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Wanda Jackson at the Boulder Theater | 4/1/11

When Wanda Jackson, the justly crowned Queen of Rockabilly, recorded “Let’s Have A Party,” a tune she made into a hit of her own in 1958 even after one-time boyfriend Elvis Presley had released a version of it, her delivery of the chorus wasn’t so much a suggestion as a command. As the title – and, more importantly, the contents -- of her latest album, The Party Ain’t Over, indicates, this feisty septuagenarian artist is as galvanizing as ever. Jackson was recently inducted into the Rock and Roll Hall of Fame, honored with a long-time-coming, Early Influence accolade for her pivotal role in the evolution of popular music, especially where female artists were concerned. As a teenager in the mid-50s, the diminutive Jackson was the first woman to perform unadulterated rock and roll – and she one-upped the boys defining this new genre, Presley included, with her exhilaratingly forthright approach. The young Jackson, an Oklahoma native, came across as both gritty and glamorous; a playfully suggestive growl to her voice matched the daring, handmade outfits she wore, short skirts and fringed dresses that have inspired would-be bad girls for decades to come. A tireless touring artist for more than 50 years, Jackson continues to win over new, young fans, including guitarist-vocalist-White Stripes founder Jack White.

On this debut for Third Man/Nonesuch Records, produced and arranged by White at his Nashville studio, the spirited Jackson proves that brash rock and roll attitude need not have an age limit. Her trademark growl remains intact on rockers like “Rip It Up” and “Nervous Breakdown;” she opens the set with an echo-laden sneer on a rollicking version of “Shakin’ All Over” and ends it ten songs later with a plaintive take on Jimmie Rodgers’ “Yodel #6,” along the way gamely tackling country, gospel, densely worded Bob Dylan, and a little bit of Tin Pan Alley. Jackson and White are a remarkably simpatico pairing; their collaboration came together quickly, serendipitously. One of Jackson’s colleagues had originally approached White about doing a duet with Jackson for a proposed “Wanda and Friends” disc, but White demurred. Instead, he offered something better, inviting Jackson to cut a single with him for his Third Man label, and that swiftly led this kindred spirits to put together an entire album.

Jackson admits, “I was scared at first because I didn’t know what this young rock star was going to expect of me or ask me to do. I kind of had shaky feet, deciding whether I wanted to do this or not. Of course I knew about him, I have to admit, from the album he did with Loretta Lynn and how successful that was. That certainly got my attention when he said he was interested in doing one with me. So we began sending material to each other; he sent me the things he thought I should do or he wanted me to do, and I sent him some ideas of things I had put aside for recording at a future date. When I finally got to Nashville, he put me at ease immediately. He’s just so laid back and such a cool guy that I found myself wanting to please him, I wanted to do it his way. My husband (Jackson’s manager of 40 years) and I told him, you do this. If you want a suggestion from me, feel free to ask. Otherwise, you make the decisions. That gave him a lot of freedom and I wanted him to have that freedom. And I think that’s what made it so good as an album. As I began singing these songs and listening to the playbacks he made, I realized he wasn’t wanting to change my style of singing at all. He just wanted me to have new, fresher material. And I said, hey I could do this. I can sing like Wanda Jackson. He just wanted more of Wanda than I was used to putting out. And apparently it worked.”

White and Jackson came up with inspired and wide-ranging song choices that reflect Jackson’s long history with country, gospel, and even the big-band music she remembers from her childhood as well as with rock and roll: Harlan Howard’s woozy lament “Busted”; the Andrew Sisters’ kitschy tropical travelogue, “Rum and Coca Cola”, a fitting companion to her own “Fujiyama Mama”; Dylan’s rockabilly fever dream, “Thunder On The Mountain”. They also recorded a cover of contemporary bad-girl Amy Winehouse’s “You Know That I’m No Good,” which White first released as a single in 2009, paired with “Shakin All Over.” The Winehouse song suits her, Jackson says, but she’s careful to draw the line between life and art: “On the one hand, I’m good, on the other hand, I’m bad. That seems to be the image this new generation of fans that I have has given me. It’s like the title of the documentary about my life that recently came out: The Sweet Lady With the Nasty Voice. Maybe that says that I become a different person, a different persona, when I sing those songs. I have a good reputation, always have had, and respect from everyone as a lady, and that pleases me very much. But the young girls think I’m this hard gal that gets her way and storms in. It’s just because of the material I’ve sung and the way I’ve sung it. And that’s okay. That’s cute.

