Wednesday, June 30, 2010
Tuesday, June 29, 2010
Sunday, June 27, 2010
June 27, 2010
On June 15, the oddball pop-rockers in Devo released their first new studio album in 20 years. Something for Everybody finds the group exuding an energy and swagger reminiscent of its earliest efforts. The sound is of a 21st-century band — fresh and powerful, yet unmistakably Devo.
Devo’s bouncy, synth-driven music has been immortalized through its kitschy costumes, funny hats (formally referred to as “energy domes”) and hit single “Whip It.” But Devo has also crafted a huge body of work and a strong cult following.
The band was formed in Akron, Ohio, by Mark Mothersbaugh and Jerry Casale in 1972. The two met in the art department of nearby Kent State University, and were witness to the 1970 shootings there. Their school closed for nearly four months, and Mothersbaugh and Casale ended up passing the time writing music together.
“We were just trying to figure out what we were seeing in the world around us,” Mothersbaugh tells Weekend All Things Considered host Guy Raz. “And we came to the conclusion that we were observing not evolution, but de-volution.”
This inspired the name “Devo” — short for “de-evolution.”
High Art Meets Commercial Art
The space where high art intersects with commercial art has proved to be fertile ground for Mothersbaugh’s songwriting and composing. He says he wasn’t interested in what those commercialized sounds helped to sell, but rather how effectively the sounds influenced people’s minds.
“We had seen people get shot when we were in school, and we came to the opinion that rebellion and anarchy were obsolete, and the only way to change things in our culture was through subversion,” Mothersbaugh says.
Outside of Devo, Mothersbaugh has built up a reputation for composition, scoring Wes Anderson’s films, the Rugrats theme and the music to the videogame The Sims 2, just to name a few. He’s also had a recurring segment called “Mark’s Magic Pictures” on the popular Nick Jr. television show Yo Gabba Gabba!
Bandmate Casale had been nudging Mothersbaugh to work up new Devo material, and when an ad agency asked to license one of their older, oft-licensed songs, the band asked if the agency would be interested in something new. The result was “Watch Us Work It,” but before the tune made it into the commercial, the song was remixed by the Swedish band The Teddy Bears. Mothersbaugh says he was surprised and excited by how much Devo’s members liked the final product.
“It made us think, maybe it’s time for us to try it out again,” he says. “We’d never really enjoyed collaborating with people outside the band. Devo was always very insular and protective of our aesthetic, and all of a sudden, the idea of other people coming in and taking what we had always done and held as our very protected artwork — and bringing something to it that made us like it better — sounded very interesting to us.”
Something For Everybody
Devo employed a process called “corporate consensus building” for Something for Everybody, in which the band honed its final product using input from fans. The move both upends the traditional model for the music business and remains consistent with Devo’s subversive, sarcastic aesthetic.
“In an age where everyone feels that their opinion is important, we actually solicited opinions from fans and let them weigh in on what songs we would put on the record,” Mothersbaugh says.
Something for Everybody comes with an “88 percent focus-group approval sticker” on its cover; a 100 percent focus-group-approved version of the album has been released simultaneously. The band members also conducted “color studies,” in which they found that their fans preferred blue energy domes to red ones. In spite of the change, Mothersbaugh says he intends to keep wearing the multi-tiered hat.
“That’s what keeps us young. It’s like an orgone energy recycler,” he says — a shout out to a universal life force suggested in the 1930s by psychoanalyst Wilhelm Reich. “It’s made out of a very special material called PVC.”
Perhaps the most memorable focus group, Mothersbaugh says, was a listening party on the day of the album’s release. The audience? Twenty cats.
“There were various reactions to the songs,” Mothersbaugh says. “We had some professionals that do the measuring of the reactions of the cats — I don’t know if it has all been processed yet, but I’m sure what we’re going to find out is more information from that. We could have the feline-approved version of the album.”
Wednesday, June 23, 2010
GENERAL STANLEY MCCHRYSTAL
LIMON CO (IFS) - Speaking with Novelist Barbara Louise Holmes about General Stanley McChrystal's Situation, she had this to say, ". . .McChrystal's no fool, and there has to be a good reason for his name calling, and I would not be a bit surprised if there would be a political agenda to his words. Holmes places him among one of the "brightest" generals in the history of the United States, and as such, this error in judgement was done for a reason. Holmes, whose father was a naval officer during World War II, who saw duty in the Pacific theater of operations, gives her an understanding of the military mindset, as with her own years of service in the military, especially in the legal departments, she understands the responsibility of command of what can and can not be said between the civilian and the military side."
