[H/t CoS] If there’s one adage Eddie Vedder takes seriously, it’s “never forget your roots.” Perhaps that’s why Vedder showed up at his old high school, the San Dieguito Academy, and lended his talents to a performing arts fundraiser.Vedder appeared on stage with some teachers and students, who had formed a backing band called The Amazons. Together with the high school band, Vedder sang lead for Joe Jackson’s 1979 hit, “Got The Time,” and joined in on percussion for a cover of The Modern Lovers’ song “Roadrunner.”Watch videos of both below:
Dave Matthews Band turns 25 this year, and what better way to celebrate than a performance in their hometown of Charlottesville, VA. The John Paul Jones Arena was the site of major anticipation, as fans gathered throughout the day to honor the band’s anniversary. In return, the band delivered a monster performance full of remarkable highlights.The band opened with “The Song That Jane Likes,” played for the first time in that spot since 11/3/94. Throughout the first half of the set, the band debuted a total of three new songs: “Samurai Cop,” “Bob Law,” and “Bismarck.” A new album from DMB has long been in the works, and these tracks will presumably be entries on the new release. The show was highlighted by more than just debut originals, as the band played a full tribute to Prince in the form of his 1992 hit single, “Sexy M.F.” That, as well as the preceding “Jimi Thing” saw the band welcome trumpet player John D’earth. What a powerful moment of live music! Dave Matthews Band Releases Two Legendary TRAX Recordings From Early CareerThere were also plenty of bust outs at the 25th anniversary celebration, including the first full-band “Sugar Will” and first “The Last Stop” since 2010. Not to mention all the fan-favorite tunes, like “#41,” “Ants Marching” and “Tripping Billies.” Watch the big-time “The Last Stop” bust-out below:DMB has a major tour planned for 2016, which kicks off on May 11th and runs through a three-night run at the Gorge Amphitheater from September 2-4. The band has said that they plan to take a touring hiatus after this summer, so don’t miss out. You can see the full schedule here.Check out the setlist from last night’s show below: Edit this setlist | More Dave Matthews Band setlists[Photo by jcleary12/Instagram]
It’s been over 15 years since Rage Against The Machine frontman Zack de la Rocha announced work on a solo album. In fact, it’s been so long, that this might be a new project entirely. Regardless, when de la Rocha surprises everyone with his first new music since his Rage days, you’d better believe that we’re excited to hear it.Titled “digging for windows,” the new track was produced by Run The Jewels’ El-P, and sees de la Rocha return to form with great lyrical mastery. The song can be streamed below, or downloaded for free via BitTorrent.Zack de la Rocha began work on a solo project way back in 2000, and later paired up with artists like Trent Reznor, Questlove, and more for a potential collaboration that was ultimately scrapped in 2005. As de la Rocha’s RATM bandmates moved forward with Prophets of Rage, de la Rocha declined the reunion opportunity to work on a new album. While no one expected to hear it, here we are.Considering the dedicated BitTorrent page and clues from his contemporaries, it stands to reason that a full de la Rocha studio album is on the way. We’ll keep you posted.
Look out music fans–tonight, Colorado-based afrobeat-funk force The Motet is embarking on a 20+ date nationwide fall tour in support of their latest release, Totem.Live For Live Music will be following the Motet every step of the way as they head out on tour, bringing you exclusive behind-the-scenes video, playlists, band member interviews and more along the way. As the band gets the ball rolling tonight in Hartford, CT, enjoy this newly released video of their headlining Red Rocks performance from this past summer, which featured support from Medeski, Martin, & Wood and Vulfpeck. The tour will see the band play dates throughout the Northeast during the first half of October, including a highly anticipated performance with the funky METERS at Port Chester, NY’s beloved Capitol Theatre this Saturday, October 8th. “We’re having a real hard time containing our excitement for the next two months,” says vocalist Lyle Divinsky, “We can’t think of a better way to start off than by funkifying the fall foliage in the northeast as we play alongside some of our heroes in the funky METERS, as well as our family in Mammal Dap, Sophistafunk, and The Funky Dawgz Brass Band. Also, for the first time, The Motet will play to my hometown, Portland, Maine (and yes, there will be a lobster bake involved), and we just can’t wait to see so many old and soon-to-be friends along the whole run.”Following the Northeast run, the band will head south for a run of Halloween shows under this year’s “Mixtape 1979” theme, continuing their tradition of special themed Halloween performances that dates back more than 15 years. “We’ve been digging in the crates for months on end, and cannot wait to get turnt on a time-warp back to the age of platform shoes and undeniable grooves” says an excited Divinsky, “We have so much in store for you, so pay attention, because more will be revealed!!!” The “Mixtape 1979” shows will see the Motet perform sets of hits from the music-rich year of 1979 for audiences in Dallas, Houston, Austin, New Orleans, and Asheville (on Halloween night), as well as a much-anticipated showing with Big Gigantic at this year’s Suwannee Hulaween at Spirit of Suwannee Music Park in Live Oak, FL on October 30th.The tour continues from there with performances in Carrboro, NC, Richmond, VA, and Ardmore, PA (right outside Philadelphia) before heading to the Big Apple for two shows at Brooklyn, NY’s Brooklyn Bowl. From there, the band heads west, with two hometown shows in Denver and a three-night, three-city run in Oregon to round out November. Finally, the band will play a one-off in Grand Junction, CO on December 10th, before their 4-night New Years run takes them from Minneapolis to Milwaukee to Chicago (with Umphrey’s McGee) to Atlanta to close out 2016 with a bang.Catch the Motet on the road this fall, coming to a city near you, and check back as the tour goes on for exciting content and updates from the road. You can check out the full list of dates below. Tickets are available for all dates via the band’s website.
The city of San Francisco paid tribute to one of its cultural icons today, as a plaque honoring Jerry Garcia was just placed outside his childhood home at Mission and Harrington. Garcia lived at the 87 Harrington address for many years as a child.While news of the planned Garcia tribute was announced months ago, its placement is certainly a significant moment in honoring the legacy of the Grateful Dead. The plaque itself features a quote from Garcia about his influences, “My grandmother listened to country, my mother listened to opera, my father was a musician. I was in the middle of music.”Daughter Trixie Garcia revealed the news through a Facebook post, which you can read below.
Last Thursday, January 12th, Grateful Dead guitarist Bob Weir brought his Campfire Band to Cincinnati for the MusicNOW Festival. Weir formed the band in support of his 2016 album, Blue Mountain, with members of The National, including Aaron Dessner, Scott Devendorf, and Bryan Devendorf, as well as Josh Kaufman.One of the highlights from the show was the Campfire Band’s debut performance of the Grateful Dead classic, “Dark Star.” The band played part of the song in the first set, and brought it back for some jamming fun in the second half, ultimately segueing into “Not Fade Away” to end the set.Check out a full video of the “Dark Star” > “Not Fade Away” below, courtesy of Monica M. Reed on YouTube.The full setlist can be seen below.
The latest episode of Live For Live Music Presents: Inside Out with Turner and Seth should appeal to a wide variety of cerebral music fans. In this week’s episode hosts Rob Turner and Seth Weiner conduct interviews with members of Moon Taxi as well as Lotus drummer Mike Greenfield. In addition to all that, the new episode features conversations with the one and only Col. Bruce Hampton, who will celebrate his 70th birthday with Hampton 70–his star-studded Atlanta blowout on May 1st–and Matt Wilson, the man with the plan who put together the sold-out event.You can listen to the new episode of Live For Live Music Presents: Inside Out with Turner and Seth below:The show begins with Wilson, who explains how a conversation with Duane Trucks at last year’s Candler Park Festival in Atlanta turned out to be the genesis of this historic Fox Theater event. Wilson also announces the exciting addition of Hampton’s Aquarium Rescue Unit bandmate Jeff “Apt. Q258” Sipe to the Hampton 70 lineup, which includes members of the Rolling Stones, Widespread Panic, Phish and the Allman Brothers Band, as well as musicians accomplished in their fields outside of music, like A-list actor/director Billy Bob Thornton and future Hall of Fame pitcher/Major League Deadhead Jake Peavy.Next, the Moon Taxi family graciously welcomes Seth and Rob onto their bus to explain how they got their shit together to self-release their debut CD while at Nashville’s Belmont University. “We recorded at a studio owned by some Belmont kids,” says front man Trevor Terndrup. “That’s why we got the ‘bro deal,’ goin’ in there. And we were all still in class.” The band talks extensively about songwriting, particularly on their song “Morocco,” and how their approach to writing songs as a band reflects the various styles of writers they have in their fold. They also discuss setlist strategies, “man-buns,” recording on vinyl, fan vocals, preparing for and performing full sets of Rage Against The Machine music, songwriting (particularly regarding “Morocco”) and having the opportunity to perform on the Late Show with David Letterman just weeks before Letterman retired. They also talk about how one of their original compositions led to them to sharing a stage with Derek Trucks at Bonnaroo, which in turn became one of the early highlights in the band’s career.The Derek Trucks theme continues as Colonel Bruce joins the show and says of Trucks, “I’ve never heard anybody with more tone on any instrument including Pavarotti, Horowitz or Mstislav Rostropovich.” While Colonel admits that while he initially was not thrilled with having a large concert in his own honor, he is glad to have been talked into it. When asked if he feels he will be embarrassed all night at this event, he exuberantly responds, “I live in the theater of embarrassment.” How songs will be selected at this one-time event, who the musical directors will be, and how The Colonel plans on handling the fact that everyone will want to play with him, are all on the table during these two segments with The Colonel. He also takes us back to the days of the Fillmore East with stories involving Frank Zappa, Jimi Hendrix, and others.In between segments with The Colonel, InsideOut WTNS shares a December interview with Mike Greenfield of Lotus, who walks listeners through the differences between gigging in the Dominican Republic and gigging in Japan, chats about Lotus’ new approach to marketing, and explains how their latest album (and first release to feature vocals), Eat The Light, represents a new chapter for the band. He also reflects on the unique experience of playing drums in Lotus: “Everyone (in Lotus) has a place…..and it comes together in this one sound. And you can’t do anything more. It’s cool.” Greenfield continues, “If they are paying attention to the guitar players, I feel like I’m doing my job. Because drums are a foundational instrument….especially in a band like this, it’s not my job to shine….if we’re doing one of the vocal songs, it’s my job to support the vocalist, if (guitarist, Mike) Rempel is soloing, it’s my job to make him sound better.” Greenfield also elaborates on playing with members of the Disco Biscuits in Electron, the trickiest things about joining an established band such as Lotus, and about how he found a way to be with his wife for their birth of their daughter while Lotus was out on tour.Live For Live Music Presents: The Inside Out With Turner And Seth podcast is slowly but surely earning a reputation for delivering some of the most unique and in-depth music interviews in cyber-land. The program serves up behind-the-scenes “industry” perspectives with journalistic points of view and fan input to thoroughly tackle the vast world of organic music–with some laughs mixed in for good measure.