The Songs
7 Monthly releases to benefit individual non-profits
ERNIE HENDRICKSON’S NEW ALBUM, ROLL ON, COMING ON SEPTEMBER 24th VIA LoHi RECORDS; PRODUCED BY BRIAN DECK IN CHICAGO WITH A STELLAR ROSTER OF STUDIO MUSICIANS, AND FEATURING THIRTEEN NEW SONGS BY THE ACCLAIMED AMERICAN SONGWRITER
Six years after releasing his 2013 Nashville-recorded album One for the Dreamers, Americana singer-songwriter and guitarist Ernie Hendrickson returns to his Chicago home with Roll On, his most mature, observant and musically wide ranging collection
CHICAGO–It was six years ago that Ernie Hendrickson, who was born in the Wisconsin region known as the Driftless Area and raised in Illinois, released his last album, One for the Dreamers. Hendrickson, who recorded One for the Dreamers in the fabled city of Nashville with producer Chad Cromwell and a cast of musicians that included legendary Willie Nelson harmonica wizard Mickey Raphael and harmony singer Lera Lynn, took away the myriad lessons of Music City, and the record displayed his songwriting savvy, guitar acumen and feel for the American language.
But Hendrickson regrouped, and changed, after his Nashville experience, which found him spending time in the city while returning home to Chicago. The results of his newfound maturity are evident on his new album Roll On, which he recorded in his home town with producer Brian Deck, himself known for giving a sonic sheen to records by Iron & Wine and Counting Crows. In addition, Hendrickson made the call to record Roll On live off the floor with a group of sympathetic musicians, with minimal overdubs. He performed the vocals live in the control booth, giving the album an energetic, unstudied feel that gains power from Deck’s immaculate production. It’s a triumphant return for one of Americana’s finest singers and songwriters.
Roll On displays Ernie’s ability to tackle weighty themes with humor and a sharp eye for the details that make his songs humane and compelling. Influenced by everyone from Jerry Garcia and Robert Hunter to Nashville humorist and songwriter Todd Snider, Ernie wrote a set of songs for Roll On that address the commercialization and alienation of American life. One song, “Dystopian Dreams,” makes explicit the looming political and social crises that characterize American life in 2019, but he gives the song an optimistic spin that comes from his new role as father to a young daughter, and as a family man who likes to spend time at home when he’s not on the road doing what musicians do to make a living.
It’s a diverse set of songs, with the opener, “Do It for Love,” describing a normal day in the life of a city-dweller and turning it into an affirmation of the mundane joys of taking the train and shopping at your favorite record store. The Roy Orbison-style song “One Day of Life” folds in everyday hassles like traffic jams and checkout lines, but Ernie remains happy about the transitory joys of life.
With Brian Deck spurring Ernie to refine his songwriting–one song, “New Midwestern Winter Blues,” was begun in 2013 during a particularly challenging Chicago winter and finished five years later as the album began to be recorded–Roll On is the apotheosis of the art of a great American songwriter. The album has its heavy themes, too, as in “Standing Like a Rock,” in which he sings: “They want it all/And they’re coming for it/Sucking the life out of the land/It’s way past time to make a stand.” It’s a crunching riff-rocker in the tradition of John Mellencamp or Bruce Springsteen, with touches of Todd Snider evident in its sardonic approach.
Ably aided by guitarist and pedal steel player Brian Wilkie, bassist Pete Muschong, drummer Gerald Dowd and keyboardist John Kattke, Hendrickson plays biting electric guitar and beautifully phrased acoustic on Roll On. The Randy Newman-meets-Dixieland horn arrangements are by Matt Ulery, who is Ernie’s brother-in-law. The album covers a lot of ground, and gives a portrait of a Midwestern reality that Ernie knows first-hand. It’s his most far-ranging work to date, and proves that going home is always a possibility when you’re as grounded and observant as Ernie Hendrickson.
Ernie Hendrickson is, as you will hear when you give Roll On a listen, one of American music’s bright lights. He’s illuminated his way throughout his career, and Roll On shines a light into areas that in other hands would remain shrouded in darkness. He’s grown exponentially since his last album, and Roll On is a testament to what maturity means when it co-exists with the yearning to describe the truth that the best American artists have always sought, in their own ways.
There is always a tipping-point at the best of parties, when the alcohol or drugs swimming through our systems erases any fears or shyness, and instead of wallflowers, we become dancers, reaching for the ceiling, bending the groaning floors beneath dirty feet, spilling our cups, and singing as a rough-hewed motley choir. Everything becomes magic; hardscrabble apartments become hot dance-clubs, old houses become enchanted mansions, dingy bars become glitzy nightclubs…This album, Die Happy, the third from Them Coulee Boys (and first on LoHi Records) is nothing short of magic. From the very first line, this record is an invitation out of the claustrophobia of one’s own mind, and into something more open, free, and communal. And in this way, Die Happy represents the best of rock and folk music too, because the best music calls us to celebrate with another, to touch one another, to sing with one another. Lyrically, this album is as close as a barroom bear-hug, that moment when a beloved friend sneaks up on you from behind and lifts your boots off the peanut-shell strewn floor. Love-struck, hopeful, introspective, but also bombastic, this album sounds like your brother’s voice, your sister’s voice, ringing out unexpectedly, and when you needed it the most. Imagine your darkest night, all alone, and then – the telephone rings, and the voice on the other end of the line makes everything better, makes everything okay again. Imagine being lost down a bent and dangerous alley, and that voice, far-off, calling you back towards the light…
When you meet Them Coulee Boys (say, in the dark days of a Wisconsin winter for beers at Eau Claire’s legendary townie dive bar, The Joynt) you can’t help but to cheer for them. You may even want to somehow throw down the deliriously boring shackles of your own life and become their roadie, or perhaps a pure-of-heart groupie. You certainly want to buy them a pitcher of beer, or, at the very least, their albums. They are, as Royal Tenenbaum once said, “true blue”. They’re the kind of guys who would (if you were on friendly terms) play at your wedding, help you move a shitty secondhand couch on a hot July afternoon, or pick up for you in the blurry, bloody moments of a bar-fight. Knowing this makes it all the easier to identify with their music, because you’re not just listening to it – you feel connected to it.
