David Albert Alvin is an American singer-songwriter, music producer and poet. He is a founding member of the roots rock band the Blasters. Alvin has recorded and performed as a solo artist since the late 1980s and has been involved in various side projects and collaborations, he has had brief stints as a member of the bands X and the Knitters. Alvin grew up in California, he and his older brother, Phil Alvin, as teenagers attended rockabilly and country music venues and listened to the music of Chet Atkins, Leo Kottke, others. Dave attended Long Beach State University. In 1979, Alvin and his brother Phil formed the roots rock band The Blasters with fellow Downey residents Bill Bateman and John Bazz. Alvin served as the group's lead chief songwriter; as such he is responsible for Shakin' Stevens's British-German 1980 top 20 hit "Marie, Marie". Despite a growing fan base in the United States and Europe, Alvin left the band in 1986 and became the lead guitarist of the Los Angeles–based alternative rock band X.
He left X in 1987 to work on a solo project. Alvin became a member of the country-folk band The Knitters and appeared on their 1985 album Poor Little Critter on the Road and their 2005 follow-up, The Modern Sounds of the Knitters. In the early 1980s Alvin, along with fellow Blasters members Bill Bateman and Steve Berlin, performed on several albums by the Los Angeles punk band the Flesh Eaters. Alvin played with the Gun Club and appeared on two songs from their 1984 album, The Las Vegas Story. Alvin's first solo album, Romeo's Escape, was released in 1987, it did not sell well. Because of the album's low sales, Alvin's recording contract with Columbia Records was terminated, he toured with Mojo Nixon and Country Dick Montana, billed as the Pleasure Barons. In 1989, Dwight Yoakam recorded Alvin's song "Long White Cadillac". Alvin's second solo album, Blue Blvd, was released by Hightone Records in 1991, it had moderate sales. His album Museum of Heart was released in 1993, he recorded King of California, an album of acoustic music, in 1994.
In 2000, he recorded the album Public Domain: Songs From the Wild Land, a collection of traditional folk and blues classics, which earned him a Grammy award for Best Contemporary Folk Album. In 2011, Alvin recorded the album Eleven Eleven, released by Yep Roc Records; the album marked his return to rock roots. Rolling Stone magazine, in a review of the album, called Alvin "an underrecognized guitar hero". In 2014, Dave and Phil Alvin, as a duo, released the album Common Ground, consisting of their versions of songs by Big Bill Broonzy It was the first studio collaboration of the brothers since the mid-1980s. In 2015 they released a collection of covers including four songs by Big Joe Turner. Alvin has produced records for Chris Gaffney, Tom Russell, the Derailers, Big Sandy & His Fly-Rite Boys, he collaborated with the rockabilly musician Sonny Burgess. He has worked as a studio session musician accompanying Ramblin' Jack Elliott, Little Milton, Katy Moffatt, Syd Straw. Alvin appeared in the movies Border Radio and Floundering and on the FX television series Justified in 2011.
He appeared in Streets of Fire, with the Blasters, in 1984. Alvin has published two books of poetry: Any Rough Times Are Now Behind You and Nana, Big Joe & the Fourth of July, his poetry has appeared in Caffeine, the A. K. A. Review, Rattler and Enclitic and in the anthologies Nude Erections and Run Poets and Poetry Loves Poetry—An Anthology of Los Angeles Poets. American Music The Blasters Over There Non Fiction Hard Line The Blasters Collection Testament: The Complete Slash Recordings The Blasters Live: Going Home Streets of Fire The Blasters Live: Going Home See How We Are Poor Little Critter on the Road The Modern Sounds of the Knitters Lead guitar on "Believe" and "Amazing Disgrace" on Dollar Store's Dollar Store Eklektikos Live – "Blackjack David" Highway 61 Revisited Revisited, UNCUT – "Highway 61 Revisited" The Lone Ranger: Wanted – "Lonesome Whistle" Nana, Big Joe & the Fourth of July ASIN B000V96DW4 Any Rough Times Are Now Behind You ISBN 9781884615092 Stambler, Irwin & Lyndon. Folk & Blues: The Encyclopedia.
