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The Last Waltz 40 Works Vintage Magic in Boston (SHOW REVIEW/PHOTOS)

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Last night Warren Haynes, Don Was, Michael McDonald and company turned Boston’s Orpheum Theatre, into a working, full blown time machine; teleporting the audience back to November 26, 1976. This  date of course was one of rock n’ roll’s most magical, legendary nights when at the pinnacle of their ability and at the peak of their insanity, the original members of The Band performed together for the last time on Thanksgiving at San Francisco’s Winterland.

Slightly before 8 PM, “The Theme from The Last Waltz” began playing through the house sound system as the ten piece band accompanied by a four piece horn section strode out to the darkened stage. After some brief tuning, they kicked into “The Shape I’m In”; the audience’s appreciative screams, howls, whistles and applause reached a deafening level reacting as if after forty years the music had finally been freed. McDonald, routinely referred to as a “yacht rocker” was probably was not the first person you would think of for this project, but proved the perfect fit wailing out “Stage Fright” with a blue eyed Southern Soul as he contorted around his center stage keyboard.  McDonald looking thin and spry delivered all night from the Boogie-woogie blues of “Life is a Carnival,” the delicate beauty of, “Helpless” to the lyrically immortal “Forever Young.”

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In the movie “The Last Waltz” the stage was transformed to a movie set with three chandeliers and three large curtains creating the illusion of large, Victorian windows, a detail The Last Waltz 40 Tour copied in Boston.  The brilliance of last night’s performance was that the collective did far more then just cover the music, but also captured the intangible brilliance that made those songs come to life forty years ago.

First set highlights included Haynes’ heartfelt vocal on “It Makes No Difference”” which was beautifully blanketed at times by the angelic harmonies of McDonald, keyboardist John Medeski, and Ivan Neville. Followed by Neville’s vocal performance on the Cajun juking of “Down South in New Orleans”; the tune was extended first by a blazing Haynes slide guitar solo, and then the horn section led by the tuba on lead brought the jam back home.

On the occasions when the group seemed to stumble, losing the groove and then its way during, “Who Do You Love” the four piece horn section, playing the original arrangements of Alan Toussaint was there with a jam or a solo to pick the song back up.  The only time they sounded more like a cover band than an original band was during “This Wheel’s on Fire” with the performance coming off flat with no separation or distinction in sound or melody between the verse, chorus or Coda. However, drummer Terence Higgins, increasing the meter just enough brought the audience back to where it started, shaking the one hundred sixty four year old theater to its foundation with an upbeat  “The Night They Drove Old Dixie Down”.

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Haynes opened the second set with the light-hearted “Caravan” extending the coda just as Van Morrison had done forty years ago, but while Morrison simply didn’t want to leave the stage, Haynes delivered a more intense freelance vocal.  Guitarist Bob Margolin, disclosing he was from Boston and the only member to play the original “Last Waltz” as a member of Muddy Water’s band charmed the audience with his stories and turned up the heat with his fretwork.  He explained how Bob Dylan with Margolin and Eric Clapton on guitar, Paul Butterfield on harp, Levon on drums, Dr. John on Piano and Ron Wood on bass, sang Robert Johnson covers for a few hours at the after party.  Margolin then backed up his story first by dissecting “Mannish Boy” note by note on lead, followed by a real down home blues version of Johnson’s “Kind Hearted Woman.”

The room was electric with the crowd’s adrenaline anticipating, “The Weight” followed by set closer “I Shall Be Released” which seems as poignant today as it did forty years ago.  Don Was, arguably the most influential musical director in rock and roll in the twentieth century, while also the least recognized, spent the night where he seems most comfortable in the shadows behind Haynes both playing and enjoying his creation come to life.  Three hours passed in what seemed like 15 minutes, a side effect of time travel I’m told, but both band and audience delivered one last blow with the encore “Don’t Do It.”

The Band chose Thanksgiving night in 1976 to be their last live show and in retrospect “The Last Waltz” not only symbolically marked the end of an era, but most importantly the end of music for the musician’s sake.  The Band really were just five artists who wanted to create and play music, which consisted of a melting pot of styles and influences molded into their unique vision of rock and roll, which as last night’s audience knew, has been seemingly lost.  Thankfully The Last Waltz at 40 ensured that the music has not been lost forever.

Photos by Rich Gastwirt

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The post The Last Waltz 40 Works Vintage Magic in Boston (SHOW REVIEW/PHOTOS) appeared first on Glide Magazine.


John Wesley Coleman III Shines With Garage Roots Rock On ‘Microwave Dreams’ (ALBUM REVIEW)

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unnamed-2Rock and roll is best when any fucks to give are tossed out the window in favor of a groovy, carefree party. Austin musician John Wesley Coleman III has always showed a fierce determination to give no fucks at the core of his approach to music. This is a good thing and, most of the time, it results in some damn good rock and roll. Such is the case with his latest album Microwave Dreams, one of his finest efforts to date.

The album kicks off with a euphoric blast of drums and synth, letting you know that “Wes” Coleman is here to party. In his slacker drawl Coleman sings “Dance with me motherfucker”, giving us a pop nugget ideal for chugging cheap beer. The slacker vibe – one that was synonymous with Austin, Texas before it became overrun by traffic, condos, and tech bros – is frequently present throughout Microwave Dreams. The country-tinged “On the Couch Again” is a groovy little number while “Hang Tight” is a rowdy garage-glam rocker about hanging tight and hanging loose. “Jesus Never Went To Went To Junior High” is a high point of the album as Coleman shares his own oddball tale of taking acid on the back of a school bus accompanied by a tight guitar solo and Clarence Clemons-esque sax playing. “Scarecrow Smile” is a cacophony of guitar and drums while “Black Kite” and “Exotic Tambourine” are jubilant and freewheeling tunes, the latter of which finds Coleman tapping into vocals reminiscent of the Violent Femmes. Humor is peppered throughout Microwave Dreams, but one of the album’s finest moments and also its most sincere is the twangy “See You Tomorrow”, sang with a deep vocal that conveys Coleman’s love towards his significant other. The piano-driven closer “We Care About Love” is a reminder to us that Coleman isn’t pursuing his passion for money, but for the love of it. He is, after all, a workingman’s musician determined to make his garage roots rock and hopefully a few bucks on the side.

Compared to his previous work, the ironically titled Greatest Hits, Microwave Dreams finds John Wesley Coleman III in fine form. Not the least bit jaded, he channels fatherhood and feeling good into this collection of focused rock tunes. Not only are the songs on Microwave Dreams straight up good rock and roll, they are also honest and raw, showing us that Coleman is absolutely capable of crafting a gem of a record that’s as thoughtful as it is fun. By the end of these ten songs, many laced with humor, Coleman makes it clear he is approaching music with a renewed seriousness but still knows that giving zero fucks is most important.

The post John Wesley Coleman III Shines With Garage Roots Rock On ‘Microwave Dreams’ (ALBUM REVIEW) appeared first on Glide Magazine.

