Rebecca Turner, Fred Records, and Storybook Sound all call this SoundCloud home. Storybook is Scott Anthony's mastering and recording studio, located 20 minutes from New York City.

Jackson Browne is not only a pivotal figure in the artistic history of Elektra/Asylum – remaining with the label for a remarkable 30 years – but the very existence of Asylum Records was a direct result of his exceptional talent. When artist manager David Geffen was initially unsuccessful in securing a recording deal for the L.A.-based singer/songwriter, he turned to his mentor, Atlantic Records founder Ahmet Ertegun – who suggested that if he truly believed in Browne, he should start his own label as a joint venture with Atlantic. Founded in 1971, Asylum’s earliest releases included Browne’s self-titled debut (1972), followed by For Everyman (1973) and Late For The Sky (1974).
Meanwhile, at the urging of Elektra’s departing founder Jac Holzman, Warner Communications turned to Geffen to lead Elektra, and Browne – along with his friends the Eagles and Linda Ronstadt – became part of the newly merged Elektra/Asylum. It was a fitting turn of events, since Browne’s links with Elektra went back half a dozen years. In 1967, he had signed a publishing deal with Nina Music, a division of Elektra named after Holzman’s then-wife. Browne’s songs were recorded by such artists as Tom Rush and then-girlfriend Nico, and during a brief stint in New York he played in Tim Buckley’s backing band.

Although Browne’s first three albums had been critically acclaimed and commercially successful, he was still not selling as many records as Elektra thought he could. In 1976, it was The Pretender that finally brought Jackson to a wider, deeper audience, with the title track and “Here Come Those Tears Again” among the highlights. Jackson’s introspective examinations of life “caught between the longing for love and the struggle for the legal tender” resonated everywhere. His next release, the 7-times platinum Running on Empty (1977) became his best-selling album, and his role as an iconic artist of his generation was forever cemented. Browne remained with the label until 2002, having charted a rare three-decade career with the first label that had signed him.

Though only 34, Oberst has been a recording artist for more than two decades, starting with raw, acoustic guitar-based bedroom tracks he cut as a young teenager and initially released on cassette. After his early Omaha-based band Commander Venus broke up, Oberst recast himself as Bright Eyes, an umbrella name for Oberst, producer-keyboardist Mike Mogis and multi-instrumentalist/arranger Nathaniel Wolcott, and a shifting group of collaborators. By the time he released Lifted or The Story is in the Soil, Keep Your Ear to the Ground on Saddle Creek, the label he helped found with friends in Omaha, Oberst was a word-of-mouth success, with an avid young audience that helped to sell out his tours. The critics soon followed. Rolling Stone called him “a true American original: the ghost of Walt Whitman setting up shop in the wraith-white, rail-thin frame of an acoustic-strumming Nebraska Cure fan.” The 2005 simultaneous release of two markedly different Bright Eyes albums—the more singer-songwriter-oriented I’m Wide Awake, It’s Morning and the darker, computerized Digital Ash in a Digital Urn—displayed the breadth of his talent. Time Magazine listed I’m Wide Awake among its top 10 albums of the year. Since then, Bright Eyes has continued to evolve, its lineup morphing with each successive tour. While supporting his 2007 Cassadaga album, Oberst took over New York City’s Town Hall for a week of sold-out shows, with his large, string-augmented ensemble outfitted spectacularly in white suits. He’s also recorded and toured with Mogis, Jim James, and M. Ward as Monsters of Folk as well as with his own Mystic Valley Band. For the first leg of his summer 2014 tour, he’s bringing along Wilson’s other pals, the Southern Californian quartet Dawes as his support act and backing band.

“I feel lucky that I have been able to do this for as longs as I have,” declares Oberst. “I’ve seen so many talented friends come and go, for a lot of different reasons. Sometimes they stop making music because they can’t pay the bills or they lose the passion for it. At this point it is my life. I don’t know another way to live. There is something fundamental in myself; I have to be this way. It completes what I am.”

Hana Piranha is:
Hana Maria - Vocals/Violin
Jim Beck - Guitar
Daniel Tompkins - Bass
Andrew Lane - Drums

Musician, producer, House-Husband, Father, Home Educator. Dachson Dad. Tattooed Topiarist 


Latest EP 'Aardvark' Released on June 26th 2021 (Rutland Troubadour Records/ Clubhouse Records)





A little of what they say...



..About his acclaimed performance at this years Cambridge Folk Festival:



“King of the Club Tent..”  - 3 Chords And The Truth - 



“...another Club Tent highlight whose set was replete with fine songs and dry humour.” - Americana UK





"Remarkable songwriter...we should all work on helping make him the star he deserves to be."  - Mojo 



"A master of the stage, whether it's an intimate house concert or a full-on festival set - his shows are a delight, making him one of the most in-demand performers in the country" - Jeremy Searle, R2 magazine   



"...he makes great music and that's what matters" - Americana UK





A little of what's been happening....



