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Featured artist of the month Ed Romanoff

Ed Romanoff could be a character in one of his own songs. A chronicler of American experience whose voice recalls the grit of Kris Kristofferson and the wit of Guy Clark, the New York singer-songwriter pens wise, big-hearted, occasionally whimsical, usually melancholic tunes about lonely souls and romantic dreamers, lost lovers and coy ghosts, a bank robber and even the Elephant Man himself. Not only does Romanoff sympathize with the crew of outsiders and outlaws on his new album The Orphan King, (release Feb 23)but he also belongs among their ranks: an artist who has spent a lifetime drifting from job to job, steadfastly refining his craft for years on a 75 dollar Yamaha guitar, following his own compass, and solving his own mysteries.

Romanoff admits he started late. “My father was tone deaf,” he says, “so I always thought I was, too.”  Instead of music, he tended bar in Virginia and branded cattle in Wyoming before eventually founding PineRock, a production firm in New York City. When he finally decided to pursue music in his forties, he became a diligent student, writing constantly and performing wherever and whenever he could. He spent time in Nashville taking songwriting classes and attending workshops with Darrell Scott, Beth Nielson Chapman, and Mary Gauthier, who later invited him to go on the road. Before he even had an album with his name on the spine, Romanoff was touring the world. 

Romanoff’s unconventional journey gave him a different perspective from other songwriters, a different set of rules and a different voice. His 2012 self-titled debut, produced by Crit Harmon (Lori McKenna, Martin Sexton), won the Nashville Songwriters Song of the Year and later that year Romanoff joined Steve Earle and James McMurtry as a winner of the Kerrville New Folk Competition. Since then, Romanoff has been working on a follow-up, amassing a stockpile of gracefully observed and eloquently sturdy songs. He didn’t have to stray far from his home in Woodstock to record them; instead, he worked with Simone Felice at the producer’s barn studio in Palenville, New York, just a few miles down the road.

The pair corralled an impressive roster of locals to flesh out the songs, including Romanoff’s longtime friend and touring mate Rachael Yamagata, Kenneth Pattengale of the Milk Carton Kids, guitarist Cindy Cashdollar (Dylan’s Time Out of Mind), The E Street Band’s Cindy Mizelle, and multi-instrumentalist Larry Campbell, along with Larry’s wife and duo partner, Teresa Williams. Together, they forged rootsy and eccentric arrangements for Romanoff’s songs, heightening the wee-hours longing of “The Night Is a Woman” and supernatural  melancholy of “Miss Worby’s Ghost.” Campbell, whom Romanoff credits with providing “the backbone of the album,” lends a fierce guitar solo to “The Ballad of Willie Sutton,” turning the coda into a gothic car chase across some mythic American plain.

The Orphan King reveals an artist alive to the serendipity of songwriting: those flashes of insight and inspiration, often accidental, that convey ideas and feelings unique to this medium. He co-wrote the title track, which sounds as lonely as a graveside eulogy after everyone has left for the reception, about his close relationship with his father. Imagine his surprise when, several years later, a DNA test sent him reeling: “I had spent my life idolizing my dad, and believing I was Russian, but the test said I was Irish. My father wasn’t my father.”

The revelation sent him into a depression so deep that he barely left his apartment for months. When he returned to “The Orphan King,” written before he know his own story, he found the song’s sense of loss even more acute and the sense of connection even stronger, the words of the refrain resonating like a personal mantra: “I still believe in love.”

Not every song on The Orphan King is quite so autobiographical. In fact, the album shows Romanoff as a writer with an eye for the telling historical detail and an imagination attuned to the whimsical. His fascination with Joseph Merrick inspired “The Elephant Man,” a humanizing portrait of a man known for his deformities but, in Romanoff’s hands, is granted a rare dignity to explore his intense yearning for life and finds love in the form of a very tall carnival worker. “I felt if I could have him meet somebody who was just as much an outsider as he was, then they could be together.” The song became an act of compassion and empathy, as Romanoff imagines a happy ending for the unusual couple: “I’m gonna build a car with Ferris wheel tires, leave extra headroom to reach the stars. World’s largest truck, well, it will be ours as we go rolling into history.”

Songs like “Without You” and “Leavin’ With Someone Else” can break your heart, but Romanoff has a knack for the well-earned happy ending. He obviously loves his characters, and he listens to what they tell him. He turns his songs into receptacles for their dearest dreams, investing them with generosity and humanity. Romanoff’s first draft of the novelistic “Golden Crown,” about a boxer in Ireland, culminated in a grisly finale. “But I felt like this guy was saying, I don’t want to die in a river with a ring in my pocket. So I wrote what he wanted me to write. A lot of these songs ended up being about things I could identify in my own life, but I had to let these people tell their own stories.”

There’s something radical about the happy endings on The Orphan King, perhaps because there are so few happy endings in the late 2010s. “I almost canceled the rest of the sessions just after the election,” he admits. “I didn’t feel like l could sing. I was too anxious”. As Leonard Cohen had just died, Ed was thinking about Cohen’s song “First We Take Manhattan” and sat down to write “Coronation Blues,” the final song on the record. It was, he admits, a rant written from the perspective of a mad king. It’s a damning bit of political commentary of recent political events as well as a reminder that making music is a radical act.

“For all these songs,  I think if I got anything right, it was allowing each character to have their own voice . I was trying to find out what their truth was.”

Quietly ambitious yet undeniably accomplished, The Orphan King seeks to square up heartbreak with hope, alienation with acceptance, tribulation with an unkillable belief in love. “I wanted to make something beautiful out of something that just felt awful. I want nothing more than to make people smile and feel like they’re not alone. That’s what music has always done for me.,

www.edromanoff.com

 

Tommy Lewis will be the last in line FSR Featured Artist this month for 2017, we always like to feature someone perhaps unfamiliar here in Europe who is tearing it up stateside and who we think needs to be introduced to a wider audience. Maurice Hope (Chief Reviewer on FSR said of Tommy only this wee "He is of a standard that bodes well for both his future, and this kind of music in general" he goes on .........

Texas singer-songwriter Tommy Lewis’ music is of the kind we could do with a whole lot more of filtering through. Warmed in pedal steel, fiddle, lead guitar and more it has a wonderful buoyancy. His blending of country with acoustic blues on the opening track “Salt Water Wine” holds the attention of the listener from first to last! On hearing it I mused to myself, this guy is something rather special. Though I wasn’t wrong, the directional of his music did change, immediately in fact as he dropped the simplicity of the acoustic blues in preference for a form of country music.  Read On

Tommy will be touring herein 2018 and we intend to continue to support that thought and all his endeavors.  

www.tommylewis.net

Merry Christmas and a guid new year everyone 


You could say Brian Langlinais’ new recording, Right Hand Road, was birthed by an ice storm, but that would be getting ahead of the story.

 

Long before that weather event, the album’s roots ran from sea to sea along I-10, home to a slew of bars and nightclubs where bands earn gas money between major cities. For decades, these venues have fostered the uniquely American art form called roadhouse music: a big tent under which blues, country, zydeco, and even jazz come together—often in the same band. Roadhouse legends such as Delbert McClinton, Marcia Ball, Omar and the Howlers, Mason Ruffner, and Lee Roy Parnell all came through Langlinais’ hometown of Lafayette, Louisiana, where he cut his teeth in bands playing this crowd-pleasing music.

 

“Back then, the job was—and still is—to make people drink and be happy,” explains Langlinais. “It was about playing songs people know. I covered Wilson Pickett’s catalog, which led me to a lot of lesser-known Stax artists like William Bell. I ended up in blues bands with horns, groups that became more soul than Mississippi Delta blues.”

 

Horns loom large in Langlinais’ history. His father played saxophone with Swamp Pop legends The Shondells, and Brian double-majored in college in trumpet and vocal performance. Ultimately, it was the singer that won out. Langlinais eventually landed in Nashville, where he strayed from his roadhouse roots long enough to record two acclaimed Americana records: Rock & Fire and Tonight I Might. But with Right Hand Road, those roots have called him back.

 

Langlinais had been considering returning to Lafayette to record, when his friend, producer/guitarist D.L. Duncan asked him to go there for a day and cut some tracks with Grammy-winning engineer Tony Daigle (Sonny Landreth, Derek Trucks, James McMurtry, Jon Cleary). They would just lay down a couple of covers, and see if they liked working together. Brought along from Nashville were a bassist, Ron Eoff (Cate Brothers, Jo-El Sonnier, Levon Helm) and a keyboard player, Patterson Barrett (Gurf Morlix, Buddy Miller), with drummer Brian Brignac (Sonny Landreth) picked up in Lafayette.

 

“We weren’t sure it would turn into a record” Langlinais recalls. “It was just to see how much fun we could have. We were planning on going back to Tennessee the next day, but there was an ice storm in Nashville. None of us could get back, so we ended up tracking for three full days.”

 

In addition to the stellar quality of the playing and singing, what distinguishes the resulting Right Hand Road is its level of songwriting. The tunes tell timeless stories, while adding new twists. William Bell’s classic “Every Day Is a Holiday” has been covered by everyone from Warren Haynes to RZA, but few since Bell himself have brought the well of authentic Southern soul feeling Langlinais and company evidence here.

 

“Wilson Pickett’s ‘Green Grass’ has become a Zydeco standard, but not like we did it,” says Langlinais. “Brian and Tony came up with a groove that went in a different direction, and Ron did a tic-tack thing on bass that made us feel this could be the beginning of a great record.”

 

Though the singer had more covers in his iTunes library, producer D.L. Duncan felt they should write some tunes of their own. “D.L. had some scratch lyrics for a couple of songs,” says Langlinais. “We would come up with a groove, take a little break, D.L. would come back with a lyric that he thought would fit, and I would start singing it. We wrote ‘Louisiana Love,’ ‘My One Desire,’ and the two acoustic songs, ‘Right Hand Road’ and ‘Our Love Is Slippin’ Away,’ in the studio while we were tracking.” Their work sits comfortably next to the covers, displaying the same simplicity mixed with emotional depth that makes this kind of music so enduring.

 

Back in Nashville, Langlinais and Duncan decided they needed two more songs to round out the record, so “Tucumcari Tonight” and “You Can’t Say I Didn’t Love You” were recorded at the Dog House with Lynn Williams (Delbert McClinton, Marcia Ball) on drums, Steve Conn (Sonny Landreth, Keith Urban) on keys, James Pennebaker (Delbert McClinton, Lee Roy Parnell) on guitar, and Eoff on bass.

 

 

 

 

“To me, the record symbolizes getting to go back home,” Langlinais says. “If you are from New York and say, ‘I need a sandwich from Katz’s deli,’ people from New York can taste that sandwich. Likewise, if you’re from Lafayette and I say, ‘I’m hungry for a Old Tyme Grocery po’ boy,’ you know the flavor. Going back to Lafayette meant working with people who have the same set of references. I have worked with people who can play a second line groove, but with these musicians it was so much easier to express the minutiae that make a groove specific.”

 

It is this kind of attention to detail that renders Right Hand Road special. You don’t have to be a music scholar or musician to feel in your heart and bones how getting the specifics right adds to the music’s impact. This recording could only have come from someone with Louisiana music in his DNA.

 

“I was born and raised there and my family was one of the first families to get land grants there,” says Langlinais. “My bloodline is only Acadian and French. Going home to Lafayette and doing the music that I’m about was a full circle.”

 

 

  

Russell deCarle (and the boys) are old school, real players and singers. They do things right, true professionals and at the same time great entertainers!

 

Weather it covering songs by the likes of by the likes of the Inkspots, Diana Shore or Hank Snow or self pened classics in the making  crooner deCarle recently took the UK by storm on his first tour in 45 years on the road.

 

"A spot of yodelling when added to his already exemplary vocals exploits placed an icing on the cake, and it wasn’t the only layer such the virtues of the music by them". Mauris Hope on the Newcast gig for FSR - More here

https://russelldecarle.com

Dates April/May Click Here

Our own Rob Ellen catches up with him in a Glen in Scotland.

 

Teresa Storch /  Come Clean

In The Daily Telegraphs Roots Top 20 Albums of 2015  

“She could be the love child of Joni Mitchell and Dave Matthews.”

Description

Touring The US and in her native Northeast since 2003, Teresa Storch has been recognized for her writing and performance by Susquehanna Music and Arts Festival 2005, Flat Rock Music Festival 2004, Rocky Mountain Folks Festival 2003 , and Bostons Best Singer/Songwriters Showcase 2003. Her name has spread throughout the country as a voice and presence not to be missed. 

She's called the "love child of Joni Mitchell and Dave Matthews", providing funky guitar rhythms and thought-bending lyrics that move from jazz to blues to folk, keeping your feet and your mind moving. 

Originally from Omaha, Nebraska, she began performing in local dance, drama and vocal productions at a young age. Attending college in Colorado, the famed Red Rocks Amphitheatre inspired her to create and perform her own music. Pulled to the singer/songwriter scene of Boston, she traversed the country in 1999. There she found the space to do what she loves, connecting with people in clubs, coffeehouses, on streets and subway platforms. 

You will find Teresa wherever she can do what she loves, connecting with people through music, be it in clubs in or a subway platform. She has shared stages and sidewalks with artists such as Dakota Blonde, Ryan Montbleau, Entrain, Kevin So, Paul and Storm, Jonathan Byrd and Rachel Sage, in venues throughout the country, setting her sights firmly on herfirst European tour (see over leaf) in conjunction with www.houseconcert.eu .

On Tour in the UK with support from FSR The European House Concert Hub and the Medicine Show.

Teresa Storch & Jeff Brown Europe Tour 2016

April 28 Dillon Whiskey Bar augavegur 30,101 Reykjavik, Iceland 8:00pm

April 29 Filey Folk Festival, The Evron Centre  Filey, UK 7:30pm Tickets:   £ 10/20 all 4 days Tel: 07808871118

Tickets: http://www.fileyfolkfestival.bravesites.com/venue-5-evron-centre

April 30* TBC  Edinburgh, UK 8:00pm

May 1*    House Concert  Edinburgh, UK 8:00pm Tickets:   £ 10  Contact: symon@visionmechanics.org for info

May 2*    YESBAR  14 Drury St.,Glasgow,Scotland,G2 5AA,UK 8:00pm Tickets:   £ 5

May 3*    Hotel Argyll  18 Argyll St.,Ullapool, IV26 2UB,UK 8:00pm

May 4*    ‘Beautiful Nairn Nights’ @ WASPs Arts Studio  Nairn, UK 8:00pm Tickets:   £ 8

May 5*    TBC  Inverness, UK 8:00pm

May 7*    The Acoustic Yard Festival, Town Hall Theatre  The Octagon, Westport, Co Mayo, IE 8:00pm Tickets: €22 https://westporttownhall.ticketsolve.com/shows/873548822/events?show_id=873548822

May 9    The Corner Bar  37 Bridge St. Skibbereen, Co Cork, IE 9:30pm

May 12  The Crown Inn  6 Church St., Heanor, Derbyshire, DE75 7AH, UK 8:00pm

May 13   House Concert  Sheffield, UK 8:00pm Tickets: £ 10 Contact: bea@beamarshall.com for info

May 14   TBC Scarborough, UK

May 15   ‘Acoustic Folk Highway’ @The Harrison 28 Harrison St., London,Kings Cross, WC1h 8JF, UK 7:00pm Tickets: £ 5

May 17   The Troubadour  263-267 Old Brompton Rd., London, Earls Court, SW5 9JA, UK 7:45pm Tickets: £ 6https://troubadourlondon.yapsody.com/event/index/25371/teresa-storch

May 20^   ‘Blueprint’ Live Radio Session @Theater vanBeresteyn (foyer) Museumplein 5/a,Veendam, 9641,NL 5:00pm

May 22^   Cafe Peter en Leni  Damsterweg 20, Steendam, 9629 PD, NL 3:00pm 

May 23^   Dwaze Zaken  Prins Hendrikkade 50 Amsterdam, 1012 AC, NL 7:00pm

*With Peter Lacis on guitar!   ^Teresa Solo Show!

QUOTES AND TESTIMONIALS!

“She inhabits her songs so fully you can’t help but be pulled into her world.” – Boston Herald writer Daniel Gewertz

“Mesmerizing vocal riffs…bounding folk-rock sound.” – Northeast Performer

“One of the most inventive writers and solid performers of the current crop of singer/songwriters coming out of Boston. [She] makes me proud to be one.” – veteran singer/songwriter Vance Gilbert

“Infuses contemporary singer/songwriter with traditional folk vibe. It’s no wonder she’s being recognized in her genre.” -Soundcheck Magazine

“The only other time I’ve had this kind of reaction to a performer was when Bonnie Raitt first started doing the rounds of small venues… it was that same thrill of connection.” –Dayle Ann Stratton (fan)

Website:  www.teresastorch.com

Facebook: www.facebook.com/teresastorchmusic

Twitter @tstorchmusic 

Latest Activity

A photo by FSR Featured Artist this month was featured
Jan 6
FSR Featured Artist this month posted a photo
Jan 6
FSR Featured Artist this month updated their profile
Jan 6
A blog post by FSR Featured Artist this month was featured

Ed Romanoff FSR first featured artist of 2018

Ed Romanoff could be a character in one of his own songs. A chronicler of American experience whose voice recalls the grit of Kris Kristofferson and the wit of Guy Clark, the New York singer-songwriter pens wise, big-hearted, occasionally whimsical, usually melancholic tunes about lonely souls and…See More
Jan 6
FSR Featured Artist this month posted a blog post

Ed Romanoff FSR first featured artist of 2018

Ed Romanoff could be a character in one of his own songs. A chronicler of American experience whose voice recalls the grit of Kris Kristofferson and the wit of Guy Clark, the New York singer-songwriter pens wise, big-hearted, occasionally whimsical, usually melancholic tunes about lonely souls and…See More
Jan 6
Jimmy Carlyle and FSR Featured Artist this month are now friends
Nov 29, 2017
4 photos by FSR Featured Artist this month were featured
Nov 29, 2017
FSR Featured Artist this month posted photos
Nov 29, 2017
A blog post by FSR Featured Artist this month was featured

Tommy Lewis! Our last Featured Artist of The Month on FSR for 2017

Tommy Lewis will be the last in line FSR Featured Artist this month for 2017, we always like to feature someone perhaps unfamiliar here in Europe who is tearing it up stateside and who we think needs to be introduced to a wider audience. Maurice Hope (chief Reviewer on FSR" said of Tommy only this wee "He is Of a standard that bodes well for both his future, and this kind of music in general" he goes on .........Texas…See More
Nov 28, 2017
FSR Featured Artist this month posted a blog post

Tommy Lewis! Our last Featured Artist of The Month on FSR for 2017

Tommy Lewis will be the last in line FSR Featured Artist this month for 2017, we always like to feature someone perhaps unfamiliar here in Europe who is tearing it up stateside and who we think needs to be introduced to a wider audience. Maurice Hope (chief Reviewer on FSR" said of Tommy only this wee "He is Of a standard that bodes well for both his future, and this kind of music in general" he goes on .........Texas…See More
Nov 28, 2017
FSR Featured Artist this month posted a photo

Tommy Lewis FSR featured Artist of the month

http://flyinshoes.ning.com/profile/FSRFeaturedArtistSilver & Stone is a late contender for best album of the year here at FSR he will be touring in the new year, read more here
Nov 28, 2017
FSR Featured Artist this month updated their profile photo
Nov 28, 2017
 

Ed Romanoff first 2018 Featured Artist of the Month

Featured artist of the month Ed Romanoff

Ed Romanoff could be a character in one of his own songs. A chronicler of American experience whose voice recalls the grit of Kris Kristofferson and the wit of Guy Clark, the New York singer-songwriter pens wise, big-hearted, occasionally whimsical, usually melancholic tunes about lonely souls and romantic dreamers, lost lovers and coy ghosts, a bank robber and even the Elephant Man himself. Not only does Romanoff sympathize with the crew of outsiders and outlaws on his new album The Orphan King, (release Feb 23)but he also belongs among their ranks: an artist who has spent a lifetime drifting from job to job, steadfastly refining his craft for years on a 75 dollar Yamaha guitar, following his own compass, and solving his own mysteries.

Romanoff admits he started late. “My father was tone deaf,” he says, “so I always thought I was, too.”  Instead of music, he tended bar in Virginia and branded cattle in Wyoming before eventually founding PineRock, a production firm in New York City. When he finally decided to pursue music in his forties, he became a diligent student, writing constantly and performing wherever and whenever he could. He spent time in Nashville taking songwriting classes and attending workshops with Darrell Scott, Beth Nielson Chapman, and Mary Gauthier, who later invited him to go on the road. Before he even had an album with his name on the spine, Romanoff was touring the world. 

Romanoff’s unconventional journey gave him a different perspective from other songwriters, a different set of rules and a different voice. His 2012 self-titled debut, produced by Crit Harmon (Lori McKenna, Martin Sexton), won the Nashville Songwriters Song of the Year and later that year Romanoff joined Steve Earle and James McMurtry as a winner of the Kerrville New Folk Competition. Since then, Romanoff has been working on a follow-up, amassing a stockpile of gracefully observed and eloquently sturdy songs. He didn’t have to stray far from his home in Woodstock to record them; instead, he worked with Simone Felice at the producer’s barn studio in Palenville, New York, just a few miles down the road.

The pair corralled an impressive roster of locals to flesh out the songs, including Romanoff’s longtime friend and touring mate Rachael Yamagata, Kenneth Pattengale of the Milk Carton Kids, guitarist Cindy Cashdollar (Dylan’s Time Out of Mind), The E Street Band’s Cindy Mizelle, and multi-instrumentalist Larry Campbell, along with Larry’s wife and duo partner, Teresa Williams. Together, they forged rootsy and eccentric arrangements for Romanoff’s songs, heightening the wee-hours longing of “The Night Is a Woman” and supernatural  melancholy of “Miss Worby’s Ghost.” Campbell, whom Romanoff credits with providing “the backbone of the album,” lends a fierce guitar solo to “The Ballad of Willie Sutton,” turning the coda into a gothic car chase across some mythic American plain.

The Orphan King reveals an artist alive to the serendipity of songwriting: those flashes of insight and inspiration, often accidental, that convey ideas and feelings unique to this medium. He co-wrote the title track, which sounds as lonely as a graveside eulogy after everyone has left for the reception, about his close relationship with his father. Imagine his surprise when, several years later, a DNA test sent him reeling: “I had spent my life idolizing my dad, and believing I was Russian, but the test said I was Irish. My father wasn’t my father.”

The revelation sent him into a depression so deep that he barely left his apartment for months. When he returned to “The Orphan King,” written before he know his own story, he found the song’s sense of loss even more acute and the sense of connection even stronger, the words of the refrain resonating like a personal mantra: “I still believe in love.”

Not every song on The Orphan King is quite so autobiographical. In fact, the album shows Romanoff as a writer with an eye for the telling historical detail and an imagination attuned to the whimsical. His fascination with Joseph Merrick inspired “The Elephant Man,” a humanizing portrait of a man known for his deformities but, in Romanoff’s hands, is granted a rare dignity to explore his intense yearning for life and finds love in the form of a very tall carnival worker. “I felt if I could have him meet somebody who was just as much an outsider as he was, then they could be together.” The song became an act of compassion and empathy, as Romanoff imagines a happy ending for the unusual couple: “I’m gonna build a car with Ferris wheel tires, leave extra headroom to reach the stars. World’s largest truck, well, it will be ours as we go rolling into history.”

Songs like “Without You” and “Leavin’ With Someone Else” can break your heart, but Romanoff has a knack for the well-earned happy ending. He obviously loves his characters, and he listens to what they tell him. He turns his songs into receptacles for their dearest dreams, investing them with generosity and humanity. Romanoff’s first draft of the novelistic “Golden Crown,” about a boxer in Ireland, culminated in a grisly finale. “But I felt like this guy was saying, I don’t want to die in a river with a ring in my pocket. So I wrote what he wanted me to write. A lot of these songs ended up being about things I could identify in my own life, but I had to let these people tell their own stories.”

