Click here to download a new hi-res photo of Jesper (photo credit: Stefan Johansson) and “Everyday Dreams” cover art

JESPER LINDELL TO RELEASE HIS DEBUT STUDIO ALBUM “EVERYDAY DREAMS” NOVEMBER 29TH VIA ALIVE NATURALSOUND RECORDS

Engineered by Zach Anderson, of the American/Swedish band Blues Pills, Jesper Lindell’s enticing debut album Everyday Dreams is a clever mixture of rock, folk, blues and soul, performed by a 26 year old musician in love with classic pop, Stax-Volt R&B, and that old time rock & roll.

Hailing from a small town near Stockholm in Sweden, and gifted with an amazing soulful voice, guitarist/pianist/songwriter Jesper delivers an intimate album that could have been recorded in the late sixties.

This is modern classic rock music, and hearts full of soul will fall in love.

Jesper Lindell’s Everyday Dreams will be available on Black Friday (November 29th) on Limited Edition Vinyl, CD, digital and streaming formats via Alive Naturalsound Records.

FOR MORE INFO ON JESPER LINDELL:
www.jesperlindell.com
www.facebook.com/jesperlindellmusic

FOR MORE INFO ON ALIVE NATURALSOUND RECORDS:
www.alive-records.com

FOR MEDIA & INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
e: tony[at]pavementpr.com
pavementpr.com

CLICK HERE TO DOWNLOAD HI-RES PHOTOS OF JOEY KNEISER AND “THE WILDNESS” COVER ART

Joey Kneiser was a boy formed in the red-clay mountains of East Tennessee. Skinned-kneed and too blind to drive a car, he constantly searched for a place to locate his restlessness– playing in punk bands with instruments he taught himself to play, skateboarding with a pack of Oak Ridge ruffians, and writing his own songs amongst the humid Southern air.

The boy grew up and headed west to the small Tennessee town of Murfreesboro. There he met the group of people who would go on to form the band Glossary. As the singer/songwriter for the group, Kneiser led the band through seven albums of country/soul-infused rock-and-roll. He filled his downtime between Glossary tours with his own solo projects. In 2009, he released his first solo record, The All-Night Bedroom Revival, which he wrote and recorded in his Murfreesboro home. Two years later, he recorded and released the EP Moonlight for the Graveyard Heart. Meanwhile, Glossary’s drummer Eric Giles had begun what would become a long bout with shoulder and back problems, leaving the band unable to tour or make a record. “The five of us made a promise years ago that there was no substituting anyone in the band. If someone couldn’t play, we’d take a break.”

Moving to Nashville and building a small home studio, Kneiser began recording his third solo record The Wildness during Glossary’s hiatus. “I felt like I was starting over. I had no band and no money to pay one. I realized pretty quickly that if I was going to make a record I’d need to record it myself and play everything.” He called on Glossary member and ex-wife Kelly Smith to sing with him. “We’ve been singing our whole adult lives together. I don’t like to hear my voice without hers next to it.” What came out was a ramble of songs that echoes back to Kneiser’s youth by highlighting the illness that haunts musicians – an unrelenting restlessness. “I wanted to go back to the beginning and try to figure out what it was I truly loved about rock and roll.”

The songs that make up The Wildness hearken back to Kneiser’s musical first loves. Bruce Springsteen, The Replacements, The Band, Neil Young, Tom Petty, Bob Dylan and Van Morrison all make their influence known on the record. “I wanted to make something simple and classic sounding with the writing as the centerpiece.” The record goes from rock-and-roll driven barn burners like “Run Like Hell” and “The Heart Ever Breaking” to folk songs like “Heaven Only Wants Us Once We’re Dead” and “Every Port In The Storm.” As to the overall vision for the record, Kneiser says, “These songs are a love letter to rock-and-roll and to the person closest to you who lets you pursue it.”

In addition to his own music, Kneiser has produced and recorded records for numerous artists, including Austin Lucas and Wooden Wand. He has also made music videos for artists like John Moreland and Jason Isbell.

Joey Kneiser’s The Wildness is out now via This Is American Music.

MORE INFO ON THE JOEY KNEISER:
http://joeykneiser.com

MEDIA & INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
e: tony[AT]pavementpr.com
https://pavementpr.com

ACCLAIMED SINGER/SONGWRITER JOHN SIEGER TO RELEASE NEW SOLO ALBUM A WALK IN THE PARK WITH GUITARIST GREG KOCH APRIL 1ST!

John Sieger leads one of the better resurrections in recent times, the Milwaukee-based band Semi-Twang. They recorded one album for Warner Bros in 1988 and then took a short twenty-year break. Since they reunited in 2009, they have put out two stellar recordings, The Wages Of Sin and last years The Why & The What For. Both have earned superlatives from critics. Sieger’s songs have been covered by Dwight Yoakam, Robbie Fulks, Flaco Jimenez, Jerry Harrison (Talking Heads), The Persuasions and The BoDeans among others. He started writing with guitar virtuoso Greg Koch in the fall of 2012 and they took a break after their 67th song. Ten of these gems appear on Greg’s 2013 album, Plays Well With Others. That album has guest appearances from Paul Barerre (Little Feat), Joe Bonamassa, Robben Ford, Roscoe Beck, John Cleary and Brannen Temple. John and Greg just returned from Europe where they played 18 dates in three weeks, and are now readying the second installment of their studio work together, A Walk In The Park, set for national release on April 1, 2014 via Faux Real.

“Writing songs with Greg Koch happened mostly by accident,” Sieger admitted. “The universe must have demanded it and arranged for him to be loitering outside the Tosa Village Starbucks on a sunny day in September 2012. When he suggested we try this, I asked him why he was trying to end his career. Now I am happy we saw it through. This batch is just scratching the surface of a pile of twisted, beautiful and funny songs that I’m extremely proud of. Hope you like!”

Please visit http://www.semi-twang.com or http://www.gregkoch.com for more of the story.

A WALK IN THE PARK TRACK LIST:

1. Baby Sister

2. Country Boy

3. Save Me

4. Noreen

5. Louise At the Pawnshop

6. Over the Falls

7. Let Me Try Again

8. Saviour Blues

9. The Searchlights

10. Lattimore

11. Crackerjack Prize

12. I Wish It Was September

FOR MEDIA AND INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e: tony@pavementpr.com
https://pavementpr.com

John The Conqueror‘s self-titled debut album is an amalgamation of the many sounds and styles (old and new) mined from both the North and South. Cousins Pierre Moore (vocals & guitar) and Michael Gardner (drums) are natives of Jackson, MS, while bassist Ryan Lynn hails from Philly – where the trio now call home. Together they mix a bedrock of raw deep blues with funk, soul, punk and scuzzed-up rock-n-roll into one helluva potent musical Molotov cocktail.

Perhaps what makes John The Conqueror so refreshing, however, is their honest, simple, yet extremely passionate approach to their music. Gardner and Moore (the latter who learned to play guitar in his early teens from a homeless man who slept in the back room of an auto repair shop) have been playing together in bands since their college days in Oxford, MS, although Gardner recently switched from bass to drums to make room for Lynn in the line-up in early 2011.

The ten expressive, unrestrained tracks featured on this effort are delivered with a youthful, reckless abandon as channeled through some truly old souls. And, not unlike the mythological African-American folk hero they’re named after, that should be enough to resonate with just about any generation.

John The Conqueror was produced by Pierre Moore and recorded in Philadelphia at Retrocity Studios & Jesse Gimbel’s Basement.

