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Houston Rock Band Pale Sets Release of New CD

Houston-based rock quartet Pale, known for a blend of soaring melodies set against explosive, guitar-fueled choruses, is set to release their long-awaited new recording entitled IN THE TIME OF DANGEROUS MEN on June 21st. The new CD, which will be available via independent A-Blake Records, was produced by Steve Christensen (Destiny's Child, Clay Walker), who scored a Grammy last year for his work on Townes-A Tribute to Townes Van Zandt by Steve Earle.

From "Bad Intel," the blistering opening track, to the atmospheric "Hushed Tones for Chosen Ones," IN THE TIME OF DANGEROUS MEN showcases the rock-solid songwriting that has been Pale's hallmark since the band formed nearly 10 years ago. "This band has finally got all the elements in place for something big," Artshound.com has touted of the group's new record.

IN THE TIME OF DANGEROUS MEN was recorded during a two-month period last year when the band was sequestered at their label's beach house in Crystal Beach, Texas. Pale, who have been compared favorably to Muse, Radiohead and even U2, emerged with 12 standout new songs and a renewed determination to bring their Brit-rock-influenced music to a wider audience.

Pale's big, dramatic sound is "as subtle as a freight train" as the repeating chorus from the pensive "Catastrophic Skies" implies. From deep, thought-provoking tracks like "Soon" and "My Final Warning" to the high-velocity rock of "Wolves Wait" and "Our Lone Star Shines," their homage to the great state of Texas, IN THE TIME OF DANGEROUS MEN showcases Pale's ability to write memorable songs. The driving "That Sinking Feeling," the first single from the new album, will be serviced to radio in the coming weeks.

The trademark emotive voice of Pale belongs to lead singer/guitarist and chief songwriter Calvin Stanley, who along with guitarist/ keyboardist Robb Moore, bassist Stephen Wesson and drummer Travis Middour quickly rose to the top of the Houston club scene and broadened their domain through impressive live performances on their own and as openers for acts as diverse as Depeche Mode, Roger Waters, Earshot and Blue October.

Pale's recording debut HERE was released in 2004to positive critical response. The six-song EP MANDATORY AMBULANCE followed in 2007, both produced by Lars Goransson (Fastball, the Cardigans, Blondie). The release of the new CD harkens to new opportunities to come. Michael Clark, writing in the Houston Chronicle, expounded, "Pale has the rock 'n' roll ideal: the moxie and evolving know-how to get noticed in a business that gives less and less opportunity to new talent," adding, "Pale is trying to find the rock 'n' roll spirit again."

That rock 'n roll spirit is particularly evident in the extraordinary video the band created for the epic track, "Catastrophic Skies." Enlisting the aid of director Sean Duke and Chase Rees of Think Big Productions as well as countless friends and local volunteers, the result is an opulent cinematic feast with the futuristic look of a Mad Max film set against a contemporary story line about independent music artists battling corporate greed. They even hosted a Hollywood-style premiere for the video at Houston's famed River Oaks Movie Theatre late last year. The song had once been under consideration for the soundtrack of the film Twilight: Eclipse.

"Pale's music inspires the dreamer in all of us," says Calvin Stanley. "I've had my head in the clouds since I was a kid, and I believe that everything is possible with this band. That kind of dreaming heart has really helped pull us through some difficult times."

Pale will hit the road this summer in support of IN THE TIME OF DANGEROUS MEN following a pre-release kick-off concert in their hometown of Houston.Live Pale appearances will be announced shortly.

GRAYSON CAPPS | 'The Lost Cause Minstrels' Streets June 7

Grayson Capps' fifth studio album, The Lost Cause Minstrels, is set for release June 7 on Royal Potato Family. The 11-track effort finds the Mobile, Alabama-based singer-songwriter coming of age. This doesn't mean, however, that his often unholy tales of the Southern Gothic have lost any of their sting. Quite the contrary, Capps' Tao-tinged, philosophical reflections--revealed deep inside songs shuddering with spit, stomp and snarl--are as potent as ever. Listen no further than "Highway 42," "No Definitions" and "Rock N Roll" to hear that Capps cedes no quarter. It's just that this time his bark and bite is more accepting of the unanswered questions mucking up the universe, while country soul textures and gospel harmonies ease the raw edges. Occasionally, even a celebratory mood prevails like the horn-fueled romp "Ol' Slac," an ode the rebirth of the Mobile, Alabama Mardi Gras, or "Coconut Moonshine," a character sketch based on Mr. Jim who inhabits the hallowed roadside barbecue joint in Ocean Springs, Mississippi. Two rare, but classic, American roots' numbers are born again here, as well: Taj Mahal's country-blues paen "Annie's Lover" and Richard Rabbit Brown's jaunty "Jane's Alley Blues," (the original recording preserved on Harry Smith's Anthology of American Folk Music).

