Daily Archives: June 19, 2017

SXSW Backs Austin Lawsuit Against Texas' Anti-Immigration Bill

The organizers of the South by Southwest Festival have issued a statement in support of a lawsuit the city of Austin filed against the state of Texas protesting Senate Bill 4, which would ban “sanctuary cities” in the state.

In a statement that questions the “constitutionality” of the controversial bill, SXSW CEO Roland Swenson said, “We are concerned that SB4 will substantially limit the participation of U.S. citizens and foreign nationals in SXSW and limit the diversity and quality of the event. This decrease in participation will also diminish our substantial economic contribution to the City of Austin and the State of Texas.”

Earlier this month, Democratic Senators Robert Menendez of New Jersey and Catherine Cortez Masto of Nevada asked SXSW organizers to move the festival out of Austin until the anti-immigration bill is repealed. However, Swanson stated that SXSW would remain in Austin and “continue to make our event inclusive while fighting for the rights of all.”

In Monday’s statement, Swenson reiterated that stance, Pitchfork reports. “SXSW was born in Austin. The event is steeped in the city and the city is our home. We stand behind the City and Mayor Adler, and we intend to stay and fight discriminatory legislation that hinders civil rights, while continuing to work to make our events inclusive and safe for all who attend,” Swenson said.

In addition to Austin, Texas cities San Antonio and Dallas have also filed lawsuits challenging SB4, which Governor Greg Abbott signed into law in May. The bill is scheduled to go into effect September 1st.

The 2017 SXSW Festival faced criticism this year for language in its performance agreement that appeared anti-immigrant. Following the outcry, organizers softened that language and promised to lessen the threat of deportation against international artists performing unsanctioned shows in SXSW’s 2018 performance agreement.

“In this political climate, especially as it relates to immigration, we recognize the heightened importance of standing together against injustice,” organizers said in March.

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Electric Daisy Carnival: One Dead, Over 1,000 Seek Medical Attention

One person died and over 1,000 people sought medical attention during this weekend’s Electric Daisy Carnival EDM festival, which drew a reported 136,000 attendees each day of the three-day Las Vegas festival.

A 34-year-old man named Michael Morse died early Saturday morning at the Las Vegas Motor Speedway, the Clark County coroner’s office told the Las Vegas Sun. The cause of death in Morse’s death is still pending.

“While the exact cause of this tragedy is still unknown, we do know that family and friends are grieving. It is with great sadness that we send our thoughts and condolences to the loved ones of the man who passed away after the festival had ended,” Insomniac spokesperson Terri Maruca tells Rolling Stone

Morse is the seventh person to die at the Electric Daisy Carnival since the festival arrived in Las Vegas in 2011, with the majority of the deaths overdose-related.

Over 1,000 people also sought medical attention on site over the course of the festival, the Associated Press reports. Fifteen attendees – and one employee with a pre-existing condition – were taken to the hospital.

As the Las Vegas Review-Journal notes, on the first night of EDC alone, medical calls increased 129 percent compared to the same night at the 2016 festival. However, it’s likely the triple-digit temperatures in Las Vegas during the festival played a role in the increase in medical calls.

Las Vegas police also made 95 felony arrests over the course of EDC weekend, with most offenses narcotics-related; at the 2016 festival, 129 arrests were made. Additionally, over 282 people were ejected from the festival and one person was “sabotaged.”

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DJ Khaled Claims He Was 'Sabotaged' After Disastrous EDC Set

DJ Khaled was clear that he wasn’t the cause of his fraught Electric Daisy Carnival set in Las Vegas last weekend. The rapper/producer, who was scheduled for an hour-long set, performed for less than 20 minutes before fans booed him off the stage, chanting for Yellow Claw, the next DJ, to take over.

“Due to technical difficulties beyond DJ Khaled and Insomniac’s control, Khaled was not able to perform at his scheduled time on Sunday night at EDC,” Insomniac CEO Pasquale Rotella said to Rolling Stone. “He arrived on time and ready to rock the crowd, but equipment issues delayed the performance. Even though there were technical difficulties, he still got onstage and showed his fans love.” 

On Instagram, Khaled reiterated that his EDC set was compromised by technical issues. “They cut my time short and they had me backstage for a hour and half and the sound kept breaking,” he captioned a video clip. “Then I heard my fans and I said I’m go out even if the sound cuts off and even if they cut my time short … I’m here for my fans even if the sound man and promoter don’t have there stuff together I forgive them thoe love is the [key.]”