John The Conqueror will be released October 16th through Alive Naturalsound Records in the following formats: CD, Digital and Black Vinyl, as well as Limited Edition Colored Vinyl exclusive to mailorders.

FEEL FREE TO DOWNLOAD & POST JOHN THE CONQUEROR’S TRACK “TIME TO GO”
http://soundcloud.com/pavement-pr/john-the-conqueror-time-to-go

JOHN THE CONQUEROR TRACK LIST:
1. I Just Wanna 2. Southern Boy 3. Lucille 4. All Alone 5. Time To Go 6. Say What You Want 7. Come Home With Me 8. Letter Of Intervention 9. Passing Time 10. Three More

FOR MORE INFO ON JOHN THE CONQUEROR:
http://www.facebook.com/JohntheConquerorBand?sk=app_2405167945
http://www.reverbnation.com/johntheconqueror

FOR MORE INFO ON ALIVE RECORDS:
http://www.alive-totalenergy.com

FOR MEDIA AND INTERVIEW REQUESTS:
Tony Bonyata Pavement PR p: 262.903.7775 e: tony@pavementpr.com https://pavementpr.com

CRACKER CO-FOUNDER JOHNNY HICKMAN TO RELEASE LONG-AWAITED SOPHOMORE SOLO ALBUM TILTING ON JULY 3RD!

It’s been 20 years since the release of Cracker’s self-titled album, but despite the band’s longevity, multiple gold records, worldwide tours, accolades for their nine studio albums and ever-growing fanbase, the band’s two creative fountainheads – Johnny Hickman & David Lowery – aren’t entertaining any nostalgic trips down memory lane this year with career spanning best-of collections or reissues.

Instead, before the band regroups in the studio for their next Cracker effort in 2013, Hickman will be releasing his long-awaited sophomore solo album, Tilting, on July 3rd through his own label imprint Campstove Records.

Hickman has long been known for both his guitar prowess and deft songwriting skills, with many songs leaning heavily towards the Americana/alt-country side of the fence – both in Cracker and on his 2005 solo debut, Palmhenge, which received positive accolades from the likes of revered music critic Robert Christgau, No Depression, AllMusic, Village Voice and many others. But on Tilting his musical boundaries are broader than ever before. While there are still traces of Americana present (“Measure Of A Man,” “Destiny Misspent,” “Whittled Down” and the bluesy “Resurrection Train”), there are also strains of smoky Dust Bowl-era jazz (“Papa Johnny’s Arms”) and gutsy rockers (“Takin’ Me Back” and “Another Road,” the latter which also incorporates a sweet and sublime refrain throughout). Perhaps most surprising, however, is the heavy presence of some incredibly hook-laden pop. Not only are some of these tracks reminiscent of Lennon & McCartney in their prime (“Dream Along With Me,” the satirical poke at national hubris of “Not Enough” and “Sick Cynthia Thing,” the latter which also surges with an uplifting mid-’70s glam swagger), but even the earthy folk of “Drunkard’s Epiphany” is elevated from a state of melancholy into something much more hopeful with its sunny harmonies and keen pop sensibilities.

As Hickman explains, “Personally, all my favorite records and bands have been those that don’t flatline into one tiny sub-genre (Beatles, Kinks, Radiohead, Petty, Neil Young…). When I write, I just do it and don’t worry about it. As David [Lowery] and I always say, the only real rule in music is ‘don’t suck.'”

The album’s title Tilting is tied to one of Hickman’s favorite countries, Spain, and it refers to Cervantes’ classic novel Don Quixote. “I sometimes feel like the impassioned madman with his lance trying to slay the windmill monsters,” Johnny reveals. “I think a lot of people do in these troubled times. The idea of battling these mighty, unbeatable foes both real and imagined is disturbing yet darkly amusing to me.”

“The songs on Tilting are definitely more personal, more autobiographical than on either Palmhenge or Cracker records. I didn’t set out to do that but it’s just where I am in life I suppose. I didn’t steer cautiously around any of my feelings or experiences, good or bad. It’s as honest as hell, I can tell you that. Lyrically, there’s a little mid-life crisis catharsis going on here, not that that’s a bad thing. That and just being pissed off and reveling in it. I also love collaborating, which I do with David as well as my long time friend Chris LeRoy. Two of the twelve songs onTilting were written by or with Chris, though the majority of these songs are directly from my head and heart.”

“Musically, my young friend and ace producer Jason Larson and I bonded a lot over how amazing The Beatles’ mid-period stuff is, even though he wasn’t even born yet when those albums came out. That came through almost subconsciously in the songs. The two of us played most of the instruments and sang most of the backing vocals on Tilting. I would get behind the board while he played drums, then we’d switch while I sang, played bass or guitar. I wrote a few of these songs on piano instead of guitar, but soon fired myself as piano player because Jason plays it much better than I can. At times we would call up our very talented musician friends to come in and play too, but mostly it was the two man band – laughing and running back and forth until we dropped at 3 AM. Then we’d get together the next morning, listen and see what we had. A kind of crazy way to make a record, but it worked.”

Johnny Hickman’s new solo album Tilting will be available in CD and Digital formats on July 3rd.

LISTEN TO JOHNNY’S NEW SONG “MEASURE OF A MAN” FROM TILTING:
http://soundcloud.com/pavement-pr/johnnyhickmanmeasureofaman

TILTING TRACKLISTING:
01  Measure of a Man
02  Destiny Misspent
03  Not Enough
04  Dream Along With Me
05  Sick Cynthia Thing
06  Whittled Down
07  Our Little Movie
08  Papa Johnny’s Arms
09  Takin’ Me Back
10  Resurrection Train
11  Drunkard’s Epiphany
12  Another Road

Johnny will be performing various solo shows in 2012 in support of Tilting (to be announced soon), and will be hitting the road with Cracker for a high-profile summer tour as part of Barenaked Ladies’ “Last Summer on Earth” tour, also featuring Blues Traveler and Big Head Todd & The Monsters. For tour dates go to: http://www.crackersoul.com/fr_home.cfm

FOR MORE INFO ON JOHNNY HICKMAN:
http://johnnyhickman.com

FOR HI-RES PHOTOS & COVER ART:
http://johnnyhickman.com/tilting/presskit

FOR MORE INFO ON CRACKER:
http://www.crackersoul.com

FOR MEDIA AND INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e: bonyata@wi.rr.com

JONATHAN SEGEL (CAMPER VAN BEETHOVEN’S CO-FOUNDER & MULTI-INSTRUMENTALIST) TO RELEASE NEW SOLO ALBUM ALL ATTRACTIONS MARCH 6TH

ALL ATTRACTIONS TO INCLUDE BONUS 7-SONG INSTRUMENTAL APRICOT JAM EP

Camper Van Beethoven’s co-founder and multi-instrumentalist Jonathan Segel will be releasing his latest full-length solo effort, All Attractions, on March 6th in both Digital and CD formats.

Most of the songs were written in the Swedish countryside where he and his (Swedish) wife have been staying with her family every summer. Although one would expect a pastoral tone, the music ends up as some rocking electric guitar-based tunes, evoking the big ’70s rock bands of the past, along with some more contemporary features thrown in.

The record was started by Jonathan working with fellow Camper Van Beethoven bandmate Victor Krummenacher on bass and guitar, and their SF Bay Area cohorts former King Missile/Moth Wranglers’ Chris Xefos playing some bass and doing the recording and mixing, and John Hanes on drums. As the project progressed, he got some backing vocal help from the Counting Crows’ David Immergluck, Baby Flamehead’s Eden Daniels and Espers’ Helena Espvall (who also contributed some cello). Built To Spill’s Brett Netson also delivers a show-stealing guitar lead on the track “I Know You Know Me (Hey You).”

