GLOSSARY KICK-OFF 2013 TOUR IN JANUARY IN FURTHER SUPPORT OF THEIR SEVENTH FULL-LENGTH STUDIO ALBUM “LONG LIVE ALL OF US”

The phrase “Long Live All of Us” is the title of Glossary’s seventh full-length album, but it’s also meant as an all-inclusive homage to humanity.  Frontman Joey Kneiser says, in light of all the bad things happening in the world, the band just wanted to make a positive record.

Long Live All of Us allowed the band from Murfreesboro, Tennessee, to take their influences farther than ever before, adding piano, haunting pedal steel, R&B-influenced horns and more to their own style of romanticized rock & roll.  The songs are well-intentioned narratives that emphasize the great attributes of mankind — mercy, redemption, forgiveness and second chances.

Over a period of one month, the band transformed a house in rural Rockvale, Tennessee, into a recording studio and self-produced Long Live All of Us with friend and engineer Mikey Allred.  The setting, joked Kneiser, would have fit perfectly into a Glossary song.  The house was sandwiched between a church and a condemned meth lab, which was still wrapped in police tape.

Previous records — like 2010’s Feral Fire on Lucero’s Liberty & Lament label — were all recorded in 10 days or less, and were made to have a live feel.  For the first time ever, the band had the luxury of time on its side.

“That’s the rock & roll dream…to live in a house and write and record together all day,” says Kneiser. “It allowed us a chance to experiment, and if you really wanted to do something you could take the time to make it happen.  It was really one of the greatest creative experiences that I’ve ever had.”

The result is a hodgepodge of American music, similar to the Rolling Stones’ Exile on Main Street or the Clash’s London Calling — records that spanned many different musical genres.  For example, Long Live All of Us switches from a Gospel-influenced song to a hopping, R&B-styled groove, and then to a crawling, country-tinged ballad and on to a soulful, up-tempo rock song.  Jim Spake (Al Green, Alex Chilton, John Hiatt, Lucero … so many more) and Nahshon Benford  (Snowglobe, Lucero) both from Memphis added horns on several tracks, including jaunty, Stax-like rhythmic horns on “A Shoulder to Cry On” and a lyrical baritone sax solo on “Under the Barking Moon.”

“In the end,” Kneiser says, “when everything around us is constantly reminding us of what we’re doing wrong, we just wanted to remind us of what we’re doing right.”

“The best thing that we have going as human beings is each other,” he says.

Glossary is 
Bingham Barnes  (bass), Kelly Kneiser (vocals, percussion), Joey Kneiser (vocals and guitar)
, Todd Beene (pedal steel, guitar, vocals)
 and Eric Giles (drums).

CLICK HERE TO LISTEN TO GLOSSARY’S RECENT DAYTROTTER SESSION:

CLICK HERE TO WATCH A VIDEO OF THE MAKING OF GLOSSARY’S “LONG LIVE ALL OF US”

FOR MORE INFO ON GLOSSARY:
http://www.glossary.us/
https://www.facebook.com/glossarytn?v=wall&ref=search

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

GOSPELBEACH DROPS THEIR NEW STUDIO ALBUM “LET IT BURN” OCTOBER 4, 2019 VIA ALIVE NATURALSOUND RECORDS

GospelbeacH is back with a set of great new songs. Let It Burn is the follow up to their acclaimed 2017 album Another Summer of Love (Shindig! magazine Record of the Year 2017) and the third proper studio album by the infamous Los Angeles rock combo. It features the return of virtuoso guitarist Neal Casal (Chris Robinson Brotherhood). Let It Burn is an album of West Coast rock and roll, redemption and guitar solos!

GospelbeacH is:
Brent Rademaker : acoustic, electric guitar & vocals
Jonny Niemann: piano, Wurlitzer, Fender Rhodes, Mellotron, Yamaha CP70 & percussion
Trevor Beld Jimenez : drums, acoustic guitar, percussion & vocals
Neal Casal : lead electric, acoustic guitar & vocals
Ben Reddell : bass guitar
Nelson Bragg : harmony and backing vocals

GospelbeacH’s Let It Burn will be available October 4th on Limited Edition Vinyl, CD, digital and streaming formats via Alive Naturalsound Records.

FOR MORE INFO ON GOSPELBEACH:
facebook.com/GospelbeacHband
alive-records.com/artist/gospelbeach

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

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

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PRESS RELEASE FOR GOSPELBEACH’S 2018 ALBUM ANOTHER WINTER ALIVE:

Another Winter Alive reflects on the GospelbeacH California rock-and-roll dream, and pays homage to friend and founding member Neal Casal by covering his most well known song “Freeway To The Canyon.”

The album features five previously unreleased studio tracks recorded during the band’s sessions for last years’ Another Summer Of Love plus five live songs recorded in London during their California Fantasy tour, revisiting stripped-down live versions of songs from their debut album Pacific Surf Line.

GospelbeacH’s Another Winter Alive will be available on Limited Edition Vinyl, CD, digital and streaming formats on November 30th via Alive Naturalsound Records. Click here to pre-order the Starburst Vinyl.

FOR MORE INFO ON GOSPELBEACH:
https://www.facebook.com/GospelbeacHband

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

Click here to download hi-res photos of Grace Basement’s Kevin Buckley and Mississippi Nights album art

Grace Basement, the acclaimed rock-and-roll side project of St. Louis folk musician, multi-instrumentalist and producer Kevin Buckley, will release their fourth full-length album, Mississippi Nights, in early 2018.