**For more Inside Out With Turner And Seth episodes, head to their SoundCloud or their page on iTunes. You can also email the Podcast here, and submit feedback which may be incorporated into future episodes!**
Yoko Ono To Receive Retroactive Songwriting Credit For Contributions To John Lennon Classic “Imagine”
Decades after the release of John Lennon‘s iconic 1971 appeal for peace, “Imagine,” his then-partner Yoko Ono will receive a co-writing credit for her thematic contributions to the song. The decision was publicized at yesterday’s annual meeting of the National Music Publishers Association in New York” where Ono and her and John’s son, Sean Lennon, accepted the organization’s new “Centennial Song Award” on their late kin’s behalf. During the presentation, NMPA David Israelite screened a short video of John Lennon from 1980 in which he professes that Ono deserved a songwriting credit for the 1971 song. Israelite explained that the process was already in motion to make Ono an officially credited songwriter for the smash hit worldwide peace anthem.The song was ranked #3 in Rolling Stone‘s “500 Greatest Songs of All Time,” and was named as on of the 100 most performed songs of the 20th century, being covered by countless musicians ever since its release. Following Lennon’s murder in 1980, a memorial to him was set up in New York’s Central Park across the street from The Dakota, the apartment in which he lived and outside of which he was tragically shot. The “Strawberry Fields” memorial is inscribed with a mosaic bearing the word “Imagine.”The clip played at the NMPA presentation was not the only instance where Lennon noted that he felt the song should be credited as a Lennon/Ono collaboration. In Lennon’s final interview before his death, given to BBC Radio on December 6th, 1980 (2 days before his murder on December 8th), he explicitly said as much. “[Imagine] should be credited as a Lennon-Ono song because a lot of it – the lyric and the concept – came from Yoko. But those days I was a bit more selfish, a bit more macho, and I sort of omitted to mention her contribution. But it was right out of Grapefruit, her book.” In a tone that suggests he was embarrassed at his earlier sexism, he says: “If it had been a male, you know – Harry Nilsson’s Old Dirt Road, it’s ‘Lennon-Nilsson’. But when we did [Imagine] I just put ‘Lennon’ because, you know, she’s just the wife and you don’t put her name on, right?” You can listen to the clip below (starts at 00:45:30):Of course, there will inevitably be a sub-sect of fans who will decry this decision, which comes more than 35 years after the former Beatle‘s death. Ono’s relationship with Lennon is seen by many as a catalyzing factor in the group’s deteriorating personal relationships in the late 60’s and eventual breakup in 1970. With the reverence many music historians hold for the Beatles’ historic catalogue, any change to the credits for this highly influential song is sure to rile up some die-hard fans.While we will likely hear some push-back from fans as the process goes further, the decision is clearly in line with Lennon’s wishes which, after several decades, seem to finally have been put in motion.[h/t – The Guardian]
Telluride Jazz Taps Mavis Staples, Funky Meters, Dr. John, And More For Small Town Takeover [Photos]
Load remaining images This weekend, Telluride Jazz Festival took over Telluride Town Park, bringing the likes of Mavis Staples, Macy Gray, the Funky Meters with Dr. John, Lee Fields & The Expressions, Miles Mosley & The West Coast Get Down, The Suffers, FatsO, and more to the charming town nestled in Colorado’s San Juan Mountains. The internationally renowned jazz festival has been running since 1977, consistently pulling big names to come and take over the small village of around 2,500. This year, Bootsie Collins was slated to make a headlining appearance at the festival, but after his ear surgery took him out of commission, the bassist was replaced the Funky Meters and Dr. John, more than making up for the last-minute change.With bonus sets at the Sheridan Opera House, which only has a capacity of 240 people, as well as the main stage of the town park turned festival grounds, the weekend was filled with intimate performances in a context rarely experienced in larger cities. With a background of gorgeous mountain ranges on all sides, Telluride Jazz Festival (and any of the other numerous Telluride-based music festivals, such as Telluride Bluegrass and Blues and Brews) tops many audiophiles must-see events, if not sheerly for the setting and the consistent energized performances that seem to be the Telluride way.You can check out gorgeous photos from this year’s Telluride Jazz Festival below, courtesy of Andrew Rios.
