Crescent still runs from Atlanta to Boston like my relatives talked about taking to go ‘visit culture’ in the Northeast, but I’m fairly sure it still runs down to New Orleans, where a more exhilarating culture has endured — an apt analogy for this album.” –Listen to this podcast interview with Town Mountain about Southern Crescent on Country Fried Rock with Sloane Spencer → http://countryfriedrock.org/town-mountain-1606/#.Vv09AnBKhaU

“On Southern Crescent, there’s little fuss and pretension, as each track has a lived-in and live feel, with the band members coalescing around the song in an almost preordained way. There is as much outlaw country and Western swing to these songs as bluegrass, despite the instrumentation. As traditional and even-keeled as Town Mountain is, no other band sounds quite the same.” —Mountain Xpress, Kyle Petersen

“I have seen this band many times, and while there are a couple of bigger names out there, this Asheville group is the most exciting bluegrass band to come along in a long time” –-No Depression, Amos Perrine

Southern Crescent is a near-perfect balance of tradition and young, raw energy… They’ll hear a hundred years of southern musical culture bubbling up and finding a common point where North Carolina, Georgia, and Louisiana meet as old friends. Town Mountain’s style and sonic footprint comes from a foundation of rhythm and groove that comes not from just loving the music (that’s too easy) but from living the music.” —Stream to the Premier of the song “Wildbird” at Bluegrass Today, Brian Swenk

“The record features an expected dose of fast string picking, including the opening fiddle workout ‘St. Augustine,’ but as it unfolds it becomes a well-rounded effort full of front-porch song craft that touches on various shades of roots music. ‘Leroy’s Reel’ has a distinctly Cajun flavor, while ‘Comin’ Back to You’ is a rockabilly dance tune propelled by some boogie-woogie piano.”  —Blue Ridge Outdoors, Jedd Ferris

“By the time they arrive at ‘Whiskey With Tears,’ one is ready to recommend them to country radio not because they sound like they belong there, but because you wish radio sounded like Town Mountain.”–Fervor Coulee, Donald Teplyske

“From the fiddle filled, energetic instrumental opener, ‘St. Augustine’ to the carefree ‘Ain’t Gonna Worry Me’ bluegrass sensibilities merge with roots, rock and country in melodies that will not only make you sit up and listen – they’ll have you getting up and moving as well.” —The Daily Country, Tara Joan

“There are a lot of bluegrass and country bands out there but only a few really have the ability to pull off what Ricky Skaggs and Tony Rice pulled off… Town Mountain, a band out of Asheville NC, does though and they prove it song after song. A bit more country here and a bit more bluegrass there makes the music as roots as you can get.” –-Frank Gutch Jr., Bob Segarini Blog

Town Mountain’s Southern Crescent Tour 2016:
4/1 Fri – The Grey Eagle – Asheville, NC
4/2 Sat – Newgrass Brewing Company – Shelby, NC
4/5 Tue – Hampton Taphouse – Hampton, VA
4/6 Wed – Gypsy Sally’s – Washington, DC
4/7 Thu – Lizard Lounge – Cambridge, MA
4/8 Fri – Hill Country BBQ – New York, NY
4/9 Sat – The Hobo Stage – Fredon, NJ
4/10 Sun – Tin Angel – Philadelphia, PA
4/12 Tue – Haymarket Whiskey Bar – Louisville, KY
4/13 Wed – Cosmic Charlie’s – Lexington, KY
4/14 Thu – The Station Inn – Nashville, TN
4/15 Fri – Barley’s – Knoxville, TN
4/16 Sat – Waverly “Old 280” Boogie – Waverly, AL
4/17 Sun – Zydeco – Birmingham, AL
4/28 Thu – Independent Ale House – Greenville, SC
4/30 Sat – UNC – Chapel Hill, NC
5/13 Fri – KSUT Concert Series @ Henry Strater Theatre – Durango, CO
5/14 Sat – Denver Beer Co.’s Sundrenched Music Festival – Denver, CO
5/14 Sat – Ophelia’s Electric Soapbox – Denver, CO (After party with Hot Buttered Run)
5/21 Sat – The Pour House – Charleston, SC (with Peter Rowan)
5/22 Sun – Lincoln Theatre – Raleigh, NC (supporting Hard Working Americans)
5/24 Tue – The Orange Peel – Asheville, NC (supporting Hard Working Americans)
5/25 Wed – Minglewood Hall – Memphis, TN (supporting Hard Working Americans)
5/27 Fri – White Squirrel Festival – Brevard, NC
5/28 Sat – Rooster Walk – Martinsville, VA
6/1 Wed – Music City Roots – Nashville, TN
6/3 Fri – Bailey Park – Winston-Salem, NC
6/5 Sun – Nelsonville Music Festival
6/11 Sat – Festival of the Bluegrass – Lexington, KY
6/16 Thu – Back Porch Music Series – Durham, NC
6/23 Thu – Rudyfest 16 – Grayson, KY
6/24 Fri – ROMP Fest – Owensboro, KY
7/23 Sat – Homegrown Music Festival – Ozark, AR
8/5 Sat – Pickathon – Happy Valley, OR

For more information, please visit TownMountain.net, facebook.com/TownMountain, twitter.com/TownMountain, and instagram.com/townmountainbluegrass.

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Raw, soulful, and with plenty of swagger,
Town Mountain releases 5th album, Southern Crescent,
April 1, 2016 on LoHi Records

Produced by Dirk Powell at his Cypress House studio
in Breaux Bridge, Louisiana

ASHEVILLE — In much the same way that iconic southern dishes such as Louisiana gumbo or Brunswick stew can include any number of flavorful ingredients, so too does bluegrass music rely on a recipe that can vary wildly, depending on who’s doing the cooking. For Asheville, North Carolina-based bluegrass band Town Mountain, the key ingredient of the musical stew that is their career-defining fifth album, Southern Crescent, is the same confident – yet entirely embraceable – swagger that has distinguished the group since they first formed in 2005. The new album is due out on April 1, 2016 on LoHi Records.

Final Cover Lo Res

With an insatiable musical hunger, the members of Town Mountain (Robert Greer on vocals and guitar, Jesse Langlais on banjo and vocals, Bobby Britt on fiddle, Phil Barker on mandolin and vocals, and Nick DiSebastian* on bass) made their way to the little south-central Louisiana town of Breaux Bridge, where they recorded their most cohesive, most satisfying album to date. Produced by legendary GRAMMY-winning musician (and Louisiana transplant) Dirk Powell at his Cypress House studio, with low-swooping live oak trees and the picturesque Bayou Teche nearby, Southern Crescent is nothing less than a musical tour-de-force. Adam Chaffins* plays bass in the touring outfit.

The 2013 winners of IBMA Momentum Awards for Performance Band and Vocalist of the Year (Robert Greer), Town Mountain has earned raves for their hard-driving sound, their in-house songwriting and the honky-tonk edge that permeates their exhilarating live performances, whether in a packed club or at a sold-out festival. Just as a gumbo recipe starts with the “holy trinity” of staples (onions, bell peppers and celery), and can contain a wide variety of additional ingredients and inspiration, the hearty base of Town Mountain’s music is the bluegrass triumvirate of Bill Monroe, Lester Flatt and Earl Scruggs. It’s what else goes into the mix that brings it all to life both on stage and on record and reflects the group’s wide-ranging influences – from the Grateful Dead’s Jerry Garcia and the ethereal lyrics of Robert Hunter, to the honest, vintage country of Willie, Waylon and Merle.

Southern Crescent was recorded in a decidedly old-school way, live, with minimal fixes and overdubs, with all the musicians in the same room and no noise-reducing baffling between them. The result: a raw, soulful album that prompted iconic singer-songwriter Jim Lauderdale to enthuse in the liner notes, “The first time I heard Town Mountain I loved, respected, and enjoyed them. And I do now more than ever. They have stuck with their deep bluegrass roots but as they have with all of their releases, they have grown and expanded. They sound like Carolina, and they carry that sound farther and farther with Southern Crescent, their latest gem.”

