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Grassy Hill Entertainment singer-songwriter Amy Speace has been invited to showcase the upcoming 2008 Northeast Regional Folk Alliance Conference (NERFA) as well as February's International Folk Alliance Conference. Amy will be performing her NERFA showcase on Friday November 14, 2008 (11:05 - 11:20 PM) in the Dutchess Room at the Hudson Valley Resort in Kerhonkson, NY. Amy also showcased last year's NERFA conference on November 9, 2007 at Kutsher's Resort and Conference Center in Monticello, New York. Amy was also invited to an official Performance Alley Showcase, during the International Folk Alliance Conference being held on February 18-22, 2009 in Memphis, Tennessee. Further details will be announced on Amy site ( http://www.amyspeace.com ) as they become available. "Let's get the comparisons out of the way. Yes, there is a vocal resemblance to Rosanne Cash, but as a songwriter Amy Speace is non-pareil. Delving into the heartbreak and melancholy of country music with a folk/rock sensibility and a class and reserve reflective of the best of Alison Krauss, Amy Speace has created an album full of classic tunes that cannot be ignored or denied. Rating: 5 Stars (Out of 5)" Wildy's World Amy Speace has already won a loyal grass-roots fan base, thanks in large part to live performances that merge warmth, humor and emotional immediacy, and to a tireless touring schedule that's already taken her across the United States. She's also won considerable critical acclaim, with The Village Voice observing that Speace is "taking her Americana away from twangy contemplation toward tangy confrontation" and noting that she's "not another of those breathy would-be child poets, but a real singing writer of songs." Time Out New York stated, "Amy Speace plays sweet, twangy folk music with a clear voice and an innocent vulnerability," while The Nashville Scene noted that she "balances wry humor with open-hearted honesty." And renowned Nashville critic Robert K. Oermann, writing in Music Row, dubbed her a "new star." http://amyspeace.musicdish.net

Rocker Tim Young is a veteran to the New York music scene. Influenced over the years by artists of all styles from Marvin Gaye to Jefferson Airplane to Elvis Presley, Young has been writing music for nearly two decades now. He started releasing albums in 2002 with No Stranger, a collection of nine original instrumentals that were self-produced and recorded at his home studio. His 2005 album, Red, was his debut as a singer/songwriter, and now in 2008 he has released his newest album, The Cost, that is a straight up rock 'n roll record. MusicDish had the chance to speak with Tim in this exclusive interview about his new album, his influences, his future and other related topics. [MusicDish] When did you begin creating music, and when did you begin to seriously pursue a music career? [Tim Young] I was a junior at Mansfield State University in Mansfield, PA. Actually, I had accordion lessons when I was a kid from eleven years to fifteen. But at Mansfield I began to write my own songs. Then I was nineteen. Peter, Paul and Mary were the easy ones to pick up then and everybody loved them. Once I put my first band together, which was the early 80's, I became serious about my music. My first band, just for the record, was named Signals. Unfortunately there are no recordings of this music. Or maybe that's a good thing. I did always think I've got a bunch of hits in me. [MusicDish] What were your earliest musical influences? [Tim Young] Probably Elvis and Elvis clones like Fabian and Bobby Rydell. There was also this guy Buddy Knox who had this record, 'Party Doll', which I loved. The Beatles hit when I was fourteen and that was the heyday of great AM radio which was always on the instant I stepped foot into the family car. After I earned my driver's license and could drive on my own, I would drive as fast as the music would take me and turn it way up. I remember Tommy James's 'Hanky Panky' and Arthur Connolly's 'Sweet Soul Music' being particularly great to drive fast to. [MusicDish] Do you find that songwriting or lyric writing comes most naturally to you? [Tim Young] I think they both come naturally to me but both are difficult to get right. I began writing some poetry in high school but I didn't play guitar then. However, I was encouraged by a few fellow students to go on with my writing. I guess melodies did come kind of easy for me once I had mastered a few chords. It was and still is so fascinating to see and hear the words take on a new life in the context of the music. Plus I had memorized every lyric and melody nuance to every Beatles song that was released. I poured that stuff into my head. I know that helped me in many ways. The late 60's