DESCRIPTIVE MUSIC SCHEDULE
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Cash'd Out
In the Oneida Casino Lounge,
June 6-8, 2010 • 7:30pm
Country
www.myspace.com/cashdoutNo cameras or audio/video equipment allowed. Must be 21 to enter gaming floor. All acts/times subject to change without prior notice.
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Webb Wilder
in the Oneida Casino Lounge,
June 13-15, 2010 • 7:30pm
Roots Rock
www.myspace.com/webbwildernowThere are roots rockers, and then there's Webb Wilder. Hardly a purist, he has described the music he and his band, The Beatnecks, make as, “Rock for Roots fans and Roots for Rock fans.” In essence: Rock and Roll. There’s nothing new about combining R & B, Rock and Roll, Country, Blues, Pop and Rock. The Rolling Stones and the Beatles proved that it can yield marvelous and diverse results. I said he wasn’t a PURIST. I didn’t say he wasn’t very PICKY about the quality of the music. That includes everything from the sonics of the recordings, the choice of players, the influences he draws on, the songs he chooses to cover, or how attentive he is to the craftsmanship of his own songs. The self-proclaimed “Last Of The Full Grown Men" hasn’t limited his creativity to the music business. There’s the picture business. His critically acclaimed indie films made him a cult hero and led to a major motion picture (Peter Bogdonavich’s “The Thing Called Love,” Paramount). He’s done guest appearances on other’s albums (Ben Folds, Jason Ringenberg, Farmer Jason, William Shatner, Maura O’Connell), and a Disney produced duo of companion CD’s for the animated movie “Cars.” His smooth baritone has been used for voice-overs on countless radio commercials; he even did a stint as one of America’s FIRST Satellite DJs on XM Radio for four and a half years. Using all manner of media, Webb Wilder has been impacting Popular culture (and it him) for way over 20 years, all the while maintaining a devoted worldwide fan base through a relentless, never ending tour schedule. More Like Me, his first collection of new material since 2005, is classic Webb - an exciting blend of bedrock American music and bittersweet ballads incorporating a host of influences. Not forgotten is his ever present irreverent attitude and wit. According to Gibson Guitar magazine, this “gives Wilder's music a sense of fun and imagination often lacking among his peers.” A native of Hattiesburg, Mississippi, Wilder moved to Austin, Texas in 1976 with his boyhood friend, Bobby “Crow” Field.
Incorporating a British Invasion influence (among others) into their then double time tunes separated Wilder’s music from the pack. After moving to Nashville, Wilder and Field formed the Beatnecks in 1985. As Nashville moved toward unapologetically commercial fare, Wilder and Field were busy crafting their signature brand of rock 'n' roll, founded on classic influences from both sides of the pond. Wilder's debut, It Came From Nashville, a brazenly rocking bar-band rave-up, seems even more unlikely now than it must have seemed then. His subsequent albums (Hybrid Vigor, Doo Dad, Town & Country, Acres of Suede, About Time and Born To Be Wilder (live)), have continually maintained the high standard set by the first, becoming textbooks for aspiring roots rockers and showing there was (and is) a vibrant market for their hybrid brand of Southern musical gumbo. In concert, Wilder spikes the punch between songs with potent doses of rustic wit and character, transcendent mediations, incantations, and codes by which to live. Webb’s first Blind Pig release, Born To Be Wilder captured that on-stage alchemy with a set featuring favorites such as “The Human Cannonball,” “Tough It Out”, “Miss Missy From Ol’ Hong Kong”, “Louisiana Hannah,” and others, at their rockin’ best in front of a sold out enthusiastic crowd. Elmore Magazine called Born To Be Wilder “a generous helping of fresh, tasty rock 'n' roll that will leave the listener asking for seconds," while American Songwriter said it “highlights the musical attributes that make him appealing and unique." Music critics have always warmed up to the Webb Wilder juggernaut. The Associated Press described the band's music and stage performance as "a glorious amalgamation of grunge chords, killer grooves, Screamin' Jay Hawkins theatrics, a healthy sense of humor, and great pop melodies." It's "full of wit and personality, and devoid of technological or conceptual gimmickry," added the Houston Post. The early films (Webb Wilder, Pvt. Eye: The Saucer’s Reign, Horror Hayride) have become underground cult classics. They were recently compiled on the Webb Wilder's Amazing B Picture Shorts DVD released in 2008. The DVD also features some WW related bonus material as well as some fine (non-Webb) films from acclaimed Webb Wilder cinematographer, Steve Mims. The new studio album, More Like Me, is a potent collection that blends all the humor, wistfulness, urgency, soul, grease, heartache and humor that runs through the great Blues, Country, Pop, Soul and (most of all) Rock and Roll that Webb loves, lives and breathes into a sound that is just a little, well…”Wilder” than the rest. Fans of Wilder’s fretwork won’t be disappointed, as Webb gives his guitar plenty of attention on tracks like the Rock ‘n’ Roll rave up “She Said Yeah,” the heavy Hillbilly Boogie of “Honky Tonkin’ (In Mississippi),” as well as his low-fi and low DOWN (“Howlin Wolf meets The Cramps”) take on Roky Erikson’s, “Don’t Slander Me,” just to name a few. Always working in the two guitar format live, Webb includes long time axe men associates, George “the Tone Chaperone” Bradfute, Bob Williams and guitarist/co-producer, Joe V. McMahan to paint colors not otherwise provided by his own six string brush strokes. Bob provides textures that extend beyond the typical tenets of twang, like the electric sitar heard in “Pretty Is As Pretty Does.” His contributions don’t end there, either. Joe V. is all over the place and not only as a brilliant guitarist, co-producer and engineer. He and Bob both play pedal steel on one song each for instance. George joins Webb and Joe (all three do some “string stranglin’) on “Slander,” as well as providing the beautiful resonator mandocello on” “She’s Not Romantic,” also featuring atmospheric accordion (Michael Webb), one of the many NON-guitar spices seasoning the stew throughout the record. There are other guests, but every track is anchored by longtime drummer Jimmy Lester and Beatneck bassist, Tom Comet. Tom even got WAY involved with the cover art turning Webb’s concepts into reality. Along with “Romantic,” More Like Me contains some of Webb’s most irresistible tunes yet, like “Come Around” and “Too Cool For Love.” There are five Webb originals altogether with infectious melodies and left of center but, right on target lyrics that should appeal to anyone with a ticket to ride on the “mystery train.” Webb Wilder is an evangelist for real Rock 'n' Roll. As a singer, guitarist, bandleader, film actor, songwriter and humorist, he may be roots-rock's only true Renaissance man. More Like Me will no doubt find favor with Webb’s devoted legion of fans, but with its affecting songs and masterful performances, it’s sure to bring many newcomers into the fold. "Work hard, rock hard, sleep hard, eat hard, grow big, wear glasses if you need 'em."
No cameras or audio/video equipment allowed in the Casino Lounge. All acts/times subject to change without prior notice. Must be 21 to enter the gaming floor.
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Melissa Peterman with Wild Bill Bauer
Friday, June 18, 2010
8pm • $10
Reserved Seating.
Tickets on-sale now at all Oneida Casino Ticket Star locations, online at www.ticketstaronline.com or call 1-800-895-0071. Cash, Discover, MasterCard, American Express and VISA accepted. Limit 8 tickets per person, per show. No refunds.
All acts and times subject to change. No cameras or audio/video equipment allowed.
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Chad Przyblyski & Polka Rhythm
in the Oneida Casino Lounge,
June 20-22, 2010 • 7:30pm
Polka
www.myspace.com/polkarhythmsNo cameras or audio/video equipment allowed in Casino Lounge. Must be 21 to enter gaming floor. All acts/times subject to change without prior notice.
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Jimmy Sturr & His Orchestra
in the Oneida Casino Lounge,
June 20-22, 2010 • 9pm
Polka
www.jimmysturrhomepage.blogspot.comAt the time that rock was reaching its crescendo, and in the era when Country was dazzling the nation, a strange phenomenon was taking place. In essence, this phenomenon was the rising popularity of JIMMY STURR as the hottest musical attraction in the polka field. The reigning king of the field is a good looking, smiling charmer with brown hair, blues eyes and charismatic rays emanating from his presence. Sturr is the fellow in front of the orchestra. And what an Orchestra it is! JIMMY STURR AND HIS ORCHESTA has over 106 recordings; the excellence of these recordings has been recognized and rewarded throughout the very competitive music industry. The fact that JIMMY STURR AND HIS ORCHESTRA is on the Top Ten list of the All-time Grammy Awards, has won eighteen Grammy Awards and has received more consecutive Grammy nominations that anyone in the history of musical awards has made the music industry sit up and take notice. Broadcast Music Inc. (BMI) has awarded JIMMY STURR & HIS ORCHESRA its most valued award, the “Commendation of Excellence”. The only one ever awarded in the polka field. The band constantly attracts crowds of screaming, adoring fans wherever their travels take them. Their tremendous popularity has resulted in not only numerous Grammy Awards, but also being voted “The #1 POLKA BAND IN THE COUNTRY” for the past ten years. Many great things have happened to JIMMY STURR AND HIS ORCHESTRA, but none has been more exciting than just completing their third recording with country superstar WILLIE NELSON. In addition they have recorded with other artists such as THE OAK RIDGE BOYS, CHARLIE DANIELS, BOOTS RANDOLPH, MEL TILLIS, BRENDA LEE, plus banjo virtuoso, BELA FLECK, and folk legend ARLO GUTHRIE. One of the major events in Jimmy’s career came when the Orchestra was asked to appear on “The Grand Ole Opry”. They were not only the only Polka Band to all appear, but the only band to appear with brass. A question on “Who Wants To Be A Millionaire?” television show hosted by Regis Philbin, was “Who is America’s polka king?” The contestant won $250,000 by correctly answering “Jimmy Sturr”. Sturr’s music has been heard on the TV show JEOPARDY and articles have appeared in print throughout the nation including a front page story on The Wall Street Journal and full length story in US World and News Report.
The incredible popularity and success of JIMMY STURR AND HIS ORCHESTRA has caught the attention of many networks, including appearances on CNN, ABC, NBC, FOX NEWS and a fifteen-minute segment on CNN Headline News that aired worldwide. The band has made several appearances on “Saturday Night Live”. The quality and appearance of JIMMY STURR AND HIS ORCHESTRA makes them sought after for television commercials such as Budweiser, Pontiac, and Mrs. T’s Pierogies, who signed Jimmy to be their National spokesperson. Due to the great demand for live appearances by The JIMMY STURR ORCHESTRA they have an extensive road schedule of 165 dates per year. They crisscross the country and make several international trips yearly. While on the road they travel in Jimmy’s forty-five foot customized tour bus. The Bands’ travels have taken them to some of the most prestigious venues in the world, including seven Sold Out concerts at Carnegie Hall and four Sold Out concerts at Lincoln Center in New York City and a sold out concert at The Palace of Culture in Warsaw, Poland where the band received seven standing ovations.
