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Music on the Mountaintop 2011

This year’s MOTM took place at the gorgeous Grandfather Mountain Campground near Boon, NC.

FRIDAY

Unlike last year there was plenty of space to camp and it looked as if the campground was setup perfectly for a festival.  Campers surrounded two nice size fields. The first field was the location of the 3rd stage which had food and craft venders as well as a fantastic global structure built within it.  The second field housed the main stage and 2nd stage.  The 2 stages were small and basically the same size setup next to one another which kind of resembled the All Good Music Festival setup on a much smaller scale.

Beloved for their live performances, Rusted Root hits the ground running with a new slew of live dates to support their current release Stereo Rodeo.

Interview by Maisie Leach


Rusted

Rusted Root became a band twenty years ago. They're known for their fusion of bluegrass and rock as well as their inspired use of percussion that is drawn from African, Latin America, Native American and Middle Eastern influences and defies categorization.  Over the last several years they have sold more than 3 million albums worldwide and they have toured the world and the US with Toad the Wet Sprocket, Santana, The Grateful Dead, Dave Matthews Band, The Allman Brothers Band, HORDE Festival and, perhaps most notably, the highly coveted support role on the landmark Jimmy Page/Robert Plant reunion tour.


"Stereo Rodeo", their first disc in seven years, features original members Michael Glabicki (lead vocals, guitar), Liz Berlin (vocals, percussion), and Patrick Norman(vocals, bass, percussion). They are joined on this album by Jason Miller (drums, percussion), Colter Harper (guitar), Preach Freedom (percussion) and Dirk Miller(guitar).


Rusted Root hits Raleigh Amphitheater this Saturday, Oct 1st as part of the Bud Light City Fest. The doors will open at 5PM and the cost of admission is only $5!


Interview with Rusted Root's Michael Glabicki

After speaking with Michael, I learned much about the bands birth, evolution and journey. They have already accomplished their aspiration of creating a musical, culturally diverse community surrounding Rusted Root here in the U.S.. But their longevity and drive to keep going is leading to their next album which is expected to release in March 2012. Maybe the root is not so rusty.


HGMN: So, you are here in Raleigh?


Michael: Yeah, we are just here on a day off, then we go to Wilmington tomorrow and then we come back here and play on Saturday night.


HGMN: Excellent. Well, Raleigh is glad to have you here. How did you get the current lineup that you guys have and what was the beginning?


Michael: It started out with a very big idea. And, you know, we have evolved over time. Our evolution attracts people to the band...and we just kind of go with that flow. We just try to be true to what the band needs. We are all from Pittsburgh.


HGMN: Your music has a lot of multicultural ingredients as well. Where does that stem from?


Michael: I think I was personally exposed to a lot of different cultures, you know, growing up in Pittsburgh around the colleges. I was able to catch a couple African Drumming concerts here and there...not a lot of it but some. I never really studied it but I knew I wanted to use it in the songs that I was writing for the vision I had for the band. It's not really something that I went out seeking...it just happened.


HGMN: You've said you are looking to move in a direction similar to the Talking Heads...what do you mean by that?


Michael: I don't know what I meant by that actually (laughs). Other interviews have been saying that I said that. I'm like, "I don't know what that means." I think if anything it's just that our material is a little more groove oriented. In the past we have been very rhythmic but I think lately it's been very spastic and we've come in and out of grooves. I think on our new record you will see deeper grooves. I mean, "Little Creatures" by the Talking Heads kind of simplified what they were doing but they also kind of matured in the same way. I think we are moving like that too.


HGMN: Stereo Rodeo came out in 2009, what's your take on that looking back and what do you want to change on the next album?


Michael: For me I think Stereo Rodeo was mixing what I wanted to do solo on that album a little bit. I originally wasn't sure how I wanted to express these certain segments of myself and now I/we are trying to keep the Rusted Root thing more about the party and the more danceable vibe kind of stuff. Some of my acoustic songs that are kind of deep sometimes do fit best with Rusted Root. I'm not really sure why...I guess they just feel right in Rusted Root. 

My solo stuff, it's a different kind of songwriting, I can't really describe it. These two things are now very separate and distinct. Somehow, in the past two years I've had something click in my mind where I know what I want to do in each and there's no, kind of blur, you know? I'm not afraid to pull one song from the other if I think it works better in the other. I think that's big for this record. There's a lot of clarity in what we are doing now. And I think everybody understands it and is very clear and so we keep coming up with pure ideas. We are very focused and we move a lot quicker now. Also, we are producing ourselves. I am producing the record, we are recording it at my studio and there's a whole different process to that which I like. It's different and good because I think it's taking us out of the ways that we have made records before.


HGMN: How is that? Just more comfortable?


Michael: Yeah, exactly. And it has a different piece to it. We can reflect a lot easier on certain things but at the same time we aren't rushed, we have a lot more time and flexibility to create a spark. It's an experiment. We go in and we try until we get that chemistry going. That can be trying and then going across the street and playing pool for 4 hours, then coming and playing a song. It's just total freedom to try whatever we want. We can say, "okay we've got 6 hours to get this song down so let's go do it now." It's just a lot less rushed, it's cool.


HGMN: I'd like to dig in more to your solo endeavor, talk to me about that.


Michael: I'm doing a few different things. I'm doing an acoustic show with Harger and then we are bringing in one side man who plays drums, guitar, and percussion. Then I do a trio which is me, Preach and Colter from Rusted Root. These 3 projects cover the entire solo album. It's interesting, I can't do all of them all at once so I break them up in 3 different segments and then we get in the studio. But yeah, I'm doing with that and I think it's tough time wise so I have to give up something to do one other thing for a little while. For the next few months I'm mainly focused on Rusted Root and then I'll jump back into the solo thing for a little bit.


HGMN: Don't you wish you could have 2 lives all at once for time purposes? Sometimes I feel like there's too much I want to do.


Michael: (laughs) Right.


HGMN: If you didn't do music, what do you think that'd you'd be doing?


Michael: Umm, probably living under a bridge or something. Or I like a lot of things actually, I'm pretty good at construction, I can hang some mean dry wall. Maybe a plumber. I can see myself going back to school maybe finishing my degree.


HGMN: Did you go to college?


Michael: For half a semester maybe.


HGMN:  Where'd you go?


Michael: Um, Robert Morris college...no no wait (laughs) La Roche college in Pittsburgh. It's a small school and then I dropped out because I knew I wanted to play music. I think I'd written 2 songs at that point and dropped out and just started writing.


HGMN: What are you most proud of with Rusted Root?


Michael: Hmm, most proud of... I don't know, this may be like cockiness, you know? But I learned how confident we are and I think we can go on a stage next to anybody. And then there's a kind of warrior mentality. Does that make sense? Like we can go against anybody. We can stand our own. We toured with a lot of people, Robert Plant, Santana, Dave Matthews, Allman Brothers, Lenny Kravitz. All these bands, and we've held our own. And uh, it feels good, for us to be top of the game, you know? Gah, I sound like a football player. But there is that kind of feeling. I'm proud of our longevity. It just means we are growing something good.


HGMN: I know there's no standard day in the life of a musician and in the lives of bands. If you could put together some of your best memories from touring with the Dead and DMB etc. What memories would you piece together?


Michael: Probably the best was touring with Santana. He was just very gracious with us. I mean, the first day we started up on tour he invited us on stage. And we played 7 songs with him on his set. He would talk to me and give me advice every once in a while. I actually gained a couple guitar lessons. He would say, "Come on! Come in here and bring your guitar!" He thought I needed to know something he could teach. He was just a great guy all around. I remember Plant and Jimmy Page, that was quite an honor. We were basically little kids. I mean, it wasn't too long before that when I was riding my little BMX bike and going off on jumps listening to Led Zeppelin.


HGMN: How did you figure out that music was what you wanted to do?


Michael: I think I was just a closet guitarist for a little while, you know? But it was this extreme fantasy. I sat and dreamt about it. I think that was probably the most important part of the process. I would just be in my room a lot playing music and thinking about it. In high school I'd be in someones basement with a bunch of kids playing music. And as a joke I went up and sang Van Halen. And then at the end everyone was standing around going,  "Wow, that was pretty cool." In the back of my mind I was like maybe something is there in my voice. I think those 2 things were the beginning of a slow process on the guitar and kind of knowing I could maybe do the vocal thing. Then at 17 or 18 I just started writing music. For me, it was sort of what I wanted to create in the world. Not only in the music but with an idea of community and energy that didn't feel like it was in this country. We created an energy. 

