The Tallest Man on Earth
The Tallest Man on Earth released The Wild Hunt in April 2010, and the album found its way into the hearts of fans everywhere. The connection that the Tallest Man on Earth (aka songwriter Kristian Matsson) has with his fans is a sight to behold - he has performed around the world, at clubs and festivals, and the bond between Matsson and his audience is breathtaking. Matsson is the rarest of performers, charismatic and captivating, and his passion for performance bleeds through every single time he takes the stage.

At many of the Tallest Man on Earth shows this year, Matsson closed his set with a new song titled "Like the Wheel." It quickly became a fan favorite, with YouTube videos spreading virally, and the sets closing on a high note night after night.

"Like the Wheel," along with four other new songs, make up Sometimes The Blues Is Just a Passing Bird, an EP written entirely after The Wild Hunt. Recorded during a quick break from touring in the summer of 2010, "Like the Wheel" is joined by "The Dreamer," a soon-to-be-classic that Matsson performs on electric guitar. Sometimes The Blues Is Just a Passing Bird is an open and shut chapter in the Tallest Man on Earth's songbook - five new additions to those magical performances.
Dead Oceans
Mp3s: https://www.facebook.com/thetallestmanonearthofficial

1 More TBA

The Hold Steady
During our time as The Hold Steady, I've made a lot in interviews and onstage monologues about what little ambition we had when we started this band. We weren't sure if we would play shows or release records. We had seriously managed expectations. But in the end, we did end up playing shows and releasing records, and we are better people for it. We've seen a lot of the world, met a ton of great people, and played a whole bunch of rock and roll music. Our efforts have been rewarded beyond our wildest dreams. It's not exactly a mind-blowing statement when I say that this is the best job I've ever had. That said, there are sacrifices and discomfort that come with this territory: busted relationships, distance from family, physical exhaustion, disconnection from civilian life, ringing ears, interminable waiting around, trying to get through a ninety minute show when you have food poisoning, etc.

Our new record, Heaven is Whenever, is about struggle and reward. It's about accepting suffering as a necessary part of a joyous life. It's about how love can help us rise above these struggles. It's about faith. It's about how bad it hurts to settle for less. It's about not being scared to try. It's about four guys who still believe in the power and glory of rock and roll. Because even after a thousand soundchecks, a thousand load-in and load-outs, fifty missed birthdays, and a few hundred electrical shocks, our reward still vastly outweighs the struggle. In fact, the reward would not exist without the struggle. Thus, this struggle is inherently part of the reward. And in this way, the fantasy of playing rock and roll for a living is a lot like real life.

It's hard to pinpoint when we started making this record, but I think the genesis was when Tad was doing a score for a film in early 2009. He started laying down some song ideas in the studio and sharing them with us. I started writing lyrics and at one point we even set up a makeshift studio in the back of our tour bus to record demo vocals. We spent our down time in the Summer of 2009 making demos in our rehearsal space. Songs started to pile up, and it was time to hit a proper studio and start making an album.

We tapped Dean Baltulonis to produce the record. Dean had produced our record Separation Sunday and is an old friend. We headed upstate to Dreamland Studios in West Hurley, NY. Isolated and surrounded by amazing Autumn beauty, we spent two weeks living on site, playing music, drinking beer, and standing around the grill. We hit a few things that we had already demoed, but also jammed on a lot of new stuff. One memorable night is captured on the last song on the album "A Slight Discomfort". Tad did a few guitar tracks out on the front lawn that night, and you can hear the chorus of crickets chirping from the surrounding trees as the record draws to a close. We also talked our friend John Reis into coming out from San Diego and jamming with us for a few days. He played a bit of guitar on the record and helped write the song "Rock Problems".

After we left Dreamland we hit the road for a little bit, which gave us the opportunity to try out new songs in front of an audience. When we returned to Brooklyn, we hit our rehearsal space with a vengeance. We reworked some of the new stuff and wrote even more. We soon repaired to Wild Arctic Studios in Queens. We've done a lot of work at Wild Arctic in the past and it's a very comfortable place for us. We did a number of shorter sessions at Wild Arctic throughout the Fall and Winter of 2009. The record was starting to come together.

We broke for Xmas and wrapped up recording in January 2010. We began mixing and faced the usual heartbreaking decisions about which songs would and would not make the record. We mixed and remixed. We sequenced and resequenced. Finally, we turned it in, about six months after we started. It felt good to be done, but it also felt good to know that our time and perseverance had paid great dividends. I think we made something that is both different than our previous releases, yet unmistakably a creation of The Hold Steady.

