6762 - BUCK 69 - No Medicine Like The Blues (2014)

BUCK 69
''NO MEDICINE LIKE THE BLUES''
OCTOBER 31 2013
68:05

1. These Blues/3:28
2. Ugly Teacher Blues/4:13
3. Dead End Road/4:02
4. No Medicine Like the Blues/8:51
5. That's Life/4:53
6. Without My Baby/3:58
7. Love Ain't Easy/4:03
8. Just an Old Blues Man/3:54
9. Tell Me Why/3:54
10. Hard Times/4:52
11. Carry On/3:55
12. I Pray for Me/4:09
13. Don't Shave My Beard When I Die/3:39
14. Soakin' Up the Blues/2:49
15. My Car/3:59
16. All Night Long/3:59

Tom Clawson/Singer Songwriter, Rhythm Guitar
Alex Clawson/Rhythm & Lead Guitar, Bass, Vocals
Candice Coleman Lange/Vocals
John Sevilla/Lead Guitar, Bass, Vocals
Randy Paredes/Lead, Rhythm & Slide Guitar
B.J. Love/Keyboards
David Alan/Drums, Vocals

A Little Background Info
TOM CLAWSON
Singer-Songwriter-Guitar Player for the Blues Rock Band (BUCK69).
Available for songwriting, production, band promotion and marketing.
I play electric and acoustic rhythm guitar and love my Taylor six string.
She is my mistress, and I write the melodies that she whispers to me in the deep dark of the night.

When songwriting, my lyrics are based on stories I’ve heard, stories I’ve been told and mainly my real life experiences. How does one move forward without looking back? Oscar Wilde said, "In the world there are only two tragedies. One is not getting what one wants and the other is getting it". So, if regrets are opportunities missed, things left unsaid and passions that aren’t pursued, then so far this has been a life of no regrets and I’ve learned that what is held lightly, can never be lost. Simplicity comes from letting go of what you want. - Lao tzu

In October of 1974 right before his 16th birthday, Tom woke up one morning and grabbed his Fender acoustic and his sleeping bag and decided to travel. With six dollars and change, the clothes on his back, a friends draft card and without telling anyone he headed out. Leaving Warren, Ohio and hitch hiking cross-country. Tom would stop in bars along the way playing old Hank Williams Sr., Johnny Cash and Merle Haggard songs. He would put his hat on the bar and use the few bucks he made to get something to eat. When he couldn’t find a place to sleep for the night he would sleep under the overpasses. Tom made it down to Galveston, TX where he worked on a shrimp boat and then eventually made his way back home. Started his own band, TC Rogers and the Blues Hamilton Band in the fall of 1975, and played a mix of country rock and blues-rock. Since those days Tom has been married, divorced, married again and has 3 sons. Spent 3 years in the U S Army military police, earned a degree in business management, currently manages a trucking company and has a small Internet Human Resource Software business. In 2004 persuaded by his oldest son Alex, Tom started playing music again and eventually they formed a band “BUCK69” in 2005. From his teenage days of hanging out with the Warren, Ohio chapter of the Outlaws, playing guitar in the bars, the booze, the drugs, guns, knives, friends shot and killed, friends dead from drugs, hitch hiking to Texas, hitch hiking to Florida, hitch hiking to New York, the older women, the younger women, the married women and life in general. Tom has plenty of stories to tell and lots of songs still to write!
Tom's personal page is http://www.facebook.com/buck69bluesrock

ALEX CLAWSON
Rythm and Lead Guitar Player for the Blues Rock Band Buck69.
Alex started playing guitar and writing songs when he was 11 yrs. old. Now at age 31. He plays guitar and writes songs for two Toledo, OH based bands, BATHHOUSEBETTY an all original speed rock band and BUCK69 a unique roots rock band. BUCK69 is currently in the studio recording their first album which should be available Around mid-summer 2007. It's going to be an amazing album with a big handfull of some of Toledo's finest musicians. BATHHOUSEBETTY is currently playing random shows here and there with our first album almost complete, check out thier site it's most impressive (www.myspace.com/bathhousebetty) BHB was recently joined by bassist Matt from Toledo based EVOLLOTO and the songs have never sounded better! Alex is also a member of the former band known as THE SOCIETY another Toledo Based band, which you should also check out... It's all on myspace man!. Alex also a self-employed painter, his company is called CLAWSON PAINTING CO. so if you need something painted, let him know (Shameless Plug). If you need a band for your club, let him know. Alex also has a large arsenal of music which he is constantly adding to.

B J LOVE
Keyboards Player for the Blues Rock Band Buck69.
B J Love has been playing keyboards professionally since the age of 13. That was a very long time ago and he feels that he really should be better at it by now. He underwent a mid-life crisis at the age of 40 and took a real job. The experiment ended badly. He is proud to be a union member and a registered Democrat - and he doesn't care who knows it. He is blessed with a very understanding wife and son. They understand that he's not going to change and they just have to deal with it. He plays with his organ several hours every day and he urges you to do the same!

DAVID ALAN
Drummer and vocals for the Blues Rock Band Buck69.
Dave is A Drummer / Vocalist, currently living in the Toledo, Ohio area. He has traveled all over the world working with assorted artists. Dave spent 20yrs playing sessions and gigs in the Los Angeles area, and also Riverside, Ca. He has about a million years experience in the music bizz.....He can sing pretty much anything, and he enjoys many styles of music. Dave decided that he ought to have somethin' to show for all the miles he's logged, and made a cd. Thou he feels he's not a great song writer, or anything like that, but, knows how to make things sound good, and he has some great players on the cd. It was recorded and produced by my friend JESSE CASTRO......pArTy oN!!

CANDISE COLEMAN
Vocals for the Blues Rock Band Buck69.
Candice Coleman from AMERICAN IDOL II-Look for Candie's interview on AMERICAN IDOL REWIND, being aired this October, also check out the USA FOR UNHCR benefit CD, which features Candie's song "How Long", available at amazon.com, bestbuy.com and many other great retailers.

JOHN SEVILLA
Bass and lead guitar player for Buck69 and also has his own band John Sevilla and Severe Weather.

6761 - BAND OF HORSES - Acoustic At The Ryman (2014)

BAND OF HORSES
''ACOUSTIC AT THE RYMAN''
FEBRUARY 11 2014
RECORDED APRIL 27-28 2013
38:27

1 /Marry Song
Creighton Barrett / Benjamin Bridwell / Rob Hampton/4:15
2 /Slow Cruel Hands of Time
Benjamin Bridwell/3:44
3 /Detlef Schrempf
Creighton Barrett / Benjamin Bridwell / Rob Hampton/4:34
4 /Everything's Gonna Be Undone
Tyler Ramsey/3:13
5 /No One's Gonna Love You
Creighton Barrett / Benjamin Bridwell / Rob Hampton/3:55
6 /Factory
Benjamin Bridwell/3:48
7 /Older
Ryan Monroe/3:15
8 /Wicked Gil/3:11
9 /The Funeral/5:07
10 /Neighbor
Benjamin Bridwell/3:25

Creighton Barrett /Drums
Benjamin Bridwell /Guitar, Pump Organ, Vocals
Ryan Monroe /Guitar, Piano, Vocals
Tyler Ramsey /Guitar, Pump Organ, Vocals
Bill Reynolds /Bass

REVIEW
By Fred Thomas
The always haunting indie rock gone alt-country sounds of Band of Horses come under a microscope on the gentle ten-song collection Acoustic at the Ryman. Culled from entire sets recorded over a two-night stand at Nashville's Ryman Auditorium in the spring of 2013, the album boils down the performances into a compact presentation of their best moments. Glorious harmonies, acoustic piano, and twangy, woodsy guitars breathe new life into songs like "Older" and "No One's Gonna Love You." Though drummer Creighton Barrett is present for the dates, the drums are so understated (if played at all) that they fade into a far-off background, making more space for the lush tones of vocal and guitar interplay. With the same soft rock moods of America, the Eagles, Crosby, Stills & Nash, or American Beauty-era Grateful Dead, the decreased volume leaves the songs every bit as moody and ominous as their more electric studio versions, but far clearer. Even their relentlessly dark 2006 hit "The Funeral" takes on a particular gentleness and focus that was lost in the layers of reverb and tough rock dynamics of the original.

BIOGRAPHY
By Andrew Leahey
Emerging in 2004 with a blend of woodsy midtempo rock and reverb-laden vocals, Band of Horses gained an audience in their native Northwest before Everything All the Time made them indie rock darlings. Multi-instrumentalists Ben Bridwell and Mat Brooke founded the group after an eight-year run with Carissa's Wierd, and an early concert alongside future labelmates Iron & Wine caught the attention of Sub Pop Records. Sub Pop signed Band of Horses in 2005 and reissued their self-released EP later that year, while the band retreated to the studio to record its full-length debut. Everything All the Time appeared in March 2006 and was warmly received; however, Brooke did not tour in support of the album and had officially left the group by July, choosing instead to devote his time to another Sub Pop act, Grand Archives. Bridwell soldiered on with now-permanent bandmates Rob Hampton (bass) and Creighton Barrett (drums), playing stateside shows and touring Europe in support of the band's debut.

The bandmembers returned to the States and relocated to Mt. Pleasant, South Carolina, to be closer to their families. Soon after, Band of Horses entered the studio with producer Phil Ek (who also helmed Everything All the Time) to record their second album. Cease to Begin was released in October 2007 to extremely warm reviews; it also peaked at number 35 on the Billboard charts, giving the band a taste of commercial success as well as critical approval. Although Band of Horses spent most of the following two years on the road, they also found time to return to the recording studio, where they began working on a third album in 2009.

This time, the band's five members all contributed to the songwriting process, making Infinite Arms a collaborative effort between Bridwell, Barrett, and new members Ryan Monroe, Tyler Ramsey, and Bill Reynolds. The album hit shelves in mid-2010, marking the band's first effort for Columbia Records and earning a Grammy for its country-rock sound. Preferring to take a more grounded approach on their fourth long-player, the group tapped legendary producer Glyn Johns (the Rolling Stones, The Who), who helped to rein in some of the group's more experimental tendencies by insisting on a more intimate live approach. The resulting Mirage Rock, which was preceded by the single "Knock, Knock," arrived in September 2012. Early 2014 saw the release of live album Acoustic at the Ryman, a compilation of tracks recorded in a stripped-down fashion during a two-night stint in the spring of 2013 at Nashville's Ryman Auditorium.

6760 - LES CLAYPOOL'S DUO DE TWANG - Four Foot Shack (2014)

LES CLAYPOOL'S DUO DE TWANG
''FOUR FOOT SHACK''
FEBRUARY 3 2014
56:23

1 /Four Foot Shack
Les Claypool/0:42
2 /Wynona's Big Brown Beaver
Tim "Herb" Alexander / Les Claypool / Larry LaLonde/4:47
3 /Amos Moses
Jerry Hubbard/3:34
4 /Red State Girl
Les Claypool/3:02
5 /The Bridge Came Tumblin' Down
Tom Connors/3:29
6 /Boonville Stomp
Les Claypool/4:59
7 /Stayin' Alive
Barry Gibb / Maurice Gibb / Robin Gibb/4:45
8 /Rumble of the Diesel
Les Claypool/4:05
9 /Pipeline
Brian Carman / Bob Spickard/2:18
10 /Buzzards of Green Hill
Les Claypool/4:04
11 /Hendershot
Les Claypool/2:52
12 /Man in the Box
Jerry Cantrell / Layne Staley/5:12
13 /D's Diner
Les Claypool/4:24
14 /Battle of New Orleans
Jimmie Driftwood/4:16
15 /Jerry Was a Race Car Driver
Tim "Herb" Alexander / Les Claypool / Larry LaLonde/3:54

Les Claypool /Bass, Vocals
Bryan Kehoe /Guitar, Vocals (Background)
Wylie Woods /Mandolin, Vocals (Background)

REVIEW
By Gregory Heaney
Of all the things that Les Claypool is a master of, subtly is not one of them. Armed with an arsenal of bass guitars and a sensibility that merged Zappa-esque irreverent virtuosity with cornpone whimsy, Claypool has been on a decades-long mission to make truly "alternative" music, mashing up styles and influences that most people would never conceive of. Because of this legacy, an album like Four Foot Shack, the first from his project Les Claypool's Duo De Twang, is both a refreshingly weird departure from what everyone else is doing and a completely normal offering from the bass wizard. Making up the other half of the duo is guitarist and kindred spirit Bryan Kehoe (M.I.R.V., the Kehoe Nation, and Colonel Les Claypool's Fearless Flying Frog Brigade), who shares Claypool's love of bluegrass and general sonic weirdness. Together, the pair weave together a collection of songs that manages to feel stripped down in spite of the masterful playing at work. The album is made up of a mix of originals, reimagined Primus tunes, and covers that run the gamut from Johnny Horton's "Battle of New Orleans" to the Bee Gee's "Stayin' Alive," which have been injected with a healthy dose of twang to transform them into something altogether different. Listening to the duo stomp their way through their rendition of Alice in Chains' grunge classic, "Man in the Box," it feels as if we're getting a glimpse inside Claypool's mind, opening up the possibility that this is just how these songs sound to him (a not unrealistic notion given how complete the transformations are). The musical realm that exists inside of Claypool's head is a bizarre one, but the songs on Four Foot Shack have a weird knack for worming their way into your head, turning your waking world into a surreal, country-fried cartoon version of itself that's oddly endearing. It's this quality that makes this outing from Les Claypool's Duo De Twang one worth exploring, even if it means having lines like "malted buttermilk pancakes all day long" on an endless loop in your head.

