Follow Us

Copyright 2019 Schneider Rondan Organization All Rights Reserved

LEE ROCKER of The Stray Cats Joins Forces with “Complexions Contemporary Ballet” Starting 4/25

DT: APRIL 6, 2021

FM: MITCH SCHNEIDER/ANDREA FAULK, SRO PR

THE WORLDS OF DANCE AND ROCKABILLY
COME TOGETHER IN “GATHER ROUND,”
THE FIRST ITERATION OF A FULL-LENGTH BALLET BY
“COMPLEXIONS CONTEMPORARY BALLET” TO THE MUSIC OF

LEE ROCKER OF THE STRAY CATS
“GATHER ROUND” HAS BEEN COMMISSIONED BY
THE LAGUNA DANCE FESTIVAL
AND WILL BE WORLD PREMIERED ONLINE
STARTING APRIL 25 AT 5:00 PM PT/8:00 PM ET

WATCH THE TRAILER HERE

Photo credit: Katie Mollison

The worlds of dance and rockabilly uniquely come together in “Gather Round,” a collaboration between LEE ROCKER of The Stray Cats fame and the award-winning COMPLEXIONS Contemporary Ballet featuring three songs from the Grammy-nominated upright bass player, singer and songwriter’s current solo album Gather Round. This first iteration of a full-length ballet by COMPLEXIONS using the music of ROCKER has been commissioned by the Laguna Dance Festival and will be world premiered online as a free event starting April 25 at 5:00 PM PT/8:00 PM ET (Laguna Dance Festival). Watch the trailer here. The full-length ballet, for which other details are TBA, will be performed in 2022 in Laguna Beach, CA (venue TBA).

“Gather Round” will be presented in three short duets to Rocker’s songs: “Gather Round,” “The Last Offline Lovers” and “When Nothing’s Going Right.” It’s a rousing, tongue-in-cheek nod to the timeless genre that is Rockabilly.  The piece finds its inspiration musically “in the pocket” of the rhythm and soul of Rocker’s spinning double bass, and distinct vocals.  “Gather Round” is a colorful expression of movement that connects, expresses, and celebrates the joy of living life, in all of its complexities.

“I’m thrilled and honored that the complexions modern ballet company has chosen to choreograph and dance to music from my newest album Gather Round,” says LEE ROCKER. “In previous years, Complexions has created groundbreaking performances featuring the music of David Bowie and Lenny Kravitz. Thank you for the incredible choreography, dancers, and concept. The team of Dwight Rhoden, Jodie Gates, Desmond Richardson, Brandon Gray and Larissa Gerszke have truly captured the essence and emotions of my music in a unique and innovative way.”

“‘Gather Round’ is choreographed by Dwight Rhoden, Founding Artistic Director of Complexions Contemporary Ballet, of which Broadway World has written: “Complexions is breathtaking in its appropriate irreverence and indisputably glorious entertainment value. For what it is rather than what it’s not. It is one of the finest of Contemporary Ballet Companies in America.”

“Desmond Richardson (Assistant To The Choreographer) and I have been big fans of Lee’s work for a long time,” says Dwight Rhoden, “and I have always wanted to create a ballet to his music. Thanks to both Lee, Jodie and the Laguna Dance Festival, Complexions finally gets that chance.  Dance and Rockabilly music have always been a perfect match in my mind, but actually getting into the studio and watching the dancers get swept away by the pulse and thump of his music, has been so rewarding.  The spirit of Lee’s new record “Gather Round” is contagious, and so inspiring.”

Jodie Gates, Founder and Artistic Director, Laguna Dance Festival, says: “When we set out to commission a new work in the middle of a pandemic, we could not have imagined bringing together a more exciting group of artists. Lee Rocker’s new music ‘Gather Round’ combined with exquisite dancers from Complexions and the stylish choreography by Dwight Rhoden is a multidisciplinary celebration of what the future for the arts can look like as we move together into the world of live theater post-pandemic. The world premiere of the video April 25th is just the beginning of a longer work we are committed to commission from these artists in the 2022 Laguna Dance season in Orange County.”

“Gather Round” Credits:
Choreography: Dwight Rhoden
Music: Lee Rocker
Costume Design: Christine Darch
Filmed by: Jacob Hiss
Edited by: Jacob Hiss & Dwight Rhoden
Assistant to the Choreographer:  Desmond Richardson, Clifford Williams

LEE ROCKER, photo credit: Jet Luna

About LEE ROCKER:

Lee Rocker made his mark singing, playing, standing on, spinning and rocking his giant upright bass in the legendary music group The Stray Cats. Grammy-nominated, The Stray Cats have sold nearly 10 million albums and garnered an astounding 23 gold and platinum certified records worldwide. Founded by Rocker, Brian Setzer, and Slim Jim Phantom, The Stray Cats remain a radio staple, were music video pioneers at the infancy of MTV, and repeatedly brought rockabilly music to the top of the charts. From the cover of the Rolling Stone magazine, to appearing on Saturday Night Live, to headlining music festivals and touring with the Rolling Stones, Lee Rocker has seen and done it all. In addition to The Stray Cats and the Rolling Stones, Rocker has toured and performed with George Harrison, Ringo Starr, Willie Nelson, Leon Russell, and John Fogerty.  In 1982, Rocker and his father Stanley Drucker, (classical clarinetist) both received Grammy nominations; this was something that has only occurred twice in the history of the Grammy Awards.  In 2012 Lee appeared on Broadway in the hit musical “Million Dollar Quartet” and in 2014 he was inducted into the Bass Player Hall of Fame. Rocker has received numerous honors for his contributions to music and the arts, including being inducted to the Rockabilly Hall of Fame, the Long Island Music Hall of Fame and he is a recipient of the Visionary Artist Award by the City of Laguna Beach California. Lee Rocker and his band look forward to touring again and performing Stray Cats hits including “Rock This Town,” “Stray Cat Strut” and “Sexy and 17” as well as slamming renditions of songs from his many solo albums. In January 2021, Rocker released a new solo album Gather Round on Upright Records (his label distributed through Orchard).

For more information on LEE ROCKER, visit:
WEBSITE | FACEBOOK | TWITTER

 About COMPLEXIONS Contemporary Ballet:

Complexions was founded in 1994 by Master Choreographer Dwight Rhoden and the legendary Desmond Richardson with a singular approach to reinventing dance through a groundbreaking mix of methods, styles and cultures. Today, Complexions represents one of the most recognized, diverse, inclusive and respected performing arts brands in the World.  Having presented an entirely new and exciting vision of human movement on 5-continents, over 20-countries, to over 20-million television viewers and to well over 300,000 people in live audiences, Complexions is poised to continue its mission to bring unity to the world one dance at a time.

Complexions has received numerous awards including The New York Times Critics’ Choice Award. It has appeared throughout the US, including the Joyce Theater/NY, Lincoln Center/NY, Brooklyn Academy of Music/NY, Mahalia Jackson Theater for the Performing Arts/New Orleans, Paramount Theatre/Seattle, The Music Center/Los Angeles, Winspear Opera House/Dallas, Cutler Majestic Theater/Boston, New Victory Theater/NY, and Music Hall/Detroit, The Bolshoi Theater, The Kremlin, The Mikhailovsky Theater, Melbourne Arts Center, and will made it’s debut at the Kennedy Center in 2017, as a part of Ballet Across America.

Additionally Complexions has appeared throughout Europe, Asia, the Caribbean, Russia, New Zealand and South America.

