Hillary Reynolds Band

With a tender voice, rich chords and impeccable songwriting, it’s no wonder The Hillary Reynolds Band are one of BEAT100’s Ultimate Musicians. The talented band managed to land themselves three BEAT100 Gold Awards for their impressive original song, high quality video and for being classed as one of the favourite BEAT100 videos in the network. The band formed in 2009 and stem from all corners of the US, bringing their unique sounds and personalities to create masterpieces such as ‘Leave No Trace’. The Hillary Reynolds Band are pioneers of independent music, functioning as an independent record company. The band record their own albums, route their own tours and act as their own PR. Hillary prefers working in this way; ‘maintaining integrity of artistry and building grounded relationships’.

This creative control allows the band to focus on two things; their love of music and their passion for helping worthy causes. The Hillary Reynolds Band are active supporters of many charities, notably The Trina Fund, which raises awareness and funds for women who are struggling with travels costs to get to and from breast cancer treatments, and many other services. The charity is close to the heart of the band as Hillary’s mother was the founder before she passed away, a little over a year ago. Hillary recently released ‘Your Love’, a collection of songs related to her experiences. 100% of the proceeds go to the foundation and thus she offers the gift of her music and her support to those who need it most.

Hillary’s writing has been inspired by many members of her family. While she lends her support to those facing their own grief, raising awareness and hope, she has long been inspired by her Aunt (also a songwriter), who she describes as her ‘greatest inspiration’. Hillary’s songwriting is based on reflection, emotion and growth; following in her Aunt’s footsteps, she is inspired to ‘confront her emotions through music.’

As well as her genetic songwriting inspiration, the band’s influences stretch from the pinnacle sound of 60s song writing, the soulful melodies of Motown, stomping themes of rock ‘n’ roll to modern pop artists; The Beatles, Fleetwood Mac, The Supremes, AC/DC, Coldplay and Mumford and Sons to name but a few. They even take inspiration from the soundtracks of modern musicals, such as Jesus Christ Superstar and Grease. This wide array of influences makes for wholesome songwriting that connects with the heart of any music lover; their lyrics speak volumes about their plethora of musical influences and they write melodies that slide between genre with grace and elegance.

The band’s time with BEAT100 has been hugely successful, quickly being named as one of their Ultimate Musicians, which Hillary tells us “has definitely had a positive impact on HRB already.” The band’s growing fan base “across the pond” means a lot to them, and they have high hopes for their future in the UK. In true American style, Hillary told BEAT100 ‘Lo and behold, y’all have got a big operation. And a good one, at that.’ Their new video, ‘Crossing The Line’, will be out in April and, meanwhile, the four men and little lady are busy preparing for a new full-length record. Sign up to BEAT100 to watch and vote for, ‘Leave No Trace’.

BE SEEN – BE HEARD – BE REWARDED

By Charlotte Campbell - BEAT100

With a tender voice, rich chords and impeccable songwriting, it’s no wonder The Hillary Reynolds Band are one of BEAT100’s Ultimate Musicians. The talented band managed to land themselves three BEAT100 Gold Awards for their impressive original song, high quality video and for being classed as one of the favourite BEAT100 videos in the network. The band formed in 2009 and stem from all corners of the US, bringing their unique sounds and personalities to create masterpieces such as ‘Leave No Trace’. The Hillary Reynolds Band are pioneers of independent music, functioning as an independent record company. The band record their own albums, route their own tours and act as their own PR. Hillary prefers working in this way; ‘maintaining integrity of artistry and building grounded relationships’.

This creative control allows the band to focus on two things; their love of music and their passion for helping worthy causes. The Hillary Reynolds Band are active supporters of many charities, notably The Trina Fund, which raises awareness and funds for women who are struggling with travels costs to get to and from breast cancer treatments, and many other services. The charity is close to the heart of the band as Hillary’s mother was the founder before she passed away, a little over a year ago. Hillary recently released ‘Your Love’, a collection of songs related to her experiences. 100% of the proceeds go to the foundation and thus she offers the gift of her music and her support to those who need it most.