While the band’s previous effort, Wheel Within a Wheel (2013), saw Buckley turning inward with an intimate folk-based sound, Mississippi Nights takes a more bombastic approach inspired by the performances of his longtime rhythm section, drummer Jill Aboussie and bassist Greg Lamb.

The title refers to the atmospheric vibe of the album along with a nod to the beloved downtown St. Louis rock club which hosted untold amounts of great bands until early 2007, when it closed its doors — and was replaced with a casino parking lot.

Mississippi Nights the album is less steeped in nostalgia and more interested in capturing the sound of everyday experiences, with each song taking on a character and narrative of its own. Ten story songs from various perspectives, united by themes of love, loss, hubris and hope with a familiar setting.

Sonically, the album explores a guitar-based rock sound accented by orchestral flourishes and chromatic swirls. In many ways, it follows in the spirit of Alex Chilton’s Big Star, and later Wilco: two bands from the heartland, in tune with British Invasion-esque melodies and a willingness to experiment. In addition, there are references to classic rock radio stalwarts like the late, great Tom Petty, Free, T. Rex and The Beach Boys, in addition to Stax-inspired soul, St. Louis natives Chuck Berry and John Hartford and ’90s alternative bands including XTC, the Pixies and Pavement.

At live shows, Buckley is joined by Aboussie, Lamb, guitarist Marc Schneider and a who’s who of other area musical ringers.

A full-time musician based in St. Louis, Buckley is always on call with his fiddle and guitar, performing nearly every night of the week with a variety of bands ranging from Irish music to western swing and country. When not playing in St. Louis or around the country, Buckley can be found in his home studio, Avonmore, where he writes and records Grace Basement albums, as well as projects by other artists.

Grace Basement’s Mississippi Nights will be available on CD, digital and streaming formats on January 19th, 2018.

MISSISSIPPI NIGHTS TRACK LISTING:
01. Rising Sun
02. Summertime is Coming
03. Suicidal Friends
04. Maybellene
05. Slowly Causing (Everything You’ve Wanted To Come Undone)
06. Standing on a Corner
07. Midnight Bell
08. Easy for You/Easy for Me
09. My Ruin
10. Broken Pair of Speakers

MORE INFO ON GRACE BASEMENT:
https://gracebasement.bandcamp.com
https://www.facebook.com/gracebasement

MEDIA REQUESTS:
Tony Bonyata
Pavement PR
e: tony[AT]pavementpr.com
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After half a decade spinning wheels on the Great American Highway, through the brutal heartbreaks and dire sacrifices that come with chasing the mythical rock & roll dragon, Great Peacock’s Andrew Nelson and Blount Floyd have finally eased up on the throttle. Like rock & roll as it transitioned from the erratic abandon of the late ’60s to the country-tinged storytelling of the early ’70s—donning cowboy boots and dipping its bucket in the well of American folk music—they’ve put their electric guitars back in the case, rolled their stacks back from 11, and let a serene hush wash over them. Their sound now? Beautiful, unadorned, moving—the bountiful harvest of a deep friendship and an unbreakable musical bond.

“The hangover is definitely starting to wear off,” Nelson says. “The amps had gotten a little too loud.”

“With our old band, we’d been playing all this angsty downer rock,” Floyd explains. “So with Great Peacock, we wanted the songs to be simple, poppy—infectious.”

For the first time, Nelson and Floyd weren’t writing songs for themselves, but rather songs they hoped would connect with fans. With Great Peacock they would embrace an unselfish, unpretentious aesthetic. “I don’t want to alienate people any more,” Nelson says, laughing a bit as he recalls the darker, more confessional songs he used to write. “I’m at a point where I want as many people to like our music as possible.”

Floyd and Nelson met in their early 20s in Nashville, the former having come to MusicCity to break into recording and the latter to play rock & roll. When they first ran into each other, neither had any close friends in town yet, and their connection was instant. “From the moment we said ‘hello,’ we realized we were gonna be best friends,” Nelson says. “It’s the only time it’s ever happened in my life. Blount’s brother introduced us, and I was like, ‘This guy is cool!’”

About an hour later, they were shotgunning beers together. “And it’s not like there was a party going on, either,” Nelson explains. “We were talking about music and I said, ‘Let’s get some beer.’ So we went to the gas station and bought a 12 pack of Busch. At every moment in the night, we became better friends—I was like, ‘Dude, we should get the camouflage cans,’ and Blount was like, ‘Hell yes, let’s do it!’”

“And there was this guy in front of us buying a single gas-station rose,” Floyd recalls, “and he says, ‘Yo, can I get some cigarillos and a box of magnums?’”

“We were both like, ‘That’s real love, man. Real love,’” Nelson says. “‘This guy has his life figured out—we need to figure out ours!’ I don’t think we drank a single beer normal that night—we shotgunned the whole 12-pack.”

The new friends soon found that their musical chemistry was just as intense, and that their strengths and weaknesses were the perfect complement. “The big thing about us,” Nelson says, “is that I can’t sing harmony—I’m terrible at it. And Blount doesn’t have a strong lead voice. When we’re riding around listening to music, he never sings the melody; he naturally sings the harmony. So we’re a perfect fit—I need him to sound good, and he needs me.”

