Beth Wood is a modern-day troubadour and believer in the power of song. Her exceptional musicianship, crafty songwriting, and commanding stage presence have been winning over American audiences for sixteen years. Beth’s music is soulful, organic, intelligent, barefoot, high-energy communication of joy.
Picture a home-body with an ever-present wanderlust, an introvert with a passion for performing, a creative free-spirit with enough discipline to rework her dream year after year, calloused little hands and a big pile of curly hair…and you’ve got Beth Wood.
The Washington Post:
“Beth Wood is a musical triple-threat — a thoughtful songwriter
and talented multi-instrumentalist with a supple, soulful voice.”
Lonestar Music Magazine:
“…when you come across a recording like Beth Wood’s “The Weather Inside” you take note and recognize that this is the work of a genuine artist with a remarkable voice determined to make meaningful and lasting art.”
Sundilla Music Website:
Beth’s exceptional musicianship, crafty songwriting, and engaging, energetic stage presence have been winning over audiences from coast to coast. “The Weather Inside,” Beth’s eighth studio release, is a case study in contrast. A coming-of-age statement record from a veteran artist, Beth’s latest work embraces strength and tenderness, the polished and the well-worn, the broken and the hopeful heart. Produced by Billy Crockett at Blue Rock Studio in Wimberley, TX, “The Weather Inside” delves deep into Beth’s creative reserves and delivers a strong collection of songs and performances to remember.
Some of Beth’s awards”
Winner – Sisters Folk Festival Dave Carter Memorial Songwriting Contest
Winner – Kerrville Folk Festival New Folk Contest
Winner – 2nd Place – Rocky Mountain Folks Festival Songwriters Contest
Winner – Wildflower Festival Songwriting Contest
Finalist – Telluride Troubadour Contest
Winner – Top 20 Acoustic/Folk Category – Unisong International Songwriting Contest
Honorable Mention – Mountain Stage Newsong Contest
Honorable Mention – Billboard World Song Contest
Don Campbell, The Oregonian:
“There’s nothing wrong with old-school, but the real fun comes with those who push envelopes. As with blues, jazz, even country and rock ‘n’ roll, those who bring something new to the party help propel genres to higher levels.
Such is the case with Lincoln Crockett, a young lion on the Portland bluegrass scene. A regular in Cross-Eyed Rosie, the Josh Cole Band and Caravan Gogh, Crockett has released a new solo project that radiates all that’s good about the progressive side of bluegrass. A sterling mandolin picker, guitarist and compelling singer, he has produced a 12-song piece of work that might have traditionalists scratching their heads, but new-grassers will gravitate to it like moths to a porch light.
It will be hard to avoid comparisons to Nickel Creek’s Chris Thile… Crockett owns the requisite high-and-lonesome voice — plaintive, achingly bittersweet and clear as creekwater, without a hint of vibrato — and he’s not afraid to use it. Like Thile, he’s fearless and playful, but can clearly stand on his own.
He is also a fiery player who slashes his custom twin-point mandolin when called for, but who displays a feather-light touch on the tender tunes. Crockett has a predilection for more complex chording, and he lets that predilection shine throughout this largely original effort.
Though his playing can be a shade on the outside (in a good way), he doesn’t stray far enough from his bluegrass roots to do damage to the form. This is bluegrass, but squeezed through the soul of a youngster. You’ll hear all his influences — folk, rock, pop, funk — but he’s found a way to gather them up under the bluegrass mantle and produce something as pleasant as a long summer day.”
Jeff Rosenberg, The Willamette Week
“Lincoln Crockett first got attention on local stages in neo-grass favorites Cross-eyed Rosie, then began honing his solo chops. These days he also contributes mandolin to the Josh Cole Band and the quirky, charming Caravan Gogh. But tonight, Crockett releases his first solo full-length, Angels&Devils;Alike, perhaps the project closest to his heart. Case in point: Crockett’s delicate picking and angelic voice define gorgeous new songs like “Maybe Souls” and “Nothing Makes Me Feel Good.””
