Live Music! TUES

Total Page:16

File Type:pdf, Size:1020Kb

Live Music! TUES Live Music! TUES. 7:30 – 11, WED. 7:30 – 10:30, THURS 8 – 11, FRI, SAT. 8:30 TO 11:30 Date Music Performers Sat. Feb. 4 th Delta Blues at its best! Tokyo Tramps Tues Feb. 7 th Open Mic! Bruce Marshall Wed. Feb. 8 th Favorite Covers and Originals Trusting Fate Thurs. Feb. 9 th Vintage country, blues, swing, pop, and originals Two for the Show & Steve Sadler Mandolin, dobro, guitar, bass and vocals! Fri. Feb 10 th The Original Forum ­ original music and short films! Marty Beecy and the Rogue Loons Sat. Feb. 11 th Ultimate Rhythmic Blues! The Biscuit Rollers _______________________________________________________________________________________________________________ Tues Feb. 14 th Open Mic! Bruce Marshall Wed. Feb 15 th Musical revue of local women artists hosted by Janice Anderson Chicks at the Mic featuring Sandra Spencer, Sandy Lee Casey, Julie Dougherty Thurs Feb 16 th Swing, Rockabilly and much, much more! Swing Café Fri Feb 17 th Blues, Rock, Originals Bruce Marshall Sat Feb 18 th Jazz, funk, Latin and Blues! Soul Custody ______________________________________________________________________________________________________________ Tues Feb. 21 st Open Mic! Bruce Marshall Wed Feb 22 nd Great jazz on vibes and clarinet! Rich Greenblatt and Billy Novick Thurs Feb 23 rd Folk and pop favorites Papas and Mamas Fri Feb 24 th Zydeco, roots, blues, reggae, funk, and Latin music. Gumbo Diablo Sat Feb 25 th Two stellar jazz guitarists join forces Gerry Beaudoin and Teddy Lavash ______________________________________________________________________________________________________________ Tues Feb. 28 th Open Mic! Bruce Marshall Wed Feb 29 th Great bluegrass band! Boston Road Thurs March 1 st Pop and Folk favorites and Originals, too – great band! Seth Connelly & the Seeing Eye Boys and Girl Fri March 2 nd Rock/Pop classics from the 60’s on! David Moore Band Sat March 3 rd Soul, Blues, Rock, Pop, and Jazz! Breaktime Main Streets Market and Café 42 Main St. Concord 978­369­9948 www.mainstreetsmarketandcafe.com Scheduling for Wednesdays – Saturdays, Ellen Schmidt [email protected] 978­369­8090.
Recommended publications
  • Compound AABA Form and Style Distinction in Heavy Metal *
    Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay .
    [Show full text]
  • Summer Concert Series Return Downtown June 1
    SUMMER CONCERT SERIES RETURN DOWNTOWN JUNE 1 Free weekly event to showcase variety of music GREENVILLE (SC) – ScanScource Reedy River Concerts return to the Peace Center Amphitheatre, offering 14 weeks of free Wednesday evening musical entertainment. The series kicks off June 1 and will feature a variety of local and regional bands throughout the season, including Honey & the Hot Rods, West End String Band, Hott Gritz and True Blues & Friends. “ScanSource is excited to partner with the City of Greenville to present this year’s concert series,” said Christy Thompson, vice president of worldwide marketing at ScanSource. “We’re proud to call Greenville home and being a part of Reedy River Concerts is a fun way for us to support the arts in our local community. We encourage everyone to come out and enjoy great music in a beautiful setting in downtown Greenville.” Concerts will be held Wednesday evenings, June 1 through August 31 from 7 p.m. to 9 p.m. Attendees are invited to come early and bring lawn chairs, blankets and a picnic. Food will also be available for purchase from food trucks and vendors who will be onsite throughout the season. Individuals consuming alcohol at the event must purchase a $1 wristband. For more information, visit events.greenvillesc.gov or follow the event on social media. A complete schedule of this season’s concerts is listed below. ScanSource Reedy River Concerts June 1 – The Snopes Family Band (Blues/Jazz/Rock and Roll) June 8 – Rhythm Muscle (Classic Rock) June 15 – Honey & the Hot Rods (Rockabilly) June 22 – West End String Band (Bluegrass/Americana) June 29 – 72 & More (Classic Rock/Blues) July 6 – LOZ (Jam/Rock/Reggae) July 13 – Blues Revival (Blues Rock) July 20 – Taylor Moore (Blues Rock/Americana) July 27 – Jackaroe (Roots Rock) August 3 – The Hired Help (Classic Rock) August 10 – Two’s Enough 4 Now (Yacht Rock) August 17 – Roxy Pays the Rent (Classic Rock) August 24 – Hott Gritz (Funk/Soul/Jazz) August 31 – True Blues & Friends (Blues Rock) .
