The Farm Hands – Good Things



Two-time Songwriter of the Year Daryl Mosley has several #1 songs to his credit, including the southern gospel classic, ‘(Ask the Blind Man) He Saw It All. Daryl has written songs featured on ‘American Idol’, ‘The View’ and other TV shows around the world. Gospel music icon Bill Gaither calls Farm Hand’s bass player Daryl Mosley “a poet-and we don’t have many poets left.” Daryl is also a six-time Male Vocalist of the Year nominee.

In 2015, Grammy award winner Tim Graves was inducted into the Bluegrass Music Hall of Fame. Tim has over 30 years of professional music under his belt, including 20 years as part of world famous Grand Ole Opry. Tim has toured extensively across the U.S. both as a sideman and with his own group. Tim plays his signature ‘Tim Graves model’ Beard resophonic guitar and is the reigning Dobro Player of the Year in bluegrass music, a distinction he has held 12 times and the last 9 years in a row. In 2015, Grammy award winner Tim Graves was inducted into the Bluegrass Music Hall of Fame. Tim has over 30 years of professional music under his belt, including 20 years as part of world famous Grand Ole Opry. Tim has toured extensively across the U.S. both as a sideman and with his own group. Tim plays his signature ‘Tim Graves model’ Beard resophonic guitar and is the reigning Dobro Player of the Year in bluegrass music, a distinction he has held 12 times and the last 9 years in a row.

Three-time Guitar Player of the Year nominee Keith Tew has toured with High Strung, Vassar Clements of the Grateful Dead, Rock County, and performed on the Grand Ole’ Opry as a member of Rhonda Vincent’s band. Keith is a Grammy-nominated singer/songwriter and is a 2 time Song of the Year winner. One for the Lonesome River Band classic “Am I A Fool” and again for The Farm Hand’s “Dig In The Dirt”

The newest member of the Farm Hands is Don Hill. Don has the distinction of being named state champion banjo player in several states including Alabama, Kentucky, and Tennessee. Don is a Tennessee native and has worked with many of the major artists in bluegrass music including Grand Ole Opry stars Bobby Osborne and Jesse McReynolds and is a 2017 Bluegrass Banjo Player of the Year nominee.

The Patuxent Partners – There Must Be Another Way To Live

Album Notes
In the world of bluegrass music, the high lonesome sound never goes out of style. When a great traditional band hits the stage with power and authenticity, the audience really pays attention. The Patuxent Partners command such attention wherever they perform. Since 1975, the the Patuxent Partners have brought their exciting brand of bluegrass music to festivals, dances, concerts, and special events throughout the mid-Atlantic region. Bandleader Tom Mindte sings and plays mandolin.Tom’s remarkable voice ranges from deep bass to soaring tenor, and he brings a wealth of traditional songs to the band’s repertoire. Tom’s phenomenal mandolin virtuosity, inspired by bluegrass greats Bill Monroe and Buzz Busby, is the driving force behind the band’s instrumental sound. Lead singer and rhythm guitarist Bryan Deere hails from southern Maryland.

Whether the song is a country tear-jerker or a bluegrass classic, Bryan’s expressive and powerful singing is pure and true to the roots of the music. Adding excitement and drive to the bluegrass sound is one of the jobs of the banjo picker, and John Brunschwyler is hard to beat. John’s inventive approach to traditional banjo playing has made him a favorite of bluegrassaudiences throughout the region. John also sings the baritone harmonies in the group’s trios. Fiddler Jack Leiderman brings his years of experience with rosin and bow to the Patuxent Partners. His bluesy,
soulful fiddle style skillfully complements the band’s vocals. Pulling it all together is the strong, dynamic rhythm generated by bassist Victoria McMullen. Originally from south Georgia, Victoria is equally at home in a bluegrass, swing or classical setting, and contributes an unwavering sense of musicality to the band.

Charm City Junction – Duckpin

Baltimore-based acoustic roots quartet Charm City Junction weaves together a tapestry of tones spawned in the rolling hills of Ireland through the hollers of Appalachia. Their sophomore release, Duckpin, showcases the band’s growth since their acclaimed debut album in 2015. They play with an intensity and sensitivity only close friends can have. Since forming in the winter of 2014, the band has rocketed to prominence through their engaging live performances and innovative approach.

