Laurie Jones Band
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Laurie Jones Band

Portland, Maine, United States | Established. Jan 01, 2000 | INDIE

Portland, Maine, United States | INDIE
Established on Jan, 2000
Band Americana Rock


This band has not uploaded any videos
This band has not uploaded any videos



"Singer goes Deep on her 3rd Album-Bangor Daily News"

Four years ago, when Laurie Jones released her second album, "Better Days," she and her band hit the road. They toured. And toured. And when they got done, they toured some more.

"We played our guts out," said Jones, who is in her 30s. "I think the whole process taught us a lot, but we almost played too much. Too many shows. I started to forget how much I liked being a songwriter."

She returned home to Ellsworth a year ago and sat through a nasty period of creative drought.

"I was so scared that that would be the end of my songwriting. I went a good six to eight months without writing anything," she said. "But one day I had this song that wouldn’t give up. I had to surrender to it. And then it all just happened."

The songs that Jones wrote during that burst of inventiveness form the basis of her new album, a self-titled collection of raw, confessional folk-rock songs that Jones said she feels encapsulates her mind-set better than anything she’s written so far.

Jones’ slow-burning, deeply personal songs come to life on the album, a more stripped-down affair from "Better Days," which she says was indebted more to bands like Blondie and Roxy Music. "Laurie Jones" features her road-tested backing band, and bears more in common with Ani DiFranco or early Joni Mitchell, with flashes of country and gospel throughout — though, as a self-proclaimed "rocker chick," there’s an element of grit and punk rock that shines through, even on the acoustic tracks.

"I really stuck to my guns with this one. I wanted it to sound like what you’d hear in a live show. It’s what the band sounds like," she said. "On my last album there was a lot of experimentation. Like Laurie Jones on steroids. This is just more organic. No synths. That’s why it’s self-titled, ’cause it’s just me."

The cover art, done by Bangor area artist Robert Dowling, features a forlorn-looking wind-up doll, and Jones has no qualms letting people know that she identifies with the painting.

"I did an art show with [Dowling], and when I saw that painting I couldn’t stop looking at it," she said. "Some people say it’s creepy, but it really spoke to me. We all get to that point, where we feel wound down. I don’t really feel that way anymore, though."

Jones, a Lubec native who has lived in the Ellsworth region for five years, has managed to amass both a local and regional following while still living in rural Maine — which is no small feat, as any local musician can attest to.

"It’s pretty difficult as far as going out and playing live gigs. It’s not a good idea if you’re trying to make money, though that can be done," she said. "But because of technology now, I’m able to live here and do what I do. I’m here at the end of the world and am able to write songs and put out CDs. Sometimes I think about moving to New York City or something, but I don’t see that really enhancing my songwriting."

That brutal self-honesty is one of Jones’ trademarks.

"I wasn’t being honest with myself before. I didn’t know what kind of music I wanted to play," she said. "With this album, I got a real sense of it. I’m really happy with it."

Laurie Jones’ self-titled third album is now available at For information, visit Emily Burnham can be reached at Check out her blog at

- Bangor Daily News

"Laurie Jones- Indie Performer Bares her Soul- Edge Magazine"

By staff and wire reports
Laurie Jones has been immersed in music ever since she can remember. From performing in country bands when she was a small child at her grandmother’s behest to rocking out with a band in her teenage years, music has been integral to Jones.

"I think I became addicted to the adrenaline rush," she says. "I think I'm still addicted to it."
With the release of her new self-titled album, recorded in Portland, Jones cements her status as a full-service independent singer-songwriter.

Her third album is refreshingly genuine and musically to the point. Backed by her long-time touring band, Jones crafts each song with a strong melody and lyrics that can be surprisingly frank and emotionally complex.

Laurie Jones' third album fins her blending her country and gospel roots with modern rock 'n' roll.
Front and center is her remarkable vocal performance; opening with "It Is Well With My Soul," Jones sets the album's tone via a glorious 19th century hymnal that evolves from despair and grief to forgiveness and liberation.

"This record comes from the music I really love," explains Jones. "I allowed my gospel and country influences to face off with my rock demons." In doing so, Jones feels she has created a work of trans-genre rock 'n' roll, and devoted fans can look forward to finding hidden confessions and other surprises throughout the album.

She considers herself to be a poet almost more than a musician. "I've been writing songs forever," she says. "I wrote everything myself on the latest album."

