Steeped in the traditions of roots music, the journey of country songwriter Sterling Drake has taken him from the Big Cypress of south Florida to the mountains of western Montana and everywhere in between. With a penchant for honest storytelling, Sterling weaves his own perspective into the American songbook, often highlighting a strong sense of place through both natural imagery and cultural context.

With influences ranging from Willie Nelson to Lead Belly, the wells of inspiration for this young artist are as diverse as American music itself. Sterling’s live shows are a kaleidoscope, often reflecting the countless styles that have colored his repertoire. 

Spurred on by a passion for the cowboy lifestyle, in 2024 Sterling is teaming up with nonprofit land conservation and mental health advocacy groups to help address issues impacting the ranching community.

As a risk-taking traditionalist, Sterling seeks to bridge the old and the new through his art. Sterling’s artistic journey is one of continual personal growth and self-discovery, served for those who seek to carve their own path.

The Original Southern California Punk/Surf Power Trio, Agent Orange, is one of only a handful of bands who have been continually active since the earliest days of the West Coast Punk Scene.

A small circle of musical rebels who came together to form a movement, they took their place front and center to experience and participate in the explosion of now legendary underground music that was created during the golden era of American Punk Rock.

In 2020 ¿Qiensave? released two singles. The first being a cover  of Chico Che’s cult classic “Mata De Mota'', which features Los Angeles based Psychedelic Cumbia band Tropa Magica, and the second single released is a retro sounding quebradita produced by Eduardo Arenas of Chicano Batman called “El DUI”. Most recently ¿Qiensave? released their latest single “La Poderosa'' on International Women’s Day, as the song is a celebration of la poderosa women who have supported the band along their journey. ¿Qiensave? Is currently promoting their latest single “La Poderosa'', which was released on international Women’s Day.

¿Qiensave? Consist of six members who are, Carlos L Cortez (Rhythm Guitar/Vox), Alejandro Gomez (Lead Guitar/Vox), Mario Cortez (Guida/Keyboard/Vox), Ricardo Cortez (Drums/Vox), William Cortez (Bass), and Matty Segura (Procussion). ¿Qiensave? has shared the stage with acts like Grupo Kual, La Misa Negra, Celso Piña, La Santa Cecilia, Las Cafeteras, Little Jesus, Fuerza de Tijuana, É. Arenas, Tropa Magica, La Ronda Bogotá, Bang Data, and La Septima Banda among others.

Unlike their first record, which featured experimentation with session musicians and electric instruments, the new project is a pure reflection of the live sound of the group, hearkening back to their acoustic roots. Each band member performs at their peak, and the variety of songs on the record caters to their broad fanbase. Certain tracks (“Put Your Head Down,” and “Faithful,”) fall more in the classic bluegrass realm of songwriting, while others (“Lemons and Tangerines,” and “I’ll Come Back,”) fall into that hard-to-define realm of acoustic Americana that blends mesmerizing lyricism and acoustic mastery.

Although falling loosely under the bluegrass label, AJLBS generally plays sans banjo, with Sullivan Tuttle and Scott Gates on steel stringed acoustic guitars, AJ on mandolin, Jan Purat on fiddle, and Chad Bowen on upright bass - a configuration effectively used to create unique space and texture in the arrangements not as commonly found in the music of their peers.  Drawing from influences such as country, soul, swing, rock, and jam music, the band uses the lens of bluegrass as a vessel through which to express and explore the thread that binds and unifies all great music.

NEVER COME DOWN
Weaving together modern and traditional styles of American music, Never Come Down is a Portland, Oregon based 5-piece composed of Joe Suskind (guitar), Crystal Lariza (vocals), Brian Alley (banjo), Kaden Hurst (mandolin), and Ben Ticknor (bass). Their dedication to thoughtful songwriting and dynamic arrangements highlight polished technical skills and a commitment to listening to each other. Formed in 2018, the band began touring extensively- steadily cultivating a passionate fan base at home in the Pacific Northwest, and eventually around the country. NCD released their first studio album “Better Late Than Never” in 2021 and their second LP “Greener Pastures” is slated for release late 2023. They’ve toured internationally and have found acclaim at festivals such as Iceland Airwaves, John Hartford Memorial Fest, Americanafest, FreshGrass and RockyGrass.
 

Written mostly with Prophet longtime collaborator and co-conspirator klipschutz, the songs that inhabit The Land That Time Forgot come at you from an array of locations both real and imagined including San Francisco's Tenderloin, an English roundabout, and Nixonland while hanging out with the ghosts of Johnny Thunders, Willie Wonka, and John the Baptist, and contemplating the train that carried Abraham Lincoln home for the final time.

To compliment the critically acclaimed album, in early 2022, Prophet released The Land That Time Forgot Revisited, a four-song digital live EP recorded at the Make Out Room in San Francisco featuring “Meet Me at the Roundabout,” “Womankind,” “Fast Kid,” and “Kiss Me Deadly,” with his band, the Mission Express, and a string quartet (the Makeout Room Quartet).

“I know a little bit about how to craft a studio LP,” says Prophet. “But recording live with a string quartet on a linoleum floor on a rainy Tuesday afternoon in an empty barroom in San Francisco’s Mission District is something different. For one thing there is an actual “arranger.” Like Nelson Riddle. Or what Randy Newman does, adding his own secret sauce to the compositional gene pool that has scored half the soundtracks in Hollywood history. They’re a new way into the songs—and an adventure finding our way out. There's still an acoustic Mission Express in the mix, along with the strings. Three songs from The Land That Time Forgot reimagined, plus a Lita Ford cover that has to be heard to be believed."

Now on their 14th year as a recording project and touring ensemble, the band’s sound continues to evolve with the 2023 release of their seventh full length album Filter System. As journalist Bee Getz writes,“it feels something like a new beginning for these fellas; Filter System is filled with uptempo dance tunes, crunkadelic bangers, and dusty blunted safaris-in-sound”

Polyrhythmics virtuosic musicianship and musical conversation has been built on a relentless touring schedule of the previous decade which has led them to their current sound that fills a room with an impending mood where anything could happen - sometimes evoking their brighter and cinematic Fela-influences, but also a more sinister and darker turn toward a more a progressive sonic palette combining psych-funk with dub reggae, film noir “and galaxies beyond.” 

According to guitarist/co-founder Ben Bloom, “We have a love affair with making people move their bodies, and the music we’ve been creating lately absolutely reflects that.” 

Omar honors the sounds of the past while conjuring his own eclectic and distinctive blend of multicultural musical flavor.  Born to a Jewish American father and Mexican mother, he proudly represents the richness of his upbringing in his music.  

A captivating performer, Omar has collaborated and toured with acclaimed artists such as Jonathan Wilson, Jim James and My Morning Jacket, Poolside, and Father John Misty.  He has performed on iconic stages such as Red Rocks, Ohana Music Festival, Lobero Theater Santa Barbara, The Fillmore, The Troubadour, and many stages across Europe and the world. 

Blues vocalist, harmonica master and songwriting legend Rick Estrin, leader of the musically fearless, wildly entertaining, award-winning band Rick Estrin & The Nightcats, doesn’t like to talk much about his own musical superpowers. But ask him about the Nightcats—multi-instrumentalist/musical mastermind/producer Christoffer “Kid” Andersen, keyboardist/organ wizard/bass player Lorenzo Farrell and endlessly creative drummer Derrick “D’Mar” Martin—and he’ll be happy to sing their praises. “This band is killer. I’m enjoying this all more than ever,” says the man who’s been performing and recording professionally since the early 1970s. “It’s a blessing—there’s so much energy, so much collaboration. The band is just so good right now. And the live show is better than ever.” Living Blues calls Rick Estrin & The Nightcats “a terrific blues band with a real character for a front man,” continuing, “Clever, well-crafted songs framed by first-flight musicianship…hugely entertaining, intelligently conceived and executed roots rock with a wickedly cool and otherworldly twist on tradition. Estrin’s harp work is masterful.”

Rick Estrin & The Nightcats’ new album and the band’s sixth release, The Hits Keep Coming, packs a powerful punch, with phenomenal musicianship and lyrics—both serious and humorous. Produced by Andersen at his legendary Greaseland USA studio in San Jose, California, the record captures the band’s chemistry and magic in what is certainly among their strongest, most urgent and most cohesive releases so far. The Hits Keep Coming is modern blues at its most potent, intense and fun in all the right places, as Rick Estrin & The Nightcats deliver twelve groove-heavy, hard-hitting songs, including ten written or co-written by Estrin and two surprising covers (one obscurity from Muddy Waters, one from Leonard Cohen that Estrin would have liked to have written). From the foot-stomping opener Somewhere Else, to the harsh reality of the title track (with backing vocals by The Sons Of The Soul Revivers), to the musically infectious, lyrically harrowing song about addiction, The Circus Is Still In Town, The Hits Keep Coming is a lyrical and musical tour-de-force.

