Ween played the second of three nights at the Brooklyn Bowl in Las Vegas on 2/18/17. Always a treat to hear the classics from Gener and Deaner, the setlist featured many favorites including “Dr. Rock” and “Baby Bitch.” Photos by Paul Citone
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For a band to last forty-five years, it has to be nurtured from the inside. Henry Paul, for just about the last half-century, has been that guiding hand for The Outlaws, a group he helped form in 1972. A major part of the southern rock explosion following the Allman Brothers, Lynyrd Skynyrd and the Marshall Tucker Band, the Outlaws had something just slightly different than their peers. Whereas the other bands pulled from blues and rock, this Florida band had folk roots, using singer-songwriter style lyrics and West Coast harmonies amidst their elongated guitar solos and jamband energy. It’s one of the reasons Paul thinks they have lasted all these years.
Despite a roster that has gone through many changes since their initial inception, the Outlaws have steadily toured, opening for the likes of Skynyrd and the Rolling Stones in their heyday and playing to sold out crowds the past ten years. In 2012, they released It’s About Pride, an album of new material, and last fall they put out the double album, Legacy Live, honoring their longevity, their musical hits and what the current lineup gives out at their present day shows. Featuring a cavalcade of well-loved Outlaws tunes such as “There Goes Another Love Song,” “Girl From Ohio,” “Green Grass & High Tides” and their 1981 cover of “Ghost Riders In The Sky,” the recording is a fun ride through their career, from their self-titled debut album in 1975, to 1977’s Hurry Sundown, to the new material on It’s About Pride.
Glide recently spoke with the band’s frontman and main songwriter Henry Paul, who also fronts his own solo band as well as the country band Blackhawk, about the Outlaws legacy and what the future holds.
So what has been on your agenda recently?
Well, I just got back home from a long week trip and am trying to do some catch-up around the house. But we were out with Lynyrd Skynyrd and played on the west coast of Florida with them and then I played across the state in Pompano Beach and then I did a Blackhawk show in West Palm Beach and another Outlaws show in Key West.
How do you keep it all straight doing three different bands?
Well, Blackhawk’s very, very active and the Outlaws are very active so those shows are rehearsed and they go off pretty well, like clockwork really. The Henry Paul Band, occasionally I will do a show with them and that’s a little more challenging because all the members are scattered and pulling them together is kind of a challenge. The band hasn’t played together that much so it’s not nearly as tight.
The Outlaws has certainly had a long history, deeply rooted in southern rock, but I understand you had early folk influences.
Yeah, long before southern rock was an entity that was sort of born out of the Allman Brothers success early on, I was a solo performer with an acoustic guitar and I wrote songs and sat on a stool and sang my songs. Not unlike Roger McGuinn or David Crosby or Jesse Colin Young, everybody kind of gets bitten by the band bug a little bit because it’s fun to play with other people. The Outlaws were formed in 1972 and it seemed like a really long time getting from there to the release of our first album, which was released in 1975, but it was really a very busy and somewhat short two and a half, three year window, so it went by pretty quick.
A lot of times when people think of the Outlaws, they think of songs with a lot of guitar jamming but the reality is that most of the songs have a strong singer-songwriter quality.
Oftentimes, and this is a generalization, when bands are formed as bands, they take on a personality that gives everyone in the group sort of an equal share in the presentation from the standpoint of their contribution and their personality. You could make a case for the Beatles being very interesting from the standpoint of McCartney’s and Harrison’s contributions as well as John’s and Ringo’s. But when you bring songs to the table, and I use Jesse Colin Young who was a folk artist that made a transition into the band personality, you could hear his work. Like for me, “Girl From Ohio” and songs like that were written as solo lyrical strength songs rather than just ditties with musical hooks. I mean, if you’re going to be a singer and a songwriter, you have to write a song that has a storyline and that has some emotional quotient to it that transcends the music.
So I always thought the Outlaws were significantly different in the genre of southern rock from the standpoint of their songs and vocal harmony and the whole sort of Crosby, Stills & Nash or Eagles or Buffalo Springfield or Byrds influence. The Outlaws musical personality was significantly different than the Allman Brothers and Lynyrd Skynyrd and even Marshall Tucker. They were more of a single lead singer blues rock sort of musical personality and the Outlaws had some very melodic and country music influences that I thought set us apart.
“Girl From Ohio” has those harmonies in it
And you could categorize that to a certain extent as a country song but it doesn’t really sound like a country song. The melody and the musical personality, I think, are as equally important as the lyrical personality. The song has a little bit of a more substantial thread than what people perceive as country music. The Outlaws had that through Hughie Thomasson, myself and Billy Jones. Three of the main songwriters of the band had that musical sensibility about them and we sang together not unlike Glenn Frey, Don Henley and Randy Meisner. It was based on the musical personality of the Buffalo Springfield and the Byrds as much as it was the Allman Brothers. So we had those West Coast harmony-based country rock influences along with the substantial guitar-driven Allman Brothers school of southern rock musical personality. It set us apart and I think it has served us very well over the years.
That must have made you a little different on the circuit down there in Florida
It did. When you’re doing something original, usually it’s not an embraceable issue. It’s usually a rejected musical issue because basically what people want to hear is what they are used to hearing and if you’re not a Top 40 band, and the Outlaws were never a Top 40 band, we played our own songs and we did do some selected album cuts from bands that we loved – Eric Clapton and Jackson Browne, the Eagles, the Buffalo Springfield, the Byrds. We had even a song or two from the Flying Burrito Brothers. We had a more eclectic selection of songs that we sang when we were in clubs. It made the short haul a little more difficult but in the long run it gave us the opportunity to be an original musical group with a recording contract and it’s own career. Otherwise, if you take the shortcut and just start working up other people’s songs and everybody really likes it when you play it, when you’re done playing it you don’t have anything to show for it. And we have these records that have stood the test of time.
Was the first record all the songs that you had been playing in the clubs?
Yes, and the second album, for that matter, and a little bit of the third record. Those first three albums were very indicative of what the band was about as a club act. “Girl From Ohio,” “Knoxville Girl,” “Freeborn Man,” “Green Grass & High Tides,” “There Goes Another Love Song.” I mean, all the songs on those first two or three records were comprised of some of the songs that we had written and had brought to the table originally.
With the new record, Legacy Live, it’s not your first go around with a live record. Why did you want to do another one?
I left the band in 1977 and the Outlaws put a live album out after I left. It was a successful live record for them but it wasn’t particularly something that held up well over time. People were excited about it initially and then I think some of the luster faded with time because of the sonic issues the record had and some of the excessive musical issues that the band demonstrated. My goal was to try and create a more broad musical spectrum that included not just my songs but Billy Jones’ songs and Hughie Thomasson’s songs to paint a more complete picture from the standpoint of what the band was about.
Also, the band today under my leadership is a very, very good singing band and I wanted to put the vocals where I thought they belonged, more up front. I wanted to document this band that’s been together now, this year will be our tenth year since I reformed the group. I just wanted to document the band’s musical personality and the quality they demonstrate night after night and the faithful somewhat reverent sort of approach to this music from the standpoint of interpretation. I think it’s very accurately indicative of what was originally written and I think it’s very faithfully performed along with new songs that we’ve written and added to that musical legacy on the album, It’s About Pride.
I also wanted to buy a little time to continue to write and put a new studio record together. It gave me a little breathing room there.
But really, my goal was to really put the Outlaws musical personality and musical legacy in very, very caring and respectful and sort of high quality conditions so that people would know that if they came to see the Outlaws in 2017 that they would see a really good band, really professional in playing songs that were familiar to them from their past, and new music that is relative to the band’s musical personality. You know, it’s staying in character that is important because if you wander off, you lose them. People want the Outlaws that they know and love. They don’t want some new incarnation that has nothing to do with what the band was.