As soon as I got out of high school I went to Nicaragua. I was very political at that point and wanted to change what was going on there with the contrawar. I wanted to witness it and come back to the states and tell people what was going on for real. And it didn't work. I kind of got really depressed because I couldn't do what I wanted to do. So there was that depression. Then I also learned that there was this whole world down there where people played music on the streets and there's poetry being spoken everyday, Jazz music every night. It was a really surreal environment of beauty. It inspired me to envision what I wanted to create here. And I think we did it. I think we created this community of high energy and good feeling.


HGMN: If you could say one positive thing about every member of your group what would you say?


Michael: Let's see. I would say Liz, her voice just stands on it's own. She has a unique way to look at song structure which has always been helpful for me. Preach is just pure musical. He can do just about anything. He's a natural. You can lean back on that guy and he's always there for you. Patrick just brings a good energy with the bass playing. He brings in excitement and good vibes. Dirk is great with the auxiliary stuff...mandolin, banjo which all fit well with the band. He's very supportive of everything that we do. He's just an all around necessary person. Colter brings a lot of ideas on guitar because he brings a lot of worldly influences like African and Brazilian and percussion ideas. Also, he's a funny dude who cracks jokes all the time so that's good.


HGMN: And what is everyone else involved in?


Michael: Liz has a venue in Pittsburgh called Mr. Smalls. She's doing real well there, she has a recording studio and there are a bunch of things she does there. Liz and Patrick both do solo work. Colter and Preach do shows together and write some stuff and do some recordings. Everybody keeps busy.


HGMN: Wrapping things up...You all are on tour until November. And then what are you doing? Back in the studio?


Michael: Yeah, we are going to go finish the record. We should be done with the record in late January for a March release. We will probably release the singles in late January. We are working on a DVD. There's a film director doing a documentary/creative Live footage kind of thing. He will get us in the studio with the new songs and everything. That will be out with the record in March. We are working on 6 or 7 new songs so that's always fun to see a crowds response to new material. We are doing fan funding now so if people want to help out with funding our record they can go to our facebook or website. It's called "Fortunate Freaks Unite" There's a bunch of packages that you can buy into, anything from a signed drum head to people can come to our sound checks and be filmed with us playing "Send me on my way" and then there's bigger packages which are us going to their house and putting on a concert. We have a lot going on right now.


HGMN: Are you going to get to discover Raleigh at all while you're here?


Michael: I'll probably just rest today mostly. We've played so many shows I feel like I just got hit by a truck. But yeah, I've always loved walking around Raleigh and the downtown area. My brother lives here now, so.


HGMN: Enjoy your time here! (cordial small talk exchange at end)



Upcoming Tourdates

Oct 01 - Raleigh Amphitheatre - Raleigh, NC

Oct 02 - Abbey Bar - Harrisburg, PA

Oct 10 - Taste of DC - Washington, DC

Oct 11 - Musica - Akron, OH

Oct 13 - Rustle Hill Winery - Cobden,IL

Oct 21 - Le Poisson Rouge - New York,NY

Oct 23 - Portland Fairgrounds - Portland, CT

Oct 28 - Gateway Clipper - Pittsburgh, PA

Nov 05 - Tupelo Music Hall - White River Junction, VT

Nov 06 - Tupelo Music Hall - Londonderry, NH

Nov 12 - Viper Alley - Lincolnshire, IL


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Sept. 27th, 2011 - Zach Deputy releases his long-awaited studio album Another Day, today.

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 The album captures Deputy's sensitive side, rich with soulful rhythm and blues numbers, ballads and the kind of 'feel good' enthusiasim that has made Deputy insatiably popular at music festivals and theater dates alike. A 'thoughtful singer and songwriter' (Palm Beach Post, 2011) Deputy can capture your heart as quickly as he does your feet.


