Ever think to yourself – “Self, isn’t the platypus such a strange creature? I wonder what people really thought of it way back when it was first discovered? They are just so weird, I am perplexed and fascinated!”
THEN THIS IS THE PUPPET SHOW FOR YOU! Platahontas uses shadow puppetry to chronicle the life of one of these semi aquatic mammals after it is kidnapped and sold into scientific slavery (or what they refer to as “research”).
Platahontas doesn’t remain under his captors’ microscope for long; he is soon sold to a circus where his freaky features garner top dollars from curious onlookers.
Platahontas could be one of the most interesting characters BooTown has had on our bill. (Platypus also have bills, so that’s funny.)
Conceived and directed by Emily Hynds.
Built by Lindsay Burleson, Peter Zama, Larkin Elliott, and Stephen Walker.
With an original score performed live by Joe Wozny.
WITH THEIR NEW ALBUM ENJOY THE COMPANY, THE WHIGS HAVE CREATED A RAUCOUS ODE TO ROCK AND ROLL. FROM THE OPENING TRACK, AN EXHILARATING EIGHT-MINUTE MISSION STATEMENT CALLED “STAYING ALIVE,” THE RECORD OFFERS A POWERFUL SONIC RENDERING OF A BAND OPENING UP TO THE DEPTH OF THEIR PAST AND KICKING OPEN THE DOORS TO THEIR FUTURE. BUT MOST OF ALL, THIS IS THE UNDENIABLY ESTABLISHED SOUND OF A BAND AFFIRMING THEIR LEGACY IN THE AMERICAN ROCK AND ROLL PARADIGM.
WHILE THE WHIGS RECORDED THEIR SECOND RECORD MISSION CONTROL AT FAMED SUNSET SOUND STUDIOS IN HOLLYWOOD AND THEIR THIRD RELEASE IN THE DARK IN ATHENS, THE MAKING OF ENJOY THE COMPANY WAS A DRAMATICALLY DIFFERENT AFFAIR. THIS TIME THE GROUP SOUGHT THE GUIDANCE OF VETERAN PRODUCER JOHN AGNELLO (DINOSAUR JR, SON VOLT, SONIC YOUTH) AND THE SOLITUDE OF DREAMLAND STUDIOS HOUSED IN A HISTORIC CHURCH IN RURAL WOODSTOCK, NEW YORK. “WE WENT OUT THERE TO RECORD WITHOUT ANY DISTRACTIONS,” BASSIST TIMOTHY DEAUX EXPLAINS. “THERE WERE NO GIRLFRIENDS THERE, NO BARS TO GO OUT TO. IT WAS JUST US AND THE MUSIC. OUR LAST ALBUM FOCUSED ON SOME PRETTY DARK THEMES AND WITH THIS ONE I THINK THERE’S A NEWFOUND SENSE OF OPTIMISM AND PURPOSE. WE DIDN’T MAKE A SUGARY RECORD, BUT I THINK WE ARE HONESTLY FEELING GOOD ABOUT THE BAND AND OUR LIVES AND IT COMES ACROSS IN THE SOUND.”
AS A RESULT, THE WHIGS LATEST FEATURES TEN TRACKS OF PURE CELEBRATORY ROCK AND ROLL FUELED BY THE RHYTHMS OF THE ROAD, THE CLASSIC ALBUMS THAT INSPIRED THEM AND NIGHTS SPENT TOGETHER ON STAGE. “WHEN WE’RE OUT THERE DRIVING FROM SHOW TO SHOW, THAT’S MY FAVORITE TIME TO GET NEW SONG IDEAS,” GISPERT SAYS. “AND THE TRACKS WE EVENTUALLY PICKED FOR THE ALBUM ARE THE ONES THAT WE LOVE PLAYING LIVE.”
THE SONG “GOSPEL” MINES A JOYOUS GUITAR HOOK FOR A TIMELESS FM RADIO FEEL WHILE ANOTHER TRACK “ROCK AND ROLL FOREVER” IS A SPIRITED HARD RIFFING LOVE LETTER TO THE POWER OF PRIMAL ROCK. AND AFTER OPENING WITH THE IMPASSIONED DECLARATION OF RESILIENCE IN “STAYING ALIVE,” THE RECORD PERFECTLY BOOKENDS WITH AN EQUALLY ARDENT PROCLAMATION ENTITLED “OURS.” THE SONG BEGINS WITH REFLECTIVE VOCALS OVER A LONE GUITAR. THEN, LIKE SOME LOST TRACK FROM A BELOVED VINYL CLASSIC, THE MUSIC BUILDS, DRUMS EXPLODING ACCOMPANIED BY A VOLLEY OF POWER CHORDS. “THAT SONG WAS WRITTEN ABOUT A CHILD WHOSE PARENTS WERE TEACHING HIM HOW TO SHARE,” GISPERT EXPLAINS. “IT’S NOT MINE OR YOURS, BUT OURS. OUR BAND, OUR MUSIC – IT’S OPEN TO ANYBODY.”