    [Show full text]
  • The Music (And More) 2019 Quarter 3 Report
    The Music (and More) 2019 Quarter 3 Report Report covers the time period of July 1st to Kieran Robbins & Chief - "Sway" [glam rock] September 30th, 2019. I inadvertently missed Troy a few before that time period, which were brought to my attention by fans, bands & Moriah Formica - "I Don't Care What You others. The missing are listed at the end, along with an Think" (single) [hard rock] Albany End Note… Nine Votes Short - "NVS: 09/03/2019" [punk rock] RECORDINGS: Albany Hard Rock / Metal / Punk Psychomanteum - "Mortal Extremis" (single track) Attica - "Resurected" (EP) [hardcore metal] Albany [thrash prog metal industrial] Albany Between Now and Forever - "Happy" (single - Silversyde - "In The Dark" [christian gospel hard rock] Mudvayne cover) [melodic metal rock] Albany Troy/Toledo OH Black Electric - "Black Electric" [heavy stoner blues rock] Scotchka - "Back on the Liquor" | "Save" (single tracks) Voorheesville [emo pop punk] Albany Blood Blood Blood - "Stranglers” (single) [darkwave Somewhere To Call Home - "Somewhere To Call Home" horror synthpunk] Troy [nu-metalcore] Albany Broken Field Runner – "Lay My Head Down" [emo pop Untaymed - "Lady" (single track) [british hard rock] punk] Albany / LA Colonie Brookline - "Live From the Bunker - Acoustic" (EP) We’re History - "We’re History" | "Pop Tarts" - [acoustic pop-punk alt rock] Greenwich "Avalanche" (singles) [punk rock pop] Saratoga Springs Candy Ambulance - "Traumantic" [alternative grunge Wet Specimens - "Haunted Flesh" (EP) [hardcore punk] rock] Saratoga Springs Albany Craig Relyea - "Between the Rain" (single track) Rock / Pop [modern post-rock] Schenectady Achille - "Superman (A Song for Mora)" (single) [alternative pop rock] Albany Dead-Lift - "Take It or Leave It" (single) [metal hard rock fusion] Schenectady Caramel Snow - "Wheels Are Meant To Roll Away" (single track) [shoegaze dreampop] Delmar Deep Slut - "u up?" (3-song) [punk slutcore rap] Albany Cassandra Kubinski - "DREAMS (feat.
