Give Us A Hand

Independent venues all across the nation, like Shank Hall, were the first to close and they will be the last to open. Organizations like National Independent Venue Association and Independent Promoter Alliance are trying to get everyone to contact their federal, state and local authorities to help give businesses like Shank Hall support so we can come back. In the meantime, we could use a little bit of a helping hand from you, in the form of gift certificates to future shows or even a direct donation. We thank you for whatever support you can give.

#SaveOurStages

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Due to the current global health crisis as well as travel and performance restrictions the following shows have been postponed or canceled:

June 4 Steve Forbert - new date Sept 13
June 5 Webb Wilder - new date April 23, 2021
June 6 Mutlu - new date Feb 27, 2021
June 19 The Get Happy!! - new date Aug 21
June 20 Chris Duarte Group - new date TBA
July 10 Electric Six - new date July 9, 2021
July 12 Pat McGee Trio - new date Feb 28, 2021
July 19 Jeffrey Gaines - new date Nov 11
July 21 24-7 Spyz - new date April 7, 2021
July 25 The Appalachians - new date Oct 23
July 23 Stick Men - new date April 22, 2021
July 31 New Wave Fest - new date April 24, 2021
July 24 Cowboy Mouth - new date TBA
Aug 5 Flying Buffaloes - new date Oct 4
Aug 21 Indigenous - new date Nov 13
Aug 22 Jackie Venson - new date Oct 18
Aug 26 Carsie Blanton - new date June 16, 2021

June 6 James Lee Stanley is canceled
June 13 Bettye LaVette is canceled
July 16, 17, 18 Billy Bragg is canceled
Aug 15 Chuck Prophet is canceled

Previously purchased tickets will be honored for new event dates.

Upcoming Shows

FM102.1 #SaveOurStages Radio-Thon

FridayJuly 10, 20205:00pm

FM102/1 is teaming up with the National Independent Venue Association (NIVA) to #saveourstages with a 24-hour radiothon beginning Friday, July 10 at 5 p.m. The radiothon will raise funds for Milwaukee's local independent music venues and NIVA members The Rave/Eagles Club, The Pabst Theater Group, Shank Hall, Cactus Club....

FM102.1 #SaveOurStages Radio-Thon

SaturdayJuly 11, 2020

Diver Down (Van Halen tribute), NightSnake (Whitesnake tribute) NEW DATE

SaturdayAugust 8, 20208:00pm $10.00

The longest running #1 Van Halen tribute in Chicago and throughout the Midwest.

Recently Added Shows

Substitute (Who tribute)

FridayAugust 14, 20208:00pm $10.00

With a look and sound that captures The Who at the height of their 70s peak, Substitute plays the songs that have become part of rock legend. From the hits (Pinball Wizard, Who Are You and Won't Get Fooled Again) to lesser-known classics (The Seeker, Bargain and The Real Me), Substitute is becoming a regular at some of the....

Tallan

SaturdayAugust 15, 20208:00pm $10 advance / $15 door

TALLAN returns to Shank Hall for another non-stop 3 hour night of music.

TALLAN will be performing songs off of his New CD, titled "TALLAN". The band will also be performing some classic rock, blues/rock covers. Like all of TALLAN's events its a show you don't want to miss.

The Get Happy!! (Elvis Costello tribute) NEW DATE

FridayAugust 21, 20208:00pm $10.00

THE GET HAPPY!! brings all the punch and attitude to the deep, deep songbook of Elvis Costello and the Attractions.With an emphasis on the early classics, we continue to expand our setlist to travel far into the 40 year vault of gems from Elvis and the lads. Overlooked masterpieces, deep cuts and Elvis-approved covers can....

Almighty Vinyl

SaturdayAugust 29, 20208:00pm

Almighty Vinyl plays music the way it was meant to be. We play no frills, classic rock and give today's audiences yesterday's concert experience.

Dead Letter Office (R.E.M. Tribute), Without U2 (U2 tribute)

SaturdayNovember 7, 20208:00pm $20.00

Dead Letter Office has dedicated themselves to faithfully reproducing the music and energy of a live R.E.M. show. Since 2014, Dead Letter Office has been thrilling audiences throughout the U.S. & Canada, providing a show....

KICK - The INXS Experience

SundayNovember 8, 20207:00pm $20.00

Indigenous NEW DATE

FridayNovember 13, 20208:00pm $15.00

Off Broadway USA

SaturdayNovember 14, 20208:00pm $25.00

Off Broadway is an American rock band founded by Paul Darrow, Cliff Johnson, Paul McDermott, John Pazdan and Dan Santercola in 1977 in Oak Park, Illinois, United States. After several line-up changes including the addition of songwriter/guitarist John Ivan and Robert Harding, the band's debut album On was released by....

The R&B Cadets

FridayNovember 27, 20208:00pm $20.00

The R&B Cadets

SaturdayNovember 28, 20208:00pm $20.00

Pat McGee Trio NEW DATE

SundayFebruary 28, 20218:00pm $20.00

STICK MEN featuring members of King Crimson TONY LEVIN & PAT MASTELOTTO, and touch guitar innovator MARKUS REUTER NEW DATE

ThursdayApril 22, 20218:00pm $25.00

Stick Men is a progressive rock band created by musicians with extensive experience playing together. Pat Mastelotto and Tony Levin are the rhythm section of the legendary band King Crimson. Mastelotto is in demand all over....

Carsie Blanton, Milton NEW DATE

WednesdayJune 16, 20218:00pm $12 advance / $15 door

Alternative Concert Group Presents

George Winston NEW DATE

TuesdayOctober 13, 20207:00pm $40.00

At Meyer Theatre, Green Bay, WI

Tickets on sale at meyertheatre.org, the Resch Center box office, online at ticketstaronline.com or by calling 800-895-0071.

Leo Kottke NEW DATE

FridayNovember 20, 20208:00pm $46.00

At the Wilson Theatre at Vogel Hall at the Marcus Center for the Performing Arts, Milwaukee, WI.

Tickets on sale at the Marcus Center box office, all Ticketmaster outlets, Ticketmaster.com or 414-273- 7206.

Steven Wright NEW DATE

FridayFebruary 26, 20218:00pm $48 / $38

At South Milwaukee Performing Arts Center, Milwaukee, WI.

Tickets on sale online, at the South Milwaukee Performing Arts Center box office or by phone at 414-766-5049.

Steven Wright NEW DATE

SaturdayFebruary 27, 20218:00pm $50 / $40

At the Barrymore Theatre, Madison, WI.

Tickets on sale at barrymorelive.com, or by phone at 608-241-8633 (Mon-Fri noon-5pm).

Gaelic Storm NEW DATE

TuesdayMarch 9, 20217:30pm $42 / $32

At the Pablo Center for the Arts, Eau Claire, WI.

Tickets on sale at pablocenter.org.

Gaelic Storm NEW DATE

MondayMarch 15, 20217:30pm $40.00

At The Grand, Oshkosh, WI.

Tickets on sale at thegrandoshkosh.org, 920-424-2350 or at The Grand box office Monday-Friday 11:30am-5:00pm, Saturday 11:00am-2:00pm.

Quick Calendar

Joe Louis Walker, a Blues Hall of Fame inductee and four-time Blues Music Award winner celebrates a career that exceeds a half a century. His new album Everybody Wants A Piece cements his legacy as a prolific torchbearer for the blues. Looking back on his rich history, Walker shares, "I'd like to be known for the credibility of a lifetime of being true to my music and the blues. Sometimes I feel I've learned more from my failures, than from my success . But that's made me stronger and more adventurous. And helped me create my own style . I'd like to think that when someone puts on one of my records they would know from the first notes, 'That's Joe Louis Walker.'"

Always an artist deeply expressive lyrically, Walker continues to write and sing about themes that are universal. On "Black & Blue" he talks about a love affair that's falling apart, but there's an effort to keep it going. He offers, "The lyric 'Let's find a quiet place, A place out of town...We Need to talk this thru, Be honest & True' says it all in trying to save the relationship." He cites the title track as a composition that might not have a deep meaning, but in presenting the thought, "Everybody wants a piece of your love," offers a double entendre that speaks for itself. With a deep history and background in gospel, Walker looks towards Wade in the Water" as an instant all time favorite. He reveals, "The inspirational lyric 'The water is deep, the water is cold, it chills my body, BUT NOT MY SOUL" is expressing my belief that the spiritual will carry you through when the physical can't."

This time out Joe has brought on Paul Nelson to produce his album which was recorded at his famed Chop Shop studio on the east coast. Nelson is a Grammy winning guitarist/producer who was rock/blues legend Johnny Winter's guitarist, and who also appears as guest guitarist on two tracks on Everybody Wants A Piece.

A true powerhouse guitar virtuoso, unique singer and prolific songwriter, he has toured extensively throughout his career, performed at the world's most renowned music festivals, and earned a legion of dedicated fans. Walker's 1986 debut album Cold Is the Night on HighTone announced his arrival in stunning fashion, and his subsequent output has only served to further establish Walker as one of the leading bluesmen on the scene.

