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Blues Traveler Biography

Blues Traveler Become Team Players – America’s rock innovators celebrate milestone on collaborative

Blow Up The Moon

After selling millions of records and logging thousands of miles on the road, GRAMMY award-winning band Blues Traveler continue to chart new musical directions evident on their upcoming record Blow Up The Moon. A clever collaboration between various artists, Blow Up The Moon sees Blues Traveler keep an open-minded perspective on making music and enlists an eclectic mix of songwriters influenced by the band’s remarkable 25+ year career.

Blow Up the Moon is the first collaborative album that Blues Traveler has ever made. Prior to these sessions, it was rare for the band to have someone else perform on their songs and even more rare to have anyone outside the band write with them. This process was a unique and successful experience for each of these artists who each found new depths and energy in their writing and performance. Blow Up The Moon is an exciting collaboration featuring a range of artists across the spectrum, representing country, pop, reggae and hip-hop

“We wanted to experiment with co-writing since we usually try to do everything in-house, in this misguided homage to The Beatles,” says singer John Popper. Blow Up The Moon allowed Blues Traveler to expand their musical palette while holding the foundation of their distinct and explosive brand of rock. “We found quality writers to see what they could bring to us as a band, and also people who could see our strengths, something that’s hard to see for yourself.”

Blow Up The Moon features collaborating artists Thompson Square, Plain White T’s, 3OH!3, Dirty Heads and Rome Ramirez (Sublime), Hanson, Jewel, Secondhand Serenade, JC Chasez (*NSYNC), Bowling for Soup, New Hollow and Thomas Ian Nicholas.

The concept for Blow Up The Moon came about when the band was commemorating the 20th anniversary of their six-times platinum, award-winning and breakthrough album Four. “Once the idea was put out there, the thing took on a life of its own,” says guitarist Chan Kinchla. “We had so much fun reinvigorating our songwriting. This was an organic process that worked.”

“Nikkia’s Prom,” which Blues Traveler collaborated on with the Chicago pop-punk band Plain White T’s, was brought about through a Twitter conversation. While the groups had not met before, Popper and Plain White T’s vocalist Tom Higgenson bonded over the film Kill Bill. “Nikkia’s Prom” imagines what would happen if the daughter of Uma Thurman’s badass assassin showed up at her future high school dance. As drummer Brendan Hill said, “Like with all the bands we worked with, we just hit it off with them very easily. John and Tom holed themselves in a room and the rest of us just worked on key changes and rhythms. We all had the same kind of humor.”

Sharing humor and an open-minded perspective on music made the collaboration between Blues Traveler and electronic duo Sean Foreman and Nathaniel Motte, better known as 3OH!3, work so well. 3OH!3 are represented with two cuts on the disc, “Hurricane” and the title track which also includes contributions from J.C. Chasez (*NSYNC). Keyboardist Ben Wilson says Foreman, “is one of those real grinders who pored over every word all day until he felt we had a real coherent tune. And Sean played an instrument called a guitalele, which looks like a ukulele, but has six strings. When you hear it in this context it has a twangy sound that’s just awesome.”

Blues Traveler also had a relaxed time working with the California ska-punk band Dirty Heads on “Castaway” and “Vagabond,” which singer Rome Ramirez (from Sublime) produced. “Both bands just kicked back, handed some chords down and everybody added lyrics,” said bassist Tad Kinchla. “We would just learn the chords while we were all in the room together and played it the way we felt. It’s the luck of getting along with people.”

While Keifer and Shawna Thompson from the popular country team Thompson Square are a very different group than 3OH!3 or Dirty Heads, they were equally excited to work with Blues Traveler on “I Can Still Feel You” and “Matador.” The latter piece was written with Merle Haggard in mind and how he deserved more respect within the music industry. It’s a theme both groups know all too well, especially as they dare to challenge any imposed limitations. “They want to push boundaries,” Popper said of Thomson Square. “Generally, they stick to love songs, but here they wrote a philosophical statement about how the industry will embrace you and then turn on you. With them, we enabled each other to broaden the idea of genre and help it lose its meaning. Music is never supposed to be monogamous.”

A few stars that ascended at the time of Four also make guest appearances on Blow Up The Moon. Jewel lends her voice to “Hearts Are Still Awake,” and Thomas Ian Nicholas (star of American Pie), worked with Blues Traveler on “All The Way.” Hanson, the brothers who gave the world “Mmmbop,” join in on “Top Of The World.” Wilson said, “Hanson were huge fans of us back in the day – they were little kids then and 14 years later, here they are, grown men and had the tune almost the way they thought it should go, and we played it down until we got it right. They’re great singers and cool songwriters.”

Other collaborators on Blow Up The Moon include Secondhand Serenade who perform on “Darkness,” and co-wrote “Hearts Are Still Awake.” “Jackie’s Baby,” a song of soaring hooks and the collaboration with New Hollow, is according to Popper a new slant on the imagery in The Beatles’ “Rocky Raccoon.” Working with Bowling For Soup on “Waiting For You” and “I Know Right,” proves that Blues Traveler is in no danger of taking itself too seriously. That piece is a satirical look at online communication. “That title phrase just covers everything now,” Popper said. “It’s easy to talk to someone or beat up someone on Twitter, but try to come up with something new to say.”

Blues Traveler plan to spend all of 2015 on the road and are looking at more collaborative projects in the future since, as Wilson said, “There are a lot of different ways to write songs, and so many different ways to work with other people and arrive at the same place. It was reaffirming, but also instructive in teaching us how to say something simpler. When you listen to what came out of it, it’s something to be proud of.”

Loud & Proud Records will release Blow Up The Moon on both CD and vinyl in North America via RED Distribution (a division of Sony Music Entertainment) and in the rest of the world through earMUSIC. Loud & Proud see Blues Traveler as a relevant artist and the collaborations as exciting partnerships proving the band’s versatility.

http://www.bluestraveler.com/

The Wallflowers Links

Artist Website

Facebook Page

Twitter

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Trace Adkins Biography

Artist Website

Trace Adkins’ trademark baritone has powered countless hits to the top of the charts and turned albums into Platinum plaques, selling over 10 million albums, cumulatively. The Grammy-nominated member of the Grand Ole Opry is a television personality, actor, author, spokesman for the Wounded Warrior Program, the American Red Cross and has performed seven USO Tours.

In his 2007 autobiography, A Personal Stand: Observations and Opinions from a Freethinking Roughneck, the 6’6″ oil-rigger recounted his rise to fame, brushes with death and battles with personal demons. He also explains just how the world’s biggest alpha-male handles fatherhood with five daughters. In 2008, Trace’s integrity and wry humor served him well as a finalist on NBC’s The Celebrity Apprentice and prepared him for his return – on behalf of the American Red Cross – to NBC’s All-Star Celebrity Apprentice.

Trace has played a tough as nails biker in the The Lincoln Lawyer, developed and hosted GAC’s “Great American Heroes”, and has hosted the American Country Awards on FOX for four consecutive years.

In late October, Trace released his first Christmas album entitled, THE KING’S GIFT, a unique collection of Celtic carols and traditional holiday favorites. The album boasts an impressive group of musicians, including world-renowned Irish ensemble The Chieftains, Scottish vocalist Alyth McCormick, award winning family group The Issacs, Kevin Costner and daughter Lily Costner, and rock drummer Kenny Aronoff.

Many have been intrigued by Trace’s Celtic inspiration on THE KING’S GIFT. Trace explains, “[Celtic] music just strikes a primal chord in me. I’ve enjoyed listening to it and always hoped to do something with it.” Not only has Trace recorded a one-of-a-kind album, he has developed a special holiday tour, The Christmas Show as well. The 18-city tour is designed as a reverent theatrical and musical production that delves into the holiday traditions and lush arrangements that create THE KING’S GIFT. Trace hopes the tour will become a holiday tradition in which his fans and their families share the joy of the season with him for many years to come.

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98 Degrees Biography

Pegged as one of the original boy bands of the late 1990’s and known for their authentic vocal harmonizing, Grammy-nominated 98 Degrees were never just an ordinary pop group. Unlike most boy bands of the time, the group formed independently before later being signed to Motown Records, who released the group’s debut album 98° in 1997.

In 1998, the band released their breakthrough album 98° and Rising through Universal Records. The album went 4X platinum and yielded the hit singles “Because of You,” “I Do” and “The Hardest Thing.” The group’s success continued to flourish through the late 90’s and in 2000 Mariah Carey released “Thank God I Found You” featuring 98 Degrees and Joe. The single shot to #1 on the Billboard Hot 100 chart and the group received a Grammy nomination for “Best Pop Collaboration with Vocals.”

Later that year, the band released their fourth studio album Revelation which produced the #2 Billboard Hot 100 hit “Give Me Just One Night (Una Noche).” Revelation peaked at #2 on Billboard’s Top 200 Chart and went on to become 2X platinum. By 2002, the band had sold a staggering 10 million albums and the release of The Collection, a compilation spanning the group’s impressive five-year career, helped solidify their place as one of music’s most influential pop bands.

In June of 2012, brothers Nick and Drew Lachey announced 98 Degrees’ official reunion on On Air with Ryan Seacrest. 98 Degrees is Nick Lachey, Drew Lachey, Justin Jeffre and Jeff Timmons.

http://www.98degrees.com/

O-TOWN Biography

In 1999, ABC began airing one of the first reality shows in major network history, “Making the Band”, which chronicled the formation and rise to success of the boy band, Otown. The public tuned in to watch as Trevor Penick, Jacob Underwood, Erik-Michael Estrada, Ashley Parker Angel, & Dan Miller signed with Clive Davis’ J Records, released the #1 singles “Liquid Dreams” and “All or Nothing”, and achieved platinum success with their debut album. Despite their success, the band broke up in 2004 both to escape an unfair record contract and to pursue individual endeavors.

After a crash course in the entertainment industry in their early twenties, the guys have enjoyed branching off into different facets of the entertainment business. Their first experience left them with a desire to become more educated, seeing first hand how incredibly complicated (and sometimes corrupt) the industry can be. And now, after 10 years apart, Trevor, Jacob, Erik, and Dan are reuniting as friends with a renewed passion for making music together again.

“This one’s for the fans and everyone who supported us from the beginning.” -Otown

http://www.otownofficial.com/

RYAN CABRERA Biograghy

Guitarist, songwriter, and Texas native Ryan Cabrera never planned on a career in music. His hobby turned into a passion after hearing Dave Matthews, causing him to turn his back on the noisy punk rock of his high-school band, Caine, and pick up an acoustic guitar for the newly minted Rubic’s Groove. The group found popularity in the Dallas area, sharing stages with Cheap Trick, Ben Harper, and Third Eye Blind, before Cabrera’s departure. Making the most of a block of studio time — a birthday present from his brother — the high-school dropout cut three original songs that impressed the engineer enough to offer the opportunity to do a full-length — for free. Elm Street was a self-released success, selling out locally and garnering favorable reviews and a deluge of Internet orders. In 2001, Cabrera signed to Atlantic, which scheduled the long-player Take It All Away for release in 2004. Assisting behind the boards were Sabelle Breer and Curt Frasca (Avril Lavigne), Guy Chambers (Robbie Williams), and co-producer Johnny Rzeznik (Goo Goo Dolls). You Stand Watching arrived in 2005, followed by Moon Under Water in 2008. ~ James Christopher Monger, Rovi

http://www.ryancabrera.com/

DREAM

https://twitter.com/dreamgirlgroup

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Chris Young Biography 

http://www.chrisyoungcountry.com/

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Chris Young is in complete control.

As the RCA Records Nashville recording artist prepares to release his fifth album, due this Fall, Young has taken over responsibility for conceiving, writing, producing and recording the highly anticipated, I’m Comin’ Over.

Looking for a new approach on an album he knew was extremely important, Young hedged his bet by personally writing a check and quietly cutting six songs. When he played the music for surprised Sony Music Nashville executives, there was one simple response: “Keep going.”

Young, a native of nearby Murfreesboro, Tennessee, and a fixture on the scene since his teens, could easily have approached his latest album on auto-pilot. After all, few have had the kind of run he has. This is his fifth major-label album by the age of 30 – a feat rarely accomplished in modern country music. He’s ratcheted up six No. 1 singles, seven Gold and Platinum certifications, and been nominated for the industry’s most prestigious awards – Academy of Country Music, Country Music Association and The Grammys – taking home a handful of notable trophies, including the American Country Countdown Awards’ Breakthrough Artist of the Year and Single of the Year, and the Country Music Association’s Triple Play Award, given to songwriters who have co-authored three or more chart-topping hits in a year.

Prior to that clandestine recording session that would set the tone for the project, fate stepped in as Young wrestled with the direction of this new album. His longtime friend Josh Hoge suggested he jump in on a co-write with mutual friend Corey Crowder. It was a casual suggestion, not a put-together session dreamed up in a publisher’s building on Music Row. And that invitation changed everything for Young.

“It was just very honest and natural and we really, really hit it off,” Young said. “I was trying to figure out what I wanted to do sonically for this record and what I wanted to say. And it’s an important record. Turning 30. I’ve been doing this for 10 years and you always try to make a statement with each and every record. But this is my fifth record, and after 10 years I better have something important to say.”

Young wrote 9 of the 11 songs, including the title track first single, co-produced the album with Crowder and shepherded each track from demo through final mastering. He knows the LP “inside out, backwards and forwards.”

“It just feels different,” Young said. “There was a lot that changed. The studio band we used was different. This is the first time I’ve co-produced. Half the songs on the record were written by me, Corey and Josh. That was kind of the nucleus of this record, and that was really different for me. Nothing changed for the sake of change. It changed because it was the right way to go.”

