1SatMarch 1, 2014
Assembled in Edinburgh as high school friends in 2003, their first ever gig saw them winning their school's battle of the bands competition. Proceeding shows were after school performances around the city of Edinburgh which were well attended and fuelled the band with a hunger and ambition. If the nascent WWPJ aural template embraced light-footed compositions -- few effects pedals, traditional song structures, clear-cut guitars - succeeding years have seen WWPJ soar aural heights and mine emotional depths in every sense: the band you will encounter now are a cacophonous tour de force: louder, wilder, avidly literate; fiercely melodic, yet eagerly restrained. Lyrics and vocal melodies come courtesy of Adam Thompson, everything else arises from the full group; Adam Thompson (Guitar/Vocals), Michael Palmer (Guitar), Sean Smith (Bass) and Darren Lackie (Drums).
Before even releasing a single, WWPJ have laid claim to some recent successes which bode well for the future of the band. A well recorded three-track demo was circulated and managed to pick up a KEXP track of the day over the pond, and plays on national stations in the UK were popping up on XFM, BBC and Q radio. Before the announcement of WWPJ signing to FatCat Records, a strong hint was sitting on the shelves across the UK in the form of inclusion on a recent FatCat sampler, mounted onto Plan B magazine.
A tour through September 2008 as main support for Frightened Rabbit garnered some great reviews for WWPJ. This being their first jaunt into England, healthy crowds arrived early on each evening due to the huge buzz in Scotland now filtering down south of the border. You could loosely pin some reference points onto WWPJ; the vocals reminiscent of Morrissey or Paul Banks (Interpol), clever guitar interplay similar to something you'd hear on a Billy Mahonie track, dynamically you could compare them to Mogwai, and generally Futureheads/Hot Club De Paris/Postcard/Fire Engine are all good markers.
Having received amazing critical support for 'These Four Walls' and two singles from the album ('Quiet Little Voices' and 'Roll Up Your Sleeves'), as well as some high profile festival sets and an ecstatically-received main support set at Frightened Rabbit's Scala show in London in April '09, the year was a busy one for We Were Promised Jetpacks.
The band released an EP - 'The Last Place You'll Look' - in April 2010 comprising unreleased tracks and swelling, orchestrally-inspired rewrites of songs from 'These Four Walls'.
October '11 saw the release of the album 'In the Pit of the Stomach', bearing testimony to the poise, control, confidence and vigour the band now command.
Honeyblood are the Glasgow two-piece comprised of Stina Tweeddale (vocals, guitar) and Shona McViccar (drums).
Despite their fledgling status and minimal setup, Honeyblood's songs are fully formed and perfectly assured. With nothing extraneous, their music is driven through tightly-bound instrumentals and laced with the sheer strength and beauty of Stina's voice. The songs resonate with deep melodic hooks and the kind of effortless charm that've drawn recent comparisons to the likes of Best Coast, Haim and Frankie Rose, as well as the swooning, strident delivery of more established artists like Jenny Lewis. While those are all decent touchstones for their triumphant debut single, the band also tellingly cite the darker currents of The Breeders, PJ Harvey and The Throwing Muses as lifelong influences.
On 'Bud', the band's first vinyl release, their no-nonsense bittersweet pop has been captured to tape by Rory Atwell (Palma Violets, Veronica Falls). The rootsy, chanting glee of the A-side is backed with the urgent lo-fi punky charm of addictive B-side, 'Kissing on You'.
Since their formation in early 2012 the duo have supported acts including Palma Violets, Sleigh Bells and Deap Vally, played shows for the likes NME and Vice, as well as festivals everywhere from The Great Escape to their native T in The Park. But they started out with humble DIY beginnings, organising their own guerrilla show at The Old Hairdressers in Glasgow to commemorate the release of a raucous two-track cassette entitled, 'Thrift Shop', recorded in their kitchen with one mic. Honeyblood have rapidly ingrained themselves into the bustling Glaswegian scene, fast becoming one of its most talked-about names. "There's lots of bands branching out from the usual genres and just writing excellent tunes," comments Stina, "It's great to feel a part of that." It was at that early show that FatCat first stumbled upon the band and their signing continues the Brighton-based label's strong run of picking up on the best new Scottish talent at a nascent stage. Honeyblood follow on fromThe Twilight Sad, Frightened Rabbit, We Were Promised Jetpacks, and PAWS, all of whom were found from demos or early performances.
2SunMarch 2, 2014
Noah's newest EP, called Family, pays homage to the people who have shaped his life--rather than the self-aggrandizing so common to the often homogeneous world of singer- songwriters."Family comes in many forms," says Noah. "It lives with us, for better and for worse. It shapes us. That's what this album is about."
Fittingly, a member of Noah's family, his sister Abby Gundersen, plays violin and sings vocal harmonies on the EP. Her soft voice and lush string accompaniments compliment beautifully what are a magnetic and emotionally charged group of songs. The two have been playing music together since Noah was 15 and Abby was 12 years old, while growing up in the Seattle area. They've also performed in the local band, The Courage together. "The musical communication I've had with Abby is unlike anything I've experienced elsewhere. It's a really special thing. Having her with me makes me so much more confident in what I'm doing," says Noah. (Also, Abby recently moonlighted as a tour accompanist for acclaimed singer-songwriter Jarrod Gorbel).
The songs on Family are consistently impressive and defy genre. Whereas roots-tinged songs like "Family" conjure up shades of a solo Ryan Adams, the sweeping and ethereal "Fire," bears similarities to the lush harmonic feats of Fleet Foxes. Perhaps the album's standout track is the pulsating "David," which combines the haunting darkness of Tom Waits with the lyrical angst of Neil Young. "The song is about who I want to be, while realizing who I am. I want to be less like my Father and more like my Dad."
Family, produced with Daniel Mendez, was released on August 6th, 2011. Made in just a short week in Dallas, Family is only a brief taste of what's to come from Noah Gundersen. Production on a full band album will commence this fall.
6ThuMarch 6, 20148:00pm $25.00An early member of Fleetwood Mac, slide guitarist Jeremy Spencer left behind a fine (if limited) musical legacy, but is perhaps better remembered for his sudden defection from the group to join a religious cult. Spencer was born in West Hartlepool, England on July 4, 1948; he started taking piano lessons at age nine, switched to guitar at 15 to emulate his rock & roll idols, and the following year discovered Elmore James, who became his chief influence. In 1967, Spencer became the fourth member of the fledgling Fleetwood Mac, concentrating primarily on slide guitar but also doubling up on piano. He was a major component of the group's early blues-rock sound on albums like 1968's Peter Green's Fleetwood Mac and 1969's English Rose. A gifted musical impressionist, Spencer's affectionate send-ups of early rock & roll styles and artists were sometimes incorporated into the group's live shows; in 1970, Spencer released a self-titled solo LP in that vein on Reprise, featuring parodies of rockabilly, teen idol ballads, surf, Elvis, psychedelia, and even Mac itself. That same year's Kiln House would prove to be the last Mac album Spencer played on, however.
In early 1971, hours before the Los Angeles gig on Mac's American tour, Spencer vanished without warning; five days later, police traced him to the headquarters of a Christian sect called the Children of God, which Spencer had apparently joined after being approached on the street. Always somewhat religious, Spencer later revealed that he'd been feeling spiritually unfulfilled in the wake of the group's success; nonetheless, his abrupt departure left the group in a lurch. Not only did they have to call upon the unstable Green (who'd left a year earlier) to complete the tour, but in Green's absence, Spencer had been the main link to Mac's blues-rock past, which sent them into an identity crisis that wouldn't be resolved for several years.
Flee Meanwhile, Spencer re-emerged in 1973 with a new album, Jeremy Spencer & the Children, on CBS; influenced by psychedelia and folk-rock, it was wholly devoted to Spencer's newfound faith. In 1975, Spencer returned to London and formed a blues-rock group called Albatross, which featured other Children of God; in 1979, he released another solo album on Atlantic, titled Flee. Though Spencer remained silent on record, he continued to play music and tour, and devoted much of his time to charitable causes. As the millennium drew to a close, Spencer toured India three times (in 1995, 1998, and 2000), worked on material for an instrumental album, and remained an active member of the Family (as the Children of God were later called). Then, suddenly in 2006, after a 30-year-plus absence from the recording studio, Spencer resurfaced with a new album on Blind Pig Records, the impressive Precious Little (the album was licensed from Norway's Bluestown Records, which originally released it), suggesting that Spencer's musical story was far from over.
7FriMarch 7, 20149:00pm $6.00Pat McCurdy is a singer/song writer from Wisconsin. He tours the mid-western part of the USA, his shows usually consisting of just him and his guitar. While the majority of his audience is made up of a college-age crowd, McCurdy manages to appeal to a large number of people of all ages with his interactive shows. Performing well over 300 shows a year, his large catalog of original songs (nearly 600 and growing) covers a variety of topics such as lost loves, politics, family vacations, the joys of Asian cuisine, and the sex organs of long-dead French Emperors.
Classifying McCurdy's style has long been a problem since he tends to follow wherever his muse takes him. Many of his songs could be classified as rock/pop, though he's been known to wander into folk, jazz, country and even Gilbert and Sullivan. Whatever style he chooses, his songs often include memorable lyrics.
8SatMarch 8, 20148:00pm $7.00Standout songs played by good humans with minimal wanking, medium volume and maximum conviction. That's what The Mike Benign Compulsion brings to the party. The band is comprised of veterans of acclaimed Milwaukee-based acts like Blue in The Face, The Wooldridge Brothers, The Yell Leaders, Arms & Legs & Feet and Dorian Gray.
In March of 2014, The Compulsion delivers its third album, "Here's How It Works." Released on vinyl and via digital download, "Here's How It Works" explores variations on a common theme: namely, the whole business of hitting middle age--which is considerably less fun than say, turning 30.
Like The Compulsion's prior two releases, "Here's How It Works" is packed with the melodic, well-crafted, driving pop songs that have become the band's hallmark.
Testa Rosa's self-titled 2007 debut was a breath a fresh air, boasting a series of well-crafted and unassuming pop-rock songs anchored by chiming guitars, crisp rhythms, and the knockout vocals of Betty Blexrud-Strigens. It was the rare local album with the courage to be pretty, a quality that many bands in Milwaukee's male-dominated and punk and metal-weaned music scene cross the street to get away from. In many ways, Testa Rosa was a nod to the city's college-rock past, though the band never veered into full-blown '80s revivalism. It was a record steeped into mood and melody, and those attributes also form the foundation of Testa Rosa's long-awaited follow-up, II.
Testa Rosa once again applies the amped-up drama of classic girl-group records to dreamy ballads that brazenly pull at the heartstrings, only this time with some extra muscle, courtesy of producers Beau Sorenson and Shane Hochstettler. Blexrud-Strigens' vocals remain the focal point, reaching new heights of sweeping majesty on the "you done me wrong" weepie "My Sin" and the epic "The White Cobra." Where II improves on Testa Rosa is in the added lushness of the instrumentation, which captivates even on lightly breezy pop tunes, like "If Only I Had Run" and the charmingly wordless "Carpet Cube." Testa Rosa isn't Milwaukee's flashiest or edgiest rock band, but on II it might be the most gorgeous.
14FriMarch 14, 20148:00pm $15.00When Semi-Twang reunited in 2009 to play the twentieth anniversary of Shank Hall, the premier showcase club in their home-town of Milwaukee, they showed up to help celebrate a venue they'd played on the club's opening night. Expectations were modest - do a couple of rehearsals, show up, have fun & go home. However, the gig turned out to be an incredible experience for both band and fans and the band decided it was too much fun to stop.
Back in 1988, Semi-Twang thought they'd taken their best shot with Salty Tears, their Warner Brothers debut. That record generated tons of critical acclaim but little in the way of sales. Soon after its release, other opportunities beckoned and the band members went their separate ways. Friendships survived, but the band was history. For John Sieger, the songwriter and main vocalist, Nashville, TN seemed like a good idea. Dwight Yoakam was one of many artists who found Sieger's songs and producers like Pete Anderson and Jerry Harrison were finding slots for his tunes. Mike Hoffmann stayed busy producing other artists and the other fellows in the band, all great players, were soon scooped up by other groups around town.
After the '09 Shank reunion, the band decided a new recording was in order...the one they should have made first. Unlike their debut, (a major label project with a budget just this side of a NASA launch) the band recorded on the sly, mostly at Hoffmann's House Studio and Sieger's Room w/a VU -- both Pro Tools equipped, comfy and cozy. The pace was relaxed with sessions every few weeks for most of 2010. The atmosphere was loose but unwavering in its vision - get in, make the best record you've ever made, get out -- what's so hard about that?
In March of 2011, Wages Of Sin, their first album in 23 years, was released to overwhelmingly positive response - glowing critical reviews, over-the-top fan praise and lots of local airplay. Semi-Twang had always harkened back to classic artists like Dylan, The Beatles and The Band. This approach paid off handsomely on Wages, an album that dares you to to put a time-stamp on it. Songs like the title cut Wages of Sin and When The Wind Kicks Up sound like the kind of country music Nashville might be making if producers and record companies weren't trying to own the middle of the road. Nervous Energy and Move It Or Lose It recall iconoclasts like Dave Edmonds and Nick Lowe in full-tilt mode. Then, there are songs like Just A Train and It's That Time Again that harbor a very distinctly Semi-Twangian Thang... You can imagine, somewhere down the road, some young band trying to reproduce that unique feel.
Which brings us to 2013: On March 23 of this year, the band has released their third project, The Why & The What For, a recording that ups the stakes in a very entertaining way. It is topical and personal with a bit more R&B soul influence that includes a few throwbacks to the duckwalk days of Chuck Berry. Oh, and you'll also be rewarded with one or two of those unclassifiable yet familiar songs you've come to expect from Semi-Twang. The Why & The What For will be getting heavily promoted to the press and radio here in the states and in the UK by Pavement Media.
15SatMarch 15, 2014
Winners of the 2013 WAMI (Wisconsin Association Music Industry) Award, R.A.S. (Royal Ancient Socienty) Movement! In every sense of the word, they keep it moving! The music, the dance, the message is truly a "movement" that can't help but create a vibrant community of loyal followers. A performance that EXUBERATES energy, synergized and ignited by music with African/Caribbean choreography into one high voltage DANCE PARTY! Those who listen can't help but be energized and moved by Jah Dwayne Tafari, formerly of King Solomon, on lead vocals with original lyrics chanting positive messages of Love, Unity and Oneness. Harmonizing on background vocals and bringning the groups unique dance elements are Miriam Levie, also on flute, and Elizabeth Torres, formerly of Salsabrosa and Sambelleza Dance Company. Music that's been proclaimed by those in the industry as "an explosion of color!" a sound that can be described as a reggae urban hip-hop crossover and so much more. Jordan Kroger, of Chicken Wire Empire, on Bass; Internationally known and sponsered, Olen Franklin on Drums; Singer/Songwriter, Marc Ballini on keys; On guitar, Carl Nichols of Mali Blues and Universal Love Band and holdin down the percussion, George Jones of Chicago Afro Beat Project. The NON STOP Traditional, Roots, Hip Hop dance movement and band full of veteran musicians, creates a show that embodies a continual flow of positive energy that uplifts the spirit. Truly "music to heal humanity." "RED hot vibe, GOLD glowing, GREEN growing sound." -Marcus Doucette of 88.9 Radio Milwaukee "THE live music destination...When R.A.S. Movement inaugerates the stage!" - Sheperd Express
20ThuMarch 20, 20148:00pm $25.00It's early 1979, and the Pat Travers Band have just been introduced and subsequently recorded for what would become one of the slickest and hottest guitar-rock albums ever committed to vinyl. "Live! Go for What You Know" was a huge success on both sides of the pond, acclaimed by their musical peers, fans, and music critics alike. It was high-energy. It was electric. It was lightning in a bottle. The album, much like the Canadian musician himself, remains an influence for a whole generation of guitar slingers.
