In a rare opportunity to see a group of true music pioneers, legendary progressive-rock supergroup ‘UK’ have reformed for a one-off world tour and will perform together for the first time in more than three decades. Originally formed in England in 1977 by keyboardist and electric-violinist Eddie Jobson (Roxy Music, Frank Zappa); vocalist and bassist John Wetton (King Crimson); guitarist Allan Holdsworth (Soft Machine); and drummer Bill Bruford (Yes, King Crimson, Genesis), UK represented the final statement of the classic progressive-rock era - first with their ground-breaking eponymous debut album, and then as a trio with drummer Terry Bozzio (Frank Zappa) with their influential “Danger Money” album (1978) followed by the band’s swan song “Night After Night”(1979) live album, recorded during their last tour of Japan. Now, 33 years after their farewell concert, the three legendary players of the original trio - Jobson, Wetton, & Bozzio - have reunited to reenact that final tour one last time. The music of UK has influenced progressive bands from Yes to Rush; guitar heroes from Malmsteen to Vai; and hard-rock bands from Van Halen to Dream Theater, leaving the individual members of UK with unsurpassed reputations as the definitive “musicians’ musicians.”

Lindsey Buckingham is a multi-platinum enigma -- massively successful and still somehow an enduring, intriguing mystery. As an individual artist, Buckingham has remained a curiously low-profile figure, despite decades of high visibility as a member of Fleetwood Mac -- the legendary band for which he has long served as a visionary leader and bold sonic architect. For Buckingham, "Fleetwood Mac has been one of the joys of my life, but that kind of success is a double-edged sword. You're under tremendous pressure to sell as much and as often as possible, to become an assembly line, to feed the philosophy, `If it works, run it into the ground.' Artists need to take their time to breathe in and out, to take risks though it may not always be good for business." In his intimate-one-man show, Lindsey will showcase his distinctive guitar picking style and instantly recognizable voice in his usual awe-inspiring form, captivating his audience with songs from his recent album, Seeds We Sow as well as performing a combination of favorites from his previous solo albums, along with a variety of Fleetwood Mac classics. Regarding the new tour Buckingham says, "As I've grown as an artist, I've gotten more and more in touch with my center, and that center is voice and guitar. Over time it has become increasingly vital to express more with less; that is my touchstone now, and the embodiment of that philosophy is what will be largely represented in the new show. I've been thinking of doing this kind of tour for a while, and am quite excited to be doing something new, something outside my comfort zone.

Aloha! Ukulele master, Herb Ohta, Jr., will bring the music of the Hawaiian Islands to Portland, Oregon. As an international recording artist Herb is considered to be one of today most prolific `ukulele masters. Influenced by Jazz, R&B, Latin and Brazilian music, he puts his stamp on Hawaiian music by pushing the limits of tone and technique on this beautiful instrument. The son of `ukulele legend "Ohta-san," he started playing at the age of three, and teaching at the age of 9. He now shares the music of Hawaii, and the beauty of the ukulele with people around the world, performing and conducting instructional workshops. This Na Hoku Hanohano Award winner (Hawaiian equivalent to the Grammy) and four-time Hawaii Music Award winner effortlessly translates the beauty and culture of Hawaii through his creative expression of music. With nine solo albums, eight duet albums in circulation, and contributions on more than 40 recordings, he is well on his way to matching his father’s legacy. In 2010 Herb celebrated his 20th Anniversary in the music industry releasing two new recordings, `Ukulele Nahenahe & “Take 1”. In 2011, `Ukulele Nahenahe won the Hawaii Music Award for Best `Ukulele Recording and also won the Na Hoku Hanohano Award for Best Instrumental.

Combine the sophisticated chill of a New York City winter with the girlish, laid back romance of California in the summertime and what to you get? The answer is Best Coast, the latest musical endeavor by perennially cool, self-described “weird girl” Bethany Cosentino. Best Coast was born when Cosentino decided to come home to LA after a time in New York City, to get a fresh start at living in the place she knows best—California. Quickly garnering praise from critics and listeners with the single “Sun Was High (So Was I),” Cosentino was approached by UK-based label Blackest Rainbow, who released her now sold-out tape Where the Boys Are. Also in the works are two new 7-inch’s, one being released by San Diego-based Art Fag Recordings and the other, the debut release from brand-new Brooklyn label Group Tightener. A Los Angeles native, Cosentino grew tired of what she had grown up with and did what so many have done before—she picked up and left for the East Coast, specifically Brooklyn, with the intention of going to art school for Creative Writing. “I was like, I hate the beach, I hate flip flops. I want to go to New York.” But Brooklyn quickly turned out to be far different from what she had envisioned. “I realized that I actually liked all those things, they reminded me of home,” and life in New York was too cold, both literally and figuratively, with too many people trying way too hard, “it’s like, there are people in New York who look like they’re at the beach sometimes but it’s not real, it’s not the same.”

“I’ve always thought of the BoDeans as a truly American band,” says Kurt Neumann, the founder, primary writer and frontman of the veteran Milwaukee-based group. “We were blue-collar kids straight out of the heartland—how could we be anything else? ‘Roots rock’ was a label I fought when I was younger, but I came to realize that if by ‘roots’ you meant blues, rock, country and soul all slammed together into one sound, then I’d say yes—that is the sound of American-made music.” Neumann fully embraces that notion on American Made, the BoDeans’ eleventh album. Its dozen songs are laced through with strands of indigenous roots elements—Heartland hoedown folk (“American,” with guest Jake Owen spinning out the guitar solo), Celtic-rooted mountain music (“Walk Through This World,” “Flyaway”), zydeco (“Everything You Wanted”), Southern roadhouse soul (“Don’t Bring Me Down”), Chicago blues (“Shake the Fever”) and 100-proof roots rock (“All the World”). These tracks are played with heartfelt emotion as well as jaw-dropping skillfulness by the band—Neumann on vocals and guitars, original member Michael Ramos (Patty Griffin, John Mellencamp) on keyboards and accordion, longtime BoDeans bassist Ryan Bowman and new member Warren Hood, a fiddle/violin virtuoso from Austin. As it turns out, the album title bears a thematic resonance as well as a stylistic one. With American Made, the BoDeans have created a soul-stirring song cycle that directly reflects the American experience at this critical moment in our history. The album—which also includes a powerful rendition of Bruce Springsteen’s “I’m on Fire”—was inspired by Neumann’s blue-collar upbringing and his desire to express what a great country America remains, despite its troubles and the challenges facing it today.

