HUGE LOCKN’ ANNOUNCEMENT
String Cheese Incident + Doobie Brothers
THE DOOBIE INCIDENT
We love our Lockn’ Artist Lumni! We are very excited to announce that WIDESPREAD PANIC will be returning to Lockn’ Festival for their third straight appearance, playing two nights again! Widespread Panic put on an unforgettable show in 2013 at our inaugural event, including John Fogerty sitting in for songs from Creedence Clearwater Revival. Last year, they did it again with Steve Winwood. We can’t wait to see what they do this year!
We’re also honored to have TEDESCHI TRUCKS BAND back at Lockn’ for a third year, and playing two nights this year! Tedeschi Trucks Band, the 11-piece ensemble led by husband-wife team Derek Trucks and Susan Tedeschi, have proven themselves one of the hottest, most uplifting acts on the road today. Formed in 2010 when Derek and Susan decided to set aside their successful solo careers and join forces, Tedeschi Trucks Band has since been touring the globe – and accruing fans and accolades in the process. Fronted by Trucks’ signature slide-guitar sound and Tedeschi’s pliant, honey-to-husk voice, TTB – as their fans know them – delivers a hearty roots-rich musical mix with the power to renew faith in live music. Their joyful, spontaneous energy, and overflowing musical talent, have helped Tedeschi Trucks Band reach pinnacles of accomplishment that most bands spend a career trying to reach.
And another Artist Lumni, THE STRING CHEESE INCIDENT will be joining us again, also playing two nights! SCI is not afraid to mix it up either – their collaboration with Zac Brown in 2013 and their tribute in 2014 to Kool and the Gang with Preservation Hall Jazz Band and JT Taylor were huge crowd favorites!
And finally for this week’s artist announcements, THE STRING CHEESE INCIDENT and THE DOOBIE BROTHERS are pleased to announce “THE DOOBIE INCIDENT”, the newest artist collaboration at LOCKN’ Music Festival, which has become known for its legendary artist pairings. This year, SCI will team up with rock legends The Doobie Brothers (featuring Tom Johnston, Patrick Simmons & John McFee) for a special one-of-a-kind Incident that mixes elements of rock, roots, blues and funk to create what is sure to be a show for the ages!
The String Cheese Incident are a household name in the jamband world, having played at LOCKN’ Fest in each of its first two years, while The Doobie Brothers have been a force in the rock and roll scene for over 4 decades, selling more than 48 million albums and winning four GRAMMY awards. Don’t miss your chance to see these two amazing bands on one stage – exclusively at LOCKN’ Festival in 2015!
Big Something Unveils
New Music Video for Megalodon
Big Something is one of the most promising rising acts on the live music scene. Their newest album, Truth Serum, is a testament to their outstanding showmanship and song writing genius. We are pleased to present you this music video that premiered yesterday on Guitarworld. The featured track, “Megalodon”, features the exceptional DJ work from none other than DJ Logic.
LiveMusicDaily is a proud sponsor of their upcoming show at Gypsy Sally’s this Friday in DC ! (Buy Tickets)
Live in Washington, DC
Gypsy Sally’s • Nov. 21, 2014
STREAM the Entire Show !
By Matthew Bowers
If you’ve been paying attention at all in the last few years to the Jamband scene, then there’s no doubt you’ve come across the name Twiddle. The four piece from Vermont has been touring relentlessly and have garnered a loyal and frenzied fan base in very impressive fashion. Blending uptempo reggae with deep grooves and funky basslines, these guys have a wide array of musical influences that they incorporate into their original material. They don’t just play their songs either, they take them for rides into the stratosphere with spot-on improvisation and a massive amount of talent.
This past Friday Gypsy Sally’s in downtown Washington, DC played host to Twiddle’s inaugural show in the Nation’s Capital. This would be my first time having the pleasure of seeing the band in person, and I was extremely excited to finally see what all my musical friends have been gushing about. In the few minutes before the band took the stage, the energy in the room built with anticipation and everyone in the room was primed and ready for a good old fashion throw down. The band would not disappoint.
Opening the night with “Subconscious Prelude,” the Vermont quartet came out firing right out of the gate. Guitarist Mihali Savoulidis led the dark groovy jam with his eye opening guitar work. This guy can flat out shred, and throughout the night he would continue to impress. The band has mastered the art of “tension and release” jams, and Savoulidis’ soaring guitar and great vocals, they really have something special going on.
Next up in the first set was “Wildfire,” which would give the drummer Brooke Jordan a chance to show off his vocal skills. This was a short, danceable straightforward tune with a seriously catchy guitar riff. “Carter Candlestick” gave the band a chance to show off their chops by way of an intricate composed section reminiscent of some of the earlier Phish compositions. The funky space groove and acrobatic guitar solo made the smiles that were already on everyone’s faces even bigger. The upbeat and poppy “Mamunes Fawn” gave a chance for bass player Zdenek Gubb and Keyboardist Ryan Dempsey to take solos, and they most definitely made the most of the opportunity. All four members of this band are equally impressive musically, even with Savoulidis being the clear leader of the band. The first set closed out with “Syncopated Healing,” and in my opinion it was the highlight of the first set. Reminiscent of Phish’s “Reba,” the jam is gentle and blissful and builds into a frenetic peak with Savoulidis’ guitar soaring into the stratosphere. There was a moment when I looked around during the vocal section and noticed more than a few people singing all the words, which I thought was great and showed the reach of their fan base.
The second set would end up being a more rocking set, with the majority of extended improve coming from one song. “White Light” opened the set with a short jam that got the crowd dancing, and “Earth Mama” slowed things down a bit with it’s mellow reggae groove. The real meat of the second set came with “Latin Tang.” This would end up being a solid 30 minute, beast of a jam. This one went really out there. After a short funky groove, the entire band but drummer Brooks Jordan left the stage. This gave a chance for Jordan to take a lengthy solo and really show off his chops. Gubb was the first one to return to the stage, and after a super funky bass solo the rest of the band came out and decided to switch things up. Savoulidis took a spot on the keys, while Gubb took lead guitar and Dempsey played bass. Jordan got to stick to his usual seat behind the drums. After taking a chance to show off their impressive versatility, the band went back to their usual positions. The jam went into the cosmos from there, groove after groove kept the crowd in a sweat. I was more than happy to join the crowd in this good old fashion throw down of a dance party. The band then gave the crowd a much needed breather with “Friendly Theme” and closed out the set with a “Hatties Jam/When it Rains it Pours” combo which once again had the majority of the crowd singing every single word. The encore started off with an instrumental version of Celine Dion’s “My Heart Will Go On” which was admittedly awesome and hilarious at the same time. Of course that’s not how they would finish the night, as quickly segued into an unexpected La Bamba. A perfect party song to put a cap on the best party in the district Friday night, at least for any fan of live music.
As a first time attendee of a Twiddle concert, I can definitely say that will not be my last one (in fact, I went to the 8×10 in Baltimore the next night). And it’s a very safe bet to assume that if there were any other Twiddle first timers at Gypsy Sally’s on Friday, it won’t be their last either. I look forward to seeing what these guys have in store for the future. Keep an eye on this band!
Recording by taperchris
Josh Brick Graphics
Warren Haynes and Oteil Burbridge
in the studio with Railroad Earth
This weekend Railroad Earth hit Facebook to let us know that none other than Warren Haynes was in the studio with them.
It’s been a crazy week in the RRE world. We’ve been in the studio with Warren Haynes for four days and still more to come. Honored to be a part of this project as it takes shape.-Railroad Earth Official
Then yesterday bassist Oteil Burdbridge posted on social media “Headed to NYC today for a studio session with Warren Haynes and Railroad Earth.”
We will definitely keep you looped in once we know more about what project is going on. Until then check out this excellent audio recording of Railroad Earth performing “Midnight Moonlight” live with Peter Rowan.
Live in Philadelphia
Nov. 22, 2014 at District N9ne
By Alex Buschiazzo
Dopapod returned to Philadelphia Saturday, 11/22 after a cut-short show at Gramercy Theatre in New York City due to a speaker fire. The band honored ticket stubs from the New York show for half price tickets in Philadelphia, a great gesture by the band. District N9ne seemed to graciously hold the Dopapod crowd with room to move around, spin hula hoops, dance, or camp out at a booth. There were no fires…but fire indeed was the theme again Saturday night starting with Pre-show music that included:
-The Ohio Players disco hit “Fire”
-Deep Purple’s Rock standard “Smoke on the Water”
-Billy Joel’s “we didn’t start the fire”
Set break music contained:
-Wailing Souls “Firehouse Rock”
-Grateful Dead “Fire on the Mountain”
Great to see Dopapod keep a steady sense of humor with themselves and with fans. The show opened up right where they left off at Gramercy the night before to finish up the jam heavy Vol 3. #86 – playing exactly 60seconds to tail the song off then going right into Jimi Hendrix’s “Fire” which is just what I had expected. I discovered earlier in the night that guitar player Rob Compa had just learned the song during sound check and pulled it off quite well on stage as well. With their new album being released “Never Odd or Even”, we naturally saw those tracks sprinkled tactfully throughout both sets. Picture in Picture, Psycho Nature, and Upside of Down all popped the first set with freshness accompanied by Brookline Bridge from the 2009 album, Radar, and the guitar heavy “Roid Rage” from the 2009 release, Drawn Onward. Closing out the first set was the twangy(and Zwangy!) yet delightfully syncopated “Give it a name” from the 2012 Redivider album.
The second set of the night came at us heavy. Now that they had gone a few rounds, the quartet appeared much more at ease and sank right into the highly energetic Bubble Brain from Redivider to start followed by the bass-lead Dracula’s Monk, debuted live earlier this year in August at Peach Music Festival. Next we returned to Never Odd or Even with Like a Ball preceding STADA sandwiching the untracked song Priorities. Reaching back to the 2011 bass-heavy hit Onionhead then following up with the eclectic FABA from the new LP to seal up the second set – a slow mellow and funky journey that crescendos into ferocious energy and pristine guitar licks from Rob Compa and spatial tones from Eli Winderman on keys.