The Band appears annually at many of the top casinos in the country including Mohegan Sun Casino, Uncasville, CT; The Tropicana and Taj Mahal in Atlantic City, NJ; Patowatomi Casino, Milwaukee, WI; Soaring Eagle, Mt. Pleasant, MI; The President’s Casino in Biloxi, MS; Mountaineer Race Track and Gaming Resort, Chester, WV and The Stardust Hotel and Casino in Las Vegas where Jimmy was the first polka band to be booked by a major casino on the strip. The sellout crowds at these popular events keep coming back for more wherever they see the band scheduled. Today, JIMMY STURR lives in the house he grew up in, his office is across the street from the high school he attended in the upstate village of Florida, New York with a population of 1,800. His hometown recently honored Jimmy by placing a “Star of Fame” in the walkway on Main Street. They also display ”HOMETOWN OF POLKA KING JIMMY STURR” signs at each entrance to the village. Five gold albums, each representing five million dollars in sales, are displayed on his office walls where he runs his various businesses which include United Polka Artists, Starr Record Company, Jimmy Sturr Travel Agency, a publishing company and his syndicated radio show. A full scholarship gave Jimmy the opportunity to attend and graduate from Valley Forge Military Academy. Among his many accolades, and something Jimmy is very proud of, is his selection by The Valley Forge Military Academy as “Man of the Year”, he was honored with a full-dress parade in front of the Corp of Cadets at VFMA. No one has done more for the polka field than this young Irishman from the little village of Florida, NY. Seeing is believing. When you see JIMMY STURR AND HIS ORCHESTRA in person, you know why they draw the huge crowds, have been voted #1 in the country and considered “THE BEST IN POLKA MUSIC”.
No cameras or audio/video equipment allowed in Casino Lounge. Must be 21 to enter gaming floor. All acts/times subject to change without prior notice.
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Lost Angels
in the Oneida Casino Lounge,
June 27-29, 2010 • 7:30pm
www.lostangelslive.comFeaturing JOHN CORABI – Motley Crue, ESP & The Scream, ERIC DOVER – Alice Cooper, Jellyfish & Slash’s Snakepit, TROY PATRICK FERRELL – White Lion, MUDDY STARDUST – Gilby Clarke & L.A. Guns.
No cameras or audio/video equipment allowed. Must be 21 to enter gaming floor. All acts/times subject to change without prior notice.
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Public Enemy
Monday, June 28, 2010
8pm • $20
General Admission-Standing
Tickets on-sale now at all Oneida Casino Ticket Star locations, online at www.ticketstaronline.com or call 1-800-895-0071. Cash, Discover, MasterCard, American Express and VISA accepted. Limit 8 tickets per person, per show. No refunds.
All acts and times subject to change. No cameras or audio/video equipment allowed.
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Shannon Curfman
in the Oneida Casino Lounge,
July 11-13, 2010 • 7:30pm
Blues Rock
www.shannoncurfman.comGuitarist and singer/songwriter Shannon Curfman burst upon the blues and roots rock scene in 1999 with her major-label debut for Arista Records, Loud Guitars, Big Suspicions. Her exceptionally well-produced, well-sequenced debut album won her rave reviews all over the U.S, Canada, Europe and Asia, aside from lots of airplay, even on commercial radio stations in the U.S. Curfman made several U.S. club and theater tours in support of Loud Guitars, Big Suspicions, and garnered huge amounts of publicity, because she was only 14 at the time. Now 24, Curfman is back with a new and even more mature album that shows she is the real-deal, proven artist that many thought she would be. "What You're Getting Into" is Curfman's new album recorded at Jimmy Jam and Terry Lewis’ epic Flyte Tyme Studios in Minneapolis , MN . Special guests on the album include platinum-selling artist Joe Bonamassa playing and singing a duet with Shannon of a classic Eric Clapton song and multi-platinum artist Stevie D from Buckcherry on a cover of a song by Queen. This may be Shannon 's ...best album yet! The album features seven brand new, original songs that Curfman co-wrote with writers from Aerosmith, Lenny Kravitz, Kid Rock, Ozzy Osbourne, Pink, Jonny Lang and Sheryl Crow and a cover of Oh Well by Fleetwood Mac that goes to show what a powerhouse Shannon really is. Between the songwriting, Curfman’s saucy and demanding vocals and her scorching lead guitar What You're Getting Into is the album of 2010 not to be missed!
CAREER HIGHLIGHTS – Has Played & Recorded With:
JOHN MELLENCAMP – THE INDIGO GIRLS – BUDDY GUY – CARLOS SANTANA – B.B. KING – JONNY LANG – WILLIE NELSON – NEIL YOUNG – MEMBERS OF PRINCE & THE NEW POWER GENERATION – ME'SHELL NDEGEOCELLO – STEVIE WONDER – TAB BENOIT – KEB MO' – JOHN MAYALL – GEORGE THOROGOOD – BILLY PRESTON – STONE TEMPLE PILOTS – HANSON – KENNY WAYNE SHEPHERD – BUTCH WALKER – JEFF HEALEY – DOYLE BRAMHALL II – KOKO TAYLOR – GRETCHEN WILSON BIG & RICH – ELVIN BISHOP – ALBERT CASTIGLIA – MICHELLE BRANCH -–JOHN LEE HOOKER – TERRI CLARK – JO DEE MESSINA – KANSAS - DAVID CROSBY – JACKSON BROWNE
Has Performed On:
THE TONIGHT SHOW WITH JAY LENO
* DAVID LETTERMAN
* CRAIG KILBORN
* GOOD MORNING AMERICA
* DONNY & MARIE
* ROSIE O'DONNELL
* VH1's ROCK & ROLL RECORD BREAKERS
* THE ANSLEY HARRIETT SHOW, ETC.....
* FOX TELEVISION 1 HOUR CONCERT SPECIAL
QUOTES
“I was blown away…I know when I hear star quality and you radiate with that. …I would love the opportunity to work with you and your very impressive personal and professional family”. ~Clive Davis, President - Arista Records
“…the most impressive debut by a blues artist since Stevie Ray Vaughan's Texas Flood. Shannon sings with the brassiness of Bonnie Raitt, writes liked a funked-up Sheryl Crow and plays guitar as if she's channeling both SRV and Jimi Hendrix…(Shannon is) the best argument for reincarnation aside from the Dalai Lama himself” ~ Vic Garbarini, Playboy Magazine
“I heard Hard To Make A Stand on the radio and loved it”. ~ Sheryl Crow - Read Sheryl Crow's Letter to Shannon!
“The biggest buzz belonged to blues rocker Shannon Curfman, who drew an ecstatic response from a packed house at the Fox Theatre. She will be this year's breakout, without a doubt. It was the biggest opening act since Counting Crows [in 1993]”. ~ Kent Zimmerman, Gavin (speaking at Triple A radio station summit in Boulder , CO)
No cameras or audio/video equipment allowed in the Casino Lounge. All acts/times subject to change without prior notice. Must be 21 to enter the gaming floor.
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Mel Tillis
in the Oneida Casino Lounge,
July 18-20 • 7:30pm
Country
www.meltillis.comCountry music legend, Mel Tillis, started performing in the early ‘50’s with a group called The Westerners while serving as a baker in the United States Air Force, stationed in Okinawa. In 1956, Webb Pierce recorded a song written by Mel entitled “I’m Tired”, and it launched Mel’s musical career.
Awards: In 1976, Mel Tillis was inducted into the Nashville Songwriters International Hall of Fame, and that same year, he was named Country Music Association’s (CMA) Entertainer of the Year. Also, for six years in the 70’s, Mel Tillis won Comedian of the Year.
On September 21, 1999, Broadcast Music, Inc. (BMI) named Mel Tillis the Songwriter of the Decade for two decades.
Mel was the recipient of the Golden Voice Entertainer Award for 2001. He also won the 2001 Golden R.O.P.E. Songwriter Award
The Grand Ole Opry inducted Mel Tillis as its newest member on June 9, 2007.
In October of 2007, Mel Tillis became a member of the Country Music Hall of Fame.
In June 2001, Mel received a Special Citation of Achievement from BMI for 3 Million broadcast performances of “Ruby, Don’t Take Your Love To Town”. Songs which have reached this coveted status are in a very select group of world-wide favorites.
Singer/Entertainer: Mel has recorded more than 60 albums. He has had thirty-six Top Ten singles, with nine of them going to Number One - “Good Woman Blues,” “Coca Cola Cowboy,” and “Southern Rain” to mention a few.
In 1993, he recorded his first gospel album. This album is entitled “Beyond the Sunset”.
One of Mel’s recent recordings is the “Old Dogs” album with Bobby Bare, Waylon Jennings, and Jerry Reed. It was released in July of 1998, and received a nomination for the 1999 Vocal Event of the Year by the Country Music Association.
Mel Tillis has been in the music/entertainment business now for 50 plus years. He and his band, the Statesiders, have worked concerts all over the 50 states, Canada, England, and other countries.
He has appeared on such television shows as 20/20, The Tonight Show, The 700 Club, Prime Time Country, 60 Minutes, Crook & Chase, David Letterman, and he has served as host for Music City News Awards and Music City Tonight.
Acting: Mel has appeared in numerous feature films including “Every Which Way But Loose” with Clint Eastwood, “W.W. & The Dixie Dancekings,” “Cannonball Run I and II,” “Smokey and the Bandit II with Burt Reynolds, and the lead role with Roy Clark in “Uphill All The Way.”
He has starred in several television movies as well including “Murder in Music City” and “A Country Christmas Carol.”
Mel Tillis has also been the spokesman for and done numerous commercials over his career for companies such as Badcock Furniture, Fina Oil Co., Whataburger.
Mel’s Hobbies: Gardening, cooking, fishing, painting, and watching University of Florida ball games.
One of Mel’s hobbies – painting – has turned into a charitable event. 1000 limited edition signed and numbered prints of his painting “Masonic America” are being sold with all profits going to the Scottish Rite Foundation which benefits speech and hearing clinics all over this great nation.
No cameras or audio/video equipment allowed in the Casino Lounge. All acts/times subject to change without prior notice. Must be 21 to enter
the gaming floor.
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Bourbon County D's
in the Oneida Casino Lounge,
July 25-27, 2010 • 7:30pm
Rockabilly
www.myspace.com/slimjimphantomwww.myspace.com/dannybharveywww.myspace.com/jessedaytonFeaturing Slim Jim Phantom – Stray Cats / Danny B Harvey – The Rockats, Headcat, Nancy Sinatra, Wanda Jackson and many more / Jesse Dayton / Chopper – The Cramps
No cameras or audio/video equipment allowed in the Casino Lounge. All acts/times subject to change without prior notice. Must be 21 to enter the gaming floor.