3rd ed. New York: St. Martin's Press. Pp. 4–7. ISBN 0-312-20057-9 Official web site Dave Alvin profile at Music Match Dave Alvin at NPR Music Dave Alvin collection at the Internet Archive's live music archive
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
Robert Leroy Johnson was an American blues singer and musician. His landmark recordings in 1936 and 1937 display a combination of singing, guitar skills, songwriting talent that has influenced generations of musicians. Johnson's poorly documented life and death have given rise to much legend; the one most associated with his life is that he sold his soul to the devil at a local crossroads to achieve musical success. He is now recognized as a master of the blues as a progenitor of the Delta blues style; as an itinerant performer who played on street corners, in juke joints, at Saturday night dances, Johnson had little commercial success or public recognition in his lifetime. He only participated in two recording sessions, one in San Antonio in 1936, one in Dallas in 1937, that produced recordings of 29 distinct songs; these songs, recorded at low fidelity in improvised studios, were the totality of his recorded output. About half of these were released as 10-inch, 78 rpm singles from 1937–1939, many after his death at the age of 27.
Other than these recordings little was known of him during his life outside of the small musical circuit in the Mississippi Delta where he spent most of his life. His music had only a small, but influential, following during his life and in the years after his death; as early as 1938, his music was being sought by influential producers such as John Hammond, who tried to recruit him to record and tour without knowing of his death. Brunswick Records, which owned the original recordings, was bought by Hammond's Columbia Records, which would release the recordings to a wider audience. Musicologist Alan Lomax went to Mississippi in 1941 to record Johnson not knowing of his death. A compilation album, titled King of the Delta Blues Singers, was released by Columbia in 1961, which brought his work to a wider audience; the album would become an influential record on the nascent British blues movement, just getting started at the time. Musicians as diverse as Bob Dylan, Keith Richards, Robert Plant have cited both Johnson's lyricism and musicianship has key influences on their own work.
Many of Johnson's songs have been covered over the years, becoming hits for other artists, his guitar licks and lyrics have been borrowed and repurposed by a many musicians. Renewed interest in Johnson's work and life led to a burst of scholarship starting in the 1960s. Much of what we know about him today was reconstructed by researchers such as Gayle Dean Wardlow; the 1991 documentary The Search for Robert Johnson by John Hammond, Jr. was another attempt to document his life, demonstrated the difficulties arising from the scant historical record and conflicting oral accounts. Johnson was inducted into the Rock and Roll Hall of Fame in its first induction ceremony, in 1986, as an early influence on rock and roll, he was awarded a posthumous Grammy Award in 1991 for The Complete Recordings, a 1990 compilation album. His single "Cross Road Blues" was inducted into the Grammy Hall of Fame in 1998, he was given a Grammy Lifetime Achievement Award in 2006. In 2003, David Fricke ranked Johnson fifth in Rolling Stone magazine's "100 Greatest Guitarists of All Time".
Johnson was born in Hazlehurst, Mississippi on May 8, 1911, to Julia Major Dodds and Noah Johnson. Julia was married to Charles Dodds, a prosperous landowner and furniture maker, with whom she had ten children. Charles Dodds had been forced by a lynch mob to leave Hazlehurst following a dispute with white landowners. Julia left Hazlehurst with baby Robert, but after two years sent the boy to Memphis to live with her husband, who had changed his name to Charles Spencer. Robert rejoined his mother around 1919 near Tunica and Robinsonville, they lived on the Leatherman Plantation. Julia's new husband, known as Dusty Willis, was 24 years her junior. Robert was remembered by some residents as "Little Robert Dusty", but he was registered at Tunica's Indian Creek School as Robert Spencer. In the 1920 census, he is listed as Robert Spencer, living in Lucas, with Will and Julia Willis. Robert was at school in 1924 and 1927; the quality of his signature on his marriage certificate suggests that he was well educated for a boy of his background.
