snoe.down 2010 / Lineup
(see below for links, bios, photos and videos of lineup)
moe.
(photo credit: Jay Blakesburg)
http://www.moe.org
Sharon Jones and the Dap-Kings
(photo credit: Dulce Pinzon)
Sharon Jones and the Dap-Kings have come a long way since their humble beginnings nearly a decade ago. Steeped within the gilded and gritty sounds of gospel, soul and funk, this nine-piece Brooklyn collective has continued to electrify fans, disc jockeys, critics, record collectors, and bloggers the world-over with their authentic, heart-felt sound. The authenticity clearly demonstrated on the band’s three critically-acclaimed albums – Dap Dippin’ (2002), Naturally (2005) and 100 Days, 100 Nights (2007) – captured and released by the independent Daptone Records. Their albums recall an analog era led by iconic studios like those at Motown and Stax Records, and have thrust the fifty-three-year-old Augusta, GA native and crew into the multimedia limelight.
As distinguished as their recordings may be, however, Sharon Jones and the Dap-Kings have truly become renowned thanks to their incredible live show, not to mention their relentless touring. And though it’s certainly no easy task to keep such a vast ensemble on the road, the band continues to pack hundreds of clubs worldwide, from legendary venues like New York’s Apollo Theater, Beacon Theater and Central Park’s SummerStage to their show-stopping sets at Coachella, Lollapalooza, Roskilde, Bonnaroo, Austin City Limits and WOMAD.
On Jones’ birthday this year, the band will release I Learned the Hard Way, their fourth full-length on Brooklyn’s independent Daptone Records. The record marks a bold step forward for a band who almost singlehandedly stewarded today’s return of soul music to its more traditional sound.
http://www.daptonerecords.com/sharonjonesandthedapkings.html
Railroad Earth
(photo credit: C. Taylor Crothers)
The members of Railroad Earth aren’t losing sleep about what “kind” of music they play – they just play it. When they started out in 2001, they were a bunch of guys interested in playing acoustic instruments together. As Railroad Earth violin/vocalist Tim Carbone recalls, “All of us had been playing in various projects for years, and many of us had played together in different projects. But this time, we found ourselves all available at the same time.”
Shortly thereafter, they took five songs from their budding repertoire into a studio and knocked out a demo in just two days. Their soon-to-be manager sent that demo to a few festivals, and – to the band’s surprise – they were booked at the prestigious Telluride Bluegrass Festival before they’d even played their first gig. This prompted them to quickly go in and record five more songs; the ten combined tracks of which made up their debut album, “The Black Bear Sessions.”
That was the beginning of Railroad Earth’s journey: since then, they’ve released three more studio albums, two on Sugar Hill Records (2002’s “Bird In A House” and 2004’s “The Good Life”) and one on SCI Fidelity (2008’s “Amen Corner”). They’ve also amassed a huge and loyal fanbase that follows them from show to show, taking advantage of the band’s liberal taping policy. But RRE bristle about being lumped into any one “scene.” Not out of animosity for any other artists: it’s just that they don’t find the labels very useful. As Carbone points out, “We use unique acoustic instrumentation, but we’re definitely not a bluegrass band – so that doesn’t fit. And I think the term ‘jam bands’ probably refers more to the fans than to the bands. I think these fans just like live music.”
Railroad Earth certainly thrives in a live setting, as their stunning 2006 live album, “Elko,” is certian proof of that. It’s no secret that improvisation is one of the RRE’s big strengths. But what really sets them apart is the strength of their songwriting. It was the strength of those first five songs that got them on the bill at Telluride. And they’ve only gotten better since then.
Assembly of Dust
“I feel like my brain is vibrating all day long,” says Reid Genauer, the singer/songwriter behind Assembly of Dust, discussing the band’s new album. “It’s hard to sleep, I’m so excited. I feel like Lex Luthor, or that Mike Myers character, Dr. Evil. I’m sitting here twiddling my thumbs, dreaming up this demonic scheme, getting ready to release this germ on to the world.”
While “demonic schemes” may not come to mind when you think of Assembly of Dust, Genauer’s post-Strangefolk crew since 2002, his band’s latest album does have the feeling of something remarkable being unleashed. The record, recorded over two years, showcases Genauer’s maturation as a songwriter, as evidenced both by the material and the all-star collaborations that dot all 13 tracks. It’s rare to hear something so massive in scope and ambition, and yet so intricate in the tiny details.
