See Alan Jackson Debut Cautionary 'Angels and Alcohol' on 'Fallon'

Alan Jackson debuted the title track of his upcoming album, Angels and Alcohol, on the Tonight Show With Jimmy Fallon on Wednesday. The affecting country weeper about the perils of hard drinking and the undeniable toll it takes on “a good woman’s love” is further proof that Jackson is the living embodiment of traditional honky-tonk pathos.

Introduced by Fallon, who enthusiastically noted the country superstar’s 60 million in album sales, the rarely demonstrative Jackson acknowledged the talk-show host, pointing an outstretched index finger toward the host’s desk and greeting him with a charming “Thank you, Jimmy” before launching into the performance.

“Angels and Alcohol” is among seven cuts from the 10-track LP penned by Jackson, which also includes the album’s shuffle-tempoed first single, “Jim and Jack and Hank” (as in Beam, Daniel’s and Williams Jr. and Sr.), a guitar-heavy tune that name-checks just about every iconic country act — and potent potable — under the sun.

Angels and Alcohol is Jackson’s first country LP since 2012’s Thirty Miles West, which debuted at Number One. Since that time, he has released the gospel collection Precious Memories II and The Bluegrass Album.

Next up for Jackson is NBC’s Today Show Summer Concert Series, coinciding with Friday’s album release. His Keepin’ It Country Tour resumes July 28th in Paso Robles, California.

Last month, the Georgia-born Jackson was among the acts giving his Alabama neighbors a hand by performing at Rock the South. The two-day event, which took place at a Cullman city park raised fund for local charities to benefit the victims of the 2011 tornado outbreak that ripped through Birmingham, Tuscaloosa and several surrounding areas.

Entertainment Consulting Company The Machine Group Launches Internationally

ATLANTA, July 16, 2015 /PRNewswire/ — The Machine Group is one of the world’s leading entertainment consulting companies today. Based out of Atlanta, Georgia, founders Alvin and Calvin Waters have put together some of the most legendary producers and…


Birdman, Young Thug Named in Lil Wayne Shooting Indictment

The State of Georgia has indicted an associate of Young Thug and Birdman‘s for shooting at Lil Wayne’s tour buses this past April. Jimmy Carlton Winfrey, who is known by the names Pee Wee and Roscoe and has worked as Young Thug’s tour manager, raced up alongside Lil Wayne‘s tour buses, opened fire and subsequently attempted to hide the Camaro he was driving, according to the indictment obtained by Rolling Stone. The indictment spans 30 counts, including aggravated assault, criminal damage to property, possession of a firearm and violation of both the RICO Act and Street Gang Terrorism Prevention Act.

The indictment opens by identifying Winfrey, Young Thug, Birdman and Lil Wayne as Blood gang members, claiming that the defendant is a high-ranking member in the Young Slime Life subset of the Bloods. It also details the schism at Cash Money Records pitting Lil Wayne against Birdman and Young Thug. Because Winfrey is the only defendant, it also places emphasis on his appearance in Young Thug’s “Halftime” video, in which Winfrey is seen holding an assault rifle that looks like the one used in April.

The majority of the legal document’s “background” section explains the events of April 26th, the day of the bus shooting. It claims that five days before the shooting, Young Thug posted a video to Instagram making gang references and threats to Lil Wayne; Winfrey and weapons were both visible in the video. On the night of the incident, Young Thug was booed offstage at a New Orleans gig to chants of Lil Wayne’s name, with Wayne performing the same night in Atlanta; the papers allege that Winfrey and other Blood associates began organizing their attack around the time Lil Wayne hit the stage. The authorities, which noticed Winfrey’s activation, decided to escort Lil Wayne’s tour buses out of Atlanta.

That’s when, the indictment claims, Winfrey trailed the convoy and sidled up next to the buses, opening fire with two handguns into both buses. Winfrey later called a phone owned by Birdman, according to the papers, and hid his car. “On April 26th, Jimmy Winfrey carried out [Young Thug’s] threat [in the “Halftime” video] and shot at two tour buses,” the indictment claims.

