Daily Archives: March 23, 2017

Seven Day Sleep Talk of the Red Lipstick Murders from a Home for Disgusting Fairies

Alternative hard rock metal trio, Seven Day Sleep, have got a new song called “Red Lipstick Murders”, they have released. The track comes off their forthcoming EP titled “A Home for Disgusting Fairies”. Taking roots …Read More



MONO’s behemoth world tours have become a sort of calling card for the experimental rock quartet; as one of the most internationally successful bands in Japan, MONO’s annual world tour consists of around 150 shows …Read More


NervoChaos Releases Video for "Ritualistic"

NervoChaos releases video for “Ritualistic”. Check out eh 360 degree experience HERE. http://www.nataliezworld.com/search/label/News


Allman Brothers Band Detail Eight-Disc 'The Fox Box'

The Allman Brothers Band will release an eight-disc set comprising songs from their sold-out, three-night run at Atlanta’s Fox Theatre in September 2004. At the time they were touring on what would turn out to be their final studio album, Hittin’ the Note.

The Fox Box will feature a remastered audio mix and tighter song spacing than the versions that were released at the time and were made available during subsequent shows and through their internet mail order program. “Dreams” is the only song that is repeated from the 53 tracks in the box set. It appears three times, however a different guitar soloist – Derek Trucks, Warren Haynes, Jack Pearson – is featured in each instance.

The 2004 lineup included founding members Gregg Allman and drummers Butch Trucks and Jaimoe, along with percussionist Marc Quinones, guitarists Warren Haynes and Derek Trucks and bassist Oteil Burbridge. Guitarist Jack Pearson, who was in the band from 1997 to 1999, was a special guest. Other guests included Derek’s Tedeschi Trucks Band bandmate and wife Susan Tedeschi, Butch’s son Vaylor Trucks and keyboardist Rob Baracco.

The Fox Box will be released digitally on March 24th with a physical release available on April 28th.

The Fox Box Track List


Disc 1
“Mountain Jam”
“Trouble No More”
“Midnight Rider”
“Wasted Words”
“Worried Down With the Blues”
“You Don’t Love Me”
“Ain’t Wastin’ Time No More”

Disc 2
“Rockin’ Horse”
“Hot ‘Lanta”
“Come and Go Blues”
“Can’t Love What You Never Had”
“Why Does Love Got to be So Bad?”
“Franklin’s Tower”

Disc 3
“Black Hearted Woman”
“Dreams” with Jack Pearson
“Mountain Jam (reprise)” with Jack Pearson
“Southbound” with Jack Pearson


Disc 1
“Les Brers (Intro)”
“Don’t Want You No More/ It’s Not My Cross to Bear”
“Statesboro Blues”
“Stand Back”
“Who’s Been Talking”
“Good Clean Fun”
“Old Before My Time”
“Woman Across the River”
“Instrumental Illness”

Disc 2
“The Night They Drove Old Dixie Down”
“Leave My Blues at Home”
“Key to the Highway”
“Don’t Think Twice, It’s Alright” with Susan Tedeschi
“One Way Out” with Vaylor Trucks
“Blue Sky”
“Les Brers in A Minor”


Disc 1
“Every Hungry Woman”
“Done Somebody Wrong”
“Hoochie Coochie Man”
“High Cost of Low Living”
“44 Blues”
“End of the Line”

Disc 2
“I Walk on Gilded Splinters”
“Stormy Monday”
“The Same Thing” with Rob Baracco
“In Memory of Elizabeth Reed” with Rob Baracco

Disc 3
“In Memory of Elizabeth Reed” continued with Rob Baracco
“Don’t Keep Me Wonderin'”
“No One to Run With”
“Whippin’ Post”

Related Content:


Hear Zayn Malik, PartyNextDoor's Tropical 'Still Got Time'

Zayn Malik and PartyNextDoor have teamed up for the dazzling, tropical “Still Got Time.” PartyNextDoor most recently made a guest appearance on his cohort Drake’s playlist project More Life.

The smooth, dancehall-inspired song has Malik and PND in their most alluring registers. The Toronto rapper offers a bouncy verse, while Malik hits a tender falsetto on the harmonies. “Just stop looking for love, girl you’ve still got time,” goes the infectious chorus.

Last year, the former One Direction member released his debut solo album Mind of Mine. Since dropping the Number One album, he’s explored other ventures, including a book and developing a boy band drama series with Law & Order‘s Dick Wolf. He made a wide-range of guest appearances over the course of the year, releasing songs with M.I.A., Snakehips and Taylor Swift. “Still Got Time” is his first new single this year.

