For the group of band mates and roommates (consisting of Ryan Downing on vocals, Jonathan Owens on guitar/vocals, Jonathan Albright on guitar, Meagan Beth Plummer on Keyboard, Michael Deming on bass, and John Chester on drums), their goal was simple: to play anywhere they could find a gig.

“We scoured the Internet for anywhere that would let us play,” Downing says. “We’ve been to all the cities… but we’ve also played in the middle of nowhere Mississippi on a slab of concrete in a field. Our attitude is that we’ll play anywhere and any time. So something we’ve done by accident is that we booked all these small towns and became the first real band a lot of the kids in those towns had ever seen. They’ve turned into our most loyal and devoted fans because we took the time to go where nobody else would go.”

An indie rock band in the truest sense of the word, Jonas Sees in Color has logged miles between the cities and towns of the American Southeast that are embedded in their jaunty, toe-tapping songs—as road-tested as a band van. Their eponymous debut (recorded in the Denver studio owned by chart-topping band The Fray) ranges from the power-punk infused “For the Fences” to the thoughtful and tender “Avalanche,” showcasing a versatile and delicious knack for infectious melodies and poignant lyricism.

With its steady touring, Jonas Sees in Color has already begun to win over the hearts of music lovers throughout the country, and while their core fan base has been seeing the band’s colors for quite some time, it surely won’t be long before they see stars as well.

Having clearly demonstrated his formidable composing and remixing skills, Mr. Page is now poised for an explosively successful 2010 with the much anticipated release of his second album, Believe. A mesmerizing collection of original electronic tunes, Believe highlights Page’s gift for fusing sweet pop melodies with sultry dance grooves. Featuring collaborations with such electro-pop icons as Angela McCluskey (Telepopmusik), Dave Dresden (Gabriel & Dresden), the album is 13 tracks of pure, futuristic dance bliss.

“’Believe’ is all about maintaining balance,” Page said in a recent interview with BMI MusicWorld. “There’s still sort of a toughness and edge there, but not forgetting a sense of melody. I’m really proud of this record.”

As he should be—the new album is Page’s truest creative expression yet. His infamous 2005 collection of bootleg remixes, Cease And Desist, got the ear of critics and clubgoers alike, while his 2008 encore Elevate featured remixes of music by Dengue Fever, Nelly Furtado, and others. In sharp contrast, Believe consists mostly of Page originals.

Released in 2009, the single “Fight for You” offered fans a tempting foretaste of what the album has in store. Featuring the winsome vocals of singer/songwriter Elizabeth Maurus (a.k.a. Lissie), “Fight for You” features yearning dance-pop melodies underscoring lyrics of romantic uncertainty (“our dust still unsettled, I feel the plucking of our petals…”).

That rarity of rarities—a prog-dance composer who suffers as much over lyrics as music—Page says he endeavors to combine the edgy urgency of electronic music with the lyrical heft of classic pop and rock. “For me, a big part of the effort is collaborating with singer/songwriters who don’t do dance music,” Page says. “You get this interesting chemistry, because they bring good songwriting skills. I would always say that melody is king, but I think you get that extra layer of meaning with strong lyrics.”

“I gravitate towards transitions,” says Cooper, “crossroads-like experiences that people go through in life, and while there is a little darkness in my songs, I like to focus more on hope than anything else.”

Those glimmers of hope, matched with his knack for pairing universally relatable lyrics with sweepingly catchy melodies, have made Cooper somewhat of a favorite among other artists as well. Hailing from a musically inclined family, he found himself replacing those familial ties with the company of likeminded and gifted friends in his newfound home.

“When I got to New York five years ago, friends of mine like Boots Otterstad (of The Getaway People, and writer for acts such as Robbie Williams, Tim McGraw and Macy Gray) and Edie Kuhnle (Dan Dyer, Thomas Dybdahl) helped to give me a crash course in writing, developing hooks and melodies. I learned a lot from them.”

After winning this year’s Kauai Music Festival songwriter contest and participating in writer showcases across the country in recent years, Cooper is confidently watching more musical opportunities lining themselves up on the horizon. In fact, it’s not unreasonable to expect that Cooper will continue to rack up the rewards of his travels—both by air and airwaves.

Oh, and then there’s the matter of the group’s name, derived as it is from a Mexican brothel.