Since the pair started playing together, they’ve seen two bands—and about a dozen bandmates—come and go. Through it all, their musical partnership has been a constant. “We always seemed to get what each other was doing more than anyone else,” Nelson says. “He keeps me artistic, and I keep him grounded.”

As far as Great Peacock has already come—recording a stunning debut EP of harmony-driven acoustic pop, performing as part of stylish, socially conscious eyewear company Warby-Parker’s Class Trip, and landing a coveted spot at one of Paste magazine’s 2013 SXSW showcases—the group began, almost literally, as a lark. “We kept noticing this hilarious trend of bands with names like Fleet Foxes, Deer Tick, Vulture Whale—they all had two names,” Nelson says, “one of which was always an animal.”
Kidding around one night, Nelson and Floyd decided to start a new band called Great Peacock. “I thought it was gonna be this cockamamie joke,” Nelson says. “We’ve talked a million times about starting random bands—including a Southern-rock band called Swamp Ass—and didn’t follow through. But even for a while there, when we didn’t really have anything going, I never stopped writing songs because I have to write to maintain my sanity. It’s my version of therapy. And Blount hadn’t stopped, either. Writing gave us an excuse to hang out.

“But I still didn’t think we were actually gonna do it,” Nelson confesses about the new band. “Really, the only reason it happened is because we wrote ‘Desert Lark.’”

Without giving it much thought, Nelson and Floyd posted an acoustic demo of the song on Bandcamp. Friends, family and fans went crazy over it, begging them to follow through on the new project. “We didn’t expect that,” Nelson says. “I wasn’t planning on being in a band again. I really wasn’t.” The chiming, triumphant acoustic anthem would become the centerpiece of the Nashville duo’s new self-titled EP.

Great Peacock’s harmony-driven sound appeals to fans of indie-folk, but the group is different from contemporaries like Fleet Foxes and The Head and the Heart in that their music is inextricalbly linked with the South. It’s who they are—Floyd hailing from a family of Alabama peanut farmers, and Nelson a long line of Mississippi preachers and sharecroppers. “If I had my way in life,” Nelson admits, “I’d be a country singer. My dream is to be George Jones.”

“But those country singers don’t exist any more,” Floyd says.
So instead of trying to live in a long-gone past, Great Peacock draws from the same inspirations that once fueled their now-extinct forebears (geography, aging, love/hate family relationships, blood, death, birds), channeling them into an unmistakably modern sound. For Nelson and Floyd, it’s natural, inutitive. “We know that even though there’s a history we’re connected to, we’re of our time,” Nelson says. “We know most records aren’t made on tape any more, but we’re also very much aware that—no matter the year or the production style—the right melody can be timeless.”

Great Peacock’s self-titled EP will be released on CD and digital formats on March 5, 2013 through This Is American Music. National tour dates to be announced soon!

FOR MORE INFO ON GREAT PEACOCK:
http://greatpeacock.com

FOR MORE INFO ON THIS IS AMERICAN MUSIC:
http://thisisamericanmusic.com

FOR MEDIA & INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e:  tony@pavementpr.com
https://pavementpr.com
Twitter:  https://twitter.com/PavementPR
Facebook: https://www.facebook.com/PavementPublicRelations

Guitarist Greg Lisher joined the pioneering indie-rock band Camper Van Beethoven in 1985, before becoming a founding member of the CVB spinoff indie-prog group Monks of Doom in 1987. 30-plus years later and both bands are still going strong with tours and recent albums over the last few years (most recently with Monks of Doom’s 2018 studio LP The Brontë Pin).

In addition to playing in these eclectic and revered bands he’s also released two solo records as a singer-songwriter and is currently preparing to release his third – an instrumental album entitled Songs From The Imperial Garden this summer.

Greg brings together his love for a broad range of sounds and genres for this inventive, explorative collection. From Celtic folk and ambient soundscapes to classical guitar ruminations, country-folk, upbeat bluegrass and angular art-rock, there’s little left off the table on this immersive instrumental effort.

Greg Lisher’s Songs From The Imperial Garden will be released on CD, digital & streaming formats on July 10th. Click here to order.

“A stunningly beautiful instrumental record. For the uninitiated, Greg is co-songwriter and lead guitarist for my lifelong brothers, Camper Van Beethoven. His melodic sense is complex and brilliant as is evidenced here (as well as in CVB). I’m reminded of guitarists as diverse as Robert Fripp, Jimmy Page, Paco de Lucia, Richard Thompson and David Gilmour. The moods run the gamut from multi-instrument, ancient sounding Celtic offerings to thrilling prog rock threads. The production from multi-instrumentalist and fellow six-string wizard David “Immy” Immergluck is the icing on this exiting new cake!” – Johnny Hickman, CRACKER

FOR MORE INFO ON GREG LISHER:
greglisher.com

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

Click here to download a new hi-res photo of Gregory Howe (credit: Jessica Robin Early) and album art

Gregory Howe is an American musician, producer, composer and band leader. In 1996, he founded Wide Hive Records. Over the past two decades, Wide Hive Records has created over fifty albums with musical artists/icons such as Roscoe Mitchell, Kamasi Washington and Larry Coryell, among many others.

