Acclaimed singer-songwriter Rosanne Cash will release her 12th studio album, entitled ‘The List’, on Manhattan Records on October 6th, 2009.

This stunning work features Cash’s contemporary interpretations of 12 classic songs culled from a list of essential country tunes that her legendary father Johnny Cash gave her in 1973, and filtered through her own unique, sophisticated perspective.

Known primarily for her stellar songwriting, Cash showcases her incredible voice on The List — her first-ever covers record. As a result, the album is Rosanne Cash like you’ve never heard her before as she embraces her heritage and sings for the pure love and beauty of these songs which have shaped who she is as an artist.

The idea for The List came about while Cash was on tour promoting her 2006 studio album, the critically heralded, Grammy-nominated Black Cadillac — a reflective song cycle about the loss of her father, mother Vivian Liberto, and stepmother June Carter Cash.

During the well-received multi-media event Black Cadillac: In Concert, Cash told audiences how, when she was 18, her father became alarmed that his daughter appeared to lack a deep understanding of country music (having been obsessed with The Beatles and steeped in Southern California rock and pop music). Johnny gave her a list of the “100 Essential Country Songs” and told her that it was her education and she should learn them all.

“The list was far-ranging and thorough,” Cash says. “It was assembled from my father’s intuitive understanding of each critical juncture in the evolution of country music. There were old Appalachian folk ballads, and the songs of Jimmie Rodgers and Woody Guthrie. The influence of gospel and Southern blues were crucial. Then he segued into rockabilly and the birth of modern country music by way of Hank Williams, and up to the present, which was then 1973. He also included a couple of his own songs. I endeavored to learn them all and it was an education,” she says. “I looked to that list as a standard of excellence, and to remind myself of the tradition from which I come. This album enables me to validate the connection to my heritage rather than run away from it, and to tie all the threads together: past and future, legacy and youth, tradition the timelessness.”

Through her stylish interpretations, Cash manages to transcend genre on The List, proving that these songs deserve a permanent place in the American Songbook.

Produced and arranged by Grammy-Award winner John Leventhal (Cash’s husband, who also contributes striking guitar work throughout), The List includes Cash’s covers of songs by The Carter Family (“Bury Me Under the Weeping Willow”), Hank Williams (“Take These Chains From My Heart”), Jimmie Rodgers (“Miss The Mississippi and You”), Hank Cochran / Patsy Cline (“She’s Got You”), Merle Haggard (“Silver Wings”), and Bob Dylan (“Girl From the North Country,” famously done by Dylan and Johnny Cash in 1969).

The album also features a host of special guests whom Cash admires, including Bruce Springsteen (on “Sea of Heartbreak”), Elvis Costello (on “Heartaches by the Number”), Wilco’s Jeff Tweedy (on “Long Black Veil”), and Rufus Wainwright (on “Silver Wings”).

The List is the first album Cash has made since she underwent surgery in 2007 for a benign brain condition, from which she has fully recovered. When it came time to record a new album, Cash was happy to step back from the heavy themes of Black Cadillac and do a covers record that showcased her voice. It also has enabled her to finally share with the world the list of songs her father passed down to her alone.

“If my father had been a martial arts master, he might have passed a martial arts ‘secret’ on to me, his oldest child,” Cash says. “If he had been a surgeon, he might have taken me into his operating room and pointed out the arteries and organs. If he were a robber baron, he might have surveyed his empire and said, ‘Honey, some day this will all be yours!’. But he was a musician and a songwriter, and he gave me The List.”

Buy Music:

Rosanne Cash on amazon.com

Rosanne Cash on amazon.co.uk

The track-listing for The List is as follows:

1. “Miss the Mississippi and You”
2. “Motherless Children”
3. “Sea of Heartbreak” (w/ Bruce Springsteen)
4. “Take These Chains From My Heart”
5. “I’m Movin’ On”
6. “She’s Got You”
7. “Heartaches by the Number” (w/ Elvis Costello)
8. “500 Miles”
9. “Long Black Veil” (w/ Jeff Tweedy)
10. “Silver Wings” (w/ Rufus Wainwright)
11. “Girl From the North Country”
12. “Bury Me Under the Weeping Willow”

For more about Rosanne Cash and The List, please visit:

Rosanne Cash Official Website

Truly one of of the greatest African-American female vocalists of the 20th century Nina Simone (1933-2003) holds a special position of honor for the fearless role she played as an uncompromising ambas­sador of cultural pride at the height of the Civil Rights and Black Power movements from the late 1950s to the 1970s.

