http://www.americansongwriter.com American Songwriter Magazine Wed, 16 May 2012 21:38:43 +0000 en hourly 1 http://wordpress.org/?v=3.3.1 http://feedproxy.google.com/~r/AmericanSongwriter/~3/QXjTZuioEfM/ http://www.americansongwriter.com/2012/05/qa-chad-urmston-of-dispatch/#comments Wed, 16 May 2012 18:53:28 +0000 Chris Rutledge http://www.americansongwriter.com/?p=84055
Since Dispatch reunited in 2011, the members have been adamant about not only preserving their legacy, but also adding to it. With that in mind, they went to work on Circles Around The Sun, Dispatch's first full-length album in over a decade. Dispatch member Chad Urmston sat down with American Songwriter to talk about the [...]]]>
Since Dispatch reunited in 2011, the members have been adamant about not only preserving their legacy, but also adding to it. With that in mind, they went to work on Circles Around The Sun, Dispatch's first full-length album in over a decade. Dispatch member Chad Urmston sat down with American Songwriter to talk about the upcoming release, the future of the band, and more. What made you decide to make another record? We were figuring if we were going to tour again we weren’t going to just roll out the same olds songs. So we figured “Let’s get some new shit going, so we’re not just a legacy act.” And I had some stuff that didn’t really fit State Radio, and I knew Pete (Heimbold) and Brad (Corrigan) had been writing for a while, so I figured we’d have enough. With the tour dates and the new album, is Dispatch picking up where it left off, or is this reunion temporary? I don’t know. We’re all, in a lot of ways, so different than we were in our teens and ours twenties. But I think we’ll play more than we have in the last decade. We’ll play more than once every four years. Can you tell me about the new album? We’re psyched about it. We were working with Peter Katis, who’s done Guster and Interpol and the National. He’s a blast, and so talented, so that was great. It was fun just to be in the studio with Brad and Pete again, it had been since 1999. It was fun to just remember how it worked. Everyone’s getting along. Everyone’s jumping in and doing different things and throwing it out there. Pete, Brad and I, we just love playing sports. It’s kind of like that, when you get in the studio, that team aspect. How do you feel like this album compares with your older worker? Was there any pressure to “sound like Dispatch?” There was no pressure. We feel like we can kind of come up with anything. Dispatch is pretty varied anyway, whether a song is more Americana or reggae, which there isn’t really any reggae or ska on this record but… The thing about Dispatch is the vocals and the harmonies, so as long as it has that it feels pretty Dispatch-y. We’re not too specific in our genre anyway. I’m glad you mentioned that. Listening to the new album, there isn’t really any reggae. Why is that? I don’t know. It wasn’t that conscious. We all sat around one night when New York City was getting hit hard by a blizzard. We sat around in Pete’s apartment and just traded songs all night, with a few pints of Guinness helping lubricate things. It was just a special night. It’s just the way the cycle works. It’s the same as when people ask why we’re back together all the time. The timing is good, the planets aligned, or whatever. It’s the same with the songs. Whenever someone has come up with something recently that feels like it might be a match, then you just throw it out there. Is the stress, or whatever broke up the band, better or worse the second time around? The only stress I felt was like when you’re with a girlfriend and you know you shouldn’t be anymore, but you’re still hooking up with her. It was like “This isn’t right, or honest.” We’ve always been a really honest band, really transparent, and what you see is what you get. I felt like we were kind of undercutting that trust that we’d built up with our audience and each other over the years. We were going through the motion, and I never wanted to be a part of a band that did that. You guys have been praised as being one of the biggest “indie” bands of all time, because of your success despite the backing of a major label. How do you feel about the term “indie,” and what it’s come to mean? I don’t mind that label. We’re a little more of a literal sense of indie, but indie rock is mostly what I listen to. That’s pretty broad; it’s