and early 70's brought the counterculture to a head. I mean there was a lot in the air then that one could take to support the habit of writing music and putting words to it. It seemed there was always something that needed to be said. And for me the longer I kept writing the better I became. [MusicDish] What music do you currently listen to? [Tim Young] Mostly my own stuff. When I've completed a new project I get so much satisfaction in hearing it. It's like food. I need it to sustain myself. I also listen to artists I find on MySpace and other places I stumble onto on the web. I should probably branch out more with my listening but mostly I'm just disappointed. However, right now I am also pretty hot on Patti Smith after just seeing the brand new doc on her life, which was an excellent film. [MusicDish] As I listen to 'The Cost,' I am clearly reminded of the twangy blues of Elvis, combined with the overwhelming vibe of heartbreak, mastered by Johnny Cash. Would you consider your music to be modeled after them? [Tim Young] Not consciously. But Johnny Cash is someone I look up to because he was more of a writer than Elvis, and in the past few years before his death, Cash was really reborn again. It's no secret. Just listen to those last few albums. Stellar performances, in my opinion. And even though he did cover a lot of songs, if you didn't know you would probably think that Johnny wrote them. That's the kind of artist I can aspire to. It seems to me that his music was not a part of his life but was his life and in that respect I guess you could say I have modeled myself after Johnny Cash. I also dig the wearing of the black. [MusicDish] What do you feel is the overall message of your album? Do the themes of pain and loss correspond with personal experiences, and do you feel that the album can serve as therapy for those who also experience similar situations? [Tim Young] I don't know if there is a message, but it seems to me as the good stuff and bad stuff comes along it's better to deal with it somehow rather than sweeping it under the rug. If you lose someone dear to you then howl about it. When things get ugly, move away from them. The individual is responsible for him(her)self. It's too easy to blame somebody else. When things are great, celebrate. It's so much more wise, I think, to roll with the punches. Have fun. Not having fun? Get drunk. I'd have to say that almost all my songs are pretty personal. They all trigger a personal response in me that no one else would know about. I think that happens to everyone - an individual response that lives in the mind. On the other hand, there can be a more shared response between people and that's what makes a song resonate and become popular. The sharing of the emotions the music allows to come through. There is real power in those kinds of emotional reactions. I'm certainly no therapist, but I know from experience that the right song at the right moment is capable of lifting spirits and/or putting you in a mood that may somehow alleviate or bring into focus whatever situation one might be going through. I can say without any hesitation or trepidation that this record, 'The Cost', makes me feel great, and a big part of that reason is I think it touches on a lot of shared inner emotions. [MusicDish] Which track is the most meaningful to you? And which do you think will be your biggest hit? [Tim Young] I go back and forth on this but today I'd have to say the title track, 'The Cost', is the most meaningful. I could not have written this song without the amazing relationship I share with my girlfriend. 'The Cost' is the worst case scenario. What if things all fell apart? Disaster. I would never want to face that, but what if? Nobody knows. If 'The Cost' was to be the biggest hit... Wow. I could see that. (I think the sleeper hit could be 'Wishing.') [MusicDish] On 'Drifting Cowboy,' can you offer some insight as to whether the cowboy is a fictional character, or if he is autobiographical at all? [Tim Young] I suppose a combination. That word 'cowboy' pops up in my songs sometimes. I dig that word because it represents freedom to me. Someone with no ties; whose only possessions are a horse and whatever is in the saddle bags - the ability to just split without notice. Maybe because I'm a city dweller part of me yearns for the openness of what the West used to be - what it meant to head West. I took the title from the name of Hank Williams' band, The Drifting Cowboys. By the way, the details listed in the song are facts about Hank: born in Alabama, quit school in Montgomery, played in bars and on the radio, made it big in Nashville. [MusicDish] How do you feel about the current state of the music industry? Do today's artists compare with the legends of the past, like Elvis or