PartyNextDoor released his sophomore album PartyNextDoor 3, last August. He appeared on Drake’s Views last spring and most recently collaborated with Major Lazer and Nicki Minaj on the fiery “Run Up.”

Related Content:


Hear Kendrick Lamar, Rae Sremmurd, Gucci Mane Rave on 'Perfect Pint'

Mike Will-Made It reunites with his “Black Beatles” cohorts Rae Sremmurd and Gucci Mane and taps Kendrick Lamar for a lithe new track, “Perfect Pint.” The song will appear on Mike Will’s upcoming LP, Ransom 2, out March 24th.

“Perfect Pint” boasts a sparse beat with light synth plunks illuminating the negative space left between Mike Will’s sharp percussion. Rae Sremmurd’s Slim Jxmmi opens the track while Swae Lee handles the song’s silky hook. Gucci Mane unravels another verse of delightfully scattershot images like, “They were screaming ‘Free Gucci,’ but now that Guwop’s free/ Blue cheese, no ranch, hunduns on me.” Kendrick Lamar closes “Perfect Pint” with a dexterous verse that pays tribute to the late Shawty Lo and closes with the hilarious couplet: “Double park on the curb, I can drive but I’m lazy/ Half a pint, whole pint, gassed up, crazy, ayy.”

Ransom 2 boasts an array of guests including Rihanna, 2 Chainz, Future, Pharrell, Lil Wayne, Lil Yachty, Young Thug and more. Previously, the Atlanta hitmaker shared “Gucci On My,” which features Migos, YG and 21 Savage. Ransom 2 follows Mike Will’s 2014 solo effort Ransom, though he’s remained busy as a producer, working with Rae Sremmurd, Beyoncé and more.

Related Content:


Gorillaz Detail First Album in Six Years, 'Humanz'

Gorillaz will release their first album in six years, Humanz, April 28th. Mastermind Damon Albarn premiered two new songs from the record – “Andromeda” featuring D.R.A.M. and “Saturn Barz” with Popcaan – on MistaJam’s BBC Radio 1 show.

On “Andromeda” (which begins at the 2:20 mark) Albarn croons softly over a swift dance beat laced with spacey synths while D.R.A.M. turns up for a quick but playful guest appearance. “Saturnz Barz” (at 10:30) captures a similar aesthetic with Albarn filtering his vocals through static and Jamaican artist Popcaan delivering a sinister verse over a guttural rumble sprinkled with siren-like synth flares.

Gorillaz also unveiled a video for “Saturn Barz” that includes snippets of “Andromeda” and album cuts “Ascension” with Vince Staples and “We Got the Power” with Jehnny Beth from Savages. The Jamie Hewlett-directed clip finds the animated outfit exploring a haunted house with fittingly surreal and bizarre results (a 360-degree virtual reality version of the video is also available).

The 14-track Humanz marks Gorillaz first album since 2010’s The Fall and boasts an impressive list of guests that includes Mavis Staples, Grace Jones, Pusha T, Danny Brown, Kelela, De La Soul, Kali Uchis, Jamie Principle, Anthony Hamilton, Peven Everett and Zebra Katz. The deluxe edition of the record will boast appearances from Kilo Kish, Peven Everett and even Carly Simon. Humanz will also include the previously released track, “Hallelujah Money,” with Benjamin Clementine.

Gorillaz Humanz Track List

1. “Ascension” feat. Vince Staples
2. “Strobelite” feat. Peven Everett
3. “Saturnz Barz” feat. Popcaan
4. “Momentz” feat. De La Soul
5. “Submission” feat. Danny Brown & Kelela
6. “Charger” feat. Grace Jones
7. “Andromeda” feat. D.R.A.M.
8. “Busted and Blue”
9. “Carnival” feat. Anthony Hamilton
10. “Let Me Out” feat. Mavis Staples & Pusha T
11. “Sex Murder Party” feat. Jamie Principle & Zebra Katz
12. “She’s My Collar” feat. Kali Uchis
13. “Hallelujah Money” feat. Benjamin Clementine
14. “We Got The Power” feat. Jehnny Beth

Related Content:


Steve Miller Remembers Chuck Berry: 'He Was Like a Gazelle'

Just 10 days after playing the Monterey Pop Festival in June 1967, Steve Miller got the chance to back up his childhood hero Chuck Berry at the Fillmore West. The show came out on Mercury Records later that year as Berry’s first live album, kicking off a two-year partnership where the Steve Miller Band backed up Berry at shows all over America. Days after Berry’s death, Miller got on the phone with Rolling Stone to share his memories of the incredible experience.

