New York City is famously known as the place where dreams are made. Countless musicians from Jay-Z to Billy Joel have risen from the concrete jungle and in turn paid homage to the city in their respective music. Their songs like “New York State of Mind” and “Empire State of Mind” solidify the iconography, nostalgia and incomparable energy of NYC.
But not all musicians have the same experience. Jim Croce and his song “New York’s Not My Home” is the antithesis of the other New York classics. A soft, folky, acoustic ballad, Croce expresses disillusionment with the famed city and the need to get out.
“New York’s Not My Home” was released in 1972, the third track on Croce’s third studio album You Don’t Mess Around With Jim. This was his first album recorded with ABC Records and featured many of the tunes that skyrocketed him into the public eye, including “Time in a Bottle.”
“You Don’t Mess Around With Jim” album art
Croce grew up in South Philadelphia, Pennsylvania. He spent many of his formative years there, and went on to attend college at Villanova University in 1961. Croce would eventually travel far and wide but he continually was drawn back to the state of Pennsylvania his entire life. As such, he never had much attachment to New York City. In fact, he only lived there for a short period of time, in 1968. Croce moved there with his wife and fellow musician Ingrid Croce, when he was 30-years-old. With a record deal in hand, they hoped the city would lead to their big break. However, after becoming disenchanted with both the city and the music industry, the couple moved to the countryside back in Pennsylvania.
According to Ingrid, the idea for this song came as they were leaving New York and driving to their new home. As the tale goes, the couple spent the night sleeping in their car in a parking lot in New Jersey. The sight of the New York City skyline from where they were parked gave Jim the idea for the song.
In the first verse, Croce paints the scene and begins with the inkling that something here just isn’t working.
Things were spinnin’ ’round me
And all my thoughts were cloudy
And I had begun to doubt all the things that were me
Been in so many places, you know I’ve run so many races
I looked into the empty faces of the people of the night
Somethin’ is just not right
As the lyrics suggest Croce worked many jobs and traveled many places in his lifetime. Croce worked on construction crews and taught guitar at a summer camp. He joined the U.S. Army National Guard for a brief stint. He worked as a teacher at a junior high school and he also did a foreign exchange program in Africa and the Middle East. In most cases, Pennsylvania always pulled Croce back. In this respect, New York was never really his home and never a place he felt deeply connected with.
The chorus repeats Croce’s need to leave New York City and find a new place.
‘Cause I know that I’ve gotta get outta here
I’m so alone
Don’t you know that I gotta get outta here
‘Cause New York’s not my home
The second verse gets much more literal with Croce as he delves into his reasons for wanting to leave New York. While New York is a place where dreams are conventionally made, Croce never experienced commercial success there and instead became fed up with the rat race of the industry. Croce had secured a deal with Capitol Records but the contract heavily favored the record company and there were delays with the recording process. The couple could barely afford to live in NYC as a result, so they headed for the countryside in Pennsylvania, going as far as to sell their guitars before making the move.
Though all the streets are crowded
There’s somethin’ strange about it
I lived there ’bout a year and I never once felt at home
I thought I’d make the big time
I learned a lot of lessons awfully quick
And now I’m tellin’ you that they were not the nice kind
It has been so long since I have felt fine
But even in Pennsylvania, Croce continued to write and it was here that he penned perhaps his most famous tune “Time in a Bottle.” That song, as well as “New York’s Not My Home,” were both featured on You Don’t Mess Around With Jim. The album saw immediate success with a string of hit songs and throughout 1972-1973 Croce furiously toured the country. While commercial success didn’t come in New York, Croce did things his way and it paid off.
Towards the end of “New York’s Not My Home”, Croce fittingly ruminates on New York being someone else’s fantasy. New York may be where some dreams are made, but as Croce proves, it’s certainly not where all of them are.
“The dream’s not mine anyway…So I’m going back to find…Some peace of mind in San Francisco.”
