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Paul Brady's 'Hooba Dooba' Streets 5/24

The career of Paul Brady — whose 12th solo album, the exuberantly titled Hooba Dooba, gets its U.S. release on May 24, 2011 via Proper American — is not that of your usual singer/songwriter. And the new record is the most wildly eclectic this man for all seasons has yet recorded. “I’m a marketing department’s nightmare,” he jokes, before discussing the confusion that has surrounded him for so long.

“I don’t really fit any of the recognized models for artists,” he acknowledges. “That has to do with my musical background, the variety of my tastes and the fact that I’ve jumped from place to place in my career. But at the same time, I’ve never found a compelling reason to narrow my perspective on the music I love by making a record that is only a small bit of what I am. I love big, romantic ballads, screamin’ blues songs, folk songs, country tunes. All these things have been hard to put into one box and say what it is, and I suppose I’ve suffered from that to a degree. But that’s what I am, and my fans are into me because of that — they’re the kind of people who resist marketing strategies, who like to discover things themselves. They respond to the sound of a voice, which says something to them on a subliminal level emotionally, rather than falling for some image.”
In 1963, five years after picking up his first guitar at age 11 and playing along with Shadows and Ventures records, the young Irishman snagged his first paying gig tinkling the ivories in a Donegal hotel, marking the beginning of 48 uninterrupted years of making music — all kinds of music. Like so many of his contemporaries on that side of the pond, he spent a chunk of the ’60s cranking up the volume in R&B bands before making a radical shift into Irish folk music, working with the Johnstons and Planxty, in collaboration with Andy Irvine and on his own, interpreting traditional songs. In the late ’70s, now married and with two kids on the way, he dedicated himself to writing his own material, inspired in part by the music of Gerry Rafferty, another folk artist who’d remade himself as an eloquent singer/songwriter. Hard Station, Brady’s 1981 solo debut album, containing the first fruit of his labors, returned him to the realm of rock and pop, and he scored his first big cover a year later when Hard Station’s “Night Hunting Time” wound up on Santana’s million-selling Shango, to its author’s surprise and delight.
Brady spent the next two decades leading a double life as a recording artist making a sustained effort to get on the radar and a much-covered songwriter, a number of his songs made famous by singers far better known than himself. These included such high-profile covers as Bonnie Raitt’s memorable, multiple-Grammy-winning rendition of “Luck of the Draw” (1991) and Brooks & Dunn’s chart-topping country single “The Long Goodbye” (2001). Around the turn of the century, the multitalented veteran once again reinvented himself, this time as a self-contained, truly independent artist. Since this latest metamorphosis, he’s been touring constantly in small-group settings on both sides of the Atlantic and making records whenever he felt inspired to do so. Which brings us back full circle to Hooba Dooba, its multiple facets glinting like an uncut diamond nestled in a field of shamrocks.
Brady describes “The Winners’ Ball,” propelled by a springy, soulful groove, as “a tongue-and-cheek look at the excesses of the modern end of music,” while “Rainbow” is a lush, widescreen ballad that begs for a country cover, though Brady insists that it’s closer to Memphis than Nashville. “The Price of Fame” builds to a string-laden crescendo in the grand manner of vintage Elton John, and the following “One More Today” sounds like some just-discovered Tin Pan Alley standard.
The album’s most dramatic segue takes the listener from the earthy, rollicking “Follow That Star” to the heart-wrenching “Mother and Son.” “I do like slapping people in the face, figuratively, with an emotional change,” Brady explains. “‘Follow That Star’ comes out of a genre that I have always loved, raw, acoustic blues — anything from Lead Belly to Mississippi John Hurt to ’60s British blues of Winwood, Beck and Clapton. ‘Mother and Son’ is a song about my relationship with my mother. It’s a song that I was trying to write for many years, but only managed to finish it after she passed on.”
The album also contains his first-ever recording of “Luck of the Draw,” the only song here not of recent vintage — apart, that is, from its lone non-original, a sublime, irresistible rendering of “You Won’t See Me” from Rubber Soul. “I wrote ‘Luck of the Draw’ when I was making the Trick or Treat album in L.A. back in 1990, and that’s when Bonnie Raitt picked up on it. I’d always wanted to record it because I had a very different take from the way Bonnie did it, but I decided to leave it alone for a respectable amount of time after hers was current. That was a long time ago, obviously, and it seemed like the right time to do it.” Good move — Brady’s take is so unlike Raitt’s familiar one as to be virtually unrecognizable, providing the song with an edgy, vital second life.
When asked why he decided to title the album Hooba Dooba, Brady replies, “It’s a phrase I’ve used many times in situations when something takes me by surprise that’s pleasurable. In this case, I was in the art department with the designer who was working on the cover looking through various ideas, and when he showed me the image that eventually became the cover, I looked at it and went, “Hooba dooba.” He said, ‘Is that the album title?’ and when I told him no, he said, ‘Well it should be.’ And I decided he was right. Nothing more profound than that.”
Given Brady’s back story, it’s hard to say whether Hooba Dooba — which features guests Jerry Douglas on lap steel and Sarah Siskind on backing vocals — will clear up the confusion about just who this multifaceted guy is or add to it, but one thing’s for sure: this record is a dead-honest picture of a one-of-a-kind artist who has always been absolutely true to himself.

“I’ve been in this business over 40 years, and I’m a survivor,” says Brady with unconcealed pride. “I’ve been through plenty of ups and downs, and I know what the business is. I have a broad enough base in terms of my activities to have survived for this long and to still be enjoying what I’m doing. Anything above and beyond that is icing on the cake.” He pauses for a moment, his face lighting up in a smile. “And the cake is okay.”

Grateful Dead | Denver, Colorado | 11/20/73

Get lost in the majesty and mystery of Road Trips Vol. 4, No. 3. The 3-disc set features the entire November 21, 1973 concert at the Denver Coliseum as well as an excellent sequence of tunes from the second set of the previous night's Denver show (11/20/73)!

A prime slice of Rocky Mountain Dead, Road Trips Vol. 4 No. 3 offers up a psychedelicornucopia of wondrous new tunes including "Here Comes Sunshine," "Mississippi Half-Step," "Weather Report Suite," "They Love Each Other," and "Stella Blue." Each a classic in its own way, this crop of new songs proved indicative of some of the exciting new directions the band's music was taking. What's more, the band's killer second set features a spectacular hour-long medley that begins with "Half-Step," segues into "Playing in the Band," travels 715 miles due south for a little gunplay in "El Paso," dips back into the "Playing" jam for a spell, then into a superb "Wharf Rat," back to a dynamic "Playing" reprise, and is topped off by one of the best versions of "Morning Dew" from this period. My, oh my!

Sonically this is certain to exceed your expectations as it has once again been mastered to HDCD specs for maximum punch and clarity.

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Tune in to hear two tracks, "Here Comes Sunshine" and "Weather Report Suite," from Road Trips Vol. 4 No. 3: Denver '73. Both were brand-new songs released on the Wake Of The Flood album on October 15, 1973.

Kinky Friedman embarks on "Springtime for Kinky Tour 2011"

This spring, starting April 27th in Kansas City, Missouri, Kinky Friedman, author, musician, politician, and self-proclaimed Governor of the Heart of Texas, will be performing dates throughout the Midwest and East Coast as part of his Springtime for Kinky Tour of 2011. Often returning to places he has not visited in two decades, the Kinkster will appear solo (primarily) and promote his most recent books, What Would Kinky Do? and Heroes of a Texas Childhood. There will be a book signing at each venue.

Buoyed by his Go West Young Kinky Tour last spring and his monster appearance on the Hardly Strictly Bluegrass Festival in October, Kinky will take his show to many of his favorite American cities. Playing the songs for which he is best known, such as “They Ain't Making Jews Like Jesus Anymore” and “Sold American,” reading passages from his books, and carrying on his hilarious running commentary on the state of the union, Kinky, the prodigal son of Texas, will, indeed, return to the scenes of his crimes of years gone by.

Though years have passed since the last full-on Texas Jewboys show, Kinky continues to be associated with that infamous band of his early career, partly because of his long friendship with Bob Dylan (Kinky did, of course, travel with the Rolling Thunder Revue), but mostly because of the band’s total outrageousness and those legendary songs. On the projects list for 2011 is a Willie Nelson CD of Kinky's songs, which will be no less than the third tribute album to Kinky and his work. Willie, who has a new Sony record deal, and who has been swapping stories and playing chess with Kinky for decades, will confirm these tunes as American standards.

Meanwhile, Kinky continues to “spit out books like sunflower seeds,” with a brand new deal to co-write one with old pal Billy Bob Thornton. And he is now being immortalized onstage with a play called Becoming Kinky . . . The World According to Kinky Friedman, written by Ted Swindley, who created the long-running hit Always . . . Patsy Cline, and starring up-and-comer Jesse Dayton.

Kinky may be finished with politics, but politics may not be finished with Kinky.  He continues to be a popular guest on cable news channels, appearing with hosts as diverse as John Seigenthaler and Bill O’Reilly, and his regular contributions to Texas Monthly never fail to take proper shots at the insanity of Texas politics.  He also contributes to such national media as The New York Times and Playboy, more often than not skewing deserving politicians wherever they may be.

And that’s not all in 2011: an Australian tour is on the agenda for June. Kinky will be joined by long-time Brian Wilson collaborator Van Dyke Parks, as the two old friends visit Kinky's second favorite continent. But in the meantime . . .

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Springtime for Kinky Tour 2011

Wed., April 27  KANSAS CITY, MO Knuckleheads
Thurs., April 28  LITTLE ROCK, AR Juanita's
Fri., April 29  ST. LOUIS, MO Off Broadway
Sat., April 30  OKLAHOMA CITY, OK The Blue Door
Sun., May 1  NEWPORT, KY (CINCINNATI, OH) Southgate House
Mon., May 2  NASHVILLE, TN 3rd and Lindsley
Tues., May 3  CLEVELAND, OH Wilbert's
Thurs., May 5  MILWAUKEE, WI Shank Hall
Sat., May 7  BERWYN (CHICAGO), IL Fitzgerald's
Sun., May 8  PHILADELPHIA, PA World Cafe Live
Mon., May 9  NEW YORK, NY Highline Theater
Tues., May 10  ROCHESTER, NY Water Street
Fri., May 13  ALEXANDRIA, VA (WASHINGTON, DC) Birchmere
Sat., May 14  WOODSTOCK, NY Levon Helm's Midnight Ramble

Sid Griffin & the Coal Porters come to Western USA

Musician/writer/author/broadcaster Sid Griffin rose to fame in Los Angeles as leader of Island recording artists the Long Ryders, one of the first bands of the alt-rock era to incorporate the influences of Gram Parsons and the Flying Burrito Brothers and the Byrds. Yet in recent years, he’s made his home in London, where he leads the Coal Porters. The band has played only a limited number of American shows since their formation in the 90s.

This spring, the Coal Porters will return to the scene of the crime — Los Angeles and the West Coast — where they will play three shows in the L.A. area, one in San Francisco and a coveted spot at the Stagecoach festival on Sunday, May 1.

When the Ryders ended, native Kentuckian Griffin formed the Coal Porters, which initially had a fluid lineup, and relocated from L.A. to London, where he hooked up with Scottish stand-up comedian Neil Robert Herd (sound engineer on Wasp, Best Live Action Short Film winner at the 2004 Academy Awards). The duo started out playing electric, but quickly tired of hauling around amps and drums. As a result of a dare, the Coal Porters decided to play acoustic bluegrass versions of their material at a charity concert in London. The crowd reaction affirmed that the band had found its true calling and said goodbye to electric instrumentation forever.  En route from then to now they picked up Canadian fiddle virtuoso Carly Frey and London’s noted local attorney and doghouse bassist Andrew Stafford. In 2010 they were blessed to secure the services of one of Britain’s best young banjo players, John Breese. With this impressive lineup, the Coal Porters were ready to take on the world.

With a published author, a professional comedian and a barrister in their ranks they are the only band who can sue themselves over copyright and joke about it.

In April 2009, after traveling halfway across the globe, the Coal Porters arrived outside of Durango, Colorado, played two killer shows at the famous MeltDown Festival (Colorado’s answer to the Hardly Strictly Bluegrass Festival in San Francisco), and laid down the tracks to their first album in two years. Durango was recorded in two weeks in the Colorado mountains at the Kozy Tone Studio of legendary producer Ed Stasium (Ramones, Mick Jagger, Phil Spector, Smithereens, Belinda Carlisle, Jeff Healey Band, and the Long Ryders).∂ƒƒ The entire album was cut Basement Tapes style, with the same authenticity of Dylan and The Band. Everyone crowded in one room. Overdubs were few and laughter frequent.

Durango was released in January 2010. It faithfully represents the Coal Porters’ hot live act, and creates new moods of its own. This highly anticipated follow-up to 2007’s Turn the Water On, Boy! is a clear country-mile step forward, evoking the sounds of a bluegrass Clash, or a Bill Monroe for the 21st century.

David Fricke wrote in Rolling Stone, “The Coal Porters [have] been going for nearly two decades . . . and [have] evolved from a deeper mining of the country in the Ryders’ acid-tinted drive to a pure acoustic bluegrass written and played with natural — in Griffin’s case, native — flair on Durango.”

Fricke appeared with Griffin in a one-on-one interview panel at the Americana Music Festival & Conference, held in Nashville in September 2010.

Awarding Durango four stars in March 2010, MOJO magazine said: “The audio equivalent of a feel-good movie . . . recorded all in one room, with everyone as much intent on capturing the vibes as much as the undoubted quality of the music . . . gorgeous.”

Blurt noted, “Seven albums on, the Coal Porters have a reputation they can bank on. And with Durango this durable bunch has successfully added even more fuel to their fire.”

The Coal Porters are five musicians from four different parts of the planet who came together as an incredibly powerful fusion of talent, the world’s first “alt-bluegrass” act.

“For all the satisfaction of success in Europe and becoming the UK’s leading ‘alt-bluegrass’ ensemble,” says Griffin, “there is nothing to compare to the Coal Porters heading for my musical home in California. My days in Los Angeles with the Long Ryders were so wonderful and I was so blessed with so many friends that it is high time I took the band to the left coast to show ’em all what we can do. I am extremely proud of my time in the Golden State and extremely proud of the music my Coal Porters are making right now so to put the two together is gonna be a true, true week to remember.”

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The Spring 2010 West Coast Tour

Fri., April 29  SAN FRANCISCO, CA Hotel Crescent/Burrit Room Lounge
Sun., May 1  INDIO, CA Stagecoach Festival (3 p.m. stage time)
Mon., May 2  LOS ANGELES/CULVER CITY, CA The Cinema Bar
Tues., May 3  LOS ANGELES/ALTADENA, CA The Coffee Gallery
Wed., May 4  LOS ANGELES/ECHO PARK, CA Taix, 321 Lounge

Sheryl Crow @ Boulder Roots & Blues Summit

For Sheryl Crow, the title of her seventh album isn?t just a location; it's a state of mind. "I grew up in a small town 100 miles from Memphis, and that informed not only my musical taste, but how I look at life," she says. "The drive to Memphis is all farmland, and everyone is community-oriented, God-fearing people, connected to the earth. The music that came out of that part of the world is a part of who I am, and it's the biggest inspiration for what I do and why I do it."

So for the Kennett, Missouri native, calling the disc 100 Miles From Memphis is a statement of purpose, both musical and emotional. It also marks a long-awaited return by the nine-time Grammy winner to the sounds that first drew her to making music.

The results evoke a time when soul and passion filled the radio waves, when the sweat and joy of a recording session could be captured forever on wax. Sometimes the musical references?Al Green, Sly and the Family Stone, Stevie Wonder?are made apparent, but the album?s eleven songs are characterized more by capturing a classic spirit than by imitating any specific style.

Crow explains that the way 100 Miles From Memphis was recorded is crucial to its slinky grooves and rolling rhythms. Produced by Doyle Bramhall II and Justin Stanley ("I knew they could get that old soul feeling with authenticity," she says), and cut mostly live with a regular crew of musicians, the album presented a new set of challenges for her as a singer and a songwriter.

With the musical direction already established, the album's messages crystallized in one night at Crow's farm, outside of Nashville. "Having a three year old, you don't get too much quiet time," she says, "but I sat up one night, and I worked all night long and came up with the better part of five lyrics."

What emerged was a set of songs that are unusually open and direct for someone often celebrated for the care and craft of her writing. "This music called for emotion, a place of sensuality and sexuality, and that's a little challenging for me," she says. "Sometimes it's easier for me to hide behind more intellectual lyrics. So it was a great stretching experience to show more vulnerability in my writing."

The songs on 100 Miles From Memphis display impressive range, in feeling and performance. First single "Summer Day" is a delightfully breezy slice of glory-days AM radio pop. "I wanted to experiment with writing something simple and positive," says Crow. "The feeling of a great, solid love, not just a new love, but something everlasting."

Crow, of course, first reached the spotlight as a back-up singer with Michael Jackson, and adds that "I Want You Back" was the first single she ever bought. "It wasn't a conscious choice to do an homage, but it wound up being a very bittersweet thing," she says. "Michael's death brought a lot of stuff back for me, so it was nice that we could include this."

For Sheryl Crow, 100 Miles From Memphis is the right album at the right moment. "My last record (2008's Detours) was pretty political, extremely personal, and more lyric-driven," she says, "so it seemed like a great time to do something soulful and sexy and more driven by the music." It took a lot of years, but with this set of songs, she finally made it back home.

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More Info / Buy Tickets

The Dead Kenny Gs Announce 'Operation Long Leash'

Combustible punk jazz trio, The Dead Kenny Gs, featuring saxophonist Skerik, bassist Brad Houser and drummer/percussionist/vibraphonist Mike Dillon, have announced the release of Operation Long Leash due March 15 on Royal Potato Family. Recorded in December at Stone Gossard's Studio Litho in Seattle with engineer Randall Dunn (Cave Singers, Black Mountain, Boris), the band conceived the majority of the material while on the road last summer with Primus, Gogol Bordello and Garage A Trois. The release of Operation Long Leash is surrounded by a 15-date tour that begins in New Orleans and heads north up the East Coast.

If the moniker Dead Kenny Gs doesn’t say it all at first glance, an initial listen to the latest album quickly makes their intentions clear. The trio is committed to musical subversion of the highest order. Exploring a muso obsession of musical styles and sonic colors, The Dead Kenny Gs have both the courage and the chops to realize their wildest aural fantasies. One moment they draw inspiration from punk legends The Minutemen, while the next finds them embracing the spirit of jazz giant Rahsaan Roland Kirk, and still another the influence of indie rock progenitors Deerhoof; yet always remaining purely DKGs. It’s not just music informing the band’s voice either, but an obsession with political conspiracy in American history. The album’s title, Operation Long Leash, comes from the clandestine CIA operation in the late ‘40s to fund Abstract Expressionism as a means for Western culture to undermine the conformist ideals of the Soviet Union during the early years of the Cold War.

Operation Long Leash opens with the sprawling instrumental art rock "Devil's Playground" followed by the skewed go-go funk of "Black Truman (Harry The Hottentot)," featuring special guest Charlie Hunter on guitar. Over the course of the album's ten tracks, they'll blast through avant instrumental punk rockers spiked with Balkan and Klezmer music like "Melvin Jones" and "Sweatbox." The experimental doom metal dirge "Black Death" includes a cathartic lyrical onslaught from Mike D. that turns his past struggles with heroin into a metaphor for the Gulf Coast oil spill and the United States' addiction to oil. In the hands of these three musicians, the disparate  elements coalesce into a complete vision, fearless in its creation and explosive upon arrival. In the words of Skerik: "Dead Kenny Gs is what happens when people listen to Bad Brains and Art Ensemble of Chicago, Sunn O))) and Milt Jackson, Dead Kennedys and John Coltrane, Melt Banana and Fela Kuti."

Listen to "Devil's Playground"

Listen to "Black Truman (Harry The Hottentot)"

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Tour Dates:

March 4 | D.B.A. | New Orleans, LA
March 5 | Donna's | New Orleans, LA
March 7 | Engine Room | Tallahassee, FL
March 8 | Pour House | Charleston, SC
March 9 | Five Spot | Atlanta, GA
March 10 | Mo Daddy’s | Asheville, NC
March 11 | Cosmic Charlie's | Lexington, KY
March 12 | Rex Theater | Pittsburgh, PA
March 13 | Beachland Tavern | Cleveland, OH
March 14 | Bullfrog Brewery | Williamsport, PA
March 16 | The Dover Brick House | Dover, NH
March 17 | Brooklyn Bowl | New York, NY
March 18 | North Star | Philadelphia, PA
March 19 | The Jewish Mother | Norfolk, VA
March 20 | Martin's Downtown | Roanoke, VA

Golden Dogs Announce Spring Tour Dates, To Play SXSW

At the end of a hard year of touring in support of their second album ‘Big Eye Little Eye’, which took them by way of Britain and Germany, straight across the USA sharing stages with Canadian luminaries like Feist and Sloan, those who witnessed its fury likely had no inkling it was the end of a chapter for the band. The long awaited homecoming was bittersweet; there were big changes on the horizon. For starters, the band had been released from their record contract; a contract they had been locked into for years that now left them 100% in control of their business affairs. In another twist of fate, their long time bass player, Stew Heyduk, decided to leave the country and get married in Hawaii. Within weeks of being at home and somewhat directionless, the question began looming: “What now?” While there are always songs brewing on lead man Dave Azzolini’s hot plate, the idea of going straight into recording another album wasn’t an attractive one. They needed a break from being Golden Dogs.

Without trying to force movement into the intimidating ‘next album’ phase, the couple began spending more time hanging at a little garage studio on Toronto’s east side, operated by their good friends Carlin Nicholson & Mike O’Brien - this duo now known as Zeus. The whole crew had a lot of fun just writing and recording tunes they had written and while Nicholson honed his engineering chops, everyone nurtured and developed their production skills. As well, the studio was a very welcome place for other musician friends to pop by. Friends like Neil Quin (ex-Golden Dog/future Zeus member) and Afie Jurvanen (Bahamas) who ended up playing a solo on the Golden Dogs album as a return favor for Azzolini playing piano on one of the Bahamas tracks he recorded there.

The spirit was described by Azzolini: “It was very much a ‘best idea wins’ situation and the songwriter always had final veto power. It made for a very comfortable environment to make music. It was just musicians getting together to bounce ideas off each other.” This was a great time to forget about being in a band, and to just get back to playing music for it’s own sake, with a group of friends riding the same wave and just soaking in the energy of the studio. The result is titled Coat of Arms, and it brilliantly displays the musical union Azzolini, Grassia, Knox and company have found with each other, and the band seems to be more confident and commanding than ever before. One marvels at the way they can seem playful and sweet on a track like LESTER, yet terrifyingly savage on BURST or DARKROOM.

The most obvious and wonderful difference this time around is that Ms. Grassia takes a giant leap forward and can be heard taking the lead on almost half the album with a range spanning from sweet & psychedelic (UNDERWATER GOLDMINE) to seductive (AS LONG AS YOU LIKE) to furious pop madness on songs like WHEN THE MOVIE’S OVER, and CHEAP UMBRELLAS. Her vocal performances while drumming (AS LONG AS YOU LIKE and LESTER) is quickly becoming a Golden Dogs secret weapon and quite an impressive element to their live shows.

What now? Coat of Arms will be released on Dine Alone April 26th 2011. Feeling up-beat and optimistic about the new direction, Azzolini boasts that “the versatility of this new line up opens up a whole new world of possibilities for Golden Dogs live shows and the future of our recordings…there are so many directions we can go…and we’re going to try all of them.”

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Golden Dogs tour dates:

Mar 17: SXSW @ Hole in the wall (day party)\

Mar 19: SXSW @ Paradise on 6th

Mar 22:  Portland @ Wonder Ballroom**
Mar 23: Seattle @ Showbox**
Mar 24: Vancouver @ Biltmore**
Mar 26: Missoula, MT @ Wilma Theatre**
Mar 27: Jackson, WY @ Q Roadhouse**
Mar 29: Ames, IA @ The Maintenance Shop**
Mar 30: Omaha, NE @ Waiting Room**
Mar 31: Minneapolis, MN @ Varsity Theatre **
Apr 1: Madison, WI @ The Majestic**
Apr 2: Chicago, IL @ The Vic**
Apr 3: Pittsburgh, PA @ Mr. Smalls**
** w/ State Radio

"Triple Ripple," An Experimental Play With The Bleak Contrasts Between Jazz And Rock

Progressive Jazz Fusion artist Anders Helmerson has released the title track, "Triple Ripple" from his third and groundbreaking new CD, available for purchase at iTunes.

"Triple Ripple" is no ordinary song according to Helmerson. As well as being the main track from the album, "Triple Ripple" is a combination of three songs all merged into one. "This particular track has more of a rock flavor to it than any other on the CD. It's a form of experimental play with the bleak contrasts between jazz and rock. The key was striking a balance between the two. The first part is an overture that builds up to a dramatic crescendo, while the second part transitions into the part three, which is the main theme of the song. Part three starts with a Rush inspired hard rock type of melody that gives the song a solid spine as more jazzy parts begin to evolve, and it continues to toggle between Jazz and rock."

