BottleRock Festival 2017 - Friday

Photo

May 26, 2017

All Day

575 3rd Street
Napa, CA 94559

Map

Performers:

  • Macklemore & Ryan Lewis
  • The California Honeydrops
  • 15 More
    • La Santa Cecilia
    • The Staves
    • Modest Mouse
    • Fitz and The Tantrums
    • Bob Moses
    • Josh Kelley
    • Silversun Pickups
    • Catfish & The Bottlemen
    • Frightened Rabbit
    • Galactic
    • Jessica Hernandez and the Deltas
    • Hiss Golden Messenger
    • Saint Motel
    • Warren G.
    • gnash

More Info

Performer Info

The California Honeydrops: Digging deep into the roots of American music, The California Honeydrops embrace the traditions of Blues, Gospel, Second Line New Orleans Jazz, and early R&B. With stellar performances of traditional material as well as their own innovative music, The California Honeydrops get people out of their seats and onto the floor, dancing and singing along. .. Formed in November 2007, The California Honeydrops first performed on the streets and in the subways stations in Oakland, California. Playfully crossing genres from Roots and Blues to R&B and soul, The California Honeydrops’ sound is tied together by soulful vocal harmonies, colorful shouts from brass and horns, and a funky, good-times New Orleans rhythm section. They quickly gained a reputation as the best party in the Bay Area. .. Born in Warsaw, Poland, band leader and front man Lech Wierzynski began playing blues and jazz as a teenager at after-hours jam sessions in Washington D.C. After studying trumpet with Marcus Belgrave (Ray Charles), Lech continued his career after moving to Oakland. Honing his craft with some of the biggest names in American music, such as Maria Muldaur, Dan Hicks, and Jackie Payne, Lech has grown equally as a trumpeter, singer, and guitarist. .. The vibrant rhythm section of The California Honeydrops is fueled by piano veteran John Cocuzzi (Jimmy McCracklin, Doc Cheatham, Floyd Dixon), and drummer Ben Malament (Terry Reid, The Marvelettes, The Jelly Roll Souls). Adding an unprecedented energy is saxophonist Johnny Bones (Eddie Palmiere, Nell Carter, Steve Lucky and the Rhumba Bums). .. .... .. ..A Breath of Fresh Air... - Zigaboo Modeliste (The Meters) .. ..This is funky, good time music from the roots in New Orleans to the dance floors of today. It's irresistable, it's timeless... - Angela Strehli .. .....The influences from this band are heavily rooted in artists from the Stax theater, New Orleans horny funk, crossroad country Blues, and woodshed honky tonks...The openness & youthfulness of the music takes you back to a time when music was made for fun and not for monetary gain..... - Kyle Palarino, BluesWax.com .. .....The “drops of honey in California” finely move between blues, swing, jazz, and atmosphere flashes of soul. All this mixed with music and joy..... - Michele Manzotti, Il Popolo del Blues (Firenze, IT), Ilpopolodeblues.com .. .....An amalgam of blues, jug band sounds, vintage jazz, rock-n-roll, and classy R&B. Good timin’ music par excellence..... - Norman Darwen, Blues & Rhythm - The Gospel Truth (Leeds,UK), Bluesandrhythm.co.uk .. .....The California Honeydrops, from Oakland, are the most refreshing act to roll down the blues highway in some time. Few groups before them have melded so many strains of African American music into such a seamless whole..... - Lee Hildebrand, Living Blues Magazine, Livingblues.com .. .....Oakland’s The California Honeydrops, find themselves firmly rooted in the African-American music tradition...unique arrangements make their debut CD SOUL TUB!, hard to place in genre and time. “Miss Louise” jives like a lost Chuck Berry with a soaring trumpet line...”All You Got To Do” delivers some sad soul with off-kilter harmonies straight from the pews..... - Ali Green, Elmore Magazine, Elmoremagazine.com .. .....The California Honeydrops!They are the bomb, and I am the lucky one who gets to introduce them to a national audience. They will make me sound good. It is a very cool disc..... - Bill Wax, Proprietor of Low-Fi’s Bar & Grill, Sirius/XM, “Juke Joint” w/ Bill Wax (M-F, 3-6pm Eastern), Request line:1866-267-0454 .. .....The California Honeydrops music is pleasure between the tradition and soul music..... - Silvano Brambilla, “Juke Joint” Radio Citta Bollate (Milan, IT), www.radiocittàbollate.it. .. .....THE CALIFORNIA HONEYDROPS are an amazing band ! I like this fresh mixture of jazz, blues, soul in all the CD. Soul tub is CD of the week for my weekly blues radio show..... - Marc Loison, “Sweet Home Chicago” , Radio 666 (Bonnemaison,FR), http://blues.radio666.com .. .....within 30 seconds of airplay of 2 “Rain”- phone lines went crazy!... .. - Rose Robinson, “Blueslady’s Time Machine”, KFAI, Minneapolis, MN, www.kfai.org .. .....Honeydrops getting da ship played out of it! Good shit!..... - Robb Morrison, KTHR, Wichita, KS .. .....a refreshing change of pace from the norm….. - Leroy Alvarez, WNMC, Traverse City, MI .. .....Great stuff, I love it!..... - Roger Gatchet, KVRX, Austin TX .. ....Fantastic recording..... - Dave Watts, WORT, Madison, WI .. .....Oh, yeah..... - Norma Martinez, KTEP, El Paso, TX .. .....out standing disc..... - AJ Ketchum, WRFG, Atlanta, GA .. .....Great music! I want to see this band “live”..... - Greg “Doc” Lefebre, WGMC rochester, NY .. .....We were lucky enough to host The California Honeydrops in July. We were astonished by their amazing performance, not to mention attendance. It was a rocking house! We will happily host them again..... - Erik Siebert, Yoshi's Jazz Club, Oakland, CA, http://www.yoshis.com

