Minneapolis based four-piece, Little Fevers, is set to release their debut album Field Trip on October 9th. Led by the spellbinding vocals of front woman Lucy Michelle, the band released the third single “Make It Easy” recently via Consequence Of Sound. Shimmering with a ‘70s flecked twang, the track sees Little Fevers effortlessly pivot to a more soulful feel highlighted by the band’s lyrical ingenuity. In celebration of the upcoming release, Little Fevers is set for a national fall tour with additional dates to be announced soon.
Field Trip is a vibrant and widely accessible work with an effervescent warmth. The band previously shared the undeniably infectious album opener “Can’t Get Enough” and “Apple Tree” which garnered critical praise upon their release. Featuring reverb-drenched guitar textures, dreamy vocals, and a formidable baseline, Little Fevers’ debut is a confirmation of the extreme talent hailing from the Minneapolis music scene.
Little Fevers’ debut is a sweet and crunchy amalgamation of pop-rock. Joined by Eamonn McLain (Bass), Geoff Freeman (drums/guitar) and Ashley Boman (synth), Field Trip is a record that shimmers with a distinct, playful and strikingly deep vision. Recorded with Matt Boynton (Beirut, MGMT) and mastered by David Gardner (Black Lips), three songs were specially recorded by engineer Neil Weir at the historic Old Blackberry Way in Minneapolis where Twin Tone Records was born (The Replacements, Hüsker Du).
See Little Fevers in concert this fall!
10/10: Cleveland, OH @ Mahall’s
10/12: New York, NY @ Mercury Lounge (tickets)
10/13: Columbus, OH @ Rumba (tickets)
10/14: Chicago, IL @ Tonic Room (tickets)
10/16: Minneapolis, MN @ Turf Club (tickets)
11/6: Duluth, MN @ Red Herring
11/7: Fargo, ND @ Aquarium
Hello Booking and Pepito’s Parkway Theater present the Southside Concert Series featuring The Daisy Dillman Band, Monroe Crossing, GB Leighton, and Charlie Parr. Tickets are on sale now and there are a limited number of full series tickets available.
Sept. 18th: The Daisy Dillman Band
Oct. 17th: Monroe Crossing
Nov. 28th: GB Leighton
Dec. 5th: Charlie Parr
Select “series ticket” to purchase tickets for all four shows.
Texas has more than its share of proud traditions, but none prouder than the remarkable depth of its pool of storytellers. From Larry McMurtry to Jimmie Dale Gilmore, Cormac McCarthy to Ray Wylie Hubbard, the Lone Star state has been produced a stunning array of folks who’ve used both pen and song to convey tales that are at once universal and redolent of the land of their creation.
With his riveting solo debut, Your Dog, Champ, Brent Best makes a strong case for inclusion in that select group. The Slobberbone frontman has spent the past two decades proving his mettle as a formidable rock frontman, capable of cutting to the quick with a fierce vocal and delivering the sort of sharp-tongued wit that got the band name-checked by Stephen King (who named their “Gimme Back My Dog” one of the three greatest rock songs of all time).
While Your Dog, Champ retains much of that band’s steeliness, Best presents the stories – actually one long and winding story told in a dozen parts – with a disarming simplicity, largely swathed in acoustic instruments and spare arrangements that whisper more than they shout, shimmer more than they glare.
“I come from a background where no matter how much you’re bearing your soul, you can always hide behind this wall of noise,” says Best. “And I didn’t want to do that here. I tried to make it very sparse. At first, I thought it would just be me and a guitar, but I started thinking of things I wanted to add – and who I wanted to bring in to add them. I knew that I wanted things to be quiet, though. I wanted to let the songs breathe.”
And breathe, they do. Accompanied by an impressive cast of players, including Ralph White of the estimable Bad Livers on fiddle, Petra Kelly (Hares on the Mountain, The Angelus) on violin and Andy Rodgers (Boxcar Bandits) on banjo. The players weave a web of sound that’s hypnotic without being overbearing – all the better to underscore Best’s narrative about a family with deep roots and dark secrets, strong bonds and fraying nerves.
“Early on, I jettisoned the idea that this was just a bunch of songs,” the Denton-based singer-songwriter says of the loose narrative that connects the disc’s dark and emotionally stormy songs. “Even though I didn’t go into this intending to write a whole album of things that were connected, it didn’t take me that long to realize that the baby brother in ‘Robert Cole’ shows up again, angry, in ‘Good Man Now.’ A lot of the characters keep returning.”
Best credits his late friend Larry Brown – author of such acclaimed novels as Big Bad Love and Joe – with inspiring him to take his writing in this deeper, darker direction. The influence of what’s come to be called “grit lit” is palpable in songs like the wistful “Aunt Ramona” (which chronicles a road trip with a dying loved one from the perspective of a wide eyed child) and “Daddy Was a Liar” (an unflinching portrait of a paternal figure whose violence resonates long after the fact).