“I wrote the songs, and a couple with [co-producer] Nate Wilson, and then had the idea to get guests,” says Genauer. “I had to think about who would make sense, who I aspired to play with, and who had similar musical aesthetics.” To that end, the band was able to rope in a who’s who of classic and contemporary artists, including Richie Havens, Phish’s Mike Gordon, Bela Fleck, Jerry Douglas, Martin Sexton, and Grace Potter, among others. Adds Genauer: “It ended up being a lot of time and energy and dealing with managers and explaining my vision and in a few cases even who I was. But it was worth it.”
Despite the number of guest musicians, AOD’s second studio record is incredibly focused, and one that deservedly earns comparisons to The Band, Neil Young, recent Wilco and even The Beatles (the latter two cited by Genauer as strong inspirations on the group’s new material). And it’s a daring album, showing off both their singer’s lyrical acumen and the band’s ever-expanding musical palette. The easy-going country rocker “Arc of the Sun,” a track that’s popped up in the group’s live set for a few years, features a searing psychedelic guitar solo from Phish bassist Mike Gordon that Genauer accurately describes as “weighty and dark, two things we’re not known for.” Meanwhile, “Edges” and “Light Blue Lover” float by on gorgeous melodies, contrasting nicely with the bluesier, almost grimy feel of “Pedal Down” and “Borrowed Feat.”
Lyrically, Genauer’s moved beyond his self-described “1920’s Dust Bowl kind of blue-collar Americana” vibe of the band’s previous record, Recollection, and into a more contemporary voice, albeit one that stretches in several directions. “In the scene I’ve been associated with for so long, lyrics are not necessarily the focus,” he says. “That’s fine. It’s usually the guitar. But I’ve always been lyrically driven. And this time out, I tried on some different characters and moods.”
To that end, the singer touches on both the personal (the birth of his son), the abstract (“All That I Am Now,” inspired by Shel Silverstein’s “The Giving Tree”) and the pointed, as in “Straight," featuring Theresa Andersson. “I was going to call it ‘Lech’…it’s inspired by a lot of musicians I know who chased empty dreams,” he says. “It’s a pretty dark tune. And I get where it’s coming from. Artists, successful or not, seem to be really troubled in a lot of ways. Their art is their by-product. It works that way for me – I have a lot of pretty intense thoughts. And this is a way of vetting them, or releasing the demons.”
Although he acts as the band’s primary songwriter, Genauer credits his AOD bandmates for shaping the record. “It’s not like we went from bluegrass to heavy metal, but we all took a bit of a turn,” he says of his peers (who were once mockingly described as “[not] the worst batch of musicians you'll ever hear”…you can find that on their MySpace bio). “The songs were loose to start with -- we banged out some rough recordings on a digital recorder. They were skeletons – the band delivered the flesh and muscle to the songs. Andy and John did some stuff they had never done before, and Adam, he really stretched his musical vocabulary on this one. He and I spent hours listening to records together, coming up with an overall vision.”
It’s a vision the group plans to bring on the road for much of the next year. Much like Strangefolk—the groundbreaking folk rock group Genauer helped start in 1991 and stayed with until 2000—Assembly of Dust has earned its greatest accolades in concert, having captivated fans everywhere from Bonnaroo to Carnegie Hall. (Want proof? Type the bands into YouTube and spend a few days going through the hundreds of fan-shot live videos). Seeing that early versions of several of the new songs were tested out live over the past few years, the band is eager to debut the finished product.
“I want to play new stuff,” says Genauer. “It’s like wanting a new sweater for the fall -- a new piece of clothing renews the wardrobe. That’s what new songs do for performance”
In the end, AOD’s new “germ,” as their singer puts it, isn’t some diabolical plot for world dominance. It’s simply the creative culmination of nearly two decades playing music and being one of the music world’s most respected (if slightly under-the-radar) musicians and songwriters. “I’m excited by this record because my friends and heroes are on it,” he says. “Being embraced by my peers...that’s a really rewarding experience. It’s a milestone in my life, like graduating high school, college, or getting laid for the first time. It’s a momentous event for me.”
Hot Day at the Zoo
(photo credit: Matthew Robbins)
New England's genre-bending American roots string band, Hot Day at the Zoo, is spreading their "zoograss" sound nationwide. The high-energy quartet mixes folk, blues, ragtime and jazz with progressive bluegrass and Americana-infused rock and roll. Hot Day at the Zoo is pioneering their sound in a way that is reminiscent of how Johnny Cash transformed traditional country music. They have the songwriting and full-bodied sound of the Grateful Dead, the technicality and momentum of Sam Bush, the tightness and the ability to talk musically like Charles Mingus, and the cool, easy rock demeanor of Steely Dan. Fans accurately describe this sound as “zoograss.”
