Rounder Records

Béla Fleck & Abigail Washburn – Songlines – January / Febuary 2015

Bela & Abigail - Songlines  Covert Jan:Feb 15

Rounder Records

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October News Rounder Records



The Earls of Leicester EPK


Featuring the combined TALENTS of:

Shawn Camp – lead vocals, guitar
Charlie Cushman – banjo, guitar
Jerry Douglas – Dobro
Tim O’Brien – vocals, mandolin
Johnny Warren – fiddle
Barry Bales – vocals, bass

The Earls of Leicester  album to be released on 20th October gets  5* review in CMP !!!  This follows the Top of the World Songlines accolade for Three Bells!  Jerry Douglas is cookin’ !

Jerry Douglas’s Website

Jerry Douglas’s Facebook

Jerry Douglas’s Twitter

Jerry Douglas’s Youtube



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Carlene Carter will be the special guest of John Mellencamp on the 80 dates of the Plain Spoken Tour in January 2015

John Mellencamp announced dates for his upcoming Plain Spoken tour beginning in January 2015 throughout the summer. “The Voice of the Heartland” will play 80 shows including multiple dates in the artist’s hometown of Bloomington, Indiana; Nashville, Chicago, Minneapolis, New York, and more. The special guest is Carlene Carter. The tour will kick off on January 21st in South Bend, Indiana at the Morris Performing Arts Center.  The final performance held in Indianapolis at the Bankers Life Firehouse on August 4th is a benefit show for Riley Children’s Foundation ($5.00 per ticket will be donated to the charity.)

Carlene Carter’s Website

Carlene Carter’s Facebook

Carlene Carter’s Twitter

Carlene Carter’s Youtube



Rounder Records

“I come from the old-time world” says Abby “I do a lot of heady music” says Bela


Béla Fleck & Abigail Washburn
record as a duo to be released
October 27

Washburn and Fleck playfully embrace the notion that they’ve become a family band. And at home, on stage or on record, it’s their deep bond, on top of the way their distinct musical personalities and banjo styles interact, that makes theirs a picking partnership unlike any other on the planet.



Béla Fleck & Abigail Washburn

Béla Fleck & Abigail Washburn 


Sure, in the abstract, a banjo duo might seem like a musical concept beset by limitations. But when the banjo players cast in those roles are Abigail Washburn and Béla Fleck—she with the earthy sophistication of a postmodern, old-time singer-songwriter, he with the virtuosic, jazz-to-classical ingenuity of an iconic instrumentalist and composer with bluegrass roots— it’s a different matter entirely. There’s no denying that theirs is a one-of-a-kind pairing, with one-of-a-kind possibilities. 

Fleck and Washburn have collaborated in the past, most visibly in their Sparrow Quartet with Casey Driessen and Ben Sollee. Until last fall, though, any performances they gave as a two-piece were decidedly informal, a pickin’ party here, a benefit show at Washburn’s grandmother’s Unitarian church there. It was inevitable and eagerly anticipated by fans of tradition-tweaking acoustic fare that these partners in music and life (who married in 2009) would eventually do a full-fledged project together.

Now that Fleck, a fifteen-time GRAMMY winner, has devoted time away from his standard-setting ensemble Béla Fleck and the Flecktones to a staggeringly broad array of musical experiments, from writing a concerto for the Nashville Symphony to exploring the banjo’s African roots to jazz duos with Chick Corea, while Washburn has drawn critical acclaim for her solo albums, done fascinating work in folk musical diplomacy in China, presented an original theatrical production, contributed to singular side groups Uncle Earl and The Wu-Force and become quite a live draw in her own right, the two of them decided they were ready to craft their debut album as a duo, Béla Fleck & Abigail Washburn (releasing October 27 on Rounder Records).

There was one other small, yet not at all insignificant factor in the timing: the birth of their son Juno. Says Fleck, “I come from a broken home, and I have a lot of musician friends who missed their kids’ childhoods because they were touring. The combination of those two things really made me not want to be one of those parents. I don’t want to be somebody that Juno sees only once in a while. We need to be together, and this is a way we can be together a whole lot more.”

That goes for touring and album-making both. Thanks to the fact that they have a first-rate studio on the premises, Fleck and Washburn could record at home—but that didn’t mean it was an easy process. Consumed with caring for their new baby and perpetually sleep-deprived, they had to get resourceful in order to carve out time to cut tracks. 