Holmes, starts off the conversation, like this . . ." A Hole of His Own Making - is the cry among the military leaders. McChrystal wanted away out of the box, and to establish himself as 2012 elections as a true leader, as he has worked for the administration, and they did not listen. So Tea Partiers, this is your moment in history, a handsome young white man, four star general, with a voice of defiance for authority, and a true leader for the party, I give you 2012 Presidential Candidate Stanley McChrystal" - this June 23, 2010, Barbara Louise Holmes.
By Steve Clemons - June 22, 2010, 9:40AM
Barack Obama has an easy choice to make: fire a general who has established a culture of insubordination and indifference toward civilian leaders and partners in government or defer yet again to a general who acquires power like medals every time he outwits or outmaneuvers the White House.
General Stanley McChrystal went over clear lines in the debate about the surge into Afghanistan with freelance comments he made in London. Recently, McChrystal stated that the move into Kandahar would slow and threw into doubt confidence in a July 2011 drawdown start date. He didn't consult with anyone before a public redesign of US strategy.
And now in this Rolling Stone report, "The Runaway General" (pdf), McChrystal and his team are reported ridiculing Joe Biden, Richard Holbrooke, Jim Jones, just about everyone not in their groove on strategy.
McChrystal has gone over too many lines.
Obama needs to fire him. If he doesn't, McChrystal's brand will be validated and the environment of insubordination and unprofessional conduct will be reinforced.
If McChrystal survives his White House encounter, then Obama will be diminished.
That is what this has come to.
-- Steve Clemons directs the American Strategy Program at the New America Foundation, publishes the popular political blog, The Washington Note, and is editor-at-large at Talking Points Memo
POSTED BY SDC OMNIMEDIA GROUP AT 11:48 AM
LABELS: GENERAL STANLEY MCCHRYSTAL, POWER IS RELATIVE: RUNAWAY GENERAL STANLEY MCCHRYSTAL HAS TO GO
TUESDAY, JUNE 22, 2010
Tuesday, June 22, 2010
LIMON CO (IFS) - SDC OmnMedia Group's newest flaggship powerhouse internet radio station, SDC RadioMIXX One. It has been a dream of mine to have just an old fashion radioMIXX that plays the blues, jazz, urban, house, rap, gangsta, hip hop, house, soul, RnB and many others in one solid playlist. From time to time, we go way back into our musical roots and honor a founding mother or father of music from our digital vaults. We are still working out the "bugs", please bare with us. Thank you for your support and enjoy!
Monday, June 21, 2010
LIMON CO (IFS) - SDC OmniMedia Group readies launch of new "Radio Mixx" Urban Radio. It's called the "RadioMixx" dance music, clubing, party lights, including a dose of B.B. King, Bessie Smith, Robert Johnson, and many other great artists and the new R&B artists of today. When you get a chance to stop by, the address is: http://www.radionomy.com/EN/User/SDC+Radio+One -
Friday, June 18, 2010
Thursday, June 17, 2010
I’m Jake, a typical teenager from Texas who’d love to go places and see the world.
I love to sing, act, play guitar and dance hip hop. I sing pop, rock, southern rock and country.
I grew up with music and playing guitar. I listened to anybody and everybody and enjoy it all. I've been really lucky and have got to meet Jesse McCartney, Mason Musso, Trace Cyrus, Boys Like Girls, Corbin Bleu, Keke Palmer, Dylan and Cole Sprouse, Malcolm Kelly, Deborah Gibson, and Howie D. Still many more I want to meet - I'd like to meet Justin Timberlake and NeYo.
I have experience in performing in numerous festivals, films, commercials, music videos, theatre, and as a hip hop dancer for Planet Funk. I just finished performing on the main stage at the Houston Children's Festival this year right before Keke Palmer and had an awesome time. I was one of only two solo artists on the main stage this year. I have six original songs on iTunes now or coming this summer.
Although this career is never easy with its ups and downs, the time that I get to be on stage is worth it all.
