<![CDATA[My Site - News]]>Sun, 22 Apr 2018 09:51:27 -0700Weebly<![CDATA[Alisha Mae Gives Fans "Bold" New Single]]>Sat, 21 Apr 2018 07:00:00 GMThttp://thedailycountry.com/news/alisha-mae-gives-fans-bold-new-singlePicture
(April 20, 2018 Press Release) Nashville, Tenn. - Breakout country artist and social media sensation Alisha Mae released her anticipated debut single “BOLD” today, delivering a dangerously irresistible beat that is sure to be the anthem of the summer. As the first single in a collection of new material, Mae gives audiences a taste of her wild side that teases the idea of what’s to come. “Bold” is now available on iTunesGoogle PlayAmazon Music andSpotify

“This project means everything to me, and it gave me the strength I needed to chase my dreams,” Mae explains. “When I first heard the song, I immediately felt a connection to it. Everything in me was screaming THIS IS YOUR SONG, fight for it.  A lot of time, effort, sweat and tears went into this project and a lot of people came together to make it happen. I am so grateful and proud. I hope this song gives others the empowerment and extra push to do something they really want without fear of judgement from others.”

Written by Corey Lee Barker, Mark Barnowski, and Allie L Shermetaro and produced by Nashville legend Kent Wells, “Bold” highlights Alisha’s edgy spin and modern country flare. The 26-year-old has been winning over fans across the world and on social media with her incredible rendition of “Dancing In The Sky,” by Danny & Lizzy. The cover was originally released on the musical app Smule™ and has earned over 25 million views and counting, propelling her into the country music spotlight.

<![CDATA[Lockwood Barr Releases HIGHly Anticipated Video for New Single]]>Sat, 21 Apr 2018 07:00:00 GMThttp://thedailycountry.com/news/lockwood-barr-releases-highly-anticipated-video-for-new-singlePicture
Watch the video HERE

Nashville based singer/songwriter and California native, Lockwood Barr, is excited to announce the release of her music video for her upcoming single “High Wears Off.” The video is live footage from "The Amber Sound" studio in Nashville where Barr and her band recorded the highly anticipated tune, produced by Ryan Youmans and mixed by Matt Odmark. This is the first single following the 2016 release of her sophomore LP Signs Along the Road.

"I've been working on new material for so long and I'm excited to share it with everyone," says Barr. "I started finding my sound and honing my craft withSigns Along the Road and I really feel like "High Wears Off" reflects how far I've come as an artist and represents the direction I've been going towards."

<![CDATA[Peter Himmelman teams with John Paterno to create genre-bending spoken word/atmospheric recording, 'Breath & Pulse & Awe']]>Fri, 20 Apr 2018 13:05:37 GMThttp://thedailycountry.com/news/peter-himmelman-teams-with-john-paterno-to-create-genre-bending-spoken-wordatmospheric-recording-breath-pulse-awePictureCourtesy: Conqueroo
With this release, Grammy- and Emmy-nominated musician
adds “spoken-word artist”to his already long list of creative accomplishments, which include: author/film and television composer/visual artist/children's performer/nationally recognized speaker on innovation and creativity. 

SANTA MONICA, Calif. (Press Release)— After his critically acclaimed 2016 release There Is No CalamityPeter Himmelman wanted to rotate the prism of his musical engagement a bit, and so he embarked on a project to do just that with collaborator John Paterno, an L.A.-based, Grammy-winning producer/engineer and multi-instrumentalist. Paterno recently recalled, “As I was reading these pieces Peter had written, I found myself imagining the worlds they might live in from an aural perspective. I was really engaged with the quality and depth of the thoughts, at how they were conveyed through the characters Peter created from one story to the next, and how certain themes were weaved throughout the whole set.”
The result of their work together is Breath & Pulse & Awe, a collection of spoken-word pieces with ambient/atmospheric sonic underpinnings. 

A track called “Consensus 31B” explores the power of words to unite or to deceive: 
We wage war, we declare money: important, we cure meat and polio, we stare at Donald Trump, and we listen to Howlin Wolf, and we think of it all as real. And who is this entity called You and I, but the joining of interests and aligned attraction?

