lyrics

Ex-Kumbia Kingz / All Starz Frontmen, Ricky Rick & DJ Kane Form New Group 'LA FORMULA'

Grammy award winning artists Ricky Rick & DJ Kane, formerly members of The Kumbia Kingz and Kumbia All Starz, have united their artistic talents to form a new and much needed Kumbia Fusion group called ‘La Formula’. This dynamic duo is currently in the midst of producing and recording their debut alum also called ‘La Formula’ and which is being released on indie label, The Art Of Sound Group. The first single released off their debut album is “Contigo Me Voy”, a danceable fun track with ballad like lyrics, which was released on 1/1/11. The song is destined to become a sensational hit as its popularity with DJ’s across the country is rapidly rising causing its fast climb on radio charts and digital sales worldwide including, Asia, a usually uncharted territory. The song, written and Produced by Grammy & ASCAP Award winning production team Robert “Bobbo” Gomez III & Emilio “YEYO” Cancio-Bello, blends upbeat Kumbia beats with influences of pop, hip hop and dancehall style raggae. The video for the single was recently shot in Las Vegas, Nevada by Director Zues Ali who also directed the famous Lil Wayne Mini Movie. The video illustrates a warm tropical feel of summer, dancing and all around good time, which is in tune with the danceable rhythms set to the love story based lyrics.

This newly formed team are the creative minds behind hits like “Mami”, “Rica y Apretadita”, Por ti baby”, “Shhhhh”, “No tengo dinero” and many other international hits and came together after the recent rupture of the Kumbia All Starz (formerly known as Kumbia Kingz). It is said that necessity is the mother of invention and in the eyes of these talented artists and their innovative producers it was necessary to bring back the genre with new faces, new beats and a whole re-invention to electrify their public. When asked why they chose the name ‘La Formula’ as the name of their new band, they responded “Because putting us together was like a secret formula for great music and a new twist on the Kumbia-Pop genre”. Most recently the group was selected to perform at the prestigious SXSW Festival at the Barbella Patio Stage on Saturday, March 19th and will be performing at the Latin Billboard Conference. Together, they have sold over 20 million copies and have toured through the US, Central and South America as well as performed in major events including Premios Lo Nuestro, Latin Billboards and many more.

Art Of Sound is an indie music bi-lingual label based in Miami and headed by Grammy nominated and ASCAP award winning producer and writer, Emilio “Yeyo” Cancio-Bello. Art of Sound is based on the concept that music is the universal force that bounds cultures together and that language and geography is never a boundary for creativity.

Angry Angry Grrrls: Vanity Theft @ The Knitting Factory

I’m a die-heart feminist. That’s why I was surprised by how distasteful the Vanity Theft show was on February 2.

Bobby Long To Release Debut Album "A Winter Tale"

British singer-songwriter-guitarist Bobby Long's anticipated debut studio album A WINTER TALE, produced by Grammy-winner Liam Watson (White Stripes) will be released February 1st, 2011 on ATO Records.
Currently residing in New York City, the 24-year old Long has been writing finely-crafted songs since taking up the guitar at age 17; from then on he’s been creating memorable songs inhabited by hauntingly poetic lyrics.  After relocating to London from Wiltshire in the countryside of South West England, he became a fixture at London’s open-mic nights while attending London Metropolitan University where he studied Music in Film and wrote his thesis on The Social Impact of American Folk Music.
Bobby quickly established himself on the local open mic circuit, finding his voice and beginning to develop songs characterized by catchy melodies paired with elusive, imaginative lyrics. As Long became more entrenched in London's burgeoning open mic circuit, he met actor and fellow musician Robert Pattinson, who 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. The inclusion of the song in the film’s soundtrack gave Long a head start on a legion of fans. It is Bobby Long's intensely personal songs, vocal prowess, and heart-wrenching soulfulness that resonate with audiences on both sides of the Atlantic, creating a loyal following through constant touring over the past two years. In 2009, Long played 160 shows in seven months in seven countries.
A WINTER TALE merges band power with acoustic rawness, featuring Nona Hendryx (LaBelle) on backing vocals on "Penance Fire Blues," B. J. Cole (Elton John, Sting) on pedal steel, Icelandic singer Lay Low on several tracks, and other top-drawer musicians. And by way of continued extensive touring, Bobby Long will be bringing A WINTER TALE and what has been called his "tapestry of tales" to the ever-growing audiences seduced by his compelling voice, musicianship and charm. Bobby will be headlining a US club tour January - April 2011, dates are TBA. Be sure to check out the exclusive Burberry Acoustic performance of "Dead & Done." The studio version will appear on the forthcoming album.
Check out Grateful Web's interview with Bobby Long.

