Justin TownesEarle is set to release his New West Records debut Kids in The Streeton 26th May. The 12-song set was produced by Mike Mogis (Bright Eyes, First Aid Kit) at his ARC Studios, and is the first time in his career that Earle has worked with an outside producer.
Earle has announced a quartet of UK dates in the summer:
Track from new album, Kids In The Street, Maybe A Moment. Directed by Alicia J. Rose, follows two young girls hitchiking together and ending up in a bar where Justin is playing. He told Billboard: “It reminded me a lot of playing the Springwater in Nashville. When I was 15 years old I would play from noon ’til seven at night there. There used to be this [girl] that showed up in mini-skirts and halter tops and she and her friends would dance in front of the stage. There’d be two old drunks at the bar, the girls dancing in front of me – and those girls never looked like the ones in the video, that’s for sure.”
‘Kids In the Street’ will be available digitally, as well as compact disc and vinyl. The album is now available for pre-order via PledgeMusic including an exclusive, limited edition colored vinyl version of the LP, special 7” single including ‘Maybe A Moment’ as well as Earle’s reading of Paul Simon’s ‘Graceland’, and cassette.
‘Kids In The Street’ Track Listing:
1. Champagne Corolla
2. Maybe A Moment
3. What’s She Crying For
5. Kids In The Street
6. Faded Valentine
7. What’s Goin’ Wrong
8. Short Hair Woman
9. Same Old Stagolee
10. If I Was The Devil
11. Trouble Is
12. There Go A Fool
The clocks change in March, but Midnight is still the witching, hour, mysterious dark or starlight with a hint of romance and forthcoming days. Lewis Watson is back with a powerful new album Midnight, following on from his acclaimed debut The Morning. Midnight cements him firmly as a talented pop orientated singer/songwriter with hints of melancholy and shafts of joy running through the album.
Midnight has a fresh feel, nothing is over produced and there is a lightness of touch reflecting that the Oxford based musician recorded the entire album in a fortnight with a live band, under the watchful guidance of producer Anthony West.
The influences are present but with the lightest of touches as the voice of Lewis Watson is the dominant force combined with his acoustic power. Opening with reverb underneath the vocals adding to a mixed reaction that of uncertainty and the power of the music it has a force that makes a pop song stand out as it fizzes with energy. The dominance of the simplicity of the form of singer/songwriter with the acoustic guitar is apparent in When The Water Meets The Mountain, the sound fills out with melodic and harmonising backing vocals. The number has a sense of purpose within its elegant searing musical beauty.
The short and catchy Forever is a catchy number leading into Run with its ear catching opening of movements in a room a record player and clicking clock, with a harder edge of grand piano and strumming guitar picking up the melody. Then Lewis’ vocals picking up the lyrics sad and questioning as the nights are getting longer. Counting in for Slumber featuring Lucy Rose, the acoustic guitar is strummed and the two voices harmonise with a simplicity as a lullaby sinks you into sleep. The closing track is the title song, Midnight again the simplicity of a piano as the intro adds rather diminishes the power as we visualize the cold and Northern Lights and a feeling of contentment.
This is a pop album with the added elements of songs with depth of feeling and interesting layering of tones and effects so that the listeners ears remain focused on the music at Midnight. Lewis Watson, is beguiling and a songster who uses the idiom of pop to deliver his songs. Lewis Watson new album Midnight Simply Pops!
Sneaky Preview and Video
Thea Gilmore The Counterweight
Thea Gilmore who is back with her brand new album The Counterweight, which will be released on June 2nd through Cooking Vinyl.
Check out the brand new single ‘Sounds Good To Me’ here and would love to know your thoughts and if Thea is someone you would consider for some coverage around the release.
“I like to think of it as a bit of an anarchist’s polka…” says Thea of the single. “Calling the dispossessed, the downtrodden, the weary to arms. Lighting a fire… remembering there’s more than one way to live and who wants to walk when you can dance!”
It’s been 13 years and eight albums since Thea released Avalanche, her critically acclaimed fifth release and the album deemed to be her breakthrough record. The then 23-year-old was writing with a fire inside her post 9/11 about global anxiety and the increasingly vacuous celebrity culture.
Calling upon the spirit of this predecessor, Thea is back with the album she feels follows it. Having never entirely lost her voice of protest, on subsequent albums Thea was looking inward more, singing songs about the depression she had been diagnosed with, love songs in uncertain times and songs about parenthood.