Some of the songs, especially the guitar solos, are very intricate and the guys in the band now interpret them so well.
And that’s how they got the job, because they can do that. These are people I’ve known for a long, long time, that I invited to the group. And I make it a point to keep it true. The idea of, hey, let’s go off on a magical mystery tour with this song, well, that doesn’t work. I like to keep everything in it’s place. And they are very, very talented guys. The bass player is an exceptional musician, the drummer plays great, and they are surviving original members of the group. I think instead of the odd man out, the keyboard player, who is my partner in Blackhawk, adds a great deal vocally and instrumentally to the group even though he’s not a featured player as the guitar players are obviously. But he adds a great deal to the band. Big bands, usually everyone in the group has a specific job that they do very well.
And the Outlaws have never been a small band
We started out as a five piece group and now we’re a six piece group cause we have a keyboard player. I’ve seen the band perform as a four piece and it doesn’t work very well at all. It’s very thin. The five piece band was actually pretty damn good. The original lineup was really, really, really, really good but bands that last forty, even fifty, years they go through several changes and some for the better and some not.
When did you first start playing guitar?
I bought my first guitar, I think it was the summer of the ninth grade going into the tenth grade. My stepbrother had a guitar and he was a pretty damn good player at that point and I went up to visit my dad in the summer and my stepbrother had a guitar and knew how to play and I said, “That’s great, I’d like to try that.” So I bought one and learned how to play and then through high school I started learning different songs and started writing songs and got very enamored by Bob Dylan as a songwriter and as a musical personality and kind of pursued that path.
Did songwriting come more natural to you than playing the guitar?
Songwriting was a goal – expression, having something significant to say. I think just the self-expression with artistic issues and what that represented was at the heart of my musical endeavor. I was never a flashy lead guitar player. I was a really good guitar player and a great folk guitar player but I really just used the guitar as a vehicle for my songwriting. And I don’t use these examples to compare myself to him but I think Dylan would fall into that category, certainly Jackson Browne or David Crosby; Stephen Stills is a bit of an anomaly in that he’s a marvelous guitarist. But Graham Nash, you know, people that just like to write and sing and play, it’s more of a vehicle for their songwriting.
When you moved back up to New York City, what was the hardest part about living in and trying to be a musician in those early days?
It was all very exciting because I had finally committed to a life’s work. It was cold, there was not a lot of money, being hungry was a part of the landscape, a lot of walking, occasional subway but never a taxi. It was the starving artist moment in my life and living alone, it gave me a great deal of time to focus. After spending a year or two up there, it shaped me into being the artist I would become from the standpoint of a songwriter and a band leader. It was my stepping off time. Although it was very economically thin it was very musically, spiritually and artistically rewarding and I was able to develop a personality that I still am today.
Was there one club in particular where you could always play?
I guess Café Wha? was the most open to new talent. The Gaslight, Gerde’s Folk City, they were more established clubs, certainly the Bitter End. They were more national talent-driven. But Café Wha? was more of a local Greenwich Village coffeehouse in the spirit of what they were in the early and middle sixties. But I would say Café Wha? was one of my favorite places to play.
Did you hate to leave?
I didn’t hate leaving. I felt like I had an opportunity waiting for me in Florida. So leaving New York felt like I had employed it to the degree I had intended. I was able to separate myself from some of the dreamers that would never make that connection in terms of a real career. Epic Records brought me into the studio and we cut a series of demos and it didn’t ultimately produce a record deal for me. It very well may have had I stayed but going back to Florida and getting this band together was something that I really wanted to do. I just felt like going to Florida was the best thing because I really wanted to put this band together and play with other people. It was just the right time for me to go and do that. So it all worked in a way that, again, you couldn’t have foreseen it but it came together in a way that was maybe pre-destined.
What song in the Outlaws catalog do you think should have gotten more attention than it did?
That’s a good question. You know, there were only a handful of songs that got attention, “Green Grass & High Tides” being one of them. That certainly deserved all of the attention and accolades and exposure and appreciation. As a matter of fact, I thought “Green Grass & High Tides” is a song that deserved more attention than it got. I always thought “Green Grass & High Tides” was a record that was much more interesting than “Freebird.” I certainly understand “Freebird”s popularity and I’ve seen the original band go onstage and perform it and it being a dazzling display of showmanship and musicality. But I thought the Outlaws record “Green Grass & High Tides” was definitely more intricate, more difficult and more musical. I think on Hurry Sundown, the title track and a song I wrote called “Gunsmoke,” they maybe deserve a little more attention. I think maybe “Freeborn Man” deserves a little bit more attention, maybe “Girl From Ohio.”
Was “Green Grass” more complicated to transfer to the live stage?
“Green Grass & High Tides” is one of the most difficult songs that anybody would ever play. If you go to the Rock Band toy series, it’s the last song in the catalog and the most difficult. That being said, then there’s “Elizabeth Reed” by Dickey Betts as played by the Allman Brothers, which is a genius work of art in a whole different sort of way.
What about the song, “Trail Of Tears,” which your bandmate Chris Anderson wrote and sings lead on?
He wrote that with a friend of his and I think what he tried to do was to document the actual event of the uprooting of Native Americans and moving them west into Oklahoma. It was really a historical documentation of that sort of dark chapter in American history. Musically, I thought it was an exceptional musical moment because it just has a lot of interesting parts to it so it made for a really good record and it makes for a really cool part of our show. It’s on the live album. You know, the live record, like I said earlier, really mirrors our show. We start every night with “There Goes Another Love Song” and it just goes right through to “Ghost Riders.” We don’t do “Girl From Ohio” every night, we do it on request; “Cold Harbor” we don’t do every night but we do it occasionally if I just get a wild hair and want to do it or somebody requests that. But those kinds of songs I thought gave the Outlaws a musical personality. It wasn’t all just an ass whipping or beating over the head with guitar-driven songs.
The song “Grey Ghost” is one you actually did originally with the Henry Paul Band.
Yeah, that was the title cut off HPB’s first album and that was our show closer, not unlike “Green Grass & High Tides” or “Freebird.” It was a real monumental moment musically for the Henry Paul Band. There’s a couple of songs from the Henry Paul Band that I re-recorded, one being “So Long” on the It’s About Pride album. Of course I would never re-record “Grey Ghost” with the Outlaws because it’s such a Henry Paul Band sort of signature moment but we do play it every night. The guys just love to play it and it’s one of the musical highlights of the show. It’s a great one for them to play and I think the lyrical message of the song is very heartfelt, being devastated by the early exit of people that were instrumental in our career [song is about the plane crash that killed several members of Lynyrd Skynyrd].
What was it like opening for the Stones?
Our first show with them was in the fall or winter of 1975. We played with them in 1976, I played with them in 1978 and 1979 and 1980 with the Henry Paul Band. We were on a number of Rolling Stones dates. Bill Graham loved the Outlaws, he loved the Henry Paul Band, and when it came time to put bands on the shows, he was a big fan and was inclined to do that. We never let them down. We always played hard and got a great reaction from the audience. It was a good fit because we were nothing at all like the Stones. And I mean, you can imagine Mick Jagger and Keith Richards coming into the Outlaws dressing room in November of 1975, less than six months after we were in a nightclub, and giving us a pat on the back and telling us they liked the band. It was a big deal.
What do you have planned for the rest of the year?
We’re in the middle of writing a new studio record. My goal is to get in in April and record the album and get it out by October and hopefully it will mirror It’s About Pride from the standpoint of musical direction and quality.
All original songs?
Yes. I feel very strongly that we have done a great job at staying in musical character with regards to what the band started out. That can’t be said for every one that is in my business.