Wax Fang Release New Single on Yim Yames' label

Louisville, KY’s Wax Fang share much more of a connection with My Morning Jacket than a common hometown and a penchant for playing ambitious and electrifying music.  Today the trio are releasing “The Astronaut (Part 1),a sprawling seventeen minute digital-only single, on MMJ frontman Yim Yames’ label, Removador Recordings & Solutions.  Click HERE to listen to the track, which is available for purchase now at iTunes.

Upon returning from their maiden UK tour, highlighted by an invitation from Pavement to play their All Tomorrow’s Parties Festival, Wax Fang shacked up in a makeshift analog studio in a vacant gymnasium to work on their first new material since 2007’s La La Land.  Epic in both length and in spirit, “The Astronaut (Part 1)” is the band’s most grandiose work yet.

Taking inspiration from the outer space themes of 70’s progressive rock and psychedelia, the song’s lyrics vividly guide the listener alongside a gripping journey with an astronaut lost in the cosmos.  Musically, the band is also influenced by the traditions of noisy art-rock of the 80’s and 90’s, as well as the early electronic experimentations pioneered by artists like Brian Eno.

“The Astronaut (Part 1)” is the first half of the band’s forthcoming EP, The Astronaut.  The second-half and the full EP will be released on Removador in 2011.  In the meantime you can catch Wax Fang opening for My Morning Jacket on October 29th in Louisville at the KFC Yum! Center.

Old 97's at the Boulder Theater

Old 97’s make their triumphant return on October 12th with The Grand Theater Volume One, their eighth studio album, from New West Records.  The band, who Rolling Stone says have “evolved…into master-class rock & roll songwriters,” recorder over two dozen brand new songs during the studio sessions and will be releasing a second volume in 2011.  The 12 song album was once again produced by Salim Nourallah (the band’s previous release, Blame It On Gravity) and engineered by Jim Vollentine (Spoon).  Legendary for their blistering live performances, the Old 97’s spent a week of pre-production recording the new songs completely live at the nearly 100-year old (and reportedly haunted) Dallas venue Sons of Hermann Hall.  The band set up on stage like they normally do during concerts, so it was instantly conducive to whether or not certain new songs would translate well in a live atmosphere.  After deciding what new songs make made the cut for proper recording, the band moved the production to Treefort Studios in Austin, TX.  Basic tracks for these studio sessions were recorded mostly live, resulting in an album that is as vibrant, immediate and sweat drenched as their praised live show.  Frontman Rhett Miller stated, “The Old 97’s have hit a great stride, found our second wind.  I feel like we found the secret to capturing the live energy people rave about after they see us play.”

The Grand Theatre Volume One was predominantly written during Rhett Miller’s 2009 solo tour abroad.  The lyrics are filled with character studies while the sound – expertly rounded out by band members Murry Hammond, Ken Bethea and Philip Peeples – is Garage-Rock=meets-60’s-British Invasion without abandoning the classic 97’s sound.  Rhett Miller offered, “The Grand Theatre centers around a suite of songs I wrote during a month-long tour of England, Ireland and Scandanavia.  Opening for the great Steve Earle meant watching a master Texas songwriter at work and I soaked up these strange surroundings and turned them into songs.  I was writing at a furious cli in the midst of the most intense kinds of planes, trains and automobiles.  I can see an epistolary strain running through the songs.  All my years of Anglophillia make these fell like a collection of love letters, or a collection of letters home.  I wrote the title track in the dressing room of Leeds’ Grand Theatre.”

