Induction Ceremony Oct. 13th at Aladdin

The 12th Annual Oregon Music Hall of Fame (OMHOF) Induction & Concert will be held on Saturday, October 13th at 7pm at the Aladdin Theater. The concert will feature performances by The Kingsmen, Monti Amundson Trio and Ural Thomas and the Pain.  Tony Starlight will MC the event which will feature a live auction of autographed guitars including: Willie Nelson, Jackson Browne, Adam Ant and Echo & the Bunnymen. Proceeds from this event help support our music education, scholarship programs, and inductions.

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The 12th Annual Oregon Music Hall of Fame (OMHOF) Induction & Concert will be held on Saturday, October 13th at 7pm at the Aladdin Theater. The concert will feature performances by The Kingsmen, Monti Amundson Trio and Ural Thomas and the Pain.  Tony Starlight will MC the event which will feature a live auction of autographed guitars including: Willie Nelson, Jackson Browne, Adam Ant and Echo & the Bunnymen. Proceeds from this event help support our music education, scholarship programs, and inductions.

Come celebrate the inductions of:

ARTISTS: Andy Stokes, Freak Mountain Ramblers, Monti Amundson, The Rats and

Ural Thomas

SIDE PLAYERS Dan Eccles, Dover Weinberg

INDUSTRY: Dennis Carter (Falcon Studios), Peter& Michael Mott (The Last Hurrah)

The music artistry awards include:


ALBUM OF THE YEAR–Portugal.The Man–Woodstock


Tickets are on sale at and the Aladdin Theater box office. Tickets are $30 in advance or $35 at the door. VIP tickets, which include prime seating, collectable laminated pass, a Gary Houston limited edition hand pulled signed and numbered poster plus entrance to the catered after-induction party with the inductees, musicians and other VIPs, are $100 in advance or $110 at the door.

This years presenting sponsor is Elliott, Powell, Baden & Baker Insurance. Additional sponsors: Southeast Portland Rotary, Columbia Bank, KISN-FM, Hotel Modera, Willamette Week, Oregon Music News, Classic Pianos, KGON, Five Star Guitars, Portland Music and Youth Music Project.

What is the Oregon Music Hall of Fame?    

The Oregon Music Hall of Fame (OMHOF) is a non-profit organization (501 c3) whose main purpose is to promote and preserve the musical arts of the state of Oregon. The Oregon Music Hall of Fame is dedicated to the development, revitalization, invention and expansion of music education in Oregon’s public and private educational institutions. So far this year we have produced music education programs in Oregon public schools without music programs that have served over 5000 students. We also gave away four $2500 scholarships to high school seniors that were going on to further their music education at a higher level.


Side players:  Dan Eccles, Dover Weinberg


Dan Eccles


Inducted 2018

Dan Eccles is one of those guitarists who seem to play just what the band needs to hear. From his days with Richmond Fontaine, Fernando, international tours with Willy Vlautin and King Black Acid, he adds the right touch to whatever genre. According to Richmond Fontaine’s Willy Vlautin,  “Dan was always my favorite guitar player in Portland. He always plays twice as hard as any of us and he always shows up trying to deliver. He’s the soul.” He has backed Lewi Longmire in the Left Coast Roasters and, most notably, was a member of Moxy Love Crux, with Andy Ricker and Chris McDermott.  In 2014, the inaugural release on Voodoo Doughnut Recordings featured Dan’s first project as orchestrator and front man on the seven-inch single titled “It Ain’t No Cupcake Working at Voodoo Doughnut.”




Dover Weinberg

Blues Keyboardist

Inducted 2018

Dover Weinberg grew up in East County and was just playing for himself and giving lessons when bassist Dave Kahl coaxed him onto the stage.  After some time at Mt. Hood Community College, he hit the road with a number of Northwest bands. Dover came on board with the Eugene-based Robert Cray in the late 1970s. Though not always in the band, Dover’s corner of the Robert Cray groove goes back 40 years. In between he has played and recorded with many local and national Blues greats: Albert Collins, Charlie Musselwhite, Coco Montoya, Duffy Bishop, Paul Delay and Lloyd Jones. Dover has a wicked sense of humor, great Groucho Marx sendup and humbly jokes that his resume makes him “look like he can’t hold a job,” but Dover is the kind of player that makes anyone who shares a stage with him want to raise their game. He is currently performing and recording with the Robert Cray Band.