Lead singer Rick DeJesus “went to California with a couple of friends,” recounts lead guitarist Chris Iorio. “Rick fell asleep, they got lost, and the next thing he knew they were in Tijuana, getting shaken down by some corrupt cops.”

To recover their wits, the group headed to the nearest saloon: the Adelita Bar. “He’d seen all these pretty girls coming and going with some pretty scurvy-looking dudes,” Iorio recounts. “Then he started asking the girls why they were in the business they were obviously in, and he found out that they were broke and this was the only way.”

Such empathetic concerns – backed up by the kind of hard rock offered by Saliva and Shinedown, both of whom Adelitas Way have supported on tour – give Adelitas Way an unexpected measure of heart. “Last Stand” is an arena-ready ballad that pulls no emotional punches, while “Hate Love” investigates a tumultuous relationship. Anthemic rockers like “Invincible” and “Just a Little Bit” provide the fist-pumping balance.

“We write all the time,” Iorio says of the group, which also includes guitarist/singer Keith Wallen, bassist Derek Johnston and drummer Trevor “Tre” Stafford. “I’ll come up with a riff or Rick will come in with a lyric or melody, and we work together ‘til we’ve got something everyone likes. We already have about five songs done for the next album.”

Adelitas Way is still very much keeping its eye on the present, Iorio adds. “This album was literally years in the making, and we’re really excited that it’s finally out,” he says. “We’re all really humbled to be able to do this.”  

The regional musical styles vary, but one of the most popular manifestations is referred to as banda, a buoyant subgenre matching acoustic guitars with brass, woodwind and percussive instruments. Boleros, rancheras, and corridos reminiscent of German polkas all fall under the banda umbrella, which points to an often unacknowledged ancestry: German immigrants actually settled in northern Mexico during the late 19th century.

The lyrics of today's banda take pride in addressing real issues, from urban dilemmas and immigration quagmires to failed relationships and drug- and alcohol-fueled violence and struggles. The dramatic story songs engross blue-collar men and women toiling—and listening—on both sides of the border.

“When I write a song, I think about everyday life, and focus on its realities,” Hernandez told BMI Music World during a recent phone interview. “When I say that I am a 'friend of the people' it has to do with the characters that inhabit my songs. I make music thinking of the people, and that sort of gives me that status. I do not write as an artist, but as one of the people.”

Hernandez’s approach exemplifies the genre’s proud storytelling tradition, which prides itself on gritty and occasionally politically charged reflections of society. An authentic connection to the sound of the streets is further underscored by Regional Mexican music’s select incorporation of other genres, including hip-hop. Many artists, several of whom are based in southern California, have worked guest appearances by rappers like El Blanquito and El Chavo Barruco into their Regional Mexican flair, propelling a genre with traditionally rural roots into a contemporary mash-up with urban appeal.

Los Pikadientes de Caborca’s recent recording of Michael Jackson’s “Billie Jean” also exemplifies the sonic experimentation currently fueling Regional Mexican music’s success. A sweeping tribute to an icon, the band’s video was filmed around Hollywood and features a Jackson impersonator, striking images of Los Angeles, and poignant shots of grieving fans huddled around Jackson’s star on the Hollywood Walk of Fame. The clip has become an Internet sensation, garnering massive rotation on YouTube and other sites since its timely release.

The band, based in Sonora, Mexico, has charmed genre devotees, industry insiders and critics alike, becoming one of the most-watched and most promising new artists of the year.

La Nueva Rebelión and Roberto Tapia are also currently topping must-hear lists. In addition to releasing two projects this year, La Lightning and 15 Chacalosas, La Nueva Rebelión’s single, “El Corrido del Pepo,” reached the Billboard Latin Regional Airplay top ten, and announced the arrival of a powerful new addition of musical storytellers to the genre. San Diego native Roberto Tapia has also garnered substantial traction. “Caminos Diferentes” propelled healthy sales of his 2009 release El Niño de la Tuna. Like La Nueva Rebelión and other Regional Mexican breakout stars, Tapia tours constantly throughout the United States and Latin America.