“I reviewed dozens of albums this weekend, and I have to say, of everything I listened to, Lincoln Crockett’s material was head and shoulders above the rest. His songwriting, his presentation, his indefinable presence, stood out in stark relief to all the others.”
Sunday, March 29
Bethany and Rufus
Sometime in April
Have you ever been to a house concert. I know many of you surely have, as that is why you are on this mailing list. If so, you know House Concerts are the very best way to experience the magic of live acoustic music. What an experience it is to be mere feet from fine nationally touring artists. The intimacy of a house concert is the most amazing thing.
On Saturday, December 6, Cheryl Mitzlaff and I are happy to be hosting Soulful, Heartful, warm and embracing singer songwriter, Keith Greeninger, for a house concert in the Tiki Room of the Doverlaff Mansion. We know this is going to be a great show. A few years ago, Keith filled in at the last minute for a show we had booked with Johnsmith when a personal tragedy prevented him from making the show. With almost no time to promote the change we still had around 40 people make it to the show and a massively great show it was. We have been wanting to have him back ever since.
What to tell you about Keith. I have been going to the Sisters Americana Songwriting Academy, associated with the Sisters Folk Festival in Sisters, Oregon. Keith has been part of that song camp almost every year that I have been there, and I know I am not the only one who sees him as the heart and soul of that camp. His infectious grin, his engaging, heartfelt, soul moving songs, his boundless energy and inclusive gregariousness have all made him such an integral part of that camp experience. He has not been an instructor there every year, but we sure missed him when he was not.
Some comments from various sources about Keith:
From Blue Coast Records:
Is it his deep, textured voice, his rich, engaging songwriting, or his deft yet unpretentious playing? With nothing more than a guitar in hand and a song with a story to tell, Keith can completely captivate an audience. His husky heart-felt vocals and aggressive acoustic guitar style offer more than the standard bill-of-fare for most folk singers and more musicality and sensitivity than today’s average rock band. Keith Greeninger is that rare performer for whom people lean forward in their seats, eager to capture every note and every word.
Many of you may know Mike Meyer, music writer and DJ at KRVM radio in Eugene. He wrote:
“One of the finest writers on the scene today. His songs always find a way to touch, inspire, celebrate… and when necessary, enrage
We are absolutely sure you will love Keith’s music if you have not heard him before. If you have heard him, you already do. Come by and say ‘hello’ to an old friend, or make a new one. You will love this show.
The amazing Suzan Lundy will do a short opening set. If we ask, I am sure she will do her wonderful song “No Trains” or her massively moving “Massey Miners Blues.”
We are suggesting a $20 per seat donation for this show. We think you will see it well worth the coins. As usual, we will provide some snacks for free. Beer and wine will be available and a nominal donation is suggested for those. We hope you will join us and make the house concert experience your own.
Sunday, March 29
Bethany and Rufus
Sometime in April
Johnsmith House Concert with special guest Kelly Brightwell Sunday November 2 here at Doverlaff House Concerts was full before we could begin to promote it. Here is the poster.
“Matt’s greatest asset as a songwriter is his natural ability to tell a story,” says Austin-based singer Seela Misra. “The world in his retelling is brutally honest, tender and hilarious at the same, a comforting combination. Equally comforting is his singing voice. You believe what he tells you.”
Key words: Honest, tender, hilarious. Yes, Matt’s most thoughtful moments mirror Van Zandt. They shadow Guy Clark. Haunt every great Texas storyteller with an eye for triumph and truth. Still, every lyrical twist and turn maintains his own unique style and substance. “I think Matt will be an influence on a lot of songwriters in the future,” Newcomb says. “What really stands out about Matt as a performer is he makes every crowd his own. By the end of his set, no matter who they came to see, the audience will be Matt the Electrician fans.”
We had not heard Tim Easton before. He and Matt are touring together so we get them both. So I went on YouTube to check him out. See videos from each of them below.
