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KEVEN DARKLIGHT – NOT AT ALL WHAT YOU’D EXPECT!

What if you threw your own sci-fi hip-hop musical, and nobody came?

“The seat count was 18 out of 803,” says Keven Porter, Jr., who rented the Poway Center for the Performing Arts on January 22 for a theatrical production of his concept album Keven Darklight, in which he portrays the title character. “My promoters failed to reach the demographics I had encouraged them to go after. They have since apologized.”

Preferring to be called just “Keven,” he describes the project as akin to “Ziggy Stardust, a cool and honored comparison to Mr. Bowie. Within us all there is light and darkness, a dormant Hyde to our exterior Doctor Jekyll. On this record, it is the dark within, the inner conflicted Mr. Hyde, which takes the forefront. Much of what I lyrically pull comes from my own inner strife.”

As for the three-act show witnessed by those eighteen people in Poway, Keven (email handle “KevMegaStar”) says “I utilized lighting effects and video projected on a gigantic cyclorama screen. There are several songs within my show that take on a theatrical appeal, with characters and props. As a theatrical arts graduate, it was important for me to bridge my acting abilities with my music.”

Amidst his own costume changes, several local models enacted a runway fashion show during one song, while another tune found him singing to a female character dying of cancer.

“I had an actress portray my dying love interest, another a nurse, and a third [playing] an angel of God sent to retrieve her soul. All were in costume and acted out the death scene…in the end, the audience saw my dying love leave with the angel, and I alone on stage, staring at the chair she once sat in.”

Though he’s reluctant to discuss production cost, the Poway venue charges around $1,400 per five hour block, with additional hourly fees for technicians, box office staff, and a house manager.

Keven graduated in 2000 from Poway High School, formerly attended by members of ‘tween faves Allstar Weekend and blink 182 singer/guitarist Tom DeLonge. However, “When my promo team attempted to arrange a free concert [at Poway High], they were not simply told no but also verbally insulted by current office staff. [They were] very rude.”

On March 1, a longform Keven Darklight video will be released online, including footage shot at the sparsely attended Poway Center performance.

“For the video, there will be no audience angles, and an audience cheer track will be added to the scene of me approaching the stage.”

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I’ve not seen the video, but Keven DID send me a copy of the 20-track Keven Darklight. I rarely do literal album reviews, preferring to let the Hometown CD contribs shine in that department, but this singular local-centric release would seem to call for an exception….

I have to admit, I was pretty curious! Knowing nothing about the guy other than from the chat that yielded the above (and that his mom is a Reverend), I was frankly imagining something along the lines of Spinal Tap’s Stonehenge.

That said, I ended up playing the entire CD from start to finish, with nary a letup. The result?

Not at all what you’d expect…but then again….

First of all, it’s usually a very bad sign when a recording artist feels compelled to list his full name Keven Porter Jr. after every single song and production credit in the CD jacket – no less than 24 times in this case!

Add to that the prominent (and ridiculously/intriguingly optimistic) web addy “KEVMEGASTAR.COM”...

AND the two photos of unblinking Keven wearing a low rent Bedazzled MJ-style jacket (Bad-era minus the buckles)...

AND a back cover photo of him wearing skullface wrestler-style makeup...

...and you have a truly offbeat package that it took MUCH courage to open and play, I don’t mind telling you….

KEVEN DARKLIGHT – THE REVIEW

‘Kay, didja ever wonder what it would have sounded like if, instead of joining the Jackson Five, Michael Jackson sang lead for Devo?

No, huh? How about El DeBarge fronting the Human League?

Or Rockwell -- remember “Somebody’s Watching Meeeee”? -- actually rocking well??

These were my first notes on listening to “Keep Holding On,” which surprised me with its driving guitar riff and funkified ‘70s bassline. The electronics were a bit robotic, but Kevin’s melodic – and oh-so-sincere – vocals channeled a very Michael Jackson-esque vibe.

And I mean that in its most positive interpretation – the production may not have been Quincy Jones slick, but it was far more glossy and full than I would’ve expected from what I was expecting to be a one-man Casio keyboard band.

“Always One in the Family” has an unfortunate “street” rappin’ passage that only makes his MJ falsetto much more appealing and welcome. In fact, virtually all of the album’s spoken word bits should probably have been jettisoned, especially the clunky and Shatner-esque “interludes,” which frequently come off like pissy FaceBook rants or Craigslist flames.

“Let Go” has a terrific echo-wah guitar intro that grabs immediate attention. Unfortunately, by this point it’s becoming obvious that the weak link in all this is Keven’s lyrical prose, much of it more suited for the high school composition book of a frequently truant sophomore than for this surprisingly well-rendered musical adaptation.

The song’s raw lyrics -- about his lover dying from Cancer -- are rendered unintentionally funny here by the ultra-slick pop production. His singing may be more than adept, but the backdrop would be more apropos of a party than a wake ---

“Perfection” has a ringing, slinky chorus that wouldn't sound out of place on Prince’s first two albums, while “I Don’t Need” attempts a falsetto sneer akin to “Leave Me Alone,” by the oft-aforementioned King of Pop. Lyrically, tho, the song never progresses much beyond a laundry list of things that Keven Darklight definitely does not need --- empty heart, games, wasted dimes, you know…that kinda thing.

“You’re Hurting Me” manages to be whiney even while name-dropping Moses, and any song that dares an a capella intro stating “For the first time, she blew my mind” merits no further comment ---- other than maybe mentioning that actual laughter can be heard in the background. The producer, or ??

“Yesterday” also opens with unadorned vocals, sounding much better here – good enough to get someone into the final half hundred on American Idol, anyway. A bit lengthy, tho, it wears out its welcome before finally wrapping up --

“A Better Man” is a fine sounding track, pure pop, if a bit drone-y. As throughout the album, his vocals don’t have a lot of variance, but his singing, especially his timbre, sounds quite good, at least within his (somewhat narrow) comfort range.

Nearing the end of the disc, “You’re a Winner” is another fine rockin’ handclap-driven tune, not at all hindered by the odd Star Trek sound FX that seem to come outta the left field mix.

“Rest My Heart” is nearly outstanding, with a completely unexpected acoustic guitar bed track. Probably my favorite track on the album ---

Mind you, I probably wouldn’t play this entire CD again if you put a gun to my head.

But around a half dozen of the tracks, once you overlook the grade school lyricism, are quite good and VERY listenable. Impressive, even.

And certainly NOT AT ALL WHAT YOU’D EXPECT……

ZAKK WYLDE AT HARD ROCK HOTEL SAN DIEGO

By Spike Steffenhagen: Guests staying at the San Diego Hard Rock Hotel can now “Check In and Rock Out” with the same gear used by former Ozzy Osbourne guitarist and Black Label Society founder Zakk Wylde.

The metal mainstay was in town February 3 to promote the program which offers guests access to various Gibson guitars and amps – free of charge – while staying at the hotel / memorabilia display. To be displayed is a Les Paul he used in the recording of his newest disc Order of the Black, which he claims was actually used by Justin Bieber in writing the album.

Joking?

Members of Black Label Society chapters from as far as Temecula came dressed in full BLS colors to greet their de facto president as he shared some of his exploits and future plans.

“I had the privilege of working with William Shatner, he wanted to do a version of 'Iron Man.'” Though it was hard to tell if Wylde was joking (he wasn’t!), he made clear his admiration of Shatner’s most identified role.

“I went to a Star Trek convention when I was like 12 in New York. Man, you talk about a guy that has done it all. He’s had sex with multiple women from multiple galaxies.”

It’s a good thing BLS loves to tour, as Wylde racked up a 10,000 dollar bill while teaching Ozzy Osbourne how to trash a hotel room.

“Yeah, don’t do any of that at the Hard Rock, guys,” he advised potential guests.

While presenting the hotel with several of his axes of choice, Wylde shared some thoughts on San Diego’s weather. “I tell people all the time when they talk about L.A. weather, you gotta go down to San Diego, that’s just crazy great weather.”

The BLS founder expressed a deep respect for the city’s military tradition as well. “You gotta respect the military, man. My dad was a vet; they do what needs to be done.”

One of the things foremost in his mind when he thinks of San Diego? “The Chargers, I have a lot of friends from the west coast.”

As for who ultimately got the raw end of the Eli Manning / Philip Rivers draft debacle, when Manning refused to sign with San Diego, the New Jersey native and Giants fan doesn’t pull any punches.

“You got Rivers. You guys got the better part of that deal. That guy has talent.”

FULL LINEUP ANNOUNCED

Saturday & Sunday, March 12 & 13, 2011 at NTC Promenade, Liberty Station in Pt. Loma. 12 Noon - 11:00PM with Official After-Party going 'til 2:00AM. http://sandiegoindiefest.com/

DURGA SOUND MAIN STAGE

Presented by 91X

11:45 am	Tam Tam Mandingue
12:00 pm	The Angie-Swan
12:30 pm	The Inheritance
1:15 pm	Black Party Politics
2:00 pm	Audible Mainframe
2:45 pm	The New Up
3:30 pm	Republic Of Letters
4:15 pm	Vanaprasta
5:00 pm	James Marsters
6:00 pm	Vokab Kompany
6:45 pm	AWOLNATION
7:45 pm	Jorge & Alexa Narvaez
8:00 pm	Danielle LoPresti & The Masses - Role Mama
9:30 pm	We Are Scientists

CRAIG YERKES ACOUSTIC STAGE

12:00 pm	Bob Frye Trio
12:45 pm	The Groove Kitties
1:30 pm	Shaimus
2:15 pm	Citabria
3:00 pm	Love Darling
3:45 pm	Martian Horses
4:30 pm	Celeste Kellog
5:15 pm	The Filthy Violets
6:00 pm	Simeon Flick
6:45 pm	Monette Marino Keita
7:30 pm	Gayle Skidmore
8:15 pm	Todo Mundo
9:00 pm	Sour Soul
9:45 pm	Rhythm & The Method
10:30 pm	UBUV (Universal Beats Universal Vibe)

ARTS STAGE

Presented by ARTS - A Reason To Survive

12:00 pm	Electric Music Studios "House Band"
12:45 pm	Ruthless Hippies Poetry Ruckus
1:30 pm	ACIDIC
2:15 pm	BMartini
3:00 pm	ARTS Jam!
3:45 pm	Sheila Sondergard
4:30 pm	Lenny Morris
5:15 pm	The New Assembly
6:00 pm	The Green Children
6:45 pm	In Lieu Of
7:30 pm	Joseph Pfeifer
8:15 pm	Osceola DuBois

THE WATERCOLOR STAGE

Presented by Jon Block Creations

12:00 pm	Ruthless Hippies Poetry Ruckus
12:45 pm	Reverend Stickman
1:30 pm	Eben Brooks Band
2:15 pm	Emily Tessmer
3:00 pm	May Stands Still
3:45 pm	Natalya Phillips
4:30 pm	Theta Naught
5:15 pm	Mike De La Rocha
6:00 pm	Kenny Eng
6:45 pm	Sister Speak
7:30 pm	Brianna Conroy

FRESH SOUNDS at THE LOFT/UCSD - March 12

The Loft's Fresh Sound music series, curated by Bonnie Wright, will now be presented at the university’s performance lounge and restaurant, beginning March 12, 2011.

Each Fresh Sound series consists of four concerts that focus on a theme.

The upcoming series will explore Voice and Electronics (previous series at the Sushi Performance space examined Electronics, Percussion, and Reeds).

Fresh Sound is dedicated to bringing music that is new and experimental to the San Diego and UC San Diego communities. The series will immerse you in electronic and acoustic music (often with visual components) that defies classification. From composed and improvised to acoustic and electronic to contemporary classical and techno, Fresh Sound produces music that will move you and leave you wanting more.

Named the Best Venue in San Diego for Music Appreciation, The Loft at UC San Diego is the exciting crossroads where emerging art and pop culture collide. A place where great design, food, drinks, and performance commingle, The Loft will nourish your experience of the arts. Fresh Sound music series echoes that goal.

Concert Schedule

Saturday, March 12th, 2011 • Pamela Z, San Francisco
Voice and Electronics
Friday, March 25th, 2011 • Consume, San Diegans
Tristan Shone, musician/live electronics/composer
Clint McCallum, voice/actor
Friday, April 22nd, 2011 • Theo Bleckmann, New York
"Songs for Voice, Loops, and Toys"
A cappella, electronically processed, and improvised vocal music.
Saturday, May 21st, 2011 • Alex Nowitz, Potsdam
HOMO LUDENS: A Solo Concert for Voice and Live-Electronics

Details, lots of them, at www.freshsoundmusic.com

LOCAL PASSMORE LAB SHOOTS 3D PLAIN WHITE T'S VIDEO

Chicago rock band Plain White T’s have released the 3D video for their hit “Rhythm of Love,” it was announced today in a joint statement by San Diego-based 3D Production Studio PassmoreLab, Plain White T’s and Hollywood Records.

“Rhythm of Love,” the first hit off the band’s newly released album, Wonders of the Younger, will be the band’s first-ever video in 3D. The 2D version is currently spinning on MTV. The single, which hit #1 on the iTunes Rock Album chart, is currently a top ten hit at radio and has already been certified Gold in the US. Sales of the song are far outpacing those set by the band’s previous hits “1,2,3,4,” and “Hey There Delilah,” which have sold over 5 million copies combined.

Plain White T’s frontman Tom Higgenson says Wonders of The Younger is a collection of songs designed to create a feeling of nostalgia. “We wanted to take our fans to an unexpected place with the record, and that carries through to the 3D video version of 'Rhythm of Love,'" says Higgenson. “You feel like you are on that beach, right there next to us.”

PassmoreLab’s 3D technology was used during production. “It really works well in 3D, and surrounds the viewer with a feeling of summer romance,” says Steve Glum, PassmoreLab’s head of Branding & Distribution.

Plain White T’s “Rhythm of Love” 3D music video is now available for distribution worldwide, and can be seen on the new Mitsubishi 3D reel in over 11,000 North American retail locations.

Last year, the company produced a video with Slash ---

“We converted the original video into 3D for Slash and did the deal with him,” says Steve Glum. The Bay Park–based company, founded here in 2003 by Greg Passmore, produced a 3D version of the guitarist’s sci-fi music video “By the Sword” from his self-titled solo album. “Slash was on tour during the conversion but was on top of every aspect of the video. We do many music videos, but this one was special because it was Slash.”

“By the Sword” is set in a postapocalyptic future, in a deserted power plant where music-starved survivors are rocking out to Slash and his band, which features singer Andrew Stockdale of Wolfmother. “The 3D conversion took about four weeks to complete,” according to Glum.

“We found the underground setting of the video quite demanding. The quick camera cuts, sweeping movement, and low lighting gave us some challenges. But the final 3D video looks cool, especially the audience stop-action cuts, where Slash is wailing on his guitar during the solo. I can tell you that Slash in any form is cool, but Slash in 3D is awesome.”

All stereoscopic aspects were produced in San Diego by PassmoreLab, which released the five-minute video internationally in August. PassmoreLab’s multimedia 3D production studio now boasts an extensive library of 3D content for licensing.

Slash’s 3D video is also screening on television in Canada, and Glum predicts the broadcasts will result in Canadians buying twice as many 3D-capable TVs this year. “They’ll have to buy another 3D TV because their kids blew out their speakers in the first one.”

One of Passmore's early on-site creators was Michael Page. Though best known for his stint with Iggy Pop (1979 to 1984), bassist Page has also performed and recorded with David Bowie, Chubby Checker, Jerry Lee Lewis, and New York Dolls guitarist Sylvain Sylvain, with whom he formed the band Criminals.

“Iggy introduced me to Johnny Depp around ‘92,” says the Kearny High graduate (1968), “and Johnny put me in charge of throwing a band together with him, the Vipers. However, that project ended up clashing with his movie shooting, so that’s when I bailed on live road gigs in favor of working at home, scoring for films.”

Page – who grew up in North Park - lives near Banker’s Hill and works for a local visual production firm, PassmoreLab, where he’s currently converting standard photos, film, and video into 3D.

“We teamed up with rock photographer Bob Gruen,” says Page, “to convert his well-known iconic images to a format that can be viewed on stereoscopic displays.”

Gruen was the personal photographer for John Lennon and Yoko Ono, and served as tour photographer for the Clash and Kiss. His extensive photo archive includes the Rolling Stones, the Ramones, Elvis Presley, Bob Dylan, the Talking Heads, Led Zeppelin, Muddy Waters, Patti Smith, Bo Diddley, Blondie, Bob Marley, and the Sex Pistols.

“It would be incriminating to say how far back I go with Bob, so let’s just say that we’ve both seen a lot and are blessed to be alive to tell about it,” jokes Page. “We had the recent opportunity to bring Bob from New York to the lab in San Diego, to see what we were cooking. I knew he would flip, and boy did he ever! As I recall, after his initial shock reaction at seeing our work, his first whispered words were ‘I’ve seen the future.’”

PassmoreLab founder and president Greg Passmore says "One of the really great things about the 3D conversion we're doing is that a lot of content that otherwise may be seldom seen is now getting a new and fresh look. It also creates a more immersive experience for the viewer.”

Bassist Page prefers his current gig to the rock and roll lifestyle. “It’s a lot less dangerous than dodging bottles with Iggy Pop,” he says.

Another 3D Passmore video was done for glam act Semi Precious Weapons.

“Including the champagne and a gallon of gold body paint, it ran about $30,000,” says Page.

“We shot the entire project in one long day but spent a considerably longer time building the sets and even longer time cleaning up afterwards. The cost for a 3D production is significantly more than 2D, partially due to the complex editing processes.”

PassmoreLab didn’t recruit a local band for the video (which included “taxidermy and glam ghouls spewing metallic body fluids,” according to Page) but used a New York City band, the Semi Precious Weapons.

“The band was awesome and ripe for 3D,” says Page. “The front man Justin is so full of energy and so animated.… They seemed to muster up an artistic concoction that had similar tastes and sensibilities as my old cronies the New York Dolls, sprinkled with a bit of Iggy Pop flavoring.”

“Magnetic Baby” was shot in San Diego, in both 3D and 2D format.

“We are interested in releasing the 3D version in Japan, where they have been successfully broadcasting 3D television for a while now.”

Why did PassmoreLab make the investment?

The company owner says, “PassmoreLab is in the business of producing films and as part of this function finances and performs production services in exchange for back-end revenue off the resulting content.”

Other PassmoreLab 3D rock video productions have been done with Johnny Ramone, punk-rockers Osaka Popstar & the American Legends of Punk (“Wicked World”); Sammy Hagar (“Loud”); and the company is currently in pre-production on “Run You Down”, the first 3D video for Hollywood Records’ all-girl teen rockers Cherri Bomb.