Group photo by John Gellman
The post Green Grass and High Tides- Henry Paul of The Outlaws Keeps The Legacy Strong (INTERVIEW) appeared first on Glide Magazine.
The legendary Roots crew has announced that their annual ROOTS PICNIC is returning to Philadelphia’s Festival Pier at Penn’s Landing on SATURDAY, JUNE 3, 2017. The acclaimed festival, now celebrating its tenth year, will feature an eclectic lineup with performances by: Pharrell & The Roots (joint headline set), Lil Wayne, Solange, 21 Savage, Kimbra, Gilles Peterson and more (full line up below).
”Ten years ago this started as a concept, an idea, a conversation between me, Tarik (Black Thought), Ahmir (Questlove) and Rich (Nichols),” says Shawn Gee, Roots longtime manager and partner in Maverick Management. “It’s amazing that it has grown into such a valued piece of the cultural landscape of our hometown of Philadelphia. We were blessed to expand the Picnic to NYC last year, and the brand will continue to grow and evolve, but Philly will ALWAYS be the home, the birthplace of the Roots Picnic. We are super excited to bring a packed lineup to celebrate our 10th anniversary, and as always there will be plenty of surprises and special guests.”
The Roots Picnic annually includes some of music’s biggest and hottest names that kicks off the summer festival season. Last year’s bill featured the likes of Usher, Future and Leon Bridges with a surprise performance by hometown hero Will Smith (with his daughter Willow). Over the last decade, the celebrated festival institution has featured artists such as The Weeknd, A$AP Rocky, Migos, The Black Keys, John Legend, Janelle Monae, TV on the Radio, Nas, Vampire Weekend, Kid Cudi, Public Enemy, Gnarls Barkley, Macklemore & Ryan Lewis, Gary Clark Jr., Rakimand many more.
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Noted film critic for Time Magazine, Richard Schickel, died Saturday following a series of strokes. He was 84. Schickel was considered by many to be one of the last major voices of film criticism, setting a standard which is adhered to to this day. His career began during the 1960s and included writing stints with Life and the Los Angeles Times book review. In addition to film criticism, Schickel was the author of many books including The Stars, Movies: The History of an art And an Institution, and The Disney Version: The Life, Times, Art and Commerce of Walt Disney, and, most recently, his memoir, Keepers: The Greatest Films – and Personal Favorites – of a Moviegoing Lifetime.
Jon Favreau announced the cast for his live action adaptation of The Lion King over the weekend. Donald Glover (Community) has been tapped to play Simba while James Earl Jones has been brought in to reprise his role as Mufasa, the character he voiced in the original Disney classic. Disney has had remarkable success with their live action remakes of animated classics over the last few years, last year with the Favreau directed The Jungle Book and this year with Beauty and the Beast already earning significant buzz. Still, The Lion King seems like a risk even with the previous successes. Movies like Cinderella and even Maleficent are a bit easier to swallow. The Lion King will probably end up being largely CGI, with a mix of live action animals, which asks the question “what’s the point?” That being said, it’s never safe to discount Disney, so this will probably end up being another success.
(Variety)
After setting the fanbase abuzz last week, it seems that director Matt Reeves is out as director of The Batman after negotiations with Warner Brothers broke down. As of yet, there’s no indication as to why the deal fell through, but it does force us to wonder what the hell is going on over at WB. The Flash has already lost two directors, and now The Batman, which was set to be the lone bright spot in their DCEU movies, has lost two directors as well. Coupled with the recent spate of rumors that Ben Affleck is looking for an out as the Caped Crusader, it seems as though this house of cards is just about ready to fall. (I discussed this a little bit on the CineSnob podcast this weekend, which you can listen to here.)
(Variety)
The Lego Batman Movie refuses to fall apart in its second weekend, earning the top box office spot for the second weekend in a row with $33 million. Fifty Shades Darker, meanwhile, held onto its second place spot with $20 million. Matt Damon stumbled into third place with The Great Wall, earning just $18.4 million (on a budget of $150 million). John Wick Chapter 2 dropped to fourth place with $16.1 million while Fist Fight rounded out the top five with $12 million. For the full list, see below.
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For longtime fans of Zach Deputy, the idea of taking in one of his self-described “explosion of groove, trance and soul” performances, on a beach under the Costa Rican sun surrounded by a few thousand like-minded, fun-loving individuals, is an experience concocted in music festival heaven. As a truly unique “celebration dedicated to awakening human potential,” Costa Rica’s Envision Festival provides a platform for different cultures to co-exist in sustainable community, and inspire one another through art, spirituality, yoga, music, dance, performance, education, sustainability and our fundamental connection with nature.
Fresh off the release of his fourth album, Wash It In The Water, and as part of his warm weather Always Sunny world tour, Zach joins the 2017 Envision lineup for the first time on February 25th and 26th, and is a perfect addition to the high-energy, tropical performance roster set to take place on a slice of paradise where the rainforest literally meets the beach at Rancho La Merced in the small Southern Zone town of Uvita, Puntarenas.
Zach is no newcomer to the music festival scene, and the Georgia-based singer/songwriter/multi-instrumentalist lists New Orleans’s Bear Creek Bayou and Massachusetts’ Wormtown festivals as some of his favorites, saying, “It’s always the people that make a festival great.” As a one-of-a-kind, globally-inspired, and truly multifaceted gathering, Envision attracts some of the most open-minded, beautiful souls on Planet Earth, with a mission that focuses on everything that is good in the world.
Like most people who visit Costa Rica, Zach couldn’t resist a return visit, and is coming back for his seventh visit to the Central American paradise. In addition to his two appearances at Envision, Zach is also featured on the lineup for this year’s Jungle Jam festival in Jaco on March 11th. When asked about some of his favorite jungle experiences in the past, or recommendations for first time visitors to Costa Rica, Zach says, “It’s hard for me to pick favorites, but when I was in the Domincal/Uvita area last time with Best Time Ever Presents playing at Electric Garden, we hiked up a mountain and swam upstream to this amazing river gorge with a waterfall, and jumped off some cliffs [on a tour with Rancho DiAndrew.] It always sticks with me how beautiful it was there.”
As a personal fan of Zach Deputy’s work, I have one piece of advice to bestow on this year’s “Envisionaries” looking to add an extra special element to what will already be a transcending festival experience. After checking out one (or both) of Zach’s sets, try to spot him walking around the grounds, and give that man a hug! In addition to being a unique, inspiring musician, and all around incredible human, Zach is officially the world’s greatest hugger, and will make you feel like a million bucks with one spirited squeeze. When asked about his signature snuggle, and if he has ever had a chance to bestow one on a personal hero of his, he said “I hear that everyday and I love it; I think we all need hugs. As far as musical heroes go, right when Ray Charles died, I had a dream that we were very old friends, just hanging out and having a good time. Ray gave me a hug because he loved me, and I felt like he passed the burden of soul on to me. Now part of my purpose it to keep that soul alive, and hugs are a part of it.”
If you are looking to keep your own “soul alive,” you won’t want to miss Zach Deputy rock it at Envision. Get your tickets here, and we will see you on the beach!
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“New Best Friends”
When an already splintered group is struggling to form an alliance with other communities in a post-apocalyptic wasteland, is it normal to be so openly deceptive? That was the second biggest takeaway from this week’s installment of The Walking Dead, “New Best Friends,” which is so cleverly insightful that it may as well have been named by a child.
The episode ambitiously (by comparison) alternates back between two narrative fronts — the Kingdom and their increasingly strained relationship with The Saviors, and Rick (Andrew Lincoln) having to go Mad Max on a zombie that must’ve wandered onto the set from an Iron Maiden album cover.