“Béla is really the reason that it’s finished,” Washburn emphasizes. “There were a few months when Juno was a newborn that I just really had to have somebody say, ‘Hey, this is what we’re gonna do today.’ As long as I could spend a few hours a day between nursings, we could make some good progress on the record.”

The aim wasn’t simply to get the album done, but to make it feel satisfying and complete using only the sounds they could coax out of their bodies and their banjos. Says Fleck, “We didn’t want any other instruments on there, because we’re into this idea that we’re banjo players, and that should be enough. Why do you always have to have a rhythm section, a guitar player, a bass player or something? Sometimes when

you add other instruments, you take away from the ability of the banjo to show all its colors, which are actually quite beautiful.”

Washburn and Fleck didn’t confine themselves to playing their usual workhorses, her Ome Jubilee and his pre-war Gibson Mastertone Style 75. Between them, they used seven different banjos in all, including a cello banjo, a ukulele banjo that technically belongs to Juno and a baritone banjo that Fleck commissioned specifically for this album. 

“We had this vision of playing different banjos in different registers,” he says, “finding a way to make every song have its own unique stamp, yet the whole project having a big, cohesive sound – with only two people.” (A giggling Juno is the only other person who appears anywhere on the album.) 

From track to track, Washburn and Fleck are a nimble band unto themselves. On the trad tune “Railroad,” she sustains a droning feel, while he jabs in syncopated counterpoint. Woven into the middle of their arrangement is an excerpt from another American banjo chestnut, “Oh! Susanna,” an occasion for Fleck to briefly slip into a dixieland role. In their co-written original “Little Birdie“ he supplies what amounts to a ticklish, inventive bass line while she plays circling arpeggios and picks out the melody. “Bye Bye Baby Blues” is her turn to toy with droll, walking bass beneath his wonderfully jaunty licks. “What’cha Gonna Do,” which came entirely from his pen, lyrics and all, rides a churning groove made up of intertwining banjo figures and foot patting. 


All that’s to say, there’s a ton going on rhythmically, tonally and melodically. Then there are the breathtaking ballads like Washburn’s “Ride To You” and the traditional “What Are They Doing In Heaven Today?,” which showcase the way she caresses a lyric with the hearty yet elegant empathy of her vocals. (The story goes that Fleck was so taken with her singing the first time he heard it on a recording that he lost track of how fast he was driving and got pulled over.) He’s singing harmony on a couple of tracks too, something he hasn’t had the chance to do since his New Grass Revival days.

You’d expect Fleck to take the lead during intricate instrumentals, but that’s not always the case here. In “New South Africa,” which came from his Flecktones repertoire, he and Washburn each take a turn out front. And if you listen to “banjo banjo” in stereo, it’s easy to make out the subtle rippling effect of the two players seamlessly trading notes during ascending and descending runs.

That kind of stuff was way out of Washburn’s comfort zone. “I come from the old-time world,” she says, “which is more about communally trancing out on old fiddle and banjo tunes. It has very little to do with soloing or anything technical or virtuosic. So for me to try to learn Béla’s music has been a big challenge, but a wonderful one. Although I’m a very different type of player, I feel very lucky that he’s a musical mentor to me. It’s a beautiful part of our connection.”

Fleck chimes in, “I’m a big fan of Abby’s playing. I know it so well that I could imagine the two of us playing these tunes together. I love looking at her playing and going, ‘What can I throw into your kettle of soup that would make it bubble up just a little bit?’”

The directness of her musical sensibilities had a profound effect on him, too. “I do a lot of heady music,” he explains, “and I’m always trying hard to keep soul and melodicism as important elements, but there’s also a lot of complexity going on. When I play with Abby, there’s an opportunity for me to make music that hits you in a different place emotionally. That’s one of her gifts, is a pure connection to the listener, taking

simpler ideas and imbuing them with a lot of personality and a point of view. I wanted to make sure that while I was respecting my own ability to play complex ideas, I was also part of making that feeling happen.”

A surprising number of the songs on the album address matters of life and death, a coincidence that Fleck and Washburn came to embrace. There are multiple meditations on the afterlife, one example being the Appalachian-accented “And Am I Born To Die,” which Washburn learned from a recording of one of her heroes, Doc Watson. And if they were going to record the Victorian murder ballad “Pretty Polly,” Washburn wanted to make sure that it was a version where Polly had a speaking part, and that it was immediately followed in the song sequence by her original “Shotgun Blues,” a song whose gist she summarizes as “I’m gonna come after that nasty, old man that keeps killing all those ladies in all those murder ballads.”

