Soulive w/ Nigel Hall Band, Marco Benevento & Jennifer Hartswick @ Brooklyn Bowl, March 3

Words: Scott Bernstein
Images: Kevin Fuller

It’s hard to believe it’s been 13 years since Neal and Alan Evans invited Eric Krasno to their Woodstock studio for a session that would essentially give birth to a band called Soulive and yield the band’s seminal debut album Get Down! For many live music fans in New York City who are more prone to get their music news from JamBase, Relix or Hidden Track than Rolling Stone or Pitchfork, our history with the trio goes back towards those early days when Soulive was blowing minds at small clubs such as Baby Jupiter or the Wetlands Preserve.  Thirteen years later the group continues to impress as they’ve been putting their chameleon-like tendency to change their sound from song to song and guest to guest on display at Brooklyn Bowl for a ten-night residency dubbed Bowlive III.

[All Photos by Kevin Fuller]

Saturday night’s show marked the halfway point for the run and was arguably the best night yet. Following an afternoon Kidsrockersbowl set which featured guest spots from Karl Denson and Nigel Hall as well as a Q&A session, the Bowl was emptied and then packed all over again for an evening filled to the brim with sensational music. Hall’s solo band opened, setting the bar high for the rest of the night.

• Bowlive III: Night One Photos and Videos, Night Two Photos, Night Three Photos, Night Four Photos and Videos
• MKDevo’s Videos: The Ocean, Dazed and Confused, Drown In My Own Tears, Revolution, Manic Depression and Hat Trick 

Nigel was joined by drummer Louis Kato, Krasno on bass, Neal Evans on keys, Adam Smirnoff on guitar and vocalists Alecia Chakour & Mel Flannery for a mesmerizing set that showed off his uncanny knack to bring a modern edge to a sound rooted in late ’70s soul. For a cover of Patrice Rushen’s Hang It Up, a song Hall has made his own, as well as a pair of tunes later in the set, Nigel welcomed the badass horn section of Jennifer Hartswick, James Casey and Matt Owens, who would also augment Soulive’s performance later in the night. Nigel’s a consummate showman who always makes sure the audience is with him at every step. He engaged the crowd throughout and surely won many new fans by the time he left the stage.

Once The Nigel Hall Band’s set was over, the show was turned over to HT contributor Wyllys, who kept the energy up by spinning familiar songs such as an edit of Trey Anastasio’s Burlap Sack and Pumps and Steely Dan’s Showbiz Kids during his between bands and setbreak DJ sessions.

Soulive tends to start each of their guest-heavy Bowlive sets by their lonesomes and Saturday’s show was no exception as the trio kicked off the first of two sets with Outrage and Bubble off 2007′s No Place Like Soul. Over the years Soulive has gone through many phases in which they’ve added members for years at a time and made wholesale changes to their sound, but at the root of it all is Neal, Alan and Eric who have a chemistry most bands would die for. Outrage and Bubble both put this chemistry on full display as the trio tore through each song with an ease and confidence that made those who have been following the band since the start remember why our jaws were on the floor after witnessing Soulive for the first time.

For the groove-funk number Vapor, off 2006′s Break Out, Soulive brought out the Hartswick/Casey/Owens horn section. Krasno’s dirty guitar work was showcased throughout Vapor as the rhythm section of Alan Evans and Neal Evans’ left hand held it down. The horns stayed out and Marco Benevento made his first appearance of the night on Hat Trick off 2009′s Up Here LP. This MMW-esque groove was the perfect intro for Marco and featured a sizzling sax solo by James Casey, an unsung hero of the run thus far. Next, Hartswick took the mic for a beautiful rendition of Henry Glover’s Drown In My Own Tears which offered the audience a chance to catch its collective breath before more raging broke out in the form of the Soulive version of Revolution by The Beatles, which closed the opening stanza.

Once again, the trio took the stage alone to start the second set and treated the crowd to early classics in the form of So Live! and Turn It Out from their debut album. Fitting choices considering the number of audience members who first saw Soulive in 1999 or 2000. Kraz and the Evans Brothers may not be as young as they used to be, but they still bring the same raw power to these instrumentals that they did when they started. Benevento came back out, Louis Cato took a seat behind the kit and Alan Evans picked up a guitar next for perhaps the most impressive number of the night – an insanely potent cover of Manic Depression that raged for nearly 10 minutes. Cato showed why he is one of the more underrated musicians out there as he propelled his stage mates towards one massive peak after another.

Soulive w/ Louis Cato & Marco Benevento – Manic Depression

The horns returned for another pair of tunes before the evening concluded with two outrageous Led Zeppelin covers. Soulive ended the second set with a ferocious take on Dazed and Confused sung with aplomb by Hartswick and augmented with crazy tones from Benevento. Jennifer brought the house down on the tune which she performed with the Trey Anastasio Band four times during the group’s 2003 Spring Tour. When Soulive returned after the encore break, they brought Benevento with them for The Ocean. Just as he does in Bustle In Your Hedgerow, Marco simulated the lyrics on the keys making for a cool effect. This bombastic cover gave the crowd one last chance to get their yayas out.

By the time the night was over, following more turntable action from Wyllys, attendees had been treated to three acts, three sets and three DJ spin sessions all for the incredibly generous price of $15. Combine all that fantastic music with the best venue in the city, Brooklyn Bowl, and you have a night that will be hard to forget for those who made it out. How will Soulive top themselves during the second half of the run? Considering each night seems to have topped the previous night, the trio has left no doubt they’ll find a way.

In 2006, a handful of UK artists launched a monthly night of music at Notting Hill Arts Club in West London that they dubbed Communion, to help promote and cultivate a scene for up and coming independent artists. Those monthly showcases helped to launch the careers for the likes of Mumford & Sons, Laura Marling and Noah & The Whale, while expanding to hosting shows not only across the UK, but internationally as well, along with founding their own record label. Looking to further their presence in U.S., where they already have monthly residencies in Brooklyn and San Francisco, Communion has lined up a packaged tour across the States titled Austin To Boston Tour. Kicking off as billed in Austin at SXSW, the tour will feature Ben Howard, The Staves, Nathaniel Rateliff and Bear’s Den.