Quickly things for the Colorado-based, neo-acoustic supergroup morphed into something way bigger than a one-and-done appearance. The sellout club shows, and the confirmed festival dates across America drastically changed its members’ lives. Now, Big Richard is poised to penetrate the Americana music world and beyond. To date, the quartet has issued 3 singles, the Live from Telluride album, and it has new music on the way.

Get ready for Smokey The Groove Chico, California's premier 7 piece Dance-adelic/Jazz/Funk/Rage ensemble! Smokey The Groove brings galactic grooves, a full horn section, and that fat booty shakin bass to the dance floor for your party pleasure.  Each show is a journey through time, space, and the beyond. 

Join us for an evocative adventure through musical serenity, chaotic nastiestness, and the love of funk. It’s kinda like Primus and Parliament/Funkadelic had a baby, and then that baby met a baby made by Pink Floyd and Prince, and their super baby grew up to play some bangin 'tunes, that would be Smokey The Groove.

Wand formed in late 2013 in Los Angeles, CA and got right to work playing, writing, and conceptualizing a contrarian path forward–the only viable trail to follow for a rock band that formed in the twenty-teens (and audaciously named itself Wand). The original configuration of the band was Cory Hanson (guitar, vocals), Lee Landey (bass), Evan Burrows (drums) and Daniel Martens (guitar). This was the group that recorded the neuroplastic, dusk-colored Ganglion Reef. Upon hearing it, the suits at GOD? Records demanded the opportunity to release it, and the rest became irrevocable historical fact in 2014. That debut release launched a year of furious activity and near-constant touring, and included the recording and release of both their second and third albums: the strobing sledgehammer Golem (on In the Red), and the psilocybe flicker show 1000 Days (on Drag City). During this time, Daniel left to focus on raising his son, and the remaining three members of Wand regrouped as a trio, with an auxiliary fourth piece for tours.

Following a dizzying 100+ dates played in North America and Europe in support of 1000 Days, Wand took a six-month deep breath at the beginning of 2016. Cory put together a string laden solo album, The Unknown Capitalist From Limbo (released later that year), and Evan focused on writing and touring with his band Behavior. Meanwhile, Wand’s barely-perceptible pause had a deeper agenda—Evan, Lee and Cory had sensed the need for a new alignment, a fabulous new mutation of the body Wand. Sofia Arreguin and Robbie Cody were recruited to play keyboards and guitar respectively, with the intention of reimagining the band’s approach to writing and performance. A period of intense woodshedding ensued, both in the practice space and on stages around the world, out of which the records Plum and “Perfume” emerged.

The 38-year-old artist has made a career of impeccably crafted pop songs starting with his 2009 debut The Good Feeling Music of Dent May & His Magnificent Ukulele, which came out on Animal Collective’s label Paw Tracks. His follow-ups in 2012’s Do Things and 2013’s Warm Blanket solidified him as a bedroom pop pioneer whose songs felt equally timeless and ahead-of-the-curve. Following a move from Mississippi to Los Angeles, May signed with Carpark and released two increasingly adventurous albums in the psychedelic Across the Multiverse from 2017 and the silky Late Checkout in 2020. 

The songs here are ambitious and accomplished. Having had that extra time to grow benefited these tracks, and they stand up alongside any of their earlier work.  As Mike Stax of Ugly Things Magazine once opined “Most bands only get worse with age - much, much worse – The Sadies continue to confound us by getting better and better”.

This record is pure Sadie - as the band has long referred to itself. From the moment ‘Stop and Start’ blasts out of your speakers like some long-lost nuggets monster, through the cinematic closer ‘End Credits’, it’s the sound of an experienced, confident band at the peak of their powers.  You will hear a new favourite song with nearly every spin.

The pandemic offered The Sadies the gift of time and the opportunity to record comfortably with Producer Richard Reed Parry (Arcade Fire/Belle Orchestre) at his Montreal studio. The ease of working with their dear friend helped create what Richard feels “is The Sadies’ finest album and the one I always hoped they’d make one day.”

The recording was ably assisted by engineers Pietro Amato at Richard’s Skybarn Studio, and Mike Dubue for the two songs tracked at his Studio Cimetière.  Jon Spencer contributed guitar to a track, as well as Dallas & Travis’ parents, Bruce and Margaret Good, adding autoharp and backing vocals respectively. 

