Shanna Underwood and Wanderlost

Shanna Underwood has been busy lately. In addition to gigs around town, and working the third shift at L.L. Bean's, the musician has been hosting a new open mic at Port City Blue on Congress Street on Tuesdays.8-2-TG-underwood

"It's an open mic with a twist," she said. "And one featured artist in the middle." The twist is something she calls "Open Rounds." Three people who have signed up to play are selected at random, and then they play "in the round," that is, they each take turns to play a song, while the other two sit back or try to play along with them.

"The other musicians sometimes will burn on each other's stuff," she said.

Underwood has travelled a long road to wind up back where she started. And the music scene has changed quite a bit since she moved away after high school.

"I've noticed a huge difference from when I lived here before," she said. "You can be a working musician, and don't necessarily need a day job. I'm not quite there yet, but I'm close."

She plays regularly with Devon Collela, a cellist from Boston.

"He's not what you would expect. He takes the spot of where an electric guitar would be. He can switch between leads and bass lines, so he changes constantly during a song. I feel really fortunate that he likes the music," she said.

She also jams with Drew Wyman, on bass, and Kris Day, from Jerks of Grass. Her brother, Kirk Underwood, plays electric and slide guitar. He's a great singer, she said, so she lets him at the mic, also. "He does great harmonies," she admits, but family life for her has not always been so harmonious.

"I'm quite a bit older than him," she said. "I had an unhappy, disjointed household. I was
gone as soon as I could be, so we didn't play music growing up. I was gone before he started playing."

She was fairly disconnected from her family while she travelled, and never thought she would move back to Maine. She worked as an archaeology field tech for eight different companies — five of them folded in 2009 — and went to Korea to teach for two years.

As part of her travels, she always found herself looking into the local music scenes, and found that there are huge parts of the country that don't have much to offer at all.

More settled now, she has chosen a name for her band: Wanderlost. To fans and friends, she sent out a studio rough cut, complete with scratch tracks, talking, giving of directions, and all that good stuff for their entertainment.

"I think it's interesting to hear the process, and not just what will end up on the final record," she told them. "Unfortunately, there isn't any swearing or name calling on this track. That's being reserved for the B-side. We've been plugging along on an oldfashioned reel-to-reel tape, and should have a final product by the fall." The track features Day on bass, Colella on cello, and John Nunan (of Welterweight) on drums, as well as a surprise appearance from an "amazingly talented, albeit kind of drunk, mandolin player who insists on being identified only as Braxton Hicks."

Underwood moved to Nashville at age 24 to learn to play guitar, sing and write songs.

Her first album was called "Shanna and the Hawk," with Hawk Kallweit.

"His dream was to move to Nashville, so we did," she said. "He stayed about eight months, but I stayed there for almost 10 years."

Her next LP, "Fieldnotes from a Caravan," was recorded in Nashville and finished in 2011. Then she moved back to Maine.

"I was moving back and forth, doing my usual route to play summer shows in Maine and then never left. It wasn't my intention to stay," she said.

She felt the difference between playing once a month in a round in Nashville and playing three times a week here. Down South, she was seeing a lot of music and getting the constant inspiration to improve, but she couldn't resist the chance to play regularly.

She is about halfway done with a new CD, and hopes to have it done by Christmas. She's recording it at Acadia Recording Company, in Portland, with Todd Hutchinson.

Regarding the Portland music scene, Underwood says, "We're lucky in that we do have it here," adding that Blue is a big part of that. "There's a strong community there."

There is still a disconnect with some fans, however.

"A huge part of Southern Maine thinks live music is going to the Civic Center. A lot of people don't realize that a lot of people are making a living with music, with art — that you don't have to be famous to be making a living."

For upcoming gigs by Underwood, visit http://www.reverbnation.com/shannaunderwood.
- Portland Daily Sun

Shanna Underwood has been busy lately. In addition to gigs around town, and working the third shift at L.L. Bean's, the musician has been hosting a new open mic at Port City Blue on Congress Street on Tuesdays.8-2-TG-underwood

"It's an open mic with a twist," she said. "And one featured artist in the middle." The twist is something she calls "Open Rounds." Three people who have signed up to play are selected at random, and then they play "in the round," that is, they each take turns to play a song, while the other two sit back or try to play along with them.