Trying to make living in the music industry is often difficult. The track "Overrated" finds Jones confessing the truth about the mainstream music industry. While all in fun, she references the challenge of straddling the grandeur of pop celebrity and the gutter of maintaining a day job.

"When you're doing this, it's a very serious business venture," she says. "It's like starting up a restaurant. We have to be business minded and I think people should try to support things like this."

"It's just like starting a restaurant," said Jones during a recent interview. (Photo by Franklin MacMahon)

Such support for the industry, according to Jones, is a concept almost foreign to a generation that bootlegs their music from the Internet, and newer artists just trying to make a living are the ones hurt most by piracy on the Internet, not the record labels that produce it.

While Jones continues her alliance with Walter Howland on bass, Neil Salisbury on guitar and Steve Peer on drums, she's also invited a variety of guest artists to help create a rich palette of soul, rockabilly, Celtic and southern rock sounds.

For those who need to classify and label her style, Jones' latest effort may fit into the “non-commercial adult rock” bin, or perhaps someone else would call it "Americana roots." However, she soars way above the pop rock fray and prefers "none of the above." She blazes her own trail as a unique songwriter with style and power to spare.

For more information, check out Laurie Jones online at Her albums are also available locally at Bull Moose Music.
- The Maine Edge

"Goldmine Review- Laurie Jones"

Laurie Jones

Reversing Recordings (RR16)

Grade: 4 Stars

Versatility is one thing, but on her

new, self-titled, third album, Laurie Jones

displays a remarkable malleability that

finds her shifting her stance and delivering

what is arguably the best effort of

her still-budding career. It's impressive

that she's opted to open the set with an

¨¢ cappella reading of a traditional hymn,

"It Is Well With My Soul," before adjusting

the energy for a series of taut, riveting

salvos that brandish both her attitude

and aptitude.

Jones shows an ability to garner

an instant impression, whether it's the

relentless, razor-sharp riffing of "Hey

My DJ," the rugged, fiddle-fueled amble

of "Torin's Revolution" or the sway and

swagger of "I Only Wanted You." Jones'

vocals ¡ª an authoritative presence

that combines the brash confidence of

Chrissie Hynde and the outward defiance

of Alanis Morissette ¡ª is front and

center, giving these songs an instant

and indelible imprint. When on "Goat

Dance," she rebuffs the object of her disdain

by insisting, "Don't you point your

gun at me," there's no question of her

ability to disarm, literally and figuratively.

Jones reconciles the need to hold on

to her day job while musing over the

possibilities of fame and fortune in the

song "Overrated," a hard-hitting shuffle

that finds her showing her savvy. Still, in

a perfect world, she'd already be a star,
and these songs would be staples on

iPods everywhere. While the new album

might not propel her all the way to stardom,

at very least it finds her moving in

the right direction.

¡ª by Lee Zimmerman
- Goldmine Magazine-

"Boston- Skope Magazine"

Laurie jones
Nick Zaino

maybe it’s the approaching thunderstorm.

Maybe it’s the bad phone connection. Whatever the cause, when Laurie Jones picks up the phone for her scheduled interview, the conversation moves slowly, talking about her new self-titled album or her frustrations with the music industry in general.

Maybe it was for the best, then, that the interview had to be cut short when her voice turned into a series of squawks and static more appropriate to Skinny Puppy than a roots rock songwriter. When she answers the phone less than twenty-four hours later, it’s a completely different story. Since then, she has written a song.

“So today, here it is, this is the roller-coaster of the songwriter,” she says. “Because today I’m thinking this is the greatest thing that ever happened, being a songwriter is so much fun.

It’s wonderful, because when you finally get one, you feel like, ‘yeah, this is what I’m supposed to do. This is my destiny.’” Frustration and fatigue have been common themes for Jones over the past half decade.

Her band toured endlessly with her second album, Better Days, flirting with success but never finding satisfaction. That includes a gig at a death metal club, courtesy of a clueless booker. “When we started playing, I think they thought it was the Pee Wee Herman Show or something,” she says. “We were not anything near what they had probably expected, and the club owner actually asked me to stop playing at the end of our set.” That’s when Jones left the road to rediscover her songwriting side at her home in rural Maine. Inspiration came slowly, but the result is a more intimate, stripped-down affair than Better Days. Jones swaps her eighties pop/ rock touches for a more organic sound, rough hewn southern rock with the occasional Celtic fiddle, closer to her first album, After the Crash.