In spite of not having worked with Powell as their producer before, singer-songwriter Robert Greer says he walked away from the experience “thinking this is how I want to record every record from this point on.” It probably didn’t hurt that Powell’s mom, who lives next door to the studio, was keeping the group supplied with coffee and homemade chocolate chip cookies.

The new album is being released on LoHi Records. Based in Greensboro, N.C., the label is a partnership formed by entrepreneur and marketing veteran Jim Brooks with singer/songwriter and record producer Todd Snider, record producer Tim Carbone (who also plays fiddle in newgrass band Railroad Earth) and Chad Staehly from Gold Mountain Entertainment in Nashville.

Town_Mountain_355_Credit_SandlinGaither

Town Mountain. Photo by Sandlin Gaither

Each of Town Mountain’s members contributed songs to Southern Crescent, with Barker, Langlais and Greer the chief writers in the band. A democratic process determines what they’ll record, but the greatest factor, especially on the new record, is audience reaction, which is basically what led to release of the band’s first official live album, Town Mountain: Live At The Isis, in 2014. “We’ve gone into the studio before with new stuff but every tune on this record had been road-tested,” says Greer. “We go in to the recording situation and we have our tunes arranged already because we’ve been playing them on stage. That’s a contributing factor to successfully being able to record them live, because we’re used to doing them night after night.”

From the boogie-woogie piano of Jerry Lee Lewis that inspired the delightful (and danceable) “Coming Back to You,” to Greer’s cleverly penned and fast-paced “Tick on a Dog,” which offers a taste of another major bluegrass influence, Jimmy Martin, Southern Crescent is tailor-made to keep live audiences on their feet, but it’ll also keep those who think they can easily peg Town Mountain on their toes. “With live music, anything can happen,” Greer acknowledges. “It’s not supposed to be perfect but does it have soul!”

The music, perhaps, should also come with a road map. As Langlais explains, “A lot of the material is based around traveling. You start to peel back the lyrics of the songs and see that a lot of the material is about being out on the road and the experiences – positive or negative – that we may have living the lifestyle.”

Just as the guys find a wealth of musical inspiration in each other, there’s admittedly a little frustration that comes from being in a band with several other gifted songwriters at the same time. As Langlais explains, “You want to make sure you’re up there and everybody else is feeling the same about you. It’s good to have multiple writers in the band because it gives your audience more variety.”

That variety is indeed part of what drives Southern Crescent, which opens with Britt’s delightfully dizzying fiddle work on “St. Augustine,” and showcases Greer’s hard-country vocals on “House With No Windows” and on the freewheeling composition “Ain’t Gonna Worry Me,” (penned by Barker). The group members’ palpable chemistry (and individual artistry) are displayed throughout such instantly memorable tracks as “Wildbird,” (Barker) and “I Miss the Night,” which Langlais penned (with Mark Bumgarner) after experiencing 22 hours of daylight during Alaska’s summer solstice.

“Bands are constantly trying to define their sound, a sound that sets them apart from every other band, especially in genre as small as bluegrass,” says Langlais. “Our approach has been to find what our sound inherently will be and build off of that. Granted, we are taking a piece of what Bill Monroe’s band did in order to make our own bluegrass band. That’s just inevitable. But he borrowed from all these other genres, too – rock ‘n’ roll, country music, Scots-Irish fiddle music. I think we have realized what our sound is with this album.”

Greer, who hosts occasional nights of acoustic classic country and bluegrass in Asheville called Cornmeal Waltz (after a Guy Clark song), understands the music-food connection, saying that no matter what goes into gumbo or Brusnwick stew, they’re still “as southern as red clay.” The same is certainly true of Southern Crescent, Town Mountain’s prize-worthy signature dish.