Loudon Wainwright III was born in Chapel Hill, NC in 1946. His father was Loudon Wainwright Jr., a columnist and senior editor for LIFE Magazine and his mother was a housewife/yoga teacher, Martha Taylor. He studied acting at Carnegie-Mellon University but dropped out to partake in the Summer of Love in San Francisco. Loudon wrote his first song in 1968, "Edgar", about a Watch Hill, RI lobsterman, and was soon signed to Atlantic Records by Nesuhi Ertegun. Several years later, Clive Davis lured him to Columbia Records, where 1972's "Album III" yielded the top 20 hit "Dead Skunk". His recording career spans a total of 23 albums, including 2009's Grammy-winning "High Wide & Handsome", a musical tribute to Charlie Poole (1893-1931), the legendary, yet obscure NC singer and banjo player. (Awarded 'Album of the Year' status by Entertainment Weekly editor and NPR contributor Ken Tucker.) Wainwright has collaborated with songwriter /producer Joe Henry on the music for Judd Apatow's hit movie "Knocked Up", written music for the British theatrical adaptation of the Carl Hiaasen novel "Lucky You", and composed topical songs for NPR's "Morning Edition ", "All Things Considered" and ABC's "Nightline". Loudon Wainwright songs have been recorded by Johnny Cash, Earl Scruggs, Rufus Wainwright, and Mose Allison, among others.

“I’ve always thought of the BoDeans as a truly American band,” says Kurt Neumann, the founder, primary writer and frontman of the veteran Milwaukee-based group. “We were blue-collar kids straight out of the heartland—how could we be anything else? ‘Roots rock’ was a label I fought when I was younger, but I came to realize that if by ‘roots’ you meant blues, rock, country and soul all slammed together into one sound, then I’d say yes—that is the sound of American-made music.” Neumann fully embraces that notion on American Made, the BoDeans’ eleventh album. Its dozen songs are laced through with strands of indigenous roots elements—Heartland hoedown folk (“American,” with guest Jake Owen spinning out the guitar solo), Celtic-rooted mountain music (“Walk Through This World,” “Flyaway”), zydeco (“Everything You Wanted”), Southern roadhouse soul (“Don’t Bring Me Down”), Chicago blues (“Shake the Fever”) and 100-proof roots rock (“All the World”). These tracks are played with heartfelt emotion as well as jaw-dropping skillfulness by the band—Neumann on vocals and guitars, original member Michael Ramos (Patty Griffin, John Mellencamp) on keyboards and accordion, longtime BoDeans bassist Ryan Bowman and new member Warren Hood, a fiddle/violin virtuoso from Austin. As it turns out, the album title bears a thematic resonance as well as a stylistic one. With American Made, the BoDeans have created a soul-stirring song cycle that directly reflects the American experience at this critical moment in our history. The album—which also includes a powerful rendition of Bruce Springsteen’s “I’m on Fire”—was inspired by Neumann’s blue-collar upbringing and his desire to express what a great country America remains, despite its troubles and the challenges facing it today.

"For me, music is a spiritual experience. If there is one thing that I have learned during my career, it is that in order to make great music, it is not enough to simply be a great musician, you must also be a good human with an honest soul". ~ Greg Lake. Lake said of the band, at the outset of his German/UK 2005 tour: "The musicians I have worked with in the past from King Crimson to ELP to The Who, and in 2001, with Ringo Starr & His New All Starr Band, have always been among the very best in the business. Having my own band consisting of musicians of the same musical calibre has inspired me to put together what I truly believe will be the most comprehensive and best live show of my entire career. I am both very lucky and very excited to be working with such talented musicians."

A man who needs no introduction -- but who we'll introduce as John C. Reilly – has released not one but TWO Third Man singles recently, John & Tom: "Gonna Lay Down My Old Guitar" b/w "Lonesome Yodel Blues #2" (TMR112) finds John's duet with Tom Brosseau sung in close harmony as they perform two songs originally by The Delmore Brothers. Becky & John's "I'll Be There If You Ever Want" b/w "I'm Making Plans" (TMR113) sees John paired with Becky Stark (Lavender Diamond) and swerves more in the classic country vein taking in tunes originally performed by Ray Price and Dolly Parton/Porter Wagoner.

She is the biggest name in burlesque since Gypsy Rose Lee. She is a modern day fashion icon who tops best- dressed lists all over the world. She is credited for bringing back the glamour and allure of Old Hollywood stars. Self-created. Distinctive. Iconic. Often imitated, never duplicated. She is Dita Von Teese. Born Heather Sweet in West Branch, Michigan, Dita grew up fascinated by the Golden Age of Cinema, pin-up imagery, and vintage lingerie. This naturally blond, mid-western girl then transformed herself into one of the glamour girls she grew up adoring. Performing burlesque since 1992, she is the undisputed international queen of burlesque, and credited with bringing the art form back in to the spotlight with a new sense of glamour and sophistication.

She is the biggest name in burlesque since Gypsy Rose Lee. She is a modern day fashion icon who tops best- dressed lists all over the world. She is credited for bringing back the glamour and allure of Old Hollywood stars. Self-created. Distinctive. Iconic. Often imitated, never duplicated. She is Dita Von Teese. Born Heather Sweet in West Branch, Michigan, Dita grew up fascinated by the Golden Age of Cinema, pin-up imagery, and vintage lingerie. This naturally blond, mid-western girl then transformed herself into one of the glamour girls she grew up adoring. Performing burlesque since 1992, she is the undisputed international queen of burlesque, and credited with bringing the art form back in to the spotlight with a new sense of glamour and sophistication.

Sometimes the most American of settings can reveal the deepest artistic talents the world has ever known. Johnny Cash on the farms of Arkansas, Mike Ness on the mean streets of Los Angeles, and a skinny kid from the ghettos of Tupelo named Elvis who happened to be brimming with soul. JD Mcpherson is one of those talents cut from that same artistic cloth. Growing up in southern Oklahoma, Mcpherson, the progeny of an ex-military, farming father and “good word” preaching mother, Mcpherson had an intriguing childhood and those influences shine blissfully through his music. His sound is raw it feels old, like the hum of a 50’s convertible cruising the back roads of the Mississippi delta, but it’s new and innovative.While most kids from the sticks heros were rodeo stars and country singers, Mcpherson heard the liberal screech of The Talking Heads and Bad Brains and let it empower him. But the allure of the American Roots Music scene is what made his musical mouth salivate. The honest troubadours of song that roamed from honky tonks to back alley bar rooms that machine gunned a town every night, one song at a time.