BIOGRAPHY
By Gregory Heaney
While Les Claypool's musical modus operandi tends toward the big and weird -- having blown minds and pushed the limits of what can be done with a bass guitar with bands like Primus and the Fearless Flying Frog Brigade -- Les Claypool's Duo De Twang finds the bassist taking a more stripped-down approach. A team-up with guitarist Bryan Kehoe, best known for his work with Bay area weirdos M.I.R.V., the pair set out to bring a little more twang into people's lives with their own twisted interpretation of bluegrass and country. The first outing, a mix of covers and originals titled Four Foot Shack, arrived on ATO Records in 2014.

6759 - TINARIWEN - Emmaar (2014)

TINARIWEN
''EMMAAR''
FEBRUARY 10 2014
48:59

1 /Toumast Tincha
Eyadou Ag Leche/4:20
2 /Chaghaybou
Abdallah Ag Alhousseyni/4:53
3 /Arhegh Danagh
Ibrahim Ag Alhabib/4:03
4 /Timadrit in Sahara
Ibrahim Ag Alhabib/3:51
5 /Imidiwan Ahi Sigdim
Ibrahim Ag Alhabib/4:51
6 /Tahalamot
Abdallah Ag Alhousseyni/5:03
7 /Sendad Eghlalan
Ibrahim Ag Alhabib/4:55
8 /Imdiwanin Ahi Tifhamam
Abdallah Ag Alhousseyni/4:37
9 /Koud Edhaz Emin
Ibrahim Ag Alhabib/4:33
10 /Emajer
Ibrahim Ag Alhabib/3:37
11 /Aghregh Medin (Hassan's Song)
Hassan Ag Touhami/4:16

Ibrahim Ag Alhabib /Guitar, Vocals
Abdallah Ag Alhousseyni /Clapping, Guitar, Vocals, Vocals (Background)
Saïd Ag Ayad /Clapping, Percussion, Vocals (Background)
Amar Chaoui /Percussion
Elaga Ag Hamid /Clapping, Guitar, Vocals (Background)
Fats Kaplin /Fiddle, Pedal Steel Guitar
Toulout Kiki /Vocals (Background)
Josh Klinghoffer /Guitar
Eyadou Ag Leche /Bass, Clapping, Guitar, Guitar (Rhythm), Vocals, Vocals (Background)
Mike Sweeney /Guitar
Alhassane Ag Touhami /Clapping, Guitar, Vocals, Vocals (Background)
Saul Williams /Spoken Word

REVIEW
By Thom Jurek
Challenging circumstances are nothing new to the Kel Tamashek (Tuareg) band Tinariwen. After all, most of their members had been Libyan military-trained rebel fighters engaged in active revolt against the Malian government before the Tamanrasset Accords in 1991. Beginning in 2012, real danger is ever present in northern Mali -- due to the incursion of Islamist militias -- for the Tuareg people and to musicians in particular. So much so, many, including Tinariwen, have fled the country. One of their members, Abdallah Ag Lamida, was even kidnapped, though he has since been released. Tinariwen was forced to exchange one desert -- the Sahara -- for another in Joshua Tree National Park in the United States in order to record Emmaar (without Ag Lamida, who was freed after recording began). Once more produced by Patrick Votan, the sound here retains its "desert blues" heart but is also more expansive -- there's no need for alarm, really. The traditional interlocking guitar interplay involves more drones as lead lines snake underneath them, and there is more reverb in this mix. All of the material was written by leader Ibrahim Ag Alhabib or his bandmembers. Exile, anger, and displacement populate the songs on Emmaar. Multi-instrumentalist Fats Kaplin adds his spiraling fiddle to "Imdiwanin Ahi Tifhamamone" and pedal steel to the militant opener "Toumast Tincha" (that also features guitar from Josh Klinghoffer and a spoken intro by Saul Williams), and the atmospheric dirge "Sendad Eghlalan." Percussionist Amar Chaoui helps out on the stinging "Chaghaybou" and five other tracks, adding a sense of more dynamic urgency to balance the more drone-centric approach. "Emajer," with guest guitarist Matt Sweeney, is a different tack for Tinariwen. Its vibe is more American Southwest (which isn't so strange since this is a nomadic band after all). But Ag Alhabib's lyric and melody are pure African folk song, reflecting loss and longing, as the rolling percussion, voices, and guitars wind around one in multiple melodies underscoring the emotion. The interwoven acoustic guitars on closer "Aghregh Medin (Hassan's Song)" offer a staggered minor-key blues. They highlight the disillusionment in the lyric "... I no longer believe in unity/I will only believe in it again if/Those opinions serve a common ideal/That of the people from which they emanate." The different textures and timbres at work on Emmaar reveal Tinariwen's evolution; one derived from the need to grow musically, as well as respond to adversity with creativity.

BIOGRAPHY
By Evan C. Gutierrez
Tinariwen is a Tuareg group that performs a guitar-centric branch of Malian music that, to the untrained ear, is reminiscent of Ali Farka Touré's, but is far more rock-oriented and percussive. All of the band's musicians originate from the southern Sahara; the group's name, meaning "empty places," is a reflection of their land of origin. The band formed in the rebel camps of Colonel Gaddafi, as each of the musicians had been forced from their nomadic lifestyle into involuntary military service. Surrounded by a displaced nation of their peers, Tinariwen forged a new style of music, trading their traditional lutes and shepherd's flutes for electric guitars and drums. The style that resulted was dubbed "Tishoumaren," or "the music of the unemployed." Their music addresses issues such as political awakening, problems of exile, repression of their people, and demands of sovereignty.

In a region with no postal or telephone system, their tapes soon became a grassroots voice of rebellion and a rallying point for the disenfranchised nation. Though outlawed in Algeria and Mali, 2001's The Radio Tisdas Sessions and 2004's Amassakoul are available to Western audiences. In 2006, they recorded their third album, Aman Iman: Water Is Life, released internationally in 2007 by Harmonia Mundi's World Village imprint. The album was produced by Justin Adams, and featured the voice and guitar of founding member Mohammed Ag Itlale. Tinariwen toured the world for the first time in its wake. They followed the album with Imidiwan: Companions, a two-disc set containing one disc of music and a DVD documentary about Tinariwen's history. This was once again followed by a world tour that included numerous festival appearances in the United States and Europe.

Tinariwen signed to America's Anti imprint in 2010. The label encouraged them to experiment. The end result was Tassili, issued in 2011, in which the band recorded a completely acoustic set in a protected region of the southeastern Algerian desert. The tapes were flown to America where guitarist Nels Cline overdubbed electric guitars and New Orleans' famed Dirty Dozen Brass Band added horns, making Tassili a truly international collaboration. The album won a Grammy. The bandmembers were forced to flee Mali due to political and social unrest, and recorded their follow-up, Emmaar, at a studio in Joshua Tree National Park in the United States. It was released in February of 2014.