Together, Rhoden and Richardson have created in Complexions an institution that embodies its historical moment, a sanctuary where those passionate about dance can celebrate its past while simultaneously building its future. In the 27 years since its inception, the company has born witness to a world that is becoming more fluid, more changeable, and more culturally interconnected than ever before—in other words, a world that is becoming more and more like Complexions itself.

www.complexionsdance.org

www.complexionsacademy.com

About Laguna Dance Festival

Since 2005 the award-winning Laguna Dance Festival, based in Laguna Beach California, has presented world-class dance performances in theaters, on film, and public spaces, reaching thousands annually, and exposing new audiences to professional concert dance.  Laguna Dance Festival is a nonprofit organization deeply dedicated to the arts and community. The organization is committed to collaboration, dance presentation and education through an artistic lens that strategizes innovative ways to commission artists, educate young dancers and unite people of all ages and cultures. Previous festival lineups have featured national and international companies and artists including Ballet BC, Malpaso, RUBBERBAND, Aspen Santa Fe Ballet, Parsons Dance, Complexions Contemporary Ballet, Ballet West, Hubbard Street Dance Chicago, Black Grace, BalletX, Alonzo King LINES Ballet, Abraham.In.Motion (A.I.M.), BODYTRAFFIC, Paul Taylor Dance Company, and artists from San Francisco Ballet, American Ballet and New York City Ballet, among many others. In addition to its mission to present world-class dance performance and increase public appreciation for the art, Laguna Dance Festival is committed to the highest quality dance education and provides opportunities for aspiring artists through master classes, workshops, intensive programs and scholarships.

https://lagunadancefestival.org/

###

 


RICHIE FURAY Tomorrow (4/2) Releases Double Live Album ‘50TH ANNIVERSARY RETURN TO THE TROUBADOUR’ VIA Streaming Platforms

DT: APRIL 1, 2021

FM: MITCH SCHNEIDER/ANDREA FAULK

RICHIE FURAY
TOMORROW (4/2) RELEASES DOUBLE LIVE ALBUM
‘50TH ANNIVERSARY RETURN TO THE TROUBADOUR’ VIA STREAMING PLATFORMS
THE PHYSICAL CD + DVD TO BE AVAILABLE APRIL 23

SHARES TWO VIDEOS FROM THE DVD THIS WEEK:
A GOOD FEELIN’ TO KNOW” AND “ON THE WAY HOME
TALKS ABOUT THE PROJECT IN NEW Q&A BELOW

RICHIE FURAY tomorrow (4/2) will release his much-anticipated double live album 50TH ANNIVERSARY RETURN TO THE TROUBADOUR via DSDK Productions, distributed by MRI Entertainment, via streaming platforms. Both the physical CD and the DVD of the concert film will be available April 23. Listen here to the album via streaming platforms starting tomorrow. A SPECIAL EDITION autographed CD and DVD are available for presale here.

This week, the Rock and Roll Hall of Fame inductee–one of the chief architects of the country rock genre as a member of Buffalo Springfield, Poco and the Souther-Hillman-Furay Band—premiered two live performances videos from the DVD: Poco’s “A Good Feelin’ To Know” (with Timothy B. Schmit joining on vocals) via Best Classic Bands and the Buffalo Springfield’s “On The Way Home” via Glide Magazine. FURAY has also shared a Q&A about the album below and here.

Recorded with The Richie Furay Band at the iconic Los Angeles venue in November 2018, the double album is comprised of two powerful sets: “Still DeLIVErin,’ which encompasses Buffalo Springfield songs, favored Poco tunes and some of FURAY’s finest solo work, and “DeLIVErin’ Again,” a front-to-back performance of Poco’s DeLIVErin’ plus their 1972 signature song “A Good Feelin’ To Know” with Timothy B. Schmit (who joined Poco in 1969 on vocals and bass) singing his parts. The audio for the CD and concert film was mixed and produced by multi-Grammy Award-winning audio engineer Ross Hogarth.

The premieres of “A Good Feelin’ To Know” (from Poco’s fifth album of the same name) and “On The Way Home” (the Neil Young song FURAY sang lead vocals on with Buffalo Springfield) follow other recently released videos from the DVD: Kind Woman(his self-penned song with Buffalo Springfield); “C’mon” (from Poco’s DeLIVErin’ album), premiered at Relix with a story hailing him as an “Americana Icon”; the Poco medley “Just in Case It Happens, Yes Indeed”/“Grand Junction”/“Consequently So Long” (from Poco’s DeLIVErin’ album), premiered via Ultimate Classic Rock; and “Let’s Dance Tonight” (from Poco’s sixth album Crazy Eyes) premiered via Americana Highways.

The Troubadour show in 2018 was truly a magical evening in many ways. The sold-out concert marked FURAY’s 50th anniversary return to the venue where Poco (originally as Pogo) performed their very first shows in 1968. The evening was marked by Timothy B. Schmit joining FURAY on the Schmit-penned “Hear That Music” from DeLIVErin’ and the above-mentioned “A Good Feelin’ To Know.” Timothy also introduced FURAY onstage after reading a congratulatory note from Cameron Crowe (who intended being at the Troubadour in person but could not make it at the last minute). Timothy then introduced the esteemed artist and producer Peter Asher (Peter & Gordon), who presented FURAY with a commemorative award for his 50th anniversary return to the Troubadour. Also on hand at the show and backstage was Randy Meisner, Poco’s first bass player before Schmit replaced him.

RICHIE FURAY Q&A:
‘50TH ANNIVERSARY RETURN TO THE TROUBADOUR’:
“Still DeLIVErin’” and “DeLIVErin’ Again”

For your new double album + DVD, which comprises two different sets, you went back to the Troubadour in Los Angeles to record it. The club was the important launch pad for Poco in 1968. Can you tell us a little a bit about those early gigs? It’s said that a lot of musical luminaries of the time were on hand for those shows.

RICHIE FURAY: When Buffalo Springfield broke up, there was a definite interest in what the members were going to do.  Stephen Stills was off with Al Kooper and Mike Bloomfield and the “Super Sessions” album, and Neil Young was being Neil, pursuing his solo career, while Dewey Martin and Bruce Palmer looked to what the future would hold for them.  At the same time Jimmy Messina and I were planning our next move in putting together another group that would be a rock and roll band with country influences. Once we had the line-up complete (George Grantham, Randy Meisner and Rusty Young), we began working at the Troubadour, using it for rehearsals in the afternoon and performing there at night.  It was at the Troubadour where the interest in the Los Angeles music circle really took hold as people (local musicians) were hearing the sound we were creating as being something fresh and new, and yes, it attracted many who liked the music and sound we helped give birth to–as the attendance night after night continued to grow to full Troubadour capacity. It was an exciting time; L.A. and the Laurel Canyon community afforded us the privilege of creating a new sound that would continue on and become popular for years as other groups began to use what we were doing as their template.  I don’t remember all who came to see us but there were many.

(Editor’s note: members of the Byrds, Nitty Gritty Dirt Band, Flying Burrito Brothers including Gram Parsons, Jackson Browne, Linda Ronstadt, J.D. Souther, Ricky Nelson, John Stewart and future members of the Eagles [Glenn Frey, Don Henley and Bernie Leadon, not to mention Randy Meisner onstage as an early member of Poco.] Also, in addition to Ricky Nelson, Ozzie and Harriet were in attendance in a booth at the venue as well as The Smothers Brothers.)

What was it like to perform the Deliverin’ album in its entirety at the Troubadour?

FURAY: This was actually something that I never thought could happen. My manager David Stone had been trying to persuade me for a couple of years to perform the Poco Deliverin’ album in its entirety, and I had always responded that it’ll never happen. I had been doing a few of the songs in my live performances for some time, but the thought of actually trying to capture the moment and excitement of doing all of those songs “live” was going to be a challenge.  I do believe that my group, at that time, was the only “representation” of Poco that could attempt it and I believe the final product speaks for itself–it was a challenge, and we met the challenge.  Having Timothy B. Schmit join us for one of his songs was an extra added bonus and having him return for the encore.

Did performing the Deliverin’ album give you a new perspective on it—and on any songs from it?

FURAY: It’s interesting; I don’t know exactly what I was going through at the time of the original recording, what was taking place in my life, but many of the songs that I had not been doing currently, certainly did resonate with me (50 years later) in relation to life situations I was going through when we recorded it.

Deliverin’ was a distinctive live album in that it included new Poco originals not included on previous albums (“I Guess You Made It,” “C’mon,” “A Man Like Me,” “Hear That Music,” “Hard Luck”). The album was also highlighted by medleys of Poco songs, one of which included your song from the Buffalo Springfield (“Child’s Claim To Fame”). The album also features another one of your songs from the Buffalo Springfield, “Kind Woman,” which many regard as the definitive version of the classic song. What are your thoughts on the original album?

FURAY: There were a lot of non-studio songs on the Deliverin’ album.  In fact, the first three songs that opened the set had not been on earlier albums.  We were not afraid to play songs people hadn’t heard because we knew they would connect and we could “deliver” them; we were confident to rely on our musicianship, songwriting and “live” performance skills to capture the hearts of the Poco fans who have actually become somewhat of a “cult following”  In the set we would weave older songs in the set such as my Buffalo Springfield songs, knowing they were significant to our identity. Most of the other songs came from Poco’s first album, Pickin’ Up The Pieces.