Having established themselves in record time as one of the earth’s premier rock bands with their Gold-certified 2009 self-titled debut, Chickenfoot – the illustrious, virtuosic supergroup formed by singing legend Sammy Hagar, guitar god Joe Satriani, and the renowned rhythm section of bassist Michael Anthony and drummer Chad Smith – approached the initial stages of recording their new album, Chickenfoot III, with supreme confidence and a firm sense of intention. They, of course, had good reasons to feel cocky: There were the high-octane, hook-o-rama singles, “Oh Yeah,” “Sexy Little Thing” and “My Kinda Girl.” Then there were the riveting live shows, starting with a sold-out-within-seconds “Road Test” run of clubs and ending a year later with a sold-out-within-seconds world tour of large halls. The not-so-little engine that could definitely did…time after time. Beyond the obvious, however, something more important happened during Chickenfoot’s rise to the top of the rock: They became a band. A real band. “We went from being a weekend fun-time thing to making a record and touring the world,” says Sammy Hagar. “Our learning curve was fast – even for us. But we went out every night to kick ass and prove that we weren’t resting on our laurels. We earned everything we got, and along the way, we established a trust in one another that happens very rarely in bands. To me, it’s magical.”

Can a wheel reinvent itself while it's still rolling? Sounds like an impossible task -- but you never want to say "impossible" to Asleep at the Wheel, the famed western-swing, boogie, and roots-music outfit that's, amazingly, still on the upswing. That's saying something, too, considering the group's been around for 40 years, turning out an incredible 25+ albums while playing an unrelenting schedule of one-nighters that would make a vaudevillian dizzy.

Dan Bejar started Destroyer as a solo home-recording project in the early to mid-nineties. In 1996, he released his debut full length of stripped-down, lo-fi electric folk, We'll Build Them a Golden Bridge. Soon the Destroyer template expanded to include a rhythm section, and Bejar was compelled to head into a proper studio to record City of Daughters in 1998. It was with Daughters that Bejar began to develop his own unique lyrical voice, a voice that continued to evolve and refine itself over the course of his next two records, Thief and Streethawk: A Seduction. Destroyer seemingly had produced its masterwork with Streethawk, a highly refined send-up and condemnation of popular culture, an idea honed to razor-sharp precision. The album became one of the most acclaimed recordings of 2001, and the Destroyer mystique captured music fans and critics alike. This Night, the Destroyer debut for Merge, is an epic full of indulgences and flights of fancy-the perfect foil to the sleek and streamlined approach of earlier recordings. This Night both baffles and seduces, leaving jaws on the floor and confounding both fans and critics. Bejar took another turn towards the unexpected with Your Blues, his second recording for Merge, wherein he stripped Destroyer down to its barest essentials once again, with MIDI-synthesizer symphonies that explored what Bejar dubbed "European Blues," a vainglorious retreat from American rock traditions, celebrating an exercise in old-world excess within limited means. Those who had been pining for a new Streethawk were left shaking their heads, forced to admit that the last thing Destroyer was ever going to give them was anything close to what they expected (or hoped for). Bejar had everyone right where he wanted: dazed, confused, and not knowing what was to come next.

Beginning as a drummer in the seminal 60’s San Francisco rock band The Charlatans, and continuing with his unique and legendary Dan Hicks and the Hot Licks, Dan Hicks is widely acknowledged as one of the defining figures in American roots music. Having earned a reputation as a true original with his signature eclecticism and humor, Hicks continues to carve his way through a number of genres from proto-psychedelia to western swing and jazz, from tin pan alley to country blues -- all the while cultivating his own unique sound. The original Dan Hicks and the Hot Licks recorded five ground-breaking and Billboard-charting records for the Columbia, Blue Thumb and Warner Bros. labels. They toured worldwide, and Dan appeared on the cover of Rolling Stone magazine three times. Throughout the 60s and 70s there was no one who sounded at all like Dan Hicks & the Hot Licks, and remarkably, nearly 40 years later, there still isn't. We now find ourselves again in an age of introspective sensitive singer-songwriters. Luckily for us, throughout the past decade and amidst the new wave of freak folk that prides itself on its eclecticism, Dan has reassembled the Hot Licks. Getting back into the swing of regularly recording and touring, he has proven once again that the king of hipster-chic will always be Dan Hicks.

Tinariwen are often associated with just one image: that of Touareg rebels leading the charge, machine gun in hand and electric guitar slung over the shoulder. The band ditch this cliché on their fifth album ‘Tassili’ and it’s for the best. The founding members abandoned their weapons long ago and on this new album they have engineered a minor aesthetic revolution by setting the electric guitar – the instrument which became their mascot and made them famous – to one side and giving pride of place to acoustic sounds, recorded right in the heart of the desert, which is the landscape of their existence, the cradle of their culture and the source of their inspiration. You might even call this radical move a return to the very essence of their art, a return which, paradoxically, has also opened the doors to some intriguing collaborations with members of TV On The Radio, Nels Cline (Wilco’s guitarist) or The Dirty Dozen Brass Band.

Northwest Pilot Project is the leading advocate for homeless seniors in Portland. Primarily a mouthy rock musician, Storm Large has been singing and slinging inappropriate banter at audiences around the globe for more than 20 years. With her band, The Balls, she has toured all around the US, Canada, New Zealand, Spain, Iceland and Singapore. Taking a break from rock touring in 2007, she ventured into new territory and played Sally Bowles in Cabaret and fell in love with the theater. In 2008 she wrote a musical memoir, Crazy Enough that ran for five sold-out months at Portland Center Stage in 2009 in Portland, Oregon.

