“Keep a look out for these guys as they tour the country; they may just become a household name” - Huffington Post
Who are The Artisanals? :: WATCH THIS :: https://youtu.be/Cj95hb8rjfU
Watch "Drag" music video premiere on Billboard here: https://www.billboard.com/articles/columns/rock/8468109/artisanals-band-drag-video-interview
Somewhere on a dusty road or a well traveled interstate, right at this very moment, a rock n’ roll band is pounding the rock. They’re probably wearing the same clothes they had on yesterday, and reminiscing about last night’s gig. Inspired by a guitar lick that cuts to the bone or a melody that lingers on refrain, this band is following a path forged by countless other musicians who’ve lived and died in dive bars or ‘made it’ with their posters taped to bedroom walls. What makes this band of brothers any different? This band is The Artisanals.
Johnny Delaware grew up in a small South Dakota town surrounded by cornfields and dirt roads. For 19 years, he lived in a wide-eyed perspective baptized in the setting of a John Mellencamp song. In order to personally evolve and carry out his musical destiny, Delaware knew that the heartland wind would have to blow him around the country. Eventually, Delaware would move to Charleston, SC and team up with guitarist Clay Houle, drummer Josh Hoover, and bassist Eric Mixon to form The Artisanals in late 2016. Within a year of forming, The Artisanals dropped their four-track debut EP, Literally, Anywhere, and promptly received critical acclaim from Huffington Post, Paste Magazine, Daytrotter, PopMatters.
Now, The Artisanals are set to drop their debut self-titled full length album. Produced by Wolfgang Zimmerman and set to release on AWAL on September 21, 2018, The Artisanals, is the first ever record to come out of the Magic Barn - an Iowa studio-converted-barn that features the Neve console and gear from NYC’s now defunct Magic Shop Studio which recorded David Bowie’s last two albums, Arcade Fire’s The Suburbs, and can be seen on Dave Grohl’s Sonic Highways.
With sonic influences ranging from the heartland rock of Bruce Springsteen (“Angel 42”), and neo-psychedelia anthems of My Morning Jacket (“Pound The Rock”), to the dream-pop work of The Cars and The War On Drugs (“Drag”), The Artisanals 10-track LP showcases Delaware and Houle’s knack for writing hooks as well as their ear for quality production. The album utilizes everything from a gong, organ, piano, sitar, french horn, trombone, and koto, to a string section sourced from the nearby University of Iowa. Mastered by Howie Weinberg, (Spoon, Ryan Adams, Nirvana), there’s no filler on The Artisanals. From start to finish, this record is a straight banger.
The Artisanals' debut LP will come out fall of 2018, but in the meantime, check out their EP of tracks on Spotify: https://spoti.fi/2rhBNcR
Live at Tricky Falls “Pound The Rock” - https://youtu.be/GkBOBAcIIc4
Live at SouthSounds “Angel 42" - https://youtu.be/H9lWpeWBFDM
The High Divers (Duo):
The rollicking indie rock outfit, The High Divers, will be paring down into the husband/wife duo of Luke and Mary Alice Mitchell. Skeletal outlines of their rock n roll anthems will give listeners the opportunity to hear the songs as they began, with two voices, an acoustic guitar, and some keyboards. These shows will be most rewarding to those that pay close attention to lyrics, something The High Divers have always prided themselves on. After touring the U.S. extensively for years as a full band, these duo shows will be a refreshing change in pace, as well as a chance to prove that a good song can travel in any configuration.
Doors at 5
Support at 6
Greensky at 7
For more than a decade and a half, the members of Greensky Bluegrass have created their own version of bluegrass music, mixing the acoustic stomp of a stringband with the rule-breaking spirit of rock & roll. They redefine that sound once again with their sixth album, Shouted, Written Down & Quoted.
Like the band's own name, Shouted, Written Down & Quoted is a collection of opposites, full of dark psychedelic swirls, bright bursts of acoustic guitar, soundscapes, solos, freethinking improvisation, and plenty of sharp, focused songwriting. It's wild and wide-ranging, showing off the diversity Greensky Bluegrass brings to every live show. At the same time, Shouted, Written Down & Quoted is unmistakably a studio album, recorded during two different sessions — one at Echo Mountain Studio in Asheville, North Carolina; the other at the Mountain House Recording Studio in Nedarland, Colorado — that comprise the band's longest block of recording time ever. The result is an 11-track album whose songs cast a wide net, mixing the full-throttle energy of a Greensky Bluegrass concert with the nuanced approach of a band that's still eager to explore.
"You can call us an acoustic ensemble, or a drum-less rock band, or a rock & roll bluegrass band," says mandolin player Paul Hoffman, who, along with guitarist Dave Bruzza, handles most of the album's writing duties. "All of that shifting identity has taught us to cover a lot of ground. There's a flow to this album, just like there's a flow to our setlists. There are some aggressive, rocking moments. Some bouncy, funky moments. An acoustic think piece or two. It's a balance of moods and textures that we create as a band, almost like a mix tape."
Formed in 2000 in Kalamazoo, Michigan, Greensky Bluegrass kicked off their career playing living rooms and open mic nights across the Midwest. By 2005, they were touring nationally, and by 2006, they were playing the first in a long series of appearances at the annual Telluride Bluegrass Festival. Bandmates Hoffman, Bruzza, dobro player Anders Beck, banjoist Michael Arlen Bont, and upright bassist Mike Devol spent most of the following decade on the road, fine-tuning a live show modeled not after the toned-down production of traditional bluegrass music, but the full-on spectacle of rock.
"We play two sets of music every night with a big light show, and really care about creating a large scale production," notes Bruzza, adding that, "the goal isn't just to play important music. We want to cultivate an experience, where people can escape from their everyday lives for a minute and put their worries aside."
Playing as many as 175 shows per year, Greensky Bluegrass have graduated to headlining status at some of the country's most iconic venues, selling out amphitheaters like Red Rocks and world-class auditoriums like the Ryman. They've become a regular name on the festival circuit, too, adding Bonnaroo, the New Orleans Jazz Festival, Austin City Limits, Forecastle, and Outside Lands to their touring schedule. Supported by a grassroots audience whose members often travel for hours to see the band, Greensky Bluegrass are still a proudly independent act, enjoying the success of a major-label act — including a Number One debut on the Billboard Bluegrass chart for their fifth album, 2014's If Sorrows Swim — without giving up complete control of their own business.
Released on the band's label, Big Blue Zoo, Shouted, Written Down & Quoted kicks off with "Miss September," a song that splits its focus between Hoffman's mid-tempo melodies and the band's instrumental solos. Most of the album's tracks strike a similar balance, showcasing a group whose vocal hooks and flat-picking skills share the spotlight equally. Meanwhile, the guys stretch their legs on "Living Over" — an improvised, seven-minute knockout that's already become a live staple — and show surprising restraint with "While Waiting," a slower song whose ebb-and-flow arrangement often finds no more than two bandmates playing at once. "Room Without a Roof" features some of the group's most layered production to date, with electric instruments adding some thick sonic padding, while "More of Me" cranks up the drama, with Hoffman singing about heartache over a bed of minor-key guitar arpeggios.
"We tend to have a darker sense to ours songs than most acoustic bands," Bruzza adds, "but we still have light moments, too. We're trying to explore the textures and sounds we can make, while still having the instrumentation of a bluegrass band. There aren't many rules. We'll run a dobro though an amp on a song like 'Past My Prime.' We can get pretty epic. This album is a crazy carnival one minute, and it's a psychedelic Pink Floyd jam the next."
Equal parts dark, driving, and dynamic, Shouted, Written Down & Quoted is Greensky Bluegrass at their best, fusing the fiery fretwork of their live shows with the focus of a true songwriting outfit.
Dedicated song crafting has always been the cornerstone of The Freeway Revival. A group forged on the road, they continue to use their lyrics as a window into the life of a traveling band. The Freeway Revival's explosive blend of southern rock, funk, and psychedelic soul encapsulates a sound that feels strangely familiar yet remains entirely unique to itself.
Performing live, The Freeway balances organized, well-crafted tunes with a jam ethos that lends a raw and explorative power to the music. The blend of tasteful guitar harmonies, vibrant four-part vocal harmonies, and a unique assortment of piano and organ melodies creates a soundscape that is both intricate and energetic. Rest that on the groove of a solid rhythm section, and you are sure to feel the magnetic force of this band! Each member plays a vital role in making the live experience unforgettable.
The band has toured relentlessly behind their self-titled EP as well as their full length 2017 release 'Revolution Road', continually growing a dedicated grassroots fan base. The process of writing, recording and touring is ongoing and exponential as they allow the livelihood of what they do to shape their sound and experience.
In 1980 Melvin Seals joined the Jerry Garcia Band and remained a member until Jerry Garcia's untimely death in 1995. After Garcia's death Seals took charge. Under his leadership, the slightly renamed 'Melvin Seals and JGB' pays tribute to Garcia by performing his songs and remaining faithful to his style.
We are the Keepers of the Flame!
The Fritz is a soul-driven dance rock band hailing from Asheville, NC. The group’s aggressive approach to funk, soul, and rock creates a sound that is uniquely their own. Their high-energy, danceable songs provide a platform for each member to shine. With powerful vocals, climactic solos, and tight grooves, The Fritz has built a devoted following and is captivating audiences everywhere.