The characters that populate Your Dog, Champ (a title taken from a line in “Robert Cole”) are vivid in the most cinematic of senses. The rueful villain who drives the beautifully bleak “Tangled” (which Best concedes was the hardest of the songs to write) burrows into the memory bank with a headstrong intensity, while the knowing narrator of “Career Day” (a guy who knows all about forking paths) leaves an impression that’d do Raymond Chandler proud.
“I don’t think I could have written these songs 15 years ago, or even ten,” says Best. “Your perspective changes as life goes on. You start to see consequences. Just when you think you have a handle, life throws you a curve.”
That was certainly the case in the making of Your Dog, Champ. Best took his first stab at the recording several years ago, then stepped back, thinking he hadn’t separated himself sufficiently from Slobberbone – which still commands a solid following when reconvening on the road. He shelved that effort, then nearly completed a more fully-realized album that he lost when his hard drive gave out – a disaster he can laugh at now, but one that he admits emotionally sidelined him for a spell.
“I forced myself to go as far as I could with this record,” he says. “When I was signed, there was always something confrontational – it was like ‘you want your album, here it is.’ But with this, I was making it for myself. I didn’t have someone cracking the whip to finish, so I was able to take as long as I wanted and get exactly what I wanted. That got me to dig myself into a hole a few times, but when I got out, it was really worth the trip.”
One spin is all it will take to make you agree that both the trip and the destination really are well worth it.
Catch a show on Brent’s Your Dog, Champ tour:
8/13 St. Louis, MO – Off Broadway
8/15 Springfield, MO – Patton Alley
9/8 Kansas City, MO – The Record Bar
9/9 Minneapolis, MN – River Room @ The Aster Café
9/11 Canton, OH – Buzzbin Art & Music Shop
9/12 Wapakoneta, OH – Rhythm & Brews
9/14 Buffalo, NY – Sportsmen’s Tavern
9/16 Cambridge, MA – Atwoods Tavern
9/21 Lexington, KY – Green Lantern Bar
9/23 Newport, KY – Southgate House Revival Room
“Cash’d Out is rollin in to the City by the Bay for a big ol show at Slim’s. We’re bringin Kim Lenz and local fellers The B-Stars to sweeten the deal. Git yer tix HERE – it’s 15 bucks to get in and for 39.95 ya git dinner and the show! Can’t beat that bill or the price! See yall at Slims!” – Cash’d Out
Over the past couple of decades, tribute bands have become big business in the world of concert promotion. And, not surprisingly, the more popular ones are the acts that are most authentic. Such is the case with Cash’d Out, a San Diego based band, that channels Johnny Cash in about as close a manner to the real thing as it gets.
How can you tell?
Well, beyond critics having anointed Cash’d Out (Douglas Benson on vocals, Kevin Manuel on guitar, Ryan Thomas on bass and George Bernardo on drums) the “next best thing to Johnny Cash,” and the group having won four San Diego Music Awards for Best Tribute Band, the real proof lies in what members of Cash’s inner circle have said.
“Cindy Cash came to a show, we made her cry and she gave me a necklace with Johnny’s hair in a glass locket,” explains front man and Cash impersonator Douglas Benson. Benson added that Cash producer Lou Robin has also been to several Cash’d Out shows, and claimed that if he closed it eyes it was like “going back in time.”
Once the only tribute band endorsed by the official Johnny Cash web page, JohnnyCash.com, Cash’d Out has played to over 1.2 million fans since forming in 2005. And those fans continually tell the group how grateful they are that Cash’d Out continues to bring back memories of loved ones who once raised them on the music of Johnny Cash. www.cashdout.com
Kim Lenz exploded onto the rockabilly scene with her debut, Kim Lenz & Her Jaguars in 1998. Being the only female fronting an authentic 1950s-style rockabilly band at the time, Lenz immediately became a critics’ darling and a high demand for nightclubs and festivals from Viva Las Vegas to the High Rock-A-Billy festival in Barcelona, Spain. With the release of 1999’s The One and Only, Rick Anderson of AllMusic.com declared, “Kim Lenz is the sexiest thing to happen to rockabilly music since Elvis Presley.” With high energy, creative songwriting, vocal pipes that’ll blow you away and a cute Jaguar or two backing her up, Kim’s performances guarantee a good time for all. www.kimlenz.com
The B-Stars are a San Francisco-based country band that stirs up a hearty stew of honky tonk and hillbilly hits for your listening and dancing pleasure. With nods to the country and western stars of the late 1940s and 1950s, these sharp-suited boys will be singin’ and swingin’ ‘til the break of dawn. www.thebstars.com
Less than 24 hours after the April 21 release of new Hobo Nephews of Uncle Frank album American Shuffle, the national sports media began providing extensive coverage of the song “Old Number Four.” Though not mentioned by name, the song is an homage to retired NFL legend Brett Favre.
CBSSports.com broke the story on Wednesday, April 22 – one day after the release of American Shuffle. Within 24 hours “Old Number Four” had over 20,000 YouTube hits as coverage quickly spread to local, regional and national news outlets including ESPN, NBC, FOX, Star Tribune, Green Bay Press Gazette, Duluth News Tribune and The Jim Rome Show.
