Upcoming Shows page 2
Upcoming Shows page 2
 | |  | |  | |  | |  | |  |
Sponsored by:
1414 Douglas St., Victoria
FRED EAGLESMITH & BAND
Friday, August 1, 2008
Sugar Nightclub, 858 Yates St., Victoria
Doors 8:00pm - Showtime 9:00pm - EARLY SHOW!
Tickets: $25 Advance + service charge / $25 Door
Available at: Lyle's place 770 Yates St., online at www.hightideconcerts.net or McPherson Box Office 250-386-6121
Friday, August 1, 2008
Sugar Nightclub, 858 Yates St., Victoria
Doors 8:00pm - Showtime 9:00pm - EARLY SHOW!
Tickets: $25 Advance + service charge / $25 Door
Available at: Lyle's place 770 Yates St., online at www.hightideconcerts.net or McPherson Box Office 250-386-6121
Fred Eaglesmith website: www.fredeaglesmith.com
Award-winning singer-songwriter Fred Eaglesmith inspires comparisons to icons like Woody Guthrie and Bruce
Springsteen, tops the roots music charts, and boasts devoted fans that include a slew of his fellow songwriters. High-
profile tastemakers in the know — fellow musicians like Toby Keith and The Cowboy Junkies as well as film folks like
Martin Scorsese and James Caan, to name a few — consider him one of the stellar musical and lyrical talents of our
day. Though a decidedly grassroots artist in the thematic focus of his songs and how he pursues his career, playing
some 180 shows a year across North America as well as Europe and Australia and releasing his own records under
his cheekily-titled A Major Label imprint, Eaglesmith boasts an impact that far better known musical acts can only
dream of.
His latest album and 16th release, Milly's Cafe, hit the Top 10 on the Americana chart, and he is also the only
Canadian to have ever written a #1 song on the bluegrass charts. He is the subject of three tribute albums and enjoys
critical comparisons to some of the most respected talents in music as well as the respect of his peers. And then
there's his devoted if not rabid coterie of fans known as "Fredheads" who travel hundreds and even thousands of
miles as well as even overseas to catch his vibrant live performances. His songs have joined the canon of academic
curriculum at two universities, illuminating both poetic and societal studies. Eaglesmith has also acted in a number of
movies and is a painter who regularly shows in galleries.
"Fred Eaglesmith is what Bruce Springsteen aspires to be, the voice of the small-town common man," says Nova
Scotia's Berwick Register. His uncommonly good songs illuminate the uniqueness of what are usually thought of as
common people and have evoked critical comparisons to such musical icons as Tom Waits, John Prine, Del
Shannon, Link Wray, T Bone Burnett, Steve Earle and even Led Zeppelin, to name a few. He has even been rated as a
talent on par with the granddaddy of all populist songwriters. "Eaglesmith delivers passion like few singers since
Woody Guthrie," says New York Press. "We know that's a comparison not to be taken lightly."
Fellow songwriters are also drawn to Eaglesmith's songs. Superstar Toby Keith included Fred's recording of
"Thinkin' 'Bout You" in his movie Broken Bridges and on the soundtrack album. Keith also recorded Eaglesmith's
song "White Rose" on his recently released Big Dog Daddy CD as one of the only two songs he didn't write. "I had
'White Rose' on my list of songs to record for years," Keith says. "The song is such a great story and the beauty of it
is that there are no White Rose filling stations in the U.S., only Canada. But it doesn't change the meaning one bit."
Other songwriters that have recorded Eaglesmith songs amidst their own include The Cowboy Junkies, Chris
Knight, Kasey Chambers, Todd Snider and Dar Williams. The artists featured on the album The Songs of Fred
Eaglesmith: A Tribute include Bill & Kasey Chambers, Mary Gauthier, Slaid Cleaves, Robbie Fulks, Jay Bennett, Gurf
Morlix and Rex Hobart, and Eaglesmith has also inspired two albums of musical tributes from his fans. Martin
Scorsese has used his songs and James Caan included an Eaglesmith number in his movie Viva Los Nowhere.
Eaglesmith writes "songs that rattle around in your head like empty beer bottles in the back of a pickup," as one critic
puts it. He has won a Juno Award — the Canadian Grammy — for Best Roots & Traditional Album and a Canadian
Independent Music Award for Folk/Roots Album of the Year. "It is not an overstatement to say that Eaglesmith is one
of the finest songwriters in this country," says the New Brunswick Daily Gleaner. "His canon of well over 1000 songs
is stunning."
Longtime Rolling Stone writer and critic and Shot In The Heart author Mikal Gilmore had this to say of Eaglesmith's
album Lipstick, Lies & Gasoline : "I think that Eaglesmith (who sadly remains largely undiscovered) is one of the best
new songwriters in recent years, and every track on the album is a gem."
Eaglemsith's music has been described by reviewers as a "blend of aching country and barroom rock" and a
"mixture of hard-edged honky-tonk balanced between rock'n'roll and early '60s country music." His dynamic live
shows are "exactly like the sort of music you dream of hearing in some crowded, hot, beery bar near closing time… a
truly timeless brand of primitive rock'n'roll," says Amazon.com. Eaglesmith is also known as a between-song
raconteur whose pointed and illuminating storytelling and comedic skills are as sharp as his songwriting.
"It's the weirdest career in the world, a little tiny career that works so well," Eaglesmith says of the niche he has
carved out for himself in contemporary music. "I'm just so lucky and so fortunate, I try not to take it for granted."
Award-winning singer-songwriter Fred Eaglesmith inspires comparisons to icons like Woody Guthrie and Bruce
Springsteen, tops the roots music charts, and boasts devoted fans that include a slew of his fellow songwriters. High-
profile tastemakers in the know — fellow musicians like Toby Keith and The Cowboy Junkies as well as film folks like
Martin Scorsese and James Caan, to name a few — consider him one of the stellar musical and lyrical talents of our
day. Though a decidedly grassroots artist in the thematic focus of his songs and how he pursues his career, playing
some 180 shows a year across North America as well as Europe and Australia and releasing his own records under
his cheekily-titled A Major Label imprint, Eaglesmith boasts an impact that far better known musical acts can only
dream of.
His latest album and 16th release, Milly's Cafe, hit the Top 10 on the Americana chart, and he is also the only
Canadian to have ever written a #1 song on the bluegrass charts. He is the subject of three tribute albums and enjoys
critical comparisons to some of the most respected talents in music as well as the respect of his peers. And then
there's his devoted if not rabid coterie of fans known as "Fredheads" who travel hundreds and even thousands of
miles as well as even overseas to catch his vibrant live performances. His songs have joined the canon of academic
curriculum at two universities, illuminating both poetic and societal studies. Eaglesmith has also acted in a number of
movies and is a painter who regularly shows in galleries.
