CHET DELCAMPO    -The Fountain

Chet Delcampo produced most of the Cd(Parthenon Huxley,Mike Brenner,Woody Jackson,and Kid Congo Powers helped produce some tracks) 

Chet Delcampo played most of the instruments (help was provided by special guests; Joel R.L. Phelps, Kimbal Brown, 
David Lovring, Kiara Geller. Woody Jackson, and Mike Brenner) 

"His tunes are wistful.melancholy,and obsessively 
manicured to elicit just the right shade of dispossession...And while Delcampo pops out of his crushed-velvet reverie every once in a while to delve into some alt-country figures and Freedy Johnston-style oh-lonesome me's,it's the overall wash of pure blue tone that makes The Fountain a keeper." 
Joey Sweeney-Philadelphia Weekly 4/00 

"..lovely and moody debut." 
Sara Sherr-Philadelphia Daily News 4/00 

"...spend the right kind of time with The Fountain-a summer night solo drive,say-and the proper sound level,kindred spirits emerge and interesting connections tend to surface." 
Rick Cornell-Amplifier 8/00 

"Moody and reserved,The Fountain is an excellent album of understated pop." 
Ron Davies-Splendid E-zine 6/00 

"Delcampo favors the soft pop flavors of Burt Bacharach and Brian Wilson and much of The Fountain will hold up to the scrutiny of the most demanding pop devotee...Delcampo has assembled a melencholy 
delight that combines the most heartfelt elements of 'No-Depression' roots rock and east listening magic." 
Kevin Mathews-PowerofPop.com 6/00 

"Mostly though,The Fountain is an album to be savored over a few listenings,because it reaps forward sublime layers and melancholy colorings not readily apparent to a casual hearing...The rewards to be found within more than make up for the time spent." 
Paul Anderson-Consumable Online 7/00 

"Listeners would do well to turn up the volume,give 
Delcampo their full,undivided attention and find out for themselves just how captivating an album The Fountain is." 
Alex Henderson-AllMusicguide.com 6/00

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Chet Delcampo - Apartment Songs 

Over the years, a popular hallucination of the home recordist has developed: More often than not, when you hear of this artist or another going it alone within the confines of his very own limitless hard drive, the image is conjured of a hapless, tweaked Richard Dreyfuss standing in his living room, towering over a wild mountain range made of nothing more than mashed potatoes and insane desperation. 

Well, that's just the first instance where Chet DelCampo breaks the mold. And he just keeps going. In a world where heart-on-their-sleeve singer/songwriters are the norm, Delcampo balances it out with a wit to match; where more traditionally rootsy candidates earn their chips through sweat and grind, Delcampo comes off as knowing and debonair. Where others rock, Chet does one better: He holds you close. And his latest continues proving that he's basically the James Mason of indie-rock: cool, confident and not to be crossed. 

For the Philadelphia singer/songwriter's second proper full-length, DelCampo (born in another time, another place as the humble, sweet Chris Madl) has turned his fancies to indoor sports; the result, which suavely convinces the organic and the electronic to finally lie down together, is Apartment Songs. It's in line with the man's developing neo-Bacharach aessthetic begun (against all odds) in 1980s Los Angeles, continued in mid-90s Seattle and then London, and then, finally, settling in Philadelphia, where DelCampo's could emanate from the very same grey air as his beloved Gamble and Huff favorites. 

Coming live and direct from a perch atop historic Old City, Philadelphia, the record is every bit as sophisticated and sleek as Chet's last, the widely acclaimed The Fountain (Record Cellar). What's different, however, is that the man has taken personal and this time, made it epic: Apartment Songs has an cinematic sweep and panache that calls to mind such recent instant classics as Yo La Tengo's And Nothing Turned Itself Inside Out, East River Pipe's The Gasoline Age and Mark Eitzel's 60 Watt Silver Lining. "Anna Marie" sounds dirty and sleek at once. "Sunday At Noon" slices the whole thing in half in all its instrumental glory. "A Candle Is A Furnace" burns slow and sinister. 