Heaven is Whenever is our fifth full length release. This is both cool and a cause to stop and think, as there are some inherent truths in any fifth record. For one, the band has to stay together long enough to last through the first four. Secondly, an audience has to be interested enough to encourage the band to make album number five. And third, the band still has to have something to say that it feels that it hasn't said before.

I just went through my record collection to see how many bands I love never made it to a fifth record. I realized that most of the bands that mean the most to me had indeed made it through five and sometimes beyond: Led Zeppelin, The Clash, Thin Lizzy, REM, Creedence, etc. In some ways, album five implies a commitment and dedication and a realization that the band's success is not a fluke, and that it's not going anywhere. Albums like Physical Graffiti, Combat Rock, Fighting, Document, and Cosmo's Factory are all fifth records that show their creators confident and brimming with new ideas. In many cases, peaking. While I am not going to compare our record to any of these masterpieces by my rock and roll deities, I am proud to unveil Heaven is Whenever and add it to our body of work. Five records in seven years. Not bad.

The title of this record comes from a lyric in the song "We Can Get Together", which states "Heaven is whenever/We can get together." In the end, that might say it best. The most amazing part of this life is the opportunity to share music with a supportive audience. It is not lost on us that people make sacrifices of their own to see us perform. They spend money on tickets and travel, they get baby sitters, they take time off work. It's an honor for us to be a recipient of this kind of dedication. So when we say Heaven is Whenever, we mean that the greatest of rewards is our privilege of being able to tour and share our music and our lives with yours.

Thank you for being a part of this.

Craig Finn
The Hold Steady
Vagrant Records
Mp3s: http://www.facebook.com/theholdsteady

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King Tuff
A more charismatic, enigmatic nomad of a furioso frontman/artist/guitar legend could not be imagined. You can’t make this shit up.

Grinning gold teeth behind blonde shades, in black, skeletal denim, with a studded “KING TUFF” across the shoulders where feral locks fall around his infamous “Sun Medallion.” With an acoustic guitar slung over the shoulder, King Tuff slinks through the abandoned halls of Detroit’s Malcolm X Academy. His baseball hat reads “VERMONT.” It’s the 4th of July.

Will somebody please snap a photo of this animal before it escapes back into the wilderness from which it came??!!

Magic Jake pulls up on a motorcycle, riding left-handed with his bass guitar hanging from the right arm, shoeless.

Kenny arrives in a rusted van, drums stacked in the back atop a shedding sofa complete with coffee table and a thermos full of god knows what.

Captain Cox, prodigy engineer, is attempting to “fix” the mixing console, on his back, under the wires, a flashlight between his teeth and soldering gun in hand.

“COX!” I bark, “What the FUCK are you doing?”

“Just trying to get these channels to work,” he laments.

“What’s wrong with them?” I lean under the desk and practically fall into a pile of live spaghetti.

“I built them,” he confesses.

King Tuff sits, center stage between Magic Jake and Kenny, his trademark guitar, Jazijoo, on his lap while the rhythm section diligently loops the groove under Tuff’s frenetic fingering.

Silent on a marble staircase, a ghost of a child, King Tuff, expressionless, leans back into a half shadow, with rays of silver rings leaping under incandescent light. The sessions go long into the bordering hours of morning.

Never…
Subpop Records
Mp3s: http://www.subpop.com/artists/king_tuff

Habibi
Habibi is the brainchild of Rahill Jamalifard and Lenny Lynch. Together, the two Detroit natives started the all girl, Brooklyn based project in the spring of 2011. Growing up with the harmonious sounds of Motown and the punk attitudes of Quatro and Iggy, their music invokes the same simplicity and fiery spirit. Jamalifard’s Persian ancestry and Lynch’s love of Middle Eastern culture are evident in the bands name (Habibi’s translation is my love in Arabic), their mystical lyrics, and their eastern tinged melodies. In the short span of time since their formation Habibi has captured the interest of audiences and labels abroad, eager to hear more of their simple and catchy songs. The four piece featuring Erin Campbell, on bass and Karen Isabel on drums look forward to their upcoming single and their first full length album.
Mp3s: http://soundcloud.com/radiorahill

1 More TBA

A Great Big Pile of Leaves

Brooklyn, NY-based trio, A Great Big Pile of Leaves got their start in 2007 when guitarist/singer Peter Weiland and drummer Tyler Soucy took time from their prior projects to start writing material of their own. The first six songs came together as the self-released EP The Fiery Works, which the duo put out as a free download on their Web site. As word spread online, the band’s fanbase grew along with Weiland and Soucy’s excitement to get back to recording.

