write

Happy 70th Birthday, Robert Hunter!

What a long, strange trip it's been indeed... June 23 marks lyricist, singer-songwriter, and poet Robert Hunter's 70th birthday. A long-time "member" of the band, Hunter first joined up with his old friend Jerry and the gang after penning the fantastical "China Cat Sunflower." He would go on to write countless lyrics for the majority of the band's original songs including the much-beloved "Dark Star," the all-time classic "Friend of the Devil," and of course, "Truckin'."

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Robert Hunter joined the Grateful Dead in the fall of 1967, when he arrived at a rehearsal just in time to write the first verse of the band's classic "Dark Star." Though he'd never play onstage, he became not only a genuine band member but its secret Ace in the hole. Though Bob Weir's words for "The Other One" would endure, most of the band's early verbal efforts would not; it was Hunter's work that would elevate their songs from ditties to rich, complete stories set to song. Hunter had fallen into the Dead's general scene in 1961 when he'd met Garcia in Palo Alto, and he'd played in several of Garcia's early bluegrass bands. But he'd always thought of himself as a writer -- probably a novelist -- and it was only in 1967 that he fulfilled his personal destiny, and enriched the Dead's. He's gone on to write several books of poetry, and is currently at work on a novel.

Robert Hunter turned 70 years old today, June 23rd, 2011.  Happy Birthday, Robert Hunter!

William Topley at the Fox Theatre - 09.10.11

Z2 Entertainment is proud to present William Topley at the Fox Theatre on Saturday, September 10th.  Tickets go on sale Friday, June 10th for $32.50 in advance and $35 day of show.

Emerging from the swamps of The Blessing and ploughing through the rocky Blues of his solo albums, William Topley delivers an album of acoustic tunes dripping with imagery from across the globe.  Anchored by William’s unique vocal, once praised by legendary Muscle Shoals producer Barry Beckett as the “best he’d ever worked with,” and accompanied by the muscular acoustic guitar of long time musical associtate, Luke Brighty with additional vocals and sterling support from Dorie Jackson, Water Taxi lures you into a world of acoustic wonder.  The track listing features something old, lots of new and all wrapped up in lush vocals, tight harmonies and rich guitar plucking to give you a well rounded and substantial musical feast.  Once again William draws on his traveled past and veracious appetite for new places and adventures to take the listener on a journey that will transport you from the mundane and humdrum to exotic climes on a with dangerous women and liquor, without leaving the comfort of your home.

Water Taxi features acoustic versions of two of William’s back catalogue namely Delta Rain from The Blessing’s first record, Prince of Deep Water and Sweetheart from their second record, Locusts and Wild Honey, which will be familiar to current William fans.  The album starts with Hummingbird (co-write with leading Nashville writer Daryl Burgess), followed by Stony Ground with a lyric delivered from a window staring moment from the back of William’s house.  Water Taxi relates the tale of William’s journeys from the Bahamas to Denver and Trouble Comes At Night is a diary from the last band tour he undertook in the US.  Spanish Waters continues William’s exploration of John Masefiel’s poetry and Watch The Wall is another Hemmingway style adventure, co-written with Toby Tyler.  After Delta Rain, I’ll Be Gone feature Luke on Spanish guitar and the mood abruptly shifts for Luck Don’t Change, which is a minute of Acapella, which should be longer.  Don’t Do That No More is another co-write with Gary Nicholson and Delbert McLinton, which runs into Sweetheart and brings the album to a conclusion.

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William Topley

Fox Theatre

Saturday, September 10th

Doors:  8:30 pm

Show Time:  9:00 pm

Old 97's @ Boulder Theater | 1/27/11

Since the Old 97's roared out of Dallas more than fifteen years ago, they have blazed a trail through alt-country and power-pop, led by the piercingly observant lyrics of lead singer Rhett Miller. Each new Old 97's record is hotly anticipated, and rightfully so: "Blame It On Gravity," from 2008, contained some of the band's most deeply felt and passionately played songs. But in a career full of high-water marks, "The Grand Theatre Volume 1″ is perhaps the most ambitious and accomplished set of recordings yet.

The album, the band's eighth, began to come together last year, when Miller was on a solo tour of Europe with Steve Earle. "When I started in this band, I wrote on the road constantly," Miller says. "But I was 23 then, so everything was new to me. Over the years, those strange and wonderful things have begun to feel more commonplace. On the familiar highways, in familiar hotels, it's pretty easy to turn into a zombie. But on this tour, I was in England and Ireland and Scandinavia, places where I haven't spent very much time in, and because of that things seemed somehow fresh. I felt recharged."

The result was a set of songs rooted in specific locations. "The title track, which I wrote in Leeds, is like a series of postcards that try to capture the moment of falling in love; it begins in the Grand Theatre, which is a historic venue there, on the elevator. There's another song, "Every Night Is Friday Night (Without You)," that I wrote, or at least started to write, while I was walking around in Soho. And a song like "The Dance Class" wouldn't have happened if I wasn't in Birmingham, trapped in a hotel, looking out at streets that were bleak and gray except for a dance studio across the way. I imagined an agoraphobic who sees a beautiful girl in that studio and fantasizes about being freed by her." Miller's portraits of love and loneliness are paired with some of the sharpest music the band has ever produced, from the propulsive celebration of "Every Night Is Friday Night (Without You)" to the manic (and almost panicked) energy of "The Dance Class."

More Info / Buy Tickets

Old 97's w/ Langhorne Slim @ Boulder Theater

Since the Old 97's roared out of Dallas more than fifteen years ago, they have blazed a trail through alt-country and power-pop, led by the piercingly observant lyrics of lead singer Rhett Miller. Each new Old 97's record is hotly anticipated, and rightfully so: "Blame It On Gravity," from 2008, contained some of the band's most deeply felt and passionately played songs. But in a career full of high-water marks, "The Grand Theatre Volume 1″ is perhaps the most ambitious and accomplished set of recordings yet.

The album, the band's eighth, began to come together last year, when Miller was on a solo tour of Europe with Steve Earle. "When I started in this band, I wrote on the road constantly," Miller says. "But I was 23 then, so everything was new to me. Over the years, those strange and wonderful things have begun to feel more commonplace. On the familiar highways, in familiar hotels, it's pretty easy to turn into a zombie. But on this tour, I was in England and Ireland and Scandinavia, places where I haven't spent very much time in, and because of that things seemed somehow fresh. I felt recharged."

The result was a set of songs rooted in specific locations. "The title track, which I wrote in Leeds, is like a series of postcards that try to capture the moment of falling in love; it begins in the Grand Theatre, which is a historic venue there, on the elevator. There's another song, "Every Night Is Friday Night (Without You)," that I wrote, or at least started to write, while I was walking around in Soho. And a song like "The Dance Class" wouldn't have happened if I wasn't in Birmingham, trapped in a hotel, looking out at streets that were bleak and gray except for a dance studio across the way. I imagined an agoraphobic who sees a beautiful girl in that studio and fantasizes about being freed by her." Miller's portraits of love and loneliness are paired with some of the sharpest music the band has ever produced, from the propulsive celebration of "Every Night Is Friday Night (Without You)" to the manic (and almost panicked) energy of "The Dance Class."

More Info / Buy Tickets

Nathan Moore To Release 'Dear Puppeteer' Feb. 1

Nathan Moore has announced the release of Dear Puppeteer, his latest collection of songs, due February 1 on Royal Potato Family. The Staunton, Virginia-based singer and songwriter recorded the album around his home in the Shenandoah Valley with co-producer and guitarist Bryan Elijah Smith, as well as, out West at his previous Santa Fe, New Mexico stomping grounds, Frogville Studios.

Dear Puppeteer could best be described as a letter in 13 songs from Nathan Moore to the puppet masters: fear, mortality, the righteous, the jailor, lost love and lost time. On the title track, Moore sings: “Gonna write a letter, dear puppeteer, I don’t want to play here, I don’t wanna stay here." From this simple plea it's apparent that a restless spirit is at work. Nathan's warm fingerpicked acoustic guitar, ghostly harmonica gales, ancient ukulele meditations and tobacco-stained vocals are inhabited by a poet seeking something better, while giving song to the human condition in all of its beauty and sadness.

