EXECUTIVE MUSIC GROUP ANNOUNCES THE U.S. RELEASE OF AWARD-WINNING COUNTRY ARTIST, THE MCCLYMONTS DEBUT ALBUM “CHAOS AND BRIGHT LIGHTS”ON AUGUST 17th

Executive Music Group has announced they will exclusively release The McClymonts debut album titled “Chaos and Bright Lights” in the U.S. on August 17th. The up and coming, award-winning, young country act from Australia will kick off their first official U.S. concert dates beginning August 12th supporting chart-topping country artist Jason Aldean, award-winning country group Lady Antebellum and the legendary Ozzy Osbourne.

Already certified Gold in their native Australia, the trio of sisters – Brooke, Sam and Mollie – worked with some of Nashville’s finest musicians and hit record producer Adam Anders (music producer for Fox TV’s “Glee,” Shania Twain, Hannah Montana, and Nick Jonas) in co-writing all 12-tracks on “Chaos and Bright Lights”.

Their overseas smash hits “My Life Again," “Save Yourself," and “Favorite Boyfriend of The Year,” saw the girls walk away with four CMAA (Country Music Association of Australia) awards including “Best New Talent” and have received the “Group Of The Year” honor at the Golden Guitar Awards three years in a row. Earlier this year, the single “Finally Over Blue" tipped The Eagles chart-topping 10-month run off the Australian radio airplay charts.

The McClymonts – Brooke, Sam and Mollie – three sisters from Grafton, on the New South Wales north coast of Australia, have spent their young lives pursuing their musical dreams. From a very young age the girls spent every weekend traveling up and down the east coast of Australia doing the hard yards of the well-worn country music talent quests. Often musically compared to the Dixie Chicks and SHeDAISY, The McClymonts were finally able to unleash their musical alchemy and soaring vocal perfection when they were discovered and signed by Universal Music Australia. They toured Australia performing to full houses every night supporting multi-award winner and “Australian of the Year,” artist Lee Kernaghan, along with music festivals across the country.

Top 25 Best Selling Songs in Digital History

Here are the top 25 songs in digital history, as measured by Nielsen/SoundScan.

1. The Black Eyed Peas, "I Gotta Feeling," 6,049,000. This ultra catchy song was #1 for 14 weeks, beginning in July 2009. It replaced "Boom Boom Pow" in the top spot, giving the Peas a record-setting 26-week run at #1. It won a Grammy for Best Pop Performance by a Duo or Group with Vocals and was nominated for Record of the Year.

2. Flo Rida featuring T-Pain, "Low," 5,640,000. This rap smash was #1 for 10 weeks beginning in January 2008. It was Flo Rida's first chart hit; T-Pain's 13th. It was T-Pain's third #1, following his own "Buy U A Drank (Shawty Snappin')" and Chris Brown's "Kiss, Kiss," on which he was featured.

3. Lady Gaga featuring Colby O'Donis, 5,616,000. "Just Dance," This Madonna-inspired smash was #1 for three weeks in January 2009. It was Gaga's first chart hit; O'Donis' second, following his own "What You Got" (featuring Akon).

4. The Black Eyed Peas, "Boom Boom Pow," 5,517,000. This was #1 for 12 weeks, beginning in April 2009. It was the Peas' first #1. The video won a Grammy for Best Short Form Music Video.

5. Lady Gaga, "Poker Face," 5,451,000. This was #1 for one week in April 2009. It was Gaga's second #1. It won a Grammy for Best Dance Recording and was nominated for both Record and Song of the Year.

6. Jason Mraz, "I'm Yours," 5,267,000. Mraz wrote this little ditty in 15 minutes. It was time well spent. The mellow pop shuffle hit #6 in September 2008. It was Mraz's first top 10 hit. It remained on the Hot 100 through October 2009, setting an all-time record for most weeks on the chart (76). It was nominated for a Grammy for Song of the Year.

7. Ke$ha, "TiK ToK," 5,078,000. Ke$ha gave Mick Jagger a name check on this cheeky smash, which began a nine-week run at #1 in January 2010. It was Ke$ha's first Hot 100 single (not counting "Right Round").