Ck me out on iTunes, Facebook, Myspace, Youtube, Plaxo, and Twitter: Jake_Rocks
Six Flags over Texas –July 23rd
Houston Children's Festival - Mainstage
Cabela’s 2009 KidsFest
Ms. Woodland's Beauty Pagaent (Opening Entertainment)
Splendora Founder's Day Beauty Pageant and Talent Show (Opening Entertainment)
East Montgomery Rodeo Benefit
Woodland's Children Festival
Woodland's Arbor Day Celebration - Main Act
Entertainment Arts Project/Tom McKinney Vocal Studios
Crunch, Houston Hobby Centre
The Edge, The Wortham
Electric Youth – LA
Texas Sawmill Festival
Fair Park Fourth of July Celebration
Progression Magazin Nr. 58 (Fall 2009)
eloah - Ode To Brother Horn
2008 (CD, 69:48);INDEPENDENT RELEASE
STYLE: PROGRESSIVE/NEW AGE
SOUND 4|COMPOSITION 3|MUSICIANSHIP 4|PERFORMANCE 3
TOTAL RATING 14 (of 16)
Mining the same musical territroy as Stomu Yamashta and Jade Warrior, Austrian artist-musician Elmar C. Fuchs is a new age master with a progressive-rock sensibility. Over the past 25 years, Fuchs (Eloah) has produced a handful of evocative releases merging Eastern and Western music in ways that suggest a kind of Transcendental Meditation. His latest offering, Ode To Brother Horn, is no exception.
Standout tracks a la "Paradise Lost" and "Listen To Your Soul" layer shimmering acoustic guitar flourishes over fluid piano, flute and synthesizer blends. The harder-rocking "Human Legacy" features a strong vocal performance and driving beat, yet maintains Fuchs' restrained, cathartic approach. The only real quibble here is Fuchs' limited vocal range. But he compensates by treating the singing - sometimes whispered, shouted, growled or spoken - to enhance his voice's depth and variety. In the end, the overall affect is nothing short of enchanting. - Nick Tate
muziekreviews.com Nov. 8 2009
eloah - Ode To Brother Horn
Austrian musician Eloah dedicates his latest album to his late mentor and soul brother Jörg Horner, known affectionately as “Brother Horn.” The album is a collection of beautiful and rather haunting songs sprinkled with Eloah’s low bass voice floating above lush melodies and classic rock elements.
The second song off the record, “Paradise Lost” sounds like a melancholy hit with its sad yet poetic lyrics and stellar guitar arrangements while “Chjong Nadah Boo” introduces crashing drums and effervesant vocalizations that juxtapose Eloah’s soft singing only to then re-establish dominance throughout the chorus.
“Iron Lady” begins with such an enticing melody that it seems a shame that the artist takes the song in a different direction. So different in fact, that it ends up sounding like a mash up between death metal and acoustic rock acompanied by his dark and heavy vocalizations. “You Have Never Been Mine” on the other hand sounds strangely familiar to the Beatles except for injections of a gravely voice repeating “never ever” during the chorus.
Elsewhere, “Hymn to Brother Horn” is an instrumental track filled with electronic melodies fueled by heavy rock infleunces and “Eloah (A Dirge for Brother Horn)” is a soft piano ballad. To display his diverse use of instrumentation and elements, “Listen to Your Soul” is alike a Simon and Garfunkel tune mixed with jazz saxaphones and metal guitars. The result is catchy and engaging, a feat that is hard to pull off with such clarity and harmony.
The latter end of the record has a definite soft, melodic sound with Eloah singing in a hushed tone amongst seductive jazz saxaphone elements and guitar strumming like on the swaying “What You Mean To Me” and the equally mellow “Eyes Like a Lioness.” As a whole, Ode to Brother Horn is an enjoyable and innovative album that melds several distinct genres and sounds together. The only detractors to the album’s listenability are the handful of rather long tracks that would have worked better if they had been shortened, rather than adding on musical trains to finish.
Rukshan Thenuwara – MuzikReviews.com Staff
New Music Spotlight April 2009 Edition
Isaac Davis Jr., MBA (http://www.juniorscave.com/eloah.html)
Are you ready to take a musical journey that will have you captivated and mesmerized from the very beginning? Are you ready to open your mind to something new that will broaden your horizon on music? If you answered yes to these questions, then I present to you an artist community with many members collectively known as eloah. With a fusion of many different genres including New Age, Ambient, and Rock, their sound is successfully unique. One of the members behind eloah, Elmar, recently spoke to me in this in-depth and enlightened interview with our Webzine. Enjoy!