Four of the album’s tracks emerged from the trio’s first seven sessions. Young kept the group coming back to the writer’s room and exciting things continued to happen. Two early tracks proved to be special. “I’m Comin’ Over” became a guidepost for Young and Crowder. Technically, the song is a ballad, but there’s nothing slow and steady about it.

“‘I’m Comin’ Over’ honestly is such a sonic bridge for me,” Young said. “It’s a bridge between what I sounded like on the last record and what we’ve done on this one. It’s not like I went out and just completely blew up everything I was doing, but there’s obviously a lot more loops. There’s a lot more stuff that we created in pre-production and brought into the studio along with the musicians. I think that this song is a really good introduction to what you’ll hear on the rest of this record. There’s R&B elements that we brought into some of the songs, and you definitely hear that on top of the second verse. It’s really simple. It’s really short, just a tiny, little moment, but it’s definitely stuff that we wouldn’t have done in the past.”

“As Chris, Josh and I began writing together, the sonic direction seemed to organically take shape,” shared co-producer and co-writer, Corey Crowder. “We all come from different spaces in the music world and our personalities, working styles and strengths really compliment each other.”

You begin to see the producer in Young emerge with a confident strut on the album’s next track, “Heartbeat.” The song is all elevated heart rate, supplied by a thumping heartbeat pulsing just under the instrumentals.

“Chris and I make a really good team,” Crowder said. “We trust each other’s ears and it really
makes the combination work well.”

Young the producer wraps Young the singer’s perfectly mellow traditional country baritone in a more modern context. Many of the songs are bright and bold and aimed for the arena rafters as he moves into the touring headliner’s role, kicking off October 22 with his “I’m Comin’ Over Tour,” featuring openers Eric Paslay and Clare Dunn. “Heartbeat,” for instance will drop right into his live set. And songs like “Sunshine Overtime” and the anthemic “Underdog” are strong arena candidates with their bright colors and racing tempos.

While good times are a heavy presence on the album, Young doesn’t completely leave behind the nuanced emotion of his previous work. “I Know A Guy” and “Sober Saturday Night,” which features Vince Gill on guitar and harmony vocals, help Young round out I’m Comin’ Over with a song for every mood.

“There’s a great history of sad songs in country music and I think that a lot of people have lived that,” Young said. “They’ve had that night where it’s like, ‘Man, I’m so depressed, I don’t even want to leave my house. I’m just going to sit here. I don’t even want to try to drink myself out of being depressed,’ and it’s powerful. But I think there are touch points – I think that’s really what this record is. Hopefully everybody relates to each one of these songs and they have their own experiences.”

Young formed his appreciation for the history of country music listening and watching closely genre ambassadors like Gill, who is best known as a Grammy Award-winning singer and guitarist. But he’s also emerged a powerful producer, and Young would like to see his career follow a similar path. He knew this from the second he saw Gill in concert as a child, sitting in

the grass at Nashville’s old Starwood Amphitheater, watching the legend perform solo acoustic
for a crowd of thousands held at rapt attention.

“I got to sit in his studio and hang out with Vince Gill all day, and it’s just such a weird, cool full- circle thing for me,” Young said. “He’s absolutely someone that I put on a pedestal as a vocalist and a person. It’s like, ‘Oh, my God, I want to be known as an artist who is that good.’”

Young exudes a combination of pride and nervous energy as he talks about rolling out I’m Comin’ Over, first, for family and friends, and now for critics and the public. It’s the most personal album Young has recorded, full of accessible moments that grow out of small things like a look, a touch or a broken bond. And for the first time he’s responsible for almost every hook, solo and lyric, right from the start.

Like Gill, Young takes a personal moment or emotion and elevates it with a universal resonance. When he sings of a day at the beach or the lake, it’s because he’s relaying an experience from his own life, not some anonymous songwriter’s. And when you feel his heartbreak, that’s really his heart breaking.

“It’s no secret I’ve fallen in love before,” Young said. “And I’ve fallen out of love. And I’ve definitely had love fall out on me – that makes for several records worth of music right there. Then, when you combine some of the other stuff that we wrote on this record, it gives it a lot of variety, too. I think that’s important. I could just as easily sit down and write an entire an album of love songs, but I think you have to have the love songs and you have to have the stuff you’re going to play when it’s summer and 100 degrees and everybody’s in T-shirts at a festival. It’s a balancing act. You have to have all the colors on the palette and make them work together.”

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Third Eye Blind Biography

http://thirdeyeblind.com/

Although often lumped into the post-grunge category, Third Eye Blind sported a brighter sound than many of their late-’90s peers, taking as much influence from classic pop/rock traditions as the angst-ridden music that dominated the decade. The group scored its first hit in 1997, when the debut single “Semi-Charmed Life” cracked the Top 10. Third Eye Blind built upon that success throughout the following three years, releasing a number of singles (three of which cracked the Top 10) while touring with the likes of U2 and Oasis. After taking a break during the early 2000s, the band returned in 2009 with its fourth studio album, Ursa Major.

Third Eye Blind hails from San Francisco, where singer Stephan Jenkins made his name as a solo musician after earning an English degree from the University of California at Berkeley. Jenkins soon decided to piece a band together. After several lineups failed to gel, former Fungo Mungo bassist Arion Salazar joined the group, which Jenkins had named Third Eye Blind (in reference to the metaphysical concept of a mind’s eye). At one of the band’s early shows, guitarist Kevin Cadogan — a former student of Joe Satriani who later became involved in the northern California ska and punk scenes — introduced himself to Jenkins. Cadogan subsequently joined Third Eye Blind in late 1995, bringing along former Counting Crows drummer Brad Hargreaves, as well.
As Third Eye Blind worked on cementing its sound, Jenkins began earning major-label attention through his production of the Braids’ cover of Queen’s “Bohemian Rhapsody,” which became an international hit. He signed a publishing deal shortly afterward, reported to be the largest such deal ever presented to an unreleased artist. Meanwhile, Third Eye Blind cultivated a dedicated fan base by playing the Bay Area frequently, and the group’s original 14-song demo attracted attention from major labels. The buzz was continuing to build when the musicians finagled their way into a prized opening slot for Oasis’ April 1996 concert at the Civic Auditorium. The group was still unsigned at the time, but following their well-received performance (which included an encore — a rare opportunity for an opening band), Third Eye Blind became the subject of a bidding war.
The band eventually signed with Elektra/Asylum, a label that afforded them a considerable degree of artistic freedom. Jenkins was tapped as the band’s producer and received a production deal to help develop new groups, but his top priority remained with Third Eye Blind. With Jenkins handling production studies, the band recorded their eponymous debut in San Francisco with the assistance of Eric Valentine, an engineer who had also worked on their early demos. The self-titled Third Eye Blind was released in the spring of 1997; by that summer, the introductory single “Semi-Charmed Life” had become a chart-topping modern rock hit. Spawning several more successful singles (including “How’s It Going to Be” and “Jumper”), the album broke into the Billboard Top 200 and remained there for over a year, establishing Third Eye Blind as one of the most popular bands of the late ’90s.
Blue followed in 1999 and sold 150,000 copies within a month of its release. Although fans heralded it as the band’s strongest album, only one song — the sprightly “Never Let You Go” — matched the success of the band’s past singles. Tours across the globe followed throughout 2000, but by the time 2001 rolled around, the band had lost a crucial member (guitarist Cadogan, who co-wrote much of the band’s material before exiting the lineup) and opted for some time off. Tony Fredianelli soon climbed aboard as the band’s replacement guitarist, and Third Eye Blind turned its attention to several charity events. They played shows in support of the Tiger Woods Foundation and helped organize Breathe, a performance that promoted breast cancer awareness.
By 2003, Third Eye Blind resumed their schedule with the release of Out of the Vein. The record suffered from poor marketing, due in part to Elektra’s merger with Atlantic, and Out of the Vein ultimately failed to ignite the same commercial sparks as its predecessor. Nonetheless, the band returned to the drawing board that same year, although Jenkins’ lengthy battle with writer’s block prolonged the release of a new album for six years. In the interim, a best-of compilation entitled A Collection appeared in 2006, and the band continued to tour in support of their past releases. Third Eye Blind’s long-awaited fourth album, Ursa Major, was issued in 2009, preceded one year earlier by the digital EP Red Star. ~ Stephen Thomas Erlewine, Rovi