And all that being said, this album is truly world-class musicianship. Recorded at Pachyderm Studios (think: Nirvana, PJ Harvey, Son Volt) and alongside producer Dave Simonett of Trampled by Turtles, this is a mature expression of jubilation, depression, celebration, and acceptance. On the second track of this album there’s a line, “… the open road to you…” and this record unspools that way – like an open back-country American byway unspooling forever, lightning bugs blinking on and off in the ditches and fireworks exploding on the horizon and small towns dozing here and there along the way to some indistinct but certainly beautiful and promising point on up ahead. Maybe it’s a man or woman we’ve always loved, always lusted for. Maybe it’s a Pacific beach in the last dusky caress of the day, or a truck-stop parking lot at dawn…It’s a journey we’ve all taken at one point in our lives, and would certainly take again.
I can’t imagine a better accompaniment than this album, and this band, Them Coulee Boys.
Happy Holidays from the LoHi Family to you and yours! No matter what omnipotent being you worship or don’t worship (or if you’re still trying to figure that out), we here at LoHi wish you all the happiness you deserve and health and peace in the New Year! It’s at this time of year we reconnect with friends and family, focus less on the things in the world which we have little control over and more on the transcendent nature of love and the pastoral beauty of the world. In a perfect world this might be enough to bring perspective to a world that’s mired in divisiveness. We don’t know where we came from and none of us are sure where we’re going. Not really. But we do have now, this moment and if we choose to be kind in these moments, the only ones we truly know, we can hopefully set a safe course through the treacherous waters we may sail through. The power of song can build and preserve community and is part of what we believe will help lift the darkling veil that has begun to descend on the world. May the light we kindle carry us through!
We like to say Happy Everyday but we know some days are less so than others. Luckily we have just the thing to help get through those less than happy days… music!
We’re offering a great deal on a CD bundle of LoHi artists music that would make a great gift. Or heck, just give it to yourself! You deserve it! Go here and get you some! They make great stocking stuffers. Except maybe the LP’s. We’re gonna need a bigger stocking!
All our fabulous LoHi artists have been both naughty and nice, most often at the same time! So go on out and wish them good cheer when they come to your town. Buy some merch. Buy them a drink! Talk them into going caroling with you!
We have big plans for 2019 (and 2020 too!). We here at LoHi Records have long loved the music of John Hartford. It would be hard to believe that you might not know who John was but stranger things have probably happened. From the web site of the man himself… “John Hartford was an American original. He was a musician, songwriter, steamboat pilot, author, artist, disc jockey, calligrapher, dancer, folklorist, father, and historian.” He was also one of the key musicians that commingled folk, bluegrass, rock and pop in such a way that he essentially created his own genre, a genre that the world of Americana music freely borrows from and builds upon. We’re happy to announce that we will be helping to curate a John Hartford Tribute Album that will be recorded by an amazing collection of bands and artists that hold John and his music dear to their hearts. Hartford’s family has given us their blessing and they are excited about the project. We will be donating any and all proceeds from the album to a charity of the Hartford family’s choice. We can’t wait to fill you in on more details about that very soon!
And finally we give you just what the world needs… “Gathering Song”, a heavy-duty beauty of a holiday tune from Cedar Sparks, a new side project from LoHi’s Tim Carbone. This from the band…
Serendipity and synchronicity, this is how Cedar Sparks have come to be. Their dark and gorgeous blend of gothic and psychedelic folk comes from a melding of minds; the crystalline musical collaboration between Railroad Earth’s Tim Carbone and Lewis & Clarke’s Lou Rogai. They come together through their common love of both Dark Americana (The Shivers) and British Folk (The Pentangle, Fairport Convention) to offer their own view through the looking glass. They are currently at work on a full length LP and have wrapped up a soon to be released EP, including a real-life murder ballad about Easton, PA’s last public hanging in 1833. “Gathering Song” is more than a Christmas song, it’s an all inclusive holiday anthem of community and togetherness. Rogai and Carbone discussed both the beauty and difficulty of the holiday season, how the commodification and dilution of “real” Christmas can add up to seasonal depression. They agreed that the classic 1946 film It’s A Wonderful Life remains the pillar of the season which stands the test of time and reminds us to keep perspective. The plight of George Bailey is something that most everyone can relate to, and they began quoting the film every day without realizing that a song was born.
In November 2018, Carbone and Rogai began tracking the song at Mixolydian Studios with Don Sternacker at the mixing desk in their hometown of Delaware Water Gap, PA. Rounding out the tune is mainstay Julian Rogai on double bass, Damian Calcagne on keys, Jeff Barg on drums and featuring a guest appearance by Regina Sayles on vocals. Here’s a download of “Gathering Song”, a gift from LoHi Records to all you music lovers! See you next year!!