Originally formed in the rehearsal spaces of University of North Florida's School of Music, The Fritz discovered an immediate chemistry. Drawing on influences such as Prince, Talking Heads and Jimi Hendrix, the quintet integrated their diverse musical tastes and began writing music together.
With their college days behind them, the Fritz soon set their eyes on the mountains of Western North Carolina, eventually settling in Asheville in July 2011. After the release of their 2012 debut album, Bootstrap, the band launched into a near-constant touring schedule. With appearances at festivals such as Hulaween, Wakarusa, and Catskill Chill, the band quickly gained a reputation as a live act not to be missed.
The band’s 2017 release, Natural Mind, captures a sound that has been years in the making.
“We intentionally waited to go back into the studio so that we could really work on the music and figure out what makes this band special,” vocalist and keyboardist Jamar Woods said.
For the new album, The Fritz headed north to More Sound Studios in Syracuse, NY and enlisted the help of producer Dave Brandwein (Turkuaz, Galaxy Smith Studios) and engineers Jason "Jocko" Randall and Jose Varona to assist with the recording process.
“We wanted to work with a producer whose work we respected and who we trusted to add a different perspective,” percussionist Mikey “Spice” Evans said. “Dave played an invaluable role in producing our album.”
While most of the songs were written in the months leading up to recording, the studio environment allowed for some last minute additions and musical breakthroughs.
“We really wanted to arrange these songs specifically for the studio, which was both challenging and fun for us” guitarist Jamie Hendrickson said. “Now we’re very excited to get on the road and have these songs take on a life of their own.”
The band is now taking the album and their unforgettable live performances around the country with the Natural Mind tour.
Check out www.thefritzmusic.com for local tour dates near you.
The Garcia Project
Performing full, classic Jerry Garcia Band set lists from 1976-1995.
The Garcia Project’s performances are based on actual set lists performed by The Jerry Garcia Band. All of their shows are classic recreations of a Jerry Garcia Band set list from the 1976 to 1995. For anyone that never had a chance to experience the Jerry Garcia Band or for fans that want to relive a classic show, The Garcia Project delivers.
The Garcia Project has received rave reviews from the press and from fans. Touring nationally, The Garcia Project has made many Jerry Garcia fans extremely happy.
With precise arrangements and the proper instrumentation and feel for any and all given eras, The Garcia Project faithfully channels and projects the feelings, emotions and music that propelled the Jerry Garcia Band and the fans through many years of musical bliss. It’s about family, soul searching, rejoicing, contemplating, celebrating, seeking truth and loving one another.
"I spent a lot of nights in a lot of places with the Jerry Garcia Band, and I’m here to say that I really enjoy what The Garcia Project does with those memories. Mik’s guitar and his and Kat’s vocals stir up some very sweet vibes…some times they almost make me feel like I’m back in, say, 1992 at the Warfield. Check ‘em out."
— Dennis McNally, former publicist for the Jerry Garcia Band
“For those of us who crave late 70’s (and through the 80's and 90’s) Jerry Garcia Band, The Garcia Project scratches that itch for hearing live renditions of Jerry Garcia Band shows from that period.”
— Bob Minkin, legendary Grateful Dead and Jerry Band rock photographer
“If you close your eyes, you’ll swear you are at a Jerry Garcia Band show.”
– ecoLocal Magazine, Albany, NY
“…it was hard to tell that it wasn’t Jerry signing on “The Night They Drove Old Dixie Down….The Garcia Project’s attention to detail on intonation and performance structure does set them apart as an authority on Jerry Garcia.”
– NYS Music
“In order for a tribute band to be successful, fans need to look at them as the authority on the artist they are emulating. The Garcia Project pulls it off effortlessly. Go see them live …The Garcia Project is the whole package.”
– Jim Gilbert, Upstate Live
“The Garcia Project was on point with the whole experience and it didn’t seem like a cover band more like a mirrored band…they are just as real as the Jerry Garcia Band. “
– Buffalo FM Review
“”Deadicated“ to carrying on the music and vibe of Jerry that so many still carry in their hearts.”
– Albany Times Union
Jerry Garcia Family & Brooklyn Bowl presents The Garcia Project performing ‘77 style Who Was John:
The Garcia Project performing 90's style "Think" by the Jerry Garcia Band:
On 4/20/18 at Wall Street Theater, Norwalk, CT, The Garcia Project recreated The Jerry Garcia Band's 5/29/83 Bushnell Auditorium, Hartford, CT show set list. The video picks up in the middle of "Tore Up" : https://www.youtube.com/watch?v=FD6fnXRs_c4
The Garcia Project, After Midnight ‘77 style, Weed CA, Jerry Garcia Band tribute:
Full Show Audio Links:
At a sold out show at The Cohoes Music Hall, The Garcia Project performed the 1976 Jerry Band Set List from Ithaca, NY:
On March 2, 2018 in Eugene, OR at W.O.W. Hall, The Garcia Project performed The Jerry Garcia Band's 3/1/91 Warfield Theater, San Francisco, CA Show:
On February 27 in Seattle, WA at Tractor Tavern, The Garcia Project performed The Jerry Garcia Band's 3/10/84 Keystone show from Berkeley, CA:
The story of UB40, and how this group of young friends from Birmingham transcended their working-class origins to become the world’s most successful reggae band is not the stuff of fairytales as might be imagined. The group’s led a charmed life in many respects it’s true, but it’s been a long haul since the days they’d meet up in the bars and clubs around Moseley, and some of them had to scrape by on less than £8 a week unemployment benefit. The choice was simple if you’d left school early. You could either work in one of the local factories, like Robin Campbell did, or scuffle along aimlessly whilst waiting for something else to happen.
By the summer of 1978, something else did happen, and the nucleus of UB40 began rehearsing in a local basement. Robin’s younger brother Ali, Earl Falconer, Brian Travers and James Brown all knew each other from Moseley School of Art, whilst Norman Hassan had been a friend of Ali’s since school. Initially, they thought of themselves as a "jazz-dub-reggae" band, but by the time Robin was persuaded to join and they’d recruited Michael Virtue and Astro – who’d learnt his craft with Birmingham sound-system Duke Alloy – the group had already aligned themselves to left-wing political ideals and forged their own identity, separate from the many punk and Two Tone outfits around at that time. The group had nailed their colours to the mast by naming themselves after an unemployment benefit form. Their political convictions hadn’t been gleaned second hand either, but cemented in place whilst attending marches protesting against the National Front, or rallies organised by Rock Against Racism.
By the time Chrissie Hynde invited them to tour with the Pretenders during the summer of 1980 and their debut single "King b/w Food For Thought" had sailed into the UK Top 5, all the essential elements of UB40 were already in place. Their line-up will remain unchanged for almost thirty years, and they will continue playing a mix of original material and inspired choice of reggae covers in a style that’s instantly accessible with its bright melodies and sweeping horn arrangements – one that’s allied to a formidable rhythm section, capable of holding its own with anything from Jamaica.
UB40’s first album was released the following September, on Graduate Records. Their deal allowed them more creative freedom than if they had signed with a major label. The cover artwork memorably duplicated an unemployment benefit card, with the title "Signing Off" rubber-stamped in red, but it was the music that quickly worked its way into the affections of a young, mainly student crowd with its knowing lyrics, solid reggae rhythms and dubby, instrumental passages, offset by warm horn solos and Jamaican style scatting. There was nothing else like it at the time. As a multi-cultural band from Birmingham, UB40 weren’t drawn into trying to sound "authentic," and there was considerably more depth to their music than that of many punk and 2Tone bands. "I’m a British subject, not proud of it, whilst I carry the burden of shame," they sang on one of the tracks. Accepting the truth of their own situation amidst a sea of other reggae songs proclaiming black heritage gave us a valuable insight into where UB40 were coming from. They were unafraid to stand up and be counted, and British audiences instinctively loved them for it. "Signing Off" duly went to No. 2 in the UK and stayed on the nation’s album charts for 72 weeks.
At the end of 1980, the contract with Graduate expired and UB40 formed their own record company, DEP International, with all eight members owning an equal share. They also signed a licensing deal with CBS, which ensured them far better distribution. "Signing Off" was still in the charts when they released their second album "Present Arms" in the summer of 1981. The sound was immediately brighter, harder and more professional, yet the spirit and commitment underpinning the band’s songs remained resolutely unchanged, as heard on "One In Ten," written about the UK’s record number of unemployed. With lyrics like "Nobody knows me, but I’m always there. A statistical reminder of a world that doesn’t care," "One In Ten" became an anthem of the British protest movement, and a genuine counterpart to the equally motivated songs being written by the likes of Bob Marley and Peter Tosh in the Caribbean. "One In Ten" will earn the rare distinction of being "versioned" by Jamaican reggae acts in future. Back in 1981, it formed part of the soundtrack accompanying the race riots erupting in places like Brixton, Handsworth and St. Paul’s in Bristol – hard pressed, inner city areas with large immigrant communities that had found themselves on the frontline in resisting the right wing policies of Margaret Thatcher’s government.