8. Timbaland featuring OneRepublic, "Apologize," 4,747,000. This classy pop ballad logged four weeks at #2, beginning in November 2007. It was OneRepublic's first Hot 100 hit. It was Timbaland's third top 10 hit as a "lead" artist, following "Give It To Me" (featuring Nelly Furtado and Justin Timberlake) and "The Way I Are" (featuring Keri Hilson).

9. Taylor Swift, "Love Story," 4,654,000. This is the best-selling country crossover song in digital history. It hit #4 in January 2009. It was Swift's second top 10 hit, following "Change."

10. Flo Rida, "Right Round," 4,594,000. Less than a year after "Low" ended its long run at #1, Flo Rida was back in the top spot. This was #1 for six weeks, beginning in February 2009.

11. Coldplay, "Viva La Vida," 4,588,000. This majestic pop hit is the best-selling digital hit by an act that hails from outside the U.S. It was #1 for one week in June 2008. It was the English group's first #1 hit. "Viva La Vida" won two Grammys: Song of the Year and Best Pop Performance by a Duo or Group with Vocals.

12. Soulja Boy Tell'Em, "Crank That (Soulja Boy)," 4,520,000. This rap smash was #1 for seven weeks, beginning in September 2007. It was Soulja Boy's first Hot 100 single.

13. Katy Perry, "Hot N Cold," 4,461,000. This propulsive pop smash hit #3 in November 2008. It was Perry's second top 10 single, following "I Kissed A Girl."

14. Train, "Hey, Soul Sister," 4,311,000. Train ended a nine-year absence from the top 10 when this melodic pop tune logged four weeks at #3, beginning in April 2010. The 80s-themed hit gave name-checks to both the famous (Madonna) and the nearly forgotten (Mr. Mister). It was Train's second top 10 hit, following "Drops Of Jupiter (Tell Me)."

15. Beyonce, "Single Ladies (Put A Ring On It)," 4,166,000. This ubiquitous smash was #1 for four weeks, beginning in December 2008. It was Beyonce's fifth #1 solo hit, which exceeds the four she had with Destiny's Child. It won three Grammys (more than any other hit on this list): Song of the Year, Best R&B Song and Best Female R&B Vocal Performance.

16. Lady Gaga, "Bad Romance," 4,154,000. This melodramatic hit logged seven weeks at #2, beginning in December 2009. It could put Gaga back in the Grammy finals for Record and Song of the Year.

17. Kanye West, "Stronger," 4,106,000. For his first #1 hit, 2005's "Gold Digger," West teamed with Jamie Foxx. On this smash, which was #1 for one week in September 2007, West proved he could do it on his own. It won a Grammy for Best Rap Solo Performance.

18. Miley Cyrus, "Party In The U.S.A.," 4,105,000. This summer anthem was #2 for three weeks, beginning in August 2009. It was the teen star's fourth top 10 hit, following "See You Again," "7 Things" and "The Climb." Cyrus, 17, is the youngest artist on this list.

19. Lady Antebellum, "Need You Now," 4,028,000. This country/pop smash echoes such Eagles classics as "New Kid In Town" and "Lyin' Eyes." It was #2 for two weeks in March 2010. Grammy nominations for Record and Song of the Year are a foregone conclusion.

20. Leona Lewis, "Bleeding Love," 4,026,000. This is odd: No American Idol alumnus has had a 4 million digital seller, but a winner on Britain's The X Factor did the trick. This elegant ballad was #1 for four weeks, beginning in April 2008. It was Lewis' first Hot 100 single. It was nominated for a Grammy for Record of the Year.

Post Script I: Here are the next five songs in line: Rihanna's "Disturbia" (3,960,000), Pink's "So What" (3,947,000), Lil Wayne featuring Static Major's "Lollipop" (3,937,000), Journey's "Don't Stop Believin'" (3,920,000) and T.I. featuring Rihanna's "Live Your Life" (3,909,000).