Under­pinning her status as one of the outspoken voices of that tumultuous period in history was Nina Simone’s fascinating and wide-ranging musical taste. Her palette ranged from the 1920s blues and jazz of Duke Ellington and Miles Davis, to the standard songbook of Irving Berlin and the Gershwins, from traditional American balladry and the poetry of Langston Hughes, to the folk and folk rock of Bob Dylan, Leonard Cohen, Randy Newman, Richie Havens, Sandy Denny, Jimmy Webb (and many others). Her song choices further spanned the repertoire of the Beatles, the Byrds, the Bee Gees, and Hair, to Olatunji and the exciting new strains of Afro-pop and World Music before the genre even had a name – and much more.

All these musical roots and branches of Nina Simone’s life are explored in depth on TO BE FREE: THE NINA SIMONE STORY, a deluxe new four-disc (three CDs + DVD) box set that is the most comprehensive and wide-ranging collection of Nina Simone’s music ever compiled.

To Be Free: the Nina Simone Story/+DVDon amazon.co.uk

To Be Free-the Nina Simone Story amazon.com

Containing 51 audio tracks – eight of them previously unreleased – covering her recording years from 1957 to 1993 for the Bethlehem, Colpix, Philips, RCA (for whom she cut nine LPs that are considered the pinnacle of her output), CTI, and Elektra record labels, plus another nine performances on the 23-minute documentary DVD.

The box set will be available through SONY BMG.

The Sony BMG archives are the source for all eight previously unreleased tracks, all from Nina’s recordings for the Colpix and RCA labels, spanning 1963-73: “When Malindy Sings/Swing Low Sweet Chariot” (live at the Newport Jazz Festival, 1963); “Ain’t Got No-I Got Life” (alternate version of her cover hit of the Hair song, from the 1968 ‘Nuff Said! sessions); Leonard Cohen’s “Suzanne” and Richie Havens’ “No Opportunity Necessary, No Experience Needed” (both live at New York’s Philharmonic Hall, October 1969); “Tanywey” (a newly discovered original, from the 1971 Here Comes The Sun LP sessions); Gilbert Becaud’s (via the Everly Brothers) “Let It Be Me” (live at the Fort Dix military base, 1971); and “Nina” (a free-form jam) and Olatunji’s “Zungo” (both live at New York’s Philharmonic Hall, July 1973).

Among the 51 tracks on TO BE FREE are:

* “I Loves You, Porgy” (recorded for Bethlehem, 1957, from Porgy & Bess; Nina’s first single and first chart record, inspired by Billie Holiday’s version);

* “My Baby Just Cares For Me” (Bethlehem, 1957; Nina’s version of the Tin Pan Alley chestnut was revived in 1985 for a Chanel perfume tv spot, jumped onto the UK chart as a #5 smash, and inspired George Michael’s 1999 version);

* “Nobody Knows You When You’re Down And Out” (Colpix, 1959; the Bessie Smith Depression-era classic of 1929, issued as a rare non-LP single by Nina three decades later);

* “Trouble In Mind” (Colpix, June 1960; live at the Newport Jazz Festival, also a classic 1920s blues, associated with Chippie Hill and Louis Armstrong);

* “I Put A Spell On You” (Philips, 1965; the Screamin’ Jay Hawkins rock staple, Nina’s first UK chart single, which enabled her to tour there and in Europe, the market that eventually eclipsed her commercial popularity in the U.S.);

* “Feeling Good” (Philips, 1965; from the Anthony Newley-Leslie Bricusse musical The Roar Of The Greasepaint, The Smell Of The Crowd, with a message of freedom that resonated with Nina; revived for a Volkswagen commercial in 1994 that spurred it onto the UK chart, then the six-minute Verve Remixed version in 2002, and on Sony Music TV’s Sex & The City double-CD of 2004);

