Railroad Earth’s music is driven by the remarkable songs of front-man, Todd Sheaffer, and is delivered with seamless arrangements and superb musicianship courtesy of all six band members. They can jam with the best of them, but they’re not a jam band. They’re bluegrass influenced, but they use drums and amplifiers (somewhat taboo in the bluegrass world). RRE bristles about being lumped into any one “scene.” Not out of animosity for any other artists: it’s just that they don’t find the labels very useful. According to fiddle player Tim Carbone, “We use unique acoustic instrumentation, but we’re definitely not a bluegrass band – so that doesn’t fit. And I think the term ‘jam band’ probably refers more to the fans than to the band. I think these fans just like live music.” When the band does elect to “comment” on a song via an extended improvisation, they really cook – and have received the approval of no less than Grateful Dead bass player Phil Lesh, who knows a thing or two about jamming.

Railroad Earth started out in 2001, a bunch of talented friends interested in strumming some rootsy music together. It began rather informally, but then picked up the pace when their five song demo earned them a spot at the prestigious Telluride Bluegrass Festival that June. Taking advantage of the opportunity, they quickly recorded five more songs, combined it with their demo tracks and released it as their debut, 2001’s The Black Bear Sessions. That debut piqued the interest of Sugar Hill Records, who signed them and released two highly acclaimed albums, Bird In A House in 2002 and The Good Life in 2004.

Since then, they’ve cultivated a huge fan base, wound up by the band’s unique acoustic hybrid sound. Railroad Earth has come to thrive in a live setting; as evidenced on their 2006 live double album Elko (SCI Fidelity Records, 2006).

Amen Corner (SCI Fidelity Records, June 2008), the band’s fourth studio album, was written and recorded in the winter of 2007 at Sheaffer’s 300-year old farmhouse in the rural New Jersey countryside. Compared to the sterility and stress of a commercial studio—where the cost-clock ticks and the pressure of performing under a budget looms large—recording at home is like heaven on earth… and Amen Corner captures that feeling from beginning to end. “Normally,” Sheaffer explains, “you come home after six weeks on the road and jump into the studio, all frazzled because you don’t have much left in the tank. This time I feel like we’ve invited our friends into our living room and that’s basically how we recorded it." Amen Corner may be the early creative pinnacle of a gifted young band, and has all the makings of an Americana classic. It’s a collection of crisp and crafted Americana and acoustic roots sides that resonate in all the right places.

Abigail and Lily Chapin are singing, songwriting sisters who have been performing under the name The Chapin Sisters since 2004. They are known for pristine harmonies and haunting melodies that have gained comparisons to sister acts of old and Appalachian family groups, yet their songs and arrangements have a very contemporary aspect, with elements of pop, blues and psychedelic rock. Their first full-length record, Lake Bottom LP was collaboration with their other sister, Jessica Craven, who is now taking a leave of absence to spend time with her new baby. Produced by Thom Monahan (Lilys, Devendra Bandhart, Vetiver) and Mike Daly (Whiskeytown, Grace Potter), the record was critically acclaimed and was named on of the LA Weekly’s Top Ten Records of 2008.

The Sisters have just released an EP of live-in-studio tracks, recorded over a weekend this spring in Silverlake, CA with their live band, Dan Horne (Mezzanine Owls), Louie Stephens, and Aaron Sperske (Ariel Pink’s Haunted Graffiti).

Abigail and Lily were born in Brooklyn New York. They couldn’t help but pick up a thorough grounding in traditional American roots music and folk-rock from their father, 3-time Grammy Award winning singer-songwriter Tom Chapin. He, along with their grandfather Jim Chapin, a jazz drummer, and their uncle, singer-songwriter Harry Chapin, created an environment wherein music held an almost sacred purpose, of bringing people together, whether it be for family, humanitarian purposes, or joyful release.

Since graduating from college and pursuing music professionally, the sisters have recorded vocals on many albums, Vetiver, Lavender Diamond, Gary Loures, Ann Magnusen, Will Oldham and Marie Sioux, among many others. In the spring of 2010, Abigail and Lily will set out on tour with SHE & HIM (Zooey Deschanel and M. Ward) as members of their band. THE CHAPIN SISTERS will be opening many of the shows as well.

David Wilcox's 'Open Hand' was recorded in 7 days from start to finish in December 2008 on 2 inch 16 track analog tape.  No computer tricks were used, all of the songs on this release were recorded live, just 4 human beings playing music together.  Very minimal overdubs were used, so most all of what you hear is exactly as it was played together by David and the other musicians live.  Dan Phelps produced and played guitar and keyboard, Jon Evans: bass guitar and upright bass, James McAlister: drums and percussion.