    [Show full text]
  • Paula Guerra
    Paula Guerra Lou Reed: rock and roll is so genial in its conception that some people would be willing to die for it (…). Music gives a pulse that allows you to dream. It’s an entire generation walking to the sound of a Fender bass. It’s necessary that people be willing to die for music, that is all. People die no matter what, so why not music? Die for it. Isn’t it pretty? To want to die for beauty? (McNeil & McCain, 2006: 45). The 1960’s, from an music aesthetic and expression point of view, were marked by an intense creativity that spread throughout all artistic and cultural mediums. We associate this era with a revolutionary mark, be in cultural, moral or social terms, with the importance of figures such as Rimbaud, north American black blues, rock pioneers, beat generation, Henry Miller, Malraux, Baudelaire, Marcuse, Indian gurus, Marx, Trotsky, Mao Tse Tung… (Paraire, 1992: 75-77). In the USA, rock acquired an institutionalization close to that of the traditional star system, with the role of the English pop movement, in particular that of the Beatles, one of the most remarkable in this respect. It will not, then, be out of place to consider that rock music throughout the -------- 1 This text was first published in Portuguese with the following reference: Guerra, P., 2010. A instável leveza do rock. Génese, dinâmica e consolidação do rock alternativo em Portugal. The unstable lightness of rock. Genesis, dynamics and consolidation of alternative rock in Portugal (1980-2010). Faculty of Arts of University of Porto, Porto.
    [Show full text]
  • The Musical Characteristics of the Beatles
    The Musical Characteristics of the Beatles The Government of the Hong Kong Special Administrative Region Education Bureau 2009 The Musical Characteristics of the Beatles Michael Saffle Government of the Hong Kong Special Administrative Region. All rights reserved. No part of this publication can be reproduced in any form or by any means, or otherwise, without the prior written consent of the Government of the Hong Kong Special Administrative Region. Content 1 The Beatles: An Introduction 1 2 The Beatles as Composers/Performers: A Summary 7 3 Five Representative Songs and Song Pairs by the Beatles 8 3.1 “Love Me Do” and “Please Please Me” (1962) 8 3.2 “Michelle” and “Yesterday” (1965) 12 3.3 “Taxman” and “Eleanor Rigby” (1966) 14 3.4 “When I’m Sixty-Four” (1967) 16 3.5 “Lucy in the Sky With Diamonds” (1967) 18 4 The Beatles: Concluding Observations 21 5 Listening Materials 23 6 Musical Scores 23 7 Reading List 24 8 References for Further Study 25 9 Appendix 27 (Blank Page) 1 The Beatles: An Introduction The Beatles—sometimes referred to as the ‘Fab Four’—have been more influential than any other popular-music ensemble in history. Between 1962, when they made their first recordings, and 1970, when they disbanded, the Beatles drew upon several styles, including rock ‘n’ roll, to produce rock: today a term that almost defines today’s popular music. In 1963 their successes in England as live performers and recording artists inspired Beatlemania, which calls to mind the Lisztomania associated with the spectacular success of Franz Liszt’s 1842 German concert tour.
    [Show full text]
  • Everett Rock Band/Musician List "T" Last Update: 6/28/2020
    Everett Rock Band/Musician List "T" Last Update: 6/28/2020 "T" List for Bands/Musicians Genre* From & Genre 311 R Los Angeles, CA Rock 322 J Seattle Jazz 322 J Seattle Jazz 10 Cent Monkey Pk R Clinton Punk / Rock / Alternative 10 Killing Hands E P R Bellingham's Electro / Pop / Rock 12 Gauge Pump H Everett Hip Hop 12 Stones R Al Mandeville, LA Rock / Alternative 12th Fret Band CR Snohomish Classic Rock 13 MAG M R Spokane Metal / Hard Rock 13 Scars R Pk Tacoma Rock / Punk 13th & Nowhere R Everett Rock 2 Big 2 Spank CR Carnation Classic Rock / Rock / Rockabilly 2 Guys And A Broad B R C Everett Blues / Rock / Country 2 Libras E R Seattle Electronic Rock 20 Riverside H J Fk Everett Jazz / Hip Hop / Funk 20 Sting Band F Bellingham's Folk / Bluegrass / Roots Music 20/20 A Cappella Ac Ellensburg A Cappella 206 A$$A$$IN H Rp Seattle Hip Hop / Rap 20sicem H Seattle Hip Hop 21 Guns: Seattle's Tribute to Green Day Al R Seattle Alternative Rock 2112 (Rush Tribute) Pr CR R Lakewood Progressive / Classic Rock / Rock 21feet R Seattle Rock 21st & Broadway R Pk Sk Ra Everett/Seattle Rock / Punk / Ska / Reggae 22 Kings Am F R San Diego, CA Americana / Folk-Rock 24 Madison Fk B RB Local Rock, Funk, Blues, Motown, Jazz, Soul, RnB, Folk 25th & State R Everett Rock 29A R Seattle Rock 2KLIX Hc South Seattle Hardcore 3 Doors Down R Escatawpa, Mississippi Rock 3 INCH MAX Al R Pk Seattle's Alternative / Rock / Punk 3 Miles High R P CR Everett Rock / Pop / Classic Rock 3 Play Ricochet BG B C J Seattle bluegrass, ragtime, old-time, blues, country, jazz 3 PM TRIO
