BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Find Local//findlocal.community//EN CALSCALE:GREGORIAN METHOD:PUBLISH BEGIN:VTIMEZONE TZID:America/Chicago BEGIN:DAYLIGHT TZOFFSETFROM:-0600 TZOFFSETTO:-0500 TZNAME:CDT DTSTART:19700308T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=2SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0500 TZOFFSETTO:-0600 TZNAME:CST DTSTART:19701101T020000 RRULE:FREQ=YEARLY;BYMONTH=11;BYDAY=1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:c3a91e66-7f44-4c54-bc21-35516a9ed198@findlocal.community DTSTAMP:20261012T015829Z DTSTART;TZID=America/Chicago:20261217T200000 DTEND;TZID=America/Chicago:20261217T220000 SUMMARY:Home for the Holidays: Carolyn Wonderland\, Shelley King and Rosi e Flores DESCRIPTION:Carolyn Wonderland “Mighty and joyous rock-injected blues…lux urious vocals and fine guitar work. Her voice is as muscular as her name is evocative.” – Austin Chronicle “Carolyn Wonderland is the real deal. She’s an amazing guitar player. And damn\, can she sing.” – Los Angeles Times “With incendiary guitar chops and raw\, powerful vocals\, fiery T exas blues rocker Carolyn Wonderland draws instant comparisons to fellow Texans Stevie Ray Vaughan and Janis Joplin.” –NPR Music “Hey\, have you heard Carolyn Wonderland? She’s something else. She should be nationwid e.” – Bob Dylan\, talking to Asleep At The Wheel’s Ray Benson The depths of the Texas blues tradition with the wit of a poet. She hits the stage with an unmatched presence\, a true legend in her time. She’d grown up the child of a singer in a band and began playing her mother’s vintage M artin guitar when other girls were dressing dolls. She’d gone from being the teenage toast of her hometown Houston to sleeping in her van in Aus tin amid heaps of critical acclaim for excellent recordings. Along with the guitar and the multitude of other instruments she learned to play – trumpet\, accordion\, piano\, mandolin\, lap steel – Wonderland’s abilit y to whistle remains most unusual. Whistling is a uniquely vocal art sel dom invoked in modern music\, yet it’s among the most spectacular talent s the human voice possesses. That vocal proficiency was well-established in the singer’s midteens\, landing her gigs at Fitzgerald’s by age 15. She absorbed Houston influences like Little Screamin’ Kenny\, Albert Col lins\, Lavelle White\, Jerry Lightfoot\, Joe “Guitar” Hughes\, Little Jo e Washington\, “borrowed” a car to sneak out and jam ended up swapping s ongs with Townes Van Zandt at Houston’s Local’s on White Oak\, got invol ved in the underground theater scene becoming the first “Photochick” in Jason Nodler’s “In the Under Thunderloo” and soaked up touring bands lik e the Paladins\, Los Lobos\, and the Mad Hatter of Texas music\, Doug Sa hm. Her music played in television series such as “Time of Your Life” an d NBC’s “Homicide.” The Lone Star State was as credible a proving ground for blues in the 1980s and 90s as existed\, especially in Austin with S tevie Ray Vaughan & Double Trouble\, the Fabulous Thunderbirds\, Angela Strehli\, Omar & the Howlers\, and Lou Ann Barton all in their prime. By the following decade\, Austin’s blues luster thinned\, but Houston\, al ways a bastion of soul and R&B\, boasted the Imperial Monkeys with the e ffervescent Carolyn Wonderland as ruler of the jungle. In the early 1990 s\, Wonderland & the Imperial Monkeys were invited to the Guadalupe Stre et Antone’s in Austin. There\, they were treated like royalty with the s inger as the queen of hearts in the club’s post-Stevie Ray Vaughan stabl e\, which included Toni Price\, Johnny and Jay Moeller\, Sue Foley\, Mik e and Corey Keller\, and the Ugly Americans. It was a good bar for the M onkeys to hang\, and Austin felt so comfortable that when the band calle d it quits a few years later\, after a run-in with black ice and a semi that wound young Miss Wonderland in the hospital\, she set her sights on Austin at the start of the millennium. Besides\, Doug Sahm had told Car olyn while they were signing autographs together at the High Sierra Musi c Festival\, she ought to move to Austin\, as it was the land of free gu itar lessons. She was there in months. Living in Austin renewed Carolyn Wonderland’s focus on her multiple talents\, underlining rich vocals wit h excellent guitar work\, trumpet\, and piano\, as well as that remarkab le ability to whistle on key. Despite spending two years homeless (or as she puts it\, “van-full\,”) Austin has been fertile ground for Carolyn. A series of each-better-than-the-next discs began with Alcohol & Salvat ion in 2001 (“songs about booze and God\; records are a time capsule of what happened that year”) 2003’s “Bloodless Revolution\,” The Bismeaux R eleases: 2008’s “Miss Understood\,” 2011’s “Peace Meal” (recorded at Bis meaux and Levon Helm Studios in Woodstock\,) 2015’s “Live Texas Trio”\; and here we are with 2017’s “Moon Goes Missing.” Carolyn also got to str etch out with other bands and notably appears in Jerry Lightfoot’s Band of Wonder’s 2002 release\, “Texistentialism” featuring Jerry Lightfoot\, Vince Welnick (Grateful Dead\, The Tubes\, Todd Rundgren\,) Carolyn\, B arry “Frosty” Smith (Lee Michaels\, Sly & the Family Stone\, Rare Earth\ , Soulhat) and Larry Fulcher (Taj Mahal\, Phantom Blues Band). She has r eleased many songs for charity\, 2016’s “Room at the Inn” (iTunes) benef its Doctors Without Borders\, 2013’s “Money in the Game” (featuring Marc ia Ball and Shelley King) benefits Planned Parenthood\, “the Farmer Song ” from “Miss Understood” benefits Farm AID\, “Annie’s Scarlet Letter” fr om “Bloodless Revolution” benefits NORML\, 1997 Justice Records released Carolyn’s version of Little Screamin’ Kenny’s holiday lament\, “Blue Li ghts” (featuring Ian McLagan) benefitting MD Anderson Children’s Art Pro ject. Carolyn’s first appearance on vinyl? She’s with James Williamson ( Stooges) on the April 2014 Record Store Day single\, “Open Up & Bleed” A ND on the full LP inspired by that fun session\, “Re-Licked” featuring R aw Power Era songs with cool and risky guests. Her circle of musician fr iends and admirers broadened to include not only Ray [Benson\, who produ ced Miss Understood] but also the late Eddy Shaver\, Shelley King\, and yes\, Bob Dylan\, who likened her composition “Bloodless Revolution” to “a mystery movie theme.” She appeared on the same taping with Sharon Jon es and the Dap-Kings when she made her debut on PBS’ “Austin City Limits ” (Season 35.) and had the thrill of her life when Bonnie Raitt joined h er onstage for “The Road to Austin” concert film featuring Stephen Bruto n and all his friends\, got to play with James Cotton\, Pinetop Perkins\ , and so many others at Antone’s\, she and Erin Jaimes put together a be nefit for Uncle John Turner and Johnny Winter insisted on bringing his b and by to play\, Carolyn’s wedding to A. Whitney Brown was officiated by Mike Nesmith (Monkees\,) who serendipitously introduced them on set at VideoRanch in 2010. (there is a video of the two of them on stage togeth er that day!) She began co-writing with locals Sarah Brown\, Shelley Kin g\, Marcia Ball\, Ruthie Foster\, Cindy Cashdollar\, and Guy Forsyth\; s at in with Los Lobos\, Levon Helm\, Vintage Trouble\, Robert Earl Keen\, and Ray Wylie Hubbard\; and toured relentlessly for the past two decade s\, sometimes with luminaries like Dave Alvin\, Buddy Guy and Johnny Win ter\, so far spreading her music in US\, Europe\, South America and Japa n. She also claims membership in the all-girl Sis Deville\, the gospel-i nfused Imperial Crown Golden Harmonizers\, the Texas Guitar Women\, and the Woodstock Lonestars. Carolyn recently joined John Mayall’s Band as h is guitarist and is balancing life on the road with writing time at home and on the way. She’s been touring for over 25 years and ain’t done yet . Come and see it at a show! (seriously\, she’s perpetually on tour.) Sh elley King Superlative\, powerhouse\, smart and savvy are only a few of the adjectives used to describe Shelley King\, who is debuting her 9th a lbum\, Kick Up Your Heels\, in the late summer of 2019. The blues\, root s-rock\, gospel singer stands out in the crowd as an award-winning songw riter\, steeped in Americana music. Born in Arkansas\, and raised back a nd forth between Arkansas and Texas\, Shelley has surrounded herself wit h A-list mentors from Marcia Ball to John Magnie and Delbert McClinton. Kick Up Your Heels is her best effort yet\, with guest artists Delbert M cClinton\, The Subdudes\, Marcia Ball\, Carolyn Wonderland\, Tony Redman \, Byron Isaacs (Lumineers) and Cindy Cashdollar. Her band includes Sara h Brown on bass\, Marvin Dykhuis on guitars\, vocals and mandolin\, and Chip Dolan on keys and accordion\, and longtime drummer\, Perry Drake. S helley says\, “It feels like a party album. In a time when we have so ma ny challenges as a people and as a country\, we need this music. We can let it all go. We all have a weight to carry\, but we need to have some fun. I feel that in some of these songs\, there are trials and tribulati ons\, but with good music and good friends\, it always feels like we are going to come out on top.” Kick Up Your Heels runs the gamut of emotion s\, beginning with an introspective memory of one of her musical heroes\ , Levon Helm. The album’s opening track\, “Levon’s New Drumset” had its beginning as she was sitting on a porch in Woodstock\, New York\, collec ting words and images for this song but not completing it. Over several more trips to Woodstock she reworked the lyrics\, each time adding a lit tle more to the story. Inspiration struck again when she was playing a M idnight Ramble with the Woodstock Lone Stars: a super-group including Ca rolyn Wonderland\, Marcia Ball\, Cindy Cashdollar\, Amy Helm\, and a Woo dstock based rhythm section. “It completely fell together - magically.” she recalls. “I wrote another verse right there\, and it came together s eamlessly\, without a wrong word.” “Storming in the South” takes the lis teners through the hurricanes that rip through the South and the high wi nds in a relationship between two people who have chosen to take it on\, go through it together\, and come out on the other side. It is a song o f resilience\, and of sticking together\, and making it through the stor m. The album brings on the party full-force with “Hurricane Party.” Shel ley said she was walking on a trail near her Texas hill country home\, w hen her friend and mentor\, Marcia Ball called to say her Florida tour w as canceled because of a hurricane\, “so\, let’s play dominoes.” Shelley said\, “It’s a hurricane party!” and immediately started working on thi s song. She sang lines into her phone\, texting song verses back and for th\, co-writing with Marcia\, it all came together before she got off th e trail – in time for a game of dominoes! Delbert McClinton and Marcia b ring guest vocals to this highlight of the album. It’s definitely a part y. Levon Helm and Henry Glover wrote a song called “Blues So Bad\,” that Shelley discovered on a 1977 Helm album. That song stuck with her. “Any time I heard it\, I sang along. It makes me feel cool. In the studio\, D elbert (McClinton) played harmonica and sang backup on it.” Yeah\, that’ ll make anyone feel cool. “One Shot At A Time” is a song Shelley wrote y ears ago about a bar in San Angelo\, Texas. “People were having a good t ime and were so drunk.” she recalls. “They were sending shots to the ban d and eventually shots were lined up all the way across the stage. Every one in the band gets to have some fun with this one: from Marvin Dykhuis ’ and Tony Redmans’ duelling lead guitars to Sarah Brown’s low-end bass solo. The title song\, “Kick Up Your Heels\,” is a co-write with another of Shelley’s heroes\, John Magnie of the Subdudes. “John came up with t he melody and turned it over to me to write the lyrics\,” she says. “We were thinking about writing a song for Marcia (Ball)\, right after she r ecorded Tattoo Lady and the Alligator Man\, feeling that Louisiana rhyth m and how she kicks her heels when she plays piano. When I recorded it w ith my band\, it was good\, but it was missing something\, so we got the Subdudes to add a little crazy.” Steve Amedée lays down a fun second li ne snare rhythm and the dudes add their rich harmonies and fun extras. M arcia Ball plays piano and John Magnie backs her on accordion\, a first time musical collaboration for them. One of Shelley’s inspirations has a lways been Aretha Franklin\, and “Soulville” showcases that influence. “ I first discovered Aretha Franklin’s version of this song and then later Dinah Washington’s version. Dinah was one of the songwriters\, along wi th Henry Glover. I started doing a little research\, and found that Henr y was tight with Levon (Helm)\, and is even in one of the early photos o f Levon building his barn in Woodstock.” Henry soon became another of Sh elley’s songwriter favorites\, (see “Blues So Bad\,” a Helm/Glover co-wr ite) and completes yet another circle of influence in her musical odysse y. Ask Shelley to tell you about rehearsing in Levon’s barn on the anniv ersary of his death with her good friends\, a good bottle of whiskey\, a nd a ghost for good measure. “Heart of a Girl” showcases Shelley’s songw riter and vocal talent\, and a backstory of romantic magic. “I still bel ieve magic can happen. The idea came to me as I watched my mom fall in l ove again. Here was a no-nonsense businesswoman who reunited with my rea l father at one of my shows. They had not seen one another for more than 30 years\,” Shelley says. “And suddenly\, she had that soft heart of a girl\, that innocence that believes in hopefulness. To see her like that was beautiful.” Keeping the party going strong\, Shelley brings “Crush” to the mix. “It’s a fun\, groupie song. I won’t call any names out on t his one. Someone close to me had a groupie crush on a bad boy musician\, and I wrote that song for her just for fun.” With lines like “If you go t somebody\, I’ll make you forget her\,” and “Would you rock my world li ke you rock that mic?