like what alternative was. But I don’t mind if there’s some crossover or overlap. We don’t sound like a lot of indie bands out there. I think for me, and maybe I’m showing my age here, when I think of indie rock, I think of Sonic Youth. So it’s less of an “Are they really independent?” and it’s more of a sound. We might not necessarily fall into that sound, but if people do describe us as that, whether it means sound or the act of now being on a label, both are good by me. Another thing you guys have been labeled as is a “jam band.” How do you feel about that term? For a long time, the three of us didn’t like that name at all. We didn’t feel like our audience called us that, it was always the industry calling us that because they hadn’t heard the music or been to a show. They’d heard about ticket sales and the only reason for justifying that is “Oh, they must be a jam band.” They hadn’t heard of us so we must be under-the-radar Widespread Panic or the way that Phish is huge without being mainstream. So I think for a long time that label meant to us, people that don’t know anything about the band. Since then I think we’ve come to terms with it a little bit, because I don’t think there’s anything wrong with it. The jam world is full of the most dedicated fans out there, so in that sense, maybe we are a jam band. But if you listen to the music, I wouldn’t say that we are jam or indie. It’s kind of interesting that we get labeled as both, because I’m not sure if we fit the mold for either, but at this point I’m okay being called that. You guys have been hitting up the summer festivals pretty hard. Why is that? Probably because we never got a chance to do them. We broke up before anyone wanted us or asked us to do it. We did State Radio at Bonnaroo a few years ago and had a blast. Dispatch was just never on the radar for the people booking those big festivals till just recently. I think part of the reason for getting back together is doing stuff that we never got the chance to do, and enjoying each other and having a good time. ]]> http://www.americansongwriter.com/2012/05/qa-chad-urmston-of-dispatch/feed/ 0 http://www.americansongwriter.com/2012/05/qa-chad-urmston-of-dispatch/ http://feedproxy.google.com/~r/AmericanSongwriter/~3/dpBS5p0er2k/ http://www.americansongwriter.com/2012/05/daily-discovery-sara-jean-kelley-not-for-you-not-for-long/#comments Wed, 16 May 2012 18:31:25 +0000 American Songspace http://www.americansongwriter.com/?p=84006
ARTIST: Sara Jean Kelley SONG: "Not For You, Not For Long" BIRTHDATE: 11/11/1986 BIRTHPLACE: Nashville, TN AMBITIONS: 
To play the Ryman once a year for the rest of my life. If Emmylou Harris asked me to sing on her next record, that would be cool too. TURN-ONS: A man who knows what he wants. And [...]]]>
ARTIST: Sara Jean Kelley SONG: "Not For You, Not For Long" BIRTHDATE: 11/11/1986 BIRTHPLACE: Nashville, TN AMBITIONS: 
To play the Ryman once a year for the rest of my life. If Emmylou Harris asked me to sing on her next record, that would be cool too. TURN-ONS: A man who knows what he wants. And mystery, I'm a sucker for mystery. TURN-OFFS: 
Disrespect and narrow-mindedness. TV ADDICTIONS: Game of Thrones is my most recent addiction. It's bad. CRAZIEST PERSON I KNOW: My dog. I consider dogs as people. WHAT MAKES A MAN SEXY: 
Confidence and intelligence. Not to be confused with arrogance and condescension. CELEBRITY CRUSH: Nicolas Cage in the 90s. I get made fun of for it all the time. THINGS I LOVE THE MOST: My guitar and my dog. I WROTE THIS SONG: With my friend Jay Nash about a boy I once loved. Stream “Not For You, Not For Long” and more music from Sara Jean Kelley at American Songspace.]]> http://www.americansongwriter.com/2012/05/daily-discovery-sara-jean-kelley-not-for-you-not-for-long/feed/ 0 http://www.americansongwriter.com/2012/05/daily-discovery-sara-jean-kelley-not-for-you-not-for-long/ http://feedproxy.google.com/~r/AmericanSongwriter/~3/ZTBYacYf7v8/ http://www.americansongwriter.com/2012/05/meet-alan-doyle-russell-crowes-musical-partner-in-crime/#comments Wed, 16 May 2012 17:04:59 +0000 Britta Dragicevic http://www.americansongwriter.com/?p=82761
At first, it seems an unlikely duo. Russell Crowe, Oscar-award winning actor, and Alan Doyle, frontman for Canada’s uber-popular folk rock band, Great Big Sea. Yet, it doesn’t take much time to realize that the two artists have more in common than not. A passion for music (for those of you who don’t know, Crowe [...]]]>