Related Links

Blurt "Semi Precious"
Blurt "Far Out Man"
Famous Former Neighbors comic Michael Page

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A SAN DIEGO JAZZ CAT PRIMER

By Bart Mendoza: San Diego may not have much of a rep for jazz , but the truth is there has been a small but thriving scene here for decades, with many fine musicians calling the area home. Here are twelve:

James Moody – “Cherokee”

Recorded live in Copenhagen, Denmark, 1968, this is worth checking out for the groovy intro alone! An awesome live take with nice sound…

www.youtube.com/watch?v=RsYojk4WgQM

Barney Kessell – “Here’s that Rainy Day”

He played with everyone from Elvis to the Jefferson Airplane, and even had a signature guitar, but it’s his jazz playing that most wows. Effortless and beautiful.

www.youtube.com/watch?v=CX0xUb1Ml6U

Charles McPherson - "Marionette"

He can be heard on the soundtrack to the film, Bird, and played with Charles Mingus for over a decade. Here’s McPherson and his alto sax at Anthology.

www.youtube.com/watch?v=jKgit-li8Jg

Chuck McPherson and his Funky Drummer Orchestra Quartet -"Jokerman"

The son of saxman Charles McPherson featured on KUSI’s “Good Morning San Diego” morning show.

www.youtube.com/watch?v=1rqwLbWBf20

Jack Costanzo with the Nat King Cole Trio and Benny Carter and his Orchestra

A vintage clip, this swings like mad…

www.youtube.com/watch?v=peqXX8RU610

Gilbert Castellanos New Latin Jazz Sextet - "Guadalajara 1972"

Live at the Onyx Room with the great trumpeter, often found in Diana Krall’s backing orchestra…

www.youtube.com/watch?v=5hnvfZ3VoJ4

LA Jazz with John Guerin – “Medley”

Guerin played on hundreds of hit albums (Frank Zappa, George Harrison, Madonna, Barbara Streisand etc) , as well as TV show and movie themes, including Hawaii 50, Laverne and Shirley and Bird. But his real love was jazz…

www.youtube.com/watch?v=7h5KrlMieCw

Peter Sprague & Fred Benedetti – “DeSamba”

A live concert showcase for these two superb guitarists, in Escondido, California, circa 2006

www.youtube.com/watch?v=nwMN-gCv6WI

The Chris Klich Jazz Quintet - "Cold Duck Time."

playing Eddie Harris' funk jazz tune

www.youtube.com/watch?v=my0g2qUQpBQ

Joe Marillo - Jazz : Drawn to the Sound

A short documentary on saxophonist Joe Marillo

www.youtube.com/watch?v=fbRj3XVoEpQ

Joe Liggins & The Honeydrippers – “The Honeydipper”

A fifties classic by the original artist, though in concert at a Los Angeles venue circa 1983. Robert Plant named one of his bands after this tune…

www.youtube.com/watch?v=qo0DBf-z4wk

Greyboy Allstars - 1996 San Diego Music Awards

Featuring a young, pre “Mad World” Mike Andrews on guitar

www.youtube.com/user/slammsd1#p/u/51/h-p_RuzrDrE

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SAD GOODBYES

It's been a tragic few weeks in the SD music community. Inch singer/guitarist Michael Steinman -- aka Stimy -- passed away at the end of 2010. He also played locally with Sub-Society and Congress of the Cow; he was living in Colorado when he died.

Hialeah drummer Justin Jay was found dead in his apartment last weekend - cause of death is still unknown, but Rosey at sddialedin.com says he told friends he was experiencing headaches. A memorial page has been set up at 1000memories.com/JustinJay.

Local sax symbol David Isabelle passed away in late December at age 60. A Memorial and Tribute Concert happens at Humphrey’s Backstage Lounge on Saturday, January 15, with Chris Leyva, Bam Barcelona, Eddie Jason Coven, Jay Mitchell, and others.

A memorial service was held on Friday, January 7, for longtime San Diegan Jesus “Jess” Porras , co-founder of the R&B group the Mixtures, whose 1963 album Stompin’ at the Rainbow just made its CD debut last October. Porras died December 26, at age 69.

In addition, noted local classical guitarist Brian Baynes reportedly passed away on Sunday, December 19.

On Thursday, December 9, the jazz legend James Moody lost his battle with pancreatic cancer, just days after receiving a 2011 Grammy Award nomination, for Best Jazz Instrumental Album for his newest recording 4B. He will be sorely missed

Let's hope there's a celestial equivalent to the Casbah up there, where our departed all-stars can continue making music ---

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RAT RIOT IN GERMANY

Rat City Riot’s new album Better Than Nothing will be released overseas this month on the German label I Hate People Records, followed by a European tour in February.

“The title Better Than Nothing came about while giving our German tour manager, Stephan Kösters, a hard time over some lax booking and advertising on the last European tour,” says singer Noah Bricker. “He had a few shows where the drive -- seven hours or more -- and the guarantee payout or door deal ended up being barely enough to cover a meal for the band and a few liters of diesel for the van, if that. Somewhere along the line, the term ‘better than nothing’ started getting thrown around.”

“After trying for awhile to figure out a decent title for this record, we figured it was Better Than Nothing.”

As for the band’s worst gig, “We played one German bar where a way-bigger band was playing nearby, and we literally had zero people come to the show. Three customers wandered into the bar, but left…we entertained ourselves with a bit of stand-up comedy and talking shit over the microphones, waiting to see if any stragglers would show up, but the night ended with us loading out into the cold, without playing a song.”

The album’s cover art has a gambling theme. “The dice on the front cover are showing a terrible roll at a game called Three’s the Way, in which you’re trying to roll a low score, with threes counting as zero. It’s an apt depiction of the life of a traveling musician, where high stakes gambling is common, especially at the end of a tour. Gambling on the road is practically a tradition; for drink tickets, for small change, or for the last plate of food. It can be a sanity-saving, if wallet-emptying, pastime.”

Formed in 2003, Rat City Riot is breaking in two new members; lead guitarist Kevin Grossman (formerly of Bonecrusher and Straight Faced), and rhythm guitarist Andy Mensing (formerly of the Boardlords). The band is filled out by Bricker, bassist Kevin Abrams, and drummer Gavin Glenn.

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LOCAL TAANG RECORDS SIGNS DEAL WITH VISUAL MUSIC

Visual Music has signed a deal to market the catalog of Punk/Hardcore/Ska specialists TAANG! Records, which recently celebrated its 200th release. The label's artists hail from Boston to the U.K. and include Gang Green, Lemonheads, Buck-O-Nine, The Mighty Mighty Bosstones and new bands like Everybody Out. Visual Music features five cuts on its' website that, according to creative director Tom Seufert, "epitomize the kind of aggressive attitude that can bring a sense of raw power and danger to any project."