He continued, "Triple Ripple" is a demonstration of the world's most spectacular drummer Marco Minneman and his ability to make it all sounds easy and fluent. But the fact is, what he is doing here, nobody else could do. Marco was recently touted to be the natural replacement for Mike Portnoy in Dream Theatre, but I am keeping my fingers crossed in hopes that he'll choose to stay with me."

The Anders Electric Jazz Rock sound delivers an eleven minute expansion piece with Triple Ripple, which has majestic classic synth sounds. The mix is bright and the bell tones have a serious tone. The first section features two ideas that show the flexibility of the band with harmony and time figures. The breakdown features all keys playing in triple meter with synth choral textures and flickering arpeggiated lines. The composition sets up for an extensive analog synth solo. The bass and the drums are all exceptional and keep up with an exhaustive range of breakdowns and accented hits throughout. This is serious electronic jazz rock!

"Helmerson lets his creativity take him to new heights which ultimately resulted in him creating his own genre of music which he dubs Progressive Fusion; a combination of long songs with virtuosos performed in complicated time signatures, elaborate melodies and harmonies that are built on pentatonic scales that are neither major nor minor. This musical mastermind fuses jazz and rock to create a sound that amazes listeners with the power of superior technique and great composing." MusicDish

Born in Sweden in February 1959, Anders Helmerson has had a life-long love affair with music. In the 1970's, Helmerson played in various short-lived bands and studied classical music in Denmark and Sweden, all the while becoming more and more interested in synthesizers and progressive rock. Helmerson completed his debut album, "The End of Illusion," in 1981. The album's lack of success caused him to turn his back on music for the next several years. He worked as a surgeon in Copenhagen, a GP in Norway and a ship's doctor on a cruise-ship, eventually discovering Rio de Janeiro, the catalyst for his return to music. In early 2002, Helmerson release his second album, "Fields Of Inertia" on the Brazilian label, Som Interior Productions.

Bobby Long Releases "A Winter Tale" Today!

Today ATO Records releases A Winter Tale, the highly anticipated debut record from British singer-songwriter Bobby Long. Recorded in London, the eleven-song album was produced by Grammy-award winner Liam Watson (The White Stripes) and features backing vocals from Nona Hendryx (LaBelle) and Icelandic singer Lay Low as well as pedal steel by B.J. Cole (Elton John, Sting). In support of the record, Long is currently on a North American tour, including dates at the Sundance Film Festival and SXSW.

All dates are below.

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TOUR DATES:
February 2 - San Francisco, CA - Café du Nord
February 3 - Los Angeles, CA - The Troubadour
February 4 - San Diego, CA - Anthology
February 5 - Tucson, AZ - Club Congress
February 8 - Salt Lake City, UT - Kilby Court
February 10 - Denver, CO - Bluebird
February 11 - Lawrence, KS - Bottleneck
February 12 - St. Louis, MO - Old Rock House
February 14 - Madison, WI - High Noon Saloon
February 15 - Minneapolis, MN - Varsity Theater
February 16 - Milwaukee, WI - Turner Ballroom
February 17 - Indianapolis, IN - Radio Radio
February 18 - Chicago, IL - Schuba’s
February 19 - Columbus, OH - Basement
February 21 - Ann Arbor, MI - The Ark
February 22 - Toronto, ON - Revival
February 23 - Montreal, QC - Divan
February 24 - Burlington, VT - Higher Ground
February 25 - Portland, ME - Port City Music Hall
February 26 - Boston, MA - Brighton Music Hall
February 28 - Northampton, MA - Iron Horse
March 1 - Baltimore, MD - Otto Bar
March 3 - New York, NY - Bowery Ballroom
March 4 - Philadelphia, PA - World Café
March 5 - Vienna, VA - Jammin Java
March 22 - Charlottesville, VA - The Southern
March 23 - Pittsburgh, PA - Rex Theatre
March 24 - Cincinnati, OH - 20th Century Theatre
March 25 - Knoxville, TN - Barley’s Tap Room
March 26 - Louisville, KY - Headliners Music Hall
March 27 - Nashville, TN - 3rd & Lindsley
March 29 - Raleigh, NC - Lincoln Theatre
March 31 - Greenville, SC - The Handlebar
April 1 -  Atlanta, GA - Vinyl
April 2 - Orlando, FL - The Social
April 3 - Jacksonville, FL - Jack Rabbits
April 5 - Birmingham, AL - Workplay
April 6 - Memphis, TN - Hi-Tone
April 8 - Dallas, TX - Poor David’s Pub
April 9 - Austin, TX - Stubbs Jr.
April 10 - Houston, TX - Fitzgerald’s