Continuing with the formula of self-producing, The Fiery Works II followed shortly afterward and was also released as a free download. Within the next year, the digital releases were downloaded over 12,000 times and the group prepared for a live setting with the addition of Tucker Yaro on bass. After playing several shows and writing a batch of new songs over the next few months, the newfound trio prepared themselves to record a full-length record Have You Seen My Prefrontal Cortex?
Topshelf Records
Mp3s: https://www.facebook.com/agreatbigpileofleaves

1 More TBA

Wye Oak
On March 8, Merge released Wye Oak's third album, Civilian.

Wye Oak wrote what became Civilian between December of 2009 and July of 2010. The songs "are, as a whole, about aloneness (the positive kind), loneliness (the horrible kind), moving on, and letting go (of people, places, and things)," lyricist/guitarist Jenn Wasner reveals.

After recording and mixing the previous two albums themselves, Wye Oak brought in mixing engineer John Congleton (St. Vincent, Shearwater), who played a pivotal role in the sound of Civilian. "JC definitely pushed us into some exciting and sometimes scary new territory," multi-instrumentalist Andy Stack says. "It was the most that Jenn and I had ever relinquished control of our music to someone else, but it gave us a chance to step back and see the big picture, whereas on previous recordings we got embroiled in the technical details."

Civilian is a kind of 21st-century folk music, imbued with dense shoegaze guitars, nearly melodic rhythms, and impeccable splashes of electronic color. Without leaning on conventional structure, the songs beguile with fascinating chords and melodies, Jenn's voice and riveting lyrics, mesmerizing rhythms, and an intoxicating aural landscape. Just as good writing has meaning between the lines, Civilian has meaning between the sounds: the combinations of harmonies, timbres, and words summon vivid and ineffable associations just beyond reach.

Jenn sums up the meaning of the album saying, "this collection of songs is called Civilian because I believe everyone wants to be normal, but no one truly is."

Wye Oak is Jenn Wasner and Andy Stack.
Merge Records
Mp3s: http://www.facebook.com/wyeoak

Other Colors
Quartet from Baltimore playing future folk-rock and spectralist pop.
Mp3s: http://soundcloud.com/other-colors

Murder By Death
Indiana's Murder by Death layers the vocal sounds of an old saloon with the haunting strings of a Hungarian folk dance and the hard driving rhythms of pure rock 'n' roll, producing what Stuff magazine has called "lush, orchestrated songs," somehow simultaneously reminiscent of Johnny Cash and Radiohead. Added to that thick and intriguing sound are a series of dark and ironic lyrics, combining the mood and tone of Nick Cave and the Bad Seeds with the narrative force of The Decemberists or a short story by Nathaniel Hawthorne. Adam Turla fills out these sometimes frightening, sometimes beautiful lyrics by conjuring up a cast of character voices, allowing the songs to speak with the force of the characters themselves, and providing the listener with a sense of ensemble unique in rock music.

But this ensemble feel is not only the result of Turla's vocal playfulness, but of the cohesive playing of the band itself. Sarah Balliet channels her Kentucky bluegrass roots through the skilled hands of a concert cellist, playing point and counterpoint to the lyrics and guitars with magnificent grace and style. Matt Armstrong's bass guitar provides the rhythmic framework of the band, but also takes the lead with surprising frequency, guiding Murder by Death into driving highs and brooding lows. And Alex Schrodt's drumsticks almost dance across the skins, giving the band what the Chicago Reader called "a rhythm section Nick Cave or The Faint would die for." The result is a fascinating slice of American Gothic, replete with trail rides, whiskey shots and Old Scratch himself
Vagrant Records
Mp3s: http://www.facebook.com/murderbydeath

