Norma O’Hara Murphy – Sweet Love

 

I Won't Cry Lookin' for Love Sarah's Memory My Dreams Blood Red Rose Sweet Love After All These Years Love and All That Stuff Big City Hotel Do You Ever Darlin' Billy Face in the Crowd Rumours Sorry If I'm Dancing Too Close I'd Say I Love You

SWEET LOVE – my life is in this album

The pain & the passion we all feel through our lives! our highs & our lows all here in this collection of songs from the last thirty years! I know you will all relate to this collection- my life is in this album. Award winners but also my favourites, my memories, my special moments- inspired by friends, and it is all here for you all !  My old songs, recorded years ago-1986 -way back when ,  my new songs -recorded this year 2017- my past & my future I share with you all!  Luv Norma XX

Part of our history- Caswell & I were finalists with-our duet- Sorry if I’m Dancing Too Close!  way back in 1987- seems like a lifetime ago- still a great song! thanks Al!

Barbara Scott – Fountain Of The Used-To-Be

“If you love a song, carry it along.” This tenet of Barbara Scott is responsible for this collection of songs. Though a North Carolinian by birth, Barbara is what one might call a Citizen of the World having lived in such far-flung places as Africa, Spain, and England beginning in the late 1970s before returning to North Carolina in the early 1990s. After such a diverse life’s exposure, the songs that Barbara has carried along, perhaps surprisingly, are solidly in the classic Anglo-American tradition.

Fountain Of The Used-To-Be New Patches Far Side Banks Of Jordan My Flower My Companion Coal Miner Blues Fifty Miles Of Elbow Room On The Sunny Side Of The Street Angel Band George Collins The Soldier And The Lady By And By I'm Going To See The King Drink To Fair Annie

One source was the record collection of Peggy Seeger and Ewan MacColl during the year she was an apprentice singer and roadie for the two while in London. “Bye And Bye” and the bluesy tribute to the hard working “Coal Miner” come from that association. Most of the songs convey the classic themes of death, transition, and loss. These themes are expressed in songs such as “Angel Band” with its campfire choir feel; The Carter Family’s “Fifty Miles of Elbow Room”; and the beautiful and poignant “My Flower My Companion” — included here in remembrance of Barbara’s English friend Fiona Cameron who introduced her to the song. “I understand them better than I did when I first learned them,” says Barbara, “and these are all songs I love.” One intentional exception to the songs of loss is “Sunny Side Of The Street” — a swinging 1930s number that celebrates being happy — perhaps created originally as an antidote to the economic devastation of the Great Depression. Elizabeth Baker is the female harmony voice where you hear it, and clawhammer banjo picker on “Fifty Miles…” The two women s voices blend exceptionally well owing to Barbara’s gift of a youthful voice and Elizabeth s vibrant, razor sharp tune sense. Barbara is no stranger to recording for Patuxent Records. She participated in Donnie Dobro Scott s 2000 release Generations, and The Scott Family Band album The Great Divide in 2006. Donnie is a significant part of this project, too, playing much of the guitar, all the dobro, and providing harmony vocals. Fiddle is by the talented Merl Johnson. Tom Mindte provides mandolin, resophonic tenor guitar, and harmony vocals, and long time accompanist Fred Mock contributes bass throughout. There are two originals in the collection — “Fountain of the Used To Be,” here highlighting Taylor Baker s remarkable ability on the mandolin, has been waiting for its debut since Barbara wrote it in 1997. “Drink to Fair Annie” began with a tune that Donnie was toying with to which Barbara added her western themed lyrics. The result sounds like it was penned at the turn of the 20th century. While it is Barbara’s wish that her children and grandchildren might become smitten with her kind of music, it is likely many more listeners will fall in love with these remarkable songs, and carry them along, too.

Lesley Kernochan – A Calm Sun

Housing a collective of influences ranging over rock’n’roll, R&B, folk, country and blues, the Americana scene has always been respected for its amalgam of sounds. Like any genre that finds its way into the mainstream, its influences have only widened and the internal makeup of Americana has broadened as a result. Much like the characteristic spirit of the country it represents, it’s become more of a melting pot as time has gone by.

A Face In The Mountain Old Fisherman's Song Song For Elijah Loving Family Wherever I Go The Chocolate Tree Love Is A Verb The Universe Blown Away A Calm Sun Tumbleweed Hurricane Eye Country In The City Les Petits Mondes Sont Partout

Lesley Kernochan proves as much, bringing listeners into a French café on the warm and sprightly “Les petit mondes sont partous”. The opener on her latest record, A Calm Sun, it encapsulates the laidback vibe of the collective work in a singular track. However, on the rest of the record, she effortlessly incorporates traditional elements of Americana into her works alongside more soulful influences. She casts herself in a place delicately between the soundscape of Kacey Musgraves and Norah Jones—studied and soft-spoken, yet rollicking. Altogether, Kernochan makes a compelling case on her national debut.

The Early Mays – Chase The Sun

Chase The Sun features the trio’s signature three-part harmonies and first rate instrumental arrangements grounded in old-time styles, on songs that range from traditional to modern in style, from contemplative to barn raising in spirit.

Say-O Jeff Sturgeon Chase the Sun I Am a Girl of Constant Sorrow Amelia Adieu False Heart Oh Babe, It Ain't No Lie Martin's Breakdown Borough of Claysville Little Pink Narrows of the Year Evergreen

With masterful songwriting and a sweet old-time sound, The Early Mays burst on to the scene with a #2 debut on the National Folk-DJ Charts in 2014. Watertight three part vocals won these women a loyal following in Pennsylvania and West Virginia, and their growth as a band has carried them to the national arena with a 1st place win at the Appalachian String Band Festival in 2016 and a feature performance on NPR’s Mountain Stage in 2017.