Back at the Kingdom, Ezekiel (Khary Payton) is still refusing to go to war with the Saviors, despite one of them openly taunting Richard (Carl Makinen) during their routine pickup of goods. It ends with a few cuts and bruises, and while everyone walks away, the Saviors leave with a promise that things “will get visceral” if their attitude continues — a very unsubtle reminder of their absolute dominance, as even the Saviors recognize that they instigated the conflict.
Still, this does nothing to sway the Community Theater King, so Richard takes the newly-welcomed Daryl (Norman Reedus) out to a secret weapons stash, informing him of his master plan. Of course, telling someone who’s been a part of your community for all of 15 seconds might not seem all that well thought through. And after revealing that his plan essentially sets up the hermitic Carol (Melissa McBride) as an sacrificial pawn, Daryl reacts accordingly, promising that he’ll kill Richard if anything happens to her. Up to and including being bitten by a zombie or being struck by lightening.
So, this whole allegiance thing is off to a great start.
Back in Rick’s corner of the world, we’re given a more proper introduction to the Junkyard… gang, I guess? A well-numbered squad dressed in all black and walk around like the villains from Superman II, Rick proposes they join him in their fight against the Saviors, and in typical Walking Dead style, this is all done by describing situations as vaguely as possible, filled with big, dramatic pauses and lots of posturing.
After their leader takes Rick to the “Up up up” (seriously, how many toddlers now work in the writing room?) to survey their CG-rendered junkyard, she muses about the changing times and how their role as scavengers and thieves might be coming to an end.
But before they’re willing to take up arms, Rick has to prove himself in a Thunderdome-style matchup by battling the aforementioned heavy metal zombie covered with spikes. (Also, his name is Winslow, which was pointed out for some reason). Anyway, Rick wins, of course, and they earn themselves a new group of tentative allies. This then led to more infighting with the group, because what better way to celebrate a crucial victory and significant expanse of your opposing force than fucking squabbling with one another?
Of course, for all the bickering throughout this week’s episode, it pales in comparison to the outright lying that Daryl does during his reunion with Carol. As she tearfully explains to Daryl her need to get away from everything — which is still a grossly underwritten character transformation — she asks if everyone in Alexandria is still okay. Daryl, who’s fighting back tears himself, blatantly lies to her, telling her that everything’s fine, aside from their forced subservience to the Saviors.
Daryl’s intention here is to keep Carol safe, but doing it by lying not only seems like it will completely jeopardize their friendship, but its astoundingly shortsighted, considering that Carol single-handedly took down the entire Terminus compound just two seasons ago.
So, between all the deceit, squabbling, and petty infighting, and one extremely temporary alliance, the side we’re supposed to be rooting for is sure on some shaky ground starting off.
The post ‘The Walking Dead’ Goes Beyond Thunderdome, Basic Reason (TV REVIEW) appeared first on Glide Magazine.
Two-time Edison award winning, Grammy® nominated trumpeter, composer, producer, designer of innovative instruments and interactive media Christian Scott aTunde Adjuah is set to release three albums to commemorate the 100th anniversary of the very first Jazz recordings of 1917.
Stream the first track “The Reckoning”:
Collectively titled The Centennial Trilogy, the series is at its core a sobering re-evaluation of the social political realities of the world through sound. It speaks to a litany of issues that continue to plague our collective experiences. Slavery in America via the Prison Industrial Complex, Food Insecurity, Xenophobia, Immigration, Climate Change, Sexual Orientation, Gender Equality, Fascism and the return of the Demagogue.
The first release in the trilogy, Ruler Rebel, vividly depicts Adjuah’s new vision and sound – revealing Adjuah to the listener in a way never heard before via a completely new production methodology that Stretches Trap Music with West African and New Orleanian Afro-Native American styles.
Ruler Rebel is set for pre-order on 2/17/17, to coincide with the first annual Stretch Music Festival at Harlem Stage. The Stretch Music Festival, created and curated by Adjuah, explores the boundaries of Stretch, Jazz, Trap, and Alternative Rock with some of music’s most poised and fiery rising stars. The festival consists of five days of events, culminating with concerts on February 17th and 18th at Harlem Stage with performances by Butcher Brown, Braxton Cook, Venus, The Bridge Trio, Sarah Elizabeth Charles, and Matthew Stevens.
NPR raves “Christian Scott ushers in new era of jazz.” He has been heralded by JazzTimes magazine as “Jazz’s young style God” and “the Architect of a new commercially viable fusion.” In 2016 Adjuah won JAZZFM’s Innovator/Innovation of the year honor along with the Downbeat Critics Poll Rising Star Composer to go along with his many wins for Rising Star Trumpet. Christian is the progenitor of Stretch Music a genre blind musical form that stretches the rhythmic, melodic and harmonic conventions of Jazz to encompass many musical forms, languages, thought processes and cultures.
The release will be accompanied by Adjuah’s award-winning Stretch Music App – The first Interactive media player of its kind, refitted for The Centennial Trilogy.
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Names can be deceiving, especially when the handle in question belongs to Frontier Ruckus, a band based out of Detroit whose idea of making music has as little to do with creating a ruckus as snow does to falling in the Sahara. Still, after five albums, they obviously know what they’re doing, and even if Enter the Kingdom suggests some sort of grand cosmic statement, it’s really a return to what they do best — that is, to making mellow, melodic music that soothes the soul and stirs the senses.
Fortunately, that doesn’t involve putting on any pretense, and the title of the album aside, these are mostly introspective musings that demand little more than a lingering gaze and a will to relate. These are Everyman themes — the search for a connection in a shattered world, the need to survive even in harrowing circumstance, and wrecked relationships that one hoped and assumed would last forever. Singer Matthew Milia is a terrific storyteller, but there’s no need to stretch; intimate, haunting and cathartic, these tunes find a common bond with anyone who’s ever stumbled along the way, but still stays hopeful about finding peace even when the odds turn against it.
Here then, the melodies say it all, especially on songs like “Visit Me,” “Enter the Kingdom” and “Sarah Springtime,” the latter two tracks graced by strings that affirm the album’s nocturnal embrace. At the same time, there’s a universal tone present throughout, one that keeps the volume just above a whisper and finds a feeling of vulnerability tinged with fragility and finesse. Credit producer Ken Coomer for ensuring that interest remains intact without sinking into a maudlin mash-up of self-inflicted doubt. These songs are soothing and serene, much needed calm in a chaotic world. In that way then, Enter the Kingdom is a heavenly respite.
The post Frontier Ruckus Offer Sweet Melodic Nuggets on ‘Enter the Kingdom’ (ALBUM REVIEW) appeared first on Glide Magazine.
For most of her life, Pegi Young’s role was that of Neil Young’s wife, partner and musical sidekick, a satisfying set-up to be sure, but one that found her relying on his fame and stature with little regard for her own interests. After 36 years, all those connections were shattered by a painful divorce, made all the worse by Neil’s various dalliances.
Clearly then, Raw became her way of working through the wreckage, a song cycle that details the seven stages of grief while sparing little emotion in an expression of her sadness and defeat. With her band, the aptly named Survivors, in tow, she sings songs that detail her outrage over Young’s deceit. She utilizes several well-chosen covers — the classic soul standard “Trying To Live My Life Without You,” the ruefully relevant “Just When I Needed You Most,” a languid and lethargic “These Boots Are Made For Walking” and a deft remake of Don Henley’s “The Heart of The Matter” — to express her thoughts about a life that’s come undone. With songwriting assistance from guitarist Kelvin Holly and Spooner Oldham, Young creates a stunning storyline, one that taps into feelings that are both bitter and unbridled.