At a time when America was caught up in the Vietnam War, Poco’s rocking country music and high harmonies eased the existential anxiety and lit up a lot of music fans. ‘Deliverin’ not only powerfully captures that feeling and the bond you had with your fans, but really underlined that Poco was one of rock’s best live acts.  What do you remember about audiences and the shows from that time?

FURAY: Poco never had any trouble getting people on their feet at our concerts.  The people were ready to leave the cares of the world behind for a couple of hours at our concerts.  There was really a lot of “audience participation,” a connection we had with our audiences; it was something I believe many looked forward to if they had seen us previously as we would interact with them and they with us and it made for a special evening–one that even today people comment about.  I think that’s what made the original recording an important “memory milestone” in so many people’s lives today.

###

Tracklisting Page in ‘50th Anniversary Return To The Troubadour’

Track listing for 50TH ANNIVERSARY RETURN TO THE TROUBADOUR CD + DVD

CD1: “Still DeLIVErin’”
On The Way Home
Let’s Dance Tonight
We Were The Dreamers
Don’t Let It Pass By
Go and Say Goodbye
Wake Up My Soul
Hard Country
Wind of Change
Anyway Bye Bye
Someday

CD2: “DeLIVErin’ Again”
I Guess You Made It
C’mon
Hear That Music (with Timothy B. Schmit)
Kind Woman
Hard Luck
Child’s Claim To Fame
Pickin’ Up The Pieces
You Better Think Twice
A Man Like Me
Just in Case It Happens, Yes Indeed
Grand Junction
Consequently So Long
Encore: A Good Feelin’ To Know (with Timothy B. Schmit)

Richie Furay Band:
Richie Furay: guitars, vocals
Jesse Furay Lynch, tambourine and vocals
Scott Sellen, guitars, banjo and vocals
Jack Jeckot, keyboards, harmonica, guitar and vocals
Aaron Sellen, bass guitar and vocals
Alan Lemke, drums

Plus:
Dave Pearlman, pedal steel guitar and dobro
Timothy B. Schmit, vocals

Pictured, Richie Furay and his daughter Jesse Furay Lynch
Photo Credit: Howard Zryb

50th Anniversary Return To The Troubadour’
Front Cover Art

‘50th Anniversary Return To The Troubadour’
Back Cover Art

WEBSITE | FACEBOOK | INSTAGRAM

SRO Press Releases + Assets
http://sropr.com/portfolio/richie-furay/

 


Autobiography Of Miss Mercy, ‘Permanent Damage: Memoirs Of An Outrageous Girl,’ Mercy Fontenot With Lyndsey Parker, Out June 9, 2021

DATE: MARCH 30, 2021

FROM: MITCH SCHNEIDER/MARCEE RONDAN

AUTOBIOGRAPHY OF MISS MERCY,
COFOUNDER OF FRANK ZAPPA’S GTOS,
SET FOR POSTHUMOUS RELEASE
‘PERMANENT DAMAGE: MEMOIRS OF AN OUTRAGEOUS GIRL’
MERCY FONTENOT WITH LYNDSEY PARKER
AFTERWORD BY PAMELA DES BARRES
OUT JUNE 9, 2021

“I’m the Mae West of 1968.”

“There were definitely better known personalities than Mercy Fontenot in her time, but she was no less of a thrilling iconoclast for it. Long before unorthodox women like Cosey Fanni Tutti or Courtney Love there was Mercy Fontenot. Her relatively unknown story, told here in her own words, is chock-full of delightful pop culture references and peppered with cameos from some of music’s most beloved stars, but the story that sticks with you long after the telling is done is that of Mercy herself. Rock ‘n’ roll rebel until the end. What a gal.”

Shirley Manson, Garbage

Mercy Fontenot was a Zelig who grew up in the San Francisco Haight Ashbury scene, where she crossed paths with Charles Manson, went to the first Acid Test, and was friends with Jimi Hendrix (she was later in his movie Rainbow Bridge). She predicted the Altamont disaster when reading the Rolling Stones’ tarot cards at a party and left San Francisco for the climes of Los Angeles in 1967 when the Haight “lost its magic.”

Miss Mercy’s work in the GTOs, the Frank Zappa-produced all-female band, launched her into the pages of Rolling Stone in 1969. Her adventures saw her jumping out of a cake at Alice Cooper’s first record release party, while high on PCP, and had her travel to Memphis where she met Al Green and got a job working for the Bar-Kays. Along the way, she married and then divorced Shuggie Otis, before transitioning to punk rock and working with the Rockats and Gears. This is her story as she lived and saw it.

Written just prior to her death in 2020 with veteran music journalist Lyndsey Parker, Permanent Damage: Memoirs of An Outrageous Girl shows us the world of the 1960s and 1970s music scene through Mercy’s eyes, as well as the fallout of that era–experiencing homelessness before sobering up and putting her life back together. Miss Mercy’s journey is a can’t miss for anyone who was there and can’t remember, or just wishes they’d been there.

“Miss Mercy was dripping in sarcasm. She was a very funny and lovely lady. She may have been the voice of reason for the GTOs… but I doubt it.”— Alice Cooper

“Miss Mercy spun herself through the most magical days of the ‘60s and into the arms of punk. She was a that one-of-a-kind character none of us will ever forget.”— Exene Cervenka, X

“I am thrilled to know this book is finally out there and we can know firsthand what it was like to live in Miss Mercy’s towering platform shoes. I love rock ‘n’ roll, and Lyndsey Parker has the most encyclopedic knowledge of all music; I can’t think of a better person to bring Mercy’s story to life.”— Margaret Cho

“Miss Mercy was a one-off iconoclast, style- and taste-wise. She looked, lived, and loved uniquely and was a trailblazer for women in rock ‘n’ roll.”— Siobhan Fahey, Bananarama and Shakespears Sister

“Mercy was one of the most inspirational and magical people I ever got the chance to meet and work with. She had endless stories to tell and the coolest style, like a badass gypsy pirate witch. She embodied that old spirit of Hollywood that we never get to see anymore. Mercy was and will always be a legend.”— Arrow de Wilde, Starcrawler

“Lyndsey and Mercy had many things in common, the most important of which was commitment. Both committed to the music and the musicians that made it. Mercy had secrets and stories and reveals them here to someone who understands. An imperative read for anyone with a rock ‘n’ roll soul.”— Michael Des Barres

Mercy Fontenot ran away to Haight-Ashbury at sixteen in 1965. In 1967, citing that the Haight was getting boring, and she couldn’t stay a hippie forever, Fontenot moved to Los Angeles, where she met Frank Zappa and Pamela Des Barres and fell in with the GTOs, an all-female band whose album Permanent Damage was released in 1969. The two songs she wrote for the band were eventually recorded by Jeff Beck, Rod Stewart, and Lowell George.

In the late-70s she reinvented herself, doing punk hair and styling for bands like the Rockats and Gears and then influencing the roots-rock scene. After falling on hard times, she finally got sober and wrote her story. Permanent Damage is her memoir, published posthumously in 2021 (June 9) via Rare Bird Books.

Lyndsey Parker is the music editor at Yahoo Entertainment and host of the daily SiriusXM Volume show Volume West. Considered an expert in music and pop culture, Parker is an Online Journalism Award nominee and has written for Elle, MOJO, Rolling Stone, NME, and Guitar. She has appeared as a commentator for the ABC special The Show Must Go On: The Queen + Adam Lambert Story, AXS TV’s The Top Ten Revealed, and the documentary I Want My MTV, as well as for VH1’s Behind the Music, CNN, MTV, The Insider, and Good Day L.A.. She is the author of Careless Memories of Strange Behavior: My Notorious Life as a Duran Duran Fan (one of the first e-books published as part of Rhino Records’ all-digital music book series, which went to #1 on the iTunes Music Books chart).

AVAILABLE IN HARDCOVER and E-BOOK

BIOGRAPHY/ AUTOBIOGRAPHY/ MUSIC

9781644281826 | US $27.00 | 6 x 9 in. | 320 pp.

