6/30

Dark Star Orchestra

| All Ages | 7 pm

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Dark Star Orchestra

Performing to critical acclaim worldwide for over 13 years and more than 1800 shows, Dark Star Orchestra continues the Grateful Dead concert experience. Their shows are built off the Dead’s extensive catalog and the talent of these 7 fine musicians. On any given night the band will perform a show based on a set list from the Grateful Dead's 30 years of extensive touring or use their catalog to program a unique set list for the show. This allows fans both young and old to share in the experience. By recreating set lists from the past, and by developing their own sets of Dead songs, Dark Star Orchestra offers a continually evolving artistic outlet within this musical canon. Honoring both the band and the fans, Dark Star Orchestra’s members seek out the unique style and sound of each era while simultaneously offering their own informed improvisations.

Dark Star Orchestra offers much more than the sound of the Grateful Dead, they truly encapsulate the energy and the experience. It's about a sense of familiarity. It's about a feeling that grabs listeners and takes over. It's about a contagious energy, ... in short, it's about the complete experience and consistent quality show that the fan receives when attending a Dark Star Orchestra show.

Dark Star Orchestra has performed throughout the United States and Europe. They continue to grow their fan base by playing at larger venues for two and even three nightstands as well as performing at major music festivals including Bonnaroo, All Good Festival, Gathering of the Vibes, Mountain Jam, Summer Camp, Wakarusa and 10,000 Lakes. In addition, Dark Star Orchestra hosts its own annual gathering, Gratefulfest, where they headline three nights and are joined by a mix of established and up and coming national touring acts.

Fans and critics haven’t been the only people caught up in the spirit of a Dark Star show. The band has featured guest performances from original Grateful Dead members Bob Weir, Bill Kreutzmann, Donna Jean Godchaux-Mackay, Vince Welnick, Tom Constanten and even toured with longtime Dead soundman, Dan Healy. Other notable guests have included Mike Gordon and Jon Fishman of Phish, Keller Williams, Warren Haynes, Steve Kimock, Peter Rowan, Ramblin’ Jack Elliot and many more…

"For us it's a chance to recreate some of the magic that was created for us over the years," rhythm guitarist and vocalist Rob Eaton explains. "We offer a sort of a historical perspective at what it might have been like to go to a show in 1985, 1978 or whenever. Even for Deadheads who can say they've been to a hundred shows in the 90s, we offer something they never got to see live."

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7/3

Gogol Bordello

| All Ages | 7 pm

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Gogol Bordello

HüTZNOMOVETZ - INTRO WORD - There are many of us for whom music is an irreplaceable part of life We rely on it to take us out of sadness, pressures of poverty, youth, age, etc Mixed with alcohol it seems to be a remedy for just about anything Be it a rapid fire of notes exploding in catharsis all over the major key or an obsessive marathon of soul-searching sounds crawling around minor it all appears somehow more solid and present in our lives than materials something we can always address and hold on too At its best music connects us to a feeling as large as the whole goddamn universe itself...

Of course, sometimes when sober, we can say, Well, after all, its just music Yet everywhere youll go, in every culture, youll see its major royal presence Some say with a straight up claim that music is the essence of life (for example: Wlodzimier Staniewski with his theatre group Gardzienice(Musicality of Earth, or seePraktyki teatralne Wl. Staniewski Test, Lublin, 97, Poland)) I join in with them Others see it more as an inhancing luxurious amusement-like activity. Sure, Im down with that too, but one way or another, both positions advocate its primal positive powers

Often you will hear people talking about a concert theyve experienced for years! Why? In Gypsy mythology they say it is memorable because the devil visited that room, others say the other guy was there But one way or another they all link it to supernatural

Considering its power, it is not impossible to think of music making as a sacred art discipline and, for example, in anthropological tribal studies the medicine man functions are not really differentiated from musicians But lets not get too anthropological on your ass These are just elementary streamline reminders of musics rocking good and what it could do.

But instead, saturated with garbage, airways discredit this art and separate people from the power and meaning of music Rivers of meaningless puke are poured into ours ears on daily basis and many forgot to even think about music as of a major source of energy, joy and inspiration and fucking heat too!..

As a matter of fact, it has been turned into something that steals our energy and replaces it with stress and discouraging examples of what making music leads to All kinds of false notions of joyless, artificial, pseudo-mythology are now firmly attached to it... Celebrity lifestyle, VIP status, acting like an asshole all these notions seem to be inseparable from music making these days. Many fall for it just to be spat out with a raped and destroyed sense of self-worth Kids start bands often motivated by fame alone Of course, many great famous brothers, like Stravinsky or Josef Boyse, for example, succeeded in turning fame into a vehicle of positive energies and spreading great progressive shit But it is perhaps, worth to mention that mechanics of modern fame have changed from its original oral tradition drive, which produced legends, anecdotes, good word, etc Mechanics of modern fame are fueled by media and media alone and nobody in their fucking right mind, of course, would start passing legends about, for example, The Strokes or their twin sister Britney Spears

But getting back it is as easy as one plus fucking three The more sources of inspiration you have, the better off you are The happier you go through your day towards a more enjoyable night the better you generally walk through the fire and so on life-ward to the next drink(Russells Strategies of Being). But economics these days so strongly rule the arts and for obvious reasons favor English-speaking product, that it does not provide you with any info on actual real music at all Even if you are a curious soul and ventured out to get something different, you very well end up with Buddha Bar or Putamya record products which promises you something exotic but basically are traps for yuppies who would like to fancy themselves cultured That is basically like attending a belly dance class in Wyoming with the hopes to understand Muslims Even if a good artist shows up on a compilation like that after a labels re-mastering his work comes across as nothing but an ass-licking background singing for Starbucks coffee shop. This situation also prolongs total ignorance and confusion Youll find millions of people not knowing if they support or oppose Globalization simply because they dont know what it means Or thanks to great products like Global Lounge compilation you will find people who celebrate Globalization And youll think, wow man, I never thought that new Colonialism can be such a great cause for a party

Favoring of White-English speaking product is often explained by patriotic or simply stupid arguments like, people can really understand this song. This is total fucking bullshit. For every scientist will tell you that sound is the purest form of information. The language barrier in the context of music does not exist. And majority of power is contained in fingers of a player and in the tone of his/her voice. This is why the emotional message of music is so instant and human Thats why the voice of Johnny Cash or Vladimir Visotsky goes unstoppably through anything to anyone And meaning of music stands up in its full pride Of course lyrical content of a song may take it much higher, but not knowing English never stopped millions around the world (including myself) from growing up on rocknroll So if you dont mind an extra fuel for your life you just may have to make music research your task, for information on good music is not provided, and not searching for it, is basically stealing from yourself Fortunately, most of us live in places where information, if not provided, is still accessible without riding a horse for a week In some most animalistic highs sometimes I dive with my ribs open out from the stage onto the table full of glasses and bottles Im pretty sure that if I would do it in silence, I would perhaps go straight to the hospital

With our music, and music that we popularize, we try to reach out and remind people that when taken out of the hands of a parasite, music is still a great lead into a democratic atmosphere of chaos where moments of great freedom and where great friends could be found And that in the world of rapidly dissolving authentic cultures, soul-searching through the music is something that connects you with the most authentic thing there isyour savage heart

And so to answer many questions at once, here is a list of music that we recommend and keeps us company on our tour bus and everywhere else we go Of course we cant provide you with detailed information on where to get each and every album, for we are not a shop but the albums recommended here are solid from the beginning to the end for the most part. It is a matter of individual feeling if you go completely nuts for it Keep in mind also that many fantastic things are not mentioned simply because they are part of our previous or next tour bus collection But if used wisely and with a good awareness of a sequence this collection alone can make you a best dj in your fucking hemisphere

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7/6

Edward Sharpe and the Magnetic Zeros

The Bright Light Social Hour
Letts

| All Ages | 6 pm

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Edward Sharpe and the Magnetic Zeros

Edward Sharpe and the Magnetic Zeros formed in Los Angeles in 2007. They released their debut album, Up From Below, in July 2009 on Community Music. The album has sold over 275,000 copies in the US, and charted on iTunes for 69 straight weeks. With its unique and universal appeal, their hit single "Home" soared to over 775,000 downloads. After intensive touring throughout 2009-2011, including hit appearances at Lollapalooza, Bonnaroo, and Coachella, Edward Sharpe and the Magnetic Zeros have proven themselves to be a touring force to be reckoned with. In March 2011, the troupe's lead singer Alex Ebert released his solo debut album, Alexander, on Community Music, which was written and recorded during breaks from being on tour as a part of Edward Sharpe & The Magnetic Zeros. The album includes ten brand new songs that Alexander wrote and played entirely himself. In April 2011, the band embarked on the "Railroad Revival Tour" with Mumford & Sons and Old Crow Medicine Show where the band traveled exclusively in vintage railcars across the American Southwest for a week and played concerts at unique outdoor locations along the route. Edward Sharpe and The Magnetic Zeros actively support Water Wells For Africa, Charity Water, APJ Now, Hope Campaign and Voice Project. Edward Sharpe and the Magnetic Zeros will release their second studio album on Community Music / Vagrant Records on May 29, 2012.

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The Bright Light Social Hour

The Bright Light Social Hour is an American rock band from Austin, Texas. Born out of a university art-rock collective, the band first gained attention in Austin from their incendiary live performances and innovative vision of rock and roll. Melding southern rock, hard dance, psychedelic blues, and deep soul, their debut full-length album led to heightening critical acclaim, national touring, and
a rare sweep of six awards at the SXSW 2011 Austin Music Awards, including Band of the Year, Album of the Year, and Song of the Year.

Recorded in five studios around Austin during summer 2010, their self-titled debut is founded on sun-drenched optimism, raucous youth, and an innovative brew of American music. Producer Danny Reisch of Good Danny's utilized the best elements of vintage and modern recording to achieve a sound both forward-looking and evocative of 1970s hi-fi. The first track, "Shanty," pairs southern rock with hard disco, featuring the searing slide licks of guitarist Curtis Roush. Following the lean, exuberant stomp of "Bare Hands Bare Feet," the band settles into the dark psychedelic funk of "La Piedra De La Iguana," led by keyboardist A.J. Vincent's dusky vocal and Farfisa organ work. Throughout the middle of the record, the solemn rhythm and blues of "Detroit" is juxtaposed with "Back And Forth," a four-on-the-floor disco-funk romp. On "Garden Of The Gods," the album's penultimate 10-minute epic, the band evolves from stately ballroom Americana to an expansive, ensemble anthem, conjuring up their limber and unrelenting live sets. The fiery "Rhubarb Jam" closes out the record, featuring the agile, booming funk of bassist Jack O'Brien and drummer Joseph Mirasole.

Following their album release, The Bright Light Social Hour have embarked on a heavy touring rotation, playing over two hundred shows throughout the United States, Canada, and Mexico. They performed in front of thousands of new fans at SXSW and Canadian Music Week and will spend the remainder of 2012 touring North America, including festival plays at Wakarusa, Bear Creek Music Fest and Ottawa Bluesfest. Chronicling their adventures, the band has released a series of self-produced tour documentaries depicting their life on the road.

The Bright Light Social Hour is currently writing new material for a second full-length album with plans to return to the studio in 2013.

OUR LINKS


Letts

MORE INFO COMING SOON!



    7/7

    311

    The Green

    | All Ages | 7 pm

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    311

    311 was formed in 1990 in Omaha, Nebraska by singer/guitarist Nick Hexum, singer S.A. Martinez, guitarist Tim Mahoney, drummer Chad Sexton and bassist P-Nut. The band now resides in Los Angeles, California.

    311 mix rock, rap, reggae and funk into their own unique sound. After years of consistent touring, 311 have developed a reputation as one of the hardest working, most influential and most entertaining live bands in the U.S.

    311 have released eleven studio albums, one live album, one greatest hits album and three dvd's - and have sold over 8.5 million albums in the U.S. Eight of their albums have reached the Top 10 on Billboard's Top 200 Sales Chart...and nine of their singles have reached the Top 10 on Billboard's Alternative Rock Radio Chart (including the #1 singles Down, Love Song & Don't Tread On Me. Along with Amber, All Mixed Up, Come Original, Creatures For Awhile, Hey You and Sunset in July).

    311 recorded their 11th studio album, STEREOLITHIC, for a March 11, 2014 release. That same day 311 played their special 311 DAY show at the New Orleans Arena, which attracts thousands of dedicated 311 fans from around the world. Tickets were sold to fans in 49 U.S. States and 15 countries. The show includes an extended setlist (60+ songs) and state of the art production.

    The band's celebratory live shows & incessant touring schedule have earned them a massive grassroots following nationwide. Since its inception in 2004, 311’s annual summer headlining amphitheatre run, Unity Tour, has become one of the largest modern rock concerts of the summer. Support acts on previous Unity Tours have included Sublime with Rome, Cypress Hill, The Offspring, Slightly Stoopid, Snoop Dogg, The Roots, Papa Roach, The Wailers, O.A.R., Matisyahu, and Ziggy Marley.

    For more info www.311.com

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    The Green

    The Green’s latest album, Hawai‘i ’13, opens with a chant.

    “From the times of ancient Hawai‘i and even up to present day, chanting has been a part of our culture,” says JP Kennedy, guitarist, vocalist, and one of the band’s five songwriters. “It’s a way to start something important. When we chant, we ask for blessings, knowledge, and guidance so that we can be ‘pono’ or righteous in whatever we do.”

    The chant of “He Mele No Ku‘u Hawai‘i” prepares the album’s listener as much as the band. Hawai‘i ’13 dances through roots reggae, soul, and R&B. The album charts a journey through Hawaiian life and music in 2013, reflecting The Green’s musical upbringing as much as their vision for the future of Hawai‘i and its musical output. Following The Green’s usual modus operandi, the album was written by the group’s five separate songwriters (Kennedy, guitarist-vocalist Zion Thompson, vocalist Caleb Keolanui, keyboardist-vocalist Ikaika Antone, and bassist/multi-instrumentalist Brad Watanabe); the band’s four singers (Kennedy, Thompson, Keolanui and Antone) take turns on lead vocals, sometimes trading off with each other within a song. Once you listen to this record, there is little doubt that the chant served its purpose, as the results show the band has been righteous in their hard work.

    The Green formed on O‘ahu, Hawai‘i, in 2009. The group began as a vehicle for six different members of Hawai‘i’s tight-knit music scene to record a few songs and have a bit of fun along the way. Their self-titled debut album, released in 2010, earned both critical and commercial acclaim, and was awarded iTunes Best Reggae Album of the Year.

    Afterwards, the band jumped on a plane to the mainland and started a heavy touring cycle. On the strength of their debut album, The Green struck a record deal with ground-breaking independent reggae label Easy Star Records to record their sophomore album, Ways & Means. Ways & Means hit #1 on the iTunes and Billboard Reggae charts and the band embarked on more intense touring; supporting acts like Rebelution, Iration, SOJA and Damian Marley. They also played at acclaimed festivals including Vans Warped Tour, Wakarusa, Sierra Nevada World Music Festival and California Roots Festival.

    Despite all the time spent away from home, Hawai‘i never left the band’s day-to-day life on the road. In almost every state, the band met Hawaiian ex-pats, driven away from their home state for reasons both economic and social. The Green’s concerts became a place where Hawaiian natives could gather and for one night, share a bit of Aloha spirit from the Pacific islands they call home.

    “Hawaiians living on the mainland will come to our shows and say ‘I haven’t been home in years! You remind me so much of home,’” says multi-instrumentalist-songwriter Brad “BW” Watanabe. “I feel like that’s our service in some way.”

    In early 2013, The Green retreated to Hurley Studios in Costa Mesa, CA, to record their third album with Danny Kalb (Ben Harper, Beck, Jack Johnson), the band’s first outside producer/engineer, at the helm. In addition, the group brought in Joe Tomino, drummer from Dub Trio (who also double as Matisyahu’s backing band), to handle the drums for the sessions.

    “We were worried about it because we always recorded everything ourselves,” Kennedy admits. “But when we added Danny Kalb to the mix, and Joe on the drums, they just brought so much to the sound of the songs.”

    The addition of an outside ear helped sharpen the band’s direction, and the 13 tracks on Hawai‘i ’13 sound focused and pointed, despite the group’s many different songwriters. “All of us contribute to the creation of a song,” says guitarist-vocalist Zion Thompson, “whether it’s lyrics or music, it’s always collaborative.”

    “Everyone respects each other’s opinions,” Thompson continues. “Everyone has their place and everyone makes room for it to work.”

    The album’s songs span soulful lover’s rock (“Striking Up A Love,” “Take Me On”), heavy roots workouts (“Good One,” “Forgive Me”), smooth R&B ballads (“Chocolates & Roses”), roots reggae-pop hybrids (“Power in the Words,” “Good Vibe Killah”), and herb anthems (“Hold Me Tight”).

    The Green hit all the right notes with their first two albums, but the band members are still coming to grips with the personal toll of success. Bands from the mainland may be used to touring from state to state, but that’s no small step for a group from a small island in the South Pacific. “While I face a dozen spotlights, you’re crying at home,” goes “Something About It,” one of the lead singles from Hawai‘i ’13. “Sit by the phone. You think I’m alone, wishing I could be there. But the music’s got me traveling on.”

    The Green struck the reggae community hard with their debut in 2010. Their sophomore LP Ways & Means solidified their status as a force in reggae music. With Hawai‘i ’13, the band aims higher. The album collects 13 stellar tracks by a group with an insatiable urge to push their music onto the global stage. Some songs punch and some songs sway, but ultimately they all blend to form a new shade of Green.

    OUR LINKS


    7/8

    Dank

    18 & Over | 8 pm

    Dank

    MORE INFO COMING SOON!



      7/11

      HippieFest 2015

      The Family Stone
      Rick Derringer
      Badfinger featuring Joey Molland
      Peter Rivera formerly of Rare Earth 1969-1975

      | All Ages | 6 pm

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      HippieFest 2015

      HippieFest returns in summer 2015 for the first time since 2012.

      Experience the peace, love, and music which changed a generation. If you never experienced the 60s and 70s (or you did and can’t remember), come be a hippie for a day!

      Family Stone “Everyday People”, “Thank You”, “Family Affair”, “I Get High on You”

      Badfinger ft Joey Molland “Come & Get It”, “No Matter What”, “Day After Day”, “Baby Blue”

      Rick Derringer “Rock & Roll Hoochie Koo”, “Real American”, “Hang On Sloopy”

      Peter Rivera formerly of Rare Earth 1969-1975 albums include: "Get Ready" and "Rare Earth in Concert"

      OUR LINKS


      The Family Stone

      Original Founding members, Rock & Roll Hall of fame inductees, and R&B Pioneer Award Winners Jerry Martini, Cynthia Robinson, and Greg Errico;  The First inter-racial / inter-gender band in Rock & Roll history bring you the hits of Sly & The Family Stone. Featuring the Powerful Voices of Alex Davis and Phunne Stone on vocals bringing you the message of peace, love, and social consciousness through musical harmony with some of the funkiest players of all time. Players like Nate Wingfield on the Guitar and Musical Director Blaise Sison on bass adding the pocket to the raw Family Stone sound.

      They present a set of their classic hits like:"I Want to Take You Higher", Everyday People", Thank You Falettinme Be Mice Elf Agin",
      "Dance To The Music", "Hot Fun In The Summertime", "Family Affair", "Sing a Simple Song"
      Cynthia & Jerry Gotta Message Their Sayin...Keeping the legacy true to its original sound and
      raw funk groove, these Everyday People will leave you Taken Higher. The Family Stone continues giving you the musical experience that has brought them in front of millions of people through Europe, Australia and North America; spreading the roots of funk!

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      Rick Derringer

      Young guitar great, vocalist and entertainer Rick Derringer was just 17 when his band McCoys recorded the No.1 hit "Hang On Sloopy" in the summer of 1965, knocking "Yesterday" by The Beatles out of the top spot. The McCoys had enjoyed four years of successful touring, when Rick merged his talents with Johnny Winter in 1969 forming Johnny Winter And (And referring to the McCoys). Rick was the only producer of all gold and platinum Winter Brothers recordings. In '71 Rick was featured on three records, "Johnny Winter And", "Johnny Winter And-Live" and "Edgar Winter's White Trash". "And" featured the first version of Derringer's "Rock and RollHoochie Koo" which was also released as a single, then selected again for "And - Live".

      Eventually, the busy Derringer joined Edgar Winter's White Trash full-time and produced the gold LP, "Roadwork". Derringer's solo album, All American Boy was released in '73 with the now already popular "Rock and Roll, Hoochie Koo", this time as a 'hit' single. Rick was writer/producer of Johnny Winter's Still Alive and Well album and player/producer of the hit album, They Only Come Out At Night. The latter featured the No. 1, Grammy nominated monster hit, "Frankenstein" and "Free Ride".

      In 1976 Rick created the Derringer Band. He released four albums and in '83 returned to his solo career with the LP, Good Dirty Throughout the '70s and '80s the popular Derringer appeared on numerous albums with artists Alice Cooper, Richie Havens, Todd Rundgren and Steely Dan. The list also includes Cyndi Lauper, Barbra Streisand, Kiss, Mason Ruffner and Madam X. In the mid-80's, Derringer discovered Weird Al Yankovic, producing music for Grammy-winning albums and videos. Derringer's productions of the Michael Jackson parodies, the No. 1 hit "Eat It", and "Who's Fat", have been Yankovic's most successful recordings.

      It was also in the '90s that Rick was selected to be producer/writer/performer of the World Wrestling Federation LP's. Hulk Hogan's theme song, "I Am A Real American" was written and performed by Rick as a part of these projects. Derringer was once again sought after by Edgar Winter and in 1990, performed for the LP, Edgar Winter and Rick Derringer Live in Japan. Then in 1999 Rick and Edgar were back together again for their collaboration on his Winter Blues CD. Derringer also recorded four blues CD's starting in '93 with Back To the Blues followed by Electra Blues, Blues Deluxe and his 2000 release Jackhammer Blues. At about that same period Derringer, who seems to be constantly in motion, released his destined-to-be-classic Tend the Fire in Europe to rave reviews and is eagerly expected by his loyal fans here in the US.

      The year 2001 was another busy one for Rick. His venture back into Rock & Roll with Vanilla Fudge superstars Carmine Appice and Tim Bogert produced a recording of intense synergy -D B A (for Derringer, Bogert & Appice) with vocals, writing and instrumentals shared by all three. 2004 promised a reprise for Derringer and Appice, with the release ofD-N-A. After DBA the next project was truly a work from the heart and soul of Rick and his wife Brenda Jean (Jenda Hall). Entitled Aiming 4 Heaven, it brought forth their devotion to God and put it into song with help from their children, Lory & Martin. That project opened the doors for a worldwide release on Reborn Records

      We can't forget the Winter of 2002, where Rick ventured into a whole new musical world - Smooth Jazz. Interest in Rick Derringer - Free Ride grew quickly at radio, and the second single "Hot And Cool" (in the 'Radio and Records' top 20 for 5 months, and number 42 for the year) showed Derringer right at home in the format. It might come as a surprise, but as he explains, it's
      the kind of music he's been waiting to do his whole life. His wife Brenda is featured as co-writer on three songs, and arranger/singer on the title cut. It seems like almost too much story to take in at one sitting, but the most surprising part is, after more than four decades he's still going strong!

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      Badfinger featuring Joey Molland

      Joseph “Joey” Charles Molland (born 21 June 1947, Edge Hill, Liverpool, England) cut his musical teeth in the early 1960s with Liverpool bands such as The Assassins and The Profiles. In 1965, he joined The Masterminds. It was at a Masterminds gig at The Blue Angel club in Liverpool when The Rolling Stones and their manager/producer Andrew Loog Oldham showed
      up. Oldham was impressed with the band; most notably their cover of Bob Dylan songs. Oldham would produce a single for The Masterminds, the Dylan cover “She Belongs To Me”, which would be released on the Immediate label.

      In 1966, the well known Liverpool band The Merseybeats had split up and lead singers Billy Kinsley and Tony Crane formed the duo The Merseys. The Merseys would have a major hit with “Sorrow” and needed a back-up band for touring. Three members of The Masterminds, including Joey Molland, were recruited for the job and dubbed The Fruit Eating Bears. By 1967, The Merseys had split up. Joey played briefly with The Cryin Shames when he heard of another opportunity. Gary Walker (Gary Leeds) of The Walker Brothers was putting a new band together and Joey auditioned and got the job. Gary Walker and The Rain released several singles and an album called #1, on the Philips label. The album featured six Molland compositions and was very successful in Japan where the band enjoyed a successful tour. A lack of success in the U.K. and a general sense of apathy would eventually lead to the band’s break-up in 1969.

      After the break-up of The Rain, Joey received an invitation to audition for The Iveys in November of 1969. Joey was hired and The Iveys would soon be known by their new name, Badfinger. Besides touring and recording with Badfinger, Joey and
      the band would perform on George Harrison’s All Things Must Pass album and the Concert For Bangladesh, as well as
      performing on John Lennon’s Imagine album with Tommy Evans.

      Joey Molland quit Badfinger in December of 1974 over disagreements in the band’s management and relocated to California. It was when visiting the U.K. for Pete Ham’s funeral in 1975 that Joey met up with drummer Jerry Shirley (Humble Pie) and bassist Mark Clarke (Colosseum, Uriah Heep). They decided to form a band that would eventually include keyboardist Peter Wood and call themselves Natural Gas. Natural Gas would release an album on Private Stock Records in

      1976 and tour with Yes and Peter Frampton on his Frampton Comes Alive tour. After Natural Gas’ demise, Joey would reunite with Tommy Evans and release two more albums as Badfinger. In 1983, Joey was signed to Earthtone Records and moved to Columbus, Ohio to produce the album Trust Me for the band called Money. Plus, he would record and produce his first solo album, After The Pearl. In 1984, Joey reunited with Mike Gibbins as Badfinger for a U.S. “British Invasion Anniversary” tour. Two years later, Joey and Mike would put a new Badfinger band together and would tour regularly for several years. Joey would release his second solo album, The Pilgrim, in 1992 on the Rykodisc label. The Pilgrim was co-produced by Joey and bandmate Mark Healey. In 1998, Joey released a disc of demos titled Basil on his own Independent Artists label. His third solo album, This Way Up, was recorded with Minneapolis’ Echo Boys and released in 2001 on the Independent Artists label.

      Joey Molland currently lives in Minnesota. He was married for nearly 37 years to his late wife, Kathie with whom he shares
      two sons, Joseph III and Shaun. Joey still actively performs and records.

      OUR LINKS


      Peter Rivera formerly of Rare Earth 1969-1975

      Any connoisseur of Seventies rock music will certainly remember Rare Earth. Their funky good-time music is still played on classic rock stations across the country and their place in pop music history is firmly cemented.
      Peter Rivera is the original drummer and lead vocalist behind all of the hits. Wherever these classics are played people inevitably say something like: "I'd know that voice anywhere!"

      Peter's story is one of those all-American classics; a kind of "rags to riches" tale in which an obscure white boy, growing up in a red- brick row house of Detroit, Michigan, finds his way out of the grimy blue-collar neighborhood that spawned a whole generation of factory workers, dock hands, and "tough-guy" bar brawlers to the big time glitz and glam of the pop music industry.
      With Peter on drums and lead vocals, Rare Earth sold over twenty-five million records. Peter recorded over seventeen albums, featuring several top ten hits.

      The albums "Get Ready" and the two-record set "Rare Earth in Concert" went double platinum. "One World" and "The Ecology Album" went single platinum; "Willie Remembers" and "Ma" went gold.

      Rivera has been called the premier rock drummer / vocalist of the '70s. Peter's vocals have been featured on countless radio and television commercials. His hit voice is heard in several movies and television shows. "A Knights Tale", "Three Kings", "Chicago Hope" and "Beverly Hills 90210" are but a few. In Peter's 40+ years of touring the world, "There isn't much I haven't seen."

      OUR LINKS


      7/14

      Sturgill Simpson

      Cody Jinks

      | All Ages | 7 pm

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      Sturgill Simpson


      Sturgill Simpson's authenticity stands out like an island of hope in a sea of tacky.

      Bonafide mountain hillbilly soul, as pure as you are going to find anywhere. All it takes is one listen to FINALLY understand

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      Cody Jinks

      MORE INFO COMING SOON!



        7/15

        Wilco

        Steve Gunn

        | All Ages | 7 pm

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        Wilco

        Wilco rose from the ashes of the seminal roots rockers Uncle Tupelo, who disbanded in 1994. While Jay Farrar, one of the group's two singer/songwriters, went on to form the band Son Volt, his ex-partner Jeff Tweedy established Wilco along with the remaining members of Tupelo's final incarnation, which included drummer Ken Coomer as well as part-time bandmates John Stirratt (bass) and Max Johnston (mandolin, banjo, fiddle, and lap steel). Guitarist Jay Bennett rounded out the group, which in 1995 issued their debut album, A.M., a collection of spry country-rock tunes that followed the course established in Tweedy's earlier work. Wilco's sophomore effort, 1996's two-disc set Being There, marked a radical transformation in the group's sound; while remaining steeped in the style that earned Tweedy his reputation, the songs took unexpected detours into psychedelia, power pop, and soul, complete with orchestral touches and R&B horn flourishes. Shortly after the release of Being There, which most critics judged to be among the year's best releases, Johnston left the group to play with his sister, singer Michelle Shocked, and was replaced by guitarist Bob Egan of the band Freakwater. At the same time, while remaining full-time members of Wilco, Stirratt, Bennett, and Coomer also began performing together in the pop side project Courtesy Move. In 1998, Wilco collaborated with singer/songwriter Billy Bragg on Mermaid Avenue, a collection of performances based on unreleased material originally written by Woody Guthrie.

        Their stunningly lush third album, Summerteeth, followed in 1999 and met with critical acclaim but only average sales, initiating tensions with their label, Warner Bros. 2000 saw the release of Mermaid Avenue, Vol. 2, which featured more selections from the band's collaborations with Bragg on Woody Guthrie's unfinished songs. Following this release, longtime drummer Ken Coomer decided to amicably leave the band and was replaced by the Chicago-based Glenn Kotche. The band then focused on recording their fourth album, Yankee Hotel Foxtrot, which ultimately led to the departure of guitarist Jay Bennett, and further tensions with their label. Unwilling to change the album to make it more "commercially viable," Wilco bought the finished studio tapes from Warner/Reprise for a reported $50,000 and left the label altogether. Leaked tracks from the album surfaced on the Internet in late 2001, and the stripped-down lineup of Tweedy, Kotche, Stirratt, and multi-instrumentalist Leroy Bach embarked on a small tour to support -- or drum up support for -- their unreleased album. Nonesuch Records picked up the album and the official release came out in early 2002 to widespread critical acclaim. Meanwhile, an independent film documenting the drama surrounding the album entitled I Am Trying to Break Your Heart followed in the fall of 2002. During the down time after the album was recorded, Tweedy composed and recorded the film score to the Ethan Hawke film Chelsea Walls, which ended up being released around the same time as Yankee Hotel Foxtrot.

        Wilco toured extensively following the release of Yankee Hotel Foxtrot, and in 2003 began work on their next album, A Ghost Is Born. While sessions went smoothly compared to Yankee Hotel Foxtrot, after the album was finished Leroy Bach left the band in a split that was described as mutual and amicable; guitarist Nels Cline, keyboardist Mike Jorgensen, and multi-instrumentalist Pat Sansone joined Wilco for their subsequent tour. Shortly before the album's release, Tweedy surprised many fans by announcing he had entered a drug rehabilitation facility to treat a dependency on painkillers, prescribed to treat a long history of migraine headaches aggravated by panic disorder. Tweedy discussed his heath problems in depth, along with the often tangled history of Wilco and Uncle Tupelo, in Wilco: Learning How to Die, a biography of the group written by rock journalist Greg Kot, published to coincide with A Ghost Is Born's release in the spring of 2004. The following year, the group released Kicking Television: Live in Chicago, a 23-track collection recorded in the Windy City's Vic Theatre, an album that was later deemed one of the Top 20 best live albums by Q Magazine. In 2007 Wilco's sixth studio album, Sky Blue Sky, hit shelves. ~ Jason Ankeny & Zac Johnson, All Music Guide

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        Steve Gunn

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          7/17

          Randy Rogers Band

          Stoney LaRue
          Wade Bowen

          | All Ages | 6 pm

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          Randy Rogers Band

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            Stoney LaRue

            At 3 years old, Stoney LaRue could be found belting out “Swinging” by John Anderson on his Mr. Microphone radio. The son of a struggling bass player and a nurse, LaRue understood the allure of music at an early age, and recorded his first works at age twelve. He earned accolades through school for his unmatched vocal abilities and promising instrumental talents. Many subscribe Stoney LaRue to the category of artists that are simply natural born performers, just don’t try to limit him by category.

            Born in Taft,Texas, LaRue actually spent the majority of his adolescence north of the Red River, where he was raised in Southeastern Oklahoma . He never really pictured himself doing anything else but making good music, so LaRue eventually made his way to the state’s Red Dirt hotbed of Stillwater, where he began to develop his individualized style from a widespread range of influences.

            From Willie Nelson to Ray Charles, to The Grateful Dead and Kris Kristofferson, LaRue’s emerging style impressively blends varied elements of country, blues, and soulful rock into cohesive, vocal driven performances. His abilities earned the immediate respect of then “up and coming” peers including Cody Canada, Mike McClure, Jason Boland, and other cohorts of the revitalizing Texas and Red Dirt circuits (now electrifying audiences nationwide.)

            In 2002, both fans and industry took good notice of LaRue after he spearheaded The Organic Boogie Band and released ”Downtown,” which was recorded in private sessions at Cain’s Ballroom in Tulsa and mixed in a trailer on the side of a cliff in Bartlesville,OK. It was just the beginning, as the debut cemented LaRue’s following and inspired a move to New Braunfels, Texas, where a vibrant music community and a persistent touring schedule spawned a vast response.

            Fans anxiously awaited the August 2005 release of Stoney LaRue-the Red Dirt Album, which hit the Billboard sales charts in its debut week. A far cry from the mixing trailer on the cliff, The Red Dirt Album was recorded with a tight circle of players and professionals in a studio setting. The record was a pinnacle effort for LaRue and has inarguably established his triple threat status as a truly gifted vocalist, player, and performer.

            In 2006, Stoney released an addition to the famed Live at Billy Bob’s series. His live single, “Oklahoma Breakdown” topped the Texas charts for over four weeks and has ignited Stoney’s powerful support as an artist not to be missed.

            Armed with golden ear musicianship, an amusing wit, and soulful magnetism, LaRue’s shows are infused with an uplifting quality, a cathartic barroom brand of spirituality, where venues are complimented for good bar “feng shui,” and where time and dimension can be traversed via emotive lyrics and melodic riffs. A charismatic performer, LaRue’s flawless vocals can draw a crowd to a open mouth level of sonic mesmerization, and next have them singing “Forever Young” so loudly that you can’t hear anything else.

            At 30 years old, Stoney LaRue now performs close to 300 dates a year at top festivals and venues across the world, including the Caribbean and Europe, sharing bills with renowned acts like Lee Ann Womack, Gary Allan, Dierks Bentley, Cross Canadian Ragweed, Willie Nelson, Rodney Crowell and others. With a band that includes Dave Bowen (drums), Jesse Fritz (bass), Kevin Webb (guitar), Jeremy Watkins (fiddle) and Steve Littleton (keys), Stoney is poised for what is on the horizon to come.

            The music is undeniably inside of Stoney LaRue, but he’s the type of artist that doesn’t HAVE to point it out to you, his belief in the music is strong enough that it just powers through transparently. Stoney LaRue is not trying to be anybody but the artist that he is, and his sincerity just seeps out, spills off the stage, and overtakes any room.

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            Wade Bowen

            If it’s true what they say, that parenthood teaches some of the most profound lessons in patience and humility, this could partly explain the professional maturation that singer-songwriter Wade Bowen has experienced over the last couple of years. Settled nicely into his new role of father and family man, Wade Bowen has learned that both in the music process and in life, it’s hard to rush a good thing. Thankfully while recording his February 2006 release, Lost Hotel, Wade Bowen had time to push a step further and truly come into his own, resulting in his most depth-reaching, acclaimed effort yet.

            Today, he’s already a familiar and awarded name in music, performing along the active touring highways of Texas and the Southwest and selling out top venues like the legendary Gruene Hall in New Braunfels. Carving out a dedicated fan base with his magnetic appeal and proven abilities, Wade Bowen has enjoyed a 7 year stint as a leader amongst a flourishing Americana and Alt-Country music community. From the numerous successes of his February 2006 release, Lost Hotel, to his recent tour with Lee Ann Womack and Friends, Wade Bowen shows absolutely no sign of slowing down.

            The most recent on his growing list of musical accolades, the single off Lost Hotel, “God Bless This Town”, charted at #1 on the Texas Music Chart and was voted the # 4 Song of the Year on both the Texas Regional Radio Report and the Texas Music Chart’s Top 30 Songs of 2006, landing just below Pat Green, Jack Ingram, and Randy Rogers on both respective charts. Plus, consider that Bowen is impressively the only artist in that ranking without the support of a major label. The video for “God Bless This Town” debuted on the Top 20 countdown on CMT and stayed in the #1 spot for several weeks on CMT’s Pure Country 12 Pack Countdown, in the company of pinnacle artists like Alan Jackson and Brad Paisley.

            Back in 2000, hardworking Bowen whetted his musical appetite and sharpened his abilities via various bar room and backyard BBQ gigs while he simultaneously pursued and obtained a degree in public relations from Texas Tech University. Soon, Bowen helped establish West 84, the initial grouping that toured throughout Texas in the wake of the young songwriter’s quality originals and captivating vocal abilities. The magnetic singer-songwriter was naturally spurred to center spotlight and eventually the name West 84 was retired for the more apt, Wade Bowen. The soon to be out of print debut, Just For Fun, revealed a burgeoning uniqueness that put Wade Bowen on the map and on the road full time, hashing out his style while delving full force into the musical process.

            The 2002 follow up, Try Not To Listen, propelled Bowen to new heights as he continued to refine his songwriting and live performance. The title track single reached #8 on the Texas Music Chart, in addition to being named the chart’s #26 Song of 2002. The intensifying energy both onstage and in the audience ushered in Wade Bowen’s first live effort in 2003, The Blue Light Live, which parked on the LoneStarMusic.com Top 25 best-sellers list for an impressive 2 and a half years, most of that spent in the Top Ten list. The Blue Light Live won 2004 Album of the Year honors from MyTexasMusic.com, was nominated for Live Album of the Year by GruenewithEnvy.com, and spotlighted Bowen as the 2004 Male Vocalist of the Year by MyTexasMusic.com as well.

            With musical influences that cite everyone from Aerosmith to Patty Griffin to Led Zeppelin and Paul Thorn, the result of Wade Bowen’s incessant touring is something akin to a smooth shot of roots rock with an alt-country back, served on ice with doses of traditional country and sensitive blues, but with a fiery edge, too. A blend made all its own while not overwhelming the music pallet, Bowen is passionate about being a genre-crossing artist, learning from a variety of musical styles.

            Bowen’s influences have melded to form a well-rounded songwriter, familiar with shaping melodies to evoke emotion, and boosted by a layered vocal intensity that shines. His writing skills have garnered a stash of notable songwriting credits and co-writes, including the widespread acclaim earned for his co-write with Pat Green on “Don’t Break My Heart Again,” the lead single for Green’s Top 10 release, Lucky Ones. Wade Bowen has written with the likes of Ray Wylie Hubbard, who also made a cameo appearance in Bowen’s video for the single “God Bless This Town.” Bowen and his brother in law, aka Cross Canadian Ragweed front man Cody Canada, penned “When It All Goes Down” together, which was released on Cross Canadian Ragweed’s Garage album.

            On Lost Hotel, Wade Bowen again teamed up with J.R. Rodriguez, producer of The Blue Light Live, and headed to Nashville with a new lot of original songs and co-writes with peers like Randy Rogers, Brandon Rhyder, and Bleu Edmondson. Almost four years since his last studio album, Lost Hotel was released on Sustain Records in 2006 and was the first opportunity Bowen had in the studio where he felt free from the typical time and studio challenges. Giving Bowen ample time to examine old wounds and dig deeper in his songwriting, the album reflects themes of struggle and loss as well as hopeful perseverance and new beginnings.

            If the record reveals transitional themes, it’s rightly so, as these days Bowen and wife Shelby have made New Braunfels home to them and their first born, Bruce (tellingly after the Springsteen variety and not Willis, though Die Hard would also be an apt description of the Bowen family’s dedication to the craft of music.) Enjoying a continuously growing horizon, Bowen and cohorts are stretching their legs across the nation, touring regularly in the Midwest and Southeast, in addition to heavy performing spanning the Southwest.

            Paralleling his personal maturation as a father, Wade Bowen has ascended to a new level as an artist, a player, and a writer in the wake of Lost Hotel. With a personality that has been described as unabashedly straightforward and honest, his raw approach simply transcends to his craft and makes audiences feel more like friends, lucky enough to witness the next gifted performer as he rises out of Texas. Hence, Bowen’s journey on Lost Hotel truly parallels his real life musical process, where guts and faith are everything and a patient struggle culminates in triumph. Well-oiled, primed, and ready to surpass an already impressive tally of accomplishments, Bowen is anxious to get back into the studio with his brand new material, expected for release later this year.

            As for humility, well, despite his high ranking within the Southwest’s lively Americana music community, Wade Bowen says things like this and means it: “I may be crazy, but it's hard for me to believe that I have fans that honestly care enough to listen to my music….It shocks me every day.” Some would say that even parenthood can’t teach that level of humility, not to one of today’s most promising and poignant singer-songwriter talents, Wade Bowen.

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            7/19

            Cold War Kids

            | All Ages | 7 pm

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            Cold War Kids

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              7/21

              Wild Child

              | All Ages | 8 pm

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              Wild Child

              Wild Child is a band from Austin, TX.
              2013 Austin Music Award winners for Best Indie Band and Best Folk Band

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              7/24

              The Floozies

              Break Science
              Wick-It the Instigator
              Sunsquabi

              | All Ages | 7 pm

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              The Floozies

              Just outside the jazz mecca of Kansas City springs liberal oasis Lawrence, Kansas—separated only by the waves of wheat from the epicenter of the electronic music revolution in Colorado. From Lawrence, it would logically follow that an act could rise to prominence fueled by the swing of Basie, the birth of Charlie Parker’s bebop, and the wild frontier of electronica. Born in funk and bred in the digital age, live electronic duo The Floozies have burst onto the scene at a time when the industry needed them the most.

              Brothers Matt and Mark Hill share the stage just as easily as they share a musical brain. Without a setlist, and without a word between them, Matt’s guitar is in lockstep with the thud of Mark’s kick. Endless looping and production builds the raw scenery upon which palm muted chugs, searing solos, and wobbling bass paint their dazzling array of colors.

              Well versed in everything from Chris Cornell to Kavinsky, the sonic vision shared by the brothers eschews contemporary electronic influences in favor of broader, deeper tastes including Zapp & Roger, Lettuce, and Amon Tobin. That wide-angle view of a century of popular music allows the Hills to remix Toto and The Dead—in the music you can hear reverence for the giants of the past, all the while producing wildly futuristic tunes for the masses to dig now.

              When the pendulum swung as far as it could away from live instrumentation to laptops, The Floozies rose up to the challenge, swinging as hard as they could in the other direction with neck-snapping, knee-breaking funk so dirty that the gatekeepers stood up, wiped themselves off, and took notice. A bold live show full of sonic exploration and unbreakably deep pocket grooves has landed the brothers on stage with luminaries of the jam world Umphrey’s McGee as readily as electronic elites GRiZ and Big Gigantic. A nationwide tour with Archnemesis and Wick-it The Instigator cemented the duo’s ascent while major festival appearances at Wakarusa, Summer Camp, Kanrocksas, and Sonic Bloom dot the horizon.

              The Floozies are bringing the funk back, and they’re right on time.

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              Break Science

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                Wick-It the Instigator

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                  Sunsquabi

                  It all began in 2011 when guitarist Kevin Donohue and bassist Andrew Clymer broke away from their hip-hop roots and decided that sample-based electronic music simply wasn’t enough. The Boulder duo set out to find their own blend of live instrumentation and production, which would lead to the creation of SunSquabi. The group very quickly gained notoriety in the Denver/Boulder area and performed their first show at Red Rocks Amphitheater in June 2011 (Global Dance Festival). Shortly thereafter, drummer and Boston native Chris Anderson joined the group and inspired the group to even further seek the limitless potential of the live-electronic realm.
                  Over the past two years, SunSquabi has performed at some of the country’s most notable music festivals (Wakarusa, Summer Camp, Sonic Bloom, Snowball, SXSW and more). The trio has been consistently touring the U.S. since May 2012, and rapidly gaining recognition from the ever-evolving EDM and Livetronica markets. SunSquabi has shared the stage with Big Gigantic, Pretty Lights, GriZ, Murphy of STS9, Up Until Now, Two Fresh, Conspirator, Michal Menert, Boombox, The Floozies, Archnemesis, Break Science, Minnesota, Ghostland Observatory and many more.
                  The group is currently recording a new EP, with four previous releases and a 17-track LP titled “Fundamental Interaction” (Nov. 2013). Constantly on the studio grind, SunSquabi is always striving to change and mature their sound, and to continue to break down the expectations of what a “Live-Electronic” band should be. A recent overhaul on the live set has propelled the group into 2014, with plans to tour all over the U.S. They will be making appearances at several major festivals this Summer, with an album release planned for late Summer 2014.

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                  8/1

                  G Love & Special Sauce

                  | All Ages | 7 pm

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                  G Love & Special Sauce

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                    8/4

                    Walk the Moon

                    COIN

                    | All Ages | 7 pm

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                    Walk the Moon

                    Formed in Cincinnati by singer/keyboardist Nicholas Petricca, WALK THE MOON built up a devoted following on the strength of their ecstatic live show and their undeniably infectious single "Anna Sun.” A relentless touring machine with an ever-snowballing family of fans, the band quickly graduated from Ohio club scene favorites to international stars. They hit the late-night TV circuit with performances on Letterman, Fallon, Conan, and Carson, played for massive crowds at Bonnaroo and Lollapalooza, and joined the likes of fun., Pink, Panic! At The Disco, and Fitz and the Tantrums on the road.

                    WALK THE MOON’s live show is not a spectator sport. Instead, it’s an interactive celebration of life and love, a communal commitment to joy and living in the moment. Onstage, Petricca leads audiences in a mass exorcism of the things that bring them down, casting out the demons of doubt and insecurity with hands raised to the sky.

                    Earlier this year, after six weeks of marathon writing sessions in Ohio, the band relocated to North Hollywood, where they entered the studio with producer Tim Pagnotta (Neon Trees, Tokyo Police Club). What followed was more than two solid months of recording, the band eager to reach new heights with the album's production.

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                    COIN

                    COIN proudly call themselves a “product of the ’90s”. A borrowed nostalgia for the decade that isn’t uncommon among Nashvillians. COIN hasn’t adopted the detached smugness and angst often associated with ’90s alt acts and contemporary ’90s alt revival acts. They are entirely devoid of ironic, tongue-‐in-‐ cheek rock n’ roll posturing or odes to the joys of slackerdom. Instead, lead singer, keyboardist, and lyricist Chase Lawrence opts for earnest songs about actual human emotions: falling in (and out of) love, worrying about the future, and missing the past. It’s the same brand of wide-‐eyed sincerity found on Pet Sounds—just replace the theremin with a microKORG and the harpsichord with guitarist Joe Memmel’s crisp Telecaster lines. Their songs are hopeful, but behind the spring reverb and airy synths, there’s subtle regret and even morbidity. They’ve recently finished writing and recording their debut album in Nashville with producer Jay Joyce (Cage the Elephant, Sleeper Agent, Eric Church, Emmylou Harris, Little Big Town). The forthcoming album is guitar driven and sonically mature, but still true to their synth-‐pop sensibilities.

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                    8/4

                    Dawes

                    John Moreland

                    | All Ages | 8 pm

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                    Dawes

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                      John Moreland

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                        8/22

                        Samantha Fish

                        The Rainmakers
                        Grisly Hand
                        The Latenight Callers
                        She''''s A Keeper
                        Brody Buster Band

                        | All Ages | 5 pm

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                        Samantha Fish

                        Samantha Fish Is Playin’ Up a Storm on New Ruf Records CD, Black Wind Howlin’, Due September 10 Follow-Up Album to Her Blues Music Award-Winning Debut Was Produced by Mike Zito and Features Guest Appearances by Zito, Yonrico Scott, Charlie Wooton and Paul Thorn

                        KANSAS CITY, MO – Ruf Records announces a September 10 U.S. release date for Black Wind Howlin’, the new CD from blues-rock guitarist/singer Samantha Fish and follow-up to her 2012 Blues Music Award-winning label debut, Runaway. Produced by Mike Zito, who did the same honors on her last album, Black Wind Howlin’ was recorded at Dockside Studios in Maurice, Louisiana, and features Samantha’s blazing guitar and vocals backed by Mike Zito on guitar and vocals, plus his fellow Royal Southern Brotherhood members Yonrico Scott on drums/percussion and Charlie Wooton on bass. Special guests include Paul Thorn on vocals, Johnny Sansone on harmonica and Bo Thomas on fiddle.

                        Kansas City-based Samantha Fish has been on a major roll ever since she teamed up with Cassie Taylor and Dani Wilde on Ruf’s 2011 release, Girls with Guitars, and fueled by the trio’s Blues Caravan tour of Europe and the U.S., created an international buzz in the blues world. Later that same year she recorded Runaway, her solo debut on Ruf, which mixed gutsy riff-blues rockers like “Down In The Swamp” with the mellow small-hours jazz of “Feelin’ Alright,” while marinating her songwriting in the groove of the Rolling Stones and even tipping a hat to Heart. “It’s all the sounds I grew up with,” she explained at the time, “with my own spin.” Earlier this year Samantha joined labelmate Devon Allman for a sultry duet of the Tom Petty classic, “Stop Draggin’ My Heart Around,” that appeared on Devon’s Turquoise CD and accompanying video.

                        Hitting a receptive international blues and rock press, Runaway was hailed as a thrilling opening statement, earning a string of rave reviews and radio airplay, climaxed by her winning the Blues Music Award (BMA) for “Best New Artist Debut” in 2012. “I’m truly humbled by the recognition,” Samantha said afterward. “I can barely wait to make record number two…”

                        Now, the wait is over, as Samantha Fish unleashes a major storm of her trademark guitar work and soulful vocals on Black Wind Howlin’. “It has a rebellious streak,” says the bandleader of her game-changing new album, “and a prevalent theme is, ‘I’m not gonna take your sh*t anymore…’”
                        No “sophomore slump” here, as Black Wind Howlin’ leaps from the speakers with 12 smoking tracks that chart Samantha’s evolution as songwriter, gunslinger and lyricist. “Since completing Runaway back in 2011, I’ve been on tour pretty much non-stop,” she proclaims. “I’ve spent a lot of time writing, playing and listening to music. I feel like the themes and the sound of my music have matured. To me, it’s about the human experience from my perspective, as well as people I’ve come into contact with over the last few years.”

                        Rather than trying to duplicate what she accomplished on her first success, Samantha re-defines her sound throughout the tracks on Black Wind Howlin’. She can be brutally rocking on cuts like the tour bus snapshot of “Miles To Go” (“Twelve hours to Reno/ten hours til the next show”), the swaggering “Sucker Born” (“Vegas left me weary, LA bled me dry/skating on fumes as I crossed the Nevada line…”) and the venomous “Go To Hell” (“Oh, this ain’t my first rodeo/You hit yourself a dead end/Your voodoo eyes, ain’t gonna cast a spell/So you can go to hell!”). “I’ve become tougher,” she notes of these head-banging moments, “and I think that was reflected in the sound we went for.”

                        And yet, elsewhere, backed by the versatile production of longtime collaborator Mike Zito, you’ll find Samantha shifting gears to the aching slide-guitar balladry of “Over You” (“Echoing words, said I’d never make it on my own…”) and the redemptive country song, “Last September” (“Don’t remember the curves of my face/Can’t feel the warmth in my embrace/Well I’m here to remind you…”).

                        She might stop off for a gritty cover of Howlin’ Wolf’s “Who’s Been Talking,” and co-wrote “Go to Hell” with Zito, but all other tracks are Samantha’s self-penned originals, and it’s a mix that will keep listeners on their toes. “I wanted this record to have a modern rocking sound,” she explains of the album’s vibe. “I also wanted it to have elements of Americana, country and roots.”

                        For Samantha, the recording sessions proved just as rewarding as the writing “I had a dream team of musicians and special guests,” she recalls. “And Dockside Studios quickly became one of my favorite places on earth.”

                        It hasn’t been that long since a teenaged Samantha Fish first started showing up at her local Kansas City blues club, Knuckleheads Saloon, and began soaking up the sounds of visiting modern blues guitar masters like Mike Zito and Tab Benoit, then going back to ’80s heroes like Stevie Ray Vaughan and following the lineage to the pre-war Delta masters. “I fell in love with it,” she told Premier Guitar of her growing passion for the form, “and started doing my homework by listening to the old guys like Son House and Skip James.”

                        With those influences as her template, Samantha incorporated the sounds of the classic rock of The Rolling Stones and Tom Petty, alongside contemporary artists like Sheryl Crow and The Black Crowes, in putting together a sound that would become her own.

                        By the age of 18, Samantha had settled on a searing lead guitar style that expressed her own voice rather than mimicking clichéd blues licks note-for-note. She quickly broke into a dues-paying period on the Kansas City jam circuit: an apprenticeship at the sharp end that tightened her musical chops, polished her stagecraft and gave her the grit to overcome occasional skepticism about her age, hair tone and gender. “I always hated the idea of the gimmick,” she told Premier Guitar. “People come out just because you are a girl, but then you have so much more to prove once you get them in the door.” And Samantha has delivered on that promise, as evidenced by one listen to the new recording. “I really got to do exactly what I wanted to do on Black Wind Howlin’,” she says, “and I’m incredibly proud of it.”

                        Samantha Fish will support the release of her new album with constant touring. For more information on the artist, visit www.samanthafish.com and www.rufrecords.de.

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                        The Rainmakers

                        Twenty-five years ago, the summer of 1986, The Rainmakers released their first album. Four young men from the Midwest began to live out the rock ‘n’ roll dream - their music on the radio, touring the country and the world, recording in top studios, playing in music clubs and arenas across the U.S. and Europe, videos on MTV, great reviews in Rolling Stone, Newsweek, and newspapers across the U.S.
                        The Rainmakers brought their Missouri-born version of roots rock ‘n’ roll to fans far and wide. Songs were sung, memories were made, and they lived to tell about it.
                        But all rock’n’roll bands have to grow up sometime - and after 6 successful albums and countless sold-out shows from Kansas City to Oslo and all points in-between, the Rainmakers broke up in 1998. Band members raised families, got real jobs (ouch!), and found ways to play music in ways that fit their changing lives.

                        25 ON. Where does the time go? When a great band breaks up, where does the music go?
                        25 ON. February 2011. The Rainmakers reunite for the first time in 14 years. Original members Bob Walkenhorst on vocals and guitar, Rich Ruth on bass, and Pat Tomek on drums, are joined by Jeff Porter on lead guitar. New songs are written, a new album is recorded in a 5-day music blow-out. Old friendships and things learned along the way make for a new album that has the spirit of youth, and the wisdom and viewpoints of lives well-lived.
                        A tour of Norway and live dates in the Midwest start to happen, and the band and their fans find out that something is still working, and that something is great songs, great performances, and a reconnection with the people who made the Rainmakers part of the soundtrack of their life.
                        “When the music is playing, we are all 25 years old again”, says Bob.

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                        Grisly Hand

                        MORE INFO COMING SOON!



                          The Latenight Callers

                          "Ladies and Gentlemen, we are The Latenight Callers...and we're much obliged..."

                          The Latenight Callers assembled themselves in a seedy basement in Lawrence, KS, around a card table strewn with liquor bottles, cigarettes, and shared tales of strange and debaucherous encounters....

                          The band soon moved their base of operations to a seedy basement in Kansas City, MO, turned up their amps, their synths, their bullhorns, and refined their dark, dancy tales for execution in front of the public at large...

                          The Latenight Callers were subsequently referred to as "Patsy Cline singing for Portishead", "Sexy Lounge Rock", "Noir-a-Go-Go" after their live shows swayed, swaggered, and charmed their audiences into their back-seats...

                          Kansas City knows the grit and allure of the Noir world through it's own history, and The Latenight Callers write a new chapter in that crime-novel that is the lust, the murder, the open road of The Cold, Cold Heart of America.

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                          She''''s A Keeper

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                            Brody Buster Band

                            Brody is a musician, originally from Paola, KS, who has thoroughly shaken the world with his ambient talent. Brody Buster began playing Blues Harmonica at the age of seven. By eight, he had become a professional musician playing in Blues clubs on famed Beale Street in Memphis Tenn. At 10 years of age, he appeared on the Tonight Show with Jay Leno and opened B.B. King's Blues Club in L.A., jamming with The King of the Blues, B.B. King. In 1996 at the age of twelve, Brody was invited to perform at the prestigious "Montreux Blues and Jazz Festival" in Montreux Switzerland with Quincy Jones, Isaaac Hayes, Oleta Adams, Chaka Khan, Phil Collins, Keb Mo', Richie Havens and Melvin Taylor. Brody has been a regular performer at the Kansas City Blues and Jazz Festival since 1994.

                            Brody can be seen today performing all over the Kansas City area as well as special performances in Los Angeles, Chicago and other regional venues.

                            OUR LINKS


                            8/27

                            The Psychedelic Furs

                            The Church

                            | All Ages | 7 pm

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                            The Psychedelic Furs

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                              The Church

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                                8/28

                                Slightly Stoopid

                                Dirty Heads
                                The Expendables

                                | All Ages | 7 pm

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                                Slightly Stoopid

                                Illustrating the perfect underground success story, Slightly Stoopid's dual front-men Miles Doughty (Guitar, Bass, Vocals) and Kyle McDonald (Guitar, Bass, Vocals), created their own label, Stoopid Records, in the early 2000's to avoid signing a record deal and keep their DIY work ethic and freedom. West coast DUB/Rock pioneers later added musicians Ryan 'RyMo' Moran (Drums) and Oguer 'OG' Ocon (Congas, Percussion, Harp, Vocals) from the B Side Players, as well as C-Money (Trumpet, Keyboard) and Dela (Saxophone) from John Browns Body; solidifying their on stage line up. Slightly Stoopid has built a large n' loyal fan base, and has soared to one of the most successful independent artists of this decade. The buzz surrounding the group continues to increase with each successive release; their album catalog sales have topped the 700,000 mark and the group continues to fill the most prestigious concert venues around the world.

                                The Slightly Stoopid story can be traced to Ocean Beach, California, when childhood chums Miles and Kyle formed the group in 1995, mixing reggae and punk sounds into one smooth stylistic cocktail. Soon after, late/great Sublime frontman Brad Nowell caught wind of the group, and signed them to his Skunk Records label – while the band members were still in high school. A pair of releases soon followed for Skunk - 1996's punk-tinged SLIGHTLY STOOPID (featuring a guest appearance by Nowell on the song "Prophet" – later covered by Sublime and released on their box set, EVERYTHING UNDER THE SUN) and 1998's surf-inspired cult classic THE LONGEST BARREL RIDE.

                                The group self-released 2001's ACOUSTIC ROOTS: LIVE AND DIRECT (a 40-minute acoustic set, captured live at San Diego 's Rock 105.3 radio station) – the first for their own label, Stoopid Records, before issuing 2003's EVERYTHING YOU NEED on Surfdog (a musical departure for the band, that sold more than 130,000 copies). The band's talent for mixing styles was never more apparent than on 2005's CLOSER TO THE SUN (on Stoopid Records / Caliplates / Reincarnate), which featured collaborations with such renowned reggae names as Barrington Levy and Scientist. A year later, Slightly Stoopid issued their first-ever electric live album, WINTER TOUR '05-'06, as well as their first-ever DVD, 'Live in San Diego,' while 2007 saw the release of the group's fifth studio effort, CHRONCHITIS, which debuted at #55 on the Billboard 200, and #2 on the indie charts.

                                And through it all, Slightly Stoopid has logged some serious road miles – in addition to their incessant criss-crossing of the U.S., which includes appearances at prestigious festivals such as Coachella, Lollapalooza, Austin City Limits, and New Orleans Jazz Fest, among others, the group has played sold-out shows in Australia, Japan, Guam, Amsterdam, Portugal and Denmark, the U.K., Germany, Holland, and the Dominican Republic. "Without [the fans], we'd just be playing at the bar," admits Kyle. "They make it worth our while – when we go out and people are having that good of a time, the energy goes back and forth. Just a good time – we rely on each other's energy." And all you have to do is look at the list of artists that Slightly Stoopid has played with, to get a feel for how much of a large and diverse audience they appeal to - the Dave Matthews Band, Damian "Jr. Gong" Marley and the Marley Brothers, Sublime, the Roots, G. Love & Special Sauce, Ozomatli, Toots and the Maytals, and Pennywise, among others, as well as their first-ever sole headlining tour of amphitheatres in 2008, joined by their friends Pepper and Sly & Robbie.

                                "I think consistently touring is important," explains Miles. "Most people take the route of trying to be successful without even getting out there for people to hear what your band is about. The most important thing is you can be playing in front of zero people or 20,000 people, and you've still got to rock the show. When we were first starting out, literally, we played in front of nobody. We'd show up at the club, and it would be bartenders and security guards, and 'Yo, play your hour set – here you go!' But after you play that show, they tell some of their friends and their friends tell some friends. I think the Internet has helped us a lot too, because people were able to spread the word about the music easier. The most important part is being out there 200 days a year. You're going back to towns twice a year, so people get to come out, and that gave us a real loyal following. Wherever we go, you have these Stoopidheads going crazy. For us, it's pretty much the greatest job in the world."

                                2008 saw the band issuing their first-ever 'odds and ends' collection, SLIGHTLY NOT STONED ENOUGH TO EAT BREAKFAST YET STOOPID – the group's newest release for their growing label, Stoopid Records (which will also feature releases by other groups, including the label's first signees, Santa Cruz's The Expendables). Included on SLIGHTLY NOT STONED ENOUGH are outtakes from both the CLOSER TO THE SUN (including tracks that were previously issued as a limited edition bonus CD) and CHRONCHITIS sessions, as well as bevy of new material recorded at Miami's famed Circle House Studios, and such cover tunes as UB40's "I Would Do For You" and the traditional "I Know You Rider" (most notably covered by the Grateful Dead). Also making their first appearance on a Slightly Stoopid studio album are newly recorded renditions of such long-time live standards "False Rhythms" and "Sensimilla."

                                Seemingly always on the move, there appears to be no slowing down in sight for Slightly Stoopid, and according to Miles, that's precisely what fuels the group's creativity. "For us, the most important thing in the future, we just want to stay busy and always playing music – whether creating, touring, or just sitting on your couch and jamming. I think we'll always be recording. And just have fun – without the fun part, it ain't worth it."

                                OUR LINKS


                                Dirty Heads

                                MORE INFO COMING SOON!



                                  The Expendables

                                  The Expendables' distinctive live performances and unique brand of music, described as an eclectic mix of genre-bending rock, reggae and surf, have charmed audiences far and wide. Rapidly approaching status as a full-time touring act, the band is a rising star on the West Coast. To date, The Expendables has performed with in-demand musical acts such as Slightly Stoopid and reggae legend Eek-A-Mouse; appeared live on the Vans’ Warped Tour; and hosted its own radio show on The Santa Cruz X 103.9 FM. The Expendables landed number one in the Metro Santa Cruz Top 10 list of favorite bands in local music. In addition, Lion Entertainment and Your Music Magazine awarded the group first place in their Battle of the Bands contest in 2002. The Expendables has three original full-length albums to its credit: "No Time to Worry" (2001); "Open Container" (2002); and the most recent "Gettin' Filthy,” the polished result of a two-month recording stint at Herbie Herbert’s Sy Klopps Studios in San Francisco.

                                  OUR LINKS


                                  8/28

                                  Hard Working Americans

                                  | All Ages | 7 pm

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                                  Hard Working Americans

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                                    9/1

                                    X

                                    All Ages | 8 pm

                                    X

                                    X were the quintessential L.A. punk rockers before they grew into a world-class rock & roll band and live band; however, enthusiasm for their unique, intelligent and humorous work never quite reached critical mass.

                                    Formed in 1977 after songwriter and bassist John Doe (b. Feb. 24, 1956) met (and later married) Exene Cervenka (b. Feb. 1, 1956) at a Venice poetry workshop, with rockabilly veteran Billy Zoom (b. Feb. 20, 194?) on guitar and D.J. Bonebrake (b. Dec. 8, 1955) on drums, the band garnered an immediate following. "Discovered" by ex-Doors keyboardist Ray Manzarek, he took the band into the studio for the recording of Los Angeles in 1980. It was curious, at a time when punks were supposed to hate hippies, that X's merging with an ex-Door was not only tolerated, but earned them stature as California's preeminent punk band when the record earned across-the-board raves. 1981 saw the release of the similarly punked-up Wild Gift, while their 1982 album, Under the Big Black Sun, began what would be a long career in merging hard rock, country and folk into their fiery mix. The band successfully began to mix in their populist politics with an eye toward matters of the heart.

                                    As the band began to reach wider audiences, both Doe and Cervenka enjoyed outside careers in the arts — he as an actor in films like Great Balls of Fire and Roadside Prophets, and she as a poet and spoken-word artist, collaborating with Lydia Lunch and Wanda Coleman.

                                    In 1983, the rootsy songs on More Fun in the New World lent themselves to acoustic performances which the band had taken to trying live. They took it one step further on their side project, the Knitters (with Dave Alvin) which yielded one Slash album, Poor Little Critter in the Road, in 1985. Ain't Love Grand was a harder rock album in 1986 and was followed by Zoom's departure. He was momentarily replaced by Alvin, but for recording purposes, the band recruited Tony Gilkyson (formerly of Lone Justice) for See How We Are, the band's most decidedly hard-rock record in the catalog. Gilkyson stayed for the recording Live at the Whisky A Go-Go in 1988 before the band took some much-needed time off, although they never broke up. In the interim, Doe and Cervenka had since divorced, and the pair continued to work as solo artists, releasing Cervenka's Old Wives Tales (Rhino, 1989) and Running Sacred (1990) and Doe's Meet John Doe for Geffen in 1990.

                                    By 1993, the band got together for the recording of Hey Zeus!, a collection of new songs, but the response was underwhelming, and it was back to solo work. Doe released Kissingsohard for Rhino in 1995. Exene also released Surface to Air Serpents for the 2.13.61 label, as well as a reading of the Unabomber Manifesto, after changing her name to Cervenkova. During their frequent hiatuses, X would occasionally appear in Los Angeles and San Francisco and during one stay, recorded a live album in San Francisco in 1995, Unclogged, and self-released it. Cervenkova's latest project is Auntie Christ with Bonebrake and Matt Freeman of Rancid. Gilkyson also works as a solo artist. X also appeared in three films: Penelope Spheeris' punk documentary The Decline of Western Civilization, Urgh! A Music War, and a documentary of their lives and times, The Unheard Music. Beginning in 1998, founding member Billy Zoom returned to the fold for a series of on-again/off-again shows and limited touring; a pair of 2004 Los Angeles concerts were recorded and videotaped for Live in Los Angeles, released both as an audio CD and video DVD in the spring of 2005.

                                    OUR LINKS


                                    9/10

                                    FIDLAR

                                    | All Ages | 8 pm

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                                    FIDLAR

                                    FIDLAR - A biography

                                    "Thanks for coming, man. Want some bum juice?"

                                    "What the fuck is in this shit?"

                                    "Tampico and Everclear. It's pretty gross."

                                    When they started in 2009, seeing FIDLAR meant showing up to a house party and eventually having this exchange with one of them. Zac Carper, The bands guitarist and singer (well, one of 'em) would hand you a red cup , throw an arm around your neck and probably end up blurting out how fucked up he was. Their set list would read more like a grocery list of party supplies than a list of songs: "Cocaine. Cheap Beer. Chinese weed. Four Loko."

                                    After a few years of being a band Zac still plugs in his pedals attached to a skate deck ("Pedal board", get it?) and says "Hi We're FIDLAR: F-I-D-L-A-R. It means 'Fuck It Dog, Life's a Risk". Seeing a FIDLAR set consists of drinking and dancing with people that are twice as drunk as you are while the band rips through songs about what they know best: The girl doesn't call, my ex is a whore, I lost my phone, my car is a piece of shit, my friends are pieces of shit, I do too many drugs, I'm really awkward, I love Del Taco.

                                    FIDLAR is Zac Carper, Elvis Kuehn, Brandon Schwartzel, and Max Kuehn. Elvis and Zac met at Kingsize Soundlabs in LA and recorded a ton of demos with the band before playing a live show. Their first show was on a FMLY bike ride at a skatepark in Culver City. Three years later the band has played with Black Lips, OFF!, Japanther and toured with The Hives. They've released two EP's and just got back from touring Europe.

                                    Listening to them, you can tell that the band did their homework on punk rock and seem dead set on inflicting lessons on anyone willing to listen. Any given song will give you a Germs influenced guitar solo, the catchy "Ooo's" and "Ah's" of The Misfits , and lyrics in the same family as Black Flag's "Six Pack" and "TV Party" . On the same token they can just as easily be compared to any of the bands they cover (Blink 182, FEAR, CCR, Warron Zevon), yet it all comes across entirely their own: Surfier, Faster, more fuzzed out, more personal and a lot more drunk.

                                    FIDLAR's first LP is coming out via Mom + Pop and Wichita recordings. Recorded at their home studio, The album is set to be 14 tracks long and out January 22nd. FIDLAR are your dumbass friends that find a beer, scrape the shit off their shoes, and tell you how the hardest thing about waking up late and trying not to fuck up your life is having to do it with no job, no money and everyone bumming your cigarettes.

                                    OUR LINKS


                                    9/11

                                    Catch a Fire Tour 2015

                                    Damian “Jr. Gong” Marley
                                    Stephen “Ragga” Marley
                                    Morgan Heritage & Tarrus Riley

                                    | All Ages | 6 pm

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                                    Catch a Fire Tour 2015

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                                      Damian “Jr. Gong” Marley

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                                        Stephen “Ragga” Marley

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                                          Morgan Heritage & Tarrus Riley

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                                            9/12

                                            O.A.R.

                                            Allen Stone
                                            Brynn Elliott

                                            | All Ages | 6 pm

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                                            O.A.R.

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                                              Allen Stone

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                                                Brynn Elliott

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                                                  9/13

                                                  Albert Hammond Jr.

                                                  | All Ages | 8 pm

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                                                  Albert Hammond Jr.

                                                  The kernels of this new full length began with his five-song strong EP, AHJ, released on Julian Casablancas’ label, Cult Records, back in October 2013. AHJ showcased a bolder stance, his vocals are deeper, pulled to the fore, with less effects applied, each song is anchored by a more muscular rhythm section. Crucially, his approach to music has shifted; he’s flipped the page.

                                                  “I feel like my writing, for the most part, has been emotion and excitement and I just ran with it and where it stopped, I let it be—either due to being fucked up or laziness or whatever,” he says. This time around his compositions were more sharply honed, fired by a desire to write and rework his music until he was 100 percent satisfied. Additionally these songs were brought into focus with the help of Grammy-winning producer Gus Oberg—who’s worked extensively with The Strokes and happens to be one of Hammond Jr.’s closest friends; he was the album’s benevolent taskmaster.

                                                  “If I wasn’t getting it right he’d make me do it over and over and over again,” he recalls. “He was really hard on me—harder than he’s ever been. It was fun though, I’m not complaining. If anything, it’s nice to have someone who pushes you and I could tell how excited he was about it.”

                                                  Initial sessions for Momentary Masters began as a three-day stint in June 2014, an experimental getaway to test the water with his new band. Having established a solid unit touring the AHJ EP, he was keen to see how Hammarsing Kharhmar (the frontman of Mon Khmer; who’s been playing guitar with Hammond Jr. since 2008), guitarist Mikey Hart (Bleachers), bassist Jordan Brooks, and drummer Jeremy Gustin (Delicate Steve, Marc Ribot), would work together on his new material. Along with Oberg they convened at Hammond Jr.’s home in upstate New York, a converted barn he calls One Way Studios became their HQ. The space is half gearhead heaven, half welcoming living room, with high ceilings and windows that look out onto the woods. First up: working through demos for “Born Slippy,” “Caught By My Shadow,” and “Drunched in Crumbs.”

                                                  The sessions were extremely relaxed—they’d wake up, go for a run, play frisbee, maybe chop some wood, and then get down to it. Work days were followed by big family-style dinners cooked up in the evenings by Hammond Jr. and his wife Justyna; they’d all unwind watching John Oliver, Game of Thrones, or Boardwalk Empire. It was this summer camp-style environment that encouraged space for creativity and collaboration, which continued when they returned in September to lay down the rest of the record. (Apart from Bob Dylan cover, “Don’t Think Twice” which, with addition of a few overdubs, remains largely in its original, bedroom-demoed form.) The result offers a new kind of dynamism: you can hear it in “Power Hungry,” with its Morricone-esque grooves and a Mellotron manipulated to sound like violins; or in the aggressive stomp and anxiety-inducing guitars of “Caught By My Shadow.” Even on “Side Boob”—titled so because, hey, why not celebrate a good thing?—there’s a jittery energy that leaves the listener excited.

                                                  With the instrumentals largely complete, it was time for Hammond Jr. to retreat and write melodies, pouring over notebooks filled with impressionistic scraps, observations, and oxymorons, which he set about stitching together in lyrical form. The presence of these notebooks at all is thanks to a friend whose influence imperceptibly threads through much of Momentary Masters. A voracious reader herself who was constantly jotting down her thoughts, she encouraged Hammond Jr. to do the same, turning him onto poetry, and Anne Sexton in particular. She swooped into his life by chance—bonding initially over a mutual appreciation of Richard Pryor—and two short weeks later she passed away. This record is dedicated to her: Her name is Sara.

                                                  “I was already in that spot where I was really soaking things in: you’re sober so that’s what happens; you’re absorbing everything,” he explains. “She started showing me stuff that changed my idea of how to write and how to come up with ideas. I’d have never guessed I’d be talking about her now, but it was so magical that she came into my life for those two weeks.”

                                                  “Coming to Getcha” sees her presence expressly addressed—an imagined conversation between them sketched out, fragmented emotions that left an imprint, captured here so they’ll never fade. Momentary Masters is a record that reflects on missed opportunities, choices made, wasted time, and paths not chosen. He calls it “a love letter to my past self.” The music might be largely buoyant—spry, breezy guitar lines locking together and dancing apart—but melancholy frequently seeps into even the sunniest of toplines. It’s a record of acceptance too. Tucked in the song is an exploration of the reconciliation of two halves: the best self that you present to others, and the self that slips through and lies exposed when your guard drops.

                                                  “You know how you hang out with someone and there’s things you wouldn’t tell people? You portray that one side which you find to be most attractive, but eventually, if you become close enough, you reveal another side. Most people want to push that away and pretend it doesn’t exist. As good a person as you are, there is also darkness, and if you don’t believe that, you’re just lying to yourself. To be complete, you need to integrate that into your life and accept it as a whole.”

                                                  For Hammond Jr. there’s an unwavering thrill in creation and completion, and a hunger too for what’s next: he’s excited to get these songs on the road. Momentary Masters may be concerned with the duality of the human condition, and the recognition that life with all its peaks, plateaus, and lows is a mere blip—“enjoy the weirdness, because it’s all so fleeting”—but ultimately, in these succinct rock songs he’s communicated something that will morph in meaning through time, both to himself and to those who are listening.

                                                  - Kim Taylor Bennett

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                                                  9/27

                                                  The Growlers

                                                  | All Ages | 8 pm

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                                                  The Growlers

                                                  The music of The Growlers is unmistakable.
                                                  Sure, you can hone in on some influences baked into the work of this California-bred band.
                                                  Heck, even they’d cop to a few, like Ricky Nelson and The Clash. But once those same RIYL
                                                  tags have been filtered through the minds and hands and voices of this five-piece, there’s simply
                                                  nothing else like it.
                                                  The Growlers took the phrase “Beach Goth” as an apt descriptor of their music. Sunburned and
                                                  salty, that term perfectly describes their distinctive melding of reverb heavy surf guitar and
                                                  Bakersfield-style honky tonk with ‘80s post-punk.
                                                  This is especially true of Chinese Fountain, The Growlers’ fifth full-length set to be released on
                                                  September 23rd via Everloving Records. The 11 songs found on it are some of the strongest that
                                                  they’ve committed to tape yet; a byproduct not only of eight years in the trenches together, but
                                                  finely honing their gypsy folk dirges and psychedelic sea shanties to fans at close to 150 shows
                                                  each year. The connection between vocalist Brooks Nielsen and guitarist Matt Taylor (the
                                                  principal songwriters of the group) has only grown deeper.
                                                  “The band played better than they’ve ever played,” says Nielsen. “We’ve got the process down
                                                  now. There’s less screwing around to get the songs laid out and we weren’t waiting around for
                                                  take after take. We knew it and we played without much time to spare.”
                                                  That confidence bleeds through every track on Chinese Fountain, with the band assured enough
                                                  to layer in shades of many new influences: the loping ska beat of “Dull Boy” and “Going Gets
                                                  Tuff,” the playful disco beat behind the title track, or the Teardrop Explodes-like agitation of
                                                  “Good Advice.”
                                                  Not that the band left themselves much room to second-guess anything. The five spent about
                                                  three weeks writing the tracks, and about half that time in the studio recording them. That may
                                                  sound rushed, but it’s not as if you can hear any strain on the finished product; Chinese Fountain
                                                  is as rock solid and watertight as anything in their still-growing discography.
                                                  There’s evolution to be heard in Chinese Fountain as well, courtesy of some of Nielsen’s most
                                                  pointed and poignant lyrics to date. He takes our obsession with the online world to task on the
                                                  funky title track. When he drops the bomb that obliterates that most famous of Beatles’ claims
                                                  with "The internet is bigger than Jesus or John Lennon” he re-contextualizes Marshall
                                                  McLuhan's "the medium is the message" in the same breath. He urges positivity no matter the
                                                  obstacles (“Going Gets Tuff”). Too, he reveals a tattered heart to the world on tracks like “Rare
                                                  Hearts” and “Love Test.”
                                                  “This is my chance to let it all out,” Nielsen says of these songs. “I kind of bottle things up and
                                                  don’t really get emotional. But I think if I don’t open up, I’d be a really stale person.”

                                                  OUR LINKS


                                                  9/29

                                                  Zappa Plays Zappa

                                                  | All Ages | 7 pm

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                                                  Zappa Plays Zappa

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                                                    10/7

                                                    Built to Spill

                                                    | All Ages | 8 pm

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                                                    Built to Spill

                                                    Twenty years on from first signing to Warner Bros. Records, Built To Spill is set to return in 2015 with its eighth studio album, Untethered Moon. That’s now two complete decades that one of America’s leading “indie rock” bands has happily made its home on a major label, and in the process redefined that clumsy descriptor of independence by operating wholly and consistently under its own steam, taking the proper time to craft timeless songs and playing endless, epic shows to a growing grip of fans each year. Under the command of its constant leader, Doug Martsch, as well as a new rhythm section, Built To Spill’s creative process continues to ebb, flow and evolve in its own orbit, reemerging on record for the first time since 2009’s There Is No Enemy with ten new songs that fit at once into the band’s resonant catalog while infusing fresh energy into that signature sound.

                                                    In the summer of 2012, Martsch and his longtime bass player Brett Nelson and drummer Scott Plouf recorded an album’s worth of new songs and then went on tour. Martsch was unsatisfied with his performance on the recordings, feeling that he had had too few “eureka moments” in the studio and planned to tweak his parts after tour. Then, citing tour burnout, Nelson and Plouf quit the band, leaving Martsch to scrap the recordings and essentially start over. Adding longtime musical comrades Jason Albertini on bass and Steve Gere on drums, and along with guitarists Jim Roth and Brett Netson, the new Built To Spill emerged a month after reforming to play more shows in 2013 than any other year in the band’s existence. Energized by the new blood as well as marathon rehearsal sessions, Martsch decided to revisit the recording process as a trio, without the other guitar players. “With fewer people it’s easier to focus and communicate during the songwriting process,” says Martsch. “Also we wanted to make the record a little more stripped-down, a little rawer than our last one.”

                                                    Over much of the next year, the band would travel to Portland, Oregon, to record with producer Sam Coomes, the Quasi founder whose keyboard playing appears on several earlier Built To Spill albums. “Working with Sam was awesome. He would come to rehearsals and take notes and record us on various little devices. He had ideas for the songs, structural changes, and things like that, but most importantly, he was enthusiastic. We had rehearsed a ton and were maybe losing perspective a little, so to have someone we admire and trust telling us we were on the right path was huge. He also shared our vision of leaving out shit that’s not necessary.”

                                                    Acknowledging the intricate, bombastic drumming from Gere and Albertini’s effortless ability to “keep it in the pocket and move the song along,” Martsch found inspiration and confidence. He completed the songwriting with his usual method of piecing together scraps of guitar and instrumental parts from tapes of jams from previous eras of creation, along with the easy cohesion of the trio on new material, which they had practiced and demoed endlessly before setting foot in the studio.

                                                    “When we get together and pick up our instruments, I always believe that something magical is going to happen. And it often does, but it’s a magic that maybe only we can feel, in the moment, and doesn’t necessarily translate to tape or to other people. So we keep messing with it until it feels like real music to us. The songs evolve over a long period of time through trial and error. There’s a lot of ideas that don’t go anywhere, and it’s just a matter of leaving them out and including the things that work.” Whether a call by Coomes to abandon a trumpet in favor of a tripped-out guitar, or a killer drum beat evolving from a simple exercise pattern, or even a coincidentally connected artistic inspiration from Alejandro Jodorowsky, the tarot and a photograph of pets, there was no shortage of eureka moments during the making of Untethered Moon.

                                                    The album begins with the hard-hitting trio of “All Our Songs,” “Living Zoo,” and “On the Way,” songs that are as complex and compelling as anything on previous Built To Spill outings. Ripping solos, warm tones, vague and familiar Martsch themes of subconscious connection, human commonality and memory, Neil Young influences—it’s all there. “Never Be The Same” is a song from Martsch’s past, redone and encouraged by Coomes, while “C.R.E.B.” is a meditation on the scientific process of forgetting. The album ends with the eight-minute standout “When I’m Blind,” with solos echoing in and out of a drum-tight jam held down to perfection by the new guys. All in all, it’s the unmistakable sound of Built To Spill, but with a new energy that hearkens back to Martsch’s beginnings all those years ago in Twin Falls, Idaho.
                                                    Two decades on a major label and even more as a successful musician, the fire and focus haven’t changed for Martsch in the least. “We like making music and that's why we do this. Of course if everyone else hates this record, we’ll be bummed. We are trying to make music that people will enjoy."

                                                    OUR LINKS


                                                    10/8

                                                    Bully

                                                    | All Ages | 8 pm

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                                                    Bully

                                                    Led by Alicia Bognanno, Nashville's indie rock outfit Bully parlayed a 2013 self-titled EP and 2014's "Milkman" single into a deal with Startime International, an imprint of Columbia Records. Bognanno's experience as a sound engineer under Steve Albini at Chicago's Electrical Audio surely influenced the band's classic '90s indie rock sound.

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                                                    10/14

                                                    Lydia

                                                    Seahaven
                                                    Turnover
                                                    The Technicolors

                                                    | All Ages | 8 pm

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                                                    Lydia

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                                                      Seahaven

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                                                        Turnover

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                                                          The Technicolors

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                                                            10/29

                                                            Jon McLaughlin

                                                            Tess Henley

                                                            | All Ages | 8 pm

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                                                            Jon McLaughlin

                                                            Jon McLaughlin has been playing piano and making music since childhood. He was born and raised in Indiana, and eventually ended up at Anderson University, also in Indiana. With the support of the university’s record label, Oranghaus, a few friends and an old Chevy van, McLaughlin wrote and recorded music, and toured extensively throughout his college years
                                                            before he was signed to Island Records in 2006.

                                                            The following eight years had one common denominator for Jon McLaughlin: writing and producing songs, releasing albums, driving around the country playing music with his band and collaborating with fellow artists like Sara Bareilles, Demi Lovato, Xenia and Need to Breathe, among others. He has shared the stage with artists such as Kelly Clarkson, Adele, One Republic,
                                                            Bon Jovi, Colbie Caillat, Parachute, and Duffy. And, in 2014, a dream came true when Jon
                                                            supported the legendary piano man himself, Billy Joel, in selected dates across the country.

                                                            This coming fall, Jon will be touring with fellow Nashville singer songwriter, Ben Rector. Jon has also made his mark in music for film and television. In 2008, McLaughlin had a cameo appearance in the Disney movie, Enchanted, and performed the Oscar nominated song “So Close,” both on the film’s soundtrack and at the 80th Academy Awards. Jon’s songs have been
                                                            featured in major films such as Georgia Rule and Bridge to Terabithia. Jon’s music has been
                                                            featured on TV shows such as Scrubs, So You think You Can Dance, Ghost Whisperer, The Event as well as major network promotions. Jon has appeared on talk shows such as The Tonight Show with Jay Leno, CBS Saturday Morning, The Today Show, and The Bonnie Hunt Show, among others.

                                                            Selected Discography:

                                                            2007 Indiana (Island)
                                                            2008 OK Now (Island)
                                                            2011 Forever If Ever (Independent Release) 2012 Promising Promises (Razor and Tie)
                                                            2013 Holding My Breath (Independent Release) 2014 The Christmas EP (Independent Release)

                                                            OUR LINKS


                                                            Tess Henley

                                                            MORE INFO COMING SOON!



                                                              11/12

                                                              Young the Giant

                                                              Wildling

                                                              | All Ages | 7 pm

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                                                              Young the Giant

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                                                                Wildling

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                                                                  11/12

                                                                  Martin Sexton

                                                                  | All Ages | 8 pm

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                                                                  Martin Sexton

                                                                  A native of Syracuse, New York, Martin Sexton grew up on the timeless sounds of '70s radio, from Stevie Wonder to Led Zeppelin (who led him toward blues legends like Howlin Wolf and Willie Dixon). Sexton eventually migrated to Boston, where he began to build his following singing on the streets of Harvard Square and gradually working his way into the club scene. His 1992 collection of self-produced demo recordings, IN THE JOURNEY, was recorded on a old 8-track in a friend's attic. He managed to sell 20,000 copies out of his guitar case busking. Sexton recalls, "All those one-dollar bills I saved
                                                                  to make that record was the best eight-hundred bucks I ever spent." His captivating performances led to a bounty of Boston Music Awards and the National Academy of Songwriters "Artist of the Year" award.

                                                                  1996 saw Sexton release his first full-fledged studio recording, BLACK SHEEP, which remains an active favorite among fans. While the acclaimed Atlantic debut, 1998s THE AMERICAN, was produced by Danny Kortchmar, on the next record Martin opted to take the reins himself and produce. WONDER BAR (2000), the highly-anticipated second Atlantic release, Sexton was able to fashion an extraordinary collection of songs, reconstructing the spirited sound and unpretentious attitude of that classic '70s FM radio for a new generation.

                                                                  Hailed by Billboard as "the finest new male singer/songwriter of recent memory," as well as "a vocalist of amazing proficiency and sensual conviction." The Boston based troubadour on WONDER BAR was accompanied by two of rock's most valuable players bassist Tony Levin (King Crimson, Peter Gabriel) and keyboardist David Sancious (Bruce Springsteen, Sting). This and all Sexton's records distill soul, gospel, R&B, country and blues... in short, the American musical landscape into archetypal rock n roll.

                                                                  While Sexton enjoyed an uncommon artistic freedom and the backing a major label can provide, he was still left wondering if that large corporate machinery was necessary. Sexton asked Atlantic to be released from his contract and now...

                                                                  Happily and fiercely independent, Martin Sexton launched his own label Kitchen Table Records (2002) with his first live double-cd set, LIVE WIDE OPEN. Mixed by John Alagia (Dave Matthews Band, John Mayer), this record captures the energy of the artist connecting with the crowd, highlighting the joy, skill, and inspiration of any Martin Sexton musical performance.

                                                                  Renowned as a die-hard road warrior, Sexton has traveled the globe with his guitar slung on his back and a heart full of soul. His songs are intricate and spirited...His fans range from teenage students to jocks to musicians, from the East Village to Wall Street, tradesmen to doctors, black, white, young and old, all singing together in three-part harmony. To see the crowd at a Martin Sexton concert is to witness a cross-section of America. People claim Sexton's songs inspire them to change, quit their job, go cross-country, follow their dreams, or whatever... To this Sexton replies, "Walking down 7th Avenue I saw an old black man banging on a five-gallon bucket and singing some African chant. I was in a hurry to get where I was going, but had to stop, not because of the music, but because of his face. It was glowing, pouring out, overflowing with the most profound joy I had
                                                                  ever seen. This changed my life. Music has that power."

                                                                  Acoustic Guitar Magazine raved about Sexton's remarkable visceral live shows, calling the singer a "master of dynamics, reducing a room to silence with his blustering baritone, then teasing that silence with a fluttering falsetto." Jon Pareles of The New York Times wrote that the singer/songwriter "jumps beyond standard fare on the strength of his voice, a blue-eyed soul man’s supple instrument," adding that "his unpretentious heartiness helps him focus on every soul singer’s goal: to amplify the sound of the ordinary heart."

                                                                  Sexton tours in support of his seventh record, SEEDS, releasing April 2007, from the Nokia Theatre (NYC) to The Fillmore (San Francisco) and all points in between.

                                                                  OUR LINKS



                                                                  OUR CALENDAR

                                                                  June
                                                                  30
                                                                  Tuesday

                                                                  Crossroads KC

                                                                  Dark Star Orchestra

                                                                  DOORS AT 7:00 pm

                                                                  SHOW AT 8:00 pm

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                                                                  $25 - $5.25
                                                                  All Ages
                                                                  July
                                                                  3
                                                                  Friday

                                                                  Crossroads KC

                                                                  Gogol Bordello

                                                                  DOORS AT 7:00 pm

                                                                  SHOW AT 8:00 pm

                                                                  BUY TICKETS!
                                                                  $25 - $5.25
                                                                  All Ages
                                                                  July
                                                                  6
                                                                  Monday

                                                                  DOORS AT 6:00 pm

                                                                  SHOW AT 7:00 pm

                                                                  BUY TICKETS!
                                                                  $28 - $5.25
                                                                  All Ages
                                                                  July
                                                                  7
                                                                  Tuesday

                                                                  Crossroads KC

                                                                  311

                                                                  The Green

                                                                  DOORS AT 7:00 pm

                                                                  SHOW AT 8:00 pm

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                                                                  $36.50 - $7.95
                                                                  All Ages
                                                                  July
                                                                  8
                                                                  Wednesday

                                                                  The Bottleneck

                                                                  Dank

                                                                  DOORS AT 8:00 pm

                                                                  SHOW AT 9:00 pm

                                                                  18 & Over
                                                                  July
                                                                  11
                                                                  Saturday

                                                                  DOORS AT 6:00 pm

                                                                  SHOW AT 7:00 pm

                                                                  BUY TICKETS!
                                                                  $41.50 - $5.95
                                                                  All Ages
                                                                  July
                                                                  14
                                                                  Tuesday

                                                                  DOORS AT 7:00 pm

                                                                  SHOW AT 8:00 pm

                                                                  BUY TICKETS!
                                                                  $26 - $5.25
                                                                  All Ages
                                                                  July
                                                                  15
                                                                  Wednesday

                                                                  Crossroads KC

                                                                  Wilco

                                                                  Steve Gunn

                                                                  DOORS AT 7:00 pm

                                                                  SHOW AT 8:00 pm

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                                                                  $40 - $5.95
                                                                  All Ages
                                                                  July
                                                                  17
                                                                  Friday

                                                                  Crossroads KC

                                                                  Red Dirt Tailgate Dream 2015

                                                                  Randy Rogers Band

                                                                  Stoney LaRue
                                                                  Wade Bowen

                                                                  DOORS AT 6:00 pm

                                                                  SHOW AT 7:00 pm

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                                                                  $26 - $5.25
                                                                  All Ages
                                                                  July
                                                                  19
                                                                  Sunday

                                                                  Crossroads KC

                                                                  Cold War Kids

                                                                  DOORS AT 7:00 pm

                                                                  SHOW AT 8:00 pm

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                                                                  $21.50 - $5.25
                                                                  All Ages
                                                                  July
                                                                  21
                                                                  Tuesday

                                                                  The Bottleneck

                                                                  Wild Child

                                                                  DOORS AT 8:00 pm

                                                                  SHOW AT 9:00 pm

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                                                                  $11 - $4.50
                                                                  All Ages
                                                                  July
                                                                  24
                                                                  Friday

                                                                  Crossroads KC

                                                                  Funk Street 2

                                                                  The Floozies

                                                                  Break Science
                                                                  Wick-It the Instigator

                                                                  DOORS AT 7:00 pm

                                                                  SHOW AT 7:30 pm

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                                                                  $21.50 - $5.25
                                                                  All Ages