There’s something radical about the happy endings on The Orphan King, perhaps because there are so few happy endings in the late 2010s. “I almost canceled the rest of the sessions just after the election,” he admits. “I didn’t feel like l could sing. I was too anxious”. As Leonard Cohen had just died, Ed was thinking about Cohen’s song “First We Take Manhattan” and sat down to write “Coronation Blues,” the final song on the record. It was, he admits, a rant written from the perspective of a mad king. It’s a damning bit of political commentary of recent political events as well as a reminder that making music is a radical act.

“For all these songs,  I think if I got anything right, it was allowing each character to have their own voice . I was trying to find out what their truth was.”

Quietly ambitious yet undeniably accomplished, The Orphan King seeks to square up heartbreak with hope, alienation with acceptance, tribulation with an unkillable belief in love. “I wanted to make something beautiful out of something that just felt awful. I want nothing more than to make people smile and feel like they’re not alone. That’s what music has always done for me.,

www.edromanoff.com

 

Tommy Lewis will be the last in line FSR Featured Artist this month for 2017, we always like to feature someone perhaps unfamiliar here in Europe who is tearing it up stateside and who we think needs to be introduced to a wider audience. Maurice Hope (Chief Reviewer on FSR said of Tommy only this wee "He is of a standard that bodes well for both his future, and this kind of music in general" he goes on .........

Texas singer-songwriter Tommy Lewis’ music is of the kind we could do with a whole lot more of filtering through. Warmed in pedal steel, fiddle, lead guitar and more it has a wonderful buoyancy. His blending of country with acoustic blues on the opening track “Salt Water Wine” holds the attention of the listener from first to last! On hearing it I mused to myself, this guy is something rather special. Though I wasn’t wrong, the directional of his music did change, immediately in fact as he dropped the simplicity of the acoustic blues in preference for a form of country music.  Read On

Tommy will be touring herein 2018 and we intend to continue to support that thought and all his endeavors.  

www.tommylewis.net

Merry Christmas and a guid new year everyone 


You could say Brian Langlinais’ new recording, Right Hand Road, was birthed by an ice storm, but that would be getting ahead of the story.

 

Long before that weather event, the album’s roots ran from sea to sea along I-10, home to a slew of bars and nightclubs where bands earn gas money between major cities. For decades, these venues have fostered the uniquely American art form called roadhouse music: a big tent under which blues, country, zydeco, and even jazz come together—often in the same band. Roadhouse legends such as Delbert McClinton, Marcia Ball, Omar and the Howlers, Mason Ruffner, and Lee Roy Parnell all came through Langlinais’ hometown of Lafayette, Louisiana, where he cut his teeth in bands playing this crowd-pleasing music.

 

“Back then, the job was—and still is—to make people drink and be happy,” explains Langlinais. “It was about playing songs people know. I covered Wilson Pickett’s catalog, which led me to a lot of lesser-known Stax artists like William Bell. I ended up in blues bands with horns, groups that became more soul than Mississippi Delta blues.”

 

Horns loom large in Langlinais’ history. His father played saxophone with Swamp Pop legends The Shondells, and Brian double-majored in college in trumpet and vocal performance. Ultimately, it was the singer that won out. Langlinais eventually landed in Nashville, where he strayed from his roadhouse roots long enough to record two acclaimed Americana records: Rock & Fire and Tonight I Might. But with Right Hand Road, those roots have called him back.

 

Langlinais had been considering returning to Lafayette to record, when his friend, producer/guitarist D.L. Duncan asked him to go there for a day and cut some tracks with Grammy-winning engineer Tony Daigle (Sonny Landreth, Derek Trucks, James McMurtry, Jon Cleary). They would just lay down a couple of covers, and see if they liked working together. Brought along from Nashville were a bassist, Ron Eoff (Cate Brothers, Jo-El Sonnier, Levon Helm) and a keyboard player, Patterson Barrett (Gurf Morlix, Buddy Miller), with drummer Brian Brignac (Sonny Landreth) picked up in Lafayette.

 

“We weren’t sure it would turn into a record” Langlinais recalls. “It was just to see how much fun we could have. We were planning on going back to Tennessee the next day, but there was an ice storm in Nashville. None of us could get back, so we ended up tracking for three full days.”

 

In addition to the stellar quality of the playing and singing, what distinguishes the resulting Right Hand Road is its level of songwriting. The tunes tell timeless stories, while adding new twists. William Bell’s classic “Every Day Is a Holiday” has been covered by everyone from Warren Haynes to RZA, but few since Bell himself have brought the well of authentic Southern soul feeling Langlinais and company evidence here.

 

“Wilson Pickett’s ‘Green Grass’ has become a Zydeco standard, but not like we did it,” says Langlinais. “Brian and Tony came up with a groove that went in a different direction, and Ron did a tic-tack thing on bass that made us feel this could be the beginning of a great record.”

 

Though the singer had more covers in his iTunes library, producer D.L. Duncan felt they should write some tunes of their own. “D.L. had some scratch lyrics for a couple of songs,” says Langlinais. “We would come up with a groove, take a little break, D.L. would come back with a lyric that he thought would fit, and I would start singing it. We wrote ‘Louisiana Love,’ ‘My One Desire,’ and the two acoustic songs, ‘Right Hand Road’ and ‘Our Love Is Slippin’ Away,’ in the studio while we were tracking.” Their work sits comfortably next to the covers, displaying the same simplicity mixed with emotional depth that makes this kind of music so enduring.

 

Back in Nashville, Langlinais and Duncan decided they needed two more songs to round out the record, so “Tucumcari Tonight” and “You Can’t Say I Didn’t Love You” were recorded at the Dog House with Lynn Williams (Delbert McClinton, Marcia Ball) on drums, Steve Conn (Sonny Landreth, Keith Urban) on keys, James Pennebaker (Delbert McClinton, Lee Roy Parnell) on guitar, and Eoff on bass.

 

 

 

 

“To me, the record symbolizes getting to go back home,” Langlinais says. “If you are from New York and say, ‘I need a sandwich from Katz’s deli,’ people from New York can taste that sandwich. Likewise, if you’re from Lafayette and I say, ‘I’m hungry for a Old Tyme Grocery po’ boy,’ you know the flavor. Going back to Lafayette meant working with people who have the same set of references. I have worked with people who can play a second line groove, but with these musicians it was so much easier to express the minutiae that make a groove specific.”

 

It is this kind of attention to detail that renders Right Hand Road special. You don’t have to be a music scholar or musician to feel in your heart and bones how getting the specifics right adds to the music’s impact. This recording could only have come from someone with Louisiana music in his DNA.

 

“I was born and raised there and my family was one of the first families to get land grants there,” says Langlinais. “My bloodline is only Acadian and French. Going home to Lafayette and doing the music that I’m about was a full circle.”

 

 

  

Russell deCarle (and the boys) are old school, real players and singers. They do things right, true professionals and at the same time great entertainers!

 

Weather it covering songs by the likes of by the likes of the Inkspots, Diana Shore or Hank Snow or self pened classics in the making  crooner deCarle recently took the UK by storm on his first tour in 45 years on the road.

 

"A spot of yodelling when added to his already exemplary vocals exploits placed an icing on the cake, and it wasn’t the only layer such the virtues of the music by them". Mauris Hope on the Newcast gig for FSR - More here

https://russelldecarle.com

Dates April/May Click Here

Our own Rob Ellen catches up with him in a Glen in Scotland.

 

Teresa Storch /  Come Clean

In The Daily Telegraphs Roots Top 20 Albums of 2015  

“She could be the love child of Joni Mitchell and Dave Matthews.”

Description

Touring The US and in her native Northeast since 2003, Teresa Storch has been recognized for her writing and performance by Susquehanna Music and Arts Festival 2005, Flat Rock Music Festival 2004, Rocky Mountain Folks Festival 2003 , and Bostons Best Singer/Songwriters Showcase 2003. Her name has spread throughout the country as a voice and presence not to be missed. 

She's called the "love child of Joni Mitchell and Dave Matthews", providing funky guitar rhythms and thought-bending lyrics that move from jazz to blues to folk, keeping your feet and your mind moving. 

Originally from Omaha, Nebraska, she began performing in local dance, drama and vocal productions at a young age. Attending college in Colorado, the famed Red Rocks Amphitheatre inspired her to create and perform her own music. Pulled to the singer/songwriter scene of Boston, she traversed the country in 1999. There she found the space to do what she loves, connecting with people in clubs, coffeehouses, on streets and subway platforms. 

You will find Teresa wherever she can do what she loves, connecting with people through music, be it in clubs in or a subway platform. She has shared stages and sidewalks with artists such as Dakota Blonde, Ryan Montbleau, Entrain, Kevin So, Paul and Storm, Jonathan Byrd and Rachel Sage, in venues throughout the country, setting her sights firmly on herfirst European tour (see over leaf) in conjunction with www.houseconcert.eu .

On Tour in the UK with support from FSR The European House Concert Hub and the Medicine Show.

Teresa Storch & Jeff Brown Europe Tour 2016

April 28 Dillon Whiskey Bar augavegur 30,101 Reykjavik, Iceland 8:00pm

April 29 Filey Folk Festival, The Evron Centre  Filey, UK 7:30pm Tickets:   £ 10/20 all 4 days Tel: 07808871118

Tickets: http://www.fileyfolkfestival.bravesites.com/venue-5-evron-centre

April 30* TBC  Edinburgh, UK 8:00pm

May 1*    House Concert  Edinburgh, UK 8:00pm Tickets:   £ 10  Contact: symon@visionmechanics.org for info

May 2*    YESBAR  14 Drury St.,Glasgow,Scotland,G2 5AA,UK 8:00pm Tickets:   £ 5

May 3*    Hotel Argyll  18 Argyll St.,Ullapool, IV26 2UB,UK 8:00pm

May 4*    ‘Beautiful Nairn Nights’ @ WASPs Arts Studio  Nairn, UK 8:00pm Tickets:   £ 8

May 5*    TBC  Inverness, UK 8:00pm

May 7*    The Acoustic Yard Festival, Town Hall Theatre  The Octagon, Westport, Co Mayo, IE 8:00pm Tickets: €22 https://westporttownhall.ticketsolve.com/shows/873548822/events?show_id=873548822

May 9    The Corner Bar  37 Bridge St. Skibbereen, Co Cork, IE 9:30pm

May 12  The Crown Inn  6 Church St., Heanor, Derbyshire, DE75 7AH, UK 8:00pm

May 13   House Concert  Sheffield, UK 8:00pm Tickets: £ 10 Contact: bea@beamarshall.com for info

May 14   TBC Scarborough, UK

May 15   ‘Acoustic Folk Highway’ @The Harrison 28 Harrison St., London,Kings Cross, WC1h 8JF, UK 7:00pm Tickets: £ 5

May 17   The Troubadour  263-267 Old Brompton Rd., London, Earls Court, SW5 9JA, UK 7:45pm Tickets: £ 6https://troubadourlondon.yapsody.com/event/index/25371/teresa-storch

May 20^   ‘Blueprint’ Live Radio Session @Theater vanBeresteyn (foyer) Museumplein 5/a,Veendam, 9641,NL 5:00pm

May 22^   Cafe Peter en Leni  Damsterweg 20, Steendam, 9629 PD, NL 3:00pm 

May 23^   Dwaze Zaken  Prins Hendrikkade 50 Amsterdam, 1012 AC, NL 7:00pm

*With Peter Lacis on guitar!   ^Teresa Solo Show!

QUOTES AND TESTIMONIALS!

“She inhabits her songs so fully you can’t help but be pulled into her world.” – Boston Herald writer Daniel Gewertz

“Mesmerizing vocal riffs…bounding folk-rock sound.” – Northeast Performer

“One of the most inventive writers and solid performers of the current crop of singer/songwriters coming out of Boston. [She] makes me proud to be one.” – veteran singer/songwriter Vance Gilbert

“Infuses contemporary singer/songwriter with traditional folk vibe. It’s no wonder she’s being recognized in her genre.” -Soundcheck Magazine

“The only other time I’ve had this kind of reaction to a performer was when Bonnie Raitt first started doing the rounds of small venues… it was that same thrill of connection.” –Dayle Ann Stratton (fan)

Website:  www.teresastorch.com

Facebook: www.facebook.com/teresastorchmusic

Twitter @tstorchmusic 

FSR Featured Artist this month's Blog

Ed Romanoff FSR first featured artist of 2018

Ed Romanoff could…

Continue

Posted on January 6, 2018 at 16:46

Tommy Lewis! Our last Featured Artist of The Month on FSR for 2017

Tommy Lewis will be the last in line FSR Featured Artist this month for 2017, we always like to feature…

Continue

Posted on November 28, 2017 at 17:00

Featured artist of the month Brian Langlinais

Posted on April 14, 2017 at 15:33

Russell deCarle Featured Artist Of The Month and on tour in the UK

Russell deCarle (and the boys) are old school, real players and singers. They do things right, true…

Continue

Posted on May 1, 2016 at 23:00 — 1 Comment

Featured artist of the month Ed Romanoff

Ed Romanoff could be a character in one of his own songs. A chronicler of American experience whose voice recalls the grit of Kris Kristofferson and the wit of Guy Clark, the New York singer-songwriter pens wise, big-hearted, occasionally whimsical, usually melancholic tunes about lonely souls and romantic dreamers, lost lovers and coy ghosts, a bank robber and even the Elephant Man himself. Not only does Romanoff sympathize with the crew of outsiders and outlaws on his new album The Orphan King, (release Feb 23)but he also belongs among their ranks: an artist who has spent a lifetime drifting from job to job, steadfastly refining his craft for years on a 75 dollar Yamaha guitar, following his own compass, and solving his own mysteries.

Romanoff admits he started late. “My father was tone deaf,” he says, “so I always thought I was, too.”  Instead of music, he tended bar in Virginia and branded cattle in Wyoming before eventually founding PineRock, a production firm in New York City. When he finally decided to pursue music in his forties, he became a diligent student, writing constantly and performing wherever and whenever he could. He spent time in Nashville taking songwriting classes and attending workshops with Darrell Scott, Beth Nielson Chapman, and Mary Gauthier, who later invited him to go on the road. Before he even had an album with his name on the spine, Romanoff was touring the world. 

Romanoff’s unconventional journey gave him a different perspective from other songwriters, a different set of rules and a different voice. His 2012 self-titled debut, produced by Crit Harmon (Lori McKenna, Martin Sexton), won the Nashville Songwriters Song of the Year and later that year Romanoff joined Steve Earle and James McMurtry as a winner of the Kerrville New Folk Competition. Since then, Romanoff has been working on a follow-up, amassing a stockpile of gracefully observed and eloquently sturdy songs. He didn’t have to stray far from his home in Woodstock to record them; instead, he worked with Simone Felice at the producer’s barn studio in Palenville, New York, just a few miles down the road.

The pair corralled an impressive roster of locals to flesh out the songs, including Romanoff’s longtime friend and touring mate Rachael Yamagata, Kenneth Pattengale of the Milk Carton Kids, guitarist Cindy Cashdollar (Dylan’s Time Out of Mind), The E Street Band’s Cindy Mizelle, and multi-instrumentalist Larry Campbell, along with Larry’s wife and duo partner, Teresa Williams. Together, they forged rootsy and eccentric arrangements for Romanoff’s songs, heightening the wee-hours longing of “The Night Is a Woman” and supernatural  melancholy of “Miss Worby’s Ghost.” Campbell, whom Romanoff credits with providing “the backbone of the album,” lends a fierce guitar solo to “The Ballad of Willie Sutton,” turning the coda into a gothic car chase across some mythic American plain.

The Orphan King reveals an artist alive to the serendipity of songwriting: those flashes of insight and inspiration, often accidental, that convey ideas and feelings unique to this medium. He co-wrote the title track, which sounds as lonely as a graveside eulogy after everyone has left for the reception, about his close relationship with his father. Imagine his surprise when, several years later, a DNA test sent him reeling: “I had spent my life idolizing my dad, and believing I was Russian, but the test said I was Irish. My father wasn’t my father.”

The revelation sent him into a depression so deep that he barely left his apartment for months. When he returned to “The Orphan King,” written before he know his own story, he found the song’s sense of loss even more acute and the sense of connection even stronger, the words of the refrain resonating like a personal mantra: “I still believe in love.”

Not every song on The Orphan King is quite so autobiographical. In fact, the album shows Romanoff as a writer with an eye for the telling historical detail and an imagination attuned to the whimsical. His fascination with Joseph Merrick inspired “The Elephant Man,” a humanizing portrait of a man known for his deformities but, in Romanoff’s hands, is granted a rare dignity to explore his intense yearning for life and finds love in the form of a very tall carnival worker. “I felt if I could have him meet somebody who was just as much an outsider as he was, then they could be together.” The song became an act of compassion and empathy, as Romanoff imagines a happy ending for the unusual couple: “I’m gonna build a car with Ferris wheel tires, leave extra headroom to reach the stars. World’s largest truck, well, it will be ours as we go rolling into history.”

Songs like “Without You” and “Leavin’ With Someone Else” can break your heart, but Romanoff has a knack for the well-earned happy ending. He obviously loves his characters, and he listens to what they tell him. He turns his songs into receptacles for their dearest dreams, investing them with generosity and humanity. Romanoff’s first draft of the novelistic “Golden Crown,” about a boxer in Ireland, culminated in a grisly finale. “But I felt like this guy was saying, I don’t want to die in a river with a ring in my pocket. So I wrote what he wanted me to write. A lot of these songs ended up being about things I could identify in my own life, but I had to let these people tell their own stories.”

There’s something radical about the happy endings on The Orphan King, perhaps because there are so few happy endings in the late 2010s. “I almost canceled the rest of the sessions just after the election,” he admits. “I didn’t feel like l could sing. I was too anxious”. As Leonard Cohen had just died, Ed was thinking about Cohen’s song “First We Take Manhattan” and sat down to write “Coronation Blues,” the final song on the record. It was, he admits, a rant written from the perspective of a mad king. It’s a damning bit of political commentary of recent political events as well as a reminder that making music is a radical act.

“For all these songs,  I think if I got anything right, it was allowing each character to have their own voice . I was trying to find out what their truth was.”

Quietly ambitious yet undeniably accomplished, The Orphan King seeks to square up heartbreak with hope, alienation with acceptance, tribulation with an unkillable belief in love. “I wanted to make something beautiful out of something that just felt awful. I want nothing more than to make people smile and feel like they’re not alone. That’s what music has always done for me.,

www.edromanoff.com

 

Tommy Lewis will be the last in line FSR Featured Artist this month for 2017, we always like to feature someone perhaps unfamiliar here in Europe who is tearing it up stateside and who we think needs to be introduced to a wider audience. Maurice Hope (Chief Reviewer on FSR said of Tommy only this wee "He is of a standard that bodes well for both his future, and this kind of music in general" he goes on .........

Texas singer-songwriter Tommy Lewis’ music is of the kind we could do with a whole lot more of filtering through. Warmed in pedal steel, fiddle, lead guitar and more it has a wonderful buoyancy. His blending of country with acoustic blues on the opening track “Salt Water Wine” holds the attention of the listener from first to last! On hearing it I mused to myself, this guy is something rather special. Though I wasn’t wrong, the directional of his music did change, immediately in fact as he dropped the simplicity of the acoustic blues in preference for a form of country music.  Read On

Tommy will be touring herein 2018 and we intend to continue to support that thought and all his endeavors.  

www.tommylewis.net

Merry Christmas and a guid new year everyone 


You could say Brian Langlinais’ new recording, Right Hand Road, was birthed by an ice storm, but that would be getting ahead of the story.

 

Long before that weather event, the album’s roots ran from sea to sea along I-10, home to a slew of bars and nightclubs where bands earn gas money between major cities. For decades, these venues have fostered the uniquely American art form called roadhouse music: a big tent under which blues, country, zydeco, and even jazz come together—often in the same band. Roadhouse legends such as Delbert McClinton, Marcia Ball, Omar and the Howlers, Mason Ruffner, and Lee Roy Parnell all came through Langlinais’ hometown of Lafayette, Louisiana, where he cut his teeth in bands playing this crowd-pleasing music.

 

“Back then, the job was—and still is—to make people drink and be happy,” explains Langlinais. “It was about playing songs people know. I covered Wilson Pickett’s catalog, which led me to a lot of lesser-known Stax artists like William Bell. I ended up in blues bands with horns, groups that became more soul than Mississippi Delta blues.”

 

Horns loom large in Langlinais’ history. His father played saxophone with Swamp Pop legends The Shondells, and Brian double-majored in college in trumpet and vocal performance. Ultimately, it was the singer that won out. Langlinais eventually landed in Nashville, where he strayed from his roadhouse roots long enough to record two acclaimed Americana records: Rock & Fire and Tonight I Might. But with Right Hand Road, those roots have called him back.

 

Langlinais had been considering returning to Lafayette to record, when his friend, producer/guitarist D.L. Duncan asked him to go there for a day and cut some tracks with Grammy-winning engineer Tony Daigle (Sonny Landreth, Derek Trucks, James McMurtry, Jon Cleary). They would just lay down a couple of covers, and see if they liked working together. Brought along from Nashville were a bassist, Ron Eoff (Cate Brothers, Jo-El Sonnier, Levon Helm) and a keyboard player, Patterson Barrett (Gurf Morlix, Buddy Miller), with drummer Brian Brignac (Sonny Landreth) picked up in Lafayette.

 

“We weren’t sure it would turn into a record” Langlinais recalls. “It was just to see how much fun we could have. We were planning on going back to Tennessee the next day, but there was an ice storm in Nashville. None of us could get back, so we ended up tracking for three full days.”

 

In addition to the stellar quality of the playing and singing, what distinguishes the resulting Right Hand Road is its level of songwriting. The tunes tell timeless stories, while adding new twists. William Bell’s classic “Every Day Is a Holiday” has been covered by everyone from Warren Haynes to RZA, but few since Bell himself have brought the well of authentic Southern soul feeling Langlinais and company evidence here.

 

“Wilson Pickett’s ‘Green Grass’ has become a Zydeco standard, but not like we did it,” says Langlinais. “Brian and Tony came up with a groove that went in a different direction, and Ron did a tic-tack thing on bass that made us feel this could be the beginning of a great record.”

 

Though the singer had more covers in his iTunes library, producer D.L. Duncan felt they should write some tunes of their own. “D.L. had some scratch lyrics for a couple of songs,” says Langlinais. “We would come up with a groove, take a little break, D.L. would come back with a lyric that he thought would fit, and I would start singing it. We wrote ‘Louisiana Love,’ ‘My One Desire,’ and the two acoustic songs, ‘Right Hand Road’ and ‘Our Love Is Slippin’ Away,’ in the studio while we were tracking.” Their work sits comfortably next to the covers, displaying the same simplicity mixed with emotional depth that makes this kind of music so enduring.

 

Back in Nashville, Langlinais and Duncan decided they needed two more songs to round out the record, so “Tucumcari Tonight” and “You Can’t Say I Didn’t Love You” were recorded at the Dog House with Lynn Williams (Delbert McClinton, Marcia Ball) on drums, Steve Conn (Sonny Landreth, Keith Urban) on keys, James Pennebaker (Delbert McClinton, Lee Roy Parnell) on guitar, and Eoff on bass.

 

 

 

 

“To me, the record symbolizes getting to go back home,” Langlinais says. “If you are from New York and say, ‘I need a sandwich from Katz’s deli,’ people from New York can taste that sandwich. Likewise, if you’re from Lafayette and I say, ‘I’m hungry for a Old Tyme Grocery po’ boy,’ you know the flavor. Going back to Lafayette meant working with people who have the same set of references. I have worked with people who can play a second line groove, but with these musicians it was so much easier to express the minutiae that make a groove specific.”

 

It is this kind of attention to detail that renders Right Hand Road special. You don’t have to be a music scholar or musician to feel in your heart and bones how getting the specifics right adds to the music’s impact. This recording could only have come from someone with Louisiana music in his DNA.

