Music News aka Houston Music News - January 2024

Vol. 43 - No. 4 • JANUARY 2024 • www.houstonmusicnews.net • FREE

MR. BIG! Also In This Issue We The Kings • The Record Company • Everclear Holding Absence • Al Di Meola • Ludicris Charlatans U.K. • Shenendoah • Elvis Costello Enrique Guzman • Bacon Brothers • And More!

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Music News • Januiary 2024

January 2023

Hi Folks,

Hello Music News readers. I hope you had a great December.

Our cover story for this month is Mr. Big. Mr. Big is bringing their “Big Finish Tour” to the all new Warehouse Live Midtown, formerly Rise Fooftop. This concert is scheduled to showcase almost all of their biggest hits. It will definitely be one concert you won’t want to miss. Check out the new Warehouse Live Midtown today.

Now, on to the new issue. In this issue, as usual, we have some great stories and information to pass on to you.

Check out stories in this month’s issue on Al Di Meola, The Bacon Brothers, We The Kings, The Record Company, Everclear, Charlatan U.K., Ludicris, Holding Absence, and much more, as well as another installment of the original story, THE BIKER! Also in this issue are a ton of great pictures of bands performing around the Houston area. I’m sure you’re going to be familiar with a lot of these bands. Those bands include Gary Cain, Larry Tillery Blues Band, Lucid Illusions, Paraleaf, Paul Ramirez, Pierce And The Blue Moon, Pigs In Zen, Ruben V, SOA, Susanne’s Band, and more!

Also be sure to check out our Spanish section. In this month’s issue we have stories on Enrique Guzman and Oscar D. Leon. Both stories are in English and Spanish.

I sincerely hope that everybody reading this new publication finds something here that they like and I would like to encourage you to let your friends and colleagues know about us. Just look for us every month at http://www.houstonmusicnews.net. I would also like to encourage you to email us for a free subscription to Rock And Blues International as well. Just email us at musicnew@airmail.net and in the subject line simply put “Sign Me Up” and we’ll email you a copy each month when it is published. Remember, for your convenience, Music News is also now downloadable. You can download the issue into your computer or storage device and save it and read it at your convenience without having to get logged on to the internet every time.

Try it now and save every issue. It will make things a lot easier for you.

Kevin Wildman Kevin Wildman Editor and Publisher

Kevin Wildman Editor and Publisher Web Address http://www.houstonmusicnews.net Mailing Address Box 1162, League City, TX 77573 Phone 281-650-1953

For Advertising email us at musicnew@airmail.net or call 281-650-1953 For A Free Subscription email us at musicnew@airmail.net and in the subject line put “Sign Me Up Now” January 2024 • Music News

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Contents

VOL. 43 NO. 4

Page 6 Mr. Big Mr. Big Kicks Off Their “Big Finish Tour” At Rise Rooftop On January 12

Page 8 Ludicris Ludacris Performs At Smart Financial Centre January 26th Headlining MY 00’S PLAYLIST

Page 12 Al Di Meola Al Di Meola: A FourDecade Sonic Odyssey 4

Music News • January 2024

JANUARY 2023

Page 14 Everclear Everclear Perform At The Dugout In Katy On January 12th

Page 16 Charlatans UK The Charlatans UK Perform At The House Of Blues January 12

ISSUE NO. 531

Page 19 Enrique Guzman Smart Financial Centre at Sugar Land Welcomes Enrique Guzman’s Inmortales del Rock & Roll Tour

Page 22 Bacon Brothers The Sonic Odyssey of The Bacon Brothers: “Ballad Of The Brothers”

Page 18 Elvis Costello

Page 23 Odd Eye Circle

Elvis Costello Performs At The House Of Blues January 17

Odd Eye Circle Announce 2024 ‘Volume Up’ Tour

Contents

VOL. 43 NO. 4

JANUARY 2023

Page 28 Holding Absence

Page 34 Record Company

Holding Absence Perform At Rise Rooftop January 31

The Record Company Perform At White Oak Music Hall January 20

ISSUE NO. 531

Page 42 Oliver Tree Oliver Tree Performs At The 713 Music Hall February 3rd

Page 30 Shenendoah Shenendoah Perform At The Arena Theatre January 11

Page 38 Oscar D Leon Oscar D Leon y Guayacan Orquesta Performs At The Arena Theater January 27

The Continuing Saga Of A Lone Biker On The Road To Explore The Freedoms Of America.

Also In The issue

Page 56 On Random Shots featuring

Page 52 Oscar D Leon (En Espanol) Page 32 We The Kings We The Kings Perform At White Oak Music Hall January 31

Page 48 The Biker

Page 53 Enrique Guzman (En Espanol)

Gary Cain, Larry Tillery Blues Band, Lucid Illusions, Paraleaf Paul Ramirez, Pierce & The Blue Moon, Pigs In Zen, Ruben V, SOA, Suzanne’s Band, The Hates, and more!

January 2024 • Music News

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Mr. Big Kicks Off Their “Big Finish Tour” At Rise Rooftop On January 12

By Greg Fontaine In a dazzling spectacle earlier this summer, the legendary rock ensemble MR. BIG, bedecked in their trademark top hats and seasoned shoes, embarked on a spectacular journey known as “The BIG Finish.” This wasn’t just a tour; it was a grand finale, a resounding farewell to an era that had defined their legacy.

The first act unfolded in the vibrant landscapes of Japan and Southeast Asia in July and August, where MR. BIG graced the stage for hundreds of thousands of devoted fans across 11 sold-out shows, including the illustrious Budokan in Tokyo, Japan. Now, the stage is set for “The BIG Finish” to echo through South America, Europe, and the U.S. The inaugural set of shows in the 6

Music News • April January 2023 2024

States will kick off on January 12, 2024, in Houston, Texas, at the Rise Rooftop, with more dates slated for announcement soon.

For ticket information, fans can visit the band’s official website.

With lead vocals by Eric Martin, Paul Gilbert on guitar and vocals, Billy Sheehan handling bass and vocals, and Nick D’Virgilio on drums and vocals, MR. BIG took center stage once more to commemorate the culmination of an era. The weight of this final chapter became especially poignant with the loss of the band’s original drummer and cofounder, Pat Torpey, in 2018, after bravely battling Parkinson’s disease.

“I love playing the entire ‘Lean Into It’ record,” shares Gilbert. “We’ve never done that

until now, and the songs flow together really well. It’s a firstclass seat in the time-travelmachine back to 1992! I was amazed that during my guitar solo, the whole audience started singing along with me! That was the first time that has ever happened! That’s what a live show is about!”

“We wanted to do a proper farewell, and this seems like the right way to do it,” asserts Sheehan. Martin adds, “If we were in the movie business, we’d just put it all up in lights and say, ‘Welcome to ‘The BIG Finish’!’

Seriously, I’m glad we’re getting a chance to do it all onstage together as MR. BIG again and raise a flag to everything we’ve continued on next page

Mr. Big

MR. BIG, renowned for blending virtuosity with songcraft, emerged from the seeds sown (continued from when bass virtuoso Billy Sheehan, previous page) often hailed as “the Eddie Van done as a band over the years.”

Halen of bass,” departed David A poignant addition to this Lee Roth’s solo band in 1988. farewell tour is the inclusion of With former Racer X guitarist Nick D’Virgilio, a longtime friend Paul Gilbert, drummer Pat Torpey, of the band with an impressive and vocalist Eric Martin completpedigree (SPOCK’S BEARD, ing the quartet, they swiftly BIG BIG TRAIN), stepping into secured a recording contract with the formidable shoes of founding Atlantic in 1989, resulting in the drummer/vocalist Pat Torpey. self-titled debut that same year.

D’Virgilio’s arrival brings both Their horizons expanded exceptional drumming and a vocal with 1991’s “Lean into It,” featurrange akin to Pat’s, ensuring a ing hits like the melodic “Green fitting continuation of MR. BIG’s Tinted Sixties Mind” and the harmonious legacy on stage. chart-toppers “To Be with You” After 35 electrifying years, and “Just Take My Heart.” Deaddicted to the perpetual rush of spite releases like “Bump Ahead” live performances, the band (1993) and “Hey Man” (1996), collectively feels it’s time to hang MR. BIG faced challenges susup their top hats and shoes. The taining their U.S. commercial grand finale is a world tour success while continuing to soar commencing in 2023, destined to in Japan. endure as long as MR. BIG fans The late ’90s witnessed demand it.

Gilbert’s departure, succeeded by

Richie Kotzen. The new lineup released studio recordings like “Get Over It” and “Actual Size” before a “farewell tour” in Japan led to an amicable breakup in 2002.

In 2009, as the 20th anniversary of MR. BIG’s debut loomed, the original lineup announced their reunion on Japanese radio.

The subsequent reunion tour spawned the release of the double-disc concert album “Back to Budokan.” Returning home in 2010, they recorded a new studio album, “What If,” released in Japan in 2010 and in the U.S. in 2011. The band continued their resurgence with releases like “The Stories We Could Tell” (2014) and “Defying Gravity” (2017), marking their ninth studio album overall.

As the echoes of “The BIG Finish” reverberate across the globe, MR. BIG bows out, leaving an indelible mark on the world of rock and roll.

January 2024 • Music News

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Ludacris Performs At Smart Financial Centre January 26th Headlining MY 00’S PLAYLIST

By Deshaun Phillips Ludacris, born Christopher Brian Bridges on September 11, 1977, is a versatile American rapper and actor with a career spanning over two decades. Hailing from Champaign, Illinois, Ludacris made Atlanta, Georgia, his musical home at the young age of nine. His journey began as a DJ, but his passion for rhymes and rhythms soon propelled him into the spotlight.

In the late 1990s, Ludacris took a bold step, creating his own record label, Disturbing tha Peace, marking the start of a prolific era. His debut album, “Incognegro,” released in 1999, set the stage for his major label debut, “Back for the First Time” in 2000, under Def Jam Recordings. The album’s singles, “Southern Hospitality” and “What’s Your Fantasy,” quickly climbed the charts, announcing Ludacris as a force to be reckoned with in the hip hop scene.

The subsequent years saw Ludacris rise to greater heights, releasing multi-

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platinum albums like “Word of Mouf” (2001), “Chicken-n-Beer” (2003), and “The Red Light District” (2004). His infectious tracks, including “Area Codes” and “Rollout (My Business),” showcased his lyrical prowess and unique style.

Ludacris continued his musical journey with albums like “Release Therapy” (2006) and “Theater of the Mind” (2008), exploring deeper themes. The track “Money Maker” and his collaboration with Usher on “Yeah!” earned him number-one spots on the Billboard Hot 100.

In 2010, Ludacris returned to his roots with the album “Battle of the Sexes,” featuring a more lighthearted tone reminiscent of his earlier work. The album’s success solidified Ludacris as a rap icon.

Beyond the mic, Ludacris graced the silver screen, portraying Tej Parker in the “Fast and Furious” film series, showcasing his versatility as an entertainer. His acting repertoire expanded with roles in films like “Crash” (2004) and “Gamer” (2009).

A pivotal moment in Ludacris’s career came with the 2015 release of “Ludaversal,” marking his return after a three-year hiatus.

The album, met with positive reviews, reached number three on the Billboard 200.

In recent years, Ludacris has embraced new ventures, hosting YouTube’s “Best.Cover.Ever” show and collaborating with country singer Carrie Underwood on the hit single “The Champion.”

Ludacris’s influence extends beyond entertainment; he is a private pilot and an active philanthropist. In 2020, he ventured into children’s entertainment with the Netflix series “Karma’s World,” inspired by his daughter, Karma Bridges.

As Ludacris continues to evolve artistically and contribute to various facets of the entertainment industry, his legacy remains firmly entrenched in the annals of hip hop history. With his tenth studio album in the works, Ludacris is poised to captivate audiences once again and solidify his status as a rap legend.

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January 2024 • Music News

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Music News • January 2024

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Al Di Meola: A Four-Decade Sonic Odyssey

By Deshaun Phillips Al Di Meola will be appearing this month at The Heights Theater in the Heights for a very special evening of entertainment.

Al Di Meola’s enduring fascination with intricate rhythmic syncopation, paired with evocative melodic structures and sophisticated harmonies, has been the cornerstone of his music across a celebrated career spanning four decades. During this remarkable journey, he has garnered critical acclaim, achieved three gold albums, and sold over six million records worldwide. Regarded as a bona fide guitar hero, perennial pollwinner, and prolific composer, Di Meola boasts a repertoire of over 20 albums as a leader and has collaborated on a dozen more with renowned artists like Chick Corea, Stanley Clarke, Lenny White, John McLaughlin, Paco de Lucia, and others.

A pioneer in blending world music and jazz, Di Meola’s exploration began with early Latin-tinged fusion albums like “Land of the Midnight Sun” (1976), “Elegant Gypsy” (1977), and “Casino” (1978). He continues to delve into the rich influences of flamenco, tango, Middle Eastern, Brazilian, and African music with his World Sinfonia, a global 12 Music News • January October 2024 2023

group formed in 1991. This dynamic fusion has been captured on releases such as “The Grande Passion” (2000), “Live in London” (2007), “Pursuit of Radical Rhapsody” (2011), and the captivating DVD “Morocco Fantasia” (2012).

Growing up in Bergenfield, NJ, Di Meola developed a passion for the guitar influenced by artists like Elvis Presley, The Ventures, and The Beatles. Enrolling at the Berklee College of Music in Boston in 1972, he joined Chick Corea’s fusion supergroup Return to Forever in 1974, marking the beginning of his illustrious career. After three groundbreaking albums with Return to Forever, Di Meola embarked on a solo journey, releasing his debut album “Land of the Midnight Sun” in 1976.

In 1980, he achieved monumental success with the acoustic guitar trio alongside Paco De Lucia and John McLaughlin, resulting in the landmark recording “Friday Night in San Francisco.” The trio’s virtuosic performances continued with the studio album “Passion, Grace & Fire” in 1982 and a reunion in 1995 for “Guitar Trio.”

Di Meola’s versatility extends to collaborations with artists such as Luciano Pavarotti, Paul Simon, Manuel Barrueco, and

Pino Daniele. His extensive career includes work with Phil Collins, Carlos Santana, Steve Winwood, Wayne Shorter, Herbie Hancock, and numerous other luminaries.

In 2013, he paid homage to The Beatles with the acoustic album “All Your Life,” featuring interpretations of 14 familiar tunes. “Elysium” (2015) showcased Di Meola’s mastery, blending the tones of nylon string and electric guitars in a compelling collection.

In 2018, Di Meola marked a new era with “OPUS,” his first project with German record label ear music. The album reflects his compositional evolution, infused with happiness from his personal life. In July 2018, he received the Honorary Doctorate Degree of Music from Berklee School of Music, his alma mater.

March 2020 saw the release of “ACROSS THE UNIVERSE,” offering a retrospective of Di Meola’s illustrious career with creative interpretations of 14 Beatles songs.

Al Di Meola continues to shape the landscape of contemporary music, showcasing his virtuosity and compositional brilliance across diverse genres.

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Everclear Perform At The Dugout In Katy On January 12th

By Troy Wilson Everclear will be making a special appearance in the Houston area this month in Katy, Texas on January 12th.

They will be appearing at Top Golf at The Dugout club they have there. While the band is not really out on tour, it does what is called ‘flyaway dates’. These dates will find them flying around the United States, jetting from one side of the U.S. to the next side of the U.S. It can be quite hectic for them at times, but some of the classic rock bands just love it. One of those bands is Everclear.

As Art Alexakis, founder of Everclear tells us, “A lot of the business for older bands heritage bands, is flyaway dates. And most bands from the 90s, if they’re lucky, they get about five to 10. The more active ones get from 20 to 30, or 40. We do about 70 a year of flyway dates and we have a great business doing that and I’m blessed to have it. But that’s the majority of it. Then we always do another real proper sixweek tour in the middle of it. This year, we did two tours. In 2023, we did a tour in Australia, and which was 17 dates, which is huge for Australia. That’s like doing a three-month tour of the US. And we did a 32-date tour in the fall. So we are planning a fall tour. We’re still lining 14

Music News • January 2024

up bands and all that stuff. But we start doing shows again in Katy on January 12th. That’s our first show of the year.”

Now you’re probably wondering why they will be at Top Golf. Well, as Art tells us, there’s a very interesting story to accepting that gig. “Do you know what a Top Golf is. You know, that chain Top Golf? It’s top golf for batting cages. It’s kind of a bar, restaurant, other things, but it’s basically batting cages.

And that’s what I’m told. But my interest in it, I mean, you know, it was a pretty decent offer to go play it. The main reason I wanted to do it. I used to live in Katy. My dad had a house in Katy. I lived there in 1979 for about a year, not a year about eight months. And that was back in 1979. So it’s a whole different world out there. People are like you won’t even recognize it man, so I think that’s interesting to do that. But it’s also interesting to, to play in different places.

You know, it’s fun.”

So, the weekend of the 12th is definitely going to be a bit hectic for Everclear. Art tells us that “It’s hard when you look at it from the old school way of like, touring. It’s hard to get itself around. But that’s the three show weekend I got. We got to Katy and then we fly to Baton Rouge the next day. And

then we then we go up near Chicago the next day after that. So it’s three shows in a row. And then the next week and we have three shows in a row as well. And it’s just flying to every game.”

Besides doing the ‘flyaway dates’, Everclear is out promoting their new album, “Live at the Whisky A Go Go.” The band dropped a new album on September 8 with Sunset Blvd. Records called “Live at the Whisky A Go Go.” It’s basically a celebration of the band’s history of over 30 years. You’ll find live versions of their famous songs like Santa Monica and Heroin Girl, among others, plus two new tracks. They also released the first single, “Sing Away,” on the same day.

When it comes to the new album, Art is extremely happy about the new album and the way it came out. He tells us that “It came out in September, and it’s “Everclear: Live at the Whisky a Go Go”. It’s a recording of one show that we recorded last year, December 1, it was the last show. And that’s 2022. That was the last show of 2022 of the 30th Anniversary Tour celebrating the 30th anniversary of our first album “World Of Noise”. Usually when bands record live albums, they record three or four shows, so they have different things to pick from. I wanted to just document one show, and see how it came out. If it came out horrible, I wasn’t gonna do it. I told the label that, we’ll see. I paid for recording it and if it comes out good, well work it out. And it came out great.

And we have a videotape of it out. We put that out for free on YouTube. So people can see that. It’s a video of the whole album. And we also got two new songs on the album. Songs we recorded last year and put out on our own called “Year Of The Tiger and the other song that came out on this album that we recorded, that was originally on my solo record, “Sun Songs” that came out in 2019. This the song’s called “Sing Away”. And it’s about bullyism and teen suicide. just dealing with that. And we made a video for it as well. You can see on YouTube.”

Everclear got started in Portland, Oregon, back in 1991. The founder is Alexakis, originally from Los Angeles, who does the songwriting, singing, and guitar playing. At the peak of their popularity, the band included Craig Montoya on bass guitar and Greg Eklund on drums. continued on next page

Everclear (continued from previous page) Their first three albums on Capitol Records—Sparkle and Fade, So Much for the Afterglow, and Songs from an American Movie Vol. One: Learning How to Smile—were huge hits, all going platinum. But then, the next two albums, Songs from an American Movie Vol. Two: Good Time for a Bad Attitude and Slow Motion Daydream, didn’t do so well. Montoya and Eklund left the band in 2003 due to declining sales.

After some solo performances, Alexakis decided to keep Everclear going. He found new musicians and released two more albums, “Welcome to the Drama Club” and “Invisible Stars.”

In 2012, Alexakis kicked off a 1990s nostalgia tour called the Summerland Tour, which happens every summer, featuring Everclear and other 1990s alternative rock bands. In April 2015, the band dropped their ninth studio album, “Black is the New Black.”

Alexakis had a tough childhood, starting with his father leaving when he was a kid. Money troubles led his family to the slums of Los Angeles, where he got into heavy drug use. He even had a near-fatal cocaine overdose, which finally made him clean up.

Wanting a fresh start, Alexakis and his girlfriend moved to her hometown, Portland, Oregon. There, he put an ad in the local music weekly, The Rocket, and got two responses: bass player Craig Montoya and drummer Scott Cuthbert.

They named the band Everclear after the infamous grain alcohol.

The new band started recording in a friend’s basement, leading to two releases: the “Nervous & Weird” EP and the first full-length album “World of Noise,” both in 1993, released by Portland’s Tim/Kerr Records.

They signed with Capitol Records in 1994 and, just before the signing, parted ways with drummer Cuthbert, bringing in drummer Greg Eklund. In May 1995, they released their first Capitol Records album, “Sparkle and Fade.” The first single, “Heroin Girl,” got some MTV play, but it was the second single, “Santa Monica,” that really took off, eventually going platinum.

Their second album, “So Much for the Afterglow,” came out in October 1997. The first two singles, “Everything to Everyone” and “I Will Buy You a New Life,” did okay, but “Local God” got featured in Baz Luhrmann’s Romeo + Juliet in 1996, boosting the album’s success. After touring with Marcy Playground and Fastball, they released “Father of Mine,” the third single from “Afterglow,” which catapulted the album and the band to mainstream success.

“So Much for the Afterglow” earned the band their only Grammy nomination to date in 1998, a Best Rock Instrumental nod for “El Distorto de Melodica.” They also won Billboard’s Modern Rock Band of the Year Award that year. Even though “Afterglow” peaked at No. 33 on the Billboard album chart, it reached double-platinum status by the end of the year.