* “Ain’t Got No-I Got Life” (1968, from Hair; previously unreleased alternate version, with improvised, altered lyrics, different than her studio version with over­dubbed ‘live’ applause, which exploded her career in the UK as a #2 hit);

* “Do What You Gotta Do” (RCA, 1968; chosen as the B-side of “Ain’t Got No” in the UK, where it hit #7, a lesser-known Jimmy Webb song that inspired a rare non-Jobete cover by the Four Tops the following year);

* “To Love Somebody” (RCA, 1968; one of several Bee Gees songs recorded by Nina, did not chart as a U.S. single, but was chosen as the follow-up to “Ain’t Got No” in the UK, where it hit #5);

* “Revolution” (PM, April 1969; live in Germany, full-length concert recording of the song whose “Part 1″ RCA studio version was an R&B chart hit the same month, Nina’s first original compo­si­tion to chart, with lyrics by her organist and music director Weldon Irvine); and finally,

* “To Be Young, Gifted And Black” (RCA, 1969).

It was onstage that Simone’s special magic shined – in fact, it was a live performance demo that led to her first record deal at age 24, with Syd Nathan’s jazz label Bethlehem. Even her 1957 debut LP, a studio date with bassist Jimmy Bond and drummer Albert “Tootie” Heath, was given the live-sounding title Jazz As Played In An Exclusive Side Street Club (though it was also known as Little Girl Blue). Three standards from that album, Duke Ellington’s “Mood Indigo,” “I Loves You, Porgy,” and “My Baby Just Cares For Me,” provide the opening trifecta of TO BE FREE.

24 live performances comprise nearly half of TO BE FREE’s 51 tracks, includ­ing a couple that were studio tracks with overdubbed applause, an all-too common practice back in the day: 1959’s “Wild Is the Wind,” and a ’70s cover of Tina Turner’s “Funkier Than A Mosquito’s Tweeter.”

TO BE FREE is the ultimate Nine Simone release. Aside form the 3 discs & dvd, it comes complete with previously unseen photography from Simone’s family archives, photos from the personal collection of Nina Simone historian Sylvia Hampton as well as meticulously researched track-by-track annotations written by David Nathan.

Nina Simone Official Website

Introducing the new compilation album which takes some of the best singer/songwriter tracks ever produced and brings decades of music together on one complete album.

‘Singer’ is the latest compilation from Sony BMG and features a fresh and eclectic mix of acoustic, soul, jazz, blues and pop singer/songwriter classics to our ears. ‘Singer’ is set for UK release September 1st, 2008.

Whatever the decade, the British public has always had a constant love affair for classic singer/songwriter hits. This compilation now celebrates that with a great mix of old and new.

From classics including Annie Lennox’s smash hit “Why”, “Wild is in the Wind” by David Bowie, Bob Dylan’s “Baby, Stop Crying” and Simon & Garfunkel’s “Bridge Over Troubled Water”, to more recent modern day hits including Amy Winehouse’s “Love is a Losing Game”, Newton Faulkner’s haunting version of “Teardrop”, and the soulful melody of Jeff Buckley’s “Hallelujah”, the album is two CDs of pure music heaven. There really is something to suit every musical taste.

The best singer/songwriter album to hit the shelves for a long time, this carefully selected compilation will take you on a musical journey through the years.

Singer Tracklisting

(Amazon.co.uk tracklisting – information subject to change.)

Disc: 1

1. Bad Day – Powter, Daniel
2. Love Song – Bareilles, Sara
3. Lost – Buble, Michael
4. Come Away With Me – Jones, Norah
5. Love Is A Losing Game – Winehouse, Amy
6. White Flag – Dido
7. Hallelujah – Buckley, Jeff
8. Cannonball – Rice, Damien
9. Last Request – Nutini, Paolo
10. Nine Million Bicycles – Melua, Katie
11. Teardrop – Faulkner, Newton
12. Leave Right Now – Young, Will
13. 1973 – Blunt, James
14. You Give Me Something – Morrison, James (3)
15. Run Baby Run – Crow, Sheryl
16. Please Forgive Me – Gray, David (2)
17. Wild Wood – Weller, Paul
18. Waiting On The World To Change – Mayer, John (2)
19. Going To A Town – Wainwright, Rufus
20. Wild Is The Wind – Bowie, David