Born on December 25, 1949 in San Francisco, at age 14, he took up the guitar. Just two years later, he was a known quantity on the Bay Area music scene, playing blues with an occasional foray into psychedelic rock. For a while, he roomed with Mike Bloomfield, who introduced him to Jimi Hendrix and the Grateful Dead. Walker even made a brief pilgrimage to Chicago to check out the blues scene there. In 1975, burned out on blues, Walker turned to God, singing for the next decade with a gospel group, the Spiritual Corinthians. When the Corinthians played the 1985 New Orleans Jazz & Heritage Festival, Walker was inspired to embrace his blues roots again. He assembled the Boss Talkers, and throughout the 1990s merged many of his gospel, jazz, soul, funk and rock influences with his trademark blues sensibilities on recordings released by Polydor/Polygram. These albums feature Walker's collaborations with a diverse group of first-rate artists including Branford Marsalis, James Cotton, Tower of Power, Bonnie Raitt, Buddy Guy, Taj Mahal, Ike Turner and Clarence "Gatemouth" Brown. Walker has steadily released recordings since the turn of the millennium, and recently signed to Provogue / Mascot Label Group.

NPR Music has called Walker "a legendary boundary-pushing icon of modern blues," and he is already being referred to within the blues world as a living legend. However, at this stage of his life, Walker profoundly shares, "I'd really like to inspire younger musicians to carry on the legacy of blues/roots music. But play, and do it your way. Don't be afraid to mix it up. There's no right, or wrong way. Just the way you wanna express yourself. And above all, ENJOY YOURSELF."

Backwoods bravado, patriot's pride, country soul, keg-thumping beats -- these are the qualities that Moonshine Bandits have championed since they began their journey. Armed with a hybrid arsenal of country and hip hop fusion, the California duo of Dusty 'Tex' Dahlgren and Brett 'Bird' Brooks are back with the grittiest, spirited and distinctly grass-roots release of their sixteen year campaign of musical badassery -- "Gold Rush."

If you ain't about this life then you ain't about shit." -- From the Track 'Mud Money' on the Moonshine Bandits latest release 'Gold Rush"'

Since their formation in Los Banos California in 2003 the Moonshine Bandits have continued a campaign of crossover genre-bending musical mayhem that appeals to the eclectic, color-outside-the-lines tastes of listeners, aka The Shiners, and they fiercely refuse to have their tastes confined and filed into categories. "Our musical style has always been full throttle and in your face," says Moonshine Bandit Tex. Just like the rumrunners, bootleggers, smugglers and outlaws of old -- the Moonshine Bandits provide a supply of the goods for the demand, defying the mandates and trends of mainstream pop culture.

The course of their career has seen ups and downs, hard partying and self-reflection. The Moonshine Bandits have crisscrossed the country performing hundreds of shows a year, ventured into branding their own beef jerky and moonshine, collaborated with some of the music business's most prolific artists, outshined in the face of record industry roadblocks, earned a fiercely loyal fan following, and embrace the unconventional. Hell, they've even had the honor of friend and adult film legend Tera Patrick spicing up a music video! It's all part of a journey filled with good, bad and even some ugly, but ultimately the Moonshine Bandit philosophy is summed up by Tex and Bird's joint statement -- "We always felt there aren't stops or boundaries if you pave your own lane."

And now the Moonshine Bandits have hit the proverbial motherlode with the release of Gold Rush on their very own record label MSB. Taking its inspiration from all that embodied the struggles and successes of America's extraordinary era when dreams were being made while hunting for that elusive precious gem. It wasn't entirely about the dollar sign though. The Gold Rush was far more dynamic in terms of the greater meaning and effect it had on all those who took part. Big or small, bust or windfall, for many people the Gold Rush ultimately provided the experience of building a new life in a wild place that had a code of its own.

"Our Gold Rush wasn't always about the glitter because we took the long haul," Tex says, and just like many of the hopeful dreamers who panned the creeks of the old west's badlands, the Moonshine Bandits encountered their share of setbacks but never quit. "We got in the trenches," Tex continues, "learned and got burned." The group's Gold Rush reflects on a career that wasn't about following some set of rules; this is about living by a code. Now with the debut of their own label, the group can fully exercise that code. "There's a right way, a wrong way, and now there's our way." Characterize it as rebellion, call it anti-establishment, or perhaps it's a little bit of symbolic of an elusive time when there actually was Honor among thieves, but the Bandits simply see it as lessons learned from experience.

Thematically, Tex and Bird describe the Gold Rush album as homage not only to the band's career journey but also, and profoundly, "a journey about the people we have come in contact with. The people that inspire our songs." This is especially true of the track "Two Bar Town" which speaks volumes of the brick and mortar, mom and pop's, local friends and corner watering holes that truly provided the foundation of everyday life, culture and economics in America. Tex says the theme is all about the 'small town' and despite the fact that 'small towns' have naturally changed with time that "doesn't mean you have to, you can still be proud of where you came from and keep those memories forever."

Long before people figured out country and rap had a lot in common, the Moonshine Bandits released their genre-blending album, "Whiskey & Women," and took the world of outlaw music by storm. The group's blue-collar work ethic and unwavering persistence has led to over 60 million views on the ShinerTV YouTube channel -- collectively over 80 million views on YouTube -- while their video for "My Kind of Country" peaked at #1 on CMT Pure. The Bandits also charted Billboard simultaneously with a top 10 in Rap and a top 20 in Country Music and have been Recognized by Rolling Stone Magazine, CMT, Youtube Honors, MTV, AOL THE BOOT, YAHOO, and the list goes on. Connecting with fans on all levels, Moonshine Bandits have built a solid "Shiner Nation" of loyal fans, started their own 501 (c) 3 non-profit organization known as Operation Packing Company, Inc. that specializes in sending supplies to our Troops Overseas, Beef Jerky and legal Moonshine. The Bandits earned a 2018 Telly Award for their "Take This Job" music video featuring David Allan Coe.

More than four decades have passed since Steve Forbert made his way to New York City from his Meridian, Mississippi birthplace in quest of a career in music. It was the most unlikely time and place for a folk singer to leap into the fray in a burgeoning scene where new wave and punk were emerging while he took the stage as a the archetypal folkie, armed with just an acoustic guitar and sheaf of very personal songs. After busking on the street for change from passers by, he rose to sharing bills at CBGB's with the likes of Talking Heads, The Shirts and John Cale as well as headlining more traditional venues such as The Bitter End and Kenny's Castaways. Against staggering odds, he found blazing success early on with a string of critically acclaimed and commercially accepted albums including Alive on Arrival (1978), Jackrabbit Slim (1979), and Little Stevie Orbit (1980) and a most unlikely smash hit single, "Romeo's Tune."

His career had its share of triumphs as well as stumbles and disappointments as did his private life. Through it all, over the course of a marriage, divorce, raising three children, writing and recording 18 studio albums and fronting an ever changing line-up of supporting musicians, he persevered and stayed true to his roots and the folk ethos.

Now, those life-changing experiences have been chronicled by Forbert in Big City Cat: My Life In Folk Rock, co-written with Therese Boyd, that will be released September 14 by PFP Publishing. The memoir, originally conceived as a stage play, offers a uniquely introspective view of a life and career during a period of cultural upheaval and the author's emerging self-awareness. Sharing reflections and journals he kept at the time, Forbert weaves an absorbing narrative that fully addresses the trials, travails and triumphs that would eventually play out over the course of his prolific 40+ year career. With a colorful cast of characters that includes managers Danny Fields and Linda Stein, along with such music legends as Doc Pomus and John Simon, it offers a revelatory look at his personal life and family, as well. Big City Cat: My Life In Folk Rock features first-person commentary from those who worked with Forbert on the road and in the studio.

The book will, in a manner of speaking, be accompanied by its own soundtrack. Simultaneous with the release comes an evocative new Steve Forbert album from Blue Rose Music entitled The Magic Tree. Produced by Karl Derfler (Tom Waits, No Doubt, Two Gallants), it offers a series of songs gleaned from previously recorded acoustic demos, augmented with new backing tracks. The collection rings with the verve and vitality that Forbert's fans have always come to expect. It takes on special meaning in light of the recent health scare that sidelined him for several months while he recovered from kidney surgery and chemotherapy with the help of his girlfriend of 17 years. Consistently upbeat and optimistic, the album's songs recorded in Meridian, Nashville, New York, and New Jersey and Virginia convey a firm sense that age ought not diminish a lust for living. Big City Cat and The Magic Tree underscore what revered critic the late Paul Nelson wrote about Forbert in Rolling Stone almost 40 years ago: "..Nothing, nothing in this world, is going to stop Steve Forbert, and on that I'll bet anything you'd care to wager."

Dana Erlandson has been making his homegrown "Americana" music for more than 30 years. He has opened for and in many cases played with..... America, Brewer and Shipley, Jackson Browne, Stacey Earle & Mark Stuart, Steve Forbert, Richie Furay, Nanci Griffith, John Hartford, John Hiatt, Lucy Kaplansky, Leo Kottke, David Lindley, Pat MacDonald, Bill Monroe and His Bluegrass Boys, Kevin Montgomery, the Nashville Bluegrass Band, the Nitty Gritty Dirt Band, Todd Snider, Al Stewart, Greg Trooper, and Jerry Jeff Walker . Dana celebrates a new decade with a brand new CD release called "Coming Home".

