Carson Henley and Tess Henley
Seattle, Washington, United States | Established. Jan 01, 2010 | SELF
Music
Press
Tess Henley’s “High Heels and Sneakers” is a soulful fusion with mainstream rock that works best on “From the Get Go.” - Bloomberg.com
Home Base: Seattle, WA
Genre: Soul/R&B
Categories Entered: R&B/Soul Song
Work Submitted: “Daydreaming”
Artists Featured: Tess Henley
Label: Hey! Listen to This! Music
Who are your influences? I’m constantly inspired by different artists in a multitude of ways and I grew up listening to an eclectic variety of music. Probably my favorite artist growing up (and to this day) is Stevie Wonder. I also grew up listening to a lot of Jackson 5/MJ, Marvin Gaye, old soul and Motown, and later on a lot of neo-soul/R&B like India Arie, Lauryn Hill, Musiq Soulchild, etc.
Describe your nominated work. I originally wrote “Daydreaming” as a single after I had finished recording my album. After receiving a good response to it, I decided to add it to the already finished album. The song is simply about thinking of someone you admire from afar so much that you create dreams and situations in your head that don’t exist (yet, at least you hope).
Did you use any unusual effects or instruments in this recording? I actually did! The most interesting instruments, or objects, used in this song were a Tibetan prayer bowl and a nail file believe it or not! I have video footage for proof! =) Together, they were added as a percussion element to the song.
Were there any happy accidents while in the studio, or did everything go as planned? It seems there’s always a happy accident in the studio, at least the way I work. When recording vocals or keys, I tend to improvise and see what happens. Sometimes I think, I’m playing and have no idea what my hands are doing right now but let’s see if they do something cool! Not to mention, things RARELY go as planned in my experience. It would be nice if they did, but then I don’t think I’d be able to experience any happy accidents.
How did you raise the funds for this project? How long do you expect it will take to recoup your out-of-pocket recording expenses? I saved up money from shows and performances and spent more money than planned (as is the case typically) on the song and project I was working on at the time. Fortunately I have recouped all costs, but as an independent musician, it’s a constant cycle of saving and spending to keep producing new content, so for me it’s on to the next!
Why did you choose to submit this work to The 11th IMAs? I’m always looking for opportunities to get my music heard, and the IMAs are a particularly great way, especially for the independent artist.
What’s your definition of success and how will you know when you’ve achieved it? In my opinion, success in music is being able to have a long-lasting career doing what I love. Being able to travel the world, playing across the US or foreign countries and hearing people sing my songs. Being able to work with my heroes and inspirations. Being able to use music to give back the way I’d like to give back to family, friends, and others in need. These would all mean success to me.
How will you leverage your IMA honors to achieve your career goals? With my IMA honors, I hope to reach more people that could hear my music and like it, and continue growing my fanbase.
Who’s sitting in your audience and what makes your fans unique? I tend to have a mix of people in my audience – young and old, people from different backgrounds, etc. I try to write music that reaches and can connect with people from many different walks of life.
What is your guilty pleasure on the road? Any close calls or mishaps while on tour? Food is one of my guilty pleasure on AND off the road. Almost running out of gas in the middle of nowhere, California, was definitely a close call. Car breakdowns, missing flights, and other transportation issues are a big cause for mishaps. It’s all about the journey though! Even if it costs me more than I want and takes more time than I plan.
Who are your musical heroes & influences? See above
Are there any songs you wish you wrote and why? Oh man, I wish I wrote a lot of songs =) I prefer the big money making hits. Kidding, kinda. There’s always something, whether it’s a lyric or chord progression or instrumental hook, that inspires me in some way. I think, wow, that was so simplistically great. Why didn’t I think of that?! Or that was so clever, or musically genius, etc.
What artists are you listening to that would surprise your fans? That would surprise my fans? Maybe Mutemath? They’re in my workout mix!
How do you discover new music? Do you buy music or are you content with streaming? I buy music that I really love and also stream a lot to find new artists I haven’t heard yet. As an indie artist, I understand the importance of buying music so I couldn’t leave my people out to dry like that! I discover new music by doing a LOT of social networking, whether it’s Twitter, Facebook, Myspace, YouTube, etc.
How will musicians make a living if fans continue to expect music to be free? It will definitely be harder for musicians to make a living, but l - The Independent Music Awards
Home Base: Seattle, WA
Genre: Pop
Categories Entered: Best Pop Album
Work Submitted: 100 Hours
Artists Featured: Carson Henley
Label: Self-Released
Who are your influences?: Stevie Wonder. Donny Hathaway. James Taylor. The Beatles. Pretty much all soul music, in general, gets me going. I am also a big fan of the following current artists: Jamie Cullum, James Morrison, Marc Broussard, Kings of Leon, Sara Bareilles, and Adele. Songwriting, musicianship and artistry are the things that move me to admire the work of certain artists, past and present.
Describe your nominated work: 100 Hours was a true “going all in” moment. I didn’t have a ton of money to make an album and was going through a bit of a songwriting block at the time that I came up with the idea for the project. I really wanted to test myself as an artist, so I gave myself 100 waking hours to write all of the songs and record all of the major parts. I didn’t know how many songs would result from my efforts. I didn’t know if I was going to succeed. However, I was forced to really open my mind creatively and just let my musical instincts take over. I am so happy with the album and how everything turned out. It is truly my proudest work to date as an artist.
Did you use any unusual effects or instruments in this recording?: Honestly, everything was just “real”. I didn’t have time to think about production really, so I stuck with the basics for the instruments and focused on making the tones of the record embody what I wanted “my sound” to be at its most basic level.
Were there any happy accidents while in the studio, or did everything go as planned?: EVERYTHING was a happy accident! I mean, I had 8 hours to record drums and bass together, and then a full day to record guitar, piano and vocals. So, imagine calling musicians to come and play on the record without them ever hearing the songs, and having to QUICKLY learn the songs on the spot. They then had to adjust their parts on the fly as I tried to express what I THOUGHT I wanted for the song. The whole premise of the project was so time-restricted and spontaneous, that it makes me wonder, in retrospect, how we even accomplished it. Somehow, the music gods were with me and it all just came together beautifully.
How did you raise the funds for this project? How long do you expect it will take to recoup your out-of-pocket recording expenses?: I raised funds by working and gigging, and also working…did I mention working? HA…I saved as much money as possible and took every gig I could in order to pay for the album. I am hoping that I will be able to recoup the albums costs in the next year. Keepin’ these fingers crossed!! I want to do another record after all!
Why did you choose to submit this work to The 12th IMAs?: Well, 100 Hours is something of which I am really proud. I couldn’t just pick one song to submit because I feel so strongly about each of them on this record. So, I thought “Why not just submit the album?”
What’s your definition of success and how will you know when you’ve achieved it?: Success for me is to be able to continue to do music for the rest of my life and be able to play at different venues around the nation/world. I would know I have achieved this goal when I am able to stop singing in the middle of one of my songs and let the crowd finish singing the rest. I don’t care if it’s for 50 people or 50,000 people. That, to me, is success.
How will you leverage your IMA honors to achieve your career goals?: To be nominated for an IMA is such a great honor and I think that it can really give credibility to an artist. It says to those in the industry that you do have talent and it has been recognized. Gaining respect from people who work in the industry is one of the most difficult hurdles to clear in music.
Who’s sitting in your audience and what makes your fans unique?: Other than my parents and my sisters? No, honestly, I feel that my fans could not be any more supportive than they already are. Some come out to every show I have! It means the world to me. I think what makes them unique is that they are so cool…SERIOUSLY! I have even become friends with many of the people that started out as fans of my music. It sounds a bit strange, but it’s true!
What is your guilty pleasure on the road? Any close calls or mishaps while on tour?: The WaWa market. I don’t know why I love that place so much, but it is truly a shame its not on the west coast. As far as close calls while on tour…things have been pretty safe and I’ve had good luck so far. *Knocks on wood*
Who are your musical heroes & influences?: (What I said in question #1): Stevie Wonder. Donny Hathaway. James Taylor. The Beatles. Pretty much all soul music, in general, gets me going. I am also a big fan of the following current artists: Jamie Cullum, James Morrison, Marc Broussard, Kings of Leon, Sara Bareilles, and Adele. Songwriting, musicianship and artistry are the thing - The Independent Music Awards
Tess Henley’s “High Heels and Sneakers” is a soulful fusion with mainstream rock that works best on “From the Get Go.” - Bloomberg.com
Tess Henley… Her Shoe Collection Would Seem to Say it All
Although she may be a Seattle girl, Tess Henley she has quite a fondness for the City of Brotherly Love and Sisterly Affection.
“I love Philly. I really mean that. I really do love it and just the whole vibe. It has a cool vibe. It has its own vibe… It has it’s grit and grime to it, but I love that, and it has the culture and the history, too… and the food…”
The reason R&B/soul “diva” (You know what? I’m not sure I like that word. She is actually far too warm and friendly for such a characterization.) has so much to say about the 215 is that she recorded her upcoming LP, High Heels & Sneakers (which drops next Tuesday, May 7th), right in Northern Liberties, with producer Dice Raw of The Roots. Although she’s currently back in Seattle, she tells me her goal is to spend the majority of the year on the road, supporting the release, so there’s a good chance she’ll be back here in the near future, performing her latest sounds.
Tess Henley photo 1
Tess Henley grew up in a very musical family (a professional singer for a mother and record nerd for a father) and was encouraged to explore her knack for singing and melodies from a very young age. Her first few releases, which Henley handled more-or-less all on her lonesome, have received quite a bit of critical praise, but it is her collaboration with Dice Raw which pushed her to her current musicality and mindset. Of how her sounds have changed, she explains to me, “It’s definitely a different sound this time around. It’s pretty organic, all live instrumentation, right down to the percussion. It’s more raw than my first two albums.” She also tells me that the songs are largely inspired by her fondest youthful memories: “Musically, it’s a mix of the old soul and Motown I grew up listening to and the neo-soul and R&B I grew up listening to.” However, in terms of content, Henley tells me it reflects her more recent personal life: “It has a mix of fun, upbeat songs and spotlight, emotional songs. It’s a very personal album. A lot of songs are about my experiences.”
