May Day 2006

Bikini Contest at the VIP Party

X-103 — Sat, 27 May 2006 20:25:00 +0000

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Staind Photos

X-103 — Mon, 05 Jun 2006 03:01:00 +0000

Staind headlined the May Day 2006 concert. Aaron Lewis and crew hit the stage hard and put the exclaimation point on the show.

Post your review of their live performance to the comments below.

For more photos of Staind, check out the photo gallery on X103.com

Three Days Grace Photos

X-103 — Sun, 04 Jun 2006 15:30:00 +0000

Three Days Grace rocked May Day 2006. Singer, Adam Gontier was a crowd favorite, especially with the girls.

Post your review of their live performance to the comments below.

For more photos of Three Days Grace, check out the photo gallery on X103.com

Flyleaf at May Day

X-103 — Thu, 01 Jun 2006 04:21:00 +0000

Flyleaf seemed to be a crowd favorite at May Day. Singer Lacey Mosley was popular on and off stage at the Karma Autograph booth. Check out more photos of Flyleaf at X103.com's photo gallery.

10 Years Photos Online

X-103 — Thu, 01 Jun 2006 06:16:00 +0000

Considering 10 Year's front man, Jesse Hasek was very sick, they still put on a great show. You can tell from the photos that Jesse's eye was swollen and looked very uncomfortable.

Check out more photos at X103.com's photo gallery.

Evans Blue Live at May Day

X-103 — Sat, 27 May 2006 21:02:00 +0000

Evans Blue opens May Day with a powerful performance.

Staind Accoustic Set

X-103 — Sat, 27 May 2006 18:51:00 +0000

Staind rocks the Coors Light Private Party to kick off May Day 2006. They'll headline the main stage at 8:50pm.

Evans Blue interview

X-103 — Sat, 27 May 2006 18:13:00 +0000

Deuce talks with Matysn and Parker of Evans Blue in the green room. Evans Blue will open May Day on the main stage!

Stuck with a tie dye

X-103 — Sat, 27 May 2006 17:23:00 +0000

Nothing like being stuck with Stuck in the green room.

DJ's backstage

X-103 — Sat, 27 May 2006 17:24:00 +0000

X103 DJ's hanging out backstage in the green room.
The crew prepares to cause some trouble just before the gates open!

Karma Autograph Booth Times

X-103 — Sat, 27 May 2006 14:17:00 +0000

4:45 PM Evans Blue

5:40 PM Flyleaf

6:30 PM Hurt

7:25 PM 10 Years

8:40 PM Three Days Grace

Hurt Bio

X-103 — Thu, 18 May 2006 14:22:00 +0000

Indeed, this young band and its ambitious debut album certainly live up to the name. “Why is the band called Hurt?” asks front man J. Loren with characteristic intensity. “Have you heard the CD? Does it seem applicable?”

“I felt that was definitely the word,” he continues. “It had to be called that.”

The LP veers between whispering and roaring, melody and brutality, crushing power chords and gentle acoustic moments. The convergence of those extremes—delivered in irregular time signature with orchestration, no less—define the “Hurt” sound. Yet just when it seems that it’s all thunder and lightning, eight songs into the album the lighthearted “Danse Russe” comes soaring in like a break in the clouds, its cheerful melody and gentle acoustic guitars displaying a drastically different side of the band.
"...My first impression was, who is this guy? I can't understand him; he's so weird and obscure.."

Traces of Tool, Nirvana, and mid-period Metallica flicker throughout the album, but Hurt have created a remarkably individual sound for a debut. It is mainstream enough to fit in on rock radio, yet unusual and edgy enough to appeal to the fringes—and those extremes are echoed in the band’s two core members.

The songs, singing and guitar playing emanate from one J. Loren—the 24-year-old product of a strict home in rural Virginia, reared on a steady diet of religion, gospel and classical music and home schooling. He studied classical violin, can play virtually any stringed instrument and, as he puts it, “played many a hoedown,” but rock was forbidden. He never even heard rock music properly until, one day in his teens, “I just happened to be at a friend’s house and I heard Pearl Jam’s ‘Jeremy’ on TV. It stopped me in my tracks. Classical was really the only music I had gotten into like that.” He cites Vivaldi as his strongest influence.

The yin to J.’s yang is drummer Evan Johns, also 24, who was raised in Hollywood in just about the most rock environment possible: His dad is Andy Johns (who engineered or produced Led Zeppelin, the Stones, Joni Mitchell, Rod Stewart, Free, Television, Cinderella, Van Halen and countless others), his uncle is Glyn Johns (ditto the Who, Stones, Kinks, Eagles, Clapton, Faces—do we need to go on?) and his cousin is Ethan Johns (ditto Emmylou Harris, Ryan Adams, Kings of Leon and Rufus Wainwright).
"I try to convey principles rather than trying to preach my own story, so that people can apply them to their own lives."