Michael Kiwanuka Announces Rescheduled North American Tour

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Michael Kiwanuka is pleased (and relieved) to announce that he’ll be rescheduling his cancelled North American Tour from December of 2016. Kiwanuka who was suffering from vocal chord damage and tonsillitis has been cleared to play shows again. The tour begins May 18 at the Fonda Theatre in Los Angeles and includes Festival stops at Governors Ball and Bonnaroo Music Festival. It includes shows in some cities that weren’t on the December run including Washington DC, Montreal, Indianapolis, Atlanta and Nashville.

In addition, Michael was nominated for two BRIT Awards, for best Male Solo Artist and Album of the Year. The awards are given out on February 22. He’s also nominated for Best British Artist for the NME Awards and The Gilles Peterson Worldwide Award for Album of the Year.

Love & Hate was recorded in Los Angeles and London produced by Grammy Award winning Brian Joseph Burton AKA Dangermouse and young up-and-coming producer Inflo.

Michael Kiwanuka Live:
May 18, 2017 - Los Angeles, CA – The Fonda Theatre
May 19, 2017 - San Francisco, CA – The Fillmore
May 21, 2017 - Portland, OR – Wonder Ballroom
May 22, 2017 - Seattle, WA – The Showbox
May 23, 2017 - Vancouver, BC – Commodore Ballroom
May 26, 2017 - Minneapolis, MN – Cedar Cultural Center
May 27, 2017 - Chicago, IL – Park West
May 29, 2017 - Toronto, ON – Phoenix Concert Theatre
May 30, 2017 - Montreal, QC – Corona Theatre
May 31, 2017 - Boston, MA – Royale NightClub
June 2, 2017 - New York, NY – Governors Ball Music Festival
June 4, 2017 - Washington, DC - 9:30 Club
June 7, 2017 - Indianapolis, IN – Deluxe at Old National Centre
June 9, 2017 - Atlanta, GA – Terminal West
June 10, 2017 - Manchester, TN – Bonnaroo Music Festival
June 11, 2017 - Nashville, TN – 3rd & Lindsley

The post Michael Kiwanuka Announces Rescheduled North American Tour appeared first on Glide Magazine.

John Mayer Goes Full Band, Solo and Mayer Trio For ‘Search For Everything’ Tour

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Taking some time for his own compositions before leading another summer with Dead and Company, John Mayer is launching his Search for Everything World Tour on Friday, March 31 in Albany, NY at the Times Union Center. This tour marks the first solo trek for Mayer since 2014 and will be sweeping through arenas across North America and Europe in the spring before concluding on Friday, May 12 at The O2 in London, England. A full listing of tour dates can be found below. Each concert on the tour will be comprised of full band, solo acoustic and John Mayer Trio sets of music.

Tickets will go on sale beginning Friday, February 3 at 10 AM through livenation.com.  American Express® Card Members can purchase tickets before the general public beginning Tuesday, January 31 at 10 AM through Thursday, February 2 at 10 PM. Every ticket purchased online for The Search for Everything World Tour North American concerts includes a physical copy of the forthcoming album through Columbia Records.

The first wave of music from The Search for Everything was released Friday, January 20, and went straight to #1 on iTunes and the Billboard Albums chart. It consists of the recently released track, “Love on the Weekend,” as well as three brand new songs, “Moving On and Getting Over,” “Changing, and “You’re Gonna Live Forever in Me.  The Search for Everything, which Mayer began recording in 2014 at the famed Capitol Studios in the Capitol Records building in Hollywood, will be released in its entirety this spring.

 

The Search for Everything World Tour dates:

FRI      31-Mar           Albany, NY              Times Union Center

SAT     1-Apr              Montreal, QC           Bell Centre

MON   3-Apr             Toronto, ON             Air Canada Centre

WED   5-Apr             New York, NY           Madison Square Garden

THU    6-Apr             Washington, DC      Verizon Center

FRI      7-Apr             Philadelphia, PA      Wells Fargo Center

SUN    9-Apr              Boston, MA               TD Garden

TUE     11-Apr            Chicago, IL                United Center

WED   12-Apr            Columbus, OH         Schottenstein Center

FRI      14-Apr            Kansas City, MO      Sprint Center

SAT     15-Apr            St. Paul, MN              Xcel Energy Center

MON   17-Apr            Edmonton, AB         Rogers Place

WED   19-Apr            Vancouver, BC         Pepsi Live at Rogers Arena

FRI      21-Apr           Inglewood, CA          The Forum

SAT     22-Apr           Las Vegas, NV           T-Mobile Arena

WED   3-May            Amsterdam, NL        Ziggo Dome

FRI      5-May            Herning, DK              Jyske Bank Boxen

SUN    7-May            Stockholm, SE           Ericcson Globe

TUE     8-May           Oslo, NO                     Spektrum

Wed    9-May            Copenhagen, DK       Royal Arena

FRI      12-May          London, ENG            The O2

The post John Mayer Goes Full Band, Solo and Mayer Trio For ‘Search For Everything’ Tour appeared first on Glide Magazine.

Deep Purple Launching Its ‘Long Goodbye Tour’ With Alice Cooper/Edgar Winter Band

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Classic hard rock fans will have something to look forward to this summer when Deep Purple and Alice Cooper, joined by special guest, The Edgar Winter Band, visit 19 cities across America this summer on an epic rock tour, announced today. Produced by Live Nation, the tour will also serve as the Long Goodbye Tour for Deep Purple, and begins Saturday, August 12 in Las Vegas, with stops in Los Angeles, Boston, including Cooper’s hometown of Detroit, and more. General tickets go on sale to the public Friday, February 3 at LiveNation.com and on the Live Nation app.

Deep Purple’s studio album, Infinite, is set for release April 7, 2017, via earMUSIC. Produced by the legendary Bob Ezrin, (Pink Floyd, Alice Cooper, Kiss), Infinite features 10 new tracks recorded with no musical boundaries in the spirit of the 70s. The metal pioneers have released five studio albums since 1996, augmented by an abundance of solo work and special projects from members Ian Gillan, Roger Glover, Ian Paice, Steve Morse and Don Airey.  Cooper’s touring band features the three-guitar attack of Nita Strauss, Tommy Henriksen and Ryan Roxie, backed by longtime bassist Chuck Garric and drummer Glen Sobel.

2017 NORTH AMERICAN TOUR DATES:

8/12/2017

Las Vegas, NV

The Chelsea at The Cosmopolitan

 

8/13/2017

Los Angeles, CA

The Greek

 

8/15/2017

Phoenix, AZ

AK-Chin Pavilion

 

8/16/2017

Albuquerque, NM

Isleta Amphitheatre

 

8/18/2017

Houston, TX

Cynthia Woods Mitchell Pavilion

 

8/23/2017

Bristow, VA

Jiffy Lube Live

 

8/24/2017

Camden, NJ

BB&T Pavilion

 

8/26/2017

Wantagh, NY

Nikon at Jones Beach Theater

 

8/27/2017

Boston, MA

Xfinity Center

8/28/2017

Holmdel, NJ

P.N.C Bank Arts Center

 

8/30/2017

Indianapolis, IN

Klipsch Amphitheater

 

9/1/2017

Pittsburgh, PA

KeyBank Pavilion

9/2/2017

Toronto, ON

Budweiser Stage

 

9/3/2017

Detroit, MI

DTE Energy Music Theatre

 

9/6/2017

Chicago, IL

Tinley Park

 

9/8/2017

St. Louis, MO

Hollywood Casino Amphitheatre

 

9/9/2017

Cleveland, OH

Blossom Music Center

 

9/10/2017

Cincinnati, OH

Riverbend Music Center

 

The post Deep Purple Launching Its ‘Long Goodbye Tour’ With Alice Cooper/Edgar Winter Band appeared first on Glide Magazine.

