Global Musicians Fish Pond

Last Day Kiss consists of Ashley Sonlin (vocalist/songwriter) and Juan Carreno (guitarist/producer). Juan picked up his first guitar at age 11, and Ashley wrote her first song at age 7. Last Day Kiss was formed in January of 2011. Both studying at Berklee, Ashley and Juan bring us a superb and unique mix of talent, with their debut EP available here.

In a Fish Pond family first, we invite you to go undercover with Last Day Kiss; in a weekly feature called “Tunesday”, we’ll be following a diverse series of covers produced by the pair, with a new video released each week.

We encourage you to support their covers, their EP and their website; these guys are exemplary members of our Fish Pond family and always have a friendly word and a smile.

One world, one family, one musical heartbeat.

Week 3: The Third Day Kiss
This week we have something a little different for you guys!! 🙂 We did an acoustic mashup of two Zedd songs: Clarity (ft. Foxes) and Spectrum (ft. Matthew Koma). Please let us know what you think and share it with your friends if you like it!

Week 2: The Second Kiss I Reckon
Our newest cover of “Landslide” by Fleetwood Mac went up yesterday afternoon! Please watch and let us know what you think and share it if you like it!! Thank you so much! ~A&J

Week 1: The First Kiss
HAPPY TUNESDAY! Our once-a-week covers are starting up again 🙂 Here’s Brave by Sara Bareilles! 🙂 Please share if you like our version, we worked really hard on it!

I think there’s a bit of irony in the term “Independent Musicians” because I’ve never been so dependent in my life as I am as a musician.

Haikaa Yamamoto; Artist, Author, Musician, Life Coach

I depend on the kindness of fellow musicians and producers to record new songs, on graphic designers and webmasters to help me out with my digital platform, on friends who are bloggers and on friends in general to share my content, I depend directly on every single fan who purchases my music and the list goes on!!!

This state of “dependency” may have left me feeling rather vulnerable at times you know, but it also brought me out of my shell in a very positive way. When I decided to record my song “Work of Art” in as many languages as I could, I ended up doing versions in 20 languages with the help of more than 40 collaborators around the world. And that was just the beginning. As I expanded my digital presence, I got to meet lots of interesting and kind people who were nice to depend on!!!

One of them is David Mark Smith, an incredibly talented musician who created a network of 240 musicians from 33 different countries called Global Musicians Fishpond in just two years. I’m very happy to share his story here and I’m looking forward to seeing you swimming on this fishpond with us.

Independent Musicians; Never Walk Alone
by David Mark Smith

As a musician for the last 25 years, I realized a dream in January 2013 with the release of a lifetime’s writing; my band, My Lucky Fish, released our debut album “Best Thing”, and so came the end of the race, a goal met, another challenge completed. Little did I realize how much interaction and good people making an album entails, and that in fact it’s just the start of the process; now this thing needs to sell!

In 2010, my music partner Rachael Schoellen and I formed My Lucky Fish . In the name is an important story. At our first gig, a then 7-year-old girl, Vanessa, watched us for 2 hours, and presented me with “…my lucky fish, because I love you and your music and want you to be happy and lucky your whole life”. And so was born a brand, “My Lucky Fish”.

David Smith, Founder of the Fish Pond, Vanessa, and the Lucky Fish

We took 2 years end to end, Rachael and myself co-writing 9 decent songs to be able to independently produce an album. During the process, I had the help of some amazing people; Ricky Furr, an amazing soundman, studio engineer, and producer out of Winchester, VA; Tom Graham, playing bass, a student at Shenandoah University; Doug Sharpe, fabulous lead guitarist; and guest slots for Jeremiah Shaw on cello, of the Juilliard School, and John Terrell on lead guitar, himself an amazing producer who ended up mastering the album. It was during that two-year period that I realized that an independent musician is never truly independent, but through hard work is blessed by some good luck, and the good nature and skills of those around them.

My Lucky Fish’s Rachael Schoellen

What better place to find a home for My Lucky Fish than a Fish Pond? And so it came to pass that during that period, in April 2011, off the back of a brand born of a child’s heart (thank you Vanessa) I launched Global Musicians Fish Pond. I say “I”, but it’s never really about self in this business. Formed from 5 high school bands, and the belief and determination of some really great former high schoolers (thanks Joe Demski (Behind Tomorrow) and Mike Frazier (Random Holiday) of Sherando in Stephens City, VA), the goal was to establish a global family, to give any musician and music listener who loves independent music a resource to publish, collaborate, be reviewed, and to enjoy a very real community atmosphere. I have so many good people to thank for the fact that in August 2013, we have become 240 musicians in 33 countries around the world.

