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As the lead singer of Gin Blossoms, Robin Wilson helped bring the Arizona music scene to prominence in both Tempe and Phoenix. The band released their first indie album in 1989; a debut EP, Up and Crumbling, in 1991; and their breakthrough smash, New Miserable Experience, in 1992, which sold over four million copies. Wilson’s songs, such as “Hey Jealousy,” “Follow You Down,” “Found Out About You,” and “Till I Hear It From You” (co-written by Marshall Crenshaw), were some of the most popular radio staples of the ’90s.

Gin Blossoms also provided ubiquitous film soundtrack fodder (including Wayne’s World and Speed), sometimes eclipsing the movies themselves (i.e., Empire Records). As part of the band, Robin Wilson was nominated for a Grammy in 1993.

Jonathan Scales is one of the most innovative steel pianists on the planet, and is redefining and challenging traditional expectations of his signature instrument. In his hands, the sonic palette of an instrument often associated with cruise ships and tropical resorts is radically expanded to mimic the role of horns, piano, vibraphone or marimba due to his stunning, virtuosic technique. Scales’ mesmerizing compositions have captivated listeners and elevated him to the status of a true composer, forging new territory in the medium of instrumental music.

Although Scales’ writing produces songs that are ultimately accessible and danceable, the compositions can be remarkably complex and difficult to perform. As a result, the power trio whimsically named Jonathan Scales Fourchestra has always had a fluid lineup top-notch musicians, and even included an “all-star” version with bassist MonoNeon (Prince, Ghost Note), drummer Robert “Sput” Searight (Snarky Puppy, Snoop Dogg) and percussionist Weedie Braimah (Trombone Shorty, Nth Power), as well as a number of other talented marquee value players. Throughout these changes, Scales has demonstrated remarkable perseverance and persistence, a topic that he presented in a TED Talk, while continuing to write and develop his craft and touring the North American and European club and festival circuit—as well as dates in Japan, Central America and The Caribbean. Scales also represented the United States through the Department of State as a musical ambassador in a four week concert tour of China, Taiwan, Hong Kong and Indonesia in early 2017, an honor for which he was chosen from among three hundred finalists.

Jonathan Scales’ newest release, PILLAR – his sixth album, and fourth release on taste-maker label Ropeadope—is a testament to the grit and tenacity he possesses, while also serving as an introduction of his new, full-time rhythm battery consisting of bassist E’Lon JD and drummer Maison Guidry. These two formidable young lions hold their own in the company of an incredible cast of special guests, including bassists Victor Wooten, Oteil Burbridge and MonoNeon, trumpeter Christian Scott aTunde Adjuah, saxophonist Jeff Coffin, keyboardist Shaun Martin, percussionist Weedie Braimah and banjo pioneer Béla Fleck. It is the inclusion of Béla Fleck on this record that stands out most notably in context of Scales’ own personal story, and in this regard, PILLAR represents a remarkable victory for the music lover inside of the 33-year-old Asheville, NC based artist.

The Blues Monsters have been taking center stage for over 20 years! A red-hot rockin’ blues band from the North Lake Tahoe and Reno area, The Blues Monsters were voted the #1 blues band in North Lake Tahoe for 7 years running “Blues Access” a national publication reviewed their 2nd CD “Live Vibrations” and could it be said any better, “this band has all the ingredients for a great show.” The Reno Gazette Journal stated “this CD should be used as a teaching tool for anyone who wanted to record a live CD.” Their first CD “Red Hot Hat” received substantial airplay on KTHX Reno as well as “Mick Martin’s Blues Party” the blues show broadcast on NPR radio in Sacramento and sold thousands of copies.

As an example of such diversity, though primarily a blues rock band, the funk instrumental selection off the CD ‘Red Hot Hat,” entitled “Blue Monster” written by Barry Slayton was used on the benefit CD ” Tahoe Jazz 2000″ featuring a host of artists such as the Yellow Jackets, Michael Franks, Marilyn Scott and others.

Members of the band have shared the stage with a Monster cast of musicians- Journey’s Neal Schon, the Drifters, David Coverdale of Whitesnake, Jimmy Page, Creedence Clearwater’s Doug Clifford and Stu Cook, Stephen Stills, Lydia Pense and Cold Blood, Bo Diddley, Grateful Dead’s Bob Wier, Booker T and the MGs, The Commitments, Kenny Logins, Kenny Neal, Tinsley Ellis, Pablo Cruise and more!

It’s amazing to find such a powerfully unique combination of R&B, funk, jazz, and Chicago-style blues high in the mountains. Polished, tight, yet bursting at the seams, their originals are fresh and new, even though it’s still the blues. Their covers are framed in signature arrangements that demonstrated the depth of the band’s talent.

Whether paying respects to the masters of traditional blues, or rockin’ out other tunes, The Blues Monsters get the whole house up and dancing. They’re a red hot time – a great reason to choose blues!

From the high deserts of Nevada, The Sextones emerge with their debut album, Moonlight Vision, now available worldwide. Moonlight Vision is a diligently crafted work showcasing their distinctive brand of soul music with smoked out guitar riffs, growling bass lines, commanding drums, sticky organ comping and honest, but catchy vocal acrobatics. The release of Moonlight Vision is the first step forward for a group that has already accomplished what most musicians spend a lifetime trying to achieve –touring across the nation and sharing stages with the likes of Macy Gray, Ziggy Marley, and Ivan Neville’s Dumpstaphunk, as well as working with renowned funkologist Alan Evans of Soulive. The mighty band is formed from acclaimed west coast musicians, Mark Sexton (guitar/vocals), Alexander Korostinsky (bass), Daniel Weiss (drums), and Ryan Taylor (keys.)

The group can be described as obsessive compulsive perfectionists, spending over a year in post-production. Every aspect of the record was put under the microscope, considered and reconsidered before finally reaching its final state. Moonlight Vision embodies the boundless work ethic and attention to detail the band brings to the table.

The Sextones took a tonal purist’s approach to crafting the album’s sound, making sure to stick to timeless methods over hyped-up trends. In the age of all digital recording, electromagnetic analog tape was used to capture every nuance of the band’s high-caliber musicianship. While searching for a studio that was well-equipped to fit their vision, the group found a home at Prairie Sun Studios in Sonoma, California, the birthplace of several famous Tom Waits albums.

The aim was to do what many great artists have done –take elements from great works of the past and add a contemporary flavor to them. Speaking further on this Mark Sexton noted, “One of the intentions of Moonlight Vision’s production was to have a sonically classic sounding album –sounds that are reminiscent of music we grew up listening to, but with a modern character. I think we achieved that.”

The songs on the album tackle the issues that keep many of us up deep into the sky’s darkest hours, with Mark claiming that “love, resentment, growing up, fear, stubborn defiance, and dissatisfaction with current times are reoccurring themes for Moonlight Vision.” The themes of the songs show a band grounded in reality, creating a relatable aura around a vibe very few can recreate. The tracks exemplify carefully executed arrangements, with Sexton explaining, “These songs were road tested on audiences and meticulously refined many times before finally laying them down on tape.”

Instantly demanding the aural attention, from the first track ‘Push on Through,’ –an anthem to keep using your gifts and not fall into the dreariness of societal norms– with a horn line composed by Scott Morning of The Polyrhythmics, to the precise falsettos of ‘How Could I Have Known,’ Moonlight Vision illuminates an otherwise dark path of hope. ‘Analog Girl’ flashes two-chord funk at its finest while ‘Home Is You’ provides a waltz-friendly time signature change. ‘Blame It on My Youth’ is a swing-friendly shuffle with a busy bassline, followed by ‘Can’t Stop,’ the oldest song on the album, lending itself as the album’s easiest dance number. Title track ‘Moonlight Vision,’ inspired by the 1969 cult classic Easy Rider, shows a rockier side of The Sextones that flashes strokes of Hendrix. Finally ‘The End,’ perhaps the most lyrically personal song on Moonlight Vision, caps the album appropriately with a deeper look into the heart of the band, before fading out with a swirl of psychedelic fuzz guitar.

The Sextones have musical chops beyond their years and Moonlight Vision shows how well-versed the band is across musical styles. The band has been touring since they were minors in high school and will continue to spread their sound throughout the United States and Europe.