Slightly Stoopid, Tech N9ne, Matisyahu, Paper Diamond, Steele Pulse, Collie Buddz, The Grouch & Eligh, Heroes x Villains, Flobots, Kottonmouth Kings, Blackalicious, Souls Of Mischief, Alien Ant Farm, Fishbone, 40 Oz to Freedom, Eyes Set To Kill, Carolyn Wonderland, Krooked Treez, Subscape, ill-esha, Amp Live, The Hood Internet, Basscrooks, Fantastic Negrito, The Prime Eights, The Wheeland Bros, Los Rakas, Step Rockets, A-1
American Safari Ranch
07/03/2014 04:20 PM MDT
$50 GA Weekend Pass / $150 VIP Weekend Pass / $350 Judges'
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Slightly Stoopid
While it's a rare commodity for a band to tour as consistently as Slightly Stoopid, the group's diligent commitment to live music provides some insight into why it's been a few years since the release of their last studio album. But on August 14, 2012, the Ocean Beach, California-based group—led by co-founders and multi-instrumentalists Miles Doughty and Kyle McDonald—will drop their latest studio effort, Top of the World. As heard throughout the disc, the layoff between albums has not affected the group's penchant for cooking up the tasty fusion and massive groove that permeates Stoopid's trademark sound.
"We're a touring act, and we've been on the road pretty much non-stop over the last decade," explains Doughty. "It really came into play on the release of the new record. Our last studio record [Slightly Not Stoned Enough to Eat Breakfast Yet Stoopid] was about three and a half years ago. But with the band, we were starting families, we'd been on the road so much, we really didn't have time to sit down and focus on actually recording it."
Doughty also admits that the creation of the band's own recording studio and rehearsal clubhouse, within the warehouse district of Mission Valley (just inland of Ocean Beach), certainly aided the creation of Top of the World.
"In the past two years, we started our own studio, which really enabled us to make the record at our own pace, and to make the right record for us at this time in our career," Doughty continues.
"What's nice about it is having our own environment to record in
and analyze the music, and it really lets you keep an organic feel. For us, I feel like it's a step into the next level, as far as understanding the process of recording, understanding the process of songwriting. We took everything that we've learned over the years and really put it into this record."
Another key ingredient to what makes Top of the World so special is the inclusion of several musical guests. "It really kept that 'family atmosphere' for us," says Doughty. "I think it really shows in the music—it flows. It's like one of those records that feels like it's one giant song. It keeps building and building. For us, we couldn't be happier. Top of the World speaks volumes as to where the band is today; just lyrically and musically, we're really happy with the direction."
"We had G. Love, Angelo Moore from Fishbone, Don Carlos, Barrington Levy, Ian Neville from Dumpstaphunk, Tory Ruffin from Morris Day and the Time and Fishbone, and singer/songwriter Angela Hunte. We've been friends with G. Love for over 15 years, and we've been able to work together quite a few different times in the studio. It seems like second nature. Whenever you're recording with G., it's almost
like you're really just hanging out with your bro, and you happen to hit record. We've done so many shows together and so many studio sessions, it becomes second nature. Angelo Moore to me is one of the greatest frontmen to ever step foot on a stage. As a fan and out of respect, I try to do something with Angelo every time we have a record, really. If you listen to his lyrics, his vocal performance—I don't know who could keep up with Angelo on stage. Don Carlos from Black Uhuru is one of the legendary reggae singers of all time, and we've had the pleasure of working with him the last few years."
Riffing on some of the album's highlights, Doughty says "I really love 'Hiphoppablues,' the song G. Love did. I love the song 'Way You Move,' Ian Neville did a great guitar line throughout the whole song. We worked with Barrington Levy on 'Ur Love,' he is a true architect of the dance hall! Definitely 'Ska Diddy' with Angelo—it's a fun rant and shout out to a lot of the nooks and crannies we play across the country."
Besides recording at their own studio, Slightly Stoopid has always been extremely hands on when it comes to their career, going back more than a decade to when they founded their own record label, Stoopid Records.
"We started Stoopid Records around 2000," Doughty clarifies. "At that time, we were in transition as far as what we were doing with our
records, and we thought it would be good to have our own independent label—like Sublime showed us back in the day with Skunk Records. What's nice is we've had a following with the fans, where people understand that Stoopid Records is Slightly Stoopid and other bands we want to help break out."
Angelo Moore of Fishbone.
Doughty and G. Love.
Slightly Stoopid in 2007.
"For us, it was a big turning point, as far as having complete creative control over everything we do. That's something big for this band—we want to make the music for ourselves and for our fans. We don't really make music for someone in an office that tells us something needs to be there. We've always had a very organic, do-it-yourself attitude. I think it's paid off in dividends."
In addition to the arrival of Top of the World, Slightly Stoopid should be very busy for the rest of 2012. "This summer, we're doing The Unity Tour with 311. That was really cool— those guys approached us about doing a tour with them. For the last five years, we've been headlining all the amphitheater tours, so it's kind of nice that we're going to
co-headline with them. It's a good chance to not only play for our fans, but to play for 311 fans and show them the new direction of the new record. After the summer tour, we're going to do a fall tour and a winter tour, stay on the road as much as possible, promote the record, and keep making more music."
Slightly Stoopid's current line-up, featured on the Unity Tour 2012, consists of Doughty (guitar, bass, vocals) and McDonald (guitar, bass, vocals), along with Ryan "Rymo" Moran (drums), Oguer "OG" Ocon (congas, percussion, harp, vocals), C-Money (trumpet), Dela (saxophone) and Paul Wolstencroft (keyboards). Additionally, "unofficial 8th member" Karl Denson of Greyboy Allstars also lent his talents throughout Top of the World, and is joining the band on tour this summer.
Slightly Stoopid in 2011 at The Greek Theatre in Berkeley.
Nearly two decades into their ongoing metamorphosis, Slightly Stoopid continues to progress into new musical territory, defining their signature sound even further and creating a contagious feel-good vibe. An entire subculture has grown around the social statements the band makes with their music—and it's been done entirely on their own terms.
No wonder they feel like they're on Top of the World.
Tech N9ne
The Kansas City rap king has sold more than 500,000 albums independently, performed in front of more than half a million people in the last three years and established himself as one of underground rap's most respected artists. With the impending release of his third national album, the monumental Everready (The Religion), Tech N9ne is poised to graduate from one of rap's best-kept secrets to a major international superstar.