Hot Day at the Zoo recently released their third album, Zoograss, recorded live at The Waterhole in Saranac Lake, NY on February 14, 2009, on their independent label INTA Records. The Boston Globe calls Zoograss "a bracing treat" and recommends that "fans of the acoustic Grateful Dead, as well as of New Riders of the Purple Sage and Jerry Garcia’s side project, Old & In the Way, should pay attention to this hard-driving New England string band."
http://www.hotdayatthezoo.com/
The Bridge
The Bridge is a unique rock band whose music combines elements of blues and roots, spiced with funk and soul. Formed in 2001, the band swiftly became known for their gritty and grand live performances and poignantly hand crafted albums. Following in the tradition of classic / southern roots rock, and flavoring their sound with Americana sensibilities, the band has built their own niche between the jam, country, and bluegrass genres.
After self-releasing the CD 'Cross Street Market' in 2005, and becoming notorious for late night residency shows at the 8x10 Club, in Baltimore, the band eventually signed to Hyena Records. A self titled CD was released on Hyena in 2007, to critical acclaim, and in October 2008, the band released another buzzed-about album, entitled "Blind Man's Hill".
The Bridge has graced the stages of Allgood Festival, Wakarusa, Jamcruise, Gathering of the Vibes, Floydfest, moe.down, and Camp Bisco, to name a few. On their 2008 tour of Europe, they received rousing receptions at the Oerol Festival in The Netherlands, Draussen Festival in Germany, and the Blue Ball Festival in Switzerland.
The McLovins
Hailing from Hartford, CT, The McLovins gained notoriety after a fan posted a YouTube video of them performing Phish's "You Enjoy Myself" on the Phish Phantasy Tour message boards.
Rolling Stone calls them "a trio of Connecticut kids who have managed to harness the musical ferocity of Trey Anastasio, Les Claypool and Stewart Copeland before being able to legally drive a car".
The band's debut CD, Conundrum, is described as a concept album that spans a variety of musical genres, chock-full of thoughtful lyrics and soaring melodies. JamBase predicts "Conundrum will go a long way towards appeasing the fan base they've begun to accrue simply by word of mouth."
The Heavy Pets
The Heavy Pets are renowned for explosive live performances and catchy original tunes that showcase their unique rock-funk-fusion. In 2007, the acclaimed double-disc debut album, Whale, launched THP to the most played independent act on Sirius' Jam On. Their contagious vibe makes The Heavy Pets major festival favorites at Bonnaroo, moe.down, Langerado, NO's Jazzfest and PetZoo, created in their namesake. Called "a living, breathing, force of nature" by Dan Sweeny of Relix magazine, The Heavy Pets compel audiences to move and groove along a musical journey crammed with hot electric licks, multi-climactic instrumental solos and fantastical lyrics revealing inspired philosophical leanings.
With five skilled musicians who are also lyricists and songwriters, The Heavy Pets have amassed a deep catalog of original music, much of which is captured on several live and studio recorded CD's including, Live from the Outer Banks, Live from the 9:30 Club, Heavy Air, and the latest release, Slow Motion Conductor. Their reputation for never playing the same show twice makes The Heavy Pets a powerhouse in the touring scene, where they have also shared the stage with several notable artists such as Matisyahu, Umphrey's McGee, Little Feat and Perpetual Groove.
A commanding blend of rock and roll, rhythm and blues, jazz-funk and reggae fusion, THP's contagious vibe defies stereotyping. They were first embraced in the jam scene for their raw talent and tenacious commitment to making great music. But like their cross-over sound, The Heavy Pets themselves have transcended boundaries, crossing a bridge few bands survive intact - into the still-respected periphery of mainstream music through upbeat, danceable, homegrown, skillfully executed tunes and passionate live shows that keep crowds lining up for more.
Leroy Justice
New York City’s LEROY JUSTICE has “soul, style and chops to match any up-and-coming band in America,” says Hittin’ The Note, official magazine of The Allman Brothers Band. From Austin’s SXSW, to Woodstock’s legendary Bearsville Theatre, LJ’s undeniable live performances have feet a-stompin’ and hands a-clappin’ up and down the East Coast.
Named four times as one of the best albums of 2009 (Jambase, Hittin’ The Note, Glide, Earvolution), LJ’s sophomore release, “The Loho Sessions” (producer John Siket -- Phish, moe.), has been called “workingman’s grub that feeds heart and soul in ways as effecting as whiskey and women” (Dennis Cook, Jambase). Having shared stages with members of The Black Crowes, Gov't Mule and The Levon Helm Band, the five-piece now brings its fiery brand of rock n roll to the mountains of Vermont for Snoe.down.
