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Willie Hugh Nelson (born April 30, 1933) is an American country singer-songwriter, author, poet, actor and activist. He reached his greatest fame during the outlaw country movement of the 1970s, but remains iconic, especially in American popular culture.
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Willie Hugh Nelson (born April 30, 1933) is an American country singer-songwriter, author, poet, actor and activist. He reached his greatest fame during the outlaw country movement of the 1970s, but remains iconic, especially in American popular culture.
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The Avett Brothers are a folk-rock band from Concord, North Carolina. The band is made up of two brothers, Scott Avett and Seth Avett, who play the banjo and guitar respectively, and Bob Crawford who plays the stand-up bass. They are often joined on tour by cellist Joe Kwon. Risen from the ashes of Seth and Scott's former rock band Nemo, the Avett Brothers combine bluegrass, country, punk, pop melodies, folk, rock and roll, honky tonk, and ragtime to produce a sound described by the San Francisco Chronicle as having the "heavy sadness of Townes Van Zandt, the light pop concision of Buddy Holly, the tuneful jangle of the Beatles, the raw energy of the Ramones." The group itself eschews labels, feeling that "none would do the music the justice. It's simply left up to each person to extract his or her own account from the Avetts' music."Content: http://en.wikipedia.org/wiki/The_Avett_Brothers
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The Allman Brothers Band was an American rock band formed in Jacksonville, Florida, United States, in 1969 by brothers Duane Allman (slide guitar and lead guitar) and Gregg Allman (vocals, keyboards, songwriting), as well as Dickey Betts (lead guitar, vocals, songwriting), Berry Oakley (bass guitar), Butch Trucks (drums), and Jai Johanny "Jaimoe" Johanson (drums). The band incorporates elements of southern rock, blues, jazz, and country music, and their live shows have jam band-style improvisation and instrumentals.
The group's first two studio releases stalled commercially, but their 1971 live release, At Fillmore East, represented an artistic and commercial breakthrough. The album features extended renderings of their songs "In Memory of Elizabeth Reed" and "Whipping Post", and is often considered among the best live albums ever made. Group leader Duane Allman was killed in a motorcycle accident later that year, and the band dedicated Eat a Peach (1972) in his memory, a dual studio/live album that cemented the band's popularity. Following the motorcycle death of bassist Berry Oakley later that year, the group recruited keyboardist Chuck Leavell and bassist Lamar Williams for 1973's Brothers and Sisters, which, combined with the hit single "Ramblin' Man", placed the group at the forefront of 1970s rock music. Internal turmoil overtook them soon after; the group dissolved in 1976, reformed briefly at the end of the decade with additional personnel changes, and dissolved again in 1982.
The band reformed once more in 1989, releasing a string of new albums and touring heavily. A series of personnel changes in the late 1990s was capped by the departure of Betts. The group found stability during the 2000s with bassist Oteil Burbridge and guitarists Warren Haynes and Derek Trucks (the nephew of their drummer), and became renowned for their month-long string of shows at New York City's Beacon Theatre each spring. The band retired in 2014 with the departure of the aforementioned members. The band has been awarded 11 gold and five platinum albums, and was inducted into the Rock and Roll Hall of Fame in 1995. Rolling Stone ranked them 52nd on their list of the 100 Greatest Artists of All Time in 2004.
Roots and formation (1965–1969)
Duane Allman, and his younger brother, Gregg, grew up in Daytona Beach, Florida. Gregg was first to pick up the guitar, but his brother soon surpassed him, dropping out of high school to practice constantly. The duo formed their first band, the Escorts, which evolved into the Allman Joys in the mid-1960s. When an African-American friend introduced Gregg to R&B and soul music, they began to incorporate it into their sound. By 1967, the group spent time in St. Louis, where a Los Angeles-based recording executive discovered them; they consequently moved out West and were renamed the Hour Glass, cutting two unsuccessful albums for Liberty Records. Duane moved back to pursue a career as a session musician in Muscle Shoals, Alabama, while Gregg stayed behind in Hollywood bound by contractual obligations with Liberty, who believed he could hold a solo career. The two were apart for the first time for a year, but managed to reconvene in Miami, producing an album-length demo with the 31st of February, a group that included drummer Butch Trucks.
At FAME Studios in Muscle Shoals, Duane Allman became the primary session guitarist, recording with artists such as Aretha Franklin and King Curtis. Duane suggested to Wilson Pickett they record a cover of "Hey Jude" by the Beatles; the single went to number 23 on the national charts. FAME signed Duane to a five-year recording contract, and he put together a group, including Johnny Sandlin and Paul Hornsby. Duane recruited Jai Johanny Johanson (Jaimoe) after hearing his drumming on a songwriting demo of Jackie Avery, and the two moved into his home on the Tennessee River. Allman invited bassist Berry Oakley to jam with the new group; the pair had met in a Jacksonville, Florida club some time earlier, and became quick friends. The group had immediate chemistry, and Duane's vision for a "different" band — one with two lead guitarists and two drummers — began evolving. Meanwhile, Phil Walden, the manager of the late Otis Redding and several other R&B acts, was looking to expand into rock acts. FAME owner Hall became frustrated with the group's recording methods, and offered the tracks recorded and their contract to Walden and Jerry Wexler of Atlantic Records, who purchased them for $10,000. Walden intended the upcoming group to be the centerpiece of his new Atlantic-distributed label, Capricorn.
Duane and Jaimoe moved to Jacksonville in early March 1969, as Duane had become frustrated with being a "robot" of those at FAME. He invited anyone who wanted to join to the jam sessions that birthed the Allman Brothers Band. Dickey Betts, leader of Oakley's previous band, the Second Coming, became the group's second lead guitarist, while Butch Trucks, with whom Duane and Gregg had cut a demo less than a year prior, became the new group's second drummer. The Second Coming's Reese Wynans played keyboards, and Duane, Oakley, and Betts all shared vocal duties. The unnamed group began to perform free shows in Willow Branch Park in Jacksonville, with an ever-changing, rotating cast of musicians. Duane felt strongly his brother should be the vocalist of the new group (which effectively eliminated Wynans' position, as Gregg also played keyboards). Gregg left LA and entered rehearsal on March 26, 1969, when the group was rehearsing Muddy Waters' "Trouble No More" Although Gregg was initially intimidated by the musicians, Duane pressured his brother into "singing [his] guts out." Four days later, the group made their debut at the Jacksonville Armory. Although many names were kicked around, including Beelzebub, the six-piece eventually decided on the Allman Brothers Band.
Debut and early years (1969–1970)
The group moved to Macon, Georgia by May 1, where Walden was establishing Capricorn Records. Mike Callahan and Joseph "Red Dog" Campbell became the band's early crew members. "Red Dog" was a disabled Vietnam veteran who donated his monthly disability checks to the band's cause. In Macon, the group stayed at friend Twiggs Lyndon's apartment on 309 College Street, which became known as the communal home of the band and crew, nicknamed the Hippie Crash Pad. "There were five or six occupied apartments in the building with the Hippie Crash Pad and you would expect they would call the police on us because we were constantly raising hell at three or four in the morning, but they all just moved out," said Trucks. Living meagerly, they found a friend in "Mama Louise" Hudson, cook and proprietor of the H&H Soul Food Restaurant, who ran a tab when they were short of funds, early on made good with proceeds from Duane's recording sessions on the side. The band's image was radical in the just barely integrated Macon: "A lot of the white folk around here did not approve of them long-haired boys, or of them always having a black guy with them," said Hudson. The band performed locally, as well as 80 miles north in Atlanta's Piedmont Park, and practiced at the newly minted Capricorn nearly each day.
The group forged a strong brotherhood, spending countless hours rehearsing, consuming psychedelic drugs, and hanging out in Rose Hill Cemetery, where they wrote songs. Their first performances outside the South came on May 30 and 31 in Boston, opening for The Velvet Underground. In need of more material, the group remade old blues numbers such as "Trouble No More" and "One Way Out", in addition to improvised jams such as "Mountain Jam". Gregg, who had struggled to write in the past, became the band's sole songwriter, composing songs such as "Whipping Post" and "Black-Hearted Woman". The band was originally set to record their first album in Miami with Cream and John Coltrane producer Tom Dowd, who proved unavailable. Instead, they headed off for New York City in August 1969 to work with Atlantic house engineer Adrian Barber in his first producer credit. The Allman Brothers Band was recorded and mixed in two weeks, and proved a positive experience for the ensemble. New York came to be regarded within the group as their "second home." The Allman Brothers Band was released in November 1969 through Atco and Capricorn Records, but received a poor commercial response, selling less than 35,000 copies upon initial release.
Executives suggested to Walden that he relocate the band to New York or Los Angeles to "acclimate" them to the industry. "They wanted us to act 'like a rock band' and we just told them to fuck themselves," remembered Trucks. For their part, the members of the band remained optimistic, electing to stay in the South. "Everyone told us we'd fall by the wayside down there," said Gregg Allman, but the collaboration between the band and Capricorn Records "transformed Macon from this sleepy little town into a very hip, wild and crazy place filled with bikers and rockers". The band rented a $165-a-month farmhouse on a lake outside of Macon, the busy comings and goings at which reminded them of New York City's Idlewild Airport. Idlewild South was the home of rehearsals and parties, and was "where the brotherhood came to pass," according to roadie Kim Payne; "There was a pact made out there around a campfire—all for one and one for all ... Everybody believed [in the band] 100 percent." Much of the material presented on the band's second album, Idlewild South, originated at the cabin. Oakley's wife rented a large Victorian home on 2321 Vineville Avenue in Macon and the band moved into what they dubbed "the Big House" in March 1970.