Hillary’s writing has been inspired by many members of her family. While she lends her support to those facing their own grief, raising awareness and hope, she has long been inspired by her Aunt (also a songwriter), who she describes as her ‘greatest inspiration’. Hillary’s songwriting is based on reflection, emotion and growth; following in her Aunt’s footsteps, she is inspired to ‘confront her emotions through music.’

As well as her genetic songwriting inspiration, the band’s influences stretch from the pinnacle sound of 60s song writing, the soulful melodies of Motown, stomping themes of rock ‘n’ roll to modern pop artists; The Beatles, Fleetwood Mac, The Supremes, AC/DC, Coldplay and Mumford and Sons to name but a few. They even take inspiration from the soundtracks of modern musicals, such as Jesus Christ Superstar and Grease. This wide array of influences makes for wholesome songwriting that connects with the heart of any music lover; their lyrics speak volumes about their plethora of musical influences and they write melodies that slide between genre with grace and elegance.

The band’s time with BEAT100 has been hugely successful, quickly being named as one of their Ultimate Musicians, which Hillary tells us “has definitely had a positive impact on HRB already.” The band’s growing fan base “across the pond” means a lot to them, and they have high hopes for their future in the UK. In true American style, Hillary told BEAT100 ‘Lo and behold, y’all have got a big operation. And a good one, at that.’ Their new video, ‘Crossing The Line’, will be out in April and, meanwhile, the four men and little lady are busy preparing for a new full-length record. Sign up to BEAT100 to watch and vote for, ‘Leave No Trace’.

BE SEEN – BE HEARD – BE REWARDED

By Charlotte Campbell - BEAT100

Good As New is from The Hillary Reynolds Band’s 2012 long-player, Since September, and is an anthem to breaking-and mending-of hearts. God knows we have all been down that road once or twice in our lives. It’s tough to be in love sometimes. Hillary Reynolds has a sweet, full voice that lends itself well to fronting this alt-pop band. The band is full of masterful instrumentation provided by Connor Reese (guitar), Trevor Jarvis (cello, backing vocals), Chris Mewhinney (bass) and Jeff Hale (drums).

Generally, the quintet sticks to mid-tempo numbers, but they can make a slow song beautiful (see I Know Your Body, the final book-end to Since September) too. Hillary Reynolds voice is hypnotic to listen to-just beautiful. While the music styling is generally pop, there are elements of folk and country that trickle in at times.

Check out The Hillary Reynolds Band by visiting their web site and consider picking up their music from the CD-Baby link provided. - A Little More Vodka, a Little Less Milk

In a society in which mimicry is considered the highest form of flattery, the Hillary Reynolds Band is determined to stand out by serving up a unique sound combined with some of the tightest and purest harmonies. The band consisting of several graduates of the distinguished Berklee School of Music features dynamic musicians and amazing lyrics to which every band member contributes. And even as they continue to gain popularity, the band makes it a point to keep it real. Not only do they interact with their fans on a daily basis, they use their music to promote the charitable entity known as the "Trina Fund". This fund, created by a very strong woman with close ties with the band, helps fund transportation needs of breast cancer patients getting to and from treatments. The band continues this legacy by performing and selling their music to benefit the fund.

Hillary Reynolds Band is brilliant in song, but their wisdom and humility were definitely shining during this interview. I can not endorse these wonderful people enough! Please add them on Facebook and tell your friends about them! They really do deserve every bit of success they have worked for.? - Flipcam Webisodes

In a society in which mimicry is considered the highest form of flattery, the Hillary Reynolds Band is determined to stand out by serving up a unique sound combined with some of the tightest and purest harmonies. The band consisting of several graduates of the distinguished Berklee School of Music features dynamic musicians and amazing lyrics to which every band member contributes. And even as they continue to gain popularity, the band makes it a point to keep it real. Not only do they interact with their fans on a daily basis, they use their music to promote the charitable entity known as the "Trina Fund". This fund, created by a very strong woman with close ties with the band, helps fund transportation needs of breast cancer patients getting to and from treatments. The band continues this legacy by performing and selling their music to benefit the fund.