Little Georgie and The Shuffling Hungarians have quite the reputation after winning multiple SAMMY Awards for their exceptional Rock and Soul Orchestra performances. Seeing that the music industry was always evolving, Little Georgie made the decision to invest in “The Womb Room of Hungaria,” a content production studio. Now, he has the freedom to navigate the twists and turns of the music scene with a whole new level of creativity.
George Rossi, also known as “Little Georgie,” saw some major changes brewing in the music scene. As the 17-piece orchestra struggled to survive economic ups and downs, it became clear that the game was changing. The once-thriving market for physical compact discs was gone and live performances were becoming less financially viable. With the music industry constantly changing, Little Georgie had to either adapt or leave.
This incredible global digital premiere will launch a groundbreaking sound experience that will finish with “The Compendium of Unruly Caterwauling.” It’s more than a sound journey; it’s the kind of ride that keeps you humming long after it ends. A 2024 full of musical magic is coming.
With support from Queen Bee Brand WMG, the comeback is available on Spotify, Amazon, Tidal, YouTube, and iTunes and offers a new take on their well-known sound. With this song, they make a daring comeback to the music industry and further cement their lasting impact. The return of the funk is greater than before.
Bluegrass Hip-Hop group Gangstagrass has released a music video for their latest single, “The Only Way Is Through.” The release of the new video featuring musical icon Jerry Douglas, as well as their recently dropped single is propelling the group forward and further narrowing the gap between bluegrass and hip-hop.
The composition showcases the meshing of expert banjo artistry, dynamic production, and the unique facets of Gangstagrass music. The vocals are whisked through an inspiring chorus, complete with the Lowdown Brass Band on horns.
Gangstagrass was birthed as a studio experiment in 2006 by Brooklyn-based producer Rench. The combination of country/bluegrass vocals, guitar, and hip-hop beats allowed for Gangstagrass to evolve. The group grew into a vibrant and improvisational band, forging unity and creative diversity from the most unexpected of origins.
The group harmonizes an array of talents from Rench, R-SON the Voice of Reason (MC), and Dolio the Sleuth (MC, Vocals), in addition to featuring Dan “Danjo” Whitener (Banjo, Vocals), and B.E. Farrow (Fiddle, Vocals), among other brilliant instrumentalists.
Gangstagrass has culminated various sounds from across the country. The ensemble has skillfully blended the traditional sounds of fiddles and banjos with contemporary hip-hop beats. This unseen blend and innovation have propelled the band to worldwide success.
The music video for the recently released single, “The Only Way Out Is Through” shows the members of the group performing the song whilst facing the camera. Throughout the video, random objects like silly string, paper balls, cardboard, foodstuffs, etc. are being hurled at each person in the spotlight.
The music video is meant to be humorous, wacky, and borderline absurd. The directors of the video, Tough Dumplin and MZ.ICAR did an excellent job at conveying the groups fun spirit and goofy nature, while also showcasing the grand musicianship with the single played throughout.
To learn more about the group Gangstagrass, visit their website here.
The leading fan-to-fan social ticketing platform, CashorTrade, has revealed their new collaborations with Joe Russo’s Almost Dead and the String Cheese Incident. These band partners are an effort to keep tickets in the hands of fans for two forthcoming concert runs, and also to enhance the company’s fight against ticket scalping.
Dusty and Brando Rich, founders of CashorTrade.org
As String Cheese Incident are getting ready to perform their most anticipated three-night performance at Red Rocks Amphitheatre in July, CashorTrade held a pre-sale on Thursday, February 1 through CashorTrade.org.
Additionally, the platform has also announced their collaboration with Joe Russo’s Almost Dead to make tickets available for the band’s forthcoming performance at The Fillmore in Charlotte, North Carolina on February 8.
CashorTrade proudly defines itself as the world’s only social network where fans can buy, sell and trade tickets at face value. The Vermont-based company was launched in 2009 through the efforts of Brando Rich and his older brother Dusty, who are passionate music fans. Their website includes the pre-sale feature as part of their continuous effort to help artists and guarantee fair ticketing procedures. By bypassing the middlemen and online ticket resale marketplaces, artists can establish direct connections with their fan base through their website.
