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Briefly: Sasquatch! Music Festival Expands To Two Weekends

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While the festival season is already saturated, that hasn’t stopped organizers of successful festivals from expanding their offerings. Just this week we’ve reported on Newport Folk Festival organizers announcing a West Coast version of the famed fest called Way Over Yonder. Now, this morning comes news of Sasquatch! joining the ranks of the Austin City Limits Music Festival and Coachella by expanding to a second weekend.

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Unlike Coachella and ACL, Sasquatch! won’t take place over two consecutive weekends. The 2014 installments of Sasquatch! will go down over both Memorial Day Weekend (May 23 – 25) and July 4th Weekend (July 4 – 6), with two separate lineups. The Gorge in Quincy, Wash. will host both events. This year’s Sasquatch! sold out in just 90 minutes.

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posted in Festivals by Scott Bernstein


Hands On A Hardbody Cast Recording Track Listing Revealed

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UPDATE (6/13 11:50AM): The Hands On A Hardbody original cast recording will be released digitally on July 9 followed by a physical release on August 13 via Sh-K-Boom Records.

Earlier this week the track listing for the Hands On A Hardbody original cast recording surfaced. The Tony-nominated score was written by Broadway vet Amanda Green and Phish front man Trey Anastasio. Songs included in the show ranged from gospel (Joy Of The Lord) to ballads (I’m Gone) to rock (My Problem Right There). A few tunes have been played by Phish in concert, namely My Problem Right There and Burn That Bridge while some of Stronger is derived from the Phish song Joy.

As of April, the HOAHB cast recording was due in June, though label Sh-K-Boom Records lists “TBA” for the release date. Hands On A Hardbody ran on Broadway for a total of 56 performances before closing on April 13th. The musical is now expected to run at regional theaters such as St. Louis’s New Line Theatre which will show Hands On A Hardbody May 29 – June 21, 2014.

Here’s a look at the tracklisting and bonus track for the HOAHB original cast recording…

1. Human Drama Kind of Thing
2. If I Had This Truck
3. If She Don’t Sleep
4. My Problem Right There
5. Alone With Me
6. Burn That Bridge
7. I’m Gone
8. “uncontrollable laughter”
9. Joy of the Lord
10. Stronger
11. Hunt with the Big Dogs
12. Hands on a Hardbody
13. Born in Laredo
14. Alone with Me (Reprise)
15. It’s a Fix
16. Used to Be
17. It’s a Fix (Reprise)
18. God Answered My Prayers
19. Joy of the Lord (Reprise)
20. Keep Your Hands On It
Bonus Track: 21. The Tryers

[via Sh-K-Boom, Hat Tip - Lawrence Pinkham]

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posted in Hands On A Hardbody by Scott Bernstein

Cover Alert: Tom Petty And The Heartbreakers – Knockin’ On Heaven’s Door (Bob Dylan) @ Fonda Theatre

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At the penultimate show of Tom Petty And The Heartbreakers’ recently completed six-show residency at the Fonda Theatre in Hollywood, the band dug deep for a cover they hadn’t performed since 2005. Fourteen songs into the Sunday night set, Petty and his band delivered a stirring version of Knockin’ On Heaven’s Door by Tom’s old Traveling Wilburys’ band mate Bob Dylan.

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[Photo by Chad Anderson]

Petty’s history with Knockin’ On Heaven’s Door dates back to The Heartbreakers’ mid ’80s tours with Dylan. Tom once said this about backing Dylan in 1986 and 1987, “He gave us a kind of courage that we never had, to learn something quickly and go out on stage and play it. You had to be pretty versatile because arrangements could change, keys might change, there’s just no way of knowing exactly what he wants to do each night. You really learnt the value of spontaneity, of how a moment that is real in a concert is worth so much more than one you plan out.” The Heartbreakers brought Knockin’ On Heaven’s Door into their live repertoire in 1989 and played it sporadically through 2005. Following six versions in the Summer of ’05, the band shelved the tune until Sunday night.

Watch fan-shot footage of Tom Petty And The Heartbreakers’ Knockin’ On Heaven’s Door…

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posted in Bob Dylan by Scott Bernstein

Rolling Stones Sway w/ Mick Taylor, Go Down w/ Gary Clark Jr.

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The Rolling Stones’ 50 and Counting World Tour continued last night at TD Garden in Boston, where they were joined by the tour’s guest, Mick Taylor, for three tunes including a rarely played Sticky Fingers track, and by young axeslinger Gary Clark Jr. for a blues cover.