In 2000, they released a doublebarreled concept effort with the poppy “Songs from an American Movie, Vol. 1: Learning How to Smile” and the harderrocking “Songs from an American Movie, Vol. 2: Good Time for a Bad Attitude.” Both records produced several charting singles, with “Wonderful”

finding the most success. In 2003, they released “Slow Motion Daydream” before the greatest-hits compilation “Ten Years Gone: The Best of Everclear 19942004” in October 2004.

Off the Capitol roster and back in the indie world, the new Everclear, with Alexakis as the only original member, released “Welcome to the Drama Club” in September 2006. Boosted by the single “Hater,” “Drama Club” cracked the Billboard Top 200 and hit number 11 on the Top Independent Albums chart. In 2008, they released “The Vegas Years,” a set of covers, and in 2009, “In a Different Light,” an album of acoustic reinterpretations of their songs.

Two years later, Everclear looked back again, releasing new versions of their hits and a few covers on “Return to Santa Monica.” Their first album of new material in six years, “Invisible Stars,” arrived in the summer of 2012, peaking at 119 on the Billboard charts. Three years later, the group returned with the heavier “Black Is the New Black,” released on The End Records.

January 2024 • Music News

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The Charlatans UK Perform At The House Of Blues January 12 The Charlatans: Pioneering a Higher State of Grace

By Albert Schwartz Celebrating twenty-seven years since their inaugural Number One album, ‘Some Friendly,’ The Charlatans find themselves at a zenith of artistic achievement. Continually reaching new career pinnacles, the band engages in crafting innovative music that not only charts their course but also solidifies their identity. With a trajectory unparalleled in British rock, the release of ‘Different Days,’ their impressive 13th album, marks a chapter of unparalleled forward-thinking, self-definition, and relevance.

In the poignant words of Tim Burgess, resonating through the anthemically optimistic track ‘There Will Be Chances,’ the band reflects on the past with laughter, acknowledging its cherished place but recognizing the irreplaceable present. ‘Different Days’ resonates as a testament to optimism, 16

Music News • January 2024

especially poignant in a year marred by political upheavals, prejudice, anxiety, and global division. Tim elucidates, “To us, the album represents an upbeat view of a world that might well be falling apart, in a time where you have to work out who your friends are, and gather them around you.”

The Charlatans’ remarkable journey embodies triumph over adversity. Having weathered the loss of two members to a car crash and a brain tumor, this resilient ensemble has not only endured but soared to greater heights. Positioned as a people’s band, their tumultuous mortal journey mirrors the shared human experience. In their latest venture, the surviving quartet— Burgess, bassist Martin Blunt, guitarist Mark Collins, and keyboard player Tony Rogers—extends an open invitation to a cadre of friends, a move initially born out of necessity after the passing of founding drummer Jon Brookes in 2013.

Pete Salisbury, the former Verve sticksman, received the inaugural call, having previously stepped in during the challenging months of illness, loss, and grieving. The band’s preceding album, ‘Modern Nature,’ crafted under the cloud of loss, garnered critical acclaim for its soulful and cathartic essence. Reflecting on this period, Martin Blunt, the band’s founder, noted, “On previous albums, it had all got a bit fragmented, but I think we realized that what makes us is all of us in the room together.” ‘Modern Nature’ secured their eighth Top Ten on the album chart, accompanied by a lifetime achievement award from Q magazine.

The subsequent whirlwind of 2015 witnessed sold-out UK tours, surprise appearances at Glastonbury, and headline slots at the Isle Of Wight and Kendall Calling festivals. The momentum carried continued on next page

The Charlatans UK continued from previous page into 2016, with extensive tours across Europe, America, and Australia. By summer, a multitude of individually carved music ideas set the stage for the band’s gathering at their Big Mushroom HQ in Cheshire in September ’16, marking the inception of ‘Different Days’ without the need for demos.

Described by Burgess as a “very conversational” process, the friends engaged in collaborative efforts, shedding egos and fostering renewed camaraderie. Anton Newcombe from Brian Jonestown Massacre received an impromptu invitation, leading to

expanded collaborations with friends the band truly knew and loved. Johnny Marr, introduced to the band in 1999, lent his artistry to three tracks, including the majestic leading single, ‘Plastic Machinery.’

An old friend, Stephen Morris, known for his associations with New Order and Joy Division, extended his role beyond physical drumming to programming and digital technology, contributing to seven tracks. Collaboration reached new heights with a longdiscussed partnership with Paul Weller, culminating in the expansive, Chicago soul-inspired album finale, ‘Spinning Out.’ The collaborative spirit continued with ‘star turns,’ including congas from ACR’s Donald Johnson and bass from his brother Derrick on ‘Over Again.’

Notably, vocals from Sharon Horgan, of TV’s ‘Catastrophe,’ graced the title track.

As the band concluded the album’s production in early 2017, a deliberate effort streamlined the collection into a cohesive musical journey—bright, dark,

and ultimately, sexy.

Further enriching the narrative, additional contributors like crime novelist Ian Rankin, Lambchop’s Kurt Wagner, and Tim’s Twitter friend Shuri Endo delivered spoken-word passages.

Burgess, deeply connected to daily thoughts, carefully avoided direct references to current affairs, preserving the album’s liberating and poetic essence. In the face of societal challenges, ‘Different Days’ implicitly conveys a message of creativity, diversity, and collective strength.

As Burgess aptly concludes, “There are layers and layers to this record. It’s true to who we are. It doesn’t sound like we’re trying to be anyone else – aware of the world around us but protective of the world we hold close.”

In the days and months ahead, the boundless positivity and inventive spirit of ‘Different Days’ promise solace to every bewildered listener, transcending the prevailing boorishness and corporate greed.

January 2024 • Music News

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Elvis Costello Performs At The House Of Blues January 17

By Greg Fontaine Elvis Costello & The Imposters recently unveiled the 7-0-7 Tour, featuring guitarist Charlie Sexton.

Commencing in Florida this January, the tour will journey through New Orleans, Texas, Missouri, Nashville, Atlanta, and North Carolina, with a special appearance scheduled at The House Of Blues in Houston on January 17th.

In a press release capturing the essence of the upcoming tour, it states, “As the days grow shorter, anticipation swells. Remember that this is not just a concert — it is a communion of amorous spirits, an odyssey of pure, unadulterated elation.”

Costello’s latest album, “The Boy Named If,” released in 2022, showcases tracks such as “Paint the Red Rose Blue,” “The Difference,” and “Penelope Halfpenny.” The tour promises a mix of both old and new hits, a testament to Costello’s diverse musical journey.

Since 2002, Costello’s touring band, known as The Imposters, has featured a rotating cast of musicians, including Steve Nieve (keyboards), Davey Faragher (bass/backing vocals), 18

Music News • January 2024

and Pete Thomas (drums).

Elvis Costello, a luminary of the first wave of 1970s British punk, transitioned from the loud, fast rules of punk with albums like “Armed Forces” in 1979. His musical evolution embraced various genres, from new wave to jazzinflected works like “Hey Clockface.”

Born Declan McManus, Costello’s journey began in 1977 when he signed with Stiff Records. His debut album, “My Aim Is True,” released in the summer of 1977, garnered positive reviews. Costello’s permanent backing band, The Attractions, formed in 1977, featuring Bruce Thomas, Steve Nieve, and Pete Thomas.

Success continued with albums like “This Year’s Model” (1978) and “Armed Forces” (1979). In 1980, “Get Happy!!” showcased a soul-influenced sound. Costello’s collaboration with Paul McCartney yielded hits like “Veronica” in 1989.

The ’80s saw diverse releases, including the country covers album “Almost Blue” (1981) and the lushly arranged pop of “Imperial Bedroom” (1982). Commercial success followed with “Punch the Clock” (1983) and its

hit single, “Everyday I Write the Book.”

Costello’s solo endeavors in the mid-’80s explored stripped-down, folky approaches, exemplified by “King of America” (1986). The reunion with The Attractions for “Blood and Chocolate” (1986) preceded a solo tour in 1984.

In the late ’80s and ’90s, Costello collaborated with various artists, explored classical music with The Juliet Letters (1993), and reunited with The Attractions for “Brutal Youth” (1994).

The 2000s showcased Costello’s versatility with albums like “When I Was Cruel” (2002), collaborations with The Roots, and a Grammy-winning album, “Look Now” (2018).

In recent years, Costello’s releases include “Hey Clockface” (2020) and “The Spanish Model” (2021). “The Boy Named If” (2022) underscores his enduring passion for music.

Elvis Costello’s musical journey reflects a tireless exploration of genres and a commitment to artistic evolution.

As he embarks on the 7-0-7 Tour, audiences can expect a transcendent experience, embodying the spirit of a legendary artist.

Smart Financial Centre at Sugar Land Welcomes Enrique Guzman’s Inmortales del Rock & Roll Tour

By Jose Martinez Enrique Guzmán, a luminary hailing from the intersection of Venezuela and Mexico, emerges as a true maestro, shaping the very landscape of Latin Music and Rock & Roll. His journey is not merely a chapter in the annals of music; it is a saga that has unfolded over the decades, weaving itself into the cultural fabric of not just Mexico, but the entire Latin American realm. Guzmán’s arrival on the scene heralded a new era, setting the stage for the illustrious careers of César Costa, Angélica María, Johnny Laboriel, Alberto Vasquez, and a multitude of

others who found inspiration in his trailblazing footsteps.

As the calendar inches closer to January 28th, all eyes turn to the illustrious Smart Financial Centre in Sugar Land, eagerly anticipating the crescendo of Enrique Guzmán’s artistry. This iconic venue, a modern-day coliseum, stands as a testament to the grandeur of his impact—a stage befitting a musician whose melodies have not only stood the test of time but have become the very heartbeat of an era. The air is charged with excitement as fans prepare for an evening that promises not just entertainment but an immersion into the soul-stirring magic that defines Guzmán’s extensive repertoire.

The resonant notes of “Mis Mejores Canciones,” the 1973 magnum opus, echo through the corridors of time, carrying with them the essence of an artist at the zenith of his creativity.

Each track, meticulously crafted, tells a story—whether it’s the fiery rhythm of “Que Le Den Candela,” the tender charm of “La Pequeña Señorita,” or the heartfelt serenade of “Cuando Llegue el Amor.” These are more than songs; they are encapsulated moments in a sonic journey that transcends eras, uniting audiences through the universal language of music.

Delving deeper into the tapestry of Enrique Guzmán’s artistic legacy, we find not just a musician but a storyteller who seamlessly transitioned from

melodies to the silver screen. The timeless allure of the 1965 film “Canta Mi Corazon” is a testament to Guzmán’s ability to captivate not only with his voice but also with his onscreen charisma. The mid-’60s television show “Silvia y Enrique,” a collaborative venture with his then-wife Silvia Pinal, became a cultural phenomenon, further solidifying his status as an entertainer of unparalleled versatility.

Beyond the glitz and glamour, Enrique Guzmán’s journey into the heart of Latin rock during the ’50s is a chapter worth savoring.

His musical alchemy in translating hits like “Jailhouse Rock” for a Spanish-speaking audience demonstrated not just linguistic prowess but an innate understanding of the soul of the music. In the mosaic of his career, we find not just a solo artist but a pivotal figure in the success of Los Teen Tops, a late’50s rock band that echoed with the fervor of an era marked by rebellion and rhythm.

In the anticipation of the Smart Financial Centre spectacle on January 28th, one cannot help but marvel at the enigma that is Enrique Guzmán. This is not merely a concert; it is an odyssey through the corridors of time, where the echoes of his melodies become a bridge connecting generations. As we prepare to embark on this musical sojourn, let us celebrate the living legend whose influence transcends the boundaries of fame—a true virtuoso whose legacy continues to reverberate through the very heartbeats of those who have been touched by his magic.

January 2024 • Music News

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The Sonic Odyssey of The Bacon Brothers: “Ballad Of The Brothers”

By Nathan Pugh This month, The Bacon Brothers will be appearing at Dosey Doe Big Barn on January 21st. For The Bacon Brothers, the essence of music lies in exploration.

Over three remarkable decades, the siblings have crafted a distinctive blend of folk, rock, soul, and country music, a sonic tapestry they aptly term “forosoco.” Their musical journey has traversed the globe, headlining in Japan and gracing iconic American venues like Carnegie Hall, the Grand Ole Opry, and Gruene Hall.

This exploration extends to their twelfth release, “Ballad Of The Brothers.” The album not only underscores the common ground shared by Kevin Bacon, acclaimed Hollywood actor, and Michael Bacon, Emmy-winning composer, but also celebrates their unique differences.

United by blood and a shared passion for American roots music, the siblings have evolved into adept songwriters and cinematic storytellers, each with their distinctive approach. “Ballad Of The Brothers” embraces these differences, offering a versatile mix ranging from edgy alt-rock (“Take Off This Tattoo”) and Motown-inspired soul (“Put Your Hand Up”) to fingerpicked folk (“Let That Be Enough”) and beyond.

Michael reflects on their collaborative process, stating, “We’re two musicians who write songs very differently, and we’ve grown to really appreci22 Music News • January 2024

ate those differences. Whenever I go see a band play live, I’d much rather see them do a thousand things than just one thing. We take a similar approach to our albums.”

During the creation of “Ballad Of The Brothers,” the Bacons undertook multiple trips to Tennessee, collaborating with Nashville songwriters like Casey Beathard, Brett Tyler, and Kimberly Kelly. The album’s recording also took them to various locations, adding an eclectic touch to their sound. “Live With The Lie” was captured in New Jersey, ditching a click track for an authentic performance. “Put Your Hand Up,” a brassy soul track, found its roots in

Philadelphia, while “Take Off This Tattoo,” produced by Kevin’s son Travis Bacon in Los Angeles, transformed from a country song into something entirely new with a rock and electronic sensibility.

The Bacon Brothers aren’t afraid to push boundaries, as evidenced by the unexpected fiddle solo in “Take Off This Tattoo.” Kevin explains, “We worked with fiddle player Brian Fitzgerald on that song, and the direction we gave him was: ‘Imagine that you’re playing an electric guitar, but it just looks like a fiddle.’ He absolutely crushed it.”

“Ballad Of The Brothers” weaves a rich tapestry of autobiography and vivid fiction. Tracks like the tongue-in-cheek “Old Bronco” turn Kevin’s 1969 Bronco truck into a metaphor for aging, while “Airport Bar” beautifully likens a doomed relationship to a sports bar in an airport terminal. The album’s title track, inspired by Gruene Hall, unfolds a Wild West narrative about two East Coast city dwellers taking a Texas road trip, discovering hidden musical talents on a Texas honky-tonk stage.

The musical partnership of Michael and Kevin Bacon, rooted in their upbringing in Philadelphia, continues its journey with “Ballad Of The Brothers.” Raised on a soundtrack of 1970s singer/songwriters, Philly soul, and classic rock, they now create their own soundtrack. Their musical work, much like any artistic endeavor, is an ongoing exploration. Michael reflects, “We’re still exploring the sound we began making all those years ago; we’ve just gotten a lot better at it. Music is a life’s work. It’s a universe of things yet to know. We’re still making new discoveries.”

Odd Eye Circle Announce 2024 ‘Volume Up’ Tour Performing at Bayou Music Center January 19

By Sheena Johnson Get ready for an electrifying extravaganza as the sensational K-pop trio, Odd Eye Circle, comprising the dynamic members HeeJin, Choerry, and Kim Lip from the LOONA and ARTMS universe, is set to ignite the stage on fire with their upcoming blockbuster 10-date tour of the US and Mexico! Brace yourselves for an unforgettable journey into the heart of their mesmerizing musical universe, scheduled to unfold across the sizzling months of January and February 2024.

Emerging as a force to be reckoned with, Odd Eye Circle, a three-member K-pop girl group unit under the powerful banner of Modhaus, has etched its name in the annals of K-pop history. Bursting onto the scene in 2017 with their debut album, ‘Mix & Match,’ this powerhouse trio swiftly captured the hearts of international fans, soaring to new heights on the prestigious Billboard charts, earning a coveted spot on “The Best K-pop Songs of 2017” and “The 100 Greatest K-Pop

Songs of the 2010s.”

In a triumphant return, the year 2023 witnessed the triumvirate’s triumphant comeback with the scintillating album ‘Version Up’ in July. As a “Summer Unit Hot Unit,” the title track ‘Air Force One’ catapulted to the pinnacle of the iTunes Top Songs chart, firmly establishing Odd Eye Circle’s dominance in the global K-pop scene. Each track, including the enchanting ‘Je Ne Sais Quoi’ and the ethereal ‘Lucid,’ serves as a testament to the group’s evolution, showcasing a more mature vocal and performance prowess as they unequivocally declare, “Version Up.” Having already set Europe ablaze with their captivating tracks and mesmerizing choreography, Odd Eye Circle is now ready to enchant fans in the USA with their inaugural tour, promising an unprecedented one-time experience. Prepare to be transported into their unique universe, where a proven setlist and exhilarating live performances are set to create indelible memories, marking the perfect gift to kickstart your

2024 with a bang!

Odd Eye Circle’s music is an embodiment of the girl crush concept, revolving around the themes of love and attraction.

Playful and tempting, the members express fondness and seduction towards their beloved ones, touching upon subjects of playfulness, temptation, romance, and intimacy. These three extraordinary girls convey a powerful message – don’t wait for love to happen passively; take the initiative and make it happen yourself.

Delving deeper into their fantastical world, each member possesses a unique eye that glows in an upward crescent, representing their distinctive colors. Linked to the moon, Kim Lip possesses the power of time travel through speed, JinSoul can traverse through space via teleportation, and Choerry has a mysterious link to mirrors, enabling her to transport through other members’ universes. Buckle up, because Odd Eye Circle is not just a K-pop sensation; they are a powerhouse of enchantment and a musical journey like no other!

January 2024 • Music News

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Also available on Spotify, Google Podcasts, Podcast Index, Amazon Music, Podcast Addict, Podchaser, Pocket Casts, Deezer, Listen Notes & More!

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January 28th John Calderon’s Birthday Bash!

Thursday, January 25

Houston Blues Society Blues Jam Hosted by Alastair Greene

January 2024 • Music News

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Live Music Schedule

Friday, January 5 - FingerJane, 4skull SOUP, Small Scale Mutiny Saturday, January 6 - Maniacal Grind, Wretched Kingdom, Hitch Sunday, January 7 - SPIT, One Man Band Friday, January 12 - Bigtop Cowboy Entertainment Saturday, January 13 - ’Loud & Local: Houston’ Sunday, January 14 - Winston Cook, Scotti Fraser Michael Koby Friday, January 19 - Satri, Vosotros, Codigo 6, Roman Font Saturday, January 20 - Held in Orbit, Horizon Shyft Sunday, January 21 - Orca Band, BLUSH, Hemq Tuesday, January 23 - Itami and Annelida Friday, January 26 - County Road 208, Drifters & Grifters, Hitch Saturday, January 27 - Memory, Lunara, Iperion, Bullethead January 2024 • Music News

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Holding Absence Perform At Rise Rooftop January 31

By Tank Martin holIn the tapestry of rock history, the Welsh post-hardcore virtuosos, Holding Absence, embarked on a transcendent odyssey, leaving an indelible mark on the global stage. The ensemble, led by the enchanting vocals of Lucas Woodland, embarked on a transatlantic pilgrimage, introducing North America to their magnum opus, “The Noble Art of Self Destruction,” in the summer of 2023.

Holding Absence, a musical alchemy comprised of Lucas Woodland, the vocal sorcerer; Scott Carey, the guitar virtuoso; Benjamin Elliot, the bass maestro; and rhythmic architect Ashley Green, set the stage ablaze with their first headlining North American tour. This monu28

Music News • January 2024

mental journey unfolded against the backdrop of their latest opus, “The Noble Art of Self Destruction,” a sonic masterpiece that charted new territories in the realm of posthardcore.

The saga of Holding Absence began in the musical crucible of Cardiff, Wales, in 2015. Four visionaries—Woodland, Carey, Elliot, and Green—conspired to create a sonic narrative that transcended the conventional boundaries of the genre.

The band derived its name from the poignant composition “Holding Your Absence” by Hammock, setting the stage for an emotive and atmospheric journey.

As the seasons of their musical evolution changed, so did the lineup.

In 2016, Woodland assumed the mantle of lead vocalist, breathing

new life into the band. The cosmic alignment continued as Holding Absence signed with SharpTone Records in 2017, heralding a new era in their musical odyssey.

Singles and EPs became chapters in the band’s unfolding narrative. “Permanent,” the debut single under Woodland’s iteration, caught the discerning ear of SharpTone Records, marking a pivotal moment in their journey. The subsequent years saw the band weaving a tapestry of sonic brilliance, from the soul-stirring “Penance” to the mesmerizing “Saint Cecilia.”

The band faced a momentary test as Feisal El-Khazragi bid farewell, joining forces with Loathe.

From the echoes of change emerged continued on next page

Holding Absence continued from previous page a revitalized Holding Absence, with Scott Carey and Chris Smitheram adding new dimensions to their sonic lexicon.

The magnum opus awaited its revelation, and in 2019, Holding Absence bestowed their self-titled debut album upon the world. Critics hailed it as a brilliantly told tale of love and life, a testament to the boundless potential of post-hardcore.

The debut set the stage for a triumphant tour, thrusting Holding Absence into the limelight with UK shows of unprecedented magnitude.

Europe beckoned, and alongside Being As An Ocean, the band ventured into new territories, winning accolades and nominations for their breakthrough contribution to the genre.

