Category Archives: INDIE MUSIC NEWS

The 69 Eyes Releases Video for "Jet Fighter Plane"

The 69 Eyes have released a new video for “Jet Fighter Plane”. Check it out HERE.


Tinashe Unleashes 'Energy' on Sizzling New Song With Juicy J

Rising R&B star Tinashe has teamed with Juicy J and hitmaker Mike Will Made It for a sultry new cut, “Energy.”

Over deft trap percussion, hypnotic synth lines and a warbling vocal loop, Tinashe unspools in her crystalline voice all the enticing possibilities that arise when the games between two people finally end.

Juicy J too doesn’t tiptoe around the matter at hand, delivering another distinctive verse that’s as punchy and clever as it is completely goofy: “We doing jumping jacks, we doing yoga / She exercise, she eat yogurt,” he spits. “She read books and watch Oprah / I let her ride me, I’m her chauffeur.”

It’s unclear if “Energy” will appear on Tinashe’s upcoming second LP, Joyride, which has yet to be given a release date or an official track list. The singer, however, has lined up another world tour, which begins February 28th in Minneapolis and finds her criss-crossing North America and Europe throughout the spring.

Joyride will follow Tinashe’s 2014 debut, Aquarius, as well as a seven-track mixtape, Amethyst, which arrived last March. Along with Mike Will Made It, the new LP reportedly boasts contributions from super producer Max Martin, Boi-1da and Blood Orange’s Dev Hynes.

“I have so many sides to me and things that I want to represent,” she told Rolling Stone. “Working with all of those producers is a search to be versatile and being versatile. It’s always interesting navigating working with all these very different producers — you have to learn how to work with each of them individually, but that’s part of the fun and the process of recording.”

Ozzy Osbourne Talks 'Mind-Blowing' Cuba Visit, History Channel Show

Ozzy Osbourne and his son, Jack, have been filming a new show for the History Channel, in which the Black Sabbath frontman travels to unique historical sites, since last fall. So far, they’ve visited the Alamo – where Osbourne apologized for urinating on the monument three decades earlier – Stonehenge, Roswell, New Mexico, Havana, Cuba and Mount Rushmore, among other places. It’s an experience for which the singer is grateful.

“After The Osbournes TV show, my son chose to go behind the camera and he’s got his own company,” Osbourne tells Rolling Stone. “He said, ‘Would you be interested in doing this show?’ And I went, ‘Oh, great, fine.’ I just got back from Cuba last week, which, incidentally, if you get any chance to go over there you should go, mate. It’s fucking great.”

Havana left a strong impression on the singer, who lauds how cheap things are, how easy it is to navigate and its abundance of “fucking mind-blowing” architecture and classic cars. He also enjoyed visiting a war memorial built after the Cuban Missile Crisis. “They got parts of a fucking U-2 plane lying around in this military thing in a park and you can just go and touch it,” Osbourne says. “And I’m going, ‘Fucking hell. If that was in England or America, they’d have a fucking screen that you couldn’t touch this stuff.’ Then somebody pointed out to me that under the Castro regime, it’s everybody’s property. It’s not a government thing … but it’s kind of weird.”



A photo posted by Jack Osbourne (@jackosbourne) on Jan 3, 2016 at 10:41pm PST

Osbourne also reiterated that he knows from experience that people should visit the island before it becomes gentrified. “As the embargo’s dropping off every week, it’s gonna get built up and right now is the best time to go,” he says. “It’s like when I first went to Prague in the Czech Republic many years ago as the Russians left. It was cheap and it was funky and it was good until, you know, we all get the businesspeople in there and they fuck it all up. I had a great time in Cuba.”

The History Channel has yet to reveal the title of the Osbournes’ new show and a premiere date.

Stevie Wonder, Pearl Jam, Red Hot Chili Peppers Top Jazz Fest Lineup

Pearl Jam, Stevie Wonder, Red Hot Chili Peppers and Neil Young top a stacked and eclectic lineup for this year’s New Orleans Jazz and Heritage Festival.

The long-standing festival will take place at the New Orleans Fair Grounds over two weekends, April 22nd through the 24th, and April 28th through May 1st. The lineup was shared in a video in which the names of the performers were animated over footage from previous festivities.