RARE BIRD BOOKS, A BARNACLE BOOK

DISTRIBUTED WOLRDWIDE BY PUBLISHERS GROUP WEST

RAREBIRDLIT.COM

 


Portland, Maine’s LOVE BY NUMB3RS Share New Video For “Western Son”

DATE: MARCH 29. 2021

FROM: MITCH SCHNEIDER/MARCEE RONDAN

LOVE BY NUMB3RS
FROM PORTLAND, MAINE
SHARE NEW VIDEO
FOR “WESTERN SON”
FROM THEIR DEBUT ALBUM ‘PARACHUTE’

BAND CHARTS A COURSE THROUGH ALTERNATIVE, DUSTY BLUES, GRACEFUL FOLK, AND ROOTSY ROCK

WATCH THE VIDEO HERE

Photo by Heather Durgin

LOVE BY NUMB3RS—the Portland, Maine-based trio who chart a course through eloquent alternative, dusty blues, graceful folk, and rootsy rock—have shared the video for “Western Son,” a highlight of their indie full-length debut album PARACHUTE. Watch the video here. It was premiered at Glide Magazine which noted that the band “bring a sultry and twangy Nashville sound from the northeastern continental 48s. The band offers a timeless polished sound that brings the earthy smoky overtones of Linda Ronstadt, Gillian Welch, and Grace Potter.”

LOVE BY NUMB3RS consists of co-vocalists DAN CONNOR and ANNA LOMBARD and multi-instrumentalist JON ROODS, the latter two of whom directed the beautifully striking “Western Son” video. It was shot along the coastal and woodsy roads of the group’s home state of Maine. See the Q&A below with ANNA LOMBARD about the making of the video.

“Western Son captivates with its delicate groove, haunting sound and ANNA’s immense vocal range. In ANNA’s words, the song “Lyrically, it’s setting the scene for what life ‘would have’ or ‘could have’ been like for the son I never had…”

PARACHUTE turns the page on the next chapter of three longtime friends and collaborators. After 15 years of friendship, countless memories, two albums and a 100-plus shows in the band Gypsy Tailwind, the trio thread together an unforgettable journey.

Here’s a Q&A with ANNA LOMBARD about “Western Son”:

Q: Where was the video shot?

ANNA: “The majority of the video was shot in Cape Elizabeth out at Ram Island Farm, an area of Cape where I spent a lot of time as a kid. This includes the drone footage of the winding road, the views of coastal Maine, the bridge over the river…as well as the scenes of me driving the VW. The headshots were filmed in our living room, and the clip of our guitarist Josh (who is a Chief Mate and steers a tugboat) was shot in N.Y. Harbor on a classic ocean-going tugboat–112′ long with locomotive engines–on his way back from assisting a container ship through a bridge around a turn. He was sitting on the aft deck, near the tow winch, when he cut his scene. The scenes with the boy were on my brother’s farm right off the road where the initial drone footage of the car was filmed. His sons built this little wooded amphitheatre that they named EVERGLOW, and we wanted Harry to be a little carefree boy discovering that special spot.”

Q: Any good anecdotes happen during the filming?

ANNA: “Jon had to sit in the back of Dan’s SUV with the hatch door open while filming the VW car shots and almost fell out about 12 times. Jon had Macgyver’d a camera rig for the scene of all three of us in the bug and placed it on the hood. It was a four-foot piece of one by three with a makeshift camera mount glued and taped to it, strapped onto the car via a ratchet strap, and center on a towel so the car didn’t get scratched. The rig fell apart right as we finished the last cut for that scene and pulled into the driveway, thank God.”

Q: What was the inspiration for the song?

ANNA: “For me, this song is about the son none of us ever had. We have four healthy, beautiful daughters (two each) but neither of us ever had boys! Personally, having girls was so foreign to me, as I grew up the youngest and only girl with all older brothers. Navigating through raising girls seemed so daunting to me, as I consider myself to be a bit of a tomboy. It was kind of like, ‘OK..how the hell am I going to do this?’ Lyrically, we tried setting the scene for what it ‘would have’ or ‘could have’ been… So, it’s kind of this dreamed up idea of having a boy. There are lyrics like ’there’s a church up on the hill, above a town you could’ve known so well’; and the church on the hill in the video is a 200+ year old church in the town I grew up in, where one of my aunts was married and adjacent to a cemetery where many family members of mine over the years have been laid to rest. How would life be different if I had been a mother, or if Dan had been a father to sons? What lessons would they have taught us? Perhaps the lessons I needed to learn only happened from becoming a mother of two girls instead…learning to break the cycle of familial toxicity and be to them what I needed when I was younger. For Dan, the original skeleton of the song was about being married to someone, having a son, and then going through a divorce and losing custody as the mother heads west and he never sees the boy again (not autobiographical FYI).

Q: For the video, what were you looking to visually achieve?

ANNA: “Beautiful landscapes, something that felt fun, easy to watch, and felt good. Our last video was so heavy…both Jon and I felt as though this was something that maybe could make people smile as they are watching. We wanted to give some visual components to the lyrics in a literal sense but also portraying innocence…something easily relatable to the viewer and with a pure, unadulterated playful vibe.”

Q: The car in the video is one that seems to reflect a carefree attitude from another era. Why was the car chosen for the “road trip?”

ANNA: “We chose the car because it belongs to our friend and exec producer Alex. Easy decision. We just wanted an old car to drive around the town and shoot scenes. I think given the fact that this song sounds a little old school, we wanted to have a car that matched that era of music. It is a 1979 beetle, mint condition. So fun to drive, I almost took off forever in it.”

Q: As the video closes, we see the character triumphantly holding a sword as almost a sign if victory. Why did you choose to end the clip that way?

ANNA: “The boy in the end of the video is my nephew–we were going for this fictitious character as I mentioned above, but Harry is this wild, carefree, adventurous and fearless little boy…so we decided that he should resemble a cross between Max from Where The Wild Things Are [book and film] and maybe a character from the classic CS Lewis Chronicles of Narnia [book and film]. A little boy finding a sword and checking out this magical little amphitheatre, where he found himself free to explore without being under the thumb of a parent or rules of any kind. I think the sword as a sign of victory at the end was meant to just convey that no matter what, the fictional character ends up being, even if I wasn’t blessed with a boy. Maybe he’s there in your heart, maybe you know that it wasn’t meant to be. Maybe it’s the point where one of us realizes that our journeys as parents were exactly as they were meant to be and so it allows this fictional character to kind of go on existing in this magical, made up, ethereal and peaceful way.”

Facebook

Instagram

###

 


KATE CLARK Today Releases Single “Wonderwall”—Listen To The Striking Cover Of The Oasis Classic

DT: MARCH 26, 2021

FM: MITCH SCHNEIDER/LYNDIE WENNER
SRO PR (NASHVILLE, LOS ANGELES, LAS VEGAS)

KATE CLARK
TODAY RELEASES SINGLE
“WONDERWALL”
LISTEN TO THE EMERGING COUNTRY ARTIST’S
STRIKING COVER OF THE OASIS CLASSIC HERE

AND WATCH THE VISUALIZER HERE

For some, covering such a famous song could seem daunting or challenging, but ‘Wonderwall’ was anything but that for me–it was the best therapy one could find,” says emerging country artist KATE CLARK about her striking cover of Oasis’ classic 1995 song “Wonderwall.” Today (3/26), the Nashville-based/Austin-raised singer/songwriter has released it as the follow-up to “No Halo,” her debut single that arrived last month. Listen to “Wonderwall” here and watch the visualizer here.

“Wonderwall,” like “No Halo,” was produced by David Lyndon Huff, who did the same honors for the Doobie Brothers’ multi-artist tribute album Southbound, that featured Zac Brown Band and Vince Gill, and who’s the younger brother of renowned Nashville producer Dann Huff.

“As a songwriter, I feel like I’m always searching for words and melody that help me feel whatever it is I’m dealing with or going through in my personal life,” says KATE. “Lyrics have the power of being almost a release valve when they’re so perfectly matched to a melody. An infamous 3am wakeup call led me to listening to ‘Wonderwall’ on my nightly journey down a rabbit hole.  Tornadoes had just decimated Nashville, a half block away from my first place I lived when I moved to town. The pandemic was closing in on changing the world for who knows how long, and I was a new mom to a beautiful baby boy. I found myself retreating into my mind and having long conversations with myself trying to find a way, any way, to slow down my world. I had heard ‘Wonderwall’ before when I was younger and I wasn’t in a safe, creative environment to really be able to feel it the way I do now. To me, ‘Wonderwall’ carries so many different meanings. A friend, a lover, yourself, perhaps your younger self–all hopeful options to potentially reach out and save you from whatever it is you need saving from. But, are we ever really saved? I see ‘Wonderwall’ almost as a frame that outlines life’s major lessons. Love, hope, seeking truth, and the inevitable let down.”

