Electronic rocker and self-proclaimed “King of Negativity” Justin Symbol whose debut album “V Ω I D H E A D” made quite the commotion, since his appearance in the alternative club scene. Has gained himself and …
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Neil Young played a surprise show at Charley’s Restaurant and Saloon in Maui with his new backing band Promise of the Real earlier this week. The set focused on their upcoming album The Monsanto Years, but it also featured lesser-known Young tunes like “Country Home,” “Goin’ Back,” “Walk On” and “Love and Only Love.” They’re hitting the road for a North American amphitheater tour in July.
Now we have a question for you: What is your favorite Neil Young deep cut? Basically, we’re going to count anything not in rotation on Classic Rock radio. That eliminates big hits like “Heart of Gold” and “Rockin’ in the Free World” along with tunes like “The Loner,” “Like a Hurricane” and “Tonight’s the Night.” That still leaves about 95 percent of his catalog. Feel free to vote for a Buffalo Springfield tune like “Flying on the Ground Is Wrong,” a 1970s gem like “Ambulance Blues” and “Sedan Delivery” or something more recent like “Goin’ Home” or “Be the Rain.” Pick whatever Neil Young deep cut you want, but please only vote once and only for a single selection.
DETROIT, May 29, 2015 /PRNewswire/ — Musical artist MIKAL releases his new single and studio/lyric video for “The 4 A.M. Wake Up Call”, an upbeat, feel-good modern indie rock song previously only heard at MIKAL’s live shows. “4 A.M.” details a late night drunken phone call to your…
The only thing that sold out faster than tickets to the Grateful Dead‘s three farewell shows in Chicago were the city’s available hotel rooms for the July 4th weekend. Thankfully, Airbnb has helped alleviate the lack of lodging for Deadheads by teaming with Dead drummer Bill Kreutzmann for a contest where one Airbnb lodger and their guest can win VIP tickets to the Fare Thee Well gigs.
“Wherever the Grateful Dead went – be it Chicago, New York, Detroit, or any other typical city involved in a typical daydream – we were surrounded by Deadheads,” Kreutzmann said in a statement. “Not just fans; real community. Local Deadheads would host traveling Deadheads, and as the tour continued onward, the hosts would become the visitors. I get a little bit of that now, myself, as both an Airbnb host and as a frequent traveler.”
The contest is running now through June 18th at Airbnb.com/dead50, where entrants are asked to explain why they – in 150 words are less – should have the honor of witnessing the Dead’s final shows as Kreutzmann’s guest. Three more winning entries will receive passes to all three Fare Thee Well shows.
“I love seeing that tradition continue, both within and beyond the Deadhead community, and I love seeing it extend out to the world community,” Kreutzmann added. “So of course I feel a kinship with all the other Airbnb hosts who are traveling to Chicago for Fare Thee Well or who call it their home. It’s just another manifestation of the true spirit of the Grateful Dead.”
In addition to the Chicago shows, the Grateful Dead will also head to their native Bay Area for a pair of farewell gigs at Santa Clara, California’s Levi’s Stadium on June 27th and 28th. For Deadheads who can’t make the long strange journey to there or the Windy City, there’s always pay-per-view.
Pete Townshend was honored Thursday night during the 11th annual MusiCares MAP Fund benefit concert in New York, where he received the Stevie Ray Vaughan award from fellow rock legend Bruce Springsteen. The evening was filled with musical tributes to the Who, including appearances from Joan Jett, Billy Idol and Willie Nile. Springsteen joined the band for a rousing take on “My Generation,” and most of the lineup united for “Won’t Get Fooled Again.” Other highlights included Jett’s powerhouse versions of “Summertime Blues” and “I Can’t Explain” and Idol’s punk-inflected takes on “Who Are You” and “The Real Me.”
Springsteen saluted the Who mastermind in his funny, heartfelt speech, emphasizing Townshend’s influence on his own music. The rocker recalled seeing the Who open for Herman’s Hermits in the late 1960s and, as a 16-year-old, emulating the band by bashing a vase of flowers after an early show. “Pete managed to take the dirty business of rock & roll and somehow make it spiritual and turn it into a quest,” Springsteen said. “Pete, I’m here to say, thanks for not just Who’s Next and Who Are You, but who I am.”
