2014 Gulfport Music Festival Lineup

KID ROCK

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Where I’m going’s where I’m at.”So says Kid Rock on the title track of his 9th studio album. And considering everywhere Rock has gone during the past 22 years, we can have faith that we’re headed for another fascinating, fornicating, galvanizing, eyebrow-raising, endlessly surprising — at the very least interesting — trip on the 14 tracks of REBEL SOUL.

 He has, after all, been our Early Mornin’ Stoned Pimp, the Devil Without a Cause, the Cowboy, the Bullgod, the Rock N Roll Jesus, the American Bad Ass and, lest we forget, a proud Son Of Detroit — all while eating some Grits Sandwiches For Breakfast, doing a bit of Yo-Da-Lin In The Valley and getting 3 Sheets To The Wind. Rock has taken us out to the party and into the bedroom, and on contemplative trips through the Midwestern American spirit. Where he’s going tends to be a lot of places.

And Rock jots them all on REBEL SOUL, the follow-up to 2010′s platinum BORN FREE and the finest, fiercest and funkiest embodiment to date of the punk rock/hip-hop/Southern rock synthesis he described on his 2001 hit “Forever.” It is, in his own words, “a greatest hits with all new songs and everything I’ve touched on in my career at this point — whether it’s the writing style, the singing style, the attitude, the playing…It’s all the things I’ve learned for so many years, on my own and from so many of the people that influenced me.”

 

LUDACRIS

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When the Dirty South movement broke nationwide at the turn of the century, Ludacris rode it to immediate widespread popularity, becoming arguably the most commercially successful Southern rapper of the time. In 2000 the Atlanta-based rapper signed to Def Jam’s newly established Southern rap subsidiary, Def Jam South, and became the label’s flagship Dirty South artist. Def Jam repackaged his underground album Incognegro (2000) as Back for the First Time (2000) and issued “What’s Your Fantasy?” as its lead single. The song soon became a national hit, beginning a long string of hits that would include Billboard Hot 100 number ones (“Stand Up,” “Money Maker”) and Top Tens (“Move Bitch,” “Splash Waterfalls,” “Pimpin’ All Over the World,” “Runaway Love”), as well as a bunch of Hot R&B/Hip-Hop Top Tens (“Southern Hospitality,” “Area Codes,” “Rollout [My Business],” “Saturday [Oooh Oooh!],” “Get Back,” “Number One Spot”). Plus, Ludacris became a reliable featured guest, gracing Top Tens for Missy Elliott (“One Minute Man,” “Gossip Folks”), Mariah Carey (“Loverboy”), LL Cool J (“Fatty Girl”), Chingy (“Holidae In”), Usher (“Yeah!”), Ciara (“Oh”), Jamie Foxx (“Unpredictable”), Fergie (“Glamorous”), and others. Moreover, Ludacris established himself as a versatile actor, notably appearing in such mainstream films as 2 Fast 2 Furious (2003), Crash (2005), and Fred Claus (2007), among other films and TV series. Along with associate Chaka Zulu, Ludacris also founded his own boutique label at Def Jam, Disturbing tha Peace (aka DTP), which released albums by such diverse rap/R&B acts as Shawnna, Bobby V., Field Mob, and Playaz Circle.

In late 2000, Def Jam repackaged Incognegro and released it as Back for the First Time, adding a few new songs: a U.G.K. collaboration (“Stick ‘Em Up”), a Neptunes production (“Southern Hospitality”), and a remix of his previously released song with Timbaland (retitled “Phat Rabbit”). The album’s lead single, “What’s Your Fantasy?,” became a major hit nationally, peaking at number 21 on the Hot 100, and the follow-up single, “Southern Hospitality,” was similarly popular, charting at number 23. This pair of hits helped drive sales of Back for the First Time, which climbed all the way to number four on the Billboard 200. The follow-up album, Word of Mouf (2001), was an even greater success for Ludacris, charting at number three and spawning a series of hit singles that carried over well into 2002: “Area Codes,” “Rollout (My Business),” “Saturday (Oooh Oooh!),” “Welcome to Atlanta,” and “Move Bitch.” After these singles had run their course, a collaborative album, Golden Grain (2002), was released, showcasing the assembly of talent signed to Ludacris’ revived Disturbing tha Peace label, which was now in partnership with Def Jam. The following year was a busy one for Ludacris, as he appeared in the film 2 Fast 2 Furious (2003) and released his third album, Chicken -N- Beer (2003), his first to reach number one on the Billboard 200. Chicken -N- Beer brought with it another series of hits, including the Hot 100 number one “Stand Up” and number six “Splash Waterfalls.”