Hang Rounders – Outta Beer, Outta Here

Album Notes

With Johno Leeroy Roberts (vocals, banjo) it always goes back home to Tennessee. Specifically Nashville, and specifically The Bomb Shelter studio where the best (and most patient) engineers, who also did the boys’ first record, would welcome them back into their analog wonderland for round number two. Returning to the production team was Andrija Tokic (Alabama Shakes, The Deslondes, Benjamin Booker, Hurray for the Riff Raff, Langhorne Slim) and newcomer Ed “Man” DuQuesne (of Clear Plastic Masks fame), both splitting the duties of taking Johno’s songs and running them through tape, tape machines, echo chambers, dirty amps, and swirling speakers. The band, featuring Curtis Wallach on guitar, Matthew Lilley on bass, Dan Feely on drums, and Ty Breuer on steel, feels more accomplished and tight, but careful to be just careless enough to not sound too polished. Nashvillian household names (Natural Child, Birdcloud, Clear Plastic Masks, Thunderbitch, Lost Dog Street Band, Chrome Pony) all came through the studio and supplemented the record with some Tennessee loving before passing it off to be mastered by John Baldwin (Merle Haggard, Kris Kristofferson, Emmylou Harris, Sly Stone).

Dixie (When I Die) Crickets Dragon Dog All In Bank Levy Blues Bottle Wild Wyoming Burnt Bridges

Enough namechecking, though. Remove the gritty experimental production and the band’s new chops and you get what you came for: the words and melodies of Johno Boberts. Throughout the record, Johno reminds us about his love of the country/disdain for the city (“Burnt Bridges”), tumultuous relationship with liquor (“Bottle”), and the best way to pass the time in Grand Rapids (which is on acid; see “Dragon Dog”). “Wyoming” follows the band on the road, Colorado-bound, where “Crickets” can be found. Family, both the light and dark parts of it, are explored, first with a celebration of his daughter in “Wild” and its counterpart “McCrory Lane,” a bitter symphonic ode to a visit with his pa’s tombstone.

Add in some more collaboration from the band (bridges, outros, a few other surprises) and what you get is a dance record. From the Randy Newman-esque saloon piano of “All In,” to the fast as shit two-stepper “Bank Levy Blues,” Outta Beer, Outta Here is a record you can drink in on your feet in the PM, and in the AM learn about the realities of being Johno, as he lives out “those old country songs” without any sense of phoniness.

Conway Twitty – Timeless

The tracks on this album, feature the unmistakable voice of Conway Twitty, and have never before been commercially available to the public until now. On May 24, 1972 Conway Twitty walked into Scotty Moore’s Music City Recorders at 821 19th Avenue South in Nashville, and after a brief rehearsal and sound level check, the tape rolled and he recorded the songs you hear on this album.

The 1972 session was produced and mixed by Scotty Moore whois best known as the guitarist who helped launch Elvis Presley’s career at Sun Records. The titles of many of these songs will be familiar to Conway Twitty fans, and these recordings reveal Twitty more laid-back and much more at ease than in the more precise atmosphere of the sessions that produced the commercial hits of these songs on his albums.

Next In Line Proud Mary If You Were Mine To Lose The Image Of Me Honky-Tonk Man 15 Years Ago Crazy Arms I Love You More Today I Can't See Me Without You Working Girl How Much More Can She Stand Hello Darlin' Track 2 [Lost Her Love] On Our Last Date

All of the recordings here have been enhanced and updated by Conway’s daughter Joni Twitty Ryles and John Wesley Ryles along with Grammy Award winning engineer Mark Capps, pianist Ron Oates, guitarist Kevin Williams, and guitarist Tony Durante, all adding beautiful musical touches in taking this album into the contemporary country music era.

The new update also features added background vocals by John Wesley Ryles, while still maintaining the original authentic sounds from Conway’s original guitar work, along with the piano playing of Hargus “Pig” Robbins, and Joe E. Lewis on the bass and Tomy “Pork Chop” Markham on the drums.

Kevin Anthony & G-Town – Jump the Fence

Take a little Peggy Sue, Cajun fiddle, jumping sawdust and mama
too for the latest release from Kevin Anthony and G-Town.
Jump the Fence is the 10th album from this South Texas boy born where the Gulf Coast waters flow, but he’s got a little French Cajun somewhere in him too.

Jole Blon (bonus track) Jambalaya (bonus track) Jump the Fence West Texas Wind Hello Trouble For Heaven's Sake Big Mamou Friends Takes Me Back to You Going Away Hey Hey Baby Evangeline Meet Me in the Valley Listen to Your Heart

Amy Westney – Love Shouldn’t Hurt [EP]

Love Shouldn’t Hurt is the debut EP from singer/songwriter Amy Westney. A collaborative effort, this record was recorded with some of the industries top session musicians in Nashville and recorded at an award-winning studio in the UK. It is music Amy is proud to call country and its already gaining traction on the scene with radio play on BBC and the UK’s only country music station Chris Country.

Don't Push Me Darlin' Numb Bad For Me Love Shouldn't Hurt Country Music

Boot Jack – Hotdog and More Goodies

I am a flat picking style guitar player, and I write some songs, hiring other players for my recordings. I am from Alberta,Canada.

Gone Rollin Home To You Whiskey Before Breakfast Fretboard Frolics Little Cabin Home On the Hill Blue Moon of Kentucky There's More Pretty Girls Than One Roll In My Sweet Baby's Arms A Fish and a Whistle Hotdog

Palmetto Blue – Looking Back Looking Ahead

Orange Blossom Special (Live) Two Little Boys Six White Horses Get in Line Brother Beaumont Rag Preaching Praying Singing Steel Rails Big Mon Little Girl in Tennessee Nashville Skyline Rag Old Camp Meeting Days I Will Wait Salt Creek I'll Stay Around

Album Notes

Palmetto Blue is a mostly traditional South Carolina bluegrass band, and is made up of South Carolina Folk Heritage Award Recipients Chris Boutwell and Ashley Carder, along with Shellie Davis, Steve Willis, and Ed Dalton. This album includes guests Ella Thomas, Marty Carrigg, Anna Davis, and Larry Klein. You will hear old fashioned harmonies, hard driving traditional songs, foot tapping banjo and fiddle numbers, guitar flatpicking, old time gospel numbers, and more. Palmetto Blue has been sharing bluegrass music with audiences all over South Carolina and the surrounding region for the past five years. Take a listen to their authentic brand of bluegrass music from the Palmetto State…