Taang! started originally as a singles-only label in 1984, signing various Boston-area acts including Gang Green, Negative FX and Kilslug. At that time Taang! also ran a storefront in Harvard Square in Cambridge, Massachusetts. By 1989, Bullet Lavolta was signed to the label, which facilitated the merger of Taang! with RCA. Then Taang! had its two biggest college radio releases by The Lemonheads and Bullet Lavolta which were simultaneously #1 & 2 on the charts. The label went on to sign more diverse acts such as The Mighty Mighty Bosstones and Swirlies.

In the mid to late 1990s Taang! put out fifteen releases that sold well in US chain stores. After moving from Boston to San Diego, the label continued its focus on Boston-based bands such as The F.U.'s, The Proletariat and The Next. In 2007, the label signed new bands, such as Everybody Out (featuring Rick Barton of Dropkick Murphys) and So Cal's Evacuate, releasing their debut in 2009. In 2010, Taang!'s releases included UK-based The Newtown Neurotics, early label recruits Kilsug, Oysters, Gang Green and Attitude Adjustment. In June 2010, Detroit-based band Negative Approach joined the TAANG! family.

The five selects from TAANG! can be heard at http://www.visualmusicartists.com/taang.html

Visual Music is a boutique music house and record label encompassing an extraordinary group of star composers, new emerging artists, award winning composers, songwriters, sound designers and now the catalog of Punk/Hardcore/Ska specialists TAANG! Records.

The company's mission is to deliver inspired creative innovation to clients by exploring diverse musical possibilities within Visual Music's roster. Visual Music's creative director/executive producer Tom Seufert has written for one of the Beatles (Ringo), co-written with Glen Frey (The Eagles) and Trevor Rabin (Yes) and written/produced songs and underscores for more than 1000 TV commercials, film trailers, interactive games and web sites as well as TV and film projects.

Recently added composers like Napoleon Dynamite's John Swihart, Bear McCreary from the hit sci-fi series Battlestar Galactica and Gossip Girl's "composer collective" Transcenders, join a select group of "rising musical stars" who are passionate and dedicated to their craft.

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THE KRUK WHO WOULD BE KING

“I recreate the look and songs from 1968 to 1974,” says Elvis impersonator James King Kruk. Based in Oceanside, the former English teacher makes his sole living playing the King, as a feature act and in theatrical stage productions that have traveled nationwide and overseas.

“My favorite venue was Ford’s Theater in Washington. Try as I might, I never could find a way into the balcony where Abraham Lincoln was shot; it’s locked up, of course. My dream was to sit up there during the play in a stovepipe hat and freak the audience out.”

Sometimes, the audience freaks HIM out. “In Florida, quite a few people were older, and they wore assisted listening devices. Now, hearing aids make a very high-pitched squeak when they’re too close to each other. So, during the quieter parts of the show, you could hear this very loud high-pitched squealing, coming from all over the audience.”

Currently married with three kids, Kruk feels that, when it comes to romance, it really is good to be the King. “I did all right with women in my day, but hell, when you’re dressed as Elvis, that’s a powerful aphrodisiac. I won over my wife by singing for her!” He often brings the family along when performing at various Elvis competitions, where prizes can be up to $25,000.

“When the family’s with me, I’m usually more tired than the other contestants, who can sleep until noon. No matter what time I go to bed my, two year-old gets me up at seven a.m. The kids love the contests, though, and it’s exciting for them. Except when Daddy doesn’t win. Then they cry.”

Kruk says he still listens to Elvis music every day. “I’m really digging the Promised Land album from 1975 right now…it was recorded at Stax in Memphis, and the musicians are extra funky.” Backed by North County band City Limits, his setlists include one that recreates the entire 1968 Comeback Special, and another that parallels the 1973 satellite TV broadcast Aloha from Hawaii. “I’m also an ordained minister who can perform weddings as Elvis,” says Kruk, who charges around $600 to serve as musical minister.

More budget conscious Elvis fans can always arrange a personal phone call from Kruk, as Elvis, for themselves or someone else, for a mere $10. “I can’t always connect with the person, so I’ll leave a message for the same ten bucks.”

(This week's new Blurt column has more on Kruk - see Saved by Elvis )

Kruk disbanded his former group Fake Booby Judy to become, for a time, one of Poland’s top Elvis impersonators.

“The Elvis show happened from a karaoke contest in Krakow [around 2004],” says Kruk, who was teaching English in Poland at the time. “I went up on stage and the crowd went crazy, like I was really Elvis. They made me sing every Elvis CD they had, and the crowd loved it. I was shocked! I won the karaoke contest that night.… The prize was some Russian champagne.”

Though popular, Kruk says Poles didn’t pay much for his Elvis act.

“The most I got was 200 Polish zloty for a 45-minute gig. That was around $70 U.S. Now, it’s worth something like $120.”

Before settling in San Diego with his Polish-born wife, Kruk spent two years touring the U.S. as Elvis in Steve Martin’s stage play Picasso at the Lapin Agile, about Albert Einstein meeting Pablo Picasso in a bar before they become famous.

“Elvis shows up as a time-traveling deus ex machina, to juxtapose the impact of fame and genius. I was paid $1500 a week, plus $600 weekly per diem for food and hotels.”

Comedian Steve Martin authored the play, but didn’t appear in it. “He was around for rehearsals and for some shows, though,” says Kruk. “He had the cast over for dinner when the tour stopped in L.A., which was cool. Some cast were swooning and telling him his greatest movies. I told him mine was The Muppet Movie. He was not amused.”

In 2009, Kruk placed fourth at Pechanga’s Ultimate Elvis Tribute contest. “But then I rallied and won first place at the [Del Mar] Fair, beating the second and third place contestants from Pechanga. One of the three male judges at Pechanga obviously didn’t like me, as he consistently scored me ten points lower than the other two.”

The Pechanga competition is part of a national yearly contest run by the Presley estate with a $25,000 top prize, while the Fair’s one-off contest paid Kruk $1,000 for his win.

“My act at the Fair was a little different. At Ultimate, you have to be more true to what Elvis would have performed wearing a specific stage outfit. For example, if you wear an Aloha From Hawaii Eagle jumpsuit, you can’t perform songs he didn’t do during that era. At the Fair, you have a little more freedom, so I could wear the fringe jumpsuit from the ‘70s and still sing songs from the ‘50s and ‘60s.”

Both Elvis contests attracted impersonators from all over the country, as well as L.A. Elvis George Thomas (third place in Del Mar) and locals like Kruk and Paul Monroe (whom Kruk outscored at Pechanga). “San Diego is tough. Paul and I don’t gig as often as we’d like. People still sometimes hire terrible Elvises without looking into whether they have rank and standing among Elvis impersonators”

Now that Kruk has achieved championship cred, he’s hoping gigs – and the attendant paycheck - will increase. “I can now say I’m the best in southern California, as I defeated all the best from the area, so I’m officially on the national Elvis map.”

***************************************************

LOCAL COMPANY DEBUTS ZIPBUDS

Zipbuds, an earbud system incorporating tangle-resistant, zipper-integrated, braided nylon cabling, were created by San Diego's own Digital Group Audio (DGA). The buds are designed for on-the-go listening, whether exercising at the gym, studying, road tripping, laying out at the pool, or traveling because they allow music lovers to enjoy unrivaled sound quality and a secure and comfortable fit without the hassle of constant cable untangling.

DGA, best known for "Perfecting Portable Sound(TM)", recently debuted Zipbuds as its second product in a line-up of audio/video portable electronics.

"We are thrilled that we were able to launch Zipbuds in time for the busy holiday season," said Erik Groset, president of DGA. "There are a lot of earbud options on the market, but Zipbuds offer consumers unmatched sound quality and tangle-resistant, zipper-integrated cabling, which are ideal for the active music listener on your holiday shopping list."

Zipbuds come in a variety of colors, including black, blue with white, pink with white, black with blue and black with pink, and ship with Sport Ear Clips for use when exercising. Zipbuds are available worldwide on the Zipbuds website, Amazon and DGA Store (MSRP: $39.99).

**********************************

RIP JAMES MOODY

RIP - on Thursday, December 9, the jazz legend lost his battle with pancreatic cancer, just days after receiving a 2011 Grammy Award nomination, for Best Jazz Instrumental Album for his newest recording 4B. He will be sorely missed --- Moody is perhaps best known for his signature song, “Moody’s Mood for Love,” an improvisation on the chord progressions in “I’m in the Mood for Love.” Born in Savannah, Georgia in 1925, and raised in Newark, New Jersey, Moody took up the alto sax at 16, switching to tenor saxophone a few years later. In 1946, he joined Dizzy Gillespie’s big band, beginning an association that afforded young Moody worldwide exposure and ample opportunity to shape his improvisational genius. In 1947, Moody recorded with Milt Jackson for Dial Records. One year later, he debuted his own band, James Moody and His Bop Men. In 1963, he rejoined Gillespie and performed off and on with the trumpeter’s quintet for the remainder of the decade. In Las Vegas, beginning in 1973, he did a seven-year stint with the Las Vegas Hilton Orchestra, doing shows for Bill Cosby, Ann-Margaret, John Davidson, Glen Campbell, Liberace, Elvis Presley, the Osmonds, Milton Berle, Redd Foxx, Charlie Rich, and Lou Rawls, to name a few. In 1985, he received a Grammy Award nomination for "Best Jazz Instrumental Performance" for his playing on Manhattan Transfer’s album Vocalese. Moody’s own debut album Something Special was released in 1986. His follow-up record, Moving Forward, showcased his hearty vocals on “What Do You Do” and his interpretive woodwind wizardry on tunes like “Giant Steps” and “Autumn Leaves.” Moody moved to San Diego in 1989, where he married Linda Moody in San Carlos. His 1995 album Young at Heart paid tribute to songs associated with Frank Sinatra. In 2001, his song “Moody’s Mood for Love” made the Grammy Awards Hall of Fame. Still living in San Carlos in 2009, Moody has been nominated for four Grammy Awards, including a 2009 nod for Best Jazz Instrumental Solo (“Bebop” from Live at the 2007 Monterey Jazz Festival by the Monterey Jazz Festival 50th Anniversary All-Stars). Battling pancreatic cancer in February 2010, Moody underwent an operation at the UCSD Thornton Hospital to have his gall bladder removed, as well as a double bypass performed on his digestive system. Later that year, he released a new album, 4B. earning a 2011 Grammy Award nomination, for Best Jazz Instrumental Album. He died age 85 ----- ***************************************************

NEW GARY WILSON VIDEO, MIXTAPE, MP3, ALBUM AND MORE

New video "In the Night" on Pitchfork

Mp3 of "Secret Girl" Released on Altered Zones, new mixtape on International Tapes

Debuting on Pitchfork.TV, Gary Wilson's video for "In the Night" was shot late at night in October in Jacob Riis Park in Queens, just minutes after Gary appeared on Late Night with Jimmy Fallon. Kyle McKeveny, Director, described the concept as, "Gary Wilson returns to his past in this nostalgia filled night walk amidst strange and familiar objects. Wherever he goes his memories follow suit." According to one of the extras, "While on the shoot, we also took the new promo photos, ate pizza, and I learned that Gary does not eat vegetables. I don't think he eats meat either. Fortunately we had plenty of cheese pizza for him."

Link for Vimeo. Link for Youtube.

These last few months have certainly been exciting for Gary, as he debuted his third LP, Electric Endicott , to rave reviews from Blurt, A.V. Club, and others who embraced his refreshingly honest (and sometimes creepy) lyrics mixed with his unique blend of avant-garde jazz, funk, soul and AM-Gold. In October, Gary was invited by his fan Questlove to play with The Roots on Late Night with Jimmy Fallon, filmed the video for "In the Night", and played a set of Halloween shows on the West Coast.

For more Gary Wilson goodies, check out a mixtape of Gary made of his influences on International Tapes, here, and the single "Secret Girl" on Altered Zones, here.

For a rare in-depth interview he gave the Reader, check out Return of a Local Cult Hero.

Related Links

*******************************************

SAN DIEGO GOES FOR

By Bart Mendoza: Does San Diego have a lot of soul? You be the judge from these clips, featuring locals covering Motown classics, opening with a bonus piece of genius.

