Whitley Hill was born and raised in New York City, the child of Southern-born actors: a WASP from Mississippi and an Armenian from the moonshine mountains of West Virginia. A child actor herself, she performed at New York’s famed La Mama Theater, with the New York City Shakespeare Festival and the New York City Opera. She is a drama graduate of NYC’s High School for Performing Arts and has a degree in dance from the University of Michigan. For years she was a professional dancer and choreographer; her dances have been commissioned and performed by companies across the country.
But she really likes music. As a singer, Whit was a member of the renowned folk band Dick Siegel and the Na-Nas, with whom she toured the country – from New York’s Bottom Line to the Vancouver Music Festival. A prolific songwriter, Whit formed the Postcards in 2001. The band’s two albums, “We Are Here” (2003) and “Farsighted” (2006) have received wide critical acclaim. Whit plays a Martin guitar and loves it very much.
Other interesting things about Whitley: Her Armenian grandfather owned a saloon in West Virginia called the Sanitary Lunch. She once unintentionally delivered a friend’s baby by herself. Her dad was on the Sopranos.
Billy Joe Shaver
August 24, 2007
Goode’s Armadillo Palace Click here for a slideshow.
Better Than: Screaming and shaking your fist at Goode’s giant armadillo in the middle of the night, for no immediately discernable reason and without an audience to justify that sort of behavior.
Download: “Tramp on Your Street,” then go ride around some back roads in the bed of a pickup truck, drinking Natty Light and shooting at stop signs with your granddad’s .22.
Billy Joe Shaver seems to have no concept of aging gracefully. There’s something particularly unappetizing about a past his prime Texas legend spending his 68th year engaging in vaudevillian pandering, cringe worthy witticisms and acting as though he’s still the quintessential 30-year-old good ol’ boy.
But it’s important to remember that Shaver, regardless of your or my feelings on the matter, accepted the “outlaw” brand a long time ago, and the function of an outlaw is to maintain their outlaw hood until the clock runs out. Like Shaver himself said Friday night, “If you’re out there havin’ fun, well, have a lot of it, ‘cause it’s later than you think.”
Photos by Lauren Cohen
The Armadillo Palace was packed, and the folks standing down front were indeed having plenty of fun. The dance floor filled for every ballad, while the back half of the bar and the rest of the room never really seemed to notice that they were at a live musical performance.When Shaver slid into an a cappella version of “Star in My Heart” – a tribute to his late son and longtime guitarist Eddy – it became clear how much of the room simply didn’t give a damn
These people obviously had the $12 to burn, though, so who am I to judge? I was personally less concerned with the effect on Shaver’s ego than with people like the young couple standing in front of me, who had driven all the way from New Orleans to see their sixth Shaver show and sang along to every song except the new ones. Shaver’s first all gospel album, Everybody’s Brother, hits shelves next month, and its “Get Thee Behind Me Satan” and “When I Get My Wings” were among the new tunes rolled out Friday.
For less than devoted fans, the gig had a star in lead guitarist Jeremy Woodall whose nasty Telecaster growl pushed the gritty numbers up to snuff. While the rest of the band was solid, if uninterested, Woodall rocked like a flame throwing honky tonk hero, and it never got better than “When the Word Was Thunderbird” or world class shit kicker “The Hottest Thing in Town.”
It’s not easy to overcome Shaver’s particular brand of showmanship, or the aforementioned challenges of standing between a quietly observant crowd and a bunch of people who were just happy to be holding beer. And say what you want about the man, but Shaver is not lacking in energy. He kept up his act for the entire two hour set and does so in cities around the nation.
However, like Dylan, Willie, the Stones and most anyone else who’s spent more than two decades playing music professionally, Billy Joe Shaver draws a crowd because he’s Billy Joe Shaver. Not many people go to see his new songs, but those who go for the old ones seem to have a great time, every time. – Chris Henderson
I had everything,
And lost it all
I built towers of gold
And watched them fall
I tried my best, but I guess my best
Just wasn’t good enough
I made promises and broke them
I’ve laid loved-ones lives wide open
And I’ve got a broken heart, But I’ve come this far
And I ain’t giving up
CHORUS:
I pray for a stronger back
I pray for a bigger heart
I pray for the will to keep on walking
When the way is dark
I follow that winding road
I just try to stay on track
I don’t pray for a lighter load
I pray for a stronger back
I’ve seen losers get a second chance
I’ve seen miracles and happenstance
I’ve seen long shots come from way behind
To win the race
And I’ve had dreams blow up in a cloud of smoke
It’s a world of pain, it’s a world of hope
And it’s dark right now, but I know somehow
Someday the sun will find a way
To shine down on my face
With summer and the August Congressional recess drawing to a close, will consideration of the Internet Radio controversy over royalties be on the agenda when the September legislative session begins? In recent weeks, there has been a settlement between the Digital Media Association (DiMA), representing the largest webcasters, and SoundExchange on the issue of the minimum royalty fee – agreeing that the $500 per channel minimum fee imposed by the Copyright Royalty Board (“CRB”), which might have by itself driven many webcasters like Pandora or Live 365 out of business had it not been resolved, would be capped at $50,000. SoundExchange has also extended a unilateral offer to small commercial webcasters allowing them to continue to pay a percentage of revenue royalty of 10-12% for use of the music produced by SoundExchange members – but limiting the offer to webcasters with under $1.2 million in annual revenue, and requiring that any webcaster with over 5,000,000 tuning hours in any month to pay at the CRB rates for all listening in excess of that limit. We wrote about that deal, and some of the concerns that larger small webcasters have, here. These adjustments to the CRB rates may resolve some issues for some webcasters, but they leave open many other issues as set forth below – but will these tweaks to the CRB decision be enough to take the Congressional heat, in the form of the Internet Radio Equality Act, off of SoundExchange?
What issues remain? There are still many. These include:
The issues of the larger independent webcasters who may currently fit under the Small Webcaster Settlement (“SWSA”) Act caps – but may well go over those caps before 2010, and could not afford to pay royalties at the CRB-mandated rates if they exceed the SWSA limits.
The CRB mandated rates are themselves problematic for virtually all commercial webcasters – and DiMA made clear that the settlement of the minimum fee issue was the first step in resolving the issues that preclude a vibrant webcasting industry under the CRB rates (see the DiMA press release on the settlement, here)
Noncommercial webcasters have not announced any settlement with SoundExchange – even though many expressed concerns over the fees for large noncommercial webcasters which will, by the end of the royalty period, increase about 9 times over the rates that they had been paying (and more for larger NPR affiliates), and over recordkeeping and reporting requirements.
Broadcasters who stream their over-the-air signal over the Internet have not been involved in any of the tweaks to the CRB decision, nor has SoundExchange responded to the NAB’s settlement offer made in June (according to the clock on the NAB homepage, the NAB settlement offer has been outstanding without response for 84 days at the time this post is being written).
And what avenues remain open to resolve these issues? In addition to the potential for renewed Congressional action in September, the webcasters are still pursuing their appeal of the decision in the US Court of Appeals for the District of Columbia (while the stay of the effective date of the CRB decision was denied by the Court, that does not affect the underlying appeal – see our post, here, for details) , and most of the webcasting groups are still in settlement discussions with SoundExchange over possible settlements. We will see if any of these avenues lead to resolution of some or all of the remaining issues.
In the battle over webcasting royalties, the ball may be back in the webcasters’ court, but the advantage remains with SoundExchange.
SoundExchange, which collects royalties from webcasters and distributes them to artists and record labels, recently proffered a deal to webcasters grossing less than $1.25 million in revenue per year in order to resolve a dispute over higher fees that were due to take affect July 15.
According to the Associated Press, the deal proposes that those qualifying stations would pay out around 10 percent of their revenue through 2010, when negotiations would presumably begin again.
Small webcasters have instead suggested that the industry should follow the U.S. Small Business Administration’s definition of small broadcasters, which includes anyone earning $6 million or less in annual revenue. Critics of the deal are also griping that SoundExchange’s offer only covers represented members of the group, roughly 20,000 artists and 3,500 record labels (including all the four major labels), effectively leaving those not covered by the deal owing royalties at the far more exorbitant rates originally proposed.
Commenting on the Radio and Internet Newsletter, RAIN spokesman Kurt Hanson wrote: “Although (the Aug. 22) offer, perhaps confusingly, uses the phrase ‘small commercial webcasters’ — specifically, ‘certain small commercial webcasters’ — it would not satisfy those of us who have participated in the CRB process and have been negotiating with SoundExchange, or, for that matter, any webcaster who hopes to build its company into something more substantial.”
In other words, an opening gambit from SoundExchange that, according to another small webcaster, is simply a “divide and conquer” strategy. Webcasters have until September 14 to formally accept this offer.
Posted in Uncategorized with tags New Orleans on August 30, 2007 by takecountryback
Passing this on from Miss Trish…
It’s been two years since Hurricane Katrina devastated the Gulf Coast region, and still there are tens of thousands of families without homes. 30,000 families are scattered across the country in FEMA apartments, 13,000 are in trailers, and hardly any of the 77,000 rental units destroyed in New Orleans have been rebuilt.
We put together this short film, “When the Saints Go Marching In,” to tell several heartbreaking stories. The Aguilar family lost their home and only received $4,000 from the insurance company. Mr. Washington, an 84-year-old man and former carpenter, owned three homes prior to the storm, but is still living in a FEMA trailer. Julie can’t return to her job and normal life because the government won’t open the public housing she lived in prior to the storm. There are thousands of stories like this.
There is something very specific you can do to help. Sign the petition urging the Senate to pass Chris Dodd’s Gulf Coast Recovery Bill of 2007 (S1668).
The bill is expected to come to a vote soon. Its passage will be an important step toward rebuilding the infrastructure in the Gulf Coast region. In addition to S1668, please also encourage your Senators to go further in helping the public and low-income housing residents who lost their homes in Hurricanes Katrina and Rita.
Please pass the video on and encourage people to sign the petition. It’s important we all support the Gulf Coast region’s right to return home and put the needed resources toward rebuilding these families’ lives.
NEW YORK (AP) — Hilly Kristal, whose dank Bowery rock club CBGB served as the birthplace of the punk rock movement and a launching pad for bands like the Ramones, Blondie and the Talking Heads, has died. He was 75.
Hilly Kristal founded CBGB in 1973.
Kristal, who lost a bitter fight last year to stop the club’s eviction from its home of 33 years, died Tuesday at Cabrini Hospital after a battle with lung cancer, his son Mark Dana Kristal said Wednesday.
Last October, as the club headed toward its final show with Patti Smith, Kristal was using a cane to get around and showing the effects of his cancer treatment. He was hoping to open a Las Vegas incarnation of the infamous venue that opened in 1973.
“He created a club that started on a small, out-of-the-way skid row, and saw it go around the world,” said Lenny Kaye, a longtime member of the Patti Smith Group. “Everywhere you travel around the world, you saw somebody wearing a CBGB T-shirt.”
While the club’s glory days were long past when it shut down, its name transcended the venue and become synonymous with the three-chord trash of punk and its influence on generations of musicians worldwide.
The club also became a brand name for a line of clothing and accessories, even guitar straps; its store, CBGB Fashions, was moved a few blocks away from the original club, but remained open.
“I’m thinking about tomorrow and the next day and the next day, and going on to do more with CBGB’s,” Kristal told The Associated Press last October.
Kristal started the club in 1973 with the hope of making it a mecca of country, bluegrass and blues — called CBGB & OMFUG, for “Other Music For Uplifting Gourmandisers” — but found few bands to book. It instead became the epicenter of the mid-1970s punk movement.
“There was never gourmet food, and there was never country bluegrass,” his son said Wednesday.
Besides the Ramones and the Talking Heads, many of the other sonically defiant bands that found frenzied crowds at CBGB during those years became legendary — including Smith, Blondie and Television.
Smith said at the venue’s last show that Kristal “was our champion and in those days, there were very few.”
Throughout the years, CBGB had rented its space from the building’s owner, the Bowery Residents’ Committee, an agency that houses homeless people.
In the early 2000s, a feud broke out when the committee went to court to collect more than $300,000 in back rent from the club, then later successfully sought to evict it. By the time it closed, CBGB had become part museum and part barroom.
At the club’s boarded-up storefront Wednesday morning, fans left a dozen candles, two bunches of flowers and a foam rubber baseball bat — an apparent tribute to the Ramones’ classic “Beat on the Brat.” A spray-painted message read: “RIP Hilly, we’ll miss you, thank you.”
For over 30 years, songwriter and guitarist Peter Case has been a key figure in the American power-pop, roots-music and neo-traditionalist folk and blues movements.
Initially gaining a modicum of fame and a ton of cult notoriety as a member of seminal L.A. bands The Nerves (“Hanging on the Telephone”) and later The Plimsouls (“Zero Hour,” “A Million Miles Away”), he walked away from the world of distorted amps and elaborate sound-checks in 1984 and struck out on his own as a solo artist — releasing a string of beautiful albums on labels big (Geffen) and small (Yep Roc).
His work is known and loved by artists from Bruce Springsteen and Joe Ely to John Prine and Bob Neuwirth (most of whom have recorded their own versions of case’s tunes), as he’s a restless musicologist who uses tradition as fuel for his seemingly undouseable creative flame.
In what’s seen by many in Savannah as a small coup, local counterculture coffee house and performance venue The Sentient Bean will present Case this weekend for an intimate solo show in support of his brand-new (and highly praised) disc Let Us Now Praise Sleepy John.
I caught up with Case by phone on tour in Arizona for a chat.
You’re in Tuscon now, correct?
Peter Case: That’s right, I played Tuscon last night and I’m heading to Phoenix in just a little while.
How did the show go?
Peter Case: Very well. I’m at a place called the Hotel Congress. The vibe here is kinda nice. There’s like, a ceiling fan and all you’ve got is a radio. In a way, you feel like you’re in a Wyatt Earp movie or something along those lines. I’ve played here before a number of times.
How many people were at the gig?
Peter Case: I’m not sure, maybe about 75 or 100.
You’ve gone through a couple of major stylistic shifts over the years. Is it difficult to decide which facet of your career to present to an audience, or do you just draw from your entire back catalog?
Peter Case: It’s not really hard these days. I’ve actually been on kinda one beam since I left The Plimsouls. With one exception, the 10 albums I’ve made have been based around me as a solo artist, and I can pull ‘em off well by myself. It’s all about a solitary performance. But now, after all this time, I finally got to make a true solo record. Just me and nothing else. After the shows, people always ask me which record sounds the most like me, and I guess that would be the new one.
My theory is: the guitar makes the band. I’ve been playing shows in this style since I first went solo in ‘84. Mine is a style that’s based around Americana roots music and certain other elements.
Have you ever toured your solo material with additional musicians, just to break it up a bit and add some different colors to the show?
Peter Case: Very extremely occasionally. (laughs) In 2000, I had a fiddle player with me and in ‘92 I hit the road with a trio, so I had bass and drums, but other than that it’s just been me.
What’s most appealing to you about touring by yourself, besides the obvious financial benefits and the ease of operation?
Peter Case: A lot of my favorite music is that way. Ever since I was a kid, I’ve loved country blues artists like Charley Patton, Robert Johnson, Blind Willie McTell. I loved Lightnin’ Hopkins as a kid. That kind of music just always seemed to excite me. I loved Dylan as well, and even the English guys like Bert Jansch. Just to hear a song stripped down to the basic strength and truth. It’s not a real mellow thing. It goes from a whisper to a scream, you know? It can be as rock and roll as any full band. I always make a point to tune my guitar strings really low to get a deep, rock sound. It makes for big, dark tones like a lot of Delta blues, which frequently used alternate tunings. My music draws from different sources. From blues and from certain types of gospel and country, which is really Scottish-American music. But I also come from a rock and roll kind of place. I always thought that my solo shows were rock shows, but instead of having to listen through a band, you can get to the lyrics much more directly. I love playing this way. It was actually what I was looking for in all the bands. We got a huge audience in The Plimsouls. We’d play to like 800 or a thousand people. But when I first played for 200 people as a solo acoustic act, it reminded me of why I was into punk rock. There’s a very real sense of two-way communication. It can turn on a dime, and you can be very spontaneous as an artist. It puts you in touch with the worth of the songs, and how deep you can go emotionally into your own imagination.
Do you primarily finesse your material on the road in front of crowds, or do you work more like Dylan, where the songs are honed in private, then recorded in the studio, and finally shown to the public after the record is released?
Peter Case: Some of it is like the second approach, but then some of it is like the first. A few from the new record, like “Million Dollar Bail” and “Underneath The Stars” were played earlier on tour, but some of them like “Ain’t Gonna Worry No More” and “The Open Road Song” were first played in the studio. In fact, on a couple of those, the first time I played them was in front of the mic with tape rolling! I’d just say, “Keep the tape rolling!” and I’d do a new song. The first take of “The Open Road Song” and the only take of “Ain’t Gonna Worry No More” are on the album. I play ‘em out now, but I never did before that. The song I did with Richard Thompson, I wrote over the weekend and outside of my girlfriend, the first person I played it for was Richard! That was unnerving! (laughs) Then we did 4 or 5 takes and picked the best one. They were all completely live and different from each other. So, some was prepared and some was not. We recorded for 3 days and I must’ve done 30 to 35 songs for an 11 song album.
You’ve mentioned how much you were looking forward to doing a stark, simple acoustic guitar record in the vein of the early Sleepy John Estes sides or the first 4 Dylan LPs. In the end, did you wind up capturing the sound that was in your head when you hatched the idea, or along the way, did it morph into something else altogether?
Peter Case: I have a vision of the way I hear the guitar, but a lot of it is spontaneous. The sound is much the way I envisioned it, but often, the results go into a new and interesting place. I like to be surprised. That’s the great thing about music. It takes you to a surprise and opens a door that you didn’t even know was there. That’s why playing solo is so great! You’ve got the ability to surprise the audience, and often, even yourself. It can transcend even your own expectations.
Does your passion for writing songs intersect with your interest in writing poetry and prose—such as your new book of memoirs—or do they conflict in some way?
Peter Case: Well, I kinda feel like the book that I put out in January and this album kinda go together. But I’ve never written poetry that made it to the stage of being called poetry. Once I start to get a few poems that have great lines in them, I tend to mine them into my songs, you know? I love reading poetry, but I consider myself a songwriter. For different reasons, it keeps my feet on the ground. I guess I understand the disciplines and the mechanics, so I can allow myself to do that. In terms of the book, I actually wrote it in much the same way that I write songs. Most of the chapters were written in the middle of the night. I used to think I had insomnia, and thought I was uptight and worried about the state of the world. But what was really going on was I just wanted to write. That is rare for me. I stayed up and wrote the stories in the book as well as the songs. The prose thing didn’t seem much different from the songs themselves. If I wrote 3 words or 3,000 words, each chapter was like a clear picture in my mind. Every song seems to be about one thing and so is every chapter in my book.
You’ve done some shows lately with John Doe of X, and I know both of you guys came of age in a certain time period and scene. To many of us who weren’t there when it all happened, the whole Madame Wong’s, late ‘70s L.A. underground rock thing seems almost like a mythical world where the fates aligned to create a wonderful incubator for raw, original talent. Do you miss those days, or in a way are you glad they’re in the past?
Peter Case: I’m really glad I was there for that. It was a really exciting time. It’s a great scene and I’m still in touch with a lot of those guys — Dave Alvin, John Doe, Stan Ridgway are still great friends of mine. It’s a period I’m proud of, but at the time it was so exciting that it seemed like it would never end. I live in the present, not in the past. I’ve always been like that. I’m not a nostalgic. My book is about the past, but it’s not nostalgic. It’s meant as more of a contrast with the way things were then and the way they are now. And it’s in high contrast! All those bands were really good, but they were all really different. There was not sort of one blanket style. I don’t know, maybe I haven’t thought this through completely. I am proud of that time and that work, but I don’t long for it at all. It was different in that it was a super-intense time. People remember me from The Plimsouls and Dave Alvin from The Blasters, but all of us have done some of our best work since then, you know? We were young.
A while back you were the recipient of a wonderful 3-CD tribute album that found many of your peers—and just plain fans from a younger generation—interpreting your material. Was that a strange experience, and were you into it, or was there some trepidation on your part about being celebrated that way? I remember once when John Cale was asked what he thought of a big posthumous Warhol exhibit that prominently featured the Velvet Underground, he said it made him feel twitchy, because he didn’t see himself as being ready to be in a museum just yet.
Peter Case: Yeah, it was humbling to have all those people do your songs and it threw a lot of attention on someone like me who rarely or never does get that kind of attention. It kinda blew my mind, and some of my songs got a really great treatment. I did cop that feeling. Any artist wants to live in the present. I see Bob Dylan in concert every once in a while. I’ve seen him maybe a half dozen times or more, and there’s been a sense at some of his shows like he’s a walking museum himself. Then at other shows he just bursts alive! He’s been fighting his whole career to stay out of being locked into his own legend. Nobody wants to go there. I might have gotten a little twitchy, like Cale said. But that project was great, and it was a benefit to raise money to buy musical instruments for teenagers who needed them. That was so important to me because music was what kept me alive as a teenager. Plus, some of the people on the album were glad to have been included and to be heard alongside the other artists. I’ve been on a few tribute albums myself, so I know how that can be a cool thing to be a part of.
Is there any new Plimsouls activity on the forefront? I know you guys get back together every once in a while to play a short batch of shows, and people who’ve seen them say that you guys sound amazing.
Peter Case: I think we’ll do some stuff like that. We did a few dates a while back. We played Atlanta, Birmingham, St. Louis and Chicago. It’s really fun to go on the road with The Plimsouls. I’m thankful to do that, too. We don’t do it often and when we do, it’s great. It’s exciting and it’s a very physical thing. It keeps you young, to be able to check in with the guys every once in a while and make a great sound together. That band never had a “new wave” sound that could get real dated. It’s more just a straight-up, timeless rock and roll thing.
You’ve got a pretty elaborate website (www.petercase.com) where people can sample your music, and even read advance chapters of your forthcoming book. Has the web been particularly helpful to your solo career?
Peter Case: Definitely. I’ve got a blog that I’ve been doing for a long time. It gives you a chance to connect directly with folks everywhere who care about what you do and say. I feel like if Woody Guthrie were alive today, he’d be all over it. He’d have an incredible blog about his take on things, just like he used to write all those letters.
What’s the best thing about being Peter Case in 2007?
Peter Case: (laughs) I’m happy just to still be working, making my music and my art. I have to be thankful for the way the road’s gone — even if it is difficult at times. I think maybe I’ve made my strongest album at the age of 53, or whatever I am now. I’m still on fire with music and inspired by the things that I hear. I’m still turned on by making records and have high hopes for the next one.
At the time, it seemed the means to an end: Back in the middle of July, copyright royalty collection agency SoundExchange offered internet radio broadcasters an 11th hour reprieve from the potentially crippling rate increases they’d been dreading, in the interest of keeping negotiations open between the two parties.
But now, more than a month after the reprieve took effect, SoundExchange has finally offered a deal to small webcasters– i.e. those grossing less than $1.25 million in revenue per year (with an additional stipulation capping the number of monthly listening hours). The deal proposes that those qualifying stations would pay out around 10 percent of their revenue through 2010, when, presumably, negotiations would pick up again.
Most critics of the proposal suggest that the $1.25 million delineation between “small” and “large” webcasters leaves far too many in the large category, which would almost certainly pay a higher percentage. The SoundExchange offer also only applies to royalties paid to their members: 20,000 artists on all the major labels and thousands of independents as well, but leaving a wide swath of under-the-radar artists still subject to the higher Copyright Royalty Board-determined royalty rates.
In his Radio and Internet Newsletter (RAIN), AccuRadio chief Kurt Hanson expressed his frustrations with the offer, including that the agreement will discourage growth among webcasters who may fear they’ll enter the higher bracket and, therefore, be subject to higher rates. He hopes that negotiations with SoundExchange can continue, or that Congress intervenes on webcasters’ behalf. If neither of those things happen, qualifying webcasters have until September 14 to accept the offer. Should they reject it, they’ll either be subject to the original rates laid down by the Copyright Royalty Board or be forced to silence themselves.
In other net radio news, in a private meeting in New York last week between SoundExchange and a number of webcasting services, an agreement was reached that would cap the controversial per-channel minimum fee of $500 at a $50,000 annual payout per provider. Had this agreement not been reached, the fee would’ve otherwise topped one billion dollars for the likes of Pandora, Live365, and other large webcasters, according to AccuRadio’s Dan McSwain.
McSwain feels that both deals are insufficient gestures on the part of SoundExchange to impress Congress, to encourage lawmakers to rule in its favor. McSwain said, “The co-sponsors of the Senate bill have promised to push the Internet Radio Equality Act to a floor vote when Congress returns from recess if negotiations have not progressed. Surely, SoundExchange will use these meager concessions as proof to Congress that they are engaged in a good-faith effort to keep webcasters in business.”
To assist independent artists in saving mailing costs we welcome digital submissions for review via ReviewShine. Please check out their services designed specifically for indies to get their music directly to music bloggers. We highly recommend these friendly folks.
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TCB simply exists to help create and strengthen the link between real country music fans and the music/artist. Simple as that. This is 'your space' much more than it's 'my space'
We hope folks on both sides of the equation will use this space to share the music the way its traditionally been passed on for generations - by word of mouth.
Taking it Back to the Roots! 