The Record Company
Saturday, March 4th, 2017
8:00 pmBrooklyn Bowl Las Vegas
$32.50 - $35.00 +
This event is 18 and over
$32.50 in advance. $35 day of show.
All guests must have a valid government/state issued ID for entry to the venue. No refunds.
TICKETS PURCHASED IN PERSON AT THE BOX OFFICE INCLUDE A $2 BOX OFFICE FEE
All general admission tickets are standing room only.
ALL TICKET PRICES INCLUDE NEVADA'S 9% LIVE ENTERTAINMENT TAX
Brooklyn Bowl Las Vegas is excited to offer special room discounts via Caesars Hotels & Resorts for traveling fans. For hotel rooms use promo code: BRB15 at www.caesars.com applicable for rooms at The LINQ Hotel and the Flamingo.
*Advertised times are for doors -- show time not available until day of show*http://www.brooklynbowl.com/event/1394038/
Recorded during the infancy of Gov’t Mule, the demos heard on The Tel-Star Sessions are from a time when Mule was an adventurous side project, formed during a year when Warren Haynes and Allen Woody had some down time from their work with the Allman Brothers Band. Becoming one of the most enduring, respected and active bands in the world was the furthest thing from the band's imagination; the plan was to record a low-budget album and play a few shows. It's now clear that they had stumbled upon something special, but at that point Mule was an experimental rock trio: Haynes, Woody and drummer Matt Abts, who Haynes brought in after playing with him in the Dickey Betts Band. Fans will love the chance to hear their early improvisational interplay, an impressive skill that has since become a signature of Gov't Mule's albums and live shows.
Collaborating with Allman Brothers sound engineer Bud Snyder, and taking legendary producer Tom Dowd's advice to record all instruments simultaneously live in a room, Gov't Mule holed up in the Tampa-area studio. They recorded a mix of early originals such as “Blind Man In The Dark,” “Monkey Hill,” and “Left Coast Groovies” along with covers by ZZ Top (“Just Got Paid”), Free (“Mr. Big”), and Willie Dixon (“The Same Thing”). Says Warren, “Along with our discussions about the ‘power trio’ being missing from the current musical landscape were the discussions of how the sound of the bass guitar had gotten progressively ‘cleaner’ since the ’80s (or late ’70s), and how that affected the overall feeling of the music.” Their influences leaned heavily on the likes of Cream, Jimi Hendrix Experience and ZZ Top, but Mule’s search to bring back a familiar sound is mingled with grunge and alt-rock influences that had just emerged in the early-mid ‘90s. Little did they know that the magic created during these sessions would spark such a prolific musical journey.
The band recorded three increasingly ambitious studio albums and performed countless shows before Woody died in August, 2000. After briefly pausing to ponder their next move, Haynes and Abts began recording The Deep End, two CDs featuring guest bassists, ranging from the Who’s John Entwistle to the Grateful Dead’s Phil Lesh.
“Everything we’ve done collectively has led up to where we are now,” says Haynes. “But those Deep End sessions, and the experience of playing with so many bassists and adapting to different sounds and approaches had a profound effect on Gov’t Mule and what we’ve done since.”
Danny Louis, a longtime collaborator, became a full-time member of Gov’t Mule in 2001, and the group has been a four-piece ever since. Bassist Jorgen Carlsson has been with the group since 2008, solidifying the lineup.
“I think a lot of the music we’re doing now is very similar to the music we were making in the earliest years with the obvious exception that we are no longer a trio,” says Haynes. “In some ways we’ve come full circle and in other ways it only makes sense if you step back and connect the dots. And that seems right to me. You want to keep growing and you never want to be static, or done changing.”
Warren Haynes’ unparalleled ability to bring together different musicians into a cohesive whole or to pull off epic musical happenings is one of the many reasons why Haynes stands apart from the many great front men and guitarists who have graced the musical landscape. Combined with his guitar and vocal mastery, these skills have made him an in-demand presence and indispensible musical ally for many.
Gov't Mule has showcased its virtuosity, intelligence and breadth for more than two decades, which have encompassed 15 studio and live albums, millions of album and track sales and thousands of performances. The band has become a human encyclopedia of timeless American music while adding to that canon with their signature sound.
is releasing its debut album Give It Back to You on February 12, 2016.
The rock/roots trio of Chris Vos (guitar, lead vocals, harmonica), Alex Stiff (bass, guitar,
vocals) and Marc Cazorla (drums, piano, vocals) has already been hailed by LA Weekly for
“making bluesy music that would sound more at home in a sweaty, backwoods Mississippi
juke joint,” while Time Out Los Angeles has described their sound as “reminiscent of some of
the best acts of the ’50s and ’60s—like if John Lee Hooker and the Stooges had a wellbehaved
The comparisons are apt.
“We have been influenced by early electric blues, so some of that influence certainly
shows,” acknowledges Vos. “But we’re just as influenced by bands like the Stones and The
Stooges as we are by blues legends like Hooker, Muddy Waters and Jimmy Reed.”
Wherever it comes from, Vos, Stiff and Cazorla have clearly come up with a fresh take on
classic rock ‘n’ roll that has proven appeal: Their music, well ahead of a record deal, has
been featured in over 30 commercial, film, and television placements including the theatrical
trailer for Last Vegas and ads for Coors Light, Subaru, Showtime’s Shameless,
ABC’s Nashville, CBS’s CSI: Crime Scene Investigation and a current ad for Miller Lite.
Meanwhile, The Record Company has developed a reputation as a live act worthy of
sharing the stage with such top attractions as B.B. King, Grace Potter, Trombone Shorty,
Buddy Guy, Charles Bradley, Robert Randolph, The Wood Brothers, Social Distortion, and
Blackberry Smoke—with whom they toured the U.K. and Europe. On the strength of two
EPs (Superdead, released in 2012, and Feels So Good, in 2013), the band received strong
college and Triple A radio format airplay and performed at the Montreal Jazz Festival,
Milwaukee’s Summerfest, NAPA Valley’s Bottlerock, Ottawa Folkfest, the Quebec City
International Summer Festival and the Harvest Jazz and Blues Festival.
“Our sound has a lot of early rock n’ roll but with a greater emphasis on the drums and
bass,” says Vos. “We aim to make the speakers move with our recordings.”
The group writes, rehearses, records and mixes all of its music in the same living room in
the Los Angeles neighborhood of Los Feliz where it originated.
“It all comes from our desire to write the best songs we can–and the most honest music
that we can,” says Vos. “We try to mix in different elements to keep it fresh. For example,
our song ‘On the Move’ has just harmonica, bass, and drums with no guitar. ‘Don’t Let Me
Get Lonely’ has all acoustic instruments–including acoustic bass–to capture more of
the rockabilly vibe that we dig, that is in so much of the stuff we listen to.”
The themes and stories in the lyrics of the songs are all draw from the threesome’s
“They are just stories we wanted to tell,” Vos continues. ”They can be simple or complex,
depending on what the music is calling for. Music and melody usually precede the lyric for
He notes, too, that each of The Record Company members play several instruments both
live and on record.
“We work hard to incorporate them into the music as creatively as possible,” he says. “So
besides the typical guitar, bass and drums, we also mix in harmonica, dobro slide, lap slide,
pedal steel, piano, etc. It’s about making the right choices for the songs and keeping things
as engaging as possible throughout the album–without compromising the integrity of the
“Off the Ground” is the first single from Give It Back to You.
“It was one of the last songs we wrote for it,” continues Vos. “The opening riff is Alex
playing slide on a bass with a little delay on it, then Marc comes in with the drums, and I
come in with my old junky lap steel guitar that I love so much. I was trying to capture a
Hound Dog Taylor-esque sound on the slide guitar. We wanted to give the bass a fresh
approach so Alex started playing the riff with a slide and we loved the way it sounded.”
The song is already making noise, thanks to a music video and its usage in the Miller Lite
“It’s cool to have a song in a commercial for my dad’s favorite beer!” says Vos, who like
Miller beer, hails from Wisconsin.
“I grew up on a working dairy farm in Wisconsin that my family still owns and runs. It is
something I am very proud of: I grew up milking cows, driving tractors, and bailing hay.
Then I moved out to L.A. in 2010 to chase the dream of writing and playing music full-time.”
Not knowing anyone in his new hometown, Vos started jamming around.
“I was jamming with some good people but I wanted a full-time thing, and ended up getting
in touch with Alex. We hit it off as friends and he invited me to his pad to listen to some old
vinyl records and hang out. It was there that I met Marc.”
They immediately recognized that they shared the same music tastes, and enjoyed jamming
together. One night they listened to the classic John Lee Hooker-Canned Heat
album Hooker N’ Heat, and were galvanized.
“Later that week I came back to Alex’s with an amp,” Vos recalls. “The three of us set up
some microphones in the living room and recorded ourselves running through some
songs. We were listening to the playback and decided right then and there that we had to
be a band.”
After recording a few tunes, “we hunted down every email address we could and started
mailing stuff out to everybody basically saying, ‘Hey! We just formed this band in our living
room. Listen to this for five seconds.’ Out of those first recordings we got booked into the
Montreal Jazz Festival and Harvest Festival in Canada, and got on our first tours.”
They settled on the band’s name after discovering that The Record Company was
“We all agreed right away that it had to be the name,” says Vos. “Given the way we started,
where we are from, and what we love to play, it makes perfect sense.”
But making records notwithstanding, it’s playing live that sets this Record Company apart.
“I always think of a performance as one less time on stage–not one more,” Vos concludes.
“Nobody can say how many shows you get to play in your life. So we try to play our guts
out, leave it all on the table, and have fun doing it.”
Brooklyn Bowl Las Vegas
3545 Las Vegas Blvd. South
Las Vegas, NV, 89109