Cory Chisel and the Wandering Sons
Not many new artists get this chance: to record in LA and Nashville with Grammy-winning producers, backed by members of acclaimed bands like The Raconteurs, My Morning Jacket, and Band of Horses, and positioned by expert marketing forces to hit the ground running… hell, for that matter, to run before the race has even started. And seem as that may be for Cory Chisel — whose name is surely new to most everyone reading this review and whose forthcoming album was produced by Joe Chiccarelli (The Shins, The White Stripes, Beck) and recorded with folks like “Little Jack” Lawrence, Carl Broemel, Blake Mills, and Brendan Benson Chisel grew up the son of a Baptist minister and the nephew of a blues musician, though apparently all of his uncles are guitar players. Gospel and blues became his musical mainstays, though it wasn’t long until Cory Chisel formed a band and recorded an album of original songs.
Mp3s: https://www.facebook.com/corychisel

Ha Ha Tonka
Recorded in a 200 year old barn in scenic New Paltz, NY with producer Kevin McMahon (Titus Andronicus, The Felice Brothers, The Walkmen), Death of a Decade began as a stripped down record, rich with warm tones that could only be captured under a 30 foot roof of a barn. "We wanted to make sure we left in all the imperfections of the barn such as the chairs squeaking and the boards creaking", explains lead singer Brian Roberts. After tracking the songs in this rough hewn setting, the files were shipped to hAUs Studio in Kansas City, MO where The Ryantist mixed and manipulated synthetic sonic threads into this organic tapestry. Death of a Decade is where authentic meets synthetic, acoustic meets electronic, and tradition meets innovation.
Bloodshot Records
Mp3s: http://www.facebook.com/hahatonka

Anberlin
There are moments in a band's career where you need to get on board or be left behind. Moments where a band makes a great leap forward, surges to the next level, and becomes something infinitely greater than they've ever been. This is one of those moments for Anberlin, a rock band who has been honing their style and sound since 2002. The band's last album and major label debut, 2008's New Surrender, ascended the Central Florida group to a new level of both popularity and skill. The record's first single "Feel Good Drag" became the No. 1 radio track of 2009 and the No. 30 track of the decade. The positive reception the disc generated set the band up for an even more successful and powerful follow-up. On this fifth album, Dark Is The Way. Light Is A Place, Anberlin found themselves in a new headspace, recharged with creativity following their touring cycle for New Surrender. The band was unsure which producer to use for this effort, but fortuitously that decision was made
for them when Grammy-winning producer Brendan O'Brien (Pearl Jam, Bruce Springsteen) approached the group. O'Brien had followed their career after being alerted to Anberlin by his daughter and felt that this was the right occasion to collaborate with the musicians. "The fact that he liked our music and he believed in us and he was standing behind us as a band was huge," Stephen says. "Compared to his roster we're not that big, so having him behind us really bolstered our confidence and pushed our desire to achieve something greater on this record. People have told us they're proud of us, but for Brendan O'Brien to say it was truly solidifying for us as a band." The band recorded the disc over five weeks, on and off throughout March, April and May of this year at Blackbird Studios in Nashville. The process was both challenging and empowering, with O'Brien urging the band members to step out of their comfort zone and take their music to new heights. The resulting album is 10 tracks that resound with a newfound sense of self and an assurance of identity.
"It was about Brendan empowering us to make the best record possible," Stephen says. "He gave us the tools and showed us how to tighten things up. For us it was just a different caliber and I think we rose to the occasion. We played as hard as we could, we practiced as hard as we could, we wrote a lot and experimented. It was an all-encompassing session of empowerment."
The album veers from powerful opener "We Owe This To Ourselves," which Stephen wrote after hearing a NPR piece about Martin Luther King, Jr. and the civil rights movement, to the urgent single "Impossible," a track about the delicate balance between fateful love and love as a choice, to acoustic number "Down." The album as a whole is both pensively dark and optimistic making the band's choice of title, drawn from a poem by Dylan Thomas entitled "Happy Birthday," apropos. It's a record about both being in the dark and recognizing that there's a way back into the light, says Stephen. "Hopefully these are songs people are absolutely able to relate to, whether it's love, whether it's friendship, whether it's family," Stephen explains. "There are moments where it's going to hurt and there are moments where there's going to be pain involved, but at the end of the day it's the people we surround ourselves with that's going to matter the most. There will be setbacks in life and problems and pain, but it's through perseverance that life is worth living and can be amazing. Most of our music can be summed up as bringing you to a dark moment then showing you that at the end of the day there's hope, there's light and there's a way out."
Dark Is The Way. Light Is A Place is the product of five thoughtful musicians who have something significant to express. Stephen is also a published author (The Orphaned Anything's came out in 2008) who is currently working on his second novel. He also cocreated a charity called Faceless International, a non-profit that helps defend the plights of people in unfortunate situations around the world. Nathan is a photographer and model, and began an art collective called Golden Youth with Underoath's Tim McTague and artist Justin Nelson. Christian does avid charity work, using Anberlin as a venue to encourage people to make a difference both locally and around the world. Collectively, Anberlin is composed of contemplative, genuine musicians who have made a record that defines both themselves and their career. "For us, this is the best record that we can ever accomplish," Stephen concludes. "We were absolutely in our element on this record. I hope that everything we were able to convey on this album is inspiring to our fans. We want to bring them on this journey with us and I hope when they hear our new record they feel as empowered and confident as we did while making it."
Mp3s: http://www.facebook.com/anberlin