Super Group Alert! Bridwell, Kapranos, Healy, Lytle, Pulido Form BNQT – Volume 1 Due 4/28

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BNQT, a new indie super group conceived and led by Eric Pulido of Midlake, have announced the release of their debut album ‘Volume 1′ on April 28 via Dualtone, and Entertainment One company. The introductory set includes ten new, original songs and features five vocalists – Ben Bridwell of Band of Horses, Alex Kapranos of Franz Ferdinand, Fran Healy of Travis, Jason Lytle of Grandaddy, and Pulido – who wrote and sing two tracks each, with backing from other Midlake members McKenzie Smith (drums), Joey McClellan (guitar) and Jesse Chandler (keys). ‘Volume 1’ was recorded and produced mostly at their studio in Denton, TX.

The concept of BNQT (pronounced “Banquet”) came to Pulido while touring for Midlake’s 2013 release, ‘Antiphon.’ Gathering a number of contrasting yet complementary artists he’d befriended or shared the stage with, Pulido set out to establish a new creative environment untethered from other work – “Like a poor man’s version of the Traveling Wilburys!” he says.

“That’s what art is about for me,” Pulido continues, “creating with other people that you love and appreciate.”

The idea for BNQT was enthusiastically embraced by all involved, but with the artists stretched across the globe, recordings were split both with travel to Denton and remotely over the net. Over a year and some change, songs grew from demos to fully realized recordings, with Pulido guiding the way, and encouraging the artists to stretch out into new, uncharted territory. The resulting work is full of surprises, a collection that feels oddly familiar and attractively alien.

Check out the album opener “Restart” below.,..

‘Volume 1′ Tracklist:
1. Restart
2. Unlikely Force
3. 100 Million Miles
4. Mind Of A Man
5. Hey Banana
6. Real Love
7. Failing at Feeling
8. L.A. On My Mind
9. Tara
10. Fighting The World

The post Super Group Alert! Bridwell, Kapranos, Healy, Lytle, Pulido Form BNQT – Volume 1 Due 4/28 appeared first on Glide Magazine.

Film Bits: SAG Awards Get Fiery; Han Solo Movie Begins Filming

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SAG Awards Get Political

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Amidst a backdrop of political and social upheaval over the weekend, the Screen Actors Guild held their annual awards ceremony last night in what turned out to be a politically charged evening. Speech after speech was littered with rhetoric decrying the recent travel ban enacted by President Trump, a sign that the Hollywood community has no intention of quieting their voices anytime soon. Perhaps no speech was as powerful as the one given by David Harbour during the acceptance of the award of Best TV Ensemble for Stranger Things. You can watch that speech and see the full list of winners below.

Outstanding Performance by a Cast in a Motion Picture
Captain Fantastic
Fences
Hidden Figures
Manchester by the Sea
Moonlight

Outstanding Performance by a Male Actor in a Leading Role
Casey Affleck, Manchester by the Sea
Andrew Garfield, Hacksaw Ridge
Ryan Gosling, La La Land
Viggo Mortensen, Captain Fantastic
Denzel Washington, Fences

Outstanding Performance by a Female Actor in a Leading Role
Amy Adams, Arrival
Emily Blunt, The Girl on the Train
Natalie Portman, Jackie
Emma Stone, La La Land
Meryl Streep, Florence Foster Jenkins

Outstanding Performance by an Ensemble in a Drama Series
The Crown
Downton Abbey
Game of Thrones
Stranger Things
Westworld

Outstanding Performance by a Female Actor in a Drama Series
Millie Bobby Brown, Stranger Things
Claire Foy, The Crown
Thandie Newton, Westworld
Winona Ryder, Stranger Things
Robin Wright, House of Cards

Outstanding Performance by a Male Actor in a Drama Series
Sterling K. Brown, This Is Us
Peter Dinklage, Game of Thrones
John Lithgow, The Crown
Rami Malek, Mr. Robot
Kevin Spacey, House of Cards

Outstanding Performance by a Male Actor in a TV Movie or Limited Series
Riz Ahmed, The Night Of
Sterling K. Brown, The People vs. O.J. Simpson: American Crime Story
Bryan Cranston, All the Way
John Turturro, The Night Of
Courtney B. Vance, The People vs. O.J. Simpson: American Crime Story

Outstanding Performance by a Female Actor in a TV Movie or Limited Series
Bryce Dallas Howard, Black Mirror
Felicity Huffman, American Crime
Audra McDonald, Lady Day at Emerson’s Bar and Grill
Sarah Paulson, The People vs. O.J. Simpson: American Crime Story
Kerry Washington, Confirmation

Outstanding Performance by a Male Actor in a Supporting Role
Mahershala Ali, Moonlight
Jeff Bridges, Hell or High Water
Hugh Grant, Florence Foster Jenkins
Lucas Hedges, Manchester by the Sea
Dev Patel, Lion

Outstanding Performance by a Female Actor in a Supporting Role
Viola Davis, Fences
Naomie Harris, Moonlight
Nicole Kidman, Lion
Octavia Spencer, Hidden Figures
Michelle Williams, Manchester by the Sea

Outstanding Performance by an Ensemble in a Comedy Series
The Big Bang Theory
Blackish
Modern Family
Orange Is the New Black
Veep

Outstanding Performance by a Male Actor in a Comedy Series
Anthony Anderson, Blackish
Tituss Burgess, Unbreakable Kimmy Schmidt Ty Burrell, Modern Family
William H. Macy, Shameless
Jeffrey Tambor, Transparent

Outstanding Performance by a Female Actor in a Comedy Series
Uzo Aduba, Orange Is the New Black
Jane Fonda, Grace and Frankie
Ellie Kemper, Unbreakable Kimmy Schmidt
Julia Louis-Dreyfus, Veep
Lily Tomlin, Grace and Frankie

Outstanding Action Performance by a Stunt Ensemble Captain America: Civil War
Doctor Strange
Hacksaw Ridge
Jason Bourne
Nocturnal Animals

Outstanding Action Performance by a Stunt Ensemble
Game of Thrones
Daredevil
Luke Cage
The Walking Dead
Westworld

Shooting Begins on Holo Solo Anthology Film

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Shooting has officially gotten underway for the upcoming Han Solo anthology film, and co-director Chris Miller marked the occasion with a cheeky tweet. “HAN FIRST SHOT,” the director posted to Twitter, an obvious reference to the “Han shot first” battle cry taken up by Star Wars fans ever since George Lucas made substantial changes to his original films back in the 90s. The tweet was accompanied by a shot of the scene clapper showing the working title of Red Cup. The film stars Alden Ehrenreich as a young Han Solo and Donald Glover as Lando Calrissian, along with Emilia Clarke and Woody Harrelson in unnamed roles. The film is currently set to be released on May 25, 2018.