Since his Alligator debut 30 years ago, Southern blues-rock guitar wizard, vocalist and songwriter Tinsley Ellis has become a bona fide worldwide guitar hero. The Chicago Sun-Times says, "It's hard to overstate the raw power of his music." Now, he makes his triumphant return to Alligator Records with a powerful new album, Winning Hand. Armed with his signature molten licks, melodic riffs and rousing, intense solos, Ellis, as his legions of fans will attest, is among the blues world's best-loved, hardest working and most well-travelled statesmen. He has performed in all 50 United States as well as in Canada, Western and Eastern Europe, Australia and South America, earning legions of fans with his guitar virtuosity, passionate vocals and memorable original songs. Ellis is also revered as a guitarist's guitarist, with famous friends including Derek Trucks, Warren Haynes, Oliver Wood, Jonny Lang and members of Widespread Panic calling on him to sit in and jam. "A musician never got famous staying home," he says.

Recorded in Nashville and produced by Ellis and keyboardist Kevin McKendree, the ten brilliantly performed, fervently sung tracks on Winning Hand include nine originals, ranging from blistering blues to heart-pounding rock to soulful ballads. As his only cover song, Ellis pays tribute to his greatest guitar-playing and songwriting influences with a Freddie King-inspired version of rock legend Leon Russell's "Dixie Lullaby." "Guitar, guitar, guitar is what this album is all about," says Ellis, who recorded primarily with his 1959 Fender Stratocaster, his 1967 Gibson ES 345 and his 1973 Les Paul Deluxe. Guitar World says, "Ellis' playing sparkles with depth and subtlety. Whether playing deep, slow blues or uptempo rockers, Ellis rides a gorgeously fat, pure tone."

Born in Atlanta in 1957, Ellis was raised in southern Florida. He discovered the blues through the back door of British Invasion bands like The Yardbirds, The Animals, Cream and The Rolling Stones as well as Southern rockers like The Allman Brothers. One night he and a friend were listening to records when his friend's older brother told them if they liked blues, they should really be listening to B.B. King. As luck would have it, King was in town for a week, and the upcoming Saturday afternoon show was just for teenagers.

Tinsley and his friend went, sitting transfixed in the front row. When B.B. broke a string on Lucille, he changed it without missing a beat, and handed the broken string to Ellis. After the show, B.B. came out and talked with fans, mesmerizing Tinsley with his warmth and kindness. Tinsley's fate was now sealed; he had to become a blues guitarist. He saw Howlin' Wolf, Muddy Waters and every other blues artist who came through town, always sitting up front, always waiting to meet the artists, take photos, get autographs. And yes, he still has B.B.'s string.

Already an accomplished teenaged musician, Ellis left Florida and returned to Atlanta in 1975. He soon joined a gritty local blues band, the Alley Cats. In 1981, along with veteran blues singer and harpist Chicago Bob Nelson, Tinsley formed The Heartfixers, a group that would become Atlanta's top-drawing blues band. After cutting a few Heartfixers albums for the Landslide label, Ellis was ready to head out on his own.

Georgia Blue, Tinsley's first Alligator release, hit the unprepared public by surprise in 1988. Critics and fans quickly agreed that a new and original guitar hero had emerged. The Chicago Tribune said, "Tinsley Ellis torches with molten fretwork. Ellis takes classic, Southern blues-rock workouts and jolts them to new life with a torrid ax barrage." Tinsley's next four releases--1989's Fanning The Flames, 1992's Trouble Time, 1994's Storm Warning, and 1997's Fire It Up--further grew his fan base and his fame. Features and reviews ran in Rolling Stone, The Chicago Tribune, The Washington Post, The Los Angeles Times, The Boston Globe, and in many other national and regional publications.

Guests including Peter Buck (R.E.M.), guitarist Derek Trucks (who made his recording debut with Tinsley at age 14) and keyboardist Chuck Leavell (The Rolling Stones) have joined him in the studio. Ellis' song "A Quitter Never Wins" was recorded by Jonny Lang, selling over a million copies. He in turn has made guest appearances on albums by The Allman Brothers, Gov't Mule, Colonel Bruce Hampton and others. Producers Eddy Offord (John Lennon, Yoko Ono, Yes) and even the legendary Tom Dowd (The Allman Brothers, Ray Charles) helped Ellis hone his studio sound.

A move to Capricorn Records in 2000 saw Ellis revisiting his Southern roots. In 2002, he joined the Telarc label, producing two well-received albums of soul-drenched blues-rock. He returned to Alligator in 2005, releasing Live-Highwayman, which captured the crowd-pleasing energy of his live shows. He followed it with two more incendiary studio releases, 2007's Moment Of Truth and 2009's Speak No Evil. He has since self-released four successful albums on his own Heartfixer label.

Over the course of his career, Ellis has shared stages with Stevie Ray Vaughan, Otis Rush, Willie Dixon, The Allman Brothers, Leon Russell, Son Seals, Koko Taylor, Albert Collins and many others. Whether he's on stage with his own band or jamming with artists like Buddy Guy, the Tedeschi Trucks Band, Gov't Mule or Widespread Panic, he always plays with grit, soul and unbridled passion. Back home on Alligator Records with his new album and a massive live tour in the works, Tinsley Ellis is ready to prove again that whenever he picks up a guitar, he's playing with a winning hand.

Altered Five Blues Band makes music with a swaggering stomp of bruising, barrelhouse grit. According to Downbeat magazine, frontman Jeff Taylor "sings powerfully" and "Jeff Schroedl's live-wire guitar reaches the high bar of mixed invention and fluidity." Blues Bytes magazine declares the group features "the funkiest rhythm section outside of Memphis."

A 2018 Blues Music Award nominee, the Milwaukee-based quintet released its new album, Ten Thousand Watts, September 6 on Blind Pig Records. Recorded over four days in Nashville, TN and produced by three-time Grammy winner Tom Hambridge, the 12 tracks stir up a thunderstorm of original, roots-rockin' music. The set kicks off with the burning boogie of "Right On, Right On" and is followed by "Too Mad to Make Up," a roadhouse rocker about a relationship in peril. The title track then finds Taylor strutting his stuff, testifying his powerful passion. The audacious theme continues with "Mischief Man," before the band cuts loose on "Great Minds Drink Alike," a sure-fire hit with the bar crowd. "Don't Rock My Blues" eases the tempo and captures a traditional vibe. The collection of succinct, tight-but-loose songs reflect the continuing evolution of the band's deft songwriting, blended with the intuitive musical interplay of the longtime bandmates. The album reached #10 on the Billboard Blues Chart, and hit #1 on both the iTunes and Amazon blues charts.

The new album arrives on the heels of back-to-back award-winning records. Cryin' Mercy won "Best Self-Released Album" at the International Blues Challenge in 2015, and Charmed & Dangerous scored Song of the Year at both the Independent Music Awards and Wisconsin Music Awards in 2018. Both albums reached the Top 5 in the iTunes blues store and hit #1 on the Roots Music Report Blues Album Chart. Guitar World magazine called the song "Charmed & Dangerous" a "menacing, swampy blues," and the track has been in regular rotation on SiriusXM's Bluesville along with many other programs and playlists. The album's third track, "Three Forks," was inspired by legendary Delta bluesman Robert Johnson and features music, adapted with permission, from the seminal classic "Crossroads."

Altered Five Blues Band now have five studio albums to their name, including Gotta Earn It (2012) and Bluesified (2008), both on Cold Wind Records. The group has performed at many renowned festivals and venues such as: Lucerne Blues Fest (Switzerland), Grolsch Blues Fest (Germany), W.C. Handy Blues Fest (Kentucky), Ann Arbor Blues Fest, King Biscuit Blues Fest, Baltic Blues Fest (Germany), Milwaukee Summerfest, Magic City Blues Fest (Montana), Fargo Blues Fest, B.B. King's Blues Club (Memphis), Buddy Guy's Legends (Chicago), and several appearances on local television.

Bassist Mark Solveson anchors the rock-solid rhythm section with drummer Alan Arber, who joined the band in 2017, and Raymond Tevich melds his crafty keyboard work to top off the group's signature sound. It's been said that "the blues is a feeling," so when the Minneapolis Star Tribune states that the band is a "righteous blast," you know they play it right.

The Florida quartet's fifth album and first since 2005 weaves together twelve tales of heroism, heartbreak, and healing. On Superfiction, Cold combine vivid, vibrant storytelling with elegant rock. It's a combination that the band has perfected since they burst onto the scene in 1998 with their self-titled debut. Cold preserve the alluring darkness that made them a rock mainstay with 13 Ways To Bleed On Stage (2001), Year Of The Spider (2003), and A Different Kind of Pain (2005), while honing their approach into an intricate, introspective, and inspirational style.

New songs like "Wicked World" teeter between a primal guitar crunch and airy choral poetry. Meanwhile, "So Long June" builds from a lilting melody into an entrancing hook. On "The Ballad of Nameless," A somber piano gives way to a bombastic beat before breaking into one last vocal exorcism. Cold--Scooter Ward (S.W.) [Vocals], Jeremy Marshall [Bass], Sam McCandless [Drums], and Zac Gilbert [Guitar]--have certainly tread similar ground before on hypnotic radio hits such as "Just Got Wicked" and "Stupid Girl," but their latest offering is the next chapter. Due out July 19, 2011 via the Eleven Seven Music, Superfiction is an open book just waiting to be read...

