Monthly Archives: October 2014

“ALIVE AT THE DEEP BLUES FEST” LP

ALIVE NATURALSOUND RECORDS TO RELEASE LIVE ALBUM “ALIVE AT THE DEEP BLUES FEST” NOV. 27TH ON CD, DIGITAL & BBQ SAUCE RED COLORED VINYL!
 
ALBUM INCLUDES LIVE PERFORMANCES FROM ALIVE RECORDING ARTISTS BUFFALO KILLERS, LEE BAINS III & THE GLORY FIRES, RADIO MOSCOW, LEFT LANE CRUISER & MORE!

Earlier this summer Chris Johnson (owner of Bayport BBQ in the Twin Cities’ suburb of Bayport, MN) resurrected his popular Deep Blues Festival for three glorious (sold-out) days of great music, Southern-style BBQ and camaraderie between musicians, fans and friends alike. Far from the corporate sterility of many larger modern music fests, Johnson’s Deep Blues Fest instead successfully revived the communal spirit of late ’60s and early ’70s music gatherings, evoking the vibe of a large summer picnic with family, friends, good food and great music.

The 2012 Deep Blues Fest featured 26 bands from four countries & 16 states. Out of these acts there were seven phenomenal performances from the current Alive roster. Alive At The Deep Blues Fest is the document of these incendiary and unforgettable performances. All 13 tracks were mixed by famed Detroit producer/musician Jim Diamond, who managed to capture the loose and spontaneous feel of live albums produced in the Golden Age of rock’n’roll. Buffalo Killers and Radio Moscow turned in super heavy sets soaked in psychedelia and reverb, while Lee Bains III & The Glory Fires fiercely ripped through their show with a blistering set of songs steeped in Southern rock, R&B, soul, gospel and punk from their critically acclaimed debut LP There Is A Bomb In Gilead – an album that has been helping to define the sounds of The New South. Brian Olive and his backing band melded soulful R&B with technicolor garage-pop for their early daytime set, while the Welsh duo Henry’s Funeral Shoe, Left Lane Cruiser and newcomers John The Conqueror perhaps kept closest to the Deep Blues curriculum with their respectively raunchy and heavily amplified modern interpretations of rural gutbucket Delta Blues.

To get a sense of this intimate yet electrifying festival, grab a copy of Alive At The Deep Blues Fest, invite a bunch of good friends over for some food & drink, and PLAY IT LOUD.

Alive at the Deep Blues Fest will be released November 27th through Alive Naturalsound Records in the following formats: CD, Digital and Black Vinyl with mp3 download card & poster, as well as Limited Edition “BBQ SAUCE RED” Colored Vinyl exclusive to the Bomp mail-order.

Chris Johnson and Alive Naturalsound Records will be throwing a special Alive At The Deep Blues Fest Record Release Show featuring Lee Bains III & The Glory Fires on Sat. Dec. 1st at 8:00pm at Bayport BBQ, 328 5th Ave. N., Bayport, MN

ALIVE AT THE DEEP BLUES FEST TRACK LISTING
01 River Water – Buffalo Killers
02 It’s a Shame – Buffalo Killers
03 There is a Bomb in Gilead – Lee Bains III & The Glory Fires
04 The Red, Red Dirt of Home – Lee Bains III & The Glory Fires
05 Traveling – Brian Olive
06 Bonelle – Brian Olive
07 Hold On Me – Radio Moscow
08 Little Eyes – Radio Moscow
09 24 Hour Blues – Left Lane Cruiser
10 Rambling on My Mind – Left Lane Cruiser
11 Three More – John The Conqueror
12 Be your own Invention/Stranger Dig – Henry’s Funeral Shoe
13 Henry’s Funeral Shoe – Henry’s Funeral Shoe

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

FOR MORE INFO ON BAYPORT BBQ AND DEEP BLUES FEST:
http://bayportbbq.com/

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

DANGEROUS MINDS INTERVIEWS JAMES WILLIAMSON!

LESS WITH THE RAW, STILL WITH THE POWER: JAMES WILLIAMSON RESURRECTS LOST IGGY & THE STOOGES SONGS

The last five years must have felt like a triumphant return for Iggy and the Stooges’ James Williamson. After a decades-long alienation from the music business, during which he improbably landed a job as an electronics executive—not even a slightly typical afterlife for a proto-punk rager—the man best known for his sick guitar playing on the epochal 1973 album Raw Power reunited with his old band in 2009, and recorded the album Ready to Die with them last year. But with that band on hiatus again after a 2013 world tour, Williamson turned to some long-unfinished business. There was a very very large pile of old songs, dating back to the ‘70s, that he’d written with Stooges singer Iggy Pop for the intended follow-up to Raw Power, but which had never been recorded in a studio. A few were on the live Metallic K.O. album, some had circulated among obsessives as really rough-sounding bootleg dubs, and many of them turned up on the Open Up And Bleed! live collection released by BOMP! Records in 1995. But those were the only traces of those songs; sketchy-sounding live versions.

The Stooges, minus Iggy, have remedied that. With the Stooges’ touring band, that being bassist Mike Watt, drummer Toby Dammit, and saxophonist Steve Mackay, Williamson has recorded Re-Licked, a 16-track collection of those old songs, with a revolving door of singers. The lineup of vocalists is impressive—it HAS to be right? They’re standing in for a young Iggy Pop! I’d love to call it an all-star lineup, but a lot of these people aren’t really quite “stars,” though pretty much all of them kick high ass. The BellRays’ amazing Lisa Kekaula, Jello Biafra, Ariel Pink, ex-Dicks Gary Floyd, former Foetus honcho J.G. Thirlwell, Mark Lanegan, Alison Mosshart, and Primal Scream’s Bobby Gillespie all make appearances. Last April, a Record Store Day 7” teaser single was released, with the gifted Austin, TX blues belter Carolyn Wonderland singing “Open Up and Bleed” and “Gimme Some Skin.” Both also appear on Re-Licked, which saw its release this week.

Williamson was kind enough to make some time to talk to Dangerous Minds about the album.

You joined the Stooges after Fun House, but they broke up. Then when they were reconstituted as Iggy and the Stooges, you played on Raw Power. After that, you appeared on a couple of Iggy albums, and that’s pretty much it, right? What did you do in all the years since then?

After we were unsuccessful at finding a record label, Iggy and I kinda gave up on the Stooges. He went off with Bowie, who’d offered to take him under his wing, and that launched his solo career, and I was kind of fed up with playing music at that point so I went to work at a recording studio in Los Angeles. I learned a lot there, but one of the things I learned was that I really wasn’t cut out to be a recording engineer. It was the disco era by then, and I couldn’t stand the work. One thing is worse than playing with musicians you don’t like, and that’s recording them every day. It was a training ground for me, though, because it got me interested in electronics, and since those were the early early days of the personal computer, that led to an interest in the possibilities of computers, so I decided to become a real electronics engineer. I got a job in Silicon Valley, and I’ve been here ever since.

And what got you back into playing?

