songs

Ellie Goulding To Release Special Version Of "Lights"

Already a success in her native England, 24 year-old UK singer and songwriter Ellie Goulding will release a special US full length of LIGHTS March 8th on Cherrytree/ Interscope Records. The US version will include three songs (“Lights,” “Animal,” and “Your Song”) not available on the original UK version. Produced by Starsmith, Goulding’s full length release LIGHTS shot to #1 on the UK chart in March 2010. This past December “Your Song” hit #2 on the charts and #1 on the iTunes Chart and the video has received over 6 million views. “Starry Eyed” has already received over 12.5 million views on YouTube.
This past September, Ellie made her maiden voyage to the US in support of her EP, AN INTRODUCTION TO ELLIE GOULDING.  She performed in New York and Los Angeles to rave reviews. The New Yorker called Ellie “the future of music” and the Los Angeles Times raved, “her set seemed to cement her pop bona fides.” “She can reel off some powerful drum and guitar chops and her voice is a serious and sure instrument in person.”
Ellie has received numerous accolades from her motherland in the form of The Critics Choice Award at the 2010 Brit Awards and topped the BBC sound of 2010 poll. Goulding’s debut CD has garnered much critical praise. NME calls Lights, “never less than stunning…it marks the emergence of a smart, sincere and talented new pop star,” and Q declares, “There is undeniable greatness afoot here.”
Described as “electro-folk-acoustic-pop,” Ellie’s songs mix heartfelt emotion with other-worldly atmospherics, spinning electronica into dreamy warmth.

Ian Moore's 'El Sonido Nuevo' set for March release

El Sonido Nuevo, the seventh studio record from Austin-raised, Seattle-based singer-songwriter Ian Moore, bridges the gap between the stylistic offshoots of his past few records and the guitar-slinging bravado that characterized his earlier, often bluesier, output. “The album is a retrenching in the face of a diffuse pop culture landscape,” says Moore, now fronting power-pop trio the Lossy Coils for El Sonido Nuevo. “Every band has ten members, every movie is a sequel, there are 500 channels and nothing’s on.”

El Sonido Nuevo, due out March 8, 2011 on Seattle-based label Spark & Shine, distributed by Burnside Distribution, will be available in all formats including vinyl. Digital distribution on iTunes and the rest of the digital world will be through IODA. The iTunes release will have two bonus tracks not on the CD.  The trio will perform songs from the new collection at a handful of Texas and Oklahoma concert dates beginning on March 3, leading up to shows at South by Southwest (March 15–20, 2011) in Austin, Texas.

A certain sentiment rings out loud and clear, from the opening track, “Secondhand Store,” right on through the album: “We wrote it after South by Southwest when we were dealing with that onslaught of hipsters taking over the East Side of Austin — everybody has an angle and nobody seems to be actually doing anything,” says Moore, whose songwriting lets loose lyrics peppered with relevant and provocative topics. “It’s a mish-mash of jaded feelings in a dark moment.”

The Lossy Coils, formed in Seattle in the mid-2000s, features Moore, bassist Matt Harris (Oranger, Posies), and drummer Kyle Schneider (Johnny Goudie). The album was co-written with Harris, who has also played with Roky Erikson and Pavement’s Spiral Stairs. With Moore’s inspiring guitar work leading the way, El Sonido Nuevo alternates between rockers and ballads, pure songs and pure sounds, with a lush pop introduction that follows the same Beatles-by-the-way-of-Big Star thread that has informed the best work of contemporaries like Wilco.

Moore, a prodigy of self-invention, has built a career following his artistic instincts, which hasn’t always worked from a business perspective. Still, he’s been steadily accruing fans by staying on the road doing everything from solo acoustic shows to full band gigs in the U.S. and abroad. Moore’s skilled musicianship has been requested by many of his stylistic forefathers. Milestones include playing “Like a Rolling Stone” on the road with Bob Dylan, drinking goblets of wine and trading guitar riffs with Keith Richards on tour with the Rolling Stones, exchanging mix tapes with Paul Weller, performing “Whisky River” with Willie Nelson, singing a duet with Emmylou Harris, and backing artists as divergent as Roky Erikson and Jason Mraz.

Moore’s pared-back band on the record was a purposeful step into stripping away artifice and décor.  The songs on El Sonido Nuevo are simple and direct. Previously Moore might have been inclined to layer sonics and complex arrangements; here the record is straightforward, the songs clean and without ornamentation. Moore returns to the boundaries of what he can do with six strings and his largely unsung, soulful voice.