"An impressive solo show"

Rachel McCarty, South Kingston Patch, Aug 2011

 

"He has so much soul in his music"

Candice Martinez, Examiner.com,  Aug 2011

 

"A soulful rhythm and blues album rich with ballads and mid-tempo songs..."

Associated Press, YahooNews, Aug 2011


With the help of Grammy-winning producer Scott Jacoby-- Zach Deputies new album taps into the spirit of Al Green, Taj Mahal and Stevie Wonder while retaining a classic sound and feel. Best described as soulful rhythm and blues, Another Day features 11 original tracks produced with Grammy award winning Scott Jacoby over just 5 days in Mission Sound Recording in Brooklyn, NY. To handle the ever-present Latin, Caribbean and African elements in Zach Deputy's backbeat and place them in the contemporary soul / pop format of the songs, Jacoby tapped Graham Hawthorne (Aretha Franklin, Harry Belafonte, Paul Simon, David Byrne) for the drum kit. Bassist Al Carty came into the studio after having played four church gigs that day. Despite the list of artists he has recorded or toured with (Lou Reed, De La Soul, Carrie Underwood, Gavin DeGraw), the church gigs alone proved that Jacoby was on the mark with this choice for the low end. Zach Deputy is, after all, a soul singer whose music is underpinned by Gospel as much as by any other musical idiom. Equally at home in the Gospel tradition, pianist / organist Will Buthod (Jay-Z, Fat Joe, Alicia Keys, The Harlem Gospel Choir) completed the studio trio that fleshed out Zach's vision for the recording-- a vision made real by Jacoby's pitch perfect choice of accompanists. These four accomplished professionals met for the first time on the first day of recording and worked as if they were old friends with a common purpose.


www.zachdeputy.com

Their self-released debut 'Read Me Out Loud' shines through a 6-month struggle of broken bones and busted budgets, tackling obstacles with rich indie soul and boundless enthusiasm.

By Simon Eddie

Photos by Mary Peyton Gosser

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Lizzy Ross - vocals and rhythm guitar

Jock Pyle - electric guitar

Brett Hart - bass

Drew Daniel - percussion.


Many bands take their time crafting their first full-length. Chapel Hill's Lizzy Ross Band took a bit longer than they wanted. Their self-released debut Read Me Out Loud shines through a 6-month struggle of broken bones and busted budgets, tackling obstacles with rich indie soul and boundless enthusiasm. Upbeat rhythms and melodies hide more serious themes. Lyrically, Ross's sincerity cuts deep. This is an album about growing up, wanting to know others and be known yourself, about embracing the world and all of its incumbent risks.

These struggles mix perfectly with Ross' fiery pipes. She recently won the Carolina Music Award for Rock Female of 2011 and is nominated for Best Female Blues artist at the 2011 Charlotte Music Awards. It's easy to understand why. Her voice delivers a charming trill one moment, only to erupt in rough, bluesy emotion the next. It's a powerful instrument that's earned her comparisons to artists like Grace Potter and Edie Brickell among others. Backed up by sophisticated arrangements that include touches of country, '60s roots rock, and a dash of Motown, Ross stares down the uncertain future and sings it into submission.

"We started in January with four members, of whom only two would see the album through. We wanted to finish recording quickly so that we could release the album in April and tour on it the following summer - given the actual project timeline, this was a somewhat delusion idea. 

Drum tracking began at Arbor Ridge with Jeff Crawford and James Wallace. We weren't used to thinking of our music outside of the confines of live performance and were intimidated by the endless possibilities of recording.

We listened to our favorite records obsessively.  We picked apart the parts. We began to understand the layering and subtlety in our favorite music. We were making progress and happy with the early results of our recording. Then...

Drew broke his wrist halfway through January and recording ground to a halt.  We were stymied and significantly poorer than we had started (Thanks Dr. Aldridge!), but we had to keep going.  Drew recorded drum parts one-handed - tracking first the right hand part, them the left hand part.

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Recording drum parts one-handed at Arbor Ridge was slow and expensive.  Drew's healing was unpredictable, so this made our schedule hard to plan, and we were unable to book enough studio time to keep the project on track.  We floundered.

I couldn't take the waiting and the inactivity.  I wanted to get us on track and get this album made, and made well. We needed more time and space to experiment.