White himself backs Jackson on lead guitar, cutting loose with solos that are as ferocious and fun as Jackson’s vocals; in fact, the entire band that White assembled – including pedal steel, a horn section and backing vocals from singers Ashley Monroe and Karen Elson –is similarly uninhibited, matching Jackson’s and White’s intensity and, just as often, their humor. Though the work is carefully arranged, the resulting tracks feel like one unforgettable after-hours session, with everyone in thrall to the woman at the heart of these tunes. The first song White suggested they cut was “Rip It Up,” one Jackson knows very well from her rockabilly days. As she explains, “It shocked me that he wanted me to do that but that was the first one I recorded. He loves that song and I do too. But I think he did that to put me at ease, let me do something that I’m real familiar with and real comfortable with, and he didn’t have to direct me or any of that. I just reared back and sang it. That got me loosened up and made me comfortable.” Not that White simply wanted to make things easy. On the sultry “You Know I’m No Good,” says Jackson, “We’d get through one take and he’d say, ‘Oh Wanda that was great.’ And I said, ‘Whew, I made it.’ Then he said, ‘Now let’s do one more and let’s push a little more.’ I was getting physically kind of tired and probably kind of got angry but he got the take he wanted. It’s funny how you can come up with what your producers want in the strangest ways.” A little bit of their repartee can be detected at the top of the track, just as the analog tape gets rolling.

The Party Ain’t Over is about stepping out, not summing up, but it does touch on important aspects of Jackson’s life and ever-evolving career. “Teach Me Tonight,” a country-inflected interpretation of the DeCastro Sisters’ hit, partly fulfills Jackson’s desire to cut a 40s-style big-band disc. “Like A Baby,” recorded live in the studio with the whole band, allowed Jackson to revive an obscure, bluesy number from her old buddy Elvis. The Jimmie Rodgers tune is the first song she ever learned as a child; her father taught her the chords on the guitar, she figured out how to sing along while she played, and, like any aspiring vocal star of the era, she taught herself how to yodel, a skill she has clearly maintained over the ensuing decades.

Jackson remains too busy to look back – her legend looms especially large now in Europe and Japan, where she is always in demand as a concert performer – but she does allow herself a moment to reflect: “I can’t think of anyone who could be any luckier or any happier than me. I think it’s a blessing from the Lord. I had wonderful parents who gave up so much so that I could have my dreams come true. I was an only child so I had all the love and attention that anyone could ask for. My mother made my stage clothes and a lot of my street clothes too. Dad traveled with me and drove me to all those early dates so I didn’t have to be alone. You couldn’t ask for more, to make your living doing what you love to do, to sing and travel and entertain people all your life. I can’t think of any life that could be better than that.”

And, as she notes, the party ain’t over.

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Tickets are on sale at Boulder Theater Box Office. Call (303) 786-7030 for tickets by phone.

Tickets are also available through our website @ www.bouldertheater.com.

Tickets are On Sale Friday February 11th!

$20 adv / $22.50 dos

The Saw Doctors at the Boulder Theater - 03.21.11

KGNU & The Boulder Weekly are proud to present The Further Adventures of The Saw Doctors at the Boulder Theater on Monday, March 21st, 2011.


The Saw Doctors are known in Ireland for ridiculously catchy songs and for rocking the road week after week from Galway to Melbourne—and, come March 2011, from New York to Las Vegas. They’ve hopped up countless crowds, including at two inaugurations of Maryland governor Martin O’Malley, with upbeat anthems to everyday people.

A fun-loving reputation precedes the band thanks to their zany hit “I Useta Lover” or the recent sneak Irish radio chart-topper, “Red Cortina A Cappella.” But it belies a more reflective side with deep roots, a side sometimes forgotten even by the group’s biggest fans.

“That one-sided perception of the band haunts us, even in our hometown here in Western Ireland,” chuckles Saw Doctors singer and guitarist Leo Moran. “A few months ago, in a pub here, I sang one of my favorite songs, 'Same Oul Town', the title track of our third album.  It's about a small town in winter, where everyone knows everyone else's business. Another local singer, who has known us forever, came up and told me, 'That's a lovely song; you should record that!'"

Bittersweet portraits of everyday people and the landscape that surrounds them are what the band does best. The Saw Doctors have a Springsteen-like ability to get at the poignant perspectives of ordinary folks: the lovesick pub regular, the guys on the corner, the wise old woman who greeted all comers with a slice of bread and butter.

This ability flows from the roving group’s strong ties to Tuam—and to the lives and stories of the people in it. It’s a town of wits and eccentrics, folks like cartoon artist Squigley McHugh, who humorously sketched the Saw Doctors as superheroes for their stage backdrop. Tuam is known for its gregarious, sometimes overly curious conversationalists. It’s a place where people still pop down to the pub in the afternoon, looking for a pint and a good gossip.

But don’t be surprised if you can’t make out a word: Tuam, explains Moran, has its own secret code, a slang and a love of peculiar turns of phrase incomprehensible to outsiders. “In Tuam, there’s a great interest in language and words. A lot of the Travellers, itinerant Irish traders and tin-smiths, settled around Tuam and had their own language they used while trading. We’ve adopted it as core citizens of the town.”

Tuam’s citizens relish slang and constantly invent new words. Expressions like “Well-Byes,” the greeting of choice among young guys in jogging suits, speak volumes: “you know where you are and you’re from Tuam,” Moran says. Soccer players use local slang when playing against other towns to keep their next moves under wraps (as the band recounts in “All the Way from Tuam”).

