	
If ever an artist has earned the right to title an album This Is Country Music, it’s Brad Paisley. It’s not because he’s the Country Music Association’s reigning Entertainer of the Year or because his H2O Tour was 2010’s top country trek in attendance or because he’s sold more than 12 million albums and scored 18 #1 hits at country radio.

It’s not because he’s been performing professionally since he was 13 as a regular on Wheeling, West Virginia’s famed Jamboree USA, becoming the youngest person ever inducted into the Jamboree Hall of Fame. It’s not because he’s won 14 CMA Awards, including Male Vocalist of the Year three times or because of the record-setting five consecutive Academy of Country Music Male Vocalist honors that count among his 14 ACM wins.

Paisley’s ninth studio album is titled This Is Country Music because this is the singer/songwriter/guitar virtuoso’s heartfelt homage to the music he’s loved since childhood. It’s a multi-faceted tribute to all the elements that embody country music from the young artist who single-handedly made Grand Ole Opry legend Little Jimmy Dickens cool to a new generation of country fans and who collaborated with the late Buck Owens, providing him with his only CMA Award win. Paisley’s well-documented march toward stardom has been an inclusive journey that has taken many of his heroes with him along the way.

He continues to do that on This Is Country Music. The title track and lead single name checks some of the format’s legendary hits such as George Jones’ “He Stopped Loving Her Today,” Merle Haggard’s “Mama Tried” and Johnny Cash’s “I Walk the Line.” “The first song written for this album was ‘This Is Country Music,’” he says. “If you are going to call an album ‘This Is Country Music,’ the last thing I want to do is have somebody listen to it and have them say to themselves, ‘No, it’s not.’ So in many ways, this is the ‘countriest’ album I’ve done. The heart of it is totally country. I even threw a song out on this project that I loved, that could land on a future project, because it didn’t say ‘this is country music’ to me.

The album’s second hit single, “Old Alabama,” finds Paisley not only sampling Alabama’s classic hit “Mountain Music,” but reuniting Randy Owen, Jeff Cook and Teddy Gentry to perform on the track. “It’s really a combination of what they do and what I do, which is not hard because I’ve ripped them off so many times over the years,” Paisley says with a smile. “They’ve been a major inspiration to me. I saw them play live many, many times. I remember going to the Civic Arena in Wheeling when they played and their opening acts were Clint Black and Lorrie Morgan. They were one of the first arena acts in country music. They were the first to really bring semi-tractor trailers down the road and have a big production.”

Alabama is an obvious influence for a country musician who came of age in the ‘80s, but on This Is Country Music, the three-time GRAMMY® winner paints a more expansive, textured portrait of the genre he loves. “I’m trying to do something brand new utilizing the influences that made me who I am,” Paisley says. “Some of them are not necessarily right within country music, but they are more important to modern country than you might think. There are influences that come into play like Eric Clapton. When I try to play or harness anything that has some soul to it, I’m usually channeling him . . . Don Henley and the stuff that The Eagles did in the ‘70s, they are responsible for what you hear on country radio now.” Paisley wrote or co-wrote 12 of the album’s 15 tracks, recruiting an eclectic cadre of special guests, including Henley, Clint Eastwood, Sheryl Crow, Marty Stuart, Carl Jackson, Carrie Underwood and Blake Shelton. Henley lends his distinctive vocals to “Love Her Like She’s Leavin’.” “It’s a real romantic song, and it feels like something that either he would have written or his band, The Eagles, would have done,” says Paisley. “So I thought he would be the perfect voice on the song.”

Paisley first met Eastwood at the White House during a Kennedy Center Honors reception. The legendary actor and his wife, Dina, then enlisted Brad to perform for one of their charity events in California. “When I was working on this record, and we wrote this instrumental, I had Eastwood in mind,” Paisley says of the tune he co-wrote with Robert Arthur and Kendal Marcy. “We started writing what felt like a western, and I thought we could call this ‘Eastwood.’”

In addition to always including an instrumental on every album, Paisley is also known for recording a gospel song on every album since his 1999 Arista Nashville debut, Who Needs Pictures. This time around he revives the classic “Life’s Railway to Heaven,” the first song he ever sang in church when he was nine years old. “I had Marty Stuart, Sheryl Crow and Carl Jackson all singing harmonies on that,” says Paisley, for whom 2011 marked his 10th anniversary as a member of the Grand Ole Opry. “It turned out great. Wait until you hear their harmonies.”

