Daily Archives: October 9, 2017

SONiA Disappear Fear Celebrates 30th Anniversary Performing

New MexicoBALTIMORE, Oct. 9, 2017 /PRNewswire/ — On Oct. 9, 1987, Sonia Rutstein launched her band, disappear fear with the idea that if you disappear fear between people we could all come together for a better world. On Monday, Oct. 9, 2017, she celebrates 30 years bringing that idea around the wo…


Hear Noel Gallagher's Joyous New Rocker 'Holy Mountain'

Noel Gallagher‘s High Flying Birds have offered up their joyous new single “Holy Mountain,” the first single off the former Oasis guitarist’s upcoming new LP Who Built the Moon? The track features the Jam’s Paul Weller on organ.

“It was one of the first things [producer David Holmes] and I did on the first week of working together. I knew instantly that it was going to be the first single,” Gallagher said of “Holy Mountain” in a statement.

“There’s so much joy in it. Until the day I die, it will be one of my favourite pieces of music that I’ve ever written. It sounds great live. My kids love it, my friends’ kids all love it and I am sure ‘the kids’ will love it.”

Gallagher previously promised that his new album would be “a really big, bold, up-tempo beast of a record” and “Holy Mountain” delivers on all fronts as the guitarist cranks out a colorful, anthemic rocker powered by a driving riff and infectious hooks.

Gallagher will release “Holy Mountain” as a 12″ vinyl single that’s paired with an instrumental version of the song as well as “Dead In The Water (Live at RTÉ 2FM Studios, Dublin),” which Gallagher and keyboardist Mike Rowe recorded off-the-cuff during a visit to a Dublin radio station. That track also features as a bonus track on the deluxe edition of Who Built the Moon?

Who Built the Moon? arrives November 24th. Gallagher and the High Flying Birds will embark on a North American tour in support of their new album in February 2018.

Noel’s brother and adversary Liam Gallagher has not yet commented on “Holy Mountain” on Twitter.

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Beyonce and the Illuminati: Music's Most WTF Conspiracy Theories, Explained

Beyoncé is many things to many people – muse, icon, trailblazer, Sasha Fierce – but there’s one label that she may not be so quick to claim: Illuminati. The pop goddess has been dogged with rumored links to the super-secret society for years, with conspiracy theorists pointing to her and husband Jay-Z as the reigning king and queen of the centuries-old organization.

But how did the Lemonade singer come to be associated with the Illuminati in the first place? And who or what are the Illuminati anyway? And, perhaps most importantly – why does it matter if she is, in fact, a reigning member of the secret society? Good questions, not-so-easy answers.

Queen Bey’s affiliation with the Illuminati actually stems from her relationship with husband Jay-Z, who has been linked to the powerful secret society since the late 1990s. As Hova rose to success with a string of platinum albums, starting with 1996’s Reasonable Doubt and spanning In My Lifetime, Vol. 1, Vol. 2Hard Knock Life and Vol. 3Life and Times of S. Carter, conspiracy theorists began to speculate that the music mogul’s powers extended beyond mere talent and bravado; in their eyes, Jay-Z was actually a member of the Illuminati, an exclusive group made up of the intellectual and political elite, which literally runs the world.

Add to that the fact that the signature hand sign for Jay Z’s Roc Nation involves holding both palms up in a triangle formation – believed to be a nod to the triangle symbol that represents the Illuminati – and it starts to become clear how and why theorists see hints of the couple’s membership everywhere. Beyoncé’s stunning 2013 Super Bowl performance, for instance, gave conspiracy theorists whiplash when she flashed the Roc Nation hand symbol at halftime, a move theorists pointed to as evidence of her allegiance to the Illuminati.

Theorists also point to Beyoncé’s music videos, which are notoriously rife with symbolism, as hints at the singer’s double-life as the Queen of the Illuminati. Her Grammy-nominated (but notably not-winning) 2008 music video for “Single Ladies” has drawn particular interest from theorists, with some claiming that messages can be heard when the song is played in reverse.

The far reaches of the Internet even link Beyoncé’s rise to fame with R&B singer Aaliyah’s untimely 2001 death, with theorists claiming that Aaliyah was killed because she had tried to get out from under the Illuminati’s control. According to that narrative, Aaliyah was meant to be the rightful queen of the music industry, but after her death, Beyoncé stepped in to take her place.

Beyoncé and Jay-Z aren’t the only hit-makers who are suspected of being members of the elusive Illuminati either; Whitney Houston, Justin Bieber, Bono, Eminem, Nicki Minaj, Lil Wayne and Dr. Dre are among those believed to be among the chosen ones as well, using their collective powers to lead the New World Order.

