Write Brothers | First Flight

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First Flight

by Write Brothers

Four of New Orleans's finest songwriters unite to write and perform this album of all original music.
Genre: Rock: American Trad Rock
Release Date: 

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  Song Share Time Download
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1. Cup Full of Soul
3:20 $0.99
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2. Broken Lines
3:03 $0.99
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3. Lost Eskimo
3:15 $0.99
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4. Too Many Times
3:47 $0.99
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5. New Orleans
3:41 $0.99
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6. Jet Black and Jealous
3:09 $0.99
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7. The Ballad of Lito Benito
2:33 $0.99
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8. Losin' You
2:57 $0.99
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9. Wedding Day
5:09 $0.99
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10. Borrowed Time
5:29 $0.99
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11. We'll Be Together Again
3:40 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
You’re holding in your hand the result of an idea for a good time that wouldn’t go away. Simple beginnings. I wanted to hear Robert Earl Keen’s “The Road Goes on Forever” and dug up the Highwaymen’s version late one night. (Funny, later I would realize I was singing “the road never ends” in Spencer’s song.) Songwriters singing each other's songs: that's a good time. Songwriters in New Orleans: there's plenty of great ones. I was just day dreaming. But the next day I was reaching out to three friends who happen to be three of the best songwriters I know in my hometown. Soon, we were hanging out around a kitchen table, writing songs and lining up recording dates. It got fun quick. And it was over all too quick. I don’t know if I’ve ever laughed as much making a record, or if we four will make another record. But, hey, the road never ends. Happy listening!

The Write Brothers are: Spencer Bohren, Jim McCormick, Alex McMurray and Paul Sanchez

Spencer Bohren
Born into a gospel-singing family in the wind-swept prairies of Wyoming in 1950, Spencer Bohren began singing and playing music as youngster. At fourteen, inspired by the folk music he heard on the radio, Spencer picked up a guitar and within a few weeks started performing in public. He immediately delved deeply into America’s treasure of blues, country, gospel and folk music, soaking up guitar styles and historical details. In the 1960s and 1970s, Spencer played with rock, country and blues bands throughout the western US. By the mid-1970s, Spencer and his wife, Marilyn, found a spiritual home in the city of New Orleans, and started their family there.
New Orleans had a profound effect on Spencer, and he quickly became a fixture on the local music scene. Spencer began touring, this time in the southern U.S. Before long he made the daring decision to bring his family on the road so they could be together. For seven years they lived on the road, Spencer performing around the U.S., sharing his love of America’s music and singing his own original songs. He also began a recording career, which has produced 16 albums.
In 1997, Spencer developed Down the Dirt Road Blues, his award-winning history of American music, which he has presented to 30,000 students of all ages, as well as concert audiences in America and Europe. His educational offerings have grown to include visual art, guitar workshops, and talks on songs of protest and music business, inspiring countless budding musicians.

Jim McCormick

Jim has performed at clubs and festivals throughout the South, including the New Orleans Jazz and Heritage Festival, the South By Southwest Music Conference, the Key West Songwriters Festival, Engelsholm Castle, and the Zihuatanejo Guitar Fest in Mexico.

He holds a BA in English from Georgetown University in Washington, D.C., and an MFA in poetry from the University of New Orleans and is a frequent guest lecturer at music schools and conferences around the world. His poetry and scholarship have been published in academic journals around the United States. He is also a current Governor on the Recording Academy's Memphis Chapter Board and a member of Leadership Music's class of 2013. Jim is a visiting professor at Loyola University's School of Music Industry Studies.

Alex McMurray

If Alex McMurray’s songwriting seems a bit dour at times—okay, most of the time—well then that’s totally intentional. “Like Blanche DuBois in Streetcar,” he says, "I find sorrow to be quite a beautiful emotion. Loneliness can be nice.” And he’d know. A New Orleans fixture since the ‘80s, the guitar slinger is now widely recognized as the embodiment of the downtown New Orleans lifestyle: sketchy bars, cracked sidewalks, fallen-down houses, tattered hearts, broken spirits, discarded chicken bones. He’s often compared to Tom Waits; they both have whiskey-throated voices and share a curious ability to find inspiration in the degenerate, not to mention an obsession with the Ninth Ward. Except McMurray actually lives there.

His latest album, I Will Never Be Alone In This Land, continues his musical celebration of the city he calls home. “I’ve been trading time for chump change,” he sings on the title track,” but I will never be alone in this land.” That seems a safe bet these days. McMurray has solidified his status as a kind of New Orleans institution, appearing three times as himself in the HBO series Treme, once in a ladies’ blonde curly wig, leading a packed-in crowd at Ninth Ward haunt The Saturn Bar in a Mardi Gras Day sea-shanty sing-along. The show’s third season concluded, appropriately, with “You’ve Got to Be Crazy to Live In This Town” from his 2009 album, How to Be a Cannonball. The song sums up nicely the way McMurray feels about New Orleans—and perhaps himself.

