Category Archives: INDIE MUSIC NEWS

Hear Prince's Original Studio Recording of 'Nothing Compares 2 U'

The Prince estate unveiled the musician’s original 1984 recording of “Nothing Compares 2 U,” pairing it with a video filled with previously unreleased rehearsal footage of Prince and the Revolution. Prince periodically performed “Nothing Compares 2 U” in concert – a live version appears on 1993’s The Hits/The B-Sides – but this marks the first time his studio version has been released.

“Nothing Compares 2 U” became a global hit for Sinéad O’Connor in 1990, but Prince originally wrote the tune for one of his side projects, the Family (the track appeared on the group’s 1985 debut to little fanfare). Prince’s version of the track captures a unique mix of styles: It simmers with the same potency as the power ballad O’Connor would later record, but packs more rock and roll punches, from fiery guitar riffs and a blazing saxophone solo to Prince’s electric vocal runs and wails.

Prince recorded “Nothing Compares 2 U” at the Flying Cloud Drive “Warehouse” in Eden Prairie, Minnesota with his longtime engineer Susan Rogers. Prince composed, arranged and performed the entire track, except the backing vocals, which were provided by Susannah Melvoin and Paul “St. Paul” Peterson. Eric Leeds played saxophone.

Prince’s version of “Nothing Compares 2 U” is available to stream and download through digital retailers. A seven-inch vinyl single will also be released May 25th, while a limited-edition picture disc will be available exclusively through the Prince “HtNRun” online store

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Prince Death Investigation Closed With No Criminal Charges Filed

Carver County Attorney Mark Metz announced on Thursday that he would close his investigation into the death of Prince without filing any criminal charges.

“For the past two years, law enforcement… has conducted an extensive, painstaking and thorough investigation into Prince’s death,” he said during a press conference. “That investigation determined that Prince died from taking a counterfeit Vicodin pill that contained Fentanyl, a dangerously powerful opioid. However, investigators were unable to determine how the singer obtained the counterfeit pills, leading Metz to conclude, “we simply do not have sufficient evidence to charge anyone with a crime related to Prince’s death.”

Prince died April 21st, 2016 at age 57. When sheriff’s deputies responded to an emergency call from Paisley Park, the singer’s home and recording studio in Chanhassen, Minnesota, they found Prince unresponsive in an elevator. Medical personnel were unable to revive the star.

The Midwest Medical Examiner’s Office released its report on Prince’s cause of death two months later, concluding that the singer died of an accidental overdose on Fentanyl. A subsequently unsealed toxicology report revealed that the amount of Fentanyl in Prince’s blood stream at the time of his death was well above the lethal level. 

Metz was investigating the source of the Fentanyl. After the singer’s death, authorities obtained multiple warrants to search Paisley Park, where they found additional stashes of controlled substances, some of which were concealed in vitamin containers. However, these searches did not turn up any prescriptions in Prince’s name.

Prince’s physician, Dr. Michael Schulenberg, and his bodyguard and assistant Kirk Johnson both admitted to helping the singer obtain other controlled substances – but not Fentanyl – in the weeks before his death. At Johnson’s request, Schulenberg prescribed Prince 15 Percocet pills. In his notes, he said they would help the singer battle back pain, and the doctor made the prescription out to Johnson to keep Prince’s identity secret.

During his press conference on Thursday, Metz noted that “Prince did not die from taking a prescribed Percocet” and said that his investigation did not reveal any links between Schulenberg and the lethal Fentanyl. 

However, Schulenberg agreed to a civil settlement with the U.S. Attorney’s office on Thursday, the Star Tribune reports. The agreement stipulates that the doctor will pay a $30,000 fine as punishment for prescribing “Schedule 2 controlled substances in the name of an individual, knowing that the controlled substances were intended to be used by another individual, in violation of the Controlled Substances Act.” In addition, Schulenberg consented to be monitored by the U.S. Drug Enforcement Agency for two years. Johnson’s name did not appear in the settlement.  

In a statement, U.S. Attorney Greg Brooker said, “doctors are trusted medical professionals and,in the midst of our opioid crisis, they must be part of the solution. Aslicensed professionals, doctors are held to a high level of accountability intheir prescribing practices, especially when it comes to highly addictivepainkillers. The U.S. attorney’s office and the DEA will not hesitate to takeaction against healthcare providers who fail to comply with the ControlledSubstances Act. We are committed to using every available tool to stem the tideof opioid abuse.”

Schulenberg reached the settlement “in compromise of disputed claims.” The doctor did not admit liability.

Schulenberg initially saw Prince because the singer “had been experiencing numbness and tingling in his hands and legs and had vomited the night before,” according to Metz. At that time, Schulenberg examined the singer and prescribed him a pair of uncontrolled substances, vitamin D and nausea medication.

Soon after, Johnson reached out to Schulenberg again; this time, he asked the doctor to provide Prince with pain medication. Prince subsequently passed out on a plane ride back from an Atlanta show, likely due to another counterfeit Vicodin pill, causing the plane to make an emergency landing. Emergency medical services revived the singer when he touched down.

Johnson then got in touch with Schulenberg yet again, “concerned about Prince’s opiate use.” The doctor saw Prince, who inquired “about opiate withdrawal symptoms.” Schulenberg “administered IV fluids,” prescribed a blood-pressure medication and an antihistamine, and spoke with the singer’s management “about arranging chemical dependency treatment.”

On April 21st, 2016, Schulenberg drove to Paisley Park to follow up on that conversation and present the results of blood tests he had performed on Prince. When he arrived, the singer was dead. 

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Watch Run the Jewels Reveal Their Inner Metalheads

Hip-hop duo Run the Jewels discussed their love of heavy metal and the genre’s long relationship with rap in Revolver‘s new video series, “Secret Metalheads”

In the clip, El-P and Killer Mike recalled growing up in the Eighties when rap was coming into its own and hard rock was still a dominant force in popular music. El-P said his early musical diet consisted of bands like Gang of Four, the Melvins and Suicide, as well as “heavy” hip-hop outfits like Run-D.M.C., EPMD and Public Enemy. Killer Mike said he once saw Metallica and Run-D.M.C. on tour in the same summer, and noted that he was introduced to Black Sabbath through the infamous wrestling tag team, the Road Warriors.

“I was into just, like, rage,” Mike said. “Early rap and metal provided an outlet so you didn’t have to go to school and be angry. You could get it all out playing the music loud in your room.”

Run the Jewels also touched on the myriad ways hip-hop and metal have overlapped since the Eighties, citing groups like Rage Against the Machine and Linkin Park, and pioneers like Ice-T, who was both a gangsta rap forefather and frontman of the metal group, Body Count. El-P also spoke about genre-hopping in his own career, whether he was collaborating with the Mars Volta or Trent Reznor, or digging through prog and rock records when crafting his earliest beats.

“As a genre, as a culture, we’ve always been really explorative,” El-P said. “Everyone could kind of tailor what they did with hip-hop music to the other tastes that they had.” 

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The Last Word: Questlove on Why He Doesn't Drink, Idolizing Dave Chappelle

“I still don’t know if I am truly creative,” writes Ahmir “Questlove” Thompson in the introduction to Creative Quest, his new book exploring what it means to be a creator. “At times I feel like I’m a way better student than I am teacher or maker.” Despite winning three Grammys with the Roots and counting author, DJ, designer, producer and culinary businessman among his varied pursuits, music’s most affable multihyphenate writes with a deep humility and constant curiosity toward the mindsets of those he admires.

Backstage after a Tonight Show taping, Thompson explains why he wanted to write a book blending his own history of artist collaborations with advice on how to generate ideas, how to deal with failure and how technology has affected the creative process. “I’m asked all the time, ‘What advice would you give?’ And I hate doing that whole, ‘Just stick to your dreams, da-da-da-da-da,'” he tells Rolling Stone, sounding more animated than annoyed. “It’s a self-help book for music and art heads.”

Part manual, part manifesto, part music-nerd history, part textbook – “I would like this to be a gift that parents give their college students,” he says – the book is an indispensable resource for anyone looking to understand the impulse, psychology and spark behind creative ideas.

Who are your heroes?
My dad [doo-wop singer Lee Andrews] taught me everything I know about the music business. But if you’re talking about who I look to and worship in my daily life, the Father is Don Cornelius, the Son is Prince and the Holy Ghost is Michael Jackson. The first thing I do every morning is watch an episode of Soul Train. Why? I don’t know. Because I can. There’s always some Prince surprise around the corner. And the last three interviews on my podcast are heavily Jackson-related.

“I jumped in the river and there’s piranhas and sharks, but I have a 500-foot lead on them.”

What’s the best advice you’ve ever received?
[Drummer] Bernard Purdie was doing a session for my father in 1975. Dad said, “Bernard, tell my son how you keep food on the table,” and he says, “The two and the four.” I didn’t understand the jargon then, but I know it now. Which is why whenever parents make me meet their four-year-old and the [kid’s] looking at me like, “Who the hell are you?” I just say, “You’re not going to get this now, but trust me, you’ll understand this 20 years from now.”

My dad was always a rigorous, bandleading disciplinarian when it came to keeping it in the pocket. That stuck with me. In some ways I’ve become my dad, especially with the Roots. All of our arguments have to do with numbers. Also, my dad always said, “Son, remember: They can’t get you if they can’t put anything in you.” That’s probably the reason I don’t drink. I think he had these fears of me partying at a bar and picking up a random person.

What advice would you give to a teenage Questlove?
If the Questlove Jacob Marley figure could go back in time and tell 19-year-old me that you were about to face the hardest 25-year fight of your life, would he still stay in the race? It’s like, “I got good news and I got weird news. The good news is you guys are going to be in the industry. You’re going to make it. The weird news is that you’ll probably be closer to 50 before you get the moment where you can just be like [exhales].”

[Over the years] I had panic attacks over [other people getting] undeserved Rolling Stone covers. I remember, “How the fuck they get five mics [in the Source]?” I threw tantrums; I threw glasses. Many times, I quit. But there was always the hope that one day you were going to make it. I jumped in the river and there’s piranhas and sharks, but as far as I’m concerned, I have a 500-foot lead on them.

Was there a career moment, though, when you thought you “made it”?
I knew when I had a DJ gig for the Super Bowl in 2010. I asked my DJ manager, “Wait, how much are they going to pay me for this?” and my manager joked, “Hey, we should make this your new price.” I was like, “No!” My thing was always, “Go super under because all I want to do is have something to do after a show.” I never wanted to be the guy that just slams on the table like, “Give me six figures,” to a club that I knew can’t afford that. My manager’s like, “Dude, doing these $5 DJ gigs for nine hours is not going to further you along. Trust me on this one.”

What first drove you to play hours-long DJ sets?
There’s a lot of boredom on the road once you get off the stage at midnight and there’s girls and there’s Patron there. So I made sure that I was accounted for between the hours of 12:30 and four in the morning. I don’t want to start a cocaine habit. DJ’ing was my cocaine.

Why did you want to include a chapter in your book about how to deal with failure?
There have been a lot of pie-in-the-face moments. “Oh, you’re Questlove and you’re an icon and everyone loves you.” But I cry over record reviews and have done horrible projects. It’s important to let people know.

I was a little dismayed once Will Smith joined Instagram [laughs]. I have this failure thing on lockdown [claps]. I’m going to be the first person to be like, “Yes, you must fail!” And then Will Smith came with, “Failure is great,” and I was like, “Ah, fuck!”

Do you ever get impostor syndrome?
Every day of my life. I was trying to explain to my girlfriend recently: “Look. You know how you look at me as this dweeby nerd that gets on your nerves? You do acknowledge that there are some people on this Earth that hold me in a higher superman regard, but you’re stuck with Clark Kent.” A lot of us are afraid that we’ll get found out as normal. The reason why bodyguards and velvet ropes really exist is mainly because a lot of celebrities don’t want you to know how normal and regular they are.

After Things Fall Apart came out and this whole new world opened, there were still questions to answer, like, “Ahmir, why are you still driving that Scion?” I was on a date last year and the girl looked at me like I disrespected her. She’s like, “You’re driving a Kia Soul? Why?” I was like, “Well, it’s boxy, but it’s also Afro-friendly and my hair won’t be flat when I get out the car. You do know about me, right? You know I do regular guy shit like shopping at Ralph’s at three in the morning.”

“I cry over record reviews and have done horrible projects. It’s important to let people know.”

When I interviewed the Revolution, to hear that Prince was doing his laundry and making sandwiches while making “When You Were Mine” in his house. … He’s literally recording a life-changing record and running upstairs [to finish laundry]. I would rather kill all expectations and let you know from the get that I’m a super-dweeb.

What are the most important rules to live by?
Get out of your own head. When I write about that, I’m trying to explain being in the alpha state where you do things so naturally that you don’t overthink it. Some people over-prepare stuff and overthink things; some people don’t do their homework and just wing it and are under-prepared. But there’s that middle place where it’s so natural to you that you just don’t think about it.

I know I’m coming off like that weird guy that I used to always roll my eyes at whenever I saw people talking about metaphysics and now I’ve become that person. But my peers overthink shit and call me at four in the morning, like, “I can’t!” Panic is just people’s default. They don’t trust the Force. I’m dismayed that U2’s “Get Out of Your Own Way” didn’t hit bigger.

You write that your response to seeing someone else’s creative innovation is to be “overcome by a kind of paralysis.” What was the last thing that made you freeze?
[Dave] Chappelle did a four-hour private show at the Comedy Store at NBA All-Star Weekend. Chappelle is in his mid-1960s free-jazz Coltrane phase. Especially now, when people are finding some of his work problematic. Just to see him have so much confidence …  He spent 30 minutes talking about pumpkin juice. Thirty minutes! I am thoroughly amazed at anyone who is so confident in the science of their work.

He knows that he is Mel Blanc plus Richard Pryor. He has his whole science thing down from the [impersonates Chappelle] intonation of his voice that reminds you of Mel Blanc and Bugs Bunny. He always does this thing where he’ll take a cigarette and not light it and put it to his mouth. He’s hypnotizing. He analyzes the science [of comedy] and he’ll go out and test it. It’s so fearless to me. The best part was, the last three hours? All misses. [Chris] Rock was rolling his eyes like, “Alright, man. Tell Dave, let’s go to the restaurant” and I was like “No, man! That’s the best part!”

“Bodyguards and velvet ropes exist because a lot of celebrities don’t want you to know how normal they are.”

Hypothetically, the creators of Black Mirror ask you to create an episode. What’s it about?
I’m obsessed with time travel so it’s a time travel episode with an African American, but I need them to have two options: They can either travel to an alternate universe in which there’s no civil unrest or civil injustice. So if I go back to the 1600s, slavery doesn’t exist. However, you’re not allowed to take the knowledge that you have with you in present day, so I can’t invent the basketball or [know to] make friends with four guys from Liverpool, England, and be their manager. But, if you choose that option, you only get 80 years on Earth and you will have Benjamin Button syndrome and can’t get old.

Or, you can take the 10-year test and go back to whatever time period and have to deal with the social consequences, but there’s going to be a price to pay. If you can manage to survive those 10 years, you can convince the Beatles that you can be their manager [laughs]. It’s the challenge of staying alive.

How far do you think the Roots would’ve gone if you’d stayed with your original name, Black to the Future?
[Laughs] One and done. One album and that’s it. Those [kind of] group names never …  yeah. But [some crate-digger] would’ve paid $500 for that one record.

What’s the best and worst thing about success?
The best thing about success is I don’t know if I have it yet. The worst thing about success is I’m still grasping to get some [laughs].

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Hear Pearl Jam Bassist Jeff Ament's Apocalyptic New Solo Song

Pearl Jam‘s Jeff Ament tries to escape flooding, fires and other form of life-threatening natural disasters in the grindhouse-inspired clip for his sinister new single, “Safe in the Car.” The track will appear on Ament’s upcoming solo album, Heaven/Hell

“Safe in the Car” coheres around sludgy guitars and funereal organ. A string section adds a sweet veneer to the song’s chorus, but any sense of relief is undercut by Ament’s lyrics: “I don’t feel safe anymore,” he sings. Indie stalwart Angel Olsen provides additional vocals on the track, and Pearl Jam bandmates Matt Cameron and Mike McCready handle drums and guitar, respectively.

The video for “Safe in the Car” is set entirely in Ament’s vehicle. Various images of doom recede behind him: thunder and lightning, crashing ocean waves, bursts of flame. “I was seeing Cormac McCarthy’s The Road – you’re driving to the coast and you’re trying to get away from the nuclear winter and you have your dogs in the car and you’re just trying to escape this horrible apocalypse that just happened,” Ament tells Rolling Stone.

“[The directors] asked me what I wanted [the video] to look like and the first thing that came to mind was grindhouse,” the Pearl Jam bassist adds. “I always loved the super high-contrast, dark look of that. It’s the world coming to an end and trying to have a sense of humor about it.”

Heaven/Hell is due out on May 10th. It’s Ament’s third solo LP and first since 2012’s While My Heart Beats. Copies will be available for pre-order Thursday via Pearl Jam’s website

Ament says the new album came together almost by accident. “I usually end up having a group of songs that goes to the band, and then there are songs that don’t feel right, or they feel too personal,” he explains. “Maybe I get too far down the road with them lyrically, and I’m either apprehensive to give them to Ed [Eddie Vedder, Pearl Jam’s lead singer], or it just feels better for it to be in my voice. You keep working on these songs, and all of a sudden you have maybe a little group of three or four.”

With a few songs complete, Ament decided to keep writing, composing mostly on piano instead of guitar. “Then [the music] really started to coalesce,” he adds, “and feel like, ‘OK, there’s a record in this.'”

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Franz Ferdinand Play Funky, Noisy 'Feel the Love Go' on 'Colbert'

Franz Ferdinand added a freeform edge to their single “Feel the Love Go” on Wednesday’s Late Show, recruiting No Wave saxophonist James Chance for a wailing, climactic solo.

The Scottish dance-rock band replicated the song’s throbbing synth-bass, electronic-tinged disco drums and funk-rock guitar riffs, as singer Alex Kapranos strutted across the stage in a silky shirt and adorably high-waisted dad slacks. The frontman tapped into his inner David Byrne circa Stop Making Sense, throwing his arms around and twisting in place. Chance’s sax lines closed the performance with an unexpected blast of dissonance – contrasting with the sultry symmetry of the main groove.

“Feel the Love Go” is the second single from Franz Ferdinand’s recently issued fifth LP, Always Ascending. The band recently launched a North American tour that continues April 27th with a sold-out show in Minneapolis, Minnesota and runs through mid-August.

The quartet detailed their creative mindset and career goals in a recent installment of the Rolling Stone Music Now podcast. “I think it was a lot of harder in the Fifties and Sixties to be over the age of 22 and still playing in the band,” Kapranos said. “Now quite a few folk have aged before us. If you look at somebody like Bowie making that incredible record just before his 70th birthday when he died, it’s obvious to anybody that you can maintain a high level of creative impetus throughout your life.”

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Watch Liz Phair's Revamped 'Stratford on Guy' Video

Liz Phair shared a remastered version of her Exile in Guyville song, “Stratford on Guy,” as well as an earlier incarnation of that track (titled “Bomb”). Both will appear on the upcoming 25th anniversary edition of Exile in Guyville, out May 4th via Matador.