"The other musicians sometimes will burn on each other's stuff," she said.

Underwood has travelled a long road to wind up back where she started. And the music scene has changed quite a bit since she moved away after high school.

"I've noticed a huge difference from when I lived here before," she said. "You can be a working musician, and don't necessarily need a day job. I'm not quite there yet, but I'm close."

She plays regularly with Devon Collela, a cellist from Boston.

"He's not what you would expect. He takes the spot of where an electric guitar would be. He can switch between leads and bass lines, so he changes constantly during a song. I feel really fortunate that he likes the music," she said.

She also jams with Drew Wyman, on bass, and Kris Day, from Jerks of Grass. Her brother, Kirk Underwood, plays electric and slide guitar. He's a great singer, she said, so she lets him at the mic, also. "He does great harmonies," she admits, but family life for her has not always been so harmonious.

"I'm quite a bit older than him," she said. "I had an unhappy, disjointed household. I was
gone as soon as I could be, so we didn't play music growing up. I was gone before he started playing."

She was fairly disconnected from her family while she travelled, and never thought she would move back to Maine. She worked as an archaeology field tech for eight different companies — five of them folded in 2009 — and went to Korea to teach for two years.

As part of her travels, she always found herself looking into the local music scenes, and found that there are huge parts of the country that don't have much to offer at all.

More settled now, she has chosen a name for her band: Wanderlost. To fans and friends, she sent out a studio rough cut, complete with scratch tracks, talking, giving of directions, and all that good stuff for their entertainment.

"I think it's interesting to hear the process, and not just what will end up on the final record," she told them. "Unfortunately, there isn't any swearing or name calling on this track. That's being reserved for the B-side. We've been plugging along on an oldfashioned reel-to-reel tape, and should have a final product by the fall." The track features Day on bass, Colella on cello, and John Nunan (of Welterweight) on drums, as well as a surprise appearance from an "amazingly talented, albeit kind of drunk, mandolin player who insists on being identified only as Braxton Hicks."

Underwood moved to Nashville at age 24 to learn to play guitar, sing and write songs.

Her first album was called "Shanna and the Hawk," with Hawk Kallweit.

"His dream was to move to Nashville, so we did," she said. "He stayed about eight months, but I stayed there for almost 10 years."

Her next LP, "Fieldnotes from a Caravan," was recorded in Nashville and finished in 2011. Then she moved back to Maine.

"I was moving back and forth, doing my usual route to play summer shows in Maine and then never left. It wasn't my intention to stay," she said.

She felt the difference between playing once a month in a round in Nashville and playing three times a week here. Down South, she was seeing a lot of music and getting the constant inspiration to improve, but she couldn't resist the chance to play regularly.

She is about halfway done with a new CD, and hopes to have it done by Christmas. She's recording it at Acadia Recording Company, in Portland, with Todd Hutchinson.

Regarding the Portland music scene, Underwood says, "We're lucky in that we do have it here," adding that Blue is a big part of that. "There's a strong community there."

There is still a disconnect with some fans, however.

"A huge part of Southern Maine thinks live music is going to the Civic Center. A lot of people don't realize that a lot of people are making a living with music, with art — that you don't have to be famous to be making a living."

For upcoming gigs by Underwood, visit http://www.reverbnation.com/shannaunderwood.
- Portland Daily Sun

The style of the music might be called country blues, although many of the songs are more of a country acoustic style. Her vocals are very rich and well blended with the instruments. The musicianship is excellent as well her song writing. - Victory Music

Folk, Americana, and blues are all just a way of life for Nashville, Tennessee’s Shanna Underwood, a fresh singer songwriter playing a rustic blend of music. After releasing her debut album, Field Notes from a Caravan, the well traveled guitar player began gigging around the Midwest and Northeast, wrapping fans up in her honest, powerful brand of country and folk.

