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Mass Appeal premieres Chubb Rock & Mighty Mi’s “Same Rock” (Jon Kwest Mix)

Born in Kingston, Jamaica, Chubb Rock eventually relocated to NYC and entered the rap game via his cousin Hitman Howie Tee. Distinguishing himself with rough, rugged rhymes as filtered through the brain of a National Merit Scholar, the Chubbster dropped a classic with his 1991 disc The One, which had not one but three No. 1 rap singles, including the sureshot ragga-rap jam “Just the Two of Us,” the pulse-pounding “Treat Em Right,” and “The Chubbster.”

A couple of decades later, Chubb Rock is the host of WBLS’s Classic Flava show and the nationally syndicated Diggin in tha Crates radio program. But don’t get it twisted— Mr. Rock is still fully capable of spitting hot fire, as evidenced by “Same Rock,” which we’re premiering today off his Same Rock EP. The track is a collaboration with DJ Mighty Mi, best known for his work with High & Mighty, Eminem, Mos Def, and El-P. “This record started with a simple idea—to take my favorite rappers of the Golden Era and have them rap over the the kind of house beats people are going crazy for at my clubs,” says Mighty Mi. “As a Vegas DJ, I see the trends in club music firsthand, and I found that house-infused hip-hop is what people are reacting to most right now. And I had a feeling that Chubb would sound really good over some uptempo beats…. When he sent me back the demo version of the song, he’d written three verses that sounded old school, but with current references. He’s witty as ever, and most of all, that unmistakable Chubb Rock voice is still there.” LISTEN HERE…

by Baby Robot Media

Charleston City Paper believes that “what makes People’s Blues of Richmond estimable is its collective belief in the restorative powers of rock ‘n’ roll”

The first time was an accident: At a show in Knoxville a few years back, guitarist Tim Beavers’ Gibson SG crapped out on him halfway through the band’s second set, so he took it off and threw it face-down, breaking it in two pieces.

The last few times, the destruction was intentional. Just a few weekends ago at a festival in northern Virginia called Pasture Palooza, bassist Matthew Volkes smashed a TV with an axe. In late June at Mebane, N.C.’s The Big What? Festival, Beavers smashed a guitar. Not his SG again — this time a cheapo, $100 Squier Stratocaster, but the effect was no less visceral. Beavers destroyed another dollar-bin guitar at a hometown show in Richmond that weekend, too. READ MORE…

by Baby Robot Media

Blackfoot Gypsies’s “I Don’t Know About You” featured as 102.9 The Buzz’s “Buzz Cut of the Week”

Blackfoot Gypsies are a two-piece rock band from Nashville, TN. Their music draws influence from blues, punk rock, southern rock,soul, americana and country. They are known for their DIY aesthetic and extensive touring. The band formed in 2010 as a two-piece of Matthew & Zachary. Past lineups have included Chris Denney of Denney and The Jets. The Blackfoot Gypsies have toured with White Fang, and Alabama Shakes. In 2013, the band headlined Muddy Roots Music Festival. READ MORE…

by Baby Robot Media

The Bay Bridged feature on City Tribe’s new record, the Tenderloin, and that Fleet Foxes comparison

On an improbably sunny Monday evening, City Tribe is seated in a semi-circle at a high-top table in Elite Café on Fillmore, knocking back a round of amber ales. Well, all except guitarist and singer Jacob Jones: He’s on his way, in what turns out to be an exhausting cab ride. Even with only three present, it’s already a challenge to tell them apart: so much facial hair.

As they settle in, drummer Cody Rhodes is chatting excitedly about two things: Café Elite’s art-deco ambiance, which he comments on a couple times, and the drummer that’s sitting down to his set at the front of the house, about to set the mood with a small jazz trio. They’re an enthusiastic bunch—surprisingly animated; disarmingly silly for a band that’s become known for mellow, acoustic-driven rock that almost always is described by beach metaphors. But now, just a few weeks shy of the release of their first full-length, Undertow, their ebullient nature as a band is starting to come to the surface. “Starting a writing process as a full band, immediately it’s going to have more rock to it,” says Rhodes. READ MORE…

by Baby Robot Media

Creative Loafing praises The Head’s performance in Georgia Shakespeare’s production of Tony Award-winning British satire, “One Man, Two Guvnors.”

Guvnors‘ most valuable players may be the Atlanta rock trio The Head, who perform a lively mini-concert before the opening curtain, playing short songs during the scene changes. All in their early 20s, the Head clearly specialize in songs of the era, including hits by the Who and the Beatles, and have the youth, costuming, and rockstar moves of the British invasion down pat.

The Head confidently play like a real band of the early 1960s, not a stage musical approximation, but their presence requires a trade-off. The transitional songs, however bright and peppy, can impede the story’s momentum in what’s not a short show to begin with. Should a silly farce really be almost as long as King Lear? Nevertheless, the Head contributes to a final number that brings a real sense of culmination and rock ‘n’ roll release to the show. The three band members, teamed with Muñoz, prove to be a real Fab Four. READ MORE…

StarBenders

To set up an interview with StarBenders, or get your hands on press passes, advance music, hi-res photos, album art or videos, contact stevelabate@babyrobotmedia.com.

Bio

True rock & roll, at its core, lives in that youthful, unjaded space between adolescence and adulthood. Smoking cigarettes behind the bowling alley with your friends. Cruising the suburbs aimlessly for hours blasting your favorite bands because it’s the only thing that makes life bearable. Sneaking out and getting busted by the cops for being at the skatepark after curfew. Awakening to the fact that you’re an outsider, but realizing through the songs you’re listening to that it’s not a bad thing to be.

Atlanta band StarBenders’ “blasphemous candy-coated bubblegum punk,” as frontgirl Kimi Shelter calls it, is teenage rebellion, pure and concentrated—the transcendent rock & roll antidote to the suffocating environment that spawned it. “I write from my 14-year-old self,” Shelter says, “and I’m still very in tune with that self because that’s the age when you really start to understand and appreciate music, and it was the age when I started to create myself as I am today. Now, when I write something, I ask myself, ‘If I was 14 and heard this, would I flip my shit over it? If the answer’s yes, I know it’s good enough.”

StarBenders’ self-titled debut EP—out this fall on Institution Records—was produced by Nico Constantine (Biters, Coathangers, Lady Gaga), recorded and mixed by Jeff Bakos (The Woggles, MonstrO, GG Allin), and mastered by Jeff Golden (Sonic Youth, Black Flag, Bad Brains). “The new EP represents a very genuine moment for me,” Shelter says. “Everything is coming from this persecuted mind frame—this snotty schoolgirl attitude toward life. Which is autobiographical—I was the little punk kid in a small town. A lot of the songs deal with saying or feeling things that put you on the outside, but then embracing that. And there’s also a sexuality to it—a very animalistic, schoolgirl view of sexuality.”

StarBenders formed late in 2013, but for Shelter and drummer Katie Herron, its genesis lies deeper in their past—at a wilderness-therapy camp for troubled kids. Even at her teenage worst, Shelter was pretty innocent—mostly, she just liked being out and around people, listening to music and going to shows. But in the tiny Georgia town where she lived, the police didn’t have much better to do than hassle punk kids. “If you were skateboarding where you shouldn’t be, you got booked,” she says. “If you were under 18 and out past curfew, you got taken to the police station. I was arrested for all kinds of ridiculous shit—stuff like littering. I was arrested five or six times before I was 15.”

Terrified her daughter would end up on drugs, Shelter’s recovered-alcoholic ex-flower-child mother was accordingly strict. Herron came from a different and even more austere background, her Dad a Pentecostal tent preacher near Huntsville, Ala.—the kind that lays hands on people, speaking in tongues while they fall backward into ecstatic, near-epileptic fits of salvation.

So Shelter’s and Herron’s parents shipped them off to a nature-healing camp in the middle of nowhere to get ’em good and rehabilitated. “The whole troubled-youth industry is big business—and a total crock of bullshit,” Shelter says. “It reminds me of that Suicidal Tendencies song ‘Institutionalized’—’I just wanted a Pepsi, Mom!’ But that camp is where I met Katie, so at least something good came of it. She was fascinating to me—so quiet, but so scrappy. Katie has always been mysterious to me, but at the same time, from the beginning, we had an understanding.”

The two made a pact that someday they’d start a rock & roll band together. After they left camp behind, they kept in touch for the rest of high school, visiting each other whenever possible. During college, they went their separate ways, both playing in bands, their musical personalities slowly emerging and evolving until Shelter’s recent rock & roll visions drew them back together in StarBenders. “All of a sudden,” Shelter says, “Katie was right there with me like we were 14 again, being assholes in the wilderness. It’s so rare in life that you actually stand by one of the million things you shouted you were gonna do at that age. I’m so glad Katie’s in this band with me now. She’s a phenomenal drummer, and we’re a dynamic duo in a lot of ways. When we’re out at the bar after a show, we’re like two hyenas in the background, cackling and talking shit.”

Shelter and Herron are joined in StarBenders by rhythm guitarist Kyle Gordon and bassist Aaronious Monk. The former they discovered playing with his old band Kill Gordon in Birmingham. (“He captured me when I saw him play,” Shelter says. “He had these really interesting moves—kinda reminded of me of Dex from the Flat Duo Jets.”) And the latter they found outside infamous Atlanta dive the Star Bar after Monk was booted in the wake of a bar fight. “Aaron has this evil genius thing about him,” Shelter says. “He’s the guy that will come up to you and start talking physics in the middle of a bar. The night we met, he was deep into some argument with this guy about some untouchable topic like religion or politics. After a while, the guy started getting aggressive. Of course, everybody’s looking, and this dude was twice his size, and Aaron was just standing defiantly in front of him still trying to state his point—finally, they come to blows and the bouncer ends up throwing Aaron out. I went to check on him, and he was sitting on the curb smoking a cigarette with a busted lip. I sat down, we started talking and we’ve been friends ever since.

“Everybody in the band is a defiant punk,” Shelter says. “Katie. Aaron. And Kyle was a lone wolf, too. That’s why we work so well together. It’s one of those situations where different paths lead to the same place.”

And in that place, StarBenders are now making powerful music that conjures the same depth of feeling, newness and electricity that hits you when you’re a wide-eyed kid at your first rock show. Will your 14-year-old self flip over it? Hell yes. It’s that good.

Links

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