The band in question - Pat Travers, guitarist Pat Thrall, drummer Tommy Aldridge and bass player Peter "Mars" Cowling - were unarguably one of the most talented rock quartets ever to perform.
They were also responsible for a pair of bona fide studio classics - their 1978 guitar rock debut "Heat in the Street", and 1980's more musically diverse and critically acclaimed "Crash and Burn". "Go for What You Know" was the musical meat in that sonic sandwich. Thrall's fusion was the perfect foil for Travers, who has always put the melodic tone, and feel of his solos before any fret burning. Aldridge was one of the most noted and flamboyant sticksmen of the era. Cowling was the inspiration, driving the rhythm through his ever solid, yet extremely flexible, four-string work
Toronto born Patrick Henry Travers had already delivered a tasty trio of releases before the formation of that formidable four-piece, and would go on to deliver classy melodic eighties rock before a blues period in the nineties, but it's that famous foursome that set standards, kicked your ass, and made such a musical mark.
"My name is Pat Travers, and this is my band..."
It's early 2009, and the "Pat Travers Band" has just been recorded live by Rockline Radio. On playback, Rockline's Bob Coburn turns to bass player Rodney O'Quinn and comments:
"I think we caught lightning in a bottle tonight."
To have that happen once in a career is special. To repeat that feat thirty years later may be unique.
The line up responsible for that electrical discharge - Travers, O'Quinn, guitarist Kirk McKim and drummer Sean "The Cannon" Shannon - have been performing together since 2008.
Kirk, who has toured with Pat since 2006, is the perfect sparring partner for Travers and a great guitarist in his own right, while Rodney's four-string work compliments the band in a way not seen or heard since the departure of Mars Cowling. When you add Sean's ridiculously powerful but controlled drumming that is the engine room of this unit, you have a Pat Travers Band that is being favorably compared to their famous predecessors of thirty years ago.
And deservedly so.
But Pat isn't looking to the past for his musical future, and proof that future was in (eight) safe hands, courtesy of Messrs Travers, McKim, Shannon and O'Quinn, came as the second decade of the Millennium dawned... "Fidelis", backed by Alexus Records, was released in 2010, and is quite simply is one of the best Pat Travers releases of any era, by any line-up.
The opener, the hot and rockin' 'Ask Me Baby' and the following number, the slower but no less raunchy 'Edge of Darkness' set the tone early, with the albums rock edge superbly tempered by the lighter tracks such as the excellent 'Stay', and 'When I'm With You'.
But, as Rockline and thousands of fans across parts of North America and Europe already know, this band doesn't just produce the goods in the studio... This Pat Travers Band is also one seriously tight rockin' unit, and live they always deliver. Pat welcomes longtime sticksman, Sandy Gennaro back into the fold. In between dates with the Pat Travers Band, Sandy has been a regular counselor at the World Famous, "Rock and Roll Fantasy Camps" The groove between Gennaro and O'Quinn is a force that is undeniable. There is an energy that is tangible, an enjoyment that is infectious, and, quite frankly, you owe it to yourself to catch this band whenever and wherever you can.
Just don't forget to bring a bottle.
From the streets of Toronto, to the streets of London, now, here to kick your ass... The Pat Travers Band.
21FriMarch 21, 2014
From winning the band contest at Pickin' in the Pines in the first weeks of forming in 2009 to playing on stage at the Telluride Bluegrass Festival as 2011 band contest winners in 2012 to making a second appearance on A Prairie Home Companion in St. Paul in 2013, Run Boy Run is spreading this special brand of music to all who would hear. With the release of the full length album, So Sang the Whippoorwill, in March of 2013, Run Boy Run is making more people dance, cry, and sing than ever.
Brother and sister, Matt (fiddle, guitar) and Grace Rolland (cello, vocals), have fiddle music running through their blood. Raised with bow and rosin on every bedside table, Run Boy Run was a natural fit. Sisters, Bekah (fiddle, vocals, guitar) and Jen Sandoval (mandolin, vocals), grew up deeply rooted in the Bluegrass festivals of Arizona, so they too found a home in Run Boy Run. Jesse Allen (bass) was brought up on opera and western swing, and grew to love the natural fusion inherent in American music. The whole truly exceeds the sum of the parts as touches of classical, jazz, and folk express themselves through the old-time core of Run Boy Run's unique sound.
22SatMarch 22, 2014
Features include: dynamic sound effects, original video projections, dazzling choreographed lighting design, full laser production, and nine of USA's finest musicians, you'll "THINK" FLOYD was right there playing in front of you.
THINK FLOYD USA has performed on some of America's finest stages including The Surf Ball Room, Milwaukee Summerfest, Chicago's legendary Kinetic Playground, Shank Hall, Schwagstock and many more. From Green Bay to Tampa FL, TFUSA is truly THE AMERICAN PINK FLOYD SHOW!!!
25TueMarch 25, 20148:00pm $6.00Pundamonium is a slam-style pun contest. One by one, 15 contestants make puns based on prompts. Then they do it again.
Each contestant is immediately judged by five members of the audience, who have been selected before the show to be judges. They rank each punner on a scale of 1 to 10, often with hilariously long decimals and other commentary.
The top four contestants go head to head in a final pun-off.
Want to compete? Just show up! It's first come, first served.
28FriMarch 28, 20148:00pm $15.00A musical force equipped with the soulful vocals of Janis and the guitar slinging skills of Stevie Ray, Carolyn Wonderland reaches into the depths of the Texas blues tradition with the wit of a poet. She hits the stage with unmatched presence, a true legend in her time.
"She'd grown up the child of a singer in a band and began playing her mother's vintage Martin guitar when other girls were dressing dolls. She'd gone from being the teenage toast of her hometown Houston to sleeping in her van in Austin amid heaps of critical acclaim for fine recordings Alcohol & Salvation, Bloodless Revolution, and most recently, Miss Understood.
Along with the guitar and the multitude of other instruments she learned to play -- trumpet, accordion, piano, mandolin, lap steel -- Wonderland's ability to whistle remains most unusual. Whistling is a uniquely vocal art seldom invoked in modern music, yet it's among the most spectacular talents the human voice possesses.
That vocal proficiency was well-established in the singer's midteens, landing her gigs at Fitzgerald's by age 15. She absorbed Houston influences like Little Screamin' Kenny and soaked up the Mad Hatter of Texas music, Doug Sahm. The Lone Star State was as credible and fertile a proving ground for blues in the 1980s as existed, especially in Austin with Stevie Ray Vaughan & Double Trouble, the Fabulous Thunderbirds, Angela Strehli, Omar & the Howlers, and Lou Ann Barton all in their prime. By the following decade, Austin's blues luster thinned, but Houston, always a bastion of soul and R&B, boasted the Imperial Monkeys with the effervescent Carolyn Wonderland as ruler of the jungle.
In the early 1990s Wonderland & the Imperial Monkeys were invited to the Guadalupe Street Antone's in Austin. There, they were treated like royalty with the singer as the queen of hearts in the club's post-Stevie Ray Vaughan stable, which included Toni Price, Johnny and Jay Moeller, Sue Foley, Mike and Corey Keller, and the Ugly Americans. It was a good bar for the Monkeys to hang, and Austin felt so comfortable that when the band called it quits a few years later, she set her sights on Austin at the start of the millennium.
Living in Austin renewed Carolyn Wonderland's focus on her multiple talents, underlining luxurious vocals with fine guitar work, trumpet, and piano, as well as that remarkable ability to whistle on key. A series of each-better-than-the-next discs began with Alcohol & Salvation in 2003 ("songs about booze and God; records are a time capsule of what happened that year"). Her music played in television series such as Time of Your Life and Homicide.
Her circle of musician friends and admirers broadened to include not only Ray [Benson, who produced Miss Understood] but also the late Eddy Shaver, Shelley King, and yes, Bob Dylan, who likened her composition "Bloodless Revolution" to "a mystery movie theme." She began co-writing with locals Sarah Brown, Ruthie Foster, Cindy Cashdollar, and Guy Forsyth; sat in with Los Lobos, Robert Earl Keen, and Ray Wylie Hubbard; recorded with Jerry Lightfoot; and toured with Buddy Guy and Johnny Winter. She also claims membership in the all-girl Sis Deville, the gospel-infused Imperial Crown Golden Harmonizers, and takes aw-shucks credit for inspiring Amsterdam's annual WonderJam.
It was magic in the studio, too, as Miss Understood came to life, a canny mix of Benson's production, Wonderland's compositions, and select covers of Terri Hendrix, J.J. Cale, and Rick Derringer that punched her sound up a notch. As soon as the album roared to life, it was clear the singer-songwriter-guitarist-whistler had delivered on her long-awaited promise."
As the founding father of the "Northern Sound", Mojo Perry is no stranger to the guitar. Beginning at age five, he quickly graduated to performing in taverns. Standing out among other guitarists in the area, he released his first recording at age 16. The material had Mojo's distinct fingerprints, a signature sound, and showed exceptional potential. He was virtually always, and still can be, found in a recording studio laying down tracks and developing his craft.
Mojo's first official label release came when he was 23. His brainchild, the "Wandering Gypsies", realized modest success with their record, "The Man". Having authored hits that are still engaging an ever- expanding audience, "The Man" provided Mojo a foundation for inspiration. Setting off on his own path, Mojo resolved to discover the true identity of his music. As a session guitarist in Chicago, he thrust himself into the Blues and often found himself backing well-known artists. All the while he worked aggressively to refine his Art and experiment with Psychedelic music in the studio and at live performances.
Identifying his style as the "Northern Sound", Mojo Perry's first solo recording, aptly titled "Bookmaker", was released in 2000.The album proved to be a workhorse for Mojo and landed him in broader markets. Although he came from the blues, Mojo fused Psychedelic Rock with extreme acid overtones in live performances. His new recording proved that his vision of Psychedelic Blues Rock could be caught on tape. Several songs on "Bookmaker" are highly requested at shows and receive continued radio airplay.
Mojo then graduated from taverns and clubs to the festival circuit, once again sharing stages with artists previously out of his reach. He's considered a favorite on the circuit for his wildly aggressive Psychedelic guitar playing and unerring passion. Yet, Mojo still remained true to his chosen creative path. His 2003 release, "Closer To The Far Away", made clear to new audiences and long time fans alike that he was distinct and cultivating something very different.
Blending Art, Blues, and Psychedelic Rock, and his unique style of guitar playing, Mojo Perry hit pay dirt. National and international attention progressed and his audience grew considerably. He performed his "Northern Sound" nationally and eventually caught the attention of guitar legend Chris Duarte, (Shrapnel Records). A friendship ensued, and they partnered to produce "Echoing Endlessly Inside My Head". While it incorporated his typical fingerprint, the record once again demonstrated Mojo Perry's unique ability to reinvent. Before fans could even ask, "What's next?" Mojo released "Two Equals One"; a stripped down acoustic album that contained an unexpected, raw, sensitive, and brutally honest side of Mojo.
In 2011 Mojo Perry published "Absinthe Journeys", and the album hit a home run! The release generated and intensified international recognition for its refined creativity, songwriting, and the distinct vibe that the album offered.
Between 2010 and 2012, Mojo Perry performed in bars, theatres, and concert halls in Thailand, Japan, England, France, Germany, the Netherlands, Italy, Spain, Ireland, and more than 27 states in the USA; doing all the shows with his now world famous Cigar box Guitar, "Rosie". His outlook for future record releases is at an all- time high. Fans can expect three releases in 2012. The first, titled "Milwaukee", features collaboration with Chris Duarte, (Shrapnel Records), and Victor DeLorenzo, (Violent Femmes). The second in line, "Wonderland"; an Avant- Gard Psychedelic fusion album that will also include Chris Duarte and Victor DeLorenzo but will feature Dove Dewey, (Right From Rona) as well. The third, yet untitled, will drop late in 2012 or early 2013. With Mojo Perry's history of reinvention from song to song and record to record, a huge explosion of Art and Creativity can be expected!
However, Mojo still considers his music to be "underground." Quoted in a 2008 interview in the "Underground Times" he stated, "I come from the underground and I will always be a part of the underground." Many call him a revolutionary in the evolution of Blues... a 21st century blues man.
29SatThe Mob Rules - A Night Of Ronnie James Dio, Pieces of Led (Led Zeppelin tribute)
show detailsMarch 29, 20149:00pm $8.00The MOB RULES is a tribute to the musical career of the legendary "Ronnie James Dio". The band formed in August of 2011 to pay tribute to the music Ronnie has created over the course of his 40+ year career. From the early day's of the band ELF, to his day's in RAINBOW, his four albums he sang on when he fronted BLACK SABBATH, plus the songs from his solo career in the band DIO. THE MOB RULES is made up of seasoned musician's hailing from the Chicago area. Ken Mandat (lead guitar) and Rick Browz (bass) are the founding members of the original metal band "DAMIEN THORNE". With four albums to there credit, Damien Thorne has performed in the U.S.A. and throughout Europe. The band is currently working on their fifth album an upcoming shows in the states as well as Europe.Mike Browz (drummer) is also a member of Damien Thorne (2004 to present day). Mike has also played in many cover bands in the Chicago area over the past 30+ years.Brian Buxbaum (keyboardist) is also a member of Damien Thorne (2012 to present day). Brian has toured the states with the Pink Floyd tribute band "Crazy Diamond".Mik Dempsey (vocals) joined the band in September of 2013. Mik hails from the Chicago area and also sings for the band's "HYRAX" and " SAS MONSTER PARTY". THE MOB RULES pays tribute to the legacy of Ronnie James Dio by playing the music as authentic as possible. The band is out to have a good time and recreate some of the music "live" you just don't hear these days.So come on out and be apart of this musical evening and take a trip back to the days of one of rock's legendary vocalists: MR. RONNIE JAMES DIO.
Pieces of Led is a rock band that specializes in hard and classic rock styles of music, with a heavy emphasis on Led Zeppelin’s music. The band was formed in March 2012 and consists of four members:
Dave Schmidt-lead vocals
Bob Beaudoin-Lead guitar
Matt Fegaly-Bass guitar
The band’s name is pieces of Led...Why?. Because Led Zeppelin’s music is their specialty. The band can entertain you with a show of Led Zeppelin, or mix it up with other rock songs from the same era. This is how the band got their name “Pieces of Led”. A powerful power trio that will be sure to get any audience Rockin! If you want high energy rock and roll, this is one band you don’t want to miss! You will not be disappointed!