On This Is Country Music, Paisley once again works with longtime producer Frank Rogers and co-writes with such frequent collaborators as Lee Thomas Miller, Ashley Gorley, Tim Owens, Kelley Lovelace and Chris DuBois. He and DuBois wrote the title track and penned more verses than would fit into a radio single, so Paisley opted to use some of the extra verses as intros for other songs throughout the record. The result is a wonderful narrative thread that gives the album an even more cohesive feel, like a great movie reeling with a vibrant cast of characters such as the girl who is “Working on a Tan,” an energetic ode to summer that finds Paisley channeling surf guitar legend Dick Dale.

“A Man Don’t Have to Die” is a sobering tale that many people will find easily relatable about living in difficult times. “One of Those Lives” is a poignant song about a childhood cancer. “New Favorite Memory” is a sexy number about falling in love with someone all over again during an unexpected moment.

This Is Country Music also includes duets with two of Paisley’s fellow country hitmakers, Carrie Underwood and Blake Shelton. “It’s a fun song about getting somebody off your mind,” Paisley says of “Don’t Drink the Water,” a duet with Shelton, who will be joining him this summer on his H2O II: Wetter & Wilder World Tour. He and Underwood join forces on the incredible ballad “Remind Me,” about a couple looking to rekindle the spark in a relationship. “It’s a song about the conversation a couple would have. It could be seven months into the relationship or it could be seven years, but everybody’s been there,” Paisley says. “I love the honesty about that song.”

Paisley and Underwood had previously teamed on “Oh Love,” a track from his 2007 album, 5th Gear, and the two friends have hosted the last three CMA Awards telecasts. “There is no limit to how high she can sing. She’s amazing,” Paisley says. “I asked, ‘Is there any note you can’t hit?’ And she said, ‘I don’t know,’ and I was playing it for her, and I said, ‘How about high G,’ and she went, ‘Yeah, I can hit that.’ There’s honestly nobody better, and her instincts were perfect, too. When she came in to sing, every take was perfect. She 100% nailed it every time.”

In recording This Is Country Music, Paisley’s goal was not only to sonically capture the varied tones and textures of country music, but to lyrically reflect the lives of the people who love it. “There are stories and observations in songs like ‘A Man Don’t Have to Die.’ I didn’t write that song, but I heard it and instantly said, ‘This is exactly where I want to go with this album,’ because it is absolute reality for some people,” he notes. “In the title track, when I sing ‘This is real. This is your life in a song,’ not every one of these songs will be you at this moment, but several, I guarantee, will be. If they aren’t right now, a lot of them have the potential to be a story that applies to your life. That’s our job in country music.”

“Understanding the order of time is important to anyone hoping to manifest a dream,” says Valerie June. “There is a time to push, and a time to gently tend the garden.”

Since the release of her 2013 breakout Pushin’ Against A Stone, June has been patiently at work in the garden of song, nurturing seedlings with love and care into the lush bloom that is her stunning new album, The Order Of Time. Some songs grew from seeds planted more than a decade ago, others blossomed overnight when she least expected them to, but every track bears the influence of time. See, time has been on June’s mind a lot lately. It’s the only constant in life, even though it’s constantly changing. It’s the healer of all wounds, the killer of all men. It’s at once infinite and finite, ever flowing with twists and turns and brutal, churning rapids that give way to serene stretches of placid tranquility. Fight against the current and it will knock you flat on your ass. Learn to read it, to speak its language, and it will carry you exactly where you’re meant to be.