Isaac: How do you sum up 2008 for eloah?
Elmar of eloah: 2008 was an excellent year for eloah. After more about 3 years in the studio, I managed to complete our latest project: The recording of the (official) "first" album "Ode To Brother Horn" which was originally recorded in 1995 on a CD-R (which was brand new for us at that time). However, since the few copies of that era were sold quickly - and the live repertoire always contained two highlights of this CD, paradise lost and iron lady, the decision to present these songs (and all the others on this album) in decent quality also on a disc finally lead to a product we are proud of: "Ode to Brother Horn". There is also a very sad reason which encouraged me to make this CD extraordinary: My best friend Jörg Horner ("brother horn") unexpectedly died in 2004 - so I dedicate this album to his memory - and especially to his widow and his daughter.
Isaac: Expound a little about growing up in Leeuwarden, Netherlands.
Elmar of eloah: Well, actually I grew up in Klagenfurt, Austria, a small city with about 85,000 inhabitants (at that time) until the age of 14, when my parents moved to a neighboring village with only 3,000 inhabitants. I never really felt well there - it was too quiet, and I continued to see my friends back in Klagenfurt until the age of 19. Then I moved to Graz, another Austrian city with about 250,000 inhabitants, were I completed my studies - and lived until last September. It was in Graz were eloah was founded, where I met most of my fellow musicians and where we played most of our concerts. Actually, the CD "Ode To Brother Horn" is the last product of that era.
Isaac: Describe the music scene in Leeuwarden, Netherlands.
Elmar of eloah: Well, since I live there since last September, it is a little bit difficult to do. But there is one thing I found out: Although Leewarden is not really big (about 100,000 inhabitants); there are lots of small live rock/metal/alternative concerts - something I really enjoy. Unfortunately, since no fellow musician moved with me to the Netherlands, we had no possibility to play live here.
Isaac: What do you feel was your biggest accomplishment for 2008?
Elmar of eloah: That is, as I described in the sum-up for 2008, the production of the "Ode To Brother Horn" CD.
Isaac: Elaborate a little about whom were your biggest influences in the music industry and why?
Elmar of eloah: Here I can only speak for myself, not for my fellow musicians. This is important, because although I am responsible for composition and arrangement of the music, my colleagues are more or less completely free concerning their contribution - thus one might easily hear influences in eloah music which stem from one of my fellow musicians. For me, the influences seem quite dispersed: On one hand, I really love the Dutch singer Herman Van Veen, or the German singer Reinhard Mey. However, I am also a big fan of classic metal like Iron Maiden, Savatage, Manowar, Virgin Steele, Testament or - of course - old Metallica. Then, my favorite classical composer is Dimitri Shostakovich - the first Cello Concert, the 8th Symphony or the 8th String Quartet are my favorites. I have sometimes heard that eloah sounds a little like King Crimson. However, although I have been curious how this band sounds like, I do not consciously know any song of them. Perhaps I should buy an album one day.
Isaac: Let's talk about what you feel you will bring to the music industry?
Elmar of eloah: Details. And heart. Some of our fans say that they like eloah because it is heart blood music. When listening to new acts, I sometimes miss the heart of the music - or its balls, how my old friend and guitarist Peter Jaklitsch would put it.
Isaac: If you had an opportunity to work with one artist or group, who would it be and why?
Elmar of eloah: I would like to work with Herman van Veen - I admire his singing and violin playing skills, I adore his humor - and I think it would be fun.
Isaac: How would you describe your music to others?
Elmar of eloah: Singer/Songwriter music with rock, new age, metal and rare jazz elements.
Isaac: What is your definition for New Age/Ambient Music?
Elmar of eloah: Listening to broad synthesizer waves with birds or whales singing, music to relax, meditate - or to simply fall asleep.
Isaac: What type of feedback have you received from your previous releases?
Elmar of eloah: We received some nice reviews from the local street paper "Megaphon" in Graz for "the end of wisdom - a musitale" as well as for "Mondstein" and "mondstein 2 - ample jazz". The Dutch reporter Holly Moors wrote an equally nice review about "silicon rhythm" in her on- line magazine.
Isaac: What has been the inspiration behind your CD Ode To Brother Horn released in 2008?