Thanks to Paul Grein

Martin's Bar-B-Que as Featured on Guy Fieri's Diners, Drive-Ins and Dives

When Patrick Martin relocated his barbecue joint this spring, he worried folks might not find him, tucked back off the main road, a few yards south and across the street from his original store. But when he flung open the lid on the whole-hog pit that divides the indoor kitchen from the outdoor patio of his new establishment, the hickory-scented smoke billowing above the latter-day roadhouse was better advertising than a thousand neon signs. People quickly found the new spot.

There are lots of reasons to love Martin's Bar-B-Que, many of which Guy Fieri enumerated on an episode of Diners, Drive-Ins and Dives this spring. And standing in the ordering line, you just might find yourself next to an enthusiastic patron who wants to list the high points while you wait: ribs that cling to the bone with just the right resistance; chicken wings whose bronzed crisp-fried skins snap across tender smoke-infused meat; a $4 hamburger; and a convenient drive-through.

But the most compelling reason to visit Martin's Bar-B-Que Joint is — hands down, without a doubt — the whole-hog sandwich, piled with pork that's been slow-cooked for 25 hours in the pit in the middle of the restaurant. That's the claim to fame that earned Martin, a former corporate bond trader, an invitation to the Big Apple Block Party in June, where he was one of two pitmasters invited to represent the whole-hog tradition at the annual barbecue confab in New York City.

"Whenever Lelan Statom says it's going be under 85 degrees, I'm going to be scrambling for a hog," says Martin, who ponied up an extra 20 grand to build a furnace and barbecue pit as the centerpiece of his restaurant. When the forecast looks favorable a day out — meaning it won't be too hot to open the garage doors between the dining room and patio — Martin preps a hog with a simple rub of salt, pepper, brown sugar and other spices. (Martin's pigs are the crossbred progeny of China White sows and a Berkshire hog from Viola, Tenn., who goes by the studly name Wild Bill. On the menu board, Wild Bill gets a nod of gratitude for his work.) Some days Martin "mops" the pig with a beer, other days with some cider vinegar. It's more an art than a science. When the heat gets to 200 degrees, he throws the hog in the pit, closes the lid and waits.

Around sunset the next day, pitmaster Martin pulls on a pair of thick, black rubber gloves and steps up onto the brick pit. When he lifts the heavy metal lid, hickory-scented clouds puff into the bustling dining room and patio, and guests break ranks from the ordering line to see what all the fuss is about. About that time, Martin's Twitter audience gets a message that says something like "Hog gettin' close to being ready ... y'all come on!"

In case you were confused about what exactly might be inside a whole-hog pit, it's a whole hog, y'all. It's lying on its back, deader than hell, and it has been cooking for a day. This seems obvious enough, yet a few folks standing in line were appalled by the sight of a dead animal at a barbecue joint. After viewing the carcass, the man next to me in line said he was going to change his order to a burger. (Damn, son! Where do you think that comes from?)

Of course, beauty is in the eye of the beholder, and, behold, that headless caramelized porker, splayed over a bed of smoldering coals, with sweet-and-salty hog liquor steaming in the fleshy pockets of its belly cavity — well, it was gorgeous. Those of us with a stomach for whole hog all but swooned as the pitmaster hunkered over the body, plucking unabashed handfuls of steaming pork from the crisped walls of bronzed pigskin. Grown men gazed upward toward Martin, pleading silently — some not so silently — for a bite.

For the rest of the night, pulled-pork items on the menu came straight from the pit, and the atmosphere of the restaurant morphed into something of a party, the kind of family-friendly Southern gathering that makes for good country songs, complete with draft beer and bottles of Cheerwine cherry soda.

So far, whole hogs have been limited to Saturdays. The rest of the week, the pulled pork comes from shoulders prepared in smokers in the back or in the rig often parked in front of the store. Once everything's piled on a fluffy potato bun, with vinegar-based Eastern Carolina sauce or a tomato-based Sweet Dixie sauce and slaw ("God meant for you to have slaw on your sandwich," Martin says), the shoulder meat and whole-hog meat are not vastly different. But the excitement of the hog pit, with all its sights, sounds and smells, makes for a much more memorable meal.