VIRTUOSIC COLLABORATOR OF NORAH JONES, ROSANNE CASH, CHARLIE HUNTER & SHOOTER JENNINGS PRESENTS ‘AMERICAN MUSIC’ GUMBO OF BLUES, JAZZ, COUNTRY, ROCK & FUNK
Keyboardist makes American music, pure and simple. Over the last two decades plus, he’s earned a stellar reputation as a bandleader and collaborator, working with artists like Steven Bernstein, Theo Bleckmann, Rosanne Cash, Nels Cline, Charlie Hunter, Shooter Jennings, Norah Jones, Leftover Salmon, Shelby Lynne, and many, many more. At the same time, he’s made five albums under his own name full of willfully uncategorizable compositions that combine jazz, funk, country and rock into a swirling, raucous blend that jumps, struts, croons and shouts. His sixth album as a leader, Falling Flowers, will be released September 14 on LoHi Records.
The title track was co-written with and features vocals by his wife, singer Victoria Reed. Built on a foundation of piano, organ, banjo and slide guitar, the track has the feel of a lost ’70s country-rock classic. The beautiful animated video features a couple escaping a shootout in a gritty piano bar in Mexico, helping to keep each other grounded under duress. Director Josh Clark wanted the video to be feel like a dream and was hoping to tell a love story by showing how delicate it can be and that you sometimes have to fight to protect it from forces around us and within us, much like a flower.
Falling Flowers was recorded at Trout Recording in Brooklyn, with engineers Bryce Goggin and Adam Sachs and mixed by Jeff Hill (Rufus Wainwright, Elle King) at Bass Station. “I wanted a studio with an analog board and I wanted great drum tones,” Deutsch says. “Bryce is a recording genius, he’s made a lot of cool records there in a lot of different genres. He’s fast, his gear works, his drum sounds are amazing, there’s a lot of bleed so it’s got that vibe—I wanted to make the record feel like when we play live, and have that energy, and I think we accomplished that.”
The album kicks off with “Jump Change”, a shuffling New Orleans groove jam with a churning bass intro and a fierce, growling trombone solo. In the middle of the album, things get weird. “Little Bell” is ten minutes long, a quiet, atmospheric piece that gets almost psychedelically abstract in the middle. There’s one cover on the Falling Flowers—a version of saxophonist Mel Martin’s “Mel’s Drive In”, a little-known tune that saxophonist Mike McGinnis also recorded on his 2017 album Recurring Dream. (The connection is pianist Art Lande, a friend of Martin’s with whom Deutsch studied, and who backed McGinnis on Recurring Dream.) “I heard it as this slow, greasy clavinet thing,” Deutsch says. “On the record, it’s a wah-wah Wurlitzer. It’s essential in our live show, and I just felt like, we’ve gotta put that one on the record.”
The band on Falling Flowers is a mixture of longtime acquaintances and kindred spirits, and Deutsch has nothing but praise for every one of them. He calls Mike McGinnis (saxophone and clarinet) “a great positive energy — he’s always excited to play my music.” Of trombonist Brian Drye, he says, “This is the first record I’ve had a trombone on, and when I felt like this was what I wanted… [I got a] supremely talented, supremely positive, supremely energetic and professional musician. Another guy I love having around.” Avi Bortnick is simply “the best rhythm guitar player on the planet, like Nile Rodgers and Prince level, and obviously a great soloist and sonic contributor as well.” Bassist Jesse Murphy is “insanely talented, next level, one of those musicians who’s every bassist’s favorite bassist, and equally good on electric and acoustic on bass.” Of drummer Tony Mason, he says, “There’s no drummer with a better beat. Something about Tony feels as good as it can possibly feel. He’s just my guy, and we’ve been making music together for nearly 10 years.”
In addition to these core players, two special guests appear. Scott Metzger plays lead guitar on “Falling Flowers” and “Big Bongos”; Deutsch calls him “a great, great soloist, just a crack studio cat.” Andy Thorn, Deutsch’s band-mate in Leftover Salmon, contributes banjo to “Ghostfeather” and “Falling Flowers.” Deutsch says, “He happened to be in town the night I was doing the session with Scott, so I just had him play on the record — it’s fortunate that he was there — he’s the best.”
Originally making waves as a founding member and lead guitarist for longtime Midwest music scene staple, The Smokin’ Bandits, Pat Ferguson (Madison, WI) has emerged as a renowned solo performer, songwriter, and vocalist; his sound channeling Americana, bluegrass, and folk, deeply influenced by his Upper Mississippi River musical roots.
Light of Day / Dark of Night is Pat’s first full-length solo effort, and is out 4/27/18 on LoHi Records. Produced by Adam Greuel of Horseshoes & Hand Grenades, Light of Day / Dark of Night is a record that paints the picture of retrospect and builds an appreciation for what it means to ride the highest of highs or lowest of lows, while longing with admiration for the other. The album showcases a collection of original music that combines gorgeous instrumentation, stirring harmonies, and powerful songwriting rooted in his core influences.
“When you’re in your darkest time, you long for the light. That’s a given,” says Ferguson. “But at your peak, to have the ability to recognize your weaknesses and appreciate that everything can change in a split second…that’s something I’ve always wrestled with. It took toward the end of this recording process for me to realize that this story really was not about the division between joy and pain. It’s about a collective experience that has made me who I am today.”
Featuring guest contributions from the likes of Jacob Jolliff (Yonder Mountain String Band), Kyle Keegan (Ben Howard & Mandolin Orange), Kenny Leiser (WheelHouse), Chad Staehly (Hard Working Americans & Great American Taxi), Sarah Vos (Dead Horses), and Horseshoes & Hand Grenades, Light of Day / Dark of Night is a pure representation of the power of musical collaboration, chronicling a journey that will speak to music lovers of all genres and generations. Pat will be on tour the Spring, Summer, and Fall of 2018 performing solo and also with his band, The Sundown Sound, in support of the record.