Grayson Capps' real life situation has evolved since his previous release Rott 'n' Roll, and it surely influences the album's sound and spirit. In 2010, he dissolved his band The Stumpknockers, re-assembling a new cast of musicians, fittingly dubbed The Lost Cause Minstrels. The line-up features a who's who of the finest players on the Gulf Coast music scene, including Corky Hughes on guitars, Chris Spies on keys, Christian Grizzard on bass and John Milham on drums. Capps also moved back to Alabama, where he was born and raised, in the middle of recording the album. He'd been residing in Nashville since 2007 after being driven from his longtime New Orleans’ following Hurricane Katrina. Capps co-produced the effort with his longtime partner and Grammy Award-winning engineer/producer Trina Shoemaker (Queens of the Stone Age, Dylan Leblanc, Sheryl Crow). All of these factors coalesce into a collection of songs timeless in their pursuit of truth yet well aware of how hard the truth is to find in these times. The Lost Cause Minstrels is the highly anticipated next chapter from one of the finest Southern troubadours of the day.

The Lost Cause Minstrels track listing:

1. Highway 41
2. Coconut Moonshine
3. John The Dagger
4. Jane's Alley Blues
5. Chief Seattle
6. Yes You Are
7. Annie's Lover
8. Ol' Slac
9. Paris, France
10. No Definitions
11. Rock n Roll

Upcoming tour dates:

May 1 | Rosie's Grill | Daphne, AL (*solo acoustic)
May 3 | Chickie Wah Wah's | New Orleans, LA
May 5 | Le Petite Theater | New Orleans, LA (*Southern Troubadours also featuring Anders Osborne, Tab Benoit and Devon Allman)
May 6 | DBA | New Orleans, LA (8PM)
May 6 | Le Bon Ton Temp Roulet | New Orleans, LA (*Late Night)
May 7 | River Pub | Hurricane, AL
May 13 | The Fire | Jackson, MS
May 14 | The Hangout | Gulf Shores, AL
May 21 | Northshore Grill | Orange Beach, AL
May 25 | The Nick | Birmingham, AL
May 27 | Smith's Olde Bar | Atlanta, GA
May 28 | Jamming At Hippy Jack's | Crawford, TN (taping for PBS broadcast)
May 29 | Rosie's Grill | Daphne, AL (*solo acoustic)
June 3 | Oak's Cafe | Brewton, AL
June 4 | Pirate's Cove | Josephine, AL
June 12 | Callaghan's Irish Social Club | Mobile, AL
June 14 | Blue Gill | Mobile, AL
June 16 | Myers Park | Gulf Shores, AL
June 17 | DBA | New Orleans, LA
June 18 | The Porch | Lake Charles, LA
June 19 | Callaghan's Irish Social Club | Mobile, AL
June 23 | Rhythm & Brews | Chattanooga, TN
June 24 | The Basement | Nashville, TN
June 25 | Phoenix Hill Tavern | Louisville, KY
July 16 | Chrome Horse | Silver Hill, AL
July 17 | Callaghan's Irish Social Club | Mobile, AL
July 20 | The Grey Eagle | Asheville, NC (*solo acoustic)
July 21 | Duck Pond | Brevard, NC (*solo acoustic)
July 22 | Shenanigan's | Dahlonega, AL (*solo acoustic)
August 4 | Woodwalk Gallery & Events Barn | Egg Harbor, WI
August 6 | Lumberjam Festival | Hayward, WI

Elvin Bishop's 'Raisin' Hell Revue' coming on Delta Groove on May 17

Elvin Bishop’s musical biography is no secret to anyone who has followed blues or rock over the past 40 years. Taken under wing by legendary bluesman Little Smokey Smothers in the ’60s, Bishop found a wide audience as guitarist in the Paul Butterfield Blues Band and in the ’70s scored a Top-10 radio hit with “Fooled Around and Fell in Love.” Along the way, he’s carved out a niche all his own, playing an appealing mix of rootsy rock ’n’ roll, R&B and barroom boogie, steeped in the heavy blues he learned from Little Smokey all those years ago.