A school friend, Willie Coffee, interviewed and filmed in life, recalled that as a youth Robert was noted for playing the harmonica and jaw harp. Coffee recalled that Robert was absent for long periods, which suggests that he may have been living and studying in Memphis. After school, Robert adopted the surname of his natural father, signing himself as Robert Johnson on the certificate of his marriage to sixteen-year-old Virginia Travis in February 1929, she died in childbirth shortly after. Surviving relatives of Virginia told the blues researcher Robert "Mack" McCormick that this was a divine punishment for Robert's decision to sing secular songs, known as "selling your soul to the Devil". McCormick believed that Johnson himself accepted the phrase as a description of his resolve to abandon the settled life of a husband and farmer to become a full-time blues musician. Around this time, the blues musician Son House moved to Robinsonville, where his musical partner Willie Brown lived. Late in life, House remembered Johnson as a "little boy", a competent harmonica player but an embarrassingly bad guitarist.
Soon after, Johnson left Robinsonville for the area around Ma
William James "Count" Basie was an American jazz pianist, organist and composer. In 1935, Basie formed his own jazz orchestra, the Count Basie Orchestra, in 1936 took them to Chicago for a long engagement and their first recording, he led the group for 50 years, creating innovations like the use of two "split" tenor saxophones, emphasizing the rhythm section, riffing with a big band, using arrangers to broaden their sound, others. Many musicians came to prominence under his direction, including the tenor saxophonists Lester Young and Herschel Evans, the guitarist Freddie Green, trumpeters Buck Clayton and Harry "Sweets" Edison and singers Jimmy Rushing, Helen Humes, Thelma Carpenter, Joe Williams. William Basie was born to Harvey Lee Basie in Red Bank, New Jersey, his father worked as a caretaker for a wealthy judge. After automobiles replaced horses, his father became a groundskeeper and handyman for several wealthy families in the area. Both of his parents had some type of musical background.
His father played the mellophone, his mother played the piano. She took in laundry and baked cakes for sale for a living, she paid 25 cents a lesson for Count Basie's piano instruction. Not much of a student in school, Basie dreamed of a traveling life, inspired by touring carnivals which came to town, he finished junior high school but spent much of his time at the Palace Theater in Red Bank, where doing occasional chores gained him free admission to performances. He learned to improvise music appropriate to the acts and the silent movies. Though a natural at the piano, Basie preferred drums. Discouraged by the obvious talents of Sonny Greer, who lived in Red Bank and became Duke Ellington's drummer in 1919, Basie at age 15 switched to piano exclusively. Greer and Basie played together in venues. By Basie was playing with pick-up groups for dances and amateur shows, including Harry Richardson's "Kings of Syncopation"; when not playing a gig, he hung out at the local pool hall with other musicians, where he picked up on upcoming play dates and gossip.
He got some jobs in Asbury Park at the Jersey Shore, played at the Hong Kong Inn until a better player took his place. Around 1920, Basie went to Harlem, a hotbed of jazz, where he lived down the block from the Alhambra Theater. Early after his arrival, he bumped into Sonny Greer, by the drummer for the Washingtonians, Duke Ellington's early band. Soon, Basie met many of the Harlem musicians who were "making the scene," including Willie "the Lion" Smith and James P. Johnson. Basie toured in several acts between 1925 and 1927, including Katie Krippen and Her Kiddies as part of the Hippity Hop show, his touring took him to Kansas City, St. Louis, New Orleans, Chicago. Throughout his tours, Basie met many jazz musicians, including Louis Armstrong. Before he was 20 years old, he toured extensively on the Keith and TOBA vaudeville circuits as a solo pianist and music director for blues singers and comedians; this provided an early training, to prove significant in his career. Back in Harlem in 1925, Basie gained his first steady job at Leroy's, a place known for its piano players and its "cutting contests."
The place catered to "uptown celebrities," and the band winged every number without sheet music using "head arrangements." He met Fats Waller, playing organ at the Lincoln Theater accompanying silent movies, Waller taught him how to play that instrument.. As he did with Duke Ellington, Willie "the Lion" Smith helped Basie out during the lean times by arranging gigs at "house-rent parties," introducing him to other leading musicians, teaching him some piano technique. In 1928, Basie was in Tulsa and heard Walter Page and his Famous Blue Devils, one of the first big bands, which featured Jimmy Rushing on vocals. A few months he was invited to join the band, which played in Texas and Oklahoma, it was at this time. The following year, in 1929, Basie became the pianist with the Bennie Moten band based in Kansas City, inspired by Moten's ambition to raise his band to the level of Duke Ellington's or Fletcher Henderson's. Where the Blue Devils were "snappier" and more "bluesy," the Moten band was more refined and respected, playing in the "Kansas City stomp" style.