The cadence of their journey continued with the release of singles like “Gravity” and “Birdcage,” each a testament to the band’s evolution and enduring creativity. In 2021, Holding Absence unveiled their sophomore masterpiece, “The Greatest Mistake of My Life.” A sonic revelation, it secured its place among the best rock albums of the year, according to Loudwire and Kerrang.

Yet, the saga persisted. A new chapter unfolded with the release of “Aching Longing” in 2022, paving the way for a collaboration with Alpha Wolf in the form of the split EP “The Lost & the Longing.”

Holding Absence’s sonic alchemy reached new heights with singles like “Coffin,” showcasing an unyielding commitment to pushing the boundaries of their craft.

As the world turned the pages of time to 2023, Holding Absence stood poised at the precipice of another monumental chapter. The unveiling of “A Crooked Melody” marked the prelude to their third album, “The Noble Art of Self Destruction,” scheduled for release on August 25, 2023. The singles “False Dawn,” “Honey Moon,” and “Scissors” served as tantalizing

glimpses into the auditory tapestry the band meticulously crafted.

Lucas Woodland, the lyrical architect, provided insight into the album’s thematic depth. The cover, a completion of a trilogy, mirrored the Japanese art of kintsugi, infusing beauty into the fractures of life. In the crucible of self-destruction, Holding Absence found the golden threads of resilience and growth, embodying the spirit of artistic metamorphosis.

Holding Absence members, anchored by the rhythmic pulse of Ashley Green, the emotive vocals of Lucas Woodland, the melodic mastery of Scott Carey, and the bass resonance of Benjamin Elliot, stood united in their musical exploration.

The Holding Absence chronicle continued, a harmonious interplay of sound and soul, a testament to the boundless possibilities that unfold when musicians transcend mere notes and embrace the profound artistry of their craft.

As they embarked on their tour with Electric Callboy in Leipzig, Germany, the world awaited the crescendo of “The Noble Art of Self Destruction,” an opus that promised to leave an indelible imprint on the annals of musical history. The saga of Holding Absence unfolded like a symphony, resonating with the echoes of passion, perseverance, and the ever-unfolding tapestry of selfdiscovery.

January 2024 • Music News

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Shenendoah Perform At The Arena Theatre January 11

By Nathan Pugh In the vast landscape of country music, when enthusiasts engage in conversations about the greatest groups, Shenandoah is a name that consistently takes center stage. Led by the distinctive vocals of Marty Raybon and fortified by the band’s exceptional musicianship, Shenandoah etched its mark in the annals of country music, delivering unforgettable hits like “Two Dozen Roses,” “Church on Cumberland Road,” and “Next to You, Next to Me.” Yet, their repertoire isn’t confined to chart-toppers; it includes poignant classics like “I Want to be Loved Like That” and the Grammy-winning “Somewhere in the Vicinity of the Heart,” a soulful duet with Alison Krauss.

Fast forward to today, and the legacy of Shenandoah is far from static.

Original members Marty Raybon and Mike McGuire have reunited, inaugurating a new chapter in the band’s illustrious career. The genesis of this reunion traces back to a benefit concert for a friend battling cancer. Marty Raybon recalls the pivotal moment, stating, “We saw how folks reacted. And then Jerry Phillips, son of legendary Sun Records producer Sam Phillips, said, ‘You guys need to make a run at this. People still love what you do.’”

The rekindling of chemistry on stage, according to Mike McGuire, was akin to riding a bicycle. “We had done so 30

Music News • January 2024

many shows over the years together.

Even though we spent 17 years apart, we got back up on the stage, and it was like we never stopped.”

Shenandoah’s journey commenced in 1984 in Muscle Shoals, Alabama, with Raybon and McGuire spearheading the formation alongside bassist Ralph Ezell, keyboardist Stan Thorn, and guitarist Jim Seales. The turning point arrived when acclaimed producer Robert Byrne witnessed their performance, leading to a demo recording and a pitch to Columbia Records. The self-titled debut in 1987 laid the foundation, but it was the sophomore effort, “The Road Not Taken,” that propelled them to success with hits like “She Doesn’t Cry Anymore” and “Mama Knows.”

The trio of consecutive No. 1 hits—”Church on Cumberland Road,” “Sunday in the South,” and “Two Dozen Roses”—solidified Shenandoah’s place in history. “The Church on Cumberland Road” made history, spending two weeks at the top and marking the first time a country band’s debut No. 1 single achieved this feat. It also propelled sales of the album to more than half a million units, securing Shenandoah’s first gold album.

For Shenandoah, the essence of success lay in their knack for recognizing a hit. Marty Raybon affirms, “We knew a hit song when we heard one. We prided ourselves on having an ear for songs. Mike, in particular, has always

been a good song guy.”

Their repertoire resonated with themes of faith, family, and small-town joys, with hits like “Next to You, Next to Me” reigning atop the charts for three weeks. The poignant duet with Alison Krauss, “Somewhere in the Vicinity of the Heart,” garnered accolades, including a Country Music Association Award and a Grammy.

Accumulating nine studio albums and 26 singles on Billboard’s Hot Country Songs chart, Shenandoah’s impact on country radio remains undeniable. Their enduring hits include “Ghost in This House,” “I Want to Be Loved Like That,” “Rock My Baby,” and “If Bubba Can Dance (I Can Too).”

Today, Shenandoah holds a prestigious spot among the top five recurrents on all XM radio shows, standing alongside legends like Alabama and George Strait. Marty Raybon expresses his awe, stating, “That’s amazing to know that you are in the company of Alabama and George Strait.

It’s hard to believe.”

Yet, the journey continues. Marty Raybon and Mike McGuire aren’t content to rest on their laurels. They are currently immersed in creating new Shenandoah music, drawing from a pool of top-tier material. Mike McGuire emphasizes, “We have access to really top-drawer material, and have found some great songs that we will be producing ourselves.”

As Shenandoah records new music and prepares for an upcoming tour, Marty Raybon will still grace select solo dates. In the years since parting ways with Shenandoah, he has solidified himself as an award-winning bluegrass artist. The bond between Raybon and Shenandoah, forged by music, remains unbroken. Marty reflects, “We were fortunate enough to have songs that seemed to touch a great deal of people and while doing so it created a lot of memories.”

Mike McGuire echoes the sentiment, stating, “We are really proud of the quality of the material that we have in our catalog and how it’s touched so many people’s lives. As far as the future goes, I’m expecting more of the same.

We’re still the same guys. I expect the records we cut in the future are still going to sound like Shenandoah, and the songs are going to be just as good.”

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January 2024 • Music News

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We The Kings Perform At White Oak Music Hall January 31

By Troy Wilson In the heart of 2024, the air was buzzing with anticipation as the pop-punk sensations We The Kings unveiled their grand plans for the year. The stage was set for the Alien Invasion Tour, a cosmic journey across America in January and February, featuring special guests 408. Cities like Richmond, St. Louis, Oklahoma City, Dallas, Houston, San Antonio, and Tallahassee were earmarked as celestial stops on this intergalactic musical odyssey.

We The Kings, known for their infectious melodies and dynamic performances, weren’t stopping there. Throughout the year, they were slated to join forces with Story of the Year for segments of the latter’s ‘Page Avenue’ 20th-anniversary tour, sharing the spotlight with Youth Fountain. The promise of an electrifying convergence of musical forces had fans counting the days.

The driving force behind this tour extravaganza was We The Kings’ unwavering commitment to their craft, a journey that found its roots in the release of their sixth studio album, ‘Six,’ on July 6th, 2018, via SCurve. The band’s evolution, both musically and artistically, was a tale woven with

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dedication and innovation.

In a spirited announcement in December 2017, We The Kings offered fans a behind-the-scenes glimpse into the making of ‘Six.’ The album, brimming with anthems like “Planes, Trains, and Cars” and “Festival Music,” emerged as a testament to their relentless pursuit of musical excellence.

Notably, ‘Six’ broke free from the constraints of a traditional label, with the band opting for a more intimate connection with their fanbase through PledgeMusic. Fans seized the opportunity to become an integral part of the album’s creation, from naming songs to having their faces immortalized on the album cover in a yearbook-style montage.

This bold move marked a departure from the industry norm and underlined the band’s desire to forge a genuine connection with their supporters. The result was a collection of songs that resonated deeply with fans, making ‘Six’ more than just an album— it became a shared experience, a testament to the unity between the band and their dedicated audience.

Before ‘Six,’ We The Kings had already left an indelible mark on the music scene. Their 2017 offering, ‘Self-Titled

Nostalgia,’ and the 2015 gem ‘Strange Love,’ which claimed the #8 spot on Billboard’s Independent chart, were milestones in their musical journey. The band’s trajectory, however, extended far beyond charts and accolades.

It all began in Bradenton, Florida, in 2005, where four friends—Travis Clark, Hunter Thomsen, Drew Thomsen, and Danny Duncan—converged to form We The Kings.

The name itself echoed their shared history, a nod to their junior high school mascot.

Guided by manager Bret Disend, the band navigated the intricate web of the music industry, eventually securing a deal with EMI’s imprint S-Curve Records.

The self-titled debut album, released in 2007, struck platinum with the single “Check Yes Juliet,” propelling We The Kings into the limelight. The subsequent album, ‘Smile Kid’ (2009), continued the ascent with Top 40 singles like “Heaven Can Wait” and “We’ll Be a Dream” featuring Demi Lovato. Tours alongside notable acts and the release of ‘Sunshine State of Mind’ in 2011 marked a phase of relentless touring and creative

continued on next page

We The Kings (continued from previous page) exploration.

As the years unfolded, so did We The Kings’ musical palette. The arrival of ‘Strange Love’ in 2015 showcased a fusion of radio-friendly hip-hop and disco dance flair, a departure from their earlier sound. This evolution continued with their 2017 tenthanniversary album, ‘Self-Titled Nostalgia,’ where they revisited and reworked their debut album’s tracks.

‘Six’ in 2018 not only affirmed their staying power but also set the stage for a new era. The album resonated with fans, and the band hit the road once again, marking their presence on the final Vans Warped Tour that summer. But the We The Kings saga was far from over.

As 2019 unfolded, the Platinum-selling band embarked on a monumental coheadlining tour across America with Simple Plan and State Champs. The WTK 10 Tour celebrated the 10th anniversary of their debut self-titled album, reinforcing their enduring connection with fans.

In the wake of this tour’s resounding success, the band took a creative detour, culminating in the release of an EP titled ‘Stripped’ in 2014. Acoustic renditions of songs from ‘Somewhere Somehow’ and new tracks like “Stone Walls” showcased a different dimension of We The Kings’ musical prowess.

But the story didn’t stop there. The band’s evolving sound found its true expression in ‘Strange Love’ in 2015, incorporating diverse elements and demonstrating their ability to transcend genres. The subsequent year saw them venture into Broadway territory with a cover of LinManuel Miranda’s “The Story of Tonight” from the musical Hamilton.