For Cold, Superfiction brought them back to their very roots. "The main idea was to go back to the lyrical fiction of the first and second records," recalls Ward. "This album isn't so real and emotional. Rather, it's comprised of these grand stories, and it's the most fun we've ever had making a record."

2011 was the best time for Cold to return with album number five. After nearly a decade on the road and making albums, the band took a much-deserved break in 2005. After four years, they realized how crucial Cold was not only to the members of the band but to the army of fans that they had touched. After regrouping for 2009's highly successful "Resurrection Tour," these four musicians promptly entered the studio to record what would become Superfiction. The dynamic was instantly different once they hunkered down in Ward's home studio.

"We'd really matured as people," says Marshall. "When we first came out, we were full of angst. Now, we think about everything before we jump. We have a more reserved attitude and, as a result, we've grown as musicians. We're not kids anymore."

McCandless echoes that sentiment. "The break made the band stronger. We had the privilege of touring before we wrote, and it was incredible to play in front of our fans again. When we hit the studio, we were hungry. Cold has this eternal chemistry because we grew up together. That made it even better for us to go in and write a new record."

Tapping into that chemistry, the band wrote and recorded the bulk of the album over the course of a mere month. That urgency colors the album's landscape, and there's real soul in each note. Co-producing with Kato Khandwala and Jeremy Parker, Superfiction sees Cold growing.

Sonically, the trademarks of Cold's sound remain intact. The bellowing bass, warm guitar hum, and driving drum beats all make for impactful music just like it did when the band first formed in 1996. Marshall goes on, "We like certain tones. We've always played in a lower key, and you learn how to use that to your advantage when you're trying to create emotion and accent certain lyrics and melodies. It took us years to develop our songwriting style because we tell stories with our music, sometimes we were a little rawer back in the day. Now, we've refined that sound we have."

The sound has a degree of refinement, but listeners can still fall into Ward's words the same way that they did on classics like "End of the World" and "No One." "I don't think the message is different," declares Ward. "Even though the songs are fictional, people can still gravitate towards them. I made sure the stories would evoke all emotions."

Those stories at the heart of Superfiction become the catalyst for a flurry of emotions. Whether it's the lament of superhero on "What Happens Now" or the ethereal lullaby of "Welcome2MyWorld," each and every song exists in its own creative sphere.

"It was a journey into a time when I was younger because I didn't feel confined to write about personal experiences," continues Ward. "The whole thing flowed. It was liberating. There was no border. I could go from a song about epic royalty to a song about Frank Sinatra singing in a backyard barbecue."

Ward's own family initially inspired him to tell these stories. His sixteen-year-old daughter Raven, inspired "The Flight of the Superstar" with her brilliant piano playing, while his younger daughter Cameron's fascination with princesses and fairytales gave him the idea for "Welcome2MyWorld." Then, he added his own cast of characters.

Those characters add depth to Superfiction. "As far as I'm concerned the characters in the stories have become real to me." In order to play these songs live, they have to come across that way.

In many ways, that emotional heft and detailed narrative evokes the '70s style. McCandless adds, "I hope this album touches people in a way that our favorite bands touched us. I'd love for Superfiction to inspire other musicians to create."

One big factor in the band's growth was the addition of Gilbert. He joined the band as a touring guitarist in 2005, but Superfiction is his first time in the studio with the band. "I put my whole heart and soul into it," he exclaims. "I love recording with these guys. It was a great experience. I learned a hell of a lot."

The title really sums it all up though. Ward reveals, "Superfiction is art that literally pops off its canvas or foundation. In that sense, it becomes something else. The word wraps up the record because we want these stories to come to life. I want you to sit down and listen to the songs and feel the stories. After you've read the story, you can visualize this unfolding in your mind."

It's impossible not to feel these stories, and they're only the beginning. Ward concludes, "If you're a diehard Cold fan, we delivered the band's traditional sound. With the lyrics, words, and stories, I want fans to think of the album as Cold's version of Grimm's Fairy Tales. Superfiction is whatever it makes you feel. I never thought ten years after we made a record, people would still be talking about it. That's rare, and I want to continue creating music like that." -- Rick Florino, January 2011

KICK - The INXS Experience is the USA's most captivating salute and tribute to the internationally acclaimed rock band, INXS.

Formed in 2014, two years after INXS stopped touring, KICK - The INXS Experience has beautifully managed to capture the spirit of INXS in both its sound and live performance, bringing the highest level of musicianship to the audience while showing a true passion for the music of INXS. Vocalist, guitarist, and singer-songwriter Cory Massi is the founding frontman of KICK, and has long held a respect and admiration for the late great Michael Hutchence. Massi even auditioned for the reality TV show, Rockstar: INXS, in 2004, where contestants competed to become the new lead vocalist for INXS. What convinced him to audition? "I loved Michael's singing and his personality," notes Massi. "I saw INXS when I was a teenager in '88 and '89; they were great, and the people were just gaga over them. Michael left a big impression with his star power; he really had it, that guy. Our range is similar and I just went for it. I had to sing "Mystify" acappella so I was kind of nervous because I didn't have a band behind me. There was a camera a foot away from my face and it was out of my comfort zone; I would probably still feel uncomfortable today. I didn't get the gig: I was one of the last people to try out and I think by the time I auditioned they had already made their selection. No excuse: it was a good experience. We include "Mystify" in our set and when I sing it, I have my band with me and we love the music, so we play it with a lot of heart."

KICK is already garnering the attention, admiration, and accolades of well-seasoned "ears" in the music industry. Radio personalities in several markets have been quick to offer praise; WZXL / Atlantic City program director Steve Raymond, a longtime fan of INXS, raved after listening to only part of one song, "Wow! These guys have got the vibe down. Really impressive!" 107.1 The BOSS (WWZY)'s midday air personality Michele Amabile concurred, "I had to go back and listen again with my eyes closed.... I could have sworn I was hearing Michael Hutchence!"

Sounding like legendary frontman Michael Hutchence is no easy task. "I guess the hardest thing, the most challenging thing when I started KICK," acknowledges Massi, "was capturing the great variety in Hutchence's voice. He can sound sensitive and soft and he can be super strong and really belt it out and sometimes that all happens within one phrase or even a word. It took a lot of self-control to capture how he projects his lyrics and the music. It's impossible to really sound and look like him; he's an Adonis, another Jim Morrison, Morrison in a pop sense. I can't mimic that; all I can do is do my best to capture his spirit."

The focus has been on faithfully recreating the music in its most powerful sense; an in-the-pocket bottom end from bass player Don Leslie and drummer Gary Forbes, a brilliant combination of piano and synth by John Cassidy, the signature guitar tones produced by guitarist Todd King and Jason Taylor, the saxophone by Nottingham, England's Tom Wheat, and the spot-on lead vocals by Cory Massi, all lend to a powerful high-energy show. KICK - The INXS Experience will take you back. It will reignite your passion for INXS. It will introduce you to music that is still as fresh today as the day it was written; from "Original Sin" to "Elegantly Wasted" and everything in between, including (but not limited to) "Need You Tonight," "New Sensation," "What You Need," "Don't Change," "Listen Like Thieves," "The One Thing," "Bitter Tears," "Suicide Blonde," "Not Enough Time," "Beautiful Girl," and "Devil Inside."

Jeffrey Gaines has been heralded for his soul-searching lyrics and his powerful live performances.

With only his voice and a guitar for accompaniment, Jeffrey Gaines has earned a reputation as a captivating performer, entertaining audiences everywhere he goes.

Raised in Harrisburg, PA by parents more inclined to spin soul classics by Aretha and Otis than the New Wave and Brit Rock blasting from their son's room, a teenaged Gaines began singing and playing guitar in several local garage bands. He soon decided to set out on his own and quickly landed a record deal, releasing Jeffrey Gaines, the first of his five studio releases. The album garnered four stars from The Philadelphia Inquirer, describing Gaines as "...an ethereal soul...insistent, impassioned, full of self-knowledge." Somewhat Slightly Dazed, and Galore followed. Interview Magazine called Gaines' music "soul-searching" and "refreshingly free of jargon, sentiment or cliché."

Jeffrey Gaines released Always Be (Artemis) to both critical and commercial praise. Featuring his emotional interpretation of "In Your Eyes" and his own soaringly beautiful "Always Be," the album hit #5 on R&R Callout America CHR/Pop list, also reaching #45 on the Billboard Heatseekers Chart. The New York Post proclaimed Always Be as "a dozen-song mix...that completely illustrates the depth he is capable of."

Gaines' impressive catalogue grew with Toward The Sun, produced by Mitchell Froom (Elvis Costello, Bonnie Raitt, and Crowded House). The Boston Globe declared that "Gaines' soulful, wounded vocals make a case for his being one of pop's finest singers...an artist who deserves far more attention than some of his more hyped, yet less talented peers." Mojo noted, "This established soul-folkie's sexy growl has an underlying edge, making it a memorable album. Heartfelt unpretentious."