Among the other performers set for this year: Paul Simon, Snoop Dogg, Steely Dan, Beck, Van Morrison, Nick Jonas, Trombone Shorty, Elvis Costello, J. Cole, Julio Iglesias, Gary Clark Jr., My Morning Jacket, Bonnie Raitt, Janelle Monáe, Flo Rida, Herbie Hancock and Wayne Shorter, Gov’t Mule, Mavis Staples, Arlo Guthrie, Tedeschi Trucks Band and Friends, Dr. John, Maxwell, Michael McDonald, Ms. Lauryn Hill, Boz Scaggs, Buddy Guy, Aaron Neville, the Isley Brothers, Perservation Hall Jazz Band, Jon Batiste and Stay Human, Elle King, Brandi Carlile, Grace Potter, Brothers Osborne, Rhiannon Giddens, Sharon Jones and the Dap Kings, Better than Ezra, Punch Brothers, Mystikal, the Taj Mahal Trio, Frankie Beverly and Big Freedia.

A complete list of artists and daily lineups are available on the Jazz Fest website.

Single-day tickets for this year’s Jazz Fest are currently on sale, with early bird tickets priced at $60 through February 2nd. Regular, single-day advanced tickets will be available February 3rd through April 21st for $65; tickets at the gate will run $75. A variety of VIP passes are also available for purchase.

Watch Dierks Bentley's Salty 'Somewhere on a Beach' on 'Ellen'

In Dierks Bentley’s 2014 Number One hit “Drunk on a Plane,” the song’s central character takes his pre-paid honeymoon vacation alone after his fiancée dumps him and goes wild above the clouds. It was one of the few uptempo, party-friendly spots on the somber Riser album, and even it was haunted by the specter of heartbreak. 

Bentley’s latest single “Somewhere on a Beach” may be a little glimpse at what could have taken place after that boozy plane touched down in paradise. Over an R&B-tinged groove, Bentley sings about a guy shaking off his breakup blues by enjoying the company of a beautiful lady and partying his ass off in the sand. Bentley performed the song January 19th on Ellen, giving fans a taste of what to expect from his new album Black and making a jovial lap around host Ellen DeGeneres’ studio. An official release date for Black has not been announced, but it is expected early in 2016.

Along with the new single and album, Bentley will headline the 2016 Somewhere on a Beach Tour, which launches May 12th in Holmdel, New Jersey. Randy Houser and Cam will serve as the trek’s special guests and tickets go on sale January 29th.

Here are the announced cities for Bentley’s Somewhere on a Beach Tour:
Holmdel, NJ
Pittsburgh, PA
Philadelphia, PA
Cleveland, OH
Chicago, IL
Detroit, MI
Baton Rouge, LA
Bangor, ME
Hartford, CT
Boston, MA
Oshkosh, WI
Cadott, WI
Walker, MN
Columbus, OH
Manhattan, KS
North Platte, NE
Fort Loramie, OH
Charlotte, NC
Atlanta, GA
Tampa, FL
Raleigh, NC
Bristow, VA
Virginia Beach, VA
Cameras, AB
Duncan, BC
Oro-Mendonte, ON
Syracuse, NY
Saint Louis, MO
Indianapolis, IN
Dallas, TX
Houston, TX
Mountain View, CA
Irvine, CA
San Diego, CA
Eugene, OR
Boise, ID
Salt Lake City, UT

Peter Hook to Play New Order, Joy Division Compilations Live

Peter Hook and the Light will perform both New Order and Joy Division‘s famed Substance compilations on a North American tour next fall.

The trek will open with a two-night stand at Webster Hall in New York City on September 22nd and 23rd, followed by a September 24th gig at the Wiltern in Los Angeles. Hook and the Light will then return to the road on October 27th at Saint Andrew’s Hall in Detroit for a full North American leg that wraps November 29th at the Danforth Music Hall in Toronto.

Ticket information for the Substance tour has yet to be announced, though future details will be available via Hook’s website. A complete list of dates is below.

The two Substance compilations were released in 1987 and 1988 by Factory Records. New Order’s arrived first and featured the 12-inch mixes and b-sides of all their singles up to that point and was concocted by Factory boss Tony Wilson so he could listen to the tracks on the CD player in his new car.