In addition to playing piano, Basie was co-arranger with Eddie Durham. Their "Moten Swing", which Basie claimed credit for, was acclaimed and was an invaluable contribution to the development of swing music, at one performance at the Pearl Theatre in Philadelphia in December 1932, the theatre opened its door to allow anybody in who wanted to hear the band perform. During a stay in Chicago, Basie recorded with the band, he played four-hand piano and dual pianos with Moten, who conducted. The band improved with several personnel changes, including the addition of tenor saxophonist Ben Webster; when the band voted Moten out, Basie took over for several months, calling the group "Count Basie and his Cherry Blossoms." When his own band folded, he rejoined Moten with a newly re-organized band. A year Basie joined Bennie Moten's band, played with them until Moten's death in 1935 from a failed tonsillectomy; when Moten died, the band tried to stay together but couldn't make a go of it
Thomas Williams (writer)
Thomas Williams was an American novelist. He won one U. S. National Book Award for Fiction—The Hair of Harold Roux split the 1975 award with Robert Stone's Dog Soldiers—and his last published novel, Moon Pinnace, was a finalist for the National Book Critics Circle Award. Born in Duluth, Minnesota in 1926, Williams' family moved to New Hampshire when he was a child and he spent most of his life working and writing in that state, although he attended the Iowa Writers' Workshop, the University of Chicago, studied in Paris. For most of his career he taught at the University of New Hampshire, published eight novels during his lifetime, his students included among them John Irving. Irving wrote an introduction to a posthumous collection of Williams's collected stories, New Hampshire. Williams lived in Durham, NH and died of lung cancer at a hospital in Dover, NH when he was 63. Williams is the father of writer and novelist Ann Joslin Williams, the author of a collection of linked stories called The Woman in the Woods, which won the 2005 Spokane Prize.
Joslin Williams' first novel Down From Cascom Mountain, was published in 2011. Like her father, she attended the Iowa Writers’ Workshop and is a Professor at the University of New Hampshire; because he'd received one of the major US book awards in 1975 and because he was admired as a university writing instructor, Thomas Williams was a figure of some regard during the 1970s and 1980s when it seems his reputation had reached its peak. Today, Williams continues to be remembered and admired among many writers and student of the craft, but into the 21st century he remains all but unknown to the general reading public. All of his books were out of print until 2011, when The Hair of Harold Roux was reissued, sparking a renewed interest in his work. Stephen King, who had earlier dedicated his 1993 story collection Nightmares & Dreamscapes to Williams, said in a 2011 interview that The Hair of Harold Roux has remained, over the years, one of his favorite books, one he returns to "again and again." FictionCeremony of Love.
Indianapolis: Bobbs-Merrill Town Burning. New York: Macmillan. Anchor Books, 1988. ISBN 978-0-385-24250-9 The Night of Trees. New York: Macmillan. Ampersand Press & Small Press Distribution. Introduction by John Irving. ISBN 978-0-935331-09-7 A High New House. New York: Dial Press – Williams received the "Dial Press Fellowship Award for Fiction" for this collection of short stories Whipple's Castle: An American Novel. New York: Random House. Anchor Books, 1988. ISBN 978-0-385-24249-3 The Hair of Harold Roux. New York: Random House Tsuga's Children. New York: Random House ISBN 0-394-49731-7 The Followed Man. New York, NY: Richard Marek ISBN 978-0-399-90025-9 Moon Pinnace. Garden City, NY: Doubleday & Company. Anchor Books, 1988. ISBN 978-0-385-24247-9Posthumous publicationsLeah, New Hampshire: The Collected Stories of Thomas Williams. New York: William Morrow and Company. Graywolf Press, 1993. Introduction by John Irving; the Hair of Harold Roux. Bloomsbury USA with an Introduction by Andre Dubus III, Afterword by Ann Joslin Williams.