Throughout his career, Gaines has built a rapport with his fans unlike any other in popular music today. Gaines goes as far as letting his fans influence the songs he performs each night. "When it's just me playing, I only know the first song I'm going to play, but from there the energy and the vibe tell me what the next song is going to be. Someone may yell a song, and I'm like 'Exactly! Good call.' That's so fun to me, keeping it exciting and spontaneous. I don't even know what's around the corner, and the crowd doesn't either." Based on that relationship with the audience, Gaines released Jeffrey Gaines Live (CD / DVD) followed by Live In Europe, which was recorded during his 25-city tour with Joe Jackson. JG's 2016 return to Europe will be accompanied with long-awaited new music, with a release to follow in early 2017.

Born and raised on the Yankton Sioux Reservation in South Dakota, Indigenous front man Mato Nanji (Ma-TOE NON-gee) dedicates his latest release Time Is Coming (on Blues Bureau International) to the indigenous youth and all young people on the indigenous reservations.

Mato Nanji's father, the late Greg Zephier, Sr., was a well-known and highly respected spiritual advisor and spokesperson for the International Indian Treaty Council. In addition to this leadership role, he was an accomplished musician and a member of the musical group, The Vanishing Americans. Formed by Greg and his brothers in the '60's, The Vanishing Americans toured nationally and shared bills with such legends as Bonnie Raitt. Besides being heavily influenced by the music his father and uncles were making, Mato was exposed to Greg's vast collection of blues records by legendary artists such as Jimi Hendrix, Stevie Ray Vaughan and B.B. King. Consequently, Mato embraced and began utilizing his own musical talent at a young age. With the experience, love and wisdom of their father to guide them, Mato, his brother, sister and cousin formed the band Indigenous while in their late teens.

After much time invested in practicing and building a following, they began touring extensively across the country. In 1998, they released their award winning debut album Things We Do. The title track's video, directed by Chris Eyre (Smoke Signals), won the American Indian Film Festival Award and was shown at the prestigious Sundance Film Festival. Indigenous' music caught the attention of blues icon B.B. King and the young band was invited to play on his annual B.B. King's Blues Tour in 1999. Sadly, Mr. Zephier would pass away before seeing his children receive this great honor.

With momentum gaining, Indigenous' 2000 sophomore release, Circle, was produced and arranged by Stevie Ray Vaughan's longtime friend and collaborator, the late Doyle Bramhall, Sr. Three more cds; Fistful of Dirt (2002), Indigenous (2003) and Long Way Home (2005) would follow before the 2006 decision by the siblings to 'disband' and pursue their own musical paths but Mato carried on with the Indigenous band name. "Playing with my family for 10 years was a lot of fun, but it was time to grow and keep moving forward."

Mato continued touring and in 2006 released Chasing The Sun. Two of the cd's songs, "Come On Home" and "Leaving", were featured on the hit Discovery Channel show The Deadliest Catch. "Come on Home" was also featured on FX's Sons of Anarchy.

On 2008's Broken Lands, an intensely personal record, Mato and Leah, his lyricist and wife, pay tribute to his Native heritage. The album decries the poverty, isolation and reality of life on the reservation with "Place I Know." The album gains its title from the line, "all is lost in these broken lands."

Of The Acoustic Sessions (released in 2010), Mato commented, "It's a collection of some of my favorite songs that celebrate 10 years of releasing albums. Every song that I have ever written began with the acoustic guitar, so it only felt natural to create an acoustic album."

Indigenous featuring Mato Nanji (2012) would mark Nanji's debut on the Blues Bureau International label and the beginning of his collaboration with noted producer, Mike Varney. Joining Mato on the disc's opening track "Free Yourself, Free Your Mind" is the soulful Jonny Lang. On it, the two guitar-masters trade vocals and guitar solos. It's truly a blues lover's 'match made in heaven'.

In addition to his Indigenous 'day job', Mato Nanji has been a member of the critically acclaimed Experience Hendrix Tour since 2002. Playing alongside original Jimi Hendrix band members Billy Cox and the late Mitch Mitchell, the tour roster includes some of today's blues greats including Buddy Guy, Chris Layton and Tommy Shannon (Double Trouble), Jonny Lang, Kenny Wayne Shepherd, Eric Johnson, and Robert Randolph.

Once the 2012 Experience Hendrix Tour concluded, Mato and fellow EHT tour mates David Hidalgo (Los Lobos) and Luther Dickinson (North Mississippi Allstars) would collaborate and release the hard-driving, psychedelic blues-infused 3 Skulls and the Truth (Blues Bureau International) disc. The album's no-holds barred setting is the ideal foundation for the three veteran axemen to simply 'let it fly'.

February 2013 would bring the Mato Nanji-inspired release from trance-blues artist Otis Taylor, My World Is Gone (Telarc). Mato and Otis explore the plight of the American Indian people in a lightning bolt of musical creativity and social commentary. "Mato inspired the entire direction of this album," says Taylor. "We were talking about history backstage at a Jimi Hendrix tribute concert he had just played, and, in reference to his people, the Native American Nakota Nation, he said 'My world is gone.' The simplicity and honesty of those four words was so heavy, I know what I had to write about."

"My dad was my favorite musician so he really influenced me a lot with everything. I just felt it was time to pay tribute to him and his band," says Nanji. That tribute, Vanishing Americans, was released on May 21, 2013 and promptly found its place on iTunes Top 10 Blues Chart. Blues Rock Review (6/5/13) said: "each song is brought together with heavy and powerful guitar riffs akin to those of Carlos Santana and Jimi Hendrix, while bellowing, raspy vocals turn a talented guitarist's vision into a relatable song for many, just as any praiseworthy blues album should."

"Mato continues to refine his guitar and vocal vocabularies with each new release and is also expanding his songwriting skills with his wife Leah," said producer Mike Varney of Time Is Coming (May 2014). From the infectious opening track of "Grey Skies"; the Soundgarden/Rage Against the Machine influenced "Won't Be Around No More"; and the gut-wrenching blues of "Don't Know What To Do", and at all points in between, Mato Nanji "tears at his guitar strings, bending and shaking them to within an inch of their life, it is clear that he is no mere copyist. He is a genuine virtuoso..." (Rhys Williams, bluesblastmagazine.com 5/14).

Ultimately, Mato dedicates Time Is Coming, to the Indigenous youth and all young people on the Indigenous reservations. Of the song says Nanji; "still to this day, the struggle continues to just live in peace. Growing up here on the reservation I've seen a lot of broken families...broken homes. I feel our families' "Tiospaye" are the core of what makes us who we are. Now family and its meaning is not as strong as it used to be for our people...almost non-existent. So I send my heart and soul out to the indigenous children having a tough time in their lives and in their homes. This record is inspired by them and made in their honor. I hope for the best for all. Tomorrow is another day."

The Plateros, a three piece award winning family band from the Navajo Nation in Tohajiilee, New Mexico consider Mato Nanji and Indigenous one of their greatest musical influences.

Levi and The Plateros played their first show, a festival in Bird Springs, AZ in December 2004, and by April 2005, they would find themselves onstage performing at the largest PowWow in the world, The Gathering of Nations. Lead guitarist Levi, with his natural born talent, slid across the stage with power chords and screaming blues that amazed the packed crowd. He was just 13 years old.

In the years to follow, Levi, along with his cousins Douglas Platero on drums and Bronson Begay on bass would receive numerous nominations for native music and video awards, and their cd Hang On would take home a win for Best Blues Album at the 2009 New Mexico Music Awards.

In 2012, they joined Indigenous for The Kinship Tour, with The Plateros opening the double bill. They would join Mato for blistering encores that would bring the proverbial house down.

Touring in support of Time Is Coming in the summer of 2014, Mato Nanji would once again call on Levi, Douglas and Bronson to hit the road with him. This time, though, would be different. They would be onstage as Indigenous' rhythm section; Mato and Levi trading leads and solos while Bronson and Douglas provided the strong, stable rhythmic foundation that allowed the two guitarists to 'tear it up'.

As the band made its way across the east coast, the after show buzz was audible. The incendiary chemistry of Mato Nanji, Levi Platero, Bronson Begay and Douglas Platero innate.

They are Indigenous.

The R&B Cadets played their first gig shortly after New Year's in 1980 and their last in the summer of 1986. In that time they got a lot of folks out on the dance floor, playing a distinctive mix of of deep soul cuts from Paul Cebar's massive record collection and some sparkling originals, written by John Sieger, often in tandem with Michael Feldman, a friend and now longtime host of Public Radio's Whad'ya Know?

Splitting lead duties with Sieger and Cebar was the lovely chanteuse, Robin Pluer. Owner of one the lovelier voice heard in the midwest, Ms. Pluer was a dollop of sweetness at the top of the band's deep range. Rounding out the lineup was Mike Sieger, John's brother and vocal doppelganger, who played bass. Original drummer Cy Costabile, was later replaced by Bobby Schneider and the saxophonist Juli Wood was replaced by keyboard/sax man Bob Jennings.

In it's prime, the band had a large following in Milwaukee, where they were pretty much the house band at the late, lamented Century Hall. They travelled well too, with fans in the Twin Cities, Chicago, Madison and even New York where they played legendary clubs like CBGB's, The Knitting Factory and The Lone Star. Their only record, Top Happy, came out in 198-. It featured a song produced by Nick Lowe, a fan who had stumbled across them after playing a show in Milwaukee. The record got great reviews and could have been the start of even bigger things, but like many bands, people were pulling, and being pulled, in different directions.

