City of The Sun is John Pita, Avi Snow and Zach Para. Three guys from all around the world – Ecuador, Seattle, Israel – coming together in NYC with two guitars, a box, some bells, and a sound far greater than the sum of those parts. Their music has been called “tremendous,” “powerful,” “mesmerizing,” and “a re-invention of acoustic music.” It’s acoustic, but electric. Instrumental, but lyrical. Worldly, but deeply personal. City Of The Sun runs the gamut from wide-screen post-rock dynamics to gypsy jazz syncopations.
“It seemed as though the aggressive guitar work skated right atop post-rock chord progressions that were held down by a cajon and tambourine. The New York City band’s modern flamenco influence begged comparisons to Rodrigo Y Gabriela, showing the crowd that headbanging acoustic music exists.” – Jambase
“We don’t get much instrumental rock these days… Yeah, lyrics can make it easier to convey mood/meaning, but if you can do that with just a sonic landscape, you’re a true master of your art. And City of the Sun are shaping up to be master artisans. ” – Baeble Music
People’s Blues of Richmond is a heavy-touring, blues-psych power trio from Richmond, Va. In the past two years, they’ve signed with Madison House Booking, recorded their third full-length studio album, released a 7-inch single with sought-after rock & roll producer Mark Neill (Black Keys, The Hives, J. Roddy Walston & the Business), and have been featured at outlets such as PopMatters, Guitar World, CraveOnline, Relix and more. People’s Blues of Richmond managed to fit in their recent studio work while constantly touring the U.S., packing clubs and theaters full of amped-up fans, selling out The Hamilton in D.C., headlining NYC’s Bowery Ballroom and a dozen festivals around the country, playing Red Rocks and massive outdoor festivals like Electric Forest, LOCKN’ & Gasparilla, and sharing bills with legends & critical favorites like Modest Mouse, Tom Petty, Gary Clark Jr., Gogol Bordello and Dinosaur Jr.
Their new album (out June 10) was recorded in Richmond by Ricky Olson at The Ward, and is named after the band’s intense new one-minute and 35 second hit of proggy psych-punk, ”Quit or Die.” As People’s Blues pounds into the first chorus, singer Tim Beavers II howls, “Compromise is suicide when your choice is quit or die!” The song explores the hardships of addiction, from eviction notices to regrettable drug deals. Quit or Die is filled with thought-provoking lyrics as the band sonically claws through the speakers like some mutant beast. The songs “Richmond City Hangover Blues” and “The House on Oregon Hill” are shout-outs to their filthy/beautiful hometown, while “The March” and “I Understand” both exemplify the band’s love of life on tour and all the insanity that comes with it, and “I Love You” and “Just Tears” express the futility and anguish of love gone awry. The moods shifts from dark and brooding to manic and frenzied as if the record itself was suffering from borderline personality disorder.
People’s Blues of Richmond was originally formed in 2009 by bass player Matthew Volkes and guitarist Tim Beavers II. They found their first drummer, Raphael Katchinoff in the Richmond music scene and played with him for four years and two albums. During the making of their second album, Good Time Suicide, they were joined by keyboard player Tommy Booker, but he and Raphael soon turned their focus to their other group, Southern Belles. Then, Neko Williams (son of Drummie Zeb from The Wailers) took over on drums. After the switch, Volkes, Beavers & Williams all moved in together and began touring full time in a 15 passenger Ford van.
They’ve been going non-stop ever since, spending all hours of the day either traveling, playing, writing, recording or planning their next step. After years together, on the road and off, the three are more than just bandmates, they’re brothers. It’s a camaraderie that shows in their music and beyond. “No matter what, we look out for each other,” Volkes says. “If I have a sandwich, Tim and Neko get a bite, too. We’re all in this together.”
The band is currently working on a “Quit or Die” music video before continuing to take audiences by storm with their unbelievable live shows, which often include smashed guitars, blazing light shows and brilliant projections from Dustin Klein of Videometry (who also lives with the band back in Richmond).