The 1988 Joy Division comp boasted the band’s four non-album singles — “Transmission,” “Komakino,” “Love Will Tear Us Apart” and “Atmosphere” — as well as b-sides and songs included on two Factory Records samplers and their debut EP, An Ideal for Living.

Hook also has a string of international concerts already scheduled for 2016, some of which find him recreating Joy Division’s two LPs, Unknown Pleasures and Closer, while others will feature New Order’s Low-Life and Brotherhood.

Peter Hook and the Light Substance Tour Dates

September 22 — New York, NY @ Webster Hall
September 23 — New York, NY @ Webster Hall
September 24 — Los Angeles, CA @ The Wiltern
October 27 — Detroit, MI @ Saint Andrew’s Hall
October 28 — Chicago, IL @ Metro
October 29 — Milwaukee, WI @ Turner Hall
October 30 — Minneapolis, MN @ First Avenue
November 1 — Vancouver, BC @ Venue
November 3 — Seattle, WA @ Showbox at the Market
November 4 — Portland, OR @ Wonder Ballroom
November 5 — San Francisco, CA @ The Fillmore
November 7 — Salt Lake City, UT @ Urban Lounge
November 8 — San Diego, CA @ House of Blues
November 11 — Dallas, TX @ Granada Theater 
November 12 — Austin, TX @ The Mohawk
November 14 — New Orleans, LA @ Republic
November 15 — Atlanta, GA @ Terminal West
November 17 — Orlando, FL @ Plaza Live
November 18 — Fort Lauderdale, FL @ Culture Room
November 19 — Tampa, FL @ The Ritz Ybor
November 21 — Asheville, NC @ The Orange Peel
November 22 — Carrboro, NC @ Cat’s Cradle
November 23 — Washington D.C. @ Howard Theatre
November 25 — Philadelphia, PA @ The Trocadero Theatre
November 26 — Boston, MA @ The Sinclair
November 27 — Montreal, QC @ Theatre Fairmount
November 29 — Toronto, ON @ Danforth Music Hall

See Hank Williams Jr.'s Swaggering 'Fallon' Performance

“My name is Bocephus!” barked Hank Williams, Jr., halfway through last night’s performance of “Are You Ready for the Country?” on The Tonight Show Starring Jimmy Fallon. The song’s next line — “And my name’s Chief,” normally delivered by duet partner Eric Church — was missing, but Williams made up for the slimmed-down guest list by refocusing the audience’s attention on his live band, a swampy seven-piece that played Neil Young’s 1972 hit with appropriate doses of grease and grit. 

The kickoff track to this month’s It’s About Time, “Are You Ready for the Country?” represents a reboot to Williams’ career. The legend recently signed with Nash Icon, the label that’s overseen recent releases by legacy artists like Ronnie Dunn and Reba McEntire, and recorded his new album with help from a string of current chart-topping artists, including Brad Paisley and Brantley Gilbert. The aptly-named It’s About Time — his first studio release since 2012 — repositions Williams not only as a country vet, but as a songwriter who isn’t quite through with the mainstream. 

“I’m what you call a motivated icon,” Williams told Rolling Stone Country last October, “and you got to watch out for a motivated icon, baby.”

'Eagles' Doc Director Says Glenn Frey 'Didn't Want a Fluff Piece'

Glenn Frey’s interviews in the unvarnished 2013 History of the Eagles documentary can best be described as delightfully unrepentant. Over the course of the candid two-part film, currently streaming on Netflix, Frey, who died Monday at 67, pulls no punches when discussing the band’s formation, its lineup changes and especially his fractured relationship with guitarist Don Felder.

Alison Ellwood, who directed the film and sat with Frey during his series of interviews in 2012, says his outspoken commentary inspired the other band members to open up.

“Glenn was the leader of the band in getting stuff done. He was the doer. He understood when we agreed to do [the film] that it had to be honest, that we’re not making a fluff piece. He said, ‘I don’t want a fluff piece,'” Ellwood tells Rolling Stone. “His willingness to be completely honest, warts and all, made a huge difference in the film and set a precedent for the others. Joe Walsh, after seeing a first cut of the film, asked to be re-interviewed, because he realized how open Glenn was being.”