I can’t say enough about drummer Scotty Zwang, a young voracious drummer with incredible energy and quite a friendly fellow with the crowd and fans to boot. Scotty’s residency with Dopapod is coming up on the two year mark and he’s proved himself to be a key player in this band. Bass player Chuck Jones remained a pillar throughout the night keeping a solid line to follow and providing deep grooves for Rob and Eli to swim through. Rob Compa shines as a guitar player both creatively and technically, I’m always amazed to see and hear Rob play. Keyboardist and lead songwriter Eli Winderman is blessed at Turnin’ Knobs and never disappoints with various keyboard antics and robotic sounds – to put it simple, Spaceship music at its finest.
With just over a week to relax the four minstrels return to Richmond, VA on December 2nd to the Broadberry and will continue to North Carolina, South Carolina, Georgia, Alabama, Kentucky, Tennessee, Ohio and will conclude the year in Worcester, MA at the Palladium for New Years Eve. Dopapod will then be appearing at Phish After-parties at Grand Central in Miami, FL January 1st and 2nd.
Vol. 3 #86 (ending last night’s fire cancelled version)
Picture in Picture
Upside of Down
Give it a Name
Like a Ball
Live in Portland
Friday Nov.7th • Wonder Ballroom
Cover “Atlantic City”
Q & A with Jake Huffman
Jake Huffman of McLovin’s recently spoke with Andrew McConnell about the brand new Tintype Recordings video series by 179 pictures. The acoustic rendition of the classic “Atlantic City” is done with extreme care and the result is astounding, a nearly perfect cover of one of the best songs ever written.
We will have a FULL INTERVIEW from the McLovins headed your way next week just in time for the Funksgiving event in Montgomery, AL with Earphunk brought to you by Live & Listen. LiveMusicDaily is a proud sponsor of the event which will benefit those suffering from cystic fibrosis.
For the Tintype series why did you decide to go with a cover over an original and what other songs did you consider and why ?
The video was recorded right on the heels of our first full Acoustic show at a residency in our hometown venue Arch St Tavern (Hartford CT). Whenever we practiced and performed the song I felt very close to the rest of the band. It made me feel a lot of emotions and in a way summed up the overall vibe of our set. Even though we didn’t write Atlantic City, we took it and played our own emotion through it. I’m certain that anyone watching the video will feel it too.
The song was originally recorded by Springsteen in 1982 and out of the many covers that have been done since there is one that really stands out from the rest. The Band tackling this song on their album Jericho was brilliant. As a drummer & singer are you drawn to Levon helm’s take on the song ?
As a singing drummer I’m certainly drawn to Levon Helm. In fact the first version of this song that I ever heard was in fact by The Band. It is very apparent our cover of Atlantic City tailors more towards The Band’s version by my vocal phrasing and with Atticus on the squeezebox.
Could you elaborate more on Tintype Recordings and 179 pictures ? Also, could you tell us about the pristine audio from the taping ?
The Tintype Recordings is short video series by 179 Pictures (Ty Morin & Jonathan Napolitano). You might have heard about 179 Pictures and their documentary “Friend Request: Accepted” on the Today show and BBC News (set to be released in 2016). Ty Morin Directed and edited this series of videos and took the Tin Types, the ghostly Civil War era photos at the end of the videos. Conceptually It’s really a genius series. All the videos were filmed in or around an old Ax Factory in Collinsville CT.
Also we were lucky enough to have Telefunken take over the audio and deck out the set with their microphones and their engineers. It’s common knowledge in the music world that Telefunken microphones are untouchable in quality, but the team of engineers (Dave Fiore, and Mike DiPanfilo) that worked on the set were the friendliest and the smartest people we could have asked for. It made the shoot easy and comfortable, and that shines through each and every video in the series.
McLovins are going back on another National Tour in January 2015 so check our Website (www.themclovins.com) and other Social Media places (Facebook, Instagram, Twitter).
with Reid Genauer
Assembly of Dust front-man, Reid Genauer, sat down with us last month in Washington, DC prior to his performance for what was surely one of the most fun interviews to date. Reid has been the sing-song writer for AOD for nearly 12 years even collaborating with jam legends such as Keller Williams, Bela Fleck, and Mike Gordon among others. Before that he was a part of the well-known group, Strangefolk.
In all honesty Reid couldn’t be more cool and down to earth. He discussed with Andrew McConnell a variety topics from The Band, 2015 tour dates, lyrical inspiration, Strangefolk and much more.
Bands that thrive on live improvisation often find themselves unable to convert that energy into the studio setting. Your personal influences have led you to really value the studio setting. You’re different from most bands that love to improvise because you’ve completely mastered the songwriting aspect. How do you reach such an equilibrium ?
Reid: Honestly I’m not sure we do. I think at our heart we’re still a live band. I don’t know, I mean, it’s true; it’s almost like a different sport; like the difference between cross country skiing and downhill. They’re totally different mechanics. I think there are a couple things.
One is just how my brain works. When I was a kid I was interested in Shell Silverstein. It was the words that were compelling. So that was partly just like a creative awakening and then I was always into the grandfathers of jambands; Clapton and Little feat, the Allman Brothers… all those bands jammed. I’m not a burning guitar player and like with anything with life you lean on what you’re good at.
You’re one of the best story tellers, could you walk us through the different times in which inspiration strikes you as a song writer ? Certainly it is noted in songs like “Songs We Sing” where you literally tell the listener that you write songs about life such as the changing of seasons. Could expound on the general approach to lyrical inspiration for you ?
Reid: Like anything, there’s a spectrum. So, I’m trying to think where in that spectrum to drop in. But, um, it’s rare for me to sit down and say I want to write a song about X. There’s only been half a dozen times I’ve felt inspired to do that. Like, breaking up with first love of my life, that was pretty good inspiration. The birth of my kids, falling in love, leaving Strangefolk. Other than that there wasn’t like a marquee epic emotion.
A lot of times I’ll have a cadence and melody and have a sense of what the lyric is going to be over the top and often times Ill search for little nuggets I’m going to stick in there.
I actually keep a phrase bank in my iphone. I’ve got like pages and pages and pages and Ill just scroll through and look for something that caught my ear. Whether it’s something I heard at a cocktail party, something I caught on TV, or whether I read it in a book, I kind of start from there and then imagine what the story is that could encompass that phrase… You write songs about what surrounds you.
You’ve said the Band has influenced you, or at least left an imprint on your musical personae. Do you think there is an audience or a desire in the listening public for a re-invigoration of that style, and is Assembly of Dust’s popularity a reflection of that?
Reid: Throughout the 90s at least and the 80s to some extent, The Band was the amorphous entity that people like me could not connect with. I remember seeing The Last Waltz and being like why did they keep letting the backing band keep singing a song between the celebrities? [laughing]
So that was my perception when I first saw it…but I know for me they’re definitely cousins of the Grateful Dead. At some level the Band is better than doing what the Dead does. Which is they have this earthy roots-rock thing. To me they pulled it off. It felt like what the Dead was going for, but the Dead got lost in psychedelia. To me the Dead is better, but The Band is the archetype of what that type of music is. In early 2000s they kind of had their renaissance when Levon Helm started recording again. I think where their ethos got picked up the most was in indie folk. Mumford and Sons is popular example of that as are other bands like Blitzen Trapper. Everyone says they want to sound like The Band. There is a reason because it’s authentic, clunky, great tunes.
There is a southern flavor about your music, and yet you are a New Yorker. Did this come from the music you listened to earlier in life, or friends and family in the region, or was it more spontaneous?
Reid: We were playing in Virginia last night and I was self aware we were technically in the south. Each time we play a song it fits contextually better here than where I live. Even Neil Young, who shit on Alabama, had this Southern quality to his music. James Taylor, Jackson brown, the Grateful Dead, the Allman Brothers… to me I think I was going more for the Americana thing than southern but it just so happens Americana emanates from Appalachia.
There is a whole asthetic that goes with it. The forlorne high lonesome, mournful whales of Appalachia. Their cool epic tails of the Ohio River. In some places, destinations in my imagination that I’ve never even been to. Kentucky is a place I’ve never even been. Tennessee Jed. You see him clear as day right. So I borrowed some of that South Eastern mythology.
May I ask you about the Strangefolk reunion? Please take it any direction you please.
Reid: It was a blast from the past. I’m not really sure what to say except that, when I left the band, for better or for worse, I just didn’t do it in a graceful way. It wasn’t like I was intentionally trying to be dramatic about it there wasn’t an easy way to do it. I felt fucked up and kind of lost. And I pulled my self out.
So for a lot of years there was just a lot of bad blood, but that’s almost not descriptive enough. There was just a lot of pain around the subject for a lot of people and so it was something I certainly wasn’t dying to step into and I don’t think anybody was. And I think like anything else, as time smooths the edges, for me it’s just nice to be able to reclaim that part of my life—or at least reconnect with it—because it’s a big part of who I am.
I’m 43—I spent a quarter of my life doing Strangefolk. It’s nice to be back in the fold. As far as everyone wants to know what we’re going to do—I don’t really know. I love doing it. I would like to write new songs and make new music. My conflict is that there’s just so many hours in the day. My jam has been AOD for the last 12 years. That tends to be just where my focus naturally lands. I just need to recalibrate. I’ve got a bunch of moving pieces that aren’t just music. I’ve got 3 kids. 2 drinking problems [laughing]. You know, I’m teasing-but you know—just a lot of moving parts. I think the summary is that we’ve reconnected and that there’s still an audience that cares and gives us room for possibility.
Any immediate plans for AOD? We can we look out for a live album in the near future ?
Reid: That’s funny you asked that. So with AOD, we had just a transitional period where Nate left he band (the keyboard player) and then Andy our drummer who was just tired of the travel. The drummer of AOD is managing Strangefolk. That gets a little tweaky. Thanksgiving in our household is a little weird. But we have this new lineup we’ve been playing you know now for whatever it’s been and the band sounds great. It takes a while.
No matter how much we rehearse, it takes a while for it to feel natural, and for the language and sort of the listening to evolve, and it has. And we don’t play as much as we probably should. So my thinking is would be cool to do another live album, to kind of show the world what AOD 3.0 has to say.
In general though, whether a live album or a studio album it’s nice to put a stake in the ground, and say we’re doing it at this point in time. Because it forces the creative process—like, YOU HAVE TO MAN UP—otherwise you’re going to hit a brick wall.