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[Photo Via Rolling Stones Instagram]

For the fifth song of The Stones’ 19-tune main set, the band was augmented by Clark Jr. on Going Down by Don Nix. Gary sat in with The Rolling Stones on Going Down at two New York City shows last December, while Jeff Beck jammed with The Stones on their debut of Going Down on November 25, 2012 in London. Watch last night’s take on the blues tune…

Two songs later Mick Jagger announced that Sway had won out in fan voting as the evening’s request. Former Stones guitarist Mick Taylor performed on Sway as well as his now nightly takes on Midnight Rambler and (I Can’t Get No) Satisfaction. Watch Mick Taylor play Sway with The Rolling Stones…

Here’s the setlist for last night’s show…

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posted in Gary Clark Jr. by Scott Bernstein

Televised Tune: Rock And Roll Exposed – Photography Of Bob Gruen

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One of the biggest names in the history of rock ‘n’ roll photography, Bob Gruen, has shot the likes of Led Zeppelin, The Rolling Stones, Elvis, Madonna, Bob Dylan, Bob Marley, John Lennon  and Johnny Rotten over a half a century viewing the music world through the the eye of a lens. On Saturday at 4PM ET, Showtime 2 broadcasts a landmark documentary about Gruen’s life, as he opens his vast archives for the first time on television. The doc features interviews with Gruen friends Yoko Ono, Iggy Pop, Green Day, Alice Cooper, Tommy Ramone, Debbie Harry and more.

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Friday, June 14 [All Times ET]

  • Emmylou Harris and Mumford & Sons on Crossroads [Palladia 12PM]
  • Boxer Rebellion on Jay Leno [NBC 11:35PM]
  • Ariana Grande featuring Mac Miller on Jimmy Fallon [NBC 12:35AM]
  • ZZ Ward on Carson Daly [NBC 1:35AM]

Saturday, June 15

  • Spoon on Austin City Limits [PBS]
  • The Doors – Live At The Bowl [Palladia 12PM]
  • Rock And Roll Exposed – Photography Of Bob Gruen [SHO2 4PM]
  • Passion Pit on Saturday Night Live [NBC 11:30PM]

Sunday, June 16

  • Ladies and Gentlemen – The Rolling Stones [VH1 Classic 7:30PM]
  • I’ll Do Anything Jackson Browne Live In Concert [AXS TV 8PM]
  • Jane’s Addiction – Live In New York [Palladia 8PM]
  • Crosby, Stills and Nash – Live 2012 [AXS TV 9:15PM]
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posted in Televised Tune by Scott Bernstein

Video: Bonnaroo Week – Rayland Baxter – The Mtn Song

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While it may be too late to make a recommendation to those headed to Bonnaroo or to those already finding themselves firmly entrenched on the festival grounds, but we thought we’d offer up one more just in case you’re checking out HT while you’re in Manchester. It may be easy to stick to seeing acts at the large stages and tents, Bonnaroo also features a number of intimate stages that offer an alternative to the throngs of crowds trying trying to catch the big name acts. From noon to roughly one o’clock in the morning both up and coming acts and familiar faces will be on display at Cafe Where?, New Music On Tap Lounge and the Solar and Sonic stages.

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While you certainly can’t go wrong stopping and taking in a few songs for anyone, we’d like to point you in the direction of Rayland Baxter,who hails from just up the road in Nashville. The singer-songwriter, who released his debut album Feathers & Fishhooks last year via ATO Records, plays a breezy brand of impassioned country-folk that’s grounded in his emotionally charged lyrics. You’ll have two opportunities to catch Baxter, as he plays a set at the On Tap Lounge today at 2:40 PM, and will take to the Sonic Stage tomorrow afternoon at 1:30 PM.

Let’s check out the music video for his album’s lead track The Mtn Song…

Rayland BaxterThe Mtn Song

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posted in Bonnaroo by Jeffrey Greenblatt

Review and Photos: Mountain Jam Festival

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Mountain Jam @ Hunter Mountain – 6/6 – 6/9

Photos and Words: Paul Citone

The Ninth Annual Mountain Jam festival took place June 6th – 9th with one the best lineups to date including host Warren Haynes and Gov’t Mule, Primus, Phil & Friends, The Avett Brothers and Widespread Panic to name a few. Set on the base of beautiful Hunter Mountain in the Catskills, you couldn’t ask for a better festival space. With some less than spectacular weather in the forecast it looked like a washout, however, the music must go on.

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[All Photos By Paul Citone]

The pre-party to the festival officially kicked off Thursday afternoon with bands on the outside stages (one main stage and a small second stage) and the inside Healey Brothers Hall, a small venue inside the main lodge. The rain was pouring down but the festivarians came prepared with rain gear (including the tapers). I arrived in time to catch the set by Rubblebucket. They brought their “A Game” despite the rain. This band knows how to cross between the lines of psychedelic rock, dance and new wave jazz. Their dynamics and dancing on stage reminded me of being at a more modern George Clinton experience. Inside Healey Brothers Hall was Minnesota-based band The 4onthefloor. This smaller venue was packed. I was told to check these guys out and they are down home rockers with a touch of jam. They are also on the road this summer all across the U.S.A. playing medium-sized venues, so be sure to give them a shot.