Disc: 2

1. Your Song – John, Elton
2. Bridge Over Troubled Water – Simon & Garfunkel
3. Praying For Time – Michael, George
4. Why – Lennox, Annie
5. Moments Of Pleasure – Bush, Kate
6. Perfect Day – Reed, Lou
7. Fields Of Gold – Cassidy, Eva
8. By Your Side – Sade
9. Constant Craving – Lang, K.D.
10. Way It Is – Hornsby, Bruce & The Range
11. Ballad Of Lucy Jordan – Faithfull, Marianne
12. 1000 Oceans – Amos, Tori
13. Chuck E’s In Love – Jones, Rickie Lee
14. Brown Eyed Girl – Morrison, Van
15. Baby Stop Crying – Dylan, Bob
16. Right Here Waiting – Marx, Richard
17. Has Anyone Ever Written Anything For You – Nicks, Stevie
18. That’s The Way I’ve Always Heard It Should Be – Simon, Carly

Singer on amazon.co.uk

I’m Not There, a daring and innovative film inspired by Bob Dylan and directed by Todd Haynes (Velvet Goldmine, Far From Heaven), takes various stages of Bob Dylan’s life and career and reinterprets them to the soundtrack of his music. Unlike Factory Girl, in which a character apparently based on Dylan forced his lawyers to threaten to sue the makers, this movie received his blessing. It’s easy to see why: Haynes shows a respect for his subject and the shape-shifting and multiple identities Dylan has undergone over the years, by re-enacting this tendency in film and employing a variety of actors to portray aspects of Dylan’s persona over time.

Each of the actors is given their own narrative loosely based on actual events and interviews from Dylan’s past: Marcus Carl Franklin plays a young black version of Dylan who calls himself ‘Woody’ and thus represents the beginning of the artist’s career, when he styled himself on folk singer Woody Guthrie; Ben Whishaw plays the ‘poet’ Dylan styled after Arthur Rimbaud; Heath Ledger plays Robbie Clark, a Hollywood actor estranged from his wife Claire (Charlotte Gainsbourg) and children, representing Dylan the star refracted through his personal life; Christian Bale plays Dylan as a young, politicised folk singer and later becomes ‘Pastor John’ (Dylan the born again Christian); Cate Blanchett plays Jude Quinn, or Dylan at the height of his fame in the 60s, when his original fan base rejected him as a sell-out for going electric; and Richard Gere plays the older Dylan as a Billy the Kid figure in a surreal and haunting Wild West town. All stories are filmed in a style unique to each character and are informed by cinematic history: from cinéma vérité to Fellini, Goddard and westerns.

Narratives are spliced throughout, taking you from Woody to Billy in an unpredictable but oddly fitting manner. There are many beautiful set pieces which could easily be extended and beautifully directed music videos – notably those in the Billy the Kid story, which features some stunning moments set around the bandstand, where Billy stands up to his nemesis Pat Garrett in a rustic, circus style setting. Revisiting the movie upon its DVD release I was struck anew by what seems to be perfect casting – particularly that of Cate Blanchett, Heath Ledger and Charlotte Gainsbourg.

Much has been said about Blanchett’s performance, which really captures Dylan as he was in the 60s (see D.A Pennebaker’s documentary Don’t Look Back). Choosing a woman with Blanchett’s luminous beauty was a risky strategy but it pays off. Her performance illustrates just how alien Dylan appeared to people in the 60s: androgynous, full of riddles. Her every move, gesture and even the timbre of her voice is uncannily and inherently Dylan – culminating in a memorable confrontation between Jude and a journalist in the back of a car.

Heath Ledger’s performance is shot through with pathos given his recent death; already ensconced in the more emotive parts of the film, his scenes were even more moving given the circumstances and it was difficult not to feel choked seeing him so young and fresh on the screen. He and Charlotte Gainsbourg offer us a more personal, intimate story than the rest, portraying the start and finish of a relationship very movingly. Their naturalistic performances give the impression of a couple’s life together in what constitutes only a segment of the film’s wider whole, and they deserve praise for their success in realising this in so short a space of time.

