Sarah Borges Opening for Sarah Borges: The Grip Weeds July 21, 2012 / 8pm Sitnik Theater of the Lackland
Center Jammin In July Concert Series
Singer-songwriter Sarah Borges, a WNTI 91.9 favorite, is back by popular demand to rock the Centenary Stage on Saturday, July
21st at 8 p.m. Opening for Sarah Borges on the 21st will be the high-octane band, The Grip Weeds. Borges’ highly anticipated
return to Hackettstown heats up the David and Carol Lackland Center’s Sitnik Theater as part of Centenary Stage Company’s summer
concert series "Jammin’ in July."
Borges last appeared in Hackettstown when she opened for the Smithereens. Her music is a fun and funky eclectic mix of rock-and-roll, country twang, and everything in-between; it has been described as "walking that fine line between punk and country."
Borges has toured the United States extensively and has crossed the pond to play landmark venues such as the Cavern Club in Liverpool, England where the Beatles first got their start. Borges live shows are reported to be "the stuff of legend", with audience members dancing in the aisles, or singing along to the choruses -all regular occurrence at a Borges show. Borges herself has said "we always want people to dance. That’s the best way to get a show going."
Borges’ down-home roots highly influence her music. Her first studio album, Silver City, was named for her hometown of Taunton, Massachusetts, which has a rich history in silver mining and is located 40 miles south of Boston. She has been honored by the Boston Music Awards and has performed at the Americana Music Association conference. Borges’ discography includes Silver
City, Diamonds in the Dark, The Stars Are Out, and her newest album Radio Sweetheart, produced by Steve Berlin, a longtime member of Los Lobos. Radio
Sweetheart offers fans nine original songs and one cover of Lloyd Price’s "Heavy Dreams."
The Grip Weeds
Opening for Sarah Borges on the 21st will be the high-octane band, The Grip Weeds. Described as A touch of John Lennon, a bit of The Byrds, a dash of The Kinks, pinch of The Who, and a dollop of more muscular Zombies , "you get something quite original actually. And quite cool," says the E-Street Band’s legendary Steven Van Zandt.
The critically acclaimed Psychedelic Rock /Power Pop quartet consists of brothers Kurt and Rick Reil (on drums and guitar respectively),
Kristin Pinell (guitar) and Dave DeSantis (bass), with all four singing, surrounded by their vintage equipment. The band is
said to produce slices of perfect, radio-friendly guitar-pop, psychedelic enough to appeal to record junkies and Sixties-retro
fans, but edgy enough to fit into a modern rock set. The Grip Weeds’ new CDs and DVDs, "Speed Of Live" and "Live Vibes" are available at www.gripweeds.com.
Jammin’ in July
Other upcoming Jammin’ in July events include the highly acclaimed Leiber and Stoller musical revue Smokey Joe’s Café July 26th through the 29th and the crowd-pleasing valentine to the Beatles ‘Beatlemania Now!’ on
August 4th, both at 8 p.m.
The July 21 concert with Sarah Borges’ and The Grip Weeds
is produced in conjunction
with NPR affiliate
WNTI 91.9, Centenary College’s own radio station.
Sitnik Theater of the David and Carol Lackland Performing Arts Center on the campus of Centenary College in Hackettstown, New
Tickets for the Jammin’ in July Summer Concert Series are available through the CSC Box
office at 715 Grand Ave., open 1-5 PM Monday through Friday, and 2 hours prior to each performance. They may also be
purchased using our Secure
Online Ticketing, or by calling the box office at 908-979-0900.
Summer Series Flex Pass (all five events): $120.00 per person
Pick Three Flex Pass (pick any 3 Jammin in July events):$75.00
per person <<
$25 in advance and $30 on the day of the performance with discounts for children under 12 years
The Cab Calloway Orchestra
$30 in advance and $35 on the day of the performance with discounts
for children under 12 years of age
$30-$35 in advance and $35-40 on the day of the performance with discounts for children
under 12 years of age
Smokey Joe's Café
$22.50-$27.50 with discounts for seniors,
students, and children under 12.
Performances are Thursday at 7:30, Friday and Saturday at 8 PM and Sunday at
$30-$35 in advance, $35-$40 on the day of the performance with discounts for children
under 12 years of age
*** NOTE: Children under the age of 5 are not permitted into the professional CSC main
stage productions. However, they are permitted to CSC’s Young
Audience and Family
Fun Series productions for age-appropriate performances.
Patrons are encouraged to check the age recommendation for individual shows.
Jammin in July is a fundraiser for Centenary Stage Company.
Thank You for your Support!
watch Sarah Borges strut and howl onstage is to participate in rock 'n' roll communion, all glistening sweat and high
kicks, soul-shaking and sassy antics. She's a modern-day retro spitfire, red lipstick curled in a smirk as she summons
her six-string to conjure a host of fiery spirits, leaving a stunned and ecstatic audience in her wake.