All told, with 12 songs clocking in at just over a half-hour, Apartment Songs is the most perfectly manicured ode to grace under heartache that you'll hear this year - it's dignified and cool, but goddamn it wishes you didn't have to go baby. Listen to what you're missing. 

-Joey Sweeny 

                     * Quotes & Press... 


" ...I love the mood of the music on c.w.t.t.h. (Coffee with Tom T. Hall), sounds like good weather to have a cup. Wish you all the best with your music."... 
- Mr. Tom T. Hall 

"Hey maaaan, this album (The Fountain) of yours is pretty f#*#*namazing! It has caught me totally by surprise..." 
_F.M. Cornog (East River Pipe) 


---"Genuinely good pop is likable for the same reasons as are genuinely good people. It's smart. It's friendly without being desperate. It's endearing without kissing your ass. Perhaps the apartment in which Chet Delcampo recorded Apartment Songs is a microcosm of that larger musical space. Within it, he has created a gorgeous album of mature soft pop, instantly seductive yet long lasting. You'll listen to it all day, and then you'll come right back to it the next morning. 

Let's get it out of the way: Delcampo isn't the best singer. He pulls off a vitally important trick most of the time, hiding his voice inside itself and turning something essentially unappealing into something pretty. In this incarnation, it is unspectacular, but serves the music well. When Delcampo lets his "real" voice be heard, it feels a little intrusive (albeit, in the end, still winning). 

The instrumentals are what really make Apartment Songs a keeper. Delcampo has done a shockingly good job with the production, considering the apartment setting in which these lovely, textured pieces were recorded. They evoke rock one minute and country the next, hooking you with whichever sound is your inclination and using that initial connection to ease you through sounds that, though perhaps not your cup of tea, suddenly sound right. 

Delcampo draws you in with the sweet, twinkling "What A Star Should Be", then tightens his grip with the irresistible "Anna Marie". This tune starts out soft and hypnotic, with Delcampo gently chanting "Anna Marie / See me / I didn't want to tell ya" against a backdrop of gently treated drums, delicately plucked guitar and rich piano. He slowly works his way into a natural and comparably loud electric guitar solo, which in turn segues into more delicate guitars and a sweet, subtle horn melody that floats slightly above the rest of the mix. These elements coalesce, then return to the core sound established at the song's starting point, and before you know it you're in love. Then the song is over, and another has taken its place. So the album goes. 

The most important element of these twelve songs is their ability to keep you guessing. Maybe the key is Delcampo's immaculate timing -- he can be depended upon to cut the song off just after you've felt it deepest, but before the feeling truly ebbs. You're satisfied in all the most important ways, but inevitably find that you need to have more. 

The consistent quality of the songs, their cumulative, irreversible effect, the album's sterling DIY production, and the fact that this is by and large the work of one man, are all improbable. The fact that I hadn't previously heard of Delcampo's work? That's just annoying." 


- Mike Meginnis, Splendidezine 



In Philadelphia pop/rock circles, singer/songwriter Chet Delcampo has sometimes been compared to another Chet: the late cool jazz trumpeter/vocalist Chet Baker . It's definitely a valid comparison -- up to a point, anyway. Delcampo, like Baker , thrives on subtlety, softness, and understatement; Apartment Songs , Delcampo's second album, isn't the work of a screamer any more than the countless jazz recordings that Baker provided when he was alive. But it's important to stress that the Baker /Delcampo comparison has to do with Delcampo's effective use of economy and restraint rather than his choice of a genre. While Baker was very much a jazz improviser -- Miles Davis was his primary influence -- Delcampo's turf is alternative pop/rock; he can be jazzy, but he isn't jazz. Delcampo doesn't get into bop changes on Apartment Songs ; he doesn't scat-sing his way through anything by Sonny Rollins or Clifford Brown . Delcampo does, however, bring something delightfully intimate (not to mention soulful) to hushed, moody, gently reflective offerings like "Day in the Fall" and "A Candle Is a Furnace." According to the credits, all of the material on this 2003 release was "recorded in an apartment (in) Olde City, Philadelphia, PA" -- which explains why the CD is titled Apartment Songs . These days, a lot of great-sounding CDs are recorded in home studios, and Apartment Songs isn't lacking in the area of sound quality any more than it is lacking in craftsmanship -- Apartment Songs , in fact, sounds well-produced but not overproduced. Like Delcampo's previous release, The Fountain ,Apartment Songs has enjoyed more attention in the Philly/South Jersey/Delaware Valley area than it has nationally. But that doesn't make Delcampo's performances any less compelling, and one hopes that he will eventually enjoy the amount of national exposure that he deserves. 