After experiencing a number of professional setbacks while promoting his critically acclaimed Anghellic and Absolute Power albums, Tech N9ne felt that Everready (The Religion) was an affirmation of his staying power. "I wanted to name it Everready because if you look at the old Eveready batteries, their logo included nine lives," Tech explains. "That album title symbolizes nine lives, another life after death. I've had a lot of deaths in the music industry and there's still life after all that. The Religion, the reason I subtitled it that is because I want this album to be something that's being studied or praised. It's like calling it a doctrine."
Such a mandate is a natural conclusion after listening to Everready (The Religion). The album teams with blockbuster songs and stellar production. "Jellysickle," for instance, features Bay Area rap legend E-40 and a thumping, addictive club-ready beat from superproducer Rick Rock (Jay-Z, Fabolous). Despite the track's freshness, it made Tech N9ne think back to his early material.
"It reminded me of an old Tech N9ne, like 'Mitch Bade,'" he reveals. "It's like a 2006 'Mitch Bade,' so I had to talk about the same thing: jealous people, stupid people. Kansas City is a place where hatred is at an all-time high. I thought it would capture that persona of the ghetto."
As Tech N9ne has emerged as one of rap's most innovative, creatively fearless artists, there has been a segment of his fans who feel that he's abandoned his hardcore background. Tech addresses the situation on the aggressive yet elegantly produced "Come Gangsta." "After all these years of people telling me that my music was for white people, that I needed to come with gangster stuff," Tech says. "Music is supposed to inspire and evolve. Andre 3000 isn't still doing 'Player's Ball.' He evolved. That was always on my mind, that people were always telling me to come gangster. When it comes to it, my one gangster song can demolish their whole CD. I was inspired to write about the type of people that were telling me to come gangster."
Tech N9ne delivers more high-energy heat on "Welcome To The Midwest" with Big Krizz Kaliko. He continues his harder edge on the macabre "My World," with Brotha Lynch Hung, and the warped "In My Head." On these two tunes he raps about mad and sad topics, things that pain him. He expresses a similar sentiment on "The Rain," a touching ode to his wife and children. Much like Tech N9ne's classic "This Ring," "The Rain" features Tech N9ne giving his fans an intimate look into his life and his career, a look made all the more personal because the song features his two daughters rapping about how much they miss their father.
"Any man with a kid that's on the road a lot can relate to that, whether you're a musician, a doctor, a director," Tech explains. "A lot of people are not to be there for their family in the flesh, and they're hurting because they miss their loved ones."
People of all backgrounds can also relate to friction in their relationships. Tech N9ne conceptualized the riveting "My Wife, My Bitch, My Girl" during a low point in his marriage. "At the time I wrote that song, me and my wife were doing really bad," he reveals. "I wrote that song in my bitter stage, when I was saying whatever I wanted to say. '(My wife) don't like me/(My bitch) gets hyphy/(My girl) might knife me twice just to spite me.' That's how I had the balls to write it. I didn't care anymore. I just wanted to release it."
Tech N9ne then talks about his breast fetish on the sinister "Flash" and about his crew's road adventures on the heavy "Groupie." But touring hasn't been all fun and games for Tech N9ne. On the rock-influenced "Riot Maker," he details some of the problems he's had while trying to perform for his fans. "At the time, we were going through a lot of things," Tech says. "I wasn't able to go to Hawaii because the promoters said my music incites riots. At the same time, this girl was trying to sue me for $100,000 for cracking her own skull at my show and I wasn't even in the building yet."
An explosive recording artist, Tech N9ne has long earned praise from his fans because of his ability to deliver mind-blowing raps about his struggle to navigate through life's pitfalls. His willingness to shed his ego and allow his followers to look at the high and low points of his experience has earned Tech N9ne a rabid, dedicated following.
"A lot of people when they come up to me, they say, 'The reason why I like you Tech is that you say what you feel and you're not afraid to say anything,'" Tech says. "That's so tight because so many use discretion. I think I've inspired people to say what they feel because I've opened my life up for people to see."
With such powerful music, it should come as no surprise that Tech N9ne's reach continues expanding. Several of his songs are featured in the forthcoming Alpha Dog film, which stars Justin Timberlake and Sharon Stone. His music also appears on the latest edition of the fan favorite Madden NFL video game series, as well as the action video game 25 to Life. He also appears as a playable character on the latter.
But for now, it is all about indoctrinating his fans to Everready (The Religion). "This is Anghellic, Absolute Power combined," Tech says. "If I could have titled this album One Big Clusterfuck, I would have because I think it has everything. It has the personal stuff Anghellic had or the party stuff that Absolute Power had. I think this is my best work." Believe it.
Matisyahu
Matisyahu was born Matthew Miller on June 30, 1979, in West Chester, PA, although his family moved to Berkeley, CA, when he was a child before settling in White Plains, NY. He was given a traditional Jewish upbringing, against which he rebelled at first, considering himself a Deadhead and a hippie by his early teens. But at the age of 14, during a camping trip in Colorado, he reconciled himself to Judaism and soon after visited Israel. After returning to White Plains, he dropped out of high school and traveled the country to attend Phish concerts. Back at home again, he agreed to let his parents send him to a wilderness school in Bend, OR, where he became enamored of reggae and hip-hop, and began rapping at open-mike competitions. He returned to New York at 19 to attend the New School for Social Research in Manhattan, but also joined the Carlebach Shul, a synagogue where his musical interests were encouraged. Meeting a Lubavitch rabbi, he became interested in the strict Lubavitch Hasidic sect of Judaism and renamed himself Matisyahu.
Continuing to perform, Matisyahu assembled a backing band consisting of Aaron Dugan (guitar), Josh Werner (bass), and Jonah David (drums). They recorded Shake Off the Dust...Arise, released by JDub Records in 2004. A concert held in Austin, TX, on February 19, 2005, yielded the follow-up release, Live at Stubb's, which was released by Or Music on April 19, 2005, then picked up for national distribution by Epic Records, a division of major-label Sony BMG, which reissued it on August 23, 2005, as Matisyahu toured around the country and prepared a second studio album produced by Bill Laswell.
Paper Diamond
Paper Diamond is known for making many different kinds of music. Since the project's inception in January of 2011, PD has found himself on a globetrotting, music making escapade, with non-stop shows, festival plays, and around the clock studio sessions.
The Paper Diamond sound has raw energy and the kind of dramatic anticipation only a seasoned producer can incite. Driving beats and bass grab on tight while deep, rich tones rumble under layers of spacey synthesizers, sweet melodies, and catchy vocals. One thing is for sure. The energy is high.