Changing subject slightly– From time to time I’ll talk to a young musician asking What should I do? My first instinct is to say quit and get a real job. [laughing] But what I always say is to create those forcing functions. So whether it’s booking a gig or a series of them, or whether it is booking studio time, or setting some sort of arbitrary deadline for yourself, it’s like studying for a social studies test. If you don’t have a deadline it’s just not going to happen.
Tour plans after the DC show and the one at the Bowery in late November ?
Reid: We’re doing a short run on the west coast in December. San Francisco and Portland, Oregon. A few dates in January in Chicago. We have another Southeastern run some time this spring. I forget the exact towns, but it’s like Charlottesville, Charleston…Just keep on keepin’ on.
with Jason Spooner
Jason Spooner is a superb singer-songwriter with an unwavering combination of instrumental deftness and a strong understanding of the song writing process to bring listeners an all encompassing “full” sound like none other. Jason took time to speak with Andrew McConnell of LiveMusicDaily regarding his new album, Hammond B-3 organs, the Grateful Dead, and life on the road.
The song Fireflies off your latest album seems like a celebration of all the positive aspects of live the time we spent with friends and family. Is the song about one specific experience you had or just a combination of those special types of moments in general?
Jason: I think conceptually it was sort of me trying, to as a songwriter, have a happy suffix. I think as a songwriter you tend to write more about songs that are not morose but you know you write about things that have you thinking and contemplating. On a summer day you just want to pick up a mountain bike and baseball bat and forget about song writing. So it’s important to sometimes channel that.
So getting into verses and lines and choruses, I mean I grew up in a very rural part of Connecticut actually. My dad was a teacher and then administrator in a school in Connecticut in this gorgeous little valley called Hidden Valley. I grew up in a very rural setting with a beautiful river running thru with ponds and fields and trails. It’s just a gorgeous place to grow up. So you know I tend to write the lyrics broad stroke enough such that people could remember from summer time, whether from you’re from the south or north or west. The bullfrog colony across the lake. The fireflies out in the sky, and that kind of thing. Oddly enough one of our radio buddies out in Montana said there aren’t fireflies out there [laughter].
I alluded to Black Eyed Susan on the country road. All of those things when I sing those lines and when I wrote those lines, in my minds eye I have a very specific place of seeing fireflies when I grew up and bullfrogs and those kinds of things. I think everyone has those summertime touchstones that they can relate to. And I think that is why the songs resonated is because everyone can relate to that. Everyone loves summer; everyone loves the campfire, the bullfrogs and the country road. It sort of speaks to youth and summer memories in your youth when they were just endless. You know summers a time when you’re so busy. But when you’re a kid it’s not.
Could you kind of discuss with me how the warmth and the tone of the Hammond B-3 organ? Have you found that the instrument can bring a song some new life?
Jason: For one, I mean, we have a very talented keyboard player who actually plays organ at a church every Sunday. When we were a trio and made our last couple of records, every once in a while. It was kind of nice—some one played Wurlitzer on one tune and somebody came in and played piano for another tune. I’ll never forget one of the guys we got to play keyboard, I said oh yeah I’m hoping on this one you can play the organ. And he looked over at the organ and was like “uhhhh”, and I didn’t realize that like just because you can drive an automatic sedan doesn’t mean you can drive and 18-Wheeler.
It’s got it’s own thing. It’s like a tractor man. You kind of have to know how to drive and kind of ride the thing and get different sounds and vibratos. I played some organ on one of my old records and I didn’t touch any of the dials. But hearing someone who can really dig into an organ is a really special thing. With out question the organ doesn’t sound like anything else.
Every once in a while you’ll hear a record and you’ll be like what is that? A Wurlitzer? A guitar effect? When an organ is playing there’s just no question of what it is and where it’s coming from. The physicality of the Leslie speaker, and what happens, and you know, it’s just a really fascinating thing. It’s an instrument that you feel it’s got depth, complexity, it’s got soul, it can add sort of a warm sort of happiness to a tune, or it can add a darker, kind of funeral-esque kind of thing to a tune. You know what Warren did with Fireflies was really warm and kind of uplifting.
But then there are a couple of tunes, you know Red & Green, where it’s just kind of screaming organ, kind of just like bam! really like hammering the thing. Intermingled with the guitar parts, and that added, that was almost more like of a violent vibe. And then in Blindside, we always joked that the kind of bubble he’s playing in the one drop part of the tune, is really kind of happy uplifting, just kind of reggae 101. But then he drops into this super; we call it kind of like, the count Dracula solo. You know it’s right out of like count Dracula’s castle. Originally we were like do we keep that? Then the more we lived with the tune we liked it because it was so unique and it kind of added another dimension to the tune.
Bob Marley and the Whalers, the Funky Meters, the Allman Brothers Band, you know so much of the music I consider pretty sacred is pretty organ centric. I mean you know I love Phish tunes, the Grateful Dead.
Just to finish that thought, in the band one of the unique things about us is even though we’re kind of like a rootsy songwriter band, what ever you want to call it—Americana—whatever, we come from pretty different corners of the map in terms of music.
You know I grew up listening to Neil Young and Bob Dylan and Simon and Garfunkel and um, a lot of Jim Croce, and Gordon Ledford, and you know, Marvin Gaye, Stevie Wonder—you know songwriters—The Beatles. And then you know kind of got into more jammy bluesy stuff in college. But you know my band mates definitely. The drummer is huge into James Brown, The Police, a bunch of roots reggae stuff. I hadn’t dug into that too deeply until meeting Lee Copeland.
There’s a passage in one of your songs that sounds kind of like the Grateful Dead, you go into detail us about the role they play in your approach to making music ?
Jason: Yeah that little instrumental break—absolutely. Jerry’s just a master. Some documentary I saw one time about Jerry Garcia. Some reputable guitar player said you know the cool thing about Jerry Garcia, his tone; this is a really unique thing and I haven’t noticed with a lot of guitar players, is his tone is pretty much identical on an acoustic guitar vs. electric guitar. Not his tone necessarily but it’s something about the way. I mean if you hear some of his leads on the Grisman stuff, and then when you hear some of what he does with The Dead, it’s something about, I think, I think what he does, I would like to actually go watch some video, but he plucks the guitar pretty darn close to the bridge, and I think it’s got like kind of a pluck, planky plucking sound that you don’t get when you’re right over the sound hole. That was something that was interesting but you know there are definitely jam bands that I think that definitely are tipping their hat, maybe even a little too much to Jerry Garcia. Sometimes people can go kind of far with it, where I think, you know, to me after all definitely, probably the merging of, the vibe of the tune, the first time I brought it to the guys I think I referenced The Dead. Unlike any other band I ever heard they had an ability to play a slow tempo tune and just make it rock. You know Tennessee Jed and Ramble on Rose, you know.
TO be honest with you my biggest influence probably more so than either Garcia or trey, is JJ Cale. JJ Cale, I can raise my hand, and say I’ve copped many a JJ licks and I’ve studied his approach and honestly one of the things, I mean um, one of the things about this record, because, I promote it for sure as a live record. All of the chord takes—guitar bass drums keys—I did on the floor, everything was live. It’s much more of a live record than we’ve done in the past. One of the things I’ve always loved about JJ Kale, he was a little out of his time with the studio stuff. I just love the textures that he gets from two or three guitar tracks. If you look at After Midnight, or Crazy Mama, and there’s a song off of Trubador called Cherry, and if you listen to that song, you’ll realize it has this soupy simplicity to it. But if you really listen he’s doing like 5 different guitar things, and they’re like perfect tones and they’re perfectly mixed—everybody kind of lauded that guy for the soup. That was kind of what he was known for, kind of just that lush playing of soundscape.
Do you have anything in particular you’re looking forward to for this tour? What can your fans look forward to?
Jason:Well the Western leg of the tour, markets we’ve kind of hit up over the last decade or so, it’s worth going back and visiting some places that we love and also kind of breaking into some new spots. I mean we’ve definitely played Spokane and Mezzula and Whitefish before. But we’re breaking into Butte and Boseman this time.
And a lot of it is going where we have good radio support because when you’re a band from the East Coast and you’re touring out West I mean it’s tough to make it. Again, it’s tough if you’re a newer emerging band so working with radio stations is a way in to getting some attention. And all those markets happen to be places where we’ve had good luck with radio.
But it’s going to be cool to kind of, you know, we’re playing a new room in Butte, a new room in Boseman, we’re getting some sort of festival kind of thing in Seattle and then kind of a cool little roots room in Portland that we’ve haven’t played before. Then we’re heading onward to Los Angeles and San Diego. I think people can expect to hear a lot of tunes from the new record. We’ve been in situations before where we make a record and we’re only comfortable playing 5 out of the 10 tunes live, I mean last night up in Hollowell Maine, we just played the record from beginning to back and everything sounded pretty damn good. Beginning to end, it was nice we just kind of rolled right through; we hadn’t done it beginning to end like that. We never really sat down and played the whole thing. It felt really good. There’s a lot of variety so people can expect to hear stuff off that record. And you know we’re definitely psyched to go back to Jackson, Sunvalley, Montana, Idaho, I mean everywhere we’re going it’s all just spectacular scenery. It takes a lot of effort to get an East Coast band out there especially when you’re an emerging band. But once you’re there you just love it. We love touring the West.
Is there any album that you remember blew your mind that made you decide you wanted to play music?
There are two sides to that. I started in poetry and song writing so there’s definitely that side to it; I think some of that early Paul Simon, Simon and Garfunkel kind of stuff, but just in terms of as a 6 or 7 or 8 year old kid, putting in my Dad’s A tracks on his old stereo. I think you know one of the first times I kind of reckoned with the power of a song, you know the simple lines in a three and a half minute song could be so groundbreaking.
Paul Simon, I mean, you know major connections being made in my head as a kid, you know someone feels the way I kind of feel. And someone is painting an incredibly deep picture for me in the course of a three-minute song. And that’s what made me say I want to try this some time because it’s such a powerful art form. And from a performance standpoint I think Zeppelin would be up there I feel. Fully reckoning with Led Zeppelin really did it. Four guys in a room making sound, you know, it’s just so badass. And probably Neil Young as well—he was a culmination of everything for me because the lyrical stuff but kind of the raw, some of the raw stuff, his electric stuff. Definitely some Neil.
On Tour + New Album
An outstanding album that knows no genres and focuses on delivering a message to society. This is a must listen. Check back for more in-depth coverage with Congo Sanchez in the near future.
“With all of the injustices that are going on with the world, we feel it is important to make music that documents our feelings and perspectives during these times. Our music is a reaction to police brutality, unjust war for profit, pharmaceutical poisoning of the youth, the caste system, media exploitation, gentrification, societal ignorance, religion, sexism, racism and love.”
- Jeffrey James Franca
“Dealin’ With This,” the first full length from Congo Sanchez is an amalgamation of musical influences symbiotically continuing the unique sound achieved by producer and creator Jeffrey James Franca AKA “Congo.” The album features the vocal talents of band members Flex Mathews and Haile Supreme, as well as special guests Mr. Lif, Ras Nebyu, and Brittany Tanner. You will even hear a small choir of the bands nieces and nephews featured on the opening cut, “Gentrified Children.” Each song tells a different story touching on the real life experiences of the band. From the perils of life on the road, broken hearts and dreams, to deceased family members and political protest pieces, “Dealin’ with this” takes it there in all directions. A refreshing, relatable presentation of word and sound, with a relevant, thought provoking message.
Primavera Fauna Mix
“With us traveling down from North American winter to the South American summer, we wanted to make something very warm and floating,” they go on. “But with a variety of house, techno, and soul textures from past and present to keep the flow captivating… as if you were on a two hour hot air balloon journey looking down from the clouds, watching the colors and terrains slowly but steadily change beneath you.”- Graff (via Thump)
Song artwork by Piari Verola
Announces 2015 Winter Tour Dates
Brings a variety of his projects and teams up with friends
Singer/songwriter/multi-instrumentalist Keller Williams announces his Winter 2015 tour plans.
The year begins in mid January with shows at Irving Plaza in New York City and the Stone Pony in Asbury Park, New Jersey – where Keller brings along his six-piece funk outfit, More Than A Little, and welcomes support act That 1 Guy each night. Later that same month, Keller brings his solo set to Florida for the first time in over a year – with stops in Clearwater, Orlando, and Ft. Lauderdale January 22-24.
In Late January Keller hits the road with progressive funk band The Motet for a string of west coast shows presented by O.penVAPE. With stops in Los Angeles, San Francisco, Las Vegas, and points in between, stay tuned for information on special O.penVAPE activation opportunities with Keller and The Motet, and their fans.
Then, the winter rolls on in late February with solo sets in West Virginia and Virginia, before Keller heads further south to Dark Star Orchestra’s Jam in the Sand in Negril, Jamaica February 27 – March 2 for a slew of special shows including Grateful Grass and Keller and His Compadres sets featuring Williams, Vince Herman, Sam Grisman & Allie Kral, Keller solo sets, and more.
Finally, in early March, Keller shares the bill with The Infamous Stringdusters for shows in the Pacific Northwest. See below for the complete list of currently confirmed tour dates. Tickets and information all shows available at http://www.kellerwilliams.net.
Of course, Keller has plenty lined up before 2015. He’ll perform this weekend – November 21 and 22 – as part of Phil Lesh & Friends for a very special run at The Capitol Theatre in Port Chester, New York. In December, find Keller on a short run of southwest shows in Tucson and Tempe, Arizona and Albuquerque, New Mexico with The Motet. Later in the month are Keller’s annual winter “Compadres” shows – December 19-20 at Warren Station, in Keystone, Colorado. For this third annual winter tradition, Keller will perform solo sets each night, plus sets with Andy Thorn (Leftover Salmon) and Andy Falco (The Infamous Stringdusters) on the 19th and with WMDS featuring Keller, Keith Moseley, Gib Droll (Gib Droll Band), and Jeff Sipe (Aquarium Rescue Unit, Jazz is Dead) on the 20th. On December 26, Keller hosts his 14th annual holiday show to benefit the SPCA of his hometown, Fredericksburg, Virginia. He’ll wrap up the year with Leftover Salmon for a special New Year’s run at The Vic in Chicago on December 30th and 31st, where Keller will perform with More Than A Little on the 30th and solo (with sit ins with Leftover Salmon) on the 31st.
Phish – GoPro: Bill Graham Civic Auditorium
10/29/14 Crowd Time Lapse
With Fall Tour over and Halloween in the books for 2014, phans are setting their sites on the Miami NYE Run. Sometimes it is hard to imagine how this band can continue to deliver a live performance that is second to none, but they manage to amaze me anytime I have the pleasure of watching them live. Honestly, I’m still recovering from Tweezerfest 2014 at Merriweather and I probably will be for quite some time to come.
To feed your Phish needs met while they’re not on tour, here is a great Phish crowd time lapse from Bill Graham Civic Auditorium on 10/29/14 that Peter Wallace caught on his GoPro.
Live in Charleston
The Pour House | Nov.9, 2014
VH1 to Premiere “A Very Bonnaroo Thanksgiving”
Thanksgiving Night, Nov. 27 at 9PM ET/PT
Bonnaroo 2015 Tickets Pre-sale to Begin Friday Nov. 28th at Noon ET
As the turkey settles and the leftovers are put away, curl up and relax with VH1 and your extended family on the farm for an exclusive special, “A Very Bonnaroo Thanksgiving” on Thursday, November 27th at 9PM ET/PT.
Experience one of the largest music and camping events from your couch as VH1 gives viewers the chance to watch some of the top acts in the festival’s history. The concert special will feature live performances from some of the biggest names in music, including Paul McCartney, Arcade Fire, Elton John, Metallica, Macklemore & Ryan Lewis, Mumford & Sons, Pearl Jam, Jack White, and many more.
Bonnaroo 2015 ticket pre-sales begin Friday, November 28th at noon ET.
The Bonnaroo Music and Arts Festival is a four-day, multi-stage camping festival held in Manchester, Tennessee every June that gives attendees an endless amount of entertainment options. Along with a star-studded music lineup, the festival offers attendees the amenities and community spirit of a small city, with 24 hours of activities including a comedy theater, cinema festival, jazz club, silent disco, arcade, Internet cafés, restaurants, yoga classes and hundreds of high quality craft vendors.
Tune in Thursday, November 27th at 9PM ET/PT on VH1 to experience a holiday evening with “A Very Bonnaroo Thanksgiving” and use #GobbleRoo to join the conversation on social media.
VH1 delivers the ultimate mash-up of music, pop culture and nostalgia for adults who still want to have fun. VH1 is available in 99 million households in the U.S. VH1 also has an array of digital channels and services including VH1 Classic, VH1 Soul, the VH1 App, VH1.com and @VH1, the hub for all things music and pop culture. Fans may also access current and retro VH1 programming via the VH1 App, the network’s three-in-one video, new form content and co-viewing app, available for free on iOS and Android platforms. VH1 is a unit of Viacom Inc. (NASDAQ: VIA, VIAB), one of the world’s leading creators of programming and content across all media platforms. For more information, go to http://www.vh1press.com, VH1.com, or the VH1 Facebook page. Follow us on Twitter @VH1PR.
For up-to-the-minute and archival press information including releases and photographs, visit VH1’s press-only Web site at http://www.vh1press.com.
About Bonnaroo Music and Arts Festival
The Bonnaroo Music and Arts Festival is a four-day, multi-stage camping festival held on a beautiful 700-acre farm in Manchester, Tennessee every June. Bonnaroo brings together some of the best performers in rock and roll, along with dozens of artists in complementary styles such as jazz, Americana, hip-hop, electronica, and just about any contemporary music you can think of. In addition to dozens of epic performances, the festival’s 100-acre entertainment village buzzes around the clock with attractions and activities including a classic arcade, on-site cinema, silent disco, comedy club, theatre performers, a beer festival, and a music technology village. For its peaceful vibe, near-flawless logistics, and unrivaled entertainment options, Rolling Stone magazine named this revolutionary entertainment experience “one of the 50 moments that changed the history of rock and roll.”
If your radio station would like to be involved with Bonnaroo Music and Arts Festival in 2015, please contact Mason Jar Media.
Future Funk Grooves to Kick Off the Week
Manic Focus is the musical conception of John “JmaC” McCarten that breaks the bounds of the typical electronic music realm. Being classically-trained on piano at an early age, his musical talents have brought him through the realms of hip-hop beats and electronic music, having now evolved into the dynamic, bass-induced sounds of Manic Focus. A Minnesota native and recent transplant to Chicago, this producer is now blowing up the EDM music scene and gaining a huge following.
Manic Focus isn’t your typical electronic dance music. His first album, Definition of the Rhythm, provides a broad array of musical creations, from energized hip-hop hits to tranquil grooves with funky flow. His dark bass lines and popping beats drive the tracks along, while spellbinding melodies and carefully-chosen vocal samples entrance the listener.
His second album, Expanding Mind, showcases how Manic Focus is broadening his sound, from the murky depths of heavy bass music toward a funky, bass-laden dance vibe. Also dipping into the realms of house and drum & bass music, Manic Focus is exploring a world of new sounds and producing pure musical magic. To accompany the first single, “Circles”, he premiered his first ever music video, featuring the world-famous Hula Hoop artist, Lisa Lottie, and produced by Digital Skylight. This album, overall, demonstrates his incredible creativity in mixing all genres, as his musical ability evolves.
New EP Instinct
Shames Muddied Mainstream EDM
By Randy Harris
Ever feel like you are swimming through the clouds when you are listening to music; like you are gliding, constantly moving but using little to no effort? That feeling is what trance music producers set out to achieve years ago, and while some of that original essence of aural elation has been lost in the muddied mainstream EDM of the day, there are still some producers out there who can invoke the type of emotion necessary to expand our minds.
Lucas Chambon’s brand new release, Instinct EP, consists of four tracks that do just that. From the funkier, staccato tones and swirling swells of “Citadel” and “At Dawn” to the mind-soothing ambient trance of “Turquoise” and “Cheyenne,” the EP continuously lifts the mind of the listener to new heights. The tunes are set on top of slow, relaxed beats to enhance the sense of peace that is necessary to keep us reaching higher, while the melodies and harmonies are flawlessly constructed for maximum aural elation.
Trey Anastasio Band Saxophonist
Steps Out With Electro-Funk Dream Team
Debuting New Single “Terminal”
Multi-instrumentalist and vocalist James Casey releases the first music video for his new project, Animus Rexx.