    [Show full text]
  • Lyle Montague Or Tara Clifford, [email protected]
    Main Streets Market and Cafe Live Music: Mon thru Thu 7:30-10:30 Fri, Sat 8:00-11:00 NOTE: Main Streets accepts Dinner Reservations for customers ordering dinner entrees (please respect that as it is a restaurant treating you to live music). Mon Nov 4 Open all 3 Meals for "Live" conversations with friends and family while you dine and drink Tue Nov 5 Open Mic Hosted by Tom Langlais Wed Nov 6 Silvertone and Ms. G. Acoustic Rhythm & Blues, Soul, Rock and Roll, and More Thu Nov 7 Lenny Solomon Award Winning Songwriter performs Folk, Country and Blues Music Fri Nov 8 The Rampage Trio Classic rock dance band featuring singer-songwriter-guitarist, Brian M. Owens, singer-bassist, John "JD" Davies and singer-drummer, Mike "Bugsy" Oppedisano playing all your favorite songs. Sat Nov 9 Becky & The Swinging Bards An array of R&B, blues and soul artists (as well as some original tunes) Sun Nov 10 LIVE Conversation with family & friends while you dine & drink. Mon Nov 11 Open all 3 Meals for "Live" conversations with friends and family while you dine and drink Tue Nov 12 Open Mic Hosted by Tim Fiehler Wed Nov 13 Al Cath & Bob Calla James Taylor, Eagles, Beatles, John Mayer - Current & Classic - Electric & Acoustic Thu Nov 14 Kenny Selcer and Roberta Lamb Roberta Lamb CD Release Celebration with special guests, Kenny Selcer, Steve Gilligan and Bernie Geddry. An evening of sizzling originals, blues, R & B, pop and Americana. Fri Nov 15 Terry's Kitchen Terry Kitchen & Friends award-winning folk, rock & blues originals and classics Sat Nov 16 Swamptones New Orleans party tunes, Jump Blues, Zydeco, Swing, Roots Rock , Country Swing Sun Nov 17 LIVE Conversation with family & friends while you dine & drink.
    [Show full text]
  • American Popular Music
    American Popular Music Larry Starr & Christopher Waterman Copyright © 2003, 2007 by Oxford University Press, Inc. This condensation of AMERICAN POPULAR MUSIC: FROM MINSTRELSY TO MP3 is a condensation of the book originally published in English in 2006 and is offered in this condensation by arrangement with Oxford University Press, Inc. Larry Starr is Professor of Music at the University of Washington. His previous publications include Clockwise from top: The Dickinson Songs of Aaron Bob Dylan and Joan Copland (2002), A Union of Baez on the road; Diana Ross sings to Diversities: Style in the Music of thousands; Louis Charles Ives (1992), and articles Armstrong and his in American Music, Perspectives trumpet; DJ Jazzy Jeff of New Music, Musical Quarterly, spins records; ‘NSync and Journal of Popular Music in concert; Elvis Studies. Christopher Waterman Presley sings and acts. is Dean of the School of Arts and Architecture at the University of California, Los Angeles. His previous publications include Jùjú: A Social History and Ethnography of an African Popular Music (1990) and articles in Ethnomusicology and Music Educator’s Journal. American Popular Music Larry Starr & Christopher Waterman CONTENTS � Introduction .............................................................................................. 3 CHAPTER 1: Streams of Tradition: The Sources of Popular Music ......................... 6 CHAPTER 2: Popular Music: Nineteenth and Early Twentieth Centuries .......... ... 1 2 An Early Pop Songwriter: Stephen Foster ........................................... 1 9 CHAPTER 3: Popular Jazz and Swing: America’s Original Art Form ...................... 2 0 CHAPTER 4: Tin Pan Alley: Creating “Musical Standards” ..................................... 2 6 CHAPTER 5: Early Music of the American South: “Race Records” and “Hillbilly Music” ....................................................................................... 3 0 CHAPTER 6: Rhythm & Blues: From Jump Blues to Doo-Wop ................................
