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Groovin Ground | Dome

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Rock: Jam-band Rock: Rock opera Moods: Mood: Fun
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Dome

by Groovin Ground

Vintage funk meets psychedelic rock. The album is bubbling with creativity, creating a lush descriptive sound that breathes life into each lyrical story. Trippy and melodic with powerful instrumentation.
Genre: Rock: Jam-band
Release Date: 

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  Song Share Time Download
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1. Dome
7:46 $0.99
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2. Arrow
5:17 $0.99
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3. Lobar>Three Four
6:56 $0.99
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4. Wiggin
4:44 $0.99
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5. Marmaduke Surfaceblow
8:31 $0.99
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6. Blues for Bitches
1:43 $0.99
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7. Mr. Bass's Planetoid
6:38 $0.99
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8. Prisms
6:23 $0.99
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9. Pyramid
11:43 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
DOME, the studio debut for Groovin Ground, is a crowning achievement for a band with humble beginnings. The album represents a group of musicians finding their creative identity and ultimately, defining the sound of a band that has matured and grown its wings.....

_____
Review excerpt -GLIDE MAGAZINE

Their new album, Dome, is a monument to Jam culture. Every song is different and interesting, and they're all tied together exquisitely. Some songs are pretty: "Arrow" and "Prisms" are beautiful and delicate on multiple levels. Some, like "Wiggin'" for instance, cook so hard they make the hairs stand up on the back of your neck. But the best songs are elaborate compositions, filled with intricate rhythms followed by scorching improvisation. "Marmaduke Surfaceblow" is one of those; it's a powerhouse of a song, a real joy.

What amazing, delightful music this is. It's not too heavy or sweet. It makes you think, and it gets deeper with every listen. As a stand alone album, Dome works well: The pacing is outstanding and there are lots of cool cues from song to song. Making a solid album is a difficult task for most jambands - Groovin' Ground did it on their first try. Maybe it's beginner's luck, but somehow I doubt it. It just works so well on so many levels.


It really does get better after every listen. That is such an important quality in improvisational music. If you like jam bands, here's the heads up - this has the potential to be big. The time is ripe for a new crop of jambands to take off, and if Groovin' Ground is any indication of the freshman class there's a lot to be excited about. They're every bit as good as their predecessors. Jam music has a bright future in this band. -Kenny Bolin, Glide Magazine
_____

-----BIO-----
Founding members David Brown, Evan Bozarth and Dustin Bozarth began by playing Grateful Dead covers weekly as The Heart of Gold Band. As crowds grew larger and the band began performing original compositions, changing their name to Groovin Ground. The new 'Groovin Ground' made a move to Austin's 6th Street district, utilizing a little known and seldom-used live room called Bojangles. The owners gave the band Wednesday's, which was traditionally their worst night of the week. I short time, Wednesdays at Bojangles were standing room only. Other touring bands and musicians like Particle, Umphrey's McGee and Ray's Music Exchange, were invited to play Jam Night and legendary music was heard on a regular basis.

The owner of the Vibe club on 6th Street happened in one evening to find out what this phenomenon was about. Informal discussions soon led to a decision to move Jam Night to the larger and friendlier Vibe beginning May 2002. Groovin Ground hosted Jam Night at the Vibe to a packed house for almost a year. During that time they booked and sat in with The Greyhounds, Agua Dulce, Psychedelic Breakfast, Bernie Worrell, Larry, Motion for Alliance, Tea Leaf Green, Llama, Particle, Umphrey's McGee, and Brothers Past to name a few Their first album GROOVN GROUND: RAW LIVE was recorded at the Vibe and produced by legendary engineer, Chet Himes (Ted Nugent and ZZ Top). It was released during the heyday of Jam Night and showcases the band's early material in a typical raw and rowdy Jam Night environment.

During this time lights and multi-media began to become a prominent part of a Groovin Ground concert. The band continued to push the limits of creativity both musically and visually, often utilizing costumes and theatrics that brought a new dimension to the live experience. An early pinnacle of band creativity was their infamous 2002 Halloween show. GG performed an original 80 minute rock opera entitled THE GOAT: Part 2. A futuristic opus chronicling a man's existence on 2 different planes of consciousness, and the results when those dimensions collide. The finale of THE GOAT is a power ballad of epic proportions entitled PRISMS, a version of which is included on DOME.

The band toured heavily in 2003 playing Texas, New Mexico, and Colorad. Highlights were opening slots for Fareed Haque, Oteil Burbridge, Jacob Fred Jazz Odyssey, and a PACKED Trey Anastasio after-show in Denver CO. During this stretch many current songs were honed and road-tried AND it was high time to return to the studio.

Fresh off the road, GG began recording sessions at the home studio of friend, Grego Loboz This "live in the studio" project became their second CD release, "Live From Grego's" which revealed Groovin Ground as an incredibly tight and highly mature band. It faithfully captured the energy and group interplay evident in their live shows.

For the long-overdue studio project, Groovin Ground chose to work with engineer, Thomas Van Der Brook, who'd recorded and produced a much-admired Austin masterpiece, Big Biscuit Oogie Machine by Grass. After recording the basic tracks at Tonehaus Studios (Austin TX), the band took a much-needed, break, from live performing, to write new music. This culminated in the first annual X-MAS BAND CAMP, a week-long lock-in, rich with songwriting, experimentation, and Miller High Life. 20 songs later, something completely unexpected happened. The band (as it was then known) unraveled. Was this the end of Groovin Ground?