There’s a reason that musical trailblazers from Galactic to DJ Logic have recently chosen to collaborate with High and Mighty Brass Band! and legends such as Dr. John, Rebirth Brass
There’s a reason that musical trailblazers from Galactic to DJ Logic have recently chosen to collaborate with High and Mighty Brass Band! and legends such as Dr. John, Rebirth Brass Band, and Trombone Shorty have chosen them to share the stage. Co-mingling band members from New Orleans, NYC, and a host of other cities across the globe, this dynamic krewe has the unique ability to combine classic New Orleans Funk and R&B with more modern Afro-Beat and Hip Hop influences.
Their live performances are both fiercely entertaining and refreshingly inspiring, connecting the band with each and every audience member. Just catching a single performance will make it abundantly clear why HMBB! is known as “a party in progress!”
South Carolina rock 'n' roll shot with southern soul accents. Formed in fall of 2011, Atlas Road Crew is rapidly building one of the most loyal fan bases on the
South Carolina rock ‘n’ roll shot with southern soul accents. Formed in fall of 2011, Atlas Road Crew is rapidly building one of the most loyal fan bases on the East Coast, packing venues to capacity from South Carolina to New York City, and expanding quickly to major US cities in between.
The overwhelming positive response to the band’s latest recorded effort Halfway to Hopkins,produced by Grammy Award winning producer Rick Beato, has this young band quickly becoming the South East’s “must see” live act of 2015.
Halfway to Hopkins is a sonic blast from start to finish, bringing swampy southern accents to fresh, contemporary tunes while managing to capture the band’s blistering live show prowess on tape. The title refers to a small community outside Columbia where the band lived for several years after graduating from the nearby University of South Carolina. “That house, which was halfway between Columbia and Hopkins on the southeast side of town, was where we really began to come together,” Says drummer Patrick Drohan. “We knew then we wanted to become more than just another bar band.”
Riding the momentum of the record release, Atlas Road Crew’s constant touring led them to a six week European tour in early 2016 followed by an aggressive US club and festival run. Aussie rock ‘n’ roll blog 100 Percent Rock sums it all up nicely in their review, saying in no uncertain terms “This is EXACTLY the sort of music we should be listening to right now: bands taking old favorites and adding new directions, writing great songs, delivering ace performances. This is the good stuff.”
Vocals, Guitar / Taylor Nicholson Lead Guitar / Dave Beddingfield Piano, Vocals / Bryce James Bass / Max Becker Drums, Vocals / Patrick Drohan
Colombian artist inspired by the beat of rural dance music of north Mississippi, the Hill Country Blues along with a self-discovered sense of spirituality
Colombian artist inspired by the beat of rural dance music of north Mississippi, the Hill Country Blues along with a self-discovered sense of spirituality in Blues music, creates a unique sound that blends his backgrounds in African & Latin American music with Rock n’ Roll, incites you to party and the dancing ritual. Considered the Hill Country Blues Pioneer in Latin America.
After his third and successful record “RAISE THE FIRE AMERICA” that showed a strong connection between the rhythm and melody with some fusions of Afro and Latino American rhythms, now he brings the new album “Del Otún & el Mississippi” featuring the legendary master R.L. Boyce.
He has experienced and lived the Blues & Rock’nRoll right where it was born, playing for years with local legends in Juke Joints and Backyard Blues Parties in North Mississippi. Carlos Elliot Jr. is a 2-piece band, they live in Pereira (Colombia) and keep touring in the North and South America scene. Pure dancing Blues & Rock’nRoll!
