Photos from this last years Rocky Mountain Music Festival, you can click and slide the film strip below to quickly browse the thumbnails, or click on one to enlarge , you can also start a slide show once you have a photo enlarged by clicking the play button on the lower center portion of the frame.

Share and Enjoy

Share and Enjoy

The eagerly awaited collection – the band’s sixth studio outing and follow-up to 2006′s breakthrough HOW WE OPERATE – arrives in stores and at all online retailers on March 31 st .
A NEW TIDE marks a return to the always-freewheeling British band’s more experimental roots, with songs like “Win Park Slope” and “Airstream Driver” evincing a spirit born of boundless imagination and a longstanding collaborative relationship.

With the band members now scattered across two continents, from Brooklyn to Brighton, England, early tracks were written and recorded individually and then merged online. The process allowed for an open and adaptive songwriting approach, the material taking on its ultimate shape when Gomez officially convened in studios in Chicago and Charlottesville, VA, with producer Brian Deck (Modest Mouse, Iron and Wine, Counting Crows).

As ever, a wide range of styles is incorporated into Gomez’s matchless musical brew. Flavors of Delta blues, psychedelia, and Krautrock all come into play, resulting in a musically mischievous and remarkably forward-thinking collection. In short, A NEW TIDE is Gomez at their inimitable, incomparable best.

A NEW TIDE also sees Gomez accompanied by a number of illustrious guest musicians, including vocalist Amy Milan (of Stars/Broken Social Scene fame), bassist Josh Abrams (The Roots, Sam Prekop, Godspeed You Black Emperor!), cellist Oliver Krauss (David Gray, Paul Weller, Beth Orton), and multi-instrumentalist Stuart Bogie of Brooklyn’s world renowned Antibalas Afrobeat Orchestra.
Gomez has stood apart from their very beginning just over a decade ago, earning critical praise and an ever-growing fanbase for their eclectic and ambitious musical tack.

HOW WE OPERATE – Gomez’s ATO Records debut – proved the venerable band’s biggest popular success thus far, debuting at #1 on Billboard’s “Heatseekers” chart upon its May 2006 release. The album’s title track – prominently featured on the 2006 season finale of ABC’s Grey’s Anatomy – drew major airplay at multi-format radio outlets nationwide, including Triple A and Modern Rock. The second single, “See The World,” was later featured on a 2007 episode of Fox’s House M.D. , and included on the series’ “Original Television Soundtrack” album release.

Gomez toured extensively surrounding the album’s release, as both headliner and a variety of high profile opening slots, not to mention performances at such annual gatherings as the Bonnaroo, Austin City Limits, Sasquatch!, Vegoose, Summerfest, and the UK’s V Festival. The band also made a number of national TV appearances, including performances on the Tonight Show with Jay Leno , Late Late Show with Craig Ferguson and A&E’s Breakfast with the Arts .

 
In October 2008, Gomez celebrated the 10 th anniversary of their Mercury Music Prize-winning debut, “BRING IT ON,” with a special one-off performance of the album at Chicago’s Vic Theatre. The concert was highlighted by a second set which included the live premiere of many of the new songs featured on A NEW TIDE.

In addition, the band’s Ben Ottewell and Ian Ball have each performed multiple solo tours in both the US and the UK. Gomez will be touring in support of A NEW TIDE throughout 2009.

Ben Ottewell – Vocals/Guitar

Ian Ball – Vocals/Guitar/Bass

Tom Gray – Vocals/Guitar/Bass/Keyboards

Paul “Blackie” Blackburn – Bass/Guitar

Olly Peacock – Drums/Percussion

Share and Enjoy

Share and Enjoy

Joe Pug

I was bleary eyed and exhausted from the marathon photo shoot the day before, 14 hours of non stop walking and shooting bands at Denver’s Mile High Music Festival. Photography and music are my passions but even I was a bit burned and didn’t even feel like getting up and getting back to the venue that Sunday morning, but I did, for one reason alone. I had an interview with Joe Pug.

I had been listening to his new album Nation of Heat for a week now and every listen confirmed my initial reaction of “this really might be the next Bob Dylan”, he struck a chord in me that few musicians do, M. Ward was the last to do so and before that Jackie Green, and before that Van Morrison but very few do.