Now, along with longtime collaborator and multi-instrumentalist Matt Montgomery, Howe is set to release his self-titled debut solo effort – an acoustic album of 18 songs that the musician collected over a decade on a hand-held recorder and used as departure points. While some songs took on new directions, others remained close to their improvisational roots. Matt Montgomery is multi-talented on three instruments: piano, bass and drums; while Howe performs on guitar, vocals and percussion. After the initial two-week recording, full string arrangements were added by Laurel Thomsen on violin, Stefanie Vartabedian on cello, Pamela Vartabedian on viola, and Matt Cunitz on pump organ, celeste and hurdy gurdy. In 2016, backing vocals were added by Rosie Steffy, and lead guitar was added by Mike Ramos. Several songs on the album are rooted in the past, drawing from a palette of songwriters, including John Martyn, Richard Thompson and balladeer Nick Drake (“Chasing Shadows,” “Put One Foot In” and “Concertina”). Other tracks are more contemporary with an eerie beauty in the vein of Elliot Smith (“Butterfly in the Wind” and “Life is Rain”). There are also two ethereal cinematic instrumental pieces (“Flower in the Weeds” and “Ember Epiphyllum”).

Howe and Montgomery have been making records for almost fifteen years together, and are both primary members of the groups Variable Unit/Mayhemystics (with Azeem and DJ Quest), The Wide Hive Players and Throttle Elevator Music (with Kamasi Washington). They have also written, recorded and performed with legendary artists Larry Coryell, Calvin Keys, Phil Ranelin and Harvey Mandel.

This recording also marks the debut of Angle Iron Music, a sub-label of Wide Hive Records that focuses on modern music with a vintage feel.

Gregory Howe’s self-titled album will be available on CD, digital and streaming formats on July 14th via Wide Hive Records and Angle Iron Music. Click here to order the CD and MP3s via amazon.

GREGORY HOWE TRACKLISTING:
1. REACHING HIGHER
2. CHASING SHADOWS
3. FLOWER IN THE WEEDS
4. LIFE IS RAIN
5. CONCERTINA
6. OVER YOU
7. DIMINISHING RETURN
8. PUT ONE FOOT IN FRONT
9. HER REQUEST
10. WORK IT OUT
11. BUTTERFLY IN THE WIND
12. THE THINGS WE DO
13. EMBER EPIPHYLLUM
14. US TOGETHER
15. WAITING FOR YOU
16. UNWIND
17. FINAL GOODBYE
18. CYCLING REFRAIN

MORE INFO ON GREGORY HOWE:
http://www.widehive.com/discography/gregoryhowe

MORE INFO ON WIDE HIVE RECORDS:
http://www.widehive.com

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

HACIENDA is:
Dante Schwebel (guitar / vocals)
Abraham Villanueva (piano / organ / vocals)
Jamie Villanueva (drums / vocals)
Rene Villanueva (bass / vocals)

BIG RED & BARBACOA is the second album by South Texas’ HACIENDA, and like its predecessor Loud Is The Night (Alive 2008), it was produced by Dan Auerbach of The Black Keys. Recorded on the tail-end of a year playing clubs and festivals across North America, Australia and Europe (opening for Dan Auerbach and Dr. Dog, and more recently for Alberta Cross), this new album brings heavier grooves and flavor to the ’60s harmonies sound the band is known for. The result is a blend of Tex-Mex roots rock, retro-pop and R&B that can only be described as South Texas Soul. BIG RED & BARBACOA captures the attitude of a band ready to throw pretension to the roadside and play rock’n’roll the way it was intended.

[BEST OF WHAT’S NEXT – FEB. 2010] …a mix of Beach Boys-esque harmonies, classic Stax Records grooves and a guitar sound that recalls the rootsier side of ’60s pop-rock with its swirling melodies and irresistible swagger. Their forthcoming second album Big Red & Barbacoa finds them working up to a much heavier sound than that of their debut.  – PASTE MAGAZINE

“From the get-go Hacienda’s Big Red & Barbacoa sets the table with a big slice of south Tejas soul—an album that would surely make fellow Texan Doug Sahm proud. Over the course of the past two albums the band have found a sweet spot, digging their heels into sixties and seventies rock and soul, without falling prey to the kinds of retro-pastiche traps often associated with such. Make no mistake–this is a band in the here and now.“ – JUSTIN GAGE / AQUARIUM DRUNKARD

“Like the classic combo it’s named after, Hacienda’s latest album is a hunk of comfort food, golden-age rock ’n’ roll delivered with no irony and only minimal modern embellishment. The Black Keys’ Dan Auerbach takes production and engineering credit here, but he’s smart enough to keep any embellishments so low-key he seems like a nonentity, maintaining the illusion of a really excellent four-track recorded live in the studio. Skilled, studied rock revivalists like Hacienda make it increasingly harder to distinguish “old-fashioned” from “timeless,” but some things taste too good to tamper with.” — JEREMY MARTIN / SAN ANTONIO CURRENT

This one’s a game changer, folks. Their time on the road with Auerbach has paid off. “Big Red and Barbacoa” is a complete effort from a band that has found their sound. At least for now. The members look young and will hopefully have plenty of time to expand their palate. Right now, their sound is firmly anchored on the vintage side while never stooping to imitation. Some of their influences are obvious enough. Beach Boys harmonies abound, and I can’t imagine a band from San Antonio being unaware of the Sir Douglas Quintet. They tackle the Everly’s “Your My Girl” to great effect too. But the Hacienda sound is something new. The evidence of their musical taste is comforting, but the future of this band should not be confined to retro rock and soul. They’re too good at what they do to get stuck in someone else’s shoes. They can burn your barn down with a song like “Mama’s Cookin,” then smooth you out with an instrumental like “Big Red.” And they’ll take you everywhere in between. Listening to this record is like sliding into your favorite jeans. You know how they’re gonna feel and you can’t wait to put them on, and then you find a $20 bill in your pocket that completely takes you by surprise. Right now, “I Keep Waiting” is the $20 surprise on this record for me. But I feel like this is a truly great album, and in time I suspect that every one of the songs on “Big Red” will have been my favorite at some point. There’s nothing on here that doesn’t work. The reverb, the hand claps, the organ, the guitar solos, the bells. It’s all been done before, but never like this. I’m glad it’s happening now. – Jason Crawford / Home Theatre & High Fidelity