If  Communion’s Austin To Boston tour isn’t hitting a city near you, then maybe you’ll be able to grab tickets to one these recently announced tours…

• Edward Sharpe & The Magnetic Zeros: Spring Tour (5/4 – 6/1)
• Spectrum Road: June Tour (6/9 – 6/30)
• Laura Marling: June North American Tour (6/8 – 6/21)
• JJ Grey & Mofro: Spring U.S. Tour (4/11 – 5/20)
• Nick Lowe: Spring Tour (4/18 – 5/3)
• Perpetual Groove: East Coast Tour (3/2 – 4/28)
• Aziz Ansari: Buried Alive Tour (4/14 – 7/21)
• Chicago & The Doobie Brothers: Summer Tour (7/11 – 8/24)
• Destroyer: Early Summer Tour (6/3 – 6/24)
• Maps & Atlases: Be Aware & Be Grateful Tour (5/11 – 6/19)

This morning we’ve got the first look at the next episode of the Relix.com reality show Jeff Waful + 1. For the third installment of the light designer/journalist’s program, which for full disclosure sake I helped produce, Jeff takes us backstage at My Morning Jacket’s sold out Madison Square Garden performance last December. By shadowing MMJ’s tour and production manager, Eric Mayers, from early in the morning until after the band has triumphantly left the stage, Waful gives us an insider look at what goes into putting on a rock show on such a huge scale. Check out the trailer…

Jeff Waful + 1 – My Morning Jacket Trailer

This all-new episode premieres at Relix.com on March 28.

With the Allman Brothers Band 2012 Beacon Run set to kick off on Friday, we wanted to re-publish Chad Berndtson’s thought-provoking preview about what he’d like to see from the legendary band.

Dear Allman Brothers Band,

You’re old, and you’re aging well. I continue to shell out for the Beacon because your surprises and your sense of adventure can still blow past even a seen-it-all concertgoer’s most optimistic hopes — when you feel like it.

Some of the Beacon and United Palace shows I saw between 2001 and 2011 are in my Top 30 all-time nights out. Others, I feel like I overpaid — really overpaid in some cases. So here’s to keeping things interesting and renewing ABB Nation’s faith that your March shows are the one of the most reliable investments in live music — with a few gentle suggestions from a longtime and wholly devoted fan fully prepared to get ripped apart by other Nation members disagreeing with all ten.

If you’re expecting another “Ask Dickey to sit-in” request, that’s not what we’re about here. Assume that we love you already, that we will practice tough love based on how much money you charge for these shows and how good we know you really can be, and that we’re always up for some new flavors of fun.

1. Play another new original — even if it’s a sketch.

There’s been a whole lot of “definitely, maybe” talk about a new Allman Brothers Band album for years now, and we have seen snatches of new material here and there, though apart from Bag End, the vast majority of your first time plays are either new covers or songs familiar to side projects like the Warren Haynes Band or Tedeschi Trucks Band. I find it hard to believe that the current Allmans lineup doesn’t have at least something else kicking around, even in rough sketch form. What better place to workshop it than in front of ravenous Beacon fans that would know immediately — and appreciate immediately — that it’s a new original?

2. Make the guests come to you.

I did five shows during the 2009 Beacon run, and while the 3/28/09 event brought things to a suitable close, it came thisclose to total deflation thanks to the beginning of the second set. It was time for fireworks — second set of the last show of a justifiably legendary run! — and instead came nearly a full hour of plodding jams on Grateful Dead songs. I love Grateful Dead music, love Phil and Bobby, and love any time these two oh-so-influential worlds blend together, but this was the wrong choice at the wrong time. Why not push Phil and Bobby to play Allmans music? Why not an intra-band mega-throwdown on Mountain Jam (which, ironically, was played nearly half hour later, without Bob and Phil)? Seemed like a missed opportunity to these ears.

You integrate guests better than most groups, but you too often slide into a comfortable backing band role for that guest’s songs or toss out a failsafe popular song everyone knows. Makes sense – you don’t want to run the risk of a totally trainwreck sit-in – but push the envelope with the guests, guys. It’s perhaps no surprise that some of the most successful sit-ins from the 2011 run — John Scofield, Randy Brecker, Oz Noy and especially, Bill Evans — came from jazz-centric players comfortable with adapting to various types of ensembles and adding to them. It’d be fun to see even more of that if you’re going to continue to make these shows so guest-heavy.

3. Vary the sit-in songs.

I welcome any opportunity to hear the Asbury Jukes horn section — or any up-to-the-task horn section — with the Brothers at the Beacon. That said, if I see the mics set up on stage for the horns, I can call out five likely horns songs and be right about at least three of them, no? That’s just one example. I understand that Southbound and One Way Out are classic sit-in vehicles because they’re relatively easy to play and hinge on easily digestible, pass-the-baton style solos. But here’s hoping you shake things up a little more and keep the sit-in songs a little less predictable. During the underrated 2010 United Palace run, for example, there were sax sit-ins on both Jessica and Whipping Post on different nights. Try a lot of new things with these hotshot players. That’s why we come to see you at the Beacon: because you’re reliable, but also because these are the shows to see you at your most adventurous.

4. Cover inventively.

It’s a matter of taste and personal preference; one man’s “wow” cover is another’s “why bother.” You’ve proven in recent years that you can definitely pick cool covers, but you sometimes come dangerously close to being a classic rock jukebox. Here’s hoping for a tighter focus on selecting songs that’ll really make sense. It’s hard to pin down exactly why, but I can’t be the only Allmans fan who instinctually likes what the band has accomplished with Blind Willie McTell and Ain’t No Love In the Heart of the City, and also knows right away that I don’t need snooze-paced Allman Brothers versions of Shakedown Street and All Along the Watchtower.

5. Keep the jazz fusion coming.

You’ve always had a jazz element — it’s part of what made you an original way back when — and the current version of the band has the most pronounced jazz proclivity of any lineup. Well hey, fellas, keep scratching that itch. Your recent workouts on selections like Afro Blue, In a Silent Way and Spanish Key have been really interesting — not exactly Midnight Rider-accessible to a casual ABB fan, but for the diehards, in particular, a chance to hear you do something really different, and shake up the pacing and structure of setlists as a result. I say awesome, and also, more, please.

PAGE TWO = Instrumental Illness, Small Groups, Bustouts and More

This Friday jam stalwarts moe. will bring their What Happened To The LALAs? Tour to the Electric Factory in Philadelphia, a city the group first played nearly 17 years ago. Friday’s concert marks only the second moe. show within city limits since 2008, so we wanted to celebrate this rare appearance by looking at the band’s history with The City of Brotherly Love.

