Blackout Forever Tour Dates:

March 21st – Columbia, MO @ The Blue Note
March 22nd – Little Rock, AR @ Revolution Music Room
March 23rd – Baton Rouge, LA @ The Varsity Theatre
March 24th – Mobile, AL @ Soul Kitchen
March 28th – Birmingham, AL @ Zydeco
March 29th – Gainesville, FL @ Double Down
March 30th – Miami, FL @ Miami Dade County Fair – Main St.
March 31st – Jacksonville Beach, FL @ Freebird Live
April 1st – Augusta, GA @ Sector 7G
April 3rd – Charleston, SC @ The Music Farm
April 4th – Greenville, SC @ The Handlebar
April 5th – Carrboro, NC @ Cat’s Cradle
April 6th – Huntington, WV @ Big Sandy
April 7th – Richmond, VA @ The National
April 9th – Lancaster, PA @ Chameleon
April 10th – Allentown, PA @ Crocodile Cafe
April 12th – St. Bonaventure, NY @ St. Bonaventure University
April 13th – Clifton Park, NY @ Northern Lights
April 14th – Syracuse, NY @ Lost Horizon
April 16th – Stroudsburg, PA @ East Stroudsburg University
April 19th – Green Bay, WI @ University of Wisconsin- Green Bay
April 20th – Stevens Point, WI @ University of Wisconsin- Stevens Point
April 25th – Lansing, MI @ The Loft
April 26th – Columbus, OH @ Newport Music Hall
April 27th – Bloomington, IL @ The Castle Theatre

Piephoff also recognizes the value of music as a tool for therapy, a cure for nearly every ill. The songwriter uses melody to bring his introspective poems and haunting truths to life.

Indefatigable and prolific singer, songwriter, guitarist and harmonica player Bruce Piephoff has released over 20 albums. While his voice shows some sounds of aging on this release, it doesn’t detract from his telling of sly stories with matter-of-fact delivery and wry humor.

Songs like “Carolina Dutch and Broken Backed Ben” and “Ballad of Robert Pete Williams” provide many personal observations. They aren’t on quite the same plane as Townes Van Zandt’s “Mr. Gold and Mr. Mudd” or a clever tale of two outlaws, “Poncho and Lefty,” but Piephoff clearly has a sharp mind and keen ear.

The title cut has a rollicking country beat. “Hucksters” is presented as a spoken poem, and “For Marvin” is also spoken as a tribute to a departed friend with understated moody sax, guitar, and brushes. A similar avant-garde eulogy is heard in “Ransom Notes,” a spoken story tribute to a lovable, gentle soul and fellow musician (Billy Ransom Hobbs) who tragically passed about 2008. Piephoff promises that the two will meet again “backstage” when he gets there. Elsewhere, “Mad Song” is a romantic statement that concludes “the songs still shine, and the words still rhyme.”

Despite the able instrumental support of seven other musicians (Scott Sawyer, Ron Brendle, Bobby Cohen, John Simonetti, Dave Finucane, Mike Babyak, and Adrian Duke), most of the arrangements seem spare and pensive. Sawyer and Piephoff first met about 1975, but it wasn’t until 2009 that they reconnected on stage. Sawyer’s electric guitar is the primary instrument filling the gaps between verses, and I wish that the 18-track project would’ve incorporated at least a tad of vocal harmony.

The album evolves into some jazz-infused offerings like “Her Habit Was Strong,” “Old Crow,” and “For Marvin,” with Finucane’s tenor sax featured. “Wind From Newport News” is a showcase for Babyak’s steel guitar, as Bruce sings about being “out there fighting lions where the lions ain’t been.” I can’t help but wonder if the song isn’t somewhat autobiographical, as he refers to “laughter in your poetry, turning darkness into light.”

The album will be embraced with earnest by the fans of Piephoff’s music and poetry. I would also recommend it for those who might like to discover his sheer creative audacity, enlightening perspective, and affirmative spirit. (Joe Ross)

Multi-talented Philly based musician Brad Podray explores the many moods of the Summer Cycle on his latest electronic new age recording.