Pranam Bai Richter; the Fish Pond’s Head of Global Publicity

Joined by our Head of Global Publicity Pranam Bai Richter, in January 2013, we have reviewed billboard artists, and count among our number Gregg Wright (Michael Jackson’s former guitarist), Josh Doyle (formerly of the Dum Dums and winner of Guitar Center Singer Songwriter of the Year 2012), Queen Caveat (great alternative rock band featured on ABC’s Sunset Boulevard series in 2012), and Margo Rey (billboard top 20 artist in 2012 and top 30 artist in 2013). We have some of Berklee College of Music, Boston, MA, best musicians (see Deni Hlavinka, Chris West, and many more), and a rich vein of talent from Hollywood Musicians Institute in California (see Jonina Aradottir, Anna Yanova, and more). We have the amazing Haikaa in California, a true book-publishing, painting, recording artist and life coach. The list goes on. We are truly blessed, we are a growing family, and a force to be reckoned with.

Being in this business is hard. Calling yourself an independent musician is harder although the norm these days; however look around you and see how many people are right there with a similar story; one of hard work, positivity, and above all, passion for music and art. All I ask is that you come and check us out if you want to become part of our family. Musicians, and listeners are all welcome. We offer publicity, networking opportunities, chances for collaboration, reviews, and even a slot for partners for those ethical people who are known to be musician-friendly. It’s a family that we take very, very seriously indeed.

In closing; remember this…independent musician, okay, but never, ever walk alone. Visit us, join us support our cause. You’ll have a great time doing so, whether musician, music listener, or partner.

One world, one family, one musical heartbeat.

David Mark Smith
Founder and CEO
Global Musicians Fish Pond

You see, you are not alone. People like David strengthen my faith in music and in humanity.

Best of luck and see you next week!!!

Love,

Haikaa
In Diversity,
Normal is everything.
http://www.haikaa.com

Steph Casey; singer, songwriter, talented musician from Wellington, New Zealand, releases her debut album ‘Whisper & Holler’. With a style that feels familiar, and a voice that’s unique and soulful, there’s something new to discover throughout all 13 tracks of her album. She shares a life’s journey through her meaningful lyrics and creative musical intonations.

First off the album is ‘Nice To Almost Know You’, also her first single released from the album, easily one of my favorites.  You can follow the song here:

It begins with a single guitar and a round of the catchy chorus that completely makes the song, and sets the mood. Instantly memorable, Steph’s vocals are simple in range, but her accent that slightly shines through the lyrics make her voice unique and something signature.

“It was nice to almost know you
There are places I’d like to have shown you
And songs I could have played for you
Nice to almost know you”

The drums are added in, laying down the perfect musical foundation for a song I could listen to over and over again. The melody doesn’t stray far from beginning to end; trading off and on, chorus, verse, chorus, verse, chorus. No bridge, no need, the song is a delicate piece meant to portray a feeling, a memory of someone loved but lost, and all the things special you wish you could have shared but never had the chance to, because now they’re gone; your love for them still remains. This is easily a song I can hear on the radio as one of those  you hear once and it’s stuck in your head before you even know all the lyrics.

Track four takes us down a quiet and heartfelt path into the soul of Steph Casey in; ‘Probably’. Beginning with a simple guitar that’s finger-picked, her vocals drift in adding a second layer, followed by a third layer with a second harmony vocal, the musical and vocal layers just building and building so delicately and intentionally, yet never losing the essence of what the lyrical message is. Sung with pure emotion, every note both instrumentally and vocally has a dominant presence. Not once over-played, there’s a breath throughout the song which demands the audience to take a moment of silence and just…listen.

“Could a shadow block the sun?
Could the tides turn?
Will this be another lesson I must learn?
Will there be a time when it’s alright?
For now, please just stand by my side”

The biggest build in the song is in the chorus, with just enough depth to really move you with her lyrics, she adds an overlay of spoken word, giving me the feeling that this song is really a conversation that she only had the courage to have if it was sung. Fading into a beautiful outro, like the downward spiraling of a staircase, the song slowly unwinds into nothingness; like a final exhale..a last breath.

The story that’s being told wouldn’t be complete without album-titled number; ‘Whisper and Holler’. Track 10 among the 13, the harmonies are what really stand out for me in this song. Continuing with something similar to previous intros, she opens with her acoustic guitar, followed by a short harmonic solo, giving this song a more folk-like feel. Her vocal counterpart adds a rich lower tone, while Steph leads with some higher runs, reaching a peak on her vocals. I love how even in her higher range, her voice still contains a breathy abandonment, allowing for a feeling of effortlessness to seep through her music in a beautiful way. The two share the song well, perhaps the most raw and stripped-down song on the album; you won’t hear more than layered guitars, harmony vocals, and lovely touches of harmonica and shakers. It leaves plenty of space for a beautiful acoustic guitar solo 3/4 of the way through the song.

“You got me
You got me
You got me
Searching for a sign between every line
You want me
You want me
You want me”

Saving one of the best for last? Could be, with track 11; ‘Kapiti’. Full of the summer season, free-spirited, pina colada flavor; I’m reminded of a favorite Dido song of mine; ‘Sand In My Shoes’. Instantly in love with this alter side of Steph, she still keeps the beautiful simplicity of what I’ve come to know as her wheel house; with a musical arrangement of dominant shakers and guitar.