Check out these lyrics from Hymn #101 form his album, if this isn’t genius I’m not sure what is;

And I’ve come to meet the legendary takers
I’ve only come to ask them for a lot
Oh they say I come with less
than I should rightfully posses
I say the more I buy the more I’m bought
And the more I’m bought the less I cost
And I’ve come to take their servants and their surplus
And I’ve come to take their raincoats and their speed
I’ve come to get my fill
To ransack and spill
I’ve come to take the harvest for the seed
I’ve come to take the harvest for the seed

 
Below is a video of this song, I dare you to watch it, and you tell me if it doesn’t put chills down your spine.
Joe Pug – “Hymn 101″

 

Now those are lyrics, epic lyrics not found very often these days and the passion and intensity of his voice combine to draw you in hard. I had to keep reminding myself to take photos, I would just be stunned by what I was hearing, trying hard to be present, be in the moment, truly let the music flow over me, into me and change me at least for a while.

Joe told a great anecdote about playing at a festival a few weeks prior where he was in one tent playing and Kiss was in another, he said there was no one in my tent, then laughed and said “I gotta hand it to to Kiss though, their pyrotechnics were far better than mine”.

After his show I mentioned I had arranged an interview and we spoke briefly but he was late for his next gig and had a plane to catch, which was good news to my ears since I had missed every interview I had lined up the day before and now at least I had a valid reason for missing this one. He did chat with a few fans, and pose for a few mug shots with them as well. I will be seeing him again on August 15th at the Rocky Mountain Folk Festival in Lyon’s Colorado and can’t wait to get another good listen.

Here is video from his webiste and one I shot at the Mile High Music Festival.

Joe Pug – Not So Sure from LaundroMatinee on Vimeo.

I’ve been raving now for several paragraphs but if you don’t believe me check out what others are saying about Joe:

“While most singer/songwriters are content to warble out a few semi-clever turns of phrase, Pug’s scorching poetry and soulful, ‘every phrase could be my last’ voice will stop you cold. If you want to read the actual endorsement, touch the braille stretching up my arms. Twenty years from now, lazy journalists will compare every halfway decent songwriter to Joe Pug. Mark my words.” –Jason Killingsworth, Deputy Editor, Paste Magazine

“One of the most surprising facts about singer-songwriter Joe Pug is that he’s only 23 years old. Not only does Chicago-based singer have a beautifully mature voice, but the lyrics on Pug’s debut EP, Nation of Heat, possess wisdom seemingly beyond his age.” – NPR

“Even if the words singer-songwriter make you groan and cringe, I dare you to come to the Hideout to see Joe Pug and not develop goosebumps…His star is rising so catch him while you can.” –Time Out Chicago

“Fans of quality songwriting need to hunt down a copy of Nation of Heat.” –My Old Kentucky Blog

“In Pug’s hard plucking, exaggerated choruses, and lyrical vignettes you can draw a pretty straight line from Woody Guthrie to Bob Dylan to Johnny Cash to Bruce Springsteen to Steve Earle to Josh Ritter. Like all of them, Pug is a populist at heart, a singer who can’t help but talk about all of us when he sings about himself and can’t help but sing about himself when he’s talking about all of us……”Hymn 101″ is full of lines that will fill you with both heartbreak and euphoria. It’s good to be reminded that that’s why we listen to music in the first place. –3Hive

“Every word here is just amazingly beautiful…packed with symbolism and pure poetry…..Let Joe Pug give you back faith in folk music and truly marvelous singer-songwriters.” –Delusions of Adequacy

“Pug is the real deal. The kid’s got that weariness in his delivery that you can’t smoke or drink your way to because it comes from somewhere deeper than the vocal chords. It’s the same gritty, spirited voice that made Hank I, Kurt Cobain, and Bob Dylan iconic….We as Chicagoans will be privileged enough to watch the kid develop from precocious youngster to out and out star.” –Chicagoist

“One of the most unfathomably masterful debuts I’ve heard in recent memory.” –Captain Obvious

“I found it hard to make it past the first track, “Hymn 101,” just because it is so damn good. After taking that song off repeat and listening to the rest of Nation of Heat, I knew I’d be addicted….the album has still not left my player. It will be one of the best EP’s of 2008.” –Hear Ya

“Staggering in its courage and rich in its symbolism” –Twang Nation

Below is Joe’s Bio:

The day before his senior year as a playwright student at the University of North Carolina, Joe Pug sat down for a cup of coffee and had the clearest thought of his life: I am profoundly unhappy here. Then came the second clearest.

Pug packed up his belongings and drove the longest route possible to Chicago. Working as a carpenter by day, the 23 year-old Pug spent nights playing the guitar he hadn’t picked up since his teenage years. Using ideas originally slated for a play he was writing called “Austin Fish,” Pug began creating the sublime lyrical masterpiece that would become the Nation of Heat EP.
The songs were recorded fast and fervently at a Chicago studio where a friend snuck him in to late night slots other musicians had canceled. He was short on money, but his bare-boned sincerity didn’t require much more than a microphone and it dripped off of each note he sang.

In May of 2008, Pug played the first headlining slot of his young career to a sold out crowd at Chicago’s storied Schubas Tavern. Two weeks later he released the Nation of Heat EP, which has garnered near-universal critical acclaim and established him as one of the most respected songwriters of his generation. Pug has since played shows with Todd Snider, Susan Tedeschi, Kasey Chambers, and James Hunter. He plans to release his debut full length record in 2009.

Share and Enjoy

Share and Enjoy

It’s been a whirlwind couple of years for The Fray, the Denver-based quartet whose earnest and melodic songs have been striking a huge chord with audiences. Formed in 2002 by Isaac Slade (vocals, piano) and Joe King (guitar, vocals), The Fray owe all of their early success to their organic, grassroots beginnings. In other words, they did it the old fashioned way: they earned it. It’s a story you don’t hear much anymore these days: local area gigs led to enthusiastic local press and local radio support.

Joe and Isaac were former schoolmates who bumped into each other unexpectedly, and – one thing led to another – they started writing songs together. The songs were catchy enough to attract two of Slade’s former bandmates – drummer Ben Wysocki and guitarist Dave Welsh – who soon joined, completing the band’s lineup.

The Fray garnered an early following through impressive area gigs and the support of local radio, which led to a listener-driven campaign to get the band a record contract. With strong word-of-mouth, the band won “Best New Band” honors from Denver’s Westword magazine and got substantial airplay on two of Denver’s top rock stations – the demo version of “Over My Head (Cable Car)” became KTCL’s top 30 most played song of 2004 in just 4 months. And the listener campaign worked: the band signed to Epic Records in 2004. Fittingly, instead of closing the deal in an office or hotel room, they signed on the dotted line onstage at the Fox Theatre in Boulder, Colorado.

The group’s organic rise to fame is key to their long range plans: “I think it’s vital to the longevity of a band,” Joe King says. “Of course Denver is where it all started, but word spread across the country via the internet even before radio stations were playing us. I remember on our first headlining tour, we would play cities where we weren’t on the radio at all, and the venue would be full of people singing our lyrics.” He adds, “Some people think we came out of nowhere quickly, but we had been working hard for four years before the mainstream public had heard about us.”

Dave Welsh adds, “The grassroots is where music lives and breathes, where it finds its energy and its passion. Music can still exist when it becomes mainstream, but only if it has firm roots with the fans at home. I think you become a musician at home, and simply refine that skill on the road as a touring, major label band.”

The first single from How To Save A Life, “Over My Head (Cable Car)” climbed into the top 10 on the Billboard singles chart, has been certified platinum, and was streamed more than a million times on MySpace in just one month. Indeed, MySpace has been good the to the band: they’ve been streamed over 16 million times, they have had more than 5 million views and close to 300,000 friends on the networking site. The Fray doesn’t fit easily into any niche, and they don’t need to: word of mouth (or, word of digital mouth) has been good enough. The songs stand on their own, no clever marketing or catering to genres necessary.

“Over My Head (Cable Car)” was inspired by Isaac Slade’s temporary estrangement from his brother: “It is about a fight I got in with my brother, Caleb. After he graduated high school, we drifted apart and really hadn’t spoken in a long time. One day we both realized that we needed to fight it out. We’d been friends for twenty years. That’s a long time when you’re only 23 years old. We fought it out, and he’s one of my best friends today.”

The title track, “How To Save A Life,” was inspired by Slade’s experience as a mentor to a crack addicted teen. “I was a sheltered suburban kid when I met this guy. He was a recovering addict, coming out of a really tough teenage life. Thankfully, he was on his way out of that life, so he was able to really look back with some objectivity. The song is more of a memoir about his slow motion descent and all the relationships he lost along the way.” Destined to be one of the band’s greatest hits, Slade isn’t worried about getting tired of performing the song: “It is the easiest one for me to sing every night. I constantly get emails from people who relate to it.”

The song has resonated with fans in some truly moving ways, which is humbling to the author: “Some people actually formed a non-profit organization called Save A Life. They lost their son to a tragic car accident and apparently ‘How To Save A Life’ was the last song he downloaded. Another girl lost her mother to suicide. She wrote me and said it helped her deal with her mom’s death.”
The band recently saw footage of two high school kids performing the song at a talent show, which was somewhat mindblowing for Joe King, and provided him with something of a “full circle” moment. “Something so simple as two high school students playing our song at a talent show doesn’t seem like it would be a huge moment, but it was. I’m proud of it because I relate to it so closely. That was me eight years ago, learning my favorite songs, from my favorite artists, and playing the songs that moved me. It just hit me that someone was now doing the exact same thing as I was but with my music.” It was a “full circle” moment for his bandmates as well: Slade and Wysocki first performed together at talent show years ago.

It turns out that The Fray’s music has resonated with lots of people: they are one of the most licensed bands of 2006, with their music being featured on Scrubs, Grey’s Anatomy, What About Brian, NCIS, One Tree Hill and Bones as well as in HBO’s summer promos. Joe King: “I would say my favorite so far would be the recent HBO spot and the Grey’s Anatomy spot, both using ‘How To Save A Life.’ I remember last year seeing the Aqualung HBO spot and was shocked and almost jealous by how good it was. I called our managers and asked if we could get a spot like that, and I remember him saying, ‘That’s a tough one.’ When I watched our HBO spot I didn’t move, I don’t even remember breathing because I had the chills.”

As a result of all of this, How To Save A Life is quickly approaching platinum status, and the band has gone from playing small club gigs and opening slots to headlining larger venues, including a “hometown” gig at legendary Denver venue Red Rocks, which was famously host to U2 (two tracks of their classic live EP Under A Blood Red Sky was recorded there; Incubus and Dave Matthews Band are among the other artists to release live recording from the fabled venue). Ben Wysocki comments, “When you’re the opener, you have 30 minutes, maybe 45, to prove yourself… and in a way, it is hard to settle in. When you’re headlining, you can take a little more ownership of the crowd, they’re yours for an hour and a half or so and you gotta treat them right, take care of them, be responsible with them, do the best you can to entertain them. There is pressure either way, but definitely more satisfaction in a headlining show.” With songs this strong, The Fray should get used to headlining.

If you haven’t caught their shows yet, you can get a taste on their recently released iTunes exclusive live “bootleg,” Live At The Electric Factory, released July 18 (iTunes has also been good to The Fray: their album has been in the iTunes top 10 for six months straight, a feat not accomplished by many other acts). Of course, the live release is something of a tease: once you hear it, you’ll no doubt want to catch them in person. Wysocki offers their plans for the rest of 2006: “We’re taking August off. Then, we’re going to travel the globe in September, tour the U.S. again later in the fall, play some random radio shows in December.”
And in 2007? The Fray will return overseas early in the year, heading to Australia (where “Over My Head (Cable Car)” has just hit #1 on the national radio charts), New Zealand, Japan and Germany for the first time. They will embark on a huge US summer tour and hit the studio to work on the follow-up to How To Save A Life, a great first chapter in the band’s career. But, to be sure, it is the first chapter in the story of a band that promises to be around for a long, long time.

Share and Enjoy

Share and Enjoy

Matisyahu

Watching Matisyahu perfrom is different than watching a “normal” band, its more like a jamming religious experience, the crowd is different, calm, happy, and passionate about just being in the presence of a man with this authenticity. The experience might be summed up nicely by Van The Man’s line “it stoned me to my soul…”, maybe that’s what Matisyahu’s performance at the Mile High Music Festival did to me last Sunday afternoon. I had been shooting bands for nearly two full days and from the photo pit you could always sense the crowd’s enthusiasm as in manifested itself in their applause and cheers but nothing could have prepared me for the intensity of the cheers that came when Matisyahu walked on stage, the cheers had the force of a wildfire burning intensely through a dense forest, nearly overwhelming in volume, force and heat in the form of passion.

This was my second time seeing Matisyahu, I remember the first time thinking that this was not really going to be “my kind” of music. My mind changed immediately, and I remember feeling the truth of “we are all victims of our conclusions”, I certainly had been interms of this “rapper”. Anyone that takes whatever they are doing to the highest possible level is to be admired, this is how I have always felt about music, genres are useless.