I had a 25-30 year career in electronics, and ended up as an executive at Sony. Around when Ronnie Asheton died in 2009, I was toying with taking early retirement. With the economy, these companies were offering that, and it looked attractive. At the same time I got a call from Iggy asking if I wanted to rejoin the band. At first I turned him down. I couldn’t imagine doing it, and I wasn’t even sure I could do it, since I hadn’t been playing at all. But I decided I owed it to them to give it a try, and I could do it because of the retirement. Then it turned out that Sony didn’t want me to leave so they hired me back as a consultant, but still I had some time to do some woodshedding, and I got good enough to play the first gig in Sao Paolo, Brazil, to a HUGE audience compared to anything I’d ever seen before. So I was back. A lot of things happened all at once.

So the material you recorded for Re-Licked was late Iggy and the Stooges stuff that never got released on an LP. There’ve been two Stooges albums since their reunion, The Weirdness, which you’re not on, and Ready to Die, which you’re on. None of these dormant songs turned up on either of those albums. How come?

We did discuss it. We had that conversation. The fans always wanted that album, and the bootlegs are out there, so people are familiar with it. What we decided was if we did an Iggy and the Stooges album, it was a given that it’d be compared to Raw Power, and it probably would be a difficult comparison with the old Stooges vs the young Stooges. Iggy’s voice has changed a great deal, like everyone’s does, with age, and I’m not even sure he could sing some of these songs now, they’re not all easy to sing. In the end we decided that rather than beg that type of comparison, let’s just write new songs. Sure, it’s still going to get compared, but it’s going to get compared as new stuff. I’m very proud of Ready to Die, we spent a lot of time writing it, Iggy stepped up on the lyrics and the vocals, it’s a good album.

The fact was that we still hadn’t done these songs, though, and I had it in mind that I really wanted to do them. Once we stopped touring last September, I had the time. I only started out with one song, I rearranged “Open Up and Bleed,” and my wife and I were talking about it and thought it would be great to get a Janis Joplin type singer for it. So I searched and searched and searched, and finally an old friend of mine In Austin sent me a link to Carolyn Wonderland. She did like three takes and it was over, and I was so blown away I said, even before I came back from Austin, yeah, I can do this, I could do a whole album. Luckily for me I found a lot of people of that caliber who could do it.

How did you choose the singers? There are some inspired choices. Gary Floyd doing “Cock in my Pocket,” I just love. And the guy singing the other version of that song, he’s from the Hellacopters, right?

Yeah, Nicke Andersson. Those were people who were recommended to me, so were a lot of people on the album. I got lots of recommendations. There was a lot of interest in doing this album, so I didn’t have any problem attracting people. Where I did have a problem was I didn’t know a lot of them, so I would go and if they had any material I could get access to or if I could watch them on YouTube, I’d get a feel for their style. So the people that actually ended up on the album were narrowed down from a very big list. I didn’t really have anyone who turned me down. There were a couple of people who couldn’t do it because they were busy, but no one was disinterested. That’s one thing I really like about this album, you can hear the singers’ enthusiasm about it, it just feels like they’re into it and they’re bringing their A-game to these songs.

It’s interesting that there are so many female vocalists on the album.

Well, it all started with Carolyn, and after her I thought, well, this works pretty well. The Stooges never had any women on anything, so it was a different thing, but it worked really well. This isn’t a Stooges album, it’s a tribute to those songs, so I didn’t want think about making it sound like the Stooges, but just bring the best people on that I could find.

Yeah, Lisa Kekaula, especially, she’s pretty fabulous.

Oh, MAN, yeah!

Have you seen the BellRays live? You must have, right?

No! What happened was I was down at Joe Cardamone’s, he’s the Icarus Line’s singer. I worked a lot with him, he let me use his little studio for stuff where a little studio would work, and I was sitting with him and was looking for another vocalist, and he asked if I’d ever heard Lisa Kekaula, and I said no, and he said to call her. She just came right over, and I only had one track available at the time, that was “I Got a Right,” and she came in and just NAILED that song. My jaw dropped. Unbelievable. So I had to do a single with her, so later I came back and recorded “Heavy Liquid” for her. It was a lot of fun to do these sessions.

So is this it then, these are the canonical studio recordings of these songs? The Stooges won’t finally make the lost album?

I don’t see that as being in the cards. I made an open invitation to Iggy to sing on these. He wrote them with me, so he has every much a right to sing them as I have to play them. But I sincerely doubt that we’ll do that. Frankly I don’t know if we could improve on this.

How do you imagine it’ll be received? People who know these songs at all only know the really really gnarly versions from nth generation dubbed tapes, or else from K.O. or the Open Up and Bleed live thing.

So far the responses and reviews are incredibly good. It’s exceeding my expectations by a long shot. There’s always going to be people that don’t like something, and there’s a lot of “Iggy bigots” that are gonna hate it because he isn’t on it. I’ve always had to live with the people that wouldn’t recognize anything that came after Fun House. But so far, on balance, the responses are really amazing, if for no other reason than that, because of all the people singing on it, this is reaching people that possibly wouldn’t have listened to the Stooges. All of these different people bring their own audiences into play, so there’s this wider group you’re exposing this music to.

So is there anything happening with the Stooges in the future?

We haven’t discussed it. I’m beginning to have my doubts, because next year, Iggy’s going to be 68 years old. Think about going out and like, stage diving, at 68 years old. Think you could do it?

I’M NO IGGY POP!

*laughs* Well, the only thing that makes me say it could happen is that if anyone will do it, he will. I have doubts. And I also have to admit I’m a part of that equation, and right now I don’t have to think about it, but if I had a serious offer to do it, I’d really have to think about it. I’m not getting any younger either, but then, all I have to do is play guitar. So I could go out and do that, but I also feel a kind of duty to uphold the honor of the name. I don’t want us to be like the Rolling Stones. To me, they’ve ruined their brand. They’re just too frickin’ old. They’re still really cool guys, but they’re really cool REALLY OLD guys. I’d never go see ‘em anymore. So do I want the Stooges to be like that? No, I want people to remember us like, even the last tour we did, we were still really burning up the stage, some people at any age can’t do that. That’s what I want the memory to be. At this point I’m open to it if we can pull it off, but there are lots of reasons not to do it, too.

Williamson was right about these songs getting compared to the old versions, because we’re going to do that right now. Here’s the Stooges’ demo for “I Got a Right.” This has ended up on various bootlegs, and even got a small but legit release, on a super limited deluxe edition of Raw Power. This song completely fuckin’ smokes.

And here’s a teaser of the version with the BellRays’ Lisa Kekaula. This also completely fuckin’ smokes. If you’re watching at work, be advised there’s a stripper in the video.
by Ron Kretsch
http://dangerousminds.net/comments/less_with_the_raw_still_with_the_power

Re-LickedCover_442

ROLLING STONE PREMIERES JAMES WILLIAMSON’S NEW “RE-LICKED” LP!

CLICK HERE TO LISTEN TO THE FULL ALBUM PREMIERE OF JAMES WILLIAMSON’S NEW LP “RE-LICKED” VIA ROLLING STONE AUSTRALIA!

