- The Gaslight Anthem
Event on 2014-05-08 21:00:00
with Cory Branan
Brian Fallon (vocals/guitar) * Benny Horowitz (drums) * Alex Levine (bass) * Alex Rosamilia (guitars)"We're not into just kinda being like a little footnote," says The Gaslight Anthem's Brian Fallon. "We want to be The Ones, y'know?"With AMERICAN SLANG, The Gaslight Anthem makes an extraordinary leap forward towards that very goal. The New Jersey-based band's third long player reveals a remarkably powerful rock 'n' roll outfit honed by two years of nearly non-stop touring. Singer/guitarist Fallon's passionate lyrical approach has grown more personal and introspective, his raw throated vocals stronger and more resonant against the band's pulse-pounding dynamic force. Songs like "Bring It On," "Orphans" and the rousing title track bristle and burn with the spirit of soul, the energy of punk, and the artistic ambition of any hall of famer you'd care to name. AMERICAN SLANG is the battle cry of a great band finding its own voice and using it to shout to the rooftops and beyond."This record sounds more like us," guitarist Alex Rosamilia says. "It's a little darker, a little sadder. It's still definitely anthemic the older stuff was more triumphant; this is more like, we won, but there were casualties."The Gaslight Anthem exploded out of the New Brunswick punk underground with 2007's energetic debut, SINK OR SWIM (XOXO Records). The SEOR AND THE QUEEN (Sabot Productions) EP followed in early 2008, its ambition foreshadowing the band's stunning SideOneDummy Records debut, THE '59 SOUND. With its melding of classic rock, soul and punk power, the album proved an immediate critical and popular sensation, with The New York Times praising the "rich, lustrous songwriting" and "taut punk arrangements," noting that Fallon's "casually observed storytelling, overflowing with detail, seethes with a cool desperation reminiscent of Mr. Springsteen in the late '70s."THE '59 SOUND proved equally successful on the other side of the Atlantic, with the band making history as the first ever to appear on the cover of England's estimable Kerrang! without having been previously featured in the magazine's pages. Ecstatic praise also rolled in from the notoriously hard to impress UK music press, culminating in the album's inclusion in an array of "Album of the Year" rankings, including Q, Rocksound, and NME, which called it "not only an essential document of punk rock soul but a record that will endure long into the future."Having made their bones playing 200 nights a year in packed clubs across the US, Europe, and Australia, The Gaslight Anthem hit the road hard in 2008 and never looked back. The band headlined sold out shows around the planet and shared stages with an array of like-minded artists, including Social Distortion, Rise Against, Against Me!, and the aforementioned Mr. Springsteen, who joined the band onstage for stunning performances of "The '59 Sound" at 2009's Glastonbury Festival and Hard Rock Calling in London's Hyde Park. What's more, Fallon returned the favor, accompanying the E Street Band for rousing renditions of the Springsteen classic, "No Surrender.""The whole time I'm up there," Fallon recalls, "I'm thinking, 'Oh my gosh, I'm on stage with my hero.' At the same time I'm going, 'Oh my gosh, you've gotta do this on your own.' That's what the key is, to find your own spot. Once I realized that, I was like, 'Yeah, let's do it. It's on now!'"The Gaslight Anthem returned home in November 2009 and took a well-earned month off before getting back to work. The band had since left its native New Brunswick, with Rosamilia heading to Hoboken, drummer Ben Horowitz to Jersey City, and bassist Alex Levine to Budd Lake, NJ, with Fallon emigrating from the Garden State to not-so-far-away Brooklyn. Leaving home was essential for Fallon, who had to create space between his old existence and his new before putting pen to paper."I spent my whole life trying to be in a band and succeed at it and try and make that my career," he says. "Once that happened, all I was left with was me. I was like, uh-oh, there's a lot of stuff I haven't dealt with all these years. That's why this record is so personal. Because all I was left with was, not this dream of being in a band, I was left with me."The band began getting together for writing sessions at their longtime friend Kyle Roggendorf's basement in Parlin, NJ. Rehearsal in earnest started up in January, followed the next month by full-on recording at NYC's Magic Shop with producer Ted Hutt and engineer Ryan Mall, both of whom previously manned