Industry: Dennis Carter, Peter& Michael Mott


Dennis Carter

Studio Owner/Producer/Engineer

Inducted 2018

Dennis Carter started playing drums at the age of 11, continued in Big Bands and Blues. In 1981 he and Dave Lohr formed Falcon Recording Studios, which has since grown into 4-room facility, combining both new and old technology.   Flacon’s client list is large and long and includes: Linda Hornbuckle, Terry Robb, Mel Brown, Lloyd Jones, Bernard Purdie, Obo Addy, Tom Grant, Robben Ford and many others. He most recently oversaw Curtis Salgado’s collaborative project with guitarist Alan Hager called “Rough Cut”–nearly 20 years since Portland’s harmonica great recorded his first album there, with his band, the Stilettos. Dennis Carter still finds time play drums with Terry Robb’s trio but his time at Falcon Studios has made Portland a great place for musicians to record.



Peter and Michael Mott

Club Owners/Music Entrepreneurs

Inducted 2018

In the 1980s, a vibrant array of downtown nightclubs featured live music. Michael and Peter Mott were the brothers with sister, Susan, who ran the Last Hurrah in sprawling basement at 6th and SW Alder. From 1975 to 1987, the club-hosted local bands seven nights a week with a policy that a certain percentage of the music had to be original. Promoting a wild variety of styles the club featured: Billy Rancher, Cruise Control, Burnside Bombers and a long run of Tuesdays with the Rasco Brothers. Michael was the executive producer for early albums by the Rascos, Johnny and the Distractions and Nu Shooz. Most nights were well promoted and filled to capacity. One night John Entwistle of the Who sat in on bass with Portland’s Dan Reed Network. After the club closed, Peter was known for his work on Bud Clark’s Mayor’s Ball and the Rose Festival. Michael Mott returned to his love of golf, at Nike’s golf division for 25 years and recently… playing more golf.




Heritage Awards: The KISN Good Guys, Ed Dougherty



KISN Good Guys

Radio personalities

Inducted 2018

Before the heyday of FM radio, there was a powerhouse Top 40 station in Portland that broadcast at 910 on the AM dial.  From 1959 to 1976, when the FCC shut them down, KISN ruled the AM dial like no other station in Portland: at times capturing a whopping 86% of the listening audience. The station played Pop, R&B and, of course, Rock’n’Roll. The DJ’s collectively became known as’ The KISN Good Guys.’  The crew included larger than life personalities like the ‘Real’ Don Steele, Pat Pattee, ‘Tiger’ Tom Murphy, Dave ‘Records’ Stone, Roger Hart, Rod ‘Kangaroo’ Muir, Tom Michaels, Robert ‘Addie Bopkins’ Atkins, Ken Chase, Mike Phillips, Roger W. Morgan, Roger Adams and Buddy Scott. KISN was known for a trademark blend of high energy, tongue-in-cheek antics, like the famous sign that greeted everyone at PDX “Welcome Home….We’ve been KISN your wife.” Recently, Dave Stone, good friend “Dirty Dave the Record Slave,” station historian Craig Adams, and technician Scott Young have brought the great station back to life as KISN FM 95.1.

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Ed Dougherty

Concert promoter

Inducted 2018

Ed Dougherty was a math teacher at Waldo Middle School in Salem back in the mid 1960’s when he began to hear students complaining that there was “nothing to do in Salem at night and on the weekends.”  He organized a dance at the local Knights of Columbus Hall.  Admission was 25 cents and the hall was big enough for 250 people…. and 500 teenagers showed up ready to rock and roll.  That was Ed’s introduction to concert promoting.  He was responsible for bringing big name acts like Sonny and Cher, The Yardbirds, Steppenwolf, The Doors and Pink Floyd to the area, putting Salem on the musical map in the 60’s and 70’s.  Over the years he and his companies, EJD Enterprises and his Concert Services Inc, booked the Oregon State Fair and fairs, conventions, corporate and special events up and down the West Coast. He served as president of the Salem Chamber of Commerce and Salem Convention and Visitors Bureau. Governor Tom McCall appointed Ed to the Oregon Film Commission, where he was instrumental in bringing filming of One Flew Over the Cuckoo’s Nest to Oregon.