Four months later, and "Present Arms In Dub" became the first-ever dub album to enter the UK Top 40 – this during a period when dub music was the exclusive preserve of grassroots reggae fans, accustomed to buying Jamaican imports. UB40’s stature among British audiences was now assured. They possessed credibility, even whilst racking up hit records, and practiced true democracy by insisting that each member had an equal say in the band’s affairs.
Their next album, 1982's "UB44," was recorded in Dublin and featured innovative use of holograms on the ‘limited edition’ sleeve. Trips to Australia and Zimbabwe coincided with further hits in the shape of "I Won’t Close My Eyes," "Love Is All Alright," "So Here I Am" and "I Got Mine," but none breached the Top 20. "UB44" did get to No. 4 in the album charts, but then CBS ended their association with the band, leaving them to negotiate a new deal with Richard Branson’s Virgin Records.
Soon afterwards, they opened a studio in Birmingham called The Abattoir. Now masters of their own destiny (and with legendary JA keyboard player Jackie Mittoo in tow), they decided to pay tribute to the reggae pioneers who’d first inspired them back in the blues parties and clubs of Birmingham, and from hanging out at places like Don Christie’s record store. The band became evangelists of a kind, introducing classic reggae songs and artists to new audiences from around the world as they embarked on three best-selling installments of "Labour Of Love."
The first was released in the summer of 1983, and contrary to past record labels’ expectations, the change of direction worked magnificently. Labour Of Love became the band’s first No. 1 album in the UK, and would remain in the British charts for eighteen months. Lead single "Red Red Wine" also went straight to No. 1. In fact it stayed in the British charts for two years, thereby giving UB40 their first truly worldwide hit and, eventually, their first American No.1.
UB40 were now recast as Britain’s foremost reggae ambassadors. They have arguably fostered a love of reggae music in more people than any other artist, including Bob Marley, and it started just as soon as they’d introduced timeless Jamaican classics to contemporary audiences on "Labour Of Love." "Please Don’t Make Me Cry," "Many Rivers To Cross" and "Cherry Oh Baby" were the other hits from that seminal first edition, which went on to sell more than ten million copies worldwide.
UB40’s next single, "If It Happens Again," went to No. 9 but the album it was taken from, "Geffery Morgan," wasn’t a success by previous standards, despite a return to hard-hitting, reality topics on tracks like "Riddle Me," "As Always You Were Wrong Again," "You’re Not An Army," "The Pillow" and "I’m Not Fooled So Easily." Recorded at The Abattoir, "Geffery Morgan" whilst not selling in the same numbers as "Labour Of Love" like "Baggariddim" – a collection of tracks recorded with leading British reggae MCs – awaits urgent, critical reappraisal. In the summer of 1985 UB40 joined forces with Chrissie Hynde for a cover of Sonny & Cher’s "I Got You Babe" that promptly flew to No. 1 in the UK. "Don’t Break My Heart" also went Top 3 shortly afterwards, confirming UB40 as Britain’s most successful reggae band. Before long, they were again breaking new ground by becoming one of the first western groups to tour the Soviet Union. Their watershed concert in Moscow was recorded and released the following year as "UB40 CCCP." It was UB40’s second live album – the first, "UB40 Live," had been released in February 1983.
In August 1986, "Rat In The Kitchen" became UB40’s sixth Top 10 album in the UK. The title track became the first hit off the album, whilst "Sing Our Own Song" had been written in support of black artists in South Africa – this during an era when South Africa was still an apartheid regime, and Nelson Mandela regarded as a terrorist by Britain’s Prime Minister, Margaret Thatcher.
The following November, "The Best Of UB40 - Volume One" began its two and a half year tenure on the UK charts, peaking at No. 3. The group were now a national institution, and yet still full of surprises. "Maybe Tomorrow," a Jackson Five cover, went Top 20, and previewed an unlikely collaboration with hip-hop pioneer Afrika Bambaataa and the Family called "Reckless." UB40’s next venture would prove a little more predictable. By early 1988 – still recovering from the death of engineer Ray Falconer, who was Earl’s brother, and had been highly influential in determining the band’s sound – UB40 again teamed up with Chrissie Hynde, who joined them on "Breakfast In Bed." The result was another Top 10 hit, taken from the 1988 album "UB40."
By 1988 the band was now embarking on lengthy world tours, taking in places like Australia, Japan and South America. In July the same year, they played the Free Nelson Mandela Concert at Wembley Stadium in London – an event that was beamed around the world to millions of television viewers, and prompted renewed appreciation of "Red Red Wine" in America. The song had already topped the charts in many other countries, but UB40’s first US No. 1 was certainly special, and especially since they received the good news whilst headlining at Madison Square Gardens in New York! Its success reignited interest in "Labour Of Love," which entered the Billboard’s Top 20, and led to a second helping of "Labour Of Love." This album – recorded between extensive touring commitments – would yield three Top 10 hits in America alone, including "Kingston Town" and "Homely Girl," both of which went Top 10 in the UK and throughout Europe, closely followed by "Here I Am (Come And Take Me)" and "The Way You Do The Things You Do."
At the onset of the nineties, Robert Palmer duetted with them on their next UK Top 10 hit, "I’ll Be Your Baby Tonight," and 808 State charted with a remix of "One In Ten." Highlights such as these, whilst welcome, were then dwarfed by the release of "Promises and Lies" which became the group's biggest selling album, selling in excess of nine million copies worldwide. The biggest hit from "Promises And Lies" was "Can't Help Falling In Love", which brought the band their third UK No. 1 and would remain a favourite on American radio stations for years – especially after its inclusion on the soundtrack of the 1993 Sharon Stone film "Sliver."
By 1994, the constant touring had taken its toll and the band was ready for a well-earned rest – this after playing to record crowds around the world, including South Africa, where they performed to over 250,000 people in total. Virgin would fill the gap by releasing "The Best Of UB40 – Volume Two," containing hits like "Kingston Town," "Here I Am" and more recent efforts such as "Bring Me Your Cup," "Reggae Music" and "Until My Dying Day." During their sabbatical from UB40, several of the members worked on their own musical projects. Robin and Ali made a guest appearance on Pato Banton’s No. 1 hit "Baby Come Back," whilst Earl would have success producing house and drum & bass tracks. Ali Campbell also released his debut solo album "Big Love," which he’d recorded in Jamaica. Their adventures in Jamaica will result in several, celebrated encounters with various reggae legends. The first, UB40’s "UB40 Present The Dancehall Album," featuring Jamaican acts like Beenie Man, Mad Cobra and Lady Saw, appeared in 1998, and "UB40 Present The Fathers Of Reggae" in 2002. Robin has described the latter as one of the highlights of their career, since it featured many of the artists who’d inspired UB40 (among them Toots Hibbert, John Holt, Alton Ellis and the Mighty Diamonds), singing the group’s own material. Were it needed, the "Fathers" set offered proof of the respect UB40 have always been accorded in Jamaica, and especially among the island’s artists and musicians.
The "Fathers" album had taken three years to record, and the follow-up UB40 set, "Guns In The Ghetto," would also take longer than expected to reach fruition. The group had reconvened in 1996, when they appeared in the film "Speed 2," starring Keanu Reaves and Sandra Bullock. UB40 perform "Tell Me Is It True" in the movie, which duly became the lead single (and a Top 20 hit) from "Guns In the Ghetto", released the following year. Ali described "Guns In The Ghetto" as sounding like "a reggae record, made in Jamaica proper." It peaked at No. 9 on the UK album charts, and yielded just one further single, "Always There." "Guns In The Ghetto" eventually sold over a million copies, but suffered from the band’s unwillingness to tour.
Such imperatives were soon realised with the release of "Labour Of Love III," which became the band’s twelfth Top 10 album in the UK during late 1998. "Come Back Darling," "Holly Holy" and "The Train Is Coming" were the hit singles from "Labour Of Love III." The following year they played before estimated television audiences of one billion in India, and then celebrated with yet another UK Top 10 album, the definitive "The Very Best Of UB40 1980-2000."
Other landmark shows would soon follow, including concerts in South Africa, and at a peace concert in the Sri Lankan capital of Colombo. One of them, in Switzerland, was later released as "Live In at Montreux." In 2003, they received an Ivor Novello Award for International Achievement and secured another Top 10 album with the "Platinum Collection", a triple box set comprised of the entire "Labour of Love" series. By now, UB40 had been favourites of the British public for well over two decades. It was therefore fitting they should provide the official anthem for the England rugby team's triumphant 2003 World Cup campaign in Australia. "Swing Low," taken from the "Homegrown" set, will become the group's 49th UK chart single. UB40 have now had 51 chart successes, the only bands to have notched up more hits are Status Quo and Queen, but for UB40 to achieve this distinction by playing reggae music is nothing short of miraculous.
Two years later, on the 25th anniversary of their recording debut, the band released "Who You Fighting For." Acclaimed not only as a return to form, but also an artistic triumph," Who You Fighting For" was distinguished by UB40’s decision to record once more as "a live" band – i.e., playing all together in the studio. Its success was aided by a clutch of powerful message songs that wouldn’t have sounded at all out of place on their first few albums. The questioning of authority (including Britain and America’s decision to invade Iraq) and steadfast allegiance to working-class values was there for all to see, and yet the Grammy nominated "Who You Fighting For" also contained its fair share of love songs, such as "One Woman Man," "Kiss And Say Goodbye" and a winning cover of Matumbi’s "After Tonight."