(Twitter)

First ‘Ocean’s 8′ Photo Revealed

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We got our first look at Ocean’s 8, the gender-swapped spinoff the Ocean’s 11 series, which shows us our first look at the ladies in action. Sandra Bullock leads a crew as Debbie Ocean—presumably the sister of George Clooney’s Danny—as they attempt to pull off a spectacular heist during the Met Gala. In the released photo we see the crew gathered in a subway car, giving us subtle hints about who these ladies are. The film co-stars Cate Blanchett, Sarah Paulson, Anne Hathaway, Rhianna, Mindy Kaling, Helena Bonham Carter, and Awkwafina and is expected to hit theaters on June 8, 2018.

(THR)

‘Split’ Tops Box Office for Second Week

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M. Night Shyamalan continues his box office dominance with Split, which retained the number one spot for the second week in a row earning $26.2 million over the weekend. Newcomer, A Dog’s Purpose, which was, well, dogged, by charges of animal cruelty prior to its release, came in at number two with $18.3 million. Bolstered by a string of high profile awards and nominations, Hidden Figures took third place with $14 million, while Resident Evil: The Final Chapter, came in fourth with $13.8 million. Rounding out the top five was La La Land, which brought in a cool $12 million as it continues its march to potential Oscars history. For the full top ten, see below.

  1. Split-$26.2 million
  2. A Dog’s Purpose-$18.3 million
  3. Hidden Figures-$14 million
  4. Resident Evil: The Final Chapter-$13.8 million
  5. La La Land-$12 million
  6. xXx: The Return of Xander Cage-$8.2 million
  7. Sing-$6.2 million
  8. Rogue One-$5.1 million
  9. Monster Trucks-$4.1 million
  10. Gold-$3.4 million

(Box Office Mojo)

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SONG PREMIERE: Boston Roots Rockers Daemon Chili Get Bluesy On “Devil Woman”

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Led by singer-songwriter Michael Dion, Boston-based band Daemon Chili have been steadily gaining traction around their home turf of New England since forming in 2013. The group is heavily influenced by the unique and eclectic sounds of legendary acts like The Grateful Dead, Allman Brothers, and The Band, and fuse elements of rock, blues, folk, Americana, bluegrass, and reggae, into their sound. This heady mixture can be heard on their upcoming album Mercy Of The Sea, which will be released this coming April. The album marks the band’s unquestionable metamorphosis into a musical outfit that truly defies genre categorization. It also features a myriad of additional musicians whose talents help to round out a sophisticated musical juggernaut that heaves up-and-down with purpose and intention.

Today Glide Magazine is presenting an exclusive first listen of one of the standout songs on Mercy Of The Sea. “Devil Woman” oozes with blues and soul, bubbling over with slinky organ and scalding guitar solos.

Frontman Michael Dion has this to say about “Devil Woman”:

“The title really says it all. The song is about a bad, bad woman, a dangerous woman, a woman who knows that she can have any man she wants. You know the type. She’s the kind of woman who chews men up and spits them without so much as breaking a sweat. Save for her irresistible physical allure, there are no redeeming qualities about this woman, for she is the Devil in disguise. ‘She will make you think you’re the only one, then she’ll leave you all alone…for another man.’

Musically, it’s a dark, G minor blues jam in 6/8. I wrote the song around the time I discovered the theory of affective key signatures. The definitive work on the subject was written by Christian Schubart back in 1803. He described the key of G minor as ‘discontent, uneasiness, worry about a failed scheme; bad-tempered gnashing of teeth; in a word: resentment and dislike.’ Naturally, I used Schubart’s theory to choose Devil Woman’s musical key. Thank you, Mr. Schubart…no really, thank you.”

 

LISTEN:

 

For More Information on Daemon Chili:

Website // Facebook // Youtube // Instagram // Spotify

The post SONG PREMIERE: Boston Roots Rockers Daemon Chili Get Bluesy On “Devil Woman” appeared first on Glide Magazine.


The Dig Take Their Sound In A New Direction On ‘Bloodshot Tokyo’ (ALBUM REVIEW)

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a3501367104_10Since releasing their debut album Electric Toys in 2010, New York City based indie-rockers The Dig have garnered a fair amount of critical praise. Though their albums do a great job of creating a different overall feel from each other, they also carry a similar thread of utilizing both instruments and vocals to create atmospheric elements to their songs. Bassist Emile Mosseri and guitarist David Baldwin share lead vocals and songwriting duties and they make it sound so seamless that it’s all but impossible to attribute authorship to either one and many times to tell each singer apart. With the release of their new LP Bloodshot Tokyo, the band tries on a more rhythmic, synth-driven approach to songwriting and it looks good on them.

After opening up the album with the one minute “Intro (Ordinary Mind)” that incorporates multiple vocal harmonies sung over a piano melody, a series of sci-fi sound effects launch into “Jet Black Hair”, which does a great job of setting the tone for the rest of the album. From the beginning it is clear that the standard guitar riffs and general shoegaze elements that had marked The Dig’s previous releases are going to take a backseat to a more dancey and synth-forward approach on Bloodshot Tokyo. It’s not that guitars aren’t present on this album, but more that they are mostly heard making effects and providing atmosphere in the background. Such is the case in the track “Astronaut”, where the melody is driven by a bright sounding piano reminiscent of Starsailor while synths and an effect laden guitar play quietly in the background and the singer sings in a high falsetto.

Most tracks on Bloodshot Tokyo continue in the vein of an overall grooving feeling, incorporating elements of disco, funk, and electronica. “Let Your Lover Know” implements all of those musical archetypes and almost sounds like Daft Punk covering John Lennon. With most tracks on the album utilizing these elements, it really helps tracks like “Tired of Love” and “Simple Love” stand out. The former is the closest to sounding like their previous work with a slower tempo than other songs on the album and more straightforward vocals and beats. While “Simple Love” relies on an organ to carry the melody and the rhythm section provides a shuffling cadence, making it hard not to nod along. The album aptly draws to a close with “Over the Rails” which feels more like a ballad than anything else. The song alternates between piano melodies and synth/vocal harmonies in the verses and more syncopated synth notes and vocal harmonies backed by the entire band during the chorus.

There is little doubt that The Dig decided to take their sound in a new direction on Bloodshot Tokyo and it seems to pay off. While comparisons to Vampire Weekend, The Strokes, and shoegaze have surrounded their previous work, Bloodshot Tokyo finds The Dig coming more and more into their own. Fans of their erstwhile release may have a difficult time digesting this new direction, but it would not be surprising to see The Dig pick up many more new fans.

The post The Dig Take Their Sound In A New Direction On ‘Bloodshot Tokyo’ (ALBUM REVIEW) appeared first on Glide Magazine.

‘Havana Moon’ Captures The Rolling Stones’ Historic Cuba Performance (DVD REVIEW)

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For The Rolling Stones, playing Cuba last year may have just been another notch on their fifty-plus year old touring belt, but its historical nature was significant and it was all caught on film for Havana Moon, the latest addition to the ever-growing DVD releases by one of the greatest rock & roll bands in the world.

When the Stones played their gig in Havana in the spring of 2016, Mick Jagger spoke Spanish most of the night and gave the rumored-to-be million plus people music they had never experienced live. “It’s about bloody time we got to Havana,” Richards said in a voice-over during scenes of modern day Cuba that actually begins the DVD. “It’s historic, I suppose, in one way,” added Charlie Watts. “Whether it’s remembered as something, you have to wait and see.” With lots of shots of adoring, singing fans throughout, the concert portion of Havana Moon opens with their “traveling through their history” video montage which began the shows on their last Zip Code tour.

After a glimpse of the band itself waiting behind the speakers to go out – Jagger mugging for the cameras & Richards having a laugh with Watts – they jumped into “Jumpin’ Jack Flash” and roared through “Paint It Black,” “Brown Sugar,” “It’s Only Rock N Roll,” “Angie,” “Gimme Shelter” and the best version of “Satisfaction” I’ve heard in quite a while.

It was nice to see the inclusion of “Out Of Control,” one of the best songs on 1997’s Bridges To Babylon, which had only been played sporadically on their last tour despite that great Darryl Jones bass line percolating throughout giving it a hip-moving sizzle.

The bonus features are simply tracks not included during the “main” film portion: “Tumbling Dice,” “All Down The Line,” the Keith Richards sung “Before They Make Me Run,” a rejuvenated “Miss You” with some of the disco edges smoothed away by additions of slinky, tip-toeing on the edge of the blues rhythms; and “Start Me Up.” The booklet includes vibrant photographs from the show, and you can purchase Havana Moon in several different visual and audio formats, depending on your level of love for the band.

If you weren’t in attendance for this show, or missed a stop on their last tour, this is a nice addition to your music shelf, cause you’ll want to watch this one more than once.

The post ‘Havana Moon’ Captures The Rolling Stones’ Historic Cuba Performance (DVD REVIEW) appeared first on Glide Magazine.

Mark Eitzel Offers Hazy Milieu & Ample Allure On ‘Hey Mr Ferryman’ (ALBUM REVIEW)

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Hey Mr Ferryman, album number ten since Mark Eitzel started his solo sojourn away from the realms of American Music Club, finds this ever-inventive artist shifting his stance towards a sound that’s fully flush with ethereal ambiance. Both somber and surreal, it conveys a sense of deep contemplation, the kind that the late Leonard Cohen might have turned to as part of some meditative musings. Enlisting former Suede guitarist Bernard Butler to guide the proceedings from behind the boards, the album allows Eitzel to remain fully centered, as Butler shapes the sound and set-up.

As a result, despite its hazy milieu, Hey Mr Ferryman still retains an ample allure. Butler’s atmospheric noodlings give the proceedings an autumnal feel, one that helps illuminate that sense of circumspect. “Just because someone loves you doesn’t mean they can be had,” he croons on the mournful “Just Because,” suggesting a mission statement that works well for the album overall. That aura of mystery often brings to mind Bauhaus or the darker designs of John Cale, especially in the way Eitzel’s icy delivery distances him from the listener and creates a sound less furious than foreboding. That, in turn, makes the more emphatic melodies — an unusually chipper “The Last Ten Years” and the decidedly determined “Let Me Go” — the album’s most solid standouts.

As a result, Hey Mr Ferryman is a steady guide, especially when it comes to navigating these darker waters. At times, it feels like Eitzel’s working in a trance, opting for a sound that’s surreal and elusive. Nevertheless, that still makes for distinct designs. Ultimately, if the songs do sometimes seem a bit harrowing, there’s still no need to worry. Suffice it to say, it’s merely Eitzel’s way of leaving an indelible impression.

The post Mark Eitzel Offers Hazy Milieu & Ample Allure On ‘Hey Mr Ferryman’ (ALBUM REVIEW) appeared first on Glide Magazine.

SONG PREMIERE: Barika Feat. Craig Myers (Mike Gordon’s Band) Delivers Soulful “Sekou Blues”

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Barika is a six piece funky, dubbed out, psychedelic West African flavored band from Burlington, Vermont. The group is led by Craig Myers who, in addition to leading Barika on the N’Goni, is also a current member of Mike Gordon’s Band, and was one of the original founding members of Rubblebucket. He has performed alongside many artists and bands including Midnight, Toubab Krewe, Djeneba Seck, and John Brown’s Body. The rest of the band consists of Caleb Bronz (drums), Giovanni Rovetto (bass), Colin Lenox (keys,guitar), Chris Hawthorne (trumpet) and Matt Davide (baritone).

Barika will be releasing their highly anticipated third album When The Time Comes on February 17th, which was recorded over the past couple years at Egan Media Productions and The Drum Room. In their most realized band effort to date, one that truly captures the essence of West African, soul and psychedlica into a bold brew that retains focus, intrigue and undeniably stellar musicianship; Barika has created an underground classic. Guest vocalists include Daby Touré, Kat Wright, Matthew O’Brian, Stephanie Lynn Heaghney and Craig Mitchell.

Glide is proud to premiere “Sekou Blues” (below) a triumphant brass driven number that showcases Barika’s collaborative songwriting efforts, while creating a galvanizing mood among ts poignant lyrics.

“The song was named after my friend Sekou Kouyate from Mali, West Africa. We played a show together alongside his wife and bandmate Dieneba Seck, also from Mali. He is a great dessert blues guitar player and inspired the main groove of this song for me. I asked my friend Mathew O’Brian from the band Thunderbody to write some lyrics and sing on the track. Basically this song is speaking to the greed of the gas and oil industry and it’s direct connection and involvement in our government and lobbying/policy making,” describes Myers.

When the Time Comes is available now for preorder and the band will be performing a very special album release show at Nectars on February 17th.

Upcoming Barika Tour Dates

Feb 17 “When the Time Comes” Album Release Party w/ special guests!!! Burlington, VT
Mar 09 Nublu New York, NY
Mar 10 Funk N Waffles Downtown Syracuse, NY
Mar 31 Positive Pie Montpelier, VT
Apr 22 Rockwood Music Hall New York, NY
Apr 28 Portland House of Music Portland, ME
Apr 29 Nectars Burlington, VT
Aug 10 Summer Concert Series Montgomery, VT

For more information visit Barikamusic.com

The post SONG PREMIERE: Barika Feat. Craig Myers (Mike Gordon’s Band) Delivers Soulful “Sekou Blues” appeared first on Glide Magazine.

Closing In On Elton & Billy Joel – Phish Announces The Baker’s Dozen at MSG

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Closing in on Elton John and Billy  Joel for all time Madison Square Garden headlining shows, and about to tie The Greatful Dead at 52, Phish has announced The Baker’s Dozen, a 13-night run at New York City’s Madison Square Garden, beginning Friday, July 21 through Sunday, August 6. The Baker’s Dozen brings the band’s total performances at The Garden to 52 in the years since their December of 1994 venue debut.

