Portland stoner-rockers Black Pussy really don’t care if you think their name is offensive. Like so many things in rock and roll, it comes from The Rolling Stones (before being censored by the record company, “Brown Sugar” was originally called,...
Songs like “Lump,” “Peaches,” and “Boll Weevil,” were short, fast, loud, catchy as all hell, and unlike almost every other Seattle band releasing records in the ’90s, they were giddy fun, preferring lyrics about tiki gods and kitties to heroin.
Around these parts, there’s no better table to set a feast for the soul than Planet Bluegrass Ranch in Lyons. And around this time of year there’s no better feast for the soul than the Rocky Mountain Folks Fest, a veritable cornucopia of great music from some of the world’s most talented singer/ songwriters. As we prepare ourselves for the changing of the seasons, Folks Fest provides us a physical place to wind down, reflect and enjoy the final days of summer.
Want an advance copy of Speed of Life, the new album from Kyle Hollingsworth of The String Cheese Incident? Want a beer or twelve to go with it? Well you’re in luck. Hollingsworth will be dropping his new album at this year’s installment of the annual Kyle’s Brewfest on Saturday, Aug.
When you find yourself at a music festival in most places, chances are you’re looking at the stage. But if that festival is in Colorado, you might be spending as much time looking at the scenery, and that’s just fine. At least that’s how Arise Music Festival producer Paul Bassis feels about it.
Thursday, July 31-Sunday, Aug. 3: Colorado Brazil Festival, multiple venues, Boulder, 303- 443-8696 Music. Culture. Those skimpy outfits made from feathers and sequins. It will all be on display in Boulder this week when Boulder Samba School hosts its third annual Colorado Brazil Fest.
That’s the whole story and Jonathan is sticking to it. But to look past the press photo and hear Carley Wolf ’s vicious slide-licks and the mischievous tone of her vocals as she coos out lyrics like “grandma’s a rebel, raised by the devil,” it’s pretty clear The Ghost Wolves are too wild to live in any sort of box anyhow.
In Shchedrin’s score, the rhythms and dances from the opera have been distilled and concentrated. As Zeitouni explains it, “When you condense it into a 45-minute ballet, then suddenly the landscape is more compact and you just feel the dance energy all the time.