Multi-platinum selling, Grammy nominated singer/songwriter Geoff Tate is best known for his work with the progressive metal band Queensrÿche. Geoff is regarded as one of the most skilled vocalists in the genre with hundreds of modern, popular artists citing him and his band as a major influence. Combining social consciousness and expertly crafted lyrics with high-energy, melodically complex music, Geoff and his band have become internationally recognized as the thinking man's rock band. The band's first three albums -- their self-titled EP (1983), The Warning (1984) and Rage for Order (1986) -- all hit gold status selling over 500,000 units each. With the release of their landmark concept album Operation: Mindcrime (1988) -- which won critical and popular acclaim and comparisons to the Who's Tommy and Pink Floyd's The Wall -- Queensrÿche went on to bring their progressive music to sold-out audiences the world over. Following the album's platinum success, Queensrÿche released Empire, which quickly entered the Top Ten on the Billboard charts, eventually generating sales of more than three million copies. The album featured the hugely popular hit, "Silent Lucidity," which would be the band's first Top Ten single (#9 on the Billboard Hot 100 chart and #1 on the Billboard Mainstream Rock Tracks chart). Queensrÿche would ultimately perform the Grammy nominated song live at the Grammy awards accompanied by a supporting orchestra. In all, the band has been nominated for a Grammy four times and has had their music featured in three feature films. In March of 2009, Queensrÿche released American Soldier (via Atco/Rhino Records), a concept album inspired by veterans' stories that examines the consequences of war from the soldier's perspective... yet another effort that will solidify the band in rock history. In the year 2010, they carried on their immense creativity by presenting the Queensryche Cabaret, which was heralded as "the first adults only rock show." This year, the band celebrated their 30th Anniversary in rock by releasing Dedicated to Chaos and, once again, toured extensively. Since their inception, the band has sold over 20 million albums worldwide and has performed in over 22 countries. Today, Queensrÿche is world renowned for their innovative, trend-setting sound and continues to enjoy incredible success, performing for sold-out audiences worldwide.

I have been blessed to have a comedic flare since childhood. I am the black sheep of my family, raised with six siblings and a product of an alcoholic parent. With that type of upbringing comes droves of material that I use to shock and surprise others. In school I was the bad boy getting in to trouble with the school officials and then going to the streets and getting in to trouble with the law. But I was able to escape from any trouble by using a comical sense of humor. By using my knee slapping comedic talent individuals would forget what the heck they were reprimanding me for!! Never accomplishing anything from school that was worthwhile because of my short cut mentality, I moved straight on to the lifestyle of straight hustling. There I developed my definition of a hustler. "A true hustler is a person who knows everything, can do anything, except fill out an application" It is all about your appearance and your talk. So, how did I go from a hustler to a comedian? As I have stated before, I had a tendency of getting myself in to trouble with the law. So one day while I was running from the police I ran into a comedy club and got on stage to hide out from the cops. As I was on stage I pretended to be a comedian, and actually ended up being kind of funny. I have been doing stage performances since 1996 and have been termed as "King of the Underground" by Vibe Magazine. I have worked alongside such comedians/actors as: John Amos, Morgan Freeman, Mike Epps, Eddie Griffin, Danny DeVito, Jamie Foxx and Snoop Dogg.

What happens when one American legend takes on 12 American classics? If that legend is John Fogerty, the simple answer is musical magic. On The Blue Ridge Rangers Rides Again, Fogerty reinvents such treasures as the Everly Bros.' "When Will I Be Loved" (a stunning duet with fellow Rock & Roll Hall of Famer Bruce Springsteen), Rick Nelson's "Garden Party" and John Denver's "Back Home Again" with uncommon grace and unbridled zest. As longtime Fogerty fans will recall, the Blue Ridge Rangers made their first appearance in 1973 when the Grammy® winner released an album of classic covers (including "Jambalaya" and "She Still Thinks I Care") under that moniker. The name was deceptive: the Rangers were Fogerty and Fogerty alone. He played all the instruments including drums. The thought of revisiting the Blue Ridge Rangers as a vehicle to create another set of beloved covers has never been far from Fogerty's mind. "I thought about it at least once a month," he says. "I told myself if I ever get to do this again, I'm going to have real guys playing; I'd find the best guys I could and have fun and so that's what happened this time."

Grammy Award-winner Rodney Crowell and New York Times best-selling author Mary Karr are scheduled to release KIN, SONGS BY MARY KARR AND RODNEY CROWELL on Vanguard Records June 5, 2012. Produced by Joe Henry, KIN marks the first collaboration between the two writers and is Karr's entry into the world of music. Long known as a poet among songwriters, Crowell is a masterful storyteller and hit generator. He charted five consecutive number-one hits with the album Diamonds and Dirt and has become one of the most critically acclaimed artists in country music. Crowell’s songs have been recorded by the likes of Johnny Cash, Rosanne Cash, Keith Urban, Tim McGraw and Norah Jones. He was recently inducted into the Songwriter Hall of Fame between Willie Nelson and Guy Clark. After reading Karr’s memoirs — Cherry and The Liar’s Club — which spent over a year on the New York Times bestsellers list and allegedly kick-started the memoir craze — Crowell name-checked her in “Earthbound,” a track off his critically acclaimed album Fate's Right Hand.

Spectrum Road is a new and exciting collaboration between four superstars of music. Jack Bruce is a pioneer of British jazz defining the crossover potential of mixing rock, blues and boundless improvisation with his colleagues Eric Clapton and Ginger Baker in Cream. Vernon Reid built different bridges between genres through the groundbreaking group Living Colour and with the Black Rock Coalition. With his trio Medeski, Martin and Wood, John Medeski singularly redefined performance practice and extended the boundaries of possibility for the Hammond organ. Drummer Cindy Blackman Santana has embraced mainstream, free, funk-flavored and all shades in between through multiple solo albums as well as work with Lenny Kravitz, Joss Stone, Wallace Roney and other artists. Varied as their perspectives are, all four members of Spectrum Road share a willingness to not only push, but shatter perceived borderlines between musical styles. They also have in common a respect for those who showed similar courage in years past, which is what drew Reid one day into a conversation with Bruce as the two were on the road with Bruce’s band Cuicoland Express. “Jack is a real witness to history and I really wanted to get direct information from him,” says Reid. “So I asked him about Cream, and West, Bruce and Laing. And I asked him about Tony Williams because they were very close. What he told me changed some of the misconceptions I’d had about the chronology of electric jazz, fusion or jazz/rock, if you will.”

Jonathan Coulton is from the Internet. While a struggling music industry fell to pieces over file sharing and shifting business models, he quietly and independently amassed a small army of techies, nerds, and dedicated superfans. Featured in the New York Times, NPR and slashdot, his songs cover an eclectic range of subjects, from zombies and mad scientists to marriage and parenthood. In concert he moves fluidly between pathos and ridiculous fun. Seeing your first Coulton show is like walking into an insider club meeting, but one that gleefully welcomes and indoctrinates you in short order.