Steele Pulse
Steel Pulse was formed in 1975 in Birmingham, England, specifically the inner city area of Handsworth. The founding members were schoolmates David Hinds (the primary songwriter as well as the lead singer and guitarist), Basil Gabbidon (guitar), and Ronnie "Stepper" McQueen (bass). All of them came from working class West Indian immigrant families, and none had much musical experience. They took some time to improve their technical proficiency, often on Roots inspired material by the Wailers, Burning Spear and several other prominent Jamaican artists. McQueen suggested the group name, after a racehorse, and they soon fleshed out the lineup with drummer Steve "Grizzly" Nisbett, keyboardist/vocalist Selwyn "Bumbo" Brown, percussionist/vocalist Alphonso "Fonso" Martin, and vocalist Michael Riley.
Steel Pulse initially had difficulty finding live gigs, as club owners were reluctant to give them a platform for their "subversive" Rastafarian politics. Luckily, the punk movement was opening up new avenues for music all over Britain, and also finding a spiritual kinship with protest reggae. Thus, the group wound up as an opening act for punk and new wave bands like the Clash, the Stranglers, Generation X, the Police, and XTC, and built a broad-based audience in the process. In keeping with the spirit of the times, Steel Pulse developed a theatrical stage show that leavened their social commentary with satirical humor; many of the members dressed in costumes that mocked traditional British archetypes (Riley was a vicar, McQueen a bowler-wearing aristocrat, Martin a coach footman, etc.). The band issued two singles -- "Kibudu, Mansetta and Abuku" and "Nyah Love" -- on small independent labels, when they then came to the attention of Island Records after opening for Burning Spear.
Steel Pulse's first single for Island was the classic "Ku Klux Klan," which happened to lend itself well to the band's highly visual, costume-heavy concerts. It appeared on their 1978 debut album, Handsworth Revolution, which was soon hailed as a classic of British reggae by many fans and critics, thanks to songs like the title track, "Macka Splaff," "Prodigal Son," and "Soldiers." Riley departed before the follow-up, 1979's Tribute to the Martyrs, which featured other key early singles in "Sound System" and "Babylon Makes the Rules," and solidified the band's reputation for uncompromising political ferocity. That reputation went out the window on 1980's Caught You, a more pop-oriented set devoted to dance tracks and lovers rock. By that point, Steel Pulse was keen on trying to crack the American market, and went on tour over Island's objections. Caught You was issued in the States as Reggae Fever, but failed to break the group, and they soon parted ways with Island.
Steel Pulse moved on to Elektra/Asylum, which released an LP version of their headlining set at the 1981 Reggae Sunsplash Festival. Their studio debut was 1982's True Democracy, a generally acclaimed set that balanced bright, accessible production with a return to social consciousness. It became their first charting LP in America, making both the pop and R&B listings. The slicker follow-up, Earth Crisis, was released in 1984 and featured producer Jimmy "Senyah" Haynes subbing on guitar and bass for founding members Gabbidon and McQueen, both of whom left the group by the end of the recording sessions. They were replaced by guitarist Carlton Bryan and bassist Alvin Ewen for 1986's Babylon the Bandit, another Haynes-produced effort that ranked as the group's most polished, synth-centered record to date. It featured the powerful "Not King James Version" and won a Grammy for Best Reggae Album.
In 1988, Steel Pulse released State of Emergency, their most explicitly crossover-oriented album yet. They also contributed the track "Can't Stand It" to the soundtrack of Spike Lee's classic Do the Right Thing. In 1991, they released another heavily commercial album, the Grammy-nominated Victims, which featured the single "Taxi Driver." Backing up the song's views, Steel Pulse filed a class-action lawsuit against the New York City Taxi and Limousine Commission, charging that drivers discriminated against blacks and particularly Rastafarians. Founding member Fonso Martin left that year, reducing Steel Pulse to a core trio of Hinds, Nisbett, and Brown. Their backing band still featured Ewen and was elsewhere anchored by guitarist Clifford "Moonie" Pusey, keyboardist Sidney Mills, trumpeter Kevin Batchelor, Saxophonist Jerry Johnson and Trombonist Clark Gayton.
The 1992 live album Rastafari Centennial marked the beginning of a return to the group's musical roots, and earned another Grammy nomination. The following year, they performed at Bill Clinton's inaugural celebration, the first reggae band to appear at such an event. 1994's studio album Vex completed Steel Pulse's re-embrace of classic roots reggae, though it also nodded to contemporary dancehall with several guest toasters and a digital-flavored production. 1997's Rage and Fury continued in a similar vein, and was nominated for a Grammy. In 1999, the group released another collection of live performances, Living Legacy.
Fast forward a long seven years since their previous album, Rage and Fury, Steel Pulse would return yet again, this time with African Holocaust, and yet again have their ranks dwindled. Core members David Hinds (vocals, rhythm guitar) and Selwyn Brown (keyboards, backing vocals) are the only ones to remain from the band's original line-up, but they more than hold their own and they're joined by a deep roster of supporting musicians, a list too long to list. As always, the music is what's most important, and on that count, this Steel Pulse lineup indeed makes the mark. Granted, it did take them seven years to get the album out, but still it won a Grammy Awards Nomination for Best Reggae Album of the year. There's really not too much else to say about African Holocaust. Longtime fans will know what to expect. Newcomers should know a few things: above all, Steel Pulse are known for performing well-written, Afrocentric songs that are rebellious without being negative or inflammatory, and though the band membership has changed over the years, the type of songs hasn't, nor has the steady move away from dancehall that was apparent on the band's previous album. the message and music remain true to the band's principles and vision.
Steel Pulse is one of Britain's greatest reggae bands, in terms of creative and commercial success. Steel Pulse started out playing authentic roots reggae with touches of jazz and Latin music, and earned a substantial audience worldwide. Their 1978 debut, Handsworth Revolution, is still regarded by many critics as a landmark and a high point of British reggae. By the late '80s, Steel Pulse had won a Grammy and were working full-fledged crossover territory. They subsequently returned to a tough-minded, rootsy sound and have added touches of dancehall and hip-hop along the way.
Collie Buddz
Collie Buddz, from the isle of Bermuda, has done something not impossible but something once seemingly very implausible. He’s become the most buzz-worthy current Reggae artist over the past few years. In the summer, 2007, Collie Buddz’ Columbia Records self-titled debut album stormed the charts entering the Billboard Reggae Chart at first position. The Reggae singjay became an international star
when this album went on to debut across the world on every chart from Japan to Germany. With much of the production coming from Collie himself, he delivered a solid effort with contributions from Supa Dups, Shea Taylor, Bang Out, Screwface, Bobby Konders, and Crown N Kah-So-Real.