So when a bunch of close friends who also happen to be consummate musicians are sequestered together, as they were at sea on the 2010 Legendary Blues Cruise, what else were they to do but unite forces to create some truly exemplary music? Thankfully the tapes were rolling, and the musical experience was saved for posterity. Delta Groove Music will release the resultant Raisin’ Hell Revue live album on May 17, 2011. And with the good vibes of a ship full of fellow music lovers to buoy the band, you can really hear that everyone was having a great time.

Over the course of their featured performance, Bishop shares the vocal mike with four hard-hitting pros: blues veteran Finis Tasby (Lowell Fulson, Freddie King, Clarence Carter, Z.Z. Hill), fast-rising harmonica man John Németh (Anson Funderburgh, Junior Watson), Norwegian blues guitar star Chris (Kid) Anderson (Charlie Musselwhite’s band), and Bishop’s long-time band-mate and Bay Area legend, saxophonist Terry Hanck. They work their way through a strutting, soulful set of blues and R&B with the powerful grace of a veteran working outfit, perfectly highlighting the strengths of everyone involved. And it really is a “revue” in the classic sense of the term — various band members representing a wide array of styles move in and out of the spotlight, all presided over by the good-humored and congenial master of ceremonies Elvin Bishop. We’re treated to swinging up-tempo R&B, lowdown blues, rootsy rock ’n’ roll, and a touch of gospel; even a fantastic reworking of Bishop’s smash hit “Fooled Around and Fell in Love” is included featuring the wonderfully gifted and dynamic vocalist John Németh.

Born and raised in Tulsa, Oklahoma, Elvin Bishop didn’t have much exposure to live music as a youngster. But his family had a radio, and in between the pop schmaltz and the C&W that ruled the airwaves in the 1950s, that radio could sometimes catch the legendary R&B programming beamed throughout the southern part of the U.S. at night by Nashville radio station WLAC. That station introduced Bishop to the classic records of Jimmy Reed, Howlin’ Wolf and Muddy Waters, and once his ears had been hooked, there was no turning back for young Elvin. He soon got his first guitar and on his own began scratching out the basic outlines of the blues, R&B and rock ’n’ roll that had captured his imagination.

By the time he was preparing to go to college in the late ’50s, Bishop had earned a National Merit Scholarship, allowing him to go to almost any school he chose — and there was only one choice on Elvin’s mind, the prestigious University of Chicago, which just happened to be located on Chicago’s South Side, ground zero for much of the urban blues Elvin had been studying only from a distance. He arrived in Chicago in 1959, and before long crossed paths with a kindred spirit in Paul Butterfield.  Together, they explored the ghetto blues clubs in the black neighborhoods surrounding the university campus at a time when blues giants like Muddy Waters, Little Walter, Otis Rush, Magic Sam and Howlin’ Wolf could be found playing in neighborhood joints on a weeknight. Elvin soaked it all up, gaining impromptu lessons and invaluable stage time in front of discerning audiences, and forging a fluid yet powerful guitar style of his own.

By 1963, Bishop and Butterfield were ready to graduate — not necessarily from the university, but certainly from their apprenticeship under Chicago’s blues elders.  Recruiting Howlin’ Wolf’s former rhythm section of Sam Lay on drums and Jerome Arnold on bass, the Paul Butterfield Blues Band was born. In 1965, after adding Mike Bloomfield and Mark Naftalin to the lineup, their revolutionary debut LP was released, kicking open the door for virtually all the young white blues bands that followed.

Bishop remained in the fold for three albums with the Butterfield band, including their innovative East-West release (on which Bishop and Bloomfield’s intertwining guitars helped set the stage for the Allman Brothers Band among many others who followed), before venturing out on his own. Elvin released four well-received albums on Epic Records in the early ’70s before joining Capricorn Records for a couple of LPs and experiencing his biggest pop success, the national hit “Fooled Around and Fell in Love” from his 1976 album Struttin’ My Stuff.

