Willian Faulkner

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Sam Newton Battenberg Faulkner was born in Surrey on January 11, 1985 and attended the Academy of Contemporary Music in Guildford, studying the guitar and graduating at the age of 17. He played bass guitar in a Green Day cover band and, before going solo under his full name, Newton Battenburg Faulkner, he formed the funk-rock band Half a Guy with Matt Buchanan, Dave Elvy, and Nicola Crawshaw. The band released a live self-titled EP with no success and rather than play angry metal music in church halls like everyone else, they decided to play uplifting happy songs. Singing, playing guitar, writing songs, and arranging gigs eventually took their toll, and he decided to start a solo career. His first solo gigs were at London's Troubadour club and led to a publishing deal for his original songs with Peermusic UK and appearances at the South by Southwest music festival. Faulkner secured a recording deal with BMG and released a second EP, U.F.O., featuring solo material, and he appeared to have found his niche alongside such recording artists as Jack Johnson, James Morrison, and Paolo Nutini. He appeared twice at the Glastonbury Festival in June 2007, both on the acoustic stage and the Left Field stage.

Faulkner's 31 track double album 'The Very Best Of Newton Faulkner…So Far' includes fan favourites such as 'Dream Catch Me', 'Write It On Your Skin' and 'Clouds' as well as three brand new songs all showcasing Newton's brilliance as a songwriter. In addition, Newton's renowned cover versions will be presented on a second disc including newly recorded live versions of iconic songs 'Bohemian Rhapsody' and 'Send Me On My Way' that fans have been asking for for years!

By the end of volume 1 of The Life of William Faulkner ("A filling, satisfying feast for Faulkner aficianados"— Kirkus), the young Faulkner had gone from an unpromising, self-mythologizing bohemian to the author of some of the most innovative and enduring literature of the century, including The Sound and the Fury and Light in August. The second and concluding volume of Carl Rollyson's ambitious biography finds Faulkner lamenting the many threats to his creative existence. Feeling, as an artist, he should be above worldly concerns and even morality, he has instead inherited only debts—a symptom of the South's faded fortunes—and numerous mouths to feed and funerals to fund. And so he turns to the classic temptation for financially struggling writers—Hollywood.