At first, it seems an unlikely duo. Russell Crowe, Oscar-award winning actor, and Alan Doyle, frontman for Canada’s uber-popular folk rock band, Great Big Sea. Yet, it doesn’t take much time to realize that the two artists have more in common than not. A passion for music (for those of you who don’t know, Crowe has been a songwriter and fronting bands since he was a teenager), a penchant for giving audiences a hard-partying, memorable experience; and a sensitivity to the details in life that infuse their music with a crystal clarity that rings true to the human spirit. The two have been writing music together for nearly a decade. But you won’t hear either of them make a splash about it. They released the Crowe/Doyle Songbook, Volume III (ironically, there is no Volume I or II) last August in a MP3 file download format. The album verges hauntingly on poetry and gives a revealing take on a variety of subjects, including an honest account of the toll fame takes on the human soul - something we rarely hear discussed. Not only is the album beautiful musically, but the storytelling is raw and authentic. And it’s that authenticity that makes it – and them – stand out. Crowe is currently filming Les Miserables, the first time the acclaimed musical has been filmed as a movie, and declined to be interviewed for this article. Alan is in the midst of planning Great Big Sea’s 20th Anniversary tour, releasing his first solo album and keeping pace with a myriad of tasks and tour dates. Despite their schedules, they manage to continue to capture the everyday stories of life in lyric and melody, often via email. With the Crowe/Doyle Songbook, they created a set of songs that goes back to the heart of songwriting, an album that reaches into the human heart, soothes, entertains, and makes us think. All while staying true to their own Story. Not an easy task in a world that adores image and conformity. Alan took some time between tour dates to talk with us. Before we talk about you and Russell, how did you come to be a folk rockstar from Newfoundland? I suppose I always wanted to be in a band for a living, but never honestly thought it was possible. I certainly never thought as a teenager that folk music would get me anywhere. It wasn’t until I was in University that it occurred to me that we had something special and unique in our own backyards, and it would be a shame for me not to be a part of it. I consider myself really lucky to be from a place that has recorded its history in song. Very few places have as many songs to sing for every occasion. So, without knowing it, being a Newfoundlander gave me a massive head start as a songwriter and a singer, as I was immediately immersed in a song culture. So folk music gives you... ? Honesty and authenticity. I feel like I have a story that is my own and not borrowed from New York or Chicago or wherever. I don’t try to be anyone, but me. When I write a song, I want to convey something that is true to people. Truth is really the only thing that works in a song. How did you and Russell come to work together? I met Russell when we were both presenters at the NHL Hockey Awards almost a decade ago in Toronto. I had heard that he was a GBS (Great Big Sea) fan and had even performed one of the songs I had written. I made sure I was standing in the hall when he was passing through and casually introduced myself. He had first heard of GBS and my writing when he was filming a movie called Mystery Alaska in Canada in the late 90’s. After a few chats he asked if I ever passed through Toronto where he was living while filming Cinderella Man and if I would like to write a song or two. I totally jumped at the chance, of course, and the rest is history. Let’s talk about your creative process. How do you work? It’s taken quite a while to trust my own instincts. I often will go with the first thing that pops into my mind, especially about a lyric. I’ll reconsider melodies again and again, but I’ve always found that the first thing you say is the most true. I love deadlines. I really have no routine. I can work anywhere. I co-write a lot and love doing it someone else’s way. I have relationships with folks like Mike Post where I primarily supply the lyric and he the music. With Russell it is often the opposite. I’ve learned that to collaborate successfully, you have to get it right, you