As popular musical trends evolved, the recording projects tapered off, but road work kept Elvin busy through the ’80s, and by the time he hooked up with Alligator Records in 1988, he was returning to his bluesy roots. And that fertile territory has been his focus ever since.

Delta Groove Productions president Randy Chortkoff has been a fan and follower of Elvin’s music through all the many phases of his career, beginning with Butterfield in the mid ’60s, so when the opportunity arose to bring Elvin into the Delta Groove fold, Chortkoff jumped at the opportunity. The result was Elvin’s Grammy-nominated 2008 CD The Blues Rolls On, a project supported by an all-star cast of blues royalty, among them B.B. King, Warren Haynes, Derek Trucks, George Thorogood, James Cotton, Kim Wilson, Tommy Castro, John Németh and Angela Strehli.

The Philadelphia Inquirer noted that “ . . .he’s as lively and sharp-witted as ever. No purist, he bends a variety of styles to his irrepressible personality.”

And now, with the new Delta Groove release Raisin’ Hell Revue, Bishop and crew invoke deep blues while at sail on the deep blue sea.

Boba Fett on Drums! | Scattered Trees' Love and Leave

Scattered Trees premiered their new “Star Wars” inspired video for “Love and Leave” today exclusively on Boing Boing. Watch the video, which features sad stormtroopers, a coldblooded Queen Amidala, and Boba Fett on drums HERE. The song, “Love and Leave,” is taken from Scattered Trees’ forthcoming full-length, Sympathy, due out April 5th on Roll Call Records/EMI. Download the song HERE (feel free to post and share) — it’s currently the 7th most popular song on Hype Machine. The loving tribute to The Star Wars saga was directed by Scattered Trees’ guitarist J.M. Harper in February in the band’s apartment. It’s a loose (very loose) interpretation of “A New Hope,” if the film was set in a snowy Chicago apartment.

The band’s premiere for “Love and Leave” comes as the band is prepping the release of their latest record Sympathy, which will be released on April 5th via Roll Call Records/EMI. The album is a focused, deeply personal collection of songs that finds Scattered Trees experimenting with lush multi-part harmonies, constructing dynamic builds, and exploring the intricacies of love and loss. Opening with “Bury the Floors,” lead singer Nate Eiesland sings “It’s the house that I built you to fall / We started to walk then we stood up to crawl / So bury the floors and burn down the walls / to find ourselves by morning.” Driving rock epics like “Four Days Straight” rub shoulders with melancholic elegies like “Where You Came From.” The album’s title track starts with a stripped-down plaintive mandolin, ultimately fading into a slow-burning orchestral groove. Melting into “Five Minutes,” Scattered Trees continues the build until the track bursts forth. The band rounds out the record with the mournful acoustic closer “On Your Side,” a fitting tribute for a deeply heartfelt and therapeutic album.

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Scattered Trees Upcoming Tour Dates:

03/03: Chicago, IL @ Schubas
03/05: Minneaoplis, MN @ Cause
03/17: Austin, TX @ Dizzy Rooster
03/18: Austin, TX @ The Ghost Room (NAIL/The MuseBox SXSW Day Party)
04/09: Kansas City, MO @ Middle of the Map Festival

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

Masters of Reality Announce US Headlining Dates

n maps, or from the air, the Mojave Desert is usually deemed brown... a blotch in the lower stomach of California that bulges against Arizona and Nevada. For fifteen years, the Mojave Desert has been the adopted home of one songwriter / performer / producer who calls himself 'one half of Masters of Reality.' Meet Chris Goss. About 2,800 miles East by Northeast; New York City. Another man sits at the head of Manhattan's media design giant Spontaneous. Director / illustrator / songwriter / drummer, and former member of New York noise and space rock bands Surgery and Dr. Mars, he is the "other" half of Masters of Reality. Meet John Leamy.