Ludacris continued his output the following year, with The Red Light District (2004), another number one album loaded with hit singles (“Get Back,” “Number One Spot,” “Pimpin’ All Over the World”). Disturbing tha Peace (2005), a second collaborative album featuring the label’s roster of talent, was Ludacris’ only release for the year, and he kept a relatively low profile until the release of Release Therapy (2006), an introspective album on which he vowed that he would be taken more seriously than in the past. Another chart-topper, Release Therapy included only two Hot 100-charting singles, yet both were smashes: “Money Maker” (number one), “Runaway Love” (number two). In 2007, Ludacris got a lot of airplay as the featured guest on Fergie’s number one hit “Glamorous.” A year later a mixtape with DJ Drama called The Preview preceded the November release of Theater of the Mind. The long list of guest stars included director Spike Lee and comedian/actor Chris Rock. His 2010 effort Battles of the Sexes was originally planned as a joint release with Shawnna, but when the female rapper left the DTP family, it became a solo Ludacris album. ~ Jason Birchmeier, Rovi

311

311-band311 was formed in 1990 in Omaha, Nebraska by singer/guitarist Nick Hexum, singer S.A. Martinez, guitarist Tim Mahoney, drummer Chad Sexton and bassist P-Nut. The band now resides in Los Angeles, California.

 311 mix rock, rap, reggae and funk into their own unique sound. After years of consistent touring, 311 have developed a reputation as one of the hardest working, most influential and most entertaining live bands in the U.S.

311 have released ten studio albums, one live album, one greatest hits album and three dvd’s – and have sold over 8.5 million albums in the U.S. Seven of their albums have reached the Top 10 on Billboard’s Top 200 Sales Chart…and nine of their singles have reached the Top 10 on Billboard’s Alternative Rock Radio Chart (including the #1 singles Down, Love Song & Don’t Tread On Me. Along with Amber, All Mixed Up, Come Original, Creatures For Awhile, Hey You and Sunset in July).

311’s upcoming album STEREOLITHIC (on 311 Records and distributed via INGrooves), has a release date of March 11, 2014 (“311 DAY”). The album features 15 new songs and is currently on Pre-Order at www.pledgemusic.com/ThreeEleven.

That same day 311 will play their special 311 DAY show at the New Orleans Arena, which attracts thousands of dedicated 311 fans from around the world. Tickets have already been sold to fans in all 50 U.S. States and 15 countries. The show includes an extended setlist and state of the art production.

The band’s celebratory live shows & incessant touring schedule have earned them a massive grassroots following nationwide. Since its inception in 2004, 311’s annual summer headlining amphitheatre run, Unity Tour, has become one of the largest modern rock concerts of the summer. Support acts on previous Unity Tours have included Sublime with Rome, Cypress Hill, The Offspring, Slightly Stoopid, Snoop Dogg, The Roots, Papa Roach, The Wailers, O.A.R., Matisyahu, and Ziggy Marley.

For more info www.311.com

SUBLIME WITH ROME

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One day, about two years ago, Bud Gaugh, the drummer for Sublime, one of the most beloved and commercially successful rock bands of the ’90s, received a call from Eric Wilson, Sublime’s bassist and Gaugh’s long-time but somewhat estranged friend. Wilson said he had been working with a kid he thought Gaugh should meet — a 20-year-old singer and guitarist named Rome Ramirez. “The call came out of the blue, we hadn’t talked in a couple of years,” Gaugh recalls. “Eric said, ‘This guy Rome can play guitar like a mofo and he’s got a platinum voice.’ It really struck me because those are almost the exact same words he used before he introduced me to Brad.”

