Live Music

Wayne Hancock

Saturday Dec. 10th | Doors at 8pm
w/ Steve Hammond and His High Plains Grifters & Moonshine Blind

Get Tickets

“Wayne Hancock has more Hank Sr. in him than either I or Hank Williams Jr. He is the real deal.” – Hank III

More On Wayne Hancock

“Hancock, who tosses out a roots mix of old country, roadhouse blues, western dance swing, boogie bop, and straight-up rockabilly, takes what was once old and makes it seem like it’s always been and always will be.”—allmusic.com

“The country music scene could do with a lot more characters like Wayne, who push the music’s limits while staying truer to its roots than any well-known names associated with the genre today.” – Slug Magazine

Since his stunning debut, Thunderstorms and Neon Signs in 1995, Wayne “The Train” Hancock has been the undisputed king of Juke Joint Swing–that alchemist’s dream of honky-tonk, western swing, blues, Texas rockabilly and big band. Always an anomaly among his country music peers, Wayne’s uncompromising interpretation of the music he loves is in fact what defines him: steeped in traditional but never “retro;” bare bones but bone shaking; hardcore but with a swing. Like the comfortable crackle of a Wurlitzer 45 jukebox, Wayne is the embodiment of genuine, house rocking, hillbilly boogie.

Wayne makes music fit for any road houseanywhere. With his unmistakable voice, The Train’s reckless honky-tonk can move the dead. If you see him live (and he is ALWAYS touring), you’ll surely work up some sweat stains on that snazzy Rayon shirt you’re wearing. If you buy his records, you’ll be rolling up your carpets, spreading sawdust on the hardwood, and dancing until the downstairs neighbors are banging their brooms on the ceiling. Call him a throwback if you want, Wayne just wants to ENTERTAIN you, and what’s wrong with that?

Wayne’s disdain for the slick swill that passes for real deal country is well known. Like he’s fond of saying: “Man, I’m like a stab wound in the fabric of country music in Nashville. See that bloodstain slowly spreading? That’s me.”

Little known fact: Wayne is the only Bloodshot artist to have had their CD taken aboard a space shuttle flight.

“A rare breed of traditionalist, one who imbues his retro obsessions with such high energy and passions that his songs never feel like the museum pieces he’s trying desperately to preserve.” —AllMusic.com

Leftover Soul

Wednesday November 23rd | 9pm
3 YEAR ANNIVERSARY!

Leftover Soul is a vinyl only soul night happening in Albuquerque! DJ Leftovers spins the best soul records he can get his hands on and you shake your booty in return. This thanksgiving eve, before you stuff your belly full o’ turkey get a big helping of soul!

SOUL TRAIN DANCE OFF AT MIDNIGHT WITH FANTASTIC SOUL PRIZES FOR THE WINNERS! (donated by Slolow Vinyl Records)

Special thanks to James Swagerty for designing the special poster for our 3 yr anniversary and to Slolow Vinyl Records for donating the sweet soul 45s as prizes for our dance competition.

Never a cover, always a good time (for 3 years!)

NOBUNNY

Wednesday November 9th | Doors at 7pm
w/ Get Action

Get Tickets
More On The Show

Always clad in a fuzzy (and mildly psychotic-looking) rabbit mask and often wearing little else, NOBUNNY is a one-man pop-punk onslaught whose simple, infectiously hooky tunes and lusty outlook have earned comparisons to the Ramones,Hasil Adkins, and the Cramps, and whose untamed (and sometimes bottomless) stage shows have led some to call him a cuddly version of G.G. Allin. NOBUNNY is the alter ego of Justin Champlin, who was born and raised in Tucson, Arizona, and relocated to San Francisco, California.Champlin first made a name for himself as the drummer with garage punks the Okmoniks and later co-founded the Sneaky Pinks, a two-man punk-pop party machine.

