Daily Archives: May 11, 2017

Otep Announces New Tour

Otep will be heading on the next run of “The Resistance Tour”. Find out where and when below. TOUR DATES: 5/25 – Santa Ana, CA @ Constellation Room5/27 – Gallup, NM @ The Juggernaut5/29 – …Read More

INDIE MUSIC NEWS

Frank Sinatra 'Baby Blue Eyes… May The First Voice You Hear Be Mine'

Frank Sinatra always saluted his audience with a toast: “May You Live To Be A Hundred And The Last Voice You Hear Be Mine.” Envisioned as a child’s first musical library to be shared with the generations before, Tina Sinatra has curated a special compilation of Sinatra recordings for children and parents alike. On May 12, Universal Music Group will release Frank Sinatra: 'Baby Blue Eyes… May The First Voice You Hear Be Mine.'LOS ANGELES, May 11, 2017 /PRNewswire/ — Frank Sinatra always saluted his audience with a toast: “May You Live To Be A Hundred And The Last Voice You Hear Be Mine.”  Envisioned as a child’s first musical library to be shared with the generations before, Tina Sinatra has curated a special…

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See Paul Simon's 'Diamonds on the Soles of Her Shoes' From 'Hyde Park' Live LP

Paul Simon‘s career-spanning performance at London’s Hard Rock Calling Festival in 2012 will be the focus of an upcoming live album/concert film titled The Concert in Hyde Park.

The show took place around the 25th anniversary of Simon’s landmark Graceland LP, and many of the band members and featured guests from that album appeared at the Hyde Park gig, including Hugh Masekela and Ladysmith Black Mambazo, who sang “Homeless” and “Diamonds on the Soles of Her Shoes” alongside Simon during the concert.

Rolling Stone presents the premiere of the latter track from The Concert in Hyde Park, with Simon and the eight-man vocal group infectiously delivering the Graceland cut.

The Hyde Park show also boasted surprise guest Jimmy Cliff, who sang a pair of his classics, “Many Rivers to Cross” and “The Harder They Come,” as well as two duets with Simon, “Vietnam” and “Mother and Child Reunion.”

The concert’s set list featured a near-complete live rendition of Graceland as well as Simon solo hits like “Kodachrome,” “Late in the Evening” and “50 Ways to Leave Your Lover,” as well as two Simon and Garfunkel favorites, “The Sound of Silence” and “The Boxer” (with guest Jerry Douglas).

The Concert in Hyde Park will have its broadcast premiere in June on PBS ahead of its June 9th release date.

The Concert in Hyde Park Track List

“Kodachrome”
“Gone at Last”
“Dazzling Blue”
“50 Ways to Leave Your Lover”
“The Harder They Come” (Jimmy Cliff) *
“Many Rivers to Cross” (Jimmy Cliff) *
“Vietnam” (with Jimmy Cliff)
“Mother and Child Reunion” (with Jimmy Cliff)
“That Was Your Mother”
“Hearts and Bones” / “Mystery Train” / “Wheels”
“Me and Julio Down by the Schoolyard”
“Slip Slidin’ Away”
“The Obvious Child”
“Homeless” (with Ladysmith Black Mambazo)
“Diamonds on the Soles of Her Shoes” (with Ladysmith Black Mambazo)
“I Know What I Know”
“The Boy in the Bubble”
“Crazy Love, Vol. II”
“Gumboots”
“Under African Skies” (with Thandiswa Mazwai)
“Graceland”
“You Can Call Me Al”
“The Sound of Silence”
“The Boxer” (with Jerry Douglas)
“Late in the Evening”
“Still Crazy After All These Years”

* DVD only

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Frank Ocean Responds to Father's $14.5 Million Libel Lawsuit

Frank Ocean responded to his estranged father’s $14.5 million libel lawsuit, denying the majority of claims leveled against him in a new court filing. Calvin Cooksey sued the singer in February over a Tumblr post Ocean wrote after the deadly Pulse nightclub shooting.

“I was six years old when I heard my dad call our transgender waitress a faggot as he dragged me out of a neighborhood diner saying we wouldn’t be served because she was dirty,” Ocean wrote at the time. “That was the last afternoon I saw my father and the first time I heard that word, I think, although it wouldn’t shock me if it wasn’t.”

Cooksey denied the incident ever took place and claimed the essay was seen by millions and cost him “future financial opportunities in the film and music industries.” Specifically, Cooksey argued that Ocean knew he was working on a movie titled Part of the Game and “destroyed his father’s reputation so that his father can never get a deal or produce his father’s movie.”

In a new document filed May 10th, Ocean denied the majority of his father’s claims, including the libel charges, Cooksey’s assertion that the events described in the post never happened and Cooksey’s claim that Ocean’s post was all part of some “diabolical plan” to ruin him. Ocean, however, did admit to publishing the essay in a phrase repeated throughout his filing: “Defendant admits he wrote the published essay. Defendant admits the essay speaks for itself.”

Elsewhere, Ocean countered his father’s suit with a handful of procedural defenses, arguing that Cooksey waited too long to file his suit and that the California district he initially filed in does not have jurisdiction over his complaint. Furthermore, Ocean claimed the statements in his post were protected from libel charges because they were both true and “statements of opinion.”

Ocean also denied responsibility for any injury or damages, arguing, “Any and all alleged events and happenings, injuries, losses or damages referred to in Plaintiff’s Complaint were directly and proximately caused and contributed to, in whole or in part, by the carelessness, negligence and willful acts acts of Plaintiff herein, and therefore the extent of loss, damages or injury sustained by Plaintiff, if any, should be reduced in proportion to the amount of negligence or fault attributable to Plaintiff.”

Cooksey did not immediately reply to a request for comment.

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See Dave Matthews, Tim Reynolds Perform Reverent New Song 'Samurai Cop'

Dave Matthews brought guitarist Tim Reynolds and a string quartet to The Late Show on Wednesday for a performance of “Samurai Cop.” “Samurai Cop” is a relatively recent entry in Matthews’ discography; he debuted it live last year during a show celebrating his group’s 25th anniversary. 

Matthews and Reynolds opened with tightly entangled patterns on guitars. The violinists joined quietly, plucking strings, before adding their own melodies. “Samurai Cop” is an understated plea for compassion and tolerance. “Let’s not forget these early days,” Matthews sang, “remember we began the same.” He pushed his voice from a growling low register all the way to piercing falsetto. 

Matthews has spoken about his strong musical connection with Reynolds. “I love playing with Tim because I think he’s the greatest guitar player I’ve ever met,” the singer told Rolling Stone in 2015. “He is so constantly spontaneous and really is so connected to what he’s doing when he plays that it almost makes no difference what I do… when I play with Tim, it’s sort of like I’m being carried. He’s a profound musical talent.”

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Hear First Single From Jakob Armstrong's New Punk Band Mt. Eddy

Jakob Armstrong has renamed his band Jakob Danger as Mt. Eddy and signed to SWMRS‘ Oakland-based label Uncool. Ahead of the June 2nd release of Mt. Eddy’s new album Chroma, hear the punchy pop-punk song “Metaphor.”

The sleek, fast-paced track shows a sharper musical attitude from the 18-year-old, whose debut EP on Burger Records in 2015 showcased his early abilities to craft catchy, angsty rock songs. A shimmering guitar-led intro leads into a crunchier, deeper sound for the rest of the song. “I don’t wanna be the one to say good night first,” Armstrong sings at the end of the chorus.

“We’ve been working on these songs for a long time now and can’t wait to share this new project with everyone,” Armstrong tells Rolling Stone. “We decided to go with ‘Metaphor’ for the first taste of new music because it was the first song we knew we definitely wanted to be on this record. The song is about the difference between what you wish will happen versus what actually happens. It’s not about the person but rather the situation that’s extremely awkward.”

Mt. Eddy also features brothers Chris and Enzo Malaspina on drums and guitar, respectively, while Kevin Judd plays bass. Armstrong’s older brother Joey plays drums in SWMRS and had previously assisted with the early releases from Jakob Danger. Aside from helping launch Mt. Eddy’s new label, the older Armstrong served as assistant engineer on the forthcoming Chroma. SWMRS and Mt. Eddy will be playing three concerts together in California in May.

