Don McCalister Jr - Down In Texas ( Ap 131 )

Maybe it's because he looks more like a computer programmer than a country musician. Perhaps if he got a big cowboy hat or slicked back his hair and put on a hip Nudie suit. Nah, scratch that. Don McCalister is just fine the way he is. The best way for him to break through into the upper echelon of Austin's overloaded country scene is just to keep playing great music, the kind that attracts help from the likes of Jesse Taylor, Doug Sahm, Champ Hood, Ernie Durawa, and Floyd Domino. If you haven't discovered McCalister yet (and odds are you haven't) and you love sweet songwriting, good Western swing (including the woefully forgotten clarinet), and covers ranging from Butch Hancock and Townes Van Zandt to "Steel Guitar Rag," this album is as good a place as any to start

Lee Nichols

From the musical hotbed of Austin, TX, sprang Don McCalister, Jr., a singer/songwriter with a revolving group of friends and musicians that made up his Cowboy Jazz Revue. Intelligent songwriting and McCalister's smooth tenor, backed by a Western swing and jazz-tinged country sound, drew comparisons to other Texas mainstays, including Ray Benson (Asleep at the Wheel), Lyle Lovett, Hal Ketchum, and the music of Bob Wills & His Texas Playboys. On any given night, the Revue could appear as just a trio, with McCalister and Boomer Norman on guitar and Carl Keesee on bass, or expand to a full orchestra with as many as 14 musicians on-stage. Some of the notable musicians that occasionally played with McCalister included the Grammy award-winning Floyd Domino on piano, Champ Hood on fiddle, Lynn Frazier on pedal steel, Stan Smith on clarinet, and Maryann Price on vocals.

The son of a college professor, McCalister was raised in several places, including California, Arkansas, Tennessee, North Carolina, Maine, Alabama, and New Orleans. As a result, he cites a variety of musical influences, such as Muddy Waters, Flatts and Scruggs, Norman Blake, and Duane Allman. Moving to Austin in 1981, McCalister formed his first band, the short-lived Bluegrass Demons, in 1986 before helping found the Flakey Biscuit Boys, which became a popular central Texas bluegrass band which performed regularly at the renowned Kerrville Folk Festival. After that group dissolved, McCalister independently released a cassette in 1990 entitled Silver Moon which moved in a folk music direction and concentrated on his songwriting. Shortly thereafter, he assembled the Cowboy Jazz Revue. McCalister was signed to Dejadisc in 1993 and his debut album, Brand New Ways, garnered McCalister rave reviews in and around Austin, plus airplay on regional radio stations.

Jack Leaver ( All Music Guide )

Don Michael Sampson - Copper Moon ( Ap 110 )

"I want to point the music lover towards a product of absolute quality that needs no fear of comparison with the most important singer/songwriter products of 1995.

Trust .... a truly serious thing. For my part I remember that I trusted Sampson immediately, when I bought his first two records AMERICANSONGS and COYOTE in the United States directly after their release --- these are also two great records. What genre is he, whom does he resemble? Simple questions, but difficult to answer. He writes songs, he sings them one after another in a linear fashion, with a stentorian voice, supported by an exact and refined instrumentation, simple and classic, based on acoustic and electric guitars, bass, drums.At times something different is added to the mix, or the rhythm section disappears, as in several songs on this COPPER MOON album. Thats all? Well, any Simple Simon can do that, someone might object. Thats just it. When a true artist does it, the result can be a masterpiece! Now Don Michael Sampson, he's a true artist, as God is my witness: a great singer/songwriter -- one whose backpack is loaded with substance --- and I assure you that his records are an absolute priority for the demanding listener. Dry and decisive musicality that unwinds sinuously, enchanting, in a folk/rock context of absolute quality. Everything is reduced to essentials: nice sound with only a few instruments, big, very big impact beyond a doubt. Don Michael Sampson does not have a great voice, but he has 'that' voice ... the voice of someone who has wandered in the desert, of someone who has lost his belongings, of someone who suffers. As a guitarist, he does what he has to, and it's fine like that. At times it seems to me almost as if you could think of Sampson as a possible evolution (dimensionally parallel but inevitably differentiated) of ...well, John Prine, for that way of doing country rock and folk rock so offhandedly that it does'nt even seem to be that any more. Listen to the first song on COPPER MOON (Three White Horses) and judge for yourself. This is also the first of six instrumental pieces, with Ben Keith on steel, slide and tambourine. Warren Haynes on electric (lead and slide), Michael Rhodes or Dave Pomeroy on bass. Chad Cromwell or Craig Krampf on drums. On two occasions you also hear Larry Knechtal's piano. Sampson plays acoustic (Martin, Gibson) and also the twelve-string. There is sadness in the grooves of this disk, at times desperation; always there's something magic, something bewitching. I should list the songs at this point: listen, they are all beautiful. I would not know how to choose. An indispensable album, which you really can't do without ... it is still hard for me to realize that it really exists."