Once finished, the band were eager to get out and play in support of this new album.  Tour plans were already well underway when the devastating news of Dallas’ unexpected death on February 17th, 2022, stopped everything in its tracks.

Needing music to help process and heal, Travis worked out new arrangements for many of the “Colder Streams” tracks. This labour of love had him combine both his and Dallas’ guitar parts, as well as tackling vocals for all these songs by himself.  Travis, Mike and Sean convened to see if it might be possible to play some of these songs without Dallas, making no bets on whether that would be successful, and agreeing to leave it alone if it didn’t seem right to do it. 

After three days of rehearsal, the band felt it appropriate, cathartic even - to continue playing.  This decision to play both to honour Dallas’ memory and to promote the release of the album that supporters had waited so long to hear. Performing these shows was a positive and healing experience for all involved and helped the band realize that they want to continue doing this as long as it feels right.

From his early days co-fronting The Good Luck Thrift Store Outfit, to singing solo in countless cowboy bars, to pitching countless wiffle ball games, Willy Tea has never lost the vision. Now Willy Tea Taylor has taken his vision of the “hero hang” on the road. and his talented traveling band The Fellership is made up of his fantastically talented buds who play Willy’s songs with a brand of reckless abandon and utter humility that spits in the face of pretense. The way The Fellership plays Will’s songs is the way they demand to be played and, in their short time together, they have been awe-ing every audience lucky enough to see them.

Preacher Boy mines the dark edges of Contemporary Blues and Americana with his signature raspy voice, virtuoso National slide guitar playing, and darkly poetic lyrics.  

From his genre-bending debut on Blind Pig Records to his latest album on Coast Road Records—his 13th overall—this relentlessly pioneering artist continues to both honor and extend the country blues traditions that inspire him, while infusing his sound with influences ranging from punk rock to political folk. Preacher Boy helped create, define, and advance “alternative blues” as a genre that also spawned artists ranging from Chris Whitley and Alvin Youngblood Hart to the Jon Spencer Blues Explosion and G. Love. Faster and Louder has called him “the godfather of alt. blues.” 

Of hIs boot-pounding live performances, Santa Cruz’s Good Times had this to say: “As he beats his long leather boot, four to the floor, his National steel guitar slides and spits a devious storm of gothic Americana and gritty country blues.” Melody Maker described his sound as: “Country blues that marry Nick Cave, Robert Johnson, Woody Guthrie and Tom Waits,” and legendary music publication MOJO declared that, “Preacher Boy is a songwriter of startling originality.”

Through songs dealing with various themes such as romantic love, general love, universal unity, social consciousness, uprising, and spiritual praise, Gondwana reveals both positive and realists messages that serve as an uplifting force for fans of all musical genres. Spirit-moving falsetto notes, bubbling bass, hard drums, guitar solos and arrangements, and horns are the primary ingredients found in the highly acclaimed band’s music.

Without a doubt, Gondwana is one of the most prestigious, solid reggae bands to emerge from South America. With constant movement across the world and a myriad of vibrant live performances, Gondwana continues to deliver an acclaimed repertoire of hits and new material. The band is internationally recognized as one of Chile’s most successful musical acts – not just in reggae but across all genres.

Drawing motifs from film, authors, activists, and daily life, the Anaheim-made collective’s sweeping scope of production exemplifies their multi-dimensional artistry and unbridled creativity. Interweaved with dexterous rhyme schemes, sumptuous harmonies, and culture-shifting lyricism, WOMC’s work is an amalgamation of evocative chronicling and smoothed-out musicianship for the ages.

Initially slated as a hip-hop group, the six Franco siblings — Joules (emcee/vocals), Luis (guitar/vocals), Jacob (bass/vocals), Crudo (keyboardist/producer), Moe Budda (drums/emcee/producer), Silas (saxophone/vocals) — joined forces with the Quiñonez brothers — Soli (emcee) and EQ (emcee) — and newcomer Hiiku (synths/producer). They collectively embraced the name "Weapons of Mass Creation," a phrase Jacob used in a poem that highlighted creativity as a weapon to dismantle colonialism. 

With many band members the offspring of immigrants, they have each endured their own personal challenges: financial hardships and unemployment, incarceration, mental health issues, and sexual orientation concealment. Breaking generational curses, Weapons of Mass Creation has found healing through music and harness its remarkable power to unite individuals. 