“I dig my toes into the sand
And gaze out into Kapiti land
It’s great to be out of the city”

What some musicians will do, in an attempt to “fill the space”, is add in multiple vocal and instrumental effects, more often than not overwhelming the song with too much of “that” (whatever “that” is), and distracting from the classic sound of pure instruments, beautiful vocals and meaningful lyrics. But the thing I’ve come to appreciate most about Steph’s music is that she does none of that. The most “effect” you’ll hear in this song is some whistling. She delivers real unique heart-touching songs in all 13 tracks and never fakes it, or plays it up to be something it’s not; it leaves her very vulnerable. I think it’s paid off.

For someone who has placed as a semi-finalist in the UK Songwriting Contest in which more than 7,000 entries are submitted every year, the humbleness that Steph demonstrates is a lesson to us all. Being a musician myself, I can see and hear the difference in a song when the lyrics are from the heart, pulled from a place of deeper meaning, rather than when something’s being said just because it fits into your rhyming pattern. The release of ‘Whisper & Holler’ is yet another accomplishment she should be very proud of, and one I’m honored to have had the privilege of reviewing.

By Pranam Bai Richter
Head of Global Publicity, the Fish Pond
Singer/Songwriter, The Richter Sisters

You can read more about Steph at her Fish Pond profile here.

Maria Bohm is the very essence of distinctive – she has flavors of Tori Amos and classic Kate Bush, but honestly, I’ve never heard anything like her, or seen performance art of the type she produces.  Born July 1984, after ten years of classic piano schooling and three years of musical university preparation school at Fässberg in Mölndal, she found herself wanting to break free from all the strict rules of music and how it “should be”. ‘Animalic’ is her second album, and delivers an emotional listen for fans of the truly unconventional.

Four songs; I won’t even pretend to be able to read the full meaning into these dark emotional creations. The lyrics are intriguing, at times highly disturbing, musically art from chaos, using multiple timings in each song, with a surprising mix of instruments, but above it all that treetop soaring vocal of Maria’s. ‘Animalic’ is a dark episode aired powerfully and no mistake. It’s very hard to do it justice in a review like this one, of the whole album, so if you like it, I suggest strongly that you take a listen and judge for yourself. There are intricacies beyond the imagination to delve into at every turn.

Ponies is straight in with the vocal, it’s frivolous, yet hides a snarling message in it’s dark equine heart:

“Wha-wha-wha-wha-wha
what’s up with all the little ponies,
It seems they’ve found the breadcrumbs
You have hidden in the shed,
and I cannot make friends,
Cannot make nice with all your ponies,
Cause they all seem to know you,
And you know them so well”

It’s a “nice” catching tune, with the piano, Maria’s main instrument, playing a strong role. There are soft undertones of a minor key which moves into a funky chorus, guitars and spitting venomous lyrics, making the song a mix of fancy-free and pissed off. Unlike Kate Bush’s musings, Maria gives this feeling of been truly flipping angry – and she’s not going to take it anymore.

“Ants” is the quietest number of the four, the combination of minor chords and Maria’s distinct  voice carrying a lovely intro, if still on a slightly horrifying theme.

“Well it’s seven a.m. and I still can’t sleep,
but I’m trying to straighten out,
And I’m sorry my friend, but stop squeezing my hand,
It’s hard enough coming down,
I’m coming down”

The refrain is somehow such a welcome chord progression, but is sure, with its twisting harmonies, to make you mentally itch:

“Those ants, all over my body
Those ants, are fooling nobody”

I listen with a slight frown, especially as the fairground-ish theme kicks in, but still I find myself nodding along to the beat. I’ve never felt like ants were crawling all over me, but I’m getting my head into this song, and it makes it an ambiguous experience; listening to a nicely put together piece of music, while imagining the horror of…what could this be…cold turkey perhaps. I don’t know, but I kind of like it.

“Wasps” – the only thing that could possibly follow “Ants”, is as prickly and full of sting as it promises. Drum led, something of a march beat, with a harpsichord driving the accompaniment along. By far my favorite lyric, because it evokes the biggest reaction, is this one:

“and the wasps, they don’t make a sound,
They just f*cking go on and buzz around,
Pretending that no-one’s crashing down,
No-one’s crashing down,
F*cking crashing down,
Well I’m crashing down”

It’s not so much the shocking expletives, but the fact that it’s so very much in the theme of the album, and is repeated often, as it’s the chorus. So matter of fact, it’s terrifying in that the feeling is so final, yet so light and breezy in the telling. It’s a perfect fit for ‘Animalic’. In the meantime, the semi-tone shifts, odd vocal effects, and arpeggiated harpsichord throughout makes this a curious and interesting work, pleasant on the ear, and explosive in the chorus.

Now to my favorite of the bunch – “Little Dragon”, which you can listen to here as you read:

I’ll be honest about this song. From it’s release, I loved the music, but actually pushed the post from the Fish Pond FaceBook page; I felt the content was disturbing enough that it might really upset some of our younger readers. However having listened over and over, I have a fondness for the song, although the theme still makes me cry.