The album’s first single, “Every Night Is Friday Night (Without You)” is an exuberant rocker.  “Like a lot of songs on The Grand Theatre, “Every Night…” is more complicated than it first appears.  The speaker has some issues.  What can I say?  The Old 97’s have been making anger and depression sound fun since 1993” said Miller. “Champaign, Illinois” re-imagines Bob Dylan’s classic Highway 61 Revisited track, “Desolation Row” with brand new lyrics by Rhett Miller.  Miller said, “The one song on the record that dates further back is ‘Champaign, Illinois.’  A few years ago, during a long, late-night drive through Southern Illinois, I kept myself awake by rewriting the lyrics to ‘Desolation Row.’  I played it around live a little, but never recorded it for fear of repercussions from Dylan’s legal team.  When the 97’s were putting this record together, we kept bringing “Champaign” up with a sort of bittersweet longing, sad that we would never be able to use it.  Finally, it occurred to me, “Why not?”  Through a series of phone calls, Dylan’s manager approached the legend with a live recording of the tune from the old Café Largo in Hollywood.  I couldn’t believe it when word came back through the channels that Dylan liked the tune but wanted to read they lyrics.  I never typed faster.  Apparently, Dylan liked it enough that, not only did he approve the release, but he wanted to split the publishing 50/50 with the band.  A co-write with Bob Dylan, even in absentia, is an enormous honor.  What a cool dude.”

An Old 97’s record would not be complete without songs from bassist Murry Hammond.  He has two strong contributions on The Grand Theatre Volume One, “You Smoke Too Much” and “You Were Born To Be In A Battle.”  Like Miller’s songs, Hammond has a highly literate style yet harkens back to an older school of writing, which creates a balance on the record.  Speaking of the record, Hammond stated “I’m a big 60s garage punk fan, and my favorite moments on this record have a thick vibe in that direction…while I’m proud of my stab at 60s Johnny Cash in ‘Born To Be In a Battle.’ I’m just as thrilled as the way the bass generally bubbles all over the place and the background and harmony vocals swim in the old plate reverb.  It gives me that same smile I get listening to my heroes the Zombies, Chocolate Watchband, Syd Barrett, etc.  I’m proud of how the band can be garage and raw but very Technicolor at the same time.  This is one of my top favorite records of ours.”

Old 97’s

Boulder Theater

Thursday, January 27th

Doors:  8:00 pm

Show Time:  9:00 pm

All Ages

Martin Sexton & The Ryan Montbleau Band | 5/20

Crash Test Dummies @ the Boulder Theatre

There is no mistaking Brad Roberts’ voice. He may look like an average guy, now in his mid-40s, but then he opens his mouth and his majestic baritone voice immediately conjures fond memories of such Crash Test Dummies hits at “Mmm, Mmm, Mmm, Mmm” and “Superman.” Perhaps best remembered for the acerbic folk rock sound of 1991’s The Ghosts That Haunt Me and 1993’s God Shuffled His Feet, there have nonetheless been enough hits for the band over the years to merit a couple of greatest hits packages. Through it all, the band with Roberts at the helm has touched on funk and soul, folk, electronic music and even Christmas tunes. Yet it is Roberts’ voice and offbeat lyrical sensibility that have been this beloved band’s calling cards since their founding twenty years ago.

Due for release on May 11, Oooh La La (Deep Fried) is again something of a different animal for the Crash Test Dummies. This time Roberts collaborates with producer/engineer Stewart Lerman, whose many credits include such divergent talents as Antony and the Johnsons and The Roches, as well as filmmakers like Wes Anderson and Martin Scorcese. While longtime CTD member Ellen Reid added back-up vocals and a lead on the closing acoustic ballad “Put a Face,” this album is fundamentally the work of these two creative men.