Johnny? Do you have hope for the future generations of American music? [Tim Young] I think generally the industry is healthy because there are more artists than ever working and creating new music. I believe the consensus is that the internet has leveled the playing field some. The major labels no longer have the stranglehold on the business they used to. I still think it's very difficult to have people pay attention to new artists and part of this is because there are more artists than ever and it's very difficult to get through most of the muck to find something of value. This has probably always been true, but with the internet it has become so much more obvious. Great artists are rare. I know there are some out there but I don't want to be told who they are. Supposedly greatness rises to the surface and if that's true then I'll see them when they appear. Today it's too much of what I call the 'toothpaste effect': one brand today, a different brand tomorrow. The music doesn't stick; it just washes down the drain. Spit out. Hope doesn't cost a dime. [MusicDish] What is the next step in your music career going to be? What can fans expect? [Tim Young] More music! I've never done any kind of major touring and I would like to do that. I want to put out one album a year. Right now I'm in the middle of writing songs for the next record. I want 'The Cost' to make a difference in my career so that I can accomplish some of these goals more easily. My fans can always expect the kind of emotional no holds barred shows that I always deliver, and new songs and ideas are always a part of that. Performing is a high priority. [MusicDish] Can you speak a bit about your current performance schedule? Where can fans see you live? [Tim Young] This is an area I need to improve. I don't have a satisfactory performance line up. Right now I have a solo gig at the Vintage Bar, which is located on the corner of 51st Street and 9th Avenue. I perform there once a month, in about the middle of the month. The dates always change but I always post them on my site and on MySpace. Vintage is a great intimate setting and I love playing there. My band, which is a duo, with Sand Edwards on drums, is on the lookout for gigs. I wear a lot of hats running this project and sometimes the booking agent hat has a tendency to fall off, but like all the others I pick it right up again. http://www.timrocksweb.com http://www.myspace.com/timnycyoung

Composer, producer, and multi-instrumentalist Ryan Farish announced the release of his sixth full-length album "Wonderfall." The album, featuring 16 new originals compositions by the Dove award-winning musician, is being released on Farish's label, RYTONE Entertainment, and published by Farish Music International (BMI). In addition to being available through all major online retailers, the single "Holding Hands" is being made available as an mp3 download for a limited period. "Holding Hands" is the hit song that premiered on the smash Midas/EMI release, 'The Weather Channel Presents: Smooth Jazz". The compilation, featuring Ryan's song alongside Jazz superstars Chick Corea, Dave Koz, Peices of a Dream and Najee, reached #1 on Billboard's Jazz Album Chart. "'Holding Hands' is a relaxing, ambient number with a memorable piano line and soothing breakbeat sounds. This peacefulness remains throughout the song and one cannot help the sense of feeling empowered by the music. By the time the choir vocals chime in, you will be hooked into a serene listening experience." - MusicDish http://www.ryanfarish.com

"Just Say So Baby" the new digital single release by Mike Runnels is receiving airplay and accolades across Europe. The Tex-Mex single available on iTunes is making impact on the radio in Denmark, Sweden, The Netherlands, Belgium, Austria and France. What the disc jockeys are saying, "A very great song, love the Tex-Mex sound" - Kjell Horlin MCWC Radio Sweden "I love it " - Mike Penard Radio ISA France Radio programmers can download the single for free at http://www.AirplayDirect.com/MikeRunnels Mike Runnels is a Retro-Country and Tex-Mex artist based in Austin, Texas. The upcoming movie Fuel starring C. Thomas Howell and directed by Oktay Ortabasi features three of Mike's songs.For more information visit http://www.MikeRunnels.com