Of course, Fleck and Washburn also had a new life entrusted into their care, and were overwhelmed at times by how strong the protective parental instincts hit them. So, after recording one version of “Little Birdie,” they ultimately went with an alternate version where the mama bird saves the baby bird from a crocodile in the final verse. That one felt right.

Judging from the way Juno dances every time he hears it, his favorite song in the bunch is “Railroad.” In fact, Fleck suggested they work it up after he overheard her singing it to their newborn. (Washburn’s mother used to sing to her when she was little too.) Juno gets to hear rehearsals and sound checks a plenty, since he accompanies his parents to folk festivals, arts centers and theaters all across the country. But he’s typically already asleep in his very own bunk on the bus before the shows start.

Washburn and Fleck playfully embrace the notion that they’ve become a family band. And at home, on stage or on record, it’s their deep bond, on top of the way their distinct musical personalities and banjo styles interact, that makes theirs a picking partnership unlike any other on the planet.


Listen the new song ‘ Railroad ‘ 



1.  Ride to You
2.  What’cha Gonna Do
3.  Little Birdie
4.  New South Africa
5.  Pretty Polly
6.  Shotgun Blues
7.  For Children:
No 3 Quasi adagio, No 10 Allegro molto – Children’s Dance
8.  And Am I Born to Die
9.  What Are They Doing in Heaven Today?
10.  banjo banjo
11.  Bye Bye Baby Blues

Béla’s Website

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Abigail’s Website 

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Rounder Records

“This record is something I’ve been waiting my whole life to do,” veteran Dobro master Jerry Douglas says of The Earls of Leicester


World famous dobro player Jerry Douglas announces “The Earls of Leicester” releases in October 2014 on Rounder Records 


Jerry Douglas announces The Earls of Leicester
Loving Tribute To Flatt & Scruggs
Set For Release October 20, 2014


“This record is something I’ve been waiting my whole life to do,” veteran Dobro master Jerry Douglas says of The Earls of Leicester, the self-titled debut album by the new all-star dream team combo that he has assembled, organized and produced.

The six-man band encompasses Douglas plus acclaimed writer, producer, and solo artist Shawn Camp on lead vocals and guitar, renowned Nashville banjoist Charlie Cushman on banjo and guitars, veteran songwriter, multi-instrumentalist and Hot Rize member Tim O’Brien on vocals and mandolin, second-generation fiddle phenom Johnny Warren, and Barry Bales, Douglas’ longtime bandmate in Alison Krauss and Union Station, on vocals and bass.

The new group is the product of Douglas’s lifelong passion for the music of bluegrass pioneers Lester Flatt and Earl Scruggs and their band the Foggy Mountain Boys, whose seminal work in the ’50s and ’60s created the template for what we know as contemporary bluegrass, and transcended traditional genre barriers to popularize the music with an unprecedented mass audience. 

The punningly-titled The Earls of Leicester revisits 14 timeless favorites from the Flatt and Scruggs songbook, infusing such rousing numbers as “Big Black Train,” “Don’t Let Your Deal Go Down,” “Shuckin’ the Corn,” “Dig A Hole in the Meadow” and “Dim Lights, Thick Smoke” with fresh energy, while maintaining the same emotional authenticity, instrumental expertise and vibrant creative spirit that made the original versions such enduring classics.


Flatt and Scruggs initially captured Douglas’ imagination when he saw them perform when he was just seven years old, and their visionary musical approach and irreverent attitude have remained constant touchstones for him in the decades since, as he’s risen to his current stature as one of the roots/acoustic music world’s most in-demand instrumentalists and today’s preeminent practitioner of the Dobro.

“Flatt and Scruggs were the major influence on me when I was growing up,” recalls Douglas, who was first inspired to pick up his instrument by Flatt and Scruggs’ legendary Dobroist Josh Graves.  “I was around seven years old when I first saw them, and there were two or three more times after that.  It had a huge impact on me.  I remember the warmth of the auditorium, I remember the smell of the popcorn, I remember the outfits they were wearing.  It’s still all very vivid to me, and it’s still influencing me 50 years later. 