“Damn if these guys don’t have 1965-1970 down cold. Owing more to the Beach Boys and fake British Invader Doug Sahm than BBQ-infused honky tonk, and ably guided by producer/Black Key Dan Auerbach, Hacienda are capable of making the sunshine pour through your speakers with their warm vibe and glowing harmonies. It’s a dizzying, winning recipe that the Villanuevas have cooked up on Big Red and Barbacoa by a band that’s clearly in love with rock ‘n’ roll—no matter when it was released—and the sounds of summer.” – POPMATTERS

“The San Antonio family band’s latest takes a hard turn toward the border with the proto-punk Chicano soul of opener “Who’s Heart Are You Breaking,” Tex-Mex waltz “Got to Get Back Home,” and the fiery rockabilly of “Mama’s Cookin.” Recalling original Texas Tornado Doug Sahm, the quartet unlocks a groover’s paradise, reiterated by the riptide instrumentals that close out each vinyl side.” – AUSTIN POWELL / AUSTIN CHRONICLE

“…. reels and rocks like a Cajun Little Richard negotiating an outtake from The Basement Tapes. Big Red and Barbacoa is elemental stuff — songs about good love, good love gone bad, good living, and hard times. It’s musical comfort food with more than a touch of spice.” – STEVE WILSON / KANSAS CITY FREE PRESS

“Sweet new one from C & D faves Hacienda—three well-dressed harmonizin’ Texan brothers and a cousin, whose second album, “Big Red & Barbacoa” is out from Alive Records on vinyl and the digital. Like their debut, it’s produced by Dan Auerbach of The Black Keys.” – ARTHUR MAGAZINE

“Those who caught January’s Alberta Cross show at Muddy Waters Café may remember Hacienda, who annihilated their opening slot with a thumping fury of blues rock riffs and Southern swagger. And now that the guys are touting a new disk (the recently released Big Red & Barbacoa), I have no doubt they’ll bring the same intensity back for round two.”  – THE SANTA BARBARA INDEPENDENT

“…indelible retro pop masterpieces” – AUSTIN SOUND

“Hacienda’s sound is a fusion of roots rock, Americana and straight-up rock ‘n’ roll. The songs feature harmony vocals, solid backbeat and soulful guitar/keys interplay. “Big Red & Barbacoa” is a tougher, more rocking record than “Loud Is the Night”… and works as a complete project, like albums did in the glory days of vinyl records.” – JIM BEAL JR. / SAN ANTONIO EXPRESS NEWS

“[BEST OF WHAT’S NEXT – FEB. 2010] …a mix of Beach Boys-esque harmonies, classic Stax Records grooves and a guitar sound that recalls the rootsier side of ’60s pop-rock with its swirling melodies and irresistible swagger. Their forthcoming second album Big Red & Barbacoa finds them working up to a much heavier sound than that of their debut.”  – PASTE MAGAZINE

“Brilliant.”  – TWANGVILLE

“As Doug Sahm and Augie Meyers once did, these newer bands are also using bleating organ riffs to glue the funkiness of conjunto R&B to the pop glories of ‘60s rock’n’roll.” – GEOFFREY HIMES / SONIC BOOMERS

“Among the most intriguing aspects of this San Antonio quartet’s second album is that you’re never quite sure what you’re listening to. Is it taking cues from early rock? California production pop? Stax soul? Tex-Mex? Neo-psychedelic grunge? The answer is ‘yes’ to all.  You can hear Sgt. Pepper’s-era Beatles in the guitars, the somber mood of Johnny Cash in the vocals, and the teenage energy of mid-60s go-go rock in the rhythms. As an added treat, several of the tracks are produced in punchy AM-ready mono and the album is available on vinyl!” – NO DEPRESSION

“What if the Beach Boys or those cats in Coldplay had made their music while sweating in the South Texas sun? Maybe they would’ve sounded like San Antonio’s Hacienda, who blend Tex-Mex roots rock, retro-pop and rhythm ’n’ blues in a highly listenable manner. These soulful wranglers have just released their second album, “Big Red & Barboca,” which contains the absolutely lovely song “I Keep Waiting,” which surely was written by the late great Ritchie Valens and Buddy Holly in rock ’n’ roll heaven before they channeled it through the band.” – THE PORTLAND TRIBUNE

“Hacienda sounded precociously talented on their debut album, 2008’s Loud Is the Night, and their sophomore release, Big Red and Barbacoa, confirms that two years of touring and writing new material have only sharpened their skills. Hacienda’s fascination with the Beach Boys hasn’t faded, and they can conjure up silky, heartstring-tugging four-part harmonies while working out arrangements that would do Brian Wilson proud during his sandbox period (cue up “Hound Dog” and “I Keep Waiting”), but as songwriters Hacienda are gradually growing into a voice of their own, and these 12 tracks are noticeably tougher, stronger, and more impressive than the stuff on Loud Is the Night.” – MARK DEMING / ALL MUSIC GUIDE