At the end of the recording process, Jonathan used Kickstarter to fund the mixing, mastering and manufacturing of the CDs.

As part of this project Jonathan will not only be releasing the full-length All Attractions studio album, but also a seven-track bonus instrumental EP entitled Apricot Jam, an organic collection of improvised jamming between him (guitar), John Hanes (drums), fellow CVB alum Victor Krummenacher (bass) and Graham Connah (Hammond organ). The title is an obvious nod to George Harrison’s third LP in the All Things Must Pass set.

Jonathan Segel will be performing material from All Attractions as part of Camper Van Beethoven & Cracker’s CAMP-IN Music Festival at the 40 Watt Club in Athens, GA on March 1-3 2012.

FOR MORE INFO ON JONATHAN SEGEL :
http://www.magneticmotorworks.com/
http://www.reverbnation.com/jonathansegel
http://www.facebook.com/pages/Jonathan-Segel/118261062377

CDS AVAILABLE AT:
http://www.cdbaby.com/cd/jonathansegel2
http://www.amazon.com/All-Attractions-Jonathan-Segel/dp/B006Z9434O/

DOWNLOADS AVAILABLE AT:
http://jsegel.bandcamp.com/

FOR MORE INFO ON CAMPER VAN BEETHOVEN:
http://www.campervanbeethoven.com

FOR MEDIA AND INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e: bonyata@wi.rr.com

Click here to download a hi-res photo of Jr. Thomas (photo credit: Ryan Stadler) and Rockstone album art

Jr. Thomas & The Volcanos’ sophomore effort Rockstone is more than just a love letter to the roots of Jamaican music. It’s an actual love letter. Tom McDowall aka Jr. Thomas explains, “I could write a musical love letter to all things I loved: my wife, my family, my friends, my band mates. I could write a song to tell me to ‘chin up’ when times got tough. I could give gratitude to the Jamaican artists that paved the way for the beautiful music we now call reggae. I could write a song about what it’s like to lose someone important to you. Or write a song to invigorate me spiritually. Music is healing and that’s the best therapy there is for me.”

Rockstone isn’t just another throwback record to an era gone by. It’s a record that takes risks within the genre, but more importantly, it’s a genuinely honest record.

“I called the album Rockstone because true love cannot be defeated. It lives forever. We write tributes on our tombstones because they live on beyond our lives as a remembrance of something special and important to us.”

FOR MORE INFO ON JR. THOMAS & THE VOCANOS:
https://www.facebook.com/jrthomasreggae

FOR MORE INFO ON COLEMINE RECORDS:
https://www.coleminerecords.com

FOR MEDIA AND INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e: tony[AT]pavementpr.com
https://pavementpr.com

CLICK HERE TO CHECK OUT KELLY FINNIGAN’S NEW SINGLE “CATCH ME I’M FALLING” AS FEATURED IN THE NEW BOSE HEADPHONES AD W/ Green Bay PACKERS’ QUARTERBACK AARON RODGERS

The birth of the soul music revival—galvanized by Lee Fields and the late Sharon Jones and Charles Bradley since the early 2000s—offered a potent dose of authenticity to an industry watered down by fabricated pop stars. These artists, orchestrated behind the scenes by vinyl collectors turned label heads at Truth & Soul and Daptone, poured their hearts out on stage and on records, and audiences responded in kind. But what the movement has been missing thus far is an auteur, a visionary that writes, records, performs and produces his own material. Enter Kelly Finnigan.

The 37-year-old, Bay Area-based singer, songwriter, engineer, and producer will release his first solo album, The Tales People Tell (Colemine Records), in the Spring of 2019. The ten-song collection is raw and gritty, tender and emotive, lush and symphonic. With Finnigan guiding these songs from their conception all the way to the record pressing plant, the new release provides the singular voice missing from soul music.

FOR MORE INFO ON KELLY FINNIGAN:
https://www.facebook.com/mr.kellyfinnigan

FOR MORE INFO ON COLEMINE RECORDS:
https://www.coleminerecords.com

FOR MEDIA AND INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e: tony[AT]pavementpr.com

Click here to download a new hi-res photo of King Mud (photo: Robert Matheu) along with Victory Motel Sessions album art.

King Mud is Van Campbell from the Black Diamond Heavies and Freddy J IV from Left Lane Cruiser. They joined forces in Los Angeles for a marathon session that gave birth to an album of hard blues, blue-eyed soul, heavy rock and feedback – Victory Motel Sessions.

They’re also joined by Radio Moscow’s guitar extraordinaire Parker Griggs on a couple of indelible rockers. In addition to their eight original tracks, King Mud also turn in rousing covers of both Wilko Johnson’s “Keep It Out Of Sight” and The Troggs’ “I Can Only Give You Everything.”

If you dig the bands these musicians come from you’ll love this record!

King Mud’s Victory Motel Sessions will be available February 5, 2016 on CD, digital and limited edition colored vinyl through Alive Naturalsound Records.

VICTORY MOTEL SESSIONS TRACK LISTING:
01 Rat Time
02 Smoked All My Bud
03 Back It Up
04 Arthur’s Hooked
05 Keep It Out Of Sight
06 Take A Look
07 War Dancers
08 I Can Only Give You Everything
09 Suzy’s Cookies
10 Blood River

FOR MORE INFO ON KING MUD:
http://www.alive-records.com/artist/king-mud
https://www.facebook.com/kingmudoffering

FOR MORE INFO ON ALIVE NATURALSOUND RECORDS:
http://www.alive-records.com

FOR MEDIA REQUESTS:
Tony Bonyata
Pavement PR
e: tony@pavementpr.com
https://pavementpr.com

Click here to download two new band photos of The Knitts (photo credit: RSDIVA Jessica) and Retreat album art

L.A.-BASED BAND THE KNITTS TO RELEASE THEIR DEBUT STUDIO ALBUM “RETREAT” MARCH 3RD VIA KNITTING FACTORY RECORDS

In a gritty industrial area of Van Nuys, California, behind a powder-coating plant, lie a dozen neatly stacked repurposed shipping containers. One of these is ‘home’ to The Knitts, a band with a surprisingly long history and a short fuse, ready to explode onto the music scene with the release of their upcoming debut full-length album Retreat.

The origins of The Knitts go back to the final years of the Knitting Factory on Hollywood Boulevard in Los Angeles. “That’s strangely how the band name came about, from Charlie’s time working the box office,” recalls Justin Volkens of his brother, Charlie Volkens’ time at the club while various future Knitts hung out at KF shows. Now The Knitts are made up of the brothers Volkens – Justin (Vocals) & Charlie (guitar), along with Victor Portillo (lead guitar), Jaime “Jimmy” Luque (bass) and Clare Taylor Wilkes (drums).

The Knitts, they’re not on the grid, don’t play to click tracks, don’t know how to work a sampler or program a drum machine. They don’t growl or scream, they sing. They’re not choreographed, they move. They don’t pose, they just smile and laugh. “A big part of being recognized is not doing the same thing,” Justin explains, “and isn’t that what rock and roll is about? It’s about adapting, bending and breaking the rules.”

