Roots & Roses Festival

Roots & Roses Festival 1 mei 2013 Een festival op mensenmaat, gewijd aan alle vormen van hedendaagse folk, blues & roots ! Een festival gewijd aan alle vormen van hedendaagse folk, rock’n’roll, garage, punk, blues, bluegrass en Engelstalige rootsmuziek in het algemeen. Een festival dat het uithangbord is voor alle toonaangevende muziek binnen deze genres: zowel bands van bij ons als uit de rest van de wereld staan op de affiche. Dit concept ontbrak nog in het zuidelijk deel van ons land. Op 1 mei vindt te Lessen, reeds voor de vierde maal, het Roots & Roses festival plaats. Het festival heeft op 4 jaar tijd een trouw publiek veroverd en een mooie reputatie opgebouwd. De sleutel van dit succes? De samenhangende programmatie uiteraard, maar evengoed de kwaliteit van het onthaal en het respect voor ons publiek!

Roots&Roses 2013 · 1

DE AFFICHE De programmatie van Roots & Roses heeft de vinger aan de pols en staat open voor alle aspecten van de Angelsaxische roots muziek. De affiche is bijgevolg toonaangevend voor wat zich in deze muziekgenres afspeelt. Dit jaar zullen The Stranglers het festival afsluiten, met een formule op maat van Root &Roses: een semi-akoestische act, zoals op hun live-album dat ze opnamen in Brugge en dat uitkwam in 2012. Een mooie manier om hun hits te herontdekken. Een ander hoogtepunt tegen het einde van de avond is The Jim Jones Revue, met hun geweldig krachtige garage rock’n’roll. Verder hebben we een evenwichtige programmatie, met een brede waaier aan tendensen in de roots muziek: alternatieve rock met The Godfathers, americana met The Reverend Peyton’s Big Damn Band, traditionele rhythm’n’blues met John Schooley & His One Man Band, rockabilly met The Hillbilly Moon Explosion of nog gipsy rhythm’n’blues met The Urban Voodoo Machine. Ook is er een evenwicht met zowel groepen van over de Atlantische Oceaan als Europese groepen. Dit jaar staan er trouwens drie namen uit de Belgische muziekscène op het podium: Bertrand Lani opent het festival met zijn hedendaagse americana-getinte muziek. Aan zijn zijde zal – voor de laatste maal met dit project – zijn broer Fred staan. Madé J is een jonge opkomende artiest in de Belgische scène. Hij brengt een mengeling van blues, garage en punk. Amarak Iab, anagram voor Baï Kamara en de naam waaronder hij zijn carrière begon, keert naar zijn roots terug met een energieke blues rock. Zoals op de vorige edities, verwelkomen we dus artiesten van alle horizonten : Engeland, België, Zwitserland en de USA zijn dit jaar vertegenwoordigd. Een gevarieerde affiche, met als grote gemene deler: alle artiesten op de affiche, maken de muziek die ze zelf willen maken, zonder enige toegevingen! Bovendien zullen bijna al deze artiesten op Roots & Roses hun nieuwe album voorstellen.


SFEER, ONTHAAL EN COMFORT !

Als Roots & Roses bij menig Belgisch festivalganger een plaatsje in het muziekhart heeft kunnen veroveren, ondanks het uitgebreide festivalaanbod in het mooie seizoen, heeft dit zeker met dat ietsje meer van Roots&Roses te maken. Alles wordt in het werk gesteld opdat het publiek zich goed zou voelen: een aangename en groene festivalsite, twee mooie grote concerttenten met een heel goede geluidsweergave en met goed zichtbare podia en geen dode momenten in de programmatie. Het voedsel en de dranken zijn van hoge kwaliteit en van lokale producenten, geserveerd in herbruikbare of ecologisch verantwoorde borden en bekers. Niets dan lekkers op Roots & Roses: er wordt door onze talentvolle ploegen ter plekke gekookt, met gecertifieerde kwaliteitsproducten, uit de regio wanneer mogelijk. Doorheen de jaren is het culinaire aanbod een van de belangrijke pluspunten van het festival geworden. Verder zijn er ontspanningsplaatsen, o.a. met ligstoelen voor de grote genieters; een carpool service, etc. Kortom, los van de muziek is het goed vertoeven op Roots & Roses. Ons motto is eenvoudig: wij willen een festival organiseren waar wij zelf graag naartoe zouden gaan! En dit alles voor een belachelijk lage prijs en dat wensen wij zo te houden. Die democratische prijs ligt mee aan de basis van het succes van de vorige edities: 25 € in voorverkoop en 30 € aan de kassa… en 50% korting voor wie jonger dan 26 jaar is !