"Fred Eaglesmith is what Bruce Springsteen aspires to be, the voice of the small-town common man," says Nova
Scotia's Berwick Register. His uncommonly good songs illuminate the uniqueness of what are usually thought of as
common people and have evoked critical comparisons to such musical icons as Tom Waits, John Prine, Del
Shannon, Link Wray, T Bone Burnett, Steve Earle and even Led Zeppelin, to name a few. He has even been rated as a
talent on par with the granddaddy of all populist songwriters. "Eaglesmith delivers passion like few singers since
Woody Guthrie," says New York Press. "We know that's a comparison not to be taken lightly."
Fellow songwriters are also drawn to Eaglesmith's songs. Superstar Toby Keith included Fred's recording of
"Thinkin' 'Bout You" in his movie Broken Bridges and on the soundtrack album. Keith also recorded Eaglesmith's
song "White Rose" on his recently released Big Dog Daddy CD as one of the only two songs he didn't write. "I had
'White Rose' on my list of songs to record for years," Keith says. "The song is such a great story and the beauty of it
is that there are no White Rose filling stations in the U.S., only Canada. But it doesn't change the meaning one bit."
Other songwriters that have recorded Eaglesmith songs amidst their own include The Cowboy Junkies, Chris
Knight, Kasey Chambers, Todd Snider and Dar Williams. The artists featured on the album The Songs of Fred
Eaglesmith: A Tribute include Bill & Kasey Chambers, Mary Gauthier, Slaid Cleaves, Robbie Fulks, Jay Bennett, Gurf
Morlix and Rex Hobart, and Eaglesmith has also inspired two albums of musical tributes from his fans. Martin
Scorsese has used his songs and James Caan included an Eaglesmith number in his movie Viva Los Nowhere.
Eaglesmith writes "songs that rattle around in your head like empty beer bottles in the back of a pickup," as one critic
puts it. He has won a Juno Award — the Canadian Grammy — for Best Roots & Traditional Album and a Canadian
Independent Music Award for Folk/Roots Album of the Year. "It is not an overstatement to say that Eaglesmith is one
of the finest songwriters in this country," says the New Brunswick Daily Gleaner. "His canon of well over 1000 songs
is stunning."
Longtime Rolling Stone writer and critic and Shot In The Heart author Mikal Gilmore had this to say of Eaglesmith's
album Lipstick, Lies & Gasoline : "I think that Eaglesmith (who sadly remains largely undiscovered) is one of the best
new songwriters in recent years, and every track on the album is a gem."
Eaglemsith's music has been described by reviewers as a "blend of aching country and barroom rock" and a
"mixture of hard-edged honky-tonk balanced between rock'n'roll and early '60s country music." His dynamic live
shows are "exactly like the sort of music you dream of hearing in some crowded, hot, beery bar near closing time… a
truly timeless brand of primitive rock'n'roll," says Amazon.com. Eaglesmith is also known as a between-song
raconteur whose pointed and illuminating storytelling and comedic skills are as sharp as his songwriting.
"It's the weirdest career in the world, a little tiny career that works so well," Eaglesmith says of the niche he has
carved out for himself in contemporary music. "I'm just so lucky and so fortunate, I try not to take it for granted."
WEIRD AL YANKOVIC
Friday, August 1, 2008
EPCOR Centre's Jack Singer Concert Hall
205 8th Avenue S.E., Calgary
Doors 7pm - Showtime 8pm
Tickets: $49.50/$52.50 + Service charge TICKETS NOW ON SALE!
Available at: Ticketmaster (403) 777-0000 or visit www.ticketmaster.ca
Friday, August 1, 2008
EPCOR Centre's Jack Singer Concert Hall
205 8th Avenue S.E., Calgary
Doors 7pm - Showtime 8pm
Tickets: $49.50/$52.50 + Service charge TICKETS NOW ON SALE!
Available at: Ticketmaster (403) 777-0000 or visit www.ticketmaster.ca
WEIRD AL YANKOVIC
Wednesday, August 20, 2008
Vernon Performing Arts Centre, 3800 - 33rd St., Vernon, BC
Doors 6:30pm - Showtime 7:30pm - EARLY SHOW
Tickets: $69.50 Main Level / $69.50 Balcony TICKETS NOW ON SALE!
Available at: Ticket Seller 3800 - 33rd Street (250) 549-7469 or online at www.ticketseller.ca
Wednesday, August 20, 2008
Vernon Performing Arts Centre, 3800 - 33rd St., Vernon, BC
Doors 6:30pm - Showtime 7:30pm - EARLY SHOW
Tickets: $69.50 Main Level / $69.50 Balcony TICKETS NOW ON SALE!
Available at: Ticket Seller 3800 - 33rd Street (250) 549-7469 or online at www.ticketseller.ca
WEIRD AL YANKOVIC
Thursday, August 21, 2008
The Royal Theatre, 805 Broughton St., Victoria
Doors 6:30pm - Showtime 7:30pm - EARLY SHOW
Tickets: $53.50 Main Level / $50.50 Balcony TICKETS NOW ON SALE!
Available at: McPherson Box Office #3 Centennial Square, 250-386-6121 or online at www.rmts.bc.ca
Thursday, August 21, 2008
The Royal Theatre, 805 Broughton St., Victoria
Doors 6:30pm - Showtime 7:30pm - EARLY SHOW
Tickets: $53.50 Main Level / $50.50 Balcony TICKETS NOW ON SALE!
Available at: McPherson Box Office #3 Centennial Square, 250-386-6121 or online at www.rmts.bc.ca
Weird Al's website: www.weirdal.com
America's foremost song parodist. From New Wave to Gangsta Rap; the comedy/music of "WEIRD AL" has sold
millions of CD's and videos which led to multiple Grammy Awards.
Now enjoying the most successful chart topping CD, single and video of his career with STRAIGHT OUTTA
LYNWOOD'S "White and Nerdy." Live, the "WEIRD AL" show is a full multi-media extravaganza, complete with video,
costume changes and his full band. “Weird Al” Yankovic, the undisputed king of pop culture parody, has sold more
comedy recordings than any other artist in history. In a career spanning nearly three decades, he has amassed 28
Gold and Platinum albums, 7 Gold and Platinum-certified home videos and 3 Grammy Awards (with 9 nominations).