The nine track record employed a total of nine different musicians, utilizing stand-up bass, fiddle, harmonica, and a variety of percussion instruments, giving each and every song a unique character. Driven by Underwood’s acoustic rhythms but accentuated by the group atmosphere created by a roomful of instruments, Field Notes from a Caravan is an excellent exercise in folksy, bluesy music with a country twang. - Indie Music Reviews

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Shanna Underwood's rich deep voice is wonderfully appealing as she sings the nine songs that make up "Fieldnotes from a Caravan". Acknowledging the similarity to her own peripatetic life makes these sound like leaves that have dropped from her private diary, documenting as they do the flickering and conflicting emotions as loves are joyfully taken up and later released with muted regret.
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These are accompanied most effectively when just by guitar and haunting violin adorn the track, but as well as these rural American folk stylings there are also blues and a smattering of soft folk-country arrangements. - Americana UK by Jonathan Aird

Translated from Dutch: "During her many foreign trips, and years of new songs written of which 9 have found their way to her new solo plate "Fieldnotes From A Caravan". Her bluesy voice appeared a perfect vehicle to present be her folklore compositions.
As for song style, you can house the sound of Shanna Underwood in the same category as for instance Bonnie Raitt (especially in the bluesy number "Dusty Books") or perhaps even yet more resembling work of 'Cowboy Junkies' and Gillian Welch. Especially in the calmer ballads goes that comparisons certainly on and songs as "From Appalachia To The Himalayas", "Dream Next To Me" and "Small City Walls" be the perfect examples this assertion to support.

The a little more cheerful country rock songs "Venus Burns" and "Move Along" from the exception on the rule and see to with that also for a welcome alternation in the tempo of this plate. That she can sing and good-looking songs know to compose proves Shanna Underwood more than once on this amusing cd "Fieldnotes From A Caravan".


Original: Van beroep was Shanna Underwood een archeologe die voor haar werk de wereld rondreisde en o.a. in landen als Nepal, Korea en Thailand belandde. Voor haar muzikale activiteiten ging ze in Amerika naar West Virginia en Nashville waar ze in 2005 een project lanceerde als ‘Shanna And The Hawk’ met gitarist-vocalist Haakon Kallweit uit Portland, Oregon.

Tijdens haar vele buitenlandse reizen schreef ze in de voorbije jaren nieuwe songs waarvan er nu 9 hun weg hebben gevonden naar haar nieuwe soloplaat “Fieldnotes From A Caravan”. Haar bluesy stemgeluid blijkt een perfect vehikel te zijn om haar folkgetinte composities te presenteren.


Qua instrumentatie krijgen we op dit album een volwaardig geluid aangeboden met naast de gebruikelijke instrumenten als bas, drums en gitaren ook een door Moriah Harris bespeelde fiddle en een sterk presterende Joe Bloom op mondharmonica. Bevriende zanger-songschrijver Dan Schaefer uit Nashville zorgt op enkele nummers voor gesmaakte mannelijke vocale ondersteuning.


Tijdens haar verblijf in Nepal in 2007 ontstonden de songs “From Appalachia To The Himalayas” en “Move Along” waarvoor de inspiratie kwam tijdens haar allereerste nacht in Kathmandu. Terug in West Virginia vond ze daar inspiratie in het dagelijkse, doodgewone leven van een klein stadje om het nummer “There Was A Town” te schrijven.


Qua zangstijl kan je de sound van Shanna Underwood onderbrengen in dezelfde categorie als bijvoorbeeld Bonnie Raitt (vooral in het bluesy nummer “Dusty Books”) of misschien zelfs nog meer lijkend op werk van ‘Cowboy Junkies’ en Gillian Welch. Vooral in de rustigere ballads gaat die vergelijking zeker op en liedjes als “From Appalachia To The Himalayas”, “Dream Next To Me” en “Small City Walls” zijn de perfecte voorbeelden om deze bewering te staven.