Released just a day before US Independence Day, Collie’s album could be heard blasting out of car windows from Brooklyn to Kingston all summer long. Critically speaking, Collie’s debut was a monster, his first single, an undeniable summer anthem titled, “Come Around”. Source Magazine proclaimed, “This 24 year old shotta has got an anthem spreading across the seas.” Hip Hop Weekly said, “Collie Buddz is one of the most firmly grounded voices you may ever encounter.” The industry excitement about this new voice in music manifested in many ways namely by inspiring Collie’s musical peers to either create their own remixes of “Come Around,” or join Collie on the official remix of the single. Busta Rhymes, G-Unit, Shaggy, and Cypress Hill, all contributed to the anthem.
Incorporating influences from Hip-Hop to Soca, Collie’s music nevertheless has a rock-solid foundation in Reggae - and its power to connect ghetto reality with the highest heights of human aspiration - that is a rarity even in Jamaica. But, to say he’s connected to the Caribbean community would be an understatement. Collie Buddz, born Colin Harper, has become the Caribbean culture’s resident ambassador.
Touring extensively, Collie’s passport stamps are a relative reflection of the worldwide love for Reggae and Caribbean culture. From Madison Square Garden to Dubai, Collie Buddz is the definition of an international recording artist. “It was crazy performing in the Middle East. Who would have guessed how big reggae music is there? They knew all my songs,” a jubilant Buddz explains. He has toured throughout Germany, France, England, Japan, North and South America and the Caribbean.
His unique blend of Hip-Hop, Soca and Dancehall underlined with his ever-present passion for the modern Roots Reggae sound has attracted tastemaker supporters all over the world. Reggae pioneer David Rodigan [London] and New York Reggae stalwarts, Massive B are just some of his most ardent supporters. Now on the verge of Collie’s sophomore album release, the anticipation is palpable.
In spite of a heavy touring schedule since 2007, Collie is prepared to release a sophomore album that promises an even greater insight into the multi-talented, singer/producer. “We don’t have a title for the new album just yet but whatever we call it, the album will be mad,” Collie excitedly explains. With production by Supa Dups, Massive B, and Seani B among other contributors, Collie’s fans can anticipate Collie’s unique twist on popular music.
After ending his affiliation with Columbia Records/Sony Music Entertainment, Inc in 2008, he found fewer restrictions on the indy scene and has since founded his own independent record label, Harper Digital alongside his brother [Smokey] and DJ [Genie] while working with his longtime management group, Mojiza Management.
Humble as always, Collie simply says, “I’m just excited to be putting out another album. I love to make music and the satisfaction is in having other people from all over the world enjoy it. I live out of a suitcase and I wouldn’t have it any other way.”
The Grouch & Eligh
Known for captivating their listeners with their down to earth and truthfully poignant raps, electrifying live performances, and stellar production, The Grouch & Eligh have released over twenty projects within their respective solo careers, as well as a duo. The Grouch & Eligh have toured extensively over the course of their career gracing stages across the continental US, Europe, Japan, and Australia.
The solo and collaborative catalogs of The Grouch & Eligh have exhibited a die-hard dedication to their craft, and 2013 is looking to be no different; The Grouch & Eligh will be releasing a new collaborative project, which will be the newest G&E album since 2008's "Say G&E". Along with the new album, The Grouch & Eligh have some special treats in store by the way of collaborations with top name producers such as Pretty Lights, artists such as Kreayshawn, and more.
Heroes x Villains
Armed with this experience, roots in punk/hardcore and an appreciation for Southern rap music, Heroes x Villains start their ascent with warbling, bass heavy, electronic dance music remixes of Waka Flocka Flame's 'Oh Let's Do It' and Gucci Mane's 'Lemonade'. These, a remix of Lil' Jon and Diplo's 'U Don't Like Me' and several others make up 'We Off That,' their first mixtape which garners critical acclaim.
Less speakers burst into flames these days but Heroes x Villains DJ sets remain as caustic as ever. Stage diving and raucous mosh pits are regular occurrences; champagne spraying in every direction and half naked women moving in ways their parents wouldn't likely approve of come standard. The raw, occult like energy and track selection is a manifestation of how Disaster and fans of Heroes x Villains choose to live: shameless, unrepentant, maximalist hedonism.
Heroes x Villains barreled into 2012 as diverse and dangerous as ever. Beginning in early January, they introduced the weekly 'BLXRRD OXT' series, manipulating records like Young Jeezy's ode to intoxication 'WXY 2 GXNE' and England's dark pop princess Charlie XCX 'NUXLEAR SEAXONX' into soundtracks for a haunting, drug-addled haze.
And in February, showcasing the two year progression of Southern rap music fusing with electronic dance elements, comes rising Atlanta rap group FKi's mixtape 'Transformers In The Hood' produced by Diplo, Heroes x Villains and Atlanta EDM producer Mayhem.
With genre-bending, rule breaking unpredictability as their calling card, it's pointless to attempt to figure out what Heroes x Villains may do next... best to just sign the waiver and enjoy the ride
Flobots
Six Flobots dedicated to social action, change and thought. Two emcees, childhood friends Jonny 5 and Brer Rabbit, began Flobots organically, looking for like-minded musically inclined individuals. Enter viola-wielding Mackenzie Roberts and guitarist Andy Guerrero who made Flobots their home in 2005. Bassist Jesse Walker and drummer Kenny Ortiz completed the roster. The Denver collective grew their audience by playing live shows and cultivating a strong following of people who loved the combination of live music and social awareness.
The rocket launched; Flobots’ Fight With Tools raced up the charts, bolstered by the Top 5 single “Handlebars” and “Rise.” One of the most buzzed-about newcomers of 2008, they performed on Late Night Television (The Tonight Show, Conan O’Brien, Carson Daly), led anti-war marchers into the streets of Denver {after a highly charged performance} during the Democratic National Convention in Denver, performed in Washington, DC on election night and toured the United States and Europe. In September of 2009, the group opened up the Flobots.org Community Center in Denver, headquarter for their community work. The organization helps with everything from school arts programs to voter registration.
Not surprisingly, our heroes found themselves with so much more to say.
Holed up in Blasting Room studio in Ft. Collins, CO with Producer/Mixer Mario Caldato (Beastie Boys, Money Mark, One Day as a Lion), Flobots had a lot to get off their collective chests. They didn’t just tour the world they listened to it. From message boards to emails to comments left on social networking sites to actual conversations (remember those?), Flobots paid attention to what was being said. Andy believes, “Talking with the audience before and after shows gives us constant inspiration, and motivation, to keep doing what we do.”
Kottonmouth Kings
After 18 years the Kings are finally Legal!! The Kottonmouth Kings have become a underground institution and Phenomenom. The Kings have sold over 4 million records and created a subculture and lifestyle around the groups music and Fashion.
Not one to sit on the sidelines,The kings got back in the Studio and are creating the Musical Landscape for the Future with The Full Length "Krown Power". The Kings plan on a late summer 2014 release. 4/20/14 marked the Dawning of a New Era when the Kings hosted The Buddah Fest and released a free 5 song EP "The Buddha Shack". The reaction has been so powerful,The fan base crashed the Kings Servers hundreds of times with over 70,000+ downloads.
Known Power will set the stage for the Kings new Label founded by Xavier,The United Family Music group. The Label Has a incredibly expansive and eclectic group of Artists That Have a entire years worth of releases Ready to go..It's truly a musical revolution based on progressive technology that provides real time analytics and total transparency for the Artists and Label.
The kings have a busy 2014 &15 launching the new label, music, wrapping up season one of the Kings stoney cartoon "Stonetown" and filming their first full length feature stoner comedy movie.
The Kings crossed the 1M+ on Facebook and have an rapidly expanding network with over 29,000 newsletter subscribers. We have a seasonal merchandise line with new styles and accessories rolling out constantly. It has been empowering taking back one by one all of our income streams that were kept away from us..We have been through hell but the Kings are back to tell the world about their incredible Journey,That will be released on the Free the Kings documentary With Krown Power.
The Kings have so much great music and content to release to the World. D-loc has a solo full length "Bong Tokes & Love Notes", Videos; "Chirp Chirp" and "Represent Peace".
Dirtball Has a Red hot full length "Fire Strike" dropping with special guests Dizzie Wright, Snow Tha Product, Blaze Ya Dead Homey and others! The Dirtball has very intense indie film "Broken Eye" that accompanies "Fire Strike". "Fire Strike" is The Dirtball's 5th solo effort and cements him as one of the most potent lyricist in The Game!
Blackalicious
Cut through the floss and glitz. On the other side of the hype machine are artists that create because they need to, artists that we listen to because they demand our attention.
In a hip-hop career that has stretched past a decade, Blackalicious has earned respect the old-fashioned way--rising through honesty, commitment, and artistry.
Now, with "Blazing Arrow", their fourth album and their major label debut, they have achieved their most fully realized album in a consistently ground-breaking discography.
Ranging from verbal funk-burners and battle-rhyme rippers to expertly crafted future-soul and convention-crushing experimentation, "Blazing Arrow" moves from strength to strength on Chief Xcel's studio wizardry and the Gift of Gab's quicksilver tongue, igniting fires in the soul and body.
The record also features appearances from a star-studded list of friends and admirers, including: Zach De La Rocha (formerly of Rage Against The Machine), Ben Harper, ?uestlove (The Roots), Chali 2Na and Cut Chemist (Jurassic 5), Rakaa and Babu (Dilated Peoples), Saul Williams, Gil Scott-Heron, Tracey Moore (Jazzyfatnastees), KeKe Wyatt, Jaguar Wright, Money Mark, James Poyser, Paul Humphrey, Sean Lennon, and Miho Hatori (Cibo Matto).
And of course, there are collaborations with Quannum crewmates DJ Shadow, Lyrics Born, Lateef the Truth Speaker, Joyo Velarde, Erinn Anova and the Lifesavas.
Self-described "everyday brothers," the Bay Area native Xavier Mosley (Chief Xcel) met the San Fernando Valley native Tim Parker (Gift of Gab) at John F. Kennedy High School in Sacramento, California in 1987, and immediately struck up a friendship over hip-hop. As Tim (known as Gabby T) and Xavier (then DJ IceSki) began plying their skills in the area, they decided to become a crew. Although they separated after Gab graduated in 1989, they kept in close touch and decided in 1991 to become Blackalicious.
Xcel's friends at the University of California at Davis were forming a crew called SoleSides, including DJ Shadow, Lyrics Born and Lateef The Truth Speaker (known together as Latyrx). In 1992, Gab moved to Davis to reunite with Xcel and found an intense, progressive collective, centered on rowdy KDVS radio shows and all-night livingroom freestyle sessions.
As Xcel prepared their first album, Gab joined DJ Shadow to record "Count and Estimate" as part of Shadow's side of the first SoleSides label 12-inch in late 1992, and released it to underground acclaim.
Blackalicious then recorded "Melodica," released on SoleSides in 1995. The EP's soulful journey-displaying Xcel's lush, layered production and Gab's introspective, whiplash rhymes on classics like "Swan Lake," "40 Oz. For Breakfast" and "Deep In The Jungle," fired the imagination of heads worldwide. By the time they began recording "Nia" in 1996, Billboard magazine was calling the crew the Bay Area's most important new hip-hop group.
But by the end of 1997, Blackalicious and the SoleSides Crew reached a crossroads. SoleSides folded and was reborn as Quannum. In all, "Nia" took three obstacle-filled years to make. Just as Xcel was experiencing profound creative growth, Gab fell into personal turmoil. That tension was reflected in the deeply moving album that resulted.
As Gab says, "We always speak from our hearts about life as we see it, life as we know it, and life as we would like to see it." "Nia," a Swahili word meaning "purpose"-took on a very real meaning.
"Nia" was preceded by 1999's "A2G" EP, which featured "Alphabet Aerobics," a wickedly original collaboration with Jurassic 5's Cut Chemist. The two records proved to be something of a personal and spiritual triumph. "'Nia'showed me that the music can move minds," says Xcel. "We were doing a show in Massachusetts and this girl had been waiting outside our bus to see me and Gab all day.
Gab came out and this girl was just shook to meet him. She gave us the most beautiful 5-page letter on how each of the songs had touched her life, and she made us a little music box--it was a Blackalicious box-and that stays up in the studio to this day. I just look at that as a constant reminder of: 'OK, we're doing the right thing."'
After selling over a hundred thousand copies of "A2G" and "Nia" on their own independent Quannurn label, MCA won a bidding war, and Blackalicious signed in late 2000. "Blazing Arrow" marks a continuing progression. "'Nia'was really about purpose and finding the path," says Xcel. "'Blazing Arrow'is about faith, having the strength to endure that path. An arrow in flight."
Gab adds, "'Nia'was forethought and 'Blazing Arrow'is action." The album offers straight-up hip-hop bangers in songs like "Passion" (w/ Rakaa), "4000 Miles" (w/Lateef and Chali 2Na), "Paragraph President" (a nod to early 90s fans); glimmering future-soul in "Nowhere Fast" (w/ ?uestlove and keyboardist James Poyser), "It's Goin' Down" (w/ Hi-Tek and KeKe Wyatt), "Aural Pleasure" (w/ Jaguar Wright) and "First In Flight" (w/ Gil Scott-Heron); and an epic suite that share the vision and ambition of a Marvin Gaye or Pharoah Sanders in the three-part "Release" (w/ Zach De La Rocha and Saul Williams). With Cut Chemist, they even expand on the wig-lifting experimentation of their crowd favorite "Alphabet Aerobics" in "Chemical Calisthenics."
Now in the tenth year of their -career, Blackalicious is just hitting their stride. "When blessings come, sometimes you can celebrate, but most of the time it means that you have to work harder," says Gab. "You may have a vision and you may get close to that vision, but then it broadens. Every time you move forward on it, it always gets bigger."
Xcel says, "It just takes both a faith and a focus--faith that no matter what happens, this is your calling, this is what you are supposed to do and you have to make it happen no matter what obstacles come in your way. The aim has always been to contribute our piece to this movement, to this continuum, because there really is no beginning or end to it."
Souls Of Mischief
From the bowels of the bustling metropolis of Oakland, California, four artists emerge with the determination, skill and pure talent to change the face of Hip Hop. The four combine to form Souls of Mischief; a feisty band of microphone marauders and beat plunderers.
The Souls of Mischief have been honing their skills for nearly two decades in the Oakland area. They all hail from the same area in East Oakland and have attended school together since elementary; their lasting friendship strengthened by their mutual interest in music. Battling hosts of MC's from far and near, and gaining fame as stunning lyricists, these four young men; A-plus, Opio, Phesto and Tajai, along with their musical family, Hieroglyphics, have worked at their craft until it has become like a sharp-edged sword, cutting through boundaries of sound and style. "We started out trying to be definitely different, and most definitely better than the stuff that's out there" remarks the energetic, mad scientist-like Phesto.
Looking at their track record, the Souls have achieved these goals and are continuing down their path of excellence. Their first LP, 93 'Til Infinity (Jive, 1993) debuted at #14 on Billboard's R&B charts, placing at 109 in the top 200. Their second album, No Man's Land (Jive, 1995) came in at #27 on the R&B charts. Although both albums were received well by the Hip Hop community, neither achieved the type of success enjoyed by more mainstream acts. "We just want to make good music" says Tajai, "sales are important, but we aren't going to compromise our music's quality to sell." This attitude is central to the Souls' unique style and appeal.
Atypical of what has been dubbed the "West Coast Sound," the Souls' music, lyrical structure and content challenge the listener to actually LISTEN to what is being said and pay attention to the subtle nuances of beat and scratch which accent their lyrics. According to the smooth-flowing A-plus, "We're trying to present a broad spectrum and redefine what it is to be West Coast, and more importantly- Hip Hop in it's entirety." Straying from empty gangsterisms and other forms of negativity, these brothers try to constantly add to the quality and depth of Hip Hop. This is a very precarious position in a world where artists of a positive nature rarely reach critical acclaim, yet the Souls embrace the challenge. As a result, their work has been embraced by the Hip Hop community all over the globe. They have been billed with the best and brightest of the industry, including tours with A Tribe Called Quest, De La Soul, Common Sense, The Alkaholiks, Pharcyde, The Roots, KRS-ONE, Wu-Tang Clan and others. They also brought their Hieroglyphic show, which includes Del the Funky Homosapien, Casual and the Prose to fans throughout the United States, Canada and Japan. This worldwide exposure has made their style one of the most loved and reproduced in Rap.
The Souls' lyrics and production can currently be heard on the Hieroglyphics debut LP, Third Eye Vision (Hiero Imperium, 1998) available through their own Hiero Imperium label. This project represents a new direction for the Souls, as they are able to team up with their Hieroglyphic brethren (Casual, Del, The Prose, Domino) and create more energetic rhythms and styles. As the first release on their own independent label, Third Eye Vision has enabled the Souls to have complete creative and marketing control over their own material. The Souls also have an independent album in circulation entitled Focus (Hiero Imperium, 1998) which has been making a lot of noise on the underground since its release in early 1998. At present, the group has just released a new album: Trilogy: Conflict, Climax, Resolution (Hiero Imperium, 2000) and is collaboratiing with the Pharcyde on a project tentatively titled Almyghty Myghty Python.
So what is it to be a "Soul of Mischief?" The name seems to imply a much darker, more nefarious group of characters than those described. "We make mischief on the microphone--we came to wreak havoc on the mic," Opio chimes in. It seems that somewhere in their essence, at the base of their psyche, there is a nagging voice which keeps telling these young men to break the standards. By taking lyricism into realms uncharted, and even into some areas which would be better left alone, they express this mischievous soul and break ground in the Hip Hop industry. Their courage and determination to challenge the status quo of rap make them innovators in this field of imitators.
Alien Ant Farm
The SoCal alt-metal foursome Alien Ant Farm formed in 1996 with the raging singer/songwriter Dryden Mitchell, guitarist Terry Corso, bassist Tye Zamora, and drummer Mike Cosgrove. All were bored with their day jobs and sought something else to break them from corporate norms. Music allowed them to freely express themselves, and a friendship was born. They independently released their quirky debut, Greatest Hits, toward the end of the '90s and soon enough noise surrounded the band. It won the award for Best Independent Album at the 1999 L.A. Music Awards and Alien Ant Farm found themselves striking a deal with Papa Roach's New Noize, which is partners with DreamWorks.
Two years later they made their major-label introduction with ANThology, issued in March 2001. Debut single "Smooth Criminal" was a funky metal mix of Michael Jackson's original song, and pop kids of the TRL generation loved it. The song hit number one on the modern rock charts, and the album eventually went platinum. A year later, between tours of Europe, the band was back in the studio recording new music. Their new song "Bug Bites" was featured in the Tobey Maguire flick Spiderman in May 2002. But while traveling in Spain to a gig in Portugal that same month, the band's bus collided with a truck, killing their driver, Christopher Holland. The band and crew members suffered various injuries as well, most seriously Mitchell, who fractured his C2 vertebra. Thankfully, he came out of surgery able to walk, though suffered some nerve damage and a slight loss of motion.