Not surprisingly, several of the songs deal with the music industry (“Overrated,” “Hey My DJ,” “Another Road Trip”), as well as the lethal combination of love and medication (“Wonderful and Cheaper”).

“I almost felt that this CD was full circle back to that, where I could be vulnerable and I could say what I wanted to say again. I selftitled this Laurie Jones because that’s what it is.

If this is my last CD ever, this is what it is, this is what I do.” Jones did write a song that reached the mainstream, recorded by X-Ray Actress and played as background music for several MTV shows. It was bittersweet for Jones to see the song get played and replayed on TV, but she did earn enough from publishing rights to see songwriting as a separate career. She could see herself running off to Mexico or London, playing a few pub gigs, and devoting all her time to writing.

“They could just pay me in cider,” she says.

“They wouldn’t even have to pay me. I would just play at some Irish pub and they could just make me Snake Bites and I would be happy.”

- Skope Magazine

"Egy rekedtes, erotikus hang"

Czékus Mihály
2008. április 18. 10:15

Egy rekedtes, erotikus hang

Mivel az amerikai származású énekesnõ és dalszövegíró, Laurie Jones neve nem sokat mond a magyar közönségnek, ezért a zenéjét - a könnyebb beazonosíthatóság érdekében - valamilyen szinten szükséges pozícionálni. Jones hangja és énekstílusa leginkább a Bonnie Tyler, Sass Jordan és Shelby Lynne által képviselt vonalhoz áll a legközelebb.

Az energiától és erõtõl duzzadó, egy kicsit rekedtes talán még erotikusnak is mondható hang az énekesnõ igazi védjegyévé vált már a tengerentúlon. Jones Amerika szerte és annak határain túl is szívesen koncertezik, akár egy szál gitárral, akár a muzsikusaival együtt. Azt, hogy mennyire fontos számára a közönség reakciója, egy nyilatkozata is megerõsíti. Melyben arról beszél, hogy a koncerteket sokkal jobban szereti, mint a stúdiók steril világát. Méghozzá többek között azért, mert "élõben" azonnal olvashatja a kritikát a közönség arcáról.

Az énekesnõ új albuma önálló cím nélkül (hivatalosan a lemez címe az elõadó neve) jelent meg. A lemez borítója a kicsit szürreális szimbólumaival egy egészen más zenei világot sejtet. Vagyis a jelen esetben is igaz a mondás: ne ítélj elsõre!

A lemezen található 10 dalból 9-et Jones jegyez szerzõként. Az egyetlen kivétel az album leginkább egy himnuszhoz hasonlító nyitódala az "It Is Well With My Soul" (H.G. Spafford-Philip Bliss).

Az énekesnõ gyakran úgy jellemzi önmagát, hogy õ a hiányzó láncszem Dusty Springfield és a Rolling Stones között. Kétségtelen, hogy a zene produkciója igen sokszínû. Többek között rock-, blues-, folk-, rock'n'roll- és nem utolsó sorban country behatásokat érzékelhetünk muzsikájában. Jones - 1-2 kivételtõl eltekintve (pl. ilyen a már említett nyitószám és az "I Only Wanted You") - az egész album során olyan ritmust diktál, hogy nincs ember, aki kibírná mozgás nélkül. Úgy gondolom, hogy az énekesnõ bármelyik hazai zenei fesztiválon is lépne fel, ott a közönség azonnal a kegyeibe fogadná.

A produkciót igazán esszenciális rangra a meghívott vendégzenész "csapat" által megszólaltatott "hangszer arzenál" emeli. Hiszen a hegedûtõl kezdve a harmonikán keresztül a mandolinig megannyi hangvilágból kapunk ízelítõt. De, korán sem tolakodó módon. Egyik "kiegészítõ hangszer" sem próbálja elnyomni az alap instrumentumokat.

Az együttes tagjai: Laurie Jones / akusztikus gitár és ének, Nail Salisbury /elektronikus gitár, Walter Howland /basszusgitár, Stebve Peer /dobok és ütõsök valamint gitár és ének.

Vendég muzsikusok: Dave Beaney /elektronikus gitár, Colin Grant /hegedû, Chris Keefe /harmonika, Sam Keefe /trombita, John Keefe /trombita, Lauren Peer / cselló és szaxofon, Michael Towsend /ütõsök, Pip Walter /háttér ének, hegedû és mandolin.

