M3 Southern Rock Classic, The Marshall Tucker Band, Blackberry Smoke, The Outlaws
Pure Prairie League, The Georgia Satellites, Atlanta Rhythm Section, Hannah Wicklund & The Steppin Stones, 1 Nite Stand
10475 Little Patuxent Parkway
Columbia, Maryland, 21044
Doors 11:00 AM / Show 11:30 AM
This event is all ages
The Marshall Tucker Band
In the early fall of 1973 The Marshall Tucker Band was still a young and hungry group out to prove themselves every time they hit the stage. Their debut album had already spawned numerous hits.
The band’s recent release of their Live! From Englishtown album is a time capsule from that period. “We were a bunch of young guys who didn’t know any boundaries” says founding member and longtime lead singer Doug Gray. As it turned out, the collective talents of The Marshall Tucker Band took them very far indeed.
Today the band records on its own RAMBLIN’ RECORDS Label (distributed by Sony / RED) and continues to release new and previously unreleased material. For their most recent release, the band dug into the vault and emerged with the original live recordings from its biggest show to date. The new Live! From Englishtown album was originally performed in 1977 and reportedly drew more than 150,000 fans. Still led today by founding member and lead singer Doug Gray, they represent a time and place in music that will never be duplicated. Gray is quick to credit the band's current dynamic members with carrying on the timeless essence of The Marshall Tucker Band sound. Current members include the highly respected drummer B.B. Borden, a former member of both Mother's Finest and The Outlaws, multi instrumentalist Marcus Henderson of Macon, Georgia, plays flute, saxophone and keyboards in addition to lead and background vocals, Tony Black on bass, and Rick Willis on lead guitar and vocals, both of Spartanburg SC, are disciples of the Caldwell Brothers. Acclaimed lead guitarist and vocalist Chris Hicks recently rejoined the band after a two-year absence. Together they present a powerful stage presence as they continue to tour the country and continue to be powerful force in the world of music.
The Marshall Tucker Band got its start in Spartanburg, S.C. when Gray teamed up with Tommy Caldwell and Toy Caldwell, Paul T. Riddle, George McCorkle and Jerry Eubanks, borrowing the name "Marshall Tucker" from a piano tuner whose name was found on a key ring in their old rehearsal space. In 1972, they signed with Capricorn Records, the same label that guided The Allman Brothers Band, Wet Willie, and others to national fame. The MTB opened shows for The Allman Brothers in 1973, and the following year, they began to headline their own shows across America due to the platinum-plus sales of their debut album. They toured constantly playing sheds, stadiums, theaters, fairs, and festivals.
In years to come, The Marshall Tucker Band would wow critics and influence major country acts like Alabama, The Kentucky Headhunters, Confederate Railroad, and Travis Tritt with its definitive blend of rock, rhythm & blues, jazz, country, and gospel. Now, thanks to the expanding scope of today's music, a new generation of fans is learning what the rest of their fans have known for so long- that good music knows no boundaries. Along the way, the band has recorded twenty two studio albums, three DVDs, three live albums and many compilations. In 1980 Tommy Caldwell died as a result of injuries from an auto accident. In 1984 Toy Caldwell, George McCorkle, and Paul Riddle decided to retire. Doug Gray and Jerry Eubanks with the blessings of the other three continued to record and perform as The Marshall Tucker Band. 1n 1993 Toy Caldwell, who wrote the majority of their songs, passed away, as did George McCorkle in 2007. Jerry Eubanks retired in 1996 and Doug Gray continues to lead the current band of fine musicians winning new young fans as well as satisfying the loyal fans of several generations.
Years of rigorous tour schedules earned the band the respect of critics and countless dedicated fans. With hit singles like "Heard It In a Love Song," "Fire On The Mountain," "Can't You See," and "Take The Highway," The Marshall Tucker Band earned seven gold and three platinum albums while they were on the Capricorn Records label. During the 90's, the MTB scored four hit singles on Billboard's country chart and one on Billboard's gospel chart. Their music has also been featured on the soundtracks of movies such as Smokey and the Bandit, Blow, The Pursuit of D.B. Cooper, Shipwrecked, Crank 2, Don’t Mess with Zohan, Stop Loss, Swing Vote, Taking Chance and many others as well as many TV Shows.
“The buying public never really cared whether we were country or rock and roll" says Gray. "They called us a Southern rock band, but we have always played everything from country, jazz, blues, Rock & Roll and all things in-between.