“Brett Favre apparently has an anthem. A folk song about the folk hero.” – Jim Rome
“The catchy song features an Americana flavor, heroic lyrics and well-blended harmonies.” – WEAU NBC Eau Claire
“Just in time for his return to Green Bay, Brett Favre has his own theme song. Well, it’s not officially his theme song, but it probably will be after he hears it. The song, called “Old Number Four,” seems to do a pretty good job of summing up Favre’s Ol Gunslinger mentality.” – CBSSports.com
“Love the @hobonephews homage to Brett Favre” – 89.3 FM The Current Local Show
“Both haunting and affectionate, “Old Number Four” pays homage to the former Green Bay Packers quarterback with Americana harmonica, harmonies and lyrics that capture a hero nearing the end of his run.” – Green Bay Press Gazette
Hear “Old Number Four” live in concert this summer! Check the Hobo Nephews American Shuffle tour dates for a show near you.
Tina and the B-Sides are releasing their first album in 12 years and we want YOU to be a part of it!!
Tina and the B-Sides first started playing dive bars in Minneapolis back in the mid ’80’s. With constant gigging we moved from week nights to week ends and were in high demand in the college towns and major cities in the Mid West all thru the ‘90s. We released a few independent releases, including our most well known ‘Young Americans’, won local music awards, opened for some pretty cool acts (Lenny Kravitz, The Jayhawks, Indigo Girls, Etta James, to name a few) and got the attention of Sire Records. We put out three more records and as much as I hated to admit it, the demands of being signed to a major label and the endless weeks on the road really took it’s toll so we decided to take a break…
Since then, we have all been making music, raising families and doing other projects on our own. Then in 2009 we decided to do a reunion show at the Minnesota Zoo and it was as if we never stopped playing together! We had a blast and then we all quickly went back to our lives but something was nagging at me. We had fun – we had a lot of fun. I had the type of fun that had made me want to do music in the first place…to feel good and to make people feel good!
So…I got the band back together!
It took awhile, but here we are with a new album that I am proud to say is pure Tina and the B-Sides thru and thru! The album was recorded in Minneapolis and was produced by our friend and old B-Side band mate Patrik Tanner. We will be releasing it independently; so that means no label, no fancy star making machine, just us and most importantly you – if you’re willing – to get the word out. This campaign will enable us to pay our recording bills, but will also help us pay for the manufacturing, distribution and to hire a PR team to promote and market the record. Also, it will hopefully help pay for a small tour so we can play these songs live for you with our boundless, endless, everlasting thanks!
Not only are we making some music, but we’ll also be helping an amazing organization. It’s been my privilege to work with AHA! for the last few years helping to run their program called ‘Sing It Out’. Every year we work with at risk teens teaching them to perform a song on stage with a live band in front of an audience. It’s a humbling experience to watch these kids who come from many different backgrounds and who are dealing with family tragedies, bullying and abuse, come together to support each other through music.
We feel so fortunate to be able to come together as a band again, and we think we’ve created something worthy of our listeners’ expectations. We’re also so deeply grateful to the people who have never forgotten us or missed a show, letting us know that our music still matters to them. So we’ve done it. We made a new record for the old and the new. Now we need your involvement. You can use this opportunity to just get the record early, or you can go into full on B-Side fanatic mode. Either way is a big help.
Thanks again, hope to see you soon and be good to yourselves!
– Tina, Laura, Jeremy, Troy and Ron
There is no secret that there is a change happening in the music industry. It’s not just the record industry but with the live music industry as well, which the latter made a wise decision to separate itself from the former in order to save its own ass. At least live music has a future.
The change, as we all know, happened in the late 90’s and especially with the launch of Napster in 1999. That’s old news. What’s been happening since then?
A lot of things have been happening. With the invention of mp3 and Napster’s brilliant person to person sharing concept, music suddenly became a free, and more importantly, social entity.
The old model is the record industry model. The new model is the social model.
The old model is based on the absurd premise that record execs have “the golden ear.” They know what people want to hear. They can “sense” a hit. I’m not saying that this is a ridiculous notion because certainly an educated music business professional can tell when something has a certain sound that is marketable. The real problem with this premise is that they are relying on that sense in order to sell records. But they still rely on people liking it in the long run. So why not just start there?
Nextbigsound.com is a company that exemplifies these changes. It is a tech start-up in NYC that tracks social media analytics. This data can tell artists where to tour, agents what artists to pick up, and talent buyers who to book.
Nextbigsound.com has been related to the concept in the book and movie “Moneyball.” In the movie they use the analytics of baseball players’ statistics to determine what players to sign to win a championship. The essential quality was, do they get on base?
There are obvious correlations between the two. But, using this model for baseball makes baseball boring and predictable.
It does not do that for music, however. It doesn’t make music predictable like moneyball did for baseball. Really what it is doing is democratizing music. It allows everyone a free and equal vote. Every time you listen to a song by an artist or like their page or share something, those numbers are taken into account.
We, as a society in general, love music. It isn’t going away. Old industry standards are vanishing. For the live music industry what this means is that we must be listening to these votes and be paying attention to these numbers. Why wouldn’t we anyway? It is literally the fans telling us what they will buy tickets for.