For nearly 20 years, the intermittent and somewhat reclusive collaborative musical efforts of Goss and Leamy, collectively known as the avant-renegade rockers Masters of Reality, (a relationship that began with Leamy painting the cover of their very first Masters album), have changed the face and character of rock and roll music around the world. Hence, these two ain't part time hobbyists. Goss describes himself as a "parallel aesthetician." "Art and music can be loaded with aesthetic and esoteric nano-timebombs, each level of delivery and digestion can and should be emotionally manipulated and shaped for the future... and the best part is, no one knows what we're building because it will never be finished. Look how the world of food is fusing, well, that's happening to a million things simultaneously. Our brains and nervous systems, even in our rock and roll, hopefully."

They are what's called in the 'biz' as 'musician's musicians.' Goss explains "With John and I wrapped up in so much media production in our day to day lives, when we get together to record and tour a new 'Masters of Reality' album, it's the white rat thrown into the cage of two hungry pythons. It's nothing short of a quick ecstatic feast. We have absolutely no intentions other than making music that we want to hear, and other musicians definitely sense that wonderful freedom and experimentation and try to emulate it, to great profit. Proof of good design, I'd assume."

And if a band's musical history and credibility are still relevant in today's American Idol, vocal tuned, studio buffed pop world; Goss began working with music-mega-mogul Rick Rubin in the mid 80's by recording the longest running 'Top of the Hour' theme music for MTV. Followed shortly by the release of the first Masters of Reality LP on Rubin's Def American Records. Goss soon reformed the band's line-up to join forces with none other than Cream's Ginger Baker, a collaboration that lasted nearly three years and resulted in an LP that sent the single "She Got Me (when she got her dress on)" to Number 8 on the Billboard charts. Simultaneously, Goss began working and forming what's now known as the 'California Desert Rock Scene,' producing three legendary albums with Kyuss and soon after began producing and even giving the name Queens of the Stone Age to a young musical protege' Joshua Homme. A musical partnership that still exists now nearly 20 years later and the start of a production career that has made Goss one of the world's most sought after rock and roll studio wizards and songwriters. His collaborations include The Cult, Stone Temple Pilots, PJ Harvey, UNKLE, Mark Lanegan, SOULWAX, Dave Grohl, Marilyn Manson's Twiggy Ramirez and many many more, but it's Masters of Reality that delivers the true core of Goss' and Leamy's musical powers, and the reason that the musical world has been paying close attention for over two decades.

Both improvisation and rhythm have always been major components of the unmistakable Masters of Reality sound, but on their new album, ‘Pine/Cross Dover’ (the band's brand new, two-headed beast of a full-length recording), the group pits the finer elements of the Mahavishnu Orchestra and Public Image Limited against each other. The end result? A Masters of Reality album that rocks, rolls, and grooves like one devilish son of a gun.

Joining Goss and Leamy, includes a host of special guests, including Eagles of Death Metal bassist Brian O’Connor and guitarist Dave Catching, Merle Jagger guitarist Mark Christian, background singers Shawnee Smith and Missi Pyle, as well as former Queens of the Stone Age guitarist Brendon McNichol. With a tour currently being planned, it’s only a matter of time until the latest batch of Masters of Reality classics take on a new life on stage.

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Masters of Reality Live!

US Headlining Tour Dates

11/10/2010 - House Of Blues - Anaheim, CA
11/11/2010 - 4th & B Street - San Diego, CA
11/12/2010 - House Of Blues - Los Angeles, CA
11/16/2010 - El Corazon - Seattle, WA
11/17/2010 - Lola's - Portland, OR
11/20/2010 - Pappy & Harriets, Pioneertown, CA

UK Dates w/ The Cult

1/18/2011 O2 Academy Leeds, UK
1/19/2011 O2 Academy Bristol, UK
1/21/2011 Hammersmith Apollo London, UK
1/22/2011 Cambridge Corn Exchange Cambridge, UK
1/23/2011 O2 Academy Bournemouth Boscombe, UK
1/25/2011 Rock City Nottingham, UK
1/26/2011 Wolverhampton Civic Hall Wolverhampton, UK
1/27/2011 O2 Academy 2 Newcastle, UK
1/29/2011 Academy Glasgow Glasgow, Scotland
1/30/2011 Academy Manchester Manchester, UK

