 |
 |
Widely acknowledged as one of the country's top contemporary flatpickers, David Nelson has deep roots in the Bay Area music scene. As founding member of both The Wildwood Boys and New Riders of the Purple Sage [NRPS], Nelson -- along with musical compatriots Robert Hunter and Jerry Garcia -- played a formative role in establishing what became known as the San Francisco sound. During his years with NRPS, the band created several classic albums for Columbia Records, and David's inimitable vocal on the hit Panama Red sparked a counter-culture anthem, while earning the band a gold record. In addition, he performed with the Jerry Garcia Acoustic Band, appearing on their Almost Acoustic release, and he made important contributions to the classic Grateful Dead albums American Beauty, Workingman's Dead, and Aoxomoxoa.
The DNB sound, however, is a true collaborative effort among musicians with well-established and fruitful careers. Lead guitar/pedal steel player Barry Sless (Kingfish, Cowboy Jazz) consistently has mesmerized audiences with his shimmering melodic lines and exploratory solos. Mookie Siegel's (Ratdog, Kingfish) keyboard, accordion, and vocal styles bring to the band a rollicking bayou sound, while spinning graceful threads of color and texture. Bass player/vocalist Bill Laymon (NRPS, Jefferson Starship, Big Brother and the Holding Company) and drummer Charlie Crane (Cowboy Jazz, Uptown Rhythm Kings) are capable of jamming with the best. Together, the rhythmic duo provides a solid foundation for the DNB's songs, while simultaneously anchoring and driving home the band's infectious grooves.
|
|
 |
King Black Acid and the Starseed Transmission is not a typical band. If ever there were a musical group that was a life form in and of itself, it would be this band. Changing. Growing. Exploring. KBA, as they are acronymically known, is one of the few bands that lives to change, pushing the boundaries of their own creativity to find new creativity. They are like a butterfly that goes back into the cocoon, only to emerge again as a new butterfly. King Black Acid is the alter ego of Daniel Riddle, leader of the internationally acclaimed and now-defunct band Hitting Birth. Riddle is to KBA what Clark Kent is to Superman or, perhaps more appropriately, what Dr. Jekyll is to Mr. Hyde. Formed in late 1994, King Black Acid, along with the Wombstar Orchestra, began performing live in Portland, Oregon and eventually up and down the West Coast. The band quickly developed a cult-like base of fans from all over the world that traded tapes and CD recordings of KBA's legendary live shows, which were attended religiously.
In 1997 the members of King Black Acid and the Wombstar Orchestra decided to go their separate ways. During their brief existence they built an army of loyal fans and released three albums through Cavity Search Records. Weighing in at slightly over an hour long, "Sunlit" contains only three songs, which were written in the studio while the band was on tour and orchestrated by Riddle using hand signals during the actual recording. "Royal Subjects" is made up of songs also written in the studio during recording and composed for the film "Zig-Zag". Mastered off a 90-cent cassette tape, "Wombstar Sessions" was recorded during a KBOO radio live broadcast of a largely improvised show. This performance introduced the band to Cavity Search.
Riddle, along with original Wombstar Orchestra drummer Scott Adamo, resurrected King Black Acid in 1998. Sarah Mayfield (guitars), Erick Alley (bass), Pete Ficht (keyboards), and eventually Sean Farrell (keyboards) joined Riddle and Adamo to form King Black Acid and the Starseed Transmission. Three long years after the release of "Royal Subjects", KBA released "Into the Sun", an eagerly received EP meant to appease fans until their full length album, "Loves a Love Song", which will be released in October 2000.
"Loves a Love Song" marks a departure from such songs as Sunlit's "Think Away," a 21-plus minute epic of transcendental space grooves. In addition to being the first time King Black Acid has recorded songs that were written BEFORE going into the studio, "Loves a Love Song" is a more song-oriented album, with tighter structure, shorter compositions, linear song progressions, and what some describe as a pop sensibility. Yet the album is still uniquely KBA. A song might begin as a deceptively simple pop hook and evolve into a massive sonic wall with each brick being deftly placed by the capable hands of the Starseed Transmission. Offering a swirling array of songs recorded analog and digitally both at home and in the studio, the album, which was recorded over nearly a year's time and was engineered by Jeff Saltzman, utilizes lush vocals, keyboards, and interweaving guitar melodies to create the trademark Starseed Transmission sound of trance-inducing spaced-out jams, while simultaneously and seamlessly incorporating a classic pop format.
Like all living beings, King Black Acid and the Starseed Transmission will continue to grow and develop and change, redefining itself in ways most bands can never conceive. With the release of "Loves a Love Song," KBA plans to move forward and build on the momentum that has propelled them thus far. As the future unfolds, the life and times of King Black Acid will be played out in more albums and in their devastating live shows which promise to win over new fans and satisfy the already converted.
|
|
 |
It was Bernie Worrell's work as a founding member and Musical Director of the massively influential supergroup Parliament-Funkadelic that sealed the induction of this genius of a musician into the Rock 'n' Roll Hall of Fame in 1997. Yet it's intriguing to consider that Worrell's numerous other stellar collaborations - most notably as a member of Talking Heads - could, in fact, place him in the hallowed Hall several times over.
In April, 2002, Worrell was reunited with Talking Heads in New York when the band received their own Hall of Fame induction. With Worrell back in place behind a bank of keyboards on the stage of Radio City Music Hall, the Heads performed show-stopping renditions of their classic songs Burning Down The House (Worrell's synthesizer work gave this remarkable Top 20 hit its definitive eerie quality) and Life During Wartime.
Bouncing Baby Bernie!
Bernie Takin' It To The Stage
The New York performance provided a distinct reminder - for the few who needed one - that Worrell was indeed instrumental in shaping Talking Heads' unique sound both live and on albums such as Speaking in Tongues.
Worrell also provided an influential contribution on the Heads' seminal video and album Stop Making Sense - acknowledged as arguably the finest concert documentary movie of all time.
Rolling Stone Keith Richards notes "the rare qualities of intuition and taste - not to mention humor - all come together in Bernie Worrell," and lead Talking Head David Byrne cites Worrell as "a genius."
ONE OF THE MOST SAMPLED MUSICIANS IN HISTORY
With Parliament-Funkadelic, Worrell co-wrote, co-produced, recorded and performed most of the group's compositions - classics Flashlight, Atomic Dog, Knee Deep, Cosmic Slop and Red Hot Mama, to name just a few - on its 50-plus albums and globe-spanning tours. These songs - and many more with Worrell's consummate musical licks - continue to remain popular.
Additionally, top rap and hip-hop artists and groups, including Dr. Dre, Ice Cube, Salt 'n' Pepa, Snoop Doggy Dog, En Vogue, Digital Underground, Heavy D, and De La Soul are just a few who have built hit songs around Worrell's one-of-a-kind riffs - making him one of the most sampled musicians in history.
While many performers may have been content to rest on the laurels of this incredible body of work, Worrell continues to flex his considerable creative and musical muscle. Worrell collaborated on critically and commercially acclaimed music projects with artists and groups including The Rolling Stones, The Pretenders, Soul Asylum, Jody Watley, Keith Richards.
FIRST CONCERTO AT AGE EIGHT
From the tender age of three, when Worrell began tickling the ivories, to his first concert performance at four - and his first concerto composition at age eight, Worrell was duly certified a prodigy. His studies at the New England Conservatory of Music and Julliard School of Music endowed Worrell with an undeniably strong classical foundation, the substructure for the supernatural experimentation that was to come...
In 1993 when David Letterman made his move to CBS, Worrell helped launch the CBS Orchestra with Paul Shaffer. Not limited to the small screen, Worrell tackled films: he co-wrote the soundtrack of Car 54, Where are You? (now a cult classic featuring Fran Drescher, Rosie O'Donnell and former New York Doll David Johansen) and other movies, including the Ice Cube vehicle Friday.