 

“I was born and raised there and my family was one of the first families to get land grants there,” says Langlinais. “My bloodline is only Acadian and French. Going home to Lafayette and doing the music that I’m about was a full circle.”

 

 

  

Russell deCarle (and the boys) are old school, real players and singers. They do things right, true professionals and at the same time great entertainers!

 

Weather it covering songs by the likes of by the likes of the Inkspots, Diana Shore or Hank Snow or self pened classics in the making  crooner deCarle recently took the UK by storm on his first tour in 45 years on the road.

 

"A spot of yodelling when added to his already exemplary vocals exploits placed an icing on the cake, and it wasn’t the only layer such the virtues of the music by them". Mauris Hope on the Newcast gig for FSR - More here

https://russelldecarle.com

Dates April/May Click Here

Our own Rob Ellen catches up with him in a Glen in Scotland.

 

Teresa Storch /  Come Clean

In The Daily Telegraphs Roots Top 20 Albums of 2015  

“She could be the love child of Joni Mitchell and Dave Matthews.”

Description

Touring The US and in her native Northeast since 2003, Teresa Storch has been recognized for her writing and performance by Susquehanna Music and Arts Festival 2005, Flat Rock Music Festival 2004, Rocky Mountain Folks Festival 2003 , and Bostons Best Singer/Songwriters Showcase 2003. Her name has spread throughout the country as a voice and presence not to be missed. 

She's called the "love child of Joni Mitchell and Dave Matthews", providing funky guitar rhythms and thought-bending lyrics that move from jazz to blues to folk, keeping your feet and your mind moving. 

Originally from Omaha, Nebraska, she began performing in local dance, drama and vocal productions at a young age. Attending college in Colorado, the famed Red Rocks Amphitheatre inspired her to create and perform her own music. Pulled to the singer/songwriter scene of Boston, she traversed the country in 1999. There she found the space to do what she loves, connecting with people in clubs, coffeehouses, on streets and subway platforms. 

You will find Teresa wherever she can do what she loves, connecting with people through music, be it in clubs in or a subway platform. She has shared stages and sidewalks with artists such as Dakota Blonde, Ryan Montbleau, Entrain, Kevin So, Paul and Storm, Jonathan Byrd and Rachel Sage, in venues throughout the country, setting her sights firmly on herfirst European tour (see over leaf) in conjunction with www.houseconcert.eu .

On Tour in the UK with support from FSR The European House Concert Hub and the Medicine Show.

Teresa Storch & Jeff Brown Europe Tour 2016

April 28 Dillon Whiskey Bar augavegur 30,101 Reykjavik, Iceland 8:00pm

April 29 Filey Folk Festival, The Evron Centre  Filey, UK 7:30pm Tickets:   £ 10/20 all 4 days Tel: 07808871118

Tickets: http://www.fileyfolkfestival.bravesites.com/venue-5-evron-centre

April 30* TBC  Edinburgh, UK 8:00pm

May 1*    House Concert  Edinburgh, UK 8:00pm Tickets:   £ 10  Contact: symon@visionmechanics.org for info

May 2*    YESBAR  14 Drury St.,Glasgow,Scotland,G2 5AA,UK 8:00pm Tickets:   £ 5

May 3*    Hotel Argyll  18 Argyll St.,Ullapool, IV26 2UB,UK 8:00pm

May 4*    ‘Beautiful Nairn Nights’ @ WASPs Arts Studio  Nairn, UK 8:00pm Tickets:   £ 8

May 5*    TBC  Inverness, UK 8:00pm

May 7*    The Acoustic Yard Festival, Town Hall Theatre  The Octagon, Westport, Co Mayo, IE 8:00pm Tickets: €22 https://westporttownhall.ticketsolve.com/shows/873548822/events?show_id=873548822

May 9    The Corner Bar  37 Bridge St. Skibbereen, Co Cork, IE 9:30pm

May 12  The Crown Inn  6 Church St., Heanor, Derbyshire, DE75 7AH, UK 8:00pm

May 13   House Concert  Sheffield, UK 8:00pm Tickets: £ 10 Contact: bea@beamarshall.com for info

May 14   TBC Scarborough, UK

May 15   ‘Acoustic Folk Highway’ @The Harrison 28 Harrison St., London,Kings Cross, WC1h 8JF, UK 7:00pm Tickets: £ 5

May 17   The Troubadour  263-267 Old Brompton Rd., London, Earls Court, SW5 9JA, UK 7:45pm Tickets: £ 6https://troubadourlondon.yapsody.com/event/index/25371/teresa-storch

May 20^   ‘Blueprint’ Live Radio Session @Theater vanBeresteyn (foyer) Museumplein 5/a,Veendam, 9641,NL 5:00pm

May 22^   Cafe Peter en Leni  Damsterweg 20, Steendam, 9629 PD, NL 3:00pm 

May 23^   Dwaze Zaken  Prins Hendrikkade 50 Amsterdam, 1012 AC, NL 7:00pm

*With Peter Lacis on guitar!   ^Teresa Solo Show!

QUOTES AND TESTIMONIALS!

“She inhabits her songs so fully you can’t help but be pulled into her world.” – Boston Herald writer Daniel Gewertz

“Mesmerizing vocal riffs…bounding folk-rock sound.” – Northeast Performer

“One of the most inventive writers and solid performers of the current crop of singer/songwriters coming out of Boston. [She] makes me proud to be one.” – veteran singer/songwriter Vance Gilbert

“Infuses contemporary singer/songwriter with traditional folk vibe. It’s no wonder she’s being recognized in her genre.” -Soundcheck Magazine

“The only other time I’ve had this kind of reaction to a performer was when Bonnie Raitt first started doing the rounds of small venues… it was that same thrill of connection.” –Dayle Ann Stratton (fan)

Website:  www.teresastorch.com

Facebook: www.facebook.com/teresastorchmusic

Twitter @tstorchmusic 

Featured artist of the month Ed Romanoff

Ed Romanoff could be a character in one of his own songs. A chronicler of American experience whose voice recalls the grit of Kris Kristofferson and the wit of Guy Clark, the New York singer-songwriter pens wise, big-hearted, occasionally whimsical, usually melancholic tunes about lonely souls and romantic dreamers, lost lovers and coy ghosts, a bank robber and even the Elephant Man himself. Not only does Romanoff sympathize with the crew of outsiders and outlaws on his new album The Orphan King, (release Feb 23)but he also belongs among their ranks: an artist who has spent a lifetime drifting from job to job, steadfastly refining his craft for years on a 75 dollar Yamaha guitar, following his own compass, and solving his own mysteries.

Romanoff admits he started late. “My father was tone deaf,” he says, “so I always thought I was, too.”  Instead of music, he tended bar in Virginia and branded cattle in Wyoming before eventually founding PineRock, a production firm in New York City. When he finally decided to pursue music in his forties, he became a diligent student, writing constantly and performing wherever and whenever he could. He spent time in Nashville taking songwriting classes and attending workshops with Darrell Scott, Beth Nielson Chapman, and Mary Gauthier, who later invited him to go on the road. Before he even had an album with his name on the spine, Romanoff was touring the world. 

Romanoff’s unconventional journey gave him a different perspective from other songwriters, a different set of rules and a different voice. His 2012 self-titled debut, produced by Crit Harmon (Lori McKenna, Martin Sexton), won the Nashville Songwriters Song of the Year and later that year Romanoff joined Steve Earle and James McMurtry as a winner of the Kerrville New Folk Competition. Since then, Romanoff has been working on a follow-up, amassing a stockpile of gracefully observed and eloquently sturdy songs. He didn’t have to stray far from his home in Woodstock to record them; instead, he worked with Simone Felice at the producer’s barn studio in Palenville, New York, just a few miles down the road.

The pair corralled an impressive roster of locals to flesh out the songs, including Romanoff’s longtime friend and touring mate Rachael Yamagata, Kenneth Pattengale of the Milk Carton Kids, guitarist Cindy Cashdollar (Dylan’s Time Out of Mind), The E Street Band’s Cindy Mizelle, and multi-instrumentalist Larry Campbell, along with Larry’s wife and duo partner, Teresa Williams. Together, they forged rootsy and eccentric arrangements for Romanoff’s songs, heightening the wee-hours longing of “The Night Is a Woman” and supernatural  melancholy of “Miss Worby’s Ghost.” Campbell, whom Romanoff credits with providing “the backbone of the album,” lends a fierce guitar solo to “The Ballad of Willie Sutton,” turning the coda into a gothic car chase across some mythic American plain.

The Orphan King reveals an artist alive to the serendipity of songwriting: those flashes of insight and inspiration, often accidental, that convey ideas and feelings unique to this medium. He co-wrote the title track, which sounds as lonely as a graveside eulogy after everyone has left for the reception, about his close relationship with his father. Imagine his surprise when, several years later, a DNA test sent him reeling: “I had spent my life idolizing my dad, and believing I was Russian, but the test said I was Irish. My father wasn’t my father.”

The revelation sent him into a depression so deep that he barely left his apartment for months. When he returned to “The Orphan King,” written before he know his own story, he found the song’s sense of loss even more acute and the sense of connection even stronger, the words of the refrain resonating like a personal mantra: “I still believe in love.”

Not every song on The Orphan King is quite so autobiographical. In fact, the album shows Romanoff as a writer with an eye for the telling historical detail and an imagination attuned to the whimsical. His fascination with Joseph Merrick inspired “The Elephant Man,” a humanizing portrait of a man known for his deformities but, in Romanoff’s hands, is granted a rare dignity to explore his intense yearning for life and finds love in the form of a very tall carnival worker. “I felt if I could have him meet somebody who was just as much an outsider as he was, then they could be together.” The song became an act of compassion and empathy, as Romanoff imagines a happy ending for the unusual couple: “I’m gonna build a car with Ferris wheel tires, leave extra headroom to reach the stars. World’s largest truck, well, it will be ours as we go rolling into history.”

Songs like “Without You” and “Leavin’ With Someone Else” can break your heart, but Romanoff has a knack for the well-earned happy ending. He obviously loves his characters, and he listens to what they tell him. He turns his songs into receptacles for their dearest dreams, investing them with generosity and humanity. Romanoff’s first draft of the novelistic “Golden Crown,” about a boxer in Ireland, culminated in a grisly finale. “But I felt like this guy was saying, I don’t want to die in a river with a ring in my pocket. So I wrote what he wanted me to write. A lot of these songs ended up being about things I could identify in my own life, but I had to let these people tell their own stories.”

There’s something radical about the happy endings on The Orphan King, perhaps because there are so few happy endings in the late 2010s. “I almost canceled the rest of the sessions just after the election,” he admits. “I didn’t feel like l could sing. I was too anxious”. As Leonard Cohen had just died, Ed was thinking about Cohen’s song “First We Take Manhattan” and sat down to write “Coronation Blues,” the final song on the record. It was, he admits, a rant written from the perspective of a mad king. It’s a damning bit of political commentary of recent political events as well as a reminder that making music is a radical act.

“For all these songs,  I think if I got anything right, it was allowing each character to have their own voice . I was trying to find out what their truth was.”

Quietly ambitious yet undeniably accomplished, The Orphan King seeks to square up heartbreak with hope, alienation with acceptance, tribulation with an unkillable belief in love. “I wanted to make something beautiful out of something that just felt awful. I want nothing more than to make people smile and feel like they’re not alone. That’s what music has always done for me.,

www.edromanoff.com

 

Tommy Lewis will be the last in line FSR Featured Artist this month for 2017, we always like to feature someone perhaps unfamiliar here in Europe who is tearing it up stateside and who we think needs to be introduced to a wider audience. Maurice Hope (Chief Reviewer on FSR said of Tommy only this wee "He is of a standard that bodes well for both his future, and this kind of music in general" he goes on .........

Texas singer-songwriter Tommy Lewis’ music is of the kind we could do with a whole lot more of filtering through. Warmed in pedal steel, fiddle, lead guitar and more it has a wonderful buoyancy. His blending of country with acoustic blues on the opening track “Salt Water Wine” holds the attention of the listener from first to last! On hearing it I mused to myself, this guy is something rather special. Though I wasn’t wrong, the directional of his music did change, immediately in fact as he dropped the simplicity of the acoustic blues in preference for a form of country music.  Read On

Tommy will be touring herein 2018 and we intend to continue to support that thought and all his endeavors.  

www.tommylewis.net

Merry Christmas and a guid new year everyone 


You could say Brian Langlinais’ new recording, Right Hand Road, was birthed by an ice storm, but that would be getting ahead of the story.

 

Long before that weather event, the album’s roots ran from sea to sea along I-10, home to a slew of bars and nightclubs where bands earn gas money between major cities. For decades, these venues have fostered the uniquely American art form called roadhouse music: a big tent under which blues, country, zydeco, and even jazz come together—often in the same band. Roadhouse legends such as Delbert McClinton, Marcia Ball, Omar and the Howlers, Mason Ruffner, and Lee Roy Parnell all came through Langlinais’ hometown of Lafayette, Louisiana, where he cut his teeth in bands playing this crowd-pleasing music.

 

“Back then, the job was—and still is—to make people drink and be happy,” explains Langlinais. “It was about playing songs people know. I covered Wilson Pickett’s catalog, which led me to a lot of lesser-known Stax artists like William Bell. I ended up in blues bands with horns, groups that became more soul than Mississippi Delta blues.”

 

Horns loom large in Langlinais’ history. His father played saxophone with Swamp Pop legends The Shondells, and Brian double-majored in college in trumpet and vocal performance. Ultimately, it was the singer that won out. Langlinais eventually landed in Nashville, where he strayed from his roadhouse roots long enough to record two acclaimed Americana records: Rock & Fire and Tonight I Might. But with Right Hand Road, those roots have called him back.

 

Langlinais had been considering returning to Lafayette to record, when his friend, producer/guitarist D.L. Duncan asked him to go there for a day and cut some tracks with Grammy-winning engineer Tony Daigle (Sonny Landreth, Derek Trucks, James McMurtry, Jon Cleary). They would just lay down a couple of covers, and see if they liked working together. Brought along from Nashville were a bassist, Ron Eoff (Cate Brothers, Jo-El Sonnier, Levon Helm) and a keyboard player, Patterson Barrett (Gurf Morlix, Buddy Miller), with drummer Brian Brignac (Sonny Landreth) picked up in Lafayette.

 

“We weren’t sure it would turn into a record” Langlinais recalls. “It was just to see how much fun we could have. We were planning on going back to Tennessee the next day, but there was an ice storm in Nashville. None of us could get back, so we ended up tracking for three full days.”

 

In addition to the stellar quality of the playing and singing, what distinguishes the resulting Right Hand Road is its level of songwriting. The tunes tell timeless stories, while adding new twists. William Bell’s classic “Every Day Is a Holiday” has been covered by everyone from Warren Haynes to RZA, but few since Bell himself have brought the well of authentic Southern soul feeling Langlinais and company evidence here.

 

“Wilson Pickett’s ‘Green Grass’ has become a Zydeco standard, but not like we did it,” says Langlinais. “Brian and Tony came up with a groove that went in a different direction, and Ron did a tic-tack thing on bass that made us feel this could be the beginning of a great record.”

 

Though the singer had more covers in his iTunes library, producer D.L. Duncan felt they should write some tunes of their own. “D.L. had some scratch lyrics for a couple of songs,” says Langlinais. “We would come up with a groove, take a little break, D.L. would come back with a lyric that he thought would fit, and I would start singing it. We wrote ‘Louisiana Love,’ ‘My One Desire,’ and the two acoustic songs, ‘Right Hand Road’ and ‘Our Love Is Slippin’ Away,’ in the studio while we were tracking.” Their work sits comfortably next to the covers, displaying the same simplicity mixed with emotional depth that makes this kind of music so enduring.

 

Back in Nashville, Langlinais and Duncan decided they needed two more songs to round out the record, so “Tucumcari Tonight” and “You Can’t Say I Didn’t Love You” were recorded at the Dog House with Lynn Williams (Delbert McClinton, Marcia Ball) on drums, Steve Conn (Sonny Landreth, Keith Urban) on keys, James Pennebaker (Delbert McClinton, Lee Roy Parnell) on guitar, and Eoff on bass.

 

 

 

 

“To me, the record symbolizes getting to go back home,” Langlinais says. “If you are from New York and say, ‘I need a sandwich from Katz’s deli,’ people from New York can taste that sandwich. Likewise, if you’re from Lafayette and I say, ‘I’m hungry for a Old Tyme Grocery po’ boy,’ you know the flavor. Going back to Lafayette meant working with people who have the same set of references. I have worked with people who can play a second line groove, but with these musicians it was so much easier to express the minutiae that make a groove specific.”

 

It is this kind of attention to detail that renders Right Hand Road special. You don’t have to be a music scholar or musician to feel in your heart and bones how getting the specifics right adds to the music’s impact. This recording could only have come from someone with Louisiana music in his DNA.

 

“I was born and raised there and my family was one of the first families to get land grants there,” says Langlinais. “My bloodline is only Acadian and French. Going home to Lafayette and doing the music that I’m about was a full circle.”

 

 

  

Russell deCarle (and the boys) are old school, real players and singers. They do things right, true professionals and at the same time great entertainers!

 

Weather it covering songs by the likes of by the likes of the Inkspots, Diana Shore or Hank Snow or self pened classics in the making  crooner deCarle recently took the UK by storm on his first tour in 45 years on the road.

 

"A spot of yodelling when added to his already exemplary vocals exploits placed an icing on the cake, and it wasn’t the only layer such the virtues of the music by them". Mauris Hope on the Newcast gig for FSR - More here

https://russelldecarle.com

Dates April/May Click Here

Our own Rob Ellen catches up with him in a Glen in Scotland.

 

Teresa Storch /  Come Clean

In The Daily Telegraphs Roots Top 20 Albums of 2015  

“She could be the love child of Joni Mitchell and Dave Matthews.”

Description

Touring The US and in her native Northeast since 2003, Teresa Storch has been recognized for her writing and performance by Susquehanna Music and Arts Festival 2005, Flat Rock Music Festival 2004, Rocky Mountain Folks Festival 2003 , and Bostons Best Singer/Songwriters Showcase 2003. Her name has spread throughout the country as a voice and presence not to be missed. 

She's called the "love child of Joni Mitchell and Dave Matthews", providing funky guitar rhythms and thought-bending lyrics that move from jazz to blues to folk, keeping your feet and your mind moving. 

Originally from Omaha, Nebraska, she began performing in local dance, drama and vocal productions at a young age. Attending college in Colorado, the famed Red Rocks Amphitheatre inspired her to create and perform her own music. Pulled to the singer/songwriter scene of Boston, she traversed the country in 1999. There she found the space to do what she loves, connecting with people in clubs, coffeehouses, on streets and subway platforms. 

You will find Teresa wherever she can do what she loves, connecting with people through music, be it in clubs in or a subway platform. She has shared stages and sidewalks with artists such as Dakota Blonde, Ryan Montbleau, Entrain, Kevin So, Paul and Storm, Jonathan Byrd and Rachel Sage, in venues throughout the country, setting her sights firmly on herfirst European tour (see over leaf) in conjunction with www.houseconcert.eu .

On Tour in the UK with support from FSR The European House Concert Hub and the Medicine Show.

Teresa Storch & Jeff Brown Europe Tour 2016

April 28 Dillon Whiskey Bar augavegur 30,101 Reykjavik, Iceland 8:00pm

April 29 Filey Folk Festival, The Evron Centre  Filey, UK 7:30pm Tickets:   £ 10/20 all 4 days Tel: 07808871118

Tickets: http://www.fileyfolkfestival.bravesites.com/venue-5-evron-centre

April 30* TBC  Edinburgh, UK 8:00pm

May 1*    House Concert  Edinburgh, UK 8:00pm Tickets:   £ 10  Contact: symon@visionmechanics.org for info

May 2*    YESBAR  14 Drury St.,Glasgow,Scotland,G2 5AA,UK 8:00pm Tickets:   £ 5

May 3*    Hotel Argyll  18 Argyll St.,Ullapool, IV26 2UB,UK 8:00pm

May 4*    ‘Beautiful Nairn Nights’ @ WASPs Arts Studio  Nairn, UK 8:00pm Tickets:   £ 8

May 5*    TBC  Inverness, UK 8:00pm

May 7*    The Acoustic Yard Festival, Town Hall Theatre  The Octagon, Westport, Co Mayo, IE 8:00pm Tickets: €22 https://westporttownhall.ticketsolve.com/shows/873548822/events?show_id=873548822

May 9    The Corner Bar  37 Bridge St. Skibbereen, Co Cork, IE 9:30pm

May 12  The Crown Inn  6 Church St., Heanor, Derbyshire, DE75 7AH, UK 8:00pm

May 13   House Concert  Sheffield, UK 8:00pm Tickets: £ 10 Contact: bea@beamarshall.com for info

May 14   TBC Scarborough, UK

May 15   ‘Acoustic Folk Highway’ @The Harrison 28 Harrison St., London,Kings Cross, WC1h 8JF, UK 7:00pm Tickets: £ 5

May 17   The Troubadour  263-267 Old Brompton Rd., London, Earls Court, SW5 9JA, UK 7:45pm Tickets: £ 6https://troubadourlondon.yapsody.com/event/index/25371/teresa-storch

May 20^   ‘Blueprint’ Live Radio Session @Theater vanBeresteyn (foyer) Museumplein 5/a,Veendam, 9641,NL 5:00pm

May 22^   Cafe Peter en Leni  Damsterweg 20, Steendam, 9629 PD, NL 3:00pm 

May 23^   Dwaze Zaken  Prins Hendrikkade 50 Amsterdam, 1012 AC, NL 7:00pm

*With Peter Lacis on guitar!   ^Teresa Solo Show!

QUOTES AND TESTIMONIALS!

“She inhabits her songs so fully you can’t help but be pulled into her world.” – Boston Herald writer Daniel Gewertz

“Mesmerizing vocal riffs…bounding folk-rock sound.” – Northeast Performer

“One of the most inventive writers and solid performers of the current crop of singer/songwriters coming out of Boston. [She] makes me proud to be one.” – veteran singer/songwriter Vance Gilbert

“Infuses contemporary singer/songwriter with traditional folk vibe. It’s no wonder she’s being recognized in her genre.” -Soundcheck Magazine

“The only other time I’ve had this kind of reaction to a performer was when Bonnie Raitt first started doing the rounds of small venues… it was that same thrill of connection.” –Dayle Ann Stratton (fan)

Website:  www.teresastorch.com

Facebook: www.facebook.com/teresastorchmusic

Twitter @tstorchmusic 

Featured artist of the month Ed Romanoff

Ed Romanoff could be a character in one of his own songs. A chronicler of American experience whose voice recalls the grit of Kris Kristofferson and the wit of Guy Clark, the New York singer-songwriter pens wise, big-hearted, occasionally whimsical, usually melancholic tunes about lonely souls and romantic dreamers, lost lovers and coy ghosts, a bank robber and even the Elephant Man himself. Not only does Romanoff sympathize with the crew of outsiders and outlaws on his new album The Orphan King, (release Feb 23)but he also belongs among their ranks: an artist who has spent a lifetime drifting from job to job, steadfastly refining his craft for years on a 75 dollar Yamaha guitar, following his own compass, and solving his own mysteries.

Romanoff admits he started late. “My father was tone deaf,” he says, “so I always thought I was, too.”  Instead of music, he tended bar in Virginia and branded cattle in Wyoming before eventually founding PineRock, a production firm in New York City. When he finally decided to pursue music in his forties, he became a diligent student, writing constantly and performing wherever and whenever he could. He spent time in Nashville taking songwriting classes and attending workshops with Darrell Scott, Beth Nielson Chapman, and Mary Gauthier, who later invited him to go on the road. Before he even had an album with his name on the spine, Romanoff was touring the world. 

