Photo by David Clinch

If you work inside the Beltway you probably suffer from acronym abuse or abbreviation overload.  You may even consider abbreviations to be confusing and inherently evil.   But there is one abbreviation that won’t make you break ‘til you shatter.  And that abbreviation is O.A.R.

Of a Revolution, better known as O.A.R., is a modern jam band hailing (mostly) from Rockville, MD.  Founding members Marc Roberge (vocals) and Chris Culos (drums) recruited lead guitarist Richard On and bassist Benj Gershman in the early 90’s. The original four-piece band recorded their first album, The Wanderer, while attending Wootton High School in Rockville, MD in 1997.  Loyal local fans can usually count on a summer appearance from the band. In preparation for their return home,  I took some time to speak with Richard On about the group’s early years and plans for 2010.

The Buckeye Years

The end of high school meant a short hiatus for the band until they regrouped at Ohio State. On recalled , “In the beginning Marc and Chris ended up going to Ohio State.  Benj was a year younger so he was still at Wootton High School and I was going to school in Maryland.  It wasn’t originally planned for all of us to go there, but once Marc and Chris got there they’re like ‘we gotta keep the band going. Why don’t you find a way to get here and somehow we’ll persuade Benj to come to Ohio State’ and one thing led to another and soon we were all there.”

According to On, Marc Roberge wanted to attend one of the biggest schools in the country so that O.A.R. would have a large audience to play to, “which I think in high school was a lofty goal but in the end it really worked out for us.”

While at Ohio State the band recruited saxophonist Jerry DePizzo in 2000.

This town, this night, this crowd

O.A.R. will return to Maryland on August 12th to play Merriweather Post Pavilion.  “It’s going to be an incredible show and every time we play there there’s just something in the air. I’m sure it has to do with our friends and family being there.  I saw some of my first concerts at Merriweather Post.  And I never lose that feeling when I get on that stage, that I’ve seen concerts there when I was growing up …and that’s what got me into music and wanting to be in a band and now I’m playing there so it’s really cool.”

Having a rich history with the venue and performing in front of their family and friends does not faze these pros one bit.  “I don’t think we’re nervous at all, I think if anything we’re the most  comfortable playing a hometown show just because we know that all of the people we grew up with, when this band started, they’re all going to be there.” On continues, “Unfortunately we’ll have to leave right after the show but we’ll probably have time to hang-out with the family and catch-up with friends that we haven’t seen in awhile, but other than that we have to head right out to Charlotte.”

As far as the set list goes, the guys have six albums worth of material to pick from. “We try to mix it up based on old set lists from when we’ve played there before and any new versions of songs that we’ve been working on. We know that the kids who have come out to the show before don’t want to see the same show twice.”

The band recently released a four-disc live album, Rain or Shine but also sells the audio from most shows on www.liveoar.com.  According to On, “You know it’s like immediate gratification. You go to a show and if you had a good time and you want to remember it or different parts of the show you don’t have to search in your brain for it, you can actually purchase the show right afterwards and even listen to it on the way home. 

If you catch their show at Merriweather Post Pavilion you may hear some new material.  “We’ve been playing two songs that have a really great chance of being on our next record, one called “Dangerous Connection” and one called “Over and Over.” We’ll probably bring those out at Merriweather.” 

If you have a strong opinion on the new songs you can let them know on their message boards. “As far as our message board I would say once in awhile, actually more than once in awhile, at least one of us is on there, poking around, trying to get feedback. You know those guys are our core fans, they are the ones that have been with us since the very beginning and we call them Pub 24. I know they love us but at sometimes they’re critical of our shows and things that we do but it’s all part of the whole game. We know there’s a lot of love and we have so much respect for all those guys.”

Since the band has so many great fans you should try to stand out if you score meet and greet passes.  “Our fans are great.  But one of the craziest things I ever signed…. Well, we were at a meet and greet and we have an assembly line set-up and we’re greeting each person as they walk down the table.  And you just grab things, sign them, and pass them along especially when it’s a lot of people. You don’t really look at what you’re grabbing. One time I grabbed whatever was next and it was a prosthetic leg.   The gentleman had a prosthetic leg and he wanted all of us to sign it! It kind of caught me off guard but I thought it was kind of cool and he was great.”

 The other side of O.A.R.

When asked about their hobbies or other talents Richard On responded, “I know Benj, our bass player, he’s really into photography and the arts. He has a gallery opening coming up at the Morrison Hotel Gallery in New York City on August 19th.  And it actually has to do with all of the pictures he has taken of O.A.R. on the road. It’s a great way for him to showcase his work, and we’re all going to be there to support the event.”

“Music is so much of my time especially when we’re off the road, making demos and… umm I love to eat. I love to run. I love to do Vinyasa yoga. I guess a lot of my hobbies are working, music stuff and I like to exercise.”

Marc Roberge is involved with the local chapter of the National Academy of the Recording Arts (NARAS). “It’s an advantage of living in the area that we can fight for musicians rights and make things better on the road and even on the radio waves.  Marc is involved a lot. I’ve gone to a couple events.  We all live in different cities, it’s hard when we’re traveling a lot.  Our drummer lives in Chicago, our sax player lives in Ohio, Mark and Benj live in NY and I live in DC.”