For more information about Oregon Music Hall of Fame:



Bruce Springsteen, Danny Clinch, Eric Howk, Kyle O’Quin, Jason Sechrist Zachary Carothers, and John Gourley of Portugal. The Man attend the Grand Re-Opening of Asbury Lanes at Asbury Lanes on June 18, 2018 in Asbury Park, New Jersey

(Photo by Kevin Mazur/Getty Images for iStar)

Last night Grammy-award winning rockers PORTUGAL. THE MAN performed at the highly anticipated grand re-opening of the iconic Asbury Lanes in Asbury Park, NJ. Their high energy set, which opened with a cover of Metallica’s “For Whom the Bell Tolls,” was complete with lasers and a set list that included songs from their extensive catalog including “Modern Jesus,” “Purple, Yellow, Red, Blue,” “Live In The Moment” and their multi-platinum smash single, “Feel It Still.” The night also included performances from famed photographer Danny Clinch’s Tangiers Blues Band with special guest and New Jersey’s own, the legendary Bruce Springsteen.

Oregon Music Hall of Fame’s 2018 College Scholarship Recipients:

Oregon Music Hall of Fame’s 2018 College Scholarship Recipients:

Augusta Grassl, Harp, Renaissance public Academy, Canby, OR
Vincent DePinto, Bassoon/Tenor Sax, Central Catholic HS, Portland, OR
Cameron Roche, Trumpet, West Salem HS, Salem, OR
John Fawcett, Violin, Redmond Proficiency Academy, Redmond, OR

Curtis Salgado Wins At Blues Music Awards

The thirty-ninth annual Blues Music Awards honoring blues musicians and recordings in 26 categories were held in Memphis, TN, last month. Portland’s own Curtis Salgado was once again awarded the BMA for Soul Vocalist, his ninth BMA award and seventeenth nomination overall. Other local musicians nominated this year were Karen Lovely, Jimi Bott, and The Paul deLay Band. Congratualtions to Curtis and to all the award recipients and nominees.

The night’s biggest winners were Taj Mahal & Keb’ Mo’ for individual awards and for their outstanding collaborative album TajMo, for a total of five awards. Among those Taj Mahal was presented with the prize award of the night, the BB King Entertainer of the Year. Rick Estrin also BMAs took home three himself, including with his band The Nightcats.

Benefit Performance & Fundraising Site For Curtis SalgadoAcoustic Album – Break The Chain, Doug MacLeod
Acoustic Artist – Taj Mahal
Album of the Year – TajMo, Taj Mahal & Keb’ Mo’
B.B. King Entertainer of the Year – Taj Mahal
Band of the Year – Rick Estrin & The Nightcats
Best Emerging Artist Album – Southern Avenue, Southern Avenue
Contemporary Blues Album – TajMo, Taj Mahal & Keb’ Mo’
Contemporary Blues Female Artist – Samantha Fish
Contemporary Blues Male Artist – Keb’ Mo’
Historical Album – Luther Allison – A Legend Never Dies, Essential Recordings 1976-1997 (Ruf Records)
Instrumentalist – Vocals – Beth Hart
Instrumentalist – Bass – Michael “Mudcat” Ward
Koko Taylor Award (Traditional Blues Female Artist) – Ruthie Foster
Instrumentalist – Drums – Tony Braunagel
Instrumentalist – Guitar – Ronnie Earl
Instrumentalist – Harmonica – Jason Ricci
Instrumentalist – Horn – Trombone Shorty
Pinetop Perkins Piano Player (Instrumentalist – Piano) – Victor Wainwright
Rock Blues Album – We’re All In This Together, Walter Trout
Traditional Blues Male Artist – Rick Estrin
Rock Blues Artist – Mike Zito
Song of the Year – “The Blues Ain’t Going Nowhere”, written by Rick Estrin
Soul Blues Album – Robert Cray & Hi Rhythm, Robert Cray & Hi Rhythm
Soul Blues Female Artist – Mavis Staples
Soul Blues Male Artist – Curtis Salgado
Traditional Blues Album – Right Place, Right Time, Monster Mike Welch and Mike Ledbetter

2018’s Oregon Backstage, Saturday, May 12th at Secret Society with Blind Pilot — tickets ON SALE now

Oregon Backstage: An evening of mingling and music benefiting the Oregon Music Hall of Fame

Saturday, May 12 – 7pm (6:30pm Doors)  //The Secret Society — 116 NE Russell St, Portland, OR 97212