“They were miles ahead of everybody else,” he continues.  “It wasn’t just their musicianship, although they could play better than anybody -it was that they had this whole different style of playing and performing and listening to each other.  They were progressive musically and added all kinds of different musical elements, and at the same time they made it inclusive and entertaining and accessible to many people who didn’t know anything about country music.  Flatt and Scruggs did so much to popularize bluegrass music, though they didn’t want to be pigeonholed as a bluegrass band, so they never used the word.”


Douglas had long dreamed of rounding up a band to perform Flatt and Scruggs material, but held off until he could gather musicians of sufficient caliber to do justice to the material.  His plans finally began to take shape when he played on a session with fiddler Johnny Warren—the son of Fiddlin’ Paul Warren, a longtime mainstay of Flatt and Scruggs’ band—and Johnny’s longtime banjo-playing partner Charlie Cushman.

“The banjo, the fiddle and the Dobro came together in a way that sounded exactly what I’d heard so many years ago, the first time I saw Flatt and Scruggs,” Douglas recalls.  “Right then, it dawned on me that this was my chance to complete that dream, and I didn’t want to let it go by.  So I called Tim O’Brien and Barry Bales.  The hardest part for me was finding the right lead singer, but then my wife suggested Shawn Camp.  We got everyone together one night and had a rehearsal, and I realized that we had to do this.”

With Douglas producing, the musicians largely replicated Flatt and Scruggs’ original recording methods and played appropriate vintage instruments, while using many of the same unconventional tunings that contributed to Flatt and Scruggs’ distinctive sound.  The songs were selected to focus upon the band’s most successful and innovative years, roughly from 1954 to 1965.

“It’s kind of an introduction to Flatt and Scruggs, the way I hear them,” Douglas notes, adding, “much of my motivation was selfish, because I just wanted to hear this sound again.  It took me a long time to find the right people who could pull it off and make it sound authentic and not corny, and make you feel like you’re listening to Flatt and Scruggs during those years.”

The same abiding musical passion that drove Douglas to create The Earls of Leicesterhas been a constant throughout a career that spans four decades and encompasses more than 2000 recordings.  In addition to his renown as an instrumentalist, the 13-time Grammy winner and three-time Country Music Association Musician of the Year—who’s been described as “my favorite musician” by John Fogerty and “the Muhammad Ali of the Dobro” by James Taylor—has established a reputation as a ceaselessly inventive artist who’s adept at incorporating elements of bluegrass, country, rock, jazz, blues and Celtic into his distinctive musical vision.


As a band member, collaborator, session musician and genre-bending solo artist, Douglas’ inventive, eloquent playing graces over 2000 albums, including 13 under his own name, along with releases by artists as varied as Garth Brooks, Ray Charles, Elvis Costello, John Fogerty, Bill Frisell, Charlie Haden, Emmylou Harris, George Jones, Dolly Parton, Phish, the Chieftains and his early hero Earl Scruggs, as well as the eight-million-plus selling soundtrack to O Brother, Where Art Thou? and its spinoff live disc Down from the Mountain. 

As a producer, Douglas has helmed albums by such notable acts as the Del McCoury Band, Maura O’Connell, Jesse Winchester and the Nashville Bluegrass Band.  He’s been part of such distinguished groups as the Whites, J.D. Crowe and the New South, the Country Gentlemen and Strength in Numbers.  Since 1998, he’s been a key member of Rounder labelmate Alison Krauss’s much-loved band Union Station, touring extensively and playing on a series of platinum albums. 

Douglas is distinctly excited about the future of The Earls of Leicester.  “I built this  with the idea that it would be an event band, not a band that’s gonna go out and hit the road for three years,” he says.  “I want to feel six years old every time I play this music, and it wouldn’t feel that way if we had to do it every night.  I want us to enjoy every time we do it, and I want us to remember why we enjoy it. 

“I believe this band has the potential to have its own evolution, beyond just doing Flatt and Scruggs tunes, but this record is very, very exciting for me,” he continues.  “I’m hoping people will hear it and ask ‘What’s that?’, then do some investigating and discover where this stuff came from.  We have a younger audience for this kind of music now, and  it is important to me that the listeners understand  the origins of what they are hearing.”