Summertime and the musical living is easy—well, most of the time on Summer Cycle, the dynamic full length follow-up to Winter Cycle, the 2010 solo piano EP by My Shadow and I, an electronic new age project created by multi-talented Philadelphia based musician Brad Podray.

Melodic, richly textured and film score lush, Summer Cycle is an eclectic ten track chronicle of the powerful transitions and emotional breakthroughs that come months after the heartbreaking but necessary end of a relationship. A natural extension of “Bliss (End of the Winter Cycle),” the final track of the otherwise stark earlier album, the new album is released on Podray’s independent label, Nonexistent Recordings.

Summer Cycle’s overriding theme of emergence matches that of Podray’s increasing presence as a force in contemporary instrumental music after years of eclectic performing and recording experiences in numerous other genres—among them, industrial metal, “Island rap,” “Pirate rap,” alt rock and down tempo trip hop. While the Florida born musician’s rock influences range from Meat Loaf to Nine Inch Nails, his chief inspirations for his solo piano and electronic/symphonic works are Brian Eno, Danny Elfman and famed new age pianist David Lanz, whose encouraging words about the Eno-influenced self titled My Shadow and I debut led Podray to further develop his vision in this genre.

Podray had his hands full academically and creatively when he sat down at his keyboard in 2009 to create the first My Shadow and I project. Having just graduated from dental school at the University of Pennsylvania, his days were consumed with his orthodontic residency at Temple University in his adopted home town of Philadelphia. At night, he let loose in two very unique bands, the pirate rap group Captain Dan and the Scurvy Crew and the down tempo trip-hop ensemble Echo Slightly—both with his best friend from high school and longtime musical collaborator, Daniel Dolan. Podray had recorded numerous albums with those and other groups over the past few years (18 in all!), and even released three projects by the indie band, Finding Jupiter, on his label. But looking ahead, he spent his rare downtime creating music he could one day use to soothe patients when he launched his own practice as an orthodontist—which he did in late 2010.

By that time, he had independently released Winter Cycle, most of whose pieces were composed about the impending end and then the aftermath of a relationship. Its piano-heavy focus reflects what he calls a sad time in his life. While the piano is still a dominant melodic voice of Summer Cycle, the project’s deeper, more evolved production textures are one of the ways Podray creates a healing, optimistic counterpoint to the stark heartbreak of winter.

Even as Summer Cycle begins rolling out, Podray is working on another ambitious project under the name Maximalism—a concept he calls the more aggressive version of My Shadow and I, with high energy distorted guitars and even more synthesizers. His is a constantly flowing creative musical mind that has no boundaries or simple genres to get entangled in for long. “My Shadow and I and Maximalism are solo projects that show a different side of my personality,” he says. “One is calm yoga-type music while the other finds me going as crazy as I can get. With both projects, I love being able to fill a sonic space without having to figure out where to fit the words in.”

This pop-diva is no stranger to the spotlight! The song behind her viral video, “Yummy Boyz,” circulated in clubs and radio stations nationwide, including KIIS FM, and has been remixed by some top DJs such as Danny Verde, Electrolightz, Hector Fonseca, and Chew Fu (Rihanna, Timbaland, Katy Perry, Gossip, Alicia Keys, Lady Gaga). Her music and lyrics are catchy, upbeat and exude the same sexiness and playfulness that this actress turned singer represents.

Meital is a bona fide superstar in her home country of Israel as a performer and as a two-time Ophir Award nominee (dubbed the Israeli Oscars) for her scenes in the critically acclaimed films, God’s Sandbox and Giraffes. She also won an Israeli Tony for “Most Promising New Actress” for her work with the renowned Cameri Theater and was principal star in the Israeli Emmy Award-Winning Ugliest Esti – the Israeli version of Ugly Betty. Her most recent film, Monogamy (Oscilloscope), co-starring Chris Messina and Rashida Jones, won the Best Narrative Feature at the Tribeca Film Festival and received rave reviews.