\,” it’s definitely a celebration song that makes e veryone want to grab a mic and sing along.” A pivotal moment in her care er was in 2008\, when Shelley was named Texas State Musician by the Texa s Legislature\, and found her voice resonating with fans across the stat e – and the nation. “‘How Eagles Fly’ is about hope and positivity: an a nthem for America. There’s a whole lot of division out there\,” Shelley continues\, “but ultimately\, we are all in this together. We have a lot more in common than that which separates us. Music brings us together\, and everyone can agree with lyrics that speak to the common American dr eam.” Kick Up Your Heels is a high-water mark for Shelley King. Through multiple incarnations of bands with friends and collaborators\, and perf orming at hundreds of house concerts\, honkytonks\, theatres\, festivals and solo shows\, she has explored different avenues and attitudes\, but she has hit her stride with this new project. She proves with this albu m\, created with her musical friends and family\, that music is much mor e than a career for her. “It’s all about connections\,” she says. And Ki ck Up Your Heels brings Shelley King’s band family together for a reunio n that is one hell of a party. Rosie Flores Rosie Flores\, triple-threat Texas musician\, has never allowed the challenge of navigating the male -centric worlds of rock and country music slow her down. In fact\, she o ften drew upon those challenges as source material in sharply observed s ongs she not only wrote and sang with authority and passion\, but also b rought to life musically as a widely respected lead guitarist in a strin g of notable bands. Rosie is one of the 2024 NEA National Heritage Fello ws! In September 2024 she accepted her gold medal award at the Library O f Congress\, appearing at the Kennedy Center as well as the White House. A daughter of San Antonio whose musical journey also has included quali ty time in Austin\, Los Angeles\, and Nashville\, Flores has adroitly ab sorbed\, helped preserve\, and extended the musical legacies of influent ial Texas musicians as varied as country music’s King of Western Swing B ob Wills & His Texas Playboys\, blues guitar master T-Bone Walker\, and Tex Mex innovator Doug Sahm. In the 1970s\, she became one of the most c elebrated performers on the “cowpunk” circuit (a hybrid of punk rock and country)\, alongside such other rising stars as Dwight Yoakam\, Lucinda Williams\, Rank & File\, and Los Lobos (2021 NEA National Heritage Fell ows). The release of her 1987 debut solo album Rosie Flores proved her t o be a singer and songwriter of the first rank\, and helped lay the foun dation for what coalesced into the alt country movement. Flores became t he first Latina to crack Billboard’s country music chart. For her enthus iastic participation in and ongoing promotion of Austin’s deep and wide music scene\, including the annual South by Southwest Conference\, the c ity has proclaimed Rosie Flores Day in 2006. Flores has remained a spark plug live performer for more than five decades\, a goosebump-inducing e lectric guitarist and songwriter as well as champion of the trailblazers who preceded her. Notably\, she lured pioneering rockabilly heroines Wa nda Jackson (2005 NEA National Heritage Fellow) and Janis Martin (“the f emale Elvis”) back into recording studios and onto concert stages for la uded late-career rejuvenations. Flores won a 2007 Peabody Award for her narration of the NPR rockabilly documentary\, Whole Lotta Shakin’. Tappi ng her Mexican heritage\, Flores formed Las Super Tejanas with singer-so ngwriter Tish Hinojosa\, accordionist Eva Ybarra (2017 NEA National Heri tage Fellow)\, Shelly Lara\, and Las Madrugadoras mariachi trio. Her est eem has only grown over the years\, to the point where she and her music are included in Middle Tennessee State University’s History of Country Music courses. She was afforded a prominent spotlight position in the Co untry Music Hall of Fame and Museum’s exhibition “Western Edge: The Root s & Reverberations of Los Angeles Country-Rock” in Nashville.\n\nTickets : http://www.prekindle.com/event/63348-home-for-the-holidays-austin\n\nh ttps://findlocal.community/event/c3a91e66-7f44-4c54-bc21-35516a9ed198 LOCATION:04 Center\, Austin\, TX URL:https://findlocal.community/event/c3a91e66-7f44-4c54-bc21-35516a9ed19 8 STATUS:CONFIRMED SEQUENCE:0 END:VEVENT END:VCALENDAR