With NOBUNNY, Champlin streamlined the concept of the Sneaky Pinks by paring the consistent lineup down to just one person (or one mutant; as part of the NOBUNNY myth, Champlin claims to be the product of a liaison between a woman and a jackalope). Sometimes working solo and sometimes backed by a constantly shifting group of musicians, Champlinhas been performing as NOBUNNY since 2001, though it wasn’t until 2008 that he made his recorded debut with the album Love Visions. Primarily recorded at home with Champlin handling most of the instruments, Love Visions was released by the tiny Bubbledum Records label; it earned enthusiastic reviews in the underground music press and was reissued in 2009 by the somewhat larger 1-2-3-4 Go! Records. In 2009, NOBUNNY put out a single through Horizontal Action Records, “Give It to Me” b/w “Motorhead with Me,” and a cassette-only album, Raw Romance, on Burger Records.

NOBUNNY also kept up a busy touring schedule in the wake of Love Visions, telling reporter Eric Allen, “The road is good, because at least I know where my next meal is coming from. I find life much easier on tour. It’s not being on tour that is hard for me.” In September of 2010, NOBUNNY’s second full-length album, First Blood, was released by Goner. After a relatively quiet 2011 with no recordings released, NOBUNNY returned in 2012 with a single for Suicide Squeeze and an EP for Goner. He stuck with Goner for his third full-length blast of garage punk, 2013’s Secret Songs.


GET ACTION is like Radio Birdman and The Undertones having dinner at your mom’s house while The Who practices in the garage.

The King Khan & BBQ Show

Sunday November 6th | Doors at 8pm
w/ Paint Fumes

Get Tickets
More On The Show

screen-shot-2016-10-10-at-11-36-15-amThe King Khan & BBQ Show are two guys in a band, both writing, performing and singing: Arish ‘King’ Khan: guitar, vocals. His voice is the snotty one. His guitar is the lead one. Mark ‘BBQ’ Sultan: drums, guitar, vocals. His voice is the smooth one. His guitar is the rhythmic one. The drums are played live with his feet.

Bad News Boys is the band’s fourth studio album, their latest since 2009’s acclaimed Invisible Girl. The boys had previously broken up in 2010 after a taxing stretch, culminating in an invite by Lou Reed to play the Sydney Opera House. There was a public (internet) break-up and freak-out, which carried over into the week after in Asia. Words were said; brothers fought like brothers. It was the end of a stretch that had taken the band all over North America, playing festivals like Coachella, starting side projects like Almighty Defenders (with brothers Black Lips), touring the likes of Europe, Israel, Brazil, gaining legions of devoted fans internationally, and kickstarting that whole ‘doo-wop punk’ bullshit movement that still goes on today.

This is rock’n’roll. This is punk. This is early r&b. This is psych. This is doo-wop. This is garage. It’s all this and more, without trying to be anything.

A misconception of the band is that they play a bunch of instruments, which are then overdubbed to get a particular sound in the studio. The truth is that they record live. Their ‘studio’ is usually an apartment or – in the case of Bad News Boys – a basement, and they’re armed a 4-track cassette recorder and not much else. Their ethos is punk. Their mission is to revere rock’n’roll – the real stuff – enough, so that they are permitted to invoke its spirits and ghosts using magick, using their raw soul – for good or for bad – to evoke the smells and feelings that confuse and delight.

The King Khan & BBQ Show is a real band. Sure, their sense of humor is dirty, often surreal and potentially subversive, but the seriousness of their passion for real rock’n’roll should never be taken lightly. They live a lifestyle of pure love for the genre, respecting and understanding its basic tenets, living as lifers, representatives of tradition they feel is important. They cut their teeth together in The Spaceshits, a lightning fast rock’n’roll band formed in 1995 (dead by 1998) and have toured and paid their dues since, sacrificing their mind, bodies, souls, friends, family – all for love.

King Khan went on to underground hero status in many projects, shocking and impressing tastemakers in need of tangible image-icons, worldwide. Mark Sultan is heralded for his incredible voice and top-tier songwriting – rarities, today. Quite simply: they need one another, like yin and yang, to make it all happen. The band has managed to continue to release top-grade material for over ten years, without bowing to business or succumbing to what’s ‘hip’, without changing. They do what they want, take it or leave it. Love ‘em or hate ‘em, but never say they can’t write a great rock’n’roll song – and back it up with one of the best, most magickal, energetic, crass and nonsensical free-form live shows going.