In the waning hours of 2017, Wixen Music Publishing filed what is destined to be a landmark lawsuit for the modern music. On Friday, the California based music publishing company filed an enormous lawsuit in the state’s federal court against Spotify, alleging that the Swedish streaming giant is using tens of thousands of songs by their clients–including the late Tom Petty, Neil Young, Tom Morello and Zach De La Rocha (Rage Against The Machine), Dan Auerbach (The Black Keys), Donald Fagen (Steely Dan), Rivers Cuomo (Weezer), Stevie Nicks, and more–without proper license and compensation to the music’s publisher. Wixen is seeking damages of “at least $1.6 billion plus injunctive relief,” according to the suit.As The Hollywood Reporter explains, “Hopes are running high for the first significant reform of music licensing rules in decades. The coming year may also see Spotify go public. But before any of this happens, the Stockholm, Sweden-based streaming giant must now contend with a massive new copyright lawsuit.”As the official complaint states, “Spotify brazenly disregards United States Copyright law and has committed willful, ongoing copyright infringement. Wixen notified Spotify that it had neither obtained a direct or compulsory mechanical license for the use of the Works. For these reasons and the foregoing, Wixen is entitled to the maximum statutory relief.” The complaint (read here) states that as much as 21% of the 30 million-plus songs on Spotify are unlicensed.In response to the suit, Spotify has questioned whether or not Wixen has been authorized by the high-profile clients named to take such aggressive action, which could delegitimize attempts at a class action claim.Spotify has frequently dealt with backlash from musicians due to their sometimes comically-low artist payout rates. While the Wixen suit is the largest that’s been brought against Spotify, they have been fighting copyright-centered legal battles for years.”Last May, Spotify came to a proposed $43 million settlement to resolve a class action from songwriters led by David Lowery and Melissa Ferrick…not everyone was satisfied by the settlement, which must still be approved by a judge,” explains The Hollywood Reporter. “In July, Spotify was hit with two more lawsuits, including one from Bob Gaudio, a songwriter and founding member of the group Frankie Valli and the Four Seasons. Like Lowery and Ferrick, the plaintiffs in these new cases asserted that Spotify hadn’t fully complied with obligations under Section 115 of the U.S. Copyright Act, which provides a compulsory license to make a mechanical reproduction of a musical composition, but only if a ‘notice of intention‘ is sent out and payments are made.”All of this happens as lawmakers are beginning to turn their focus toward the legally murky waters of digital music rights. As THR explains, “In late December, Rep. Doug Collins (R-Ga.) and Rep. Hakeem Jeffries (D-N.Y.) introduced the Music Modernization Act, which among other things, would end the ‘notice of intent’ process that’s currently spelled out by Section 115. Instead, a database would publicly identify songs and potentially alleviate the way that digital services struggle to identify and locate co-authors of each of the tens of millions of copyrighted musical works. Under the proposal, digital services would fund a Mechanical Licensing Collective that would be granted blanket mechanical licenses. And rates would more closely hew to market value, with songwriters and publishers being granted audit rights.”The new bill has earned widespread public support thanks to its bi-partisan backers as well as its endorsement by Digital Media Association, an organization that represents the biggest players in the tech world–including Spotify. While music publishing may not be a big priority for Congress at the moment, perhaps a multi-billion dollar lawsuit over a trove of classic music will catch their attention.[h/t – The Hollywood Reporter]