Live reputation, At Fillmore East, and breakthrough (1970–1971)
The band played continuously in 1970, performing over 300 dates on the road traveling in a Ford Econoline van and later, a Winnebago, nicknamed the Wind Bag. Walden doubted the band's future, worrying whether they would ever catch on, but word of mouth spread due to the band's relentless touring schedule, and crowds got larger. The close proximity of the Winnebago brought about heavy drug use within the group, and all in the group, with the exception of the brothers, were struggling to make a living. In one instance, touring member Twiggs Lyndon stabbed and killed a promoter for not paying the band; he later claimed temporary insanity. Later that year, Duane accidentally overdosed on opium after a show. Idlewild South, produced by Tom Dowd, was recorded gradually over a period of five months in various cities, including New York, Miami, and Macon, and contained two of the band's best-known songs, "Midnight Rider" (later a hit for various artists) and "In Memory of Elizabeth Reed", which became one of the band's famous concert numbers.
Idlewild South was issued by Atco and Capricorn Records in September 1970, less than a year after their debut. The album sold only "marginally better than its predecessor, though the band had a growing national reputation and the album included songs that would become staples of the band's repertoire—and eventually of rock radio." Shortly after completing recording, Dowd put Duane in contact with guitarist Eric Clapton, who invited him to contribute to his new project, Derek and the Dominos. Allman was a huge fan of Clapton's work with Cream, and Clapton had been blown away by Allman's session work on Wilson Pickett's "Hey Jude" some years prior. They met after a show one night in Miami and jammed together until the next afternoon, with the two guitarists regarding one another as "instant soulmates." Clapton invited Duane to join Derek and the Dominos, and by several accounts he considered it; in the end, he declined the offer and rejoined the Allman Brothers Band, returning after missing a string of several shows. The sessions were collected on Layla and Other Assorted Love Songs, issued that November.
Their fortunes began to change over the course of 1971, when the band's average earnings doubled. "We realized that the audience was a big part of what we did, which couldn't be duplicated in a studio. A lightbulb finally went off; we needed to make a live album," said Gregg Allman. At Fillmore East was recorded over three nights — March 11, 12, and 13, 1971 — at the Fillmore East in New York, for which the band was paid a nightly $1,250. At Fillmore East was released in July 1971 by Capricorn Records as a double album, "people-priced" for the cost of a single LP. While previous albums by the band had taken months to hit the charts (often near the bottom of the top 200), the record started to climb the charts after a matter of days. At Fillmore East peaked at number 13 on Billboard's Top Pop Albums chart, and was certified gold by the Recording Industry Association of America that October, becoming their commercial and artistic breakthrough. The album is considered among the best live albums of all time, and in 2004 was one of the albums selected for preservation in the Library of Congress, deemed "culturally, historically, or aesthetically important" by the National Recording Registry.
Eat a Peach and Duane Allman and Berry Oakley's deaths (1971–1972)
Although suddenly very wealthy and successful, many of the band and its entourage now struggled with heroin addiction. Four individuals — group leader Duane Allman, bassist Berry Oakley, and roadies Robert Payne and Red Dog Campbell — checked into the Linwood-Bryant Hospital for rehabilitation in October 1971. On October 29, 1971, Duane Allman, then 24, was killed in a motorcycle accident one day after returning to Macon. Allman was riding his motorcycle at a high speed at the intersection of Hillcrest Avenue and Bartlett Street as a flatbed truck carrying a lumber crane approached. The truck stopped suddenly in the intersection, forcing Allman to swerve his Harley-Davidson Sportster motorcycle sharply to the left to avoid a collision. As he was doing so, he struck either the back of the truck or the ball on the lumber crane and was immediately thrown from the motorcycle. The motorcycle bounced into the air, landed on Allman and skidded another 90 feet with Allman pinned underneath, crushing his internal organs. Though he was alive when he arrived at the hospital, despite immediate emergency surgery, he died several hours later from massive internal injuries.
After Duane's death, the band held a meeting on their future; clearly all wanted to continue, and after a short period, the band returned to the road. "We all had this thing in us and Duane put it there. He was the teacher and he gave something to us—his disciples—that we had to play out," said drummer Butch Trucks. The band returned to Miami in December to complete work on their third studio album. Completing the recording of Eat a Peach raised each member's spirits; "The music brought life back to us all, and it was simultaneously realized by every one of us. We found strength, vitality, newness, reason, and belonging as we worked on finishing Eat a Peach," said Allman. "Those last three songs [...] just kinda floated right on out of us [...] The music was still good, it was still rich, and it still had that energy—it was still the Allman Brothers Band." Released in February 1972, Eat a Peach was the band's second hit album, shipping gold and peaking at number four on Billboard's Top 200 Pop Albums chart. "We'd been through hell, but somehow we were rolling bigger than ever," said Gregg Allman.
The band performed nearly 90 shows in the following year, touring as a five-piece. The band also purchased 432 acres of land in Juliette, Georgia for $160,000 and nicknamed it "the Farm"; it soon became a group hangout and fulfilled bassist Oakley's communal dreams. Oakley, however, was visibly suffering from the death of his friend: he excessively drank and consumed drugs, and was losing weight quickly. According to friends and family, he appeared to have lost "all hope, his heart, his drive, his ambition, [and] his direction" following Duane's death. "Everything Berry had envisioned for everybody—including the crew, the women and children—was shattered on the day Duane died, and he didn't care after that," said roadie Kim Payne. Oakley repeatedly wished to "get high, be high, and stay high," causing quiet concern from all those around him. On November 11, 1972, slightly inebriated and overjoyed at the prospect of leading a jam session later that night, Oakley crashed his motorcycle into the side of a bus, just three blocks from where Duane had been killed. He declined hospital treatment and went home, but gradually grew delirious. He was taken to the hospital shortly thereafter and died of cerebral swelling caused by a fractured skull. Oakley was buried directly beside Duane at Rose Hill Cemetery in Macon.
Brothers and Sisters, celebrity, and inner turmoil (1973–1974)
The band unanimously decided to carry on and arranged auditions for new bassists, with a renewed fervor and determination. Several bassists auditioned, but the band picked Lamar Williams, an old friend of drummer Jai Johanny Johanson's from Gulfport, Mississippi, two years removed from an Army stint in Vietnam. Chuck Leavell was asked to play piano for Allman's solo album, Laid Back (1973), and gradually found himself contributing to the Allman Brothers, as well. Dickey Betts became the group's de facto leader during the recording process. "It's not like Dickey came in and said, 'I'm taking over. I'm the boss. Do this and that.' It wasn't overt; it was still supposedly a democracy, but Dickey started doing more and more of the songwriting," said road manager Willie Perkins. Brothers and Sisters was an enormous success, peaking at number one, resulting in the band becoming "the most popular band in the country." "Ramblin' Man", Betts' country-infused number, received interest from radio stations immediately, and it rose to number two on the Billboard Hot 100.
The Allman Brothers Band returned to touring, playing larger venues, receiving more profit and dealing with less friendship, miscommunication, and spiraling drug problems. This culminated in a backstage brawl when the band played with the Grateful Dead at Washington's RFK Stadium in June 1973, which resulted in the firing of three of the band's longtime roadies. The band played arenas and stadiums almost solely as their drug use escalated. In 1974, the band was regularly making $100,000 per show, and was renting the Starship, a customized Boeing 720B used by Led Zeppelin and the Rolling Stones. "When [we] got that goddamn plane, it was the beginning of the end," said Allman. Both Allman and Betts released top-20 solo albums in 1974 (The Gregg Allman Tour and Highway Call). The sessions that produced 1975's Win, Lose or Draw, the last album by the original Allman Brothers Band, were disjointed and inconsistent; Gregg Allman was largely living in Los Angeles and dating pop star Cher, and was, according to biographer Alan Paul, "[becoming] more famous for being famous than for his music." His vocals were recorded there, as he could not be bothered to return to Macon much. Upon its release, it was considered subpar and sold less than its predecessor; the band later remarked that they were "embarrassed" about the album.
From August 1975 to May 1976, the Allman Brothers Band played 41 shows to some of the biggest crowds of their career. Gradually, the members of the band grew apart during these tours, with sound checks and rehearsals "[becoming] a thing of the past." Allman later pointed to a benefit for presidential candidate Jimmy Carter (an avowed fan of the group) as the only real "high point" in an otherwise "rough, rough tour." The shows were considered lackluster and the members were excessive in their drug use. The "breaking point" came when Gregg Allman testified in the trial of security man Scooter Herring. Bandmates considered him a "snitch", and he received death threats, leading to law-enforcement protection. Herring was convicted on five counts of conspiracy to distribute cocaine and received a 75-year prison sentence, which was later reduced prior to a presidential pardon from Carter. For his part, Allman always maintained that Herring had told him to take the deal to turn state's evidence and that he (Herring) would take the fall; nevertheless, the band refused to communicate with Allman after the incident. As a result, the band finally broke up; Leavell, Williams, and Jaimoe continued playing together in Sea Level, Betts formed Great Southern, and Allman founded the Gregg Allman Band. The 1976 live album Wipe the Windows, Check the Oil, Dollar Gas was seen as "the last gasp of a dying band," which was unfortunate for the now-foundering Capricorn Records, which desperately needed the band together to stay afloat.