-Carlos Elliot Jr – Artist of the year 2015 Subterranica Awards 2015 -Katrina the Mule – Song#1 National Broadcast Radio Station Radionica 2015 -Got This feelin’ – Song#1 National Broadcast Radio Station Radionica 2016
In the 1930’s, the blues sang the sorrows of a man with nothing,” says JohnKeith “Cubby” Culbreth, principal songwriter of Stop Light Observations. “This 21st century album, ironically, sings the sorrows of a man with everything. ‘Toogoodoo’ is the ‘Middle Class Blues.'” For as long as Americans have sought the illusions of comfort and security in materialism and wealth, there have been those who rejected the predictability of conformity in search of something more authentic. From Thoreau at Walden Pond to Jack Kerouac’s manic crosscountry road trips, the quest for fulfillment plays out uniquely in the art of every generation. For Charleston’s Stop Light Observations (aka SLO), the search for something more meaningful led them on a journey through ecstatic highs and crippling lows, artistic triumphs and business setbacks, and, ultimately, right back home to the Toogoodoo River in South Carolina. The roots of SLO stretch deep into childhood, when Cubby first began assembling the lineup as a middle schooler, but things didn’t truly take off until the band released their acclaimed 2013 debut album, ‘Radiation.’ Metronome Charleston hailed their “emotive and elegant” songs, which blended arena-sized rock with undercurrents of hip-hop and folk, while the Charleston City Paper profiled their unexpected rise, which “took many in the music industry by surprise” as they went from relative unknowns to playing Bonnaroo and selling out Charleston’s largest rock club, The Music Farm, in roughly a year. Since then, they’ve gone on to break the record for most consecutive sellouts at The Music Farm and perform live shows all across the country, including more standout festival sets from Firefly to Summerfest . Despite the rapid growth of their fanbase, though, the band had to deal with misplaced trust in music industry figures along with a series of setbacks and the accompanying disillusionment. They hit rock bottom at the end of a tour in Colorado, facing a depleted budget, no shows on the books, and the potential dissolution of the band. “I remember sitting in the van wondering what we were going to do and how we were even going to make another record,” remembers singer Will Blackburn. “I said, ‘Why don’t we go out to Toogoodoo?'” It wasn’t the first time Blackburn had suggested it, but it was the first time Cubby took the idea seriously. Toogoodoo is a more than 200-year-old private family compound located about 30 minutes outside of Charleston on the Toogoodoo River . Cubby’s family had been renting it out to vacationers in recent years, and while beautiful, it’s a far cry from a modern recording studio. The grounds are a trip back in time, far removed from the luxuries of Charleston and its bright, sunny beaches. The property overlooks immense, brackish marshes where the ocean and river water meet, and the specter of Charleston’s sometimes dark history hangs heavy, a counterbalance to the currents of peaceful serenity and natural splendor that flow throughout the property. The band decided the only way to properly record an album there would be to track everything live as a full band over the course of eleven days , and then to render the resulting songs through analog tape. They relocated all of their gear and set up in the house on a tireless quest to capture the sound in their heads. Even once they felt like they’d nailed a perfect take, SLO would push onwards to cut it again with even more intensity. Sometimes 40 performances deep into a song, bandmembers would continue to call for one more, and one more again until something undeniably transcendent happened. “I grew up in a church, and it was like a Holy Spirit type of situation,” says Cubby. “Every single time we got the one, we all knew that was it, there were no arguments. We would just hug and sometimes cry. The best thing about it all is that every single song on this album captures that deep level of emotion we felt performing it. Every song you hear is “The” take and everytime I listen to them it takes me right back.” ‘Toogoodoo’ opens with the first notes SLO recorded there, the haunting, palm-muted hook of Louis Duffie’s guitar on “Dinosaur Bones.” As a chorus of crickets fades into the Low Country night, Blackburn’s voice enters on top, smooth as silk at first but gaining grit and gravel with each verse, musing on loneliness and emptiness in the modern world over the intensifying rhythms of drummer Luke Withers. “Decorated on the outside, but empty at my core,” he sings, setting the stage for a journey through middle class alienation and dissatisfaction over the next eleven tracks. “My generation has grown up with a ridiculous amount of privilege and lived a better life than any king in history,” reflects Cubby. “Think about it: we have planes to fly around the world; grocery stores with endless food; TV and internet; AC and heating; running water and flushing toilets; medicine if we get sick; sound machines to block out the noise if we can’t sleep in our soft cotton beds. All of this stuff exists because the human race is chasing after an easier, more comfortable life. But when you experience the absence of pain, you also experience the absence of positive feelings. America is in a numb state, and as a millennial, I feel confident that my generation