Dean Johnson

Not long after crossing beyond the neon into Al’s Tavern, one might catch murmurs drifting up and down the bar during Dean Johnson’s bartending shifts – nudges and whispers that he might just be the best songwriter in town. “Wait ’til you hear him sing. Just don’t ask him to do it, because he won’t. He might do another show this year, but probably not.” Al’s regulars, howsoever biased, speak of his talent like a family secret – Seattle folklore. How many times, and for how many years, has Dean elusively replied to some variation of the question, “When will there be a record?”

The phrase “hidden gem” would seem appropriate here, but it’s a misnomer when talking about Dean Johnson. He shines bright, in plain sight, and it was only a matter of time before people stopped to take a look. Dean’s gentle and passionate approach to songwriting has inspired many, and his work provides the listener the opportunity to believe once more that a song can be more than the sum of its parts. If you catch even a phrase of his melodies or the sobering tone of his voice, it waltzes its way into your heart like a letter written, signed, sealed, and delivered just for you.

His debut album Nothing for Me, Please was recorded at Mashed Potato Records in New Orleans with the help of Sam Gelband and Charlie Meyer, Dean’s bandmates in The Sons of Rainier; as well as Mashed Potato regulars Sam Doores, Duff Thompson and Steph Green. The record is a hazy, relaxed daydream – anthems for those who know the sweetness and coldness of quiet moments, the power and the pain of love. Whether you’ve been waiting patiently these many for Dean to release these songs, or you’re just now coming across his work for the first time, the name Dean Johnson, much like his songs, won’t soon leave your mind.

Nothing for Me, Please is out now on Mama Bird Recording Co.

Emily Hines is a self-described chronically-sincere farm girl. Hines grew up on a farm in rural Ohio before moving to Nashville where she played in other songwriters’ projects before recording her own songs on a 4-track cassette recorder.

“I wrote ‘Cowgirl Suit’ when I was in-between farm jobs, pretty fresh out of college. I was working at a local food co-op and seeing someone who wasn’t seeing me. Everything felt precarious and precious. The lyrics are a long list of things I was too scared to say at the time.”

Hines worked with producer Henry Park. Together they drew inspiration from acts like Duster, Laura Marling, and Karen Dalton to record simply and add layers one at a time. She writes, “This was the recording that inspired me to make an album. I had already recorded a few songs with Henry, but when we made this one, we felt validated in our vision. The base of every song we made is a live-take recorded on the cassette. We wanted the recordings to be organic and honest. This is the simplest production on the record, but it guided everything else we made. Something in the drum machine, the tape, and the imperfections came together to create a vulnerable yet dynamic sound. We set out to make a body of work to match it.”