6758 - ULTRAVIOLET HIPPOPOTAMUS - Translate (2013)

ULTRAVIOLET HIPPOPOTAMUS
''TRANSLATE''
OCTOBER 1 2013
64:10

01 - La Marea/7:11
02 - Hey Tommy/9:25
03 - Tiny Eyes/5:02
04 - Rueben/5:34
05 - Reality/6:27
06 - Tugboat (The Epic Trials Of Lance Tugboat Murphy)/8:04
07 - Kpanlogo/5:26
08 - Metaphorical Pipe/5:05
09 - Sinking To The Side/5:08
10 - Verlander/6:44

Brian Samuels/Bass, Vocals
Joseph Phillion/Drums
Dave Sanders/Keyboards, Vocals
Casey Butts/Percussion
Russell Olmsted/Guitar, Vocals
Guest Musicians:
Jen Wilson/Backing Vocals
Terrance Massey/Trumpet

ABOUT THIS ALBUM
Album Notes
by CDBABY
Ultraviolet Hippopotamus is an explosive five-piece progressive improvisational band with a rapidly growing fan base across the U.S. and, more recently, Europe. Described as “brightening the future of the jam band scene,” Ultraviolet Hippopotamus mixes tight, funky jams with new dance beats, heartfelt lyrics, compelling composition, eccentric effects and a vibrant light show for an incredible, one-of-a-kind musical experience. Known for its on-stage musical alchemy – cultivated from years of relentless touring – the band performs an eclectic selection of technically demanding compositions and improvised material along with unconventional and fun covers.
The group deftly journeys between funk, jazz, livetronica, space rock, reggae, bluegrass, and progressive rock within a single show and, sometimes, within a single song. Exploring new ground and taking risks make every performance unique, and fans are never sure what exactly the band will deliver each night; other than exceptional music.
Anyone remotely familiar with the ‘jam band sound’ will immediately recognize Ultraviolet Hippopotamus’ influences and genre-mixing musical objectives, but the band adds a level of talent, intricacy and polish that truly sets it apart. Tight, energetic jams and outstanding vocals — a true rarity among the band’s peers — coupled with the act’s spontaneity and strong songwriting add to its appeal. The word is out, and the band is quickly developing into an international sensation.
Ultraviolet Hippopotamus’ highly praised third album, “Square Pegs, Round Holes,” reached No. 3 and spent much of the year in the top 25 of the Relix Magazine/Jambands.com National Radio Chart and was voted “2011 Studio Album of the Year” at the Home Grown Music Network. It also received similar nominations from several radio programs, among other acclaim. The album continues to sell steadily and receives airplay across the U.S. as well as internationally in Italy, Brazil, France, Switzerland, England, Spain, Germany and other countries.

6757 - VIENNA CIRCLE - Silhouette Moon (2013)

VIENNA CIRCLE
''SILHOUETTE MOON''
2013
49:03

01 - Strangers/1:40
02 - Envy/2:20
03 - Dreams Presage/13:20
04 - Scarlet Dance/3:14
05 - Woven Wings/6:26
06 - Ballad Of Night/6:31
07 - Sea/3:34
08 - Eternity/2:39
09 - Together/5:44
10 - Departure/3:28

Paul Davis
Jack Davis
Guest Appearances:
Alex Micklewright/Drums
Jess Shute/Flute
Patch Morrison/Saxophone On 3
Dave Waller/Clarinet, Saxophone On 6
Gemma Davis/Vocals On 3, 10

Vienna Circle are the brothers Jack and Paul Davis.

After growing up in rural Wiltshire on a diet of Pink Floyd, the Beatles and Dream Theater, they self-released their debut album “White Clouds” in 2008. To their surprise and delight, it earned positive reviews in the press where they were flagged as rising stars in the progressive rock community.

Inspired to live up to these demands, they started writing a new album in late 2009. By 2011 they hired producer Tom Davenport to scale up their sound, who took them to work with engineer Rupert Matthews at Monkey Puzzle House studios, best known for Porcupine Tree’s “The Incident”.

With session musician Alex Micklewright on drums, they took the tracks home for months of delicate post-production and orchestral flourishes.

The final mix was by Edd Hartwell, another Wiltshire native who was also an understudy to renown producer Trevor Horn, and his contribution helps “Silhouette Moon” stand proud as a quality progressive rock album.

Silhouette Moon might be an independent release, but it makes no compromises on Vienna Circle’s original vision. That’s one set of values you can count on the band to deliver throughout their career.

6756 - THE MODEL SCHOOL - Backwards Down The Highway (2013)

THE MODEL SCHOOL
''BACKWARDS DOWN THE HIGHWAY''
SEPTEMBER 20 2013
36:28

1. Desert Flower/3:08
2. Streets I Left Behind/2:47
3. Pictures of Summer/3:39
4. Purple AM Radio/2:47
5. Backwards Down The Highway/4:11
6. Lonesome Valley/4:14
7. Up Around The Bend/2:58
8. Heart of Man/4:23
9. Every Bed I Made/3:33
10. View From The Woods/4:47

Sydney 4-piece The Model School's eclectic evolution from masters of homespun suburban pop to purveyors of widescreen rock and roll continues apace with their new album Backwards Down The Highway (released Sep 20th). Built around the weatherbeaten vocals of songwriter Brendan Wixted the record heralds a full throttle trip through the heartland of classic FM rock, via a crooked detour past Laurel Canyon, early REM and Nebraska-era Springsteen, the songs twisting and turning hrough a landscape strewn with broken dreams, neon lights and faded summer memories.

The band recorded the album, their first since 2009's Memory Walls, over an 18 month period at Linear Studios in Sydney, completing the work at their home studio in the inner west. Mastered by the legendary Greg Calbi in NYC (Born To Run, Veckatimest), the record is a distillation of the band's unique oeuvre, an album of warmth, intrigue and pathos, with lyrics that deal with yearning for lost youth, mortality, and hope for what lies ahead, up around the bend.

Wixted's journey through the highways and byways of Arizona in 2010 sparked the genesis of the album, with many of the songs written whilst meandering through the desolate landscape alone without much more than a dictaphone and a freshly acquired 3/4 size guitar. Little did he realize at the time just how rich the songs would become once brought home - with Elvis Castro on lead guitar forging his own distinct sound born of cosmic country and 60's pop. Wixted then bunkered down in
the Blue Mountains to finish writing the songs - with the wide open spaces, canyons and sense of aloneness syncing perfectly with the material. The last 2 tracks on the record were captured by
unconventional means - "I had written Every Bed I Made during the day at home in the mountains - later that night a howling storm struck, providing the perfect backdrop... the version on the album is from that night". Similarly the vocals for the haunting View From The Woods were recorded whilst Wixted sat in his car surrounded by the dense and impenetrable eucalypts and fading mountain light. It's a fitting closer to the album, a haunting and unsettling tale that signals the strength of the human spirit to prevail, a simmering sonic assault against the dying of the light. The journey had come full circle.

