Acclaimed Singer-Songwriter Jillette Johnson Teams Up With Producer Dave Cobb for

“All I Ever See In You Is Me”


Released in the UK on September 1st 2017

via Rounder Records



Nashville-based singer/songwriter/pianist Jillette Johnson will release her sophomore album, All I Ever See In You Is Me, September 1st on Rounder Records.


With her nuanced lyricism and shapeshifting vocals, Johnson is the rare artist who needs little sonic accompaniment to make an indelible impact. Produced by Dave Cobb (the Grammy Award winner known for his work with Jason Isbell, Sturgill Simpson, and Chris Stapleton), All I Ever See in You Is Me offers up sparsely orchestrated songs centering on Johnson's spirited piano work and graceful vocal command. Like only the most timeless songwriters, Johnson finds infinite depth within that simplicity, tapping into her quiet intensity and classic sensibilities to capture the subtlest of feelings.


Recorded at RCA Studio A -- the historic Nashville space where Dolly Parton laid down "Jolene" and "I Will Always Love You" in the same three-hour span -- All I Ever See in You Is Me bears an unhurried pace and warm intimacy that echoes the purposeful looseness of its production.


At the same time, All I Ever See in You Is Me unfolds with an eloquence that reveals Johnson's natural sophistication as a songwriter. Drifting between hazy romanticism and resolute self-awareness, the album examines heartbreak and resilience with a willful vulnerability. From song to song, Johnson heightens that emotionality with the ever-changing texture of her voice, an instrument that's irresistibly powerful whether she's belting out a refrain or whispering a hushed melody.


On "Bunny" -- the starkly arranged opening track to All I Ever See in You Is Me -- Johnson's soulful voice climbs and descends as she details her lifelong determination to create music that's true to her heart.


Elsewhere on All I Ever See in You Is Me, Johnson brings that sense of self-possession to songs like "Throw Out Your Mirror," a measured exploration of self-image; "Flip a Coin," a defiant meditation on the culture of fear, and "Love Is Blind," a declaration of independence that's built around a determined groove and gauzy guitar tones.


At the heart of All I Ever See in You Is Me is a selection of songs born from Johnson's thoughtful fascination with those she loves most. "Like You Raised Me" dreams up a beautifully piercing portrait of her parents, its lilting piano lines meeting with lyrics that achieve an untold complexity in their tenderness.


Johnson, a New York native, is a seasoned veteran of that city's music community. She began playing shows at the East Village's famed SideWalk Café at age 12, and within several years found herself gigging in the city on a near-daily basis. After moving to Manhattan when she turned 18, she continued honing her songcraft and released her debut EP Whiskey & Frosting in August 2012.


With her full-length debut Water in a Whale arriving the following summer, Johnson then spent several years touring (including runs with Delta Rae, Mary Lambert and others) and carving out new material. "I'm the kind of person who writes songs all the time," she says. "I'll just get flooded with words, usually late at night, and it's almost like I'm putting together a lullaby for myself. When I get in that zone, I'll write three songs in a day and only stop because I have to sleep."


But while Johnson's process has essentially remained the same since she started writing songs, a newfound sense of confidence closely shaped the making of All I Ever See in You Is Me. "I got to the point where I realized that if I want to show people who I am as a musician, I have to stand up for my music and how I want it to be presented," she says. "A lot of times female musicians aren't expected to speak up for themselves-but once I did, there was this huge shift. And because of all that, I feel like I've finally made the record that I'd always wanted to make."


The triumph of that fully realized vision is palpable on All I Ever See in You Is Me, an album that ultimately transforms the most intimate experiences into songs with a sweeping emotional power. Noting that she's continually driven by the urge to "create something that magnifies a moment," Johnson draws endless joy from that push for transformation.


"To me, songwriting feels like a combination of an old friend and a new romance," she says. "I always get so excited by that feeling of possibility that happens when I start to see something good inside of a new idea. But at the same time, it's all so familiar to me. I really like to move around, I'm always traveling and always leaving, but-apart from my family-music is the one thing that I can always come back home to."


For more information:

Dan Deacon / Lewis Fromberg

Deacon Communications

0203 176 6645




Jerry Douglas Band – What If

Released in the UK on August 18th 2017

 via Rounder Records




The Jerry Douglas Band — led by 14-time Grammy Award-winning musician Jerry Douglas –have announced their new studio album What If will be released in the UK on Friday, August 18th via Rounder Records.


Throughout the album’s 11-tracks, What If decisively merges jazz inclinations with the bluegrass, country, blues, swing, rock, and soul that Douglas spent his life absorbing and performing, forging a sound that flies beyond the boundaries of anything he–or anyone else–has done before.


What If marks the recorded debut of The Jerry Douglas Band; though Douglas has recorded several of these songs previously; he turns them inside out here in bold new arrangements filled with unexpected elements. For example, in 1992 he covered “Hey Joe,” the Billy Roberts folk tune that became one of Jimi Hendrix’s most beloved blues-rockers, as an uptempo bluegrass song.