First reunion, subsequent break-up, and interim years (1979–1988)
In 1978, Allman and Walden first approached Betts with the idea of a reunion. Their first public appearance together came at a Great Southern show in New York's Central Park that summer, when Allman, Trucks, and Jaimoe joined the band for a few songs. Williams and Leavall declined to leave Sea Level, so the Allman Brothers Band hired two new members: guitarist Dan Toler and bassist David Goldflies. The band reunited with Tom Dowd at Criteria Studios in Miami to cut their reunion album, which was released in February 1979 as Enlightened Rogues, a term Duane had used to describe the band. While the band "tried to make it happen," they later concluded that the chemistry was not there; the album was a minor commercial success, which was credited to the production work from Dowd. Betts filed a lawsuit against Walden for nonpayment of record and publishing royalties, and Betts's lawyer, Steve Massarsky, began managing the group. Betts won the lawsuit, and the rest of the band filed suit while Capricorn declared bankruptcy that October. Massarsky led the successful effort to sign the band with Arista, which pushed the band to "modernize" their sound. "[Arista founder] Clive Davis destroyed any hope that we had that we could make the thing work again," said Trucks later. "He wanted us to be a Southern American version of Led Zeppelin and brought in outside producers and it just kept getting worse."
Their first Arista effort, Reach for the Sky (1980), was produced by Nashville songwriters Mike Lawler and Johnny Cobb. Bonnie Bramlett, who toured with the band near the end of the decade, sang lead on one song. Lawler soon became a part of the band's touring ensemble, incorporating center-stage keytar solos "that most fans consider the band's nadir." Drugs remained a problem with the band, particularly among Betts and Allman. Although the album was made with the intention of creating a hit single, the genre of southern rock was waning considerably in the mainstream. The band again grew apart, firing longtime roadie "Red Dog" and replacing Jaimoe with Toler's brother Frankie, who had been a member of Great Southern. The main point of contention was Jaimoe's insistence that his wife and manager, Candace Oakley (Berry's sister), handle his business affairs. "One of the real blights on the history of the Allman Brothers Band was that Jaimoe, this gentle man, was fired from this organization," said Allman later. Not long after, "the band changed managers, hiring the promoter John Scher after Massarsky eased himself out, reportedly saying, 'It's a million-dollar headache and a quarter-million-dollar job.'"
For their second and final album with Arista, Brothers of the Road, they collaborated with a "name producer" (John Ryan, of Styx and the Doobie Brothers), who pushed the band even harder to change their sound. "Straight from the Heart" was the album's single, which became a minor hit but heralded the group's last appearance on the top 40 charts. The band, considering their post-reunion albums "embarrassing," subsequently broke up in 1982 after clashing with Clive Davis, who rejected every producer the band suggested for a possible third album, including Tom Dowd and Johnny Sandlin. "We broke up in '82 because we decided we better just back out or we would ruin what was left of the band's image," said Betts. The band's final performance came on Saturday Night Live in January 1982, where they performed "Southbound" and "Leavin'." The members regrouped occasionally in the intervening years; in 1986, Betts and Allman toured together, with each opening for one another and collaborating for a set. Allman's solo career began looking up when he released his first solo album in over a decade in 1987, I'm No Angel. The title track became a surprise hit on radio, garnering heavy airplay.
Second reunion and heavy touring (1989–1996)
The Allman Brothers Band celebrated its twentieth anniversary in 1989, and the band reunited for a summer tour, with Jaimoe once again on drums. In addition, they featured guitarist Warren Haynes and pianist Johnny Neel, both from the Dickey Betts Band, and bassist Allen Woody, who was hired after open auditions held at Trucks's Florida studio. The classic rock radio format had given the band's catalog songs new relevance, as did a multi-CD retrospective box set, Dreams. Epic, who had worked with Allman on his solo career, signed the band. Danny Goldberg became the band's manager; he had previously worked with acts such as Led Zeppelin and Bonnie Raitt. The group were initially reluctant to tour, but found they performed solidly; in addition, former roadies such as "Red Dog" returned. The band returned to the studio with longtime producer Tom Dowd for 1990's Seven Turns, which was considered a return to form. "Good Clean Fun" and "Seven Turns" each became big hits on the Mainstream Rock Tracks chart. The addition of Haynes and Woody had "reenergized" the ensemble. Neel left the group in 1990, and the band added percussionist Marc Quiñones, formerly of Spyro Gyra, the following year.
The band performed 87 shows in 1991, and 77 the following year. The band did not renew Goldberg's contract as manager, and as a result, their tour manager, Bert Holman, became the band's full-time manager in 1991 and remained so for the rest of their career. Their next studio effort, Shades of Two Worlds (1992), produced the crowd favorite "Nobody Knows". The band also released a live album, An Evening with the Allman Brothers Band: First Set, recorded at their 1992 residency at New York's Beacon Theatre. The band performed ten consecutive shows there (establishing themselves as a "New York rite of spring," according to biographer Alan Paul), which set the stage for their return nearly every year afterward. The band grew contentious over a 1993 tour, in which Betts was arrested when he shoved two police officers. Struggling to find a replacement guitarist, they brought in David Grissom (then touring with John Mellencamp), and also Jack Pearson, a Nashville-based friend of Haynes (the original replacement, Zakk Wylde, filled in for a show but his onstage antics did not fit with the band). Haynes was both opening with his own band and headlining with the Allman Brothers, and began to consider leaving the group, due to their increasing lack of communication.
Despite the growing tension, Haynes remained a member and Betts returned. Their third post-reunion record, Where It All Begins (1994), was recorded entirely live. "The Allman Brothers was a year-by-year thing. There was no indication that it was capable of staying together for years to come. We all looked at it as each tour could be the last one, and there was no reason to think otherwise," said Haynes. The band continued to tour with greater frequency, attracting younger generations with their headlining of the H.O.R.D.E. Festival. The group were inducted into the Rock and Roll Hall of Fame in January 1995; Allman was severely inebriated and could not make it through his acceptance speech. Seeing the ceremony broadcast on television later, Allman was mortified, providing a catalyst for his final, successful attempt to quit alcohol and substance abuse. During the 1996 run at the Beacon, turmoil came to a breaking point between Allman and Betts, nearly causing a cancellation of a show and causing another band breakup. "We were upstairs in our dressing rooms [...] I'm sitting there thinking, 'This is it. This is how it finally ends,'" said Trucks. Haynes and Woody left to focus on Gov't Mule, feeling as though a break was imminent with the Allman Brothers Band.
Later years (1997–2014)
The group recruited Oteil Burbridge of the Aquarium Rescue Unit to replace Woody on bass, and Jack Pearson on guitar. Concerns arose over the increasing loudness of Allman Brothers shows, which were largely centered on Betts. Pearson, struggling with tinnitus, left as a result following the 1999 Beacon run. Trucks phoned his nephew, Derek Trucks, to join the band for their thirtieth anniversary tour. Trucks was very young, at age 20, and younger than any of the original members when the band formed. "It was an honor to be part of such a great institution from the start," said Derek Trucks. "When I first got the gig, I was just trying to maintain the spirit of the whole thing while hopefully bringing some fire to it, hoping to hold up my end while also expressing my own voice." The Beacon run in 2000, captured on Peakin' at the Beacon, was ironically considered among the band's worst performances; an eight-show spring tour led to even more strained relations in the group. "It had ceased to be a band—everything had to be based around what Dickey was playing," said Allman. Anger boiled over within the group towards Betts, which led to all original members sending him a letter, informing him of their intentions to tour without him for the summer.
All involved contend that the break was temporary, but Betts responded by hiring a lawyer and suing the group, which led to a permanent divorce. "I had no idea that I would be snapped out of the picture. I thought it was cruel and impersonal," said Betts. Allman was finally sober and felt more miserable shows with Betts would be a waste of time. Betts later received a cash settlement, which is subject to a confidentiality agreement; he went on to record new music with a new band. Jimmy Herring joined the band for the summer tour, where the band fought negative press; fans contended that attending shows by an Allman Brothers Band without Betts was pointless. Herring exited shortly after the tour, as he felt guilty that he would replace Betts. That August, former bassist Allen Woody was found dead in a hotel room in New York. Warren Haynes set up a benefit show for his former bandmate, which featured the Allman Brothers Band. With Derek Trucks unavailable, he sat in for the set. In 2001, Haynes rejoined the band for their Beacon run: "It was my first time with the band in four years and it was very comfortable," he remarked.
This incarnation of the Allman Brothers Band was well-regarded among fans and the general public, and remained stable and productive. "This band is the greatest one since Duane and Berry, and why shouldn't it be?" said Jaimoe. The band released their final studio recording, Hittin' the Note (2003), to critical acclaim. The record was the first to feature Derek Trucks and the only Allman Brothers album to not feature Betts. The band continued to tour throughout the 2000s, remaining a top touring act, regularly attracting more than 20,000 fans. The decade closed with a successful run at the Beacon Theatre, in celebration of the band's fortieth anniversary. "That [2009 run] was the most fun I've ever had in that building," said Allman, and it was universally regarded within the band as a career highlight. The run featured numerous special guests, including Eric Clapton, whom all in the band regarded as the most "special" guest, due to his association with Duane. Allman had a liver transplant in 2010, and suffered health setbacks for the following two years. He went to rehab in 2012 for addiction following his medical treatments. In 2012 the Allman Brothers started their own music festival, The Peach, which features many associated acts and many genres in addition to two Allman Brothers performances. They played a run at the Beacon in 2013 per tradition and after continued to tour. In 2014, Haynes and Derek Trucks announced their intention to depart the group at the end of the year. The group intended their 2014 run of Beacon shows to be their last, but the residency was cut short when Allman developed bronchitis.