Carley + Jonathan Wolf named themselves The Ghost Wolves as a symbol of the band’s ferocious, primal sound and a nod to Carley’s ranch upbringing among hybrid wolves. The married duo are inspired by delta blues, loud garage rock, and American roots music – a genre they call ‘stomp and roll.’ Their new LP ‘Man, Woman, Beast’ will be released on Nashville’s Plowboy Records May 27.
Featuring 10 studio and 3 bonus live cuts, ‘Man, Woman, Beast’ is an infectious romp through the minds of The Ghost Wolves – a rock and roll underworld inhabited by chain saw buzzing guitar riffs and songs about femme fatale motorcyle-borne assassins, crumbling lifelong lies, love on the outs, female murder convicts, vintage cars, life, death, and the in-between. It’s “music to drive 100 miles per hour to”. Songs like “Gonna Live” will have you bobbing along to their heavy beat, while deep cuts “Ride The Wolf” and “Dangerous Moves” will keep your record player turned up all the way, late into the night. Your neighbors won’t mind.
Jonny and Carley Wolf started performing as The Ghost Wolves in 2011, and in the 3 years since have built themselves an ever multiplying following through their die hard touring schedule – the band’s live show is completely over the top and consistently leaves audiences roaring for more. Their two previous recorded releases, both short format, were met by critical and fan acclaim both in the USA and abroad. Their music has been featured by the BBC, USA Today, FM4 Europe, Rolling Stone Italia, MTV, and most recently on the soundtrack of the Showtime series “Shameless.”
Hey there! To celebrate the forthcoming release of Little Dragon‘s incredible new album “Nabuma Rubberband” on Loma Vista Recordings, We want to do something a little out there and a lot awesome with you!
It’s Nabuma Derby Time!
WHAT: A Derby race here at the store, where fans design, build AND race their own custom rubber band powered race car (with cd’s for wheels!) and face off against each other, while listening to the new record “Nabuma Rubberband” as the soundtrack!
Get Derby info HERE
Get Full Instructions on building your derby car HERE
Formed in 2011 The Mercy Brothers blend the spiritual fervor of an old-time tent revival with the rambunctious feel of a rural roadhouse — combining the best elements of celestial and honky-tonk heaven. This unique holy hubbub hybrid, and a reputation for electrifying live shows that inspire impassioned sing-alongs, has won the band a loyal — dare we day devout — following. In 2012 they tore it up at both the Festival International de Louisiane and Festivals Acadiens et Créole in Lafayette, and at New Orleans’ coolest new club, Chickie Wah-Wah, garnering glowing press from the Times of Acadiana and the New Orleans Times-Picayune, and starting a buzz in music circles around the nation.
Perhaps Houston Press writer Nicholas L. Hall summed it up best when he wrote, “Listening to multi-instrumentalist Lee Alexander is a lot like taking a leisurely stroll through about a century of American popular music…Alexander has earned a reputation as both a strikingly original voice and an able torch-bearer for a broad handful of American musical idioms, layering Nilsson-esque pop-standard fare, dusty country ballads, the occasional bluesy stomp, touches of jazz classicism and damn near anything else he wants.”
“I’m always trying to find a little piece of the truth,” says Texas singer-songwriter Radney Foster. With Everything I Should Have Said, the truth is laid bare. His first collection of new songs in 5 years opens with “Whose Heart You Wreck,” a stormy lament to a fickle muse and closes with the title track, an unflinching apology for things done and left undone.
In between, Foster uncovers the smaller truths in life, whether in the confessional “The Man You Want,” the frustration behind “Lie About Loving Me” or the playful frankness of “Unh, Unh, Unh.”
“My challenge is, how do you have another take on a love song? How do you keep it interesting?” For Foster, it meant leaving Nashville behind, and bringing a suitcase full of songs and like-minded musical friends to Louisiana.
“I wanted the album to have a band feel, and to do that I knew we needed to get away from schedules and cell phones.” They landed at Dockside Studios, a little pocket of soul alongside the Louisiana bayou. The space is the site of a long-forgotten brothel, and far from the sterile studios of Nashville.