The paperwork also greatly details Lil Wayne’s attempt to leave Birdman’s Cash Money label, the delays on his Carter V album and Young Thug’s decision to rename his album Carter 6 to Barter 6 (“Blood gang members often change words that start with ‘C’ into words that start with the letter ‘B,'” it says). It also alleges Young Thug and Birdman aligned in the wake of Lil Wayne filing a lawsuit to dissolve his Cash Money contract.

Winfrey is due in court Friday morning for a bond hearing.

A representative for Young Thug declined to comment. Representatives for Birdman and Lil Wayne did not immediately reply to requests for comment.

Young Thug had previously wanted to name his album Carter 6 in tribute to Lil Wayne, after the latter rapper claimed it would be his final album, according to The Guardian. But the rappers appeared to fall out with one another last year when Lil Wayne tried to sever his ties with Cash Money; subsequently, Birdman made appearances on Barter 6.

In an unrelated incident, Young Thug was arrested Wednesday for making “terroristic threats,” with U.S. Marshals claiming the rapper threatened to shoot an Atlanta mall security officer in the face.

David Gilmour To Release New Album, "Rattle That Lock" Friday, September 18, 2015

NEW YORK, July 16, 2015 /PRNewswire/ —  David Gilmour has announced that his new solo album Rattle That Lock will be released worldwide on Friday, September 18, 2015 on Columbia Records.  The album will be available for preorder and the first single, also titled “Rattle That…


Chideo And Country Music Legend Clint Black Announce The Finalists Of The "Dream Recording Session Contest"

The finalists are in! Head to to vote for your favorite original song and the winner gets the opportunity to record with county superstar Clint Black. After you vote, you can donate to to win the chance to have dinner with Clint himself!LOS ANGELES, July 16, 2015 /PRNewswire/ — Today, county music legend Clint Black announced the four finalists for Chideo’s “Dream Recording Session Contest.” These finalists will now compete for America’s vote in the hopes of winning a chance to record an original song with Clint,…


Ascencia Announces Urban Blues Festival Presented By Pacific BMW On August 29 Featuring Top Names In Blues

LOS ANGELES, July 16, 2015 /PRNewswire/ — Ascencia, a Glendale based organization dedicated to raising people out of homelessness, will hold its first-ever Urban Blues Festival on Aug. 29 from 11 a.m. – 8 p.m. at Raleigh Studios, 5300 Melrose Ave., Hollywood, CA 90038. Pacific…


The Cadillac Three's Jaren Johnston: My Ultimate Road Trip Playlist

The Faster Horses Festival busts out of the gate this Friday afternoon, bringing more than three dozen country headliners and up-and-comers to the International Speedway in southern Michigan. Among the highlights: The Cadillac Three, a trio of Nashville natives whose love for Merle and Metallica makes them one of the heavier groups to hit the festival’s main stage — especially when they light into their new single “White Lightning.”

Related: Hottest Live Photos of Summer 2015

With a touring schedule that’s taken the guys from a sold-out run in the U.K. to their own Aviators and Radiators Tour in America, the Cadillac Three have spent most of 2015 on the road. That requires a lot of time on the bus, of course, and frontman Jaren Johnston takes his bus time seriously, cuing up the right songs to blast out of the coach’s speakers before and after the band’s gigs. 

“Before we play,” he explains, “we’ll be on the bus, listening to a lot of ZZ Top, Skynyrd and Black Rebel Motorcycle Club. A little Rival Sons, maybe. That uptempo stuff really helps to get us going.”

And after the show? 

“We love to come down by listening to the last Sturgill [Simpson] record. It’s so old-school sounding and mellow. I love the Secret Sisters’ records, too, and the Turnpike Troubadours’ Goodbye Normal Street. We’ll put those records on and literally listen to the whole thing.”

To help get Faster Horses’ 25,000-plus attendees into the festival spirit while making their way to the event in Brooklyn, Michigan, Johnston hooked us up with his ideal road trip playlist, offering commentary about each track along the way. 

Turnpike Troubadours, “Gin, Smoke, Lies”
We did a lot of Texas dates before we signed to our label, and we became good friends with those guys. Evan [Felker]’s melodies are great. They remind me a bit of Ben Kweller. And that song, “Gin Smoke and Lies” — that’s the jam, dude! He’s pissed off at this girl, and the way he talks about it, it’s so roundabout and brilliant.

Sturgill Simpson, “Long White Line”
I know it’s a cover, but I love it. It’s perfect for driving. And it just goes hand-in-hand with sitting on the bus, having a drink and a smoke. That guitar player, man! He’s a madman. He’s a ninja.

ZZ Top, “La Grange”
You hear that song all the time, growing up. It’s in every commercial, but you can’t hear the whole song in a commercial. Then you listen to the whole thing and realize how great it is. Every time that drum fill comes in, I get off. I love the groove! All he does is laugh! “Have mercy! Ah hah hah hah.” But all their stuff is great. “Cheap Sunglasses.” “Sharp Dressed Man.” On a road trip, you can’t beat Top. 

Black Rebel Motorcycle Club, “Took Out a Loan”
I love that opening riff. It’s the first time I heard anyone play music that was tuned that low. That band is one of the reasons Cadillac sounds like Cadillac, because I heard the music and thought, “I can do this.” They have such a southern thing to their sound sometimes, and I don’t think they even realize it. They just do what they do.

Rival Sons, “Keep on Swinging”
That’s one of the sickest bands to ever walk this earth. They’re unreal. It’s the vocals, the drumming, the groove. Also, a lot of it goes down to me being a nerd and geeking out over [producer] Dave Cobb’s drum sounds.

The Secret Sisters, “Tennessee Me”
I have that first album on vinyl. We met Laura [Rogers] years ago. She was a big fan of our old band, American Bang. The first song of that first album, “Tennessee Me”. . . Man, I love it. I love their whole thing. I listen to it on planes because I don’t like flying, and it kind of calms me down.

Lynyrd Skynyrd, “Swamp Music”
We’re friends with those guys. We toured with them, and Rickey [Medlocke] and Johnny [Van Zant] would ask us what our favorite Skynyrd songs were, and my first answer would always be, “‘Swamp Music,’ because of the riff.” And they’d never play it! Every night we were out with them, they’d joke and promise me that they were gonna do the song that night. Like, “Yep, it’s coming up! Fourth song on the setlist!” But they never do it. I love their normal standards, too. “Tuesday’s Gone.” “Gimme Three Steps.” You can’t beat those. I wish people wrote songs like that these days, instead of songs about tailgates.

Pantera, “I’m Broken”
We’ll play this right before we go onstage. We’ll punch each other in the face, take a shot and then roll out to the stage, and we feel invincible.

Hear Keith Richards Ward Off 'Trouble' on Ragged New Single

With the Rolling Stones’ Zip Code tour wrapped up, Keith Richards has released the first single, “Trouble,” from his upcoming solo album, Crosseyed Heart, which is available to stream below via iHeartRadio.

The track is a stripped-down, no-nonsense rocker built around a bevy of quintessential Keef riffs — ragged, haggard blues lines that meander the fretboard and sound at once precise and just a bit “juiced up and sloppy.”

Lyrically, Richards seems to be channeling his inner Lou Reed, singing about a pestering hanger-on in a voice that’s both world-weary and wry. “Just because I can’t see ya, see ya anymore / That’s because, honey, you’re doing two to four,” he sings, before cracking in the the next verse, “I could get you off the hook / but I know when I get you out, I won’t get a second look.”

Crosseyed Heart arrives on September 18th and marks Richards’ first solo LP since 1992’s Main Offender. Richards and drummer Steve Jordan wrote and produced the majority of the album, which also boasts contributions from guitarist Waddy Wachtel and Rolling Stones backup singer Bernard Fowler.

Crosseyed Heart also features a duet with Norah Jones on the ballad “Illusion,” as well as guest appearances from Spooner Oldham (“Lovers Plea”), Aaron Neville (“Nothing on Me”) and famed multi-instrumentalist Larry Campbell (“Robbed Blind”). The late Stones saxophonist Bobby Keys will also appear on two cuts, “Amnesia” and “Blues in the Morning.”