The band had spent five years playing the show circuit, releasing multiple EPs and singles before linking up with producer and Grammy Award winner Michael Leonhart (Michael Leonhart Orchestra, Yoko Ono, Steely Dan) and engineer Pierre De Reeder (Rilo Kiley) to record Retreat. Recording took place in North Hollywood and Brooklyn, NY within a weeks time, in part because the tracks are ‘live in studio’ recordings capturing that raw energy The Knitts  exude during their stage performances.

The Knitts Retreat will be available on digital and streaming formats March 3rd, 2017 via Knitting Factory Records.

MORE INFO ON THE KNITTS:
http://www.knittsmusic.com
https://www.facebook.com/theknitts

MORE INFO ON KNITTING FACTORY RECORDS:
http://www.knittingfactoryrecords.com

MEDIA & INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
e: tony[AT]pavementpr.com
https://pavementpr.com

COMPOSER & MATHEMATICIAN LAWRENCE BALL BRINGS PETE TOWNSHEND’S LIFEHOUSE PROJECT TO FURTHER FRUITION WITH THE RELEASE OF HIS DOUBLE-CD SET METHOD MUSIC ON JAN. 31ST!

Meditative yet propulsive. Structured yet sprawling. Gossamer yet muscular. Inspired yet meticulously constructed.  METHOD MUSIC by Lawrence Ball is all of these and more, a double album of highly adventurous electronic music by a master innovator of algorithmic composition.

But this album possesses a unique and illustrious lineage that, despite the clear difference in style and genre, connects it to one of the most famous works in the rock music repertoire – the ideas behind METHOD MUSIC are both the outgrowth and the foundation of the legendary LIFEHOUSE project by Pete Townshend, the conceptualizer and co-producer of the album, and presents a theoretical system of musical portraiture in which a listener’s personal data is translated into a unique composition.

Utilizing the conceptual underpinning first implemented in The Who’s “Baba O’Riley” (a track initially part of the original LIFEHOUSE project, and one mirrored on the opening cut of METHOD) along with Ball’s own computerized compositional system called ‘Harmonic Maths,’ Townshend, with Ball and programmer Dave Snowdon, created a website called The Lifehouse Method which turned this theory into reality.  While active during 2007-2008, the website offered users the ability to instantaneously create a customized piece of music, and during its run generated over 10,000 unique works based on the users’ own individual characteristics and personal traits.

What you hear on METHOD MUSIC evolved from the tests conducted by Ball and Townshend, which proved the viability of The Lifehouse Method system. Disc One, Imaginary Sitters, features a disparate set of portraits designed to showcase the potential diversity of the Method, while Disc Two, Imaginary Galaxies, expands the forms into larger structures with greater permutations, variables, and variety.

Lawrence Ball’s METHOD MUSIC was produced by Pete Townshend & Bob Lord and will be available worldwide January 31, 2012 on CD and Digital formats through Navona Records.

“I hope the listener feels as if held in a sonic cradle, watching and experiencing the dances of an intricate musical mobile.” – LAWRENCE BALL

“The fact remains that Lifehouse, despite my best attempts, is a book that simply will not let itself be closed. That there is more to come is inevitable, what form it takes remains to be seen.” – PETE TOWNSHEND

METHOD MUSIC TRACK LISTING:

DISC ONE: IMAGINARY SITTERS
1. Meher Baba Piece
2. Sitter 09
3. Sitter 10
4. Victoria
5. Sitter 11
6. Sitter 12
7. Sitter 13
8. Sitter 14
9. Sitter 15
10. Sitter 17
11. Sitter 16

DISC TWO: IMAGINARY GALAXIES
1. Galaxy 01 (for the late Syd Barrett)
2. Galaxy 02 (for the late Hugh Hopper)
3. Galaxy 03 (for the late György Ligeti)

FOR MORE INFO ON LAWRENCE BALL VISIT:
http://www.lawrenceball.org

FOR MORE INFO ON PETE TOWNSHEND VISIT:
http://petetownshend.net

FOR MORE INFO ON NAVONA RECORDS VISIT:
http://navonarecords.com

FOR MEDIA AND INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e: tony@pavementpr.com
https://pavementpr.com

Click here to download hi-res photos of Leah Calvert (credit: Jolie Loren) and Satellite album art

Leah Calvert is many things, among them a singer-songwriter and in-demand Atlanta-area fiddler and vocalist. Over the years, she has shared the stage with award-winning artists including Amy Ray (Indigo Girls), Kristian Bush (Sugarland) and renowned songwriter Radney Foster. In addition to her work as a solo artist, she is a member of Atlanta acts The Dappled Grays and John Driskell Hopkins Band (Grammy winner and founding/current member of Zac Brown Band).

Calvert’s work with The Dappled Grays has spanned over a decade, during which time the group has found an audience in the United States and beyond. In 2012, they penned music for and appeared in Clint Eastwood’s film Trouble with the Curve, and their album Doin’ My Job received critical acclaim and heavy rotation worldwide, charting on both Sirius and XM.

With her new record, Satellite, Calvert moves into uncharted territory, articulating a sound that is wholly her own. Though the compositions and vocal stylings offer a humble nod to her acoustic bluegrass roots, the record is musically a departure from this sound. With co-producers Marlon Patton and Rick Lollar (of Atlanta rock outfit Weisshund) providing a refined rock backdrop, Calvert deftly maneuvers through forms and styles ranging from traditional ballads to blues.

The idea for Satellite originated from environmental activist Wendell Berry’s “How to Be a Poet,” in which Berry urges readers to “Live / a three-dimensioned life; / stay away from screens. / Stay away from anything / that obscures the place it is in.” Many of the songs on Satellite read like poems, demonstrating both a clarity of thought and an urgency which demand that the listener be present in this three-dimensioned life. As the record evolves, several themes emerge: the sense of fear and alienation that exists within our current political climate, emotional detachment from reality, and keeping safe the things which are most precious to a person — which for Calvert include her young daughter. “Having a child,” she says, “augments the weight of the world on your heart.” Motherhood necessarily refocused her lyrical approach as well as her musical and songwriting efforts: “I had to get shit done like never before.” With the aptly named Satellite, Calvert launches the listener directly into space; the record soars, it orbits, transmitting complex information in a palatable form. And above all, it gets shit done.

Leah Calvert’s Satellite will be available on CD, digital and streaming formats on January 12th, 2018 via Leah’s own label Vera Hellcat.

SATELLITE TRACK LISTING:
01 Wild Things
02 Build A Ship
03 2 Lines
04 Satellite
05 Now
06 Sleep
07 Cider
08 Liquor and Consequences
09 Day After Tomorrow
10 Americans

MORE INFO ON LEAH CALVERT:
https://m.facebook.com/leahsatellite
Instagram @leahsatellite
Twitter @leahsatellite

MEDIA REQUESTS:
Tony Bonyata
Pavement PR
e: tony[AT]pavementpr.com
https://pavementpr.com

Click here to download three hi-res photos of Lee & The Glory Fires and There Is A Bomb In Gilead cover art.

LEE BAINS III & THE GLORY FIRES ANNOUNCE TOUR DATES WITH ALABAMA SHAKES!

DEBUT ALBUM “THERE IS A BOMB IN GILEAD” OUT MAY 15TH THROUGH ALIVE NATURALSOUND RECORDS

The title of LEE BAINS III AND THE GLORY FIRES’ debut album comes from Bains mishearing an old hymn as a child. In the soft accents of his elders around Birmingham, Alabama, “There is a balm in Gilead” sounded a lot like “There is a bomb.” It fits, really. The Glory Fires learned to construct music in the churches of their childhoods, and learned to destroy it in the punk clubs of their youths.