“They tried to sabotage my sound,” Khaled said in another post. “I still stood on stage wit no sound, and when they got the sound to work they want cut my set short … I still rep for my people,” he continued. “Anyone else would walk off stage.”The rapper continued his rant in a second post to Instagram, claiming that he was “sabotaged.”

In the second clip, Khaled tries to make up for the technical difficulties during his time onstage by playing 2Pac’s classic “California Love.” “They want to cut my shit … but this is California,” he says in the video. Las Vegas is, in fact, located in Nevada, as several fans were quick to point out.

Earlier this year, Khaled also caught flack for a subpar performance at the Coachella Music and Arts Festival, where his sound was similarly cut off when he went over his scheduled time by several minutes.

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Hear Haim's Dizzying New Song 'Little of Your Love'

Haim released the new song, “Little of Your Love,” from their upcoming second LP, Something to Tell You.

The track showcases the trio’s deft ability to combine classic pop hooks with complex production and arrangements. Guitarist Danielle Haim croons romantic lyrics over a shapeshifting groove layered with chiming piano, twangy guitar fills, arena-worthy tom-tom flourishes, gurgling electronics and a climactic wah-wah solo.

The Haim sisters recently told Rolling Stone they wrote “Little of Your Love” as a “homework assignment,” submitting it for the Amy Schumer movie Trainwreck. The challenge of working on a strict timeline focused the trio – and even though the song didn’t make the final cut, that process catalyzed their long-awaited second LP, which follows 2013’s Days Are Gone.  

“Suddenly, there wasn’t this daunting, abstract, second-record weight hanging over us,” said Alana Haim. “It was, ‘You have a week.’ … We got back to just ‘write how you’re feeling.’ After that, we wrote hundreds of songs. It was like vomit.”

“Little of Your Love” is the third track Haim released from their new LP, out July 7th. The band previously issued debut single “Want You Back” and “Right Now,” the latter featuring a video from acclaimed filmmaker Paul Thomas Anderson.

Haim will perform Sunday, June 25th at the Glastonbury Festival, and they’ll follow Thursday, June 29th with a Tonight Show guest spot. 

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Taylor Grey's Debut Album 'Space Case' Has Finally Arrived

GOT PR Agency on Behalf of Taylor Grey ProductionsLOS ANGELES, June 19, 2017 /PRNewswire/ — Rising pop sensation Taylor Grey has released her highly anticipated debut album Space Case. The album is executive produced by the award-winning Josh Abraham (Justin Bieber, Pink, Kelly Clarkson, etc.) and produced by Nico Stadi, among others. It…


Lynyrd Skynyrd Sue Former Drummer Over Biopic Plans

Lynyrd Skynyrd are suing their former drummer Artimus Pyle over his plans to make a biopic based on the Southern rockers and their deadly 1977 plane crash.

Guitarist Gary Rossington, Ronnie Van Zant’s brother and lead singer Johnny Van Zant and the estates of other Skynyrd members killed in the crash were among those who filed the lawsuit against Pyle and co-producer Cleopatra Records Friday in Manhattan.

When Pyle announced plans to turn his life story into a biopic, he acknowledged that Lynyrd Skynyrd had not authorized the film, preventing the movie from incorporating the band’s music. The film was initially titled Free Bird, but a cease-and-desist notice forced a name change to Street Survivors: The True Story of the Lynyrd Skynyrd Plane Crash.

In the lawsuit, obtained by Rolling Stone, Lynyrd Skynyrd argued that Pyle “is free to exploit his own personal life story” for the film, but the biopic is in danger of violating “a 1988 consent order” that members – Pyle included – agreed to concerning control of the Lynyrd Skynyrd copyright.

The consent order states, “No such exploitation of life story rights is authorized which purports to be a history of the ‘Lynyrd Skynyrd’ band, as opposed to the life story of the applicable individual.”

The lawsuit also alleges that Street Survivors “may contain a potentially inaccurate or skewed portrayal of Lynyrd Skynyrd’s story as filtered solely through the eyes of Pyle masquerading as the ‘True Story’ of a defining moment in the band’s history.”

Street Survivors: The True Story of the Lynyrd Skynyrd Plane Crash is reportedly in production now. A July 11th court date has been scheduled for the lawsuit.

Pyle “abruptly” left Lynyrd Skynyrd following an August 1991 concert and was officially terminated from the band soon after. Initial attempts to reach Pyle were unsuccessful.

The lawsuit notes that, since his departure, Pyle has had “numerous run-ins with the law,” including pleading guilty “to charges of attempted capital sexual battery and to lewdly fondling, assaulting or simulating sexual acts on two female children, ages 4 and 8.”

“We want this to be a good movie that tells a very passionate, intimate story about the music and the band and a rise and fall that happened so suddenly,” Pyle, who survived the 1977 plane crash, said last year. “I want the movie to portray my band members the way they were: real, funny people who loved the music, loved the success that allowed us to be able to travel the world and play for kings and queens all over this planet.”

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Taylor Grey's Debut Album "Space Case" in Stores Now

Taylor Grey Space Case ArtworkLOS ANGELES, June 19, 2017 /PRNewswire/ — Rising pop sensation Taylor Grey has released her highly anticipated debut album Space Case. The album is executive produced by the award winning, Josh Abraham (Justin Bieber, P!nk, Kelly Clarkson, etc.) and produced by Nico Stadi, among others….


Radiohead Stage Collapse: Mistrial Declared, New Trial Ordered

A new trial has been ordered against Live Nation and others charged in Radiohead‘s 2012 stage collapse in Toronto, which killed the band’s drum technician Scott Johnson. Prosecutors confirmed to Pitchfork that a mistrial was declared after the presiding judge, Justice Shaun Nakatsuru, was appointed to the Ontario Superior Court last year, effectively negating his jurisdiction.

This postponement could jeopardize the entire case due to the Canadian Supreme Court’s new trial time restrictions established last year. As Toronto Star reports, provincial court cases must now go to trial within 18 months, and Superior Court cases within 30 months.

The fatal concert took place in June 2012 at Toronto’s Downsview Park. Prior to Radiohead’s performance, a piece of the outdoor structure fell down, crushing and killing Johnson, 33, and hurting three other workers.

Shortly after the deadly collapse, the Ontario Ministry of Labour began an investigation of concert promoter Live Nation Canada. In 2013, the Ministry brought charges against Live Nation, scaffolding company Optex Staging and Services and engineer Domenic Cugliari under the province’s Occupational Health and Safety Act.

Last October, Justice Nakatsuru denied Live Nation’s request to throw out charges on unreasonable trial delays. A defense lawyer is reportedly planning to submit a similar request, and prosecutor David McCaskill told Pitchfork that a hearing on the delay motion is scheduled for late August.

In 2013, Live Nation issued a statement refuting the charges and emphasizing the company would “vigorously defend” itself. “We absolutely maintain that Live Nation and our employees did everything possible to ensure the safety of anyone who was on or near the stage involved in the tragic incident that led to the unfortunate death of Mr. Scott Johnson,” the statement read.

Radiohead canceled part of its 2012 European tour following Johnson’s death. In July, at their first rescheduled show following the incident, the band honored the drum tech with a poignant version of In Rainbows track “Reckoner,” as images of Johnson flashed behind on a screen. 

The band also dedicated their most recent LP, 2016’s A Moon Shaped Pool, in Johnson’s memory. 

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How Pop-Punk Survivors All Time Low Finally Grew Up

In 2007, the four members of All Time Low hadn’t even hit the legal drinking age when a couple of boyishly goofy songs about girls began to push them beyond their local scene. Signed to the taste-making indie label Hopeless Records, the Maryland quartet released their scrappy but hopeful sophomore album So Wrong, It’s Right, and suddenly pop-punk had a new band of skinny-jeans-wearing heroes with frosted, side-swept hair.

A decade later, the band sits around a table in Williamsburg, Brooklyn, settling in for a late-afternoon round of bowling at the dive-y Gutter. Clutching beers and fresh off a day of press for their new and seventh album Last Young Renegade, the group of longtime friends – singer Alex Gaskarth, guitarist Jack Barakat, bassist Zack Merrick and drummer Rian Dawson – talk over each other with polite excitement and the type of easy comfort that comes with having been performing and writing with one another for nearly 15 years straight.