Le Roots & Roses Meer in détail UURSCHEMA EN PROGRAMMA Deuren: 10.30 am Aanvang van de concerten : 11.00 am Einde : 11.00 pm

STAGE “ROSES” Bertrand Lani and Band The Hillbilly Moon Explosion Madé J John Schooley & his one man band The Godfathers

The Jim Jones Revue


STAGE “ROOTS” 11:00-11:40 Larry and His Flask

11:45-12:25

The Urban Voodoo Machine

13:20-14:05

Aramak Iab

15:00-15:45

Slim Cessna’s Auto Club

16:55-17:55

The Reverend Peyton’s Big Damn Band

19:05-20:20

The Stranglers

21:45-23:00

12:30-13:15 14:10-14:55 15:50-16:50

18:00-19:00

20:25-21:40

BERTRAND LANI AND BAND (BE)

Bertrand Lani is natuurlijk de jongere broer van Fred Lani, leader van “Fred & The Healers” in de jaren 90. Na met zijn broer bij Superslinger gespeeld te hebben, begon Bertrand een solo carrière en met succes ! Zijn muziek is gebaseerd op hedendaagse blues en americana. Zijn laatste album: It gets bluer in a while, geproduced met zijn broer kwam eind 2012 uit.

LARRY AND HIS FLASK (USA)

Opgericht door de broers Jamin en Jesse Marshall in 2003: hun muziek is een uitstekende mix van blues, folk en punk. Maar The Flask (zoals hun leger fans hen noemt), brengen vooral ongelooflijk waanzinnige en stomende concerten. Zoekt u Larry? Naast de gebroeders Marshall, maken Ian Cook, Dallin Bulkley, Kirk Skatvold en Andrew Carew deel uit van de groep. Neen, u heeft het niet mis, geen enkele muzikant heet Larry!

THE HILLBILLY MOON EXPLOSION (CH)

The Hillbilly Moon Explosion is een gevestigde waarde op de Europese rockabilly scene. De thuisbasis van de groep is Zurich, maar de zangeres is Italiaans-Zwitsers en de guitarist en bassist zijn Engelsmannen. Vergis u niet, deze Helvetiërs beperken zich niet tot rockabilly alleen: ze putten eveneens uit ondergrond garage, rhythm’n’blues en country …

THE URBAN VOODOO MACHINE (UK)

Zelf beschrijven ze hun muziek als gipsy bop‘n’stroll blues, overgoten met bourbon. Deze Engelsmannen worden graag met Tom Waits en Nick Cave vergeleken vanwege hun zwalpende zeemansliederen, hun moordzuchtige en verderflijke ballades en hun volledig gestoorde gipsy tangos. Uitzinnige rock!


MADÉ J (BE)

Madé J is een rijzende ster in België. Hij is afkomstig van Bali, groeide op in Australië en brengt een mengeling van blues, garage en punk, besprenkeld met een beetje rockabilly. Dit bevalt ons wel… Hij werd beïnvloed door The Sonics, Early Punk en groepen uit de rock-garage scene van Detroit.

AMARAK IAB (BE)

De composities van Bai Kamara zijn een mengeling van soul, pop, jazz, rock en funk. Deze zanger afkomstig van Sierra Leone heeft opnieuw de naam vanuit zijn beginperiode aangenomen en onder dit anagram keert hij terug naar een bluesgenre dat perfect past op Roots & Roses.

SLIM CESSNA’S AUTO CLUB (USA)

De muziek van Slim Cessna wordt aan alle mogelijke muziekstijlen gelinkt. Het is een kruising van alle instrumenten en genres uit de traditionele Amerikaanse muziek. De band, bestaande uit twee ultra charismatische zangers en vier voortreffelijke muzikanten, werd overigens door twee magazines als beste live band in de Verenigde Staten verkozen. Dit is helemaal nieuw, modern en verrassend.

JOHN SCHOOLEY & HIS ONE MAN BAND (USA) Al vanaf de eerste editie van Roots & Roses, droomden we er van om John Schooley te kunnen programmeren. Waarom? Omdat het een van de meest indringende, doeltreffende en overtuigende One Man Bands is. Omdat hij een energieke sound brengt die zowel traditionele rhythm’n’ blues als moderniteit ademt.


THE GODFATHERS (UK)

The Godfathers waren enkele jaren van de scene verdwenen, maar spelen de laatste drie jaren tournee na tournee. Deze toonaangevende groep uit de jaren 80 brengt ons muziek in de pure Engelse punktraditie.

THE REVEREND PEYTON’S BIG DAMN BAND (USA)

The Reverend Peyton brengt een mengeling van americana, delta blues en hillbilly. Dit alles met energie, brio en tweedegraads verwijzingen … Eén ding is zeker: de band slaagt er in om de waanzin van de clips op scene over te brengen.

THE JIM JONES REVUE (UK)

De groep rond Jim Jones werd opgericht in 2007 en brengt brute rock’n’roll, gegoten in gehard staal. Ze stonden er op Roots & Roses 2011, in 2013 staan ze er met hun nieuw album The Savage Heart . Het beste wat ruige garage rock’n roll te brengen heeft!

THE STRANGLERS (UK)

In hun beginperiode werden The Stranglers met de punkbeweging geassocieerd, maar zij evolueerden door de jaren heen en konden zich onderscheiden in verschillende muziekstijlen zoals de new wave, soul en rhythm’n’blues. De groep is er in zijn 45-jarig bestaan in geslaagd 23 singles en 18 albums in de Engelse charts te krijgen! Ze zullen op Roots & Roses een semi-akoestische act brengen, zoals op hun livealbum dat ze opnamen in Brugge en dat uitkwam in 2012.


Le Roots & Roses Tickets TARIEF Voorverkoop : 25 euro - 26 jaar en abonnee : 12,5 euro (exclusief reservatiekosten) Kassa : 30 euro - 26 jaar en abonnee : 15 euro

VOORVERKOOP On line : www.sherpa.be Per telefoon: 070 25 20 20

►Mediamarkt : Antwerpen, Bruxelles Rue Neuve/Basilix/Woluwe Saint- Lambert, Gent-Oostakker, Gosselies, Hasselt, Herstal, Liège, Jemappes, Mons, Oostende, Roeselare, Schoten, Sint-Pieters Leeuw. ►Saturn :

Antwerpen, Brugge, Kortrijk, Liège, Wilrijk.

►Ath :

Initiales CD

►Geraardsbergen :

Boogie Woogie / TC Joint / Sanseveria (Zarlardinge)

►Eupen :

Introtreff

►Gilly :

Video Parc

►Herve :

Maison du tourisme

►Lessines :

Centre culturel René Magritte / Graffiti

►Libramont :

Alinéa

►Liège :

Belle-Ile-Information

►Marche-en-Famenne :

Maison de la Culture

►Musson :

Libre et Rie au Chat Pitre

►Namur :

A&J Music/Lido/Zone Bleue

►Nivelles :

Shopping Nivelles

►Spa :

Office du tourisme

►Tournai :

Les Bastions (guichet infos)

►Verviers :

Infor Jeunes

►Zottegem :

Kultuur Café De Foyer


ETEN & DRINKEN OP HET FESTIVAL

Alleen het beste is goed genoeg. Roots & Roses is ook (h)eerlijk eten, grotendeels «homemade» . Alle producten van de grote distributie worden geweerd om enkel eten en dranken van lokale producenten te verkopen. Lekker en gezond aan prijzen waar je zelfs geen junkfood voor koopt. Aangezien we alles zelf klaarmaken, kunnen we u de beste kwaliteit garanderen.

OP HET MENU ►Van bij ons: echte frieten, gegrild vlees met salade, rillettes en porchetta ►Tex Mex: artisanale hamburgers van puur rundsvlees, (en zelfgemaakte ketchup!), chili con carne ►Mauritius: rundscurry met venkel en basmati rijst / groenten achard (veg) / linzencurry en basmati rijst (veg) / Mauritiaanse schotels (rund of veg) ►Cambodja: gevulde kippenvleugels, pannenkoekjes met cocosmelk, gevuld met gebakken varkensvlees, soja en aromatische kruiden, lenterolletjes, gebakken noedels (veg), aziatische barbecue (verschillende soorten brochetten), Cambodjaanse schotels (mixed).

LIGGING

Lessen bevindt zich in België, in de provincie Henegouwen op de grens met Oost-Vlaanderen, langs de autosnelweg E429, uitrit 29. Amper 30 minuten van Brussel, op enkele minuten van Geraardsbergen en op 40 minuten van Gent. De festivalweide is op enkele minuten stappen van het station van Lessen.

ANDERE INFO

Gratis kampeergelegenheid is voorzien in de directe omgeving van de festivalweide. Voor onze motorvrienden is een beveiligde parking voorzien: ingang via de VIP parking, Ancien Chemin d’Ollignies 10.