Yet words, like the band itself, have a far more winsome side, connecting people with their history and the land. In “Friday Town,” the Anglicized place-names in the chorus hint at a lost Irish past, as Moran sings of people long gone, either overseas to America or to their graves. “When you study the names in Irish, they carry meanings, some feature in the landscape or the memory of something that happened there,” Moran notes. “But all these lovely meanings have been lost. We’re trying to celebrate them, as well as the people who left forever for the States, on an epic, courageous journey.”

More introspective moments still ring with bright guitars, catchy melodies, and upbeat energy, which make The Saw Doctors shows fun, even at their deepest. Sometimes when playing live around Ireland, the exuberant singing from the audience has nearly drowned out the band. The group loves to drop their vocals out altogether, providing only instrumental accompaniment for the chorus of enthusiastic fans, who seem to know every song by heart.

The down-to-earth feel—and the Tuam wit—have universal appeal. “People sometimes say that a song about Tuam or Galway or Ireland won’t matter to people abroad. That’s like telling Bruce Springsteen that he is wasting his time writing about the Jersey Shore,” Moran reflects. “Songs are about sharing feelings and emotions and ideas. If you have ideas and emotions that people can relate to, then it works no matter where you play.”

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Tickets are on sale at Boulder Theater Box Office. Call (303) 786-7030 for tickets by phone.

Tickets are also available through our website @ www.bouldertheater.com.

Tickets are On Sale Now!

$20 GA

+ $2 for under 21 ticket buyers

DSO 2011 Spring Tour Announcement

Into The Sun Tour - Vote for Encore

DSO charges 'Into The Sun' in April starting out at Irving Plaza in NY on April 29th by celebrating the 40th Anniversary of the Grateful Dead's final Fillmore East performance. To mark this occasion we will recreate the 4/29/71 show in its entirety. This monster show has been released as "Ladies and Gentlemen, the Grateful Dead" and was the last time that Bill Graham Presented the Dead at the Fillmore. After that epic kick-off we will drop into venues all over the northeast including The Electric Factory in Philly, a first time gig at The Oneonta Theatre in Oneonta, NY, Hampton Casino Ballroom, a rare 'Acoustic' show on 5/15 at the Flying Monkey, a tour closing two-nights at Mighty High Mountain Fest and more!

For the entire tour we will be taking votes from fans for our closing song of the night. Visit our TOUR PAGE for more details and to cast your vote for Filler/Encore. Everyone who votes will be entered to win a pair of tickets to the show they vote on. Let us hear from you!

Continuing The Tradition

We are excited to announce that we will be playing a Black Tie-Dye Ball benefit for the Rex Foundation on Thursday, April 7 at the Great American Music Hall in San Francisco. If you are in the Bay Area, mark your calendar for this special event...there will be more info to follow regarding how you can support the cause by purchasing premium tickets that will include a pre-party and an opportunity to be there for Dark Star Orchestra's soundcheck. For more info on The Rex Foundation, check out www.rexfoundation.org.

Southbound With Four Winds To Follow

Our Southbound Winter Tour continues to roll on as we make our way into Atlanta and Charlotte this weekend. From there we close out the tour with stops in Birmingham, Jacksonville, Orlando, Delray Beach and Tampa.

The Four Winds that blow us home will take us back on the road in March and April with a tour spanning the east and West Coast with a new show just announced on April 16th at the Aggie Theater in Fort Collins, CO.

Check out the TOUR PAGE for more details.

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TOUR DATES:

DATE VENUE CITY DSO TICKETS
Southbound Winter Tour
2/3 Carolina Theatre Greensboro, NC
2/4 Variety Playhouse Atlanta, GA
2/5 Neighborhood Theatre Charlotte, NC
2/7 Workplay Birmingham, AL
2/9 Freebird Live Jacksonville, FL
2/10 Plaza Theatre Orlando, FL
2/11 Garlic Fest Delray Beach, FL
2/12 Ferguson Hall Tampa, FL TICKETS
Four Winds Tour
03/04 The National Richmond, VA TICKETS
03/05 Tarrytown Music Hall Tarrytown, NY
03/06 The Sovereign Reading, PA TICKETS
03/08 Mexicali Blues Teaneck, NJ TICKETS
03/09 Union County Performing Arts Center Rahway, NJ TICKETS
03/10 The State Theatre Falls Church, VA TICKETS
03/11 Maryland Theatre Hagerstown, MD TICKETS
03/12 Town Hall Buffalo, NY TICKETS
03/30 Mt Baker Theater Bellingham, WA
03/31 The Showbox Seattle, WA
04/01 Crystal Ballroom Portland, OR
04/02 McDonald Theater Eugene, OR TICKETS
04/04 Arcata Theater Arcata, CA TICKETS
04/06 Catalyst Santa Cruz, CA
04/07 Great American Music Hall San Francisco, CA
04/08 Great American Music Hall San Francisco, CA
04/09 Great American Music Hall San Francisco, CA
04/10 Knitting Factory Reno, NV TICKETS
04/13 Belly-Up Aspen, CO TICKETS
04/14 Boulder Theater Boulder, CO TICKETS
04/15 Boulder Theater Boulder, CO TICKETS
04/16 The Aggie Ft Collins, CO TICKETS
Just Announced...Into The Sun Tour
04/29 Irving Plaza New York, NY TICKETS
04/30 McCarter Theater Princeton, NJ TICKETS
05/01 Toad's Place New Haven, CT TICKETS
05/04 Lupo's Heartbreak Hotel Providence, RI TICKETS
05/05 Theatre at Westbury Westbury, NY
05/07 Oneonta Theatre Oneonta, NY TICKETS
05/09 Higher Ground Burlington, VT
05/10 Higher Ground Burlington, VT
05/12 House of Blues Boston, MA
05/13 Colonial Theater Keene, NH TICKETS
05/14 Hampton Beach Casino Hampton Beach, NH TICKETS
05/15 Flying Monkey Plymouth, NH
05/18 Whitaker Center Harrisburg, PA TICKETS
05/20 Mighty High Mountain Fest Tuxedo, NY TICKETS
05/21 Mighty High Mountain Fest Tuxedo, NY TICKETS
Summer
06/05 Wakarusa Ozark, AR