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La Santa Cecilia: .."Through heartfelt music, homemade art and consistent live performances, La Santa Cecilia continues to connect with their fans – many of whom feel the band represents exactly who they are: a new generation of cultural hybrids whose creativity has no boundaries." . .... La Santa Cecilia exemplifies the modern-day creative hybrid of Latin culture and world music. The six-member group creatively combines up-tempo Pan American rhythms like Cumbia, Bossa Nova, Rumba, nostalgic Boleros, passionate Tango, Jazz, Rock and Klezmer music. Lead vocalist Marisoul, whose voice captivates you for days after you’ve heard it, intensifies the group’s sound with bitter sweet songs of Love, loss and heartbreak. They draw inspiration from all over the world and are proud to be from a city that has given birth to such bands as the Doors, Red Hot Chili Peppers, Metallica, Ozomatli, and Los Lobos. Like most of these bands they have been able create an all encompising sound, while maintaining their own unique identity as an up and coming Los Angeles breakthrough. Ultimately, the experience of their colorful performance leaves fans and new listeners, mesmerized. .... The Bands colorful Elements:

The group consists of guitarist Gloria Estrada, accordionist and requintero Jose Carlos, bassist Alex Bendana, percussionist Miguel Ramirez, drummer Hugo Vargas and lead singer Marisoul.† Their influences range from Miles Davis, The Beatles, Led Zeppelin, Janis Joplin, Annie Lennox, Mercedes Soza and Ramon Ayala to name of few. The group’s common love of music and openness to all genres led to the concept of La Santa Cecilia in 2007 – named after the patron Saint of Musicians. .... La Santa Cecilia’s six-song EP was recorded in Lo-Fi Studios in San Bernardino and Westlake Recording Studios in Hollywood, where legendary musicians such as Stevie Wonder, U2, Ozzy Osbourne and Selena have recorded. The band’s unique sound includes the seductive carnival-in-a-song “SambaQue” and the provocative and spiteful “Se Va”.† Their music has been featured in television and film: on the Emmy award-winning Showtime series “Weeds”, the Brian Krinsky independent feature “Dish”, the documentary "Re-Encounters" about Oaxacan artist Alejandro Santiago, and on KPFK's "4 O'clock Tuesday" with Gustavo Arellano and ‘Travel Tips For Aztlan’ with Mark Torres.† .... The band has captured audiences at local and international venues, such as: Grand Performances at The California Plaza, Ford Amphitheater, Levitt Pavilion, the Skirball cultural Center, the Japanese American Museum, The California African American Museum, the Los Angeles Accordion Festival, the Los Angeles Latino International Film Festival, the annual Dia De Los Muertos Festival at the Hollywood Forever Cemetery, the Diego Rivera Museum in Mexico City, and other venues throughout California. .... Creativity expanded: Album artwork & Pins In these days of digital music and mass production, La Santa Cecilia has a found a way for their fans to take a homemade treats in the form of EP artwork. The band’s CD covers are hand-painted by friends, band members, and even some fans during painting parties that allow everyone to become part of the creative process. No two CD covers are the same. The combinations of colorful yarn, images and designs (now from recycled newspapers and magazines, making the product environmentally-friendly) are endless and have become a signature for the band; not to mention the highly imaginative unicorns, donuts, cacti, sombreros and smiley-faced condoms shaped pins. ....

LSC One-line song descriptions • Jack the English language song is reminiscent of a lamenting lover wondering endlessly through a lonely country road - tumbleweeds and saloons included. .. • El Farol: Seductive accordion lines, ranchera-style guitar strumming, and afro-Cuban drumming create a beautiful backdrop for a story about discovering love, and the incontrollable feelings that come along that. .. • Samba Que is a carnival of energy, sound, color, and dance. .. • Chicle is a feel good danceable norteña about turning a deaf ear to traditional folk wisdom and learning to value your own story. .. • Se Va is a song about waking up and living your dreams without regret. .. • Klezmer: a declaration of the bands motives, desires, and intensity packed into an in your face punky klezmer. .. Discography La Santa Cecilia EP 1. Klezmer 2. Chicle 3. Jack 4. El Farol 5. Se Va 6. SambaQue ......

La Santa Cecilia es la máxima expresión de lo que es un híbrido de creatividad. En una época y una ciudad en que la cultura latina ha sido madre de varias fusiones musicales, el grupo de seis integrantes oriundos de Los Ángeles combina con mucha creatividad divertidos rítmos de Suramérica como la cumbia y la bossa nova con otros nostálgicos o pasionales como el bolero y el tango. La Santa Cecilia combina percusión afro cubana con el sonido de la trompeta jazz, logrando así un estilo que desafía cualquier etiqueta o género en particular. El sonido que es su sello se acentúa con la voz sensual de la cantante Marisoul, cuyo mensaje de amor, pérdida y dolor llega envuelto en la poderosa y encantadora presentación de la vocalista, quien hipnotiza a los hombres y motiva a las mujeres con cada jarana. .... El Nacimiento de una Santa Los integrantes de La Santa Cecilia se conocieron de varias formas – algunos en la escuela, otros en fiestas familiares y tocadas – mientras que otros han sido amigos por años. Sus influencias se extienden desde John Coltrane y Miles Davis hasta The Beatles y Led Zeppelin. Pero todos tienen algo en común: cada uno de ellos ama la música. Este punto de afinidad dio cabída a un concepto grupal en 2007, año que vio nacer a La Santa Cecilia (nombre de la santa patrona de la música). El grupo está compuesto por Gloria Estrada (guitarra), José Carlos (acordeón y requinto), Alex Bendana (bajo), Miguel Ramírez (percusión), Hugo Vargas (batería) y Marisoul (vocalista). .... La relación que cada miembro tiene con la música es tan diversa como la música misma. José Carlos y Marisoul son autodidactas mientras que Alex, Gloria, Hugo y Miguel estudiaron música en la universidad. Gloria ha ganado un concurso de jazz y Miguel ha formado parte del primer grupo afro latino que viajó a Cuba a tocar y estudiar. Alex está por terminar una maestría en música comercial. Hugo tuvo un grupo con su hermano y José Carlos se encaminó en la música gracias a su padre. Marisoul - una cantante apasionada y carismática cuyas influencias incluyen desde la estrella de pop mexicano Yuri y la argentina Mercedes Sosa a la rockera Janis Joplin y Annie Lennox - se encaminó en esta carrera inspirada por la voz de su madre y el amor que su padre le tenía a la musica. Ella aprendió lo suyo escuchando a los músicos de la Calle Olvera, el centro de la cultura y el arte mexicano en Los Ángeles. La letra que compone es producto de la vida, el amor y los discursos que su padre y amigos recitan al emborracharse. .... El disco de seis canciones de La Santa Cecilia fue grabado en los estudios Lo-Fi en San Bernardino y Westlake Recording Studios en Hollywood, donde las leyendas de la música, como Stevie Wonder, U2, Ozzy Osbourne y Selena han grabado anteriormente. Su rítmo único e inovativo incluye el divertido tema “SambaQue” al igual que “Se Va”, una canción llena de despecho. Su música ha figurado tanto en cine como televisión: ha salido en la serie “Weeds” del canal Showtime (ganadora del premio Emmy), al igual que en “Dish” (cinta del director Brian Krinsky), “Re-Encounters" (documental sobre el artista Oaxaqueño Alejandro Santiago), "4 O'clock Tuesday" (programa de la estación de radio KPFK, con el conductor Gustavo Arellano) y “Travel Tips For Aztlan" con el presentador Mark Torres. .... El grupo se ha presentado en el Museo Japonés Americano, el Museo Afro Americano de California, el Festival del Acordeón, el Festival de Cine Internacional de Los Ángeles, y el Festival del Día de los Muertos en el Cementerio Hollywood Forever, entre otros locales y eventos. .... La Creatividad al Máximo: El Arte del Álbum & los Prendedores En esta época de música digital y producción en masa, La Santa Cecilia ha encontrado una manera para asegurar que sus admiradores se lleven a casa un regalo. El grupo, sus amigos y hasta uno que otro admirador se reúne a pintar las carátulas de cada disco a mano con un diseño único antes de cada show, dando cabida a que todos participen en el proceso creativo. Ninguna carátula se repite: el sinfín de las colorídas combinaciones de lana, imagines y diseños (que ahora provienen de revistas y periódicos reciclados, resultando en un producto eco amigable) se ha convertido en la marca de individualidad del grupo. .... La Santa Cecilia ha llevado éste concepto más allá al expandir las manualidades para también incluir prendedores diseñados para sus presentaciones en vivo. Con imágenes de unicornios, donas, cactus, sombreros y hasta condones con caritas felices, hechos de fieltro, espuma y tela reciclada, los prendedores se han convertido en otro sello del grupo y en un regalo asequible para los admiradores que los coleccionan en cada presentación. El grupo se toma fotos con todos los que compran un prendedor y esa persona luego es agregada a los Amigos de los Prendedores en la página web de La Santa Cecilia en MySpace. .... Con música llena de sentimiento, arte hecho en casa y presentaciones consistentes en vivo, La Santa Cecilia continúa conectándose con sus fanáticos, muchos de los cuales se sienten representados por una banda que es el ejemplo de una nueva generación de híbridos culturales cuya creatividad no tiene límites. .... LSC Descripción de canciones:

.. Jack: el idioma inglés nos hace pensar en un amante que se lamenta y que deambúla sin fin por un camino desolado, como los de las películas de vaqueros. .. El Farol: Líneas seductivas de acordeón, la tocada de la guitarra al estilo ranchera y percusión afro cubana se unen para crear un bello fondo para una historia sobre el descubrimiento del amor y los sentimientos incontrolables que esto conlleva. .. Samba Que es un carnaval de energía, sonido, color y baile. .. Chicle es una norteña bailable que inspira sentimientos positivos y habla sobre la importancia de ignorar la sabiduría de antaño y optar por aprender a valorar la historia propia. .. Se Va es una canción sobre despertar y vivir tus sueños sin mirar atrás. .. Klezmer: una declaración de las motivaciones y los deseos del grupo mezclado con la intensidad que hay en una canción punkera al rítmo klezmer. .... Discografía: La Santa Cecilia EP.. Klezmer.. Chicle.. Jack.. El Farol.. Se Va.. SambaQue.. View La Santa Cecilia's EPK ..

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Modest Mouse: Modest Mouse has been indie rock's most exciting band since they formed in 1993. Modest Mouse tour dates are currently scheduled this 2011 and will have the Washington rockers touring throughout the States and Australia. Act quick, shows are limited and tickets are selling out fast; Use Eventful as your source for Modest Mouse tour dates and concert schedule (2011) information.

Modest Mouse released their first EP, Blue Cadet-3, Do You Connect?, in 1994, however, it wouldn't be until 2000 that the band would achieve mainstream success. In 2000, Modest Mouse released their Epic debut, The Moon & Antarctica. The album reached #131 on the Billboard 200 and was a critical success. Their single, "Gravity Rides Everything", was featured in a Nissan commercial and Modest Mouse tour dates were scheduled alongside Cake and The Flaming Lips on the Unlimited Sunshine Tour.

In 2004, Modest Mouse released their breakthrough album, Good News for People Who Love Bad News. The singles, "Float On" and "Ocean Breathes Salty" propelled sales of the album and earned the band their first Platinum plaque. The disc was nominated for a Grammy for Best Alternative Rock Album and Modest Mouse toured the world. They followed up with, We Were Dead Before the Ship Even Sank, which was released in 2007. The album debuted at #1 on the Billboard 200 and the band embarked on a national tour with R.E.M. More recently, Modest Mouse has been in the studio with Big Boi of Outkast fame and are working towards finishing their hotly anticipated fifth album. Until then, check out Modest Mouse tour dates when they arrive to a venue near you. Stay on top of Modest Mouse's concert schedule (2011) using Eventful as your Modest Mouse tour calendar.

Fitz and The Tantrums: Fitz and The Tantrums are bringing the Motown sound back to modern music. The band's frontman, Michael Fitzpatrick, has described his music as "soul-influenced indie pop" and also reiterated that the sound is similar to Motown Records, but that he's not trying to recreate it. In no way is a resemblance to Motown music a bad thing; in fact, it's one of the many reasons that Fitz and The Tantrums have struck a pleasing chord with fans and critics alike.