It’s hard to believe that, once upon a time, McMurray was a Jersey boy. He grew up in Red Bank and landed in New Orleans accidentally, as a student at Tulane. After falling in with the wrong crowd, he forewent any chance he may have had at a respectable life and got down in the trenches of the Big Easy music scene, where he remains to this day. Along the way he has washed dishes, dug ditches, signed and lost a record deal, joined and quit bands, substitute taught grade school, nearly died from a mysterious lung ailment and even moved away twice—once to Japan, once to New York City—yet none of these events affected his will to describe the peculiar beauty of the path he, first unwittingly, and later begrudgingly, chose. “I make a living doing music in the only music town of its kind,” he says, “suffering the slings and arrows but endeavoring to come up smiling on Monday.”

Lord knows that is not always possible, but hoards of fans have left McMurray’s gigs happy. First as a sideman at legendary clubs like Maple Leaf Bar, Café Brasil and Tipitina’s, and later as leader of the beloved ‘90s jazz-rock band Royal Fingerbowl, McMurray honed his skills in front of some of the toughest crowds imaginable, winning audiences over with witty, hard-boiled banter and soul-baring performances. In 2001, he even did a six-month stint singing sea shanties at Tokyo Disney, a period he calls “the loneliest in my life.” Upon his return, he formed the Valparaiso Men’s Chorus as a vehicle to revisit old sailor songs, and began playing with the vintage Jamaican pop band 007 (a super group with members of G. Love and Special Sauce, the Iguanas and the New Orleans Klezmer Allstars). He released his first solo album, Banjaxed, in 2004. He is also a member and mastermind of the brilliantly loose sousaphone-washboard-guitar trio, Tin Men, who have released two uncommon albums, Super Great Music for Modern Lovers (2003) and Freaks for Industry (2005), blessing New Orleanians with McMurray-style theme songs like “Cocaine Habit Blues,” “Drunk and In Love” and “Still Drunk.” All of McMurray’s bands are yearly favorites at New Orleans’ Big Easy Awards and Best of the Beat Awards, where Cannonball won Album of the Year in 2010.

In one incarnation or another, McMurray has played Jazz Fest every year since 1996, survived no less than two dozen Mardi Gras seasons, and lived to tell the tale in heartbreaking song. He is an organizer of the Jazz Fest season fringe music festival Chaz Fest, and currently plays in countless other New Orleans bands, including the Happy Talk Band, Debbie Davis, Paul Sanchez and the Rolling Road Show, the Schatzy Band and The Geraniums.

Paul Sanchez

Fans may know Paul Sanchez as a founding member of the rock band Cowboy Mouth having played with the band from 1990 to 2006, for his role in the HBO series TREME where he played himself, or as the creative force behind the musical, story NINE LIVES.

Native New Orleanian Paul Sanchez, was born in the blue-collar Irish Channel across the street from the Mississippi River. It was thanks to Trinity Episcopal School’s program to help the under privileged kids from his neighborhood that his career was launched playing The Artful Dodger in a summer day camp performance of OLIVER. By the time he was twelve, his brother, Andrew, was teaching Paul to play guitar. His first experience with organized music was watching his older siblings march with drum and bugle corps. Soon Paul was playing xylophone with such gusto that his ears began to ring.

Paul Sanchez began writing songs and playing his first professional shows in the French Quarter before he turned sixteen. By the 1980’s, Paul was an established part of the New Orleans rock scene, playing in The Backbeats along with Vance DeGeneres , another native New Orleanian.

He lived in New York City in the late 80's and was part of the now legendary Anti-Folk scene in the East Village.

Today Paul Sanchez defies categories and is noted as an actor, songwriter, singer, producer, writer and musician, with 11 solo cds under his belt and another 11 Cds as a member of Cowboy Mouth.
In January of 2010 Off Beat Magazine awarded Paul three Best Of The Beat Awards: Songwriter of The Year, Best Song Of The Year, Best Folk/Rock Album for Stew Called New Orleans, his duet record with friend and collaborator John Boutte . In April of that same year Gambit Weekly awarded him Best Roots Rock Performer at The Big Easy Awards.

Primarily a songwriter Sanchez has written songs for Darius Rucker of Hootie and The Blowfish, had a song in the country charts which was recorded by The Eli Young Band, and a song covered by childhood idol Irma Thomas the Soul Queen of New Orleans.

Paul resides in the Treme neighborhood, he still lives sings and breathes New Orleans.

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