“Goodbye, little dragon,
I always keep my eyes up high,
Just secretly wishing you would land again,
Little dragon,
No matter where you fly you know you’re mine,
My love for you will stand the test of time”

A lost child, fond memories of precious days and a life never to be found again, this song is musically the closest to classic Tori Amos. It’s more mainstream, it’s beautifully written and performed for the recording. I love the harmonies and the drifting instrumental behind the summer morning rain-shower of a melody.

“It burns to be the one to stay behind”

All in all, in many ways this song explains a lot; it’s so desperately sorrowful, it gives me much more insight into “Wasps” and “Ants”. Asking Maria about this track, she simply tells me; “we’ve all lost someone at some time or another”. It’s a nice spin on this work; that it has applicability to many, if you’ll just listen to it in the right way.

Listening to this album, and seeing Maria’s previous work as I have, these songs are such a mysterious combination. I realize in the above I have mixed adjectives outrageously – “horrifying”, “terrifying”, “desperately sorrowful”, “light and breezy”, “curious”, “interesting”. Perhaps this explains; I watched the “blooper reel” for the making of “Little Dragon” and realized how much of a sense of humor Maria truly has.  She’s an enigma, in many senses so dark and troubled, yet capping it all with a smile and a laugh. I enjoyed the listen very much, troubled as I was by the themes and lyrics at times. I’m left feeling that Maria has put out a clever work of art here, and I’ve just lamely misunderstood the intent behind all of it.

Fittingly, this review will probably make her laugh out loud.  And in doing so she will likely sound like Kate Bush at her best 😉

David Mark Smith,
CEO and Founder, the Fish Pond
www.globalmusiciansfishpond.com

You can read more about Maria on her Fish Pond profile here.

You can support Maria and purchase ‘Animalic’ here.

With his latest single, ‘Trap Of Time’, a single released off his new album titled ‘The Sounds Of Sleep’, available for download here, Matthew Politoski delivers nothing short of the amazing and unique talent we’ve come to expect from this musician. Acting as a solo project under the name ‘Animal Flag’, Matt not only has been writing his own music for the past 6 years, but he produces his own music as well.

Successfully blending a variety of styles through his music such as Indie Rock, Electronic, Folk, and at times classical elements, his music is never one note sheet music.

You can watch and listen to “Trap of Time” here.

Beginning with a sensual yet eerie feel in this single, I’m instantly transported to another world, a world filled with spells and magical creatures, long since forgotten days of moonlit strolls through dark and mysterious forests. The artwork for the song’s cover only adds certainty to my speculation that this has a “fairy tale” vibe. I’m heavily reminded of the band ‘Evanescence’ in the way that the song seems to be creating itself around you; spinning with intrigue in the way it’s rhythm bleeds almost transparent sounds into the listening ears, creating depth to the song. Matt blends so well the electronic base of this song with his smoky and unique voice, while the song’s many layers offer a place to safely escape to.

“So harmless at first
You were golden from birth
A new breath off the lips of God sent to earth
To a mother and father, so grateful, so thankful
Too speechless for words
Oh how long they waited to gaze in the eyes of their beautiful girl
You were finally there”

Matt keeps his vocals in mid range throughout, but creatively hinting that you’re only barely tasting the heights of his vocal range; keeping the listener wondering just how much more could be in store. Harmony vocals from Kelsey Byrne add yet another element to the song, soaring it to new peaks, yet it never leaves the steady theme and escape the song takes you at the start. There are so many thoughtful touches immersed throughout; moments of pause, effects of static, and natural piano leads that fill the song, and make it more “real” and not sounding only digitally created.

The chorus, though it keeps a similar melody, is easily recognizable as the music builds nicely in the background and Matt sings his hook….

“Every memory is just a picture of something we’ve lost
In the trap of time
The paradigm
In the shifts that take us by surprise”

There are enough repeats of the chorus, you may just find yourself singing along by the final round or two. Drifting out of the song in beautiful harmony with Kelsey in a lyrical outro, yet never easing off the steady pulse that is the beating heart of this piece in song, it ends in the same manner of artsy talent it began with.

If ‘The Sounds Of Sleep’ keeps up with half the intensity and creative talent that’s in obvious and popular demand like ‘Trap Of Time’ does, there is no doubt in my mind Matt’s latest work will be a success, and an album that I’m sure he’s rightfully proud of.

By Pranam Bai Richter
Singer/Songwriter, The Richter Sisters
Head of Global Publicity, the Fish Pond

Ola Weel Skram is a superb vocal talent from Sogndal in Norway. I heard Ola originally in a YouTube clip, performing “Raining in Baltimore” by Counting Crows at a high school stadium with friend and fellow Fish Pond member, Ole Martin Volle. I was immediately taken with his range and pitch-perfection; a short Facebook conversation later, and Ola joined us with material from his early-years band, House of Clowns, and brought kind of an electronica rock sound to the our family. Since that time, and his stint in the top 10 of Norwegian Idol, he comes back to us with a collaboration with Leon Frick, and new project UAO; appropriately after the Idol experience, and what was a huge surprise to his many fans when he left, he’s “Moving On”.