An accomplished director, Al has helmed many of his own award-winning music videos as well as clips for Ben
Folds, Jeff Foxworthy, The Jon Spencer Blues Explosion, Hanson and The Black Crowes. His video for “Smells Like
Nirvana,” nominated for an MTV Video Music Award in 1992, was chosen by Rolling Stone as one of the “Top 100
Music Videos Of All Time.” Al also created the critically acclaimed title sequence for the Leslie Nielsen feature film
“Spy Hard.”
Making a successful transformation from pop music satirist to multimedia star, Al created his own television specials
for MTV (“AL-TV”), Showtime and the Disney Channel, among others. His feature film “UHF” (1989) became an
instant Top Ten best-selling DVD upon its release in 2002, and his CBS network series “The Weird Al Show”
reached cult-classic status and was released on DVD earlier this year. Al has been featured on numerous TV shows
and specials, and his profile on VH-1’s “Behind the Music” remains one of the most popular installments in the
history of the series.
Yankovic’s 12th studio album Straight Outta Lynwood (Way Moby/Volcano) is a DualDisc release brimming with
special features. The DVD side contains six brand new Weird Al music videos produced by some of the world’s top
animators, including Academy Award-nominated filmmaker Bill Plympton, “Ren & Stimpy” creator John Kricfalusi,
acclaimed media artist Jim Blashfield, the creative team behind Cartoon Network’s Adult Swim show “Robot
Chicken” and popular Internet animators Thomas Lee and David C. Lovelace. The package also features a 9-minute
behind-the-scenes documentary, as well as PCM Stereo, 5.1 Surround Sound and karaoke/instrumental versions of
the entire album.
The centerpiece of Straight Outta Lynwood is “White & Nerdy,” a parody of Chamillionaire’s No. 1 smash hit “Ridin’.”
Al directed the highly-acclaimed video clip, which features hilarious cameos by Donny Osmond, Seth Green, Judy
Tenuta and Mad TV’s Keegan-Michael Keys and Jordan Peele. The “White & Nerdy” video went straight into heavy
rotation on VH-1 (debuting at #5 in their Top 20 Countdown) and quickly racked up a few million hits on YouTube.
Straight Outta Lynwood also features parodies of Green Day (“Canadian Idiot”), Usher (“Confessions Part III”),
Taylor Hicks (“Do I Creep You Out”) and R. Kelly (the 11-minute epic “Trapped in the Drive-Thru”), as well as the now-
traditional polka medley (“Polkarama!”), which this time includes accordion-fueled renditions of hits by such artists
as 50 Cent, The Black Eyed Peas, Snoop Dogg, Coldplay, Weezer, Pussycat Dolls and Kanye West.
“Don’t Download This Song,” the first song and video released from the album, is a tongue-in-cheek look at the hot-
button issue of mp3 piracy, set to original music inspired by the celebrity-driven charity benefit songs from the ‘80s.
The song was ironically offered as a free download on Al’s web site (weirdal.com) and MySpace page (myspace.
com/weirdal), and quickly became a viral worldwide hit. Other original compositions on the album include an
homage to both Brian Wilson and internal organs (“Pancreas”), an ode to computer-based paranoia (“Virus Alert”), a
headbanger about frivolous lawsuits (“I’ll Sue Ya”), an anthem for the relationship-impaired (“Close But No Cigar”)
and a cheery ditty about the most festive time of the year (“Weasel Stomping Day”).
Straight Outta Lynwood debuted at #10 on the Billboard charts, making it Al’s highest charting album to date. “Weird
Al” Yankovic and his band (the same talented group of musicians that has performed with him since 1982) will be
embarking on their next major North American concert tour in the summer of 2008.
America's foremost song parodist. From New Wave to Gangsta Rap; the comedy/music of "WEIRD AL" has sold
millions of CD's and videos which led to multiple Grammy Awards.
Now enjoying the most successful chart topping CD, single and video of his career with STRAIGHT OUTTA
LYNWOOD'S "White and Nerdy." Live, the "WEIRD AL" show is a full multi-media extravaganza, complete with video,
costume changes and his full band. “Weird Al” Yankovic, the undisputed king of pop culture parody, has sold more
comedy recordings than any other artist in history. In a career spanning nearly three decades, he has amassed 28
Gold and Platinum albums, 7 Gold and Platinum-certified home videos and 3 Grammy Awards (with 9 nominations).
An accomplished director, Al has helmed many of his own award-winning music videos as well as clips for Ben
Folds, Jeff Foxworthy, The Jon Spencer Blues Explosion, Hanson and The Black Crowes. His video for “Smells Like
Nirvana,” nominated for an MTV Video Music Award in 1992, was chosen by Rolling Stone as one of the “Top 100
Music Videos Of All Time.” Al also created the critically acclaimed title sequence for the Leslie Nielsen feature film
“Spy Hard.”
Making a successful transformation from pop music satirist to multimedia star, Al created his own television specials
for MTV (“AL-TV”), Showtime and the Disney Channel, among others. His feature film “UHF” (1989) became an
instant Top Ten best-selling DVD upon its release in 2002, and his CBS network series “The Weird Al Show”
reached cult-classic status and was released on DVD earlier this year. Al has been featured on numerous TV shows
and specials, and his profile on VH-1’s “Behind the Music” remains one of the most popular installments in the
history of the series.
Yankovic’s 12th studio album Straight Outta Lynwood (Way Moby/Volcano) is a DualDisc release brimming with
special features. The DVD side contains six brand new Weird Al music videos produced by some of the world’s top
animators, including Academy Award-nominated filmmaker Bill Plympton, “Ren & Stimpy” creator John Kricfalusi,
acclaimed media artist Jim Blashfield, the creative team behind Cartoon Network’s Adult Swim show “Robot
Chicken” and popular Internet animators Thomas Lee and David C. Lovelace. The package also features a 9-minute
behind-the-scenes documentary, as well as PCM Stereo, 5.1 Surround Sound and karaoke/instrumental versions of
the entire album.
The centerpiece of Straight Outta Lynwood is “White & Nerdy,” a parody of Chamillionaire’s No. 1 smash hit “Ridin’.”
Al directed the highly-acclaimed video clip, which features hilarious cameos by Donny Osmond, Seth Green, Judy
Tenuta and Mad TV’s Keegan-Michael Keys and Jordan Peele. The “White & Nerdy” video went straight into heavy
rotation on VH-1 (debuting at #5 in their Top 20 Countdown) and quickly racked up a few million hits on YouTube.
Straight Outta Lynwood also features parodies of Green Day (“Canadian Idiot”), Usher (“Confessions Part III”),
Taylor Hicks (“Do I Creep You Out”) and R. Kelly (the 11-minute epic “Trapped in the Drive-Thru”), as well as the now-
traditional polka medley (“Polkarama!”), which this time includes accordion-fueled renditions of hits by such artists
as 50 Cent, The Black Eyed Peas, Snoop Dogg, Coldplay, Weezer, Pussycat Dolls and Kanye West.