MEET SOUTH CAROLINA BLUEGRASS BAND PALMETTO BLUE’S BAND MEMBERS

	Chris Boutwell – Lead Vocals, Mandolin, and Guitar Chris has been singing and playing bluegrass music since the 1960s, and was a member of the band “High Country” from 1970 to 1976, when Chris earned a living as a professional bluegrass musician. High Country has been known as the premier bluegrass band on the west coast of the U.S. from the early 1970s onward. During his tenure as High Country’s lead vocalist, Chris recorded two albums with the band on Warner Brothers Records. After moving to South Carolina around 30 years ago, he has been a fixture on the bluegrass scene in the Palmetto State. Chris has played in numerous bands over the years, including High Country, Amick Junction, High Lonesome, Anna and Shellie Davis and the Unnamed Bluegrass Band, and the Claude Lucas Band. You’re sure to enjoy Chris’ smooth vocals. He is a walking encyclopedia of bluegrass knowledge, and you will be challenged to find another vocalist who knows the lyrics to as many songs as Chris does. Chris was selected as the 2014 Recipient of South Carolina’s Jean Laney Harris Folk Heritage Award for his contributions to preserving traditional bluegrass music. Chris is a founding member of Palmetto Blue.
	Shellie Davis – Bass and Vocals Shellie Davis is no stranger to the bluegrass music scene. She has been playing the bass and singing in bluegrass bands since she was 8 years old. Shellie played in the band Anna and Shellie Davis and the Unnamed Bluegrass Band, and made her first studio recordings when she was 10 years old. Shellie keeps a rock-solid beat, and can sing sweet harmonies and has her share of songs on which she sings lead vocals. Although Shellie is rooted in the time-proven bluegrass traditions, she also keeps us on our toes by bringing current songs to the band. She also encourages us to experiment with non-traditional material such as bluegrass takes of Beatles songs or working up a Mumford and Sons song. When she’s not playing the bass and singing with Palmetto Blue, Shellie spends her time as a student at Clemson University. She excelled in high school academics and extracurricular activities, and was the Student Body President and among the top students in her class. Even though she’s a full time college student these days, she still finds plenty of time to be an integral part of our band. Shellie is a founding member of Palmetto Blue, and we are proud to have her as a member of our band!
	Steve Willis – Banjo Steve Willis has been playing banjo since the mid 1970s. At age 15 he bought a $98 banjo from K-Mart, and was and was soon hanging out with Little Roy Lewis on Tuesday night tapings of their Lewis Family show on TV station WJBF in Augusta, Georgia, learning banjo licks from Little Roy. It wasn’t long before he had saved enough to get a better banjo. He was soon playing with Ed Hurt and the Cross Country Express, which included award winning fiddler George Pritchard. During his teenage years he played banjo for radio commercials and won several first place titles in banjo contests. He got to play banjo for Mac Wiseman on a show, and was joined on stage by banjo legend Don Reno for a few numbers. In his early 20s, raising a family took priority, and Steve put his banjo down for nearly 30 years. We are glad that he has picked it back up again! His solid style is deeply rooted in the Scruggs tradition. Steve is a founding member of Palmetto Blue.
	Ashley Carder – Fiddle Ashley has been playing bluegrass and old-time music for over 35 years and has played in various SC bluegrass bands including Bill Wells and the Blue Ridge Mountain Grass, High Lonesome, Anna & Shellie Davis & the Unnamed Bluegrass Band, Old Growth String Band, and The Blue Iguanas. Ashley’s style of fiddling is rooted in the old time and early bluegrass traditions. Ashley is a 2012 recipient of South Carolina’s Jean Laney Harris Folk Heritage Award, which was also awarded to his fiddling mentors, Homer “Pappy” Sherrill in 1988 and Vernon Riddle in 1999. Ashley is a founding member of Palmetto Blue
	Ed Dalton – Guitar and Vocals Ed Dalton has been playing the guitar since his childhood growing up in the Winston-Salem, NC area, where his dad would take him to bluegrass jam sessions. Ed grew up surrounded by bluegrass and old time music, where his dad played in bands with the likes of Joe Greene. Ed’s grandfather was also a fiddler. Ed contributes some fine flatpicking guitar and vocals to the group, and has won several guitar contests over the years. Since moving to South Carolina, he has been a fixture on the bluegrass scene and has played in several regional bands. Ed has been with us since January 2016, and we are proud to have Ed as the newest member of the Palmetto Blue family!

Tex Rubinowitz and Bob Newscaster – The Old Man Mississippi

St. James Infirmary Make A Deal With The Devil Brakeman's Blues Corrina Corrina Honky Tonk Masterpiece What's The Matter With The Mill The Sweetest Sound All Night Long Nelly-Bout Ready Dixiebilly Bop One Night Stand Trying To Get To You I Dreamed I Heard Buddy Bolden Pl Old Man Mississippi Be Bop A Lula Stole My Heart Blue Yodel Number Nine

Tex Rubinowitz and Bob Newscaster’s Original Dixieland Rocknroll Band (ODRB) presents a mix of American music from its eclectic origins in the Mississippi River Basin: traditional and original songs; Dixieland horns and rocknroll electric guitar; and a roots style that is familiar yet unique. This project has been in the works for at least two decades and is finally ready for its debut on Patuxent Records. Led by veteran performers/composers, supported by accomplished musicians, recorded by experienced audio engineers, we offer this music from the bottom of our broken hearts.

True Life Bluegrass – It’s A True Life

Like many Boston-area bands these days, True Life Bluegrass got our start at an event honoring Joe Val. Unlike some of the more recent area bands, though, True Life Bluegrass is composed of current, former, and charter board members of the Boston Bluegrass Union (BBU), the organization that produces the Joe Val Bluegrass Festival. In fact, our debut performance was at the very first event ever held to honor and support Joe, a fundraiser held shortly before he passed away in 1985. The core of the original band (Ellen, Steve, and Eric) has been together ever since, and Steve’s son Tony re-joined the band when he returned to Cambridge in 2010. Recently, we’ve also been fortunate to have the assistance of Laura Orshaw on fiddle and Michael Bean on resophonic guitar (aka dobro).

True Life Bluegrass has been a mainstay in the Boston-area bluegrass scene for over 30 years, and we are the longest-running band to play at the Cantab Lounge in Central Square in Cambridge on their Tuesday bluegrass nights. And though we played our first show in 1985, we have bluegrass roots in the Boston area that pre-date that show by nearly two decades. Steve Watt (banjo and mandolin) has been playing bluegrass in the Boston area since he moved to Cambridge in the mid-60’s. Eric Levenson (bass) has been playing in the area for nearly as long, most notably touring the world with Joe Val’s band, The New England Bluegrass Boys.