Kiadó: Reversing Recordings
Mûsoridõ: 42:23
- Gondola, Hungary

"Groove Magazine- Sweden"


Amerikanska singer/songwritern Laurie Jones
släpper nu sitt tredje album och fortfarande
är det samma mix av americana, folk och
gitarrock som bildar grunden. Men enligt
egen utsago så har hon den här gången även
vävt in infl uenser av gospel och sydstatsrock i
Och resultatet är faktiskt inte alls oävet.
Lauries röst låter både tonsäker och laddad
med attityd och fl ertalet av låtarna får
åtminstone undertecknad att stampa takten.
Särskilt gillar jag den avslappnade attityd och
de sköna riffen som kan avnjutas i trallvänliga
Another road trip. I sina mest poppiga ögon
blick så är hon inne och sniffar på Sheryl
Crows domäner och den här skivan innefattar
fl era låtar som skulle passa fi nfi nt i P4:s
låtlistor i sommar. Musik som gjord för lata
och soliga dagar i hängmattan.

- Groove Magazine- Sweden

"Goldmine Magazine - CD review"

by Lee Zimmerman

First impresssions can be deceiving. Cat Song the agitated, aggressive rocker that jump-starts After the Crash finds singer/songwriter Laurie Jones in Chrissie Hynde mode - full of cock-sure confidence and edgy anxiety. So it's going to be another one of those - a seething diatribe by a bitter, disenfranchised woman determined to lash out at every guy who ever did her wrong. (Alanis Morissette, are you listening?)

Fortunately though, that's not the case here. Jones is confident, but her confessional style provides depth and diversity. Most other songs - Take Another Look, Dragonfly, and Don't Look Up, chief among them - come across as melodic mid-tempo attempts at conveying heartfelt emotion in a manner that's affirmative yet accessible. Jones' path to discovery unlocks many emotions, but hers is a less turbulent trek; on these songs, Jones offers empathy instead of anger, solace over cynicism, contemplation rather than contempt.

Her worldly view is closer in style and substance to, say Bonnie Raitt rather than Morissette or Fiona Apple, for example a song such as Maybe We Could shows she can be resolute without resorting to venomous diatribes. Wide Awake is sensual and seductive, but in a way that's both enticing and intriguing. Road Trip parlays a playful approach reminiscent of the B-52s. Nashville finds her in acoustic mode, offering up the kind of world-weary ballad that's most often associated with a more seasoned singer. A hidden bonus track, a contemplative unadorned take on Smells Like Teen Spirit effectively melds her soulful sensibility to a modern angst anthem.

Jones' arrangements, which incorporate a tasteful use of violin, cello, brass even bagpipes in spare but effective touches, also betray the mark of an accomplished artist. Given some well-deserved exposure, Jones has the makings of a major star.

- Goldmine Magazine

"Laurie Jones defies expectations."

On her new CD, Jones' song spectrum is as diverse as the Beatles' "White Album." Soaring vocals and witty lyrics ride atop glam-progressive rock-anthem hooks and even fiddle-driven Celtic punk. Jones has a chiming, spine-tingling timbre when she hits the sweet spot in her vocal register, which she does effortlessly even in live performance. She is backed by an energetic band that includes Steve Peer on drums, Neil Salisbury on guitar and Walter Howland on bass.

"Better Days" is getting prominent airplay on radio stations in eastern Maine. The tune "Coffee Shop" is in the regular play rotation at Bangor's WKIT.

The bottom line as to whether a new song gets on the air is the quality of the music," program director Bobby Russell says. "The content of Laurie's songwriting is as good as any I've heard." - Bangor Daily News

"Rootstime Radio Belgium"