The Allman Brothers Band performed its final show on October 28, 2014 at the Beacon Theatre. The show was the 238th straight sellout for the band at the Beacon. The concert consisted of three sets, comprising mostly music from their first five records, with no guest musicians sitting in. "We had a band meeting and decided no guest sit-ins. We're going out with just the band," Allman told reporters. Following the sets, which ran into the early morning hours, the band joined together center stage and took a bow, with Allman recalling the group's first rehearsal 45 years prior: "I was called to come and meet these guys in Jacksonville, Florida, [...] on March 26, 1969. Now, we're gonna do the first song we ever played." Following this, the band performed "Trouble No More" by Muddy Waters. During the night's intermissions, a video screen displayed a message: "The road indeed goes on forever. So stay calm, eat a peach and carry on..."
Musical style and influences
The Allman Brothers Band have generally been considered one of the pioneering bands in southern rock, although the group distanced themselves from the term. Guitarist Dickey Betts was most vocal about this classification, which he considered unfair: "I think it's limiting. I'd rather just be known as a progressive rock band from the South. I'm damned proud of who I am and where I'm from, but I hate the term 'Southern rock.' I think calling us that pigeonholed us and forced people to expect certain types of music from us that I don't think are fair." Gregg Allman also saw the "southern rock" tag as redundant, saying it was like saying "rock rock". The band was certainly at the forefront of the genre's popularity in the early 1970s; the breakthrough of At Fillmore East led their hometown of Macon to become flooded with "southern rock" groups. Despite this, the group has continued to remove themselves from the term. "The problem I have is a lot of people associate it with rednecks and rebel flags and backward mentality. That has never been representative of the Allman Brothers Band," said guitarist Warren Haynes.
The group largely infused hints of the blues, jazz, and country into their music. They all avidly shared their record collections with one another during the early days of the band. For example, Betts was into country music and the guitar work of Chuck Berry, while Trucks was largely into groups such as the Rolling Stones and the Grateful Dead. Duane and Gregg Allman grew infatuated with rhythm and blues in their teens, collecting records by James Brown, B.B. King, Sonny Boy Williamson, and Howlin' Wolf. Drummer Jai Johanny "Jaimoe" Johanson largely introduced the group to jazz. While Betts commented that he was interested in artists such as Howard Roberts prior, Jaimoe "really fired us up on it," introducing his bandmates to Miles Davis and John Coltrane. Duane Allman was also inspired by Howard Roberts, Wes Montgomery, Tal Farlow, and Kenny Burrell. The source of the band's modal jamming in their earliest days was Coltrane's rendition of "My Favorite Things" and Davis's "All Blues," which Jaimoe occasionally stole from: "I did a lot of copying, but only from the best." This type of jazz-infused jamming is expressed in the instrumental "In Memory of Elizabeth Reed", which focuses heavily on improvisation. "Whipping Post" was notable for its inclusion of blues-ballad themes, and became one of the most popular (and longest) compositions. Later, Betts generally led the band in a more "country" direction following Duane's passing; their only hit single "Ramblin' Man" was considered so unusually "country" for the group they were initially reluctant to record it.
Duane Allman created the idea of having two lead guitarists, which was inspired by Curtis Mayfield; "[he] wanted the bass, keyboards, and second guitar to form patterns behind the solo rather than just comping," said Allman. Their style and incorporation of guitar harmonies was very influential on later musicians. "The pair also had a wide range of complementary techniques, often forming intricate, interlocking patterns with each other and with the bassist, Berry Oakley, setting the stage for dramatic flights of improvised melodies." Dickey Betts' playing was very melody-based; "My style is just a little too smooth and round to play the blues stuff straight, because I'm such a melody guy that even when I'm playing the blues, I go for melody first," he said. His listening of country and string bluegrass growing up influenced this considerably: "I played mandolin, ukulele, and fiddle before I ever touched a guitar, which may be where a lot of the major keys I play come from." He later characterized their style as "question and answer, anticipation and conclusion," which involved allowing each musician's downbeat to arrive in a different spot, while also keeping consideration of the bass guitar lines.
The group also held an improvisational approach to live performances, which connected the band with jam band culture. "Jazz and blues musicians have been doing this for decades, but I think they really brought that sense that anyone onstage can inspire anyone else at any given time to rock music," said Haynes. "We sure didn't set out to be a "jam band" but those long jams just emanated from within the band, because we didn't want to just play three minutes and be over," said Allman. Rolling Stone referred to the group as "without question the first great jam band, and they took the jam to heights that it had not previously reached."
The Allman Brothers Band were considerably influential within the Southern United States. Their arrival on the musical scene paved the way for several other notable southern rock acts — among those Lynyrd Skynyrd, the Marshall Tucker Band and Wet Willie — to achieve commercial success, and also "almost single-handedly" made Capricorn Records into "a major independent label." Billy Gibbons of ZZ Top, writing for Rolling Stone, wrote that the group "defined the best of every music from the American South in that time. They were the best of all of us." He went on to call the band "a true brotherhood of players — one that went beyond race and ego. It was a thing of beauty." The band's extended popularity through heavy touring in the early 1990s created a new generation of fans, one that viewed the Allmans as pioneers of "latter-day collegiate jam rock." AllMusic praised the band's history: "they went from being America's single most influential band to a shell of their former self trading on past glories, to reach the 21st century resurrected as one of the most respected rock acts of their era."
In 2012, an official historic marker was erected on the site of the July 1970 Second Atlanta International Pop Festival near Byron, Georgia. The Allman Brothers Band had played two sets at the festival, which was a significant event in their career. The marker text reads, in part: "Over thirty musical acts performed, including... Macon's Allman Brothers Band on their launching pad to national fame." Official sponsors of the marker included the Georgia Allman Brothers Band Association, The Allman Brothers Band Museum at the Big House, and Hittin' the Note. In 2003, the band released a recording of their festival opening and closing performances, Live at the Atlanta International Pop Festival: July 3 & 5, 1970.
Awards and recognition
Grammy Award for Best Rock Instrumental Performance, 1996, "Jessica" (also famous for being the theme for Top Gear).
Grammy Lifetime Achievement Award, 2012
Inducted into the Rock and Roll Hall of Fame, 1995
Rolling Stone Magazine's "Greatest...of All Time" lists:
100 Greatest Artists of All Time (2004): No. 52
500 Greatest Albums of All Time (2003): No. 49 for At Fillmore East
100 Greatest Guitarists of All Time (2003):
No. 2 Duane Allman
No. 23 Warren Haynes
No. 58 Dickey Betts
No. 81 Derek Trucks
100 Greatest Guitarists of All Time (2011):
No. 9 Duane Allman
No. 16 Derek Trucks
No. 61 Dickey Betts
The Allman Brothers Band placed more emphasis on their live performances rather than albums. "We get kind of frustrated doing the [studio] records," said Duane Allman in 1970. Consequently, this listing includes all studio albums and major live releases (several other live releases have been issued retrospectively).
The Allman Brothers Band (1969)
Idlewild South (1970)
At Fillmore East (1971)
Eat a Peach (1972)
Brothers and Sisters (1973)
Win, Lose or Draw (1975)
Wipe the Windows, Check the Oil, Dollar Gas (1976)
Enlightened Rogues (1979)
Reach for the Sky (1980)
Brothers of the Road (1981)
Seven Turns (1990)
Shades of Two Worlds (1991)
An Evening with the Allman Brothers Band: First Set (1992)
Where It All Begins (1994)
An Evening with the Allman Brothers Band: 2nd Set (1995)
Peakin' at the Beacon (2000)
Hittin' the Note (2003)
One Way Out (2004)
Gregg Allman Band
The Allman Brothers Band Museum (the "Big House")
The Peach Music Festival
Wanee Music Festival
The Allman Brothers Band: Dreams liner notes
Allman, Galadrielle (2014). Please Be with Me: A Song for My Father, Duane Allman. New York: Spiegel & Grau. ISBN 978-1-4000-6894-4.
Freeman, Scott. Midnight Riders: The Story of the Allman Brothers Band, Little, Brown & Co. 1995.
Leavell, Chuck with J. Marshall Craig. Between Rock and a Home Place, Macon, GA: Mercer University Press, 2004.
Perkins, Willie. No Saints, No Saviors, Macon, GA: Mercer University Press, 2005.
Poe, Randy. Skydog: The Duane Allman Story, Milwaukee, WI: Backbeat Books, 2006.
Reid, Jan. Layla and Other Assorted Love Songs by Derek and the Dominos (Rock of Ages). New York: Rodale, Inc., 2006.
Reynolds, Dean. The Complete Allman Brothers Band Discography, 2000.
"The Allman Brothers Band". Rock and Roll Hall of Fame.
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Get Alison Krauss songs and albums from:
Alison Krauss (born July 23, 1971) is an American bluegrass-country singer, songwriter and fiddler. She entered the music industry at an early age, winning local contests by the age of ten and recording for the first time at fourteen. She signed with Rounder Records in 1985 and released her first solo album in 1987. She was invited to join the band with which she still performs, Alison Krauss and Union Station (AKUS), and later released her first album with them as a group in 1989.