At the beginning of 2008, Ali Campbell decided to leave the band in order to pursue a solo career. With a minimum of fuss, he was replaced by another Campbell brother, Duncan, who has a voice that’s virtually indistinguishable from Ali’s. Duncan had been invited to join the band at their inception, but declined. However, some thirty years later alongside the other UB40 vocalists he has made his presence count on the latest album "TwentyFourSeven," which received widespread acclaim on its release during the summer of 2008.
Following on from "Who You Fighting For", "TwentyFourSeven" was again recorded "live" in the studio, and thus showcases UB40 at their best. Not for the first time, the choice of material was dominated by the kind of searching, political messages they’d long been famous for. Songs like "Rainbow Nation," "End Of War," "Oh America" and "Securing The Peace" rank alongside their best-ever reality tracks, except with guest singer Maxi Priest taking over lead vocals on "Dance Until The Morning Light" and a cover of Bob Marley’s "I Shot The Sheriff", the mood is celebratory as well. Freed of the need for hit singles (if not hit albums), UB40 sounded rejuvenated, as if they’ve rediscovered the creative spark that inspired them in the first place. The results make essential listening, reaffirming their reputation as the world’s most successful reggae band as they continue to reach out to audiences that are impossible to categorise by race, age or nationality.
2009 saw the release of the compilation ‘Love Songs’, which made #3 in the UK album charts, before the band played a series of live dates in North America, Italy, Germany, Spain and Slovakia, to name a few.
2010 was another busy year for the group; in February UB40 released "Labour of Love IV", the band’s first full album with Duncan Campbell on lead vocals, which reached #24 in the UK album charts, before celebrating the 30th anniversary of their debut album, ‘Signing Off’, by releasing a Special Edition of the album. To coincide with the release, UB40 embarked on a sell-out tour of the UK where they played the album live in its entirely. This tour was preceded by a warm-up date at The Hare & Hounds in Kings Heath, the venue where the band made their live debut on February 9th, 1979.
On September 2nd, 2013, UB40 will release their new album ‘Getting Over The Storm’ on Universal/Virgin Records, and will play a string of UK tour dates in support of the release.
Compass Records is excited to announce the release of renowned singer/songwriter Nicki Bluhm's new album, TO RISE YOU GOTTA FALL out June 1. To celebrate the announcement, Rolling Stonepremiered the tle track yesterday, hailing the song as "a blast of Memphis soul." TO RISE YOU GOTTA FALL as recorded in Memphis at the legendary Sam Phillips Recording studio and features two co-writes with Ryan Adams and a Dan Penn cover. For these live band analog sessions, Bluhm brought in producer Matt Ross-Spang (Margo Price, Jason Isbell), and the studio band included Will Sexton (guitar), Ross-Spang (guitars), Ken Coomer (drums and percussion), Al Gamble(Hammond B3), Rick Steff (piano) and Dave Smith (bass), with Reba Russell and Susan Marshall (background singers), Sam Shoup (string arrangements) and various special guests.
"It was the very first song we tracked," Bluhm told Rolling Stone, "and Ken just started playing the groove and the band slowly started to drift in. Ken is such a present musician, and he's listening to the words and reading the room and the vibe...There's a line in the song that says, 'I went looking for some perspective, so I knocked on my mama's door,' and he just hit the drum -- the rim -- like a knock, which brought a playfulness and lightness to the song. I love Will's guitar playing, too. It's so understated, but he makes himself known. It's like the old saying goes: 'The young bull charges down the hill, but the old bull takes his time.' These musicians were tasteful; they're all old bulls full of experience and class. Having a string section arranged by Sam Shoup was the icing on the cake. Memphis had melted into my California soul."
After six years with her band the Gramblers, and recent high-profile collaborations (Phil Lesh, Infamous Stringdusters, Ryan Adams), Bluhm wrote the life-chronicling songs for TO RISE YOU GOTTA FALLover a two-year period, during which she got divorced and moved to Nashville, TN. The album is a chronicle of her state of mind following these deep and fundamental life changes.
"These songs are quite personal," Bluhm says. "They are the conversations I never got to have, the words I never had the chance to say, and the catharsis I wouldn't have survived without."
Bluhm's divorce, along with the need to challenge herself, inspired the West Coast na ve to make her spur-of-the moment, cross-country move to Nashville in 2017.
"Nashville was inspiring because of all the songwriting going on here," Bluhm says. "When I would come to Nashville on writing trips it was just percolating... it was intoxicating. So I very hastily, in a matter of days, decided to move. I just had this gut feeling."
Ross-Spang happened to be mixing a record in Nashville at the time and they met up and hit it off immediately.
"I really needed someone who was going to take the reins and have a vision for the album and he really did," Bluhm says of meeting Ross-Spang. "My ex-husband had been my musical director, co-writer, and producer on all my records except one and I was looking for someone to step into that leadership roll, which Matt did very gracefully. I was looking for a clean slate; the only baggage I wanted to bring into the studio were the words to the songs I was singing. I wanted it to be a fresh experience; I didn't want to even have history with anyone in the room that would pull me into old habits or ways of thinking. So we agreed we'd record in Memphis."
Once settled in Sam Phillips Recording, the sessions revolved around tracking live with an ace band assembled by Ross-Spang.
"We really just recorded live and we didn't do that many takes of each song," Bluhm says. "The final versions we ended up with were all one take. It was really refreshing to go analog. It minimized over thinking and second guessing, forced us all to stay in the moment and play from the heart. Sam Shoup did all the string arrangements and when he walked in the room I thought he was a housepainter; he was the most understated, unlikely suspect. That was the thing about Memphis that was cool... not a lot of egos, just people making music for music's sake. Throughout the session there was a lot of listening and trusting. Matt really spends me curating his sessions and who he decides to bring in; he knows how to keep the vibe right. What you are hearing is, as Jerry Phillips would say, 'not perfection but captured moments in time.'
"I had lost my partner in so many ways," Bluhm continues, "my musical partner, my life partner, my creative partner, and all of a sudden I was left on my own, to start my own engine. It was really intimidating and scary," she says "but I had support from my management, my agent, my friends and family, and ultimately I just had this guttural drive that I didn't even know I had in me. I was on autopilot, ready to move forward and take the steps I had to take to keep moving forward. When the album finally comes out it's going to be like setting a caged bird free."
Bluhm will be touring this year and beyond in support of TO RISE YOU GOTTA FALL. The confirmed tour dates are below with more to be announced soon.
Growing up with a single mother in San Benito, Texas, the hometown of Tejano star Freddy Fender, was not easy for blues singer Charley Crockett. Hitchhiking across the country exposed Crockett to the street life at a young age, following in the footsteps of his relative, American folk hero Davy Crockett, who also lived a wild life on the American frontier. After train hopping across the country, singing on the streets for change in New Orleans French Quarter, playing in New York City subway cars and performing across Texas, California, and everywhere in between, Crockett set off to travel the world and lived on the streets of Paris for a year before wandering in Spain, Morocco, and Northern Africa.
The blues artist returned home to Texas and released his debut solo album titled A Stolen Jewel in 2015, receiving critical acclaim in Dallas and ultimately landing him a Dallas Observer Music Award that year for "Best Blues Act". A record "rich with Southern flavor, a musical gumbo of Delta blues, honky-tonk, gospel and Cajun jazz," Jewel proved that Crockett, born into poverty in the Rio Grande, had come home to make his musical mark on the South. Crockett, who is described as elusive, rebellious and self-taught, has been compared to legends like Bill Withers, Hank Williams, and Gary Clark Jr.
He released his sophomore record In The Night, an admirable nod to his Texas country and Louisiana blues roots, in 2016 and played over 125 shows that year. “In the Night” and Crockett’s song “I Am Not Afraid” received international recognition by NPR Music as one of the "Top 10 Songs Public Radio Can't Stop Playing" and selected by David Dye to be featured on World Cafe in late July. The Fort Worth Star-Telegram called it "an impressive calling card, full of Crockett's plaintive soulfulness and swinging tempos" and others noted the artist as having "the well-rounded songwriting capabilities of Van Morrison and a vocal approach that finds common ground between Bill Withers and early Dr. John." Crockett graced the cover of Buddy Magazine in May 2016, who called him "the archetype of the new American vagabond."
In 2017, he spent the year building a devoted fan base across the country with his much talked about live show while selling out theaters in his native Texas and across the US. He remained on the road most of the year appearing at major festivals and venues.
