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Richie Kotzen of The Winery Dogs/Poison/Mr.Big makes his Summit City Debut on Nov-12th

September 9th, 2014

One of the great Guitarist’s/Vocalist in Rock N Roll makes his Summit City debut on Nov-12th in Whitesburg,Ky.
Tickets on sale at Summit City by phone or www.summitcitylounge.com

When Richie Kotzen plays, you know it’s him. The guitar virtuoso, singer and songwriter possesses an inimitable style that’s both instantly recognizable and immediately striking. It also courses through The Essential Richie Kotzen, a career retrospective collection on Loud & Proud Records. The 2-CD and 1-DVD set encompasses this iconic talent’s entire career.

As soon as Kotzen picked up a guitar at seven-years-old, the instrument became an extension of him. Equally influenced by his mother’s Jimi Hendrix and Janis Joplin albums as well as his dad’s R&B collection of Stevie Wonder and Al Green, he started to write music that encompassed all of his inspirations.

“My roots paint a picture of where I’m coming from musically,” he affirms. “There’s some kind of hybrid in me of classic rock and old school soul. That’s where I drew from during my most formative years. I became obsessed with the guitar at that time. I never put it down. I’d fall asleep with it.”

After constant wood-shedding and gigging with local Pennsylvania area bands, Kotzen got his very first record deal with Shrapnel Records at 18-years-old and released his eponymous debut in 1989 which landed him the cover of Guitar World magazine. As his seminal albums Fever Dream andElectric Joybegan to stir up excitement amongst the guitar community, Kotzen reached a wider audience by moving to Los Angeles and signing with Interscope records in 1991. His song “Dream Of A New Day” was a featured track on the Bill and Ted’s Bogus Journey soundtrack, among establish acts KISS, Faith No More and Primus. Kotzen continued to record solo albums throughout the 90’s for Geffen, JVC and Shrapnel Records. Based on Kotzen’s critical acclaim as a musician, in 1996 Fender Musical Instruments launched two signature model guitars bearing his name. His signature model Telecaster is available worldwide and has been a top seller. Proving his diversity as an artist, in 1999 he linked up with jazz legend Stanley Clarke, further expanding his own repertoire and technical arsenal.

As fans worldwide devoured his prolific solo output, Kotzen toured with his trio extensively outside the United States, building a loyal fan base and selling out shows throughout Europe, Latin America and Japan. In 2006 Kotzen received one of his biggest personal honors when The Rolling Stones chose him to open up a string of Japanese shows, placing him in front of some of his biggest crowds to date. Then, 2013 saw him join forces with Mike Portnoy [ex-Dream Theater, Adrenaline Mob] and Billy Sheehan [Steve Vai, David Lee Roth] to form the powerhouse trio The Winery Dogs. Their self-titled debut would go on to sell over 10,000 copies first week and debut at #27 on the Billboard Top 200.

Now, Kotzen personally curated The Essential Richie Kotzen from his 18 solo albums in order to give listeners the most comprehensive, cohesive, and concise introduction to his extensive body of work.

“I’ve really changed and grown as an artist and as a person,” he goes on. “I hand selected a bunch of songs so newcomers can get into my music and learn who I am as a recording artist.”

In addition to the requisite hits, acoustic performances, bootleg material and music videos, The Essential Richie Kotzen boasts two brand new songs “War Paint” and “Walk With Me.” “War Paint” builds from an opening bluesy riff into a bombastic chorus punctuated by Kotzen’s gravelly delivery and impeccable lead playing. He explains, “It was a challenge to make a studio recording sound like a live band with only one musician playing all the instruments. I think I accomplished that on this track.”

At the same time, “Walk With Me” sees Kotzen evolving once more and incorporating a Theremin, an antique electronic instrument, into an emotive and engaging anthem. “There was a specific sound I was hearing in the song,” he reveals. “I realized it was a Theremin, so I bought one. I spent a couple of weeks learning it. I used that where the lead guitar would normally go. It was a really rewarding departure for me.”

With his 20th full-length solo album on the horizon for 2015 and countless gigs, Richie Kotzen’s legacy is only continuing to expand. “When you perform, record or write, you go to a different place,” he concludes. “It’s another world. I love hearing people react to the music and lyrics. That’s the ultimate reward.”kotzen 2


An Evening with Marc Ford formely of The Black Crowes with special guests Elijah Ford

August 28th, 2014

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Former Lead Guitarist of The Black Crowes makes his only Kentucky appearance at Summit City on October-6th in Whitesburg,Kentucky at 8Pm est.

TICKETS go on sale Monday-August-25th at 12pm at Summit City or by phone 606-434-8648.

MARC FORD is one of the most gifted, celebrated and in-demand rock guitarists of his generation has switched gears to deliver what will undoubtedly stand as one of the finest Americana albums of 2014.

‘Holy Ghost’ has plenty of space for Ford to demonstrate that his guitar sorcery is as powerful as ever. But it’s textured in a different setting that will also delight a legion of admirers who never knew he could embrace the wide open spaces of American roots music so brilliantly.

“Reinvention” is an overused word in the creative arts, but ‘Holy Ghost’ overflows with subtle and surprising pleasures, liberal use of pedal steel, Fender Rhodes, mellotron and banjo, and the best songwriting of Ford’s career. It shows off an artist refreshed and refuelled, taking life at a slower pace at home in California these days – and it’s the next chapter in a unique Anglo-American collaboration.

If you know Ford’s back story in full, you know it’s about a multi-faceted reputation forged on the frontline as the fabled lead guitarist with the Black Crowes; at the helm of his own bands such as the Neptune Blues Club and the Sinners; as a vital component of key records and/or tours by acts from Govt. Mule to Izzy Stradlin, from Booker T to Ben Harper; and as the producer of choice for artists such as the great roots-rocker Ryan Bingham and English country-soul talents Phantom Limb.

Therein lies the transatlantic connection. Ford produced the Bristol-based Phantom Limb’s second album ‘The Pines,’ released in 2012, and when it was time to give life to the songs he’d collected for ‘Holy Ghost,’ the inspirational thought occurred to him to offer the return job to the band’s Stew Jackson, aka Robot Club, in sessions at Rockfield in Wales and the Shed in Bath. Jackson plays on the album along with his fellow Limbs, so to speak, while Marc’s son Elijah adds guitars, and his wife Kirsten contributes vocals. Elijah, himself a fine new talent, has also been working with Jackson on his own album project.

“I waited for a while until the timing was right for this,” says Ford. “I knew I wasn’t supposed to act on these songs for a while, so I kind of sat on them as a batch together. Most of them are brand new, but a couple are 15 years old. I just needed to drop out for a little bit and get home back together. I had a daughter, so this is the first time I got to be at home for the first five years.”

Suddenly, Ford knew what he had to do. “I was sitting here one day and, like I said, I’d been waiting on these songs for a while. Then it just dawned on me, wait a minute, Phantom Limb is the perfect band for this. I’ve used a couple of bands here, and although I could have made the record with them, it didn’t seem right, there wasn’t the perfect fit. I would have had to tailor some people or some songs, and it didn’t seem to make sense.

“So I just said ‘Stew, you allowed me to pull your baby apart and put it back together. I’ve never had a producer produce my own stuff. How about payback? You can do me now. I think I have some of the best songs I’ve ever written, and you’ve got a bitchin’ band.’ He just said ‘Get here.’”
The results are inspiring, often upbeat, always reflective. As Ford himself says, “it’s hopeful, in a dark way sometimes.” But it’s the work of an artist who’s found the inner strength to recharge, personally and professionally. “It’s a reflection of my life,” he says. “I pulled out of gigging and travelling and literally kind of stopped.

“It was like, ‘I’ve got to regroup here, be at home and keep relationships good.’ Otherwise, if you keep running and running, even though it’s work, something has to suffer. So the holy grail now is to find how you keep a family and a musical career together. We moved to San Clemente, which is a little surf town, and the pace here is slower. It really is a small town feeling, a lot of acoustic guitar playing. I think all that reflects in the record.”

In the process of rethinking himself, Ford has learned all kinds of new music, but his earliest memories in the household of his west coast upbringing were of Beatles, Creedence and Simon & Garfunkel albums, and Miracles and Chuck Berry singles. Later inspiration came from Led Zeppelin and Elton John. “As I got older, I found the first two Jeff Beck records, ‘Truth’ and ‘Beck-Ola,’ and wore those out. Then a friend of mine took me to his house, his stepfather had this 400,000 watt stereo and he sat me down and put on Band of Gypsys. It scared me to death, it changed everything for me. I was like, ‘I didn’t know you could do this.’”

After playing in a high school band, he left to form his own outfit, in a rock education that would lead ultimately to Burning Tree, the acclaimed LA trio whose powerful local reputation led to a deal with Epic and a 1990 album. Noticed by a bunch of Atlanta scenemakers of the day called the Black Crowes, Ford would join them in 1993 for ‘The Southern Harmony and Musical Companion,’ which hit No. 1 and sold two million copies in the US alone as they climbed to the top of the world. His guitars were also front and centre of 1994′s ‘Amorica’ and ‘Three Snakes and One Charm.’

His time with the Black Crowes, including a second stint in the mid-2000s, are so well documented as to need little repetition here. Except for Ford to say that he can look back on his musical passage with them, and on all of his other stops along the way, with real satisfaction. “I’m proud of all the music that’s been made,” he says. “I think that stands, and the Crowes was a fantastic band. Ben Harper’s music was great, ‘There Will Be A Light’


The Bohannons coming Sept. 19

August 4th, 2014

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Come on out Friday, September 19 as Chattanooga’s own The Bohannons will be blessing the Summit City stage for the first time. Playing regularly with Summit City alums such as Jason Isbell and Lee Bains III & The Glory Fires, you won’t want to miss their incredible live show; here is a small sample of what people are saying about their music…

“The Bohannons are one of Chattanooga’s finest exports, who make heavy rock ’n’ roll that’s equal parts Mötorhead and Neil Young, with lead guitar chops that rival both.” – Stephen Trageser / NASHVILLE SCENE

“The Bohannons new album, Unaka Rising is a real scorcher. It’s an odd thing to say about a band, but their approach to music makes so much sense that it’s difficult to understand why their particular cocktail of heavy Southern rock jangle hasn’t already been done to death by someone else. A little Two Gallants, a little Black Sabbath, they’re as heavy as they are twangy. They manage their heaviness without venturing into melodrama, which is difficult for many artists that venture into darker territory. Their music begs to serve as a soundtrack to a genre of film that doesn’t currently exist—some kind of violent, stylized-but-gritty (a la Tarantino) Southern road movie patterned after the classic Western model.” – OXFORD AMERICAN

“The Bohannons’ Unaka Rising is by far one of the best albums to be released in 2012. I suggest you check it out then catch them live, you will not be disappointed.” – Chris Martin / ATLANTA EXAMINER

“Southern rock music is undergoing an interesting revolution these days. It’s adding some punk attitude and a bit of grunge sound to the rock, blues, and country it has always had. The Bohannons, from Chattanooga, Tennessee, are a perfect example of what’s great about this new roots rock sound on their new release, Unaka Rising. This is not music that invites you to listen passively. This is music that attacks and forces you to engage from the very first notes. The lyrics delve into the rich mines of Southern mythology and are filled with the imagery of their native region. The title of the CD refers, in fact, to the Unaka region of Tennessee. But in The Bohannon’s music, that mythology and imagery is mixed with anger, paranoia, and political unease. The sound here is anything but predictable. Yes, there are blues licks and high, lonesome, twangy sounds like the best of bluegrass, but there is also violently raucous guitar, emotionally charged vocals, more than a touch of metal, and above all else, rock and roll.
If you like homegrown rock that defies the norm and demands a response, you owe it to yourself to give The Bohannons a listen. You just may find out that it’s exactly what you’ve been looking for.” – Rhetta Akamatsu / SEATTLE POST INTELLIGENCER

“The Bohannons are a pedal-to-the-metal conflagration of strands including Southern boogie, grunge, classic ‘70s hard rock, punk a la The Clash, The Pogues, and Billy Bragg. Anyone who’s really into rock should check these guys out.” – Mary Leary / MY OLD KENTUCKY BLOG

“Rebel rock from Tennessee, The Bohannons are like Neil Young’s Crazy Horse as interpreted by The Drive-By Truckers in a basement punk rock club where the amps can’t be turned down any lower than 9 and everybody’s drinking PBR tallboys as if they haven’t had anything to drink in days.” – THE BIG TAKEOVER

“The Swinging Sounds of the Dying South: The Bohannons’ Dystopian Unaka Rising. A melange of all our favorite rocks—hard, southern, punk, garage – Unaka Rising is ten stomping tracks that deconstruct and interrogate America through The Bohannons’ loud and cracked prism. Musically, they occupy a unique space somewhere between Skynyrd, The Pixies, and modern southern rockers like Jason Isbell and the Drive-By Truckers. Matt Bohannon’s vocals can evoke Frank Black piped through a PA at a demonstration. Lyrically, Unaka Rising concerns itself with the conflict and paranoia of our contemporary milieu, a hodgepodge of angry ideologues and frightened people tottering on the cusp of collective horror.” – THREAT + CONSTRAINT

“The Bohannons have been getting rave reviews in respected music blogs and magazines around the country with Unka Rising and it’s immediately evident why once you hear it. – CHATTANOOGA PULSE

“The Bohannons are a Chattanooga band that combines swamp boogie, hard blues, full-on glam rock, and punk — and it’s just as bracing and crazy as that sounds. If you’ve enjoyed some of the proud Southern rock varietals we’ve blogged about this year: The Alabama Shakes, The District Attorneys, Lee Bains III & The Glory Fires, Patterson Hood – this is something you will want to check out.” – WHEN YOU MOTOR AWAY

“Are they Country? Are They Blues? Are they ’70s glam metal? Yes.” – NINE BULLETS

“Taking rock music and embedding it with hints of blues and country, Tennessee-based The Bohannons have created a mixture that has rarely been heard before.” – PLUG-IN MUSIC

“You can put whatever label you want on The Bohannons’ music, the only one that really matters is, Damn Good!” – CW’S PLACE

“Southern-fried, glam rock boogie merchants The Bohannons debut release Unaka Rising is as good a set of blues-inspired psych-groove as we’ve heard in a very long while.” – THE MAD MACKEREL: UK

“The bottom line is that The Bohannons’ are some good ‘ol kick a little dirt in your face rock and roll. Hot and heavy as hell.” – ALAN CROSS: A JOURNAL OF MUSICAL THINGS

Doors @ 8:00pm, Friday, September 19
Cover: $5