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Asleep At The Wheel @ Boulder Theater | 7/24

Can a wheel reinvent itself while it’s still rolling?

Sounds like an impossible task -- but you never want to say “impossible” to Asleep at the Wheel, the famed western-swing, boogie, and roots-music outfit that’s, amazingly, still on the upswing. That’s saying something, too, considering the group’s been around for nearly 40 years, turning out an incredible 25+ albums while playing an unrelenting schedule of one-nighters that would make a vaudevillian dizzy.

“In terms of how many people we played for, what we accomplished, and how much money we made – well, we didn’t make any money – this year was absolutely our best year ever,” says Wheel founder and front man Ray Benson with a chuckle.

And even as the Wheel rolled on, the reinvention had begun. You could see and hear it in their live shows, where new vocalist Elizabeth McQueen invited comparison with the classic female vocalists of the band’s earlier era, and fiddler-singer Jason Roberts gave the band a second male lead voice to complement Benson’s immediately identifiable baritone.

These days, the reinvented Wheel is also rolling down a couple of new avenues. One involves to the critically acclaimed musical play, A Ride With Bob, which stars Benson as himself -- encountering the ghost of Bob Wills on a tour bus – Roberts as the young Wills, and McQueen as Minnie Pearl and other famed entertainment figures, with the rest of the band members featured as well. Originally designed as a one-off celebration of Wills’ 100th birthday in ’05, A Ride With Bob quickly took on a life of its own and, notes Benson, “it’s absolutely a part of what we do now.” Another success has been the adaptation of the Wheel’s repertoire for pops symphony. Performances with Dallas, Austin, Fort Worth & Amarillo symphonies have drawn record crowds.

The Wheel’s new look is also spotlighted in several new discs – the first called, appropriately enough, Reinventing the Wheel. The 12-cut celebration of American – particularly Southwestern – music features guest appearances by gospel’s Blind Boys of Alabama (with a splendid reworking of the old Wills tune “The Devil Ain’t Lazy”) and banjoist Rolf Sieker, along with lead vocals by McQueen and Roberts as well as Benson, whose voice has been synonymous with Asleep at the Wheel for decades.

The second is 2009’s Willie and the Wheel; a collaboration with Willie Nelson that was originally envisioned by famed producer Jerry Wexler in the 1970s. Unfortunately before they had a chance to cut it, Nelson had left Atlantic Records. But over the ensuing decades Wexler kept the idea alive and even gave Ray his entire collection of western swing vinyl that included his notes on song choices and treatments. In late 2007 the idea was revived and Jerry and Ray reconnected by phone. Always the producer with a vision, Jerry was involved in every way. He insisted that some of the tracks should include horns as well as a return to traditional fiddles and lap steel guitar associated with western swing. As the sessions concluded and Willie finished his vocals the tracks were sent to Jerry. “To my delight and relief,” says Ray, “he loved them.” In fact, Wexler heard most of the finished tracks prior to his passing in August 2008. "Jerry wanted us to do this album and I'm glad we got to do it for him, “says Willie Nelson. “And that he heard it before he passed on."

The success of the Willie and the Wheel album release was quickly followed up by a tour and even a taping of the 35th anniversary of Austin City Limits for PBS (for broadcast in Fall of 2009), a fitting double-bill as Willie had taped the pilot and Asleep at the Wheel appeared in the very first regular episode of the legendary live music television program.

And now in contemplating the 40th anniversary of Asleep at the Wheel in 2010, Ray remains focused on the original concept. “I carried the load for many, many years, but I’ve always just wanted to have a band, as opposed to Ray Benson and Asleep at the Wheel,” Benson explains. “That’s what we had in the ‘70s – a band, a revue kind of deal, which was the whole concept. But trying to replace a Chris O’Connell was very difficult. And then Elizabeth walks up, and boom – here’s my girl singer. And then I kept pushing Jason, both through the play and through the band, saying, `Man, you’ve got talent. You can sing. You’ve got the golden ear – just apply it to your singing and songwriting.’”


Roberts, who’s been the Wheel’s full-time fiddler since early ’96, welcomed the opportunity to be a part of the revamped, revue-style Wheel. “I think everybody got a chance to put their two cents in, and bring to the table what they had, ” he adds. “God bless Ray Benson for allowing us to do that..”

