RECENT ARTICLES

When guitarist and songwriter, Malina Moye, first moved to California from Minneapolis to pursue her passion for music and performance, she had just $20 in her pocket. She washed up in gas stations. She slept in her car between the front and back seats with clothes covering her so no one would notice her face. These were the early days before the Billboard chart-topping record, Bad as I Wanna Be, and recent viral single, “Enough.” For Moye, it was a good thing then that she wasn’t seen there in her car. But she’s come a long way since then. Now people can’t help but notice Moye. And she’s using that newfound attention to help others gain the notoriety and consideration they deserve, too.

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When, at eight-years-old, Alexander Glantz (aka Alexander 23) saw his father play guitar, he knew in his bones that he had to learn it, too. Watching his dad play and hearing the music emanate from the strings called to Glantz (“I had no choice,” he chuckles). Glantz signed up for lessons soon after but he hated those, so he began to play on his own. Glantz, then quickly realized an important personal truth. Music helped him with his strong emotions. More precisely, music helped him balance his nuanced, deep feelings while simultaneously creating a delivery system for them to other people. This dynamic is the core of Glantz’ creative superpower and the spark that’s resonated with his myriad fans around the world today.

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Matt Quinn, frontman for the Americana rock band Mt. Joy, calls it a “flash memory.” He was just 10 years old when he ran up to his mother carrying a toy guitar. Even at a young age, the instrument was one of his prized possessions. Quinn played a song he’d written on it for her. She complimented him. He grinned.

But Quinn remembers another time much more vividly. He can recall that same toy guitar snapped in half, neck broken on the sofa. Some with weaker constitutions might have let that be the end of their careers, but not Quinn. He persevered. And now Mt. Joy is one of the rising — and most adaptable — groups in rock.

“I don’t know who sat on it and snapped it in half,” Quinn says with a laugh. “I can picture it now. It’s probably why we write a lot of sad songs now.”

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Grammy-winning songwriter Bruce Hornsby grew up in a small southern town. In fact, he’s been there most of his whole life, and still calls the place – Williamsburg, VA – home. In the 70s and 80s, according to the artist, the region had a certain pervasive “narrow-minded” attitude. So, like any good songwriter, he wrote a song about it. That song was his first hit, “The Way It Is.”

Yet this was 1985, when its distinctive, piano-based sound didn’t seem to fit in the with popular music of the time, which included power-pop hits by Van Halen, Janet Jackson, Bon Jovi and Madonna. So the record companies didn’t get it at first, and it was rejected almost everywhere. Everywhere except RCA, that is, who signed Bruce Hornsby & The Range that year. “The Way It Is” was the first single and went to the top of the charts. It’s still the biggest hit he’s ever had.

Since then, though he had other hits such as “Mandolin Rain,” Hornsby has persisted in pushing boundaries – both sonic and social. That tendency continues today with the release of his latest LP, Non-Secure Connection.

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When John Prine comes to see you play a show in Nashville, you know you’re onto something. Even for someone who has been singing since they could talk – as Cincinnati-based Country songwriter, Arlo McKinley, has – seeing one of the greatest songwriters to ever pluck a six-string and pen a verse in the audience is a one-of-a-kind moment. McKinley, who later signed to the now-late Prine’s Oh Boy Records label, will release his debut 10-track LP, Die Midwestern, on August 14th with the spirit of hall of famer in his heart.

“It was the first and only time I’ve been just star struck,” says the 40-year-old McKinley, recalling the performance. “It was a surreal moment knowing that he’s there to watch you do what you do. It means the world to me.”

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For Scott Avett, co-founder of the wildly popular Americana band, The Avett Brothers, the unknown is not a scary thing. Looking into the metaphorical dark of the future does not worry him. Indeed, it’s the opposite. Avett finds the unknown beautiful, exciting. This realization, which he came to formally some time ago while playing music, was a life-changing one for the Grammy-nominated and celebrated artist. The lesson opened his eyes to the possibility of not simply technical expertise. Rather, it opened him up to his internal self more and that’s made all the difference for the musician, who, with his brother, Seth, will release the band’s latest album, The Gleam III, on Aug. 28.

“Plenty of times in my life,” Avett says, “I’ve been quite insecure about my musical abilities and my musical knowledge. But then somewhere along the way it dawned on me that, ‘Hey, this has nothing to do with that at all.’ So, since I don’t know what I’m doing, that’s all the more reason to do it and step into the unknown, which is what really makes art.”