Ola has always struck me as a very hard worker; his pitch-perfection is testament to the fact that he takes his craft very seriously. In this newest track, he explores the electronica side of his writing and vocal, but the voice is distinctly “Ola” all the way. Listen with me here.

Quietly introducing itself as a summer hit of a Euro-beat song, its already catchy before our Ola’s voice comes in. It’s establishing a melody for the song even before we get to the theme:

“Lately I’ve been holding on to you,
I think it’s time I realized the truth;
Because after all these years, I don’t know who I am,
I’ve got to start to breathe, to live my life again.”

It’s a realization, a plea, yet a coming of age lyric wrapped up in a classic dance number. I can’t help but feel like I’m at the beach in Ibiza with thousands of other people getting into the summer groove. It’s what I’d call very “light” electronica, and uses some lovely keyboard effects, bringing the beat out and complementing it, with feathery organic effects, nice touches of “wah”, and a little piano letting us – in some lighter moments – forget the percussion, and expectantly listen for  the vocal again. It doesn’t disappoint.

“I keep on dreaming, we’ll be together again,
I have to wake up, got to stop, to pretend,
It’s about time that I’ll be moving on,
I’ll leave you behind, because I am strong.”

This last word is beautifully held, and demonstrates all of the talent that got Ola to where he is today. In this last verse you can hear that range, that huskiness, that makes him so unique. Watch any of his YouTube efforts through the years (and he’s only 22 by the way) and you’ll see what I mean; attention to detail, and not a note out of place, even live. He carried that principle through beautifully in the semi-finals of Idol, which you can witness here.

The song is carried out by the melody and the beat, the vocal not over-powering the song and left behind in this last strong minute or so of outtro; it’s what a good dance number should be. The vocal is very well executed, but it doesn’t leave you following a complex story; it’s an equal component of the overall work, and allows you to lose yourself in the rhythm. And it really “works”; so it is that the beat and keyboard, and that familiar melody takes us through softly to the end of the song. I can see this perfectly fitting any Southern Riviera party scene, smoothly slotting into a DJ’s set. And that’s what I fully expect it to do.

It’ll have you dancing, even in your seat (as I did writing this). It’s a worthy return for Ola Weel Skram, who since the early days of House of Clowns and his partnership with Ole Martin Volle has thrived on partnerships and putting out immaculate vocal pieces. We wish UAO, Ola and Leon, all the very best with this effort, and all of their future work as Fish Pond family.

David Mark Smith,
Founder and CEO, the Fish Pond
www.globalmusiciansfishpond.com

You can find out more about Ola Weel Skram on his profile here.

You can also read about his Idol experience through an interview here.

It was an absolute pleasure to re-discover Josh Doyle in 2012, the lead singer, guitarist, and songwriter for one of my favorite bands in the UK in the 2000’s, the Dum Dums.  They were all over the UK Charts with classic early “light” pop punk like ‘Everything I Do’, and the fabulous and memorable ballad, ‘Army of Two’. It was an acoustic version of this last song on his YouTube account that led me to Josh as he began his 2012 successful campaign to become Guitar Center’s Singer Songwriter of the Year. Still writing distinct and captivating guitar and vocal epics, the first new work I heard from him in years was ‘I Figured the World Out’, which we reviewed here, and then strong new late 2012 single ‘Solarstorms’; Josh goes from strength to strength, and it’s a pleasure to pick up his latest work, ‘My Jerusalem’ for review.

Josh has a very distinct all-round performance and writing style; I like the fact that most of his video work is live, generally just himself and a guitar. Clearly where he is at his very best; open, singing, playing, and being utterly vulnerable and emotional in his delivery, in Josh you can see and hear a real passion to get his message out there. In conversation, coming across as humbly witty, a little clumsy and shy in front of an audience, the man transforms when he gets behind that guitar and mic. And so it is that I’ve deliberately given you the live version of single ‘My Jerusalem’ at the Rutledge, at his home in Nashville, Tennessee, at the foot of this post so you can get a true sense of what an impassioned and committed performance by a real artist is all about. Josh is one of the best, a musician with integrity through and through.

Listen with me to the studio version of ‘My Jerusalem’.

The opening chords are beautiful; clean, bright guitars, preempting the powerful work we’re about to hear; and Josh is in with the vocal. As I mentioned, he has a unique voice – it’s been evident through his entire career, a tone which you can’t mistake and is very much “Josh Doyle”.  Starting the song quietly and understated, leaving room for the skyscraper he is about to build before our eyes, he introduces us to this observation on life:

“In the modern world, nothing is steadfast,
Nothing to hold on to, years go by so fast,
Need someone to talk to, to slow down the moment,
To help me forgive.”

