H$B | Soul-Funk-Dance Music from a More Permissive Era

For over a decade Hookers $ Blow has delved deep into the Soul pantheon treating audiences to rocking dance grooves from ’60s and ’70s R & B. With a rotating cast, the band is literally a super group of Twin Cities musicians, featuring current and former members of The Honeydogs, Soul Asylum, The Bodeans, Brian Setzer Band, Prairie Home Companion Band, The Dollys and more. Famous for epic high-energy shows that will keep fans on their feet for hours, Hookers $ Blow is a staple of the local club and party scene. The band has been awarded the Minneapolis Music Award for Best Cover Band countless times and continues to attract new fans with every show.

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Someone forgot to send The Honeydogs the memo. You know the one — it reads “a rock band is a guitarist, a drummer, a bassist and a vocalist.” The Honeydogs don’t subscribe to this formula. What Comes After proves that rock ‘n roll can feature a strings section and a trumpet and asks, “Why shouldn’t rock ‘n roll feature a flugelhorn?” 

I think What Comes After is a textured musical journey that reminds us along the way of what is truly important, the people we care about and simply being happy in our lives and with ourselves. – Barb Abney, The Current, MPR, Twin Cities, MN

In case anyone hadn’t been thinking about the Honeydogs in a minute, now is the time to reengage. New single “Aubben” represents a vitality that has carried through all ten albums, but one of the strongest pop statements they’ve ever made. – Reed Fischer, City Pages Minneapolis, Minneapolis, MN

It’s not clear if Adam Levy, frontman and creative force behind The Honeydogs, meant the title of their 10th studio release (and first full-length effort since 2006) as a statement or a question. The album’s songs merge simpler lyrical content of early works with the deceptively sophisticated music making of The Honeydogs more recent offerings. Written in a short spell and recorded in just 5 ½ days, these lilting, memorable tunes lent themselves to a bare-bones recording approach. With shades of Leonard Cohen, Nilsson, Nick Drake, and Tony Joe White the band has created a soul folk and country record tracked as an ensemble with minimal overdubs.

Despite it’s sense of ease, the album still brings moments of unabashed rock, including the impassioned title track and the psychadelic prog number “The Devil You Do”. On What Comes After, the band truly marries it’s original roots sensibility with complex orchestral pop and soul arrangements. After 16 years together, the band has weathered successes and missteps, raised children, seen loves come and go, and throughout, thrived as an ensemble even when it seemed that no one was noticing. Yet with their maturity and experience, Levy never lets the band assert conceit – instead of answers, What Comes After asks questions, ponders the little things, and carries the listener along with gently lingering melodies and poetics. Sometimes it is the simplest of things that stay with you– and this collection of songs will surely cling to your heart.

Band members: Adam Levy, Trent Norton, Ryan Paul Plewacki, Peter J. Sands, Peter Anderson, Matt Darling, Steven Kung

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Prince-meets-Shel Silverstein surreal dance fun with a message for all ages!!

What is or are Bunny Clogs? Beatrix Potter hopped up on Goofers? Captain Kangaroo singing Run DMC's"License to ILL?" A threeway train wreck between Kraftwerk, the Beastie Boys and Harry Nilsson? A toilet paper party with Henry Kissinger in a bad Philidelphia neighborhood? Randy Newman and Dr. Seuss hijacking a Parliament Funkadelic show? The Beatles on a solid macaroni and cheese diet? Perhaps all of the above.

Bunny Clogs is Shel Silverstein-meets-Prince surreal dance fun. The debut record, "More! More! More!" is not your run-of-the-mill strummy, folky kids' record. Part comedy record with weird characters, part dance party with all of the attendent drum loops and house and hip-hop accoutrements, and part subtle message of peace, love and positive gastronomy, Adam Levy's Bunny Clogs is music for kids of ALL ages.

"More! More! More!" was largely a family affair, recorded at home with his children in between work on Levy's primary muse the Honeydogs. His daughters sing throughout it and his son Daniel did the art work for the record. Levy finished work on 'More! More! More!' with students at the music school at which he he teaches: The Institute of Production and Recording in Minneapolis.