The genre appeals to homesick immigrants and nostalgic Mexican Americans all over the United States, offering a bridge to cherished culture. Espinoza Paz, one of Regional Mexican music’s brightest stars, now calls Los Angeles home. A charismatic artist and profoundly gifted songwriter, Paz, who is originally from just north of Sinaloa, Mexico, embodies the genre’s cultural importance and resolute connection to the everyman: The title of his sophomore album, El Canta Autor del Pueblo, translates as “The songwriter of the people.” His composition “Espero” garnered a 2009 Latin Grammy nomination for Regional Mexican Song of the Year.

Jenni Rivera and La Arrolladora Banda El Limón are just two of the additional Regional Mexican powerhouse artists based in Los Angeles. The city serves as a hub for many of the genre’s elite who are constantly traveling throughout both the United States and Mexico. La Arrolladora Banda El Limón, also from Sinaloa, are one of Regional Mexican music’s giants who have performed in various incarnations since the 1960s. When they signed their first record deal in 1999, the genre heavyweight’s honed musical chops ensnared an even broader audience. Their 2009 release, Más Adelante, topped both the Billboard Latin and Regional Mexican charts, underpinning the beloved group’s unmitigated popularity.

Regional Mexican music’s formula relies on authenticity and deceptive simplicity: songs for the people, about the people, and by the people themselves. Whether toe-tapping or tear-jerking, the music is equal parts contemporary art, sharp social commentary, and traditionally inspired storytelling, creating a powerful and valuable musical force.

The rousing “Butch” kicks off the record with a brand of lyrical snark akin to Weezer backed by a Killers-like delivery, while the moody “Eat Your Heart Out” rises and falls with a sensibility usually reserved for more seasoned arena rockers. “To My Enemies” closes out the collection, leaning on equal parts punk-crass and pop harmonies in a style that’s comfortably familiar yet distinct in its own right.

Checking in at just over 19 minutes, this smart collection of songs manages to maintain a level of vivacity that perhaps a longer release would not have been able to support—winding the listener up by skipping the downtime.  Noted for their high-energy shows, Saint Motel proves that it can carry that intensity with them into the studio and deliver a burning set without having to feed off of a crowd.

ForPlay delivers on its promise as an enticing introduction to a band that has an excellent idea of how to deliver exactly what it wants you to see and hear. And while the rates at Saint Motel may be budget friendly at the moment, there’s no reason to assume that they’ll stay there.

Yet for all his success, No I.D.’s public profile is as modest as one might expect from a man whose professional name seems to celebrate anonymity. But that anonymity has faded somewhat in recent years thanks to the success of No I.D. hit productions such as the Jay-Z singles "D.O.A. (Death of Auto-Tune)" and "Run This Town,” the latter featuring cameos by Rihanna and Kanye West.

It’s astounding that No I.D.—also known as Ernest Wilson and Immenslope—has staved off stardom for so long. Emerging in 1992, No I.D.’s imaginative production flourishes on tracks like "I Used to Love H.E.R." and "Resurrection" helped establish Common as the crown prince of alternative rap. In his role as co-producer (and sometimes ghost producer) for Jermaine Dupri, No I.D. has worked on hit singles such as "My Boo" (Usher and Alicia Keys), "Let Me Hold You" (Bow Wow feat. Omarion), "Retrospect for Life" (Common feat. Lauryn Hill), and others.

With a successful career stretching back to early ‘90s, No I.D. has certainly earned the few bragging rights he has publicly claimed. Asked by AllHipHop.com to come up with a word to describe his body of work, No I.D. assuredly replied, “consistency.”

An artist in his own right, No I.D. has released several solo albums, including the acclaimed Accept Your Own and Be Yourself (The Black Album), and the two-disc package The Sampler, Vol. 1. (with rapper/produced Dug Infinite). But perhaps the most telling recording of No I.D.’s career is a rare, collectable mixtape titled Invisible Beats.

For a hit-making producer who shuns the spotlight in favor of concentrating intensely on his artistry, that tape title pretty much says it all.

That seems to include the band’s popularity, which continues to steadily grow. All three of its albums have been certified platinum in its native Canada, while the latest, 2008’s Scars & Souvenirs (Roadrunner), was the first to go gold in the U.S., on the strength of singles “So Happy,” the self-loathing “Hate My Life,” mid-tempo rocker “Not Meant to Be,” and the self-explanatory diatribe “Bad Girlfriend.”