don’t have to be right. You often adapt traditional music to a modern audience – what is the greatest challenge in that? Taking a great song that has 14 verses and no chorus and adapting it to fit a more modern 3-minute form. That can be tricky. I’m lucky to work with Sean McCann and Bob Hallett in GBS as their instincts about this kind of thing are awesome. So how would you describe the songs you write? No idea. They just are what they are, to me. Friends tell me my songs sound older than most. Others have described my songs as Celtic sounding. I’m happy with any description of my music, really. (Alan Doyle of Great Big Sea, Mike Fraser, sound engineer/mixer, and Russell Crowe at the Warehouse Studio in Vancouver recording Boy on Bridge. Photo: Mike Fraser) How does your collaboration with Russell work? It’s always different. No rules. Our schedules are so crazy that it is often difficult to be in the same place. We often send stuff back and forth via email. Lyrics, a melody, a short demo MP3 of an idea, whatever it takes. What has Russell brought to your music that wasn’t there before? Many things, but the biggest by far is how he has changed what I think a song can be about. Prior to working with Russell I would have never have written a song about a jailbreak, or a deceased aunt, or an immigrant cane cutter. I’d have been happy enough writing about ex-girlfriends, drinking, and Catholic Guilt. Now the sky’s the limit. Does Russell challenge you to stretch and dream bigger? Constantly. In the most encouraging way possible. He does this with all his friends. The Crowe/Doyle Songbook veers away from the pure sound of GBS. But one can definitely hear your talent and musical style in it – did working on this album stretch you as a musician? Yeah, the original demos for most of this CD were done with just me and Russell and Dani . Three singers with me playing guitar and mandolin. The challenge was to make them compelling in the most stripped down form. I’ve done that a lot with GBS, but in most cases it involved rowdier tunes. The Songbook songs are much more reflective and poetic so it was a little off the beaten track for me. What has surprised you most about this album? How Carl Falk re-imagined the songs with all his scoring and pop sensibilities. He has an incredible musical vision. It was a pleasure to work with him. How pleased are you with the decision to release the album electronically? Very. I have to thank Russell for it all as it was really his idea. I love the fact that these folky kind of songs were delivered to the people in the most modern way possible. The album is now also available in hard copy from www.parkbeachmusic.com.au. You’re releasing your first solo album. Tell me about it. What can we expect? The Label guys will probably call Boy on Bridge a country/rock record. And that’s fine with me. The songs are influenced by writers and albums I loved growing up like John Mellencamp, Tom Petty, and Bruce Springsteen. There are three Crowe/Doyle songs on there that should represent our catalog well. What’s next for you? GBS has a few dates here and there and everywhere over the next little while. We just did our first tour in Australia and are finishing our GBS XX - 20th Anniversary CD. But most of my focus for the bulk of 2012 is on promoting and touring my solo CD and documentary film, Boy on Bridge. And finally, what do you love most about being in this business? Performing. It’s always been my favorite thing to do. I know many Nashville peeps who never get to perform the songs they write. I don’t envy that at all. I’d never opt for a career completely off stage if I can help it. As long as people will listen, I’ll sing a song for them. Alan Doyle’s solo album, Boy on Bridge has just been released. The Crowe/Doyle Songbook, Vol. III is available online via iTunes, Amazon and other online music retailers.]]> http://www.americansongwriter.com/2012/05/meet-alan-doyle-russell-crowes-musical-partner-in-crime/feed/ 1 http://www.americansongwriter.com/2012/05/meet-alan-doyle-russell-crowes-musical-partner-in-crime/ http://feedproxy.google.com/~r/AmericanSongwriter/~3/utfmiuaq_sQ/ http://www.americansongwriter.com/2012/05/number-one-party-jack-white-and-alabama-shakes-rock-nashville/#comments Wed, 16 May 2012 17:01:30 +0000 Marissa R. Moss http://www.americansongwriter.com/?p=84064