In all this, he still found time to get back to Austin, Texas to record a collection of his favorite honky tonk songs called Charley Crockett presents Lil G.L.'s Honky Tonk Jubilee . The album features songs originally performed by Hank Williams, Ernest Tubb, Loretta Lynn, Tanya Tucker, Roy Acuff, Webb Pierce, and other great heroes of honky tonk. "Playing on the streets of New Orleans I heard traditional music all day long. Young folks were playing it everywhere. Old Time, Jug bands, Brass bands, Spirituals, drinkin ' songs, you name it. All you have to do to learn these songs is stand out in the street all day, but mind the whiskey” Crockett said. “I love this music. It’s the blues and it feels good to sing. A lot of folks are drawn to this sound even if they don't know why. It's the American struggle. It's got the kind of soul that's hard to find nowadays and all I know is you gotta get a lot of mud on you before you can make folks believe you when you sing these songs. There just ain't no fakin' it. I've lived these songs. I want to walk alongside and pay my respects to the artists and songwriters who went through so much to give us this music."
Now in 2018, Crockett releases Lonesome As A Shadow, an album of all original material recorded in Memphis at the legendary Sam Phillip's Recording Service with Producer/Engineer Matt Ross-Spang. Backed by his band of Blue Drifters, this album was recorded live to tape in the middle of a long year of touring. It's a musical gumbo of influences that showcases the various depths of Crockett's sound.
Charley wrote about the album "The idea of making an album in Memphis has been with me a long time so when I got a chance to record at Sam Phillips with Matt Ross-Spang I jumped on it. Memphis has a habit of getting good, soulful music out of folks time and again and Matt came up in that tradition so it was just natural from the jump. I’ve said it before but my influences stretch from Hank Williams to Bill Withers and my first couple a records were really a mix of the sounds that make up Texas & Louisiana music for me. Blues, Country, Soul, Cajun, Tejano and Zydeco. I wanted to keep all that together. Something with that Gulf Coast sound that’s both urban and rural. Turns out, Sam Phillips was just the place to make it happen. Besides, all those amazing Sun and Stax artists were country folks cutting records in the city anyway so it was just natural for me. We were gonna hire a studio band for the session but Matt watched a few videos of my road band “The Blue Drifters” and decided I should bring them with me. Those boys are all so dang good in the studio and on the stage and since we were already really tight, cutting the record was easy and we did it live to tape in 4 days with a handful of overdubs. I feel lucky to be playing with such fine musicians."
"Lonesome As A Shadow is really important for me. I’d been in the shadows and playing out on the streets for years. That kind of living gave people the impression that I was rough around the edges. Just a gentleman Hobo. I learned a million songs standing out in the street but I’ve also written a million too. This record is me laying all that out there. I’ve got more songs than years in this life to cut ‘em all so I’ve got to get busy! It’s a Texas & Louisiana record through and through but it’s a Memphis Soul record too and I really like that."
He's set to tour the US and internationally this year. He's shared the stage with Turnpike Troubadours, St. Paul and the Broken Bones, John Paul White, Justin Townes Earl, Lee Ann Womack, JD McPherson, and many others.
With over 260 shows performed since their inception in 2014, Runaway Gin is the World's Most Active Phish Tribute Band. On July 4th, 2015, after the second show of the Grateful Dead GD50 run, Runaway Gin sold out the Hard Rock Cafe in Chicago and catapulting them from a Southeastern regional act onto the National scene.
Andy Greenberg - guitar, vocals
Originally from Florence, SC, Andy began playing piano at the age of 5, receiving classical instruction and earning top ratings in the National Piano Guild. At the age of 12 he learned his first chord on the guitar and taught himself to play by ear. Andy started listening to Phish in 1992 while at summer camp. The first song he heard was "Sparkle" and it reminded him of one of his favorite bands at that time: They Might Be Giants. He proceeded to dive head first into the album Rift and soon Phish's whole catalog often stopping to figure out songs on both piano and guitar to satisfy his vehement musical curiosity. Eventually Phish would ride to the top of Andy's list of favorite bands a spot reserved for the likes of the Beatles and Led Zeppelin.
His first Phish show was a gift from his parents for his 15th Birthday- 7 days before his birthday:
North Charleston Coliseum, North Charleston, SC
Set 1: Dinner and a Movie > Bouncing Around the Room > Reba, Lawn Boy, Punch You In the Eye > Slave to the Traffic Light, I'm Blue, I'm Lonesome, Sample in a Jar
Set 2: AC/DC Bag > Sparkle > Free, I'm So Tired, You Enjoy Myself, Contact > Big Black Furry Creature from Mars, Acoustic Army, Big Black Furry Creature from Mars, Cavern
Encore: Bill Bailey, Won't You Please Come Home?
 Dr. Jack McConnell on vocals.
· Brick House jam in You Enjoy Myself
Since 1995 Andy has been to well over 100 shows. What Andy has learned from playing Phish : always listen first and foremost - relax and surrender to the flow. There's always a bigger Phish!
Bobby Hogg - bass, vocals
Bobby first discovered Phish as a tween in the early 90's when he stumbled across a tape of 4/16/92 Anaconda Theatre in his big sisters music collection. This exotic music was rather foreign to his underdeveloped ear, and seemed absurdly quirky at first taste. Upon playing the tape for his little brother, the two decided that they did in fact enjoy the sounds emanating from their tape deck, and were eager to keep listening. It is safe to say that over the next few years Bobby suffered irreversible ear damage whilst donning his headphones and cranking his Sony Walkman to full volume, rocking out to the music of Phish late into the night.
Bobby's first show was:
FleetCenter, Boston, MA
Set 1: Ya Mar, The Sloth, Llama, Gumbo, Reba, Talk, Funky B%@#$, Theme From the Bottom > Good Times Bad Times
Set 2: Timber (Jerry) > Uncle Pen, AC/DC Bag, Guyute, Tweezer -> Lifeboy > Scent of a Mule, Slave to the Traffic Light
 No whistling.
 Trey on acoustic guitar.
 P.A. cut out.
 Page/Mike Mule Duel and Steven Wright ringing a desk bell three times.
Since that show Bobby has seen Phish around 50 times, and is eagerly anticipating many more shows to come!
John Fitzgerald - keyboards, vocals
John began his musical career at the age of fifteen playing shows in local Jersey Shore venues as a solo artist and with a variety of musical acts. He went on to earn his Bachelor's of Music from James Madison University. John moved to Charleston SC and found himself a part of the nationally known and highly respected Charleston music community. “I started working with a number of touring bands and recording projects. I played everything from Grateful Dead tributes (Cosmic Charlie), Funk (The Secrets), and even some Bluegrass (Acoustic Syndicate).
John focuses on the continual development of the craft and pursuit of his musical vision. “Creating music is the catalyst for conjuring emotion. It is paramount. Music has the ability to tweak emotions and take a listener to other realms. Connecting emotionally via music is what it is all about.”
John got a Harpua his first show!
Waterloo Village, Stanhope, NJ
Set 1: Simple > Chalk Dust Torture, Prince Caspian, Reba, Ginseng Sullivan > Free > Taste, You Enjoy Myself
Set 2: Runaway Jim -> The Lizards, The Wedge, Run Like an Antelope, Harpua -> Jam -> Llama, Good Times Bad Times
Encore: A Day in the Life
 No whistling.
 Unfinished; with verse of Abba's Waterloo.
 John Popper on harmonica.
· Waterloo verse in Harpua
John Pope - drums, vocals
John Pope is an American drummer from Charleston, South Carolina. He began playing drums at age 9, taking lessons from a local music shop and listening to drummers like Dave Grohl and Chad Smith for inspiration. Around the age of 13, he became interested in improvisational music and was drawn to the likes of Phish, John Scofield, and Medeski Martin & Wood, among others. John attended his first Phish show at age 14 in Greensboro, NC, where phish closed with an epic First Tube > YEM:
Greensboro Colosseum, Greensboro, NC
Set 1: Chalk Dust Torture, The Moma Dance, Foam, Lawn Boy, Character Zero > Divided Sky, Mountains in the Mist, Waves > Sample in a Jar
Set 2: Rock and Roll > Wilson > Piper > Also Sprach Zarathustra > Wolfman's Brother -> Boogie On Reggae Woman, Wading in the Velvet Sea > Run Like an Antelope, Carolina
Encore: First Tube > You Enjoy Myself -> Proud Mary
 a cappella.
· Oye Como Va and Another One Bites the Dust teases in Piper
· Oye Como Va and Daniel Saw the Stone teases in You Enjoy Myself
Throughout high school and college, Pope studied jazz on his own time, largely self-taught. At age 19, he started playing in bars in Charleston, SC. By age 22, Pope was playing in multiple touring bands, most notably Old You, a Charleston-based psychedelic rock / jazz group. He joined Runaway Gin in 2015 and has been instrumental in guiding the band's progress over the past year.
Rooted in triple-stacked harmonies, southern storytelling, and cosmic country twang, Cordovas create their own version of American roots-rock with That Santa FeChannel.
The album marks the band's ATO Records debut, arriving after more than a half-decade's worth of international touring, communal living, and shared songwriting sessions. It's a timely - and timeless - version of a sound that's existed for 50 years, ever since pioneers like the Grateful Dead and the Allman Bothers Band blurred the lines between rock, country, and amplified folk music. If That Santa Fe Channel nods to the band's influences, though, it's still a fiercely unique album, recorded in a series of live takes that shine a light not only on Cordovas' songwriting chops, but their strength as a raw, rugged live band, as well.