Jonathan Coulton is from the Internet. While a struggling music industry fell to pieces over file sharing and shifting business models, he quietly and independently amassed a small army of techies, nerds, and dedicated superfans. Featured in the New York Times, NPR and slashdot, his songs cover an eclectic range of subjects, from zombies and mad scientists to marriage and parenthood. In concert he moves fluidly between pathos and ridiculous fun. Seeing your first Coulton show is like walking into an insider club meeting, but one that gleefully welcomes and indoctrinates you in short order.

Singer/songwriter Laura Marling was only 16 years old when she emerged on the British indie scene in 2007 thanks to a handful of infectious singles made available on her MySpace profile. Endowed with a husky voice, an acoustic guitar, and a gift for building quirky, hooky folk songs (characteristics that find her compared favorably to artists like Lily Allen, Regina Spektor, and Martha Wainwright), Marling quickly made a name for herself throughout England thanks to a heavy touring schedule and a few high-profile gigs, not the least of which included an appearance at the 2006 City Showcase: Spotlight London and as the opening act for Jamie T. Although she was still without a label one year later, her debut EP, My Manic and I, was slated for independent release in the late fall of 2007. This status didn't last for long, however, because in early 2008, signed to Virgin, Marling issued Alas I Cannot Swim, which also came as part of a multimedia Songbox package. In 2010, Marling released her sophomore album, I Speak Because I Can, which debuted at number three on the U.K. albums chart and was nominated for the Mercury Music Prize. Marling's third studio album, A Creature I Don't Know, arrived on September 9, 2011.

The Mountain Goats began life in a Norwalk employee-housing studio apartment that had awesome deco tiling on the bathroom floor but little more to recommend the place as a living space. Still, you take what you can get, and it was ridiculously cheap. In this room, equipped with a dual-cassette recorder, John D. started setting some of his poetry to music, using a guitar he'd gotten for a few bucks at a nearby strip mall music store. His idea at the time was that eventually his day job would be "poet." Young men have all kinds of crazy ideas about what they're going to end up doing for a living.

On a rainy Nashville Thursday last October, Justin Townes Earle leapt onstage at the famed Ryman Auditorium to accept the 2011 Americana Music Award for Song of the Year. The triumphant evening capped a turbulent twelve months for the gifted young musician categorized by significant hardship as well as notable achievement including debut performances at New York’s Carnegie Hall and on The Late Show with David Letterman. Just one week later, Earle retreated to the western mountains of North Carolina to record his next album, Nothing’s Gonna Change the Way You Feel About Me Now - an intriguing title given the importance of change in Earle’s approach to art.  “I think it’s the job of the artist to be in transition and constantly learning more,” he says.  “The new record is completely different than my last one, Harlem River Blues.  This time I’ve gone in a Memphis-soul direction.”

“I’ve never made a record that was such a timeline,” says Ben Harper of his new album, Give Till It’s Gone. “It’s a real extension of the last year and half in my life, and all these sounds are inspired by my experiences. It’s as honest a musical statement as I could make.”The recent past has certainly seen Harper at a creative peak, juggling several high- profile, far-flung projects. Yet somewhere amidst all this activity, he found the time and the focus to write a new set of songs that represents the most personal and diverse collection in his career. The first clue to his intentions can be found in the fact that Give Till It’s Gone is credited simply to Ben Harper. “You can’t tell which band is playing—it just sounds like me,” he says. “I wanted to create a fresh sound that was also directly connected to the feel of everything I’ve ever done.” The songs on Give Till It’s Gone are nothing less than a revelation. They express one man's struggle, confusion, and, ultimately, redemption. Harper lays it all out in "Don’t Give Up On Me Now," the album's opening track. "I need to change/I don't know how," he sings. "You can wait your whole life not knowing what you're waiting for."

Pop is cooler than it has ever been. No revelations there. Somewhat ironic perhaps though that the jewel in this new crown of credibility gut-laughs in the face of any notion of 'cool'. Marina (And The Diamonds) Diamandis is living, breathing, belting, vogue-ing proof of the unfathomable possibilities contained within organic pop in 2010. "I really couldn't give a damn whether pop's in fashion this week or not, I'd be writing the same music, regardless" she scoffs. She's the complete songwriter/performer. 50% Greek, 50%Welsh, 100% frolicking fairytale creature. A girl with virtually no musical schooling, for whom heart scorching choruses miraculously seem to appear at the tips of her fingers with each preposterous limb fling. A voice that both lures sailors to shores and wards ships from rocks. A mind that hacks apart the fabric of Now and serves it up in an ice-cream sundae for all to guzzle down. A performer whose onstage movement has been reminding lackluster gig-goers across the land the true meaning of 'show time'. But like all the best popstars, dissecting their charms does them no justice. For Marina possesses that oh-so elusive ingredient. The one that had its name not been forsaken by reality television's chart napalm strike, we might dare term something like 'x-factor'. Some of the greatest should-be British smash hits this side of the Millennium aside, Marina just has it. The presence, the poise, the patter. A sonic boom of a laugh that seemingly punctuates her every sentence. She's five foot five of hourglass sensation in waiting, and this is her year.

Ultimately what's most impressive about Ringo Starr isn't what he's been, but rather who he is," wrote Rolling Stone rock critic David Wild. "The man's great heart and soul, his wit and wisdom." Ironically, the story of Ringo's evolution from former Beatle to successful solo artist is still best told from the beginning. Ringo Starr's music, as a solo artist and as a Beatle, is permeated with his personality. His warmth and humor, and his exceptional musicianship have given us songs we all know and love, including "With A Little Help From My Friends," "Don't Pass Me By," "Octopus' Garden," "Photograph," "It Don't Come Easy," "Back Off Boogaloo," "You're Sixteen (You're Beautiful And You're mine)," "Don't Go Where the Road Don't Go," "The No No Song," and "Never Without You." Since beginning his career with The Beatles in the 1960s, Ringo Starr has been one of the world's brightest musical luminaries. He has enjoyed a successful and dynamic solo career as a singer, songwriter and drummer, an active musical collaborator, and as an actor. Drawing inspiration from classic blues, soul, country, honky-tonk and rock 'n' roll, Ringo continues to play an important role in modern music with his solo recording and touring.

Ray Davies is the former front man for legendary British band The Kinks and a member of the Rock n' Roll Hall of Fame. With a wealth of classics under his belt, the singer songwriter is often credited with bringing English culture to the forefront with his songs capturing ordinary British life. The Kinks' early recordings of 1964 brought us proto-metal, proto-punk, power chord-based hard rock of the band's first two hit singles, "You Really Got Me" and "All Day and All of the Night". Then, from the intimate “Waterloo Sunset”, to the wry sense of satire that shines through on “Dedicated Follower of Fashion” to the rollicking story of “Lola”, Davies remains one of the most revered writers and performers the UK has produced.