Elmar of eloah: Oh, I summed that up as well in the first answer. Originally, I recorded this CD for "brother horn" (Jörg Horner) who was my musical mentor when I was a teenager - and my best friend. His sudden death in 2004, just after the idea of a new recording of this CD was born, turned it into something more serious for me then - a testimony for a great friend, who will live forever - in my heart.
Isaac: What can fans expect from your latest CD, you are working on currently? What is the inspiration behind the CD?
Elmar of eloah: In my never ending endeavor to expand the eloah diversity of style whilst sticking to its leitmotif, I am currently working on a project together with a electronic/DJ artist - next to a acoustic project with guitar, contrabass and voice only. In both cases, and mainly in the last one, fans will find typical eloah topics and melodies.
Isaac: Where can fans locate you at online?
Elmar of eloah: Fans can locate eloah at the official homepage, http://www.eloah.at, or at the eloah MySpace site, http://www.myspace.com/eloahmusic. A nice overview over all CDs is give at the eloah CD baby site, http://www.cdbaby.com/all/eloah - and on many more pages, most of which the official site links to.
Isaac: What can fans expect from eloah in 2009?
Elmar of eloah: In 2009, we have a few major projects: One is the production of two video clips (for "paradise lost" and "iron lady"), the shooting for which is already progressing; and secondly, the start of the guitar / contrabass project. And, of course, if the distance to my friends in Graz can somehow be overcome, some live shows.
Isaac: Time for some shout outs to your family, friends, and fans
Elmar of eloah: First, I would like to thank my fiancée Astrid for her kind support - and patience - during all the recording sessions in the past years. Then, of course, all my friends an supporters, most of all Michael Lukas, who has been enthusiastically and wonderfully contributing to the almost all CD projects - and Peter, Karin, Vladimir, Hoimar, Speedy, Roman, Maex... without you and your wonderful musical abilities, eloah would not have been possible. I send love to my parents, my sister and the rest of my family, and to my friends at Shindokan Dojo for their continuous support. And, last but not least, a big hug to all our fans.
Isaac: Final words from eloah…
Elmar of eloah: It has become a fashion today for musicians to point out that you do not make music for money, but for - well, here the big bands differ - the fans, the art, whatever. It is easy to say that when you are a well known artist and sell hundredths of thousands of CDs. After a history of 13 years where eloah certainly spent more in our great passion than we might ever earn with it, I think it is safe to say that money never was or will be our driving force. We are in the happy position of living good lives with good jobs we like. But we won't make music just to fulfill the wishes of anybody either. We like to express ourselves through music. The way we conceive our feelings and dreams. You are welcome to join.
"Ode to Brother Horn" Reviewed by RadioIndy.com
Chris & the RadioIndy.com Reviewer Team
“Ode to Brother Horn” is a great new age/progressive album from Austrian musician Eloah fueled by poetic lyrics and excellent guitar and piano work. This is an inspired album, a grouping of songs from the early ‘90s that Eloah presented to his then-mentor Jörg Horner (Brother Horn) whose memory this album is dedicated to. Eloah’s arrangements are truly exceptional, ranging from new age tracks with flute and saxophone to beautiful piano ballads to outstanding acoustic and electric rock compositions to riff-driven hard rock. Eloah’s vocal performance has variety to it, but it is ever-haunting, whether he sings in his natural deep bass or in a quiet near-whisper. “Ode to Brother Horn” is well-produced, and the entire album sounds clean and professional. “Paradise Lost” features some great acoustic work, a nice drum beat, and a chilling vocal performance. “You Have Never Been Mine” has a great arrangement that begins with a nice acoustic guitar and drum progression, and is then matched by electric guitar and piano. “The Human Legacy” has a more progressive hard rock sound with heavy guitar riffs, a nice beat, and haunting vocals. Eloah has put together an album that would make Brother Horn proud, filled with skillful arrangements and poetic lyrics. Fans of new age and progressive rock should definitely pick this one up.
-Chris & the RadioIndy.com Reviewer Team
"silicon rhythm." Reviewed by Holly Moors (in Dutch)
Holly Moors, moorsmagazine.com
Veel muziek kun je altijd wel draaien, maar er zijn uitzonderingen. Voor iemand als Dylan moet ik echt in de stemming zijn, en andere muziek kan ik alleen draaien als ik een uitstekend humeur heb en het niet te druk is. De muziek van de Oostenrijkse Eloah is zulke muziek. Zit ik niet goed in mijn vel, dan kan ik hier ontzettend sjagrijnig van worden. Maar voel ik me prima, dan kan ik genieten van alle kwaliteiten die deze muziek heeft.