Patrick McAvinue, 2017 IBMA Fiddle Player of the Year, takes charge with his virtuosic, powerful and musical approach to the fiddle. Clawhammer banjo wizard Brad Kolodner adds his playful, driving, melodic and groovy Old-Time touch. Sean McComiskey, one of the premier Irish button accordion player in the US, soars through the tunes and fills the gaps with his soulful playing. The versatile bassist Alex Lacquement drives the train, locking everything together with his commanding and tasteful choices.

Charm City Junction embodies the essence of what acoustic roots music is all about, a shared and burning passion for blazing new trails while respecting the tradition. They are torchbearers with a clear message that the future of acoustic music is in good hands.

“Carrying on the torch of interesting, rootsy music.” – SiriusXM

“Baltimore-based roots group Charm City Junction puts a new spin on old-timey music, carrying the torch of fast-picking bluegrass and toe-tapping Celtic music. Featuring fiddle, clawhammer banjo, the button accordion and upright bass, this quartet isn’t afraid to take roots music to new places — but always with an eye on tradition.” – The Washington Post 

High Fidelity – Hills And Home

Many folks remember the great bluegrass records from the 1950s and ‘60s. The power and soul of that music has won the hearts of people across the globe. Few bands have come along in recent years that directly draw their influence from that classic era of the music’s history. High Fidelity is a rising group whose love and devotion to that music is unsurpassed. The name alone says it all: HIGH FIDELITY. How many record albums have you seen from the ‘50s and ‘60s that bear those words? Herein lies the heart of what this group of young performers is all about.

“I personally have loved those sounds since I was a child. The older music always stood out to me,” says band leader and lead vocalist Jeremy Stephens, who switches between banjo and guitar on stage. “We are aiming to find good songs with a good message and melody that fit the style that we intend to represent: bands of the late ‘50s and early ‘60s like Reno & Smiley and Jim & Jesse. We choose obscure songs that these types of groups did or reach further back to get material that we like that we feel fits this style.”

To all but the most dyed-in-the-wool bluegrass and old-time music devotees, the music on Hills And Home will come as a revelation. The group avoids the well-known war horses associated with the likes of the Flatts & Scruggses, the Stanleys and the Monroes. Well, not quite all of the Monroes. Jeremy exclaims: “No bigger fan of Charlie Monroe than me! I love his singing and guitar playing.” Instead, the band chooses to mine gems from lesser known – but no less worthy – acts such as the Lilly Brothers & Don Stover, Wade Mainer and venerable gospel group The Chuck Wagon Gang (whom Jeremy spent six years as a member of prior to forming High Fidelity).

The High Fidelity lineup took shape in early 2014, leading up to a competition for new bands at the SPBGMA (Society for the Preservation of Bluegrass Music of America) Convention in Nashville. Jeremy, fiddle player (and now wife) Corrina Rose Logston Stephens, banjo player Kurt Stephenson, bassist Vickie Vaughn and multi-instrumentalist Daniel Amick (mandolin, banjo, guitar) assembled a list of decades-old songs that they could flawlessly recreate on stage, including some gems from the Stanley Brothers. Before long, the band realized they could put their own stamp on the material without losing the integrity of the original recordings. With that newfound perspective, High Fidelity handily won that year’s contest.

In 2016, their self-titled, self-produced debut was released to critical acclaim: the album was given a glowing feature by Bluegrass Today’s John Lawless, and Bluegrass Unlimited’s Walt Saunders gave it a celebrated “Highlight” review, even going as far as declaring it his “Album of the Year” for 2017. And, just at the beginning of this year, The Bluegrass Situation listed Hills And Home as one of its most anticipated releases for 2018 — long before it even had a title!

First single “The Hills and Home” is a superb rendition of a John Duffey composition originally released by the Country Gentlemen for Starday Records in 1959. High Fidelity’s fresh remake of this semi-obscure cut typifies what the band is all about: interpreting classic-era bluegrass through the fresh, young perspective of today’s generation. Stephenson brought the song to the group. “The Country Gentlemen’s Starday cut of ‘The Hills and Home’ is one of my favorite recordings,” he states. “To me, the song was unique in that it was a trio throughout, with powerful harmonies from Charlie Waller, John Duffey and Eddie Adcock. I was also taken by Eddie’s banjo playing on the recording. His second solo emulated a steel guitar, which I found to be very fascinating. When searching for material to record, ‘The Hills and Home’ was the first song I thought of. I felt that it would be a good fit for the group. The song lends itself to who we are striving to be as a band, both in style and in the values we hold dear.”