1.  Big Black Train (2:49)
2.   Don’t Let Your Deal Go Down (2:12)
3.  I’ll Go Stepping Too (2:59)
4.  Shuckin’ The Corn (2:07)
5.  Till The End Of The World Rolls ‘Round (2:36)
6.  Dig A Hole In The Meadow (2:21)
7.  Some Old Day (3:43)
8.  I Won’t Be Hanging Around (2:11)
9.  I Don’t Care Anymore (2:37)
10.  On My Mind (2:46)
11.  You’re Not A Drop In The Bucket (2:27)
12.  Dim Lights, Thick Smoke (3:14)
13.  The Wandering Boy (2:40)
14.  Who Will Sing For Me (2:32)

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For further information, please contact Sara Silver

+44208 265 0772

For other news and press releases please see

Rounder Records

“Mike and I originally thought that Jerry was a little off his rocker to not use a backing band” says Ickes


World famous dobro player Jerry Douglas announces two album releases in September 2014 on Rounder Records and “three bells” is first…




Three Bells will be released by Rounder Records on September 15, 2014. The album, a historic collaboration between fellow Dobro masters Jerry Douglas, Mike Auldridge, and Rob Ickes, marks a personally-charged landmark in all three gentlemen’s expansive bodies of work. In addition to marking the three musicians’ first work together since 1994’s Grammy-winning The Great Dobro SessionsThree Bells features the final recordings of Douglas’ and Ickes’ longtime friend and mentor Auldridge, who passed away on December 28, 2012, shortly after the recording sessions were completed.

In a career that spans four decades and encompasses over 2000 recordings, Jerry Douglas has more than earned his status as one of the world’s most celebrated musicians.  In addition to his instrumental mastery, the 13-time Grammy winner and three-time Country Music Association Musician of the Year has established a reputation as a ceaselessly inventive recording artist who has drawn from a bottomless well of rootsy styles to create a consistently compelling string of solo albums and collaborative projects


Jerry Douglas

“The goal was not necessarily to make a record,” Douglas explains. “The idea was simply to record some things together, because we needed to, and if there was time and we were able to get enough done, maybe it would become a record. Fortunately, that’s how it worked out.”

Three Bells finds these master musicians employing their prodigious talents to create a set of spare, emotionally affecting instrumental performances of original tunes as well as some venerable pop and country numbers.  Selections include “For Buddy,” which Auldridge adapted from an exercise originated by Nashville pedal steel legend Buddy Emmons, the early Tin Pan Alley hit “Silver Threads Among The Gold” and the sentimental title track, best known to Americans in the Browns’ hit 1959 country version but originally a French pop standard, “Les Trois Cloches,” recorded by Edith Piaf, the Andrews Sisters and others.


Mike Auldridge

Three Bells also features a memorable solo piece by each participant, namely Douglas’ playful “The Perils of Private Mulvaney,” Ickes’ meditative “The Message,” and Auldridge’s poignant medley of the beloved pop standards “‘Till There Was You/Moon River.”  While those tracks demonstrate the individual skills which have made each musician a potent individual force, it is the chemistry and camaraderie of their group efforts that make Three Bells a memorable experience.

Although Three Bells‘ unconventional three-Dobro lineup might have proved unwieldy in lesser hands, Auldridge, Douglas and Ickes interact with an effortless rapport that keeps their performances graceful and understated.

“It was important to me to do right by Mike,” Douglas states, “so we started out with the intention that this would be all about him, and that we would play what he wanted to play, with no intentions of ever offering it to the public.  We went into it a little tentatively, not knowing how far we could push him under the circumstances.  But Mike played as good as I have ever heard him play, and he was the most gung-ho of the three of us.  And that enthusiasm drove Rob and me to raise our own bars to keep up with him.”


Rob Ickes

“I thought it would be challenging, having three Dobros together, but this was one of the easiest recordings I’ve ever made,” says Ickes. “Mike and I originally thought that Jerry was a little off his rocker to not use a backing band.  But there was something special in how the three of us were interacting musically.  Even though it was three of the same instrument—and a fretless instrument at that—there was an intelligent conversation occurring, not just three people trying to talk over each other. ”

“Mike was having such a great time,” says Ickes. “Music was his life, and he was so happy to be making this record.  He told us several times that he knew that this would be his last recording and that he was honored that it would be with us.  I know Jerry and I felt equally honored to make this recording with him.”

“While we were in the studio, I kept thinking ‘Why didn’t we do this before?'” Douglas recalls.  “We should have done it a lot sooner, though perhaps it wasn’t meant to happen until now.  In any event, I am very proud the work that we did together and the spirit that was captured in these sessions.  Best of all, it raised Mike up and made him feel better for awhile, and that was the cherry on top.”