Tickets to the The Baker’s Dozen will be available as a 13-show package for the price of 12, or as individual nights. A limited number of pre-sale tickets and Baker’s Dozen packages are available now through Sunday, February 17 at Noon ET at http://tickets.phish.com. As with Phish’s most recent runs at The Garden, all floor tickets will be General Admission. Travel packages are also available (include tickets, hotel, etc.) at http://bit.ly/2kctydq.

PHISH will not be touring this Fall.

PHISH – THE BAKER’S DOZEN
MADISON SQUARE GARDEN, NEW YORK, NY

Friday, July 21
Saturday, July 22
Sunday, July 23
Tuesday, July 25
Wednesday, July 26
Friday, July 28
Saturday, July 29
Sunday, July 30
Tuesday, August 1
Wednesday, August 2
Friday, August 4
Saturday, August 5
Sunday, August 6

The post Closing In On Elton & Billy Joel – Phish Announces The Baker’s Dozen at MSG appeared first on Glide Magazine.

Never Too Late- Bob Dylan Announces First Ever Three Disc LP ‘Triplicate’

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For the first time in his storied career, A three-disc studio album from Bob Dylan, Triplicate, will be released on March 31, featuring 30 brand-new recordings of classic American tunes and marking the first triple-length set of the artist’s illustrious career.  With each disc individually titled and presented in a thematically-arranged 10-song sequence, Triplicateshowcases Dylan’s unique and much-lauded talents as a vocalist, arranger and bandleader on 30 compositions by some of music’s most lauded and influential songwriters.  The Jack Frost-produced album is the 38th studio set from Bob Dylan and marks the first new music from the artist since Fallen Angels, which was released in early 2016.

Triplicate will be simultaneously released in several configurations, including a 3-CD 8-Panel Digipak, a 3-LP vinyl set and a 3-LP Deluxe Vinyl Limited Edition packaged in a numbered case.  Triplicate is also available for pre-order on iTune  and one of its recordings, “I Could Have Told You,” can now be streamed via a “Vinyl Video” below..

For Triplicate, Dylan assembled his touring band in Hollywood’s Capitol studios to record hand-chosen songs from an array of American songwriters including Charles Strouse and Lee Adams (“Once Upon A Time”), Harold Arlen and Ted Koehler (“Stormy Weather”), Harold Hupfield (“As Time Goes By”) and Cy Coleman and Carolyn Leigh (“The Best Is Yet To Come”).  The titles of the individual discs are ‘Til The Sun Goes DownDevil Dolls and Comin’ Home Late.

The artist’s two previous album of classic American songs, last year’s Fallen Angels and 2015’sShadows in the Night, were both worldwide hits and garnered Grammy Award nominations in the category of Best Traditional Pop Vocal Album.  Fallen Angels achieved Top Ten debuts in more than a dozen countries, including the United Kingdom, the United States, Italy, The Netherlands and Austria, while Shadows in the Night debuted in the Top 10 in seventeen countries, with #1 debuts in the United Kingdom, Ireland, Sweden and Norway.

Both albums received worldwide critical acclaim, with Randy Lewis writing of Fallen Angels inThe Los Angeles Times, “[Dylan] immediately liberates songs from the big band/big orchestra world from which they emerged, and in which they are most frequently revisited…. [He] reaches to the blues at the core of many of these songs. Thus, they elicit the ache of romantic yearning and loss that often gets subsumed by swelling orchestral forces, background choirs or by singers who are more focused on crafting elegant vocals than finding emotional resonance.”

The complete vinyl track listing for Triplicate is as follows.  The CD sequence and track listing is identical to the vinyl version, but each disc has only one side:

Disc 1 – ‘ Til The Sun Goes DownDisc 2 – Devil Dolls
       Side 1:       Side 1:
  1. I Guess I’ll Have to Change My Plans
  2. September Of My Years
  3. I Could Have Told You
  4. Once Upon A Time
  5. Stormy Weather
  1. Braggin’
  2. As Time Goes By
  3. Imagination
  4. How Deep Is The Ocean
  5. P.S. I Love You
Side 2:Side 2:
  1. This Nearly Was Mine
  1. That Old Feeling
  1. It Gets Lonely Early
  1. My One and Only Love
  1. Trade Winds
  1. The Best Is Yet To Come
  1. But Beautiful
  1. Here’s That Rainy Day
  1. Where Is The One
  1. There’s A Flaw In My Flue
Disc 3 – Comin’ Home Late
       Side 1:
  1. Day In, Day Out
  2. I Couldn’t Sleep A Wink Last Night
  3. Sentimental Journey
  4. Somewhere Along The Way
  5. When The World Was Young
Side 2:
  1. These Foolish Things
  1. You Go To My Head
  1. Stardust
  1. It’s Funny To Everyone But Me
  1. Why Was I Born

The post Never Too Late- Bob Dylan Announces First Ever Three Disc LP ‘Triplicate’ appeared first on Glide Magazine.

Mac DeMarco Announces New LP ‘This Old Dog’ Due May 5th

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Mac DeMarco (aka 26-year old MacBriare Samuel Lanyon DeMarco) will release, This Old Dog, his third album and first full-length since 2014’s Salad Days, on May 5th via Captured Tracks. In conjunction with today’s album announcement, DeMarco is announcing a North American tour and sharing two lead singles – “My Old Man” and “This Old Dog.” They are the album’s openers and right off the bat, they show a new sonic direction and a glimpse into the very personal nature of this record.

It was a little space—in time, location (he moved from Queens to Los Angeles), and method—that inspired DeMarco while making This Old Dog. Arriving in California with a grip of demos he’d written in New York, he realized after a few months of setting up his new shop that the gap was giving him perspective. DeMarco says, “I demoed a full album, and as I was moving to the West Coast I thought I’d get to finishing it quickly. But then I realized that moving to a new city, and starting a new life takes time. Usually I just write, record, and put it out; no problem. But this time, I wrote them and they sat. When that happens, you really get to know the songs. It was a different vibe.”

DeMarco wrote some demos for This Old Dog on an acoustic guitar, an eye-opening method for him. “The majority of this album is acoustic guitar, synthesizer, some drum machine, and one song is electric guitar. So this is a new thing for me.”

And from the outset, from the pops and clicks of the CR-78 and acoustic strums on the album-opening “My Old Man,” and the synth-drenched beauty of the second track, “This Old Dog,” it’s clear that DeMarco’s bag is filled with new tricks indeed. This Old Dog is rooted more in a synth-base than any of his previous releases, but he is careful not to let that tactic overshadow the other instruments and overall “unplugged” mood of the work. “This is my acoustic album, but it’s not really an acoustic album at all. That’s just what it feels like, mostly. I’m Italian, so I guess this is an Italian rock record.”

Mac DeMarco’s This Old Dog is available for pre-order now. All iTunes pre-orders come with Instrumentals of This Old Dog and instant grat downloads of lead singles, “My Old Man,” and “This Old Dog.”

This Old Dog Tracklisting:
1. My Old Man
2. This Old Dog
3. Baby You’re Out
4. For the First Time
5. One Another
6. Still Beating
7. Sister
8. Dreams From Yesterday
9. A Wolf Who Wears Sheeps Clothes
10. One More Love Song
11. On the Level
12. Moonlight on the River
13. Watching Him Fade Away

Mac DeMarco Tour Dates:
Fri. March 3 – Okeechobee, FL @ Okeechobee Music & Arts Festival
Fri. March 24 – Boise, ID @ Treefort Music Festival
Sat. March 25 – Boise, ID @ Treefort Music Festival
Fri. Apr. 14 – Indio, CA @ Coachella Valley Music and Arts Festival
Fri. Apr. 21 – Indio, CA @ Coachella Valley Music and Arts Festival
Tue. May 9 – Burlington, VT @ Higher Ground Burlington *
Thu. May 11 – Montreal, QB @ Metropolis *
Sat. May. 13 – Toronto, ON @ Danforth Theater *
Sun. May. 14 – Royal Oak, MI @ Royal Oak Music Theatre *
Mon. May. 15 – Cleveland, OH @ House of Blues – Cleveland *
Tue. May. 16 – Chicago, IL @ Vic Theatre *
Wed. May. 17 – Nashville, TN @ Marathon Music Works *
Fri. May. 19 – Sun. May 21 – Gulf Shores, AL @ Hangout Music Festival at Gulf Shores Beach
Sat. May. 20 – Atlanta, GA @ The Tabernacle *
Sun. May. 21 – Asheville, NC @ Highland Brewing Company *
Mon. May. 22 – Pittsburgh, PA @ Mr. Small’s Theater *
Tue. May. 23 – Washington, DC @ 9:30 Club *
Fri. May 26 – Sun. May 28 – Allston, MA @ Boston Calling Music Festival at Harvard Athletic Fields
Tue. May 30 – London, UK @ O2 Academy Brixton – Sold Out
Wed. May 31 – London, UK @ O2 Academy Brixton
Fri. June 2 – Barcelona, ES @ Primavera Sound
Sun. June 4 – New York, NY @ Governor’s Ball at Randall’s Island Park
Wed. Aug. 9 – Copenhagen, DK @ Den Graa Hal
Thu. Aug. 10 – Oslo, NO @ Oya Festival
Fri. Aug. 11 – Gothenburg, SE @ Way Out West
Sun. Aug. 13 – Prague, CZ @ Meet Factory
Mon. Aug. 14 – Budapest, HU @ Sziget Festival
Tue. Aug. 15 – Vienna, AT @ Arena
Fri. Aug. 18 – Biddinghuizen, NE @ Lowlands Festival
Sun. Aug. 20 – Saint Malo, FR @ La Route du Rock
Wed. Aug. 23 – Zurich, CH @ Zurich Open Air Festival
Tue. Aug. 29 – Newcastle, UK @ The Academy
Wed. Aug. 30 – Edinburgh, UK @ Usher Hall
Fri. Sep. 8 – Berkeley, CA @ Greek Theater
Sat. Sep. 9 – Portland, OR @ Oregon Zoo Amphitheatre
Sun. Sep. 10 – Seattle, WA @ Moore Theatre
Tue. Nov. 7 – Hamburg, DE @ Grunspan
Wed. Nov. 8 – Berlin, DE @ Astra
Fri. Nov. 10 – Cologne, DE @ Kantine
Wed. Nov. 22 – Dublin, IE @ Vicar Street
Thu. Nov. 30 – Amsterdam, NE @ Paradiso

* = with Tonstartssbandht

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John McLaughlin & Jimmy Herring Reveal ‘The Meeting of the Spirits’ Tour Dates

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Gutar fans have something huge to look forward to next autumn, as two of the premier guitarists in their genres come together. In a career that spans over five decades, John McLaughlin, one of music’s most influential and prolific guitarists, composers, and bandleaders, will begin his farewell U.S. tour on November 1 in Buffalo, NY. McLaughlin will be joined by Jimmy Herring, who has been in the creative forefront of the American rock-jam movement for 25 years. The Meeting of the Spirits tour will hit 23 cities before ending in Los Angeles on December 9.

Highlighting this musical adventure will be John McLaughlin revisiting the pioneering music he introduced with his genre-defying Mahavishnu Orchestra. In addition, McLaughlin is expected to release a new album just before the tour launches. More details to be announced.

McLaughlin’s first extensive U.S. tour in seven years, The Meeting of the Spirits also marks his first extended exploration of the Mahavishnu Orchestra material from seminal albums such as Inner Mounting Flame, Birds of FireBetween Nothingness and EternityVisions of the Emerald Beyond and more since the band’s original heyday in the 1970s.

Herring, best known for his inspired contributions to the Aquarium Rescue Unit, The Allman Brothers, Widespread Panic, The Dead, and others, will be co-headlining each show with his new band ‘The Invisible Whip,’ comprised of Jeff Sipe-Apt Q258 (drums), Matt Slocum (B3 and Clavinet), Jason Crosby (Fender Rhodes, Wurlitzer) and Kevin Scott (bass).

On The Meeting of the Spirits tour, separate sets by Herring and McLaughlin will be followed by the two joining forces for an expansive closing jam based on classic Mahavishnu Orchestra material. The tour will feature the first extended collaborations between two of world’s foremost guitarists.McLaughlin will be backed by his current band, the 4th Dimension – Ranjit Barot (drums), Gary Husband (keyboards, drums), and Etienne M’Bappé (bass) – each an established composer and recording artist in his own right. Expect special surprise guests to be added when available.

JJDates


The Meeting of the Spirits Tour Itinerary:

11/1/17 Buffalo, NY, University at Buffalo Center for the Arts
11/2/17 Albany, NY, The Egg
11/3/17 New York, NY, Town Hall
11/4/17 Port Chester, NY, Capitol Theatre
11/5/17 Cranston, RI, Park Theatre/Rhode Island Center for the Performing Arts
11/8/17 Boston, MA, The Wilbur Theatre
11/9/17 Philadelphia, PA, Keswick Theatre
11/10/17 Newark, NJ, Prudential Hall,New Jersey Performance Art Centre
11/11/17 Washington DC, Lincoln Theatre
11/12/17 Durham, NC, Duke Performances at DPAC
11/15/17 Ann Arbor, MI
11/17/17 Chicago, IL, Vic Theatre
11/19/17 Indianapolis, IN, Clowes Memorial-Hall-Butler University
11/21/17 Nashville, TN, Schermerhorn Symphony Center-Laura Turner Concert Hall
11/22/17 Atlanta, GA, Atlanta Symphony Hall
11/24/17 Jacksonville, FL, Florida Theatre
11/25/17 Clearwater, FL, Ruth Eckerd Hall
11/27/17 New Orleans, LA, The Joy Theater
11/30/17 Austin, TX, Paramount Theatre
12/5/17 Seattle, WA, Moore Theatre
12/6/17 Portland, OR, Revolution Hall
12/8/17 San Francisco, CA, The Warfield
12/9/17 Los Angeles, CA, Royce Hall-UCLA

 

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John Wetton of Asia/King Crimson Dies at 67

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Not long after the death of Greg Lake, the world has lost another prog kingpin. John Wetton, a former singer,bassist and songwriter for King Crimson and Asia, has died at the age of 67 from colon cancer. Asia last performed in November of 2014 but Wetton’s contributions live on within the many albums he contributed on including Brian Eno’s Here Come The Warm Jets, Bryan Ferry’s mid 70′s solo LPs and King Crimson’s Larks’ Tongues in Aspic, Starless and Bible Black and Red.