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GOV’T MULE Biography

Rock torchbearers Gov’t Mule are celebrating their 20th anniversary with an extensive tour and a series of dynamic live archival releases that highlight the group’s versatility and epic, fearless live performances. No two Gov’t Mule shows are alike, as the band draws on the more than 300 songs in their repertoire (and often a host of special guests) to create a unique experience each and every time. Their steadily expanding fan base knows that the Mule always has something special waiting for them. Expect the unexpected.

The deep chemistry and steely confidence shared by the quartet allow them to tackle any form of music and stamp it their own while remaining true to the spirit and intent of the original. This can of course be heard any time guitarist-singer Warren Haynes, drummer Matt Abts, bassist Jorgen Carlsson and multi-instrumentalist Danny Louis take the stage, but a series of new live archival releases really drives the point home.

The first of the archival releases, Stoned Side of the Mule: Volume 1, captures the Mule on Halloween 2009 ripping through seven impassioned Rolling Stone covers. This special Record Store Day Black Friday release (out November 28, 2014), available only at select independent record stores, will be available as a limited edition vinyl-only pressing, newly-edited and mastered, with the vinyl lacquers cut from the old Stax Records lathe in Memphis. The release also features special guests Jackie Greene and Steve Elson.

The second archival release, Dark Side of the Mule, will be released on December 9, 2014, and features 90 minutes of Pink Floyd covers recorded during the band’s Halloween 2008 show at the Orpheum Theatre in Boston, MA. There will be three configurations including a standard version (1-CD), a deluxe version (3-CD/1-DVD package featuring the entire 3-hour performance) and as a double vinyl version. All configurations feature audio newly-mixed and mastered.

The third release, Dub Side of the Mule, will be released in early 2015 and shines a light on the band’s New Year’s Eve 2006 Beacon Theatre show. Newly-mixed and mastered, it includes a 45-minute set of reggae songs with special guest, reggae legend Toots Hibbert (founder of Toots & The Maytals). This will also be available in three configurations including a standard version (1-CD), a deluxe version (3-CD set of the entire 3-hour performance and one DVD of the Toots set) and a double vinyl version. The release also features special guests Gregg Allman & Friends and John Popper.

On January 2015, fans will finally be able to get their hands and ears on a very special release – the long-awaited SCO-MULE album. In late September of 1999, John Scofield teamed with Gov’t Mule, then featuring original bass player the late Allen Woody, along with keyboardist Dr. Dan Matrazzo, in Georgia for two legendary shows of mind-bending live prowess.  Both shows were recorded and included the Mule’s first-ever all-instrumental sets. The band had begun preparing the music for eventual release while working on their third studio album Life Before Insanity. However, less than a year later, their beloved bassist Allen Woody passed away, setting the Mule on a different path. The idea of releasing SCO-MULE came up over the years, but the timing was never as right as it is now – helping to mark Gov’t Mule’s 20th Anniversary. While Scofield and the Mule did reunite briefly for a set at Warren Haynes’ 25th Annual Christmas Jam in December 2013, fans have been clamoring for the return of the project ever since those lauded 1999 shows, and for more than a decade the Mule have been eager to share the music from these shows through an LP. Now for the first time, fans can experience the SCO-MULE magic first-hand in album form, newly mixed and mastered. The 3-hour all-instrumental album is a jazz romp laced with rock riffs and will be available as a 2-CD set as well as a double vinyl.

Warren Haynes’ unparalleled ability to bring together different musicians into a cohesive whole or to pull off epic musical happenings is one of the many reasons why Haynes stands apart from the many great front men and guitarists who have graced the musical landscape. Combined with his guitar and vocal mastery, these skills have made him an in-demand presence and indispensible musical ally for many. This was shown most recently on Mule’s most collaborative album to date, Shout!, their most recent (and 15th) studio album. The one-of-a-kind project is a double CD featuring two versions of every song – one with Haynes singing and the other featuring a host of guest vocalists, including Dave Matthews, Ben Harper and Elvis Costello.

“Making Shout! a double CD with guests was a cool way to mark our 20th anniversary,” says Haynes. “Each song has it its own personality; it sounds like Gov’t Mule but doesn’t sound like anything we had ever done. The songs cover a lot of the influences that have made Gov’t Mule what we are from the beginning. I think it’s the most diverse record we’ve made. These new archival live releases just further that concept and allow us to highlight some of our influences as well as how far we’ve come since the first album.”

Indeed, it would have been hard for those listening to Gov’t Mule’s self-titled debut, filled with thunderous power trio rumblings of Haynes, bassist Allen Woody and drummer Matt Abts, to envision them remaining true to this original vision, while also expanding to include reggae and horn-driven, backup singer-sweetened, classic rock covers by Pink Floyd and the Rolling Stones, but that’s the tricky feat the band has pulled off, as illustrated by their upcoming live albums.

“I wouldn’t recommend any of these releases as a starting point,” says Haynes. “But I would strongly recommend all of them to anyone who already knows the band. They capture different sides of us and each also features us playing very different sets of our own music as well.”

Gov’t Mule was formed in 1994 when Haynes and bassist Allen Woody were playing in the Allman Brothers Band and talking about their shared passion for old school power trios.

“We were listening to a lot of Led Zeppelin, Cream and Free, caught up in the musical freedom they displayed,” says Haynes.

Haynes called up drummer Matt Abts, with whom he had played in the Dickey Betts Band. The band recorded three increasingly ambitious studio albums and performed countless shows before Woody died in August, 2000. After briefly pausing to ponder their next move, Haynes and Abts began recording The Deep End, two CDs featuring guest bassists, ranging from the Who’s John Entwistle to the Grateful Dead’s Phil Lesh.

“Everything we’ve done collectively has led up to where we are now,” says Haynes. “But those Deep End sessions, and the experience of playing with so many bassists and adapting to different sounds and approaches had a profound effect on Gov’t Mule and what we’ve done since.”

Louis, a longtime collaborator, became a full-time member of Gov’t Mule in 2001, and the group has been a four-piece ever since. Bassist Carlsson has been with the group since 2008, solidifying the lineup.

“I think a lot of the music we’re doing now is very similar to the music we were making in the earliest years with the obvious exception that we are no longer a trio,” says Haynes. “In some ways we’ve come full circle and in other ways it only makes sense if you step back and connect the dots. And that seems right to me. You want to keep growing and you never want to be static, or done changing.”

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Blackberry Smoke Biography

“I think that this record does a really good job of conveying what we do and what we’re about,” Blackberry Smoke singer-guitarist-songwriter Charlie Starr says of Holding All the Roses, the band’s fourth studio album and its first Rounder release. Indeed, Holding All the Roses compellingly captures the energy, attitude and honesty that have already helped to make Blackberry Smoke one of America’s hottest live rock ‘n’ roll outfits, as well as a grass-roots phenomenon with a large and fiercely loyal fan base that reflects the band’s tireless touring regimen and staunch blue-collar work ethic.

The 12-song set—produced by Brendan O’Brien, whose previous production clients have included AC/DC, Aerosmith, Pearl Jam, Bruce Springsteen and Neil Young—showcases the Atlanta-based quintet’s emotion-charged mix of bluesy rock, gospel soul, and country, with Starr’s raspy twang matched by his and Paul Jackson’s snarling guitars, Brandon Still’s hauntingly expressive organ and piano, and the propulsive sibling rhythm section of Richard and Brit Turner.  The songs’ musical and emotional appeal is further elevated by the band’s three-part vocal harmonies and expanded arrangements that make judicious use of fiddle and added percussion.

The five musicians’ instinctive musical rapport manifests itself equally strongly on such surging rockers as “Let Me Help You (Find the Door),” “Living in the Song” and “Wish In One Hand,” and on such intimate, introspective tunes as “Woman in the Moon,” “Too High” and the stirring, acoustic-textured “No Way Back to Eden.”  The album’s musical and emotional depth demonstrates how Blackberry Smoke continues to extend and expand the Southern rock tradition.

The musical maturity that’s on display throughout Holding All the Roses underlines Blackberry Smoke’s steady evolution from rough-edged club act to arena-ready rock ‘n’ roll juggernaut.  Since its formation in 2000, the band has never shied away from hard work, playing more than 250 shows a year and building an ever-expanding audience on the strength of its live shows, and with a noticeable lack of mainstream hype.

“We’ve built our audience one fan at a time,” states drummer Brit Turner.  “Sometimes it feels like we know every one of them personally, and we’re constantly amazed and moved by their loyalty and passion.”

Along the way, Blackberry Smoke has found time to record a handful of independent releases, including the albums Bad Luck Ain’t No Crime, Little Piece of Dixie, and The Whippoorwill (the latter on country megastar Zac Brown’s Southern Ground label), plus a pair of EPs, the concert DVD Live at the Georgia Theatre, and the live CD/DVD set Leave A Scar.  Although those releases found favor with fans and were received warmly by critics, the band members feel that Holding All the Roses marks the first time that Blackberry Smoke has had the time and resources to make an album that properly captures their musical essence.

“In the past, we never really had the resources to make the kind of records we wanted to make,” says Charlie, adding, “But this time around, everything lined up, and we were able to create an album that covers a lot of musical ground and works as a listening experience from beginning to end.”

It certainly helped that the band found a kindred musical spirit in producer O’Brien, whose affinity for solid songcraft and knack for capturing transcendent moments of musical inspiration made him the ideal man to capture Blackberry Smoke’s restless spirit in the studio.

“The whole experience was refreshing and spontaneous,” Charlie says of the album’s birth cycle.  “We got it done pretty quickly, but it didn’t feel like we were in a hurry.  We chose the songs to represent the different things that we do, and we took the time to work out the running order and figure out how the album should flow.  There are a bunch of three-minute songs on there, and a couple that are under three minutes, plus a couple that open up a little bit more and get a little bit jammy, and Brendan was very open about approaching each song to give it what it needed.”

“It was a way more comfortable record to make than anything we’d done before,” adds Brit.  “We were excited to work with Brendan for so many reasons, one being that he gets us and we don’t have to explain where we’re coming from, which hasn’t always been the case in the past.  We were all on the same page about the music, so we could just get down to business.”

Getting down to business is something that Blackberry Smoke has always been good at.  In addition to winning fans and friends throughout the United States, they’ve toured Europe three times, had their songs featured in movie and video-game soundtracks, and performed for country legend George Jones (who guested on the band’s second album) on his 80th birthday.

Jones isn’t the only notable artist who’s come out as a Blackberry Smoke fan.  Dierks Bentley, Jamey Johnson, Grace Potter and the Zac Brown Band have all gone on record as admirers, while ZZ Top’s Billy Gibbons admiringly advised, “The band is tight enough.  Quit practicing!,” and no less an authority than Gregg Allman stated “That band is gonna put Southern Rock back on the map.”

The critics agree. The Washington Post proclaimed them “a band that can reclaim Southern Rock for the South,” and the Atlanta Journal Constitution declared, “The Atlanta quintet is the real deal.” Billboard praised their “epic-sounding ballads,” andThe New Orleans Times-Picayune called them “an airtight band that is far smarter and more sophisticated than casual observers may realize… Blackberry Smoke’s amalgamation of hearty Southern rock, alt-country and deep soul is equally suited for roadhouses or arenas.”

The acclaim extends to the other side of the Atlantic.  The London Times noted, “Unpretentious and as musically tight as you would expect a band who plays night after night would be, Blackberry Smoke brought a little bit of Georgia sunshine to a rainy night in London.”  The English hard-rock journal Kerrang! proclaimed, “Blackberry Smoke are now a Big Deal…  They’ve achieved it simply because they’re awesome.”

Much of that awesomeness lies in the potent musical and personal rapport that’s at the core of Blackberry Smoke’s music.  “It’s evolved over the years, but that chemistry has been there from day one,” says Charlie.  “It’s always been about the five of us listening to each other and creating something that belongs to all of us.  When we started, we were young and impatient, playing everything too fast and with everything always turned up to 10.  But eventually you calm down and settle into the music, and you learn to play with patience and soul.”

“Everything with us has been a natural progression, but it’s always felt like it’s been about the five of us and about the chemistry,” Brit asserts.  “Me and my brother and Charlie had played together a lot in other bands, so that was a really strong foundation.  And all five of us grew up loving songs that were really well-crafted, whether they were by the Beatles or the Stones or Aerosmith or Skynyrd.  That’s a big part of our common ground, and I think that we’re always trying to come up with songs and records that are as good as the ones that we grew up with.”

While the five bandmates are excited that their move to Rounder offers the potential of reaching new listeners, they’re not planning on altering their approach for mass consumption.

“The plan for this record,” Charlie says, “is to go out and play as much as we can, and just take it to the people.  There’s so much that’s out of your hands when you release a record, but that’s the part that we can control.  That, and making an effort to make a better record every time.”

“We’ve always been really hands-on and deeply involved, and that’s not going to change,” concludes Brit, who adds, “The thing is, we really do care about this stuff, and we don’t have it in us to phone it in.  We really care about what we do, and we care about every person who comes to see us play, even the jackass who’s screaming for the song that we just played.  So we’re ready to pick up the ball and run with it.”

http://www.blackberrysmoke.com/

 

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Kongos Biography

The brothers KONGOS–multi-cultural, multi-faceted, multi-instrumentalists—craft a unique and irresistible sound spawned from shared DNA, diverse influences and spot-on melodic and lyrical sensibilities. On Lunatic, their 12-song Epic Records debut, the band’s talent shines on “Come With Me Now”; the title an impossible-to-resist aural summons, the rock-alt crossover tune kicking off with the accordion, jumping into foot-stomping, staccato rhythms, slide guitar, and soaring epic soundscapes reminiscent of U2. “I’m Only Joking,” whose lyrics hint at the album’s title, hits the mark with decisive tribal rhythms and Pink Floyd-esque mysterious modern rock. Thanks to an earlier self-release of Lunatic, KONGOS are already stars overseas, playing their numerous hits offLunatic for crowds of up to 65,000 at South African festivals and touring the Republic with Linkin Park, and the UK and Europe with AWOLNATION and Dispatch. With a Feb-March North American tour with Airborne Toxic Event and alternative and rock radio hot on “Come With Me Now” and “I’m Only Joking,” (not to mention “Come With Me Now” in promos for NFL, NBA and ESPN), 2014 is quickly shaping up as the year the U.S. catches KONGOS fever.

KONGOS’ life story is as cinematic and captivating as their songs. The siblings, who range in age from 25 (Danny) to 32 (Johnny), were born to popular ’70s South African/ British singer-songwriter John Kongos (“He’s Gonna Step On You Again,” “Tokoloshe Man”). Spending their early childhood in London (all were born there except Danny), then South Africa before settling in Phoenix in the mid-90s, the boys were exposed to a wide variety of sounds. “We listened to everything from classical and opera like Puccini to African tribal music to 60s and 70s pop and rock,” says Dylan, who cites African bassist Richard Bona, Béla Fleck’s Victor Wooten, and singing players like Sting and Paul McCartney as influences. His rhythm section partner, Jesse, who studied Jazz at ASU (as did Johnny), remembers learning boogie-woogie and classical piano as a child before getting into African drums, then jazz greats like Jack DeJohnette. As KONGOS grew together as a rock band, Jesse loved the vibe and feel of Zeppelin’s John Bonham, and currently admires gospel and hip hop drummers like Aaron Spears and Carlos McSwain. Danny also boasts a myriad of influences, ranging from Jeff Beck to Mahmoud Ahmed–“the James Brown of Ethiopia”–for his use of unconventional pentatonic scales. Johnny, who is a student of jazz and classical piano, cites Keith Jarrett as a hero, while his accordion playing draws from various world styles, including South African maskandi and Qawwali music.

Despite the immense and wide-ranging familial talent, the brothers were never groomed to be a “family band,” and as Jesse notes, “our parents wanted us to learn music like you do Math or English.” But the siblings joke, “we got to a point where we didn’t want to get a real job so we stuck with music.” Johnny adds, “Hey, most of the family bands everyone knows have been hugely successful!” Of course, the Jackson 5, Beach Boys, the Osmond Brothers and more recently minted family bands like Kings of Leon do seem to have an advantage inherent in the DNA. That said, despite inborn talent, KONGOS are all about hard work and humility. Interestingly, each brother writes separately and brings completed songs to the group. Additionally, they don’t necessarily sing their own songs. Live, Jesse and Dylan share lead vocals, while on Lunatic, Johnny and Danny also sing: “It depends on whose voice works for that song,” says Dylan. “It’s a lot of rehearsing to find where each voice fits; like Danny has a high register that’s nice.” To make the family and musical dynamic smooth, Johnny notes with a laugh: “We are a democracy with an occasional dictator. Everything band-wise is done together, but recording we give the power to the songwriter. As for the day to day organization and business, it’s a total democracy.”

Clearly, it’s a formula that works, and on Lunatic, they put all the pieces together into a cohesive whole. The brothers use a family recording studio—Tokoloshe Studios— named after their father’s hit song. Completely self-contained, they write, produce, engineer and mix/master their music as well as direct, shoot and edit all their own music videos. Hardly hermits, since debuting at a high school talent show in 2003 (covering “Eleanor Rigby”!), beginning in 2007 KONGOS played out incessantly, focusing on building a following in Phoenix, garnering local airplay, West Coast tours, and eventually coveted slots at SXSW and CMJ. The years of dedication paid off: In 2011, hanging in the studio, the brothers decided to email a few songs to South African radio stations. 5FM, the biggest Top 40 station in South Africa, playlisted “I’m Only Joking,” which hit No. 1 on the rock chart and was the most requested song for 11 weeks in a row. “In retrospect it was one of those crazy stories; the guy opened the email and played it on the radio and it changed everything for us in South Africa,” recalls Johnny. “We didn’t expect anything like what happened.”

While live is where KONGOS’ uplifting, universal musicality reaches the masses, the studio is indeed a second home for the brothers—as kids, at their father’s home studio in London, Elton John’s or Cat Stevens’  group was often the house band, while the elder Kongos worked with Mutt Lange to program Def Leppard’s drums for Pyromania. The total lifelong musical immersion makesLunatic—and KONGOS—a rare breed of band. Fluent in numerous styles and eras, still, at the end of the day, a rock band. “We’re making rock and pop music and our more obscure influences may only come out when we are attacking an extended solo,” they explain. “But we definitely relate to bigger bands like Daft Punk, Coldplay and Queens of the Stone Age.”