can speak to this truth better than any.” On the hypnotic “Security,” Blackburn sings sarcastically of the only things that will bring true satisfaction (“two cold beers, a hot bitch, and security”) and later asks, “Shit, why don’t we feel happy?” The gospelinfluenced “50 Ways” and rollicking “Know It Alls” examine ego and humility, while “Aquarius Apocalyptic” is a stream of consciousness musing on the end of the world that came to Cubby in a lucid dream. Despite the frequently grand themes, there are more intimate, personal moments on the album, too, like “For Elizabeth”—a fond farewell to a lover—and “Who You Are,” a reminder that in spite of the time and distance while the band is on the road, their loved ones are always on their minds. Many of the tracks were directly inspired by SLO’s surroundings, too, from the bluesy “Leroy”—named after a homeless man in Charleston’s Old Village who came to work at Toogoodoo—to the chain gang a cappella of “Dead”—which captures the eerie footsteps of one of the property’s ghosts—to the sweet, instrumental tranquility of ” Stepping Away ,” recorded at night on the dock that hangs above the Toogoodoo River. While South Carolina is an essential element of SLO’s identity, they’re certainly not a “Southern rock” band. “Southerners are the storytellers of America,” reflects Cubby. “You might listen to our music and hear elements of classic rock and modern indie rock and blues and folk and hip hop, but underneath all of that tying everything together is southern storytelling.” The stories on ‘Toogoodoo’ will at once feel familiar and revelatory, as SLO takes an insightful look at the contradictions of a modern society that has access to everything (and everyone) at its fingertips, yet still so often feels empty and alone. The answers, they discovered while creating this album, don’t lie in possessions, or status, or in anything external. “There’s no such thing as security, and all the answers you’re searching for and the fulfillment you want is a daily struggle that lives within you,” concludes Cubby. “It’s your responsibility to love and accept yourself and to share the energy you receive from that with others. And that’s what this album is. It’s the story of some 23 year olds living in America in 2016.
The Tangiers Blues Band was formed in 1998 after guitarist Chris Scianni (Dangerman, Echobrain with Jason Newsted) and drummer Dave Borla (Dangerman, Echobrain) met photographer/harmonica player Danny Clinch and discovered
The Tangiers Blues Band was formed in 1998 after guitarist Chris Scianni (Dangerman, Echobrain with Jason Newsted) and drummer Dave Borla (Dangerman, Echobrain) met photographer/harmonica player Danny Clinch and discovered their mutual love for blues music. The first Tangiers Blues Band jam session took place.
The Tangiers Blues Band was formed in 1998 after guitarist Chris Scianni (Dangerman, Echobrain with Jason Newsted) and drummer Dave Borla (Dangerman, Echobrain) met photographer/harmonica player Danny Clinch and discovered their mutual love for blues music. The first Tangiers Blues Band jam session took place on Thanksgiving night that year with other musicians and friends, including Huey from the Fun Lovin’ Criminals, King from Cooley High, Mick Jones from Foreigner and tennis player/guitarist John McEnroe. The original line-up was formed after that with Chris (guitar), Dave Borla (drums), Danny (harmonica), Huey (lap steel), King (vox and guitar) adding their long time friends Dave Sellar (bass) from Darla Hood and Peter Levin (keys) who had played in various bands in New York City and currently tours with Gregg Allman. The TBB line-up changes from show to show, with a deep rotation of musicians they have known and jammed with for many years, and in many different configurations. In addition, they have many “special guests” who will sit in with them for a night when they are around including G-Love, Phil Lesh, Preservation Hall Jazz Band, Charlie Giordano (Bruce Springsteen) and Chris’ father, Joseph Scianni. The line-up on the TBB studio recordings consists of Chris, Danny, Pete, King and Dave Sellars with Jon Graboff (Ryan Adams and The Cardinals) on lap and pedal steel guitars and Mo Roberts (Shemeka Copeland) on drums. The recording was done in one day at Moon Palace Studios, mixed and produced by Tim Latham (Lou Reed, Tribe Called Quest) a long time friend of all the guys.
In the early days, The TBB had a weekly slot at Lot 61 (Amy Sacco’s club in N.Y.C) where they started experimenting with their set list. They soon realized that by “down-dating” current hits and reworking non-traditional blues songs, they could appeal to an audience that was not familiar with the blues, while throwing in “up-dated” versions of blues standards and originals to appeal to blues enthusiasts. On any given night, the TBB can play a set including music by Lady Gaga, Elvis Costello and the Clash that morph into blues classics performed by Junior Wells, Muddy Waters and Albert King. The band has performed their eclectic set of blues from clubs in NYC like The Iridium, Joe’s Pub and The McKittrick Hotel to the stages at Bonnaroo, opening for Gregg Allman and playing at Presevation Hall during Jazz Fest in New Orleans and Voodoo Fest. Some of the musicians that have joined the band on stage have included Dave Grohl, Tom Morello, Perry Farrell, Phil Lesh, Mike McCready, Lars Ulrich, members of the Dave Matthews Band and My Morning Jacket, Donald Fagen and Cage The Elephant.