Portland, OR –The Oregon Music Hall of Fame presents its 2nd annual fundraising concert and auction event – Oregon Backstage – an intimate pop-up concert event in the heart of Portland. This event serves as an evening of mingling and music benefiting the Oregon Music Hall of Fame, on Saturday, May 12, 7pm at The Secret Society in NE Portland. The event features a rare, intimate performance by Blind Pilot with opener, Hearts of Oak. Between performances, attendees can bid on music experience packages during a silent auction and live guitar auction, all while guests mingle among Oregon musicians and industry legends. Funds raised during the event support the Oregon Music Hall of Fame (OMHOF) and its scholarship and music education programs. The second-annual event will be held at the exclusive The Secret Society, setting the tone for an evening of intimate music and surprise performances . This event is open to all ages, and tickets are limited. Tickets are $50 in advance and $75 at the door; $100 VIP Meet & Greet tickets are also available in limited quantities. Student tickets for those ages 16 years and under are available for $35. Limited Supply. Purchase tickets at or direct ticket link or Facebook page with ticket link. Support music education an Oregon legends. Tickets on sale now.

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A Celebration of John Fahey and American-Primitive Guitar

A Celebration of John Fahey and American-Primitive Guitar

This weekend, the city of Takoma Park, Maryland, will host the Thousand Incarnations of the Rose, the first and only festival dedicated exclusively to American-primitive guitar music. Takoma Park, a suburb of Washington, D.C., is also the home town of the guitarist John Fahey, who, in the nineteen-fifties and sixties, helped to develop a particular and idiosyncratic style of fingerpicking that borrowed heavily from the country blues—then a dying music, but one which Fahey venerated, obsessed over—while incorporating prickly, dissonant elements more common to avant-garde composers. American primitive is generally instrumental, and performed by a solo, steel-string guitarist working in an open tuning. The feel is introspective, if not plainly melancholic—like gazing out over flat water.

Fahey took cues from his forebears (Elizabeth Cotten, Lena Hughes, Mississippi John Hurt), but his sadness was prodigious, and his own. It led him to write dozens of albums of odd yet breathtaking songs. The critic Byron Coley, writing in Spin, once compared Fahey’s musical inventions to “those of John Coltrane and Harry Partch, for sheer transcendental American power.” The essayist John Jeremiah Sullivan has described his songs as “harmonic chambers in which different dead styles spoke to one another.” Fahey, who was famously cantankerous—it’s been said that, in his later years, he grew increasingly bitter and choleric, like all men who know too much about things nobody else cares about—explained it only as an expression of his truth: “The pathos of the suburbs or whatever.”

Fahey died in 2001, at the age of sixty-one, after undergoing a sextuple coronary bypass. He had a bum heart, and several decades of rapacious boozing behind him. He’d been renting a room in a Salvation Army in Salem, Oregon, eating gas-station sausages for dinner and occasionally pawning his guitars for cash. I wonder what it would have been like to spend time with him then. I’m nearly certain that he would have found me suspicious—an amateur and an interloper—but I like to think that I might’ve won him over for a minute or three, negotiating temporary access to whatever wild and tangled knowledge that he carried around. Fahey was repulsed by pretension, but he was an intellectual nonetheless, with an M.A. in folklore from U.C.L.A. (His field work included the tracking down and cultural resuscitation of Bukka White and Skip James, two titans of prewar blues.) For a while, he knew more than almost anyone about the music of Charley Patton. I find Fahey’s own work spooky and expansive. His songs make me feel nearer to something, but also, somehow, farther from it.

This weekend’s festival shares its name with a compilation produced by the guitarist Glenn Jones, who will be performing, along with a handful of formative American-primitive players (Max Ochs, Harry Taussig, Peter Lang) and modern interpreters (Nathan BowlesDaniel BachmanItascaMarisa AndersonDylan Golden AycockSarah Louiseand many more). In the liner notes to “The Thousand Incarnations of the Rose: American Primitive Guitar and Banjo, 1963-1974,” Jones attempts to sort out the genre’s name, which has never made a great deal of sense. Mostly, the phrase was a way for Fahey to avoid being called a folk guitarist, an appellation that he found offensive. My sense is that he regarded contemporary folk as corny—somehow both too ponderous and not ponderous enough. (He and his cronies used to heckle the long-haired folk guitarists crowding the parks of Berkeley in the late sixties.) Eugene Denson, an owner and manager at Takoma Records, the label that Fahey founded, in 1959, suspects that he might have been the first to use the term, then a reference to the self-taught painters of the eighteenth through the twentieth centuries, and their gnarled, cockeyed canvasses. Of course, “primitive,” with all its Eurocentric connotations, is an awfully loaded way to say, “I learned how to do this myself.” Besides, popular music (in the twentieth century, at least) has never particularly valued or incentivized virtuosity, making the distinction itself seem odd. But there is, nonetheless, a scrappiness and imbalance to the work, a spiritual discord that makes it difficult to emulate.