ISBN 978-1-60819-583-1 Gun People – includes a profile of Williams where he discusses his interest in hunting and its relevance to his writings. "National Book Awards Acceptance Speech". Nationalbook.org. Retrieved 2012-01-14. – – – text of Williams' acceptance speech after receiving the 1975 National Book Award for The Hair of Harold Roux "1975 National Book Awards Fiction Winners - Author's Site". Www.nbafictionblog.org. 2009-08-04. Retrieved 2012-01-14
Folk music includes traditional folk music and the genre that evolved from it during the 20th-century folk revival. Some types of folk music may be called world music. Traditional folk music has been defined in several ways: as music transmitted orally, music with unknown composers, or music performed by custom over a long period of time, it has been contrasted with classical styles. The term originated in the 19th century. Starting in the mid-20th century, a new form of popular folk music evolved from traditional folk music; this process and period is reached a zenith in the 1960s. This form of music is sometimes called contemporary folk music or folk revival music to distinguish it from earlier folk forms. Smaller, similar revivals have occurred elsewhere in the world at other times, but the term folk music has not been applied to the new music created during those revivals; this type of folk music includes fusion genres such as folk rock, folk metal, others. While contemporary folk music is a genre distinct from traditional folk music, in U.
S. English it shares the same name, it shares the same performers and venues as traditional folk music; the terms folk music, folk song, folk dance are comparatively recent expressions. They are extensions of the term folklore, coined in 1846 by the English antiquarian William Thoms to describe "the traditions and superstitions of the uncultured classes"; the term further derives from the German expression volk, in the sense of "the people as a whole" as applied to popular and national music by Johann Gottfried Herder and the German Romantics over half a century earlier. Though it is understood that folk music is music of the people, observers find a more precise definition to be elusive; some do not agree that the term folk music should be used. Folk music may tend to have certain characteristics but it cannot be differentiated in purely musical terms. One meaning given is that of "old songs, with no known composers", another is that of music, submitted to an evolutionary "process of oral transmission....
The fashioning and re-fashioning of the music by the community that give it its folk character". Such definitions depend upon " processes rather than abstract musical types...", upon "continuity and oral transmission...seen as characterizing one side of a cultural dichotomy, the other side of, found not only in the lower layers of feudal and some oriental societies but in'primitive' societies and in parts of'popular cultures'". One used definition is "Folk music is what the people sing". For Scholes, as well as for Cecil Sharp and Béla Bartók, there was a sense of the music of the country as distinct from that of the town. Folk music was "...seen as the authentic expression of a way of life now past or about to disappear" in "a community uninfluenced by art music" and by commercial and printed song. Lloyd rejected this in favour of a simple distinction of economic class yet for him true folk music was, in Charles Seeger's words, "associated with a lower class" in culturally and stratified societies.
In these terms folk music may be seen as part of a "schema comprising four musical types:'primitive' or'tribal'. Music in this genre is often called traditional music. Although the term is only descriptive, in some cases people use it as the name of a genre. For example, the Grammy Award used the terms "traditional music" and "traditional folk" for folk music, not contemporary folk music. Folk music may include most indigenous music. From a historical perspective, traditional folk music had these characteristics: It was transmitted through an oral tradition. Before the 20th century, ordinary people were illiterate; this was not mediated by books or recorded or transmitted media. Singers may extend their repertoire using broadsheets or song books, but these secondary enhancements are of the same character as the primary songs experienced in the flesh; the music was related to national culture. It was culturally particular. In the context of an immigrant group, folk music acquires an extra dimension for social cohesion.
It is conspicuous in immigrant societies, where Greek Australians, Somali Americans, Punjabi Canadians, others strive to emphasize their differences from the mainstream. They learn songs and dances that originate in the countries their grandparents came from, they commemorate personal events. On certain days of the year, such as Easter, May Day, Christmas, particular songs celebrate the yearly cycle. Weddings and funerals may be noted with songs and special costumes. Religious festivals have a folk music component. Choral music at these events brings children and non-professional singers to participate in a public arena, giving an emotional bonding, unrelated to the aesthetic qualities of the music; the songs have been performed, by custom, over a long period of time several generations. As a side-effect, the following characteristics are sometimes present: There is no copyright on the songs. Hundreds of folk songs from the 19th century have known authors but have continued in oral tradition to the point where they are considered traditional for purposes of music publishing.