Growing up in Dallas, my first influences on the guitar were T-Bone Walker and Les Paul. T-Bone taught me how to play lead guitar behind my head and do the splits in 1951 when I was nine. I came into all this very early. When Chuck Berry came along, what he did was more rock & roll than it was blues. It was more exciting. He was like the next step. I thought his first single, “Maybellene,” was the greatest song in the world.

From the time I was 12 until I was 21, Chuck Berry was my favorite artist. I loved the Johnnie Johnson tracks, the lyrics, the guitar licks, the duck walk. I saw him play at the Sportatorium in Dallas when I was 14. He was just electric. Those rock & roll shows had people like Frankie Lymon and the Teenagers and Al Hibbler and Chuck Berry! Chuck would come out and do his three or four songs and duck walk across the stage. He was just so cool.

In 1956, I began playing in a band with Boz Scaggs. We worked every Friday and Saturday night  and we were listening to everything that came out: Fats Domino, the Coasters and Chuck Berry. He was the guitarist in that group, so he was the most interesting one to me. There was one great song after another. He was such a clever writer. He was as clever as John Lennon and as good as the Beatles and as good as T-Bone Walker at the guitar, but he made it his own.

“He was as clever as John Lennon and as good as the Beatles.”

Later, when I met him in 1967, we were like the band in the San Francisco scene that was able to back up the blues guys. Chuck had recently been in jail and he was a fairly unhappy guy. Bill Graham came to me and said, “Hey, we’re bringing Chuck Berry out and I want you and your band to back him up.” I said, “Okay, I’ll do it, but only if he’ll come out here and rehearse for two days.” Graham did his magic and Chuck showed up and we just had this great time. We went to the barbecue joint around the corner from the Fillmore and ate barbecue. He was like, “Nobody is going to shave or take a bath until we’re done.” We rehearsed for two days, all day long. It drove Bill Graham nuts since he was trying to do business at the Fillmore and we were playing all day long.

We were doing some of his most esoteric tunes. We did everything. All of a sudden, Mercury Records says, “This is great. We want to make a live album.” And a deal was struck that afternoon the day we were going to do the show. They brought in this funky little board to record it on. All of a sudden, this guy Abe Kesh shows up, who was the producer for Mercury. We’re rehearsing and all ready to go when he takes Chuck Berry outside for 10 minutes before the show. Chuck comes back in and he’s almost unconscious, like he’s in slow motion. They went out and had a shot or something. We did four sets and we recorded the album. It came out pretty good.

There were moments where he was in the spotlight and it was just pure magic. I remember clear as a bell standing on the stage and looking at him. He was so handsome. He looked like a gazelle, like he could have sprung off the stage and leapt 22 feet into the air into the audience. He had that kind of coiled-up energy. He was absolutely beautiful. We were just doing this great set and at the end of the set, unbeknownst to us, unrehearsed or anything, he did “My Ding A-Ling.” I just had this feeling like, “Gosh, Chuck Berry doesn’t know who he is. He doesn’t know what he did. This is just show business.” It was a 45-minute set. When the set was over, if you wanted one more song, Bill Graham would have to get another $1,000 in cash.

Chuck had the hardest time because I don’t think he trusted anybody and he had such a hard life. But our shows at the Fillmore started the return of his career. We started backing Chuck and played all up and down the West Coast and East Coast at Paramount theaters. We’d be playing in Los Angeles or Portland or whatever the city was, and he’d fly in from St. Louis and arrive around 7 pm. We’d open for him and play until he actually got there. He’d arrive at the theater at 8 or 8:30. You never knew when he was going to be there. He would show up with his guitar, but he wouldn’t have a strap and he wouldn’t have a cord to plug it in. We would have to provide that. Then he’d come out and do 45 minutes and then leave.

He was such a great entertainer. He really, really knocked everybody out. As disappointed as I was that he did “My Ding A-Ling,” that was maybe the highlight of the show for the audience. He drove people crazy with it. It was dirty and suggestive and it made everybody sing. He was just phenomenal. We played a lot of gigs, but we finally had a fight. He got crankier as we went on doing these shows, and one night he started bad-mouthing the band onstage. I think we were at the Carousel Ballroom. We had two shows to do that night. We came offstage and I said, “Chuck, if you ever fucking do that again you can get your own band, your own amp, your own stuff. You can’t talk that way to my musicians on the stage, ever!” He stopped it and from that time on we were great friends.

We spent two years backing him, 1967 to 1969. It finally just got to be annoying. We were headlining our own shows and then doing shows with him, but it got to be rough when you’re not sure when he’s coming and so we moved on. But if you called him on his bullshit, he was great. I did so many shows with him where he was magic and such a great guitar player. In his way, he was as good as T-Bone, but more contemporary and more rock & roll. It was an honor and a privilege to play with him. He had a long, long life. A peculiar life. A lot of problems.