the boards on THE '59 SOUND. The time spent woodshedding enabled the band to lay down the majority of AMERICAN SLANG in a short, sharp burst of creative vigor."Those two months were where we got the core of it," Fallon says. "Then when we went into the studio, we had become better players, we had become more of a real band. We hit the studio the way we hit the stage, we just went, 'Alright! Here it is! Bam!'"Sonic inspiration came in the unlikely guise of classic Brit blues-rock, with Peter Green-era Fleetwood Mac, Van Morrison, the Rolling Stones, and Derek & The Dominos serving as key muses for their musical muscle and eclectic directness. Fallon accepted sage wisdom from Derek himself via the guitar god's autobiography."He's like, 'You have to be legitimate,'" Fallon says. "'You have to play properly and you need to be good.' I was like, 'Okay Eric Clapton, I will be good!' So I started to learn how to really play guitar.""That I think grossly I mean grossly as in volume grossly changed the way we write and play the guitar," Rosamilia says. "I mean, we both went from playing Fenders to Gibsons. Whereas the last record was combo amps and Telecasters and Jazzmasters, this record was heads and cabinets and Les Pauls."Becoming better overall players gave the band the confidence to experiment in ways they never would've previously attempted. AMERICAN SLANG is marked by such elaborate exploration, including the expansive and rhythmic "The Queen of Lower Chelsea," described by Rosamilia as "our raga 'Straight To Hell.'""We tried to be a little different," the guitarist says, "but not stray too far away. We're branching out, but we're not trying to make a stoner rock record or a prog rock record, because that wouldn't be us. That'd be horrible, actually."The band was determined to be true to their influences while not being defined by them. Where in the past The Gaslight Anthem may have seemed overly reverential to its inspirations, the goal here was to stake a claim for the band's own individuality."We had to figure out, what are we doing?" says Fallon. "What do we have to say? What makes us different than everybody else? So with this one, we worked really hard, to find out what we're made of."AMERICAN SLANG turns up the dial on the band's love of soul and classic rock, while still flying the flag of its hardcore roots. Songs such as "Bring It On" and "Orphans" provide the exhilarating answer to Fallon's musical question, what if the Rolling Stones played with breakneck energy of Stiff Little Fingers?"We're still punks," Rosamilia says. "We still hate the man. We haven't changed that much, it's just easier for us to make it sound better now. I feel like if we'd had the time and the money, 'SINK OR SWIM' could've sounded closer to this."The stirring title track, with its mordant acknowledgement of "when it was over/I woke up alone," served as a kind of songwriting mission statement for Fallon. Though his lyrics remain populated with finely etched characterizations — see the High Fidelity-inspired "Stay Lucky" the overall focus is more self-directed and concise."I was hiding a lot of things in imagery before," Fallon says, "I was using pictures and distractions to get my point across. This one was more about just telling it how it is. Being like, 'Look, I'm gonna let you in on this. This is my world and what I deal with.'"A number of the band's many friends make cameo appearances on AMERICAN SLANG, including Jesse Malin, Brian Kienlen and Pete Steinkopf from Bouncing Souls, Vision's Dave Franklin, and Tommy Gunn of Communication Redlight. Always a band with an innate sense of community, the album pays homage to their Jersey punk roots with the New Wave soul-shaker "The Diamond Church Street Choir" named in tribute to the band's old pal Andy Diamond, who booked their very first gigs at New Brunswick's famed Court Tavern."We all moved out of New Brunswick, none of us live there anymore," Fallon says. "But no matter where we go, we carry that with us. It's never gone, it's always in there."With its astonishing range and undeniable urgency, AMERICAN SLANG is The Gaslight Anthem laying it all on the line, giving it all they had to give. Achieving their dreams only served to fuel The Gaslight Anthem's already limitless ambition, driving the band to test their mettle as artists and as men."It gave us the opportunity to get to see what we were made of," Fallon says. "Not a lot of people get that. It's like, do we belong here or is there somebody better? We'll see what happens. To us, we did our best and that's the thing that really matters."
