Ian 'Mac' McLagan
In memory of my dear pal Mac:
Ian ‘Mac’ McLagan was a genuine, dyed-in-the-wool rock’n’roller. In fact, his smiling visage — he was, after all, a member of the Small Faces and the Faces — would serve as an ideal illustration in the proverbial Dictionary of What Is Truly Cool.
The man known to his many mates and even more fans and admirers as 'Mac' is the sort who shruged off such puffery. He carried on creating splendid and genuine rock’n’roll with his Bump Band as well as musically aid and abet a marquee line-up of truly blue ribbon talent that he toured and recorded with: The Rolling Stones, Bob Dylan, Bonnie Raitt, Bruce Springsteen, Taj Mahal, John Hiatt, David Lindley, Paul Westerberg, Billy Bragg and Patty Griffin, to name some but hardly all of the notables that McLagan had worked with over his four-plus decade career.
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Radio Free ABQ
“Dave Purcell’s music has ranged from the sturdy Americana of Pike 27 to the gauzier after-hours ephemera of Ghost Man on Second, but at its molten core, where the magnetic gravity is created, it’s been a rootsy Midwestern romp through a soundscape peppered with sonic references to the likes of the Jayhawks, Soul Asylum and Bottlerockets with a dash of badass Detroit bluster, boiled down to a purified essence and filtered through Purcell’s singular songwriting perspective.”
-Brian Baker, Cincinnati CityBeat
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Queen Esther
“Needless to say Queen Esther drinks in fully from the musical waters that really have no name, but instead come from an inner fabrication where the woman understands what roots are really all about, and then implants them wherever she sees fit. This is free-form fullness that knows no walls. There is no real description of what Queen Esther has accomplished on RONA. Rather, it is a musical osmosis that is exactly what America and the rest of the world surely needs to assimilate into modern life, so maybe the human race can get on with living openly instead of boomeranging between fear and fanaticism.”
Bentley’s Bandstand - Americana Highway.
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Paige Hill
Paige Hill is an independent singer and songwriter based in Dallas, Texas. She is an Austin native and "a bit west coast obsessed," living there for eight years,” making Dallas her current location. Her music is about authentic connections to the best and most challenging parts of being a woman and a mother.
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Lisa Gamache
Lisa Gamache, singer, and songwriter raised in Houston, has been a professional musician since 1976. She teamed up with guitarist Earl Hunt in Austin to perform 70's folk rock covers in exchange for food and tips. The pair performed at Byron Scott's open mic that year, and Gamache fell in love with Austin's songwriter scene, and her affection remains.
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Emily McLoud
Emily McLoud’s six-track solo EP, Sugar Shine, her first solo EP, is a blend of folky, bluegrass, and modern sounds that include upright bass, acoustic guitar, drums with brushes, pedal steel, and mandolin—somewhat reminiscent of the early days of Watchhouse (formerly Mandolin Orange). Sonically and thematically, it expands on her previous work in The Light Upstairs: ruminations on the passage of time, contemplation of opposites, and redemption in day-to-day living. The melodic tunes are couched in country and bluegrass sounds—arising gently from the fertile musical soil of McLoud's home state of Texas. The centerpiece is the title track, “So They Say.” It’s a conversation between parent and child, where the parent side-steps the temptation to say it’s all gonna be okay—instead offering something more honest and potent: “I could say to you, my precious little sugar shine…if anything can make the world a better place it’s me, and you, it’s time.” Emily recently released her debut EP, Sugar Shine.
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Berkalin Records is pleased to announce the 2023 release of Big Red Gibson, the new album from Austin's folk-rock duo Jim Patton & Sherry Brokus, their seventh release on the Houston label in fourteen years. Since their first meeting, Patton & Brokus have sung together and been partners in music and life for 40 years. Big Red Gibson represents a return to the rock side of Patton & Brokus' folk-rock origins for the first time since 2005 when they put their band Edge City ”on hiatus.” The band on Big Red Gibson plays with a Tom Petty/Byrds influence, led by Cordy Lavery's electric 12-string guitar.