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If you ask Memphis musician, Tikyra Jackson, when she first became aware of music, when it initially entered her universe as a young person, she’ll say that she thinks she was simply born into it. Jackson, who comes from a musical family, was also raised in church. So, she’s been immersed in song, essentially, since the very beginning. But while Jackson isn’t the only person to have grown up singing in church, she did learn an important, singular lesson there. It’s an idea that applies to just about everything she does, including playing in her Grammy-nominated group, Southern Avenue, or recording her own compositions – like her pointed debut single, “No More Fear,” which we’re happy to premiere here today.

“I definitely feel that being exposed to music and church at such a young age,” Jackson says, “made me adjusted to becoming more vulnerable on stage. And when you’re vulnerable, you can allow the music or that energy to overtake you.”

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Throughout her career, Iowa-based songwriter, Lissie (born Elisabeth Corrin Maurus), has benefited from her ability to shape and reshape herself depending on the situation, depending on what’s necessary. If the goal of any soul walking the world is to resemble water (as martial arts master, Bruce Lee, noted), then Lissie has certainly approached that ideal. But water isn’t the only element Lissie harbors inside, there’s at least one more stoking her creative furnace. And thankfully for Lissie, the light has never gone out, it remains hot to this day, as the acclaimed singer continues to release both new and revisited older material in celebration of the 10-year anniversary of her praised debut LP, Catching a Tiger.

“In whatever context, in whatever group, song or space,” Lissie says, “once I can tap into my fire, that’s where it feels true and coming from my gut and my heart.”

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When Bay Area songwriter and performer, Fantastic Negrito (born Xavier Amin Dphrepaulezz), writes new music, he thinks of his children. He thinks, “What would they think of me?” So, in his work, which has taken him around the world and earned millions of streams and as many moments of applause, Negrito aims to infuse knowledge. He wants his kids to hear his music at whatever age it finds them and think their father was fearless, that he said what needed to be said, popular or not. So far, however, Negrito is popular and that attention has come after some almost incompressible life experiences. Many of which he sings about on his forthcoming album, Have You Lost Your Mind Yet?, out August 14th.

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Ed Roland, front man and co-founder of the rock ‘n’ roll band, Collective Soul, simply loves writing songs. When his band’s first record, Hints Allegations and Things Left Unsaid, rocketed to No. 15 on the US Billboard 200 in 1993, the success didn’t mean Roland would soon be swimming in carnal pleasures. Rather, for the musician, it meant that he could afford to pay his rent and write more songs. Even today, amidst all that 2020 has thrown at the world – including the city of Atlanta, where Roland resides – the artist recently wrote and recorded a new record with his Collective Soul cohorts. He adores the process and that especially shows throughout the band’s first two records (Hints and its self-titled 1995 release), both of which will be reissued today on vinyl for the very first time.

“I grew up in a household of love, music, sports and discipline,” says Roland, with a charming southern accent. “And it was awesome!”

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Adam Thompson, front man for the Scottish rock band, We Were Promised Jetpacks, recently developed a new trick for dealing with the often-unsettling post-show doldrums. As a touring band, Thompson and crew traveled a lot pre pandemic, often for upwards of six-to-eight months at a time. And after each show, the front man would often stay in his head sweating the small details that might have gone wrong on stage. This, though, he found, only compounded any actual issue. So, Thompson decided to visit the merch stand after gigs and talk to the people that came to see the band. The result, he says, has been night and day for Thompson, whose group released their latest EP, Out Of Interest, in June.

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Musician Matthew Russell, member of the wildly popular electronic group, Cheat Codes, remembers being broke at 19-years-old. He’d recently moved to Los Angeles from St. Louis to pursue his dream of producing records. He’d also just dropped out of college. He’d enrolled to study music production but after learning it would be two years of general classes before he could touch Pro Tools, he quit. But walking the boulevards of L.A., he had an idea. He went into a bank, applied for a $10,000 loan, got it and bought his own equipment. He began learning from friends and YouTube tutorials. At the time, he was banking on hope. That bet would pay off as his soon-to-be trio would release songs that would earn millions of streams worldwide, including the band’s latest, “Heaven.”

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Nancy Wilson’s very first guitar was rented. The slashing six-string player, who rose to great fame along with her sister, Ann, in the rock ‘n’ roll band, Heart, had to struggle mightily with her first guitar. But it didn’t much matter. Nancy, who, upon laying eyes on The Beatles on television during their famed spot on the Ed Sullivan show, needed more than anything else to play a guitar. Whether it was old, beat up, out of shape, damn near impossible to play – that was ancillary. What mattered was the guitar. And today, in many ways, that’s still what matters for Nancy, who continues to write and record and, when not hampered by a pandemic, tour with her Hall of Fame band.

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