“It’s kind of crazy how adult we’ve become,” Barakat reflects. Between tours, the members have each found time to move away from the suburb of Towson, Maryland, where they grew up; currently, the four are spread between Hawaii, Los Angeles and Baltimore. With brief brushes of tabloid fame behind them – Barakat was most famously linked to Playmate Holly Madison and actress Abigail Breslin – the rockers are beginning to settle down. Gaskarth married his longtime girlfriend Lisa Ruocco last spring, while Dawson proposed to country singer Cassadee Pope earlier this year.

Even as they approach 30 and launch new families of their own, the experience of spending their twenties in the limelight makes the band feel as if they’re stuck in a “maturity purgatory,” as Barakat describes it.

“You’re thrown into situations at a young age that people that age usually aren’t exposed to,” Gaskarth explains. “So on that hand, it kind of matures you, sometimes before you’re ready for it. At the same time, as you get older, there’s less expectation for you to act mature. So you get stuck in this limbo between growing up and not having the same kinds of responsibilities as people who don’t live life on the road.”

All Time Low’s maturity purgatory comes with some perks: They can release their most “serious” album yet and still relish every minute of pre-release anticipation. Bowling against one another allows them to indulge in a bit of the harmless chaos that made them stand out in the first place. They pose obscenely, rib each other lovingly, and even though they’re keeping tabs on the scores, they prioritize having a good time over actually winning (though, for the record, Merrick, the band’s quiet jock, racks up the night’s highest score).

When it comes to sales, too, numbers aren’t everything to the band. Though, for the record, their previous album – 2015’s Future Hearts – debuted at a career-high Number Two, while Last Young Renegade marked their fifth Top 10 debut, a hot streak for any artist.

“The chart stuff is great, but we don’t rest everything on it,” Dawson says. “We care more about the career span, so to think about one day as a make-or-break, or anything like that, would be silly for us.”

“But I still think about it every day,” Barakat jokes.

“We’re not gonna be the people at the Oscars that are like, ‘Oh, no, we don’t care about these awards at all,'” Dawson adds.

“Oh, we want those awards,” Barakat chimes in again.

“We’ll take an Oscar,” says Gaskarth as the group erupts in laughter.

“An Oscar … can we?” Barakat offers innocently.

In the mid-aughts, All Time Low were part of a boom of young pop-punk bands becoming boy-band-level icons for even younger listeners in search of equal parts angst and irreverence following the success of Fall Out Boy. With So Wrong, ATL provided exactly that: Two of the most popular songs from the album are a tune about a stripper (“Dear Maria, Count Me In”) and a moving breakup power ballad (“Remembering Sunday”).

Onstage, the band was rambunctious, mimicking the lovable immaturity of their heroes Blink-182 by making dick jokes, climbing up to theater balconies and displaying bras on their microphone stands. Their combination of confidence and cluelessness made them both awe-inspiring and relatable to the even younger kids moshing in the pit. At first, the naughty banter was a defense mechanism for a young band that feared an empty room as much as they did a sold-out one.

“When there’s 25 people at a VFW hall and only three of them are there because they like you and the sound is terrible and the songs aren’t that great, you have to figure out ways to get people to look you up later on MySpace or PureVolume,” Gaskarth says of their early stage style. As crowds grew and they began to expand outside of the United States, the naughty-joke mentality aided them more than ever when they would play in front of “30,000 Rammstein fans” at European festivals. “It’s like, ‘OK, what can we do besides play our show that will maybe have these guys be like, “This band isn’t that bad”?'” Dawson continues.

In the time since that magical pop-punk renaissance from which All Time Low emerged, most of their contemporaries have broken up, reconfigured or moved on entirely. All Time Low, on the other hand, have only gotten bigger.

As the band gets older, their fans remain the same age, with hordes of teenagers filling out theaters around the world. New rock overall has become increasingly less prevalent on radio and the charts, though young pop-punk acts still generate buzz and cult followings. Many of the new generation of young, spunky rock acts – such as 5 Seconds of Summer, SWMRS and Waterparks – cite All Time Low as their biggest influence.

“I’m not just saying this to sound nice, but we’re never going to get used to people saying they started a band because of us,” Dawson says. “Whether it’s a high school kid or a 30-year-old saying Jack inspired them to play guitar or whatever it is, it doesn’t quite feel real.”

“You know that never happened, Rian, but thank you for making me feel good,” Barakat jokes.

