RIGHT ARM RESOURCE UPDATE JESSE BARNETT [email protected] (508) 238-5654 www.rightarmresource.com www.facebook.com/rightarmresource 2/21/2018 Danielle Nicole “Cry No More” The title track single from her new album, in stores Friday New at WCBE, WEXT, KDNK, KSUT, KVNF, MSPR, KSMF Early at KTBG, WTMD, KJAC, KBAC, WFIV, WYCE, KDBB, WUTC “Danielle Nicole is Kansas City Royalty...A treasured part of who we are. Cry No More is a career highlight, and the title track her crowning achievement.” -Jon Hart/KTBG Extensive tour dates going on through May Brian Fallon “If Your Prayers Don’t Get To Heaven” The new single from Sleepwalkers, out now New this week: KJAC, WEHM, WCNR, WFIV Early adds at WFUV, WBJB “It’s just Fallon and his microphone, crooning and crowing over these rhythm and blues-focused rave-ups, holding court over an old-school rock revival to match his restless mood.” - The AV Club On tour this spring Available for download from Republic or my Dropbox James Bay “Wild Love” The follow-up to his enormously successful debut Chaos And The Calm Mediabase 37*, BDS Monitored New & Active! New: WAPS, KRVO, KRML, WVOD, KDEC Already on WMMM, KINK, WPYA, WCLZ, KXT, Music Choice, WWCT, KVNV, WCOO, KROK, KPND, KVNA, WFIV US tour: 3/25 Seattle, 3/27 San Francisco, 3/28 Los Angeles, 3/31 Chicago, 4/2 DC, 4/3 Brooklyn, 4/5 Boston, 4/6 Philadelphia Mia Dyson “Fool” The first single from If I Said Only So Far I Take It Back, out now Already on XM Loft, WSGE, WFIV, WTMD, WYCE Out on Single Lock, the album is co-produced by Ben Tanner (Alabama Shakes) and Mia’s drummer, Erin ‘Syd’ Sidney Just wrapped dates with Jen Cloher, coming to Austin for SXSW and then heading out on tour with Psychedelic Furs in March Amazon’s Love Me and Love Me Not playlists // Drew Holcomb & The Neighbors and more Go to PlayMPE now for a sampler of the 30 songs being added to Amazon’s Love Me and Love Me Not Playlists Features new recordings from Drew Holcomb & The Neighbors, Aaron Taos, Baths, Warbly Jets, Alexi Murdoch, Anais Mitchell & Kate Sta- bles, Jr Jr, Matt Wertz, Gabe Dixon and more Warbly Jets added at KJAC Drew added at: KVNA, WFIV, KUWR, KRML, KDBB and WYCE Caroline Rose “Soul No. 5” The first single from her upcoming New West album Loner, in stores Friday New at WXPN, KRCC, KDNK Already on WNCS, XM Loft, KJAC, WAPS, KRSH, KVNV, WDST, WFIV, WEXT, WCBE, KVNA, WYCE, KTAO, KDHX, KXCI, WMNF... Stereogum Arist To Watch: “LONER represents her at her best.” Playing at SXSW and then heading out on an extensive tour run Good Old War “That Feeling” (feat. Anthony Green) The first single from Part Of You, the second EP in their planned three-ep series, out now New: KVNA, KSMF, KDEC Already on WCBE, KMMS, WJCU, WTYD, KNBA, KROK, WYCE, WFIV, WXTG, KRVM, WHRV Features guest vocals from Anthony Green of Circa Survive On tour now through March on a co-headlining run with Justin Nozuka, with River Matthews opening all shows JD McPherson “On The Lips” The second single from Undivided Heart & Soul, following up the AAA hit “Lucky Penny” Mediabase 36*, BDS Monitored 33*, Indicator Debut 39*! New: KCSN, WYEP, WZLO, KRVM, WCNR Already on: WXRV, WRLT, KCMP, WNCS, WTMD, KTBG, Music Choice, WCLZ, WFPK, KPND, KRSH, KVNV, WNRN... April tour “McPherson seems to be pushing himself to the ranks of the greats, getting better and more interesting as he moves forward.”