January 12, 2012 in 09, 10, 11, 12, 17, 2, 25, 27, 28, 29, 3, 31, 50, 9, 99, a, acoustic, after, age, all, am, American, an, and, Are, around, as, at, away, Bad, ban, band, bands, bh, bite, blue, Bluegrass, blues, boot, Burn, but, by, ca, can, center, CHICKEN, chris, Chris Kuroda, classic, color, Crowd, cute, dancing, davis, DAW, Day, Day., dead, dog, Drop, Dust, electric, en, end, Enjoy, eq, Eve, Eyed, Fat, FEAT, fee, festival, fi, final, fire, First, FOR, Free, From, Funk, gag, George, get, gin, give, Gorge, great, Groove, guide, Guitar, guitarist, hd, hi, high, home, How, ice, in, inspiration, inspired, into, is, IT, jam, jazz, John, Joy, Jr, King, know, kuroda, las, Last, late, leave, Led, Lee, life, light, lights, Like, LITTLE, live, log, logic, long, love, MA, Made, Main, makeup, maze, MD, MI, mike, mod, Mr, Much, Music, My, name, Nat, nc, New, News, night, NJ, no, nothing, ny, of, on, one, op, organ, out, Outdoor, PA, Park, parking, Part, party, Paul, photos, Piano, picking, play, Pop, post, Pot, pro, Pt, rad, radio, rain, rant, reggae, return, rift, Road, Robin, rock, roll, room, row, rs, run, Sand, santa, Saw, SC, set, Shine, show, Sky, smooth, So, song, Soul, sound, St, stage, start, step, stone, studio, style, tab, Taste, That, the, theatre, third, to, tone, Too, Tribute, Trip, tub, Twist, two, us, va, van, view, vocal, WA, war, water, Way, we, Ween, with, words, You, Your, Zeppelin |
Words by: Dennis Cook | Images by: Brad Hodge
Full review below photo gallery!
1/10/12 – Jam Cruise 10: Day 2 @ Jam Cruise View Photos
We awoke on our first full day to sunshine, cooling breezes and nothing but water as far as the eye could see. The striking contrast to the previous night’s jubilant clatter and costumed hordes in the morning hours spotlighted how much the mood on the ship can change in the blink of an eye. While many slept off their revels and dawn-greeting antics, others enjoyed the quietude over a breakfast served by white jacketed waiters or baked happily by the pool beneath a robin’s egg blue sky. Shortly before noon, we were served a crisp wake-up slap from George Porter Jr. and The Runnin’ Pardners on the main pool deck stage, where folks gathered on the plexiglass covered, drained pool – a real sight at night when the lights beneath the temporary floor fire up and folks get into serious dancing – or lounged in the raised hot tubs, which provide some of the best views of the stage. The immediate power and push of the Runnin’ Pardners was apparent, their smiling leader drawing us in with a charm that’s nigh irresistible. On Jam Cruise, George Porter Jr. is royalty, and rightfully so given his instrumental place in the evolution of American popular music. Backed by an absolutely stellar band, particularly lead singer-guitarist Brint Anderson who consistently brought things into sharp focus with his husky, powerhouse voice and stinging, rough blues guitar work, this was rock-infused groove that stirred one’s tired limbs to life. It was a blast to see them reclaim two iconic tunes – “Sailin’ Shoes” and “Sneakin’ Sally Through The Alley” – that Porter had helped craft into classics with Robert Palmer in the 70s with renditions that could serve as a guide mark for future versions.
The music rolled on almost continuously into the next morning as the boat trucked towards Haiti, much of the day spent moving along Cuba’s coastline. One of the pleasures of full days at sea is the chance to focus on individual sets since during daylight hours, which bounce between the main stage, full band performances and the tiny elevated solar stage, which mostly showcases singer-songwriter style fare (with some DJ action thrown in), this day marked by a quite nice Fat Mannequin (an acoustic flavored Heavy Pets side project) set and a subtle, heart-tugging Nathan Moore set that included a gorgeous “When A Woman Cuts Your Hair” and “The Boat Song,” a short, sprightly ditty he penned last year on his first Jam Cruise that begins, “Look, ma, no hands, I’m on a boat far from land,” and ends up daydreaming in a sailboat in the yard at home about the pleasures of this journey.
The rest of the afternoon saw a warming, swaying performance from Keller & The Keels – a serious bunch of musicians who don’t take themselves too seriously with the first of several boffo sit-ins from artist-at-large Anders Beck, dobro wizard of Greensky Bluegrass. Later it was a kick-up-the-dust Bruce Hornsby & The Noisemakers set that played up Hornsby’s New Orleans streak and generated grins with every tune, especially on a crowd pleasing “Mandolin Rain,” which retains its oomph despite its radio omnipresence. The high winds of the previous night returned later in the day as we began to round Haiti, and with them rain that began with a few drops and swiftly turned into a sky blurring haze of wetness that cut short the satisfying Sly & The Family Stone tribute lead by Ivan Neville with a band that included all of Soulive, most of Dumpstaphunk, guest turns from John Oates, Jessica Lurie and Orgone‘s comely lead singer. What surprised and worked really well was how tight and not jammed out the Sly songs were executed, the musicians largely pulling off the thick sonic feel and vocal layering of the originals, especially impressive given the single rehearsal that preceded the set.
Worries about the rest of the evening’s outdoor music persisted for a little while, pushing back the start of Jam Cruise ultra-veterans Galactic, one of the only bands to have played all ten cruises. With a tighter time limit, the band hit hard and never stopped hitting during their guest filled set after the rain subsided.
Indoors, the manic, inspired madness of the Dead Kenny Gs, which, true to form, freaked out first-timers unfamiliar with their punk-addled, jazz-chops bouillabaisse (for my part, I vibe on a logic defying level with the utterly original, utterly unpredictable mojo of Skerik, Brad Houser and Mike Dillon and did some herky-jerky rug cutting dressed appropriately strange in a chicken head mask, a t-shirt celebrating GILFS and an Armani jacket. Further highlighting the huge mood/vibe swings on Jam Cruise, a few hundred feet away from the Gs, Railroad Earth offered up music of great tenderness for traveling souls punctuated by a two song guest turn by Anders Beck where they whipped up an acoustic-electric whirl akin to Zeppelin III, and finally landing in a hymn for peace on earth that made everyone but the most cynical feel like maybe that prayer will find fruition one day.
Wildly different options filled the sonic menu until the predawn light shimmered over Haiti, with Orgone picking up new fans in the Zebra Lounge with their modern take on the sort of variety one encountered in landmark artists like War and 70s Santana, EOTO improvising a colorful new wave shindig on the deck, and Umphrey’s McGee – who offered up nicely evolved versions of recent gems “Domino Theory” (with a smooth, bubbling tangent sandwiched between the nasty bite of the studio arrangement) and rollerskating jam “Booth Love” featuring a John Oates sit-in. As several spun diehards noted with swirly-eyed, apostolic passion, UM were “killin’ it so hard” in the theatre, which featured best-yet this year lighting work from the continually impressive Jefferson Waful, who’d earlier in the day held an insightful, well attended workshop on lighting design with fellow illumination sorcerer Chris Kuroda – just one cool teaching, Q&A opportunity for those aspiring to create their own magic in this realm. This aspect of Jam Cruise’s makeup is positive inducement to move from being a spectator to a creator, and one picks up on fantastic new ideas being born all around them amongst all the traditional festival aspects. People leave this boat with new alliances, fresh inspiration and a feeling that dreaming can be made into reality if one rolls up their sleeves and hitches themselves to the right allies.
The pool deck stage closing set from The New Mastersounds confirmed their status as top-tier modern funkateers with one of the largest crowds of this year’s JC, while The New Deal played their next-to-last set in the theatre, reminding us that, as ever, they are a truly unique animal, the sound of a classic piano trio given sparking, delightfully puzzling new form, an undulating inquiry into future forward groove that made one a bit sad that their days are almost done. Over in the Zebra Bar, Surprise Me Mr. Davis made their Jam Cruise debut, kicking off with some of the most aggressive playing this SMMD longtime fan had ever witnessed. With the wide musical smorgasbord on this cruise bands can’t wait to make an impression, and their attack made one sit up and take note immediately. Perhaps the greatest rock band few people know, SMMD comprised of Nathan Moore, The Slip and Marco Benevento – drew a small but enthusiastic and engaged crowd, many drawn to the more obvious party feel of bands with New in their name. Amongst those getting knocked out by tremendous tunes like “Sisyphus” (with an inspired electric piano guest turn from birthday boy Alan Evans, and an electrified “When A Woman Cuts Your Hair” were Railroad’s Tim Carbone, who told me SMMD is one of his favorite bands, and Greensky‘s Paul Hoffman, a Davis newbie who repeatedly expressed how impressed he was with every aspect of this band, calling them “the sleeper of this year’s Jam Cruise.” Hard to argue with that assessment given the diverse, beautifully constructed songs, in-the-moment daring-do, emotional honesty and blinding great chops displayed this night. And if you got there early you got a free tie from the suited up fellas. For what it’s worth, Surprise Me Mr. Davis has all the elements that critics and mainstream listeners praise in Wilco or Dr. Dog but given a beautiful, humanizing spin.
For the hardcore party people the festivities continued in the disco, where the real weird streak of Jam Cruise flagrantly emerges, with Paper Diamond spinning body twisting inspiration, and in the Jam Room, where Eric Krasno dipped into funk, reggae and more, shifting organically as members of Toubab Krewe and countless other gifted musicians wandered in to get a taste. For many, bed beckoned to rest up before stepping into the sands of Labadee in the morning, drifting off blearily, vaguely amazed that this trip was only two-thirds along its arc.
Tags: blue, blues, burn, day, Eve, images, kuroda, outdoor, piano, radio, shoes, sky, trip, Twist, zebra
December 2, 2011 in 06, 09, 10, 11, 12, 2, 2009, 2011, 25, 27, 29, 3, 30, 50, 9, 99, a, after, Again, age, Alive, all, am, an, and, another, Are, around, as, at, attempt, Ball, ban, band, bands, beginning, big, blue, Bluegrass, book, boot, bowl, Bridge, Burn, but, by, ca, can, cat, Cavern, center, Chant, chicago, chords, City, classic, close, concert, contest, Crazy, Crowd, dance, Day, does, Drums, en, end, epic, eq, Eve, fake, FEAT, fee, fi, final, finish, First, flood, Fog, FOR, four, Free, Friend, From, Funk, gag, gain, game, get, gin, give, glow, grace, ground, Guitar, hall, hampton, hi, high, home, Hope, How, ice, in, inspired, into, is, IT, IX, jam, Jams, jazz, key, Keys, King, Lake, las, late, Led, light, lights, Like, live, live music, long, lot, love, MA, machine, Made, Main, maine, mash, mass, MI, miami, midnight, mix, Much, Music, My, Nat, nate, nc, New, New Year's, News, night, no, North, NV, ny, of, on, one, op, Open, opening, out, PA, Park, Part, party, Phish, photos, play, Pop, pro, production, Pt, rad, rain, rant, rare, raz, recording, return, Road, Robin, rock, Rock And Roll, roll, rolling, Rolling Stones, room, row, rs, run, Sand, Saw, SC, second, set, Shine, show, Shows, smooth, So, Something, song, Soul, sound, SPAC, Sparkle, St, stage, stars, start, step, stone, stones, storm, string, studio, Summer, tab, tease, That, the, theatre, Thunder, to, tone, Too, tour, track, two, uic, us, USA, va, venue, view, vocal, WA, WAITING, war, Way, ways, we, windy, with, words, years, You |
Words by: Bryan Tobian | Images by: Brian Spady
Umphreys McGee :: 11.26.11 :: Aragon Ballroom :: Chicago, IL
 Umphreys McGee w/ Chicago Mass Choir by Brian Spady |
Still euphoric from the previous night’s blazing wake-up call after a week of Thanksgiving gluttony and sloth, a shallow queue of zealous fans waited patiently in the alley next door to the expansive Aragon Ballroom. Telling jokes and favorite stories of the road, they braved the chill as the rain dumped buckets onto Chicago’s North Side. An obvious consensus of the group was that this night’s show was going to be something extremely special, perhaps even miraculous. Two hours after the first person showed up, the doors opened and sopping fans shuffled their way into the venue, vying for the best positions in the house. It would turn out to be unquestionably worth every penny, every second and every mile that it took to get there on an otherwise unassuming night in the Windy City.
Nearly three years ago, Umphrey’s McGee showed the true glory of their artistic vision with the help of their newly recruited lighting designer Jefferson Waful. The night has become a part of Umphrey’s lore. Many fans recount their visit to the magnificent Chicago Auditorium Theatre, where the band capped off a stellar three day performance by inviting the Chicago Mass Choir out after midnight for the first set of 2009; effectively turning the performance into something more akin to a church service than a concert. Some will even swear they saw God appear in what is still one of Waful’s most magnificent rigs to date. Three years later, breaking a decade long tradition, the band will be playing New Year’s in St. Louis rather than Chicago as they take their biggest show of the year on an indefinite tour of locales beyond their frigid home turf. In an attempt to reconcile, they decided it was high time to give a shot at recreating the magic of that glorious 2008 night in a venue they’ve grown extremely comfortable playing over their many blustery New Year’s residencies.
 Umphreys McGee Fans by Brian Spady |
Twenty-eleven has been a crucially successful year for the band as they continue to elevate the level of their game with bigger, more spectacular live performances in some of the most notable venues in the country. The release of their newest album, Death by Stereo, has proven to be their most crisp, audience friendly, studio production to date. And, of course, their level of fan engagement has remained one of their calling cards with more fan-driven StewArt events, another spectacular UMBowl (the ultimate StewArt event), a remix contest featuring songs from the new album, the now annual Mayan Holidaze vacation shows in Cancun, and their newly announced sUMmerschool which will allow up to 150 devoted fans to participate in 3 days of master classes for musical instruments, lights, sound, business etc., taught by none other than Team Umphrey’s.
The crowd in the massive Aragon built much quicker for the second night’s show as Cornmeal ripped a hole in the bluegrass cosmos, led in part by the Midwest grown, ever virtuosic, fiddling siren Allie Krall. A packed house danced wildly with delight, waiting excitedly for the main event to begin. It has been somewhat rare in recent years that Umphrey’s even gets to come home and treat their roots to all of the music that they deserve. Many may not realize it, but the touring New Year’s run gives them more contractual freedom to play their city by the lake more often. Hopefully it will lead to more special shows hosted in the city’s warmer months and give Umphrey’s the ability to explore some of the other epic venues in the Midway City. This chilly, but not frigid or hellishly cold evening represented the beginning of the experiment.
 Umphreys McGee w/ Allie Krall by Brian Spady |
The room was thick with fog and anticipation as the six Horsemen of the UMpocalpyse filed onto the indigo-washed stage with their pre-recorded track Nipple Trix playing in the background. Rhythm technicians Kris Myers and Andy Farag joined the recording first with thumping kicks and sizzling cymbals. Brendan Bayliss and the newly hitched Ryan Fabec Stasik hit a heavily distorted rock chord over twinkling Joel Cummins keys to set a majestic, uplifting base. With all engines go, Jake Cinninger stomped on the accelerator, soaring quickly into the lead guitar heavens as the Umphrey’s voyager rocket lifted off towards the outer reach of the rock and roll galaxy. Their manically progressive stinger Bridgeless, 80′s pop party Bright Lights and frantic rock anthem 1348 all contained massive jams with the band firing early on all cylinders, reaching massive, quaking peaks in each exploration before moving onto the next tune. Somewhere in the 1348 jam, Allie Krall returned to the stage to help finish out a shuffling country-rock improv that left the audience roaring as the band flowed into the balladic Hajimemashite. It is an old track made new on Death By Stereo that features a heart wrenching vocal performance by Bayliss. As his wails resonated over the frantic audience, Jake and Allie tore into a spine-tingling dual over thundering drums from Myers and Farag. The stage sparkled wildly as Waful followed them every step of the way to the glorious climax. 40′s theme kept the energy alive as Bayliss seized his chance to open up on his nightingale-voiced PRS guitar before passing the lead to Cinninger to kick it into overdrive as the first set stormed to a close.
 Umphreys McGee by Brian Spady |
The beginning of the second set showed the band continuing the fiery energy they exuded in the first set with monstrous versions of two more Death By Stereo tunes, Miami Virtue and Booth Love. Virtue contained a manic jam that saw Waful spraying the room with his colossal MacIII light cannons before the Umphrey’s machine changed directions into the slinky Booth Love. The night was shaping up to be spectacular even with the noted absence of the evening’s honored guests in the Chicago Mass Choir. However, as people began to wonder when those festivities would begin, Cummins welcomed the group’s long awaited return to the stage. Cinninger noodled around on his blue diamond hued G&L Telecaster before playing the opening chords of Bullhead City to the surprise and excitement of the audience. The twangy chantey started softly as Cinniger and Bayliss sent charming lyrics back and forth with the help of the choir’s lead alto. As the full choir joined the chorus, hairs raised, goosebumps formed and tears began to seep out of awe-stricken eyes. With the channels opened and positive energies flowing, the band relit an old candle as they jumped passionately into their mashing of Amazing Grace and their original instrumental Glory. The choir roared as the band transitioned with 25 extra voices ringing out over the vast Aragon Ballroom. With fervor, Cinninger’s guitar licks called out blissfully, and Waful matched his intensity as the lights exploded in celestial radiance. The divine sonic energy flowed and the entirety of the sold out auditorium was once again taken to church within the first hour of Sunday morning.
 Umphreys McGee w/ Chicago Mass Choir by Brian Spady |
With the buzz still riding high, the 70′s era, jazz-funk jammer Day Nurse brought the crowd back to Earth, ending with a spooky tease of Pink Floyd’s Shine On You Crazy Diamond while the stage glinted and glimmered accordingly. The Floor followed smoothly from the fake-out as Bayliss stepped up to the plate to sing the dark, emotive vocals which echoed eerily through the cavernous Aragon. A short Much Obliged flowed into the second half of Bridgeless, bringing the show back around full circle with the eruption of its rampaging conclusion. Barely a soul in the ecstatic audience left the floor during the break as We want the Umph! chants broke out, calling back the brightest stars of this Chicago night for one more solid performance before basking in the afterglow of this mystical experience.
The chants were clearly heard as the band retook the stage to the bellows of their enchanted congregation. While many had been waiting three years for the return of the choir, the Umphrey’s troupe is well aware that there are still many creative roads uncrossed. Even though the band does everything they can to make every night special, it is the ones where they go out on a limb, take chances and explore something new and exciting to the musicians themselves that make for the most memorable shows. With their finger always on the pulse of their fan base, they reminded us that they are working on it and that it will come All In Time. The wailing guitar twosome of Bayliss and Cinninger shredded through the finale of the song with equal parts force and grace. Their instruments sang out like the cries of cherubs as they locked into the blistering conclusion. Waful opened the floodgates seeming to have a set of lights that followed each member as the strobing mayhem flared into its grandiose, classical, finale inspired by Spinal Tap’s use of Luigi Boccherini’s ‘Minuet from String Quintet in E major, G.275′.
Again, answering the unspoken calls, the band invited the choir back to the stage to close out the night. As they rang out the opening, operatic lines of The Rolling Stones’ historic rock staple You Can’t Always Get What You Want, for a moment nobody remembered that outside these walls there was still turmoil in this world. Instead, on this special night, four thousand of us were united into a single heartbeat as we sang, danced and rejoiced together through the power of music. We can’t always get what we want but Umphrey’s McGee has shown their fans time and time again through the years that, love, humility and ambition will undoubtedly get us what we need.
11/26/11 – Umphrey’s McGee @ Aragon Ballroom (Chicago, IL) View Photos
Umphreys McGee Tour Dates :: Umphreys McGee News
JamBase | Uplifted
Go See Live Music!
Tags: artistic, Eve, fog, friend, glow, ground, Guitar, lake, night, Phish, pop, rad, rock, usa, windy
November 10, 2011 in 06, 09, 10, 11, 12, 2, 2011, 28, 29, 3, 30, 9, 99, a, acoustic, age, all, am, an, and, Are, around, as, at, Ball, ban, band, bands, Banjo, Bass, beginning, Bill, blue, Bluegrass, Bob Dylan, book, Burn, by, ca, can, center, classic, close, covers, Crowd, dancing, David, DAW, Day, dead, Drums, effects, electric, en, end, epic, Eve, fairgrounds, FEAT, fee, festival, fi, final, finish, First, FOR, friday, From, front, Funk, gain, George, get, gin, grace, grateful, ground, grounds, Guitar, guitarist, hall, halloween, hampton, hi, high, How, ice, in, intro, is, IT, IX, jam, jazz, Jr, key, Keyboard, Keyboards, King, las, late, Led, light, live, live music, MA, Made, Main, marathon, medley, MI, midnight, Music, Nat, nc, New, NH, night, NJ, no, of, on, one, op, organ, out, PA, page, Phish, photos, play, post, pro, Pt, rad, RCA, read, reggae, Road, rock, room, row, rs, saturday, SC, second, set, show, Shows, smooth, So, solo, solos, Soul, sound, SPAC, St, stage, step, string, tab, That, the, to, Too, tour, track, two, union, us, USA, va, venue, view, vocal, WA, Walk, we, Wednesday, Weekend, Ween, whiskey, with, words |
Words by: Liz Carrol | Images by: Susan J. Weiand
Hangtown Halloween Ball :: 10.28.11-10.30.11 :: El Dorado County Fairgrounds :: Placerville, CA
Extensive photo gallery begins at the end of review!
 Railroad Earth by Susan J. Weiand |
Halloween weekend, festi-folk from across the West Coast traveled to Placerville for the Hangtown Halloween Ball, a rock fusion festival organized by Pet Projekt and Railroad Earth. Hosted at the El Dorado County Fairgrounds in honor of Railroad Earth’s approaching tour, the three-day festival included performances from the featured band and their guests. With a tight lineup of renowned artists, a scenic venue and ample dancing room, the Hangtown Ball was the perfect Halloween treat.
 New Monsoon by Susan J. Weiand |
Two weeks before the event, Pet Projekt made a surprising announcement the two-day festival had been extended to three, now beginning a full day early with no added charge. Psyched for the surprise trifecta at a bargain price, the Hangtown crowd arrived on Friday in high spirits. Inside the Fairgrounds spacious venue, RRE improvised an original soundtrack while showing the silent horror . Next, New Monsoon delivered an energetic performance that had its audience stomping to bluegrass one second and grooving to reggae the next. Comprised of two guitars, one electric and one acoustic, keyboards, bass and drums, NM captivated its audience with confident versatility, graceful transitions and smooth vocals. In a highlight performance, NM expertly covered Pink Floyds Pigs (Three Different Ones). The indoor venue trapped NM’s swanky vocals and chilling guitar solos, creating the perfect sound effects for Floyd. Finally, Headphone Union dished an upbeat set of rock and soul, bringing the Balls first night to an optimistic conclusion.
 David Grisman Sextet by Susan J. Weiand |
The following day, fans and vendors posted in front of the main stage for a bluegrass marathon, with performances from Sugarcane, Poor Man’s Whiskey and Elephant Revival. Then at around 5 P.M., the David Grisman Sextet took bluegrass in a fresh direction with some ‘Dawg Music’, Grismans signature fusion of bluegrass and jazz. I heard sex sells! the mandolin legend joked as he introduced his latest band. Backed by a versatile string band, Grisman tickled his mandolin through a set that dabbled in rock and soul.
Next, Grateful Dead drummer Bill Kreutzmann and his band 7 Walkers rocked some familiar Dead classics, including Sugaree and a nostalgic Hes Gone. Kreutzmann later treated fans to a second performance when he joined RRE to play Mississippi Half Step Uptown Toodeloo.
 JGB by Susan J. Weiand |
The Funky Meters brought Saturdays schedule of banjos and bluegrass to a smoking halt with their electric midnight performance. These musical legends were determined to funk every second of every jam, as George Porter Jr. and Brian Stoltz playfully challenged each other on guitar and bass. The Funky Meters closed out Saturdays performance with a Jimi Hendrix medley, beginning with Voodoo Child and finishing with an explosive Purple Haze.
The final day of the Hangtown Ball featured an eclectic group of performances, including a swinging show from the one-man band Zach Deputy. At sunset, Melvin Seals & JGB honored Jerry Garcia with covers of his favorite rock classics. In a performance that included Bob Dylans Tough Mama and a soulful Mighty High, lead guitarist Stu Allen temporarily filled the void left by Jerry with his gentle vocals and clean guitar riffs. RRE delivered Sundays final set, concluding an epic festival and leaving fans excited for their upcoming tour.
10/28/11 – 10/30/11 – Hangtown Halloween Ball @ El Dorado County Fairgrounds (Placerville, CA) View Photos
Continue reading for more photos from the Hangtown Halloween Ball…
10/28/11 – 10/30/11 – Hangtown Halloween Ball @ El Dorado County Fairgrounds (Placerville, CA) View Photos
Continue reading for more photos from the Hangtown Halloween Ball…
10/28/11 – 10/30/11 – Hangtown Halloween Ball @ El Dorado County Fairgrounds (Placerville, CA) View Photos
Continue reading for more photos from the Hangtown Halloween Ball…
10/28/11 – 10/30/11 – Hangtown Halloween Ball @ El Dorado County Fairgrounds (Placerville, CA) View Photos
JamBase | Hung
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Tags: burn, covers, ground, live, Music, pro, road, smooth, string, weekend, ween