Elaborating on that night she listened to “Wonderwall,” KATE says, “The calm I’d craved all day poured over the house and the candles were lit. Another thunderstorm had passed, my son was tucked in with his crew of stuffed animals, Just myself and a microphone–and I was alive. No one is ever going to hand you what you need most. For me the ‘Wonderwall’ is knowing your true self, and the true nature of humankind.”

Last month’s single “No Halo” announced the arrival of an artist who’s been gifted with an expressive, elastic voice matched with her sharp yet vulnerable sense of songwriting. Listen to the song here and watch the lyric video here. With KATE’s introspective lyrics about maintaining a strong self-identity in the face of life’s obstacles and a melodically bright, uplifting chorus, the song is “a melting pot of old-school and new-school,” says KATE. With “No Halo,” KATE aims straight for the heart with lyrics such as “It ain’t easy/ Nothing’s ever fair/You, me and God know/You can still be good with no halo.”

KATE plans to keep the excitement building throughout 2021; the singer and songwriter will release a series of singles via her label Kate Clark Music distributed by BMD (Brooklyn Music Distribution), a song per month, alternating between original tracks and striking reinterpretations of songs that have inspired her.

Kate Clark
Photo credit: Josh Kranich
Bio here

Facebook
Twitter
Instagram
YouTube

For press inquiries, contact SRO PR:

Mitch Schneider, mschneider@sropr.com
Lyndie Wenner, lwenner@sropr.com

 


TOMMY EMMANUEL To Release New Ep ‘Accomplice Series Volume 1 With Rob Ickes & Trey Hensley’ 5/7

DT: MARCH 19, 2021

FM: MITCH SCHNEIDER/ANDREA FAULK/LYNDIE WENNER
SRO PR (LOS ANGELES, NASHVILLE, LAS VEGAS)

TOMMY EMMANUEL
TO RELEASE NEW EP
‘ACCOMPLICE SERIES VOLUME 1 WITH ROB ICKES & TREY HENSLEY’
ON MAY 7 VIA CGP SOUNDS
SHARES FIRST SINGLE AND VIDEO

“FLATT DID IT”
LISTEN HERE TO THE ALBUM’S FIRST SINGLE “FLATT DID IT,”
RELEASED TODAY (MARCH 19),
AND WATCH THE VIDEO HERE

Acclaimed and Grammy®-nominated acoustic guitarist, singer and songwriter TOMMY EMMANUEL—one of five people ever named a CPG (Certified Guitar Player) by his idol, music icon Chet Atkins—has joined forces with powerhouse Grammy®-nominated acoustic duo Rob Ickes & Trey Hensley to record the EP ACCOMPLICE SERIES VOLUME 1 WITH ROB ICKES & TREY HENSLEY out May 7.

Today (March 19), they’ve shared the first single and video “Flatt Did It” from the four-song digital-only EP (*see the track listing below) on CGP Sounds. Listen here to the album’s first single and watch the video here. The Zach Pigg-directed video, premiered at The Bluegrass Situation, was shot in Nashville when the three artists recorded the EP. Pre-save and pre-add the EP here.

ACCOMPLICE SERIES VOLUME 1 WITH ROB ICKES & TREY HENSLEY was born out of the deep admiration the musicians have for each other, also underlined by shows they’ve played together intermittently for nearly five years, the first of which was May 5, 2016 at the Palace of Fine Arts Theatre in San Francisco.

Creative sparks fly on the EP, which radiates good vibrations with white-hot picking virtuosity on acoustic guitars and Dobro—it’s all a welcome sanctuary from these upside-down times. There are three cover songs—the Chet Atkins/Doc Watson song “Flatt Did It,” Buck Owens’ “Raz-Ma-Taz Polka” and the standard “Copper Kettle”—plus a rendering of the Emmanuel composition, “It’s Never Too Late,” originally released in 2015.

Here are quotes from TOMMY, ROB and TREY about the EP:

TOMMY EMMANUEL: “The sessions were very spontaneous, and in fact, I suggested ‘Flatt Did It’ and ‘Copper Kettle’ as pieces on the day we recorded them. That’s how it came about. It was very spontaneous.”

ROB ICKES: “Well, it’s always great to work with Tommy.  He’s such a great artist, and such a great person. There are always a lot of sparks flying when we play together, and all three of us are into lots of different musical genres, so that’s always fun to explore different musical territories when we get together.”

TREY HENSLEY: “Getting to pick with Tommy and Rob any time is always a blast! Working in the studio with Tommy was so much fun, which I think is evident throughout this EP. The great vibe in the studio that day is prominent in the recordings. It was really just the three of us hanging out and playing tunes…what could be more fun?”

Here are quotes from them about “Flatt Did It”:

TOMMY EMMANUEL: “‘Flatt Did It’ is a tribute to Lester Flatt and some of his classic kind of licks. We had the film crew in there for the day and they just rolled the cameras. We actually just played and ignored them almost.”

ROB ICKES: “This song comes from an album that Chet Atkins did with Doc Watson. I love to hear Tommy and Trey play together. There’s a great respect between the two of them. They are both so brilliant. It’s great to hear them feeding off each other. And this song is just the perfect vehicle for a Dobro, so I’m enjoying the whole thing!”

TREY HENSLEY: “Yeah, this one was Tommy’s idea, and it’s a tune from the Doc Watson and Chet Atkins duo record. Rob and I both have a bluegrass background, and this song was written with the great bluegrass icon Lester Flatt in mind. (Hence the title.)  It really was a natural fit and recording it with Tommy was so much fun!”

 

The Full Track List for Accomplice EP #1:

1. Copper Kettle (featuring Rob Ickes & Trey Hensley)
2. Raz-Ma-Taz Polka (featuring Trey Hensley)
3. Flatt Did It (featuring Rob Ickes & Trey Hensley)
4. It’s Never Too Late (featuring Rob Ickes)

Photo Credit: Alysse Gafkjen

ABOUT TOMMY EMMANUEL:

TOMMY EMMANUEL has achieved enough musical milestones to satisfy several lifetimes. At the age of six, he was touring regional Australia with his family band. By 30, he was a rock n’ roll lead guitarist burning up stadiums in Europe. At 44, he became one of five people ever named a CPG (Certified Guitar Player) by his idol, music icon Chet Atkins. Today, he plays hundreds of sold-out shows every year from Nashville to Sydney to London. He’s piled up numerous accolades, including two Grammy Award nominationstwo ARIA Awards from the Australian Recording Industry Association (the Aussie equivalent of the Recording Academy); repeated honors in the Guitar Player magazine reader’s poll including a cover story for their August 2017 issue; a cover feature for Vintage Guitar’s July 2020 issue; and was Music Radar’s reader’s poll #1 winner of the Ten Best Acoustic Guitarists in The World (December 2019). A noted fingerstyle guitarist, EMMANUEL frequently threads three different parts simultaneously into his material, operating as a one-man band who handles the melody, the supporting chords and the bass all at once. His talents, which translate in any language, carry him to the far corners of the globe, but EMMANUEL never plays the same show twice, and he improvises big chunks of every date. That leaves him open to those technical imperfections, though they also provide some of the humanity to an other-worldly talent. On May 8, 2020, he released a newly recorded career-spanning double album, THE BEST OF TOMMYSONGS, via CGP Sounds/Cruzen Street Records). Watch the album trailer here which focuses on TOMMY’s unique ability to tell stories without words: https://www.youtube.com/watch?v=-SOQEMWYAQ4&feature=youtu.be