For Last Young Renegade, All Time Low have settled into their version of adulthood. Off Hopeless again, they’ve joined Fueled by Ramen, a label with a roster that resembles an Avengers-style lineup of mid-2000s rock mainstays who can still fill arenas and top the charts, like Paramore and Panic! At the Disco. Much like those two bands, ATL have found a way to broaden their sound without jeopardizing what has made them so appealing to young listeners for more than a decade. A bit darker than their past work, the quartet’s seventh LP sounds like one of their most carefully curated statements yet. Gaskarth’s writing and singing are at the sharpest of his career, and the songs overflow with big pop hooks. His personal improvement is a product of years of heavy touring and and a tight album-release schedule, with the band having issued new LPs every other year since 2005.

“We kind of know what we’re doing now,” the singer says with a laugh. Recalling the sessions for So Wrong, Gaskarth notes how songs often arose out of random moments and spurts of inspiration. Matt Squire, who produced So Wrong, would refuse to let the singer back into the studio until he had lyrics to go with the sketchy instrumental arrangements that would come out of their spur-of-the-moment sessions. Now, the band has more focus and vision than ever before.

“It would be unfair to ourselves and unfair to our fans to not push ourselves to try and change and do things that people wouldn’t expect and haven’t heard before,” Gaskarth continues. “Sometimes the easy road is to keep repeating the pattern.”

Touring with bands like Green Day and Thirty Seconds to Mars inspired All Time Low to pursue more of an atmosphere they can reflect in a live show. For the mood of Last Young Renegade, they looked back to move forward: Instead of reverting to the youthful, party-centric vibe of their early releases, the band reflected on their lives and careers as well as the road they took to get to this point. The concept of nostalgia weighed heavily on the band while writing their new material. Gaskarth dug even deeper into his history and cites pre-band childhood memories – watching Ghostbusters and John Hughes movies, for example – as just some of the early moments from his life he used as inspiration.

“A lot of it became about that vintage feel of [my childhood],” he notes. “I thought that would be a cool way to present that emotion musically and sonically, so what we ended up doing was go back and find these analog synths and weird pedals that we dug out of strange equipment rental spaces.”

A year of major musical losses also served as inspiration. The band went back to listening to Prince, David Bowie and George Michael and studied the sounds and qualities that made those artists such icons both in and beyond their time. “We’d key in on a sound or a pad and just a tone and try to take that and pop it in [one of our songs] and see what happened,” Gaskarth explains. “It ended up transforming all the songs into what we ended up with on the record.”

All four members of the band knew that fans would likely be shocked when they heard new singles like the sobering “Dirty Laundry.” All Time Low came of age when social media was still nascent, and have been quicker to adapt to the changing ways musicians can interact with their fans than most artists who weren’t necessarily raised on the Internet. So when the song was released, they kept a close watch over the online response.

“I remember seeing a comment that was along the lines of, ‘Ah, I’m not sure if I like the song, but that last chorus is great,'” Gaskarth recalls. “In my head I was like, ‘That’s the part that feels familiar.’ When it gets big and goes loud, that’s what feels like All Time Low from 10 years ago. That was safe.”

Gaskarth has continued to keep tabs on what fans write about them on Twitter and other platforms and claims that the same person tweeted him a few days later to say that the song had grown on them.

“I’ve been like that with bands, though,” Barakat admits. “Even with the new Paramore, at first I was like, ‘Ah, I don’t get this.’ Then a couple listens in, I’m like, ‘Alright, this is fucking catchy.’ It sometimes just takes a second to comprehend.”

Dawson cites his initial disdain for Green Day’s slowed-down Warning, and all recall being taken aback by Blink-182’s contemplative self-titled 2003 LP, each being thrown off by their favorite pop-punk legends easing into adulthood without a fight. Eventually, all have come around to those two albums with time.

“It’s really important to have those moments where you kind of take the fan base and shake it.” –Alex Gaskarth

“I think the biggest thing when talking about Last Young Renegade is that we wanted to present something fresh,” Gaskarth returns. “I don’t want this band to stop, and I think if we went the safe road and kept making album one and album two over again, it would peter out. It’s really important to have those moments where you kind of take the fan base and shake it.”

Appropriately, All Time Low found camaraderie with a similarly cult-favorite band that has taken huge creative risks in recent years. Tegan and Sara are Last Young Renegade‘s sole guest stars, appearing on the synth-y, atmospheric “Ground Control.” The track is one of the more blatantly Eighties-inspired moments on the album, a reflection of Tegan and Sara’s own foray into big-hook synth-pop with 2013’s Heartthrob. Both acts felt a mutual admiration, and their collaboration yielded a delicate, melodic feel unlike anything All Time Low had pursued before.

“It’s nice because that chorus is all three of us singing,” Gaskarth says of his harmony with Tegan and Sara. “We’ve never done anything like that as a band, so it was fun.”

“Ground Control” is Last Young Renegade‘s penultimate track, followed immediately by what the band describes as their “best impression of Phil Collins,” the slow-burning “Afterglow.” Instead of building toward familiarity, like on “Dirty Laundry,” here the band strips away any trace of the uptempo pop-punk that made them famous.

“It leaves you with that cliffhanger of ‘Well, what’s the next movie going to be like?'” Gaskarth says of “Afterglow,” claiming it as one of the band’s most John Hughes–ian moments. “You wanna end on him with a boom box over his head. Or they’re all walking down the hall, and he throws his fist in the air.”

The band takes a moment to riff on this idea, and suddenly a character named Johnny is walking down the hallway of a school in a made-up film before a final-scene freeze frame. Barakat, in his best movie-trailer-voiceover impression, closes out their goofy, brief interlude:

And Johnny was never seen again. …

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White Stripes Demos Set for 'Icky Thump' 10th Anniversary Reissue

Jack White‘s Third Man Records will celebrate the 10th anniversary of the White StripesIcky Thump with a vinyl-only reissue complete with unreleased demos, B-sides and other ephemera from the 2007 LP, the duo’s final album together.

Released as part of Third Man’s Vault Packages, the album itself will be pressed onto color vinyl for the first time along with an alternate jacket and new sticker art. The reissue, remastered from the original one-inch analog tapes, will be the first Vault title manufactured from White’s new Third Man Pressing factory in Detroit.

Two more LPs accompany Icky Thump X: The first is a collection of the non-album B-sides from the era, including a live cover of Hank Williams’ “Tennessee Border,” alternate versions of two Icky Thump tracks and five tracks the White Stripes recorded at a Beck-produced session.

The other record houses The Red Demos, featuring early “workshop” versions of 10 of Icky Thump‘s songs that the band laid down prior to recording the album. The Red Demos also boasts the unreleased instrumental “Monkeys Have It Easy”:

The Vault package also comes with a photobook featuring unseen Polaroids from the era, as well as an 8×10″ mystery print, a “‘Rag and Bone’ enamel pin set” and more.

Fans must subscribe to the Third Man Vault by July 31st to receive the Icky Thump X package.

Icky Thump X Track List

1. “Icky Thump”
2. “You Don’t Know What Love is (You Just Do as You’re Told)”
3. “300 M.P.H. Torrential Outpour Blues”
4. “Conquest”
5. “Bone Broke”
6. “Prickly Thorn, But Sweetly Worn”
7. “St. Andrew (This Battle is in the Air)”
8. “Little Cream Soda”
9. “Rag and Bone”
10. “I’m Slowly Turning Into You”
11. “A Martyr for My Love for You”
12. “Catch Hell Blues”
13. “Effect and Cause”

Icky Thump B-Sides LP:
1. “Tennessee Border” (originally by Hank Williams)
2. “Baby Brother” (originally by Bill Carter and the Rovin Gamblers)
3. “You Don’t Know What Love Is (You Just Do As You’re Told) (frat rock version)”
4. “A Martyr For My Love For You (acoustic version)”
5. “It’s My Fault For Being Famous”
6. “Cash Grab Complications On The Matter”
7. “Honey, We Can’t Afford To Look This Cheap”
8. “Conquest (acoustic mariachi version)”
9. “Conquista (Spanish language version)”

The Red Demos:
1. “You Don’t Know What Love Is (You Just Do As You’re Told)”
2. “A Martyr For My Love For You”
3. “Rag and Bone”
4. “Catch Hell Blues”
5. “Little Cream Soda”
6. “Prickly Thorn, But Sweetly Worn”
7. “Monkeys Have It Easy”
8. “Bone Broke”
9. “Icky Thump”
10. “Conquest”
11. “300 MPH Torrential Outpour Blues”

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