But as of now, none of the theories have been confirmed, though Beyoncé has been forced to address the ever-present conspiracies in the best way she knows how: in song. Her 2016 hit “Formation” even kicks off with a line hitting back at the rumors.

“Y’all haters corny with that Illuminati mess,” she croons in the first refrain. Pretty soon, though, the hook kicks in, and fans quickly forget about the Illuminati reference, instead watching her tackle much more important issues. A convenient distraction, perhaps?

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The City of Imperial Beach Welcomes Local Rock Band P.O.D. To Play Free Concert On The Beach July 15, 2018

The Mayor of Imperial Beach, CA. Serge Dedina and hard rock band P.O.D. jointly announce the creation of Lower Left Fest – a family-friendly free all-day event with live music to be held on July 15, 2018.IMPERIAL BEACH, Calif., Oct. 9, 2017 /PRNewswire/ — Fulfilling a promise made by Wuv Bernardo, drummer for the three-time GRAMMY Award® nominated rock band P.O.D., to play a concert for the community of Imperial Beach (IB), today P.O.D. and Mayor Serge Dedina are pleased to jointly…


Liam Gallagher's Sweet Revenge

It might not have seemed like it during the champagne-and-cocaine supernova of his Brit-pop Nineties – back when a given night might find him detained by police on a ferry to Amsterdam, tossed out of Abbey Road Studios mid-session, or skipping an Oasis gig to go house-shopping – but Liam Gallagher was always thinking long-term. Or at least he was always thinking. Take his habitual onstage pose: arms clasped behind his back, every part of him immobile save for his lips. “I knew for a fact I was gonna live forever,” he says now, having made it to a lean, fiery 45.

He ran about seven miles through Central Park this morning, but he’s still pacing the carpet of a New York hotel room. He’s wearing a zipped-up blue jacket and running shorts, as if his top and bottom halves exist in different climates. “So I thought to myself, ‘When I get to about 80, there ain’t no fucking chance I’m doing fucking dance moves like Mick Jagger.’ ” He throws his hands behind him and leans forward to an imaginary microphone. “So all I have to do is just fucking stand still. Jagger’s still gotta jump up and down!”

Unlike Jagger, Gallagher doesn’t have his band anymore, and the odds of ever getting it back are not, at the moment, looking great. Oasis blinked out of existence in Paris eight years ago, after a final confrontation between Liam and his brother Noel, the band’s guitarist and songwriter. Noel’s version is that Liam threw a violent tantrum that night; Liam argues that he was provoked (“He set a few booby traps for me, and I walked right into them because I’m passionate and I wear my heart on my sleeve”), that Noel had been secretly planning to leave the band for months or years and that Noel’s accounts of an attempted assault with a guitar are false. The brothers don’t speak to each other, and Liam says that even their mother has given up on making peace between them. “My mom’s done with it,” he says, laughing a little. “She’s like, ‘I don’t fucking give a shit. I’m 70-fucking-5 now! Fuck the kids, I’ve had enough!’ She goes swimming, she does her thing. She’s not interested.”

Liam is in New York to promote his first solo album, As You Were. While Noel was, with rare exceptions, the sole songwriter in Oasis, Liam’s record is a pleasant surprise: a bracing, sometimes wistful collection of unadorned rock tunes (including the excellent single “Wall of Glass”) and a reminder that he’s always been one of rock’s great voices. He sounds more like his hero and “spiritual fucking guide,” John Lennon, than ever. “I do believe he’s here,” notes Gallagher, who stopped by Strawberry Fields for a brief communion during his exercise this morning – and found fans waiting for him there. “I do believe that he’s looking out for me.”

Gallagher is proud of his album, even though he finds performing and recording under his own name “a bit embarrassing.” Still, he gives considerable credit to his co-writers (who include Adele collaborator Greg Kurstin) and is prone to saying stuff like, “I could fucking sing fucking ‘Three Blind Mice’ and ‘Baa Baa Black Sheep’ and it would still sound like Oasis.” He used to pop off to the pub while Noel overdubbed guitar solos on Oasis’ later albums, so he appreciated Kurstin’s speed, which reminded him of the “in and out” process of his band’s first two LPs. And Gallagher isn’t shy about admitting a fact that more mercenary artists might avoid: “I would prefer to be speaking about an Oasis album than the Liam solo album,” he says. “And I know Noel Gallagher would. Because we’re better together. I’m well aware of that, and so is he.” (Noel, who has an album due with his band High Flying Birds, recently indicated to Rolling Stone that he is unready to reciprocate his brother’s sentiments: “I’ve got literally no opinion,” he said.)

