|Apr 25||Nashville, TN|
|Apr 27||Huntsville, AL|
|May 2||Tallahassee, FL|
|May 4||St. Augustine, FL|
|May 5||Bushnell, FL|
|May 25||Haleyville, AL|
|Jun 8||Rolla, MO|
|Jun 9||Belle Plaine, KS|
|Jun 10||Perkins, OK|
|Jun 27||New York, NY|
|Jun 28||Blairstown, NJ|
|Jun 29-30||Altamont, NY|
We can let you know when we're in
your "neck of the woods"!
Thrill Hill Music
P.O. Box 926
Hermitage, TN 37076
The Thrill Hill Music Catalog includes:
- “Daddy Keeps on Plowin’”, by Mark Fair, Front Porch String Band, Rebel Records 1981.
- “Living in Our Country World”, by Mark Fair, Front Porch String Band, Rebel Records 1981
- “Come Unto Me”, by Claire Lynch, Front Porch String Band, Rebel Records 1981
- “Your Presence is My Favorite Gift”, by Hershey Reeves, Friends for a Lifetime, Rounder 1993
- “Old Blind Dog”, by Debbie Whitaker/Claire Lynch, Synergy (Hurst & Raines), Pinecastle 2003
- "I Believe in Forever", by Claire Lynch, New Day (Claire Lynch) , Rounder Records 2006
- "The Woods of Sipsey", by Claire Lynch, Whatcha Gonna Do (Claire Lynch), Rounder Records 2009
- "Face to Face", by Claire Lynch/Donna Ulisse, Whatcha Gonna Do (Claire Lynch), Rounder Records 2009
- "I'm Gonna Love You", by Claire Lynch/Louisa Branscomb, I'll Take Love (Louisa Branscomb) , Compass Records 2010
- "Eyes Cast Down", by Claire Lynch/Nora Jane Struthers, American Story (Bearfoot), Compass Records 2011
For inquiries about songwriting workshops, solo performances by Claire, or for information about any of her songs, write to firstname.lastname@example.org.
Q: You’ve made quite a mark as a songwriter, as well as a vocalist and bandleader. Seven of the songs on Crowd Favorites are credited to you as writer or co-writer. Your songs often seem intensely personal, yet quite guarded as well. Why is that?
CL: In part, I think that’s the art of song writing: to craft something that strikes a universal chord, but at the same time speaks very directly and intimately to an individual listener. If you asked three different people why a particular song speaks to them, you would likely hear three incredibly different personal stories that tie them to the song and make them think of the song as “theirs”. Whether a song actually came from my own personal experience, or something I observed in someone else’s life or just made up out of whole cloth is irrelevant to the value of the song. It’s that blend of universality and intimacy that makes it work, both for me as a musician, and for the listener as well. In music, unlike war, the “facts on the ground” aren’t really that useful to know.
Q. I’m also wondering if your songwriting skills have made you an exceptionally astute song-selector, when it comes to choosing songs to record and to add to your repertoire. Your albums are remarkably free of even the occasional clunker or forgettable selection. Or is there someone at Rounder who has “saved” you from bad choices by the power of the veto?
CL: In all my years at Rounder, there’s never been anything like a Clive Davis-Kelly Clarkson showdown! Seriously, I do think songwriting experience can give you both a technical and a “gut” feel for a good song, especially if you acknowledge that there is no formula or recipe for a good song, and sometimes, a good song breaks a lot of the rules. I thought about this recently when a fan from another country asked me about “Thibodaux”, a hugely fun and clever song written by Chris Stuart. You know, if you examine the lyrics at all closely, they just don’t tell a coherent story. But for some reason, this song works magic on the listener, and it speaks a deep emotional truth that people really identify with. Go figure! Besides which, Chris Stuart can be said to be from New York, or California, but certainly not Louisiana, so objectively speaking, the whole song is a fraud. I dearly love to perform it, and it was a “must” for “Crowd Favorites”.