Aside from sold-out shows at The Paramount and The Moroccan Lounge, the 9-piece group has showcased their talent at renowned L.A. venues like The Echo, The Ford, and even co-headlined the 101 Festival at the Hollywood Bowl. They were also named The OC Weekly’s “Best Hip Hop Act” in both 2017 and 2019.

Garnering editorial nods from esteemed outlets KCET and The LA Times, the group has gained traction gracing stages with seasoned acts like SZA, Smino, Aloe Blacc, DāM-Funk, and DJ Battlecat. WOMC also headlined the Hit The Switches festival (2022), performed at Tropicália (2018), and sold out a string of concerts during their inaugural West Coast Tour. 

“Hancock, who tosses out a roots mix of old country, roadhouse blues, western dance swing, boogie bop, and straight-up rockabilly, takes what was once old and makes it seem like it’s always been and always will be.”—allmusic.com

“The country music scene could do with a lot more characters like Wayne, who push the music’s limits while staying truer to its roots than any well-known names associated with the genre today.” – Slug Magazine

Since his stunning debut, Thunderstorms and Neon Signs in 1995, Wayne “The Train” Hancock has been the undisputed king of Juke Joint Swing–that alchemist’s dream of honky-tonk, western swing, blues, Texas rockabilly and big band. Always an anomaly among his country music peers, Wayne’s uncompromising interpretation of the music he loves is in fact what defines him: steeped in traditional but never “retro;” bare bones but bone shaking; hardcore but with a swing. Like the comfortable crackle of a Wurlitzer 45 jukebox, Wayne is the embodiment of genuine, house rocking, hillbilly boogie.

WITH THE RELEASE OF 2018’S SWAGISM, GHOST-NOTE MADE THEIR MISSION CLEAR. THE ALBUM PUT RHYTHM AT THE FOREFRONT, WITH IRRESISTIBLE, HEAVY-HITTING BEATS UNDERLYING THE GROUP’S WILD, RICH MUSIC. FEATURING NUMEROUS GUEST COLLABORATORS, INCLUDING KAMASI WASHINGTON, KARL DENSON, BOBBY SPARKS, NIGEL HALL, TAZ, AND OTHERS, SWAGISM SHOWCASED THE BAND’S STUNNING ABILITY TO MELD AND AMPLIFY SOUNDS, ULTIMATELY ADDING TO GHOST-NOTE’S SHARP, COMPLEX COLLABORATIONS.

THE BAND EASILY TRANSLATES THIS ADVENTUROUSNESS IN A LIVE SETTING. GHOST-NOTE’S LIVE PERFORMANCES ARE BOLD AND IN YOUR FACE, WITH THE GROUP OFFERING UP NONE OF THE TIGHT-LACED PRETENSES FREQUENTLY ASSOCIATED WITH THE BAND’S JAZZ ROOTS. FOCUSED ON CREATING SEDUCTIVE DANCEABLE GROOVES AND A CONTAGIOUS FEEL-GOOD ENERGY, EACH SHOW IS AN OPPORTUNITY TO LET LOOSE AND CONNECT, FOR BOTH FANS AND THE MUSICIANS ALIKE.

AFTER FORMING IN 2015, GHOST-NOTE HAS ALREADY TAKEN THE WORLD BY STORM. THE GROUP’S TWO STUDIO ALBUMS—2018’S SWAGISM AND 2015’S FORTIFIED—HAVE EARNED CRITICAL ACCLAIM AND POPULAR SUCCESS AROUND THE GLOBE, WITH BOTH ALBUMS HITTING THE #1 SPOT ON THE ITUNES JAZZ CHARTS. FURTHERMORE, THE EVER-GROWING FAMILY OF MUSICIANS HAS MOUNTED SUCCESSFUL HEADLINING TOURS IN THE UNITED STATES, EUROPE, AUSTRALIA, NEW ZEALAND, CANADA, AND JAPAN AND PERFORMED AT HIGH-PROFILE INTERNATIONAL MUSIC FESTIVALS AND EVENTS ACROSS THE GLOBE. 

THEIR NEXT ALBUM WILL BE OUT IN 2024, AND THEY WILL BE TOURING TO SUPPORT THE RELEASE.

Born and raised East of the Los Angeles River, Las Cafeteras are remixing roots music as modern day troubadours.  They are a sonic explosion of Afro-Mexican rhythms, electronic beats and powerful rhymes that document stories of a community seeking to ‘build a world where many world fit.’