Sponsor Website from Casale Media when it comes to Betway :
at Cats Cradle
300 East Main Street
Carrboro, United States
- Steely Dan
Event on 2014-09-17 20:00:00
Steely Dan Timeline1967-1968: Donald Fagen and Walter Becker, erstwhile students at Bard College, discover common interests in jazz, blues, popular music and contemporary literature, particularly so-called Black Humor. They begin collaborating on songs which they perform in various pickup bands.1969: Fagen and Becker attempt to peddle their songs door to door in the famous Brill Building, home to many if not most of the schlock music publishers of the day. They are eventually signed to a publishing deal by a small company owned by 60's group Jay and the Americans, who are enjoying a brief revival of their popularity due to their hit remake of the Drifters' "This Magic Moment."1970: Fagen and Becker join the Jay and the Americans' touring band1971: On the recommendation of staff producer Gary Katz, the partners are signed as staff songwriters by Jay Lasker, president of ABC/Dunhill Records in Los Angeles. They move to Los Angeles where they are given a small office-with-piano in which to grind out the hits. A desk drawer in the office still contains the brown bag lunches of the previous song-writing team to use the office. The team interprets this touching detail as a symbol of the impermanence of success in the pop music scene. They proceed to write a series of classic but unrecordable cheesy pop songs, while secretly planning to assemble their own band and record their own album.1972: After rehearsing after hours in the unfinished new wing of ABC Records office, the intrepid little band hits the studio and records their first album. The album, entitled Can't Buy A Thrill, is released under the name "Steely Dan," which has been unceremoniously lifted from William Burroughs' novel, "Naked Lunch." The charter members are: Denny Dias (Guitar), Jeff "Skunk" Baxter (guitar), Jim Hodder (drums) and David Palmer (vocals).1973: The band in various configurations tours the U.S. and Britain. Two more albums are released: Countdown To Ecstasy and Pretzel Logic. Donald is now singing all the lead vocals and Walter has begun playing guitar leads. The final touring configuration includes Mike McDonald (vocals and piano), Jeff Porcaro (drums) and Royce Jones (percussion and vocals).1975: Becker and Fagen disband the original group and begin to record entirely with various session players. The results include a series of acclaimed albums including: Katy Lied, The Royal Scam, Aja, and Gaucho.1980: Becker and Fagen go their separate ways. Fagen records his first solo album, The Nightfly, which is a huge critical and commercial success. Becker moves to Hawaii and becomes a gentleman avocado rancher and self-styled critic of the contemporary scene.The 1980s: Fagen pens tunes for artists including Diana Ross, Manhattan Transfer, Jennifer Warnes and Yellowjackets. He co-produces the soundtrack album for Bob Telson's musical "The Gospel At Colonus," and composes the score for the film, "Bright Lights, Big City." He also writes a column for Premiere magazine. Becker produces albums for China Crisis, Rickie Lee Jones, and various jazz artists, including Bob Sheppard, John Beasley, Jeff Beale, Andy Laverne, Marty Krystall, The Lost Tribe, Dave Kikoski, and LeeAnn Ledgerwood.1991-1992: Fagen and producer Libby Titus ("The Mistress of Rock'n'Soul") develop the New York Rock and Soul Revue, which culminates in the recording, NYR&S Live at the Beacon Theatre. Sessions begin for Fagen's second solo album, Kamakiriad, with Becker producing. Becker also joins the revue for their summer '92 tour.1993: As Kamakiriad sales climb towards platinum and beyond, Fagen and Becker hit the road with The All New Steely Dan Orchestra '93. Becker begins work on his first solo CD, 11 Tracks of Whack with Fagen producing. A Boxed set entitled Citizen Steely Dan is due out for Christmas.1994: In May the group tours Japan. Becker's solo 11 Tracks of Whack is released following the successful summer tour by the Citizen Steely Dan Orchestra '94.1995: Alive in America, an album of live performances from 93-94 is released. Fagen and Becker begin writing for a new album.1996: The Official Steely Dan Website goes online in March. The Art Crimes Orchestra tours the U.S., Europe, and Japan.1997-1999: Work on Steely Dan's first studio album in 20 years proceeds apace through 1999.2000: Two Against Nature is released on Feb. 29 and debuts at #6 on Billboard's Top 200. Donald and Walter receive ASCAP's Founder's Award in May. Summer sees the Steely Dan 2K World Tour of Japan, North America, and Europe.2001: In February, Two Against Nature wins four Grammy Awards, including Album Of The Year. Becker and Fagen are inducted into the Rock and Roll Hall of Fame in March. In May, Becker and Fagen receive honorary Doctor of Music degrees from The Berklee College of Music. Recording for a new album begins in in the fall.2003: Everything Must Go is released in June, and the "EMG Tour" of North America runs from July 23 to October 11.2006: In support of solo projects, both Walter and Donald launch their own websites. Donald releases Morph The Cat, his third solo CD in March, and Walter continues recording his second solo CD. The "Steelyard 'Sugartooth' McDan (and the Fab-Originees.com)" summer tour of the U.S. runs from July to September.2007: The "Heavy Rollers World Tour" plays the U.S., Europe, Japan, Australia, and New Zealand. Fagen releases the Nightfly Trilogy Boxed Set.2008: Becker releases Circus Money, his second solo CD, on June 10. Live "Think Fast, Steely Dan" dates for summer 2008 are announced.2009: Becker and Fagen go on the road again in Europe and the U.S.2011: In 2011, Donald and Walter conduct some "Shuffle Diplomacy" with The Miles High Big Band and featuring The Embassy Brats. For the Australia and New Zealand leg, the legendary Steve Winwood makes it a double-bill in made in muso heaven.2013: Donald, Walter, and Company find themselves "8 Miles To Pancake Day" as the "Mood Swings" 2013 Tour begins in mid-July. The popular Album Nights are reprised in several cities.
at Pier Six Concert Pavilion
731 Eastern Avenue
Baltimore, United States
- Mark Farina
Event on 2014-05-09 22:00:00
Since 1989, Mark Farina has been traveling the globe performing at literally hundreds of shows a year, sometimes DJing both of his preferred styles in two different rooms at the same party. At other events, he's been known to play extended sets that lasted over eight hours. In his House sets, Mark is known for his uniquely effortless journeys on the jazzy side of Chicago House, mixed up San Fran style."I look at my job as a modern day traveling minstrel, to bring new music to as many places as I can, and expose obscure records that, otherwise, might go hidden." While Mark Farina may be able to sum up his job description in a sentence, there is much more to be written.Mark developed his musical tastes in Chicago – listening to house music on the radio, living in one of the country's most primordial breeding grounds for house. Around '88, while record shopping at Imports, Etc., he met Derrick Carter and a friendship began. "I just ended up there between classes, I ended up buying his picks. He steered me toward the cutting edge House producers of the time.""I started playing when I lived with my parents and didn't have any bills to pay so I could just buy records. My intentions were never to just make money, it's nice, but it's kind of turned into a job by accident – it was a hobby that turned into a job."Living together and working on tracks together along with Chris Nazuka, they utilized the tight connections between the Detroit and Chicago scenes. Fondly, Mark remembers hanging out listening to Detroit Techno classics – Model 500, Derrick May – eating bologne sandwiches on white bread and drinking Kool-Aid out of a paper cup, prepared by none other than Chef Saunderson himself. In '89, they signed on Kevin Saunderson's KMS Records under the Symbols in Instruments moniker and produced a landmark track called "Mood". "Mood" sold 35,000+ copies in the US and the UK. This record was the first ambient house track ever made and, accordingly, it has taken its position as a classic. The same year, The Face magazine published their year end Top 50 with "Mood" ranking above pop anthems by Dee-Lite and The Pet Shop Boys."I used to do mixes with Derrick on the radio at Northwestern, we'd make it at the house and listen to it on the lake where they filmed 'Risky Business'. We would drive around and listen 89.3 WNUR; they had a policy, guest DJs didn't have to be students." Eventually, the University changed their policy and only students were allowed to DJ.When Farina first started wandering from his passion for the purist forms of House into what grew into one of his trademark styles, Mushroom Jazz, he was playing the main room in a club in Chicago and got demoted to the B-room after playing too many Martin Luther King Jr. samples. Mark experimented with a deeper style, dropping De La Soul, disco classics and other stuff that wasn't being played in the main room. However, in 1992, Mark found a welcome place for his collection of downtempo tunes accompanied by a small run of mix tapes entitled "Mushroom Jazz". Originally launched as a cassette series, the Mushroom Jazz tapes grew from the first Chicago run of 50 copies eachon to the next stage, where 500 copies of several volumes were easily distributed and sought after. As the Acid Jazz boom began, he perfected his sound and fused the newest tracks from the West Coast's jazzy, organic producers with the more urban sounds he had championed in Chicago. While the predominant musical force in SF was still dark, dubby House and Wicked-style Breaks, the city embraced the downtempo movement with a healthy bunch of live bands and DJs generating the tunes.Mark Farina, along with partner, and manager, Patty Ryan-Smith, created the now legendary weekly club in San Francisco, Mushroom Jazz, in 1992. Every Monday night the crowd slowly germinated – from 100 for the first few months to 600-700 two years later. As time passed, Farina and Patty put their energies into another project, the first Mushroom Jazz interactive CD-ROM for Om Records. After a three year run, where the club had established a fanatical, cult-like following for Farina and the Mushroom Jazz sound, the club closed its doors and transformed into a CD series and accompanying tours.Since 1989, Mark Farina has been traveling the globe performing at literally hundreds of shows a year, sometimes DJing both of his preferred styles in two different rooms at the same party. At other events, he's been known to play extended sets that lasted over eight hours. In his House sets, Mark is known for his uniquely effortless journeys on the jazzy side of Chicago House, mixed up San Fran style.This wandering record minstrel has played to incredible crowds all over the globe. Consistently drawing new fans to his style of chunky-funky rhythms and deep underground house, Mark plays upwards of 200 shows to over one million (1,000,000) club goers per year. Voted in the top 20 DJ's in the world by MUZIK and BPM Magazine, his taste making skills continue to turn the heads of seasoned veterans as well as youngsters just getting into the music.On CD, Mark has recorded both of his dominant musical personalities. His first mix, 'Mushroom Jazz' on Om Records, is defined by a hip-hop sub-groove with jazzy, dubby elements in the downtempo range. It was followed by 'Seasons', a critically acclaimed House mix. An Imperial Dub mixed CD, a guest slot in the pedigreed 'United DJs of America' series, 'Mushroom Jazz 2' (Om Records) and 'San Francisco Sessions, Vol. I' (Om Records) and Mushroom Jazz 3 (Om Records) to round out the Farina catalog. His past release "Connect" walks the line of San Francisco deeper and the bumpin' funky house sound of Chicago. Now, in November of 2002, Mark Farina releases his much beloved fourth volume of Mushroom Jazz.
18 Little West 12th Street
New York, United States
- Toby Keith
Event on 2014-09-20 19:30:00
Having sold over 40 million albums worldwide, music superstar Toby Keith has established a stronghold in the country music industry. With more than 40 singles on the Billboard Hot Country Songs chart, he is known for singles How Do You Like Me Now?, Beer for My Horses, Shouldve Been a Cowboy and As Good as I Once Was.
Toby Keiths Shut Up and Hold On Tour is part of the Washington State Fairs 2014 Columbia Bank Concert Series. Tickets are 0, , and with reserved seating, and include Fair gate admission. Tickets will start selling on Saturday, March 15 at 10 a.m. on the Fair website, http://bit.ly/1g4kYXg or by phone (888) 559-FAIR (3247) daily, 7 a.m. 8 p.m. PST. Tickets can also be purchased in person at the Washington State Fairs Box Office at 9th Ave SW andMeridian Street on Saturdays, 10 a.m. – 2 p.m., and a per ticket service fee will be charged for on-site purchases.
To make it a very special evening, ticket holders to the concert can purchase a Toby Keith Red Cup Pre-Show Party ticket for each, held in the Fair VIP Tent. The price includes a street taco bar, one drink, plus a country DJ and line dancing from Steel Creek Whiskey Co. Its a great place to gather your friends at the no-host bar and warm up for the concert. A VIP lanyard and artist keepsake is included in the cost. Infield ticket holders will be escorted to their seats for the show. To book your Red Cup Pre-Show Party ticket, visit http://bit.ly/1f4dC5X, or contact the Washington State Fair Box Office at (888) 559-FAIR (3247) daily, 7 a.m. 8 p.m. PST. Limited seating is available, so book right away. A per ticket service fee will be charged for on-site purchases.
Toby Keith was born inClinton,Oklahomain 1961. His grandmother owned Billie Garners Supper Club inFort Smith,Arkansas, and those musicians were the inspiration for his interest in the music business. While working with friends as derrick hands in oil fields after high school graduation, they decided to form a band, Easy Money. When the oil industry dried up in 1982, he began playing defensive end with the semi-pro Oklahoma City Drillers, while continuing to play in the band. In the early 1990s he went toNashville, promising himself hed have a record deal by the time he was 30.
His debut single, Shouldve Been a Cowboy went to Number One on the Billboard Hot Country Songs chart in 1993. As the decade came to a close, it was the most played country song of the 1990s, certified platinum.
Over the years he has worked with a range of record labels before founding Show Dog Nashville in 2005. His record label merged with Universal South to become Show Dog-Universal Music in December 2009.
This singer, songwriter and actor has produced 17 studio albums, two Christmas albums, and three compilation albums. His release in late 2012, Hope on the Rocks produced two singles, both Top 20 hits,
I Like Girls That Drink Beer and Hope on the Rocks. In mid-2013 Drinks After Work became the first single from his 17th album of the same name. The second single is Shut Up and Hold On. For more information, visit www.TobyKeith.com.
at Washington State Fair Event Center
110 Ninth Avenue SW
Puyallup, United States