Lynch
Lynch is a song structured improvisational fusion of hip-hop, rock, and jazz... flirting with many styles from drum and bass to Latin and reggae.
A live Lynch show is high energy, featuring Terence and Shannon Lynch of the underground success Conehead Buddha. Conehead Buddha was a main stay on the Jam scene in the nineties. CB toured relentlessly for 10 years playing pinnacle shows on the H.O.R.D.E and WARPED tours allowing the sibling duo to hone their skills on trumpet and saxophone. Vocally, their harmonies blend with ease while splitting duties on lead. Lynch has had many faces grace their stage over the years, including Al Schnier, Vinnie Amico and Jim Loughlin of moe., all of Schleigho, all of Antigone Rising, Chris Fisher and Brian Kaplan of Conehead Buddha, Peter Prince of Moon Boot Lover, and many many more. Terence and Shannon have had the pleasure of playing with the likes of Maceo Parker, moe., Antigone Rising, Peter Prince & Moon Boot Lover, yoLk, Sam Kininger, and the list goes on!
As a band, Lynch is quickly gaining a name for itself in many scenes. With a fusion of hip-hop, rock, and improv there isn't a crowd Lynch can't rock. It's no wonder the band is being called the "Van Halen of hip-hop."
Moonalice
Moonalice is a Native American tribe that dates back to the beginning of time. According to Moonalice legend, the tribe descends from Piltdown Woman, or possibly from a couple of naked, snake-charmed gardeners who liked to hang around with friendly dinosaurs. In later times, the tribe evolved into two major clans. One was agricultural, the other nomadic. The farmers were known as hippies. They cultivated many things, but their specialty was a native American crop: hemp. Over the years, the hippies found many uses for hemp and built an advanced culture around it.
The nomadic Moonalice clans were known as bands. They wandered the continent, surviving on their wits and music. Their specialty was low tones. The clans coexisted for millennia, living in harmony (and counterpoint) with all creatures.
From time to time, the Moonalice hippies and bands would gather in pow wows that were known as gigs. A precursor to modern county fairs, these celebrations brought together the best agriculture and music. More Woodstock than livestock, Moonalice gigs were quintessentially American, combining the vibes of New York, San Francisco and all points in between.
Then came the 20th century. White people got all uppity about sex, drugs, and music. Next thing you know, they outlawed hemp. They tried to outlaw rock ‘n’ roll. And they nearly wiped out the Moonalice tribe, the remnants of which were forced underground.
Fortunately, a new day has begun. A daring sextet of nomads has emerged to revive the tribe, its music, and its legend. The new Moonalice crosses the land, spreading good vibes and giving new hope to millions whose culture had been laid waste by the prohibition of hemp. With each gig, the tribe grows. There is Moonalice in everyone.
Moonalice legend speaks of a mysterious 7th player – a bass player, naturally – who possessed prodigious talent. The spirit of Yggdrassil Moonalice inhabits all Moonalice gigs. And some times, when the stars, sun, and Moonalice align, Yggdrassil appears in body. And when he does, the tribe rejoices.
It is said by those who say such things that the day will come when all members of the tribe will play bass together. And on that day the notion of low will be taken to new depths. Or possibly the notion of depth taken to new lows. As with all things, it’s really a matter of perspective.
Red Rooster
Snoe.down welcomes Sonicbids winner Red Rooster!
Red Rooster is the New York-based folk collective led by Jay Erickson (lead vocals) and Nat Zilkha (lead guitar) - lifelong friends who fashion plainly honest and self-reflective songs from fragments of their diverse musical influences and sensibilities including bluegrass, folk, country, blues, gospel, electronica and hip hop. Since its founding in New York City ten years ago, the band has included a revolving roster of musicians from mandolin players to DJs. Today the core group includes Susannah Hornsby (vocals and accordion), Andrew Green (banjo), Dave Gould (saxophone), Brandon Doyle (french horn), Lucas Ives (drums), Jeremy Randol (drums), Daniel Engelman (bass) and Pete Nilsson (keys).
Based in New York, the band has steadily built its audience and critical recognition through recording and constant performing. Red Rooster’s second album Dose (2005), released to critical acclaim, reached the top 40 on the XM Radio Outlaw Country chart and was described by the Houston Chronicle as “a journey through the heart of Americana and roots music.”