Meet the Bands
Luc & the Lovingtons
Luc & The Lovingtons are a World-Soul-Hip-Pop band out of Seattle Washington. Known for their raucous live shows but also their powerful message, their music takes the listener on a worldwide journey through Nigeria, Chile, the Methow Valley, Kingston, Detroit City and Seattle WA. Luc & the Lovingtons’ diverse membership yet unified soul allow them to authentically mix Hip Hop, Afro Pop, Latin and Roots Reggae with spices of Motown soul.
With a social emphasis on their music and the knowledge of the power of Love, Luc & The Lovington’s know that songs must be accompanied by action. Front man Luc Reynaud founded the band after his trip to New Orleans, where he was taking part in relief efforts to help the victims of Hurricane Katrina. While there, he collaborated with some displaced kids to create “The Freedom Song". 5 years later in February of 2010, two time Grammy award winning artist Jason Mraz discovered “Freedom Song” and struck by the music and its story, began to cover it around the world. Since then the Lovingtons have performed on a national tour with Mraz, selling more records than any other opening act in Jason's touring history. Mraz just released Luc’s “Freedom Song” as the second single on his new album, “Love is a 4 Letter Word.”
“..One of my new favorite groups, I think they’re one of the most heart-centered bands out there today” –Jason Mraz
In November 2010 Luc and The Lovingtons performed at The Freedom Awards Ceremony in L.A. The ceremony honors the top humanitarian leaders fighting against modern slavery today.
The Lovingtons released their sophomore album “Send My Love” in Seattle on November 11, 2011. The album inspires listeners to feel all the levels of Love, embracing the totality of its power. “As constant learners of the many shapes of love, this album reflects both the greater love we wish to propel ourselves into, as well as the one we are living in. We want our listeners to join us in a love that moves, a love that gives,” says front man Luc Reynaud.
After almost a decade playing in various bands and musical incarnations in and around the greater Seattle area, guitar player/singer songwriter Jeremy Quinn MacRae has finally stepped out on his own. Respected by listeners and musicians alike, Jeremy's soothing voice, natural stage presence, and firey yet melodic guitar style rarely go unnoticed. What has however, is the arsenal of songs, life reflections, ballads of love and loss, aspects of the human experience lying dormant, waiting to emerge...until now. Enter QUINN. Quinn is a group of Seattle musicians led by front man Jeremy Quinn MacRae, created to make you dance, think, feel, and love...
StingShark, hmmm… What’s this going to be about? You sip your drink; your head already full of cauley. A sparkling dreaded mad-man with a megaphone runs up to you… to YOU! Horns, slamming on a sea of funk band, draw your attention to the stage as he informs you that you are going crazy. With a “CRACK!”, the band breaks it down to a hypnotic groove that’s got you movin’. The handsome dreaded guitarist begins to sing; to tell you his stories. – THIS – this is StingShark.
You shake your thing on the dance-floor and a bald man whispers in your ear. “StingShark is the nickname given to the singer, Brian Ray during his years with the Funk/Groove group, Phat Sidy Smokehouse. He has been writing and recording his own songs for years. This is dope! He has finally stepped aside from Phat Sidy, assembled a band under his moniker, and created his first solo record!”
The stage is jumping! You see half of StingShark’s former band members performing with him: Tyrone “Bob” Lovelace on Bass, Big Talk Jon Rÿser on Sax, “Wild” Bill Jones on trumpet, and “Red-Head” Mike Birenbaum on Keyboards. This bad-ass woman, Faith, is knocking a hole in it on the Drum Kit (can’t keep your eyes off her) and super-duper Larry “Love” Steiner is the man with the megaphone, swinging his dreaded locks while droppin’ his Larry-Logic, flowing with fantastical flair!
Before you know it, the show is over, leaving you longing for more. You spent the whole show on the dance-floor surrounded by like-minded free-spirited beautiful people. Luckily there are CD’s available. You pick up the brand new “StingShark a.k.a Sting-Fu”. First listen to this deeply personal and danceable album reveals a funky blend of rock, reggae, and soul songwriting. Listening to the record is definitely a different experience from being at the live show. Without all the visual vivaciousness of the stage, you can really swim into the beats and lyrics and get familiar with StingShark.