This has become much less frequent since the 1940s. Today every folk song, recorded is credited with an arranger. Fusion of cultures: Because cultures interact and change over time
Dana Colley is an American musician, best known as the baritone and tenor saxophonist in the alternative rock band Morphine. Colley was born in Portland, but he was raised in Hanson, where he took up the clarinet in the 4th grade, switching to tenor sax in 7th, he picked up the baritone sax in 1984. Colley appeared in the Boston, Massachusetts indie rock scene playing with the group Three Colors, a post-punk band formed in 1981 whom he joined in 1985. While Colley established himself as a saxophonist, he played harmonica with the group. After modest success behind several small-run records and a brief relocation to Princeton, New Jersey, the group disbanded in late 1988. In 1989, Colley co-founded the dark-spirited band Morphine with front-man Mark Sandman of Boston-based Treat Her Right; the two were joined by drummer Jerome Deupree and garnered a local following. Their debut album, 1992's Good, was picked up by the Rykodisc label in 1993, the band embarked on extensive, successful touring. Colley's main instrument with the band was baritone sax, but he sang backing vocals, played percussion or other saxes.
Shortly thereafter, Treat Her Right drummer Billy Conway replaced Deupree, suffering from health problems. Following two more albums with Rykodisc, the band signed with the major label DreamWorks Records in 1996, they scored a minor MTV hit with "Early to Bed" from 1997's Like Swimming, continued to enjoy local and international success in Europe. In 1999, Sandman died unexpectedly of a heart attack while onstage in Italy, bringing the band to an abrupt end. Following Sandman's death, Colley and Deupree assembled a nine-piece band they dubbed Orchestra Morphine to tour behind their posthumous final album, The Night. Orchestra Morphine remained sporadically active thereafter, reassembling to perform Morphine material. Musical chemistry between Colley and Orchestra Morphine member Laurie Sargent led the trio to start their own group, Twinemen, a name they took from a comic drawn by Sandman. Formed in 2001, Twinemen toured extensively. Continuing a tradition he had begun in Morphine, Colley provided woodblock print artwork for the band's records.
Colley and Sargent were instrumental in re-opening the Hi-n-Dry studio and record label, Sandman's former workspace and imprint. In 2004 Colley produced and performed on "Black Feather Wings", the second release from Bourbon Princess. 2006, Colley co-founded A. K. A. C. O. D. With bassist/songwriter Monique Ortiz of Bourbon Princess and drummer Larry Dersch; the band released their debut Happiness album in 2007. Colley and Deupree began playing with New Orleans transplant Jeremy Lyons as Members of Morphine in 2009; this trio performs classic Morphine songs alongside of new material, played the ten-year anniversary of Sandman's death at the festival at which it occurred, the Nel Nome Del Rock Festival in Palestrina, Italy, on July 3, 2009. As of 2014, the trio renamed themselves Vapors of Morphine and performs shows in Boston and New Orleans. Colley has made guest appearances with Primus, Lilium, a project from Pascal Humbert of 16 Horsepower and Woven Hand, he played saxophone and bass clarinet on Dan Brenner's 2011 CD Little Dark Angel, produced by Jay Newland.
In 2012 he played in Italy with the Italian band Rudy and the M. O. B. made by the Italian singer Rudy Marra. Since about 2012, Colley has been a guest with several Boston-area bands, prominently the instrumental groups Dub Apocalypse and Club d'Elf. In 2013 he joined a 3-piece named The Deltahorse, releasing an EP despite never having been in the same place at the same time as the bandmembers, they released their first full-length album, "Translatlantic" in September 2016. Colley contributed to the album Stewing released in 2015 by The Grownup Noise. Colley lives in Massachusetts with his wife Kate and their two children, he is a visual artist, has attended the Massachusetts College of Art and Design. Vapors of Morphine at Facebook Three Colors at Gbmusic.com The Other Side – a Morphine fan page Twinemen at MySpace.com Members of Morphine at MySpace.com Vapors of Morphine's Official Website