“Redefining retro ‘nuggets’ for the indie rock nation.” – BRUCE WARREN / WXPN RADIO

“… garage-rocking beneficiaries with an endorsement from the other half of The Black Keys, Dan Auerbach.” – THE ONION / AUSTIN

“For these young men, the BEACH BOYS, LINK WRAY and the Stax/Volt soul sound loom as large in the musical galaxy as anybody with Vox gear. There’s plenty of BOOKER T. & THE MGS grooves and SIR DOUGLAS QUINTET organ thrown in there as well. Hacienda’s ability to raid the spice rack for just the right taste sets them far apart from their peers.” – MICHAEL TOLAND / THE BIG TAKEOVER

“Much like Surfer Blood and Beach House, Hacienda mine the sound of the Beach Boys’ harmonies for inspiration. Their twist is a bit of Tex-Mex meets Ennio Morricone flavor.” – KANSAS CITY PITCH

Tex-Mex was taken to a new level when Hacienda stepped on the scene with its debut disc Loud Is the Night and it didn’t hurt that The Black Keys’ Dan Auerbach was behind the boards for the battle between unforgettable harmonies and monstrous groove sessions. Nonetheless, that pattern continues with even more noticeable refinement in the chemistry between the band and its behind the scenes partner on Big Red & Barbacoa (Alive), which is just as spicy as it sounds. Part modern blues, another half garage rock and basically a kitchen sink’s worth of rhythmic variety help give the long player an unpredictable slant, but there’s still an curious cohesion that ties the tunes together. – ANDY ARGYRAKIS / HEAR/SAY MAGAZINE

Despite a decidedly vintage flair, the band is no mere reprisal of their influences; as their testosterone-fueled cover of the Everly Brothers’ “You’re My Girl,” shows, they are a shape-shifting klatch of fresh talent. – OXFORD AMERICAN

“The group has a solid garage-rock + “Beach Boys” sound to them and it certainly makes me yearn for the summer and some heat.” – MUSIC FOR PERFECT PEOPLE

“Hacienda may credit their vintage sound to the toys in Auerbach’s bat cave, but when you listen to a Hacienda record, you can easily peg a variety of musical influences. Soothing harmonies on songs like ‘I Keep Waiting’ resemble those of The Beach Boys, and carry you to that same warm safe place in the sun. Country boy roots are unearthed in the love song, “Got to Get Back Home”, a track that you could swear fell off the back of My Morning Jacket’s truck. Whatever homage you hear, Hacienda makes you feel good.” – THE WASTER

“….lushly melodic harmonies” – SPINNING PLATTERS

“Hacienda is a charming proposition of ragged 70s rock and heavy harmonies, recalling the easy laconic moves of The Band and The Beach Boys.” – TOO COOL TO DIE

“Big Red and Barbacoa, Hacienda’s follow-up release to 08’s Loud is the Night, adds more grit and grunge to the band’s love of ‘60s harmonies. Produced by The Black Keys’ Dan Auerbach, Big Red and Barbacoa has plenty of Beach Boys-inspired tunes (“I Keep Waiting,” “Hound Dog,” “You’re My Girl”), but also adds a heavier blues and garage rock sound to songs “Apples,” “Who’s Heart Are You Breaking Now,” and “As You Like It.” Spending the past two years touring with Auerbach as his backing band also affected the San Antonio four-piece’s own live shows and latest release. The result is a heavier rock ‘n’ roll sound that not only swoons, but can shake the walls.” – RECORD DEPT.

“Big Red & Barbacoa throws down heavy grooves, 1960’s style harmonies, and a blend of Tex-Mex roots rock, retro-pop and rhythm and blues, a formula that some call “South Texas soul music.” – GRITTY BLUES

FOR MORE INFO ON HACIENDA:
http://www.haciendaonline.net
http://www.myspace.com/haciendaspace

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

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

How exactly did Hans Condor come to work at Nashville’s Grand Victor Sound, historically known as RCA Studio A? The backstory is the stuff of podcast fodder. Call it ’Methadone & Spikes’? The story has former management entering them into a contest called “Rubber Tracks” put on by Converse shoes in the summer of 2015. The band figured it might be good for a round of retreads.

Weeks later Hans Condor was awarded the grand prize of a day of recording time in one of Nashville music’s most hallowed spaces. Over time everyone from Dolly to The Monkees to William Shatner recorded there. And, so it was in the Fall of 2015 Hans Condor placed their rickety gear under the high ceilings, therein amongst the endless shelves of amps and artifacts in Studio A. “The microphone I sang into was worth more than our lives,” Charles Kaster, the band’s singer remarked. Eight hours later Hans Condor had banged out the first five songs that make up Side 1 of Breaking and Entering.

The story of Side 2, however, involves the far more priceless. At a later date the band reconvened in the backyard workspace of a local Nashville musician named Eliot Virula. This one room shack was dubbed “The Shed.” Kaster has joked that the only similarity to this session and the one at Studio A was that they also finished a case of PBR at The Shed. Virula demonstrated a fearless capability of producing louder and faster music in a less than ideal situation. Although a bit brighter, the hallmarks that make Hans Condor are completely present and raggedly glorious.