“CashorTrade is thrilled to partner with The String Cheese Incident and JRAD to empower fans and combat scalping in the live music industry. Our mission has always been to prioritize the fan experience and provide a platform where tickets are traded ethically and securely.”
Brando Rich, CashorTrade co-founder
With more than a million followers on its social media, website, and app, CashorTrade has made a name for itself as a reliable spot for fans to exchange, buy, and sell face-value tickets. With its headquarters located in Vermont, the company employs thirty passionate music lovers and is getting ready to release its next-generation software, which will improve the ticketing experience for both artists and fans.
For more information about CashorTrade and the upcoming presale, fans can visit CashorTrade.org.
Dylan was at Proctors Theatre on Monday, October 30, and although he did not entertain one of the songs that follow, here is a look at the many songs written about Schenectady, as well as the songs that reference the notoriously difficult to spell Upstate city.
Prior to being settled by the Dutch in 1661, the Mohican originally lived in the area around the Mohawk River. The Mohawk referred to the area as “Schau-naugh-ta-da,” meaning ‘Over the Pine Plains” which eventually morphed into “Sche-nec-ta-dee” and finally, Schenectady. Part of the colony of New Netherland settled by Arent Van Curler of Nijkerk, Netherlands. The town was famously burned by the French and their Indian allies in February 1690 in what has been known as “The Schenectady Massacre,” killing nearly all inhabitants. Home to Union College and General Electric, the town’s sobriquet is “The City that Lights and Hauls the World,” a little more wordy than ‘The Electric City’ that many also refer to the town.
With 350 years of history, and a cultural landmark in Proctors Theatre, the historic Stockade District, miSci (Museum of Innovation and Science), Jazz on Jay, Music Haven Concert Series, the Schenectady-Saratoga Symphony Orchestra, and the still relatively new Rivers Casino, the town on the shores of the Mohawk River is experiencing a downtown Renaissance, with events for all tastes and interests found all throughout the city.
So this ‘Electric City’ of Schenectady is notable enough, both for spelling and history, that over time, a few songs have been written about the town. Two of the most notable, “I Can’t Spell Schenectady” and “Schenectady” from Synecdoche, New York, we’ll get to in a moment, but let’s look at a pair of songs written for the town.
First, there’s “Schenectady Song” from Jason Martin. A ‘love ballad to the Electric City,’ the tune was originally released on cassette in 1998 and a re-edited version from Martin’s Magic Recording Eye (2001) can be heard below. Featuring samples at the start and end mentioning ‘High Voltage Hall’ and tests of electricity, the experimental song is unique, odd, and worth a listen.
Then there’s “Schenectady’s the Place,” the Official City Song, written by Cliff Brucker in 2016, a graduate of The Crane School of Music at SUNY Potsdam and The College of Saint Rose. Brucker’s song has the ‘commissioned by the local Chamber of Commerce’ vibe, although the version by SCCC School of Music heard below does have a certain panache and inviting nature to it. For an official city song, this is spot on for style, lyrics and music.
Then there are quite a few songs – much to this author’s surprise – that reference Schenectady, including “Hamilton Hill” by Demmene Syronn, released in 2020 and referencing a small neighborhood near Mont Pleasant. “I was a witness to the cultural birth of Hip Hop / From Hamilton Hill, Schenectady, Upstate New York”
“Starlight in Schenectady” by Peter JB Carman, the first track on Life the Pain, was released on Stockade Records in 2019. The song was first played at Moon and River where Carman and wife Lynn can often be found playing. Carman is a Baptist minister, writing hymns, poems and songs about Massachusetts, Rhode Island, North Carolina and Upstate New York, all places where he has served churches.
“Walking by starlight in old Schenectady And I don’t know where I’m bound Listen to the songs from the café down the street I surely love the sound And the years they do so swiftly roll And all day long it’s trouble and toil But I’m walking by starlight in old Schenectady And it’s home, it’s home I’ve found”
“Starlight in Schenectady”
“Afro Angel” by Will Smith (yup, that Will Smith) “Nothing” by Raekwon – “He felt bad but respected me / Pass the watch and the chain off respectably / Moseyed off, ran through Schenectady” – and “Someone to Love” by Fountains of Wayne – “Seth Shapiro got his law degree / He moved to Brooklyn from Schenectady, ’93 / Got some clients in the food industry” – all mention the town.