This same raucous energy shoots through her fourth studio album, Radio Sweetheart, which is a statement of Borges'
future as much as it is a reflection of her past. Funded entirely by fans, the new album is a sea change marking a
split from both Sugar Hill Records (the label that released her two most recent albums) and her longtime band the
Broken Singles, all set in motion by a road weariness bred from six years of constant touring and the home-is-where-the-heart-is
lure of brand new motherhood.
Nesting in with her husband and infant son, Borges wrote from a fresh perspective, composing in relative solitude
in contrast to those years spent on the road. Alone with guitar and pen, Borges unearthed demos written in her teens
and fell back under the sonic spell of the Boston-bred indie rock luminaries-Morphine, Juliana Hatfield-that marked
her musical coming-of-age in the '90s.
To realize this musical shift, Borges turned to Steve Berlin, an admirer and longtime member of Los Lobos, to produce
the new album. Recorded in a week at Boston's Woolly Mammoth studio, Radio Sweetheart is nine originals (plus a cover
of Lloyd Price's "Heavy Dreams") all imbued with lessons learned from a decade of rock and roll, countless
miles spent on the road, and the range of emotions surrounding the dissolution of a band and the growth of a family.
In essence, the new album is just another step in the continual evolution of Sarah Borges. Like most kids, she grew
up surrounded by her parents' record collection, a mix of Bob Dylan and classic rock, Joni Mitchell and Gene Autry,
which she supplemented with her self-proclaimed "drama geek" affectation for Rodgers and Hammerstein and
the guitar- and fuzz-driven spoils of '90s alt rock.
played in her own fledgling indie rock bands in her teens and early 20's before taking a detour into the newly emerging
genre of Americana. "I felt like I had spent all of this time trying to couch everything in metaphor, and when
I started writing Americana songs I could finally say it plain."
Those years spent playing in black box rock clubs and rented VFW halls informed Borges's style, and she soon found
a believer in producer Paul Q. Kolderie (Hole, Radiohead, Uncle Tupelo), who offered to record some demos, which in
turn drew the attention of Texas's Blue Corn Music at the annual South by Southwest music festival. The label released
her debut full-length Silver City in 2005, which launched her onto the Americana world's radar, kicking off a whirlwind
of touring where Borges and her band opened for greats like Dave Alvin and Alejandro Escovedo.
Borges' second outing, Diamonds in the Dark, was released on indie label Sugar Hill in 2007, yet another deal garnered
on the merits of a South by Southwest performance. With Kolderie once again at the production helm and her touring
band-the Broken Singles-jumping back into the fray, the resulting album again earned Borges a wide array of critical
It was around this time that Borges began to resurrect those rock 'n' roll roots you hear on Radio Sweetheart-first
in her live show, which more often than not found her straddling her guitar atop a table or surrounded by half the
audience on stage, and then on her following album, The Stars Are Out, which was released in 2009 on Sugar Hill. While
retaining the honesty of songwriting and sense of tradition that permeated her earlier releases, Borges bid adieu
to the confines of Americana with free-spirited abandon and an almost punk-influenced grit and growl, a six-string
salute from a woman who continues to defy classification and push musical boundaries at every turn.
More About The Grip Weeds
"Bursting with terrific songs." - USA Today
"Their music-a swirling, '60s-era melange of pop, psychedelia and
straight rock-evinces a more robust set of
influences." - Entertainment
"We like to mix it up in Jersey and The Grip Weeds are a great example.
A touch of John Lennon, a bit of The Byrds, A dash of The Kinks, pinch of The Who, and a dallop of more muscular Zombies
and you get something quite original actually. And quite cool." - Little Steven
"Sparkling, insanely catchy psyche-pop": The Grip Weeds are a critically acclaimed Psychedelic Rock /Power
Pop quartet consisting of brothers Kurt and Rick Reil (on drums and guitar respectively), Kristin Pinell (guitar)
and Michael Kelly (bass). Surrounded by their vintage equipment, this talented four-piece band records slices of perfect,
radio-friendly guitar-pop, psychedelic enough to appeal to record junkies and Sixties-retro fans, but edgy enough
to fit into a modern rock set.
Restoring belief in guitar rock, guitarists Kristin Pinell and Rick Reil turn in career-defining performances, while
drummer Kurt Reil's controlled chaos is the perfect foil for Michael Kelly's aggressive yet melodic bass work. The
other major weapon in The Grip Weeds utility belt is their vocal harmonies. Whether the band is belting out intergalactic
rock ('Speed Of Life'), a lilting west coast groove ('Be Here Now') or a folk ballad that fuses the Peter Green and
Lindsey Buckingham eras of Fleetwood Mac ('Mistress Forest'), the vocal harmonies add an emotional depth to the already
warm tones and catchy hooks. Whether it's the brutal Garage Rock of 'Don't You Believe It', the Manchester Beat tale
of a bridge jumper 'Mr. X', or acoustic guitar/flute instrumental 'Love In Transition', the band deftly jumps from
style to style without losing their identity or giving the listener whiplash. The Grip Weeds have also reinvented
the Todd Rundgren classic 'Hello It's Me'. While the original is a much-loved 1970s classic, The Grip Weeds replace
the song's slicker elements with Nuggets-style grit.