The album’s title (and much of its sentiments) was inspired by (and analogous to) Henley’s own, personal fashion sense. As High Heels & Sneakers would seem to imply, she likes to blend the elegantly chic with a fashionably fun, “street” sensibility. However, despite having such a notable sense of style, Henley tells me that she doesn’t have any formal background (or even understanding of “fashion”): “I’ve always liked fashion and design. I like color and I like shoes and I like jewelry, but I’m not really into fashion. I don’t really read about fashion or anything, I just wear what I like.” - Philthy Mag
Ok ok ok. I know you just saw a post about Carson Henley for the Song of the Day and all, but there is more you MUST know. A few months back I gave you guys a teaser about a project Carson Henley was working on. The 100 Hours Project. A documentary and album that will change his career.
For 100 straight waking hours, he, with the help of a worldclass producer, and a bevy of fantastic musicians (just from watching the trailer, I see Tess Henley & Allen Stone) locked himself away in a studio to write, compose, learn, and record an entire album. Yeah, that's right. An entire record, start to finish, in 100 hours. Seems like a cross between the best and the stupidest idea ever, which I think is the line any true artist needs to learn to walk. Judging from the results, Carson found his sound.
I wrote that back in April after seeing the trailer and hearing the lead single "Fire" and I can't help but feel it's an understatement. Carson didn't just find his sound, he found his soul. This music lives. It breathes, it aches and pains, it loves and breaks. This record is something I was missing.
Here is the full documentary for your enjoyment. If you love music like I do, but have no real clue the heart, energy and commitment that goes into making it, this will be enlightening. It was for me. - Listologies
Tess Henley - Daydreaming
Editor's Pick
Artist: Tess Henley
Producer: Dice Raw and Khari Mateen
Album: None (Promo Single)
Label: Hey! Listen To This! Music
You may see Tess Henley and think she has it together. I mean, anyone with a great set of pipes that can wrangle Dice Raw and the Grammy-nominated Khari Mateen to produce jazz and R&B-informed records, clearly has their head on straight. However on her DJBooth debut video, Daydreaming, Henley shows she’s just like the rest of us; she just can’t seem to keep it together when she spots the apple of her eye. In fact, the Seattle songstress admits to her dream boo that, “Every now and then I get stuck inside my head with you”. As smooth as Daydreaming is, it isn’t slotted to appear on her forthcoming album, dropping this fall, so consider this a dreamy appetizer while Henley preps the - DJ Booth
December 5th, 2012
Top 20 Albums of 2012
Top 20 Albums of 2012
2012 is coming to a close and it has been another stellar year for blues rock. The staff at Blues Rock Review voted for the Top 20 Albums of 2012.
20. Oli Brown: Here I Am
“With a commercial yet soulful voice and an impressive sound on guitar, Brown has developed his own unique sound that will appeal to a wide audience.” – Liz Lohnes
19. Joanne Shaw Taylor: Almost Always Never
“With her third album, Taylor achieves a level of substantial prowess that many artists more than twice her age have never experienced. Almost Always Never is an experience, and a powerful one at that.” – Tyler Quiring
18. Black Country Communion: Afterglow
“With the timeless sound of Hughes on the mic, the classy blues swagger of Bonamassa on guitar, one of a kind flare from Sherinian on keys, and a star child by birthright, backed by immense talent in Bonham, Black Country Communion pries the lid off the past, and propels it into the now.” – Don Tice
17. The Nimmo Brothers: Brother To Brother
“Brother To Brother has it all with great hooks, incredible playing, and most importantly, great songs. It is an impressive release that can not only be appreciated by blues rock fans, but a wider audience as well.” – Pete Francis
16. Alabama Shakes: Boys & Girls
“Every track on this album is a treasure. Words can’t properly explain the feeling this band puts behind their music but once you hear it, you will feel every beat. This album is a must!” – Liz Lohnes
15. Henrik Freischlader Band: House In The Woods
“It is filled from beginning to end with music that will have you marveling at this self-taught multi instrumentalist’s great songwriting and stellar guitar work.” – Kevin O’Rourke
14. Robert Cray: Nothin But Love
“Cray’s ability to blend the blues with rock and other rhythm’s has always been one of the skills that has allowed him to expose another generation of fans to the blues. Do in no small part to the contribution of Kevin Shirley and phenomenal skills of someone who has been playing and singing the blues for 30 years, Nothin But Love will garner Robert another Grammy nomination and most likely a win.” – Kevin O’Rourke
13. Hot Fiction: Apply Within
“About ten years ago The White Stripes rejuvenated alternative blues/rock both musically and into the popular conscious with their third album, Elephant… The London based band Hot Fiction are exactly that sort of band and although there have been many bands like them, Apply Within proves there is still a lot this genre of music can offer.” – Josh May
12. Simon McBride: Crossing The Line
“Simon McBride’s Crossing The Line captures his flare for the blues, and should keep him in our minds and ears. Fly under the radar no more. This kind of talent is meant to be shared.” – Don Tice
11. Rival Sons: Head Down
“Remember putting the needle down on Led Zeppelin I fresh off the record and hearing that first riff? Sure as anything you recall the moment. Rival Sons’ third studio album, Head Down, captures just that essence. From the first lick, these L.A. boys hit you hard and don’t let up until they’re through.” – Don Tice
10. Dan Patlansky: 20 Stones
“20 Stones is an album that is bound to further enamor listeners already familiar with Patlansky’s work. For those that are hearing him for the first time, it’s a great representation of why he’s considered the top blues guitarist in South Africa.” – Tyler Quiring
9. The Sheepdogs: The Sheepdogs
“There is a delicate balance between the influence of their roots and the intertwining of edgier alternative riffs within each track. This is something old and new all at once; something for a wide span of generations, a feat not easily accomplished in today’s music scene. Thumbs way up for The Sheepdogs.” – Don Tice
8. Eric Steckel: Dismantle The Sun
“Nearly everything to be heard here is executed flawlessly, and is reminiscent of the kind of quality that many artists much older than Steckel only achieve in their later years. The performance is tight, energetic, and focused. The subject matter is relevant and compelling. The pacing and storytelling constantly pique the listener’s interest.” – Tyler Quiring
7. Gary Clark Jr.: Blak And Blu
“Gary Clark Jr. is one of the world’s most versatile musicians. There are very few artists who can bridge the generational gap like Gary Clark Jr., and Blak and Blu is an album that can be enjoyed by anyone.” – Pete Francis
6. ZZ Ward: Til The Casket Drops
“With the soul and influence of old blues legends such as Muddy Waters and Big Mama Thornton, and the contemporary sound of Adele with a hip hop twist, this album flawlessly mixes the old with the new.” – Liz Lohnes
5. Philip Sayce: Steamroller
“Over the past few years, Sayce has built quite a cult following and Steamroller continues his ascension towards stardom… Steamroller is a must have for any roc - Blues Rock Review
When acclaimed Seattle singer/songwriter Tess Henley decided to record her second album, she didn't have a big budget. Somehow, she still managed to land some of the biggest names in the music business anyway.
Credit her for her ambition and aggressiveness. Rather than doing it herself or hiring some inexperienced local producer, she shot for the stars. Henley knew what she wanted her album to sound like and reached out to her favorite producer, Grammy-winner James Poyser.
Poyser has produced or played with some of the biggest names in music, including Adele, Mariah Carey, Jay-Z, Al Green, and dozens of others. He's also a member of Jimmy Fallon's all-star house band The Roots.
Poyser was actually interested.
"He connected me to Dice Raw, who also works with The Roots and is on some of the tracks," Henley said in an appearance on Seattle Sounds. "So I flew out to Philadelphia to do a couple of demo songs with them. "
They hit it off. Dice loved the music and signed on to produce the album, along with fellow producer Khari Mateen (The Roots, Jill Scott, J*DaVeY), even though Henley couldn't afford his usual rate.
The result is "High Heels & Sneakers", a powerful 14-song soul and pop tour de force that features performances from members of The Roots and a number of other top notch, veteran studio musicians. It debuts May 7.
"They come in and knock out the parts and even had some people from Seattle and Spokane who happen to live out in Philadelphia playing on the album, so that was cool," she said.
"I'm glad that they believed in it and it was probably one of the best moves I've made so far," Henley added.
Henley doesn't know where the relationship with The Roots crew will lead, but she figures having them in her corner can't hurt.
"That whole group over there is tight and if I could play on Jimmy Fallon's (show) with them, that would be awesome. But we'll just see how this all develops," she said.
Tess Henley performs at the Moore Theater Saturday May 18 as part of the Music Lessons Matter! benefit, and the official release party for "High Heels & Sneakers" Friday May 31 at the Columbia City Theater in Seattle. - KIRO Radio 97.3 FM mynorthwest.com
College
University of Washington
City
Seattle
Region
Northwest
Genre
R&B/Soul
Meet Tess Henley, a gorgeous R&B and Soul singer brewed in the American Northwest. Packed into a Short-sized body, Tess' voice is the size of a Venti. We'll let you enjoy her sultry sound as you read her interview below.
How did you get started playing music?
I got started playing piano at the age of 3 on the really disciplined Suzuki methodology. I went through different levels of piano books, working on finger dexterity, scales, and classical music. I had a private teacher who taught me once a week, and usually practiced for recitals, which I had about once a month. I was required to practice before school and if I didn’t, I had to practice after school, so playing music was treated like homework.
Who are your influences and how did you progress into jazz?
The actual theory didn’t start until I started learning jazz, when I joined the junior high school jazz band. I always sang with my mother, who was in a band and who exposed my brother, sister and me to jazz, soul, and rock. I remember singing along to Natalie Cole songs with her in the car.
I’m really into old classic soul because I, like my singer-songwriter brother, Carson, heard it playing around the house growing up. This music has really become part of me now. I am really influenced in particular, though, by Stevie Wonder. None of his songs sound the same! That’s really hard to do. I try to strive for the same goal. He has the hooks and riffs down and he’s catchy, yet musical. His songs can be enjoyed by young kids and older adults and that’s the kind of music that I want to be creating – songs that last and stand the test of time.
The Jackson 5 also influences me – they wrote feel good music. India.Arie is someone that I got into in junior high because she is all about words, their positive message, and how they can heal. Her music has had a healing affect on me with certain events in my life, helping me to find my way through some situations. And that’s a really powerful thing to be able to do with your music! If I can help somebody in that same way – I would be overjoyed.
What are your original tracks that stand out to you?