Het is ietwat onclassificeerbare muziek die je op Silicon Rhythm hoort. Soms is het pure hardrock inclusief vervormde rauwe stem, soms is het jazzrock, en op andere momenten hoor je vrolijke pop. Nou ja, vrolijk. Zelfs bij het vrolijkste deuntje weet Eloah de muziek enigszins onheilspellend te laten klinken. Er is steeds een verontrustende ondertoon. Wat dat betreft weet het hoesje de sfeer die de muziek uitstraalt wel goed te benaderen.
Maar Eloah schrijft goede liedjes (hij zingt overigens het allergrootste deel in het Engels), en arrangeert zijn muziek fraai, waardoor je ook na een aantal draaibeurten nog nieuwe details hoort. Verontrustend en goed dus. Niet voor elk moment en niet voor iedereen, maar het blijft een intrigerend avantgardistisch album.
"the end of wisdom" Reviewed by the Megaphon Magazine (in German)
Es gibt da einen lustigen Satz in "The End of Wisdom. A Musitale", der Musical-Produktion von Eloah - manische MusikliebhaberInnen rund um den Grazer Elmar Fuchs: "Look for God with your internet search machine!" Eben: Ende der Weisheit. Auch sonst hat "The End of Wisdom" Qualitäten, die kommerzielle Musicalproduktionen nur unter Einsatz von Millionenbudgets realisieren: eine prägnante Story - Held will Welt verbessern, stirbt. -, eine gehörige Portion Romantik und nicht immer perfekt sitzende Stimmen. Auch wir sind geneigt zu glauben: "For one day the dreamers will win" Info / Bestellung: www.eloah-art.net
"Mondstein / Mondstein 2 - ample jazz" Reviewed by the Megaphon Magazine (in German)
Keinen Vergleich scheuen muss "Mondstein 2. Ample Jazz", die neue Produktion aus dem Umkreis des eigenwilligen Eloah-Do-it-yourself-Kollektivs. Und das aus dem einfachen Grund, weil sich auch diese Platte, ähnlich dem Musical-Vorgänger "The End of Wisdom" sowie das 2002 aufgenommene Album "Mondstein" mit zehn Low-Fi-Suiten in keinem bekannten Referenzsystem befindet. Ein vermutlich freier Strom von Flöten, Piano, Schlag- und Mundwerk. Unglaublich! Info: www.eloah-art.net
Taking influence from artists such as Tori Amos and Damien Rice, Hattie has a voice and a sound that leaves one instantly enamoured. Described as the 'Richard Curtis of songwriting', Rom-Com songs are Hattie's domain. Touching on subjects as diverse as biblical battles and Cupid’s choice of underwear, she appeals to the Bridget Jones in all of us. Hattie writes straight from the heart with poignant and funny, often quirky, lyrics and without pretension.
Hattie Snook's EP "Bon Appetit" is distributed digitally through Universal and Genepool and can be downloaded everywhere from iTunes to Amazon, Spotify, Play.com, 7 digital and more.
The CD has be purchased online at www.rannrecords.co.uk
"This is some of the sweetest, soul inspiring, and nourishing lyrics coming through an angelic voice that I have heard in a long time. I look forword to hearing more from this rising star" - Editor, Music Arts Monthly Magazine.
Matthew Crowley is one of those people who is talented in so many areas it almost seems unfair to the rest of us.
He is a producer, writer, performer and musician and, having worked with scores of different artists in destinations across the globe, he has started doing things for himself. The result is an eponymous debut album whose excellence is likely to take the musical world by storm.
The album presents 15 tracks of beautifully crafted rock, pop, electronica and dance. Crowley’s masterful production weaves all these elements together in a way that not only sounds great, but also fits together as a complete record.
Following in the footsteps of masters of the art of production like Trevor Horn, Daniel Lanois and Brian Eno, Crowley uses texture to create memorable, detailed, rich soundscapes on every one of the tunes on his album.
He skillfully combines some of the best elements of classic rock, soul and Motown with the technical trickery of modern pop production to create a truly unique sound.
But the quality of this record should come as no surprise. Because although Crowley may only just be releasing his first record, his experience and depth as a producer more than shines through.