Born in Berkeley, Calif., Moore grew up in Austin, Texas, and made his mark there in the early ’90s as a blues-guitar virtuoso. Early sideman duty for Texas roots legend Joe Ely led to a 1993 self-titled solo record on Capricorn that propelled Moore to those critical opening gigs for the Stones and Dylan, as well as a notable appearance in Billy Bob Thornton’s indie hit film Slingblade. Moore’s broad palette of influences and interests was further explored in the video for “Harlem,” directed by rapper and actor Ice Cube.

Critics have long loved Moore’s studio output: Dave Hickey in Art in America magazine called his Modernday Folklore “one of the best moments in contemporary art in 1996,” while Harp magazine observed, “Since the early ’90s the native Texan has refused corporate molding in favor of freedom and the artistic rewards are staggering.” Moore’s 2004 release Luminaria received numerous accolades, including from Billboard’s Chris Morris, who noted, “The burden of the contemporary singer/ songwriter is in formulating a sound that is completely unique. With Luminaria, Ian Moore accomplishes just that.” And of his most recent release, 2007’s To Be Loved, All Music Guide wrote, “Moore has created a brand of challenging yet highly melodic new-millennium pop-rock that establishes him as an audacious songwriter and player. He has struck that rare balance between astute complexity and utter pop appeal.”

Moore has been placed into the circle of guitarist-songwriters likes Mayfield, Hendrix, and Buckley, “where pop isn't a dirty word and where music comes straight from the soul.” He has made hundreds of television appearances, from regional TV shows to the Today show and the Late Show With David Letterman to a one-hour Direct TV special, while avid watchers of American Idol have seen contestants cover Moore’s songs “Blue Sky” and “Satisfied.” And the Austin Music Awards have repeatedly voted him Best Singer, Musician and Band.

The manner in which Moore has moved across styles and cultural boundaries has rallied critics but, sometimes, confused his longtime fans. On El Sonido Nuevo, the blues and rock guitar he’s best known for is back, bolstered by confident songwriting and the absorbed echoes of those influences and stylistic adventures.

With El Sonido Nuevo, Moore’s musical journey bands together all these disparate influences with a confidence, subtlety, depth and, some would argue, a return to form on the guitar.

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Tour dates:

Thurs., March 3  CORPUS CHRISTIE, TX House of Rock
Sat., March 5  AUSTIN, TX Continental Club
Sun., March 6  AUSTIN, TX Waterloo Records in-store
Sat., March 12  HOUSTON, TX Continental Club

Old 97's @ Boulder Theater | 1/27/11

Since the Old 97's roared out of Dallas more than fifteen years ago, they have blazed a trail through alt-country and power-pop, led by the piercingly observant lyrics of lead singer Rhett Miller. Each new Old 97's record is hotly anticipated, and rightfully so: "Blame It On Gravity," from 2008, contained some of the band's most deeply felt and passionately played songs. But in a career full of high-water marks, "The Grand Theatre Volume 1″ is perhaps the most ambitious and accomplished set of recordings yet.

The album, the band's eighth, began to come together last year, when Miller was on a solo tour of Europe with Steve Earle. "When I started in this band, I wrote on the road constantly," Miller says. "But I was 23 then, so everything was new to me. Over the years, those strange and wonderful things have begun to feel more commonplace. On the familiar highways, in familiar hotels, it's pretty easy to turn into a zombie. But on this tour, I was in England and Ireland and Scandinavia, places where I haven't spent very much time in, and because of that things seemed somehow fresh. I felt recharged."

The result was a set of songs rooted in specific locations. "The title track, which I wrote in Leeds, is like a series of postcards that try to capture the moment of falling in love; it begins in the Grand Theatre, which is a historic venue there, on the elevator. There's another song, "Every Night Is Friday Night (Without You)," that I wrote, or at least started to write, while I was walking around in Soho. And a song like "The Dance Class" wouldn't have happened if I wasn't in Birmingham, trapped in a hotel, looking out at streets that were bleak and gray except for a dance studio across the way. I imagined an agoraphobic who sees a beautiful girl in that studio and fantasizes about being freed by her." Miller's portraits of love and loneliness are paired with some of the sharpest music the band has ever produced, from the propulsive celebration of "Every Night Is Friday Night (Without You)" to the manic (and almost panicked) energy of "The Dance Class."