The most emotional song that I have written will be on my new album and it’s called “I’d Do Anything,” which talks about my cousin, Carly, who took her life a year and a half ago. I wrote it one day after her passing. It was just one of those times that I didn’t have to think, you know? It is a song that is sometimes hard to sing because it takes me back to that very emotional place.
But on another note, the song that has received the most positive response is called “Boy in a Window.” I wrote this one while living in an apartment right across from a guy’s apartment while I was going to the University of Washington. The buildings were close; it was awkward. My keyboard faced the window and when I was practicing, I'd be able to see him because he left his blinds open. It was like a movie. Sometimes I would see him come out of the shower in just a towel and I would ask myself, “why should I be seeing this right now?” (laughs). It was like the Friends episode where the guys can see the lady across the street. I forget the episode (laughs). Anyway, "Boy In The Window" was inspired by but not about the boy in the window...
Why Washington?
I have always been a homebody, but the UW campus was just far enough away. I loved the campus; it was huge, really beautiful and minutes away from Downtown Seattle. I lived with a couple of my best friends and my very best friend and sister, Maggie, who ended up going to Washington as well. At one point in time, three of my cousins, my sister and I were all going to Washington. We played a lot of intramural sports together too. Spending time with my best friends and family was the best memory I have of college.
I started studying Business, prior to writing my first album. I then switched to Architecture and I would have been doing something related to design or art if I hadn’t pursued music. Ultimately, I majored in Communications with a focus on social interaction. I loved studying about why people lie and cultural codes. Communications went hand-in-hand with music in many ways too.
You are working with some powerhouses in the music industry. How did you get involved with them and what has that been like?
I had a bunch of songs that I felt good about, so I wanted to get the best with the money I had. I began reaching out to people, especially of producers of albums that I really liked. I flew out to NYC, Atlanta, and Philly. I got connected eventually to Dice Raw from The Roots. We chatted and I felt like we were a good fit for each other. He was willing to work within my budget, so for the last year, I have been making trips to Philly to record.
Working with Dice and artist/producer Khari Mateen (The Roots, Jill Scott, J*DaVeY) h - College Roots
College
University of Washington
City
Seattle
Region
Northwest
Genre
Pop, R&B/Soul
Vintage, gritty, or soulful? The answer is all of the above. Introducing Carson Henley, an up-and-coming Seattle-based funkadelic. Take a listen and you'll hear how he effortlessly blends the hook-driven melodies of Motown with the ruggedness of Creedence Clearwater Revival. Henley defines himself and his music as a "somewhat refined Joe Cocker." However you define him, it's incredibly difficult to ignore this Washington soul, so read on to see how deep we dive into the life of Carson in our featured interview.
We understand that you grew up in the city of Kent in Washington. What was your childhood like?
Well I would hardly call it a city (laughs); it's more of a small town. Kent is about an hour south of Seattle and I've been here most of my life. I led a pretty normal childhood. Well, it's not normal to take piano lessons from the age of 3 to 18, but I grew up on music lessons and I was always involved sports - basketball, soccer...I even swam.
What music did you grow up listening to?
My parents weren't wild about the pop music on the radio at the time, so we weren't allowed to listen to the radio. We ended up listening to what my mom or dad wanted to listen to which was luckily pretty good music. My mom really loved Soul - Stevie Wonder, Al Green, Marvin Gaye - and my dad was a big classic rock and jam band fan - the Beatles, Rolling Stones, EWF. In fact, the first album I bought was Sgt. Pepper by the Beatles. Michael Jackson was a big artist that we listened to all the time. My parents also preached Carol King and James Taylor because they were such great songwriters. So, I didn't really know much about the 80s and 90s pop music scene.
How have you incorporated your musical roots into your music?
I identify with songs that are melody-driven. Soul music, Motown, and even the Beatles are all great examples of this. For my own music and production, I like to incorporate B3 organ, which is very reminiscent of classic Joe Cocker, and I love background vocals, which are reminiscent of soul and funk. All the music from that era has inspired me when I write and produce my own music.
What are your personal favorite tracks?
I really like a few of the songs that I've written but haven't recorded yet. On my upcoming 100 Hours release, I like “Leave This Mess,” which talks about a relationship in which there is a long, painful process of trying to say goodbye but nobody actually does it. I never understood why people just couldn't let something go - until I went through it myself. I also like “Love is Blind,” (from my Redrawn Sketches EP) which relates to the first time that I had my heart broken. It discusses the feeling of letting go and the irrationality of it no matter what someone has done to you.
The last song I really like is called “Go Under,” which I co-wrote with a very good friend of mine named Allen Stone. When we were writing the song, we started talking about our careers and it became apparent that both of us were trying to get over so many hurdles. It has this theme of having to press on and press on and that in life you have to figure out how to get over these hurdles. But in this case, it's about going under them when you don't see another way. The subject matter of my songs often revolves around relationships - whether that is with friendships or romantic relationships. I'm not much of a social-conscience writer. It's not that I don't care about those issues; I think that I am just more moved to write about relationships between people.
What's your dream performance venue?
I would love to perform in a different country. I studied abroad in Europe during my undergrad at Washington and I also recently saw Adele's live show on DVD where she performed at the Royal Albert Hall in London. So, I would be beyond thrilled to sell out a show there. I would also love to perform at the Paramount in Seattle in front of my family and friends who have been my biggest supporters from the beginning.
Why Washington?
Even though I had my eye on UCLA and UT Austin, the full tuition scholarship to Washington was definitely a big factor in the decision. Washington was close to home, I knew a lot of people that were going there and I wanted to go into business. Also, their business school is really good.
During my 3rd year I studied abroad in Europe. I had never traveled before that time and my mind was really opened to a new way of life. Europeans embrace living in the moment, enjoying the moment and doing what they want, whereas I feel like in the U.S. there is a pressure to always try to get on top. So when I got home from my travels, I became somewhat disinterested in the business major but very interested in music. I found myself practicing music and going to live shows instead of studying. At - College Roots
Bad boy, good girl or bad girl, good boy is like a pothole that you cannot swerve around. From the inception of meeting the negligent lust, your instinct screams “no.” We’ve seen enough Love & Hip Hop to know the end of the story. - Soul Train
Carson Henley - 100 Hours
Carson Henley
100 Hours
folk-rock
rock
funk
blues-rock
americana
the-black-keys
blues-albums
of-monsters-and-men
Download
"Fire"
Sounds like: The Black Keys, Of Monsters and Men
What's so good?
By Christiana Bartolini | April 19th, 2012
Let’s give a warm welcome to Carson Henley on Indie Shuffle. Carson’s got that classic bluesy rock style with raw and demanding vocals. Hailing from Seattle, Carson may be on the rise soon… and with good reason.
Carson Henley’s single, “Fire,” emits pure funkadelic rock that brings mass appeal. He’s got the type of classic style that has yet to expire; his soulful voice, funky blues instrumentals, and contrasted harmonies make the perfect recipe for an infectious single. Punchy keyboards, funky bass, finely plucked guitar and a highly danceable tempo tie it all together… this track has it all.
Make no mistake: Carson’s raw talent should not go unnoticed, especially considering the fact that he spent 100 straight hours writing 10 new songs (and using seven of those songs) for his album, 100 HOURS… that’s five all-nighters in a row, people! They even made a documentary out of the whole process. He must want this bad… real bad.
If you’re curious to hear how it all panned out, stay tuned for early summer when 100 Hours will be released! - Indie Shuffle
July 3rd, 2012
Carson Henley: 100 Hours Review
100 Hours
Carson Henley’s latest album release, 100 Hours, is a very true testament to who he is portrayed as an artist. Almost every review of Henley as an artist describes him as an extremely talented vocalist with upbeat yet relaxed catchy rock rhythms. Many compare him to artists like Gavin Rossdale because of the combination of his style of music and the fine-grit voice that he has. 100 Hours exemplifies all of these parts of Henley, an album that you could put on and listen to on repeat whether you’re home by yourself relaxing or having your friends over for drinks.
100 Hours has solid beats that keep your feet tapping and your head nodding throughout each song, like “Fire” and “Go Under.” 100 Hours is a very upbeat, positive record because it blends Henley’s voice so well with the melodies it uses, especially with Henley’s accompanied piano playing. Sometimes the simple combination of a piano melody and an unquestionably talented voice is all that an album needs to be as successful and wonderful as this album is. Every song on this album is a complete treat to listen to, a refreshing treat of a simple talented album with no auto tune and electric beats in sight.
Carson Henley only started singing in middle school when he was pushed to participate in his schools local talent show, and thankfully he hasn’t stopped since. Henley has a clean, beautifully simple voice that makes for some of the best uplifting songs I have heard in a while.
The Review: 9.5/10
Can’t Miss Tracks
- Go Under
- Where We Started
- Ain’t Gonna Dry Your Tears
- Fire
- Give It Up
The Big Hit
- Fire - Blues Rock Review
July 3rd, 2012
Carson Henley: 100 Hours Review
100 Hours
Carson Henley’s latest album release, 100 Hours, is a very true testament to who he is portrayed as an artist. Almost every review of Henley as an artist describes him as an extremely talented vocalist with upbeat yet relaxed catchy rock rhythms. Many compare him to artists like Gavin Rossdale because of the combination of his style of music and the fine-grit voice that he has. 100 Hours exemplifies all of these parts of Henley, an album that you could put on and listen to on repeat whether you’re home by yourself relaxing or having your friends over for drinks.
100 Hours has solid beats that keep your feet tapping and your head nodding throughout each song, like “Fire” and “Go Under.” 100 Hours is a very upbeat, positive record because it blends Henley’s voice so well with the melodies it uses, especially with Henley’s accompanied piano playing. Sometimes the simple combination of a piano melody and an unquestionably talented voice is all that an album needs to be as successful and wonderful as this album is. Every song on this album is a complete treat to listen to, a refreshing treat of a simple talented album with no auto tune and electric beats in sight.
Carson Henley only started singing in middle school when he was pushed to participate in his schools local talent show, and thankfully he hasn’t stopped since. Henley has a clean, beautifully simple voice that makes for some of the best uplifting songs I have heard in a while.
The Review: 9.5/10
Can’t Miss Tracks
- Go Under
- Where We Started
- Ain’t Gonna Dry Your Tears
- Fire
- Give It Up
The Big Hit
- Fire - Blues Rock Review
FAVORITE SONGS #3.