For his first release in over three years, and his third for the New West label, singer/songwriter Tim Easton goes even further back to his roots. An album made on the road, its 13 songs were recorded in six studios in six different states. Still, it maintains a distinctive thread provided by Easton‘s unplugged, unvarnished approach and smooth yet earthy vocals. Various members of the Jayhawks contribute, but like Tift Merritt, whose barely-there backing vocals on the lovely “Next to You” don’t add much personality, they only bring muted accompaniment to what is very much a solo project. Only Lucinda Williams‘ trademarked whisky-soured harmonies on “Back to the Pain” convey another distinctive voice to the mix. Easton sticks primarily to emotional ballads, with even his own strumming guitar and occasional percussion relegated to the background as he sings primarily of alienation and lost or waning love. The album’s generally dark, somber lyrics mesh well with his doe-eyed sleepy voice and the laconic tempo of the songs. “C-Dub” and “News Blackout” return him to Bringing It All Back Home-era Bob Dylan with prominent harmonica and political lyrics on the latter that creep into the personal as he closes the song with “Sweetheart, please, please take my hand.” There is a lonely, solemn quality to the unaccompanied “J.P.M.F.Y.F.” (short for “Jesus Protect Me from Your Followers”) that sounds like Easton strumming in his bedroom as he quietly lashes out at those who are “spitting in the face of love with one hand on the Bible and the other in the purse.” The closing cover of the blues standard “Sitting on Top of the World” brings the disc to a resigned and tranquil conclusion. Easton shoots his bullets with a silencer on the scraggly, moving, and introspective Ammunition, a personal album that takes a few spins, or more, to appreciate.
Some Videos from Matt the Electrician:
Some Videos from Tim Easton:
Rich Warren, of Sing Out Magazine had this to say of Cosy’s 2008 release Eros, Cosy Sheridan possesses an eccentric muse, or perhaps it possesses her. That’s all for the good as this muse leads her into explorations to which other writers are oblivious. Thus, Eros stems largely from Greek mythology, as Sheridan sings with the wisdom of Minerva. Eros is a complete dozen song cycle that explores the nature of contemporary women and their lives as reflected in the age-old mythology. Sheridan specifically cites the myth of Eros and Psyche as the foundation for the album. She introduces the album’s concept with the opening “The Story Of Longing,” which contains a line about “the gods holding out their hand to me.” Several of the songs stand alone without direct reference to the theme, but, taken in context, they fit like pieces of a jigsaw puzzle. “The Beauty Cream” updates the Persephone myth in a mock Gospel style. The wonderfully tongue-in-cheek “Weekend Workshop” sends up and puts down some New Age rituals. It might take Dr. Freud to divine all the nuances contained in this fascinating album of well-written songs. “You Still Love Me Somewhere” could be mistaken for a Carter Family song, not derivative, simply in that timeless style. The album ends with some irony, with “Happiness is Waiting,” a song that uses laundry as metaphor. On this self-produced CD, Penny Nichols helped with the arrangements. Sheridan, who is a most adept guitarist, is accompanied by TR Ritchie, Kent Allyn, Nichols, David Surette and Eric Halter. This talented crew gives the songs bounce and substance. There’s some very tasty picking on many of the songs. Sheridan has practiced her trade for many years, and has touched on these themes before, but not in a coherent stream of new songs. I laud her for going to Hades and back for a CD that stands apart from the hydra of singer-songwriters. Sheridan sings with the knowingness in her performance of someone who has lived, and this makes the tale of Eros all the more provocative and relevant.
Some of Cosy’s videos that you may want to check out:
Well, that is just a taste of Cosy. We are sure you will love her show, we did when we saw her at Artichoke Music last year.
The suggested donation for this show is $15. To guarantee your seats, send us a check, made out to Dan Dover with Cosy Sheridan in the memo line. I will not cash the checks until the week of the show. We do prefer cash for at the door donations since I will need to give the money to Cosy after the show and will not have an opportunity to cash checks. You can mail checks to us at 7326 SE Woodward St., Portland, 97206
We sure hope you will join us for Cosy Sheridan on Saturday, April 19. The show will start at 7:30 pm. Doors open at 7. Its going to be a great show. It will be better if you are here.
As usual, we will provide some snacks for free and will have beer and wine available. We suggest a $2 donation for wine and beer.
Hoping to see you at the show,
Cheryl and Dan