Actionpacked, highenergy trassgrass from Austin, TX.
New Self Titled Album produced by Robert Ellis out now.
"Chops away at traditional bluegrass constraints with
Actionpacked, highenergy trassgrass from Austin, TX.
New Self Titled Album produced by Robert Ellis out now.
“Chops away at traditional bluegrass constraints with a mischievous cleaver, mixing in shadows of Delta swamps and New Orleans basements… the fierce inertia of Old Crow Medicine Show, the ramshackle folk punch of Felice Brothers and the punk energy of a presobriety Deer Tick.” Rolling Stone
“They’ve been killing it in Austin for a few years now. They have that spirit of busking, that punk spirit of ‘let’s lay it on the line, let’s play our instruments hard and messy and just have a great time.'” Ann Powers, NPR World Café
“Rich, layered music with heavy themes” Paste
“A bluegrass record you can mosh to.” The Bluegrass Situation
“Whiskey Shivers revive the joyful essence of a community barn dance [with an] anythinggoes philosophy.” CMT Edge
“Infectious…this album doesn’t just capture what the Whiskey Shivers do live, it elevates it. Saving Country Music
When you are at a Ron Gallo show leaning against the bar whining to your roommate about last night you will probably get called out and like it, you might get accidentally whacked by a guitar headstock, you might find yourself succumbing to the internal animalistic feelings you’ve been suppressing all week and you might even leave a slightly better person. If you say hello afterwards, you might be shocked to be greeted by a genuinely friendly and grateful person that 5 minutes ago looked like a terrifying spastic red-faced maniac.
Formerly the frontman of Philadelphia based rock and roll band, Toy Soldiers, Gallo has gone through the return of saturn and the wringer of life over the last couple of years and has come out the other side a person that dances where the infuriated rock and roll fighter-of-the-good-fight and the discontent clear-headed jokester hang out. Like some big-haired spiritual punk raised in the 90s, Gallo is well-informed of the 20th century roots of american music and obsessed with the NOW in a time where people are drugged by distraction and mediocrity. On Gallo’s second solo record, HEAVY META (out September 2016), he tackles the heavier topics and dark experiences he lived through during these transformative years.
From his decision to remove all substances from his system, self-empowerment, domestication, dead love, not knowing someone or yourself, having a stalker, the struggle of being an “artist” in 2016, to the disastrous cycle created by terrible parenting, love and mental illness and post-apocalyptic tales of a world where “all the freaks have gone to bed.” Sonically, this record reflects its subject matter drenched in aggression, fuzz, and walls of Gallo’s unconventionally primal approach to the guitar. It is a lyrically driven album laid upon a bed of electricity attempting to wake you up with each listen.
Gallo does not enjoy sitting still so has spent a good portion of the last few years and will spend the foreseeable future on the road backed by drums and bass coming to a hole in the wall, rock club, backyard, theater, basement, Hardee’s, Sleepy’s Mattress Store, or arena near you. He released a sampling of the new record in the form of the “RG3 EP” in April 2016. Gallo has appeared at CMJ, SXSW and has received praise from renowned publications such as The FADER, Under the Radar, BrooklynVegan, among other.
“HEAVY META” will be available on American Diamond Recordings on September 29, 2016. American Diamond is a record label run by Gallo out of his room in the Bordeaux neighborhood of Nashville, TN as of new years day 2016. The mission statement of American Diamond (as well as Gallo himself) is, “ROCK AND ROLL ISN’T DEAD… YOU ARE.”