Promptly at 8:00, Primus took the stage as the rain kept a steady pace but it didn’t hamper the band one bit. They tore into a great setlist starting with Those Dammed Blue-Collar Tweekers off their 1991 album Sailing The Seas Of Cheese. The show continued with Fistifcuffs, Moron TV and the always impressive Southbound Pachyderm. Claypool’s eccentric performance style and stage antics made you wonder if the whole thing is an act, but a good friend of mine once told me that Claypool barged in to a tour bus at a show he was at wearing a red one-piece longjohns, combat boots and a black militia helmet with a chrome spike on top, so I’m a believer for sure. Primus closed with Harold of the Rocks followed by a short encore of Tommy the Cat.

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Friday brought more rain and it was looking like a total washout, but the weather turned out to be not too bad. I arrived just in time for fan favorites The Avett Brothers, who are becoming Mountain Jam regulars. They opened with Salina, a slower ballad, then dived into the traditional Avett-style song Go To Sleep. The Avetts have caught some flack for their current album The Carpenter being too commercialized, but the songs thrive in the live setting. The band seemed to be in great spirits pushing and shoving each other in fun onstage. Scott came out to the rim of the stage singing a song and was greeted with a pair of flying underwear in his face. Avett laughed, looked back at the band and held them up. Many in the audience rolled with laughter. Later, the North Carolina-based band delivered such usual Avett classics as Will You Return?, Laundry Room, Murder In The City and Kick Drum Heart followed by the encore of I Am Love And You and Head Full of Doubt/Road Full of Promise. Unexpected highlights were the traditional bluegrass cover Old Joe Clark and The Prettiest Thing by David Childers & The Modern Don Juans.

Widespread Panic headlined the main stage, as this is their only East Coast festival appearance of the summer. Their first set was a little lackluster, possibly due to all the rain as the crowd was a red and yellow board of raincoats. The Georgia jam titans opened up with Give followed by Ribs and Whiskey. The night got started in earnest as soon as they played Junior (which also closed the first set). The band rose to the occasion with their second set, opening up with Little Kin into Pigeons. Guitarist Jimmy Herring’s amazing solo talents make this band a must see. Panic was joined by Bill Evans on sax and Danny Louis on keys for an exceptional cover of Low Spark of High Heeled Boys by Traffic. For their encore, Widespread Panic treated the crowd to Expiration Day followed by a great rendition of Travelin’ Light.

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Saturday we woke to a forecast promising two beautiful festival days free of rain. I arrived just as Mountain Jam favorites Michael Franti & Spearhead took the stage. Franti opened with the fun I Don’t Wanna Go followed by customary songs such as My Gangsta Girl, Hey World, Yell Fire and I’ll Be Waiting. While Franti often plays these staples, they never get old. Warren Haynes joined Franti and the band onstage for Life Is Better With You. Franti was a maniac in motion the whole show, bouncing into the crowd from one side of the festival area to the other. At one point he played a song in the soundboard area and pulled audience members to dance with him. The singer also performed All I Wanna Do Is Be With You, before bringing up various members of the audience to fill up the stage for the finale – his usual Say Hey. This man never disappoints.

After Franti’s set Gary Clark Jr. took the stage on the smaller west performance area. The Austin native’s talents are stellar guitar playing with a modernized stage show. It’s hard not to notice Clark’s inner Hendrix when he is playing as his solos flow perfectly and take you back to a different era of music. Speaking of Hendrix, Clark covered Third Stone From The Sun and did it well. His guitar style is grungy and deep, and his bluesy vocals fit his music like a glove. I got a chance to chat with Clark Jr. after the show as I inquired about the set and he said “there is no setlist, we make it up as we go and what we feel the audience wants to feel next.”

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First-time Montain Jammers The Lumineers were up next on the main stage. Wesley Schultz and Co. delivered a high energy and vocal-heavy set. The lack of hard electric instruments allows you to really hear and feel what they are singing. The Lumineers’ set included nearly every song from their debut album including the hit Ho Hey. They came out to the crowd at one point and played in the soundboard area citing “this is not close enough” and crossed the barrier into the crowd for another song. Most impressive was their amazing encore of the Talking Heads’ song This Must Be The Place (Naive Melody), which was followed by Stay With Me featuring a sweet transition into Creedence Clearwater Revival’s  Have You Ever Seen The Rain. The Lumineers blew me away, proving they are more than just some one-hit-wonder pop act.

The festival had tons of product and food vendors to choose from as options included Thai, Italian, Chinese and fresh Mexican as well as food trucks, ice cream and “you name it” fried items. If you had the munchies, this was the place for you. The ski lift was in full operation ride mode and it was not to be missed as it presented the opportunity to fly (some higher than others) right along side the main stage, with a great view of the entire festival.