Adds McQueen, “One of the things about Asleep at the Wheel is that they always have great musicians. That’s what they’re known for. So for them to ask me to join and then to keep me in the band, and to let me step out a little more and stand in the shoes of Chris O’Connell and Maryann Price, who were amazing singers – that’s an incredible honor. It’s above and beyond my greatest expectations.”

So, whether your next encounter with Asleep at the Wheel is at a dance or concert, or backing up Willie Nelson via the new disc, or at a live production of A Ride with Bob, you’ll be witnessing something very special -- a band that’s not only been entertaining audiences with its own genre-busting music for four decades, but also a group that’s never been afraid to try something new -- including a reinvention, inspired by the past, that rolls joyously toward a long and shining future.

More Info / Buy Tickets

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Date/Time: July 24, 2011, 8:00 pm

Audience: All Ages

Seating: All Seated Reserved/GA

Ticket Availability: Yes

General Admission: $32.00

Reserved Tickets: $37.50

Gold Circle: $48.50

Tom Russell Joined By Calexico, Lucinda Williams, Van Dyke Parks On Cinematic 'Mesabi'

The Mesabi iron range juts into Minnesota, a desolate deposit of minerals and the birthplace of Bob Dylan. American composer and storyteller Tom Russell says that Bob Dylan inspired him to become an artist, and his new 'Mesabi' pays moving tribute with compelling tales that connect the iron range to the border town of Juarez, Mexico and the myth of Hollywood celebrity with cinematic, global revelry. 'Mesabi,' out Sept 6 on Shout! Factory, is a vast, interwoven collection of tales set to twangy rock, country and Mexican folk and features Calexico, Van Dyke Parks and Lucinda Williams.

Co-produced by Russell and keyboardist Barry Walsh, and recorded in several different studios in Tucson, Texas, Nashville and Los Angeles, 'Mesabi' is the 26th album from an artist whose songs have been recorded by such icons as Johnny Cash, Dave Van Ronk, Jerry Jeff Walker, Doug Sahm and Ramblin' Jack Elliott, among others.

'Mesabi' is thematically ambitious, drawing inspiration from American icons like Dylan, Elizabeth Taylor, James Dean and the perilous town of Juarez, Mexico, close to where Tom lives. Says Tom, "The puzzle is that [Juarez is] the most dangerous city in the world and El Paso, just over the bridge, is the safest city in the United States."

Along with the release of 'Mesabi,' 2011 has much in store for Tom. Filmmaker Monte Hellman ('Two-Lane Blacktop') demanded that Tom's new songs be included in his new film 'Road To Nowhere;' a book of 60 of Tom's paintings will be released this fall on Bang Tail Press; a documentary about Tom's life, 'Don't Look Down,' will be released soon; and he will be touring the US in September and October.

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'MESABI' TRACK LISTING:

1. Mesabi
2. When the Legends Die
3. Farewell Never Never Land
4. The Lonesome Death Of Ukulele Ike
5. Sterling Hayden
6. Furious Love (For Liz)
7. A Land Called "Way Out There"
8. Roll The Credits, Johnny
9. Heart Within A Heart
10. And God Created Border Towns
11. Goodnight, Juarez
12. Jai Alai
13. Love Abides

Bonus Tracks:
A Hard Rain's A-Gonna Fall
The Road To Nowhere

Tour dates and more info here.

Hot Club of Cowtown's new CD salutes Bob Wills

Bob Wills has always been a core inspiration for the Hot Club of Cowtown’s sound, but it has taken the Texas-based trio a dozen years to fully honor the King of Western swing. A fortuitous tour in England last spring led the band to London’s Specific Sound studio, where they spent two days recording a 14-song marathon of only Bob Wills tunes. The result, What Makes Bob Holler, is a lively tribute to the American music icon, respecting Wills’ legendary music while putting Hot Club’s own signature on these songs. “We have been meaning to make this album for a long time,” says Elana James, who co-founded Hot Club with Whit Smith (they’re joined by bassist Jake Erwin).

Launched in 1994, the Hot Club of Cowtown has grown to be the most globe-trotting, hardest-swinging Western swing trio on the planet, continuing to develop a unique sound inspired by the band’s namesakes: the hot jazz guitarist Django Reinhardt and violinist Stephane Grappelli of the Hot Club of France, and Bob Willis & the Texas Playboys.

