Category: Featured

The inspiring sound of Alex Band’s powerful, emotionally charged voice is immediately recognizable to millions of music lovers, thanks to modern-day classics like his #1 hit with Santana “Why Don’t You and I”, “Adrienne,” “Our Lives” and the massive chart-topping hit “Wherever You Will Go,” which Billboard recently named the #1 Adult Pop Song of the Decade. And though We’ve All Been There, Band’s last solo debut (released June 29, 2010 on his own AMB label through EMI), contained the first new material we’ve heard from the former leader of The Calling in half a decade, the first single “Tonight” became the European them song anthem for the 2011 World Cup, establishing Alex’s solid presence in the music business yet once again.

At its heart, “We’ve All Been There” charts the course of a distinctly human romantic relationship, from its first stirrings to its final moments. “A lot of these songs were drawn from personal experiences,” Band confirms. “I got married at the beginning of this process and got divorced at the end of the record. ‘Love’ was written in the early stages of that relationship, when my ex-wife was going through medical problems, which we dealt with throughout the years. And ‘Leave (Today Is the Day)’ was the last song I added to the record, after we’d gotten divorced. So a bunch of these songs are extremely personal.”

His then-wife’s illness led to the critical need for a liver transplant, which she had to forgo due to the waiting list. The experience inspired Band to devote his time and energies to the Donate Life organization, which is dedicated to building organ-donor awareness. Alex definitely does his part in the fight for more donors, even tattooing “Donate Life” across his arm as a walking advertisement.

In early 2012, Band began work on his second solo album. This time, with the advice from friend Jon Bon Jovi, he formed a full traditional band; a departure from the string of studio musicians used on his previous records and hired young guns on tour. Los Angeles based guitarist Sean Kipe, who had toured with Band for several years, Austrian native Simon Huber on bass guitar/strings and drummer Art Pacheco began the writing and recording process that would take the next 10 months to now fully complete. Slated with an early 2013 release on Universal Records worldwide, the currently untitled album promises to be the biggest and most diverse collection of songs to date in Band’s career.

Canned Heat rose to fame because their knowledge and love of blues music was both wide and deep. Emerging in 1966, Canned Heat was founded by blues historians and record collectors Alan “Blind Owl” Wilson and Bob “The Bear” Hite. Drawing on an encyclopedic knowledge of all phases of the genre, the group specialized in updating obscure old blues recordings. Applying this bold approach, the band attained two worldwide hits, “On The Road Again” in 1968 and “Going Up The Country” in 1969. These were inspired interpretations of the late 1920s blues recordings by Floyd Jones and Henry Thomas.

Canned Heat gained international attention and secured their niche in the pages of rock ‘n roll history with their performances at the 1967 Monterey Pop Festival (along with Jimi Hendrix, Janis Joplin and The Who) and the headlining slot at the original Woodstock Festival in 1969. Alan Wilson was already renowned for his distinctive harmonica work when he accompanied veteran bluesman, Son House, on his rediscovery album, “Father of the Delta Blues.” Hite took the name Canned Heat from a 1928 recording by Tommy Johnson. They were joined by Henry “The Sunflower” Vestine, another ardent record collector and former member of Frank Zappa’s Mothers of Invention, capable of fretboard fireworks at a moment’s notice. Rounding out the band in 1967 were Larry “The Mole” Taylor on bass, an experienced session musician who had played with Jerry Lee Lewis and The Monkees and Adolfo “Fito” de la Parra on drums who had played in two of the biggest Latin American bands, Los Sinners and Los Hooligans and then with The Platters, The Shirelles, T-Bone Walker and Etta James.

Canned Heat’s unique blend of modern electric blues, rock and boogie has earned them a loyal following and influenced many aspiring guitarists and bands during the past four decades. Their Top-40 country-blues-rock songs, “On The Road Again,” “Let’s Work Together,” and “Going Up The Country,” became rock anthems throughout the world with the latter being adopted as the unofficial theme song for the film Woodstock. Their cover version of Wilbert Harrison’s “Let’s Work Together” was actually their biggest hit as it rose to #1 in 31 different countries around the world.

Carter Hulsey (born June 28, 1988) is an American alt-country singer songwriter from Joplin, Missouri. Being raised by his mother and father gave him daily musical exposure to the likes of Willie Nelson, Elton John, and Jerry Jeff Walker — all on vinyl, of course. At age 13, Hulsey found his father’s acoustic Guild guitar, and his long love for music finally came to a head. He started writing songs. Hulsey’s sound and talent was developed with four bands prior to his breakaway as a solo artist in 2008. Hulsey blends honest lyrics, catchy melodies, undeniable hooks, folk and rock.

Three albums and five years later, Hulsey released his newest album, Drive Out, on February 4, 2014. This album that takes a modern twist on “country” with raw emotion, a deep groove and clever storytelling. The strength of the material and performance suggest Hulsey has curated his personal sound and his music is all the better for it. The low-key folk-rock blends with an ambient sound to create a haunting and unique vibe bound to keep the listener coming back for more. Hulsey has a talent for continuing the deep felt conversation with listeners with an intentional voice for love, loss, travel and the grit of southern culture with ease. Hulsey harnesses the story, channels, and delivers to the listener.

Hulsey is known for his captivating live performance delivered with intensity and purpose. It is often lamented that this sound that cannot be captured in the studio. Hulsey’s writing style is that of the un-reliable narrator, assuming the character of others with a talent in telling their story. His concepts and narratives are inspired by great storytellers such as Steven King, Kurt Vonnegut, Jack Hit and David Sedaris with musical influence by Todd Snider, Ryan Adams, John Prine, Guy Clark, and Gillian Welch.

When the new millennium arrived the music industry was in the midst of a new music revolution. The free delivery via shared files online created a new “outlaw” brand, that would prove instrumental in the way music would be not just delivered but created. One of the breakout bands to not just embrace but help shift the tectonic plates of the music industry was Crazy Town. As one of the first hybrid brands, they brought a new ball into the game. Equal parts urban and suburban, Chevrolet and Bentley, they rolled onto the music scene with a slow build that erupted when a “Butterfly” entered the room. The two founding members, Seth Binzer and Bret Mazur were introduced to each other by WILL I AM of the BLACK EYED PEAS. Binzer brought in his long-time friend DJ AM and Crazytown was born.

The band was all the buzz in the industry, the talk of LA. Crazytown-mania created a classic Hollywood record label bidding war in which Columbia Records ultimately won. It was the Columbia/Sony worldwide reach which appealed the most to Crazytown and that reach had them touring the world and eventually garnered them a number 1 record in more than 15 countries, and selling more than 6 million copies of their first album, THE GIFT OF GAME. The success of their worldwide smash hit Butterfly in 2001was inescapable and reached iconic status.

In 2003, CrazyTown released the follow up to GIFT OF GAME, titled DARKHORSE. Couched by record executives to deliver a harder sound, the band did not follow their instincts in the studio. DARKHORSE was not the follow up record the band wanted to, or should have delivered. The luke warm reception by the media, and lackluster sales of the sophomore effort strained the relationship between the label and the band. Whether or not Crazytown was a vicitim of the changing playing field or of their own success, they found themselves without a record deal soon thereafter. Mazur and Binzer decided to take a little hiatus and re-energize for what would be Crazytowns third record. Binzer went on to have great success with a solo effort and Paul Oakenfold’s Starry Eyed Surprise. Mazur went back to his roots as a Writer/Producer/remixer working with the likes of The Plain White Tees, Julien K, Hollywood Undead and many more.

Months turned to years, and it wasn’t until Bret called Seth to discuss releasing an album of unreleased Crazytown songs that the spark was re-ignited. They decided to get back into the studio and add one, or two brand new songs to the mix. In Mazur’s words “I just felt like we had all these songs that our fans would love to hear! Why let them die in my hard drive.” One or two new songs turned into a complete reformation of a new Crazytown. “We are taking it back to our roots, for the love of what we do”, stated Binzer.

If you were lucky enough to catch the sneak preview of their new track “Lemon Face” you know they mean business. A full record release is in the works for 2014. Well poised for reinvigorating their fans and banging out new ones, the band launches live with a handful of Southwest US dates, including the legendary Whiskey A Go Go in Hollywood. Then it is off to Europe in June to own their slot at uber music fests Rock In Park & Rock Am Ring in Germany, and NovaRock in Austria, before crushing it at Download in the UK. The tour is rounded out by other high profile festivals, and some headline shows.

Crazytown is back. Crazytown is wiser. Crazytown is better. Crazytown is now!

Crystal Bowersox, a northwest Ohio native currently calling Nashville home, has built her life around music. Crystal’s love for music developed at an early age from a need to find peace in a chaotic world. Through art and creation, Crystal was able to direct her energy and emotion, finding a way to mend a mind in turmoil. For her, music was always the most effective form of catharsis, and she would play for anyone, anywhere. In her own words, “my guitar was an appendage. I couldn’t live without it.”

Dead set on a career in music, Crystal moved to Chicago as a teenager, where she spent her days performing underground on subway platforms in between working odd jobs. While in the big city, she broadened her musical horizons and shared her talents with a variety of venues, ultimately auditioning for the ninth season of American Idol. Crystal’s time on the show proved to be well spent, as she immediately left the the soundstage for the recording studio. Since her introduction to the world through television, Crystal has released two LP’s, two EPs, and several singles. Additionally, she has used her talents to benefit several causes close to her heart, and has become an advocate and inspiration for people living with Type 1 Diabetes.

However, it is what’s in front of her, not what’s behind her, that will define Crystal’s personal and professional evolution. The accomplished singer-songwriter is set to release a new project – a live album, recorded at the Kitchen Sink Studio in Santa Fe, New Mexico, cleverly titled Alive. Not only is the title a play on words, representing the rawness of the tracks, but it pertains to the place where Crystal currently is in her life. That place is one of joy, fulfillment, and stability for Crystal and her eight year old son, Tony.

To create her newest project, Crystal called on her “chosen family” of musicians. The combination of keeping those she cherishes close to her and taking an honest look at life has resulted in the truest music she has released to date. Crystal has drawn on her various influences — across folk-pop, classic rock, soul, blues and country — to make the kind of music that resonates with her spirit. It is both tender and tough, rough yet polished, and it encompasses many genres without falling neatly into one category. As one of her songwriting partners describes it, Crystal has “a voice like dirt and diamonds.” Her music is intended to bring a positive message of love and light to the world – things that folks will be able to take with them on their own journey, so that they, too, can feel truly alive.

Similar to her beginnings, Crystal intends to make music that has healing power, but at this point, she sees far beyond her own troubles. Her live show is a safe space for concertgoers. Attend a Crystal Bowersox show, and you just might see a grown man cry and a child dance simultaneously. You’ll also likely get the chance to meet her personally; Crystal is typically the first one to arrive and the last one to leave the venue. Meeting with the fans and hearing their personal stories is something Crystal considers a blessing in her life.

By reliving her own painful moments in song, Crystal hopes to transcend that pain, lifting herself and her audience to a higher place. In the opening lines of “A Broken Wing” she sings, “I know there’s beauty in the burden / And even on my darkest day that sun will shine.” Crystal’s story is one of resilience and perseverance, and it’s evident in every note of her newest release, Alive.

Sometimes blessings come disguised as roadblocks. Such is the case of “More Music More Family”, the new release from soulful singer-songwriter Cas Haley. The Texas-based artist was successfully recording, touring and building a fanbase when he was sidelined by an accident that hampered his ability to sing. The idea for More Music More Family came about during treatment, as Haley reflected on how to pursue his career in a way the included his family and better represented his lifestyle.

Crowdfunded through a Pledge Music campaign and recorded over a month at Steelgrass Farm in Kauai, Hawaii, More Music More Family was co-produced and co-written by Andrew Terrett, aka Tubby Love. Its tracks address the universality of life lessons with positivity and uplifting melodies. The album borrows the best of Haley’s previous efforts, drawing on influences of reggae, soul, blues and rock. It captures an organic, live-record feeling with high-quality sound.
Featured artists on the album include Trevor Hall, Mike Love, Freewill (Luminaries) and Drew Misik (New Reb).

In 1992, dada exploded on the scene with their critically acclaimed debut release, Puzzle (#2 Billboard’s Heatseeker Chart) on Miles Copeland’s now defunct, I.R.S. Records. The single “Dizz Knee Land”, (#5 on Billboard Modern Rock Tracks chart), set the alternative radio movement – just then hitting it’s stride – on fire, and quickly migrated to mainstream rock and pop stations. Mark Brown of The Rocky Mountain News recently wrote, dada “burst onto the national scene with the single ‘ Dizz Knee Land’ in 1992 and followed it up with a solid series of albums and a strong following…” The third single “Dim”, (#24 on Billboard Modern Rock Tracks chart), further solidified dada’s reputation as a band to watch. Puzzle sold over a half million copies and made a number of critics “best of year” lists. Sixteen months of constant touring followed, both as headliners on the club circuit and as openers for Sting, Izzy Stradlin & the Ju Ju Hounds and Material Issue (USA), Crowded House (UK), and Depeche Mode (Portugal). September 1994 saw the release American Highway Flower (#5 Billboard’s Heatseeker Chart) — which had a harder feel, both musically and lyrically, than it’s predecessor reflecting the band’s evolution from a studio to a touring band. The single, “All I Am,” spent 8 weeks on Billboard’s Modern Rock Tracks Chart. Money problems at I.R.S. cut short promotional efforts in February 1995. Dada fared no better with their third release, El Subliminoso in April 1996. I.R.S. Records was on its last legs by this time, and folded just as the band was winding up the first leg of the tour. The exquisite , El Subliminoso was perhaps the group’s most artistically complex and satisfying offering.

The band signed to MCA Records in 1997, and released their self-titled fourth CD, Dada (#32 Billboard’s Heatseeker Chart), and completed an abbreviated tour of New England and the Mid-West with many shows selling out. This CD received favorable reviews, as did a 33-city headlining US tour. As dada was in mid-tour to promote the album however, MCA’s parent company was sold, leading to wholesale roster changes at the label. A final appearance before 14,000 fans at Norfolk, Virginia’s Harbor Fest on June 5, 1999 marked the band’s last live performance as a group—for the time being.

From June 1999 until March 2003, dada was on a self-imposed hiatus. During this time, Michael Gurley and Phil Leavitt went on to form the critically acclaimed Butterfly Jones— and released Napalm Springs (Vanguard Records), Leavitt performed regularly with The Blue Man Group and Joie Calio began working as an A&R scout for MCA, wrote a book & recorded and released his solo debut CD, The Complications of Glitter (Blue Cave/thumbsucka Records). Three lives evolved, and four years passed. Although dada, as a group, was not out touring or recording— their fans continued to be, well— fans— in the truest since of the word. The message board on the band’s website continued to be active throughout this time. dada’s fans have never been the kind of people who are into the “flavor of month.” Once a dada fan, always a dada fan. Their music has a broad appeal including being featured in the “The Brady Bunch Movie,” “Charmed,” “Real World,” and “Homicide.”

March 2003 marks the return of Joie, Michael and Phil together again as dada. They spent the first half of 2003 ‘testing the waters’, playing a series of one-week stints focusing on Midwest and East Coast markets (“almost a stealth” tour, remarked Mark Brown [Rocky Mountain News] – of a Colorado visit.) Then, invigorated by the experience, they spent the second half of the year on an extensive seven-week, 40-city U.S. tour in support of their live CD release, Live: Official Bootleg, Vol. 1 (Coach House Records). The live album was recorded at The Galaxy Theatre, Santa Ana, CA in July 2003.

March 2004 brought the release of the band’s fifth studio effort, How To Be Found (Blue Cave Records), an infectious collection of songs that is classic dada: smart, sharp lyrics, undeniable melodies and incredible musicianship— mixed by rock industry heavyweights Bob Clearmountain (Bruce Springsteen, David Bowie,) Scott Gordon (Aerosmith, Alanis Morissette) and Tom Lord-Alge (Pink, No Doubt, Avril Lavigne). In support of the release, the band embarked on a series of tour treks throughout 2004— the first of which was a punishing 31 shows in 38 days, stopping in New York, Boston, Philadelphia, Seattle, Chicago and dozens of other cities— marking their full throttle return to the music scene. In July 2004, due to overwhelming demand—- from their newly minted fans and the existing die-hard fans who re-connected with the band—- dada reissued their first three releases, which had been out of print for several years: Puzzle , American Highway Flower and El Subliminoso (Blue Cave Records). The reissues were remastered and enhanced with bonus materials, including previously unreleased tracks. One of the extras is a mind-blowing acid-rock cover of “The Mamas and The Papas” ‘California Dreamin,’ which finds a searing guitar solo by Michael Gurley putting a new face on a classic song. Fan favorite, “I’m Feeling Nothing,” previously available only on ‘The Brady Bunch Movie Soundtrack’, was also included.

Few bands endure over a decade of work together. Fewer, still, are delivering their strongest performances and material ten years down the road. But dada is back with an aggressive plan to tour in 2005. With fan websites and the band’s official website buzzing about their legendary 2 ½ to 3-hour performances, the anticipation of the band’s forthcoming sixth studio release and the slated release for a 2 nd Live: Official Bootleg, early indications are that dada’s brand of music is about to be embraced anew by fans who’ve followed their career over the years. It’s an auspicious return for a band that knows how to play and is ready to rock.

You’ve either got soul or you don’t. David Ryan Harris most definitely does. The singer, songwriter, and multi-instrumentalist has built an impressive catalog of soulful stories that instantly captivate.
“I’ve always thought soulfulness comes from telling stories in a way that makes people relate to them,” he says. “That’s what it is. People believe in what you’re saying, because you’re singing from the heart.”
That’s exactly what Harris has done throughout his near three-decade career. Whether it be in early bands such as Follow For Now and Brand New Immortals or over the course of six full-length solo albums, he tells stories that resonate. He’s carried this same spirit while performing with the likes of John Mayer, Dave Matthews, and Santana or producing for Cassandra Wilson and Guy Sebastian—with whom he co-wrote the RIAA platinum-certified “Battle Scars”. Most recently, it drove 2015’s Lightyears, which boasted guest spots from John Mayer, India.Arie, and Nikka Costa. Along the way, he received acclaim from All Music Guide, Glide Magazine, Elmore Magazine, Performer Magazine, AXS, Relix Magazine, and many others in addition to performing on Fox, CBS, and The CW in between packed tours. His next chapter unfolds on his 2017 seventh offering Songs For Other People. Culled from collaborations with co-writers, the songs orbit around a cinematic theme.
“I wasn’t really intending to make a record,” he admits. “There were some great songs that I’d written for other people and they just never found homes. I was affording myself a pretty wide open space which I don’t normally inhabit on my own, and I got really excited because there were no boundaries musically. The title is literal. The songs are for and about other people.”
In order to track Songs For Other People, he tapped the talents of drummer Terrence Clark who he met on YouTube, keyboard player Zach Ray, and GRAMMY® Award-winning producer Mike Elizondo [Eminem, Dr. Dre, Fiona Apple, Maroon 5] on bass. They cut the album’s seven jams in less than three weeks’ time during 2016.
On the record, Harris brings a pronounced sense of passion and power to pop music. The single “Coldplay” balances delicate clean guitar and airy percussion with his dynamic vocal range, fluctuating from a soft croon to a simmering and soaring falsetto.
“Basically, the song walks you through the beginning of a relationship until the end, and this girl’s love for Coldplay is the backdrop,” he goes on. “The guy finds the tickets in his drawer, and it immediately brings him back. I think everybody has had one of those ‘Coldplay Moments,’ as I like to call them.”
Elsewhere, “Kerosene” proves both incendiary and intoxicating all at once as it paints a portrait of “a heartbroken guy who’s drinking kerosene and wants to do some damage.” A clean riff drives the upbeat swing of “Good,” which culminates on the unshakable refrain, “You’re the kind of bad girl that would make a good wife.” With its mellotron hum and narrative lyricism, “Average Joe” tackles longing and regret through a tongue-in-cheek visual. “It’s this dude hiding in the bushes looking at his ex-girlfriend with her new guy,” he adds. “The protagonist doesn’t realize he’s the one who’s average.”
In between returning to the road on guitar duty for John Mayer in 2017, Harris will be performing across North America on solo shows. No matter what he does, that sense of soul ultimately defines him.
“When anybody listens to Songs For Other People, I’d love for them to experience a feeling of escape,” he leaves off. “These little vignettes are relatable, but they’re also a respite. Everyone can relate to heartbreak and love. It’s real.”