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John Anderson
in the Oneida Casino Lounge,
July 25-27, 2010 • 7:30pm
Country
www.myspace.com/johnandersonIt's been over a quarter century since John Anderson changed country music the first time. That was back in the '80s when that jaw-dropping country voice combined with huge hits like "Wild And Blue" and "Swingin'" to pave the way for the decade's neo-traditional movement. In the early '90s, he did it again with Seminole Wind, a bona fide classic that reignited his career and helped fan the flames of the coming country explosion with hits like "Straight Tequila Night" and the album's unforgettable title track. Well, it's 2009 and Anderson's back with Bigger Hands, an album that instantly reestablishes this country music icon as a contemporary musical force to be reckoned with. In other words, Bigger Hands is the real deal – undiluted, no-holds barred, full-on John Anderson. "I think we made a fine record, and I know we had a great time making it," says Anderson. Bigger Hands reunites Anderson with Seminole Wind producer James Stroud, and the chemistry and camaraderie that made that project such an artistic and commercial triumph was there from the very first sessions for Anderson's Country Crossing Records debut. "It's always been super easy for us working together," Anderson says. "That's one thing that never did change, even after all this time. When James and I went back in the studio it was just as much fun as I remember it being the first time." A big part of the fun for Anderson was reuniting with a lot of the A-list musicians that played on those early hit records. "All of these guys basically are old friends, so that just makes it extra good," he says. "I give an awful lot of the credit to the musicians, and it's one of the highlights of my life to go into the studio with guys that play on that level." From start to finish – from flat-out rockers like opening track "How Can I Be So Thirsty" to hardcore honky-tonk workouts like "Bar Room Country" and "What Used To Turn Me On," to the swampy southern groove of the album's timely and topical title track – Bigger Hands sounds and feels like a labor of love. Freed from major label pressures and concerns, Anderson dug deep into his bag of songs, pulling together his most personal and freshest sounding collection in years. He wrote or co-wrote every one of the album's 12 tracks, including rowdy leadoff single, "Cold Coffee And Hot Beer," which Anderson wrote with his old friend and "Swingin'" collaborator, the late Lionel Delmore, "James has always been real accepting of my songs through the years," Anderson says. "In fact, most of the big hits we had together were songs that I'd written. A lot of times there's no demo; I just come in with a guitar, sing the song and say, 'Do you like it?,' and James will say ‘Yeah, let's do it.’ And then I get to watch it come alive in the studio."
That's one of the big reasons for Anderson's longevity and continued relevance as an artist, and it's the reason Bigger Hands is a standout album for the man and his fans. Through three decades of Platinum albums, CMA, ACM and Grammy Awards, countless studio sessions and endless touring miles, Anderson has retained the tireless work ethic and empathetic soul of a songwriter. Gifted with one of the most distinctive and instantly recognizable voices in country music, he still puts a whole lot of stock in a songwriting session. "For me, it's really all about the songs and the writing," he states. "That's a big part of having a style. I feel blessed to write the songs I write." Anderson was especially honored – and pretty much floored – when songwriting legend James Taylor chose to include his own distinctive version of "Seminole Wind" on his critically acclaimed Covers album from last year. "It's almost like finding Easter eggs," Anderson says with a shake of his head. "Songs have a funny way of coming back. But to get a James Taylor cut at this stage of my career? It was wonderful." It's not Anderson's first foray over to the pop side of the fence. After covering Dire Straits' "When It Comes To You" back in '92, he was invited onstage to sit in with the band and became fast friends with bandleader Mark Knopfler. And he co-wrote "Shorty's Long Gone," Bigger Hands' hardest rocking track, with hunting buddy Mark Farner, leader of '60s rock sensation Grand Funk Railroad. But despite a latent tendency to kick out the jams every now and then, Anderson's heart is still deep in the country. He's currently watching "Shuttin' Detroit Down" – a recent co-write with his former producer and frequent collaborator, country rabble-rouser John Rich – leapfrog its way to the top of the charts. "John's solo record was supposed to be finished when we wrote "Shuttin' Detroit Down,' and I said, 'This is a right-now kind of thing we got here John,'" says Anderson. "I already told John I might just buck dance if it goes to number one … and I don't hardly ever dance anymore!" On Bigger Hands, Anderson delivers his own blistering version of what has become the most talked-about country song in years. And while "Shuttin' Detroit Down" reaffirms Anderson's power as a chart-topping songwriter, it only hints at what lies within the grooves of Bigger Hands. "With this record, the band worked hard, and James Stroud worked harder than I've ever seen him work," Anderson says. "I worked hard to write these songs, and I sure worked hard singin' 'em. It was a joy just to see everyone doing their thing. And that's what America and the music and whole deal is really all about – people doing what they do and liking what they like. They're all just looking for something real they can latch onto."
No cameras or audio/video equipment allowed in the Casino Lounge. All acts/times subject to change without prior notice. Must be 21 to enter the gaming floor.
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Social Distortion with Dan Sartain
Sunday, August 8, 2010
8pm • $20
General Amission-Standing
Tickets on-sale beginning 11am, Monday, May 10, 2010 at all Oneida Casino Ticket Star locations, online at www.ticketstaronline.com or call 1-800-895-0071. Cash, Discover, MasterCard, American Express and VISA accepted. Limit 8 tickets per person, per show. No refunds.
All acts and times subject to change. No cameras or audio/video equipment allowed.
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Chris Isaak
Tuesday, July 27, 2010
8pm • $25
Reserved Seating
Tickets on-sale beginning 11am, Monday, May 10, 2010 at all Oneida Casino Ticket Star locations, online at www.ticketstaronline.com or call 1-800-895-0071. Cash, Discover, MasterCard, American Express and VISA accepted. Limit 8 tickets per person, per show. No refunds.
All acts and times subject to change. No cameras or audio/video equipment allowed.
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The Gibson Brothers
in the Oneida Casino Lounge,
Aug. 15-17, 2010 • 7:30pm
Bluegrass
www.myspace.com/thegibsonbrothersOf The Gibson Brother's ninth release, Ring the Bell, both brothers talk about the "feel" of the album. "Ring the Bell makes me think of being young and growing up in our small farming community in New York," Leigh explains. "It evokes memories of fellowship with the men who knew my Grandfather Gibson at church on Sunday mornings. We'd see folks at the hardware store or the bank during the week and then see them all again at church each Sunday. Ring the Bell seems to me to be a call to action for coming together in a world that sometimes seems intent on tearing itself apart. More than just nostalgia, it's a song about love of fellow man." Eric agrees that there is an elated intensity to the album: "There is a lot of joy in the music. I think you can tell in listening that we poured our hearts out — not that you can’t tell on our other records — but the joy in our playing and singing. At the same time, it feels like our most hard-driving bluegrass album; there’s more thump on it, a bigger sounding record than we’ve ever had." That bigger sound comes from having the whole band — Mike Barber (upright bass), Clayton Campbell (fiddle), and Joe Walsh (mandolin) — playing on every track. (Mike Witcher from Missy Raines & The New Hip guests on resonator guitar.) "I’m very proud of how the band served each song," says Eric. "There’s not a lot of ‘look at me’ acrobatic playing. It’s more, ‘let’s support the vocals, let’s support the message of the song, the feel of the song.’." While Eric admits to loving all of the songs on the album, he cites the title track as one of his favorites. "It feels so uplifting to me," he says, "and I love my brother’s harmony on it. These tracks just feel so good. You don’t know why you’re humming along or why your foot is tapping — that comes from getting the feel right and I think these songs feel really good." Leigh leans towards "Farm of Yesterday", of which he says, "It wasn't a consideration until Eric sang it to me in the studio. We cut it the next day, I think. I've never had a song impact me the way that one did. Not only is it 100% true to fact about our youth, but it's so well-crafted. I told him he'd now written one Haggard would sing." Eric says of the album as a whole, "I think it says, ‘Hey, look at us.’ I hope people will. I don’t want to sound needy…I just feel like we’re a strong band and we’ve carved out our niche in this business. We’ve hung in there and toughed it out. We’re not old, we’re still in our 30’s but I feel like we’re bluegrass lifers." No cameras or audio/video equipment allowed. All acts/times subject to change. Must be 21 to enter gaming floor.
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King Bees/Stray Cats
in the Oneida Casino Lounge,
August 22-24, 2010 • 7:30pm
Rockabilly
www.myspace.com/jamiejamesandthekingbeeswww.slimjimphantom.comSlim Jim Phantom has secured his place as a true rock n roll icon. As the legendary drummer for the Stray Cats, Phantom alongside band mates Brian Setzer and Lee Rocker, spearheaded the neo-rockabilly movement of the early 80s. With a love for 50s rock n roll the Stray Cats took inspiration from the bygone era and mixed with their youthful energy and aggression produced the updated hard-edged rockabilly sound that saw them conquer London, Europe and later the US, gaining fans among the likes of Keith Richards, Mick Jagger and Robert Plant along the way. Born in the Brooklyn Borough of New York City, Jim grew up listening to his parents’ jazz records and by the age of ten took up the drums. “To be honest I think the drums chose me, I can’t remember ever wanting to do anything else.” remembers Phantom. Immersing himself in the art of drumming and the world of music, Jim took lessons with Mousie Alexander (who played with Benny Goodman) which included the study of jazz and working through books by Jim Chapin and Ted Reed. By the late 70s Jim was playing in bands with school friend and bassist Lee Rocker and they soon joined forces with guitarist Brian Setzer. The rest as they say is history. During downtime from the Stray Cats Jim has worked with some of the world’s top artists and has played a part in many successful groups notably “Phantom, Rocker and Slick” featuring guitarist Earl Slick which produced two popular albums and “The Swing Cats” featuring guitar ace Danny B Harvey. Jim also enjoyed a stint playing with The Killer, rock n roll originator, Jerry Lee Lewis. Over 25 years and millions of record sales later and Slim Jim Phantom continues to inspire and excite audiences worldwide. With a sound, style and image that remains as fresh today as it ever was Phantom has cemented his place among rock royalty. Considered by many as the coolest drummer in rock n roll, Phantom’s influence is still clearly felt on today’s music scene with countless rockabilly drummers imitating his pioneering
stand-up style. Between tours Jim can often be found jamming with friends at the world famous “Cat Club” on Hollywood’s Sunset Strip, a nightclub that he owns and runs. Most recently Jim has been involved with three main projects; his own explosive self-named roots-rock trio, “Dead Men Walking” with Kirk Brandon, Mike Peters and Captain Sensible and “The Head Cat” starring Lemmy Kilmister and Danny B Harvey. 2007 will mark the release of Dead Men Walking’s long awaited originals album and sees Jim preparing for tour dates in the US, Europe and Australasia.
The Kingbees are full of Rockabilly! Started in the late 70's by guitarist and lead singer Jamie James the trio played small shows in the LA and North Orange County. They were a small band and got some play time with their most popular song "The Big Rock". They continued to play in the LA and OC area and then tried a tour in England following the steps of the Stray Cats. They had some success in England but nowhere as close to what the Stray Cats got. They continued to play in the OC area and eventually broke up when the Rockabilly scene died. Jamie James then went on to play with Lee Rocker and Slim Jim Phantom from the Stray Cats in the Hermosa area. Jamie James made a couple of CD's in the 90's but other than that nothing. In 2003 The Kingbees played The Hootenanny with The Blasters and The Stray Cats.
No cameras or audio/video equipment allowed in the Casino Lounge. All acts/times subject to change without prior notice. Must be 21 to enter the gaming floor.
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The Rockin' E Jamboree
CELEBRATING 75 OF ELVIS®
Event Date: Thur. Aug. 26-Sun., Aug. 29, 2010
Tickets $40 until July 31, 2010.
Ticket $50 after July 31, 2010.
$15 Per Day during event only.
Tickets on sale now at all Oneida Casino Ticket Star locations, online at www.ticketstaronline.com or call 1-800-895-0071. Cash, Discover, MasterCard, American Express and VISA accepted. Limit 8 tickets per person, per show. No refunds.
All acts and times subject to change. No cameras or audio/video equipment allowed.
©Elvis Presley Enterprises, Inc. ELVIS, ULTIMATE TRIBUTE ARTIST CONTEST and LOGO are trademarks of Elvis Presley Enterprises, Inc. All rights reserved.
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Dave Alvin & The Guilty Women
One night only in the Casino Lounge!
Mon., Aug. 30, 2010 • 7:30pm
Loud Folk Music
www.myspace.com/davealvinThe poignant journey which culminated in Dave Alvin's new album Dave Alvin and The Guilty Women began on one of those San Francisco fall days that seemed to melt back into the bay fog as slyly as it emerged. Dave Alvin was bounding off the stage at the massive, free Hardly Strictly Bluegrass Festival. Nearly before he was able to set foot on his beloved California dirt, Alvin was grabbed by friend and Yep Roc label co-founder Glenn Dicker. "We've gotta make a record!" The reason for Dicker's excitement - and the excitement of the thousands of music fans who just witnessed it - was the set Alvin and all female band The Guilty Women had just laid down moments before. Dave and band members Cindy Cashdollar, Nina Gerber, Laurie Lewis, Christy McWilson, Sarah Brown, Amy Farris and Lisa Pankratz blazed through their set, surprising each other at every turn. "It just felt so natural," says Alvin. "It was like I had been playing with them for a hundred years." You couldn't tell, watching him on stage that day, but the events in Alvin's life that had led up to it were some of the most trying of his life. Six months before, Guilty Men accordionist Chris Gaffney passed away following a valiant battle with cancer. Gaffney wasn't only the accordionist in Alvin's band, he was his best friend. As support and well wishes flowed to Gaffney's family from friends and fellow musicians, Alvin set out calling some of the biggest names in roots music to come together to honor is fallen friend. The result, Man of Somebody's Dreams: A Tribute to the Songs of Chris Gaffney will be released by Yep Roc along side Dave Alvin and The Guilty Women on 5/26/09. Artists and friends like Calexico, Los Lobos, Alejandro Escovedo, James McMurtry and many more coalesced for an album of Gaffney songs benefiting his family and the non-profit Hungry for Music, who provide musical instruments to underprivileged children. "The response from the artists was immediate," remarks Alvin. "They all wanted a chance to help Chris' family and most of all, a chance to pay tribute to him and his songs!" With the catharsis of the tribute album project in tow, Alvin turned his attention to his next musical move. One thing was clear, he knew he wasn't yet ready to record with The Guilty Men again. The wound of Gaffney's death was still too fresh, the space on the stage where he once stood still too empty. Alvin decided now was the time for something new. Knowing Hardly Strictly was just up the tracks, he called friend and Austin-based guitarist Cindy Cashdollar. Cashdollar jumped in with both feet and the other ladies followed suit. Having played together in various incarnations with several Guilty Women in the past, Alvin was confident the chemistry would be right. "The reality that we'd never played together as a group and that there was no time to rehearse before our debut performance didn't bother me at all. I knew that they were all master musicians who could easily handle any sort of song I could throw at them. And that's exactly what they did and they did it effortlessly and beautifully." The Austin, TX recording sessions progressed in much the same fashion with Christy McWilson contributing two songs, Sarah Brown one and an Amy Farris/Dave Alvin co-write. The tunes were built around Dave's acoustic guitar work, with the ladies surrounding Alvin with an instrumental blanket that made it clear womanly intuition isn't just an emotional asset but a musical one as well.
The Guilty Women are:
CINDY CASHDOLLAR
(steel and lap steel guitar, Weissenborn, Beard resophonic guitar, National Tricone, National Baritone Tricone)
Austin-based Dobro and steel guitarist Cindy Cashdollar's career has taken some surprising twists and turns that have led her to work with many of the leading artists in contemporary music including Rod Stewart, Van Morrison, Ryan Adams, Bob Dylan, Asleep at the Wheel, Garrision Keillor, Marcia Ball, Jorma Kaukonen, Leon Redbone, BeauSoleil, Daniel Lanois, and Redd Volkaert. Cindy's unerring ability to perfectly compliment a song or step out with a tasteful, imaginative, and exciting solo - and to do it in so many musical genres - has made her one of the most in-demand musicians on the American roots music scene.
NINA GERBER
(electric guitars)
Nina Gerber's music career began soon after hearing the late singer/songwriter Kate Wolf perform in Sebastopol, CA in the mid seventies. Nina was so inspired by Kate's music that she decided to become a professional accompanist and followed Kate around until she finally hired Nina to play in her band. That collaboration lasted for 8 years, until Kate's death in 1986. Since then, Nina has performed and/or recorded with Karla Bonoff, Eliza Gilkyson, Greg Brown, Nanci Griffith, Lucy Kaplansky, Queen Ida, Terry Garthwaite, Laurie Lewis, and Mollie O'Brien to name a few. Nina has produced and arranged many recordings, as well as 3 of her own CD's.
LAURIE LEWIS
(violin, mandolin, harmony vocals)
Laurie Lewis, twice named Female Vocalist of the Year by the International Bluegrass Music Association and a past California fiddle champ, is a pivotal figure in transforming bluegrass music from a regional genre into a truly international musical language. Laurie has carved out a diverse career as a bandleader, songwriter, singer, fiddler, teacher, and producer, playing and singing on the Grammy-winning recording "True Life Blues." She has worked with the all-women "supergroup" Blue Rose; long-time duo partner Tom Rozum; first generation bluegrass pioneer Ralph Stanley; and most recently her own band, the Right Hands.
CHRISTY MCWILSON
(lead and harmony vocals)
A musical anomaly in the Pacific Northwest, Seattle's Christy McWilson and her band The Picketts stood steadfast against the overwhelming force of Seattle grunge during the 1990s, releasing 2 albums for Rounder Records and one for Popllama. Christy went on to record two solo albums on Hightone Records (both produced by Dave Alvin).
SARAH BROWN
(bass)
Bassist and songwriter Sarah Brown's lengthy credits include backing up a "Who's Who" list of blues legends such as Buddy Guy and Albert Collins, working with roots artists such as Dave Alvin, Bill Kirchen and Rosie Flores, and touring with British rockers Billy Bragg, Paul Carrack and Ian McLagan. A winner of numerous awards, she appears on over 60 recordings, including her own CD. Her songs have been recorded by such notables as R&B legend Ruth Brown and New Orleans star Irma Thomas. Sarah makes her home in Austin, Texas.
LISA PANKRATZ
(drums, percussion)
Drummer Lisa Pankratz was born in Austin and raised in Dripping Springs, TX. She began touring with legendary Dallas rock and roller Ronnie Dawson in the early 1990's and in him found a musical soul mate, establishing a national reputation as both a solid and exciting drummer. Since then some of the artists who have called on Lisa's versatile drumming skills include Ronnie Dawson, The Derailers, Rosie Flores, Robbie Fulks, Toni Price, Dale Watson, Deke Dickerson, Marti Brom, Roger Wallace, Bill Kirchen, Billy Joe Shaver, Hayes Carll and Dave Alvin. She has performed on Austin City Limits, Late Night with Conan O'Brien, at the Grand Ole Opry and Carnegie Hall.
No cameras or audio/video equipment allowed in the Casino Lounge. All acts/times subject to change without prior notice. Must be 21 to enter the gaming floor.
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Nick Curran & The Lowlifes
in the Oneida Casino Lounge,
Sep. 10-14, 2010 • 7:30pm
50's Rock & Roll
www.myspace.com/curranrockNick Curran describes his music as a cocktail consisting of the sounds of no less than seventeen widely differing musicians blended together with a cup of broken glass. That only begins to characterize the wallop packed by the 98-proof elixir of this singer, songwriter and monster guitarist who effortlessly carries the past with him as he blazes across the musical landscape in perpetual forward motion.
Nick Curran was born on Sept 30, 1977 in Biddeford, Maine, and grew up in nearby Sanford. He started playing drums when he was three, occasionally pounding the skins for his father’s rock ‘n’ roll band. However, when he received a guitar for Christmas at age nine he had found his instrument. He taught himself to play while following his father’s advice: “Listen to everything that you like and eventually you’ll find your own style within all your influences.” Curran began accumulating his arsenal of influences early. “My mom and step-dad were listening to rock ‘n’ roll, my father listened to blues such as Freddy King, T-Bone Walker and B.B. King and my friends were into heavy metal.” Today, he cites his songwriting muses as Little Richard, Richie Valens, Chuck Berry and T-Bone Walker. The Ramones and The Misfits particularly inspire him to pen songs outside the box. He also looks to “the real raw, rough blues like Howlin’ Wolf and John Lee Hooker—guys singing about messed-up stuff and about falling apart at any second. I also like AC/DC, Hank Williams, Sr. and Gene Vincent.” Curran began his professional career at age nineteen, leaving Maine to tour with Ronnie Dawson, “The Blonde Bomber.” Although Dawson was primarily a rockabilly musician, many blues and punk fans appreciated his performances. He taught Curran not to get pigeonholed. Curran toured next with Texas rockabilly doyenne Kim Lenz, moving to Dallas to join her backup band the Jaguars for two years, and performing on Lenz’s recording, The One And Only. Nick would stay with the Jaguars for two years. He is also featured on Lenz’s latest CD, It’s All True, and recently toured with her in the summer of 2009. In 1999 the Texas Jamboree label issued Curran’s debut solo recording, Fixin' Your Head. As he would do on all future CDs, Curran used vintage recording equipment to achieve the feel and sound of old 45s and 78s, and the LPs of the 1950s. To support the recording he formed the band, Nick Curran and the Nitelifes, whose performances whipped audiences to frenzied devotion with their wild ride of retro, yet fresh and edgy rock ‘n’ roll, boogie, r & b, jump blues and a variety of other tasty stylistic devils in the details. A second Texas Jamboree CD, Nitelife Boogie, followed in 2001. When Curran moved to Austin, Jimmie Vaughan, who had heard his CDs, invited him to sit in on a set at Antone’s. Vaughan would make a guest appearance on two tracks on Nick’s next recording, Dr. Velvet, on the Blind Pig label. Dr. Velvet garnered the 2004 W.C. Handy Award (now the Blues Music Award) of the Blues Foundation for "Best New Artist Debut." From 2004 to 2007 Curran displayed his talents with The Fabulous Thunderbirds, Kim Wilson’s legendary band, appearing on their 2005 recording, Painted On. Also during that time, Curran and bassist Ronnie James started the punk band Deguello, saying that it “sounded as if Little Richard sang with The Ramones.”
Curran performed four songs in a scene in the 2008 HBO Series "True Blood," based on The Southern Vampire Mysteries by Charlaine Harris, which explores the co-existence of humans and vampires.
After performing a solo show in November, 2008, Nick was inspired to form the rock ‘n’ roll roots band, The Lowlifes. They have been rocking enthusiastic blues, punk, rockabilly and “swank martini” crowds in the U.S. and Europe with their mix of retro and modern mojo. “I love going on the road. It’s my favorite thing, playing for new people every night.” Curran is also in the Austin-based punk/rock ‘n’ roll band The Flash Boys (“influences: chainsaws, the sound of jail cell doors opening . . .”), and plays on two tracks on the new Mannish Boys CD on Delta Groove. Reform School Girl, Nick Curran and the Lowlife’s new release on the Eclecto Groove label, is a culmination of his multitude of talents: a throwback to his roots, only amped up to the limit. “I’ve written more songs on Reform School Girl than on any other records. I wanted it to have no filler – only good stuff. All my influences are there, from old blues like Lazy Lester and T-Bone Walker to girl groups like the Ronettes and the Shangri-Las, to Guns N Roses.” Catch Nick Curran as he shakes, rattles and rolls a head-spinning combination of genres and tunes into a cool, irresistible cocktail that is rough and ready for action.
No cameras or audio/video equipment allowed in the Casino Lounge. All acts/times subject to change without prior notice. Must be 21 to enter the gaming floor.