“Brad,” of course, is Bradley Nowell, the singer and guitarist who joined childhood friends Wilson and Gaugh in Long Beach, CA, in 1988 to form Sublime, which, over the course of its three albums — 1992′s double-platinum 40oz. to Freedom, 1994′s gold Robbin’ the Hood, and 1996′s 5x-platinum self-titled major-label debut — delivered an irresistible blend of ska, reggae, punk, surf rock, and hip-hop that captured the imagination of fans around the world, and has now sold more than 17 million albums worldwide. Nowell died of a heroin overdose two months prior to the release of Sublime, which reached No. 13 on the Billboard Top 200, sold six million copies, and spawned such hits as “What I Got,” “Santeria,” and “Wrong Way,” which remain radio staples across with country. (“Date Rape,” from 40oz. to Freedom, is the all-time most requested song on influential Los Angeles rock radio station KROQ, which has listed Sublime as its No. 3 act in its annual “Biggest Bands” list for the last six years.) Profoundly affected by Nowell’s death, Sublime’s two surviving members never considered performing the group’s music live without their frontman.

It took the talent and enthusiasm of Rome Ramirez — a genial, now 23-year-old newcomer and gifted songwriter and musician — to serve as a catalyst to bring the two old friends back together. Growing up in the Bay Area, Rome was introduced to Sublime’s music by his uncle, and credits the band with inspiring him to first pick up a guitar and learn to play at age 11. “It was the first time I ever really wanted to make music as opposed to just listen to it,” he says. Rome began singing and writing songs as a teenager and was playing solo gigs around the Bay Area when he met Wilson (the two were recording at the same studio).

After several months jamming out Sublime songs with Rome, Wilson made that call to Gaugh. Now Gaugh, Wilson, and Rome have formed Sublime With Rome, which will release its debut album, Yours Truly (produced by Butthole Surfers guitarist Paul Leary), and entertain fans with a set-list of new songs and Sublime favorites when the band hits the road over the next year.

The trio knew they were on to something special after performing their first big show with Rome at Cypress Hill’s Smokeout Festival in October 2009 for 20,000 people, followed by a sold-out tour in March 2010 that inspired spontaneous sing-alongs and writhing mosh-pits at every stop. “When we walked out on stage, there was a feeling of excitement,” Gaugh recalls of Smokeout. “People were cheering and waving their arms and shouting ‘We love you.’ It took me by surprise. I didn’t realize how emotional I was going to feel. I had to pause for a minute to settle down. My heart started racing and tears started welling up in my eyes because I was thinking of Bradley. Then we got started and it was just really cool. Seeing the smile on Eric’s face, and his excitement over playing this music again, that was enough for me. I knew then that it was definitely coming from a good place.”

CYPRESS HILL

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Cypress Hill were notable for being the first Latino hip-hop superstars, but they became notorious for their endorsement of marijuana, which actually isn’t a trivial thing. Not only did the group campaign for its legalization, but their slow, rolling bass-and-drum loops pioneered a new, stoned funk that became extraordinary influential in ’90s hip-hop — it could be heard in everything from Dr. Dre’s G-funk to the chilly layers of English trip-hop. DJ Muggs crafted the sound, and B Real, with his pinched, nasal voice, was responsible for the rhetoric that made them famous. The pro-pot position became a little ridiculous over time, but there was no denying that the actual music had a strange, eerie power, particularly on the band’s first two albums. Although B Real remained an effective lyricist and Muggs’ musical skills did not diminish, the group’s third album, Temples of Boom, was perceived by many critics as self-parodic, and the group appeared to disintegrate shortly afterward, though Muggs and B Real regrouped toward the end of the ’90s to issue more material.

With its stoned beats, B Real’s exaggerated nasal whine, and cartoonish violence, the group’s eponymous debut became a sensation in early 1992, several months after its initial release. The singles “How I Could Just Kill a Man” and “The Phuncky Feel One” became underground hits, and the group’s public pro-marijuana stance earned them many fans among the alternative rock community. Cypress Hill followed the album with Black Sunday in the summer of 1993, and while it sounded remarkably similar to the debut, it nevertheless became a hit, entering the album charts at number one and spawning the crossover hit “Insane in the Brain.” With Black Sunday, Cypress Hill’s audience became predominantly white, collegiate suburbanites, which caused them to lose some support in the hip-hop community. The group didn’t help matters much in 1995, when they added a new member, drummer Bobo, and toured with the fifth Lollapalooza prior to the release of their third album, Temples of Boom. A darker, gloomier affair than their first two records, Temples of Boom was greeted with mixed reviews upon its fall 1995 release, and while it initially sold well, it failed to generate a genuine hit single. However, it did perform better on the R&B charts than it did on the pop charts.

Instead of capitalizing on their regained hip-hop credibility, Cypress Hill slowly fell apart. Sen Dog left in early 1996 and Muggs spent most of the year working on his solo album. Muggs Presents the Soul Assassins was released to overwhelmingly positive reviews in early 1997, leaving Cypress Hill’s future in much doubt until the release of IV in 1998. Sen Dog had come back for the record. He had left because he felt he did not get enough mike time, but after a few years with a rock band he was more than happy to return. Two years later, the group released the double-disc set Skull & Bones, which featured a disc of hip-hop and a disc of their more rock-inspired material. Appropriately, the album also included rock and rap versions of the single “Superstar,” bringing Cypress Hill’s quest for credibility and crossover hits full circle. The ensuing videos for both versions featured many famous rap and rock musicians talking about their profession, and the song was a smash on MTV because of it. In the winter of 2001, the group came back with Stoned Raiders, another album to heavily incorporate rock music. Three years later, the band issued Till Death Do Us Part, which incorporated several styles of Jamaican music. In 2010 they announced their signing to Priority Records thanks to the label’s creative director, Snoop Dogg. The label released their eighth studio album, Rise Up, that same year.

Violent Femmes

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The textbook American cult band of the 1980s, the Violent Femmes captured the essence of teen angst with remarkable precision; raw and jittery, the trio’s music found little commercial success but nonetheless emerged as the soundtrack for the lives of troubled adolescents the world over. The group formed in Milwaukee, Wisconsin in the early ’80s, and comprised singer/guitarist Gordon Gano, bassist Brian Ritchie and percussionist Victor DeLorenzo; Ritchie originated the band’s oxymoronic name, adopting the word “femme” from the Milwaukee area’s slang for wimps. After being discovered by the Pretenders’ James Honeyman-Scott, the Violent Femmes signed to Slash and issued their self-titled 1983 debut, a melodic folk-punk collection which struck an obvious chord with young listeners who felt a strong connection to bitter, frustrated songs like “Blister in the Sun,” “Kiss Off” and “Add It Up.” Though never a chart hit, the album remained a rite of passage for succeeding generations of teen outsiders, and after close to a decade in release, it finally achieved platinum status.

With 1984′s Hallowed Ground, Gano’s lyrics began to reflect his devout Baptist upbringing, while the Femmes’ music approached more traditional folk and country structures. Produced by Talking Heads’ Jerry Harrison, 1986′s The Blind Leading the Naked advanced towards a more mainstream sound; a cover of the T. Rex chestnut “Children of the Revolution” even became a minor hit. After the record’s release, the Femmes temporarily disbanded: Gano recorded a self-titled 1987 album with his gospel side project the Mercy Seat, while Ritchie issued a series of solo LPs including 1987′s The Blend and 1989′s Sonic Temple & Court of Babylon for SST. (I See a Noise appeared on Dali Records in 1990.) In 1989, the group resurfaced with 3, and followed in 1991 with Why Do Birds Sing?, which featured the Femmes’ deconstructionist cover of Culture Club’s “Do You Really Want to Hurt Me?”

Following the release of the 1993 compilation Add It Up (1981-1993), DeLorenzo exited the Violent Femmes to resume the solo career he began two years prior with the release of Peter Corey Sent Me; his sophomore effort, Pancake Day, appeared in 1996. Former Oil Tasters and BoDeans drummer Guy Hoffman was tapped as DeLorenzo’s replacement in time to record 1994′s New Times for Elektra Records which proved their sole release for the label. Rock!!!!! was released in 1995 on Mushroom Records only in Australia; the live Viva Wisconsin followed on the American indie label Beyond in 1999, trailed early the next year by a new studio effort, Freak Magnet. In the spring of 2001, the Femmes released their first MP3-only album, Something’s Wrong, through the website EMusic.com; it collected an assortment of rarities, including covers, acoustic live tracks, alternate versions, demos, and the like. In 2002, Rhino/Slash reissued their debut as a two-disc Deluxe Edition that featured twenty-two previously unreleased tracks, followed by Permanent Record: The Very Best Of in 2005. ~ Jason Ankeny, Rovi