1.   Silver Threads Among The Gold (4:20)
(Eben E. Rexford-Hart Peas Danks)
2.   North (5:29)
(Jerry Douglas-Stuart Duncan)
3.   ‘Till There Was You / Moon River (2:45)
“Till There Was You (Meredith Willson)
“Moon River” (Johnny Mercer-Henry Mancini)

4.   Dobro Heaven (5:55)
(Rob Ickes)
5.   Sunset Serenade (3:16)
(Frankie Carle-Jack Lawrence)
6.   The Perils of Private Mulvaney (3:45)
(Jerry Douglas)
7.   The Three Bells (4:10)
(Jean Villard-Bert Reisfeld)
8.   For Buddy (3:37)
(Mike Auldridge)
9.   The Message (3:09)
(Rob Ickes)
10.   Panhandle Rag (4:21)
(Leon McAuliffe)
11.   I’m Using My Bible for a Roadmap (3:55)
(Don Reno-Charles Schroeder)

Release Date: 15 September 2014


Listen to Three Bells here:


Rounder Records

Carlene Carter – Carter Girl (Released on April 7th 2014)



Carlene Carter – Carter Girl
Release: 7th April 2014


The idea for Carter Girl was to include material that spans many years of Carter Family songwriting in order to show the progression, and as a result, this album covers material from three generations of Carter family music, including two songs written by Carlene herself: “Me and the Wildwood Rose, “ and “Lonesome Valley 2003,” as well as old Carter family songs which have been updated/modernised with more country styling.

Don Was (Bob Dylan, Willie Nelson, The Rolling Stones) both produced and played bass on the album. The album features a stellar lineup of guests including Willie Nelson on ‘Troublesome Waters,’, Kris Kristofferson on ‘Black Jack David,’, Vince Gill harmonising on ‘Lonesome Valley 2003.‘ Other guests include: Don Was, Sam Bush, Elizabeth Cook, Lori Carter Bennett and others. (Also the final track includes old vocals from Helen Carter, Anita Carter, June Carter Cash and Johnny Cash.)

Watch Troublesome Waters LIVE here:



  1. Little Black Train [2:49]
  2. Give Me The Roses (while I live) [3:28]
  3. Me and The Wildwood Rose [4:30]
  4. Blackie’s Gunman [4:23] (w/ Sam Bush)
  5. I’ll Be All Smiles Tonight [4:47]
  6. Poor Old Heartsick Me [2:41]
  7. Troublesome Waters [5:18] (w/ Willie Nelson)
  8. Lonesome Valley 2003 [5:28] (w/ Vince Gill)
  9. Tall Lover Man [3:55]
  10. Gold Watch and Chain [3:17]
  11. Black Jack David [2:49] (w/ Kris Kristofferson)
  12.  I Ain’t Gonna Work Tomorrow [2:44] (w/ Helen Carter, Anita Carter, June Carter Cash, Johnny Cash)
For further information, please contact Sara Silver: 
+44208 265 0772
Rounder Records

Della Mae Tour and UK Debut Show



Della Mae European Tour

and UK debut show!

Della Mae

“…Here’s an impressive and highly commercial blend of contemporary and traditional influences from the all-female quintet Della Mae.” – The Guardian 

“The all-female Boston-based quintet are, like The Avett Brothers and Lumineers, from a new generation of talented stateside musicians delivering a modern take on country music.” – The Mirror


This World Oft Can Be,’ Della Mae’s second album and Rounder debut, shows that these five multi-talented young Boston-based women are respectful of American musical tradition, but not restricted by it, combining centuries’ worth of musical influences with an emotionally tough, undeniably modern songwriting sensibility. Although the musicians’ sublime skills have already won them numerous individual honours, the album’s focus is squarely on the band’s emotionally potent songs and spirited, effortlessly expressive performances. .

The group quickly won an enthusiastic following through their high-energy live performances at festivals around the US. The band expanded its reputation with their self-released first album, 2011’s ‘I Built This Heart,’ which won an impressive amount of attention for a D.I.Y release.