De wat vrolijkere countryrocksongs “Venus Burns” en “Move Along” vormen de ontegensprekelijke uitzondering op de regel en zorgen daarmee ook voor een welgekomen afwisseling in het tempo van deze plaat. Dat ze kan zingen en knappe liedjes weet te componeren bewijst Shanna Underwood meer dan eens op deze leuke cd “Fieldnotes From A Caravan”. Misschien moet ze in de nabije toekomst wat minder gaan rondtrekken voor haar werk als archeologe en meer met de gitaar omgord op podia haar liedjes voor een publiek komen vertolken.


(valsam)

- Rootstime.be

Translated from Dutch: "During her many foreign trips, and years of new songs written of which 9 have found their way to her new solo plate "Fieldnotes From A Caravan". Her bluesy voice appeared a perfect vehicle to present be her folklore compositions.
As for song style, you can house the sound of Shanna Underwood in the same category as for instance Bonnie Raitt (especially in the bluesy number "Dusty Books") or perhaps even yet more resembling work of 'Cowboy Junkies' and Gillian Welch. Especially in the calmer ballads goes that comparisons certainly on and songs as "From Appalachia To The Himalayas", "Dream Next To Me" and "Small City Walls" be the perfect examples this assertion to support.

The a little more cheerful country rock songs "Venus Burns" and "Move Along" from the exception on the rule and see to with that also for a welcome alternation in the tempo of this plate. That she can sing and good-looking songs know to compose proves Shanna Underwood more than once on this amusing cd "Fieldnotes From A Caravan".


Original: Van beroep was Shanna Underwood een archeologe die voor haar werk de wereld rondreisde en o.a. in landen als Nepal, Korea en Thailand belandde. Voor haar muzikale activiteiten ging ze in Amerika naar West Virginia en Nashville waar ze in 2005 een project lanceerde als ‘Shanna And The Hawk’ met gitarist-vocalist Haakon Kallweit uit Portland, Oregon.

Tijdens haar vele buitenlandse reizen schreef ze in de voorbije jaren nieuwe songs waarvan er nu 9 hun weg hebben gevonden naar haar nieuwe soloplaat “Fieldnotes From A Caravan”. Haar bluesy stemgeluid blijkt een perfect vehikel te zijn om haar folkgetinte composities te presenteren.


Qua instrumentatie krijgen we op dit album een volwaardig geluid aangeboden met naast de gebruikelijke instrumenten als bas, drums en gitaren ook een door Moriah Harris bespeelde fiddle en een sterk presterende Joe Bloom op mondharmonica. Bevriende zanger-songschrijver Dan Schaefer uit Nashville zorgt op enkele nummers voor gesmaakte mannelijke vocale ondersteuning.


Tijdens haar verblijf in Nepal in 2007 ontstonden de songs “From Appalachia To The Himalayas” en “Move Along” waarvoor de inspiratie kwam tijdens haar allereerste nacht in Kathmandu. Terug in West Virginia vond ze daar inspiratie in het dagelijkse, doodgewone leven van een klein stadje om het nummer “There Was A Town” te schrijven.


Qua zangstijl kan je de sound van Shanna Underwood onderbrengen in dezelfde categorie als bijvoorbeeld Bonnie Raitt (vooral in het bluesy nummer “Dusty Books”) of misschien zelfs nog meer lijkend op werk van ‘Cowboy Junkies’ en Gillian Welch. Vooral in de rustigere ballads gaat die vergelijking zeker op en liedjes als “From Appalachia To The Himalayas”, “Dream Next To Me” en “Small City Walls” zijn de perfecte voorbeelden om deze bewering te staven.


De wat vrolijkere countryrocksongs “Venus Burns” en “Move Along” vormen de ontegensprekelijke uitzondering op de regel en zorgen daarmee ook voor een welgekomen afwisseling in het tempo van deze plaat. Dat ze kan zingen en knappe liedjes weet te componeren bewijst Shanna Underwood meer dan eens op deze leuke cd “Fieldnotes From A Caravan”. Misschien moet ze in de nabije toekomst wat minder gaan rondtrekken voor haar werk als archeologe en meer met de gitaar omgord op podia haar liedjes voor een publiek komen vertolken.