CINCO DE DRINKO is our Chip DIPPIN, margarita SIPPIN
Cinco de Mayo celebration the CERVEZAS will be cold and the TACOS will be HOT!! Enjoy all night drink specials and our
CINCO DE DRINKO is our Chip DIPPIN, margarita SIPPIN
Cinco de Mayo celebration the CERVEZAS will be cold and the TACOS will be HOT!! Enjoy all night drink specials and our MICHELADA LOCA COCKTAIL our MEXICAN SHRIMP COCKTAIL APPETIZER !
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HAVANA CLUB RUM, TUMERIC, KOMBUCHA, ORANGE, LEMON, DARJEELING TEA, BLACK SESAME
Idiots manufacturing joy.
“Eclectic and evocative, stirring together dusty cinematic arrangements with lyrical tales of depravity and hard-luck humanity that sound like something out of a Cormac McCarthy novel.”
“Playing Americana ‘slash blues’, they sing, wail, lament, and brood over being drunk, hungover, alone, depressed, sweaty, and lost. A simple recount of a whiskey-inspired tradition on guitar and harmonica.”
– Pop Montreal
“It lands somewhere between The Basement Tapes and Anodyne, with a ragged, lo-fi aesthetic and lyrics drenched in heartbreak and whiskey.”
– Pop Matters
“A contemporary-ancient brand of Americana similar to The Band or, at its crankiest extreme, Captain Beefheart… with a dirty Mersey Beat that’d shame the Animals.”
– Philadelphia Citypaper
“A post-apocalyptic fall-out shelter house band.”
– Philadelphia Weekly
– CBS Philadelphia
“Sounding like a cross between the Mountain Goats, Tom Waits and the ghost of Captain Beefheart serenading the crowd at a drunken rodeo, these guys cherry pick from the American songbook for both whiskey-soaked missives and woozy balladry.”
– The Deli Magazine
“One of the most sought after bands in Philly.”
– USA Today
What is Flea Market Funk? Flea Market Funk is an all vinyl site focusing on Funk, Soul, Jazz, Hip Hop and Reggae music based out of Jersey City, NJ. Flea
What is Flea Market Funk? Flea Market Funk is an all vinyl site focusing on Funk, Soul, Jazz, Hip Hop and Reggae music based out of Jersey City, NJ. Flea Market Funk is also a tribute to the art of the DJ, Hip Hop culture and the artists living it every day. We preserve the music and culture through reviews, mixes, interviews, guest mixes, and the like. FMF has you covered from dusty 45’s to out of print Lps to sampling to live music to Modern Funk and Soul to producing and more.
It’s all about “the way we live”. To say that vinyl records are a part of Jamison Harvey aka DJ Prestige’s life is an understatement. A DJ and vinyl advocate for over 20 years, Prestige has been a vocal champion for all things vinyl through his live shows and here at Flea Market Funk. On this site he rescues these often forgotten artists of Funk,Soul, Jazz, Reggae and Hip Hop and their music from obscurity while also preserving them through original mixes, reviews, and live sets. This dedication to this music has forged a name for Prestige and Flea Market Funk.
DJ Prestige has toured nationally as a DJ for the Lava/ Atlantic record label as well as opened for such diverse artists as Q-Tip, Bad Brains, and Joss Stone among many others while also doing parties for corporate clients such as Google, You Tube, KIA, Adidas, Universal Pictures, Victoria’s Secret, Major League Soccer, Nixon, Corbis, The Bethanny Frankel Show, SoulCycle, The Surfrider Foundation and more. He has been featured on ESPN as well projects with Major League Soccer. Based out of Jersey City, NJ, he currently can be seen in residencies at the Ace Hotel and The Leadbelly in NYC as well as parties around the country. He is a Production Coordinator and Contributing writer on Dust & Grooves: Adventures In Record Collecting, the first photo book on vinyl collectors and their collections by photographer Eilon Paz. He has been featured on the site, contributed exclusive all vinyl mixes and live sets to their events, as well as a featured writer in the second edition with an interview with Questlove and his record collection. He’s a published freelance writer, and is sought after for music reviews and social commentary on vinyl records and much more.
Prestige’s DJ style crosses genres like a good mix tape: Hip Hop, Rock, Funk, Soul, Reggae and beyond blend together seamlessly as he pays tribute to the philosophy of Bronx in the 1970’s. A time where there were no musical boundaries, only good music that brought a diverse audience together and kept them moving and grooving all night long.