Red Mass Anounce US Tour Dates | To Play Pop Montreal

The brainchild of Roy Vucino, aka Choyce (CPC Gangbangs, The Daylight Lovers, Les Sexareenos), Red Mass took shape in 2008 following the inevitable implosion of the volatile and legendary CPC Gangbangs. Using Red Mass as a platform, Choyce and his collaborators are intent to pursue the ideals of free thinking, the use of chaos, sex-magik and liberation through art. The ever evolving line-up and contributors to Red Mass consist of musicians from Demon's Claws, Chocolat, Hot Springs, Black Feelings, Sunday Sinners, Vicious / Delicious and Ghost Limbs to name a few.
Through his prolific exploits, Choyce has helped give Montreal's flourishing garage and rock n' roll scenes international recognition. Having fronted CPC Gangbangs, he now also records and tours with long time collaborator Mark Sultan (Sup Pop, In The Red).
Now, Red Mass has opened itself to all with a sincere belief that it can offer young artists and outsiders alike a new haven. With a slew of singles, 10"s, EPs and experimental releases, Red Mass is ready to hit. Their psychedelic space rock 'n' roll and its elements of noise, folk, punk and electronic music is a culmination of 12 years of hard work. The dark poppy hooks, laced with other worldy sound effects, are at once an ode to the past, the music of today, and the shape of rock 'n' roll to come.

US Tour Dates:
SEPT. 15th - Providence, RI - Machines With Magnets w/ An Albatross, Aids Wolf, Gila Monster, Holy Sheet & Whore Paint
SEPT. 16th - Baltimore, MD - Golden West Café w/ Kid Congo Powers
SEPT. 17th - Brooklyn, NY - Party Expo w/ Food Stamps, Try Cry Try, Xray Eyeballs
SEPT. 18th - New York, NY - Death By Audio  w/ Xray Eyeballs
SEPT. 19th - Silver Spring, MD - Jackie's -- matinee show w/ Thee Lolitas
SEPT. 21st - Charlotte, NC - The Milestone,
SEPT. 22nd - Atlanta, GA - 529 w/ Aids Wolf
SEPT. 25th - Memphis, TN - GONER FEST @ Murphy's
SEPT. 27th - Toledo, OH - Woodchuck's
SEPT. 30th - Montreal, QC - POP MONTREAL - SEMPRINI RECORDS/ SIGNED BY FORCE SHOWCASE @ Casa Del Popolo w/ El Boy Die & Crabe
OCT. 12th - Pawtucket, RI - @ The Met w/ King Khan & The Shrines
OCT. 13th - Boston, MA - @ Royale Boston w/ King Khan & The Shrines
OCT. 15th - Silver Spring, MD - Quarry House w/ Paul Collins, The Spectacles, and Dirty Shames

MOON TAXI ANNOUNCE SUMMER TOUR!

Nashville road warriors Moon Taxi have been steadily picking up steam across the country, building a loyal following of music fans dedicated to the band’s relentless energy, inspired songwriting, and instrumental prowess. Having opened for the likes of Gov’t Mule, Umphrey’s Mcgee, Matisyahu, and DJ Logic, the five-piece are hitting the road for an extensive summer headlining tour.

Formed three years ago in Nashville, TN, Moon Taxi hit the ground running and hasn’t slowed down, beginning by pounding the Southeast club circuit and soon selling out venues in their hometown. Honing their skills on the road and developing a unique sound that joins together a multitude of rock sub-genres into an explosion of red hot rock n’ roll, the band has found its home on the live stage. Vocalist and guitarist Trevor Terndrup commands his position as a frontman-to-watch with his high-flying vocals and magnetic personality that combine with his band mate’s technical skill and complex sonic structures to create a joyous force of nature. Drummer Tyler Ritter anchors the group with propulsive and evolving beats while bassist Tommy Putnam delivers lines that groove between soul and rock, laying a textured foundation that’s both unyielding and unrestricted. Some of the most explosive moments are sparked by Wes Bailey on keys and guitarist Spencer Thomson, whose dizzying solos are met with instant gratification from their audience.  The band’s tenacity on stage and on the road has led to securing coveted slots at festivals such as 10,000 Lakes Festival, Moe’s Summer Camp and Birmingham’s City Stages and is captured on the vibrant and explosive live album, Live Ride, released in 2009. Be sure to catch Moon Taxi at these intimate gigs before they catapult into the rock n’ roll stratosphere.