Now though, she is back with The Counterweight, an album full of passion and fire inside to protest, and an album that echoes the rapid change in our social and political landscape that 2016 brought with it.
When finishing the album in September, Thea was forced to look back at the spring and summer recording period and the tumultuous times that happened throughout the year including working on ‘Reconcile’ as Britain voted to leave the EU, and recording ‘Johnny Gets A Gun’ three days after the Orlando shooting.
That day was also most harrowingly of all, the day when the world was watching the tragedy of Jo Cox’s murder unfold and at the very eleventh hour became the inspiration for the final track ‘The War’, with the first and last verses directly referencing her.
Thea quotes “I was throwing a cautionary message in a bottle into the shifting tide, but also singing a reminder that acts of kindness and humanity are never in vain: ‘You can cut that stem, but wild flowers grow again, all you can do is just tend to them and know that you tried’”
“I’d finished the album pretty much. All the shit that had gone down in 2016, the world changing moments… everything had shifted and this song fell out of me on one of the last mix days. The first and last verses directly reference Jo Cox and in between. I like to think it shines a light on these dark days, but also offers hope.”
The track is also possibly the mission statement of the album, going to war on the negativity and bleakness of the current world mesmerized by fake news and futility.
The Counterweight tries to be exactly that. A redressing of the balance, a tool of pressure, an exertion of opposite force and as such, a flag of hope.
Thea Gilmore will be heading out on a UK headline tour to support the album, with full details to be announced soon.
“The best British singer-songwriter of the last ten years – and then some” Uncut “The best wordsmith of her generation” The Independent
For Oh Susanna 2017 Equals
New Album New Tour Dates
New Album – A Girl in Teen City
“Here is my story of A Girl in Teen City. Trying to find out who she is while trying to be something she isn’t. Falling in love, getting drunk, having her heart broken, hanging out with friends in bedrooms, basements and parking lots, sneaking into shows in burnt out warehouses, watching the waves, walking home over bridges and railroad tracks in all that endless rain.” Oh Susanna/Suzie Ungerleider
A Girl in Teen City reunites Suzie Ungerleider with producer Jim Bryson. Jim and Suzie collaborated on her previous release Namedropper, an album featuring the songs of Canada’s top songwriters written specifically for Oh Susanna to interpret. With six other critically-acclaimed albums of original songs in her carpet bag, Oh Susanna tells stories of troubled souls who rebel against their circumstances to attain a quiet dignity. They are outsiders, real and imagined, but rarely herself. This time, with the urging by her friend and co-conspirator, Jim Bryson, she embarked on a time machine to visit her teenage self in a sleepy port town that she thought no one had ever heard of.
The Juno-nominated and Genie award-winning Canadian songstress began performing as Oh Susanna in the mid-1990s, crafting a persona that matched the timeless qualities of her music, sounds that drew from the deep well off early 20th Century folk, country and blues, yet rooted in her finely-honed storytelling skills.
Oh Susanna · Spring 2017 UK Tour · April 19-27
Oh Susanna is touring the UK in April, including four special shows with Hannah Sanders & Ben Savage, which they’ll be performing in a trio format.
Thu 20 Sheffield – The Greystonesco-bill with Hannah Sanders & Ben Savage Fri 21 Saltaire, West Yorks –The Live Room, Caroline Social Club
Sat 22 Glasgow – The Admiral
Sun 23 Bury – The Metco-bill with Hannah Sanders & Ben Savage Tue 25 Hereford House Concert co-bill with Hannah Sanders & Ben Savage Wed 26 High Wycombe – Kingsmead House Concert
Thu 27 Basingstoke – The Forgeco-bill with Hannah Sanders & Ben Savage
BRENT COBB UK Dates Plus Debut Album OUT March 24th
SHINE ON RAINY DAY DEBUT ALBUM OUT MARCH 24TH via Atlantic Records
Black Crow – from Debut album Shine on Rainy Day
Brent performing the laid-back, melancholic album track ‘Black Crow’ from a session recorded at the Sam Philips Studio in Tennessee.
Full of textures, tones rooted deep in the lexicon that is the sound of Americana.
After the huge success of his debut dates in the UK in February, Brent Cobb will be returning for a full UK tour in May plus two festival appearances including The Great Escape. On his earlier visit Brent sold-out headline shows in London and Manchester and stunned crowds in Glasgow at the Celtic Connections festival with his raconteur’s wit, tales of rural life in the Deep South and heart-rending performances of songs from his critically acclaimed debut album Shine On Rainy Day.