Bruce Springsteen’s Tribute to Pete Townshend at MusiCares MAP Fund Benefit
Thank you. Pete’s receiving the Stevie Ray Vaughan Award this year for his dedication to helping others who struggle with drug and alcohol addiction, for his work with the Who and his Double ‘O’ charity, Pete’s got a long history of working hard and raising spirits and money for worthy causes. Here’s just a few: In 1986, Double ‘O’ promotions put on a Colombian Volcano relief concert. In 1989, the Who reconvened for an anniversary tour, generated over $8 million for children’s charities throughout the U.K. and the U.S.A. In the past years, the Who have helped the Teenage Cancer Trust raise close to 3 million pounds to provide cancer wards and screening units.
There are plans on this tour to raise funds for charities as various as the Teenage Cancer Trust, the Michael J. Fox Foundation, the Andre Agassi Charitable Foundation for Underprivileged Children, the Robin Hood Foundation which funds and supports innovative poverty-fighting organizations in New York City. I could go on and tell you much more about what Pete and the Who have done for others, but I think I’ll tell you a little bit about what Pete’s done for me.
I wouldn’t be windmilling a Fender Telecaster if it weren’t for Pete Townshend. It’s the summer of ’66 or ’67, I’m not sure which one, but it was the first American tour that the Who were on. And I’m in a long line snaking out of Convention Hall down the boardwalk and the billboard read, in big type, Herman’s Hermits [laughter], then The Who [laughter].
I was a young, pimply-faced teenager who managed to scrap enough together to go see my first rock concert ever. Pete and the Who were young pimply-faced teenagers with a record contract, a tour and a rude, aggressive magic. They were on this tour, of all things, opening for Herman’s Hermits [laughter]. There was no justice. So, I scrambled to my seat, which seemed like the cavernous Convention Hall and I waited for the rumble to start.
The first band out, I think was a band called the Blues Magoos. They were at a New York City, uh, yeah,… There are a few folks who remember the Blues Magoos out there? [cheers] I don’t believe you [laughter]. But they had a great song, “We Ain’t Got Nothing Yet,” and they came out and they had these electric suits and when all the lights went out in the hall, the electric suits lit up and, it was high-level special effects for the time. But then the Who came out. I think they played for probably no more than 30 minutes, and before Pete and a cloud of smoke demolished his guitar, bashing it over and over into the floor.
And his amplifier… Now the audience was filled with a significant number of teenyboppers who were waiting for “Mrs. Brown, You’ve Got a Lovely Daughter.” So they sat there with their mouths agape, and they were wondering, like, of course, who are you? Who are these guys? What are they doing? Why are they doing it? And all I knew was, for some reason, this music and the demolishing of these perfectly fine instruments filled me with incredible joy. There was something wonderful about the wanton destruction of good commercial property [laughter].
It was the joy and giddiness of the riot that the Who managed somehow to safely attain; semi-safely attain. But all I knew is that it made me happy and it thrilled and inspired me. Inspired me to a degree where I was in a young band called the Castiles. I was about 16 years old.
We had a gig the next weekend at Saint Rose of Lima Catholic School in the basement for the CYO dance [laughter]. So I went out and I bought a smoke bomb and I bought a strobe light and I brought them over to the gig. And as the night neared its end — not being able to smash my guitar — It was the only one I had, you know. At the end of the night, I lit the smoke bomb in the Catholic school basement. I turned on the strobe light and I climbed on top of my Danelectro amplifier holding a vase of flowers that I had stolen from one of the upstairs classrooms [laughter].
And with this huge flourish, melodramatically, I raised the vase of flowers as the flickering, blinding strobe lit me with the smoke all around me, and as the nuns looked on in horror, I reached up and smashed them onto the dance floor [laughter]. And then I jumped off the amp and I stomped all over the petunias, putting them into an early death. Of course, I looked ridiculous and like I lost my mind. The vase of flowers simply failed to have the grandeur of the newly minted Telecaster being smashed to splinters. But, we worked with what we had so… I went home smiling, feeling like a blood bond with Pete Townshend, and I never looked back.