–No Depression River Matthews “Sunshine” The first single from Imogen, in stores now New this week at WNCW Already on WTMD, WAPS, WCBE, KVNA, KLRR, WFIV, WEXT, WOCM, WUIN, WJCU, WYCE, KUWR, KSLU On tour now with Good Old War: 2/21 Austin, 2/23 Phoenix, 2/24 Los Angeles, 2/25 Pomona, 2/26 San Francisco, 2/28 Portland, 3/2 Seattle, 3/3 Spokane, 3/5 Salt Lake City, 3/6 Denver, 3/8 Minneapolis... Tune-Yards “Heart Attack” The new single from I Can Feel You Creep Into My Private Life, out now New at KTAO, KRVM, KDNK Already on WFUV, KCMP, WRLT, WYMS, WFPK, WYEP, KVNV, WTMD, WAPS, KVNA, WCBE, WCNR, WYCE, KRML, WRSI, WNRN, WNCW, KNBA and more FMQB Public #40! “Instrumentally a blast... the band establishes a groove that would make even a corpse’s toe tap” - Paste Fruition “I’ll Never Sing Your Name” The first single from Watching It All Fall Apart, in stores now On tour! Already on WTMD, WFPK, KJAC, KVNV, WYEP, WFIV, KCLC, KYSL, KBAC, WEXT, KLRR, KRML, WCBE, WVOD, KKAL, KPIG, WJCU, KVNA... Opening for Jack Johnson in April! Great first week sales: Alternative New Artist #2, Heatseekers #7, Americana/Folk Albums #10, Alternative Albums #21... Belle and Sebastian “The Same Star” From How To Solve Our Human Problems (Part 2), available now Full album with all three EPs is on out now and on your desk New: KCMP, KMMS, WERU Already on KEXP, WFUV, KJAC, WYMS, WJCU, WCBE, KNBA, KDHX, WYCE, WBJB, WFIV, KDEC, Open Air, KUWR... “The EPs mark a significant moment in tbe band’s two-decade long career” - Billboard “A fresh set of jangly dance-pop tunes” - People Ben Miller Band “One More Time” The first single from their new album Choke Cherry Tree, on your desk and in stores now Grab the single from the cd or my Dropbox Already added at KTBG, KEXP, KVNA, WYCE, WNCW, KBAC, KDHX, WCBE, WFHB, KRCC, WFIV, KAXE, KVNF, MSPR... On tour now: 3/2 Salida CO, 3/3 Avon CO, 3/4 Denver... April tour with Buddy Guy: 4/11 Cincinnati, 4/17 & 18 NYC, 4/24 Greensburg PA... They Might Be Giants “I Left My Body” The first single from I Like Fun, out now with INCREDIBLE press! FMQB Tracks #46, Public 31*! Fantastic sales! New: WZEW, WUKY Already on WNCS, WTMD, KEXP, KPND, WAPS, KTBG, WYEP, WFPK, KJAC, WYMS, KVNV, WDST, KTAO, WBJB, KVNA, WCBE, WYCE, WCNR... “The song is a quick-firing, two-and-a-half-minute barrage of jaunty piano, funky bass and quirky lyrics.” - Rolling Stone On tour now, many shows sold out Bahamas “Way With Words” The first single from Earthtones, in stores now Mediabase 33*, BDS Monitored 29*, Indicator 10*, FMQB Tracks 14*, Public 16*! New: XM Loft, WRSI, Acoustic Cafe, KDHX... Already on: SiriusXM Spectrum, WXRV, KINK, WRNR, Music Choice, WRLT, WCLZ, WPYA, KCSN, KTHX, WFPK, WYEP, WTMD, KXT, WEHM, KRSH, WZEW... On tour now, many shows already sold out KCRW Morning Becomes Eclectic 2/22 Jack Johnson “Big Sur” The new single from All The Light Above It Too Mediabase 26*, BDS Monitored 22*, Indicator 11*! New: KSPN Already on KGSR, WRNR, WMMM, KINK, Music Choice, WRLT, KCSN, WCLZ, KTHX, WAPS, WTMD, KTBG, WPYA, KPND, WFPK, KVNV, KRSH, WCNR, KXT, KYSL, WEHM... Spring tour dates: 4/25 Austin, 4/26 Woodlands TX, 4/27 Irving TX, 5/1 Tuscaloosa, 5/2 Nashville More to come! Coming up for Naked Giants adds on March 5: “Everybody Thinks They Know (But No One Really Knows)” Rolling Stone gives four stars to the new Tune-Yards album ““It’s giving me a heart attack-ack-ack” blurts Merrill Garbus at the start the first Tune-Yards release in nearly four years. What’s “it”? Take your pick – global warming (the funky single “ABC 123” invokes Elizabeth Kolbert’s tour de force The Sixth Extinction), gender tyrannies (“I don’t wanna be a woman/If it means not being a hu- man” Garbus insists on “Now As Then”), the weight of racial history (she interrogates “the blood in my voice” on “Colonizer”). They’re just some of the triggers on an LP determined to conjure kinetic joy while staring down our present cultural fright show – and which is more potent for it. Garbus’ longtime collaborator, now official bandmate Nate Brenner abets mighty bass grooves on the dub march “Home” and the howling post-punk salvo “Free!” which rejects a word stripped by civic hypocrisy. Per usual, the core remains Garbus’ beat science, hypnotically looped and stuttered, driven by handclaps, drumstick clatter and her increasingly varied vocal displays, which are more processed than usual here – fitting for an age where “truth” itself comes digitally warped. “I don’t know the language,” she declares in a rare, barely altered purr on “Coast to Coast,” a resistance anthem for a divided country where, it seems, “all the words mean fear.”” - Rolling Stone, 1/18/18 NPR Music digs into Caroline Rose’s LONER for a First Listen “Self-consciousness sometimes leads artists to reevaluate their approaches to music-making. They’ll shift in directions they hope will cause their work to be taken more seriously and try to encourage the perception that they’re saying things of importance. It’s a familiar enough trajectory that Caroline Rose’s inversion of it has mischievous appeal. She first gained notice several years back as a folk singer-songwriter barely into her twenties, surveying her surroundings with troubadour-style keenness, indignation and wit. “I just wanted the words to be taken seri- ously,” she told an interviewer in 2014. “So I tried to make everything else as plain as possible, so that it would make the words stand out more.” In the years since, Rose underwent a process that she blithely described as “dismantling my ego.” “[J]ust see- ing that things don’t necessarily have to be as sacred as you once thought they were is liberating to me,” she recently explained to Rookie. And embracing a different set of aesthetic values — more casually irreverent and openly engaged with pop forms — yielded LONER, a very different sort Caroline Rose album. In press materials, Rose claims it was “as much inspired by Justin Timberlake and Britney Spears as it was late ‘70s punk.” First, Rose set out to become more recording-savvy herself, making room for playful experimentation by learning to manipulate software and synthesizers and to convert instrumental parts into warped electronic sounds. She co-produced these 11 tracks with Paul Butler, who’d previ- ously partnered with Michael Kiwanuka and St. Paul & the Broken Bones. Together, Rose and Butler laid milky guitar arpeggios over a staccato organ pattern (“More of the Same”), toyed with downtempo trip-hop grooves (“To Die Today”), interpolated the spidery, menacing synth lines of peak-era Timberlake (“Animal”) and peppered a dystopian surf-rock instrumental with nagging, distorted voices (“Smile!”). Rose has radically altered her relationship to writing lyrics, too, making it both more minimalistic and musical. At times, she uses her words as rhythmic accents and tonal devices. Surveying suburban social scripts from a cool remove during the dance track “Jeannie Becomes a Mom,” she deliberately devolves into baby talk: “Ooo little boy go coo coo coo coo coo / Ooo new clothes new shoo-oo-oo-oo-ooes.” During the fre- netic psychobilly number “Money,” she obsesses over capitalistic motivations with a punkish take on a repetitive playground rhyme. In “Cry!” she attaches cartoonish, bullying taunts about female weakness to an acidic power-pop melody. Even in her folkier days, Rose never confined her singing to a modest, conversational delivery, but she’s really flaunting her range now, swag- gering, clowning, confiding, chewing her words or enunciating theatrically. In “Getting To Me,” her tricky vocal phrasing darts around an antsy, plucked string pattern, evoking how anxiety-provoking it can be to feel both alienated from and acutely attuned to the tiniest interactions in a crowd of strangers. During the dance-rock song “Soul No. 5,” she adopts an animated, sing-song, rap-like flow to tease out the tension between reveling in sex appeal and being objectified. There are lots of legitimate ways to respond to this disorientating and destabilizing moment in