From Afro-Mexican to Americana, from Soul to Son Jarocho, from Roots to Rock and Hip Hop, Las Cafeteras take folk music to the future.

Las Cafeteras honor the past by using electrifying traditional instrumentation like the 8 string Jarana, 4 string Requinto, Quijada (donkey jawbone) and Tarima (a wooden platform). Las Cafeteras sing in 5 distinct languages, English, Spanish, Spanglish, Love and Justice … and they believe everyone understands at least one of those languages.

They’ve performed in the good company of Mexican icons Café Tacuba, Natalia LaFourcade, Lila Downs, Gypsy Kings, Colombian superstar Juanes, Hip Hop artist Common, Los Angeles legends Ozomatli and Los Lobos, performing with the Los Angeles Philharmonic Orchestra, and many more.

Their music has been featured on MTV, Univision, FOX Sports and other popular TV networks. Fayuca’s instrumental, La Venganza, was hand picked by movie director Robert Rodriguez to be used as the main title theme to El Rey Network’s original series, MATADOR. 

Currently backed by bass player, David Pineda, horn player, Prichard Pearce, and drummer, Enrique Naranjo, the quartet has become a national and international touring act. They have shared the stage with leaders in their genre like Molotov, 311, Cultura Profetica, Slightly Stoopid, Sublime with Rome, Damien Marley and many more. 

While finishing high school in Tolleson, Arizona, Gabo sparked an interest for writing music and forming a bilingual-rock band. Since their first album release in 2005, Fayuca has launched five studio albums, including their critically acclaimed effort, Barrio Sideshow, released on Fervor Records in 2013. Their songs promote Latino culture, good vibes, and self-identification. Touring insatiably between writing and recording music, Fayuca strives to inspire people around the world by spreading a message of courage, love, and empowerment.

When Grammy winner Dave Alvin and Grammy nominee Jimmie Dale Gilmore made the album Downey To Lubbock together in 2018, they wrote the title track as a sort of mission statement. “I know someday this old highway’s gonna come to an end,” Alvin sings near the song’s conclusion. Gilmore answers: “But I know when it does you’re going to be my friend.” 

Six years later, they’re serving notice that the old highway hasn’t ended yet. “We’re still standing, no matter what you might hear,” they sing on “We’re Still Here,” the final track to their new album Texicali. Texicali continues to bridge the distance between the two troubadours’ respective home bases of California (Alvin) and Texas (Gilmore). 

The album’s geographic theme reflects Alvin’s repeated journeys to record in Central Texas with Gilmore and the Austin-based backing band that has toured with the duo for the past few years. The 11 songs on Texicali also connect the duo’s shared fondness for a broad range of American 

Blanton’s ninth full-length album draws from her many influences. Tracks like My Good Friends evoke her childhood in Appalachia, while Ain’t We Got Fun showcases a musical roux earned from a decade spent in New Orleans. The title track, a hard-rocking protest anthem, shows that her commitment to the good fight need not obscure her considerable acumen as a writer and musician.                

At Home with Southern Culture on the Skids is the latest full length album from the band and was released in March of 2021. It was recorded during the stay at home period of the pandemic when the band was at home and not touring. The album consists of 11 tracks recorded and mixed in Rick Miller’s living room with some additional tracks recorded at his studio, The Kudzu Ranch.

The first radio single off the album is “Run Baby Run”—a rocking number with deep garage roots. SCOTS bassist Mary Huff provides an urgent vocal while the band pulls back the throttle on a full race fuzz fest—cause she’s gotta to go fast! Run Baby Run!

The other songs on the album are a combination of the band’s unique mix of musical genres: rock and roll, surf, folk and country—all a bit off-center, what Rick proudly calls “our wobbly Americana”. Rick goes on, “We put a few more acoustic guitars on this one, as you would expect if you recorded in your living room, but it still rocks like SCOTS. So put your headphones on, get in your favorite chair/sofa/recliner, put on “At Home With” and let’s hang out for a while.”

THE GET DOWN
The Get Down is a 60's inspired instrumental trio, putting their take on a variety of genres ranging from surf to vocal hits to tv and movie theme songs. Based in Louisville, KY, they have shared the bill with NRBQ, Southern Culture On The Skids, Reverend Peyton's Big Damn Band, and others. Individually the band members have a rich history of playing with many artists, including rockabilly queen Wanda Jackson, Curtis Mayfield's Impressions, Louisville indie rock fave Bodeco, and jump swing and blues artist Duke Robillard.