Horton’s Holiday Hayride with REVEREND HORTON HEAT & JUNIOR BROWN with special guests The Blasters & Big Sandy – Tickets – Neighborhood Theatre – Charlotte, NC – December 2nd, 2017

Horton’s Holiday Hayride with REVEREND HORTON HEAT & JUNIOR BROWN with special guests The Blasters & Big Sandy

Neighborhood Theatre & MaxxMusic present

Horton’s Holiday Hayride with REVEREND HORTON HEAT & JUNIOR BROWN with special guests The Blasters & Big Sandy

The Aqualads, The Belmont Playboys

Sat 12/2

Doors: 6:00 pm / Show: 6:30 pm

Neighborhood Theatre

$25 adv/$30 dos

$3 Under 21 Surcharge at Door (Valid ID required for entry into venue. Under 18 permitted with parent.)

Accepted forms of ID: State Issued ID or Driver's License, Military ID, Passport.

REVEREND HORTON HEAT
REVEREND HORTON HEAT
Loaded guns, space heaters, and big skies. Welcome to the lethal littered landscape of Jim Heath’s imagination. True to his high evan- gelical calling, Jim is a Revelator, both revealing & reinterpreting the country-blues-rock roots of American music. He’s a time-travelling space-cowboy on a endless interstellar musical tour, and we are all the richer & “psychobillier” for getting to tag along.

Seeing REVEREND HORTON HEAT live is a transformative experience. Flames come off the guitars. Heat singes your skin. There’s nothing like the primal tribal rock & roll transfiguration of a Reverend Horton Heat show. Jim becomes a slicked-back 1950′s rock & roll shaman channeling Screamin’ Jay Hawkins through Buddy Holly, while Jimbo incinerates the Stand-Up Bass. And then there are the “Heatettes”. Those foxy rockabilly chicks dressed in poodle-skirts and cowboy boots slamming the night away. It’s like being magically transported into a Teen Exploitation picture from the 1950′s that’s currently taking place in the future.

Listening to the REVEREND HORTON HEAT is tantamount to injecting pure musical nitrous into the hot-rod engine of your heart. The Reverend’s commandants are simple.

ROCK HARD,
DRIVE FAST,
AND LIVE TRUE.

And no band on this, or any other, planet rocks harder, drives faster, or lives truer than the Reverend Horton Heat. These “itinerant preachers” actually practice what they preach. They live their lives by the Gospel of Rock & Roll.

From the High-Octane Spaghetti-Western Wall of Sound in “Big Sky” — to the dark driving frenetic paranoia of “400 Bucks” – to the brain-melting Western Psychedelic Garage purity of “Psychobilly
Freakout” — The Rev’s music is the perfect soundtrack to the Drive-In Movie of your life.

Jim Heath & Jimbo Wallace have chewed up more road than the Google Maps drivers. For twenty-five Psychobilly years, they have blazed an indelible, unforgettable, and meteoric trail across the globe with their unique blend of musical virtuosity, legendary showmanship, and mythic imagery.

“Okay it’s time for me to put this loaded gun down, jump in my Five- Oh Ford, and nurture my pig on the outskirts of Houston. I’ll be bringing my love whip. See y’all later.” - Carty Talkington Writer/Director

Rev your engines and catch the sermon on the road as it’s preached by everybody’s favorite Reverend. Don’t forget to keep an eye out for the 11th studio album from REVEREND HORTON HEAT, boldly titled Rev, due out January 21st.
JUNIOR BROWN
JUNIOR BROWN
JUNIOR BROWN "THE AMERICAN ORIGINAL"