(valsam)

- Rootstime.be

Translated from Dutch: ""....And then that voice of Shanna Underwood that scarcely has trouble to drown out the rest. It has almost the atmosphere of the better work of Townes Van Zandt. The number is called Appalachia To The Himalayas and it is to be found sticking out on the excellent Fieldnotes From A Carvan. An interesting woman, this Shanna Underwood. She gives English lessons and is an archeologist and travels as such the whole world over. The song is inspired by living in Nepal and, on the US side, Maine and Tennessee. Quite fine singing, a little reserved, but nevertheless in an all attention claiming manner."

Original:
Kaal drumwerk. Een fiddle die op de achtergrond klinkt. Fijne gedoseerde extraatjes van percussie. En dan die stem van Shanna Underwood die nauwelijks moeite doet om die fijne basis te overstemmen. Het heeft bijna de sfeer van het betere werk van Townes Van Zandt. From Appalachia To The Himalayas heet het nummer en het is te vinden op het uitstekende Fieldnotes From A Caravan (eigen beheer). Een interessante vrouw, deze Shanna Underwood. Ze geeft Engelse les en is archeologe en reist als zodanig de hele wereld over. Zo woonde ze in Nepal wat haar inspireerde tot het schrijven van dat nummer over beide bergketens. De Amerikaanse komt uit de staat Maine, maar vertoeft ook veel in Nashville, Tennessee. Heel fraai is de wat terughoudende, maar niettemin alle aandacht opeisende manier van zingen van Underwood. Zo gewoon en onnadrukkelijk dat het bijzonder wordt. De countryfolk van Fieldnotes From A Caravan brengt daarmee herinneringen aan het schitterende en veel te onbekende album Backwoods Woman uit 1972 van Dianne Davidson. Ook zo’n album met pure muziek die genres overstijgt. Want behalve countryfolk is dit ook blues zoals Bo Ramsey het brengt. Om de veelzijdigheid te onderstrepen haalt Josh Pessar op het laatste nummer Willingly hele lichte soulnootjes uit zijn elektrische gitaar. Mondharmonica en elektrische gitaar (van Kevin Gordon) trekken de luisteraar op Dusty Books zo de wouden in. Venus Burns is dan weer een hobbelende rit met uitmuntend gitaarwerk van Pessar en Gordon. Verkrijgbaar bij CD Baby.
- Alt.country.dl

Shanna Underwood’s new CD, “Fieldnotes From a Caravan”, includes nine songs that showcase her brassy, working-girl vocals and her original melodies. The full arrangements on these tracks include some excellent guitar work by Underwood herself, as well as some great contributions by a band of very talented friends from Nashville and Maine.

My favorite song on this album is “There Was a Town”, which I originally thought was about Portland, Maine, but alas, is not! Moriah Harris provides a nice fiddle line that runs through this tune, underlying the melody and bringing out an Appalachian mood. Underwood’s alternating bass line and strum on her acoustic provides a solid folk and country foundation. The bass line by Chris Clawson is in the back of the mix, very subtle, but it makes itself known where it is needed. The arrangement and mix on this track is very representative of the work throughout the disc – full, but nicely balanced, and with Shanna’s vocals taking center stage.

Shanna’s lyrical skills are at their best when she finds sensory allegories and proxies for the experiences and characterizations that she wants to convey. In this song, she sings about a town that “started small, Smelled like saltwater and smoke in the fall”. When that town changes, or when life changes around you, she advises:

“You’ve got to love that town for what it is
And find a little happiness” - Maine Folk Music

Shanna Underwood has released an amazing record. It sounds great and she lived every word. For fans of Gillian Welch and Cowboy Junkies. - Chris Floyd, Excellent Indie-music

"There is earning in her voice as she sings her songs, an authentic sounding yearning that we need to hear more of.

