Video: Preview Show – Fontana

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Watch Eddie Vedder Honor Rush In Toronto, With Geddy Lee In The Audience

first_imgPearl Jam just wrapped up their spring tour with two great nights at the Air Canada Centre in Toronto, ON, and the group had a very special guest in the audience: Geddy Lee. The Canadian vocalist and bassist of Rush got the royal treatment during the show, as Eddie Vedder took a moment to pay tribute.Right after playing “Cropduster” during the main set, and Vedder picked out the song lyric “Let the fluency set it down,” which apparently comes from an Italian misunderstanding of an American colloquialism. Then he started talking about worldwide cities and their monuments, which he compared to erections, and somehow went from monuments to the monumental musical contributions of Rush.From there, members of the band teased a handful of Rush covers in the downtime between songs, including “Fly By Night” and “Cygnus X-1.” Vedder then proceeded to say, “we have been a band for twenty five years, but if we wanted to play a Rush song we would probably have to play for another twenty five.”Vedder continued, “they have XYZ (sic) we are more like LMNOP. Getting back to monuments and erections we have the Space Needle and you have the CN tower. This next song was written underneath the Space Needle.” The band then launched into “Evenflow” and continued rocking through the set!Watch it all go down here:Next up for Pearl Jam is a headlining set at Bonnaroo. Check out the setlist below:Edit this setlist | More Pearl Jam setlistslast_img read more

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Yahoo! News Got Its Start By Sharing That Jerry Garcia Had Passed Away

first_imgThe mention of August 9th, 1995 still sends shivers down the spine of any Grateful Dead fan. Just eight days after his 53rd birthday, Jerry Garcia passed away at a rehabilitation clinic. His loss looms large in the hearts of many, though apparently Garcia’s notability helped to fuel the phenomenon of Internet news.In a new profile of Yahoo!, the New York Times spoke with some of the company’s top employees to reflect on the rise and decline of the Internet giant. One such employee, Ms. Srinija Srinivasan, discussed the beginning of Yahoo! as a news entity.Human judgment — what Mr. Yang referred to as “the voice of Yahoo” — remained a core value of the company. When the Grateful Dead musician Jerry Garcia died in August 1995, Yahoo searches on him spiked immediately. The surfers put a Garcia link on the home page. “That was the birth of Yahoo News,” Ms. Srinivasan said. Today, it remains one of the most popular online news portals.Regardless of anything, we still miss you Jerry.last_img read more

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Pink Floyd Announces 27-Disc Box Set With Unreleased Tracks, Rare Demos, And More

first_imgEnglish rock and roll legends Pink Floyd have announced the details for a massive new box-set that spans the early phases of their career. The 27-disc, 130-track release, titled The Early Years 1965-1972, will contain full albums, previously unreleased tracks, demos, studio outtakes, rare concert footage, and feature films, totalling 12 hours of audio and 15 hours of video content. The set will also come with 7″ singles, memorabilia and collectibles, and seven individual book-style collectors packages.According to the band’s camp, the box set will give collectors the opportunity to hear the evolution of the band and witness their part in cultural revolutions from their earliest recordings and studio sessions to the years prior to the release of their seminal album Dark Side Of The Moon in 1973. The Early Years 1965-1972 will be available for purchase on November 11th. You can see the full track list here. The band will also release a smaller two-disc compilation (The Early Years – CRE/ATION) on the same day as the box set. You can watch a video preview of the box set below:Pre-orders are now available on Amazon. Pre-orders for the two-CD set are also available now on Amazon and iTunes.  [via NME]last_img read more

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John Mayer Confirms New Album With The Trio, Will Tour In 2017

first_imgEarlier today, John Mayer went live from Facebook to share his new single “Love On The Weekend” with the world. The track is on the poppy-er side, but as he explains, does not represent the entire record, which he confirmed was titled The Search For Everything. The record includes bassist Pino Palladino and drummer Steve Jordan, and according to Mayer’s live video, he will be hitting the road “for a tour next year, starting in the spring” in support of this upcoming release.“Everything you wish to happen next year is going to happen next year,” Mayer adds. “If you wrote down what you most wish you could see at a concert, that’s going to happen.” Well, we have a lot of thoughts going on in our minds. Listen to the album’s first song, “Love On The Weekend” below:Mayer comments on his experience with Dead & Company saying that it is “some of the best live experience that I’ve ever had on stage because of the way in which the crowd interacts with the band and vice versa. And, the way in which taking the stage is not so much a star-based experience and more a communal thing with the music. I’ve never been more free, in a lot of ways, on stage than with Dead & Company, and I’m definitely going to borrow that as much as possible and put them into my own live shows.” Watch the full Q&A video below:last_img read more

