1964: The Tribute takes their audiences on a musical journey to an era in rock history that will live in all of our hearts forever. They are hailed by critics and fans alike as the most authentic and endearing Beatles tribute in the world. Choosing songs from the pre-Sgt-Pepper era, “1964” recreates an early 60’s live Beatles concert, with period instruments, clothing, hairstyles, and onstage banter.
“1964” has toured around the world performing at major concert venues such as Red Rocks in Denver (where they hold the single night attendance record); Bass Performance Hall in Fort Worth; Abravanel Hall in Salt Lake City; Shea Stadium and The Liverpool Philharmonic. Notably, “1964” performed at Carnegie Hall for an unprecedented 13th time on January 11, 2014 where they performed a special concert for the 50th Anniversary Celebration of The Beatles performances there in 1964.
1964: The Tribute is the only Beatles tribute band with a United States Federal Court order defining a written agreement with Apple Corps. Ltd. permitting them to perform their show anywhere in the world. Years of researching the Fab Four have made “1964” masters of their craft. Beatle boots, vintage costumes and equipment, onstage mannerisms and speaking voices, and the unmistakable harmonies of the lads from Liverpool make “1964” the most accurate and fun Beatles tribute to date.
Truly the “Best Beatles Tribute on Earth” – Rolling Stone.
“1964” is: Mark Benson as John Lennon, Mac Ruffing as Paul McCartney, Tom Work as George Harrison, and Bobby Potter as Ringo Starr.
To learn more visit 1964: The Tribute
Heywood Banks is simply one-of-a-kind, almost impossible to describe, with a style his very own. Equal parts genius and buffoon, this songwriter-comic-singer-poet-musician has become a cult hero and a pop icon, with a show that appeals to college students, stoners, businessmen, yuppies, rednecks, punks, kids or your grandmother.
Heywood intersperses his humorous observations of life with twisted, inventive, bizarre songs, sung and played in a variety of styles, from folk, to country to rock to pop, and way beyond.
You have to be pretty smart to get Heywood at his deepest level (he demands a high level of pop culture literacy), but you can also enjoy him just for his vocal style impersonations, expert musicianship and just plain silliness. But why trust our opinions? Check out the video below.
Heywood has been featured in “Rolling Stone Magazine” and “People Magazine.” He won First Place in the Johnnie Walker Comedy Search Contest.
Heywood Banks has appeared on A&E’s “Evening at the Improv,” MTV’s “1/2 Hour Comedy Hour,” CNN’s “Hollywood Minute,” “Caroline’s Comedy Hour,” “Entertainment Tonight,” “Showtime Comedy Club Network,” “Dr. Demento Show,” “12th Annual HBO Young Comedians Special with Paul Rodriguez” and is a frequent guest on the national Bob and Tom radio show.
Stuart Mitchell, the creator of Heywood Banks, tells us that his character was born on a mountaintop in Tennessee and lived for many many years in a log trailer. Heywood’s biological parents, Hank and Heyena Banks were killed in a freak revolving restaurant accident back in the sixties – someone had hit the Puree Button by mistake…grisly! Eventually raised by mathematical parents, Heywood was working in a Kroger bagging groceries when he was hit in the head with a can of lunchmeat, giving him spamnesia. This caused him problems for years as he became afraid of the dark, but couldn’t sleep with the light on. “Did that ever happen to you???”
Tickets on sale to Members on April 14, General Public on April 18
“When you join a band at 20 years old, you don’t think about what it might mean to remain together for another 20 years,” says Matt Odmark, Jars of Clay’s rhythm guitarist, banjo player and harmony vocalist. In 2012, the Jars celebrated their 18th year together. They’d written over 100 songs, made 10 studio records, toured internationally and created Blood:Water Mission, an organization dedicated to providing clean blood and water for African nations suffering from the HIV/AIDS crises. Although the band has had its share of successes, including three GRAMMYs for Much Afraid (1997), If I Left the Zoo (1999) and The Eleventh Hour (2002), they began to ask themselves what comes next. For the answer, they decided to look inward and head inland.
Lead singer Dan Haseltine explains: “In Homer’s Odyssey, when Odysseus returns to land after a life on the sea, he’s told to take his oar and walk inland until he finds someone who doesn’t know what an oar is. For us, the story suggested moving from a comfortable place into unexplored territory. We decided to turn away from everything we’d done before and find our own voice as a band. It took a year of writing to complete the process, but we wanted these songs to be musically and emotionally honest, a believable expression of what’s going on inside of us right now. Inland seemed like a fitting title.”
“At 40, you’re more aware of life’s limits than when you’re younger,” Odmark continues. “Part of the spiritual journey is facing the grief and frustration of every day life. Songs are a great way to look at the questions we don’t have the answers to, with an open heart. By writing about our lives at this moment, we can wrestle with these problems in a redemptive way and offer the results to other people.”