Considered an elder statesman of Texas singer-songwriters, Foster has been a friend and mentor to many younger artists on the Texas scene. He’s written and produced songs for Randy Rogers, Jack Ingram, Kacey Musgraves, Wade Bowen, Josh Abbott, Pat Green, Cory Morrow and many others. His songs are regularly mined by superstar acts like Keith Urban (“Raining on Sunday,” “I’m In,”), Sara Evans (“Real Fine Place,” “Revival”) and the Dixie Chicks (“Godspeed”).
Foster grew up in two worlds – herding cattle on horseback at his grandfather’s East Texas ranch in the summers and hunkering over a transistor radio in West Texas hometown, listening to border radio. “My house in Del Rio was a mile from Mexico, so I heard everything growing up – from country to conjunto.” That hybrid of influences may be why Foster’s always been tough to categorize; his first success was with the seminal country/cowpunk duo Foster & Lloyd, whose first single, “Crazy Over You,” went straight to #1. His subsequent solo albums told tales through a honky tonk lens and yielded enduring hits “Just Call Me Lonesome” and “Nobody Wins.”
In the mid-90s, Foster went through another turning point. In the midst of a divorce, remarriage and custody crisis of his young son moving overseas, he gave up trying to please Country radio and recorded a CD that brought him to a whole other audience. “See What You Want To See changed the way I make records,” Foster muses. “It was such a tumultuous period in my life, but it made me realize that when you are that close to the bone honest, you make great music.”
“I think this is one of the most emotional records I’ve made since then.”
Throughout his 30 year career, Foster has continuously stretched the boundaries. “I strive to challenge myself as a writer, a musician and a singer everyday.” As his voice has deepened and grown richer, so, it seems, has his focus. These are the songs of a full-grown man, who long ago left fear by the side of the road.
After 5 years of contributing songs to the monstrous dark folk miscreation listenlisten, B.E. Godfrey has branched off into a more careful quieter sound. Focusing on lyrical content and sparse arrangements, these songs highlight a personal exploration of foggy memories and strange fantasies.
Grew up in Spring, TX. Moved to Austin to attend UT (hook ’em horns). Lived a pretty normal life, bought a house, worked a job, and got married. Then decided to become a singer…and by default, a songwriter.
Now with 3 solo albums, a solo EP, two duo covers albums, plenty of guest vocals on other great albums, and a slew of songwriting awards under her belt, BettySoo’s life looks pretty different from how it did six years ago, when she was a newlywed in graduate school (she dropped out to be a musician).
BettySoo’s shows are ever-changing and entertaining – as much for what is said off the cuff between songs as for the songwriting and her breathtaking delivery. Backed by her band in Austin, Texas (including Will Sexton, Jeff Plankenhorn, Todd Wilson, Paul Prestridge, and husband Mail Man Dave Terry), she’s garnered her share of great show reviews on top of the critical success her albums have achieved.
Her newest project, an acoustic duo with Canadian dobro master Doug Cox, has seen plenty of miles in its first year: BettySoo and Doug have played in the States, Canada, England, Scotland, Italy, Germany, Switzerland, and the Netherlands.
BettySoo’s songwriting awards include: Kerrville New Folk Award, Mountain Stage NewSong Winner, Wildflower! Festival Songwriting Competition Winner, Sisters Folk Festival Songwriting Competition Winner, and Big Top Chautauqua Songwriter of the Year. She has been a featured performer at SXSW, International Folk Alliance, Tin Pan South, Kerrville Folk Festival, Sisters Folk Festival, Vancouver Island Folk Festival, Old Settlers Music Festival, Wilderness Songs Festival (Netherlands), and many revered listening rooms.
Her style? There’s a little gospel, some straight-ahead folk, a bit of twang, a bit of pop, and maybe even a familiar oldie with a new twist. If you’re planning to see her live, be ready for a surprise.
Then again, not much about BettySoo isn’t surprising. People are surprised just to see her take the stage. Plain-faced, petite (clocking in at exactly 5 feet), and freckly, people don’t have any idea what to expect – they certainly don’t expect such a large voice and moving songs. “I guess Asian-American singer-songwriters aren’t that common,” she comments, “at least, not in Texas.”
And, of course, there’s the whole issue of her name. How did a second-generation Korean end up with such a classic southern name? Is it a stage name? “No,” she answers, laughing, “I guess I’m just lucky that way. It’s right there on my birth certificate. Soo is my dad’s middle name, too. Yep, he’s a boy named Soo.”