Those latter sentiments are fully on display with the album’s opening track “Why,” a song that finds her asking her estranged mate “Why’d you have to ruin my life?” while encapsulating the shattered circumstance in no uncertain terms. The song titles themselves — those of the aforementioned remakes as well as originals like “Gave My Best To You,” “A Thousand Tears”Lonely” and “Up To Here” — leave no doubt as to the divide. Still, there is room for solace and the grace to forgive, and so while Raw comes from a painful perspective, it’s the segue towards survival that lingers and lasts.
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Amanda Palmer & Edward Ka-Spel have announced the release of their eagerly anticipated new album. I Can Spin a Rainbow will be available on CD, LP, and digital download on Friday, May 5th.
I Can Spin a Rainbow marks the first full-length collaboration between Palmer and Ka-Spel, founding member of visionary Anglo-Dutch psychedelicists The Legendary Pink Dots and one of her greatest artistic heroes.
Palmer and Ka-Spel will celebrate I Can Spin a Rainbow with a limited and intimate international tour. U.S. dates begin May 17th at The Middle East in Boston, MA; European dates get underway May 31st in Warsaw, followed by stops in Munich, Prague, Hamburg, Antwerp, Amsterdam, Paris, and London. The tour – which will see Palmer and Ka-Spel joined on stage as they are on the album by violinist/longtime Legendary Pink Dots contributor Patrick Q. Wright – also includes the legendary Wave & Gotik Treffen Festival in Leipzig (June 2nd).
AMANDA PALMER & EDWARD KA-SPEL TOUR 2017
MAY
17 – Boston, MA – Middle East
20 – New York, NY – Bowery Ballroom
21 – Brooklyn, NY – Rough Trade NYC
23 – San Francisco, CA – DNA Lounge
24 – Los Angeles, CA – Troubadour
31 – Warsaw, PO – Proxima
JUNE
1 – Munich, DE – Muffathalle
2 – Leipzig, DE – Wave & Gotik Treffen
4 – Prague, CZ – Palác Akropolis
5 – Hamburg, DE – Fabrik
9 – Antwerp, BE – Trix Club
10 – Amsterdam, NL – Melkweg
11 – Paris, FR – Cigale
13 – London, UK – Heaven
16 – Vienna, AT – Porgy & Bess
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The versatile husband-and-wife team of David and Enion Pelta-Tiller have spent a handful of years pursuing a sound that takes listeners on an enlightening cultural acoustic journey. As Taarka, the group they front along with award-winning bassist Troy Robey and prodigious young guitarist Mike Robinson, they conjure a worldly sound bursting with gypsy jazz, bluegrass, and fiddle tunes from all around the world. Their sound is rich and their songwriting is insightful, and as a group the members of Taarka have undeniable natural chemistry, whether playing an intricate arrangement or improvising loosely.
On March 10th Taarka will release their new album Fading Mystery. The album was was captured live on the Potomac River in eastern Virginia, and the result is a pure sound that can showcases the magic this quartet can create together. On Fading Mystery the members of Taarka seem to embrace a more Americana-oriented sound with thoughtfully written songs while also giving us instrumentals that fall into a bluegrass and old-timey realm. One of those instrumentals is ”Finn McCool Crosses The Rocky Mountains”, which we are excited to premiere on Glide Magazine today. The fiddle-driven number is a rollicking bluegrass jam is the perfect vehicle to showcase the playing skills of each band member, and it also feels like the perfect soundtrack for summer festivals.
Enion Pelta-Tiller shares the story behind the song:
“Finn McCool is a fiddle tune that was written while I was on a fall tour in the Rockies. I had bought a graphic novel about Irish mythology as a gift for my son, and had been reading it. The tune came to me with images of the giant, Finn McCool, running over the mountains with his red hair matching the bright colors of the aspens in autumn regalia, and mixes features of Irish and American fiddle tunes. I brought it to the band with the idea of mixing a little 70s jazz/pop fusion into it (I’d been listening to Joan Armatrading at the time), and I love what we came up with.”
LISTEN:
Taarka’s new album Fading Mystery is out March 10th. For more music and info visit taarka.com.
The post SONG PREMIERE: Taarka Deliver Feisty Bluegrass Instrumental “Finn McCool Crosses The Rocky Mountains” appeared first on Glide Magazine.
J. Cole has announced today that he will hit the road for a 57-city world tour. The “4 Your Eyez Only” Tour kicks off in South Carolina with a run of thirteen small, intimate shows before going into Live Nation arenas in North America and the U.K., along with a mix of arena and theater dates in Europe, Australia and New Zealand.
American Express® Card Members can purchase tickets in select markets before the general public beginning Tuesday, February 21 at noon local time through Thursday, February 23 at 10pm local time. Tickets go on sale this Friday, February 24th, at www.dreamville.com (Australia dates go on sale Tuesday February 28th). Fans will also have the opportunity to gain access to ticket pre-sales on February 22nd at Dreamville.com.
The North Carolina-bred Cole is touring in support of his fourth album, the Platinum-certified 4 Your Eyez Only, which debuted at No. 1 on the Billboard Top 200 chart in December. Each of its ten tracks has notched a place on the Billboard Hot 100 chart. The “4 Your Eyez Only Tour” follows Cole’s 2015 “Forest Hills Drive Tour,” which was the highest-selling hip-hop tour of that year, after which Cole embarked on an international festival run in 2016.
Dates are as follows:
6/1/17 Columbia, SC The Music Farm
6/2/17 Jacksonville, FL Maverick’s
6/3/17 Tallahassee, FL Potbelly’s
6/5/17 Jackson, MS Hal and Mal’s
6/6/17 Birmingham, AL Avondale
6/7/17 Baton Rouge, LA Varsity Theatre
6/9/17 Little Rock, AR Metroplex
6/11/17 Kansas City, MO Arvest Bank Theatre at the Midland
6/13/17 St. Louis, MO The Pageant
6/14/17 Memphis, TN New Daisy Theatre
6/15/17 Louisville, KY Mercury Ballroom
6/17/17 Norfolk, VA The Norva
6/18/17 Greensboro, NC Cone Denim Entertainment Center
7/6/17 Phoenix, AZ Talking Stick Resort Arena
7/8/17 Las Vegas, NV MGM Grand Garden Arena
7/9/17 Anaheim, CA Honda Center
7/11/17 Los Angeles, CA The Forum
7/15/17 Oakland, CA Oracle Arena
7/17/17 Seattle, WA Key Arena
7/18/17 Vancouver, BC Pepsi Live at Rogers Arena
7/21/17 St, Paul, MN Xcel Energy Center
7/23/17 Detroit, MI The Palace of Auburn Hills
7/24/17 Chicago, IL United Center
7/28/17 Toronto, ON Air Canada Centre
8/1/17 Brooklyn, NY Barclays Center
8/4/17 Boston, MA TD Garden
8/5/17 Uniondale, NY The New Coliseum Presented by NYCB
8/6/17 Baltimore, MD Royal Farms Arena
8/8/17 Washington, DC Verizon Center
8/9/17 Charlotte, MC Spectrum Center
8/11/17 Atlanta, GA Infinite Energy Arena
8/14/17 Miami, FL American Airlines Arena
8/16/17 Orlando, FL Amway Center
8/18/17 Houston, TX Toyota Center
8/19/17 Austin, TX Frank Erwin Center
8/20/17 Dallas, TX American Airlines Center
9/29/17 Copenhagen Denmark Tap1
9/30/17 Oslo, Norway Spektrum
10/1/17 Stockholm, Sweden Annexet
10/3/17 Cologne, Germany Palladium
10/5/17 Amsterdam, Holland Ziggo Dome
10/6/17 Berlin, Germany Columbiahalle
10/7/17 Offenbach, Germany Stadthalle Offenbach
10/9/17 Zurich, Switzerland Samsung Hall
10/10/17 Paris, France Le Zénith Paris- La Villette
10/12/17 Nottingham, UK Motorpoint Arena
10/14/17 Birmingham, UK Barclaycard Arena
10/15/17 London, UK The O2 Arena
10/18/17 Dubin, Ireland 3Arena
10/20/17 Cardiff, UK Motorpoint Arena
10/21/17 Manchester, UK Manchester Arena
10/22/17 Leeds, UK First Direct Arena
12/1/17 Auckland, New Zealand Vector Arena
12/2/17 Brisbane, Australia Riverstage
12/5/17 Sydney, Australia Hordern Pavillion
12/6/17 Melbourne, Australia Margaret Court Arena
12/9/17 Perth, Australia HBF Stadium
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On May 5, Legacy Recordings (a division of Sony Music Entertainment) will release quite the album of A-listers performing a younger musician’s music. This historic collection features newly recorded versions of all fourteen songs from Brandi Carlile’s breakthrough T Bone Burnett-produced 2007 album The Story, which just last month was certified Gold by the RIAA. Adele, The Avett Brothers, Kris Kristofferson, Dolly Parton, Pearl Jam, and Margo Price are among the artists and activists lending their voices to celebrate the album’s 10th anniversary, and Barack Obama will provide a foreword. All proceeds from the album will benefit War Child UK, an organization dedicated to supporting children affected by conflict. Carlile’s nonprofit, the Looking Out Foundation, launched the Story Campaign last year to raise awareness and funds for War Child UK.