When off the road, Pat hosts two residencies in Madison, WI. He is the house musician at HotelRED and performs every Wednesday evening, and also hosts a “Pat Ferguson & Friends” residency the last Tuesday of the month at the UpNorth Madison which features some of the region’s finest musicians. In fifteen years of touring, Pat has shared the stage and performed with Grammy Award winners, Country Music and Rock n’ Roll Hall of Fame members, and countless other world-class musicians including Merle Haggard, Little Feat, Dr. John, Jason Isbell, Todd Snider, Great American Taxi, The Big Wu, Horseshoes & Hand Grenades, Dead Horses, The People Brothers Band, Bill Miller, Trampled by Turtles, Chicago Farmer, and many more.
On their fifth full-length, Watching It All Fall Apart, Fruition transform pain and heartache into something truly glorious. With their songwriting sharper and more nuanced than ever before—and their sonic palette more daringly expansive—the Portland, Oregon-based band’s full-hearted intensity ultimately gives the album a transcendent power.
In a departure from their usual DIY approach, Fruition teamed up with producer/mixer Tucker Martine (My Morning Jacket, The Decemberists, First Aid Kit, case/lang/veirs) to adorn their folk-rooted sound with delicately crafted elements of psychedelia and soul. Showcasing the sublime harmonies the band first discovered during an impromptu busking session in 2008, Watching It All Fall Apart also finds Fruition more fully embracing their rock-and-roll sensibilities and bringing a gritty vitality to each track. “We’ve been a band almost ten years now, and we’re at the point of being comfortable in our skin and unafraid to be whatever we want as time goes on,” Anderson notes.
Recorded in ten days at Flora Recording & Playback in Portland, Watching It All Fall Apart came to life with the same kinetic urgency found in Fruition’s live sound. “It’s kind of an impossible task, this idea of transmuting the live energy into something you can play on your stereo, but I feel like this record comes close to that,” says Asebroek. At the same time, the band pursued a purposeful inventiveness that resulted in their most intricately textured work to date. “Tucker helped us push ourselves to create something that glistens in subtle little ways that you might not even pick up on at first,” says Asebroek. “We got to play around with all this analog gear and these weird old keyboards we wouldn’t ordinarily use, like a bunch of kids in a toy store where everything is free.”
On lead single “I’ll Never Sing Your Name,” that unrestrained creativity manifests in a fuzzed-out, gracefully chaotic track complete with sing-along-ready chorus. Built on brilliantly piercing lyrics (“And all those kisses that you were blowing/Somehow they all got blown right out”), the song echoes the album’s emotional arc by painfully charting the journey from heartache to acceptance. “It’s about going through a breakup, moping around, and then finally getting to the point where it’s like, ‘Okay—I’m done with feeling this way now,’” says Anderson.
Throughout Watching It All Fall Apart, the band’s let-the-bad-times-roll mentality reveals itself in ever-shifting tones and moods. On the stark and sleepy “Northern Town,” Naja’s smoldering vocals channel the ache of longing, the track’s twangy guitar lines blending beautifully with its swirling string arrangement. One of the few album cuts to have already appeared in Fruition’s setlist, “There She Was” sheds the heavy funk influence of its live version and gets reimagined as a shimmering, soulful number documenting Asebroek’s real-life run-in with an ex at a local bar. Meanwhile, “Turn to Dust” emerges as a weary but giddy piece of psych-pop chronicling the end of a failed romance. The song’s opening lyric also lends the album its title, which partly serves as “a commentary on the general state of the world today,” according to Asebroek. “Even if you’re mostly an optimistic person, it’s hard not to feel down when you look at all the insanity happening right now,” he says.
While those unflinchingly intimate breakup songs form the core of Watching It All Fall Apart, Fruition infuse an element of social commentary into songs like “FOMO” as well. Written on the Fourth of July, with its references to wasted white girls and cocaine cowboys, the mournful yet strangely reassuring track unfolds as what Anderson calls “an anti-party party song.”“It’s about one of those situations where you said you’d go to party but you really don’t want to go, because you know it’s going to be the same old bullshit,” he says. “The song is a call to defuse that guilt in your brain.” And on the sweetly uplifting “Let’s Take It Too Far,” the band offers one of the album’s most purely romantic moments by paying loving tribute to music as solace and salvation (“But don’t you worry ’bout dyin’/’Cause there’s no better way to go/We’ll sing until we’re out of honey/Then pour the gravel down our throats”).
From song to song, Fruition display the dynamic musicality they’ve shown since making their debut with 2008’s Hawthorne Hoedown LP. Through the years, the band has evolved from a rootsy, string-centric outfit to a full-fledged rock act, eventually taking the stage at such major festivals as Bonnaroo and Telluride Bluegrass (a set that inspired Rolling Stone to praise their “raucous originals filled with heartfelt lyrics and stadium-worthy energy”). Following the release of 2016’s Labor of Love, Fruition again made the rounds at festivals across the U.S., prompting Rolling Stone to feature the band on its “8 Best Things We Saw” at DelFest 2016.
In choosing a closing track for Watching It All Fall Apart, Fruition landed on “Eraser”—a slow-building, gently determined epic delivering a quiet message of hope in its final line: “Let it help you heal.”“Because there’s so much heartbreak on this album, we wanted to end on Kellen singing that last line very sweetly,” explains Anderson. “The whole point of having all these sad songs is helping people to let those emotions out—and then hopefully when they get to the end, they feel a little better about everything they’ve gone through along the way.”