Max Tyler, was born musically in Bay Saint Louis, MS and grew up listening to the great classics of country & western music he heard on the soundtracks of the films of this genre, of which his father was a big fan.
Johnny Paycheck, Johnny Cash, Merle Haggard, Waylon Jennings, Randy Travis, among others, are the major influences of Max Tyler.
However, even declared as a follower of the "old school", Max Tyler has managed to move over time the tradition to the present days, making music is at once genuine but very danceable. Proof of this was the award to which has granted the International Line Dance Association as a best country music artist in November 2014.
Max Tyler, perfectly combines, on his shows, the great classics of authentic country music with original and unreleased tracks.
When he moved to Europe, formed the band “BACK TO TEXAS” as lead vocalist, selling 35,000 copies in its first CD named "Line Dance with Back to Texas", performing in major channels of national TV (Click on VIDEOS) and radio stations.
Over 20 years on stage endorse the extraordinary live show of this artist, for which there are no small or big event, offering 100% authentic country music always!!!! Festivals like: Mirande, Prat Bonrepaux, Mr. Banjo, Salardú, among others, have seen the best music of Max Tyler and has collaborated with artists like WC Edgar (USA), Billy Keeble (USA), Patrick Glenn (USA), Dave Jorgenson (USA),  Steff Nevers (NOR) or Big John Mills (USA) among others ... and has shared stage with Wanda Jackson (USA), Billy Yates (USA), Rick Trevino (USA), Flying Burrito Brothers (USA) among others...
His first hit named “Trucker Man” has been produced by Steff Nevers (3 nominations to Grammy awards) and recorded and mixed in Nashville, TN.
Max Tyler, at the present day, lives in Barcelona (Catalonia) in the south of Europe, and it’s ready to hit the road performing EVERYWHERE!
"100% country music for all audiences...

OKeh short history: 

OKeh was founded by Otto K. E. Heinemann when he set up his own recording studio and gramophone record pressing plant in New York City in September 1918. Heinemann formed the name of the record label "OKeh", from his initials.  OKeh began by issuing popular songs, dance numbers, and vaudeville skits similar to the fare of other labels, but Heineman also wished to experiment with music for audiences neglected by the larger record companies. OKeh produced lines of recordings in German, Czech, Polish, Swedish, and Yiddish for the USA's immigrant communities. In 1920, Ralph Peer's recordings by African-American blues singer Mamie Smith were a surprise smash hit for Okeh. The company perceived the significant, little-tapped market for blues and jazz by African American artists. Louis Armstrong, Duke Ellington and Bix Beiderbecke are only a few names of jazz greats that have recorded for the label. By 1926 Columbia Records bought the label and kept it running into the 60's with jazz and R&B recordings. 

In 1994, Sony Music reactivated the OKeh label as a new-age Blues label. Okeh's first new signings included Keb' Mo, Popa Chubby, and Little Axe. By 2000, the Okeh label was again retired, but in 2013 it will see its re-launch as a jazz label once again.

Management:
American International Artists, Inc.
Cynthia B. Herbst, President
+1 (518) 686-0972
Cynthia@aiArtists.com

Much like songbird Edith Piaf, Madeleine Peyroux spent her teenage years busking the busy streets of Paris. Just like the ‘little sparrow’, Madeleine befriended the city’s street musicians and made its Latin quarter her first performing stage. Years later, Peyroux would cite iconic Piaf as an influence on her music and record a rendition of the classic La Vie En Rose, soulfully capturing the tune’s romanticism and melancholy.
 
Born in Athens, Georgia in 1974, Madeleine “grew up in a house filled with music” and from an early age “instinctively realised music’s soothing power” but it was her teenage years in the French capital that turned the childhood notion into an all-consuming vocation for life.

Young Madeleine moved to Paris with her mother in 1987 following her parents divorce. “To soothe me during the upheaval”, she recalls, “I was given a guitar and took to playing in the streets almost immediately.”

Thirty years after her formative busking days Peyroux is the proud curator of nine beguiling albums and an accomplished performer with sell out worldwide tours under her belt. Her atmospheric version of Serge Gainsborough’s La Javanaise was used in the soundtrack of Oscar Winner The Shape of Water and her countless accolades
include the coveted BBC International Artist Of The Year honour.
 
Madeleine’s thirst for creative exploration is unfading and her willingness to face creative challenges remains as solid now as it was three decades ago.

With endearing passion and great curiosity the unstoppable genre-defying virtuoso continues her search for the good and examines life with the treasured William Congreve belief that Music has charms to soothe the savage beast.
 
Madeleine might attribute her success to “mostly luck” but to the industry and loyal fans alike, it is the immense talent and utter dedication to her craft that shines through.
“Peyroux is a tremendous talent and almost a total intuitive” reflects Larry Klein, “she has the capacity to get the magic. When she sings and plays her guitar, great things happen.”

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