Songs From The Road Band – Road to Nowhere


Song based high energy bluegrass performed and sung by some of the best cats in the business!

Album Notes
Songs From The Road Band is a North Carolina powerhouse group featuring Mark Schimick, Charles Humphrey, Ryan Cavanaugh, Sam Wharton, and James Schlender. Collectively, they have received top accolades in the bluegrass, Americana, and jazz genres. They will be touring heavily in support of the fourth studio album, Road To Nowhere, is due out in the summer of 2018!

Humphrey is an IBMA award & Grammy recipient. He has also garnered a spot in the NC Music Hall of Fame. Schimick has soared to the top of the progressive and jamgrass scene alongside legends Larry Keel, Vassar Clements, and Tony Rice. Cavanaugh has made his long-awaited return to bluegrass after 10 years of touring the world with jazz great Bill Evans and his Soulgrass project. He has been acknowledged by Bela Fleck as an acoustic pioneer on the 5 string banjo. James Schlender, 2 time National Fiddle Champion has shared the stage with Chick Corea, Bobby McFerrin, and George Benson. Sam Wharton is an award winning guitar picker and singer who refined his chops in the bluegrass halls of Telluride, CO! The Road Band delivers a high energy show full of original material from their 4 studio albums, unmatched instrumental prowess, and creative covers!

Hot Buttered Rum – Lonesome Panoramic

For nearly two decades, Hot Buttered Rum has attracted a truly multi-generational audience across the States with their high energy and fun-loving performances that showcase their stunning instrumental and vocal ingenuity. Hot Buttered Rum is excited to independently release Lonesome Panoramic, their sixth studio album, on July 20, 2018.

“Lonesome Panoramic is the result of different thematic and stylistic threads that Butter has been chasing over the years: driving uptempo stringband tunes, layers of dark lonesome drum grooves, letting things go, and embracing what we have,” says HBR’s Nat Keefe.

The band’s two vocalists and songwriters, guitarist Nat Keefe and multi-instrumentalist Erik Yates (mainly 5-string banjo, also resonator and acoustic guitars), take turns leading each of the 13 well-crafted originals on the album. Rounding out the band, Bryan Horne delivers, in true athletic form, his talents on upright bass along with charismatic fiddler and harmony vocalist Zebulon Bowles and drummer/percussionist/mandolinist James Stafford, providing a warm and solid rhythmic foundation.

Self-produced, Lonesome Panoramic was recorded at Panoramic House Studio in Stinson Beach, CA, along the Panoramic Highway. With majestic views of the western Marin County coastline, it is a landmark destination studio built with recycled materials in the‘60s and renovated and upgraded into a studio in 2013. The studio has been host to several big-name indie bands, including My Morning Jacket, Band of Horses, and Thee Oh Sees. Lonesome Panoramic was engineered by Robert Cheek (Band of Horses, The Chris Robinson Brotherhood), mixed by Zebulon Bowles, and mastered by David Little.

Yates says, “Making music on the Panoramic Highway carried a lot with it for me. It’s one of the roads I grew up driving, towards the ocean, the mountain, the woods, and, eventually, back home again. I hope some of these tunes can do the same for the listener.”

Much of Hot Buttered Rum’s music is inspired by the northern California landscape and Lonesome Panoramic conveys a broad range of what Hot Buttered Rum offers. The album kicks off with a pair of buoyant bluegrass tunes, opening with their more traditional lineup of guitar, fiddle, banjo, bass, with Stafford forgoing the drums for mandolin. They change the pace a bit on the third track, “Country Tunes & Love Songs,” adding in drums for this mid-tempo Americana rocker; it is one of a few songs on the album where Yates trades his banjo for the Dobro; another is “Treasure Island Blues.” Peaceful and reflective, “How Short the Song” is performed as a trio with velvety string arrangements, while “When that Lonesome Feeling Comes” is a more lively ragtime boogie gospel.

