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NORTH MISSISSIPPI ALLSTARS
 
 
 
 
 
     
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NORTH MISSISSIPPI ALLSTARS
Grammy nominated new album
"ELECTRIC BLUE WATERMELON"
Out Now on Cooking Vinyl
www.nmallstars.com / www.myspace.com/nmallstars

::: LIVE in the VILLAGE, Dublin :::
May 7th, 2006
Doors: 7.30pm
Tickets: E20.65 inc booking fee
“North Mississippi Allstars make no claim to being a blues band. Something happens when white boys play the blues. Rock and Roll. Whether it's Elvis or the Beastie Boys, this music has come to symbolize freedom the world over and to illustrate the inter-racial brotherhood of man.” – Jim Dickinson

>>> For Interview / CD requests contact Berube Communications on info@berubecommunications or phone 01 476-3603 / 0872442695 <<<

North Mississippi Allstars released their fourth studio album, “Electric Blue Watermelon” last month To promote the release of the album, the band will be doing a one-off Irish gig at The VILLAGE in Dublin on Sunday 7th May.

Recorded in Memphis, TN, “Electric Blue Watermelon” is a return to form and concept for the band and features special guest appearances by friends Lucinda Williams, the incredible Robert Randolph, old road buddies Dirty Dozen Brass Band, rapper Al Kapone from the film “Hustle and Flow” and the ever present syncopated rolling thunder of The Rising Star Fife and Drum Band. The album was nominated for an Award in the Best Contemporary Blues Album category at this year’s Grammy’s.

The name Electric Blue Watermelon is taken from the late Lee Baker’s back-up band, Funky Home Down & The Electric Blue Watermelon. The Baker-assembled psychedelic blues act became infamous at the 1967 Memphis Country Blues Festival. "Funky Down Home was Baker’s character," says Luther. "When he opened up his set, he rode out of an outhouse on a motorcycle wearing a dress."

Paying tribute the North Mississippi Allstars home territory and their musical forefathers, the album merges hill-country blues and driving rock music to create a stunning, earthy sound. Slide guitar and thumping bass compete with an electric washboard and propulsive drumming, as the special guests weave in and out of the mix.

Electric Blue Watermelon was produced by legendary Memphis producer Jim Dickinson (father of Luther and Cody), and features 11 tracks plus 3 bonus tracks*, exclusive to the European release. Long-time Dickinson family friend, Tom Foster, created the cover artwork which depicts the North Mississippi Allstars performing at the Overton Park Shell with Jim Dickinson on piano, Jimmy Crosthwait on washboard and Baker, who's shown driving his motorcycle out of a burning outhouse with his guitar slung over his back.

 
 
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U.S. PRESS QUOTES


"North Mississippi Allstars aim to put a new spin on Southern rock. Polaris bears serious fruit. B+" – Entertainment Weekly

"Polaris has more wide-open psychedelic patches than before, yet the group still plays straight-ahead John Lee Hooker grooves." - The New York Times

"They strike out in countless musical directions, from growling blues to psychedelic pop...In every way, Polaris represents a giant step forward for this band."
- Newark Star Ledger

“These third-generation southern rockers have been blending caffeinated frenzy with moonshine-tinged mellowness for several years, but never with the potency heard on ‘Polaris’” - Guitar World

“‘Eyes’ suggests that the best thing about heaven is the sexy, freaky angels, and backs up that vision with a pretty slide guitar figure that rises with desire and swoons with satisfaction.” – Baltimore City Paper

"... the completed album is more than just a realization of the master plan. It's a new and significantly different chapter in the history of the band." - Harp

“"Polaris" is an amazing leap, and the North Mississippi Allstars nail the landing.”
- Aspen Times

“Polaris shows they just cannot lose.” - Village Voice

“If [Polaris] gets the attention its well-written songs and fine playing deserve, the Allstars' smart and solid fusion may well become the foundation for a new school of Southern rock.” - Amazon.com

“Foregoing the full-bore guitar antics of previous efforts, they focus instead on expanding their stylistic palette. And they do it well, deftly handling blue-eyed soul (“Meet Me In the City”), buoyant pop (“Otay”), and even proto-arena rock (“One to Grow On”), all to great effect.” - Paste

 
 
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