The Upstate New York-based band made their Philadelphia debut at J.C. Dobbs on South Street on September 21, 1995 with new drummer Mike Strazza and returned a few months later on February 16, 1996 sporting a different drummer (Chris Mazur). J.C. Dobbs was sold shortly thereafter, so moe. headed to the Middle East in March, May and September of ’96. In 2007, moe. stepped up to the much bigger Theater of Living Arts on January 23 and did so well they booked two shows at the 1,000-capacity venue that May. Clearly a band on the rise, moe. headlined the large Electric Factory on November 28, 1997,  just over two years after first playing in Philly.

moe. in Philadelphia: Venue Segues

J.C. Dobb’s (09/21/1995, 02/16/1996) > Middle East (03/29/1996, 05/17/1996, 09/20/1996) > Theater of Living Arts (01/23/1997, 05/08/1997, 05/09/1997) > Electric Factory,  (11/28/1997, 06/12/1998, 12/31/1998, 10/30/1999) > Tower Theater (10/31/2000) > Electric Factory (04/19/2002, 04/20/2002) > Theater of Living Arts (04/21/2002) > Tower Theater (12/27/2002, 12/28/2002, 12/30/2003, 11/05/2004) > Festival Pier (07/23/2005) > Electric Factory (01/20/2006, 01/21/2006) > Festival Pier (06/09/2006) > Electric Factory (02/10/2007, 02/01/2008) > Tower Theater (10/09/2010) > Electric Factory (03/09/2012)

Capacities: J.C. Dobbs (190), Middle East (?), Theater of Living Arts (1,000), Electric Factory (3,000), Tower Theater (3,119), Festival Pier (6,500)

Only includes shows open to the public within city limits

Including Friday’s show, moe. will have played a total of 11 gigs at the Electric Factory over the years. In April ’02  the group followed two sold-out performances at the Electric Factory, which featured special guest John Popper, with an undersell at the much smaller TLA. For Halloween ’00 moe. performed at the Tower Theater for the first time and covered Dark Side of the Moon by Pink Floyd while The Wizard of Oz was shown on large monitors. The Tower also housed a pair of moe. shows towards the end of 2002, one at the end of 2003, a November 2004 gig and most recently the band’s last Philadelphia performance on October 9, 2010. Penn’s Landing’s Festival Pier hosted the only two outdoor moe. shows open to the public – a set opening for the Allman Brothers Band in 2005 and a co-bill with the North Mississippi Allstars in 2006.

I love how on mobile devices like tablets and smartphones, everything seems “clickable.” Looking at a picture you want to share? Long-press and share to twitter! Phone number embedded in an email that you want to dial? Tap to dial! Document that you want to share? Press to email. Everything is seemingly a tap or a swipe away.

Why can’t we have the same simplicity for desktops and laptops? There’s tons of single purpose solutions out there. For example, likely you may have a browser add-on that can look up dictionary definitions when selecting a word. Or perhaps you have a Google Voice extension that turns phone numbers into a click-to-dial link. Or maybe you even took my advice and used Dropbox Automator to re-size pictures or send books to your Kindle.

But what if there was a single solution that can completely change your workflow on PC and Mac and save you multiple steps of clicking, highlighting, and pasting? While there are lots of solutions that work exclusively in the browser, click.to is a solution that can “hyperlink” text, images, documents, videos and other files and send them to other applications effortlessly.

In a nutshell? Click.to works for both Mac and PC and offers a work-flow to reduce the time, effort and amount of clicks to getting text or files from your computer into other applications: In essence, it turns your Copy function into time saving Macros. It works across a massive variety of file types and services.

How do I use it? Download the app and answer a couple of quick questions on how you’d like the application to be configured. Should take you less than a minute. Now, when you copy something, regardless if you are in a browser, on your desktop, in a PDF or Word document, click.to will be ready for action.

So for example, there’s a picture on my desktop that I want to upload to Twitpic. Typically, I’d open my browser, navigate to Twitpic, login, click “upload,” click “select media,” navigate to desktop, find file, click “open,” and click “upload.” Not a major big deal and not a major time commitment BUT with click.to, the whole process goes like this: right-click picture and choose Twitpic from my “Satellites.” Done. Multiply dozens of other such actions throughout the day and then this can be a major timesaver.

Satellites are what click.to calls the modules that simplify your click & paste functions that can be personalized to the services you use most and anchored to the side of your screen. They are visible after you have copied something (Either Right-click + copy or Ctrl+C or  ⌘+C). How long they stay visible and which side of the screen they appear on are configurable by user. In my case, I have them pop to the top of the screen for three seconds. If there are certain applications that you never want the satellites to appear for, that is an option. Additional services that are not displayed by the satellites are invoked by clicking the “More” button all the way to the right. Only relevant Satellites will appear. For example, an Amazon search will not show when copying a video file but will when selecting text.

So if you are reading Hidden Track and come upon a blog entry about the upcoming documentary focusing on the amazing Colonel Bruce Hampton and are interested in learning a bit more about him, you can simply highlight his name and click the Wikipedia satellite. Similarly, I could highlight the entire article and hit the GMail satellite to have a new message composed with the Subject Line being the location that I copied from and the body populated with the text of the article ready to be sent.

[Wikipedia "Satellite" indicated]

What services does it work for? There are dozens and dozens. From uploading pictures to Flickr, to uploading documents to Box.com (formerly box.net), to Google searches, to EBay to Amazon to Evernote to Google Maps and everything in between. Chances are, many of the services that you use daily will have plug-ins available for click.to. One that I’ve used most often is Outlook to quickly compose email and attach a file (something I do dozens of times per day). Another extremely handy one is PDF to quickly turn a document into a PDF without having to open the native application and File-Print to PDF. One click and done!

[Sample of available services that are configurable during setup]

Cool things:

• Service not available? Create your own easily! Not every obscure site will have an actions available, simply follow the instructions and create your own. No programming or expertise required.
• Google Translate works particularly well. Highlight the foreign text and choose Google Translate function and have your text quickly and effortlessly pasted onto Google Translate with the language already auto-detected and translated for you.
• Free! No subscription, enrollment, account creation or email needed
• Private Your data does not get stored anywhere other then where you send it. Click.to doesn’t need to keep a copy.
• Set a keyboard shortcut to satellites This is awesome.I have click.to set to show my Satellites with the ALT+Z combo. Very handy and useful for quickly accessing certain tasks and simply typing in the text if you don’t have it to copy. It’s like having a quick launch dashboard on your desktop without having to open browser.
• Skype Calls Highlight a phone number and Skype module dials number (regardless of format of number!)
• Stats Check out the Statistics menu from the taskbar icon to see how many times you’ve invoked each module. 59 Outlook attachments leads the pack for me. (15 Wikipedia Searches, 8 GMail, 2 Google Maps, etc.)

If you’re looking for an instant collection of Pearl Jam bootlegs, head over to We Got Shit…A Pearl Jam Bootleg Site to download live shows from throughout the band’s career. The site’s most recent post pulls together all of the Seattle-based quintet’s acoustic Bridge School Benefit Concerts together ranging from 1992 to Eddie’s appearance at the 2011 event.

And while we’re at it, here’s six more bootlegs to keep your iPod hummin’…

• Ryan Adams – The Pinkheart Sessions 2002 [The Midnight Cafe]
• Neil Young – Chicago Hurricane 11/15/1976 SBD [Grateful Breed]
• The Black Keys – Live at the BBC 02/15/2012 [Guitar 101]
• Led Zeppelin – 03/11/1975 SBD Matrix [The Clock That Went...]
• Radiohead – 03/01/2012 Audience [Guitar 101]
• Soulive – 03/01/2012 On-Stage Mics [NYCTaper]

Always the innovators, HT faves Umphrey’s McGee have just announced a new event called True Hollywood Stories in which the band will delve into the stories behind both classic and newer tunes in front of an intimate crowd of 150 at the House of Blues in West Hollywood, Calif. on March 16. This acoustic performance will take place before the band’s regularly scheduled show at the same venue.

The band members will also take song-related questions from the audience during True Hollywood Stories. Tickets, which will cost $35 a piece, go on sale today at Noon CT. Keep your eyes on umphreys.com for a link. For those of us who can’t make it out, Fankix will broadcast the show for free on Facebook in the weeks following the event. In other Umphrey’s news, Kevin Browning, Wade Wilby and myself will be spinning highlights from the sextet’s March Madness collection of past performances in the Caresser’s Corner room on Turntable.FM from 2 – 4PM ET.

Fresh off the release of the album Mathematical Hands on January 20th, Small Mountain Bear – the brainchild of Vermont native/Brooklyn resident singer-songwriter Will Read – offered HT readers a free download of The Ballad of Jimmy Beans (right click it). Small Mountain Bear marries bluegrass sensibilities and airy songwriting in a result that’s an easy pill to smallow.

There are ties that bind in Southern music circles, and then there is Col. Bruce Hampton, who seems to have had a hand in just about every great regional collaboration — and an influence that reaches far into what emerged from the HORDE-era jam scene and well beyond — since the original Aquarium Rescue Unit sparked to life in the mid-1980s. His legacy, of course, goes back decades earlier.

No surprise, then, that Hampton played a key role in the creation of Flannel Church, a new band that features Duane Trucks on drums, Kevin Scott on bass, Gregory “Wolf” Hodges on guitar and vocals and A.J. Ghent on pedal steel.

Duane, younger brother of Derek and nephew of Butch, and Scott have played with the Colonel for several years now in the Pharaoh Gummit, and New Orleans guitarist Hodges is veteran of many bands, including the Colonel-associated Codetalkers and also Blueground Undergrass. Ghent, son of sacred steel legend Aubrey Ghent, is the latest addition.

The band made its official debut in Jacksonville just after Christmas in 2010, on Duane’s 23rd birthday, and has since played sporadic gigs with Lee Boys steel ace Roosevelt Collier and guitarist Shane Pruitt. It’s the Ghent lineup that will make its first appearance in the Northeast this week, however, playing an after-Allmans show at New York’s Iridium on Friday, March 9, and an opening slot for Bobby Keys and the Sufferin’ Bastards at the Highline Ballroom on Sunday, March 11.

This is a funky, gospely, greasy, soul-nourishing unit that draws a little bit from all of its various members’ musical pedigrees. Based on their early buzz, you’re advised not to miss out, as Duane told us in a recent conversation.

HIDDEN TRACK: So tell me about how Flannel Church came together.

DUANE TRUCKS: Well, with most bands in this region, it seems like Col. Bruce is kind of the glue that pulls us all together, so you might as well just add us to that list — he was really the reason, man. About two years ago, we did a [Pharaoh Gummit] gig in New Orleans for JazzFest at the Howlin’ Wolf, and Wolf sat in on that. Wolf and I had known each other — I’ve known Bruce since I was four years old, and I’d always see all of his different bands when I was growing up so I’d first met Wolf when I was 13 or 14 and in middle school. He’d called me and Kevin up and said hey man, I’ve got some thing I want to try, so we did that, we jammed, and right off the bat, we were like, oh shit, there’s something happening here. So we said let’s take our time, and let’s make that something happen.

Everyone was down with it. Then we met A.J. Ghent, Aubrey’s son, and he’s kind of been the fourth piece we were looking for. It all came together real nice, and the musical chemistry is there. In January, we had done a trial run and Roosevelt wasn’t available, so we took Shane Pruitt with us at that time, but this is the first time we’re taking the band as it is now, out. It’s a band now. We’re all psyched and we’ve been trying to record and get some stuff down so we can bring some music up to New York and sell some CDs.

HIDDEN TRACK: How did you meet A.J.?

DUANE TRUCKS: Roosevelt had been telling us about him, but we knew of the family of course. When I was about 12, I think Derek was on the road and he had called my mom and dad up and said are you guys busy because there’s this guy, Aubrey Ghent, playing at a church in Gainesville tonight. We all jumped in a car and drove to Gainesville, and that was really one of my first very deep religious experiences with music — seeing A.J.’s dad. I talked to A.J. about it and he said he was was probably there, so maybe we did meet each other 12 or 13 years ago and just didn’t know it.

Anyway, Roosevelt told me about him and said my boy A.J. is moving to Atlanta, and he may be wanting to do some stuff. He showed up at a Col. Bruce gig in Tucker, Georgia, and from the first note, me and Kevin just about fell over. This dude is it. He’s a young cat — he’s a hungry young musician just playing well beyond his years. So we talked to him about getting together and the first time we all went in together and played a Tuesday night at the Five Spot in Atlanta. We told him we were going to be doing the band and working on a trip up to New York and other places and asked him if he wanted to do it and he said, hell yeah.

HIDDEN TRACK: So A.J. now is a member of the band?

DUANE TRUCKS: Oh yeah. We told him we want you to be in this band, and he said hell yeah.