As the musical landscape continued to shift, We The Kings remained at the forefront of innovation. In 2016, they tantalized fans with a single, “The Story of Tonight,” a cover that marked their return to radio waves. The song was a resounding success, and a music video, unveiled on The American Top 40 with Ryan Seacrest, cemented their place in the contemporary music scene.

But for Travis Clark and his bandmates, the creative journey was an unending odyssey. In September 2016, Clark tantalized fans with the prospect of new music, a testament to the band’s ceaseless commitment to crafting fresh sonic experiences. The promise of more/new songs, as Clark phrased it, resonated with the excitement of eager listeners.

Fast forward to December 2016, and We The Kings dropped a bombshell— a tour to commemorate the ten-year anniversary of their debut album, ‘We the Kings.’ With 32 dates across the US, 3 in the UK, and 1 in Canada, the tour was a testament to the

enduring legacy of the band’s inaugural release.

In September 2017, the band celebrated a decade of musical excellence with the release of ‘Self-Titled Nostalgia.’ This tenth-anniversary album featured reworked versions of all the songs from their debut album, along with a new track titled “Planes, Trains, and Cars.” The celebratory journey didn’t end there; in December 2017, they dropped the single “Festival Music,” signaling the inception of their sixth studio album.

The creative gears were in full motion, and the wheels were set in motion for the production of their sixth studio album, announced in a video that same month. The band adopted an unconventional approach, inviting fans to be a part of the album’s creation through various packages on PledgeMusic. Each fan who participated found their face etched alongside the band members’ on the album cover—a testament to the symbiotic relationship between We The Kings and their dedicated fanbase.

And then came July 6, 2018, the day ‘Six’ was unleashed upon the world. We The Kings had once again pushed the boundaries, delivering an album that not only showcased their musical prowess but also exemplified the power of collaboration between artists and fans.

As the calendar flipped to 2018, We The Kings weren’t content to rest on their laurels. Their aptly titled sixth studio album, ‘Six,’ featured the single “On My Love.”

However, it wasn’t just another album release; it was a proclamation of their continued relevance and a celebration of their unbroken connection with fans.

To cap off an eventful year, the summer of 2018 saw We The Kings taking the stage for the last Vans Warped Tour, an iconic moment in the band’s history. The Warped Tour, a significant chapter in their journey, provided a fitting stage for We The Kings to bid farewell to an era while looking forward to the chapters yet to be written.

The story of We The Kings is one of resilience, evolution, and an unwavering commitment to their craft. From their humble beginnings in Bradenton, Florida, to touring the world, breaking the mold of traditional album releases, and celebrating a decade of musical brilliance, We The Kings have left an indelible mark on the hearts of their fans.

As the Alien Invasion Tour loomed on the horizon in early 2024, We The Kings were once again poised to create musical magic. The echoes of their journey, from “Check Yes Juliet” to the cosmic landscapes of ‘Six,’ reverberated through concert halls and stadiums across America. The story of We The Kings continues to unfold, and with every chord struck and every note sung, they etch a new chapter in the annals of pop-punk history.

January 2024 • Music News

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The Record Company Perform At White Oak Music Hall January 20

By Greg Fontaine In the vibrant and eclectic music scene of Los Angeles, a trio of kindred souls, Chris Vos, the soulful voice with nimble fingers on the guitar, Alex Stiff, the rhythmic heartbeat pulsating through the bass, and Marc Cazorla, the maestro behind the drums, converged to create the Grammy-nominated rock band, The Record Company.

Their sonic journey commenced in late 2011, echoing through the walls of the bass player’s living room in Los Feliz, California. A raw and authentic sound emerged, influenced by the blues legends like John Lee Hooker, the rebellious spirit of early punk embodied

by The Stooges, and the timeless rock vibes of The Rolling Stones.

From humble beginnings to gracing concert halls across North America, The Record Company found themselves sharing stages with musical 34 Music News • January 2024

giants like John Mayer, B.B. King, Social Distortion, Buddy Guy, Bob Seger, Grace Potter, and Trombone Shorty. The band’s European tour supporting Blackberry Smoke in late 2015 marked a significant step in their musical odyssey.

Positive reviews from Entertainment Weekly, Paste, The Huffington Post, and the prestigious Rolling Stone highlighted The Record Company’s rising star. The latter even featured them in their April 2016 list of “10 New Artists You Need to Know,” catapulting the trio into the spotlight.

Before The Record Company came into being, the band’s core duo, Stiff and Cazorla, had shared musical endeavors in the indie-rock band The Frequency.

However, it was the formation of this swaggering three-piece rock band that truly set their artistic spirits free. Though deeply rooted in the blues, The Record

Company refused to be labeled as just another blues act. Their unique approach blended the influences of Muddy Waters and Jimmy Reed with the tougher, upbeat attack of early rock & roll.

The formation of the band in 2011 marked the convergence of three serious music enthusiasts—Vos from Milwaukee, Wisconsin; Stiff from Wayne, Pennsylvania; and Cazorla from Elmira, New York. Their college days had seen Stiff and Cazorla playing together in a rowdy blues band that often headlined frat parties. After graduation, Stiff’s move to Los Angeles, followed by Cazorla, set the stage for their eventual collaboration.

Vos, hailing from a dairy farm, ventured to Los Angeles in 2010, and a Craigslist ad seeking like-minded music buffs brought the trio together. Their continued on next page

The Record Company (continued from previous page) friendship blossomed as they bonded over shared vinyl treasures, a love for music that transcended eras. The transition from sharing records to creating music was a natural evolution, spurred by Cazorla’s acquisition of a battered drum kit from a garage sale.

Online rehearsals and intimate gigs at smaller venues and record stores marked their early days. The strategy paid off, propelling The Record Company into the hearts of the Los Angeles music scene. Soon, they found themselves sharing stages with legends like B.B. King, Buddy Guy, Blackberry Smoke, and Social Distortion.

In 2013, they released a five-song EP, “Feels So Good,” capturing their rough-and-tumble sound on vinyl. The Record Company’s overseas debut came in 2015, touring Europe for the first time.

The same year, Concord Music Group recognized their potential, offering the trio a record deal.

Their debut album, “Give It Back to You,” hit the shelves in February 2016, a product of their collective creation in the same living room where it all began. The lead single, “Off the Ground,” soared to #1 on the US Billboard Adult Alternative Songs chart.

The album’s success earned them a Grammy nomination for Best Contemporary Blues Album.

The subsequent years saw The Record Company’s meteoric rise, marked by appearances on prestigious 36

Music News • January 2024

platforms like CBS’ Late Show with Stephen Colbert, CBS This Morning, TBS’ Conan, and NPR’s World Café Live. Festival accolades at Bonnaroo Music & Arts Festival solidified their reputation as a dynamic live act.

The Record Company’s sophomore album, “All of This Life,” recorded at Boulevard Recording in Hollywood, dropped in June 2018. The lead single, “Life to Fix,” from this album, claimed the #1 spot on the Adult Alternative Songs Chart, further affirming their musical prowess.

As the nationwide “All of This Life Tour” unfolded in 2018, with iconic venues like The Fillmore in San Fran-

cisco and Los Angeles’ Wiltern Theater, The Record Company’s presence on the music scene became more entrenched.

Their creative journey didn’t stop there. In May 2019, the band released a reimagined version of “You And Me Now,” produced by T Bone Burnett exclusively on Amazon Music. The subsequent EP, “Side Project,” took a detour into covers, showcasing their versatility.

Despite the challenges posed by the COVID-19 Pandemic, The Record Company used the hiatus from touring to delve deeper into their music. The result was “Play Loud,” an LP released in October 2021, expanding their sound with more instruments.

However, the road took an unexpected turn as Concord, unsatisfied with sales figures, dropped The Record Company from their roster. Undeterred, the band forged ahead, signing a new deal with Round Hill Records.

Their latest endeavor, 2023’s “The 4th Album,” is a testament to resilience and musical evolution. Returning to their roots while infusing a lean, funky accent into their rhythms, The Record Company continues to captivate audiences. The journey unfolds with a new single, “Talk To Me,” released in June 2023, paving the way for the full album’s release on September 15, 2023, via Round Hill Records.

As the band continues to defy expectations and carve their niche in the ever-evolving music landscape, The Record Company stands as a testament to the enduring power of authentic, soulstirring rock music.whit

January 2024 • Music News

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Oscar D Leon y Guayacan Orquesta Performs At The Arena Theater January 27

By By Jose Martinez Get ready for a night of pulsating rhythms and infectious beats as the sensational Oscar D Leon y Guayacan Orquesta take center stage at the prestigious Arena Theatre in Houston, Texas, on January 27, 2024. This highly anticipated concert promises to be a dance extravaganza, featuring the legendary Oscar D Leon and the renowned Guayacan Orquesta. Brace yourself for a musical journey that will sweep you off your feet and have you grooving to the irresistible tunes.

Oscar Emilio León Simoza, better known as Oscar D’León, is a name that resonates across the globe, synonymous with the heartbeat of salsa music. Born on July 11, 1943, in Caracas, Venezuela, D’León’s journey into the world of music started in the vibrant streets of the Parroquia Antímano section of the city.

His passion for music led him to the bass guitar, where he alternated between 42

Music News • January 2024

being an auto mechanic during the day and a bass player for local conjuntos at night.

The young D’León quickly earned a reputation for his solid bass playing, clever improvisation skills, and dynamic singing. What set him apart was his ability to improvise entire songs on the spot, a talent that showcased his musical genius. As his fame grew, he founded orchestras such as La Golden Star and music groups like Los Psicodélicos, laying the groundwork for a stellar career.

In 1972, D’León, along with percussionist José Rodríguez and trombone players César Monge and José Antonio Rojas, formed La Dimensión Latina. This marked a significant chapter in his career, and the group became a sensation, captivating audiences with their lively performances. D’León, known for his energetic stage presence, would dance with a double bass while singing—a physical feat that added to

the allure of La Dimensión Latina.

The subsequent years saw D’León’s musical journey take new turns. In 1976, he parted ways with La Dimensión Latina and founded La Salsa Mayor. One of the notable achievements during this period was the recording of the merengue standard “Juanita Morell,” which gained immense popularity, especially in Puerto Rico. Undeterred by the challenges of leading multiple orchestras, D’León further expanded his musical repertoire by establishing La Crítica in 1978, paying homage to the legends of Cuban rumba, such as Miguelito Valdés.

D’León’s perseverance and dedication to his craft paid off in the 1980s when he achieved unprecedented success in the realm of salsa music. His powerful vocals and charismatic stage presence made him one of the great singers of Caribbean music. Despite the physical toll of carrying a double bass and the demands of touring, D’León adapted to change, opting for a cleanshaven head to embrace his bald look.