As we've become older," Gray grins, eyes twinkling, "our Southern heritage seems to come out even more. But no matter how old we get, we can still rock your socks off." Gray also notes that people have gotten "married and buried" to classic MTB songs like "Desert Skies" and "Can't You See". After 40 years, The Marshall Tucker Band continues to be played on classic rock and country radio, and they have never stopped touring. More than 40 years after forming, The Marshall Tucker Band continues to tour, performing more than 130 live dates each year. In 2015, the band will continue their legacy as they hit the road and embark on the "Searchin' For A Rainbow Tour.”
Pigeonholing Blackberry Smoke has never been easy. Since emerging from Atlanta in the early ‘00s, the quintet—vocalist/lead guitarist Charlie Starr, guitarist/vocalist Paul Jackson, bassist/vocalist Richard Turner, drummer Brit Turner and keyboardist Brandon Still—has become known for a singular sound indebted to classic rock, blues, country and folk.
This fluidity has paid off handsomely, in the form of two Billboard chart-topping country albums, 2015’s Holding All The Roses and 2016’s Like An Arrow. (For good measure, the latter also topped Billboard’s Americana/Folk album chart.)
Find A Light, Blackberry Smoke’s sixth studio album, doubles down on diversity. Songs hew toward easygoing roots-rock (“Run Away From It All”) and Southern rock stomps (“The Crooked Kind”), as well as stripped-down acoustic numbers (“I’ve Got This Song”) and bruising alt-country (“Nobody Gives A Damn”). Rich instrumental flourishes—keening fiddle, solemn organ and bar-band piano boogie—add further depth and resonance.
“That’s one of my favorite things about Blackberry Smoke albums—there’s a lot of variety,” Starr says. “My favorite albums through the years are built that way, too. I love a record that keeps you guessing. I love the fact that our records are sort of a ride, with different types of songs and different vibes.”
For The Outlaws, it was always about the music. For 40 years, the Southern Rock legends celebrated triumphs, endured tragedies and survived legal nightmares to remain one of the most influential and best-loved bands of the genre. Now The Outlaws return with new music, new focus and an uncompromising new mission: It's about a band of brothers bound together by history, harmony and the road. It's about a group that respects its own legacy while refusing to be defined by its past. But most of all, it’s about pride.
It’s About Pride is the new album from The Outlaws, a record 4 years in the making and perhaps 20 or more in the waiting. And for original Outlaws vocalist/guitarist Henry Paul, it’s a hard-fought revival whose success can be measured in old fans and new music. “Because The Outlaws have been out of the public eye for so long, it’s almost like starting over,” he explains. “But because of the band’s history, we’re seeing this as a new chapter. We’ve written and recorded this album on our own terms, and we’re out to make a significant impression. What our fans loved then they still love now, but most of all, they recognize the heart and sincerity we put in our music.” For co-founding drummer Monte Yoho, the journey is both bittersweet and jubilant. “I still think about the friends we made when we first came into this industry, how we struggled to define this thing that became known as ‘Southern Rock’,” Yoho says. “This new album embodies all the things we shared musically and personally, as well as the relationships we have with our fans to this day. It’s about where we’ve been, where we’re going, and why we still love to do this.”
History lesson: Formed in Tampa in 1972, The Outlaws – known for their triple-guitar rock attack and three-part country harmonies – became one of the first acts signed by Clive Davis (at the urging of Ronnie Van Zant) to his then-fledgling Arista Records. The band’s first three albums The Outlaws, Lady In Waiting and Hurry Sundown – featuring such rock radio favorites as “There Goes Another Love Song”, “Green Grass & High Tides”, “Knoxville Girl” and “Freeborn Man” – would become worldwide gold and platinum landmarks of the Southern Rock era. Known as ‘The Florida Guitar Army’ by their fans, The Outlaws earned a formidable reputation as an incendiary live act touring with friends The Allman Brothers, Lynyrd Skynyrd, The Marshall Tucker Band and The Charlie Daniels Band as well as The Doobie Brothers, The Who, Eagles and The Rolling Stones. Henry Paul left after the group’s third album to form The Henry Paul Band for Atlantic Records, and later the multi-Platinum country trio Blackhawk. Over the next 20+ years, The Outlaws would experience rampant personnel changes, tonal missteps, ill-fated reunions and bitter trademark battles that left fans – not to mention Paul and Yoho – frustrated and saddened. And with the tragic deaths of co-founding members Frank O’Keefe and Billy Jones in 1995, and especially vocalist/lead guitarist Hughie Thomasson in 2007, it was feared that The Outlaws’ trail had come to an end.
“The Outlaws were the one area of my career where I had regrets,” admits Paul. “More importantly, I think it was the one area in my career where I thought I still have something to prove. I felt compelled to stick my neck out and take a chance of putting this band back together. I knew we would be judged, but I hoped we would be judged on our abilities.” Along with founding members Paul and Yoho, the band features several of Southern Rock’s most respected veterans: Lead guitarist and longtime Outlaw Chris Anderson is well known for his collaborations with artists that include Dickey Betts, Lucinda Williams, Hank Williams Jr., and Skynyrd. Co-lead guitarist Steve Grisham - who joined the band in mid-2013 following the medical leave of guitarist Billy Crain - is a former member of the Soldiers of Fortune era Outlaws, a noted songwriter whose tracks include The Henry Paul Band's Top 40 hit "Keepin' Our Love Alive", and a co-founder of the Southern Rock all-stars, Brothers of the Southland. Keyboardist/vocalist Dave Robbins is a co-founding member of Blackhawk and has written hit songs for artists that include Restless Heart, Kenny Rogers and Eric Clapton. Bassist/vocalist Randy Threet has performed with Pam Tillis, Trisha Yearwood and Blackhawk, and is familiar to TV audiences from USA Network’s ‘Nashville Star’. “From the very beginning, our band had a heart,” Monte Yoho says. “And a lot of people who come out and see this incarnation of the band respond to the exact same things we used to put on that stage in the ‘70s and ‘80s.”
On that stage, the band burns hotter than ever: “The Outlaws helped define Southern Rock for me and for generations of fans,” wrote music journalist Bill Robinson in June 2012 in The Huffington Post. “Seeing them onstage with The Charlie Daniels Band, Marshall Tucker Band, Allman Brothers, Lynyrd Skynyrd or countless others was, for a long time, one of the best experiences I could have. And so it was again when I saw The Outlaws play recently.” The Outlaws’ live shows – more than 150 per year – are blazing 2+ hour tributes to the band’s rich history and fiery rebirth. Classic tracks and fan favorites from the first three albums – as well as The Henry Paul Band’s definitive “Grey Ghost” – share the spotlight with songs from the new disc that are already being embraced by audiences. “I think the new songs go back to those first three classic albums, when the band was proud of its influences from country, blues and jazz,” says Billy Crain. “Plus, Chris Anderson and I have honored and maybe even stepped up the legacy of the ‘guitar army’. Fans are coming away from shows feeling a part of the Outlaws experience.”
But it’s the new album – produced by Michael Bush and Henry Paul – that brings the experience home. The disc opens with “Tomorrow’s Another Night”, a scorching take on the band’s history complete with monster harmonies and a killer hook. “Hidin’ Out In Tennessee” delivers classic Outlaws country/bluegrass energy. “Born To Be Bad” is badass biker boogie and “Last Ghost Town” is kickass guitar rock. “Nothin’ Main About Main Street” is an affecting Springsteen/Seger style look at lost small-town life. “The Flame” – Hughie Thomasson’s nickname – is a potent tribute to the much-loved late Outlaw. Chris Anderson’s “Trail Of Tears” electrifies via bitter history, intense vocals and searing guitars. “Right Where I Belong”, “Alex’s Song” and “Trouble Rides A Fast Horse” could easily be lost tracks from any of the band’s first three albums. The disc’s closer, “So Long”, is a haunting re-recording of Henry’s 1979 classic. “It was the first song on the first Henry Paul Band album, and it’s the final song on this record,” explains Paul. “I wanted it to be a sort of coda to the new music, but I also want it to be a relevant part of the new Outlaws landscape. I think it’s one of the best songs I’ve ever written, and I think we’ve done an admirable job of giving it a new personality.” But the new album’s true centerpiece is its title track, co-written by Henry Paul and Billy Crain. “It’s About Pride” is both tribute and testimony from a band that has lived it all, played it all, and returns to reclaim it all.
“I’m proud to be a part of something that started long ago,” Henry Paul sings reflectively, “a Southern band of brothers bound together by the road/They came from Florida, Georgia, Carolina and Tennessee/With old guitars, tattoos and scars, straight from the heart of Dixie/And our rebel pride.” From its towering chorus to its searing guitar-onslaught finale, “It’s About Pride” is a fierce first-person anthem to the genre, delivered with the poignancy and power of absolute survivors. “It’s a very emotional song,” Paul says. “Depending on my mood and the night, sometimes it’s all I can do to get the words out without crying. It summons up a lot of images of people who are no longer with us, of times we shared standing tall together for the first time. When I first wrote the end of the second verse – ‘The reason ‘Sweet Home Alabama’ means so much to me/Is it’s about pride’ – I knew that people would feel a lot of those same emotions. It’s about an accumulated experience of separation, loss and success.” Almost instantly, the song – and the entire album – is classic Southern Rock and classic Outlaws.
Right now, The Outlaws are headed back on the road, back on the radio and back into the hearts of fans nationwide. “I’m seeing this thing we’ve had for four decades be exposed to whole new audiences,” Monte Yoho says. “We’re having a second life as a band, and it feels better than ever. Best of all, I’m still doing it with some of the same people I’ve known for most of my life.”
“I want people to hear this album and see our show and realize that The Outlaws are back,” says Henry Paul. “Our goal is to unite the fans and bring the band back into the light. In a way, this is like a second chance at my first love. It’s about finishing what we started.” For Henry, Monte, Chris, Steve, Dave and Randy, it’s about a band of brothers who love playing their own style of rock, and who 40 years ago first got the chance to take it from Florida to the world.
For The Outlaws, it’s still about the music. And now more than ever, it’s about pride.
Pure Prairie League
The Georgia Satellites
Atlanta Rhythm Section
Atlanta Rhythm Section, sometimes abbreviated ARS, is an The Atlanta Rhythm Section... ARS... In the annals of rock and roll, where do they fit? They put out 15 albums of excellent original material, and consistently put on entertaining live shows-both of which helped establish a broad if not huge fan base. They had some big hits and have been a major player in the Southern Rock scene. But is that the whole story? In some circles, maybe. But for those who've really gotten to know their music over the years, there's a lot more to the story. ARS was paired with contemporaries Lynyrd Skynyrd as the successors to the Allman Brothers - carrying the mantle of "Southern Rock" in the late 70s. Based in Atlanta, Georgia, it may have made sense at the time. But performing songs that were more musically diverse and having hits that had a softer, pop sound, the "Southern Rock" label was a mixed blessing and many of their unique musical accomplishments became lost in a genre that has lived on to this day-but never really fit ARS. An Alternate View Here's some other ways to look at ARS. They weren't out to be rock and roll stars-they were accomplished studio musicians working as a group. They were said to be more influenced by music coming out of England than other music in the South. They shared musical stylings with the Eagles and Fleetwood Mac-both in the quality of songwriting and recorded performances. They were excellent musicians who tried to stretch themselves-think Steely Dan or Little Feat. In many ways, these associations make as much or more sense than any grouping with their Southern Rock kindred. But the music of ARS only reached a mass audience on a couple of occasions. The result: an outstanding song catalog and the talented men responsible for it have been largely overlooked. When those songs are heard, and those talents recognized, the case can be made that ARS are the epitome of all the good things that the phrase "classic rock" implies
Hannah Wicklund & The Steppin Stones
Hannah Wicklund & The Steppin Stones are fronted by a 20-year-old powerhouse guitarist, vocalist and songwriter. The South Carolina-born (and now East Nashville-based) artist who formed the band as an eight-year-old has developed a powerful and sublime synthesis of skills and makes it clear that the future is hers to conquer.
On their new (and third) self-titled album, the band--who’ve played over 2,000 shows including notable festival appearances--digs in deep, hits hard, and crushes it. Hannah Wicklund & The Steppin Stones (available 1/26/18 on her Strawberry Moon imprint) is an aural kaleidoscope of blazing guitars and searing vocals, all of which establish Wicklund as a triple-threat player, singer and writer in the fashion of Susan Tedeschi and the Pretenders’ Chrissie Hynde.
The album’s producer, Sadler Vaden, who’s also guitarist with Jason Isbell & The 400 Unit, says: “Once we started writing some songs, I saw that she had a real, raw talent. I was inspired to work with her by her love of classic rock music and blues. I wanted to honor that in making this album, but also add a little modern edge to it.”
On the 10-track album, Wicklund taps into the fury of loneliness (“Ghost”). She resurrects specters of Hendrix and Joplin (“Looking Glass”) as well as power ballad intensity (“Strawberry Moon”). Then, just as she’s supercharged you with about as much raw energy as you can channel, she lets you down gently with the acoustic intimacy of “Shadow Boxes”—but even here, her singing achieves an intensity that most artists can only dream of rivaling. Her music stands on a bedrock of razor-edged, old-school rock ’n’ roll reanimated by a new generation’s urgency.
That impression is doubly emphasized in the video for the album’s first single, “Bomb Through The Breeze,” a hurricane of swirling color interspersed with spare shots of Wicklund and her band in action, with black bunnies and slithering snakes adding an eerie visual complement.
“Sadler and I wrote this song [“Bomb Through the Breeze”] as a response to feeling backed into a corner by someone who doesn't get the hint,” says Wicklund. “This is the type of song to hopefully inspire some self-confidence when it comes to standing up for yourself and others. Unfortunately, when someone's volume is on loud for so long, the only way to get their attention is to do something even louder.”
At a table outside of an East Nashville bistro, Wicklund muses: “I feel my songwriting has matured over the last few years, both lyrically and musically. I’m definitely proud of what I’ve done previous to this new album, but hearing these latest songs finished for the first time, I was able to recognize the overall development my music has gone through. A lot of it came with getting older and living more life, experiencing things that were well worth a song or two. I’ve always had a more serious and expressive tone to my music, which is still prevalent, but in the last year my songs have started to cover a wider array of feelings and are able to emote more than just a moody song in A minor. Working with a producer that shared my musical taste, similar path and home state had a lot of impact as well. Sadler did a great job of taking what I envisioned and refining it so that every part was suiting the song.”
The buzz about Hannah Wicklund & The Steppin Stones is continuing to grow in America and overseas, with the media taking notice. Guitar Player Editor-In-Chief Michael Molenda (posting at GuitarPlayer.com on 9/13/17) has heralded Wicklund “not simply as a shredder or a tonal colorist, though she certainly has chops and can go for some buzzy and less-than-organic sounds. What’s impressive to me is how she uses her custom Tom Anderson guitar and Orange half-stack to drive the emotional context of her songs with a combination of spiky rhythms, slow lines, fast runs and cagey riffs. It all adds up to a thrilling ride.” Over in the U.K., the influential Team Rock website noted that “Hannah Wicklund blends bluesy sensibilities with tasty wah guitar and jutting rhythm–with notes of (gutsier) Fleetwood Mac in the mix,” adding that she is “one to watch out for” (11/10/17).
The first rehearsal of The Steppin Stones was back in 2005, after which they were playing six to nine shows every week. The first song they ever played was Neil Young’s “Rockin’ In The Free World” at a charity event in South Carolina. By the time Hannah graduated from high school at 16, they had logged well over a thousand gigs together. She grew up knowing that her life would be consumed by music. She understood that this meant working hard but never losing touch with the intensity that music requires.
Hannah credits her father with instilling that lesson. Her first guitar was a present from him, as a kind of atonement for getting rid of her backyard trampoline. That very night, he taught her to play “Rockin’ In The Free World” and Tom Petty’s “It’s Good To Be King.” (Creativity runs through the family: her mother, a talented artist, painted the latest Steppin Stones album cover.) Wicklund ramped up her songwriting as well, based on the insights she’d picked up from playing carefully selected covers with The Steppin Stones. “To craft a song well, you look at whose songs you love,” she explains. “I love that we were a cover band because we got to see what worked and what didn’t through other people’s music--and, as a three-piece, how to make it work.”
At age 13, the band played the first of many private shows (which Hannah arranged) for AC/DC frontman Brian Johnson and his vintage racing car team. As word began to spread, the band went on to share billing with Jefferson Starship, The Outlaws, Kansas, Jimmy Herring, St. Paul & The Broken Bones and other headliners. They’ve also performed at major events such as the Peach Music Festival, Firefly Music Festival and Kaaboo Del Mar.
Hannah Wicklund & The Steppin Stones continue to tear it up on the road. In late 2017, they toured Europe and then performed more shows in the U.S., finishing the year out with a string of shows with The Marshall Tucker Band. In January 2018, they’ll launch “The Sibling Rivalry” tour with The High Divers (fronted by Hannah’s brother, Luke Mitchell).
Their story continues--one step, one stone, and one night of thrilling music at a time.
$30.00 - $200.00
Please note- there is a 6 ticket limit for this show per person. No refunds or exchanges.
Attention: Parking at Merriweather for 2017 has Changed! All ticketholders NEED to pre-select parking (or decline parking) once tickets have been purchased. Once you’ve completed your ticket transaction, you’ll receive a confirmation email with link to select your FREE parking. Please do so in advance so you have a parking lot assignment and ticket when you arrive for the show.
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Merriweather Post Pavilion
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