HIDDEN TRACK: Good to hear it. Stepping back a little bit, it sounds like you’ve known the Colonel most of your life, but when was the first time you played with him? Tell me about that.

DUANE TRUCKS: My first gig with Bruce, and I’d known him since I was young, I was 17 and I sat in with him in Charleston. I moved to Atlanta after I graduated and I was playing with a band called Highly Kind. We hit the Alabama frat circuit pretty hard. Bruce’s band at the time, he had a band going and the drummer had had to bail at the last minute for a family emergency — this must have been August 2009 — and he asked me to come in and cover for him. I did three shows with him and then after the third show, he sat me down and said, we’ve been keeping an eye out for you the last few years, and do you want to join the band full time?

And I of course said yeah. Half the reason I moved to Atlanta was knowing that the Colonel was there. He was always in my life though. Even when I was young and listening to stuff like Blink-182 and not really thinking about serious music, I remember him coming and hanging out at Derek’s house. One time he brought a Bernard Purdie VHS with him. I remember Bruce saying to me, if you can play like him, you’ll work the rest of your life. That hit me hard: “Well, shit, let’s give it a shot,” and lo and behold, Purdie’s now a top three drummer of all time for me. But having Bruce around for my earliest memories of music — that was pretty entertaining for an 8-year-old.

HIDDEN TRACK: Have you always played drums?

DUANE TRUCKS: My mom told me that when I was like, two, I started pulling her pots and pans out, flipping them over and beating them with spoons. I got my first drumset for my third birthday. Later on, Derek was always letting me sit in with his band for club dates and letting me play Superstition with the band. When I was 14 or 15, Derek gave me A Love Supreme and Wayne Shorter’s Juju, and that’s about when I jumped in to really woodshedding and really starting to learn to play. I swear, man, I was a loser in high school because I didn’t go to parties or anything — I just wanted to woodshed!

HIDDEN TRACK: It seems like it paid off, though. There are four siblings in your family, right? Are all of you musical?

DUANE TRUCKS: No, just me and Derek. David is the middle brother, he’s 28, and the youngest, our little sister Lindsey, is 19. David and Lindsey, it’s funny, they both spent about a year playing alto sax and then decided music just wasn’t for them.

HIDDEN TRACK: Gotcha. Isn’t it funny that only two of the four of you went that way.

DUANE TRUCKS: Yeah, but we’ve always said we had to have some people in the family to keep us sane. Four musicians we’d all be out there!

HIDDEN TRACK: What’s your earliest memory of Derek as a musician?

DUANE TRUCKS: It was right about when I was born when Derek started playing out. He’s 9 years older than me and it was right about then when he stated going out to the clubs so it’s really hard to pinpoint what exactly the earliest memories are. One that sticks out to me: when I was in first grade, our parents took us out of school for two weeks and we went on a road trip to Colorado with Derek and his band and Jimmy Herring was with them at the time. I think it was the Fly Me to the Moon Saloon in Telluride. I remember being there when I was like 7 years old, and thinking, this is normal? To have your brother play in a band like this? You think it’s normal when it’s all you know, but then your brother gets known and starts winning Grammys and Jimmy Herring is asked to join the Grateful Dead, and I realized, shit, this is not normal!

HIDDEN TRACK: Did you ever doubt you’d pursue music?

DUANE TRUCKS: I really didn’t ever. When you’re in kindergarten, I mean, you want to be like an archaeologist and dig up dinosaur bones or something. But once I hit middle school, this was all I wanted to do. I moved to Atlanta about three months after I graduated high school and I never looked back.

HIDDEN TRACK: Will you continue to gig with Bruce in Pharaoh Gummit?

DUANE TRUCKS: We’re taking it as it comes. Bruce, he’s getting older now, and he’s playing more in-town stuff in and around Atlanta. We try to make the schedules work where we can play with Bruce as much as possible. But when you have the chemistry we’ve found with me, Wolf, Kevin and A.J., we don’t want to put it on hold. We just feel like it’s time for Flannel Church. Everyone in the band wants to do it and there’s been enough of a good response that we want to put a lot of time into it.

HIDDEN TRACK: You mentioned recorded music. Will you have a full album with you in New York?

DUANE TRUCKS: It’s not a full album. It was kind of a last minute idea; a month ago, I talked to Wolf and said if you want to come up a few weeks early we could try to record. Kevin has Giant Sounds in Atlanta, which is a studio built inside of an 1890s stone granite church. It’s a really cool place and it’s really perfect for this band and doing a lot of old school funk gospel shit. So we got about 10 tunes in the can and mixed 6 or 7 of them, so it’ll be like a 6 or 7 song demo we’ll have with us.

Everyone’s been really excited about the response, and that we’ve gotten onto Wanee and are doing these gigs are a sign people want to hear it. So we’re going to try to make it happen and do it right.

HIDDEN TRACK: Lot of the Trucks family in the Big Apple this week. Will you be sitting in with the Brothers while here?

DUANE TRUCKS: We’ll see, man. If Uncle Butch points at me, I won’t tell him no.

In the more than three years since our God Street Wednesdays column debuted with a post simply titled “Bring Back God Street Wine,” GSW fans have witnessed many magical moments from both the band as a whole and members of the group in various formations. There was a private reunion to honor Paul Ducharme, a set of four NYC shows in July 2010, two unforgettable performances aboard Jam Cruise, a slew of acoustic Lo & Aaron gigs and even the rebirth of Jon Bevo’s Love Orchestra. Considering there were no signs of life from the God Street Wine camp when we started this column, it’s truly unbelievable what has gone down in this decade so far and with cryptic messages popping up on the band’s website this week, who knows what’s next?

[Today's Message on GodStreetWine.com]

Through all these incredible shows, there’s one moment that stands out in particular. One moment where it hit me, and clearly others, that this band which was such an important part of our lives for a long period of time had returned on top of their game. During the second set of God Street Wine’s comeback show at the Gramercy, the group lit into Waiting For The Tide with a fury the crowd picked up on and reacted to in a truly beautiful way.

Spontaneously, as Lo Faber started his solo, the audience started bouncing up and down with the beat making for an incredible visual that brought huge giddy grins to the faces of the band members. All of the nervous energy that surrounded the first (public) God Street Wine performance in nearly a decade segued into excitement and joy. One audience member after another started to sing the “whoa, whoa, whoa” refrain of Waiting For The Tide as Faber’s solo picked up in intensity. By the time Lo finished it seemed like everyone in the room was smiling wide and singing the “whoa’s” with a happiness you don’t see often in this life. This was a moment you couldn’t have predicted or recreated if you tried. Music has a healing, spiritual power that was on full display at the Gramercy. Let’s just hope there’s another pot of GSW gold at the end of the ever-changing godstreetwine.com rainbow.

• Previously: God Street Wine – Back On Hiatus, Letter To a 16-Year-Old ScottyB 

One of the great things about Twitter is the direct interaction it provides its users. We love how @Hidden_Track allows us to communicate with our readers as well as with labels, other sites and the artists we cover. Many bands have official feeds that keep fans in the know but often it’s the individual band members’ personal accounts that offer the best insight. Here’s a list of some band members worth clicking the Follow button for.

1. @mike_gordon Mike Gordon – Phish

2. @treyanastasio Trey Anastasio – Phish

The @Phish and @Phish_FTR feeds keep Phish fans up to date with official announcements and realtime setlists. It’s bassist Mike Gordon’s account that often has the best behind the scenes tweets and pics. Gordon also does a decent job staying up to date with info on his band. Anastasio’s feed is sluggish and offers little more than a typical official band feed would.

3. @ryanstasik Ryan Stasik – Umphrey’s McGee

4. @goldlikejoel Joel Cummins – Umphrey’s McGee

Another bassist, Ryan Stasik and keyboardist Joel Cummins make up one third of Umphrey’s McGee. What isn’t picked up by @Umphreysmcgee or setlist tweeting lighting director Jefferson Waful (@jeffersonwaful) or even jack of all trades Kevin Browning (@Soundcaresser), often finds its way to Pony or Cummins’ feed. Expect as much insult as insight with heavy doses of hilarity.

5. @blobtower Justin Vernon – Bon Iver

We’ve highlighted the @boniver feed before for doing excellent work while the band was out on tour. Vernon, the falsetto singing, Grammy Award winning Wisconsinite, mixes opinions with interacting with others, and the common tweeted image.

6. @yimyames Yim Yames – My Morning Jacket

7. @patrickhallahan Patrick Hallahan – My Morning Jacket

8. @carlbroemel Carl Broemel – My Morning Jacket

These My Morning Jacket (@mymorningjacket) bandmates go the extra mile by supplementing the band’s official feed with more interactive connections to their fans. Yames, or James, stays current with all of his side efforts, while Hallahan and Broemel tend provide the details to the band’s operation.

9. @patrickcarney Patrick Carney – The Black Keys

Drummer and one half of the duo The Black Keys (@theblackkeys), Carney ventures into the obscure at times, not always focusing on the world of rock and roll. He’s a fairly productive tweeter, firing off 140 character missives throughout most days.

10. @Oneanda3 John Stirratt – Wilco

11. @nelscline Nels Cline – Wilco

Another bassist on the list, Wilco’s (@wilco) Stirratt – whose Twitter info reads “jam band aficionado” – keeps followers apprised of all things Wilco as well as his other project The Autumn Defense. Nels isn’t the most prolific tweeter but when he does tweet it tends to be full of insightful details.

12. @Jeffreyaustin10 Jeff Austin – Yonder Mountain String Band

13. @ymsBen Ben Kaufman – Yonder Mountain String Band

Yet another bassist, Kaufman, and mandolin wielding Austin of Yonder Mountain String Band (@YonderMountain) are some of the most personal tweeters on the list. Focusing well beyond the confines of music the pair tends to update on everyday life occurrences besides playing in a band.

14. @Marc_Brownstein Marc Brownstein – The Disco Biscuits

15. @BarberShreds Jon Barber – The Disco Biscuits

Add one more bassist as the highly opinionated and freewheeling Brownstein joins fellow The Disco Biscuits (@disco_biscuits) member Barber in making the list. Expect anything from this pair who seemingly holds nothing back from being tweeted.

We get the feeling that Atlas Sound/Deerhunter mastermind Bradford Cox won’t be featured in the  Indie Outing (the secret jambands roots indie rockers) blog on Relix anytime soon. At an Atlas Sound show on Friday night in Minneapolis the self-described punk rocker responded to an audience member’s request for My Sharona by inviting the opening bands up to help him with an hour-long freakout on The Knack’s 1979 smash. Cox, who took the stage wearing a ski mask, ranted about the death of folk music, simulated fellatio on one of the musicians, ordered an audience member to strip and told the crowd members to pick up their chairs above their heads and shake them by the time the song was through according to blogger Sally Hedberg of City Pages.  Hedberg called it “an unending cover that length of a Phish concert,” to which Cox responded “I am terrified and horrified and shocked that anyone would mention Phish in any article related to me” as part of a lengthy diatribe to Pitchfork about the “incident.”

In fact, Cox thought the show went great and called it “one of the best performances I’ve done since Deerhunter started” during his incredibly entertaining chat with Pitchfork. ”No one else fucking allows themselves to become unhinged. If it’s frightening to people, then those people seriously need to look at the mediocrity they subscribe to.” Bradford doesn’t seem to understand the stir he created. “It’s not like fucking Lana Del Rey carved an upside down cross on her cheek and defecated all over herself on stage at fucking Bonnaroo,” he told Pitchfork. The ironic part is that Cox was aiming to give attendees a spontaneous experience that goes beyond playing the same songs the same way night in and night out, the same thing Phish fans strive for from that band.

Here’s a playlist of  My Sharona videos shot by someone Cox describes as a “narc”…

Thanks to The Rolling Stones’ Twitter feed, we came across this fantastic professionally-shot clip of the legendary band performing You Gotta Move with keyboardist Billy Preston. While Keith Richards may be known for his rhythm guitar skills, he shows off some brilliant leads on this version of the Sticky Fingers classic filmed in 1976 at Paris’s Aux Abattoirs…

Rolling Stones w/ Billy Preston – You Gotta Move 

Over the last few years the brewers at Dogfish Head have rolled out a handful of their “uniquely off-centered ales” that have had a direct correlation to the music world – honoring Miles Davis, Robert Johnson and Pearl Jam with their own beers. For their latest crossover, the Milton, Delaware-based brewery has teamed up with Dan The Automator to create Positive Contact, “a hybrid of beer and cider based on Dan’s favorite ingredients and Dogfish Head’s innovative brewing practices.” The hybrid beverage was named in honor of a track off off Dan The Automator’s own collaborative project with Del Tha Funkee Homosapien and Kid Koala – Deltron 3030.