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Saturday evening brought headliners Gov’t Mule to the stage. The energy was intense as the nice weather (no rain) helped lead to a lively crowd. The band opened up with the powerful Broke Down on the Brazos, which led into Slackjaw Jezebel. Mule’s set included a slew of nice surprises such as a cover of moe.’s Opium with special guest Bill Evans and the CCR cover Effigy mixed in with an awesome bluesy Folsom Prison Blues jam. Warren Haynes and Co.’s second set was a  cover-heavy affair that opened up with David Gilmour’s There’s No Way Out Of Here. Next, Haynes brought out a number of guests including The Shady Horns and Neil Evans from Soulive for a cover of Etta James’s I’d Rather Go Blind. Also covered this set was 1983..(A Merman I Should Turn to Be) by the Jimi Hendrix Experience, which led into No Quarter by Led Zeppelin before returning to the end of 1983. It was a stellar night for the Mule. They closed out the evening with the Tom Waits cover Get Behind the Mule. Haynes has a lot of pride in this festival. Backstage Warren told me that he was “excited to get onstage with all these amazing artists” and that “this is his favorite time of year.”

The final day of the festival brought some big names and refreshing sunshine. The crowds were out in full force on Sunday following Saturday’s attendance hitting a record 15,000. I caught a bit of Dispatch belting out a bit of Bang Bang and Friend of the Devil. Dispatch features a  talented mix of rock, rap, jazz and funk. Their vibe reminds me of the good old days of Sublime. Jackie Greene took the smaller stage for his 5:30 performance jamming out on both covers and originals. Right after leaving the stage, he was off to his next gig in Europe to join the Black Crowes for the continuation of their tour. Greene opened up his set with a harmonica rich Gone Wanderin. Later, Furthur keyboardist Jeff Chimenti joined him onstage for I’m So Gone, Farewell, So Long, Goodbye and Animal. Jackie closed his hour-long set with Ball and Chain.

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The final act of the festival was legendary Phil Lesh & Friends. This year he put together a great lineup of Warren Haynes, John Scofield, Joe Russo and Jeff Chimenti. The band charged in full force from the start beginning with Cosmic Charlie followed by an incredible version of Cream’s Sunshine Of Your Love. Haynes’ vocals in this mix of artists is especially rich. The second set began with Shakedown Street and it seemed as if the entire sea of people were dancing and shaking. There were times that one instrument was starting to dominate, but that’s to be expected in a show of complete improvisation at its finest. In this writer’s opinion, the Mountain Jam performance was definitely one of the best Phil and Friends shows to date. For the final encore they came up with Box Of Rain to close out this awesome four-day adventure of music and fun.

The organization of this event was excellent and the entire weekend went smoothly. Every act was just about on time. The beauty of this festival is nothing much overlaps, so when one band ended on the East Stage the band on the West Stage would start minutes later. This kept the crowds excited especially with the weather changed. Sorry if I missed some bands here, but you never get to see them all!

Gallery…

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posted in Editor's Choice by Paul Citone

Phish, ICP and the Saving Grace of Chaos & Community

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Phish, Insane Clown Posse and the Saving Grace of Chaos and Community:  Nathan Rabin’s Psychospiritual Odyssey Among Two Lost Tribes of American Pop Culture

Written By: Josh Fleet

Nathan Rabin is no stranger to manic descents into the darkest corners of mind, body and soul. His memoir, The Big Rewind, told through the lens of pop culture, is rife with trauma, heartbreak, neglect and often-debilitating neuroses.

YOU DON'T KNOW ME jacket

So, perhaps it’s not surprising that soon after setting out to research and write You Don’t Know Me But You Don’t Like Me: Phish, Insane Clown Posse and My Misadventures With Two of Music’s Most Maligned Tribes, the freshly pressed book about two bands he initially embraced in a spirit of knee-jerk ridicule and mild hatred, Rabin tumbled in a downward spiral to the pits of emotional hell.

Also, he took copious amounts of drugs. In ego-defying, awe-inducing combinations. “Full-on gonzo.”

What is surprising — to the author and his dear readers alike — is that the initial wanton derision he felt toward Phish and Insane Clown Posse blossomed into full-blown love and obsession.

“Going to see Phish,” he said, “is now one of my favorite things. In. The. World.”

Documenting two years of following Phish and the ICP to the farthest regions of soul and sanity, Rabin’s new book is a chronicle of his teshuvah — repentance and return — from the sin of the Golden Cliche.

As a Jewish fan of Phish whose devotion to the music regularly veers toward heresy, snagging an advance copy of You Don’t Know Me was for me like finding the keys to the Holy of Holies while the High Priest is out on paid leave from his Temple duties: The book was a revelatory, face-to-face dialogue with divinity.

Opening the book for the first time and discovering that Rabin’s introduction to the whimsical world of Phish was in Miami in 2009, and that his quest for jamband understanding had a lot do with falling in love with a girl, a hunch I once had about the deeply spiritual, serendipitous underpinnings of Phish’s music and the surrounding scene began to seem all the more real.