A Review of Music from the Documentary 'In Debt We Trust' By Liz Singer American artists have always felt free to speak their minds, even when their opinions touch on controversial topics. During the Vietnam War, the politically-conscious Edwin Starr sung out, "War, what is it good for?" to protest America's place in the bloody battle. And leading up the 2004 presidential election, Green Day recorded ‘American Idiot,' an entire album devoted to the dissatisfaction with George W. Bush's presidency, and subsequently, the ever-changing America. Today, Polarity/1 is no exception. Polarity/1, a multi-instrumentalist/arranger/composer/producer, was one of the early voices warning of the impending debt crisis, having composed most of the score and served as Music Supervisor for Danny Schechter's feature-length documentary 'In Debt We Trust'. Focused on America's dangerous addiction to debt and the predatory nature of our credit and loan industry, the film predicted over two years ago the economic meltdown being experienced today. Proudly speaking his mind through his music, Polarity/1 uses freedom of speech to express his opinions on America with five songs featured in the documentary. The music -- "Free Money," "Charge It," "Winter In America (Chills To The Bone)," "I'm So Broke," and "Free Money Blues" -- touches on topics ranging from poverty, to homelessness, to drug abuse, all the while allowing his bold statements to shine through the various sounds of each track. In traditional twangy blues style, complete with a woeful chorus of melancholy men, "Free Money Blues" tells the financial burdens of the average American. Listing off dream items like flat screen TVs and new video games, the track reveals the pain of Americans, stuck in an economy where the rich keep getting richer and the poor keep getting poorer. In Polarity/1's strained voice, listeners can feel the frustration at life in America, where money is abundant, but among all people, somehow the dollars don't add up right. On the rock track "I'm So Broke," Polarity/1 continues to wail about finances, forcing every listener to understand how it feels to have nothing in such a wealthy country. Commenting on the homelessness problem, he says: "What's left in my pocket goes to keep me off the docket." Screaming "I'm so broke" over and over, listeners are left to think about the current state of America, as they must try to find solutions that will balance out the distribution of wealth in the country. Taking a turn to rap, "Winter in America" also deals with the issue of homelessness, though this time taking a more drastic approach as it describes the brutally cold weather that they must endure. Once again proving the seriousness of the situation, Polarity/1 introduces the problem of drug addiction facing poor young people, suggesting that the country is to blame, and not parents: "You tried to raise ‘em right, but before you know, they'll be suckin' on a crack pipe." Through all five tracks, Polarity/1 continues to reflect on the crucial issues facing Americans today, as those in poverty keep struggling to survive, while the government does little to help out. With such political music, it's obvious that Polarity/1 is doing his part to change the face of America. And by listening to the music of "In Debt We Trust," we are also invited to do the same. Enjoying the songs and its message is only the beginning, though. In a country where debt is quickly becoming the only thing we can trust, Polarity/1's album functions as the ultimate personal question: What are you going to do to fix America? All five songs are available for free download at http://www.reverbnation.com/polarity1

BFM Digital Releases "Jamtse: Love And Compassion" A Benefit Album In Support For The Tibet Fund LOS ANGELES, August 6, 2008- BFM Digital ( http://www.bfmdigital.com ), a leading digital music aggregator and distributor of independent music, announces the release of the album “Jamtse: Love and Compassion - An Offering to The Tibet Fund”. This digital compilation features such renowned artists as Nawang Khechog, Snatam Kaur, Jai Uttal, Deva Premal, Omar Faruk Tekbilek, MC Yogi, Toshinori Kondo, Krishna Das, Bill Laswell and more. Top independent record labels Sounds True, Spirit Voyage, White Swan, New Earth Records, Wah! Music, Alif Records and others, all donated tracks to this worthy cause. “JAMTSE” (which means love and compassion in Tibetan) is the first digital-only release from BFM Digital and proceeds will go exclusively to The Tibet Fund in support of their work. This project, conceived by producers Joshua Jacobs (Ambient Groove, a division of Synaptic Fusion Entertainment) and Steven Weber (President, BFM Digital), is intended to act as an instrument to bring awareness toward the current plight of the Tibetan people. Each track was hand picked by Jacobs to focus on healing through sound vibration and mantra. The musical genres include World, New Age, Meditation, Chant, and Yoga. "It was a blessing to have this opportunity to bring together music from diverse cultures and traditions in support of the Tibetan people,” says Joshua Jacobs “The enthusiasm and support far exceeded our expectations from the very first day we mentioned the project to our colleagues in the