Los Angeles anarcho Punks SP’s are releasing their new EP tomorrow, Rise/Fall via Baby Robot Records! In a scant few years, the band has made a mark with catchy old-school punk vibes, firey tunes, lyrics steeped in resistance, and a general war against the anti-intelligentsia future we face on all fronts. Their new single is “Shift Status” and Ghost Cult is proud to rep this band and this track today! READ MORE…
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Detroit rapper Kid Vishis shares new single at HipHop-N-More
Kid Vishis may not be a big name in the Rap world but the Shady community definitely recognizes him as he is the younger brother of Royce 5’9? who is often seen in the big circles. He’s currently on tour with Royce and Eminem in Australia and New Zealand. That is not to say he’s not a solid rapper.
The Detroit emcee has appeared on Royce’s various mixtapes in addition to his albums Street Hop and Success Is Certain but he has been a little quiet these past few years. Although he doesn’t give out a specific reason for his absence, he’s now ready to reintroduce himself to the world. READ MORE…
Michael McArthur
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Michael McArthur // Ever Green, Ever Rain
“I’ve always done things a little bit differently,” says singer/songwriter Michael McArthur, who wrote the most vibrant album of his career, Ever Green, Ever Rain, during the darkest season of his life.
Songwriting has always been a form of therapy for McArthur. Over the past decade, the Florida native has filled a handful of EPs with his own mix of raw soul and lushly layered folk, working with producers like David Bianco (Tom Petty, Lucinda Williams) and Greg Wells (Adele, One Republic) along the way. He makes his full-length debut with 2019’s Ever Green, Ever Rain, an album that’s by turns warm, woozy and wistful. The album shows the full range not only of McArthur’s voice — a gorgeous instrument that soars and swoons, flecked with vibrato and palpable emotion — but his songwriting, too, bouncing from the soft acoustics of “Elaine” to the percussive pulse of “Save Me From the Fire.” Recorded with Grammy-winning producer Ryan Freeland and inspired by McArthur’s long period of isolation and self-repair, Ever Green, Ever Rain is both earthy and anthemic — the sound of a songwriter who’s unafraid to shine a light on his own faults.
“It’s really green here in Lakeland,” he says of his Florida hometown, where Ever Green, Ever Rain was composed. “I’ll sit on the porch during the summertime and watch the daily thunderstorms, and that’s how I came up with the name of the album. I was drawn to the idea that sometimes, the destroying of one thing is the creation of a new thing. You can’t have the green without the rain. I don’t look at it as ‘You have to have the hard times so you can appreciate the good times.’ I look at it as, ‘You have to have them both.’ Because that’s life.”
A decade before Ever Green, Ever Rain‘s release, McArthur sold his share of the family-owned bistro he’d launched with his brother at 21 years old. Music had always been his true calling, ever since he began listening to records by James Taylor, Stevie Wonder and Michael Jackson in his childhood home. Free to pursue a career outside of the restaurant business, he began performing his original songs, quickly graduating from regional gigs in Florida to a string of cross-country tours. He opened for the Beach Boys, won Florida’s 2013 Grammy Showcase and earned praise from outlets like Huffington Post, who promised, “Michael McArthur’s voice will make you wish he was singing about you.”
Often, he’d perform alone, accompanied only by an acoustic guitar. Other times, he’d team up with an ensemble as large as the Imperial Symphony Orchestra, whose rich, robust sound accompanied him during a one-off performance in his hometown of Lakeland in 2016. Then, after eight years of creativity and consistent shows, he slammed on the brakes.
McArthur was tired. He was introspective. Most importantly, he was in danger of losing the woman who’d been his partner and muse for years. Taking a break from the road allowed him to rebuild both his marriage and himself. It also sparked the musician’s most creative period to date, with McArthur channeling his own self-reflection into 50 new songs.
“I’m generally a private person,” he explains. “I don’t like to divulge what I’m going through to my friends. That’s what music is for. It’s my medicine. My therapy. It’s like a mother’s hand.”
After filling up a three-ring binder with song ideas, McArthur turned to producer Ryan Freeland, whose work included Ray Lamontagne’s atmospheric, award-winning God Willin’ and the Creek Don’t Rise and Bonnie Raitt’s Americana hit Slipstream. Working together, the pair recorded Ever Green, Ever Rain at United Recording Studios in Los Angeles. There, in the same room where Frank Sinatra and Elvis Presley once recorded their own hits, McArthur sang his new songs alongside a live band, capturing 13 tracks in just four days.
“There was so much love in the room, and you can hear that on the recordings,” he says, crediting his ace studio band — whose members included Dawes keyboardist Lee Pardini, Grammy winner Paul Bryan and A-list drummer Steven Nistor — with encouraging a familial vibe throughout the recording process.
In keeping with McArthur’s entrepreneurial spirit, Ever Green, Ever Rain will double as the first release on the songwriter’s own label. “I needed to find a way to make what I do sustainable, but also perpetual,” he explains, adding that the label has already secured funding for a follow-up release. Running a business is familiar to McArthur, whose old restaurant remains a thriving fixture of downtown Lakeland, yet much has changed since the day he hung up his apron and hit the road as a solo artist. He’s taken punches and delivered blows of his own. He’s learned, listened, lost and loved. Ever Green, Ever Rain captures that sense of balance, focusing on themes of acceptance and understanding.