“He had that kind of coiled-up energy. He was absolutely beautiful.”

It was sad that he never really got paid right. He never really did get the respect as an artist that he had really earned. When he sold a million records, the Chess Brothers would give him something like $3,000 and a Cadillac. He got in trouble a lot. When I was growing up in Texas it was totally segregated. There were “colored” drinking fountains. He started in that world and he was one of the first black artists to really cross into the white world. It was really, really dicey and he suffered for that a lot. This business is war. If you don’t audit everybody every minute of the time and have a lawyer named Lip Pliers … and of course, he didn’t.

He didn’t have management. He ran everything himself. He had been screwed a million times. It was better for him to just get a bag full of cash. As an artist, he was great. As a human being in his life, it was very tough and very hard. A lot of times you meet artists you just love and when you meet them personally, you realize it was very hard for them to do it. That sums up Chuck’s life.

As told to Andy Greene

Related Content:


Hear Nicki Minaj, David Guetta, Lil Wayne's Sexy New Song 'Light My Body Up'

Nicki Minaj and Lil Wayne have joined forces with superstar DJ and producer David Guetta separately in the past, but for “Light My Body Up” the trio comes together for an epic, scorching new single. Minaj and Wayne just released two new tracks together earlier this month, including “No Frauds” with Drake and “Changed It.”

In the heavy first verse, Minaj references her ongoing feud with Remy Ma, or at the very least offers a warning to any who dare to cross her. “No she’ll never be queen/ So now she got a vendetta,” she raps before going into her significant accomplishments. The more romantic, sensual chorus has Minaj singing about a love interest who has “something I believe that I’ve been waiting for.”

Minaj coos on the sung second verse before Wayne pops in with his Auto-Tuned verse. “Girl you know I brought that thing right up out the darkness,” he begins. “Mad that thing a starfish, right up on my swordfish.”

Minaj and Guetta have teamed up for two major hits in the past: 2011’s “Turn Me On” and 2014’s “Hey Mama.” Lil Wayne last worked with Guetta on the 2012 song “I Can Only Imagine.”

Related Content:


Watch Gary Clark Jr. Praise Childish Gambino, Beyonce

Austin-native Gary Clark Jr. is no stranger to SXSW, having been attending and playing the massive Texas festival since he was a teenager. This year, Clark headlined a raucous Friday evening set at the Levi’s Outpost as part of a party hosted by Rolling Stone and the legendary denim brand. After his performance, Clark sat down with us to discuss Austin, blues’ enduring influence on modern music and his favorite collaborators.

Reflecting on his early years performing in Austin’s music circuit, Clark remains thankful of his friend Eve Monsees who would take him to the city’s famed Sixth Street to attend and play in blues jams. “We were just kind of the young kids playing blues,” he recalls. “We’d go back to school and say ‘We sat in with Jimmie Vaughan last night’ or Hubert Sumlin, and these kids would be like ‘Who?'”

While his school peers didn’t quite understand, Clark ended up getting his own education from the artists he would perform with in his spare time. “It’s a great place to grow up.”

Growing up in the Nineties, the guitarist was a huge fan of grunge, but he found that blues was the only real outlet for him. His blues education came from digging deeper into the artist he loved, whether it was learning that Jimi Hendrix’s influence was Albert King or exploring the samples on his favorite hip-hop records, which always brought him back to the blues. “It became my quest to understand where all this music came from,” he explains.

Being that the blues is “the roots of American music,” as Clark describes, he sees the genre everywhere still, even though he is one of the few young artists to play the most authentic rendering of what the genre had been in the outset. “I can hear Robert Johnson in Big K.R.I.T.,” he offers as an example.

Currently, Clark’s biggest inspiration is Childish Gambino (Donald Glover) and the rapper’s recent album “Awaken, My Love!” which has Clark featured on the track “The Night Me and Your Mama Met.” Clark praises Gambino as “the most forward-thinking artist of our time.”

Finally, even though Clark has shared the stage with many blues and rock icons ranging from B.B. King to the Rolling Stones, it’s his contemporaries he has savored performing with the most. A Stevie Wonder tribute in 2015 had him playing a medley of Wonder’s hits alongside Beyoncé and Ed Sheeran, two artists he respects and admires immensely.

Though he cites that performance as one of his standout career moments, Clark is thankful for all musicians he has gotten to work alongside and the success he’s achieved in his own career. “I knew I wanted to play music, but I didn’t know it would be like this, so it’s pretty amazing.” 

Watch Gary Clark Jr. perform “Cold Blooded” at SXSW in Austin, Texas. 

Related Content: