Er zijn weinig bands die een publiek zo kunnen opzwepen als Rowwen Hèze. De Nederlandse pretband brengt een uniek amalgaam van Tex-Mex, Ierse folk en Limburgse feestmuziek, al 35 jaar en 23 albums lang. Een optreden van Los Limbos (geuzennaam, vrij naar Los Lobos) loopt geheid uit op een feestje.
Op vrijdag 16 juli tovert Rowwen Hèze de Peerse bluesweide om tot een zwierige fiesta. Er geldt dan ook maar één nuttig advies die dag: "Bestel mar, bestel mar, bestel mar!"
Verder hebben Stef Kamil Carlens & Band [BE] en Danny Bryant [UK] hun komst voor de editie van 2021 terug bevestigd.
Early Bird Tickets zijn hier al beschikbaar.
KOOP HIER TICKETS
The Barrett Anderson Band Is Ready to "HypnoBoogie" You on New Live CD Out September 25 on Whitaker Blues Records
The Barrett Anderson Band announces a September 25 release date for their exciting new live album, HypnoBoogie, on Whitaker Blues Records. Captured during one show at The Fallout Shelter in Norwood, Massachusetts, on February 1 (by special arrangement with Bill Hurley), HypnoBoogie packs all the energy and passion of the band’s legendary live shows their fans have come to expect on the new disc.
The Barrett Anderson Band is Barrett Anderson – vocals and guitar; Charlie Mallet – guitar and vocals; Doug MacLeod – drums; and Jamie “Black Cat Bone” Hatch – bass and vocals.
HypnoBoogie features seven blazingly original songs that also allow the band excursions into the outer edges of the blues/roots genre, as well as four scintillating covers of songs from Bo Diddley -“Mona;” Magic Sam - “Lookin’ Good;” Son House - “Grinnin’ In Your Face;” and The J. Geils Band - (“Ain’t Nothin’ But a) House Party.”
“We brought it,” Barrett Anderson says of that special night’s recording. “The Barrett Anderson Band delivered. We managed to capture the entire album in front of an audience that night - one take of each song - and we played hard. We boogied. We moved. We grooved. We let it all out, and once it’s out, it can’t go back in.”
“We simply did exactly what we had hoped to,” Charlie Mallet chimes in. “We tuned in, closed our eyes, and played our music the only way we know how – with everything we have.” “This is a live band,” Doug MacLeod adds. “We improvise every night, striving for a feel or a spirit while letting the music guide us there. We couldn’t have captured this in a studio. This soul, this energy, this vibe is something we all tune in to when we walk on stage.” “HypnoBoogie is a mix of influences,” Jamie Hatch summarizes. “It’s not blues, although there are blues influences. It’s not rock, although we’ve taken plenty of cues from The Rolling Stones.”
Barrett Anderson started playing the guitar at 13, and shortly thereafter discovered and fell in love with the blues. His first professional experience came at age 15, backing up the legendary Pinetop Perkins and “Steady Rollin’” Bob Margolin. When he was 16, Anderson joined Ronnie Earl & The Broadcasters, who he played with from 1999-2002. During this period, he was also heavily immersed in country blues, studying with Paul Rishell, and was particularly taken by Son House and Skip James. From 2002-2005, Anderson was a member of The Monster Mike Welch Band, and is featured on the 2005 recording, Adding Insight to Injury.
In 2007, Barrett Anderson released his debut album, All The Way Down, recorded in North Mississippi and produced by Jimbo Mathus of Squirrel Nut Zippers. His second album, The Long Fall, was released in 2012 and featured an organ trio lineup consisting of Anderson, Ron Levy and Per Hanson, which had a five-year run. In 2013, Anderson won a Boston Music Award as “Blues Artist of the Year,” edging out Roomful of Blues, and James Montgomery.
“I’ve always valued originality in music,” Anderson states. “ I love the early days of Chicago blues, when Muddy, Wolf and Walter were inventing the genre every night in sweaty clubs full of people there to get down to business. I love Magic Sam and Junior Wells in the ‘60s, pushing the music forward by adding soul and R&B to the mix. I love Jimi Hendrix somehow synthesizing everything that came before into a beautiful squall of sound you could feel. Find influences where you can and celebrate them. Drive the music forward. Don’t treat music like a museum piece. We were striving to play songs that feel vital and alive on this album. We didn’t want to just play 12-bar blues shuffles all night. We wanted to play groovy music to get down to – music that makes you move, makes you swing and sway. Music that makes you feel something deep down, deep down. That is HypnoBoogie.”
The sounds of Boston are embedded in the band’s DNA. “While I was a teenager in the ‘90s, there was a vibrant blues scene here,” Anderson recalls, “and it was easy to see national touring acts and local legends every night of the week - and I did. I took in all I could.”
In addition to the blues influences he was soaking up, Anderson absorbed all the sounds of the diverse scene around him. “Morphine (the ‘90s “low rock” band led by 2-string slide bassist Mark Sandman) is one of my favorite bands,” Barrett says, “and you can especially hear that influence in the swampy, sultry groove in our song, ‘Emma Lee’.”
The Barrett Anderson Band also acknowledges another one of Boston’s great groups, the mighty J. Geils Band, with a red-hot cover of a classic, “House Party,” that closes the album. “We all grew up with The J. Geils Band,” Doug MacLeod says. “Regardless of what decade we grew up in, The J. Geils Band was part of it. It’s an honor to include ‘House Party’ on our album”… It just seems fitting.”
“We’re trying to make something new; something that can stand tall next to our influences,” Anderson says. “We all get intense joy from making this music together and that joy is at the heart of this recording. This is the best music I’ve ever been a part of. This is a crystallization of everything - all the influences, emotions, sounds, and styles - I’ve been trying to capture since I first picked up the guitar 24 years ago.”
Intensity, originality, creativity, and passion are at the heart of what The Barrett Anderson Band does, and they’ve managed to document all this on their powerful new release, HypnoBoogie.
THE RADAR STATION is één van de 3 winnaars van Studio Brussels DE NIEUWE LICHTING, dé springplank voor de meest beloftevolle Belgische bands. Met hun rijke, gelaagde synth- en gitaarpartijen en prominente drums een eigen, uniek geluid: weidse, eigentijdse indierock in de school van The War On Drugs en The National, met echo’s van Peter Gabriel en Daniel Lanois.
Kenmerkend voor de band is de opvallende, warme en bezwerende stem van zanger Brent Buckler, die ook live uitstekend tot haar recht komt en doet denken aan Eddie Vedder, Tom Smith van Editors of Liam O’Maonlai van Hothouse Flowers.
The Radar Station overtuigde in korte tijd tal van concertorganisatoren. Zo speelde de jonge band in 2018 gesmaakte sets op o.m. Linkerwoofer, De Effenaar (NL), Gigant (NL) en het IZUG Festival in Breda (NL). Vorig jaar waren er opgemerkte passages op o.a. Kneistival, de Fonnefeesten en het OLT in Antwerpen. Hun ijzersterke live reputatie vertaalt zich dan ook dit najaar in vele tientallen geplande shows.
Ook op de radio werden de eerste hoofdstukken geschreven. Singles ‘Voices’, ‘Subtle Science’, 'Zanzara', 'Pictures of You' en “The Giant” kampeerden weken in de playlist van Radio 1 en Studio Brussel. Medio 2019 werd The Radar Station uitgenodigd voor een beklijvende live- sessie op NPO Radio 5 (NL). Ook NPO Radio 2 (NL) en de Belgische Franstalige Rockzender Classic 21 sloten de band in de armen.
Op 4 september verschijnt hun langverwacht debuutalbum op CD en vinyl, een straffe, sfeervolle plaat die zondermeer bevestigt dat The Radar Station thuishoort in de hoogste afdeling van de Belgische rockscene.
Om de spanning erin te houden houdt de band titel en artwork nog even geheim maar zeer binnenkort hoor je hier zeker meer van !
Clarence Clemons’ Guitarist/Vocalist Billy Livesay & The Livesays To Release New Album “The Rhythm of Love and Dysfunction”
Billy Livesay, best known for his work with E Street Band legend Clarence Clemons as his Guitarist & Vocalist, is releasing a new album with his group The Livesays, independently. The majority of The Livesays' new album “The Rhythm of Love and Dysfunction” was recorded in 2018 and was set to be released early in 2019. Tragically, on November 2nd, 2018, the band experienced unimaginable sorrow when their drummer, Eddie Zyne, passed away from a heart attack. Eddie, who began his illustrious career as the drummer in Hall and Oates, was an original co-founding member and integral part of The Livesays.
Eddie had been so excited about the upcoming release of The Livesays’ fourth album, particularly the new songs which showcased his solid metronome-like drumming style. Losing Eddie was not only a tremendous setback, it caused the band members to cancel all of their upcoming shows and contemplate calling it quits. Instead, the band persevered and, in turn, decided to dedicate this album to their fallen musical brother Eddie Zyne.
Finding a replacement for Eddie would prove to be no easy task as he left tremendous shoes to fill. In the Spring of 2019, along came Howard Goldberg, formerly of the indie funk band “Rudy.” Says Billy Livesay, “Howard knew us from playing around South Florida through the years. He was a tremendous fan of Eddie’s, knew of his passing, and asked if he could audition for us. Much to our surprise and delight, he turned out to be a great fit. He brought a revived energy to our band. We were back up and running in a few months."
The songs were recorded in Billy Livesay's home studio in Pembroke Pines, FL, mixed by Grammy nominated engineer Steve Gordon and mastered by Grammy winning engineer Mike Fuller at Fullersound in Ft Lauderdale. The original plan was to have the song “The Rhythm of Love” be the title cut, and the album was to include songs written and recorded over a two year period after the release of The Livesays' 2016 release “Hold On…Life Is Calling.”
Circumstances changed after losing Eddie. Turmoil set in due to ongoing political unrest, the upcoming election, protests, the Covid-19 pandemic, unemployment, isolation, and having to quarantine. The general feelings of uncertainty and uneasiness, and the ever-changing dysfunctional social and political climate, inspired some fresh new songs and a reevaluation as to which songs to release. Armed with twenty songs, the band narrowed it down to thirteen that reflected a congruent theme, which gave birth to the adjusted title “The Rhythm of Love and Dysfunction.”
Billy explains the meaning and inspiration behind the songs…
“When I Dream” - Everyone has some sort of aspiration; being successful playing music has always been mine. Even when the odds seem stacked against me, I have never given up on my dream. 'It may be a leap of faith but it's a leap I’m going to take, when I dream'. I’d be remiss if I did not mention that I wrote this song while mourning the loss of my bandmate Eddie Zyne who I know would be disappointed if his passing had led to the demise of the band and the end of my dream.
“Another Mile” and “Better Than You” - Many couples are quick to dissolve their relationships after disagreements. I view relationships as a constant work in progress. It’s hard for people to admit when they're wrong. Admittedly, it took me awhile, but I have learned to take the blame when I realize that I am wrong. I wrote the song "Another Mile" for my wife. It was my way of apologizing after an argument over something petty. My wife, Vicki, is also the inspiration behind the song “Better Than You.” She has stood by me and supported me throughout my career. Her mother once said that our “love affair was hanging on by a wing and a prayer.” To this day, I’m glad my wife “took that dare.”
“Can I Have (What You Have)?” -
This song was inspired by a newspaper article I read about a man convicted of armed robbery. In his own defense and to lessen his sentence, he blamed his own reprehensible behavior on having been raised by a father who beat him and a mother who was a drug addict. With pen in hand as I began crafting the lyrics, I happened to look out the window and noticed the sky had turned gray. I wrote down the line “looked out my window storm clouds coming, I don't know how long they will last.” I tasked myself with writing this particular song without a rhyming pattern, which is something that I don’t normally do.
We ended up recording this song at Power Station Studios, in Pompano Beach, FL and released a video of the recording session filmed and edited by Miami-based award winning film maker David Liz. Watch the video here: https://youtu.be/Dlpm0bpPfek
“Book Of Rules” - One evening, while at a restaurant eating dinner, I witnessed a group of people acting asinine and causing a ruckus. The line “a jester holding court is something that I ain't” popped into my head and I wrote it down on a napkin. I went home and wrote a “Book of Rules,” a dark rocker with verses that are vignettes about how people seem to have their own codes by which they live.
“That's The Trouble With Love” actually started out as two separate songs. I was working on a song about a guy who experienced love at first sight after offering an umbrella to a girl in the rain, and another song intended to be called “Whole Lot of Trouble,” both of which included lyrics sent to me by a Nashville artist named David Graham with whom I have co-written multiple songs in the past. The concepts were similar in nature in both songs and blended together nicely into one acoustic song which sounds a bit Santana-esque.
“Better Than He Ever Was” is autobiographical in nature, but more so, it's a shout out to my musical peers who, like a fine wine, have improved with age. Too often in the entertainment industry, we are cast aside as we grow older, when in many cases, our maturity lends itself to a better, more polished performance.
“Let It Flow” is a song about addiction, inspired by a close friend’s father who was a train-riding hobo who was always down on his luck as a result of his alcoholism.
“The Rhythm Of Love” is a bluesy dance song about the magic and emotional power of love that sometimes takes control of our senses.
“There’s Something Coming Now” - My drummer and I co-wrote the lyrics to this song, inspired by the current dysfunction of our government, the upcoming election, the country-wide protesting, and overall sense of turmoil we are all feeling during the pandemic. With so much misinformation circulating, we’re all left wondering what’s coming next.
“How Can I Be?” was inspired by a close friend who went through a painful breakup with a domineering woman who cheated on him. It’s a song about love-gone-bad in a dysfunctional relationship that left a man questioning his own self-worth and trying to rediscover himself.
Gospel pioneer and legend, Mahalia Jackson’s legacy is going to be treated by a made-for-television biopic from Lifetime.
The network, which in the recent years has built a reputation of curating numerous biopics on African American musicians and influencers, has now picked the late songbird as their latest subject of exploration.
Ms. Jackson – who is highly regarded and revered for her gigantic vocal talent, will be played on-screen by singer and actress – Danielle Brooks, known for her role in Orange Is the New Black.
The flick is being produced in partnership with Good Morning America anchor Robin Roberts, who’s set to help helm 3 other projects for the network.
Een bijzondere gitaar van Elvis Presley heeft bij een onlineveiling in de Verenigde Staten 1,32 miljoen dollar opgeleverd (1,12 miljoen euro). Dat heeft entertainmentsite TMZ gisteren bekendgemaakt. Volgens het veilinghuis Gotta Have Rock and Roll is nooit eerder zo'n groot bedrag betaald voor een item van The King.
De koper wenste anoniem te blijven. Hij bezit nu een Martin D-18 uit 1942, die tussen 1954 en 1956 in handen was van Elvis. De Amerikaanse zanger (1935-1977) had het instrument naar eigen wens aangepast en er in metalen letters zijn voornaam opgeplakt. De S is echter in de loop der jaren verdwenen.
Tijdens dezelfde veiling gingen ook onder meer een oude Ferrari van Eddie Van Halen (voor 133.000 euro) en een concertposter van The Beatles (58.500 euro) onder de hamer.
It’s been 13 years since one of the most well-known and best-loved punk bands from the vaunted Orange County punk scene has released a full-length studio album. But don’t expect a tepid or tired version of the band on Flashback Favorites, their new set of studio recordings set to be released August 14, shows the band hasn’t lost an ounce of energy or edge. Indeed Casey Royer and company are still chugging out classic, high powered pop punk just like they did back in the mid-‘80s when the band became the talk of the Orange County punk scene with singles like “Richard Hung Himself” and “Johnny’s Got A Problem.” For this new set, however, the band shows its arranging skills putting their signature twist on timeless tracks some of all-time favorite ‘70s and ‘80s rock bands such as Deep Purple, Depeche Mode, KISS, Blondie, Fleetwood Mac and more!
The band had this to say about the project, “We’re stoked to be working with Cleopatra again to do some of the songs we grew up listening to. Rock n Roll!”
Flashback Favorites will be available on CD, digital and gorgeous vinyl in your choice of white or classic black!
1. Highway Star
2. The Chain
3. For What It's Worth
4. I Think I Love You
5. Don't You (Forget About Me)
6. Never Let Me Down Again
7. Hot Child In The City
8. American Woman
9. Joy To The World
10. Heart Of Gold
11. Girl U Want
12. Rock And Roll All Nite
13. Don't Change
Legendary proto-punk guitar heroes, James Williamson & Deniz Tek, have joined forces for a brand new, odds-defying studio album, Two To One, set to be released September 18 by Cleopatra Records. An inductee into the Rock N Roll Hall of Fame, Williamson was the guitarist and co-songwriter for one of the most iconic and influential albums of all-time, Iggy & The Stooges Raw Power, while Tek launched and occupied the same role for what became Australia’s ground zero for the punk movement with his band, the revered Radio Birdman. The album features 11 all-new original compositions highlighted by the first single “Stable” and the explosive lead-off track “Jet Pack Nightmare.”
Watch the video for “Stable”: https://www.youtube.com/watch?v=5OwkUzeJzpo
Williamson had this to say about the project; “It was really a lot of fun working with Deniz to make a no-frills, good old-fashioned guitar album. Took me back to Raw Power and Kill City days. Deniz comes from a very similar approach to music that I do, both of us have had many years of experience in Detroit and Ann Arbor, Michigan.”
Tek adds: “Raw Power shaped my path as a young guitar player. It was great to partner up with James to make this album. Everything fell into place beyond expectations - the songs, the band, the production, and even the timing. I am very happy with it."
Two To One will be available on CD, digital and in your choice of red, blue, yellow or classic black vinyl!
“High School (Don’t Like Them)” is de nieuwe single/videoclip van het nieuwe album “The Shadow” van
In 2018 verscheen Naked Giants’ debuut-album “Sluff”, dat werd geproduceerd door Steve Fisk (Nirvana, Soundgarden, Car Seat Headrest). Bij “The Shadow” zat Chris Funk van The Decemberists achter de knoppen. Gebleven is de ‘feelgood’ mix van springerige pop punk en fuzzy alternative garage rock. De band uit Seattle bestaat uit drummer Hendry LaVallee, zanger/bassist Gianni Aiello en zanger/gitarist Grant Mullen. “The Shadow” is een ‘energetic and exhilarating musical rollercoaster ride’ vol ‘singalong blitz party anthems and some dreamy psychedelic moments looking at the shadow-y parts of life’.
Op 21 augustus verschijnt Naked Giants’ tweede studio-album: “The Shadow”
“The Shadow” is an album of growth. In the years since our first album “Sluff” was recorded, we have toured around the world, honed our musical skills and found our own little place in the music industry. But we have also seen our share of shadows, and it is through acknowledging these shadows that we grow the most. Each song on “The Shadow” examines an aspect of this growth through a different musical lens, adding up to a series of rock-and-roll vignettes of light, shadow, anxiety and responsibility. Frantic punk-scenes of information overload are contrasted by patient drones of introspection; fun, ear-worm musings of life as a young rock band are juxtaposed with the heavier responsibility of having a voice and not quite knowing what to say. The amalgam of information in the songs is complemented with a blend of sonic perspectives - we threw in all our influences, from the usual suspects of punk rock and new wave to spaced-out 80’s balladry, fuzzy garage-metal and psychedelic desert folk (with synths and tape loops added to taste). And with producer Chris Funk leading the way, our somewhat scatterbrained sprawl of musical and conceptual ideas are tied together in an artful way. Chris’ quiet but steady direction pushed us to serve the songs, reigning in the guitar pedal breaks and drum solo freakouts from our live set while leaving just enough unpredictability and experimentation to give the album a liveliness of its own. All of this adds up to a swirling, dynamic, at times disorienting but ultimately honest image of modern life as young, able and anxious people. In order to grow and create positive change in this world, we have to situate ourselves amidst all this chaos - for us this means providing the catchy choruses and stomping riffs with an edge of self-awareness and confrontation, just as the world can’t become more connected without acknowledging its deep divides. With “The Shadow”, we draw inspiration from the chaos and contrast, we admit that we only exist as a balance of shadow and light, and we commit to the responsibility of reflection and growth.