American history, when identity politics are bringing about transformative reckonings while the privileged few forcefully defend entrenched systems of power. But Rose has a newly loosed imagination and a flair for exaggerating the absurdities we’re living with, and the way she’s put them to use is a timely gift.” - NPR Music, 2/15/18 The Phoenix New Times sits down for a chat with They Might Be Giants “Any creative relationship that lasts more than a decade is impressive. John Linnell and John Flans- burgh, the merry songwriting duo behind They Might Be Giants, have been working together since 1982. Linnell credits the band’s longevity to their late-bloomer status. “We started out when we were already adults. John and I were in our 20s,” he says. “By the time we got on a major label in the ’90s, we’re both pushing 30. It wasn’t a massive adjustment for us.” The two Johns have collaborated on 20 studio albums, and 2018’s I Like Fun is the duo’s latest record. Like most of their past albums, the two songwriters worked separately at first and then combined their efforts in the studio. “John and I are uptight to the point that we have to have a song written and finished before we bring it to the studio for real musicians and engineers to work on it,” Linnell says. Though Linnell and Flansburgh are set in their ways when it comes to recording, that doesn’t mean their sound has stagnated. Where recent al- bums like 2015’s stellar Glean is more polished and dense, I Like Fun features a sparse production style. “We’re always going back and forth between the discipline of stripping it down and the pleasure of piling it on,” Linnell says of the duo’s approach to recording. “We just love to overproduce and lard everything up, but we also love the sound of something stripped down to its essential elements.” The specter of death hangs over many of the songs on I Like Fun, although Flansburgh and Linnell find interesting ways to tackle the subject. For example, Linnell drew inspiration for the track “I Left My Body” from an old cinema trope. “There’s this movie with David Niven where he dies in a plane crash and goes to this enormous, bureaucratic, Kafka-esque heaven where people are going up and down escalators,” Linnell says. “I love this trope that you have to go to talk to somebody behind a desk and go through all this red tape for a second chance.” That fixation on the absurdity of existence (and that even in death you can’t escape paperwork) is a running thread through the band’s long body of work. And it’s a discography that’s branched off into many strange tangents: In addition to recording “normal” They Might Be Giants records, the band have also recorded a series of children’s albums, written jingles for Dunkin Donuts, composed songs for films and television shows, and written a slew of songs for their Dial-A-Song service (which they’re bringing back this year). Thanks to the diminished influence of record labels and radio, modern bands have had to turn to licensing songs for commercials and scoring music for other media to make up for lost album sale revenue. This is a hustle that They Might Be Giants pioneered long before it became a necessity for so many other groups. When asked how he thinks the band would have fared if they had started out in today’s musical world, Linnell is sanguine. What continues to motivate Linnell and Flansburgh in 2018 is the same impulse that drove them to work together in 1982: the work itself. “We started off wanting to to explore these musical ideas, and we were going to do it whether anybody else was listening or not,” Linnell says. “And I think if people had stopped paying attention, we would have kept on doing it, as crazy as that sounds.”” - Phoenix New Times, 2/21/18 RIGHT ARM RESOURCE WEEKLY UPDATE - 2/21/2018