When Relix magazine announced The Contribution’s debut record, Which Way World [2010], and called them a “jamband supergroup,” they also recognized, “the band serves the songs first and foremost.” Although the band is comprised of some of the scene’s heavy hitters, the first listen to their music reveals their love of 60s pop and soul coupled with their ability to flat-out shred. It’s is what makes the band appealing to music lovers from all walks of life and they are pleased to release tracks from their upcoming LoHi Records album, Wilderness and Space, one song at a time over the course of seven months, with full proceeds of each single going to a different non-profit with each track.
The Contribution is the brainchild of Tim Carbone of Railroad Earth (violin, guitar, vocals) together with Phil Ferlino (keyboards, vocals) and Jeff Miller (guitar, vocals) of New Monsoon. Keith Moseley (String Cheese Incident), has been the bass player from the band’s inception along with vocalist Sheryl Renee (The Black Swan Singers). The drum chair has been occupied by Jason Hann (String Cheese Incident), Matt Butler (Everyone Orchestra), and currently Duane Trucks (Widespread Panic). Both Matt Butler and Duane Trucks appear on the band’s new record, Wilderness and Space.
The first song will be released on February 17, 2017 and all proceeds will be donated to Rex Foundation. Consecutive songs will come out each month, each paired with its own art and a different non-profit partner. Others taking part include Conscious Alliance, HeadCount, and a handful of other organizations that support the arts, environment, and health. The full ten song album will be released on vinyl this Fall.
Releasing records and touring is a cycle that is connected and a part of each member’s individual careers. Initially conceived as a studio project that would play select live shows, the emphasis for The Contribution was always on writing and recording. Rather than releasing a full record with expectations of touring to support it, Carbone wanted to find a way to live up to the band’s name, which in itself provided the clue as to how, and this what they cooked up as a way to keep it going and give back in the process.
How could the creation of music be leveraged best for the betterment of the world at large? A lofty goal. The band has never been about personal profit and individually the members have been advocates and activists for various environmental and social causes. Now they have thought of a way to meld the two worlds the band holds dear. They are The Contribution, after all.
Carbone says, “We feel blessed to be able to make this music and have it help people in need… and we would like to empower those who share our passion and provide a resource for them to take action with us.”
Wilderness and Space will be released on LoHi Records, of which Carbone is one of the partners along with singer/songwriter and record producer Todd Snider, Hard Working Americans’ Chad Staehly, who is also with Gold Mountain Entertainment in Nashville, and entrepreneur and marketing veteran Jim Brooks. All songs written and produced by Tim Carbone, Phil Ferlino and Jeff Miller. The full ten-song album will come out on vinyl in the Fall of 2017.
7 Monthly releases to benefit individual non-profits
To benefit the Rex Foundation
Back This Way is a duet sung as a conversation between a man and a woman whose relationship is suffering because the man is always away from home. He could be a musician or a traveling salesman (kind of the same thing) or in the military. It’s an argument that somehow, through love, turns out well.
Recorded at TRI Studios – San Rafael, CA
Engineered by Rick Vargas
Musicians
Tim Carbone – lead vocals and percussion
Jeff Miller – electric guitars, background vocals
Phil Ferlino – piano, Hammond organ and background vocals
Sheryl Renee – lead vocals
Keith Moseley – bass
Matt Butler – drums
About The Rex Foundation:
“For more than 30 years, the Rex Foundation has funded organizations most people might never have heard of, but all of whom do meaningful work that we find important. I believe that these same groups need all of us now more than ever, and I doubt there could be any better way to celebrate their work than by coming together with songs in the air and spirits held high,” says Rex Foundation Executive Director Cameron Sears.
Carbone says, “We feel blessed to be able to make this music and have it help people in need… and we would like to empower those who share our passion and provide a resource for them to take action with us.” For more information visit rexfoundation.org
To benefit Conscious Alliance
The Great Boot is a song about remembering to take the time to love and appreciate those that love you. Scars to your soul can be the hardest to see and overcome.
Recorded at Silo Sound Studio – Denver, CO
Engineered by Todd Dival
Additional recording by Tim Carbone at Black Lotus Studios, Delaware Water Gap, PA
Musicians:
Tim Carbone – violin, strings and lead vocals
Jeff Miller – acoustic and electric guitars
Phil Ferlino – Wurlitzer electric piano, Hammond organ and synthesizers
Sheryl Renee – harmony and solo vocals
Keith Moseley – bass
Matt Butler – drums
About Conscious Alliance:
Conscious Alliance, a national 501(c)(3) nonprofit organization, supports communities in crisis. Based in Boulder, Colo., Conscious Alliance operates through a three-tier approach: emergency food relief to communities across the United States; empowerment programs for youth in impoverished regions of the country; and nutrition, exercise and gardening education for youth in economically isolated Native American reservations. Conscious Alliance operates ongoing grassroots food collection and hunger awareness programs by organizing food drives at concerts and music events. The donations collected benefit local food pantries nationwide and economically isolated Native American reservations. Conscious Alliance works with myriad companies and organizations to further its mission of providing life changing and life enhancing programs to the communities they serve. For more information visit consciousalliance.org
Premiering on Shows I Go To
On Sale Now at:
iTunes | Amazon | cdbaby
To benefit HeadCount
While Passengers of Darkness does explore trauma suffered in a relationship, with two people confronting challenges to their love and trust, it could also be a metaphor for the trauma some people are feeling over our recent presidential election. The lack of transparency and trust in an election, as well as a relationship, can be destructive and almost always leads to chaos.