SAME AS IT EVER WAS!
Worrell continues to be in demand as a performer with Bootsy's New Rubber Band Featuring Bernie Worrell; Jack Bruce & The Cuicoland Express Featuring Bernie Worrell & Vernon Reid; as eyboardist for Black Jack Johnson (Mos Def's band) and many others.
Worrell's solo efforts have produced critically acclaimed albums: Funk Of Ages, Blacktronic Science, Pieces of WOO/The Other Side and Free Agent: A Spaced Odyssey.
And last, but certainly not least, Worrell has struck out in a new direction with his own supergroup project, Bernie Worrell & The WOO Warriors. He is currently taking his new band on the road to rave reviews, both in the United States and abroad, touring between the recording and production schedules of a Bernie Worrell & The WOO Warriors CD. Bernie Worrell & The WOO Warriors Live was released in mid-October 1998. A new live CD, entitled True DAT, was released in May, 2002.
|
|
 |
Kenyatta entered, smiled and announced, "Daddy soon come."
And like a father, Joseph Hill walked into the room and greeted us like his children and family with hugs, love and wisdom. He settled on the most uncomfortable chair in the room as his son Kenyatta got him a drink of juice, we joked about the scholastic journeys of his daughter Afrique. He missed her.
"It is essential for a man to have a family," he says with a smile.
We waited for this giant of reggae music to relax as he rolled a spliff and mused…
"Ganja is a botanical plant with many commercial options attached to it, like oil, clothes, power... it is quite optional, the fact is that, it will and can take a lot of manual labor... if you destroy it, you are destroying another way of surviving where power is concerned."
rastafaritoday.com: Do you think the crowd of youths screaming their approval in your audience understand what the Rasta man means when he says "legalize it"? One gets the impression they think you are talking about smoking…
"You see, smoking is the bait... herb to the Rasta man is a higher level of material…California has oil, Texas has oil... we have herb. If you tell them about certain things, them feel like you cussing them out. But, if people were made to feel like they can rely on themselves, the world would be better.
Them see Rasta as just like cannibal and blackheart man... (They) call you anything them feel like call you, try to jeopardize your community..."
rastafaritoday.com: With the rise and popularity of dancehall music, will Culture adopt this new sound to put forward the powerful messages and instruction you are known for?
"The variety in the music is like the Bobo broom. One for everything, you have the cobweb broom, the yard broom, short handle broom… and so on.
I am a rebel. I was inspired by the Rastafarians... I was like a tree, and as the tree grows, I see what direction it is taking... I am adventurer, using what's available. My music is for all. When I write, it is universal. My music is for the classroom, from kindergarten to college."
rastafaritoday.com: It is obvious from your music and reasoning with you, that you have some strong political opinions, how do you feel about Rastas being involved in politics?
"You know, traveling rivals any college, it is a thorough education. I have leaned a lot through touring. I love Africa… and Sierra Leone? I would live there for the rest of my life if only the rebels knew what they were fighting for. Rasta in politics… see, everyone sit aside and criticize. I say, if you aren't going to do anything, shut up and be quiet! If a man is ready to do something, tell him to call me. I am ready!"
|
|
 |
The Derek Trucks Band
Derek Trucks -- guitar
Kofi Burbridge -- keyboards, flute & vocals
Todd Smallie -- bass & vocals
Yonrico Scott - drums, percussion, & vocals
Mike Mattison - lead vocals
|
|
 |
What happens when a group of men of different races, ages and backgrounds come together and collaborate musically? A group like Garaj Mahal is created. In 2000, four men decided they wanted to try something totally new and musically exciting that had never been done before.
This four-member band consists of Eric Levy, Kai Eckhardt, Fareed Haque and Alan Hertz. Each brings something unique and exciting to the group.
|
|
 |
Long before the Itals were a spark in their producer’s eye, Keith Porter recorded his first hit single, “Hitey Titey”, with the Westmorelites on the Studio One label in 1967. Around 1969, Keith became lead singer for a band named Soul Hermit, backed by Eugene Gray and Wignal Henry on guitars, Reginald Seewell/Nash on base and drums. They played in numerous entertainment sectors of Jamaica until Owen Sinclair put together a new band in 1971. Called Future Generation, the band was composed of Dalton James and Roy Hilton on drums, Devon Henry on keyboards, Eugene Gray, guitar, Scott on sax, and Keith on vocals. They performed at many hotels and nightclubs on the tourist circuit of Jamaica for X amount of years, singing all styles of music, American and Jamaican.
Tiring of the club scene around 1975, Keith ran into Ronnie Davis on Orange Street in Kingston and asked him who was auditioning. Ronnie gave him a cassette with a rhythm. “I was so happy with that rhythm I didn’t look any further,” says Keith. “In less than a week I had written Ina Dis Ya Time and came back to Kingston to record it for Lloyd Campbell’s SpiderMan label. Lloyd felt it needed some harmonies with my lead, so Ronnie and I both added harmony parts. There was no intention of forming a group called the Itals; the record first came out as Keith Porter. After the song was on its way to becoming a hit in Jamaica, we all went out to do some promotion. Lloyd, Ronnie, myself and Brian Thomas of RJR were sitting out back in the cantina, when Brian said ‘why not call them the Itals’, because now there was more than one person singing. Everyone liked that name. It sounded good, so all of a sudden, Itals was a group. It was never intentional. I’ve always wondered if the name was the result of Brian noticing how strict I was about the food I ate, strictly Ital.”
Lloyd quickly repressed the record as ‘The Itals’ to meet demand. Today the song remains The Itals' signature tune, and has been described by Keith Richards of the Rolling Stones as “the perfect reggae track”. It has been included on the Rolling Stones’ Artist Choice cd, released this year and available through Starbucks Coffee from Hear Music, a division of EMI and in selected major chains.
The success of "Ina Dis Ya Time" saw the group return to the studio with the addition of Lloyd Ricketts singing the third harmony part on a series of superb recordings for the SpiderMan label. Tunes like "Don't Wake The Lion," "Brutal," and "Temptation" followed on 7” release in Jamaica and New York in ’77 and ‘78, establishing the Itals among the best of Jamaica's singers and songwriters. The Itals were twice finalists in the Jamaica Festival Song Competition, and their 1981 tune, "Jamaican Style," earned them a place at Reggae Sunsplash that year. 1982 saw the release of the first Itals' album, "Brutal Out Deh" on Nighthawk Records. The Itals toured the US and Canada backed by the Roots Radics. Their second album, "Give Me Power," was released to critical acclaim and hit #1 on CMJ's Reggae Route chart. In 1985, Pollstar Magazine placed them in the top 100 artists of the year.
The Itals' third recording, "Rasta Philosophy," won a Grammy nomination for best reggae album, followed by "Cool And Dread." Their fifth album, "Early Recordings," gathers together all the Itals' early singles and several rare pre-Itals tracks for a collector's feast from Nighthawk. Next came the Rhythm Safari album “Easy to Catch”, followed by “Modern Age” on Ras Records, and continuous touring throughout the U.S., Canada and Europe.