For the next week, you find yourself recounting your StingShark experience with most everyone you meet. Through your conversations, you find that StingShark has been seen with Nu Sol Tribe, Nuf Sed, Das Booty, Novatone and (of course) Phat Sidy Smokehouse. With a regional PR and radio campaign in effect, the waves are red with StingShark! And they are setting up a series of grand CD release shows to demonstrate that Sting-Fu truly is betta than you Fu!
StingShark is rising to the surface, and it’s very scary!
PS. Our drummer kicks your drummers ass.
Radio Raheem, named for a pivotal character in Spike Lee’s Do the Right Thing, began when bass player-producer Paul Chistofferson purchased pro-tools and invited singer-songwriter Bryan Cohen to write. The duo knew how to write songs and play almost all of the instruments but they needed a spark. The spark came when Bryan played a guitar riff over a drum machine beat and Paul added 80’s keyboards. The song sounded like the hottie bastard child of Prince, Wall of Voodoo and The Tubes. Off kilter, dancy, nerdy, twitchy and funky...Radio Raheem was born.
original funk/rock/soul in seattle
regularly playing THE NORTHWEST with bands like BREAKESTRA, PIMPS OF JOYTIME, MCTUFF, STAXX BRO'S, THADDILLAC, AARON DANIEL
sounds like prince/red hot chili peppers
see this band live and they will capture you. Electric energy, great musicians having fun, HAIKU-CHI is party soul.
Afraid of Figs
AOF is a high energy power pop band, that mixes deep and off-the-wall lyrics with catchy hooks. A rare band of talented (and reliable) musicians who take their path seriously, while poking fun at themselves and anything that needs poking fun at. AOF's interactive live shows always create buzz and are not to be missed!
Daniel Kirkpatrick & the Bayonets
At closing time on Garnet Avenue in San Diego, Daniel Kirkpatrick strummed an acoustic guitar, offering impromptu sidewalk performances to couples and passersby. A full-time busker at age 22, Kirkpatrick earned enough as a street musician to afford residence in a tiny 10-by-8-foot laundry room.
The Longview, WA native joined a band called As We Speak in 2004. Their songs aired on over 200 international radio stations- in addition to being featured on XM Radio- and they played some respectable Southern California venues, but a substantial fan base never materialized.
Kirkpatrick decided to change course. In 2006, he moved to Seattle and landed a corporate job. That eventually led to misery and he quit after four years.
Newly liberated, Kirkpatrick wrote a few songs and contacted two old friends: Jordan Cassidy, the As We Speak bass player who had since relocated to Port Orchard, and Spencer Booth, a drummer whom Kirkpatrick had played with while growing up in Longview. The trio started rehearsing on a weekly basis in spite of serious logistical hurdles.
Booth, who lives in Bellingham and isn't licensed to drive, would commute to Seattle via train, bus or by posting ads for rides online. Then, he and Kirkpatrick would board a ferry to Port Orchard for practice at Cassidy’s house, crash on couches and repeat the process in reverse. This went on each week. For a year.
They finally raised enough capital to book time at Robert Lang Studios, the legendary Seattle recording house boasting clients such as Nirvana, Death Cab for Cutie and Nada Surf. Kirkpatrick promptly recruited Kristen Palmer to sing backing vocals after overhearing one of her solo sessions at the studio.
Now, Daniel Kirkpatrick and the Bayonets have an album of their own. Alibis, their 10-track debut, is set for release in January, 2013.
Citing musical influences like Cream, Elvis Costello and Tom Petty, Kirkpatrick puts a premium on composing songs people can sing to. For him, melody is king.
“For this album, I wrote ‘60s- influenced pop songs, because that’s always what I’ve gravitated towards as a listener. Staying true to that is what makes the album what it is.”
Alibis is a confident and diverse body of work that ties together quite nicely. While the title track brings to mind the ease and vocal styling of the Everly Brothers, Kirkpatrick’s guitar playing on “Emerald Blues in A Minor” is reminiscent of early Clapton and the influence of Petty and Costello is evident in his singing throughout the album.
Booth’s drumming stays in the pocket, artfully supporting each tune with tasty, simple grooves that get downright danceable on “Cynthia.” His understated approach is surprisingly compelling. Cassidy’s bass playing brings a more contemporary melodic style to the band’s vintage rock sound, but he stays true to form by delivering his lines with classic Fender tone.