Premiere: James Williamson ‘Re-Licked’ Album Stream

BY JONNY NAIL

James Williamson’s involvement with The Stooges began towards the end of 1970 when the band enlisted him as a second guitarist, but it was on their seminal 1973 release, Raw Power, where he became an integral part of the group’s configuration, writing and composing the album alongside Iggy Pop. After the release of the iconic record, Iggy and Williamson began work on a follow-up. Those tracks, although finding their way onto bootleg recordings over the years, were never officially released. Until now. Brand new versions of these songs — initially written and demoed in 1973/74 — have been recorded, with Williamson enlisting a wide range of guests to help out, including Jello Biafra, Mark Lanegan, Alison Mosshart, Ariel Pink, The Orwell’s Mario Cuomo, The BellRays’ Lisa Kekaula, Primal Scream’s Bobby Gillespie, The Icarus Line’s Joe Cardamone and Carolyn Wonderland. The album, entitled Re-Licked, will be released on vinyl and CD, packaged together with a 24-page booklet of liner notes and photos, as well as a special ‘making-of’ documentary DVD. Re-Licked will be released worldwide tomorrow (October 29), but available to preview right now via the exclusive stream below: http://rollingstoneaus.com/music/post/premiere-james-williamson-re-licked-album-stream/773

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CRACKER’S DAVID LOWERY ON WTF WITH MARC MARON!

CLICK HERE TO LISTEN TO THE INTERVIEW!

Episode 546 – David Lowery

Two of Marc’s favorite bands, Camper Van Beethoven and Cracker, share a common denominator: Frontman David Lowery. Marc and David discuss the eclectic styles of both bands and why Cracker is having a bit of a renaissance with young people. Plus, David shares his thoughts on the challenges posed to songwriters by the rise of digital music. This episode is sponsored by Prosper and Shipstation.com.

http://www.wtfpod.com/podcast/episodes/episode_546_-_david_lowery

ALONE AT 3AM

CLICK HERE TO DOWNLOAD HI-RES BAND PHOTO AND “SHOW THE BLOOD” ALBUM ART

Emerging from shambolic basement shows and early roster shake-ups, over 16 years Max Fender and Joey Beck have coiled Midwest stalwarts Alone at 3AM into a tightly-wound muscular force with “a refreshing straightforwardness not found in most music” (Scene).

The band has been at a dead run since 2010’s album Cut Your Gills and 2012 single From an Ohio Basement, reveling in hard-earned rock&roll escapism while revealing substantial songwriting chops. Embedded in these earliest songs, some of which like “Blacktop Cracks” remain live favorites, are unresolved questions. Often the only answer is found in the act of living in the fleeting combustion of a three minute song, that brief musical connection between band members and an audience.

On their 2012 LP Midwest Mess Alone at 3AM explored the balance between volume and personal reflection, which cemented Fender’s reputation as one of Cincinnati’s most prolific and insightful songwriters. The website Bucketful of Nails was waiting for it, claiming, “occasionally an album comes along that has that fire, that smoldering spark your soul requires.” With songs like “Weekends at the Cape” and “Walk Away,” the singer has become more confident in the precisely personal while the band investigates new sonic territory – from the brittle postpunk of “Wolf in the Woods” to the stomping set-closing catharsis of “Burn This Town.” Throughout, Sarah Davis‘ harmonies fuse with and console Fender’s tattered vocals in the band’s most far-reaching release to date. Popmatters deemed the record “raw, honest, literate storytelling, [with] brilliant song structures, [and] a built-in integrity.”

As the most recent and strongest iteration of Alone at 3AM prepares their 2015 release Show the Blood, location again plays a singular role as Fender, reaching for simple moments of grace, ruminates on his home in the Midwest, a place that’s never quite here or there. And though influences can be heard throughout – a buzz through, say, Detroit, southern California or St. Paul – the end result is a testament to the power of a confident and road-tested rock band coming to terms with living in the in-between.

Alone At 3AM’s new studio album Show The Blood will be available on CD and digital formats September 18th via Sofaburn Records.

SHOW THE BLOOD TRACK LISTING:
1. Story on Sixth
2. I’m Dying
3. Sticks and Stones
4. Upsides
5. Most Men
6. Could Work Out
7. Nothing Really Changes
8. Just Can’t Let Go
9. Not Quite Yet
10. Late ’90s

MORE INFO ON ALONE AT 3AM:
sofaburn.com/aloneat3am
facebook.com/aloneat3am
twitter.com/aloneat3am
instagram.com/Aloneat3am

MORE INFO ON SOFABURN RECORDS:
http://www.sofaburn.com

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

BLURT MAGAZINE PREMIERES THE BLOODHOUNDS’ NEW LP “LET LOOSE!”

CLICK HERE TO LISTEN TO THE FULL ALBUM STREAM OF THE BLOODHOUNDS’ NEW LP “LET LOOSE!” VIA BLURT MAGAZINE!

Just a little band from East L.A….. album drops Nov. 4 on CD and colored wax.

By Blurt Staff

East L.A. combo the Bloodhounds— Aaron “Little Rock” Piedraita on rhythm guitar, Johnny Santana on bass, Branden Santos on lead guitar and Mark Schafler on drums and percussion—will drop their debut album Let Loose next week on Alive Naturalsound, and it’s a heady brew indeed. R&B/punk/Latin rock never sounded sweeter, and because it’s so sweet we are gonna gift you, the erudite Blurt readership, with an advance stream of the record. Check it out:

Though founded on electric sound they also dig the old jug band style of playing. Picking up cheap acoustic guitars, turning ordinary household items into instruments and constructing a traditional washtub-broomstick bass, they often busk in the streets of downtown Los Angeles to the delight of large crowds. The band was discovered by Arthur Alexander (The Poppees, Sorrows) who wound up producing the album.

Frontman Piedraita enthusiastically describes Let Loose as “a mixup of our influences, styles and personalities. Recorded and produced by Arthur Alexander and released on Alive Records and we couldn’t have asked for it any other way. Now watch out now cus’ it ain’t our last!”

Tour Dates:

October 25 @ Redwood Bar — Los Angeles, CA

October 30 @ The Lexington — Los Angeles, CA

November 6 @ KKUP Radio — Santa Clara, CA

November 7 @ The Brainwash Cafe — San Francisco, CA

November 20 RECORD RELEASE SHOW @ Harvard & Stone — Los Angeles, CA

November 21 @ Linneas — San Luis Obispo, CA

November 23 @ Hully Gully — Downey, CA

http://blurtonline.com/news/album-premiere-bloodhounds-debut-lp-let-loose/

AMPLINE

Click here to download hi-res band photos of Ampline (credit: Keith Klenowski) and Passion Relapse album art

Kevin Schmidt, Rick McCarty and Mike Montgomery have been writing, recording and touring as AMPLINE since 2001. Since then, they’ve stitched their way across the United States many times and have done multiple tours in Europe and the UK. Passion Relapse is the group’s fifth full-length album. It was recorded, mixed and mastered at Montgomery’s Candyland; an analog-based recording studio located in Dayton, KY that has played recent host to acts such as; The Breeders, Protomartyr, Buffalo Killers, R.Ring, Ed Crawford (fIREHOSE), Courtney Barnett, The Tillers, Jeremy Pinnell, Bat Fangs (Betsy Wright/Ex Hex) and many others.

Picking up thematically where their last album (You Will Be Buried Here / Phratry Records) left off, the lyrics explore the interrelation of man, nature, industry and theology. Set atop a backdrop of a mythical sea voyage to find the Edge of the World, the songs weave a narrative of death, decay, invention and ‘progress,’ metering the growing gulf between corporeal and spiritual.