It’s low, gravelly, it draws you in. I’m reviewing at 11 p.m. on a US East Coast Friday night in the dark, a perfect setting to lose yourself in the music. The strings add beautifully to the guitars in the verse. The transition into the chorus is a perfect step up, fits into the verse like a glove, as he raises the stakes, raises an octave, and makes the song rangy and pleading:

“And I come to the lord,
In my times of trouble,
I can’t find my Jerusalem”

It’s a piece of songwriting comparable in skill to the powerful Sarah Kelly, and to the worldly and remarkable Margo Rey, currently sitting in the Billboard AC at number 28. I’ve always said that you can hear the hard work put into a great song, one that is not only listenable, but a complete sensory experience; it’s not random or fly-by-night, it takes skill and commitment to paint an evocative work of art; and you’ve got a very good example here.

The feet stay firmly on the gas pedal for the second verse, allowing more of a beat, the engine humming, and inviting you to relax into the warmth of the song and the journey within it. The guitars are stronger, the drums are in, and I’m hooked.

“I’ve been so down, Jesus it’s trying,
I wanted to leave life but I’m scared of dying,
Been looking through fresh eyes,
I’m overcoming, demons and loneliness.”

I can hear shades of U2’s Bono and the Edge, the combined guitars taking the wheel and driving us on, and Josh allowing his voice to lead the mood of the song completely as the second verse completes:

“And the years are like rivers rolling over us,
Though my sins are like,
Mountains that can not be crossed,
Oh I know in my soul,
I believe in the blood that will save me now.”

By this time, you’ll be immersed. It’s a Doyle trademark not to insert flashy guitar solos, but instead to use that well-used, well-loved, and well-played guitar to power-chord through an instrumental which, live, allows him to get totally into the moment, and throw himself headlong into the blissful musical void. It’s a wonder he gets through a live show, with the energy that goes into each one. He’s an artist who loves what he’s doing, and totally believes in what he’s singing.  It is refreshing, and is at the same time completely convincing.

Coming down to bare bones again for the final verse, minimal guitar, and that one-of-a-kind tone, listen out for the vocal runs; the whole verse in compelling, but the emotions are are truly beautiful, especially in this line:

“I’ve been looking through fresh eyes,
I’m overcoming demons of loneliness”

Left gloriously hanging on that last sweet note, and wringing the last drops of sweet melancholy out of his guitar, it’s nothing short of a wonderful listening experience.

I have followed Josh Doyle’s work for a long time. As mentioned, his previous band were (primarily due to his unique vocal, emotional songwriting, and driven guitar playing) among my top hits in the 2000’s; with this new work, I’ve found a new favorite, which is remarkable given the strength of the songs this one competes against; in my time, I have covered ‘Army of Two’ and ‘Everything I Do’, and more recently have enjoyed ‘I Figured the World Out’ as a technical and beautiful piece of writing, and single ‘Solarstorms’ as a solid album leader. ‘My Jerusalem’, though, is in a league of its own. Anthemic, evocative, full of emotion, and so very listenable and singable, it is a winner and a work of art with long, long legs.

Josh is, and will always be, a solid ‘recommend’ for me; a nice guy, a hard worker, and a genuinely excellent songwriter and performer.  Buy his album and all of his very latest songs, including ‘My Jerusalem’, right here.

David Mark Smith
Founder and CEO, the Fish Pond
One world, one family, one musical heartbeat
www.globalmusiciansfishpond.com

You can find out more about Josh at his Fish Pond profile here.

You can watch his live performance at the Rutledge, in his home town of Nashville, Tennessee, here:

Holly is a super musician, with a beautiful simple style, and a voice and guitar style to die for.  She’s given us a superb insight into her spring 2013 tour, and blessed we are to share it.  Have a read of all 10 parts here.

Holly, we were with you all the way, and wish you well as you go on the road for the summer.

One world, one family, one musical heartbeat.

Enjoy Holly’s fabulous “Small Town Kids” while you browse her epic journey:

Part 1: Cataclysmic Events

It wouldn’t be a tour without some last minute, near cataclysmic event. The problem? No tour vehicle. Our dear Honda Odyssey’s transmission, after having been abused on last summer’s adventures, bit the dust. Normally this wouldn’t have been such a big deal but on this particular trip we have 7 people ages; 5, 7, 19, 30, 31, 33 and 34 that all need to pile in together for 15 shows in a span of 19 days. Our solution became the Landis’ RV. After taking her into the shop and an all-nighter with some incredibly generous folks she should be ready to make the trek!

If that wasn’t enough, this tour has some additional twists, the first is that I live in Boston now and the rest of our party lives in a sleepy artist community in the Northwest, Sandpoint, Idaho. This means that while Cedar & Boyer (with their two adorable children) and Josh Hedlund are taking the RV to Seattle for their first show, I’ll be flying from Boston.
Transportation permitting out first show will be with Chris Staples and The Parade Schedule at the Columbia City Theater in Seattle, WA at 8.

http://theparadeschedule.bandcamp.com
www.christaples.bandcamp.com

Part 2: Cedar and Boyer Reunion

After reuniting with Cedar & Boyer we played our first show of the tour with Chris Staples, The Parade Schedule and Andy Fitts in Seattle at Columbia City Theater. Urban camping is somewhat our lifestyle now with the RV. In our downtime before our set we played soccer and broke out the sidewalk chalk. Now we’re off to Portland for a show on the 15th at The Laurelthirst Pub with Brad Parsons and Anna and The Underbelly.