Another piece, entitled “She Wonders If the Dead Can Hear,” finds a woman summoning a loved one in a kind of mournful quest for answers to the unanswerable: 
... She feels the floor with the soles of her feet and represses a laugh. This is life, this is breath, and pulse, and awe, she thinks — and a dog barks in the distance. She thinks of her sister (I know how much she misses her), and wonders if the dead can hear.
Born out of a conversation about writing, music, and the hard, wondrous minutiae of life itself, Breath & Pulse & Awe explores the modes through which human beings in the modern era relate to the world, in ways both grand and deceptively plain — with all they experience appearing beautiful and mystifying in equal measure. 
The words and music in this unique collection combine to guide the listener through the stories of the characters that inhabit these strange and yet surprisingly familiar psychological landscapes. The ambiguity of the words and music leave listeners free to bring their own feelings and emotions to the experience of hearing this work. 
As Himmelman points out, “Don't expect to dance to this record. It’s unlikely you’ll come away humming any memorable melodies either. Breath & Pulse & Awe is an assembly of words and atmospherics created to put you in a fever-dream, to lull you into a space that is one part madness and one part prayer.”
Breath & Pulse & Awe will be available on all digital platforms today, April 20, 2018. 

<![CDATA[Video Premiere: Blind Adam and the Federal League "Another Lonely Weekend"]]>Fri, 20 Apr 2018 10:00:00 GMThttp://thedailycountry.com/news/video-premiere-blind-adam-and-the-federal-league-another-lonely-weekendAfter a 1000 mile cross country motorcycle ride with his friends The Bouncing Souls, Adam Gogola decided to follow his dream and start a band before his degenerative optic nerve disease took over his vision leaving him legally blind. And that he did, forming Blind Adam and The Federal League, Chicago's own folk-punk-Americana outfit who merge powerful lyrics and scorching melodies with a punk rock attitude. On April 28th, the quartet will release their self-titled debut album, an eleven-track outing full of barn burners and ballads built upon a rowdy punk base that's infused with relatable lyrics, rock and roll spirit, and a country heart.
Today, TDC is excited to premiere the video for "Another Lonely Weekend." A melancholy ballad led by Adam's sobering vocals, emotive pedal steel, and some light percussive tones,  "Another Lonely Weekend" chronicles those empty, unsettling, and liquor-fueled days after the end of a relationship, when the yearning for the other has not yet abated.

"When Sunday comes and I wake up wherever that might be
I'll head out in the sunshine, find an open barstool
I'll drink away another, another lonely weekend without you"

Gogola notes, "Musically, I grew up with my parents playing great music, Bruce Springsteen, Neil Young, Bob Dylan, John Prine, Fleetwood Mac, Rolling Stones, Jim Croce etc… As I got older I found punk rock and in the last 10-12 years I’ve gotten more into alt-country, folk, Americana and traditional country music. Lucero kind of bridged the gap between punk rock and more of the country/Americana stuff for me."

​Watch, and share, the video above and for tour dates and more, visit the links below.
Bandcamp // Facebook // Instagram // Soundcloud

<![CDATA[Sons Of Bill Announce New Album 'Oh God Ma'am,' Share "Believer/Pretender"]]>Thu, 19 Apr 2018 20:41:44 GMThttp://thedailycountry.com/news/sons-of-bill-announce-new-album-oh-god-maam-share-believerpretender
Virginia-based band of brothers Sons of Bill will release their fourth album Oh God Ma’am on June 29th. Today they have shared their new single "Believer / Pretender," an opening salvo that encapsulates the approach the group takes on their latest record - blending their lyrical Americana roots with a polished, driving set of songs punctuated by crystalline guitar riffs and tasteful synth flourishes. The track is currently streaming via Brightest Young Things who declares the track to be "...an absolute stunner, a sweeping piece of ‘80s-tinged guitar rock that recalls the sounds of New Order, The War on Drugs, and even The Gin Blossoms, while still being unmistakably Sons of Bill."
"Believer / Pretender" was written after guitarist/singer James Wilson underwent surgery on his hand after an accident with a champagne glass, which almost prevented him from ever playing guitar again. "I distinctly remember the moment the words started to come together. I had just had surgery on my hand, and was deep in a moment of self-pity at a coffee shop in Nashville" Wilson writes. "When I approached the counter, I was greeted by a barista/musician with sleeve tattoos in my new home of Nashville, and wrote the line 'Put all your secrets under your skin.' It was this this sad feeling looking at one another-- that neither of us have any depth--any meaningful internal life-- nothing real to say to each other-- but maybe another tattoo will convince the outside world that we have something to say-- which is sadly maybe all we wanted in the first place."