Meital has been featured on AOL Music, Playboy.com, NY Times, Funny or Die, LA Weekly, TheCelebrityCafe.com, Positively Celebrity, AntiMusic, iTunes, CelebrityVIPLounge, Rhapsody, and many others.

Los Angeles, Calif. – The urban jazz styling of Hulon has returned with his newest album, After Hours, releasing February 7, and is available on iTunes and Hulon’s website (www.hulon.com).

After the success of his debut album, First Impressions, Hulon’s newest album, After Hours, has combined passion and confidence creating Hulon’s best tracks to date. Hulon’s debut album spent 15 weeks on the Billboard Jazz Chart, peaking at #25, and featured the single, “Sax on the Beach,” which reached #16 on the Smooth Jazz.com Top 50 Indie Chart, and was featured on the noted jazz website, AllAboutJazz.com, in addition to receiving national and international airplay on terrestrial and online radio.

The new 11 track set includes a vocal and instrumental version of the 1977 Heatwave classic, “Always and Forever,” and eight originals penned by Kashiwa that play to Hulon’s strengths as a soulful balladeer and a grooving R&B/funk player, with a few dashes of cool and swinging traditional jazz in the mix. Highlights include the sensual late night romance, “You’re Beautiful,” the whimsical mid tempo light funk tune, “Takin’ My Time,” the tropical chill of “Sticky Trickuation,” the sly, Pink Panther-esque “Speak Easy” (featuring shuffling drum, bass and finger snap rhythm), and the high octane horn-driven jam and first single from the new release, “Do You Feel Me.”

Hulon has collaborated once again with mentor, composer, producer and fellow saxophonist Jeff Kashiwa. World renowned for his years with The Rippingtons, The Sax Pack and numerous hit solo albums over the past 20 years, Kashiwa again brought in some of contemporary jazz’s most powerful and dynamic players to take Hulon’s musical game on the new collection to the next level including Dave Hooper (drums), Allen Hinds (guitar), Melvin Davis (bass) and Bill Heller (keyboards), all of whom have played key roles on First Impressions.

Yet there’s much more to Hulon’s dynamic emergence onto the urban jazz scene than simple chart stats and the support of some of the genre’s best players. At its heart, it’s the story of a musical dream long deferred, and unique connections between the spiritual and emotional healing power of music and the physical healing that Dr. Hulon E. Crayton does as a rheumatologist and founder of The Arthritis and Infusion Center, which specializes in the treatment of Rheumatological diseases as well as sports related injuries. The title of one of the tracks on After Hours, the tropical flavored groove tune, “Second Opinion,” is a playful ode to his longtime profession.

Associated with the Rural Rhythm record label since 2008 when they put out their Brothers ‘n’ Harmony album, The Crowe Brothers continue to display remarkable powerful music in fine brother duet fashion. Their second CD on that label shows that they’re still able to present a sound that is both traditional and contemporary. They find good songs from decent songwriters, and Josh even contributes three self-penned compositions (“I Knew It Wasn’t You,” “Grandma’s Little Boardside Cabin,” “The Winds are Blowing in Maggie Valley”). His songs wistfully tell of love, winsome thoughts, and carefree life in Maggie Valley. It’s an old style of bluegrass, but it has a unique contemporary and spiritually-tinged flair.

The instrumental accompaniment is first-rate with experienced veterans Steve Sutton (banjo), Brian Blaylock (mandolin on 9 cuts, lead guitar), Steve Thomas (fiddle, mandolin), Ashby Frank (mandolin on 3 cuts), Randy Kohrs (Dobro). The charm of two brothers singing together with sincerity and honesty is what we’ve come to expect in unassuming, leisurely songs like Steve Watts’ “If It Takes More Than Love to Hold You.” The lively barn-burner “I’m Going Back to Old Virginia” shows another side of The Crowes. Strangely, the CD jacket does not provide songwriter or publisher credits for that song, as well as “Southern Moon.” The former was originally recorded on the classic Josh Crowe & David McLaughlin 1994 album, and I’m informed that it was written by McLaughlin. And, of course, the latter is a snappy Delmore Brothers classic, complete with a short yodel to bring it home. All in all, everything fits very nicely on this harmonious album. (Joe Ross, CD Insight)