Over the years, the Itals have performed countless shows worldwide. Although the harmony singers have sometimes changed, they still sound as sweet as ever, backing the original Itals lead vocalist, Keith Porter. Now, with the release of “Mi Livity” from the Itals’ Keith Porter, the Ital tradition continues into the current music scene
|
|
 |
Now the Dirty Dozen Brass Band celebrates 25 years of making music with its ninth album, Medicated Magic, a tribute to the hometown that's always embraced and nurtured them. Original songs are mixed in with covers of tunes by such New Orleans legends as The Meters ("Cissy Strut," "Africa"), Allen Toussaint ("Everything I Do Gon Be Funky") and Dr. John ("Walk On Gilded Splinters," "Junko Partner"). Produced by Craig Street (Cassandra Wilson, Chris Whitley, Chocolate Genius), Medicated Magic is quintessential Dirty Dozen: energetic, festive, eclectic and sporting a musical tone that seems to emulate New Orleans' languid native drawl.
|
|
 |
Shortbus Bio
Ras One - Lead Vocals and Guitar
Trey Pangborn - Guitar
Eric Wilson - Bass Guitar
Damion Ramirez - Drum Kit
Long Beach Shortbus Electronic Presskit
Long Beach Shortbus is tearing up the road with an all new album filled with 18 brand new tracks. The band, featuring members of Sublime & Long Beach Dub Allstars has regrouped, and are ready for the masses to hear. Eric Wilson's days as Sublime's bassist and Ras1's experience as the lead singer for the Dub Allstars have allowed them to fine tune their sound for a new record.
The new album, "Flying Ship of Fantasy" has taken a year to record under the watchful eye of producers Michael "Miguel" Happoldt and Lewis Richards.. It breates new life and original sounds along with the unmistaken identity of the Long Beach musical tradition.
In February 2004 shortbus embarked on a sold out tour of Europe, Fresh from the studio and eager to play the new material for their die hard fans. while on tour back in the U.S., Warner Brothers selected RAS1's song, "Sunny Hours" as the theme song for their new sitcom "Joey" on NBC. This revelation has ignited the band into another song writting frenzy, which will ultimately result in another full length album for next year.
This year has been momentous with a constan, consistent touring schedule, and thousands of miles and fans under the belt. Shortbus is breaking new ground every tour, delivering thunderous rock sets night after night.
|
|
 |
Before starting the Jackmormons, Joseph led the reggae/rock band Little Women, based out of Boulder, Colorado, which ruled the Rocky Mountain club circuit for most of the 80's and broke up in 1993. Joseph continued to record before an oft-publicized drug addiction temporarily sidelined his career. The process of getting clean took Joseph to New York, Montana, Salt Lake City, where the Jackmormons were formed in 1996, and eventually to Portland. Mouthful of Copper is the second release from Jerry Joseph & The Jackmormons on Terminus Records and follows the critically acclaimed Conscious Contact which was released in early 2002.
When asked why the band chose to make a live record in Montana, Joseph replied, "The Jackmormons used to hang out in Butte and we decided to record there because it's the weirdest place in America and Evel Knievel is from there." Mouthful of Copper is actually the second live record in which Jerry Joseph & The Jackmormons reference Butte, Montana. The first being Butte, Mont. 1879 (recorded in Salt Lake City, UT) released in 1996 on Holladay Records.
|
|
 |
We are very lucky to have the Supersuckers for a 2nd night and especially a St. Patricks day show. You are not going to want to miss this 2 night extravaganza. THE GREATEST ROCK N' ROLL BAND IN THE WORLD
You’ve heard our name, you’ve seen our records, our t-shirts and our stickers. We’re probably the favorite band of someone you know and yet we’re still a mystery to you. Well my friend, that’s okay, I’m here to fill you in and help you to get to know the greatest rock-n-roll band in the world, The Supersuckers.
Our story is almost impossible to believe. This band is literally a human cartoon. We all grew up among the dead-ends and cactus needles of Tucson, Arizona and have known each other since grade school. We graduated from the same high school together at the same time (a school immortalized in our song “Santa Rita High”) and we chose to play in a band together because we liked to hang out together, not because we were great musicians or anything. I truly believe that a band is defined by their limitations, that what they can’t (or won’t) do is just as important as what they can do. I guess that, in this era of pre-fabricated, put-together-to-have-a-hit bands, we’re kind of an aberration and I gotta tell ya that that makes us smile a little every day.
We formed the band in 1988 and we were initially a five piece called The Black Supersuckers ( a name found in some quality “adult literature” we had laying around in our impeccably clean band house!), with me on bass, Dan “Thunder” Bolton and Rontrose Heathman on guitars, Dancing Eagle on drums and a lead singer by the name of Eric Martin. After firmly proving ourselves to be the best band in town we decided it was time to get out of Tucson and try our luck somewhere else. So we tossed a coin with heads as New Orleans and tails as Seattle. Tails it was and in May of “89 we packed up and went north.
We had no idea that Seattle was about to become “Rock Mecca USA”, we just wanted to go somewhere where we could wear our leather jackets a little more often. It was exciting and encouraging to see all of the great bands there, doing their own thing and making some kick-ass, aggressive rock-n-roll that we could relate to, so we started recording immediately. After some classic “creative differences” with our lead singer, we decided to try it as a four piece with yours truly as the singer (I was the only one who knew all the words) and The Supersuckers, as you may or may not know them today, were born.
Our first recordings as a four-piece wound up on various singles for small labels and then were compiled for a C.D. called The Songs All Sound The Same. (For the full story on these recordings I highly recommend picking up the re-issued version on our own label, Mid-Fi Recordings). But it was our live shows that caught the eyes of the good people at Sub-Pop Records and, after a particularly scorching show one night, they offered to put out our records. We said ,“Buy us some beer and you got a deal!” And our long and enduring rock-n-roll ride was officially under way.
Starting with 1992,s “The Smoke Of Hell”, we released a total of three rock records, one country record, split singles with Steve Earle and The Rev. Horton Heat, countless singles and a “best-of” double album (all on Sub-Pop,) then we put out what is considered to be our finest recorded moment to date “The Evil Powers Of Rock-n-Roll”(Koch/Aces & Eights) in late 1999. We’ve also been touring our asses off all over the world with bands like Mudhoney, Social Distortion, Bad Religion, The Ramones, Motorhead, The Toadies, The Butthole Surfers, The Reverend Horton Heat, The Dwarves and White Zombie. We’ve played a couple of Farm Aid shows and backed Willie Nelson on The Tonight Show. Our music has appeared in T.V. shows (Beverly Hills 90210), Movies (Baseketball, Hype) and commercials (Mountain Dew) as well as countless snow and skateboarding video compilations.
Throughout this entire time, our sole mission has been to create and perform timeless, quality music and get as many people as possible to hear it. That goal has never changed. The pursuit of that perfectly imperfect rock-n-roll moment is all we’ve ever been after. We’ve been doing this for well over a decade now and we’re just getting started.
2001 found us starting our own label; Mid-Fi Recordings. We’ve finally decided to take control of all of our affairs and have become a lean, mean, self managed, totally independent rock-n-roll machine. We’ve got the greatest fans in the world and no one cares more about them and our music than we do. Having our own label gives us the freedom to make more of our music available to them without the hassles of “the middle-man” worrying about things like “marketing” or “demographics”. Hell, these are just hard words. All we want to do is get some kick-ass music out to the people and with Mid-Fi we have been able to do just that. Our first release was a live country record entitled “Must’ve Been Live”, that came out in March, 2002. Since then, we have dug into our “private reserves” and released several singles of some our finest outtake stock (a habit we intend to keep), and we’ve also managed to pull off a couple of “split” singles with fellow under-appreciated rockers, the Hangmen and Throwrag.
The coolest thing we’ve managed to pull off to date has been the forming of our own record company, Mid-Fi Recordings. Our first wholly owned and fully independent release, Motherfuckers Be Trippin’(released April 22nd, 2003) was the perfect follow up to The Evil Powers Of Rock N Roll, it spent a couple weeks on the Billboard Independent Charts and songs from it have been featured on MTV’s Real World and Viva La Bam shows as well as countless ski and snowboard videos. We even managed to work a single (Rock N Records Ain’t Selling this Year) to radio where it was #1 on the RnR Specialty Charts for 4 weeks in a row. We have since been able to keep the releases coming at a rate that could never be achieved with any other label. In addition to MFBT, we've released my first solo album, The Sauce, and countless singles. We've also established the Mid-Fi Field Recordings series which has seen the release of three live Supersuckers records and one live DVD and will see us releasing our first recording by an artist other than the Supersuckers. Mid-Fi Field Recordings, Vol. 5 will feature the criminally under-appreciated, Zen Guerrilla. Recorded on New Years Eve 2002, this is perhaps the greatest live recording of all time!