John Mayall was born on the 29th of November 1933 and grew up in a village not too far from Manchester, England. It was here as a teenager that he first became attracted to the jazz and blues 78s in his father's record collection. Initially it was all about guitarists such as Eddie Lang, Lonnie Johnson, Brownie McGhee, Josh White and Leadbelly. However once he heard the sounds of boogie woogie giants Albert Ammons, Pete Johnson and Meade Lux Lewis, his desire to play was all he could think of. At the age of 14 when he went to Manchester's Junior School of Art, he had access to a piano for the first time and he began to learn the basics of this exciting music. He also found time to continue learning the guitar and a couple of years later, the harmonica, inspired by Sonny Terry, Sonny Boy Williamson and Little Walter.

In 2002 David Longstreth released The Graceful Fallen Mango under his own name. A year later, The Glad Fact reintroduced his experimental rock project as "Dirty Projectors," a moniker he's kept longer than any particular lineup. Longstreth and a revolving cast of collaborators have since released four full lengths, a compilation of cassettes, and three EPs: From The Getty Address's electro-infused Don Henley-themed opera to Rise Above's rewriting of Black Flag's Damaged from memory (grafting of African musical ideas to punk rock fantasies), Longstreth has, in the words of Battles' Tyondai Braxton, "forged his own path with authority and an inexhaustible urgency." Album five, Bitte Orca, is Dirty Projectors' most complete effort to date. Reprising the lineup of Amber Coffman (vocals, guitar), Angel Deradoorian (vocals, keyboard, guitar, bass), and drummer Brian Mcomber from 2007's Rise Above, Bitte Orca also adds bassist Nat Baldwin and vocalist Haley Dekle to the fold, resulting in what sounds like Dirty Projectors' first fully collaborative band record. In fact, it features the first solo vocal pieces by Coffman (R&B anthem "Stillness Is The Move") and Deradoorian (elegantly spare, stringed "Two Doves"). Each was written especially for the singer, representing her specific temperament. Bitte Orca is a big album with disparate blockbuster references. Vampire Weekend frontman (and onetime Dirty Projector) Ezra Koeing gets it: "I hear big riffs that make me think of classic rock, so I think, 'Is this Led Zeppelin deconstructed?' I hear folk guitar picking and gorgeous strings, so I think, 'Is this 60's folk-pop re-imagined?' But, as is usually the case, my lame attempts at categorization fade away and soon all I can hear is Dirty Projectors ... It's not Physical Graffiti for 2K9; it's 2K9's Physical Graffiti." Bitte Orca's idiosyncratically complex, and sincere take on popular music is reminiscent of David Byrne with whom Dirty Projectors collaborated on "Knotty Pine" for the compilation Dark Was The Night. Really, in many ways, Longstreth could be viewed as this generation's answer to Byrne, a distinctive torchbearer of labyrinthine song arrangements that go down easy. In that vein, it's fitting to give the Talking Head the final effusive word: "OMG this record is incredible!... Holy shit -- a quantum leap forwards and sideways at the same time. My new favorite record. I know this is all too gushy. Whatever, congratulations."

About Emmylou Harris — Twelve-time Grammy winner and Billboard Century Award recipient Emmylou Harris' contribution as a singer and songwriter spans 40 years. She has recorded more than 25 albums and has lent her talents to countless fellow artists' recordings. Blessed with a crystalline voice, a remarkable gift for phrasing, and a restless creative spirit, she traveled a singular artistic path.  About Steve Martin — Steve Martin embarks on a 2012 tour with his bluegrass band, the Steep Canyon Rangers. Martin, who plays the banjo for the grassroots outfit, and the band will be promoting their new album, "Rare Bird Alert," which was released in March of 2011.

Sarah Jarosz has as rich a skill set as anybody in acoustic music. She plays, not just one instrument, but enough of them to be a one-woman string band: mandolin, octave mandolin, clawhammer banjo and guitar. She sings – in supple tones that transcend the boundaries between folk and pop – and she writes – old-timey ballads and modern singer-songwriter ruminations alike. Raised just outside of Austin in Wimberley, Tex., Jarosz blossomed within the local music scene and well beyond it, earning admirers from Austin City Limits’ Terry Lickona to acoustic music mavens Tim O’Brien and Chris Thile with her mature sensibilities. She released her debut, Song Up In Her Head, on Sugar Hill Records the year she graduated high school. What followed was a move to Boston’s prestigious New England Conservatory, a GRAMMY nomination and performances on “Austin City Limits” and “A Prairie Home Companion” as well as prestigious music festivals – Bonnaroo, Telluride and Newport, to name a few.

From their days playing together as teenagers to their current acoustic and electric blues, probably no one has more consistently led American music for the last 50 years -- yes! -- than Jorma Kaukonen and Jack Casady, the founders and continuing core members of Hot Tuna. For the last few years, Jorma and Jack have been joined in most of their Hot Tuna performances by the mandolin virtuoso Barry Mitterhoff. A veteran of bluegrass, Celtic, folk, and rock-influenced bands including "Tony Trischka and Skyline" and "Bottle Hill," Barry has found a new voice in working with Hot Tuna, and the fit has been good -- watching them play, it's as if he's been there from the beginning and they're all having the time of their lives. While the days of the six-hour uninterrupted sets are long over, Erik does much to help rekindle the feeling that permeated the legendary Hot Tuna concerts of decades ago. It is in the electric sets, too, that Barry brings out a wide array of electric mandolins and similar instruments that most people have probably never seen or heard before. It's all a real treat. Jorma and Jack certainly could not have imagined, let alone predicted, where playing would take them. It's been a long and fascinating road to numerous exciting destinations. Two things have never changed: They still love to play as much as they did as kids in Washington D.C., and there are still many, many exciting miles yet to travel on their musical odyssey.