More Info / Buy Tickets

Callers Announce US Tour / Premiere "Life Of Love"

Ryan and Sara met Don at a show at Melvin's, a bar on St. Claude in the Marigny neighborhood of New Orleans. Ryan and Sara had just begun writing and recording songs together on an old 4-track with a mic hanging from the blade of a ceiling fan in the middle of that stifling sweaty summer, but they would soon part ways and leave New Orleans. Over the next couple of years they relocated to Providence together and later settled in Brooklyn where Don had also settled after Katrina.
Life of Love is the first collection of songs Callers wrote and recorded exclusively in New York as a three- piece. Naturally the band's sound grew in volume in response to the volume of the city; however, they held on to what makes them so consistently affecting: their raw spartan style, anchored by Sara's sensually tough vocals, and Ryan and Don's Southern-honed chops as multi-instrumentalists.
The album started with the band's cover of Wire's "Heartbeat", and the idea of creating something simple and cathartic. Using borrowed amps and mics, in bedrooms and in studios, and by the grace of their good friends, Callers recorded Life of Love in intense spurts over the course of a year. Unlike the experimental ballads on their debut Fortune, the new songs pulse with gritty urgency, colored by the sounds of damaged gear and the earnest spirit of a middle-school gospel choir. The result is an album stripped to the core, an expression of the inexpressible space between us and the places we inhabit and the people we share those places with.
Tour Dates
1/8 - Silent barn - Brooklyn, NY
1/27 - World Cafe Live - Philadelphia, PA
1/28 - Jammin Java - Vienna, VA
1/29 - Union Pool - Brooklyn, NY
3/13 - The Earl - Atlanta, GA
3/21 - Solar Culture - Tucson, AZ
3/22 - Caasbah - San Diego, CA
3/24 - The Echo - Los Angeles, CA
3/25 - Bottom of the Hill - San Francisco, CA
3/27 - Media Club - Vancouver, BC
3/29 - Mississippi Studios - Portland, OR
3/31 - Flying M Coffee - Nampa,  ID
4/1 - Kilby Court - Salt Lake City, UT
4/2 - Larimer Lounge - Denver, CO
4/3 - Slowdown Jr - Omaha, NE
4/4 - The Mill - Iowa City, IA
4/5 - Turf Club - St Paul, MN
4/6 - Lawrence University - Appleton, WI

Prussia Announce East Coast Tour Dates

Prussia's music is energetic, poppy- and melodious.  You feel like dancing, though there’s no way in hell you would describe this as dance music. Waltzes, African drum beats, acapella breakdowns, and the gentle ringing of sleigh bells all fit into their unique arrangements naturally.
The band formed on the first day of 2007, practicing in the A. C. Rich, a DIY venue in Pontiac, Michigan.  Prussia later became connected with the legendary Scrummage University, a DIY space in Detroit that is interconnected with other underground venues across the country.
Fiery Furnaces, Quasi, Dr. Dog, Black Heart Procession, Thunderbirds are now, Islands, Beach House, tUnE-YaRdS, and Dent May are among the many well-known bands that Prussia has played with. The band are currently finishing their highly-anticipated new full-length album, Poor English.  Swaggering drum loops, intricate guitar compositions, and buttery vocal harmonies all support the sweet nasal crooning of singer Ryan Spencer on the new album.  Stories of suicide, misogyny, sexual vacancy, and the crippling ennui of illusory love all weave in and out of catchy pop songs.  Lyrically, it’s T.S. Eliot’s drunken scribbling on a bathroom wall.
While mixing Poor English, the band also created Prussia Goes to the Disco, a mixtape of all new electronic Prussia songs.  The simultaneous creation of two aesthetically different, but highly listenable releases proves that this is an unpredictable band that is going to do exactly what they want to do and that this is definitely for the best.

Prussia will be releasing a new EP, Four For Attention, on January 11, 2011.

US Tour Dates:
Jan 8 : Old Miami : Detroit, MI
Jan 12 : 31st Pub : Pittsburgh, PA
Jan 13 : The Ox : Philadelphia, PA
Jan 14 : P.A.'s Lounge : Boston, MA
Jan 15 : University Show : Manchester, NH
Jan 16 : Cake Shop : New York, NY
Jan 18 : Velvet Lounge : Washington, DC
Jan 19 : The Tipsy : Greenville, NC
Jan 20 : TBA : Nashville, TN
Jan 21 : The 529 : Atlanta, GA
Jan 22 : Estoria : Atlanta, GA
Jan 23 : Farm 255 : Athens, GA
Jan 24 : Land of Tomorrow : Louisville, KY
Jan 25 :The Mockbee : Cincinatti, OH
Jan 26 : TBA : Chicago, IL

Greensky Bluegrass CD Release

The music that Greensky Bluegrass performs can best be described as a breath of fresh air, relaxing, invigorating and a welcomed change from the current climate.  The Kalamazoo, MI based quintet uses traditional bluegrass instruments – dobro, banjo, guitar, upright bass and mandolin – to create original songs that are unique, yet familiar and cover songs unconventional to their roots (The Beatles, Pink Floyd, Bob Dylan).