6755 - NORTH ATLANTIC TRIO - Some Part of Something (2013)

NORTH ATLANTIC TRIO
''SOME PART OF SOMETHING''
SEPTEMBER 25 2013
48:16

01 - Tommy's Tarbukas/3:51
02 - Pig Foot Clinch/3:52
03 - Wayfaring Stranger/5:48
04 - Crossing the Cumberlands/4:47
05 - Monday Morning and Reels/6:17
06 - Gloomy Winter's Noo Awa/5:02
07 - Whisky Cuckoo/4:13
08 - Lonesome Moonlight Waltz/4:43
09 - Sally in the Gardens/4:06
10 - Waterbound/4:52
11 - Diane's Desserts/3:21

Cheyenne Brown/Harp
Dave Boyd/Percussion
Dave Currie/Dobro, Guitar

ABOUT THIS ALBUM
Album Notes
BY CDBABY
The North Atlantic Trio combine Irish, Scottish, Old-time Appalachian and bluegrass music with their own original compositions in a unique cross-genre bricolage. Formed in 2009 around a fireplace in Glasgow, this unusual marriage of harp, dobro and esoteric percussion has been warmly received by audiences at festivals throughout Europe and in venues across the UK.

"Not only cleared my head but also moved my feet - a marvelous combination" - Three Weeks Edinburgh Fringe

"a gorgeous newgrassy treatment" - Folk and Roots

REVIEW
By Neil King
If we're going to continue to invent terms for musical fusions then can I put forward moorgrass to describe the sounds and songs of North Atlantic Trio. The clue to this three piece really does lie in the band's name, an American, Cheyenne Brown, an Irishman, Dave Boyd and a Scot, Dave Currie forming this particular and all bring their musical influences, though not necessarily in the order you might think. (Yes I was tempted to use the walk into a bar line)

Of the three I was more familiar with the work of harpist, Cheyenne Brown, but even that hadn't really prepared me for the blend of bluegrass and Celtic influences, brought together on this collection of songs and tunes, with the songs imparticular taking on a real spiritual, gospel feel.

That said for me, one of the real standout features of "Some Part Of Something" for me is the shear quality of both the instrumentation and the arrangements. This really is an album that you can lose yourself in and it's well worth making that effort, drawing the curtains, shutting yourself off from the world and letting North Atlantic Trio take you away from it all.

Some of the songs on the album will be familiar to you from regular appearances on folk albums, sometimes on their own and sometimes included as part of a set of tunes. In many ways that familiarity, "Wayfaring Stranger", "The Cuckoo/Whisky Before Breakfast" and "Sally In The Garden" gives you a yardstick against which North Atlantic Trio can be judged. They certainly don't come up wanting, just don't forget to check out "Lonesome Moonlight Waltz."

6754 - IRISH MOUTARDE - Raise 'Em All (2013)

IRISH MOUTARDE
''RAISE 'EM ALL''
2013
39:51

01 - The Black Mill/2:57
02 - Farewell To Drunkenness/3:31
03 - The Cabin/2:42
04 - I Heard Jesus Was/2:54
05 - Glasses To The Sky/3:57
06 - Olaf/2:47
07 - L.L.L. (feat. The Pipers of the Quebec City 78th Fraser Highlanders)/2:08
08 - D.O.E. (feat. Jef Fortin)/3:13
09 - The Fields Of Athenry/4:09
10 - The Bear And The Maiden Fair/4:21
11 - The Wearing Of The Green/3:11
12 - A Lad And A Hag/4:51

Mathieu Audet/Rhythm Guitar, Vocals
Jérome Bélanger/Lead Guitar
Christian Haerinck/Bagpipes, Jew's Harp
Dominic Haerinck/Banjo, Acoustic Guitar, Tin Whistle, Cittern, Harp, Vocals
Sébastien Malenfant/Drums, Vocals
Andrée-Anne McHalley/Vocals, Accordion, Piano
Fred Vandal/Bass Guitar, Vocals
Guest Appearances:
Jeff Fortin/Guitar Solo On D.O.E.
Quebec City 78th Fraser Highlanders On LLL

Origins of the project
Irish Moutarde was founded in July 2009 by Mathieu Audet, Fréréric Audette, Jérôme Bélanger, Andrée-Anne Hallé and Sébastien Malenfant. These guys were (and still are) members of a progressive-metal band named Eerie. Frédéric, Jérôme and Sébastien have been playing music together for a long time, but it was in July 2007 that Mathieu joined the trio. For a year and a half, they composed and edited the material, always in the meantime in search of a singer / vocalist. In January 2009, they finally found the singer they were looking for : Andrée-Anne Hallé. After about seven months of hard work, this young band began looking for a way to get some stage experience and establish contacts before presenting the project to an audience. Involved in the newly re-established St. Patrick’s Parade in Quebec City in March 2010, Mathieu suggested to his fellows Eerie members to put together a tribute to Irish and Celtic rock. Everyone in the band responded enthusiastically to the idea and Irish Moutarde was thus officially founded in late July 2009.

The name "Irish Moutarde"
The name "Irish Moutarde" however, came only a month after the decision to put the celtic rock tribute band together. The idea came from Jérôme’s brother, who proposed it as a pun on the french expression "relish-moutarde." When the name was proposed to other Eerie members, the favorable decision was again unanimous.They liked the name for two reasons: it said something about the band’s musical style, and it was both humorous and light.

Musical style
Several reasons have influenced the choice of Irish Moutarde’s particular musical style. By familiarising themselves with the different genres and styles that exist in Irish-Celtic music, listening particularly to the bands proposed by Frédéric, and taking into account the personal influences and tastes of each member of the band, the musicians of Irish Moutarde decided to take a more "punk rock "tangent. They also wanted to reach a younger audience and offer performances in rock venues, rather than playing more traditional music in smaller venues like pubs. There were also numerous bands on the celtic-inspired traditional musical scene of Quebec City at the time (and still are) and the guys wanted to stand out of the crowd.

Originally, Irish Moutarde intended to perform only once or twice a year in Quebec City, mainly in the March events surrounding St. Patrick’s Day (March 17) and the newly re-established St.Patrick’s Parade (a first since 1926), closing off the event with a special irish-punk rock concert. In the end, however, Irish Moutarde offered performances throughout the year and have been since January 2010.

6753 - VARIOUS ARTISTS - Give US Your Poor: 17 New Recordings To Help End Homelessness (2007)

VARIOUS ARTISTS
''GIVE US YOUR POOR: 17 NEW RECORDINGS TOHELP END HOMELESSNESS''
SEPTEMBER 25 2007
75:12

01 - Danny Glover - Land of 10,000 Homeless - Minnesota - audio documentary set to music/4:01
02 - Jon Bon Jovi & Mighty Sam McClain - Show Me the Way/3:38
03 - Keb' Mo' & Eagle Park Slim - Baby Don’t Let Me Go Homeless/3:12
04 - Natalie Merchant - There Is No Good Reason/4:43
05 - Bruce Springsteen & Pete Seeger - Hobo's Lullaby/5:09
06 - Sonya Kitchell - So Lonely/5:37
07 - Michelle Shocked & Michael Sullivan - Becky's Tune/3:40
08 - Bonnie Raitt & Weepin' Willie Robinson - Walking the Dog/3:46
09 - Danny Glover - My Name Is Not Those People (spoken, with music)/3:19
10 - Madeleine Peyroux - I Think It's Going to Rain Today/3:41
11 - Del Goldfarb & John Sebastian - Portable Man/2:49
12 - Dan Zanes & Kyra Middleton - Boll Weevil/4:06
13 - Buffalo Tom - Ink Falling (Father Outside)/3:51
14 - Sweet Honey In The Rock - Stranger Blues/5:23
15 - Jewel - 1,000 Miles Away/3:47
16 - Tim Robbins - Impossible Boulevard (spoken excerpt, with music)/4:35
17 - Mario Frangoulis - Feels Like Home/4:30
18 - Danny Glover - When We Left Minneapolis (spoken, with music)/1:08
19 - Mark Erelli - Here and Now/3:27