All of the tracks that make up Breaking and Entering ended up in the custody of Bronson Tew and Matt Patton of Water Valley, Mississippi’s Dial Back Sound. The performances were mixed and mastered by the two co-owners and production partners. As the album wrapped and time drifted the band would hit a series of managerial and personal snags that made hiatus seem like the thing to do. The death blow of founding bassist Erik Holcombe put any future releases and the band’s existence in serious doubt.

As it does most often, time had a way of reminding Kaster of its increasing shortness. He thought about his friend Eliot Virula and Erik’s brother Roger who had originally drummed for the band. As the world was slowly attempting to reemerge from the nightmares of 2020, a reinvigorated Hans Condor was waiting in the wings.

Hans Condor’s Breaking And Entering comes out on vinyl, CD and Bandcamp on Tuesday, November 16, 2021 via Dial Back Sound. Click here to pre-order.

FOR MORE INFO ON HANS CONDOR:
https://hanscondor.bandcamp.com

FOR MORE INFO ON DIAL BACK SOUND:
http://www.dialbacksound.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 DOWNLOAD HI-RES PHOTOS OF HAVE GUN, WILL TRAVEL (credit: Alexandria Santangelo)

FLORIDA-BASED ROOTS-ROCK BAND HAVE GUN, WILL TRAVEL TO RELEASE THEIR FIFTH STUDIO ALBUM SCIENCE FROM AN EASY CHAIR JULY 31ST VIA THIS IS AMERICAN MUSIC

Have Gun, Will Travel‘s highly anticipated, fifth album Science from an Easy Chair is slated for release this summer on This Is American Music. This full-length concept album is based entirely on British explorer Sir Ernest Shackleton and his 1914-16 Imperial Trans-Antarctic Expedition. Named after a book by Ray Lankester on popular science from which the crew would read aloud, the album delivers its own interpretation of this amazing story of survival and endurance. Science… was produced by Shawn Kyle and recorded in Tampa, Florida. Along with HGWT’s own distinctive instrumentation, the musical framework of the album is rife with luscious string arrangements, crooning horn sections and rich percussion. The release commemorates the 100th anniversary of the epic journey.

The Florida-based roots quartet have a natural instinct for combining folk, pop, punk, rock and classic country influences to create a sound all their own. “Their music has a great energy to it with infectious, sing-along choruses and refrains” remarked NPR’s Robin Hilton. American Songwriter called HGWT’s music “organic, infectious Americana Pop. Their music has a refreshing immediacy to it.”

Over the course of four acclaimed albums, hundreds of shows and copious populist-radio airplay, they’ve nurtured a tradition of inviting all manner of gifted musicians to join the fray. The group’s inclusive nature allows it to flesh out tunes that run the gamut from foot-stomping front-porch spirituals and evocative Texas swing to strum-punk rave-ups, hill-country historicals and more.

HGWT’s music has been featured in a national Chevy TV commercial; multiple episodes of the PBS series Roadtrip Nation; and an episode of CBS’s The Good Wife. Their albums have spent months on the CMJ Radio Top 200 chart. And their live performances have been described as rousing, rollicking, energetic and dynamic.

Have Gun, Will Travel’s Science from an Easy Chair is out now on white vinyl, CD & digital formats via This Is American Music.

Have Gun, Will Travel is:
Matt Burke – vocals, acoustic & electric guitars, banjo, keys
Daniel Burke – stand-up & electric bass, vocals
Scott Anderson – electric & lap steel guitars, vocals
Jean-Paul Beabien – drums, percussion, vocals

SCIENCE FROM AN EASY CHAIR TRACK LISTING:
1. By Endurance We Conquer
2. Spirit Of Discovery
3. True Believers
4. Surrounded By The Pack
5. Madhouse Promenade
6. Goodnight, Sweet Chariot
7. A Call To Arms
8. Good Old Shakespeare
9. Fortifying The James Caird
10. The Rescue Party
11. Despair & Redemption On Elephant Island
12. Bottom Of The World

TO ORDER HAVE GUN, WILL TRAVEL’S SCIENCE FROM AN EASY CHAIR:
https://hgwt.bandcamp.com

FOR MORE INFO ON HAVE GUN, WILL TRAVEL:
http://hgwtmusic.com
https://www.facebook.com/hgwtmusic

FOR MORE INFO ON THIS IS AMERICAN MUSIC:
http://thisisamericanmusic.com

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

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PRESS RELEASE FOR HAVE GUN, WILL TRAVEL’S PREVIOUS ALBUM FICTION, FACT OR FOLKTALE?

Bradenton, Florida’s Have Gun, Will Travel have a natural instinct for combining folk, pop, rock and classic country influences to create a sound all their own. “Their music has a great energy to it with infectious, sing-along choruses and refrains” remarked NPR’s Robin Hilton. American Songwriter called HGWT’s music “organic, infectious Americana Pop. Their music has a refreshing immediacy to it.”

Over the course of three acclaimed albums, hundreds of shows and copious populist-radio airplay, they’ve nurtured a tradition of inviting all manner of gifted musicians to join the fray. The group’s inclusive nature allows it to flesh out tunes that run the gamut from foot-stomping front-porch spirituals and evocative Texas swing to strum-punk rave-ups, hill-country historicals and more.

HGWT’s music has been featured in a national Chevy TV commercial; multiple episodes of the PBS series Roadtrip Nation; and an episode of CBS’s The Good Wife. Their previous albums have spent months on the CMJ Radio Top 200 chart. And their live performances have been described as rousing, rollicking, energetic and dynamic.

