Eric Lindell
Eric Lindell is an American singer-songwriter. His recording career began in 1996 as a regional Sonoma County-based artist. Since 2006, when he was picked up by Alligator Records, he has toured nationally and internationally. Wikipedia
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Kathleen Edwards
For decades, Kathleen Edwards has been a cornerstone of North American roots music.
Since making her debut with 2002’s Failer, she’s spent the 21st century occupying the grey area between genres, swirling together her own mix of alt-country, folk, and heartland rock & roll. It’s a sound that has earned its creator more than a half-dozen Juno nominations, as well as Top 40 success on both sides of the Canadian/American border. Now in her third decade as an artist, Kathleen Edwards has done more than carry the torch of songwriting heroes like Tom Petty, Neil Young, and Lucinda Williams — she’s opened the door for others, too, inspiring a new generation of artists who, like her, blur the boundaries between genre and generation.
A native of Ottawa, Ontario, Edwards was still in her early 20s when she released the critically-acclaimed Failer. The album’s warm, woozy sound — crystallized on radio hits like “Six O’Clock News” — quickly turned her into one of the era’s alt-country heroes. From the very start, though, Edwards’ music seemed to exist somewhere out of time, resisting categorization even as Failer received a Juno nomination for “Roots & Traditional Album of the Year.”
“No one knew what to call my type of music back then,” she says of those early years. “The Americana genre didn’t exist yet, so they couldn’t categorize me. I just made the kind of music I wanted to make.”
Edwards continued blazing her own trail with follow-up albums like Back to Me and Asking for Flowers. By the time Voyageur arrived in 2012, Americana very much did exist as a genre, and Edwards found herself riding a newfound commercial peak. The album reached Number 2 on the Canadian Albums Chart and Number 3 on Billboard’s Folk Albums chart. Even so, a busy decade on the road had left her exhausted. After touring in support of Voyageur’s release, Edwards left the music business altogether and moved to suburban Ontario, where she opened a coffee shop called — defiantly — “Quitters.”
“Before I turned 30, I toured the world and put out nearly four records, performed on TV, and had an incredible run,” she says of her first 10 years in the spotlight. “What’s interesting is that I walked away from all of it, too — and when I came back, I felt better than the person who put out Failer.”
By the late 2010s, Edwards felt recharged and revitalized. When a phone call arrived from Maren Morris, who was looking for songwriting partners for a new project, Edwards jumped at the chance to collaborate. The two musicians co-wrote “Good Woman,” which appeared on Morris’ Grammy-nominated album Girl in 2019. Back home in Canada, Edwards continued to write new material, eventually partnering with producer Ian Fitchuk for the album Total Freedom. Released in 2020, the album expanded her sound and her audience, boosted by two hit songs — “Options Open” and “Hard on Everyone” — that both reached the Top 30 on the Triple A chart in America. Total Freedom didn’t just mark her return to the music industry. It was a rebirth, too.
What’s next? New music, of course. She and Grammy-winner Jim Scott co-produced and released an album called Covers, which pays homage to some of her songwriting heroes – Tom Petty, REM, John Prine, Bruce Springsteen, et al. Edwards remains a fan of “ripping guitar riffs and good songs,” and she’s combining both into a follow-up album co-produced by Grammy-winners Jason Isbell and Gena Johnson that will showcase her legacy as well as her evolution.
She maintains a presence on the road, too, playing her own gigs one minute and sharing shows with her heroes — including Willie Nelson, John Fogerty, and Bob Dylan — the next.
“The amount of things I’ve gone through might make someone else quit…but quitting doesn’t quite do it for me,” she says. “I can’t help but want to write great songs, connect with people, and see what’s ahead. I don’t love looking behind, even though it’s one of the ways we can see what we’ve done, so I’m looking forward.” from High Road Touring bio
In keeping with her love of dogs and the great photo used on this post…give a listen to “Who Rescued Who”
2025 – new record out now “Billionaire”
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Marti Jones & Don Dixon
Marti Jones Art
Don Dixon
Marti Jones & Don Dixon have been performing together, off and on, for over twenty years. This longtime partnership has resulted in an intimate stage rapport as well as the seamless blending of two of the most distinct voices around today. With over two hundred songs in their collective recorded catalogue, you never know quite what to expect when they hit the stage, but rest assured their performance will feature thoughtful lyrics and heart-felt singing.