Over the next 8 months, Evan & Dustin, along with band manager, El Boz, continued production on the album. New material was imcorporated from the Band Camp sessions. The Brothers Bozarth created a new live performance called the The Portal, an all-improvised collaboration between the brothers and select groups of talented artists for each show. A weekly residence was established, utilizing the loungy atmosphere of the Tambaleo night club (Austin TX. The essence of live music was distilled into its raw form, performing completely in the moment, embracing each new discovery. The experience gave new focus and spark to Groovin Ground's improvisations and encouraged the band's fans to embrace musical risk-taking and to appreciate music performed in the present tense.

With the completion of DOME, the debut studio album from Groovin Ground, one fact became crystalline. The band now owned a unique and individual sound. Groovin Ground reunited with a new musical perspective and a singular goal to share this music and are touring this Fall and Winter to support the CD release.

You are now invited to travel with Groovin Ground and explore the world inside the DOME.

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Reviews


to write a review

Maria Mesa, A-Town Records

giant buckets of FUNK
When you stick this CD in and press play- giant buckets of FUNK will immediately start pouring out of your speakers- and all over the floor of your pad. Your roof will rip open, the Mothership will land in your livingroom- and George Clinton and Bootsy Collins will come groovin on out. But right when you put your rainbow afro wig and platform boots on- it all takes a sharp turn. Who’s that stepping out of the giant saucer too? Frank Zappa and Jerry Garcia.

That’s what you can expect here. These guys have a groove-oriented thing going on that’s constantly unpredictable and always changing direction. More than a few times you’ll hear something and wonder how they did what just came out of your speakers. I think from time to time there must be something computerized happening, but most of the instrumentation is obviously real. (I’d like to see these guys live to see if they can really do what’s on this CD.)

This music gives me faith in our musical future. Its proof positive that risk taking and creativity is still being done, and all "hippie jam bands" weren’t created equal. It’s also a testament to Bill Hick’s rant about how pot has done some good things in our lives. (If only I could get hooked up to the fine stuff they’re getting…)

All the musicians involved are obviously good- but keyboardist Dustin Bozarth seems to be the center. With a 70’s soaked sound that bounces from P-funk to YES era art rock, you can visualize the Leslie speaker cabinet whirring away at breakneck speeds just over his head. Sure a lot of what’s going down here is a tribute to what’s already been done, and originality might not be their strong suit. But that doesn’t matter much when you’re seriously groovin, does it? (I might also say that the vocals are sometimes marginal, but not so much that you forget how much fun you’re having.)

Merging old school funk with old school art rock in a jam band format is a pretty monumental task. One takes one head, and the other requires the other- if you know what I mean. How they keep all that libido and intellect under control is something I can’t figure out. What I do know is, these guys experiment and take some serious risks in an age when hardly anyone else is- so this CD gets a high score from me. I can’t wait to hear what these guys do next. Is it really possible to please the deadheads, the funksters and the art rockers all at the same time? Apparently it is- if you’re lucky enough to live in Atown.
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Glide Magazine

Making a solid album is a difficult task for most jambands - Groovin’ Ground did
Kenny Bohlin-

There was a time, back in the early nineties, when a group of proto-jambands all pushed their way up through the clubs and concert halls at the same time. Such was the soup from which the original HORDE tour emerged. Looking back, at Dave Mathew’s Band, Phish and even a much fatter John Popper, it seems like it was the golden age of jam style music. Now that Dave Mathews is a huge corporation, Phish is dead and Popper is thin, perhaps it’s time for some new jambands to grow up for the next crowd of college age kids looking for more challenging music.


Groovin' Ground has the potential to rise to the lofty heights of those past giants, as all of the important qualities are present in their magical music. They are extremely accomplished musicians, playing complicated passages with joy and grace. They’re masters of many different styles of roots music, from jazz and funk to folk, and they mix it up well with modern beats and breaks to produce a tasty shake. The lyrics are sharp and poignant in places, complete nonsense in others. There are just enough horns to keep it popping, but not enough to be over powering. As a jam experience, Groovin’ Ground is pretty flawless.


Their new album, Dome, is a monument to Jam culture. Every song is different and interesting, and they’re all tied together exquisitely. Some songs are pretty: “Arrow” and “Prisms” are beautiful and delicate on multiple levels. Some, like “Wiggin’” for instance, cook so hard they make the hairs stand up on the back of your neck. But the best songs are elaborate compositions, filled with intricate rhythms followed by scorching improvisation. “Marmaduke Surfaceblow” is one of those; it’s a powerhouse of a song, a real joy.


What amazing, delightful music this is. It’s not too heavy or sweet. It makes you think, and it gets deeper with every listen. As a stand alone album, Dome works well: The pacing is outstanding and there are lots of cool cues from song to song. Making a solid album is a difficult task for most jambands - Groovin’ Ground did it on their first try. Maybe it’s beginner’s luck, but somehow I doubt it. It just works so well on so many levels.


It really does get better after every listen. That is such an important quality in improvisational music. If you like jam bands, here’s the heads up - this has the potential to be big. The time is ripe for a new crop of jambands to take off, and if Groovin' Ground is any indication of the freshman class there’s a lot to be excited about. They’re every bit as good as their predecessors. Jam music has a bright future in this band
Read more...

Jeff Kuryak

toeing the line...
I finally took some time alone with "DOME".  I'm thoroughly impressed with this solid piece of work.  It's toeing masterpiece status.  Good shit brethren.
Read more...