Released in the US last year to widespread praise, Shine On Rainy Day made number 11 in Rolling Stone Country’s Top 40 Albums of 2016. The album saw him enlist the help of his cousin and fellow Georgian, Dave Cobb, the Grammy Award-winning producer who has worked with Chris Stapleton, Jamey Johnson, Sturgill Simpson and album guest Jason Isbell.
2017 is a busy year for Brent with him heading out on the road across the US supporting the likes of Nikki Lane The Cadillac Three, Little Big Town, Jamey Johnson and the aforementioned Chris Stapleton, as well as playing California’s Stagecoach Festival, before hitting the UK in May.
“…what promises to be Cobb’s breakout LP as a singer-songwriter.”— Rolling Stone
“…masterfully understated wit…”— NPR Music
“It’s a soft, acoustic ballad, different from what you may have already heard from Cobb. The Georgia-born singer/songwriter has a knack for joyous, energetic songs that celebrate life and the good things in it.”— Noisey
“Let me just say that Brent Cobb is pretty damn good.”— Sounds Like Nashville
Martin Harley and Daniel Kimbro –
Static In The Wire UK Tour
With a new album, Static In The Wire recorded and released on 10th February 2017 – so Martin Harley & Daniel Kimbro are on the road throughout March across the U.K. This follows on from the critically acclaimed album 2015’s Live at Southern Ground.
Static in the Wires is the new album from blues-Americana singer-songwriter Martin Harley and bass player extraordinaire Daniel Kimbro (Jerry Douglas, Larkin Poe).
Martin Harley is a supremely talented acoustic roots and blues guitarist, singer and songwriter with a burgeoning global reputation. Static in the Wires is his seventh album and the second with Daniel. The two first met through mutual friend, Sam Lewis, at Hippie Jack’s music festival in Crawford Tennessee. After a brief backstage rehearsal the two took to the stage for an hour of largely improvised music. A few weeks later they were cutting a record at Zac Brown’s iconic Southern Ground studios. Their live shows bring aspects of blues, Americana and folk to the table; Martin playing a 100 year Weissenborn (Hawaiian acoustic lap guitar), while Daniel beats scratches and bows a double bass to create an unexpected array of textures and sounds.
Static in the Wires was tracked live at Wow & Flutter Studios in East Nashville over four days. Engineered and mixed by analogue guru Joe V. McMahan making use of every corner of the space. The drums sounded great in the kitchen and if you listen carefully you can hear the freight trains rolling past. At one point heavily armed police sealed off the area to conduct a manhunt.
Mixing elements of Santo & Johnny, JJ Cale and Taj Mahal, Static in the Wires follows 2015’s Live at Southern Ground, glowingly described by The Observer as“A spellbinding 50 minutes”.
Guests on Static in the Wires include multiple Grammy Award-winner Jerry Douglas (Ray Charles, Eric Clapton, Dolly Parton), Derek Mixon (Chris Stapleton, Sam Lewis), and Micah Hulsher (Alabama Shakes).
A beautifully crafted album before a note of music played Flood and Bur states it is quality as the pleasure of exploring the cover. With its insightful and thoughtful haiku
A thumbprint of moon – Impressed into a corner – Of cold turquoise sky
Sean Taylor the master of modern folk is a talented singer/songwriter. Flood & Burn is no different. The folk vibe reaches across the Atlantic and adds a touch of Country, punch of Blues and creamy swirl of Jazz. This is the history of roots music pulling together cultures and melding the new tone to create the sound that reflects the now in a journey that music has culturally undertaken back through the mists of time. Music is a river of sand picking up tones and colour from every pebble it flows over.
Opening with Codeine Dreams, we are floating on a cushion of Joe Morales Saxophone, the song holds you transfixed in its mellow haunting and at the same time the disturbing beauty of dreams. From the first track the album is full of confidence and by the time the last notes fade it is no wonder that Sean Taylor says “Flood & Burn may be the best thing I have ever done,” We definitely have no argument with that statement. The tempo changes and the sound filling out with Troubadour and special guest Leonard Cohen’s band leader Roscoe Beck’s Double Bass. We are wandering with a troubadour of many songs and tunes with its country vibe and winding roads we have no idea what is around the corner a foot tapping number. Following this is Run To The Water which is full of blues hues making the water shimmer and a place you would definitely want to run to. Sean’s vocals throughout have a distinctive cadence, rough, and travel wearied with more than a hint of Tom Waits in lyrics and delivery. Sean is a singer-songwriter that explores each word and placing it carefully within the lyrical tale unfolding. As we pass the half-way mark on a musical and emotional journey no one wants to rush the album is definitely one to sit back and savour as we have the title song with its percussive guitar reflecting Sean’s vocal tones.