- Alex Henderson, All Music Guide


I'm a composer/keyboardist from Beaver Falls, PA, which is about 40 miles north of Pittsburgh. Recently I received a B.M. in Music Technology/Electronic Composition and jazz piano from Duquesne University. During my time at Duquesne I studied jazz composition and arranging with Mike Tomaro and electronic composition with Lynn Purse and Dr. Patrick Burke. At Duquesne I was also fortunate enough to have three big band arrangements performed and recorded by the DU Jazz Ensemble, as well as other chamber works and electronic compositions. I've worked on arranging projects for Alanna Records and I'm currently working on string quartet arrangements of Christmas carols. As a keyboardist, I occasionally play piano for events in the Pittsburgh area, including weddings, receptions, concerts, and church services. I'm also a freelance session musician, and have recorded piano and keyboards for guitarists/producers Bill Purse and Tom Kikta in a wide variety of styles and instrumentations. I had the privilege of recording my original composition "David and Goliath" for Mr. Purse's album, In the Loop.

I'm also an alumnus of Kappa Kappa Psi, a national honorary band fraternity. In our chapter at Duquesne, I served as Vice President of Special Projects, which involved planning and executing all of the service projects. Our responsibilities included assisting the A/V Department with setting up and tearing down the stage for wind symphony and symphony band concerts, setting up chairs and music stands for rehearsals, preparing an ensemble to perform once per semester in local venues, and participation in river and park cleanups and Relay for Life.

"To be the salt of the earth; to be a town built on a hill; to be the light of the world; and to glorify the Father in heaven." (Matthew 5:14-16)

Drummer is known for being a "fresh breath of air" to his fans. Biz' music is rooted in the heart of hip hop and rock.Creating Biz the king of folk hip rock music. Which made him an international touring artist with his band, DirtyHarvard. BIZ'DHVRD continuously delivers their feel good, empowering, and energetic live performances to audiences everywhere.
BIZ' captivating, high-energy performances transport audiences into a universal experience as he blends lyrical creativity, musicianship, and improvisation. It’s an experience of “musical ear candy” in the words of a eloquent fan, as the DirtyHarvard band interacts with the audience. 

BIZ'  knows how to entertain! Audience members have described BIZ'DirtyHarvard as having “excellent musicianship combined with entertaining showmanship,” “upbeat music with catchy lyrics that make people of all races.

Dirtyharvard artist / Songwriter / producer

Riccardo Ferri was born in Florence in 1975. Classically trained on Piano and with studies in electronic he has found his place in electronic music.

After some experiences with a rock band in 1994 Riccardo began working with his mentor Stefano (Sandy) Dian in a studio in Vicenza, starting a new techno/trance label called Magnetik.
Gianni Agrey Experimental EP was Riccardo’s first released techno production.
In June 1995 his music attracted the attention of Mauro Picotto, who loved his work and immediately asked him to join him in Media Records, concentrating on a harder concept.