That Santa Fe Channel was produced by the Milk Carton Kids' Kenneth Pattengale in East Nashville, not far from the home that doubles as the band's rehearsal space, headquarters, and shared living quarters. There, in a converted barn behind the property's main house, the guys logged countless hours fine-tuning a sound that's already earned praise from outlets like NPR Music and Rolling Stone, who described the group as "the harmony-heavy, guitar-fueled house band at a Big Pink keg party in 1968." With its western wooziness and siesta-friendly swagger, That Santa Fe Channel also nods to the band's other home bases: Southern California, where bassist and band leader Joe Firstman lived for years; and Todos Santos, Mexico, where Cordovas' five members travel every winter to write new songs, sharpen old standbys, and oversee the acclaimed Tropic of Cancer Concert Series. The result is a record that's steeped in - but not limited to - southern sounds and California charm. It's American music without borders.
Years before Cordovas' formation, Firstman traveled the country as a solo musician. Raised in North Carolina, he moved to Hollywood as a determined 20 year-old, signing a major-label deal with Atlantic Records in 2002. His debut album, War of Women, hit stores one year later. When a dizzying blur of acclaimed shows - including opening dates for Sheryl Crow and Willie Nelson - weren't enough to satisfy the expectations of a big-budget record label, Firstman lost his contract and took a new job as music director on Last Call with Carson Daly. It was good work, with Firstman performing nightly alongside first-rate musicians like Thundercat and Kamasi Washington. Still, the need to create his own music was ever-present. With Cordovas, he's found his ultimate vehicle: a collaborative band with multiple lead singers and a collective approach not only to songwriting, but to existing. Cordovas aren't just bandmates. They're roommates. They're co-conspirators. They're a family.
"The Cordovas are a 24-hour, 7-days-a-week job," clarifies Firstman, who shares the band's roster with drummer Graham Spillman, keyboardist Sevans Henderson, and dueling lead guitarists Lucca Soria and Toby Weaver. "You're always on call to play, to adapt to another man's idea, to pick up a guitar or look at a lyrics sheet. We're eating dinner together, hanging out together, and making art. We don't have rehearsal times, because rehearsal is always. You have to honor the art first, and everything else comes second."
Living in such close quarters - both at home and on the road - has turned Cordovas into a band of brothers. Stop by the band's East Nashville compound and you may find Soria and Weaver picking their way through bluegrass songs inside the barn, while Firstman wraps up a family dinner in the kitchen and Spillman fixes the band's RV outside. There's a communal vibe to the band's existence that bleeds over into their songs, where it's often hard to pinpoint a single person's voice in those thick, swooning harmonies. That Santa Fe Channel is the soundtrack to that communal existence: a collection of songs written together, performed together, and lived together.
And what a soundtrack it is. There's the Band-influenced boogie-woogie of "Standin' on the Porch," full of blue notes and pedal steel. There's the layered melodies of "I'm the One Who Needs You Tonight," the classic chord changes of "Selfish Loner," the barroom piano of "Step Back Red," and the hungover charm of the album's opener, "This Town's a Drag," which finds Firstman searching for illegal thrills in a dry town. Together, That Santa Fe Channel's nine songs paint the picture of a band on the rise, heading for a horizon whose beauty can match their own.
Some of Asheville’s most talented musicians have come together to form an All Star Funk Band, simply named BoogiTherapi. Headed by AVL Funk soldier Ryan ‘RnB’ Barber, BoogiTherapi brings the high energy dance music that is always therapeutic to your mind, body & soul. We also cover mellow jazz tunes and other genres to warm up the party before we drop the funky bomb on you!!
Opening Set by: AZTEC SUN
"Funk with Soul" band AZTEC SUN has hypnotized the ears and feet of live music lovers since late 2012. No matter the scale of the venue, this DC-based ensemble produces an upbeat and retro groove steeped in seventies funk and soul with overtones of jazz, afrobeat, and Motown-era pop. AZTEC SUN's infectious songwriting, rhythmic versatility, and energetic performances have earned recognition for the group, notably being named Best Local Original Band by the Washington City Paper in 2016 and 2017 (runner-up).
These accolades, along with the band's sizeable following in the D.C. area, have allowed AZTEC SUN to share bills with a variety of well-known funk, soul, and jam bands including Galactic, Everyone Orchestra (Matt Butler with members of moe., The Bridge, Marco Benevento, Furthur, Soulive, and The Disco Biscuits), Lee Fields & The Expressions, Cory Henry & The Funk Apostles, Shaun Martin of Snarky Puppy, Burning Spear, The Suffers, The Pimps of Joytime, and Naughty Professor.
Following up on the 2016 EP Set You Free, November 2018 will mark the release of AZTEC SUN's debut full-length album, a crowning achievement of the band's work thus far recorded and mixed by Alan Evans of Soulive.
Rebirth Brass Band
Simply put, The Rebirth Brass Band is an institution. Formed in 1983, the band has long since graduated from the streets of New Orleans to theaters and festivals all over the world. Rebirth is committed to upholding the tradition of brass bands while at the same time incorporating modern music into their show. Their signature brand of heavy funk has placed them among the world’s top brass bands and they are the hands-down favorite among the younger generation. In reference to the sometimes-stringent competition amongst brass bands, Offbeat magazine remarked, “…it’s clear that Rebirth, which boasts 10 albums and has traveled the world, is the band to beat (July 2001).
Super Hero 5K
The race will start at the Salvage Station and go up Hill Street for a short distance before heading into Montford. The race will use portions of Cumberland Avenue, Flint Street and the Reedy Creek Greenway before returning to the Salvage Station via Houston Street. The 5K course has 347 feet of vertical gain. See the 5K course map HERE.
Super Villain 10K
This race will start ten minutes before the 5K, splitting off at Houston Street The course will utilize portions of Pearson Street, Westover, Hibriton, the Reedy Creek Greenway, and Cumberland Avenue before returning to the Salvage Station via Houston Street. The 10K course has 548 feet of vertical gain. See the 10K course map HERE.
Packet Pickup/Late Registration
Friday, September 21
The Happening – 4:00-7:00 PM - The Salvage Station (468 Riverside Drive)
Saturday, September 22
Packet Pick Up/Late Registration– 7-8:30 AM - The Salvage Station
The Asheville Running Experience is offering shirts for all events on an ala carte basis. If you would like an Asheville Urban Odyssey shirt, you may purchase one for $10 during the online registration process.
All pre and post-race activities will take place at The Salvage Station. Post race refreshments will be provided along with a selection of beer from Asheville Brewing Company for our of-age runners. Near the finish line on the main stage will be live music and both awards ceremonies.
The 5K awards ceremony at approximately 10:15 AM with the 10K to follow at 10:45 AM.
Special, commemorative awards will be given to the first three male and female overall and top male and female masters of both races.
Age group prizes will also be awarded. The categories will be announced prior to the event.
The 5K race will utilize chip timing. A timing chip will be on the back of your race bib, which should be worn on your front and visible at all times during the race.
There is plenty of free parking at The Salvage Station.
The Asheville Running Experience has a NO REFUND policy. However, we do offer partial discount codes for cancellations during our cancellation periods. If the event is NOT sold out, a discount code for 50% of your race registration fee will be offered until 30 days prior to the race date. If the event IS sold out, a discount code for 100% of your race registration fee will be offered until 14 days prior to the race date. Discount codes can be used to register for another Asheville Running Experience event and will be valid for 12 months after the event date.
You may transfer your registration to another participant up to 14 days prior to the race day with a $2 transfer fee. You may only transfer an entry in the same race. Email your transfer request to firstname.lastname@example.org with your original registration information, including confirmation number as well as the email address for the participant who will be taking your place. Emails must be received no later than Monday, September 11, 2018.
Live, unofficial results will be available during each race at The828.com or look for The828.com results tent on-site.
Official results will be posted at www.AshevilleRunningExperience.com after each race.
Everyone Orchestra + Everyone's Dead ft. Steve Kimock, Aron Magner (Disco Biscuits), Claude Coleman (Ween) & more
Everyone Loves Asheville
Sat 9/15 Everyone Orchestra ::: Doors at 8, Show at 9
Sun 9/16 Everyone's Dead ::: Doors at 7, Show at 8
Aron Magner (The Disco Biscuits)
Claude Coleman Jr. (Ween)
Dango Rose (Elephant Revival)
Drew Heller (Toubab Krewe)
Cris Jacobs **SUNDAY ONLY**
Conducted by Matt Butler
It’s a big day for local dogs and the people who love them. Mark your calendar with a paw print – Mix 96.5’s Dog Day Afternoon, presented by Prestige Subaru, is Saturday September 15 from noon to 4 pm. For one day only, Asheville’s Salvage Station will allow dogs to enjoy its beautiful spot on the riverside, all in the name of supporting local animal rescue.
Let your kids proudly present their pooch in the pet parade. If your mutt has a memorable mug, get in on Asheville’s Ugliest Dog Contest. We’re bringing in some incredible professional canine athletes to compete, too – and there will be lots of takeaways and treats from our doggie village.
The A-B Tech Pet University will feature chats all day from experts on training, and new pet products, such as CBD oils blended especially for dogs.