Tracking live to tape enabled the band to capture the energy of playing together in a room, imbuing the songs with a sense of cohesion and urgency. As raw and propulsive as it is, the new LP is some of the band’s most accessible writing to date.

Read on: Prior to founding Ampline, Schmidt played in the avant post-punk groups; Elk and Covington. Rick and Mike played together in the bands; Thistle, The Light Wires and El Gigante.

Montgomery, along with The Breeders’ Kelley Deal, is currently a member of the duo, R.Ring, who’ve recently released their debut LP, Ignite The Rest. Mike also plays in Mike Vallely and the New Arms alongside iconic professional skateboarders Kristian Svitak (The Heartaches / Swami Recs) and Mike Vallely (Black Flag / Good For You w/ Greg Ginn). The group has been touring the States and overseas this past year. Vallely’s Skateboard company, Street Plant, has featured quite a few Ampline tracks in their video edits. The cuts document the riders’ lives, travels and skating around the globe. The Ampline tracks are a natural pairing for the raw, aggressive energy of the skating.

Ampline’s Passion Relapse will be available on limited vinyl, digital and streaming formats on January 26th, 2018 via Sofaburn Records. Click here to pre-order.

PASSION RELAPSE TRACK LISTING:
01 Shrunken Heads
02 Low Light
03 Captions
4 Rigging Snaps
05 Charm Offensive
06 Passion Relapse
07 It Will Evaporate
08 Drip
09 Edger Chaos
10 Stab

MORE INFO ON AMPLINE:
http://www.ampline.net

MORE INFO ON SOFABURN RECORDS:
http://www.sofaburn.com

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

ANDRE WILLIAMS

Andre Williams began a very prolific and creative phase of his life when he finally got off booze and drugs. His intake of various substances was excessive, unrelenting, and dated back to at least the 1960s, when he was working extensively with Ike Turner. Reflecting on his very first drug-and-alcohol-free studio session in 2009, Andre says, “It was traumatic. It was like someone shot me out in space and I woke up on Pluto!”

Andre Williams’ new album Life was recorded this past winter in Detroit, the city where his musical career first began in the 1950s. Andre’s new songs are his latest experiments and explorations outside of the garage-soul bag that he’s often associated with. Produced by Matthew Smith, the album’s sonic palette recalls the work of Norman Whitfield’s Motown productions, ’70s Rolling Stones, Can, Bill Withers, Serge Gainsbourg, as well as Andre’s own doo-wop and funk history.

Life finds Andre in a pretty upbeat mood, whether he’s singing about people being rude and impatient (“But’n”), or laying down a political commentary (“Blame it on Obama”), reciting a children’s bedtime story (“Ty the Fly”), singing a simple love song (“Stuck in the Middle”, “It’s Only You That I Love”), or conjuring a nocturnal fetish-sex-groove (“Heels”).

The album also includes his own definitive rocking version of the standard he wrote and produced for the Five Du-Tones in 1963, “Shake a Tail Feather.” It’s a reminder that Andre Williams is one of the original guys who invented rock n’ roll.

Andre Williams’ Life will be released October 2nd through Alive Naturalsound Records in the following formats: CD, Digital and Black Vinyl, as well as Purple Vinyl (limited to 100) exclusive to mailorders.

FEEL FREE TO DOWNLOAD & POST ANDRE WILLIAMS’ TRACK “BLAME IT ON OBAMA”
http://soundcloud.com/pavement-pr/andre-williams-blame-it-on

[photo credit: Robert Matheu / www.robertmatheu.com]

LIFE TRACK LIST:

1. Stuck In The Middle

2. But’n

3. Don’t Kick My Dog

4. Blame It On Obama

5. Heels

6. Beep Beep Beep

7. It’s Only You That I Love

8. Money Ain’t Got No Loyalty

9. Shake A Tail Feather 10. Ty The Fly

CLICK HERE FOR MORE INFO ON ANDRE WILLIAMS

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

ANDREW HIBBARD

SINGER-SONGWRITER ANDREW HIBBARD PREMIERES HIS NEW VIDEO “CHANGES” VIDEO VIA GLIDE MAGAZINE | CLICK HERE TO CHECK IT OUT

“CHANGES” IS THE FIRST SINGLE FROM ANDREW’S FORTHCOMING SELF-TITLED THIRD STUDIO ALBUM TO BE RELEASED IN THE SPRING OF 2020 VIA SOFABURN RECORDS

Andrew Hibbard is a musician, songwriter, singer and writer of poetry. Born in Hamilton, Ohio in the late months of 1995, he began playing guitar at the age of six when his father showed him some basic chords. Since high school he’s been picking and roaming, following the paths cut by his musical forebears — Bob Dylan, Tom Waits, Lou Reed, Neil Young, Hank Williams, Chet Atkins and Lightnin’ Hopkins.

Andrew has released two studio albums to date; Foot in the Door (2012) and Under the Knife (2015).

He has toured, performed at festivals and shared the stage with some titans of the American songbook; Dr. Ralph Stanley, Willie Nelson, Sturgill Simpson, Old Crow Medicine Show, the Tillers, Willie Watson and My Brother the Bear.

Andrew claims to have written nearly 300 songs, most of which he’s scrapped, lost or forgotten. Luckily a dozen of the best have survived the culling and are slated for release on his third self-titled LP, due out in the spring of 2020 on SofaBurn.

Whether it’s paying tribute to the classics or displaying his own craft to match his musical mentors, Andrew Hibbard is sure to be a delightful and intoxicating experience to anyone who is a fan of Folk/Country/Blues at its best.

FOR MORE INFO ON ANDREW HIBBARD:
www.andrewhibbard.com
www.facebook.com/andrewhibbardmusic

FOR MORE INFO ON SOFABURN RECORDS:
www.sofaburn.com

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

ANDREW GABBARD

Click here to download two new hi-res photos of Andrew Gabbard (credit: Mitch LaGrow) and Cedar City Sweetheart album art

ANDREW GABBARD (THE GABBARD BROTHERS) TO RELEASE HIS NEW COUNTRY-LEANING ALBUM “CEDAR CITY SWEETHEART” MARCH 24TH, 2023 VIA COLEMINE / KARMA CHIEF RECORDS

Andrew Gabbard has become a household name in the Ohio rock-n-roll scene. As a guitarist and vocalist for Cincinnati-based Thee Shams and the critically acclaimed Buffalo Killers, his songwriting chops have been proven time and time again. He currently serves as one half of the Gabbard Brothers, performs as a touring guitarist for The Black Keys, and records his own music at home.

Gabbard has announced the release of his sophomore effort as a solo artist, Cedar City Sweetheart. The songs evoke a familiar feel for fans of his debut album, but new instrumentation and country-leaning lyrics give us a glimpse of another side of Andrew. “I love when a rock band makes a country album,” he explained, pointing to The Byrds as a major source of inspiration.

Andrew played every instrument on his solo debut, Homemade. This time around, he called on some local musicians to add color. “I invited a lot of friends to play on this record. Originally, I didn’t have access to much recording equipment. I tracked my parts with an iPhone. My friends recorded their parts professionally, so I was able to piece it together and take another stab at recording the core of each song.” The final product is a better sounding, polished group of songs that fit together to make a country album. “It’s almost like a remastered album to me, but it’s all new.”