Bobby Long Announces 2011 North American Tour

ATO Records will release A Winter Tale, the highly anticipated debut record from British singer-songwriter Bobby Long, on February 1. Recorded in London, the eleven-song album was produced by Grammy-award winner Liam Watson (The White Stripes) and features backing vocals from Nona Hendryx (LaBelle) and Icelandic singer Lay Low as well as pedal steel by B.J. Cole (Elton John, Sting). In support of the record, Long will embark on a nationwide North American tour this January, including dates at the Sundance Film Festival and SXSW.

After relocating to London from Wiltshire in the countryside of Southwest England, Long became a fixture in the city’s burgeoning open-mic scene, where he met actor and fellow musician Robert Pattinson. Pattinson would go on to sing “Let Me Sign” (co-written by Long and friend Marcus Foster) over a crucial dramatic scene in the blockbuster film Twilight. Subsequently, in support of his bedroom-made recording Dirty Pond Songs, Long embarked on a worldwide tour in April 2009, performing over 160 shows in seven countries. Of the singer, the San Diego Entertainer heralds, “All his songs are like a well-orchestrated ballet of chord progressions and vocals that pluck at the deepest confined thoughts of your soul,” while  Pollstar praises, “Long’s emergence as an up-and-coming artist is the stuff Hollywood loves to make movies about. He continues to amaze audiences with a bare-bones sound reminiscent of early Bob Dylan.” Additionally, the New York Post named him one of their “10 Artists To Watch in 2011.” Watch an exclusive performance video of “Dead & Done” part of the recently launched Burberry Acoustic series.

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TOUR DATES:
January 9 - Brooklyn, NY - Public Assembly
January 24 - Park City, UT - House of Blues Park City
January 25 - Park City, UT - Sundance ASCAP Music Café
January 28 - Vancouver, BC - Media Club
January 29 - Seattle, WA - Tractor Tavern
January 31 - Portland, OR - Doug Fir
February 2 - San Francisco, CA - Café du Nord
February 3 - Los Angeles, CA - The Troubadour
February 4 - San Diego, CA - Anthology
February 5 - Tucson, AZ - Club Congress
February 8 - Salt Lake City, UT - Kilby Court
February 10 - Denver, CO - Bluebird
February 11 - Lawrence, KS - Bottleneck
February 12 - St. Louis, MO - Old Rock House
February 14 - Madison, WI - High Noon Saloon
February 15 - Minneapolis, MN - Varsity Theater
February 16 - Milwaukee, WI - Turner Ballroom
February 17 - Indianapolis, IN - Radio Radio
February 18 - Chicago, IL - Schuba’s
February 19 - Columbus, OH - Basement
February 21 - Ann Arbor, MI - The Ark
February 22 - Toronto, ON - Revival
February 23 - Montreal, QC - Divan
February 24 - Burlington, VT - Higher Ground
February 25 - Portland, ME - Port City Music Hall
February 26 - Boston, MA - Brighton Music Hall
February 28 - Northampton, MA - Iron Horse
March 1 - Baltimore, MD - Otto Bar
March 3 - New York, NY - Bowery Ballroom
March 4 - Philadelphia, PA - World Café
March 5 - Vienna, VA - Jammin Java
March 22 - Charlottesville, VA - The Southern
March 23 - Pittsburgh, PA - Rex Theatre
March 24 - Cincinnati, OH - 20th Century Theatre
March 25 - Knoxville, TN - Barley’s Tap Room
March 26 - Louisville, KY - Headliners Music Hall
March 27 - Nashville, TN - 3rd & Lindsley
March 29 - Raleigh, NC - Lincoln Theatre
March 31 - Greenville, SC - The Handlebar
April 1 -  Atlanta, GA - Vinyl
April 2 - Orlando, FL - The Social
April 3 - Jacksonville, FL - Jack Rabbits
April 5 - Birmingham, AL - Workplay
April 6 - Memphis, TN - Hi-Tone
April 8 - Dallas, TX - Poor David’s Pub
April 9 - Austin, TX - Stubbs Jr.
April 10 - Houston, TX - Fitzgerald’s