“Don’t Download This Song,” the first song and video released from the album, is a tongue-in-cheek look at the hot-
button issue of mp3 piracy, set to original music inspired by the celebrity-driven charity benefit songs from the ‘80s.
The song was ironically offered as a free download on Al’s web site (weirdal.com) and MySpace page (myspace.
com/weirdal), and quickly became a viral worldwide hit. Other original compositions on the album include an
homage to both Brian Wilson and internal organs (“Pancreas”), an ode to computer-based paranoia (“Virus Alert”), a
headbanger about frivolous lawsuits (“I’ll Sue Ya”), an anthem for the relationship-impaired (“Close But No Cigar”)
and a cheery ditty about the most festive time of the year (“Weasel Stomping Day”).
Straight Outta Lynwood debuted at #10 on the Billboard charts, making it Al’s highest charting album to date. “Weird
Al” Yankovic and his band (the same talented group of musicians that has performed with him since 1982) will be
embarking on their next major North American concert tour in the summer of 2008.
100.3 The Q FM & High Tide Entertainment present Rock-N-Roll Hall Of Famers...
Sly & The Family Stone
Opening guests... Five Alarm Funk
& Kuba Oms of Velvet
Saturday, September 6, 2008
The Royal Theatre, 805 Broughton, Victoria
Doors 7:00pm - Showtime 8:00pm
Tickets: $57.50 / $59.50 + service charge
Available at: McPherson Box Office #3 Centennial Square, 250-386-6121 or online at www.rmts.bc.ca
Sly & The Family Stone
Opening guests... Five Alarm Funk
& Kuba Oms of Velvet
Saturday, September 6, 2008
The Royal Theatre, 805 Broughton, Victoria
Doors 7:00pm - Showtime 8:00pm
Tickets: $57.50 / $59.50 + service charge
Available at: McPherson Box Office #3 Centennial Square, 250-386-6121 or online at www.rmts.bc.ca
Sly Stone's website: www.slystonemusic.com
Family Stone Project website: www.familystonemusic.com
Five Alarm Funk website: www.fivealarmfunk.com
Kuba Om's website: www.myspace.com/kubaoms
Performing all of their hits including:
"I Want to Take You Higher", Everyday People", Thank You Falettinme Be Mice Elf Agin", "Dance To The Music",
"Hot Fun In The Summertime", "Family Affair", "Sing a Simple Song" and many more...
Sly and the Family Stone are credited as one of the first racially integrated bands in music history, belting their
message of peace, love and social consciousness through a string of hit anthems that fused R&B, soul, funk and
rock n roll. On 'Different Strokes by Different Folks' a stylistically, culturally and racially disparate group of chart-
toppers mirrors that idealistic diversity. Understand this: There was no precedent for Sly & the Family Stone.
Sly and the Family Stone took the Sixties ideal of a generation coming together and turned it into deeply groove-
driven music. Rock’s first integrated, multi-gender band became funky Pied Pipers to the Woodstock Generation,
synthesizing rock, soul, R&B, funk and psychedelia into danceable, message-laden, high-energy music. In
promoting their gospel of tolerance and celebration of differences, Sly and the Family Stone brought disparate
audiences together during the latter half of the Sixties. The group’s greatest triumph came at the Woodstock
Festival in August 1969. During their unforgettable nighttime set, leader Sly Stone initiated a fevered call-and-
response with the audience of 400,000+ during an electrifying version of “I Want to Take You Higher.”
Sly Stone (born Sylvester Stewart) has been called a “great communicator” for his infectious mixture of message
and music. Born in Dallas, he moved with his family to Vallejo, California, where he sang in a family gospel group as
a child and later studied music theory and composition at the local junior college. He established himself in the San
Francisco area as a disk jockey and a producer of such records as the Beau Brummels’ “Laugh Laugh” for Autumn
Records. Sly and the Family Stone came together late in 1966, with keyboardist/vocalist Stone recruiting family
members: his sister Rose (keyboards, vocals), brother Freddie Stone (guitar) and cousin Larry Graham (bass). The
group was rounded out by Cynthia Robinson (trumpet), Greg Errico (drums) and Jerry Martini (sax). Their first single
appeared on a local label in 1967, while their debut album, A Whole New Thing, was released nationally on Epic in
1968.
The group connected with the rising counterculture by means of songs that addressed issues of personal pride and
liberation in the context of driving, insistent and sunny-tempered music that fused rock and soul, creating a
template for Seventies funk. As proof that they were reaching a rainbow coalition among the young, Sly and the
Family Stone dominated the late Sixties charts with such essential singles as “Dance to the Music” (#8 pop, #9
R&B), “Everyday People” (#1, pop and R&B), “Hot Fun in the Summertime” (#2 pop, #3 R&B) and “Thank You
Falettinme Be Mice Elf Agin” (#1, pop and R&B). Despite these heady peaks, the band’s fortunes began declining in
tandem with Sly Stone’s mounting substance-abuse problems. A brilliant artist even under duress, Stone was
largely responsible for the bleak, cryptic but undeniably powerful There’s a Riot Goin’ On (1971), which captured the
souring mood of the country no less than the sound of his own ship going down. During this period, Sly and the
Family Stone became notorious for missing concert dates, though they still enjoyed commercial success with
singles such as “Family Affair” (#1, pop and R&B).
A realignment in group members occurred in 1972, and Stone led the band through a couple more albums - Fresh
(1973) and Small Talk (1974) - that showed flashes of the old fire. After that, however, the releases became
increasingly sporadic and Stone himself appeared to drop from sight. A flurry of activity in the early Eighties found
him touring on his own and with George Clinton’s P-Funk All-Stars, and an album of new material, Ain’t But the One
Way, appeared in 1983.
Sly's been sampled by Janet Jackson, Beastie Boys, Kid Rock, Fatboy Slim, Ice Cube and Public Enemy to name
just a few! He was inducted into the Rock & Roll Hall Of Fame in 1992, and is the recipient of the 2002 R&B
Foundation Pioneer Award.
Family Stone Project website: www.familystonemusic.com
Five Alarm Funk website: www.fivealarmfunk.com
Kuba Om's website: www.myspace.com/kubaoms
Performing all of their hits including:
"I Want to Take You Higher", Everyday People", Thank You Falettinme Be Mice Elf Agin", "Dance To The Music",
"Hot Fun In The Summertime", "Family Affair", "Sing a Simple Song" and many more...
Sly and the Family Stone are credited as one of the first racially integrated bands in music history, belting their
message of peace, love and social consciousness through a string of hit anthems that fused R&B, soul, funk and
rock n roll. On 'Different Strokes by Different Folks' a stylistically, culturally and racially disparate group of chart-
toppers mirrors that idealistic diversity. Understand this: There was no precedent for Sly & the Family Stone.
Sly and the Family Stone took the Sixties ideal of a generation coming together and turned it into deeply groove-
driven music. Rock’s first integrated, multi-gender band became funky Pied Pipers to the Woodstock Generation,
synthesizing rock, soul, R&B, funk and psychedelia into danceable, message-laden, high-energy music. In
promoting their gospel of tolerance and celebration of differences, Sly and the Family Stone brought disparate
audiences together during the latter half of the Sixties. The group’s greatest triumph came at the Woodstock
Festival in August 1969. During their unforgettable nighttime set, leader Sly Stone initiated a fevered call-and-
response with the audience of 400,000+ during an electrifying version of “I Want to Take You Higher.”
Sly Stone (born Sylvester Stewart) has been called a “great communicator” for his infectious mixture of message
and music. Born in Dallas, he moved with his family to Vallejo, California, where he sang in a family gospel group as
a child and later studied music theory and composition at the local junior college. He established himself in the San
Francisco area as a disk jockey and a producer of such records as the Beau Brummels’ “Laugh Laugh” for Autumn
Records. Sly and the Family Stone came together late in 1966, with keyboardist/vocalist Stone recruiting family
members: his sister Rose (keyboards, vocals), brother Freddie Stone (guitar) and cousin Larry Graham (bass). The
group was rounded out by Cynthia Robinson (trumpet), Greg Errico (drums) and Jerry Martini (sax). Their first single
appeared on a local label in 1967, while their debut album, A Whole New Thing, was released nationally on Epic in
1968.
The group connected with the rising counterculture by means of songs that addressed issues of personal pride and
liberation in the context of driving, insistent and sunny-tempered music that fused rock and soul, creating a
template for Seventies funk. As proof that they were reaching a rainbow coalition among the young, Sly and the
Family Stone dominated the late Sixties charts with such essential singles as “Dance to the Music” (#8 pop, #9
R&B), “Everyday People” (#1, pop and R&B), “Hot Fun in the Summertime” (#2 pop, #3 R&B) and “Thank You
Falettinme Be Mice Elf Agin” (#1, pop and R&B). Despite these heady peaks, the band’s fortunes began declining in
tandem with Sly Stone’s mounting substance-abuse problems. A brilliant artist even under duress, Stone was
largely responsible for the bleak, cryptic but undeniably powerful There’s a Riot Goin’ On (1971), which captured the
souring mood of the country no less than the sound of his own ship going down. During this period, Sly and the
Family Stone became notorious for missing concert dates, though they still enjoyed commercial success with
singles such as “Family Affair” (#1, pop and R&B).
A realignment in group members occurred in 1972, and Stone led the band through a couple more albums - Fresh
(1973) and Small Talk (1974) - that showed flashes of the old fire. After that, however, the releases became
increasingly sporadic and Stone himself appeared to drop from sight. A flurry of activity in the early Eighties found
him touring on his own and with George Clinton’s P-Funk All-Stars, and an album of new material, Ain’t But the One
Way, appeared in 1983.
Sly's been sampled by Janet Jackson, Beastie Boys, Kid Rock, Fatboy Slim, Ice Cube and Public Enemy to name
just a few! He was inducted into the Rock & Roll Hall Of Fame in 1992, and is the recipient of the 2002 R&B
Foundation Pioneer Award.
ARROGANT WORMS
Wednesday, October 29, 2008
The Alix Goolden Performance Hall, 907 Pandora St., Victoria
Doors 6:30pm - Showtime 7:30pm - EARLY SHOW
Tickets: $25.50 Advance / $30.00 Door - GENERAL ADMISSION - TICKETS NOW ON SALE ONLINE!
Available at: Lyle's place 770 Yates St., online at www.hightideconcerts.net or McPherson Box Office 250-386-6121
Wednesday, October 29, 2008
The Alix Goolden Performance Hall, 907 Pandora St., Victoria
Doors 6:30pm - Showtime 7:30pm - EARLY SHOW
Tickets: $25.50 Advance / $30.00 Door - GENERAL ADMISSION - TICKETS NOW ON SALE ONLINE!
Available at: Lyle's place 770 Yates St., online at www.hightideconcerts.net or McPherson Box Office 250-386-6121
Arrogant Worms website: www.arrogant-worms.com
The Arrogant Worms began their journey to musical comedy success (oxymoron) in 1991 in Kingston, Ontario on
campus radio. Those nine listeners were very impressed and The Worms could have retired at the top of their
game but they kept going … into the frightening world of live shows. They were quickly abandoned by the nine
radio listeners who preferred not to leave their homes. A new audience was cultivated and the meagre income
from those early shows was enough to record their self titled debut album in 1992. The Arrogant Worms received
airplay on national radio in Canada and were soon touring across their vast homeland.
The Worms have since released nine more independent albums - Russell’s Shorts, C’est Cheese, Live Bait,
Christmas Turkey, Dirt, Idiot Road, Toast and most recently, Beige. They have consistently topped the sales
charts for their distributors and have sold over 150,000 albums to date. Recognizing this valuable Canadian
resource, American label Oglio Records released Gift Wrapped, a ‘best of’ collection in 2002. The Arrogant Worms
released a DVD of their concert with the renowned Edmonton Symphony Orchestra, also a national television
special. Quite the show.
And it is their show that keeps the people coming back for more. The Arrogant Worms have provided tuneful and
silly escapism all over North America and Australia in venues of all shapes and sizes - from small clubs to theatres
to arenas to Disney to Central Park to The Grand Canyon. In 2006 they will embark on their first ever tour of the
United Kingdom. They have shared the stage over the years with the brightest lights and dimmest bulbs of the
music industry and no one got hurt. The Worms have entertained at corporate events, sung anthems at sporting
events and emceed at major festivals. No matter where they are, they are having fun and the audience is too.
The Arrogant Worms have become part of Canadiana. Their songs are used in lesson plans across the country
and one has even made it into an English textbook. Their song “Dangerous” was played aboard the Space
Shuttle Endeavour for astronaut and fan Chris Hadfield. The youth of Canada have voted them the most popular
band on a national radio show. The band that came in second was AC/DC.
The Arrogant Worms were recognized in 2003 as the Touring Act of the Year by the Canadian Arts Presenters
Association. However, their biggest honour came in 2005 though when they read in the New York Times that
Carrie Fisher and Meg Ryan were singing along with the Worms on a driving trip in Newfoundland. Princess Leia!!
And Sally!! That’s just crazy.
The Arrogant Worms have shamelessly decided that the world needs The Arrogant Worms. And so they will
continue to travel the world extolling the virtues of the noble cow, taking Celine Dion down a notch and singing
twisted lullabies to children. Maybe they can even win back those nine original radio listeners. Big dreams.
The Arrogant Worms began their journey to musical comedy success (oxymoron) in 1991 in Kingston, Ontario on
campus radio. Those nine listeners were very impressed and The Worms could have retired at the top of their
game but they kept going … into the frightening world of live shows. They were quickly abandoned by the nine
radio listeners who preferred not to leave their homes. A new audience was cultivated and the meagre income
from those early shows was enough to record their self titled debut album in 1992. The Arrogant Worms received
airplay on national radio in Canada and were soon touring across their vast homeland.
The Worms have since released nine more independent albums - Russell’s Shorts, C’est Cheese, Live Bait,
Christmas Turkey, Dirt, Idiot Road, Toast and most recently, Beige. They have consistently topped the sales
charts for their distributors and have sold over 150,000 albums to date. Recognizing this valuable Canadian
resource, American label Oglio Records released Gift Wrapped, a ‘best of’ collection in 2002. The Arrogant Worms
released a DVD of their concert with the renowned Edmonton Symphony Orchestra, also a national television
special. Quite the show.
And it is their show that keeps the people coming back for more. The Arrogant Worms have provided tuneful and
silly escapism all over North America and Australia in venues of all shapes and sizes - from small clubs to theatres
to arenas to Disney to Central Park to The Grand Canyon. In 2006 they will embark on their first ever tour of the
United Kingdom. They have shared the stage over the years with the brightest lights and dimmest bulbs of the
music industry and no one got hurt. The Worms have entertained at corporate events, sung anthems at sporting
events and emceed at major festivals. No matter where they are, they are having fun and the audience is too.
The Arrogant Worms have become part of Canadiana. Their songs are used in lesson plans across the country
and one has even made it into an English textbook. Their song “Dangerous” was played aboard the Space
Shuttle Endeavour for astronaut and fan Chris Hadfield. The youth of Canada have voted them the most popular
band on a national radio show. The band that came in second was AC/DC.
The Arrogant Worms were recognized in 2003 as the Touring Act of the Year by the Canadian Arts Presenters
Association. However, their biggest honour came in 2005 though when they read in the New York Times that
Carrie Fisher and Meg Ryan were singing along with the Worms on a driving trip in Newfoundland. Princess Leia!!
And Sally!! That’s just crazy.
The Arrogant Worms have shamelessly decided that the world needs The Arrogant Worms. And so they will
continue to travel the world extolling the virtues of the noble cow, taking Celine Dion down a notch and singing
twisted lullabies to children. Maybe they can even win back those nine original radio listeners. Big dreams.
WEIRD AL YANKOVIC
Saturday, August 2, 2008
ENMAX Hall Winspear Centre - 9720 - 102 Avenue, Edmonton
Doors 7pm - Showtime 8pm
Tickets: $51.50/$54.50 + Service charge
TICKETS ON SALE JUNE 17 OR JUNE 12 AT WWW.WEIRDAL.COM
Available at: The Winspear Ticket Centre by phone (780) 428-1414
or 1-800-563-5081 or online at tickets.winspearcentre.com
Saturday, August 2, 2008
ENMAX Hall Winspear Centre - 9720 - 102 Avenue, Edmonton
Doors 7pm - Showtime 8pm
Tickets: $51.50/$54.50 + Service charge
TICKETS ON SALE JUNE 17 OR JUNE 12 AT WWW.WEIRDAL.COM
Available at: The Winspear Ticket Centre by phone (780) 428-1414
or 1-800-563-5081 or online at tickets.winspearcentre.com
SEE US ON FACEBOOK
JOIN OUR GROUP! - CLICK HERE!
JOIN OUR GROUP! - CLICK HERE!
REGGAE MUSIC INNOVATOR AND DUB ORIGINATOR
LEE 'SCRATCH' PERRY & BAND
Tuesday, September 2, 2008
Element Nightclub, 919 Douglas St., Victoria
Doors 8:00pm - Showtime 9:00pm - EARLY SHOW!
Tickets: $30 Advance / $33 Door
Available at: Lyle's place 770 Yates St., Strathcona Hotel 919 Douglas St.,
online at www.hightideconcerts.net or McPherson Box Office 250-386-6121
LEE 'SCRATCH' PERRY & BAND
Tuesday, September 2, 2008
Element Nightclub, 919 Douglas St., Victoria
Doors 8:00pm - Showtime 9:00pm - EARLY SHOW!
Tickets: $30 Advance / $33 Door
Available at: Lyle's place 770 Yates St., Strathcona Hotel 919 Douglas St.,
online at www.hightideconcerts.net or McPherson Box Office 250-386-6121
Lee 'Scratch' Perry website: www.myspace.com/leescratchperry
One of the most important figures in the history of reggae music is Lee “Scratch” Perry. As a songwriter, a performer
and especially a producer, Perry has been at the forefront of reggae music since the late 50's ska movement.
Practically the inventor of both dub reggae (he produced one of the earliest all-dub albums, Blackboard Jungle, in
1974) and the “scratch” turntable effect used by DJ’s (his production of Charlie Ace’s “Cow Theory Skank” in 1973
became the first recording to use the “scratch” effect), Perry’s studio innovations have influenced not only reggae
but also rock, punk, pop and dance music. Yet, at 70 years old, Perry, with his new album Panic In Babylon
(Narnack) to be released in August 2006, proves to be more relevant than ever.
Panic In Babylon, originally released in Switzerland and available on CD and vinyl LP, follows on the heels of Perry’s
Grammy award for Best Reggae Album. Drenched in Perry’s signature dub-echo style, the album is musically
hypnotic, with an uncluttered instrumental simplicity. The lyrics explore global fears, political corruption and
Rastafari spirtualism and contain a running autobiographical narrative, with Perry boldly declaring on the title cut “I
am the Upsetter.” From the bawdy “Pussy Man” to “Inspector Gadget 2004," Perry leavens his more political and
spiritual songs with lyrics that expose his fun, human and instinctual side. The album comes with a bonus disc that
features a Dave Sitek/TV on the Radio Remix of the title tracks and a DJ Spooky Remix of “Purity Rock,” illustrating
Perry’s cross-over appeal and spotlighting hip-hop artists paying back the musical debt they owe Perry.
Encapsulating Perry’s entire long astonishing career is difficult at best. Chronicling his recordings as a solo artist
and as the leader of various groups, along with his overflowing catalogue of productions, all released on a myriad of
labels, could fill a book.