A crowning achievement from one of this generation's most prolific songwriters, Dear Puppeteer is Nathan Moore's ninth studio album to date. It follows 2009's well-received EP, Folk Singer, which led Paste Magazine to write, "The sharp, introspective lyrics of Nathan Moore draw an instant connection to the great folk singers of the past." The UK's Maverick Magazine said, "Many have come and many have tried, but we may finally have a storytelling successor to Dylan, Van Zandt and Cash." Moore, who first came to national attention as a founding member of ThaMuseMeant, also currently fronts the revered American rock band Surprise Me Mr. Davis.

Check out some coverage of Nathan Moore on The Grateful Web. | Stream debut track "Hollow" here

Dear Puppeteer track listing:

1. Like A Cartoon

2. Safe To Say

3. Dear Puppeteer

4. In The Basement

5. A Little Crazy

6. I'm The Same

7. The Garden

8. Hollow

9. Can't Fly To Heaven

10. When My Time Comes

11. Train Of Thoughts

12. Choose Thy Love

13. I'm Good Company

AM Taxi Announces Debut Album & Spring Tour Dates

AM Taxi— so-called because they’re all about moving across the U.S. towards their destination—gets ready to hit the road…hard. The guys will be touring in support of Spill Canvas late Spring with
additional dates for this Summer’s Warped Tour, starting June 24 through August 15. AM Taxi are one of the few groups booked for the entire prestigious concert series prior to releasing an album. They’ve already been out on the road with the likes of Sum 41 and The Ataris, while opening for The Offspring at Summerfest in Milwaukee, so they’re more than up for the task.
“Our goal is to take that 45 or 60 minutes and let people get away for a little bit,” says lead singer and guitarist Adam Krier, “maybe even convert some of ‘em to AM Taxi fans. And, if they dig what we’re doing, maybe they’ll check out some of the stuff that influenced us.”
Take one listen to AM Taxi’s Virgin records debut, We Don’t Stand A Chance to be released June 8, 2010 and you can hear reverence for the past and hope for the future, a band that can cut across any age or genre demographics. The band just wrapped their video for the single ‘The Mistake.' With a blend of old-school punk, world beat and modern pop influences, the Chicago-based band combines experience with exuberance.
“I try to write songs about things people can relate to,” nods Adam. “For me, the best music, at the end of the day, is therapeutic. That’s always in the back of my mind a little when I’m sitting down to write.”
Recorded in Austin, TX, with renowned producer Mike McCarthy (Spoon, Patty Griffin,...And You Will Know Us by the Trail of Dead), AM Taxi’s major label bow, offers a variety of different styles, from old-school punk to world beat and modern pop. “The Mistake” is a heart-on-the-sleeve confessional that recalls the Replacements, while “Fed Up” is a Springsteen-by-way-of-The Hold Steady classic rock raver, “Dead Street” sports a Police-styled world beat and “Charissa” a Clash-esque reggae rhythm.

TOUR DATES
April 21 - The Hub Cedar - Falls, IA
April 23 - Bluebird Theater - Denver, CO
April 24 - Murray Theater - Salt Lake City, UT
April 25 - The Venue - Boise, ID
April 26 - El Corazon - Seattle, WA
April 27 - Hawthorne Theatre - Portland, OR
April 29 - Slim’s - San Francisco, CA
April 30 - The Roxy Theatre - West Hollywood, CA
May 1 - The Boardwalk - Orangevale, CA
May 3 - The Rock - Tucson, AZ
May 5 - The Loft - Dallas, TX
May 6 - Meridian - Houston, TX
May 7 - The White Rabbit - San Antonio, TX
May 8 - Emo’s - Austin, TX
May 10 - The State Theatre - St. Petersburg, FL
May 11 - The Social - Orlando, FL
May 12 - Masquerade - Atlanta, GA
May 14 - The Recher Theatre - Towson, MD
May 15 - Stone Pony - Asbury, NJ
May 17 - First Unitarian Church - Philadelphia, PA
May 18  - The Middle East- Downstairs - Cambridge, MA
May 20 - The Basement - Columbus, OH
May 21 - St. Andrews Hall - Detroit, MI
May 22 - Metro - Chicago, IL