Nathan Rabin credit to Charlie Simokaitis

[Nathan Rabin - Photo by Charlie Simokaitis]

Three years and some months ago, I made the same pilgrimage to Miami for four consecutive nights of Phish at the American Airlines Arena. When my favorite band broke up in 2004, presumably forever, I was in high school. The colorful caravan of intoxicating music, myth and camaraderie had seemingly passed me by, and the two innocent shows I’d managed to convince my parents to pay for and let me attend taunted and teased my memory. So Miami ’09 was an emotional homecoming. The venue was mere hours from my college, friends from every facet of my life would be there, and, after following Phish’s reunion shows with spine-tingling jealousy earlier in the year from my apartment in Jerusalem, I had tickets to all four nights of rapturous, musical bliss.

Those shows planted a seed in my soul: I would write a book about the connection between Phish’s nightly feats of improvisational wizardry and the laughably ubiquitous presence of other members of my tribe — the Jews — within Phish’s universe, framed as a review of the four shows in Miami ’09.

After graduating from the University of Florida in 2010, I hopped a one-way to New York City and hoped the One True God of Everything Including Employment would shine upon me. Somehow, I finagled a paid internship for The Huffington Post’s Religion section, and one of the first stories I wrote as an intern was “Going to Synagogue at Madison Square Garden,” about the very Jewish experience of dancing ecstatically on New Year’s Eve 2010 at a Phish concert.

Fast forward a few years and I’m now engaged to an amazing, Phish-loving Jewess whom I met because of that story. A few weeks from now, we will pack the car and hit the road to follow Phish along the East Coast before moving to Jerusalem later this summer.

So, maybe Nathan Rabin and I aren’t so different. He’s a prolific author of hilarious tomes of pop culture criticism, who is much-loved for his wit and candor; I’ve got dozens of half-baked Google Docs listing ideas for chapters in a book that’s taken me three and half years to not write, and a Catholic blogger for HuffPost once told me my weekly Torah portion summaries were “faintly youthful enough” to get her teenage kids to read them. He recently gave up a tenured position as head writer of The Onion‘s A.V. Club to help trailblaze Pitchfork’s new film site, The Dissolve; I will soon leave my position at The Huffington Post to move halfway across the world with no job lined up and only a phantasmic nest egg for security. His prose is consistently, highly creative; I stole this literary device from his first book. It’s like we’re twins!

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In You Don’t Know Me, albeit a thoroughly secular source, I found confirmation for my theories about the holiness of Phish’s music. Rabin’s account of the first night at Bethel Woods in 2011 is a snapshot of the ecstatic epiphany train that barrels down upon so many souls at any given Phish show.

“When you have these kind of transcendent concert experiences, it has as much to do if not more to do with the audience than the band itself,” Rabin told me on the eve of the book’s publication. “There are so many stories at every show, at every festival, at every concert, and they just don’t get told. And this was an attempt to tell one of those stories, or a couple of those stories, and preserve for posterity what is almost by definition kind of an ephemeral, transitory thing: being at a show and feeling these emotions, connecting not just with the music, but to this world, to this history, to this whole kind of tradition.”

Rabin doesn’t go to synagogue, or necessarily keep the ritualized traditions of Jewish life, but he says it informs everything he does, this book included. For him, Judaism is a neurotic mentality that can be shackling.

“You go to a Phish show, and you take the right drugs, and that gets you out of your mind, that gets you out of your head, and you stop being so neurotic for a couple of hours,” he said.

The music is what pulls the thought-bound “person” from the throes of distraction and making distinctions and intense mental anguish. The musicians act as shamanic vessels: “I remember very very distinctly having the thought, ‘Oh! I see what he’s doing. Trey is taking our ugliness and transforming it into beauty through his art.’”

In his deftly told tale, Rabin transforms the ugliness of popular stereotypes about hippies and Juggalos alike into the true beauty of these two uniquely American phenomena: ICP fans evolve from an illiterate horde of trailer trash-talkers to an all-embracing family of misfits in clown makeup, while the denizens of New Gamehendge shed the collective patchouli-stained drug rug of privileged iniquity and emerge as care-free spiritual seekers of the highest degree.

(The eye-popping dispatches from gathering with his now-beloved Juggalos — a widely reviled tribe one writer from Vice as having “eaten as big an amount of shit over the course of its existence” as no other group, aside from “the possible exception of the Jews” — is alone well-worth the price of admission.)

“Out of night comes day and out of day comes light,” sings Matisyahu, another heady-rags-to-spiritual-riches seeker who did serious time on tour.

And thus, the author himself transforms on the road. Instead of compulsively obsessing over the past in order to manufacture some perfect, impossible future, cavorting at ICP and Phish’s respective carnivals of darkness and light opened his eyes to the “sacred present.”

Rabin takes this living-in-the-momentness to its logical — possibly sacrilegious — extreme: He has never listened to a Phish show that he didn’t personally experience. Even planning for future tour dates is a conscious act of come-what-will nonchalance. Asked if he’ll be spotted on tour again this summer, his response was telling.

“God willing,” he said, before laughing maniacally.