The news was announced Tuesday in a message from his former Asia bandmate Carl Palmer, also of Emerson, Lake & Palmer.

With the passing of my good friend and musical collaborator, John Wetton, the world loses yet another musical giant. John was a gentle person who created some of the most lasting melodies and lyrics in modern popular music. As a musician, he was both brave and innovative, with a voice that took the music of Asia to the top of the charts around the world. His ability to triumph over alcohol abuse made him an inspiration to many who have also fought that battle. For those of us who knew him and worked with him, his valiant struggle against cancer was a further inspiration. I will miss his talent, his sense of humor and his infectious smile. May you ride easy, my old friend.

Watch Wetton perform these Larks’ Tongues songs live in 2003 and then of couse the big 80′s Asia hit “Heat of the Moment.”

The post John Wetton of Asia/King Crimson Dies at 67 appeared first on Glide Magazine.

Wannabe Reviews Kate Tempest’s ‘Let There Be Chaos’

Japandroids Grow Up Some On ‘Near To The Wild Heart of Life’ (ALBUM REVIEW)

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neartoheartIn 2012 the Canadian duo Japandroids (Brian King and David Prowse) struck rock and roll gold with Celebration Rock, an album that did exactly what the title promised. They toured the world on its anthemic tracks that were invigorating to shout along to and when the tour ended the band simply went silent.

Five years later, the duo has returned with Near To The Wild Heart Of Life. The format is the same, a short album of eight songs running just over thirty-five minutes, but the band looks to grow up, moving away from their straight-on-til-the-morning party blasts to more questioning adult lyrics, art rock noise experiments and a hungover sense of reality.

The title track opener is the closest the band comes to its former self as King’s layers of riffs and Prowse’s rip roaring drumming lock in, revving up to a sonic highpoint that will be familiar and exhilarating upon first listen. “North East South West” continues the ooh and ahh chorus highs but also adds an acoustic guitar to the mix for a hyperactive road song touch while “True Love And A Life Of Free Will” plays with a slower buildup.

The art rock flows in during the short “I’m Sorry (For Not Finding You Sooner)” with distortion and buried vocals and becomes full fledge on album centerpiece “Arc Of Bar” a seven and half minute excursion. Digital bleeps from new (for this band) synthesizers pair with marching drums in front of spoken (slightly dark) lyrics from King, growing backing vocals support things as the track works its way through bloodletting, drinks and relationships. The song feels important to the singer but also sluggish to the listener and never breaks through the speakers as it should.

The final three songs fall back into the duos wheelhouse but remain slightly short of past heights. “Midnight To Morning” searches to return to a safer place (“bring me back home to you” its lyrical call) while “No Known Drink Or Drug” goes guitar heavy to start and becomes hip swinging sweet as it rises above the fray but ends in a fadeout fizzle. Closing the album is “In A Body Like A Grave”, stripped down and powerful speaking to the futility of life while still soldiering on because the players know no other way.

King and Prowse never set out to conquer the world, but their keen sense of speaking to the rock and roll youth (of any age) with emotional, minimalist yet soaring anthems, stirred something deep inside their fans. Near To The Wild Heart of Life has a few flashes of that passion but the band (like its fans) know that great nights all have to come to an end; the dawn brings a new day.

The post Japandroids Grow Up Some On ‘Near To The Wild Heart of Life’ (ALBUM REVIEW) appeared first on Glide Magazine.

Small Stages Not Much Longer: The Marcus King Band Lights Up Nectars (SHOW REVIEW)

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Since the release of its eponymous sophomore album last autumn, The Marcus King Band has generated a groundswell of recognition for itself with almost constant roadwork. The group’s appearance at Nectar’s in Burlington on January 26th suggested the precocious group will be headlining shows regularly before too long.

It was poetic justice of sorts that a line formed down the block from the doors of the storied venue when the doors did not open at the prescribed time. But the resulting restlessness of the crowd translated directly to the rustling expectations inside the club so that, after even more delay, The Marcus King Band were welcomed like conquering heroes.

The audience was certainly ready to be bowled over and they slowly surely were during the course of a virtually uninterrupted ninety minutes unified by the likes of “Devil’ Land.” MKB proved they are all they’ve been cracked up to be, as one wag noted, their name now spreading like the proverbial wildfire via social media, word of mouth and internal publicity including the band’s fanbase. It’d be too easy to pigeonhole this group as Southern rockers despite the fact that, for lovers of Dixie Rock, they do hearken to virtually every great group in the genre, including the Allmans, Marshall Tucker and Skynyrd.

marcusking3

But The Marcus King Band transcends its influences. They’ve internally processed their roots with an authentic nod to the blues, in the form of a dramatically emphatic version of B. B. King’s “Sweet Little Angel,” residing comfortably beside a crafty interpolation of Chicago’s “25 or 6 to 4” within their own “Plant Your Corn Early.” Like the late guitarist of the latter band, Terry Kath, Marcus too is a monster on electric guitar and his singing this night proved only a little less striking.

And then there’s the of Philly soul wafting through the horn parts on “Ain’t Nothin’ Wrong With That” late in the set, this following crescendo after another softly majestic crescendo linked the set. This single, unified block of songs evolved in such a way that MKB touched every base, including band intros at the end; consummately professional but never slick, King and his group are polished to be sure, but hardly so much the edge is gone from the music they make. Quite the contrary.

Horn solos by both Dean Mitchell on sax and Justin Johnson on trumpet furthered the sextet’s momentum as much as King’s rapid-fire exchange with drummer Jack Ryan near the end. And that came after his rhythm guitar cushioned the trumpet and sax as they comped along, reaffirming the musicianly approach of this entire ensemble. When keyboardist Matt Jennings got his chance to step out on electric piano, after spending much of the evening filling in spaces via his organ, he was as tasteful as he was propulsive in his playing.

Which might well describe the guitar work of the leader, who showcased his skills, smartly enough, at the beginning and near the end of the show as an effective means of rousing the crowd to acts of noisy guitar hero worship. There was a continuous intensity to the performance of The Marcus King Band at Nectar’s, but the ebb and flow from stark moments such as the new song performed solo by the leader, to the dense likes of the closing number rendered the experience constantly surprising and completely satisfying.

Photos courtesy of Ross Mickel/Bootleggers Beware Photography

 

The post Small Stages Not Much Longer: The Marcus King Band Lights Up Nectars (SHOW REVIEW) appeared first on Glide Magazine.

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