PROMO CONTACT

Filip De Groote PR & Promo Mob +32 476 564 575 [email protected] Frédéric Maréchal Mob +32 495 507 852 [email protected]

www.rootsandroses.be Roots&Roses 2013 · 9

Perscontact BERTRAND LANI AND BAND THE URBAN VOODOO (B) MACHINE (UK) Label : Oompah Beat Records Contact : www.bertrandlani.be

CD : « In Black ‘n’ Red » Maison de disque/label :Gypsy Hotel records [email protected]

THE HILLBILLY MOON EXPLOSION (CH)

THE REVEREND PEYTON’S BIG DAMN BAND (USA)

CD : « Damn Right Honey », 2013 Maison de disque/label : Suburban/Bertus Contact : Chris Prouve (Music Shock Belgium) [email protected]

CD : « Between the Ditches », 2012 Maison de disque/label : Side One Dummy www. sideonedummy.com Contact : Chris Prouve (Music Shock Belgium) [email protected]

SLIM CESSNA’S AUTO CLUB THE JIM JONES REVUE (USA) An Introduction for Young and Old Europe (UK) Maison de disque/Label : V2 Contact : [email protected]

MADÉ J (B)

CD : « Das Rumble » Maison de disque/label : Mottow Soundz Contact : Mathias Widtskiold mathias@ mottowsoundz.com

JOHN SCHOOLEY (USA)

CD : « One Man Against The World » , 2007 Maison de disque/label Voodoo Rythm Records


The Savage Heart, 2012 Maison de disque/label Pias Contact : Yves Merlabach : Yves.Merlabach@ pias.com

THE GODFATHERS (UK)

CD : « Jukebox Fury », 2013 Maison de disque/label : Cargo Records Contact : John Dryland John@cargorecords. co.uk

THE STRANGLERS (UK)

CD : « Acoustic in Brugge” 2012 Maison de disque/label www.v2benelux.com Contact : [email protected] Judith Goukenleuque Judith.Goukenleuque@ v2benelux.be

Gedetailleerde bios


BERTRAND LANI AND BAND La sortie de son premier album est «une fierté», mais «c’est un peu une tradition familiale d’avoir sa tête sur un disque. Ce n’est plus quelque chose d’invraisemblable». Dans la famille Lani, après Fred, le grand frère, bien connu des amateurs blues avec (notamment) Fred and The Healers, voilà Bertrand. À 27 ans, il sort l’album It Get’s Bluer in a While, 10 titres teintés de blues, de folk et de country, concentrés en une demi-heure. Bertrand Lani y a passé deux ans, de l’écriture à l’enregistrement en studio. Un travail assez personnel, solitaire et introspectif, dit-il. «J’empilais les chansons tout seul chez moi, puis mon frère m’a dit qu’il serait peut-être temps d’en faire un album. Il a donné l’impulsion. J’avais besoin d’être rassuré, je crois. Parce que je sais qu’il ne m’aurait pas encouragé s’il ne pensait pas que ce que je faisais était bien.» Le frérot a filé un coup de main pour quelques arrangements : «Bertrand a tout écrit, tout composé. Quand je suis arrivé, le travail était fait à 99 %», assure Fred Lani. «C’est comme un fromage, il l’a affiné», complète Bertrand. Et les deux frères se marrent. Bertrand Lani s’est mis «sérieusement» à la guitare vers 15-16 ans. Une histoire de famille, déjà : «Il y a toujours eu des guitares à la maison. Quand je cassais une corde, il suffisait que je prenne une autre guitare. Je n’ai pas dû me battre comme beaucoup d’ados pour faire de la musique : je suis né dedans… J’ai passé toute mon adolescence au bord d’une scène et un moment, j’ai eu envie de grimper dessus.» Dans la famille, on trouvera aussi le papa ou les cousins dans la musique. Bruno Castellucci, le cousin est d’ailleurs derrière la batterie sur It Gets Bluer in a While. Pour les influences, il préfère ne pas citer de noms, «pour ne pas être catégorisé» et puis surtout parce qu’elles sont «tellement multiples». Il y a du blues des années 20 et plus moderne aussi… «mais ce sont surtout des sonorités, un état d’esprit très américain, aussi bien que des tas de choses en littérature…» Album en vente via www.bertrandlani.be ou iTunes. Bertrand Lani & Band en concert le 20/04 à la Salle St-Martin, Emptinne. Le 01/05 au Roots & Roses Festival, Lessines et le 8/06 à La Cave, Hastière.


LARRY AND HIS FLASK Musical anthropologists interested in the study of just how fast a band can evolve need look no further than the six upright, upstanding men in Oregon’s Larry and His Flask. Formed by brothers Jamin and Jesse Marshall in 2003, the Flask (as the band’s expanding army of fans calls them) spent its first half-decade stuck in a primordial, punk-rock goop, where a blood-sweat-and-beers live show took priority over things like notes and melodies. Don’t misunderstand: The band was (somewhat) skilled and an absolute joy to watch, but the goal was always the party over perfection. Over the past two years, however, Larry and His Flask has gone from crawl to sprint at breakneck speed. First, Jamin Marshall moved from gargling-nails vocals to drums. Guitarist Ian Cook became the band’s primary voice. And a trio of talented pickers and singers — Dallin Bulkley (guitars), Kirk Skatvold (mandolin) and Andrew Carew (banjo) — joined the family. (And no, you didn’t miss something. No one is named Larry.) Determined to make music for a living or die trying, the six brothers set out in a van, intent on playing for anyone, anywhere at any time. From coffee shops to dive bars and street corners to theater stages, the Flask honed their sound and show through experience, attacking each gig like buskers who must grab and hold the attention of passersby in hopes of collecting enough change to get to the next town. By 2009, Larry and His Flask’s train began gaining steam. The band’s new songs are a blurry blend of lightning fast string-band picking, gorgeous nods to old-school country, and sublime multi-part harmonies, all presented through a prism of punk chaos. The boys have grown and changed, yes, but their shows are still gloriously physical displays of live music’s sheer power. In other words, keep your eyes peeled, or risk taking the heavy end of Jesse Marshall’s flailing, stand-up bass right between the eyes. A slot supporting the Dropkick Murphys in the Flask’s hometown led to an invitation to open for the Celtic punk kingpins across the eastern half of the United States, as well as an opportunity to finally record their new, twangier sound. The result is Larry and His Flask’s three-song, self-titled 7″ record, pressed in a limited run that’s quickly being snapped up by the band’s new fans, who’ve been clamoring for a sip of aural hooch to call their own. In mid-2010, the Flask is holed up in their crash pad in Central Oregon, working on songs for their first full-length, playing gigs here and there, and, in the words of Jesse Marshall, “fixing the van and all our broken shit” in anticipation of the next leg of a lifelong tour. Keep up with the band’s never-ending tour schedule at www.larryandhisflask.com


THE HILLBILLY MOON EXPLOSION The Hillbilly Moon Explosion are a pan-European rock’n’roll band with much flair and a fast growing fan-base. They’re fronted by the Italian-Swiss songstress Emanuela Hutter and English exile singer and slap bassist Oliver Baroni, ably backed by English guitarist Duncan James and Swiss drummer Luke 'The Puke' Weyermann. Emerging from the rockabilly scene in their home base of Zurich, they recently turned down an invitation to be the Swiss Eurovision entry. Known to some for their mini-hit ‘Johnny Are You Gay?’, a recent retrospective has propelled them gigging across Europe, including TV shows and a tour supporting Jeff Beck climaxing at the legendary Paris Olympia. A viral Cinéma vérité video from that album has attracted over 50,000 views: http://youtu.be/bANSizYxh-w A single ‘My Love For Evermore’ precedes the album, on 7” and download. It’s a dark duet by Emanuela and guest Spark Phillips of infamous, wayward psychobilly band Demented Are Go, assisted by Geraint Watkins on organ, and backed with a rockabilly guitar cover of ‘Enola Gay’. A new ‘Bonnie & Clyde style’ video was filmed over 3 days and will be launched on the single release date. Stills from the shoot can be seen here: http://on.fb.me/ia21CJ The album is produced by Greg Townson of US band The Hi-Risers, and recorded in London at Goldtop Studio, Camden last year. (Goldtop Studio has now relocated to Gravity Shack, Tooting.) Tracks: - Buy Beg or Steal, Broken Heart, She Kicked Me To The Curb, Natascia, Trouble & Strife, My Love For Evermore (with Sparky), Night of the Living Ted, Imagine A World, Goin’ To Milano, Touch Me, Rock’n’Roll Girl, Chalk Farm Breakdown, Enola Gay. 13 tracks.


THE URBAN VOODOO MACHINE This East London collective of shadowy ne’er do wells, led by Norwegian born PaulRonney Angel, have been touring their unique brand of Bourbon Soaked Gypsy Blues Bop’N’Stroll extensively since 2003. Raising the roof at headline shows across UK, Ireland, USA, Europe & Scandinavia, they also regularly grace festival stages such as Glastonbury, Latitude, Bestival, Electric Picnic, Edinburgh Festival... With their lurching sea shanties, debauched murder ballads, messed-up tangos and whiskey-soaked gypsy stomps, some reckon they’re from the same stable of stallions as Tom Waits and Nick Cave; others point out the last gang in town swagger of The Clash and the hellbound blues that John Lee Hooker first dragged out of the swamp. 2008 saw them receive a personal invitation from The Pogues to open for them in the USA leading to them also opening for the whole of the UK/Ireland X-Mas 2008 tour – anyone who witnessed that tour can testify what a roaring success it was! Featuring between 7 to 12 musicians playing guitars, drums, fiddle, trumpet, banjo, washboard, upright bass, gong, mandolin, accordion, harmonicas, saxophone and even empty bottles & tie racks to build their unique brand of Bourbon Soaked Gypsy Blues Bop’n’Stroll…


MADÉ J Influenced by The Sonics, Early Punk, The Detroit Garage Rock Scene, Reverend Horton Heat and steeped deep in the Mississippi delta traditions of Son House and R.L. Burnside, Bali born musician, Madé J. chose the sub-culturally diverse city of Brussels, Belgium to record his latest and most bad ass album, “Das Rumble”. Madé J.’s journey has been a long one, through juke joints, road-side houses and smoky clubs around all around the globe. Setting off from Denpasar Bali, the first stop was Australia and then Hawaii where he also met and played with Jack Johnson. The always winding road led him through the American Deep South including New Orleans, where Madé began a personal and musical friendship with Coco Robicheaux. During this time he was taught the SouthernDelta guitar style by Son House student John Moonie. Luckily, leaving New Orleans on the last flight before Hurricane Katrina struck, Madé spent another few months in the culture storm of New York City, before eventually moving on to France. Upon arriving in Europe it was Paris and it’s unique urban atmosphere that managed to get its first hold on him. Different musical sessions led Madé to meeting and jamming with Keziah Jones for whom he ended up opening numerous times. After more musical stints throughout the UK and Southern Europe, London became his initial european home as he worked and recorded with 2 separate band projects which will also be released in 2012. After re-connecting with producer and friend, Mathias Widtskiöld, Madé decided to come back to Belgium in 2010. He had gotten to know and love the country during his gigs with Belgian Rockabilly outfit Running Wild – with whom he had also supported R. Horton Heat and Nashville Pussy. Back in the saddle with Mathias, the production duo began creating and recording Madè´s newest and most focused album to date. The delicately titled “Das Rumble”, features a musically confident Madé J., comfortably commanding his songwriting through a variety of different styles and diverse sounds. Anything from Rock-a-Billy to straight up Punk can be heard on, what is truly, one of the most honest and authentic albums of the year. Enjoy!


ARAMAK IAB FT BAI KAMARA JR, MANU RIBOT, THIERRY ROMBAUX, DIDIER FONTAINE Aramak Iab a été formé par Bai Kamara Jr et Manu Ribot et s’y sont joints plus tard Didier Fontaine (batterie) et Thierry Rombaux (bass). Le band a tourné intensivement de 1995 – 1999 dans le circuit des clubs et festivals en Belgique et le Sud de la France. Après un break de 12 ans le band s’est réuni et a enregistré un album LIVE qui sortira en avril 2013 chez Pias Le style de Aramak Iab est Urban Blues Rock Afro. Bai Kamara jr est un auteur compositeur déjà connu en Belgique, il a sorti 4 albums surtout soul, funk, jazz, afro. Il a travaillé avec Youssou N’Dour, Dani Klein et a fait les grand festivals et scènes en Belgique…


JOHN SCHOOLEY & HIS ONE MAN BAND Details of the early life of John Schooley are sketchy, and historians are still unsure of many of the details. Various sources place his birth either in Columbus, Ohio or Vancouver, British Columbia. We do know that his family moved to the rural enclave of Niangua, Missouri when he was still quite young. His parents were sharecroppers, barely scratching out a living from the rocky soil of the Ozark Mountains. The youngest of eight or possibly nine siblings, John Schooley did not take to farming, or, apparently, work of any kind. He could be found, often as not, shirking his chores to hunch over his guitar. He did not have a “One Man Band” setup as yet, locals report only that he would stomp his foot on a board or on the front porch, frequently scaring the cows. Though it was not a musical family, the youngest of the Schooley clan was “plum gone over that guitar,” according to one family member interviewed years later. Since it was nearly 50 miles to the nearest proper record store, young Schooley had a hard time coming by the country, blues, ragtime, and punk music he was so enamored with. The family Victrola was stocked with any 78's that could be found, mostly by Jimmie Rodgers, Blind Lemon Jefferson, Doctor Ross, and Don Van Vliet. Most evenings the family tuned to radio station KWTO out of Springfield, to hear the “Carter Sisters and Mother Maybelle with Chet Atkins and his Famous Guitar” perform as part of the syndicated “RadiOzark” network. Although the “Carter Scratch” of Mother Maybelle Carter seems to have been an early influence on Schooley's playing, the more genteel jazz-influenced picking of Atkins most certainly was not. School was never to his liking and Schooley quit after graduating the fifth grade. Chafing at the dreary small town life of Niangua, Schooley left never to return. He rambled north to Columbia, Missouri, where the local musical combo “The Untamed Youth” had been making a name for themselves. Untamed Youth had recorded for Norton Records out of New York City to some acclaim, but by the time Schooley arrived the band was no longer active. Founder Deke Dickerson had moved to California, and there were really no other bands in town. Into this musical vacuum Schooley entered, first trying to put together a hot-jazz combo along the lines of the then-popular Django Reinhart. Schooley was unable to find suitable musicians, and also couldn't really play very well, so that idea was soon abandoned. Then, billing himself as “John Schooley and His One Man Band”, he rigged up a kick drum and hi-hat and began performing at “house frolics” and on the sidewalk in front of local record store Whizz Records. He met with minimal success. The repetitive pound of the kick drum combined with Schooley's rather gruff vocals seemed only to drive business away from the already failing retailer. He was frequently chased away by the proprietor with a broom shortly after setting up. He fared little better at the “house frolics.” Being unwilling (or perhaps unable) to learn pop hits of the day, Schooley tried to force his listeners to dance to his own frequently atonal blend of blues and country, again with minimal success. enabling him to make an increasingly louder racket. Voodoo Rhythm recently uncovered the tapes of these songs, long presumed lost, in an oil drum outside of Lockhart, Texas. They seem to represent a shift by Schooley away from the rougher sound that characterized the Goner and Ball recordings to a more full, rhythmically complex sound. While the story of John Schooley and His One Man Band remains shrouded in half-truths and outright falsehood, these recordings should help give musical historians and folklorists a more accurate portrait of the man and his music.


The musical scene in Columbia was so stagnant that when it was announced that bluegrass stars The Oblivians were coming to town, Schooley was able to secure the opening slot even though he had no band together at the time. A suitable bass player was never found, and with the Oblivians show rapidly approaching Schooley set out to work up a set with scarcely a week remaining before the show. The guitar, drum, and vocal trio dubbed themselves “The Revelators” and much to the surprise of everyone they didn't suck too bad. Eric Oblivian was so impressed with this lack of suck that he offered to record the band on his “Goner” record label, a new Memphis enterprise he had begun in partnership with talent scout Ralph Peer. The Revelators had already sent a demo to Crypt Records, however; and Crypt president Tim Warren was very excited about the band. Schooley continued performing as a one man band on occasion, and even worked up some home recordings. Using the (even then) antiquated technology of the “boom box” in conjunction with one Radio Shack microphone, he recorded two songs in the basement of the Alpha Gamma Sigma agricultural fraternity. One was a Billy Childish number, “Pretty Baby”, and the other a re-working of the traditional folk holler “Rock and Roll Hootchie Koo”. When he sent the tape to Eric Oblivian he was very excited. Oblivian rushed the single (released on the new “45 RPM” format) into production. It failed to chart. Meanwhile, Crypt had released a single by the Revelators and now wanted an LP. When the record, titled “We Told You Not To Cross Us” was released it caused a sensation in at least three Missouri counties and parts of Arkansas and Illinois. The Revelators were immediately rushed off to a whirlwind tour of Europe, which included performances for the as-yet not-dead Princess Diana and Archduke Ferdinand. Following a grueling North American tour, the group recorded one more LP (still unreleased) and promptly broke up. Tiring of Missouri, Schooley lit a shuck for Texas and took whatever work he could find, from oil roughneck to hotel elevator operator. He eventually started another musical combo, the Hard Feelings, not unlike the Revelators in musical style and spirit. Collectors have turned up at least two LP's and a number of 45's by the Hard Feelings, and it is known they made infrequent tours of Europe and North America. The recordings of John Schooley and His One Man Band, however, are not as well documented. Only one other single, on “Ball Records” from Maine, has turned up. Eventually, Schooley added harmonica, snare drum, and washboard to his kick and hi-hat apparatus,