As much Wilson Pickett as Fugazi, as much the Stooges as the Allman Brothers, Birmingham, Alabama’s Lee Bains III & The Glory Fires have brought radical rock’n’roll to bear on their own experience and their own place. On THERE IS A BOMB IN GILEAD, they deconstruct the music of the Deep South, strip it down and reassemble it, to make a righteous ruckus that sits at the vanguard of the vernacular.

In 2008, shortly after returning to Birmingham from college in New York, Lee Bains fell in with the Dexateens, a Tuscaloosa institution whose raggedy union of cock-eyed rebel pride and forward-thinking fury proved to be the perfect apprenticeship for a confused Southern boy, raised on Skynyrd and schooled in Faulkner. After Bains had played with the band for a couple or three years, a couple or three hundred shows, the Dexateens came to a reluctant end. Bains found himself off the road, back in Birmingham, without a band. He also found himself with a passel of powerful songs sitting somewhere between buzzsaw garage, classic power-pop and sweating country-soul. Casting his nets in central Alabama’s rock’n’roll clubs, Bains assembled the Glory Fires: drummer Blake Williamson (Black Willis, Taylor Hollingsworth, Dan Sartain), bass player Justin Colburn (Model Citizen, Arkadelphia), and guitar player Matt Wurtele. Chugging along with a fierce Muscle Shoals vibe, the Glory Fires brought a sense of urgency to Bains’ drawling, howling voice.

After tracking some demos under the powerful guidance of Texas punk pioneer Tim Kerr (Big Boys, Poison 13, Now Time Delegation) and a few months of shows, the Glory Fires traveled to Water Valley, Mississippi to record the tracks for their debut LP There Is a Bomb in Gilead at Dial Back Sound with engineer Lynn Bridges (Quadrajets, Jack Oblivian, Thomas Function). The songs were mixed in Detroit, at Ghetto Recorders by Jim Diamond (The Dirtbombs, The New Bomb Turks, Outrageous Cherry). It is there — in that Mississippi grease and Detroit grit — that There Is a Bomb in Gilead sits, fuse lit, ready to go.

There Is A Bomb In Gilead hits stores May 15th and will be available on CD, Digital and Black Vinyl with with lyric sheet and download card. In addition, there will also be a very limited pressing of 500 Purple Vinyl albums with lyric sheet and download card exclusive to mailorders.

“THERE IS A BOMB IN GILEAD” TRACKLIST:
01. Ain’t No Stranger
02. Centreville
03. Reba
04. Choctaw Summer
05. Magic City Stomp!
06. Everything You Took
07. Righteous, Ragged Songs
08. The Red, Red Dirt of Home
09. Roebuck Parkway
10. Opelika
11. There Is A Bomb In Gilead

Later next month Lee Bains III & The Glory Fires will be heading out on the road for a highly anticipated tour with their friends and musical brethen Alabama Shakes. “We just like each other’s bands from having played together in Tuscaloosa,” Bains explained about their relationship. “The funny thing is that, several months ago, before things started going really crazy for the Shakes, I asked them if they’d want to do a co-headline tour in April, since both of our albums were supposed to come out around that time. When I asked back then, they had said that a couple members couldn’t get off work for that long, so they’d have to pass. Now, here it is, six or seven or eight months later, and we’re opening for them on a tour of much bigger venues than we could’ve ever expected.”

Bains further elaborated, “We have both definitely come out of the Alabama rock’n’roll scene. Heath and Zac [from Alabama Shakes] were both frequenting Egan’s in Tuscaloosa before the Shakes played there, and I’d seen Zac at our Dexateens shows. There’s definitely a tradition of dirty Alabama rock’n’roll that takes pride in being from Alabama. I guess I’d point to the Quadrajets, Immortal Lee County Killers, Drive-By Truckers, Model Citizen and Dexateens as being a few of those bands. In those bands and others, I see a definite sense of Southern heritage, mostly in their influences (Muscle Shoals and Memphis soul, ’70s Southern rock, Big Star and Memphis garage stuff, gospel music, classic country and blues), but also a conscious effort to question and subvert what it means to be Southern. With really loud damn guitars.”

FOR MORE INFO ON LEE BAINS III & THE GLORY FIRES:
http://thegloryfires.com
http://www.alive-totalenergy.com/x/?page_id=3093
http://www.facebook.com/pages/Lee-Bains-III-The-Glory-Fires/148581995155439

FOR MORE INFO ON ALIVE RECORDS:
http://www.alive-totalenergy.com

FOR MEDIA AND INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e: bonyata@wi.rr.com

Click here to download a new LLC band photo (credit: Joel Faurote) and Claw Machine Wizard album art

LEFT LANE CRUISER TO RELEASE NEW “CLAW MACHINE WIZARD” ALBUM MAY 19TH VIA ALIVE NATURALSOUND RECORDS

Once again the blues is in perfectly unsafe hands on Left Lane Cruiser’s new full-length studio effort, Claw Machine Wizard.

On the Fort Wayne, Indiana-based band’s seventh studio album for Alive Naturalsound Records, founder Freddy J Evans IV (guitar/vocals) has returned to the duo format the band has been known for since their inception over 10 years ago (save for the expanded three-piece on their last album of new material, Dirty Spliff Blues). The decision to pare the band back down was made by Freddy. “Left Lane Cruiser was born as a two-piece and our attack and style of blues just works better as a duo,” admits the frontman. Joined by drummer Pete Dio (also on Dirty Spliff Blues) the duo’s sound is still grounded in the primordial blues-punk familar to LLC fans, but here we find the band pushing the boundaries of their sound as never before.

“There’s still a lot of signature LLC gut-bucket blues on the new record,” Freddy reveals, “but we’re constantly trying to expand the sound. I’ve always kept our foundation in blues and classic rock, but after a decade of making albums, eventually new flavors creep in. On the road we listen to a lot of James Brown, Funkadellic, Parliament, Charles Bradley and other soulful artists. Also been jammin’ MF Doom’s Special Herbs, which are his instrumental tracks. Those kinds of sounds had a big influence on this record. I think in general this record is a huge departure from the previous LLC albums. We kinda refer to it as our soul record. There’s a lot of different flavors on this one.”

Many flavors, yes, but like LLC’s best work, it’s Freddy’s ability to pull the best out of just two people to create some of the nastiest, gnarliest rock’n’roll to be put on wax. “I think one of the most important aspects of creating music is collaboration,” Freddy explains. “I’ve never refused to listen to other people’s ideas. Something amazing always comes out of it. Collaboration is like the fifth element. You can’t do it all on your own. You can write a whole album. Have it perfect and polished. Bring it in the studio and cut it. But I truly believe the magic don’t happen unless you get it a little f**ked up, run it thru the dirt, dip it in some butter, serve it up, then let the folks working with you throw their flavor on it. And then you got something special.”

That “something special” has manifested itself into Left Lane Cruiser’s Claw Machine Wizard, out May 19th on limited edition vinyl, CD, digital and streaming formats via Alive Naturalsound Records. The album art is a wink towards MC5’s Back In The USA and Dr. Feelgood’s Down By The Jetty.

FOR MORE INFO ON LEFT LANE CRUISER:

LEFT LANE CRUISER

http://www.alive-records.com/artist/left-lane-cruiser

FOR MORE INFO ON ALIVE NATURALSOUND RECORDS:
http://www.alive-records.com

FOR MEDIA REQUESTS:
Tony Bonyata
Pavement PR
e: tony@pavementpr.com
https://pavementpr.com

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PREVIOUS PRESS RELEASE FOR LEFT LANE CRUIER’S 2015 ALBUM “DIRTY SPLIFF BLUES”…

LEFT LANE CRUISER TO RELEASE THEIR LATEST STUDIO ALBUM “DIRTY SPLIFF BLUES” JUNE 16, 2015 VIA ALIVE NATURALSOUND RECORDS!

After nearly a decade of delivering their own high-octane, scuzzed-up take on North Mississippi rural blues as a duo, Left Lane Cruiser have recently expanded into a threesome for their latest studio album, Dirty Spliff Blues (their fifth for Alive Naturalsound Records).

Led by founding member Freddy J IV (aka Joe Evans) on vocals and slide guitar, and now joined by Joe Bent on bass and skateboard slide guitar (yes, he uses his skateboard as an instrument) and Pete Dio on drums & assorted other junk, this three-headed hydra, birthed in either Fort Wayne, IN or Hades depending on who you ask, still whips up the same frenzied mess of trashed-out punk/blues that LLC is known for. But on Dirty Spliff Blues there’s a decidedly more rock ‘n’ roll approach to their mean-ass blues. Songs such as “Tangled Up In Bush” or ” Skateboard Blues” still slink like snakes in the grass, but tracks such as the pile-driving opener “Tres Borrachos,” “Cutting Trees,” “She Don’t Care” and “Dirty Spliff Blues” rock with a newfound intensity, and that’s saying a lot for a band long known for both their intense, sweat-soaked live shows and in-the-red recordings. Of course, LLC’s very backbone – the Blues – is also evident throughout, from the hip-shakin’ groove of “Elephant Stomp” to, well, really just about every damn song on the record.

Any way you roll it – from the new cover art created by renowned artist William Stout to the THC-laced sh*t-kickers – Dirty Spliff Blues smokes like no other Left Lane Cruiser album before it.

Along with their music being featured in the hit television series Breaking Bad and receiving critical acclaim across the globe, Left Lane Cruiser have also toured relentlessly over the years, sharing the stage with artists such as Robert Belfour, T Model Ford, Lee Bains III & The Glory Fires, Bob Log III and many others, and are also regular performers at the Deep Blues Festival now held annually in the cradle of the blues, Clarksdale, MS.

Left Lane Cruiser’s Dirty Spliff Blues will be released on limited vinyl, CD and digital formats on June 16th via Alive Naturalsound Records.

FOR MORE INFO ON LEFT LANE CRUISER:
https://www.facebook.com/pages/Left-Lane-Cruiser/16313548150
http://www.alive-records.com/artist/left-lane-cruiser

FOR MORE INFO ON ALIVE NATURALSOUND RECORDS:
http://www.alive-records.com

FOR MEDIA REQUESTS:
Tony Bonyata
Pavement PR
e: tony[AT]pavementpr.com
https://pavementpr.com

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PRESS RELEASE FOR LEFT LANE CRUISER’S “JUNKYARD SPEEDBALL”

Left Lane Cruiser’s third album for Alive Naturalsound records could be considered, in many ways, their best effort yet. Junkyard Speed Ball incorporates elements of the heavy, heart-thumping, trash-blues stomp the Fort Wayne, IN duo are known for, but it also showcases a wider range, with some slower numbers steeped in hypnotic grooves. Recorded in Detroit by renowned producer Jim Diamond,  Left Lane Cruiser is joined by none other than Reverend James Leg (aka John Wesley Myers) of the Black Diamond Heavies, who delivers his distintive keyboards on five songs, adding an even deeper dimension to the duo’s gasoline-soaked sound. Formed by Freddy J. Evans IV (guitar/vocals) and Brenn “Sausage Paw” Beck (drummer/percussion/vocals) Left Lane Cruiser has been bringing its unique style of high-octane punk blues (aka deep blues) to fans all over the world.

Left Lane Cruiser’s Junkyard Speed Ball comes out March 1st and will be available on CD, Ltd. Vinyl (with free download of the album) and digital formats.

WHAT WAS WRITTEN ON THE STONES THROWN AT LEFT LANE CRUISER:

“Junkyard Speedball is an early contender for album of the year, and an authentic and inspiring updating of the blues-rock idiom for the 21st century.” – Johnny Walker / SEATTLE POST-INTELLIGENCER

“If we were to establish an award for the heaviest racket to be obtained from merely one guitar, a minimal drum kit and a microphone, it would surely go to this lot. LEFT LANE CRUISER is Freddy J IV (guitars/ vocals) and drummer Brenn ‘Sausage Paw’ Beck. They hail from Fort Wayne, Indiana, play gonzoid stoner Blues-Rock at ear-splitting volume and clearly don’t give a flying one what anyone else thinks. Such is the bedrock upon which a lot of great Rock’n’Roll is built and there is indeed some great Rock’n’Roll on ‘Junkyard Speed Ball.’ Recorded with one of Rock’s great unsung heroes, Jim Diamond, at Detroit’s Ghetto Recorders, it’s the third LLC LP (following on from 2008’s ‘Bring Yo’ Ass to the Table’ and 2009’s ‘All You Can Eat’) and it kicks like the proverbial mule.” –  Tim Peacock / WHISPERIN & HOLLERIN / UK

“Junkyard Speed Ball is yet another Essential Listening album from Left Lane Cruiser and could, in the coming years, prove to be the turning point from obscure punk blues band to a driving force in the Deep Blues/Muddy Roots movement.”  – NINE BULLETS

” Junkyard Speed Ball is a down-home, foot-stomping good time.” – WEEKENDER

“Junkyard Speed Ball, LLC’s third album for Alive Records, retains the gut-bucket charm of the Ft. Wayne, IN duo’s previous work. So what’s new? Stronger vocals, for one. And more interesting textures, some of which are courtesy of John Wesley Myers, keyboardist with Alive label-mates Black Diamond Heavies.” – METROMIX GREENVILLE

“For anyone who hasn’t heard the duo’s potent, electric-slide–driven shtick, just think on R.L. Burnside, T-Model Ford, and Jon Spencer – if you can remember how you felt while vibrating to any of them, you have a good read on Left Lane Cruiser.”  – Mary Leary / DAGGERZINE

“With just a touch of punk swirling around in there, the band’s sounds like a live recording each time you hear it.  Their album, Junkyard Speedball, is imperfect, and maybe that’s why it’s so damn addictive.  Gritty, greasy, grimy, and ultimately soulful, Left Lane Cruiser basically wail and kick your ass with some crunched up, guitar soul.  Please, please, please go listen to “Big Mama” if you get the chance.”  – TREND ROBOT

“Left Lane Cruiser’s magnificent Junkyard Speedball is an excellent record that launches with a one-two punch of amazing music showcasing the entire spectrum of the duo’s ability. The leadoff track, “Lost My Mind” is a fast, hard beating, heavy hitting, rock-stomp fun song. The second song, “Giving Tree” is a slow blues number in the vein of Clapton or early blues musicians like Muddy Waters and Howling Wolf.” – ROCK AND ROLL GURU

“Junkyard Speedball, which summons the spirits of Charlie Patton, the dead members of Lynyrd Skynyd and Fred “Sonic” Smith, demonstrates that there’s still plenty of life left in the drummer-guitar format pioneered by Mojo Nixon and Skid Roper all those years ago. Charging out the gate with a raging stomper, “Lost My Mind,” the album runs the gamut between country-blues laments, hard rocking house party staples and psychedelic mind blowers.” – Jeff Napier / NUVO WEEKLY

“Indiana blues-rock duo create a 21st century classic.” – BLOGCRITICS

“The standard blues-punk cliché is to say that a singer sounds like he’s been subsisting on nothing but Jim Beam and Marlboro Reds since the womb, but Left Lane Cruiser’s Freddy J IV seems to have been chasing those Southern-fried standbys with shots of pure hydrochloric acid. Together with ham-fisted beats and splays from appropriately nicknamed drummer Brenn “Sausage Paw” Beck, the duo makes a noise as raucous and road-weary as a Mack truck.”  – THE ONION

“Left Lane Cruiser provides lots of bluesy, country-tinged goodness in their songwriting. Sometimes you have to listen closely through the haze of fuzzed out guitar and echoey vocals, but it’s there. Lots of slide guitar, plenty of rural subject matter, countryside grit and grime. These guys rock, to put it in a cliché neater and nicer than anything you’ll hear on this album.“ – FARCE THE MUSIC

“Junkyard Speed Ball is an unholy union of country, blues, punk, and rock at the mercy of a duo that share a musical connection that culminates into one Hell of a record.” – THE SODA SHOP

“Left Lane Cruiser may be from Fort Wayne, IN but they sound like a couple of unhinged punk hillbillies raised on the North Mississippi hill country blues of R.L. Burnside and Junior Kimbrough. They mine the same sort of modal blues territory but, with half-distorted vocals pushed through what sounds like a shorted-out karaoke mike, they also sound like a lo-fi swampy version of the Stooges, all full of rampaging impatience. Junkyard Speed Ball is another fine outing from a refreshingly direct and uncomplicated band that rocks like a jackhammer.” – Steve Leggett /  ALL MUSIC

“Like the young Black Keys and White Stripes — they deliver a sonic post-punk punch to the bread-basket” – Graham Reid / ELSEWHERE NEW ZEALAND“

…the most filthy, greaseball, gritty, blues rock I’ve come across since early Black Keys’ stuff.” – MUSIC SAVAGE“

… a filthy sounding slab of corn-punk blues, a rhythmic and greasy scrap heap of groove and buckshot barrel loaded raceway boogie. But what’s most important, is that Left Lane Cruiser is a Soul band.  As informed by Mississippi, they’ve got a little Memphis in ’em as well.  And, of course, as befits the name, a thousand or more miles of gravel in the headlights and in the rearview mirror. Junkyard Speedball is the record.  Left Lane Cruiser is the band.  We can’t recommend ’em highly enough.” – BIG ROCK CANDY MOUNTAIN

“Fort Wayne’s fave greasy-fingered duo, Left Lane Cruiser, is back with their latest offering, Junkyard Speed Ball. Recorded in Detroit by the nearing-legendary Jim Diamond, the record’s first single, Giving Tree, is bound to give some longtime fans agida. Seems the duo’s manic turkey-on-meth-in-the-straw M.O. has been replaced in spots by down-low blues that can only be described as a tad more gutshot than their typical fare. Glad to report that this gamble pays off in spades, thanks at least in part to the personage and organ stroking skillz of Reverend James Leg of the Black Diamond Heavies.” – Richard ‘Luftmensch’ Morgan / MY OLD KENTUCKY BLOG

“One of my favorite garage punk blues bands” – LES ENFANTS TERRIBLES[5 out of 5]

“Left Lane Cruiser’s music, as expected, remains true to the formula that has worked so well for them since their inception in 2004 — a mighty signature sound of dirty, aggressive blues and foot-stompin’ alt-country. Junkyard Speed Ball makes for the two-piece powerhouse’s fourth full-length album, featuring twelve searing new songs, all of which make it pretty darn clear that these two good ol’ boys ain’t quitting anytime soon. Left Lane Cruiser is in its prime,”  – James Carlson / EXAMINER / NO DEPRESSION

“On their new album Junkyard Speed Ball ferocious trash-blues stompers Left Lane Cruiser effortlessly mix southern-fried blues, garage and brutal punk riffs into one glorious whiskey and gasoline soaked whole. Great stuff.” – MAD MACKEREL UK

“Left Lane Cruiser is a two-piece deep blues act blending high energy hark rock and punk with obvious North Mississippi hill country roots. Rather than stick to standard 12-bar blues conventions, Left Lane Cruiser’s sound has obvious blues roots while taking a sledgehammer to standard 12-bar blues. LLC is loud, brash, trashy and entirely refreshing.” – Georgetown Fats  / BOSTON BLUES SOCIETY

“Left Lane Cruiser’s last two albums were great and their new one Junkyard Speed Ball, well… third times a charm, as they say”-  MONKEY BEAT

“Left Lane Cruiser’s musical growth and expansion, conjoined with a Hi-er-Fi’d production, and a hard thoughtful attack bring all elements together to cause the stars to align and explode all over Junkyard Speed Ball.”  – DEEP BLUES

“With Junkyard Speed Ball, the blues is in perfectly unsafe hands.” – Michael Toland / SLEAZEGRINDER

“Assimilates the Mississippi Delta blues laid down by guys like Big Joe Williams and Son House and cultivates it into a country punk ‘n’ blues speedball” – POPMATTERS

“Most say it’s a blues band, but they are also a hard rock band with a lot of Southern fried attitude. They are their own category. Call them Industrial Redneck, or Country Trash.”  – ATLANTA MUSIC GUIDE

“Reminds me of live Cramps, RL Burnside, and even old Henry Rollins. If CBGBs was still open that would be the venue I could see Left Lane Cruiser playing” – BLOGCRITICS

“Traffic in North Mississippi Hill Country-influenced, rough-edged, and, yes, kickass blues rock” – BLENDER

“ The band blends styles that wouldn’t normally be compatible, but when the two musicians come together the result is hard, rusty blues that will get you moving” – KENTUCKY KERNEL

JUNKYARD SPEED BALL TRACK LISTING:
1. Lost My Mind
2. Giving Tree
3. Circus
4. Shine
5. Hip-Hop
6. 24 Hour
7. Weed Vodka
8. Cracker Barrel
9. Pig Farm
10. Represent
11. Road Again
12. At The Denny’s

FOR MORE INFO ON LEFT LANE CRUISER:
http://www.alive-totalenergy.com/x/?page_id=336
http://www.myspace.com/leftlanecruiser

FOR MORE INFO ON ALIVE RECORDS:
http://www.alive-totalenergy.com

FOR MEDIA AND INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e: bonyata@wi.rr.com
https://pavementpr.com

Re-released for the first time on vinyl since its original release in 1970! Produced by legendary soul singer / songwriter / producer Jerry Williams Jr., aka Swamp Dogg, Lightnin’ Slim’s High & Low Down will be available June 25th on CD and in Limited Edition Colored Vinyl exclusive to Bomp-mailorder.

The following are B.B. King’s original 1970 liner notes for Lighnin’ Slim’s High & Low Down album:
Over the years I have listened to many records and albums of many types of music. As a disc jockey I played many different kinds of sounds, but I guess as an entertainer I pull a little harder for the blues performers because I want them to be heard, played and respected as much as other music is; that is, when it merits it. Lightning Slim’s new album I think merits all the qualities that a great artist and a hit album should have. It’s some great sounds. This is my opinion. Musically Yours, B.B. King

And here is Swamp Dogg’s hilarious recollection on tracking down B.B. King 43 years ago for the above liner notes, along with his own take on Lightnin’ Slim:
After chasing B.B. around the globe for six months, the above doesn’t give me any insight as to how he feels about the recording or the artist. He’s a championship skater when it comes to saying nothing about a motherfucker.