She has released eleven albums, appeared on numerous soundtracks, and helped renew interest in bluegrass music in the United States. Her soundtrack performances have led to further popularity, including the O Brother, Where Art Thou? soundtrack, an album also credited with raising American interest in bluegrass, and the Cold Mountain soundtrack, which led to her performance at the 2004 Academy Awards. During her career she has won 26 Grammy Awards, making her the most awarded female artist, the most awarded singer, and the third most awarded artist overall in Grammy history.
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Get Michael Franti and Spearhead songs and albums from:
Michael Franti (born April 21, 1966, in Oakland, California) is an American poet, musician, and composer of African, Native American, Irish, French, and German descent. Franti is the creator and lead vocalist of Michael Franti & Spearhead, a band that blends hip hop with a variety of other styles including funk, reggae, jazz, folk, and rock. He is also an outspoken supporter for a wide spectrum of peace and social justice issues.
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Dispatch was an American indie/roots folk jam band formed at Middlebury College in Middlebury, Vermont. They were active from 1996 to 2002, and have come together three times for reunion concerts, first in 2004, again in 2007 and 2009, and finally in 2011. Dispatch experimented with a variety of genres, and as such, they are known as a very difficult band to categorize. The band was also instrumental in the creation of the non-profit organization The Elias Fund. Dispatch consisted of Brad Corrigan (vocals, drums, guitar, percussion, and harmonica), Pete Francis Heimbold (vocals, bass and guitar), and Chad Urmston (vocals, guitar, bass, and percussion).
Different styles and genres employed by the band include reggae (examples are "Mission", "Out Loud", "Open Up", "Passerby", and "Ride a Tear"), ska ("Bats in the Belfry" and "Railway"), folk ("Craze" and "The General"), funk ("Just Like Larry"), rock ("Even" and "Time Served"), Flamenco ("Steeples"), and hip hop ("Cut It Ya Match It").
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Get The Revivalists songs and albums from:
The formation of The Revivalists was all about chance, but everything since then has been a combination of hard work, awesome music, and friendship. The septet has been playing nonstop since 2007, crafting a genre-hopping sound that rounds out traditional rock instrumentation with horns and pedal steel guitar and mixes the divergent backgrounds of its individual members with the humid, funky undercurrents of the band's New Orleans home. The result is like English spoken with an exotic accent: familiar, yet difficult to pin down.
Religion aside, a revival is all about the tangible electricity that can only be created when enough like minds are crammed under a single roof for a singular purpose. It's a spiritual spectacle, a carnival of the divine, a whole greater than the sum of its parts. The same could be said for The Revivalists' searing live performances. The band has a knack for bringing music to life on a stage, and they have tuned their talents to Swiss-watch precision over years of relentless touring. Their bombastic showmanship is the outgrowth of a desire to connect with audiences on a personal level, and that intimate connection is what elevates their shows above simple entertainment.
True to their name, The Revivalists lean more heavily on the older styles and warmer sounds of the golden age of rock 'n roll, but the band isn't afraid to dabble in electronics and sleight-of-studio when it's right for the song. The group tends not to bother with questions like "does this sound like us?" or "does this fit with our other stuff?", instead allowing songs to define themselves and take shape organically, each on its own terms. Is this a dark, heavy rock manifesto driven by a steel guitar line that borders on electronica, or is it an airy, acoustic story about star-crossed lovers, rich in vocal harmony and sparsely arranged until the coda? This one's funky, that one's sweet, this one's heavy....
To The Revivalists, it doesn't matter. They just write songs that they want to play.
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Get Gov't Mule songs and albums from:
Gov't Mule (pronounced Government Mule) is a rock and jam band formed in 1994 as an Allman Brothers Band side project. They released their debut album Gov't Mule in 1995. Gov't Mule has become a staple act at music festivals across North America, boasting members from other notable bands.
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Get Mandolin Orange songs and albums from:
After the breakout critical success of Mandolin Orange's Yep Roc debut, 'This Side of Jordan,' you'd expect the relentless onslaught of touring that accompanied it to seep into the writing of the North Carolina duo's follow-up. You'd expect the sound to reflect long days on the road, long nights onstage, unfamiliar cities, countless miles. You'd expect the classic "road record." But you'd be wrong.
"All of these songs are definitely a product of being on the road," says multi-instrumentalist/singer Emily Frantz of Mandolin Orange's gorgeous new album, 'Such Jubilee,' "but they're not about the road."
"They're about home," explains songwriter/multi-instrumentalist/singer Andrew Marlin. "Not because we were missing it, but because when you're gone so much, you start realizing what you have and what's waiting for you. You realize there's this place to come back to at the end of the journey, and that's where a lot of these songs come from."
The road has been good to Mandolin Orange since the 2013 release of 'This Side of Jordan.' NPR called the album "effortless and beautiful," naming it one of the year's best folk/Americana releases, while Magnet dubbed it "magnificent," and American Songwriter said it was "honest music, shot through with coed harmonies, sweeping fiddle, mandolin, acoustic guitar and the sort of unfakeable intimacy that bonds simpatico musicians like Gillian Welch and David Rawlings." The record earned them performances everywhere from the iconic Newport Folk Festival to Pickathon, as well as tours with Willie Watson, Gregory Alan Isakov, The Wood Brothers, and more.
"When you play these festivals, you start meeting all these other people doing what you're doing," says Marlin. "There are so many musicians together in one place and you become part of this community. We got to hang out with Tim O'Brien and Peter Rowan and Norman Blake. Sitting down and talking to them and playing with them, you get to see the personal side of them rather than the hero side."
"With all the touring and festivals, you look around and realize, 'OK we're actually doing this now,'" adds Frantz. "We're not just trying to do it, it's what we do, and that ties into a lot of the themes on the record."
It's at the heart of album opener 'Old Ties and Companions,' which takes stock of such rewarding moments.
"A good friend of mine and I were talking about this time in our lives - we've got all these friends playing music and everybody's playing with everybody and trading songs and it's really special," explains Marlin. "But you don't know how long that's going to be around, so we don't take this time for granted."
"Old man give me endless time," he and Frantz sing in stirring harmony. "Never let these ties sever / Cause heaven knows in all this foolin' round these times won't last forever."
To make the most of such magical, ephemeral moments, the duo set up facing each other with just a vocal and instrumental mic each in Asheville's Echo Mountain studio for the 'Such Jubilee' sessions. It proved to be the perfect setup to capture the undeniable chemistry of their live performances.
"I think a lot of times when people set out to layer tracks on a recording, they want the rhythm or a click track first," says Frantz, who initially met Marlin at a 2009 bluegrass jam in Carrboro, North Carolina. "But we've just played together for so long that subconsciously we know where all the spaces need to be and what's going to fill in afterwards. When it's just the two of us in there, we don't have to orchestrate as much ahead of time because it all just falls into place so naturally."
On "Settled Down," Marlin looks at what it takes to find that level of comfort in a relationship, singing, "Moments, just fleeting times with little wings of gold / remind us of how real we find true love in every sign of getting older." "Daylight" looks for peace in long-term companionship and trust, "That Wrecking Ball" meditates on the sometimes ravaging passage of time, and album closer "Of Which There Is No Like" is a delicate, wistful duet about coming home, literally and metaphorically.
Not all of the songs are purely introspective, though. "Jump Mountain Blues" takes its name from a town in Virginia where Marlin spent weekends growing up. According to local folklore, a Native American girl threw herself off of the mountain rather than give up her true love to marry the man of her father's choosing. Marlin conjures up a haunting vision of the father, forced to watch her ghost rise and fall again every night when he looks at the peak. "Rounder" is written in the cowboy tradition and can be heard as a statement against capital punishment, while "Blue Ruin" was penned in response to the horrific violence at Sandy Hook.
"I was thinking about all those kids who wouldn't be there on Christmas morning," says Marlin. "People can get so heated and so serious about change and addressing gun violence when something that traumatic happens, but a month or two afterwards, they've all cooled down and it's not in the forefront of their thoughts anymore. But two years later, those kids still aren't around on Christmas morning and their parents are still dealing with that."
It's a weighty moment on an album that doesn't shy away from grappling with difficult topics: intimacy, death, distance, regret. 'Such Jubilee' is a record about home, both the place and the idea. Some days it's a safe, warm, loving refuge from the world outside. Other days it's cold and empty and too quiet. Either way, it's always waiting for you at the end of the road.
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Get Twiddle songs and albums from:
Twiddle, a Vermont based quartet, spins tall tales over an intricate soundscape of hi-def shred. Their fresh multi-genre approach conjures up jazz, classical, and bluegrass, but above all, masterfully blends reggae and funk. Obliterating laws of improvisation, their complex arrangements never fail to leave crowds lusting for more. With sage songwriting and unmatched variety, Twiddle's thrilling infancy will surely exceed all expectation.Content: http://twiddlemusic.com/band/
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Get Hollis Brown songs and albums from:
Born and bred in New York City, Hollis Brown embarked on a pilgrimage to Nashville to capture their authentic sound. They shacked up for two weeks in the backyard cabin/studio of producer Adam Landry (Deer Tick, Middle Brother), and found themselves. They recorded everything live, straight to analog tape. The result was a warm, vintage sound that displays the band's explosive live energy. Their new EP, Nothing & The Famous No One, takes the listener back to that cabin to experience the raw vibe, smell the smoke, and feel alive.