Don Dixon has devoted his entire life to the popular song. Whether working as a singer, songwriter, musician or producer, he has always tried to capture the essence of his life in the moment.
He began playing and recording in his mid-teens, co-founding ARROGANCE, a band that helped forge the North Carolina scene which brought the world Let’s Active and The dBs, along with dozens of other bands that followed in their wake. Dixon went solo in 1983 and has released nine cds. He is currently at work on a new recording with his long-time touring band, Jamie Hoover and Jim Brock. After twenty years, Jamie has named the group “Don Dixon & the Jump Rabbits”. The new platter is called “The Nu-Look” and is due in May 2008.
Dixon’s writing, production and session credits include astroPuppees, Baby Shaker, Richard Barone, Jim Brock, Mark Bryan, Kim Carnes, Mary Chapin Carpenter, Caitlin Cary, Joe Cocker, The Connells, Counting Crows, Marshall Crenshaw, Pat DiNizio, The Edison Project, Fetchin Bones, GB Leighton, The Golden Palominos, Guadalcanal Diary, Hootie and the Blowfish, In Tua Nua, Marti Jones, Tommy Keene, Let’s Active, James McMurtry, Moxy Fruvous, REM, The Red Clay Ramblers, The Smithereens, Snagglepuss, Ronnie Spector, The Spongetones, Chris Stamey, Matthew Sweet, The X-Teens and dozens more.
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The Record Company
The Record Company
The Record Company is an American rock band from Los Angeles. The members are Chris Vos, Alex Stiff, and Marc Cazorla. Their music is influenced by blues musicians like John Lee Hooker, early punk bands like The Stooges, and rock bands like The Rolling Stones. Wikipedia
These rising stars have been riding up the charts with their latest release Play Loud.
Below is an excerpt from an excellent article featured in RELIX…where Music meets Journalism
From Play Loud’s first notes, it’s quite evident that something has changed. The raw, bluesy feel that lined The Record Company’s first two albums is no longer there; instead, there’s a rock[1]and-roll swagger that shines through. It’s energetic in ways that feel more apt for arenas instead of the home-studio recordings that often looked inward. On the album’s opener “Never Leave You,” Vos laments being a bit lost, searching for answers, finding solace in the sun. It’s a simple song about relationship confusion, but it sets the tone for Play Loud: The music here is catchy as hell. The single “How High” is an anthemic number, driven by Stiff and Cazorla’s thumping rhythms. At times, it feels like a pure adrenaline rush, especially when the chorus asks listeners to consider “how high do you want to fly”—in an aspirational way.
That’s not to say that their past is completely devoid on Play Loud. “Today Forever” is a slow, bluesy number that finds Vos passionately declaring to a lover that a great move would be to run away for “a day that will last forever.” It’s grand gesture thinking, but that’s the running thread throughout Play Loud—be yourself, take a chance, do it with some gusto.
Most of the songs were written pre-pandemic, but the Play Loud recording sessions took place in the spring of 2020. Unexpectedly, the lyrics seem to take on a new life once they started laying down the tracks, particularly “How High,” which seems to touch on themes relating to recovery.
“We were in a new, challenging time,” Vos says. “But at my core, as a human, I was back to being a 14-year-old kid sitting on the edge of my bed, playing guitar because I had nothing else to do today. The only thing on my mind was music. It was the only thing that would make me feel better, making the record. It became the absolute focal point of our lives. That was unexpectedly positive in a field of a lot of negativity. That was one area where we did benefit from being isolated. These songs for me were very emotionally profound. We’d written a lot before [the pandemic] but, all of a sudden, you’re taking it into the studio, and you’re singing this song—and this life, it means something different. We all have a relatable struggle. We all didn’t see our moms and dads for a long time. We all didn’t see our friends for a long time. That’s something we all share.”
