Get updates on shows, news, contests, and more!
Ages 18+ / Charlie Parr
Many people play roots music, but few modern musicians live those roots like Minnesota's Charlie Parr. Recording since the earliest days of the 21st century, Parr's heartfelt and plaintive original folk blues and traditional spirituals don't strive for authenticity: They are authentic.
It's the music of a self-taught guitarist and banjo player who grew up without a TV but with his dad's recordings of America's musical founding fathers, including Charley Patton and Lightnin' Hopkins, Woody Guthrie and Leadbelly. With his long scraggly hair, father-time beard, thrift-store workingman's flannel and jeans, and emphatic, throaty voice, Parr looks and sounds like he would have fit right into Harry Smith's "Anthology of American Folk Music."
Parr uses three instruments, not including his own stomping foot. He got an 1890 banjo the first time he heard Dock Boggs. "I don't do claw hammer, I don't do Scruggs-style, it's just a version of me trying to play like Dock Boggs, I guess," Parr says.
He has two Nationals, a 12-string and a Resonator, which became an obsession when Parr saw a picture of Son House playing it. "The first time I got my paws on one, I went into debt to buy it," he says. "Nationals are fun because they are as much mechanical as instrumental, you can take them apart and put them back together again." On an overseas tour, the neck of the Resonator broke in baggage: he played the guitar by shimming the neck inside the body with popsicle sticks. "It solidifies your relationship with the instrument so much: It's as much part of you as anything else."
Parr's forthcoming album, Barnswallow (due January 2013), will be his eleventh studio release. Most of his recordings, including Roustabout (2008), Jubilee (2007), Rooster (2005), King Earl (2004), 1922 (2002) and Criminals and Sinners (2001) eschew typical studio settings. He has recorded in warehouses, garages, basements and storefronts, usually on vintage equipment, which gives his work the historic feel of field recordings. It's not because he wants to sound like he was discovered 75 years ago by Alan Lomax; it's because most modern recording studios make the reticent and self-effacing Parr feel uncomfortable. He often works with engineer and mastering master Tom Herbers of Third Ear Studios in Minneapolis to give his recordings true fidelity no matter what the format, from mp3 to 180 gram vinyl to whatever is in between. Yet his music sounds so timeless that you half wonder if there's not a scratchy Paramount 78 of Charlie Parr singing and strumming somewhere.
His inspiration is drawn from the alternately fertile and frozen soil of Minnesota. Parr grew up in the Hormel company city of Austin, Minnesota (population 25,000) where most of the world's favorite tinned meat, Spam, is still manufactured. And he hasn't moved far, drawing sustenance from the surprisingly large, thriving and mutually supportive music scene of Duluth: Parr's 2011 album of traditional songs, Keep Your Hands on the Plow features locals including Charlie's wife, Emily Parr; old-timey banjo/fiddle band Four Mile Portage; and Alan Sparhawk and Mimi Parker of the renowned alternative rock band Low.
The combination of industrial meat factory where both of his parents worked proud union jobs, set in a largely rural environment, had a broad impact on Parr. "Every morning you'd hear the [factory] whistles blow, when I was a kid they had the stockyards and animals there, so you were surrounded by this atmosphere," Parr says. "My mom and dad would come home from work, their smocks would be covered by paprika and gore."
But out the back door were soybean fields, as far as they eye could see. "As a kid I thought it was kind of boring, but now I go and visit my mom and I think it's the most beautiful landscape there is."
What leisure time was available was spent at an uncle's farm a few miles away in Hollandale, where Charlie would pick the potatoes and other crops that would feed their families. Charlie's father and uncle would buy whole cows from a local cattle farm. The family rarely ate Spam.
Parr shows the same resourcefulness on the road, averaging 3 or 4 shows a week, year round. To stay in traveling shape, he eats home-prepared meals such as spicy lentil curry, black bean chili and mix vegetables that cook on the manifold of his van while he drives. "It's a good heat source and it's handy—25 miles on the manifold will cook about anything you want."
To many, Parr is considered a regional artist, which is another way of saying he doesn't like to travel far from his family's Depression era roots. "From Cleveland to Seattle and down to San Francisco and back is my area," he says, though the focus is unquestionably Minnesota and the Northern Plains. Yet he's built a big enough audience in both Ireland and Australia to tour both regularly. He's had especially good fortune Down Under, where his "1922 Blues" was used as the counterintuitive music behind a Vodafone mobile commercial and became a viral and radio success. Three of his songs added atmospheric resonance to the 2010 Australian western "Red Hill." On his last tour, his fourth of that continent, he was a guest DJ for three hours on a Melbourne roots music radio station, on which he played songs from his own mix CD. "The newest thing on it was some Bukka White recordings from the 1940s," Parr says with some incredulity. "People were calling all morning to say how much they like the music."
Quiet, thoughtful and humble, Parr has made two albums of spirituals, and a few traditional songs of the hard life and the hereafter are always in his live sets. Such music isn't necessarily rooted in the Methodist church in which he grew up: "It was more like, let's get the service over quick so we can get downstairs and drink coffee and have pie!" But faith, though undefined, underlines all of Charlie's music, both in the listening, the covering, the writing and performing.
"When you listen to Charley Patton playing something like 'Prayer of Death,' way over and above it just being a 'Charley Patton' song, or a 'spiritual' song, it's one of the most beautiful and haunting pieces of music you'll ever hear in your life. You can't quite put your thumb on it, you just want to do something like that so much...I don't think I ever have, but it's a weird, visceral thing. Any time I get a song like that right, I get kind of that weird feeling, you know?"
—Wayne Robins, April 2012
Wayne Robins has been writing about music since the 1960s, and lives in New York
Charlie and the Foxtrots
Nashville-born Charlie and the Foxtrots is a meeting of seven musical minds. Starting in January 2013, Chas Wilson (vocals/guitar) recruited each of the ‘foxtrots’ one by one into the current line up: James Varner (drums/vocals), Matt McClure (bass), Jeremy Webster (piano/vocals), Andrew Mcpheters (banjo/mandolin/trumpet , Josh Ramos (guitar/harmonica/banjo/mandolin), and Rob Hutchison (fiddle). The folk/pop group worked at a galloping pace to record their first EP in March 2013 after the support of a highly successful Kickstarter campaign, officially launching the band in June 2013.
A melting pot of sounds, Charlie and the Foxtrots draw on its members influences to create poppy, energetic writing intertwined with country/folk instrumentation reminiscent of Fleet Foxes, Mumford and Sons, Avett Brothers, The Lumineers, and Local Natives. Blending their unique styles to create a dynamic alliance, the band is slated to release their first full-length album in 2014.
Honey & Houston
Honey & Houston is singer/songwriters Lauren Houston, Heather Turner (Tupelo Honey) with lead instrumentalist Mark Cretcher and Daniel Peterson on drums. Their original folk/americana music blends country and blues influences with sweet "sister" harmonies and a little taste of gypsy on the side.
Maria Carrelli is a singer/songwriter born and raised in Cincinnati Ohio. It's music, people! Come take a listen!
Ages 18+ / $10 In Advance WITH CD
$12 Day of Show WITH CD
$7 Day of Show WITHOUT CD
Ages 21+ / Americana is the perfect concoction of American roots music that comprises our musical ethos as we know it today. It is something so engrained in our history, folklore, tradition, and mythology that it is not as simple as just “becoming” Americana, but rather, it is something that you are born into. It’s that old cast-iron Coca-Cola sign that’s been in your neighbor’s shed for 50 years, a banjo and a Fender telecaster playing together, a 1955 Chevy with a modern stereo.
There are few artists that can truly encapsulate the essence and true range of Americana like Muscle Shoals artist Hannah Aldridge, whose musical pedigree precedes her and speaks for itself.
Hannah Aldridge is the daughter of Alabama Music Hall of Famer Walt Aldridge, who is one of the most prolific songwriters of the modern musical era. Twice named by Billboard magazine as one of the Top Country Songwriters of the year, ASCAP Songwriter of the Year, and countless Number One and Top Ten hits recorded by the likes of Lou Reed, Reba McEntire, Travis Tritt, Earl Thomas Conley, Ricky Van Shelton, Ronnie Milsap, and Conway Twitty.
With sounds ranging from blues in the Mississippi Delta to the dusty, dixieland jazz sounds from New Orleans, the musical stylings of Muscle Shoals on up to the primitive roots of American Country music, Hannah Aldridge leaves no inspiration or influence untapped.
“I think people have forgotten what real drums and real voices sound like. We have been so overexposed to these pre-packaged “#1 hits” that when there is anything that has any glimpse of truth or rawness to it, it is like a fresh breath of air. Americana music really is lyrically driven and is meant to make people think, which is the total opposite of most of the stuff out there on the radio, so I think that naturally people are being drawn towards it.”, says Aldridge.
Besides being a seasoned staff songwriter for BAR Music with song placements in television shows like Hart of Dixie (CW) and recognition from American Songwriter as well as Relix Magazine, her vocal talents rarely go unrecognized, something that lends itself to being true to the Americana methodology of not using excessive “talent-enhancing” techniques in the studio or live. Both her natural and cultivated talent help her to emote with both listeners and musicians alike on a truly organic level.
Seasoned by both life events and musical events since the release of her first EP, “Wanderer” in 2011 (then “Unplugged and Unraveled” in 2012), Hannah’s upcoming release “Razor Wire” shows a stark difference of growth in musical sensibility, writing, and maturity.
Hannah has toured all across the United States and Europe gaining a grassroots movement of fans that wait in silent adoration of the return of their Americana Heir Apparent Princess of Muscle Shoals.
Look for “Razor Wire” in May 2014.
Ages 18+ / http://www.drivinncryin.com/bio
Ages 21+ / Join us for the honky tonk stylings of Straw Boss from 9 to midnight.
Ages 21+ / Our legendary, award-winning open mic features singer-songwriters, comedians, marimba players, storytellers—you never know who's gonna show up!
Ages 18+ / OXFORD, Miss.—Few studio albums have had a birth process like Jimbo Mathus’ new release, Dark Night of the Soul. To create his ninth album, the singer-songwriter spent nearly a year going to Dial Back Sound Studio, near his home in Taylor, Mississippi, to work on new tunes. Dial Back Sound, however, isn’t just any conveniently located studio, but one operated by Fat Possum Records’ Bruce Watson, who offered Mathus this extended opportunity to create the follow-up to his highly-regarded Fat Possum debut White Buffalo.
Like having a regular gig at a neighborhood bar, Mathus would drop by the studio every couple of weeks and hash out song ideas with engineer/instrumentalist Bronson Tew. Mathus ended up with around 40 songs and Watson heard them all. “He acted as my editor,” Mathus explains. “I really trust him. He would come in and say, ‘I like this or could we change a little of that?’”
Mathus enjoyed the casual, low-pressure studio environment but also felt challenged to bring new material to the table every week. “I would pull out scraps of paper from my wallet that normally I would dump in the trash and those would be the ones that Bruce liked.” The ones Watson would gravitate to be the darker songs — the ones, Mathus confides, he would typically keep private. “So collaboratively,” he says, “we brought them to life.” This process resulted in his most personal and hardest rocking album to date. While on earlier releases, the Mississippi-bred Mathus tended to showcase his encyclopedic facility with Southern roots music, this time, however, he really wanted to play his songs unselfconsciously — “letting them just fall off the bone.”
This emphasis on “more ultra chrome and less sepia tones,” as Mathus calls it, arrives on the title track that opens the album. Fiery electric guitars match the artist’s emotionally wrenching vocals as he pleads to be taken to his “sweet solution.” A similar search for salvation fuels the impassioned soul-rocker “White Angel,” while a more rollicking spirit imbues the ’70s Southern rock-flavored “Rock and Roll,” where the piano is pounded as hard as the guitars. “Shine Like a Diamond,” a love ode to Mathus’ wife Jennifer, sparkles like an old Van Morrison-style gem, complete with some “sha-la-la” near the end.
Dark Night grows funkier in its second half with tracks like “Fire in the Canebrake” and “Casey Caught the Cannonball.” Mathus’ take on the Casey Jones legend (which he wrote from facts he got off of a roadside marker) conjures up memories of The Band, as does another Dixie-based tale, “Hawkeye Jordan.” The album ends in a rather dark place with the closing tracks: the junkie lament “Medicine” and eerie eulogy “Butcher Bird.”
On most of Dark Night’s tracks, Mathus’ acoustic guitar is surrounded by the electric guitar played by his longtime sideman Matt Pierce and pal Eric “Roscoe” Ambel. (Ambel produced White Buffalo but on Dark Night he focuses exclusively on his righteous guitar playing.) The album’s raw, rock sound arose from the fact that most of the tracks were recorded live in the studio with Mathus’ band, the Tri-State Coalition, which he found “very liberating way of doing it.” Mathus feels very in synch with his bandmates (keyboardist Eric Carlton, drummer Ryan Rogers, guitarist Pierce and guest bassist and Drive By Trucker Matt Patton) since they have played together now for several years. “The intensity you’re hearing on this album,” he proclaims, “is the spirit of a band that is putting its shit on the line.”
As potent as the band’s recordings are, the album also contains several tracks — including “Casey,” “Medicine” and the swampy blues number “Tallahatchie” — that were actually studio demos. Watson, Mathus explains, didn’t find anything to change in them. It’s this level of trust between the two men that has brought forth and formed the heart of Dark Night. In Mathus’ words, Bruce is “someone who sees what I am capable of doing and wants other people to hear it too. The record is a testament of his vision of me — and an accurate depiction of the way I experience life with its high ups and its far downs.”
While Mathus plays less of the musical historian role on his new album, his love and knowledge of roots music still radiates throughout his songs. “Knowing about some banjo part on a Gus Cannon record informs me on writing a song like ‘Dark Night of the Soul,’ believe it or not,” Mathus reveals. “It’s all in my frame of reference and my musical DNA.”
This musical DNA has been in him since birth. His father and relatives were all skilled musicians who filled the house with old folk, country and blues tunes. By the age of eight, Mathus was joining them on mandolin and by his teenage years had learned guitar and piano. High school led to playing in punk and new wave bands, the most notable being Johnny Vomit and the Dry Heaves and The End, with future Oblivian Jack Yarber. Post high school, Mathus studied Philosophy at Mississippi State University before leaving to travel around America. In doing so he worked various jobs, including an influential stint as a barge tankerman on the mighty Mississippi River. Settling in Chapel Hill, N.C., he drummed in the cult rock band Metal Flake Mother prior to starting the Squirrel Nut Zippers. This ahead-of-its-time retro roots band scored a hit with “Hot” and performed at President Clinton’s second Inauguration and the 1996 Summer Olympics. Following the Zippers’ split, Mathus worked with such noted artists such as Buddy Guy and Elvis Costello, and collaborated with North Mississippi Allstars guitarist Luther Dickinson and Alvin Youngblood Hart in the South Memphis String Band. He also recorded his own albums (including one dedicated to his childhood nanny Rosetta Patton, the daughter of Delta blues icon Charley Patton).
With the South being so central to his life, it’s no surprise that Mathus and his band are very popular there. “I could stay in Mississippi, Alabama and Louisiana and never have to leave,” he admits, “but the point is I want people to hear this album — to bring a little gris-gris to the rest of America.”
All Ages / *This show is general admission standing room*
Frameworks are a melodic hardcore band from Gainesville, FL. Forming in early 2011, they released their debut EP Every Day Is The Same, in October 2011. They incorporate elements of post-hardcore and screamo/skramz together, promoting their own brand of melody driven hardcore.
After receiving a small following from their debut EP Every Day Is The Same, they gained backing from 13th Floor Records, an independent record label from Fort Mill, SC. Through them they released their latest EP, Small Victories in February 2013. They plan to release their debut LP with Topshelf Records in 2014.
There are not many bands that are able to sound desperate and at the same time positive. GATES prove that it is possible to combine passionate sounds with heartbreaking lyrics without sounding suicidal. When it comes to music like this GATES offer perfection. More honesty is simply not possible.
Ages 18+ / 7pm-8pm Pre show party
Show starts at 8pm
From the still waters of Brown County, Ohio comes a man who walks on the shoulders of giants. Noah Smith is a true American Songwriter. At the age of twelve Noah picked up his friends hand-me-down 1970s telecaster and began to find his path.
Like the endless trails of woods he pondered through as a child, Noah soon fell in love with the sounds of an acoustic guitar. This led to a thirst for adventure and a desire to explore the possibilities of music.
At a young age, he joined a rock and roll band and started putting his words to work. Ever since...Noah's musical career has become a labor of love. With an ambitious attack at writing songs, everyday simple prose and melody immediately found their way into the form of song.
After high school, Noah finished college at the University of Cincinnati College-Conservatory of Music. While tuning his ear as a musician and a creative artist he begain building life experiences. His songwriting began to flourish. Heart Ache, God's Blessing, and the Devils conviction all have found their way into his life and his songs. With several music adventures and releases under his belt both successful and not...he decided to step out on his own and start his solo career. At times when he was compared to Bruce Springsteen Noah found a home on dark lit stages and smoke filled bars, all perfectly graced with the motion of taping cigarettes and boot heels to the beat. Lyrically Noah creates a simple home for his listeners to briefly escape to. Musically his energy and prescence on stage impacts rooms large and small.
From the banks of the Ohio river, to the hills of Tennessee Noah has been reaching his new audience with a stride in his step along a very blessed road.
Touring regionally with several bands along the years, Noah has found himself a home away from home in music city.
In recent months he has been writing monthly out of Nashville, TN. His current record was tracked at the House of Blues (Nashville) vibrating through the same walls as such artist as Alan Jackson, Gary Allan, and Eric Church. His music is a capsule of childhood faith, ambition, a little bit of love, God's good word, and the uphill climb to living an American boys dream. With respect for the days of past and intuition for the great days to come Noah writes in his song Up Hill Both Ways...
"I do my best to give a damn...I still say yes sir yes mam...so lets talk about them glory days...We're the next generation of walking up hill...both ways"
Noah is currently finishing his debut EP.
Ages 18+ / NORTHSIDE GARAGE (Cincinnati, OH) is throwing a launch party for their upcoming two-song EP. While working on their next LP, these two songs refused to stay in their cage until the album was finished, so those repairmen of rock were forced to let them out early. With a powerful return to their driving rock style, these songs will have even the most stoic of wallflowers nodding their heads to the beat.
Northside Garage plays infectious, dance-inducing garage rock, straight from the Queen City. Their high-energy live shows are filled with high-energy music to match, drawing influences from blues, rockabilly, and punk rock. Sleek, fast, and powerful, Northside Garage plays the sonic equivalent of a ’67 Buick 355 Wildcat with nitro.
"One of my favorite local bands in town to go out and see...everybody's cool, down to earth, and (they) put on a great show live.” ~Eddy Mullet, ClassX Radio
TIGER SEX is a four piece rock n’ roll band, born in Las Vegas, that brings the past and future together with their in your face sound. With influences ranging from the birth of rock n’ roll to dirty garage punk, they created their own music that will make your minds melt. Like an angry, dirty tiger that hasn't eaten, they’re Extra Wild!
THE MUDLARKS Witt-Guitar, Vocals, Pedals, Accounting, Lambert-Bass, Vocals, Veteran Barber, Davidson-Guitar, Pedals, ScientistCole-Drums, Medically Insured All four men were born into the mid-20th epochal time line to suburban to centaurian engineers, frontiersmen, marketeers, and of course geo-commons both above and within the Eight Great Ohio Underground Valley's in various unconnected counties near the Bay of Fundy.
Ages 21+ / Jeremiah Sammartano, the Los Angeles based, Native American, Emmy nominated singer/songwriter who fronts the bluesy/Americana group, Jeremiah and the Red Eyes, has covered many miles over the past several years - taking the various roads spreading music influenced by the raw blues of Charley Patton, the lyrical and often raucous sounds of The Pogues, the twang of Willie Nelson, and some vintage rock and roll - "Delta Blues and Twangy Grooves" - from Los Angeles outward through the Southwest, Austin, St. Louis, Nashville (where he relocated for a spell in 2008-2009), Chicago - and overseas to the UK. In the past Jeremiah has shared the stage with Willie Nelson, Southern Culture On The Skids, David Olney, Mike Stinson, SHURMAN and has performed on the radio shows: WDVX Blue Plate Special out of Knoxville, TN., The Live@Lunch show on KRFC out of Fort Collins, CO., and Chris Morris' Watusi Rodeo show out of Los Angeles. In Spring 2011 Jeremiah received an Emmy nomination for writing music for the documentary, Prison Through Tomorrow's Eyes. Three albums have been released - 2004's Red Eyed And Restless, 2010's Under Your Spell and in December 2012, a 10 song album called HOME - which was followed, in 2013, by local shows and a couple national tours with friend and fellow singer/songwriter, Mikaela Dewar, from New Zealand currently living in Nashville. 2014 has more tours and shows, plans to record, and to head over to Europe again.
Ages 18+ / Nashville sounds like Nashville again on High Top Mountain, the debut release from singer-songwriter Sturgill Simpson. From furious honky-tonk and pre-outlaw country-rocking to spellbinding bluegrass pickin' and emotional balladry, the album serves as a one-stop guide to everything that made real country music such a force to be reckoned with. Pure and uncompromising, devoid of gloss and fakery, High Top Mountain's dozen instant classics evoke the sound of timeless country in its many guises and brings back the lyrical forthrightness and depth that permeated the music Simpson absorbed during his Kentucky childhood.
Ages 18+ / The Lockland Brakes
Well, here’s the story. Opie and Jeff were in a band called Situation Red. J Duckworth has been the face of Duppy a Jamba, now the Newport Secret Six and he also plays an active roll in The DAAP Girls. And, Nick… I don’t know where we found this dude, but I’m glad we did. Holy crap, that might be the most boring story I’ve ever told. Are you still reading this?
"Third time I've listened to it ["G.C.R.P."] this morning. I'm one away from pounding beers and smashing everything on my desk." - Drisk Nation
Since our formation in the summer of 2011, we've played 190+ shows including two US tours and an East Coast/Canadian Tour; 18 weeks and over 26,000 miles in total. On our DIY label, BirdsEye Records, we self-released our debut full-length, "Class & Cruelty", in May 2012 and our sophomore 7", "When It Hits", in September 2013. Relentlessly devoted to punk rock, expect plenty of announcements in the coming months because we're dead set on making 2014 our best year to date.
Be sure to check out our website for updates, media, tour dates, and other stupid shit! - www.OC45sucks.com
Also, stream/purchase our albums at: OC45.bandcamp.com
Triumphant sad bastard music.
A Cincinnati-based band, influenced by punk, soul and garage rock. According to some reviews, we sound like Agent Orange meets the Midwest. Go figure.
Past members of Meeoow Motherfucker, Duggout, Busy Kids and Manaconda come together to fuck shit up again. Don't be surprised if you kinda like us.
Ages 21+ / AMERICANA FROM THE HEARTLAND
The Stampede String Band’s aggressive arrangements and powerful old-time harmonies mix Bill Monroe-style bluegrass with Mellencamp- flavored radio rock for a unique Americana sound. Featuring mandolin, banjo, guitar, bass, and harmonica, this four-piece brings huge harmonies, improvisational instrumentation, and a lot of fun to every venue. The band is currently touring in support of their first album,“Moonsville.”
Ages 21+ / Join us for the honky tonk stylings of Straw Boss from 9 to midnight.
Ages 21+ / Our legendary, award-winning open mic features singer-songwriters, comedians, marimba players, storytellers—you never know who's gonna show up!
Ages 18+ / Long the bards of downward mobility, Southern Culture on the Skids have always embodied a sleazy, raucous, goodnatured, goodtime take on the culture of the South. Recently described by Dwight Yoakam (in Filter) as 'really on the outside, like Dick Dale meets Hank Thompson,' SCOTS have mixed high and low culture for decades, endlessly touring, serving up moonshine martinis and poultry picking for fans everywhere.
Since 1983, when they formed in Chapel Hill, North Carolina, SCOTS have played their unique hybrid of Americana, surf, R&B, rockabilly, and swamp pop (the band describes their sound as 'toe sucking geek rock kinda weird, but it feels good when youre doing it'), all the while driving fans into ecstatic, sweatdrenched paroxysms of joy. Assisted by his cohorts in chaos drummer Dave Hartman and bassist/singer/heartbreaker Mary Huff Miller and crew have been prolific and ubiquitous for over twenty years.
From their 1985 debut Voodoo Beach Party, to the international smash, 1998s Dirt Track Date (featuring the hit single 'Camel Walk'), and up to 2007s gender bending album of cover tunes Countrypolitan Favorites, Southern Culture on the Skids have continued to throw what Rolling Stone dubbed 'a hell raising rock and roll party.' Their 2005 live outing, Doublewide and Live!, captured all of this on tape, dirty, rough, wild and above all fun!! 2010 saw the bands first selfrelease, The Kudzu Ranch, plus the reissue of their classic 1991 album, Too Much Pork For Just One Fork. In 2011 the band released the out of print 1996 Santo Swings EP digitally for the first time ever on Cinco de Mayo.
Now this fall the band is gearing up for the release of Zombified Extended Reissue on September 27, 2011. Southern Culture On The Skids tribute to the horror and exploitation movies that populated Southern theaters and driveins during the 60s and 70s, Zombified is being released this fall on Kudzu Records. Originally released in Australia as an eight song EP in 1998, Zombified is now a fulllength album with the addition of five new tunes.
The new and improved Zombified has been remastered and repackaged with cover art by Sean Starwars and design by Yee Haw industries. Rick Miller, guitarist and singer for the band said, 'you know, the Zombified EP never had a proper U.S. release and the band is excited about it happening now as a full album.' The album will be available in all formats, CD, digital download and LP.
Ages 18+ / Noah's newest EP, called Family, pays homage to the people who have shaped his life--rather than the self-aggrandizing so common to the often homogeneous world of singer-songwriters."Family comes in many forms," says Noah. "It lives with us, for better and for worse. It shapes us. Thats what this album is about."
Fittingly, a member of Noah's family, his sister Abby Gundersen, plays violin and sings vocal harmonies on the EP. Her soft voice and lush string accompaniments compliment beautifully what are a magnetic and emotionally charged group of songs. The two have been playing music together since Noah was 15 and Abby was 12 years old, while growing up in the Seattle area. They've also performed in the local band The Courage together. "The musical communication I've had with Abby is unlike anything I've experienced elsewhere. It's a really special thing. Having her with me makes me so much more confident in what I'm doing," says Noah. (Also, Abby recently moonlighted as a tour accompanist for acclaimed singer-songwriter Jarrod Gorbel).
The songs on Family are consistently impressive and defy genre. Whereas roots-tinged songs like "Family" conjure up shades of a solo Ryan Adams, the sweeping and etherial "Fire," bears similarities to the lush harmonic feats of Fleet Foxes. Perhaps the album's standout track is the pulsating "David," which combines the haunting darkness of Tom Waits with the lyrical angst of Neil Young. "The song is about who I want to be, while realizing who I am. I want to be less like my Father and more like my Dad."
Family, produced with Daniel Mendez, will be released August 6th. Noah will be celebrating the achievement at Seattle's Columbia City Theater on the day of the release. (Advance tickets available at: www.brownpapertickets.com/event/183641). Made in just a short week in Dallas, Family is only a brief taste of what's to come from Noah Gundersen. Production on a full band album will commence this Fall.
All Ages / Few bands can be simultaneously timeless and relevant, but that's exactly the hi-wire act Zeus has become as a new millennium hit factory set for a triumphant return with the release of sophomore full-length Busting Visions.
The album follows 2010 Polaris Prize-nominated debut Say Us, which topped CBC charts, won XM The Verge's award for Album of the Year, garnered stellar reviews from top rock mags like Q and Uncut and led to shows with Broken Social Scene, Metric, Sam Roberts Band, Bright Eyes and Belle & Sebastian.
And with all of this, Busting Visions finds Zeus already hitting the ground running.
Driven by the three-headed songwriting beast of multi instrumentalists/vocalists Mike O'Brien, Carlin Nicholson and Neil Quin as well as drummer Rob Drake, they operate out of a dilapidated garage in Toronto's scrappy east end. There, the band's Ill Eagle studio serves as ground zero for a burgeoning scene of collaborators, for which Zeus is the lightning rod.
And it was there - as well as the ranch studio of label mate Feist - Busting Visions took shape, and where it was produced, recorded and mixed by the band alongside longtime collaborator Robbie Lackritz (Feist, Jamie Lidell).
Busting Visions' 14 tracks were penned on bedside motel stationary, coffee shop napkins, the backs of unopened-bill envelopes, scraps of drywall, anything these bright-eyed, shaggy-headed 'cowboys' (a band colloquialism) could scratch their manifold musings on. Hooks were hashed out on hotel lobby pianos, backstage pianos and pawnshop guitars in the third-row bench of the van.
They wrote incessantly over two years of helter skelter touring, spurred on by the prolific dynamic of three writers that can't help but finish each other's sentences.
"The story of this record is that it?s really our first as a band," O'Brien explains, pointing to the fact that Say Us ultimately drew from a revolving door of creative contributors.
"This is a tight-knit unit of four dudes that are now Zeus," adds Nicholson. "Something that really only came together over two years on the road."
And it shows, in the band's smoking hot live show and in its sweaty romp of a sophomore record, which is chock full of freewheeling hooks, harmonies and riffs galore.
"Just one of the three singers/multi-instrumentalists from this band would be a force to reckon with," insists another longtime collaborator, Jason Collett.
"But when you combine the savvy talents of all three on one record you have a triune god lobbing thunderbolts from on high."
In fact each Zeus songwriter readily admits to a strong spirit of competition within the group, and to it having a healthy impact on the band as a whole.
As Nicholson adds, "You bring your best every time."
The fruits of this labour are plain as day on collaborative efforts like "Stop The Train" and "Love In A Game," where subtleties in the voices of Quin, Nicholson and O'Brien surge distinctively with poignant harmonies and falsetto keening grandeur.
With an exemplary sense of melody, cocksure guitar chops and thunder storming drums, Zeus excel at far more than just one style on Busting Visions' unrelenting, high energy, raucous workout.
"Strong Mind" is a masterpiece, melodically weaving into a chorus that is at once sad, beautiful and redemptive.
"With Eyes Closed" is richly dark and psychedelic, but sincerely so, much like the delicate beauty of "Let It Go, Don't Let It Go" and "Proud And Beautiful."
And then there's "Are You Gonna' Waste My Time?" a refreshingly raw, explosive slice of 70s glory, loaded with sinewy guitar hooks.
A pedigree of influences from Fats Domino to Michael Jackson and Stevie wonder to Queen bleed into the melodic fabric of saturated, soulful serenades like "Messenger's Way," demonstrating Zeus' acute understanding of exactly what it is that makes the best songs so good.
Even Busting Visions' shortest track, the 55 second "Bright Brown Opus," manages to conjure Boston, Big Star and the British Invasion in an alarmingly fresh and inspired way. It's all there. AM radio from dial to dial, minus the filler and full of the future.
Without a doubt, Zeus has every bit of it right at their fingertips - just like all the gods that came before.
Ages 21+ / Singer/Songwriter/Multi-Instrumentalist Joseph Huber is a founding member of, and also had spent 6 years of playing banjo and heavy touring with the Milwaukee, WI based "streetgrass" group, the .357 String Band--a group that, despite it's abrupt break-up, still continues to gain popularity, is known as one of the most influential groups in the recent insurgent underground country and bluegrass movements. Hard living put together with plenty of downtime has offered more than enough motivation and opportunity for his songwriting.
"Bury Me Where I Fall", Huber's introductory solo album was an unseen side to his writing--less high-octane and blistering as his known work, "Bury Me..." reveals multiple, new landscapes, ranging anywhere from desolate, world-weary ones; to brooding and ominous ones. His 2nd release "Tongues of Fire" is much the flip-side to that--joyful, light-hearted, and laughing even in the face of hard times. Being a multi-instrumentalist, Huber performs all the tracks on his records on his own...fiddle, banjo, guitar, harmonica, percussion, and bass. Huber can be seen playing with a backup band, or also opting for a "one-man-band" setup--singing and playing banjo/guitar/harmonica and opting for a trusty ol' Samsonite suitcase as a kick-drum. In his solo career he has had the pleasure of sharing the stage with many great performers including Hellbound Glory, Bob Wayne, Graham Lindsey, Robert Earl Keen, Keller Williams, and more.
All Ages / Naked, stripped down and aching with adrenaline is the rawness of Leopold and his Fiction. A revolving group of friends led by Daniel James (lead vocal/guitar), their essential make up sprouted from collaborations made on the road in the whirlwind cycle of touring. From San Francisco to LA to Austin various musical adventures had come and gone, until James found a common vision in the musicians he'd met along the way. Originally formed as an outlet for Daniel to exercise his virtues gained from years living in Detroit, Leopold and his Fiction absorbed pieces of the Motown catalog along with the protopunk resonance of Iggy's Stooges and molded them into a personal version of the rock 'n' roll dream. It's as if they, themselves, are connected directly into an electrical outlet. "The band elicits a power when it's time to perform that is unable to be harnessed in any other medium short of a fist fight," says James. "Whether that's on stage or in a recording studio it's almost hard to contain it. It's more life than I've ever felt before." It was that sonic fever that landed the group recent support slots for The Cult and ZZ Top. For the past year Leopold and his Fiction have been working with Grammy-nominated producer Chris "Frenchie" Smith (The Datsuns, Slayer, Jet, The Dandy Warhols, etc.) in recording and capturing a captivating musical journey that is as relentless as it is inspiring.
Ages 18+ / The Speed Hickeys were started in West Chester, Ohio by Lakota High School classmates Ric James and Chris Wanstrath. The band’s original line up played its first show on Christmas day 1985 at Clifton’s infamous Sudsy Malone’s where the club’s owner continually shouted at the band to turn the volume down. A pivotal moment in the Speed Hickeys’ early history played out here in their first moments of public performance as the defiant band chose instead to turn the volume up every time the club owner berated them. Though the evening ended with the group being “permanently banned” from the club, they would in fact go on to play there countless times over the next several years. Their irreverent blend of Punk, Heavy Metal, Blues and spontaneous humor garnered the Speed Hickeys a big following in the Cincinnati area and ingratiated the band to Newport, Kentucky’s Jockey Club scene where the band became a regular fixture in the late 80s. After the departure of original singer Christian Banker and drummer Chuck Wanstrath, the Speed Hickeys recruited another high school friend, percussionist Bill Griffith, thus morphing into what would be the band’s definitive and most powerful incarnation, a power trio that has lasted (as of this writing) for over 25 years. The band recently returned to the stage after a hiatus of several years.
Ages 18+ / PEELANDER-Z, the Japanese Action Comic Punk Band based in NYC, was originally formed in 1998 by Peelander-Yellow, Peelander-Red, and Peelander-Blue, after meeting in New York City (although they’ll tell you they’re all from the Z area on the planet Peelander). Peelander-Green was welcomed in July 2008 after Blue left the band.
Peelander–Z has appeared at major music festivals including Bonnaroo and the Vans Warped Tour and has also been featured on TV programs such as VH1’s “Best Week Ever” and Comedy Central’s “Upright Citizens Brigade” among others. The band has also been covered by SPIN, Rolling Stone, Village Voice, NPR and The Onion among many others.
At its live shows, Peelander–Z guarantees intense audience participation and a chance to exercise. You’ll see the band in colorful costumes reminiscent of Japanese anime, though they describe their outfits as their skin. You’ll also see The Red Squid, human bowling and all around insanity. A Peelander–Z performance is a rare occasion for the entire family to rock out and have a great time.
Ages 18+ / Timber Timbre is the brainchild of Taylor Kirk, the commanding persona at the fore of its spacious, weighted sound.
With Hot Dreams, Kirk and longtime collaborator Simon Trottier daub vibrant colour across the rest-less evolution of Timber Timbre's earthy, angular palette.
The elements – Kirk's singular intonation, quavered in slow, low register, over stark orchestration – combine in haunting resonance with rotation of music and time.
Normalized is the bedrock essence of folksy and fifties Timber Timbre, now cached in smoothed, viscous tonality: new sonic admissions, ringing sensuality and caprice, neon and haze.
On the acclaimed Creep On Creepin' On (2011) – nominated for two 2012 JUNO Awards and a spot on the Polaris Music Prize Short List – Timber Timbre transmuted the hollow grey tones of Timber Timbre (2009) into plaintive doo-wop through oblique, concrete passages.
With Hot Dreams, Timber Timbre transposes new definitions of historic ambience, unabashedly weaving unity between disparate, charted environments.
Timber Timbre's third full length on Arts & Crafts is its most cinematic work, connecting arid western to plodding horror with the pomp of Hollywood phantasm. Fittingly, Timber Timbre music from previous records has been heard on AMC's Breaking Bad and The Walking Dead OST.
On the title single "Hot Dreams", guitars chime melancholy and petulance, animating a sometimes reticent Kirk, singing "I want to follow through, follow through, follow through / On all my promises and threats to you".
The sustained consonance of Mika Posen's string arrangements mingle with vintage contributions from Olivier Fairfield on drums and Mathieu Charbonneau on keys: pivotal players in Timber Timbre's lineage returning on Hot Dreams. Atypically velvet saxophone lines of repeat guest Colin Stetson echo with the backing vocals of Romy Lightman (Tasseomancy, Austra).
The grooved insistence of "Curtains!?" – penned with Simone Schmidt (Fiver, One Hundred Dollars) – punctuates Timber Timbre's peculiar sound with soft violence and definite metre.
Culled from ideas born during a stint Kirk spent in Laurel Canyon, Hot Dreams coalesced throughout 2013 with Trottier joining Kirk as composer and producer. The pair arranged the new material at The Banff Centre, later adding an array of synthesizers from Calgary's National Music Centre. The record was engineered by Graham Lessard at the Banff Centre and Thee Mighty Hotel 2 Tango in Montreal, and mixed by Mark Lawson.
Hot Dreams immediately instills as Timber Timbre's most lush and focused, evocative and flourished work to date: so distinctly familiar though it precedes memory, recognizable only as itself, as woodsy evokes the exotic.
Ages 21+ / Join us for the honky tonk stylings of Straw Boss from 9 to midnight.
Ages 18+ / When it came time for the Dodos to begin writing their fifth LP, Carrier, singer/guitarist Meric Long wanted to start over.
The uncertainty of the band's trajectory as well as the passing of guitarist Chris Reimer brought about a reassessment of things within the band, and in particular Long's songwriting.
In need of a different vantage point, Long began writing words before music for the first time, enveloping himself in silence rather than sound.
When it came time to set these lyrics to music, Long started writing with only his electric guitar in hand — another first. The focus on this instrument was due in large part to the time Long spent with Reimer, the guitarist for Women who had joined Long and percussionist Logan Kroeber to become the third member of the Dodos throughout 2011 before unexpectedly passing away early the following year.
"Chris was a huge influence on the way I think about guitar, songwriting, and music in general," reveals Long. "Seeing how he could transform and shape sound with an electric guitar inspired me to explore more tones and use those tones to begin writing a song."
And so, when he began to formulate the tracks that would ultimately comprise Carrier, Long employed two principles he inherited from Reimer: patience to let a song develop and a judgment-free enthusiasm for sound.
To this end, Long and Kroeber decided to record in their hometown of San Francisco for the first time, allowing for less time constraints and a more pressure-free experience than past out-of-state sessions had afforded.
Although John Vanderslice's Tiny Telephone studio was initially selected for its analog-friendly set-up, the duo were happy to find themselves working within a supportive community of like-minded musicians that included engineers Jay and Ian Pellicci, both of whom assisted in the production of Carrier, as well as the Magik Magik Orchestra, which appears on several tracks.
As a result, the album the Dodos crafted is refreshingly sincere: no computers, no gimmicks — just eleven songs that are beautiful and solid and true and honest.
"Substance" effortlessly embodies all of these traits, from the crisp drumming that announces its arrival to the bright guitar lines that weave in and out before eventually joining forces with a triumphant burst of trumpets.
"Confidence" begins like a calm before the storm, its strong vocals over gentle guitar and drums soon erupting into a positively epic display of guitar riffs and hypnotizing percussion.
The record's second side is anchored by "The Current," on which an angular guitar tone loops over a chugging guitar rhythm to satisfying effect as Long declares in a moment of catharsis, "If this love comes unto me / I'm with it / I'm with it."
Much too soon, Carrier ends with "The Ocean" — though Long and Kroeber view the track less as a conclusion and more of a "to be continued" into this album's follow-up, which they have already begun working on.
For a band briefly in flux, it's clear now that the Dodos' outlook on the future has never looked more certain.
Ages 21+ / Our legendary, award-winning open mic features singer-songwriters, comedians, marimba players, storytellers—you never know who's gonna show up!
Ages 18+ / For the past eight years, Boston's rising stars Girls Guns and Glory have been making a name for themselves through relentless touring (about 200 gigs a year worldwide), the release of four critically acclaimed records, a slew of local awards, including being the Boston Music Awards first act of its genre to win Act of the Year, and international awards (Independent Artist of the Year at the French Country Music Awards). And, now, the hard-working band is refining their focus to the roots of rock 'n' roll with a twist of country on their fifth album, "Good Luck," due on February 4, 2014 on Lonesome Day Records.
The foursome (Ward Hayden on vocals/guitar, Paul Dilley on electric and upright bass/piano, Josh Kiggans on drums/percussion, and Chris Hersch on lead guitar/banjo) found inspiration for this record from early '50s rock 'n' roll icons such as Chuck Berry, Eddie Cochran, and Buddy Holly, as well as country greats like Hank Williams and Johnny Cash.
The early rock 'n' roll inspiration is somewhat of a full circle moment for Hayden. "This style of music was in the house I grew up in," explains Hayden. "My mom was a fan of the earlier country music and early rock 'n' roll, but I didn't have real taste for it until I was about 20. I had this beat up old Oldsmobile that didn't have a radio, only a tape deck. My mom would lend me her tapes of Johnny Cash or Hank Williams so I'd have something to listen to. I fell in love with the sound; it was everything I had been looking for."
Fast-forward to today and GGG is looking back to that era of music for a more rock 'n' roll-focused record with producer Eric "Roscoe" Ambel (Nils Lofgren, Steve Earle, The Bottle Rockets) at the helm. "We were familiar with the work he'd done with Steve Earle and The Bottle Rockets and he was Joan Jett's original guitarist. Right after we made our fourth record 'Sweet Nothings' in 2011, he heard us on the radio and contacted us, asking about our plans. It's funny because we had been talking about trying to get in touch with him and there he is calling us out of the blue," explains Hayden.
It was this serendipitous coming together that really solidified the sound of "Good Luck." "One of the ways we really benefited from Roscoe was that he had seen us play live several times and was able to see what the audience reacted to the most," continues Hayden. "Even though we play a variety of styles of music, he saw that fans really reacted to the more rocking songs. We wanted to focus this album on making more of a straightforward rock 'n' roll record that would translate well to the live show and he really helped us accomplish that."
Of the band's musical evolution over the past few years, Hayden says, "Our sound has been evolving from country to where we are now. I label what we do now as American music. It's really rooted in various American forms of music whether it's rockabilly or hillbilly boogie or traditional country or rock 'n' roll. I consider us a rock 'n' roll band blended with classic country music, but this new album is really more of a straight up rock 'n' roll album."
The 10-track album kicks off with the heartfelt, feel-good rocker "All the Way Up To Heaven," which sets the tone for the album thematically. "It's about finally winning in love and feeling that thrill of getting something good and having a true appreciation of it. For a lot of our older stuff, my muse was a long-term relationship that had not ended well. For this record, I didn't have that same muse. I have an appreciation of finally having something good and developed that appreciation from having something that was less than good before. We went from 'tear in your beer' types of songs to the feeling of 'I own every star up in the sky,' a lyric from this song," says the singer.
The record was written over the past two years with the exception of two songs, "Shake Like Jello" and "UUU," which have been in the band's repertoire for about four years. "We never really had a place for those songs because we were viewing ourselves more of a country band than a rock 'n' roll band and those two songs are definitely more rocking. They fit perfectly on this album," he notes.
Another key track showing off the band's love and appreciation for all things rock is "C’mon Honey." "I think this is my favorite song on the record because it has these elements of punk and the Ramones mixed with Eddie Cochran rock 'n' roll. Roscoe and I both love the Ramones, so this sound is kind of the result of that," he says. Lyrically, the song was inspired by a night out with the band where every member had a lovers' quarrel with their significant other on the same night. The next day, "C'mon Honey" was born.
Another song close to GGG's heart and the band's Northeast roots is the ballad "Centralia, PA." "Chris and Paul are originally from Eastern Pennsylvania and we tour a lot in that area. We found out about this coal-mining town there called Centralia that was destroyed by a coal fire over 50 years ago. It's a ghost town now because it's unfit to live in. I became fascinated by the tragic story of the town and we kind of wanted to put Centralia back on the map with this song," he says.
While the band had the luxury of time while writing the album, recording it was just the opposite. They laid down 10 tracks in just six days of somewhat short recording sessions of just nine or 10 hours at a time. The speed of the recording is a testament to the band's musical prowess. "We went in there very prepared and knew to use our time effectively and efficiently. The songs were pretty much ready to go, with the exception of 'All The Way Up To Heaven' because having banjo wasn't originally the idea. Same thing with the saxophone on 'Be Your Man' - those were the missing elements for those songs," he explains.
Unlike on previous recordings where auxiliary musicians were brought in to play special parts, every instrument on "Good Luck" was played by the band members themselves with the exception of the saxophone of "Be Your Man." For instance, Hersch, who was rated one of the Top 20 Roots Guitar Players by the Alternate Root magazine, plays banjo on "All The Way Up to Heaven." Dilley plays piano on "Shake Like Jello" and "Built For Speed," and Ward traded in his trusty acoustic guitar for an electric six-string marking the singer's first time playing an electric. "We wanted to do as much ourselves as possible. That was another one of Roscoe's influences; he said these are songs for electric guitar not acoustic as we originally planned. It's made it so our live show now has electric rhythm guitar as well," says Hayden.
As for the album's title, each band member threw about 10 ideas into the hat and "Good Luck" was the only one that everyone could agree on. Hayden explains where it came from: "I picked up this really cool token that featured all these different good luck icons like a four-leaf clover, a wishbone, a swami looking into a crystal ball, and the all-seeing eye. And that's exactly what we wish for this album - good luck. But there's also the sarcastic way to say good luck and with the state of the music industry today it's kind of like, 'yeah good luck.' The guys liked both the literal and sarcastic meaning of it, so it stuck."
"Good Luck," which was produced and mixed by Ambel and recorded by Mario Viele at Cowboy Technical Services Recording Rig in Williamsburg, Brooklyn, is available on CD, vinyl and iTunes on February 4, 2014 via Lonesome Day Records, an independent label that specialized in Americana and Bluegrass with previous releases including Fred Eaglesmith’s critically acclaimed Tinderbox and Cha Cha Cha.
And for a fitting close to a wild and wonderful 2013 Girls Guns and Glory took home Americana Artist of the Year at the 2013 Boston Music Awards and Ward Hayden won for Male Vocalist of the Year. And, Girls Guns and Glory is currently on the road...as usual!
Ages 18+ / Holy Ghost Tent Revival has been heralded since 2007 for delivering a fast-paced, horn-driven rock and roll experience - crashing, oohing, wailing, and perhaps even shredding. But how does it all work?
It's in the sound! Thanks to tastefully gritty guitars, bombastic drums and plunky bass -- not to mention the sweet vocal harmonies and fanfaric brass of trumpet and trombone -- HGTR delivers catchy, danceable numbers that will leave you humming and grinning time and time again. And it all comes straight from the heads and hearts of its talented young performers: six handsome gents from North Carolina who write dynamic, authentic songs and spend a whole lot of time traveling in a van together.
"You guys have really got something!" says Chris Hillman of The Byrds and Flying Burrito Brothers. "A soul-rock horn band that recalls '60s and '70s classic-rock influences such as The Band and The Flying Burrito Brothers, contemporary indie-rock acts like Dr. Dog, and New Orleans brass-band jazz," declares NPR. Paste continues, "Soul-inspired rock, that maintains a rootsy sound, brightened by warm swells of horns and rich harmonies.”
"Thanks!" say Charlie, Hank, Kevin, Ross, Matt and Stephen. "Since 2009, we've played about one hundred fifty shows each year -- on both coasts and in many places in between -- even festivals like Shakori Hills, Belle Chere, Bristol Rhythm & Roots, Floyd Fest and Wakarusa!"
Their third studio album, Sweat Like the Old Days, which was released in September 2012, reveals a group of songwriters producing mature, thoughtful lyrics atop lush arrangements. It is a wholly original sound which signals a bright and enduring future for years to come.
Fresh from recording their latest album in Philadelphia with renowned engineer, Bill Moriarty, the band is confident this batch of tunes will be lauded as their most musical musings yet.
Ages 21+ / We're a progressive bluegrass band. We have a lot of different influences, from folk to rock to blues to jazz, etc. We're not worried about replicating "traditional" bluegrass or folk music. Though we use "bluegrass" instruments, we might not use the in a "bluegrass" fashion. So like everyone else, we sound like ourselves and our influences at the same time. Influences include Clarence White, Doc Watson, Norman Blake, Jim Hall, Bill Monroe, Jerry Garcia, Miles Davis, Wes Montgomery, David Grisman, Vasser Clements, Earl Scruggs, Sam Bush, Nickel Creek, Yonder Mountain String Band, and Old Crow Medicine Show.
Ages 18+ / Ed Ackerson is a local musician who is currently in complete renal failure. He is on dialysis while waiting for a matching donor kidney. Ed has been battling kidney disease for over twenty years. This will be his third transplant. Over the last two decades, Ed has played to thousands of people on hundreds of gigs with dozens of musicians. He has been in many of the tri-state's more popular bands including Hurricane, Stays In Vegas, Strangelove, and the Snowshoe Crabs.
Ed lives in Northern Kentucky with his wife Leslie and their four children.
A silent auction will also be part of this event.
All Ages / The dreamy, bittersweet music of Margot & the Nuclear So and So's is primarily the work of singer/songwriter Richard Edwards, who formed the indie rock collective in his native Indianapolis. Named after the Margot Tenenbaum character in Wes Anderson's sophisticated comedy The Royal Tenenbaums, the band took root in 2004, when Edwards decided to flesh out his scenic chamber pop sound with help from guitarist Andy Fry, cellist Jesse Lee, pianist Emily Watkins, trumpeter Hubert Glover, drummer Chris Fry, percussionist Casey Tennis, and bassist Tyler Watkins.
The Dust of Retreat The band's debut album, The Dust of Retreat, was issued on the local indie label Standard Recording in 2005. The picturesque, dozen-song set earned the band a loyal following, and Margot & the Nuclear So and So's signed with Artemis Records later that year. A remixed and remastered version of The Dust of Retreat was released in March 2006, but a series of label acquisitions (Artemis bought V2, Virgin Records effectively absorbed the band, and Capitol merged with Virgin) convinced the group to partner with another company instead. They relocated to the Epic roster in October 2007 while working on their sophomore release. After tracking approximately 25 songs, however, the band clashed with Epic over which songs to include in the final release. As a result, two versions of the album were released: Animal!, a vinyl and digital release of the band's preferred version, and Not Animal, a traditional CD release featuring those songs favored by the label.
Buzzard After touring in support of the Animal! albums, Edwards relocated to Chicago and began pruning the band's lineup, eventually dissolving it altogether and rebuilding it from the ground up. Margot & the Nuclear So and So's thus became a six-piece band featuring Brian Deck on drums, Ronnie Kwasman and Erik Kang on guitar, Cameron McGill on keyboards, and Tyler Watkins on bass. Watkins and Kang had both played in an earlier version of Margot & the Nuclear So and So's, while the other three were Chicago-based musicians who joined the lineup in 2009. After building a makeshift recording studio in an abandoned movie theater, the six explored a lean, rock-influenced sound on Buzzard, which became the band's third album after its release in September 2010. In 2012 the band returned with Rot Gut, Domestic, a stylistically adventurous album exploring more guitar driven 90's-styled rock and flirting with country-western influences.
Ages 21+ / Join us for the honky tonk stylings of Straw Boss from 9 to midnight.
Ages 18+ / Singer/songwriter of The Get Up Kids & The New Amsterdams plays melancholy folk tunes.
Matt has put together an eclectic bill of acts involved with Downwrite.
If you’re not familiar with Downwrite – check out the website here: http://www.downwrite.com/
Blue of Colors
Ages 21+ / When Ben Daniels decided he was going to be a musician, it was more than a career choice. A natural poet, this young songwriter went to school on Bob Dylan, Robert Johnson, and Jack White, among others. His lyrics speak directly to a younger generation that hears, sees, and thinks about the very things he’s writing. From their opening song to the finale of their set, the Ben Daniels Band cuts through with their originality, musicianship, and a sound that spans blues, reggae, hip hop, and even jazz.
BDB has played throughout Michigan, as well as Nashville and New York City. As a solo artist, Ben has stepped on the stage in Austin, TX at the Cactus Cafe, as well as The Barns at Wolf Trap. He has even sang at the grave of legendary bluesman Robert Johnson in Greenwood, Mississippi. The son of actor Jeff Daniels, he has quietly monitored what it takes to live life as an artist. Beyond a passed down talent, the Ben Daniels Band believes in hard work, perseverance, and creatively challenging themselves and their audience.
Ages 18+ / Join us for a showcase of Ohio talent that is sure to offer an unforgettable evening for comic-fans and rock-fans alike. Comic Josh Womack (Cleveland) will host this evening of local rock music with sets of unique stand-up between musical acts.
8:00 - Doors Open
9:00 - The Greg Blachman Band
9:45 - Josh Womack
10:15 - TO NO END
11:00 - Josh Womack
11:30 - Silver Cypher
Featuring live music by:
Greg Blachman Band
Formed in 2013 following the release of Greg Blachman’s solo album, “Beyond Horizons”, The Greg Blachman Band has already been dubbed as “Progressive Metal Heroes” for wielding a unique brand of progressive grunge rock. Consisting of former members of Led Zeppelin tribute band “Winds Of Thor”, The GBB continues to gain regional popularity as they make their way through the mid-west in support of the album. For more information on The Greg Blachman Band, visit www.reverbnation.com/gregblachman.
TO NO END
TO NO END is an indie-rock band made up of seasoned 20-something's that blend the genres of blues, hard-rock, grunge, pop, and progressive rock into an accessible alternative concoction that yields a little something for everyone. The band released their sophomore album "Peril & Paracosm" in January, just a year after the release of their debut album "Curio". TO NO END has been described as "genre-bending chameleons" and have been turning heads across the midwest with their unique sound. http://tonoend.com/
Since 2005, Silver Cypher has played an eclectic mix of heavy-metal styles. At times trashy, at times power, at times progressive…all in all, it's a style of music all its own. Focusing on themes concerned with science, philosophy, religion (anti-religion), life and death, Silver Cypher creates music of the human condition, from the human condition, for the human condition.
Special Guest Host and Comedian:
Josh has entertained crowds for more then 6 years. A regular at Hilarities 4th Street Theater in Cleveland, he has opened for the likes of Tom Arnold, Kevin Nealon and Chris Kattan. His humor is observational and focuses on relationships, the struggles of growing up and being a small man in a big man's world. In 2013 he founded Laughstafff (www.laughstaff.com) a speech-writing company where stand-up comedians help best men and matrons of honor with their wedding toasts.
Ages 21+ / The Company Stores are a folk fusion band from Charleston, WV, that smoothly blends elements of many genres of southern music. They pull inspiration from styles such as Delta blues, Appalachian folk, gospel, jazz, and other Americana music, then layer in their own modern styles and rhythms.Vocalist Casey Litz's sultry and soulful voice captivates the audience, while the band lays down bluesy grooves between dynamic builds.
The Company Stores are a melting pot of possibilities. "We like to blend the old with the new, just like every musician in history, whether they know it or not" tells drummer John Query.
The band has been performing and writing together for over a year, all the while forming a close musical bond among themselves and their hometown. They are currently recording their first album, with a tentative release date to be announced for the Spring of 2014.
Ages 18+ / Able Danger is a New Powerful Progressive Rock/Post Grunge/Rock band with Female Vocals. Hailing from Dayton, OH, Able Danger is a band with talented musicians who bring feeling and presence to the stage.
Ages 21+ / Jody and Sammy Stapleton hail from the hills of Cincinnati and blend American folk traditions with emotive tales of redemption, loss and hope against a backdrop of rural pop gold.
Their voyage together began in 1999 with the raucous Americana band of brothers, The Stapletons. From 2000-2007, The Stapletons released four albums, toured America, and were nominated for Rock Band Of The Year in 2000 and won Best New Artist that same year at the Cincinnati Entertainment Awards. In 2001, The Stapletons were nominated Rock Band Of The Year again and in 2003 they took home the trophy. Esquire magazine came onboard in 2003 and gave The Stapletons some fine accolades and in 2005 The Stapletons signed with Tinderbox Music and had their music played on over 200 radio stations across the country.
After a short break and assorted side projects Jody and Sammy formed Jody Stapleton And The Generals that combined folk and indie/pop notions against a backdrop of sun drenched AM gold. The band released “Turn On Your Lights” in late 2012 and has enjoyed success on the club circuit and numerous festival appearances.
As 2014 is underway the brothers are combining their talents once again and presenting their acoustic duo that features swirling harmonies, steeped in roots traditions. Jody also has plans to release his first solo album that will feature Sammy and Mick and Newky from The Stapletons.
Ages 21+ / Join us for the honky tonk stylings of Straw Boss from 9 to midnight.
Ages 18+ / It’s called ‘chemistry’, an elusive quality that can be part history, part mystery and all intangible until the moment that you feel it. It’s a meant-to-be melding of the emotional and creative that can happen between songwriters, performers, best friends or life partners. For Josh and Nicole Johnson – the duo Elenowen – that connection is all of the above and much more. The chemistry they share is as rare – and real – as it gets.
Though emerging from the same Nashville-based Americana-folk scene as The Civil Wars, Elenowen deliver a sonic glow all their own. Amidst haunting harmonies and elegiac lyrics, their songs flow with an undercurrent of yearning, surrender and unexpectedly sharp edges. The sound itself is roots-driven. Even the name Elenowen is an authentic nod to heritage, with Ellen being Josh’s mom’s middle name and Owen being the middle name of Nicole’s dad. “They’re the sides of the family we each got our music from,” explains Josh. “What’s in our hearts will always come out in what we do.”
With their original songs providing the backdrop to pivotal moments on popular television shows - including NBC’s Revolution, CW’s Pretty Little Liars, Lifetime’s Army Wives, CW’s One Tree Hill, and MTV’s World of Jenks - Elenowen are discovering that the truth of what they do is bringing them new fans nationwide. In the midst of writing and recording for their upcoming album, they hit the road in the spring of 2013 on their first headlining tour, The Drifting Closer Tour, which stopped in over 20 cities nationwide. Currently, they are traveling across the country and sharing the stage with artists like singer/songwriter Matt Wertz and rock band, Green River Ordinance.
But what about that thing called chemistry? For Elenowen, it’s a one-of-a-kind formula that is about to become bigger than the both of them.
Ages 21+ / Cincinnati Folksinger and His Uptown Band perform generic folk music from and about the Ohio River valley. Cincinnati Folksinger Michael Hoffman flatpicks and fingerstyles guitar, banjo, and harmonica. Greg Zoller plays the double bass. Lead instruments and drums are often integrated into their performance by a rotating selection of Cincinnati's finest musicians. Cincinnati Folksinger and His Uptown Band create tight vocal harmonies that encapsulate a barge on the muddy rivers that surround our city and the cogs and cranks of the industries that have kept us here for generations.
Ages 18+ / Mike Dillon Band
How many artists can claim being praised a "punk rock provocateur," "jazz vibraphone visionary" and "percussion virtuoso" in the same sentence? There's only one: Mike Dillon. Whether through his affiliation with artists like Les Claypool, Brave Combo and Ani DiFranco, collaborations such as Garage A Trois, The Dead Kenny Gs and Critters Buggin or bands he's fronted, including Billy Goat and Hairy Apes BMX, the Texas-native has set his own standard for 25 years now.
With his latest effort, Band of Outsiders—released via Brooklyn label The Royal Potato Family—Mike Dillon has perhaps conjured the perfect storm of all these past endeavors. His manic creative vision found its match in three young musicians he met in New Orleans. Carly Meyers—whom Dillon describes as “a High Priestess of Trombone who channels the energy of Iggy Pop through the chops of JJ Johnson in second-line parade”—provides harmonic counterpoint to his vibes and percussion (“All Walks of Life”) as she simultaneously ups the band’s art-rock ante (“Carly Hates The Dubstep”). The rhythm section of bassist Patrick McDevitt and drummer Adam Gertner turns on a dime between snarling punk rock assaults (“Homeland Insecurity”), deep funky go-go (“Head”), ska grooves (“Here The Burro”) and experimental hip-hop beats (“7AM At The Jazzfest”) with all points covered in between.
Dillon recorded Band of Outsiders at Studio Center in Miami with the help of co-producers Gary Vandy and Richard Maloney Jr. Vandy is an old school engineer whose work includes over 200 platinum records predominantly in the disco and dance genres. His love of Zappa is what attracted him to Dillon’s work. In the age of pro-tools chicanery, the production is straightforward, capturing Dillon and his band playing live in a room.
“Two tours of Mexico and a steady dose of Brazilian music was the jumping off point for these new songs,” explains Dillon. “Add our love for The Melvins, Deerhoof, Bad Brains, Dead Kennedys, Trouble Funk and all things New Orleans and this album surpasses our intention to make the freakiest, most vibrant dance music on the planet.”
Lyrically speaking, Mike Dillon draws from his love of Miguel de Cervantes, William Burroughs, Kurt Vonnegut and Robert Anton Wilson to tell stories of New Orleans debauchery mixed with age-old themes of travel, love, self-destruction and greed. Delivered with Dillon’s trademark vocal rasp, the record has the intensity of a Tom Waits-meets-Frank Zappa black comedy. Rumor has it that Dillon lived in the same apartment that Waits shared with Rickie Lee Jones for the past seven years. However, Dillon discounts those rumors: "This apartment has housed dudes from Morning 40 Federation, Ani DiFranco, an old Conga player and a bunch of heroin addicts.”
Taken in its entirety, Mike Dillon's Band of Outsiders is a snapshot of four musicians hitting full stride. Having relentlessly toured the country in 2013—both headlining and opening for artists like Fishbone, Clutch, Primus and Galactic—its 13 songs bristle with a group mind, spill over the sides with the visions invoked during countless dead-of-night drives crisscrossing the country in a van and hit their target with a sonic assault only possible from a band that’s played 400-plus shows over the last two years.
“People are always trying to figure out how to describe our music. Maybe we should call it New Orleans punk jazz Brazilian math rock? It’s a gumbo of tribal percussion, The Meters, old school hardcore, Brazil, hard bop and anything else that might move us,” concludes Dillon. “But you know, I really don’t care what you call it. We kick out the jams harder than anyone, and we also know when to heed the lessons of The Minutemen's Double Nickels On The Dime and keep things straight to the point. There’s a reason we called the record what we did. We’re the living, breathing definition of a band of outsiders, but together we deliver simple majestic beauty, let’s leave it at that.”
Circus of the Sun
Blending a virtual melting pot of musical styles into a visceral, live rock experience, Circus of the Sun returns to the stage for a rare performance featuring all original members delving into the band's full repertoire, including unreleased tracks and a few surprises.
Marty Evans leads the aural assault with vocal stylings that effortlessly toggle from soul to hard rock, flourishing over the top of the rock solid yet intricate rhythm section of Dave Becknell (drums) and Ashley Shepherd (bass). Chuck Davis's guitar riffs set the tone literally for this lively, disparate but cohesive body of work.
Do not miss this one night performance of an old local favorite gracing the SGH Revival stage for the first time.
Ages 18+ / A little bit about Baby Money: "I grew up in Durango, CO singing old time/bluegrass music and in church. 10 years ago I moved to Chicago to pursue a career in performance, and have lived here ever since! After playing a few years with a rust belt/revival type band called Poor Elvis and as a former member of the 2010 National Jugband Champions, the Barehand Jug Band, I decided to strike out on my own with a bunch of scratch tracks and some lovely friends. I released my debut, ep length album, "Movers! Shakers! Moneymakers!" in May, and am now starting to travel a bit. I sometimes play with folks, sometimes by myself. I play washboard and ukulele and write and sing songs!"
Baby Money is the brain child of Chicago based musician, Pamela Maurer: a solo project involving friends from around the country. Sometimes appearing with a full band, sometimes with just a few lady singers, sometimes equipped with loop pedals and a handmade bass box, Baby Money is inspired by 1960s girls groups, old time american revival music and traditional folk. She hopes to remind you of treasures found on dusty records in your old man's basement.
Ages 21+ / The Part-Time Gentlemen is a 3-4 piece band from Cincinnati's West Side that plays an energetic blend of traditional Old Time and Americana music. Their music is best described as "down home." Not because they practice in an old farmhouse in Cheviot. And not because they put groove first. And not because they make a simple arrangement of guitar, banjo and upright bass sound so rich and full that you forget where you are and remember a simpler time when you used to stay outside all day exploring until the sun went down and your mother called you inside for dinner and then dad pulled out his guitar and began to sing until it was time for sleep.
It is because they make every show mean something. Because they regularly invite local musicians to sit in and sing along with them at shows all around the area. It because they have a dedicated base of freinds and family that make it out to their shows.
Momentum is building. In the past year alone, they have played at a number of the best venues in town, incuding MOTR, The Northside Tavern, and The Southgate House. They havve also shared the stage with such national acts as New York's, Driftwood.
Currently, they are booking all around Cincinnati playing shows at bars, festivals, private parties and more. Come out, see them and try to find something that you lost.
Ages 18+ / Elk Creek is a new band based in Cincinnati, with influences of rock, blues, and folk. Our songs feature the overdriven harmonica solos of Jeremy Brown, guitar from classically trained Brad Smith, and the vocals of Aaron Price. Drummer Travis Estell and bassist Nick Whittenburg provide the underlying foundation upon which our individual influences coalesce into a uniquely familiar folk rock sound.
We are influenced by a wide variety of artists, including Neil Young, Blind Melon, Blues Traveler, Avett Brothers, Iron and Wine, Band of Horses, Sonny Boy Williamson, and Ryan Adams.
Ages 21+ / Los Honchos formed in early 2005 rising from the ashes of a primitive garage band of the same name. The two survivors; front man Little Bill and his geetar playin' sidekick Mike, wanted more out of a band than three chords and a hangover so they set out on a quest to reinvent themselves.
They dove in to Mike's massive collection of scratchy vinyl records and came up with a weird mixture of gritty Southern soul, honkin' R&B, wild pre-Beatles rock'n'roll and cheesy instrumental lounge tunes (the kind that strippers like) and possessed with a fever that Dr. Frankenstein would have been proud of they decided to mash it all together into one big funky mess.
It looked good on paper (at least it would if they had bothered to write it down) but how would they pull this off? In stepped bassist extraordinaire Nick LLoyd who had the good taste to believe in this crazy idea. Nick was armed with actual musical talent and connections to the cats they needed to pull this thing off.
Los Honchos were on their way. Before long Nick had recruited sax maniac Dan the Man Barger and stealth trumpeter Rob Mulhauser. After several changes in the drum chair the band was completed when Chip Blome strolled in and laid down a funky beat that the kids could dance to.
One quick trip to the tailor and six cheap matching suits later the band was unleashed on the sleepy little town of Cincinnati, Ohio. Since then the band has been plugging away at local watering holes slowly building up a following of confused but happy fans who appreciate the bizarre melting pot of music that is Los Honchos.
Ages 21+ / Join us for the honky tonk stylings of Straw Boss from 9 to midnight.
Ages 18+ / Mike Zito, Devon Allman, Cyril Neville ~ The soul of the south. Amplified soul for the new generation
Before they even hit a chord, The Royal Southern Brotherhood have your attention. In the US South, where music is religion, two rock ‘n’ roll bloodlines tower above all others. In the saloon bars from Mississippi to Maryland, mere mention of the Allman and Neville Brothers casts a magic spell. Conversation falls silent. Pool balls stop rolling. Ten-gallon hats are tipped in respect and beer-bottles raised in salute. These aren’t just bands, they’re gods, and with a lineup comprising both the iconic Cyril Neville and Devon Allman, The Royal Southern Brotherhood come pre-loaded with expectations. Don’t worry: they can match them. The family tree might be auspicious, but this new band trades on talent, not genealogy. It’s not about rock history: it’s about the here-and-now.
This lineup has talent to burn. You’ll already know Cyril Neville: poet, philosopher, percussion master and perhaps the South’ last great soul singer. Devon Allman. As the son of Gregg Allman, the 39-year-old has rock ‘n’ roll in his DNA, but he’s always walked his own path. Mike Zito: the blues ace whose ear for melody provides the counterpoint to his wingman’s rocking tendencies. Nominated in 2011 for the Blues Music Foundation’s ‘Best Blues Rock’ award, and winner of 2010′s Blues Music Award. Bassist Charlie Wooton and drummer Yonrico Scott: both heavyweight names in their own right, with Charlie’s bass chops celebrated on the Southern jam scene for his sets with the Woods Brothers, and Yonrico hitting the skins for luminaries including the Derek Trucks Band, Gregg Allman and the Allman Brothers themselves.
They said that rock ‘n’ roll was dead, but they were wrong. Right now, in 2012, there’s something in the air, as The Royal Southern Brotherhood drag their thrilling new brand of blues-rock and white-hot musicianship from the Southern States onto the world stage. The South is rising again. Come along for the ride.
All Ages / Daylight spent the past few years honing their grunge buzzing, and desperate sad sound across four EP's, showcasing and perfecting a talent for writing both jarringly heavy and delicately emotional songs. With high-anticipation, the Pennsylvania four-piece deliver JAR, their debut full-length! Engineer & producer Will Yip's massive production knocks you on your ass from the very first drum hit and snarling guitar riff. The stadium-sound drums, plus pulsing bass and walls of buzzsaw guitars are all mixed with the size and clarity of major label grunge breakthrough records like Nirvana's Nevermind and Smashing Pumpkins' Siamese Dream. Daylight have delivered a towering rock record and an early contender for album of the year.
Ages 18+ / $7 Ticket Includes Free Copy of the New CD!
If you're into good old American rock 'n roll, you'll be into Lick Skillet. A five member originals rock band based in the Southwestern Ohio/Northern Kentucky area, their style spans the rock genre from roots to the hard stuff, with a touch of country and folk around the edges. Fueled by the varied original compositions of band members Mark and Jim Weierman, along with select, "Skillitized" covers, the band is anxious to share it's music with audiences large and small in the Greater Cincinnati area and beyond. The lineup rounds out with vocalist/pyromaniac Danielle Kuntz, bassist John Estep and drummer Kip Vineyard.
Their first studio release, the three song EP Overmedicated, has received college airplay from Kentucky to Massachusetts. Two of the songs from the EP, "Ain't Gettin' Any" and "Don't Wanna Follow You Down", have been featured multiple times on WNKU's Homegrown Music Connection, and also enjoyed regular rotation on that station's locally produced programming for the bulk of 2008.
If you're looking for something other than typical cover band fare; if you delight in rock that is fresh and original while staying true to the form; if you want music that penetrates the psyche while kicking solid ass, then come out to see Lick Skillet as they rip up their repetoire, unveil their latest material and party on down. Overmedicated is available on disc from http://www.cdbaby.com/ and the songs can be downloaded from itunes and others.
Ages 18+ / Heavy Hinges is a sublime ruckus… a beautiful collision of rock, soul, and gospel. When Heavy Hinges came about in early 2012, their jam sessions were taken on with very heavy hearts. Three of the five members had recently suffered heartbreaking and unexpected loss of loved ones and were still very much coping. While the music they were creating was conceived from a place of sadness, what came out of them was spirited and in a way celebratory… a revival of sorts. In fact, an early band name prospect was Heavy Hearts Revival because it seemed to tell the story of these early sessions. Initially, they gravitated toward playing old traditional songs, unearthed from field recordings of chain gangs, gospel groups, and fishing boat crews. They found the coarse and rustic nature of the music and the dark, yet hopeful imagery of the lyrics suited them rather well.
While songs from the past proved inspiring and fruitful, it was never their intention to travel down a musical path quite that narrow. So, they began writing their own songs, adding more layers to their evolving style. They frequently referenced the gospel groups, chain gangs, and fishing boat crews from those old recordings, but at the same time, remained true to their existing foundation of r&b, blues, and rock & roll…
In just over a year, Heavy Hinges have made their mark on the burgeoning Cincinnati music scene and have their sites set on promising new horizons. They were recently nominated for Best New Artist at the 2013 Cincinnati Entertainment Awards and are currently in the studio capturing their raw and spirited sound for their debut album slated for release in spring 2014.
Ages 21+ / The Whiskey Charmers is the Americana Roots duo of Carrie Shepard and Lawrence Daversa. Their haunting melodies tell stories of love, heartbreak, the open road, and of course, whiskey. A fan recently described their music as "riding through the Mojave Desert in a convertible with the top down." With Shepard on acoustic guitar and vocals and Daversa on lap steel, guitars and harmony, they create a unique sound that incorporates folk, blues, rock and country. Recently formed in 2013, The Whiskey Charmers have performed around the Detroit area, Illinois, Ohio, Michigan’s Upper Peninsula, Kentucky and West Virginia. They will be appearing on NPRs "Red Barn Radio" in January. Recent recordings of their music can be found at http://soundcloud.com/the-whiskey-charmers/sets.
All Ages / THE LAWRENCE ARMS
For their first full-length album in nearly eight years, the Lawrence Arms amped up their brand of gritty punk with a newly deepened passion for storytelling-through-songwriting. The follow-up to the Chicago-bred trio’s 2009 EP Buttsweat and Tears, Metropole threads the Lawrence Arms’s raw and blistering yet hook-heavy sound with a lyrical narrative that captures what vocalist/bassist Brendan Kelly calls “that alone-in-a-crowd, stranger-in-a-strange-land kind of shit—a feeling of such weird solitude that you don’t even know what’s up and what’s down ‘cause you’re so caught in the wake of the city.” Drawing inspiration from both Fyodor Dostoyevsky’s Crime and Punishment and classic late-‘90s hip-hop like Outkast’s Aquemini, Metropole gives off an unstoppably fiery spirit despite the downer subject matter–an effect owing largely to the Lawrence Arms’s infectious chemistry. “When we got going on making the album it felt like we were writing at a different and sort of evolved level, which was really exciting,” notes vocalist/guitarist Chris McCaughan, who formed the Lawrence Arms with Kelly and drummer Neil Hennessy in 1999. “It’s like all that time off ended up creating a whole new energy for us.”
Like every Lawrence Arms album since 2000—including their last full-length release, 2006’s much-acclaimed Oh! Calcutta!—Metropole was recorded at Chicago’s Atlas Studios with co-producer Matt Allison (an engineer also known for his work with fellow Chicago-punk-scene vets Alkaline Trio). Throughout the album, the Lawrence Arms seamlessly move from melancholy (“Beautiful Things”) to snarling and defiant (“Drunk Tweets,” “Acheron River”) to anthemic (“Never Fade Away”) to brilliantly bleak (“The YMCA Down the Street from the Clinic”). Songs like “Seventeener (17th and 37th)” and the acoustic-guitar-laced title track verge on sweetly tender, while the epic “Paradise Shitty” starts off tense and urgent and ends with Kelly twisting Guns N' Roses lyrics into a desperate plea for someone to “Take me down to that city where the girls just look okay.” No matter which frame of mind the Lawrence Arms embody, the band’s endless merging of melody-charged punk and wickedly clever yet bravely personal lyrics make Metropole their most dynamic album to date.
Also vital in tying together Metropole’s many moods is a series of fragments of street-musician performances that the band members recorded on their phones. “The piano [at the end of “Seventeener (17th and 37th)”], that was a grand piano someone was playing in the street,” says Kelly. “The horn [at the start of “Acheron River”], that was a dude on his back in the middle of the road, so drunk he couldn’t even see.” Fading in and out at the beginning and ending of more than half the tracks on the album—and including everything from accordion to bagpipes—those often-spooky sounds help to heighten the feeling of urban isolation that saturates so much of Metropole. “It was partly inspired by the way those late-‘90s/early 2000s hip-hop records were put together, with these sort of bridges between songs to keep things flowing,” explains Kelly. And though the classic punk/hardcore of bands like Bad Religion, Jawbreaker, Propagandhi, Operation Ivy, and NOFX also informed much of Metropole, Kelly and McCaughan are quick to point out that they’ve long mined such influences in their own music. “Us being influenced by hip-hop, by books, by pop songs on the radio, by Japanese hardcore bands—none of that’s anything new,” Kelly says.
One crucial change for the Lawrence Arms in creating Metropole was McCaughan’s recent relocation from the band’s hometown of Chicago to Portland, Oregon. Friends since age 10 and close collaborators in songwriting, Kelly and McCaughan found that their newly established distance helped sharpen the writing process. “One of the things that made this record cool is that we finally got enough space to be like, ‘Okay, let’s see what you got here,’” says Kelly. “Chris would come up with a song and I’d be like, ‘That’s so kick-ass,’ and it would motivate me to try and write something on that level. So a lot of the songs on this record were actually inspired by other songs on this record.”
The synergy between the two songwriters also revealed its power when it came to teasing out the narrative at the heart of Metropole. “Once we’d had some songs written, it was just a question of looking at them and figuring out what held them together, not if they held together,” says Kelly. To that end, both McCaughan and Kelly—who asserts that the Lawrence Arms have “never had any agenda apart from just having fun and making good music”—state that the multi-year break between albums ultimately went a long way in refining the band’s vision and sound. “Because of the way we exist as a band, it was important for us to wait until we knew we had something to say that was sharp and pointed and dynamic and incisive,” says Kelly. “And if we didn’t have that, then we’d just rather not make a record, ‘cause fuck it.”
Ages 18+ / VII is the seventh record from Blitzen Trapper and their first release for VagrantRecords. Its twelve tracks teem with vivid tales of longing, flight, desperation andredemption, all set in a sonic landscape at once familiar, but also strange and new, like a dream. Without a doubt the culmination of all the group's best work, VII sounds a lot like America.
Blitzen Trapper was founded in Portland, Oregon in 2000 by a group of native Pacific Northwesterners, who played around town endlessly to skeleton crowds andgave away an impressive stream of garage recordings on CDR for years. Then came the Blitzen Trapper record in 2003, and Field Rexx in 2005. But it wasn't until 2007's self-released Wild Mountain Nation made a big splash that they finally hit the road, setting the stage for Furr's release the following year. Powered by its title trackand by the G-funk-inflected "Black River Killer" that record became an unlikely hit andthe group suddenly found itself on network television and in glossy magazines andastride colossal festival stages. So they released more music, toured the Western world incessantly, got to work with the likes of Wilco, Stephen Malkmus, Guided ByVoices and Belle & Sebastian, and slowly became the band they'd always dreamed theywould be. Blitzen Trapper are frontman and songwriter Eric Earley, Marty Marquis, Brian Adrian Koch, Michael Van Peltand Erik Menteer.
VII opens with “Feel The Chill,” a southern adventure complete with a woman in her underwear, deer hunting, and of course drowning at the local bar. Earley takes us downa crooked bend so dark and gloomy you can smell the heat and feel the humidityoppress you. “Each song starts from a small place, a headwater like remembrance andthen widens into a song. For instance, that old wreck of a shack buried in evergreen and murky darkness at the bend in the road up on Jackson Hill where we used to drink,never failed to give me a chill driving by in the old Impala for it's implacable mystery,” Earley notes.
Tracks like “Thirsty Man” speak of love in a Dylan-esque fashion where Earley reveals“love like rain falls in the wasteland and slips thru the fingers – for love is a thing thatcannot be held, only felt and released”. “Drive On Up” is a soulful, almost bluesyrendition of small town tales of quirkiness. “It seems you're always driving on up tosomething.” Earley amuses, “into the mountains to see a girlfriend above the reservoir where she lives in a single wide with her mom and a cougar stalks us at fifty yardsthrough the brush, she says to bang sticks but never look it in the eye.”
VII moves effortlessly from track to track, allowing Earley to paint the colorful picturesthat play in our head while singing along. “…there are those songs I keep writing over and over again, Ever Loved Once with all its regrets and tragic lost love, Don't be a Stranger its hopeful cousin but they all still point to the same worn out place in the heartof old E. Earley. And hey, we all have that place, that worn spot on the heart like the chew canister circle on the back pocket of blue jeans, or that one shred in the green feltof the table where you ground the stick in too hard… May these songs minister in waysmysterious and eternal, or at least maybe make you shake a hip.“
Ages 18+ / The wild horse. We romanticize this magnificent creature and rightly so. We marvel at the horse that dares to run free through mountain streams and mountain shit, forging his own path, blazing his own trails. We marvel at his dangerously high sperm count and his ability to mount and fuck. We know he spends his downtime whinnying in delight that he is never going to spend his life partially encased in leather, serving no other function than to trot slowly with his head hanging down miserably alongside other poor souls just like him as they carry a field trip of fourth graders from the suburbs who crack themselves up whenever he sports an uncontrollable erection. The wild horse…gets hard whenever he wants. And nobody laughs. And he loves that about himself.
The American male needs to feel like a wild horse from time to time. Electric Six is a band from Detroit comprised of six American males. The American male, upon birth, is issued three Wild Horse Cards™ from the United States Department of Agriculture and he can play this card at any point in his life when he needs to feel like a wild horse for a year. 2013 is the year that all six members of Electric Six are electing to play one of their cards at the same time. The result is Electric Six’s ninth studio album, “Mustang”.
The band is recharged having taken its first “break” from making a studio album in seven years. Couple that restored energy with the playing of the six Wild Horse Cards™ at the same time, and “Mustang” is the audio story of Electric Six reaching the summit of Mt. Good Times.
Producer Johnny Nashinal is the sherpa, executing a 14-track ascent that leaves everyone gasping for oxygen, but in the best possible way. The Roky Erikson-meets-T.Rex opener “Nom de Plume” makes it clear right away that Electric Six has got that whole “let’s do a synth and drum machine record” thing off their chest, and they’ve brought their guitars, their drums, and their blood-curdling screams for this one, yes indeed. The album then winds through the psych-pop of “Jessica Dresses Like a Dragon”, the Pavement-pop of “Show Me What Your Lights Mean”, and the aggro-pop of “Adam Levine”.
But this is Electric Six, mind you. They are the band that will never be tied to just one sound. And so we also find on Mustang a first-time dip of the toe into the P-funk pool in “Late Night Obama Food”, as well a stroll down ABC lane for “The New Shampoo”. And W. Axl Rose will be looking down from wherever he ended up with a big smile as we get to the summer amphitheatre-friendly “I Never Fucked Her”.
The anchor track “Iron Dragon” is the most compelling story, not only for its ability to sound like both a Nick Cave ballad AND a Warrant/Poison/Skid Row ballad, but also for something much more profound. The outro of “Iron Dragon” was recorded in Moscow’s Red Square, a choral squadron comprised of the six American males from E6 singing alongside several Russian females. There is nothing that makes an American male feel more like a wild horse than singing with Russian girls in the very place where freedom came to live and die, live again hey baby maybe not so fast.
“Mustang” is Electric Six’s ninth studio album. It is distributed by Metropolis Records and will be released in October 2013. You can come see Electric Six on tour in the United States in September and October on the “Save The World, Save The World” tour . And look out for Electric Six in the UK and parts of Europe in November and December.
Ages 21+ / A live entertaining show of sexy hillbillies, bringing something completely different than any other band out there! A oxymoron of sounds! Punky-Tonk, Punk-Country, Outlaw Bluegrass.
Always on Tour, Always ready to Rock!
Ages 21+ / Sticky Honey is a hot little band covering all of the sexiest tunes from the late 70's to the early 80's. You will dig, you will dance, you will pee your pants, Honey.
Ages 18+ / Seated / Non-Smoking
I ain’t afraid of dyin’ / I got nothin’ to lose — Joe Ely, “Satisfied at Last”
With Satisfied at Last, Joe Ely has made the album of his life. Literally.”It reflects where I am and where I’ve been,” he explains. “The whole record takes a kind of journey. As you reflect on it, you’re just glad you made it. Everything adds up differently than you had thought it would.”
Musically and lyrically, the song cycle represents a pilgrimage, from the vagabond troubadour’s per_spective of the album-opening “The Highway Is My Home” to the spiritual acceptance of the closing “Circumstance” (one of the two songs on the album written by fellow Flatlander Butch Hancock). It’s a homecoming journeyHas reflected in the pivotal “Not That Much Has Changed”–that finds a restless spirit settling back and taking stock. It expresses the older-and-wiser insights of a seeker who has discovered that “heaven’s here on earth, and so is hell,” as he sings on “You Can Bet I’m Gone.”
”I’m probably as pleased with this record as any I’ve done,” says Ely. “Just like those records in the `80s with the loud rock and roll band felt right at the time. They were boisterous and rowdy and that’s the way I felt then. And this record really sums up where I’m at right now.”
Guitar powered and accordion laced, the music itself is classic Ely, underscoring his status as one of the true pioneers of the alt-country, Americana, “too rock for country, too country for rock” brigade. His boundary-blurring blend of rock, country, blues and folk has sometimes been termed “roadhouse music,” but might most accurately be described as “Texas music,” steeped in the heart of the Lone Star State. Over a career that spans some four decades, he’s been embraced as a kindred spirit by artists as diverse as Bruce Springsteen, Linda Ronstadt and the Clash.
The album additionally benefits from Ely’s creative autonomy, which allows him to record at his home stu_dio in the Hill Country west of Austin, and then issue his music on his own Rack `Em Records. “I just do things differently on my own clock, when I don’t have somebody breathing down my back,” he explains. “Probably during the last two or three years I’ve recorded more than I’ve ever recorded in my life. For every record I’ve released I’ve probably recorded thirty or forty more songs that are just sketches for future stuff.”
He’s also brought his career full circle through a belated, ex-tended reunion with Butch Hancock and Jimmie Dale Gilmore in the Flat-landers. The three Lubbock buddies started recording together in the early 1970s, put the band on hold in favor of solo pursuits (that often in-cluded recording each other’s songs), and have since regrouped for three well-received albums (most recently Hills and Valleys in 2009).
Partly as a result of his Flat-landers’ activity, Ely hasn’t issued a solo album this ambitious since 2003′s Street of Sin. Yet these have been some of the most prolific years of his career: “I’ve released a book (Bonfire of Roadmaps, 2007) and two records with that book, songs that had to do with its chronology, and then two live albums,” he says. “And getting together again with Butch and Jimmie influenced this record as well. Everything I’ve done over the last couple of years has led up to this record.”
At the thematic heart of the al_bum is an extended meditation on mortality, one that extends from the homespun faith expressed in Billy Joe Shaver’s classic “Live Forever” through new Ely songs such as “You Can Bet I’m Gone” and the title track. “That’s a big part of this whole re_cord, and it kind of unfolded as I was making it,” says Ely.
”There comes a point in your life when you have to take a long look at mortality. It’s something you push aside and say you’ll think about that later. But I thought I should just examine this thing, in a way that looks at the whole circle. And that’s how songs like `Live Forever’ and Butch’s `Circumstance’ fit in.”As he sings in the title track, “I didn’t take on the world/For fortune or fame/I set my direction/With a flickering flame.” That direction has led him here and left him satisfied. At last. Or at least for now.
Ages 21+ / With the positive reception of its self-titled debut from 2009 and its unique sound marriage of Southwestern country, blues and rock, Cincinnati’s Mack West established its own sub-genre: Alt-western. The evocative sound immediately caught the ears of national television producers looking for the right music for their shows’ soundtracks.
Tracks from Mack West’s debut like Water’s Rising and Devil’s Hide surfaced on History Channel’s “American Pickers,” while Discovery Channel’s “Auction Kings” snatched up the ballad Diamond Rose and the instrumental track Vaquero was used in a promo spot for AMC’s “The Man with No Name Trilogy.”
When it came time to write the follow-up, “The Goodnight Trail,” vocalist, guitarist and songwriter Zach Mechlem knew he wanted to build on the successful foundation established while expanding the sound even further. The core of the band (drummer Greg Slone and bassist Will Campbell) returns for Mack West’s second full-length, creating a continuity that keeps the two records from sounding disparate. Mechlem’s songs once again feature Slone’s deceptively intricate and sophisticated drum parts and are held together by Campbell’s beautifully simple but rock-solid bass lines.
Lyrically, the subject matter stays true to themes requisite of the genre: love, loss, desperation and regret, all delivered in Mechlem's trademark, bass vocal styling. But helping to add a fresh perspective to “The Goodnight Trail” was the introduction of new members, guitarist (and album co-producer) Steve Wethington and violinist Annette Christianson, whose instrumentation and melodic offerings provide a buoyant counterbalance.
The latest additions to Mack West help make “The Goodnight Trail” a more accessible batch of songs — including August Night, Sinners and Angels and Soldier On — which add a new, pop-like feel to the proceedings. “The Goodnight Trail” is more than just a new release; it’s a triumphant next step in the evolution of the band.
As much as the first recording put Mack West on the map by integrating seamlessly with national television soundtracks in support, the catchy hooks and newfound, universal appeal evident on “The Goodnight Trail” should help catapult the band to national radio airplay in a new and fitting role as a featured artist.
Ages 21+ / East Nashville musician Adrian Krygowski has been touring east of the Mississippi strongly since 2009, playing his brand of intense 'Soul-Folk' to sold-out rock clubs, listening rooms, house concerts, coffee shops, festivals, and everywhere in between. He's touching on 400 shows since then, and only shows signs of gaining more steam, and dedicated fanbase.
The three-piece band of Paul Niehaus on steel (Calexico, Justin Townes Earle), and Jared Manzo on bass (Chris Scruggs), powers through their new record 'Roam,' a seven-song LP, on stages in the Nashville regional circuit, while Adrian primarily plays solo, or with fiddle, in most other markets still. Recent release of 'Roam' at $2 Tuesday at The 5-Spot in East Nashville, on January 14th, brought the full-band plus The Nashville Horns and full sounds of his new CD.
He still primarily tours with upright bass and/or fiddle or banjo, with recent succes such as performing at Second Annual CBGBs Music and Arts Festival, Named Top 250 Songs of 2013 by Daytrotter, on-air features at Wisconsin NPR, Fearless Radio, WDVX, WNJR, WETS, and bill-shares with Scott McMicken (Dr. Dog), Pokey LaFarge and The South City Three, Woody Pines, Grant-Lee Phillips, The Oh Hellos, The Dirt Daubers, Joe Fletcher, Joshua Black Wilkins, Johnny Fritz/Corndawg, The Farewell Drifters, The Crane Wives, Lucy Michelle and The Velvet Lapelles, The Vespers; Adrian's music is getting closer to the people, where it belongs.
All Ages / *This is a general admission standing room show*
"It has taken five records to make one that sounds the way we do onstage," says White Denim frontman James Petralli, explaining the band's new full-length "Corsicana Lemonade."
Set for release October 2013 via Downtown Records, "Corsicana Lemonade" puts White Denim's freewheeling stage ethos to wax and cements their position as a quintessential, unique American rock band. Featuring production on two songs and a full mix from iconic songwriter Jeff Tweedy, it's a revelation, merging the group's manic live virtuosity into a rollicking ten-song mission statement.
The Austin, TX four-piece is no stranger to mixing crunchy punk energy, scorched psychedelia, Southern rock and knotty funk, but "Corsicana Lemonade," the group's fifth studio album, naturally covers so many bases that it plays like the greatest lost mixtape you could find on your dashboard during a hot summer afternoon.
Since its formation in 2005 and first string of EPs in 2007, White Denim has steadily expanded its sound. From the rootsy classicism of "Last Day Of Summer" (2010) and noisy sun-soaked sizzle of "Fits" (2009) to the soft-edged riffage of "D" (2011), the group's commitment to fiery live performance, textured exploration and blissful interludes has never wavered. It peaks on "Corsicana Lemonade."
Album sessions started in Chicago at fabled Wilco compound The Loft with Jeff Tweedy (and frequent production partner Tom Schick) manning the boards and providing motivation. The record was almost entirely recorded live with full-band takes, ensuring a lived-in live feel.
"Before, we had kind of leaned on the ability to give the impression of a full live band on our recordings. That Protools Rock is way more common than people know," says Petralli. "On 'Corsicana Lemonade,' it was actually the band playing together and doing takes as a whole. Whatever sounded best was what we stuck with."
After the Chicago sessions, White Denim returned to their native Austin, holing-up in a house overlooking Lake Travis from a 100-foot cliff. There, with the help of local producer Jim Vollentine, the band designed a makeshift studio, wheeled in a bunch of crazy '50s gear and solidified the mixture of hard and classic rock elements that they began exploring on their fourth album "D."
The record's songs feel at home with the skuzzy rawness of contemporaries like The Black Keys or Jack White and the Americana experimentalism of Wilco, while the band cites the classic rock shuffles of Thin Lizzy and The Allman Brothers' instrumental ecstasy as primary influences.
And now, with the support of leading publications like the New York Times, Rolling Stone, Pitchfork and Relix, as well as adoring crowds from Bonnaroo to their sold-out headlining tours, White Denim has fully arrived with a record to claim their own spot in America's great rock lineage.
"Corsicana Lemonade" is available in October 29, 2013 via Downtown Records. Catch the band at Austin City Limits this October and on tour with Tame Impala this fall.
Ages 18+ / Victory Records is honored to announce that THE REVEREND HORTON HEAT has joined the Victory roster.
The Rev comments, "We are very excited to be a Victory band now. Since we are going to get back to doing some edgier stuff, it makes perfect sense to be on Victory. Plus, they are as passionate as we are. Stay tuned for some crazy ideas about our new album. Tony said I'm graduating to Pope. Hallelujah!!!" "Signing a veteran artist of The Reverend Horton Heat's caliber and reputation coupled with the fact that they are one of the hardest touring rock artists, year after year, is a very exciting way for us to end 2012. A large number of us here have been fans for many years. We very much look forward to working with the band and its longstanding team," said Victory founder Tony Brummel.
Formed in 1985, THE REVEREND HORTON HEAT exploded on the scene by playing gigs around their hometown of Dallas, Texas, mixing elements of surf, country, punk, big band and rockabilly to create a genre that took the world by storm. Often imitated, never duplicated, the Rev has continued to garner the support of both the underground rockabilly/ psychobilly scene and mainstream critics. Throughout the band's million plus album selling career, their music has been featured in countless TV shows, movies and commercials, it's impossible to deny the powerful force that is THE REVEREND HORTON HEAT. They continue to electrify audiences time and time again with their incredible stage presence, rock 'n roll charisma and contagious energy.
Ready to revive a genre that's been watered down for years, THE REVEREND HORTON HEAT have jump started their headlining STEWED, SCREWED and TATTOOED tour that will ignite over fifty-seven cities across the US this Winter and throughout 2013. Lemmy from MOTORHEAD said it best, "Reverend Horton Heat, he's great and plays the music he believes in and nothing else. Go see him or I'll kill you!" Prepare to rock harder than you have ever rocked before!
REV, the REVEREND HORTON HEAT debut album for Victory Records, will be released on 1/21/14 but you can pre-order it now at http://www.victorymerch.com/store/reverendhortonheat.
The first single and video, http://youtu.be/IAUD0vdQ0mU, from REV is "Let Me Teach You How To Eat" and can be purchased from the following:
Amazon MP3: http://amzn.to/18oJGuh
Brand new t-shirt designs are currently available through the Victory Records' webstore.
Ages 21+ / Strange Creature is a curried blend of musical styles. Blues and Jazz are steeped with folk styles from around the world, aged somewhere in the chthonic heart of Cincinnati and delivered on a rock and roll platter.
Ages 18+ / For sixteen years the Pacific Northwest group Agalloch has defined what it means to combine influences from a variety of musical genres into one brooding, colossal, and cinematic sound that provides the soundtrack to existential themes concerning man, nature, loss, and death.
After two demo releases in the late 90s the band released three full-length albums: “Pale Folklore” (1999), “The Mantle” (2002), and “Ashes Against the Grain” (2006). “The Mantle” has since been heralded as a classic for having been one of the first albums to combine elements from black metal, neo-folk, progressive rock, post-rock, and ambient music. The influence of this record can be seen in many so-called “post-black metal” bands today.
In 2008 Agalloch began re-releasing their demos, B-sides, and EPs under their own Dammerung Arthouse label. In 2010 their fourth album “Marrow of the Spirit” made number one on numerous critic’s top ten lists. In between each of these full-lengths the band pushed on the flexible boundaries they had developed around themselves through a series of EPs that found the band experimenting with post-rock/instrumental rock (“The Grey,” 2004), neo-folk/psychedelic folk (“The White,” 2008) and most recently a mammoth twenty-minute epic work entitled “Faustian Echoes” (2012) released through Dammerung Arts.
Agalloch has earned a reputation for explosive and emotional live performances. They have sold out tours across Europe and the US and have played a variety of major festivals including: Roadburn, Inferno, and Scion among others. The band takes special care constructing the environment of each and every show with wood, incense, and imagery taken directly from their home in the Northwest. Such care makes an Agalloch show more than just a typical heavy metal concert.
Ages 18+ / "Rock and roll's been very very good to me," Rhett Miller sings on "Longer Than You've Been Alive," an epic six-minute stream-of-consciousness meditation on his life in music. It's a rare moment of pulling back the curtain, on both the excesses and tedium of the world of a touring musician, and it's the perfect way to open the Old 97's new album, 'Most Messed Up.'
"I wrote that song very quickly and didn’t rewrite one word of it," Miller explains. "It's sort of a thesis statement not just for this record, but for my life's work."
To say that rock and roll has been good to the Old 97's (guitarist/vocalist Miller, bassist/vocalist Murry Hammond, guitarist Ken Bethea, and drummer Philip Peeples) would be an understatement. The band emerged from Dallas twenty years ago at the forefront of a musical movement blending rootsy, country-influenced songwriting with punk rock energy and delivery. The New York Times has described their major label debut, 'Too Far To Care,' as "a cornerstone of the 'alternative country' movement…[that] leaned more toward the Clash than the Carter Family." They've released a slew of records since then, garnering praise from NPR and Billboard to SPIN and Rolling Stone, who hailed the band as "four Texans raised on the Beatles and Johnny Cash in equal measures, whose shiny melodies, and fatalistic character studies, do their forefathers proud." The band performed on television from Letterman to Austin City Limits and had their music appear in countless film and TV soundtracks (they appeared as themselves in the Vince Vaughn/Jennifer Aniston movie 'The Break Up'). Breaking Bad creator Vince Gilligan told The Hollywood Reporter that he put the band on a continuous loop on his iPod while writing the show's final scene.
'Most Messed Up' finds the Old 97's at their raucous, boozy best, all swagger and heart. Titles like "Wasted," "Intervention," "Wheels Off," "Let's Get Drunk And Get It On," and "Most Messed Up" hint at the kind of narrators Miller likes to inhabit, men who possess an appetite for indulgence and won't let a few bad decisions get in the way of a good story.
All Ages / BLACK FLAG is an American band formed in 1976 in Hermosa Beach, CA by guitarist, primary songwriter, and sole continuous member Greg Ginn. Their discography includes seven studio albums and two live albums. The band has released all of their material on Ginn’s independent label, SST Records beginning with 1981’s Damaged. New vocalist, Mike Vallely, who previously sang with the band as a guest vocalist in 2003, and most recently collaborated with Ginn in Good For You (a band they formed together) is the band’s fifth vocalist.
BLACK FLAG is currently recording new material for a future studio release and will be touring throughout 2014 on their VICTIMOLOGY TOUR.
Ages 18+ / A Midwest kid, from Chicago and Indianapolis mainly, one of Dan Janke's earliest musical memories was hearing Simon & Garfunkel's "Cecilia" percolating from the radio while his mom sipped coffee at a neighbor's.
On Saturdays while doing chores around the house, the 8-track usually spit out something by either Simon & Garfunkel, Glen Campbell, John Denver or Neil Diamond. That gave way to his and his siblings' 45s, albums and cassettes. Being the middle of five kids, it ranged from Abba to AC/DC, Bee Gees to Beatles, The Cars to Creedence Clearwater Revival ... and his tastes continued to diversify over the years.
Music has always been the one common thread, playing in the background of all his memories.
Dan, who has played in several Midwest bands -- including Traffic Jam Zombies and whoa!tiger (indianapolis) -- has formed his latest project after setting roots in Virginia.
Damn Jankes is primarily an alt.country / rock band (Old 97s and Traveling Wilburys), but it blends its original outlaw rock and swamp stompers with blues shuffles even a little reggae. Damn Jankes is as diverse as the soundtrack of Dan's life.
Ages 18+ / Patrick Sweany likes the spaces in between.
On a given night (or on a given album) he'll swing through blues, folk, soul, bluegrass, maybe some classic 50s rock, or a punk speedball. He's a musical omnivore, devouring every popular music sound of the last 70 years, and mixing 'em all together seamlessly into his own stew. Yet, the one thing that most people notice about Patrick isn't his ability to copy - it's his authenticity. Like his heroes, artists like Bobby "Blue" Bland, Doug Sahm, Joe Tex, Patrick somehow manages to blend all of these influences into something all his own.
It's no wonder that as a kid he immersed himself in his dad's extensive record collection: 60s folk, vintage country, soul, and, of course, blues. Patrick spent hours teaching himself to fingerpick along to Leadbelly, Lightnin' Hopkins, and other folk-blues giants.
In his late teens, Patrick began playing the clubs and coffeehouses around Kent, OH. He quickly gained a reputation for the intricate country blues style he was developing: part Piedmont picking, part Delta slide - with an equally impressive deep, smooth vocal style.
But Patrick wouldn't stay in the acoustic world for long. His love of 50s era soul and rock fused with the adrenaline-soaked garage punk revival happening throughout the Rust Belt pushed Pat to form a band.
After 4 critically acclaimed CDs (two produced by longtime collaborator and grammy award winner Dan Auerbach of The Black Keys), Patrick has expanded his touring radius to 49 states and the UK. He's played premiere festivals all over the U.S., and supported national acts such as The Black Keys, The Gourds, The Wood Brothers, Wayne Hancock, Hot Tuna, and Paul Thorn on tour.
His latest record, Close To The Floor, hit the streets July 16, 2013. It was recorded to 2" tape in Nasheville, TN and features contributions from Joe McMahan (Luella & The Sun, Allsion Moorer, Webb Wilder), Ron Eoff (Cate Brothers, Levon Helm), Jon Radford (Justin Townes Earle, Lilly Hiatt), and Ryan Norris (Lambchop), among others. Close To The Floor is a gritty, hard look at some very difficult recent events in Sweany's life and recalls the halcyon days of Muscle Shoals releases by Dan Penn, Eddie Hinton and Leon Russell.
Ages 18+ / Roaring out of the Ozarks with a bottle in one hand and a bible in the other, Ha Ha Tonka mix sanctified four-part harmonies and blistering rock, carving out songs that evoke the dichotomies that define their home. The Springfield, Missouri natives dubbed their new album Buckle in the Bible Belt in homage to their hometown, so named for its position on the dividing line of the Ozark states. Their dark view of the realities of socio-economic hardship, backwoods prejudices and drug abuse is leavened by wry humor and a deep appreciation for regional storytelling traditions.
Ages 18+ / Whitey Morgan is an American Honky Tonk artist from Flint, Michigan.
In Flint, the factories are closed, jobs are scarce and the people are bitter. Whitey sings songs these people can relate to. In much the same way his grandfather and mentor did over 3 decades ago, to a whole generation of southern transplants who came up US-23 to Flint looking for the good life. In the spirit of William Morgan, Waylon, Merle and Paycheck; Whitey’s melodies help people forget their problems for a few hours and serve as the guideline for drinking sorrows away.
Emerging from the Detroit area music scene, Whitey relentlessly tours the country spreading his sound and attitude everywhere he goes. He play's honky tonk tunes in any club in any town without apology—he and his band mates drive their point home just like their families drove the cars they built on the line home from work. With a purpose.
Ripping 200+ shows a year, you can count on Whitey Morgan to deliver and then some. "If I could, I'd play everyday all day. Maybe at some point, I'll be so lucky to have such an option." If you asked his feverishly loyal audience, they'd firm agree with him. "My fans are nothing short of amazing. They come back time and time again and each time they bring more & more people. That's as good as it gets in my book."
Ages 18+ / ***This event was rescheduled from May 20. Tickets from the original date will be honored on July 15. Refunds are available at point of purchase PRIOR to July 15.***
The studio environment for a working musician is equal parts laboratory, man cave, and holy place. On a steamy day in Austin, Texas at Yellow Dog Studios, there was a reverent hush that made it feel like a sacred service was underway. When the studio door opened, a song tumbled out. “Better get right, before the Lord gets ready,” a Gospel-drenched refrain; deliberate and soulful stuff. Through the glass, The Departed was playing live, facing each other in a circle, with Steve Littleton on Hammond B3 in a separate room, and Seth James singing with a world weary voice in the booth.
The guys came back into master control to listen to the track with co-producer Adam Odor. They all were looking down at their respective electronic devices while the music was on. Adam whispered that Cody Canada and The Departed were making a straight up rock record this time around, tapping into the eternal emotions and sonics that have informed the great American musical styles from the start. That album is called Adventūs, the Latin word for arrival.
The Adventūs album is fourteen tracks deep. The band members, Cody Canada, Seth James, Jeremy Plato, Steve Littleton, and new drummer Chris Doege, have never had the luxury before of starting the recording process with so many songs. They have worked collaboratively, bringing thoughts, phrases, verses and riffs together. This project, in fact this band, is a testament to the creative process. It is about playing what you want with whom you want, carving out a road family fueled by mutual appreciation for each other’s talent as well as the camaraderie.
Adam Odor put the process in perspective, "The Departed had the last year and a half to lock in, to find out who they are and what they are together. That’s the way they did it in the old days, when a band would get signed to a label. The A&R guy (Artist and Repertoire) would let them tour for a year or so, before he took them in the studio to record. That is what is happening with The Departed. These guys are all so good, the musicianship and the songs, and that is a rare thing when you have them both.” Cody explained further, “For this album, we were ready to roll. When we started practicing there was the feeling that we are honored to be doing this together. Doing other people’s songs for the first album, This Is Indian Land, gave us time to let the new stuff percolate. There are some really intricate songs, and so far, we have only played a couple of them out in public.”
Cody Canada was 16 years old when he arrived in Stillwater, Oklahoma. He found a creative nirvana of musicians who planted seeds that would stay with him for the rest of his life. Cody recalls, “I met Tom Skinner, Scott Evans, Bob Childers, Jimmy LaFave, Mike McClure, the Red Dirt Rangers and they were all playing this really, really good music. It was kind of in that same vibe as the Allman Brothers and The Band. But what came out of it was really diverse. There were more country acts like Jason Boland. The All American Rejects were the rock guys. Then you had the whole Red Dirt hippie thing…I didn’t even know what Red Dirt was until somebody told me. I got turned on to it all and it’s stayed with me ever since.”
Canada was front man for Cross Canadian Ragweed for fifteen years, where he tapped into those influences for their nine albums, four of which charted on Billboard’s Top 10 Country Albums Chart. They sold over a million albums and played to sell-out crowds, bringing the term “Red Dirt” to the nation. When Cross Canadian Ragweed decided to part ways, Cody resurfaced with a mission in mind, to pay homage to the Red Dirt writers and music that were formative. The Departed’s first priority was getting into the studio and cutting the Oklahoma tribute album that Cody had wanted to do for years. This is Indian Land came out last year, a 15-track “buffet of really kick-ass Okie songs,” Canada noted.
And so a seamless transition was made, Cody Canada and his long time Ragweed band mate, Jeremy Plato on bass and vocals; along with Seth James on guitar and vocals (Seth James Band, Ray Wylie Hubbard), Steve Littleton on B3 organ and keys (Live Oak Decline, Stoney LaRue & the Arsenals, Medicine Show) and Chris Doege on drums (Seth James Band, Nashville touring acts). The band members have known each other for years, and they know each other’s musicianship. They are excited to be playing together, stoked about the new beginning that their first studio album of original material provides.
Cody Canada & The Departed continues to hit the road hard. As excited as they are about their gigs, they are taking it all very seriously. Canada continues, “Now it’s a new band playing new songs so we’ve got to learn everything, get our game together and practice. It’s a whole lot of fun. I can’t sleep at night. It keeps me awake, not from worry but from excitement. We’re just ready to tear it up.”
Cody Canada, Jeremy Plato, Seth James, Steve Littleton, and Chris Doege embrace the future with Adventūs. The music rocks, shimmers, simmers; amplified by the heat of the Texas sun. Adventūs signals the arrival of The Departed.
Ages 21+ / The Leo Clarke Band is an experienced four-piece group led by award winning blues man, Leo Clarke. Specializing in original music and tasty blues, folk, Americana and rock covers, The Leo Clarke Band has created a loyal fan base both locally and nationally. The Leo Clarke Band is based in Cincinnati, OH and can be found playing music venues, bars, clubs and festivals both locally and regionally.
Ages 18+ / DAVE ALVIN & PHIL ALVIN RECORD FIRST ALBUM TOGETHER IN 30 YEARS: ‘COMMON GROUND: DAVE ALVIN + PHIL ALVIN PLAY AND SING THE SONGS OF BIG BILL BROONZY’ OUT JUNE 3 ON YEP ROC
“We argue sometimes, but we never argue about Big Bill Broonzy,” says Dave Alvin when explaining why he and brother Phil, who haven’t made an album together in almost 30 years, were inspired to record ‘Common Ground: Dave Alvin + Phil Alvin Play and Sing the Songs of Big Bill Broonzy’ set for June 3 release on Yep Roc. The Alvin brothers, who founded seminal early LA punk roots band The Blasters in 1979, have shared a fascination with Broonzy since childhood. After an illness nearly took Phil’s life in 2012, they resolved to return to the studio and pay tribute to the blues legend.
‘Common Ground’ includes 12 songs that capture a 30-year cross section of Broonzy’s canon, performed by the Alvins’ in their signature style of rollicking roots and stomping country blues. Billboard has the premiere of album track “All By Myself” and an exclusive Q&A here
“He looked so slick,” says Phil about the cover of his first Broonzy album, which he purchased in a department store at age 12. Dave agrees, “I remember the day Phil brought that record home. It’s a strong childhood memory – like stealing a Playboy for the first time.”
The Alvins’ interpretations of Big Bill range from faithful to loose and Dave and Phil both play guitar and sing. They are joined on some tracks by Dave's band members Lisa Pankratz (drums) and Brad Fordham (bass) as well as The Blasters’ pianist Gene Taylor. Other tracks feature noted session musicians Bob Glaub (bass) and Don Heffington (drums). All tracks were recorded at Winslow Court Studios in Los Angeles, CA.
Though this is their first album together in decades, the Alvin brothers collaborated last year on ‘Ghost Brothers of Darkland County,’ the critically acclaimed “southern gothic supernatural musical” by Stephen King, John Mellencamp and T Bone Burnett. They also sang a duet on “What’s Up With Your Brother” for Dave’s last Yep Roc release ‘Eleven/Eleven.’
Dave and Phil will tour extensively in 2014, including dates with the popular Roots on Rails series in April. A Record Store Day exclusive release of four songs from ‘Common Ground’ cut at 45RPM on two 10-inch records packaged as a 78-style album book will also be available via Yep Roc on April 19.
Ages 21+ / If you’re like us, you prefer your music home grown, and not manufactured.
Well, musicians don’t get much more home grown than Heather Luttrell, who grew up traveling the country with her father’s band. Music began as a vital part of her childhood; it eventually became an integral part of her soul.
For nearly a decade now, Heather has dedicated her life to sowing her music among the masses, cultivating a dedicated following from the ground up. In 2002, she released the live solo album, Drive It Like You Stole It, and in 2005 she followed Drive… up with the full length studio album, Grits n’ Pulp. She toured extensively to support both releases, surrounding herself with a host of award-winning musicians (her rhythm section won the International Blues Challenge in 2003) and opening for the likes of Lynyrd Skynyrd, The Marshall Tucker Band, The GA Satellites, The Zac Brown Band, Dave Mason, Johnette Napolitano, Shawn Mullins, Alana Davis, Tift Merritt, Jakob Dylan, Over the Rhine, Angie Aparo, Amos Lee, Ryan Adams, Elton John, The John Butler Trio, Delbert McClinton, Richard Thompson, Brandi Carlile, Bain Mattox, Melissa Ferrick, and Eyes Adrift.
In 2005, Heather became a contestant on Rock Star: INXS, an international reality show in which a variety of singers vied to become frontman (or frontwoman) for the seminal Australian-based rock and pop band. Heather made it to the top 15, but was eliminated in the middle rounds of the televised contest. While INXS’s music didn’t reflect the sentiment and sensibility of Heather’s own music, she chalks the it up as a life-changing learning experience. The show also exposed Heather to an even broader fan base – it was like fertilizer on an already fertile field.
Most recently, Heather has thrown herself headlong into touring in support of her studio EP, Pomegranate, and another full length live recording, Live From the Kirkwood Public House. Some of the highlights of Heather’s latest flurry of touring have been her spots on the Lynyrd Skynyrd Cruise, the Kid Rock Cruise, and the Cayamo Cruise, where she played the same stage as Lyle Lovett, Patty Griffin, Darrell Scott, Buddy Miller, and The Indigo Girls.
Ages 18+ / Existence:
The spirit was born in 2001 under a different name; formed by Vortigern, the sole creator. Then, after almost a decade in contemplation, it was again unleashed. With the collaboration of G. A. Chandler (Esoteric), Aran (Lunar Aurora) and T. J. F. Vallely (Omega Centauri) the debut album, self-titled, was recorded in 2012 and released in the month of April 2013 through the labels Mordgrimm and Gilead Media on CD and LP, respectively.
Demos from the years 2002-2006 exist and these will later be reissued as a compilation release. The self-titled debut album is a tribute to the "dormant" period between 2001-2011, which the material is largely based on. New material from the years 2012 and 2013 will be revealed in the follow-up album during 2014. This will exhibit the next stage of Lychgate's evolution...
“Challenging the rules of linear perspective - against the sheep akin to mirrors, who are able to reflect, but unable to see.”
Ages 18+ / Cedric Burnside is the grandson of North Mississippi hill country blues legend, R.L. Burnside. He has won Blues Drummer of the Year three times. Cedric has teamed up with guitar virtuoso, Trenton Ayers, to create the Cedric Burnside Project.
The Cedric Burnside Project is the collaboration between Cedric Burnside and Trenton Ayers, both hailing from the hill country of North Mississippi. Cedric provides lead vocals, as well as guitar and drums. Trenton is CBP's lead guitar player and provides back-up vocals. The two come together to create a sound that is at once, both traditional blues and new-school funk.
Ages 18+ / Bluegrass crowd-pleasers, Lorraine Jordan and Carolina Road recently released their self-titled cd, Lorraine Jordan & Carolina Road, their highly anticipated album with Pinecastle Records. Their previous release, Back To My Roots, achieved commercial and critical success, charting on Bluegrass Music Profiles TOP 30 SINGLES, and TOP 10 ALBUM Chart and reaching #1 on the Bluegrass Unlimited Charts.
The band’s distinct sound and old time flair can be attributed to the bluegrass-rich area of North Carolina from which they hail and borrow their name. As the founding member and band leader for Carolina Road, Lorraine Jordan’s showmanship and chemistry with the audience makes the group one of the most popular bands among bluegrass fans today. Lorraine, who has garnered two IBMA Awards, has fronted Carolina Road for over a decade and has eleven national recordings to her credit. The band has earned a reputation as one of the hardest working bands in bluegrass. Carolina Road plays worldwide and headlines two National Bluegrass festivals, Christmas in the Smokies and Cherokee. They have hosted the Canadian Bluegrass Awards, toured Europe and played twelve Bluegrass cruises. Carolina Road’s performance is a traditional sound with a fresh approach which includes invigorating instrumentals, smooth blending vocals, and all the energy that you can stand.
Ages 18+ / Although Springfield, OH native Griffin House didn’t begin playing guitar and writing songs until he was 18, the power of his music struck an emotional connection with audiences immediately. The athletic gifted House shocked his family by turning down a golf scholarship to focus on a new path making music. “Sports were really a big part of me and how I grew up,” he says. “So deciding not to take that scholarship was a turning point for me in choosing a new path for myself, a new life making music.” There were some issues to deal with first, however – he couldn’t play the guitar he’d bought from and friend, nor had he ever written a song.
“I took a couple of guitar lessons and got so frustrated that one day I kicked the strings off my guitar,” he recalls with a laugh. “It sat there for about a year, but I took it to school (at Miami of Ohio) with me and made up my mind I was gonna learn how to play. One night I picked up my guitar and wandered around campus till I could barely keep my eyes open, trying to play this one chord over and over. Finally, around 4 a.m., my hand got used to it and I formed my first G chord.”
Not long afterward, he wrote his first song for the high school sweetheart with whom he’d parted ways after graduation. When she came for a visit, House played it for her, and it brought her to tears. “Then I was hooked,” he says, “I thought, ‘Oh, man, if I can make people cry, I’m gonna keep doing this. I’m gonna make as many people cry as I can!’” After laughing at the memory, he puts the experience in perspective: “What I was drawn to was the power of the song, how it could affect people emotionally.”
The epiphany caused the neophyte’s creative juices to bubble over, and he got really good really fast. After graduating, he joined some of his buddies who’d moved to Nashville, and started doing solo gigs at the bottoms of bills in local clubs. Within months, he was headlining, surprising himself at his rapid development. “I was working in a gift shop downtown for $6.50 an hour,” he remembers, “and four months later I was flying to L.A. and New York for meetings with record labels.”
House signed with Nettwerk and banged out his first CD with his band in five days, before moving from Nashville to Cincinnati. He spent most of the subsequent three years on the road, while also finding time to record several “direct-to-fan” releases, a pair of EPs (House of David Vol. 1 & 2) and the 2006 digital release Homecoming.
He didn’t fully understand at first, but writing and recording these songs about his “own issues” was the best sort of help he could possibly offer others, friends and strangers alike. His intelligent and heart-felt lyrics and melodies in such songs as “The Guy Who Says Goodbye to You Is Out of His Mind” and “Better Than Love” have garnered commercial and critical acclaim alike. From being featured on the CBS Sunday Morning Show, to touring with the likes of John Mellencamp and the Cranberries, House continues to gain national recognition and currently is headlining his own tour across the U.S.
Ages 18+ / Kelley McRae
In the last 2 years and a half years, the Kelley McRae duo has played over 300 shows coast to coast and traveled over 75,000 miles in their VW van. Along the way Kelley encountered the people and places that inspired the songs on her new album, BRIGHTER THAN THE BLUES. Kelley’s brand of heartfelt Americana has found impressive fans: Paste Magazine gave her four stars, and WNYC’s ‘Soundcheck’ named her performance one of the years best. Kelley performs as an acoustic duo with her husband Matt, and they have performed at such venues as The Bluebird Cafe in Nashville, The Red Clay Theatre in Atlanta, and The Living Room in NYC. Previously residing in NYC, the duo is currently writing and recording new material in a cabin in the Nantahala Forest of North Carolina.
Kelly Fine and Chris Robinson have been captivating audiences in the Mid-West region for the past three years. Their soaring harmonies have silenced and tamed crowds of varying textures. Focused musicianship shines in every element of their songwriting. Young Heirlooms' name articulates their style and take on their fusioned genre. Young alludes to the modern spin on the traditional sound of folk music. Heirlooms are items or ideologies handed down from generation to generation. Young Heirlooms' music has a sound that is handed down from a bygone era, loved for its history, but remains in a new contemporary setting. A mixture of pop-folk and americana songwriting begin to describe the unique style of Young Heirlooms.
"I love it when I happen upon an unplanned supergem. That occurred at The Know Theatre’s smaller stage, where I wandered in on The Young Heirlooms’ music. From Dayton, singer/songwriter Kelly Fine is fantastic. Backed by mandolin, guitar, horns and bass, this six-piece was effortlessly bleeding out catchy, tight songs that were touching and definitely ear-grabbing. It seemed like they were having a hell of a lot of fun, and the vocals were amazing. No fancy clothes or gimmicks here, just pure talent, and I was absolutely taken with them. They gave the vibe of creative, natural artists who gelled completely. Hey, this Folk Pop symphony of sounds just worked. I would definitely buy the CD." - C.A. MACCONNELL, CityBeat
Ages 18+ / At seven lines and a tight 19 words, the definitive Slaid Cleaves bio — written with humble but poetic economy by the artist himself — neatly sums up everything you really need to know about the man:
Slaid Cleaves. Grew up in Maine. Lives in Texas. Writes songs. Makes Records. Travels around. Tries to be good.
Granted, there's a whole lot of story and details that can be shoehorned in there to pad and flesh it out. This year's bounty comes baring the admittedly foreboding title of Everything You Love Will be Taken Away, but fans of the Austin-based singer-songwriter needn't fear: Everything you love about the man's singular voice and music is still very much . There's been some notable changes made, all in the name of artistic growth, but rest assured: all that living, writing songs, making records, traveling around and trying to be good has, par for his course, made Slaid Cleaves even better.
All Ages / The use of video and camera equipment, including cell phones, is strictly prohibited at this show.
An Evening with TERRY BOZZIO
North American Tour 2014
Drum legend Terry Bozzio presents a solo musical performance on the world´s largest tuned drum and percussion set
Terry Bozzio celebrates the 50th anniversary of his first drum lesson with "An Evening With Terry Bozzio" coast-to-coast North American tour. During the course of this tour, Terry Bozzio will hit over 40 cities from San Diego to Jacksonville to Montreal to Vancouver to Los Angeles and everywhere in between. This will be a night of solo drumming and include compositions from throughout his career, as well as improvisation. It is by no means a clinic or a workshop. Enjoy an intimate evening of Terry Bozzio and his monster sculpture of a drum kit together for the first time in seated venues across North America.
TERRY BOZZIO - An Evening of Solo Drum Music
"TERRY BOZZIO - An Evening of Solo Drum Music" is a unique, intense, dynamic, spiritualistic, melodic, orchestral, atmospheric, and musical performance on the largest tuned drum & percussion set in the world. Unless you have seen Terry, you have no idea what you are in for. Bozzio is an enigmatic, evocative, and engaging musician whose instrument just happens to be the drums. Terry Bozzio is able to accompany himself with bass note patterns and, at the same time, melodically solo on top with highly developed coordination skills to express a complete musical statement on the drum set alone. Drawing from jazz, classical, & ethnic percussion styles from around the world, Terry Bozzio is "a storyteller," able to weave a hypnotic spell over audiences and enthrall them with an eclectic experience filled with contrast, variety, intimacy, excitement, & passion.
Terry has had tremendous success with his last two Terry Bozzio solo drum performance tours in Europe (2012 included his headline show a the Jazz Festival Frankfurt – the oldest jazz festival in the world – and 2013 which included sold out performances in Sweden, Germany, Eastern Europe, and France). Please note that this is not a bombastic 2 hour drum solo. This is MUSIC on drums, “an evening with Terry Bozzio.” In most of Bozzio’s works, he accompanies himself with bass lines while soloing over it melodically on the tuned toms. There is space, classical forms & structures, ambient electronic loops, and atmospheric percussion effects, as well as some exciting & fiery drumming that brings audiences to their feet!
Terry Bozzio Biography: http://terrybozzio.com/biography/
All booking inquiries to firstname.lastname@example.org, attn: Morrella.