Watch Della Mae’s live performance of ‘Empire‘ HERE


Tour Dates

April 29th             The Borderline, London, UK
April 30th             De Roma, Antwerp, Belgium
May 2nd               Muehle Hunziken, Rubigen, Switzerland
May 3rd                International Buhl Bluegrass Festival, Buhl, Germany
May 4th                Jufa, Basel, Switzerland
May 6th                Musikhuset Posten, Odense, Denmark
May 7th                Baltoppen, Ballerup, Denmark
May 8th                Riksscenen, Oslo, Norway
May 9th                Palladium, Malmo, Sweden
May 10th              Musikhauset Aarhus, Arhus C, Denmark
May 11th              Blue Garage Isernhagen, Isernhagen, Germany
May 13th              Savoy Theatre, Helsinki, Finland

Find out more about Della Mae here:

For Further information please contact Sara Silver
+44208 265 0772
Rounder Records

James Booker “Classified: Remixed And Expanded”

“Extraordinary” 4 stars – Mojo


Package, available as CD and double-LP vinyl on Rounder Records on October 15
(International release dates vary), coincides with festival screenings of Lily Keber’s film:

Bayou Maharajah:

The Tragic Genius of James Booker

NEW ORLEANS, La. — The Bayou Maharajah. The Piano Pope. The Ivory Emperor. The Bronze Liberace. Music Magnifico. Gonzo. The Piano Prince of New Orleans. James Booker coined more than a few extravagant nicknames for himself, and he lived up to every one of them.

James Carroll Booker III was also an unheralded genius of American music, a New Orleans pianist whose dizzying technique and mastery of the keyboard was matched only by his imagination and his soulfulness. His short and often flamboyant life was also marked by struggle and lost opportunity.

Classified, recorded in October, 1982, was one of only two studio albums released during his lifetime, and this remixed and expanded edition offers a poignant and often surprising look at his music, for if James Booker is often cited in the piano lineage that passes from Jelly Roll Morton to Professor Longhair to his own student, Harry Connick Jr., New Orleans tradition was only his jumping-off point.   Rounder Records will release James Booker’s Classified: Remixed and Expanded. The expanded volume’s 22 tracks, which include nine never-before-released performances, range from the pure rhythm and blues of “All Around the World,” to the light classical “Madame X,” to his astonishing version of the jazz standard “Angel Eyes.” Among the unreleased songs is the slow blues instrumental, “I’m Not Sayin’,” and his syncopated reading of Nino Rota’s  “Theme From the Godfather.” Whether playing solo or accompanied by saxophonist Alvin “Red” Tyler, bassist James Singleton and drummer Johnny Vidacovich, Booker ties together a giddy array of musical influences with virtuosity and an often quirky sense of humor. If New Orleans was the only place that could have produced such a talent and such a character as James Booker, the scope of his musical vision was boundless, and he stands alone in the New Orleans piano pantheon.

All Music Guide cites the original edition of Classified as arguably Booker’s best album (even if that mythical collection may still reside in the live recordings his passionate fans have traded over the years). Three decades later, with the new material and dramatically improved sonics, it stands as a lynchpin in his discography.

Included are new notes by co-producer Scott Billington and several new photographs. Classified will be released both on CD and as a limited edition double-LP vinyl set. Lily Keber’s film, Bayou Maharajah: The Tragic Genius of James Booker, has been playing to rave reviews, and that interest in James Booker is expanding beyond his devoted cult following.

According to Grammy Award-winning pianist George Winston, “James Booker and Professor Longhair and Dr. John are the three biggest influences and inspirations for the New Orleans piano renaissance that is happening more and more, and James’s music is even more influential now than when he was alive. He is my biggest overall piano influence and has been since I first heard his recordings in 1982. It’s so great to have everything here from his final studio sessions.”

Track Listing:

1.  Classified
2.  If You’re Lonely
3.  Warsaw Concerto*  2:47
4.  Lawdy Miss Clawdy (solo piano alternate take)*
5.  Medley: Tico Tico /  Papa Was a Rascal / So Swell When You’re Well*
6.  All Around the World
7.  Angel Eyes
8.  Lonely Avenue*
9.  Professor Longhair Medley: Tipitina / Bald Head
10. King of the Road
11. Theme from The Godfather*
12. Lawdy Miss Clawdy
13. I’m Not Sayin’*
14. Hound Dog
15. All These Things*
16. Yes Sir, That’s My Baby*
17. Baby Face
18. If You’re Lonely (solo piano alternate take)*
19. Madame X
20. One For the Highway
21. Three Keys
22. Amen

*previously unreleased

To pre-order the album on iTunes click here
To tie in with the UK release,  the Bayou Maharajah Film will be screened at this years London Jazz Festival in November following edit screenings in Barcelona and the Cork Film Festival in October.

