Carroll spent the fall of 2013 recording her latest album, Rush, with producers Jeff Franzel, Ben Lindell and Doug Larsen. Her latest endeavor contains nine brand new, original songs as well as a modern cover of American soul and R&B legend Bill Withers' "Lovely Day". Carroll's foray into more upbeat, rhythm music is, what she feels, a "coming into my own as the music is more of who I am." Release date is slated for March 2014.

On her previous album, Enchanted Cottage, Carroll Matthews sings sophisticated renditions of pop classics, from Fleetwood Mac's "Songbird" and Joni Mitchell's "River" to the Mamas and the Papas' "California Dreamin'" and the Turtles' "Happy Together." Producer Jay Newland (best known for producing and mixing Norah Jones' "Don't Know Why") and a small ensemble led by guitarist Adam Levy lend subtle support to Matthews' warm vocals. It's the fulfillment of a dream that Matthews has held since childhood: to make an album that can move people.

Carroll is currently planning her Summer 2014 US tour!

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On her new album, Enchanted Cottage, Carroll Matthews sings sophisticated renditions of pop classics, from Fleetwood Mac’s “Songbird” and Joni Mitchell’s “River” to the Mamas and the Papas’ “California Dreamin’” and the Turtles’ “Happy Together.” Producer Jay Newland (best known for producing and mixing Norah Jones’ “Don’t Know Why”) and a small ensemble led by guitarist Adam Levy and keyboardist Lee Feldman lend subtle support to Matthews’ warm vocals. It’s the fulfillment of a dream that Matthews has held since childhood: to make an album that can move people.
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"When other people understand you musically," Matthews says, "it's not something you discuss, it just happens. That's where the artistry comes in, and that's when you can do great things. I felt that throughout making this record, and it connects with what I want to do. I don't want to just sing a song, I want to bring it to life."
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For Matthews, Enchanted Cottage is the fulfillment of a dream that she's held since childhood: to make an album that can move people. Raised in North Carolina, she has a deep background as a pianist and singer, including 12 years spent singing in her church choir. "Music was my passion," she says, "but I never quite knew how to make a go of it."
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Working for her family's food company, Matthews wound up singing at a few corporate functions with Charlie Albertson, the well-known North Carolina politician who had also made a name for himself as a singer and songwriter in Nashville. "I just loved getting up and performing," she recalls. "It really took hold of me." Albertson urged Matthews to keep on singing and she did, going so far as to cut some tracks in Nashville herself. But parenthood and the demands of another family business-horse breeding-kept her from pursuing music seriously.
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Eventually Matthews moved to Weatherford, Texas, for her son's education. Because she didn't know many people in the area, she found herself spending more and more time at the keyboard. "It was like therapy for me," she says. "I knew my voice was changing and my whole musical style was evolving." A request from her brother to sing at his wedding sparked her return to performing in earnest. First she went looking for a studio to run through some possible songs for the event. The studio she found belonged to producer Ken Halford (Taylor Swift, Kenny Chesney, Jewel), who proved to be a simpatico partner. Before long, the urge to make a full-length record with him became strong; the result was Timeless, an album of Great American Songbook standards that Matthews released herself in 2011.
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Recording Timeless had been a satisfying experience for Matthews, but it also served to further scratch her musical itch. She knew that she wanted to make a follow-up record, but it had to be one that established a different style for herself. "I was proud of what I'd done," she says, "but I didn't feel I could go the whole nine yards with just one record and I wanted to do something else that had a little more edge to it. Although I love singing standards, I didn't see myself as a standards singer-that didn't satisfy the '70s hippie in me," she adds with a laugh. "I saw what I was doing as more of a fusion of blues and jazz and old-time rock 'n' roll."
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The next step was to find a producer. Matthews did some research, taking note of the production credits on music that she liked. One standout artist for her was Norah Jones, so she decided to try contacting Jones' producers. The same day she made the calls, she got a call back from Jay Newland's manager expressing interest in setting up a session. "I was so excited I could hardly stand it," she remembers. "I was like, ‘This is a door opening, this is a sign.'"
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Arrangements were quickly made, as Newland and Matthews consulted with each other long-distance about material to cover. Three months later, Matthews flew east to record the album that would become Enchanted Cottage at The Carriage House in Connecticut over a 10-day period. "Not only were we working with Norah Jones' producer," she says, "but the musicians were people who'd played in her band, some of the top players in New York. I've had a lot of great musical experiences in my life, but I always wondered whether it was really possible to find absolute fulfillment as an artist or whether that was just a dream. Well, I know now it can be a reality, and I found it in that studio."
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Now Matthews is ready for the next step in her long-delayed music career. "I want to go out and sing the songs for people," she says. "I think I'm at a place now where I can bring people into what I do. I can't say where things will go from here, but I know I've reached that place where I've got something to build from."