The keys stay organic and low in the mix; the B3 organ and Fender Rhodes played by Seattle jazzman Tim Kennedy. Additional percussion was added as evident in “Don’t Leave Me Waiting,” where a glockenspiel accents the outro, and “All I Can Take” with vibraphone featured in the intro. String arrangements by Phillip Peterson- a Seattle cellist and composer who’s performed with the likes of B.B. King and Blues Traveler- added another rich, velvety layer to the mix. “I Knew You Then” may be the best example, with lush counter-melodies reminiscent of 70’s-era Beatles, and Palmer’s vocals are also prominent on the track.
Teaming up with Chris Rahm (Allen Stone, The Young Evils) for production and engineering supported the British Rock roots with access to a library of vintage gear, highlighted by the use of a handwired Vox AC30 guitar amplifier on a number of tracks and numerous 50’s and 60’s era tube microphones throughout.
The album is available for purchase exclusively at their shows prior to the official release through Rock Ridge Music in early 2013.
Will Wakefield and The Congress Hotel
Garage rock, grunge rock, indie rock, folk-rock. The streets of Seattle have famously produced a lot of variations on a theme.
What about the theme itself? What about fiery guitar riffs, big drums and lyrics you can sing and shout along to? What about pure rock 'n' roll?
Seattle's Will Wakefield And The Congress Hotel politely raise their collective hands and answer with their new, self-titled CD. With this second studio disc, Wakefield and his band of hotshots look beyond 2012 — while simultaneously embracing an era when "well produced" didn't mean "over-produced," when chops outweighed looks, when a band called Heart became the Jet City's rock ambassadors.
The 10-track album reflects a group and songwriter/frontman who've been re-focused after the critical success of their previous CD, Apt. 306. The distinctively edgy, cynical, yet often ultimately hopeful lyrical approach that Ink19.com compared to Donald Fagen's signature remains in spades. Moreover, the music and the band creating it are more electrified than ever. The result? Thought provoking "smart rock" that gets blood pumping and rumps shaking.
The all-meat, no-filler CD, which Wakefield chose to produce and engineer himself, also re-introduces the term "album oriented rock" in a very literal fashion.
"I feel like it's our 'Appetite For Destruction' record," says Berklee-educated Wakefield with a laugh. "It's not a concept album, but on the other hand, the songs share a common ground in that they stand on their own feet. I didn't intend to write them as stand-alone singles, but I think every song has its own life to it."
Will Wakefield And The Congress Hotel comes out of the gate with guitars ablaze; the tachometer-blowing "Dept. of Correction" and seatbelt-tightening "190 Proof" will have listeners forgetting to breathe. Fuzzy keys accentuate one of Wakefield's slinkiest, meanest creations, "Your First Mistake." Riffing echoes of Thin Lizzy mark the arena sing-along, "The Stars Don't Shine," and Wakefield's remarkable — and remarkably intense — onstage charisma again seeps and spurts through the mic with the simply evil "What's Your Medicine."
Towards the end of the wild ride, Wakefield and the band finally shift back down to first gear with a gorgeous track that proved to be the impetus for the new album's direction.
"'Rendezvous' was actually the first song I'd written for the album, and I was tempted to go towards Billy Joel or early Springsteen with it — something that was essentially a 'solo ballad,''' Wakefield recalls. "I decided to go in the other direction... instead of writing solo material and having the band 'electrify it,' as I'd done previously on Apt. 306, I chose to create a roadmap for the band that was not based around a guy playing acoustic guitar. Each musicians part has a purpose to support the song’s intent as opposed to improvising around a chord progression."
Indeed, Will Wakefield And The Congress Hotel wound up, in part, being an acknowledgment of a group's family-like chemistry after many nights spent on stage. Bassist Mike Stewart and guitarist Chuck Edwards (Wakefield's cousin) joined up while Wakefield was working on his first solo album ten years ago; drummer Ty Creighton, recruited via a newspaper ad, coincidentally knew some of Wakefield's high school friends when he was an undergrad at Washington State University — which helped cement their camaraderie as band-mates.
Family and familiarity was certainly a factor in recently adding ace guitarist Dave Brewer (Lost Dogma, The Bradbury Press) — Wakefield has known him for years.
Apart from the nods to the Congress Hotel's bonds to one another, and to the town they love— hence the cover art – ultimately the new album is an homage to rock 'n' roll itself, and to the fans.
After all, Wakefield — whose diverse inspirations include Dire Straits, Bruce Springsteen, and Guns N’ Roses, — is above all, a rock fan himself.