The Midwestern boys had an incredible 2010, touring nationally, performing alongside Mickey Hart and Bill Kreutzmann of the Grateful Dead and featured at the Rockygrass Festival in Lyons, CO, on the main stage at the Grey Fox Festival in upstate New York and in front of an audience of thousands at the All Good Festival in West Virginia. Additionally, the quintet delighted campers at the All Good Festival by performing a surprise midnight to sunrise ‘Guerilla Grass’ jam session that was captured by CNN and featured here.

Greensky Bluegrass has quickly become one of the most exciting touring acts on the road today, performing their trademark sound nationwide at over 160 spirited shows a year. This energy is captured perfectly on their live double-CD releases, All Access: Volume One and Volume Two. All Access is a series of recordings of select shows from the road, Volume One was released and subsequently sold-out in 2010 and Volume Two was released later in that same year.  Each installment offers nearly 30 songs, originals and covers.

Since winning the 2006 Telluride Bluegrass Festival Band Contest, Greensky has been touring constantly and all the hard work is certainly paying off. Recent highlights are too many to list, but include selling out venues in many parts of the country, sharing the stage with musical heroes, getting asked to play shows with the likes of Tony Rice and Peter Rowan, Sam Bush, Yonder Mountain String Band and Railroad Earth. Greensky Bluegrass is Anders Beck (dobro), Michael Arlen Bont (banjo), Dave Bruzza (guitar), Mike Devol (upright bass) and Paul Hoffman (mandolin).

Check out Greensky Bluegrass at Sullivan Hall in NYC on February 10th.

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Union Street Preservation Society:

USPS is a collective that is a link in the lineage of folk and blues musicians such as Robert Johnson, Duane Allman, Steve Earl, Bob Dylan and Bonnie Raitt. Our goal is to educate people through music and by talking about the history of the music. This generation is spiritual bankrupt (and increasingly financially so) and in need of something authentic. We seek to provide that communal experience. Join in on the project, sing along, learn some history and contribute any way you can. The society is always accepting new, honorary members who are willing to delve deeper into the music, both intellectually and spiritually and physically.

Ladysmith Black Mambazo Bring Vocal Serenity, Song & Humor on Tour

Ladysmith Black Mambazo kick off their North American tour on January 18 in Oakland, CA, blending their iconic, moving harmonies with high-energy toe-touches and audience sing-alongs.  The tour will make stops in over 40 major markets across the US and Canada (including Hawaii) in just two months.

From the stage, Mambazo's nine-man a cappella team will transport concert-goers to the open fields and idyllic world of their youth in South Africa's Zulu country, singing the traditional South African folk tunes from their forthcoming album 'Songs From A Zulu Farm' (out February 1 from Listen 2 Entertainment Group/ Razor & Tie Entertainment) as well as selections from their nearly 50 year career.

These songs speak to the universal joys of childhood. "Whether you are in Ladysmith, Virginia, or Ladysmith, South Africa," says Ladysmith Black Mambazo founder and frontman Joseph Shabalala, "children are hearing songs they will carry with them for the rest of their lives and share with their own children. We hope that these songs sung to South African children can be enjoyed by families in many other places in the world."

Listen to the entire CD here.  | Read some Grateful Web coverage of Ladysmith Black Mambazo.

Upcoming Ladysmith Black Mambazo tour dates:


Tue Jan 18 - Oakland, CA - Yoshi's

Wed Jan 19 - Oakland, CA - Yoshi's

Fri Jan 21 - Sacramento, CA - Crest Theater

Sat Jan 22 - San Luis Obispo, CA - Cal Poly State

Sun Jan 23 - Campbell, CA - Heritage Theater

Tue Jan 25 - Maui, HI - Maui Arts Center

Wed Jan 26 - Kamuela, HI - Kahilu Theater

Thu Jan 27 - Laie, HI - Brigham Young University

Fri Jan 28 - Honolulu, HI – TBA

Sun Jan 30 - Clarksdale, MS -The Pinnacle

Tue Feb 1 - Baton Rouge, LA - Manship Theater

Wed Feb 2 - Baton Rouge, LA - Manship Theater

Thu Feb 3 - Austin, TX - One World Theater

Fri Feb 4 - Houston, TX - Jones Hall

Sun Feb 6 - El Paso, TX - El Paso Civic Center

Fri Feb 11 - Aspen, CO - Wheeler Opera House

Sat Feb 12 -  Boulder, CO - University Of Boulder

Tue Feb 15 -  Salina, KS - Stiefel Theatre

Thu Feb 17 -  Minneapolis, MN - Minnesota Opera

Fri Feb 18 - Riverside, IA - University of Iowa

Sat Feb 19 - Chicago, IL - Old Town School of Music

Sun Feb 20 - Interlochen, MI - Interlochen Center for the Arts

Tue Feb  22 - Chatham, ON - Capitol Theatre

Wed Feb 23 - St. Catharine's, ON - Brock University

Thu Feb 24 - Kingston, ON - Grand Theatre

Fri Feb 25 - Toronto, ON - Roy Thompson Hall

Sat Feb 26 - Rochester, NY - Nazareth College

Sun Feb 27 - Hillside, NJ - Kean University

Tue Mar 1 - Annapolis, MD - Ram's Head

Thu Mar 3 - Tarrytown, NY - Music Hall

Fri Mar 4 - Portsmouth, NH - Music Hall

Sat Mar 5 - Orono, ME - University of Maine

Sun Mar 6 - New London, CT - Garde Arts Center

Tue Mar 8 - Annapolis, MD - Ram's Head

Thu Mar 10 - Washington, DC - George Washington University

Fri Mar 11 - Durham, NC - Carolina Theater

Sat Mar 12 - Atlanta, GA - Georgia State University

Fri Mar 18 - Philadelphia, PA - Zellerbach Theater

Sat Mar 19 - Brooklyn, NY - Brooklyn Center for the Performing Arts

Sun Mar 20 - Cambridge, MA - Sanders Auditorium

Citizen Cope at the Fox Theatre - January 1, 2011

"Something is great about this one." The phrase buzzed around in my head, mixing with the endorphins that cracked and snapped about their different relays, telling me that I liked this music. This music is good. The beer in your hand is good.* You are loving this, aren't you? Aren't you?

Singer/Song Writer, Citizen Cope recently headlined in Towson's Recher Theatre, a large dimly lit room washed in blood red drapes. Two bars, bouncers at the door who think they're funny, an entrance covered in music posters: enough ambiance to make you dream of owning rooms filled with nothing but silk pillows and feathery boas. Brilliance -- all of it.

His music is simple to the point of being stripped down, as if bearing it all was the only way to get our attention. The Spartan band behind him was made up of a drummer, a bassist, two keyboardists, and Cope on guitar. A mix of hip-hop, folk, and blues his songs are mostly beats - mix bass drum, high hat, snare, clap track and repeat - buffed smooth by a haggard, road-weary voice. Uncommon chords for texture and keyboards for lift.

One Rolling Stone critic called him "a modern day bluesman who paints a plaintive portrait of the human condition." Another, not-so-friendly critic from music and culture website, SoundtheSirens said: "I'm sure there's some soulful guy with a guitar who can write better songs sitting in some coffee shop somewhere who deserves the exposure more than he does." This may be warranted, I just happen to disagree.

Good artists can recreate the high people get from good music -- that electricity that makes the crowd sway. After all, that heightened sense, so amazingly replicable across cultures, is what makes music a universal human constant. But the excitement that surrounds great artists -- painters, musicians, writers, and doers alike -- is that you as if you are in the presence of someone who is saying what no else is able to or willing to say. I felt the unsettling electricity in Cope's performance -- the feeling that I could not do this, nor would I ever want to. Who could bear being the only one for long? There's something great about this one.

This line of thinking is flawed. I argue that Citizen Cope is great, but that just makes him great to me. To you he could be anything or nothing. But he got a reaction out of me, a departure from normalcy that left me buzzing afterwards, and it's hard to find words that aren't useless contemplation. Words that avoid shameless worship to someone who does not want to be worshipped. But I knew I was doomed to fail when I started this.

Tickets are on sale at Fox Theatre Box Office. Call (303) 443-3399 for tickets by phone.

Tickets are also available through our website @ www.foxtheatre.com.

$25 adv / $25 dos

Tickets On Sale – Friday December 17th!