View The Photo Gallery If you’ve ever been to a Number One party, you’d know that it’s a slightly awkward ritual practiced regularly in Nashville, where country stars celebrate their chart-topping songs with executives, other industry folk and a good lot of canapés. “This is my number one party,” Jack White told the audience last [...]]]>
View The Photo Gallery If you’ve ever been to a Number One party, you’d know that it’s a slightly awkward ritual practiced regularly in Nashville, where country stars celebrate their chart-topping songs with executives, other industry folk and a good lot of canapés. “This is my number one party,” Jack White told the audience last night at The Ryman, before launching into a thrashing version of “Trash Tongue Talker.” His album, Blunderbuss, has indeed hit number one and, on this first official night of tour, in the holiest of shrines to music that there ever was, in the city where he lives, loves and loves him back, he was going to celebrate with his boys. His boys, his kids, and around two-thousand of his fellow Nashvillians, stomping and singing along. The night began with opening act Alabama Shakes, who began appropriately with the slowly-creeping bluesy number “Goin’ to the Party.” Lead singer Brittany Howard, clad in a floral dress and leggings, seemed married to the mic stand –in fact, for a good portion of their set, the entire band projected as stiff, maybe unsure of the proper way to act in the Mother Church. To probably everyone’s surprise they played their hit, “Hold On,” second and the similar reserved demeanor continued through “Hang Loose,” “I Found You,” “Rise to the Sun,” and “Boys & Girls,” which Howard began by telling everyone that she wrote this song because, as a kid, people had told her that she shouldn’t be friends with guys. She was smart not to listen and instead start a band with four of them. Alabama Shakes Conquer The World: Read The Cover Story Then, for “Be Mine,” Howard put down her guitar, removed the mic from the stand and started moving across the stage. Here’s where the mood changed. “If they want to fight,” she sang in her signature gospel-howl-growl, “they done started fucking with the wrong heart.” If there is any question to the correct disposition at the church of the Ryman, it’s this: pray your ass off to the lord of music by singing and playing with all you’ve got. For the next three songs, the Shakes did just that, in the way have many times in tiny clubs and bars on this short, steep road to success –which is with force and soul. After they finished with “You Ain’t Alone,” everyone wanted more. Heck, we wanted them to play “Hold On” again, but like that. Instead, they hustled offstage in the orange light. Jack White, however, started making his mark before he even stepped onstage. A crew of four or so roadies began hustling about, setting up a white keyboard, removing baby blue sheets that had been draped over the instruments, turning a steel guitar. However, these were not just your ordinary roadies: they were White’s, which meant they wore suits, porkpie hats and ties. They moved elegantly and deliberately, like a performance in and of itself. No sloppy guys in dirty t-shirts, wandering about wondering where to put the artist’s beer. Not for White, whose attention to detail trickles down to every last knob, every pick guard. And as he walked on stage to the blazing crystal-blue light with his male band, Los Buzzardos, launching in to the White Stripes classic “Dead Leaves and the Dirty Ground” as the audience (which included Wynonna Judd) took to its feet and stayed there, one thing was clear: the thing he’ll never make too perfect, too polished, too predictable, is his music. This is rock and roll, after all, and he was born to be its preacher. As the first show of a two-night sold out run, White bought out his boys (presumably he’ll play tonight with his female band, The Peacocks). While each musician was stellar, it was impossible not keep staring at Brooklynite Daru Jones, who pounded his drumset with force, skill and downright style, transforming the Stripes tunes into the booming, dynamic anthems that they always deserved to be. For the first half of the nearly two-hour show, White would pick and choose from the Stripes, The Dead Weather, The Raconteurs and his solo songs, playing his guitar like it was a wild animal that only he could tame. “It’s good to see you,” White said as the crowd screamed, after playing “Missing