Part 3: The Generosity of Strangers

The generosity of strangers can be astonishing and the family/community you build on the road is equally so. Portland has long been a home away from home for me having started playing in the area with artists like Shook Twins when I was around 15. This trip we stayed at the Shook residence just off of Alberta St, a Mecca for hipsters, young families and artists alike. We parked the RV ( lovingly called Erv) out front and spent our day off rehearsing new material, jamming with resistant kids band, Luck Dragon and strolling Alberta St. At trade up music we browsed basses and resonator guitars and enjoyed the BEST ice cream I’ve ever consumed at Salt & Straw. We finished off the evening with a soccer match with the Landis’ two amazing kids, Ani and Miles. The next day we played at Laurelthirst Pub in Portland. We decided to stay that night outside of Portland in Sandy with Mel and Joe Davis. You meet some amazingly kind and giving people on the road and they are no exception. They made us dinner, let us wash our clothes, gave us beds…incredible, absolutely incredible. The show (with Anna and the Underbelly and Brad Parsons) was slightly rocky at the onset, many friends in attendance but like many venues it was 21+ which I unfortunately am not. I had to wait outside the bar and wait for my set but fortunately I have incredible friends and fans who took turns visiting me outside the bar. When my set came up we shared a single mic and the stage with the amazing Anna Tivel and Josh Hedlund. After the show; Jen, Justin, Josh, Erin and I went out to find some food and parked in front of another bar in front of a Coca-Cola factory. It may sound hokey but I realized in those moments just how much I truly live them and the life they allow me to lead.

Part 4: A Handful of Bananagrams

A few forgotten water bottles, a handful of Bananagrams and an identity theft later we were out if Sandy and on our way to pick up Josh Hedlund and Erin Brannigan to complete our family circus. Our show tonight is with John Shipe at The Axe and Fiddle in Eugene, OR. We picked up the gang in a rainy Portland and made it down to Cottage Grove for the show. In our downtime we played an epic soccer match down the street from the venue. Axe and Fiddle itself was amazing; resteraunt, bookstore, venue all in one. Lots of older hippie farmers and incredibly nice soundmen and bartenders. In classic road warrior/urban camping style we all slept in a parking lot last night and were on the road again first thing to make it to the next show in Eureka, CA tonight.

Part 5: Eureka Fallen

On the way to eureka we stopped at a gas station and picked up an elderly man who had fallen and cut open both of his palms. We to home to a hospital and continued on our way down the highway. Our first glimpse of the coast we pulled over and ran around the beach then onward to the supposedly haunted Eureka Inn for a show with 8 Dollar Mountain.

Part 6: Family, Flesh, and Blood

Sometimes the family you find on the road is actually flesh and blood. For our Winters, Sacramento and Sam Francisco shows we’re staying with Jen’s brother and sister in law. 9 people, one bathroom. We all had our first shower in a few days so morale was high going into our show at Marilyn’s on K. We opened for a Chicago Blues band and played our hearts out. We really came together last night as a band. I DD’d after the show and made an In and Out Burger run with everyone. Thrift storing, fishing and Berryessa Brewing Co tonight in Winters.

Part 7: California Sunshine

Another trip to In and Out Burger, one thrift shop and a hardware store later we’re on the road to Winters to play Berryessa Brewing Company. On the way we made more of Josh Hedlund’s record ( available at www.joshhedlund.bandcamp.com) and arrived in a vineyard type area off the highway. Berryessa was a great family atmosphered brewery with fantastic outdoor seating. We got to play out in the beautiful California sunshine. A parking lot soccer match with kids and parents followed our show and now it’s off to play San Francisco tomorrow evening.

Part 8: Acoustic Bistro

Acoustic Bistro today in San Francisco and our first time working with KC Turner Presents. Tomorrow we have the incredible opportunity to play on Daytrotter Sessions, where people like J Tillman and Andrew Bird have recorded as well. Finding parking in an RV was mercifully easy with our ninja driver, Justin Landis. The show with Decker and Kristin Blinman was incredible! KC Turner runs some exceptional showcases in the city and thus was no exception. We decided to caravan with the band Decker to San Louis Obispo for our next show. This morning though we got the INCREDIBLE opportunity to record Daytrotter Sessions. The programs is very widely known and many of our personal Herod have recorded on it. Keep an eye out for the session.