1) Michael Jackson at The Stingaree –

A social experiment in crowd control, this is an amazing clip shot in downtown San Diego, in front of the Stingaree. A small group of people create mass hysteria by purposely starting a rumor that Michael Jackson is in the nightspot. Watch the mayhem unfold…

http://www.youtube.com/watch?v=viwHCX9dU6I

2) Michael Jackson – Thriller by The Sea World Sea Lions

Not actually Motown, but close enough, this is silly, pure fun, complete with an appearance by an otter.

http://www.youtube.com/watch?v=0Lli3YyaeFA

3) Martha & The Vandella’s – “Dancing in the Streets” by the Anthology House Band

A nice version from, literally, Anthology’s house band…

http://www.youtube.com/watch?v=oubOpXBDJfc

4) Jackson 5 “Medley” - Cathy Nguyen and Andrew Garcia

A live, charming little acoustic guitar and voice clip…

http://www.youtube.com/watch?v=q0fb5Pwy9yE

5) The Marvelettes – “Please Mr. Postman” by Heavy Love at The Kensington Club

A well shot version of (also the Beatles/Carpenters) hit tune, complete with horn section

http://www.youtube.com/watch?v=CeUQZjOHHus

6) Stevie Wonder – “I Wish” by Aire Play

Local variety/dance band with a live take on this tune, opening with a cool sax solo…

http://www.youtube.com/watch?v=889bnCg-FJo

7) Smokey Robinson – “Tracks of My Tears” by Blues Lyne

This acoustic duo is getting zero love from the Farmer’s Market crowd, but this is a passionate version.

http://www.youtube.com/watch?v=JU8Q1OviP3Q

8) The Temptations – “Just My Imagination” by Time Out

Live from the 2008 Chargers Blood Drive

http://www.youtube.com/watch?v=Dyx-7Q3gAlg

9) The Temptations – “Get Ready” by Live Wire

Clearly this band knows how to work a crowd – looks like everyone is having a great time…

http://www.youtube.com/watch?v=FqxX23eiTT0

10) The Temptations – “Ain’t Too Proud To Beg” by Smokestaxx

As covered by The Rolling Stones, here is a slightly less intense version…

http://www.youtube.com/watch?v=3twoItUFSLM

**************************************************

THE ROLLING STONES IN SAN DIEGO

11-1-64 – the Rolling Stones made their first San Diego appearance, playing an evening show at Balboa Park Bowl, having appeared that afternoon at Long Beach’s Civic Auditorium, aka Long Beach Arena. Tickets cost $3.50, with the show starting at 5:00 p.m. Various local acts opened, including Joel Scott Hill and the Invaders, Rosie & the Originals, and famed garage band The Misfits.

The show's promoter Danny Millsap, who ran a local record store, told the Reader in an April 1998 article that he paid the Stones $400. “I remember paying Rosie and the Originals $500,” he recalled of booking the popular local group known for their hit song “Angel Baby” (later recorded by John Lennon).

Only around 300 people were in the San Diego audience that Sunday, despite the Stones having drawn around 13,000 earlier that day in Long Beach., and 5,000 the night before at San Bernardino’s Swing Auditorium. On Friday, they had headlined the famed TAMI show at Santa Monica Civic Auditorium, alongside James Brown, Chuck Berry, and the Beach Boys. Reportedly, the gates were essentially abandoned and anyone in BalboaPark who happened to wander by was welcome to walk inside and checkout the show.

“We figured what the Hell,” says Millsap. “We had made everything we were going to. Might as well let everyone enjoy themselves…I think I lost about 500 bucks on that show. It was no big deal. The kids had a good time.”

Danny Millsap’s son David, a high school junior at the time, recalls “Because the crowd was so small, you could actually hear what the Stones were playing…they sounded better that night than any time I’ve heard them since.”

Local opening act The Misfits featured future Moby Grape singer/bassist Bob Mosley. “We played a lot of places around town,” he recalled in a 2005 interview, “but [the Stones show] was the biggest thing we’d done.”

At the time, the Misfits were signed to Imperial Records, whose roster included Ricky Nelson and Fats Domino. Their single “This Little Piggy,” released just before the Stones show, was appearing in Top 30 surveys for radio station KDEO - which hosted the Stones concert - as well as at KCBQ and KGB.

A backstage photo of the Stones mingling with various locals is reproduced above, featuring (top row from left) Ron Armstrong, Bill Wyman, Keith Richards, Earl Steely, Mick Jagger, Joey Page, Charlie Watts and Bob Mosley; (bottom row from left) Joel Scott Hill (later of Canned Heat), an unidentified photographer, Harold Kirby (bassist with Hill's band), and Eddy Dunn.

Misfits members depicted are drummer Ron Armstrong, rhythm guitarist Earl Steely, bassist Bob Mosley, and lead guitarist Eddy Dunn. Armstrong would later join Jamul. Page was an area singer seen frequently on the Shindig TV show - the photo was taken by Misfits manager (and swimming pool salesman) Bob Herrington.

Another opening act, Joel Scott Hill and the Invaders, featured drummer Willie Kellog, who recalled that day and meeting the Stones backstage for an April 1998 Reader article. “They were just these frail looking little guys with gray skin. They don’t get much sun over there in England, you know…they weren’t talking to anyone. Mick Jagger was sitting in a corner by himself…he was p-ssed off about money or something. He was afraid they weren’t going to get paid. They didn’t sell many tickets.”

As for the Stones’ set, Kellog says “We were laughin’ at those guys. Jagger was doin’ all this jerky sh-t, singin’ the blues with that heavy English accent. That band was hitting a lot of clams, man. There was just a lot of wangin’ and dangin’ going on up there.”

Joel Scott Hill and the Invaders later became the house band at a popular Hollywood club called theAction.

The Misfits split in 1965, after guitarist Earl Steely married and refused to tour. Bob Mosley joined Moby Grape, but hit on hard times after that band dissolved amidst years of lawsuits. “I was living in the bushes alongside a San Diego freeway in 1996,” he recalled in 2005, “when a friend picked me up and told me Judge Garcia in San Francisco had agreed to give the Moby Grape name back to the band, instead of the corporate suits.” The partially reformed Grape occasionally performs and records today.

The day after the San Diego show, the Rolling Stones recorded at RCA Studios in Hollywood for the first time. They taped the songs "Pain in My Heart," "Everybody Needs Somebody to Love," "Hitch Hike," "Heart of Stone," and "Down Home Girl."

The Reader's 4-2-98 issue includes a feature about the Stones' first San Diego date: http://edtweb23dev366.edthosting.com/dblake/trippinwithwillie/pdfs/wk_article.pdf

ALSO SEE: www.myspace.com/ronarmstrongmusic

www.myspace.com/joelscotthill

11-11-69 - The Rolling Stones played an almost completely undocumented and unknown concert in San Diego. Local rock historian Bart Mendoza has the scoop:

Music-history books and websites report that the Rolling Stones visited San Diego ten times to date, but tour posters and handbills have turned up that shed light on a little-known 11th concert a matinee on November 11, 1969. San Francisco music archive Wolfgang’s Vault has a Randy Tuten–designed, 14” X 22” Rolling Stones concert poster for November 10, 1969, at the San Diego International Sports Arena. The poster is amended at the bottom, “By Popular Demand, Second Show, 2:30 p.m., Tues., Nov. 11.” Indicating the rarity of these advertisements, an Oakland Coliseum poster for November 9 sells for $289; the San Diego edition, which uses the same image, will set you back $2115.