“I met Stewart and he wanted to just write music for the sake of writing music,” Roberts explains, breaking a five-year writing hiatus to work with Lerman. “I think the music is better than it could have ever been because we were writing it for ourselves – we weren’t aiming at a demographic anyhow – but this couldn’t be a clearer case of us being little boys.” “Little boys” is actually an appropriate term to explain how this album came together—Roberts and Lerman became infatuated with ‘70s-era musical toys, particularly one called the Optigan, and used them to compose much of the music for Oooh La La. Manufactured by Mattel, the Optigan (an acronym for optical organ) looks like a small electric organ but it projects the sound of other instruments using celluloid discs. Somewhat like an accordion, there are buttons on the left side that trigger chords and piano keys on the right that trigger single notes. The discs, with names like “Nashville,” “Swing It!” and “Guitar Boogie,” rotate to produce different arrays of sounds. The process is eerily similar to the digital sampling that is so common today, but the antiquated analog system produces quite a different effect.

“Because we wrote using these discs, we were inspired to do things that we wouldn’t have done,” Roberts points out. “I don’t write big band style, but all of a sudden I had this big band [on disc], so I’m writing in a genre that I normally wouldn’t be writing in. I can’t say enough about how great it is to write on these toys.”

With a little help from a few friends, the guys laid down a collection of beautifully crafted instrumental parts on top of the original toy tracks to create a fully realized production. Listening to the completed tracks you probably wouldn’t even realize that these tunes were started on toy instruments, but those unusual origins are still lurking. It won’t only be longtime CTD fans who will get a kick out of such sonic touches as the `50s doo-wop feel of “Paralyzed” (inspired by another toy called the Omnichord), the manic country feel of “What I’m Famous For” and the big band swing of “Now You See Her.”

Even aside from the toys, there is a distinctly different vibe afoot with this record. “Songbird” opens the album with a somewhat haunting but still undeniably beautiful acoustic melody and uplifting arrangement. Then there’s the third song “And It’s Beautiful,” which is a full-blown love song. “Happy songs are hard to write, especially love songs,” Roberts says. “This is territory I couldn’t have touched as a younger man without making myself sick.”

Yet this is still the unique (some might say warped) perspective of Brad Roberts and the Crash Test Dummies, nowhere more in evidence that with a few of the darker songs on this disk. “You Said You’d Meet Me (In California)” can’t help but make you think of a carnival side show. The Tin Pan Alley-inspired “Not Today Baby” is actually a Frank Sinatra reference. Legend has it that one day Sinatra walked into a studio full of engineers, staff and musicians at the ready, turned around and walked right out with a simple, insouciant “Not today, baby.” The reference was irresistible to Roberts and Lerman, as they recorded their tracks in Frank’s hometown of Hoboken.

Roberts has come a long way from 2004’s dark Songs of the Unforgiven, as a listener will pretty easily hear in “Now You See Her,” a song that Roberts proudly calls “Light and cheeky.” A happily married man who blogs at www.crashtestdummies.com about, among other things, the wonders of his wife, Roberts just seems happier and more balanced than he has been in the past. The image of a happy artist may be antithetical to the “great art demands suffering” mentality, but in the case of Brad Roberts it’s a welcome change of pace that has left him invigorated. Roberts has been so revitalized by the making of the new record that the band will tour this summer for the first time since 2004. Crash Test Dummies will perform as an acoustic trio with Ellen and Brad singing and old friend and tour partner Stuart Cameron playing acoustic guitar, much in the spirit of album closer “Put a Face.” Rather than try to recreate music that was created with some rather cranky toy instruments never meant for the rigors of a tour, Roberts has opted to present these songs in a straightforward, stripped-down manner. It’s a curveball, but the test of a great song is its ability to work in different formats, and these songs, along with classic CTD hits, undoubtedly pass this test.

“I think that when you are dealing with popular music, unless you have a strong melody, sympathetic chords, and a good set of lyrics you ain’t got nothing,” Roberts points out. Foreshadowing the highly entertaining shows for which he is so well known, Roberts adds “I want to have a little room to digress into an anecdote while Stuart strums the guitar, if that’s what I feel like doing.”

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97.3 KBCO Presents
CRASH TEST DUMMIES | June 13th
The Boulder Theater |  Boulder, Colorado
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