There’s also “Grim Reaper” by MC Zappa – “Try me; you might find I’m not in my right mind / Heads will roll, and I’ll repossess ya soul / I’m murderin’ rappers from here to Schenectady / Turn around, you see a sight you didn’t expect to see” “DECAP” by Dicaprio – “And I’m from Brazil, but I’ll always representing the County of that city, electricity, Schenectady” and “Bon Soirée” by Clay Coughlin – “I was laid up in Schenectady / But I’ll be bedding down on rue Sainte-Catherine.”
But for a double dose of local Upstate references, look no further than “The End’s The Same” by Off Balance, who drop a Stewart’s reference – “So sweet you make me feel at home just like some Stewart’s ice cream” as well as one for the town – “Disorder’s light to me / I hear these grimy synths like Ludwig on the ivories / and ebonies / Like nights I’m in Schenectady”
Getting back to the history of Schenectady, the Dutch settlement was burned to the ground in February 1690 by a war party of French soldiers and allied Mohawk and Algonquin. This event may have produced the first song in the 1840s, “The Burning of Schenectady.” Originally a broadside, featuring just lyrics and sometimes a suggestion for a familiar tune to pair with, the ballad can be sung to the tune of “Auld Lang Syne.”
The Burning of Schenectady – from a painting by Giles F. Yates, owned by A. A. Yates of Schenectady
There is some debate on the origin of the poem/ballad that led to the song, with folklorist ad historian Harold Thompson noting in his 1939 book Body, Boots & Britches that the original was written by Walter Wilie of Albany in June of 1690. Wilie notes before the lyrics (abbreviated below) “A Ballad – In which is set forth the horrid cruelties practiced by the French and Indians on the 8th of last February. The which I did compose last night, in the space of one hour, and am now writing, the morning of Friday, June 12th, 1690 – W.W.” Still, a debate continues as to the true origin of the first song of Schenectady.
God prosper long our King and Queen, Our lives and safeties all, A sad misfortune once there did Schenectady befall.
From forth the woods of Canada The Frenchmen tooke their way The people of Schenectady To captivate and slay.
They marched for two and twenty daies, All thro’ the deepest snow; And on a dismal winter night They strucke the cruel blow.
….
They then were murthered in their Beddes. Without shame or remorse; And soon the Floores and Streets were strew’d With many a bleeding corse.
The Village soon began to Blaze, Which show’d the horrid sight – But, O, I scarce can Beare to Tell The Mis’ries of that night.
They threw the Infants in the Fire, The Men they did not spare; But killed All which they could find Tho’ Aged or tho’ Fair.
O Christe ! In the still Midnight Air, It sounded dismally, The Women’s Prayers and the loud screams’ Of their great Agony.
…
And Here I End the long Ballad The Which you have just redde; And wish that it may stay on earth, Long after I am Dead.
Lyrics (partial) to “The Burning of Schenectady” – Walter Wilie, 1690
The aforementioned “Schenectady” from the motion picture Synecdoche, New York, stands out as one of the two most notable songs on the town. The title of the film makes a play on pronouncing the town name – Synecdoche (Sin-eck-duh-kee) while also being a literary expression alluding to a larger concept by bringing to mind a single part of the whole. Raul Yang notes “It perfectly captures the essence of the movie it was written for, and it stands on its own as a beautiful piece of music.” The deeply surreal film with a focus on aging and death, with director Charlie Kaufman including “Schenectady,” which introduces the idea of death in its last verse: “There’s always a never again.”
But of all these songs about Schenectady, the standard bearer has to be “I Can’t Spell Schenectady.” Written in 1948, let’s glance at the lyrics first.