Tickets are just $8 at the entrance. Kids under 10 and all dogs get in free. A portion of the proceeds supporting Asheville Humane Society, Mountain Pet Rescue,and Boxer Butts and Other Mutts. Looking to add to your family? Our rescue partners are bringing some friends looking for furever homes.
Prestige Subaru is also giving you a chance to experience the 2019 Subaru Ascent, featuring standard symmetrical all-wheel drive for all your adventure needs, now with available “New Dog Smell” from our friends at Asheville Humane Society.
Opener: 3 and Twenty
Backwoods bravado, patriot’s pride, country soul, keg-thumping beats — these are the qualities that Moonshine Bandits have championed since they began burning up the California club circuit back in 2003.
Their message spread as they rolled from there through the heartland, the dirty South and beyond on their tour bus. No matter whether color their collar is or even if they wore a collar at all, people heard something of their story in their music — and popped back a cold one to celebrate that connection.
Plenty of their trademark sound and message resonates through Baptized In Bourbon, their new album — reverence for God and country on “Red, White & Blue Collar” (“We answered to the call when Uncle Sam cried/You know we always stand for what is right”), a celebration of backwater saloons and Saturday nights on “Stomp Like Hell” (“Before the bar doors close, I’m a-get to stepping/I’m gonna stomp like Hell just to get to Heaven”), a promise to stand firm for freedom on “Raised Up” (“If you ain’t proud of where you’re from, get the hell out of town”).
But there’s more — a new depth that encourages reflection, even hints of doubt. None of this compromises the defiant pride that’s always threaded through the songs of Bird and Tex, aka Moonshine Bandits. Still, something has changed since they released Blacked Out in 2015.
Tex knows why. “This year has been a whirlwind of touring,” he explains. “We’ll play at a bike rally in Oregon one day and then fly to Alaska. That’s had a lot of input on this album, especially on our songwriting. We’ve always been entertainers first, songwriters second. Now I feel like our songwriting has caught up to the entertainment part of who we are.”
In these past couple of years, he and his fellow bandit Bird have been in transition personally as well as artistically. They’ve gone from bus tours to jetting out for extended weekend jaunts. While playing for their die-hard, “blu-core” fans, vestiges of wilder days do appear, sometimes bringing old ways into conflict with new responsibilities.
Tex lays out the question candidly. “When we’re away from our family, is the way we’re living acceptable to God, with all the partying and crazy shit we do on the road?”
This dilemma was somewhere in whatever dream Tex was having late one night when he woke up suddenly. “Three words came to me: baptized in bourbon,” he remembers. “I texted Bird and my manager and said, ‘Hey, I don’t know what this means but it could be some pretty heavy stuff.’ The whole album started with that title.”
The Bandits and producers, Burn County, withdrew to a cabin/studio deep in a forest in the state of Washington. They talked about things they’d experienced, lessons they’d learn and questions that remained. Conversations evolved into lyrics; feelings took on musical shape; tape rolled. And after two weeks they emerged with Baptized In Bourbon, a project unlike anything they’d ever cut before.
“We didn’t sit down and say, ‘Hey, let’s do a themed album,’” Bird insists. “But the themes we were thinking of seemed to carry over song after song. It was like a circle. It wasn’t all heavy. There’s a lot of fun songs on the album too. But basically, Baptized In Bourbon isn’t just about bonfires and keg parties. There’s a lot more to it than that.”
“The Sermon” starts mournfully, with strings and a quiet acoustic guitar. Then a preacher breaks in, a beat kicks off and from the pulpit we hear the query that underlies all of Baptized In Bourbon: “In light of knowing that God is with us, and in light of knowing that He sees us always, how are we going to respond with our lives?”
The answer appears to be that you celebrate, you rock hard, you love without hesitation and fight without fear when you have to. And, if you’re Moonshine Bandits, you drive this story home with help from a gang of gifted guest artists: Crucifix on the slamming “I’m A Hellrazor,” Bubba Sparxxx on “51Fifty,” The Lacs on “Cards I Was Dealt,” Uncle Kracker on “Baptized In Bourbon,” Colt Ford and Outlaw on “Dad’s Pontoon,” Matt Borden on “Shook Me Up,” Jelly Roll on “Wild Ones” …
… and maybe most memorably, the legendary David Allan Coe. David Allan Coe has done some shows with the Bandits to rowdy audiences. Apparently he liked what he saw when Tex and Bird sent him their arrangement of his classic anthem “Take This Job And Shove It.” He volunteered to join with them in the studio and later on stage. Coe also personally called both Tex and Bird to thank them as well as tell them he enjoyed their energy-filled live show.
“I’ve always said there are three guys I wanted to work with before I quit music,” Tex says. “Two of them are dead; the third is David Allan Coe. We decided to shoot a video together at Shawshank. The night before we met in his hotel room. It was like we were old friends, listening to him talk about songwriting. The next day we went to the prison, where he had done three or four years of his life. We were kind of skeptical about what might happen because there’s a lot of emotion involved. Hell, I threw up after going into some of the cells. But he had a great time. Then that night, when we played a show in Bucyrus, Ohio, he did the song with us so we could have the footage.”
Bird smiles at the memory. “Then when we stopped the show to do it again, he gets on the microphone and starts rocking Kid Rock’s ‘Sitting Here Wasting Time.’ It was incredible to see a 77-year-old guy rap to a slow drum beat. The crowd went bonkers. I’ll never forget that. We were so proud to earn his respect.”
Baptized In Bourbon doesn’t stop there. The guys spin parallel stories on successive tracks, featuring male and female archetypes that their blu-core followers can recognize. “‘Renegade Rides Again’ says that you don’t know when the life we’re living is going to catch up with us. Then you go to ‘Hell On Heels,’ which is about some of the girls we’ve met,” Tex says, with a knowing laugh. “It’s pretty much all a true story. We don’t even embellish it. But that’s what happens when you run in this type of circle.”
This is the music that Moonshine Bandits will take on the road later this year, most likely on a bus tour this time. Maybe it’s a bit of a risk to mix the sacred and profane, the rowdy and the introspective, on record and then onstage. But the payoff here is twofold: Their music demands attention from first note to last. And because they enjoy a strong mutual trust with their fans, honesty is essential to that bond.
“I’m away from my wife and kids,” Tex sums up. “My partner has lost numerous fiancees because of this ride. Yeah, we’re out partying — not too crazy to where we’re out of control. And Bird’s dad is a preacher. So sometimes we do wonder if this lifestyle is acceptable. But this isn’t just about our lives. It’s a universal thing.”
At heart, we’re all blu-core. We all hear some of our truth in what Moonshine Bandits are throwing down. Maybe it’s time for us all to be Baptized In Bourbon.
Born Antoine McColister in Port St. Lucie, Florida, Ace Hood was raised by his mother in Deerfield Beach, 20 miles north of Miami. Rap music became his full-time obsession after he suffered a football injury in the tenth grade, effectively putting the kibosh on a professional sports career. By age 17, he was recording tracks for local imprint Dollaz n Dealz, and had put out a few street singles, including 2006's "M.O.E." (i.e., "Money Over Everything"). In November of the following year, Ace maneuvered his way into meeting DJ Khaled at local radio station 99 JAMZ and handed the Miami mixtape DJ his demo. Within a matter of weeks, DJ Khaled signed Ace, then 19 years old, as the first artist to his newly formed We the Best Music, which obtained distribution through Def Jam a few weeks after that.
Ace's Def Jam debut single, the Runners-produced "Cash Flow," featuring Rick Ross and ubiquitous hook singer T-Pain, arrived in early 2008 and turned out to be a smash hit on South Florida radio. A few mixtapes and guest appearances later, he released his first full-length, Gutta, in summer 2008. Ruthless followed the next year and, like its predecessor, peaked at number five on Billboard's R&B albums chart. Two years would pass before the ambitious Blood Sweat & Tears arrived, featuring some of Hood's best work to date. Trials & Tribulations followed in 2013 and found the rapper landing on Birdman's Cash Money label. Early the following year Hood dropped the free Starvation 3 mixtape, and in August of that year he released Body Bag 3. Trust the Process, the official follow-up to Trials & Tribulations, arrived in 2017, with Trust the Process II: Undefeated arriving the following year.
Boogie-Woogie piano music at it’s finest, the Screaming J’s hold
nothing back with their wild and zany performances. The Screaming J's
hail from the mountains of Asheville, North Carolina, where their
influences range from New Orleans honky-tonk to bluegrass, gospel and
ragtime. Found somewhere in-between a honkey-tonk
barn party and an Americana trio on a long psychedelic “trip”, you
won’t be disappointed with the infectious energy that is a Screaming
As an emerging female country artist in Nashville, history suggests that the quickest path to success is somehow aligning oneself with one of the major publishers, producers, songwriters, labels, or managers that are the heart of Music Row. So what do you do if you are an emerging female country artist in Nashville, and also happen to be the granddaughter of musical icon, Willie Nelson?
You hook up with an independent producer and veteran of the rock/punk scene, write some songs that are part Loretta Lynn, part Cheap Trick, and form the Raelyn Nelson Band.
Raelyn Nelson has been singing since she can remember. Having been raised on a steady diet of traditional country and gospel music, a gift from her grandpa in the form of a guitar during her teenage years was the inspiration she needed to begin writing her own country and folk songs.