Town Mountain on Tour 2016:
3/4-5 Fri-Sat – Hilton Head Island Seafood Festival – Hilton Head, SC
3/19 Sat – The Rabbit Hole – Charlotte, NC (with Jeff Austin Band)
4/1 Fri – The Grey Eagle – Asheville, NC
4/2 Sat – Newgrass Brewing Company – Shelby, NC
4/5 Tue – Hampton Taphouse – Hampton, VA
4/6 Wed – Gypsy Sally’s – Washington, DC
4/7 Thu – Lizard Lounge – Cambridge, MA
4/8 Fri – Hill Country BBQ – New York, NY
4/10 Sun – Tin Angel – Philadelphia, PA
4/12 Tue – Haymarket Whiskey Bar – Louisville, KY
4/13 Wed – Cosmic Charlie’s – Lexington, KY
4/14 Thu – The Station Inn – Nashville, TN
4/15 Fri – Barley’s – Knoxville, TN
4/16 Sat – Waverly “Old 280” Boogie – Waverly, AL
4/17 Sun – Zydeco – Birmingham, AL
5/28 Sat – Rooster Walk – Martinsville, VA
6/24 Fri – ROMP Fest – Owensboro, KY
7/23 Sat – Homegrown Music Festival – Ozark, AR

For more information, please visit TownMountain.net, facebook.com/TownMountain, twitter.com/TownMountain, and instagram.com/townmountainbluegrass

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8.5x11_HUMANITY_RISING_2015.jpg

Hard Working Americans, Moonalice, Dead Winter Carpenters Play HUMANITY RISING — A Butte Fire Benefit on Sat, Dec 19, 2015 at Calaveras County Fairgrounds, Angels Camp, CA

HUMANITY RISING Share The Spirit
Family Friendly, 3 stages in 3 buildings, Dinner and Silent Auction
1pm to Midnight

Tickets are $25 in advance through Eventbrite or the Sierra Nevada Adventure Company stores in Murphys, Sonora, and Arnold, as well as Outer Aisle in Murphys & The Pickle Patch in San Andreas
$35 at the door. Kids under 12 free. Ages 13-16 $10
101 Frogtown Rd, Angels Camp, CA 95222

RSVP on Facebook and find out more here→
www.facebook.com/HUMANITYRISINGSHARETHESPIRIT

HOMER, AK– The Blue Mountain Community Renewal Council, a 501C3- non-profit, is partnering with HUMANITY RISING – Share the Spirit, A Butte Fire Benefit on December 19th at the Calaveras County Fairgrounds.

Set to perform, and graciously donating their time, are Hard Working Americans (a recently formed ‘Super group’ consisting of Todd Snider, Dave Schools, Neal Casal, Duane Trucks, Chad Staehly, and Jesse Aycock), Moonalice out of San Fransisco, Dead Winter Carpenters from the Tahoe area, Edge of the West from Santa Cruz, Grateful Bluegrass Boys and Dusty Greenbones Band from Mendicino, and many more! Plus the best MC of our time, Wavy Gravy and a psychedelic light show by Liquid Lights.

It’s a family friendly event with three stages in three buildings, dinner, and silent auction and runs from 1pm through Midnight. HUMANITY RISING is looking for donations and volunteers to help make this event as impactful as possible. Proceeds will be distributed promptly and equitably to the most needy families and individuals promptly in order to help provide some degree of holiday comfort.

“Our first show ever was a benefit show for flood victims in Colorado. We understand how these giant natural disasters put hard-working Americans’ backs up against the wall.” say The Hard Working Americans. “We’re in a position to help so let’s all join together and make a difference. It takes a village.”

The Butte Fire started in early September 2015 in the Sierra Nevada Foothills of California and was one of the among the worst in the State’s history, with over 70,000 acres burned, as well as an estimated 500 plus homes.

“If you are thinking the Butte Fire is over, stop assuming someone else is doing the work that needs to be done.” Long time Tuolumne and Calaveras county resident, promoter, philanthropist, and co-producer of Humanity Rising Jim Stearns says, “There’s some perception or rationalization that there is enormous help coming in. It’s the proverbial ‘somebody else is taking care of it’ problem. If those who are still warm, dry and relatively wealthy that live within 25 miles of the devastation would give 10 percent of their time and/or resources the problem would largely be handled already. Unfortunately many are buying useless crap for Christmas, taking vacations and ignoring the tragedy their neighbors are facing right over the hill.”