Self-penned instrumentals such as “Twister,” “Turnpike Reel,” and “Grace’s Fancy/Murphy’s Rag” show just how nimble-fingered and proficient these pickers are. The album’s Grismanesque closer, “Mice in the Camper,” illustrates clearly how well they collaborate and blend. Usually playing a 1962 Martin D-18 guitar, Betsy Rome even switches to her Gitane DG-255 on that number to give it a distinctly gypsyjazz feeling. The witty title cut, as well as a cover like “How Long Must I Wait For You?” also emphasize that the band is much more than a bluegrass group. Too Blue has been together for over a decade, and this is their second album. One could say that their honeymoon excursion is over, and I’d highly recommend you get on-board their train to check out their tasty swing-grass music. They currently play at many festivals and events in the northeastern U.S., and I hope to see them touring further afield in the near future. (Joe Ross, CD Insight)

Together for over a decade, the upstate New York quintet features vocalist Stuart Millman accompanied by Mark Hollenbeck (guitar, vox), Steve Greenfield (saxophone, keyboards, vox), Jimmy Malthaner (bass), and Chris Kaiser (drums). Guest musicians include Professor Louie (piano, accordion, organ), Elmo Contelo (bass), and Johnny Long (drums). Millman and Hollenbeck are the band’s songwriters, and eight of the 14 tracks are originals about all the essentials of 1950s rock & roll – jukeboxes, hot rods, a favorite beer joint, the coolest gal in town, lonely nights, and mojo. “Make You Mine” has a nice Zydeco groove that will get you cutting a bean at the dancehall. “Git Pickin’ Man” incorporates a swinging bluegrass beat and a few riffs from old-time fiddle tunes like the Sugarfoot Rag. The song would have been a little more effective at a slightly slower tempo.

The Greyhounds’ covers stem from a variety of sources, but they seem to have a particular affinity for music from the late-1950s. “Wild Saxophone” has been covered by The Straycats, but the song originally comes from Roy Montrell’s 1956 rendition of “That Mellow Saxophone.” Whether Greenfield plays its wild or mellow, a song like that is bound to get you smiling like a Cheshire cat as Millman sings “I wanna rip it, rock it, really bop it. Whooo, Davy Crockett! Every time I hear that mellow saxophone.” Written by Gregory Townson, “That Rock and Roll Beat” is a standard for another New York band, The Hi-Risers, from the city of Rochester. An instrumental, “On the Move” was written by Denis Payton and Dave Clark. “Honey Bun” is a rockabilly classic about that gal who’s full of sugar, spice and treats you right. First recorded by Roddy Jackson in 1958, “Hiccups” is a great rocker written by Al Hazan, a keyboard player who once hit the piano keys so hard that his finger was bleeding afterwards. Finally, The Greyhounds close this album with “Saved” from one of the most memorable and talented songwriting teams of all time, Jerry Leiber and Mike Stoller, who wrote many of Elvis Presley’s famous hits. “Saved” was first released by LaVern Baker in 1961, and Elvis put it out in 1968.

Let’s hope The Greyhounds’ salvation doesn’t change too many of their rowdy ways because the band’s fierce energy and unpretentious music fit nicely into the resurgence of this genre. As Millman adds at the conclusion of the set, “The spirit of rock & roll will cast out all your demons!” Because these guys clearly have so much joy in their music, it’s hard not to get caught up in the momentum of their flat-out fun. The Greyhounds really rock, roll, and bop, bop, bop too! It’s the birth of rock & roll all over again. (Joe Ross, CD Insight)