So, some day, take a moment to sit down and listen to Shanna Underwood’s music. Think back about your own travels, and where you want to be going. It will help put things in perspective." - Orient Lodge Blog

"This is definitely one for purchase!!! I'll be doing a download! Highly recommend! What a beautiful voice Shanna!" R. Bean - The Breakfast Table Radio

"I tried, but I can't pick a favorite track; it depends on your mood. Every time I listen, I find myself locking onto a different cut, playing it over and over. Right now, it's "When Love Is Gone." Another time, it was "Married On The Moon." I've listened to every song at least ten times, and I know I'll be wearing this one out. Underwood and Kallweit are both competent musicians with a from-the-heart songwriting style that is certain to attract a following in the indie music scene.

I could easily write a 1000-word review of this CD, but the music speaks for itself. Give it a listen, buy the CD, and tell 'em Kenny Hart sent you. You won't regret it, I promise."
- Indiemusic.com

"I tried, but I can't pick a favorite track; it depends on your mood. Every time I listen, I find myself locking onto a different cut, playing it over and over. Right now, it's "When Love Is Gone." Another time, it was "Married On The Moon." I've listened to every song at least ten times, and I know I'll be wearing this one out. Underwood and Kallweit are both competent musicians with a from-the-heart songwriting style that is certain to attract a following in the indie music scene.

I could easily write a 1000-word review of this CD, but the music speaks for itself. Give it a listen, buy the CD, and tell 'em Kenny Hart sent you. You won't regret it, I promise."
- Indiemusic.com

"As I opened the door to the Break Away Lounge one night two plus years ago, I had
to shake off a shiver. It wasn't cold, as it was summer. It was a reaction from the rich
tones I was hearing. The sound of these musical stylings provoked me to question if
it was an old Country Blues recording from the Jukebox, but my reaction snuffed the
notion and I quickly assessed that the sound was definitely live. I asked myself out
loud, " Who is singing that song? Whiskey June, written and vocalized by Shanna
Underwood, is an audio tattoo, of sorts, that impressed itself upon my inner ear. I
walked through the secondary door and into the lounge area to catch the end of the
song. That was my first impression of Shanna Underwood.

Haakon "The Hawk" Kallweit is an accomplished musician. The first time I saw him play he beamed with a big smile on his face, and sounding smooth as butter. Kallweit has a voice and takes the lead vocal with the same effortless enthusiasm. What proves also to be an asset is Kallweit's sense of humor. Kallweit has a way of cracking up his audiences while on stage. If he went on too long the spectacle would surely include members of the audience rolling on the floor.

Shanna and the Hawk put their music together with a simple recipe, and it often takes a slow rolling Country Blues pace. But from the first breath of each song... they cook!" - IT Rock Magazine

"As I opened the door to the Break Away Lounge one night two plus years ago, I had
to shake off a shiver. It wasn't cold, as it was summer. It was a reaction from the rich
tones I was hearing. The sound of these musical stylings provoked me to question if
it was an old Country Blues recording from the Jukebox, but my reaction snuffed the
notion and I quickly assessed that the sound was definitely live. I asked myself out
loud, " Who is singing that song? Whiskey June, written and vocalized by Shanna
Underwood, is an audio tattoo, of sorts, that impressed itself upon my inner ear. I
walked through the secondary door and into the lounge area to catch the end of the
song. That was my first impression of Shanna Underwood.

Haakon "The Hawk" Kallweit is an accomplished musician. The first time I saw him play he beamed with a big smile on his face, and sounding smooth as butter. Kallweit has a voice and takes the lead vocal with the same effortless enthusiasm. What proves also to be an asset is Kallweit's sense of humor. Kallweit has a way of cracking up his audiences while on stage. If he went on too long the spectacle would surely include members of the audience rolling on the floor.