Nathan Rabin’s You Don’t Know Me But You Don’t Like Me is out now from Scribner Publishing. He may or may not raging Page side this summer in Chicago and at the Hollywood Bowl show with the guys from Analyze Phish.

Josh Fleet is an editor for religion at The Huffington Post. To contribute to the book project about Phish and Jews, contact him at PhishTalmud@gmail.com or on Twitter: @lyleismo.

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posted in Editor's Choice by HT Staff


Full Show Friday: The Clash – Live In Tokyo 1982

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For today’s Full Show Friday selection we look at a complete concert from punk legends The Clash. Filmed on January 28, 1982; this performance was one of the band’s last with drummer Topper Headon. Headon, who filled the drum seat in The Clash from 1977 to 1982, was asked to leave the band shortly after the Far East tour was finished and was replaced by Terry Chimes.

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Here we’ve got The Clash powering through 13 songs in front of an attentive Japanese audience. Included within are hits such as London Calling, This Is Radio Clash and Police On My Back. The show was filmed professionally and broadcast on Japanese TV. While the performance came shortly after Combat Rock was recorded, none of the songs from the soon-to-be-released album made the setlist.

London Calling 00:50
Safe European Home 4:18
(White Man) In Hammersmith Palais 9:05
Brand New Cadillac 13:50
Charlie Don’t Surf 16:05
Clampdown 22:10
This is Radio Clash 26:50
Armagideon Time 31:48
Jimmy Jazz 36:59
Tommy Gun 43:00
Fujiyama Mama 46:50
Police On My Back 49:10
White Riot 52:24

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posted in Editor's Choice by Scott Bernstein

Dave Grohl Gives Awesome, Intimate Interview with Off Camera

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Dave Grohl

Dave Grohl is one of rock’s most versatile musicians–whether he’s fronting Foo Fighters, drumming in Queens of the Stone Age, or directing his latest documentary, Sound City.

Off Camera recently spoke with Grohl at length about his various projects. It’s one of the most intimate interviews he’s granted in ages, touching on Sound City, his eclectic approach to songwriting, his work with supergroup Them Crooked Vultures, and “preserving the human element in the creation of art.”

My favorite part is his description of working with Led Zeppelin bassist John Paul Jones (who played in Them Crooked Vultures):

“John Paul Jones is without a doubt the most brilliant musician I’ve ever worked with in my entire life,” he says. “He’s just fucking genius at everything. It doesn’t matter if he’s sitting at a harpsichord or ripping a mandolin or whatever it is. He will pick up an instrument and master it [snaps] like that.”

Check out the full interview.

The trailer for Sound City is below.

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posted in News by Ryan Reed

Pullin’ ‘Tubes: Farewell From The Original Hidden Track Team

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If you’re a regular reader of Hidden Track you know that our love for The Band runs very deep. The five-piece is on our Mount Rushmore of musical acts. So when it came to putting together the final handful of posts there seemed to be only one way for the original Hidden Track  to really sign off from Team HT and that was with a performance of their most iconic tune –  The Weight. While it may be a bit sacrilege to not go out with their version from The Last Waltz, I thought I’d share this fiery and inspired take of the tune from 1970′s infamous Festival Express tour that features Levon, Robbie, Rick, Garth and Richard in their prime.

Before we get to the clip, I just wanted to personally thank all of our readers for helping us grow Hidden Track not only into a great destination site for music news, reviews and opinions, but for helping us to foster a community through our social media pages as well. Since joining Hidden Track full-time in February of 2008, it’s been a great honor to work alongside our esteemed leader, Scott Bernstein, to help him craft our voice and vision, while getting to write about the music that inspired me, as well as getting to cover Newport Folk, SXSW, Solid Sound and more for Hidden Track. This has truly been an amazing opportunity for me, and want to thank him for bringing me aboard, editing my run-on sentences and questionable grammar judgement. Also want to thank all of our great contributors, many of whom become I’ve great friends with. Looking forward to what’s to come as we move on over to JamBase.

So without further Freddy adieu, here’s The Band. Take it away boys…

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posted in Pullin' Tubes by Jeffrey Greenblatt

Ra Ra Riot Perform New Wave-y “Dance With Me” on Letterman

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RaRaRiot

Ra Ra Riot is one of the most underrated bands on the planet. Critics haven’t been kind to the artful indie-pop band’s latest album, Beta Love, even though it’s a bright, beautiful change-of-pace, largely downplaying the lush orchestral-pop stylings of their previous work in favor of a punchier, more ’80s-influenced sound.

Last night, the band stopped by Late Show with David Letterman and played the very bouncy single “Dance With Me.” As always, the band is even better on-stage, and frontman Wes Miles continues to sing like an art-rock choir boy angel.

Check out the performance below:

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posted in News by Ryan Reed

Ben Sollee Adds 2013 Tour Dates, Composes Song for Film “Killing Season”

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Ben SolleKentucky-born folks don’t have too many national treasures (There’s the glorious Moonbow at Cumberland Falls, the original Kentucky Fried Chicken). But we do have Ben Sollee, the eclectic singer-songwriter-cellist-biker extraordinaire.