Throughout the ’80s, D’León’s success soared, and his impact on the Latin music scene became undeniable.

Successful tours across America and Spain solidified his status as a global icon, making history as the first Latino artist to sign a contract with the prestigious BBC. The accolades and recognition mirrored his influence on salsa music, as audiences worldwide were captivated by the magic of his performances.

The upcoming concert at the Arena Theatre in Houston is a celebration of Oscar D Leon y Guayacan Orquesta’s enduring legacy. This musical extravaganza promises to showcase a selection of D’León’s greatest hits, from the iconic “Llorarás” to other irresistible dance numbers. The infectious energy of Guayacan Orquesta will complement D’León’s performance, creating an atmosphere of pure musical ecstasy.

Don’t miss out on this extraordinary night of music and entertainment.

Secure your tickets from December 2, 2023, to January 28, 2024, and join us at the Arena Theatre for an unforgettable celebration of Latin music. Get ready to dance the night away and witness the magic of Oscar D Leon y Guayacan Orquesta on January 27, 2024!

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Wednesday’s @ 7:00 pm - 10:00 pm Thursday, Fridays & Saturdays @ 8:00 pm - 12:00 am • Sundays @ 4:00 pm - 8:00 pm Monday, January 1 - Pierce (solo) 4:00 pm - 6:00 pm Sunday, January 3 - Katie’s Wednesday Blues Jam with guest host Bob Emmons 7-10pm Thursday, January 4 - Chad Ware Friday, January 5 - The Classix Saturday, January 6 - Chris Crochemore Sunday, January 7 - Katie’s Sunday Blues Jam with guest host Chris Crochemore Wednesday, January 10 - Wednesday Night Jam with Chris Crochemore Thursday, January 11 - James & The Classix Friday, Janaury 12 - Snit’s Dog & Pony Show Saturday, January 13 - Pierce & The Purple Moon Sunday, January 14 - Katie’s Sunday Blues Jam with guest host Mark May Wednesday, January 17 - Wednesday Night Jam with Bob Emmons Thursday, January 18 - Hugo Jamz Trio Friday, January 19 - Mark May Saturday, January 20 - Tweed Smith @ 9:00 pm - 12:00 pm Sunday, January 21 - Katie’s Sunday Blues Jam with guest host Hugo Jamz Wednesday, January 24 - Wednesday Night Jam with James Wilhite Thursday, January 25 - Static Blues Friday, January 26 - Zach Tate Saturday, January 27 - Wake Zone Sunday, January 28 - Katie’s Sunday Blues Jam with guest host Pierce Wednesday, January 31 - Wednesday Night Jam with Bob Emmons

January 2024 • Music News

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June 2023 September 2023• •Music MusicNews News 2345

Oliver Tree Performs At The 713 Music Hall February 3rd

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Music News • January 2024

Oliver Tree (continued from previous page)

By Pinky Black In the sun-soaked coastal town of Santa Cruz, California, where the Pacific waves dance against the shoreline, Oliver Tree Nickell burst onto the scene, injecting the music industry with his eccentricity and unapologetic individuality. Born on June 29, 1993, this musical maverick, known by the pseudonyms Tree, Kryph, and Turbo, has carved out a niche that transcends the ordinary.

From the early days of strumming a guitar in a ska band called Irony to the vibrant indie-pop, hip-hop, and alternative rock amalgamation that defines his solo career, Oliver Tree’s journey is nothing short of extraordinary. His musical roots took hold at San Francisco State University, where he studied business for two years before the siren call of music lured him away.

The early 2010s marked the genesis of Oliver Tree’s solo career, initially under the moniker “Tree.” As he self-released music and made waves at music festivals like Wobbleland 2011, Tree’s sonic experimentation ranged from dubstep to alternative pop. However, his journey took an unexpected turn as he signed with R&S Records and released his debut EP, “Demons,” in August 2013.

An unexpected hiatus saw Tree return to academia, studying music technology at the California Institute of the Arts. But the allure of the stage proved too strong to resist. In 2016, he made a triumphant return to music, featuring on Getter’s track “Forget It” and marking his television debut on Last Call with Carson Daly.

The pivotal moment came with the viral success of “When I’m Down” in October 2016. Atlantic Records beckoned, and Tree’s career soared to new heights. As a true polymath, he not only conquers the music scene but also ventures into filmmaking, directing sketches in comedy videos, and collaborating with entities like Fuck Jerry.

The release of his debut single, “Welcome to LA,” in May 2017, marked the official emergence of Oliver Tree.

His major-label debut EP, “Alien Boy,”

followed in February 2018, showcasing his unique blend of alternative rock and hip-hop. The accompanying music video, featuring freestyle monster truck jumping, showcased Tree’s commitment to the unconventional.

As the years unfolded, Tree’s discography expanded with singles like “Hurt,” “Fuck,” and “Miracle Man.” His EP, “Do You Feel Me?,” earned critical acclaim, setting the stage for the release of his debut studio album, “Ugly Is Beautiful,” in 2020. However, true to his unpredictable nature, Tree delayed the album’s release, citing the need for attention to more pressing global issues.

“Ugly Is Beautiful” eventually dropped on July 17, 2020, capturing the essence of Oliver Tree’s artistic genius.

The album’s success paved the way for a deluxe version, introducing hits like “Life Goes On.” In 2021, despite claiming retirement, Tree surprised fans with the single “Out of Ordinary” and the deluxe edition of “Ugly Is Beautiful.” Collaborations with Russian rave band Little Big and Estonian rapper Tommy Cash added new dimensions to his sonic repertoire.

The release of his second studio album, “Cowboy Tears,” in February

2022, continued Tree’s genre-defying journey. The singles “I Hate You” and “Placeholder” teased his fans, maintaining the enigma that surrounds Oliver Tree. In August 2022, a collaboration with German producer Robin Schulz on “Miss You” further solidified Tree’s international presence.

As the meme industry embraced “WORTH NOTHING,” a remix of “Jerk,” Tree’s impact reached unforeseen heights. The release of the deluxe version of “Cowboy Tears” in December 2022 extended the musical odyssey into new territories.

The year 2023 ushered in a new chapter for Oliver Tree. His first single, “Here We Go Again,” featuring David Guetta, hinted at a forthcoming third studio album, “Alone in a Crowd.” The announcement of the “Alone in a Crowd World Tour” further solidified Tree’s commitment to a global audience.

Oliver Tree’s musical narrative is a rollercoaster of unpredictability, characterized by artistic fearlessness and an unyielding commitment to authenticity.

As “Alone in a Crowd” takes center stage, one can only anticipate the next twist in the tale of this unparalleled musical provocateur.

January 2024 • Music News

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Music News • December 2023

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The Biker, The Blues & No Need For Viagra No animals were injured during the production of this narrative and of course the content is 100% fictional. Any references to any real person or persons would only be to get even for some sort of injustice like running me out of town because I was “visiting” with the Sheriff’s daughter. Not that it really happened, I am just saying…but then again I probably will not be returning there soon.

It was Friday afternoon and I was coming in to Houston Texas from points north and I noticed this billboard that read “Del Castillo Tonight - Heights Theater”. Well Del Castillo is the best there is when it comes to rock with a Spanish flair so I naturally wheeled on in to that part of town. The Heights Theater is located in what is known as the heights area of town, an artsy community full of creation stations, original art works stores if you will. So I wheel up toward the theater with the local gendarme right behind me. I don’t know maybe it’s my award winning smile that attracts police officers it certainly couldn’t be the loud pipes of a custom made motorcycle obviously. Well he stuck with me through about five lights but when I turned into a parking spot he kept going. I don’t have any beef with cops but if you ride you must admit that at times when Barney Fife gets out of the cruiser you just go ah shit here we go… Now pulling into blues bar only adds to their curiosity and you hope like hell that Barney has not watched Easy Rider otherwise all your stuff gets laid out on the ground. If you ride you know the drill. If I’m lying, I’m dying. Ok so I pulled into a parking spot right out front of the theater and it was early and my hunger alarm was going off. Sort of caddy corner across the street there was this place named Torchy’s Tacos with a line extending outside. Once I got over there I could see why, this place is like Taco Bell but on steroids. The menu included a hot dog length sausage inside a flour tortilla smothered in stuff that is absolutely great on sausage but not exactly a cardiologist’s dream meal. However it was good and I could fully understand the line outside. By the way this place serves beer and specialty drinks so what’s not to like? So I had a “taco” and a couple of cold ones, well ok maybe four and then decided to find a spot outside for dessert, a nice cigar. Back across the street there was an ice cream shop with outdoor tables with no one sitting there so that seemed like a logical landing spot. I pulled out the air pods, popped them in and fired up a Houston favorite “Gangster of Love” by Johnny Guitar Watson. I fired up a Macanudo 48 ring and as soon as I lit it there she was baby. This good looking gal with silver hair and a beautiful smile with a double dip of banana ice cream in a sugar waffle cone. She came over and sat down at the table. I took off the air pods and asked if cigar smoke bothered her and she said no in fact she actually enjoyed the smell of cigar smoke. She asked what I was listening to and I told her that Anastacia was next with “Don’t Stop Doing It”. She nodded and said that is from her Freak Of Nature album and I said cool you know the album. She smiled and nodded. Now this where it gets a little weird. That cop car that I told you about was now driving down the street we were on and he looked over and stopped his patrol car. He rolled his window down and waved and I thought I don’t know this guy but as it turned out he knew the banana ice cream continued on next page

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October 2020 Music News • January 2024

Page 2

The Biker, The Blues & No Need For Viagra lady and she waved back. I thought great I am probably sitting here with a female under cover cop but that was not the case. Nope, it turned out to be her brother. I didn’t know whether to feel better about that or not so I just puffed on my stogie and kicked back. He drove away and she got up and said it was nice talking to you. She told me she was going to the theater to hear Del Castillo. I said me too if I can get a last minute ticket to the show. She told me that this would be her fifth time seeing them live this year. Now that’s a real fan if there ever was one. Good looking gal and knew her music.

Right about then a Mom and Dad came out of the ice cream shop with a young one and I thought cigar smoke I don’t know maybe now is a good time to move on. So I did. Next song up was T Bone Walker’s “Woman You Must Be Crazy” a great cut and one of the lesser known Walker songs but it’s 100% blues and T Bone gets it done. That song is way cool especially when the brass comes up behind him. I began my walk around the corner to the theater and ended up at the front door beside an outdoor ash tray. I cashed the cigar and made my way inside. Here would be the litmus test, could I score a ticket? Yep no problem and it was open seating except for the tables marked reserved so I made my way into the performance center and waited for my eyes to adjust. Nice stage, two floors, cool arrangement. Then I saw the ice cream gal again, sitting alone no less so I made my way over to where she was sitting. She told me that she knew the theater rather well and sitting right next to the sound board in the back of the room was the best place to see the performance and hear the music. I asked her if I could sit there too she smiled and nodded sure. Right at that moment the theater speakers began to play “Miss You” by the Rolling Stones. Great beat, sexy lyrics what’s not to like? We began to talk about the Stones and their history. It was cool to actually be sitting next to someone that could talk about their history having lived those years like I did too. Afterward the music turned to a local artist/ producer Richard Cagle and the Voodoo Choir. His song “Headed Into Houston” is a local favorite. Cool lyrics with a driving beat. Then they spun Prince and his “Cream” song, it was clear this place was going to be humming. Two ladies about three rows up stood up and started dancing.