Michael Fitzpatrick - or Fitz - had been working as a singer and songwriter in Los Angeles for a few years, without any major claim to fame. One fateful day, Fitz received a call from his ex-girlfriend, whose neighbor had to move out quickly and was selling most of his things, including an old church organ. After hiring and pleading a group of people to move it into his living room, Fitz sat down at the organ and was struck by wave after wave of inspiration. "Breakin' The Chains of Love" was the song that first flowed from the organ and became the single off of his first EP, Songs For a Break Up, Vol. 1. While he liked the electric guitar on the track, Fitz felt it was the saxophone that shone through brightest, giving him the idea to create songs without any guitar at all (excluding a funky bass). Before recording, Fitz had to find some Tantrums; he recruited the sultry voice of Noelle Scaggs (former singer for The Rebirth, whom he produced), drummer John Wicks, keyboardist Jeremy Ruzumna (former musical director for Macy Gray), saxophonist James King (who has backed De La Soul), and bassist Joseph Karnes. He recorded all the songs for the EP in his living room in 2009, and the album slowly began to spread to the east coast. It made its way to New York, where the EP found its way into the hands of a tattoo artist who was inking Maroon 5 frontman Adam Levine. The artist urged Levine to listen to the album and the singer was immediately impressed, personally inviting Fitz and The Tantrums to open for Maroon 5 on their 2009 tour.

Fitz and The Tantrums was signed to Dangerbird Records in 2010 and shortly after released their first full-length album, Pickin' Up The Pieces. The album became a huge success, including the single "MoneyGrabber," and brought Fitz and his Tantrums a fair amount of fame. The group's sophomore album, More Than Just a Dream, was released in 2013 and featured the hit single, "Out of My League". Not only did the single reach the top of Billboard's Alternative Chart, the album itself peaked at #26 on the Billboard 200. The following year, Fitz and The Tantrums attended the Austin City Limits Music Festival, giving acclaimed performances across both weekends.

The band's third, self-titled album was released in 2016, and its lead single, "HandClap", experienced heavy rotation on radio stations around the world. The next year, Fitz and The Tantrums supported OneRepublic on their Honda Civic Tour.

Bob Moses: Canadian grown (legally), New York formed duo Jimmy Vallance and Tom Howie are one of the latest acts to release on the boutique label Scissor and Thread. Although only cordially discussing music and life in the same high school art class in Vancouver BC, it wasn't until several years later that they bumped into each other at a Lowe's parking lot and teamed up to make the act now known as Bob Moses.

Music that will make you want to build a highway through a low income neighbourhood.

Josh Kelley: Few contemporary musicians have accomplished the varied and multi-faceted success of singer-songwriter, Josh Kelley. He scored a hit record on the pop charts on his first try before became a country singer only years later. After several albums, a marriage to actress Katherine Heigl, and starting his own independent record label; Josh Kelley is poised to become country music's next star. He recently released his latest effort Georgia Clay and Josh Kelley tour dates have been scheduled nationally to cater to his expanding fan base. In addition to individual solo concert performances, Josh Kelley tour dates have been booked on the opening stage for country superstar Taylor Swift on her national tour this 2011. Don't miss a tour date on the Josh Kelley concert schedule; Use Eventful as your source for Josh Kelley tour dates and venue information.

Born in Augusta, Georgia; Kelley had country roots right from the start. Josh and his brother Charles Kelley, who is one-third of hit-making trio Lady Antebellum, grew up on the family's farm outside of the city. The brothers started recording music in their teens before Josh Kelley attended the University of Mississippi on a golf scholarship. Kelley continue to play the guitar throughout college, but ultimately put his golf career on hold to pursue his musical interests. He independently released his debut album, Changing Faces, in 2001 before scoring a deal with Hollywood Records the following year. Kelley broke out in 2003 with his hit single, "Amazin", from his major label debut, For the Ride Home. The single catapulted Kelley to the top ten on the pop charts and Josh Kelley tour dates were scheduled throughout the nation. Josh Kelley also performed in concert at the Bonnaroo Music Festival, in 2003.

Kelley followed up with Almost Honest in 2005, and scored another hit with "Only You". A video for the top-ten single featured future wife and starlet, Katherine Heigl, whom he married in 2007. Kelley then parted ways with Hollywood Records so that he could release music independently. He started his own record label, DNK, and released four albums between 2006 and 2008. During this time, Josh Kelley tour dates were booked on tours with Rod Stewart, Counting Crows, and Third Eye Blind amongst others. Kelley's albums made some impact on the independent albums chart; however, he signed a major label recording contract with MCA Nashville in 2009 to pursue a career in country music, returning to his roots.

Kelley headed to the studio in Nashville to craft his country music debut. The album, Georgia Clay was released in 2011 and marked his highest entry on the Billboard 200 at #92. The lead-off single "Georgia Clay" was a veritable hit, and the album's second single, "Gone Like That", is racing up the charts. Josh Kelley tour dates have been scheduled to promote his turn to country music. As such, he will be on tour with Taylor Swift and Miranda Lambert at different tour stops on their national concert outings. Josh Kelley has proven that he is a music industry anomaly bent on creating music his own way. Don't miss a date on the Josh Kelley concert schedule this 2011; Use Eventful as your source for Josh Kelley tour dates and venue information.

Silversun Pickups: In the brutally cold world of Big Rock Biz, there’s something very comforting about just knowing that a band like L.A.’s Silversun Pickups exists. That feeling derives from the group’s searingly sumptuous music, sure, but it has a lot to do with knowing their rather humble origins and super-admirable raison d’etre. Silversun Pickups, you see, rather than being just another fiercely determined young band willing to claw and scrap their way to the top of the rock heap, genuinely appear to be far more like a gang of real, true friends who happened, quite fortuitously, to meet as a result of their mutual love of — shock horror! — music, and who seem to enjoy each other’s company as much as they like playing their own brand of ravishing rock noise. And in fact, guitarist-singer Brian Aubert, bass player Nikki Monninger, drummer Christopher Guanlao and keyboardist Joe Lester are bona fide pals who’d played together or in mutual friends’ bands when they finally settled on a Silversun lineup and began playing shows at local clubs, which further broadened their innately formidable playing chops and established loving loyalties among a growing crop of seekers and sinners. Silversun’s initial forays into live performance weren’t exactly stunning achievements in stage artistry, according to Aubert. “In the beginning, we were just trying to figure out what we wanted to do, didn’t even know if this was what we wanted to do. But we were playing clubs while we were learning – and I was learning to be a frontman all of a sudden.” “But after a little while we started honing in on where things were going and what we liked and didn’t like,” says Aubert. “It was like trial by fire, playing on stage all the time. It was scary, but you learn fast that way.” Their initially haphazard performances didn’t phase their growing core of devotees, who seemed to easily grasp the inner grace of Aubert’s plaintively savage songs about the whys and wherefores of love lost and found, wrecked loyalties and fear of genetically inherited failure genes. These fans didn’t mind that the band’s otherwise wickedly pretty tunes’ delivery was a bit rough-edged, or that Aubert was initially painfully shy in front of a mike; it was obvious that Aubert and co’s. desire knew no bounds. The band lived to play, and play they did, at numerous dates at many of the most important L.A. clubs, which found their stage sets growing more confidently not cocky but in greater command of their playing prowess. Aubert’s guitar was a rapidly developing feral beast of tight chipchop splendor and near-Hendrixian fuzzy howl in songs that seemed to reference the spare, driving cool of Neu while injecting a barely constrained glee – something like youthful romance, in the more tormented My Bloody Valentine way – into great walls of shredding white noise and a big throbbing rhythm section. The interplay of Aubert’s guitar with Lester’s spidery/splintery keyboards on songs like “Three Seed” made their combined effect resemble an enormous shiny machine being launched into the farthest reaches of the solar system. Ex-Pine Marten keyboardist Lester was an important addition to the band, says Aubert, “because a) he was family — we didn’t want anybody we didn’t know, like take out an ad in L.A. Weekly: ‘Must not wear cowboy hats.’ Joe is like having a guy who’s not a keyboard keyboard player -- not a scientist, but like an orchestrator. He does things that really trip out the guitar, like sample it and make sounds that you can’t really tell what it is.” “Or we’ll use our voices with something from Joe, as just a sonic element,” says Monninger Guanlao adds, “People come up to us and they’ll be like, ‘Dude, how’d you do that sound on the guitar?’ or ‘How’d you do that sound on the keyboard?’ and it’s like, ‘No, the guitar player wasn’t doing that, neither was the keyboardist.’” Yet Silversun’s secret weapons are the achingly potent melodies of their songs, which poke their lovely, shy heads out and ultimately proclaim their power in rare shades of melancholic ardor. While so many bands oft-claim supreme melody as the underpinning of their noise, with the Pickups it can claim moral superiority: Silversun radiates palpably great melodies that – the real test – simply won’t leave you alone no matter how you try to shoo them away. That melodic/toughness no doubt encouraged Dangerbird Records to sign Silversun Pickups for an EP, called Pikul (pronounced pie-kul), a six-song set crammed with polished versions of many live favorites such as the growlingly ethereal “Kissing Families” and “…All the Go Inbetweens.” These songs sealed in the love among Silversun Pickups’ L.A. fans and critics, and their subsequent mounting acclaim led the band to undertake an increasingly heavy touring schedule, which found them playing alongside Brendan Benson, Black Rebel Motorcycle Club, Dead Meadow and Two Gallants, and they returned home to record, Carnavas, their full-length debut for Dangerbird (July 25, 2006). Produced by Dave Cooley (J Dilla, Rolling Blackouts), engineered by Tom Biller (Sean Lennon, Jon Brion) and mixed by Tony Hoffer (Beck, The Kooks, Belle and Sebastian), the album reveals the Pickups in a full flowering of their considerable melodic, textural and rhythmic gifts, with 11 dark/light songs about "Melatonin,” “Little Lover’s So Polite,” “Future Foe Scenarios” and “Well Thought Out Twinkles,” among other provocatively ambiguous themes. The album rages with a kind of mixed emotion well matched to those themes, a vibrating compound of feral cries amid tender harmony, resonating powerfully with heavily filtered guitar squawk, hovering keyboard clouds, and bass & drums that often seem to lurch their way into divinely propulsive beats. For the new disc, Silversun Pickups got to play in the studio, which they’d never done before, and, at producer Cooley’s insistence, they got to take their time. Says Aubert, “We wanted the EP and the record to be two different sort of things, and we knew that we didn’t want the same songs. Basically our live sound was so loud and big, and before we just sort of documented it -- Pikul didn’t sound like us live; even though we essentially recorded itlive.” “We think of records and live shows being two different sorts of worlds,” he continues. “Ironically, in the studio, getting really specific about sounds -- how they cut through -- made us sound as big as it is onstage.” Cooley proved an inspiring force for the band, sometimes if only to affirm their belief in doing things their own way. Says Lester, “Sometimes he’d push and push, and sometimes suggest a bunch of different ideas, and all it did was steel our resolve. It was almost better that way, because it just reaffirmed what we know is the best way to do it.” Aubert: “In pre-production meetings, we discussed the structure, for example, but he brought out ideas that were already clicking in our heads -- we would change things that we didn’t like and had been too lazy to change, or just hadn’t thought about. Or completely battle him and realize, wow, we really do mean this. Having someone who’s antagonizing you and you have to defend your choice, when you didn’t have to defend it before, you realize you actually really believe in that.” Says Guanlao, “Before that experience, we were very organic about how we got a song going and finished; we would never really think about it too much, we did it how it felt. And then Dave came in and we really had to focus on things, just a measure or a little beat or whatever. Aubert: “He’s amazing, because he’d push you and push you, but he’d be the first to pull the plug. I remember I’d been singing for days and days, trying to get a track right, and he’d say, ‘No, man, just stop. You’re tired.’ And I’m like ‘No, man, let me drink some more whiskey!’ And he’d be ‘Nope.’ He’d just push the stop button and say ‘It’s not right, it’s not working, it’s too job-like.’” Not just the songs but their performance and their very sound were all critical factors in the album’s production. Says Lester: “Two measures in on a take, Tom would be like, ‘Snare’s out of tune.’ Stop everything, and we’re like, ‘Really, you can even hear that?’ And then we could hear it. It changed the vibe, and it sounds like the bass and drums are almost one thing. That made it seem way more solid.” The proof’s in the pudding, and now all you need to do is listen. And all Silversun Pickups need to do is figure out how to transfer the album’s splendorous riot of beauty onto the concert stage — and deal with the acclaim that’ll inevitably follow. But that shouldn’t prove difficult for these dedicated friends, who’re happy to have found each other and make, almost like frosting on the cake, magnificent music together.