He has produced and engineered for myriad artists across the entire musical spectrum, all of which experience informs, influences and enriches the music he makes now. He has worked in four continents with artists of the calibre of Terry Callier, Nina Simone, Elvis Costello, Harry Gregson-Williams, John Timperly and Peven Everett – all heavyweight names in their fields.
To say that Crowley is a producer with pedigree is a huge understatement.
But this record proves he is also a massively talented musician and gifted songwriter. He may say that making the record acted as a kind of catharsis for him, but one listen and you know that his is a sound that will reach out to millions.
Matthew Crowley may have taken a few years to make a record of his own material, but the world is sure going to be glad he did. And soon.
‘Matthew Crowley’ is available to buy now (www.matthewcrowley.com, Cdbaby, iTunes, Digstation).
Americana music pioneer Andy May is a deep-rooted songwriter and singer, an exceptional guitarist and mandolinist, a master of many traditional American musical styles, and an upbeat country rocker. Through the years he’s played venues from honky-tonks to Carnegie Hall. His wealth of life experience enriches his writing, and his optimistic nature shapes his work.
Andy dishes up comfort food for the soul with Cafe' Americana. Containing 14 new original songs, many co-written with his wife, Lauren, Cafe' Americana continues Andy's tradition of CDs packed with great songs that have depth, heart, and humor and are presented with excellent musicianship and beautiful, clean production. Solidly Americana, this CD lays out a smorgasbord of country, bluegrass, and folk-flavored acoustic treats cooked up and served by a seasoned performer and his five-star band.
Andy May is an awesome performer… He’s been around for years, but he’s as fresh as today. –WSM Opry Star Spotlight, Nashville, TN
Andy May’s grasp of what makes good listening is impeccable. His warm and mellow voice invites the listener to relax and let the music move around the edges of consciousness. He ...cuts to the heart of a concept and brings it to life in song. With samplings of bluegrass, country, folk and acoustic swing styles that evoke many nuances of emotion, [Cafe' Americana] is a great album for any collection. –The Walnut Valley Occasional (Winfield, KS)
1. It’s A Brand New Day--A May (Swift River Music/BMI)
2. Old Pain-- L May, A May (Swift River Music/BMI)
3. Somewhere Else-- A May (Swift River Music/BMI)
4. No Alcoholic Dogs (or Beverages Allowed-- A May (Swift River Music/BMI)
5. If She’d Never Been to Boulder-- L May, A May (Swift River Music/BMI)
6. Comin’ ‘Round-- L May, A May (Swift River Music/BMI)
7. Lord, I’m Gonna Find A Way-- A May (Swift River Music/BMI)
8. Rainbow-- L May, A May (Swift River Music/BMI)
9. Little Evangeline-- L May, A May (Swift River Music/BMI)
10. Umbrella-- A May (Swift River Music/BMI)
11. I Want to See My Master Smiling-- A May (Swift River Music/BMI)
12. Love Starts Here-- A May, L May (Swift River Music/BMI)
13. I Like to Be With You-- A May (Swift River Music/BMI)
14. Diamond in the Dew-- L May, A May (Swift River Music/BMI)
Reviews of Earlier Andy May CDs:
Blackberry Jam: I thoroughly enjoyed this fine CD. The music is all original, well written, and fresh. Andy's vocals are clear and clean and he is an excellent guitar player as well. ... Blackberry Jam is compelling, fresh music.... Fans of acoustic music... will enjoy this CD. –Bluegrass Now
Dance of Life—A Mandolin Celebration: A Beautiful, timeless sound. …The musicianship is high, the original works strong and …[Dance of Life] is really a lot of fun. –Bluegrass Unlimited
PO Box 231 • Gladeville, Tennessee 37071• (615) 453-0952
andymay.com • swiftrivermusic.com • email@example.com
City Keepers is the eagerly anticipated new release from singer-songwriter, Kim Dellavedova. The quality of Dellavedova’s songwriting on the record is formidable, not afraid to employ a killer riff, her stripped back songs are punchy and have choruses that want to be sung.
Kim has been captivating audiences with this collection of songs live, performing with 60’s tone-master guitarist/producer Scott Wilson, delivering her take on classic country/soul, swampy blues, to songs with refreshingly cheeky, upbeat pop/rock grooves.
While the strength of Dellavedova’s songwriting on this album is outstanding, the performances and recordings are stunning. The album has already been described as one of Australias finest collections of folk/country music.
Sunday, June 13, 2010
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