Romanoff’s unconventional journey gave him a different perspective from other songwriters, a different set of rules and a different voice. His 2012 self-titled debut, produced by Crit Harmon (Lori McKenna, Martin Sexton), won the Nashville Songwriters Song of the Year and later that year Romanoff joined Steve Earle and James McMurtry as a winner of the Kerrville New Folk Competition. Since then, Romanoff has been working on a follow-up, amassing a stockpile of gracefully observed and eloquently sturdy songs. He didn’t have to stray far from his home in Woodstock to record them; instead, he worked with Simone Felice at the producer’s barn studio in Palenville, New York, just a few miles down the road.

The pair corralled an impressive roster of locals to flesh out the songs, including Romanoff’s longtime friend and touring mate Rachael Yamagata, Kenneth Pattengale of the Milk Carton Kids, guitarist Cindy Cashdollar (Dylan’s Time Out of Mind), The E Street Band’s Cindy Mizelle, and multi-instrumentalist Larry Campbell, along with Larry’s wife and duo partner, Teresa Williams. Together, they forged rootsy and eccentric arrangements for Romanoff’s songs, heightening the wee-hours longing of “The Night Is a Woman” and supernatural  melancholy of “Miss Worby’s Ghost.” Campbell, whom Romanoff credits with providing “the backbone of the album,” lends a fierce guitar solo to “The Ballad of Willie Sutton,” turning the coda into a gothic car chase across some mythic American plain.

The Orphan King reveals an artist alive to the serendipity of songwriting: those flashes of insight and inspiration, often accidental, that convey ideas and feelings unique to this medium. He co-wrote the title track, which sounds as lonely as a graveside eulogy after everyone has left for the reception, about his close relationship with his father. Imagine his surprise when, several years later, a DNA test sent him reeling: “I had spent my life idolizing my dad, and believing I was Russian, but the test said I was Irish. My father wasn’t my father.”

The revelation sent him into a depression so deep that he barely left his apartment for months. When he returned to “The Orphan King,” written before he know his own story, he found the song’s sense of loss even more acute and the sense of connection even stronger, the words of the refrain resonating like a personal mantra: “I still believe in love.”

Not every song on The Orphan King is quite so autobiographical. In fact, the album shows Romanoff as a writer with an eye for the telling historical detail and an imagination attuned to the whimsical. His fascination with Joseph Merrick inspired “The Elephant Man,” a humanizing portrait of a man known for his deformities but, in Romanoff’s hands, is granted a rare dignity to explore his intense yearning for life and finds love in the form of a very tall carnival worker. “I felt if I could have him meet somebody who was just as much an outsider as he was, then they could be together.” The song became an act of compassion and empathy, as Romanoff imagines a happy ending for the unusual couple: “I’m gonna build a car with Ferris wheel tires, leave extra headroom to reach the stars. World’s largest truck, well, it will be ours as we go rolling into history.”

Songs like “Without You” and “Leavin’ With Someone Else” can break your heart, but Romanoff has a knack for the well-earned happy ending. He obviously loves his characters, and he listens to what they tell him. He turns his songs into receptacles for their dearest dreams, investing them with generosity and humanity. Romanoff’s first draft of the novelistic “Golden Crown,” about a boxer in Ireland, culminated in a grisly finale. “But I felt like this guy was saying, I don’t want to die in a river with a ring in my pocket. So I wrote what he wanted me to write. A lot of these songs ended up being about things I could identify in my own life, but I had to let these people tell their own stories.”

There’s something radical about the happy endings on The Orphan King, perhaps because there are so few happy endings in the late 2010s. “I almost canceled the rest of the sessions just after the election,” he admits. “I didn’t feel like l could sing. I was too anxious”. As Leonard Cohen had just died, Ed was thinking about Cohen’s song “First We Take Manhattan” and sat down to write “Coronation Blues,” the final song on the record. It was, he admits, a rant written from the perspective of a mad king. It’s a damning bit of political commentary of recent political events as well as a reminder that making music is a radical act.

“For all these songs,  I think if I got anything right, it was allowing each character to have their own voice . I was trying to find out what their truth was.”

Quietly ambitious yet undeniably accomplished, The Orphan King seeks to square up heartbreak with hope, alienation with acceptance, tribulation with an unkillable belief in love. “I wanted to make something beautiful out of something that just felt awful. I want nothing more than to make people smile and feel like they’re not alone. That’s what music has always done for me.,

www.edromanoff.com

 

Tommy Lewis will be the last in line FSR Featured Artist this month for 2017, we always like to feature someone perhaps unfamiliar here in Europe who is tearing it up stateside and who we think needs to be introduced to a wider audience. Maurice Hope (Chief Reviewer on FSR said of Tommy only this wee "He is of a standard that bodes well for both his future, and this kind of music in general" he goes on .........

Texas singer-songwriter Tommy Lewis’ music is of the kind we could do with a whole lot more of filtering through. Warmed in pedal steel, fiddle, lead guitar and more it has a wonderful buoyancy. His blending of country with acoustic blues on the opening track “Salt Water Wine” holds the attention of the listener from first to last! On hearing it I mused to myself, this guy is something rather special. Though I wasn’t wrong, the directional of his music did change, immediately in fact as he dropped the simplicity of the acoustic blues in preference for a form of country music.  Read On

Tommy will be touring herein 2018 and we intend to continue to support that thought and all his endeavors.  

www.tommylewis.net

Merry Christmas and a guid new year everyone 


You could say Brian Langlinais’ new recording, Right Hand Road, was birthed by an ice storm, but that would be getting ahead of the story.

 

Long before that weather event, the album’s roots ran from sea to sea along I-10, home to a slew of bars and nightclubs where bands earn gas money between major cities. For decades, these venues have fostered the uniquely American art form called roadhouse music: a big tent under which blues, country, zydeco, and even jazz come together—often in the same band. Roadhouse legends such as Delbert McClinton, Marcia Ball, Omar and the Howlers, Mason Ruffner, and Lee Roy Parnell all came through Langlinais’ hometown of Lafayette, Louisiana, where he cut his teeth in bands playing this crowd-pleasing music.

 

“Back then, the job was—and still is—to make people drink and be happy,” explains Langlinais. “It was about playing songs people know. I covered Wilson Pickett’s catalog, which led me to a lot of lesser-known Stax artists like William Bell. I ended up in blues bands with horns, groups that became more soul than Mississippi Delta blues.”

 

Horns loom large in Langlinais’ history. His father played saxophone with Swamp Pop legends The Shondells, and Brian double-majored in college in trumpet and vocal performance. Ultimately, it was the singer that won out. Langlinais eventually landed in Nashville, where he strayed from his roadhouse roots long enough to record two acclaimed Americana records: Rock & Fire and Tonight I Might. But with Right Hand Road, those roots have called him back.

 

Langlinais had been considering returning to Lafayette to record, when his friend, producer/guitarist D.L. Duncan asked him to go there for a day and cut some tracks with Grammy-winning engineer Tony Daigle (Sonny Landreth, Derek Trucks, James McMurtry, Jon Cleary). They would just lay down a couple of covers, and see if they liked working together. Brought along from Nashville were a bassist, Ron Eoff (Cate Brothers, Jo-El Sonnier, Levon Helm) and a keyboard player, Patterson Barrett (Gurf Morlix, Buddy Miller), with drummer Brian Brignac (Sonny Landreth) picked up in Lafayette.

 

“We weren’t sure it would turn into a record” Langlinais recalls. “It was just to see how much fun we could have. We were planning on going back to Tennessee the next day, but there was an ice storm in Nashville. None of us could get back, so we ended up tracking for three full days.”

 

In addition to the stellar quality of the playing and singing, what distinguishes the resulting Right Hand Road is its level of songwriting. The tunes tell timeless stories, while adding new twists. William Bell’s classic “Every Day Is a Holiday” has been covered by everyone from Warren Haynes to RZA, but few since Bell himself have brought the well of authentic Southern soul feeling Langlinais and company evidence here.

 

“Wilson Pickett’s ‘Green Grass’ has become a Zydeco standard, but not like we did it,” says Langlinais. “Brian and Tony came up with a groove that went in a different direction, and Ron did a tic-tack thing on bass that made us feel this could be the beginning of a great record.”

 

Though the singer had more covers in his iTunes library, producer D.L. Duncan felt they should write some tunes of their own. “D.L. had some scratch lyrics for a couple of songs,” says Langlinais. “We would come up with a groove, take a little break, D.L. would come back with a lyric that he thought would fit, and I would start singing it. We wrote ‘Louisiana Love,’ ‘My One Desire,’ and the two acoustic songs, ‘Right Hand Road’ and ‘Our Love Is Slippin’ Away,’ in the studio while we were tracking.” Their work sits comfortably next to the covers, displaying the same simplicity mixed with emotional depth that makes this kind of music so enduring.

 

Back in Nashville, Langlinais and Duncan decided they needed two more songs to round out the record, so “Tucumcari Tonight” and “You Can’t Say I Didn’t Love You” were recorded at the Dog House with Lynn Williams (Delbert McClinton, Marcia Ball) on drums, Steve Conn (Sonny Landreth, Keith Urban) on keys, James Pennebaker (Delbert McClinton, Lee Roy Parnell) on guitar, and Eoff on bass.

 

 

 

 

“To me, the record symbolizes getting to go back home,” Langlinais says. “If you are from New York and say, ‘I need a sandwich from Katz’s deli,’ people from New York can taste that sandwich. Likewise, if you’re from Lafayette and I say, ‘I’m hungry for a Old Tyme Grocery po’ boy,’ you know the flavor. Going back to Lafayette meant working with people who have the same set of references. I have worked with people who can play a second line groove, but with these musicians it was so much easier to express the minutiae that make a groove specific.”

 

It is this kind of attention to detail that renders Right Hand Road special. You don’t have to be a music scholar or musician to feel in your heart and bones how getting the specifics right adds to the music’s impact. This recording could only have come from someone with Louisiana music in his DNA.

 

“I was born and raised there and my family was one of the first families to get land grants there,” says Langlinais. “My bloodline is only Acadian and French. Going home to Lafayette and doing the music that I’m about was a full circle.”

 

 

  

Russell deCarle (and the boys) are old school, real players and singers. They do things right, true professionals and at the same time great entertainers!

 

Weather it covering songs by the likes of by the likes of the Inkspots, Diana Shore or Hank Snow or self pened classics in the making  crooner deCarle recently took the UK by storm on his first tour in 45 years on the road.

 

"A spot of yodelling when added to his already exemplary vocals exploits placed an icing on the cake, and it wasn’t the only layer such the virtues of the music by them". Mauris Hope on the Newcast gig for FSR - More here

https://russelldecarle.com

Dates April/May Click Here

Our own Rob Ellen catches up with him in a Glen in Scotland.

 

Teresa Storch /  Come Clean

In The Daily Telegraphs Roots Top 20 Albums of 2015  

“She could be the love child of Joni Mitchell and Dave Matthews.”

Description

Touring The US and in her native Northeast since 2003, Teresa Storch has been recognized for her writing and performance by Susquehanna Music and Arts Festival 2005, Flat Rock Music Festival 2004, Rocky Mountain Folks Festival 2003 , and Bostons Best Singer/Songwriters Showcase 2003. Her name has spread throughout the country as a voice and presence not to be missed. 

She's called the "love child of Joni Mitchell and Dave Matthews", providing funky guitar rhythms and thought-bending lyrics that move from jazz to blues to folk, keeping your feet and your mind moving. 

Originally from Omaha, Nebraska, she began performing in local dance, drama and vocal productions at a young age. Attending college in Colorado, the famed Red Rocks Amphitheatre inspired her to create and perform her own music. Pulled to the singer/songwriter scene of Boston, she traversed the country in 1999. There she found the space to do what she loves, connecting with people in clubs, coffeehouses, on streets and subway platforms. 

You will find Teresa wherever she can do what she loves, connecting with people through music, be it in clubs in or a subway platform. She has shared stages and sidewalks with artists such as Dakota Blonde, Ryan Montbleau, Entrain, Kevin So, Paul and Storm, Jonathan Byrd and Rachel Sage, in venues throughout the country, setting her sights firmly on herfirst European tour (see over leaf) in conjunction with www.houseconcert.eu .

On Tour in the UK with support from FSR The European House Concert Hub and the Medicine Show.

Teresa Storch & Jeff Brown Europe Tour 2016

April 28 Dillon Whiskey Bar augavegur 30,101 Reykjavik, Iceland 8:00pm

April 29 Filey Folk Festival, The Evron Centre  Filey, UK 7:30pm Tickets:   £ 10/20 all 4 days Tel: 07808871118

Tickets: http://www.fileyfolkfestival.bravesites.com/venue-5-evron-centre

April 30* TBC  Edinburgh, UK 8:00pm

May 1*    House Concert  Edinburgh, UK 8:00pm Tickets:   £ 10  Contact: symon@visionmechanics.org for info

May 2*    YESBAR  14 Drury St.,Glasgow,Scotland,G2 5AA,UK 8:00pm Tickets:   £ 5

May 3*    Hotel Argyll  18 Argyll St.,Ullapool, IV26 2UB,UK 8:00pm

May 4*    ‘Beautiful Nairn Nights’ @ WASPs Arts Studio  Nairn, UK 8:00pm Tickets:   £ 8

May 5*    TBC  Inverness, UK 8:00pm

May 7*    The Acoustic Yard Festival, Town Hall Theatre  The Octagon, Westport, Co Mayo, IE 8:00pm Tickets: €22 https://westporttownhall.ticketsolve.com/shows/873548822/events?show_id=873548822

May 9    The Corner Bar  37 Bridge St. Skibbereen, Co Cork, IE 9:30pm

May 12  The Crown Inn  6 Church St., Heanor, Derbyshire, DE75 7AH, UK 8:00pm

May 13   House Concert  Sheffield, UK 8:00pm Tickets: £ 10 Contact: bea@beamarshall.com for info

May 14   TBC Scarborough, UK

May 15   ‘Acoustic Folk Highway’ @The Harrison 28 Harrison St., London,Kings Cross, WC1h 8JF, UK 7:00pm Tickets: £ 5

May 17   The Troubadour  263-267 Old Brompton Rd., London, Earls Court, SW5 9JA, UK 7:45pm Tickets: £ 6https://troubadourlondon.yapsody.com/event/index/25371/teresa-storch

May 20^   ‘Blueprint’ Live Radio Session @Theater vanBeresteyn (foyer) Museumplein 5/a,Veendam, 9641,NL 5:00pm

May 22^   Cafe Peter en Leni  Damsterweg 20, Steendam, 9629 PD, NL 3:00pm 

May 23^   Dwaze Zaken  Prins Hendrikkade 50 Amsterdam, 1012 AC, NL 7:00pm

*With Peter Lacis on guitar!   ^Teresa Solo Show!

QUOTES AND TESTIMONIALS!

“She inhabits her songs so fully you can’t help but be pulled into her world.” – Boston Herald writer Daniel Gewertz

“Mesmerizing vocal riffs…bounding folk-rock sound.” – Northeast Performer

“One of the most inventive writers and solid performers of the current crop of singer/songwriters coming out of Boston. [She] makes me proud to be one.” – veteran singer/songwriter Vance Gilbert

“Infuses contemporary singer/songwriter with traditional folk vibe. It’s no wonder she’s being recognized in her genre.” -Soundcheck Magazine

“The only other time I’ve had this kind of reaction to a performer was when Bonnie Raitt first started doing the rounds of small venues… it was that same thrill of connection.” –Dayle Ann Stratton (fan)

Website:  www.teresastorch.com

Facebook: www.facebook.com/teresastorchmusic

Twitter @tstorchmusic 

Featured artist of the month Ed Romanoff

Ed Romanoff could be a character in one of his own songs. A chronicler of American experience whose voice recalls the grit of Kris Kristofferson and the wit of Guy Clark, the New York singer-songwriter pens wise, big-hearted, occasionally whimsical, usually melancholic tunes about lonely souls and romantic dreamers, lost lovers and coy ghosts, a bank robber and even the Elephant Man himself. Not only does Romanoff sympathize with the crew of outsiders and outlaws on his new album The Orphan King, (release Feb 23)but he also belongs among their ranks: an artist who has spent a lifetime drifting from job to job, steadfastly refining his craft for years on a 75 dollar Yamaha guitar, following his own compass, and solving his own mysteries.

Romanoff admits he started late. “My father was tone deaf,” he says, “so I always thought I was, too.”  Instead of music, he tended bar in Virginia and branded cattle in Wyoming before eventually founding PineRock, a production firm in New York City. When he finally decided to pursue music in his forties, he became a diligent student, writing constantly and performing wherever and whenever he could. He spent time in Nashville taking songwriting classes and attending workshops with Darrell Scott, Beth Nielson Chapman, and Mary Gauthier, who later invited him to go on the road. Before he even had an album with his name on the spine, Romanoff was touring the world. 

Romanoff’s unconventional journey gave him a different perspective from other songwriters, a different set of rules and a different voice. His 2012 self-titled debut, produced by Crit Harmon (Lori McKenna, Martin Sexton), won the Nashville Songwriters Song of the Year and later that year Romanoff joined Steve Earle and James McMurtry as a winner of the Kerrville New Folk Competition. Since then, Romanoff has been working on a follow-up, amassing a stockpile of gracefully observed and eloquently sturdy songs. He didn’t have to stray far from his home in Woodstock to record them; instead, he worked with Simone Felice at the producer’s barn studio in Palenville, New York, just a few miles down the road.

The pair corralled an impressive roster of locals to flesh out the songs, including Romanoff’s longtime friend and touring mate Rachael Yamagata, Kenneth Pattengale of the Milk Carton Kids, guitarist Cindy Cashdollar (Dylan’s Time Out of Mind), The E Street Band’s Cindy Mizelle, and multi-instrumentalist Larry Campbell, along with Larry’s wife and duo partner, Teresa Williams. Together, they forged rootsy and eccentric arrangements for Romanoff’s songs, heightening the wee-hours longing of “The Night Is a Woman” and supernatural  melancholy of “Miss Worby’s Ghost.” Campbell, whom Romanoff credits with providing “the backbone of the album,” lends a fierce guitar solo to “The Ballad of Willie Sutton,” turning the coda into a gothic car chase across some mythic American plain.

The Orphan King reveals an artist alive to the serendipity of songwriting: those flashes of insight and inspiration, often accidental, that convey ideas and feelings unique to this medium. He co-wrote the title track, which sounds as lonely as a graveside eulogy after everyone has left for the reception, about his close relationship with his father. Imagine his surprise when, several years later, a DNA test sent him reeling: “I had spent my life idolizing my dad, and believing I was Russian, but the test said I was Irish. My father wasn’t my father.”

The revelation sent him into a depression so deep that he barely left his apartment for months. When he returned to “The Orphan King,” written before he know his own story, he found the song’s sense of loss even more acute and the sense of connection even stronger, the words of the refrain resonating like a personal mantra: “I still believe in love.”

Not every song on The Orphan King is quite so autobiographical. In fact, the album shows Romanoff as a writer with an eye for the telling historical detail and an imagination attuned to the whimsical. His fascination with Joseph Merrick inspired “The Elephant Man,” a humanizing portrait of a man known for his deformities but, in Romanoff’s hands, is granted a rare dignity to explore his intense yearning for life and finds love in the form of a very tall carnival worker. “I felt if I could have him meet somebody who was just as much an outsider as he was, then they could be together.” The song became an act of compassion and empathy, as Romanoff imagines a happy ending for the unusual couple: “I’m gonna build a car with Ferris wheel tires, leave extra headroom to reach the stars. World’s largest truck, well, it will be ours as we go rolling into history.”

Songs like “Without You” and “Leavin’ With Someone Else” can break your heart, but Romanoff has a knack for the well-earned happy ending. He obviously loves his characters, and he listens to what they tell him. He turns his songs into receptacles for their dearest dreams, investing them with generosity and humanity. Romanoff’s first draft of the novelistic “Golden Crown,” about a boxer in Ireland, culminated in a grisly finale. “But I felt like this guy was saying, I don’t want to die in a river with a ring in my pocket. So I wrote what he wanted me to write. A lot of these songs ended up being about things I could identify in my own life, but I had to let these people tell their own stories.”

There’s something radical about the happy endings on The Orphan King, perhaps because there are so few happy endings in the late 2010s. “I almost canceled the rest of the sessions just after the election,” he admits. “I didn’t feel like l could sing. I was too anxious”. As Leonard Cohen had just died, Ed was thinking about Cohen’s song “First We Take Manhattan” and sat down to write “Coronation Blues,” the final song on the record. It was, he admits, a rant written from the perspective of a mad king. It’s a damning bit of political commentary of recent political events as well as a reminder that making music is a radical act.

“For all these songs,  I think if I got anything right, it was allowing each character to have their own voice . I was trying to find out what their truth was.”

Quietly ambitious yet undeniably accomplished, The Orphan King seeks to square up heartbreak with hope, alienation with acceptance, tribulation with an unkillable belief in love. “I wanted to make something beautiful out of something that just felt awful. I want nothing more than to make people smile and feel like they’re not alone. That’s what music has always done for me.,

www.edromanoff.com

 

Tommy Lewis will be the last in line FSR Featured Artist this month for 2017, we always like to feature someone perhaps unfamiliar here in Europe who is tearing it up stateside and who we think needs to be introduced to a wider audience. Maurice Hope (Chief Reviewer on FSR said of Tommy only this wee "He is of a standard that bodes well for both his future, and this kind of music in general" he goes on .........

Texas singer-songwriter Tommy Lewis’ music is of the kind we could do with a whole lot more of filtering through. Warmed in pedal steel, fiddle, lead guitar and more it has a wonderful buoyancy. His blending of country with acoustic blues on the opening track “Salt Water Wine” holds the attention of the listener from first to last! On hearing it I mused to myself, this guy is something rather special. Though I wasn’t wrong, the directional of his music did change, immediately in fact as he dropped the simplicity of the acoustic blues in preference for a form of country music.  Read On

Tommy will be touring herein 2018 and we intend to continue to support that thought and all his endeavors.  

www.tommylewis.net

Merry Christmas and a guid new year everyone 


You could say Brian Langlinais’ new recording, Right Hand Road, was birthed by an ice storm, but that would be getting ahead of the story.

 

Long before that weather event, the album’s roots ran from sea to sea along I-10, home to a slew of bars and nightclubs where bands earn gas money between major cities. For decades, these venues have fostered the uniquely American art form called roadhouse music: a big tent under which blues, country, zydeco, and even jazz come together—often in the same band. Roadhouse legends such as Delbert McClinton, Marcia Ball, Omar and the Howlers, Mason Ruffner, and Lee Roy Parnell all came through Langlinais’ hometown of Lafayette, Louisiana, where he cut his teeth in bands playing this crowd-pleasing music.

 

“Back then, the job was—and still is—to make people drink and be happy,” explains Langlinais. “It was about playing songs people know. I covered Wilson Pickett’s catalog, which led me to a lot of lesser-known Stax artists like William Bell. I ended up in blues bands with horns, groups that became more soul than Mississippi Delta blues.”

 

Horns loom large in Langlinais’ history. His father played saxophone with Swamp Pop legends The Shondells, and Brian double-majored in college in trumpet and vocal performance. Ultimately, it was the singer that won out. Langlinais eventually landed in Nashville, where he strayed from his roadhouse roots long enough to record two acclaimed Americana records: Rock & Fire and Tonight I Might. But with Right Hand Road, those roots have called him back.

 

Langlinais had been considering returning to Lafayette to record, when his friend, producer/guitarist D.L. Duncan asked him to go there for a day and cut some tracks with Grammy-winning engineer Tony Daigle (Sonny Landreth, Derek Trucks, James McMurtry, Jon Cleary). They would just lay down a couple of covers, and see if they liked working together. Brought along from Nashville were a bassist, Ron Eoff (Cate Brothers, Jo-El Sonnier, Levon Helm) and a keyboard player, Patterson Barrett (Gurf Morlix, Buddy Miller), with drummer Brian Brignac (Sonny Landreth) picked up in Lafayette.