    [Show full text]
  • Celebrating Chicago's Music Legacy
    gospel blues house music CELEBRATING CHICAGO'S MUSIC LEGACY may 23–25 May 31–June 1 June 7–9 Chicago House CHICAGO GOSPEL CHICAGO BLUES Music Conference MUSIC FESTIVAL FESTIVAL & Festival FREE ADMISSION MILLENNIUM PARK, CHICAGO CULTURAL CENTER & NEIGHBORHOOD VENUES ACROSS CHICAGO Department of Cultural Affairs and Special Events City of Chicago Celebrating Chicago's Music Legacy As the birthplace of the urban blues, gospel music, house and other beloved genres, Chicago invites music lovers from around the world to celebrate its musical legacy at three consecutive weekend festivals at Millennium Park, the Chicago Cultural Center and music venues throughout the city. Visit festival websites for more information on ways to explore Chicago's music scene. gospel DON’T MISS! blues Bronzeville Echoes: Faces and Places of Chicago’s African American Music house at the Chicago Cultural Center Seldom seen original artifacts exploring the legacy of Chicago’ s African American music music from Ragtime to Jazz 4th Annual MAY CONFERENCE 23-25 + Festival CHICAGO HOUSE MUSIC CONFERENCE CHICAGO CULTURAL CENTER Thursday, May 23, 6–9pm Workshops and panel discussions for DJs, musicians and industry professionals CHICAGO HOUSE MUSIC FESTIVAL MILLENNIUM PARK FRIDAY, MAY 24, 6:30–9PM Live performance by The Return of Mr Ali and Carla Prather, plus the presentation of the Chicago House Music Award to Chip E SATURDAY, MAY 25, 2–9PM 2–5pm: HOUSE KIDZ DJ DANCE PARTY 2–8pm VINYL RECORD FAIR 2–9pm CHICAGO HOUSE STAGE featuring Gant-Man, Jevon Jackson and more 2–9pm DEEP HOUSE STAGE featuring Antonio Ocasio, Moodymann and more 2–9pm PARK “CHILL” GRILL DJ sets by Mark Farina and Josh Werner 5–9pm: HOUSE DANCE WORKSHOPS & PERFORMANCES with Boogie McClarin and The Era Footwork Crew 2–9pm: JAY PRITZKER PAVILION headline performances by Reel People, Tony Humphries, Gene Hunt, Mark Grusane and First Lady Featured Neighborhood Venues Free Admission 9pm –Midnight Smartbar, 3730 N.