McClure has released two critically acclaimed albums on UK independent label Clubhouse Records:



‘Smiling From The Floor Up' 2014

4 stars from Maverick and Rock &Reel magazines



‘Songs For Anyone’ 2016

"An album of exceptional quality" 9/10 Americana-UK



"an essential listen..” FATEA 









McClure’s solo career has led him to share the stage with stars of Americana such as Justin Townes Earle, Otis Gibbs, Danny And The Champs and Ian Felice as well as well-known names of the folk world like Bob Fox, Julie Felix, Caroline Hester and The Young Un’s – with enthusiastic support provided by Mark Radcliffe’s BBC Radio 2 folk show.



McClure’s perfectly formed, beautifully observational style takes inspiration from the greatest of sources, from Bob Dylan to Loudon Wainwright III, Ray Davies to Steve Earle 


Where to look:

                                 

Www.paulmccluremusic.com    Paulmccluremusic@gmail.com    

Www.facebook.com/paulmccluremusic 

 

 

Video:

Live recording of ‘Moments Lost’ (solo), and video for 'Baby That’s You’ (2017)

https://youtu.be/L_cRVnBpBqs         https://youtu.be/obhqjrYgyAI



Paul is also an official ambassador for the East Midlands medical charity: EMICS



I

All music available on Bandcamp: https://mandolinjack.bandcamp.com. Also on YouTube: https://www.youtube.com/c/MandolinJack.

Formerly of UK band 'Case Hardin', Pete Gow and Case Hardin are Clubhouse Records recording artist.

People’s Blues of Richmond brings a carnival-like mayhem to their dark, blues-infused psychedelia. The power trio’s new album "Quit or Die" is their third studio release and was recorded in Richmond, Va at The Ward Recording Studio with Ricky Olson. Within the past 24 months they have signed with Madison House Booking, toured full time, put out a full length album released June 10th, 2016 and recorded a 7-inch LP produced & engineered by the highly sought-after Mark Neill, the man behind The Black Key’s platinum-selling, Grammy-winning Brothers record.
“The reason we pursued Mark—we already had a pretty firm grasp on our frenetic live sound but making a song sound beautiful in the studio is a whole other animal,” says singer-guitarist Tim Beavers II. “Mark’s sound doesn’t come from a million digital studio tricks on his computer, but from a diligent set up, an intimate understanding of sound, and a belief in himself, his gear and in the bands he’s recording. Working with him, we learned how to push ourselves harder than ever before.”
With the anticipated new album on the way, word is starting to spread about the manic intensity of PBR’s live performances as they burn up the road, sharing bills with an impressive collection of artists from Tom Petty, ZZ Top, and The Allman Brothers to J Roddy Walston & the Business and festival favorites Modest Mouse & Gogol Bordello.
People’s Blues of Richmond co-founders and lifelong friends Beavers and Matt Volkes (bass, backing vox) began playing music together in college as a way to grieve the loss of a mutual friend. Those bleak, drug-fueled days pushed the two into an artistic bender of rock and blues that led to their 2011 debut LP, Hard-On Blues. They followed with the self-released Good Time Suicide in 2013, the album recorded on the exact same handmade ’68 Flickinger board used to record T. Rex’s Futuristic Dragon. Immediately following this album, People’s Blues of Richmond’s lineup finally solidified with the addition of friend and powerhouse drummer Neko Williams (son of Drummie Zeb of legendary reggae band The Wailers).
After years together, on the road and off, the three are more than just bandmates, they’re brothers. It’s a camaraderie that show in their music and beyond. “No matter what, we look out for each other,” Volkes says. “If I have a sandwich, Tim and Neko get a bite, too. We’re all in this together.”
“The whole concept behind People’s Blues of Richmond,” Beavers says, “is that we all struggle, we all experience pain. Life is full of highs and lows, and we all work hard to survive. So we do the only thing we know how—we get out on the road, and we keep moving forward. We become a part of something bigger than ourselves.”

“A maelstrom of songwriting.” – Guitar World
“Brings to mind two recent rock LPs in particular, both by the same artist: the Black Keys. The first is 2014’s Turn Blue; the psychedelic washes of “Outta My Mind” align quite closely with the ’60s psych mood of that album. Most of all, however, it brings to mind the megahit record Brothers, with its retro-minded production and songwriting.” – PopMatters
“Blues-meets-Modest-Mouse-inspired crunch.” – Relix 
"...the groups execution of their own sound, as well as the ease in which they seem to have defined it, is so fluid that their stylistic convolution feels new, if not entirely uncharted until now." -Baeble Music
"Quit or Die will be released on June 10th, and the title track comes across like a warning shot: Take this band seriously, or miss hearing what vital guitar rock sounds like in 2016." -Consequence of Sound

Pete Gow is following