"When we cooked hogs in Mississippi, we stood around the pit all the time. That's what we tried to re-create," Martin says. "It's all part of it — the smell and the smoke getting in your eyes. That goes into the sandwich as much as the pork or the rub or the mop."

Martin's Bar-B-Que Joint is open 11 a.m. to 8 p.m. daily. Whole-hog barbecue is available on Saturday evening, weather permitting, and will be available on Monday evenings during football season, when the hours will be extended.

Thanks to Carrington Fox

MARGOT & THE NUCLEAR SO AND SO'S TO RELEASE THIRD ALBUM BUZZARD ON SEPTEMBER 21st, 2010

Margot & the nuclear so and so's will release their third album, Buzzard, on September 21st, 2010 via Mariel Recordings, their own label with distribution through Redeye.

Buzzard is infused with a newly raw, forceful energy. The album is a distinct evolution in sound from Margot's more orchestral previous releases, the inventive Animal! (and its fraternal, slightly buttoned-down twin, Not Animal, both released by Epic in 2008), which hinted at bolder dynamics, and their lush, melancholy debut, The Dust of Retreat (Artemis, 2005). Buzzard's opener, "Birds," wastes no time introducing Margot's bigger and louder sound, its languid verses progressing into fuzzed out, howling choruses as the song twists and turns. "New York City Hotel Blues" and "Claws Off" offer the band's heart-rending chamber pop distilled down to its essence: melody-driven music with teeth. "Lunatic, lunatic, lunatic" charts a familiar sound but unveils a previously untapped dark humor. Closer "I Do," meanwhile, is among the most moving songs by the band, carried along by simply singer/guitarist Richard Edwards' haunting voice and an acoustic guitar.

The inception of Buzzard came late last summer after Edwards left Indianapolis (where he had lived for 24 years) for Chicago and began writing in his new home, an abandoned movie theater. After six months, longtime Margot members Tyler Watkins and Erik Kang joined him to finish the album. They created a makeshift studio in the theater to record the album with the help of engineer Neil Strauch and drummer/producer Brian Deck. The sessions - which transpired entirely in the late night dark to the wee hours of the morning - uncorked a heady, feverish energy from the band. To fill out the instrument parts, the trio called upon a host of new Chicago musician friends, including Tim Rutili (Califone, Red Red Meat), Joe Adamik, Cameron McGill, Katie Todd and Ronnie Kwasman.

Margot & the nuclear so and so's has also announced dates of a massive fall national headlining tour. The first leg of the tour begins September 17th at 7th Street Entry in Minneapolis, MN, and concludes October 15th at the Broad Ripple Music Festival in Indianapolis. After a three-week rest, the band will launch the second half of the tour on November 5th at Opolis Productions in Norman, OK, and wrap up November 23rd at the Waiting Room in Omaha, NE.

Buzzard track listing:

Birds
Let's Paint Our Teeth Green
New York City Hotel Blues
Claws Off
Will You Love Me Forever?
Tiny Vampire Robot
Your Lower Back
Freak Flight Speed
My Baby (Cares For The Animals)
Lunatic, lunatic, lunatic
Earth To Aliens: What Do You Want?
I Do

Music Box Attic - Where Musical Gifts Come True!

Mingo Fishtrap Upcoming August Shows

08.06.10 Canal Room, NYC, NY
08.08.10 The Jefferson Theater, Charlottesville, VA
08.10.10 Musikfest, Bethlehem, PA
08.11.10 Musikfest, Bethlehem, PA
08.13.10 The Majestic Theater, West Springfield, MA
08.14.10 Levitt Pavilion, Westport, CT
08.16.10 The Kennedy Center - Millenium Stage, Washington, D.C.
08.21.10 Texas Music Fest, Salado, TX
08.27.10 Crossroads, Fredericksburg, TX
08.28.10 Sam's Burger Joint, San Antonio, TX