Oh God Ma'am is the followup to their 2015 album Love and Logic, which Q magazine called "a glorious sour mash of every great Americana trope of the last 50 years-- think Dylan, R.E.M, Wilco, -- Blended with top notes of Husker Du, Big Star, and The Replacements... A family affair welcoming one and all." Recorded both in Seattle with west coast indie legend Phil Ek (Shins, Fleet Foxes) and in Nashville with Sean Sullivan (Sturgill Simpson) and mixed by Peter Katis (The National, Interpol) Oh God Ma'am moves beyond the galvanic americana-rock comfort zone of previous efforts, for a more elegant and restrained sound-- a darker, and more complexly layered rock record that manages to be the band’s most emotionally intimate and sonically expansive.
Oh God Ma'am is currently available for pre-sale HERE.

As three sons of a venerated theology and literature professor at the University of Virginia (who also taught his sons how to play guitar and write songs), Sons of Bill were always keen to represent the american south with a slightly higher brow-- an upright and literary aspect of the southern culture that rarely gets an adequate hearing in pop music. And like so many of the southern writers they grew up reading (James teaches and is currently writing a book on William Faulkner) The Wilson brothers often pull songs from the darker regions of the human imagination-- slyly and earnestly scratching at their own spiritual scabs with both humor and sincerity, as a way of exploring life’s enduring complexities: faith, love, and the weirdness of time. It gives the whole record a unique atmosphere of tragicomedy-- equal parts post-adolescent anxiety and old-soul humility. In search of the proper nomenclature, one critic would simply describe Sons of Bill as “metaphysical American music.”

Oh God Ma'am Track List: 
1. Sweeter, Sadder, Farther Away
2. Firebird ‘85
3. Believer / Pretender
4. Easier (featuring Molly Parden)
5. Where We Stand
6. Good Mourning (They Can’t Break You Now)
7. Before the Fall
8. Green To Blue
9. Old And Gray
10. Signal Fade 
Sons of Bill Links:
Website - Facebook - Twitter - Instagram - Spotify

<![CDATA[Richard Edwards shares "Howlin' Heart"]]>Thu, 19 Apr 2018 20:37:08 GMThttp://thedailycountry.com/news/richard-edwards-shares-howlin-heartPictureCredit: Henry Diltz
Listen HERE

(Partial Press Release) Richard Edwards, the longtime frontman and architect of Margot & The Nuclear So and So’s, today 
premiered his new song “Howlin’ Heart” the second from his forthcoming sophomore album Verdugo“Howlin’ Heart” follows the late March release of soaring first single “Minefield,” which can be heard HERE Verdugo will be released on June 1, 2018 via Profound Discomfort and is now available for pre-order .

The follow up to Edwards’ 2017 debut solo album, Lemon Cotton Candy Sunset Verdugo is deeply connected to, yet thematically and tonally different, from its predecessor. Both were recorded over a six-month period in Los Angeles, CA with the same band and producer Rob Schnapf (Kurt Vile, Elliott Smith, Beck); but whereas Lemon... was about loss and letting go,Verdugo is about recovery and finding one’s footing. Roughly half of Verdugo ’s songs were intended for Lemon... , but backburnered and replaced with more strictly autobiographical songs when Edwards’ marriage fell apart and he was diagnosed with debilitating intestinal ailment C. Diff during recording. Edwards resurrected these original songs for the new album, and wrote additional, more character-driven and less autobiographical ones to accompany them. Verdugo ’s 10 varied, yet cohesive songs showcase Edwards’ considerable and longstanding talent as a writer, from the late ‘70s soft rock-influenced opener “Gene,” to the resonant sing-along of “Howlin’ Heart,” to the gentler, acoustic guitar-led “Olive Oyl” and “Something Wicked.”