Boston’s lively acoustic music scene has allowed us to play with many of the most talented bluegrass musicians to spend time here, a number of whom honed their talents with us before going on to success in the wider bluegrass world. We have been honored to provide a nurturing environment for many up-and-coming musicians, and are proud to present our brand of traditional bluegrass to audiences and fellow musicians alike. Our music is steeped in the traditions of bluegrass, though we wander outside those traditions when we find newer songs that express the real experiences of ordinary people (as we call them, songs of true life).

Barefoot Nellie Grandpa's Mandolin Mary of the Wild Moor Cheyenne Congratulations, Anyway! I Heard the Bluebirds Sing He Took Your Place Cotton Mill Man The Rose Dixie Hoedown Land Where No Cabins Fall Hard Hearted Remember Me (When the Candlelights Are Gleaming) Good Ole Boys Like Me Back up and Push

Album Notes

After a mere 32 years of playing together, one of the most venerable bluegrass bands in the Boston area has released our first CD.

We’ve selected 15 of the songs that best represent our band in terms of vocal and instrumental variety; it’s music that we think, in the words of one of those songs, “makes the world a better place”. Mike Reese (of Chasing Blue) recorded and mixed the record. We are very excited and pleased to have the chance to capture the sound of the band performing some of our favorite songs from the past three decades, and are delighted to share it with everybody!

Howlin’ Brothers – Cannonball

The Howlin’ Brothers are a Nashville based string band composed of Ian Craft, JT Huskey and Jared Green.  Anchored in a bed of old-time blues and bluegrass, their upbeat shows are heavy with original and traditional music, featuring the sounds of slide banjo, harmonica and old-time fiddle.  Sounding like what would happen if a bunch of Appalachian punk rockers formed a jug-band, The Howlin’ Brothers play with a ferocious energy that drags you in and finds you boogieing along in spite of yourself.

Big Love The Waiting Thinking Bout A Woman Sweetnin' A Lie Love And Alcohol Vertigo Blues Half Way Home St. James Infirmary Make A Little Love Done Me Wrong Ashes To Ashes Cannonball

Fred Wickham – Mariosa Delta

Singer/songwriter/guitarist Fred Wickham is best known for his work with Hadacol, the popular Kansas City based quartet who released two critically acclaimed records and gained a national reputation for their ferocious live performances across the country. Wickham teamed up with old friends Richard Burgess, Sam Platt and Producer Lou Whitney to record his first solo release.

Big Fat Moon (Reprise No. 3) Shine on Me People Talk Big Fat Moon (Reprise No. 2) Wedding Song Wish You Were Here Tonight Rock Bottom Again Big Fat Moon (Reprise) Red Light Mariosa Delta, 1940 I Don't Have to Like It You Don't Need Me Big Fat Moon

Lars Pluto & The Reavers – The Remote Sessions

Honky Tonkabilly/ Country Rockabilly music.
Lars Pluto from Georgia has lived in Devon for 6 years met a English girl in New York City.
He is nominated for a BCMA Award.

There with Me Weaken Your Walk Cut Throat Kitty I Hate the Him I Still See in Me Don't Take Your Pretty Self Away How Long Will You Drive off All This Time

Joey McGee – Terlingua Taproot

The fourth independent release, this album is the Texas-based songwriter’s deeper dive into an Americana sound that is seasoned with classic country cadence, gritty rock, high-up-on-the-hill bluegrass, spicy zydeco, and the good ole gospel.

Long Road Home I Still Haven't Found What I'm Looking For Ain't Meant to Fly Stuck (In the Middle) Dark Night of the Soul I'm Gone Across the Jordan It's Alright Not the Best Honeybee

The spark of inspiration for Terlingua Taproot stems from conversations I had with a friend – a brassy artist-rancher type – who owns a place on the outskirts of Austin named Terlingua. He challenged some of my writing (something like “this sucks” was said), and that became the splash of cold water I needed at the time. We should all be so blessed to have such an honest friend!

The themes of Terlingua are laden with the paradoxical stuff of life, and I’ convinced that one of our purposes is learning to navigate its contradictions – the joy of finding a lover; the disappointments of that same lover; the heat of rage that pushes us to losing control; the guttural laughter experienced in good company. It’s a constant task that requires grit, compassion, good friends. . . . and a nice cigar every now and then (wink). As you take in these songs, I hope that you will find resonance and peace on this journey of life as you go. Thank you for listening.

credits

Eric Strickland – Black And White And Blue

Songs poured out straight from the heart. With a love for tradition and traditional music. This project has brought me full circle in my musical journey through life. With amazing pickers and outstanding production and engineering!

The Stalker Here Tonight Talk Of The Town Angel Like You I Ain't Much Of An Outlaw I'll Wear The Banner One Memory At A Time That Ol' River Widow Maker Give Me One Good Reason Hummingbird Black and White

Lisa McHugh – Who I Am

 

Lisa McHugh returns with her new studio album ‘Who I Am’. 13 Tracks including the popular new single ‘Girl With The Fishing Rod’.

Girl With The Fishing Rod Happy People Mama Tried Who I Am Out Of Heaven Dream Of Me Daddy's Little Girl Head Over Boots Bye Bye Hold My Hand Follow Your Arrow I'll Think Of A Reason Later Country Girl

This will be Lisa’s 7th album and she is going from strength to strength with a hugely successful UK tour ongoing! Lisa has also recently being voted Female artist of the year at the inaugural RTÉ Irish Country Music Awards.

Lisa McHugh ‘Who I Am’ is released on the Sharpe Music Label on  Friday 6th October 2017.

Lisa continues to capture peoples’ hearts all over the country with her charisma, charm and of course her unbelievable talent on-stage. Who I Am will see Lisa travelling throughout Ireland and the UK with her Tour, playing a number of concerts & dances for her dedicated fans.

Gary Braddy – His Way Back Home

Gary Braddy was born and raised in Tillery, North Carolina. Most of his creative influence comes from a deep appreciation for the sounds and writings of Merle Haggard. Although it was Randy Travis and Alan Jackson that turned his ear to country music at an early age, Gary discovered the teachings of Merle in his early 20’s. He learned how to write a real song, based on life experience, and deliver it with a genuine reverence to the baritone sounds that shaped his vocal stylings. He traveled over 48 states during his 20’s. While enjoying everything the many roads had to offer, he was always in search of a way to get back to where he came from. He’s always enjoyed playing live music and still does today in Washington, North Carolina, where he resides with his family of five.