John Prine at the Boulder Theater - 03.25.11

97.3 KBCO & the Daily Camera are proud to present John Prine at the Boulder Theater on Friday, March 25th, 2011.

The first time he got onstage to perform – at a Chicago open mic night – there was absolute silence. Here comes a guy nobody had ever seen, a mailman from nearby Maywood, and the very first songs he ever sings are miracles, songs like “Hello In There” and “Angel from Montgomery.” But this stunned silence spelled disaster to Prine. “They just sat there,” he said. “They didn’t even applaud, they just looked at me. I thought, `Uh oh. This is pretty bad.’ I started shuffling my feet and looking around. And then they started applauding and it was a really great feeling. It was like I found out all of a sudden that I could communicate deep feelings and emotions. And to find that out all at once was amazing.”

That one night changed his life. The club-owner offered him a gig, and from that moment on he quickly became one of Chicago’s most beloved local heroes, a guy who would honor the Windy City with as much love and grace as Studs Terkel and Carl Sandburg. Prine soon befriended another local hero, Steve Goodman, and with Goodman he met the world. Kris Kristofferson heard his songs, helped him land a record deal, and soon everyone knew what Chicago already did, that Prine was the real deal. From that first album on, he came known as a genuine “songwriter’s songwriter,” one of the rare ones who writes the songs other songwriters would sell their souls for.  Evidence of this is the long list of songwriters who have recorded his songs, including Johnny Cash, Bonnie Raitt, the Everly Brothers, John Denver, Kris Kristofferson, Carly Simon, Ben Harper, Joan Baez, and many others. Even Bob Dylan was stunned. “His stuff is pure Proustian existentialism,” said Bob Dylan.  . “He’s so good,” said Kristofferson, “we’re gonna have to break his fingers.”

Dylan and the rest were simply recognizing that which we have all come to know, that Prine’s songs are so hauntingly evocative of the laughter and tears inherent in the human condition, so purely precise and finely etched, that lines from them linger in our hearts and minds like dreams, separate from the songs. There’s the rodeo poster from “Angel from Montgomery,” the hole in daddy’s arm and the broken radio (from “Sam Stone”), the old trees that just grow stronger (from “Hello In There.”) The kinds of lines you carry around in your pocket, knowing they’re in there when you need them. With a staggering penchant for detail, a proclivity to be both hilarious and deeply serious (and often in the same song), and a visceral embrace  of roots music, he’s  made the kinds of songs nobody ever dreamed of before, or since.

Born on October 10th, 1946 in Maywood, he grew up spinning Roy Acuff and Hank Williams 78s in his dad’s collection, as well as tuning into WJJD to hear Webb Pierce, Lefty Frizell and others “back to back, all night long.” And then a new kind of music arrived: “I was coming of age just as rock and roll was invented,” he said, and along with his country heroes he added Elvis, Little Richard, Fats Domino, and the one he loved the most, Chuck Berry: “Because he told a story in less than three minutes.”

At 14 he started playing guitar and never stopped, starting with old folk tunes taught to him by his brother Dave. After high school he enlisted in the army, and was happy to be stationed in Germany, far from Viet Nam. He spent most of his time in the barracks playing guitar and singing Lefty Frizzell and Hank Williams songs with a friend.After the army, he became a mailman, which he loved because he could write songs while walking his familiar route. “It was like a library with no books,” he said.

He haunted the fringes of Chicago open mic nights, mostly at the old Fifth Peg on Armitage in Old Town. Once he summoned up the courage to perform, although terrified, he knew he was home. The rest is singer-songwriter history. It was 1971, the dream of the Sixties was over and Goodman and Prine emerged with a new kind of song, eschewing abstractions to write story songs about real people:  “Midwestern mindtrips to the nth degree,” as Dylan put it. Songs with the concrete details and imagery of a novel, but compounded, like Prine’s hero Chuck Berry’s songs, into mini-masterpieces.