Sollee is known for his crazy touring cycle–and I mean that literally. He tours the country via bicyle, with his band hauling their equipment themselves. He’s just added some new tour dates (which are listed below). He’s also branching into film: Sollee composed the cello-led track “Letting Go” for the upcoming film Killing Season, which stars big-wigs John Travolta and Robert DeNiro as two Bosnian War veterans.

July 17 – New York, NY  Madison Square Park
July 19 – Hastings-On-Hudson, NY    Purple Crayon
July 20 – Bearsville, NY   Bearsville Theater
July 25 – Indianapolis, IN   Indianapolis Symphony
July 26-28 – Floyd, VA    FloydFest
Aug 3 – Canmore, ALB   Canmore Folk Festival
Aug 9 – Pittsburgh, PA  Altar Bar
Aug 10 -  Bedford, PA  Wills Mountain Festival
Aug 28 – Oakland, CA  Yoshi’s
Aug 29 – Los Angeles, CA   House of Blues (w/ Shuggie Otis)
Aug 30 – Sacramento, CA   Harlow’s
Sept 5 – Boulder, CO  Pearl Street Music & Arts Festival
Sept 6 – Denver, CO  Daniels Hall @ Swallow Hill
Sept 11 – Austin, TX  Stubbs Jr.
Sept 12 – Wimberly, TX Blue Rock Artist Ranch
Sept 14 – New Orleans, LA Music at the Mint
Sept 16 – Birmingham, AL  Bottletree
Sept 17 – Athens, GA      Melting Point
Sept 20 – Columbus, OH   Kobo
Sept 22 – St. Louis, MO The Gramophone
Sept 25 – Nashville, TN  Exit / In
Oct 1 – Washington, DC Rock & Roll Hotel
Oct 2 – New York, NY City Winery
Oct 3 – Boston, MA   ICA Boston
Oct 4 – Portsmouth, NH  The Music Hall

Stream “Letting Go”:

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posted in News by Ryan Reed

Experimental Philly Rockers Man Man Announce New Album, “On Oni Pond”

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Man ManOn September 10, ANTI- will release On Oni Pond, the fifth album from Philly weirdos Man Man. A press release describes the sound of the new, Mike Mogis-produced album as “a compelling mash-up of Fear Of Music era Talking Heads, classic soul, psychedelia, hip hop, and 50’s rock and roll.”

“This is a strange and beautiful record but it’s also head on and fearless,” says frontman Honus Honus.  “It’s not a record that’s going to flirt with you, this is a record that’s asking you out. If you get into bed with us there’s going to be a relationship.”

Check out a lyric video for the warped doo-wop album track, “Head On,” below.

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posted in News by Ryan Reed

Daft Punk Releasing Robot Action Figures

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Daft Punk

Your Christmas stockings just got a little more robotic: Electro-funk pioneers Daft Punk will reportedly release their own action figures this holiday season.

The reclusive duo, Thomas Bangalter and Guy-Manuel de Homem-Christo, apparently supervised the design of the miniature robots, which will feature the band’s trademark robot-chic appearance.

Pre-orders are already underway, and you can feast your eyes on the design here. In case you’ve been literally living under a rock for the past six months, the band’s fourth album, Random Access Memories, came out this May.

Check out the video for their ubiquitous smash, “Get Lucky,” below.

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posted in News by Ryan Reed


Jack White’s Third Man Records to Release Jay-Z’s “Open Letter” on Vinyl

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Photo Credit: Jo Mccaughey

Photo Credit: Jo Mccaughey

For several hours yesterday, Jay-Z took to Twitter to answer various questions from fans. This was a rare display of social network communication from the rapper, whose current Tweet count rests at a mere 210 (though arguably impressive compared to his wife Beyonce, who has only tweeted five times since spring of 2012). During the online questionnaire, Jay-Z stated that “Open Letter,” a track left off of his recently released Magna Carta Holy Grail, would be available on vinyl only, and that rocker Jack White would be handling the release.

Expanding on the details of the release in an interview with Hot 97, Jay-Z shared information about the physical format of the Third Man Records release, stating “It’s in a letter… you can play the letter… it’s amazing… You open the letter, and you can actually play the card.” While this description may leave some scratching their heads, it seems slightly tame for Third Man, who have previously released liquid filled vinyl, as well as a 7” record embedded inside a 12” record. This will be the second time Third Man has released Jay-Z related material in 2013, as the record label released gold and platinum vinyl editions of The Great Gatsby Soundtrack earlier this year.