After meeting with Sid Seidenberg, his deceased manager, I had to step out of the picture and let my wife (now deceased) Yvonne take over. She was a master when it came to detecting bullshit in any situation. Anyway, he finally wrote these watery liners after Yvonne went up to his penthouse suite in a ten star, New Orleans hotel; the Rosemont or some sh*t that had to do with a Mont.  I went back to the Ramada, after thinking about leaving my wife with a famous multi-millionaire blues singer. I said to myself, “fuck these liners, I’m going up there”.  I knocked on the door like a gentleman with my .38 in my shoulder bag. An attendant opened the door and the place was laid out with all kinds of champagne, finger sandwich shit, wines, food, etc. Don’t get me wrong, I didn’t blame him if his goal was what I thought. I just intended to foil the plot, and if Yvonne’s hair and clothes were disheveled, I was going to do some damage to both, and maybe (?), jump out the window. Nooooo, fuck that!  Upon my entrance and being introduced to him by my wife, he offered me a drink and commenced to write the above notes that could apply to any blues singer.

I’ve produced and written for some great artists in my life and Lightning Slim is in my top ten. He didn’t have to be coddled, nursed, etc. He learned the songs and got down to business. He only gave me three days to record him because he wanted to get back to Pontiac, Michigan to get back to his job at a lock factory. This album is as good as most blues albums and better than most. It has the Muscle Shoals, Alabama A-team rhythm section and the horn section that David Johnson (owner / engineer of Broadway Sound) and I assembled, which later became the Muscle Shoals horns.  I‘ll speculate that if Eric Clapton, Keith Richards, George Benson, Albert King and Freddy King ever heard this  blues album, they would rate Lightning’s great delivery, song writing and innovative swamp guitar style in their top ten of authentic blues men. – Swamp Dogg

HIGH & LOW DOWN TRACK LISTING:
1.  Rooster Blues
2. Things I Used To Do
3.  Bad Luck Blues
4.  My Babe
5.  GI Blues
6.  Oh Baby
7.  That’s All Right
8.  Crazy Bout You Baby
9.  Goodmorning Heartaches
10.  Voodoo Blues

FOR MORE INFO ON ALIVE RECORDS:
http://www.alive-totalenergy.com

FOR MEDIA REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e: bonyata@wi.rr.com
https://pavementpr.com

CLICK HERE TO DOWNLOAD RECENT HI-RES PHOTO OF LONESOME SHACK’S BEN TODD (CREDIT: MOLLY ADELER) AND “DESERT DREAMS” ALBUM ART

LONESOME SHACK TO RELEASE THEIR NEW STUDIO ALBUM “DESERT DREAMS” MARCH 1, 2019 VIA ALIVE NATURALSOUND RECORDS

With a sound that is raw, expressive, and strange, Lonesome Shack’s music is part hill country blues, part urban folk rock, and owes as much to Alan Wilson’s Canned Heat as it does to Junior Kimbrough.

Formed in Seattle, and currently based in London, the trio is led by Ben Todd, a finger picking guitarist who has spent time living in a shack in the New Mexico desert. Alone in the Gila Wilderness, Ben learned how to play old blues and banjo tunes from vintage and traditional recordings.

Desert Dreams is a singular and poetic album of modern American music written at the tail end of a long, challenging winter in London. The result sounds like rock city meets backwoods boogie, desert blues meets jungle grooves.

Lonesome Shack is Ben Todd (guitar/voice), Kristian Garrard (drums), and Luke Bergman (bass).

Lonesome Shack’s Desert Dreams will be available March 1, 2019 on Limited Edition Vinyl, CD, digital and streaming formats via Alive Naturalsound Records.

DESERT DREAMS TRACKLISTING:
01 On The One
02 Past The Ditch
03 New Dream
04 Lonely
05 Only One
06 Too Bad
07 King Clone
08 No Way Back
09 The City Is A Desert
10 Desert Dreams

Lonesome Shack’s Ben Todd (credit: Molly Adeler)

FOR MORE INFO ON LONESOME SHACK:
http://lonesomeshack.com

FOR MORE INFO ON ALIVE NATURALSOUND RECORDS:
http://www.alive-records.com

FOR MEDIA & INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
e: tony[AT]pavementpr.com
https://pavementpr.com

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PRESS RELEASE FOR LONESOME SHACK’S 2016 LP “THE SWITCHER”

LONESOME SHACK’S NEW STUDIO ALBUM “THE SWITCHER” OUT JUNE 24, 2016

Lonesome Shack started in the early 2000’s when songwriter Ben Todd developed his musical voice in the isolation of rural New Mexico. After moving to Seattle in 2007, Todd teamed up with drummer Kristian Garrard and they found an instant chemistry. As a duo they released Bound To Die (2008) and Slidin Boa (2010) and brought their primitive boogie to every corner of the USA. In 2011, Lonesome Shack were joined by bassist Luke Bergman and the trio released the live album City Man (2012), which was recorded in one night at their favorite neighborhood bar, Cafe Racer. With More Primitive (2014), Lonesome Shack continued to hone their skills as an elemental rock group: stripped down, raw, expressive and danceable.

Lonesome Shack’s latest album The Switcher is their most ambitious and complete work yet. The Switcher’s 14 songs add dimension to the band’s vision. The album is by turns dirty and raucous or slow and expansive, with resonant lyrics and inventive songwriting. The record was recorded with Johnny Goss, who also manned the board for More Primitive, and an effort was made to make the music sound just as it does at a live show. The album took over a year to complete, pieced together from three different periods of recording sessions. The sounds and feels are varied, but the message is clear – everything is held together by the groove.

Lonesome Shack’s The Switcher will be available on Double Vinyl LPs, CD and digital formats on June 24, 2016.

FOR MORE INFO ON LONESOME SHACK:
http://lonesomeshack.com

FOR MEDIA AND INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e: tony@pavementpr.com
https://pavementpr.com

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2014 PRESS RELEASE FOR LONESOME SHACK’S PREVIOUS ALBUM MORE PRIMITIVE

More Primitive finds Seattle’s Lonesome Shack exploring the depths of boogie and country blues. The trio’s sound is raw and immediate with finger-picked guitar lines, soulful crooning and big danceable grooves. Ben Todd’s introspective lyrics take the American blues tradition to a new level, examining personal history, loss of friends and a burning desire to get to the primitive core of life.

The band began in New Mexico’s Gila Wilderness where Ben Todd hunkered down in the shack he built and studied the music of the American folk and blues lineage. In 2008 Todd joined up with drummer Kristian Garrard in Seattle, and in 2011 bassist Luke Bergman became the third member.

Lonesome Shack’s More Primitive will be available on CD, digital formats and limited edition vinyl on May 20th through Alive Naturalsound Records.

CLICK THE IMAGE BELOW TO WATCH THE PREMIERE OF LONESOME SHACK’S NEW VIDEO “WRECKS” VIA THE BIG TAKEOVER

MORE PRIMITIVE TRACK LISTING:

01 Wrecks

02 Head Holes

03 Old Dream

04 More Primitive

05 Die Alone

06 Medicine

07 Chompin At The Noose

08 Trying To Forget

09 Big Ditch

10 Evil

LONESOME SHACK’S BEN TODD (photo: Andrew J.S.)

FOR MORE INFO ON LONESOME SHACK:
http://lonesomeshack.com

FOR MORE INFO ON ALIVE RECORDS:
http://www.alive-totalenergy.com

FOR MEDIA AND INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e: tony@pavementpr.com
https://pavementpr.com