Known for blending traditional Jewish themes with Reggae, rock and hip hop sounds, Matisyahu is most recognizable for being a hasidic Jew. As such, Matisyahu stands out for not performing on Shabbos. Since 2004, he has released two studio albums as well as one live album, two remix CDs and one DVD featuring a live concert, and a number of interviews. Through his short career, Matisyahu has teamed up with some of the biggest names in reggae production including Bill Laswell and duo Sly & Robbie.

Since his debut, Matisyahu has received positive reviews from both rock and reggae outlets. Most recently, he was named Top Reggae Artist of 2006 by Billboard. He was recently named a spokesperson for Kenneth Cole.

The past four years have been fraught with excitement and challenges for Matisyahu and his band mates. Since the release of his 2004 debut, shake off the dust… ARISE, Matisyahu has continued to bring his uncanny, electrifying fusion of orthodox Judaism and classic reggae music to millions of new listeners. His first release on Epic Records, Live at Stubbs, a highly successful live concert recording from the famous venue in Austin TX, has sold nearly 700,000 copies and is certified Gold.

Matisyahu drew upon the myriad experiences that led him to such a career pinnacle on his sophomore studio album, Youth, which contains the hit single “King without a Crown.” A compelling mix of ancient and modern sounds and ideas, Youth also reached Gold certification. Matisyahu’s follow-up album, No Place to Be has sold 60,000 copies to date. No Place to be is a collection of remixes and rarities featuring the single “Jerusalem (Out of Darkness Comes Light).”

The rising star knows of the struggle of which he speaks. Born in West Chester, PA and raised in White Plains, NY, the young man formerly known as Matthew Miller would undertake a monumental odyssey before discovering his new identity – and voice – as Matisyahu (the Hebrew version of “Matthew,” and the name he adopted upon becoming observant). Via adventures in Colorado, Israel, Oregon, and New York City, he not only heard a profound spiritual calling, but also discerned a revolutionary way to share his discoveries and reflections, via the reggae and hip-hop sounds that had long been an integral part of his day-to-day soundtrack. Since, Matisyahu has brought his ground-breaking musical style to thousands of fans across the country with his energetic live shows. He has toured with 311, played numerous festivals (such as Langerado and The Virgin Festival) and sold-out his annual Chanukah season tour, Festival of Lights.

Currently, Matisyahu is busy collaborating with producer David Kahne (Sublime, Paul McCartney, 311, Regina Spektor) on a new full length album to be released in late 2008. The pair recently worked together for the Darfur tribute album on the John Lennon cover “Watching the Wheels.”

Regardless of religious affiliation, most artists will tell you that the creative force is special type of divinity that moves through them. Matisyahu simply seeks to serve as a conduit for the messages of peace and unity that flow through him, to improve the world by sharing his music, and without letting ego or worldly desires interfere in that communication. “That’s what I’m aiming for,” he admits. “I don’t think I’ve fully gotten there, but that’s the goal.”

Matthew “Matisyahu” Miller – vocals/beatbox
Aaron Dugan – guitar
Rob Marscher – keyboards
Joe Tomino – drums
Stu Brooks – bass
D.P. Holmes – guitar

Share and Enjoy

Share and Enjoy

G. Love

Garrett Dutton or G. Love as his adoring fans refer him blasted through a passionate set of music some call hip-hop blues for the enthusiastic crowd that packed into the Rhapsody Tent at the Mile High Music Festival on July 18, 2009 in Denver Colorado. Trying to shoot this performer is easier said than done, you see this guy never holds still, gyrating, hip-hoping and swaying rhythmically to the groove laid down by his killer band aka. Special Sauce. G. Love dished up a wide range of tunes from his latest album Superhero Brother and older albums.This self-described “hip-hop blues artist” had the crowd in the palm of his hand on this blistering hot July day, sweat pouring off his brow Mr. Love didn’t seem to be phased by the heat, probably due to his days sweating it out as a youth in the hot and steamy summers in Pennsylvania. When you combine G. Loves powerful voice and his mastery of both the guitar and harmonica what you end up with is a show you may never forget.