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Get Lukas Nelson and Promise of the Real songs and albums from:
Lukas Nelson & Promise of the Real - sometimes referred to as POTR - is an American rock group based out of California. The band consists of Lukas Nelson (vocals/guitar), Anthony Logerfo (drums), Corey McCormick (bass), and Tato Melgar (percussion). Lukas is the son of Willie Nelson.
Formation of Promise of the Real
Lukas Autry Nelson moved from Paia, Hawaii to Los Angeles in 2007 to attend Loyola Marymount University. In early 2008, Lukas met drummer Anthony LoGerfo at a Neil Young concert. Shortly after, the two began playing music together in Seal Beach, CA.
In October 2008 Lukas dropped out of college to pursue his music career full-time. Lukas called Anthony Logerfo (drummer), Tato Melgar (percussionist), Merlyn Kelly (bassist), and formed Promise of the Real.
Live Beginnings (2008 - 2009)
The band played their first shows in the fall of 2008. They begin selling their first EP "Live Beginnings" to pay for touring costs. The album contained live tracks recorded off the soundboard at the world famous "Belly Up" in Solana Beach, CA.
In January 2009, the band began a nine-show tour opening for Willie Nelson including a five night stop at The Fillmore in San Francisco. Next was a two-week tour with B.B. King through Colorado and Nebraska. Over the course of these dates, the band had completely sold out their stock of "Live Beginnings" CDs.
Brando's Paradise Sessions EP and Departure of Merlyn Kelly (2009)
In April 2009 Promise of the Real released their first self-released studio recording entitled Brando's Paradise Sessions EP. Lukas' brother Micah Nelson designed the artwork for the album and paints on stage with the band. The cover art became the basis for the band's signature Peace Sign logo. To date, Brando's Paradise Sessions EP has sold over 10,000 copies.
Founding bassist Merlyn Kelly left the band to pursue other interests in the summer of 2009 and the band used two bass players before finding Merlyn's permanent replacement. The band used long time friend and mentor, John Avila of Oingo Boingo, for numerous performances throughout 2009-10 as well as friend JP Maramba After a few months the band finally found their new full time permanent bassist, Corey McCormick. McCormick was an industry veteran, having performed with multiple bands and musicians including Chris Cornell of Soundgarden.
Promise of the Real and Touring Appearances (2010-2012)
On December 21, 2010, the band released their much anticipated first full length record, the self-titled "Promise of the Real." "Promise of the Real" was recorded in Austin, TX at Pedernales Studios in March 2010.
Cover art for the record was created by the 6 year old daughter of album engineer Steve Chadie. The remainder of the artwork was provided by Micah Nelson, which included a booklet of collected works created by Micah live on stage with the band.
The album consists of 12 official tracks and 1 bonus track. Throughout the record, the band's multi-genre influences can be heard on every track with a diverse collection of sounds and styles.
The album also pays homage to two of Lukas's main influences, Jimi Hendrix and Neil Young, through creative renditions of a "Pali Gap" / "Hey Baby, "and "LA" respectively. There's also a cover of the song "Peaceful Solution" co-written by Lukas's father Willie Nelson and sister Amy Niccore. Lukas's dad also offers backing vocals on "Sound of Your Memory" and "Fathers and Mothers." Lukas's aunt, Bobbie Nelson, plays piano on "Fathers and Mothers".
Lukas Nelson & Promise of the Real toured heavily across the US during 2011 while they promoted their recently released album "Promise of the Real." Over the course of the year, they played over 200 shows. Major festival appearances included Stagecoach, Farm Aid, Bridge School Benefit, Sturgis Buffalo Chip Campground, Willie Nelson's Country Throwdown Tour. 2011 also included the band's first national TV appearances on The Tonight Show with Jay Leno, Jimmy Kimmel Live! and the Late Show with David Letterman.
The band frequently opened shows for Willie Nelson again in 2012, and Lukas would then do double-duty and play with his dad's part of the show.
The band released their second full length studio album, Wasted, on April 3, 2012. Following the album's release the band embarked on a national tour beginning April 6 at Antone's Nightclub in Austin, TX.
Lukas and the band were also featured on an exclusive webcast through Yahoo Music that was shot at TRI Studios (Bob Weir's studio). The webcast aired on April 17, 2012 and has been viewed by hundreds of thousands of people. Along with the webcast, the band was featured as the homepage artist on Yahoo music.
On May 1, 2012, Live Nation announced that Lukas Nelson & Promise of the Real would be acting as direct support for John Fogerty on his coast to coast tour of Canada set September 8 – 29, 2012.
Willie Nelson's Heroes (2012)
Willie Nelson's album Heroes released on May 15, 2012 featured Lukas playing guitar and/or singing on 10 out of 14 tracks.
Willie and Promise of the Real performed a cover of Pearl Jam's Just Breathe live on Willie's Roadhouse channel on Sirius XM on May 15, 2012. Lukas and Willie also performed "Texas Flood" on Late Night with Jimmy Fallon on May 14, 2012.
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Get Sister Sparrow & the Dirty Birds songs and albums from:
Sister Sparrow & The Dirty Birds is a nine-piece powerhouse that puts a modern spin on classic soul. The band is led by Arleigh Kincheloe (Sister Sparrow), whose astoundingly powerful voice and sly demeanor make for a spellbinding presence onstage. She is backed by the mighty force of The Dirty Birds, a flock of eight men who masterfully lay down thundering grooves and soaring melodies. While each of the Birds are capable of lighting up the stage with jaw-dropping displays of musicianship, it's clear they're focused on delivering the band's infectious music as a single entity. Simply put, the band's live show is explosive.
Dynamic singer and front-woman Sister Sparrow first began penning tunes in the alleyways and back roads between New York City and the Catskill Mountains as a teenager. Though already aided and abetted by her harmonica-shredding brother Jackson, it was clear that a large, powerful band was needed to do justice to the songs she was crafting. The brother and sister team called upon their cousin Bram, a California-bred drummer of considerable prowess, to help them assemble a super-band of epic proportions. Bram brought in childhood friends JJ Byars (alto saxophone) and Ryan Snow (trombone), and Ryan called upon baritone saxophonist and close friend Johnny Butler. Later, the addition of trumpeter Phil Rodriguez completed the unstoppable force of the virtuosic Dirty Birds' horns. The rhythm section was filled out by tapping guitarist Sasha Brown and bassist Aidan Carroll, a tandem that proved to be the perfect engineers of the hard-driving, bare-knuckle grooves that propel this ferocious group.
It was evident from the start that the deep friendships among its members translated directly to the music they made together. While Sister Sparrow is the principal songwriter and unifying voice of the band, the Dirty Birds work collaboratively on arrangements. The result is musical creativity and diversity seldom seen in groups of this size and character. By the middle of 2009, Sister Sparrow & The Dirty Birds had packed New York's legendary Rockwood Music Hall every Saturday night, holding down a five-month-long residency that built them a reputation for being one of the funkiest, tightest groups in the city. Fueled by the band's boundless energy, every show turned into a wild dance party, and the Dirty Birds established a rabid following of fans eager to receive a potent dose of good times, delivered by the band night after night.
Within six months of their November 2010 debut release on Modern Vintage Recordings, Sister Sparrow & The Dirty Birds had opened for the Black Keys, the Neville Brothers, Dr. John, the Rebirth Brass Band, and the Soul Rebels Brass Band, among others. Through appearances at such festivals as moe.down, Strange Creek, Camp Jam, Sterling Stage, and late-night at New Orleans JazzFest, they continued to gain wider acclaim. In the spring of 2011, they embarked on an extensive national tour that continues through year's end and includes performances at Gathering of the Vibes and Bear Creek.
Sister Sparrow's commanding stage presence alone is more than enough to dazzle audiences, but the magic doesn't end with her: the band's palpable camaraderie, undeniable talent and passion for music makes for a contagious combination that is taking the country by storm. Sister Sparrow & The Dirty Birds' blend of seductive soul and dirty blues-rock reminds audiences why they love live music.
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Get Lukas Nelson songs and albums from:
Lukas Nelson and his band P.O.T.R. (Promise of the Real) are an American rock n roll group based out of California. Lukas first picked up the guitar at age 11 to honor a promise he made to his father and was able to teach himself the craft by playing along to classic Stevie Ray Vaughn and Jimi Hendrix songs. Now at age 24, Lukas is building his following the old fashioned way by touring year round and delivering high energy performances to fans across the country. Lukas Nelson and P.O.T.R. have performed over 400 shows in the past 3 years and have played with the likes of Neil Young, John Fogerty, Bob Weir, B.B. King, and Bob Dylan.
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Get The Dustbowl Revival songs and albums from:
The Venice, CA based The Dustbowl Revival features an ever-evolving group of over ten local folk musicians including mandolin, resonator guitar, washboard, drums, double bass, trumpet, tuba, clarinet, trombone, banjo, kazoo and more, bringing you on a tour of traditional American music with a thoroughly modern twist.
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Get Marco Benevento songs and albums from:
For more than a decade pianist/sound-sculptor/songwriter Marco Benevento has been amassing an extensive resume of composition and collaboration. His studio albums have set forth a vision for music that connects the dots between Explosions In The Sky and Tortoise on one side, Brian Eno and Brad Mehldau on the other, while in the live setting his performances reverberate with pulsating dance rock energy. The 34-year old artist takes the next step forward in this evolution with his latest album, TigerFace, on which he paints his songs in a myriad of sonic colors, shimmering with acoustic piano, synths and analog keyboards. The tunes themselves seemingly conceptualized from every wisp of melody, hook and cadence that's ever tickled his ear.