For music, photos and packshot please click here
For further detail contact: Sara Silver,

Rounder Records

Society for The Preservation of Bluegrass Music Awards 2013




– Rounder Records is pleased to announce that its artists garnered 6 awards at the 39th annual SPBGMA [Society for the Preservation of Bluegrass Music of America] Music Awards show held Sunday in Nashville.

Bluegrass duo Dailey & Vincent were voted Bluegrass Band of the Year (Overall) for the 3rd consecutive year and also picked up wins for Vocal Group of the Year and Gospel Group of the Year (Contemporary).  These awards come on the heels of their Grammy® nomination for Bluegrass Album of the Year, with the ceremony to be held this weekend, February 10, in Los Angeles.

Banjo legend J.D. Crowe received the award for Banjo Performer of the Year and Josh Williams received his 9th consecutive win for Guitar Performer of the Year.  James King continues his reign as Male Vocalist of the Year (Traditional).

Below is the complete list of Rounder Records’ SPBGMA award winners:

Bluegrass Band of the Year (Overall)
Dailey & Vincent

Vocal Group of the Year
Dailey & Vincent

Gospel Group of the Year (Contemporary)
Dailey & Vincent

Male Vocalist of the Year (Traditional)
James King

Guitar Performer of the Year
Josh Williams

Banjo Player of the Year
J.D. Crowe

Rounder Records

Son Volt to release New Album March 2013 entitled Honky Tonk

Honky Tonk 


On March 18th 2013, Son Volt will release Honky Tonk, the highly anticipated follow-up to 2009’s critically lauded American Central Dust.

The album features eleven new Son Volt songs that are inspired by the classic honky tonk sound of Bakersfield. Bandleader Jay Farrar observes, “Honky tonk music is about heartache, heartbreak, the road.” He reflects that as he wrote and recorded the songs so deeply steeped in tradition,  “I wanted these songs to sound more contemporary and modern. There was no strict adherence to methodology of the past. You never want to be a nostalgia act.”

Honky Tonk sees Son Volt moving forward on the path of a more acoustic-based sound.  Many of its compositions mine a thematic lyrical vein inspired by a traditional country music aesthetic, which Farrar first explored on American Central Dust. Farrar recalls, “I was always averse to using certain words in songs, including ‘love’ and ‘heart.’ But I started using them on American Central Dust, and now I guess the floodgates have opened.”

Indeed, many of Honky Tonk’s songs dwell on affairs of the heart, including the album’s opener, “Hearts and Minds,” a speedy Cajun waltz which assays the delicate balance between love’s steadfastness and its caprice, the plaintive “Brick Walls,” and “Barricades,” which affirms the necessity of pushing forward in the face of overwhelming despair and defeat.

Farrar recalls how his decision to learn a new instrument inspired an intense exploration of honky tonk music: “In the time between Son Volt records, I started learning pedal steel guitar. I play with a local band in St. Louis now and then called Colonel Ford. So I was immersed in honky tonk music, the Bakersfield sound, in particular. And it was almost second nature when I started writing the songs for this record.”

Honky Tonk and Farrar’s forthcoming book, Falling Cars and Junkyard Dogs (Counterpoint Press, 2013) both continue his ongoing exploration of America’s landscape through the redemptive power of its music. Yet for all its hearkening back to a classic sound, Farrar and company make Honky Tonk feel vital, fresh, and new.


Honky Tonk Tracklist:

1.    Hearts and Minds

2.    Brick Walls

3.    Wild Side

4.    Down the Highway

5.    Bakersfield

6.    Livin’ On

7.    Tears of Change

8.    Angel of the Blues

9.    Seawall

10.  Barricades

11.  Shine On


Son Volt On Tour in the USA:

April 10 – Mercy Lounge – Nashville, TN                   April 11 – The Orange Peel – Asheville, NC

April 12 – Terminal West – Atlanta, GA                    April 13 – Cat’s Cradle – Carrboro, NC

April 14 – Bijou Theatre – Knoxville, TN                   April 16 – WorkPlay Theatre – Birmingham, AL

April 17 – The Parish – New Orleans, LA                  April 18 – Continental Club – Houston, TX

April 19 – Old Settler’s Music Festival – Austin, TX     April 20 – Sons of Herman Hall – Dallas, TX


Son Volt Honky Tonk [116619145-2] Available March 18, 2013