CBGB Festival and Secret Road / ASCAP Presents

The Bones of JR Jones

Born and raised in central New York, in a house at the end of a long dirt road, J.R. started dabbling in music when he was six and his mother mandated that he take piano lessons. A self-taught guitar and banjo player, J.R.’s fondness for old gospel hymns, bluesmen like Son House and R.L. Burnside, and artists like The Carter Family and Tom Waits, helped shape his sound, which has been described as “haunting stomp blues tempered with a touch of honey.” With a musical style that adeptly toes the line between folky and sorrowful lullabies to dirty, grainy, blues-influenced songs, J.R.’s voice communicates both intimacy and passion. Performing on stage with a kick drum, high-hat and guitar/banjo (as well as the occasional harmonica and kazoo) J.R.’s live shows are visually impressive – a powerful and dynamic display that showcases his musical and emotional range.

Aaron Lee Tasjan

An Ohio kid, raised on psychedelic cornfields and drinking in basements.

-Aliases: ALT, Enemies!, a Madison Square Gardener, the guy in the hat, the first of 3.

-Played lead guitar for the likes of The New York Dolls, Kevn Kinney, Tim Easton, JP Olsen, BP Fallon & The Bandits and Taurus.

-Co-wrote the world's first 3-sided single "I Believe In Elvis Presley" off the "Fame #9″ 7″ with BP Fallon produced by Jack White for 3rd Man Records.

-Have talked music with John Cooper Clarke.

-Have been in handcuffs in the back of a squad car twice on accident.

-Am living proof that a sordid past, one good hat and a fuzz pedal will go a long way to keep you in free beer and good company in this man's America.


Bess Rogers

Is Bess Rogers a folkie with punk instincts or an indie-rocker with an acoustic bent? Her EP Bess Rogers Presents Bess Rogers makes it hard to place her in a neat category — and that turns out to be a source of strength for this eclectic singer/songwriter. Rogers — a member of Ingrid Michaelson's touring band — likes to surround her sweet lyric sentiments with a tough outer coating as she recounts tales of fumbled romance and fragile happiness. Her acute ear for pop hooks is evident in "Come Home" (matching a sunny chorus with a thumping beat) and "Favorite Day" (a hard-charging tune reminiscent of early Go-Go's). More introspective are coffeehouse-style ballads like "What We Want" and "All In Good Fun." Dan Romer (another Michaelson associate) gives these tracks a nicely layered production, emphasizing the playful, anything-can-happen spirit of Rogers' songs. More than anything, there's a sense here that Rogers is exploring her sonic palette as well as her personal feelings. It's this freewheeling quality that makes the EP an engaging effort by an arresting new talent.



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