'Open Hand' is David's 16th release.  Since he performs solo acoustic almost exclusively, he is able avoid the common 8 or 10 week tour, preferring instead to strike a balance between traveling for shows and being at home in Asheville NC with his family.  It's more than just a good balance for his life, he compares the two worlds of touring and creativity at home as being akin to the in breath and the out breath - inspiration and expression.

The Why:

David loves music for how it has tuned up his life.  More than just entertainment, music has been a compass to navigate a life worth singing about.  Some people describe the effect of what David does as if he were a mystic or a healer.  So here are three different views from Gary Jules, Elizabeth Lesser, and Brian McLaren of what David does with this simple sound.  First, Gary Jules describes the effect of David's musicianship.

Gary Jules writes:
For most of us who are referred to as "singer-songwriters", there is more to a good song than just words, music, and performance.  Each is beyond important of course but, to pummel the cliché yet again, we want the whole (song) to be greater than the sum of its parts (words, music, and performance).  With really good singer-songwriters, these three elements become akin almost to the three dimensions of the physical world - a well-written song performed by someone who is really feeling it becomes a real "thing".  Recordings, then, are like photographs of  "things".  Yeah, like Pinnochio, only with feelings.

David Wilcox is just this kind of singer and songwriter, and the songs on Open Hand exemplify perfectly what can happen when the whole becomes more than the sum of its parts.  The first song I heard from this collection was Winter at the Shore.   The opening chords move simply and inevitably toward their resolution, like seasons. At one point before the vocal starts, it sounds as if Dave's fingers might just stop playing.  But they can't.  The approaching resolution is . . . inevitable, as the passing of time.  The images are pregnant.  "The ghost of you/ dances through/ the memories of this town".  Winter in a beach town means "off season".  I think most days of a life are "off season", though we rarely take pictures on those days. Songs remind us to.  Eleven words in it's already a sonic photograph of a magical world -- the passing away manifest in chords, fragility in the performance, the story on the way.

The Infamous Stringdusters & Trampled by Turtles - Fly Palomino Tour

www.thestringdusters.com – www.trampledbyturtles.com

The definition of bluegrass is being challenged.  Ever since the "Oh Brother" bubble burst, string-bands have developed into the mainstream redefining "bluegrass" and shifting the limiting paradigm of acoustic instruments.  Divergent string-band worlds collide as thrash-grassers Trampled by Turtles and virtuosic-jammers The Infamous Stringdusters team up to bring you the Fly Palomino Tour.  

The Infamous Stringdusters are at the forefront of a new movement in bluegrass music. Their unmatched virtuosity has enabled them to take acoustic music to a completely new level. They wield an expansive repertoire touching on masters from Jimmy Martin to John Hartford, but their strength lies in their original compositions.  Dedication to arrangements sets them apart and extended improvisation makes every performance completely unique. The live Stringdusters experience is anti-formulaic, groove friendly, and mind‐expanding ‐ not your granddaddy's bluegrass.  Unless your granddaddy was Jerry Garcia. 

Trampled by Turtles continue touring in support of their latest release, Palomino, which in April became their first #1 debut on Billboard’s Bluegrass chart.  Separating the band from the pack is the contrast of their lightening fast, punk-influenced barn-burners and their lonesome, Townes Van Zandt-inspired ballads. Frontman/ songwriter Dave Simonett’s vocals and lyrics capture  the stark MN landscapes and the mood of the North Country like no other current artist with his hauntingly beautiful songs. The bands' unique mixture of rock influences and authentic style have garnered them coverage from a wide range of publications from Daytrotter to Paste to Relix to CMT. 

"The Infamous Stringdusters epitomizes the ethic of today's young 'new-grass' artists. Their instrumental virtuosity is front and center, but it's paired with an insouciant curiosity for everything from shiny Nashville harmonies to jam-band wonkery." - LA Times “Shooting sparks in the face of folk traditionalism, Trampled by Turtles approaches the banjo and mandolin with a level of brash recklessness hardly heard since the now-mythical reign of Uncle Tupelo. Bill Monroe and Joe Strummer would both be proud.” - SF Bay Guardian 

Elizabeth Cook made her Grand Ole Opry debut on March 17, 2000, appearing repeatedly thereafter -- a remarkable achievement considering that, at the time, she was an indie artist with no radio airplay. But such was the excitement generated by her clear, beautiful voice, strong songwriting ability, and live performances, all of which have drawn comparisons to younger, critically respected artists like Kelly Willis and legends such as Dolly Parton.

