rock

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

Jethro Tull Returns to Red Rocks!

Jethro Tull and Kansas will be performing at Red Rocks Amphitheatre, 18300 West Alameda Parkways, in Morrison, CO on June 8.  The show starts at 7:30 PM.  Tickets are $49.50 and $84.50, plus applicable service fees.  The venue phone is 800-745-3000, and the website.

In celebration of the park bench, dribbly-nosed voyeur's 40th Anniversary, Ian Anderson returns to the USA with his band Jethro Tull, starting June 8 in Denver, CO and ending on the 26 in Chicago, IL.

The group features longtime members Ian Anderson (flute, vocals, acoustic guitar) and Martin Barre (guitars), Doane Perry (drums), as well as David Goodier (bass) and pianist John O'Hara.  The latter two joined in 2006 after working with Ian on some of his solo projects.

The group will be performing the Aqualung album in its entirety plus a range of their other favorites from the lat 42 years.  Critics dubbed AQUALUNG “a concept album,” particularly for Ian's critical, skeptical views of organized religion, mostly on side B ("My God," "Hymn 43"). Anderson has disputed - almost resented - the assessment seeing the record as "just a bunch of songs." This led the band to give the critics a full-blown concept album with the following studio release THICK AS A BRICK which topped the Billboard charts in 1972.

On AQUALUNG, the group explores the struggles of the less fortunate in our society (e.g., "Aqualung," "Cross-Eyed Mary," "Up to Me"). Teenage angst and formal education difficulties (e.g., "Wind Up") are explored, and Ian returns to his parental themes with "Cheap Day Return," a tune encompassing Anderson's feelings while traveling North on the train to visit his sick father. "Locomotive Breath" touches on the issues of globalization, population expansion and runaway economics. Sound familiar?

Formed in 1968, Jethro Tull released its first album THIS WAS late in that year and followed up in 1969 with STAND UP.  In the 1970s, the group was one of the most successful live performing acts on the world stage, rivaling Zeppelin, Elton John and even the Rolling Stones. Surprising, really, for a group whose more sophisticated and evolved stylistic extravagance was far from the Pop and Rock norm of that era.

With now some 30-odd albums to their credit and sales totaling more than 50 million, the apparently un-commercial Tull continues to perform over a 100 concerts per year with its rich variety and depth of expression, wherever fans, young and old, want to hear Rock, Folk, Jazz and Classical-inspired music. Music for boys in long trousers and girls with brains.

In 2011, Tull will tour in Australia, Ireland, and Germany.  And Ian will perform solo shows in Germany, Spain, Cyprus, Turkey, Brazil, Argentina, Chile, Venezuela, Panama, Mexico, Czech Republic, the UK, Sweden, Denmark and Finland finishing with his customary charity Christmas concerts at three UK cathedrals.

In 2006, Ian was awarded a Doctorate in Literature from Heriot-Watt University in Edinburgh, the Ivor Novello Award for International Achievement in Music and, in the New Years Honours List 2008, an MBE for services to music. In 2012, he expects to be awarded the Smithsonian Medal of Honor for smelling OK for someone his age and having ears still in proportion to the rest of his head. His bladder remains elastic and his prostate the size of a pinhead.

Read Grateful Web's interview with Ian Anderson.

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.

"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.

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

Hit by a Train -- the Old 97’s in Boulder

I left the Boulder Theater with both ears ringing thoroughly and my head in a satiated state of buzz, and in fact I was bone sober (as far as intoxicants are concerned).

Tribal Hippie Underground Zone aka the THUGZ

Put on your dancin’ shoes, open your ears and join the party. Sonoma County’s legendary psychedelic dance band, “Tribal Hippie UnderGround Zone” (aka the Thugz) is sure to provide big fun for all with their unique brand of cosmic rock. Over the past decade this multi-faceted band has delighted music fans of all ages and tastes.

Rock, blues, country, jazz, psychedelic and various world music styles blend together at a Thugz show to bring the positive vibes of the ‘60’s into the 21st century. Informed by the music of the Grateful Dead, Bob Dylan, Beatles, Miles Davis and others the Thugz’ original songs and cosmic jams help to create a joyous, communal spirit between band and audience.

The band has a vast repertoire that includes many Dead tunes from all eras as well as interesting originals and covers. The group strives to combine traditional elements with new and creative material; more of a celebration and less of a replication of the Grateful Dead. If you are a Deadhead or music lover in general you will enjoy the Thugz’ mixture of classic arrangements and exploratory jams.

A plethora of fine musicians have sat in with the Thugz during their musical excursions including David Gans, Barry Sless, Robin Sylvester, Niina Gerber, Zac Brown, and others.

No two “tribal hippie underground zone” shows are exactly the same but the spirit and love of music making are always present.

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The Thugz are;

Mike Campbell – guitar, trumpet & vocals

Andre de Channes – guitar & vocals

Ian Favell – drums & vocals

Chris Lushington – bass

Sylvia Murphy – keyboards & vocals

Scala & Kolacny Brothers North America Tour

Winning over the hearts of critics at the LA Times, NPR, USA Today, Billboard, MTV.com, AOL Spinner and Stereogum, all-female Belgian rock choir sensations Scala & Kolacny Brothers continue their US breakthrough with the release of their full length self-titled debut and a North American tour this spring.  The album, out March 15 on ATCO, features imaginative reinterpretations of songs from Radiohead, Kings of Leon, Depeche Mode, Nirvana and others, as well as the three haunting original compositions by Scala & Kolacny Brothers.

After a performance at SXSW, Scala & Kolacny Brothers will kick of their North American tour April 7 in Vancouver, BC.  The group will hit major cities across the US and Canada, playing renowned rock venues, such as New York's Webster Hall and Los Angeles' El Rey Theater, while also debuting at Coachella on April 15.

Led by pianist/composer Steven Kolacny and his brother, conductor Stijn Kolacny, Scala & Kolacny Brothers "brilliantly haunting" (EW) version of Radiohead's “Creep” underscored the trailer for 'The Social Network’ to great acclaim (viewed by 4-million-plus on YouTube alone), and the group has continued to build buzz and fans stateside ever since.  The LA Times praises their “sweet songbird attack,” and USA Today raves that their takes on rock classics "Creep" and "Smells Like Teen Spirit” are "even more haunting than the originals.”

Watch a live performance of Scala & Kolacny Brothers original “Self-fulfilling Prophecy” here.

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Scala & Kolacny Brothers North American Tour Dates:

Fri-Mar-18        Austin, TX            Stubbs BBQ (SXSW)
Thu-Apr-7         Vancouver, BC         Commodore Ballroom
Fri-Apr-8         Seattle, WA             The Showbox Sodo
Sat-Apr-9         Portland, OR         Roseland Theatre
Mon-Apr-11     San Francisco, CA         The Independent
Tue-Apr-12         San Francisco, CA         The Independent
Thu-Apr-14         Los Angeles, CA         El Rey Theatre
Fri-Apr-15         Indio, CA             Coachella
Wed-Apr-20     Boulder, CO            Boulder Theatre
Fri-Apr-22         Minneapolis, MN         First Avenue
Sat-Apr-23         Chicago, IL             Park West
Mon-Apr-25     Washington, DC         9:30 Club
Tue-Apr-26         Philadelphia, PA         The Trocadero
Wed-Apr-27     Boston, MA             House of Blues
Thu-Apr-28         New York, NY         Webster Hall
Sat-Apr-30         Toronto, ON             The Opera House
Sun-May-1         Montreal, QC         Club Soda

Super 400 Announces February Tour through Western US

Coming off multiple sold-out shows across Europe, Northeast power trio Super 400 will head west for a string of dates with Stockholm Syndrome, featuring Jerry Joseph and Widespread Panic’s Dave Schools. Kicking off February 18 & 19 at The Independent in San Francisco and concluding on February 26 at Boulder’s Fox Theatre, the two bands will play eight rock shows in nine days.

Formed in the mid-‘90s by guitarist/vocalist Kenny Hohman, drummer Joe Daley and bassist Lori Friday in Troy, NY, Super 400 has been winning fans over around the world with a chest-rattling rock & soul approach inspired by their heroes Cream, Zeppelin, Van Halen and the classic sounds of Motown, Stax and Muscle Shoals. Hailed for transcendent live shows where the band encourages taping, the trio was awarded their own official holiday on February 25, 2006 by the mayor of Troy: “Super 400 Day.”

Following the success of 2009’s critically acclaimed Sweet Fist, Super 400 is currently at work on its fifth studio album.

Check out Grateful Web coverage of Super 400.

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Super 400 Tour Dates with Stockholm Syndrome

02/18/11 San Francisco, CA The Independent

02/19/11 San Francisco, CA The Independent

02/20/11 Reno, NV Knitting Factory

02/21/11 Park City, UT Harry O’s

02/22/11 Telluride, CO Sheridan Opera House

02/23/11 Aspen, CO Belly Up Aspen

02/25/11 Denver, CO Cervantes’ Masterpiece Ballroom

02/26/11 Boulder, CO Fox Theatre

The Pink Floyd Experience Performs "Animals" Live!

99.5 The Mountain & Westword are proud to announce that The Pink Floyd Experience will be performing Animals in its entirety, plus other classic Pink Floyd songs, at the Boulder Theater on Thursday, March 24th, 2011.

Without question, Pink Floyd remains one of the most influential rock bands of all time. Their record-breaking status is legendary.  The 1977 concept album Animals was a statement regarding the decline of society of the day.  While making the album did set in motion the discord that would eventually destroy the band, the subsequent tour for this release planted the seeds for what would become The Wall. Now, get ready for THE PINK FLOYD EXPERIENCE as they perform Animals live in its entirety! With an even more spectacular light show than before, full quadraphonic sound and six outstanding musicians dedicated to bringing you the most authentic Floyd experience possible, it’s “a must-see for any Pink Floyd enthusiast!” (C-News, Northampton, MA).

Today, years since their last live performance, Pink Floyd’s appeal continues and spans the generations. Their shows were described as theatrical with mind-blowing lights and unsurpassed sound. The show is not only onstage…it engulfs the audience!  In keeping with this tradition, THE PINK FLOYD EXPERIENCE is a full-on sensory assault – interpretive videos, plane crashes, flying pig, helicopter – it’s all there, LIVE!  This is the show for the ultimate Floyd Fan, and it gets closer to the true Pink Floyd concert experience every year!

In addition to Animals, all of Pink Floyd’s greatest hits are performed live including such favorites as “Money,” “Have A Cigar,” “Time,” “Comfortably Numb,” “Run Like Hell” and many rarities not often heard live.

Some Floyd Facts:  More than 200-million albums have been sold since 1967. Four Grammy nominations in the '70s, '80s, and '90s. They were one of the first bands to use pyrotechnics, video, and light shows in their stage acts. They were inducted into the Rock and Roll Hall of Fame in 1996. ”Dark Side of the Moon” broke all chart records when it stayed on the Billboard Top 200 Album charts for 741 weeks. It stayed there from 1973 to 1988. Nearly 1,000,000 Pink Floyd catalog albums are sold each year worldwide.

Don’t miss out!  THE PINK FLOYD EXPERIENCE.

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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 December 24th!

$30 adv / $35 dos