L-R: Trey Hensley, Rob Ickes
Photo Credit: Chad Jenkins

ABOUT ROB ICKES AND TREY HENSLEY

Take a 15-time IBMA (International Bluegrass Music Association) Resophonic Guitar Player of the Year and a Tennessee-born guitar prodigy called “Nashville’s hottest young player” by Acoustic Guitar magazine, and you have Rob Ickes and Trey Hensley, a powerhouse acoustic duo that has electrified the acoustic music scene around the world. Known for their white-hot picking and world class musicianship, as well as their soulful stone country vocals, the GRAMMY® nominated duo cleverly and uniquely melds bluegrass, country, blues, rock, jamgrass, and string band music of all kinds to create a signature blend of music that defies restrictions of genre. NPR has called Ickes and Hensley “two musical phenoms”; Vintage Guitar raved they’re an “acoustic firestorm” who “are changing the rules”; Acoustic Guitar describes their sound as “steel-string bluegrass with all the intensity of rock ‘n’ roll” and No Depression observed they’re “two of the finest musicians playing today.” Ickes and Hensley have shared the stage or collaborated with Tommy Emmanuel, Taj Mahal, Vince Gill, David Grisman, Jorma Kaukonen, Marty Stuart, and Steve Wariner—all admirers of the duo.  Ickes, former founding member of bluegrass “supergroup” Blue Highway and highly sought-after Dobro master, has graced the recordings and concerts of artists such as Earl Scruggs, Merle Haggard, Alison Krauss, Tony Rice and more. Hensley, who earned his first IBMA Guitar Player of the Year nomination in 2020, made his Grand Ole Opry debut at the age of 11 (thanks to an invite from Marty Stuart with Earl Scruggs) and has appeared on stage with the likes of Johnny Cash, Peter Frampton and Old Crow Medicine Show.  All three of the albums released by Ickes and Hensley have received widespread acclaim, including their debut Before The Sun Goes Down, which garnered a GRAMMY® nomination, and the combo’s most recent release World Full of Blues, which features collaborations with Vince Gill and Taj Mahal.

For more information on TOMMY EMMANUEL, visit:
WEBSITE | FACEBOOK | INSTAGRAM | TWITTER | YOUTUBE

SRO PR Assets + Press Releases:
http://sropr.com/portfolio/tommyemmanuel/

For more information on ROB ICKES & TREY HENSLEY, visit:
WEBSITE | FACEBOOK | INSTAGRAM | TWITTER | YOUTUBE

###

For press inquiries regarding TOMMY EMMANUEL, contact:

SRO PR
(Los Angeles, Nashville, Las Vegas)
Mitch Schneider // mschneider@sropr.com
Andrea Faulk // afaulk@sropr.com
Lyndie Wenner // lwenner@sropr.com

 


RICHIE FURAY Shares Live Performance Video Of “Let’s Dance Tonight” From Upcoming 50th Anniversary Return To The Troubadour

DT: MARCH 19, 2021

FM: MITCH SCHNEIDER/ANDREA FAULK

RICHIE FURAY
TODAY SHARES VIDEO OF HIS 2018 PERFORMANCE OF
POCO’S “LET’S DANCE TONIGHT”
AHEAD OF RELEASE OF DOUBLE LIVE ALBUM + DVD
‘50TH ANNIVERSARY RETURN TO THE TROUBADOUR’

WATCH THE VIDEO HERE

RICHIE FURAY today (3/19) shared a live performance video of “Let’s Dance Tonight” from his upcoming 50TH ANNIVERSARY RETURN TO THE TROUBADOUR–a double CD and download as well as a single DVD concert film on DSDK Productions, distributed by MRI Entertainment. The digital audio only is being released April 2, with both the physical CD + DVD release available April 23.

The “Let’s Dance Tonight” video was premiered 3/17 via Americana Highways which praised the video by saying: “For Poco fans this performance by Richie Furay is essential. And what a wonderful performance it is, evoking Poco and the nostalgia of the time, and a captivating show on its own terms too.” Watch the video here and listen to the single here. Pre-save and pre-add the album here.

The Rock and Roll Hall of Fame inductee–one of the chief architects of the country rock genre as a member of Buffalo Springfield, Poco and the Souther-Hillman-Furay Band—wrote the song for Poco’s sixth album and final one he recorded with them, Crazy Eyes. This marks the third single/video from FURAY’s new live album, following “Kind Woman” and “C’mon,” the latter of which was premiered at Relix with a story hailing him as an “Americana Icon.”

Recorded with The Richie Furay Band at the iconic Los Angeles venue in November 2018, the double album is comprised of two powerful sets: “Still DeLIVErin,’ which encompasses Buffalo Springfield songs, favored Poco tunes and some of FURAY’s finest solo work, and “DeLIVErin’ Again,” a front-to-back performance of Poco’s DeLIVErin’ plus their 1972 signature song “A Good Feelin’ To Know” with Timothy B. Schmit (who joined Poco in 1969 on vocals and bass) singing his parts. The audio for the CD and concert film was mixed and produced by multi-Grammy Award-winning audio engineer Ross Hogarth.

“Let’s Dance Tonight,” which begins with the lyrics “Slippin’ away headin’ out to L.A./Gonna sing in the city tonight,” is a personal song for FURAY. “Well of course being in L.A. at the Troubadour made it a very special opportunity to perform this song,” he points out. “L.A. is where it all began for me and Poco, I don’t think I ever get near the city to do a show where ‘Let’s Dance Tonight’ doesn’t come to mind and find its way into the set list. I guess it’s a way of acknowledging the opportunities I had there to make music.  That’s the general way to look at it. There is also the specific, personal way as well as Los Angeles is where I met my wife Nancy, of 54 years. Poco spent a lot of time on the road so coming home to Los Angeles back then was always a refreshing moment.”

FURAY says that “Let’s Dance Tonight” is “a happy upbeat song that our fans were very receptive to.  They got on their feet and were clapping and dancing at our live shows.” He adds: “It obviously is a special song as I recorded it twice [for Poco’s Crazy Eyes and his solo album Heartbeat of Love].  I remember doing a ‘reunion’ with Poco at the Belcourt Theater in Nashville; after rehearsing the song, a friend who was there said it was one of his favorite Poco songs and I replied if I ever did another project I wanted to re-record it because I thought it got overlooked with all the drama surrounding Crazy Eyes, so that’s how it ended up on Heartbeat of Love.  I see the song as one of a few that were overlooked at the time in one way or another as a top 40 single possibility.”

The Troubadour show in 2018 was truly a magical evening in many ways. The sold-out concert marked FURAY’s 50th anniversary return to the venue where Poco (originally as Pogo) performed their very first shows in 1968. The evening was marked by Timothy B. Schmit joining FURAY on the Schmit-penned “Hear That Music” from DeLIVErin’ and the above-mentioned “A Good Feelin’ To Know.” Timothy also introduced FURAY onstage after reading a congratulatory note from Cameron Crowe (who intended being at the Troubadour in person but could not make it at the last minute). Timothy then introduced the esteemed artist and producer Peter Asher (Peter & Gordon), who presented FURAY with a commemorative award for his 50th anniversary return to the Troubadour. Also on hand at the show and backstage was Randy Meisner, Poco’s first bass player before Schmit replaced him.

Tracklisting Page in ‘50th Anniversary Return To The Troubadour’

Track listing for 50TH ANNIVERSARY RETURN TO THE TROUBADOUR CD + DVD

CD1: “Still DeLIVErin’”
On The Way Home
Let’s Dance Tonight
We Were The Dreamers
Don’t Let It Pass By
Go and Say Goodbye
Wake Up My Soul
Hard Country
Wind of Change
Anyway Bye Bye
Someday

CD2: “DeLIVErin’ Again”
I Guess You Made It
C’mon
Hear That Music (with Timothy B. Schmit)
Kind Woman
Hard Luck
Child’s Claim To Fame
Pickin’ Up The Pieces
You Better Think Twice
A Man Like Me
Just in Case It Happens, Yes Indeed
Grand Junction
Consequently So Long
Encore: A Good Feelin’ To Know (with Timothy B. Schmit)

Richie Furay Band:

Richie Furay: guitars, vocals
Jesse Furay Lynch, tambourine and vocals
Scott Sellen, guitars, banjo and vocals
Jack Jeckot, keyboards, harmonica, guitar and vocals
Aaron Sellen, bass guitar and vocals
Alan Lemke, drums

Plus:
Dave Pearlman, pedal steel guitar and dobro
Timothy B. Schmit, vocals

Pictured, Richie Furay and his daughter Jesse Furay Lynch
Photo Credit: Howard Zryb

50th Anniversary Return To The Troubadour’
Front Cover Art
‘50th Anniversary Return To The Troubadour’
Back Cover Art

WEBSITE | FACEBOOK | INSTAGRAM

SRO Press Releases + Assets
http://sropr.com/portfolio/richie-furay/


‘Top Rankin’: A Punk/Ska Noir Novel By Howard Paar Out May 11 Via Rare Bird Books

DATE: MARCH 18, 2021

FROM: MITCH SCHNEIDER/SRO PR

‘TOP RANKIN’: A PUNK/SKA NOIR NOVEL
BY HOWARD PAAR
OUT MAY 11 VIA RARE BIRD BOOKS
THE BOOK’S PAAR-CURATED SOUNDTRACK
IS NOW AT SPOTIFY

Picture 6

The worlds of punk, ska, crime, drugs and corruption in Los Angeles come together in unexpected ways in Top Rankin,’ a punk/ska novel by Howard Paar due out May 11 via Rare Bird Books. Capturing the anything-goes spirit of L.A. in 1980, with the presidential election of Ronald Reagan just around the corner, Top Rankin’ is populated with real-life characters from the music world in Los Angeles, New York, and London. The novel is available now for pre-order at booksellers everywhere.