As I grew older, the Who’s music seemed to grow with me. The sexual frustration, the politics, identity. These things coursed through my veins with every concurring Who album. I always found myself there somewhere in their music. “The Seeker”; the seeker is the guy in “Born to Run.” There’d be no “Down in jungle,” ba da ba, “land,” without Pete’s slashing bloody attack on his instrument. Pete is the greatest rhythm guitarist of all time [cheers]. He plays such incredible rhythm and he showed you don’t have to play any lead. It’s an amazing thing to behold, really. Pete managed to take the dirty business of rock & roll and somehow make it spiritual and turn it into a quest.
He may hate this, but he identified the place where it was noble and he wasn’t afraid to go there. I took a lot of that with me as the years passed by. So Pete, I’m here to say, congratulations, well deserved, and thanks for not just Who’s Next, and for Who Are You, but for who I am [applause]. Congratulations Pete.
Video courtesy of Mitch Slater
ORLANDO, Flórida, 29 de maio de 2015 /PRNewswire/ — O superstar internacional Pitbull encontrou sua cópia em Orlando, ao ser exposta sua nova figura de cera no Madame Tussauds Orlando na sexta-feira, 29 de maio, na nova localidade do museu na International Drive.
ORLANDO, Fla., May 29, 2015 /PRNewswire/ — International superstar Pitbull met his match in Orlando, when he unveiled his new wax figure for Madame Tussauds Orlando on Friday, May 29 at the attraction’s new International Drive location.
Pitbull met with Madame Tussauds artists in…
ORLANDO, Florida, 29 de mayo de 2015 /PRNewswire/ — La superestrella internacional Pitbull encontró a su doble en Orlando, al revelar su nueva figura de cera para el museo Madame Tussauds Orlando el viernes 29 de mayo en la nueva ubicación de la atracción en International…
Hunter Hayes will be the first to tell you that he has been lucky enough to get to meet and play with some of his musical influences, including Stevie Wonder and Garth Brooks.
Now he can add Elton John to the list. Hayes, who covered the title track of John’s classic album Goodbye Yellow Brick Road for the record’s 40th anniversary re-release in 2013, recently got a phone call from his idol — and it came at just the right time.
“I’ve been really blessed; I’ve met a lot of my heroes and they’ve all reached out and said, ‘If you need anything, let me know.’ You don’t want to abuse that invitation,” he tells Rolling Stone Country. “I sent Elton an email and [asked], ‘Do you have a second to chat?’ He called me and he gave me not as much advice as encouragement. He spoke so much positivity and strength and encouragement that can come from someone like that, who’s been through so much and is so brave. It was exciting. It definitely gave a new energy to my outlook on a lot of things, especially that day, that week, that month and, now, this year.”
Hayes didn’t want to get into specifics about the phone call, but stressed that John was “insanely encouraging.” Meanwhile, the young country star is shaking things up a bit by releasing a series of digital streaming singles, the first of which, “21,” debuted on Spotify last week. Hayes says John provided just the right words of courage, adding, “This is the year to be brave. I want to try some new things I’ve never tried before. It’s a lot of firsts coming from me soon.”
According to Billboard, fans can expect several more digital singles from Hayes, who is currently on the road with Lady Antebellum and Sam Hunt on the Wheels Up Tour.
The album features numerous guest appearances, though the iTunes track list does not name any features. According to MissInfo, Big Sean, J. Cole, Busta Rhymes, Janelle Monae and Erykah Badu are a few of the big-name collaborators who appear on the album.
Donnie Trumpet and the Social Experiment is a musical collective led by Chance’s friend Nico Segal (AKA Donnie Trumpet). While many have anticipated Surf to be the follow-up to Chance’s 2013 mixtape Acid Rap, it is primarily Segal’s group and fuses hip-hop with free jazz and R&B. “Surf is Nico’s project,” Chance told the Fader earlier this year. “He was working on it when we decided to be The Social Experiment, so we decided that his project should be first.”
The Social Experiment previewed their sound with the reworking of the children’s television show Arthur‘s theme song titled “Wonderful Everyday,” which Chance has performed during his solo shows over the past year. The official track features Wyclef Jean and Jessie Ware. The group also debuted a short film for Surf‘s closing song “Sunday Candy” in April. The dance-heavy film was directed by Austin Vesely and choreographed by Ian Eastwood, who are also both close friends of Chance and Chicagoans.