Deze naar zichzelf getitelde cd brengt Laurie Jones - een zangeres en songschrijfster uit New England in de States - in de schijnwerpers. Dit is al haar derde album waarbij eens te meer haar sterke en krachtige stemgeluid ten volle tot uiting komt. Op haar MySpace-site geeft ze aan beïnvloed te zijn door artiesten als Pretenders, Blondie, Lucinda Williams, Ani DiFranco, Johnny Cash, Nirvana en Counting Crows. In het korte openingnummer “It Is Well With My Soul” - een 19e eeuwse hymne die a capella wordt gedeclameerd - geeft Laurie Jones al aan dat het haar momenteel goed vergaat. Daarna gaat ze meteen behoorlijk stevig tekeer in de eerste single uit het album “Overrated” waarin ze de muziekindustrie een serieuze veeg uit de pan geeft en klaagt over het feit dat je van muziek alleen niet kan overleven en een vaste dagjob noodzakelijk blijft. Daarna etaleert het verhalende “Give Me A Moment” haar vocale kwaliteiten. De muzikale begeleiding op deze cd komt van haar vaste begeleidingsband bij live-optredens (Walter Howland, Neil Salisbury en Steve Peer) en enkele gastmuzikanten. De songs blenden op een knappe wijze gospel- en countryinvloeden met stevige rockmuziek. “Hey My DJ”, “Goat Dance”, “Another Road Trip” en “Paradise” zijn daarvan duidelijke illustraties. Maar ook emotionaliteit komt aan bod in enkele nummers die een wat rustiger tempo aanhouden, zoals “Torin’s Revolution” met Keltische fiddle-muziek en het mooi gezongen liedje ‘I Only Wanted You”. Ook afsluiter “Wonderful And Cheaper” is een ballade die zorgt voor een rustig einde van deze cd. Qua stem kan Laurie Jones vergeleken worden met Chrissie Hynde en hier en daar met de soulvolle stembanden van Ani DiFranco. Dit energieke album krijgt het label Americana Roots mee van de redactie maar kan evengoed in de rekken van de popmuziek geklasseerd worden.
(valsam) - Rootstime Radio Belgium

"Belgium Review- Roots Town Music"

Dit is de derde plaat van deze Amerikaanse met een voorliefde voor de vrouwelijke popsterren uit de jaren tachtig (Blondie, Chrissie Hynde). We horen hier een jongedame die vooral indruk wil maken bij de fans van melodieuze gitaarpop. Het begint nochtans totaal anders. Er wordt namelijk van wal gestoken met een zuiver a capella nummer. Meteen herinnert ze er ons nog eens aan dat haar vocale vaardigheden zeker niet te versmaden zijn. De daarop volgende r&r met stevige countrytint en zinsneden als ‘I’m not stinking but I’m still drinking’ en waarbij ze ‘overrated’ laat rijmen op ‘fornicated’ kan ons ook nog bekoren. En als ze wat verder gitaar en fiddle aan elkaar koppelt, stijgt ze ook boven de middelmaat uit. Voor het overige horen we echter vooral goed gestroomlijnde powerpop. Het klinkt allemaal wel lekker in het oor maar de eerste prijs voor originaliteit zal ze hier zeker niet mee wegkapen in Europa. Wel uiterst geschikt voor Amerikaanse college radio’s. (GTB) - Mark Nolis- Editor Roots Town Music


  1. Bridges
  2. the truth about her.
  3. Laurie Jones
  4. Better Days
  5. After the Crash
  6. Healing Place



Meet Laurie Jones:

 Laurie Jones has paved her own path and has proven so by releasing her 5th record, BRIDGES, which has identified her, once again, as a songwriting force.

She has been often compared to both Chrissie Hynde and Lucinda Williams for her lyrical wit and melodic sass. This comparison she happily and humbly accepts.

On the latest release, Laurie is joined by core band members Arend Trent Thibodeau and Doug Hoyt. The record was engineered, mixed and co-produced by Hoyt at Sounds Like Music Studio in South Portland Maine. A cast of guest musicians contributed to the songs which results in a "fierce" compilation of some of Maine's best kept secrets and could be, rightfully so, Jones' best work to date. The process was solidified by having the record mastered by Grammy winning Adam Ayan at Gateway Studios in Portland Maine.

 Laurie Jones Band: Bridges, is a reminder that Jones is here to stay. She is backed by her rock solid band and armed with the full Jones musical punch she is known for.

What others are saying:

"A name to listen for in New England’s folk-rock circles"- Portland Phoenix

"Chrissie Hynde with a folk guitar"- Dirty Linen

 “Jones is edgy and fully fueled” - Goldmine Magazine

 “Jones really clicks!  She is different than most of what is out there”- Indie Music

"Powerful"- Northeast Performer

"Refreshingly genuine and musically to the point"- Maine Edge

"Contemporary rock with a hint of folk"- Portland Press Herald.



Band Members