Born in 1952 in Cottonwood, Arizona, Junior Brown showed an affinity for music at an early age. Discovering a guitar in his grandparent's attic at age seven, he spent the next several years woodshedding with records and the radio. Junior was also able to tap into music he couldn't hear at home which older, college aged kids were listening to. This was possible as a result of his father's employment at a nearby campus in 1958. Armed with this broad spectrum of source material, he had developed some formidable chops by the end of his teen years.
Brown's passion for Country and Western music had intensified by the late 1960's. With many prominent figures as his inspiration, he spent his nights further sharpening his musical skills in small clubs across the southwest. "I played more nights in honkytonks during the 70's and 80's than most musicians will see in a lifetimeI did so many years of that, night after night, four sets a night, 15 minute breaks; I mean after that, you gotta get good or get out." Brown still prefers to refer to his favorite music as "Country and Western" as it was called when he began his career. More recently, however, with the exception of Classical, Modern Jazz and Rap, he has shown himself to be equally adept at virtually all styles of American music, leading many to dub him America's most versatile musician. A listen to his catalog of recordings reveals a virtuosity in Country, Western Swing, Hawaiian, Rock and Roll, (Hard Rock, Surf, etc.), Blues, Trad. Jazz, (Swing), Pop, Bluegrass, and even Mariachi.

Junior knew he could play and sing almost anything, but he had yet to explore his potential as a songwriter. "I realized no one was going to walk into a club and discover meso I started hanging out with some songwriters who I'd played some gigs with, and they showed me how to support myself by writing and publishing." With his songwriting coming together by the mid 80's, Brown upgraded his gear in a way that no artist had ever done. Struggling through each show with the back and forth switch between the six string guitar and its steel counterpart, he had a dream one night about the two instruments mysteriously melting into one. The result was Brown's unique invention, the "Guit-Steel", a double-necked guitar combining standard guitar with steel guitar, allowing him to switch instruments quickly in mid-song while singing. There are other Guit-Steel players now, but Junior was the first, and for many years the one and only. For this and other reasons, he is truly an American original.

In the early 90's Brown and his band (including wife, Tanya Rae) relocated to the fertile Austin, Texas music scene and landed a weekly gig at the Continental Club. His unique and entertaining combination of singing, songwriting, instrumental skills and producing led to a seven record deal with Curb Records that began with "Twelve Shades of Brown" in 1993. He later released two albums on the Telarc label.
The Blasters
The Blasters
From early days growing up in the southeast Los Angeles suburb of Downey, California under the tutelage of T-Bone Walker and Big Joe Turner to their emergence as central figures in the eclectic LA punk/rock scene of the early ‘80s to their current status as internationally-renowned influences in their own right, the Blasters have spent their lives exploring and expressing the deep and diverse musical legacy that is best described by the title of their first album: American Music.

A performance by today’s Blasters––vocalist-guitarist Phil Alvin, drummer Bill Bateman, bassist John Bazz, and guitarist Keith Wyatt––reflects influences that range from George Jones and Carl Perkins to Howlin’ Wolf, James Brown and Bo Diddley. The band’s 1980 debut album American Music (Rollin’ Rock) was a powerful collection of fresh, distinctive performances that shattered the artificial boundaries between blues, rockabilly, country, R&B and rock & roll. The next three albums for Slash/Warner Bros. (The Blasters, Non-Fiction, and Hard Line) increasingly featured the unique songwriting voice of original guitarist Dave Alvin as the band’s lineup expanded to include pianist Gene Taylor plus saxophonists Steve Berlin and New Orleans legend Lee Allen (“the man who put a saxophone in rock & roll”). As the Blasters’ fame grew, they began to draw accolades from artists as diverse as Bruce Springsteen, Eric Clapton and Queen, and in turn the band encouraged and supported still up-and-coming LA musical peers such as Dwight Yoakum and Los Lobos

In 1986, Dave Alvin left the band to pursue a solo career, and over the next decade a series of renowned guitarists including Billy Zoom, Michael “Hollywood Fats” Mann, Greg “Smokey” Hormel, and James Intveld filled the position. Phil Alvin simultaneously expanded his own musical efforts with the release of two acclaimed solo albums, Unsung Stories (Slash/Warner) in 1986 and County Fair 2000 (Hightone) in 1994.