Tart, Tangy, Smooth, and oh so lip-smacking Sweet! Aaah yes, time to praise the almighty summer sippin’ thirst quencher, being served straight up G. Love and Special Sauce style, ice cool and always refreshing. On their second release for Brushfire Records, the Philly boys offer up “Lemonade”, a series of soul drenched tracks pouring out their blues infused hip-hop, which people have been trying to label for years. The best advice – don’t try to tame it or claim it; its simply their sonic trademark, instantly recognizable and addictively delicious.

“The whole thing about lemonade for me was when I first set out from Philly to make it in the music world I went up to Boston, and I would just sit on the front porch of my place after playing the streets or practicing and make myself a big pitcher of lemonade. It just symbolized old time porch loungin’ for that’s where I did a lot of my shedding and writing. It was so simple and great, I said, if I ever get a record deal I’m going to get Lemonade tattooed on my arm.”

It’s there all right, and seven albums, thirteen years, and over a million worldwide units later, “Lemonade” is the most cohesive and rewarding album Garrett Dutton – a.k.a. G. Love (guitar, vocals, harmonica, sweat and tears) has ever delivered. Produced and engineered in the womb of Philadelphonic Studios by Chris DiBeneditto (Electric Mile & Philadelphonic) and faithfully anchored by the Sauce, Jimi “Jazz” Prescott (acoustic bass), and Jeffrey “Thunderhouse” Clemens (drums, percussion), G. pairs up with some of the best players in the game including Ben Harper, Donovan Frankenreiter, Jasper, Dave Hidalgo (Los Lobos), Blackalicious, Marc Broussard, Tristan Prettyman and Jack Johnson on a fourteen song celebration of his iconic career.

The tradition of the hip-hop blues has always been to rip open the heart and bare the soul. Tell the listener what they want to hear and you’ll have a fair weather friend; tell them the way it is and you’ll have true love. Thankfully, the Love is Alive, for G. delivers his loping lilt with bone humming honesty and he’s never sounded so clear. From the swarming infectious grooves of “Ride”, “Ain’t That Right”, and “Holla!” to the laid down easy of “Breakin Up”, “Still Hanging Around”, and “Missing My Baby” G. and The Sauce dance with the muses of their mentors, John Hammond, Bob Dylan, Jimmy Reed, De La Soul without ever missing the beat of their own signature time.

Pepper this with the mercury simmer of “Hot Cookin’” with Frankenreiter, the idyllic warmth of “Rainbow” with Johnson, the aching duet of “Beautiful” with Prettyman and the handclapping hallelujah of “Let the Music Play” with Harper and Broussard you’re left with the pure sound of summer ringing in your ear.

As G. says of all the collaborations, “We just reached out to a lot of our friends who just happen to be incredible musicians, and everyone was pretty enthusiastic about coming into the studio with us. So while the record maintains a real G. Love feel, it was a real group effort. Especially on “Let the Music Play”, I mean Ben and Marc just came down and demolished this track. We cut the rhythm track but left it wide open. So Bens comes through town and he’s just on fire. He wrote his verse on the spot, whipped up this tight Wurlitzer part and played a crazy slide guitar solo throughout the whole thing. I already had a chorus together, but he added this gospel style by stacking his vocals a bit which caught the vibe.

To top it off I wanted to have Broussard sing some harmony on it, but once in the studio he wanted to try out one of the verses. I asked him if he thought he could do it and he says in his real New Orleans gruff voice, you think I came down here to suck, man? Well okay. Watch out, I mean I never appreciated what an incredible vocalist he is until he just went in, put his church on it and crushed it. To have Ben and Marc, who both come at music from such a soulful way, on the same track was simply epic.”

Even though G. is an insatiable musical omnivore when it comes to feeding off influences, “Lemonade” is his most stylistically cohesive and focused album yet. Grown out of the somewhat dark tension of “The Electric Mile” (2001) and the ass bumping smorgasbord of “The Hustle” (2004), “Lemonade’s” overall kickback beat begs the listener to blow out the speakers in musical reaffirmation.

“Free” perhaps its deepest and most powerful track pulls the continuity string through it all, for its positive examination of the cycle of rebirth through a persons life backed with a “Fixin’ to Die” blues beat perfectly captures the sweat your funk out, soul searchin, dust ridden road warriors G. Love and Special Sauce have come to embody.

For a complete set of photos see the Flickr set:

http://www.flickr.com/photos/30893898@N08/sets/72157621866659622/

Share and Enjoy

Share and Enjoy