Edwards led the Indianapolis-based Margot & the Nuclear So and So’s for more than a decade after founding the band in 2004. When health problems made touring with Margot impossible, he turned inward and began writing songs “loosely inspired by all one learns, and fails to learn, while dealing with one’s own mortality,” as he wrote in a piece last year for The Talkhouse . That shift coincided, more or less, with a watershed moment in his own artistic growth. “It happens with probably all people who are creative to one degree or another: you stop seeing their influences as processed and you start seeing what they’ve found,” he says. “I think I’ve seen that happen. Not that I’m fully satisfied with it, but I’ve found this thing I’ve been trying to get at, which is things on records that are completely me.”

Richard Edwards on the web :
<![CDATA[Amanda Shires Announces TO THE SUNSET Due August 3rd]]>Thu, 19 Apr 2018 20:35:11 GMThttp://thedailycountry.com/news/amanda-shires-announces-to-the-sunset-due-august-3rdPicture
Nashville, TN (Press Release) - Critically acclaimed singer/songwriter/violinist Amanda Shires will release her highly anticipated fifth album To the Sunset on August 3rd via Silver Knife/Thirty Tigers. To the Sunset is Shires’ second album with Grammy award-winning producer Dave Cobb and represents an adventurous move with an edgier sound and attitude. Shires continues to push herself artistically and sonically, but the spotlight always shines brightly on her unmistakable songwriting style and emotive and distinctive vocals. 

To the Sunset is a compelling collection of narratives often told from a female perspective. The themes range from grappling with self-esteem in “Mirror, Mirror” to mental illness and addiction in standout track “Wasn’t I Paying Attention?” and the power of a changed perspective with a dash of her signature wit in “Break Out The Champagne”. Shires has a penchant for delivering her stories in ways that are intelligent and poetic yet thoughtful and warm, feeling as if coming from a good friend. One of the boldest and most honest traits about Amanda Shires is her fearless way of approaching subjects and plots within her songs. Recorded at RCA Studio A, Shires is joined on To the Sunset by special guests including Jason Isbell (guitar), Dave Cobb (bass) Peter Levin (keys), and Jerry Pentecost (drums).  

To the Sunset is the follow up to Shires’ critically acclaimed My Piece Of Land, which was released in 2016.  My Piece Of Land became her most acclaimed album to date garnering high praise that included NPR, Associated Press, Rolling Stone CountryEntertainment WeeklyGarden & Gun, Texas Monthly and the cover of the Nashville Scene. Capping off a banner year in 2016, Shires was also the recipient of the Americana Music Association’s Emerging Artist Of The Year Award and made her solo national TV debut on Austin City Limits.   

To the Sunset represents an extension of artistic growth for Amanda Shires who continues to grow and challenge herself as an artist and songwriter.  

4/26 – Birmingham, AL – Lyric Theatre - %
4/27 – Knoxville, TN – Tennessee Theatre - %
5/4 – Nashville, TN – Sevier Park Fest
5/27 – Winston Salem, NC – Gears & Guitars Festival
6/22 - Oxford, MS – The Lyric Oxford
6/24 - Jackson, MS – Duling Hall
6/29 – Dallas, TX – Winspear Opera House - ^
6/30 – Austin, TX – Bass Concert Hall - ^
7/12 – Rocky Mount, VA – Harvester Performance Center
7/13 – Charlotte, NC – Live on the Green in First Ward Park
7/14 – Somerset, KY – Master Musicians Festival
7/24 - Pittsburgh, PA – Rex Theater
7/25 - Albany, NY – Lewis A. Swyer Theatre at The Egg
7/27 - Newport, RI – Newport Folk Festival
7/29 - Brooklyn, NY – Rough Trade
7/31 - New York, NY – Bowery Ballroom
8/1 - Annapolis, MD – Ram’s Head
8/2 – Alexandria, VA – The Birchmere
8/7 - Carrboro, NC – Cat’s Cradle
8/10 - Atlanta, GA – Variety Playhouse
8/28 – Phoenix, AZ – Symphony Hall - @
9/3 - Morrison, CO – Red Rocks Amphitheatre - @