We will also be releasing my second solo record, Old No. 2 in October and the new Supersuckers studio album shortly thereafter. All that and I'm working on a book about our trials and tribulations in the hard-knocks world of rock-n-roll, tentatively titled The Greatest Story Ever Told (Is that taken?). So it looks we'll be entering the world of publishing as well!
WHEW! Now that you're caught up, you can clearly see that we have no “quit” in us whatsoever and the next time you see The Supersuckers name, whether it’s in the record store or on the marquee at your local nightclub, know that there’s some quality, honest, ass-kicking, hard working individuals in there, trying to make your life a little better through the “Evil Powers Of Rock-n-Roll” (and the occasional detour into the country of course) and we’d love nothing better than to have you there with us. Just remember to wear you clean underwear, because we’re gonna rock your pants right off of you.
|
|
 |
If ever there was a group assembled to defy musical boundaries, to challenge musical categories and harvest endless world influences while simultaneously dancing audiences into oblivion, it is The Motet.
Since its inception on Halloween of 1998, this Boulder, CO-based outfit has been astonishing American audiences with an uncanny ability to funnel bottomless musical inspiration into superbly unpredictable sets. On any given night The Motet might take its audience to the streets of New Orleans for some “swampy” funk, or perhaps to the villages of West Africa for a taste of traditional drum rhythms, or possibly to the cities of Cuba for a bit of Latin Jazz, or even to the clubs of New York City for some polished James Brown-type funk. Though maintaining brilliant variability, one thing remains constant - the ability for this six-piece ensemble to excite any crowd into a dancing frenzy. And it’s not just the audience that gets caught up in the group’s energy. Distinguished musicians such as Charlie Hunter, The James Brown Band, Bela Fleck and the Flecktones’ Reedman Jeff Coffin, Los Von Von, Paul McCandless and The String Cheese Incident have shared their musicianship on stage with The Motet.
|
|
 |
One of the few Jamaican singers to truly bridge the gap between the roots and dancehall reggae styles is the man known as Everton "Blender." When reggae fans hear the opening notes of "Lift Up Your Head," "Ghetto People Song," "Blend Dem," etc., they instantly recognize these songs as the cultural anthems of our time. The large number of hits Everton has accrued is most impressive for an artist who has been in the business for such a seemingly short period of time. But like many of Jamaica's biggest musical stars, the road to fame wasn't a short or easy one.
Everton Williams was born in the parish of Clarendon, Jamaica, but grew up in Kingston 13 on Maxfield Avenue. Everton worked as a painter, construction worker, and decorator, but he realized that the strong chemicals he was working with were not good for his voice or his health in general. With divine help and direction, he decided to leave his job to pursue a singing career. In 1980, he met Phyllis Thompson (who would later become his wife), and moved back to Clarendon. In 1985, Everton and Phyllis' first child, Isha, was born.
Although Everton had recorded a handful of singles for various producers, he had yet to score with a hit on the island. But that was all about to change in 1991 he voiced the autobiographical "Create a Sound." The song described Everton's experiences in the music business and with the Rasta faith. It was released the following year on the Star Trail label, and it was Everton Blender's first hit. Everton continued to record for Star Trail, who had a distribution deal with Heartbeat Records. 1994's Lift Up Your Head (HB 169) was Everton's full length debut, and featured "Create a Sound," along with the hits, "Family Man," "Bring di Kutchie," "My Father's Home," "Gwaan Natty," and the title track, which would go on to become one of the biggest anthems of the 1990's.
Everton continued to record for Star Trail and other labels, scoring hits including "Blend Dem," "World Corruption," "Bob Marley," "Piece of the Blender," "The Man," and "Coming Harder," all collected on the 1996 album, Piece of the Blender: The Singles (HB 209). At this time, Everton decided to take charge of his career and start his own label, which he named Blend Dem Productions. He began to finance most of his own recordings, a move which proved to heighten tension between himself and many who wished to control the music production and promotion on the island. But he persevered, knowing that being in control of his career was the right decision, and his relationship with Heartbeat became even stronger. In 1999, Heartbeat released Everton Blender's first album of Blend Dem productions, Rootsman Credential (HB 227). Alongside boom shots like "Ghetto People Song," "Why Do We Have to War," and "False Words" were Everton's own productions including "Slick Me Slick," "These Hands," and many more strong statements of Everton's faith and will to succeed. Since the release of Rootsman Credential, Everton has toured the United States, Europe, and the Caribbean-establishing himself as one of the top touring forces from Jamaica. Live at the White River Reggae Bash (HB 242) captures Everton performing his most popular material with the Blend Dem band.
As the millennium came to a close, Heartbeat released an album of new Blend Dem productions that includes top acts riding Everton Blender produced rhythms. Dance Hall Liberation (HB 246) features Anthony B, Tony Rebel, Louie Culture, Richie Spice, Everton Blender, daughter Isha, and others. Everton was also executive producer on Richie Spice's debut album, Univeral (HB 103), and plays a role in Spanner Banner's new release, Real Love (HB 249).
Blender's album released in 2001, Visionary (HB 254), consisted of his trademark conscious committment over sizzling roots and dancehall self-productions. With guest appearances by Beenie Man, Anthony B, Tony Rebel, and Marcia Griffiths along with Everton's own strong performance, the album garnered favorable reviews throughout the music press. 2001 and 2002 also marked excellent touring year for Blender, where he headlined several major reggae events.
King Man (HB 258) is the latest work of Blend Dem Productions.out in August ‘03, and is the next installment in Blender's legacy of excellent reggae music for the discerning listener. Expect to see Everton Blender somewhere near you as he tours later this year to support the release.
|
|
 |
Biography: Eek-A-Mouse
Born: Ripton Joseph Hylton
November 19, 1957. Kingston, Jamaica, West Indies.
It is not only Eek-A-Mouse's 6 feet 6 inches height that make him one of Jamaica's most individual talents. He has created a style all his own, and gone on to become something of an international phenomenon quite apart from the rest of the world of reggae. Hylton's unusual name was originally that of a racehorse upon which he frequently lost money; when the horse finally won a race, he had, of course, refused to back it.
"My Father's Land" and "Creation", his first two releases, came out under his real name in the mid-70s. Not only were they made while he was still in college, they were produced by his math teacher Mr. Dehaney.
In 1980, he started recording with Joe Gibbs after working briefly with the Papa Roots, Black Ark, Gemini, Jah Life, Black Scorpio and Virgo sound systems.
"Wah Do Dem" was the 1980 single that made his name in Jamaica. Even though it was considered too controversial for radio airplay. It was followed by "Modelling Queen," another JA hit single that appeared on his first album "Bubble Up Yu Hip". Both were produced by singer Linval Thompson and issued on his Thompson Sound label in Jamaica.
By 1981, he had teamed up with producer and Volcano sound owner Henry "Junjo" Lawes and had achieved significant hits with "Once A Virgin", "Modelling Queen" and "Virgin Girl". Before the year was out, the artist had joined forces with producer Junjo Lawes and remixer Scientist. Backed by the Roots Radics, Eek cut "Virgin Girl" and "Noah's Ark," before having another go at "Wa-Do-Dem," for Greensleeves. The latter did the trick and Eek-A-Mouse had arrived with a sound so unlike any other, equal parts singing, DJing, and disconcerting Oriental-esque weirdness, that soon all of the island was raving about the rodent.
He was the toast of Reggae Sunsplash in 1981, his bubbling lunacy providing a cathartic release to a festival otherwise in mourning for Bob Marley. "Biddy biddy beng" roiled out across the crowd, and the audience shouted it back as one, instantly cementing the syllables as the catchprase of the new decade. Eek saw out the year with the holiday hit, "Christmas A-Come."