Many of the tunes called for the shimmering sound of a pedal steel guitar, which is played by Sven Kahns. Ryan Wells played banjo and Leslie Jankowski added the fiddle. Longtime friend and labelmate M Ross Perkins played keys.

While the direction of Cedar City Sweetheart doesn’t feel drastically different from Gabbard’s debut LP, there are elements that send the listener down a new path. On “Smoky Mtn. Prowler,” the bouncy piano and whimsical lyrics evoke imagery of an old saloon where Gabbard himself is tickling the keys and sharing stories of his adventures. “Surfboard City” is the soundtrack to a sun-soaked day at the beach (or maybe down by the river), and the acoustic strumming and vocal delivery on “Take Me Away From You” are reminiscent of Neil Young in his prime.

Other sources of inspiration for the album include Emmylou Harris, Waylon Jennings, and most importantly, Andrew’s mother. “My mom has always been a big country music fan. She’s been asking me to make a record like this for a long time.” The songs were written over the course of several years, but they’re all very fresh in Andrew’s mind. “I can remember a specific moment from writing each one of these tunes. They’re simple songs that came naturally to me.” Even though Andrew has written and contributed on countless albums over the years, this one truly feels like his second. The album is set to release March 24th on Colemine/Karma Chief Records. Click here to order.


Andrew Gabbard (photo credit: Mitch LaGrow)

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Cedar City Sweetheart Tracklist:
1. Glum And Empty
2. Redwood
3. Cloud Of Smoke
4. Surfboard City
5. Smoky Mtn. Prowler
6. Lonesome Psychedelic Cowboy
7. Take Me Away From You
8. Singin’
9. The Move
10. Get Blue
11. Cool Ranch
12. Yer Time’ll Come

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Bandcamp

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

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2021 Press Announcement for Andrew Gabbard’s previous Homemade album:

ANDREW GABBARD’S (GABBARD BROTHERS, BUFFALO KILLERS) NEW STUDIO ALBUM “HOMEMADE” DROPS DECEMBER 3, 2021 VIA COLEMINE / KARMA CHIEF RECORDS


A staple talent of the Ohio rock scene for more than a decade, Andrew Gabbard first made his name as the guitarist and vocalist for the Cincinnati garage rock powerhouse Thee Shams before co-founding the prolific and critically celebrated Buffalo Killers. Now, while simultaneously serving as one half of the sibling duo Gabbard Brothers and performing as the touring guitarist for The Black Keys, Gabbard has announced the release of Homemade, his first solo LP on Colemine/Karma Chief.

Hailing from a small town in rural southwestern Ohio, Gabbard’s brand of lush and colorful songwriting both proudly embraces and completely transcends his humble, midwestern origin. Gabbard’s songs often imbue a straightforward yet immensely sophisticated craftsmanship that somehow manages to reflect the organic simplicity of homespun Americana while seamlessly voyaging into fully-realized psychedelia. This fascinating stylistic dialogue is on display throughout Homemade, a record that demonstrates Gabbard’s remarkable talent for weaving tastefully-sewn musical threads in and out of richly diverse tonal textures and vibrant lyrical themes.

While Gabbard’s compositional chops are instantly apparent, his practical talent as an unbridled multi-instrumentalist is likewise staggering, with the songwriter himself masterfully performing all the duties of drummer, guitarist, bassist, pianist, and vocalist throughout Homemade. Songs like “Jade Bonsai Garden” and “Mrs. Fitz” give emphasis to this dynamic performative arm-flex, bringing to mind the absurdly gifted all-in-one virtuosity of Paul McCartney or the late Emitt Rhodes, whose timeless “Promises I’ve Made” closes out the album’s sequence in pitch-perfect homage.

Described as “a little bit Neil Young, a little bit John Lennon, and a little bit Yoshimi-era Flaming Lips” (Shindig!), Homemade certainly gives an occasional wink to its musical forebears, but at no point does it fall into the box of simple pastiche. There is a unique and instantly likeable persona saturating every line and note with unmistakable authenticity, showcasing a stunning breadth of originality and making this an ideal collection of songs for Andrew Gabbard’s inaugural release on Karma Chief.

On the album’s opening track, “Wake Up, Brother,” Gabbard assumes the role of an uplifting spiritual liberator, reassuring us of humanity’s collective resilience in the aftermath of 2020 and offering words of transcendent, loving affirmation toward the future. And while his wholesomeness and optimism are palpable from the record’s first line, he also positions himself as an artist who is willing to meet the obligations of his own social context. With the scathing “Red Bear,” Gabbard issues an indictment of America’s historical violence toward indigenous cultures, reminding his audience to “remember where you’re standing.” With this and other pointed strokes of timely, conscientious lyricism, Gabbard achieves a strength of ethical voice that is too often absent from the work of many contemporaries.

While this record is deeply moving, it also succeeds in being magnetically charming. Each of its twelve songs conveys a depth of personality that feels like sharing a moment with Gabbard himself, as if sitting with him in his Dayton, Ohio home studio, sipping morning coffee and watching him turn the knobs. It’s a record that makes meaningful efforts to sound close and comfortable, privileging us to a lighthearted conversation with a friend who, despite his earnest humility and his unassuming politeness, may very well be a genius hiding in plain sight.

Homemade sees an artist in a moment of at-home self-actualization, untethered and creating vividly poignant and stirring works of music from the ground up. As its title suggests, the entire album was recorded at home, though one could easily be fooled by the shocking degree of studio-esque production savvy driving each track. And while these songs possess a certain energetic freshness that feels brand new within the modern musical landscape, this is one of those rare contemporary albums that raises the question, “If this had been released in 1970, would it be considered a pop classic today?” – Bio by M Ross Perkins

Colemine/Karma Chief is proud to present Andrew Gabbard’s Homemade, available everywhere on December 3, 2021. Click here to pre-order the new album + some killer new merch as well.


Homemade Tracklist:
1. Wake Up, Brother (Released 1/28/21)
2. Instant Trancer (Released 2/23/21)
3. Getting High (Released 10/12/21)
4. Mrs. Fitz
5. Brand New Cut
6. Cherry Sun
7. Grin Song
8. Red Bear
9. Jade Bonsai Garden
10. Our Dream
11. Hot Poutine
12. Promises I’ve Made (Released 3/30/21)

Andrew Gabbard (credit: Whitney Pelfrey)
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MORE INFO ON ANDREW GABBARD:
FB: https://www.facebook.com/andrewgabbardmusic
IG: https://www.instagram.com/andygabbard
BANDCAMP: https://andrewgabbard.bandcamp.com

FOR MORE INFO ON KARMA CHIEF RECORDS:
https://www.coleminerecords.com/collections/karma-chief

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

ARDENT SONS

Click here to download lyrics for No More Than This

ARDENT SONS TO RELEASE THEIR DEBUT STUDIO ALBUM ‘NO MORE THAN THIS’ ON MAY 3, 2019 VIA WONDERTAKER RECORDS

SAN FRAN-BASED ROCK BAND IS LED BY TONY T. SALES – CURRENT FLAMIN’ GROOVIES DRUMMER AND SON & NEPHEW OF TONY & HUNT SALES [RESPECTIVELY]