Old 97's w/ Langhorne Slim @ Boulder Theater

Since the Old 97's roared out of Dallas more than fifteen years ago, they have blazed a trail through alt-country and power-pop, led by the piercingly observant lyrics of lead singer Rhett Miller. Each new Old 97's record is hotly anticipated, and rightfully so: "Blame It On Gravity," from 2008, contained some of the band's most deeply felt and passionately played songs. But in a career full of high-water marks, "The Grand Theatre Volume 1″ is perhaps the most ambitious and accomplished set of recordings yet.

The album, the band's eighth, began to come together last year, when Miller was on a solo tour of Europe with Steve Earle. "When I started in this band, I wrote on the road constantly," Miller says. "But I was 23 then, so everything was new to me. Over the years, those strange and wonderful things have begun to feel more commonplace. On the familiar highways, in familiar hotels, it's pretty easy to turn into a zombie. But on this tour, I was in England and Ireland and Scandinavia, places where I haven't spent very much time in, and because of that things seemed somehow fresh. I felt recharged."

The result was a set of songs rooted in specific locations. "The title track, which I wrote in Leeds, is like a series of postcards that try to capture the moment of falling in love; it begins in the Grand Theatre, which is a historic venue there, on the elevator. There's another song, "Every Night Is Friday Night (Without You)," that I wrote, or at least started to write, while I was walking around in Soho. And a song like "The Dance Class" wouldn't have happened if I wasn't in Birmingham, trapped in a hotel, looking out at streets that were bleak and gray except for a dance studio across the way. I imagined an agoraphobic who sees a beautiful girl in that studio and fantasizes about being freed by her." Miller's portraits of love and loneliness are paired with some of the sharpest music the band has ever produced, from the propulsive celebration of "Every Night Is Friday Night (Without You)" to the manic (and almost panicked) energy of "The Dance Class."

More Info / Buy Tickets

Eric Comstock & Randy Napoleon Release Bittersweet

The pianist & vocalist Eric Comstock, a star of the Off-Broadway hit OUR SINATRA known for his pop and jazz interpretations, and guitarist Randy Napoleon, currently of the Freddy Cole Quartet, have collaborated on a uniquely intimate voice/guitar CD, "Bitter/Sweet", on Harbinger Records.

Co-produced by Comstock and Katherine Miller, "Bitter/Sweet" features songs by Rodgers & Hart, Jobim (with a lyric by the late Susannah McCorkle), Lane and Lerner, Billy Strayhorn, Henry Mancini, Billy May, Paul Weston and others from the American, Brazilian and English songbooks, all arranged by Comstock and Napoleon. Standards such as "I Have Dreamed," "This Can't Be Love," "Gone With the Wind," "Wrap Your Troubles in Dreams," "A Nightingale Sang in Berkeley Square," and "If I Had You" are joined by such rarities as Roger Schore's lyric to Strayhorn's "Ballad for Very Tired and Very Sad Lotus-Eaters". The album also includes "Two for the Road," on which Comstock is joined by his wife, celebrated vocalist Barbara Fasano. Comstock’s other CDs include “No One Knows”, “Young Man of Manhattan” and “All Hart”, and he is profiled in Will Friedwald's new book "The Biographical Guide to the Great Jazz and Pop Singers" (Pantheon, 2010). Napoleon's arrangements are heard on Cole's Grammy-nominated salute to Billy Eckstine, "Freddy Cole Sings Mr. B."

Comstock and Napoleon first worked together at a concert for Lincoln Center's American Songbook in 2003, and felt it was time to record the duets they have performed in concert halls and festivals around the country in the years since. Napoleon says, "This is one of my favorite musical combinations. Whoever first carved a guitar out of a block of wood must have had a singer in mind -- guitar and voice are that natural together. Eric is also a first-rate pianist and accompanist, so I was particularly honored when he asked me to record with guitar and voice alone."

Comstock adds, "We live in a noisy world, and Randy and I are trying to show that whatever is worth saying musically can be said softly and slowly. This album is an antidote to stress, and Randy and I are extremely proud of it."

Comstock returns to the Algonquin Hotel's Oak Room with Barbara Fasano on January 4th in a new show entitled, "HELLUVA TOWN: A  New York Soundtrack", featuring an idiosyncratic  mix of songs from Broadway and Hollywood, the pop singer-songwriters, and the jazz songbook.  Performances of "HELLUVA TOWN", which continue through January 15th, 2011, are Tuesdays through Thursdays at 8:30pm and Fridays and Saturdays at 8:30 and 11pm.