Rock 'n' Roll ain't pretty and neither is Scott H. Biram. The self proclaimed 'Dirty Old One Man Band' successfully, and sometimes violently, lashes together blues, hillbilly and country precariously to raucous punk and godless metal.
Biram ain't no candy-ass singer/songwriter either, sweetly strumming songs about girls with big eyes and dusty highways. His singing, yodeling, growling, leering and brash preachin' and hollerin' is accompanied by sloppy riffs and licks from his '59 Gibson guitar and pounding backbeat brought forth by his amplified left foot. The remainder of this one-man band consists of an unwieldy combination of beat-up amplifiers and old microphones strung together by a tangled mess of guitar cables.
Years of non-stop touring have honed his assault to a fine edge; his wide-eyed throw downs in the First Church of Ultimate Fanaticism routinely lead giddy followers to a fiery baptism.
Scott H. Biram won't die. On May 11th, 2003, one month after being hit head-on by an 18-wheeler at 75 MPH, he took the stage at The Continental Club in Austin, TX in a wheel chair - I.V. still dangling from his arm. With 2 broken legs, a broken foot, a broken arm and 1 foot less of his lower intestine, Biram unleashed his trademark musical wrath.
When Scott H. Biram took the stage at his 2004 SXSW festival showcase right after Kris Kristofferson he was quoted as growling "They said that was a hard act to follow....I'm a hard act to follow motherfuckers!!" The stunned crowd looked on.
"Scott's self described 'dirty old one-man band' had a captivating immediacy that big rock shows rarely reach. On stage Scott is a man possessed, spitting and snarling like a Mississippi juke-joint shouter on a moonshine bender." - Eben Sterling, Thrasher
"He has a true stage presence that could be fairly compared to that of Clint Eastwood on film. The dude's more dude than most other dudes you will ever meet." - Austin Columnist
"An impassioned multi-instrumentalist unleashing a brutal cacophany with the fury of someone whose check from the Devil finally cleared. Half dirty blues, half underground punk, half honky-tonk, half revival meeting...oh shut up about the math. You'll see the light." - Dayna Papaleo, Rochester City News
"His barbarous exorcism of Depression-era blues--with a bedrock of frantic flatpicking, foot stomps into a floor mike, and gutteral growls through a distortion mike--has made Biram a rising star in Austin." - Brian T. Atkinson, No Depression
"Biram is the kind of guy you don't laugh at all the way just in case he really is crazy. We all wanna be entertained, but nobody wants to get stabbed in the head with a screwdriver." - Frank de Blase, Rochester City News
"With a raw immediacy that recalls Hasil Adkins and Bob Log III, Biram specializes in a twisted hybrid of gutbucket, hillbilly and godless metal. He'll praise the virtues of moonshine and titty bars one minute, then tongue-lash city slickers and hippies the next." - John La Briola, Houston Press
PEELANDER-Z, the Japanese Action Comic Punk Band, was originally formed by Peelander-Yellow, Peelander-Red and Peelander-Blue (claim they are from Z area in the Planet Peelander!!) in NYC, but now based in Austin, TX.
Peelander-Z has had some lineup changes since thier start in 1998 and welcomed Peelander-Purple as new bassist in October 2016, and became newly reborn and powerful Peelander-Z more than ever!!
These four dress up in color-coordinated costumes about as if they came out of Japanese Animation (claim those are not costumes, but the skin!!!) put on a fun entertainment. Yes, their performance is not just playing music. Have you heard of human bowling, wrestling and kung-fu action, or funny dance at the punk rock show? Peelander-Z knows how to entertain the audience by dragging them into the show. One experience would capture you!! Peelander-Z is the best of the universe!
'Silver/Lead' is the 15th studio album from musical pioneers Wire. It arrives on the 40th anniversary of their debut per-formance. Yet it's about as far from nostalgia as you could get. This is the sound of a uniquely addictive 21st century psychedelic post punk. Colin Newman and Matt Simms' guitar work is alternately jagged and luminous, whilst bassist Graham Lewis' ear-catching lyrics are vivid yet oblique. Meanwhile, drummer Robert Grey provides a virtual masterclass in percussive minimalism. But it's how the various instruments mesh together which really counts. And Newman's production creates a sonic space in which even the smallest gesture is accorded some recognition. Highlights include the optimistic dazzle of 'Diamonds In Cups', which has an almost T-rex style buzz and chug and the moody swing of 'This Time'. Elsewhere on the musical spectrum, there's the menacing widescreen grandeur of 'Playing Harp for the Fishes' and the breakneck paced guitar pop of 'Short Elevated Period'. Wire are one of the world's most ground breaking bands, their influence acknowledged by bands as diverse as Blur, Sonic Youth, R.E.M. and Savages. But they have never been interested in exploiting past glories. For Wire, there is only ever one possible direction; forward. So it's perhaps not sur-prising that over recent years, they've played strings of sold out shows, achieved career best record sales and been cited as a strong influence by yet another generation of bands. Wire's last three albums have garnered nothing but rave re-views. From 2013's strangely beautiful 'Change Becomes Us' ("It's fantastic." - Pitchfork) to the crackling motorik of 2015's 'Wire' ("It's all really well turned, potent and crisp." - The Guardian) and last year's punchy mini album 'Nocturnal Koreans' ("It's a cracker and sounds defiantly modern." - The Quietus). Consequently, although it may be being released on the band's 40th anniversary, 'Silver/Lead' is an album which has nothing to do with the past and everything to do with the future.
It’s been nearly 20 years since Jackyl shot out of Georgia with its wild, untamed and uncouth approach to rock ‘n’ roll. Equal parts hard rock, heavy metal and Southern rock, Jackyl formed in 1991 and brought back rock ‘n’ roll back — back to its down-to-earth, wild, fun-loving origins. Full of spit and swagger — and a “dirty” sense of humor to boot — Jackyl quickly earned a deal with Geffen Records. Jackyl’s live shows were already legendary before the ink dried on the Geffen contract.
The 1992 self-titled debut album went platinum and featured notable rock radio hits like “Down On Me,” “When Will It Rain,” “I Stand Alone” and, most notably, “The Lumberjack,” during which vocalist Jesse James Dupree performed a chain-saw solo. Dupree’s chain-saw escapades on album and in concert became one of many Jackyl trademarks. With the release of ‘Jackyl’ hit the road and barely left it since. Just long enough to record new albums. Touring mates in those early days included Aerosmith, Kiss, ZZ Top, Ted Nugent and Damn Yankees. 1993 saw “Mental *@%.!” featured on ‘The Beavis & Butt-head Experience,’ a compilation album of songs tied in with MTV’s hit cartoon series; it was eventually certified triple platinum. 1994 was one of the most important years in the band’s career. The second album, ‘Push Comes To Shove,’ hit the streets and went gold. That August, Jackyl turned in one of the most acclaimed performances at Woodstock ’94 in Saugerties, NY, and the resulting double album ‘Woodstock 94’ went platinum and included “Headed For Destruction” (a track from ‘Push Comes To Shove’). The live recording ‘Night Of The Living Dead’ was released exclusively in Europe on Mayhem Records in 1996.
It wasn’t long before Jackyl followed A&R legend John Kalodner (who had signed them to Geffen) to Sony Music’s imprint Epic Records. ‘Cut the Crap’ was released in 1997 and benefited from two industry heavyweights overseeing its recording: producer Mike Fraser (AC/DC, Metallica) and mixer Kevin Shirley (silverchair, Aerosmith). This album spawned the rock radio hit “Locked and Loaded,” which included guest vocals by AC/DC’s Brian Johnson. It was the first time Johnson had ever recorded with any artist but AC/DC since he joined the band 17 years earlier. A collection of B-sides titled ‘Stayin’ Alive’ appeared on Shimmering Tone Records in 1998 but the biggest highlight of the year was Geffen’s release of the best-of collection ‘Choice Cuts’ and the related promotional events Jackyl did to help promote it.
Fitting every bit the part of the man in black, Carter Winter is country music's modern traditionalist. Singing heartfelt and relatable songs landscaping heartbreak and the American dream poured over ice, the singer/songwriter from rural Ohio has seen firsthand the effects of connecting with an audience through a fresh sound that like Carter himself, is surprisingly familiar, yet raw and honest. From behind his guitar and sleeves of tattoos, Carter began playing local bars around his hometown and quickly grew an incredible fan base of loyal listeners from California to the Carolinas. First well-known for his cover songs of artists that inspired him early on (Garth Brooks, George Strait), Carter's ability to take three chords and his own truth and deliver a compelling live performance has contributed to the incredible success of Some Kind of Fire, his first independent six-song release. With his rich, traditional country vocal and compelling live performance, Carter has gained recognition from some of the biggest names in country music andshared the stage with artists such as Sam Hunt, Chase Rice and Travis Tritt. Recently completing his second studio album with multi Grammy Award-winning producer Chad Carlson (Taylor Swift, Chase Rice, Cole Swindell) and producer Mark Bright (Carrie Underwood, Rascal Flatts), Carter Winter's sophomore release The Whiskey In Me makes a solid entry into country music that firmly establishes his bad boy brand as a natural force in country music.
HELL'S BELLES are first and foremost dedicated AC/DC fanatics. This is what we all have in common. We're all part of a huge community of devotees to one of the greatest rock-n-roll bands in the world. This is who we all are, and this is what HELL'S BELLES strives to deliver with mechanical precision and passionate fury. Endorsed by Angus Young himself (Blender Magazine, 2003), HELL'S BELLES are the closest one can get without actually moving to Australia and joining AC/DC's road crew.
HELL'S BELLES formed in 2000, the brainchild of former member, Amy Stozenbach, alongside former member, Om Johari. The current line-up features Mandy Reed, rock solid and born ready as Cliff Williams (Bass guitar), Lisa Brisbois, sly and subtly intense as part time Malcolm Young, Sharon Needles of Betty Blowtorch/Butt Trumpet fame part time Malcolm Young (Rhythm guitar), Judy Cocuzza (JuDy-molish of Betty Blowtorch fame) as Phil Rudd (drums), all the way from Australia, Amber Saxon the kind of hard rock bombastic power that makes no apologies and is dangerous around the edges as Bon Scott & Brian Johnson (Vocals) and Adrian Conner, dreadlock slinger and wicked as Angus Young (lead Guitar).
HELL'S BELLES are indeed ALL female, all the way to their rock-n-roll cores, all the lime and without exception. Representing for a whole new generation of women that won't be intimidated, HELL'S BELLES actively encourage our legions of lady fans to stand up and be counted, and collaborate with women musicians and causes as a part of the mission towards rock and roll inclusion. Not some down-your-throat feminism, but a proactive support and action spirit towards the continued march towards balancing of the gender scales.
The thousands of shows HELL'S BELLES have played around the world, including Singapore, Japan, Canada, and the good ol' USA (including Alaska), have become legendary nights of epic proportions. Consistently sexy and sold-out shows - there's not a HELL'S BELLES audience that hasn't been blown away by the raw power, attention to AC/DC details, and undeniable appeal that these bad ass belles deliver with undying devotion. From "Live Wire" to "The Jack" to "TNT", not to mention AC/DC's landmark hits "Highway to Hell", "Thunderstruck", and "Back in Black". The marathon set lists change to include a fresh variety of classics, but the perfection and passion of the show never does.
It's an all out rock-n-roll assault that leaves you both satisfied and begging for more. And, more you'll get as HELL'S BELLES keep conquering new cities, new states, and new countries. They'll be in your back yard bringing AC/DC in sound and spirit to you direct any day now. 2005's studio recordings, "We Salute You", are slated to be refreshed with a whole new set of songs and available to our public this year, so you can always count on taking a little piece of HELL'S BELLES home with ya.
HELL'S BELLES - committed, ferocious, meticulous women rock musicians delivering authentic ACIDC to the unbelievably supportive and wicked awesome fans. All day and all night long, all over the world, pitch perfect AC/ DC delivered with a highly charged vigor by Amber, Mandy, Judy, Lisa, Sharon and Adrian 'Angus' Conner.
Let there be rock!
Jenny began playing the trumpet aged 7 and began singing at 15, alongside teaching herself to play the guitar. Playing both in Jazz and Classical bands as well as orchestras most of her life, she had an ear and a love for music. A fusion of nationalities and personalities, the band's story is a little unusual and more of an accidental occurrence rather than a planned adventure. Jenny & The Mexicats began life as Pachucos y la Princesa in June 2008, when Jenny was invited to Spain by a Double Bass player (Icho) she'd met two years previously whilst touring in Madrid. In search of something new, Jenny fell right into place in Spain, decided she wanted to call it home and set about starting a band. Icho contacted the best guitar player he knew - Pantera, a flamenco guitarist, whom Icho had known all his life and shared previous bands with, including a a Rockabilly band in Spain. The closest thing to a drummer they could find was David, the Spanish Cajon player extraordinaire, whom Pantera had played with in a Flamenco band. Thrown together in the midst of an English girl's urge for adventure, Jenny & The Mexicats were born.
Their first gig was to be Wonderland, a small annual festival in the UK that raises money for cancer research, where Jenny had previously performed solo. .... Their musical roots had variety and spice and Jenny immediately fell in love with the combination of Flamenco, Acoustic Folk and Rockabilly and began writing constantly. They rehearsed nonstop for two months in the same Flamenco tablao they had met in, Jenny spoke no Spanish and David no English so it was left down to the universal love for creating music and some expert translating from the two Mexicans to bring it all together.
In England Jenny & The Mexicats created an immediate buzz and it was starting to look as though they may have stumbled across something special. They returned to Spain and continued in the same manner in which they had begun. They began booking more and more gigs and touring the whole of Spain. After a brief spell signed to an English record label Jenny and the Mexicats decided that in order to protect their sound and to be able to grow in a more natural way, they wanted to be independant and so Mexicat Records was born. In 2012 they moved to Mexico city and released their first album 'JENNY AND THE MEXICATS' which included a mix of English and Spanish songs. Some classics from the bands earlier days like Heaven knows and Starting Something, and had 3 hits on the radio, Verde Mas Alla, ME Voy a Ir and Flor. For high numbers sales, this independant band went Gold with their first album and just recently released their second album 'Ome' en autumn 2014. Ome is a fantastic fusion of rhythms, that varies from feel good dance-able songs to moments of sensitive and timeless musical expression. The nature of the instruments and way of composing of Jenny and the Mexicats opens a lot of doors to switch between genres and be able play whatever they feel in that moment and makes for some very fun live shows.
A veteran of the New Orleans music scene who took the city's bounce music movement national around 2010, the flamboyant diva known as Big Freedia was born with the less fabulous name Freddie Ross. A fan of Sylvester, Michael Jackson, and Patti LaBelle while growing up, Freedia joined the bounce movement in 1998 when she joined drag queen and bounce artist Katey Red's posse. Attracted by the music's furious hip-hop beats and house music vocals, Freedia released her own bounce single, "An Ha, Oh Yeah," in 1999, followed by the Queen Diva album in 2003.
When Hurricane Katrina struck New Orleans in 2005, Freedia relocated to Texas and helped spread the bounce sound in the Lone Star State. A guest appearance on Galactic's 2010 album Ya-Ka-May coincided with the singles collection Big Freedia Hitz, Vol. 1, while the latter was picked up for national distribution in 2011 by the Scion A/V label. Also in 2011, she collaborated with Spank Rock on the track "Nasty," while the year 2012 was marked by appearances on the HBO series Treme along with the talk show Jimmy Kimmel Live. In 2013 she toured the U.S. as the Postal Service's opening act, while 2014 saw the release of the album Just Be Free.
In 2016, Freedia's iconic voice was featured in Beyoncé's "Formation" video and a subsequent world tour. She also released the aptly titled "Drop" as a single and video. The collaboration with Diplo and DJ Snake -- which appeared on the Entourage movie soundtrack -- arrived that summer. Before the new year, Freedia hopped on the holiday album sleigh and released A Very Big Freedia Christmazz, which featured gems like "Rudy, The Big Booty Reindeer" and "Santa Is a Gay Man."
The Florida-based political rap duo Dead Prez consists of Stic.man and M-1, a pair of rappers inspired by revolutionaries from Malcolm X to Public Enemy. They immersed themselves in political and social studies as they forged their own style of hip-hop. They went on to work with Big Punisher on his 1998 album Capital Punishment and released singles like 1998's "Police State with Chairman Omali" and 1999's "It's Bigger Than Hip-Hop." Their debut album, Lets Get Free, was released in early 2000. A two-volume mixtape project -- Turn off the Radio: The Mixtape, Vol. 1 and Turn off the Radio: The Mixtape, Vol. 2: Get Free or Die Tryin' -- followed in 2002 and 2003, boasting tracks and new productions, and their proper studio follow-up, RBG: Revolutionary But Gangsta, appeared in 2004. Two years later the group collaborated with the three remaining members of the Outlawz for Can't Sell Dope Forever, followed shortly after by Soldier 2 Soldier, a joint record between Stic.man and Young Noble. 2009's Pulse of the People, presented by DJ Green Lantern and technically the third volume in the Turn off the Radio series, was enlivened by appearances from Chuck D, Bun B, and Styles P. In 2012 they issued Information Age, an album filled with more futuristic and electro-based production but the same politically minded lyrics.
VIP ticket includes a private meet & greet before doors open, preferential seating, and a free signed photo.
Jake "The Snake" Roberts, WWE Hall of Famer, presents his UnSpokeN WorD TouR! Jake unleashes his road stories and pranks he played on his opponents. You may enjoy stories about Andre the Giant, Macho Man and Ravishing Rick Rude. Whether you are a wrestling fan or not this one of a kind story teller will keep you wrapped in his coils and leave you wanting more! Come out and have a good time with wrestling legend Jake the Snake Roberts.
Welcome to the 9th Annual Fire Entertainer of the Year Competition!
Yes, it’s that time of year that the best fire performers in the northwest and beyond come together in a celebration of the beauty and art of the fire dance.
Join us on Friday, April 28th for a splendid display in fire artistry at it’s finest as contestants take the stage to win a $1000 cash grand prize!!
Applications available now! Email firstname.lastname@example.org for details to apply.