 

“We weren’t sure it would turn into a record” Langlinais recalls. “It was just to see how much fun we could have. We were planning on going back to Tennessee the next day, but there was an ice storm in Nashville. None of us could get back, so we ended up tracking for three full days.”

 

In addition to the stellar quality of the playing and singing, what distinguishes the resulting Right Hand Road is its level of songwriting. The tunes tell timeless stories, while adding new twists. William Bell’s classic “Every Day Is a Holiday” has been covered by everyone from Warren Haynes to RZA, but few since Bell himself have brought the well of authentic Southern soul feeling Langlinais and company evidence here.

 

“Wilson Pickett’s ‘Green Grass’ has become a Zydeco standard, but not like we did it,” says Langlinais. “Brian and Tony came up with a groove that went in a different direction, and Ron did a tic-tack thing on bass that made us feel this could be the beginning of a great record.”

 

Though the singer had more covers in his iTunes library, producer D.L. Duncan felt they should write some tunes of their own. “D.L. had some scratch lyrics for a couple of songs,” says Langlinais. “We would come up with a groove, take a little break, D.L. would come back with a lyric that he thought would fit, and I would start singing it. We wrote ‘Louisiana Love,’ ‘My One Desire,’ and the two acoustic songs, ‘Right Hand Road’ and ‘Our Love Is Slippin’ Away,’ in the studio while we were tracking.” Their work sits comfortably next to the covers, displaying the same simplicity mixed with emotional depth that makes this kind of music so enduring.

 

Back in Nashville, Langlinais and Duncan decided they needed two more songs to round out the record, so “Tucumcari Tonight” and “You Can’t Say I Didn’t Love You” were recorded at the Dog House with Lynn Williams (Delbert McClinton, Marcia Ball) on drums, Steve Conn (Sonny Landreth, Keith Urban) on keys, James Pennebaker (Delbert McClinton, Lee Roy Parnell) on guitar, and Eoff on bass.

 

 

 

 

“To me, the record symbolizes getting to go back home,” Langlinais says. “If you are from New York and say, ‘I need a sandwich from Katz’s deli,’ people from New York can taste that sandwich. Likewise, if you’re from Lafayette and I say, ‘I’m hungry for a Old Tyme Grocery po’ boy,’ you know the flavor. Going back to Lafayette meant working with people who have the same set of references. I have worked with people who can play a second line groove, but with these musicians it was so much easier to express the minutiae that make a groove specific.”

 

It is this kind of attention to detail that renders Right Hand Road special. You don’t have to be a music scholar or musician to feel in your heart and bones how getting the specifics right adds to the music’s impact. This recording could only have come from someone with Louisiana music in his DNA.

 

“I was born and raised there and my family was one of the first families to get land grants there,” says Langlinais. “My bloodline is only Acadian and French. Going home to Lafayette and doing the music that I’m about was a full circle.”

 

 

  

Russell deCarle (and the boys) are old school, real players and singers. They do things right, true professionals and at the same time great entertainers!

 

Weather it covering songs by the likes of by the likes of the Inkspots, Diana Shore or Hank Snow or self pened classics in the making  crooner deCarle recently took the UK by storm on his first tour in 45 years on the road.

 

"A spot of yodelling when added to his already exemplary vocals exploits placed an icing on the cake, and it wasn’t the only layer such the virtues of the music by them". Mauris Hope on the Newcast gig for FSR - More here

https://russelldecarle.com

Dates April/May Click Here

Our own Rob Ellen catches up with him in a Glen in Scotland.

 

Teresa Storch /  Come Clean

In The Daily Telegraphs Roots Top 20 Albums of 2015  

“She could be the love child of Joni Mitchell and Dave Matthews.”

Description

Touring The US and in her native Northeast since 2003, Teresa Storch has been recognized for her writing and performance by Susquehanna Music and Arts Festival 2005, Flat Rock Music Festival 2004, Rocky Mountain Folks Festival 2003 , and Bostons Best Singer/Songwriters Showcase 2003. Her name has spread throughout the country as a voice and presence not to be missed. 

She's called the "love child of Joni Mitchell and Dave Matthews", providing funky guitar rhythms and thought-bending lyrics that move from jazz to blues to folk, keeping your feet and your mind moving. 

Originally from Omaha, Nebraska, she began performing in local dance, drama and vocal productions at a young age. Attending college in Colorado, the famed Red Rocks Amphitheatre inspired her to create and perform her own music. Pulled to the singer/songwriter scene of Boston, she traversed the country in 1999. There she found the space to do what she loves, connecting with people in clubs, coffeehouses, on streets and subway platforms. 

You will find Teresa wherever she can do what she loves, connecting with people through music, be it in clubs in or a subway platform. She has shared stages and sidewalks with artists such as Dakota Blonde, Ryan Montbleau, Entrain, Kevin So, Paul and Storm, Jonathan Byrd and Rachel Sage, in venues throughout the country, setting her sights firmly on herfirst European tour (see over leaf) in conjunction with www.houseconcert.eu .

On Tour in the UK with support from FSR The European House Concert Hub and the Medicine Show.

Teresa Storch & Jeff Brown Europe Tour 2016

April 28 Dillon Whiskey Bar augavegur 30,101 Reykjavik, Iceland 8:00pm

April 29 Filey Folk Festival, The Evron Centre  Filey, UK 7:30pm Tickets:   £ 10/20 all 4 days Tel: 07808871118

Tickets: http://www.fileyfolkfestival.bravesites.com/venue-5-evron-centre

April 30* TBC  Edinburgh, UK 8:00pm

May 1*    House Concert  Edinburgh, UK 8:00pm Tickets:   £ 10  Contact: symon@visionmechanics.org for info

May 2*    YESBAR  14 Drury St.,Glasgow,Scotland,G2 5AA,UK 8:00pm Tickets:   £ 5

May 3*    Hotel Argyll  18 Argyll St.,Ullapool, IV26 2UB,UK 8:00pm

May 4*    ‘Beautiful Nairn Nights’ @ WASPs Arts Studio  Nairn, UK 8:00pm Tickets:   £ 8

May 5*    TBC  Inverness, UK 8:00pm

May 7*    The Acoustic Yard Festival, Town Hall Theatre  The Octagon, Westport, Co Mayo, IE 8:00pm Tickets: €22 https://westporttownhall.ticketsolve.com/shows/873548822/events?show_id=873548822

May 9    The Corner Bar  37 Bridge St. Skibbereen, Co Cork, IE 9:30pm

May 12  The Crown Inn  6 Church St., Heanor, Derbyshire, DE75 7AH, UK 8:00pm

May 13   House Concert  Sheffield, UK 8:00pm Tickets: £ 10 Contact: bea@beamarshall.com for info

May 14   TBC Scarborough, UK

May 15   ‘Acoustic Folk Highway’ @The Harrison 28 Harrison St., London,Kings Cross, WC1h 8JF, UK 7:00pm Tickets: £ 5

May 17   The Troubadour  263-267 Old Brompton Rd., London, Earls Court, SW5 9JA, UK 7:45pm Tickets: £ 6https://troubadourlondon.yapsody.com/event/index/25371/teresa-storch

May 20^   ‘Blueprint’ Live Radio Session @Theater vanBeresteyn (foyer) Museumplein 5/a,Veendam, 9641,NL 5:00pm

May 22^   Cafe Peter en Leni  Damsterweg 20, Steendam, 9629 PD, NL 3:00pm 

May 23^   Dwaze Zaken  Prins Hendrikkade 50 Amsterdam, 1012 AC, NL 7:00pm

*With Peter Lacis on guitar!   ^Teresa Solo Show!

QUOTES AND TESTIMONIALS!

“She inhabits her songs so fully you can’t help but be pulled into her world.” – Boston Herald writer Daniel Gewertz

“Mesmerizing vocal riffs…bounding folk-rock sound.” – Northeast Performer

“One of the most inventive writers and solid performers of the current crop of singer/songwriters coming out of Boston. [She] makes me proud to be one.” – veteran singer/songwriter Vance Gilbert

“Infuses contemporary singer/songwriter with traditional folk vibe. It’s no wonder she’s being recognized in her genre.” -Soundcheck Magazine

“The only other time I’ve had this kind of reaction to a performer was when Bonnie Raitt first started doing the rounds of small venues… it was that same thrill of connection.” –Dayle Ann Stratton (fan)

Website:  www.teresastorch.com

Facebook: www.facebook.com/teresastorchmusic

Twitter @tstorchmusic 

Featured artist of the month Ed Romanoff

Ed Romanoff could be a character in one of his own songs. A chronicler of American experience whose voice recalls the grit of Kris Kristofferson and the wit of Guy Clark, the New York singer-songwriter pens wise, big-hearted, occasionally whimsical, usually melancholic tunes about lonely souls and romantic dreamers, lost lovers and coy ghosts, a bank robber and even the Elephant Man himself. Not only does Romanoff sympathize with the crew of outsiders and outlaws on his new album The Orphan King, (release Feb 23)but he also belongs among their ranks: an artist who has spent a lifetime drifting from job to job, steadfastly refining his craft for years on a 75 dollar Yamaha guitar, following his own compass, and solving his own mysteries.

Romanoff admits he started late. “My father was tone deaf,” he says, “so I always thought I was, too.”  Instead of music, he tended bar in Virginia and branded cattle in Wyoming before eventually founding PineRock, a production firm in New York City. When he finally decided to pursue music in his forties, he became a diligent student, writing constantly and performing wherever and whenever he could. He spent time in Nashville taking songwriting classes and attending workshops with Darrell Scott, Beth Nielson Chapman, and Mary Gauthier, who later invited him to go on the road. Before he even had an album with his name on the spine, Romanoff was touring the world. 

Romanoff’s unconventional journey gave him a different perspective from other songwriters, a different set of rules and a different voice. His 2012 self-titled debut, produced by Crit Harmon (Lori McKenna, Martin Sexton), won the Nashville Songwriters Song of the Year and later that year Romanoff joined Steve Earle and James McMurtry as a winner of the Kerrville New Folk Competition. Since then, Romanoff has been working on a follow-up, amassing a stockpile of gracefully observed and eloquently sturdy songs. He didn’t have to stray far from his home in Woodstock to record them; instead, he worked with Simone Felice at the producer’s barn studio in Palenville, New York, just a few miles down the road.

The pair corralled an impressive roster of locals to flesh out the songs, including Romanoff’s longtime friend and touring mate Rachael Yamagata, Kenneth Pattengale of the Milk Carton Kids, guitarist Cindy Cashdollar (Dylan’s Time Out of Mind), The E Street Band’s Cindy Mizelle, and multi-instrumentalist Larry Campbell, along with Larry’s wife and duo partner, Teresa Williams. Together, they forged rootsy and eccentric arrangements for Romanoff’s songs, heightening the wee-hours longing of “The Night Is a Woman” and supernatural  melancholy of “Miss Worby’s Ghost.” Campbell, whom Romanoff credits with providing “the backbone of the album,” lends a fierce guitar solo to “The Ballad of Willie Sutton,” turning the coda into a gothic car chase across some mythic American plain.

The Orphan King reveals an artist alive to the serendipity of songwriting: those flashes of insight and inspiration, often accidental, that convey ideas and feelings unique to this medium. He co-wrote the title track, which sounds as lonely as a graveside eulogy after everyone has left for the reception, about his close relationship with his father. Imagine his surprise when, several years later, a DNA test sent him reeling: “I had spent my life idolizing my dad, and believing I was Russian, but the test said I was Irish. My father wasn’t my father.”

The revelation sent him into a depression so deep that he barely left his apartment for months. When he returned to “The Orphan King,” written before he know his own story, he found the song’s sense of loss even more acute and the sense of connection even stronger, the words of the refrain resonating like a personal mantra: “I still believe in love.”

Not every song on The Orphan King is quite so autobiographical. In fact, the album shows Romanoff as a writer with an eye for the telling historical detail and an imagination attuned to the whimsical. His fascination with Joseph Merrick inspired “The Elephant Man,” a humanizing portrait of a man known for his deformities but, in Romanoff’s hands, is granted a rare dignity to explore his intense yearning for life and finds love in the form of a very tall carnival worker. “I felt if I could have him meet somebody who was just as much an outsider as he was, then they could be together.” The song became an act of compassion and empathy, as Romanoff imagines a happy ending for the unusual couple: “I’m gonna build a car with Ferris wheel tires, leave extra headroom to reach the stars. World’s largest truck, well, it will be ours as we go rolling into history.”

Songs like “Without You” and “Leavin’ With Someone Else” can break your heart, but Romanoff has a knack for the well-earned happy ending. He obviously loves his characters, and he listens to what they tell him. He turns his songs into receptacles for their dearest dreams, investing them with generosity and humanity. Romanoff’s first draft of the novelistic “Golden Crown,” about a boxer in Ireland, culminated in a grisly finale. “But I felt like this guy was saying, I don’t want to die in a river with a ring in my pocket. So I wrote what he wanted me to write. A lot of these songs ended up being about things I could identify in my own life, but I had to let these people tell their own stories.”

There’s something radical about the happy endings on The Orphan King, perhaps because there are so few happy endings in the late 2010s. “I almost canceled the rest of the sessions just after the election,” he admits. “I didn’t feel like l could sing. I was too anxious”. As Leonard Cohen had just died, Ed was thinking about Cohen’s song “First We Take Manhattan” and sat down to write “Coronation Blues,” the final song on the record. It was, he admits, a rant written from the perspective of a mad king. It’s a damning bit of political commentary of recent political events as well as a reminder that making music is a radical act.

“For all these songs,  I think if I got anything right, it was allowing each character to have their own voice . I was trying to find out what their truth was.”

Quietly ambitious yet undeniably accomplished, The Orphan King seeks to square up heartbreak with hope, alienation with acceptance, tribulation with an unkillable belief in love. “I wanted to make something beautiful out of something that just felt awful. I want nothing more than to make people smile and feel like they’re not alone. That’s what music has always done for me.,

www.edromanoff.com

 

Tommy Lewis will be the last in line FSR Featured Artist this month for 2017, we always like to feature someone perhaps unfamiliar here in Europe who is tearing it up stateside and who we think needs to be introduced to a wider audience. Maurice Hope (Chief Reviewer on FSR said of Tommy only this wee "He is of a standard that bodes well for both his future, and this kind of music in general" he goes on .........

Texas singer-songwriter Tommy Lewis’ music is of the kind we could do with a whole lot more of filtering through. Warmed in pedal steel, fiddle, lead guitar and more it has a wonderful buoyancy. His blending of country with acoustic blues on the opening track “Salt Water Wine” holds the attention of the listener from first to last! On hearing it I mused to myself, this guy is something rather special. Though I wasn’t wrong, the directional of his music did change, immediately in fact as he dropped the simplicity of the acoustic blues in preference for a form of country music.  Read On

Tommy will be touring herein 2018 and we intend to continue to support that thought and all his endeavors.  

www.tommylewis.net

Merry Christmas and a guid new year everyone 


You could say Brian Langlinais’ new recording, Right Hand Road, was birthed by an ice storm, but that would be getting ahead of the story.

 

Long before that weather event, the album’s roots ran from sea to sea along I-10, home to a slew of bars and nightclubs where bands earn gas money between major cities. For decades, these venues have fostered the uniquely American art form called roadhouse music: a big tent under which blues, country, zydeco, and even jazz come together—often in the same band. Roadhouse legends such as Delbert McClinton, Marcia Ball, Omar and the Howlers, Mason Ruffner, and Lee Roy Parnell all came through Langlinais’ hometown of Lafayette, Louisiana, where he cut his teeth in bands playing this crowd-pleasing music.

 

“Back then, the job was—and still is—to make people drink and be happy,” explains Langlinais. “It was about playing songs people know. I covered Wilson Pickett’s catalog, which led me to a lot of lesser-known Stax artists like William Bell. I ended up in blues bands with horns, groups that became more soul than Mississippi Delta blues.”

 

Horns loom large in Langlinais’ history. His father played saxophone with Swamp Pop legends The Shondells, and Brian double-majored in college in trumpet and vocal performance. Ultimately, it was the singer that won out. Langlinais eventually landed in Nashville, where he strayed from his roadhouse roots long enough to record two acclaimed Americana records: Rock & Fire and Tonight I Might. But with Right Hand Road, those roots have called him back.

 

Langlinais had been considering returning to Lafayette to record, when his friend, producer/guitarist D.L. Duncan asked him to go there for a day and cut some tracks with Grammy-winning engineer Tony Daigle (Sonny Landreth, Derek Trucks, James McMurtry, Jon Cleary). They would just lay down a couple of covers, and see if they liked working together. Brought along from Nashville were a bassist, Ron Eoff (Cate Brothers, Jo-El Sonnier, Levon Helm) and a keyboard player, Patterson Barrett (Gurf Morlix, Buddy Miller), with drummer Brian Brignac (Sonny Landreth) picked up in Lafayette.

 

“We weren’t sure it would turn into a record” Langlinais recalls. “It was just to see how much fun we could have. We were planning on going back to Tennessee the next day, but there was an ice storm in Nashville. None of us could get back, so we ended up tracking for three full days.”

 

In addition to the stellar quality of the playing and singing, what distinguishes the resulting Right Hand Road is its level of songwriting. The tunes tell timeless stories, while adding new twists. William Bell’s classic “Every Day Is a Holiday” has been covered by everyone from Warren Haynes to RZA, but few since Bell himself have brought the well of authentic Southern soul feeling Langlinais and company evidence here.

 

“Wilson Pickett’s ‘Green Grass’ has become a Zydeco standard, but not like we did it,” says Langlinais. “Brian and Tony came up with a groove that went in a different direction, and Ron did a tic-tack thing on bass that made us feel this could be the beginning of a great record.”

 

Though the singer had more covers in his iTunes library, producer D.L. Duncan felt they should write some tunes of their own. “D.L. had some scratch lyrics for a couple of songs,” says Langlinais. “We would come up with a groove, take a little break, D.L. would come back with a lyric that he thought would fit, and I would start singing it. We wrote ‘Louisiana Love,’ ‘My One Desire,’ and the two acoustic songs, ‘Right Hand Road’ and ‘Our Love Is Slippin’ Away,’ in the studio while we were tracking.” Their work sits comfortably next to the covers, displaying the same simplicity mixed with emotional depth that makes this kind of music so enduring.

 

Back in Nashville, Langlinais and Duncan decided they needed two more songs to round out the record, so “Tucumcari Tonight” and “You Can’t Say I Didn’t Love You” were recorded at the Dog House with Lynn Williams (Delbert McClinton, Marcia Ball) on drums, Steve Conn (Sonny Landreth, Keith Urban) on keys, James Pennebaker (Delbert McClinton, Lee Roy Parnell) on guitar, and Eoff on bass.

 

 

 

 

“To me, the record symbolizes getting to go back home,” Langlinais says. “If you are from New York and say, ‘I need a sandwich from Katz’s deli,’ people from New York can taste that sandwich. Likewise, if you’re from Lafayette and I say, ‘I’m hungry for a Old Tyme Grocery po’ boy,’ you know the flavor. Going back to Lafayette meant working with people who have the same set of references. I have worked with people who can play a second line groove, but with these musicians it was so much easier to express the minutiae that make a groove specific.”

 

It is this kind of attention to detail that renders Right Hand Road special. You don’t have to be a music scholar or musician to feel in your heart and bones how getting the specifics right adds to the music’s impact. This recording could only have come from someone with Louisiana music in his DNA.

 

“I was born and raised there and my family was one of the first families to get land grants there,” says Langlinais. “My bloodline is only Acadian and French. Going home to Lafayette and doing the music that I’m about was a full circle.”

 

 

  

Russell deCarle (and the boys) are old school, real players and singers. They do things right, true professionals and at the same time great entertainers!

 

Weather it covering songs by the likes of by the likes of the Inkspots, Diana Shore or Hank Snow or self pened classics in the making  crooner deCarle recently took the UK by storm on his first tour in 45 years on the road.

 

"A spot of yodelling when added to his already exemplary vocals exploits placed an icing on the cake, and it wasn’t the only layer such the virtues of the music by them". Mauris Hope on the Newcast gig for FSR - More here

https://russelldecarle.com

Dates April/May Click Here

Our own Rob Ellen catches up with him in a Glen in Scotland.

 

Teresa Storch /  Come Clean

In The Daily Telegraphs Roots Top 20 Albums of 2015  

“She could be the love child of Joni Mitchell and Dave Matthews.”

Description

Touring The US and in her native Northeast since 2003, Teresa Storch has been recognized for her writing and performance by Susquehanna Music and Arts Festival 2005, Flat Rock Music Festival 2004, Rocky Mountain Folks Festival 2003 , and Bostons Best Singer/Songwriters Showcase 2003. Her name has spread throughout the country as a voice and presence not to be missed. 

She's called the "love child of Joni Mitchell and Dave Matthews", providing funky guitar rhythms and thought-bending lyrics that move from jazz to blues to folk, keeping your feet and your mind moving. 

Originally from Omaha, Nebraska, she began performing in local dance, drama and vocal productions at a young age. Attending college in Colorado, the famed Red Rocks Amphitheatre inspired her to create and perform her own music. Pulled to the singer/songwriter scene of Boston, she traversed the country in 1999. There she found the space to do what she loves, connecting with people in clubs, coffeehouses, on streets and subway platforms. 

You will find Teresa wherever she can do what she loves, connecting with people through music, be it in clubs in or a subway platform. She has shared stages and sidewalks with artists such as Dakota Blonde, Ryan Montbleau, Entrain, Kevin So, Paul and Storm, Jonathan Byrd and Rachel Sage, in venues throughout the country, setting her sights firmly on herfirst European tour (see over leaf) in conjunction with www.houseconcert.eu .

On Tour in the UK with support from FSR The European House Concert Hub and the Medicine Show.

Teresa Storch & Jeff Brown Europe Tour 2016

April 28 Dillon Whiskey Bar augavegur 30,101 Reykjavik, Iceland 8:00pm

April 29 Filey Folk Festival, The Evron Centre  Filey, UK 7:30pm Tickets:   £ 10/20 all 4 days Tel: 07808871118

Tickets: http://www.fileyfolkfestival.bravesites.com/venue-5-evron-centre

April 30* TBC  Edinburgh, UK 8:00pm

May 1*    House Concert  Edinburgh, UK 8:00pm Tickets:   £ 10  Contact: symon@visionmechanics.org for info

May 2*    YESBAR  14 Drury St.,Glasgow,Scotland,G2 5AA,UK 8:00pm Tickets:   £ 5

May 3*    Hotel Argyll  18 Argyll St.,Ullapool, IV26 2UB,UK 8:00pm

May 4*    ‘Beautiful Nairn Nights’ @ WASPs Arts Studio  Nairn, UK 8:00pm Tickets:   £ 8

May 5*    TBC  Inverness, UK 8:00pm

May 7*    The Acoustic Yard Festival, Town Hall Theatre  The Octagon, Westport, Co Mayo, IE 8:00pm Tickets: €22 https://westporttownhall.ticketsolve.com/shows/873548822/events?show_id=873548822

May 9    The Corner Bar  37 Bridge St. Skibbereen, Co Cork, IE 9:30pm

May 12  The Crown Inn  6 Church St., Heanor, Derbyshire, DE75 7AH, UK 8:00pm

May 13   House Concert  Sheffield, UK 8:00pm Tickets: £ 10 Contact: bea@beamarshall.com for info

May 14   TBC Scarborough, UK

May 15   ‘Acoustic Folk Highway’ @The Harrison 28 Harrison St., London,Kings Cross, WC1h 8JF, UK 7:00pm Tickets: £ 5

May 17   The Troubadour  263-267 Old Brompton Rd., London, Earls Court, SW5 9JA, UK 7:45pm Tickets: £ 6https://troubadourlondon.yapsody.com/event/index/25371/teresa-storch

May 20^   ‘Blueprint’ Live Radio Session @Theater vanBeresteyn (foyer) Museumplein 5/a,Veendam, 9641,NL 5:00pm

May 22^   Cafe Peter en Leni  Damsterweg 20, Steendam, 9629 PD, NL 3:00pm 

May 23^   Dwaze Zaken  Prins Hendrikkade 50 Amsterdam, 1012 AC, NL 7:00pm

*With Peter Lacis on guitar!   ^Teresa Solo Show!