Pieces,” “Sixteen Saltines” and “Weep Themselves to Sleep” from Blunderbuss, “and it’s good to be home, too.” Next came “Hotel Yorba,” which White beckoned the audience to sing along to, then “Top Yourself,” “Hypocritical Kiss,” “Black Math” and “Trash Tongue Talker” before he addressed the audience again. “I don’t know you personally,” he said, “but I don’t think it would be too much of a problem if I played a Hank Williams song.” It sure wasn’t – the audience roared in the place where the walls are papered with Hatch Show prints of the country legend –and he played “You Know That I Know” with the treatment he’s given to William’s contemporaries like Wanda Jackson and Loretta Lynn. Nashville weeps a little every day over the early passing of Hank Sr., and they shed a few more tears over the fact that White never got to produce once of his records. It sure would have been groovy. After “We’re Going to be Friends,” and before ending the first set with another Stripes song, “Ball and Biscuit,” the band launched into “I Cut Like a Buffalo,” a Dead Weather tune off 2009’s Horehound. On the record, the song brings a nearly dubstep vibe to its grinding blues beat and organ chimes. Live, it absolutely wailed. For all his guitar prowess, White’s tasteful: not every song is accompanied by a show-off-solo, so when he rips, you listen. And on these last two, he did. It shook and rattled the Ryman with such force, such Rockstar quality with a capital R, that even the old mandolins stashed away in display cases in the back of the theater wanted in. The band took a brief break before returning for their second set –technically an encore, maybe, but still ten songs long. White had removed the grey military jacket he’d started the show in, and returned in a black t-shirt. Playing “My Doorbell,” he looked again like the Jack White we’d gotten to know years ago when he released this song with Meg. Except he didn’t sound like it. White’s matured and evolved so much over the years, but subtly so, finding his indelible sound, pairing himself with players that can bring due justice to his tunes and burning his place into musical legendry. A few more tracks (including “Blunderbuss,” the Raconteurs’ “Steady, As She Goes” and the Howlin’ Wolf cover “300 Pounds of Joy”) the curtain close was drawing near. He commented on how when it’s nice out you can see just how beautiful Tennessee is (Jack White: he’s just like us, making small talk about the weather), playing an emotional version of “Take Me With You When You Go” then “Carolina Drama,” before ending the night with Leadbelly’s “Goodnight, Irene.” He sang to the audience, and they sang right back at him. “Maybe I’ll see some of you back here tomorrow,” he said before walking offstage through the same corner where you could see distant flashes of two small, curly-haired kids, maybe his own. When he goes home, he’s dad. But that night, he had over two-thousand more children, following his every move with admiring eyes and obedient tongues, getting a first class lesson in one of the most important schools: rock n’roll.]]> http://www.americansongwriter.com/2012/05/number-one-party-jack-white-and-alabama-shakes-rock-nashville/feed/ 0 http://www.americansongwriter.com/2012/05/number-one-party-jack-white-and-alabama-shakes-rock-nashville/ http://feedproxy.google.com/~r/AmericanSongwriter/~3/uhJoc66T_PA/ http://www.americansongwriter.com/2012/05/jack-white-and-alabama-shakes-at-the-ryman-auditorium-nashville/#comments Wed, 16 May 2012 16:34:06 +0000 Kate Cauthen http://www.americansongwriter.com/?p=84032
Jack White and Alabama Shakes touch down in Nashville on 3/15/2012 for the first of two electrifying concerts at the Ryman Auditorium. ]]>
]]> http://www.americansongwriter.com/2012/05/jack-white-and-alabama-shakes-at-the-ryman-auditorium-nashville/feed/ 0 http://www.americansongwriter.com/2012/05/jack-white-and-alabama-shakes-at-the-ryman-auditorium-nashville/ http://feedproxy.google.com/~r/AmericanSongwriter/~3/6GpTQBL82h8/ http://www.americansongwriter.com/2012/05/the-festy-experience-announces-2012-line-up/#comments Wed, 16 May 2012 16:18:44 +0000 Chris Rutledge http://www.americansongwriter.com/?p=84018
The Infamous Stringdusters announced the 2012 line-up to its music festival, The Festy Experience, today. The Stringdusters will be joined by some big names in bluegrass: Leftover Salmon, Keller and the Keels, and Trampled by Turtles. The lineup also includes Rubblebucket, Nicki Bluhm and the Gramblers, Elephant Revival, and more. The Festy will be held [...]]]>
The Infamous Stringdusters announced the 2012 line-up to its music festival, The Festy Experience, today. The Stringdusters will be joined by some big names in bluegrass: Leftover Salmon, Keller and the Keels, and Trampled by Turtles. The lineup also includes Rubblebucket, Nicki Bluhm and the Gramblers, Elephant Revival, and more. The Festy will be held at The Concert Grounds at Devil’s Backbone in Nelson County, Virginia on October 18, 19 and 20. Tickets go on sale today at noon. ]]> http://www.americansongwriter.com/2012/05/the-festy-experience-announces-2012-line-up/feed/ 0 http://www.americansongwriter.com/2012/05/the-festy-experience-announces-2012-line-up/ http://feedproxy.google.com/~r/AmericanSongwriter/~3/50JT0XZMhc0/ http://www.americansongwriter.com/2012/05/the-josh-thompson-critiques-webseries-contest-the-final-five-songs/#comments Tue, 15 May 2012 19:58:39 +0000 American Songwriter http://www.americansongwriter.com/?p=83912
We’ve selected the top five, now it’s your turn to vote on which two songs you think should win a critique from rising country star Josh Thompson. Listen to each of the finalists below and “like” the post with your favorite song. The video with the most likes by Friday, May 18th  at 10 am [...]]]>
We’ve selected the top five, now it’s your turn to vote on which two songs you think should win a critique from rising country star Josh Thompson. Listen to each of the finalists below and “like” the post with your favorite song. The video with the most likes by Friday, May 18th  at 10 am CST will win! Listen: Todd Mihan Band, "Whiskey Thunder"   Listen: Shane Yoder, "Wallet"   Listen: Ryan Parks, "Oakland and Anaheim"   Listen: Mark Bunn, "A Week On Ocean Blvd"   Listen: Jason Bellay, "She's All Wrong"  ]]> http://www.americansongwriter.com/2012/05/the-josh-thompson-critiques-webseries-contest-the-final-five-songs/feed/ 0 http://www.americansongwriter.com/2012/05/the-josh-thompson-critiques-webseries-contest-the-final-five-songs/ http://feedproxy.google.com/~r/AmericanSongwriter/~3/qdLg8paJb9c/ http://www.americansongwriter.com/2012/05/the-josh-thompson-critiques-webseries-contest-todd-mihan-band-whiskey-thunder/#comments Tue, 15 May 2012 19:51:39 +0000 American Songwriter http://www.americansongwriter.com/?p=83926
“Like” this post using the Facebook button below to vote for Todd Mihan Band in The Josh Thompson Critiques Webseries Contest.]]>
“Like” this post using the Facebook button below to vote for Todd Mihan Band in The Josh Thompson Critiques Webseries Contest. ]]> http://www.americansongwriter.com/2012/05/the-josh-thompson-critiques-webseries-contest-todd-mihan-band-whiskey-thunder/feed/ 1 http://www.americansongwriter.com/2012/05/the-josh-thompson-critiques-webseries-contest-todd-mihan-band-whiskey-thunder/ http://feedproxy.google.com/~r/AmericanSongwriter/~3/tFSW2pkMTpI/ http://www.americansongwriter.com/2012/05/the-josh-thompson-critiques-webseries-contest-shane-yoder-wallet/#comments Tue, 15 May 2012 19:49:55 +0000 Caine O'Rear http://www.americansongwriter.com/?p=83937
“Like” this post using the Facebook button below to vote for Shane in The Josh Thompson Critiques Webseries Contest.]]>
“Like” this post using the Facebook button below to vote for Shane in The Josh Thompson Critiques Webseries Contest. ]]> http://www.americansongwriter.com/2012/05/the-josh-thompson-critiques-webseries-contest-shane-yoder-wallet/feed/ 1 http://www.americansongwriter.com/2012/05/the-josh-thompson-critiques-webseries-contest-shane-yoder-wallet/ http://feedproxy.google.com/~r/AmericanSongwriter/~3/42nsR06G6hE/ http://www.americansongwriter.com/2012/05/the-josh-thompson-critiques-webseries-contest-ryan-parks-oakland-and-anaheim/#comments Tue, 15 May 2012 19:48:22 +0000 American Songwriter http://www.americansongwriter.com/?p=83943
“Like” this post using the Facebook button below to vote for Ryan in The Josh Thompson Critiques Webseries Contest.]]>
“Like” this post using the Facebook button below to vote for Ryan in The Josh Thompson Critiques Webseries Contest. ]]> http://www.americansongwriter.com/2012/05/the-josh-thompson-critiques-webseries-contest-ryan-parks-oakland-and-anaheim/feed/ 0 http://www.americansongwriter.com/2012/05/the-josh-thompson-critiques-webseries-contest-ryan-parks-oakland-and-anaheim/