Mt. Eddy’s Chroma Track List:

1. “Chroma”
2. “Wilshambe”
3. “Lovely”
4. “Working Title”
5. “Song and Fury”
6. “Metaphor”
7. “The Whale Song”
8. “Leave Me Alone”
9. “Orange”
10. “Doze Off”

Mt. Eddy Tour Dates

May 19 – San Diego, CA @ The Irenic*
May 20 – Camarillo, CA @ Rock City*
May 21 – San Luis Obispo, CA @ SLO Guild*
July 8 – Phoenix, AZ @ The Rebel Lounge
July 11 – San Antonio, TX @ Paper Tiger
July 13 – Austin, TX @ The Sidewinder
July 14 – Dallas, TX @ Three Links
July 16 – St. Louis, MO @ The Firebird
July 19 – Burnsville, MN @ The Garage

* – Dates With SWMRS

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Metallica Kick Off WorldWired U.S. Tour With Larger-Than-Life Spectacle

“Baltimore, are you aliiiive? Are you aliiiive?!?!” James Hetfield asked a stadium full of headbangers in Baltimore Wednesday night, echoing the sort of stage banter Bruce Springsteen made famous. Then he twisted it. “If you want to live forever, first you must diiiiie.” With that, Metallica kicked into “Now That We’re Dead,” an ominous new quasi-love song off their latest LP, last year’s Hardwired … to Self-Destruct, that featured a super-sized drum solo involving the band’s four members.

It was a larger-than-life moment from a larger-than-life band, one that has pulled out all stops for its WorldWired Tour, which it kicked off with this gig in Charm City’s M&T Stadium with support from Avenged Sevenfold and Volbeat. It was Metallica at their biggest: seemingly hundred-foot screens that stretch to the upper rafters of the gigantic venue, chest-rattling bass drum that approximates Lars Ulrich personally kicking you in the gut and pyro displays that include 40-foot flames that turn into fireballs and fireworks galore. The stage even has giant balloons that display the Hardwired LP’s cover. It’s been nearly 20 years since the band last toured U.S. stadiums – and it’s been nearly 10 since they did a proper North American run – so it seems they’ve spared no expense to announce their homecoming.

But despite all the bells, whistles, balloons and explosions, none of the spectacle felt bloated. This is a group that 25 years ago took the big-rock mantle left behind by Led Zeppelin and Queen years before them and shaped it in their image. It’s the sort of show they were born to do, judging from the 10s of thousands of waving fists during “Sad but True.”

The audience was with the band right from the charging opening riffs of “Hardwired” through the final ringing notes of “Enter Sandman.” Some fans even held up their cameras to take video of the scene from The Good, the Bad and the Ugly that the band plays before they go onstage. The group later reflected that good will back on the audience, with Hetfield calling the stadium a family. “We don’t give a shit where you’re from, what religion you are, what color you are,” he said early on. “The fact that you are here and celebrating live music and life together, you are part of the Metallica family.” Each step of the speech earned cheers from the crowd.

Metallica made good on that message of inclusion by stacking the set list with their hits to bring their fans together – “One,” “Master of Puppets,” “Fade to Black,” nearly half of the Black Album – all of which got roaring applause and even audience participation as the crowd sang in Greek chorus whenever Hetfield stepped back from the mic (the line “I ask no one” in “Wherever I May Roam” was particularly deafening). But what was most curious was that they also played close to half of Hardwired … to Self-Destruct: five mostly lengthy, intricate new songs. It’s a daring move for a band that put out its latest album less than six months ago, but it was a risk that paid off because the crowd was never disengaged and in multiple parts of the stadium, fans could be seen singing along to the songs. (At a dress rehearsal for fan-club members at the stadium the night before, some were even calling out for “Spit Out the Bone,” Hardwired’s epic thrash closer.)

The band members appeared to be enjoying themselves, too. Part of WorldWired’s monstrous staging includes a circular catwalk that forms a small area for fans that the band long ago dubbed the “snake pit.” Throughout the night, Hetfield, Kirk Hammett and Rob Trujillo strutted around the catwalk, and for their first-set closer, “Seek and Destroy,” they all huddled on a tiny stage at the end of the catwalk, Lars Ulrich’s drums and all, for what Hetfield told the crowd was a “reproduction of our garage.” It was a rare intimate moment for such a large show.

But in the end, it was still the sheer girth of it all that wowed fans. Each song had its own special visuals: a giant bell for “For Whom the Bell Tolls,” hands with marionette strings stretching down to Ulrich for “Master of Puppets,” Gallagher-esque smashed explosions for “Battery,” marching soldiers who are revealed to be skeletons for “One.” Coupled with the intense heat of all the pyro, it’s the sort of concert you feel as much as you witness.

When they were done, each of the band members walked around the entire length of the stage for a four-minute victory lap, fireworks still piercing the sky as they tossed hundreds of guitar picks into the audience, mugged and, in the case of Ulrich, affectionately sneered for fans’ photos. Hetfield got fans clapping, Hammett told the crowd that they “fuckin’ rule,” Trujillo got them to growl like monsters and Ulrich told them, “Metallica fucking loves you.” Even as they walked to the back of the stage, the audience was cheering for more but before the house music could come on, the band was gone, ready to do it all again in Philly two nights later. In the stadium hallway, one middle-aged man ran toward the exit shouting that it was the best show he’d ever seen in his life.

Set list:

“Hardwired”
“Atlas, Rise!”
“For Whom the Bell Tolls”
“Fuel”
“The Unforgiven”
“Now That We’re Dead”
“Moth Into Flame”
“Wherever I May Roam”
“Halo on Fire”
Guitar and bass solos, including “(Anesthesia) Pulling Teeth”
“Hit the Lights”
“Sad but True”
“One”
“Master of Puppets”
“Fade to Black”
“Seek and Destroy”

Encore:

“Battery”
“Nothing Else Matters”
“Enter Sandman”

Metallica mapped out the North American dates of their 2017 WorldWired Tour, which will hit stadiums and festival stages this summer. Watch here.

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'Buena Vista Social Club' Sequel Gets Vibrant First Trailer

Two decades after the storied music of Cuba was introduced to the world at large with the album and film Buena Vista Social Club, a sequel to the acclaimed 1999 documentary about the group will arrive this month.

Rolling Stone presents the trailer for Buena Vista Social Club: Adios, which focuses on the Cuban musicians’ history, the fruitful aftermath of the original film and the Orquesta Buena Vista Social Club’s final tour in 2016, including their historic farewell show in Havana.

Since the 1999 film’s release, many of the members of the Buena Vista Social Club – including Ibrahim Ferrer, Compay Segundo, Ruben Gonzalez and Orlando “Cachaíto” López – have died. But the sequel deftly and thoughtfully reflects on their legacy and efforts by surviving members Omara Portuondo, Manuel “Guajiro” Mirabal and Barbarito Torres to keep the group’s music alive.

“The music and the culture of Cuba are very much intertwined. So as these artists share their music, they are also sharing their incredible history. We are able to experience the last hundred years of the country’s history through their eyes,” producer Zak Kilberg said in a statement.

“Some of these musicians lived into their sixties, seventies and eighties – and nineties in Compay’s case – before finding the type of global success that they did with the Buena Vista Social Club. There is a hope and an optimism in their story that is unique and powerful.”

The Orquesta Buena Vista Social Club’s final tour also brought the group to the White House, where they performed for Barack Obama.

“For nearly two decades, this group has been a symbol of the strong bonds between the Cuban and American people. Bonds of friendship, culture and of course music,” the former president said at the time.

Buena Vista Social Club: Adios opens May 26th.

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Hear Wilco's Serene Elvis Costello Cover

Wilco released two new recordings on Wednesday as part of the Spotify Singles Series. Jeff Tweedy’s outfit chose to cut an amiable version of “(What’s So Funny ‘Bout) Peace, Love and Understanding,” written by Nick Lowe and popularized by Elvis Costello.

Costello’s version of the track opens with a blistering drum roll. Costello adds thickly smeared vocals. In contrast, Wilco smoothed out the original’s abrasive edges, toning down the percussion and keeping the bass and guitar at placid levels. 

“(What’s So Funny ‘Bout) Peace, Love, and Understanding” was written by Lowe for the 1974 album The New Favourites of … Brinsley Schwarz. Later in the decade, Lowe became Costello’s producer, and Costello’s cover of “(What’s So Funny ‘Bout)” appeared on the American version of 1979’s Armed Forces.

Another cover of the track by Curtis Stigers subsequently appeared on the soundtrack for The Bodyguard. The album  sold more than 17 million copies, according to the RIAA.

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