In truth, Liam is just happy to be working again. He kept the Oasis momentum going for a few years with Beady Eye, a band that included all of the latter-day members save for Noel, but it fizzled out circa 2013 – around the same time that Liam’s marriage exploded in the wake of revelations about a child he’d fathered with a woman in New York. Liam was unmoored, unemployed, without any of the things that had defined his life. He drifted. He drank a lot. “There was no gig,” he says. “I felt like a shadow. …  I was lost. I’d think, ‘Fuck, how am I going to get out of this one?’ ”

Eventually, he moved to a “nice castle” in Spain, took up running and met his current girlfriend, Debbie Gwyther, who is a constant and calming presence in his life. In all, though, it was “four fucking years of hell, with divorce lawyers and fucking all that bollocks. So I’ve had four years to have a real good think about what I want in life. I’m not chasing success. I’ve got more than enough in life. I’ve got everything. I’ve got more than everything. I just want to get back to making music, you know what I mean? Singing songs, you know what I mean?”

He remains a partisan for and defender of his particular idea of rock & roll, which involves working-class perspectives, loud guitars and periodic Keith Moon–style bad behavior. “Rock & roll to me is very fucking serious,” he says, reserving a particular ire for the band for whom his brother is currently serving as an opening act:
“U2 are the shittiest rock & roll band in the world. When was the last time you got into any rock & roll antics? You’re not a rock & roll band!” He likes hip-hop (or “hip-‘op,” as he calls it), but only the old stuff – he’s averse to rappers “in skinny jeans  …  like the Kanye Wests and that designer fucking rap – I can’t have it.” And EDM? “Is that, like, dance music? Like Calvin Harris? Fuck that. Devil’s music, that is.” He’s always loved a good pop hook, though – he discovered his voice as a teenager by singing along to tunes such as Madonna’s “Like a Virgin” on the radio (“I fucking love that one!”).

Post-Oasis British rock had too many “middle-class” bands, he argues. The Gallaghers grew up working-class in Manchester, with an absent dad, and Liam’s class consciousness extends to a particular horror over the recent high-rise fire in London that killed at least 80 people, most of them poor. “A fucking block of flats has just been burned down by you, a bunch of cunts trying to save money,” he says, blaming “rich people” for putting flammable material on the building. “ ’Don’t look back in anger’ – you should be fucking angry. It’s OK to be angry, you know what I mean?”

He has calmed down a bit since his wildest days – which, he points out, started before Oasis did. “I was doing fucking pure LSD, magic mushrooms, coke, all sorts of fucking stuff before I even fucking spat in a microphone,” he says. “I’m not a fucking casualty, man. I’m not Pete Doherty. … I’ve got a bit of discipline. I’ve never done heroin, never gone really big in on cocaine. We weren’t like fucking Stevie Nicks.”

These days, he says, “I’ll have a good time, but not stupid till six in the morning. A hangover these days is like being caught by the fucking Taliban. It takes me three days to fully come out of it. So I pick my days.”

He has complicated feelings about Noel, seeming to feel genuinely betrayed by what he sees as his brother’s transformation. “That kid’s a fucking twat,” he says. “He’s a prick, he’s turned into the middle class. He’s turned into the establishment. He’s one of them. He’s all fucking, like, Mr. Prim and Proper. The way he does Oasis songs, it’s like someone sucked all the fucking life out of it because he doesn’t want people jumping up and down like the old days.” For his part, Liam is playing songs from Oasis’ catalog in his solo shows the way they were recorded – he says he didn’t even bother giving his backing bandmates any instructions, figuring they knew the records. And however estranged the two become, he clearly feels every word his brother wrote: “He’s only a vessel in all of it,” he argues. “We’re all vessels. The songs don’t really belong to him. They don’t belong to me.”

On a deeper level, he blames Noel for, in his view, abandoning him and Oasis. “He was going to pull the plug on the band,” he says. “And he knows that I found out about it, and now it’s like he wants me to just fucking vanish. As if I never even walked the Earth, you know what I mean? Well, I got news for him – I’m fucking back, mate! You think you’re going to fucking pull the plug on my band and I’m going to walk quietly? Don’t fucking think so, mate! I’ll let people know until the day I die that he threw me under the bus.”

His face is turning slightly red at this point, and he’s pacing the room again. “They tried to treat me like some kind of fucking drummer or hired hand,” he says. “I’m the fucking face of the band! I’m the voice of the band, and that goes a long fucking way.” He sighs and smiles. “No more questions about Noel. I’ll have a heart attack!”

