McMenamins

Crystal Ballroom

Where On Any Night, Anything Can Happen!!

Box Office Info

Box Office Hours

Daily, 11:30 a.m. to 6 p.m.

Call the Box Office

1-855-CAS-TIXX

Email the Box Office

boxoffice@mcmenamins.com

Need More Details?

McMenamins Home

Full Event Calendar

Friday, March 1

moe.

with special guests Orgone

7 p.m. doors, 8 p.m. show

All ages welcome

$25 advance, $28 day of show

moe.

After two decades of writing, recording and touring together, veteran jam band moe. took stock of where they'd been, released a retrospective, then turned the page.

Two years later the Northeast-based five-some has opened a new chapter in the moe. story. What Happened To The LA LAs is the band's first completely new collection since 2008, and while creative evolution has always been a moe. hallmark, What Happened To The LA LAs shows the band stepping outside their comfort zone in some significant ways.

"For most of our career we've done everything on our own in a very cottage industry, home-y kind of way," explains Chuck Garvey, guitarist and vocalist. "Everything we take on - whether it's the creation of a T-shirt, a song, an album or a festival or concert - from start to finish, we have our hands in it. And this time we actually made the leap of putting ourselves in someone else's hands to help us come out with something different."

Toward that end, moe. signed with Sugar Hill Records, their first label partnership in more than a decade. Next they brought in an outside producer for the first time: John Travis, whose work with Kid Rock had earned him fans within the moe. camp.

For moe. - which in addition to Garvey includes Vinnie Amico (drums), Rob Derhak (bass, vocals), Jim Loughlin (percussion, Malletkat) and Al Schnier (guitar, vocals, keyboards, mandolin) - it was a major philosophical change. After all, this is the same band which famously built a recording studio inside a 150-year-old decommissioned church for 2008's Sticks And Stones.

"I, for one, was unsure about the process," admits Al Schnier. "I'm always wanting to see my songs through from start to finish. So deferring to somebody else, even on something as mundane as the mic placement on an instrument during recording, was a lot to let go of."

But Rob Derhak found letting go a huge relief. "The amount of responsibility that comes with the control is a little daunting," he notes. "Especially when you're dealing with for the most part three creative forces in the band. It's kind of nice to have somebody else make decisions. It's good to have a tie breaker, at the very least."

Which doesn't mean What Happened To The LA LAs is a sharp departure from moe.'s signature roots-rock and exploratory jams. Travis's most pronounced contribution was to challenge the band creatively enabling the album's 10 tracks to retain their dynamic essence, even in a studio setting.

Says Garvey, "He made it less about looking at it under a microscope and more about making creative decisions. He forced us to be creative and look at everything and not be attached to anything. That was the biggest thing."

Laughs Derhak, "Well, because we had somebody there to say,You know what? As great as you might think this is? It sucks! You're wrong. You can do better."

moe. fans will be pleased to find several never-recorded concert favorites on What Happened To The LA LAs, what Garvey dubbed "the cream of the crop." In some cases, such as the song "Lazarus," the material has been wholly transformed from its live iterations. Now refashioned as "The Bones Of Lazarus," the song features an entirely new bridge section and third verse.

Similarly, the Al Schnier-penned "Haze" went through several metamorphoses in the studio, not the least of which was having Rob Derhak handle lead vocals. Schnier recalls wrestling with the song's chord progressions and verses over an arduous day in the studio, a process he says "just beats you up psychologically. And the thing that worked in the end was having Rob sing the song instead of me.
"I was so unsure about it at first," he adds. "You talk about relinquishing control! Just giving up something like that, singing a song: it was one of my favorite songs that I had written for the album, and I wasn't even going to get to sing it! And then I heard Rob sing it and it was awesome. I'm really really psyched about the way that it turned out."

"Downward Facing Dog" is another of moe.'s newer compositions. Clocking in at just over 8 minutes, it's also the album's longest. Lyrically, the song was born out of Al Schnier's musings on aging and the passing of time. "My dad was in really poor health at the time, so I had a lot of big issues on my mind," he says. "Being a dad, and being in this situation with my own dad, just makes you look at the big picture."

"Rainshine" is a musically intricate piece which "kind of took a turn for the better at our producer's prodding," Schnier recalls. "Initially I was writing the song about one thing and ultimately the song ended up wanting to be about something else."

Schnier had tinkered with the song "Smoke" for several years, first experimenting with it as a piano waltz, then playing it on acoustic and later electric guitar. Hints of the song's waltz origins are still evident in its underlying form, though Schnier notes lyrics eluded him until the song took on its harder edge. "Then all of a sudden I was able to write lyrics in a half hour one day. I just needed to break through."

"Paper Dragon" is one of Rob Derhak's compositions. "I was thinking, what does it feel like to have this ability but if you used it, it would be the end of you? I think of this dragon that can breathe fire but it's made of paper, so it can't do what it was born to do. I thought it was an interesting idea for a song."
Percussionist Jim Loughlin wrote "Chromatic Nightmare," which came out of a fan-inspired psychedelic Halloween concert, as evidenced by the song's calliope-like strains. Similarly, Chuck Garvey's "Suck A Lemon" was written for the same Halloween show. Al Schnier's "Puebla" is an older piece that evolved in the studio into its present cascade of shimmering guitars.

Rounding out the What Happened To The LA LAs tracks is "One Way Traffic," which Rob Derhak wrote with Nashville-based songwriter Steven Dale Jones. Though it didn't start out as moe. song, with the addition of hard drums and rollicking guitar solos the band has made it their own.

The result of all this in-studio transformation is not so much a polished sound as a professional one, says Derhak. "I felt John Travis did a great job of having everything sit in its own spot in the mixes. Everything is real dirty and gritty, but at the same time it's all there and it all makes complete sense."
Partnering with Sugar Hill is another change for moe. The hope is that What Happened To The LA LAs will reach a wider audience as a result.

"Doing it on our own, our resources are limited by our size," Derhak says. "We were looking for somebody who can kind of expand who we can reach."

"It's a good way for us to reach a new audience and break some new ground," adds Garvey.
moe. will tour extensively in 2012, with both U.S. and international dates in the works.

website:
http://moe.org/

with special guests Orgone

Orgone

or·gone (ôr'g?n)

noun

1. A universal life force, a cosmic unit of energy, the creative force in nature.

2. Eight souls from Los Angeles who will move your ass and melt your face.

Pronounced with a long second "O," the Los Angeles band Orgone is dedicated to heavy, raw, adrenaline-fueled funk and sweat-dripping soul. With a core rhythm section of close friends and self-taught musicians steeped in local DJ culture, Orgone has spent the last decade expanding their roster and evolving a sound rooted in old school respect but pulsing with the force of the new millennium. Orgone has become a staple on the festival circuit while gaining a reputation among fellow artists as one of the baddest go-to backing bands on the planet. Always evolving musically and cosmically, Orgone continues to connect with kindred musical spirits throughout the universe with relentless touring and the upcoming release of their fifth full-length album.

Starting out as an instrumental five piece by friends with a love of funk records, Orgone cut their teeth putting their own gritty takes on cuts by the Meters, Booker T. & the MGs, Grant Green and Funkadelic among others. In 2002, the band independently released Orgone, a collection of tough, stripped-down, funk instrumentals that Relix Magazine called "intoxicating" and that quickly became a favorite of die-hard, funk fans. Orgone solidified that underground respect in 2006, adding a powerful horn section and releasing their second album, Bacano, a set of all-original, cold-blooded funk gems in the classic vein of War and Mandrill with improved, warm, organic production that matched the evolution of the band's sound. The release of their cover of "Funky Nassau" on both 7" and 12" became a an instant dance floor classic, inspiring a club edit by renowned DJ Danny Krivit and paving the way for The Killion Floor in 2007, Orgone's first full-length album for the legendary Ubiquity Records.

Orgone proved their continued evolution when the critically-acclaimed Cali Fever was released in 2010. The album was musical chameleon, shifting between West Coast cool, New Orleans grit, Lagos afrobeat, and heavy Mothership funk, taking, in the words of Dusty Groove America, "a rough, rugged, and uber soulful live funk vibe into a deeper and even livelier realm!" Released later the same year, an all-instrumental album The Killion Vaults showcased Orgone's growing mastery behind the soundboard and why their home studio, Killion, is becoming a favorite recording site for many acts. Orgone's roster and sound continue to grow with fiery, Louisiana soul singer Niki J. Crawford adding her powerhouse pipes to the music and sultry energy to live shows. And there are ample opportunities to catch Orgone on stage. Touring almost non-stop since the release of Cali Fever, including 288 shows in 2011 alone, Orgone has evolved into an incendiary live act, both as a headliner or opening for artists including the Roots, Al Green, Gil Scott-Heron, Rebelution, Galactic, Ozomatli, Snoop Dogg, Thievery Corporation, Sharon Jones & the Dap-Kings, Groundation, and Aaron Neville. Whether playing a club show or slots at national festivals like Bonnaroo, All Good, New Orleans JazzFest, High Sierra, Bear Creek, SXSW, moe.down, Mountain Jam, Waterfront Blues Festival, Jam Cruise 10 and many others, Orgone is a live funk juggernaut that can do it all, weaving seamlessly between gutbucket nastiness, afrobeat, disco/house, and classic covers, creating a sweaty, dynamic dance experience.

With their critical success and tight, touring chops, Orgone has become one of the most sought-after backing bands for studio sessions. The band has flourished in the studio, appearing on the 2011 multiple Grammy winning Cee Lo Green track, "Fool For Love" and major recordings by Alicia Keys ("Teenage Love Affair, "Wreckless Love"), Estelle ("Pretty Please"), Big Chief Monk Boudreaux, and Anthony Hamilton. Orgone's musicians have also collectively and individually toured and played with Booker T Jones, The Pharcyde, Breakestra, Keb Mo, Plantlife, Macy Grey, Pharoahe Monch, Too Short, Brett Dennan, Slick Rick, and Bun B.

Armed with a new album and a take-no-prisoners live show, Orgone is bringing organic soul and orgasmic music to a stage near you, continuing their rise on everyone's "Favorite Band" list.

Experience the band that continues to evolve and redefine funk and make a cosmic connection with Orgone in 2012.

Website:
http://www.orgonespace.com/