1982 was the year of the Mouse, with a litter of smash singles including "Wild Like a Tiger," "For Hire and Removal," "Do You Remember," and "Ganja Smuggling," and the seminal album "Wa Do Dem," rounding up most of the hits and more. With "Operation Eradication," Eek proved there was a thinking man inside the mouse costume on a single inspired by the tragic vigilante killing of close friend and fellow DJ Errol Scorcher. A rabid appearance at Reggae Sunsplash was also captured on tape and released in 1984. "Skidip!" appeared before the year closed and although it was less hit-driven than its predecessor, was just as strong nonetheless.
More smash singles followed in 1983, while "Mouse and the Man" proved to be another classic set. Again produced by Linval Thompson and backed by the Roots Radics, this remains one of the artist's masterpieces. The following year's "Mouseketeer", produced by Junjo Lawes, included several hits, while also taking on contemporary issues and finally answering fans' number one question on "How I Got My Name." A distribution deal with Shanachie later put these records in the hands of American reggae fans.
In 1985, Eek began working with producers Anthony and Ronald Welch, for whom he recorded the "Assassinator" album, which was his U.S. debut on the RAS Records label. It was a rather depressing and violent affair thematically, although even the most serious subjects have a comic irony under the artist's oddball delivery. Surprisingly, or not, Eek's international audience was found amongst the rock crowd. Which explains why "The King and I", also released that year, was recorded in the U.K. with producer Cliff Carnegie.But it was on 1988's wittily titled "Eek-A-Nomics" that the DJ began seriously courting this new audience. Bolstered by the hit single "The Freak," a version of the Addams Family theme song.
Eek signed to the Island label the following year and even grabbed a role in the film New Jack City, playing Fat Smitty. "I do seven or eight minutes in the movie but they cut me down to one minute and I was pissed. Lost my Oscar!," Mouse laments. He later passed on a part in Steven Seagal's "Marked For Death," after reading the script. "It had some bad vibe about Jamaicans. It have Rastaman doing all kinda voodoo and drugs."
The "U-Neek" album,which included tracks produced by Gussie Clarke, Daddy-O and Matt Robinson, was the pinnacle of cross-pollination between reggae and rock, highlighted by a cover of Led Zeppelin's own Hindenberg attempt at reggae, "D'Yer Maker." The album also spawned the hit single "You're The Only One I Need," and an appearance on The David Letterman Show. Unfortunately, this was to be Eek's first and last album for Island.
It wasn't until 1996 that a new full-length, "Black Cowboy", appeared on the Sunset Blvd./Explicit label. Though his voice seemed to have dropped an octave, the breadth of subject matter, as well as his patented "bingy-boingy" style indicated that Da Mouse was still "in the house."
Mouse continued to tour almost constantly throughout the end of the 90's and into the millenium, performing an amazing 200-250 shows a year. While still finding time to appear on collaborations with different artists including Cocoa Brovaz, POD, Papas Culture, MC Torch, and BranVan3000. Also, appearing on various riddim albums from the UK. before releasing "Eeksperience" on Coach House Records in early 2001.
A chat with Eek-A-Mouse is something of an aural adventure. More than a quarter-century of recording, global touring and enough years of residency in the suburbs of Irvine to justify an accent heavy on California mall girl-isms have hardly changed the dancehall godfather's husky Kingston patois. Though his voice is smooth and rich in tone, Mouse's unique re-imagining of English grammatical rules can prove challenging to the unprepared ear.
Take a conversation touching on Mouse's feelings about his music's place among reggae's current crop of dancehall favorites. While a couple of decades removed from the early '80s Jamaican dancehall scene that solidified his reputation as one of the genre's most irreverent and oft-copied toasters, The Mouse — as he is fond of calling himself — hardly feels his career has peaked or that his time has passed.
"I'm Mouse, you know? I'm Mouse, so I can change my style any time. There's different reggae now ... hip-hop, dance, regular reggae. Just like Eek-A-Mouse. I'm also unique, you know? Different."
"I was singing when I was a child, yeah," said Mouse, asked about his hand-to-mouth beginnings in Kingston's notorious Trench Town ghetto. "I would sing with my mama. I was singing all the while. Then the kids got interested, and sometimes I would sing them songs. Sometimes there would be little concerts going on in school and I would participate in singing, you know? But I knew I was gonna be a singer soon."
Mouse's diverse list of early musical influences reads like a Magic 8-Ball of the varied styles that would eventually color his inventive lyricism and instrumentation.
"I loved Nat King Cole, Marty Robbins, Cab Calloway, Patsy Cline ... all different singers. Sam Cooke and The Beatles ... and stuff like that," said Mouse, rhapsodically. "And then I came up with my own original style."
That "original style" included elements of "sing-jaying," an early form of toasting (boastful catch phrases, singing and DJ work) mixed with funky vocal gymnastics and effects. Mouse's contribution to the genre was a percussive, nasally vocal style, and a talent for using his voice as a musical instrument that moved The Boston Globe to call him "the Al Jarreau of reggae." Much to his chagrin, Mouse has also often been called the originator of "sing-jaying."
"I don't know why they call me that," said Mouse, chuckling. "Maybe ... it's a good vibe. Maybe a good vibe is what they feel, you know? Using my voice as an instrument ... (it's) just what I do, you know?
"Sometimes, if I'm freestyling lyrics ... I'm thinking about the sound. I say, 'bam-ding-ding' and stuff like that to get the lyrics together."
Over the years, Mouse's core audience has also happily accepted his frequent lyrical switch-ups from half-baked humor ("The Mouse and The Man" is about a Disney World meeting of the minds with Mickey) and pointed social commentary ("Operation Eradication" is about the murder of his friend Errol Scorcher by politically-motivated Jamaican eradication squads).
"That just came natural," said Mouse, of not being pigeon-holed to a sole lyrical style. "I never worried about ... sounding the same because I'm always seeing stuff happen to people. And I'm alive, you know? So I just sing about current stuff happening in the world ... and just make it unique to The Mouse."
And as evidenced by some off-the-cuff long-distance crooning, what seemed to be on The Mouse's mind of late was some serious fascination with amour.
"I've got a song called 'Pretty Girl,'" said Mouse, offering a track from this summer's still untitled followup CD to 2001's "Eeksperience."
He began singing softly and sweetly, "She's a pretty girl. Pretty like a diamond. Pretty like a-gold." After finishing, Mouse shared a few verses from another gently performed love song called "I'll Be Waiting," this one using all manner of weather-related lyrical metaphors as a promise of keeping one's love real.
You in love, Mouse?
"Yeah, you know ... but not really," he said, laughing again. "I go through stuff sometimes, you know? — and I'll sing about it. It's like stress release."
We know.
|
|
 |
The Early 1980’s
During the early part of his career, Pato participated in a talent show where he was proclaimed the winner by judges Ranking Roger and Dave Wakeling of The English Beat. This culminated in the single, “Pato & Roger A Go talk”, which appears on the Beat’s gold selling album, Special Beat Service. Shortly thereafter Pato performed the hit songs, “Hip-Hop Lyrical Robot” and “King Step” on UB40’s Baggariddim and Little Baggariddim albums, which also featured the chart topping, “I Got You Babe” with guest artiste Chrissie Hines.
Pato’s first audition at Fashion Records impressed the producers so much that they instantly changed his name to Pato Banton. (In DJ circles a “Banton” is a heavyweight lyricist, thus in England, Pato became “The Banton”) His second single, “Allo Tosh Got a Toshiba” (recorded for Don Christie on Jamdon Records) reached number 3 in the independent reggae charts and launched a string of successful projects with Fashion Records, Greensleeves & Island Records. During this time Pato teamed up with top London MC Tippa Irie and under the guidance & management of GT Haynes they traveled around the world and recorded songs like, “Double Trouble”, “Dance Pon De Spot” and “Dem No Know Bout Pressure”.
The Mid 1980’s
Looking for an avenue to express his conscious lyrics, Pato approached Neil Frasier at Ariwa Records and recorded his first album, “Mad Professor Captures Pato Banton” which is still regarded as an all time reggae classic!
Hungry for the feel of performing live, Pato joined up with a band of Birmingham’s top local musicians called the Studio 2 Crew. After a year of rehearsals and shows around the UK and Europe, Pato went on to record his second album “Never Give In!”
It was at this time that Roberto Angotti, (a popular Radio DJ and pioneer of British Reggae, who hosted a show called The Reggae Revolution on LA’s top alternative rock station KROQ) was invited to the UK by UB40 to document the making of their “Geoffrey Morgan” album.
Roberto was directed to check out a local club and spotted the talented Banton “mashing down the house!” After reporting his experience back to the band, UB40 keyboardist Mickey Virtue, gave Roberto a copy of Pato’s hit single “The Boss” and a contact to Pato’s Manager, GT Haynes.
This led to Roberto inviting Pato to the USA to work with local musicians on the live circuit and to record a song with the San Diego based rock band, Private Domain. While at KROQ, Pato wrote and recorded his parts to the track entitled “Absolute Perfection” and the song became an instant radio hit and reached No.1 in the music charts of Peru.
With his popularity growing rapidly, Pato renamed his band “The Reggae Revolution” and began touring extensively. The buzz about Pato Banton’s live shows sparked the interest of IRS Records. A contract was signed and “Never Give In!” was released in America and then globally. Such classic songs as “Don’t Sniff Coke” “Handsworth Riot” “Gwarn” and “Settle Satan” established this recording to what many consider to be a timeless reggae masterpiece.
Pato’s third album, “Visions of the World” was released in 1989 and reflected the experiences and inner growth of a rising star. After tours with Ziggy Marley & the Melody Makers, Burning Spear, Third World, Yellowman, Black Uhuru, Dennis Brown and Steel Pulse, Pato secured his place and respect as one of the best live performers in the reggae industry.
His fourth album “Wize Up (No Compromise)” demonstrated Pato’s awareness of social issues and his strengthening spirituality. This recording featured the talents of Peter Spence, Drummie Zeb of Aswad, and guest vocalist David Hinds of Steel Pulse. Following this album and associated worldwide tours, Pato’s fith album, “Live and Kicking All Over America”, was released in 1992. This album demonstrated the immense loyalty of Pato’s fans and his charisma as a live performer.
Pato’s sixth album was “Universal Love”, an inspiring collection of original soul stirring classics. This CD also featured “Go Pato”, inspired by his then manager, Makeda Dread, (of the World beat Center in San Diego) who took note of the fans’ chanting at his shows. This song became an instant hit, especially in South America where it became the number 1 and most played song in most countries.
Hit After Hit - UK and Worldwide Chart Success
For the 1994 compilation album “Collections”, Pato reunited with Ali and Robin Campbell of UB40 to record a cover of Eddy Grants single “Baby Come Back”. The song became a worldwide hit, achieving top 5 rating in over twenty countries, including Australia, New Zealand, Russia, Japan and across Europe. Pato Banton became a household name in the UK, as this single stayed at number 1 for four weeks in the British charts. Pato’s success continued with “Bubbling Hot”, another duet with Ranking Roger (which was also a top twenty hit in the UK.)
In 1996 Pato joined forces with international pop icon Sting, on a reggae remix of “This Cowboy Song.” This track earned a top ten place in the UK and South American charts. While performing together live on the UK’s Top of the Pops, Pato and Sting were joined by rock star/comedian Jimmy Nail in a show-stopping performance, which led to Sting flying Pato and the Reggae Revolution on his private jet to perform with him on a nationally televised media event in Spain, which showcased other mega stars like Madonna and George Michael.
Pato’s ninth album, “Stay Positive”, was a blend of classic reggae sounds with messages of peace, love and spiritual unity. From this album came the hit single “Groovin” (with Steve Morrison of the Reggae Revolution) and another successful collaboration with Sting, to re-make the Police classic “Spirits in a Material World”, which was included on the soundtrack of the Jim Carey movie “Ace Ventura: When Nature Calls”.
After six years of chart success and continuous touring, Pato decided to step away from the music business and continue on his path of Positivity. In the comfort of his own home studio, Pato acquired the help of long time friend and top producer Paul Horton to recorded his tenth album “Life is a Miracle”, which gained a Grammy Nomination and clearly defined the lyrical, musical, and spiritual growth of this outstanding artiste.
Peter Gabriel’s organization, WOMAD, recognized Pato’s talents and invited him to headline a series of shows across the world. While on tour Pato was able to undertake music workshops for disadvantaged children in many cities and was actually allowed inside a maximum security prison in Sicily to lead a live music session with young offenders. This tour took Pato Banton & The Reggae Revolution to Europe, Australia, North & South America, Malaysia, Singapore & South Africa. But during this time Pato began to feel as though he had fulfilled his goals as an artist and felt guided to refocus his energies within his own community. Whilst touring America, Pato was informed that two of his sons had been shot in a drive by shooting. Although they both survived, this news confirmed in Pato’s mind that it was time to follow the call to scale down his career as a performer in order to put something back into his home town of Birmingham, England.
2000 – 2004 Working in the Community
Within months Pato moved his Gwarn International Studios into a local community setting and created a small team of family and friends. Before the doors were even opened, the Principal of a local college invited Pato and all his staff members to set up an exciting new music department where they could offer courses in Sound Engineering, Vocal Tuition, Keyboard and Guitar lessons, DJ Mixing and Music Technology.
Despite leaving school at an early age and with no qualifications, Pato took the opportunity while at Matthew Boulton College to advance his own education. He successfully completd a Level 1 & Level 2 course in Teacher Training and a course in Counseling Skills.
During this same period Pato created a community network called Musical Connections, a program designed to put music equipment and computers into 16 youth centers (including centers for young offenders). He also trained many community tutors how to deliver basic courses in Music Technology to the young people that attended their centers. Next Pato set up a Community Classroom in the college so that young people who were talented or very interested in music, but had no formal qualifications had the opportunity to achieve a college education through music.
With the support of Viv Taylor (the Head of Community Safety in Handsworth), Pato launched another community project called Muzik Links in 2001. The aim of this venture was to attract young people who were at risk, in care, or involved in crime and gang activities. This project gave hundreds of youths the opportunity to be involved in professional recordings, dance troupes and live performances. On many occasions Pato would volunteer his services as counselor, mentor or public speaker and by performing at local community events.
By the end of 2002, Pato set up his own School of Musical Arts And Technology (SMAAT) and with his entire team relocated to the city center. Within weeks they were approached by South Birmingham College, who offered to employ the services of Pato and his co-workers. Pato agreed to a partnership and accepted the role of Assistant Director of Creative Studies. The success at the college combined with his role in community centers, high schools, a kindergarten and many prisons around the UK, led to Pato’s work becoming recognized across the region. In a partnership with the West Midlands Police Force called Project Ventara, it is noted that Pato’s involvement helped to reduce the number of gun related incidents across the city. Accordingly, Pato was nominated and awarded with the BBC’s prestigious Lifetime Achievement Award for his dedication and commitment to positive change. In the same year Pato received the Black Music Award for Lifetime Achievement in recognition of his contribution to the British Music Industry and on the day the Birmingham Museum opened its doors to the Reggae Hall of Fame, Pato was formally honored alongside UB40 and Steel Pulse.
2005 A New Era
A period of deep reflection and meditation left Pato feeling guided to continue his musical journey. In early 2005 Yahe Boda (a consecrated spiritual teacher and forerunner) invited Pato to do a short tour across America to “Gather the People in Praise.” This led to Pato phasing out his community commitments and with renewed energy to take on the challenge of recording the inspired double album entitled “The Words of Christ.” (a narrated album of Christ’s teachings taken from the Urantia Book)
Poised to re-launch his career from the USA, Pato decided to reach out again to his close friend Roberto, and a partnership was formed. Although Pato had been away from the live concert circuit for many years, he had a place in the minds and hearts of the masses. Pato’s remarkable reputation as being a first rate showman was evidenced in the grand reception to his comeback and the rave reviews from the media and fans alike. After two short tours with Sol Horizon & DubCat, a twist of fate saw Pato join forces with the very popular, Mystic Roots Band (voted top Reggae Band by the Los Angeles Music Awards). After a successful tour starting in Hawaii and then across the mainland of the USA & Canada, Pato took the band into the studio and recorded the “Positive Vibrations” album.
With plans for more tours, another album and future collaborations, it will be interesting to see what the future holds for such a truly inspirational artist.
Compiled and Presented by: Steve Hughes, Viv Taylor, Roberto Angotti & Pato Banton
|
|
 |
The Mighty Diamonds, Donald “Tabby” Shaw, Fitzroy ”Bunny” Simpson and Lloyd “ Judge” Ferguson formed in 1969 in the Trenchtown area of Kingston, Jamaica and for the past 32 years have been entertaining and educating the world with their sweet harmonies and conscious lyrics.
They quickly became known as the young group with the Motown sound with their soulful harmonies and polished performances. They first hit singles “ Country Living” and “ Hey Girl” were recorded on the Channel One label. Their debut album “ Right Time”, released on the Virgin has become a classic. This is an album that belongs in every serious reggae collection. “ Right Time’ is probably their most requested song when they perform.
“ Pass the Kouchie” also became an international hit when first released and then again when it was covered by the “ Musical Youth” and released as “Pass the Dutchie”
Tabby, Bunny and Judge have produced over 40 albums in their long career and it would be hard to select just one album as a favorite but if I were asked to pick the definite Mighty Diamonds album I would have to say “ Deeper Roots”. This album proves that the Mighty Diamonds are truly the best in the business.
The trio has toured the world extensively and has a strong following in Europe and Japan as well as in the US. In Jamaica they are forever loved, performing many times at Reggae Sunsplash to the delight of all in attendance.
The Mighty Diamonds are remarkable for the fact that the three founding members have remained together, despite the ever-changing and cutthroat music business, for 32 years -- and counting!
The Diamonds find strength and inspiration in their faith and their love of Jah. Their message is one of unity, love and at times, rebellion in the face of injustice.
|
|
 |
From the very first moments of "Used," which opens Tony Furtado's new album, Thirteen (coming Jan. 23 on Funzalo Records), it's clear that the prodigious instrumentalist turned singer/songwriter is a man on a mission. This bracing rocker, with its galloping ZZ Top groove and restless Tom Petty vibe, establishes the album's interlocked themes of "good luck/bad luck/no luck" (as Furtado puts it) on both the personal and political levels, while a phalanx of fretted instruments provides a thrillingly visceral reminder of Furtado's prowess as an ax wielder of the first order.
On Thirteen, this rapidly maturing artist fulfills the immense promise of his 2004 breakthrough These Chains, his initial foray into songwriting and singing. While Furtado's 2005 outing, the literally solo Bare Bones, pushed the technical envelope as he recorded his own one-man tour, the expansive Thirteen reveals an artist with a great deal on his mind and a full arsenal of skills with which to express his thoughts and feelings in a captivating way. "These Chains was my first serious attempt at songwriting," says Furtado, "so it was a trial by fire, with a bit of experimentation. This time I had the chance to go deeper."
Recorded to 16-track, two-inch analog tape during the summer of 2006 at Tucson's Wavelab Studios (a favorite venue for Calexico, Neko Case, M. Ward, Iron & Wine and other cult heroes), the album features an all-star cast including keyboardists Sean Slade (whose production credits include Uncle Tupelo and Radiohead) and Jim Dickinson (producer of the seminal Ry Cooder albums that inspired Furtado to take up the slide guitar), bassist Dusty Wakeman (whose resume includes three previous Furtado LPs, Dwight Yoakam and Lucinda Williams), drummer Winston Watson (who has played with Dylan and Giant Sand) and Wavelab's own Craig Schumacher (Calexico, Case, Iron & Wine), who produced and engineered.
Furtado admits the gathering of heavyweights gave him pause going in. "At first I was worried that it might be a clash of the titans," he admits. "But after we got together and started talking about the material, hanging out and playing, my fears quickly dissipated. Plus, that studio is packed with old instruments, and all the guitars hanging on the walls create a sonic aura. There are some bizarre instruments there that I threw on the tracks."
On this project, Furtado's playing and the considerable acumen of his all-star studio band was fully focused on the 10 Furtado originals and three well-chosen covers that comprise Thirteen. The dreamlike "California Flood," which is "wrapped around old memories of weekends on a boat in the Sacramento Delta," deals in vividly metaphorical detail with a child's struggles to understand the mysterious workings of the adult world. For "Another Man," a bitter breakup song he confesses was based on personal experience, Furtado references the blues epic "When the Levee Breaks" (famously rendered by Led Zeppelin), in effect splitting the distance between emotional tumult and self-mocking irony.
Furtado started the faux-confessional "The Alcohol" while living in L.A. and reading a lot of Charles Bukowski. "It’s like a love song to drinking, almost," he jokes. "I noticed I was drinking more when I was reading Bukowski. And one night, after I came home from a drinking session on Ventura Blvd., I wrote a couple verses and a chorus. Months late, after I moved to Portland, I hammered out the rest of it with [acclaimed Nashville-based singer/songwriter] Amelia White."
The album's title song and centerpiece is far more solemn. "Thirteen" recounts the January 2006 Sago mine disaster, which trapped 13 men, only one of whom survived. "I've heard so many mining songs in my folk history, and I've sung so many topical songs in the past, that writing and singing it felt natural to me," Furtado notes. By giving the song the textures, cadence and language of Appalachian traditional music, the artist places the Sago disaster in its proper historical context while also giving it the universal resonance of tragedy. Similarly, "Hurtin' My Right Side" is a modern-day take on another roots idiom with which Furtado is thoroughly familiar - prison work songs and field hollers. He adapted the traditional piece, which he describes as "spellbinding," expanding it with a bridge and chorus.
Embracing female harmonies further enrich the overarching humanity in Furtado's understated, quintessentially Californian singing. The blended voices bring an intriguing new dimension to Furtado's renditions of the thematically apt "Won't Get Fooled Again" from the Who and "Fortunate Son" from Creedence Clearwater Revival. Further, given Furtado's thematic focus on luck in both the personal and political realms, these songs, which he'd discovered as a boy while working through his parents' record collection, lock right into place. A third cover, Furtado's whimsical take on Elton John's "Take Me to the Pilot," allows this musically and conceptually dense song cycle to catch its breath before soldiering on.
Most of the songs took shape during an intensive period of reflection and creative outpourings in Furtado's present home in Portland. "The past year has been an interesting time of growth for me," he explains. "When I first moved back, I knew I wasn't going to be hitting the road for a while, so I set up a couple of local weekly gigs to try out new songs and keep my chops up, and I also got some watercolors and taught myself to paint. I used to be a sculptor, so I got a bunch of clay, set up a little shop in my basement and started working that side of my brain. At the same time I was reading poetry and fiction, and I got an iPod and filled it up with music from the Kinks, the Who, Tom Waits, the Band and Elliott Smith, whose music had a big influence on me - the abstract quality of his lyrics but also the catchy, Beatlesque melodies. And every day I'd pick up the guitar to see what would come out. I ended up having a lot of songs to choose from." He chose them wisely.