The shimmering sound of Sharon Van Etten's Jagjaguwar debut album, Tramp, both defies and illuminates the unsteadiness of a life in flux. Throughout the 14 months of scattered recording sessions, Van Etten was without a home -- crashing with friends and storing her possessions between varied locations. The only constant in Van Etten's life during this time was spent in Aaron Dessner's garage studio. Dessner, a member of The National, heard Van Etten early on, and in collaboration with Justin Vernon, performed a cover of "Love More" at the 2010 MusicNow Festival in Cincinnati. Van Etten heard about this and contacted him. Almost immediately they formed plans to work together, with Dessner offering both a location for Van Etten to record new songs, as well as the opinions of a wise producer. Now, one year later, Van Etten unveils Tramp, an album showcasing an artist in full control of her powers. Tramp contains as much striking rock (the precise venom of "Serpents," the overwhelming power of "Ask"), as pious, minimal beauty (the earnest solemnity of "All I Can," the breathtaking "Kevins," "Joke or a Lie"); it can be as emotionally combative ("Give Out") as it can sultry ("Magic Chords"). Contributions from Matt Barrick (Walkmen), Thomas Bartlett (Doveman), Zach Condon (Beirut), Jenn Wasner (Wye Oak), Julianna Barwick, and Dessner himself add a glowing sheen to the already substantial offering. Van Etten has traveled far, and if her displacement took an emotional toll, she offset those setbacks with a powerfully articulated vision. And so, once again, each listener will discover their own moments along the way, and the debates as to the best song start anew.

On the heels of a stand-out performance at the SXSW Music Festival in Austin, Texas where she debuted songs from her much-anticipated album Little Broken Hearts, 9-time Grammy winner Norah Jones includes Edgefield on a nation-wide tour of festivals, amphitheatres and theatres.

SModcast is a weekly podcast featuring filmmaker Kevin Smith and his long time producer partner Scott Mosier, although guests occasionally feature. Released each Sunday night, the episodes are generally one hour in length and feature Smith and Mosier discussing current events and other non-sequitur topics. The name was derived from taking the first letters of "Smith" and "Mosier" and replacing the "P" in "Podcast".

There is no harmony like brotherly harmony. Something indelible in the weave of voices and play of sensibilities is stamped into the fraternal DNA and also stems from a lifetime of shared experiences. You can hear it in classic brother acts across the musical spectrum, from the Louvin Brothers to the Everly Brothers and on down the decades through the Wilson brothers (Beach Boys), the Davies brothers (Kinks), the Allman Brothers and even the Brothers Gibb (a.k.a., the Bee Gees). You can clearly hear fraternal magic at work in the songs of Scott and Seth Avett, better known as the Avett Brothers, as well. That magic is abundantly evident on I and Love and You, the Avett Brothers' big-label debut. Its 13 songs are delivered in a style that defies pigeonholing but might be described as a rootsy amalgam of folk, country, bluegrass, rock and pop – even a jab of punk-style dynamics here and there. Drawn by the naked honesty of their songs and the rousing intensity of their live shows, legendary producer and talent scout Rick Rubin signed the Avett Brothers – consisting of siblings Scott and Seth, plus bassist Bob Crawford - to his American Recordings label. "As soon as I heard the depth in their singing and songwriting, I was in for the ride," says Rubin, who has worked with some of the most talented mavericks in the business, including Johnny Cash, Tom Petty and The Dixie Chicks. "The Avetts' songs have such a sincere emotional resonance. The purity of the messages stops you in your tracks. It's unusual to hear such open-hearted personal sentiment from young artists today."

There is no harmony like brotherly harmony. Something indelible in the weave of voices and play of sensibilities is stamped into the fraternal DNA and also stems from a lifetime of shared experiences. You can hear it in classic brother acts across the musical spectrum, from the Louvin Brothers to the Everly Brothers and on down the decades through the Wilson brothers (Beach Boys), the Davies brothers (Kinks), the Allman Brothers and even the Brothers Gibb (a.k.a., the Bee Gees). You can clearly hear fraternal magic at work in the songs of Scott and Seth Avett, better known as the Avett Brothers, as well. That magic is abundantly evident on I and Love and You, the Avett Brothers' big-label debut. Its 13 songs are delivered in a style that defies pigeonholing but might be described as a rootsy amalgam of folk, country, bluegrass, rock and pop – even a jab of punk-style dynamics here and there. Drawn by the naked honesty of their songs and the rousing intensity of their live shows, legendary producer and talent scout Rick Rubin signed the Avett Brothers – consisting of siblings Scott and Seth, plus bassist Bob Crawford - to his American Recordings label. "As soon as I heard the depth in their singing and songwriting, I was in for the ride," says Rubin, who has worked with some of the most talented mavericks in the business, including Johnny Cash, Tom Petty and The Dixie Chicks. "The Avetts' songs have such a sincere emotional resonance. The purity of the messages stops you in your tracks. It's unusual to hear such open-hearted personal sentiment from young artists today."

Rocker, balladeer, author and “Classic Songwriter” Award- winner, Ian Hunter has a diamond-studded and matchless repertoire. Ian Hunter was one of the most inventive rock writers of the early '70s paving the way for the decade’s “New Wave” with his thought-provoking, honest and gritty songs. As a solo performer he has also succeeded with an impressive catalogue of superb albums and a dedicated following. Ian’s musical passion was first ignited by Little Richard and Jerry Lee Lewis and he appeared in various early bands, mainly as a bass player backing Billy Fury and Freddie ‘Fingers’ Lee. Ian also worked as a provincial journalist and later a staff songwriter in Denmark Street at the musical heart of Sixties London.Ian Hunter was the musical and lyrical powerhouse in Mott the Hoople, one of rock’s most valuable groups. He subsequently rejected lucrative offers to reform the band and resisted posts with Uriah Heep and The Doors as he carved out an enviable solo repertoire. He has been cited as a major inspiration for numerous artists including The Clash, Def Leppard, Kiss, R.E.M., Oasis, Motley Crue, Blur and Primal Scream. His musical influence remains immeasurable with over 150 different cover versions of songs from his astonishing archive and he has worked with many musical legends including Queen, David Bowie, Bruce Springsteen's E Street Band, John Cale, Mick Ronson, David Sanborn and Ringo Starr. Hunter’s work contains some of the most intelligent lyrics ever penned in rock and roll and he remains a priceless figure on the musical landscape. Classic Rock’s ‘Classic Songwriter Award’ and his recent albums and performances are testament to Ian Hunter’s importance and relentless artistic quality.