“I like how the album starts with ‘We Live & We Die,’ which is a very dark song, but then ends with ‘Ever Green, Ever Rain,’ which is a very positive song,” he adds. “They both convey a very similar message from different perspectives. “We Live & We Die” is seen from the perspective of someone who’s just starting to go through some challenges, while ‘Ever Green, Ever Rain’ is about the process of looking back upon everything and saying, ‘This was all necessary. And I’m ok.'”
“McArthur’s vocals exhibit an undeniably vulnerable quality while he sings his grieving state.” – Americana Highways
“Honest music…live on the floor with a hand-picked group of players.” – Billboard
“A symphonically moving composition with healing harmonies and vivid 70s singer-songwriter nods.” – Glide Magazine
“Reminds me what it’s like to fall deeply and completely in love.” – Belwood Music
“A full-bodied work of folk majesty.” – PopMatters
“Soul-stirring, soul-baring tracks.” – Cowboys & Indians
“A vulnerable, haunting collection of modern folk that brings to mind everyone from Bon Iver to Iron & Wine.” – NeuFutur Magazine
“8/10…a beautiful debut release that leaves you wanting more.” – Americana UK
“His own mix of raw soul and lushly layered folk.” – For Folk’s Sake
“Fantastic” – Ear to the Ground
Publicist: Rachel Hurley
“Rachel did everything she said she would and more. What’s likely most valuable is that she’s a master at helping craft and communicate an honest narrative that appropriately serves the message in the art.” – Michael McArthur
Cowboys & Indians Streams Andrew Leahey’s New Album “Airwaves”
Written in the wake of a life-threatening brain operation, singer-songwriter Andrew Leahey’s sophomore album, Airwaves, channels raw emotion into deep and honest storytelling.
A follow-up to his debut album, Skyline in Central Time, Airwaves gives fans more genre-blending, depth, and, of course, rock ’n’ roll.
Andrew Leahey
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Airwaves
Written in the wake of a brain operation that nearly cost him his life, Andrew Leahey’s sophomore LP, Airwaves, is as carpe diem as they come, an urgent sonic love letter channeling the 1980s FM-radio anthems he cut his teeth on as a kid. As with Petty and The Boss, a lot of Leahey’s songs get at the essence of young adulthood spent on the run, and just about every last one could be a set closer or an encore.
In addition to being an acclaimed solo artist featured at Rolling Stone, Billboard and American Songwriter, the Nashville-based Leahey is also a sought-after guitarist who regularly tours with Elizabeth Cook, and has backed Rodney Crowell, Drew Holcomb, Will Hoge and more. For Airwaves (out March 1), Leahey tapped multi-platinum producer Paul Ebersold, who enlisted Steelism’s John Estes and Jon Radford on bass and drums, respectively. Leahey also brought in his childhood best friend Phil Heesen III to add harmony vocals and guitar, as well as his buddy Sadler Vaden, who took a break from touring with Jason Isbell and the 400 Unit long enough to drop by the studio and lay down some guitar leads on “Start the Dance,” “We Came Here to Run” and “Workin Ain’t Workin.”
Airwaves is timeless American rock & roll that rings from sea to shining sea, a candy-apple-red Mustang convertible of a record burning up the interstate with the ragtop down. With it, Leahey refines the jangly Americana of his 2016 Ken Coomer-produced debut, Skyline in Central Time, grasping for the still-smoldering torch of Petty and Springsteen, angling confidently to assume the mantle of their unpretentious everyman sound. Unadorned but poignant lyrics carried by simple, uplifting melodies. Distorted windmill guitar strums. Triumphant swells of organ cresting like whitecap foam on the ceaseless ocean. Driving bass lines locked tight with the kick, pumping in unison like the pistons of an engine straight off a 1980s Detroit assembly line. Would-be stadium anthems loping forward, the echoing crack of the snare faithfully charting miles per song. In an era hellbent on declaring the genre doornail dead, Airwaves is the kind of record that could only be made by a true believer in the power of rock & roll.
“The man who might just be the heir to Tom Petty.” – Americana UK
“A celebration of the sounds that became an important foundation for so many people growing up.” – Belwood Music
“A heartfelt homage to Leahey’s rock heroes.” – Billboard
“A blast.” – Rolling Stone
“Anthemic.” – Wide Open Country
“Passionate…rekindles the spirit of Tom Petty & The Heartbreakers along with Steve Earle in a rock 101 sample that brings together all the essential facets of a song.” – Glide Magazine
“The kind of music that makes you feel good in the truest sense.” – Americana Highways
“Leaning more to the rock side of Americana and alt-country.” – The Boot
“Outstanding…a universal sound that will appeal to a wide audience.” – Staccatofy
“Happy and danceable…evoking nostalgia.” – Where the Music Meets
Publicist: Rachel Hurley
“Rachel understands the music business AND truly understands bands. She’s a champion for real art, and her work goes beyond the cut-and-dry boundaries of a standard PR contract.” – Andrew Leahey
The Deli Magazine Features Boo Ray’s New “Back Down to Georgia” Video
Playing with Andrew Leahey at 3rd & Lindsley on March 3rd is Boo Ray, whose outlaw sound and rough voice will have you smelling whiskey and swamp water psychosomatically. The artist’s new video for “Back Down To Georgia” — a track from his latest release Tennessee Alabama Fireworks — traces the journey of a woman delivering a recipe in parts to Ray to help him make Nashville’s famous Hot Chicken. The track has Boo Ray and his band’s signature sound of a tight group that’s thundered up and down the roads of the Bible Belt together over the years, their vocal cords becoming coated with smoke and their instruments loud enough to shake the Delta.