The group is also involved with the USO. “That’s probably one of the most amazing experiences that our band has had. When we got involved with the USO it was for visiting Walter Reed and visiting all the great people there. Then we decided to take it a step further and went overseas. We played four or five bases while we were in Kuwait.  It was a real eye opening experience. Some things were tough to watch but at the same time we met a lot of great people and we look forward to doing it again.”

#7 in ‘11

O.A.R. is currently wrapping up their seventh studio album to be released in early 2011. “We just finished the majority of the recording in the studio. I would say we’re about 99% done with the record. We’re just going to take our time to make sure everything sounds the way we want it to sound.  We did do some collaborating but I don’t want to talk about that yet. We’ve got some guests on the record.”

O.A.R. with Citizen Cope, August 12th at 5:30 p.m. doors at Merriweather Post Pavilion.  Tickets are $35-45 and can be purchased at www.ticketfly.com. Merriweather Post Pavilion: 10475 Little Patuxent Pky., Columbia, MD; 410-715-5550; www.merriweathermusic.com.

Photo by Amy I. Hill

“Believe it or not, I’m walking on air” soars the theme from vintage TV series “Greatest American Hero” and DJ Flounder’s Uncle Sam Jam opening set is launched. Into the night he spins and scratches, the sea of revelers churning to a dazzling spectrum of dancefloor hits and Flounder’s own magical signature cross-genre mash ups.

Mash ups — exotic fusions where nu metal rap band Linkin Park might mix it up with Colombian pop star Shakira, or American Idol Kelly Clarkson might wail with classic rockers Led Zeppelin — are Flounder’s specialty whether mixing on the fly or on his Saturday night shows on DC101.

Genial and humble, Flounder aka Bryan Schlossberg is a Montgomery County native whose passions for music and radio forged a unique career trajectory.

“I grew up listening to Top 40 and oldies on Q107 and WAVA. I just loved radio. When I was six I’d do the fake radio thing in my bedroom. Around 4th grade, my neighbor taught me how to use a mixer and I started making mixtapes.

“My first deejay gig, a friend’s party in 8th grade, I used CD players and a tapedeck. I borrowed my dad’s stereo speakers. It was a disaster,” he laughs, “but I made 75 bucks. I was really happy.”

From age 14 he deejayed school events and parties, teaching himself to beatmatch, but “pretty shy” in high school, he’d bring a friend to talk on the mic.

“I always called radio stations and tried to get in. They said you have to be in college, but I scanned the dial and studied every radio station. I knew every deejay and what their production sounded like on the air. Geeky stuff, but it helped get my career in radio going.”

He did a stint at Thomas S. Wootton High School but, “I never really got the school thing so I just started working and deejaying and eventually got my GED.” He planned to study radio at community college but in the summer of 1999, “I read about a Z100 (New York) deejay coming to DC101, a station I grew up on. I clicked on a link on their Web site to apply for an internship. That’s how I got my interview to intern for Elliot in the Morning.”

“From the day Flounder started,” says the infamous radio deejay Elliot (Segal) who nicknamed Flounder after an Animal House movie character, “he’s been a very loyal and dedicated employee. He’s really found his niche in production.”

Now as DC101 creative services director, Flounder uses his audio production skills creating station promos and mash ups of artists who visit the station. “When Timbaland came through he said ‘nice collage.’ Duran Duran gave me an autographed photo that said ‘This guy’s the best’ — not true, but cool.” 

Fusing songs by different artists is an intuitive process. “Sometimes it’s a trainwreck, but when it works it’s the best feeling.” His first mash up wedded Eminem with Korn -– “a fluke.” But his second, Wang Chung with Vanilla Ice, “was the first I was really proud of.”

“I was always a fan of white label remixes, bootleg blends, samples. About six years ago as these started bubbling out more into clubs, DC101’s then program director said ‘Hey, this is becoming a thing and it’s totally up your alley.’ With Elliot’s blessing, that’s how I got the show.”

“It’s done well since it started,” says Elliot, whom Flounder regards as a mentor.

Flounder pays forward Elliot’s support with newer interns including Raquel Rexach, who works for Flounder’s FM Entertainment Group. Rexach says, “I admire Flounder’s proficiency with music programs. Personally I’m inspired by Flounder’s perseverance and determination to be the best deejay and businessman he can be.”

Flounder added “DJ” to his moniker last year after the death of DJ AM whose career had a profound impact. “Studying AM and listening to his mixtapes — he was a party-rocking mash up deejay, exactly what I wanted to be. I loved the way he scratched and mixed.” Other producers/deejays Flounder has been influenced by include Z-Trip, Qbert, DJ Jazzy Jeff, Fatboy Slim, and DJ Enferno.

Memorable gigs include an Inauguration party for President Obama at the 9:30 Club, an MTV concert at Merriweather Post Pavillion, and DC101 special events.

“I’m very lucky to get to do what I love. My parents — very supportive when I was struggling through high school — are thrilled.

“When the crowd is moving to your beat, totally into it, and you could cut the sound off and they’ll be singing along – it’s the greatest feeling in the world. There’s no way to describe it.”

Listen to Flounder’s Mash Ups on Saturday nights from 10 p.m. to midnight, and Elliot in the Morning (Monday to Friday, 5:48 to 10 a.m.) on DC101 (WWDC-FM and www.dc101.com).  www.djflounder.com

Photo by Kurt Iswarienko

Luckily for Robby Takac, bassist and backup vocalist for the Goo Goo Dolls, the invention of Twitter came around after he stopped partying. After being in an incredibly successful band and touring the world for over 24 years, life on the road has changed a bit for Takac, drummer Mike Malinin, and front man John Rzeznik.

“I can reach out right now to half a million of our fans just by clicking one button,” Takac said recently, “which is another good reason to not drink a lot anymore. If I was drinking like I used to, they would’ve had to put some kind of secret code on my laptop, I’d be in so much trouble.”

The Goo Goo Dolls formed in 1986 in Buffalo, NY, churning out Replacements-influenced rock for four albums, and living on the road for almost a decade before the masses really started to take notice. With the song “Name” released in ‘95 and “Iris” in ‘98 (you’ve definitely heard them), superstardom came calling. Cut to 2007, when the band released their album “Greatest Hits Volume One: The Singles,” a compilation limited solely to songs that were top ten hits, a far cry from the early days of playing tiny punk-rock clubs like CBGBs in New York and Maxwell’s in Hoboken.

But the transformation from struggling band to mainstream rock stars was not a calculated move; nor was the injection of acoustic ballads into the band’s oeuvre. It just so happens that they like exploring different kinds of music.

“This band has always had a bit of an identity crisis,” Takac said, “and I think that’s sort of what has allowed us to be around still, because we’ve never really been locked into one thing or another. We’ve just sort of been out there playing our songs.”

Takac and the band are out there playing their new songs these days, with their first studio album since 2006, “Something for the Rest of Us,” set to be released on August 31st, and a stop at Baltimore’s Pier Six Pavilion on August 3rd. The album’s first single, “Home,” was released in June.

In addition to cutting down on the partying in order to keep their career going, the band has had to learn to adapt in other ways over the years, especially in the age of downloads and social networking. Takac said they’ve learned that there are benefits to be gleaned from the new digital age, including having people learn their new songs from YouTube before the band comes to town.

“This is all such an amazing metamorphosis,” he said, “from what we used to know as a touring cycle, when we were terrified to play songs that people didn’t know. You’d play a new song and quite often you’d get that ‘head cocked to the left, confused dog’ look. But that’s really not the case anymore, because people have become inquisitive, and that’s really the benefit we’re starting to see from all the digital chaos that’s happened to the industry.”

Don’t expect to see Takac and the Goo Goo Dolls filing lawsuits against fans who download their music or post fan-created videos on YouTube. They’ve accepted the fact that selling CDs is not the way they, or any other band, is going to make a living these days.

“It’s a little disheartening to know that the thing that traditionally has kept the music industry alive—selling your recorded music—is now pretty much a moot point,” Takac lamented. “But you just have to look forward and figure out how [the new music business model] operates and exist within it. I have to say it’s dizzying but it’s a lot of fun too.”

As a music biz entrepreneur himself, Takac has had to keep up with the latest technology in order to run his own ventures, which include GCR Audio, his recording studio in Buffalo; Good Charamel Records, his record label, which includes acts like legendary Japanese girl-punk band Shonen Knife; and Music is Art, the non-profit organization he founded in Buffalo that focuses on music education and enrichment in the local community.

But Takac doesn’t just use the internet to keep his businesses running and connect to Goo Goo Dolls fans; he also has fun. To keep himself occupied and out of trouble, he’s gotten into checking out the oddities and forgotten corners of the US that are celebrated and discussed on the website Roadside America. Every morning out on tour, he and drummer Mike Malinin—who also happens to be a long-distance runner (“No, I mean it,” Takac said of Malinin. “50 mile races, double marathons through the mountains, he’s just nuts.”)—take a walk and explore the local wackiness. “You wouldn’t believe some of the stuff I’ve seen,” Takac said. And he blogs about it at www.robbyslobby.com.

Takac had one more plug he wanted to get in before our interview ended, but it wasn’t for a new band on his record label, or a plea for readers to check out the new record. Instead, he wanted to remind fans of the band’s canned food drives that are held at every show. Through the organization USA Harvest, the food collected at shows goes directly to local food banks and usually ends up in the hands of people who need it within 24 hours. The fan who brings the most canned goods gets to go backstage and meet the band. Sounding prouder than he had of any top ten hit or award, Takac said, “We collected 7,000 items in Chicago the other night!”

With that, he was off to another soundcheck on the new, nonstop Goo Goo Dolls tour. After this summer’s run of shows, the band will hit the UK, Japan, and Australia before they come back and play the US once again.

Takac laughed, “We’re carnies now, that’s what we do.”

Goo Goo Dolls with Switchfoot and The Spill Canvas, August 3rd at Pier Six Pavilion. Tickets are $30-$70 and can be purchased at www.piersixpavilion.com. Pier Six Pavilion: 731 Eastern Ave., Baltimore, MD; 410-783-4189; www.piersixpavilion.com.

Riddem and Mustabar (formerly Mustafa Akbar) greet each other with a fist bump and “Nappy Riddem!” before settling down jovially for conversation at Current Sushi. As Nappy Riddem the two create “psychedelic raggafunk” with a warm, laidback upbeat vibe.

Rex Riddem aka Troy McLean grew up in suburban Maryland listening to his parents’ funk, soul and Motown, records before moving on to hip-hop, ‘60s rock and reggae while attending Sidwell Friends and Maret High School. In the mid-‘90s he got hooked on electronic dance music at Catastrophic, Fever and Buzz parties and was inspired to learn to deejay on his roommate Buster’s turntables. As DJ T. Rex, he spun hard techno as part of the legendary Snowball Collective.

Riddem took up the djembe, then congas, and started drumming live while Buster deejayed at Jaded at Red thrown by the Thunderball/Fort Knox Five guys.

When Riddem visited Brazil in 2002, he got turned on to percussion intensive Afro-Brazilian music. He later returned to study percussion at a samba school in Salvador, befriending class translator Carlos Scorpiao, who sang vocals and played guitar on Riddem’s first produced track “Salvador Diaspora”.

“Brazil was really moving because their national identity and tourism push Afro-Brazilian music — rhythms from Africa, the Caribbean — Afro-Latin rhythms, part of the culture displaced African people brought with them mixed with European melodic structure. The mix of reggae, dub and Brazilian we do is new world diasporic. It’s taken on a life of its own with any type of musical influence being accessible.”

Riddem’s DJ adventures include a residency at Las Vegas’ Mandalay Bay, and gigs in Hawaii, Portugal and Brazil. Riddem is a resident at Metro in Roanoke, has worked as an executive producer and manager, and currently books at Policy.

Mustabar grew up in Philadelphia spending summers with his grandparents in Lignum, Virginia. His mother was a nurse and his father a “truck-driving gospel vocalist.” Mustabar was singng gospel at age five, in local glee clubs, and got into hip-hop, reggae and the Philadelphia international soul sound.

Mustabar moved to DC in 1985, landing a job as doorman at Red and singing with DC reggae band the Soul Defenders, then to Lignum in 2002 (where he hosts the annual Mustock Music Festival, July 30-August 1, www.mustock.com). Akbar has released two independent funk soul solo albums titled “Natural High” and “That Day,” and is well-known as Eighteenth Street Lounge’s doorman.

One night outside Red, Thunderbolt/Fort Knox Five member JonH heard Mustabar singing and exclaimed, “Wow, man, you can sing!” JonH asked if he’d be interested in working with his mates Steve Raskin and Sid Barcelona. Mustabar says, “Our first endeavor was ‘Heart of the Hustler’ and we’ve been family ever since.”

“Mustafa quickly became an integral part of the Thunderball sound and live band,” says Raskin. ”We met Rex and he began playing percussion with Thunderball. Thunderball has been the nexus for their creative growth and it’s great to see them launch their own project. Mustafa has the spirit of Curtis Mayfield reincarnated, and I love Rex’s take on Afro-Latin-funk rhythms. Rex’s production with Mustafa’s vocals combine for a unique twist.”

With Thunderball, Riddem and Mustabar toured North America, Russia and Mexico, and got to record with Afrika Bambaataa.

Their first release, “Nappy Riddem,” coincided with James Brown’s passing and became a shout-out to the Godfather of Soul. With almost a dozen tracks ready including “Rastar” and “Devil Need a Bodyguard,” they’re aiming for a year-end album release. Contributors include vocalist Asheru, Thievery Corporation guitarist Rob Myers and bassist Ashish Vyas, with remixes by Empressarios and Ancient Astronauts.

Mustabar says, “‘One World Sovereignty’ is always a crowd pleaser.” “When we performed it at Earth Dance last year,” says Riddem, “the amazing response solidified it as our closing song.” Nappy Riddem plans to tour Brazil this fall.

Says Mustabar, “Nappy Riddem is a representation of Rasta lifestyle, like the locks, but you don’t have to have locks. ‘Nappy’ was meant to be derogatory. No one wanted nappy hair because they believed it wasn’t good hair. We’re dispelling that, embracing who we are and inviting everybody to be down with nappy. Just free up and be yourself.”

“Anybody can be nappy,” grins Riddem.

It’s clearly contagious. “People overjoyed by your music — the reward in that is so great,” says Mustabar. “You can’t buy that.”

You can catch Nappy Riddem on Sunday, July 4 at U Street Music Hall as part of the “Big Boom” event, which features Fort Knox Five and See-I. $10. 18+.

U Street Music Hall: 1115 U St. NW, DC; 202-588-1880; www.ustreetmusichall.com

On Tap takes a look at four local and touring bands each month. If you are interested in being featured, please send your CD along with contact information, including your website and a list of upcoming shows to On Tap Magazine, Attention Four Play: 25 S. Dove St., Alexandria, VA 22314.

Black Dog Prowl

Web: www.myspace.com/blackdogprowl
Album: Half Truths and Lies

Just barely a year old, newbies Black Dog Prowl are producing music indicative of a band with far more miles on their career. Their debut album, “Half Truths and Lies,” exemplifies this fact as the group packages screaming guitar riffs, alternating lead vocalists, and door-busting drums into a unique and gripping ten tracks. While the album drips with the grunginess that has come to characterize many D.C. bands, perhaps its strongest point is its diversity. As “Half Truths” moves from the opening action-packed guitar track “Gallows,” (AC/DC comes to mind) into the softer, more apathetic “Step Forth” (think Alice in Chains), then to the fast, hard-hitting “Locked and Loaded,” it takes the listener on a rock n’ roll journey that only disappoints when you realize its over. While the band likely has little desire to create “catchy” tunes, some of the songs could use a bit more production, and for fans of this genre that get off listening to the burning guitar licks of Slash and Jimmy Paige the solos leave something to be desired. Still, the release is solid through and through, and is a spectacular debut for a local band with a long career ahead of them. –Dan Miller

Casey

Web: www.caseyofficial.com
Album: Casey
Show: Thursday, July 29 at Fireflies, 8-10 p.m.: 1501 Mt. Vernon Ave., Alexandria, VA; 703-548-7200; www.firefliesdelray.com

For a guy who just recently quit his day job to cut a CD and pursue his musical dream, Casey – and his eponymous CD – is stunningly good. Armed with an acoustic guitar, a harmonica and a gift for turning a phrase, Casey manages to breathe new life into the rather stale folk genre. Upbeat and propulsive, “Rock Star Voodoo” is a plea to a lover to help him hold on to a fading relationship amidst the swirl of big city dreams. In the typical folk tradition, these are straightforward songs with rather simple arrangements, but Casey’s voice – conveying just the right mix of sincerity and grit – and his effective pacing, is likely to get you bobbing your head or tapping your foot — or both. On “Boy With Guitar,” Casey makes a plaintive case for following his dream. “Our teachers lie when they say you can’t get by on doing what you love,” he sings. Here’s hoping Casey is right. –Michael Coleman

J.P. Reali

Web: www.jpreali.com
Album: Bottle of Blooze
Show: Friday, July 9 at Westover Market Beer Garden, 6-10 p.m.: 5863 Washington Blvd., Arlington, VA; 703-536-5040; www.westovermarket.com

It’s obvious that J.P. Reali really, really loves the blues. A longtime fixture on the DC blues scene, Reali’s soulful guitar and dobro playing has elevated a number of popular local bands. This month, Reali celebrates the release of his second solo album, “Bottle of Blooze,” at the Westover Market Beer Garden in Arlington.”Bottle of Blooze” is especially noteworthy for Reali’snovel approach. He employs musical themes developed by the pre-World War II country blues masters, but infuses this classic musical style with modern lyrical themes. “Bottle of Blooze” eschews the electric flash of the Chicago form and instead relies on simplicity and feel. Reali’s acoustic guitar picking is crystal clear – and at times mesmerizing. If there’s one quibble it’s that his voice sounds a bit too polite to match the grit of his guitar. When Reali sings about drinking “brown liquor” in the morning, you don’t really believe him. He’s more believable moaningabout his lame day job. But that’s OK. In a city where real blues music can be hard to find, Reali is a solid purveyor of the form. And that’s good enough for this blues lover. –Michael Coleman

Rites of Ash

Web: www.myspace.com/ritesofash
Album: Like Venom
Show: Friday, July 2 at Jammin Java (CD Release), 8 p.m.: 227 Maple Ave. E Vienna, VA; 703-255-1566; www.jamminjava.com

Few bands can pull off that electronic rock and pop well, but if you need a reference of a job well done, look no further than DC-based band Rites of Ash, who spews originality and diversity in their latest album, Like Venom. Eleven tracks of rock meets pop meets electronica all carefully crafted into one unified album, makes this a hit. Reminiscent of Linkin Park and T-Pain (if they had a love child, it would absolutely be Like Venom), Rites of Ash make use of technology to influence and put their sound above the rest. Unique and upbeat, their live show fully supports the energy that you get from Like Venom. Wowing crowds seems effortless and natural for the band whose songs have graced MTV hit shows like “The Real World” and “Pimp My Ride.” Lyrically impressive as well, is a personal favorite track, “Toxic.” “Under the skin she’s more than capable, to make you forget what’s been done. Forever has been so long. Her lips are like venom and the stinger’s left inside, don’t turn your back on her, she’ll lead you on a lie…” You can’t argue with raw and honest lyrics like these. Truly breaking barriers on a local and national level, this album is worth all the hype it gets. –Ashley Estill

Did you know that local Dave Matthews tribute band Crowded Streets has only been to a handful of Dave concerts? Or that lead singer Gabe “Matthews’” favorite band is U2? Or even that they don’t watch and study the iconic band in order to replicate their sound and movements?

I learned all of the above during a recent chat with lead singer and founding member of Crowded Streets Gabe Badillo, also known as Gabe Matthews. (It has a nice ring to it, doesn’t it?)

Before Crowded Streets, Gabe was ironically enough in a band called Warehouse, not a cover band, but an original rock band. Once they parted ways, the former bass player in Warehouse asked Gabe if he wanted to start playing again.

“We started kicking around ideas and I didn’t want to do variety rock because I wanted to set ourselves apart,” Gabe explained. “My favorite band was U2 but there was already a tribute band around, so we thought of bands who had a good fan base and longevity…and it’s been working for us ever since.”

After becoming a Dave Matthews tribute band, Gabe started recruiting members, struggling but eventually finding sax and fiddle players. With all the pieces in place, Crowded Streets began learning radio songs, a daunting six-month task, before making their debut with eight or nine songs under their belt.

Obviously covering such an iconic and talented band, they’ve had their fair share of critics, and have been held to ridiculously high standards.

“There are always skeptics because their music is so complex. To try to replicate and amplify this iconic sound, and with the sax, is one thing, but to do it well is another.”

To ensure they live up to expectations, Crowded Streets spends months practicing just one song before they’re performance ready. And if you’ve ever seen them live, you know their sound, style and movements are dead-on accurate.

Dave fans know he has an infamous “two-step,” if you will, when he performs, and Gabe just happens to have a similar move he’s been doing since long before CS began.

“When I’m playing, I’m into the music and grooving so I don’t recognize myself doing it,” laughs Gabe. “These were things I was doing before Crowded Streets.”

Before you get too excited, the band has never played for, or met, the real Dave Matthews. But, things are looking up. The band will play at the Bullpen before and after the Dave Matthews concert at Nationals Ballpark on July 23, and rumor has it that Dave himself might stop by before or after to check out their set.

For new CS fans, expect “musicianship and energy” at their shows. If nothing else, Gabe hopes that you will sit back, listen and even become a Dave Matthews fan after checking out their live show.

“I wouldn’t trade any of this,” Gabe reflected. “Looking back, we may do things differently, but you never know. Our biggest compliment is always, ‘If I couldn’t see you guys, I’d think I was at the real Dave Matthews show.’”

For more information on Crowded Streets, visit www.crowdedstreetsband.com.

It’s hard to believe that 311 – the pioneering rap-rock meets reggae band from Omaha, Nebraska – celebrates its 20th anniversary this year.

During an early morning interview with On Tap last month, 311 DJ/lead singer S.A. Martinez confirmed it with a laugh and a comparison to marriage.

“That milestone just passed a few days ago,” Martinez said. “A lot of it has to do with our personalities as a band. Our chemistry, obviously, has been good. We’re pretty easygoing people. But why does any marriage last?”

“There have to be open lines of communication, and with a band it’s no different. Except, you’re dealing with a few others it’s not just one on one. We love music and we love to hang together,” Martinez continued. “It’s been a dream come true that just keeps on going.”

It’s a blessing for Washington area fans of 311 as well. The band, which now calls California home, is once again on the road with a stop scheduled at Jiffy Lube Live on July 16. The Offspring, another longstanding band with roots in the early 90s, is co-headlining the tour.

“That will be really cool,” Martinez enthused. “Two bands from the 1990s that are still going strong. It’s going to be an interesting combination of fans and music.”

Martinez said 311 (named for the Omaha Police Department’s code for indecent exposure) is gratified that its sound continues to appeal to new fans. “Uplifter,” the band’s ninth studio album debuted at number three on Billboard’s hot music chart – the highest charting album in 311’s history.

“We lose fans, but we’re gaining fans all the time, as well,” Martinez explained. “You go to a show and you’ll see a pretty diverse cross section of fans. It spans generations too – old and young.”

Martinez said 311’s influences – the Red Hot Chili Peppers, Jane’s Addiction, Urban Dance Squad and DC’s own Bad Brains – are all over their signature, yet hard to define, sound.

“I’ve always thought of us as a rock band – that was the energy we responded to,” he said. “Those bands – to us – were what rock music was all about. We just all really got off on that sort of thing. A lot of people when we first came out were accustomed to us and didn’t know what to make of us, maybe especially in the middle part of the country.

“But what got us going was the live show – the word of mouth buzz. It was a different time then in the early 90s rock scene,” Martinez said. “There was a new energy we were bringing and a kind of unique thing going on that we were a part of that really resonated with people. The style of music we play is meant for the live venue. We were able to strike a chord with a number of people.”

He said over the past 20 years the band has been able to cultivate a “community” though its constant touring and outreach to fans. As for this summer’s tour, Martinez said fans can expect a little of the new and plenty of the old 311 jams that fans have grown to love. Last summer, the band stuck to a fixed setlist for the first time. He said that worked well from a production standpoint.

“We were able to deliver a great show, but we found that we have such a deep catalogue and so many of our fans want to hear songs we were really neglecting,” Martinez said. “We found we need to mix it up more. Sure we’re going to play the five or six songs the casual fan wants to hear but it’s a balancing act. We’re going to be able to reach a compromise with our audience. We’re also going to mix it up because it’s more fun for us and a lot of fans really want to hear that.”

311 performs July 16 at Jiffy Lube Live. www.livenation.com for tickets. Visit the OnTap store at www.ontaponline.com tickets for our bus trip to the show.

Along Those Lines

Web: www.alongthoselinesmusic.com
Album: Somewhere In Between
Show: June 5 at Jaxx Nightclub: 6355Rolling Rd., Springfield, VA; 703-569-5940; www.jaxxroxx.com
Track: I Wish it Would Rain

Only on the music scene for two years, one would have reasonably low expectations for anything released by a band so new. However, Along Those Lines newest CD, Somewhere In Between, beyond exceeds your expectations. The 11 tracks on this album have an infectious sound combined with honest lyrics that instantly get stuck in your head. “In My Eyes” is a rock ballad with lyrics so candid and true, “I told you forever and forever I mean…” it’s sure to be one of ATL’s most popular songs. Differing between rock/alternative melodies and love songs, the CD is a true combination of everything you’d want from a band. Slowing things down, “Jersey Girl,” the final track of the album, will make you melt. “I loved you endlessly. I close my eyes and you’re right here with me. In my arms was my whole world…I’m still in love with the Jersey Girl.” Not falling into any cliché sounds or categories, their sound and lyrics are all unique and special, making this CD an instant hit. This is one CD where you won’t skip tracks; each song proves that this talented Fairfax-based band has staying power. – Ashley Estill

The Poison Control Center

Web: www.myspace.com/thepcc
Album: Sad, Sour Future
Show: June 21 at Galaxy Hut: 2711 Wilson Blvd., Arlington, VA; 703-525-8646; www.galaxyhut.com
Track: Glory Us

The Poison Control Center’s website claims they hail from Ames, Iowa but their latest record – the very, very good “Sad Sour Future” – was actually compiled from four different cities. The band members put the disc together by sending each other demos via the internet. It’s a novel approach to a novel, but extremely ambitious, indie rock record. “Sad Sour Future” clocks in at 71 minutes and 17 tracks. The opening tune, “Walls of City Hall,” starts out with staccato electric guitar that makes you think it’s going to be yet another pop-punk record. But the song quickly veers into a more interesting, dissonant churn of guitars and vocals that conjures images of Sonic Youth or Pavement. Things get even more intriguing from there. The Poison Control Center effectively employs an arsenal of instruments – piano, horns, keyboards – across the sprawling disc. “Calling Card,” a soaring slice of indie rock bliss, features gritty guitars and gorgeous harmonies, while “Cognac Dreams,” suffers from droning vocals and an overly repetitive feel. When you’re clocking 17 tracks on a single album there are bound to be a couple of clunkers, but The Poison Control Center gets the vast majority right on this compelling new disc. – Michael Coleman

Jonathan Mudd

Web: www.muddmusic.com
Album: Truth Lies
Show: June 29 at Jammin Java: 227 Maple Ave. E., Vienna, VA; 703-255-1566; www.jamminjava.com

Track: If You Ever Leave Me

The Poison Control Center’s website

Jonathan Mudd’s latest release, Truth Lies, is an 11-track album complete with humble melodies and lyrics that sing about the trials of love. With a confident and experienced sound, Mudd sings about the “heart’s shadowy places” in this predominantly mellow work. Mudd sings, strums on the guitar and even infuses keyboards throughout. Piano influences are particularly effective in his fourth track, “If You Ever Leave Me,” adding to the mood and power of this song. “If you ever leave me, oh baby, please make it fast. I don’t wanna see it coming when you slip into the past…” The album is 44 minutes, a little on the long side for 11 tracks, but goes by quickly and doesn’t drag on since each song flows nicely from one to another. Easy to listen to and never lingering, we approve. –Ashley Estill

Safety Word Orange

Web: www.safetywordorange.com
Album: On Your Mark, Get Set….
Show: July 3 at Jammin Java: 227 Maple Ave. E., Vienna, VA; 703-255-1566; www.jamminjava.com
Track: Fiending

Safety Word Orange, a five-piece band from Richmond, is often described as “pop punk.” Indeed their music is full of the fast tempos, crashing drums and speedy guitars that would be right at home on a playlist full of Blink 182 and Good Charlotte.But one can’t accurately describe something this polished as “punk.” Safety Word Orange, formed in 2007, are radio-ready power pop stars in the making. There is little of the dangerous snarl of punk here, but “On Your Mark, Get Set…” – the band’s second release – is an accomplished slice of record making. The five-song EP jumps off with “Never Enough,” a rapid-fire yet melodic song that showcases lead singer James Mason’s impressive vocal range and Travis King’s powerful drumming. Even better is “Follow Suit,’ a mid-tempo rocker that sustains a sense of drama through the use of sly chord changes. Safety Word Orange is a band that pays attention to the details. Don’t be surprised when major labels start paying attention to them. – Michael Coleman

Mischievous blue eyes peer out from under a baseball cap. DJ Smash Gordon, sporting a gold boombox necklace and enthusiastically chowing down on sushi, looks like a kid. This guy throws legendary parties, represents global artists, and co-runs a record label? He downplays it all so much, one wonders. “I try to keep under the radar,” he deflects.

Baltimorean Gordon graduated from Severna Park High School in 1999, attended Anne Arundel Community College, then Towson University until a professor recognized him as a promoter and he realized he’d already found his profes-sion.

Growing up on his parents’ Rolling Stones, Beatles, and Led Zeppelin records, young Gordon had a Michael Jackson jacket, hat, and moves. “I was obsessed,” he laughs. In middle school, he sold gum from Rite-Aid to classmates. “School friends laugh now saying we knew you’d be Mr. Entrepreneur Guy.”

Gordon went with his high school best friend’s older brother to two Fever parties in 1998, heard of massive raves in San Francisco, where he competed for a year as sponsored pro inline-skater Steez (after Gang Starr’s “You Know My Steez”) Gordon, and back home went to Ultraworld’s Engage at the DC Armory. “I was a super-raver the next week.” He started promoting for Lonnie Fisher of Ultraworld and sneaking into Buzz at Nation.

In 2001 Gordon helped throw warehouse parties for Lotek and DCRaves. When Fisher opened his second Sonar club, he gave Gordon responsibility for hip-hop bookings which led to the popular Knowledge parties. Gordon, who also worked with Elements and started Juiced Productions, took over marketing. Evan Weinstein was hired to do promotions, and after they teamed up to host Ghostface Killah, Gordon became Sonar’s show-buyer and Weinstein took over marketing. In 2007 they founded Steez Promo.

After Fisher sold Sonar in 2008, Gordon and Weinstein left to develop Steez Promo, continuing to work with Ultra-world in producing the legendary Starscape Festival which celebrates its 12th year on Saturday, June 5. “It’s going to be ridiculous,” Gordon promises. (www.starscapefestival.com)

Initially for extra income, Gordon got a gig playing hip-hop at Mothers Grille, later playing electro with DJ Proxxy in Commodore 64 and with MC Messinian in We Don’t Sleep! In May 2009, Gordon was dubbed “Smash” by Baltimore producer Oh Snap!

Now, as Smash’s latest mix, “Smash Your F***ing Face,” demonstrates, “I like to play it all. I’m playing dubstep and next thing I know I’m feeling electro or Baltimore club or hip-hop or drum ‘n’ bass. I’ve got my intros – which I learned from the intro-master, Dieselboy. Not many up and coming deejays get pointers from a world famous veteran,” Gordon grins.

Friends since 2007, Dieselboy (Damian Higgins) and Gordon recently became partners in Dieselboy’s Human Imprint drum ‘n’ bass label as well as SubHuman electro and dubstep sublabel.

Says Higgins, a critical deejay, “Steve is one of the most highly motivated people I’ve ever worked with. He just started deejaying seriously a few years ago and is pretty damn impressive at this point. I’ve shown him a few tricks but he’s picked up skills on his own that have taken other deejays a decade or more to learn.”

“I’ve practiced five days a week for hours each day and gotten decent,” Gordon says. “I’m definitely not the best dee-jay, but I have a good time and I’ve got access to big music. The label and being an agent kind of give me an edge. He who holds the tunes destroys the party.” Gordon co-produced with Baltimore producer Logan a Baltimore club dubs-tep-infused Blaqstarr remix called “Handz Up.”

Packing venues locally, Steez Promo’s resident deejay has started rocking parties across the States, including SXSW, sometimes headlining. Smash, who looks up to Baltimore dance music legend Charles Feelgood, might well be poised to become Charm City’s next icon.

Last October, Steez Promo joined forces with vital drum ‘n’ bass booking agency Circle Management whose roster they’ve expanded to include dubstep, electro and even bands.

Gordon is currently working with U Street Music Hall on dubstep events. Says Uhall co-founder Jesse Tittsworth, “Steve’s an undeniable force in the DC/Baltimore dance music scene. I was fortunate enough to be part of Steve and Evan’s early dive bar drum ‘n’ bass productions. I’m proud to see their impressive roster, regular massive parties and solid following now. Game recognize game, my man has been on his grind and I’m glad to see him shine. I hope he feels at home at Uhall and that this can be another exciting chapter for us all.”

Most gratifying to Gordon “is when I deejay because if I kill it, it’s truly for me and our parties. I love waking up the next day feeling I played a great set — that’s really personally satisfying. But my number one most satisfying thing is when we throw a massive party and people say ‘that party changed my life,’ like ‘the nod’ in that movie Groove. I like it. That’s what happened to me!”

Don’t miss Starscape on June 5. Catch Smash Gordon (www.steezpromo.com) with Dieselboy at U Street Music Hall on Thursday, June 24; 9 p.m.; 18+; 1115 U St. NW, DC; 202-588-1880; www.ustreetmusichall.com

Describe your sound.

As an Indie band we have a pop sensibility, but there is always an edgier undercurrent. We dip into many genres, but there is this synthesis of edginess and melody, layers of sound and texture weaving in and out…it is a bit trippy really. We like to mix things up. Our CD that we are working on has some heavier rock songs and some dancier tunes.

What keeps you going?

Slogging around all over the DC area is a dream come true of course, but I think that even with all of the crap and frustration, it is the artistry that keeps us plugging along. It is like, let’s write more and record more because that is where the sustaining joy comes from. I do not think you can just stop being a musician.

Who would you love to play with?

Alexes: Are you kidding? Robert Smith of course.

Paul (P.J): The Stones.

Dr. Thorn: Wow! Iggy Pop, David Bowie, Faith no More, Pink Floyd, I would probably have the most fun with Iggy Pop! I’m sure I forgot some people here.

Pete: I’d say Todd Rundgren or Aimee Mann. I’ve always wanted to sit in with “Yes” also…

Scott: Elvis, I heard somebody saw him in Omaha last week.

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