The positive result of their breakup was two, then three very vital and entertaining acts. There was Semi-Twang, which concentrated on John's songs and did a record, Salty Tears for Warner Brothers that gathered more love than sales. John later moved to nashville and had many of his songs recorded by artist like Dwight Yoakam, Flaco Jimenez and The Bodeans.

Paul and Robin continued with the beefed up and ever-popular Milwaukeeans, releasing a record in the 1990s on Shenachie that got radio play around the country. That lineup stayed around until Robin bid adieu. Tired of touring and now married, she headed to New York for a while, before returning. She has carved out a special niche between soul, swing, standards and the French chanson that she loves, and is still performing today.

In 2009 Semi-Twang reunited and have released two CDs, both of which garnered raves. Paul has continued non-stop, his latest was out last year with his most recent moniker, Tomorrow Sound. The three headed beast has been in rehearsal, tightening up songs old and new. The crowd at their first reunion gig in many years was up and dancing at the first down beat, you probably will be too.

Greg Koch and the Koch-Marshall Trio consist of American guitarist Greg Koch, his son Dylan Koch on drums and Hammond B3 specialist Toby Lee Marshall. At the heart of this organ trio is a blues sensibility - but Koch's compositions are an amalgam of rock, funk, jazz and country served up with heavy grooves and dynamic improvisations delivered with no small dose of humor and occasional wild abandon.

Milwaukee native Greg Koch has forged a successful career as a guitar player's guitarist. He has been called "fiendishly talented" by author and former editor- in-chief of Guitar Player Magazine Tom Wheeler and "scary good" by guitar phenom Joe Bonamassa. In addition to his 15 releases on multiple record labels which feature his unique take on a variety of American guitar styles and his versatile compositions, Koch is widely known for his lengthy tenure as an international ambassador for Fender Guitars which listed him in their "Top Ten Unsung Guitarists" on Fender.com. He is also a best-selling author and video instructor for music publisher Hal Leonard. Greg is a contributing columnist for a variety of guitar magazines including Guitar Player Magazine which listed Greg's "Chief's Blues" in their "40 Badass Blues Solos You Must Hear" and Premier Guitar. For the last few years Greg is renowned for his wildly popular internet videos (which number in the thousands with views exceeding 50 million) originating from the legendary Colorado guitar shop Wildwood Guitars.

Dylan Koch gravitated to the drums early on in his life using kitchen utensils to play along with music as soon as he could walk. After digesting an early diet of Ginger Baker, Keith Moon, Mitch Mitchell and John Bonham, Dylan was mentored by the legendary Tom Brechtlein (Chick Corea/Robben Ford). In high school Dylan participated in the Jazz Institute at the Wisconsin Conservatory of Music and furthered his studies at the McNally Smith School of Music in the Twin Cities. While still in his teens he performed with young guitar guns Tallan Noble Latz and Jared James Nichols and has performed alongside his father with such artists as Robben Ford, Little Feat's Paul Barrere, Jon Cleary, David Grissom, Roscoe Beck and Malford Milligan. Dylan was recently nominated for drummer of the year by the Wisconsin Area Music Awards (WAMI).

Toby Lee Marshall's screaming B3 is the perfect compliment to the musical stew that is the Koch songbook. Hailing from the Twin Cities area he came from a musical family, playing piano for years until falling under the spell of the sound of the organ while at a baseball game at age seven. His fascination for the Hammond B3 took hold after his Dad took him to see Steve Cherewan playing with Dr. Mambo's Combo at their legendary residency at Bunker's in Minneapolis. Steve mentored Toby in the ways of the B3 and he hit the ground running landing a gig with bluesman Lonnie Brooks while still a teen. He would go on to travel the world as a member of Bernard Allison's band. After taking a hiatus to spend some family time, Toby is returning to music with a vehemence and the Koch-Marshall format gives him a long leash to let his freak flag fly, providing groovy bass lines, sinuous chordal work and incendiary solos.

The trio blends the explosive guitar manipulations of Greg, the groove-centric, power-pocket playing of his son Dylan on drums (who share many telepathic musical moments) and the glorious, Hammond organ stylings of the uber-talented Toby Marshall, Greg’s compositions are properly portrayed in the blues drenched, funk, chicken-fried, gospelly, jazz-rock panorama in which they were conceived.

The Nielsen Trust - a Midwest musical legacy of memories, dreams and nightmares. The Nielsen Trust promises an intimate look at the life and songs of a family that isn't completely f#*ked up. A very special evening of songs and stories from the uniquely colorful world of growing up Nielsen. Not the American Osbournes.

"Hey, have you heard about that rockin' new family band, the Nielsen Trust?"

"The Nelson Trust? You mean like Ozzie and Harriet? Ricky? They're not what I
would call rockin'."

"Rick, yes, but not Nelson, Nielsen. Rick Nielsen, y'know, the guy from Cheap Trick? He and two of his sons have formed a side band. It's gonna be cool! Like the Griswolds on acid."

"Wait, doesn't Cheap Trick tour all the time? And isn't Daxx Nielsen their drummer? And doesn't Miles Nielsen have a band of his own? And isn't Miles'wife Kelly a singer and songwriter as well? How will they find the time?"

True, true, true and true. But that's not enough to slow the hyper-musical Nielsen family. The Nielsen Trust, established 2019, connects the family's generations -- a sign of trust -- for very special evenings of songs and stories from the uniquely colorful world of growing up Nielsen.

Rick promises "a Midwest musical legacy -- memories, dreams and nightmares"and notes, ominously, "The Nielsens are not your warm, fuzzy and cuddly musical group. We're not the American Osbournes."Or, as Miles puts it, "a way to experience music and stories between a father and his family, an intimate look at the life and songs of a family that isn't completely f#*ked up."

The back story: Miles and Daxx started off playing together in Harmony Riley, a Midwest quintet which released albums in 1999 and 2002. Then Daxx went off to drum for surf legend Dick Dale, Brandi Carlile and others. He got the "you are needed" call from Cheap Trick in 2010.

Big brother Miles played bass for Cory Chisel and the Wandering Sons and then launched his solo career with the Rusted Hearts. His fourth album, Ohbahoy, has just been released, and that's not counting the EP, Weep & Willow, he and his wife Kelly Steward issued in 2016. She has a new album, Tales and Tributes of the Deserving and Not So, as well. Rick, well, he's been playing a hundred-plus Cheap Trick shows a year all over the world, while writing and recording non-stop. So, with characteristic Midwest industry (and the encouragement of wife and mom Karen Nielsen), the four are testing family bonds by adding another musical project to their busy lives.

Actually, Daxx says, music has the power to intensify family ties. "Miles and I played in a band together for years and built an amazing chemistry. Rick and I have now played together for years and have also formed a great bond. When the three of us are all together it's going to be incredible."

With Miles out front as singer and storyteller, they're working up lesser-known songs from Rick's enormous Cheap Trick catalogue, adding some Miles and Kelly originals, choice covers and, who knows?, maybe writing some new tunes together. Asked for some titles, Miles says they're thinking about such Trick tunes as "Can't Hold On," "Didn't Know I Had It," "Fan Club" and "On Top of the World."

The goal, Miles says, is to play a dozen shows a year, accentuate the rock side ("dynamic and delicate") more than he normally does and give the family legend a chance to play in a band that he doesn't have to lead. Miles and Kelly will bring their three teenagers along to ensure that the binding of generations and the handing down of traditions continues for a long time to come. For the fans, the shows offer an intimate connection, an invitation to the Nielsen world, which may be rock star glamorous from the outside, but inside the checkerboard there's a family just like yours and mine. Well, maybe not just like...

Rick once had the fretboard of a red Les Paul Jr. inlaid with the words "You know you like it." That didn't sound too trustworthy a sentiment. But this time, with the Nielsen Trust, you know he means it.

With his silk-like vocals, Mutlu gently showers over melodies like rain. A Philadelphia native and first-generation American of Turkish decent, Mutlu combines his innate Philly-soul style with elements of folk, reggae and rock. This cohesive blend of music creates a rare and retro sound that is entirely timeless.

Mutlu has already made substantial headway with his high-caliber soulful sound. He's collaborated and toured extensively as a support act with legendary duo Daryl Hall & John Oates. He even holds the distinction of having made the most guest appearances on Daryl Hall's acclaimed, award-winning TV show "Live From Daryl's House". Mutlu has toured as a support act and longtime collaborator with noted singer/songwriter Amos Lee, and has shared stages with the likes of Adele, Katy Perry, John Hiatt, Leon Russell, the Blind Boys of Alabama, Todd Rundgren, Shuggie Otis & many more. Additionally, he was the support act on the North American leg of Joe Jackson's acclaimed "Rain" tour. Mutlu has rocked stages across Europe and America, including: Greek Theatre (Los Angeles, CA), Ascend Amphitheater (Nashville, TN), Tower Theatre (Philadelphia, PA), Royal Festival Hall (London, UK), to name a few.