REVIEW
By Tammy La Gorce
Give US Your Poor is a benefit record that doesn't duck from its subject for commercial considerations, which is to say that -- the excellent contributions of Bon Jovi, Bruce Springsteen, and Bonnie Raitt aside -- you're not going to get through the album without contemplating what's it's like to be homeless. But a downer this CD is not: from Springsteen's juiced-up version of the classic "Hobo's Lullaby" with Pete Seeger to Madeleine Peyroux's pretty "I Think It's Going to Rain Today" to Dan Zanes and Kyla Middleton's rootsy picker-upper "Boll Weevil," the music shoves away preachiness and solemnity in favor of hope. It's there in Danny Glover's affecting spoken word "My Name Is Not 'Those People'" and also Sweet Honey in the Rock's grounded a cappella "Stranger Blues," but where it really reaches its target is on the opening sequence. "Land of 10,000 Homeless -- Minnesota" is a brief audio documentary set to music; here you meet people living the life, and here you hear their sagas. Self-pity never plays a part; only simple humanity, taken to the streets and scrubbed to its core elements, shines through.

6752 - WHISKEY MYERS - Early Morning Shakes (2014)

WHISKEY MYERS
''EARLY MORNING SHAKES''
FEBRUARY 4 2014
52:35

1 /Early Morning Shakes
Cody Cannon/3:17
2 /Hard Row to Hoe
Cody Cannon / Kendell Marvel/4:26
3 /Dogwood
Cody Cannon / Brent Cobb / Aaron Raitere/4:13
4 /Shelter from the Rain
Cody Cannon / Brent Cobb / Aaron Raitere/3:36
5 /Home
Cody Cannon / Brent Cobb / Aaron Raitere/3:30
6 /Headstone
Cody Cannon / Dave Pahanish/4:19
7 /Where the Sun Don't Shine
Cody Cannon / Aaron Raitere / Cody Tate/3:28
8 /Reckoning
Cody Cannon/4:29
9 /Wild Baby Shake Me
Cody Cannon / Adam Hood / Cody Tate/5:52
10 /Lightning
Cody Cannon/5:47
11 /Need a Little Time Off for Bad Behavior
David Allan Coe / Bobby Keel / Larry Latimer/3:26
12 /Colloquy
Cody Tate/6:12

Gary Brown /Guitar (Bass)
Cody Cannon /Guitar (Rhythm), Vocals
Chris Hennessee /Harp
Jeff Hogg /Drums
John Jeffers /Guitar, Lap Steel Guitar, Slide Guitar, Vocals (Background)
Kristen Roers /Vocals (Background)
Cody Tate /Guitar, Vocals (Background)
Michael Webb /Keyboards

ABOUT
Whiskey Myers makes honest music.

Loud and proud, they sing about what they know with a refreshing directness and clarity. Some call it rebel music, but it’s more like everyday soul. Their songs are stories, with relatable characters and situations. Stories of celebration, of mourning, of trials and triumph. Through the quality of these songs, and the band’s undeniable power in concert and on record, Whiskey Myers has attracted a devoted army of outspoken fans who pack venues, sing the band’s praises online, and continue to make them a growing word-of-mouth sensation.

And now, they stand poised to unleash the thrilling Early Morning Shakes upon the world. Available on February 4, 2014 through the band’s own Wiggy Thump imprint, their latest full-length was recorded with noted producer Dave Cobb (whose credits include Jamey Johnson, Jason Isbell, and both Waylon and Shooter Jennings) and represents the culmination of years of dedication, experimentation, and refinement. Visceral and dynamic, the album’s 12 songs encompass an impressive range of perspectives and emotions – while finding the band’s musicianship honed to a razor’s edge. And though Early Morning Shakes is a great step forward creatively, it’s an organic one. As guitarist John Jeffers explains, “Staying true to ourselves and to our music has gotten us to the point we’re at. We really wanted to continue on that same track.”

The collaboration with Cobb became a vital partnership, essential to Early Morning Shakes’ edgy yet accessible sound. “I have to credit Dave for creating a natural, relaxed recording atmosphere,” says drummer Jeff Hogg. “It allowed us to be comfortable, creative, and to better express ourselves. Plus, his experience mixing country and rock in his production works perfectly for us.” One listen to the lacerating title track – “The coolest song we have ever done,” beams lead singer and principal songwriter Cody Cannon – makes very clear that Cobb was an ideal choice to harness the band’s growing power and confidence. Although always unabashed, the soul of Whiskey Myers comes through clearer than ever on Early Morning Shakes, from the disarming tenderness of “Shelter from the Rain” to the winking rabble rousing on display in their version of outlaw forefather David Allen Coe’s “Need a Little Time Off for Bad Behavior.” It’s that rare album that promises to enthrall the band’s vocal, devoted fanbase while enticing new listeners. And it couldn’t come at a better time…

Whiskey Myers’ last record, Firewater, was released in the spring of 2011, and enjoyed a remarkable run on the Texas Music Charts that culminated with its third single “Anna Marie” reaching #1. Airplay success has led to larger and larger crowds, with the band now selling out 1,000-capacity venues with ease – and delivering stadium-sized shows grounded in the sincerity and unpretentious, fun-loving energy of their bar-band roots. “Our fans always tell us how much they get out of seeing us play,” says Cannon, “but it’s a two-way street: We get something, too. They inspire us to dedicate ourselves more and more to our music and our sound. And it sure feels like it’s paying off.”

As their chemistry onstage and in the studio reflect, Whiskey Myers is a brotherhood. The five members cut their teeth together, honing their chops side-by-side from an early age. Hailing from Neches, Texas, Cannon was given an acoustic guitar by his “wild-ass biker” (Cody’s words) grandpa, and guitarist John Jeffers’s dad taught them both the rudiments of the instrument. A job at a sporting goods store introduced Cannon to future Whiskey Myers lead guitarist Cody Tate, forming the songwriting core of the band. Upon moving to Tyler, Texas, they picked up drummer Jeff Hogg and enlisted Cannon’s cousin Gary Brown on bass—even though he’d never played the instrument before.

What came next was a blur of gigs, songs, struggles, and victories: With each show, their natural bond as friends continued to grow into a formidable musical telepathy, and with each song they composed, their innate gifts as craftsmen were honed further. The resultant sound, taken to its apex on Early Morning Shakes, is hard-driving and immediate, steeped in the rich legacy of southern rock. Often reduced to a one-dimensional stereotype, the kind of music that inspired Whiskey Myers—artists like Lynyrd Skynyrd, the Allman Brothers, and Hank Williams, Jr.—is actually multifaceted and inventive, drawing from country, R&B, psychedelic rock, and stringband traditions.