While that background evokes visions of young Evan doing homework in the middle of scenes from “Almost Famous,” the reality was about half that. “A lot of my elementary years were spent hanging out with Cinderella or Van Halen—we’d have them over for dinner or the holidays,” he recalls. “And I was always hanging around the studio. The drums looked like the coolest thing, and I bugged my dad like crazy and finally, when I was about five, he bought me and my brother kid-size drums kits.”

Not that his early efforts were encouraged. “When I first started out, my dad told me I was no good and I should just give up. But after awhile he was like, ‘Hey, you’re not so bad, keep it up.’ It just made me try harder—every day after school for four hours.”

He started gigging before he was even in his teens. “I’d be in bands with 30- and 40-year-olds, waiting outside until it was time to play because I was underage. Then I’d go home with mom because it was a school night.” He focused on jazz drumming during high school to expand his vocabulary, but plunged back into rock after graduation, playing in a series of “mostly heavy” bands until one day …
"I'd be in bands with 30- and 40-year-olds, waiting outside until it was time to play because I was underage."

“This friend of my dad’s had a CD of some of J.’s songs. He was like, ‘Andy, this is great just don’t pay attention to the drums, just listen to the singer.’ And my dad said, ‘If you need a drummer you should check out my son.’ ”

J., all the while, had been gigging with a succession of different musicians, always under the name Hurt and was growing frustrated.

“I’d almost given up on playing music,” he recalls. “I was working for technology companies as a contract consultant, I was engaged and I was very, very sorrowful about abandoning music. Then, I decided to give it one more go…”

A few months later in L.A., Evan’s dad’s friend heeded his advice and arranged for J. Loren to be on a plane to L.A. to meet and try some recording together. “I went into the studio with J. and right away, I was like, I’ve gotta get in on this,” Evan remembers. “We started on a trial basis in August 2004, like, ‘Okay, we’re gonna record these demos and see what happens’—and I loved it.”
"She swore she heard the voice of Jesus / Telling her 'It was wrong to keep it'"

Of course, it wasn’t really that simple. “The first time I met J. it was really weird because we had only talked on the phone, and we were trying to feel each other out from thousands of miles away. And when he came out here, my first impression was, who is this guy? I can’t understand him; he’s so weird and obscure. But when we started playing together, it was like, ‘Okay, cool—I know what to do here, I feel comfortable.’ And then he turned out to have a heart of gold.” J. and Evan worked up an abundance of material for a few months before plunging into the studio to begin work on two albums the first of which is “Vol. I”. They were assisted initially by ex-Beck bassist, Justin Meldal Johnson. (Two New Jersey-born musicians, guitarist Paul Spatola and bassist Josh Ansley have since joined them.)

Getting J. to discuss the emotions and inspiration behind the songs is no easy feat. One passage from “Rapture” reads, “She swore she heard the voice of Jesus / Telling her ‘It was wrong to keep it’ / And one more thing, it looked like me”; one from “Falls Apart” goes “Our skin tears away as our memories fade with age / And we don’t even know till it’s gone … Woe is me.”

“I try to convey principles rather than trying to preach my own story, so that people can apply them to their own lives,” he says. He allows that “Rapture” is about the “danger in setting yourself up as god,” that “Danse Russe” was inspired by poet William Carlos Williams and “a two-day experience with a lovely person,” and that “Losing” was written “after I saw Evan’s ability on the drums. I was like [chuckles sinisterly], ‘Hey buddy, I got somethin’ for you!’ ”

And as for the intensity that runs through every thing his band does, J.Loren simply says, “If I’m not going to affect someone in some way, why do anything at all?”

Source: HurtBand.com

Some details...

lennydiana@gmail.com (leon) — Fri, 26 May 2006 14:55:00 +0000

Doors: 2:30pm

Music Starts: 4:00pm

Those of you who have tickets to the private party will have one gate opened at the main gate for you to enter at 2:00pm for the Coors Light Pit Stop Party featuring Alex B spinning and a private intimate set by Staind.

Staind Bio

X-103 — Thu, 25 May 2006 18:05:00 +0000

It has been said that first impressions last a life time. Luckily for Staind, some only last for about 45 minutes. After a volatile disagreement with Limp Bizkit's Fred Durst over some of Staind's early cover art, it seemed their big break had walked out the door. Fortunately by the time Durst had witnessed Staind's intense live show, he was ready to exchange phone numbers.

Staind's story began in the New England area when vocalist Aaron Lewis and guitarist Mike Mushok met at a Christmas party in 1993. Mushok was able to bring drummer Jon Wysocki into the fold, and Lewis' connection with a bass player (now no longer with the band) completed the early lineup.

Establishing themselves took time, and extensive touring of the northeast with other established metal acts helped them sell over 2000 copies of their self released debut in just over a year. They were primed for their big break, and on October 23, 1997, the hard work paid off.

At a show in Hartford, CT, Staind was all set to open for Limp Bizkit when Bizkit singer Fred Durst raised a stink over cover art on Staind's self-released CD. After a heated conversation over whether or not Staind were Satan worshippers, Durst forcefully returned the disc to the band, and walked away. 45 minutes later Durst was back, not to further the argument, but to make sure he kept in contact with Staind. Blown away by their live show, Durst exchanged phone numbers, and Staind were now on their way. All they had to do was wait.

And wait they did. Given Limp Bizkit's busy touring schedule, it was difficult for Mushok to reach Durst. So they went to him directly. Staind drove up to a Bizkit show in Boston, and dropped off a tape of demo material they had been working on. Durst loved it and convinced them to travel to Jacksonville, FL, to work on the new songs.

After reworking the new material and a successful live show, Durst contacted the head of Flip Records, and arranged a meeting for Staind with the label. While in Los Angeles, a three-song sampler was recorded, and by the time February rolled around in 1998, the band had a record deal. After playing the Vans Warped Tour, they began work on their first album, Dysfunction. The album was produced by Terry Date (Deftones, Pantera, Soundgarden), and was released April 13, 1999. A tour with Kid Rock followed that spring and later the band reunited with good friends Limp Bizkit for a summer tour. Their follow-up, Break the Cycle, enjoyed a prolonged visit at the number one spot on U.S. charts in 2001. Smash hits like "It's Been Awhile," "Fade," "For You" and "Epiphany" catapulted the band into the mainstream, leaving their 2002 DVD MTV Unplugged to go gold. Staind returned to form for the release of 14 Shades of Grey in spring 2003. ~ Chris True, All Music Guide

Written by Chris True

Evans Blue Bio

X-103 — Wed, 24 May 2006 06:01:00 +0000

"From the first rehearsal, it was a surreal feeling sitting in the room, says Evans Blue guitarist Parker Lauzon. "We wrote three songs within the first hour we met."

When they connected online through a musician's message board, none of the members of Evans Blue imagined that they would be meeting their destiny. Each was a skilled player of his respective instrument, but they were living in three different cities that were miles apart. When they came together as a band, though, the five--also including Kevin Matisyn (vocals), Vlad Tanaskovic (guitar), Darryl Brown (drums), and Joe Pitter (bass)--instantaneously became one. And the story begins.

"Matisyn brought a book of words with him," recalls Lauzon, "and he made the words fit to the music I brought in. It blew me away how effortless it was." The dark musings of the mind of Matisyn were simultaneously lifted off the page and grounded by the pull of the music. As if by a chemical reaction, Evans Blue was created.

Just a few months later, via the same online message board, Matisyn answered an ad for a new Toronto recording facility called The Pocket Studios. When he first visited for a tour, studio co-owner Mari Dew observed, "He said very little, but Matisyn had an unspoken combination of magnetism and intensity about him, something special, yet hard to explain." The band went into the studio with Trevor Kustiak, and the chemistry was immediate. Evans Blue was signed to The Pocket Recordings, with Mari as their manager and Trevor, their producer.

The next six months together yielded Evans Blue's debut album, The Melody And The Energetic Nature Of Volume, a collection of 10 original songs interwoven with an intoxicating interpretation of fellow Canadian Sarah McLachlan's "Possession." The "Melody" tells a twisted tale of love, passion, betrayal, denial, loss, hatred and pain, ultimately ending on a note of hope. Matisyn's compelling lyrics lead the listener on a journey, resonating with anyone who has experienced these universal emotions. The band provides the "Volume"--the driving sound that guides the listener through the ups and the downs.

The "Energy" comes directly from the fans. Their numbers are expanding like an infection, as the music spreads virally through the radio waves, the Internet and in live performance.

With its massive hooks and dark vocals and lyrics, Evans Blue's first single, "Cold (But I'm Still Here)," secured regular airplay. This in turn captured the attention of Hollywood Records, and Evans Blue has since signed an international record deal with the label. While grateful, Lauzon was not at all surprised. "We've had faith in this band since the beginning," he says. "We know that this band has 'Destiny' written all over it."
Written by Record Label