Perry was born Rainford Hugh Perry in the small town of Kendall, part of the Hanover section of northwest Jamaica
on March 28, 1936. A dancer and domino player of renown when he was young, Perry began his musical
apprenticeship on the Kingston, Jamaica music scene of the 1950's as part of Duke Reid’s Trojan sound system.
From there he became involved with celebrated producer Coxsone Dodd and his Downbeat sound system. He
subsequently worked as an A&R man at Dodd’s influential Studio One, eventually supervising the famed Sunday
afternoon auditions held at Dodd’s Orange Street record store. In 1959, Perry cut two singles that launched his
career, “Old or New” and the song from which his nickname is derived, “Chicken Scratch.” In the early 60's, Perry’s
reputation as a songwriter and producer exploded with recordings for the likes of Delroy Wilson, the Maytals and the
Wailers, while he continued to record himself, sometimes under such pseudonyms as King Perry.
In 1966 Perry left Studio One under a cloud of acrimony. He was so upset with Dodd that he wrote a song called
“The Upsetter,” an attack on Dodd that became the name of Perry’s band the Upsetters. It also became the name of
his label and of his Charles Street record store. In 1969 he released “Return To Django,” which shot up to number
five on the U.K. charts; he followed the success of the song with a highly successful U.K. tour. In 1973 Perry open
his famed Black Ark studios in Washington Gardens, a suburb of Kingston. It was there that Perry’s abilities as a
groundbreaking producer became fully formed. Using only a TEAC 4-track recorder (the heads of which he would
clean with his t-shirt), a Soundcraft mixing board and an Echoplex tape delay, Perry established himself as reggae’s
premier record producer through innovation, alchemy and a mysterious ability to take even the most moribund song
and performances and create magic. In the small, 12-foot studio that was filled with his beloved small rubber balls
and thick with ganja smoke, the Perry legend grew and he was the first reggae producer to experiment with drum
machines and phasers.
Some of the Perry-produced recordings that followed became the seminal releases of 70's reggae, including Junior
Murvin’s “Police and Thieves” (later covered by the Clash), Max Romeo’s “War In Babylon,” and other recordings by
the Heptones, Mikey Dread and Augustus Pablo. It was around this time that Chris Blackwell began licensing much
of Perry’s output and releasing it on his label Island Records. From 1977 on, Perry not only worked with Bob Marley
on various productions and released perhaps the first 12-inch reggae single, Carlton Jackson’s “History,” but he
also produced such non-reggae artists as the Clash, John Martyn, Robert Palmer and even Linda McCartney.
In the late 70's and early 80's Perry fell on hard times. Island refused to release two of his albums and his studio fell
into disrepair. In the summer of 1983, the studio burned to the ground, possibly of arson. Perry moved to the U.S. in
the early 80's and returned to Island Records. In 1983 he moved to Britain. In the early 90's he buried the hatchet with
Coxsone Dodd and recorded with him again. After briefly living in the Netherlands, he moved to Zurich, Switzerland,
where he eventually married Swiss millionairess Mirielle Campbell in a Hare Krishna temple. They have two children
and the family still lives in Zurich.
In recent years, Perry has continued to work as a songwriter and a producer; but more importantly, he has
continued to record himself, making fresh, new music while maintaining his mastery of the recording studio.
For more information on Lee “Scratch” Perry, check out The Genius of Lee “Scratch” Perry (Payback/Canongate) by
David Katz; Reggae & Caribbean Music (Backbeat) by Dave Thompson; The Rough Guide to Reggae (Rough Guide)
by Steve Barrow and Peter Dalton, and Arkology (Island) liner notes by David Katz and Steve Barrow. Steve Matteo
is the author of “Dylan,” a biography of Bob Dylan published in 1998 by MetroBooks, an imprint of Friedman/Fairfax
Publishing. In 2003 his writings on Kenny Burrell and Wes Montgomery appeared in the book “Jazziz Chronicles:
The Guitarists,” published by Cherry Lane. His second book, “Let It Be,” on the making of The Beatles’ album and
film Let It Be, was published in November of 2004 by Continuum. He has written for Rolling Stone, Harp, Tracks,
Blender, Spin, The New York Times, the Los Angeles Times, Newsday, New York, Time, Out New York.
One of the most important figures in the history of reggae music is Lee “Scratch” Perry. As a songwriter, a performer
and especially a producer, Perry has been at the forefront of reggae music since the late 50's ska movement.
Practically the inventor of both dub reggae (he produced one of the earliest all-dub albums, Blackboard Jungle, in
1974) and the “scratch” turntable effect used by DJ’s (his production of Charlie Ace’s “Cow Theory Skank” in 1973
became the first recording to use the “scratch” effect), Perry’s studio innovations have influenced not only reggae
but also rock, punk, pop and dance music. Yet, at 70 years old, Perry, with his new album Panic In Babylon
(Narnack) to be released in August 2006, proves to be more relevant than ever.
Panic In Babylon, originally released in Switzerland and available on CD and vinyl LP, follows on the heels of Perry’s
Grammy award for Best Reggae Album. Drenched in Perry’s signature dub-echo style, the album is musically
hypnotic, with an uncluttered instrumental simplicity. The lyrics explore global fears, political corruption and
Rastafari spirtualism and contain a running autobiographical narrative, with Perry boldly declaring on the title cut “I
am the Upsetter.” From the bawdy “Pussy Man” to “Inspector Gadget 2004," Perry leavens his more political and
spiritual songs with lyrics that expose his fun, human and instinctual side. The album comes with a bonus disc that
features a Dave Sitek/TV on the Radio Remix of the title tracks and a DJ Spooky Remix of “Purity Rock,” illustrating
Perry’s cross-over appeal and spotlighting hip-hop artists paying back the musical debt they owe Perry.
Encapsulating Perry’s entire long astonishing career is difficult at best. Chronicling his recordings as a solo artist
and as the leader of various groups, along with his overflowing catalogue of productions, all released on a myriad of
labels, could fill a book.
Perry was born Rainford Hugh Perry in the small town of Kendall, part of the Hanover section of northwest Jamaica
on March 28, 1936. A dancer and domino player of renown when he was young, Perry began his musical
apprenticeship on the Kingston, Jamaica music scene of the 1950's as part of Duke Reid’s Trojan sound system.
From there he became involved with celebrated producer Coxsone Dodd and his Downbeat sound system. He
subsequently worked as an A&R man at Dodd’s influential Studio One, eventually supervising the famed Sunday
afternoon auditions held at Dodd’s Orange Street record store. In 1959, Perry cut two singles that launched his
career, “Old or New” and the song from which his nickname is derived, “Chicken Scratch.” In the early 60's, Perry’s
reputation as a songwriter and producer exploded with recordings for the likes of Delroy Wilson, the Maytals and the
Wailers, while he continued to record himself, sometimes under such pseudonyms as King Perry.
In 1966 Perry left Studio One under a cloud of acrimony. He was so upset with Dodd that he wrote a song called
“The Upsetter,” an attack on Dodd that became the name of Perry’s band the Upsetters. It also became the name of
his label and of his Charles Street record store. In 1969 he released “Return To Django,” which shot up to number
five on the U.K. charts; he followed the success of the song with a highly successful U.K. tour. In 1973 Perry open
his famed Black Ark studios in Washington Gardens, a suburb of Kingston. It was there that Perry’s abilities as a
groundbreaking producer became fully formed. Using only a TEAC 4-track recorder (the heads of which he would
clean with his t-shirt), a Soundcraft mixing board and an Echoplex tape delay, Perry established himself as reggae’s
premier record producer through innovation, alchemy and a mysterious ability to take even the most moribund song
and performances and create magic. In the small, 12-foot studio that was filled with his beloved small rubber balls
and thick with ganja smoke, the Perry legend grew and he was the first reggae producer to experiment with drum
machines and phasers.
Some of the Perry-produced recordings that followed became the seminal releases of 70's reggae, including Junior
Murvin’s “Police and Thieves” (later covered by the Clash), Max Romeo’s “War In Babylon,” and other recordings by
the Heptones, Mikey Dread and Augustus Pablo. It was around this time that Chris Blackwell began licensing much
of Perry’s output and releasing it on his label Island Records. From 1977 on, Perry not only worked with Bob Marley
on various productions and released perhaps the first 12-inch reggae single, Carlton Jackson’s “History,” but he
also produced such non-reggae artists as the Clash, John Martyn, Robert Palmer and even Linda McCartney.
In the late 70's and early 80's Perry fell on hard times. Island refused to release two of his albums and his studio fell
into disrepair. In the summer of 1983, the studio burned to the ground, possibly of arson. Perry moved to the U.S. in
the early 80's and returned to Island Records. In 1983 he moved to Britain. In the early 90's he buried the hatchet with
Coxsone Dodd and recorded with him again. After briefly living in the Netherlands, he moved to Zurich, Switzerland,
where he eventually married Swiss millionairess Mirielle Campbell in a Hare Krishna temple. They have two children
and the family still lives in Zurich.
In recent years, Perry has continued to work as a songwriter and a producer; but more importantly, he has
continued to record himself, making fresh, new music while maintaining his mastery of the recording studio.
For more information on Lee “Scratch” Perry, check out The Genius of Lee “Scratch” Perry (Payback/Canongate) by
David Katz; Reggae & Caribbean Music (Backbeat) by Dave Thompson; The Rough Guide to Reggae (Rough Guide)
by Steve Barrow and Peter Dalton, and Arkology (Island) liner notes by David Katz and Steve Barrow. Steve Matteo
is the author of “Dylan,” a biography of Bob Dylan published in 1998 by MetroBooks, an imprint of Friedman/Fairfax
Publishing. In 2003 his writings on Kenny Burrell and Wes Montgomery appeared in the book “Jazziz Chronicles:
The Guitarists,” published by Cherry Lane. His second book, “Let It Be,” on the making of The Beatles’ album and
film Let It Be, was published in November of 2004 by Continuum. He has written for Rolling Stone, Harp, Tracks,
Blender, Spin, The New York Times, the Los Angeles Times, Newsday, New York, Time, Out New York.
GUARANTEED TO BE THE BEST DOORS TRIBUTE YOU WILL EVER SEE!
THE UNKNOWN SOLDIERS
Saturday, September 13, 2008
Sugar Nightclub, 858 Yates St., Victoria
Doors 9:00pm - Showtime 10:00pm - Performing 2 long sets of high-energy Doors!
Tickets: $15 Advance / $15 Door
Available at: Lyle's place 770 Yates St., online at www.hightideconcerts.net or McPherson Box Office 250-386-6121
THE UNKNOWN SOLDIERS
Saturday, September 13, 2008
Sugar Nightclub, 858 Yates St., Victoria
Doors 9:00pm - Showtime 10:00pm - Performing 2 long sets of high-energy Doors!
Tickets: $15 Advance / $15 Door
Available at: Lyle's place 770 Yates St., online at www.hightideconcerts.net or McPherson Box Office 250-386-6121
The Unknown Soldier's website: www.theunknownsoldiers.net
Named after The Doors most political song. They come amazingly close to replicating The Doors music note for
note, but more importantly they capture the raw energy through each band member's interpretation. By combining
these elements they deliver a groovy reproduction of a live Doors show, keeping the audience in a head-bobbing,
toe- tapping trance.
The Unknown Soldiers blend The Doors live recordings and also their masterful studio efforts, creating an alchemy
that is second to none for experiencing, and of course, celebrating The Doors musical legacy LIVE.
Although it is hard to replicate the eccentric unpredictability that was Jim Morrison, the lead singer's Morrisonesque
look, vibe & baritone voice, supported with swirling organ instrumentals and the band's musical prowess, strive to
captivate and transcend time and place. This frees up the audience to be transported back in time, experiencing the
taste of a live Doors show.
The Doors to this day remain as timelessly potent as ever. It's very rare for a group to have achieved such musical
proportions and influence on the mass public in a relatively short period of time (1966-1971). Witness for yourself
and Break On Through with The Unknown Soldiers in a Endless Night Of Sweet Delight.
Named after The Doors most political song. They come amazingly close to replicating The Doors music note for
note, but more importantly they capture the raw energy through each band member's interpretation. By combining
these elements they deliver a groovy reproduction of a live Doors show, keeping the audience in a head-bobbing,
toe- tapping trance.
The Unknown Soldiers blend The Doors live recordings and also their masterful studio efforts, creating an alchemy
that is second to none for experiencing, and of course, celebrating The Doors musical legacy LIVE.
Although it is hard to replicate the eccentric unpredictability that was Jim Morrison, the lead singer's Morrisonesque
look, vibe & baritone voice, supported with swirling organ instrumentals and the band's musical prowess, strive to
captivate and transcend time and place. This frees up the audience to be transported back in time, experiencing the
taste of a live Doors show.
The Doors to this day remain as timelessly potent as ever. It's very rare for a group to have achieved such musical
proportions and influence on the mass public in a relatively short period of time (1966-1971). Witness for yourself
and Break On Through with The Unknown Soldiers in a Endless Night Of Sweet Delight.