Part 9: Family Outside of San Louis

The Sandpoint net as well as that of the folk music community if far reaching. Just outside of San Louis we found an ex Sandpointian who called us family and gave us a place to keep Irv for the night. Parked along the ocean with some if my favorite beings and doing what I live it’s hard to complain. In SLO we met up with the members of Decker who we’d played with in SF. The show was fun, food was good and we successfully avoided being ticketed. Today we’re playing Fresno Brewing Company and staying with Justin’s folks. That means a well deserved day off the road for Ani and Miles who have fared the long car rides better than we have in all honesty.

Part 10: Final words on the Family RV Tour

Living on the road for any space of time will leave you with some life lessons, an empty stomach, lighter wallet and a heap of stories. Add an RV from 1976, seven people ages 4, 7, 19, 30, 31, 34, 34, and a 15 date tour and you’re really in for something.
One huge thing that I came to realize and value in the course of the trip was the kindness and generosity of strangers. We stayed with Luck Dragon, an incredibly talented duo who play children’s music. A family originally from our town who believe in taking care of their own housed, fed and played Banannagrams with us. Most venues fed us, let us bathe in their sinks, sleep out front and didn’t mind our puffy eyes and dirty clothes in the morning after a show. Another hometown couple who had relocated to SF even bought us a hotel room. Showers! That’s what that meant, it’s amazing what having a clean crew can do for morale.
I also realized just how important your travel companions are. Some family you find, I never could have imagined living with the Landis’, Brannigan and Hedlund before this grand adventure but now we all just want to hop back into Irv and onto the road. Not only do we love each other’s music, we also just love constantly being around one another. Having the kids around made us all into a parenting team, playing hopscotch and soccer on the sidewalk outside the venues. There are so many ups and downs and in betweens on the road that it’s so incredibly important to have people who pick you up when you’re having a rough day or night.

Fortunately I’ll be on the road again next week touring with Harold’s IGA, so it’s back onto the open road! Woop! Hope to see you all out there somewhere down the line.

Holly

You can read more about Holly at her profile page here.

www.joshhedlund.bandcamp.com
www.cedarandboyer.com
www.hollymcgarry.com
(you can find some of Erin Brannigan’s artwork via facebook)

Singer songwriter Ada Pasternak joined our Fish Pond family in May 2013. Coming to us with origins in Moscow, having emigrated to the USA at the age of 6, Ada has deep roots in her classical training on the violin, crossing it with contemporary music to produce some beautiful results. In 2007 she was awarded the Presidential Scholarship to Berklee College of Music, where she discovered a passion for songwriting.

A lovely quirky number, which has shades of California’s Good King Friday, and a little of New York-based Cyra Morgan in the mix; ‘Lonely Little Painting’ is the type of work that has so many facets to it, both technical and emotional, that I could listen over and over, and take away something a little different every time. Listen with me.

At only 2:15 in length, this song is a huge showcase number in a compact cover; with Ada’s sparkling background with the violin, it is so appropriate that the song starts with just her distinct vocal and beautifully plucked chords;

“Lonely little painting
in a corner of the room,
Colors slowly fading…”

The vocal precision, the tone of her voice, is so crisp and clear, that the mood of the song is immediately set; it’s already classical, quirky, and quite breathtaking. From the first few seconds, I was captivated. In short, this is so filled with personality, Ada is quite clearly a musician who can stamp her unique style all over her work.

“Painted a sunset,
orange and gray,
if there was a rainbow,
would it make you stay”

The piano is in at this point, supported by a beautiful double bass, and as mentioned, it’s bringing on memories of everything I love about Good King Friday’s work (although they are not the same, they share a basis which is so beautifully rooted in really well-rehearsed and educated classical instrumentation). The feel of this song is gloriously Eastern European, images of Topol and Fiddler on the Roof playing through my mind. It’s a series of smiles packaged in a Matryoshka (Russian) doll.  For every layer you remove, a new surprise lays underneath.

“Nameless and dateless,
it’s all by itself;
Why hasn’t somebody
purchased it yet?”

The violin solo which follows is lovely to listen to, soaring, using runs, the best of the low end tones, and strongly ending on a superb slide into heaven to preface her final lyrical delight.

“and all the other paintings
in the middle of the room;
No one even glances,
at the one that made me think of you”

After a final chorus, a repeat of the first line just to remind us:

“Lonely little painting,
in a corner of the room”

And the lyric is done; now to the most beautiful piece of violin work I have heard, perhaps in a lifetime, simply because it is so appropriate to the feeling of the song; it’s a classical solo at it’s very best, quite honestly bringing me to tears with it’s intensity, feeling, and technical brillance. Pauses, runs, arpeggios, she’s all over the fingerboard, and yet it’s not a clinical performance; it’s Ada at her very emotional best, bringing this lovely little piece to a close with a final chord, and one of the most breathtaking 2 minutes of music I have ever listened to.

In every sense, that ‘Lonely Little Painting’ is quite the masterpiece.

David Mark Smith
Founder and CEO, the Fish Pond
www.globalmusiciansfishpond.com

Ada is currently living in Fairfield CT and recently released her 6 song EP titled “Ada”. It is available on CD Baby and iTunes here.