Mama I Miss You Under the Bottle Have a Heart Another Broken Heart Thanks to Dad 18 Wheels of Hell Brandy on My Mind His Way Back Home Pining Skeleton

He started playing piano at 5 years old. Listening to his dad’s vinyl records and picking out notes on the piano was always a great way to pass the time. An old Harmony acoustic, given to him by his uncle, opened the door to a new direction. Given his first electric guitar at 13, he practiced for a couple years and formed his first band. Four years later, at the age of 19, he moved to Nashville in hopes of becoming a well known act. He opened for Gene Watson in Wichita Falls, Texas, Blackhawk in Denver, Colorado, Riders In The Sky in Pueblo, Colorado, and experienced the honor of singing with Vince Gill and Dawn Sears backstage at the Opry. Singing professional demos, playing on the road, and hustling for tips on Broadway led to his first published song on Music Row. But shortly after, the roads of life quickly carried him back home, to be with family.

After returning home, he joined a couple different bands, which led to his collaborative efforts with Eric Strickland and The B Sides. Without a doubt, participating in this original group of honky-tonkers has been his favorite musical endeavor to date. The band released 3 albums over a 5 year span, scoring  award nominations in the Ameripolitan genre out of Austin, stellar reviews from the New York Times, Washington Post, and Savingcountrymusic.com. They frequently traveled from NC to the mid-west to cover the demand for fans of the underground movement.

Currently, Gary released his first album “His Way Back Home” and is excited to share his favorite original works from the past 25 years.

Conor Oberst – Ruminations

*Ruminations *is a record like none other in Conor Oberst’s catalog, stunning for how utterly alone he sounds.

Till St. Dymphna Kicks Us Out You All Loved Him Once A Little Uncanny Next of Kin The Rain Follows the Plow Mamah Borthwick (A Sketch) Counting Sheep Gossamer Thin Barbary Coast (Later) Tachycardia

Conor Oberst’s music has never sounded lonely. Yes, he’s done catatonically despondent, inconsolable, dejected, maniacal—it’s a lot to handle, and yet he’s always been surrounded by friends both local and legendary who believe in his vision, underscoring his status as one of the 21st century’s most mercurial and charismatic songwriters. Arriving almost a month after a comprehensive Bright Eyes boxed set that feels like a headstone for the band, *Ruminations *is a record like none other in Oberst’s catalog—stunning for how utterly *alone *he sounds. This is obvious in a technical sense, as there are no goddamn timpani rolls, no boys to keep strummin’ those guitars, just Oberst on harmonica, acoustic and piano with ten songs written during an Omaha winter and recorded in 48 hours. Plenty of folk artists make records like that. But there’s also a loneliness in *Ruminations *that’s far rare and disturbing—the loneliness one feels after taking stock and wondering if they have a friend left in the world.

“When it came time to stand with him, you scattered with the rats,” Oberst spits on “You All Loved Him Once,” a song whose title alone would create an uncomfortable subtext on any of his albums. Most fans assume any Oberst lyric written in the first person *has *to be about Conor Oberst and he’s acknowledged the “weird betrayal” they express when he fails to meet their expectations. Such was the case on 2014’s *Upside Down Mountain**, *one of his more mildly received LPs. But many wouldn’t even acknowledge its existence to begin with—in late 2013, an anonymous post in XOJane’s comments section metastasized into a serious rape allegationagainst Oberst that was exposed as a fabrication; but only after a libel suitthat quantified the damage to his career and reputation at $1 million (which would have been donated to charity). Oberst had the complaint dismissed after his accuser recanted and apologized, even though his name couldn’t truly be cleared; the rash of articles that presumed his guilt are still easy to find and treat his innocence like a minor factual clarification.

Oberst does not address this situation directly on Ruminations. He comes close on its opener, imagining himself back in Omaha, sweating through his suit in a courtroom: “It’s a bad dream, I have it seven times a week/No, it’s not me/But I’m the one who has to die.” The title of this song is “Tachycardia,” which hints at the personal issues Oberst *does *directly address going forward, mostly the medical and mental maladies that popped up after he moved back to Omaha with his wife—Oberst talks about his blood pressure, therapy, “alkaline produce,” suicidal ideation and a cerebral cyst that sunk his tour behind Desaparecidos’ flamethrowing agit-punk reunion LP Payola.

*Ruminations *is Oberst’s most emotionally legible work since *Digital Ash in a Digital Urn, *also defined by its similarly cloistered worldview and sonic cohesion. Juxtaposed with the stately, worldly and universally beloved *I’m Wide Awake, It’s Morning, Digital Ash *felt like an “everything must go” clearance of songwriting tropes that sustained Bright Eyes up to 2005 and hadn’t returned since—drugs, casual sex, familial disappointment, mistrust of religion. These all come back in very startling ways on Ruminations, but more importantly, there’s the return of that quaver; the unsteady, hypothermic warble that made him a generational icon during his heyday and had all but disappeared on his more recent recordings.

Whereas it was once a very powerful affectation, Oberst sounds genuinely unsettled now—enough so that longtime engineer Mike Mogis told Vulture he was “a little worried” when he heard the demos, and on “Counting Sheep,” Oberst mentions the death of two children before intoning, “I hope it was slow, hope it was painful.” The names are redacted and it’s more disturbing for shifting the focus to the *why *of Oberst’s lyric rather than the who. Before “Counting Sheep” even gets to that point, it’s already an uncomfortably realistic document of insomnia, Oberst playing its stumbling chords with all thumbs, “gun in my mouth, trying to sleep/everything ends, everything has to.”

Because Mogis is involved, *Ruminations *isn’t lo-fi by any means, but it’s *raw. *There isn’t a delicately played note here and Oberst’s performance lends a palpable urgency to *Ruminations *that had been missing from his most recent work, perhaps at the expense of ambition. *Ruminations *at least makes good on its promise, trying to find connections between Oberst’s latter-day obsession with escaping the mythical construct of Conor Oberst and his prior obsession with living that construct.