Plus Special Guests

**IN ASSOCIATION WITH CQ PRESENTS**

Hank & Cupcakes
Hank & Cupcakes are one of the hottest emerging Indie pop duos in NYC’s music scene. Their catchy pop tunes, wrapped in an explosive live show with a raw edgy twist and a sizzling sexy performance will definitely get your ass shakin’ with just drums, bass and vocals.
Mp3s: http://hankandcupcakes.com

Mission 0
Hank & Cupcakes are one of the hottest emerging Indie pop duos in NYC’s music scene. Their catchy pop tunes, wrapped in an explosive live show with a raw edgy twist and a sizzling sexy performance will definitely get your ass shakin’ with just drums, bass and vocals.
Mp3s: http://www.mission0.net

Counting Crows
Counting Crows is a rock band from Berkeley, California, formed in 1991. The band consists of Adam Duritz (lead vocals, piano), David Bryson (guitar), Charlie Gillingham (accordion, keyboards), Dan Vickrey (lead guitar), Dave Immergluck (guitar, banjo, mandolin), Jim Bogios (drums) and Millard Powers (bass).

Counting Crows gained popularity following the release of its debut album, August and Everything After (1993), which featured the hit single "Mr. Jones". They have sold more than 20 million albums worldwide and received a 2004 Academy Award nomination for their song "Accidentally in Love", which was included in the film Shrek.

The band's influences include Van Morrison, R.E.M., Mike + The Mechanics, Nirvana, Bob Dylan, and The Band.
Website: http://www.countingcrows.com

Good Old War
The second self-titled album by Langhorne, Pennsylvania indie-rock trio Good Old War is at its lush heart, an album of immense growth. A natural evolution from the band’s debut Only Way to Be Alone (Sargent House), Good Old War radiates with warmth and vulnerability, both qualities undoubtedly cultivated by the band’s hands-on self-production, and the environment of solitude in which the album was created.

Holed up in a remote house in the Pocono Mountains through the white winter month of February 2009, Keith Goodwin (vocalist/guitarist), Dan Schwartz (vocalist/guitarist), and Tim Arnold (vocalist/drummer) coalesced into a dynamic harmonious unit, using their time in complete isolation to explore new approaches to their music-making process: they learned new instruments; they wrote about subjects like love, loss, and addiction; they explored musical conventions far outside indie-rock/folk territory. Good Old War’s sophomore album doesn’t just maintain the intricate vocal harmonies, infectious sing-along melodies, and pop-song writing foundation of Only Way To Be Alone, it expands them. The results are a collection of songs that could translate from a living room to an arena without losing their heartbeat.
Website: http://www.facebook.com/goodoldwar

Filligar
Hailed as “one of the best young bands in America,” Filligar is the rock n’ roll quartet comprised of the three Mathias brothers—Johnny, Pete, and Teddy—and their lifelong friend Casey Gibson. Drawing comparisons to a “young Rolling Stones” and called “the next Kings of Leon,” the band gives classic rock their own unique and distinctly modern edge. They’ve headlined sold out shows at the nation’s most acclaimed venues, toured the United Kingdom to wildly enthusiastic audiences, and recently supported both The Black Keys and My Morning Jacket. In December 2011, the powerhouse music blog RSL named Filligar one of the top 8 live acts in the USA, along with fellow Windy City band Wilco.
Website: http://www.facebook.com/filligar

Foreign Fields
Foreign Fields, formerly “Flights,” is an electronic folk duo that hails from the wintry plains of Wisconsin. New Years day of last year they met in their hometown, in an abandoned office building, to begin work on their first full length LP “Anywhere But Where I Am”. Having no set plan or guide, the album grew naturally as they left their lives in Chicago for hot summer days, skipping stones in the rivers of Tennessee.