Looking for a place to record these songs, a mutual friend suggested JB (Jonathan Bright), a veteran of the underground rock scene and independent producer. After recording some of these early songs, they decided to try to write some things together and see what happened. The result? A completely fresh and original sound, a true hybrid referred to by some critics as "Country/Garage Rock."
When they aren't recording their songs or making music videos, they are on the road taking their high energy live show to the people. Having shared the stage with such diverse musical acts as country superstar Tim McGraw, indie rock icons Drivin' n Cryin', and jam band supergroup Hard Working Americans, the RNB is proving that you don't have to fit neatly into any particular "genre" to find success.
"I don't really have any desire to be a 'solo-artist'. Everyone in my family who plays music has always placed a lot of importance on band chemistry, on stage, off stage and in the studio. Our band can almost read each other's minds. Why would I mess with that? We try to keep it simple: Write songs we like, record them, make a video, then go out and play them for people."- Raelyn Nelson.
Raelyn Willie and the Boys: Memphis Flyer https://www.google.com/amp/s/www.memphisflyer.com/memphis/raelyn-and-willie-and-the-boys/Content%3foid=10512681&media=AMP+HTML
Yacht Rock Revival After Party!
The Captain Midnight Band plays "Waterbed Rock & Roll", a unique hybrid of Classic Rock, Jam, R&B, and blue poetry.
The Captain Midnight Band creates "Water Bed Rock & Roll" for the mind, booty, and soul. Crunchy Rock Guitar, Soaring Vocal Harmonies, and thick R&B grooves create a sonic landscape for the band's suggestive, Sci-Fi imagery and improvisational interplay.
Formed in New Orleans in 2002, The Captain Midnight Band stays true to the Crescent City's celebratory heritage, turning every show into a sweating, throbbing event, interspersed with humor, eroticism, and inspired jams.
Flattering comparisons to genre-defying acts such as P-Funk, Frank Zappa, and Ween are evident in the relationship between band and audience. Striking visuals and an ever-changing set list keep fans coming back for more.
Midnight's style has infiltrated a variety of musical realms. Bob Weir, moe., Merl Saunders, Dumpstaphunk, Galactic, Cornmeal, Sharon Jones & The Dap Kings, Cypress Hill, Jimmy Herring Band, Dark Star Orchestra, Emmitt-Nershi Band, New Mastersounds, and The 2 Live Crew are just a few musical entities Midnight has either shared the stage or bills with.
Major influences include The Grateful Dead, Steely Dan, Funkadelic, George Lucas, KISS, Boz Scaggs, Little Feat, Joe Walsh, Frank Zappa, Joni Mitchell, Todd Rundgren, and Richard Pryor.
Phuncle Sam is Asheville's own Dead-centric "jam band". SInce their formation in 2004, Phuncle Sam has been firmly rooted in musical exploration. The band serves up inventive interpretations of Jerry Garcia, Grateful Dead and many others. They have built up a faithful following by using an approach that respects the improvisational traditions of The Grateful Dead, while exploring what can happen when individual band members bring their unique influences and interpretations into the mix.
"I grew up on 80's hair metal," Alex Williams says with a laugh. "My dad listened to Cinderella and Ratt, so that was my musical upbringing until I was about 16. That's when my grandparents played me 'Dreaming My Dreams' by Waylon Jennings and 'Red Headed Stranger' by Willie Nelson."
It would be hard to overstate the importance of those records on Alex Williams' life. After hearing them, he traded in his electric guitar for an acoustic, dove deep into classic country music, and, most importantly, began writing his own songs. Roughly a decade later, Williams is releasing his debut album, 'Better Than Myself,' and much like Willie and Waylon, he's doing it on his own terms.
"It seems like there's a lot of people out there just trying to get through the day," reflects Williams. "They're working a job they don't love or following somebody else's dreams just because it's safe and it keeps them comfortable. I didn't want to be like that."
'Better Than Myself' is a distant cry from the sugary pop hybrids currently dominating country radio airwaves, and as far as Williams is concerned, that's a good thing. He's part of a new breed of upstart outsiders, writing music that at once sounds both modern and traditional, channeling the raw, authentic sound that's made stars out of outlaw singers and red dirt rockers. His live show is a force to be reckoned with, earning him dates with everyone from Lynyrd Skynyrd to Hank Williams, Jr., but he's equally at home in the studio. Fat, twangy guitar tones, honky-tonk pianos, and swirling pedal steel lay the framework for Williams' blend of vintage country and southern rock, and his lived-in baritone breathes genuine life and depth into his based-on-a-true-story brand of songwriting.
"This record represents the last ten years of my life," says Williams. "My thoughts, my feelings, everything that I've been through, it's all in these songs. It's what I've wanted to say for a decade."
Williams was born just outside Indianapolis, in the small town of Pendleton, IN. After graduating from high school, he relocated to Nashville for a short-lived stint at Belmont University, but he quickly dropped out after realizing he could learn more about life by hitting the road and experiencing it than he ever could in a classroom.
"I played some in Nashville and did the Broadway thing, and I played locally around Indiana some, too, but my first real gigs were in Texas," remembers Williams. "I went down there because my cousin owned this shrimper bar on the Gulf coast where I could play. That was a big part of what got me so into Texas and all those Texas songwriters like Guy Clark, Jerry Jeff Walker, and Billy Joe Shaver."
Williams had a band with some of his former college classmates, and by the time he was ready to make the leap and go solo, buzz about the group had caught the ear of Big Machine Label Group's Julian Raymond. While Big Machine might be best known as home to crossover stars like Taylor Swift, Raymond's illustrious pedigree as a GRAMMY-winning songwriter and producer included work with old school greats like Glen Campbell and Hank Williams Jr., and he sensed something special in Williams.
"I was worried," remembers Williams. "I was 25, leaving this band, and I had no idea where my career was going to go, but Julian gave me a chance. He invited me to come by and start recording demos of my songs, and we probably ended up doing 50 or 60 of them. We kept slimming it down, but I kept writing."
When it was time to head into the studio for proper recording sessions, Williams and Raymond pieced together an all-star band featuring some of Nashville's finest musicians: drummer Victor Indrizzo (Willie Nelson, Emmylou Harris), keyboard player Matt Rollings (Lyle Lovett, Mark Knopfler), bassist Joeie Canaday (Leann Rimes, Steven Curtis Chapman), pedal steel player Dan Dugmore (James Taylor, Linda Ronstadt), and guitarists Tom Bukovac (Don Henley, Stevie Nicks) and J.T. Corenflos (Dolly Parton, Alan Jackson).
With Raymond at the helm as producer, the band recorded live on the studio floor and wrapped basic tracking in just two days. The result is a rollicking throwback chock full of wit and wisdom, colored throughout by Williams' fierce streak of independence. Album opener "Better Than Myself," which features harmonica legend and longtime Willie Nelson bandmember Mickey Raphael, sets the stage perfectly, as Williams sings, "Truth be told in every note I play / Truth be told I don't care what you say."
"One of my old bandmates was pissed at me one time and he said, 'Man, your songs are better than you are,'" Williams remembers. "That was hard to hear, but I had to save the line. I wrote the song in the back room of a venue before we played one of our last shows together, and it really felt like this new beginning for me."
Williams has never been one to pull a punch in his deeply personal songwriting. On the fingerpicked "Pay No Mind," he imparts hard-won insight about what (and who) really matters, while the folky "Freak Flag" is a devil-may-care ode to being yourself, and "Little Too Stoned" laments the loss of the authentic in favor of our society's obsession with the latest trends and fads. Elsewhere on the album, the hard-charging "Hell Bent Hallelujah" offers up a profane prayer for some good news, the infectious "More Than Survival" insists on living a life that's more meaningful than just getting by, and "A Few Short Miles" draws inspiration from a figure Williams met during those early days onstage in Texas.
"There was a fisherman down there who rescued an old acoustic guitar from a dumpster after a hurricane came through Galveston," remembers Williams. "One day I was in the bar restringing my guitar and he knocked on the door and gave it to me. It was really inspiring getting to know him, and a lot of things he said to me made it into that song."
Perhaps the most personal track on the record, though, is "Old Tattoo," a stirring ode to Williams' grandfather and the strength of his mother and grandmother in the face of his passing. "Time don't heal / It's just fadin' like the floors of an old saloon," he sings. "You can hide the pain away / Even if it's carved right into you / Like an old tattoo."
It's an arresting moment, and an apt metaphor for a songwriter with the ability to lodge his melodies and lyrics deep beneath your skin. Forget fame and fortune, hits and hype. As far as Williams is concerned, the legacy you leave behind with the ones you care about most is the true measure of any man. With that in mind, and with a debut album as good as 'Better Than Myself' under his belt, it's clear that Alex Williams is here to do more than just survive.
The Clydes are an Asheville-based New-grass/Americana act. Three time IBMA showcase artists, their original music (written by frontwoman Aubrey Eisenman) has placed in national song writing competitions and has brought them to four countries and over 35 states. Their charming presentation, danceable, relatable music paired with their impressive picking styles continues to turn heads as a three-year-young lineup.