And with the imminent release of What Makes Bob Holler on Proper American on February 1, the Austin-based band looks to a busy 2011. They start the year opening seven U.K. arena dates with Roxy Music, followed by a taping of NPR’s Mountain Stage in Charleston, W.V. in late January and an appearance at South by Southwest (SXSW) in March — before touring coast to coast in support of the album.

Bob Wills’ music — in this case the recordings of radio shows from 1946-47 called the Tiffany Transcriptions that are the fundamental inspiration for HCCT’s repertoire and style —offers a terrific platform for some ace musicianship in the form of Smith’s guitar, James’ fiddle and Erwin’s nimble bass. By spotlighting Wills’ early, pre-World War II catalogue, the disc happily matches obscure B-sides with some of Wills’ most popular work. Tunes like “Big Balls in Cowtown” and “Stay All Night” are numbers that “people always love when we play them live,” says James, “so it was a no-brainer to gather them into a record.” Other songs, like “Osage Stomp” and “The Devil Ain’t Lazy,” might not be as well known, but they are the type of tunes that originally attracted Smith and James to Wills’ music. “We’re playing what knocked us out about Western swing in the first place — the early fiery energy and jazzy improvisations,” says James.

By 1998 Smith and James had relocated to Austin, Texas, and released their debut, Swingin’ Stampede, on HighTone Records. Seven more albums over the next decade generated much critical acclaim and a devoted following. The New York Times’ Neil Strauss proclaimed the Hot Club “conscious always that above all else, the music is for dancing and an old-fashioned good time.” Craig Havighurst, in Nashville’s Tennessean, calls them “one of the most original groups on the Americana circuit, deserving of attention both live and on record” while the Sunday Times of London lauded HCCT as “the world’s most engaging Western Swing band — their shows are all about energy and joie de vivre . . . the devil-may-care style that combined the rigor of Jazz with the down-home sentiment of country and earthiness of the blues — it is as a live act that they have made their greatest impact.”

What Makes Bob Holler arrives on the heels of 2009’s Wishful Thinking, an Americana radio Top 100 album on which HCCT blended their love of hot jazz and Western swing with original songs, a Tom Waits cover and forays into more eclectic territory. The Austin Chronicle’s Jim Caliguiri called it “the Cowtowners at their peak” and David Eldridge, in the Washington Times, describes the disc as “one of the year’s most unexpected listening pleasures.”

What Makes Bob Holler is something of an 180-degree swing from Wishful Thinking’s more eccentric set list. It is the first time HCCT has focused on only one style for an entire album and they are proud enough of the results to express interest in doing more. “There are so many great songs that we didn’t get to,” says James. “We’re going to have to make a box set, eventually, but we’re just going to make it piecemeal,” adds Smith with a laugh.

While the new disc focuses on Bob Wills music, HCCT’s live show will remain a engaging mix of what the band does best — whatever moves them at the moment. James reveals that the band often plays without a set list. “We have faith in the system that is the band. This energy that we plug into and it takes us away.” Smith describes their shows as “like a rock ’n’ roll show” and “people pick up on the energy and the sincerity.”

Sonny Rollins Book Event: Saxophone Colossus

Jazz legend Sonny Rollins celebrates his 80th birthday this fall, and Saxophone Colossus has been published to mark this occasion and honor his incredibly prolific career. This intimate appreciation combines the images of John Abbott, who as Rollins’ photographer of choice for the past 20 years has captured the saxophonist at home and at work, and the essays of Bob Blumenthal, a jazz critic who has chronicled Rollins and his art for nearly four decades.

Sonny Rollins has been at the center of jazz and its evolution virtually from his birth. Growing up in Harlem in the heyday of swing and coming of age as the first wave of modernists announced their discoveries, he quickly found himself sharing bandstands with his idols and making music of his own that continues to influence and inspire. Saxophone Colossus, named for the 1956 masterpiece of the same title, is Abbott and Blumenthal’s tribute to Rollins’ music and spirit.

John Abbott’s award-winning jazz photography has been featured on more than 250 album and magazine covers. He has been the primary cover photographer for JazzTimes magazine since 2003. Bob Blumenthal is the winner of two Grammy awards and a Lifetime Achievement Award from the Jazz Journalists Association.

Saxophone Colossus: A Portrait of Sonny Rollins Photography by John Abbott Text by Bob Blumenthal
Published by Abrams

Book Signing/Author Event
John Abbott, Bob Blumenthal and Sonny Rollins HIMSELF will be at Barnes & Noble in Tribeca/NYC to sign books and give a talk and slide
show about the new book Saxophone Colossus: A Portrait of Sonny Rollins.

Tuesday September 14, 2010 7:00 PM
Barnes & Noble Bookstore in Tribeca
97 Warren Street, New York, NY 10007, 212-587-5389
Please call the store for event rules and restrictions.

Judy Collins' Elektra albums to be reissued on Collectors' Choice

Collectors’ Choice Music will reissue nine albums by Judy Collins, one of the great interpretive folksingers of our time, representing a good portion of her Elektra Records years from 1966-97. Collins’ clear soprano, unerring taste and uncommon sensitivity to her material has enriched songs by everybody from Bob Dylan to Jacques Brel to Stephen Sondheim, and while she began her career by interpreting the work of others, she would become an acclaimed songwriter as well. Her fearless approach to trying new arrangements, instrumentation and repertoire has made her albums among the most absorbing and fulfilling of any singer-songwriter releases.

On July 27, 2010, Collectors’ Choice will issue digitally remastered CDs of nine of Collins’ Elektra titles: Fifth Album (1965), In My Life (1966), Whales & Nightingales (1970), True Stories & Other Dreams (1973), Bread & Roses (1976), Running for My Life (1980), Times of Our Lives (1982), Home Again (1984) and Christmas at the Biltmore (1997). The albums contain newly commissioned liner notes by Ritchie Unterberger that include interviews with Collins.

According to Collectors’ Choice Senior Vice President Gordon Anderson, “Judy Collins is one of those artists we always dreamed of reissuing, but never dreamed we would get the chance. We are thrilled to release these legendary albums on Collectors’ Choice with the love and respect they deserve.”

Fifth Album: This 1965 release, which charted #69 on the Billboard album chart, cemented Collins’ status as the foremost interpreter of the best 1960s songwriters to emerge from the folk revival. In addition to songs by Gordon Lightfoot, Phil Ochs, Eric Anderson, Tom Paxton, John Phillips and Richard Fariña, the album contains three Bob Dylan compositions, two of which (“Tomorrow Is a Long Time,” “Daddy You’ve Been on My Mind”) he didn’t release on his own records in the ’60s. The Mark Abramson-produced recording featured John Sebastian on harmonica, Danny Kalb and Eric Weissberg on guitars, and Fariña on dulcimer.

• In My Life: Collins’ 1966 album In My Life saw her make a bold leap from the folk-grounded arrangements and material of her previous work into a hybrid of folk, classical and pop that was dubbed “baroque folk.” Joshua Rifkin, fresh from the Baroque Beatles Book, arranged and conducted. In addition to the first appearances of Leonard Cohen songs on any release, this album, which reached #65 on the charts, includes compositions by Bob Dylan, Donovan, the Beatles, Richard Fariña, Jacues Brel (to whom she was turned on to by Elektra founder Jac Holzman) and a then-unknown Randy Newman.

• Whales & Nightingales: For Collins’ 1970 album Whales & Nightingales, producer Abramson left the confines of the studio to record at such locations as Carnegie Hall, the Manhattan Center and St. Paul’s Chapel at Columbia University. Holzman recalls in his book Follow the Music: “We decided to pick locations that matched the emotional ambience of the songs we were recording.” The album includes unusual treatments of traditional folk songs (the haunting “Farewell to Tarwathie” includes recordings of whales), as well as songs by Bob Dylan, Joan Baez and Jacques Brel. Collins’ hit version of “Amazing Grace,” featuring her then-boyfriend Stacy Keach, is on this release.

True Stories & Other Dreams:
Having exquisitely interpreted virtually every songwriter of note from the ’60s, Collins began including a few of her own songs on her albums (beginning with 1967’s Wildflowers). She brought her own songwriting to the fore on this 1973 release, contributing over half the material. In addition to five Collins originals, the album contains the Top 40 hit “Cook With Honey,” penned by Valerie Carter. Also featured is Tom Paxton’s “The Hostage,” written in the wake of the Attica prison riots and a 7 1/12-minute song titled “Che” about revolutionary Che Guevara. The album rose to #17 on the album chart.

• Bread & Roses: For the title track of this Top 30 1976 LP, Collins’ friend Mimi Fariña set to music the poem after which she’d named her humanitarian organization Bread & Roses. The album also features an eclectic group of composers including Leonard Cohen, Elton John, Duke Ellington and Chilean singer-songwriter-activist Victor Jara, with production by Arif Mardin and engineering by Phil Ramone. Players included Hugh McCracken, guitar; David Sanborn, sax; and Tony Levin, bass.

Running for My Life: This 1980 album marked the first occasion on which Judy Collins claimed sole production credit for one of her LPs. It was also notable for her spot-on performances of two songs from Stephen Sondheim’s Sweeney Todd (she was no stranger to Sondheim’s work, having had a hit with “Send in the Clowns” in the mid-’70s). Songs also include a Jacques Brel composition (“Marieke,” which Collins had recorded previously but wanted to revisit), and one by Larry Gatlin (“I’ve Done Enough Dyin’ Today”).

• Times of Our Lives: This album, released in ’82, once again demonstrates that Collins is a singer capable of covering just about any kind of material as she deftly interprets three songs by country hit songwriter Hugh Prestwood (author of Randy Travis’ 1990 #1 hit “Hard Rock Bottom of Your Hearty”), a tune by Anna McGarrigle (“Sun Son”) and five of her own. Featuring musicians Hugh McCracken, Tony Levin and banjoist Bill Keith, Rolling Stone called this album her best since 1973’s True Stories & Other Dreams.

• Home Again: Collins’ final studio album for Elektra, released in 1984, features her own composition “Shoot First,” which benefited the National Alliance Against Violence. It also features a duet with country star T.G. Sheppard on the title track (with lyrics by Gerry Goffin) and a co-write with Elton John, “Sweetheart on Parade,” which John never recorded on his own albums. The album contains the Henry Gross composition “Everyone Works in China.” Producers were the jazz-steeped team of Dave Grusin and Larry Rosen.

Christmas at the Biltmore: Following albums on such labels as Geffen and Gold Castle, Collins returned to Elektra for the 1997 soundtrack to a holiday special on the A&E cable network. Recorded live in an intimate setting at the Biltmore Estate in North Carolina, this record proves once again that Collins’ powers of interpretation really know no time or season as she makes these familiar songs her own. Includes “Joy to the World,” “Silver Bells,” “Santa Claus Is Coming to Town,” “Jingle Bells” and even a version of “The Night Before Christmas” with new words penned by Collins.

Jam Cruise 9 Announces Dates and Lineup

It’s been 7 years and 8 sold-out cruises since Jam Cruise first set sail as the “floating music festival“ that has become a fan favorite for thousands. Today, Jam Cruise 9 announces that it will set sail on January 4-9, 2011 on the MSC Poesia with stops at two of the cruise’s most beloved port stops: Roatan, Honduras and Costa Maya, Mexico.

Tropical ports and luxury cruise ship amenities are only part of the Jam Cruise experience. Ultimately, Jam Cruise is about celebrating the MUSIC and incredible community that comes together each year to share in this special musical experience. Jam Cruise 9 returns with as strong and eclectic a lineup as ever. Performing artists include Bob Weir, Rob Wasserman, & Jay Lane are Scaring the Children, The Rhythm Devils featuring Bill Kreutzmann and Mickey Hart, Robert Randolph and the Family Band, Galactic, The Greyboy Allstars, Stockholm Syndrome, Lotus, Sierra Leone’s Refugee All Stars, Black Joe Lewis & The Honeybears, Anders Osborne featuring sets with Stanton Moore & Robert Walter and with George Porter Jr. & Johnny Vidacovich, Big Sam’s Funky Nation, Zach Deputy and many more. Full lineup details are below.

With so many returning fans on Jam Cruise, pre-booking has been strong for Jam Cruise 9 and the event is on track to sell out for the 9th straight cruise. All remaining cabins will become available for sale to the public on June 2 at 12 noon EDT at www.jamcruise.com. Visit www.jamcruise.com for more details.