"As I worked on the album, I often asked myself, 'What kind of songs do I like to sing along to? What sort of songs do I want to sing?," he explains. "I wanted to revive the 'big guitar' excitement, the catchy melodies of the music I grew up with.
It should be done well, and bring some hope and enjoyment to your life - that's what's important, and that's really the band's goal."
Will Wakefield And The Congress Hotel will be performing in support of their new CD throughout the year.
Problem Child originated in Bellingham, WA in 2001. They set out to be authentic and stay true to the look and sound of AC/DC. Over the years they've made many true and loyal fans and continue to raise the bar.
Problem Child has toured most of the Western United States including WA, OR, ID, MT and ND and have established a name for themselves. Problem Child has opened for national acts that inc...
lude Blue Oyster Cult, Cheap Trick, Thin Lizzy, and Quiet Riot.
Problem Child has played all types of venues...from clubs to casinos. Outdoor Festivals include The Bite of Seattle, Taste of Edmonds, Taste of Tacoma, the Darrington Classic Rock Festival and Strutzfest. In January 2012 Problem Child played at the KISW Holiday Hangover Ball with Puddle of Mud.
Problem Child's 2012 lineup includes original members Spencer Knight (Bon Scott), Ryan Craig (Angus Young), and Malcom (Malcom Young).
The latest and greatest version of Problem Child has a powerful and experienced rhythm section tandom with Chris Ewers (Cliff Williams) on Bass Guitar, and Phil Carter (Phil Carter) on Drums.
The 2012 Problem Child lineup is poised to electrify the die-hards with a potent set of classic AC/DC songs.
From Red Jacket Mine’s origins as a bedroom four-track project, through two studio albums (including 2009′s Ken Stringfellow-produced Lovers Lookout) and dozens of high-profile shows, bandleader Lincoln Barr has displayed a restless stylistic curiosity and unique command of his influences, masterfully whittling shards of soul, country, blues, rock, and pop into a coherent whole.
2012 finds Barr, who also serves as guitarist in Seattle power-pop heavy hitters Stag, marrying that band’s penchant for the sub-three-minute pop gem with his love for vintage soul and ’70s British pub rock. The results are thrilling, infusing Red Jacket Mine’s trademark commitment to songcraft with a welcome dose of humor and devil-may-care kineticism.
A series of releases on Fin Records began this year – February welcomed the “Listen Up (If the World is Going to Hell)” 7” on chocolate vinyl, and a second single, “Bellar & Bawl,” arrived on refreshing pilsner-colored vinyl on May 29. The video for “Listen Up” features the most joyous display of barbaric animal overlords manipulating their human underlings in recent memory. View it here, and consider Easter from a far different perspective (you’ve been warned). A third single, "Amy," will hit stores this fall, with a full-length album slated for early 2013.
Longtime drummer Andrew Salzman thrives in this context, propelling the songs with a Stax-y swagger and strut, while bassist Matthew Cunningham artfully snakes his way around, over, and through Barr’s sophisticated changes. Veteran producer Johnny Sangster (The Tripwires, Cobirds Unite) proves the perfect foil for this rejuvenated lineup, contributing his trademark sparkle and peerless pop sensibility as the project’s producer and occasional guest guitarist.
The Stranger has called Barr’s compositions “beautifully put-together objects,” while Blurt Magazine wrote, “These guys have the kind of songs and chops that will weather any level of scrutiny.” But these songs have depth and dimensions - first listens show off shiny hooks and crunchy guitars, and after a spin or two, the more cynical lyrics feel like a flashlight shining down a dark alley.
A Seattle resident, Lincoln Barr spent much of his youth near Memphis, Tennessee, where influences like Big Star, Al Green, Sun Records, and Delta blues swirl around in the drinking water. After attending college in the St. Louis area, where he began releasing music under the Red Jacket Mine moniker, Barr moved to Seattle in 2005 and assembled a full-band lineup anchored by drummer Andrew Salzman. Over the past 7 years, Red Jacket Mine has shared the stage with artists like Chuck Prophet and Alejandro Escovedo while enjoying frequent rotation on indie rock powerhouse KEXP, which has grown from a Seattle institution into a national entity.
D.evolution.Aires are a 3-piece, high-energy rawk band influenced by heavenly melodies and hell bent chaos.
"They purvey rock that brandishes bravura riffs and thrilling dynamics, with hooks that are both familiar and slightly strange." Dave Segal, The Stranger
"Hendrix as channeled through The Minutemen.” Dave Lake, Seattle Weekly