Shanna and the Hawk put their music together with a simple recipe, and it often takes a slow rolling Country Blues pace. But from the first breath of each song... they cook!" - IT Rock Magazine

When I listen to Shanna and the Hawk I want it to be a lazy summer afternoon. Perhaps sitting on an outside deck of some local establishment. A small stage in the corner soon becomes home to a slow dreamy harmonica, pleasing vocals and a countryesque sound that puts the icing on a now perfect day.
I was able to hear a few of the tunes online and was impressed with what I heard. First off, the harmonica took me to that special place normally reserved for artists like The Cowboy Junkies. Then the rest of the band joins in with dobro, bass and some mellow drums. Shanna's voice impressed me and it blends well with Kallweit's. - Aimsel L. Ponti - Portland Press Herald

When I listen to Shanna and the Hawk I want it to be a lazy summer afternoon. Perhaps sitting on an outside deck of some local establishment. A small stage in the corner soon becomes home to a slow dreamy harmonica, pleasing vocals and a countryesque sound that puts the icing on a now perfect day.
I was able to hear a few of the tunes online and was impressed with what I heard. First off, the harmonica took me to that special place normally reserved for artists like The Cowboy Junkies. Then the rest of the band joins in with dobro, bass and some mellow drums. Shanna's voice impressed me and it blends well with Kallweit's. - Aimsel L. Ponti - Portland Press Herald

"Grim and Gritty, unpolished acoustic music; think of a dark bar with the settled smoke lingering about eye-level and a bleary-eyed bartender just as drunk as you.
Shanna Underwood with her smoky and sexy voice and lonely, world weary songs, possesses that unmistakable quality that made Bonnie Raitt's early records so singular. She's the woman with the better chops than the boys and with whom they're all in love.
Haakon picks a mean guitar, not to mention pens exceptional songs and is a competent producer. "Regina," a haunting song that begins with a cocky fellow trying to pick up a woman, but, by the last note has evolved into a gut-wrenching love song, is both lyrically and vocally reminiscent of 70s Tom Waitts.
We're talking a soulful, Delta blues kind of feel." - Face Magazine

"Grim and Gritty, unpolished acoustic music; think of a dark bar with the settled smoke lingering about eye-level and a bleary-eyed bartender just as drunk as you.
Shanna Underwood with her smoky and sexy voice and lonely, world weary songs, possesses that unmistakable quality that made Bonnie Raitt's early records so singular. She's the woman with the better chops than the boys and with whom they're all in love.
Haakon picks a mean guitar, not to mention pens exceptional songs and is a competent producer. "Regina," a haunting song that begins with a cocky fellow trying to pick up a woman, but, by the last note has evolved into a gut-wrenching love song, is both lyrically and vocally reminiscent of 70s Tom Waitts.
We're talking a soulful, Delta blues kind of feel." - Face Magazine

Er was eens ... een leuk singer/songwritertje dat op zoek was naar een gitarist ... en met Haakon (The Hawk) Kallweit, een van Portland's beste muzikanten, alles vindt wat zij nodig heeft. Shanna Underwood is de naam van het mooie kind en vond in The Hawk de ideale partner om haar passie te delen : "someone with no fear of the road and an insatiable need to gig". Hun schitterend debuutalbum is de (bijna) perfecte combinatie van Hawk's voorliefde voor country en de blues feelings van Shanna. Bovendien vonden zij met Rob Sylvain, a dobro master & live guru en Joe Bloom, harp player extraordinaire, de geschikte personen om van Shanna & the Hawk een erg interessant alt. country bandje te maken, dat in laatste instantie, Kris Day (rockabilly King Memphis) ook nog bereid vond om zijn stand-up bass in te passen in het al wreed lekker klinkend bluesy twang soundje. Blijkbaar werden er duidelijk afspraken gemaakt want ieder op beurt mag de leadvocals voor zijn rekening nemen al mag Shanna (ladies first) de eer opeisen om met "Willingly" al voor het eerste hoogtepunt te zorgen. Met "Ain't Gonna Give Up" komen zij erg dicht in het vaarwater van Buddy & Julie Miller en een song als "Broken Diesel" moet Lucinda Williams voldoende inspiratie/motivatie schenken om ook nog eens wat nieuws uit te brengen. Mocht het met "Broken Diesel" niet lukken dan zeker met het pareltje "When Love Is Gone", hartverscheurend mooi en bij deze uitgeroepen als Song Of the Year 2005! Liefdesverdriet in al zijn glorie en met "I'm Leaving you" snijdt het mes nog dieper in de wonde maar op een zodanige hemelse muzikale manier dat wij twijfelen of er geen masochistisch trekje bij Shanna & the Hawk aanwezig is. Al die "Brokendown"gevoelens die met dat voortreffelijk dobro/harp geluidje een extra dimensie krijgen... lachen, huilen, hemel, hel, goede bedoelingen maar ... "Done It all Wrong". The dark side of life .... je moet het meegemaakt hebben om zulke songs te schrijven/zingen en , eigenaardig genoeg, ze ook nog hemels mooi te vinden. Gelukkig kan het duo Underwood / Kallweit "De Liefde" ook in een zonniger daglicht plaatsen, al is er misschien een ver reisje nodig om alles bekroond te zien ... "Married on the Moon" ... het overwegen waard! The "Expectation" van dit 45 minuten durend orgasme... top 5 notering in de Euro Americana Chart en voor ondergetekende is Shanna & the Hawk een van de leukste verrassingen van 2005. From Portland to Nashville .... Europa ? - Rootstime