It’s the second novel from Paar following Once Upon A Time In LA in 2015. He is a London native who relocated to L.A. in the late 70s and initially created the ON Klub–the first ska club in the U.S. at the rough and ready pre-gentrified Silver Lake end of Sunset Blvd.–before going on to become a record label executive and multiple award-winning music supervisor for film and television. Paar has curated the Top Rankin’ soundtrack, now posted at Spotify.

Paar began the ON Klub in May 1980, inspired by the racially integrated punky ska revival in England. He booked the bands and spun the vinyl at the ska, soul, and reggae venue. In this hole in the hillside dump of a joint, the dance floor was shared by young Jamaicans, sharp-dressed Asian American girls, South Central kids, London escapees, mods on scooters from Orange County, Latino kids from the neighborhood―all united by the inspiring vinyl they couldn’t hear on the radio or anywhere else in the US. The club’s success also resulted in unwelcome visits from the police and fire department.

“In numerous respects it was the literary and cinematic noir history of Los Angeles that drew and kept me here, says PAAR, “so the city and its now vanished places are a significant aspect of both novels.” He adds: “I wrote this ‘memNoir’ to give readers an authentic, fun experience of 1980, lived in the moment, feeling the power of music in fast changing and dangerous times for many.”

H.P. Photo by Christiana D’amore

 

AVAILABLE IN HARDCOVER AND E-BOOK
FICTION/NOIR MYSTERY
9781644281932 | US $20.00 | 5.5 x 8.5 in. | 224 pp.
RARE BIRD BOOKS
DISTRIBUTED WOLRDWIDE BY PUBLISHERS GROUP WEST
RAREBIRDBOOKS.COM

Publicity, Marketing, and Bulk Sales: Julia Callahan at RARE BIRD | julia@rarebirdlit.com | 831.227.8550

Independent Publicity: Mitch Schneider at SRO PR | mschneider@sropr.com

###

 


TASH SULTANA Generates Over 1 Billion Streams Overall + Critical Praise For ‘Terra Firma’ Album


DATE: MARCH 16, 2021

FROM: MARCEE RONDAN/MITCH SCHNEIDER

TASH SULTANA
BUILDS ON GLOBAL SUCCESS
WITH MORE THAN ONE BILLION STREAMS
GARNERS FIRST #1 ALBUM
WITH ‘TERRA FIRMA’
IN THEIR NATIVE AUSTRALIA

EARNS CRITICAL ACCLAIM
FOR SOPHOMORE ALBUM RELEASED FEBRUARY 19
ON MOM + POP MUSIC

LISTEN NOW

WORLDWIDE TOUR DATES KICK OFF SEPTEMBER 1

With their sophomore album TERRA FIRMA, TASH SULTANA continues to expand their global success with more than one billion streams and their first #1 album on their native Australian ARIA Albums Chart, along with a Rolling Stone Australia cover story.

The February 19 release of the genre-defying 14-track album on Mom + Pop Music, composed, arranged, performed, engineered and produced by TASH, has been greeted with an array of critical accolades praising the artist’s artistic evolution. TASH–singer, songwriter, multi-instrumentalist and electrifying performer–has added to the looped and layered jams with a dazzling patchwork of soul, funk, R&B, folk, rock, hip-hop–you name it. The result is TASH’s most ambitious triumph to date.

NME (UK) noted in their review that “The Aussie star embraces all sounds but maintains a delicate vulnerability on album number two…” with THE GUARDIAN (UK) saying “TERRA FIRMA is as expansive and chilled as we’ve come to expect from Sultana…” GUITAR PLAYER in the U.S. says: “It’s a deceptively crafty concoction that feels thoroughly organic and effortless.” NPR’s “All Songs Considered” also shined a light on the album in their “New Music Friday” coverage.

“Australian singer Tash Sultana released their sophomore album Terra Firma this week, offering up the grounding track ‘Blame It On Society.’ True to her sound, Sultana combines dizzying guitar chords with her measured lyrical delivery, pointing out the flaws that are ingrained our society.”

–Carolyn Droke, UPROXX, 2/23/21

Home

“…proficiency in around a dozen instruments, all contributing to the vast, looping sonic landscapes of Terra Firma…In many ways, Terra Firma reflects a centered, cerebral moment for Sultana. From the opening instrumental ‘Musk,’ Sultana launches into a bizarro world that’s awash in layered psychedelia. The whole album is like falling down a rabbit hole of serenity, punctuated by Sultana’s inevitable, crescendoing instrumentation.”

–Raffaela Kenny-Cincotta, RELIX, 1/29/21

“…Terra Firma is Tash’s most expansive effort to date. The final product pairs staggeringly raw songwriting with intricate instrumentation and lush production, fusing jazz, soul, funk, psych rock, and R&B influences along the way. Thematically, the album builds toward a sense of liberation, with the closing number literally called ‘I Am Free.’”

–Matt Wallock, AMERICAN SONGWRITER, 2/17/21

“Terra Firma is a record that listeners can get lost in. Sultana’s sonic presentation is spread across a collection of deeply introspective songs that touch on soul, funk, pop, R&B and hip-hop. There are dashes of rock and even folk. It’s a deceptively crafty concoction that feels thoroughly organic and effortless. Intoxicating guitar loops on blissed-out tracks like ‘Pretty Lady’ and ‘Sweet & Dandy’ bury themselves into the thicket of one’s senses, and the cavernous soundscapes that form the musical beds of ‘Coma,’ ‘Let the Light In’ and ‘I Am Free’ unfold like dreams. It’s all dynamic, head-turning stuff…”

Joe Bosso, GUITAR PLAYER (print), March 2021

“Terra Firma is a masterful mix of R&B, soul, indie-rock, alternative and shoegaze.” 9/10

–Miguel Costa, MUSIC CONNECTION, 2/23/21

“…Terra Firma is mostly rooted in laid-back, gentle grooves (you can slow dance to it, but this isn’t exactly a funk-fest), with more room for personal introspection and ruminations on relationships and one’s place in the larger world (as well as occasional observations on the unexpected consequences of fame)…Sultana’s vocals have gained some range and nuance since their first album, and there’s a welcome sense of the artist embracing the joys of pushing the boundaries; the guitar work here is very fine but not flashy, and shares the stage with keyboards and other flavors that give the tracks a rich and varied sound. In short, Terra Firma confirms Tash Sultana isn’t interested in being your new favorite guitarist as much as they want to be a musician and songwriter with the talent and ambition to go in any direction they choose…they have the talent and vision to be an artist who is going to be around for a while, and it’s fascinating to imagine where they can go next. Terra Firma shows where they are now is already pretty impressive.”

ALLMUSIC.COM, 2/19/2021

Without a doubt Terra Firma is a relatable masterpiece made for the hearts that long to be mended by the power of music. Its intoxicating grooves and hypnotic riffs are instantly inviting, but with depth that reveals its rewards the more you absorb it. From the previously released evocative ‘Greed’ to the enthralling ‘Beyond The Pine,’ Tash departs from looped and layered jams towards meditative combinations of soul, funk, RnB, folk, rock, and hip hop. The 14-track album takes root into far-reaching sonic territory, while each song stands out with its individualistic flare and sound. Ultimately meshing together to create a flawless album that showcases Tash’s musical and lyrical growth.”

