The Seattle band Laguna will be performing with Series Two Records artists Cleemann (from Denmark) and Poland on Thursday, April 8th at the Tiger Lounge in Georgetown..
Don’t miss this rare opportunity to see/hear Cleemann perform here in Seattle.
9pm
21+
$5
Tiger Lounge
412 S. Orcas St.
Seattle, WA 98108
As Your Are Entertainment presents four of Tacoma’s hottest indie music acts April 2, at 8 PM show to benefit the World Famous Bob’s Java Jive at 2102 South Tacoma Way. The club is both an icon of Tacoma’s past, serving many roles through the years, and a beacon toward the future providing a home for local acts to sharpen their musical skills.
The Fun Police with special guests Big Wheel Stunt Show (recently returned from SXSW), The Brotherhood of the Black Squirrel, and Ten Miles of Bad Road will be on hand to celebrate The World’s Famous Bob’s Java Jive’s history which began in 1927. The Java Jive, as it is affectionately known, was originally built as a roadside café on a Highway 99 during its infancy. The Java Jive is what is commonly referred to as a “Duck” or a building in the shape of an oversize object that promotes the business purpose, or in the Jive’s case, a coffee pot for weary travelers.
During the 1950s, Bob and Lylabelle Radernich purchased the business and building and began operating as a bar and lounge. Through the years, the Java Jive has enjoyed a diverse history. Mystery airline hijacker DB Cooper was rumored to have finished a beer on his way to SeaTac for his fateful flight; The Ventures are said to have played the Jive regularly in advance of their top 40 successes; and two chimps named “Java” and “Jive” were at home in the Jungle Room for years. Mention Bob’s Java Jive to Tacoma residents, and you’ll hear coming of age anecdotes, memories of go-go dancers, the TV Theme duo if they have been there, and well intentioned regrets, if they haven’t.
Don’t miss the opportunity to celebrate and assist the Java Jive and hear four great bands. $3 minimum donation at the door, 21+.
Tacoma’s own musical Fun Police will be patrolling the St Paddy’s Day merriment at 8 PM along with special guests 10 Miles of Bad Road at O’Malley’s Irish Pub (Google Maps link). The Fun Police, bullies in blue, who are known for delivering energetic give-it-all-you’ve-got, genre-bending performance on any given night, promise an over the top show tonight including a traditional Irish set and an extended set of Fun Police favorites. Enjoy the luck of the Irish with some slow-cooked, corned beef and cabbage along with some Fun Police hijinks for St. Paddy’s Day this year.
The Fun Police have been playing the South Sound for approximately two years, released 2 EPs and a CD, and are currently in the studio. They are well known locally for their energetic stage presence and musical variety including fusion styles of blues, reggae, folk, punk and more. Their 3 song Spring Break EP is available as a free download here.
Oregon natives, Loaded for Bear, are heading south from Portland on a 10 day jaunt to SF, CA and locales in between. They will joining forces with SF and Nor Cal favorites, Canons and Clouds, Colour, Life in 24 Frames, the Myonics and others. Check www.loadedforbearmusic.com for show dates. Also check the band’s blog for live updates from the road, food and drink recipes(!), art, pics etc. at waltertheelephant.wordpress.com
Go to Neumos to catch Feral Children’s Jim Cotton performing in the Heineken Green Room Sessions: “The Next Round” alongside Kevin Murphy (Moondoggies), Jake Witt (SilOHs), and more!
What is The Next Round?
“… a multi-arts event with live painters and slam poets joining up to 6 or 7 musicians for a night of arts that will never be replicated…”
More info about the original series, The Round, at http://www.theround.org
Buy Tickets here! –> http://tinyurl.com/tinytix
Waylon Jennings / Cedartown, Georgia / 1971, RCA
The classic legend of Waylon Jennings is that he was restrained by Nashville throughout the ’60s until he demanded artistic freedom, invented the Outlaw movement, and then made a run of some of the most timeless country music throughout the ’70s until too much cocaine brought him down. Good story, but not much of the truth.