In April, Richards told Rolling Stone he was considering a tour behind Crosseyed Heart, but at the time he was focused on preparing for the Stones’ North American trek. Richards also noted that he’s interested in returning to the studio with the Rolling Stones to follow-up their 2005 LP, A Bigger Bang.

“I’d like to see just how far they can evolve,” Richards said of the band. “I have no demands or particular visions for them, but you’re just part of this thing and I want to see how far it will go.”

David Gilmour Details New Solo LP 'Rattle That Lock'

After briefly reviving and then saying goodbye to Pink Floyd in 2014, David Gilmour will return this September with Rattle That Lock, a new album and the guitarist’s first solo studio LP since 2006’s On an Island. “Rattle That Lock,” the album’s title track and first single, will be unveiled July 17th, at which time the LP will become available for preorder at David Gilmour’s official site. The album arrives September 18th.

The 10-track LP features lyrics largely penned by Gilmour’s wife, novelist Polly Samson, as well as contributions from Roxy Music guitarist Phil Manzanera, who co-produced Rattle That Lock with Gilmour. According to Gilmour’s official site, the album’s first single “Rattle That Lock” “begins with the four notes, created by [sound designer] Michaël Boumendil, which precede announcements at French SNCF railway stations which David recorded on his phone at Aix-en-Provence station. Polly’s lyrics were inspired by Book II of John Milton’s Paradise Lost.” 

The Rattle That Lock cover was created by The Creative Corporation’s Dave Stansbie under the creative directorship of Aubrey Powell from Hipgnosis, the company that designed many of Pink Floyd’s most iconic album covers.

Rattle That Lock will be available in a variety of different formats, from digital download and heavyweight vinyl to a deluxe box edition featuring four Barn Jam films, four non-album audio tracks, four documentaries and two promo clips. The deluxe edition, which will be available as both a CD/DVD and CD/Blu-ray, will also house “two hardback books, a double-sided poster, a postcard in a dedicated envelope and a David Gilmour plectrum,” the official Gilmour site writes.

Last October, Gilmour told Rolling Stone that, following the release of Rattle That Lock, he hoped to embark on “an old man’s tour, not a 200-date sort of thing.” The guitarist stuck to his word, announcing four North American shows in 2016: March 24th at Los Angeles’ Hollywood Bowl, March 31st at Toronto’s Air Canada Center, April 8th at Chicago’s United Center and April 11th at New York’s Madison Square Garden. Tickets for all four shows go on sales July 17th at Ticketmaster; ticket buyers will also receive a CD copy of Rattle That Lock.

Rattle That Lock marks Gilmour’s fourth solo album, following his self-titled 1978 debut, 1984’s About Face and On an Island. In 2014, Gilmour and drummer Nick Mason revisited music they recorded with keyboardist Rick Wright during Pink Floyd’s The Division Bell sessions to create the band’s farewell LP The Endless River.

“I think we have successfully commandeered the best of what there is [and] I suspect that it is,” Gilmour said of Pink Floyd. “It’s a shame, but this is the end.”

Rattle That Lock Track List

1. “5 A.M.”
2. “Rattle That Lock”
3. “Faces Of Stone”
4. “A Boat Lies Waiting”
5. “Dancing Right In Front Of Me”
6. “In Any Tongue”
7. “Beauty (Gilmour)
8. “The Girl In The Yellow Dress”
9. “Today”
10. “And Then…”

Warren Haynes: 'The Door Is Always Open' for Allman Brothers Reunion

Warren Haynes will release his excellent new solo album Ashes and Dust on July 24th. It’s a fiddle-steeped folk LP of mostly original songs, some of which Haynes has been holding back for 30 years. “The ones I like usually stay with me, even if I don’t play them for a couple of years,” he says. It’s another left-turn in a career that’s included stints in Gov’t Mule, the Allman Brothers Band and the Grateful Dead. Here, Haynes discusses the new album, the future of jam bands and the chances of an Allmans reunion.