They care so much that they don’t give a fuck.


PAINT FUMES drew first blood together in the year 2011, sharing a mutual love of garage scuzz and brain-chain reaction, and the connection was immediate and fierce. Sounds congealed via weekly seances at the Sewercide Mansion in Charlotte, NC and relentless touring which brought their unhinged reverberations to points all across the USA. Like the lovechild of Link Wray and Cheetah Chrome, raised by Lemmy on the streets of Venus, they sweated out the fever every night in ecstatic style. By the time Slovenly Recs got around to spitting out a couple classic 45s and their debut platter Uck Life, most true heads and even those way out of the know alike had gotten the message. Deep within a blitzkrieg of treble and feedback, there were real live tunes to sink your teeth into – the stuff that’s stuck in your head when you wake up in another dimension.

In the year of the horse, the ‘Fumes swelled in ranks with Ian Rose and Ben Carr of NC synthtopian punks Natural Causes, starting twelve thrash bands and surviving on nothing but hallucinations of vegetarian chimichangas. Together this crew ruined the beaches of Europe with Los Vigilantes, converted hundreds on the all-night diesel-powered festival circuit and in the midst of it all took a vacation down to Puerto Rico and committed to tape a new full-length entitled If it ain’t Paint Fumes it ain’t worth a huff!

Fred & Toody of Dead Moon

Thursday October 26th | Doors at 8pm

Get Tickets
More on Fred & Toody

screen-shot-2016-10-03-at-11-33-09-amClackamas, Oregon’s Dead Moon is truly one of the most independent and revered Northwest underground bands of all time. With Fred Cole on guitar and vocals, his wife Toody on bass and vocals, and the one & only Andrew Loomis on drums, Dead Moon churned out their own indescribable brand of rock & roll for nearly 20 years from 1987- 2006. During this period Dead Moon released 14 LPs & CDs and around ten 45rpm records on their DIY label Tombstone Records, and also on Music Maniac (Europe), Dog Meat (Australia), and Empty Records, Sub Pop & Sympathy for the Record Industry (USA), all the while also touring Europe, the USA & Canada, Australia and New Zealand.
Fred, a garage rock stalwart, formed Dead Moon with bassist Toody and drummer Loomis in 1987. In 1988, they released debut single “Parchment Farm,” the first of a string of home recordings on their Tombstone Records imprint. In 1990, Hans Kestaloo signed them to German label Music Maniac after being introduced by the Wipers’ Greg Sage. He also flew them over to tour Europe, where they found a significant fan base. Throughout the ’90s, Dead Moon were beloved staples of the Pacific Northwest music scene, releasing a flood of music on labels including Sub Pop, Tombstone, and eMpTy, as well as Music Maniac and Sympathy for the Record Industry. In 2006, the year they split, a documentary was released on the trio, Unknown Passage: The Dead Moon Story.

EPMD

Saturday July 26th | Doors at 8pm
Strictly Business 30 Year Anniversary
Raashan Ahmad of Crown City Rockers
DJ Ohm

Get Tickets
More on EPMD

Hailing from Long Island, NY, EPMD’s first album, Strictly Business, appeared in 1988 and featured the underground hit “Strictly Business,” which sampled Eric Clapton’s version of Bob Marley’s “I Shot the Sheriff.” Many critics cite this first album as the group’s most influential. The group’s brand of funk-fueled sample-heavy hip-hop proved to be a major force in the genre. Unlike old school hip hop, which was originally based on disco hits but eventually became more electronic, EPMD based its music mainly on lifting funk and rock breaks for samples and helped to popularize their usage, along with Marley Marl and Public Enemy. “You’re a Customer” combined snippets of Steve Miller’s “Fly Like an Eagle,” Kool & the Gang’s “Jungle Boogie, the bass line from ZZ Top’s “Cheap Sunglasses” and drum beat (Roger Linn LM-2 machine). “Jane,” about a romantic rendezvous gone bad, would be revisited on no less than five sequels; a first for hip-hop, and, perhaps, rock and roll as well. “You Gots to Chill” used 1980s funk band Zapp’s “More Bounce to the Ounce,” which has become one of the most enduring sample sources for hip-hop. EPMD later appeared on the single “Everybody (Get Up)” by Zapp frontman Roger Troutman on his last solo album, Bridging The Gap, in 1991. “I’m Housin'” was covered some 12 years later by Rage Against the Machine. Managed early on by Russell Simmons’ RUSH Management, the group toured with such hip-hop luminaries as Run-DMC, Public Enemy, and DJ Jazzy Jeff & the Fresh Prince.

gkt101az9zso8nozwbz2

Nothing

Saturday June 25th | Doors at 8pm
with Culture Abuse, and Wrong

After getting his start as the brains behind the late 90s/early 2000s hardcore/punk act Horror Show, Domenic Palermo founded NOTHING in 2011 with the release of the demo Poshlost. Following the release of Poshlost, Palermo met Brandon Setta, who would bring lush, rich soundscapes and a fresh approach to Palermo’s vision for NOTHING and to the band’s next two EPs, Suns And Lovers (Big Love, 2011) and Downward Years To Come (A389, 2012). NOTHING then signed to Relapse for their debut 2014 full-length Guilty Of Everything. The album, which was inspired by the events surrounding a prison sentence Palermo served from 2002-2004, found widespread critical acclaim from publications such as Rolling Stone, NPR, Stereogum, Spin, Noisey, and many others. Guilty’s reception also enabled the band to tour Europe and North America extensively, including performances at festivals including Osheaga, Roadburn, Firefly, Budweiser Made In America, and SXSW. 


Get Tickets
More on Nothing

Following a tumultuous series of events that left the band personally and professionally distraught, NOTHING experienced a drastic change in mindset, which is clearly apparent in the band’s new record Tired Of Tomorrow. Tired Of Tomorrow was recorded over the course of a month at Studio 4 with Will Yip (Title Fight, Superheaven, Touche Amore, etc) this past October, and is the band’s most heartfelt work today. Borrowing from personal memoir and external works alike, NOTHING have worked the deepest influences of their youth & maturation into a package that’s ultimately at its most relevant in the present day. Tired Of Tomorrow is a brooding yet mellow release, inspired as much by 90s rock as it is by the darkness of NOTHING’s past.

NOTHING is:

Domenic Palermo, 
Brandon Setta, 
Kyle Kimball

Funk Thing

Friday June 17th | Doors at 8pm | $5
Skeme Richards, Rock Steady Crew (Philly)
Renato aka RIM, Diggin’ Ain’t Easy (LA)
SUG-TVC (Albuquerque)

13239939_1114091925280712_8634846446769357399_nDigging and spinning genres across the board from Hip Hop, Funk & Soul classics to Disco, Nu Disco and beyond, Skeme keeps things classy and continuously strives to separate himself from the pack. Skeme is known within a large circle of Funk & Soul 45 aficionados, DJs, vinyl purists, record labels and promoters as a heavyweight collector.

Blockhead

Friday June 10th | Doors at 7pm
Bells & Whistles Tour

James Anthony “Tony” Simon, better known by his stage name Blockhead, is an American hip hop producer based in Manhattan, New York.

Aside from his solo efforts released on the Ninja Tune label, Blockhead is most associated with producing for Aesop Rock, a rapper for the indie hip hop labels Definitive Jux and Rhymesayers. He is also a member of the comedy hip hop group Party Fun Action Committee and has previously worked with rappers Cage, Hangar 18, Open Mike Eagle and Murs. According to him, his stage name comes from the shape of his head: “While it’s not square, it’s pretty close.”

Get Tickets
More on Blockhead

blockhead 2 hmtSimon was born and raised in Manhattan. He is the son of the late Sidney Simon, a well-known sculptor in New York City, and Renee Adriance, a social worker. He has one brother and five half siblings. From a young age, he loved hip hop—both the lyrical and musical aspects. In his early teens, he and his friends made a group called the Overground where Simon first started making music. As an aspiring MC, he enrolled in Boston University in 1994. He only remained at Boston University for one year, but in that year Simon’s real music career began when he first met and starting working with Aesop Rock who was also a student at BU. At this point Simon put aside his ambition to be a MC and focused on producing music.