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Karl Denson's Tiny Universe (KDTU) is a jazz/funk/rock group from San Diego, California. Members include Denson, Chris Littlefield, Brian Jordan, Ron Johnson, David Veith, and John Staten. Former artists also include Zak Najor (drums), Andy Cleaves (trumpet), Eric Boulovar (drums), Craig Dawson (drums), and Alton 'Brooks' Parker (visualist). About KDTU are best known for their infectious and energetic live performances, which led the group to find a niche of enthusiastic fans among those who celebrate jambands such as Phish and Widespread Panic as well as progressive jazz groups such as Soulive and Medeski, Martin, and Wood. Some members of the Tiny Universe are also involved in the funktronica/Nu jazz group 'BluSirkut', and also in the funky jazz band 'On The One'. KDTU are road warriors. They spend the majority of any given year touring the country, most frequently in the West and Northeast but usually hit most cities along the way. They can also be found performing at numerous music festivals including Bonnaroo, High Sierra, Berkshire Mountain, Austin City Limits, and the Yggdrasil Festival. In addition, KDTU has released two albums, a self-titled album in 1999 and The Bridge in 2002. Band Members Bandleader, saxophonist, and main vocalist Karl Denson recorded with rocker Lenny Kravitz on his first two albums, Let Love Rule and Mama Said. After numerous world tours with Lenny, he parted ways seeking to pursue his jazz roots. This included recording four jazz albums on the German Minor Music recording label in a variety of configurations from trios to sextets. In addition to touring as a member of Fred Wesley's band he founded the premier San Diego jazz/funk act The Greyboy Allstars. Notably, Karl Denson also appeared in the 1988 movie, Coming to America, starring Eddie Murphy, as the saxophone player in the fictional band Sexual Chocolate, which features Murphy as singer Randy Watson. Trumpet and Flugel Horn player, Chris Littlefield, is based out of Seattle and replaced Andy Cleves in 2001. As an established artist and composer, Chris has worked with recording artists such as R.E.M., Chuck D., and Lee Oscar and shared the stage with countless other well known artists. Chris incorporates heavy use of effect processing as a new aesthetic for his instrument. Reminescent of Miles Davis and Randy Brecker's (Brecker Brothers) electronic periods, Chris is able to create soundscapes and textures that emulate analogue synthesizers and other electric instruments such as guitar and bass, which he employs extensively in the group 'BluSirkut'. Guitar player, Brian Jordan, has been the guitar player for "Karl Denson's Tiny Universe" (since 1999) and "Motherlode", Brian has also performed in projects with Zigaboo Modeliste of the "The Meters", Greg Errico and Cynthia Robinson of "Sly and the Family Stone" and Stephen Perkins of "Jane's Addiction" to name a few. Brian has also shared the stage and swapped licks with many luminaries such as James Brown, Dave Mathews, Lenny Kravitz, Bob Weir, The Allman Brothers Band, Fred Wesley, and Dr. Lonnie Smith. Bass player, Ron Johnson was first approached by Karl in 1997 before the Tiny Universe was born. However, he had to decline because of another project. Of course, when the phone rang again in 1999 Ron happily joined the group. Keyboard player David Veith has been with KDTU since it's inception in 1999. David has a studio in San Diego and has scored and produced several soundtracks for major films, most notably of which is his involvement with BluSirkut on the feature documentary 'Meeting David Wilson'. Drummer John Staten joined KDTU in 2002 and also tours with his own band, 'On the One'. External links Band Members * karldenson.com * Brian Jordan * Chris Littlefield * Ron Johnson Associated Bands * greyboyallstars.com * Karl Denson Trio * BluSirkut.com * ontheone.com
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NYC trio Consider the Source defy easy description. If intergalactic beings of pure energy, after initiation into an order of whirling dervishes, built some kind of pan-dimensional booty-shaking engine, powered by psychedelics and abstract math, it'd probably just sound like a CTS tribute band. Drawing from progressive rock, fusion and jazz, with alien sounds soaked in Indian and Middle Eastern styles, CTS blends disparate parts into a striking, utterly original whole. Dubbed "Sci-Fi Middle Eastern Fusion", the band's music strikes a rare balance between cerebral and emotional, intellectual and primal. A relentless touring schedule has won the band a fervent following from California to Israel, with fans ranging from jam-band hippies and jazz cats to corpse-painted headbangers and prog geeks.
Formed in 2004, Consider the Source features Gabriel Marin on fretless double-neck guitar, bassist John Ferrara, and drummer/percussionist Jeff Mann. Called "the guiding light for his generation of six-stringers", Marin channels the mystical fury of McLaughlin and Coltrane into wailing melodies, kaleidoscopic soundscapes and boneshaking riffs. With a background in classical musics both Eurpoean and Indian, and an instinct for avant-jazz and destructive metal, Marin's hypnotic fusion of styles is ever unpredictable. Ferrara's propulsive, percussive attack, equally suited to simple grooves and impossible chords, can ground the music or launch it into space. His madcap gumbo of slap bass, Indian rhythms, earthy minimalism and complex tapping constantly pushes into strange new worlds, whilst still dropping thick booty-clap beats. Underneath them lies Mann's rolling thunder; dense rhythmic architecture built from pure swagger and bounce. Half double-bass prog-metal, half crackle-pop Buddy Rich swing, with African and Balkan swirls, Mann's muscular, freewheeling polyrhythms are the engine fuel for Consider's multiversal mischief. Even when not improvising, Consider's music is always a conversation, a roiling stew of dynamic interplay. Each member of Consider the Source alternately leads and follows, spars and assists; in any single song, alliances are made and broken, bargains struck and divorces finalized.
Touring from coast to coast, as well as Europe and the Middle East, has not only earned the band thousands of fans, but has allowed them to perform with a wide variety of well-known artists, including Victor Wooten, Wayne Krantz, King Crimson Projekt, Kris Myers (Umphrey's McGee), Wyclef Jean, Andy Statman, Matt Darriau (Paradox Trio), Oteil Burbridge, Jacob Fred Jazz Odyssey, Dumpstaphunk, Keller Williams, George Porter, Jr., Jeff Sipe, Panzerballet (Germany), Eatliz (Israel), Freak Kitchen (Sweden), Morglbl (France), and many others. They have performed at numerous festivals and events, including Burning Man, Gathering of the Vibes, the NYC Fretless Guitar Festival, Catskill Chill, Sun Seekers Ball (Canada), Aura Music & Arts Festival (Florida), Jazz Fest (New Orleans), Head For The Hills Festival & SXSW (Texas), Rootwire (Ohio), and the NYC Gypsy Festival. The band's latest release, "World War Trio (Parts 2 & 3)" (2016) is available at considerthesourcemusic.bandcamp.com.
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Wild Adriatic (also known as WA) is an American rock band formed in Saratoga Springs, NY in 2011. They released their self-titled debut EP in 2011, followed closely behind by two more EPs. Their first full-length album, Big Suspicious was released in January 2014. In May 2015, they released their latest EP Never Enough, which features a cover of Ain't No Sunshine by Bill Withers and their first single Strange Persuasions.
Early Years (to 2011)
The genesis of Wild Adriatic came about in several parts. Initially, singer and guitarist Travis Gray and drummer Mateo Vosganian were both members of a high school age pop-punk group called Horse In A Box. After the band members graduated Queensbury High School in 2004, the members parted ways in 2005 and went on to form other projects. Gray would continue to tour locally with another pop-rock act and Vosganian moved to Los Angeles to continue working with college friends. The two ended up back in the same town of Saratoga Springs, NY shortly after Gray's band (then called Travis Gray & The Frontiers) decided to shake up their image, change the name, and adopt a more rock & roll sound, eventually becoming the band that would be Wild Adriatic.
At the time that Gray decided to push towards a more rock and roll, band-based format, the band consisted of Gray on lead vocals and guitar, guitarist Shane Gilman, bassist Matthew Dobbs, and drummer Scott Francisco. After a trip to Italy, Gray ended up with his feet in the Adriatic Sea and that stuck with him when he returned to the US, deciding the band would be renamed Wild Adriatic.
The band quickly recorded their debut EP (The Lion released February 5, 2011), and then drummer Scott Francisco left the group. Vosganian was called in and after one rehearsal the band moved forward, playing numerous shows throughout the Albany, Saratoga, and Glens Falls regions. As writing sessions began to ramp up for what would be the band's second EP, bassist Dobbs ended up leaving the group in July 2011. After auditioning 10+ different area bassists, Vosganian found himself on a long drive with current bassist Rich Derbyshire lamenting the difficulties the band was having finding a bass player. Looking for a more serious band to work with, Derbyshire offered to learn the songs on bass and come audition the following week having never played the instrument before.
Lock & Key and Big Suspicious (2012-2014)
With Derbyshire on bass and a solid touring line-up, Wild Adriatic self released the Lock & Key EP on April 27, 2012. A busy 2012 and 2013 of touring throughout the Northeastern United States earned the band accolades from Relix Magazine and they were voted "Best Rock Band" by the Capital Region weekly newspaper Metroland.
During very early writing sessions for the band's debut album Big Suspicious, consistent writing conflicts between Gilman and the rest of the group eventually ushered in a split in June 2013. Initially, the three remaining members Gray, Vosganian, and Derbyshire looked for a replacement but ended up deciding to continue forth as a power trio, with Gray picking up all of the guitar duties. After relieving Gilman of his duties, the band was left with just 4 days of rehearsal before their first tour as a trio.