Committed to getting back to work and pushing the incident aside, Alien Ant Farm hit the studio to record their follow-up record. truANT was issued in May 2003, right as Dreamworks was dissolving as a label. As a result, the album barely made a splash on the U.S. charts, though the single "These Days" managed to crack the Top 30. Guitarist Corso subsequently exited the group and was replaced by Joe Hill. Zamora next left for college after recording of the band's fourth effort wrapped. Up in the Attic appeared in July 2006 on New Door Records, as hardcore vet Alex Barreto (Chain of Strength, Inside Out) entered on bass. Alien Ant Farm simultaneously released the DVD BUSted, which included music videos, live footage, and a candid documentary. ~ MacKenzie Wilson, All Music Guide
Fishbone
Celebrating 25 groundbreaking years, FISHBONE has been trailblazing their way through the history of American Ska, Funk, Punk, Rock Fusion and (so-called) Black Rock since starting their professional career in Los Angeles' burgeoning, Alternative Rock music scene of the mid-1980s. Their sound has often been imitated, but never duplicated. They have toured worldwide with such bands as the Beastie Boys, Red Hot Chili Peppers, The Roots, Les Claypool/Primus, Fela Kuti, George Clinton, The Dead Kennedys and many more. Angelo Moore’s ability to combine thought-provoking, humorous social commentary with FISHBONE’s frenzied, up-tempo music and frantic, euphorically entertaining stage show has cultivated their undisputed reputation as one of the best live acts in music history.
Now in their 25th year of composing, creating, recording, releasing and performing original music together, mass critical appeal appears to be returning to the band, fueled by their critically acclaimed full-length feature documentary; Everyday Sunshine: The Story of Fishbone. Narrated by Laurence Fishburne, the film earned LA Weekly’s Critic’s Choice Award at the Los Angeles Film Fest in 2010, has been called “effortlessly Entertaining” (Variety), “Brilliant and Groundbreaking” (Pop Matters), and hailed as “more than a documentary about rock ‘n’ roll. It’s a documentary about the American spirit and one that shows the life of one of its most influential creative forces.” (Encore Magazine)
The documentary features celebrity testimonials from an A-list cast of rock icons such as Flea (Red Hot Chili Peppers), who calls the band “an important musical institution” and “the band that gave us the inspiration to be a band” by Gwen Stefani (No Doubt). The film also includes similar admiration from the likes of Perry Farrell (Jane’s Addition), Jerry Cantrell (Alice In Chains) Rob Trujillo (Metallica), Questlove (The Roots), Chuck D (Public Enemy), Tim Robbins (Grammy Winning Actor) and many more. The film not only highlights the bands substantial legacy in contemporary music of all forms, but also the struggles, adversity, and inner turmoil that has surrounded the bands career. Everyday Sunshine: The Story of Fishbone has already premiered in over 60+ theaters across the country, and many of the dates have sold out. The documentary aired on Public Television’s AfroPop Series as well as Encore early 2012, and still continues on air. The DVD is currently available for purchase nationwide at all major retailers, and on NetFlix.
To date, FISHBONE still continues to tour all over the world, turning heads at some of the most noteworthy festivals around the globe such as Coachella Music Festival (2014), Gathering of the Vibes (2013), Outside Lands Music Festival (2013), Ottawa Blues Fest (2012), Montreal Jazz Festival (2012), DeLuna Fest in Pensacola, FL (2012), Bumbershoot in Seattle, WA (2012), Riot Fest in Chicago, IL (2012), Voodoo Festival in New Orleans, LA (2014, 2011), Fuji Rock Festival in Tokyo, Japan (2010), Wakarusa in Ozark, AK (2010), Sunset Junction in Los Angeles, CA (2010) and more. In 2012, the band had the opportunity to perform on Jimmy Kimmel Live! and Angelo Moore sat in with The Roots on Late Night with Jimmy Fallon. They also performed three outstanding shows with Primus, and have been featured in a variety of national press recently including New York Times, Wall Street Journal, Los Angeles Times, MTV Hive, Spin Magazine, E! Entertainment, Rotten Tomatoes and more.
FISHBONE just announced their newest musical adventure Intrinsically Intertwined (Controlled Substance Sound Labs/Zojak Worldwide) to be released digitally in the US on Tuesday, April 22, 2014 via iTunes and other digital outlets. In celebration of the band’s debut appearance at Coachella Music Festival in Indio, CA both Sunday April 13 + 20, pre-sale bundles for the new EP start Thursday, April 10, 2014 with an immediate download available for “Whipper Snapper” remix and “Bustin Suds.” Visit http://www.fishbone.net to purchase.
The current member line up includes original members Angelo Moore aka Dr. Madd Vibe (vocals/sax/theramin), Norwood Fisher (bass/vocals), Dirty Walt (trumpet, vocals), as well as Rocky George (guitar), Paul Hampton (keyboards/vocals), John Steward (drums), and Jay Armant (trombone, vocals).
40 Oz to Freedom
40 oz to Freedom formed in March of 2007 and has been turning heads from day one. They have a uniquely similar sound to Sublime as well as an amazingly energetic show that is sure to leave you wanting more. All in all, this is the band to see for any true Sublime fan. ROCK ON!!!!
Dane Scott - lead vocals/lead guitar. Dane is a 6-time San Diego Music Award nominee for his work with the band, Tubby, and with 40 Oz. 40 oz won the San Diego Music Award for best tribute band in 2010. Dane has toured the country with Tubby, The Fryday Band, Smooth Move, and now 40 Ounces to Freedom. His soulful voice and face melting guitar riffs contribute to an energetic show which leaves the audience craving more.
Terry Davis - bass / vocals. Terry is a jack of all trades. He's an accomplished guitar player for the band, Egress, and he also plays bass for numerous side projects. Terry has been a fan, and a friend of music for many years.
Mark Leblanc - Drums / patches. Mark plays drums for Egress, Smooth Choppy and Idol Job. He has been playing since he was a little kid and has been rocking ever since.
Eyes Set To Kill
At some point or another, everybody wears a mask. That façade doesn't just hide imperfections or insecurities either. It allows its wearer to assume a different face. Sometimes, that's a dangerous proposition. Other times, it's the only way to find oneself. Eyes Set To Kill uncovered their identity within Masks, their fifth full-length album and first for Century Media Records.