Mutlu Onaral began writing music shortly after he picked up the guitar in his mid-teens. He then continued on to play in a few bands and join an acapella group during college. While growing up steeped in Philadelphia's deep R&B traditions, Mutlu eagerly absorbed the fundamentals of old-school soul music and incorporated it into his own musical persona. "I've always loved all kinds of music, but it was my love of soul music and especially artists like Stevie Wonder, Bill Withers and Al Green that inspired me to have a career in music", Mutlu says. His local success in Philadelphia led to a recording deal with Manhattan/EMI Records, which released his acclaimed 2008 debut album Livin' It and was produced by the late, great T-Bone Wolk. The LP featured guest appearances by Daryl Hall, Amos Lee, G. Love and Raheem DeVaughn.

Six EPs later, Mutlu is has released his 7-song collection entitled: Good Trouble. Mutlu co-produced the record with songwriter/producer Darius Amendolia. Additionally, Good Trouble was mixed and mastered by Grammy winning producer/engineer Phil Nicolo who has also worked with renowned artists like John Lennon, Bob Dylan, Lauryn Hill, Aerosmith, and others. The album features the lead soul-folk single "Lifeline". The empowering new track touches on the search for unity within a divided society. Mutlu hones in on the importance up standing up for justice and equality. Other songs like "Scarred" and "Work For It" discuss the mind's worst enemies between depression and self-doubt. Mutlu empathizes these feelings and offers something real and relatable to listeners. Good Trouble also includes "Nothing In This Whole Wide World" featuring John Oates, a song that admirably channels that classic, 1970's Philly-soul sound. The track was co-produced by John Oates and Hall & Oates guitarist Shane Theriot, and includes Hall & Oates band members Brian Dunne (drums) and Klyde Jones (bass).

Mutlu's deeply rooted retro grooves and smooth vocals continue to win widespread praise. He has been supported by the Philadelphia Inquirer, NY Times, LA Times, and others. Mutlu's inspiring songwriting carries resonating messages that are undeniably limitless, while instilling hope in audiences worldwide.

The Pat McGee Band is what is commonly referred to as a band of journeyman musicians. In the 25 years since their initial formation, they've acquired a fanatical popular following, one that was so determined that it produced sales of over 100,000 copies of their first three albums and eventually caused Warner Bros. Records to take notice and sign the group to an exclusive contract at the end of the '90s. The band's dedication to working the road was so steadfast that at one point in their ten year touring stint, they played a remarkable 98 concerts in a period of 103 days. They shared stages with the Who, the Allman Brothers, James Taylor, and many more, and also achieved the ultimate honors -- performing for president Bill Clinton, touring with the USO and sharing their songs onboard the USS Eisenhower with 5,000 servicemen and servicewomen serving a tour of duty in the Arabian Sea.

"There was no plan B," McGee says in retrospect. "We sold 12,000 copies of our first album out of the trunk of our car. We had a rabid fan base that supported us every step of the way. We never had that huge pop hit, but in a way that helped assure our success. We never had to count on replaying a single song in order to move forward. It was our diligence and devotion, our steadfast approach to making music that was honest and expressive that became the backbone of our sound."

Sadly, the band's progress came to a tragic end in October 2006 when drummer Chris Williams succumbed to a heart condition. McGee struck out on his own, adding five solo albums to the half dozen efforts recorded under the band's own banner.

It's significant then that the band -- McGee (lead vocals and all guitars) Al Walsh (backing vocals), Jonathan Williams (keys, backing vocals), Chardy McEwan (percussion), John Small (bass), and new drummer Matt Calvarese -- have reconvened and will release their first new effort in 14 years early next year. Dubbed Sugar Packet -- after the nickname affectionately given Williams by his bandmates -- and recorded at 38 North Studio in Falls Church, Virginia with producers Kit Karlson and Chip Johnson, it reunites the original members of the Pat McGee Band and signals a return to the musical bedrock that was their calling card all along. Once again, the emphasis is on melodies that are both memorable and evocative, an upbeat party vibe that weighs heavily on the familiarity factor, three part harmonies, ringing guitars, steadfast rhythms, sparkling keyboards, and a sound that's certain to revive their populist appeal.

"The music and the grooves came quite naturally, and once these songs started coming, I knew that the only musicians that were right to record them were my original PMB bandmates," McGee maintains. "It's also appropriate that the lyrics dig deep into life experiences common to us all, which can only find genuine perspective and reflection at a certain point where maturity replaces adolescence, and adult responsibility takes over the carefree existence we had in our youth. I take pride in the fact that I've been able to do this for 25 years, but that I'm still mature enough to be a good husband and a dad to four kids."

Longevity has always been at the core essence of the band's music from early on. Weaned on the classic influences of such tightly knit ensembles as the Grateful Dead and the Allman Brothers, as well as the Laurel Canyon glow evoked by preeminent '70s singer/songwriters such as James Taylor and Jackson Browne, McGee and his comrades effectively captured their own sense of optimism and exuberance. They reminded listeners why music is both important and inspiring, particularly to those experiencing both the discoveries and disappointments that accompany one's coming of age.

"The new album boasts the vintage approach that the band made its signature sound at the end of the '90s," McGee maintains. "It's got that same earnestness, excitement and spontaneity that were the hallmarks of our music during our peak and prime. When I listen to it, I feel the years melting away, and the time we spent apart filling in behind us. We had an amazingly successful Kickstarter campaign, and that provided proof that our fans are still supporting us all the way."

In the meantime, McGee is remaining as active as ever. His last solo album, an eponymous effort, found him working with such luminaries as Russ Kunkel, Leland Sklar, Waddy Watchel and Danny Kortchmar (better known as The Section), David. Crosby colleague Jeff Pevar, Paul Barrere of Little Feat, John Popper of Blues Traveller, Pat Monahan of Train and Punch Brother Gabe Witcher. If one's reputation is bolstered by the company they keep, then there's no better evidence that McGee has achieved high status indeed.

Of course, that was evident early on given the audience reaction that greeted the band during their frequent tours throughout every region of the country. The gatherings McGee continues to preside over -- "Down the Hatch" and "Ocean State of Mind" -- continue to attract the faithful on an annual basis while reconnecting friends and fans through that common bond that McGee and company have nurtured so successfully over the past 25 years.

Now, with a new album on the horizon, their first quarter century is really only the beginning of their continuing career. Indeed, this welcome return of the Pat McGee Band makes this a reunion to relish. As we head into a new decade, it is only right that Pat McGee should be back on our stage!

Winner of the Independent Music Award, in the Live Performance Album category for his latest triple live album "Encore" (2014), "Rose d'Or" of the Montreux Festival for his first album, "Près de Paris" (Switzerland, 1976), "Best World Music Guitar Player " by the readers of Guitar Player Magazine (USA, 2008), Pierre Bensusan is recognized as one of the premier musicians of our time.

If "World Music" is music that pays tribute to the spirit of a collection of human beings through distinct rhythms, traditional instruments and harmonic colors, French-Algerian guitarist, singer and composer Pierre Bensusan can be recognized as one of the most eloquent and world musicians today.

Born in Oran, French-Algeria, in 1957, when France was decolonizing its Empire, Pierre Bensusan's family moved to Paris when he was 4. He began formal studies on piano at the age of 7 and at 11 taught himself guitar. Influenced in those early days by the folk revival blooming in Britain, France and North America, Bensusan began first to explore his own diverse musical heritage and then moved to the horizons beyond.

At 17 he signed his first recording contract, and one year later his first album "Pres de Paris" won the Grand Prix du Disque upon his debut at the Montreux Festival in Switzerland.

Described by the L.A. Times as "one of the most unique and brilliant acoustic guitar veterans in the world music scene today", Pierre's name became synonymous with contemporary acoustic guitar genius, long before the terms New Age, New Acoustic Music or World Music were invented. He has the ability to make a single guitar sound like an entire band as he brings the audience on a mesmerizing musical journey. And yet, Bensusan is more than what any musician or music lover expects from a guitarist. He is a composer as well as a bilingual and a brave improvisational vocalist, melding whistles and resonant low notes with something like his own scat technique.

There is a sense of something both playful and serious in his work, an unparalleled sense of freedom in his compositions and his improvisations. His "manner" of playing defies classification - crossing world, classical, jazz, traditional, folk and more. None can be isolated as simply "Brazilian", "Arabic" or "French"; rather, they represent our world in its current state, a world sharing itself, fusing cultures together in ways we have never experienced. A great embassador of peace. Not to be missed!

Buck Up, the new studio album from singer and songwriter Carsie Blanton, due out February 15 2019, opens with a siren. The warning -- or call to (dis)arms -- segues into the first notes of "Twister." Finger snaps alone accompany Blanton's smoky vocals, before piano, upright bass, cello, trumpet, and drums join the proceedings. You're immediately drawn in to her riveting tale of natural -- and erotic -- disaster. Brimming with catchy hooks, sensual vocals, and lyrics boasting a gift for rhyme and meter, Buck Up is Blanton's melodic mandate for survival following the 2016 presidential election: passion, lust, and humor. "There are two themes on this record," says Blanton of Buck Up's ten electrifying tracks. "One is the feeling of catastrophe happening in American politics, and the other is this feeling of personal catastrophe": when you fall for "That Boy," for example, a reckless wild child, the type who populate her life and imagination. Though Buck Up may be "basically about being depressed," according to Blanton, "if there's not a sense of humor or playfulness, I don't want to listen to it. Music is about play."

