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The Browns are back in town

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About 10 odd, really odd,  years ago, came a band called the Browns who donned ski masks and proceeded to tear up the Calgary music scene with an delightfully twisted brand of horror punk music.
 Along the way since starting spreading their special brand of masked mayhem and punk rock in 1998, they  have gone through about 20 band members, have traveled all over the world, got in a couple fights challenged Jebb Fink to a wrestling match on  live television, and got a man  fired from  the A-Channel after receiving complaints for being too “loud and scary.”
 But the Browns have been laying low  since releasing their last CD in 2004. altThey’ve relocated  to Medicine Hat, had songs placed in not only a horror movie “It Came From Trafalgar” and  another song, “American Werewolf in Calgary,” in Tony Hawk’s new skateboarding video.
“They actually contacted us and said they wanted to use the song, so they gave us a bunch of money and that was all right,” said Browns singer Charlie Brown adding they also had songs placed in a  reality TV show about hairdressing.
“The Trafalgar movie is the only one that we actually pursued,” he said.
The band has also been busy been breaking in two new Browns — drummer Big  Beautiful Baby Brucie Brown and bassist Kimbo  Brown.
“Calgary’s too expensive. The only one wealthy enough to live in Calgary is Downtown Freddie Brown and he lives downtown, ” said Brown on the band’s relocation. Plus three of the Browns are from southern Alberta. Charlie Brown and Brucie Brown  are from Medicine Hat while  Kimbo Brown is from Lethbridge, which is why their first shows in two years with the new members were in Medicine Hat, Nov. 14 and  in Lethbridge at Henotic with the Spastic Panthers , Nov. 21.
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Last Updated ( Thursday, 19 November 2009 01:12 ) Read more...
 

Crowd swells with enthusiasm for Swollen Members

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Vancouver Hip Hop group  the Swollen Members brought a crazy party to a sold out Blarney Stone with an insane party, Nov. 14. I only caught the end of the show, but the party was in full swing and showing no signs of stopping.Swollen Members at the Blarney Stone. Photo by Richard Amery
 Smoke clouded the stage and the enthusiastic audience frothed in front of and on top of the stage (before  a burly security guard guided them off) joining  the Swollen Members party as   snowboarding videos displayed on the bar’s big screen TVs. The volume was intense and the audience cheered, chanted and danced along. “We say Swollen, you say members… Swollen … Members…” the rappers exhorted the crowd, who chanted back and sang  along with every word they knew.
 The group also premiered several new tracks from their brand new CD, “Armed to The Teeth.”

— By Richard Amery, L.A. Beat Editor

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Last Updated ( Tuesday, 17 November 2009 14:36 )
 

Shaela Miller and the Uncas excellent

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The Slice had a great show with Red Ram, featuring former members of the Uncas who entertained approximately 40 people, Nov. 14. They  took the stage around 10 p.m. with an exuberant set of roots rock which featured an Uncas cover, some material from their new CD which won’t be released until next year and  some older material.Shaela Miller and the Switchmen’s steel guitarist. Photo By Richard Amery
 The Shaela Miller Threesome were up next with a special surprise — Sean Brewer and the Switchmen’s steel guitarist who added a few extra textures to Miller’s unique country roots music. The addition of pedal steel also added a whole different traditional element to her music.
 She was in fine form and held the stage like a pro, but the band really came together  during the last half of the set which  included Miller favourites like “Vicious Bitches,” “ Lonely” and “A Friend In You,” plus her song which won the South Country Fair songwriting contest, “Loving Me.” She also played a couple Johnny Cash classics including “Cry,Cry,Cry,” which kept the crowd dancing.
— By Richard Amery, L.A. Beat Editor
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Last Updated ( Saturday, 21 November 2009 13:24 )
 

Düus and King celebrate birthdays with the blues

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Local bluesmen Papa King and Darryl Düus  celebrated their birthdays by throwing the blues up the in faces of a good 60-70 people at Henotic, Saturday. Darryl Düus and the One Shoe Blues Band. Photo By RIhcard  AmeryThe first set featured Papa King and Düus playing lead with King for the first time in about a year and a half. They worked through blues standards like “Slow Moving Train” and King originals like “Busy Boy Blues.” King kept a drum beat going with some computerized drum pads. They finally got the crowd dancing with  a song called “Chocolate” which featured some superb slide playing and a tasteful wah wah guitar solo. He ended his solo set with “Key To The Highway.”
Darryl Düus and the One Show Blues band turned it up with an electrifying  set of rocking blues music including everything from classics like “Sweet Home Chicago” “Voodoo Child,” to a lot of other things which were  a little  odder including a Nick Cave and the Bad Seeds cover. But throughout there was excellent guitar playing as Düus wandered through the crowd soloing and  borrowing various glasses and bottles as slides. He was backed a by a tight rhythm section and King joined the band on stage for a third set of energetic blues.
— By Richard Amery, L.A.Beat editor
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Last Updated ( Tuesday, 17 November 2009 14:16 )
 

Releasing the inner jam

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Saturday night was jam band night at Henotic  in the GCBC Lounge. I missed the JPS trio’s  set, but arrived in time to enjoy the groove from Whister’s the Release who had  a cadre of girls dancing in front of the stage.The Relase unleased a groovy jam at Henotic. Photo by Richard Amery
 A shaker in a shoe was attached to a Hammond organ garnished with a  tie dyed sheet  being played along with piano /flute by vocalist/Tom Heuckendorff.  Brendan  Ladner added some tasteful guitar work while Kostas Lymbertos set down the bass groove as drummer Tim Watson held it all together
They kept the groove going with infusions  of  R and B, jazz  and rock and every thing else you could think of. The songs had seemless transition with little space between songs which were designed to let the audience dig the groove.

— By Richard Amery, L.A. Beat Editor

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