Were bluegrass and folk music a big part of your life as a kid?
Yeah, I grew up in Asheville, North Carolina, and in the mountains of North Carolina, that music is so prevalent. So I grew up studying blues and jazz and rock, but also hanging out with the folk musicians and bluegrass musicians and kind of soaking that stuff in through osmosis. I never wanted to pursue that direction as an artist, but that whole folk music scene influenced me greatly as a songwriter. I was lucky enough to see Doc and Merle Watson and guys like Norman Blake when I was a teenager. But it was really Bob Dylan that kind of opened up everything for me. Then I started studying backwards, seeing where he got it from. Also, the floodgates opened for people like James Taylor and Jackson Browne, and that fertile period where singer-songwriters became kind of pop artists.

You wrote one of the new album’s more experimental songs, the eight-minute “Spots of Time,” with Phil Lesh. Were you guys in the same room?
Yeah. I think we were in New York, in the studio working on something and he told me that he had some music he would like for me to write lyrics and the melody for. And I said, “Yeah, I’m happy to.” He said, “It’s called ‘Spots of Time.'” And I said, “Do you already have some lyrics written?” And he said, “No, I just have the title.” And he explained to me that he got the title from this William Wordsworth poem called “The Prelude.” Wordsworth had referred to “spots of time” in several of his works. And so I went and Googled “Wordsworth and the Prelude” and read the poems. It’s very heavy and I just wrote a lyric based on what it meant to me, you know. And then the Allman Brothers started performing it live but we never recorded it, so I thought it would be nice to record it here.

You’re getting into the North Carolina Music Hall of Fame in October – are you excited? 
Yeah! I don’t think it sunk in yet, really. I know as it gets closer and closer. It’s gonna be a very bizarre feeling. I’m very honored to have been chosen for that, but you know, those kinds of honors are kind of strange. You never know how to feel about something like that. I’m a youngster. I’m 55. I’m way too young for that, though Eric Church is younger than me and he’s getting inducted, too.

You just sat in on a couple shows with Dave Matthews.
I did two shows one in Holmdel, New Jersey, and one in Camden, New Jersey. It was great. I love playing with those guys. We’ve played together so many times through the years, I mean, going back to the beginning of their career. We met early on and just kind of formed an instant chemistry both on stage and off. We play music together whenever we get the chance.

He goes out every summer and can play multiple nights at any amphitheater he wants.
I think anytime a band or an artist can invent a type of music that no one has heard prior to it, and turn it into something mainstream, just based on how much people love it, that’s an amazing accomplishment. When I first started hearing the Dave Matthews Band, they were so different than what was considered mainstream at that time. They forged their own path. And they make all their music and all their decisions based on what’s best for them and what they enjoy, and I really admire that. And they’re out there doing four-hour shows every night. I think they’re a great example to young bands on what having a career is all about.

You play a lot of the major jam festivals – Mountain Jam, Gather of the Vibes. Is there a new, young jam band out there that could be as big as Dave Matthews Band?
Well, I think in order to be that, you have to be different from that. I think there are bands like the Revivalists that have the potential to do something like that, and there’s this young guitar player/singer from South Carolina named Marcus King who just turned 18 and is starting to stir up quite a bit of dust, and I think the potential for his music is endless as well.

Did you listen to the recent Grateful Dead farewell shows?
No, I actually haven’t. I’ve been kind of midstream with all of this stuff that I’ve been doing, but I’d be curious to hear it at some point. I wish they had done more too. I think everybody wishes they had done more, but I’m glad they did something.

Do you have a favorite memory of touring with the Dead?
I really love any opportunity to work with those guys collectively or individually. We’ve had a lot of wonderful moments. There was one, I think it was July 4th and we were in the middle of “Viola Lee Blues” and this jam happened that just played itself. It was just so organic and alive, and it was just so different than anything I think any of us have ever done. It reminded me of Miles Davis’ “Bitches Brew.” Later, myself and Phil and Bob all pointed at that particular six minutes of music and were like, “That’s the shit.”