The New York-based musician and producer – who is a member of the Trey Anastasio Band on saxophone, percussion and backup vocals – explores a transient new style of electronic-laced funk in his new endeavor.
“A little over a year ago I decided to start a band with some of my friends from Berklee [College of Music]. At the time I was playing with Trey, Lettuce and Soulive, and I wanted a slightly different outlet for my own musical undertakings. I also wanted to introduce the larger community of music lovers, whom I am blessed to interact with regularly, to a few of my amazing friends,” Casey said recently.
“The idea behind Animus Rexx was to combine two things I really love – live instruments and electronic music – into a cohesive musical experience that takes some of the best parts of both,” he added.
The music video for “Terminal” was recorded April 23, 2014 at Rockwood Music Hall in New York City. Dani Barbieri of Little Lou productions both filmed and edited the video, which features Casey on sax, vocals and samples, alongside keyboardist Yuki Hirano, guitarist Randy Runyon, bassist Reuben Cainer, and drummer Justin Tyson. The group plans to release a live EP of the Rockwood concert in its entirety.
Animus Rexx returns to Rockwood Music Hall, performing live in concertMonday, Nov. 17 at Stage 2.
Later this month, Casey will help the Trey Anastasio Band kick off their Fall 2014 Tour in Chicago, IL Friday, Nov. 28 at the Aragon Ballroom. Fans of Casey can also watch him perform on Late Night with David Letterman this Thursday, Nov. 13 with pop star Shawn Mendes, where he will take lead on drums and serve as musical director for the national TV performance.
Interview with Michael Goldwasser
Producer of Dub Side of the Moon
& Founding Member of Easy Star Allstars
Dub Side of the Moon is one of the best reggae albums in the past decade and it has constantly remained a top choice on Billboard Reggae charts since its release in 2003. In 2013 and 2014, the band has been celebrating the 10th anniversary of the release of Dub Side of the Moon with full plays of the album at many of their shows.
Founding member of Michael Goldwasser has helped produced every album to date by Easy Star. He took over an hour to speak with LiveMusicDaily founder, Andrew McConnell, to discuss Dub Side of the Moon in the most in-depth interview on the site to date. Michael talks about how the idea for the album came about, the recording process, the philosophy of covering a classic album, the live performance, and much more.
Pink Floyd’s “Dark Side of the Moon” album is a sacred piece of art. It really is. In all facets, production wise, playing wise, songwriting wise. It is a sacred piece of music that almost seems untouchable. Where did the ideas initially come from to cover the entire album in reggae style? Was there a point where you thought that reggae could meet Pink Floyd in some form or were you taking it head-on as a challenge?
Well, the idea for doing “Dub Side of the Moon” the reggae version, or reggae adaptation for “Dark side of the Moon” actually came from one of my partners, Lem Oppenheimer, who was a big fan of the original album. He said when he was a teenager there was one period of his life where he listened to side 2 of “Dark Side of the Moon” every day before going to school. So he was really into the album. Then fast forward to our mid twenties and we have started our records to make reggae music and he just had this idea one day when he was listening to Dark Side of the Moon and he thought “wow, maybe this could work as reggae.” He brought the idea to me, I’m the only one at Easy Star Records who is a musician and a producer, so at that point I was handling all the production through the label and he gave it to me and one of our other partners who’s heavily involved on the A&R side.
I actually at first was somewhat skeptical, because I didn’t get into making reggae music to do covers of classic rock albums. Not that there’s anything inherently wrong with that, but it isn’t what I wanted to be doing. After thinking about it for a while and then actually going into my home studio and making a few demos for a few of the songs I found that it could actually work. I think the first song I worked on was “Breathe” and I think that the bass line that you hear on Dub Side of the Moon is the first thing I came up with after tinkering around in my studio.
It somehow came together somewhat quickly and so I understood it could work. We also liked the idea of tackling an entire album, because there are plenty of covers in reggae such as covers of songs or greatest hits of an artist or genre. Representative reggae. Which makes a lot of sense because like most forms of popular music have a lot of covers in them. Its just part of the music making process, take a song which everyone loves and add your own style to it. There certainly has been reggae covers of the works of certain bands, there’s a series of reggae Police albums, two reggae Grateful Dead albums, and there was a group called Dread Zeppelin who did a few albums of reggae Led Zeppelin.
So, we figured the only way to really move into this space with any kind of purpose and legitimacy would be to take an entire album. Which has actually worked out well for us, because now we have carved out a niche by doing that. When we were first thinking about whether Dark Side of the Moon would work as reggae there were several reasons why I think Lem had the idea and then how me as the arranger and co-producer was able to see it to fruition. The tempo to Dark Side Of The Moon is pretty laid back; a lot of reggae is too, so we didn’t have to take a big leap in tempo. And there’s also a lot of open space, room for doing stuff on the original album, which when we wanted to do a reggae version that was heavy on the dub. That comes in really handy if you want to be doing dub effects you need space for that. Lyrically while the album is very English and British with British sensibilities, people have to remember is that Jamaica was a British Colony until 1962 or so.
The Jamaican way of thinking is very much formed by the British way of thinking in a way so it kind of made sense lyrically on that level. Also, there are some universal themes in the album that really anyone from anywhere could get with. So we felt we did good work in many ways on many levels. One of the reasons why I think we were able to pull it off is that, you said you thought it was a sacred work of art, I understand and respect that, but I wasn’t coming to it from that angle. I was, I mean Dark Side Of The Moon is one of the biggest albums of all time in American rock music and even the wider scope of popular music, but I was never a big fan. I probably had heard the entire album straight through, but I really can’t say for sure that I did. I wasn’t someone who said “hey lets go listen to Dark Side of the Moon right now” I mean I’ve never even owned a copy of it. I understood its importance in the scheme of the world of music, but I didn’t have reverence for it. I had respect for it, which made it easier for me to tackle.
What was from a production side the most challenging and/or fun track you produced on the album and why?
My co-producer and I, Victor Axelrod, we spent a lot of time figuring this stuff out. We didn’t really have a strict timetable, which was great. We basically recorded the album over the course of three years. It was not like we were working for three years, but we did some work here then took a break and did some more work. It really gave us enough time to figure things out.
We knew the basic idea which we established very early which was we wanted to keep the melodies intact. Respect the melody; respect the lyrics, except we’re making a few changes to make it more reggae. We also wanted to respect the harmony, respect the chord changes. A lot of reggae covers break things down. They’ll take a song, but they’ll just put it over two chords and change the melody to fit on that. We really wanted to keep it so that the second someone hears a part of the song they’re going to know what it is, but then we’re going to flip it by making the drums and bass straight up reggae and of course adding the reggae skank rhythm with the guitar and piano and organ.
Then we also knew we wanted to replace the more bombastic rock elements with typical reggae elements. David Gilmour, great guitarist, but we did not add any guitar solos. Actually I did record a guitar solo for “Money” where I painstakingly learned every note. But in the end we didn’t wind up using it, because it was too much like the original and it was too far away from what we wanted to do in terms of reggae-fying things. We knew any guitar solos would be replaced by something like we do either trombone on “Any Color You Like” or melodica on “Time.” So, I feel like we’ve figured out everything that we wanted to figure out in terms of how we wanted to approach things.
But, I’d say the most difficult song might’ve been “Money” because up until us doing this I don’t think there had been a reggae song in seven before “Time” before. It took us a while to figure out how do you do reggae in 7/4 time signature. All reggae before we did this was in 4/4 time signature. What we realized the way to do reggae in seven was to use what we call a steppers beat, which is when the kick drum is playing on every beat of the bar. So a steppers beat is usually when you have four beats per bar on the kick drum, instead we made it seven. So it just became a matter of getting the drummer to feel that and then also play a hi-hat pattern in F. So it was a challenge to even conceptualize it. I think my co-producer came up with the idea that it had to be that beat. It took a while for the drummer, Patrick, to get it, because it’s tough. You’ve been playing reggae your whole life, but you’ve never tried to play it at 7/4. That definitely was a challenge, but the great thing is now that we figured it out for “Radiodread” that 7 out of the 12 songs are not in 4-4 time or incorporate many different kinds of instruments. You might be part of 4-4 but then it switches. Like the song “Paranoid Android” it switches time signatures 13 times in the song. All that stuff was a challenge but at least I know I could pull it off. I did “Money,” I can do this. I still think we might be the only known reggae band that does all these reggae songs in non 4-4 time. Initially I played on the guitar and playing rhythm guitar, it was a little hard to figure out the pocket in that signature. Now, I don’t tour with the band regularly, but when I do play with the band that song is second nature to me. I have no problem playing reggae in 7/4 or any time signature we’ve done. You just have to kind of learn it until it just feels right.
We had a lot of fun making the album, because we didn’t have the weight of expectations on us. We took a lot of time, but to a certain point the guys at Easy Star Records realized that we had to get this album out, so it wasn’t like all the time we needed. It was more time than a typical record and especially since we hadn’t done anything like this before there was nothing to compare it to. All of our subsequent records, people will always compare it to Dub Side of the Moon. It was fun overall; also Victor my co-producer is also a great friend of mine. We have been friends since we were 15 years old, so it was awesome. It’s hard to think of what the most fun was, well coming up with the concept of the intro to “Money.” I don’t remember whose idea it was, I kind of feel like it was mine, but then my partners will be like “No, No it was mine.” The whole lighting a bong and taking a hit thing and just to figure that out was just fun. Like how are we going to replicate each part of a pattern and make it work? Then producing that part was fun because my friend Russell volunteered to play the bong. We wanted to be authentic with the use of the bong, so it was fun.
On a serious note, some people assume that we were high or on some kind of substance while making this album, but Victor and I did not do anything when we were making the album. Maybe at some sessions, we had a beer at the end of a long night. While I understand that “Dark Side of the Moon” and “Dub Side of the Moon” are famous stoner albums, but we did not partake at all. It’s always kind of funny to me that people find it hard to believe. Even though, drugs are a part of music’s culture, but I feel if you are a real musician or producer you don’t need that kind of stuff.