The rest of the cast also acquit themselves well: as usual Christian Bale performs with intensity and integrity and Marcus Carl Franklin is impressive as a man-child searching for an identity. Even Richard Gere was less smug than usual. Ben Whishaw delivered some powerful monologues but the character of Arthur was less tangible than the others and only seemed there to provide some way of knitting together the disparate stories.

In all, this movie does well to emulate the slippery nature of Dylan’s own self-mythologizing and delivers a series of unforgettable stories strung together by his music.

And the DVD extras? They include a passionate and intelligent commentary from Todd Haynes that gives an account of how much research and dedication went into the movie. Given the restraints on location (the movie was shot entirely in Montreal which had to stand in for London, Greenwich Village and the wild west) and time, the sense of commitment from everyone involved is clear from Haynes’ words.

There’s also a set of informative interviews with Haynes and a lovely video tribute to Heath Ledger. A mini documentary on the making of the soundtrack is also worth a look. It features an interview with Sonic Youth’s Lee Ronaldo, who produced much of the album. Considering the film itself features a mesmerising reworking of “Going to Acapulco” from My Morning Jacket’s Jim James and Calexico, a discussion with the guy who had the fearsome task of reinterpreting a selection of Dylan’s songs for contemporary artists simply had to be on the cards. However, it was a shame that there weren’t more interviews with other artists involved in the soundtrack, such as Eddie Vedder or Richie Havens (who is also in the movie). It would have been nice to hear their thoughts on the project. On that note, I’d have liked to have seen some cast interviews as well.

I won’t split hairs. There’s a written contribution from Greil Marcus for goodness sake! And it’s the movie that’s the thing. I’m Not There stands up to and becomes even more enjoyable on repeat viewings, and supplemented with the background information currently available in the Extras, is something I would advise Dylan and movie fans alike to invest in. Although you come away with no greater knowledge of the legend himself, your appreciation of Dylan’s work is all the greater for stimulating creative and original endeavours such as this.

I’m Not There (Two-Disc Collector’s Edition) on amazon.com

I’m Not There [2007] on amazon.co.uk

Bob Dylan Official Website

By: Lindsey Davis

Now, with the release of ‘Cassadaga’, his sixth album, Oberst has taken his experiences of travelling across America and recorded an album of incredible proficiency and fragility with contributions from the key troubadours of the American indie-scene including Ben Kweller, M.Ward, John McEntire and Gillian Welsh. With sing-along single, “Four Winds” and the rousing “Soul Singer in a Session Band”, Bright Eyes are set to open the doors to a while new audience around the globe – catch them now while you can!

Bright Eyes are coming to the UK to play a few live dates around their festival appearances and we’ve got 20 tickets to give away for their dates at Carling Academy Birmingham (July 6th 2007) and Shepherds Bush Empire (July 4th 2007) – all tickets come with a few free pints of ice cold Carling for you and your mate so check out the Carling music competition site for your chance to win.

Bright Eyes Official Website

Tangled Up in Bob is Rubinstein’s score for the documentary film by Mary Feidt and detailing Natalie Goldberg’s quest for the “real” Bob Dylan in his hometown of Hibbing, Minnesota. Rubinstein composed and performs the 15 tracks here, and cowrote “She Was Weird” with songwriter Terry Allen.

The Albuquerque Tribune wrote, “Donald Rubinstein provides an original score that is hauntingly Dylanesque.” Cadence wrote, “He’s a poet in a Dylanesque vein. His singing voice reminds me of a tired, more world-weary Bruce Springsteen….In the singer/songwriter vein, I’d much rather hear Rubinstein than any of the other, more popular artists.”

The second CD due out in April is Acceptance featuring jazz great Bill Frisell. With three compositions by Rubinstein and one live improvisation, Acceptance ranges from the choral “Acceptance” to the jazzy “Diminished Chord,” which Frisell performs once with electric and once with acoustic guitar. The CD ends with the live improv “Four Pianos,” with Marcel Bergmann, Philipe Bodin, Andrea Clearfield and Rubinstein on pianos, vocals by Clearfield and Rubinstein.

Bill Frisell says, “I’m so lucky to have had the opportunity to work with Don in all kinds of situations over the years. I’ve learned a lot from him…These days it’s reassuring to know there’s someone like him around. After more than 20 years, he’s still on that path, and still an inspiration.”