“I don’t want to feel stuck baby, I just want to get drunk before noon,” Oberst casually announces on “Barbary Coast (Later)”; he also imagines himself as Paul Gauguin and John Muir, only to realize he’s not a painter or the outdoorsy type. He’s still Conor Oberst, and throughout *Ruminations, *day-drunk surrealism is punctured by what he’s best at: lacerating assessments of himself. They’re some of the most brutal he’s allowed himself in a decade: “Something dies when a star is born/I spread my anger like Agent Orange/I was indiscriminate,” Oberst sings on “Next of Kin,” preceded by a devastating portrait of a widower and the man who had to deliver the bad news. And yet, for all of the individual potency of the verses in “Next of Kin,” like much of *Ruminations, *the loose conceptual bundling doesn’t allow it the same knee-buckling thrust of similarly composed narratives like “Nothing Gets Crossed Out” or “Waste of Paint.”

“You All Loved Him Once” almost gets there. A song before it, Oberst admits, “I met Lou Reed and Patti Smith/It didn’t make me feel different,” and he spends six verses probing the inevitable disillusion and futility of hero worship. Unless you assume Conor Oberst affords himself the same grandiose self-belief as Kanye West, it seems that half of “You All Loved Him Once” at most, could be considered autobiographical. Some of it is almost certainly about Bernie Sanders or Barack Obama, or even just a friend who’s gotten too successful. But towards the end, some lines ring just too painfully true: “The more and more was put on him, he tried his best to take it on…you all loved him once/now he is gone”, he sings, and rather than making Oberst sound entitled, he comes off as someone legitimately disillusioned after an unimaginably awful public ordeal. But in the very next song, he’s gone off to an Irish pub in the East Village, trying to find a friend who’ll drink with him until they get kicked out. He’s still Conor Oberst, after all.

Back to home

Mundo Earwood – Things I Did for You [Vol I]

My Heart Is Not My Own We've Got Love Things I'd Do for You Once My Father's Son Woman's Ways Fooled Around and Fell in Love Singing Cowboy Songs Before We Call It Love Leave Well Enough Alone Angela Just Another One of Those Days Looking Back on Loving You Again Blue Collar Blues What Gives You the Right Love Me Now Let's Hear It for Loneliness A Softer Place to Fall Philodendron Behind Blue Eyes You're in Love with the Wrong Man

Album Notes

Mundo Earwood was born in Del Rio, Texas. After graduating high school in Corpus Christi, he enrolled in San Jacinto Junior College but soon moved to Houston where he hired a band, and began playing for $8 at any venue that would book him. Earwood released several records on a small Houston label. His manager took him to Nashville to cut his first major national release, “Behind Blue Eyes”, which was initially released on Earwood’s own label, Raywood, and eventually sold to the Royal American label, where it spent eight weeks at #1 on the Houston radio charts, six months total on the Houston charts, and a long tenure on the national charts.

He went on to release “Let’s Hear it for Loneliness”, “Lonesome Is a Cowboy” and “I Can Give You Love”. In 1978, “Things I’d Do For You” soared to #18 on the Billboard country chart.[2] This period also produced “Fooled Around and Fell in Love”, “Angelene”, and “My Heart is Not My Own”. During his career, he appeared on the Billboard charts 23 times.

Mundo Earwood was diagnosed with pancreatic cancer and a fibrous histiocytoma tumor in 2013, which led to his death at the age of 61

High and lonesome americana for the soul

My Pony Queen of the Honky Tonk Those Were the Days The Bottle and the Fall Today, You Said Goodbye Long Gone Woman Blues Just Another Lesson in Pain Lungs Paper, Linen, Copper, Lace Roses Golden Gates What Might Have Been

“Daniel Wright is a young man with a wise old head…like Justin Townes Earle, he seems possessed by the spirits of the great singers of the past.” Alan J Taylor (No Depression/Maverick)

Tamra Rosanes & The Rowdy Cowboys – Wine Me up!

Tamra Rosanes and The Rowdy Cowboys are out with the new album Wine Me Up! October 6, 2017.

Touch My Heart Whole Lotta Nothin' Lame Love Song for a Loser Live Fast, Love Hard, Die Young Stronger Than Me Blue Without You Honky Tonk Song Still on My Mind Wine Me up! Thanks a Lot

The American singer and songwriter Tamra Rosanes, resident in Denmark, and her band The Rowdy Cowboys play authentic retro honkey tonk inspired by the sound of Bakersfield and the late 50’s / early 60’s a la Buck Buck Owens, Faron Young, Ernest Tubbs and Patsy Cline. The album contains both cover songs and original songs, all recorded live.

Tamra Rosanes, “The Country Queen of Denmark”, has published nothing less than 16 solo albums and has won a Danish Grammy. She was also admitted to The American Traditional Old Time Country Music Hall of Fame in Iowa in 2014.

The band consists of Tim Kristensen (floor bass), Leif Bruun (steel guitar), Mick Rasmussen (guitar), Jesper Rytkov (drums) and Tom Rosanes (vocals, guitar and violin).

Eugene Chrysler – Hillbilly Fun Park

The 4th CD from Eugene Chrysler. 16 original songs with special guests Bill Kirchen and Cindy Cashdollar. This recording is an unique blend of western swing, rockabilly, and honky tonk all held together by doghouse playing, baritone singing Mr. Eugene Chrysler.

Too Much Coffee Plate Glass Window It Is What It Is Mr. 1-4-5 Big Bad Habit Cut Me Down One More One More I've Been Better Uh Uh Honey Eugene's Boogie I Cannot Forget Speed Trap Broke on Bob Wills Music Dementia Darlin' Hillbilly Fun Park

Website

Scott Douglas – Scott Douglas EP

Originally from the USA, Scott Douglas now lives on the Gold Coast. Scott’s deep country voice and real life story telling has set him apart as one of 2017’s most promising up and coming male country artists.
Scott has been actively involved in the Australian Country Music scene – performing at the Gympie Music Muster, Ekka Royal Show and the Tamworth Country Music Festival to name a few.
Playing up and down the Queensland and New South Wales east coast, Scott has a never give up attitude, but this songs called ‘Giving Up’ spins that on its head and is the first single on Scott’s debut EP.