The band, which also includes keyboard wizard Charlie Lowell and multi-instrumentalist Stephen Mason, writes collectively, letting the songs guide their journey. “We sit in a circle and play,” Haseltine says. “The sessions were more like therapy than songwriting at times. We were vulnerable with each other and, out of that, came the themes of the album. We drew on everything we’ve ever done and experimented to see how far beyond that we could go. The record became about moving out of the familiar and into the unknown.”
Part of the Inland journey was leaving their hometown of Nashville. They enlisted producer Tucker Martine (My Morning Jacket, Beth Orton, The Decemberists) and recorded at Flora, his Portland studio. “We went to Portland to refocus creatively,” Haseltine says. “We all have wives and kids and usually make records while carrying on our daily lives. We’re never in the studio for a full day because we have to clock out and drive home every evening. Tucker provided a sacred creative space to make something beautiful and provocative. We missed our families, but we wanted to be present with each other and give this record a chance to be fully realized.”
The Jars cut the album live, straight to analog tape, with several songs captured in one take. Matt Chamberlain (Springsteen, Tori Amos, Wallflowers) supplied his subtly powerful drumming, while Martine crafted the album’s signature sound, a blend of acoustic and electronic tones with dramatic waves of spacey synthesizer, subtle dub reggae effects and an inventive approach to Haseltine’s vocals. “Tucker spent as much time on my vocals as he did on getting the guitar sound right,” Haseltine says. “We used my voice as another instrument. I improvised the wordless vocal fills on the spot, and sang harmonies with myself, so the singing on Inland has a quality that sets it apart from our other albums.”
The music on Inland has a rich cinematic quality, marked by Lowell’s lush keyboard melodies, Odmark’s strong acoustic rhythm guitar and Mason’s serpentine bass lines. The lyric of “After The Fight” suggests the tale of Jacob wrestling with the angel, while the music has a low-key swagger that brings to mind the intergalactic art rock of Bowie and Peter Murphy. Haseltine explores the upper limits of his high end with an aching vocal that combines equal measures of passion and resignation. “We asked Adrian Belew if he’d come in and work his magic,” Haseltine says. “He produced two songs on our first record, but we were too intimidated to let him play guitar. This time he added his big, wild, twanging guitar sound, the reverse solos and all the other effects he’s famous for.”
Mason’s sighing pedal steel floats above the measured heartbeat of Chamberlain’s bass drum to set the mournful tone of “Inland.” It has a country/pop sound that harks back to songs on the band’s earlier albums, a blend of singer/songwriter and rock. Haseltine’s wordless vocal accents soar through the mix like delirious angels, anchored by Mason’s sharp, distorted chord clusters. “Fall Asleep,” the band’s first piano ballad, is a showcase for Haseltine’s vulnerable singing and Lowell’s contemplative piano. The song was captured in one take. “It’s about a relationship that can’t last and asks if we can accept the grace of a single moment,” Odmark explains. “It’s a narrative of impermanence and sums up the themes of the record. Since nothing lasts forever, is there a way to live in the present and find peace with the knowledge of limitation?”
“Skin and Bones” is an anthemic neo-R&B tune that compels us to remember that love is more than physical. A propulsive bass line and gospel flavored piano open “Left Undone,” an energetic mid-tempo rocker that reminds us that our time on earth is limited, while “Reckless Forgiver” is a solid country rock tune with sprightly Celtic fiddling by Jeremy Kittel. “These are songs for the ordinary days, when life is weighty and uncertain,” Odmark says, summing up the album’s ethos. “Doubt is the necessary partner of faith, the middle ground where you and I do the gritty work of actually living. The space in between the way the world is and, even underneath the most cynical exteriors, the way we know the world ought to be.”
Jars of Clay Chooses Independence:
Part of going ‘inland’ for Jars of Clay also meant returning to their roots as an independent band and shattering some of the preconceived notions built over the years by label marketing strategies.
“Over the last decade, we’ve been influenced by voices that should not have mattered, talking about market needs, or church needs, voices that made it difficult to create art,” says Haseltine. “It took a long time to strip away every voice that wasn’t ours to make Inland. For me, it’s always been about a great song. We want to connect with people who love music for music. That’s why created our own label, Gray Matters.
“We’ve had enough experience with record labels working a project because they have to, so we built a team,” continues Haseltine. “Everyone we work with loves the record and wants to help us build something as a band with a big creative vision. If you’re a musician, you don’t realize that you’re a small business owner too. So the label is a building block to the next level.”
For Jars of Clay, the next level means once again harnessing the youthful ambition and uninhibited creativity of their beginnings as college students nearly 20 years ago, while simultaneously cultivating a maturity that comes with experience. Not content to rest on their past accomplishments, Jars of Clay members are taking their next journey inland where ‘comfortable’ is not an option. Inland is filled with embellishments of violin, horns and ambient melodies and rich lyrics that attest to two decades of creativity.