Stylistically, Bunny Clogs' "More! More! More!" reflects Levy's longtime 60's and 70's soul influences that he honed with his side project band, Hookers $ Blow. Throw in a little British Invasion, Brazilian pop, contemporary hip hop, and old school and new electronica and you get close to a description of this eclectic comedic/musical offering.

Bunny Clogs' "More! More! More"! asks the big questions: "Is there life in outer space?" "Should we be eating our broccoli?" "Is it OK to dance when no-one else is?" And "are children chick magnets?"

There’s no pandering to the little ones on Minneapolis singer/songwriter Adam Levy’s children’s album. He offers funk, jazz, rock and hip-hop songs about lima beans, potatoes and road trips. Terrific, tasty stuff for the entire family.
— Jon Bream, Minneapolis Star Tribune
Bunny Clogs take Beastie Boys’ cool, Prince’s groove, and Flaming Lips’ wackiness and serves it up kid- friendly-sweet.
— City Pages
I think that one of my roles as a parent is to expose my kids to music that doesn’t suck, so when I see one of them reaching to put on Bunny Clogs’ CD, More! More! More!, I breathe a little sigh of relief that they are choosing something so unique, funky and lyrically amazing. In fact this kids’ CD is so super cool, I could hear a couple of the songs playing late night in the clubs I used to frequent back in the day. How many stars can I give an album? Let’s do that many then
— Christina at

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You might be tempted to call And The Professors’ debut recording, Our Postmortem, an orchestral rock or chamber pop record. But it falls rnsquarely within the tradition of American music which draws inspiration rnfrom the past while searching relentlessly for the future — sharing rncreative kinship with Charles Ives, George Gershwin, Randy Newman, Judeern Sill, Beck, and My Brightest Diamond’s Shara Worden.

rn Our Postmortem combines contemporary instrumentation with occasional rnlush ’60s and ’70s pop arrangements, a bit of dissonance and electric rnnoise with acoustic, symphonic and pastoral moments. Singer-songwriter rnAdam Levy (The Honeydogs), a student of history and cultural rnanthropology, uses this curious mix to sing about the strange historicalrn juncture at which we find ourselves — aching for an imagined past whilern hurtling forward.

The album was the culmination of a rnthree-year collaborative effort between Levy, a busy cast of arrangers, rnstring players from the Minnesota Opera, and musician friends from rnMinneapolis’s fertile sonic play ground.

When assembling And rnThe Professors, Levy leaned on a stellar group of soughtafter players: rncomposer/keyboardist deVon Gray (Brother Ali, Chastity Brown, rnHeiruspecs), drummer Joey Van Phillips (Dessa), bassist Trent Norton rn(The Honeydogs), and singer-songwriters Bethany Larson and Aby Wolf. Inrn addition, cellist and frequent pop collaborator Rebecca Arons headed uprn a string quartet drawn from the Minnesota Opera Orchestra, including rnviolinists Conor O’Brien, Margaret Humphrey, and violist Susan Janda. rnThe resulting ensemble mixes the harmonic wealth and precision-based rnskills and sensibilities of the music conservatory with those of the rnaccident-embracing, world-weary rock world.

Hollywood rncomposer/arranger Robert Elhai (The Sixth Sense, Batman, The Lion King rnand The Expendables), composer/arranger Adi Yeshaya (Burt Bacharach, rnPrince and Aretha Franklin), composer/arranger Victor Zupanc (music rndirector for the Children’s Theater Company of Minneapolis), Andy rnThompson, and deVon Gray provided the film score-like backdrop for rnLevy’s songs, written with string quartet in mind. The arrangements rnoften merge classical, romantic and 20 century experimental rnsensibilities and carefully compliment Levy’s enigmatic lyrics and rndurable melodies.

Levy’s lyrics are often first person and rnexplore relationships, while hinting at larger observations about rnhistory and the world beyond our private spaces. Adam’s songs are hopeful despite tracing the outline of a fractured landscape.

And The Professors’ debut Our Postmortem is a cinematic, thought-provoking and mood-altering collection of songs for the ages coming out on NYC’s Simon Recordings fall 2013.

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