Recorded at Silo Sound Studio – Denver, CO
Engineered by Todd Dival
Musicians:
Jeff Miller – acoustic guitar and lead vocals
Phil Ferlino – accordion, glockenspiel and background vocals
Sheryl Renee – solo vocal and background vocals
Tim Carbone – violin and background vocals
Keith Moseley – bass
Matt Butler – drums
The band – claps
About HeadCount:
HeadCount is a non-partisan, non-profit, organization that works with musicians to promote participation in democracy. It is best known for registering voters at concerts – having signed up 450,000 voters since its launch in 2004 – and for the Participation Row social action villages at concerts and festivals which have raised over $1 million for various non-profit organizations.
“The Contribution is a brilliant concept and we were honored when Tim asked HeadCount to participate. Seeing Tim and The Contribution elevate and amplify the voices of so many incredible organizations is a real example of how music can change the world.” –Andy Bernstein, Executive Director, HeadCount
For more information visit headcount.org
Premiering on Live For Live Music
On Sale at:
iTunes | Amazon | cdbaby
To benefit Rock The Earth
It Ain’t No Sin
This song is about addiction, shame and the inability to own your mistakes.
Musicians:
Tim Carbone – electric guitar and lead vocals
Jeff Miller – electric guitars, slide guitar and background vocals
Phil Ferlino – piano and background vocals
Sheryl Renee – background vocals
Keith Moseley – bass
Matt Butler – drums
Recorded at Silo Sound Studio – Denver, CO
Engineered by Todd Dival
Additional recording by Rick Vargas at TRI Studios – San Rafael, CA
About Rock The Earth:
Rock the Earth is a national environmental advocacy organization dedicated to protecting and defending natural resources through partnerships with the music industry. Rock the Earth is an advocate for individuals and communities whose environment or natural surroundings have been adversely affected by others.
For more information visit rocktheearth.org
Premiering on The Poke Around
On Sale 5/19 at:
iTunes | Amazon | cdbaby
To benefit Delaware Riverkeeper Network
Dream Out In The Rain
This song is about having the courage to dream and believing in yourself.
Musicians:
Tim Carbone – lead and harmony vocals
Sheryl Renee – lead and harmony vocals
Jeff Miller – electric guitars
Phil Ferlino – piano and Hammond organ
Keith Moseley – bass
Matt Butler – drums
Jay Rattman – saxophones and horn arrangement
Rick Chamberlain – trombone
Sean McAnally – trumpet
Recorded at Silo Sound Studio – Denver, CO
Engineered by Todd Divel
Additional recording by Don Sternaker at Mix-o-Lydian Studios, Delaware Water Gap, PA
About The Delaware Riverkeeper Network:
Over 17 Million people rely on the Delaware for drinking water including in New York, Philadelphia and South Jersey.
The Delaware River, its tributaries and watershed, are under a number of assaults. Individually each does damage, but cumulatively these impacts may be irreparable. Development projects that contribute to sprawl, the aggressive extraction of resources, floodplain, habitat and wetlands destruction, new and increased pollution discharges, proposals for development projects, over-harvesting of species, blasting, dredging, damming, dumping, catastrophic events and spills all combine to harm our watershed and the communities (both human and non human) that rely upon it.
Established in 1988, the Delaware Riverkeeper Network is a nonprofit membership organization whose staff and volunteers work throughout the entire Delaware River Watershed area with the ultimate goal to protect and restore the Watershed for the benefit of all. They also work throughout the four states that comprise the Watershed including: Pennsylvania, New Jersey, Delaware and New York. At the federal level, they work on the issues, actions, regulations, legislation, policies, programs and decisions that impact the health of the Watershed.
For more information visit www.delawareriverkeeper.org
Premiering on NJArts
On Sale 6/16 at:
iTunes | Amazon | CDBab
To benefit the BCEF (Breast Cancer Emergency Fund in SF Bay Area)
This Too Shall Pass
Co-founding member of The Contribution and resident of the Bay Area, Jeff Miller, says, “BCEF is a nonprofit that has special significance to me as my mother, Joann D. Miller, passed away in 2012 from breast cancer. My family and I found out when it was already stage 4, so we could do nothing but support her in her last months of life on this plane.”
Many people with breast cancer have inadequate or no health insurance. Most will be unable to work throughout their treatment, adding a huge financial toll to an already difficult struggle. BCEF’s fast and early intervention prevents financial deterioration and provides a sense of security during a devastating illness. BCEF helps people in need continue life-extending medical treatments, avoid utility shut-off, prevent eviction, and maintain stable housing while they battle breast cancer. BCEF is a tax-exempt non-profit organization and does not receive City, State or Federal funds. 100% of their funding is from private foundations, corporations, and individuals.
Miller continues, “The song ‘This Too Shall Pass’ was written as a reference to the cathartic idea that even in our darkest days, with a loved one passing, there is hope. In writing and recording this song, I forever have a way to remember my mom and bring her into being whenever the song is played… a true blessing.”
Musicians:
Tim Carbone – electric guitar, background vocals and percussion
Sheryl Renee – lead vocals
Jeff Miller – electric guitars and background vocals
Phil Ferlino – Wurlitzer electric piano, Hammond organ and background vocals
Keith Moseley – bass
Duane Trucks – drums
Recorded at Silo Sound Studio in Denver, CO
Engineered by Todd Divel
Additional recording by Don Sternaker at Mix-o-Lydian Studios in Delaware Water Gap, PA
for more information visit: bcef.org
To benefit Piedmont Land Conservancy
Wilderness And Space
Wilderness and Space is a stream of consciousness tone poem about dealing with life like a compassionate warrior.