Phair offered both the remastered audio of “Stratford on Guy” alongside a revamped version of the music video, which she directed. The clip features aerial footage of Los Angeles shot from a private plane, and Phair recalled how she convinced Atlantic Records executive Danny Goldberg to front the money for the flight.

“He asked, ‘What do you need?’ I said, ‘A private plane to fly over downtown L.A. and get footage at night.’ I wanted to shoot the electric veins of the city. He just said, ‘Done!’ It was one of those real rock star moments.”

However, Phair noted that the shoot itself proved surprisingly difficult: “We were executing these tight turns above the skyscrapers and the G-force was incredible. You could feel your internal organs dragging to the other side of your body cavity. Michael [the cameraman] was using this really heavy camera and Jim, my husband, had to hold onto him as we shot. The lens of the camera was pressing down against the window pane and I remember Michael nervously joking – and not really in jest – that the glass beneath him better hold.”

“Bomb” stands in sharp sonic contrast “Stratford on Guy.” Though the lyrics remain mostly the same, the track is remarkably spare, featuring Phair’s lone guitar and her looped and layered vocals.

“Bomb” originally appeared on a cassette, Sooty, which Phair released under the name Girly-Sound. The 25th anniversary edition of Exile in Guyville will include restored versions of Sooty and the two other Girly-Sound tapes, Yo Yo Buddy Yup Yup Word to Ya Mutha and Girls! Girls! Girls!. The box set will also boast a book containing essays, interviews and previously unpublished photos and artwork.

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Hear Jack Johnson Recount Getting High With Willie Nelson in New Song

Jack Johnson is apparently not so great at playing poker, at least not while smoking pot with a country legend. In his new song, “Willie Got Me Stoned,” Johnson recounts a true story where he ended up too broke to take a cab home after a night hanging out with Willie Nelson. The singer will release the song fittingly on April 20th.

“This is a song about one night after we played this festival one time,” Johnson says at the beginning of the song, which was recorded live during the first of two shows at Fiddler’s Green Amphitheatre in Englewood, CO, last summer. “We were hanging out with Willie Nelson and it was a real honor, and we got to go back to his house and hang out. And this is a true story about that night.”

On the acoustic ditty, Johnson humorously recounts getting high with Nelson and then losing all his cash to the country star in a poker game. “I was $50 up and then my mind went funny,” he sings. “It really didn’t help that I didn’t know the rules of the game/ It probably didn’t help that I couldn’t remember my name/ After Willie got my stoned.”

As Johnson recalls in the song, he had to walk home for lack of cab fare, and no one looked in good enough condition to drive. The incident “took away our minds” as well as “our pride.” Despite losing face (and cash) to Nelson, Johnson concludes it was all worthwhile for the experience.

“Some of the most memorable experiences of my life have been at Farm Aid or other events with Willie Nelson,” Johnson tells Rolling Stone. “‘Willie Got Me Stoned’ is a true story about one of those nights.” 

In September, Johnson released All the Light Above It Too, his first LP in four years. Earlier this month, Nelson unveiled “Something You Get Through,” the new ballad from his upcoming album, Last Man Standing.

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The True Believers: Greta Van Fleet Are Determined to Make Rock Relevant Again

Last summer, Greta Van Fleet were about to tear through some of their Viking stomp rock & roll during a live appearance on a Chicago radio show when lead singer Josh Kiszka leaned over to pick up his tambourine, and out of his pockets poured a stream of colored pills.

“Everyone in the front row just stared at me,” says the 21-year-old. But Josh hadn’t accidentally revealed a contraband stash of oxys and perks.

They were multivitamins.

It was a classic rock moment with a twist, perfect for this quartet, which cut its teeth six years ago playing covers in Michigan biker bars they weren’t even old to drink in. Their sound is pure Seventies golden-god swagger – an electrifying throwback at a time when most bands that get played on what’s left of rock radio lean more towards hip-hop-influenced electro-pop – but they lean more hippie than hedonist. As they record a full-length follow-up to their first two EPs (packaged together last year as the eight songs of From the Fires), they favor hikes in the Nashville woods over all-night ragers.