Below, watch as Fuse tour Third Man Records:

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posted in News by Tyler Collins

MGMT/Slayer Headline 2013 Fun Fun Fun Fest

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Fun Fun Fun Fest

Remember that slogan “Keep Austin Weird”? Keep that in mind, then check out the 2013 line-up for the city’s annual Fun Fun Fun Fest. It’s not every day (or, really, any day) you see Snoop Dogg bumping elbows with Slayer. This year’s line-up also includes rapper M.I.A., alt-rock legends Television (WHAT?!!! Holy crap…), and indie-rock heartthrobs like MGMT and Deerhunter.

The event will also feature comedy and “skate/ride programming,” if that’s your kinda thing. Weekend passes for the fest– which is happening November 8-10 — are currently on sale at the festival website.

Full Line-Up:

ORANGE STAGE

MGMT, M.I.A., Cut Copy, The Walkmen, Television, Deerhunter, Dismemberment Plan, Washed Out, Johnny Marr, Kurt Vile and the Violators, Sparks, Polyphonic Spree, Blake Schwarzenbach (of Jawbreaker/Jets to Brazil/Forgetters), Geographer, King Khan and the Shrines, Bill Callahan, Chelsea Light Moving (featuring Thurston Moore), The Julie Ruin (featuring Kathleen Hanna of Bikini Kill/Le Tigre), Daniel Johnston, Mac DeMarco, Merchandise, Cayucas, Quasi, Beach Fossils, Bleached, Lemuria, Active Child, Ola Podrida, Frank Smith, Wild Child

BLUE STAGE

Snoop Dogg, Jurassic 5, Simian Mobile Disco (DJ set), Bonobo, Ice-T, Big K.R.I.T., Big Freedia, Lupe Fiasco, Chromatics, Glass Candy, RJD2, Tycho, Action Bronson, Shlohmo, XXYYXX, Little Boots, Delorean, Star Slinger, Poolside, Small Black, Ratking, Underachievers, Dessa, Big Black Delta, Mykki Blanco, Phranchyze, Roger Sellers, LNS Crew

BLACK STAGE

Slayer, FLAG (Keith Morris, Chuck Dukowski, Dez Cadena, Bill Stevenson and Stephen Egerton), Descendents, Quicksand, Death Grips, Judge, The Locust, Subhumans (performing “Cradle to the Grave”), Gojira, The Impossibles, Body Count, August Burns Red, Thee Oh Sees, Cloud Nothings, Cro-Mags, Ceremony, Melt Banana, Pelican, The Men, Title Fight, White Lung, Code Orange Kids, Narrows, Unlocking the Truth, Retox, Spray Paint, True Widow, Venomous Maximus

YELLOW STAGE

TBA at Aqua Olympics on 8/3

SKATE/RIDE

TBA at Aqua Olympics on 8/3

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posted in Festivals by Ryan Reed

of Montreal Unveil New Album, Single

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Of Montreal

Indie-rock mainstays of Montreal have officially announced the release date (October 8th) of their 12th studio album, Lousy with Sylvianbriar. As has been previously reported, frontman Kevin Barnes was influenced by groovy ’60s rock bands like The Grateful Dead, as well as the brooding poetry of Sylvia Plath. The album was composed during a self-imposed “isolation experiment” in San Francisco and recorded in Atlanta with the assistance of engineer Drew Vandenberg.

They’ve also released the album’s first single, the punchy, slide-guitar-driven “Fugitive Air.” Check it out below.

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posted in News by Ryan Reed

Daft Punk Unsheath ‘Get Lucky’ Condoms

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Daft Punk

OK, now this is just getting ridiculous. In case the Daft Punk action figures weren’t a silly enough marketing ploy, now the electronic band is kicking things up another notch: with…condoms. Yep, now you and your partner can “Get Lucky” in style with an official Durex line of Daft Punk rubbers. (I would make a “Harder, Better, Faster, Stronger” joke, but, well, just use your imagination.)

Technically, the official details are still “unraveling.” Promos of the condoms have been sent to various DJs, according to Pitchfork. It’s unknown at the time of writing this article whether or not the DJs in question actually tested out said condoms. (If you’ll excuse me, I’m gonna go think of some more Daft Punk/condom puns. As you were.)

(Update: It’s also worth mentioning that this announcement was made on Hump Day.)

Feel free to unload your best Daft Punk/condom pun in the comments section.

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posted in News by Ryan Reed

The Nick Zammuto Fund: Help Sponsor His (Sure to be Awesome) Second Album

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Zammuto

As one half of The Books, Nick Zammuto helped create some of the most forward-thinking, genre-less music of the past decade, blending disorienting samples, intimate folk, and pulsing electronics. After that band’s disintegration, he moved forward on his own with last year’s wonderful Zammuto, pushing toward a more progressive, organic style.

And now he needs your help. He’s attempting to raise $10,000 to fund his sophomore album, so follow this Indiegogo link and donate what you can.

Zammuto recently spoke to SPIN about the direction of his new music. “It’s a feeling of stillness and motion at the same time,” he says. “I’m trying to capture that in the new tracks.”

You can stream “Sinker,” a raw, trippy new track, below.

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posted in News by Ryan Reed

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