Waylon is Waylon — and not even Chet Atkins’ iron fist could ever convert him into a Nashville assembly line artist. This is a record cut just before the Outlaw transition and the whole things got a hard hitting, funky groove that’s pure Waylon and nowhere close to the rest of Music City’s concurrent releases. Four tracks feature huge Nashville orchestras, but they’re down with murderous tension as oppossed to schmaltzy splash. “Big D” and “It’s All Over Now” (not the Bobby Womack rock & roll classic Hoss already cut on his debut, but a new cut written by his new wife, Jessi Colter) show Nashville’s finest (the Superpickers!) throwing down over upbeat numbers, which is always a pleasure. Waylon’s voice is in fine form throughout (singers from this era had this uncanny ability to be able to sing. Their voices were like conversations with characters you constantly wanted to chat with.)
The truth of Waylon’s pre-Outlaw records is for the most part the roots of all his huge statements are there (Honky Tonk Heroes, This Time, Ramblin’ Man, Dreaming My Dreams, Live!, Ol’ Waylon, I’ve Always Been Crazy), but with the HollywoodOutlaw salespitch completely absent. There’s schlocky Nashville pop, no doubt, but he never moved beyond intense sentimentality and camp throughout his entire career. He was an entertainer. This is some of the finest music I’d ever like to hear. (I would say he and Jessi’s cover of “Bridge Over Troubled Water” could have been passed up.)
Ornette Coleman & Prime Time / Opening the Caravan of Dreams / 1985, Caravan of Dreams Productions
Here’s Ornette and his freefunk compatriots inaugrating a jazz hall in Fort Worth, TX. Opening the Caravan of Dreams could probably be read other ways, but I’m sure it’s all on the level. “Harmolodic Bebop” is an annihilating primer in the terms employed, none of the funk found round here. But dig in and damn it (wouldn’t the eye of a hurricane be pretty and full of harmony as well?) For the most part they’re laying down simple funky grooves with those harmomelodiddies flying up and down all over the place and shapes shift, images run by, holes are found and jumped into, then you’ve gotta climb out, and the whole time if you fall or rise you know you’re rising higher. Ornette was born in Texas, you know? Added to the list of thinks I’d like to personally thank him for.
FREDDIE MERCURY / Mr. Bad Guy / 1985, CBS
Queen were a goddamn band, dude! None of this infighting, can-the-guitarist-and-hire-his-best-friend, lead-singer-solo-career-fronting, dying-drummer, shit syndrome (I guess ’till this Paul Rodgers stuff). The point being, Freddie Mercury never ditched his bandmates to pursue what could have surely been a totally warped, flamboyant, dominant, and crazy run at egocentered, superstar, megalomania. But Queen where a band. None of that bullshit necessary.
Mr. Bad Guy sounds like Freddie did it in his basement on some 1985 synthesizer and made up the names of the other guys. (I like that vision, for if true, Freddie Mercury could shred guitar as hard as Brian May…but I bet he’s actually got players on here.) If Casio keyboards and drum machines sold at Radio Shack in the ’80s were the industry standard for tone, this would be it. That being said, the scope of the music is simply magnificent, bizarre, and constantly entertaining.
“Let’s Turn It On” is some sort of warped dance number intended to precisely that: turn on the party. “Foolin’ Around” is Grade A+, mid ’80s dance-synth pop. Mercury’s melodies and chord progressions are over-the-top and elegant. It grooves like a mofo, too, replete with an insanely shredding, harmonized keyboard and guitar solo. Somewhere on Side B, after a song called “Man Made Paradise,” he descends into a piano and voice meditation in overtracking, vocal chambers, and crazyhigh operatic falsetto. Some hip-hop producer should run out NOW and snag the sample of the main groove from the title track, “Mr. Bad Guy,” a huge menacing piece of two note synthesizer and computerZepfunkdrums. By the end of the songs he’s chased rainbows in the sky, tripped on ecsctasy, become president, runied people’s lives, and spread his wings to fly away. That’s all in there: I swear.