Don’t miss your chance to catch MOON TAXI live this summer:

6/10/10                       Ithaca, NY @ Castaway’s

6/11/10                       Freeport, ME @ Music Bar

6/12/10                       Newton, NJ @ Hobo Bar

6/13/10                       Brooklyn, NY @ Southpaw

6/16/10                       Frostburg, MD @ Dante’s

6/17/10                       Annapolis, MD @ The Whiskey

6/18/10                       Cleveland, OH @ Beachland Tavern

6/19/10                       Columbus, OH @ Basement

6/20/10                      Indianapolis, IN @ Birdy’s

6/22/10                       Toledo, OH @ Frankie’s

6/23/10                       S. Haven, MI @ Foundry

6/24/10                      Three Rivers, MI @ Riviera Theatre

6/25/10                       Kalamazoo, MI @ The Strutt

6/26/10                       Dayton, OH @ Canal Street

6/27/10                       Lexington, KY @ Cosmic Charlie’s

6/30/10                      Cincinnati, OH @ Southgate House

7/1/10                        Chicago, IL @ House of Blues, Porch State

7/2/10                        Minneapolis, MN @ 400 Bar

7/7/10                         Boulder, CO @ Rock N Soul Cafe

7/9/10                         Denver, CO @ Moe’s

7/14/10                       Reno, NV @ Crystal Bay

7/15/10                       San Francisco, CA @ The Union Room @ Biscuits and Blues

7/17/10                       San Diego, CA @ House of Blues

7/24/10                      Nashville, TN @ Exit/In

7/29/10                       Dallas, TX @ The Loft

7/30/10                      Oklahoma City, OK @ The Conservatory

7/31/10                       Denton, TX @ Boiler Room

8/8/10                        Logan, OH @ Rootwire Music Festival

8/13/10                       Alexandria, LA @ Spirit’s, Foods and Friends

8/28/10                       Turin, NY @ Snow Ridge Ski Resort

Moon Taxi is Trevor Terndrup (Vocals, Guitar), Spencer Thomson (Guitar), Tommy Putnam (Bass), Wes Bailey (Keys) and Tyler Ritter (Drums)

Jann Klose Spring & Summer 2010 Dates

Jann Klose's new album, REVERIE, covers as much musical, sonic and emotional ground as Jann has himself.  Now living in the Bronx, New York, one of the most culturally diverse communities on earth, he has lived in distinctively unique parts of the planet.

Born in Mannheim, Germany, his family relocated to Nairobi, Kenya, when he was less than a year old. “Eastern Africa was full of impressions.  Because of my parents’ interest in travel, I experienced African culture first-hand at a very young age. Seeing and hearing African performers and their natural gift for song and dance had a strong impact on me.” A few years later, Jann and his family moved to Johannesburg, South Africa, “I remember my father taking us to a musical that I loved, called ‘The Warrior,’ starring the late Margaret Singana, who was very popular at that time in South Africa.”

For Jann, coming of age involved learning to understand human struggle in direct relationship to Africa and her people; shortly after Jann returned to Germany, Apartheid crumbled in South Africa.  At age 16, Jann was on the move again, this time to Cleveland, Ohio, where he attended high school as an exchange student and immersed himself in Cleveland’s burgeoning music scene.

He returned to Germany, to fulfill mandatory civil service, and then relocated to North East Ohio, where he studied voice with Emmy winner David Gooding, sang in the Cleveland Opera Chorus, and released two CDs on local label G21 Records (1997’s ENOUGH SAID and 1999’s THE STRANGEST THING).

In 2000, Jann moved to New York City, "After living in so many places, I felt like I came home to the world from the moment I arrived."  NYC offers a smorgasbord of arts, and Jann responded by going to every singing and acting audition he could attend.  Within a few months, he found work in the cast of the Broadway national touring company of JEKYLL & HYDE, and thereafter in the cast of the European tour of JESUS CHRIST SUPERSTAR.

Upon his return to the New York City pavements, he committed himself to his career as a singer/songwriter, recording BLACK BOX, a 2003 EP, which net him favorable reviews and career step-ups in touring. In 2005, Jann performed his music in MOONLIGHT INTERIOR, a movement theatre production directed by Yo-el Cassell, that had a brief, sold-out Off-Broadway run.