Called “a composer and songwriter of stellar proportions” by The Doors’ John Densmore, Rubinstein says the two new releases “represent both extremes of my composing, jazz-avant-garde instrumental at the one end and lyric-oriented folk songs at the other.”

Thom Teresi at Rhombus Records says, “Tangled Up in Bob and Acceptance represent the two faces of Don Rubinstein. You have to like everything Don does. He’s a prolific writer and a unique character. Rhombus Records wanted to release these together to show his diverse range of talent.”

Rubinstein made his musical debut by scoring George A. Romero’s cult classic film Martin (1977), which Mojo in 2002 named “One of the Top 100 Coolest Soundtracks of All Time.” Since then he has released 16 CDs, which range from jazz to folk to pop-rock to country; scored several feature films and main titles for two television series; and been commissioned by dance companies and musicians from the Boston Symphony and New York Philharmonic orchestras for individual works.

Steve Huey wrote in All Music Guide, “Singer/songwriter, pianist, jazz experimentalist, soundtrack composer, beat-style poet—Donald Rubinstein has somehow juggled all those hats over the lengthy span of his creative career.”

Tangled Up in Bob and Acceptance are available for downloading at iTunes.com, eMusic.com, Rhapsody and the Burn Lounge. The CDs retail for $15.98 each and are available in stores on April 17, 2007.

Web sites:
http://www.donaldrubinstein.com
http://www.rhombus-records.com

For media inquiries, or to schedule an interview with Donald Rubinstein, contact Mantra Public Relations at 212-645-1600.

This artist will remind you of Dylan. The influence is obviously there, and he openly and proudly proclaims his allegiance to the former Robert Zimmerman. Personally, I never liked Dylan’s vocals and actually this artist has a more palatable vocal style for these ears and he is on the lighter side of those bloody tracks, which is always a welcome addition to my stereo. The best example of levity and some fun sexual innuendo is “It Won’t Reach! (My Hose Won’t Reach!).” The track is an absolute riot and the music is just dandy as well, in fact, Shasta does a nice job consistently offering up some decent guitar licks on the acoustic. The man seems to have an innate ability to put the lyrics right on top of the notes so it is smooth sailin’ all the way through.

If you are looking for polished and pretty, you will not find it here on this CD. Its WYSIWYG from start to finish and that is exactly why I enjoyed this music and the way Shasta goes about presenting his act. Now when I spin this CD again I know exactly what I am going to get, there are no false pretenses or surprises, you get “Modern Fixations” sandwiched in between a “Cold New England Rain” (lord knows I can feel it as I write), which have no parallels whatsoever. This guy has something different to dish out in every song and each one has nothing to do with the last one you heard. When the party is over, this is a notable strength and what makes this album what it is in the first place…different, original, and all Shasta, even if he does sound like Dylan.

Artist: Shasta
Title: No More Smoking!
Genre: Folk
Label: Mountain Thunder Music
Website
CD Baby Link

Shasta: lead vocals, acoustic guitars, harmonica, effects
Ed Goldfarb: keyboards
Bill Hare: bass, electric & acoustic guitars
Rod Farias, Jon & Pat Driscoll, Jeff Tracy & Brian Masaki: electric guitars
Jeff Lewis: trumpet & harmonica
Randy Musumeci, Steve Rosebery, Frank Stewart, Charlie Sporck & Joe Rizzi: drums Tracy Harris, Susie Slade, Monique DeMoulin & Lotte West: background vocals

Tracks:
01. No More Smoking! (live! Clean Edit) (3:41)
02. Outside My Window (3:51)
03. It Won’t Reach! (My Hose Won’t Reach!) (3:14)
04. Cold New England Rain (6:34)
05. Modern Fixations (3:53)
06. No! No Doctor! (3:52)
07. America’s Home Town (bonus Full Length Edition) (4:38)
08. Condo-Commandos (3:26)
09. Stand Back! /Drop Down! (6:19)
10. Silicon Heartland (3:48)
11. Freudian Flowers (3:12)
12. America’s Child (4:02)
13. Chasin’ My Ghost (6:59)
14. No More Smoking! (live! Explicit Lyric) (3:42)