Reading, writing and geography; But when it comes to spelling, I’m confessin’ There’s just one word that stumps me constantly. I can spell Dakota, can handle Minnesota, but I can’t spell Schenectady, I can spell Havana and figure out Savannah, but I can’t spell Schenectady. Why, one time at a spelling bee Said teacher all at once, “Now, Willie, spell ‘Schenectady’,” I felt just like a dunce! I spelled Anaconda and even Tonawanda, So what does she expect of me? I just can’t spell Schenectady. I can spell Pomona, Seattle and Tacoma, but I can’t spell Schenectady, I mastered Ypsilanti and Agua Caliente, but I can’t spell Schenectady.
Written by Al Trace, Arthur Terker, Abner Silver and Harry Clarkson, “I Can’t Spell Schenectady” is not in the range of “Weird” Al Yankovic for comedic songs, but rather resides in the realm of satire he would come to be known for, More so, this song is akin to a Bob Hope “Road To…” film featured song.
Starting out with a high pitched Alvin and the Chipmunks voice, the song laments Schenectady’s spelling difficulties with multiple voices joining in to drive home the orthographic dilemma they face.
The song was released on vinyl in July 1953, with a B-Side of “The Who is it Song,” both songs performed by Big Jon Arthur and No School Today Cast, and released on a 45 RPM Decca (9-88153) 7″ record, Children’s Series 1-252, with artwork by Sam Norkin.
Schenectady is the home of General Electric, the early radio-drama pioneer WGY, the first television station with WRGB, not to mention bread so delicious, Jack Nicholson had Perreca’s ship him loaves of bread following the filming of Ironweed in 1987. Yet for all these, Schenectady does not get respect in song or other media as should be afforded. Sure, the town name is difficult to spell, but ‘Place Beyond the Pines’ is a bit wordy. Schen-ec-ta-dy – it’s just that easy!
Album art for “I Can’t Spell Schenectady”
FormerLate Show with David Letterman head writer Bill Scheft once referred to Schenectady as “the Xanadu of funny-sounding places” in an interview with the Daily Gazette. “Four syllables, good rhythm and that hard comedy ‘K’ right in the middle. It scans perfectly. Of course, it’s no Cohoes, but what is?” And with that, check back soon following a search for songs about Cohoes.
Prolific bassist and songwriter Gregory McLoughlin has released his latest single, “Hemispheres” on January 15. Gregory McLoughlin, hailing from Jersey City, NJ, creates bass-forward, and acoustic tracks that can best fit into the category of folk or soft rock.
A first thought on Gregory’s single, “Hemispheres,” is the opening sounds quite reminiscent of Bob Seger’s “Against the Wind.” It begins with a subtle bassline, melodic piano, and a recognizable acoustic riff. You can also hear accordion kick in as the vocals do. Backing vocal harmonies on this track are quite smooth and relaxing.
The song tells a tale about a sort-of yearning for summer adventure with loved one. Certainly, a vibe any Northeasterner in the winter can get behind. The song has a mix of a tropical, Margaritaville sound, and American Folk. There is a smooth, guitar solo between verses and the chorus, which remains in the background for the remainder of the tune.
The single has the same melody throughout, with little to no diversion in neither vocals nor instrumentation. That said, the song is sweet-sounding, and one where emotion and hope are the defining narratives.
This is a song about summertime, but specifically inspired by the beautiful landscape of New England’s Cape Cod National Seashore. I am releasing it in the dead of Winter to remind us of warm summer memories and help push us through the cold months.
Gregory McLoughlin, on “Hemispheres”
To listen to Gregory McLoughlin’s latest single, check him out on Spotify, or YouTube. To learn more about the artist, visit his website at GregoryMcLoughlin.com.
Even if they can’t name the tune, most people will recognize the iconic clarinet intro of the famed composition, “Rhapsody in Blue,” by George Gershwin. That song, now a timeless masterpiece, made its debut 100 years ago on February 14, 1924. The origins of the song are as wild a ride as the composition itself; and almost all of it traces back to the influence of New York City.