Furtado, who grew up in Pleasanton, Calif., in the East Bay, took up the banjo at 12 and was hailed as a prodigy at age 19. As he was cementing his reputation as a banjoist extraordinaire, Furtado was also developing himself into an equally virtuosic slide guitarist. And now, with Thirteen, this restless artist makes an exponential leap into the wide-open spaces of mythopoetic America, a terrain inhabited by such personal heroes as Cooder, the Band, Creedence, Petty and Waits. No two ways about it – this heartfelt, multileveled work completes Tony Furtado's ascent from the folk circuit to the big leagues.
|
|
 |
World-famous and ready to rock, Hell's Belles is the premier all-female AC/DC tribute act, blowing all comers away. Playing ALL AC/DC, ALL the time, ALL over the globe, spanning all the pure rock brilliance of AC/DC's career (from "High Voltage" to "Back in Black" and beyond), HELL'S BELLES do justice to the Aussie legends with patented HELL'S BELLES devotion, precision and fury. Endorsed by Angus Young, himself (Blender Magazine, 2003), HELL'S BELLES are the closest one can get without actually moving to Australia and joining AC/DC's road crew.
HELL'S BELLES formed in 2000, the brainchild of former member, Amy Stozenbach (guitar), alongside former member, Om Johari (vocals). The current 2005 line-up features original member Mandy Reed, rock ready and solid as Cliff Williams (bass guitar), Adrian Conner, dreadlock slinger and wicked player as Angus Young (lead guitar), Lisa Brisbois, sly and subtly intense as Malcolm Young (rhythm guitar), Melodie Zapata, heavy hitter as Phil Rudd (drums), and finally, grabbing both Bon Scott and Brian Johnson by the balls, confident and exuberant, the "New, Hot Belle," Jamie Nova (lead vocals).
HELL'S BELLES is about AC/DC! They're about the finest rock they've got to offer and they're about empowering women to get "up front" in rock. HELL'S BELLES go to great lengths to encourage women to play music, to get involved, and to grab and hold a piece of the action. Representing for a whole new generation of women that won't be intimidated, HELL'S BELLES actively support women-populated bands, by making sure to include them in shows and interviews whenever possible. Not some down-your-throat feminism, but a proactive support and action spirit towards the continued balancing of the gender scales.
The hundreds and hundreds of shows HELL'S BELLES have played around the world, including Japan, Canada, and the good ol' USA (including Alaska), have become legendary nights of epic proportions. Sold-out, sexed-up, and starving for a little dynamite -- there's not a HELL'S BELLES audience that hasn't been blown away by the raw power and undeniable appeal that these BAD ASS BELLES serve hot. From "Live Wire" to "The Jack" to "TNT", it's an all out rock-n-roll assault that leaves you begging for more. And, more you'll get as HELL'S BELLES keep conquering new cities, new states, and new countries. They'll be in your back yard spreading the AC/DC new testament any day now.
|
|
 |
NW Hammond organist, Joe Doria brings together some of the areas finest with "McTuff". An ode to some of the organ greats in soul jazz, McTUFF is about letting it all go and having fun. A moment of time to remember the ease and tastiness laid down by these soul masters while mingling in original works of their own, all of it set on your plate today by some of the most accomplished players in town.
Joe Doria captains the Hammond Organ, the renowned "Skerik" on tenor sax, the impeccable Andy Coe on guitar, and last but not certainly not least, the incredible Dvonne Lewis providing the 100% solid rock on drums.
Sure, there's a time for all that wonderful heady music...and then there's a time to grab your poison of choice, the woman you want and just relax the groove. For we are remembering a sacred period...a period of soul and groove. A time when ORGANS RULED THE EARTH!
McTUFF is that vehicle. Ask for it by name, let's get into trouble baby!
|
|
 |
Charlie Escher plays electric upright bass, fretless bass, slide bass, guitar, guitar synthesizer, and vocalizes. He’s played in a variety of hippie jam bands since the early '70s, as well as making forays into bluegrass, fusion, traditional jazz, old school country, many styles of rock, and cheesy porn soundtracks.
Living in Seattle during the mid-eighties he played bass in a very popular jam band, The Raging Maggots. In his day job as an electronics technician he’s worked with pro audio equipment of every sort for 35 years or so, and designs and builds much of his own performance gear.
He’s also worked mixing onstage or tech'ing onstage for a huge variety of acts, including The Allman Brothers Band, Jimmy Cliff, Bo Diddley, Canned Heat, Tony Furtado, Hanuman, and many more. Many of you have seen him working at the board right here at the River City Saloon or on the local club, winery, and festival circuits playing bass with Joanie's Jazz, Les Vaughn, Ed Swick, Django's Cadillac, etc.
Omar Sankari took up drums at an early age, learning from his uncle, a professional who played some of the same clubs that Passing Wind has appeared at. Omar played in his high school big band, then worked his way through college playing in cover bands in Seattle during the Grunge era. You may have seen him playing in the Gorge with Joanie's Jazz, the Ed Swick Trio, Tess Barr, and many other local bands.
Omar and Charlie started playing together in 1991, and have played in a trio format with a number of different band members over the years. The duo format seems to allow the greatest improvisational freedom though, so they’ve been using that format regularly for the last few years. And what format will they use this time? Come and see for yourself!
Passing Wind invokes the influences of Ornette Coleman, Miles Davis, Sun Ra, Shagnia Twain, Boxcar Willie, Rocky and Bullwinkle, Tom Waits, and according to nearly everyone who sees them play, Frank Zappa. They will be debuting material from their new CD, Alienacana.
|
|
 |
Up and coming local act, CANDYBONES will funk and groove you late night.
|
|
 |
You all know local personality "CRAZY" Pete Lorimer. Pete has been a First Friday fixture and perennial opener for the QUICK and EASY BOYS here @ the River City He again will be performing in the openers slot. This time around he will be opening for a special RIVER CITY SALOON as we know it closing engagement. The Quick and Easy Boy will be headlining this SPOOKY event He has a tendency to POP IT OFF!!!!!! SPECIALLY IF IT'S HOT OUT!!!!
|
|
 |
The Quick & Easy Boys are a power-trio from Portland, Oregon who create their own brand of rock 'n' roll mixing together honky-tonk, funk, and a DIY punk attitude. Imagine the Minutemen, Funkadelic and Willie Nelson rolled into one. Their high-energy thought-provoking original music provides a bounce to your step that can only lead to a whole lot of dancing.
Formed in 2005, The Quick & Easy Boys quickly made a name for themselves in Eugene, Oregon before moving themselves to Portland and building a fanbase there. Passing through a few incarnations and out-of-print recordings, the core members Jimmy Russell on guitar, Sean Badders on bass, and Mike Goetz on drums continue evolving musically as a band…and audiences continue their enthusiastic calling of “Yeah Bud!” at every show. Their 2008 release “Bad Decisions With Good People” has left people raving about their unique and vibrant sound.
The Quick & Easy Boys continue touring throughout the Western United States, opening for bands like The Bridge, Iglu & Hartly, Bob Wayne & the Outlaw Carnies, The Pimps of Joytime, Vince Herman, Scott Law and Shanti Groove. In 2009, they plan on touring throughout the United States and releasing a new CD in their quest to constantly re-invent “Honkadelic”. Faces will melt.
|
|
 |
Four on the Floor is a bluegrass band based out of Portland, OR. As longtime friends who first met at various festivals around the beautiful NW, this band was formed out of a love for fast pickin high energy shows. Four on the Floor is somewhat of a rock-band approach to bluegrass music as opposed to the purely traditional style. This band is committed to bringing high energy to the stage and producing a sound that young and old can enjoy. Bring your game face and get ready to boogie!
|
|
 |
R.I.P., River City Saloon
|
|
| |
|
|
|