His arrival in 1996 convinced Media to release more underground tracks.
The first record, Mauro Picotto The Test (UND 001), a techno bass-line track, was created for the new label Underground.
The team was made by Riccardo, Mauro, and another musician Andrea Remondini. Guest producers, including the best techno/trance Italian DJs such as Mario Più, Gabry Fasano, Joy Kitikonti, Ricky Le Roy, Bismark, Saccoman, Tony H and some foreign djs like DJ Gee, Simon Foy and Marco Zaffarano, came in weekly to work on their projects…

Riccardo’s productions gained worldwide consensus with the release of Lizard in 1998 and the follow up releases such as Pulsar, Iguana, and Komodo.
He was in most cases more inclined towards the b-side mixes to give a more underground feel to the productions.
Riccardo was co-author of lot of BXR,Underground and Sacrifice releases between 1996 and 2001…

In 2002, Riccardo and Mauro left Media Records to focus more on their productions. They went on to create Bakerloo, incorporating Meganite and the label Alchemy.
After having released the Alchemist EP on Primate Recordings, their new imprint Alchemy brought further major releases…

In the following years, Riccardo became more and more interested in creating a live performance. He starts remixing his own tracks live using Mixer, sampler and some synthesizers.
The LIVE show, already a success in Italy, was exclusively launched in the UK @ Gatecrasher on the 25th of May 2002 at the Republic. Further appearances at Gatecrasher London (UK), Gatecrasher Summer Sound System (UK), Creamfields (Ireland and Ibiza), Timewarp (DE), Mysteryland Festival (Holland), Godskitchen (USA), Godskitchen Global Gathering (UK), Coloursfest (Ireland and Scotland) and Mayday Poland, gave his name recognition amongst clubbers and djs alike.
Other performances saw Riccardo bring his live set to Zurich, Bern, Los Angeles, Bogotá, Barrenquilla, Cali, Medellin, and Quito amongst others.

In the summer of 2004, Meganite landed a weekly residency in Privilege, Ibiza. The closing party live set marked the end of the live concept used until then, due to major wear to the machines through frequent travelling.
This gave Riccardo the idea for a new concept of live performance and he began programming a custom live machine made with Native Instruments Reaktor, used for the first time at Timewarp 2005.
The latest update of his Livemachine includes also a custom made controller using the Ipad tablet…

Production wise, Riccardo continues to be responsible for a large number of production and remixes released on Alchemy and many other respected labels such as Drumcode, Material, Suara, 100%Pure, Tronic, Octopus, Alleanza, Polar Noise, Hysterical, etc.. with both solo works and collaborations with other Alchemy artists such as Mauro Picotto, Gabry Fasano and Daniele Papini.

AJoin hip-hop veteran Memphis Bleek, A&R pro Rel Carter and gambling guru Tom Puzo as they sit down after a long work week to share real stories, chat with real people and talk real life over a bottle of D’ussé. This trio brings an energetic, contentious and straight-out hysterical dialogue amongst each other as they discuss music, sports and everything in between with special guests. So, catch D’ussé Friday, the podcast, every other week as Bleek, Rel and Puzo cheers to the weekend! Fridays have never been this lit!

"For the first time in the history of this country into a bluesy Brazilian record two albums followed in the land of the blues"
Ivan Marcio is responsible for an achievement: in two years recorded two albums in Chicago with the guys there. It is the First Brazilian bluesman to have this privilege.

Sure, it was not by chance. Productions of Chicago Sessions Vol 1 and Vol 2 cost perseverance, not lacking in Ivan Marcio and own money, issue any musician who intends to play blues in the country of samba.

At these times, having good contacts makes the difference. In the first study Ivan had a partnership with drummer Merle Perkins who was in Brazil in 2006, playing with Eddy Clearwater River Oysters on Jazz and Blues.

The friendship was consolidated and the project of producing a disc in gringa too. In Mecca the blues were almost thirty days playing in bars and most famous blues festival in the world, the Chicago Blues Festival.

The second time, a lot smarter, not only spent less, earned money as gigs at Wind City. The second record came in partnership with Jon McDonald, accompanying guitarist Magic Slim a few years ago. Break, got that Jon produced and sang on the CD sound.