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Hillbilly Casino
in the Oneida Casino Lounge,
Sep. 10-14, 2010 • 9pm
Americana
www.myspace.com/hillbillycasinoIn a town known more for generating pop country 'hat acts' and contemporary Christian music, there is a storm brewing. Small independent bands with no management, booking, record labels (or even local media support) are changing the way people think about Nashville Tennessee. One of the leaders of this movement is the Hillbilly Casino, the brain child of Nic Roulette, former singer for Indiana rockabilly powerhouse, 'The Blue Moon Boys". In 2004 Roulette moved to Nashville, where after about a year he eventually found a solid core of top notch players that were interested in really being a band. With bassist Geoff Firebaugh (BR5-49), guitarist Ronnie Crutcher (Tabasko Kat, Brian Setzer’s Nashvillians) and drummer Andrew Dickson things really started to come together. What started as nothing more than a revved up rockabilly band playing for tips at Layla's Bluegrass Inn, on Nashville's famed Lower Broadway, has turned into a closet industry doing over 200 shows a year. Though you might still find the Casino playing at Layla's when they're home, they've taken their show on the road as well. Theatres, clubs, and backwater bars From Hollywood California to Bergen, Norway have seen the boys roll in, set up, and lay waste to any and all in attendance. Whether they're in some small club on their own, or supporting acts like the Brian Setzer Orchestra, Rancid, or The Reverend Horton Heat, these boys can play on any stage, in front of any audience, and own it. In December 2006, The Hillbilly Casino opened several dates for the Brian Setzer Orchestra, and every night this virtually unknown (at the time) band received standing ovations, and had new fans lining up to get their debut CD 'Sucker Punched'. (April,2008) and 'Hang Your Stockings..... Say Your Prayers' the band's Christmas CD (Nov, 2008). Each one totally DIY, produced and engineered by Firebaugh and Dickson and recorded in Andrew Dickson's garage, lovingly known as 'Studio D'. Each CD blends elements of honkytonk, rockabilly, psychobilly, and straight up rock and roll. Every member of the Hillbilly Casino brings their own special flavor to the band, from Nic's background in hip hop and rockabilly, to Geoff's love of old school punk rock and ska, and you'll find elements of all of this in every Hillbilly Casino record and show. 2008 also saw the release of 'Buy-in' a full length Documentary by Doug Farrar at Rockstep Creative. Doug followed the band around for over a year, attending dozens of shows, and collecting performance, and interview footage, which he compiled into a revealing look at a band just trying to make a living and have fun. While you'll see a lot of bands sitting around waiting to get 'signed', the Hillbilly Casino took a cue from bands like Black Flag, Fugazi, and Youth Brigade, booking their own tours, and producing and releasing their own CD's and T-shirts, and spending hundreds of hours in their old grey Econoline van getting the rock 'n' roll out to the people. From thirty minute opening slots, to 3 and 4 hour marathon sets, these boys are gonna bring their 'A' game, and you'll probably get tired before they do. Additional Info – The Hillbilly Casino has performed along with the following national Acts… Brian Setzer Orchestra (7 shows), Rev. Horton Heat, Rancid, Los Straightjackets, Southern Culture on the Skids, Th’ Legendary Shack Shakers, The Horrorpops, The Blasters, The Supersuckers, Doyle Bramhall, 7 Shot Screamers, Koffin Kats, Flatfoot 56, Lonesome Spurs, Three Blue Teardrops.
No cameras or audio/video equipment allowed in Casino Lounge. Must be 21 to enter gaming floor. All acts/times subject to change without prior notice.
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Combat USA
Saturdray, September 11, 2010
8pm • $30, $40 & $70
Reserved Seating
Tickets on-sale date is TBD at all Oneida Casino Ticket Star locations, online at www.ticketstaronline.com or call 1-800-895-0071. Cash, Discover, MasterCard, American Express and VISA accepted. Limit 8 tickets per person, per show. No refunds.
All acts and times subject to change. No cameras or audio/video equipment allowed.
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Winger
in the Oneida Casino Lounge,
Sep. 19-21, 2010 • 7:30pm
Rock
www.wingertheband.comWinger is an American heavy metal/hard rock band formed in New York City that gained popularity during the late 1980s and early 1990s. The band's two platinum albums, Winger and In the Heart of the Young, along with charting singles "Seventeen", "Headed for a Heartbreak", and "Miles Away", put the band on the top of the charts by the early 1990s. In 1990, the band was nominated for an American Music Award for "Best New Heavy Metal Band". As the music scene changed in the early to mid-1990s with the popularity of grunge, the band faded after their third release Pull. Pull ended up going gold.
After disbanding in 1994, bassist/lead vocalist Kip Winger went on to a solo career, guitarist Reb Beach went on to touring projects with artists like Dokken and Alice Cooper, and the band's other members pursued or resumed careers as session musicians. Rhythm guitarist/keyboardist Paul Taylor left the band before the recording of its 1993 album Pull and was replaced by guitarist John Roth for the album's tour; Roth has been a full-fledged recording and touring member since then. The band reunited in 2001 for several successful tours, but halted activity again in 2003 due to Reb Beach's touring commitment with Whitesnake as well as his solo album "Masquerade" and involvement with "supergroup" project The Mob with King's X frontman Doug Pinnick and Night Ranger drummer Kelly Keagy, resulted in a single self-titled album in 2005. In 2006, the band's 1993 touring line-up (minus Paul Taylor but including John Roth) re-united to record the band's first studio album in over 13 years, IV. The band has toured in support of the album into 2008. In 2009 the band released 5th album Karma. Formation (1987-1988)
Winger was formed in 1987 by Kip Winger after he did some backing vocals on Twisted Sister's fifth album Love Is for Suckers. Kip Winger was a former member of Alice Cooper's band as was lead guitarist Reb Beach, who also worked on the Love Is for Suckers album. Paul Taylor was also a natural recruit for Winger, having also played with Alice Cooper's band. To round out the line up, they recruited former Dixie Dregs drummer Rod Morgenstein. The band initially wanted to call themselves "Sahara", but since the name was taken by another band, the group chose the name Winger. The name "Sahara" can still be seen on the cover of their first album.Main career and break up (1988-1994) The debut album, Winger, was released on August 10, 1988 on Atlantic Records. The record was a success, achieving platinum status in the United States, and gold status in Japan and Canada. Radio and MTV hits from the album included "Madalaine", "Seventeen", "Headed for a Heartbreak", and "Hungry". In 1990, the band was nominated for an American Music Award for "Best New Heavy Metal Band". Shortly after that tour, Winger released its second album In the Heart of the Young, which went one-and-a-half platinum in the U.S. and Gold in Japan. Hit radio tracks and MTV videos included "Can't Get Enuff", "Miles Away" and "Easy Come Easy Go". Winger followed the release of its second album with a 13 month world tour, playing over 230 dates with Kiss, Scorpions, ZZ Top, Extreme and Slaughter. Paul Taylor left the band after the tour, citing exhaustion after years of touring. Their third studio album, Pull, was recorded in 1992/1993 as a three-piece band. It was originally going to be called Blind Revolution Mad, after the opening song. Reportedly Kip Winger, anticipating that critics would dismiss the album out of hand, renamed it Pull as a tongue-in-cheek reference to the CD being used by critics as a skeet shooting target. The album was produced by Mike Shipley, but was not as successful as the previous album. On the following tour, John Roth was called in to replace Paul Taylor on rhythm guitar.Reunions (2001-present) In 2001, all original members of the band (including both Taylor and Roth) returned to the studio to record the song "On the Inside" for The Very Best of Winger. In 2002, all 5 members embarked on a reunion tour of the US and Canada on a bill with Poison, but they once again disbanded afterwards. According to Kip Winger in a 2008 interview with rock & roll comic C.C. Banana, it was important to include all 5 members because "it was the big, long-awaited reunion so I wanted to include everybody who had ever been in the band."Kip Winger performed as the lead singer for the Alan Parsons Live Project, for their July 16, 2005 show at the Common Ground Music Festival in Lansing, Michigan USA. In May 2006, a press release announced that Winger has reformed without one of its original members Paul Taylor, to record another album and tour Europe. The album, IV, was released in Europe in October and the nine-country "Winger IV Tour" ran in the last two weeks of the same month. On February 25, 2008, the band performed in Providence, Rhode Island as part of a benefit for survivors of the Station Nightclub fire. The concert, along with other artists was debuted on VH1 Classic on March 23, 2008. In late 2009 a press release announced that Winger recorded 5th album Karma released in October, with a tour to support it. Most recently, John Roth became the guitarist for Giant and will appear on their latest album Promise Land set for release in February/March 2010. Criticism Winger was the subject of constant ridicule in MTV's animated series Beavis and Butt-head during the mid 1990s. The neighbor boy Stewart, who was always trying to be accepted by Beavis and Butt-head, was usually depicted wearing a Winger T-shirt, as opposed to the heavier Metallica and AC/DC shirts worn by the title characters. Beavis and Butt-head thought of them as "wussies".
According to the documentary Taint of Greatness: Part 2 on the Mike Judge Collection Volume 2 DVD, this was due to Winger telling MTV he would not let the show make fun of him. This has been cited as a reason for the band losing popularity. Mike Judge would continue to slyly mock Winger in his next animated series King of the Hill, as the character of John Redcorn was a former roadie for the band until embarking on a Native American vision quest, where he discovered that "wrangling groupies for Winger was not my proper life path." About this same time, Lars Ulrich of the band Metallica could be seen throwing a dart on a poster of Kip Winger in the video for "Nothing Else Matters". When asked about this, Kip Winger once stated: "Our band was known to musicians, and a lot of musicians showed up to see me play - watching trying to figure out how I'm playing - we were like the 'hair band' [version of] Dream Theater -- That is why it's the great irony that we ended up on that geeky guy's shirt on Beavis & Butthead, because Metallica couldn't play what we play, they couldn't do it, they literally - technically couldn't do it. And I'll fucking challenge those chumps to that any day of the week, but we could play their music with our hands tied behind our back. And so, I was a little t'd off about that, but in the end, none of that matters...
No cameras or audio/video equipment allowed in the Casino Lounge. Must be 21 to enter gaming floor. All acts/times subject to change without notice.