Catfish & The Bottlemen: Catfish and the Bottlemen are a British rock band, formed in Llandudno, Wales in 2007. Their debut album, The Balcony, reached number 10 in the UK Albums Chart and achieved Platinum status on 30 December 2016.

Galactic: With the release of their sixth album, From the Corner to the Block, the five-man group GALACTIC - drummer Stanton Moore, bassist Robert Mercurio, saxophonist/harmonica player Ben Ellman, keyboardist Richard Vogel, and guitarist Jeff Raines – reaffirms their standing as one of the funkiest outfits in the known universe. Featuring a cherry-picked guest list of some of hip-hop’s most dynamic lyricists – including Juvenile, Gift of Gab (Blackalicious), Lyrics Born, Ladybug Mecca (Digable Planets), Mr. Lif, Chali 2na (Jurrasic 5), Vursatyl (Lifesavas), and Boots Riley (The Coup), From the Corner to the Block exposes GALACTIC’s organic grooves to an urban ear while still maintaining their essential funk aesthetic. The band started out over a decade ago as an instrumental act in the tradition of the Meters, the JB’s, and Booker T. & the MG’s – bands equally comfortable recording their own material or working with vocalists.

From the Corner to the Block grew out of GALACTIC’s experiences touring with artists like the Roots, Jurassic 5, Triple Threat DJ’s and Gift of Gab. Though it features cameos from a “wish list” of fan-favorite MCs, this isn’t a typical hip-hop album per se, but a contemporary funk record that just happens to feature hip-hop vocalists. “We never set out to make a rap record,” explains Ellman, who produced the record with assistance from engineer extraordinaire Count (Halou, Quannum, DJ Shadow). “We wanted to kinda modernize the New Orleans sound,” adds Mercurio. The New Orleans legacy echoes throughout the album, indeed. The brassy “Bounce Baby” (featuring DJ Z-Trip) stirs up wah-wah guitar, a horn-driven melody, syncopated beats, and turntable wizardry into a potent rhythmic instrumental. “Tuff Love” (featuring Trombone Shorty) offers a taste of some of New Orleans’ hottest young talent. “Second and Dryades,” (featuring Big Chief Monk Boudreau), evokes the spirit of the Wild Magnolias – it’s a percussion-laced Mardi Gras anthem for the digi generation, on which Boudreau relates the story of being an Indian on Mardi Gras day. The song sure to raise eyebrows though is the title track and first single, featuring the Soul Rebels Brass Band and platinum rapper Juvenile (who tapped GALACTIC to back him on the “Jimmy Kimmel Show”). Mercurio, for one, is happy with the outcome. “It sounds like it was all supposed to be there, this track was meant to happen” he says. The rest of the album features a diverse array of funky arrangements, vocal deliveries, and musical expressions, from sexy downtempo jams like “Squarebiz,” featuring the ever-delectable Ladybug Mecca and singer Nino Moschella; to uptempo party-starters like “What You Need” with Lyrics Born, and “Hustle Up” with Boots Riley (which Mercurio calls “a total rock tune” dressed in funky threads); to semi-autobiographical tales of urban street life by Mr. Lif (“...And I’m Out”), Vursatyl & Ohmega Watts (“Find My Home”), Lateef the Truth Seeker (“No Way”), Gift of Gab (“The Corner”), and Chali 2na (“Think Back”). Even with all the different vocalists, the songs maintain a sense of thematic consistency. As Ellman explains, this was by design: the rappers were each asked to write about a corner. “It could have been any corner,” he says. “Everyone had a different perspective.” Many contemporary all-star collaborations are purely commercial exercises, yet From the Corner to the Block stands as a labor of love, connecting GALACTIC’s hip-hop jones and their guests’ fervor for funk aesthetics. The result isn’t just the grooviest, funkiest record of 2007, but perhaps the finest post-Katrina album to come out of New Orleans.

Hiss Golden Messenger: We came around a bend in the road and we saw a golden lake. So we jumped in. ..

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Warren G.: Born Warren G.iffin III, Warren G.exploded out of the burgeoning Long Beach rap scene in 1994 with the smash single "Regulate," a duet with longtime friend Nate Dogg, and its accompanying album, Regulate...G Funk Era. G grew up in Long Beach listening to his parents' extensive collection of jazz, soul and funk records, also frequently hanging out at the local V.I.P. record store. As a teenager, he and his friends Nate Dogg and future superstar Snoop Dogg formed a rap group called 213, after their area code. Unfortunately, all three had brushes with the law and spent time in jail, which motivated them to get jobs, also working on their music on the side. Eventually, the V.I.P. record store allowed the trio to practice and record in a back room. It was here that Snoop cut the demo "Super Duper Snooper," which G played for his half-brother Dr. Dre at a party. Dre invited all three to his studio and wound up collaborating with Snoop on The Chronic. While G also made several contributions, he opted to develop his talents mostly outside of Dre's shadow. He honed his musical skills while producing such artists as MC Breed and 2Pac. A break came when his vocal collaboration with Mista Grimm, "Indo Smoke," appeared on the Poetic Justice soundtrack. Soon after that, G recorded his debut album. "Regulate" appeared on the Above the Rim soundtrack and was released as a single. It quickly became a massive hit, peaking at ..2 on the Billboard charts and pushing the album up to the same position. The album eventually went triple platinum, with "This D.J." becoming his second Top 10 hit.

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