Ardent Sons is a rock and roll band from Oakland, California, fronted by Flamin’ Groovies drummer Tony T. Sales. Their songs explore classic themes of love and loss, travels between broken homes and shaky relationships, and redemption in life’s near-forgotten moments. Sales’ musical career started with a lot of listening. By the time his dad and uncle gave him drums for his 10th birthday, he had already internalized their musical legacy, the elder Tony and brother Hunt having made legendary recordings with Iggy Pop, Todd Rundgren and David Bowie, among others. Years later, the jazz, R&B, and rock-and-roll that was drilled into his head would lay the foundation for his own music. After spending years working with several Bay Area groups including Oakland’s art-rockers Everyone is Dirty, and late ’70s SF punk band Negative Trend, Sales finally picked up a guitar and began writing in earnest. Following a few years of demo recordings, live shows, and line-up changes, Ardent Sons, whose principle members are Sales and Bay Area multi-instrumentalist Dave Flores, is ready to release their debut record, No More Than This. It is a sincere reflection on life unfolding, always looking up, but grounded in the impermanence of the human condition.

Ardent Sons’ No More Than This will be available May 3rd on vinyl, digital and streaming formats via Wondertaker Records.

NO MORE THAN THIS TRACK LISTING
1 If I Can’t Have You
2 Anything Helps
3 Take Me Down Easy
4 It’s Not Me
5 Anything You Want
6 Black Magic
7 No More Than This

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FOR MORE INFO ON ARDENT SONS:
https://www.facebook.com/ardentsons

FOR MORE INFO ON WONDERTAKER RECORDS:
http://www.wondertaker.com

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

Ardent Sons’ Tony T. Sales (credit: Tai Power Seeff)

ARTHUR ALEXANDER

Click here to download two new hi-res photos of Arthur Alexander (photo credit: Jeremy White) and One Bar Left album art

When the scourge of rock ’n’ roll crossed the Atlantic and invaded Europe in the late 1950s, most people thought it was just another passing fad from America.  But no one imagined in their wildest dreams that this “fad” would also be the force that would deal the fatal blow to communism and tear the Eastern Europe’s Iron Curtain to shreds. No amount of Soviet tanks and bayonets was a match for this tsunami. But a young kid growing up in Warsaw, Poland, did know. He heard that sound and knew instantly this was BIG; this was no fad, this was the sound of rebellion. Hearing Bob Dylan’s words, “… But even the President of the United States sometimes must have to stand naked,” he knew it was time to kick ass – with electric guitar. Lucky for him, the communist authorities didn’t take kindly to his ideas and, in no time at all, kicked his ass – straight out of the country.

Arthur Alexander did what he’s always done – he went for the jugular. “America, here I come!”

Faster than you can say “Polska Kielbasa,” Arthur was helping to form The Poppees, one of the hottest bands in NYC at the dawn of the punk rock era, a time that changed the face of rock ‘n’ roll forever. The Poppees, often dubbed “The Fab Four Of The Bowery,” played regularly at Max’s Kansas City and CBGB’s and became the very first new artist signed by the visionary Greg Shaw to his Bomp! Records label. The band accrued critical acclaim and ignited the just-burgeoning American power-pop scene. Leaving The Poppees behind, Arthur founded his new band, Sorrows, one of the most supercharged power-pop bands NYC had seen, staggering their audiences with blistering live shows. Sorrows scored a label deal with CBS Records and released two albums, their debut Teenage Heartbreak becoming a classic, sought after by crate-diggers from Japan to Iowa. After Sorrows disbanded Arthur relocated to Los Angeles, working as an independent producer helping the next generation of young artists realize their musical vision.

Finally, after years of producing others, Arthur’s own music came calling again. He selected a batch of songs he had written over the years and recorded his first solo album, One Bar Left, inviting his friends from Sorrows, Wojtek Pilichowski Band, Prima Donna, Dr. Boogie and The Blessings to come along for the ride.

From the opening thrust of “One Bar Left,” to the irresistible guitar hook setting the pace for “Hard To Get,” it’s instantly clear that Arthur writes songs that hit the pleasure centers of the brain like a Howitzer. “Shot In The Heart” marries the wide-screen sound quality of an Ennio Morricone film soundtrack with Phil Spector’s “Wall of Sound” like you haven’t heard since – well, Phil Spector.

“I’ll Get Your Love Someday” and its Merseybeat-meets-Rockabilly vibe displays the melding of styles Arthur incorporates while never sacrificing the intangibles that make songs hits. There are crunchers like “(She Got Me) Wang Dang Doodle” and a jagged-edged “Psycho-Automatic.” “Money ‘N Love” will make you think you walked into the AC/DC show – with a twist or two.  The punk-laced mayhem, chaos and venom of “Dead End Man” will leave you breathless, only to dissolve into the quiet warmth and beauty of “Hello Suzanne.” “Just a Little Longer” (in English and French) has more memorable hooks jangling in your ears than you’ll hear for the coming year.  And when Arthur decides to do a cover? He turns it on its head. You’ve never heard Sam Cooke’s classic “Bring It On Home To Me” done like this before. Guaranteed.

It’s impossible to deny the pull that great rock ‘n’ roll has. It’s indescribable, but you know immediately when you hear it. Expect that feeling as soon as you hit “play” on this sucker. Arthur’s credo has always been: “The song is King.” He’s known it forever. And after hearing this incredible collection of his songs, you’ll know it’s all about Arthur Alexander, ready to cement a musical legacy that launched some of the finest rock n’ roll the downtown NYC scene ever produced.

Arthur Alexander’s One Bar Left will be released May 4th on vinyl, CD, digital and streaming formats via Dead Beat Records.

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MORE INFO ON ARTHUR ALEXANDER:
facebook.com/arthur.alexander.58

MORE INFO ON DEAD BEAT RECORDS:

http://www.dead-beat-records.com/

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

AUSTIN LUCAS

Click here to download a new hi-res promo photo of Austin Lucas (credit: Mike Dunn) and “Alive In The Hot Zone!” album art.

Austin Lucas releases his new album Alive In The Hot Zone! October 30th, 2020. Written and recorded in the earliest days of the Covid-19 pandemic and Black Lives Matter/American uprising, this album represents a new direction for Austin, yet retains his distinctive voice and hyperliterate writing style. Contained are ten songs that serve as direct commentary regarding the ongoing global situation, isolation, fear and the indomitable spirit required to stand up against systemic racism and fascism, in a world spiraling out of control.

An American songwriter and political activist currently experiencing a more or less involuntary exile, Austin finds himself isolated in a foreign land, far away from his family and friends. He watches with terror and no small amount of inspirational awe, as his country buckles under the weight of a pandemic and yet it’s people find the courage and strength to rise up for a long overdue reckoning with centuries of systemic oppression.

Although an authoritarian narcissist and white supremacist sits in the White House and men of his ilk occupy top positions of power all across the globe, Austin Lucas comes to us with a message of hope and his most concisely empathetic and political album to date.