Musicians:
Tim Carbone – lead vocals, electric guitar and oramics machine
Jeff Miller – electric guitars and background vocals
Phil Ferlino – piano, organ, synthesizers and background vocals
Sheryl Renee – background vocals
Keith Moseley – bass
Duane Trucks – drums
Linda Kistler – violin
Christopher Souza – violin
Marsha Cahn – viola
Agnieszka Rybska – cello
Jay Rattman – string arrangement and conductor
Recorded at Silo Sound Studio – Denver, CO
Engineered by Todd Divel
Additional recording by Don Sternaker at Mix-o-Lydian Studios, Delaware Water Gap, PA
About Piedmont Land Conservancy:
Piedmont Land Conservancy protects our region’s natural lands, farms and waters for present and future generations. PLC connects people with nature. To date, PLC has protected nearly 23,000 acres of North Carolina’s Piedmont.
“Piedmont Land Conservancy is very excited to partner with The Contribution to help raise awareness of the importance of land conservation in North Carolina’s Piedmont, but also throughout our beautiful nation” – Kevin Redding, Executive Director.
Tim Carbone tells Shows I Go To about how the nonprofits were selected, “I put it to the band at large and asked them, ‘What do you feel strongly about?’” LoHi Records labelmate, Jim Brooks, suggested Piedmont Land Conservatory as he has held events to raise money for them in the past.
Brooks says, “When Tim approached me about LoHi releasing The Contribution I loved the idea of combining great music to support great causes. By way of Piedmont Land Conservancy’s annual LandJam concert featuring the very best names in live Americana roots music (this year’s event features Bela Fleck and Abigail Washburn) to further its cause of protecting the Piedmont’s treasured natural spaces, it was a no brainer. I mean, the title, ‘Wilderness and Space,’ couldn’t be a better fit for PLC’s mission and legacy, right? I appreciate Tim inviting PLC to be part of such a unique and worthy musical endeavor.”
For more information visit piedmontland.org
All Released Singles Available Here → www.cdbaby.com/Artist/TheContribution
Great American Taxi are a rock & roll classic, a timeless mixture of gutsy pop, calloused hand country, blue-eyed R&B, and bare-knuckle barroom chooglin’ with songs for the everyman and woman grinding out the working week and anxious to shuffle the day’s cares away.
Boogie rock champs with big beating hearts backed up by thousands of gigs and highway miles.
After some evolutionary changes, the core lineup now centers around Chad Staehly (keyboards, vocals), Jim Lewin (guitar, vocals), Brian Adams (bass, vocals) and newest member Arthur Lee Land (guitar, banjo, vocals) with guest drummer Duane Trucks (Hard Working Americans, Widespread Panic) joining them on the group’s latest, strongest studio effort, Dr. Feelgood’s Traveling Medicine Show, which was produced by Railroad Earth’s Tim Carbone at Silo Sound Studios in Denver CO.
Dr. Feelgood’s Traveling Medicine Show roars out with a country roadhouse bounce, declaring, “We can run as fast as our heart beats.” Elsewhere there’s the bell bottom blues of “Sunshiny Days,” reflective shuffle “Home,” the classic AM radio jump of “Everybody,” the rawhide gypsy dance of the title tune, PBR raising anthem “Out On The Town,” and the shimmering sigh of closer “Mother Lode” – all part of a well-rounded journey that actually takes one somewhere.
With active solo and studio work, membership in other projects, and several lifetimes under their belts, the men of GAT approached their first set of non-road tested material – which features originals from Staehly, Lewin and Lee Land (who teams up with his wife Carol Lee for lyrics on all of his compositions) – with open minds and an eagerness to explore the full range of their collective talents.
The result is a feeling-filled, invigorating calling card for the latest chapter in Great American Taxi’s tale of American fortitude and active dreaming with many on-ramps for fellow travelers. Already veterans of the national club scene and festival circuit, the band has settled into switched-on maturity in style, ready to connect with fans, old and new, and give them a reason or three to smile and lift their heels.
New record released Friday September 30, 2016.
American Songwriter Magazine just published this piece on the Rorey Carroll‘s forthcoming release on LoHi Records. Check it out!
“If singer-songwriter Rorey Carroll ever finds herself hungry for material, all she’d have to do is turn to her own life: from her self-inflicted homelessness, to her six months on the Appalachian trail at 20 years old, to getting convicted for transporting marijuana — 27 pounds of it, to be exact. But her second album, Love Is An Outlaw, isn’t some kind of badge of honor touting her storied, sometimes slightly sordid past. Instead, it’s a diverse palate of life, love and hard-learned lessons; full of empty rooms and emptier hearts, with Carroll’s voice filling each and every void with its perfectly ragged nuance and dead-honest lyricism. She’s got a story, all right, but she’s more interested in the stories we all share together.”
http://americansongwriter.com/2016/…/rorey-caroll-hard-way/…
Raw, soulful, and with plenty of swagger,Town Mountain releases 5th album, Southern Crescent, on April 1, 2016 on LoHi Records.
Produced by Dirk Powell at his Cypress House studio in Breaux Bridge, Louisiana.
ASHEVILLE — In much the same way that iconic southern dishes such as Louisiana gumbo or Brunswick stew can include any number of flavorful ingredients, so too does bluegrass music rely on a recipe that can vary wildly, depending on who’s doing the cooking. For Asheville, North Carolina-based bluegrass band Town Mountain, the key ingredient of the musical stew that is their career-defining fifth album, Southern Crescent, is the same confident – yet entirely embraceable – swagger that has distinguished the group since they first formed in 2005. The new album is due out on April 1, 2016 on LoHi Records.