Jam Cruise 9 Confirmed Lineup:
Bob Weir, Rob Wasserman, & Jay Lane are Scaring the Children
The Rhythm Devils feat. Bill Kreutzmann and Mickey Hart
Robert Randolph & The Family Band
Galactic
The Greyboy Allstars
God Street Wine
Stockholm Syndrome
Lotus
JoJo's Mardi Gras Band
ALO
Ivan Neville's Dumpstaphunk
Easy Star All-Stars
Lettuce
Garage A Trois
The New Mastersounds
Sierra Leone's Refugee All Stars
Black Joe Lewis & The Honeybears
Anders Osborne featuring sets with Stanton Moore & Robert Walter and with George Porter, Jr & Johnny Vidacovich
Big Sam's Funky Nation
Cornmeal
Some Cat From Japan featuring Ron Johnson, Will Bernard, Scott Metzger, Eric Bolivar & Nigel Hall performing a tribute to Jimi Hendrix
Greensky Bluegrass
Big Gigantic
Zach Deputy
The Pimps Of Joytime
Maceo Parker Super Jam
Special Guests:
Leo Nocentelli
Fred Wesley
Col. Bruce Hampton
Jennifer Hartswick
Big Chief Monk Boudreaux

Bob Log III Announces US Summer Tour

Bob Log III is a One Man Band Slide Guitar Party.


A perverse product of the Arizona desert, Bob Log III has been diligently travelling the globe since 1996, showcasing his incomparable talents and developing a devoted following along the way. A whirlwind of dexterous limbs and digits, this super star sonic showman has to be seen to be believed.

Clad in his cannonball man, extra tight jumpsuit and signature motorcycle helmet with telephone/microphone attached, Bob Log III unfailingly sweats up a river while kicking on a kick drum, stomping his homemade foot cymbal and playing slide on an old archtop guitar.

His endless pursuit for musical mayhem and a downright party has seen his unique talents utilised for children’s birthday parties, obscure beer barns, mammoth music festivals and everything in between.

Yet beyond these mesmerizing visuals, lies the true reason for Bob Log’s international, cult status and superhero adoration. It is quite simply the guitar playing - finger picked lightning, sliding up and down, stopping when it wants to, then starting again when it feels like it, all in a way that makes people move uncontrollably, smile and reel.

The upcoming release of his long awaited new album, MY SH*T IS PERFECT, begins the onset of another slew of adventures. Geography be damned, Bob Log III intends to take these songs and his unique slide guitar party to the good people of the world. There is no town too remote, there never has been.

But don’t take his word for it, let the guitar speak for itself.

Bob Log III RUMORS

Yes, we have all heard the rumors...

He has a monkey paw instead of a hand, girls like to sit on his knees and bounce while he plays, occasionally various people from the crowd jump onstage and put their boob in his drink, he rides in an inflatable dinghy over an ocean of fans…

These whispers are all best explained in the following article, which has been translated from its original publication in French, using the Transitron Whizgig 4000-

“Msr. Bob Log appears, and so joy! It is of many nights and one thousand ladies, the guitar defeats us to dance. On the top, a crown. Never has this in time! Maybe not future. Only the now, her glowing hand, can be seen.  Thunder of foot escapes the stage, chasing wild tempo with sound animal.  We, the entourage, are not free.  Arrested! But not of shame.  Many times more we ask it. Encore, Captain , Encore!”

And so you see, it is all true.

All Bob Log asks is that you do the math. And if you do it (correctly) you will find that with the single exception of Hasil Adkins, Bob Log has out guitared, out drummed, out sweated, out driven, out boated, out bounced, out custom agented, out inspired all other one man bands. Numbers never lie. Bob Log III. MY SH*T IS PERFECT.

US Tour Dates:

5/13 - Los Angeles, CA - Echo Curio
5/14 - Anaheim, CA - The Juke Joint
5/15 - San Diego, CA - The Casbah
5/22 - Tucson, AZ - Plush
6/11 - Las Vegas, NV - Club Aruba
6/12 - Reno, NV - St James Infirmary
6/13 - San Francisco, CA - Bottom Of The Hill
6/16 - Seattle, WA - Tractor Tavern
6/17 - Portland, OR - Doug Fir Lounge
6/18 - Boise, ID - Nerolux
6/19 - Salt Lake City, UT - Urban Lounge
7/8 - Oklahoma City, OK - 66 Bowl
7/9 - Dallas, TX - The Loft
7/10 - Austin, TX - Emo’s Inside Room
7/11 - Houston, TX - Rudyard’s
7/12 - New Orleans, LA - One Eyed Jacks
7/13 - Birmingham, AL - BottleTree
7/14 - Atlanta, GA - E.A.R.L.
7/15 - Greensboro, NC - Artistika Cafe
7/16 - Washington, DC - The Red and Black  Bar
7/17 - Philadelphia, PA - Johnny Brenda’s
7/18 - New York, NY - Mercury Lounge
7/19 - Brooklyn, NY - Knitting Factory
7/20 - Cambridge, MA - Middle East Upstairs
7/21 - Burlington, VT - The Monkey House
7/22 - Québec, QC - L’Agitée
7/23 - Montreal, QC - Il Motore
7/24 - Toronto, ON - Horseshoe Tavern
7/25 - Hamilton, ON - Corktown Tavern\
7/26 - Waterloo, ON - Starlight Club
7/27 - Pittsburgh, PA - Thunderbird Cafe
7/28 - Cleveland, OH - Beachland Tavern
7/29 - Dayton, OH - South Park Tavern
7/30 - Cincinnati, OH - Fountain Square
7/31 - St Louis, MO - Off Broadway Night Club
8/1 - Fort Wayne, IN - The Brass Rail
8/2 - Lansing, MI - Mac’s
8/3 - Detroit - MI - Majestic Theatre Cafe
8/4 - Chicago, IL - Schubas Tavern
8/5 - Madison, WI - High Noon Saloon
8/6 - Iowa City, IA - The Mill
8/7 - Lincoln, NE - Bourbon Theatre
8/8 - Denver, CO - Larimer Lounge

Kinky Friedman's First West Coast Your in Two Decades

Former Texas gubernatorial candidate, political commentator and self-proclaimed “author, columnist, musician and beautician” Kinky Friedman will perform on the West Coast this summer for the first time in nearly 20 years. Dates for the “Go West Young Kinky Tour of 2010” start on July 26th in Vancouver and continue into August (a full list of venues follows). Two members of Kinky's seminal band the Texas Jewboys, Little Jewford and Washington Ratso, will join him on the tour.  No prisoners will be taken. Only the strong shall survive.

The Kinkster, often referred to as the “Mark Twain of Texas,” will also be hawking his wares, in this case his most recent (limited edition) books, Heroes of a Texas Childhood and What Would Kinky Do?, both of which will be available for purchase and signing at the shows. As Kinky has often said, he’ll “sign anything but bad legislation.” This includes any of his dozens of top-selling books or columns, or even his Kinky Friedman Cigars, which, rumor has it, will also be available at the venues. Bring it, and he will sign it.

Kinky Friedman rose to stardom in the ’70s, with the aforementioned Texas Jewboys as his sick and twisted sidekicks. An equal opportunity offender, Kinky, with his outrageous lyrics and crazed stage persona, may have offended some, but drew people like Don Imus, Robin Williams, Bob Dylan and John Belushi into his spiritual fan club. He toured with Dylan’s Rolling Thunder Revue and appeared on the inaugural season of Saturday Night Live. His infamous appearance on Austin City Limits, the only performance ever filmed by ACL and never broadcast because of content, has finally been released on DVD, to the delight of fans everywhere.

In the mid ’80s, Kinky rescued a woman being robbed at a midtown Manhattan ATM, and, based on this experience, created the character Kinky Friedman the Detective, who solved murders in what would become a series of wildly popular mystery novels. In the years since, the real Kinky has branched out into children’s books, memoirs, historical reflections and editorials, all to great success, and all powered by his razor sharp wit.

Kinky’s commentaries have appeared in such diverse media as The New York Times, Texas Monthly and Playboy, and since adding politics to his résumé, he has been a regular on cable networks, even stopping by occasionally to spar with Bill O'Reilly.

His books are now read the world over, and his tour schedule reflects this. From Bill Clinton to Billy Bob Thornton to Nelson Mandela, everybody loves a Kinky Friedman mystery. As the ever-humble author likes to say, “I write novels for Americans to read on their aircraft.” Billy Bob is currently working with him on a new book, as is Willie Nelson.

And now, for the first time in almost a generation, folks on the West Coast will get to hear Kinky perform (live!) tunes like “Ride ’Em Jewboy,” “Sold American” and “They Ain’t Makin’ Jews Like Jesus Anymore.”  And many friends will be there too: Mojo Nixon will join Kinky in San Diego, and Van Dyke Parks has already signed up for L.A.  There’s no telling who else will pop in.  Will there be a Wavy Gravy sighting in San Francisco?