The "Chicago Sessions" have different footprints. The first band with musicians malacos there - Michael Coleman and Michael Morrison - it's all classic with handpicked: Need My Baby (Big Walter Horton), Help Me (Sonny Boy Williamson), Blues With A Feeling (Little Walter) , Messin 'With The Kid (Junior Welles), and GABI's Shuffle, which he authored.

The two also comes packed with classic, but the choice was double, with Jon McDonald singing in bands Key To The Highway, For Women In My Life, Baby Come Back, Little Red Rooster and Walking By Myself. (Eugenio Martins Junior - Producer and Journalist)

At 13, Ivan Marcio began his career playing small bars ABC of São Paulo, and at age 18 had a short stint by Arts Foundation of São Caetano do Sul, where he studied harmony / theory, inserting the knowledge the harmonica. He graduated in Pedagogy and worked as Music Teacher at the São Bernardo do Campo in a Social Project forming more than 300 youth in five years.

For 20-year career has played in several festivals in Brazil and abroad, and has more than 10 albums recorded in the genre highlighting the albums recorded in the U.S.: Chicago Blues Sessions Volume 1 and 2 Brazilian Blues Bash, where also signs production.

"REALLY NICE SMOKIN 'BLUES HARP AND SINGER WITH A TIGHT CHICAGO BLUES BAND. ANYBODY THAT LIKES BLUES HARP WILL WANT TO HEAR HIM "
(Charlie Musselwhite, harmonica player and winner of the Grammy for best album of Blues and instrumentalist)

Maya Rae is a Singer-Songwriter hailing from Vancouver, British Columbia. Her sound is influenced by jazz, soul and folk music. She has been singing professionally since the age of 12 and has recorded and released two full length albums. Her second record "Can You See Me?" was released in 2020. Produced by veteran roots musician and multiple Juno Award winner Steve Dawson, it garnered rave reviews from CBC and went on to be nominated for two Canadian Folk Music Awards.  

Maya is currently attending the prestigious Berklee College of Music. In between studying and her solo career she has turned her attention to two musical collaborations. The first is "maya & ben", a feel good soul/pop duo with her cousin Benjamin Millman. The pair have independently released two singles and performed to an audience of 1500 as the opener for "Lawrence The Band". The second is a newly formed band "Tiny Habits". Composed of Maya and two other Berklee musicians, Cinya Khan and Judah Mayowa. The trio display their stunning harmonies covering popular songs and have found viral success right out of the gate. Their socials have grown to an extraordinary 70,000 on TikTok and 35,000 on Instagram in just a few short months. In 2022, the band will be performing their first, highly anticipated live shows and recording original music.

In the summer of 2021, Maya recorded her latest solo album at various studios in Vancouver. The album is set for release in Spring/Summer 2022 and will continue to showcase her true dynamic range as a gifted artist and performer. 

“Let It In” , the first single from the album, will be released on Friday, May 13th, 2022.

Sydney isn't lacking in aspiring troubadours but boy outside is something else, smoke-voiced and smart - and river runs to the sea is a quietly optimistic seducer of a song - Johanna Roberts, fbi Radio

"boy outside's blend of folk-pop-country goes down smooth and sweet like a late night Baileys. " Emma Swift – fbi Radio 

"It’s the kind of music that makes me want to lie on the grass, look at the stars and swig whiskey from a handsome man’s hip flask." Katie Dazzle - musicfeeds.com.au 

“… pop sensible troubadour and tortured blues balladeer with vocals akin to perhaps Ryan Adams or Bright Eyes.” Carina Nilma, the59thsound.com



She's Molly. He's Joe. They both work in Comedy, but there's nothing funny about this. Molly loves to sing. Joe loves to record 20 guitar tracks on top of each other. They both love Def Leppard. Hence we present, HYSTERICAL: The World's First Comedian Acoustic Def Leppard Tribute Band. We began this journey in 2017 to celebrate the 30th anniversary of "Hysteria," and we will continue until Molly gets tired of coming to Joe's house to record. Enjoy!

(all rights reside with the good folks of Bludgeon Riffola Limited. No infringement intended.)

Lunete Mykyta is following