They self-released their album January first of this year and it has since gone on to receive considerable attention and praise without any outside help. In the upcoming months, Foreign Fields will be releasing a short film for each of the 13 tracks on their album as well as releasing a supplemental instrumental EP.
Website: http://www.facebook.com/foreignfields

**IN ASSOCIATION WITH PREMIER CONCERTS**

Willie Nelson & Family
Willie Hugh Nelson is an American country music singer-songwriter, as well as an author, poet, actor, and activist. The critical success of the album Shotgun Willie (1973), combined with the critical and commercial success of Red Headed Stranger (1975) and Stardust (1978), made Nelson one of the most recognized artists in country music. He was one of the main figures of outlaw country, a subgenre of country music that developed at the end of the 1960s as a reaction to the conservative restrictions of the Nashville sound. Nelson has acted in over 30 films, co-authored several books, and has been involved in activism for the use of biofuels and the legalization of marijuana.

Born during the Great Depression, and raised by his grandparents, Nelson wrote his first song at age seven and joined his first band at ten. During high school, he toured locally with the Bohemian Polka as their lead singer and guitar player. After graduating from high school in 1950, he joined the Air Force but was later discharged due to back problems. After his return, Nelson attended Baylor University for two years but dropped out because he was succeeding in music. During this time, he worked as a disc jockey in Texas radio stations and a singer in honky tonks. Nelson moved to Vancouver, Washington, where he wrote "Family Bible" and recorded the song "Lumberjack" in 1956. In 1960, he signed a publishing contract with Pamper Music which allowed him to join Ray Price's band as a bassist. During that time, he wrote songs that would become country standards, including "Funny How Time Slips Away", "Hello Walls", "Pretty Paper", and "Crazy". In 1962, he recorded his first album, And Then I Wrote. Due to this success, Nelson signed in 1964 with RCA Victor and joined the Grand Ole Opry the following year. After mid-chart hits during the end of 1960s and the beginning of the 1970s, and the failure to succeed in music, Nelson retired in 1972 and moved to Austin, Texas. The rise of the popularity of Hippie music in Austin motivated Nelson to return from retirement, performing frequently at the Armadillo World Headquarters.

In 1973, after signing with Atlantic Records, Nelson turned to outlaw country, including albums such as Shotgun Willie and Phases and Stages. In 1975, he switched to Columbia Records, where he recorded the critically acclaimed album, Red Headed Stranger. The same year, he recorded another outlaw country album, Wanted! The Outlaws, which he recorded with Waylon Jennings, Jessi Colter, and Tompall Glaser. During the mid 1980s, while creating hit albums like Honeysuckle Rose and recording hit songs like "On the Road Again", "To All the Girls I've Loved Before", and "Pancho & Lefty", he joined the country supergroup The Highwaymen, along with fellow singers, Johnny Cash, Waylon Jennings, and Kris Kristofferson. During 1990 Nelson's assets were seized by the Internal Revenue Service, that claimed that he owed US $32,000,000. It was later discovered that his accountants, Price Waterhouse did not pay Nelson's taxes for years. The impossibility of Nelson to pay his outstanding debt was aggravated by weak investments made by him during the 1980s. Nelson released in 1991 The IRS Tapes: Who'll Buy My Memories?, the profits of the double album, destined to the IRS and the auction of Nelson's assets cleared his debt by 1993. During the 1990s and 2000s, Nelson continued touring extensively, and released albums every year. Reviews ranged from positive to mixed. Nelson explored genres such as reggae, blues, jazz, and folk. Nelson made his first movie appearance in the 1979 film, The Electric Horseman, followed by other appearances in movies and on television.

Nelson is a major liberal activist and the co-chair of the advisory board of the National Organization for the Reform of Marijuana Laws, which is in favor of marijuana legalization. On the environmental front, Nelson owns the bio-diesel brand Willie Nelson Biodiesel, which is made from vegetable oil. Nelson is also the honorary chairman of the Advisory Board of the Texas Music Project, the official music charity of the state of Texas.
Mp3s: http://www.willienelson.com

**IN ASSOCIATION WITH PREMIER CONCERTS**