Composer George Gershwin (1925) – Photo from Encyclopedia Britannica
It was in Brooklyn, New York, that George Gershwin was born in the late 1800s, as Jacob Gershwin, a son of Russian Jewish Immigrants. From an early age he exhibited fantastic musical abilities on the piano and was tutored by the notable Charles Hambitzer, who saw greatness in Gershwin.
At age 15, Gershwin dropped out of school and began playing piano in various nightclubs around New York City. It was in Tin Pan Alley that Gershwin worked as a song-plugger and honed his craft. And it was on Broadway that Gershwin worked as pianist for rehearsals and performances of theater productions. Both experiences stirred Gershwin’s penchant for jazz and popular music. In 1916, he released his first published song “When You Want ’Em You Can’t Get ’Em (When You’ve Got ’Em You Don’t Want ’Em)”
In the following years, Gershwin’s work was commissioned by broadway composers and performed by popular singers and entertainers. His song “Swanee” (1919) was performed Al Jolson in the musical Sinbad and went on to sell more than two million recordings and a million copies of sheet music.
The start of Rhapsody in Blue began in the years 1920-1924. Gershwin, composed for an annual production put on by musician Paul White. In 1922, Gershwin pushed to have a one-act opera titled “Blue Monday.” The reception was lackluster in a time period where Jazz was not accepted by the mainstream. Still, the bandleader Paul Whiteman, (who like Gershwin, wanted to see jazz gain respectability) later decided to commission Gershwin to write a jazz piece for a concert in 1923.
As the story goes, Gershwin completely forgot about the show until he read about it in the paper, only a few weeks before the concert date. It was in this mad scramble that he created the faed, “Rhapsody in Blue.” Once again, the soundscape of New York would have its hands in this composition.
Gershwin later recalled that it was on a train from New York to Boston that he was hit with the inspiration for the song.
“It was on a train…that I suddenly heard–and even saw on paper–the complete construction of the Rhapsody in Blue, from beginning to end. I heard it as a sort of musical kaleidoscope of America–of our vast melting pot, of our unduplicated national pep, of our metropolitan madness. By the time I reached Boston, I had a definite plot of the piece, as distinguished from its actual substance.”
When the piece made its debut it was slightly different from what would appear in the published recording which came after the fact . While the band’s parts were ready in time for the show, Gershwin reportedly improvised much of the piano solo which existed only in his mind. The show was performed at the Aeolian Hall in New York City on February 14th, 1924. Composer Ferde Grofé completed a score for piano and full symphony orchestra in 1926.
In later years, Gershwin would go on to compose hits such as “Embraceable You” and the Broadway adaptation of Porgy and Bess. Gershwin died in 1937 while undergoing surgery to remove a brain tumor. While he was only 38, Gershwin made an indelible impact on jazz compositions and music as a whole.
In a final nod to the big apple, “Rhapsody in Blue” reached new heights when Woody Allen introduced the composition to a new generation in his 1979 film titled Manhattan – 42 years after Gershwin’s death.
monarch’s If You Ask Me is unapologetically raw, with a refreshing theme of self-ownership. The clear-cut language adds intensity to the song’s powerful message- stressing the resistance to give in to outside influence or control.
Photo by, @pawprints777 on Instagram
Lyrically, the song takes us to the aftermath of boundary-pushing chaos in a compelling way. The relationship between the lyrical skill and instrumental intensity elevates the overall experience that the song brings.
Based in Brooklyn, rock group monarch formed in 2021. This spirited band has always gone beyond the limits of musical expression, captivating audiences with their powerful performances. With a reputation for powerful live performances, this group is a noteworthy act that will leave a mark on the local music scene. Monarch has plans to take the stage all over NYC in 2024 and amaze a wide range of audiences with their electrifying energy.
Sarah hopes the song lyrics and feel can bring comfort to those who can, regrettably, relate to this kind of circumstance. The song should also let listeners know that “they’re not alone in the feeling of feeling taken advantage of”. Sarah adds, “I had trouble writing a song of this essence, our music isn’t typically ‘angry’ in this sense, so I had trouble at first going into that headspace. Although it is part of my story, we created a powerful song out of it.”