Steve Lowenthal, Fahey’s excellent biographer—his “Dance of Death: The Life of John Fahey, American Guitarist,” is out in paperback this month—understands Fahey’s music “as a pastiche, both of his musical influences but also of the time and places he lived.” Though Fahey could be a trickster—in the sixties, he took to performing as Blind Joe Death, tottering onstage wearing sunglasses and pretending to be a decrepit sharecropper, deftly mocking the authenticity-obsessed urban revivalists—Lowenthal finds his work intimate and direct. “One gets a feeling of almost reading a diary,” he told me recently.

“It’s always tricky to pin Fahey down, as he was very much a contrarian and his thoughts reflected his moods, which fluctuated,” Lowenthal said. “Fahey always wanted to be a composer. In fact, he wished his Vanguard LPs were released in the classical series rather than the folk catalog. That being said, Fahey lacked the discipline or skill to learn to read and write music, insuring his exclusion from that particular canon. Perhaps he used ‘American primitive’ in a somewhat pouty, self-deprecating way, which was very much indicative of his personality at many times.”

Two independent record labels featuring new American-primitive guitarists—Lowenthal’s VDSQ and Tompkins Square, run by Josh Rosenthal—will showcase their rosters in Takoma Park. “The idea of a festival devoted toAmerican-primitive guitar is almost counterintuitive in a way, because the music is so inward,” Rosenthal said. “Solo acoustic guitar reaches me best when I’m alone in contemplation or just zoning, greatly enhanced by bad weather outside. It’s not really a communal thing, so the festival should be an interesting experiment.”

The filmmaker and guitarist Jesse Sheppard is one of the event’s organizers. “The music scene behind American primitive is really pretty small, and it can feel like a big extended family,” Sheppard said recently. “It felt like it would be nice to gather everyone together—the players, the devoted listeners, the writers, the folks that run small labels—and just enjoy each other’s company. For a whole lot of reasons and no reason in particular, no one has ever staged this many guitar-soli performers at one event, to my knowledge.”

“This music has been a huge part of my life for more than a decade,” Sheppard continued. “I don’t think I’ve ever heard anything else that was as honest or evocative as American primitive. Fahey took the guitar and all of its rich history in the blues and folk musical forms and then freed it to be a purely expressive instrument.”

Whether Fahey would get a kick out of his acolytes descending upon his home town to contemplate and honor his legacy is, of course, difficult to say. When Fahey was an undergraduate at American University, he took a job as the night manager at Martin’s Esso Station, in Takoma Park. He pumped gas, chatted with cops, and kept an eye on the quarts of oil. “I became a very important person for the only time in my life. I still dream about it,” he told Coley, in 2001, just a few months before he died. This weekend, at least, he’ll be important again—as spectre and inspiration, enigma and foil.

P.S.: One of the great pleasures of writing about semi-obscure figures is that, on occasion, some very generous person reaches out with a devastating bit of heretofore unknown information—or, if you’re especially lucky, nearly sixty minutes of raw and unseen footage. The filmmaker Erik Nelson shot this videoin John Fahey’s basement in Santa Monica, in the summer of 1981, for an MTV News segment. It was hot—at least ninety degrees, Nelson recalls, under the television lights—but Fahey was nonetheless in enviable form. There’s sweating! A Charley Patton demonstration! Furrowed brows! And, of course, almost an hour of beautiful guitar-playing. “Fahey, who did not suffer strangers nor fools, suffered both with us, and gave us a private concert,” Nelson said. “We filmed on 3/4 video cassette—and, as my company had no money, I have a hunch we filmed on used tape stock. We did have the presence of mind to keep rolling, and the cameraman, John Torcassi, did a brilliant job of filming, and, as we were such a badly dressed, impoverished-yet-enthusiastic rabble, Fahey was relaxed. He had an innate suspicion of TV types, certainly ones working on behalf of MTV, something he probably had never heard of. Note he asks what the taping was for!”

Musicians Support Health Care with the Blues

Bluesman Norman Sylvester performing at the Nehalem Bay Winery, March 2018. (Courtesy of Norman Sylvester)

Bluesman Norman Sylvester performing at the Nehalem Bay Winery, March 2018. (Courtesy of Norman Sylvester)

Taken from: The Skanner News – The Skanner News Staff // Published: 05 April 2018

In its seventh year, the annual “Inner City Blues Festival: Healing the Health Care Blues” kicks off at the North Portland Eagles Lodge on April 21.