Hillary Reynolds Band is brilliant in song, but their wisdom and humility were definitely shining during this interview. I can not endorse these wonderful people enough! Please add them on Facebook and tell your friends about them! They really do deserve every bit of success they have worked for.? - Flipcam Webisodes

For us at Forever Indie, it is a treat for us to be able to discover new music and learn about the artists behind the music. It is interesting to be able to bring to light where the artists come from, how they began, and to get to know their personalities. It is also remarkable to hear about how bands start from humble beginnings and are able to achieve their success on their own.

Without the backing of a record label, the Hillary Reynolds Band has been able to develop from a duo busking in the Commons in Boston, MA to traveling by car, performing shows across the country. Not only is the biography of the band extraordinary, but so too are its members.

Hillary Reynolds Band began in 2009, when Hillary Reynolds (Piano, Vocals) and Jeff Hale (Drums, Percussion, Ukulele) started performing on the streets of Boston. After playing and writing numerous songs together, the band expanded and added Trevor Jarvis (Cello, Background Vocals) and Benjamin Kopf (Guitar, Background Vocals). All of the members are Berklee College of Music alum and bring their diverse backgrounds together to produce their own brand of pop/folk music. Together, the members develop a hallmark sound by combining superb instrumentation fused with precise harmonies. The band is leaving its footprint in today’s music scene by creating their own unique blend of pop meets acoustic folk music.

All of HRB members bring their contrasting influences together to produce their prominent sound. According to Hillary, “Jeff was previously in a metal band. Trevor and I share similar backgrounds as our parents listened to similar music growing up. I grew up in Wisconsin where my parents where always listening to oldies like James Taylor and the Beach Boys. It wasn’t until I went to high school that I became aware of what I guess would be deemed as ‘mainstream’ music.”

When asked what artists they draw inspiration from today, Hillary states, “Recently I have been listening to a lot of Ray Lamontagne, Bob Marley, and Mumford & Sons. Also John Mayer, as he has given me a good lasting impression on how he’s come back to writing from an honest source and that’s what I try to listen to, artists who are genuine.” Jeff added, “We are listening to all genres, including Christian Contemporary and NPR.“

To date, the band has independently produced and released two albums, First Loves and Since September. The band’s freshman release First Loves was released in 2011 and is an elegant collection of seven devout and passionate tracks that illustrate Hillary’s reflective lyrics and plush vocal range. Tracks such as “When I Was Younger” and “Made of Gold” highlight the band’s sophisticated song-writing and polished instrumentation. The song “Strong Enough To Catch My Fall” is a breathtaking love song that features a light drum beat accentuated by Hillary’s opulent lyrics. For the band’s first release, the album is both sensational and sets the precedent of the band’s exclusive brand of music.

Following the success of First Loves, the band released their sophomore album Since September earlier this year. The album contains 11 beauteous and captivating tracks that again provide the listener the opportunity to hear pure musical artistry.

During our phone interview, I asked the band about writing the songs for the album. Trevor stated, “The majority of the songs were written in Hillary’s tiny apartment and were compiled in a short period of time. The song Leave No Trace is special to me as it was the one song that was written outside of the apartment. We actually went out for a weekend retreat and took a hike in the mountains. It was amazing to get out of the apartment and be influenced by nature. That is why the song has a special meaning for me.” Hillary jokingly added, “My apartment was extremely tiny. When we were writing the songs for the album, we spent a lot of time in my bedroom that functioned as a living room as well.”

Although all of the 11 tracks on the album are praiseworthy, three songs worth specifically noting are “Carry My Burden”, “Kind of Love”, and “Good As New”. My personal favorite from the album is the song “Carry My Burden”. The track is gorgeously written and gracefully delivered. Hillary’s lyrics are soft-spoken yet the words behind the genteel delivery are powerful. As the first verse states, “I left when he needed me most | He was trying to love a ghost | My future froze | I broke the trust of my sole friend.” The song is truly beautiful and Hillary’s voice, through the chorus, is commanding and places the listener inside of the story. With “Kind of Love”, the band demonstrates their chimerical harmonies and unfounded musicianship. The prominent cello throughout adds to the depth of the song. Again, Hillary authenticates her vocals and proves her ability to allow the listener to lose themselves in her words.