Back with country blues we have A Bad Case Of The Blues as Waits meets Townes Van Zandt. Hana Pirhana’s violin adds a bittersweet tone, with the hints of Eastern European folk music running through as Sean’s vocals pick up the sadness.
The penultimate track is the only cover that Sean has slipped in as a personal favourite, Heartbreak Hotel, featuring Eliza Gilkyson on backing vocals and slide from Andre Moran. Closing out with Better Man, written by Danny Thompson full of the power and majesty of his chosen instrument the double bass that squeaks, hums and vibrates behind Sean Taylor’s vocals. The perfect ending to an album whose chords and lyrics linger as the speakers fall silent. Flood and Burn – an album with different styles and tempos ensuring the listener’s interest is maintained from the first to the last note with his stunning guitar playing. Sum up the album – The guitar sings and the vocals growl simply intoxicating!
11th Holbeach Hurn, Garden House
17th Belper Queens Head
25th Oxford Old fire Station
26th London Green Note (Band Gig)
3rd Worth Mantravers Square & Compass
4th Wooton Under Edge Under The Edge Arts Centre
11th Saltburn Saltburn Blues Club
17th Bangor ( Wales) Blue Sky Café (Band Gig)
18th Peterborough Shakedown Blues Club
24th Gatehouse of Fleet 9Scotland) The Mill
8th Chesham The Drawingroom
22nd Barry (Wales) Barry West End Club (Band Gig)
The People We Become is the long-awaited follow-up to the acclaimed 2013 album Dirt On My Tongue. Worth the wait, YES in one simple word. Is it the same, a variation on Dirt On My Tongue NO. Jo Harman has deepened her musical framework the album is considered artistry of sound, tone and lyrical textures.
The album opens with a crackle and the distant voice of Jo as singing from the past. Quiet then thirty seconds in the tempo hardens with drum and bass we are in the now as Jo’s vocals come forward and take control. No One Left To Blame, opens the album with spine-tingling emotional power and if you don’t listen on you only have yourself to blame.
As the album unfolds, this is Jo Harman being herself full of poignancy and personal. As ever the vocals are smoky, smooth and/or pure depending on the tone and shaping the lyrics around her tongue adding joy or bitter-sweetness. This is the seductive power of Jo Harman’s voice, once heard never forgotten. Jo has been described as a blues singer; that is just a part of the full musical equation of Jo Harman as she weaves in gospel, soulful Motown, and the angst of a singer-songwriter exploring personal hurts. Jo is a singer who understands the power of using her exceptional voice as the focal instrument throughout the album.
The percussive forces on tracks reflect the intensity of Jo’s voice. Then as in a perfectly balanced black and white photograph, the shadows and greys say more. Lend Me Your Love the piano and vocals give the track a simplicity so the soaring lyrics sung capture your attention. The percussion gives the track tonal texture and the underlying hurt and anger. Energy is added with Reformation and its tribal, urgent percussive intro, harking back but not copying a holler. The clapping adds a sting as we stomp to the number influenced by her work with Amnesty International.
Recorded in Nashville, at Sound Emporium and other noted studios, with acclaimed producer Fred Mollin (including Billy Joel, , Carly Simon, Joe Cocker and Johnny Mathis more) the album features Michael McDonald on the first single ‘When We Were Young’. With its up-tempo fun beat lightening the album blending in a song that will definitely be getting radio play with its easy listening dance rhythm and smooth backing singer it is a hit.
The ten track, superbly crafted album closes out with piano and voice as Lonely Like Me with deep melody and a song that is timeless as we feel the hurt of loneliness and understand the begging for forgiveness as it is part of our own life’s journey. It is why we are the People We Become.
Bluesdoodles believes this is an album that will delight her phalanx of fans and bringing many more into the Jo Harman camp, they will relate to the album for its timeless majesty and it fearless uncompromising delivery of songs. Songs that Jo wanted to write and sing not because they are a particular musical style.