After landing his first gig, he went home and wrote more masterpieces that made up his first self-titled debut, released in 1971. It was received with near-unanimous raves: “… absolutely one of the greatest albums ever made,” wrote a hometown paper, “by one of the most creative and evocative songwriters of our time.” There was the recognition then, which has been confirmed by the passage of time, that even among the best, he stood out. “Good songwriters are on the rise,” wrote Rolling Stone, “but John is differently good.”

Fans hungry for meaningful new music discovered him, unconcerned if he was the “new Dylan” or not, as he was often labeled, but drawn to the complex simplicity of his songs, the heady amalgam of sorrow and whimsy. Always seeking to strike a balance in his work, Prine said he wrote funny songs so as to get back to the tragic ones.

He made eight albums on two major labels, including Sweet Revenge, Common Sense, and Bruised Orange. In 1980 he moved to Nashville, and with longtime manager Al Bunetta, formed his own label, Oh Boy Records in 1981. They’ve since released a chain of great records, including 1991’s Grammy-winning The Missing Years, which featured cameos by Bruce Springsteen and Tom Petty. In 2000 he recaptured his own legacy by recording Souvenirs, new recordings of many of his classic songs.

In 1998 he was diagnosed with a rare form of cancer centered in his neck. The removal of a tumor and subsequent radiation seems to have eradicated it completely. Although his singing voice was lowered significantly, he faced his illness with the same blend of wistful humor he instills in his songs. In a post-surgery letter to his fans, he wrote, “Hopefully my neck is looking forward to its job of holding my head up above my shoulders.”

Now he’s back with a brand new live album, John Prine: In Person & On Stage, which contains both solo and duet renditions of some of early songs such as “Angel From Montgomery” (here in a breathtaking duet with Emmylou Harris) as well as later classics such as “Unwed Fathers” (with Iris DeMent) and one of the most poignant songs ever from a husband to a wife, “She Is My Everything.”

“If he’s this good this young,” wrote Rolling Stone in 1971, “time should be on his side.” Truer words have rarely been written. Some four decades since his remarkable debut, Prine has stayed at the top of his game, both as a performer and songwriter. Recently honored at the Library of Congress, he has been elevated from the annals of songwriters into the realm of bonafide American treasures.  Poet Laureate Ted Kooser introduced him at the Library of Congress by likening him to Raymond Carver for making “monuments of ordinary lives.” But the greatest testaments to his lasting legacy are the songs themselves. Unlike so many which belong only to the time in which they emerged, his, like the old trees in “Hello In There,” seem to just grow stronger with the passing years.

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Tickets are on sale at Boulder Theater Box Office. Call (303) 786-7030 for tickets by phone.

Tickets are also available through our website @ www.bouldertheater.com.

Tickets are On Sale Saturday, February 5th!

$40 GA / $48.50 Res / $65 Gold Circle

BB King at the 10th edition of Gent Jazz Festival

BB King is the first name to be announced for Gent Jazz Festival’s anniversary. More names will be announced within the following months.  BB King will headline the Belgian festival during one of the special nights. On Saturday July 9 the Blues legend is coming back to Europe for a farewell tour and will perform exclusively for Belgium at Gent Jazz Festival (07-07-17.07.11). Steven De Bruyn, Tony Gyselinck & Roland will open the special night with the project with which they released the album Fortune Cookie last year. Info artists see enclosed.

Tickets are available on www.gentjazz.com and in all Fnac stores. Tickets for this Special Night cost 42 Euro, day tickets for other days of the festival will cost 32 Euro.

Member International Jazz Festival Organisation (IJFO):

Gent Jazz Festival became a member of the IJFO. The IJFO is a select worldwide club which unites 16 eminent jazz festivals like North Sea Jazz, London Jazz Festival, Montreux Jazz Festivals, Montreal Jazz Festival, Monterey Jazz Festival, Istanbul Jazz Festival… With its recent entry into the IJFO, ‘Jazz & Muziek npo’ receives worldwide recognition for its activities and high quality programme. The non-profit organization is the organizer of Gent Jazz Festival, Jazz Middelheim (in collaboration with public broadcasting VRT) and Jazz & Sounds (in collaboration with Arts Centre Vooruit, Music Centre De Bijloke and University College Ghent. This umbrella organization sets up synergies for common advantages and artistic opportunities. Bertrand Flamang, director of Jazz & Muziek npo: “Gent Jazz Festival recently became a member because it meets all qualitative and quantitative conditions. The membership is an important milestone for us as an organization and at the same time offers advantages for our other festivals: Jazz Middelheim and Jazz & Sounds Festival.”  For the Belgian music and festival scene this is another important step and another example of the quality of the Belgian music scene in all its diversity.

The Shpongletron Experience at the Boulder Theater

Shpongle & Z2 Entertainment are proud to present The Shpongletron Experience with Random Rab & Hallucinogen at the Boulder Theater on Saturday, April 23rd, 2011.