The band’s newest single from the album is “Good As New”. In describing the story behind the lyrics, Trevor states, “B - Forever Indie

The stage was draped in blue as the instruments lay without players. The cello lay idly on its side, as if asleep. When the band walked on and picked up their instruments the lights came up around them. With only a short verbal acknowledgement of the crowd and what looked like a somewhat nervous smile, they began to play.

The Hillary Reynolds Band, a four piece pop band with a somewhat country-esque flavor, opened their set with an up-tempo, down home rock style song called “Good as New.” The audience could tell from the start how great this band was, with the amount of passion in their performance, their tight cohesion and their dynamic range. Throughout the set, they spoke little. Occasionally, a flurry of thank-you’s would emanate from Hillary to the audience and to the BIRN. The music spoke for them, offering lyrics like, “Keep on driving, the future’s in the dawn/ Keep on driving till I get where I belong.” Musically the songs ranged from slow pop ballads, like “Know Your Body,” to Rock songs like “Barricade,” to a Bluesy, Gypsy-like Waltz, titled “Whiskey in Winter.” Performance-wise, there was no denying the skill possessed by cellist, Trevor Jarvis, breathing life into the instrument with every note he bowed. Furthermore, Hillary’s angelic vocals and Trevor’s sweet backups blended flawlessly, creating the perfect final touch to the intimate soundscape. Everyone in the room, many sitting on the floor and intimately drawn into the performance, could see and feel that Trevor was by far the centerpiece and lynchpin of this band. At the end of their set, Trevor announced that the band was releasing their first album titled, Since September, that evening and selling it for the first time ever. Though I wasn’t technically supposed to leave the show I was so compelled to buy one of their records that I sprinted to an ATM just to get the cash to buy a copy. Hillary even signed it for me. - Berklee Internet Radio Network Blog: Powered By Players

The stage was draped in blue as the instruments lay without players. The cello lay idly on its side, as if asleep. When the band walked on and picked up their instruments the lights came up around them. With only a short verbal acknowledgement of the crowd and what looked like a somewhat nervous smile, they began to play.

The Hillary Reynolds Band, a four piece pop band with a somewhat country-esque flavor, opened their set with an up-tempo, down home rock style song called “Good as New.” The audience could tell from the start how great this band was, with the amount of passion in their performance, their tight cohesion and their dynamic range. Throughout the set, they spoke little. Occasionally, a flurry of thank-you’s would emanate from Hillary to the audience and to the BIRN. The music spoke for them, offering lyrics like, “Keep on driving, the future’s in the dawn/ Keep on driving till I get where I belong.” Musically the songs ranged from slow pop ballads, like “Know Your Body,” to Rock songs like “Barricade,” to a Bluesy, Gypsy-like Waltz, titled “Whiskey in Winter.” Performance-wise, there was no denying the skill possessed by cellist, Trevor Jarvis, breathing life into the instrument with every note he bowed. Furthermore, Hillary’s angelic vocals and Trevor’s sweet backups blended flawlessly, creating the perfect final touch to the intimate soundscape. Everyone in the room, many sitting on the floor and intimately drawn into the performance, could see and feel that Trevor was by far the centerpiece and lynchpin of this band. At the end of their set, Trevor announced that the band was releasing their first album titled, Since September, that evening and selling it for the first time ever. Though I wasn’t technically supposed to leave the show I was so compelled to buy one of their records that I sprinted to an ATM just to get the cash to buy a copy. Hillary even signed it for me. - Berklee Internet Radio Network Blog: Powered By Players

So earlier this week, I was hanging out at the local coffee shop, re-reading The Wise Man’s Fear for roughly the billionth time. Tightening and tweaking. Seeing what I can trim. Checking all the interconnecting plot threads like a spider with OCD going over its web.