Jann and his band continued touring, playing over 250 shows in 10 U.S. States as well as Germany; licensing songs from BLACK BOX to the movie, DEAD BROKE, on Warner Bros Home DVD; compilation discs in overseas markets: PRAMBORS HITS 3 in Indonesia; and on car maker SAAB’s 60th anniversary CD in France.

After a 2005 digital release, LIVE AT THE BITTER END, NYC, Jann focused on recording a new full-length album. In addition to using monies collected from performance and licensing fees, he asked fans for a little help, “Using PBS as an example, I gave out autographed CDs and held private concerts for donors.”

Music industry folks also believed in Jann’s talent. Rob Grenoble, who runs premiere recording studio Water Music in Hoboken, NJ, “made it work” financially and time-wise in scheduling recording dates between May and August 2007.  Producer Stewart Lerman (The Roches, Loudon Wainwright III, Dar Williams, and films THE AVIATOR and THE LIFE AQUATIC) produced and mixed “Hold Me Down,” “Beautiful Dream,” “Give in to This Life,” and mixed “Doing Time” on REVERIE.

Both Lerman and Grenoble had enough faith in Jann’s discipline and musical abilities to encourage him to produce much of the album himself.  Jann tapped Water Music engineer James Frazee to run the board, mix, and offer critical feedback.  Dominick Maita (Fall Out Boy, Bryan Ferry, Plain White T’s) mastered the album.

Jann collaborated extensively with Lerman and his band mates Chris Marolf (upright bass), Lars Potteiger (keys, accordion), Patrick Carmichael (drums) and Leah Potteiger (violin) on arrangements.  Additional musicians on the album include:  Pedro da Silva (Portuguese guitar), Megan Marolf (oboe), Ryan Scott (electric guitar), Dan Brantigan (trumpet, flugelhorn) and Doug Hinrichs (percussion).

Jann continues to grow as an artist.  “Last year I wrote a piece for tenor and baritone for my sister's wedding.  Art is about appreciating other people's sense of self-expression; this observation inspires me to let my own imagination run free.”

Upcoming Jann Klose Tour Dates:
April 28
     Therese's Living Room Concert Series          Youngstown, OH
April 29     11 PM EST Steve and Johnnie, WGN           Chicago, IL
April 30     The Skokie Theatre w/ Anne Harris             Skokie, IL
May 1        The Strutt w/ Micaela Kingslight                  Kalamazoo, MI
May 2        Haiti Benefit Concert at Rolling Plains UMC     Zanesville, OH
May 14      Audio Media Solutions w/ Shawn Phillips        East Hartford, CT
May 25      The Cavern Club (IPO Festival)                     Liverpool, UK
May 26      The Musician w/ Martin Harley                     Leicester, UK
May 27      Rock'n'Roll Fantasy Camp                            London, UK
May 27      TBA    w/ Robert Carl Blank                         London, UK
May 28      Riga Music Bar w/ Robert Carl Blank               Essex, UK
May 29      CB2 w/ Robert Carl Blank                            Cambridge, UK
May 30      The Yardbird w/ Robert Carl Blank               Birmingham, UK
June 1       The Cavern Club (IPO Festival)                     Liverpool, UK
June 9       Kulturpalast Linden                                    Hannover, Germany
June 10     Big Buttinsky                                            Osnabrück, Germany
Jun 11       Jazzkeller                                                  Krefeld, Germany
June 12     Prinzenbar                                                Hamburg, Germany
June 27     Sellersville Theater w/ Melissa Ferrick             Sellersville, PA
July 8         On the Rocks Off Cruise w/Antigone Rising    New York, NY
August 15  Corn Festival                                             Beacon, NY

Guitars and Good Lyrics: The Drive-By Truckers

Why did you fall in love with rock and roll?

I ask that, not particularly sure you love rock and roll at all, in its purest definition, anyway.. It isn’t heard all that often these days.. Music genres in recent years seem to have splintered into multitudes of subgenres, in some ways – diluting the original archetype. We ‘think’ we have the leaded coffee, cause we haven’t tasted it in so long, we’re sure nothing stronger, exists.