 Ying Yang Twins

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Ying Yang Twins is an Atlanta-based rap duo consisting of brothers Kaine and D-Roc. Their music focuses on party, sexual and relationship themes, and is often quite vulgar. Just when you’ve thought you’ve seen and heard it all, in comes the Ying Yang Twins with their hot single “Whistle While You Twurk”, taking the club scene and the Billboard rap charts by storm. With their sizzling debut album, Thug Walkin’ a musical stroll through the lives of D-Roc and Kaine the Twins are ready to set the world on fire with their high energy music.

“We call the album Thug Walkin’ because that’s what we’re doing every day of our lives, thug walkin’,” says Kaine. “Where I come from, real thugs have heart. They listen to reason. They’re not fake. Every time they get drunk or high they getting’ all
loud with somebody. Naw, our definition of a thug is just somebody trying to get through life in the ghetto.”

The Twins grew up in rough and rowdy East Atlanta, a place that has seen its share of violence and poverty (not to be confused with Atlanta’s East Point district). According to the Ying Yang Twins, when they were kids East ATL was a good
place to grow up in spite of all the negative things that go on today. “We were raised in East Atlanta, ” says Kaine. “It’s in the heart of Atlanta. It’s a rough hood, but people looked out for one another when we were coming up.”

Despite the roughness of their of their neighborhood, D-Roc (D’Angelo Holmes) and Kaine (Eric Jackson), who have known each other for six years, found their way out of trouble via music. “D-Roc and Smurf had been in the game way before me,” says Kaine. “At the time we were doing this other project called True Dawgs but the record company didn’t know what to do with us or our style of music.” Back then, the two were drawing inspiration from old school hip-hop as well as Atlanta’s town bass scene and synthesizing them into something new. Their music was part of the early beginnings of the ‘crunk’ phenomenon. Shortly after their deal went sour, the duo made a guest appearance on ATL’s legendary DJ Smurf’s Dead Crunk LP. After hearing the chemistry between the two on his record, DJ Smurf suggested that they ought to stay together as a group instead of pursuing solo careers. “I came up with the idea for the Ying Yang twins,” says Kaine. “I brought it by D-Roc, he liked it, so we ran from there.”

As the Ying Yang Twins, the crafty duo have been winning over scores of fans with their electrifying shows and guest appearances on DJ Kizzy Rock’s Grand Champion and So So Def’s Bass Compilation Vol. 4. But it wasn’t until the twins
dropped their surprise hit “Whistle While You Twurk” an infectious track that has become the national anthem for exotic dancers everywhere that their star really began to shine. “We really just put that song out for the strip clubs in the ATL,”
says D-Roc. “We didn’t plan on that song getting Universal’s attention ’cause everybody don’t know what Magic City, Blue Flame or Foxy Lady was.”

In no time, “Whistle While You Twurk” went from being a local hit to occupying the number one spot on the Billboard rap singles chart. Thug Walkin’, the Twins’ highly charged dynamic debut LP, was recorded in a week and promises to be one of he hottest records of the year.

Produced by Beat-In-Azz, Thug Walkin’ contains over 70 minutes of high-energy beats and thunderous, gut-wrenching 808 bass. From the explosive opening track, “Ying Yang In This Thang” featuring the Hoodratz, down to the hyper crunk “Whistle While You Twurk” remixes, Thug Walkin’ has so much energy that it will jumpstart a dead man’s heart. But for those who need to slow down for a pit stop, don’t fret. Ying Yang has got you covered with the smooth pimped out playa’s anthem “Ballin’ G’s” and the cruising anthem of the year, “A!” the rowdy laid-back tribute to the Twins’ hometown.

With their debut LP Thug Walkin’, the Ying Yang Twins invite you to take a walk on the thug side of the ATL. They’re willing to be that once you take that stroll, it will be a journey you’ll never forget.

Third Eye Blind

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BORN IN SHADOW.  MADE OF LIONS.

Our motto inscribed on the back of a hoodie for the fall tour. The phrase gives an idea of where 3eb is at in advance of the fall dates and recording their new album.

BORN IN SHADOW.  Even though this is a happy period in the bands life-bigger than ever crowds, band gelling and excited to play, new album on the way–  3EB and particularly 3EB lyrics have always embraced the shadow, the part we’re not suppose to talk about, the ones your afraid for even thinking, that is where Stephan’s lyrics are going to take you.  And you can see that friendship with shadow being celebrated on this tour in  more daring explorations of songs.  The band has been jamming in advance of recording their new album, so this tour will see a band at its most confident  in it’s efforts to discover new ways every night to surprise and transcend.

MADE OF LIONS  is a phrase Stephan uses to describe the way Brad plays drums, but also speaks to the vigor and intensity 3EB puts into live performance.  3EB over the last few years has developed a proud story of a band that clearly feels alive in live performance.   The intensity of 3EB’s fans attests to the energy this group creates.

No backing tracks.  No pitch correct.  No sequencers.  No landing gear.  3EB’s intention is to live or die in each moment they play.  To make it up as they go.  ”We are imperfect”, Stephan says.  ”I like the moment, scary as it may be, where it could all fall apart or it could all be glorious and  you won’t know ’till you huck it over the edge, but you weren’t thinking about it, because you already did.  That’s what live performance is to me.”

So that’s what 3EB is about, but what we’ve learned is that 3EB is about more than a band.  One of the theories for 3EB’s upward trajectory these last few years, is fans love to find themselves and each other at these shows.   Stephan always invites everyone to greet each other, and that sense of togetherness as from the line in the song Deep Inside of You, “I’d walk with my people if I could find them”,  creates a spirit that equals the bands every night.  ”I am energized by the exchange with the audience and every night reminds me of how we are all in this together.”

Third Eye Blind shows are about taking a moment to sing loud and remember you’re alive.  And it’s a sight to see from the stage or the audience.

We invite you to join us this fall.

Sir Mix-A-Lot

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Sir Mix-A-Lot parlayed a gonzo tribute to women with large buttocks into hip-hop immortality. But even before he struck crossover gold, Sir Mix-A-Lot was one of rap’s great D.I.Y. success stories. Coming from a city — Seattle — with barely any hip-hop scene to speak of, Mix-A-Lot co-founded his own record label, promoted his music himself, produced all his own tracks, and essentially pulled himself up by the proverbial American bootstraps. Even before “Baby Got Back,” Mix-A-Lot was a platinum-selling album artist with a strong following in the hip-hop community, known for bouncy, danceable, bass-heavy tracks indebted to old-school electro. However, it took signing with Rick Rubin’s Def American label — coupled with an exaggerated, parodic pimp image — to carry him into the mainstream. Perceived as a one-hit novelty, he found it difficult to follow his breakout success, but kept on recording, and even toured as part of a rap-rock supergroup called Subset, a collaboration with the Presidents of the United States of America. Sir Mix-A-Lot was born Anthony Ray in Seattle on August 12, 1963. An eclectic music fan but a rabid hip-hop devotee, he was already actively rapping in the early ’80s, and cofounded the Nastymix record label in 1983 with his DJ, Nasty Nes, who also hosted Seattle’s first hip-hop radio show. His first single was 1987ʹ′s “Posse on Broadway,” which referred to a street in Seattle, not New York; it became a local hit, and paved the way for his first LP, 1988ʹ′s Swass, which also featured the popular novelty “Square Dance Rap,” and a Run-D.M.C.-style cover of Black Sabbath’s “Iron Man,” with backing by Seattle thrashers Metal Church.

The video for “Posse on Broadway” landed some airplay on MTV, and became Sir Mix-A-Lot’s first national chart single in late 1988; that in turn pushed Swass into the Top 20 of the R&B album chart, and by 1989, it had sold over a million copies. Also in 1989, Mix-A-Lot released his follow up album Seminar, which produced three charting singles in “Beepers,” “My Hooptie,” and “I Got Game”; while none were significant crossover hits with pop or R&B audiences, all performed well on the rap singles chart, and helped Seminar become Mix-A-Lot’s second straight platinum album. Financial disputes with Nastymix resulted in a fierce court battle and ended Mix-A-Lot’s association with the label. Fortunately, Def American head Rick Rubin stepped in to offer him a major-label contract. Mix-A-Lot had long had a knack for mimicking (and mocking) the pimps he’d watched while growing up in Seattle, and adopted their visual style with Rubin’s encouragement. He debuted for Def American with 1992ʹ′s Mack Daddy, whose first single, “One Time’s Got No Case,” was a critique of racial profiling by police. It went virtually unheard, but the follow-up, “Baby Got Back,” became a pop phenomenon virtually from the moment MTV aired its provocative video (which was eventually consigned to eveninghours only).

Seldom does a comic novelty song spark such a fierce cultural debate: no matter how ridiculous it sounded, “Baby Got Back” touched on highly sensitive, hot-button issues of race and sex with a cheerful, good-natured crudeness that was guaranteed to offend more than a few. Was it a token of appreciation for women whose body types were rarely given positive cultural attention, or just another sexist objectification? Was it an indictment of narrow, white-dictated beauty standards that left many typical black women (and the black men who loved them) out in the cold, or did it simply build up one type of woman by denigrating another? Feminists picketed Sir Mix-A-Lot concerts all across the country that summer, but despite their efforts, record buyers sided with the rapper: “Baby Got Back” spent five weeks atop the pop charts, selling over two million copies; it also pushed Mack Daddy into the Top Ten, and went on to win a Grammy for Best Rap Solo Performance. Billboard magazine ranked it as the second biggest single of the year, behind only Boyz II Men’s juggernaut “End of the Road.”

 LONGREEF

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Like Crocodile Dundee, or bands like AC/DC and INXS before them, LONGREEF are planning to conquer the USA on their 2013 tour. “We’re ready to take our music to the world” says lead singer and songwriter Josh Barker, who originally formed the band as Inakin in Australia with LONGREEF guitarist Nick Miller. That group played up and down the east coast of Australia and appeared in reality TV series “The Resort”, in which they performed a tribute to famed Aussie animal expert and “Crocodile Man” Steve Irwin on the one year anniversary of his death. They also played for the country’s troops stationed in the Solomon Islands to quell civil unrest there. “You don’t get as tight as we are unless you’re getting out there and performing as much as you can,” says Barker, who was the first of the group to visit America. He spent some productive time in Music City – Nashville, where he wrote and recorded with 3 Doors Down’s Chris Henderson, called on Miller to join him, and added bassist Jim Wark and drummer Tristan Davies to finalize the line-up.

“We love the USA, the audiences are insane and there’s just so much opportunity and so many live venues here,” adds Josh. “We feed off the crowd’s energy, and every show we do gets better and better. It’s an awesome experience.”

Interspersed with tour dates which took them back and forth between their native Australia to the Gulf Coast, Southern States, East Coast and Midwest, LONGREEF went into the studio to record their debut EP. The first single, “Lonely” was released to radio and reached #33 on Billboard’s R&R Indicator chart.

They began to draw interest from labels, with Nickelback’s Chad Kroeger among their high profile fans. They chose to forego the offers and remain independent, returning to the studio to record their second EP “Dirty Motel”, which shows off an increased songwriting prowess and a harder edged sound. The title track was released to Active Rock radio and was a huge hit for rock fans across the country, reaching #4 in Biloxi and receiving similar airplay in cities such as Chicago, Spokane and New Orleans. With lines like “I love the way you wrong every right” (Dirty Motel) and “Sex is her body/That girl’s in demand (She Likes The Ladies), the boys from LONGREEF haven’t lost touch with their cheeky “Shrimp on the barbie” down under roots.

Foregoing the major label system to date to go it on their own, Barker is confident the band’s instincts will win out in the end. “Having the creative control has made the band so much closer,” he explains. “We don’t want to just wait around and wait for someone to tell us what to do. We want to take the reins and make this happen on our own. So far, it’s been working.”

“It’s tough sometimes being away from family and loved ones, but I like to think we have the best job in the world,” enthuses Barker. “The day we played our first show we knew we had something special. Every show has been an absolute blessing. That’s the best way to get your music out there, getting out and playing for as many people as you can and showing them a good time. We just want to keep moving forward and shooting for the stars.”

The Pretty Reckless

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Like her co-star Leighton Meester, Taylor Momsen rose to fame as an actress on the TV series Gossip Girl before launching a separate music career. She formed the Reckless in 2009, later changing the band’s name to The Pretty Reckless to avoid trademark problems. With Momsen on vocals, John Secolo on guitar, Matt Chiarelli on bass, and Nick Carbone on drums, the group began finding a balance between hard rock and post-grunge, taking cues from female-fronted bands like Hole and the Runaways along the way. They worked quickly, playing some initial shows in New York City before landing an opening slot on the Veronicas’ North American tour several months later. The tour went well, and Interscope Records signed the band before the year was up.

The Pretty Reckless completely revised their lineup in 2010, with Momsen retaining her frontwoman role as guitarist Ben Phillips, bassist Mark Damon, and drummer Jamie Perkins all replaced her previous bandmates. After spending several months in the studio, the group released its first single, “Make Me Wanna Die,” on the Kick-Ass soundtrack. The band’s first album, Light Me Up, saw release in Europe and Australia in late summer of 2010 and the record rolled out in North America in 2011.

The Reverend Horton Heat

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Loaded .38s, space heaters, and big skies. Welcome to the lethal, littered landscape of Jim Heath’s imagination. True to his high evangelical calling, Jim is a Revelator, both revealing and reinterpreting the country-blues-rock roots of American music. He’s a time-travelling space-cowboy on an endless interstellar musical tour, and we are all the richer and “psychobillier” for getting to tag along.

REVEREND HORTON HEAT have been the outlet of this creative mind for 29 years, leading to 10 full-length albums, 3 “best-of” collections, 2 DVD releases and thousands of memorable live performances. Never reaching platinum status or having a #1 radio single hasn’t been a problem for the Rev either, the band has continually been a mainstay of late night television and has toured with legendary acts such as Johnny Cash, Motorhead, Marilyn Manson, The Ramones, and many more – all of whom hold the Rev in the highest regard, as a true music industry legend.

Now, entered into a fresh new partnership with Victory Records, REVEREND HORTON HEAT show no signs of slowing down in 2014. January 21st marks the release of their 11th studio album, appropriately titled REV. The album marks a much lauded return to riff-laden, out-of-control rock ’n’ roll that fans fell in love with when they first heard “Psychobilly Freakout”. The album’s first single has already turned heads; “Let Me Teach You How to Eat” is REVEREND HORTON HEAT at its finest – tongue-in-cheek and so catchy, it won’t leave your head for weeks.

The band has an incredible tour history and, with major shows and tours already booked throughout the year, will make sure you get the chance to dance one more time! Jim Heath and Jimbo Wallace have chewed up more road than the Google Maps drivers. For twenty-five psycho(billy) years, they have blazed an indelible, unforgettable, and meteoric trail across the globe with their unique blend of musical virtuosity, legendary showmanship, and mythic imagery.

REVEREND HORTON HEAT, he’s great and plays the music he believes in and nothing else. Go see him or I’ll kill you!” – Lemmy Kilmister (MOTORHEAD)

Rev your engines and catch the sermon on the road as it’s preached by everybody’s favorite Reverend. REV is out NOW on Victory Records and available at www.victoryrecords.com

Rosco Bandana

RoscoBandana_Group-300-230Rosco Bandana is a seven-piece Americana-rock band from Gulfport, Mississippi, that has the distinction of being the first group signed to Hard Rock Records. Since releasing their debut LP ‘Time To Begin’ in September 2012, Rosco Bandana has been touring the United States extensively including notable festival appearances at Summer Camp, Yonder Mountain Harvest Festival, Telluride, performing late night at Lollapalooza, and more in addition to tour dates with Cage The Elephant, Uncle Cracker and upcoming dates with FUN… The band has also performed the National Anthem at the Dallas Mavericks arena and recently performed to an audience of 32,000 at the MLB Atlanta Braves Summer Concert Series at Turner Field. Rosco Bandana’s single “Woe Is Me” has been featured on ABC’s “Body Of Lies” and the video for the single has been in rotation on CMT Pure since May 23rd based on fan voting.

 

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