Josh and his twin brother Jake (on guitar) are the band’s elder statesman; younger brother Sam (on bass and keyboards) and drummer Danny Wagner are both 19. When Josh and Jake were 15 and Sam was just 12, they began gigging around their hometown of Frankenmuth, Michigan, refining their super-sized blues rock by studying the three Kings (B.B., Albert and Freddie), as well as their disciples, like Jimmy Page and Eric Clapton. By last year, their first single, “Highway Tune,” was topping the modern rock chart, and winning fans like Elton John, who asked them to play his annual Oscars party last March. “He said, ‘This is probably the best rock & roll I’ve heard in 20 fucking years,'” says Sam.

But the band’s biggest success was also its most hard to imagine: making rock & roll cool again for a younger demographic. While audiences at Greta Van Fleet gigs inevitably include a gang of old-school Zep heads reliving their dancing days, fans in the group’s own age bracket are swelling. The Kiszkas believe younger listeners are missing the connection they found in their own inspirations.

“Rock & roll to us is liberation. A reminder that we as human beings have a voice,” says Josh, squished into a couch next to his bandmates at their management’s Nashville office. “But I don’t want people to hear me talking about rock & roll and think I mean the kind of shit they’re putting out now.”

“All the modern music we were exposed to is stuff on the radio, and I can’t stomach that,” says Jake, his shirt unbuttoned to his navel like a true guitar hero. “But once you start looking, there’s a lot of good shit out there.” For them, that “good shit” included Willie Dixon, Howlin’ Wolf, Fairport Convention and Led Zeppelin – a range they’re hoping to capture in the sessions for their debut album, which they’ve been recording in Nashville and Detroit. Josh promises an exploration of “spaces unseen” in their first two EPs.

“With this album, every day we come into the studio, we’re in a different mindset,” says Danny.

A summer tour will find Greta Van Fleet playing 2,000- to 3,000-capacity rooms, and festival dates including Coachella. All shows are already sold-out, with tickets snatched up by fans eager to experience a band that isn’t afraid to wave the flag for guitar rock – or even preach unity to a divided, hardened nation.

“There’s a lot of blind hate out there, but rock & roll is the best way to get to know each other,” says Sam.

For Josh, the Greta Van Fleet rock show is akin to humbly welcoming a diverse audience into his living room without ego or air.

“We haven’t gotten to the asshole phase yet,” he says, then pauses. “That’s the second album.”

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Prince's Paisley Park is Seeking an Archives Supervisor

Prince‘s Paisley Park is hiring an archives supervisor, Pitchfork reports. The late singer’s private estate and production complex outside Minneapolis was turned into a permanent museum in 2016.

According to a job listing posted on American Alliance of Museums’ career website, the full-time position is in the Archives Department, which is considered a confidential work area. The position entails maintaining and monitoring the exhibits, maintaining and updating the archival database system, photographing and scanning artifacts, assisting with exhibition installations and training staff, among other requirements.

The position also involves locating, retrieving and preparing artifacts for display and loans. Last fall, several items from Paisley Park were displayed at London’s O2 Arena for the My Name Is Prince exhibit. “This is the first time we’ve taken any items out of Paisley Park,” Prince’s sister Tyka Nelson said at the time. “I’m so excited to be able to meet the fans and share their Prince stories and give them hugs, and have a cry with them if need be.”

On Thursday, Paisley Park will kick off Celebration 2018. The four-day gathering coincides with the two-year anniversary of Prince’s death on April 21st. The event will include performances, panel discussions, a concert film screening and other presentations. Sheila E., fDeluxe – the group formerly known as the Family featuring Susannah Melvoin, Eric Leeds, Jellybean Johnson – and the live debut of a new supergroup composed of members of Paisley Park and New Power Generation alumni are among those scheduled to play its second annual event. 

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