The mission of this event will be to provide grants to those that have had their homes and lives destroyed by the Butte Fire. Those that are uninsured, well underinsured and haven’t or haven’t the ability to secure major funding from other agencies such as Red Cross and FEMA will be given the highest priority.

Wendy Cox, a “boots on the ground” type of person, posted a comprehensive and accurate write-up about the situation entitled, Why Is help still needed?.” “Hundreds (if not more than 1,000) of displaced people (more than 500 residences were lost to the fire) are living in inadequate conditions. They are confounded by their situation, and at a loss for what they are going to do. Many do not have potable water, if they have water at all. They are toileting in the sticks that used to be forest. They are sleeping on the bare ground if they are not fortunate to have a tarp. They do not enjoy a hot meal. They are waking up to frost and constant dampness that sleeping outdoors will bring (seniors are especially vulnerable to health problems in this environment.) Basic needs remain unmet.

When a disaster strikes there is an outpour of support which quickly turns to a trickle. Some of the temporary fixes and help have left… Because it has been two months and recovery will take 10-15 years.  Because there are victims still waiting for basic needs to be met.  Because victims are being swallowed by bureaucracy. Because people still feel lost, and confused.  Because it is the right thing to do.

The producers of the Humanity Rising benefit concert are Jim and Alisa Stearns, Linda Sanchez, and Emily West. Jim was owner and operator of Avery Ranch from 1974 until 2011. Alisa was born and raised in Sonora and has partnered with Jim on countless fundraising endeavors. Linda Sanchez, a long time Calaveras activist, was a Butte Fire victim, (lost everything) and Emily is a long time resident of the county as well. Blue Mountain Community Renewal Council is the 501C3 that will be the steward of the event and for providing this administrative service as well as providing insurance, this organization will take 3% of the revenue. BMCRC, located in San Andreas, is listed by the Sierra Health Foundation as one of the five recipients of their community grants as an organization working for the relief of Butte Fire victims.

“We do our best to live up to the mantra: Do all the good you can. By all the means you can. In all the places you can. In all the ways you can. To all the people you can. At all the times you can, for as long as you can.” Jim Stearns says “We have a deep connection to the land and the people that were devastated by the fire. We believe that if people just do what they can to help, in the relief of their neighbors and friends, then we together we can make a huge impact. Maybe it’s a day of work. Maybe it’s five bucks or maybe it’s a hundred. Maybe it’s taking somebody in, loaning somebody your RV or making food.  We all have something we can offer. For us, we happen to be good at bringing people together for a good time as well as a good cause. Like everybody else, we’re just offering to help in the way we know best.”

“We are in the process of contacting individuals and organizations who are working tirelessly on the ground for recommendations and nominations for possible recipients of these funds.” Alisa Stearn says, “We are acutely aware that misuse, misdirection and administrative costs often decimate the effectiveness of these endeavors and remain deeply committed to making sure that this event will be as transparent and efficient as humanly possible.”

More Information and to get involved, please contact Jim Stearns, jim@salmonfestalaska.org or Alisa Mooy alisa@salmonfestalaska.org.

Humanity Rising – A Butte Fire Benefit:
Hard Working Americans
Moonalice
Dead Winter Carpenters
Edge of West
Grateful Bluegrass Boys
Dusty Greenbones Band
Folk Goddess Diane Patterson
Nedra & Julio
Thick Soup
Big Joe Daddy
Felicity Oceansong
Nicole Sass
MC Wavy Gravy
Plus a Psychedelic Light show by Liquid Lights
More tba!

Ticket link → www.eventbrite.com/e/humanity-rising-share-the-spirit-butte-fire-benefit-concert-tickets-19321362716?aff=efbbt

RSVP on Facebook and find out more here→
www.facebook.com/HUMANITYRISINGSHARETHESPIRIT

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