Austin shares more about the album’s first single – the politically-charged “Already Dead”…

“Musically and lyrically, I imagine this song to be a confluence of The Strokes, John Mellencamp and Against Me! Which I think brings forth a mixture of heartland rock and indie punk, with overt Antifascist politics.”

“There’s a specific socio-political calamity that’s been growing to fruition over more than half a century, clearly displayed by the current uptick of support for white supremacist ideologies and authoritarian dictators around the world. It’s extensively studied by Alexander Reid Ross in his book “Against The Fascist Creep,” where he sheds light upon the insidious, deliberate entanglement of far right fascist thought, both into leftist ideologies/radical spaces and mainstream right wing “patriot” culture. This song is directly about my heartbreaking personal experiences, watching friends as they are slowly and methodically manipulated and indoctrinated by racist, authoritarian, anti-semitic, hyper masculine and entirely fascistic ideologies. To put it succinctly, this song is about watching the terrifying decline of someone you love, as they fall into the darkest hole of hate and despair, until the eyes staring back at you from the shadows no longer belong to the person you once loved.”

More info on Austin Lucas:

Austin Lucas is a punk journeyman, activist and songwriter from Bloomington, Indiana. Consumed by an overdeveloped sense of wanderlust as a young person, Austin spent his formative years in the driver’s seat of various beat-up Ford Econolines. Burning through countless miles and living the world over, he’s made his home everywhere from the American West Coast to the Czech Republic.

As a young person, Austin worshipped a diverse mixture of Classic Rock, Country, Punk, Psychedelic Folk and Mountain Music, and has made a career by successfully fusing these disparate influences into something uniquely his own. Emerging as a prominent and revered talent among his fans and peers, Austin has stood shoulder to shoulder with some of the most recognizable icons of Folk, Punk, Indie, Country and Americana, all the while uplifting the traditions of Roots Music and holding true to the attitude and ethics of political DIY Punk and Indie music as the lifeblood that runs through his veins.

Releasing albums since 2006, Austin Lucas has been a fixture in the worlds of Alternative Country and Folk Punk for nearly two decades, having sang alongside and toured with everyone from Willie Nelson, Jamey Johnson, Ray Price, Brent Cobb, Frank Turner, Chuck Ragan, Dawes, Langhorne Slim, Joe Pug, John Moreland, Lucero and many others. To hear Austin Lucas or see him live is to discover the type of well-kept secret that can only stay that way for so long.

During the Covid-19 pandemic and subsequent lockdown Austin Lucas has sheltered in place in Mainz, Germany. Although growing homesick far away from his home and family in Indiana, he has successfully used this extra time and inspired energy to prove that it’s impossible to keep a good troubadour down, writing and recording songs for his forthcoming album, Alive In The Hot Zone!.

Austin Lucas’ new studio LP Alive In The Hot Zone! will be available on Vinyl, CD and digital/streaming formats October 30th via Cornelius Chapel Records. Click here to pre-order.

FOR MORE INFO ON AUSTIN LUCAS:
austinlucas.com
facebook.com/austinlucasmusic
twitter.com/AustinlucasIND

FOR MORE INFO ON CORNELIUS CHAPEL RECORDS:
corneliuschapelrecords.com

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

B. HAMILTON

Click here to download two hi-res band photos of B. Hamilton (credit: Luke Judd) and “Nothing and Nowhere” EP Art

B. HAMILTON TO RELEASE THEIR NEW STUDIO ALBUM NOTHING AND NOWHERE OCTOBER 15TH VIA SOFABURN RECORDS!

What started as a bedroom project in 2010 for songwriter, vocalist, and guitarist Ryan Christopher Parks (whose collaborative track with Boots Riley “OYAHYTT” features heavily in Riley’s 2018 film “Sorry to Bother You”) with the addition of Parks’ good friends Andrew Macy on bass, and Raj Kumar Ojha on drums (Once and Future Band, Shannon Shaw Band, Howlin’ Rain, The Black Crowes), B. Hamilton has since become one of Oakland, California’s staple rock-and-roll bands. With Parks’ moody, atmospheric guitar riffs and lyrical ability to encapsulate entire characters and scenes within a few short minutes, there is a decidedly driven, cinematic feel to B. Hamilton’s sound.

B. Hamilton’s fourth album Nothing and Nowhere is an album to drive late at night to, windows down, pounding along with Ojha and Macy’s urgent, yet steadfast tempos and rhythms on the roof of the car to stay awake. Parks’ vocals and guitar take us over potholed, winding terrain that has lead many from adolescence into adulthood.

In the album opener “North San Juan,” Parks describes the fall out of 1960’s San Francisco’s “Summer of Love” in contemporary Northern California. A situation where “Peace and Love” has given way to addiction, false prophets, and youthful recklessness. Numbers like “45 and Straight” may be more a meditation on the kind of adult one hopes they don’t become: disillusioned, entitled, sitting on a powder keg of resentments. “Song for T.W.” cements the album’s theme that love is excruciating and worth fighting for, while hate is easy and designed for the weak.

B. Hamilton’s new album Nothing and Nowhere will be available October 15th on vinyl and digital/streaming platforms via Sofaburn Records.



Nothing and Nowhere track listing:
01. North San Juan
02. Whatever is Owed to Me
03. Song For TW
04. 45 and Straight
05. Fight Everything
06. Sarajevo Roses
07. Keep a Little Light On (digital-only release)

FOR MORE INFO ON B. HAMILTON:
https://bhamilton.bandcamp.com

FOR MORE INFO ON SOFABURN RECORDS:
https://www.sofaburn.com

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

THE BIXBY KNOLLS

The Bixby Knolls are set to release their full-length debut, Near & Undear, on December 11th, 2012. On it the L.A.-based foursome offer up 11 tracks that blur the lines between indie rock, psychedelia, post-punk, pop and even soulful R&B. At times spastic, surreal and schizophrenic, this is guitar-driven rock’n’roll delivered with conviction, swagger and, above all, attitude.

The band is led by L.A.-native singer/songwriter/guitarist Curt Barlage and features the talents of drummer Sammy Fayed, bassist Christian Morales and guitarist Cesar Saez De Nanclares (who relocated from Mexico City to join the band). Near & Undear was recorded at the Sound Factory in Hollywood with producer Joe Cardamone, engineer Greg Gordon (Oasis, Supergrass, The Dandy Warhols, Jet), and Mark Chaleki as mastering engineer. While the diverse sounds that reverb throughout this hypnotic debut are undoubtedly unique, The Knolls aren’t afraid to proudly wear their influences on their sleeve. Roxy Music, Kasabian, The Libertines, The Stone Roses, The Mondays, Arthur Lee & Love, Primal Scream, The Clash, The Modern Lovers, The Cramps, Joy Division and The Glimmer Twins struttin’ their stuff can all be heard echoing throughout the record’s sonic landscape, while Barlage’s voice emotes the affected themes of heartbreak and struggle heard in classic R&B and soul from the ’60s such as The Zombies, Four Tops and Nolan Porter. Perhaps Barlage’s take on the band’s sound, however, boils it down to its essence when he admits, “Our record reminds us of Bobby Gillespie and Joe Strummer in a fist fight.”