The one-night concert event is largely a fundraiser for Health Care for All Oregon – a volunteer-run, statewide coalition of over 120 organizations working to bring an equitable, affordable, and publicly funded health care to Oregonians.

With over a dozen acts, the six-hour blues festival will also feature a silent auction, food and beverages, and tabling by community organizations. With around 800 attendees last year, the festival raised $28,000 for the cause.

This year’s installment will showcase performances by Bloco Alegria, I&I Band Reunion with Newell Briggs and Obi Addy, Ken DeRouchie Band with Mz. Etta, King Louie Pain Quartet, and the Norman Sylvester Review with Sarah Billings and Lenanne Sylvester-Miller, plus many more. Inner City Blues will be MC’ed by Renee Mitchell, Ken Boddie and Paul Knauls.

The alliance among health care advocates and blues musicians is a natural pairing, said its organizers. “The blues is about worry, depression, and melancholy. That’s what people feel around our current insurance system,” said Tom Sincic, a retired family nurse practitioner and president of Health Care for All Oregon.

“Whether you go with the Mississippi Delta blues, the Memphis blues, the St. Louis blues, or the Portland blues – it’s all across the country,” continued Sincic. “People have all kinds of worries about whether they’re going to get the health care they need, and about the financial loss attached to it. It causes a lot of stress, so the blues is a perfect type of music to relay that.”

The festival’s performers should know, as many have experienced first-hand the plight of accessing and affording healthcare – in particular, Oregon blues legend Norman Sylvester, who has been a festival mainstay from the start.

“I have played too many benefits for musicians who fell ill or, more tragically, played at their (tributes). They didn’t have preventative care because of years of not being able to afford healthcare,” Sylvester said in the festival’s press release.

But as the state of the nation’s health care system continues to hang in the balance, Health Care for All Oregon falls in line with many local visions of an agreeable and equitable model.

On Feb. 1, Multnomah County’s board of commissioners passed a resolution supporting legislative action towards universal health care access. In the letter, the commissioners urged “the Governor and the Legislature to continue working to develop a comprehensive, equitable, and high-quality system of health care that is accessible to all, without discrimination, and that is affordable for families, businesses, and society.”

The North Portland Eagles Lodge is located at 7611 N?Exeter Avenue in Portland, Oregon, 97203. Doors will open at 5:30 p.m. and performances will run until midnight.

Tickets can be purchased for $20 online at Ticket Tomato, or at Music Millennium (3158 E Burnside), Geneva’s Shear Perfection (5601 NE Martin Luther King Jr Blvd), Peninsula Station (8316 N. Lombard), and Musician’s Union Hall (325 NE 20th Ave). Tickets are $25 at the door.

OMHOF Presents: Aaron Meyer in the Schools, Spring 2018.

OMHOF fundraises and collaborates with the classical/crossover, world-renown violinist Aaron Meyer for 15-20 annual, 45 minute aseemblies for K-8 students in Oregon schools each spring.  Won’t you help support us?  We reach, on average, 7,500 students per year.  If you need more information, please email Janeen Rundle at  Thank you for your support.




NEW YORK, NY (April 6, 2018) — Multiplatinum-certified Portland, OR rapper Aminé shares a brand new song entitled “Campfire” [feat. Injury Reserve] today. Get it HERE via Republic Records.

Over sparse throwback, turn-of-the-century-style production, the MC once again drops clever and catchy bars as Injury Reserve provides an appropriately fiery cameo. Additionally, Aminé also uncovered the hilarious music video for the song this morning. In the video, the artist and his crew take over the wilderness. Rocking neon colored wigs and cruising through a sparse mountain range, they debate how to properly pronounce“rural” between the action.

Watch it HERE.

Just in time for what’s shaping up to be a big month, “Campfire” amps up hype for his upcoming Coachelladebut April 15th and April 22nd. Renowned for insane and unforgettable live appearances, make sure to see what he has in-store in Indio this month.

Get his RIAA Gold-Certified debut album Good For You HERE.

Every once in a while, an artist comes along and rewrites the entire rule book for a genre. That’s exactly whatAminé did with “Caroline” in 2016. Taking rap to a new frontier, it earned an RIAA 4X Platinum plaque as he delivered a kinetic performance of the anthem on The Tonight Show Starring Jimmy Fallon between constant touring. “REDMERCEDES” and its high-profile official remix with Missy Elliott and AJ Tracey saw him lap the competition yet again.