“I wrote the lyrics for this song after the countless times someone has crossed my boundaries, made me uncomfortable, someone being too touchy etc. On the other hand you shouldn’t have to teach someone how to respect people and their space.”
-Sarah Michelle Lee (Vocalist)
If You Ask Me is more than just a song; it’s an experience that guides listeners to a place where chaos and order clash.
New York-based duo Tucker Woods has released a new single “Are You Glass?” from their upcoming album Sunshine Blues, set to be released on March 15.
Tucker Woods is a band that delivers an authentic and dynamic sound with an energetic and youthful spirit. The duo consists of Chris Hurd on guitar, vocals, and songwriter and Brian Motel on bass and keys. The two met on a whim nearly a decade ago and instantly found that not only did their capabilities gel perfectly, but also an ever-important part of the equation fit seamlessly: their music is held together by an unspoken mantra to serve the song.
“Are You Glass?” was produced/engineered by Warren Trunz and it features the traces and importance of going with the flow. “With tried-and-true rock ‘n’ roll influences, the music on Sunshine Blues is a modern throwback, with tinges of Oasis and The Who, the Kinks, Tom Petty, and the Foo Fighters throughout. It’s a varied, inventive set of melodies and hooks infused with a message of hope and endurance”, Hurd stated.
With the release of a new track, the duo has also announced the release of their new album Sunshine Blues set to be released on March 15. Presave the album here.
“Are You Glass?” from Tucker Woods is available to stream everywhere. For more information about the band, visit here.
Three-time GRAMMY-winning producer and Woodstock residents Larry Campbell, and singer-guitarist Teresa Williams have announced the release of their latest single, “Desert Island Dreams.” The single is a true Americana piece with a road-trip feel, complete with hearty guitar licks and soulful vocals.
The single, “Desert Island Dreams” is an upbeat ode about disregarding the madness of the modern world. While the world around us may be hectic, we always have the chance to slip away to our own desert island and dream in peace. Whether that desert island be literal or metaphorical, we can all find one to escape the monotony and chaos. Campbell has his creative roots as a multi-instrumentalist with Bob Dylan, Sheryl Crow, Keith Richards, and others, and Williams as a stage actor in productions like Keep On the Sunny Side and Always… Patsy Cline. Together, the creative and talented duo combine to become the couple of Americana.
The duo also has a new album titled, All This Time, set to release April 5. The album is a milestone, marking 40 years of musicianship and partnership of the duo. Also on the duo’s agenda, a tour across multiple states is currently in effect.
Larry Campbell and Teresa Williams 2024 tour dates
1/13 – South Walton, FL – 30A Songwriter Festival
1/14 – South Walton, FL – 30A Songwriter Festival
1/17 – Cancún, Quintana Roo – Feat Camp
1/18 – Cancún, Quintana Roo – Feat Camp
1/19 – Cancún, Quintana Roo – Feat Camp
1/20 – Cancún, Quintana Roo – Feat Camp
4/16 – Boston, MA – City Winery
4/17 – Fairfield, CT – Stage One
4/18 – Ardmore, PA – Ardmore Music Hall
4/20 – Vienna, VA – Jammin’ Java
4/21 – Pittsburgh, PA – Thunderbird Music Hall
4/23 – Columbus, OH – Natalie’s
4/24 – Detroit, MI – Magic Bag
4/26 – Chicago, IL – Old Town School of Folk Music
4/27 – Minneapolis, MN – Parkway Theater
4/30 – Kansas City, MO – Knuckleheads
5/1 – St Louis, MO – Off Broadway
5/3 – Nashville, TN – 3rd & Lindsley
5/4 – Atlanta, GA – Eddie’s Attic
5/5 – Atlanta, GA – Eddie’s Attic
5/11 – Lexington, TN – Main & Monroe
For more information on Larry and Teresa’s upcoming shows or releases, click here. Stay up to date on Larry Campbell and Teresa Williams’ album, All This Time. To listen to the duo’s latest single. “Desert Island Dreams,” see below.
