STRETCH LIMOUSINE ON FIRE, is a bold statement of beauty yet
simultaneously grittier - a bit more raw - than her past work. Produced by Lorne Entress (Lori McKenna, Ronnie Earl, Mark Erelli, Mighty Sam McLain) and recorded and mixed primarily in Los Angeles by noted engineer Ryan Freeland (Ray LaMontangue, Ingrid Michaelson, The Weepies), the album features guest vocalists Lisa Loeb and Mary Chapin Carpenter along with musicians Jay Bellerose (Drums), Jennifer Condos and Jesse Williams (Bass), Thomas Juliano (electric guitar), Duke Levine (Lap Steel and guitar), David Limina (Organ) and Glenn Patscha and Julie Wolf (keyboards). Standout tracks include the title cut, 'Shadowbird', 'Highway del Sol' and 'River Wide'. Matthew Curry, a Grammy nominated artist/designer best known for his work with Thievery Corporation, illustrated the cover and designed the CD artwork.

With a dedicated fan base across the U.S. and Europe and with help from Mary Chapin Carpenter and an impressive roster of seasoned players, Catie Curtis’ latest release, Long Night Moon, is one of the most highly-anticipated releases of 2006 for devotés of the singer-songwriter tradition. With ten years of recordings under her belt, the songs on Long Night Moon speak deftly in the voice of a woman who understands fully the joys and frustrations of adulthood without compromising the wit and gentle spirit that have always characterized her work. Backed by a stellar band including John Jennings (Mary Chapin Carpenter), John Sands (Aimee Mann), Mark Rivard (Morphine, Shawn Colvin), Kevin Barry (Paula Cole, Jonatha Brooke). The CD was produced by Lorne Entress.

Featuring: Mary Chapin Carpenter, Kris Delmhorst, Mark Erelli, Erin McKeown and Chris Trapper (The Push Stars).

Now a veteran of the New England singer-songwriter scene, Catie Curtis offers her most musically seductive album in 2001, but that's not necessarily good news. Backed by longtime friends Jimmy Ryan (formerly of the Blood Oranges and one of the most tasteful, compelling players in folk rock), bassist Andrew Mazzone, and young guitar-slinger Duke Levine, Curtis pushes further towards the danceable folk-pop of Shawn Colvin and Sheryl Crow, and pulls back from the close-to-the-bone songwriting that was once her signature. With the exception of the Southern working-class portrait "Sugar Cane" (co-written with Mary Gauthier) and closer "The Big Reprise" (a prickly meditation on divine injustice), Curtis mostly slips into the girl-meets-girl sentimentality of the title track, the adult contemporary clichés of opener "Run," or the haphazard coffeehouse diary of "Patience." The latter is a virtue these songs reveal too rarely. --Roy Kasten