After three groundbreaking albums over the course of a decade, the internationally acclaimed electronica project Shpongle has returned from what fans feared was the end of the project when Nothing Lasts…but Nothing is Lost, their third album, was released. Not prepared to leave us hanging, electronic music pioneers Simon Posford and Raja Ram have continued to push the envelope and break boundaries to create yet another sonic masterpiece: the much-awaited fourth Shpongle album, Ineffable Mysteries from Shpongleland.

There are languages here that Shpongle fans will know and love as much as their previous work, and yet there are some massive leaps forward in terms of production techniques, sonic trickery, structure, and direction compared to all of the previous outings to date. With influences drawn from anywhere from Steve Reich and Mike Oldfield to the Batman movies and beyond, this really is another over the top record in terms of production skills, tonal textures, and original ideas from Shpongle. It is rich in detail and emotion, in worldly and otherworldly samples and inspiration, and in harmonic and melodic construction.

Ineffable Mysteries from Shpongleland opens with the massive Electroplasm, a rapidfire ascent into eastern scales and rich harmonic textures, underscored with a strongly pronounced rhythmic foundation. They dial in a different mode with Shpongolese Spoken Here, which transitions from glitchy breaks to four-on-the-floor mayhem before settling into a more laid-back but bouncy number. Nothing is Something Worth Doing is a grounded yet floaty work featuring a sophisticated tonal and harmonic palette, six-and-a-half minutes of timelessness before fading into the long-awaited Ineffable Mysteries. With original atmospheric and vocal samples from India, this tracks simple beginnings lead to a strong rhythmic drive and incredible sonic manipulations blending Raja Rams flute, Indian vocals, and synthesized creations.

That journey is followed by another - I Am You moves through shifting sands of time and sound, from its mysterious beginning through its central love song inspired by a special muse, evolving into a rhythmic and sonic tapestry of phenomenal complexity. Invisible Man In A Fluorescent Suit opens with a mournful cello solo that expands in true Shpongolian fashion into a celebratory melodic blend of synthesized and organic instrumentation before fading into the next track. No Turn Un-Stoned is cut from a different cloth, with a broodier opening that morphs into shimmering effects and soulful vocals floating over crisply defined rhythmic elements.

The final track is a multi-faceted jewel in the crown of this glowing album: Backwards Through The Cosmic Mirror features a grounded four-on-the-floor rhythm that supports forward-moving harmonic and sonic explorations with as many twists and turns as the previous tracks, eventually fading into the floating sea of soundlessness from which its brilliance arose.



Shpongle continues to evolve and inspire, as their sold-out gigs worldwide have demonstrated. The anticipation for this album is such that their launch party at the Roundhouse in London this October sold out and a second night had to be added. The demand for this album is expected to be in proportion to the uniqueness of its content. The CD booklet was designed by Storm Thorgerson, who created the classic record sleeve for Pink Floyd's Dark Side of the Moon and other timeless releases, making the entire package a consistent creative tour de force. Unique in their sound, structure, and style, Shpongle is at the forefront of the music of our generation.

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Check out some earlier Shpongle coverage on Grateful Web.

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Tickets are on sale at Boulder Theater Box Office. Call (303) 786-7030 for tickets by phone.

Tickets are also available through our website @ www.bouldertheater.com.

Tickets are On Sale Friday January 21st!

GA / $35  + $2 for under 21 ticket buyers

Dierks Bentley Announces 30-City Spring Tour

Multiple GRAMMY nominee and chart-topping country music star Dierks Bentley is slated to headline the 2011 JÄGERMEISTER COUNTRY TOUR kicking off March 17.  The 30-city tour runs through mid-May and will feature special guest Columbia Nashville road warrior Josh Thompson and brand new A&M/Octone duo Miss Willie Brown.  Each concert will also feature a local Jägermeister sponsored country act.

Pre-sale tickets are available to fan club members through www.dierks.com, while the general public will be able to purchase tickets beginning Jan. 21 and Jan. 28 through Ticketmaster.  The remaining cities will go on sale over the coming weeks.

“It’s a good thing we’ve got a video crew on the road with us capturing everything that goes down,” laughed Bentley.  “Putting my band, Josh Thompson, the Miss Willie Brown girls and a few thousand fans in a Jägermeister sponsored room with loud country music sounds like a pretty solid recipe for a great night!”

“For the brand’s 20th music tour, Jägermeister is bringing top country star Dierks Bentley to the stage to show our dedication and loyalty to country music,” says Bill Henderson, Senior Vice President of Marketing and Advertising at Sidney Frank Importing Company, Inc.  “In addition to this great line-up, Jägermeister is sponsoring over 25 country music acts to open the shows and is looking for more.”