Renato Bottan

"This is the fourth album release by one of America's closest guarded secrets, the unique talent known as Don Michael Sampson. Judging from his recordings, his influences range from the Johnny Burnette Rock n Roll Trio through to Neil Young and thrown into the melting pot for good measure are his own smoky tinged vocals, all in all a potent mixture which deserves to be heard by audiences who appreciate true artistry. 1995 sees the issue of his latest offering COPPER MOON. This is a veritable potpourri of compositions, tempos and themes but all bearing a personal identification. Sleeping Dogs is a song cut at the first take with a strong blues influence, mean and moody vocals and lyrics full of apprehension. Three White Horses and Blue are good honky tonk shuffles which leave the listener feeling happy in the first instance and with mixed emotions in the latter case. 61 Road has a Richie Valens chugging style guitar and Black Tambourine is an atmospheric song with a crying guitar. Both paint a portrait of a guy on a stage in a corner of a smoke filled bar pouring his heart out in song. Red Bird In The Rain has full backing from the likes of Larry Knechtal, Ben Keith, Dave Pomeroy and Craig Kramph and is just a plain old beautiful song. Acoustic offerings include Dark Horse Rider, Strongest of Stars, Lonesome Ace and All There is To Know which all have meaningful lyrics demanding to be listened to. Thieves has a degree of improvisation evident (and how many classic songs have come about in this manner) and Long Time Ago has a strong gospel feel. Both songs evoke a picture of life in the Southern backwoods. This is certainly one of the better offerings of 1995 and is well worth seeking out."

Tony Wilkinson

This record is the surprise of the year in the group made of nocturnal songs of the wish and loners with unquiet blood. The songs play and I listen carefully breathing in a Nebraska haze, a rough Southern sound and moonlight made ballads. Formerly from California this poet/artist has for the most part been unjustly overlooked for his prior albums AMERICANSONGS, COYOTE and the more recent CRIMSON WINDS. Lets hope this magnificent and shadowy COPPER MOON can repay Don Michael Sampson, songwriter of quality and experience and shining poetry. The presence of an itchy slide like that of Warren Hayes (Government Mule) tell a lot about the swampy atmosphere of the tracks. Sampson exhibits his guitars, mainly acoustic and extracts from them seducing sounds with a suffering and autumn voice, made of sorrowful intimacy. All songs have been written by him, many recorded at his home. These songs are enlightened by bright light and sad like the day overwhelmed by shadows. But the dark zones are a leit-motiv of this record, mind you. The introspection of Strongest of Stars, the rough blues of 61 Road ....hard and full of bloodlines at the surface and whispered between teeth on the dull and original wires of a 30's guitar (he brought for $5 in the California desert). And the smoky Thieves coming from an acoustic guitar with a slide reigning alone in winding lines. Guitars, like old wine --- let's enjoy, if an old guitar gives us a magnificent Red Bird In The Rain. Lonesome Ace bent in melancholy, is the clearest water of the record -- my favorite, and Warren Haynes solos that rave in the electric Sleeping Dogs, the airy rhythm of Three White Horses valuable country to be played in a Chevrolet driving along the plains. Blue intrigues me, written in a moment of sadness and dedicated to a dog ---one of the same name, like mine, who died some years ago, always in my mind (pardon my sentimentality). Don Michael Sampson is a true craftsman, working by himself, in the silence of his room, while the dark night stands still hearing. Sincere to the bone, essential in the magic of his singing. Easy owner of one of the records on the year."

Francesco Caltagirone
Buscadero/Italy

Don Michael Sampson has his own unique style, very distant from the so called Nashville sound. He sounds more like Neil Young or Johnny Burnette. His ballads radiate a melancholy, very much like the songs of Leonard Cohen. He creates an atmosphere of a troubadour traveling the world, with a guitar on his back. His lyrics give you this abstract, mysterious unreachable feeling. This CD is a Groeiplaat --- which means the more you listen to the songs the better they get."

Hans van Dam

"Although he's a country lad at heart, Sampson skirts through troubadour folk country, tangles heavily with blues and even dabbles in a spot of near-space rock, showing off influences that include Neil Young, Johnny Burnette and Townes van Zandt. His sound is a varied combination that relies heavily on word play and atmospheric background strummings to create moods that sweep over the listener like moisture-heavy clouds."

Jim Driver

Freddie & The Screamers - I Ain't Crazy ( Ap 168 )

Twenty years ago I was just getting started as a music publisher. I had written a few songs that had been recorded by Blues artists like Johnny Winter and The Kinsey Report. I went looking for someone to do the administration for my publishing company and collect royalties overseas. I approached Buzz Cason at Southern Writers Group because he was outside of Nashville mainstream and understood R&B. He welcomed me aboard. Another of the writer/publishers there at the time was a very talented guy named Richard Carpenter. He'd actually had a few hit records. I was impressed, but more importantly we shared a love of Roots Rock, Soul Music and the Blues. We began writing together on a regular basis and soon were getting our songs cut by Blues artists like Koko Taylor, Sam Lay, Lonnie Brooks, Son Seals, Charlie Musselwhite and a host of others just as fast as we could write them. We also had free run of the 24 track recording studio Creative Workshop that was part of the SWWG organization. This meant that our demo recordings were actually state of the art master recordings.

Richard was a gret drummer and I played guitar and sang. We used several different bass players, but Jeff Davis quickly became our favorite. Jeff, of "Stick" as he's known to his friends, had just arrived in Nashville. He was a founding member of The Amazing Rhythm Aces and went on to work with Al Green, B.B. king, John Mayall's Blues Breakers, Bob Dylan and Ron Wood. We began playing live around Nashville ( most notably at The Ace Of Clubs on a weekly basis ) and because of our schedules bass players and drummers came and went. But the first lineup of the Screamers ( the group name was coined by Jeff Davis by the way ) was always my favorite. In 1989 I collected a bunch of our "demos" and sent them to Franco Ratti at Appaloosa Records in Milan, Italy. A few weeks later he called and offered us a record deal. The album was released in 1990. It sold pretty well and got good reviews so we decided to tour Europe. My wife, Mary-Ann Brandon, was also recording for Appaloosa so we put together a package show and spent the next few years touring relenstlessly with a revolving roster of musicians. Freddie & the Screamers recorded four albums in all.

By the mid 1990s I had gotten pretty busy as a record producer and songwriter and decided to retire the Screamers. I did a few solo albums, played with Tommy Tutone and the reunited Amazing Rhythm Aces, and bought up the catalogs of several old Nashville record labels for reissue. Mary-Ann and I continued to tour, but more and more it was in tandem with the many R&B legends we were producing and writing for. We stayed busy, life was good and I was happy. Jeff Davis and I had continued to work togegher on many projects throught the years, but afer I left Southern Writers Group in the late 1990s I lost track of Richard Carpenter. I ran into him at a Buzz Cason gig last year and we vowed to write together again, and what better excuse than a Screamers reunion ? Jeff Davis was game so we booked a gig in October 2008 at the Arkansas Blues % Heritage Festival ( aka The King Biscuit Blues Fest ). It was a resounding success and in February 2009 we went into the studio to record the new material we'd written. We're all quite pleased with it and agreed that we had to give Franco Ratti at Appaloosa Records the change to release it. He agreed and this is the result. It ain't nothin' fancy, just good, greasy, Tennessee R&B. Freddie & The Screamers are back with the back beat. We hope you dig it too.
Fred James.

Don Nix - Back To The Well ( Ap 098 )

Don Nix is a songwriter and music producer. Although cited as being "obscure", he is a key figure in several genres of southern rock, soul and blues. He was instrumental in the creation of the trademark "Memphis Sound" and known for his work at Stax Records.

A native of Memphis, Tennessee, he attended Messick High School, where he began his musical career playing saxophone for instrumental soul group pioneers the Mar-keys (which later morphed into Booker T and the MGs).
Along with Steve Cropper, Duck Dunn, Wayne Jackson, Andrew Love, Charlie Freeman, Packy Axton and others, they produced a hit instrumental,"Last Night", which was the first of many successful hits to his credit.

After the Mar-Keys, Nix worked as a producer/backing musician with other artists such as Leon Russell of Shelter Records and Gary Lewis and the Playboys in Dick Clark's Caravan of Stars.
Throughout his career, Don Nix worked behind the scenes as producer, arranger, musician, and many other roles for artists such as Lonny Mack, Furry Lewis, Freddie King, Albert King, Delaney and Bonnie, Jeff Beck, Brian May, Eric Clapton and many others.

He wrote and produced many solo albums and with groups such as the Alabama State Troopers, John Mayall's Bluesbreakers, the Muscle Shoals Rhythm Band, Beauty and the Beats, Paris Pilot, Moloch and Larry Rasberry and the Highsteppers.

The song "Goin' Down" became a blues standard and was covered by Deep Purple, Pearl Jam, Stevie Ray Vaughn, Mick Jagger, Maggie Bell with Stone the Crows and many others.

One notable event was the collaboration with Harrison, Russell and many others in the production of the Concert for Bangladesh - a star-studded benefit concert at Madison Square Garden.

Harrison asked Nix to assemble a "soul choir" for the show (Claudia Lennear, Marlin and Jeannie Greene, etc.) and later told Nix that he should join the singers onstage. Though reluctant, Nix explains that "you don't say 'no' to a Beatle." The project's net proceeds were used to help alleviate dire conditions for the Children of Bangladesh.

Back to the well is his last album and it is for the italian label Appaloosa ! Thanks again Don.

Terry Clarke - Lucky ( Ap 132 )

Anglo/Irish Terry Clarke is from Reading, Berkshire, west of London in the Thames valley but he sings like his heart belongs in Sligo, Ireland and his bones are happiest in Austin, Texas, he tells stories about loners, freewheelers and passionate home- comings ...

Songwriter, bandleader, singer/raconteur, producer/arranger, 12 string guitarist and mandolin player, lately his own photographs and paintings have appeared on his album artwork ...

Writing and singing melodic songs that echo and reverberate with; country, rockabilly,Irish laments, poetry and street language, Terry Clarke has established himself as one of the most important acoustic Rock/Beat/Folk writers and performers of his generation ...

"Recorded in Texas with Champ Hood and Lisa Mednick ...mood is laid back and blues in the night ... included is a cool cover of Johnny Cash's 'I Still Miss Someone'"
Village Records, Kansas

Of all English speaking peoples, even if the language wasn't of their choosing, the Irish have best perfected the art of melancholy and Clarke's work can, I think, be seen as a postmodern expression of the mournful dirges with which generations of exiles lamented their lost patrimony. His songs are far more complex and intelligent than the 'take me back to the lakes of Killarney and that redheaded colleen I loved' tradition, but there's an essential continuity. ... a lineup that keeps the title from being merely ironic and provides gorgeous atmospheric to Clarke's restrained intensity, (Jesse) Taylor yet again demonstrating his telepathic rapport with singer-songwriters. ... Johnny Cash's 'I Still Miss Someone' and 'Bye Bye Blackbird' ... can be taken as general indicators of the general mood, which hits that Irish spot of being sad but not depressing. ... Clarke is regarded as an honorary West Texan ..
3rd Coast Music, Texas

The Clarke originals prove that he remains one of our finest and most diversely influenced composers. His Irish (influenced) canon advances still further with 'Did He Sing Danny Boy' and the stunning, pseudo-traditional 'By The Light Of The Plough'. 'Gardenia Blues' is a slow soulful number underscored by languid guitar lines, while (Lisa) Mednick's support vocal is well to the fore on 'Crow Blues'. Should you wish to envelop yourself in a dreamy laid back jazzy ether, then for over five minutes. 'Mr Lucky' will fulfill your wildest fantasies. Pickin' clover or pickin' strings, life can most surely be 'Lucky'
Kerrville Kronikle

BIOGRAPHY

Terry Clarke's music is infused with the warm, breezy subtleties of Johnny Mercer and Hoagy Carmichael, the rough-hewn, hard-living country of Johnny Cash and the kind of street poetry and vivid imagery that make him one of the most important writers of his generation.

Whether he is calling up the spirit of the blues, tearing through a good, honest rock & roll song, introducing you to one of his flesh, blood and bone character studies or breaking your heart with a lonesome lament his work has the weight of history behind it - the history that gave us Son House, Dion, Springsteen, Johnny Cash, Jimmy Webb and Mercer - but his work pulses with a contemporary heart that continues to make his music full of surprises.

As well as producing 10 fine albums, which are coloured by his love of the blues, of rock & roll, as well as by his Anglo Irish roots and by his long association with Austin Texas, he has enjoyed the respect of, and collaborations with, some of the best.

During his twenty-year writing association with blues slide guitarist Michael Messer he has been responsible for the modern classics of the genre that are winning Messer increasing recognition. The feted bluesman's new album, Lucky Charms, out in February 2006 is, as ever packed with Clarke laments and finely drawn character studies which keep the blues flame burning.

Clarke's friendship with one of Austin's favourite adopted sons, Wes McGhee, led to the two of them getting together in the studio last year to produce Night Ride to Birmingham - a flashing, neon, jukebox of an album full of rockabilly swing, rock & rollers, and homages to Clarke's heroes such as Johnny Burnette, Johnny Cash, Gene Vincent, Elvis and Laura Nyro. As their fans will attest McGhee and Clarke are natural allies both on stage and in the studio, with a shared musical language and this album marks a new and exciting phase in their long relationship. The pair have just returned from a UK tour, with writer, musician and cult legend Ronny Elliott, making up the Unholy Trinity.

Other recent projects for Clarke include a tour this month of North Carolina, West Virginia and Ohio, alongside David Childers and the Modern Don Juan's, who tear up the music venues of those states with a potent liquor of rockabilly and rock & roll played with skill of experience and the heart of a rowdy teenager.


Clarke has very recently relocated to Swansea, Wales, the home of one of his writing heroes Dylan Thomas. As is his habit, Clarke is assimilating the culture, the history and the richness of his new surroundings to produce a fine body of work hewn from the local landscape.

To date he has enjoyed some great performances in Wales, including at the Dylan Thomas Centre and he is working on a number of new projects here, notably with the actor Peter Read, that will take him into new musical and performing territory.

December sees Clarke share a bill at the Cluny in Newcastle with Jackie Leven and with Hank Wangford in Clerkenwell. London.

Sarasota Slim - Bourbone To Beale (Ap 069 )

"It's the music on "Bourbon to Beale," however, which tells who slim actually is. The tall, thin guitarist dishes up original tunes like the title cut and "Tin Pan Alley," along with tasty, hot to cool licks that blend like a stew of Duane Allman and Johnny Winter topped off with a dash of B.B. King."

1991 Time Out - Lakeland Ledger

"Crack session men and down home vocals give Bourbon to Beale its backbone, but it is Hardage's astonishingly lucid attacks on the fretboard that give this material its heart."

St. Petersburg Times - Jeff Jacks

"Few Bay area musicians are as deserving of the title "bluesman" as Gene Hardage, a/k/a Sarasota Slim. On his new release, Bourbon To Beale, Slim doesn't just play the blues, he delivers the down-home feeling that's always been at the heart of the music - when it's played right. And Slim plays it right."

Ken Hall

Dirk Hamilton - Too Tired To Sleep ( Ap 061 )

Singer-songwriter Dirk Hamilton was born in Indiana and raised in Northern California. He picked up a guitar as a youth and was writing songs and playing live performances by the time he was in high school. He moved to Los Angeles in the late 70s and recorded four critically acclaimed albums: two while at ABC Records, and two while at Elektra/Asylum Records. A poet and musician known for his uniquely intelligent lyrics and passionate performance style, Hamilton creates music that can't be pigeon-holed into one genre or another, so indie rock, alt-rock, roots music, americana and folk-rock are often used. For his lyrics and performance style he is most often compared to Dylan, Van Morrison, and John Hiatt.

Hamilton took a hiatus from music in the early 80s, during which time he took a position counseling troubled teens in Northern California. Eventually though, music began to call to him anew. He formed a band and returned to entertaining audiences with his particular brand of live music. Before long, his inspiration to write resumed as well and he began recording albums again.


In the late 80s, Hamilton was told his music had a large following in Italy. He accepted an offer to do some concerts there, and ever since then, he returns to Italy every year doing concert tours for his fans there.

In 2004, he was introduced to musicians in an Italian band called The Bluesmen, which led to their performing and collaborating on new music together. They tour Italy as Dirk Hamilton and the Bluesmen usually during the summer months.

Hamilton also takes his American rock ensemble, The Dirk Hamilton Band, out for tours of Italy as well as America. Members of this band are long-time collaborators on stage and in the recording studio with Dirk. Concerts featuring this line-up promise a particular soaring creative energy — the kind that is only achieved by musicians who have worked together a long time. The ensemble includes Don Evans on lead guitar, Eric Westphal on bass, and Tim Seifert on drums.

Dirk is just as comfortable playing solo and often tours by himself, singing and playing guitar and harmonica. In more intimate settings such as these, the wit and humanity of his music shines through in a way that only solo performances can provide. Recently he has also enjoyed popularity as a house concert performer, and is happy to arrange those as he travels to do concerts at larger venues. He plays live most often in California, Texas and Italy, with regular venues hosting him in Los Angeles, the San Francisco Bay Area, Austin and Dallas.


Dirk Hamilton is a prolific artist who has released a total of 16 albums under various labels, including his own, Acoustic Rock Records. The latest is The Ghost of Van Gogh, released in December of 2007. A new CD is already recorded and is planned for release in 2008. Hamilton's vast catalogue is a veritable treasure trove of original songs that lend themselves perfectly for use in soundtracks for film and television.

David Essig - Rebel Flag ( Ap 072 )

DAVID ESSIG was introduced to Canadian audiences in 1971 as a "talented newcomer" at the legendary Mariposa Folk Festival. Now, over 30 years later, he is considered one of Canada's finest interpreters of original, contemporary folk music. Always paying homage to his roots in Bluegrass and Country Blues, David uses these traditions to create new songs that are both timely and timeless. His intense energy and incisive wit have made him a favourite with audiences around the world...

David is highly respected as a thoughtful and intelligent songwriter, with Canadian folk standards like “Albert’s Cove” and “High Ground” to his credit. His work moves from pieces as contemporary as today’s news, to songs that sound as if they were rediscovered from old country blues 78’s. These are songs that tell stories and paint portraits that will start you laughing and leave you crying.

Equally renowned as an instrumentalist and traditional performer, David is a master of the blues and slide guitar. Whether on the lap-style Weissenborn or the electric Godin guitar, his spontaneous style crosses all the borders between country, blues and the avant-garde. And with his 5/8” socket and a sound that could peel the petunias off your mother’s porcelain, he is considered one of Canada’s great slide guitarists.

David's masterful songwriting is the theme of A Stone in My Pocket, the milestone double CD project released in 2004 by Pacific Music in Canada and IRD in Europe. For this album, David recorded fresh new versions of 30 of the most popular and moving songs from his 35 years of writing, including 2 new songs recorded here for the first time. He was joined on this project by renowned musicians Oliver Schroer on violin and Tobin Frank on bass. With David adding nearly 100 guitar parts to the original trio sessions, A Stone in My Pocket has received critical aclaim as a landmark in Canadian roots music.