With an insatiable musical hunger, the members of Town Mountain (Robert Greer on vocals and guitar, Jesse Langlais on banjo and vocals, Bobby Britt on fiddle, Phil Barker on mandolin and vocals, and Nick DiSebastian* on bass) made their way to the little south-central Louisiana town of Breaux Bridge, where they recorded their most cohesive, most satisfying album to date. Produced by legendary GRAMMY-winning musician (and Louisiana transplant) Dirk Powell at his Cypress House studio, with low-swooping live oak trees and the picturesque Bayou Teche nearby, Southern Crescent is nothing less than a musical tour-de-force. Adam Chaffins* plays bass in the touring outfit.
The 2013 winners of IBMA Momentum Awards for Performance Band and Vocalist of the Year (Robert Greer), Town Mountain has earned raves for their hard-driving sound, their in-house songwriting and the honky-tonk edge that permeates their exhilarating live performances, whether in a packed club or at a sold-out festival. Just as a gumbo recipe starts with the “holy trinity” of staples (onions, bell peppers and celery), and can contain a wide variety of additional ingredients and inspiration, the hearty base of Town Mountain’s music is the bluegrass triumvirate of Bill Monroe, Lester Flatt and Earl Scruggs. It’s what else goes into the mix that brings it all to life both on stage and on record and reflects the group’s wide-ranging influences – from the Grateful Dead’s Jerry Garcia and the ethereal lyrics of Robert Hunter, to the honest, vintage country of Willie, Waylon and Merle.
Southern Crescent was recorded in a decidedly old-school way, live, with minimal fixes and overdubs, with all the musicians in the same room and no noise-reducing baffling between them. The result: a raw, soulful album that prompted iconic singer-songwriter Jim Lauderdale to enthuse in the liner notes,
“The first time I heard Town Mountain I loved, respected, and enjoyed them. And I do now more than ever. They have stuck with their deep bluegrass roots but as they have with all of their releases, they have grown and expanded. They sound like Carolina, and they carry that sound farther and farther with Southern Crescent, their latest gem.”
In spite of not having worked with Powell as their producer before, singer-songwriter Robert Greer says he walked away from the experience “thinking this is how I want to record every record from this point on.” It probably didn’t hurt that Powell’s mom, who lives next door to the studio, was keeping the group supplied with coffee and homemade chocolate chip cookies.
The new album is being released on LoHi Records. Based in Greensboro, N.C., the label is a partnership formed by entrepreneur and marketing veteran Jim Brooks with singer/songwriter and record producer Todd Snider, record producer Tim Carbone (who also plays fiddle in newgrass band Railroad Earth) and Chad Staehly from Gold Mountain Entertainment in Nashville.
Each of Town Mountain’s members contributed songs to Southern Crescent, with Barker, Langlais and Greer the chief writers in the band. A democratic process determines what they’ll record, but the greatest factor, especially on the new record, is audience reaction, which is basically what led to release of the band’s first official live album, Town Mountain: Live At The Isis, in 2014. “We’ve gone into the studio before with new stuff but every tune on this record had been road-tested,” says Greer. “We go in to the recording situation and we have our tunes arranged already because we’ve been playing them on stage. That’s a contributing factor to successfully being able to record them live, because we’re used to doing them night after night.”
From the boogie-woogie piano of Jerry Lee Lewis that inspired the delightful (and danceable) “Coming Back to You,” to Greer’s cleverly penned and fast-paced “Tick on a Dog,” which offers a taste of another major bluegrass influence, Jimmy Martin, Southern Crescent is tailor-made to keep live audiences on their feet, but it’ll also keep those who think they can easily peg Town Mountain on their toes. “With live music, anything can happen,” Greer acknowledges. “It’s not supposed to be perfect but does it have soul!”
The music, perhaps, should also come with a road map. As Langlais explains, “A lot of the material is based around traveling. You start to peel back the lyrics of the songs and see that a lot of the material is about being out on the road and the experiences – positive or negative – that we may have living the lifestyle.”
Just as the guys find a wealth of musical inspiration in each other, there’s admittedly a little frustration that comes from being in a band with several other gifted songwriters at the same time. As Langlais explains, “You want to make sure you’re up there and everybody else is feeling the same about you. It’s good to have multiple writers in the band because it gives your audience more variety.”
That variety is indeed part of what drives Southern Crescent, which opens with Britt’s delightfully dizzying fiddle work on “St. Augustine,” and showcases Greer’s hard-country vocals on “House With No Windows” and on the freewheeling composition “Ain’t Gonna Worry Me,” (penned by Barker). The group members’ palpable chemistry (and individual artistry) are displayed throughout such instantly memorable tracks as “Wildbird,” (Barker) and “I Miss the Night,” which Langlais penned (with Mark Bumgarner) after experiencing 22 hours of daylight during Alaska’s summer solstice.
“Bands are constantly trying to define their sound, a sound that sets them apart from every other band, especially in genre as small as bluegrass,” says Langlais. “Our approach has been to find what our sound inherently will be and build off of that. Granted, we are taking a piece of what Bill Monroe’s band did in order to make our own bluegrass band. That’s just inevitable. But he borrowed from all these other genres, too – rock ‘n’ roll, country music, Scots-Irish fiddle music. I think we have realized what our sound is with this album.”
Greer, who hosts occasional nights of acoustic classic country and bluegrass in Asheville called Cornmeal Waltz (after a Guy Clark song), understands the music-food connection, saying that no matter what goes into gumbo or Brusnwick stew, they’re still “as southern as red clay.” The same is certainly true of Southern Crescent, Town Mountain’s prize-worthy signature dish.