QUOTES AND TESTIMONIALS!

“She inhabits her songs so fully you can’t help but be pulled into her world.” – Boston Herald writer Daniel Gewertz

“Mesmerizing vocal riffs…bounding folk-rock sound.” – Northeast Performer

“One of the most inventive writers and solid performers of the current crop of singer/songwriters coming out of Boston. [She] makes me proud to be one.” – veteran singer/songwriter Vance Gilbert

“Infuses contemporary singer/songwriter with traditional folk vibe. It’s no wonder she’s being recognized in her genre.” -Soundcheck Magazine

“The only other time I’ve had this kind of reaction to a performer was when Bonnie Raitt first started doing the rounds of small venues… it was that same thrill of connection.” –Dayle Ann Stratton (fan)

Website:  www.teresastorch.com

Facebook: www.facebook.com/teresastorchmusic

Twitter @tstorchmusic 

Featured artist of the month Ed Romanoff

Ed Romanoff could be a character in one of his own songs. A chronicler of American experience whose voice recalls the grit of Kris Kristofferson and the wit of Guy Clark, the New York singer-songwriter pens wise, big-hearted, occasionally whimsical, usually melancholic tunes about lonely souls and romantic dreamers, lost lovers and coy ghosts, a bank robber and even the Elephant Man himself. Not only does Romanoff sympathize with the crew of outsiders and outlaws on his new album The Orphan King, (release Feb 23)but he also belongs among their ranks: an artist who has spent a lifetime drifting from job to job, steadfastly refining his craft for years on a 75 dollar Yamaha guitar, following his own compass, and solving his own mysteries.

Romanoff admits he started late. “My father was tone deaf,” he says, “so I always thought I was, too.”  Instead of music, he tended bar in Virginia and branded cattle in Wyoming before eventually founding PineRock, a production firm in New York City. When he finally decided to pursue music in his forties, he became a diligent student, writing constantly and performing wherever and whenever he could. He spent time in Nashville taking songwriting classes and attending workshops with Darrell Scott, Beth Nielson Chapman, and Mary Gauthier, who later invited him to go on the road. Before he even had an album with his name on the spine, Romanoff was touring the world. 

Romanoff’s unconventional journey gave him a different perspective from other songwriters, a different set of rules and a different voice. His 2012 self-titled debut, produced by Crit Harmon (Lori McKenna, Martin Sexton), won the Nashville Songwriters Song of the Year and later that year Romanoff joined Steve Earle and James McMurtry as a winner of the Kerrville New Folk Competition. Since then, Romanoff has been working on a follow-up, amassing a stockpile of gracefully observed and eloquently sturdy songs. He didn’t have to stray far from his home in Woodstock to record them; instead, he worked with Simone Felice at the producer’s barn studio in Palenville, New York, just a few miles down the road.

The pair corralled an impressive roster of locals to flesh out the songs, including Romanoff’s longtime friend and touring mate Rachael Yamagata, Kenneth Pattengale of the Milk Carton Kids, guitarist Cindy Cashdollar (Dylan’s Time Out of Mind), The E Street Band’s Cindy Mizelle, and multi-instrumentalist Larry Campbell, along with Larry’s wife and duo partner, Teresa Williams. Together, they forged rootsy and eccentric arrangements for Romanoff’s songs, heightening the wee-hours longing of “The Night Is a Woman” and supernatural  melancholy of “Miss Worby’s Ghost.” Campbell, whom Romanoff credits with providing “the backbone of the album,” lends a fierce guitar solo to “The Ballad of Willie Sutton,” turning the coda into a gothic car chase across some mythic American plain.

The Orphan King reveals an artist alive to the serendipity of songwriting: those flashes of insight and inspiration, often accidental, that convey ideas and feelings unique to this medium. He co-wrote the title track, which sounds as lonely as a graveside eulogy after everyone has left for the reception, about his close relationship with his father. Imagine his surprise when, several years later, a DNA test sent him reeling: “I had spent my life idolizing my dad, and believing I was Russian, but the test said I was Irish. My father wasn’t my father.”

The revelation sent him into a depression so deep that he barely left his apartment for months. When he returned to “The Orphan King,” written before he know his own story, he found the song’s sense of loss even more acute and the sense of connection even stronger, the words of the refrain resonating like a personal mantra: “I still believe in love.”

Not every song on The Orphan King is quite so autobiographical. In fact, the album shows Romanoff as a writer with an eye for the telling historical detail and an imagination attuned to the whimsical. His fascination with Joseph Merrick inspired “The Elephant Man,” a humanizing portrait of a man known for his deformities but, in Romanoff’s hands, is granted a rare dignity to explore his intense yearning for life and finds love in the form of a very tall carnival worker. “I felt if I could have him meet somebody who was just as much an outsider as he was, then they could be together.” The song became an act of compassion and empathy, as Romanoff imagines a happy ending for the unusual couple: “I’m gonna build a car with Ferris wheel tires, leave extra headroom to reach the stars. World’s largest truck, well, it will be ours as we go rolling into history.”

Songs like “Without You” and “Leavin’ With Someone Else” can break your heart, but Romanoff has a knack for the well-earned happy ending. He obviously loves his characters, and he listens to what they tell him. He turns his songs into receptacles for their dearest dreams, investing them with generosity and humanity. Romanoff’s first draft of the novelistic “Golden Crown,” about a boxer in Ireland, culminated in a grisly finale. “But I felt like this guy was saying, I don’t want to die in a river with a ring in my pocket. So I wrote what he wanted me to write. A lot of these songs ended up being about things I could identify in my own life, but I had to let these people tell their own stories.”

There’s something radical about the happy endings on The Orphan King, perhaps because there are so few happy endings in the late 2010s. “I almost canceled the rest of the sessions just after the election,” he admits. “I didn’t feel like l could sing. I was too anxious”. As Leonard Cohen had just died, Ed was thinking about Cohen’s song “First We Take Manhattan” and sat down to write “Coronation Blues,” the final song on the record. It was, he admits, a rant written from the perspective of a mad king. It’s a damning bit of political commentary of recent political events as well as a reminder that making music is a radical act.

“For all these songs,  I think if I got anything right, it was allowing each character to have their own voice . I was trying to find out what their truth was.”

Quietly ambitious yet undeniably accomplished, The Orphan King seeks to square up heartbreak with hope, alienation with acceptance, tribulation with an unkillable belief in love. “I wanted to make something beautiful out of something that just felt awful. I want nothing more than to make people smile and feel like they’re not alone. That’s what music has always done for me.,

www.edromanoff.com

 

Tommy Lewis will be the last in line FSR Featured Artist this month for 2017, we always like to feature someone perhaps unfamiliar here in Europe who is tearing it up stateside and who we think needs to be introduced to a wider audience. Maurice Hope (Chief Reviewer on FSR said of Tommy only this wee "He is of a standard that bodes well for both his future, and this kind of music in general" he goes on .........

Texas singer-songwriter Tommy Lewis’ music is of the kind we could do with a whole lot more of filtering through. Warmed in pedal steel, fiddle, lead guitar and more it has a wonderful buoyancy. His blending of country with acoustic blues on the opening track “Salt Water Wine” holds the attention of the listener from first to last! On hearing it I mused to myself, this guy is something rather special. Though I wasn’t wrong, the directional of his music did change, immediately in fact as he dropped the simplicity of the acoustic blues in preference for a form of country music.  Read On

Tommy will be touring herein 2018 and we intend to continue to support that thought and all his endeavors.  

www.tommylewis.net

Merry Christmas and a guid new year everyone 


You could say Brian Langlinais’ new recording, Right Hand Road, was birthed by an ice storm, but that would be getting ahead of the story.

 

Long before that weather event, the album’s roots ran from sea to sea along I-10, home to a slew of bars and nightclubs where bands earn gas money between major cities. For decades, these venues have fostered the uniquely American art form called roadhouse music: a big tent under which blues, country, zydeco, and even jazz come together—often in the same band. Roadhouse legends such as Delbert McClinton, Marcia Ball, Omar and the Howlers, Mason Ruffner, and Lee Roy Parnell all came through Langlinais’ hometown of Lafayette, Louisiana, where he cut his teeth in bands playing this crowd-pleasing music.

 

“Back then, the job was—and still is—to make people drink and be happy,” explains Langlinais. “It was about playing songs people know. I covered Wilson Pickett’s catalog, which led me to a lot of lesser-known Stax artists like William Bell. I ended up in blues bands with horns, groups that became more soul than Mississippi Delta blues.”

 

Horns loom large in Langlinais’ history. His father played saxophone with Swamp Pop legends The Shondells, and Brian double-majored in college in trumpet and vocal performance. Ultimately, it was the singer that won out. Langlinais eventually landed in Nashville, where he strayed from his roadhouse roots long enough to record two acclaimed Americana records: Rock & Fire and Tonight I Might. But with Right Hand Road, those roots have called him back.

 

Langlinais had been considering returning to Lafayette to record, when his friend, producer/guitarist D.L. Duncan asked him to go there for a day and cut some tracks with Grammy-winning engineer Tony Daigle (Sonny Landreth, Derek Trucks, James McMurtry, Jon Cleary). They would just lay down a couple of covers, and see if they liked working together. Brought along from Nashville were a bassist, Ron Eoff (Cate Brothers, Jo-El Sonnier, Levon Helm) and a keyboard player, Patterson Barrett (Gurf Morlix, Buddy Miller), with drummer Brian Brignac (Sonny Landreth) picked up in Lafayette.

 

“We weren’t sure it would turn into a record” Langlinais recalls. “It was just to see how much fun we could have. We were planning on going back to Tennessee the next day, but there was an ice storm in Nashville. None of us could get back, so we ended up tracking for three full days.”

 

In addition to the stellar quality of the playing and singing, what distinguishes the resulting Right Hand Road is its level of songwriting. The tunes tell timeless stories, while adding new twists. William Bell’s classic “Every Day Is a Holiday” has been covered by everyone from Warren Haynes to RZA, but few since Bell himself have brought the well of authentic Southern soul feeling Langlinais and company evidence here.

 

“Wilson Pickett’s ‘Green Grass’ has become a Zydeco standard, but not like we did it,” says Langlinais. “Brian and Tony came up with a groove that went in a different direction, and Ron did a tic-tack thing on bass that made us feel this could be the beginning of a great record.”

 

Though the singer had more covers in his iTunes library, producer D.L. Duncan felt they should write some tunes of their own. “D.L. had some scratch lyrics for a couple of songs,” says Langlinais. “We would come up with a groove, take a little break, D.L. would come back with a lyric that he thought would fit, and I would start singing it. We wrote ‘Louisiana Love,’ ‘My One Desire,’ and the two acoustic songs, ‘Right Hand Road’ and ‘Our Love Is Slippin’ Away,’ in the studio while we were tracking.” Their work sits comfortably next to the covers, displaying the same simplicity mixed with emotional depth that makes this kind of music so enduring.

 

Back in Nashville, Langlinais and Duncan decided they needed two more songs to round out the record, so “Tucumcari Tonight” and “You Can’t Say I Didn’t Love You” were recorded at the Dog House with Lynn Williams (Delbert McClinton, Marcia Ball) on drums, Steve Conn (Sonny Landreth, Keith Urban) on keys, James Pennebaker (Delbert McClinton, Lee Roy Parnell) on guitar, and Eoff on bass.

 

 

 

 

“To me, the record symbolizes getting to go back home,” Langlinais says. “If you are from New York and say, ‘I need a sandwich from Katz’s deli,’ people from New York can taste that sandwich. Likewise, if you’re from Lafayette and I say, ‘I’m hungry for a Old Tyme Grocery po’ boy,’ you know the flavor. Going back to Lafayette meant working with people who have the same set of references. I have worked with people who can play a second line groove, but with these musicians it was so much easier to express the minutiae that make a groove specific.”

 

It is this kind of attention to detail that renders Right Hand Road special. You don’t have to be a music scholar or musician to feel in your heart and bones how getting the specifics right adds to the music’s impact. This recording could only have come from someone with Louisiana music in his DNA.

 

“I was born and raised there and my family was one of the first families to get land grants there,” says Langlinais. “My bloodline is only Acadian and French. Going home to Lafayette and doing the music that I’m about was a full circle.”

 

 

  

Russell deCarle (and the boys) are old school, real players and singers. They do things right, true professionals and at the same time great entertainers!

 

Weather it covering songs by the likes of by the likes of the Inkspots, Diana Shore or Hank Snow or self pened classics in the making  crooner deCarle recently took the UK by storm on his first tour in 45 years on the road.

 

"A spot of yodelling when added to his already exemplary vocals exploits placed an icing on the cake, and it wasn’t the only layer such the virtues of the music by them". Mauris Hope on the Newcast gig for FSR - More here

https://russelldecarle.com

Dates April/May Click Here

Our own Rob Ellen catches up with him in a Glen in Scotland.

 

Teresa Storch /  Come Clean

In The Daily Telegraphs Roots Top 20 Albums of 2015  

“She could be the love child of Joni Mitchell and Dave Matthews.”

Description

Touring The US and in her native Northeast since 2003, Teresa Storch has been recognized for her writing and performance by Susquehanna Music and Arts Festival 2005, Flat Rock Music Festival 2004, Rocky Mountain Folks Festival 2003 , and Bostons Best Singer/Songwriters Showcase 2003. Her name has spread throughout the country as a voice and presence not to be missed. 

She's called the "love child of Joni Mitchell and Dave Matthews", providing funky guitar rhythms and thought-bending lyrics that move from jazz to blues to folk, keeping your feet and your mind moving. 

Originally from Omaha, Nebraska, she began performing in local dance, drama and vocal productions at a young age. Attending college in Colorado, the famed Red Rocks Amphitheatre inspired her to create and perform her own music. Pulled to the singer/songwriter scene of Boston, she traversed the country in 1999. There she found the space to do what she loves, connecting with people in clubs, coffeehouses, on streets and subway platforms. 

You will find Teresa wherever she can do what she loves, connecting with people through music, be it in clubs in or a subway platform. She has shared stages and sidewalks with artists such as Dakota Blonde, Ryan Montbleau, Entrain, Kevin So, Paul and Storm, Jonathan Byrd and Rachel Sage, in venues throughout the country, setting her sights firmly on herfirst European tour (see over leaf) in conjunction with www.houseconcert.eu .

On Tour in the UK with support from FSR The European House Concert Hub and the Medicine Show.

Teresa Storch & Jeff Brown Europe Tour 2016

April 28 Dillon Whiskey Bar augavegur 30,101 Reykjavik, Iceland 8:00pm

April 29 Filey Folk Festival, The Evron Centre  Filey, UK 7:30pm Tickets:   £ 10/20 all 4 days Tel: 07808871118

Tickets: http://www.fileyfolkfestival.bravesites.com/venue-5-evron-centre

April 30* TBC  Edinburgh, UK 8:00pm

May 1*    House Concert  Edinburgh, UK 8:00pm Tickets:   £ 10  Contact: symon@visionmechanics.org for info

May 2*    YESBAR  14 Drury St.,Glasgow,Scotland,G2 5AA,UK 8:00pm Tickets:   £ 5

May 3*    Hotel Argyll  18 Argyll St.,Ullapool, IV26 2UB,UK 8:00pm

May 4*    ‘Beautiful Nairn Nights’ @ WASPs Arts Studio  Nairn, UK 8:00pm Tickets:   £ 8

May 5*    TBC  Inverness, UK 8:00pm

May 7*    The Acoustic Yard Festival, Town Hall Theatre  The Octagon, Westport, Co Mayo, IE 8:00pm Tickets: €22 https://westporttownhall.ticketsolve.com/shows/873548822/events?show_id=873548822

May 9    The Corner Bar  37 Bridge St. Skibbereen, Co Cork, IE 9:30pm

May 12  The Crown Inn  6 Church St., Heanor, Derbyshire, DE75 7AH, UK 8:00pm

May 13   House Concert  Sheffield, UK 8:00pm Tickets: £ 10 Contact: bea@beamarshall.com for info

May 14   TBC Scarborough, UK

May 15   ‘Acoustic Folk Highway’ @The Harrison 28 Harrison St., London,Kings Cross, WC1h 8JF, UK 7:00pm Tickets: £ 5

May 17   The Troubadour  263-267 Old Brompton Rd., London, Earls Court, SW5 9JA, UK 7:45pm Tickets: £ 6https://troubadourlondon.yapsody.com/event/index/25371/teresa-storch

May 20^   ‘Blueprint’ Live Radio Session @Theater vanBeresteyn (foyer) Museumplein 5/a,Veendam, 9641,NL 5:00pm

May 22^   Cafe Peter en Leni  Damsterweg 20, Steendam, 9629 PD, NL 3:00pm 

May 23^   Dwaze Zaken  Prins Hendrikkade 50 Amsterdam, 1012 AC, NL 7:00pm

*With Peter Lacis on guitar!   ^Teresa Solo Show!

QUOTES AND TESTIMONIALS!

“She inhabits her songs so fully you can’t help but be pulled into her world.” – Boston Herald writer Daniel Gewertz

“Mesmerizing vocal riffs…bounding folk-rock sound.” – Northeast Performer

“One of the most inventive writers and solid performers of the current crop of singer/songwriters coming out of Boston. [She] makes me proud to be one.” – veteran singer/songwriter Vance Gilbert

“Infuses contemporary singer/songwriter with traditional folk vibe. It’s no wonder she’s being recognized in her genre.” -Soundcheck Magazine

“The only other time I’ve had this kind of reaction to a performer was when Bonnie Raitt first started doing the rounds of small venues… it was that same thrill of connection.” –Dayle Ann Stratton (fan)

Website:  www.teresastorch.com

Facebook: www.facebook.com/teresastorchmusic

Twitter @tstorchmusic 

Featured artist of the month Ed Romanoff

Ed Romanoff could be a character in one of his own songs. A chronicler of American experience whose voice recalls the grit of Kris Kristofferson and the wit of Guy Clark, the New York singer-songwriter pens wise, big-hearted, occasionally whimsical, usually melancholic tunes about lonely souls and romantic dreamers, lost lovers and coy ghosts, a bank robber and even the Elephant Man himself. Not only does Romanoff sympathize with the crew of outsiders and outlaws on his new album The Orphan King, (release Feb 23)but he also belongs among their ranks: an artist who has spent a lifetime drifting from job to job, steadfastly refining his craft for years on a 75 dollar Yamaha guitar, following his own compass, and solving his own mysteries.

Romanoff admits he started late. “My father was tone deaf,” he says, “so I always thought I was, too.”  Instead of music, he tended bar in Virginia and branded cattle in Wyoming before eventually founding PineRock, a production firm in New York City. When he finally decided to pursue music in his forties, he became a diligent student, writing constantly and performing wherever and whenever he could. He spent time in Nashville taking songwriting classes and attending workshops with Darrell Scott, Beth Nielson Chapman, and Mary Gauthier, who later invited him to go on the road. Before he even had an album with his name on the spine, Romanoff was touring the world. 

Romanoff’s unconventional journey gave him a different perspective from other songwriters, a different set of rules and a different voice. His 2012 self-titled debut, produced by Crit Harmon (Lori McKenna, Martin Sexton), won the Nashville Songwriters Song of the Year and later that year Romanoff joined Steve Earle and James McMurtry as a winner of the Kerrville New Folk Competition. Since then, Romanoff has been working on a follow-up, amassing a stockpile of gracefully observed and eloquently sturdy songs. He didn’t have to stray far from his home in Woodstock to record them; instead, he worked with Simone Felice at the producer’s barn studio in Palenville, New York, just a few miles down the road.

The pair corralled an impressive roster of locals to flesh out the songs, including Romanoff’s longtime friend and touring mate Rachael Yamagata, Kenneth Pattengale of the Milk Carton Kids, guitarist Cindy Cashdollar (Dylan’s Time Out of Mind), The E Street Band’s Cindy Mizelle, and multi-instrumentalist Larry Campbell, along with Larry’s wife and duo partner, Teresa Williams. Together, they forged rootsy and eccentric arrangements for Romanoff’s songs, heightening the wee-hours longing of “The Night Is a Woman” and supernatural  melancholy of “Miss Worby’s Ghost.” Campbell, whom Romanoff credits with providing “the backbone of the album,” lends a fierce guitar solo to “The Ballad of Willie Sutton,” turning the coda into a gothic car chase across some mythic American plain.

The Orphan King reveals an artist alive to the serendipity of songwriting: those flashes of insight and inspiration, often accidental, that convey ideas and feelings unique to this medium. He co-wrote the title track, which sounds as lonely as a graveside eulogy after everyone has left for the reception, about his close relationship with his father. Imagine his surprise when, several years later, a DNA test sent him reeling: “I had spent my life idolizing my dad, and believing I was Russian, but the test said I was Irish. My father wasn’t my father.”

The revelation sent him into a depression so deep that he barely left his apartment for months. When he returned to “The Orphan King,” written before he know his own story, he found the song’s sense of loss even more acute and the sense of connection even stronger, the words of the refrain resonating like a personal mantra: “I still believe in love.”

Not every song on The Orphan King is quite so autobiographical. In fact, the album shows Romanoff as a writer with an eye for the telling historical detail and an imagination attuned to the whimsical. His fascination with Joseph Merrick inspired “The Elephant Man,” a humanizing portrait of a man known for his deformities but, in Romanoff’s hands, is granted a rare dignity to explore his intense yearning for life and finds love in the form of a very tall carnival worker. “I felt if I could have him meet somebody who was just as much an outsider as he was, then they could be together.” The song became an act of compassion and empathy, as Romanoff imagines a happy ending for the unusual couple: “I’m gonna build a car with Ferris wheel tires, leave extra headroom to reach the stars. World’s largest truck, well, it will be ours as we go rolling into history.”

Songs like “Without You” and “Leavin’ With Someone Else” can break your heart, but Romanoff has a knack for the well-earned happy ending. He obviously loves his characters, and he listens to what they tell him. He turns his songs into receptacles for their dearest dreams, investing them with generosity and humanity. Romanoff’s first draft of the novelistic “Golden Crown,” about a boxer in Ireland, culminated in a grisly finale. “But I felt like this guy was saying, I don’t want to die in a river with a ring in my pocket. So I wrote what he wanted me to write. A lot of these songs ended up being about things I could identify in my own life, but I had to let these people tell their own stories.”

There’s something radical about the happy endings on The Orphan King, perhaps because there are so few happy endings in the late 2010s. “I almost canceled the rest of the sessions just after the election,” he admits. “I didn’t feel like l could sing. I was too anxious”. As Leonard Cohen had just died, Ed was thinking about Cohen’s song “First We Take Manhattan” and sat down to write “Coronation Blues,” the final song on the record. It was, he admits, a rant written from the perspective of a mad king. It’s a damning bit of political commentary of recent political events as well as a reminder that making music is a radical act.

“For all these songs,  I think if I got anything right, it was allowing each character to have their own voice . I was trying to find out what their truth was.”

Quietly ambitious yet undeniably accomplished, The Orphan King seeks to square up heartbreak with hope, alienation with acceptance, tribulation with an unkillable belief in love. “I wanted to make something beautiful out of something that just felt awful. I want nothing more than to make people smile and feel like they’re not alone. That’s what music has always done for me.,

www.edromanoff.com

 

Tommy Lewis will be the last in line FSR Featured Artist this month for 2017, we always like to feature someone perhaps unfamiliar here in Europe who is tearing it up stateside and who we think needs to be introduced to a wider audience. Maurice Hope (Chief Reviewer on FSR said of Tommy only this wee "He is of a standard that bodes well for both his future, and this kind of music in general" he goes on .........