    [Show full text]
  • Blues Lyric Formulas in Early Country Music, Rhythm and Blues, and Rock and Roll *
    Blues Lyric Formulas in Early Country Music, Rhythm and Blues, and Rock and Roll * Nicholas Stoia NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.20.26.4/mto.20.26.4.stoia.php KEYWORDS: blues, country music, rhythm and blues, rock and roll, lyric formulas ABSTRACT: This article briefly recounts recent work identifying the most common lyric formulas in early blues and then demonstrates the prevalence of these formulas in early country music, rhythm and blues, and rock and roll. The study shows how the preference for certain formulas in prewar country music—like the preference for the same formulas in prewar blues—reflects the social instability of the time, and how the de-emphasis of these same formulas in rhythm and blues and rock and roll reflects the relative affluence of the early postwar period. This shift in textual content is the lyrical counterpart to the electrification, urbanization, and growing formal complexity that mark the transformation of prewar blues and country music into postwar rhythm and blues and rock and roll. DOI: 10.30535/mto.26.4.8 Received May 2018 Volume 26, Number 4, November 2020 Copyright © 2020 Society for Music Theory [0.1] Singers and songwriters in many genres of American popular music rely on lyric formulas for the creation of songs. Lyric formulas are fragments of lyrical content—usually lines or half lines— that are shared among singers and recognized by both musicians and listeners. Blues is the genre for which scholars have most conclusively established the widespread use of lyric formulas, and this study briefly recounts recent work that identifies the most common lyric formulas in commercially recorded blues from the early 1920s to the early 1940s—research showing that the high frequency of certain formulas reflects the societal circumstances of much of the African American population during that period.
    [Show full text]
  • Women in Rock OLLI Berkeley Course Material
    Syllabus for Women in Rock: From the 1950s to the 1980s Instructor: Richie Unterberger, [email protected] OLLI Berkeley Week One: Women in Rock: The Early Years and The Girl Groups In the 1950s, rhythm and blues singers like Ruth Brown and LaVern Baker have some of the first rock’n’roll hits; Wanda Jackson and the Collins Kids are top rockabilly acts; and Brenda Lee becomes the first woman rock superstar. As New York’s Brill Building becomes established as the top place for rock publishers, women like Carole King, Cynthia Weil, and Ellie Greenwich become some of pop-rock’s most successful songwriters. Girl groups like the Shirelles, the Crystals, the Ronettes, the Chiffons, and the Cookies have numerous hits in the early 1960s, forming one of the major trends in rock of the period. In the early 1960s, some of the most R&B-oriented girl groups become some of the first soul stars, especially for Motown Records, with the Marvelettes, Martha & the Vandellas, the Supremes, and Mary Wells. Week Two: Women in Soul and British Rock Women soul singers emerge throughout the country, some of them more pop-oriented (Maxine Brown, Dionne Warwick), some of them earthier (Carla Thomas, Irma Thomas, Etta James). Aretha Franklin is anointed the Queen of Soul after moving to Atlantic Records and adopting a tougher, more spiritual sound. Other women soul singers with a forceful style emerge and increase in popularity, like Gladys Knight, Nina Simone, and the Staple Singers. Although all-male guitar bands dominate the British Invasion, a good number of women singers also make an impact both in their native UK and in the US.
    [Show full text]
  • The African American Legacy on Rock and Roll
    The African American Legacy on Rock and Roll Brittany Dreyer From the beginning of the twentieth century African American music, or “race” music, as it was called in the early half of the century, became a leading influence in the upbeat, energetic and soulful style that would later become known as Rock and Roll. In particular, it can be argued that the Blues style of the Deep South played an integral role in shaping this new revolutionary genre. Without the influence of African American music the genre of Rock and Roll would be intrinsically different in the aspects of its namesake, style, and overwhelming popularity. This paper will look more specifically at Blues music, Country and Western, and the foundation of Rock and Roll itself, in order to make clearer the contributions that other genres made to the rise of Rock and Roll. The Blues was a musical style that was created during the turn of the twentieth century in the American South. It spread throughout the rest of the country considerably fast due to the popularity of the phonograph and the fact that it was sung near railroad stations where many heard it. By the 1920’s, the emotional and down-to-earth music had become incredibly popular with the African American audience, so much so that recording companies sent teams south to make field recordings which featured many different types of artists. For instance, from the Mississippi Delta region a subgenre was created called the Delta Blues. The first Delta Blues recordings were by Charley Patton, who recorded for Gennett Records in Richmond, Indiana and eventually recorded fourteen songs that would shape this new subgenre.
    [Show full text]