Er was eens ... een leuk singer/songwritertje dat op zoek was naar een gitarist ... en met Haakon (The Hawk) Kallweit, een van Portland's beste muzikanten, alles vindt wat zij nodig heeft. Shanna Underwood is de naam van het mooie kind en vond in The Hawk de ideale partner om haar passie te delen : "someone with no fear of the road and an insatiable need to gig". Hun schitterend debuutalbum is de (bijna) perfecte combinatie van Hawk's voorliefde voor country en de blues feelings van Shanna. Bovendien vonden zij met Rob Sylvain, a dobro master & live guru en Joe Bloom, harp player extraordinaire, de geschikte personen om van Shanna & the Hawk een erg interessant alt. country bandje te maken, dat in laatste instantie, Kris Day (rockabilly King Memphis) ook nog bereid vond om zijn stand-up bass in te passen in het al wreed lekker klinkend bluesy twang soundje. Blijkbaar werden er duidelijk afspraken gemaakt want ieder op beurt mag de leadvocals voor zijn rekening nemen al mag Shanna (ladies first) de eer opeisen om met "Willingly" al voor het eerste hoogtepunt te zorgen. Met "Ain't Gonna Give Up" komen zij erg dicht in het vaarwater van Buddy & Julie Miller en een song als "Broken Diesel" moet Lucinda Williams voldoende inspiratie/motivatie schenken om ook nog eens wat nieuws uit te brengen. Mocht het met "Broken Diesel" niet lukken dan zeker met het pareltje "When Love Is Gone", hartverscheurend mooi en bij deze uitgeroepen als Song Of the Year 2005! Liefdesverdriet in al zijn glorie en met "I'm Leaving you" snijdt het mes nog dieper in de wonde maar op een zodanige hemelse muzikale manier dat wij twijfelen of er geen masochistisch trekje bij Shanna & the Hawk aanwezig is. Al die "Brokendown"gevoelens die met dat voortreffelijk dobro/harp geluidje een extra dimensie krijgen... lachen, huilen, hemel, hel, goede bedoelingen maar ... "Done It all Wrong". The dark side of life .... je moet het meegemaakt hebben om zulke songs te schrijven/zingen en , eigenaardig genoeg, ze ook nog hemels mooi te vinden. Gelukkig kan het duo Underwood / Kallweit "De Liefde" ook in een zonniger daglicht plaatsen, al is er misschien een ver reisje nodig om alles bekroond te zien ... "Married on the Moon" ... het overwegen waard! The "Expectation" van dit 45 minuten durend orgasme... top 5 notering in de Euro Americana Chart en voor ondergetekende is Shanna & the Hawk een van de leukste verrassingen van 2005. From Portland to Nashville .... Europa ? - Rootstime