Texas singer-songwriter Tommy Lewis’ music is of the kind we could do with a whole lot more of filtering through. Warmed in pedal steel, fiddle, lead guitar and more it has a wonderful buoyancy. His blending of country with acoustic blues on the opening track “Salt Water Wine” holds the attention of the listener from first to last! On hearing it I mused to myself, this guy is something rather special. Though I wasn’t wrong, the directional of his music did change, immediately in fact as he dropped the simplicity of the acoustic blues in preference for a form of country music.  Read On

Tommy will be touring herein 2018 and we intend to continue to support that thought and all his endeavors.  

www.tommylewis.net

Merry Christmas and a guid new year everyone 


You could say Brian Langlinais’ new recording, Right Hand Road, was birthed by an ice storm, but that would be getting ahead of the story.

 

Long before that weather event, the album’s roots ran from sea to sea along I-10, home to a slew of bars and nightclubs where bands earn gas money between major cities. For decades, these venues have fostered the uniquely American art form called roadhouse music: a big tent under which blues, country, zydeco, and even jazz come together—often in the same band. Roadhouse legends such as Delbert McClinton, Marcia Ball, Omar and the Howlers, Mason Ruffner, and Lee Roy Parnell all came through Langlinais’ hometown of Lafayette, Louisiana, where he cut his teeth in bands playing this crowd-pleasing music.

 

“Back then, the job was—and still is—to make people drink and be happy,” explains Langlinais. “It was about playing songs people know. I covered Wilson Pickett’s catalog, which led me to a lot of lesser-known Stax artists like William Bell. I ended up in blues bands with horns, groups that became more soul than Mississippi Delta blues.”

 

Horns loom large in Langlinais’ history. His father played saxophone with Swamp Pop legends The Shondells, and Brian double-majored in college in trumpet and vocal performance. Ultimately, it was the singer that won out. Langlinais eventually landed in Nashville, where he strayed from his roadhouse roots long enough to record two acclaimed Americana records: Rock & Fire and Tonight I Might. But with Right Hand Road, those roots have called him back.

 

Langlinais had been considering returning to Lafayette to record, when his friend, producer/guitarist D.L. Duncan asked him to go there for a day and cut some tracks with Grammy-winning engineer Tony Daigle (Sonny Landreth, Derek Trucks, James McMurtry, Jon Cleary). They would just lay down a couple of covers, and see if they liked working together. Brought along from Nashville were a bassist, Ron Eoff (Cate Brothers, Jo-El Sonnier, Levon Helm) and a keyboard player, Patterson Barrett (Gurf Morlix, Buddy Miller), with drummer Brian Brignac (Sonny Landreth) picked up in Lafayette.

 

“We weren’t sure it would turn into a record” Langlinais recalls. “It was just to see how much fun we could have. We were planning on going back to Tennessee the next day, but there was an ice storm in Nashville. None of us could get back, so we ended up tracking for three full days.”

 

In addition to the stellar quality of the playing and singing, what distinguishes the resulting Right Hand Road is its level of songwriting. The tunes tell timeless stories, while adding new twists. William Bell’s classic “Every Day Is a Holiday” has been covered by everyone from Warren Haynes to RZA, but few since Bell himself have brought the well of authentic Southern soul feeling Langlinais and company evidence here.

 

“Wilson Pickett’s ‘Green Grass’ has become a Zydeco standard, but not like we did it,” says Langlinais. “Brian and Tony came up with a groove that went in a different direction, and Ron did a tic-tack thing on bass that made us feel this could be the beginning of a great record.”

 

Though the singer had more covers in his iTunes library, producer D.L. Duncan felt they should write some tunes of their own. “D.L. had some scratch lyrics for a couple of songs,” says Langlinais. “We would come up with a groove, take a little break, D.L. would come back with a lyric that he thought would fit, and I would start singing it. We wrote ‘Louisiana Love,’ ‘My One Desire,’ and the two acoustic songs, ‘Right Hand Road’ and ‘Our Love Is Slippin’ Away,’ in the studio while we were tracking.” Their work sits comfortably next to the covers, displaying the same simplicity mixed with emotional depth that makes this kind of music so enduring.

 

Back in Nashville, Langlinais and Duncan decided they needed two more songs to round out the record, so “Tucumcari Tonight” and “You Can’t Say I Didn’t Love You” were recorded at the Dog House with Lynn Williams (Delbert McClinton, Marcia Ball) on drums, Steve Conn (Sonny Landreth, Keith Urban) on keys, James Pennebaker (Delbert McClinton, Lee Roy Parnell) on guitar, and Eoff on bass.

 

 

 

 

“To me, the record symbolizes getting to go back home,” Langlinais says. “If you are from New York and say, ‘I need a sandwich from Katz’s deli,’ people from New York can taste that sandwich. Likewise, if you’re from Lafayette and I say, ‘I’m hungry for a Old Tyme Grocery po’ boy,’ you know the flavor. Going back to Lafayette meant working with people who have the same set of references. I have worked with people who can play a second line groove, but with these musicians it was so much easier to express the minutiae that make a groove specific.”

 

It is this kind of attention to detail that renders Right Hand Road special. You don’t have to be a music scholar or musician to feel in your heart and bones how getting the specifics right adds to the music’s impact. This recording could only have come from someone with Louisiana music in his DNA.

 

“I was born and raised there and my family was one of the first families to get land grants there,” says Langlinais. “My bloodline is only Acadian and French. Going home to Lafayette and doing the music that I’m about was a full circle.”

 

 

  

Russell deCarle (and the boys) are old school, real players and singers. They do things right, true professionals and at the same time great entertainers!

 

Weather it covering songs by the likes of by the likes of the Inkspots, Diana Shore or Hank Snow or self pened classics in the making  crooner deCarle recently took the UK by storm on his first tour in 45 years on the road.

 

"A spot of yodelling when added to his already exemplary vocals exploits placed an icing on the cake, and it wasn’t the only layer such the virtues of the music by them". Mauris Hope on the Newcast gig for FSR - More here

https://russelldecarle.com

Dates April/May Click Here

Our own Rob Ellen catches up with him in a Glen in Scotland.

 

Teresa Storch /  Come Clean

In The Daily Telegraphs Roots Top 20 Albums of 2015  

“She could be the love child of Joni Mitchell and Dave Matthews.”

Description

Touring The US and in her native Northeast since 2003, Teresa Storch has been recognized for her writing and performance by Susquehanna Music and Arts Festival 2005, Flat Rock Music Festival 2004, Rocky Mountain Folks Festival 2003 , and Bostons Best Singer/Songwriters Showcase 2003. Her name has spread throughout the country as a voice and presence not to be missed. 

She's called the "love child of Joni Mitchell and Dave Matthews", providing funky guitar rhythms and thought-bending lyrics that move from jazz to blues to folk, keeping your feet and your mind moving. 

Originally from Omaha, Nebraska, she began performing in local dance, drama and vocal productions at a young age. Attending college in Colorado, the famed Red Rocks Amphitheatre inspired her to create and perform her own music. Pulled to the singer/songwriter scene of Boston, she traversed the country in 1999. There she found the space to do what she loves, connecting with people in clubs, coffeehouses, on streets and subway platforms. 

You will find Teresa wherever she can do what she loves, connecting with people through music, be it in clubs in or a subway platform. She has shared stages and sidewalks with artists such as Dakota Blonde, Ryan Montbleau, Entrain, Kevin So, Paul and Storm, Jonathan Byrd and Rachel Sage, in venues throughout the country, setting her sights firmly on herfirst European tour (see over leaf) in conjunction with www.houseconcert.eu .

On Tour in the UK with support from FSR The European House Concert Hub and the Medicine Show.

Teresa Storch & Jeff Brown Europe Tour 2016

April 28 Dillon Whiskey Bar augavegur 30,101 Reykjavik, Iceland 8:00pm

April 29 Filey Folk Festival, The Evron Centre  Filey, UK 7:30pm Tickets:   £ 10/20 all 4 days Tel: 07808871118

Tickets: http://www.fileyfolkfestival.bravesites.com/venue-5-evron-centre

April 30* TBC  Edinburgh, UK 8:00pm

May 1*    House Concert  Edinburgh, UK 8:00pm Tickets:   £ 10  Contact: symon@visionmechanics.org for info

May 2*    YESBAR  14 Drury St.,Glasgow,Scotland,G2 5AA,UK 8:00pm Tickets:   £ 5

May 3*    Hotel Argyll  18 Argyll St.,Ullapool, IV26 2UB,UK 8:00pm

May 4*    ‘Beautiful Nairn Nights’ @ WASPs Arts Studio  Nairn, UK 8:00pm Tickets:   £ 8

May 5*    TBC  Inverness, UK 8:00pm

May 7*    The Acoustic Yard Festival, Town Hall Theatre  The Octagon, Westport, Co Mayo, IE 8:00pm Tickets: €22 https://westporttownhall.ticketsolve.com/shows/873548822/events?show_id=873548822

May 9    The Corner Bar  37 Bridge St. Skibbereen, Co Cork, IE 9:30pm

May 12  The Crown Inn  6 Church St., Heanor, Derbyshire, DE75 7AH, UK 8:00pm

May 13   House Concert  Sheffield, UK 8:00pm Tickets: £ 10 Contact: bea@beamarshall.com for info

May 14   TBC Scarborough, UK

May 15   ‘Acoustic Folk Highway’ @The Harrison 28 Harrison St., London,Kings Cross, WC1h 8JF, UK 7:00pm Tickets: £ 5

May 17   The Troubadour  263-267 Old Brompton Rd., London, Earls Court, SW5 9JA, UK 7:45pm Tickets: £ 6https://troubadourlondon.yapsody.com/event/index/25371/teresa-storch

May 20^   ‘Blueprint’ Live Radio Session @Theater vanBeresteyn (foyer) Museumplein 5/a,Veendam, 9641,NL 5:00pm

May 22^   Cafe Peter en Leni  Damsterweg 20, Steendam, 9629 PD, NL 3:00pm 

May 23^   Dwaze Zaken  Prins Hendrikkade 50 Amsterdam, 1012 AC, NL 7:00pm

*With Peter Lacis on guitar!   ^Teresa Solo Show!

QUOTES AND TESTIMONIALS!

“She inhabits her songs so fully you can’t help but be pulled into her world.” – Boston Herald writer Daniel Gewertz

“Mesmerizing vocal riffs…bounding folk-rock sound.” – Northeast Performer

“One of the most inventive writers and solid performers of the current crop of singer/songwriters coming out of Boston. [She] makes me proud to be one.” – veteran singer/songwriter Vance Gilbert

“Infuses contemporary singer/songwriter with traditional folk vibe. It’s no wonder she’s being recognized in her genre.” -Soundcheck Magazine

“The only other time I’ve had this kind of reaction to a performer was when Bonnie Raitt first started doing the rounds of small venues… it was that same thrill of connection.” –Dayle Ann Stratton (fan)

Website:  www.teresastorch.com

Facebook: www.facebook.com/teresastorchmusic

Twitter @tstorchmusic 

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At 10:49 on March 9, 2011, John (Biscuits and Gravy) Davy said…

Hey!   Tex - O - Billy! Does what it says on the tin

Great stuff

Featured artist of the month Ed Romanoff

Ed Romanoff could be a character in one of his own songs. A chronicler of American experience whose voice recalls the grit of Kris Kristofferson and the wit of Guy Clark, the New York singer-songwriter pens wise, big-hearted, occasionally whimsical, usually melancholic tunes about lonely souls and romantic dreamers, lost lovers and coy ghosts, a bank robber and even the Elephant Man himself. Not only does Romanoff sympathize with the crew of outsiders and outlaws on his new album The Orphan King, (release Feb 23)but he also belongs among their ranks: an artist who has spent a lifetime drifting from job to job, steadfastly refining his craft for years on a 75 dollar Yamaha guitar, following his own compass, and solving his own mysteries.

Romanoff admits he started late. “My father was tone deaf,” he says, “so I always thought I was, too.”  Instead of music, he tended bar in Virginia and branded cattle in Wyoming before eventually founding PineRock, a production firm in New York City. When he finally decided to pursue music in his forties, he became a diligent student, writing constantly and performing wherever and whenever he could. He spent time in Nashville taking songwriting classes and attending workshops with Darrell Scott, Beth Nielson Chapman, and Mary Gauthier, who later invited him to go on the road. Before he even had an album with his name on the spine, Romanoff was touring the world. 

Romanoff’s unconventional journey gave him a different perspective from other songwriters, a different set of rules and a different voice. His 2012 self-titled debut, produced by Crit Harmon (Lori McKenna, Martin Sexton), won the Nashville Songwriters Song of the Year and later that year Romanoff joined Steve Earle and James McMurtry as a winner of the Kerrville New Folk Competition. Since then, Romanoff has been working on a follow-up, amassing a stockpile of gracefully observed and eloquently sturdy songs. He didn’t have to stray far from his home in Woodstock to record them; instead, he worked with Simone Felice at the producer’s barn studio in Palenville, New York, just a few miles down the road.

The pair corralled an impressive roster of locals to flesh out the songs, including Romanoff’s longtime friend and touring mate Rachael Yamagata, Kenneth Pattengale of the Milk Carton Kids, guitarist Cindy Cashdollar (Dylan’s Time Out of Mind), The E Street Band’s Cindy Mizelle, and multi-instrumentalist Larry Campbell, along with Larry’s wife and duo partner, Teresa Williams. Together, they forged rootsy and eccentric arrangements for Romanoff’s songs, heightening the wee-hours longing of “The Night Is a Woman” and supernatural  melancholy of “Miss Worby’s Ghost.” Campbell, whom Romanoff credits with providing “the backbone of the album,” lends a fierce guitar solo to “The Ballad of Willie Sutton,” turning the coda into a gothic car chase across some mythic American plain.

The Orphan King reveals an artist alive to the serendipity of songwriting: those flashes of insight and inspiration, often accidental, that convey ideas and feelings unique to this medium. He co-wrote the title track, which sounds as lonely as a graveside eulogy after everyone has left for the reception, about his close relationship with his father. Imagine his surprise when, several years later, a DNA test sent him reeling: “I had spent my life idolizing my dad, and believing I was Russian, but the test said I was Irish. My father wasn’t my father.”

The revelation sent him into a depression so deep that he barely left his apartment for months. When he returned to “The Orphan King,” written before he know his own story, he found the song’s sense of loss even more acute and the sense of connection even stronger, the words of the refrain resonating like a personal mantra: “I still believe in love.”

Not every song on The Orphan King is quite so autobiographical. In fact, the album shows Romanoff as a writer with an eye for the telling historical detail and an imagination attuned to the whimsical. His fascination with Joseph Merrick inspired “The Elephant Man,” a humanizing portrait of a man known for his deformities but, in Romanoff’s hands, is granted a rare dignity to explore his intense yearning for life and finds love in the form of a very tall carnival worker. “I felt if I could have him meet somebody who was just as much an outsider as he was, then they could be together.” The song became an act of compassion and empathy, as Romanoff imagines a happy ending for the unusual couple: “I’m gonna build a car with Ferris wheel tires, leave extra headroom to reach the stars. World’s largest truck, well, it will be ours as we go rolling into history.”

Songs like “Without You” and “Leavin’ With Someone Else” can break your heart, but Romanoff has a knack for the well-earned happy ending. He obviously loves his characters, and he listens to what they tell him. He turns his songs into receptacles for their dearest dreams, investing them with generosity and humanity. Romanoff’s first draft of the novelistic “Golden Crown,” about a boxer in Ireland, culminated in a grisly finale. “But I felt like this guy was saying, I don’t want to die in a river with a ring in my pocket. So I wrote what he wanted me to write. A lot of these songs ended up being about things I could identify in my own life, but I had to let these people tell their own stories.”

There’s something radical about the happy endings on The Orphan King, perhaps because there are so few happy endings in the late 2010s. “I almost canceled the rest of the sessions just after the election,” he admits. “I didn’t feel like l could sing. I was too anxious”. As Leonard Cohen had just died, Ed was thinking about Cohen’s song “First We Take Manhattan” and sat down to write “Coronation Blues,” the final song on the record. It was, he admits, a rant written from the perspective of a mad king. It’s a damning bit of political commentary of recent political events as well as a reminder that making music is a radical act.

“For all these songs,  I think if I got anything right, it was allowing each character to have their own voice . I was trying to find out what their truth was.”

Quietly ambitious yet undeniably accomplished, The Orphan King seeks to square up heartbreak with hope, alienation with acceptance, tribulation with an unkillable belief in love. “I wanted to make something beautiful out of something that just felt awful. I want nothing more than to make people smile and feel like they’re not alone. That’s what music has always done for me.,

www.edromanoff.com

 

Tommy Lewis will be the last in line FSR Featured Artist this month for 2017, we always like to feature someone perhaps unfamiliar here in Europe who is tearing it up stateside and who we think needs to be introduced to a wider audience. Maurice Hope (Chief Reviewer on FSR said of Tommy only this wee "He is of a standard that bodes well for both his future, and this kind of music in general" he goes on .........

Texas singer-songwriter Tommy Lewis’ music is of the kind we could do with a whole lot more of filtering through. Warmed in pedal steel, fiddle, lead guitar and more it has a wonderful buoyancy. His blending of country with acoustic blues on the opening track “Salt Water Wine” holds the attention of the listener from first to last! On hearing it I mused to myself, this guy is something rather special. Though I wasn’t wrong, the directional of his music did change, immediately in fact as he dropped the simplicity of the acoustic blues in preference for a form of country music.  Read On

Tommy will be touring herein 2018 and we intend to continue to support that thought and all his endeavors.  

www.tommylewis.net

Merry Christmas and a guid new year everyone 


You could say Brian Langlinais’ new recording, Right Hand Road, was birthed by an ice storm, but that would be getting ahead of the story.

 

Long before that weather event, the album’s roots ran from sea to sea along I-10, home to a slew of bars and nightclubs where bands earn gas money between major cities. For decades, these venues have fostered the uniquely American art form called roadhouse music: a big tent under which blues, country, zydeco, and even jazz come together—often in the same band. Roadhouse legends such as Delbert McClinton, Marcia Ball, Omar and the Howlers, Mason Ruffner, and Lee Roy Parnell all came through Langlinais’ hometown of Lafayette, Louisiana, where he cut his teeth in bands playing this crowd-pleasing music.

 

“Back then, the job was—and still is—to make people drink and be happy,” explains Langlinais. “It was about playing songs people know. I covered Wilson Pickett’s catalog, which led me to a lot of lesser-known Stax artists like William Bell. I ended up in blues bands with horns, groups that became more soul than Mississippi Delta blues.”

 

Horns loom large in Langlinais’ history. His father played saxophone with Swamp Pop legends The Shondells, and Brian double-majored in college in trumpet and vocal performance. Ultimately, it was the singer that won out. Langlinais eventually landed in Nashville, where he strayed from his roadhouse roots long enough to record two acclaimed Americana records: Rock & Fire and Tonight I Might. But with Right Hand Road, those roots have called him back.

 

Langlinais had been considering returning to Lafayette to record, when his friend, producer/guitarist D.L. Duncan asked him to go there for a day and cut some tracks with Grammy-winning engineer Tony Daigle (Sonny Landreth, Derek Trucks, James McMurtry, Jon Cleary). They would just lay down a couple of covers, and see if they liked working together. Brought along from Nashville were a bassist, Ron Eoff (Cate Brothers, Jo-El Sonnier, Levon Helm) and a keyboard player, Patterson Barrett (Gurf Morlix, Buddy Miller), with drummer Brian Brignac (Sonny Landreth) picked up in Lafayette.

 

“We weren’t sure it would turn into a record” Langlinais recalls. “It was just to see how much fun we could have. We were planning on going back to Tennessee the next day, but there was an ice storm in Nashville. None of us could get back, so we ended up tracking for three full days.”

 

In addition to the stellar quality of the playing and singing, what distinguishes the resulting Right Hand Road is its level of songwriting. The tunes tell timeless stories, while adding new twists. William Bell’s classic “Every Day Is a Holiday” has been covered by everyone from Warren Haynes to RZA, but few since Bell himself have brought the well of authentic Southern soul feeling Langlinais and company evidence here.

 

“Wilson Pickett’s ‘Green Grass’ has become a Zydeco standard, but not like we did it,” says Langlinais. “Brian and Tony came up with a groove that went in a different direction, and Ron did a tic-tack thing on bass that made us feel this could be the beginning of a great record.”

 

Though the singer had more covers in his iTunes library, producer D.L. Duncan felt they should write some tunes of their own. “D.L. had some scratch lyrics for a couple of songs,” says Langlinais. “We would come up with a groove, take a little break, D.L. would come back with a lyric that he thought would fit, and I would start singing it. We wrote ‘Louisiana Love,’ ‘My One Desire,’ and the two acoustic songs, ‘Right Hand Road’ and ‘Our Love Is Slippin’ Away,’ in the studio while we were tracking.” Their work sits comfortably next to the covers, displaying the same simplicity mixed with emotional depth that makes this kind of music so enduring.

 

Back in Nashville, Langlinais and Duncan decided they needed two more songs to round out the record, so “Tucumcari Tonight” and “You Can’t Say I Didn’t Love You” were recorded at the Dog House with Lynn Williams (Delbert McClinton, Marcia Ball) on drums, Steve Conn (Sonny Landreth, Keith Urban) on keys, James Pennebaker (Delbert McClinton, Lee Roy Parnell) on guitar, and Eoff on bass.

 

 

 

 

“To me, the record symbolizes getting to go back home,” Langlinais says. “If you are from New York and say, ‘I need a sandwich from Katz’s deli,’ people from New York can taste that sandwich. Likewise, if you’re from Lafayette and I say, ‘I’m hungry for a Old Tyme Grocery po’ boy,’ you know the flavor. Going back to Lafayette meant working with people who have the same set of references. I have worked with people who can play a second line groove, but with these musicians it was so much easier to express the minutiae that make a groove specific.”

 

It is this kind of attention to detail that renders Right Hand Road special. You don’t have to be a music scholar or musician to feel in your heart and bones how getting the specifics right adds to the music’s impact. This recording could only have come from someone with Louisiana music in his DNA.

 

“I was born and raised there and my family was one of the first families to get land grants there,” says Langlinais. “My bloodline is only Acadian and French. Going home to Lafayette and doing the music that I’m about was a full circle.”

 

 

  

Russell deCarle (and the boys) are old school, real players and singers. They do things right, true professionals and at the same time great entertainers!

 

Weather it covering songs by the likes of by the likes of the Inkspots, Diana Shore or Hank Snow or self pened classics in the making  crooner deCarle recently took the UK by storm on his first tour in 45 years on the road.

 

"A spot of yodelling when added to his already exemplary vocals exploits placed an icing on the cake, and it wasn’t the only layer such the virtues of the music by them". Mauris Hope on the Newcast gig for FSR - More here

https://russelldecarle.com

Dates April/May Click Here

Our own Rob Ellen catches up with him in a Glen in Scotland.

 

Teresa Storch /  Come Clean

In The Daily Telegraphs Roots Top 20 Albums of 2015  

“She could be the love child of Joni Mitchell and Dave Matthews.”

Description

Touring The US and in her native Northeast since 2003, Teresa Storch has been recognized for her writing and performance by Susquehanna Music and Arts Festival 2005, Flat Rock Music Festival 2004, Rocky Mountain Folks Festival 2003 , and Bostons Best Singer/Songwriters Showcase 2003. Her name has spread throughout the country as a voice and presence not to be missed. 

She's called the "love child of Joni Mitchell and Dave Matthews", providing funky guitar rhythms and thought-bending lyrics that move from jazz to blues to folk, keeping your feet and your mind moving. 

Originally from Omaha, Nebraska, she began performing in local dance, drama and vocal productions at a young age. Attending college in Colorado, the famed Red Rocks Amphitheatre inspired her to create and perform her own music. Pulled to the singer/songwriter scene of Boston, she traversed the country in 1999. There she found the space to do what she loves, connecting with people in clubs, coffeehouses, on streets and subway platforms. 