I bought Pro Tools.  I spent agonizing hours trying to set it up and tripping on idiotic technical problems where the issue existed "between the desk and chair" - i.e. operator error.  We started recording on a two-channel Tascam interface from 2008.

I began to get the hang of it.  We bought a $300, 8-input interface from Guitar Center so that we could track drums.  We set the interface and equipment up in my attic bedroom (the best-sounding room in the house).  It stayed there for three months. No AC.  We sweated.  Drew and I toyed with the equipment for hours. We learned it.  Drew's wrist was healing.  We turned on fans between takes and drank a lot of cold beer in lieu of climate control.

We finally had room to try oddball ideas.  I recorded doo-wop background vocals that got deleted and re-recorded.  Drew did and re-did drum parts. We piled chains and scrap mental together and recorded them as percussion on "Black River."  We recorded a guitar part for Cuyahoga with a 4" by 4" by 2" portable Honeytone amp set on top of a laundry basket (little, but nice tone).   Red Dog's barks bled into the background of songs.  We stayed up all night and into the morning, sweating and singing and experimenting.

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We expanded instrumentation beyond our usual four parts (drums, electric guitar, acoustic guitar, and bass).  We added saxophone, pedal steel, fiddle, cello, keys, and trombone. We invited friends and strangers into my sauna-bedroom to work and play and drink with us.

We were staying up all night, cables and drums strewn across the bedroom floor, constantly preoccupied with recording.  When my head hit the pillow, I dreamt of Pro Tools. We forgot to eat, shower, seek out human contact, and call our moms.

As the music began to come together, we went back to Arbor Ridge to seek out the superhuman keys skills of James Wallace.  James gave us prodigious patience and creativity and rounded out the sound of the songs.  He recorded on nearly every track, with the exceptions of Black River and Needle and Thread.

We squeezed finishing touches onto the album like the last toothpaste in the tube - slowly, and with great difficulty (and it always takes more than two hands.  Someone has to hold the toothbrush).  We sought out help for mixing and brought the album to Chris Stamey at Modern Recording in Chapel Hill. We found a stable bassist, Brett Hart, for the band.  As recording work slowed to a trickle and our schedules opened up, we started touring again. 

While we were recording, it had become more and more apparent that Drew and I were very compatible creative partners and were both dedicated to seeing our vision through. We had already been good friends, but we didn't realize that we made such a good team. Working with our former guitarist had been difficult, and it became clear that he didn't fit into this musical partnership.  We split ways and sought out a guitarist who was on the same wavelength as us.  Drew's longtime friend and former band mate Jock Pyle fit the bill.

In the meantime, Chris Stamey was loving the album and doing wonderful work on it.  He

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 remarked that it "sounded like a hit album, so (he) started to mix it that way."  He brought experience and new dimensions to the project.  He was the first professional we had encountered who seemed to care about it as much as we did, and his work brought out the best in the recordings we had made.  He took on additional production elements.  He was exceedingly generous with his time and talent.  He seemed to believe in our record like no one else had, and to us, his opinion meant something.  He stuck with us and has helped with every element from finding a designer to proofreading the album copy.

We struggled with album design.  After much deliberation, we chose for the cover a photo of my five-year-old self jumping thought a hula hoop (held by my older sister), about to faceplant... or maybe not.  It's unclear what happens.  I'm midair, on my way to something. In the world of a five-year-old, this is a wild, daring risk.  Looking back now, it just seems tragically funny.  Even so, I can't help thinking that we've been in a similar position recording this album.  We've put everything we have into this music, and now we are baring it to the world, holding nothing back in our pursuit of... of what?  Joy? Understanding? Applause at the Local 506?

The photo captures a fearless moment. I'm comforted knowing that, even if I took a horrible spill and mangled my knees and palms, I'm ok.  I don't even remember what happened.  It doesn't matter what happened.  I did it.

This has been the overwhelming lesson behind recording, and the message that drove my songwriting on many of the tracks.  Keep going.  If you don't know what to do, just do your best.  Try harder.  We need to believe that we can make it to wherever we're headed, even if we don't know where that is.

It's an album that I wrote about growing up, wanting to know others and be known myself. Embracing the world and all of its incumbent risks. It's called Read Me Out Loud. 

Days had turned into weeks had turned into months... by the end of the project, it took 6 months all in all.  My mom says anything worth doing is worth doing well, and anything good is hard to make.  We worked for it.  We made it through broken bones, busted budgets, disregarded deadlines, and musical confusion.  We made an album. We said what we meant to say.  Six months of sweat boils down to 42.1 minutes of sound.

We have many people to thank.  We have lots of work left to do. Making this album has been good practice at what I'm beginning to understand as two of the essential elements to survival in the music industry - dogged perseverance and belief in your work." 

- Lizzy Ross

Lizzy506

Lizzy Ross Band CD Release party w/ Big Something

Friday Sept 30 @ The Haw River Ballroom - Saxapahaw, NC

Doors: 7:00 pm / Show: 8:00 pm (event ends at 11:59 pm)

$10.00 - $12.00

Debut CD READ ME OUT LOUD to be release nationally on Oct 04, 2011.

Listen to it for Free right now!

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Upcoming Shows

Sept 17 Carousel Festival - Burlington, NC

Sept 22 - Pisgah Brewing Company w/ The Broadcast - Black Mountain, NC

Sept 23 - Charlottes Festival In The Park

Sept 24 - H- Blast - Locust Hill, NC

Sept 30 - Sax Ballroom - Saxapahaw, NC w/ Big Something

Oct 01 - Private Event

Oct 02 - Club 333 - Brlington, NC

Oct 22 - Foothills Brewery - Winston-Salem, NC

Oct 29 - Shakedown Street - Raleigh, NC (HGMN Presents: Halloween Party Blowout)

Nov 11 - The Fat Frogg  w/ JujuGuru - Elon, NC

Nov 12 - The Lincoln Theatre - Beerfest with Acoustic Syndicate, Acoustic Mannor, The Morning After & More

Suwannee springfest returns for its 16th year. Yonder Mountain String Band, Peter Rowan & Tony Rice Duo, Justin Townes Earl, Emmitt-Nershi Band, Hot Buttered Rum and many more round out the lineup. The Three-Day Festival Takes Place March 23 – 25, 2012 at Spirit of the Suwannee Music Park in Live Oak, FL

Tickets on sale now at www.suwanneespringfest.com.

Known for consistently booking some of the finest performers in new and traditional folk, roots rock, bluegrass and newgrass, and other American roots music, Suwannee Springfest returns in 2012 for its 16th straight year. Suwannee Springest will be held March 23-25, 2012 at the Spirit of the Suwannee Music Park in Live Oak, Florida and features some of the biggest names in the scene with veterans and up-and-comers alike. Yonder Mountain String Band, Peter Rowan & Tony Rice Duo, Justin Townes Earl, Emmitt-Nershi Band, and Darol Anger and the Republic of Strings will be joined by The Gourds, Hot Buttered Rum, The Infamous Stringdusters, Greensky Bluegrass and more, with additional artists still to be announced.

Three-day early bird festival tickets are only $125.00 and children age 12 and under are free of charge. Discounts are offered for students and retired and active military. Fans at this year's MagnoliaFest (October 20-23, 2012 at Suwannee Music Park) will have the opportunity to purchase tickets to Suwannee Springfest 2012 on-site at MagnoliaFest for only $115.00. To purchase tickets online or to find out more, please visit www.suwanneespringfest.com.

2012 Suwannee Springfest confirmed lineup below, more artists to be announced.

  • Yonder Mountain String Band
  • Peter Rowan & Tony Rice Duo
  • Justin Townes Earl
  • Emmitt-Nershi Band
  • Darol Anger and the Republic of Strings
  • The Gourds
  • Hot Buttered Rum
  • Infamous Stringdusters
  • Greensky Bluegrass
  • Great American Taxi
  • Jason Isbell & the 400 Unit
  • Larry Keel & Natural Bridge
  • Ryan Montbleau Band
  • Split Lip Rayfield
  • Elephant Revival
  • The Pinkham Family

Spirit of the Suwannee Music Park is also home to other Big IV Productions, including the Blackwater Music Festival (taking place this weekend), the Purple Hatter's Balland the Bear Creek Music & Arts Festival. Hosted each November, the 2011 Bear Creek Music & Arts Festival lineup includes Trey Anastastio Band, Medeski, Scofield, Martin & Wood, The Funky Meters, Karl Denson's Tiny Universe, John Scofield & Piety Street, Ivan Neville's Dumpstaphunk, Lettuce, George Porter, Jr., Jon Cleary, and the Pimps of Joytime. For more information on the Bear Creek Music & Arts Festival go to: www.bearcreekmusicfestival.com.

About Big IV Productions:

Big IV Productions is owned and operated by Paul Levine and Lyle Williams, founders of the Bear Creek Music Festival and co-producers of the new Blackwater Music Festival with Blackwater Music, LLC (a company owned by Williams and Judy Van Zant / owner of Jacksonville Beach, FL's Freebird Live). In 2011, Big IV Productions added Suwannee Springfest to their family of festivals. Deeply engrained in the Florida music scene, Big IV Productions is also partners in Tallahassee's Engine Room as well as Suwannee River Jam, and producers of the Purple Hatter's Ball.

###

For more information regarding Suwannee Springfest or Big IV Productions,

Madison House Publicity
303.413.8308
Carrie Lombardi / carrie@madisonhousepublicity.com
Megan McFann / megan@madisonhousepublicity.com

“With rollicking guitars and keyboards, the group lives up to its name, in that they're incredibly funky and boogieable!”


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Funkyseedspic_0Steve Scarcliff- Vocals, Acoustic Guitar


"Funky D" Quesenberry- Vocals, Keys


Sean Hartley- Vocals, Electric Guitar


Patrick "Patty" Schwing- Drums


J Sideway- Vocals, Bass


Chris Sgammato- Saxophone


Skye Losey- Percussion



The Funky Seeds were planted in June of 2009 in the Burgs of St. Pete.  The Funky Seeds blend several genres into what is now called "Plant Driven Funk".  "With rollicking guitars and keyboards, the group lives up to its name, in that they're incredibly funky and boogieable!" -Sean Daly, Tampa Bay Times.  


The Seeds have been busy in the studio.  They have recently released their second studio length album 'Taking Root'.  The Funky Seeds released their first album 'Germination' in 2010 featuring the hit singles 'Pressure' and 'Shrink'.  'Pressure' and 'Shrink both made it to the #1 spot on the Tampa Bay music charts and 'Pressure' was also one of the TOP TEN songs of 2010 on musictampabay.com.  Since the release of their first album, the Funky Seeds have been featured on WMNF 88.5, Rukus Radio, Indie 104 iRadio L.A., Indie Life Radio, New Music Tampa Bay, musictampabay.com, and The Bay Buzz.  


The Funky Seeds have also played several festivals including SUNFEST, Orange Blossom Jamboree, Jambando, Farm to Family and Bay Buzz Fest.  The Funky Seeds have big plans for the future and look forward to seeing you at the next show!!


fseeds

PURCHASE CD

The Funky Seeds have put together Taking root as a collection of songs primarily the about experiences they have shared and explores their eclectic musical backgrounds. With the influences of multiple songwriters, you are bound to find yourself shaking your booty to Funky Root! From the bluesy, hip swaying Summer Rose which describes the antics of a traveling band in the summertime to the Caribbean and Latin vibes of Funky Root you can relive how the Seeds became a band. You can get a taste of organ-driven blues rock in Baby Baby or a funky, second-line New Orleans groove in Ghost of a Cat. The vocal stylings of Steve Scarcliff and Funky D dance around the ever-changing solos of Sean Hartley and Chris Sgammato, which is all held together by the solid grooves of J Sideway and Patty Schwing. Taking Root explores many different musical styles but every bit is undeniably Funky Seeds. 