Here, it’s recontextualized again with drums and fiddle–and horns instead of mandolin. Speaking of changing the feel, Douglas’ rendering of Tom Waits’ “2:19” is a funky revelation, dripping with soul–and vocals that sound like they’re rolling from the lips of a grizzled Beale Street bluesman killing it at 3 a.m., not a three-time Country Music Association Musician of the Year. He also radically reconfigures the album opener “Cavebop,” originally recorded in 2002. This time, it contains the horns he always wanted it to have. “The first time I recorded it, we just played it as fast as we possibly could,” says Douglas. “This time, we made it a bit more sophisticated, with more of an arrangement. A lot of times, when you record songs, you don’t really know ’em yet. I got another shot at this one.”


As soon as he graduated from high school, Douglas headed to Washington, D.C., to join Charlie Waller, Ricky Skaggs, and Doyle Lawson in the Country Gentlemen. He’s since performed in so many incarnations; at one point, he counted membership in eight bands–simultaneously. His recent history includes his band the Earls of Leicester–his version of the Flatt and Scruggs band–with Shawn Camp, Charlie Cushman, Jeff White, Johnny Warren, and Barry Bales; their self-titled 2014 debut earned Douglas his 14th Grammy.


He’d already picked up eight with Alison Krauss & Union Station, with whom he’s closing out his second decade, and shared the Album of the Year win for O Brother, Where Art Thou?, the film soundtrack that helped replant traditional roots music in the modern American psyche.




Track Listing


1. Cavebop

2.  Unfolding

3.  2:19

4.  What If

5.  Hey Joe

6.  Battle Stick

7.  Go Ahead and Leave

8.  Butcher Boy

9.  Freemantle

10.  The Last Wild Moor

11.  Hot Country 84.5




For more information:

Dan Deacon / Lewis Fromberg

Deacon Communications

0203 176 6645




Chris Hillman To Release “Bidin’ My Time” September 22, 2017 via Rounder Records


New Record Produced by Tom Petty & Executive Produced by Herb Pedersen




Chris Hillman, a founding member of the Byrds, Flying Burrito Brothers, Manassas, and the Desert Rose Band, is widely acknowledged as a seminal figure in the creation of country rock and an architect of American popular music. On September 22, 2017, Hillman will release Bidin’ My Time, his first studio album in over a decade. Tom Petty produced the album at his studio in Southern California, and Hillman’s longtime collaborator and co-founder of the Desert Rose Band Herb Pedersen served as Executive Producer.


Featured performers and guests on the recording include Byrds co-founders David Crosby and Roger McGuinn; Desert Rose Band alumni Pedersen, John Jorgenson, and Jay Dee Maness; Petty and fellow Heartbreakers Mike Campbell, Steve Ferrone, and Benmont Tench; Mark Fain, Josh Jové, and Gabe Witcher.


The album kicks off with a new recording of Pete Seeger’s and Welsh poet Idris Davies’ “The Bells of Rhymney,” which the Byrds recorded for their debut, Mr. Tambourine Man. It’s always been Hillman’s favorite song the band ever recorded. Crosby and Pedersen contribute otherworldly harmonies to the tune, which swells from stripped-down folk into a layered rock-and-roll cry. “I decided to cut it again because I wanted to sing with David and Herb, two great tenors,” Hillman says. “David just loves Herb’s singing, and at 75 years old, David is still a powerful singer — one of the best I’ve ever worked with or been around.”


Another Byrds nod, “Here She Comes Again” was co-written by Hillman and McGuinn, and until now, had only been recorded on a live album in Australia. Hillman plays bass on the track — the instrument he originally played with the Byrds but hadn’t picked up in more than 30 years. “She Don’t Care About Time” was written by Byrds co-founder Gene Clark, who died in 1991. Hillman had always felt the song, which was the original b-side to “Turn! Turn! Turn!,” never quite got the attention it deserves.


Hillman also indulged in an exercise every songwriter craves: he reworked “Old John Robertson,” first featured on The Notorious Byrd Brothers in 1968, to write “New Old John Robertson.” An ambling story song about a kind old man who lived in Hillman’s tiny hometown, the tune revels in Hillman’s bluegrass roots. The album also includes interpretations of the Everly Brothers’ “Walk Right Back,” Petty’s “Wildflowers,” and “When I Get a Little Money,” written by family friend Nathan Barrow.


Hillman’s originals confirm what a fierce songwriter he remains. Front-porch jam session “Such is the World We Live In” wonders what Hillman’s great-grandfather would say about current events. The song epitomizes Hillman’s distinct ability to bemoan ills without abandoning hope. Album standout “Restless,” another self-penned original, saunters as Hillman delivers a muscly vocal performance. Honest but loving, “Given All That I Can See,” a favorite of Hillman’s he calls the record’s “sort-of gospel song,” is a timely call for mercy and grace in an era beleaguered by hate and fear.


The project captures a rarity: a seasoned artist who has never sounded better, making music with old friends for the sheer love of it. “I did everything I felt was right in the moment,” Hillman says of the recording process, before adding with characteristic humility, “I did my very best. That’s all any of us can do.”



Track Listing



1.     Bells of Rhymney

2.     Bidin’ My Time

3.     Given All I Can See

4.     Different Rivers

5.     Here She Comes Again

6.     Walk Right Back

7.     Such Is The World That We Live In

8.     When I Get a Little Money

9.     She Don’t Care About Time

10.   New Old John Robertson

11.   Restless

12.   Wildflowers


For more information:

Dan Deacon / Lewis Fromberg

Deacon Communications

0203 176 6645