The band also agreed that they were happy with Lunatic being a diverse record: “We each have different styles and personalities, so we embrace that. We have a KONGOS sound which is not exactly assigned, but we have an essence, a picture in our mind of what it will sound like.” The press concur, praising the band’s “classic rock elements, African rhythms and Balkan beats” and their “incontestable youthful talent…[and] emotional outpourings.” The bottom line? KONGOS “want to write music that we like listening to.” Fortunately, with tastes as diverse as theirs, that’s a winning proposition for fans of all ages and predilections.

http://www.kongos.com/

The Struts Biography

The Struts are an English rock band from Derby, Derbyshire. The band currently consists of vocalist Luke Spiller, guitarist Adam Slack, bassist Jed Elliott, and drummer Gethin Davies. The band was formed in 2010 with the original lineup consisting of Spiller and Slack, as well as bassist Jamie Binns and drummer Rafe Thomas.

After both of their bands were “coming apart”, Spiller and Slack wrote and recorded together for nearly three years. They later recruited mutual friends Binns and Thomas to play bass and drums, forming the band. Influenced by Queen, the Rolling Stones, Oasis, and The Libertines, The Struts have been described as “unabashedly over the top retro-fetishist classic rock”, “glamourous and dangerous”, and as “having a chance to spark a real rock revival with their hooky glam sound, which manages to pay tribute to the classics, while remaining impeccably modern.

www.thestruts.com/

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Vince Neil Biography

“I told them about you bro. They saw you and they’re stoked,” admitted Mötley Crüe drummer Tommy Lee to future lead vocalist Vince Neil the night the band came out to see the bleached blonde singer perform with his band Rock Candy at the famed Hollywood nightclub, Starwood. Neil, however, was apprehensive at first as he was very happy with his current band but agreed to an audition the next weekend as to not hurt Lee’s feelings. The singer was quickly ushered into the band, and for the next decade they embarked on a heavy metal odyssey full of music, mayhem, and four consecutive multi-platinum albums.

Born Vince Neil Wharton on February 8, 1961, in Hollywood, CA, Neil was the focal point of the band with his long blonde hair and screeching vocal style. While not a schooled vocalist, Neil definitely looked the part. Born and raised in the Los Angeles area, he epitomized the carefree California “surfer dude” image, which was, at the time, the ideal persona for a heavy metal front man (à la David Lee Roth). After Neil joined Mötley Crüe in 1981, the band recorded the self-produced album Too Fast for Love, which attracted the attention of Elektra Records’ Tom Zutaut. They were subsequently signed and in 1983 released their major-label debut, Shout at the Devil, that went on to become a multi-platinum smash and launched the band into superstardom. Mötley Crüe pressed on and released 1985’s Theatre Of Pain which quickly went multi-platinum as did 1987’s Girls, Girls, Girls and 1989’s Dr. Feelgood, an album that became the band’s biggest success. Following the massive tour to support Dr. Feelgood, Neil was fired from the band. As a result, the singer embarked on a semi-successful solo career, teaming up with former Billy Idol guitarist Steve Stevens on 1993’s Exposed, which sold respectably. In 1995, Neil released the Dust Brothers’ produced Carved in Stone which failed to live up to expectations. Mötley Crüe also failed to recapture their ’80s success with their 1994 self-titled album and asked Neil to rejoin the band in 1997. 1997’s Generation Swine saw the band reunited with their original lead singer, Neil, and the original lineup of guitarist Mick Mars, bassist Nikki Sixx, and drummer Tommy Lee. This lineup would not last long, however, as Tommy Lee would leave the band in 1999. Following yet another departure, the band released New Tattoo in 2000. – Eric Linden, All Music Guide

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Ziggy Marley Biography

A six-time Grammy winner, Emmy Winner, humanitarian, singer, songwriter and producer, Ziggy Marley has released twelve albums t much critical acclaim. His early immersion in music came at age ten when he sat in on recording sessions with his father, Bob Marley. As front man to Ziggy Marley and The Melody Makers, the group released eight best-selling albums that garnered three Grammys, with such chart-topping hits as “Look Who’s Dancing,” “Tomorrow People” and “Tumbling Down.” Ziggy’s first solo album, Dragonfly (RCA Records), was released in 2003. His second solo release, Love is My Religion (Tuff Gong Worldwide), won a Grammy in 2006 for “Best Reggae Album.” His third solo album, Family Time (Tuff Gong Worldwide), scored him a 5th Grammy award for “Best Children’s Album.” In 2011, Ziggy released his critically acclaimed 4th studio album Wild And Free, which earned him a Grammy nomination, as well as his first ever comic book entitled MARIJUANAMAN. Ziggy Marley Organics, a GMO-free product line including flavored coconut oils and hemp seed snacks, was started in 2012. The products are distributed throughout the US and are available in over 1000 stores nationwide. His 2012 live album “Ziggy Marley In Concert,” recently earned him his 6th Grammy award for “Best Reggae Album.” To coincide with the release of his latest album “Fly Rasta,” Ziggy is putting out his debut children’s book “I Love You Too,” a coproduction of Akashic Books and Tuff Gong Worldwide on April 15th, 2014. The multicultural picture book is based on one of Ziggy’s most beloved songs of the same title from his Grammy Award-winning album “Family Time,” which explores a child’s relationship with parents, nature and the unstoppable force of love.

http://www.ziggymarley.com/

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Toad The Wet Sprocket Biography

When Monty Python’s Eric Idle created the fictional band “Toad the Wet Sprocket” for the program “Rutland Weekend Television” in 1975, he never dreamed that anyone would actually use such a silly name. Fast forward to 1986, when four California teens adopted the monicker as a joke for their first gig at a Goleta, CA watering hole called The Shack.

Toad the Wet Sprocket (Glen Phillips on lead vocals and guitar, Dean Dinning on bass and vocals, Todd Nichols on lead guitar and vocals, and Randy Guss on the drums) share in the kind of musical chemistry that can only come from meeting in high school and writing, recording and touring on albums over the course of those 25 years. After Bread & Circus, they followed with Pale in 1990, fear in ’91, Dulcinea in 1994, and Coil in 1997, as well as some compilation and rarities compilations along the way. While most will feel the comforting familiarity of the Billboard-charting hits, “Walk on the Ocean”, “All I Want”, “Something’s Always Wrong”, and “Fall Down”, new fans will also be well familiar with their new hits such as “California Wasted” which continues to climb the charts.