In 2012, the band found itself mired in the search for a new label. That proved to be a rather daunting and frustrating undertaking where every meeting yielded a conflicting third-party perception of who Eyes Set To Kill should be.
"I felt like we were wearing a bunch of masks to impress people during those meetings," admits singer, songwriter, and guitarist Alexia Rodriguez. "At one point, I had a bit of a revelation. We had gone through so many changes over the years. It wasn't about anybody else though. It was about us. We really found the band's face at that point. We weren't wearing masks anymore."
Instead of pandering or worrying about expectations, the band—Alexia, her sister Anissa [bass], Caleb Clifton [drums], and Cisko Miranda [screams]—hunkered down and demoed two of its strongest songs to date, the irresistibly incendiary "True Colors" and "Nothing Left to Say". Both merged anthemic scope and jarring metallic elegance, making for some of the group's catchiest fare. As a result, Century Media immediately signed them.
"Those two songs served as a blueprint for the entire record," explains Alexia. "When we were writing, I didn't try to do what everybody else does. We didn't need to throw a ton of riffs into one song or get overly technical. I wanted to make music that was catchy."
With that mindset, the group retreated to a Southern California studio with producer Steve Evetts [The Dillinger Escape Plan, Sepultura]. In the process, Alexia evolved immensely as the band's songwriter, and the band's patented sound expanded. For the first time, Cisko added staggering screams, building the harmonies. Everything became amplified from the heaviness to the hooks.
"I was never really an underground kind of girl," says Alexia. "I grew up on bands like Nirvana and more alternative rock, but I also related to metal and post-hard-core at the same time. Melody makes music relatable. I want people to remember the songs and relate to them."
The first single "Infected" certainly upholds that. A battering guitar groove gives way to a soaring refrain from Alexia. It's an unforgettable and unshakable introduction to the next phase of Eyes Set To Kill.
She goes on, "Sometimes, in relationships, people get manipulated into thinking that they're the insane one or they have something wrong with them. They get portrayed like they're 'infected', but they're really not. They're just being manipulated. It hits hard, and it's got a lot of anger. At the same time, it shows listeners they're not alone."
Eyes Set To Kill have been providing fans that outlet since they first emerged from Phoenix, AZ in 2003. Since then, they have amassed over 1.17 million Facebook likes, covered USA Today, and landed on Alternative Press's coveted "100 Bands You Need to Know List". On the road, they've developed into a veritable whirlwind, sharing stages with everyone from Papa Roach to Black Veil Brides. They've crossed the globe four times on tour and even headlined a festival in Jakarta in front of 8,000-plus fans.
Now, with the Masks off, Eyes Set To Kill stand primed to be heard louder than ever before. "I feel like we've been working towards this record for our whole career," concludes Alexia. "There were times I was almost going to give up. I'm glad I didn't. I'd love for this music to inspire everyone to keep going. It's always worth it to hold on to your dreams."
Carolyn Wonderland
Carolyn Wonderland is a multi-award winning artist from Texas. She just won Best Female Vocalist (not bad for a guitar picker!) at the 2011/12 Austin Music Awards .Previously, she and her band were named Austin's Best Blues Band at the 2009 Austin Music Awards where Carolyn picked up the award for Best Female Vocalist, too! No stranger to awards, Carolyn has several from the Houston Music Awards (
Best Guitarist, Musician of the Year, Release of the Year, Single of the Year, Best Female Vocalist, Best Blues Band, among others)! Carolyn, her band and friends were recently featured on PBS's Austin City Limits with Sharon Jones and the Dap Kings. Her 2011 Bismeaux release, "Peace Meal" (recorded in Austin at Bismeaux and Woodstock, NY at Levon Helm's Studio) has been in the top ten iTunes Blues Chart, Top Twenty Americana Playlist and has found folks talking about Carolyn's music from House of Blues Radio's Elwood's BluesMobile to Don Imus, from Guitar Player Magazine to the Huffington Post. Carolyn is proud to announce her band's partnership with www.WhyHunger.org while on tour (and at home shows!) the band donates 10% of sales to this amazing organization. Please DO check them out! "Peace Meal" has been critically lauded and is the follow up to the 2008 CD, "Miss Understood" (produced by Asleep at the Wheel's Ray Benson) which has been on the charts and in rotation since it's release and has been featured on many "Best of" lists. She, Cole El-Saleh, Rob Hooper, and Shelley Cox have toured most of the States, and Europe, and Japan ... perpetually on the road ... only landed in jail once (knock on wood) for peacefully protesting the war.
Lucky enough to jam with mentors and friends like
Bob Dylan, Ray Benson, Marcia Ball, Cindy Cashdollar, and the late Eddy Shaver, she's toured with Buddy Guy and Johnny Winter,
sat in with Los Lobos, String Cheese Incident,
Robert Earl Keen, and Ray Wylie Hubbard,
co-wrote tunes with Cindy Cashdollar, Ruthie
Foster, Candye Kane, Sarah Brown and Guy Forsyth,
and recorded extensively with Jerry Lightfoot
and [Dead/Tubes keyboardist] Vince Welnick!
At the 2007 inaugural Road To Austin festival,
she was accompanied by the amazing Bonnie Raitt,
and performed to much acclaim with Kris Kristofferson and Delbert McClinton, backed by Stephen Bruton's all-star band [incidentally, all filmed for a future realease!]
How lucky can one girl get?
Well, with a lot of hard work, just this lucky!
In her words, "I still get to play most every night,
so the Adventure continues; every musical interlude
is a new page, another chance to jump into the Ether."
Carolyn has eight releases of her own, and her music has been featured on tons of compilations from a live version of "Misunderstood" from 2008's Blues on the Green on KGSR's Broadcasts [Vol. 16], (benefiting the SIMS foundation) to XIT (Ten in Texas) where Carolyn sings Billy Joe Shaver's "Honky Tonk Heroes" with Asleep at the Wheel, to Palo Duro's Texas Unplugged [Vol. 2] where Cindy Cashdollar and Carolyn Wonderland play an acoustic instrumental they composed together, "Turtle Bayou Turnaround", to Ruf's Guitar Women anthology ... and lots more. It is also recommended you find "Texistentialism" from Jerry Lightfoot's Band of Wonder. (Carolyn was the singer in this band featuring Jerry, Carolyn and Vince Welnick) ...
In addition to Carolyn Wonderland's appearance on Austin City Limits, her music has been featured on prime-time network TV dramas such as NBC's "Homicide" and "Time of Your