2. Juli 2012 by C.C. for Styledesk
Tess Henley – Used To Love You/Seven Nation Army
In dieser Woche beginnen wir Styledesk’s „Favorite Songs of the Week“ mit einer jungen, talentierten und durchaus attraktiven Künstlerin. Mit der Mischung aus Soul, Jazz, Funk und R&B und einer unglaublich starken Stimme, trifft Tess Henley immer den richtigen Ton. Die aus Seattle stammende Singer/Songwriterin, bekam ihr Talent direkt in die Wiege gelegt. Dank ihrer musikalischen Eltern, begann sie bereits im Alter von drei Jahren das Klavierspielen. Im folgenden Video erlebt ihr Tess bei einer Street Session, in der sie den Song „Used To Love You“ von John Legend und ein Cover der White Stripes, „Seven Nation Army“, zum Besten gibt.
Website: www.tesshenley.com - Styledesk
Carson Henley - 100 Hours
Submitted by Pip Ellwood on Sun, 07/01/2012 - 15:37
0 0
100 Hours
Tracklisting:
1. Aint' Gonna Dry Your Tears
2. Fire
3. Go Under
4. Where We Started
5. The Game
6. Leave This Mess
7. Give It Up
Record Company: Hey! Listen to This! Music
Release Date: Tuesday 26th June 2012
Buy it now: Amazon
EF Rating:
4
Rising singer-songwriter Carson Henley decided to do something unconventional with his new project. Wanting to push his creativity to the limits Henley set about writing and recording his new album in 100 hours straight. Heading into the studio armed with a piano, his iPhone and a notepad, Henley set about getting to work. The end result is new album 100 Hours.
Recorded with Grammy winning engineer Kory Kruckenberg, 100 Hours features the best 7 tracks recorded in the 100 hours. The album’s lead single Fire is one of the strongest on the record proving to be the perfect intro for 100 Hours. Henley’s voice is tinged with rock sensibilities whilst the music combines pop, rock and funk sounding unlike anything else in the charts at the moment.
Album opener Ain’t Gonna Dry Your Tears combines a steady beat with intermittent electric guitar riffs whilst Henley’s slow-building vocal explodes into a powerful chorus. Over the course of the album Henley creates a variety of different sounds, exploring different genres in his quest for creative genius. The soulful Where We Started sounds a little like British singer James Morrison, Leave This Mess combines rock with soul for heart-wrenching near 5 minutes of bliss and The Game borrows the dark mood of The Beatles’ Come Together for a piano dominated gem.
Our favourite moment is a toss-up between album closer Give It Up and almost-ballad Go Under. The former is beat heavy with a killer chorus whilst the latter has a lazy laidback vibe that shows the more heartfelt side of Henley’s music. Go Under also has the best vocal from Henley on the record as he drags every inch of emotion out from his soul laying it bare for all to hear.
100 Hours was a daring project but it seems like it’s paid off. The album doesn’t sound like it was put together in such a short amount of time and the quality is very high. Henley has proven himself not only to be a fantastic singer but also a remarkable musician. If this is what he can do under pressure we’d love to hear what he can come up in a traditional recording process. - Entertainment Focus (London Blog)
ess Henley Wins Best R&B Single at The 11th Independent Music Awards
Posted on May 18, 2012
For Immediate Release
May 18, 2012
SEATTLE-based TESS HENLEY joins a diverse roster of self-released and independent label talent culled from 6 continents named today by Music Resource Group (MRG) as the Judge-determined Winners of The 11th Annual Independent Music Awards (The IMAs), the influential international awards program for independent bands and fans.
The winners, hand selected from thousands of submissions from around the globe, were determined by a panel of influential artists and music industry pros including Keith Richards, Tom Waits and Kathleen Brennan, Ryan Tedder (One Republic), Pete Wentz, Lee Ritenour, Del McCoury, Ozzy Osbourne, Bettye LaVette, Jim Lauderdale, Joshua Redman, Shelby Lynne, Kevin Lyman (Warped Tour), Jason Olaine (Jazz At Lincoln Center), Alan Light (Live From The Artists Den), and Evan Schlansky (American Songwriter).
Tess Henley’s Boy In The Window was named the winner of the R&B Single for this 11th edition of The IMAs. Currently, Tess is finishing her latest full-length album in Philadelphia, the epicenter of a soul sound all its own, with Dice Raw from The Roots crew. The talented songwriter is fusing her voice and vision with Dice and his talented team, including Khari Mateen (The Roots, Jill Scott, J*DaVeY). The new album that Tess is calling “her musical thesis” is due out this fall. Last year, Tess won Budweiser’s Jill Scott/Anthony Hamilton Opening Act Contest and her music has already received international acclaim, all sans the aid of a major label or manager. Her song entry was submitted by her distributor, GJTunes Worldwide.
Tess Henley website: http://www.tesshenley.com
Play: Boy In The Window
Details and complete list of 11th annual IMA Winners, Nominees and Judges available at: www.TheIndependentMusicAwards.com
Artistry Has Its Awards
For more than a decade, artists and labels from around the world have found new fans and prominence through The Independent Music Awards.
Produced by Music Resource Group, publisher of the popular industry contact database The Musician’s Atlas, The IMAs uses its unrivaled access to performance, promotion and distribution to connect Winners and Nominees to new audiences and revenue opportunities.
The program receives submissions from artists previously on major labels as well as self-released and indie label talent from more than 70 countries on six continents.
Submissions for The 12th Annual Independent Music Awards are currently being accepted at www.TheIndependentMusicAwards.com/submit
This entry was posted in Uncategorized by MaggieJoy. Bookmark the permalink. - Independent Music Awards
Usually, we don’t like to plug specific artists on our blog. Our blog and website is really a place for music fans to hang out and find about the upcoming gigs from various different artists and choose the ones that take their fancy.
Tess Henley
However, there are artists who are just awesome, and still resist the urge to join the labels and sign their life away. It’s an uphill road, but one worth taking. Tess Henley and her brother Carson Henley are just two such artists. I have had the pleasure of seeing Tess and Carson perform live myself, and couldn’t believe that they were not signed by a label. Their music is soulful, passionate and vivacious. Their stage presence is fantastic and it’s a real joy to see them live. The BGP and Maggy Ferguson will be performing there as well.
Carson Henley
They are performing on October 20th at the famous The Crocodile in Seattle. Rock bands, punk bands, dance bands, jam bands and bands from nearly every other genre you can invent have played at The Croc. I can go on and on about their performance, but why not watch one of Tess’s videos for yourself? You can buy tickets here.
- Gigzee
Usually, we don’t like to plug specific artists on our blog. Our blog and website is really a place for music fans to hang out and find about the upcoming gigs from various different artists and choose the ones that take their fancy.
Tess Henley
However, there are artists who are just awesome, and still resist the urge to join the labels and sign their life away. It’s an uphill road, but one worth taking. Tess Henley and her brother Carson Henley are just two such artists. I have had the pleasure of seeing Tess and Carson perform live myself, and couldn’t believe that they were not signed by a label. Their music is soulful, passionate and vivacious. Their stage presence is fantastic and it’s a real joy to see them live. The BGP and Maggy Ferguson will be performing there as well.
Carson Henley
They are performing on October 20th at the famous The Crocodile in Seattle. Rock bands, punk bands, dance bands, jam bands and bands from nearly every other genre you can invent have played at The Croc. I can go on and on about their performance, but why not watch one of Tess’s videos for yourself? You can buy tickets here.
- Gigzee
Bio of the Artist
Tess Henley, a singer/songwriter from Seattle, Washington was born Oct 31, 1987. The tall, piano-playing chanteuse with an emotional voice is new to the soul scene. However, with reviewers in the U.S. and Europe spreading the word, it won’t be long before people know her by name.
UK’s highly respected SoulAndJazzAndFunk.com says “Tess shows remarkable maturity and focus, her music is draped in luscious harmonies; it’s truly infectious. The Henley approach to music is all about craftsmanship, commitment and an appreciation of what truly constitutes musicality.”
JazzAndSoul.EU calls her CD, Easy to Love, “An extremely fresh album”. SoulTracks (U.S.) writes “Henley as a vocalist doesn’t suffer from being compared to Alicia Keys. Both eschew the breathy little girl sound that is the rage these days. Henley, like Keys, opens her mouth and gives a full-throated vocal that sounds mature, passionate and believable.”
Tess may be new to fame, but she is definitely not new to music. Her mother was a very pregnant, struggling singer who performed nightly shows next to thumping bass and drums, until the very week she gave birth to Tess. Tess took that rhythm and began playing classical piano every day by the age of 3. That training helped develop her strong songwriting skills, setting Tess apart from the crowd. Raised on Stevie Wonder, Donny Hathaway, and Marvin Gaye, her sound has been compared to Alicia Keys, Corinne Bailey Rae, Joss Stone and Christina Aguilera, among others. - Number One Music
Bio of the Artist
Tess Henley, a singer/songwriter from Seattle, Washington was born Oct 31, 1987. The tall, piano-playing chanteuse with an emotional voice is new to the soul scene. However, with reviewers in the U.S. and Europe spreading the word, it won’t be long before people know her by name.
UK’s highly respected SoulAndJazzAndFunk.com says “Tess shows remarkable maturity and focus, her music is draped in luscious harmonies; it’s truly infectious. The Henley approach to music is all about craftsmanship, commitment and an appreciation of what truly constitutes musicality.”
JazzAndSoul.EU calls her CD, Easy to Love, “An extremely fresh album”. SoulTracks (U.S.) writes “Henley as a vocalist doesn’t suffer from being compared to Alicia Keys. Both eschew the breathy little girl sound that is the rage these days. Henley, like Keys, opens her mouth and gives a full-throated vocal that sounds mature, passionate and believable.”