Another fun thing about the album for me, aside from being a producer is that being a musician, I rarely think about this stuff but I just last week had to proof a new test pressing for “Dub Side of the Moon” for the vinyl because we switched to a different manufacturer, so we got new test pressings. I had to listen very intently to make sure it was perfect. I had good headphones on and I was really listening to it. When you do a test pressing and check it you should listen to at least three copies all the way through to make sure everything is cool. So I had to listen very intently and I was listening to stuff I had played on guitar and I was really stunned, because Gilmour came up with some really cool stuff so it was really fun to simulate it. Like on “Breathe” all the pedal steel sounding stuff, I’m not really a pedal steel kind of player, I had a player that was digitally manipulating the sound to do that and it was funny because I kind of forgot that I did that kind of stuff. I don’t really listen to the stuff I do all the time, so it was fun to pick apart the details and play them.
Did you do a lot of this on analog or was a lot of it digital?
If we had the resources, we would’ve done the whole thing analog. For financial reasons we recorded the basic tracks in analog on one-inch tape into a sixteen-track machine then we bounced everything to ADAT machines. We didn’t have Pro Tools, but Victor had two ADAT machines, so it would’ve been two 32 tracks except during the whole process at all times at least one of those four machines weren’t working. So basically we had 24 tracks, but all the recording we did was through a good analog board. Using vintage gear, the actual media we wanted to record it on was digital, ADAT is digital but as much analog as possible. Every compressor on the album was a real compressor and all the effects, the reverbs etc.
When you’re working with a lot of digital tape play what is your go to for reverb or delay, were there any preferred pieces of equipment? Thinking inparticularly, I as a guitarist I’ve always loved the Mutron Envelope Filter, but I also just love the phaser, both of which are used in the recreation of psychedelic rock. Did you have any sort of equipment or maybe a rack or just a pedal that was a go that you used during the recording?
The honest answer is I really cannot remember what units we used, because some of this stuff was recorded or mixed in 2001 and 2002. We weren’t using primarily my effects units so I cant remember which spring reverb or delay we used. One of the delays we used was an Effecttron. I don’t think that was the name that we used, but one effect we did use on a few songs that I really love was called a Boss T-wah. It’s an envelope filter but it’s also kind of like an auto wah. We used that some times on the bass and drums on “Us and Them” also on “Money” at some point.
Once the album was released, how did you respond to the success of “Dub Side of the Moon” and were you surprised? For a reggae album to get that much attention was huge.
I’m humbled and appreciative of the success and that so many people love the album. I always say that if everyone who loved the album says they had actually bought the album the idea would be in a much better place right now. All of my homeboys say they love the album and I’m just like “Don’t tell me that.”
I wasn’t surprised on some level by the success, because I really did feel that when we were done I felt we made a solid album that people should like if they give it a chance. The fact that we got some great press and part of it was that we hired a really good PR agent that did a good job in getting it to the right people. It was definitely exciting. We were putting out what we thought was really great quality and authentic Jamaican influenced reggae for a few years and the best we could ever hope would be to sell around 5,000 copies. Certainly we’re not going to get any love from any kind of media outside of reggae media. It’s certainly very cool to be on NPR and to be mentioned in Entertainment Weekly and Playboy magazine so it felt great.
All of a sudden there was a demand for us to go on the road and do it live which was something we never really thought about when making the album. That was a whole other trip and a trip that is still going on. It’s cool that we started touring in 2003 and have been touring consistently ever since and we’ve hit many countries around the world. We’ve played on 6 continents, I don’t think we’re ever going to play Antarctica but that’s alright. We’ve played most places anyone could hope to play in front of some huge audiences and playing the Glastonbury Festival. We have not played many of the bigger US festivals and I feel we get looked at as a cover band and Bonnaroo doesn’t really want to be associated with that.
Personally, I stopped touring with the band, because I realized I would never be able to make records if I was on the road all the time. These tribute albums I’m spending at least a year and a half on of pretty concentrated work. I gotta be in the studio sticking with it making that stuff.
For artists on the Easy Star Record label do you assist with the producing of their records? Are they recorded on independently or are you directly involved or a little bit of both?
It’s a little bit of both. Look, I love the artists on Easy Star. I would be very happy to be producing all of their stuff, but there’s not enough time in the year to be doing that. We work with a lot of bands who self produce and are really great at it. They don’t really need my hands on touch necessarily, although we executive produce. We advise them through and make suggestions. I certainly do producing and mixing for other artists outside of Easy Star which is good.
It’s great we have been able to tour so much and personally being able to travel so much and to have this music bringing joy to people all around the world still is really gratifying. Look I know I complained about how people weren’t actually buying the album, or it’s not making the money I think it could be making, but it is certainly an amazing feeling to be on stage with thousands of people and you’re playing this music that, yes I didn’t write it, but I did arrange and conceive of this version of it and to be able to play it and see the happiness on their faces and their physical reactions, their dancing and just how excited they get to listen to it feels great. It’s a really great high.
What would you say, when you were on the road, was the transitional phase taking it from the studio to the live area thought? What adjustments and preparations had to be made? Pink Floyd when they toured live in their later years, they’d bring in an extra keyboardist, an extra guitarist, an extra everyone for every instrument almost, it’s an operation. Can you take me from its infant stages the procedure from the studio to the road?
Basically I had to reconceive all of the arrangements, because we couldn’t hire. We already have 8 musicians on stage and then a live dubbing engineer who is a musician as well; he’s part of the band although most people won’t see that person. 8 musicians on stage is a lot of musicians for a touring party unless you’re a much bigger band. Even so, we couldn’t make it any bigger. I had to think, so on each song there are at least 2 guitar parts not 3 or 4, but I had to kind of distill it down. I had to figure out what was most essential on every song. That wasn’t impossible it just required some thought. Luckily the keyboardist has two hands so he can play piano and organ or piano and synth at the same time so we had to reduce it down but not as much as the guitar. We couldn’t tour with a percussionist, so we had to leave out a percussionist. It would be nice to have more vocal harmony at some points, but most of the band thinks we have it covered. I think we can do a pretty faithful job in terms of playing it live, although most of the singers on the album do not tour with us. That’s a difference, but it’s not all about the singers even though the singers on the album did an amazing job and that was also one of the fun parts of making the album was working with some great reggae artists who had no idea what these songs were or what they were about. They just interpreted them in their own way and it came out really cool. Another reason the live version is cool is that, especially being on the road for 11 years, some songs have really developed from the live arrangements or from the recorded arrangements. I think it’s great. We decided that we were going to put the guitar solo back into “Money” but not in the middle but in the end. There are different ways to stretch it out live, so we try to keep it fresh. I personally hate to see bands who perform and try to sound exactly like their records; I think it’s boring. When I go to a show I expect some level of improvisation and new arrangements. We definitely welcome the opportunity to do that.
Do you feel there are any overlapping themes or connections between the records you choose to cover in a reggae style of music? Is there an overall theme?
There’s definitely a theme that connects the albums we decide to cover you know, that doesn’t necessarily connect the theme to reggae. We want to do great albums where every song is great in a different way and it’s not just all the same thing like every song sounds the same. In order to make an interesting adaptation it’s easier to do that when you’re starting with interesting source material.
All four albums that we have done have been interesting in their own way. I think a connection to reggae is, that reggae is sometimes derided, by people who don’t necessarily listen to reggae, as being an overly simplistic style of music but people who really know reggae know the depths of it. Know there’s a lot of interesting stuff in reggae and know that there are lots of sub genres and lots of bands approach things very differently. We feel like reggae is right for making adaptations for making something very cool and interesting. It’s all about finding the right album that we feel could really work as reggae.
Do you have plans to tackle another album in the next couple of years?
Generally speaking, maybe. I can definitely say that.
David Gilmour, when asked about technology and what they were using at the time the idea is that you control the technology and as long as you don’t let it control you there’s no problem. I wanted to get your thoughts on the balance, especially as a guitarist, of this concept of using this technology in the production technique and the instrument without letting the technology control you?
I agree, I think the biggest problem is that technology these days seems to trump originality or a good musician. It sucks because the disease has infected me even because now as a producer. I started out in the days of strictly analog I recorded only a tape and maybe you got a good take or maybe you got a bad tape. That was it. Now even musicians even expect that a producer is going to fix shit digitally. Me as a producer, I’ve come to be like “yeah, I’ll fix it.” The musicians don’t expect to play the amazing take every time out. As the producer I don’t expect to get the amazing take every time out. That sucks, but it’s kind of the way it is now. I would love for one day to make an album where that’s not the case. Whenever I have the budget and just be like “look this is the way we are going to do it” and I get the absolute best people to do it. Where I know there’s not going to be a lot of editing or over dubs. I always try to record as many people as possible, but it’s a big problem.
Technology has taken away the essence of what a lot of music is. I still listen to vinyl whenever I can because to me that’s the best sound. Its crazy to me that, I listen to all kinds of music, so much of music that I hear these days it’s very rare that I hear anything that’s new that I’m like “wow that’s just as good as all the classic music I love from back in the days.” Part of that I think is the fault of technology. It’s so easy for anyone to make something that sounds halfway descent. It used to be in the realm of very talented people and now it’s not. It’s way to easy to make music and it not be great but people accept it anyone even if it sounds like something that was popular. You don’t know how many times I’ve been working on writing a song or doing a remix and the instructions from the publisher are, “it’s gotta sound hot and it has to sound like another song on the radio.” It’s not about originality, it’s not about quality, and it’s just about capturing what’s hot now. Popular music in America has always had some part of that like someone comes out with a hit record and… but it’s gone to an extreme now.
Save the Date: All Good Festival Reveals 2015
Return to West Virginia July 9 -12
Walther Productions announces today that the All Good Music Festival & Campout will be held July 9 – 12, 2015. The 18th incarnation of the event is taking place at Berry Hill Farm in Summit Point, West Virginia (near Charles Town and Harper’s Ferry, WV). The new site, located in the Eastern panhandle of West Virginia, is approximately 90 minutes from Baltimore and 75 minutes from Washington D.C., and marks the festival’s return to Wild and Wonderful West Virginia. The festival lineup and further details will be announced in the coming months.
Fans are encouraged to visit the official event website at www.AllGoodFestival.com to sign up for the latest announcements via the festival email list and to sound off on social media at www.facebook.com/AllGoodMusicFestival and www.twitter.com/allgoodfestival.
Returns to Philips Arena in Atlanta
Saturday , February 28th
Public on-sale Friday, November 21 at 10am
[November 12, 2014, Atlanta, GA] – Live Nation has announced today that Billy Joel will perform at Philips Arena on Saturday, February 28, 2015. The performance marks Billy Joel’s first solo appearance at Philips Arena since 2007.
“It is a an honor and privilege to welcome Billy Joel back to Philips Arena on Saturday February 28, 2015. We have had the pleasure to host Billy in the past and he always delivers an incredible show,” says Trey Feazell, EVP & General Manager, Philips Arena.
Billy Joel is one of the highest grossing touring artists in the world. Having sold over 150 million albums globally, his music has remained among the most popular in the world. The singer/songwriter/composer is the sixth best-selling recording artist of all time and the third best-selling solo artist.
Recently, Joel was honored by Steinway & Sons with a painted portrait that hangs in Steinway Hall in Manhattan, the first non-classical pianist to be immortalized in the collection. He played to more than 110,000 fans when he performed the final concerts at Shea Stadium, featured in the 2010 documentary film “The Last Play At Shea.” This week, Joel will receive The Kennedy Center Honor, one of the United States’ top cultural awards.
Billy Joel has received six GRAMMY® Awards, including the prestigious Grammy Legend Award. He has been inducted into the Songwriter’s Hall of Fame and the Rock and Roll Hall of Fame and has received numerous industry awards. His music has also served as the inspiration and score for the hit Tony Award-winning Broadway play “Movin’ Out.”
American Express® Card Members can purchase tickets before the general public beginning MONDAY, NOVEMBER 17 at 10:00 AM through THURSDAY, NOVEMBER 20 at 10:00 PM. Tickets will be available for purchase by the general public beginning 10 AM on FRIDAY, NOVEMBER 21 via ticketmaster.com, the Philips Arena box office, and by calling 800.745.3000.
Live in Washington, DC
Nov. 5, 2014 | Lincoln Theatre
Jeff Austin Adds Tour Dates
Stream New Track “What the Night Brings “
Jeff Austin Band recently announced some additional February tour dates ! Also, Jeff Austin will make his Yep Roc label debut with his genre-blurring solo debut, The Simple Truth, out February 10 (more info). Stream “What the Night Brings” off the album below. For more information visit jeffaustin.com/tour.
Check out the full list of dates below:
1/16 – Sheridan Opera House – Telluride, CO
1/17 – Sheridan Opera House – Telluride, CO
1/18 – Wheeler Opera House – Aspen, CO
2/6 – The Bluebird Theater – Denver, CO
2/7 – The Fox Theatre – Boulder, CO
2/10 – Knuckleheads Saloon – Kansas City, MO
2/11 – Donnie’s Homespun – Springfield, IL
2/12 – Madison Theater – Covington, KY
2/13 – Thalia Hall – Chicago, IL
2/14 – Park Street Saloon – Columbus, OH
2/19 – Minglewood Hall – Memphis, TN
2/20 – George’s Majestic Lounge – Fayetteville, AR
2/21 – The Venue Shrine – Tulsa, OK
2/22 – WinterWonderGrass Festival – Avon, CO
Grateful Dead Author
Shares His Thoughts on 50th Anniversary Reunion
The author of Aces Back to Back The History of the Grateful Dead (1965 – 2013) hit social media today to discuss the current chances of a Grateful Dead reunion for their 50th Anniversary.
Things seems to be looking up for the better with the band finding a way to make this work despite some logistical issues they may face with promoters. In fact the author Scott Allen stated, “A 2015 reunion of the Dead featuring the Core Four seems, suddenly, despite my earlier-given lack of optimism, very real.”
We hope this is true ! For more information see the post below.
Click Here to Read the Facebook Full Post
See-I Hits the Road
For Bear Creek Music Fest + Aisle 5 Show
FREE Aisle 5 TICKET GIVEAWAY
On Saturday November 15th See-I heads to Atlanta, Georgia to play at the brand new Aisle 5 live music venue. Just opened in October, Aisle 5 has quickly gained a great reputation for having high quality production, sound, lighting and the best vibes. Opening up for See-I will be The Morkestra with their signature far-out DJ sets that take the listener on a journey through sight and sound! See-I is touring in support of their new album “Knowledge Shine Bright” and will perform most of the new album live and direct…
To eligible to win Two Free Tickets to this show share retweet this article (here).
LiveMusicDaily Exclusive Media Sponsor
for Live & Listen’s
Earphunk + McLovin’s
Funksgiving | Montgomery, AL – Nov.28, 2014
We are pleased to announce LiveMusicDaily as the official media sponsor for an event in Montgomery, AL. The first event held by Live & Listen seeks to work with local business and the Run Bell Run campaign to raise money for cystic fibrosis.
Most of you already know by now that Earphunk is one of our favorite funk acts right now, clearly an emerging act with vast amounts of potential. Their most recent album has received over 580,000 downloads. They offer the nastiest in NOLA funk with B-3 cosmic organ slop, soaring lead solos, and staple crescent city vocals in a high energy live performance. They will be joined by the McLovin’s who rose to stardom as teenagers with their viral youtube video covering Phish’s “You Enjoy Myself”. Since then the group has drastically matured to become a staple amongst the Northeast and national music scene. This night is about great music for a great cause. This will be one for the archives.
Stay tuned for FREE ticket giveaways and additional pre-show exclusives.
Hailing from New Orleans, Prog-Funk band Earphunk has emerged as one of the Southeast’s premier jam acts. The quintet has been steadily building a rabid fan base across the United States with their unique brand of high-energy funk, inspired improvisation, and dynamic stage production. In an innovative move to get their music in the hands of live music fans, Earphunk have partnered with direct-to-fan publisher platform BitTorrent Bundle to release content-rich collections of live shows and studio albums. Visit the band’s website (www.earphunk.com) to stream and download songs from Earphunk’s current discography for free.
McLovins specialize in the creation of dynamic and improvised sound, influenced by the members’ disparate and eclectic music influences. The band consists of Jason Ott, Jake Huffman, Justin Berger and Atticus Kelly.
These early twenty-year-olds embrace simultaneous and intricate improvisation with a more versatile front line in which all members are singing in four-part harmony, writing lyrics and music, as well as expounding on one another’s musical ideas. Set list segues and fiery improvisations are a staple of the band’s performances, keeping their audience always guessing what’s coming next and wanting more.
In the short time McLovins have been performing together, they have been invited to appear at an impressive number of well-established, as well as many new music festivals, and some of the most well respected venues in the North East. These guys are constantly writing and playing music, to continue to build on their own foundation, towards a long career of original rock music to their growing fan base.
The String Cheese Incident Announces
Winter Carnival Tour 2015
The String Cheese Incident is thrilled to announce the return of their historic “Winter Carnival” tour in early 2015. Coming off the heels of another NYE run in Colorado, the band will hop on the road for 14 Incidents across the Western US beginning in January.
Tickets for all shows will go on sale through SCI Ticketing beginning Tuesday, November 18th at 11am MT, followed by a public on sale on November 21st & 22nd through respective venue outlets.
MORE INFO HERE.
Interview with JP Miller of
Yo Mama’s Big Fat Booty Band
FREE TICKET GIVEAWAY
Yo Mama’s Big Fat Booty Band is one of the best funk bands around as they travel across the country to preserve the art of funk. Their onstage live presence is highly reminiscent of George Clinton & Parliament Funkadelic with high energy shows that have value both vocal talent and sonic instrumental improvisation. They are commanders of the groove following George Clinton’s mantra of “Free Your Mind and Your Ass Will Follow”.
Guitarist and Vocalist of YMBFBB, JP Miller, discussed with LiveMusicDaily Founder,Andrew McConnell, a variety of topics ranging from the preservation of funk to their favorite guest sit-ins.
We will be giving away a FREE TICKET to their upcoming show this Thursday at The Hamilton in DC with legendary saxophonist Ron Holloway. Click here for details.
Why do you think this genre continues to be relevant ? Would you say it has a lot to do with the power of being a “feel based” musician over a technical musician ? Obviously you do both, but the “feel based” facet of funk music is an apparent attraction of the genre either directly or indirectly for a fan.
JP Miller: Funk is something that will never die. It is uplifting music that makes you feel good. Therefore, it has, and will continue to make it’s way into all sorts of genres of music. Early rap sampled old school Funk to create it’s beats, many 80’s and 90’s pop bands infused Funk into their music and it is even very common to see current Jam Bands referring to themselves as “Funky.” The difference between Funk and “funky” can be immense, but it is nice to see that the genre is being kept alive through current music. Sometimes music that is too technical, can loose it’s feeling. It is impressive to see someone shredding some scales all over the place, but sometimes people just want a simple groove they can bounce to. James Brown, Sly Stone and George Clinton were excellent at sitting on a groove and letting it ride for a while. People get lost in that kind of jam and it helps to release things inside of them that make them feel good. Many people could not name a Funk band, if asked, but the second they hear that groove, they start to dance! There is a love of Funk out there, but a lack of knowledge on it’s history. That is why we pick some lesser known Funk songs to bring back, as a sort of education to the masses. It is our duty to the genre.
You have been playing together for over a decade, how do you keep things interesting and relevant for yourselves ? The last album really stands out from previous records you have done, was this more aggressive approach an example of how you keep things fresh and exciting as a family ?
JP Miller: We are always hungry to write new songs and explore different avenues of music. As long as we are able to get together and combine our brain power to see what kind of interesting concoctions we can come up with in the practice spot, we are happy. The new album “Funk Life” (scheduled for a Spring 2015 release) will be the best, most cohesive album we have ever recorded. We have been playing some of the songs live and have gotten a great response.
How has the city of Asheville influenced your sound ? The natural surrounds as well as the artistic culture of the area seems to drive in inspirational painters, writers, and musicians ?
We are on the road about 200 days a year, so our time in Asheville is limited. We do have a great support group of people here, and Asheville culture is something that is growing and changing every day. It is a great place to come home to!
You are Jam cruise vets, could you please tell us why exactly to you personally this experience is so magical ? Clearly Cloud 9 is doing something spectacular with all the events they put on, but Jam cruise is the pinnacle of all these.