After expanding their touring reach to the Eastern half of the United States, supporting bands like Black Taxi, Blues Traveler, and Deer Tick, the band was invited to open the main stage at 2013's Gathering of the Vibes festival. In September 2013, the band entered Edie Road Studios in Argyle, NY to record their debut full length.
A self-produced effort helmed by vocalist/guitarist Travis Gray, Big Suspicious was recorded and mixed in 3 weeks, assisted by longtime high school friend Jacob Lavin. This album saw a more focused publicity push, landing premieres with Rolling Stone, USA Today, Huffington Post, and beyond. The album officially saw its release on January 21, 2014 and debuted at #66 on the CMJ Top 200 radio chart, the highest charting self-released album on the charts at that time.
Touring in support of the album, the band managed to play 176 shows in 2014, including slots at moe.down 2014 and 6 unofficial shows at SXSW. The groups very first European tour took place over 5 weeks in November and December 2014, landing the band rave reviews all over Spain, Germany, Belgium, and beyond.
Never Enough (2015)
Early 2015 saw the band consistently on the road across the US, ending their winter with a 6 week residency in Austin, TX leading up to SXSW, in addition to being featured in a theatrical commercial for Dolby Laboratories. All ramping up to the release of "Never Enough," Wild Adriatic's third EP/CD release, on March 17, 2015. The 5 song disc features the new single "Strange Persuasions" and saw its release on March 17, 2015 at the SXSW Festival. From there the band picked back up on with their hard-touring schedule, making stops at Bonnaroo, Summer Camp, and beyond. The band returned to writing sessions in Fall 2015, renting houses and studio space in Wilmington, VT and Argyle NY, with focus on releasing a sophomore full-length album in Summer 2016.
The future (2016 and Beyond)
January 2016 will see the release of the bands first full-length live album, to be recorded over a two night stand in Albany, NY on October 30 & 31, 2015 as well as the band's first voyage on The Rock Boat, a yearly rock and roll cruise sailing out of Miami. The group also announced their return to Europe for a 4 week headlining tour in April & May 2016.
The band often references classic artists like Led Zeppelin, Queen, Bill Withers, Mountain, Foreigner, early Rush, Free, and the Beatles as influences. More contemporary influences like the Black Keys, Mutemath, My Morning Jacket, Keane, Wolfmother, and Alabama Shakes have also been referenced. In recent years, the band has made a noted push towards developing the soul elements of their sound, citing artists such as Otis Redding, Bill Withers, and Marvin Gaye as large influences.
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Tyler Ramsey's hometown of Asheville, North Carolina features a music scene where a tight-knit community of players always share the stage, and no one is in just one band. Amid all the recording studios, listening rooms and PBR-fueled bars of Asheville, Tyler stands out as a formidable talent on guitar, piano, bass, percussion, and vocals. Ramsey is best known for his guitar work. Crafting delicate, finger-style guitar picking reminiscent of John Fahey and Leo Kottke, but with a sum effect that is all his own. Indie folk, Country Blues, Finger style guitar - Ramsey is a composer of intricate, ethereal songs of melancholy and rumination. Tyler has spent his life perfecting and honing his sound. It's been a journey that has taken him through many different genres of music, numerous and varied bands, and all around the world. While living in the mountains of Western North Carolina he immersed himself in the varied folk styles of the area. Inspired by the traveling country blues musicians that used to pass through the mountains, Tyler spent his time experimenting with his piano and guitar playing while continuously honing his craft as a songwriter and instrumentalist. He is always willing to sit in with friends or jump on board a promising project, no matter what the musical style. He's toured the country with many projects, but these days, Ramsey is making his own material top priority. "My solo work has always been my focus," he admits. "Even during those times I spent contributing to other bands." Ramsey is quick to admit that being in front of a receptive audience is way up on his list. Possibly second on the list, a definite true love, is holing up in a studio. Tyler's latest record was tracked at Echo Mountain in Asheville. The studio with its beautiful stained glass windows and impressive gear list provided Tyler all the tools he needed to fully realize his songs. The overflowing pool of musicians in town also allowed for all manner of friends and players to stop by to contribute. "Being in that environment where you can do anything with the songs you have created is amazing," he enthuses. In 2008 Tyler Ramsey toured with Band of Horses where he played his own songs as the opening act and as a member of Band of Horses.
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Michaela (Hebrew מיכאלה) is a feminine given name. It is a feminine form of the Hebrew name Michael (מִיכָאֵל), which means "Who is like God?"
It was rare in any country until it became fashionable in Germany, Austria and Switzerland in the 1950s to 1970s.
As of 2008, it was 357th in rank for newborn girls in the United States, and 325th in England and Wales.
In Germany, Slovakia and Poland, the name day for Michaela is 24 August and 29 September and in Czech Republic, the name day for Michaela is October 19.
There are numerous variant spellings. Equivalents in other languages include:
Micaela, Miguela (Spanish)
Michelle, Michèle, Micheline (French)
Mikayla, Makayla (English)
Miykhaela (First Nation-Canadian)
Михаела (Bulgarian, Serbian)
Notable people with this name
Michaela Badinková (born 1979), Slovak actress
Michala Banas (born 1978), New Zealand actress best known for the TV series McLeod's Daughters
Micaela Bastidas Puyucahua (1747–1781), martyr for Peruvian Independence
Michaela Bercu (born 1967), Romanian-Israeli model
Michaela Conlin (born 1978), U.S. actress in Bones
Michaela Denis (1914–2003), British-born film-maker
Michaela Dorfmeister (born 1973), Austrian skier
Michaela Kargbo (born 1991), track and field athlete in Sierra Leone
Michaela Kirchgasser (born 1985), Austrian skier
Michaëlla Krajicek (born 1989), Dutch female tennis player, sister of Richard Krajicek
Michaela McAreavey (1983–2011), Ulster Rose of Tralee 2004 and daughter of Mickey Harte
Michaela McManus (born 1983), American actress in Law & Order, SVU
McKayla Maroney (born 1995), U.S. gymnast
Michaela Teresa Murphy Odone (January 10, 1939 – June 10, 2000), discovered a cure for ALD along with her husband, Augusto
Michaela Paštiková (born 1980), Czech tennis player
Michaela Schaffrath (born 1970), German television actress
Mikaela Shiffrin (born 1995), U.S. skier
Michaela Strachan (born 1966), British television presenter
Michaela Watkins (born 1971), U.S. actress
Uses in popular culture
″Michaela″, 1999 German song by Element of Crime
"Michaela", 1972 German song by Serbian singer Bata Illic
"Michaela", 2003 Hebrew song by Ron Shuval and Yoav Itzhak
Michaela, 2004 Israeli television series (מיכאלה)
"Michaela Strachan", 2007 Australian song by Scouting for Girls
Michaela at "Behind the Name"
Duden: Lexikon der Vornamen. 2004.
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Fifteen-year-old Brandon Niederauer, nicknamed "Taz" for his ferocious guitar playing, is living proof that dreams really do come true. Having performed in some of the most legendary venues in America with many of the most prominent musicians of our time, the young guitarist, singer, and songwriter has already earned himself quite the reputation.
It all started at eight years old, when Brandon watched the movie School of Rock. Already inspired by his father's record collection, Brandon instantly realized he was destined to play guitar. From that moment on, his guitar rarely left his hands. Just four years later, Brandon was cast in the principal role of guitarist "Zack Mooneyham" in the Tony Award-nominated Andrew Lloyd Webber Broadway production, School of Rock the Musical.Source: https://www.tazguitar.com
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To understand Bella's Bartok, imagine what you would get if Salvador Dali and Toulouse Lautrec were fronting the Moulin Rouge's house band, and you have the exuberant spectacle that is Bella's Bartok. Described as "about as much fun as you can have with your pants on" (Dan Wolovick, Two Way Monologues), this 6-piece powerhouse melds Bohemian Klezmer Punk with pop sensibilities into an eminently danceable party. The diversity of musicians that make up Bella's Bartok, combined with their boundless energy on stage, has been known to break a dancefloor, or two (or three, but who's counting?). Their sound moves way beyond labels, pushing the envelope towards the darker side of Eastern European music, referencing vaudeville and 20th century eclecticism.
The Bella's Bartok line-up includes: Asher Putnam (Vocals, Bass, all-around entertainer), Dan Niederhauser (Guitar and Vocals), Amory Drennan (Trombone/Banjo and Vocals), Crisco (Drums/Percussion and Trumpet), Gershon Rosen (Trumpet), and Alex Kogut (Accordion, Keyboard). The band has shared the stage with musicians and acts such as Rubblebucket, Red Baraat, The Indigo Girls, Larry & His Flask, The Suitcase Junket, Parsonsfield, And the Kids, Kanye, Rough Francis, Beau Sasser's Escape Plan, West End Blend, Adam Ezra Group, Meat Puppets, World Inferno/Friendship Society, Rupa & the April Fishes, Arc Iris, and many more.
With multiple awards under their belts, including The Valley Advocate's Best Band in the Valley 2014 and The Deli Magazine's Best of New England (twice!), this eclectic group of guys have carefully crafted a sound that is part strange and creepy, part pop gold. With an aura of theatricality, Bella's Bartok shows not only entertain, but they invite you to partake in the wild party they are having on stage, to involve yourself in the spectacle. Quite simply put- this is the band you should never miss, ever.