Over the past dozen years, Blanton has been making music that personifies play. Her work has been called "impeccably catchy" by critic Robert Christgau, with musician John Oates admiring her songs' "sly wit and urbane imagery" that remind him of Cole Porter. She's toured across America and Europe sharing stages with Madeleine Peyroux, The Weepies and others. Though based in New Orleans since 2012, the self-described "proud socialist" has been on the road since her teens. As a child in tiny Luray, Virginia, she began playing piano at 6 and learned guitar at 13. The budding songwriter's life was forever changed when her grandpa sent her a batch of jazz recordings for her thirteenth birthday. "Billie Holiday, Nina Simone, Louis Armstrong -- that's when it started for me," Blanton says of the gift two decades ago that remains "the most inspiring to me as a songwriter and a singer. I'd started performing and he wanted to make sure my musical education was well rounded." She was deeply smitten with Holiday's recording of Irving Berlin's "How Deep Is the Ocean": "I just love him," she says of the composer, "and Cole Porter and Rodgers and Hart. They're all masters of music and words." Such influences would surface as Blanton began crafting her own witty lyrics and using jazz phrasing in her vocals.

Blanton left the Blue Ridge mountains an angst-ridden 16-year-old and began living within an artistic community in Eugene, Oregon, until she was 20. There, guitar in hand, "I realized by being creative, I could be a happier person and take care of myself," she says. After more travels, she settled in Philadelphia, where she worked at a nonprofit while recording her first album. She left her job to make music her life and has never looked back. By the time she was 23, she was touring solo and as an opener for such artists as the Wood Brothers. Vocalist/guitarist Oliver Wood, an early mentor who produced a previous Blanton album, lends his distinctive fingerpicking and vocals to Buck Up's exuberant title track.

Since locating to New Orleans, Blanton has "become more prolific as a songwriter," she says. "There's something about the spirit of the city. It's very musical but also very dark with a lot of pathos." Her last release, 2016's So Ferocious, documented her love affair with the city, and the Big Easy vibe imbues her new album. Sequestered in her NOLA home, she wrote the first song for Buck Up, "Bed," in November 2016: "I'm not gonna get out of bed today/I've tried to do it but what can I say/Every time I turn on the news it's a kick to the head/Why don't you wake me up when the president's dead." "That song shook loose a lot of feelings I had about the political landscape and growing up in America," Blanton reports. "If I can write one song that really captures the feeling of a project, then the rest come more easily." In fact, bed imagery trickles throughout the album's tracks.

For the recording, Blanton returned to the south Jersey studio of guitarist Pete Donnelly (the Figgs, Graham Parker), who coproduced Buck Up with Blanton. Joining them was her longtime bassist and sometime co-writer Joe Plowman, keyboardist Patrick Firth, and drummer Nicholas Falk.

While her lyrics grapple with some dark subject matter, Blanton's engaging, captivating vocals are relaxed and flirty on "Jacket," her ode to the female gaze and masturbation. She sounds wistful and sweet on the strings-and-accordion-accented "Harbor," and sex-drenched on "Desire," "an apocalyptic love story," one of her favorite genres, she says. "Lust and passion and romantic energy are a beautiful, joyful source of pleasure in life," says Blanton, "but also a source for heartache and devastation. It reminds you of how short life is, so it feels very connected to death and mortality to me. One of my major inspirations as a songwriter is feeling the erotic connection. When I get connected to the erotic force, I feel so turned on by life and also hooked up to death at the same point." Song ideas flow when she "goes out there and looks for some sexy young man who's a mess -- that's the muse that works for me. That's where I get my mojo." In addition to songcraft, her erotic life inspired her to invent "a sexy card game, The F'ing Truth," says Blanton, intended for "people who f' and tell" and deemed a "f'ing blast" by sex columnist Dan Savage.

Blanton's thing for bad boys can bring moody moments to her songs, but her cheeky takedown of male hipsters adds lighthearted fun to Buck Up. The upbeat "Mustache," a co- write with Plowman, asks, "why'd you have to grow that mustache," while its sonics, complete with calliope-sounding keys, is her homage to another musical favorite, The Supremes.

The heart of the album, says Blanton, resides within the pop-rock anthem, "American Kid." Its hummable tune camouflages Blanton's downhearted lyrics detailing disillusionment that comes with the realization that "we done them wrong": "It's my journey from being a standard liberal moderate to being really radicalized and losing my belief in American capitalism. I want to connect with this feeling of 'we can be compassionate and we can change what we're doing and not take it lying down.'"

At the crossroads of nihilism and determination -- the former described in the harrowing "Battle" ("I know I won't survive the battle in my heart") -- Blanton chooses to "Buck Up," which closes the album with mirth. "Buck Up" is a "rallying cry," says Blanton. "Enough with the sadness and wallowing about America. We have to get people together to make change, even though it's daunting." Paraphrasing Tom Waits, she quips, "I hope this album will help to improve the quality of our suffering." And with a feisty nod to the work of another hero, John Prine, she coos, "Make 'em laugh if you can't lick 'em."

The Devil has always been there. He is the great outsider, the original iconoclast. He is a conniving little shit and never seems to tire of giving humanity a wedgie or a wet willie just for a laugh. The Devil is capable of taking many forms. He can exist as one being or spread out amongst many. He can present himself as an ordinary man or as a horrific cloven-hoofed beast depending on his mood. Above all else, The Devil lives to corrupt, to adulterate, to defile.

Electric Six has often used The Devil as subject matter for its songs because of that last bit, the part about corruption and adulteration. That's what Electric Six has been trying to do with its music now for quite some time!!!! We want to corrupt young women....just like The Devil!!! There's nothing more rewarding than the seduction of a young innocent maiden, forcing her to wear demonic dresses, levitating her towards the great fiery skull and watching her eyes turn black as she gives into evil and becomes the bride of The Devil!!!! That....is why we started this band....to help women realize their potential as sexy evil maidens with eyes reflecting the utter darkness of a corrupted soul.

With its fourteenth studio album Bride of the Devil, Electric Six examines the concepts of evil and corruption, humanity's various falls from grace, the nine circles of purgatory and of course, the internet itself. Bride of the Devil opens with the thunderous opener "The Opener", a bombastic celebration of the arena rock Electric Six never got to play. The next two numbers are textbook ear worm guitar pop numbers that deal with debilitating income inequality and nepotism ("Daddy's Boy") and the horrors of being forced into a pool of toxic waste by an a rabid Doberman trained to kill ("(It Gets) (A Little) Jumpy").

And then we get to the title track, a radio anthem, where it all becomes clear that The Devil is a metaphor for Russia and the United States is the young girl who is seduced, corrupted and wedded into a Satanic covenant with the beast. It's all there in black and white. The Carrie Underwood-esque lyrics alongside a backdrop of vodka and caviar and backchannels and Seychllian bank accounts. That's how they did it. They went after our country performers and got the rubes to feel good about being Russian assets. And still, it is the feel-good anthem of the summer.

Finally, the haunting album closer "Worm In the Wood" is Electric Six at its most serious, most tender and emotional. Haunting. Effervescent. Corrupt. Jaundiced. Tired.

So there you have it. Electric Six is back with its fourteenth record and it's poppy and feel-good, as well as heavy, both sonically and lyrically. Our sound will corrupt you and enslave you as the beautiful demonic bride you know you truly are. Fraulein, take this severed hand with it's creepy long nails from the beginning of time. To do so is truly thine destiny.

Speedealer originally formed in 1992 in Lubbock, TX, under the name REO Speedealer. In 1997 when REO Speedwagon served the band a cease-and-desist order on their moniker, they shortened their name to Speedealer and released their debut, self-titled album on Royalty Records. The following year, after the departure of drummer Todd Mcglaulin and guitarist Mike Noyes, the hard rocking foursome -- made up of singer/guitarist Jeff Hirshberg, bassist Rodney Skelton, and newly added drummer Harden Harrison(Rigor Mortis) and guitarist Eric Schmidt(Pervis) --, recorded and released their follow-up record, Here Comes Death, on the same label. Royalty Records went bankrupt soon after the band's second release, leaving Speedealer to their own devices for exposure.

Label-less and musically driven, they played 309 shows in 1999 to stay in the public eye, pairing up with such like-minded, aggressive rockers as Motörhead, Fu Manchu, Neurosis, Zeke, and GWAR. Speedealer's efforts finally paid off when Palm Records A&R man Michael Alago (who signed Metallica to Elektra and White Zombie to Geffen) contracted the band to his label. Palm Records re-released Here Comes Death in 2000, and Second Sight (produced by Jason Newstead of Metallica) in 2002. In 2003 Casey Orr (Rigor Mortis, GWAR, Ministry, and Burden Brothers) took over bass duties for Speedealer. Then came Dead Teenager's release of Bleed, and Radical Record's release of Speedealer's live at GBGB recording Burned Alive. In 2012 Jeff Hirshberg decided to stop playing live shows but continues writing music with the band. Speedealer's forthcoming album titled Blue Days Black Nights will be released May 6, 2019 Current touring lineup is Eric Schmidt /Guitar, Harden Harrison/Drums, Rick Pearson (Buck Pets)/ bass, Daniel Barron (The Swingin' Dicks) /vocals.

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