Upcoming Shows

9-23 Dunedin Brewery, Dunedin FL

9-24 Local 662, St. Pete w/Bobby Lee Rogers

10-1 Ringside Cafe, St. Pete

10-8 Dunedin Brewery, Dunedin FL

12-10 Private Event, Daytona FL

12-31 Undertow Bar, St. Pete Beach


For Booking Please Contact:

Phone:

(720) 394-7592

Email:

funkyseeds@gmail.com


Website

Facebook

Myspace


A unique genre bending artist that combines influences from Country, Bluegrass, Rock, and beyond!


jpromo

JAKE CLAYTON is a 25 year old multi-instrumentalist based in Nashville, TN. Although considering fiddle to be his primary instrument, Jake also plays guitar, dobro, banjo, mandolin, lap steel, pedal steel, piano, bass, and more. In total, Jake plays 27 different instruments which also includes a list of orchestral instruments such as the viola, cello, and stand-up bass.


Jake Clayton has been steadily building a name for himself on the Country Music circuit over the past 8 years playing as a 'utility musician' for various recording artists. Currently touring as the utility player for Country Music artist Sunny Sweeney (an opening act on the 2011 Brad Paisley H2O II tour), Jake also spent the majority of 2009 on Brad Paisley's "American Saturday Night Tour" as the utility player for opening act Jimmy Wayne. Having already performed with Country Music stars at legendary venues such as Madison Square Garden & Nashville's 'The Grand Ole Opry', Jake has appeared in two Top20 Country Music videos and several shows on CMT, GAC, and various other national and regional broadcasts in the US. Jake has toured with Country Music legend, Tanya Tucker, and has also had the high honor of playing music with Taoist monks in their monastery at Mt. Laoshan, China along with an appearance on national television in Qingdao & Jinan, China. Jake Clayton's playing and reputation has garnered him endorsements from top companies such as Black Diamond and Supersensitive Strings, Kawai Pianos, Michael Kelly Mandolins, Fishman Transducers, L.R. Baggs Pickups, and more.


Jake Clayton has now officially entered the music scene as a recording artist with the release of 'Barnyard Stomp', a genre-bending collection of 12 instrumental songs that combine influences from Country, Bluegrass, Rock, and beyond! 'Barnyard Stomp' not only showcases Jake's knack for merging traditional styles with modern sounds, but it also spotlights Jake's unique abilities on multiple instruments. On this album, Jake played everything except drums and 2 guest guitar tracks!

"I think this album will be a reflection of how I see the music world, one big melting pot of sound!" -Jake Clayton


jclayton

PURCHASE CD

12 genre-bending Instrumental songs that combine a mixture of Country, Bluegrass, Rock, and beyond! Largely uptempo, great for ALL ages, and perfect for the Friday Night Barn Party or the Sunday drive! 'Barnyard Stomp' not only showcases Jake Clayton's knack for merging traditional music with modern sounds, but it also spotlights Jake's unique abilities on multiple instruments. On this album, Jake played everything except drums and 2 guitar tracks! Guest musicians include Rob Daniels: guitarist and Barnyard Stomp producer, Troy Luccketta: drummer from the multi-platinum rock band 'TESLA', and Jack Gavin: one of Nashville's finest drummers!


Upcoming Shows

Sep 16 - White County Fairgrounds - Windsor, Va
Sep 17 - Chastain Park - Atlanta, Ga
Sep 21 - KKWF Radio Show - Seattle, WA
Sep 22 - WGKX Radio Show - Memphis, Tn
Sep 23 - Susquehanna Bank Center - Philadelphia, Pa
Sep 24 - Jiffy Lube Live - Washington, DC
Sep 25 - Time Warner Music Pavilion - Raleigh, NC
Sep 30 - Waller County Fair - Rosenburg, Tx


Booking:
Fravik
info@fravik.com


WEBSITE

MYSPACE

FACEBOOK

TWITTER

YOUTUBE


Camp Barefoot 5 Photos

Check out photos from this year's Camp Barefoot 5: which featured an exhaustive & comprehensive collection of artists, plucked from varying genres and styles. Fans of funk, electronic, bluegrass, and more straightforward “jam” enjoyed many pockets of music to entertain themselves throughout the weekend.

The Home Grown Music Network is a proud sponsor of Camp Barefoot, and several of our bands were featured prominently on the bill for this year's festival.  Bands like SILO Effect, Funkuponya, and the Mantras were all selected for the festival numerous times, while others (Big Daddy Love, Big Something, UV Hippo, and Future Rock) made thier first appearance at Camp Barefoot this year.


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