According to Sports Arena general manager Ernie Hahn, the arena doesn’t have records regarding the show, though he can confirm seeing the show on promoter Bill Graham’s database. While the November 10, 15-song set has been extensively bootlegged, nothing from a possible second show has surfaced.

The confusion likely stems from the fact that the Stones played at the coliseum in Phoenix, Arizona, on November 11, 1969. However, on this tour, they did play more than one show in several cities, and it’s only a one-hour-and-ten-minute flight from San Diego to Phoenix.

The dates of November 10 and 11 converged for the Stones and San Diego 36 years later. On November 11, 2005, the band made a tour stop at Petco Park. The previous day, Keith Richards and Toots Hibbert headed to Santee’s Strate Sound Studios to work with engineer Alan Sanderson.

“I was told not to let anybody know it was happening and not to mention it after it was done,” said Sanderson, who had worked with the Stones on their 1997 Bridges to Babylon album. “My contact in the organization looked me up, asking if I had any studio time. I didn’t, but quickly moved the existing client and started sweating bullets. It took two days to set up.

“We did one track with Toots — ‘Pressure Drop,’” I think that track is on every album of his, a different version each time,” Sanderson joked.

Sanderson continues his Stones-related work, reporting, “Last year I recorded and edited demos with Keith in New York, at his house, and in an old library in Massachusetts. And I recently completed archiving the recordings from the last three years of their live shows.”

6-13-72 - Rolling Stones: Only recently have viewing-copies of Robert Frank's long-suppressed documentary "[Expletive]sucker Blues" surfaced. The movie famously chronicles the Stones' infamous 1972 tour, timed to promote "Exile On Main Street" [released April 12] and the group's first time playing North America since the deadly 1969 Altamont concert. In the film, one scene takes place at the San Diego International Sports Arena date

Backstage, Mick Jagger can be seen deciding what to wear over his purple jumpsuit - a silver lame' jacket, black leather coat or raspberry polka dot shirt, his three main sartorial accessories for the tour. He ends up shrugging his shoulders to don a plain denim jacket that looks small even on his thin frame, muttering "I don't care, it's only San Diego ." The set was reportedly fair - it's one of the few occasions they've performed "Honky Tonk Woman" live. The real show was happening outside, in the Arena parking lot.

The Bill Graham-produced event had, like the Stones themselves, sold out. Unreserved seating cost $6.50, among the year's highest ticket prices (even aside from the free parking) in an era when Pink Floyd, Traffic and Chicago tickets cost local patrons $4 - $5.

Around three hundred apparently ticketless youths milled around the Arena parking lot as someone, perhaps several someones, worked their way through the crowd, selling dozens of counterfeit tickets for anywhere from $10 to $20 each. The actual tickets had been imprinted on a beige fiber cardstock with slightly raised ink - the counterfeits were offset printed with thick raised ink, fairly convincing except printed on a yellow-orange cardstock. Had the color been closer to the genuine tickets, most of the counterfeits might have gone unnoticed.

Hapless scam victims were refused admission and soon the crowd of angry, ripped off Stones fans and rowdy ticketless bystanders were moving threateningly en masse for the row of entrances. Guards (one of whom later characterized the scene as "a riot") were overwhelmed, dozens of people stormed the gates and ran into the hall and police were helpless do anything other than summon medical aid for a handful of mildly injured gatekeepers.

When it was reported that most rioters appeared underage, a Juvenile Delinquency and Crime Commission was set up to investigate whether local rock concerts in general and Stones concerts in particular should be restricted to only adult patrons (no city measure ever materialized). The scene was eerily repeated in July at a Montreal Stones show, where 3,000 victims of ticket forgers rioted in the streets. At the same concert, one of the band's equipment trucks was dynamited by French separatists, making the San Diego date seem more rowdy than riotous by comparison.

Surviving counterfeit tickets from the Sports Arena show are highly prized collector's items, sold and traded with certificates of authenticity signed by purported experts in rock and roll memorabilia. One eBay auction in late 2003 for an untorn San Diego 6-13-72 bootleg ticket, "certified authentic" (an authentic counterfeit?), attracted over 3,800 hits, drawing 65 bids and closing at $251.00, plus $7.50 insured shipping.

5-22-79 – the New Barbarians at San Diego Sports Arena: This was the final U.S. (and second-to-final ever) public concert by Keith Richards's short-lived "community service" band, formed to work off a drug bust.

The stellar lineup included Richards, Ron Wood, jazz bassist Stanley Clarke, and Faces keyboardist Ian McLagan. Three weeks earlier, Richards had skipped out on a Milwaukee show, causing patrons to stage a riot, but all were present and accounted for at the Sports Arena.

The high-ticket garage band slammed through Wood solo songs, as well as tunes by Dylan, Chuck Berry, Johnny Paycheck, and of course several Stones standards (though "Honky Tonk Woman" went MIA, despite being played on most of the other 19 Barbarian dates). Wood sang lead for Robert Johnson's "Love in Vain," evoking his old Faces version of the tune (the Stones also covered it), while Richards tickled the ivories for Tammy Wynette's "Apartment Number 9" (?!).

Famed album photographer Henry Diltz (Morrison Hotel, etc.) shot pictures in San Diego, and the band taped the gig (as did at least two bootleggers), but the New Barbarians didn't appear on official record until last year, when Wood released a double CD archiving a 1979 Maryland show.

SAN DIEGO SINGS THE ROLLING STONES - by Bart Mendoza

In honor of the Rolling Stones upcoming, likely final, world tour, here are 13 San Diego artists performing a Jagger / Richards classic.

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Keven Darklight - The Man, The Musical, and the Review: Plus Locals in the News, more

Keven Darklight - The Man, The Musical, and the Review: Plus Locals in the News, more

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CRAIG YERKES ACOUSTIC STAGE

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THE WATERCOLOR STAGE

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GET CREMATION ASHES PRESSED INTO A VINYL LP!!! Company will press 30 copies, with 25 minutes of your chosen music...

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