In that tradition, Whiskey Myers are grand southern eclectics, pulling in an array of influences and seamlessly mingling them. Listeners can pick up traces of everything from grunge to rockabilly in the course of a set, united by Cannon’s soulfully heartfelt singing and Brown and Hogg’s solid, supple foundation. On top of it all, Tate and Jeffers intertwine their leads, soaring in harmony one moment, darting around one another in intricate improvisations the next. Sure, they’re rousing—just cue up “Hard Row to Hoe” or “Where the Sun Don’t Shine” from Early Morning Shakes for a dose of pile-driver intensity. But their range is wide and expanding, as is evidenced by the inclusion of moving, thoughtful reflections like “Reckoning” and the elegantly arranged “Colloquy.”

In Whiskey Myers’ world, nothing is off-limits. Nothing is too personal, too sensitive, or too controversial to embrace and explore. Theirs is a confidence born of a long-standing brotherhood—a closeness that few groups can rival. That closeness even extends to their road crew, whose first two members were a cousin and childhood friend of Cannon and Jeffers. “Well we all grew up together,” bassist Brown explains. “We’re two sets of cousins. Some of us have been friends since we were two or three years old.”

Cannon picks up the thread immediately, adding “Plus, after six years together, you know each other through and through. We know who we are, and try our best to stay true to ourselves and to our music.”

6751 - RAY BENSON - A Little Piece (2014)

RAY BENSON
''A LITTLE PIECE''
JANUARY 21 2014
42:55

1 /A Little Piece
Ray Benson/3:36
2 /I Ain't Lookin' for No Trouble
Ray Benson/4:02
3 /Give Me Some Peace
Ray Benson/3:27
4 /It Ain't You
Waylon Jennings / Gary Nicholson/feat: Willie Nelson/4:11
5 /In the Blink of an Eye
Ray Benson/4:01
6 /Killed by a .45
Ray Benson / Chris Wallin/3:11
7 /JJ Cale
Ray Benson/4:10
8 /Over and Over
Ray Benson/4:30
9 /Lovin' Man
Ray Benson/5:09
10 /Heartache and Pain
Ray Benson/feat: Mark Del Castillo / Rick Del Castillo/3:40
11 /Marie
Randy Newman/2:42

Will Armstrong /Bells, Drums
Evan Arredondo /Bass
Ray Benson /Guitar (Acoustic), Guitar (Electric), Gut String Guitar, Vocal Harmony, Vocals
Mark Del Castillo /Featured Artist, Guitar
Lauren Cervantes /Vocal Harmony
Clayton Corn /Hammond B3
Rick Del Castillo /Featured Artist, Guitar
Floyd Domino /Piano
Glenn Fukunaga /Bass
Chris Gage /Piano
Wes Hightower /Vocal Harmony
Katie Holmes /Fiddle
Noah Jeffries /Guitar (Acoustic)
Dennis Ludiker /Mandolin
Lloyd Maines /Dobro, Guitar (12 String), Guitar (Acoustic), Guitar (Baritone), Papoose, Pedal Steel Guitar
Angela Miller /Vocal Harmony
Willie Nelson /Featured Artist, Vocals
Jason Roberts /Fiddle
David Sanger /Drums
Sam Seifert /Guitar (Electric), Vocal Harmony
Brian Standefer /Cello
Red Young /Hammond B3, Piano

6750 - PAUL RODGERS - The Royal Sessions (DeLuxe Edition) (2014)

PAUL RODGERS
''THE ROYAL SESSIONS''
FEBRUARY 4 2014
50:36

01 - I Thank You/3:10
02 - Down Don't Bother Me/2:17
03 - I Can't Stand The Rain/4:05
04 - I've Been Loving You Too Long/5:37
05 - That's How Strong My Love Is/3:14
06 - Walk On By/6:49
07 - Any Ole Way/2:38
08 - It's Growing/3:04
09 - Born Under A Bad Sign/4:07
10 - I've Got Dreams To Remember/6:30
11 - Shake/3:27
12 - Walk In My Shadow/2:59
13 - Wonderful World/3:15

ABOUT THE ALBUM
It seems almost too easy to say a record was “a lifetime in the making,” but in the case of Paul Rodgers’ The Royal Sessions, it’s more than poetic metaphor or press hype; it’s a genuine statement of fact.

In the mid ‘60s, before this singer/songwriter founded Free, Bad Company or The Firm with Led Zeppelin’s Jimmy Page, Rodgers was a teen band singer in Middlesbrough, England besotted with vinyl 45s from America: hot new R&B sides from Memphis labels like Stax/Volt, Goldwax and later Hi Records. Spinning the records over and over, Rodgers would imagine how the artists and singers created such momentous sounds and wonder about the places they came from.

Flash forward to 2013: Paul Rodgers is at South Memphis’ Royal Studios, recording those familiar old songs with many of the same players who had graced the original tracks.

The session almost seemed fated. Rodgers had been working on an album of original rock material with his friend and musical collaborator Perry A. Margouleff. In late 2012, Margouleff was visiting Memphis where he was tipped to Royal Studios, the historic home of late producer Willie Mitchell and Hi Records. For over 40 years, Royal has remained a thriving recording hub where artists come take advantage of the vintage gear, old-school wisdom, and sheer magic of the room. They’ve also utilized the talents of the native players, foremost among them the stalwarts of the famed Hi Rhythm Section, built around the Hodges Brothers. Still turning out remarkable records and performances today, Royal Studios has become the last great resource for those truly seeking the real thing.

The result of Paul Rodgers’ pilgrimage to this musical Mecca is a deeply felt, powerfully sung and expertly played collection. Featuring a cross-section of material handpicked by Rodgers, it surveys a wide landscape of American R&B, offering fresh takes on the fatback blues of Albert King, the gutbucket balladry of Otis Redding, the sophisticated stirrings of Issac Hayes and a host of other classics from the Southern soul canon.

Working in the old-school style, everything was recorded on analogue tape, with the basic tracks – including Rodgers’ vocals – all cut live on the floor with the band. Unaware of Rodgers’ history or reputation, the veteran session men were surprised when he chose to kick off the session with a pass at Redding’s iconic “That’s How Strong My Love Is.” After Rodgers nailed the song in a single scintillating take, organist Charles Hodges took him aside and said admiringly, “Man, you’ve really got this in you. You can really do this.”

Moved by their experiences working in Memphis, Rodgers and Margouleff decided to donate proceeds from the album to the Stax Music Academy, as thanks to a city and musical community that’s meant so much to them.

The Royal Sessions represents the culmination of a long, profound journey for Paul Rodgers. Five decades after first discovering these songs on those old 45s, he has created a record direct from the heart.

Recorded at Memphis' Royal Studios, historic home of Willie Mitchell and Hi Records, "The Royal Sessions" features Rodgers' interpretations of songs by Otis Redding, Albert King and Ann Peebles, among others
Produced by Perry Margouleff, "The Royal Sessions" pairs Rodgers with an all-star roster of legendary musicians who played on the original hits dating back to the '60's. The classic rhythm section includes Reverend Charles Hodges (Hammond B3), Michael Tolls (guitar), LeRoy Hodges Jr. (bass), "Hubby" Archie Turner (Wurlitzer), Steve Potts and James Robertson Sr. (drums), The Royal Horns and the Royal Singers.

This is the sound of his R&B fantasy—his soul dream—finally come true.

REVIEW
By Stephen Thomas Erlewine
Recorded at Royal Studios in Memphis, Tennessee, The Royal Sessions sees classic rocker Paul Rodgers -- first known as the lead singer of Free, best-known as the frontman of Bad Company and later a Freddie Mercury substitute in Queen -- paying tribute to his beloved '60s Southern soul. Rodgers set up camp in Memphis and surrounded himself with many veteran Memphis soul musicians, cutting a collection of deep soul covers -- primarily tunes released or recorded at Stax, sometimes songs that were made at Muscle Shoals -- that remain faithful to the spirit and arrangements of the originals. This familiar sound pushes the spotlight onto Rodgers' vocals and he's in good form, never pushing the songs too hard but retaining his signature raspy swagger. The Royal Sessions makes clear just how much Rodgers learned from classic soul -- there are phrasings and runs reminiscent of songs he cut with both Free and Bad Company -- but the lighter setting shines a different light on these comfortable moves, making them fresher while also illustrating his debt to this style. Most of all, The Royal Sessions is enjoyable: it sounds like Rodgers is having a good time, so it's easy to have a good time too.

BIOGRAPHY
By Richard Skelly
In a career that now spans four decades, vocalist, guitarist, and songwriter Paul Rodgers and his various groups have sold in excess of 125 million records around the world. Best known for his expressive vocals on songs that have become rock & roll staples, like "All Right Now," "Feel Like Makin' Love," "Can't Get Enough," and "Rock 'n' Roll Fantasy," Rodgers has been cited by dozens of 1970s and '80s rock groups and musicians as a major influence. U.S. groups like the Black Crowes and Guns N' Roses have cited Rodgers and his various groups -- Free, Bad Company, the Firm, the Law -- as an influence on their styles. As a vocalist and songwriter, Rodgers had great admiration and respect for the classic African-American blues and R&B vocalists. Rodgers credits his father for buying him a guitar in his youth, but he later taught himself bass and piano as well. He began writing songs when he was in his early teens, before he had mastered any instrument. Rodgers began playing out in clubs around Middlesborough, in northern England, when he was 13, taking singers like Rod Stewart as his role models. Right after he left school, he set out for London in a van with a band called the Roadrunners. The van broke down en route, and while the other members hitchhiked back north, Rodgers went south to London. After a short time he returned home to his parents, who were supportive of his musical endeavors. But having seen the club scene in London, he became determined to go back and make his mark there.
Returning to London, he formed the blues band Brown Sugar, deciding to see how far he could go as a vocalist, songwriter, and guitarist. In the mid- and late '60s, London was in the midst of a huge blues revival, and Rodgers had the opportunity to see Muddy Waters and dozens of other American blues musicians perform at London's Marquee Club and other blues and R&B venues. Seeing Waters live had a lasting effect on Rodgers, and his early experiments, Brown Sugar and Free, started out as blues bands.
Rodgers was working with Brown Sugar when guitarist Paul Kossoff heard him sing. Kossoff was so impressed with Rodgers' voice that the two decided to create a new band, joined by Simon Kirke on drums and bassist Andy Fraser. After seeing them at the Nags Head Pub in Battersea, Britain's godfather of blues, Alexis Korner, suggested they call themselves Free. A song Rodgers co-wrote with Fraser, "All Right Now," hit number one in 20 territories around the world in 1970. The song remains a rock staple, having been entered into ASCAP's "One Million" airplay singles club. By the early '70s, Free was one of the biggest-selling British blues-rock groups; by the time the band dissolved in 1973, they had achieved an uncanny level of superstar success: they had sold more than 20 million albums around the world and had played more than 700 arena and festival concerts. In 1973, Rodgers formed Bad Company, then a prototype "supergroup," with King Crimson bassist Boz Burrell, Mott the Hoople guitarist Mick Ralphs, and Free drummer Simon Kirke. But this time, Rodgers learned from the mistakes he'd made with Free; he was determined to have bandmates who shared his musical vision -- the overnight success that Free experienced put undue pressures on the personalities in the band. Rodgers contacted Peter Grant, Led Zeppelin's notorious manager, who was fortuitously starting Swan Song Records, the group's vanity label. By the close of the 1970s, Bad Company had recorded six multi-platinum albums, which spurred classic blues-rock and rock staples like "Can't Get Enough," "Feel Like Makin' Love," "Shooting Star," and "Rock 'n' Roll Fantasy." By the time Bad Company called it quits, they had played to over ten million people around the world and sold 30 million albums.
Other highlights of Rodgers' career include a showstopping version of Otis Redding's "Sittin' on the Dock of the Bay" at Atlantic Records' 40th anniversary party at Madison Square Garden in 1988, and his formation of a new group with Jimmy Page of Led Zeppelin, the Firm, in the mid-'80s. Following that band's two albums, Rodgers formed the Law with former Small Faces/Who drummer Kenny Jones.

Since the early '80s, Rodgers has also released a number of solo albums. They include Cut Loose (1983) and The Morning After the Night Before/Northwind (1984), both for Atlantic Records. His 1990s output includes Muddy Water Blues: A Tribute to Muddy Waters (1993, Victory Records) and The Hendrix Set, a mini-CD released that same year. Muddy Water Blues was nominated for a Grammy and features guest performances by Slash, Richie Sambora of Bon Jovi, Jeff Beck, Steve Miller, Buddy Guy, and Pink Floyd's David Gilmour. Rodgers then put together a backing band featuring guitarist Geoff Whitehorn, bassist Jaz Lochrie, and drummer Jim Copley, recording Paul Rodgers Live (1996) and Paul Rodgers Now (1997) for the New York-based Velvel Records.

After a Bad Company reunion in 1999, Rodgers switched over to CMC International, issuing the album Electric in 2000. Taking a break from his solo career in the middle of the decade, Rodgers joined Brian May and Roger Taylor in a version of Queen for some live shows, one of which was documented on 2005's Return of the Champions, a double disc on the Hollywood label. In 2007 Eagle Rock Entertainment released a new solo album, Live in Glasgow, taken from a October 13, 2006, concert at Clyde Auditorium in Scotland. Released on both CD and DVD, it highlighted both Bad Company and Free material, some of which Rodgers hadn't performed in 35 years.
Rodgers continued to perform live with Queen through the end of 2009. Not long afterward, he reunited with Bad Company for a 2010 tour that was documented on two separate live releases. After this, Rodgers turned to his solo career, releasing a collection of classic soul covers called The Royal Sessions early in 2014.