The Bixby Knolls’ Near & Undear will be released digitally through Cobraside on December 11th. The band will be celebrating their Record Release Show on Mon., Dec. 10th at The Echo in Los Angeles. Additional West Coast and Mexico tour dates to be announced soon.

CLICK HERE TO DOWNLOAD & SHARE THE BIXBY KNOLLS’ NEW SINGLE “THROUGH THE CRACKS” FROM NEAR & UNDEAR

NEAR & UNDEAR TRACKLISTING:
1. Supervised War
2. Through The Cracks
3. It’s All A Lie
4. Runnin’ And Runnin’
5. Seeing Ghosts
6. Reina Del Mezcal
7. Waking Up The World
8. Autumn Will Fall
9. Inside The Walls
10. 100 Deaf Ears
11. Want It All

FOR MORE INFO ON THE BIXBY KNOLLS:
http://www.thebixbyknolls.com
https://www.facebook.com/ThebixbyknollsMusic

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

BLACK PUMAS

Black Pumas were the first artist to release music on Colemine Records’ new sub-label Karma Chief Records in 2018. Their debut single is the psych-soul track “Black Moon Rising.”

The band is led by the creative partnership between Grammy Award-winning guitarist / producer Adrian Quesada and 27-year-old songwriter Eric Burton. Burton is a relative newcomer who arrived in Austin in 2015 after busking his way across the country from Los Angeles, while Quesada has a storied reputation for playing in bands like Grupo Fantasma and Brownout.

After the two connected via friends in the Austin scene, they began to collaborate on a new sound that transmutes soul into something idiosyncratically modern. Reminiscent of Ghostface Killah and Motown in equal measure, this original sound ensured that Black Pumas’ weekly residency at C-Boys quickly became “the hottest party in town” (Austin-American Statesman).

(Photo: Greg Giannukos)

THE BLIPS

Download three hi-res photos of The Blips (credit: Dustin Timbrook) and album art

What happens when five frontmen form a band? Probably disaster. Or, possibly, collaborative beauty. In the case of Birmingham, Alabama’s The Blips, it’s the latter.

The group formed after Will Stewart – an accomplished songwriter and guitar player who has released several acclaimed records under his own name and with the Birmingham-based group Timber – sent a few curious text messages inviting a group of friends and collaborators to convene and write some tunes together. That group included: Taylor Hollingsworth, Wes McDonald, Eric Wallace, and Chris McCauley.

For over 20 years, Hollingsworth has built a dedicated following by composing incomparable rock, blues, punk, and pop music under subtle variations of his name. He also writes and performs with Dead Fingers and Conor Oberst’s Mystic Valley Band (among many other projects and groups). He’s considered by many to be one of the nation’s most innovative and adventurous guitar players.

McDonald, who plays drums in The Blips, has been making records under one moniker or another — including Terry Ohms and Vulture Whale — since 2000. His studio, Ole’ Elegante, in Birmingham served as ground zero for The Blips as they wrote, practiced, and recorded their first 10 songs with Les Nuby engineering.

McCauley, the leader of seminal Birmingham band Holy Youth, and Wallace, a well-respected guitar ripper who’s toured the globe, were
already collaborating on a one-and-done punk project called Bad Hops when The Blips formed. Wallace’s deep experience with touring, writing, and playing rock music also influences his day job through which he teaches students of all ages to play guitar. He also owns Birmingham’s much-celebrated venue, The Firehouse.

McCauley’s sensibilities are informed by bratty punk music and simple, yet melodic, lead guitar riffs. Critics and friends have described his singing voice as “squirrely” – a criticism he cherishes.

The Blips answered Stewart’s invitation in the affirmative in late-2019, and, by February 2020, the band had written and recorded ten tracks – two weeks prior to the COVID-19 pandemic shut down. Through persistent text messaging and emails, they found a way to mix and master the songs from a distance, resulting in their first full length record.

Their self-titled debut album sounds less like a casual experiment than a band that has been playing together for years. With The Blips sharing lead vocals, guitar, and bass duties, this surprisingly cohesive and high energy album ranges from straight-forward garage rock to hit-and-run rockers to pop ballads with massive lead parts and gang vocals. They’ve even got a song called Wild Thing II.

The Blips’ self-titled album is out now on vinyl, CD and digital/streaming platforms via Cornelius Chapel Records. Click here to order.

Big thanks to all the radio stations from coast-to-coast that have be spinning The Blips’ new self-titled album…

ALT 101.7 / WQRR (Tuscaloosa AL)
BOMBSHELL RADIO (Internet Radio)
BTRtoday | BREAKTHRU RADIO (NYC Internet Radio)
CICK (Smithers, British Columbia)
HANKS ALTERNATIVE RADIO (Internet Radio)
KDUR (Durango, CO)
KRUI (Iowa City, IA)
KTAL (Las Cruces, NM)
KXSF (San Francisco, CA)
MAD WASP RADIO (Internet Radio)
THE MUSIC AUTHORITY LIVESTREAM SHOW (podcast show)
ONE CHORD TO ANOTHER (Finnish podcast show)
RADIO BOISE (Boise ID)
SIRIUS XM | LITTLE STEVEN’S UNDERGROUND GARAGE
WERA (Arlington, VA)
WMSE (Milwaukee, WI)
WPRB (Princeton, NJ)
WRUW (Cleveland, OH)
WSUM (Madison, WI)
WXNA (Nashville, TN)
WXPR (Rhinelander, WI)

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THE BLIPS “THROW ME AROUND” MUSIC VIDEO

FOR MORE INFO ON THE BLIPS:
http://www.corneliuschapelrecords.com/the-blips
https://theblipsband.bandcamp.com

FOR MORE INFO ON CORNELIUS CHAPEL RECORDS:
http://www.corneliuschapelrecords.com

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

BLACK RIVER DELTA

Click here to download three new hi-res photos of Black River Delta (credit: Daniel Hansson) and Shakin’ album art

Black River Delta is blues-rock band originating from Bollnäs, Sweden. The foursome have released two studio albums – Devil on the Loose (2016) and Vol. II (2018), and are poised to drop their latest heavy-hitting full-length effort Shakin’ this spring.

The band’s gritty blues-rock sound draws from classic blues legends like Robert Johnson, the raw style of R. L. Burnside and modern artists as The Black Keys, Gary Clark Jr. and Black Rebel Motorcycle Club.

Their ability to combine age-old blues with modern rock has taking them on several tours across Europe and North America, and has caught the attention of artists like blues legend Joe Bonamassa, calling Vol. II one of the best albums of 2018 and even inviting the band to perform on his annual cruise festival.

Black River Delta’s new album Shakin’ will be available in spring 2021 via Sofaburn Records.



SHAKIN’ TRACK LISTING:
1. Burning and Burning
2. Howlin Back At You
3. Shakin’
4. Solitary Man
5. Black Gold
6. 400 Hours
7. California Sun
8. Train Back Home
9. Left My Heart In The City
10. Midnight Train
11. Now I Know

Black River Delta (photo: Daniel Hansson)

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FOR MORE INFO ON BLACK RIVER DELTA:
http://www.blackriverdelta.net
https://brdshop.bandcamp.com
https://www.facebook.com/BlackRiverDelta

FOR MORE INFO ON SOFABURN RECORDS:
https://www.sofaburn.com

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

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