Cook was born in Wildwood, Fla. Her West Virginia-born mother played guitar and mandolin and sang on local radio shows. Her father, a Georgia native, also performed country music and served jail time for running moonshine. Upon his release, he and Elizabeth's mother played in local bands together, eventually marrying. Elizabeth, born in 1972, moved to Nashville in her 20s and quickly got a publishing deal. Demos recorded between 1997 and 2000 comprised her self-titled, independently released debut album, which showcased her formidable songwriting ability and featured such well-known Music City musicians as Tim Carroll, Kenny Vaughan, and Rick Schell.

Atlantic Records signed Cook soon after its release, and she began working on her major-label debut. Hey Y'All appeared in 2002, but she parted ways with the label shortly thereafter. She independently issued the album This Side of the Moon in 2005. Balls followed in 2007. ~ Erik Hage, All Music Guide

TROMBONE SHORTY
BACKATOWN
BIOGRAPHY

Troy 'Trombone Shorty' Andrews' new album, Backatown (Verve Forecast April 20), is the work of a rare artist who can draw both the unqualified respect of jazz legends and deliver a high-energy rock show capable of mesmerizing international rock stars and audiences alike. With such an unprecedented mix of rock, funk, jazz, hip-hop and soul, he had to create his own name to describe his signature sound: Supafunkrock! Andrews is the kind of player who comes along maybe once in a generation, and Backatown is the latest, clearest proof that his artistry is as singular as his raw talent.

The album title comes from the locals' term for the area of New Orleans that includes the Tremé [pronounced Tre-MAY] neighborhood in the city's 6th Ward, where Troy was born and raised - getting his nickname at four years old when he was observed by his older brother James marching in a street parade wielding a trombone twice as long as the kid was high. The cultural backdrop of the Tremé - the oldest black neighborhood in the U.S. - is at the very root of Troy's music, on top of which he's built his own sound. The streetwise, gritty feel of the term underscores the difference between the stereotype of the New Orleans jazz musician and what this audacious young artist and his cohorts are going for, and pulling off.

Equally adept on trombone and trumpet, Andrews plays a variety of other instruments as well. He's applied the same skill sets and fierce discipline to his vocal instrument, to soulful effect, as the album demonstrates. Surrounding Andrews is his band, Orleans Avenue - Mike Ballard on bass, Pete Murano on guitar, Joey Peebles on drums, Dwayne Williams on percussion and Dan Oestreicher on baritone sax - virtuosos every one.

What makes this record such a kick in the head is that the band, working with producer Ben Ellman of Galactic, has managed to bottle the 200-proof intensity of their devastating live performances, which have earned Trombone Shorty & Orleans Avenue a rabid and ever-growing following almost entirely by way of word of mouth -Backatown is the band's first recording to get a national release. Like their shows - which have been known to run for hours at an energy level that few others could sustain - the album turns on a rare combination of virtuosity and high-energy, party-down intensity.

Check out Catherin Irwin here!

Josh Ritter is from Moscow, Idaho. The son of two neuroscientists, he was on his way to follow in their footsteps when he discovered Johnny Cash and Bob Dylan's "Girl from the North Country" in high school. He has since released five studio albums and has been recently named one of the 100 greatest living songwriters by Paste Magazine, alongside Dylan, Springsteen, and Neil Young. Joan Baez has covered one of his songs; Stephen King named one of Ritter's albums the best of recent years and David Letterman has requested him twice, so far.

Ritter's constant touring has established a robust, fanatical base both in the US and overseas (particularly Ireland and the UK). He and his band can fill theaters throughout the USA, in many major markets: DC and San Francisco but also in smaller cities as diverse as Spokane, WA and Northampton, MA. Ritter and band have performed with the New York Pops and the Boston Symphony Orchestra and many critically acclaimed artists have requested Ritter to share stages. This list includes Swell Season, Ray Lamontagne, and John Prine. His fans have a special, unique bond with Ritter that goes beyond that of other singer-songwriters; he is always there at the merch desk after shows, hugging fans and signing records.

Over the course of his young career Ritter has established longtime relationships with media outlets such as NPR, Paste, the Washington Post, Entertainment Weekly, and Amazon.com, as well as regional radio stalwarts such as WFUV and WXPN and a wide-swath of progressive blogs and websites. Ritter has blogged for the Huffington Post while on tour.

His new album, So Runs the World Away, is ambitious and literary. It was released on May 4th, 2010 by Pytheas Recordings, a label recently started by Ritter and his longtime publicity partner, Sacks & Co., with Redeye Distribution.

The Magic Kids are a mysterious band of pop pranksters from memphis featuring members of the barbaras and girls of the gravitron. langley school x the beach boys x spector = the magic kids. it's a joyous vocal-centric song with impressive harmony and old-fashioned instrumentation - one listen and you will fall in love with this baby. total pop perfection. song of the summer? more like song of the year. on goner records.