Ellwood cites Frey’s recollection of listening to Jackson Browne compose “Doctor My Eyes” as her favorite moment of the documentary. Frey lived above Browne at the time and was tortured by the songwriter’s incessant fiddling with the 1972 single. In the end, he learns the trick to composing: “elbow grease,” Frey calls it in the film.

“Glenn not only had the knowledge, the wisdom, the insight and the soul to understand that, he actually implemented that,” Ellwood says. “A lot of the myth of rock & roll is that it’s seat of your pants. . .but these guys worked hard. And Glenn had a vision.”

It was a vision for both the band’s albums and Ellwood’s film. She says that when her team approached Frey with audio of his infamous onstage blowup with Felder in 1980 — in which Frey threatens to kick the guitarist’s ass — he offered no hesitation in using it in the documentary.

“We told Glenn we had it, and he said, ‘Go for it, man,'” Ellwood says. “He was brave.”

Remembering Blowfly, Music's XXX-Rated Superhero

Blowfly — Miami’s smutmaster general, the pioneer of pottymouthery, the original ol’ dirty bastard — passed away on Sunday at age 76.

A gifted, groundbreaking, one-of-a-kind artist, the XXX-rated superhero quietly known as mild-mannered songwriter and soul singer Clarence Reid did most of his most acclaimed works in the worlds of parody, satire and turning Chubby Checker lyrics into songs about fellatio. Juvenalia was his paintbrush — the legend goes that he got his nickname as a child when his grandmother found out he was singing naughty Ernest Tubb covers to white folk, saying, “You’re the most disgusting thing ever — look at you. … [Y]ou’re no better than a blowfly.”

His album covers proudly proclaimed “for immature audiences only.” But in exercising his First Amendment rights in the funkiest way possible, he paved the way for the more unfiltered strains of hip-hop. In his own freaky way, Blowfly was to American popular music what Pier Paolo Pasolini was to film, what Henry Miller was to literature, what Ron Jeremy was to blowing yourself in front of a camera.

Let David Bowie explore Mars. Blowfly knew there was plenty of sucking and fucking to inspire right here on Planet Earth.

To call him “ahead of his time” would be a monstrous understatement. Blowfly records meant that locker-room jokes could not only be art, but business; yanking taboo talk from the shadows and putting it in the spotlight. Let David Bowie explore Mars. Blowfly knew there was plenty of sucking and fucking to inspire right here on Planet Earth.

In 1973, his album The Weird World of Blowfly was the funky answer to foul-mouthed “party records” by African-American comedians like the jazzier pimp-slam of Rudy Rae Moore and the spoken-word stand-up of Redd Foxx, recorded with a crowd to hoot, holler, laugh, scream and register shock.

Here, Blowfly was already détourning the world’s most popular songs through his fleshy kaleidoscope: “Hole Man,” “Shitting on the Dock of the Bay,” “My Baby Keeps Farting In My Face,” “Spermy Night In Georgia.” This was 20 years before 2 Live Crew had to go to the Supreme Court to fight for their own right to play grab-ass with “Pretty Woman” in 1993.

Statements that say Blowfly “invented rap music” aren’t too far off from the truth: “Rap Dirty” appears on his 1976 album Butterfly. Inspired by the slick-talking radio DJs, rumors abound of self-released versions dating back more than a decade earlier. But it is unquestionably a rap song by any measure, released years before the agreed-upon “first” hip-hop 12-inches in 1979 like Fatback Band’s “King Tim III” and Sugar Hill Gang’s “Rapper’s Delight.”

Well before the infamous 1990 ruling from a Tennessee judge that got 2 Live Crew and N.W.A records declared “obscene,” Blowfly’s 1978 record Porno Freak got an Alabama record store in legal hot water. Its title track revealed an obsession with porn stars that named names long before L.L. Cool J’s lyrics were “as freaky as Seka.” (Sample line: “This prick of mine get hard as stone/And it’s three times bigger than John Holmes.”) 

Rappers have not been shy showing how his say-anything approach influenced the most raw-spoken art form in American history — in the wake of his death, Snoop Dogg, Ice-T, DJ Quik, Pete Rock, J-Zone, R.A. the Rugged Man and others took to Twitter to pay their respects. West Coast bard of freaky tales Too $hort credits his style as a cross between Grandmaster Melle Mel and Blowfly. Chuck D told Rolling Stone the climax of Public Enemy’s “Fight the Power” — “motherfuck him and John Wayne” — was directly inspired by a line in “Rapp Dirty.”