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d8 1/2 Souvenirs
8 ½ Souvenirs, after 20+ years, recently released their album At The Movies. The album was produced by Charlie Sexton. The music is a multilingual musical confluence of European cafe society, hot club, circus swing, and jazz with English, French, Italian, Spanish, and Portuguese songs. The songs are heavily influenced by jazz guitarist Django Reinhardt ("Souvenirs") and Nino Rota, composer of Federico Fellini's film 8 ½. At The Movies is their "IF we only get to make one more record, what do we want people to hear" album (we certainly hope there will be more). It is a collection of songs the band has been playing weekly at their C-Boy's Heart & Soul residency since they reunited in 2014, and the album is as eclectic as the band.
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Bruce Smith
Austin-based, Americana-roots singer and songwriter Bruce Smith recently released his new CD, 1000 Horses.“1000 Horses” is a song about faith, hope, and rockin’ and rollin,’come what may. The other nine tracks are hewn with that notion and offer a rollicking ride through small towns and big cities, staring at stars, riding in fast cars, and love with its constant ups and downs. Smith sings about turning the “gas tank in bone dry and empty,” and 1000 Horses aspire to do just that. The band consists of Bruce Smith (singer, songwriter), Spencer Jarmon (lead guitar), Zeke Jarmon (bass guitar), Conner Church (drummer), and Grammy Award winner Randy Caballero (keyboards). The group initially came together in January 2004 when a few members met at J. T. Van Zandt’s Longbranch Inn’s open mic night along with a dear old friend Matt Hubbard of Willie Nelson and Edie Brickell fame.
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Larry Seaman
Larry Seaman is an Austin-based singer-songwriter, guitarist, and assemblage artist. He founded Standing Waves, a seminal force in Austin’s punk/new wave scene at Raul’s, Duke’s, Club Foot, and the Armadillo World Headquarters. His musical style is guitar-driven, melodic rock, a product of Austin and Texas. It’s American music, with obvious British and New York influences, and ranges from psychedelic rock to gentle ballads to catchy pop songs. Larry's most recent release is, Death Takes a Holiday, on Flak Records, a rocking follow-up to Resurrectionist.
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The Footnotes
Veteran singer-guitarist songwriter, Rick Eakens, from Las Cruces, New Mexico, has led The Footnotes, on and off, for most of his life, crafting the sound in his head into rootsy, high-energy rock 'n' roll that embodies the unpretentious attitude, catchy songcraft and high-energy abandon of the vintage classics that originally inspired him to make music.
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Heather Bishop
Texas writer Heather Bishop is a vocalist, songwriter, and multi–instrumentalist. Her current work is best described as roots music, with songs that linger in the crossroads of soul, folk, rock and country. As a guest artist, she has contributed vocals, strings, and percussion in genres ranging from Rock to Reggae, Bluegrass to Metal, Folk, Americana, and everything in between.
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True Believers
September 2013, five Austin bands and more than a thousand friends and fans gathered at the Moody Theatre, home of the Austin City Limits television series, to pay tribute to Brent Grulke, the creative director of South By Southwest, who unexpectedly passed away at the age of 52.
Closing out Grulkefest were The True Believers, the band that Grulke had mixed sound for in their earliest days in 1984. The band fittingly gave their old friend a powerful sendoff by delivering a scorching set of three-guitar firepower that left the audience screaming for more, and the band feeling like they had some unfinished business to tend to.
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Shoulders
The first songs of Shoulders co-founders Michael Slattery and Todd Kassens were conceived over bottles of generic gin in run-down Los Angeles apartments and New York walk-ups, and were taped on a True Tone cassette recorder, with additional percussion provided by the irritated pounding on the floor above or the ceiling below, and with sound effects provided by the blowing horns and screeching brakes on the streets outside their open windows.