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EXCLUSIVE: New Orleans Drumming Legend Johnny Vidacovich Talks His Work On AMC’s ‘Preacher’

first_imgJohnny Vidacovich is a literal living legend in New Orleans. He has played drums on most every stage in the Crescent City, in pretty much every style of music invented. Over the course of his five decades in the music scene, he has played for every type of audience in the world. However, last Sunday, for the Season 2 premiere of the AMC drama Preacher, Vidacovich got to play for a slightly more celestial presence than usual.WARNING: The following article contains spoilers for the second season of Preacher.In a cool twist deviating from the Preacher graphic novels, the similarly named television show shows a bit more of what God is up to now that we know he is hiding out on Earth. While the main trio of characters at the heart of the story search for the almighty, it turns out at least part of the Lord’s time on our plane of existence is spent grooving to the beats of the one and only Johnny Vidacovich. Our own Rex Thomson is a rabid follower of the show. When the first episode of the new season featured a guest appearance in the form of the drumming legend, Thomson reached out to the esteemed musician for the inside scoop on what working on the show was like — plus a bit of a history lesson on Vidacovich’s stellar career. Check out their chat below!Live For Live Music: The highly entertaining AMC show Preacher returned last Sunday and Monday for the first episodes of the second season. Lo and behold, there you were, sir! Did they tell you much about the source material or the plot of the show before recruiting you to appear and create music for it?Johnny Vidacovich: I saw the first season, so I know what the show is about. It’s constantly evolving. This season is about a lot of things, and one of them is God liking jazz. Modern jazz, too. The scene I’m in is crazy. They told me the scene was gonna be in a strip club. The Preacher is looking for God, but nobody seems to know where he is. So he’s looking for God, and he finds out that God is down here taking a break and seeing a lot of jazz.There are two songs in the episode that I recorded and appear on the show for. They first come into one of the songs from our recording. Now, we played that song, but in the shot, we are just playing along. When they go to leave the joint, and the camera zooms in and actually ends up on my face, it’s very symbolic. We are actually playing during that second shot.I did four days’ work for the show. We recorded three-and-a-half hours for the show, and that music will be in upcoming episodes that are set in New Orleans. The sad part is they already used me for the scenes set in Houston, so they didn’t call me back for the scenes set in New Orleans. It’s unfortunate and fortunate. When we shot the actual scene, we spent most of the day sitting around drinking coffee until they were ready for us to reset. But when we were in the studio, we kept at it. That was pretty good money. This isn’t some low-rent production.It’s was a blessing that Seth Rogan wrote a script where God likes jazz. It was a blessing that they had all this music that needed to be cut for the episodes and commercials. I have been doing this kinda work for decades — since before they had half the technology they have these days.L4LM: Do you know the names of the songs they used in the episode?JV: I can’t really remember the names. One we were just calling “Ballad.” Basically, they just gave us real short descriptions like, “This one needs to sound really open.” You don’t give jazz musicians a lot of description. That’s not what you hire jazz musicians for. You hire us to create, to improvise. You give us minimal instruction so we can create. That’s the process, that’s our science, that’s our spirituality.L4LM: If you found out that God was in the audience at one of your shows, what song would you pull out to play for him?JV: I would actually wanna play freely — in other words, in an unstructured form. If he was wanting to hear a song, I would wanna plan for it. But if I found out he was there and wanted to hear a song, I would play “Someday My Prince Will Come” for him. If I had a day or two to think about it, I would probably come up with something different. But what I would really want to do is what I do best — make up something right on the spot. I’ve played with ballets, with symphonies, in marching bands, in operas, and in traditional dixieland bands, but jazz is what got me through high school and college.L4LM: God or not, if anyone ever does want to see you play, they should come to one of your legendary Trio gigs at the Maple Leaf in New Orleans. How long have you been doing that quasi-residency?JV: All I know is that is has been more than eleven years. You’ll have to ask my wife for anything more than that. I’ve been playing in the joint since 1975. Before it even was the Maple Leaf.Check out Johnny Vidacovich, Oteil Burbridge, and John Medeski getting loose as a trio down in New Orleans:[Video: FunkItBlog]L4LM: Nestled up there behind that drum kit for decades on all those different stages, I am guessing you have seen and learned a lot of things. Any of those life lessons you want to share with us?JV: Yeah, I’ve learned a lot of things. One of the cool things about The Trio is that you are constantly switching people in and out. So you have to read body language. You have to figure out how they feel and what to throw them. You have to look at what you’re playing and decide “Is this making them feel comfortable? Should I play more? Do I need to be pushy? Do they want me to play like that, or would they rather I pull back and play more of an accompanist style?” It’s a trio, and in a trio, you can do a lot of talking without saying a word. Especially the way that we do it. We don’t rehearse, we don’t plan. We just get up there and start playing. If one of us says “Hey, let’s play a song!”, we are still just doing what we do, just trying to unite.Basically, what I have learned is a whole lot about how to be confident and still have an abundance of empathy. That, and the importance of give and take. Everything is better with give and take. I’ve learned not to let ego-strong people throw me off my game, intimidate my game, or make me daydream. There are two different kinds of people with aggressive egos. One comes from a place of insecurity and a lack of confidence. The other comes from someone who is bold and strong and has that kinda ego. In the second case, that’s good. But in the end, it’s all about listening and trying to have a conversation. Music is all about having a conversation.When you’re playing music together, you have to make the music the important part. You have to make sure the other players are getting the space to say what they need to say. The goal is to take it all to a higher level, higher than any one of us could achieve on our own. It’s a rare and great thing when we can accomplish something like this. Watch Johnny Vidacovich and one of his most famous pupils, Stanton Moore, deliver a stellar rendition of “You Are My Sunshine” below: [Video: Positive Vibrations Foundation]L4LM: You’ve won praise and just about every kind of drum award there is for your playing. If you look at your career as a whole, it seems like teaching is a big a part of your life as a musician. Which reward is greater — a plaque or seeing one of your students finally grasp something they had been struggling with?JV: No comparison, no comparison, no comparison at all. People sell plaques. What makes me play today, what makes me still teach, what makes me go out and play gigs of any and all kinds, at my age, is the chance to keep learning. It’s because the guys that I taught twenty years ago are now playing with the best. Brian Blades is playing with Wayne Shorter, Joni Mitchell , and Herbie Hancock. Stanton Moore is quite popular and skilled. That is the reward. The gratification from teaching is different from the gratification of playing music. When you’re playing, you can look out and see how people are reacting to what you are doing in that moment.With teaching, you’re waiting. You’re hoping that your student gets it together. If you look at the people I went to college with in the music programs, say there were 500 people, maybe ten percent of them made music as their full-time gig and are paying their bills and supporting their families doing it. Not a lot of people who start off playing music keep at it. It just sorta falls off.Check out a little of Vidacovich’s signature teaching style in the video below:[Video: David Bullis]L4LM: When did you discover your passion for teaching?JV: I didn’t have a passion for it in the beginning. This passion I feel only came around recently when I became an old man. It started as an obligation. It wasn’t until later that I found out that it was so important, that it was part of the circle. You gotta keep the circle running around and around. Oh, and if you think you don’t want to be a teacher, then you better only play with yourself. ‘Cause I guarantee you that if you play in public, then some little kid is looking at every move you make, not even speaking to you. He’s learning. So guess what mother fucker? You’re teaching, whether you wanted to or not.L4LM: Well sir, as always, thanks for chatting with us. As a long time fan of the comic, I can personally vouch for the fact that you belong in the world of Preacher and the real world as well. Thanks for all you have done for the music community and the world at large!JV: Thank you! Happy and proud to do it!last_img read more