“I am so sorry to hear about the passing of one of the greatest entertainers of all times,” Luther “Uncle Luke” Campbell tells Rolling Stone. “No Blowfly, no 2 Live Crew. My condolences goes out to his family. R.I.P, my brother.” 

Had they lurched into any status past aficionados and cratediggers in the Eighties, his songs would have been “pornographic.” In the Nineties, they would have been “misogynistic” or “un-P.C.” And today, they would be dubbed “problematic.” But reading Blowfly’s tales of “faggots” and “bulldaggers” and “Jew bastards” and “nigger dudes” and “cracker guys” and “fine hoes” as sexist filth avoids all nuance. Blowfly’s music was strangely inclusive; a spread-open freak tent ready for “ACs and DCs and nymphos and weirdos” and “cocksuckers and meat-beaters and rump eaters and fart sniffers.”

His music made hard statements against racism (“Rap Dirty” has Blowfly driving a semi truck over a gaggle of Klansman) and by the Aughts, he was taking fearless stances on the celebrity industrial complex with multiple songs bagging on R. Kelly (“I Believe My Dick Can Fly” is vicious, beautiful, disgusting and completely addictive). 

“Blowfly records meant that locker-room jokes could not only be art, but business.”

But before all of that, he was a man with a silky voice and a gift for songwriting. As Clarence Reid, he co-founded Deep City, the first black-owned record label in Florida. He co-wrote Betty Wright’s 1972 Top 10 hit “Clean-Up Woman,” a song that lived a long second life in the early Nineties anchoring R&B hits like SWV’s “I’m So Into You” and the Biggie-assisted remix to Mary J. Blige’s “Real Love.” He helped invent the hard-grooving “Miami sound,” the glossy-yet-grimy strain of late-Sixties/early-Seventies soul, R&B and funk centered around artists like George McRae, Helene Smith and James Knight & the Butlers — ultimately paving the road to K.C. & the Sunshine Band and Miami bass.

A master of groove, his samples and interpolations lived on in hip-hop as much as his attitude, most notably in Mista Grimm and Warren G’s “Indo Smoke” (Number 56, 1993). But his music was also embraced by Pharcyde, Jurassic 5, Ol’ Dirty Bastard, Eazy-E, DJ Quik, DJ Shadow and more. Beats on his 1984 electrofunk parody Electric Banana would reappear in new mutations on iconic 1988 Miami bass album The Bass That Ate Miami. The breakbeat in 1974’s “Sesame Street” (“A!” “Ass!” “B!” “Bastard!”) ended up sputtering across tons and tons of drum’n’bass and jungle techno records.

Over a career that spanned more than 40 years, his music proved almost as durable as the Isley Brothers. Pop changed from the days of Clarence Reid writing songs for Sam & Dave, and he followed it into the sinister funk of Blaxploitation movies (At the Movies, 1976), the merciless grooves of disco (Disco, 1977, and Blowfly’s Disco Party 1978), the hard throb of the first wave of hip-hop 12-inches (“That’s What Your Pussy’s Made For,” 1982), the alien grooves of Cybotron’s electrofunk (Electronic Banana, 1984), the venomous conversations of the second wave of hip-hop 12-inches (“Blowfly Meets Roxanne,” 1986), the giddy swing of go-go (“Pop the Cherry,” 1988), the moshpit funk of Fishbone’s Alternative Nation (“Shake Your Ass!,” 1991), the unavoidable pulse of house music (2001: A Sex Odyssey, 1997) and even punk rock nostalgia with an album of gob-slobbin’ Ramones and Clash covers (Blowfly’s Punk Rock Party, 2006). Though he was working with avant-skitterer perv Otto Von Schirach, it’s a deep shame Blowfly didn’t live long enough to make an EDM album with something else for Diplo’s beats to lean on.

“Nothing freaky in my experience with Blowfly,” Red Hot Chili Peppers bassist Flea tells Rolling Stone about working with him for the mid-Nineties aggro-funk turn “Shake Your Ass!” “He was a kind man, a great musician, with an outstanding sense of humor which he enjoyed indulging to bring us joy.”