THE GODFATHERS Legendary British rock & roll group The Godfathers were formed in 1985 by brothers Peter Coyne (vocals) & Chris Coyne (bass) from the ashes of their previous band The Sid Presley Experience. Joined by Mike Gibson (guitar), Kris Dollimore (guitar) & George Mazur (drums) The Godfathers toured extensively & quickly earned a serious reputation for their electrifying brand of primal rock & roll & their incendiary live shows around the world. Forming a recording partnership with famed producer Vic Maile The Godfathers released 4 critically acclaimed, smash hit independent singles on their own Corporate Image label (‘Lonely Man’, ‘This Damn Nation’, ‘I Want Everything’ & ‘Love Is Dead') which alongside a brutal cover of Lennon’s ‘Cold Turkey’ were compiled into their seminal debut album release ‘Hit By Hit’ in ’86. Signing a worldwide deal with Sony/Epic records in ‘87 The Godfathers unleashed the storming rocker ‘Birth School Work Death’ & scored a US Billboard top 40 hit after massive college radio airplay & heavy MTV rotation. The classic ‘Birth School Work Death’ album released in ’88 (includes the hit anthem title track, ‘Cause I Said So’ & a re-recorded ‘Love Is Dead’) was celebrated with extensive tours of the UK, Europe & U S A & they cemented their reputation as one of the best live acts of the period. The Godfathers’ mob inspired image, raw lyrics & guitar-driven, edgy rock & roll sound was in direct contrast to the clean, synthesized pop that mainly dominated at that time & foreshadowed the Brit rock resurgence of the 1990’s. 1989’s ‘More Songs About Love And Hate’ (featuring the American college radio smash single ‘She Gives Me Love’ and live favourite ‘Walking Talking Johnny Cash Blues’) was followed by the death of producer Vic Maile & the departure of guitarist Kris Dollimore, who was replaced on guitar by Chris Burrows for ‘Unreal World’ (which included the American radio hit ‘Unreal World’ & a searing cover of The Creation’s psychedelic classic ‘How Does It Feel To Feel’) in 1991. A provocatively titled live Godfathers’ album ‘Dope, Rock & Roll & Fucking In The Streets’ was issued in 1992 on Corporate Image & with various line-up changes the band toured the globe constantly. The Godfathers released 2 further albums on Intercord Records, a self-titled album in ‘93 (a.ka. the orange album because of it’s distinctive cover art) & ‘Afterlife’ in ’95, before the group finally imploded in 2001. In 2008 The Godfathers reformed their original line-up to promote a vastly expanded 2CD version of their classic debut album ‘Hit By Hit’ & performed a select amount of British, European & American dates & festivals together for the first time in nearly 20 years. These included the highly successful revival of their traditional Saint Valentine’s Day Massacre concerts with knockout, triumphant performances at The Forum in London in February ’08 & Chicago’s Metro in February ’09. In March 2009 guitarist Kris Dollimore left the band for a second time and finally in December 2009 original members George Mazur and Mike Gibson followed.


THE JIM JONES REVUE The Jim Jones Revue is a UK garage rock and roll band composed of Jim Jones, Rupert Orton, Henri Herbert, Gavin Jay and Nick Jones. The band was formed after Jim Jones met Rupert Orton (the brother of folk singer Beth Orton) at his Not The Same Old Blues Crap club night in London. In 2008, the band recorded their self-titled debut album in just 48 hours, in a rehearsal space in Camden Town, London. The album was released on 8 September 2008 via Punk Rock Blues Records. A collection of singles and B-sides entitled Here To Save Your Soul was released on 5 October 2009. The band have since recorded their second album, Burning Your House Down, which was produced by Jim Sclavunos of Nick Cave and the Bad Seeds and Grinderman. In interview Jim Jones has explained that they also chose Sclavunos for his work with bands like Sonic Youth and The Cramps. This second album was released on 16 August 2011 through Punk Rock Blues Records / PIAS Recordings. On September 2, 2010, the band previewed Burning Your House Down at London nightclub Madame Jojo's in front of a sold-out audience, which included Oasis singer Liam Gallagher as well as members of Grinderman and Nick Cave and the Bad Seeds.[3] They appeared on the Late Show with David Letterman (CBS-TV) on 7 September 2011. The band released their third album The Savage Heart on 12 October 2012 through Punk Rock Blues Records / PIAS Recordings.


THE STRANGLERS First forming in 1974 the band’s straight talking approach gave them notoriety later embraced by the punk movement of ‘77. This led to their debut single 'Grip' and their legendary first album Rattus Norvegicus. The band’s career has featured 24 top 40 hits including ‘Peaches’, ‘No More Heroes’, ‘5 Minutes’, ‘Duchess’, ‘Something Better Change’, ‘Always the Sun’, ‘Strange Little Girl’, ‘Walk on By’, culminating with their ultimate classic ‘Golden Brown’. As well as 24 top 40 singles the band have charted 18 top 40 albums with worldwide sales of over 16 million. After re-signing to EMI in 2004 their last 2 albums 'Norfolk Coast' and ‘Suite XVI’ have been hailed as their best for 20 years with hit singles ‘Big Thing Coming’ and ‘Long Black Veil’ achieving chart success and a new single out on EMI in 2010 heralding 5 decades of hits. The band recently performed at T in the Park, the V Festivals, Isle of Wight, Hyde Park, Oxygen and set out on a sell out UK tour on 26th Feb including the Hammersmith Apollo followed by dates in Europe and Japan and appearances at key major festivals. The new album ‘Decades Apart’ will feature tracks from all 5 decades of the bands career and is released on EMI on March 1st 2010.



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