I was sitting behind them and as much as I tried not to look while sitting with this fine woman well those backsides were swaying and saying no Viagra needed big boy just hug and stir. Something in my pants was beginning to dance, figuratively speaking of course. The room was filling up rather quickly, the lights dimmed and Monte Montgomery opened the show. Absolutely continued on next page January 2024 • Music News

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Page 3

The Biker, The Blues & No Need For Viagra great guitarist and showman. The excitement was beginning to become noticeable. They had a cash bar out in the lobby area and once the live music started people were scrambling for seats. Once everybody was in place the evening peaked when Del Castillo took to the stage. Incredible skill, top shelf sound, even their in between song narratives were brief and that kept the ambiance flowing yet even though they were brief they were informative. You could see the band having a good time between themselves and the sound, the beat, their vocals were spot on. At the end of the event the members of the band were out front signing autographs and cutting up with their fans. A good time for sure. The lady was correct I could see why she would drive for three hours to see them perform. They are that good.

My bike was parked right in front of the theater. When I went outside I could see the high gloss finish and the chrome sparkling due to the bright light from the marque. I remembered how construction started out, every external piece including the frame was hand crafted. The gas tank for example was extended so that it wrapped onto the frame more majestically. On this night for anyone who would be leaving the theater the gas tank would be one of the stand out noticeable features. Now it was time to find a gin joint to round out the night. I knew to head to The Big Easy over on Kirby Drive because if any place was going to have the blues cooking that night it would be The Big Easy. On this night Jonn Del Toro Richardson would laying down some heavy blues rock and that was just what the doctor ordered. Outside a man was smoking brisket, sausage and chicken. It was good, real good. The parking lot was overflowing, people were both inside and out. You could hear Jonn laying it down and even the people outside were into the sounds inside. Home run! On this night the Houston Blues Society was in the house.

They’ve had numerous bands win the International Blues Challenge in Memphis. That’s saying something as acts from all over the world go to that event. I was at home, the joint was jumping, the smoked brisket was over the top and did I mention the fine ladies that were there. Oh yes wall to wall people and lots of good looking female blues lovers. The bar maid poured scotch like someone with a broken arm and let me tell you they were stout. It had been a great day earlier and now I could add an evening to remember. Houston’s got it working and for a moment I thought maybe I should look into living there then I thought nah too much road to cover and so many good people yet to meet. Maybe at my age I am not born to be wild anymore but I am not born to be mild either. Screw it I am moving on. “I’m walkin’ down this rocky road wondering where my life is leadin’ - rollin’ on to the bitter end - I’m finding out along the way what it takes to keep love living - you should know how it feels my friend” - Bad Company. And finally remember this bit of advice: Keep smiling, it makes people wonder what you have been up to!

50

Music News • January 2024

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Oscar D León y Guayacan Orquesta Enero 2024 • Music News

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Oscar D León y Guayacan Orquesta se presentarán en el ArenaTheater el 27 de enero

By Jose Martinez Enrique Guzmán, una figura luminosa que proviene de la intersección entre Venezuela y México, emerge como un verdadero maestro, dando forma al paisaje mismo de la Música Latina y el Rock & Roll. Su viaje no es simplemente un capítulo en los anales de la música; es una saga que se ha desplegado a lo largo de las décadas, tejiéndose en el tejido cultural no solo de México, sino de todo el ámbito latinoamericano. La llegada de Guzmán al escenario anunció una nueva era, preparando el terreno para las carreras ilustres de César Costa, Angélica María, Johnny Laboriel, Alberto Vázquez y una multitud de otros que encontraron inspiración en sus pasos pioneros.

A medida que el calendario se acerca al 28 de enero, todas las miradas 52 Music News • Enero 2024

se vuelven hacia el ilustre Smart Financial Centre en Sugar Land, anticipando con entusiasmo el clímax de la artesanía de Enrique Guzmán. Este lugar icónico, un coliseo moderno, se erige como testimonio de la grandeza de su impacto, un escenario digno de un músico cuyas melodías no solo han resistido el paso del tiempo, sino que se han convertido en el latido mismo de una era. El aire está cargado de emoción mientras los fanáticos se preparan para una noche que promete no solo entretenimiento, sino una inmersión en la magia conmovedora que define el extenso repertorio de Guzmán.

Las notas resonantes de “Mis Mejores Canciones”, la obra maestra de 1973, resuenan en los corredores del tiempo, llevando consigo la esencia de un artista en la cúspide de su creatividad.

Cada canción, meticulosamente

elaborada, cuenta una historia, ya sea el ritmo ardiente de “Que Le Den Candela”, el encanto tierno de “La Pequeña Señorita” o la serenata conmovedora de “Cuando Llegue el Amor”. Estas no son solo canciones; son momentos encapsulados en un viaje sonoro que trasciende eras, uniendo a las audiencias a través del lenguaje universal de la música.

Profundizando en el tapiz del legado artístico de Enrique Guzmán, encontramos no solo a un músico, sino a un narrador que transita sin esfuerzo de las melodías a la pantalla grande. El atractivo atemporal de la película de 1965 “Canta Mi Corazon” es un testimonio de la capacidad de Guzmán para cautivar no solo con su voz, sino también con su carisma en la pantalla. El programa de televisión de mediados de los años 60 “Silvia y Enrique”, una empresa colaborativa con su entonces esposa Silvia Pinal, se convirtió en un fenómeno cultural, consolidando aún más su estatus como un artista de una versatilidad sin igual.

Más allá del brillo y el glamour, la incursión de Enrique Guzmán en el corazón del rock latino durante los años 50 es un capítulo que vale la pena saborear. Su alquimia musical al traducir éxitos como “Jailhouse Rock” para una audiencia de habla hispana no solo demostró destreza lingüística, sino una comprensión innata del alma de la música. En el mosaico de su carrera, encontramos no solo a un artista en solitario, sino a una figura clave en el éxito de Los Teen Tops, una banda de rock de finales de los años 50 que resonaba con el fervor de una era marcada por la rebeldía y el ritmo.

En la anticipación del espectáculo en Smart Financial Centre el 28 de enero, no se puede dejar de maravillar ante el enigma que es Enrique Guzmán.

Esto no es simplemente un concierto; es una odisea a través de los corredores del tiempo, donde los ecos de sus melodías se convierten en un puente que conecta generaciones. Mientras nos preparamos para embarcarnos en este viaje musical, celebremos al legendario vivo cuya influencia trasciende los límites de la fama, un verdadero virtuoso cuyo legado sigue resonando en los latidos mismos de aquellos que han sido tocados por su magia.

Smart Financial Centre en Sugar Land da la bienvenida a la gira Inmortales del Rock & Roll de Enrique Guzmán

By Jose Martinez Enrique Guzmán, una figura luminosa que proviene de la intersección entre Venezuela y México, emerge como un verdadero maestro, dando forma al paisaje mismo de la Música Latina y el Rock & Roll.

Su viaje no es simplemente un capítulo en los anales de la música; es una saga que se ha desplegado a lo largo de las décadas, tejiéndose en el tejido cultural no solo de México, sino de todo el ámbito latinoamericano. La llegada de Guzmán al escenario anunció una nueva era, preparando el terreno para las carreras ilustres de César Costa, Angélica María, Johnny Laboriel, Alberto Vázquez y una multitud de otros que encontraron inspiración en sus pasos pioneros.

A medida que el calendario se acerca

al 28 de enero, todas las miradas se vuelven hacia el ilustre Smart Financial Centre en Sugar Land, anticipando con entusiasmo el clímax de la artesanía de Enrique Guzmán.

Este lugar icónico, un coliseo moderno, se erige como testimonio de la grandeza de su impacto, un escenario digno de un músico cuyas melodías no solo han resistido el paso del tiempo, sino que se han convertido en el latido mismo de una era. El aire está cargado de emoción mientras los fanáticos se preparan para una noche que promete no solo entretenimiento, sino una inmersión en la magia conmovedora que define el extenso repertorio de Guzmán.

Las notas resonantes de “Mis Mejores Canciones”, la obra maestra de 1973, resuenan en los corredores del tiempo, llevando consigo la esencia de un artista en la cúspide de su creatividad. Cada canción, meticulosamente elaborada, cuenta una historia, ya sea el ritmo ardiente de “Que Le Den Candela”, el encanto tierno de “La Pequeña Señorita” o la serenata conmovedora de “Cuando Llegue el Amor”. Estas no son solo canciones; son momentos encapsulados en un viaje sonoro que trasciende eras, uniendo a las audiencias a través del lenguaje universal de la música.

Profundizando en el tapiz del legado artístico de Enrique Guzmán, encontramos no solo a un músico, sino a un narrador que transita sin esfuerzo de las melodías a la pantalla grande. El atractivo atemporal de la película de 1965 “Canta Mi Corazon” es un testimonio de la capacidad de Guzmán para

cautivar no solo con su voz, sino también con su carisma en la pantalla. El programa de televisión de mediados de los años 60 “Silvia y Enrique”, una empresa colaborativa con su entonces esposa Silvia Pinal, se convirtió en un fenómeno cultural, consolidando aún más su estatus como un artista de una versatilidad sin igual.

Más allá del brillo y el glamour, la incursión de Enrique Guzmán en el corazón del rock latino durante los años 50 es un capítulo que vale la pena saborear. Su alquimia musical al traducir éxitos como “Jailhouse Rock” para una audiencia de habla hispana no solo demostró destreza lingüística, sino una comprensión innata del alma de la música. En el mosaico de su carrera, encontramos no solo a un artista en solitario, sino a una figura clave en el éxito de Los Teen Tops, una banda de rock de finales de los años 50 que resonaba con el fervor de una era marcada por la rebeldía y el ritmo.

En la anticipación del espectáculo en Smart Financial Centre el 28 de enero, no se puede dejar de maravillar ante el enigma que es Enrique Guzmán. Esto no es simplemente un concierto; es una odisea a través de los corredores del tiempo, donde los ecos de sus melodías se convierten en un puente que conecta generaciones. Mientras nos preparamos para embarcarnos en este viaje musical, celebremos al legendario vivo cuya influencia trasciende los límites de la fama, un verdadero virtuoso cuyo legado sigue resonando en los latidos mismos de aquellos que han sido tocados por su magia.

Enero 2024 • Music News

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