In 1996, current guitarist Keith Wyatt joined the lineup and the Blasters continued touring steadily in the US and Europe before returning to the studio in 2004 to record 4-11-44 (Rainman). After the departure of drummer Jerry Angel, the band reunited with original member Bill Bateman and subsequently released their 2012 CD Fun on Saturday Night (Rip Cat). Meanwhile, the Blasters’ catalog was renewed with reissues of American Music along with two Slash/Warner compilations (Testament and The Blasters Collection) and the live recordings Trouble Bound and Going Home Live (Shout Factory).

Blasters shows have been described as “a cross between Creedence and the Clash,” with a display of passion and energy only deepened by decades of experience. For all of the ways in which the world has changed in the past few decades, one thing is still guaranteed: the Blasters play American Music.
Big Sandy
Big Sandy
Over the last three decades, Big Sandy and his Fly-Rite Boys have kept up a constant cycle of traveling back and forth across the lower 48, then hopping across the pond to Europe and beyond. They bring with them a brand of American music that has earned them an induction into the Rockabilly Hall of Fame, several national television appearances, guest spots on The Grand Ole Opry, and a slew of adoring fans.

"I truly love being out on the road, and I feel blessed to have the opportunity to sing my songs all over the world," said Sandy. "But when I'm away from the U.S. for too long, it's like I need a recharge... like I need a solid dose of everything Americana. Give me a Chuck Berry song while rolling down the interstate, or a truck stop conversation with a waitress who once danced with Lefty Frizzell, and I'm good for another three thousand miles."


Twenty-five years, fourteen albums & hundreds of thousands of miles. What a dream it’s been.

When I first got together for a garage rehearsal with a group of musician friends in the spring of 1988 in Anaheim, California, I never dreamed that I would someday be celebrating the silver anniversary of the rocking little band that formed that afternoon.. Yet here I am, looking back over a wild ride that has taken us around the world countless times, that has put us in front of national television audiences, and - most importantly - that has given me the opportunity to play the music that I grew up having such a passion for - Rockabilly, Rock & Roll, Honky-Tonk, Rhythm & Blues, Soul, Doo-Wop... and now with the release of our new all-acoustic album “What A Dream It’s Been”, even a touch of Jamaican Rocksteady. Putting together the new record for Cow Island Music has brought back a flood of memories; we went through our entire catalogue of LP’s, picked out some of our favorite original numbers, and gave them fresh new arrangements, rhythms, and instrumentations. In many ways , it was our way of looking back at everything that has led us to where we are now, while looking forward towards new musical horizons.
Happy 25th Anniversary, Fly-Rite Boys! Here’s to 25 more!
cheers,
Big Sandy
The Aqualads
The Aqualads
The Aqualads first formed in the summer/fall of 1996. In 1997 their first EP "Aqualads Xmas" was released. The first full length recording "Aqualads Hotbox" was released in 1998, followed by their sophomore effort "Aqualads Revenge" in 1999. In 2003 "Surf Surf Surf" was released, gaining the band a wider audience. After playing hundreds of shows and festivals, contributing to various compilations and soundtracks, 2011 saw the release of "Aqualads Treasures" as well as "An Oso Grande Christmas". With plans to continue recording and playing live the "Alads" are here to stay. Surfs Up!!
The Belmont Playboys
The Belmont Playboys
Launched in 1989 -- no, really -- the Playboys are still kicking ass and taking names. They've played with just about everybody you could think of and at least two you would never have imagined. They've done six CD's and the latest one is their best yet -- which, I'm not sure what that means. They've toured everywhere, and don't care if it's a tiny bar or a fifteen-hundred seat hall. They are true to absolutely nothing but what they do, which ain't like what anybody else does. It ain't nostalgia, it ain't high art, it ain't pretentious, it ain't so groundbreaking as to be outside the bounds of anything you ever heard. It's rock and roll: plain, simple, neat, sweet, raucous, rowdy, fun, bouncy, lighthearted, and loud. If you ain't grinning by the end of the third song, you're missing the point. Either that, or they owe you money.
Venue Information:
Neighborhood Theatre
511 East 36th Street
Charlotte, NC, 28205
http://www.neighborhoodtheatre.com/

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