Here’s the description from Dogfish Head’s website…

Named after a key track on the first album, Positive Contact is a 9% ABV hybrid of beer and cider brewed with wood-pressed Fuji apples, roasted farro, a handful of cayenne peppers and a late dose of fresh cilantro. This sweet-and-sour Belgian-ish brew is a light straw color with fruity, cider-like notes. The cayenne and alcohol give it a warming finish.

The beer will be released in a dynamic box set of six 750-ml champagne bottles, with a 10-inch vinyl EP of four new Deltron 3030 remixes created exclusively for this project, and a list of Deltron 3030-inspired recipes from a small group of renowned chefs (see below). Invite some friends over, rock the album, drink the beer and whip up a multi-course meal. It’s a house party in a box.

• List Time: Time Out New York’s 100 Best NYC Songs
• Fiona Apple ‘s long awaited new studio album has a 23-word title
• Cover Alert: Pete Yorn tackles The Beach Boys
• Animal House to be turned into a Broadway musical with songs by Barenaked Ladies
• Download This: Beastie Boys – City Gardens, Trenton, NJ – 1992-5-22
• Furthur is auctioning off tickets for their NYC and Boston shows to benefit Robin Slyvester

Finally, a few weeks back we shared the trailer for Big Easy Express, the new documentary about the unique Railroad Revival Tour, which will premiere at this year’s SXSW. The 67-minute Emmett Malloy directed doc will get its first official screening on Saturday, March 17, and will be followed by a special acoustic performance from members of the Mumford & Sons, Old Crow Medicine Show and Edward Sharpe & The Magnetic Zeros. Well, in the spirit of the tour yesterday it was announced that the flick will get an additional screening later that day on the football field of Austin High School, which will also include a full on concert from both Mumford & Son and Edward Sharpe & The Magnetic Zeros, with OCMS members sitting in. The event will be open to SXSW badgeholders with event sponsor MySpace giving away 10,000 tickets, which will be distributed to fans who RSVP via MySpace.com/BigEasyExpress. MySpace will webcast the concert live and offer an HD version the following day. The Big Easy Express will return in 2012, with an announcement of the bands and the route to be revealed in the coming weeks.

Last week we reported on a new festival from the co-creators of Bonnaroo, Superfly Presents, called The Great GoogaMooga that was billed as “an amusement park of food and drink.” Today, Superfly held a press conference where they revealed more details about the event, which is set to take place in Brooklyn’s Prospect Park on May 19 and 20.

The Great GoogaMooga will host approximately 75 food vendors, 35 brewers, 30 winemakers and 20 live music performances. You’ll be able to attend the fest for free, but you will have to register beforehand to obtain a ticket. All concessions will be indiviually priced, though you can purchase a Extra Mooga pass for an all-inclusive experience. GA tickets and Extra Mooga passes will be available starting next Thursday, March 15, at Noon ET through the event’s website.

Superfly has enlisted a slew of foodie superstars such as Anthony Bourdain, David Rockwell and Marcus Samuelsson to create the fest’s look, feel and tastes. Tom Colicchio’s Colicchio & Sons, April Bloomfield and Ken Friedman’s The Spotted Pig, Roberta’s, Christina Tosi’s Momofuku Milk Bar, Daniel Boulud’s DBGB Kitchen & Bar, M.Wells, Do or Dine, Frankies 457 Spuntino, Russ & Daughters and the Big Gay Ice Cream Shop are among the vendors who will participate. The musical acts have yet to be announced, though Superfly has revealed LCD Soundsystem’s James Murphy will spin a DJ set and comedian Aziz Ansari will perform.

Here’s a full list of the Googa Mooga “menu”…

BaoHaus
Big Gay Ice Cream Shop
Blue Ribbon
Brindle Room
Char No. 4
Co.
Cookin’ With Coolio
Colicchio & Sons
DBGB Kitchen & Bar
Dirty Bird
Do or Dine
Frankies 457 Spuntino
Hill Country Barbecue Market
Joseph Leonard
The Lobster Place
Luke’s Lobster
M. Wells
The Meat Hook
Mile End
Minetta Tavern
Momofuku Milk Bar
Porchetta
Red Rooster
Roberta’s
Russ & Daughters
Simply Chicken by Jean-Georges
The Spotted Pig
Sullivan Street Bakery
Third Rail Coffee Shop
Tía Pol
Vinegar Hill House

Beer List:
Selected by Garrett Oliver of Brooklyn Brewery

Wine List:
Selected by Peter Eastlake, Superfly’s Director of Wine Programming,
and Paul Grieco of Terrior, Terrior TriBeCa, Hearth and The Summer of Riesling Tour
(lists to be announced in the coming weeks)

The Bowlive III run at Brooklyn Bowl continued on Tuesday and Wednesday nights with performances that were half Soulive, half Lettuce as each group, who share members, took the reigns for a set a piece. At last night’s show, during Soulive’s set, special guest Zach Deputy dueled it out with Eric Krasno on a sizzling cover of The Thrill Is Gone that Marc Millman captured on video…

Soulive w/ Eric Krasno – The Thrill Is Gone

Millman also shared a clip from last night’s second set of Nigel Hall leading Lettuce, Skerik and Kofi Burbridge on a cover of Move On Up by Curtis Mayfield to close set two…

Lettuce w/ Skerik & Kofi Burbridge – Move On Up

Our friend Karen Dugan has done a fantastic job reporting on each night for Royal Family Records’ blog. For those who can’t attend, you can watch the action from the last three nights of the residency unfold live via iClips.

• Bowlive III: Night One Photos and Videos, Night Two Photos, Night Three Photos, Night Four Photos and Videos and Soulive In Your Hedgerow – Night Five,

Whether it’s been the shift from five Best Picture nominees to ten, the general lack of epic movies or just an off couple of years, the Academy Awards have become a suck fest. Last year struggled mostly due to the failed attempt at going young with James Franco and Anne Hathaway, while this year they recognized last year’s foible, turned about face, and high tailed it back to highbrow. And that equally sucked.

As admirable as it was that a black and white homage to the silent movie era won top honors with The Artist, few observers would call that the most entertaining picture of the year. It was a bold project, sure, but it’s hardly a “can’t turn my eyes away” engrossing story that commands anyone’s attention span. Chalk it up to yet another elitist selection by the Academy.

Oddly, while the list nominees at the Oscars this year were among the weakest they’ve ever been, a lot of lowbrow films really delivered this year, captivating viewers from the moment the projector light went on until the last frame rolled.