 

Not Counting the Days Go By Blue Collared Heart Beside Myself Flesh 'n Blood Giving Up

Written by Drew McAlister and Mike Carr, “Giving Up” is a fun upbeat song about giving up on giving up to live the carefree dream. Produced by Brad Bergen

Nathan Xander – Blue House

New York City based songwriter, Nathan Xander is a troubadour in the Texas sense, when he’s in Texas. Or in the California sense when he’s there. Or the Chicago sense, oh, OK. You get it. The man writes like he travels: well and often. He’s as familiar with Brooklyn as his hometown of Union City, PA, Gillian Welch as with X. Nathan’s new collection of songs, recorded in a big blue barn in Upstate New York, is his best work to date, and we at Trailer Fire Records are thrilled to share it with you.

Peter and Sam Over You, Over Me Shadows I Remember You Now Pennsylvania (What It Takes To) Make A Man Old Boots Mount Washington You're Never Wrong Enoch's Blues Unknown Road Day to Day

Blue House represents the work of a writer in the prime of his craft. Nathan’s years of touring, with their joyful wildness and melancholy, come through in these songs. “Over You, Over Me” evokes that duality, while songs like “Shadows” growl and pulse with the frivolous energy of an artist who likes to break things. “Pennsylvania” is as anthemic a song as ought to be written, a wholehearted Mellencamp-esque thumper about home, while “I Remember You Now” is a psychedelic memory in homage to friends Xander has met along his traveler’s way. Each of the songs here are evidence of experience, which Nathan has in spades.

The Deli says Nathan “conjure[s] memories of smoke and sawdust.” Reglar Wiglar claims his writing “definitely gets to the heart of matters of the heart.” These recordings, as much as the band Nathan assembled, serve to underscore what his work represents: a life in pursuit of a good damn song. Blue House will not disappoint

The Weather Station – The Weather Station

The Weather Station has been acclaimed for her “measured, perceptive storytelling… an unmistakable and communicative voice, able to convey hope and hurt with equal clarity” (Pitchfork). With The Weather Station, Lindeman reinvents her songcraft with a vital new energy, framing her prose-poem narratives in bolder musical settings. It’s an emotionally candid statement – a work of urgency, generosity and joy – that feels like a collection of obliquely gut-punching short stories.

Thirty Kept It All To Myself Complicit The Most Dangerous Thing About You I Don't Know What To Say You And I (On The Other Side Of The World) Impossible Free Power In An Hour Black Flies

“I wanted to make a rock and roll record,” Lindeman explains, “but one that sounded how I wanted it to sound, which of course is nothing like rock and roll.” The result declares its understated feminist politics and new sonic directions from its first moments. There are big, buzzing guitars, thrusting drums, horror-movie strings and her keening, Appalachian-tinged vocal melodies. Reaching towards a sort of accelerated talking blues, she sings with a new rapid-fire vocal style.

After two records made in close collaboration with other musicians, including Loyalty, which FADER called “the best folk album of the year,” and Exclaim!echoed with a stellar 9/10, Lindeman self- produced for the first time since her debut. The band comprised touring bassist Ben Whiteley, drummer Don Kerr, and guests, including Ryan Driver (Jennifer Castle), Ben Boye (Ty Segall, Ryley Walker), and Will Kidman (The Constantines). But the heaviest thumbprint on the record belongs to Lindeman; she wrote the dense, often dissonant string arrangements and played most of the wending, tumbling guitar lines.

Jamie Suttle – Country Music Revival

Kentucky born singer-songwriter Jamie Suttle has roots that reach deep into the rich soil of American music. The seeds of her inspiration were planted at a young age while singing in church. As she grew, it flourished under the sweltering heat of soul, R & B, and rock, all the while being suffused with gospel and classic country music.

Devil's Due Little Bit Wrong Call Me Jolene Cash, Jack & Jesus Sound Of Letting Go Country Music Revival That's What I Get (For Loving You) Your Kind Of Trouble Wasting Time On You Million Miles Let It Fade

Now a resident of Dayton, Ohio, Jamie draws her lifeblood from this sturdy root system to create music that is honest, authentic and soul-stirring. She has worked with Grammy award winning engineers like Tom Coyne (Miranda Lambert, Taylor Swift, Adele) and opened for luminaries like Shooter Jennings, Cole Taylor, Frank Foster, and Jason Michael Carroll.

The video for her sultry, bluesy single “Flame” was director by Jason Kaufman (Dexter, Law and Order, Without a Trace, CSI: Miami). Her band, which includes husband, Chris Suttle, (an award-winning recording engineer in his own right) on guitar.

The band has partnered with Wright State University and officially endorses Salon EXP who handles Jamie’s hair and makeup for video shoots and as well as some of the members. Meanwhile, Chris Suttle endorses S.I.T. strings while Aaron Farrier endorses Aquarian Drum Heads, Bosphorus Cymbals, and Sic-Skinz Drum Wraps.

Now, after the release of critically acclaimed EPs and singles, Jamie Suttle is poised to branch out and share her effortless, emotive music with an ever growing audience.

Scott Ellison – Good Morning Midnight

Scott Ellison hails from Tulsa, Oklahoma. In 1977 guitarist Ellison backed up country music star Jesseca James and in 1981 joined up with Clarence “Gatemouth” Brown. In the mid 1980’s Ellison relocated to Los Angeles and found work with The Box Tops, The Marvalettes, The Drifters, The Coasters and others. He formed his own blues band in the early 90’s and opened for The Fabulous Thunderbirds, Bobby “Blue” Bland, Leon Russell, and Buddy Guy. Ellison released his first albums “Chains of Love” in 1993 and “Live at Joey’s” in 1995.

Ellison fifth release 2001’s “Cold Hard Cash” was produced by Dennis Walker, whose production credits include Robert Cray, on the Burnside label. His follow-up recording was 2003’s “Bad Case of The Blues”. In 2008 Ellison released “Ice Storm” on Earwig Records. Ellison recalls opening for B.B. King and being called up on stage by him; it was one of his biggest thrills. Songs from 2011’s “Walking Through The Fire” were co-written with producers Charles Tuberville and Walt Richmond (who also recorded with Eric Clapton and Bonnie Raitt). Ellison’s 2015 “Elevator Man” was also produced by Richmond. Ellison is a prolific songwriter who has also written songs for television and the movies.