Has it sunk in for you yet that the Allman Brothers Band is over?
I think when March rolls around, we’ll all feel like we should be at the Beacon Theatre. But I think we all made the right decision. It was a group decision that was made. I miss it. I’m sure we all miss it. It was 25 amazing years for me, and the opportunity of a lifetime to be apart of not only an institution and a great band, but one of my favorite bands of all time. Those guys – ever since I’ve known them – talked about never wanting to become a nostalgia act. That conversation would happen every few years, and when it started happening four or five years ago, I think all of us were in agreement that, for the Allman Brothers to just go out and play the recognizable songs and go through the motions, is not the way that band should go out. And that band’s always been about leaving everything on the stage every night and I’m glad we collectively made the decision to do that, and I think the last shows were really good, and the last show was tremendous.

Was there a point where you felt the band wasn’t leaving it all on the stage anymore?
Well, I don’t think we ever reached that point. I think we could all see it on the horizon and meanwhile Gregg [Allman] and myself and [guitarist Derek Trucks] and [drummer Jai Johanny Johanson] for that matter, who has a great new band, were all enjoying doing our own thing and so it just kind of seemed inevitable.

I assumed that it was because Gregg didn’t want to tour as much, but he seems to be touring a lot now.
Yeah, he’s really having fun with his band right now, and I’m glad to see him doing as much as he is. You know, it was just really hard to get everybody on the same page in that band because, I guess just for obvious reasons.

What do you mean?
Well, as an example, we never made a final record, which I think most of us agreed that we should have. But we could never get everybody on the same page at the same time.

Do you still talk to them?
Yeah, we stay in touch and I always look forward to anything we do together.

The Grateful Dead came back for some special shows. Do you ever see that happening with the Allmans in a few years – saying, “Let’s do another show just for fun”?
You know, I would never rule anything out. There’s no talk of that, but you know, I think the door’s always open.

What was special about the final Allmans show for you?
I think everybody rose to the occasion. Everybody gave 110 percent. We were all tuned into each other. It was just a great night. We all knew that we wanted to leave it all on the stage that night and we wanted to go out with a bang and do a show that was indicative of what that band is all about. We did three sets, which we had never done since I’ve been there for 25 years. But it wasn’t just quantity, it was quality, and everybody rose to the occasion, and everybody was in tune with each other, and it was a great experience.

Gov’t Mule has put out three live releases this year. Is there another studio record you’re going to work at some point you think?
Yeah, I think as soon as I’ve finished touring behind this solo record, we’re going to go into the studio and start on another Gov’t Mule record. We just finished our 20th anniversary, which was a lot. We did a lot of touring. We still have a couple of tours left. I think the 20th anniversary and all those archival releases will cause us to figure out what kind of record we really want to make and try to make something different than any of the records before and especially quite different from Shout, which we’re all very proud of. It was very representative of our 20-year journey, but now we’re starting on the next part of that journey and I’m curious to see what kind of record we’re going to make.

As someone who has played extensively with both the Dead and the Allman Brothers, how do they compare?
I tend to look at every situation differently. Playing with the Dead is all about relaxing and letting the music flow and come through you and not being in a hurry to force it to go somewhere, trusting that the music, the magic, will happen, and they’ve always been about waiting for that magic to happen and capturing it when it does happen. I learned a lot about that sort of philosophy because it’s very different from the Allman Brothers philosophy, which is, “Let’s make the magic happen right now.” But I love both approaches to improvisation and one’s kind of East Coast, and one’s kind of West Coast, but they’re both beautiful and being on the inside of both of them is a beautiful experience.

One thing you hear a lot about the music business now is touring is where all the money is. You’re one of the people that figured that out from the start.
[Laughs] That’s always been our modus operandi. With Gov’t Mule and with the Allman Brothers, the Dead, with all those kind of bands, it’s always been about touring and you never based it on record sales or airplay or that sort of thing. And I guess now the entire music business is having to adapt to that reality, which we’ve adapted to for our entire careers.