Even during his toughest times, Liam never becamedangerously depressed. He’s baffled and shocked at the suicides of ChrisCornell and Chester Bennington, as he was by Kurt Cobain’s, long ago. “There’sgeezers fucking killing the likes of John Lennon,” he says. “Yourlife’s precious. Life is like a fucking plane, man. There will be turbulence onthe way. You gotta truly believe that you’ll reach your fucking finaldestination, and all will be fucking good.” You know what he means?

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Rolling Stone at 50: Inside Bruce Springsteen's Long History With the Magazine

In March 1973, an item appeared in the Random Notes section of Rolling Stone about John Hammond of Columbia Records. The veteran A&R man had suffered a heart attack while checking out a concert by a new act he’d just signed. “He attributed it to a heavy work schedule and weakness from a virus he picked up in Paris,” the item read. “His doctor, however, disagreed. He says it was due to Hammond’s enthusiasm at the Springsteen show.”

It was the first time Bruce Springsteen‘s name appeared in the pages of Rolling Stone, kicking off a four-decade relationship that produced 16 cover stories, more than any artist whose career began after the 1960s. The artist and the magazine grew together, as the interviews came to address everything from the majestic power of rock & roll to the fate of Vietnam veterans and the devastating impact of the Great Recession. “We’re on the same mission in terms of celebrating music and seeing it make a difference in the world, politically, socially, emotionally and spiritually,” says Rolling Stone editor and publisher Jann S. Wenner. “We’ve always shared the values of the Beatles, the Stones and Bob [Dylan], but in a way we share them almost more intensely with Bruce.”

Springsteen’s debut, Greetings From Asbury Park, N.J., hit shelves in early 1973. Rolling Stone ran a mixed (but colorful) review by the legendary critic Lester Bangs. “Old Bruce makes a point of letting us know that he’s from one of the scuzziest, most useless and plain uninteresting sections of Jersey,” Bangs wrote. “He’s been influenced a lot by the Band, his arrangements tend to take on a Van Morrison tinge every now and then, and he sort of catarrh-mumbles his ditties in a disgruntled mushmouth sorta like Robbie Robertson on Quaaludes with Dylan barfing down the back of his neck.”

The assigning editor on that record review was Jon Landau, a 26-year-old Boston-based critic who’d worked for the magazine since the very first issue. He loved Springsteen from the first time he heard “Blinded by the Light,” on Boston’s WBCN radio station, but aside from his close friend Dave Marsh (who became a Rolling Stone editor in 1975), the rest of the magazine’s San Francisco staff didn’t share Landau’s passion. Their cynicism only grew when Springsteen was featured on the covers of Time and Newsweek the same week in 1975, the culmination of a huge publicity push by Columbia. “When he landed on both Time and Newsweek’s covers, it gave some of us pause, just because we were evolving cynics,” says Ben Fong-Torres, Rolling Stone‘s music editor at the time. “I don’t think we thought of the mainstream press as serious rock critics. So we held back a bit.”

Landau was not holding anything back when he wrote about Springsteen in May 1974. After the critic saw Spring-steen play a new song called “Born to Run” at Harvard Square Theater, he penned an essay for Boston’s The Real Paper featuring a prescient and now-famous line: “I saw rock and roll future and its name is Bruce Springsteen.”

Springsteen recruited Landau, who had worked on records by the MC5 and Livingston Taylor, to co-produce Born to Run, and soon after he hired him as his manager. In 1978, they worked on Darkness on the Edge of Town, which finally got Springsteen on the cover of Rolling Stone in August that year. Marsh wrote the article, traveling with the E Street Band on a West Coast tour and staying up into the night chatting with the singer. “Even though their personalities are very different, it was like talking to Pete Townshend,” Marsh recalls. “There was a lot of theorizing about rock & roll, what it could and couldn’t do, and what it oughta do and what it not oughta do.”

Marsh also captured lighter moments, like Springsteen and the band hanging out at the Sunset Marquis as they listened to a recording of their newest song, “Paradise by the C.” “[Clarence] Clemons walks into the room with an unbelievably joyous look on his face, and when the tape ends, he takes Bruce by the arm and shouts, ‘Everybody into the pool!’ ” Marsh wrote. “The next sound is a series of splashes, and in a few moments they reappear, bathing suits dripping, and listen again, then repeat the performance. Soon, the tiny hotel bedroom is crowded with half a dozen people dripping wet and exuberant.”