Pat Metheny on The Unity Band: Chris Potter - Saxophone:I have been a big fan of Chris Potter since I first heard him with Red Rodney many years ago and have watched him grow into one of the major forces in the current jazz world. Over 40 recordings, it has only happened that I have used only two other saxophone players along the way, Michael Brecker and Dewey Redman. Chris is a guy who inspires me much the same way those guys did. He has developed a sound and identity that is deep and always interesting and exciting. I am thrilled we will be joining forces for this project. I can’t wait to play with him. Ben Williams - Bass: I first heard Ben Williams perform as a student at Juilliard. In that way that only happens on occasion, by the time he was eight bars into his first solo of the night, I was convinced that this was an important new musician on the scene. He has a natural melodic sense that is rare and a great sound. He is a complete player with a wide ranging background and lots of diverse musical interests. He is one of the most impressive bass players to appear in many years. Antonio Sanchez - Drums: Antonio Sanchez and I have developed a rapport over the past 12 years that is significant. In 2000, I hired him to join my regular group where he has made fantastic contributions and then formed a trio (2003) that combined his talents with another of my favorite partners, bassist Christian McBride. With that trio, we made several records but played hundreds of concerts around the world over the years. With Antonio, anything is possible. He will be the perfect drummer for this exciting new project.

Adherents to the postmodernist philosophy tend to embrace nostalgia. Video catalogs are filled with TV shows transferred to DVD – shows that were in existence as far back as the 1960's. Perhaps there's a tension that there is no absolute truth and everyone’s opinion should be equally embraced, which is relieved by going back to a time when problems were solved in twenty minutes plus commercials. The CD reissue market grows larger each day as a desire to hear music from a bygone era exists. Supposedly, times were better then – simpler, more rational, and less threatened by nuclear holocaust and local crime waves. The postmodernists need look no farther than Vancouver, British Columbia to get the purest modern/old-timey/roots music available. The Be Good Tanyas have let themselves shine out in the darkness of the music realm. What they sing about, oddly enough, makes America the pluralistic, multi-faceted, musically foundational country she is. This trio – Sam (Samantha) Parton, Frazey Ford, and Trish Klein – got their name from a song by music pioneer Obo Martin ("Be Good Tanya") and now have three albums to their credit along with having a song or two in movies such as Because of Winn Dixie. There was, actually, an earlier Be Good Tanya – folk artist Jolie Holland, part songwriter, musician, and existentialist with a fiddle. But rambling blues bit her and bit her hard and she moved on to obtain solo status although she is featured with buddy Sam in the Tanyas’ newest album Hello Love on a Mississippi John Hurt tune, "Nobody Cares for Me." If someone's looking for traditional American sounds that return to the Jimmie Rodgers/Carter Family era, he or she can find those sounds in this trio. If a person longs for sparse instrumentation along with voices that do not bellow or boast, he or she can find musical peace with these three ladies. If a person wants to hear performers who embrace the folk, country, and blues roots of American music with a little touch of the contemporary, then The Be Good Tanyas are voices that come out of the wilderness and onto center stage, performing music that transcends their birthdates and transports their listeners from the past to the present and vice-versa. Sam, Frazey, and Trish are an open-ended musical time capsule in suspended animation – out of the wilderness and into CD speakers and human ears – awaiting a musical feast.

Adherents to the postmodernist philosophy tend to embrace nostalgia. Video catalogs are filled with TV shows transferred to DVD – shows that were in existence as far back as the 1960's. Perhaps there's a tension that there is no absolute truth and everyone’s opinion should be equally embraced, which is relieved by going back to a time when problems were solved in twenty minutes plus commercials. The CD reissue market grows larger each day as a desire to hear music from a bygone era exists. Supposedly, times were better then – simpler, more rational, and less threatened by nuclear holocaust and local crime waves. The postmodernists need look no farther than Vancouver, British Columbia to get the purest modern/old-timey/roots music available. The Be Good Tanyas have let themselves shine out in the darkness of the music realm. What they sing about, oddly enough, makes America the pluralistic, multi-faceted, musically foundational country she is. This trio – Sam (Samantha) Parton, Frazey Ford, and Trish Klein – got their name from a song by music pioneer Obo Martin ("Be Good Tanya") and now have three albums to their credit along with having a song or two in movies such as Because of Winn Dixie. There was, actually, an earlier Be Good Tanya – folk artist Jolie Holland, part songwriter, musician, and existentialist with a fiddle. But rambling blues bit her and bit her hard and she moved on to obtain solo status although she is featured with buddy Sam in the Tanyas’ newest album Hello Love on a Mississippi John Hurt tune, "Nobody Cares for Me." If someone's looking for traditional American sounds that return to the Jimmie Rodgers/Carter Family era, he or she can find those sounds in this trio. If a person longs for sparse instrumentation along with voices that do not bellow or boast, he or she can find musical peace with these three ladies. If a person wants to hear performers who embrace the folk, country, and blues roots of American music with a little touch of the contemporary, then The Be Good Tanyas are voices that come out of the wilderness and onto center stage, performing music that transcends their birthdates and transports their listeners from the past to the present and vice-versa. Sam, Frazey, and Trish are an open-ended musical time capsule in suspended animation – out of the wilderness and into CD speakers and human ears – awaiting a musical feast.

Due to circumstances beyond our control, we have to move our May 25 show at the Aladdin Theater to Dec 5. To anyone who’s already bought tickets, they will be honored at the new date (or refunds will be available at the point of purchase). We’re very sorry for the inconvenience! But looking forward to seeing everyone in December! It’s taken just two short years for Dunham Records – an imprint of Daptone Records – to establish itself as one of the most captivating creative forces in soul music. The brainchild of guitarist/producer Thomas “Tommy TNT” Brenneck, Dunham’s indelibly atmospheric sound is epitomized by its flagship artist, Menahan Street Band, whose 2008 instrumental single “Make the Road by Walking” (from the acclaimed debut album of the same name) was famously sampled by Jay-Z for the smash single “Roc Boys (And the Winner Is).” Now Dunham Records prepares to enter the next phase of its evolution with the debut album of its inaugural vocalist. A testament to the power of perseverance, Charles Bradley’s No Time For Dreaming is poised to drop at the top of 2011. For Bradley the album is the culmination of a lifetime of paying dues, having nomadically labored for decades at various day jobs from Maine to Alaska – singing and performing in his spare time – before re-settling in his hometown Brooklyn and eventually finding a musical home at Dunham. In his distinctively rough-hewn timbre one hears the unmistakable voice of experience – each note and gruff inflection a reflection of his extended, sometimes rocky, personal path. It’s only fitting that No Time For Dreaming’s producer Brenneck (who, in addition to being Menahan Street Band-leader, is a member of The Dap-Kings and The Budos Band) would recognize in Bradley a kindred musical spirit – a singer whose performances exude both raw power and poignant beauty.