Jam Cruise was a great place for us to jam out with and hang out with some of our favorite musicians. People don’t realize that most musicians don’t get a chance to see other musicians that they have befriended over the years, because everyone is always on the road. Festivals provide this atmosphere, but Jam Cruise is much more intimate. We also got to create relationships with fans, that we have continued to keep over the years.
What has been your top 3 guest sit-in moments at a festival or a regular booty band throw down?
*Sharon Jones sat in with us in Augusta Georgia (her hometown). We have a ton of respect for her, so that was a highlight.
*Keller Williams has sat in with us on numerous occasions throughout the last couple years. It is amazing how he gets on stage and turns Booty Band into an extension of his wild Keller personality. We become his musical puppets for a tune and the results are highly entertaining.
*On two separate occasions we had the honor of playing an original Funkadelic song with the co-writers Bernie Worrell (keys) and Gary Shider (guitar/vocals) of George Clinton’s band Parliament-Funkadelic. They have always been a huge inspiration to the band, so it was amazing to have them on stage with us, jamming a tune that they wrote back in the 70’s.
Do you find the amount of music festivals in the present day to be a bit overwhelming? Are there too many of them?
Festivals are a great opportunity for bands to get in front of new faces and to link up and play music with other touring artists. As long as the attendance does not go down dramatically, due to an over saturation of festivals, I do not think there can be too many.
What musical influences do you have that most people wouldn’t expect?
We listen to a wide variety of music in this band. The rule on the road is, the driver picks the music. On a long drive, where everyone takes a turn, you will hear everything from middle eastern infused electro-dance music, to classical symphonies, to late 90’s rock, to japanese pop, to something off the Dirty Dancing soundtrack. There is also a healthy dose of talk radio included, that covers topics ranging from financial advice to aliens.
FREE TICKET GIVEAWAY
Live at the Hamilton in DC | Nov.13,2014
Big Something Performing “Andromeda”
by Perpetual Groove with Brock Butler
Here is a true gem from the rising space-jam-rock outfit, Big Something. This particular recording features former Perpetual Groove front man Brock Butler leading the group through “Andromeda”. The song was originally released on P Groove’s album “All This Everything”.
Perpetual Groove performed their last concert on April 5,2013 at the Georgia Theatre. This is truly a special moment to have Brock join another band to perform a Perpetual Groove original. This rendition, while somewhat different sounding from the original, definitely gives the track justice.
LiveMusicDaily is a proud sponsor of Big Something at their upcoming DC show at Gypsy Sally’s. Stay tuned for more updates and ticket giveaways.
In the meantime check out their new album, Truth Serum.
Jah is My Friend (Dub Architect Mix)
Here are some reggae vibes to keep you moving steady through your Monday afternoon. This tune by Kenyatta Hill is a must listen for any reggae fan.
Based outside of Charlottesville, VA, Justin Pietro a.k.a. Dub Architect, has been heavily involved in the US reggae scene for the better part of the last decade. By blending traditional dubwise reggae remixing techniques with new technology and ideas of what “dub” can mean, Dub Architect aims to bring live dubwise reggae to the forefront of the emerging US scene by working with heavy-hitters such as 10 time Grammy nominees Third World, Easy Star All-Stars, The Green, & Rebelution as well as lesser known but equally talented artists. His first album, Dub Volume 1 (released June 2012) is available as a free download. With over 2000 copies of the first installment downloaded, Dub Volume 2 (released October 2013) debuted to praises from publications such as ThePier.org who called the album “a well produced head nodder from start to finish.”
After playing in numerous roots and dub outfits around the DC/MD/VA area, the multi-instrumentalist and dub producer co-founded Dub Campaign as an outlet to demonstrate live dub techniques with a full band. Dub Architect co-produced and mixed Dub Campaign’s debut EP, Lion in Disguise, (released January 2013) and served as the executive producer for the band’s B-side dub remix album Lion in Dub (released April 2013).
The Lyric Theatre, Oxford, MS
November 4, 2014
By Randy Harris
On November 4, 2014, STS9 brought what has been called one of their best tours in the history of the band to The Lyric Theatre in Oxford, Mississippi. Being that it was a Tuesday night, I didn’t expect for anything special to happen, but man was I wrong! The band is absolutely on fire, consisting of Hunter Brown (guitar), Jeffree Lerner (percussion), David Phipps (keyboards), Zach Velmer (drums), and of course, the band’s newest member, Alana Rocklin (bass). Having replaced the band’s original bassist earlier this year, Rocklin has taken her position very seriously and the fans have welcomed her wholeheartedly into the STS9 family. That might have to do with the fact that she absolutely ROCKS on the bass. Before even the first song was over, I strapped in for what would become an absolutely incredible night of music.
For this leg of the tour, Exmag was tagging along to support the band, and they were a perfect opener for STS9. Their funky tunes have brought them as far as Red Rocks Amphitheatre in Morrison, Colorado in just under a year, and they brought the funk to Oxford as well. The Lyric was almost full before they finished their set, and the live electro-funk trio fit in nicely with the STS9 crowd. The dancefloor was rockin’ for their entire set, and the crowd was nice and warm for the magic that was to come.
STS9 started off slow with a tantalizing “Be Nice” into “Grow.” The slow, almost ambient start, however, did not stop the band from reaching out, most notably with Phipps’ keyboard and Brown’s guitar work in “Grow.” The band seemed tight and on-point from the get go, despite some early sound troubles for Rocklin on bass. She continued to play her part as if nothing happened, however, and once it got fixed, she kicked into high gear. “Shock Doctrine” came next, and the band really started to groove and dig deep. “Open E” followed with an explosion as the band really began settling in, and the crowd started to get riled up. From then on, it was an all-out, non-stop dance party, as Brown began to take over the lead with “Dance.” Velmer and Lerner led the massive accelerando, as the tempo kicked up quite a few notches, before laying back down to half time after a huge build-up. One more accelerando build-up in the second half of the tune faded straight into “Kabuki,” which ebbed and flowed as the band progressed through the tune. Next came one of the best sequences of the night. “Crystal Instrument” took its dark intro into the more pleasant lead lines from Brown and Phipps, before Rocklin kicked in a groovy bass line to lead into the second part of the song. After a beautiful keyboard jam, Velmer and Brown pulled out a nifty back-and-forth sequence. The band dug deep for the outro build-up, and Rocklin pulled some funky bass pops as the intro samples to “Arigato” fell over the speakers. After a trancey, hypnotic jam, the samples led out to end the set to a massive reaction from the crowd.
“Click Lang Echo” kicked off the second set in fine form, building up a euphoric intro and blasting positive energy into an ecstatic audience. The funky outro led by Velmer and Lerner transitioned smoothly into some funky pop-and-slap bass from Rocklin, which every STS9 fan knows can only mean one thing: “Moon Socket.” Velmer kicked in the beat as the entire crowd went wild. Next came the swirling keyboards and then finally Brown brought in the lead guitar, which would take over a monster jam session. Phipps took over to lead the outro into a beautiful take on “So It Goes” to end a three-song sequence. As the opening notes of “March” came in, everyone around me seemed to be realizing that this had been a special night of music so far, but we had no idea what was in store for us. The lights began to truly mesmerize me as the strong lead of “March” kept all of us groovin’. Euphoric waterfall tones exploded into my brain as Brown wailed out a guitar solo into the outro. Next, we were treated to another trancey tune, the fast-paced, heavy hitter “20-12.” The band kept the hypnotic groove going with a jazzy “Glogli” and ended the set with an awe inspiring “What Is Love?” Rocklin started off the tune with some funky bass tones, as the rest of the band came in to build up the intro. The angelic jam that followed brought the energy at The Lyric to new heights, as the band seemed to pour out every ounce of passion and emotion they could muster. The audience was left clamoring for more until the band came back out for an encore to remember. First, we saw a nice bustout in “Be Pulse,” which saw its first action since March 2010. Keeping the euphoric sensation alive in the air, the band swelled the tune up and down through crests and waves into a massive peak to end the tune. Just as I thought the song would fade out to end the night, the powerful intro to “Inspire Strikes Back” kicked new life into the encore, leading the crowd through a massive closer and giving Rocklin a chance to show everyone why they chose her to join the family.
Overall, the night was beyond my expectations. The addition of Alana Rocklin has breathed new life into an almost 20-year legacy, and the entire band seems to feel the same way. The Lyric Theatre had no idea what it was in for as this Tuesday night show blew everyone away. Drummer Zach Velmer even got up on the mic after the encore and said, “Yo Oxford, that was live as fuck! You guys win! You win! You win! Whew! Whoda thunk it? Fuck yeah!” And everyone went home happy. Here’s to many more years of STS9!
Video by brentndifer
Setlist via Church of STS9
2014.11.04 – The Lyric – Oxford, MS
Click Lang Echo>>
So It Goes
What Is Love?
Inspire Strikes Back
% – last played 2010.03.17 Pittsburgh, PA
The Meter Men Feat. Page McConnell to Perform
A Special Two-Night New Orleans Engagement
During Jazzfest 2015
New Orleans, LA (November 10, 2014) — HUKA Entertainment is proud to welcome The Meter Men featuring Page McConnell of Phish to The Joy Theater on April 24th and 25th, 2015. This very special two-night run will take place during the first weekend of New Orleans’ venerable Jazz and Heritage Fest. Tickets go on sale to the general public this Friday, November 14th at 11 am CT.
The Meter Men, featuring original members of The Meters, includes drummer Zigaboo Modeliste, guitarist Leo Nocentelli and bassist George Porter, Jr. Formed in 1965, The Meters pioneered the New Orleans funk scene and have influenced countless musicians with their identifiable sound. Joining The Meter Men is keyboardist Page McConnell of Phish, who headlined the New Orleans Jazz Fest this past April. Phish were allocated an unprecedented three-hour set on the first Saturday of the festival, a rarity for Jazz Fest performers. One year later, McConnell returns to the Crescent City for another groundbreaking performance – this time with seminal funk band, The Meter Men.
HUKA Entertainment subscribers will have access to presale tickets beginning on Wednesday, November 12th at 11:00 am. To sign up for HUKA Entertainment newsletters and receive exclusive information on HUKA events, visit http://eepurl.com/Knip5
Opening the night is Earphunk. Known for their unique brand of “prog-funk”, this young New Orleans quintet are turning heads with their studio recent release, Sweet Nasty, and high-energy live performances.