© Keith “MuzikMan” Hannaleck

Other artists on the soundtrack include:

“Lucky Town” Bruce Springsteen
“The Fever” Bruce Springsteen
“Huck’s Tune” Bob Dylan
“The Cold Hart Truth” Drew Barrymore
“Choices” George Jones
“Maybe This Time” Liza Minnelli
“I Always Get Lucky With You” George Jones
“Let It Ride” Ryan Adams
“Viva Las Vegas” Shawn Colvin
“Positively 4th St.” Johnny Rivers
“They Ain’t Got ‘Em All” Kris Kristofferson
“Bartender’s Blues” Bonnie Raitt

Just by the brief plot description, soundtrack listing and the fact that Drew Barrymore has been cast in the starring role as a singer – this sounds like my kind of movie. Sometimes a good soundtrack alone can help to sell a movie to movie goers, and why not? If quality singers and musicians like the ones listed above have signed up, then already they’re supporting the movie just by agreeing to include their music. I can guarantee that there will be other musicians like myself looking forward to seeing a movie that we can relate to.

Let’s not forget about the interesting mix of singers on the soundtrack like the legendary George Jones, Kris Kristofferson, Bonnie Raitt, Liza Minelli, Bruce Springsteen and Bob Dylan.

My one time experience in having a song in a movie was in the movie ‘Philadelphia’. There’s just something strange about hearing my voice in amongst such incredible actors like Denzel Washington and Tom Hanks and other musicians like Neil Young – and of course Bruce Springsteen who also contributed his award winning “Streets Of Philadelphia” to the film.

Although you can only hear me for a mere 17 seconds…it was still an honorable experience! Not only that, but it’s a good party piece for whenever it’s played on TV and the conversation usually goes something like, “Shhh here I come!”

By: Jenny May

The Hothouse Flowers have an interesting sound and hearing the diverse selections of songs that Jon played during the interview gave me more of an insight into their musical style. They also played live in the studio. Every now and then during certain songs I would think of Bob Dylan during his ‘Jokerman’ years also a bit of The Band. I highly recommend their latest album, “Into Your Heart” and if you can try to catch the interview go to the KYOU Radio website and watch the schedule for The Indie Pool: Hothouse Flowers.

I’ve always thought that if I was to throw a big party the one band that I would want there playing would be the Hothouse Flowers! It’s strange because I never knew too much about them and was really excited to hear the interview.

KYOU is the first real radio station to go ‘all podcast’ with podcasts streaming live on their website kyouradio.com as well as on 1550 AM in San Francisco. We’re proud to say that you can occasionally tune in to hear the Band Weblogs Podcast Show there as well as an interview that we did with Jon where he played music by our band The Babylon Cowboys!

By: Jenny May

No seriously, two great musicians who have a raw, distinct sound that you don’t hear too much of in today’s mainstream ‘top 40′. After all, Bob Dylan has been quoted as speaking out about the atrociousness of modern music and whether he meant the poor sound quality of cds or the actual bands themselves, Jack White and his Raconteurs should take it as a compliment that Bob Dylan wants them to tour with him for a few dates.

The Raconteurs and Bob Dylan tour dates are as follows:

Thu 11/9 Portland ME @ Cumberland County Civic Center
Sat 11/11 Boston MA @ Agganis Arena
Sun 11/12 Boston MA @ Agganis Arena
Mon 11/13 Uniondale NY @ Nassau Coliseum
Wed 11/15 Amherst MA @ Univ. of MA Mullins Center
Thu 11/16 East Rutherford NJ @ Continental Airlines
Fri 11/17 Fairfax VA @ Patriot Center
Sat 11/18 Philadelphia PA @ Wachovia Spectrum

If you can’t make it to the live shows, The Raconteurs will be performing as musical hosts at this year’s MTV Music Video Awards airing August 31st, 2006 at 8pm EST. The band will be performing at various times throughout the show with some of the performances available for streaming on demand at www.vma.mtv.com. They’ll also be playing at The Vegoose Music Festival in Vegas this October.

For the latest news and tour information go to The Raconteurs official site: www.theraconteurs.com

Check out the rest of Bob Dylan’s tour dates on his website at www.bobdylan.com

By: Jenny May