Co-produced by Erik Nelson (keyboards) and Karyl Carlson (backup vocals), “If I Don’t Got You” contains all Matthew Curry originals with the exception of the two closers from Charley Patton (“High Water Everywhere”) and Warren Haynes (“Soulshine”). That tells me that young Matthew has studied the seminal blues masters, and he has abundant respect for guys like Patton who was the original king of the Delta blues with his hoarse, impassioned singing in the 1930s. Curry also shows he’s tuned in with music of The Allman Brothers Band and the loud, brash, hard-rocking blues style of guitarists Dickey Betts, Dan Toler and Warren Haynes. Son, if we’re lucky, we’ll hear Curry cover Willie Dixon’s “Hoochie Coochie Man” on a future release. As far as his originals go, all of them are explosive and emotional in their own way. Check out his guitar work on the powerful instrumental, “Storm’s A-Brewing.” Another standout track is “Hear the Highway” with its thrilling dynamism and young man’s optimistic message about the road calling his name – “Travel on the road is what I wanna do, Playing this guitar and singing the blues.” In a similar vein, “Dancing to the Blues” will get you feeling their rhythm in your shoes. With his blazing, nimble-fingered licks, this kid is on a mission.

Besides Nelson, Carlson, and the members of The Fury, the rest of the support crew for this up-and-coming blues celebrity include Jim Kozak (sax), Mark Babbitt (trombone), Greg Hensel (trumpet), Charlie Mueller (trumpet), Doug Daniels (sax on one cut), and Nel Erikson and Robin Willis (backup vocals). One minor suggestion would’ve been to feature the accompanists a little more, similar to the break Daniels and Nelson on “Blinded by the Darkness.” I plan to follow this talented young man’s musical career. Already playing large blues festivals and concerts in his area, I fully expect him to be a big star in a short number of years. That assumes he has a little luck and few breaks in the process. You can help out by buying his album, listening to his music, supporting him, and helping him create a little buzz. In the meantime, Matthew Curry will do his part to complete his education, get his driver’s license, and continue picking with raw energy and dazzling virtuosity. (Joe Ross, CD Insight)

With folk, pop, and even a few soft rock influences, this album is a definitive portrait of his music with its thoughtful lyrics and insightful observations on family, love, places and life. Chris warm tenor voice is soothing, and he usually tracks his own vocal harmonies. The uncluttered production results in songs that emphasize Chris’ guitar, vocals and occasionally some harmonica. I particularly enjoy hearing clear, resonant lyrics which are easy to understand and relate to. I would encourage him to upload his words and messages right to his website. Chris plays all instruments on “Turning Tides,” with the exception of a few contributions from Fred Beach (bass), Kent Anderson (mandolin), Ily Barnes (drums), Kamile Kapel (piano, backing vocals), and Steve Tailefer (electric guitar).

Chris Ronald moved from Great Britain to Canada in 2002. He was embarking on a career change from sales into teaching. About that time a college course in multi-track recording software allowed him to economically document some his music on disc. His first album “Pacific Time” was released in 2004 and is only available directly from the artist. Eight years later, “Turning Tides” is strong and delightful second effort that displays the ebbs and flows of his life. He opens the set with a warm, upbeat, well-arranged rendition of “Sunshine” that is probably a testament to his wife and three children that bring “color to the world.” The importance of family and love are emphasized when the album’s closes with a lean, fingerpicked reprisal of the same song. The same theme is found in “Evergreen” and “Simple Things” with their distinct feeling of sensitive and sympathetic singer/songwriter offerings from decades ago. While Chris’ songs have marked appeal to baby boomers of my generation, songs like the contemplative “Please Don’t Come for Me Now” and “Best Place on Earth” have some charming contemporary folk elements that will pull in a younger demographic of fans for Chris’ pure, unadulterated music.

Chris Ronald’s soulfulness complements the intimacy of this project. His clear, plaintive vocals work best on the most introspective tracks, as well as with the beautiful melodies and subtle, lyrical charm of songs like “Sailing from Nanaimo” and “Home to Roost.” Chris Ronald has found music as the perfect medium for sharing thoughts and musings with underlying sweetness and a sense of wonder. (Joe Ross, CD Insight)