Tess may be new to fame, but she is definitely not new to music. Her mother was a very pregnant, struggling singer who performed nightly shows next to thumping bass and drums, until the very week she gave birth to Tess. Tess took that rhythm and began playing classical piano every day by the age of 3. That training helped develop her strong songwriting skills, setting Tess apart from the crowd. Raised on Stevie Wonder, Donny Hathaway, and Marvin Gaye, her sound has been compared to Alicia Keys, Corinne Bailey Rae, Joss Stone and Christina Aguilera, among others. - Number One Music
Never Comin’ Home by Carson Henley
“Extremely crisp, clear vocals and a tight band make this quite the pop rock gem. It could easily be the theme song to a television show, and it’s going to get stuck in your head.” - Our Stage
Never Comin’ Home by Carson Henley
“Extremely crisp, clear vocals and a tight band make this quite the pop rock gem. It could easily be the theme song to a television show, and it’s going to get stuck in your head.” - Our Stage
The beguiling Tess Henley hails from Seattle where she was born and raised in a musical family. The 21 year old's mother is a professional entertainer and brother Carson, sister Maggie and Tess herself have all won the Seattle version of American Idol - but their music isn't the brash, in-your-face throwaway variety that you'd usually associate with programmes of that type. The Henley approach to music is all about craftsmanship, commitment and an appreciation of what truly constitutes musicality. Here Tess, carrying the family flag, shows that she realizes that a singer is nothing without great songs and that an album of good songs is better for having a concentrated focus. More, in producer David Thompson, she's found a kindred spirit who's savvy enough to allow the songs' melodies to speak for themselves without a distracting bombardment of embellishments. 'Easy To Love' is Tess Henley's debut recording, and it shows a remarkable maturity and focus. That's to say, unlike a lot of contemporary soul, it's a compact piece of work - with a beginning, middle and end … and not overlong. The beginning and end are complementary songs dedicated to Tess's inspirational grandfather, Pompi. The intro is a short, sombre piano and voice piece (Tess is an accomplished pianist, by the way) while the outro, 'Pompi's Song' is a moody gospel builder featuring a choir led by the redoubtable William Demps. Sandwiched in between are 6 great songs offering a real variety yet held together by Tess's sweet vocals and her gentle piano. The most immediate song is the title cut. It's a gentle mid-paced, frothy swayer that will please fans of Swing Out Sister. Draped in luscious harmonies, it's truly infectious - but then so are 'Complicated', 'Fool For You' and the Latin-inflected 'Understand It's You'. 'Disguise' and 'Hitting Me Hard Now' are more dramatic. The latter features some sweet and quirky harmonies while the former will draw comparisons with Alicia Keys - especially in the piano work. Indeed that comparison is a good reference point. Like the New Yorker, Tess Henley makes music that's in a line that can be traced back through artists like India Arie, Brenda Russell, Laura Nyro to Carole King. Tess Henley - 'Easy To Love'? …You bet. The album is available now via the usual internet outlets. For more information go to www.tesshenley.com
(BB) 4/5 - Bill Buckley at soulandjazzandfunk.com
The beguiling Tess Henley hails from Seattle where she was born and raised in a musical family. The 21 year old's mother is a professional entertainer and brother Carson, sister Maggie and Tess herself have all won the Seattle version of American Idol - but their music isn't the brash, in-your-face throwaway variety that you'd usually associate with programmes of that type. The Henley approach to music is all about craftsmanship, commitment and an appreciation of what truly constitutes musicality. Here Tess, carrying the family flag, shows that she realizes that a singer is nothing without great songs and that an album of good songs is better for having a concentrated focus. More, in producer David Thompson, she's found a kindred spirit who's savvy enough to allow the songs' melodies to speak for themselves without a distracting bombardment of embellishments. 'Easy To Love' is Tess Henley's debut recording, and it shows a remarkable maturity and focus. That's to say, unlike a lot of contemporary soul, it's a compact piece of work - with a beginning, middle and end … and not overlong. The beginning and end are complementary songs dedicated to Tess's inspirational grandfather, Pompi. The intro is a short, sombre piano and voice piece (Tess is an accomplished pianist, by the way) while the outro, 'Pompi's Song' is a moody gospel builder featuring a choir led by the redoubtable William Demps. Sandwiched in between are 6 great songs offering a real variety yet held together by Tess's sweet vocals and her gentle piano. The most immediate song is the title cut. It's a gentle mid-paced, frothy swayer that will please fans of Swing Out Sister. Draped in luscious harmonies, it's truly infectious - but then so are 'Complicated', 'Fool For You' and the Latin-inflected 'Understand It's You'. 'Disguise' and 'Hitting Me Hard Now' are more dramatic. The latter features some sweet and quirky harmonies while the former will draw comparisons with Alicia Keys - especially in the piano work. Indeed that comparison is a good reference point. Like the New Yorker, Tess Henley makes music that's in a line that can be traced back through artists like India Arie, Brenda Russell, Laura Nyro to Carole King. Tess Henley - 'Easy To Love'? …You bet. The album is available now via the usual internet outlets. For more information go to www.tesshenley.com
(BB) 4/5 - Bill Buckley at soulandjazzandfunk.com
Editor's Pick ~ Carson Henley
Date: Thursday, October 02, 2008 @ 00:26:35 CDT
- Editor's Pick: Carson Henley
Editor's Pick ~ Carson Henley
Date: Thursday, October 02, 2008 @ 00:26:35 CDT
- Editor's Pick: Carson Henley
Tess Henley
Official MySpace
Buy It on CDBABY!!
“If Alicia Keys retires Tess is ready to grab the mic and the keys” Jamille Luney Music Analyst
#3 Pick HotIndieMusic.com R&B
#2 Pick HotIndieMusic.com R&B
Our Favorite Tracks
Disguise
Hitting Me Hard Now
Our Ears Say…
Tess’ music will take you back to true R&B and make Alicia Keys want to go practice. The sky is truly the limit for this young lady. She made are job very hard, but it was highly enjoyable. The production on Tess’ album is one of the best we’ve reviewed. Kudos to her production team.
Room For Improvement
Tess is young as is her voice. She’ll have to strengthen her voice but that will come with time and vocal training. - Jamille Luney at HotIndieMusic.com
Tess Henley
Official MySpace
Buy It on CDBABY!!
“If Alicia Keys retires Tess is ready to grab the mic and the keys” Jamille Luney Music Analyst
#3 Pick HotIndieMusic.com R&B
#2 Pick HotIndieMusic.com R&B
Our Favorite Tracks
Disguise
Hitting Me Hard Now
Our Ears Say…
Tess’ music will take you back to true R&B and make Alicia Keys want to go practice. The sky is truly the limit for this young lady. She made are job very hard, but it was highly enjoyable. The production on Tess’ album is one of the best we’ve reviewed. Kudos to her production team.
Room For Improvement
Tess is young as is her voice. She’ll have to strengthen her voice but that will come with time and vocal training. - Jamille Luney at HotIndieMusic.com
Every so often, when the synthesized dust settles upon the music industry, we have the opportunity to see certain talents quite a bit clearer. It’s no shock good music remains exactly that and, ever timeless, we love and feel the classics as if they were our own. There is not many fish in today’s proverbial sea that make us listen with the type of unique familiarity that leaves us nostalgic and longing for decades past (except the 80’s and the late 90’s, of course). Most of these passionate artists are rewarded with the task of independent releases, low-paying gigs, and their own fair share of hard day’s nights. And yet, they grind it out nobly for no other sake than music’s own.
Carson Henley is one of Seattle’s very own road warriors. With enough musical talent and charisma to dive into just about anything, Carson’s music is precisely that which proudly raises the banner: Soulful. From cramming into small eateries in Capitol Hill, to pouring his heart out on the stage of the Showbox, his sound has been tempered beneath the hammer-blows of his very own dedication and sheer passion for anything and everything music.
I caught-up with Carson this week shortly after he released his latest work, The 100 Hour Project:
Nick Hallock: Where are you right now?
Carson Henley: Prescott, Arizona; Tess and I are playing a college show at Embry Riddle tonight, it’s a flight school or something, or at least they focus on flight.
NH: Tell me about the 100 Hours Project.
CH: The way it was, is I had little money, and wanted to think of a way to test myself and put myself under a bunch of pressure, so I came up with the idea to give myself one shot. 100 hours to write, compose, and record 7 songs. So I put in everything I had, all my money and time, and ended up with 8. It was great.
NH: What’s your favorite track on 100 Hours?
CH: Ah man, there’s a bunch. I really like “Fire,” and “Aint Gonna Dry Your Tears,” but I look at the whole thing as more of a complete piece. I’m happy with the result.
NH: When did you begin to seriously focus on your music?
CH: I had always played, but started to seriously focus on it when I was 21. I had gone to Europe, and it changed my viewpoint on things; I realized how I wanted to live my life. I started missing more classes, and eventually considered music my number one priority.
NH: Have you ever had a moment when you considered giving it up entirely?
CH: There’s a bunch of moments like that for any musician I think. I’ve always been my biggest critic, and there’s been a few moments when you feel like you’ve hit an emotional breaking ppoint and can’t figure out how to get out. When you’re that hard on yourself sometimes, it’s hard to get rejuvenated.
NH: How big of a role does your sister Tess, who is also an extremely talented musician, play in your success, and vice versa?
CH: Having Tess involved means a lot. It’s like they say, two heads are better than one, working towards the same goal it’s great. She’s supportive, I bounce a lot of ideas off her.
NH: Any sibling rivalry or competition?
CH: (laughs) Friendly competition. Something like who has the most facebook or twitter followers, stuff like that. We just created Instagram accounts, so that’s the current one.
NH: I’ll be sure to help your cause ( twitter: @CarsonHenley )
NH: I remember a show you and Tess played at the Showbox a while back, shortly after the tragic loss of your cousin, Carly Henley. You covered the Beatles’ song, “With a little help from my friends,” in what was honestly one of the most emotional performances I have ever seen. How much did it mean to you to be able to express yourself in that venue?
CH: The whole night was bittersweet, Carley would have loved to be there. She was the reason for the whole thing. She raised $36,000 to finish her CD, and we raised an additional $11,000 that night. The show was our way of saying thank you to her and all her memories.
NH: So you - Nick Hallock at Puget Playlist
Every so often, when the synthesized dust settles upon the music industry, we have the opportunity to see certain talents quite a bit clearer. It’s no shock good music remains exactly that and, ever timeless, we love and feel the classics as if they were our own. There is not many fish in today’s proverbial sea that make us listen with the type of unique familiarity that leaves us nostalgic and longing for decades past (except the 80’s and the late 90’s, of course). Most of these passionate artists are rewarded with the task of independent releases, low-paying gigs, and their own fair share of hard day’s nights. And yet, they grind it out nobly for no other sake than music’s own.
