Chace was followed by Emily Katter, whose debut EP, “Shining Now”, was produced by Robopop’s Dan Omelio, who co-wrote and produced Maroon 5’s chart-topping “Payphone” and Lana Del Rey’s “Videogames”. The New York based vocalist has a crowd pleasing style in the vein of Natasha Bedingfield, Jessie J. and Robyn. Justin James’ performance was the tail end of a tour to promote his fourth full-length studio album, “Islands”, which was released on August 13th. The Canadian-born singer lives in Costa Rica, when he is not busy touring the world, and with his blonde hair, bare feet and impassioned guitar playing, he brought visions of surf, sand and love amidst the palm trees that brought Jack Johnson and The Beach Boys to mind. James’ lyrics, and his banter between songs, reveal the soul of a troubadour who has renounced the crass materialism of the modern world and thrown his fortune to the tropical winds. His solo set was marked by a thoughtful and candid storytelling style that felt very intimate and personal. Rebecca Perl premiered her new video, “Sticky” and followed with a set that featured two backup singers, a piano player, saxophone, second guitar and 16 year old Julliard prodigy, Justin Smith on stand-up bass. Perl opened her set by letting the audience knbow that her number one favorite singer is John Mayer, followed by Dave Matthews, and it is easy to see her opening for either of these two artists. Viva Glam magazine has compared Perl to The Lumineers, Jewel and Mumford and Sons. She and her band put on a tightly raucous show that revealed levels of craftsmanship usually reserved for much older artists. My Silent Bravery closed the evening with a set that included a tribute to 9/11 in the form of the title track, “Can’t Quit”, from the new album of the same name. The album was nominated for Album of the Year at Indie Music Digest, and the album’s first single and title track also picked up Honorable Mention for the songwriting competition, Song of the Year. MSB premiered their new video “Amazing” just before an acoustic set that included singer/songwriter Matt Wade on guitar and vocals and Kevin Hennessey on keyboards. The track is the first single from “Diamond from Coal” (Unreleased – Date TBD).
The culmination of Wade’s work is “The Beautiful Music All Around Us,” his current book. It combines the persistence of an investigative reporter with the loving hand of a storyteller who keeps peeling away the layers of the lives of his subjects. Some of the revelations are remarkable: Unable to find any living relative of Sturdivant, Wade camped out in Clarksdale, Miss., and purchased ads on the local TV station and in the newspaper. A month later, a distant cousin of Sturdivant called, revealing memories that no one else had ever bothered to ask about. The stories do not just shed light on the biographies of the cowboys, schoolchildren, coal miners, prisoners, housewives, and laborers who sang the songs. They also reveal the migrant nature of how songs travel. Through digging, Wade discovered that “Rock Island Line,” now entrenched in the American songbook, originated as “a booster song” for the railroad before it morphed into a song of emancipation in the civil rights era. “Back then, there was the idea that folk songs were shared. People understood that folk music belonged to the whole culture, and the importance of the individual was not understood back then,” says Stephen Winick, a writer and editor with the American Folklife Center at the Library of Congress in Washington. “Stephen focused on the people because that’s the gap that exists in our knowledge of these records.” Wade’s work also provides valuable genealogical information for the musicians’ families, Penn says. Wade traces the steps “from the Lomaxes to their families and shows them as people deserving of respect,” he says. “He connected them going back several generations … illuminating who they were. RECOMMENDED: Elvis Presley: His five greatest songs “He was able to reanimate these [unknown musicians].
Jeb: There are no dues! You don’t have to pass a test or anything to join The Herd. Tara: We appreciate our fans. Many members of The Herd have become friends of ours. They’re very self-driven. They organize charity things in cities we play in and conduct auctions and then donate that to a women’s shelter or a library or a school. They do all of this on their own. They don’t look to us for props or anything. It’s almost like a modern day version of the Deadheads. Jeb: Yes. But not as large! -laugh- Very dedicated. Just like it’s sort of a movement when musicians write songs you’re expressing your world view and your way of life, it’s just fun to establish a community and a way of life. And it’s fun to travel.
Google appears to be testing a new way to display the top search result for music videos. (Credit: Screenshot by YvoSchaap via Twitter) Music videos are no small potatoes for YouTube, and Google’s looking at making them bigger in Google Search results — literally. Related stories: Chrome for iOS learns pronouns As part of Google’s quest to more tightly integrate its different services, the company appears to be experimenting with how music videos appear in Google Search results, according to the blog Google Operating System . The top search result for a music video would be significantly larger preview of the video itself, in the style of a Google Now card, with additional information such as the artist name, song title, album name, and year released. It’s not clear if the preview will let you play the video directly from the search results list, or if you’ll have to click through to YouTube. It’s also unclear whether Google will be opening this test out to more people. A request for comment by Google and YouTube was not immediately returned. CNET will update the story when we hear back from them. Here’s how the search results look now for the same artist and song. (Credit: Screenshot by Google Operating System) Topics: