Dawn Weber

Dawn Weber ::  http://www.urbanjazznaturals.com

Dawn Weber has for yearsperformed with Vargas Swing, leading St. Louis’ finest jazz-swing band with her flawless trumpet playing a skillful vocals. For WIR’s March 31st sellout showcase at “The Duck Room” in Blueberry Hill, Dawn created a special jazz trio arrangement just for our showcase. Having recieved such an overwhelmingly positive crowd response, she will be bringing the trio back for an encore at Off Broadway. Dawn Weber is an artist you will not want to miss. Catch her out on the town with her new experimental hip-hop and techno band, Urban Jazz Naturals, who regularly play at Club Lo on Washington Street. For more information about Dawn Weber, visit her bands’ websites


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The Twigs

The Twigs ::  http://www.twigs.com

What do you get when a set of twins grows up listening to their older sisters’ record collection of the Beatles, Brazil’66, Todd Rundgren, The Clash and the soundtrack of Jesus Christ Superstar? The Twigs. The Twigs are twin sisters, songwriters and singers Linda and Laura Good, with Linda on piano, rhodes, acoustic guitar, vocals and Laura on electric guitar, vocals and cello. Smart lyrics, ethereal vocal harmonies, crunchy guitars and dreamy piano lines mix with retro grooves to produce a sound uniquely their own.

ON RECORD…THE UNIVERSE TONIGHT, the Twigs’ latest CD, follows up their critically acclaimed indie debut, BRING ME THE HEAD OF ETERNITY (Whirl-i-gig Records). After recording BMTHOE mostly at home in their 16-track studio (with Linda & Laura doing most of the engineering & producing), the Twigs ran into producer and fellow Chicagoan Johnny K, who heard some of their demos in progress and had just finished producing metal rockers Disturbed. What did a platinum-selling heavy metal producer have in common with two piano-playing, acoustic guitar-strumming singer/songwriters? The Beatles. After discovering their mutual love of Lennon/McCartney songwriting and vintage Brit-pop bands, Johnny K proclaimed he had found his “female Beatle babes” and offered to produce The Twigs’ new record. Sound designer Bryan Rheude was added to the eclectic mix, and the end result combines artfully designed acoustic and electronic samples with Laura and Linda’s trademark spine-tingling harmonies. Songs such as “Lucky” have already captivated the ears of audiences and radio alike (KCRW, Q101). “The world is turning but I’m standing still, spinning faster than a chariot wheel,” they sing in the 21st-century love rocker “It’s Alright.” The album features provocative lyrics combined with pure pop melodies in tight 3-4 minute songs.

LIVE SHOWS… Knitting Factory – Hollywood, Spaceland – LA, International Pop Overthrow Fest – LA, Troubadour – LA, A2A Festival – Amsterdam, House of Blues – Chicago, & The Double Door – Chicago, Mercury Lounge & CBGB Gallery – NYC, Schuba’s – Chicago, Museum of Contemporary Art – Chicago, Metro – Chicago, Wisc. & S.East Regions/NACA Conferences [4 time Showcase Headliners], The Fine Line – Minneapolis.

BIOGRAPHY… THE TWIGS GREW UP…playing almost any instrument put in front of them. They spent the first four years of their life in Mexico, where locals considered them good luck charms and touched the white-haired twins’ heads for luck. Their earliest musical memories were of Mariachi street music and 70’s radio bands like Bread. After moving to Chicago, Linda and Laura embraced an odd mix of American soul, pop, punk an old acoustic guitar they bought with their babysitting money. Linda also became fascinated with old jazz radio. “I’d go around singing Billie Holiday songs like ‘Lover Man’ when I was 11 years old — it just made me feel better,” she says.

Being the youngest of five girls, the twins were both best friends and bitter enemies who used to physically fight over who got to play the piano after dinner. Laura recalls, “my older sisters would be upstairs blasting ‘Dark Side of The Moon,’ my mom would be singing opera in the kitchen and I would be in the basement playing Neil Young on my cello.” At 16, Linda received a talent scholarship to The Academy for The Performing Arts High School in Chicago. After high school, Linda headed to Wales to study music while Laura finished her music degree at Columbia College. Oddly enough, it was only when the twins were separated by an ocean that they started writing songs together.

After trading song idea tapes across the Atlantic, Linda played some of the resulting songs for a London producer who invited them to record at the BBC. Knowing they would need money to record more songs back in the States once they graduated, Linda played piano for theatre companies while Laura begrudgingly returned to her once hated part-time job: modeling. She hit the runways of Paris for a few seasons, made enough money to buy some recording equipment, and the girls became demo-ing maniacs. A few years and stylistic changes later, the Twigs were born, using a hated high-school nickname combined with sisterly musical spunk. Prolific songwriters, Linda & Laura have written over 200 songs together, along with other artists.


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Molly Thomas

Molly Thomas ::  http://www.mollythomas.com

Molly Thomas is a talent to be reckoned with. From the first notes of her new recordings you know you


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Princess Superstar

Princess Superstar ::  http://www.princesssuperstar.com/

Concetta Kirschner was born on 172 and St. Nicholas Avenue in New York City to a Sicilian-American mother and a Russian-Polish-Jewish father. Eclecticism was bred into her bones. Growing up with hippie parents who regularly blasted everything from Stevie Wonder to Led Zeppelin to David Bowie, she was heavily influenced by her music-loving parents. The family moved from Washington Heights, New York to a farm in rural Pennsylvania when little superstar was three years old, and, when they moved on to suburban Philadelphia, she discovered Kurtis Blow on a pirate radio station.

Like a road movie legend at the age of 17, the young royal packed her bags, jumped on the bus and made it to New York to drink in her big apple roots. Her crazy love for music of many shades and the rebel cut of her jib led Miss Superstar to abandon the outmoded codes and pioneer her own style. In 1994 she cut her first demo tape on a rooomates’ boyfriend’s four-track. She played guitar, keyboards and did some of her first sampling and rhyming, and it instantly got praise from the press and major record companies, all complimenting her lyrical flow and inventive sampling.

In 1995 she released her debut album (‘Strictly Platinum’) on an independent label called 5th Beetle, having turned down the majors because she wanted to make innovative music, and didn’t want to compromise. ‘Strictly Platinum’ was co-produced by herself, Greg Talenfeld (Jon Spencer Blues Explosion) and Godfrey Diamond, best known for producing “Jungle Boogie” by Kool & The Gang. Now out of print, ‘Strictly Platinum’ was last seen fetching up to $100 on Ebay!

In 1997 she founded her own label ‘A Big Rich Major Label,’ which she later cheekily renamed ‘The Corrupt Conglomerate’ after the big label mergers in 1999. She self-released her second album, ‘CEO,’ which wound the press up with reviews like: “This record defies expectations and categorization with jaw dropping lyrics”. She was a one-woman show



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Kristie Stremel

Kristie Stremel ::  http://www.kristiestremel.com

Kristie Stremel grew up in Hays, Kansas, a small town in Kansas’ western flatlands. As a child, she played and sang along with her guitar-playing father, whose favorite artists were Johnny Cash and Waylon Jennings. At 12, she got her first electric guitar and began playing songs off of the radio and from her family’s record collections. One of five children, she was always performing for her family. At 15, she saw Joan Jett at the Ellis County fair and was inspired to form her first garage band, performing hit songs at the skating rink and school dances. The summer before her senior year of high school, she moved to Kansas City and experienced an isolation that was no doubt helpful in refining her songwriting abilities. At 19, she started performing acoustic songs at the Lake of the Ozarks in central Missouri and at the Big Bang Buffet in Kansas City. By this time, her performance was comprised of half cover songs and half originals. She was constantly writing, as she does today, keeping the guitar by her bed in case she dreamed a song during the night.

At 21, she joined the Warrensburg, Missouri band Frogpond, playing rhythm guitar and singing backing vocals. In 1996, the band went on to record their album, “Count to Ten”, produced by Everclear’s Art Alexakis. With a few minor alternative radio hits, Frogpond toured all over the country, and Stremel came to be known for her charismatic enthusiasm and interaction with the crowd (characterized by her willingness to climb club rafters when a set reached climactic heights).
In the spring of 1997, she left Frogpond and formed her own three-piece band, Exit 159, releasing a remarkable 7-song EP before the end of the year, which yielded one regional radio hit. With an outlet for her prolific songwriting, Stremel worked fast. In early 1998, Exit released a 12-song LP filled with radio-ready songs, two of which received a great deal of play on area alternative stations. The band won the Kansas City/Lawrence area regional music award, the Klammie, two years in a row, first for “Best New Band” and, the second year, for “Band of the Year.” Exit 159 continuously built on a strong following, packing the toughest Kansas City houses and touring the West Coast twice. In the fall of ’99, the now-4-piece band, featuring three songwriters with individual ambitions folded, and Kristie went straight back into the studio to record as a solo artist.

Kristie Stremel’s solo material is a logical step forward from the work that she did with Exit 159, emphasizing the growing sophistication of her songwriting and delving more deeply into her personal struggles. Her first demo is an acoustic set, featuring inspired backing by drummer Beth Robinson, guitarist Chris Meck (formerly of Monkey Boy) and bassist Jason Magierowski.

The control exhibited in this new music is a sign of the maturity of an exceptionally-talented artist, and it offers listeners a glimpse of the versatility and subtlety of Stremel’s voice, which draws on both her country roots and her rock background to offer an unusually soulful and personal sound.

Kristie Stremel’s new work, “All I Really Want” (Slewfoot Records), was released in September of 2001. Stremel and her band are currently hard at work on the road and on the next record


Slewfoot Records
Dale Wiley
P.O. Box 390
Crane, MO 65633
Phone: (417) 723-1155
Fax: (417) 723-1118


K. Stre Productions
Kristie Stremel



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