Carson Henley is one of Seattle’s very own road warriors. With enough musical talent and charisma to dive into just about anything, Carson’s music is precisely that which proudly raises the banner: Soulful. From cramming into small eateries in Capitol Hill, to pouring his heart out on the stage of the Showbox, his sound has been tempered beneath the hammer-blows of his very own dedication and sheer passion for anything and everything music.
I caught-up with Carson this week shortly after he released his latest work, The 100 Hour Project:
Nick Hallock: Where are you right now?
Carson Henley: Prescott, Arizona; Tess and I are playing a college show at Embry Riddle tonight, it’s a flight school or something, or at least they focus on flight.
NH: Tell me about the 100 Hours Project.
CH: The way it was, is I had little money, and wanted to think of a way to test myself and put myself under a bunch of pressure, so I came up with the idea to give myself one shot. 100 hours to write, compose, and record 7 songs. So I put in everything I had, all my money and time, and ended up with 8. It was great.
NH: What’s your favorite track on 100 Hours?
CH: Ah man, there’s a bunch. I really like “Fire,” and “Aint Gonna Dry Your Tears,” but I look at the whole thing as more of a complete piece. I’m happy with the result.
NH: When did you begin to seriously focus on your music?
CH: I had always played, but started to seriously focus on it when I was 21. I had gone to Europe, and it changed my viewpoint on things; I realized how I wanted to live my life. I started missing more classes, and eventually considered music my number one priority.
NH: Have you ever had a moment when you considered giving it up entirely?
CH: There’s a bunch of moments like that for any musician I think. I’ve always been my biggest critic, and there’s been a few moments when you feel like you’ve hit an emotional breaking ppoint and can’t figure out how to get out. When you’re that hard on yourself sometimes, it’s hard to get rejuvenated.
NH: How big of a role does your sister Tess, who is also an extremely talented musician, play in your success, and vice versa?
CH: Having Tess involved means a lot. It’s like they say, two heads are better than one, working towards the same goal it’s great. She’s supportive, I bounce a lot of ideas off her.
NH: Any sibling rivalry or competition?
CH: (laughs) Friendly competition. Something like who has the most facebook or twitter followers, stuff like that. We just created Instagram accounts, so that’s the current one.
NH: I’ll be sure to help your cause ( twitter: @CarsonHenley )
NH: I remember a show you and Tess played at the Showbox a while back, shortly after the tragic loss of your cousin, Carly Henley. You covered the Beatles’ song, “With a little help from my friends,” in what was honestly one of the most emotional performances I have ever seen. How much did it mean to you to be able to express yourself in that venue?
CH: The whole night was bittersweet, Carley would have loved to be there. She was the reason for the whole thing. She raised $36,000 to finish her CD, and we raised an additional $11,000 that night. The show was our way of saying thank you to her and all her memories.
NH: So you - Nick Hallock at Puget Playlist
Photo by JoAnna BrownriggIt’s well past 1 a.m. at Belltown’s garish and mosh-pit-crowded Frontier Room club – the late atmosphere thick with a stale brew of fevered conversation, sweat and evaporating rain from an uncanny downpour that has burst open in the Seattle sky. DJ “Elad” spins a dated piece of crunchy skuzz-rock grime, “She’s a crazy bitch!” the refrain wails, as the packed house pulses and undulates, stewing in the evening’s last exchanges of lurid looks and watered-down drinks.
In the far corner of the dance floor, just beyond the perimeter of technicolor disco-ball gleam, is Seattle’s foremost soul-singing talent, Carson Henley, 25. Brawny, handsome, cheerful, and going mostly unnoticed aside from the small but enthusiastic coterie of anxious groupies who have him boxed in like a fox from the hounds. Carson laughs and smiles self-consciously, trying to ignore the jousting as the girls coyly angle for position next to him. As much as the singer looks the part of the libertine rock star – barbarously long corkscrewed locks, three-day stubble, vintage haberdashery – Henley has the wary posture of a guy who just doesn’t trust the moment.
Only hours earlier, Carson – flanked by his equally talented, and preternaturally beautiful baby sister, Tess Henley, 23 – brought down the house at a packed performance at the Showbox Sodo; the duo unfurling an enthusiastic and vividly expanded rendition of the soulful, dance-worthy R&B lounge-act that has created so much buzz for the brother-sister performers in Seattle over the past year.
The Henleys, with their enviable combination of toweringly soulful pipes, genuine musical chops, and wholesome good looks – but who vexingly perform separately on the same bills – have fast become the best “undiscovered” act in the city; delivering the kind of performances at places like the hip Edgewater Lounge at Seattle’s Pier 67 that without fail has tables and chairs pushed aside as the laid back lodge-themed atmosphere gives way to full bore dance parties.
Photo by JoAnna BrownriggPerched behind his electric keyboard, the early show jitters have calmed as Carson leans into his mic and playfully goads the Showbox crowd, “who here hates drama!?” The menagerie of half-lit, half-dressed girls who have crowded near the front of the stage throw up their hands and squeal wildly in unanimous support of the motion. Carson eyes them with suspicion, and then launches into his most up-tempo original, aptly titled, “Ain’t my girl,” about his sincere desire to avoid complicating his life with toxic romance. The mostly nubile crowd eats it up and Carson presses the issue, ripping into his vocals with the impassioned, adrenalized aggression of a performer who knows how to knock them dead when it counts.
Photo by JoAnna Brownrigg
By the time baby sister Tess takes the reigns, the point is moot, but the sight of the ingénue with the great big eyes and the even bigger voice resuscitates the crowd – only so she can mow them down again. As she struts and shimmies across the stage, Tess fills the sprawling venue with an almost superfluous vocal athleticism – the singular performance of the night to make the clamoring backing band sound like a smartly ambient afterthought. Brother and sister then reunite center-stage to close with their fan-favorite and mercilessly emphatic cover of the Jackson 5’s, “I want you back.” The applause hits hard, the chants for encore swell, and the Henleys have conquered yet another room, just like it was any other.
It’s near closing time now at the Frontier Room, and after the triumph of this evening, the young troubadours could be forgiven for luxuriating in the afterglow of the biggest debut of their careers. And yet, to mingle with Carson in Belltown, even at this hour (and to note Tess conspicuously absent from the celebration) is to understand something undeniably true about the Henley’s: they are grounded, almost anachronis - Gino Orlandini
Photo by JoAnna BrownriggIt’s well past 1 a.m. at Belltown’s garish and mosh-pit-crowded Frontier Room club – the late atmosphere thick with a stale brew of fevered conversation, sweat and evaporating rain from an uncanny downpour that has burst open in the Seattle sky. DJ “Elad” spins a dated piece of crunchy skuzz-rock grime, “She’s a crazy bitch!” the refrain wails, as the packed house pulses and undulates, stewing in the evening’s last exchanges of lurid looks and watered-down drinks.
In the far corner of the dance floor, just beyond the perimeter of technicolor disco-ball gleam, is Seattle’s foremost soul-singing talent, Carson Henley, 25. Brawny, handsome, cheerful, and going mostly unnoticed aside from the small but enthusiastic coterie of anxious groupies who have him boxed in like a fox from the hounds. Carson laughs and smiles self-consciously, trying to ignore the jousting as the girls coyly angle for position next to him. As much as the singer looks the part of the libertine rock star – barbarously long corkscrewed locks, three-day stubble, vintage haberdashery – Henley has the wary posture of a guy who just doesn’t trust the moment.
Only hours earlier, Carson – flanked by his equally talented, and preternaturally beautiful baby sister, Tess Henley, 23 – brought down the house at a packed performance at the Showbox Sodo; the duo unfurling an enthusiastic and vividly expanded rendition of the soulful, dance-worthy R&B lounge-act that has created so much buzz for the brother-sister performers in Seattle over the past year.
The Henleys, with their enviable combination of toweringly soulful pipes, genuine musical chops, and wholesome good looks – but who vexingly perform separately on the same bills – have fast become the best “undiscovered” act in the city; delivering the kind of performances at places like the hip Edgewater Lounge at Seattle’s Pier 67 that without fail has tables and chairs pushed aside as the laid back lodge-themed atmosphere gives way to full bore dance parties.
Photo by JoAnna BrownriggPerched behind his electric keyboard, the early show jitters have calmed as Carson leans into his mic and playfully goads the Showbox crowd, “who here hates drama!?” The menagerie of half-lit, half-dressed girls who have crowded near the front of the stage throw up their hands and squeal wildly in unanimous support of the motion. Carson eyes them with suspicion, and then launches into his most up-tempo original, aptly titled, “Ain’t my girl,” about his sincere desire to avoid complicating his life with toxic romance. The mostly nubile crowd eats it up and Carson presses the issue, ripping into his vocals with the impassioned, adrenalized aggression of a performer who knows how to knock them dead when it counts.
Photo by JoAnna Brownrigg
By the time baby sister Tess takes the reigns, the point is moot, but the sight of the ingénue with the great big eyes and the even bigger voice resuscitates the crowd – only so she can mow them down again. As she struts and shimmies across the stage, Tess fills the sprawling venue with an almost superfluous vocal athleticism – the singular performance of the night to make the clamoring backing band sound like a smartly ambient afterthought. Brother and sister then reunite center-stage to close with their fan-favorite and mercilessly emphatic cover of the Jackson 5’s, “I want you back.” The applause hits hard, the chants for encore swell, and the Henleys have conquered yet another room, just like it was any other.
It’s near closing time now at the Frontier Room, and after the triumph of this evening, the young troubadours could be forgiven for luxuriating in the afterglow of the biggest debut of their careers. And yet, to mingle with Carson in Belltown, even at this hour (and to note Tess conspicuously absent from the celebration) is to understand something undeniably true about the Henley’s: they are grounded, almost anachronis - Gino Orlandini
At first glance, 21-year-old Tess Henley gives off a soft-spoken and shy persona, one that may even be classified as a naive innocence, however, the release of her debut album Easy To Love proves otherwise. Tess’ remarkable writing abilities and buttery vocals put this image to rest, as she reveals a compelling story about the trials and tribulations of love.