The band’s highly anticipated, fourth full-length album Fiction, Fact or Folktale? will be available September 10th on CD and digital formats through This Is American Music. The album was mixed by HGWT’s own Scott Anderson and mastered by Rodney Mills (Allman Brothers, Lynyrd Skynyrd, Drive-By Truckers).

CLICK HERE TO DOWNLOAD & SHARE HAVE GUN, WILL TRAVEL’S NEW SINGLE “STANDING AT THE END OF THE WORLD”

Turns out that music isn’t the only thing Have Gun, Will Travel are passionate about. The band recently partnered with Tampa’s award-winning Cigar City Brewing to create their own craft beer inspired by their unique tastes in both music and brew. Their High Road Ale (a pale ale with a hint of citrus, and named after their song “High Road” from their new album Fiction, Fact of Folktale?) recently won the National Grand Championship at the United States Beer Tasting Competition in the Pale Ale category. Not bad for a bunch of beer-loving musicians.

FICTION, FACT OR FOLKTALE? TRACK LISTING:

1. Standing at the End of the World

2. Trouble

3. High Road

4.The Places

5. The Show Must Go On

6. Another Fine Mess

7. Silver and the Age of Opulence

8. Finer Things

9. Fairweather

10. Take Me Home, Alice

FOR MORE INFO ON HAVE GUN, WILL TRAVEL:
https://www.facebook.com/hgwtmusic

FOR MORE INFO ON THIS IS AMERICAN MUSIC:
http://thisisamericanmusic.com

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

HAWK AND DOVE’S LATEST STUDIO ALBUM OUR CHILDHOOD HEROES DROPS JANUARY 18, 2019

Based out of Brooklyn, NY and making music for seven years, Hawk and Dove have been writing and touring and making community wherever they can. They have just finished their latest album, Our Childhood Heroes, that describes one man’s miracle cure adventure – to address his failing young [early onset Parkinson’s] brain, while also looking at our generational search for luxury and ease at the expense of other people’s further-away-lives.

Vocals, Guitar / Elijah Miller
Lead Guitar / John Kleber
Bass & other things / Joan Chew
Many other instruments / Many friends

Hawk and Dove’s Our Childhood Heroes will be available January 18, 2019 on vinyl, CD, digital and streaming formats.

OUR CHILDHOOD HEROES TRACK LISTING
1 Taxidermy Eden
2 Waste All the Time
3 A Medication List
4 American Triumph
5 RG 40
6 Golden Age Addiction
7 The Company You Keep
8 Smoke and Lungs
9 Fractions
10 India Oil
11 A Memory Made
12 Dreaming of Flying
13 For Jack

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FOR MORE INFO ON HAWK AND DOVE:
HawkAndDove.com

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

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Press announcement for Hawk and Dove’s previous album This Yesterday Will Never End…

Hailing from Brooklyn, NY, Hawk and Dove is an indie rock band whose calm-before-the-storm sound has been described as the “loudest quiet band you have ever heard” and “the psychedelic country David Bowie never wrote.” On their forthcoming debut album, This Yesterday Will Never End, the band mixes hauntingly beautiful ballads with thunderous stoner grooves to create a sound quite unlike anything else.

Though singer Elijah Miller and guitarist John Kleber met at summer camp when they were 13 years old, it wasn’t until they stumbled across each other 12 years later that they discovered their shared passion for music. Along with drummer AJ Sausville, and bass, keys and violin players Stephanie Sanders & Joan Chew, they’ve created a powerful sound that references multiple genres and histories of rock, Americana, psychedelia and indie music, yet, at the same time, it proves to be something altogether contemporary and unique.

After honing their material regularly in some of NYC’s most distinguished venues, Hawk and Dove have recently finished This Yesterday Will Never End, which was recorded and mixed by Max Hodes, who also contributed backing vocals. Truly a journey at 13 songs and over an hour in length, this record invites the listener to explore the middle place where we all reside. Elijah’s lyrics curl around memories shared and imagined as John’s angular guitar plays the shards of glass that simultaneously bind and repel us. All the while, the beautiful and surreal orchestral performances of Stephanie, Joan and AJ envelop the words with dynamic punches and strings of vibrant color.

With both the impressive success of their 2009 EP, Rocking Chair, and powerful, moving live performances, Hawk and Dove’s following has been steadily growing… something which should continue with the release of This Yesterday Will Never End and national tour they’ll be embarking on in the Spring of 2013 in support of it.

Hawk and Dove’s This Yesterday Will Never End will be released on CD and digitally on April 30, 2013 through Big Round Records. National tour dates to be announced soon.

CLICK HERE TO DOWNLOAD & SHARE HAWK AND DOVES’ NEW SINGLE “THINGS WE LOST SO FAR” FROM THIS YESTERDAY WILL NEVER END

THIS YESTERDAY WILL NEVER END TRACKLISTING:
1. Send Your Blood to War
2. A Song For Him
3. Muscle Breaks
4. Things We Lost So Far
5. Stain
6. Some Hotel
7. How She Became a Tree
8. Grey Parade
9. Electricity
10. The Space Between
11. River Girl
12. Boy on the Moon
13. Gunpowder Heart

FOR MORE INFO ON HAWK AND DOVE:
http://www.hawkanddoveband.com
https://www.facebook.com/hawkanddovenyc

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