I tend to hide in the back of the coffee shop when I’m doing this. A little bit of ambient noise is nice. It’s one of the main reasons I go to the coffee shop for this sort of work, actually.

You see, I have two problems when I’m revising. First, when I get into a book, I’m really into it. You can pretty much set me on fire and I wouldn’t notice.

Second, I’m working really hard to make this book really captivating.

Both these things work against me when I’m doing revisions. If I get pulled into the story, I enjoy myself, but don’t get any editing done. The sound of conversation and the occasional pretty girl walking by helps keep me from falling into my reading trance. Hence the coffee shop.

But too much bustle can be too much distracting. It’s a fine balance. On the days when I don’t need much distraction, or I’m just caffeineing up, I sit in the back room. They use it for shows some nights, but most days it’s just empty.

Okay. Enough background? I think so.

So I’m working on the book and some people come into the back room and start to set up their equipment. I look up and realize it’s almost 7:00. I’ve been editing for about 6 hours and lost track of time.

I get rid of my dishes and start to tidy up my table, thinking I’ll go somewhere else to edit. Maybe grab some dinner. But then the band does a little bit of a sound check…

At first I listen just to be polite. (I am from the midwest, after all.) But then I get pulled in. The singer has a voice like honey on warm bread. And the music is my favorite sort: Strong vocals, good lyrics. Some covers, but but a lot of the songs were original. Original and good.

They kept me there for the whole set despite the fact that I was hungry and I knew I should be editing. Still, I didn’t feel too bad. I do write about musicians, after all. I should probably occasionally watch people, y’know, make some music.

They had a pretty good patter too. They talked about music. About their lyrics. They told a few little stories, including how there was one song in particular they would start playing whenever they were out busking and saw a kid. Something about that particular tune always tended to draw the children over to them…

Afterwards I wandered up to the stage and reassured them with my standard line, “Hello, I’m not a hobo about to ask you for spare change. I’m actually a writer, would you mind if I asked you a few questions?”

They were delightfully tolerant of me, and answered a couple of questions. The drummer and guitarist both let me look at their hands to see what sort of callouses they had.

Then I asked my big question: “That song you played. The one you used to draw the kids over while you were busking…”

They said they knew what song I was talking about: “Strong Enough to Catch My Fall.”

“I don’t suppose you have a recording of that?” I said.

They didn’t.

I said I’d love to see the lyrics sometime, but I didn’t push the point. The reason is, when I heard the song. I thought, “This is Denna’s Song.”

But I couldn’t just *say* that. Walking up to a band and saying, “one of my characters would totally sing that song!” has to be about the geekiest things it’s possible for a writer to do. I can’t say why, but to me it feels as geeky as walking up to a stranger at a bar and telling them about the time your favorite D&D character killed this troll this one time…

So I tried to play it cool rather than risk being that overenthusiastic guy. But before I left, I asked them if they’d like copies of my book. I’d listened to their show, they could read by book. Fair’s fair, after all…

A couple days later, they were nice enough to drop me an e-mail with the lyrics to the song. I read the lyrics, and thought, “Yeah. That pretty much hits the nail right on the head.”

When I e-mailed them back, I told them if they ever did record a version of the song, I’d love to put it up on my webpage.

The very next day, (today, in fact) they sent me this link.

I was surprised. I’d been thinking that to record a song you need a studio and one of those big boards with all sorts of knobs. And you need a guy wearing headphones to fiddle with those knobs while saying, “Let’s try those three measures again. But this time with more tremulentatso!”

Or something. I can’t remember any real music terms right now. It’s late.

The point is that I’m a little ashamed of myself. I immediately thought of recording music as this long, arcane, artificial process.

They thought: “He wants a recording? Find something that records and point it at us and we’ll make some music.”

And then they made some music. They didn’t piece together a song out of 20 different takes. There’s - Patrick Rothfuss