business” says Steven Weber. “We are proud to present this special project on behalf of our artists, labels and publishers whose generosity in donating proceeds from the sale of “JAMSTE” will benefit the full range of outreach, assistance and educational services The Tibet Fund provides.” About The Tibet Fund The Tibet Fund is dedicated to helping Tibetans improve their lives and preserve their distinct cultural, religious and national identity. The Tibet Fund brings urgently needed resources to the educational, cultural, health and socioeconomic institutions that sustain the Tibetan way of life, language, and traditions. The Tibet Fund‘s support helps to sustain the Tibetan refugee settlements in India, Nepal and Bhutan and provide rehabilitation services for the thousands of new refugees who continue to arrive from Tibet every year. Through its program in Tibet, the Tibet Fund partners with local NGO's in Tibet on projects that treat and prevent blindness, house and care for orphans, and provide educational opportunities for Tibetans. BFM Digital, LLC Connecting music to the world since 2004, BFM Digital is an innovative digital distribution company committed to serving the independent music community by helping them maximize their catalog's potential through global digital distribution. BFM Digital offers labels, artists and content providers access to all major online and mobile store fronts. BFM represents hundreds of catalogs in every genre and works closely with labels to ensure top placements through ongoing promotions with retailers and target campaigns for key releases. BFM is also affiliated with leading global publishing companies such as The Royalty Network, Inc. For more information, please visit http://www.bfmdigital.com

A Review by Mark Kirby Over a decade ago, rappers Chuck D and Public Enemy asked, "Who Stole the Soul?" Today, after Christina Aguilera's R&B-infused Back To Basics double CD and the Amy Winehouse soul explosion, the real question is, "Who stole it back?" Part of the answer can be found in Lorraine Reid's single "How Can I Keep Him Lovin' Me?" It always comes as a surprise when I hear a modern R&B singer who has both the pipes to belt out with intensity and the good taste to let the song tell the story, choosing to not over-saturate a classic melody with vocal gymnastics. Reid dazzles her listeners with the perfect balance of vocals, just like the classic soul, rock and pop singers did back in the day. This timeless track by the Canadian, 7-time Juno nominee would fit right in with the best of soul and funk in any age. "How Can I Keep Him Lovin' Me?" begins to amaze listeners with its instrumentals -- the keyboard starts with mellow soul chords and is followed by gently plucked guitar and sparse bass that flows with restrained energy even while in ballad mode. The drums play a beat that has previously anchored old pop and soul songs as well as bawdy stripper show tunes; it's a beat that is part-waltz, part-easy-going phat back groove. While this stew is bubbling, Ms. Reid tells the story: "No more than 15 but grown before her time / This young girl was seekin' love from men who would dim the lights / How can I keep him lovin' me? / Here she was still seeking love / it was no where to be found." Aside from the modern beat of the drums and the contemporary soul sound, the track is undeniably old school because it deals with real people and real-life issues, concepts that are often lost in mainstream music today. The sales of R&B records -- as with those of hip-hop and most other genres -- continue to slump. Illegal downloads aside, the vast majority of these records deal with unattainable fantasies of sex, glamour, white linen suits and matching Bentleys. People who have just been laid off, had their benefits run out, or their home foreclosed don't want to hear about such lavish topics. And they can't even afford to buy overpriced CDs, anyway. That's why real people, especially women, like Mary J. Blige's tales of being a survivor. Like Blige, Reid tells a tale of survival and, like the best soul and gospel singers, past and present, she goes beyond this simple tale: "At 22, a mom of two, but she was still a child / Her mama's advice to her was a message meek and mild / what this baby boy sees in you I tried my whole life to find / so dry your tears, my baby girl, you're lookin' at piece of mind." Throughout the song, Reid's vocals follow the lyrics and melody on a rollercoaster of emotion, saving the soaring peaks of her sweet yet powerful voice for the pinnacles of the song, especially the last lines. By the end of "How Can I Keep Him Lovin' Me?", the sadness becomes both redemption and a spiritual epiphany -- all because of the power of love. Now ain't that what soul music is all about?