Rooted in the trajectory of west coast bluegrass, Hot Buttered Rum began in San Francisco in 1999 after Keefe, Yates, and Horne connected through backcountry trip in the High Sierras; they added drums in 2008 and have since progressed into upbeat improvisational mix of song-oriented string music with a groove that interplays between bluegrass, folk, rock, and country. Their years of touring have given the band the chance to work and play with an extensive cross-section of musicians including Phil Lesh, Chris Thile, Kyle Hollingsworth, Brett Dennen, and Robert Earl Keen, to name a few, as well as being named “The Official Bluegrass Band of the San Francisco Giants.”

With Lonesome Panoramic, Hot Buttered Rum wades the full width of the river from the shoals to the deep waters with a passionate, laid back attitude and they are thrilled to share this new album with the world.

The Ragtone Ramblers – Ragtone Stomp

Playing in the pocket where country and jazz unashamedly mingle, The Ragtone Ramblers first release Ragtone Stomp, represents 12 months of careful songwriting and captures a sound that is both unique and strangely familiar.

The six tracks showcase a style distilled from the great hillbilly, honkytonk and western swing acts of the early 20th century with hints of jugband, Dixieland and country blues also getting a nod. The recording retains the warmth and character of the bands vintage sound and energetic live shows.

The sweet country twang of three distinct vocalists and songwriting styles blend seamlessly against a back drop of steel guitar, slappin’ bass, tenor banjo and the rattle of the washboard.

Introduced by a mutual friend who just knew they’d be great together, the band formed in early 2017, after realising they shared a common love of early American roots music and vintage instruments.

Evolving from bands including Floyd Family Breakdown, Mayhem County Boys and the Sugar Shakers – the Ragtone Ramblers recorded on this release are: Dennis Duigan (vocals, guitar, mandolin, harp), Mitch Humphrys (vocals, archtop guitar, steel guitar, tenor banjo), Paula Hackney (vocals, washboard, tenor banjo and snare). Toby Mellonie plays double bass at live shows.

Borrowed Tyme Band – Borrowed Tyme Band

Formed in late 2015, Borrowed Tyme’s vocal harmonies are often heard soaring above Roger Brown’s clean, crisp mandolin style and Josh Wood’s driving style of banjo. Rounding out the other half of the group is Dan Canerday and his seasoned style of guitar and Rick Wilson’s dynamic bass playing.

Milan Miller – Timepiece

Original music performed by acclaimed bluegrass songwriter Milan Miller, supported by a cast of award-winning musicians.

Milan Miller is more than just a hit bluegrass songwriter. Sure, he   s composed chart toppers like Pretty Little Girl From Galax for IIIrd Tyme Out, and What   ll I Do for Terry Baucom, but Miller is also a fine singer who rarely gets the chance to shine.

He had an album, Poison Cove, in 2013 that showcased his voice and his songs, and has a follow-up, Timepiece, set to hit in January 2018. A first single, for the title track, has just been released to bluegrass radio through AirPlay Direct, which tells the story of a gang of bumbling bank robbers who tried to take down the First National Bank in Eureka Springs, Arkansas back in 1922.

It   s a true story, written with Beth Husband, about would-be villain Charlie Price. You can get a taste of the story, and the sound, in this video tease. Terry Baucom is on banjo with Aubrey Haynie on fiddle, Darren Nicholson on mandolin, Adam Wright on bass, and Buddy Melton on harmony vocals.

The Day Brothers – What Were You Thinking

We love songs with engaging lyrics, with melodies that lend themselves to vocal harmony and acoustic instrumental interpretation. The title of this album was derived from the song of the same name that was written by David Day about the Day family.

Album Notes
David, Daniel and John Day enjoy singing songs together, with an infectious amount of enthusiasm and joy. We have written many of the songs we sing, and the themes of our songs have come from the tapestry of our lives, weaving experiences both of joy and sorrow into the lyrics and musical expression. Daniel Day wrote a song for this album called “Shadow of the Son” that asks some important questions about what we each believe about God. While this album is not a gospel album per se, we love singing songs that celebrate eternal themes rooted in our deeply-held beliefs.