–Gibson Shaffer, GRATEFUL WEB, 11/30/2020

“No one makes music like Tash. Their ear for densely layered orchestration culminates in this transcendent, slightly psychedelic new track that reminds listeners that You are enough, to live in the present moment away from negative distractions. As Tash demonstrates their famously proficient guitar ability in the intro, the instrumentation quickly grows to include increasingly intoxicating layers of angelic chimes, organic samples, rich horns, fleeting harps, and much more…”

–Austin Miller, THIS SONG IS SICK, 1-22-21

“Groovy ‘Willow Tree’ is filled with colorful horns and the whimsical guitar, keys, and bass loops that made you obsessed with Tash in the first place. You glide through this magical journey, with Jeome Farah and Tash’s soulful vocals perfectly complementing each other, and you can’t help but get lost in it.”

–Nicole Proctor, EARMILK, 12/22/2020

“Terra Firma remains a remarkable experience that finds a way to demonstrate real human vulnerability while building mystique around its creator. Sultana learned guitar at age 3, reportedly plays 20 different instruments and composed, arranged, performed, engineered and produced just about every note of their first two albums–all by the age of 25. There’s nothing they can’t play and less they can’t do. But it’s the restraint shown in the minimalist moments that show why slowing down was the right choice for Sultana on Terra Firma.” 7/10

–Skott Bennett, RIFF MAGAZINE, 2/15/21

“…soulful and sublime outing. Whether she’s waxing mystical or being more forthcoming, Sultana’s art here is striking.”

–Kevin Wierzbicki, ANTIMUSIC.COM, 2/19/21

“Multi-instrumentalist Tash Sultana’s sophomore effort Terra Firma bumps along, dripping with layers of early 90’s R&B, indie rock, and dream pop escapism. Playing all sounds while delivering floating vocals, Sultana is a musical force over the fourteen neo-new jack swing and soul/pop offerings.”

–Shawn Donohue, GLIDE MAGAZINE, 2/19/21

“Tash Sultana’s Terra Firma is a masterful piece of art that bends sound and genre to her will and gives us an unfettered look into her soul.”

–Austin Miller, THIS SONG IS SICK, 2/19/21

Tash Sultana’s long-awaited second record Terra Firma firmly secures their intrinsic, holistic artistry. And like the ponderous smoke-tendril of burning incense, Sultana’s slow jam snakes around your earholes with an enchanting athleticism.”

–Cassia Briscoe, HAPPY MAG TV, 2/19/21

“’Terra Firma’ maintains Sultana’s instrumental opulence but with a more mature and seasoned perspective that is flecked with vulnerability… This record definitively shows off the balance of Tash Sultana’s skills as a musician and as a songwriter as they try to find firm ground to stand on amidst the chaos of the world. Sultana is truly gifted, and their biggest challenge right now seems to be finding new ways to innovate and build upon an already complex, remarkably unique sound.”

— Claire Stephens, B-SIDES TV, 2/20/21

ROLLING STONE AUSTRALIA

WORLDWIDE TOUR DATES

September 1 Arena Open Air Vienna, Austria

September 3 Circolo Arci Magnolia Segrate, Italy

September 6 Coliseu dos Recreios Lisbon, Portugal

September 7 WiZink Center Madrid, Spain

September 8 Sant Jordi Club Barcelona, Spain

September 10 Zenith Paris La Villette, Paris, France

September 11 Geneva Arena Geneva, Switzerland

September 16 Freilichtbühne Großer

Garten Junge Garde Dresden, Germany

September 17 Zitadelle Spandau Berlin, Germany

September 18 K.B. Hallen Frederiksberg, Denmark

September 20 Sentrum Scene Oslo, Norway

September 22 Reeperbahn

Festival 2021 Reeperbahn, Hamburg, Germany

September 24 Tanzbrunnen Cologne, Germany

September 26 Olympiahalle Munich, Germany

September 28 Eventim Apollo London, UK

ABOUT TASH SULTANA

Since dropping their debut album two years ago, TASH has only gone from strength to strength in a career already abundant with highlights. With over 1 billion total worldwide streams, has broken attendance records around the world including a sold out Red Rocks Amphitheatre, performing stand out sets at Coachella, Lollapalooza, Governor’s Ball, Bonnaroo, Austin City Limits and more, TASH has also made their US debut TV performance on “Late Night with Seth Meyers.

In Australia, TASH’s debut album FLOW STATE was nominated for six ARIA Awards including winning the ARIA for Blues and Roots Album Of The Year and they undertook a massive sold out Australian headline tour with over 70,000 tickets around the country. “Jungle” and “Notion” are ARIA accredited 2x Platinum, whilst “Mystik,” “Murder to the Mind” and the NOTION EP all ARIA accredited Gold.

TASH SULTANA’s sophomore album TERRA FIRMA is out now on Mom+Pop Music.

PHOTO CREDIT: GIULIA MCGAURAN & PAT FOX

CONNECT WITH TASH SULTANA www.TASHSULTANA.com

KATE CLARK—Emerging Country Artist—Today Releases Debut Single And Lyric Video “No Halo”

DT: FEBRUARY 26, 2021

FM: MITCH SCHNEIDER/LYNDIE WENNER
SRO PR (NASHVILLE, LOS ANGELES, LAS VEGAS)

KATE CLARK—
EMERGING COUNTRY ARTIST—
RELEASES DEBUT SINGLE AND LYRIC VIDEO
“NO HALO”
TODAY, FEBRUARY 26
LISTEN TO THE SONG HERE

AND WATCH THE LYRIC VIDEO HERE

“No Halo,” the debut single and lyric video released today (February 26) by emerging country artist KATE CLARK, announces the arrival of a fresh talent who’s been gifted with an expressive, elastic voice matched with her sharp yet vulnerable sense of songwriting. With KATE’s introspective lyrics about maintaining a strong self-identity in the face of life’s obstacles and a melodically bright, uplifting chorus, the song is “a melting pot of old-school and new-school,” says the Nashville-based and Austin-born-and-raised artist. “No Halo” was co-written and produced by David Lyndon Huff, whose extensive Nashville credits include producing the Doobie Brothers’ multi-artist tribute album Southbound with such artists as the Zac Brown Band and Vince Gill, and who is the younger brother of renowned producer Dann Huff. Listen to the song here and watch the lyric video here.

KATE plans to keep the excitement building throughout 2021; the singer and songwriter will release a series of singles, a song per month, alternating between original tracks and striking reinterpretations of songs by Oasis (“Wonderwall”), the Doobie Brothers (“Black Water”), and Justin Timberlake (“Drink You Away”).

With “No Halo,” KATE aims straight for the heart with lyrics such as “It ain’t easy/ Nothing’s ever fair/You, me and God know/You can still be good with no halo.”

“Writing ‘No Halo’ was both unfortunately and fortunately a very easy topic for me to write about,” reveals KATE. “Perfection. Why do we seek perfection? We know it’s unattainable, but even knowing this we put ourselves down. For girls and women especially, we’re conditioned from a young age to be ‘good’…you know, ‘be a good girl.’ I was far from perfect. I endured profound pain that over the years turned into profound joy and freedom. It’s amazing what real self-acceptance can do for the human spirit. The ‘Halo’ to me represented perfection, so the title ‘No Halo’ just made sense. I hope when people hear this song it can be another reminder, in the midst of commerce selling perfection, to embrace your ‘flaws,” learn from your failures, and most importantly allow yourself to grow. You can still and always will be good if you can love yourself just as you are, right where you are, even if you’ve misplaced your ‘halo’ or you never had one to begin with.”

Kate Clark
Photo credit: Josh Kranich

Bio here

Facebook
Twitter
Instagram
YouTube

For press inquiries, contact SRO PR:

Mitch Schneider, mschneider@sropr.com
Lyndie Wenner, lwenner@sropr.com

 


Privacy Settings
We use cookies to enhance your experience while using our website. If you are using our Services via a browser you can restrict, block or remove cookies through your web browser settings. We also use content and scripts from third parties that may use tracking technologies. You can selectively provide your consent below to allow such third party embeds. For complete information about the cookies we use, data we collect and how we process them, please check our Privacy Policy
Youtube
Consent to display content from Youtube
Vimeo
Consent to display content from Vimeo
Google Maps
Consent to display content from Google