Maybe you've noticed that America's debt industry -- based on legalized loan-sharking -- has created an economic crisis that threatens to go global. On a more local level -- millions of families are facing home foreclosures and bankruptcy. And the credit card offers just keep flowing into our mailboxes. "The avalanche of propaganda from the US debt industry with offers of 'cheap' credit is downright immoral as millions of families see their homes foreclosed," noted NY-based multi-instrumentalist/arranger/composer/producer Polarity/1. "Having long worked on the subject, I felt I had to do something in order to educate Americans and counter the propaganda" Polarity/1, a multi-instrumentalist/arranger/composer/producer, was one of the early voices warning of the impending debt crisis, having composed most of the score and served as Music Supervisor for Danny Schechter's feature-length documentary IN DEBT WE TRUST. Focused on America's dangerous addiction to debt and the predatory nature of our credit and loan industry, the film predicted over two years ago the economic meltdown being experienced today. And he's now making the message available to the public, offering all his tracks from the documentary - including "Free Money," "Charge It," "Free Money Blues," and "I'm So Broke" - as free MP3 downloads at reverbnation.com/polarity1 The music of Polarity/1 is exactly what the name suggests: conjoined opposites -- a mash up of new: cutting edge electronica/hip hop/nu-jazz and old; roots music of America (blues, funk, country, early jazz), Brazil (samba, pagoda, etc.) and West African groove science. Polarity also describes the dual streams of Polarity/1's musical output: songs and instrumentals. After a few years of playing percussion in samba bands at S.O.B.'s and other venues. Polar landed in hip hop which combined his interests in grooves, samples and wordplay into one form. He and rapper D.A.V. became Medicine Crew. In the aftermath of 9/11, Polar was asked to do a remix of Nile Rodgers' We Are Family Project released on a compilation by Tommy Boy Records. His experience of 9/11 which was perpetrated in his neighborhood led to a collaboration with multi-platinum Pakistan rock band Junoon resulting in their hit song 'No More'. John Hollander has choreographed four Polarity/1 compositions for New York's Battery Dance Company's fall season opening in November 2006 and has been touring extensively with the piece. In 2008, he scored "The Other Side" for the Quorum Ballet from Lisbon, Portugal. P/1's new collaboration, Koko Dozo, released their first album Illegal Space Aliens in February 2008. Check out IN DEBT WE TRUST -- the scariest movie of the century (Better hold the butter on the popcorn). To get more information on these issues, assistance with debt problems and ways you can fight back -- go to StopTheSqueeze

Karen Young, considered one of Canada's great jazz singers, has been invited by CIRPA (Canadian Independent Record Production Association) to perform their London Calling showcase "Canada Presents Canadian Blast!" Introducing material from her upcoming album with composer and bassist Eric Auclair, the showcase will be held at The Borderline on June 19th. Canada Presents Canadian Blast! London Calling June 19th 7:30 PM The Borderline Orange Yard off Manette Street, London Voice and double bass in duo is a favorite jazz combo. Powerful, rich and lace-like textures, delivered beautifully by Eric Auclair's sampling, pre-recorded and live, are used as sound-track to Karen's crystal-clear voice and poetic songs. ElectroBeatniks, the title to this duo concert and upcoming CD, brings their jazz into the 21st century. Now in the final stages of post-production, the album is scheduled for an early fall release, followed by a series of concerts featuring this unique jazz/electro fusion. Considered one of Canada's great jazz singers and Fusion/World specialist, Medieval music autodidact, songwriter, composer, arranger, Karen Young's vocal range and control and her passion for music have enabled her to attain success in various musical genres. Awarded Artist for Peace in 2003, Karen also received RIDEAU Career Prize the same year - Quebec's venues and events programmers professional association. Album producer/coproducer, Karen also wrote, composed or arranged her eight CD titles under her label URSH Records since its inception in 1992, among which Canticum Canticorum - a specialized Medieval / Mediterranean / Jazz Fusion CD than sold almost 10,000 to date in Québec only.