% - Supporting Tommy Emmanuel
^ - Supporting John Prine
@ - Supporting Jason Isbell and the 400 Unit
<![CDATA[Chuck Westmoreland Announces 'Long Winter Rodeo']]>Thu, 19 Apr 2018 20:19:29 GMThttp://thedailycountry.com/news/chuck-westmoreland-announces-long-winter-rodeoPictureChuck Westmoreland. Photo by Peter Carlson.
"Sharp Rocks" video at No Depression

​April 19, 2018
 -- Portland, Or.-based Americana singer-songwriter Chuck Westmoreland has shared the first single & video from his forthcoming LP Long Winter Rodeo at No Depression, who praised it in saying that "fans of the late Jason Molina’s musical endeavors will find a familiarity in Westmoreland’s work...this is no-frills Americana of the highest order."

The mind is the greatest escape. Chuck Westmoreland should know. Having already garnered acclaim from Noisey, the AV Club, & more with his eponymous 2016 debut, and having shared stages with the likes of Justin Townes Earle and Whitney Rose, Westmoreland is poised for a breakout with his forthcoming second album Long Winter Rodeo. Proud owner of a Portland, Ore., bar named The Red Fox, which he compares to the creepy watering holes of Twin Peaks, Westmoreland weaves his story songs from years of regulars shuffling through his doors, his characters drawing from a deep, personal well, while also pulling bits and pieces from his relationship with bar patrons with all the understanding of an old friend.
“He knows that there’s nowhere to go when you’re gone / There ain’t no direction,” Westmoreland sings with desolate beauty on Long Winter Rodeo’s title cut. Inspired by the real-life Tygh Ridge Rodeo Grounds (featured prominently in Westmoreland’s “Sharp Rocks” video), the sparse track unveils a simple love story. “A guy falls for this woman,” he says, “but she’s already with somebody else.” In an act of serendipity, the two finally end up together. Ultimately, it’s a hopeful tale, though one laced with an inescapable sadness. The song’s guitars ebb and flow beneath Westmoreland’s vocals, walking the line of solemnity and jubilee. “In the morning, you can see the outline of the rodeo, but it’s shrouded in mist—a lonely, desperate looking thing,” he says, detailing the colossal presence of the song’s Tygh Ridge backdrop. “When you drive by it after you’re done fishing, the fog is all burned off, and it turns into the most beautiful place you’ve ever seen. Every single mountain in Oregon is visible standing there in the arena.”

The same majestic grandeur pulses through much of Westmoreland’s new record. “Long Winter Rodeo” rises as the album’s backbone, and the other narratives are bred and born from an equally raw and moving center. “Mama Be Eternal,” written only hours after his aunt’s funeral, blends tender balladeering with a honky-tonk strut: “Mama, can you carry me?” he pleads, an almost gospel-style choir coming to his aide. And "Prisoners" unpacks the harrowing story of a refugee family fleeing its home, transcending politics with a grizzled meditation on the human experience."
The songwriting on Long Winter Rodeo is the foundation, especially on tracks like the album’s searing bookend “Slaughtered.” “I’m ready to go,” Westmoreland sings, “and I’m ready for salvation.” Armed with only a guitar, his voice cuts to the bone, conjuring a romantic tale inspired by his grandparents, who lived on the Texas-Louisiana state line. It’s a story about a hired hand working the land for an older couple, whose daughter happens to be away at college. He’s 19, young and rugged. Not only does he grow fond of his employers but of the many photos of their daughter along the walls. “It’s in a very genuine way,” Westmoreland clarifies. “He doesn’t meet her for years. Time goes by, and her parents get sick. She finally comes back for her dad’s funeral, and he ends up holding her hand and being with her in her time of mourning.”
When you listen to the songs on Long Winter Rodeo, aside from Westmoreland’s weathered vocals and vivid storytelling, it’s the instruments—in particular, a set of electric guitars Westmoreland crafted himself—that bind everything into a cohesive set. “I made six of those guitars, he says, highlighting his love of woodworking. “It gets pretty addictive.”
Originally hailing from Shreveport, La., Westmoreland came of age in the Bay Area. He picked up the guitar at 13, played in several bands in high school, and by the time he was 17, relocated to southern Oregon, eventually making Portland his home. While there, he issued several lo-fi, four-track-recorded psych-pop solo albums. Before long, he formed indie-rock outfit The Kingdom, who signed to Greg Glover’s Arena Rock label. They scored coverage at Pitchfork and toured with Silversun Pickups, earning a respectable place among contemporaries such as The Thermals and Blitzen Trapper.
Before long, though, the band unraveled, and Westmoreland began focusing on his watering hole, The Red Fox. There was a time he believed he might never make music again. When his wife was diagnosed with cancer, life came into clearer focus. She beat the disease, thankfully, but something had shifted inside Westmoreland. “I was like, ‘Screw it, I’m just going to write a record,’” he says of his first album, 2016’s self-titled debut. “I was just going to record it on a four-track cassette recorder and have it be a homespun sort of thing. But we got carried away, and it ended up getting blown up a bit, which was fun.”
Westmoreland continued his creative streak even before the album’s release. Long Winter Rodeo began taking shape earlier that July during quick songwriting getaways to a duck blind at a local wildlife area. Teaming up with the same slew of friends and players the album came together like clockwork.
Westmoreland’s music is barbed but easy to swallow, like a smooth shot of bourbon. He inhabits these character sketches with a worn, whiskey-soaked wisdom, drawing upon a wealth of misery and pain, love and joy, hope and strength. He’s the everyman, expertly imparting real stories about real people going through real struggles.
Long Winter Rodeo is out June 1 on Black and Gold Records.
<![CDATA[Final Album by Late Folk-Rock Legend Jimmy LaFave, Peace Town, to be Released on 7/13]]>Thu, 19 Apr 2018 15:41:07 GMThttp://thedailycountry.com/news/final-album-by-late-folk-rock-legend-jimmy-lafave-peace-town-to-be-released-on-713Picture
(Austin, TX, Press Release) After being diagnosed with a very rare fast-growing cancer called myxofibrosarcoma in June 2016, Austin-based singer and songwriter Jimmy LaFave resolved to continue to perform and record as long as he was able. The results of two stints at Austin's Cedar Creek Recording Studios just a few months before his death on May 21, 2017 will be issued as a two-CD, 20-track set titled Peace Town on his Music Road Records label on July 13, the day after what would have been LaFave's 63rd birthday.
A founding father of the now-thriving Oklahoma Red Dirt music movement and, after moving to Austin in 1986, a leading light of that city's world-renowned singer-songwriter scene, LaFave was a triple threat musical quantity as a performer and recording artist: "[O]ne of rock's best singers - certainly its finest ballad singer - with a voice that can swoop, dart, glide or knock you on your butt," notes the Associated Press; in the estimate of his peer Ray Wylie Hubbard, "His songwriting's just stellar, and it carries a lot of depth and weight;" and as the Philadelphia Inquirer raves, he's "a masterful interpreter" of songs by others. All three qualities shine on Peace Town.

Another of his heretofore-unknown artistic skills was as an art photographer, documenting roadside signs and unique classic structures as he traveled the two-lane highways of the nation on tour. LaFave's vivid photographs of a vanishing America debuted in an exhibit at Austin's Stephen L. Clark Gallery, "Searching for Peace Town," during South By Southwest in March. A selection of the prints will now be displayed in the lobby of the Woody Guthrie Center in Tulsa, OK from April 24 to May 28. A number of the images are also included in the Peace Town CD package.
The tracks that comprise Peace Town were not recorded by LaFave as a planned final or farewell album. "When Jimmy first started this project his goal was to get to 100 songs," explains Ashley Warren, the trustee who administers the Jimmy LaFave Intellectual Property Trust, which he formed to preserve his artistic legacy to benefit his son Jackson. "This is not what he intended to be his last album. These were songs he was leaving us for future albums and projects." But among performing to fulfill commitments and still support himself and his band, dealing with doctors, his disease and undergoing treatment, overseeing the Music Road Records label he co-owned, and settling his personal, business and artistic affairs, plus the rapid spread of his cancer, these 20 last recordings were all he was able to complete.
Yet the set reflects his artistry as well as the emotional elements over the last months of his life in which his medical condition brought issues of mortality, legacy, life and love to the forefront. As such, it stands proudly as one of his best works within a critically-lauded career in which, as All Music notes, he "brought a passionate rock & roll energy to his original folk songs, whether he was playing solo or with a band." And made his mark as an interpreter who could take the songs of others and virtually make them his own.
Alongside time-tested reinterpretations of two of his own previously released compositions are three numbers LaFave composed to lyrics by his icon, Woody Guthrie, and his interpretations of material by his influences ranging from Chuck Berry to Pete Townshend of The Who to more of what All Music describes as his "fantastic work on Bob Dylan's songs" on three tracks. The set also includes nods to noted songwriters from Oklahoma - the state where LaFave came of age and started his career - like Leon Russell and J.J. Cale as well as selections from lesser-known but equally gifted writers whose talents he admired.
All told, Peace Town celebrates what All Music says was "the way he blended country, blues, folk, and early rock & roll, his work ethic, and his low-key rapport with fans were all factors that worked in his favor." And gave everything he recorded, as All Music also observed, "a stamp that is indelible. It's tattooed on the inside, on the heart where it belongs."

<![CDATA[Tony Wright and Ryan Hamilton Announce New Album, 'Grand Ole Otley']]>Thu, 19 Apr 2018 07:00:00 GMThttp://thedailycountry.com/news/tony-wright-and-ryan-hamilton-announce-new-album-grand-ole-otleyPicture
LONDON, UK - (April 2018 Press Release) - On paper, it’s an unlikely-looking union; Ryan Hamilton, the Texas rocker who grew up on country greats, and Tony Wright of Brit-Rock hitmakers Terrorvision, have banded together to produce ‘Grand Ole Otley’, an album of country songs re-worked in their unique style and the first release of a brand new transatlantic collaborative project, led by their version of the Don Gibson classic later recorded by Johnny Cash among others, 'Oh Lonesome Me'.

On being introduced by producer Dave Draper, Hamilton said: "Ya know, I'm still not exactly sure how it happened. At the time, our [Traitors] new single ‘Smarter’ was doing well on UK radio... and one day, Dave goes, “What would you think about recording a song with Tony?” I was already a fan of Terrorvision, and we have a lot of mutual friends, but I had never met Tony. I don't know if he heard our song on the radio, or just overheard our stuff that Dave was working on. Whatever happened, he expressed interest in working together. I was flattered and excited. Before I knew it, we were recording an old song together called ‘Everytime I'm Kissing you’. Never in a million years did I think we'd make an album together. Especially not THIS album. This whole thing continues to be the most wonderful surprise."

​Their shared love of ‘good music’ led to talk of an album covering country standards and more obscure songs from way back in the archives. The resulting album, ‘Grand Old Otley’, is a heady mix of country, Americana and folk and is likely to prove much darker at times that could be expected from a pair notorious for their wise-cracking.

Initial takes for the album were captured in Wright’s coffee/print-shop, Bloomfield Square in Otley, Yorkshire (referenced by the album’s respectfully tongue-in-cheek title). A beautifully renovated 18th Century building with plenty of charm, as a temporary ‘studio’ it certainly lends its very own special acoustics to the grass-roots vibe of the recordings.

"There’s something really magical about Tony's Bloomfield Square. Talking through, deciding on the tracks, and doing the initial recordings in the back of that beautiful old building definitely lent itself well to the vibe and a direction of the album. It's strange how things have fallen into place with this project. Accidentally. Sort of creepy, actually. But, again, that old school, dark/creepy vibe lends itself well to these tunes. I think we've stumbled onto something wonderful here. Accident or not, it just works. Even though on paper, it looks like it shouldn't."

Adding a further unexpected wrinkle into the mix, after his recent foray into genealogy, Tony has announced – “who knew?! It seems that Ryan and I are actually distantly related…”

Wright and Hamilton take the album on the road for a short string of intimate shows in June (tickets on-sale now) – celebrating the official release at London’s beautiful St Pancras Old Church on Friday June 8th. These shows promise to be nights of laughter and story-telling definitely not to be missed:
6th June - Parish, Huddersfield
7th June - Gullivers, Manchester
8th June - St Pancras Old Church, London
9th June - Bodega, Nottingham
10th June - Prohibition Caberet Bar, Gateshead

Tickets & info from http://tonywrightandryanhamilton.com/

‘Grand Ole Otley’ is out 8th June 2018.