Blood:Water Mission was founded in 2002 to help combat the HIV/AIDS epidemic in Africa. “LIVE AID showed us it was possible for artists to come together and raise awareness,” says Haseltine. “Blood:Water Mission is our opportunity to do the same. Our goal is to get African nations clean blood and clean water by building sustainable relationships. We partner with Africans on the ground, who become heroes in their own communities. We tell the story and raise funds. With our partners, we’ve dug 1,300 wells in over 11 countries providing 800,000 people with clean water, started four clinics that give about 25,000 people access to HIV testing and antiviral drugs. A few of the clinics are building maternity wards so there will be a clean, safe place to have babies. This was all born out of our idea that our fans would join us and make the Mission part of their story. It’s been an incredible experience.”
To Learn More Visit: Jars Of Clay
The good-time sounds of the Lovin’ Spoonful made the quartet a fixture during the golden age of Top Forty radio. Over a period of two years in the mid-Sixties, the New York-based group charted a string of ten Top Forty hits, seven of which placed inside the Top Ten at a time when the competition included Motown, the Beatles and countless British Invasion bands. The Lovin’ Spoonful’s tuneful, poppy singles have stood the test of time and at least one of them, “Do You Believe in Magic,” remains a defining rock and roll anthem.
The four original members–singer/guitarist John Sebastian, guitarist Zal Yanovsky, bassist Steve Boone and drummer Joe Butler–came together in Greenwich Village. The folk-music scene was in full swing, but the electrified sounds of the Beatles and the other pop bands of the day had also caught their attention. Retaining their folkie roots while exploring new directions, the Lovin’ Spoonful adapted folk-style fingerpicking to electric instruments. Their folk-rock hybrid was particularly evident in the unusual combination of autoharp and electric guitar on “Do You Believe in Magic.” What really set the Lovin’ Spoonful apart from the mid-Sixties pack of one-hit wonders was their daring eclecticism. No two singles were written in the same style. Between 1965 and 1968, they tackled jug-band music (“Good Time Music”), ragtime (“Daydream”), country (“Nashville Cats”), folk-pop (“You Didn’t Have to Be So Nice”), hard rock (“Summer in the City”) and orchestrated pop (“She Is Still a Mystery”).
The consequences of a 1966 arrest of two band members for marijuana possession led to the band’s gradual dissolution, with Yanovsky leaving in 1967. Sebastian, the group’s founder and leader, quit in 1968. The group’s final album featured only Joe Butler from the original group. John Sebastian launched a successful solo career that found him giving one of the more memorable performances at Woodstock in August 1969. Many years later, in 1980, the Lovin’ Spoonful came together one more time to perform a cameo in Paul Simon’s film One-Trick Pony.
In 1991 a long awaited settlement with their record company inspired Joe and Steve to contact Jerry and start up the Lovin’ Spoonful again. After a two month rehearsal in the Berkshire Mts., the group started touring anew, visiting over 150 cities and countries worldwide and reaching out to a whole new audience in addition to those that have enjoyed their music over the years. So look for them coming to your neighborhood bringing a brand new batch of Good Time Music. You can also click the concert info button for a calender of their future appearances.
On March 6, 2000 they were inducted into the Rock And Roll Hall of Fame.
To Learn More Visit: The Lovin’ Spoonful
Tickets on sale to Members on May 12, General Public on May 16
Marty Stuart is a five time GRAMMY-winner, platinum recording artist, Grand Ole Opry star, country music archivist, Southern culture historian, photographer, musician, songwriter, TV show host, charismatic force of nature, and country music fan.
Since starting out singing gospel as a child, Stuart, 54, has spent over four decades celebrating American roots music with a missionary’s zeal. His teenage years on tour with bluegrass legend Lester Flatt in the ’70s were followed by six years in Johnny Cash’s band during the ’80s and a chart-topping tenure as a solo artist in the ’90s.
The turn of the century saw Stuart looking inward to make deeply felt records paying homage to his love of vintage gospel, his Native American passions, and as always, his core — foot-stompin’, tail-shakin’, honky tonkin’, rockin’ hillbilly music. His latest musical oeuvre is ably supported by the coolest cats in Nashville – his backing band, The Fabulous Superlatives: guitarist Kenny Vaughan, drummer Harry Stinson, and bassist Paul Martin.
Stuart’s zest for every conceivable flavor of country music is also seen regularly by TV viewers these days, on RFD-TV’s “The Marty Stuart Show”, a musical variety show and the number one program on the network.
So, what’s next? As musicologist Peter North cites, “Marty Stuart seems wrapped in his destiny at this point in time. Not only as country music’s most notable ambassador/caretaker, but as its main archetypical crusader. He has without question evolved into one of the most important roots musicians and visionaries in America.”
To Learn More Visit: Marty Stuart