The Go West Young Kinky Tour of 2010:

Mon., July 26 VANCOUVER, BC Biltmore Cabaret
Tues., July 27  SEATTLE, WA Triple Door
Wed., July 28  PORTLAND, OR Roseland Theater
Fri., July 30   SAN FRANCISCO, CA Great American Music Hall
Sat., July 31  LOS ANGELES, CA McCabe’s (2 shows)
Sun., Aug. 1  SAN DIEGO, CA Belly Up, with Mojo Nixon
Tues., Aug. 3 BAKERSFIELD, CA Fishlips
Wed., Aug. 4  SANTA CRUZ, CA Moe’s Alley
Thurs., Aug. 5 SEBASTOPOL, CA North Bay Live at Studio E

Groundation's 10th Annual Bob Marley Tribute Tour

Groundation began their annual Bob Marley Tribute Tour in 2000 as a means of celebrating the life and material of a true musical prophet. Marley's impact is hard to overstate. No other musician of the 20th Century is more well known across all parts of the globe than Marley.

His music united people of all classes and creeds through its easily relatable parables of overcoming social injustices by ways of unity and love. And though his music is often associated with the downtrodden and dispossessed, for surely those were who his music was made, mainstream media outlets served notice too; Time magazine famously listed Marley's Legend as the best album of the last 100 years.

But Groundation does not simply rest on the well known hits from Marley's hugely successful 'best-of' albums. Their tribute tour differs than other bands' similar outings by exposing those people familiar with Marley's music and message to the lesser known material of his catalog. While true that the inescapable sing-alongs do occur at these tribute shows, more often than not even the most seasoned Marley aficionado will hear songs they have yet to see performed live.



Groundation has drawn international recognition through their musicianship, which is unrivaled in the genre. A nine-piece band featuring swirling horns and keyboards, multiple percussionists, thundering b3 organ and bass, and a trio of lead and harmony vocalists, Groundation covers all bases with their wide ranging sound. Their live shows are renowned for over the top improvisational energy and positivity and their progressive sound is catching on, having played in 35+ countries on four continents in just the last few years, including headlining slots at major multi-genre festivals the world over.

These are not lame imitators attempting to replicate Bob's music. Groundation uses the template of Marley's music and liberally adds their own colors of the sonic palate creating altogether new and unique versions of timeless tracks. Groundation is the biggest, most respected American Reggae band in the world today and their tribute to the King of Reggae music is unlike any others. Come join us and find out why...

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Groundation's Bob Marley Tribute Tour @ Boulder Theater

Groundation began their annual Bob Marley Tribute Tour in 2000 as a means of celebrating the life and material of a true musical prophet. Marley's impact is hard to overstate. No other musician of the 20th Century is more well known across all parts of the globe than Marley.

Groundation does not simply rest on the well known hits from Marley's hugely successful “best-of” albums. Their tribute tour differs than other bands' similar outings by exposing those people familiar with Marley's music and message to the lesser known material of his catalog. While true that the inescapable sing-alongs do occur at these tribute shows, more often than not even the most seasoned Marley aficionado will hear songs they have yet to see performed live.

Groundation has drawn international recognition through their musicianship, which is unrivaled in the genre. A nine-piece band featuring swirling horns and keyboards, multiple percussionists, thundering b3 organ and bass, and a trio of lead and harmony vocalists, Groundation covers all bases with their wide ranging sound. Their live shows are renowned for over the top improvisational energy and positivity and their progressive sound is catching on, having played in 35+ countries on four continents in just the last few years, including headlining slots at major multi-genre festivals the world over.

These are not lame imitators attempting to replicate Bob's music. Groundation uses the template of Marley's music and liberally adds their own colors of the sonic palate creating altogether new and unique versions of timeless tracks. Groundation is the biggest, most respected American Reggae band in the world today and their tribute to the King of Reggae music is unlike any others. Come join us and find out why...

GROUNDATION'S 10TH ANNUAL BOB MARLEY TRIBUTE TOUR
w/ DJ Uplifter
February 20th, 2010

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Boulder Theater
2032 14th Street
Boulder, CO 80302
303.786.7030
www.bouldertheater.com