Remember when you first heard Mary J.’s “I’m Going Down,” or even Alicia Keys’ “Fallin,” and how taken back we all were by the purity and soulful core of their voice? That’s exactly how Easy To Love takes off, starting with the scarcely minute long “Intro to Pompi’s Song,” a track that later closes the album as “Pompi’s Song.” Without a doubt, the duo tracks are the most expressive as far as vocal range is concerned, but moreover, the most telling about grief and loss. Learning and understanding the joy, complications and pain that love generates is a theme actively linked throughout the album, easily seen as Tess jumps into “Complicated.” The silky-smooth jazz beat and the guitar riffs in the background is powerful, yet subtle enough to let Henley divulge herself lyrically into the ever problematic disposition of love, with power and grace. This power extends itself on “Disguise,” a song that not only sketches a lyrical blueprint for heartache and desperation, but is driven by a dramatically changed melody later laced with a heart-tugging piano solo, courtesy of the songstress herself.
In a similar fashion, Henley’s vocals soar on “Hitting Me Hard Now,” a track that painfully deals with finding an inner strength to continue when one’s hit rock bottom. Forgetful of the rough edges that encase ‘love,’ Tess softens her lyrical prowess with “Fool With You,” “Easy to Love,” and “Understand It’s You.” As the trumpets rocket across the track and the Spanish-guitar like tune kicks in, the jazzy upbeat “Easy To Love” operates as a platform to appreciate love in all its glory, whereas “Fool With You” garnishes a poppier sound and a lyrical content that indulges in the naivety of the things we do for love.
Easy To Love is such an emotionally driven album, solely based on the [dis]functionality of that little headache (or joy) called love. Nevertheless, Easy… is a defiantly soulful album that has surpassed the R&B cookie cutter mold. The overlay of jazz-infused instruments, including Henley’s own take on the 88-keys, offers the simplest form of production, but aids in peeling the album away to the core of its raw emotion. Henley’s vocal arrangements cradle the melodies put forward, and intensify the spirit on tracks like “Pompi’s Song,” and “Disguise,” but do fall short of making the same presence on songs like “Fool With You.” Despite such minimal hang-ups, Easy To Love is a soulfully expressive abstract answering what is love. - KevinNottingham.com
At first glance, 21-year-old Tess Henley gives off a soft-spoken and shy persona, one that may even be classified as a naive innocence, however, the release of her debut album Easy To Love proves otherwise. Tess’ remarkable writing abilities and buttery vocals put this image to rest, as she reveals a compelling story about the trials and tribulations of love.
Remember when you first heard Mary J.’s “I’m Going Down,” or even Alicia Keys’ “Fallin,” and how taken back we all were by the purity and soulful core of their voice? That’s exactly how Easy To Love takes off, starting with the scarcely minute long “Intro to Pompi’s Song,” a track that later closes the album as “Pompi’s Song.” Without a doubt, the duo tracks are the most expressive as far as vocal range is concerned, but moreover, the most telling about grief and loss. Learning and understanding the joy, complications and pain that love generates is a theme actively linked throughout the album, easily seen as Tess jumps into “Complicated.” The silky-smooth jazz beat and the guitar riffs in the background is powerful, yet subtle enough to let Henley divulge herself lyrically into the ever problematic disposition of love, with power and grace. This power extends itself on “Disguise,” a song that not only sketches a lyrical blueprint for heartache and desperation, but is driven by a dramatically changed melody later laced with a heart-tugging piano solo, courtesy of the songstress herself.
In a similar fashion, Henley’s vocals soar on “Hitting Me Hard Now,” a track that painfully deals with finding an inner strength to continue when one’s hit rock bottom. Forgetful of the rough edges that encase ‘love,’ Tess softens her lyrical prowess with “Fool With You,” “Easy to Love,” and “Understand It’s You.” As the trumpets rocket across the track and the Spanish-guitar like tune kicks in, the jazzy upbeat “Easy To Love” operates as a platform to appreciate love in all its glory, whereas “Fool With You” garnishes a poppier sound and a lyrical content that indulges in the naivety of the things we do for love.
Easy To Love is such an emotionally driven album, solely based on the [dis]functionality of that little headache (or joy) called love. Nevertheless, Easy… is a defiantly soulful album that has surpassed the R&B cookie cutter mold. The overlay of jazz-infused instruments, including Henley’s own take on the 88-keys, offers the simplest form of production, but aids in peeling the album away to the core of its raw emotion. Henley’s vocal arrangements cradle the melodies put forward, and intensify the spirit on tracks like “Pompi’s Song,” and “Disguise,” but do fall short of making the same presence on songs like “Fool With You.” Despite such minimal hang-ups, Easy To Love is a soulfully expressive abstract answering what is love. - KevinNottingham.com
Every nowandthen, we at Listologies get contacted by management, labels, artist reps and occasional artists themselves asking us to review or share their sound on our site. Most of the time, I let these requests fall to the wayside. Not because I am above it all or anything like that, but because, mostly I don't want to share something that I can't stand behind, and not all the sounds that filter into our inbox are gems. However, I do listen to everything that comes our way, because you just never know. And because of that OCDness, we have a great tune to share with you today.
Earlier this week The Artist Rep from Hey! Listen To This! Music contacted us about a new project that Carson Henley just finished up that kinda blew me away. For 100 straight waking hours, he, with the help of a worldclass producer, and a bevy of fantastic musicians (just from watching the trailer, I see Tess Henley & Allen Stone) locked himself away in a studio to write, compose, learn, and record an entire album. Yeah, that's right. An entire record, start to finish, in 100 hours. Seems like a cross between the best and the stupidest idea ever, which I think is the line any true artist needs to learn to walk. Judging from the results, Carson found his sound.
If you are a NW audiophile like myself, then you no doubt already know and are probably a fan of Carson Henley, as he has been one of the driving forces in the Seattle Soul scene since his 2008 debut album. But, if you are like me, you may feel that he has been slightly in the shadow of his younger sister Tess for the last couple years. But, from the sound that is pouring out of him on the track "Fire" below, I think that shadow is quickly shrinking. But damn! What a talented family.
Below the track, there is a trailer for the Documentary for the 100Hour Project that will be released around the same time as the album. I am stoked for both. Enjoy. - Addi at Listologies
Every nowandthen, we at Listologies get contacted by management, labels, artist reps and occasional artists themselves asking us to review or share their sound on our site. Most of the time, I let these requests fall to the wayside. Not because I am above it all or anything like that, but because, mostly I don't want to share something that I can't stand behind, and not all the sounds that filter into our inbox are gems. However, I do listen to everything that comes our way, because you just never know. And because of that OCDness, we have a great tune to share with you today.
Earlier this week The Artist Rep from Hey! Listen To This! Music contacted us about a new project that Carson Henley just finished up that kinda blew me away. For 100 straight waking hours, he, with the help of a worldclass producer, and a bevy of fantastic musicians (just from watching the trailer, I see Tess Henley & Allen Stone) locked himself away in a studio to write, compose, learn, and record an entire album. Yeah, that's right. An entire record, start to finish, in 100 hours. Seems like a cross between the best and the stupidest idea ever, which I think is the line any true artist needs to learn to walk. Judging from the results, Carson found his sound.
If you are a NW audiophile like myself, then you no doubt already know and are probably a fan of Carson Henley, as he has been one of the driving forces in the Seattle Soul scene since his 2008 debut album. But, if you are like me, you may feel that he has been slightly in the shadow of his younger sister Tess for the last couple years. But, from the sound that is pouring out of him on the track "Fire" below, I think that shadow is quickly shrinking. But damn! What a talented family.
Below the track, there is a trailer for the Documentary for the 100Hour Project that will be released around the same time as the album. I am stoked for both. Enjoy. - Addi at Listologies
The music scene can be described as a rather fickle instrument, unless there are finely tuned musicians to keep things professional and fresh. After a surge of repetitive pop music and sultry dance beats it seems like things have gotten a little stale and out of tune. The idea of music, which as most people knows consists of a large number of styles and genres, has increasingly become limited to mainstream habits of sticking to a few, less traditional varieties. It’s no wonder that without that coveted number one radio hit so many artists fall in line, either pushing to create that hit or trying their best to get passed it doing what they know and love. Tess Henley, a finely tuned musician herself, managed to push through that mainstream line, setting off a few radars and turning heads; and not a moment too soon.
From a very young age, Tess was steered into the musical life by her parents who made sure music was a constant in their family. Her father would play her some of his favourite songs, while her mother encouraged a young Tess into songwriting.
“Our house was full of music, and we listened to a wide variety,” she said. “My mom has been in a band for over 30 years and my dad is a music junkie, so it seemed there was always some song being played in the house.”
Although she undoubtedly has her own interpretation of soul, Tess describes her sound as a mixture of old soul and R&B. However when she first began writing songs (back in junior high school), the music she grew up listening to fell comfortably into place and remained there.
“When I started writing my own music, it just came natural to write music from my soul,” Tess said. “It’s sometimes the best therapy to put my emotions into words and music.”
Soulful is absolutely the best way to describe Tess and her voice; soulful and effortless. Her smooth voice creates an easy listening vibe and is almost empathetic in the way she transmits her music. Her songs are easily relatable and you can feel what she is feeling, or you can understand the lyrics even if you aren’t paying close attention to them, because of the emotion and romanticism in her voice; she gets it. Take the comfort and piano melodies of Donny Hathaway, the sensual appeal of Marvin Gaye and mix in the steady vocals of Lauryn Hill and you’re close to Tess’ sound. Take her vocal range and power and you’ve hit the nail on the head when it comes to defining soul music. While her melodies consist of many instrumentals, mixing and fixing themselves into hip shaking tunes, Tess primarily opts to play piano with her backing band, having taken lessons steadily since she was three years old.
Whether by pure talent or her father’s ability to teach her how to determine a piece of music’s uniqueness, Tess has managed to keep things fresh in the studio and on stage by throwing in bits of orchestral sound on to her tracks and by working collaboratively, mixing with others in the recording studio.
“I have my own vision and ideas for my songs, but it’s really crucial to have other ears and perspectives involved, and to have that give and take,” Tess said. “I love watching people create in the studio; that’s when you get the good stuff!”
Collaborating and sharing ideas is a big part of what Tess has always done, having two other siblings in the music business, and says she enjoys co-writing with them from time to time.