“This is a David and Goliath story,” says Carlile. “Since becoming a mother, the reality of a child’s beautiful life being torn apart by war felt like too big of a problem for me. So I asked my heroes and friends to help me launch a rock at the giant that is our refugee crisis and help in the only way we know how, through the power of music.” She adds, “It’s not how hard you can throw, it’s how high you’re willing to aim.”
“This is a David and Goliath story,” says Carlile. “Since becoming a mother, the reality of a child’s beautiful life being torn apart by war felt like too big of a problem for me. So I asked my heroes and friends to help me launch a rock at the giant that is our refugee crisis and help in the only way we know how, through the power of music.” She adds, “It’s not how hard you can throw, it’s how high you’re willing to aim.”
Cover Stories was recorded mostly over a series of sessions in 2016 (with the exception of Adele’s take on “Hiding My Heart” which was originally released as a bonus track to her 2011 album 21, and Ruby Amanfu’s “Shadow on the Wall,” originally released in 2015), with many special guests contributing to the already star-studded lineup. Chris Stapleton adds guitar to Kris Kristofferson’s take on “Turpentine,” and Miranda Lambert lends backing vocals to Anderson East’s “Josephine.” Dave Cobb produced tracks by Kristofferson, Parton, and Price; Patrick Carney of the Black Keys produced Ruby Amanfu; Carlile and longtime bandmates The Twins (Tim and Phil Hanseroth) produced the Secret Sisters and TORRES.
Carlile and The Twins have confirmed a run of special tour dates to celebrate the release of Cover Stories called An Acoustic Evening with Brandi Carlile Performing The Story in Its Entirety and More. The nine-date run kicks off April 21 and shows in Birmingham, Athens, Austin + Los Angeles are already sold out. See below for a full list of dates.
Reflecting on The Story’s 10th anniversary Carlile says, “This album defined our band and welded The Twins and me to one another forever. It’s been a transformative experience to revisit it 10 years later and watch it become something bigger than me. To hear the songs through the voices of my heroes is both surreal and humbling.”
Catherine Carlile, Executive Director of the Looking Out Foundation, emphasizes the importance of artists using their platform to amplify the voices of children in war. “When powerful artists come together and lend their voices to a cause, they deliver an indelible message. Today’s headlines will soon be yesterday’s news, but music endures and transcends and the story lives on.”
Rob Williams, CEO of War Child UK says, “War Child has a strong and enduring story of harnessing the power of music to support children forced to live with the brutality of war. This fantastic album will help fund our vital work – from supporting Syrian children to access education, to reintegrating child soldiers in the Central African Republic and working in juvenile justice in Afghanistan.”
Cover Stories was recorded mostly over a series of sessions in 2016 (with the exception of Adele’s take on “Hiding My Heart” which was originally released as a bonus track to her 2011 album 21, and Ruby Amanfu’s “Shadow on the Wall,” originally released in 2015), with many special guests contributing to the already star-studded lineup. Chris Stapleton adds guitar to Kris Kristofferson’s take on “Turpentine,” and Miranda Lambert lends backing vocals to Anderson East’s “Josephine.” Dave Cobb produced tracks by Kristofferson, Parton, and Price; Patrick Carney of the Black Keys produced Ruby Amanfu; Carlile and longtime bandmates The Twins (Tim and Phil Hanseroth) produced the Secret Sisters and TORRES.
Carlile and The Twins have confirmed a run of special tour dates to celebrate the release of Cover Stories called An Acoustic Evening with Brandi Carlile Performing The Story in Its Entirety and More. The nine-date run kicks off April 21 and shows in Birmingham, Athens, Austin + Los Angeles are already sold out. See below for a full list of dates.
Reflecting on The Story’s 10th anniversary Carlile says, “This album defined our band and welded The Twins and me to one another forever. It’s been a transformative experience to revisit it 10 years later and watch it become something bigger than me. To hear the songs through the voices of my heroes is both surreal and humbling.”
Catherine Carlile, Executive Director of the Looking Out Foundation, emphasizes the importance of artists using their platform to amplify the voices of children in war. “When powerful artists come together and lend their voices to a cause, they deliver an indelible message. Today’s headlines will soon be yesterday’s news, but music endures and transcends and the story lives on.”
Rob Williams, CEO of War Child UK says, “War Child has a strong and enduring story of harnessing the power of music to support children forced to live with the brutality of war. This fantastic album will help fund our vital work – from supporting Syrian children to access education, to reintegrating child soldiers in the Central African Republic and working in juvenile justice in Afghanistan.”
Cover Stories: Brandi Carlile Celebrates Ten Years of The Story – An Album to Benefit War Child tracklisting:
1 – Late Morning Lullaby – Shovels & Rope
2 – The Story – Dolly Parton
3 – Turpentine – Kris Kristofferson
4 – My Song – Old Crow Medicine Show
5 – Wasted – Jim James
6 – Have You Ever – The Avett Brothers
7 – Josephine – Anderson East
8 – Losing Heart – Secret Sisters
9 – Cannonball – Indigo Girls
10 – Until I Die – TORRES
11 – Downpour – Margo Price
12 – Shadow On The Wall – Ruby Amanfu
13 – Again Today – Pearl Jam
14 – Hiding My Heart – Adele
An Acoustic Evening with Brandi Carlile Performing The Story in Its Entirety and More
April 21 - Birmingham, AL – Lyric Theatre – SOLD OUT
April 22 - Athens, GA – Georgia Theatre – SOLD OUT
April 24 - Nashville, TN – Ryman Auditorium
April 25 - Nashville, TN – Ryman Auditorium
April 28 – Houston, TX – Cullen Performance Hall
April 29 – Austin, TX – ACL Live at Moody Theatre – SOLD OUT
April 30 – Dallas, TX – The Majestic Theater
May 5 – Los Angeles, CA – John Anson Ford Amphitheatre – SOLD OUT
May 6 – San Francisco, CA – The Masonic
The post Pearl Jam, Jim James, Dolly, Kris & More Guest On Cover Stories: Brandi Carlile Celebrates 10 Years of The Story – An Album to Benefit War Child appeared first on Glide Magazine.
On May 5th, Twin Peaks will be releasing a live double LP they’re calling Urbs in Horto (out digitally on 3/31). The record features recordings from the band’s shows at Metro and Thalia Hall in Chicago last December, where they closed out a banner year by selling 3000 tickets in their hometown. The track-list includes songs from across the band’s three studio records, as well as a Rolling Stones cover “Dead Flowers” and “What Up, Dawg?,” a fan favorite by Today’s Hits’ James Swanberg. Urbs was recorded by the crew from Treehouse Records to tape, with album art by the band and concert photos by Daniel Topete and Cooper Fox. The band’s own Cadien Lake James had this to say of the retrospective collection.
We’re excited to be releasing “Urbs In Horto” because our live show varies greatly from our studio output. It retains the energy we learned in our days playing basements in a different way and has been an essential part of our existence, so it felt right to put out a record from our homecoming shows at the end of 2016, our 5th year on the road. We’re proud to have recorded it live to 1″ reel-to-reel tape with the help of our brothers at Treehouse Records, and to present it as a show of respect to the city we call home. Urbs In Horto is Chicago’s motto, meaning “City in a Garden.” Record sounds more like a jungle though.
You can listen to one of the songs off the new live record, “Have You Ever?” (the final song off last year’s Down in Heaven) below…
URBS IN HORTO TRACKLISTING
1. Butterfly
2. Flavor
3. Boomers
4. Stand in the Sand
5. Holding Roses
6. Telephone
7. Getting Better
8. Walk to the One You Love
9. Making Breakfast
10. Cold Lips
11. Keep it Together
12 .Good Lovin’
13. My Boys
14. Natural Villain
15. Stain
16. Have You Ever?
17. Wanted You
18. What Up, Dawg?
19. Dead Flowers
20. Strawberry Smoothie
The post Twin Peaks Releasing Live Double LP ‘Urbs In Horto’ 5/5 appeared first on Glide Magazine.
Though we’re all still waiting patiently for the first trailer for The Last Jedi, the folks over at LucasFilm have already begun the hype train for the next entry into the Star Wars series, the still untitled Han Solo film. Earlier today, the first set photo was released showing directors Phil Lord and Christopher Miller (The Lego Movie) with cast members Alden Ehrenreich (Hail, Caesar!), Donald Glover (Community), Woody Harrelson (The Edge of Seventeen), Emilia Clarke (Game of Thrones), Phoebe Waller-Bridge (Broadchurch), and Joonas Suotamo as Chewbacca. Unseen in the photo, but now confirmed, is Thandie Newton (West World). Also confirmed is the May 25, 2018 release date for the film, which comes just a few short months after the next chapter in the Star Wars saga itself. The success of Rogue One should quell any misgivings you might have regarding this Han Solo solo outing, but it’s still a risky move, narratively. It seems weird that out of an entire galaxy with an entire history to tell, they’re still focusing the narrative around the same 70 year period and the same core group of characters, but I guess if it ain’t broke…
The more we see from Disney’s live action Beauty and the Beast, the more we’re convinced that their live action experiment is working out nicely. Not that they need our approval. So far, Disney has made approximately all the dollars in the world with their live action remakes, and this one, with the star power of Emma Watson (Harry Potter) and Luke Evans (The Hunger Games), stands to do the same. Disney released a clip of the opening song from the film, which fans of the original animated film will be well familiar with. It recalls the magical look and feel of its forebear with its visually striking look, and it’s hard to deny that Watson looks born to play this role. Beauty and the Beast opens March 16.
(Disney)
Director Shane Black shared the first official cast photo from his Predator reboot, The Predator, giving us our first glimpse of the production, though keeping things otherwise firmly under wrap. Based on the paramilitary vibe of the photo, we probably won’t be straying too far from the formula, and the film is said to be a sequel to the original Arnold Schwarzenegger film. We’ve got about a year between now and the February 9, 2018 release date, so we’ll definitely be hearing more about The Predator as things move along.
Partial cast… beautiful human beings, good people. Also, killers. Cameras roll today. Follow me on Twitter for updates. Wish us luck. pic.twitter.com/vYGgGesW0Y
— Shane Black (@BonafideBlack) February 20, 2017
(Twitter)
Director Guillermo del Toro sent shockwaves of hype across Twitter last month when he teaser the possibility of Hellboy 3 to his followers. After posting a poll to gauge interest, del Toro confirmed that he would speak to both star Ron Perlman and creator Mike Mignola about returning to the world of Hellboy but, alas, it wasn’t meant to be. The director confirmed on his Twitter account today that there is a 100% chance that Hellboy 3 would never happen, leaving us all left to speculate about what soured the deal. Perlman seemed interested, but I guess we’ll never know.
Hellboy 3 Sorry to report: Spoke w all parties. Must report that 100% the sequel will not happen. And that is to be the final thing about it
— Guillermo del Toro (@RealGDT) February 21, 2017
(Twitter)
Guy Ritchie’s stylized take on the King Arthur legend keeps looking better and better, and the latest trailer gives off a distinct vibe of awesome set to a rollicking Led Zeppelin soundtrack. King Arthur: Legend of the Sword stars Charlie Hunnam as the mythical king as he begins the process of taking his rightful place as ruler of England, much to the chagrin of Jude Law’s Vortigern. Consider us cautiously optimistic. King Arthur: Legend of the Sword opens May 12.
(Warner Brothers)
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A surprise sell-out crowd at the Mohawk on Monday night meant that 90’s nostalgia and Swedish dream pop hasn’t lost its luster. The Radio Dept. is a Swedish indie cult band that would prefer to operate out of the studio than be caught banging around on tour. Alas, having only released three albums since their debut in 1995, the Radio Dept. felt obliged to satiate the demand for their starved fans. Front man Johan Duncanson showed his dedication to his craft by orchestrating a show that ebbed and flowed but ultimately proved to be epic.
Germans, an indie rock band from Toronto, opened the show with a strong female vocalist and alternative 90’s sound. The group’s biggest hit “Cruel” got a welcome response and they primed the venue appropriately for the much-anticipated Swedes.
A raucous and anticipatory crowd welcomed The Radio Dept to Austin and they opened with their last album’s first track “Slobodan Narodu” with its flowery yet portentous lyrics. Half of the set was dedicated to the latest album, Running Out of Love, but older tracks were deftly shuffled in, all leading up to a crescendo at the end of the set.
The show was not without its pecularities, as Johan let his perfectionism and eccentricity manifest in some distinct idiosyncracies throughout the concert. About three songs in, Johan stopped and dressed down his bandmates with acerbic instruction. “You are in the wrong key. Stop that. I’m sorry everybody, this is our seventh show. We will have to come back to this song.” The awkwardness pervaded, as I have seen many disputes onstage before, but never with a front man broadcasting it into the microphone in front of a sold-out crowd.
The pulse quickened when the band launched into “Death To Fascism”, which was followed by the politically-loaded “Swedish Guns”, both interesting song titles and subject matter considering recent political developments. The band’s latest album has house and dance music undertones that brought the shoegaze vibe up a notch to almost rave-like levels as the set finished.
“Teach Me To Forget” got a couple restarts from Johan due to his pedantic attention to detail while the main set finished with “Occupied”. A brief encore included “1995” and “Why Won’t You Talk About It” as the road-shy phantoms of Swedish music exited the stage once again, leaving many unsure if they’ll be able to return.
The post The Radio Dept. Bring Dream Pop To Sold-Out Austin Crowd (SHOW REVIEW) appeared first on Glide Magazine.
Any band that can manage to draw crowds for over two decades must be doing something right. In the case of Leftover Salmon, that something is being able to throw one hell of a party every time they hit the stage. Sunday’s show at the Wonder Ballroom in Portland was no exception.
The members of the self-proclaimed polyethnic Cajun slamgrass band wasted no time getting the party started, kicking off their first set with “Keep Drivin’”. The high-energy tune found relative newcomer to the band Erik Deustch dancing on the keys with a dreamlike organ solo before quick-fire interplay between Andy Thorn’s banjo and Drew Emmitt’s mandolin. “Lonesome Road” toned things down but still shined with boogieing piano solo. The band kicked up the momentum with the tropical-sounding “Jokester”, which featured some impressive electric banjo soloing from Thorn, complete with an effect that made his instrument sound like a steel drum on overdrive. “Winter’s Gone” expressed a sentiment shared by the whole room and led to a full on jamboree, while “Light in the Woods” and “Funky Fog” both put the band’s high-octane bluegrass jams on full display. The highlight of the first set came with a cover of The Band’s euphoric tune “Ophelia”, made extra special by the guest appearance of a trumpeter and trombonist.
The horns would hang around for the second set, which was even more raucous than the first. This time it was a saxophone player and the trombonist adding big bold flourishes and immediately turning the set into late night dance party mode. When they followed up the country-grass “Mountain Top” with a cover of The Grateful Dead’s “Playing In The Band”, the crowd went apeshit. This proved to be a high point of the night, especially when they sandwiched the psychedelic acoustic jam of “Ask The Fish” into the middle of the song. At this point the mood was high and the chemistry between the band members reached a peak as solos were swapped and each was given a chance to show off his skills. Each song took unexpected twists and turns and even as the set wound down, the crowd seemed to only want to dance more. Never ones to bring down their audience, Salmon closed out the night with yet another cover, this time inviting the audience to join them in singing Bob Marley’s “One Love”, a unifying tune in these troubled times.
They say never miss a Sunday show, and Leftover Salmon’s spirited performance in Portland on Sunday proved that saying to be true. With the dreary winter weather outside, Leftover Salmon managed to bring a dose of sunshine and a big old party to the Wonder Ballroom, reminding their fans that after so many years their musical magic is stronger than ever.
The post Leftover Salmon Bust Out Horns, Cover The Band, Grateful Dead and Bob Marley In Portland (SHOW REVIEW/PHOTOS) appeared first on Glide Magazine.
To say that Chuck Prophet is a rock and roll obsessive would be an understatement. His love for rock music is so deeply rooted in him, it continues to inspire him in sound and in songwriting. On his latest record Bobby Fuller Died for Your Sins, Prophet pays homage to the genre and to the obscure artist of the title, Fuller, who died mysteriously at 23 after his single “I Fought the Law” became a hit. Perhaps his story resonated with Prophet, but what is undeniable is the way Prophet clings to rock and roll music and all that comes with it. It’s his lifeblood, and this album puts his passion on full display.
Prophet gets especially clever on “Jesus Was a Social Drinker” and “If I Was Connie Britton”, as he inhabits alternative identities, humanizing and humoring as he goes. The former offers a head spinning guitar solo, while the latter has a subtle twang.
Bobby Fuller Died for Your Sins acts as a monument to more than just the music that moves Prophet. It also pays homage to Prophet’s home state of California, and there’s a west coast coolness in his arrangements, from the hints of surf rock, to the golden shimmering sound of his ballads.
“Bad Year for Rock and Roll” is a sad ode to losing our artistic heroes. Prophet sings of holing up inside to mope, even as he fights the urge to get out. One of the record’s catchiest tunes, Prophet mourns dramatically, but sings cooly, “The thin white duke/Took a final bow/There’s one more star/In the heavens now/The moon won’t rise/The sun won’t set/There’s so many things I would rather forget.” There is morbidity in Bobby Fuller Died For Your Sins, but to hear Prophet tell it, it sounds like a blast. No track captures this better than “In the Mausoleum”, a psychobilly groove that gives surf guitar a dark, sharp edge with plenty of distortion. You’ll never want to dance so hard to a song about a tomb in your life.
The post Chuck Prophet Pays Homage To Rock’s Finest With ‘Bobby Fuller Died for Your Sins’ (ALBUM REVIEW) appeared first on Glide Magazine.
Nikki Lane has been on a steady rise with each record she makes, garnering praise for her give-no-f***s cowgirl attitude and throwback country queen style. And never has either quality been so sharp than on her new release Highway Queen. A stylish, harmony-heavy record that packs a twangy punch, it finds Lane continuing to hone her sound and carve out her identity as an artist.
Lane hooks us from the very first “Yippie Ki-Yay” howl of opening track “700,000 Rednecks”, a lightning rod of a song that quite literally makes an entrance. It’s brash in the best way, and you can almost imagine all the heads turning when Lane sings in a low register, “I drive long hours/I don’t get to shower/And I ain’t gonna brag about the pay.” It’s the truck driving song equivalent for hard-working women everywhere, and a reminder of the less glamorous side of being an artist.
Like its title suggests, Highway Queen deals with the (often gnarly) experience of living life on the road. Being on tour takes its toll emotionally and physically, and Lane doesn’t shy away from exploring both sides candidly. Her songs exude independence without solitude or loneliness. Title track “Highway Queen” has Lane inhabiting an amplified version of herself as she extols the strengths of a lady on her own who “don’t need no king.”
Still, though, Lane isn’t coldhearted. She feels things deeply, which is evident on much of Highway Queen. “Forever Lasts Forever” finds her picking up the pieces after the demise of a marriage, noticing the lighter patch of skin formerly covered by her wedding ring. “We swore for better or for worse/And it was better at first/And worse at the end,” she sings, wearily. “The only thing that matters is a peaceful dissolution.” It’s incredibly personal, raw and heartbreaking, and it makes it that much lovelier to hear things get better in songs like “Companion” and “Send the Sun”. Lane is feeling the love in both, sending light and support to someone special. She’s been through some hard times, but for now, the future looks bright.
The post Nikki Lane Stays On Throwback Road With ‘Highway Queen’ (ALBUM REVIEW) appeared first on Glide Magazine.
One of the most promising artists to come out of Texas in quite some time is a fella by the name of K Phillips. His soulful Americana is filled with tales of love, struggles, and redemption. On March 10th K Phillips will release his sophomore album Dirty Wonder on Rock Ridge Music, the follow-up to his acclaimed debut American Girls. While Dirty Wonder may be best described as a breakup record, Phillips presents us with a collection of clever songs that are part autobiographical, part imagined, and part observational, chronicling a third-party breakup K witnessed firsthand. A storyteller in the vein of so many talented Texas artists, Phillips writes songs brimming with clever allusions, pent-up sexual tension, and loveable roguish characters. The album was produced by award-winning songwriter Gordy Quist of The Band of Heathens and features a vocal cameo from Adam Duritz from Counting Crows.
Today we are excited to premiere one of the standout tracks on Dirty Wonder right here on Glide Magazine. “Rom Com” brings to mind artists like Lou Reed, Warren Zevon, and Lyle Lovett complete with dry, straightforward vocals that channel the beloved cinematic convention (romantic comedy) into a song. The song is a wry commentary on pop love with a twang. Mostly, it shows off Phillips’ talent as a songwriter and as an artist who can arrange his lyrics into a sort of musical story.
Reflecting on the song and its recording, K Phillips has this to say:
“The song…the song itself told me to write the song. Then the producer….the producer told me to finish the song. And Gordy Quist masterminded the recording. Beau Bedford did all the over-dubs. This song is wild and long and sweet and funny and a lot like love. I dig the final mix.
Your children are a reflection of you. You become your parents or you fight it. Songs are just the same. This song came when it was ready and it’s weird and it won’t be in any Nike commercials but I love it still.”
LISTEN:
K Phillips releases Dirty Wonder on Rock Ridge Music March 10th. For more music and info visit kphillipsmusic.com.
Photo credit: Mark Abernathy
The post SONG PREMIERE: K Phillips Reflects On Pop Love With Twangy “Rom Com” appeared first on Glide Magazine.