Even with a period of the band members weaving in and out of each other’s musical lives, the same creative curiosity that inspired the band to form in 1986 has brought them full circle to come back together again. It’s official: TOAD IS BACK.

http://toadthewetsprocket.com/

Rusted Root Biography

usted Root Carries On Their Spiritual Musical Movement with Shanachie Debut  

   The Movement

“The Movement, means a new work ethic to me – it’s going from the industrial age to the individual spiritual age. I feel everyone should devote all their actions to all that is love, healing and pragmatic. We’re seeing the growing pains of this right now…the world is split…some people are fearful and fighting it with all their might… Rusted Root is trying to help with this…this is our movement!!” shares Rusted Root founder, front man, songwriter, singer/guitarist Michael Glabicki. Having collaborated with one another for two decades, Rusted Root, has honed the perfect combination of musical intuition, freedom and virtuosity, which has allowed them to organically shape shift their music into their own distinct and undeniable vision. With eight albums under their belt, over three million records sold worldwide and countless nights on the road, Rusted Root, transcends age, generations, cultures and musical styles. Their music has been featured in films like Ice Age, Twister and Matilda, TV shows like New Girl, Ally McBeal, Charmed and Chuck as well as recent Enterprise Rent-A-Carcommercials. Bassist and vocalist Patrick Norman says, “From the very first time we played music together, I knew we had something special. The music and the enjoyment of creating and playing with one another I feel is the driving force behind this band.” The powerhouse ensemble’s sweat-inducing and hypnotic live performances have allowed them to tour alongside everyone from Santana, Dave Matthews Band, The Allman Brothers Band, Robert Plant and Jimmy Page’s reunion tour and countless others.  Rusted Root’s Shanachie debut, The Movement (10/30/12), is an energized and poetic collection of originals that capture the Pittsburgh based unit at their best. Glabicki says, ” The Movement is an extremely joyous recording with seriously deep undertones. It is a culmination of everything we have learned, or have tried to learn, over our entire career. It truly is a career record for us.”

The Movement is a tribute to Rusted Root’s fans. “The title itself is a testament to the community surrounding our music,” says vocalist and percussionist Liz Berlin.  Rusted Root created the “Fortunate Freaks Unite! We Are Rusted Root” campaign, a fan-funding campaign where fans contributed to the making of the album, while receiving some cool opportunities with the band. Glabicki adds, “Rusted Root is a state of mind shared and explored by many people- we are a community that supports one another.”
The Movement transports listeners though an array of emotional and musical terrain, creating one seamless journey. “There is real space on this album, you can hear the room, us breathing, laughing, playing music together,” says Liz. The pulsating, cathartic and uninhibited “Monkey Pants” opens the CD. “I have these little dance moves I do on stage every night,” confesses Liz. “I almost feel like a monkey puppet on a string when we play this song, it’s like the groove pulls my body in very specific ways.” Glabicki adds, “The song embraces our unique human animal- focusing on our ability to spiritualize, sexualize, and dream our own existence.” The album continues to entice with “Cover Me Up,” which begins and ends with gorgeous guitar and percussion interplay and an enchanting Calypso and African vibe. Glabicki shares, “The guitar work on this song is really extraordinary, Colter Harper’s parts are beautifully layered with mine, his many trips to Africa really show through on this song.”  Glabicki’s and Liz’s vocals tease and slither through the melody as the band crescendos to a bluesy showdown.

The camaraderie, sheer love for musical experimentation and a desire to break down musical boundaries comes full circle on “The Movement,” the title track and first single. “Our drummer, Preach Freedom came up with such an interesting drum pattern for the song and along with the tambourines, foot stomps and claps, it’s like nothing I’ve ever heard before,” exclaims Glabicki.  “It was really great having Lucy Stone singing background vocals with us on this one.  She came up with a couple harmony ideas that I worked off of to create the vocal arrangement for the song, it feels like exciting new territory for us.”

Another highlight on The Movement is the rhythmically charged and scintillating “In Our Sun.”  The trance-like rhythmic patterns and Sub-Saharan drenched chanting reach a fevered pitch and then fade like a mirage.

Liz explains that the members of Rusted Root are drawn to and have explored virtually every form of music. “I am very inspired vocally by anything from Indian to African to Middle Eastern sounds and scales having grown up with a lot of Hebrew music” she says. Michael Glabicki’s cites the Bee Gees, Elvis Costello, Neil Young, Tony Childs, Black Keys, Black Sabbath and various Afro Pop music as among his influences.  Glabicki explains the song “In Our Sun” started out as an experiment and was created with several great Pittsburgh drummers. He was playing around with the song and started listening to it backwards; that’s where the fun began. “There’s an acoustic guitar that was used solely to record the drums through its magnetic pick up which caused the strings to ring out creating a drone effect which decided the key for the song. Since most of the vocals were then recorded on the tour bus you can hear the bus humming and rattling throughout the song too.” Glabicki’s vocals shine on the lilting ballad “Fossil Man,” and on “Fortunate Freaks” Rusted Root lets it all go and rocks out hard with the song’s energizing bridge. “Sun And Magic” showcases dazzling guitar and bass lines that shimmer like a summer breeze. Glabicki’s signature Tremelo picking and acoustic-electric guitar amplification shine throughout The Movement.  Rusted Root gets down right gritty on  “Up And All Around” while “Something’s On My Mind” continues to solidify their place as one of the most versatile and innovative bands on the creative music scene.
“I was in my first semester of college. I had just returned from a trip to the war torn country of Nicaragua and had come back very depressed. It was the physical type of depression where at times I couldn’t move my arms…I remember after one of those spells I picked up the guitar and wrote a song,” recalls Glabicki. “I can remember feeling like I had lifted out of my dead body and I could move so freely. Shortly after that night I dropped out of college to start a band – my first real band – Rusted Root.” It was the early 90s and it wasn’t long before Rusted Root garnered a rabid fan base with their unique blend of roots music and world rock. Although they have toured the world, the city of Pittsburgh still pulses through their veins. Patrick explains, “Living in our hometown helps keep us grounded and focused.” Liz adds, “Pittsburgh means so much to us as a band. The city, the people, the community are the womb where Rusted Root gestated, birthed and has thrived all these years. It is the home we can always come back to.”  Glabicki adds, “Pittsburgh is home. It’s family. It is our protection. It’s the perfect place to create something original. Pittsburgh is full of working class hero’s.”  In 1992 Rusted Root released Cruel Sun independently and two years later, while signed to Mercury, they released their platinum-selling breakthrough, When I Woke, which spawned the Top 40 hit “Send Me On My Way,” that went on to chart on Billboard’s Hot 100. In 2004, the band released the double album Rusted Root Live on their own Touchy Pegg label, following the re-release of the newly re-mastered Cruel Sun in 2003. Rusted Root continued to tour relentlessly between the release of Cruel Sun and the 2009 release of Stereo Rodeo.

Now with the release of The Movement, the journey continues. Liz says, “When we first got together as a band there was a groundswell of community, love and support that has taken us on a movement through our lives and together as a band.  This movement has never stopped all these years!”  Glabicki concludes, “I hope this music will help to lighten people’s load and elevate them!! Making this record was a lot more intense than any of our other recordings. It was the first time that I produced and engineered a Rusted Root recording.  It kind of upped the ante for me, there was no way I could step on eggshells and not be brutally honest, it was do or die. We were blessed to work with some really great musicians and singers. It was also awesome having some of the Fortunate Freaks supporters visit the studio to get us out of any routine we might have been in.  Our goal is to create a ritual with the fans, something that is truly healing.”

http://www.rustedroot.com/

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