“Although we each have our individual careers, we are both - Teresa Di Matteo at Indie Music Reviewer
The music scene can be described as a rather fickle instrument, unless there are finely tuned musicians to keep things professional and fresh. After a surge of repetitive pop music and sultry dance beats it seems like things have gotten a little stale and out of tune. The idea of music, which as most people knows consists of a large number of styles and genres, has increasingly become limited to mainstream habits of sticking to a few, less traditional varieties. It’s no wonder that without that coveted number one radio hit so many artists fall in line, either pushing to create that hit or trying their best to get passed it doing what they know and love. Tess Henley, a finely tuned musician herself, managed to push through that mainstream line, setting off a few radars and turning heads; and not a moment too soon.
From a very young age, Tess was steered into the musical life by her parents who made sure music was a constant in their family. Her father would play her some of his favourite songs, while her mother encouraged a young Tess into songwriting.
“Our house was full of music, and we listened to a wide variety,” she said. “My mom has been in a band for over 30 years and my dad is a music junkie, so it seemed there was always some song being played in the house.”
Although she undoubtedly has her own interpretation of soul, Tess describes her sound as a mixture of old soul and R&B. However when she first began writing songs (back in junior high school), the music she grew up listening to fell comfortably into place and remained there.
“When I started writing my own music, it just came natural to write music from my soul,” Tess said. “It’s sometimes the best therapy to put my emotions into words and music.”
Soulful is absolutely the best way to describe Tess and her voice; soulful and effortless. Her smooth voice creates an easy listening vibe and is almost empathetic in the way she transmits her music. Her songs are easily relatable and you can feel what she is feeling, or you can understand the lyrics even if you aren’t paying close attention to them, because of the emotion and romanticism in her voice; she gets it. Take the comfort and piano melodies of Donny Hathaway, the sensual appeal of Marvin Gaye and mix in the steady vocals of Lauryn Hill and you’re close to Tess’ sound. Take her vocal range and power and you’ve hit the nail on the head when it comes to defining soul music. While her melodies consist of many instrumentals, mixing and fixing themselves into hip shaking tunes, Tess primarily opts to play piano with her backing band, having taken lessons steadily since she was three years old.
Whether by pure talent or her father’s ability to teach her how to determine a piece of music’s uniqueness, Tess has managed to keep things fresh in the studio and on stage by throwing in bits of orchestral sound on to her tracks and by working collaboratively, mixing with others in the recording studio.
“I have my own vision and ideas for my songs, but it’s really crucial to have other ears and perspectives involved, and to have that give and take,” Tess said. “I love watching people create in the studio; that’s when you get the good stuff!”
Collaborating and sharing ideas is a big part of what Tess has always done, having two other siblings in the music business, and says she enjoys co-writing with them from time to time.
“Although we each have our individual careers, we are both - Teresa Di Matteo at Indie Music Reviewer
Buzz Track: Fire
Carson Henley, a 26 year old singer-songwriter from Seattle just released his debut EP. Carson worked and collaborated on this project with people including buzzing artist Allen Stone, Tess Henley (who is working with The Roots at Larry Gold’s “The Studio”), Grammy-winning engineer Kory Kruckenburg from Pickwick, Grammy-winning engineer Brian Lucey (who has worked with The Black Keys and The Shins), and James McCallister (who plays for Sufjan Stevens, Brandi Carlile, and Ivan & Alyosha). For fans of Allen Stone, Gavin DeGraw, and Matt Nathanson. - Kings of A&R
Buzz Track: Fire
Carson Henley, a 26 year old singer-songwriter from Seattle just released his debut EP. Carson worked and collaborated on this project with people including buzzing artist Allen Stone, Tess Henley (who is working with The Roots at Larry Gold’s “The Studio”), Grammy-winning engineer Kory Kruckenburg from Pickwick, Grammy-winning engineer Brian Lucey (who has worked with The Black Keys and The Shins), and James McCallister (who plays for Sufjan Stevens, Brandi Carlile, and Ivan & Alyosha). For fans of Allen Stone, Gavin DeGraw, and Matt Nathanson. - Kings of A&R
Discography
Tess Henley:
Tess Henley - Easy To Love 2008; The Appetizer EP 2010, Japanese Special Edition of Easy To Love 2010; Deluxe Edition Easy to Love 2011; High Heels & Sneakers 2013.
Radio Airplay on KIRO 97.3 for tracks "Easy to Love", Fool With You" and "Is This Love". Radio airplay-Japan on http://funky802.com/
http://www.j-wave.co.jp/
http://www.fmnorth.co.jp/
Streaming on multiple podcasts and numerous worldwide, online radio stations as well as Spotify, iTunes, Rhapsody, and LastFM.
Carson Henley:
Carson Henley - Green Eyed Soul 2008; ReDrawn Sketches 2010; 100 Hours, 2012.
Radio Airplay on KIRO 97.3 for tracks, "Can't Shake You" and "Never Comin Home". Streaming on multiple podcasts and numerous worldwide, online radio stations as well as Spotify, iTunes, Rhapsody, and LastFM.
Photos
Bio
SHE won Budweisers Superfest Contest to open for Jill Scott, Anthony Hamilton, and take home 30k (www.tesshenley.com). HE wrote and recorded an album in less than 100 hours with Grammy-award winning engineers(www.carsonhenley.com). Collectively, Tess Henley and Carson Henley have performed for the NFLs Seahawks, with the Seattle Rock Orchestra, Allen Stone, Javier Colon, Elle King, Javier Dunn, Mycle Wastman, Austin Jenckes and more.
Their mother, a professional singer who practiced while driving her kids to sporting events around town, struggled with a new songs difficult harmonies. Singing out from the minivans backseat, 5-year-old Tess uncovered those lines like childs play. That's when we knew shed been blessed with exceptional ears, says her record-collecting father. Striving to write lasting music, Tess reminds us of why we love Stevie Wonder, The Jacksons, and old school soul. As a winner in the 2012 Independent Music Awards for songwriting and a finalist in the 2011 John Lennon International Songwriting Competition, Tess strives to write musically rich songs like those of her childhood inspirations. Tess has been recently been nominated again in the 2013 IMA's R&B category for her song, "Daydreaming" off her new album, "High Heels & Sneakers." Working with Dice Raw from The Roots crew and Khari Mateen (The Roots, Jill Scott, J*DaVeY) on her new album, she has paired her honest vocals, rich harmonies and strong songwriting with phenomenal Philly talent, creating a fresh sound from a city with its own soul.
Carsons raw style has a vibe of rock and soul music from the 60s. His live shows draw sold out crowds in the Pacific Northwest, his new album is up for an Independent Music Award for Album of the Year (2013), and Blues and Rock Review named "100 Hours" #2 in the Top 20 albums for 2012. Carson was also awarded the Guitar Center's National Top 10 Finalist for Singer Songwriter honors, winning thousands of dollars in prizes. While his musical genre is similar to James Morrison, Adele, and Maroon 5, Carsons shows conjure up visions of piano rockers from the past. Carsons second CD, "100 Hours," includes a documentary examining the creative and recording processes involved in the writing and tracking of the CDs music in under 100 hours. The film, that is available on DVD, also focuses on how its often difficult to be heard by the music industry in a world filled with noise. The project was engineered and mastered by two Grammy winning engineers, Kory Kruckenburg (Pickwick) and Brian Lucey (The Black Keys, The Shins).
Highlights:
- * $10,000 WINNER OF THE "SHOW ME THE MUSIC" SONGWRITING CONTEST
- * "HIGH HEELS & SNEAKERS" RELEASED MAY 7, 2013 CLIMBING TO 10TH ON ITUNES, RECEIVING 5 STAR RATINGS
- * "HIGH HEELS & SNEAKERS" MOST RECOMMENDED ALBUM FOR ALL TOWER RECORDS JAPAN FOR THE MONTH OF MAY, 2013
- * 12th ANNUAL INDEPENDENT MUSIC AWARDS WINNER FOR BEST R&B SINGLE ("DAYDREAMING")
- * 12th ANNUAL INDEPENDENT MUSIC AWARDS WINNER FOR BEST POP ALBUM ("100 HOURS")
- * TOP 10 FINALIST IN GUITAR CENTER'S SINGER SONGWRITER CONTEST
- * BLUES ROCK REVIEW NAMES "100 HOURS" #2 FOR 2012
- * 100 HOURS RELEASED JUNE 26, 2012 CLIMBING TO 12TH ON ITUNES AND RAVE INTERNATIONAL REVIEWS
- * 11th ANNUAL INDEPENDENT MUSIC AWARDS WINNER FOR BEST R&B SINGLE ("BOY IN THE WINDOW")
- * 4 SXSW 2012 SHOWCASES, 2 OFFICIAL
- * ALL EXPENSE PAID 2012 SXSW TRIP AND SHOWCASE WINNER THROUGH MOFILM
- * 2011 BUDWEISER/MYSPACE OPENING ACT $25,000 GRAND PRIZE WINNER.
- * OPENED FOR JILL SCOTT/ANTHONY HAMILTON'S 2011 DALLAS BUDWEISER SUPERFEST.
- * NATIONAL ANTHEM FOR SEATTLE SEAHAWKS
- * VOTED BEST LOCAL BAND BY LARGEST NW RADIO STATION, KIRO.
- * 2011 JOHN LENNON INTERNATIONAL SONGWRITING CONTEST TOP 3
- * SEATTLE ROCK ORCHESTRA LEAD SINGER FOR STEVIE WONDER TRIBUTE AT RENOWNED MOORE THEATRE.
- * CHOSEN AS EVENING MAGAZINE'S 25 MOST BEAUTIFUL PEOPLE OF THE PACIFIC NORTHWEST AND PEOPLE TO WATCH FOR IN 2012
- * 2011 SOULTRACKS.COM's BEST INTERNATIONAL SOUL SONG CONTEST WINNER
- * INDIE-MUSIC.COM TOP 25 CD OF THE YEAR
- * PACKED-HOUSE PERFORMANCES AT THE CROCODILE & THE SHOWBOX (SEATTLES TOP VENUES).
- * COLLEGE SHOWS AT U of WASHINGTON, SEATTLE U, U of IDAHO, WSU, CWU AND MANY OTHERS
- * PLAY NETWORK FEATURED ARTIST (they represent STARBUCKS, GAP, HOLLISTER, ARMANI & MORE)
- * PURE PLAY MUSIC (EUROPEAN STORES) BRANDING ARTIST
- * ASCAP SONGWRITERS
Links