Things were a little less exuberant in December 1980 when Fred Schruers was wrapping up the reporting for Springsteen’s next Rolling Stone cover story. The River tour was in Philadelphia, and the night before the show, news came down that John Lennon had been murdered. “It’s a hard night to come out and play tonight when so much has been lost,” Springsteen told the crowd. “It’s a hard thing to come out and play, but there’s just nothing else you can do.”

The emotional night, widely regarded as one of Springsteen’s greatest shows, was the climax of Schruers’ piece. “It almost shakes me up to think about it,” Schruers says today. “I have never seen somebody work themselves that hard physically, in any context. Maybe a couple of prize fights I’ve seen.”

Four years later, Springsteen released Born in the U.S.A. and transformed into a pop star whose popularity was rivaled only by the likes of Michael Jackson, Prince and Madonna. During a two-year period, he was on the cover of Rolling Stone four times. Kurt Loder wrote the first cover story during that era. “The Born in the U.S.A. tour was a physically demanding experience,” says Landau. “We kept putting it off, and then finally Bruce agreed to talk to him after a show in San Francisco. That night, I got a call from Kurt. He was totally cool, but he said, ‘Jon, there’s a problem with the interview.’ I said, ‘What is it?’ He said, ‘He fell asleep.’ ”

By 1992, Brucemania had long since subsided. Springsteen’s new albums, Human Touch and Lucky Town (released on the same day), were critical and commercial disappointments, and there was much upheaval in his life. He’d married his backup singer Patti Scialfa after his marriage to actress Julianne Phillips collapsed, and his fans were incensed over his decision to fire the E Street Band. All of this was weighing heavily on his mind when he sat down with Rolling Stone music editor James Henke – to whom he’d grown close when they traveled the world together in 1988 on Amnesty International’s Human Rights Now! tour – for a cover story. It was perhaps the most revealing interview of Springsteen’s career, touching on his painful divorce, his fading career and his decision to see a therapist.

“I realized that my central idea – which, at a young age, was attacking music with a really religious type of intensity – was OK to a point,” he said. “But there was a point where it turns in on itself. And you start to go down that dark path, and there is a distortion of even the best of things. And I reached a point where I felt my life was distorted. I love my music, and I wanted to just take it for what it was. I didn’t want to try to distort it into being my entire life. Because that’s a lie. It’s not true. It’s not your entire life. It never can be.”

Springsteen briefly touched on politics in that interview, criticizing President George H.W. Bush and praising Jesse Jackson as well as Democratic presidential candidate Jerry Brown. But it wasn’t until the 2004 battle between George W. Bush and John Kerry that Springsteen finally decided to let his audience know exactly where he stood. In an interview with Wenner, Springsteen detailed his pro-Kerry Vote for Change Tour. “It was a touchy issue for Bruce,” says Wenner. “He was reluctant to confront his audience too much or intrude on their enjoyment of the music.”

But with Bush sending young Americans off to die in two unwinnable Middle East wars, the rocker felt he had no choice. “Sitting on the sidelines would be a betrayal of the ideas I’d written about for a long time,” he said. “Not getting involved, just sort of maintaining my silence or being coy about it in some way, just wasn’t going to work this time out. I felt that it was a very clear historical moment.”

The 2004 election didn’t go the way Springsteen hadhoped, but his music remained infused with the politics of the time, bringinghim even more in line with Rolling Stone‘sworldview. His 2012 cover-story interview with Daily Show host JonStewart was just one of his recent pieces that discussed the growing crisis inglobal leadership. “There’s an alignment of sensibilities between Bruceand Rolling Stone,” says Landau.”The result is that he has a certain iconic status at Rolling Stone. It’s been very satisfying.” 

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The Moody Blues' 'Days Of Future Passed' Celebrated With 50TH Anniversary Deluxe Edition

The Moody Blues’ 'Days Of Future Passed' album will be celebrated with an expanded 50th Anniversary Deluxe Edition to be released November 17 by UMe. The deluxe 2CD/DVD and digital audio edition features the album’s newly restored original 1967 stereo mix, which makes its CD debut here. The Moody Blues are nominated for Rock and Roll Hall of Fame induction in 2018.LOS ANGELES, Oct. 9, 2017 /PRNewswire/ — The Moody Blues’ Days Of Future Passed will be celebrated with an expanded 50th Anniversary Deluxe Edition to be released November 17 by UMe. The deluxe 2CD/DVD and digital audio edition features the album’s newly restored original 1967 stereo…


China-Based Experimental Rock Soloist HUMANS ETCETERA To Dispatch Intelligent Skeleton

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A Poison Alibi Releases New Song "Chapter 2"

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Career Moves: Live Nation, Warner Music, Capitol Music, Atlantic Records & Allihoopa

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