So, today we’ll point you to some of the best films for those of us who like to be entertained at the movies, as opposed to just staring eye to eye with the bare ass of the emperor’s new clothes.

Best Picture: 50/50 – Among our lowbrow award winners, no film deserves to be considered lowbrow less than 50/50, but simply because Seth Rogen shows up and he’s funny makes it a long shot for serious consideration during awards season. Nevertheless, the story, based on true events between Rogen and one of his best friends, takes you through an emotional car wash. You’ll probably cry on average 14 times experience some serious sadness, but the best part about 50/50 is that unlike most tearjerkers, you walk away feeling nothing but good and probably dialing the number of your best friend.

Best Action Movie: The Warrior – We got clichés. We got comebacks. We got underdogs. We got a broken family. We got a protagonist out of work and in foreclosure, which is super timely. Go ahead, name the plot technique, the Warrior has it.  The Warrior essentially packed an entire season of being Brandon Walsh in a single movie. Nevertheless, pound for pound no movie this year can match The Warrior for pure entertainment value. Think of a Mixed Martial Arts version of Rocky. This movie moves fast and doesn’t let up until the final bell. It  also works because by incorporating the laundry list of clichés, it almost acts like a parody of itself, but it doesn’t, it’s hard to decide. Plus, you get an epic has-been recovering alcoholic Nick Nolte in one of his best performances in years, as well as a couple of unknowns playing some highly convincing meatheads. The Warrior is  just an awesome movie.

Best Music Documentary: PJ20 – When word spread that Cameron Crowe directed a Pearl Jam documentary with over 1,200 hours of rare archival footage at his disposal and a slew of new interviews, it was a done deal in this homer category. Forget it, what else could possibly complete? As expected, nothing came close. Crowe applied the same emotional approach that characterizes his narrative films to his inside look at the formation of the iconic Seattle band and the enduring qualities that have kept  them together. But what really made the film for diehard music fans and PJ fans was his intimate look at the early Seattle scene, the Mother Love Bone days that led up to the band, and the close relationships with the other groups like Soundgarden that help characterize PJ and their amiable nature.

Best Comedy: Bridesmaids – I hate to snub Cedar Rapids, because that was the unsung hero comedy of the year, but Bridesmaids brought the Hobbs treatment knocked the cover off the ball this year. In unheard of fashion, Melissa McCarthy’s raunchy portrayal of Megan actually did earn an Oscar nomination for a Best Supporting Actress. Comedy roles have been getting shafted for years, so at least some degree of recognition is a step in the right direction, but she didn’t win. Between Kristen Wiigs car gags, Melissa McCarthy’s hot game and the whole food poisoning scene, Bridesmaids brought a lot of quality laughs.

Best Idea for a Lowbrow Movie: Roadie – It’s so awesome that somebody a) wrote an entire screen play about a dude who got fired from his job as a roadie for Blue Oyster Cult, b) people actually threw down a lot of money to make a movie about a dude who got fired from his job as a roadie for BOC and C) the movie was really solid. The character development and acting are far from lowbrow, and this is great work and would make a really cool play, but cheers to everyone who got behind this lowbrow idea from the get go. The world needs way more people like you.

Best Children’s Film: The Muppets – The Muppets served as the ideal trip to the movies for families. The younger generation got the fun of meeting the Muppets for the first time, and old timers like us were treated to tons of references to the old days. It was the ultimate “We’re getting the band back together” movie. Admittedly, the new original music sucked, but it wasn’t overbearing and most of the songs we’re the originals. With a short run time and right to the point story, this was a succinct entertaining movie that satisfied everyone.

One of the nation’s longest running music festivals, High Sierra, has just announced the initial lineup for this year’s event. Ben Harper, STS9 and Railroad Earth will headline the 22nd edition of the High Sierra Music Festival, which will take place in Quincy, Calif from July 5 – 8. Other acts set to make the trip to High Sierra this summer include HT faves ALO, Soulive, Greensky Bluegrass and Marco Benevento. Both The Slip and Surprise Me Mr. Davis, who are firmly entrenched in the High Sierra community, will make rare appearances at the fest.

Here’s a look at the complete initial lineup announcement…

Ben Harper • STS9 • Railroad Earth • Galactic • Built To Spill • Toots and the Maytals • Ryan Bingham • ALO • Lotus • Delta Spirit • Soulive • Heartless Bastards • The Devil Makes Three • Deer Tick • Greensky Bluegrass • The Slip • Lettuce • Surprise Me Mr. Davis • Grupo Fantasma • MarchFourth Marching Band • The Motet: Funk Is Dead! • Skerik’s Bandalabra • Red Baraat • The Stooges Brass Band • The New Orleans Suspects • Nathan Moore • The Lumineers • Marco Benevento • Elephant Revival • Papadosio • Brokedown in Bakersfield • Gardens & Villa • Mike Dillon Band • Steve Poltz • Artists-At-Large: Skerik • Mike Dillon

Tickets for High Sierra are currently on sale through the festival’s website.

We’ve never hid our appreciation of The Raconteurs during the early years of this blog when the band was in the midst of putting out two sensational studio albums while touring regularly. The last few years have been light on action for the Jack White / Brendan Benson / Jack Lawrence / Patrick Keeler project with a set of shows late in 2011 serving as their only live shows since 2008.

Up until now The Raconteurs haven’t released any live recordings, a damn shame considering just how good the quartet are in concert. That will change on June 18 when Eagle Rock Entertainment ships Live at Montreux 2008 on DVD and Blu-Ray.

The tracklist for Live at Montreux 2008 contains 10 of the 14 songs from The Raconteurs’ new LP at the time, Consolers of the Lonely, and five of the 10 tunes on 2006′s Broken Boy Soldiers, along with a cover of Charley Jordan’s Keep It Clean. All in all only nine of the 24 tracks that make up the group’s studio output are missing from the concert film.

Live at Montreux 2008 Tracklist:

01. Consoler of the Lonely
02. Hold Up
03. You Don’t Understand Me
04. Top Yourself
05. Old Enough
06. Keep it Clean
07. Intimate Secretary
08. Level
09. Steady, As She Goes
10. The Switch and the Spur
11. Rich Kid Blues
12. Blue Veins
13. Many Shades of Black
14. Broken Boy Soldier
15. Salute Your Solution
16. Carolina Drama

We can only hope this release signals that The Raconteurs aren’t done yet.

[via Consequence of Sound]