Good Morning Midnight Last Breath No Man's Land Gone For Good When You Loves Me Like This Sanctified Wheelhouse Hope And Faith Mysterious Big City Tangled You Made A Mess (Outta Me) Another Day In Paradise

“Good Morning Midnight” is Ellison’s twelfth album. Ellison has co-written all but one of the thirteen songs with several different writing partners including Richmond who once again is producer. “Sanctified” was co-written by Chuck Blackwell, Ellison, Richmond, and Scott Hutchison. Blackwell who also sits in on drums played with Russell, Delaney Bramlett, Joe Cocker, and Bob Dylan. Ellison has always kept good company and he turns over the vocal chores to Chris Campbell, bassist, an original member of Bob Seger and The Silver Bullet Band. The background vocalist is Marcy Levy who also tours with Seger. Ellison is on lead guitar while Gary Gilmore is on bass.

Ellison sings but switches to bass on “No Man’s Land”; “Big City” and “Gone for Good”written with Richmond. On the latter the writing credit also includes Jim Barton; Ellison’s guitar intro and vocal are terrific, this is a great song.

Ellison has also co-written three songs with Campbell. “Hope And Faith” has a great reggae beat provided by Ellison, lead guitar; Tuberville, guitar; Jon Parris, bass; Danny Timms, organ; and drummers David Teegarden and Robbie Armstrong. On “You Made A Mess (Outta Me)” Tuberville switches to drums replacing Teegarden while Jon Glazer is added on organ and piano; this is a great vocal from Ellison. On “Tangled” Matt Kohl plays bass, and Hank Charles sits in on keyboards. These are my favorite songs on this fine album.

“Last Breath” was written by Steve Pryor and Scott Hutchison and first appeared on The Steve Pryor Bands 1991 self-titled album. Ellison dedicates this album to his long time friend Pryor who passed away last year. The band includes Kohl, Charles, Armstrong, Ron McRorey on percussion and Brad Absher on baritone guitar. Richmond’s production is marvelous.

“Another Day in Paradise” and “Mysterious” we’re both written with guitarist Tuberville who also sits in on these.

Three more songs were written by Ellison with Hutchison; they are the title track “Good Morning Midnight” featuring Jimmy Junior Markham on harmonica; “Wheelhouse” with some jazzy piano from Timms and the horn section of Mike Bennett, trumpet; and Steve Ham, trombone; and the closer “When You Love Me Like This” with Markham on harmonica, Ron Martin on bass, and Tim Smith on drums.

Ellison’s music is laid back. He is an exceptional songwriter, vocalist and bandleader deserving of a lot more recognition. This recording is highly recommended

Jackie Morris – Periscope Heart

Sweetness, lightness, kindness, gentility, joy, love. Boy howdy, we sure could use a little of that stuff these days. When it seems all the news is bad and every jangled headline serves only to drive us ever deeper into despair, I often feel like Led Zeppelin’s Robert Plant when he screeched, “Does anybody remember laughter?” Fortunately for us, Jackie Morris not only remembers, but holds an abundance of laughter, love and joy in her heart which she deftly shares with us in her fifth studio album, Periscope Heart.

Morris’ warm voice warbling sweetly across these ten original songs invites us to take a moment, breathe and reclaim our own joy of life. Robinson Eikenberry’s production is appropriately light and spacious, leaving plenty of room for Morris and her talented accompanists to shine.

While Morris’ guitar and David Piltch’s upright bass hold down the rhythm throughout, the lead guitars of David West, Tony Ybarra and the ubiquitous Ed Tree are sweet as candy. Rebecca Troon (of Santa Barbara’s Honeysuckle Possums) and Lark Cobb lend their voices to several wonderful harmonies while Lorenzo Martinez and Austin Beede add tasteful percussion to several tracks.

Devil In The Heartland Walkin' Away Sailing Away Through The Eye Of A Needle Miami Autumn Song Bon Appetit Periscope Heart Coffee Kisses When The Time Comes

All this great playing is done in service to the songs. Morris’ song-craft is strong, insightful and poetic. There’s a nice variety of songs here. Pop, folk, jazz and blues are all tied together by the breezy yet heartfelt delivery of Morris’ voice.

She croons and scats through the jazzy opener, When the Time Comes and then brews up the delicious blues of Coffee Kisses. Bon Appetit, with Michael Gutin’s evocative accordion celebrates the relaxed wisdom of two-hour lunches of the small town in southern France where Morris has spent the past few summers.

The wistful Autumn Song where “the wind in the trees make the red and gold leaves wave goodbye” floats dreamily aloft with twinkling jazz piano of Julie Bonk. This track also features the incredible whistling of Morris. Yes, that’s right, and it bears mentioning that Morris is indeed keeper of the flame of the lost art of melodic whistling. Not as a novelty but as a real instrument. As far as I know she’s the only one doing this and it blows my mind and melts my heart at the same time.

The cowbell and Latin percussion lead into the jaunty, Jimmy Buffetty Miami where “They’re eating it up and drinking it down,” while the patchwork quilt memories of Through the Eye of a Needle is sewn from scraps of daily living into a work of art.

Sailing Away speaks to the intrepid sailor in all of us and is an empowering message to anyone setting out on a new course, and the down-home blues of Walkin’ Away features Ed Tree’s ripping acoustic guitar and the harmonica of Tom Ball.

Devil in the Heartland is the only song here that deviates from the light-hearted vibe, but its inclusion is necessary because expressing love and light does not come in a vacuum. Reclaiming your joy doesn’t mean turning your mind off to what’s going on in the world. The sentiment of this song is the only possible reaction of a compassionate person to the meanness that overwhelms us today. Even in this darkness Morris never drifts to meanness herself but seeks the answer in kindness. Love beats hate, because it must.

Of all these wonderful songs, it’s the title track I keep returning to. Its beautiful melody, its message of love for her traveling man comes through in every sweet syllable.

I’ve got a periscope heart

I can see above the surface

So when I’m down

I can see more than blue

I can look back in time

To the love and the laughter

But I mostly look forward

To being with you

I think it’s more important now than ever to hang on to every sweetness, embrace every love, nourish every weary soul with kindness and never, ever let anybody steal your joy. Jackie Morris dares to be sweet, to smile and laugh and love and be human. If she can, well, maybe I can too. You should give it a try. Highly recommended.