You will find Teresa wherever she can do what she loves, connecting with people through music, be it in clubs in or a subway platform. She has shared stages and sidewalks with artists such as Dakota Blonde, Ryan Montbleau, Entrain, Kevin So, Paul and Storm, Jonathan Byrd and Rachel Sage, in venues throughout the country, setting her sights firmly on herfirst European tour (see over leaf) in conjunction with www.houseconcert.eu .

On Tour in the UK with support from FSR The European House Concert Hub and the Medicine Show.

Teresa Storch & Jeff Brown Europe Tour 2016

April 28 Dillon Whiskey Bar augavegur 30,101 Reykjavik, Iceland 8:00pm

April 29 Filey Folk Festival, The Evron Centre  Filey, UK 7:30pm Tickets:   £ 10/20 all 4 days Tel: 07808871118

Tickets: http://www.fileyfolkfestival.bravesites.com/venue-5-evron-centre

April 30* TBC  Edinburgh, UK 8:00pm

May 1*    House Concert  Edinburgh, UK 8:00pm Tickets:   £ 10  Contact: symon@visionmechanics.org for info

May 2*    YESBAR  14 Drury St.,Glasgow,Scotland,G2 5AA,UK 8:00pm Tickets:   £ 5

May 3*    Hotel Argyll  18 Argyll St.,Ullapool, IV26 2UB,UK 8:00pm

May 4*    ‘Beautiful Nairn Nights’ @ WASPs Arts Studio  Nairn, UK 8:00pm Tickets:   £ 8

May 5*    TBC  Inverness, UK 8:00pm

May 7*    The Acoustic Yard Festival, Town Hall Theatre  The Octagon, Westport, Co Mayo, IE 8:00pm Tickets: €22 https://westporttownhall.ticketsolve.com/shows/873548822/events?show_id=873548822

May 9    The Corner Bar  37 Bridge St. Skibbereen, Co Cork, IE 9:30pm

May 12  The Crown Inn  6 Church St., Heanor, Derbyshire, DE75 7AH, UK 8:00pm

May 13   House Concert  Sheffield, UK 8:00pm Tickets: £ 10 Contact: bea@beamarshall.com for info

May 14   TBC Scarborough, UK

May 15   ‘Acoustic Folk Highway’ @The Harrison 28 Harrison St., London,Kings Cross, WC1h 8JF, UK 7:00pm Tickets: £ 5

May 17   The Troubadour  263-267 Old Brompton Rd., London, Earls Court, SW5 9JA, UK 7:45pm Tickets: £ 6https://troubadourlondon.yapsody.com/event/index/25371/teresa-storch

May 20^   ‘Blueprint’ Live Radio Session @Theater vanBeresteyn (foyer) Museumplein 5/a,Veendam, 9641,NL 5:00pm

May 22^   Cafe Peter en Leni  Damsterweg 20, Steendam, 9629 PD, NL 3:00pm 

May 23^   Dwaze Zaken  Prins Hendrikkade 50 Amsterdam, 1012 AC, NL 7:00pm

*With Peter Lacis on guitar!   ^Teresa Solo Show!

QUOTES AND TESTIMONIALS!

“She inhabits her songs so fully you can’t help but be pulled into her world.” – Boston Herald writer Daniel Gewertz

“Mesmerizing vocal riffs…bounding folk-rock sound.” – Northeast Performer

“One of the most inventive writers and solid performers of the current crop of singer/songwriters coming out of Boston. [She] makes me proud to be one.” – veteran singer/songwriter Vance Gilbert

“Infuses contemporary singer/songwriter with traditional folk vibe. It’s no wonder she’s being recognized in her genre.” -Soundcheck Magazine

“The only other time I’ve had this kind of reaction to a performer was when Bonnie Raitt first started doing the rounds of small venues… it was that same thrill of connection.” –Dayle Ann Stratton (fan)

Website:  www.teresastorch.com

Facebook: www.facebook.com/teresastorchmusic

Twitter @tstorchmusic 

Featured artist of the month Ed Romanoff

Ed Romanoff could be a character in one of his own songs. A chronicler of American experience whose voice recalls the grit of Kris Kristofferson and the wit of Guy Clark, the New York singer-songwriter pens wise, big-hearted, occasionally whimsical, usually melancholic tunes about lonely souls and romantic dreamers, lost lovers and coy ghosts, a bank robber and even the Elephant Man himself. Not only does Romanoff sympathize with the crew of outsiders and outlaws on his new album The Orphan King, (release Feb 23)but he also belongs among their ranks: an artist who has spent a lifetime drifting from job to job, steadfastly refining his craft for years on a 75 dollar Yamaha guitar, following his own compass, and solving his own mysteries.

Romanoff admits he started late. “My father was tone deaf,” he says, “so I always thought I was, too.”  Instead of music, he tended bar in Virginia and branded cattle in Wyoming before eventually founding PineRock, a production firm in New York City. When he finally decided to pursue music in his forties, he became a diligent student, writing constantly and performing wherever and whenever he could. He spent time in Nashville taking songwriting classes and attending workshops with Darrell Scott, Beth Nielson Chapman, and Mary Gauthier, who later invited him to go on the road. Before he even had an album with his name on the spine, Romanoff was touring the world. 

Romanoff’s unconventional journey gave him a different perspective from other songwriters, a different set of rules and a different voice. His 2012 self-titled debut, produced by Crit Harmon (Lori McKenna, Martin Sexton), won the Nashville Songwriters Song of the Year and later that year Romanoff joined Steve Earle and James McMurtry as a winner of the Kerrville New Folk Competition. Since then, Romanoff has been working on a follow-up, amassing a stockpile of gracefully observed and eloquently sturdy songs. He didn’t have to stray far from his home in Woodstock to record them; instead, he worked with Simone Felice at the producer’s barn studio in Palenville, New York, just a few miles down the road.

The pair corralled an impressive roster of locals to flesh out the songs, including Romanoff’s longtime friend and touring mate Rachael Yamagata, Kenneth Pattengale of the Milk Carton Kids, guitarist Cindy Cashdollar (Dylan’s Time Out of Mind), The E Street Band’s Cindy Mizelle, and multi-instrumentalist Larry Campbell, along with Larry’s wife and duo partner, Teresa Williams. Together, they forged rootsy and eccentric arrangements for Romanoff’s songs, heightening the wee-hours longing of “The Night Is a Woman” and supernatural  melancholy of “Miss Worby’s Ghost.” Campbell, whom Romanoff credits with providing “the backbone of the album,” lends a fierce guitar solo to “The Ballad of Willie Sutton,” turning the coda into a gothic car chase across some mythic American plain.

The Orphan King reveals an artist alive to the serendipity of songwriting: those flashes of insight and inspiration, often accidental, that convey ideas and feelings unique to this medium. He co-wrote the title track, which sounds as lonely as a graveside eulogy after everyone has left for the reception, about his close relationship with his father. Imagine his surprise when, several years later, a DNA test sent him reeling: “I had spent my life idolizing my dad, and believing I was Russian, but the test said I was Irish. My father wasn’t my father.”

The revelation sent him into a depression so deep that he barely left his apartment for months. When he returned to “The Orphan King,” written before he know his own story, he found the song’s sense of loss even more acute and the sense of connection even stronger, the words of the refrain resonating like a personal mantra: “I still believe in love.”

Not every song on The Orphan King is quite so autobiographical. In fact, the album shows Romanoff as a writer with an eye for the telling historical detail and an imagination attuned to the whimsical. His fascination with Joseph Merrick inspired “The Elephant Man,” a humanizing portrait of a man known for his deformities but, in Romanoff’s hands, is granted a rare dignity to explore his intense yearning for life and finds love in the form of a very tall carnival worker. “I felt if I could have him meet somebody who was just as much an outsider as he was, then they could be together.” The song became an act of compassion and empathy, as Romanoff imagines a happy ending for the unusual couple: “I’m gonna build a car with Ferris wheel tires, leave extra headroom to reach the stars. World’s largest truck, well, it will be ours as we go rolling into history.”

Songs like “Without You” and “Leavin’ With Someone Else” can break your heart, but Romanoff has a knack for the well-earned happy ending. He obviously loves his characters, and he listens to what they tell him. He turns his songs into receptacles for their dearest dreams, investing them with generosity and humanity. Romanoff’s first draft of the novelistic “Golden Crown,” about a boxer in Ireland, culminated in a grisly finale. “But I felt like this guy was saying, I don’t want to die in a river with a ring in my pocket. So I wrote what he wanted me to write. A lot of these songs ended up being about things I could identify in my own life, but I had to let these people tell their own stories.”

There’s something radical about the happy endings on The Orphan King, perhaps because there are so few happy endings in the late 2010s. “I almost canceled the rest of the sessions just after the election,” he admits. “I didn’t feel like l could sing. I was too anxious”. As Leonard Cohen had just died, Ed was thinking about Cohen’s song “First We Take Manhattan” and sat down to write “Coronation Blues,” the final song on the record. It was, he admits, a rant written from the perspective of a mad king. It’s a damning bit of political commentary of recent political events as well as a reminder that making music is a radical act.

“For all these songs,  I think if I got anything right, it was allowing each character to have their own voice . I was trying to find out what their truth was.”

Quietly ambitious yet undeniably accomplished, The Orphan King seeks to square up heartbreak with hope, alienation with acceptance, tribulation with an unkillable belief in love. “I wanted to make something beautiful out of something that just felt awful. I want nothing more than to make people smile and feel like they’re not alone. That’s what music has always done for me.,

www.edromanoff.com

 

Tommy Lewis will be the last in line FSR Featured Artist this month for 2017, we always like to feature someone perhaps unfamiliar here in Europe who is tearing it up stateside and who we think needs to be introduced to a wider audience. Maurice Hope (Chief Reviewer on FSR said of Tommy only this wee "He is of a standard that bodes well for both his future, and this kind of music in general" he goes on .........

Texas singer-songwriter Tommy Lewis’ music is of the kind we could do with a whole lot more of filtering through. Warmed in pedal steel, fiddle, lead guitar and more it has a wonderful buoyancy. His blending of country with acoustic blues on the opening track “Salt Water Wine” holds the attention of the listener from first to last! On hearing it I mused to myself, this guy is something rather special. Though I wasn’t wrong, the directional of his music did change, immediately in fact as he dropped the simplicity of the acoustic blues in preference for a form of country music.  Read On

Tommy will be touring herein 2018 and we intend to continue to support that thought and all his endeavors.  

www.tommylewis.net

Merry Christmas and a guid new year everyone 


You could say Brian Langlinais’ new recording, Right Hand Road, was birthed by an ice storm, but that would be getting ahead of the story.

 

Long before that weather event, the album’s roots ran from sea to sea along I-10, home to a slew of bars and nightclubs where bands earn gas money between major cities. For decades, these venues have fostered the uniquely American art form called roadhouse music: a big tent under which blues, country, zydeco, and even jazz come together—often in the same band. Roadhouse legends such as Delbert McClinton, Marcia Ball, Omar and the Howlers, Mason Ruffner, and Lee Roy Parnell all came through Langlinais’ hometown of Lafayette, Louisiana, where he cut his teeth in bands playing this crowd-pleasing music.

 

“Back then, the job was—and still is—to make people drink and be happy,” explains Langlinais. “It was about playing songs people know. I covered Wilson Pickett’s catalog, which led me to a lot of lesser-known Stax artists like William Bell. I ended up in blues bands with horns, groups that became more soul than Mississippi Delta blues.”

 

Horns loom large in Langlinais’ history. His father played saxophone with Swamp Pop legends The Shondells, and Brian double-majored in college in trumpet and vocal performance. Ultimately, it was the singer that won out. Langlinais eventually landed in Nashville, where he strayed from his roadhouse roots long enough to record two acclaimed Americana records: Rock & Fire and Tonight I Might. But with Right Hand Road, those roots have called him back.

 

Langlinais had been considering returning to Lafayette to record, when his friend, producer/guitarist D.L. Duncan asked him to go there for a day and cut some tracks with Grammy-winning engineer Tony Daigle (Sonny Landreth, Derek Trucks, James McMurtry, Jon Cleary). They would just lay down a couple of covers, and see if they liked working together. Brought along from Nashville were a bassist, Ron Eoff (Cate Brothers, Jo-El Sonnier, Levon Helm) and a keyboard player, Patterson Barrett (Gurf Morlix, Buddy Miller), with drummer Brian Brignac (Sonny Landreth) picked up in Lafayette.

 

“We weren’t sure it would turn into a record” Langlinais recalls. “It was just to see how much fun we could have. We were planning on going back to Tennessee the next day, but there was an ice storm in Nashville. None of us could get back, so we ended up tracking for three full days.”

 

In addition to the stellar quality of the playing and singing, what distinguishes the resulting Right Hand Road is its level of songwriting. The tunes tell timeless stories, while adding new twists. William Bell’s classic “Every Day Is a Holiday” has been covered by everyone from Warren Haynes to RZA, but few since Bell himself have brought the well of authentic Southern soul feeling Langlinais and company evidence here.

 

“Wilson Pickett’s ‘Green Grass’ has become a Zydeco standard, but not like we did it,” says Langlinais. “Brian and Tony came up with a groove that went in a different direction, and Ron did a tic-tack thing on bass that made us feel this could be the beginning of a great record.”

 

Though the singer had more covers in his iTunes library, producer D.L. Duncan felt they should write some tunes of their own. “D.L. had some scratch lyrics for a couple of songs,” says Langlinais. “We would come up with a groove, take a little break, D.L. would come back with a lyric that he thought would fit, and I would start singing it. We wrote ‘Louisiana Love,’ ‘My One Desire,’ and the two acoustic songs, ‘Right Hand Road’ and ‘Our Love Is Slippin’ Away,’ in the studio while we were tracking.” Their work sits comfortably next to the covers, displaying the same simplicity mixed with emotional depth that makes this kind of music so enduring.

 

Back in Nashville, Langlinais and Duncan decided they needed two more songs to round out the record, so “Tucumcari Tonight” and “You Can’t Say I Didn’t Love You” were recorded at the Dog House with Lynn Williams (Delbert McClinton, Marcia Ball) on drums, Steve Conn (Sonny Landreth, Keith Urban) on keys, James Pennebaker (Delbert McClinton, Lee Roy Parnell) on guitar, and Eoff on bass.

 

 

 

 

“To me, the record symbolizes getting to go back home,” Langlinais says. “If you are from New York and say, ‘I need a sandwich from Katz’s deli,’ people from New York can taste that sandwich. Likewise, if you’re from Lafayette and I say, ‘I’m hungry for a Old Tyme Grocery po’ boy,’ you know the flavor. Going back to Lafayette meant working with people who have the same set of references. I have worked with people who can play a second line groove, but with these musicians it was so much easier to express the minutiae that make a groove specific.”

 

It is this kind of attention to detail that renders Right Hand Road special. You don’t have to be a music scholar or musician to feel in your heart and bones how getting the specifics right adds to the music’s impact. This recording could only have come from someone with Louisiana music in his DNA.

 

“I was born and raised there and my family was one of the first families to get land grants there,” says Langlinais. “My bloodline is only Acadian and French. Going home to Lafayette and doing the music that I’m about was a full circle.”

 

 

  

Russell deCarle (and the boys) are old school, real players and singers. They do things right, true professionals and at the same time great entertainers!

 

Weather it covering songs by the likes of by the likes of the Inkspots, Diana Shore or Hank Snow or self pened classics in the making  crooner deCarle recently took the UK by storm on his first tour in 45 years on the road.

 

"A spot of yodelling when added to his already exemplary vocals exploits placed an icing on the cake, and it wasn’t the only layer such the virtues of the music by them". Mauris Hope on the Newcast gig for FSR - More here

https://russelldecarle.com

Dates April/May Click Here

Our own Rob Ellen catches up with him in a Glen in Scotland.

 

Teresa Storch /  Come Clean

In The Daily Telegraphs Roots Top 20 Albums of 2015  

“She could be the love child of Joni Mitchell and Dave Matthews.”

Description

Touring The US and in her native Northeast since 2003, Teresa Storch has been recognized for her writing and performance by Susquehanna Music and Arts Festival 2005, Flat Rock Music Festival 2004, Rocky Mountain Folks Festival 2003 , and Bostons Best Singer/Songwriters Showcase 2003. Her name has spread throughout the country as a voice and presence not to be missed. 

She's called the "love child of Joni Mitchell and Dave Matthews", providing funky guitar rhythms and thought-bending lyrics that move from jazz to blues to folk, keeping your feet and your mind moving. 

Originally from Omaha, Nebraska, she began performing in local dance, drama and vocal productions at a young age. Attending college in Colorado, the famed Red Rocks Amphitheatre inspired her to create and perform her own music. Pulled to the singer/songwriter scene of Boston, she traversed the country in 1999. There she found the space to do what she loves, connecting with people in clubs, coffeehouses, on streets and subway platforms. 

You will find Teresa wherever she can do what she loves, connecting with people through music, be it in clubs in or a subway platform. She has shared stages and sidewalks with artists such as Dakota Blonde, Ryan Montbleau, Entrain, Kevin So, Paul and Storm, Jonathan Byrd and Rachel Sage, in venues throughout the country, setting her sights firmly on herfirst European tour (see over leaf) in conjunction with www.houseconcert.eu .

On Tour in the UK with support from FSR The European House Concert Hub and the Medicine Show.

Teresa Storch & Jeff Brown Europe Tour 2016

April 28 Dillon Whiskey Bar augavegur 30,101 Reykjavik, Iceland 8:00pm

April 29 Filey Folk Festival, The Evron Centre  Filey, UK 7:30pm Tickets:   £ 10/20 all 4 days Tel: 07808871118

Tickets: http://www.fileyfolkfestival.bravesites.com/venue-5-evron-centre

April 30* TBC  Edinburgh, UK 8:00pm

May 1*    House Concert  Edinburgh, UK 8:00pm Tickets:   £ 10  Contact: symon@visionmechanics.org for info

May 2*    YESBAR  14 Drury St.,Glasgow,Scotland,G2 5AA,UK 8:00pm Tickets:   £ 5

May 3*    Hotel Argyll  18 Argyll St.,Ullapool, IV26 2UB,UK 8:00pm

May 4*    ‘Beautiful Nairn Nights’ @ WASPs Arts Studio  Nairn, UK 8:00pm Tickets:   £ 8

May 5*    TBC  Inverness, UK 8:00pm

May 7*    The Acoustic Yard Festival, Town Hall Theatre  The Octagon, Westport, Co Mayo, IE 8:00pm Tickets: €22 https://westporttownhall.ticketsolve.com/shows/873548822/events?show_id=873548822

May 9    The Corner Bar  37 Bridge St. Skibbereen, Co Cork, IE 9:30pm

May 12  The Crown Inn  6 Church St., Heanor, Derbyshire, DE75 7AH, UK 8:00pm

May 13   House Concert  Sheffield, UK 8:00pm Tickets: £ 10 Contact: bea@beamarshall.com for info

May 14   TBC Scarborough, UK

May 15   ‘Acoustic Folk Highway’ @The Harrison 28 Harrison St., London,Kings Cross, WC1h 8JF, UK 7:00pm Tickets: £ 5

May 17   The Troubadour  263-267 Old Brompton Rd., London, Earls Court, SW5 9JA, UK 7:45pm Tickets: £ 6https://troubadourlondon.yapsody.com/event/index/25371/teresa-storch

May 20^   ‘Blueprint’ Live Radio Session @Theater vanBeresteyn (foyer) Museumplein 5/a,Veendam, 9641,NL 5:00pm

May 22^   Cafe Peter en Leni  Damsterweg 20, Steendam, 9629 PD, NL 3:00pm 

May 23^   Dwaze Zaken  Prins Hendrikkade 50 Amsterdam, 1012 AC, NL 7:00pm

*With Peter Lacis on guitar!   ^Teresa Solo Show!

QUOTES AND TESTIMONIALS!

“She inhabits her songs so fully you can’t help but be pulled into her world.” – Boston Herald writer Daniel Gewertz

“Mesmerizing vocal riffs…bounding folk-rock sound.” – Northeast Performer

“One of the most inventive writers and solid performers of the current crop of singer/songwriters coming out of Boston. [She] makes me proud to be one.” – veteran singer/songwriter Vance Gilbert

“Infuses contemporary singer/songwriter with traditional folk vibe. It’s no wonder she’s being recognized in her genre.” -Soundcheck Magazine

“The only other time I’ve had this kind of reaction to a performer was when Bonnie Raitt first started doing the rounds of small venues… it was that same thrill of connection.” –Dayle Ann Stratton (fan)

Website:  www.teresastorch.com

Facebook: www.facebook.com/teresastorchmusic

Twitter @tstorchmusic 

 
 
 

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The Medicine Show is the home of the House Concert here is our rolling news

 

This site is the sister site to The House Concert Hub community and has been inherited in the main by kind donation of Shaun Belcher and Trailer Star.

It is the sum total of over ten years of tending a tender love of music by Shaun, a life time with Trailer Star and five or so years of an association with Rob Ellen from Medicine Music.

The House Concert Hub community will use it for the purpose of providing a online, all singing all dancing, review and preview area for the music of the community, and the music community at large. Have a look around tell your friends use the share button, tell the world.

We need reviewers, the idea is we have a correspondents in every area of the musical global village, it will be edited and co-ordinated by Rob Ellen of Medicine Music publicist promoter and presenter, if you wish to subscribe as a correspondent, join up here and drop Rob a line, he will send you cd's and send you to shows, display and publicise your content.

Here starts an other adventure.

  Visit The House Concert European Hub (& Acoustic Music Club Network)

 

 


www.euroamericanachart.eu

April 2018

1
Courtney Marie Andrews
100 pts.
May Your Kindness Remain
Loose Music
PK,CVL,DHO,JB,LK
2
Mary Gauthier
59 pts.
Rifles And Rosary Beads
In the Black Records
 
3
Caleb Caudle
49 pts.
Crushed Coins
Cornelius Chapel Records
TJ,TK,MP
4
Western Centuries
48 pts.
Songs From The Deluge
Free Dirt Records
DD,GS,FS,HM
5
Vivian Leva
44 pts.
Time is Everything
Free Dirt Records
 
6
Ed Romanoff
42 pts.
The Orphan King
Pinerock Records
 
7
Grant Peeples
41 pts.
Settling Scores vol. 2
Continental
AN
8
Joan Baez
32 pts.
Whistle Down The Wind
Proper Records
 
9
Jeb Barry and the Pawn Shop Saints
29 pts.
Texas, etc...
DollyRocker
MF,HDB
 
Sam Morrow
29 pts.
Concrete and Mud
Forty Below Records
JV
11
Chris Smither
27 pts.
Call Me Lucky
Signature Sounds
JSM,JD
12
Michael McDermott
26 pts.
Out From Under
Continental Song City
CRS
13
John Prine
24 pts.
The Tree of Forgiveness
Oh Boy Records
SP
14
Mary Chapin Carpenter
23 pts.
Sometimes Just The Sky
Lambent Light Records
 
15
Dean Owens
22 pts.
Southern Wind
At The Helm
PJ
16
6 String Drag
21 pts.
Top of The World
Schoolkids Records
FCE,JS
 
Haley Heynderickx
21 pts.
I Need To Start A Garden
Mama Bird Recordings
 
 
Nathaniel Rateliff & The Night Sweats
21 pts.
Tearing At The Seams
Stax Records
RM
19
Abe Partridge
20 pts.
Cotton Fields And Blood For Days
Skate Mountain
MVP,RK
 
Adam James Sorensen
20 pts.
Dust Cloud Refrain
Continental Song City
BM
 
Ben Reel
20 pts.
Land Of Escape
B REEL Records
 
 
Chip Taylor
20 pts.
Fix Your Words
Train Wreck Records
LM
 
Kesia Nagata
20 pts.
Looking For Horses
Caramal Productions
GC,EZ
 
Sheesham & Lotus & 'Son
20 pts.
Clear The Table
SepiaPhone Records
SZ,PG
25
3hattrio
18 pts.
Lord of the Desert
Okehdokee Records
 
 
Marlon Williams
18 pts.
Make Way for Love
Dead Oceans

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