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Rosie Flores
in the Oneida Casino Lounge,
Sep. 26-28, 2010 • 7:30pm
Rockabilly
www.myspace.com/rockabillyfillyrosieDamn good songwriter, award-winning guitar player, and break yer heartstrings singer, Rosie Flores whips the best of rock and roll, honky tonk, early rockabilly, blues and jazz with the traditional sounds of her roots in San Antonio, TX. She took flight in Southern California, and has been a major figure in the Los Angeles, Austin and Nashville music scenes – as well as in Europe and Japan. Rosie's reputation as a high-octane rockabilly and country star is well established, and recent accolades have only made her musical bouquet fuller. June 2008 found Rosie onstage at the Waldorf Astoria in New York City, accepting the prestigious Peabody Award for her narration of the 10-hour documentary radio show on the history of Rockabilly, "Whole Lotta Shakin'”, produced by Lex Gillespie. Rosie produced Janis Martin's last recordings in Spring 2007, a 10 song CD that will bring Janis back to the spotlight she commanded from the 50s until her passing in September 2007. This was not Rosie’s first producing effort but it is one she is most proud of. Critical raves from prestigious publications such as the Los Angeles Times and Guitar Player magazine, an LA Weekly Music Award for Best Rockabilly Swing Artist, a 2007 cover story in the Austin Chronicle, and the proclamation of Rosie Flores Day in August 2006 by Austin Mayor Will Wynn was topped off by an induction into the Austin Music Hall of Fame in 2007. She was recently voted as one of the "Top 75 Greatest Female Guitarists of All Time" by Venuszine. After a stint with the cult cowpunk band Screaming Sirens, who recorded an album Fiesta, with Enigma and appeared as themselves in the films The Runnin’ Kind , and had cameo roles in The Vendetta and Reform School Girls. Signing with Warner's Reprise subsidiary in 1987 as a solo artist was her first major break. The label hoped to light up the country charts with a female version of Dwight Yoakam, and paired Flores with Yoakam's producer/guitarist Pete Anderson. The self-titled release spotlighted Flores as a stylish, fiery neo-traditional singer who played explosive guitar solos to match. The album yielded three singles, and "Crying Over You," earned Flores her first Billboard chart appearance. She was also the first female Latina country artist to ever enter the Billboard country charts. Early in her career while recording for Warner Bros. Records she was nominated for best "Horizon Artist" by the Academy of Country Music in California. She had a cameo role in River Phoenix's final film, A Thing Called Love in 1993. Yet it was 1995's Rockabilly Filly that received the most attention, because it reintroduced rockabilly pioneers Wanda Jackson and Janis Martin to audiences worldwide through their duets with Rosie and a successful 1995 tour with Jackson. Moreover, Flores's self-penned "You Tear Me Up" is arguably the best performance by a contemporary female rockabilly artist. She recorded more records including After the Farm, Once More With Feeling, Bandera Highway (HighTone), A Honky Tonk Reprise, Dance Hall Dreams (Rounder), Speed of Sound (Eminent), A Little Bit of Heartache (with Ray Campi, Watermelon), and Single Rose and Christmasville (Durango Rose Records). Rosie's solos recordings have found homes on both the Billboard and Gavin charts and are featured in seven motion pictures. Her revved-up performances from California to New York have won legions of fans and earned appearances on such nationally broadcast television programs as "Austin City Limits" and "Late Night with Conan O'Brien." She is currently appearing in the documentaries Every Night is Saturday Night: The Story of Wanda Jackson and Sweet Lady with the Nasty Voice. Rosie toured Japan for the first time in 2007, and followed that with her 21st tour of Europe through Switzerland, Germany, Austria, France, and Spain. She headlined at The Americana Festival UK 2008, held in Nottinghamshire Newark England. Endorsed by Fender at the 2008 NAMM in Anaheim, CA, Rosie was chosen to open a special show celebrating 65 Years of Fender along with Dick Dale, Billy Gibbons, Jimmy Vaughn and Cindy Cashdollar. In a long-stemmed career, Flores continues to bloom on stages and airwaves around the world.
No cameras or audio/video equipment allowed in the Casino Lounge. All acts/times subject to change without prior notice. Must be 21 to enter the gaming floor.
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Big Sandy & His Fly-Rite Boys
In the Oneida Casino Lounge,
Sep. 26-28, 2010 • 9pm
Rockabilly
www.myspace.com/bigsandySince forming in 1988, Big Sandy & His Fly-Rite Boys have emerged as one of the world's most respected practitioners of American roots music, western swing, rockabilly, and traditional country—playing it like they invented it. "I think of us as just a rock and roll band, a rock and roll band that's letting the roots show," says bandleader Big Sandy. Whether they're playing the Grand Ole Opry, Late Night With Conan O'Brien, or simply climbing out of a bus after rolling into your town, these guys are bringing us some great old-time rock and roll. The first lyric on their newest release, Turntable Matinee, commands us to "Drop the needle in the groove and start to move!" That opening track—"The Power of the 45, Part 1"—is a dance call to arms as well as a love song to the group's musical influences.
No cameras or audio/video equipment allowed. Must be 21 to enter gaming floor. All acts/times subject to change without prior notice.
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Igor & Red Elvises
in the Oneida Casino Lounge,
Oct. 3-5, 2010 • 7:30pm
Siberian Rock
www.myspace.com/igorandredelvisesIf Igor and Red Elvises aren't in the middle of a tour, they are getting ready for the next one - this is a group that is constantly in motion and consistently evolving. Singer, songwriter, guitarist and showman extraordinaire Igor Yuzov is perpetually globetrotting and in the process he has found scores of wildly talented, entertaining musicians to bring into the fold of this increasingly international party band. Red Elvises started as a Russian group, playing what they dubbed "Siberian Surf Rock". Since then the band has included musicians from many other countries including United States, Israel, Puerto Rico and Bulgaria, to name just a few. Everyone who performs with them for any length of time brings something different both energetically and musically. At various times shows have included keyboards, accordions, sax, clarinet, trumpet, flute, banjo, mandolin, tuba and many other instruments. Old and new fans alike can expect to be surprised at shows again and again, however the roots of Red Elvises remain the same: Igor's unique brand of humor combined with guitar based rock'n'roll that makes audiences want to sing, dance, scream and shout. German born Igor Yuzov grew up in the former Soviet Union, where folk music was the norm and rock'n'roll was illegal. A rebellious streak, however, led him to seek out the forbidden records, which could be secretely traded in some places for those who knew where to look. As soon as it became possible, Igor left Russia for America with his folk band Limpopo. The "Crazy Russian Folk'n'Roll" group were personally greeted by Ronald Reagan and proceeded to win Ed McMahon's Star Search. Red Elvises began in 1995 after Igor dreamed that Elvis Presley came to him and told him to start playing rock'n'roll. Not one to say no to the King, Igor and his Russian friends started playing on Santa Monica's 3rd Street Promenade. Their street musician days did not last long, however, as they drew such huge crowds that the City of Santa Monica brought them to court and ordered them off the streets. Since then Red Elvises have been constantly touring, with occasional breaks from the road to record an album or take part in film and television projects. This constant work for the last 15 years has led to them gaining a world-wide following, with successful tours all over North America, Europe and Russia (Red Elvises bootlegs have been found in Siberia). Igor & Red Elvises have declined several major record deals, prefering to maintain independent status and produce all their own work. This includes 11 studio albums, one live album, a live concert DVD and a Greatest Hits compilation. Added to their long resume is work in film (Six String Samurai, Mail Order Bride, Armageddon, Skippy) and television (Melrose Place, Fastlane, Penn and Teller's Sin City Extravaganza, VH-1 Behind the Music, MTV). They can be found playing everything from large festivals to private parties, small venues to massive stages such as 2005's Live 8 Benefit Concert. Whatever the event, wherever Igor & Red Elvises go, they bring the party with them.
No cameras or audio/video equipment allowed in the Casino Lounge. All acts/times subject to change without prior notice. Must be 21 to enter the gaming floor.
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Miss Mary Ann & The Ragtime Wranglers
from Rotterdam, Holland
in the Oneida Casino Lounge,
Oct. 10-13, 2010 • 7:30pm
Rockabilly
www.myspace.com/theragtimewranglersThe Ragtime Wranglers played their first 100% instrumental concert at the sold out Waterfront in their hometown Rotterdam back in 2004. A year later they released their well received instrumental album "Groove a Tune". At concerts today the band add some vocal tracks in their set, but instumentals remain the major part of the show; 40's swing to 50's rockabilly to 60's surf, mainly originals, often flavoured with an extra band member playing percussion / sax / rhythm guitar. Apart from Dutch listeners they already showed US, Belgian, French and Spanish audiences their intimite / modest to loud / wild approach of the inexhaustible world of instrumentals. As the main Dutch music magazine "Oor" mentioned in their review on "Groove a Tune": "One of the best roots-bands in the world just live round the corner" Miss Mary Ann & the Ragtime Wranglers is their main strength, the line-up with which they perform most of their gigs. Add one of the best voices in US Roots music today to the Ragtime Wranglers and there's magic on stage. UK based Miss Mary Ann sings fifties rockabilly, early country and some rhythm & blues; covers and originals with her own original approach. Supported by her Dutch Ragtime Wranglers they played all the main roots festivals in Europe and the US. "Once again Miss Mary Ann's voice - which can be razor sharp for rockabilly yet soft and gentle for country numbers - stands out and her whole career underlines her commitment to American roots music" (Now Dig This, August 2006).
No cameras or audio/video equipment allowed in the Casino Lounge. Must be 21 to enter gaming floor. All acts/times subject to change without notice.
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Lorrie Morgan
in the Oneida Casino Lounge,
Oct. 17-19, 2010 • 7:30pm
Country
www.myspace.com/lorriemorganLorrie Morgan was barely a teenager when she made her first major appearance in 1975 singing “Paper Roses” with her dad, country star George Morgan on the Grand Ole Opry. Since that fateful night, Lorrie has never looked back. Her whirlwind life and career has engrained in her a confident sense of self that shines through on her latest recordings like the late afternoon sun glows through the stained-glass windows of the Ryman Auditorium. When her father passed away in 1975 Lorrie didn’t miss a beat in carrying on his legacy. She took to the road with her dad’s band and toured the country, keeping his memory alive and winning countless fans along the way. The music industry soon recognized that Lorrie’s star was on the rise and in 1984 she made history when at age twenty-five she was the youngest person ever to become a member of the Grand Ole Opry. It wasn’t long before she was offered a recording contract with RCA and later with sister label BNA, and a string of hits began. Timeless country standards like “Five Minutes,” “Something in Red,” “Watch Me” and “What Part of No” established Lorrie as a bona fide country star. Lorrie has built a reputation as an artist who knows a great song when she hears one. The proof is in her legacy of mining Nashville’s songwriting community throughout her career and finding hits. Her latest offering, I Walk Alone, is a labor of love that has been a lifetime in the making. The twelve songs she co-wrote and co-produced for I Walk Alone find Lorrie in a particularly introspective and vulnerable place in her life. Cuts including “Mirror, Mirror,” “Woman Thing,” and the title cut offer Lorrie’s fans a rare look into the life of the woman whose life has quite literally been lived out on stage. Always an over-achiever, Lorrie has also completed an album of “evergreen” classics, complete with an all-star cast of musicians and guests. Recorded entirely live in the studio with producer Wally Wilson at the controls, A Moment In Time captures the essence of Lorrie’s sultry, flawless vocals as she delivers timeless classics including “Are You Lonesome Tonight,” “By the Time I Get to Phoenix,” “After the Fire is Gone” (duet with Tracy Lawrence, and “Easy Lovin’” (duet with Raul Malo). Larry King once asked Lorrie about her turbulent lifestyle and she told him “drama is something that lets you know you’re alive.” Although she’s had her share of drama in both music and her personal life, Lorrie has taken it all in stride. Lorrie Morgan’s trophy room is adorned with reminders of milestones that include fourteen top-ten hits, twelve albums, seven of which have gone gold and platinum, and four Female Vocalist of the Year awards. Her duet partners have included the likes of Frank Sinatra and The Beach Boys. With all these accomplishments it would be easy for her to rest on her laurels. But that’s just not Lorrie. Lorrie Morgan has a lot left to do. In addition to her new recording projects, she maintains a rigorous touring schedule is currently at work on several new business endeavors. She’s living up to her reputation as one of country music’s premiere singers, and she’ll be entertaining us all for a long time to come.
No cameras or audio/video equipment allowed in the Casino Lounge. All acts/times subject to change without prior notice. Must be 21 to enter the gaming floor.
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Charlie Thompson
in the Oneida Casino Lounge,
Oct. 24-26, 2010 • 7:30pm
Country
www.charlie-thompson.comNot many people have the voice to get up on stage and yodel. CHARLIE THOMPSON can and does! Step back in time and hear HILLBILLY as it used to be sung. DON’T miss this rare special musical talent Charlie Thompson all the way from the UK for three nights.
No cameras or audio/video equipment allowed in the Casino Lounge. All acts/times subject to change without prior notice. Must be 21 to enter the gaming floor.
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The Lustre Kings
in the Oneida Casino Lounge,
Nov. 7-9, 2010 • 7:30pm
Rock & Roll
www.myspace.com/thelustrekingsMark Gamsjager and the Lustre Kings play rock and roll the right way. The powerhouse Albany NY combo has wowed crowds at Manhattan's Rodeo Bar, Seattle's Tractor Tavern and all points in-between; and they've done it with uncommon fervor, commitment and flair. The Gretsch-toting Gamsjager draws from a deeper well than most roots rock acts, giving his music a breadth and depth while still keeping the bar hopping and the dance floor filled. In addition to their own dates, Mark Gamsjager and the Lustre Kings have also accompanied Wanda Jackson, the Queen of Rockabilly, for over five years, and frequently work with other seasoned artists like Bill Kirchen, Eddie Angel and Robert Gordon. Jackson says, "I have worked with many bands around the world through the years, and none are better than Mark Gamsjager and the Lustre Kings. Their fine showmanship and musical ability make them the greatest in my book. THEY ROCK!!" The Lustre Kings' new, appropriately-titled long-player "Way Out There" (Wild Boar Records) is their fourth and finest effort. In his liner notes for the album, six-string wizard Deke Dickerson says, "Like a fine wine, the Lustre Kings just get better with each passing year, and this new album has the seasoned bouquet and nutty aftertastes that won’t leave you disappointed." And one-name-only Really Rockabilly reviewer, Kitti, says, a little more seriously than old Deke, "There is a rockin’ rhythm throughout the album which perfectly unites all the songs. You have a feeling of traveling in time through America, and the Lustre Kings’ time machine will show you the way out of the present and introduce you to doo-wop, country, hillbilly, bop and wild rock’n’roll, and then bring you back to rockabilly." As noted, "Way Out There" is the fourth full-length platter from the band. The group's righteous Cacophone debut album, "Mark Gamsjager Rocks & The Lustre Kings Roll," was a travelogue of great American rock and roll, with tunes from legends like Gene Vincent and Ronnie Self, as well as from contemporaries like Commander Cody's Billy C. Farlow and the aforementioned Los Straitjackets’ guitar strangler, Eddie Angel. Amazon.com's Stephen Prisco called the record a keeper, saying "While most rockabilly bands seem to be content with just recreating the sound of classic records from years ago, the Lustre Kings have captured the spirit of that era, tapping into what made those records and artists so great in the first place." The Lustre Kings’ sophomore effort, "Once a King, Always a King," upped the ante with even more "hot boppin’ rockabilly action," prompting the Berkshire Eagle to proclaim "The Lustre Kings dig deep into early rock and related styles, steering away from a greatest-hits oldies approach, preferring to connect the dots among such unlikely musical bedfellows as Conway Twitty, Peanuts Wilson, Link Wray and Duke Ellington (they even render a surf-guitar version of the Duke’s "Caravan")." And the killer third album, "That’s Showbiz," the first on the Lustre Kings’ own Wild Boar Records label, caused The Beat to rave "Gamsjager remembers when "rock 'n' roll" actually used to signify something, and his band sounds like it just left Sun Studios yesterday." The Lustre Kings have a devoted international fan base and they continue to tear up the road every year, performing over 150 dates annually and appearing regularly at events like the Viva Las Vegas Festival (Las Vegas NV), the Heritage Folk Festival (Bangor ME) and the Rockin 50s Fest (Green Bay WI) as well as at famed haunts like the Continental Club (Austin TX), The Sutler (Nashville TN), The Starr Bar (Atlanta GA), The Hi-Tone (Memphis TN), Johnny D’s (Somerville MA), The Big C Jamboree at Martyr’s (Chicago IL) and, of course, the Mid-City Lanes Rock ‘n’ Bowl (New Orleans LA). Creative Loafing got it right when they said, "The Lustre Kings have a sound so powerful it leaves listeners hungry for more."
No cameras or audio/video equipment allowed in the Casino Lounge. All acts/times subject to change without prior notice. Must be 21 to enter the gaming floor.
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The Greencards
in the Oneida Casino Lounge,
Nov. 14-16, 2010 • 7:30pm
Folk Music
www.myspace.com/thegreencardsYou could call it an attraction...a curiosity...an anticipation of surprise and delight. But there’s a better word to describe what the music of The Greencards inspires. Fascination. If you’ve followed this multinational threesome over these past five years, you know the feeling. From their personal histories through the content of their work, grounded in deep musical tradition but elevated by breathtaking technique and conceptual adventurousness, there is ample reason for interest ... for excitement ... For Fascination. Now, with their Sugar Hill Records debut, it’s official. Fascination describes the essence of this band. It was, first of all, their fascination with American roots music – bluegrass especially – that drew singer/bassist Carol Young and multiple string-instrument master Kym Warner from Australia to Austin, Texas, where they began performing together, and later to their current home base in Nashville. That urge to challenge themselves, to test the limits of any established genre, guided them on their first three albums. It kept them focused as they accumulated awards and acclamations, from the Americana Music Award in 2006 for “Emerging Artist of the Year” through tours with Bob Dylan and Willie Nelson to last year’s “Best Country Instrumental Performance” Grammy nomination for "Mucky The Duck," a track from Viridian in 2008. All of which leads to Fascination, the band’s most daring accomplishment to date. Meticulously crafted arrangements serve as springboards for exhilarating improvisations. Acoustic textures shimmer in the light of Jay Joyce’s innovative production. On a dozen tracks, a dozen vistas open: an urgent urban scene on “The Avenue,” a dreamy shadowland on “Three Four Time,” a fiddle-sweetened reverie on “Outskirts of Blue,” a hallucination, as much silence as substance, equal parts jazz, blues, and Pulp Fiction on “Into the Blue,” a blaze of virtuosity unleashed on “Little Siam,” a mesh of pizzicato pulses on the title track that sounds something like a reggae jam inside a grandfather clock. Complex and rich as Fascination is, the motivation behind it couldn’t be simpler. “We set out to make this music different from anything we did on our first three albums,” Young explains. “So we wrote accordingly. And we took much more time than we’d ever taken before. Normally, we start writing a couple of weeks before recording ...” “...and this time, we took eight or nine months,” says Warner. Writing on the road, The Greencards rode an accelerating current of creativity. They produced more prolifically than ever and, more important, evolved their sound beyond anything they might have anticipated even just a few years ago. Almost apprehensively, they tried out some of this material at bluegrass festivals, beginning with the title track. “There’s nothing bluegrass about that song,” says Warner, laughing. “We played it live just two days after we wrote it, and I was really surprised at how well it was received.” “This older gentleman came up to our merchandise desk and asked specifically for ‘Fascination,’” adds Young. “He actually said to me, ‘Hey, I like what you guys are doing – even the weird stuff.’” Armed with an array of bold new songs, and signed to Sugar Hill--whose support for innovative acoustic music is well established--The Greencards decided to relinquish the production role they had reserved for themselves on previous albums. Even bolder was their choice of Jay Joyce for that role – a producer of impeccable credentials but a relatively short track record at helming all-acoustic projects.“We’d heard all these great records that Jay had made with Patty Griffin, John Hiatt and so many artists we love,” Young says. “But how would he utilize the fiddle, cello, mandolin, bouzouki, and bass – the core of the band – without putting layers and electronic sounds on it? We were very pleasantly surprised at how he just wanted us to play the songs and let our instruments speak for themselves. ” “Most of the people who’ve heard Fascination have said the sum of its parts is greater than the parts themselves,” Warner points out. “That’s exactly what we wanted from Jay. In the past we’ve played the tracks as a band and then revisited them, adding things here and there. With Jay, we did a song a day. We wouldn’t even look at another song until the next day. That was a great way to treat each song on its merits.” Young, who lofted two singles as a solo artist to the top of the Australian country charts prior to leaving for the States, more than meets the demands of this varied repertoire. Warm and reassuring on “Water in the Well,” wistfully romantic on “Lover I Love the Best,” eloquent in interpreting the epic lyric to “Davey Jones,” her vocals intersect perfectly with the string wizardry of Warner, four-time winner of the Australian National Bluegrass Mandolin Championship. These efforts don’t break down as simply as lead vocals and accompaniment. Rather, think of Fascination as a puzzle whose pieces form one varied but unified image, whose music speaks as one voice, directly to the heart. More than that, Fascination represents the band’s achievement of its primary goal, which is to draw from the roots while also advancing the possibilities of the music that inspires them, with each side of this equation nourishing the other. Just as important, it challenges The Greencards to maintain this process onstage and in its future visits to the studio, by raising the levels of what they expect from themselves. “We went into the studio on Fascination from Day One that this wasn’t The Greencards two years ago – this is us moving forward,” Warner insists. “The issue with us now is where that’s going to take us over the next year.” “We have so many new songs to play and a new approach to present to audiences,” Young says. “That gives us something to work for. But that also makes it so much more interesting.” Is it really just about interest, though? Not with The Greencards. Their future goes beyond that; from this point, it’s about Fascination.
No cameras or audio/video equipment allowed in the Casino Lounge. All acts/times subject to change without prior notice. Must be 21 to enter the gaming floor.
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Mars Attacks
in the Oneida Casino Lounge
Dec. 5-7, 2010 • 7:30pm
Rockabilly
www.myspace.com/marsattacksrockabillyWild, authentic rockabilly is what you’ll get from the Swiss/Austrian formation called MARS ATTACKS. In February 1998, these musicians who have all been active in different rock´n´roll/rockabilly bands for years, came together. Mars has launched its attack and the invasion is hitting spots all over Switzerland, Austria and Germany as well as Italy, France, Belgium, Holland, Portugal and Spain. The Mars Attacks rockabilly invasion even made its way to England (twice at the Hemsby Rock´n´Roll Weekender & twice at The Rockabilly Rave - where they backed “Arkansas Wild Man” & SUN Records legend Sonny Burgess) and the USA (in April 2005 2 weeks tour of the mid west and east coast, incl. the Rockin´50ies Fest II in Green Bay, WI…). Their debut album “...run for your life!“ (available on CD and 10“ LP + 7“ EP Vinyl) was released in July 1999. In order to achieve a sound that suited their style, all of the songs were recorded live on vintage equipment in a specialised studio in Montreux (JCR Recording Service www.bluelake.ch). Following this success, a further record was released in May 2000 (7“ Vinyl EP called “Snatch It & Grab It”). In November 2003 “DIRTY TRICKS” was successfully released on 12” Vinyl & CD, the latest release “CIRCLE OF LOVE” (also on CD & LP) saw the light of day in March 2006, at the 10th Rockabilly Rave, where they boys backed up Sonny Burgess again. Lots of gigs followed this release on Blue Lake Records, incl. an US-west coast tour (incl. Rhythm´ Bound Festival in Los Angeles/Pomona in January 2007) and a tour from down south Texas up to Green Bay, WI, to the Rockin´ 50ies Fest III in May 2007. In 2007 they've backed up SUN Records legend Billy Lee Riley as well as "Rockabilly Filly" Rosie Flores. MARS ATTACKS is an energetic live band featuring a “classic” line-up that is sure to please: Roland Riedberger (lead vocals, trumpet, acoustic guitar,) from Switzerland, and the Austrians Oliver Pfanner (double bass, vocals), Martin Telfser (lead guitar) and David Karlinger (drums). The hot stage show and varied program – mostly made up of self-composed songs (including the meanwhile famous trumpet songs) and a well-chosen selection of rockabilly hits - transform each live performance into a special encounter – or should we say a special encounter of the third kind... so grab your children, grab your wife, Mars attacks, run for your life!!
No cameras or audio/video equipment allowed in the Casino Lounge. Must be 21 to enter gaming floor. All acts/times subject to change without notice.
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Sonny Burgess
in the Oneida Casino Lounge,
Dec. 5-7, 2010 • 7:30pm
Rock & Roll
www.legendarypacers.comAlbert Austin “Sonny” Burgess is best known as one of the original rock and roll recording artists for Sun Records in Memphis, Tennessee, and as one of the pioneers of rock and roll. He and his band, the Pacers, made a hit of his first recording, “Red Headed Woman,” and the flip side, “We Wanna Boogie,” both of which Burgess wrote. The record sold approximately 100,000 copies, a phenomenal number for that era. Burgess and the Pacers are still performing at various events in the United States and Europe.
Sonny Burgess was born on May 31, 1929, in Newport (Jackson County). His parents, Albert and Esta Burgess, raised him, his two brothers, and his three sisters on their farm near Newport. Burgess graduated from Newport High School in 1948. In 1950, he and three friends formed a boogie-woogie band they called the Rocky Road Ramblers. Those three friends were Kern Kennedy, Johnny Ray Hubbard, and Gerald Jackson. Both Hubbard and Kennedy became members of the original Pacers. In 2005, Kennedy was still with the Pacers, Jackson was the mayor of Tuckerman (Jackson County), and Hubbard was retired and living in Newport. In 1954, following a stint in the Army (1951–53), Burgess re-formed the band, calling them the Moonlighters after the Silver Moon Club in Newport, where they performed regularly. The Silver Moon was part of a circuit—including the B&I Club, Mike’s 67 Club, and Porky’s Roof Top Club—in the Newport area made by many up-and-coming performers. Stars such as Elvis Presley, Carl Perkins, Charlie Rich, Jerry Lee Lewis, and Conway Twitty got their start on the Newport club circuit. At that time, Elvis Presley was performing in clubs and school gyms to promote his releases, and the Moonlighters opened for him four times. Elvis liked what he heard and told Sonny the band should go to Memphis and talk to Sam Phillips of Sun Records. They followed his advice, and Phillips told them to get a larger band together and come back. Thus, the Pacers were born, consisting of Kennedy on piano, Hubbard on upright “slap” bass, Russ Smith on drums, Joe Lewis on guitar, and Jack Nance on trumpet. Burgess provided the vocals and played guitar. Lewis came up with the new name for the band, inspired by the Pacer airplane. They played rhythm and blues and boogie-woogie type music. Sonny and the Pacers returned to Memphis and recorded “Red Headed Woman” in 1955. The record, personally recorded by Sam Phillips, was released in 1956, and they were on their way to fame. As popular as their recordings were, they did not compare with the band’s energetic live show, unparalleled by the performers of that era. Their show included gyrating, stage sliding, and acrobatics. They even formed a human pyramid in the center of the dance floor without missing a beat in their music. They also had an act they called “Bug Dance,” in which they jumped into the audience while performing. Burgess was known, too, for his red hair, dyed to match his candy-apple red Fender guitar and his red suit. Burgess married Joann Adams in 1956, and they raised two sons, Peyton and John.
Sonny Burgess and the Pacers continued recording with Sun Records until 1959. In those four years, they recorded five singles. In addition to their first record, they recorded “Thunderbird,” “Ain't Got a Thing,” “My Bucket’s Got a Hole In It,” and “Sadie’s Back in Town.” Burgess left the band in 1960 and began working with Conway Twitty, who was raised in Phillips County. He left Twitty in 1965 and formed his own band, the King’s Four. In 1972, he got what he called “a real job” as a salesman, and the King’s Four broke up in 1974. Burgess continued working as a salesman and playing music on the side until 1986, when he was invited to a show in Washington DC that included rockabilly music, where he made a big hit. After that, Burgess traveled all over the world and became a sensation in Europe. In 1999, Burgess was inducted into the Rock and Roll Hall of Fame of Europe. In 1998, the Smithsonian Institute made a video called “Rockin’ on the River” that brought Burgess and the Legendary Pacers together again. In addition to Kennedy, the group now included Bobby Crafford, Jim Aldridge, Fred Douglas, J. C. Caughron, and Charles Watson II. They made two album-length recordings in the late nineties: They Came from the South and Still Rockin’ and Rollin’. In 2002, they were inducted into the Rockabilly Hall of Fame in Jackson, Tennessee. In 2005, they performed at numerous events in Arkansas, Texas, and Tennessee and toured Europe. Between performances, Burgess and his wife live in Newport, where he has spent most of his life. He currently hosts a radio show, We Wanna Boogie, for KASU in Jonesboro (Craighead County).
No cameras or audio/video equipment allowed in the Casino Lounge. Must be 21 to enter gaming floor. All acts/times subject to change without notice.
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B.J. Thomas
in the Oneida Casino Lounge,
Dec. 12-14, 2010 • 7:30pm
Pop Music
www.bjthomas.comHe owns one of the most distinctive voices in American pop music—a reassuringly masculine timbre conveyed with a smattering of unique embellishments that represent a distillation of the most influential genresin pop culture. Nothing about the identifiable sound of B.J. THOMAS’ voice has changed, but there’s a re-energized commitment behind it. Recognizing the continued loyalty of his fans, an anthology package of the original Scepter recordings as eight LPs to be reissued on four individual CDs with never before released bonus tracks. The project was brought together by music historian Jim Pierson. Interviews were compiled from all of the original writers and producers involved in making this music. Each CD includes a booklet that contains historical documentation of each particular album. This package is put together in a way that has made B.J. Thomas proud to be a part of it. B.J. has also recently acted in as well as contributed six songs to the soundtrack of the independent picture JAKE’S CORNER; the songs were produced by acclaimed producer Steve Dorff. The film will be released March 2nd 2010 by Monterey. B.J. has also been in production with Allan Swartsburg and Bob Mann of NY Deep Diner on a Brazilian album in which B.J. lends his voice in an exciting new style. The album has been released in Brazil on Universal records and will be released in the United States in 2010. “We’ve always tried to do the right thing as far as getting our music out and encouraging people with positive music,” B.J. reflects. Indeed, many of B.J.’s signature hits—the Oscar-winning Raindrops Keep Fallin’ On My Head, the million-selling (Hey Won’t You Play) Another Somebody Done Somebody Wrong Song and his career-igniting cover of Hank Williams’ I’m So Lonesome I Could Cry—invariably find the plots’ protagonists employing some level of positivity to overcome the universal battle with loneliness. Continuing his supportive inclinations, a series of positive-themed discs were embraced by the gospel community, giving him the first four platinum albums in gospel history. A brief-but-successful foray into country music—dotted by Whatever Happened To Old Fashioned Love and New Looks From An Old Lover, written by his wife, Gloria, Red Lane and Latham Hudson—emphasized classic family ideals and commitment, as did the still-familiar theme to Growing Pains, As Long As We Got Each Other, sung on the tube with Jennifer Warnes. His lyrics aren’t just words to B.J. THOMAS. He’s lived out his musical ideals, turning down career opportunities for years when he thought they might interfere with the home life he established in the Dallas area with Gloria and their three daughters: Paige, Nora and Erin. “We weren’t really silent,” he observes, “but we weren’t really chasing the prize, so to speak.” But an interesting confluence of events helped to recharge B.J.’s career commitment.The girls grew up and left home. The surprise emergence of Raindrops in a key scene in Spider-Man 2 underscored his continued place as an identifiable cultural touchstone. And he discovered through technology just how deep and loyal his fans’ commitment runs. “One of the real catalysts behind this is I did an interview with an online disc jockey,” B.J. explains. “He interviewed me and then put some music together for a one-hour package that could be accessed on the Internet, and he had 3.5 million downloads in three days. So we said, ‘Hey, our people are sitting right there. We just gotta figure out a way to reach them.’” “Gloria and I actually sat down after I finished Jory, and she wanted to know if I wanted to pursue being an actor,” he notes. “At that time, I was on the road almost 300 days a year. The music was very successful, and both of us kind of agreed that movies would take too much time—that I would just pay attention to my music.” Music certainly “got” B.J. Thomas from a very early age. Born in rural Hugo, Oklahoma, just north of the Texas border, his family soon moved to Houston, where he was attracted to the country of Ernest Tubb and Hank Williams (one of his strongest memories is of attending a Hank concert with his father) and the soul of Jackie Wilson and Little Richard, whose Miss Ann was the first single B.J. ever bought. In fact, the embellishments, repetitions and melisma that have become a trademark of B.J.’s identifiable style were adapted from one of those mentors. “I got that from Jackie Wilson,” B.J. says. “What he could do was amazing. If you do it the right way, it puts a lot of sincerity and meaning into the word that you’re singing. I always try to use it where it emphasizes the emotion of the song.” After his initial successes on a small Southern label, B.J. signed with New York’s Scepter, where the roster also included The Shirelles and Dionne Warwick. In fact, it was Warwick who introduced B.J. to songwriter-producer Burt Bacharach, leading to his performance of Raindrops Keep Fallin’ on My Head for Butch Cassidy & the Sundance Kid. The song has shown an amazing resilience—it was featured in Forrest Gump when Tom Hanks’ character encountered President Lyndon B. Johnson; it made the soundtracks for Clerks II, The In-Laws and Charlie’s Angels: Full Throttle; and it appeared almost in its entirety during Spider-Man 2. B.J. has shown a comparable resilience. He married Gloria at the Chapel of the Bells in Las Vegas just weeks before Hooked on a Feeling hit the Top 10. Their relationship remains intact nearly 40 years later, a tangible sign of his sincerity in his find-the-silver-lining musical themes. “We’ve always had each other, even through the hard, wild, stupid, crazy times,” he says. “She was just right there for me, and I’ve been there for her, too. If there’s anything that got me to today it was having her.” She’s still there, running their management company as B.J. reinvigorates his public persona, one that very much reflects his desire to convey some basic meaning to both his daughters and his fans. “That’s been a real positive, wonderful thing that’s a part of the music that I’ve been a part of—making someone lift their head up or making someone feel OK,” he says. “All I am is just another guy. I’ve been very lucky. I’ve had a wonderful life, I’ve been a husband and a father who cherishes his children and now I’m a grandfather, and I’m motivated like all these teachers and preachers and mothers and fathers to help my kids grow up with character and self-respect. I hope that doesn’t sound too grandiose, but that’s what it comes down to. It’s what I’ve tried to do with my music and with the majority of my life.” That he has succeeded at home and still maintained a place as one of music’s most recognizable voices is truly remarkable.
No cameras or audio/video equipment allowed in the Casino Lounge. All acts/times subject to change without prior notice. Must be 21 to enter the gaming floor.
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