2011 Jägermeister Country Tour Dates:
3/17            Wallingford, CT *
3/18            Sayreville, NJ **
3/19            Atlantic City, NJ **
3/20            Pittsburgh PA **
3/24            Lewiston, ME **
3/25            Poughkeepsie, NY
3/26            Reading, PA            **
3/27            Westbury, NY **
4/1              Los Angeles, CA **
4/2              Las Vegas, NV **
4/6              Houston, TX            **
4/7              Mescalero, NM **
4/13            Asheville, NC
4/14            North Myrtle Beach, SC **
4/15            Melbourne, FL
4/16            Boca Raton, FL                                           
4/21            Mankato, MN
4/22            Sioux Falls, SD
4/23            Clear Lake, IA
4/27            Salina, KS
4/28            Bloomington, IL
4/29            Saint Charles, MO                                                        
5/5              Akron, OH
5/6              Detroit, MI
5/7              Indianapolis, IN
5/11            Augusta, GA
5/12            Charleston, SC
5/13            Norfolk, VA
* Tickets On Sale Jan. 21
** Tickets On Sale Jan. 28

DSO Winter Tour Begins 1/20, Free Downloads

Iowa->Tampa...We've Got You Covered

Fresh off an incredible New Years Run and a few weeks of rest the band is ready to kick off 2011 starting out in the mid-west. We will start out in Des Moines, IA Thursday and stop off in Milwaukee and Chicago the first weekend. From there it's off to Urbana, IL, Detroit and Cleveland before closing off the week in Columbus, OH and Indianapolis. Then the bus heads south to warmer climates for the second half of the tour. First stop is Busters in Lexington, KY before dropping in to the Music Farm in Charleston, SC and Carolina Theatre in Greensboro, NC. After that it's on to Atlanta Friday Feb 4th and Charlotte on the 5th before the last week of the tour. The final run of shows takes us from Birmingham to Jacksonville, Orlando, Del Ray Beach and Tampa, FL.

Hope you can jump aboard our Southbound Train!

Visit our Tour Dates Page for tickets and more info.

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Free Love

Starting today we will offer a free download of a song from our digital catalog once a week on our web site. We will be digging deep into our vaults to bring you something new and different each week.

Head to our website now to check out this weeks free track

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DSOtix = Free Mix

Heading out to a show on the Southbound Winter Tour? Four Winds Tour? Buy your ticket from our Fanclub Ticketing site and you will receive a link to download a free sampler of songs from 2010 shows.

Also, please support our favorite philanthropy, The Rex Foundation, by contributing what you can during the ticket buying process.

Click HERE to visit our fanclub ticketing page.

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TOUR DATES

DATE VENUE CITY DSO TICKETS
Southbound Winter Tour
1/20 Val Air Ballroom Des Moines, IA
1/21 Pabst Theater Milwaukee, WI
1/22 Vic Theater Chicago, IL TICKETS
1/24 The Canopy Club Urbana, IL
1/26 Majestic Theatre Detroit, MI TICKETS
1/27 House of Blues Cleveland Cleveland, OH
1/28 Newport Music Hall Columbus, OH TICKETS
1/29 Egyptian Room at Old National Centre Indianapolis, IN TICKETS
1/31 Busters Lexington, KY TICKETS
2/2 Music Farm Charleston, SC TICKETS
2/3 Carolina Theatre Greensboro, NC TICKETS
2/4 Variety Playhouse Atlanta, GA TICKETS
2/5 Neighborhood Theatre Charlotte, NC TICKETS
2/7 Workplay Birmingham, AL TICKETS
2/9 Freebird Live Jacksonville, FL TICKETS
2/10 Plaza Theatre Orlando, FL TICKETS
2/11 Garlic Fest Delray Beach, FL
2/12 Ferguson Hall Tampa, FL TICKETS
Four Winds Tour
03/04 The National Richmond, VA TICKETS
03/05 Tarrytown Music Hall Tarrytown, NY
03/06 The Sovereign Reading, PA TICKETS
03/08 Mexicali Blues Teaneck, NJ TICKETS
03/09 Union County Performing Arts Center Rahway, NJ TICKETS
03/10 The State Theatre Falls Church, VA TICKETS
03/11 Maryland Theatre Hagerstown, MD TICKETS
03/12 Town Hall Buffalo, NY TICKETS
03/30 Mt Baker Theater Bellingham, WA TICKETS
03/31 The Showbox Seattle, WA
04/01 Crystal Ballroom Portland, OR
04/02 McDonald Theater Eugene, OR TICKETS
04/04 Arcata Theater Arcata, CA TICKETS
04/06 Catalyst Santa Cruz, CA
04/07 Great American Music Hall San Francisco, CA
04/08 Great American Music Hall San Francisco, CA
04/09 Great American Music Hall San Francisco, CA
04/10 Knitting Factory Reno, NV TICKETS
04/13 Belly-Up Aspen, CO TICKETS
04/14 Boulder Theater Boulder, CO TICKETS
04/15 Boulder Theater Boulder, CO TICKETS


John Brown's Body & Katchafire @ the Fox

In 2006, John Brown's Body found itself at a crossroads, when the death of bassist Scott Palmer broke the band’s heart. After the tragedy, several longtime members left the group. But, a strange thing happened to the band staring at its own mortality: somehow, JBB emerged transformed and inspired.

A vital, creative energy sprang from the band’s new dynamic and new members. JBB found itself pushing more at the edges of reggae. New songs incorporated slinkier bass lines, denser instrumentation, less predictable rhythms. Beats became funkier, more drum-and-bass inflected.

JBB realized it was at a turning point: keep playing the same style of music, or follow the new sound and see where it leads. It was the same way the band members felt about reggae: how do you break rules and create something unique while still honoring the music that came before?

The answer is that it’s possible (and ultimately necessary) to push forward.  “Future Roots,” which the band began using to describe its sound as far back as its 2005 Pressure Points release, took another step forward. The current evolution builds on a reggae foundation, incorporating elements from different genres. The new songs are timeless and futuristic all at once, anchored and exploring simultaneously.

These explorations are instantly evident on Amplify, which debuted at #1 on Billboard’s Reggae Chart in October 2008, and its remix follow-up EP, Re-Amplify, released in March 2009 also debuting on the Billboard’s Reggae Top 10 Chart.

"Amplify is the sound of a band recreated, retooled and refreshed,” writes Canada’s Exclaim Magazine, and other reviewers agree: “Amplify has a forward thinking, fearless approach to tempos, beats and feel that expands the genre of reggae as a whole.” [Amazon].

While Amplify showed the world the fearless new directions JBB’s music is headed in, Re-Amplify took it even further by putting the band’s songs into the hands of outside remixers for the first time. Working with Gym Class Heroes’ Disashi Lumumba-Kasongo, Juno-Award-nominated producer Dubmatix, dance floor pioneer Tommie Sunshine, Australia’s urban roots powerhouse Blue King Brown and others, the band’s songs were stretched every which way, resulting in an EP that pleased fans and opened the band up to even further possibilities in their musical approach. How open? The band liked Dubmatix’s remix of “The Gold” so much, they switched to playing that version in their live sets.

JBB’s live show has the kind of organic, body-rocking sound that’s only possible with an 8-piece band where air tight drum and bass, a three piece horn section, and “the most gorgeous melodies in all of modern reggae music” [All Music Guide] meet a dubbed-out sound engineer. Where will JBB head next? The near future includes first ever tours of the UK and New Zealand, as well as initial work on the follow up to Amplify. What direction will the music take? Who knows, but whatever it is, it is sure to push boundaries.

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Tickets are on sale at Fox Theatre Box Office. Call (303) 443-3399 for tickets by phone.

Tickets are also available through our website @ www.foxtheatre.com.

$18 adv / $22 dos

Tickets On Sale – Friday January 21st!

Afor-Zep & 56 Hope Road @ the Fox Theatre

Z2 Entertainment is proud to present Afro-Zep & 56 Hope Road at the Fox Theatre on Friday, February 11th.

AfroZep is a collective of Chicago musicians that assemble a few times a year to tour- performing a set of all Led Zeppelin tunes but re-done in the style of Afrobeat and Afropop. Some tunes are straight mash-ups of Fela Kuti and Zeppelin; others are Zep tunes but set to original grooves based off the music of artists such as Tinariwen, Thomas Mapfumo and Franco; and others are stripped down arrangements with tons of added traditional African drumming, like their take on 'When the Levee Breaks' which incorporates a rhythm of Malinke decent, called Soli. Arrangements such as this show how the roots of Plant and Page's songwriting can be traced even further back to the roots of blues music itself. The members of AfroZep have toured and recorded with various artists, such as: Chicago Afrobeat Project, 56 Hope Road, Starrunner, 1000 Vertical Feet, the Motet, Seneke West African Drum and Dance Ensemble, among many other of gospel, big band, jazz, rock and drumming ensembles based out of Chicago. Due to the rigorous schedules of its performers, the Afro-Zep is not a full time project and the band only tours a few times a year.  With their first tour taking place in Nov 2009 the band has already traveled to Illinois, Wisconsin, Michigan, Missouri, Kansas and Colorado.

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56 Hope Road is a band bonded like a family, and as a result, their music has an unmistakable honesty and openness. Uncanny, intuitive communication creates an easy interplay on stage, making even the most layered tunes sound effortless. They allow the joy of spontaneous creativity to color their song-based arrangements - neither losing their musical center, nor restricting its growth. The music is acoustic funk at its finest with sounds reminiscent of G-Love and Special Sauce, Richie Havens, MMW, Grateful Dead, Paul Simon and Gomez. This Chicago-based “acoustic funk explosion” is known for clever songwriting, lush vocal harmonies and one of the tightest rhythm sections on the scene. Formed in 1999, 56 Hope Road is made up of vocalist/guitarist Dave Hamilton, drummer Greg Fundis, upright bassist Chad Sanders, saxophonist Casey Fitzpatrick, and often augmented by vocalist Anne Katzfey, and percussionist Matt Katzfey.

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Tickets are on sale at Fox Theatre Box Office. Call (303) 443-3399 for tickets by phone.

Tickets are also available through our website @ www.foxtheatre.com.

$7 adv / $9 dos

Tickets On Sale – Friday January 21st!