Connolly, guitarist David Brenner, and bassist Dean Back grew up within six blocks of each other in the small town of North Delta, Canada, while drummer Joey Dandeneau has been aboard since 2007. The standard routine of meeting up at guitar school and forming garage bands followed, until 2000, when Connolly got a demo tape into the hands of Nickelback honcho Chad Kroeger, who quickly made Theory the first signing to his label, 604 Records.

Though he’s been writing songs since he was a kid, Connolly says it’s only been over the past decade or so that he’s taken a more professional approach to the craft. “When I was younger I never really grasped songwriting,” he says. “I’d walk around with this little tape recorder to keep track of a scrap of a lyric or a melody line whenever they struck me. Now it’s a much more conscious thing.”

Unable to write on the road – “Too crazy,” he laughs – Connolly waits until he’s home to start thinking about the next Theory album. “It’s like a science project,” he says. “If I’m thinking of doing a song about being alone, I’ll sit down and put myself in that lonely person’s place: What are they feeling at that time? Why do they feel that way? Then I’ll put down all my ideas on the topic, and edit it down from there.”

Theory is in the midst of what seems to be an unending tour: after wrapping up the multi-act summer “Crüe Fest” tour and a headlining run through Europe, the band is currently support Daughtry on an arena tour through year’s end.

“We’re definitely at the ‘What town are we in?’ point,” Connolly laughs. “Sometimes it’s like, ‘How many more times do we have to play this song?’ But there are a lot of people out there who are still learning about us, and as long as it’s progressing, it’s fun. This is a great stage to be at.”

“It started as inside joke,” says Slaine, one of the group’s emcees and longtime mixtape hero in Boston. “When the group started I was doing cocaine heavily. We were in the studio, and someone said ‘We’re one big Costra Nostra.’ And Danny Boy said if you keep partying like that they’re going to call you ‘La Coka Nostra’ and it stuck.”

Slaine takes a no-holds-barred approach discussing his struggles with substance abuse on the album; it’s one of many gritty themes that also include politics, terrorism and violence that he and his bandmates explore on A Brand You Can Trust, released in July of 2009. Slaine, Ill Bill, DJ Lethal, Danny Boy and Everlast—the latter three were members of seminal 90s rap group House of Pain—had been working on the album since 2006 when they informally formed a collective.

But the process slowed dramatically when Danny Boy insisted though that the guys, spread out across the country, record in person as opposed to emailing files. Music industry veterans, they also waited for the right deal before singing with Suburban Noize Records. Their cautious development paid off: The album reached #6 on the rap chart, #11 on the independent chart, and #17 on the R&B chart.

“I think it wouldn’t have been as complete of an album if we’d rushed it,” says Slaine, who has already agreed to appear in another movie after his knockout turn in Ben Affleck’s Gone Baby Gone. “This album covers a wider range of topics, and it’s important for me to about my life experiences. Music is a form of therapy.”

Today, Star is once again poised for a breakthrough, only this time, on his own exacting terms. Heeding his instincts, he embarked on a successful solo career in 2006, winning acclaim for his independently produced solo debut Songs from the Eye of an Elephant. Star earned even more exposure as a contender on the CBS-TV talent showcase, Rock Star Supernova.

Now signed to Atlantic Records, Star’s 2009 major label debut album, 11:59, benefits from the singer’s intimate songwriting approach and an sprawling, epic production sound.

“I feel like everything until now has lead up to this record,” Star says. “There’s definitely a rock edge on there, but there’s also a solo artist vibe with me on the piano. Then there’s this new (dynamic), with modern sounds and experimentation. It’s like my whole history put together on this album.”

A confessed “control freak,” Star took a looser approach during the recording of 11:59, collaborating with producers Matt Serletic (Matchbox 20, Collective Soul, Rob Thomas) and Howard Benson (Kelly Clarkson, Daughtry, All American Rejects). “Matt kept the bar up,” Star says. “He made sure the songwriting was good, and that the tracks were radio songs…Howard helped give the record a little more of a rock sound. It was a perfect balance.”

The album’s yin/yang sensibilities are evident on the debut single, “Breathe,” which features Star juxtaposing Springsteenian lyrics with muscular production flourishes.

The single is just the latest of what promises to be a series of achievements for Star. His song "Brand New Day," which serves as the main theme to the hit Fox TV series Lie to Me, recently earned a BMI Television Award.

“I signed up with BMI back when I was 16,” an appreciative Star says, acknowledging BMI’s influence on his career. “You guys were there first.”