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Widespread Panic Donates $176K Worth Of Instruments To Memphis Music Programs

first_imgWidespread Panic and their Tunes For Tots Foundation made a huge contribution to Memphis, Tennessee this week with the donation of $176,898 worth of instruments to two Shelby County band programs. The band donated brand new instruments for the students to use for music education at the Cummings School and Raleigh-Egypt Middle and High School. Tunes for Tots has raised over $2,000,000 for music education since the foundation’s inception in 2005.“Our district believes in high quality arts education for all students, and amazing partners like the Tunes for Tots Foundation and Widespread Panic help us provide more resources so we can continue to create incredible opportunities for our students,” the district posted on Facebook.According to the band’s website, “Widespread Panic believes that art education, and in particular music education, is integral to the overall education and advancement of children. Art allows for personal expression, appreciation of ideas, celebration of cultural awareness, sharing emotions, and gives purpose to life. Widespread Panic agrees with research findings that art education supports more traditional academic subjects as well as being a worthy support in its own right.”A big “Thank-You” to Widespread Panic for making this generous contribution to the students of Memphis music. Learn more about their program here.[cover photo by Dave Vann]last_img read more

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The Roots Back Kesha For Acoustic Cover Of “The House Of The Rising Sun”

first_imgWhen Kesha visited The Tonight Show last week, she teamed up with The Roots to record a cover of “The House of the Rising Sun” by The Animals. While the singer occupied her television time to deliver a rendition of her own “Praying,” she still used the opportunity to collaborate with Questlove and company backstage for a deeper dive into music history with the 1964. An unlikely pair, we know, but it’s always nice to see pop stars pay homage to pioneers of rock and roll.Watch Kesha and The Roots perform “The House of the Rising Sun” below:last_img

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Dance Party Time Machine Welcomes Biscuits, Lotus, Vulfpeck, Thievery Corp. Members [Video]

first_img[Video: Brad Keeton]After the Dance Party Time Machine shifted into 80’s dance-party mode, the first set closed out with some of the biggest jams of the night. Prince’s “I Wanna Be Your Lover” and Human League’s “Don’t You Want Me Baby” brought the house down before Tiger Party’s Ashley Niven led the band in a raucous version of “Life During Wartime” by The Talking Heads. During the latter, lighting director for the show, Andy Cass of C2 Design blasted Cervantes’ giant disco ball with lights, kicking the crowd into a frenzy. These last few songs of the first set truly showed what a powerhouse of a band we had on our hands and exactly how high things could go with so much talent in one place. Second set wasted absolutely no time bringing back the energy of the first, as the dynamic duo of Jeff Prah and Adam Lufkin kicked the door down with a tune no one saw coming—to say that rowdy, set-opening rendition Lil John’s “Get Low” had jaws on the ground would be an understatement. From the windows to the walls, heads and asses across the dance floor were shaking, and we were off to the races for what was another ridiculous set of music. The pair took control of the time machine and steered the crowd through a gamut of great 90’s hip-hop and R&B classics highlighted by Mlima’s Jessica Jones on “Doo Wop (That Thing)”. Jessica, along with the help of backing vocalists, Francine Scarborough and Colleen Christmas had the entire room dripping in 90’s soul. In my opinion, what makes Dance Party Time Machine so fun is that you get to see these insanely talented musicians playing and singing on songs you would never hear them do with their regular bands. These shows deliver on some of the guiltiest of pleasures and when Antwaun and the band dropped into Mariah Carey’s “Always Be My Baby”, things descended into a cheesy goodness that had even the most jaded, bearded jam band fans “doo bee dooping” along with all the ladies in the crowd. With all the headliners back on stage and the bar being set so high by Mariah Carey, the show delivered on the promise laid out with so many badass musicians on the bill. Contemporary hits like LCD Soundsystem’s “Dance Yourself Clean”, Cut Copy’s “Hearts on Fire”, and Chance The Rapper’s “All Night” brought on some serious jams led by The Biscuits Marc, Aron, and Allen—the latter being the hardest hitting and four-to-the-flooriest jam of the night. After two monster 80’s classics, Hall and Oates’ “I Can’t Go For That” and New Order’s “Blue Monday”, Cory and Antwaun rejoined the group and closed the set out with a stirring versions of Stevie Wonder’s “I Wish” and Morris Day and The Time’s “Jungle Love”. “Jungle Love” in particular brought the heat featuring some insane trading off between guitarist and the show’s musical director, Jordan Linit (Analog Son), and Cory Wong.  Once again, the collaboration of the full Disco-Lotus-Corporation-Peck (which was sometimes joined by Jeremy Salken of Big Gigantic, as if this lineup needed surprise guests) teamed up with the fiercest players Denver had to offer, bringing the Dance Party Time Machine to a ridiculous crescendo by ending the night with the maniacally laughs of Marc Brownstein at the end of Michael Jackson’s “Thriller”. Setlist: Dance Party Time Machine | Cervantes’ Masterpiece Ballroom | Denver, CO | 3/24/2018Set One: Shake A Tail Feather, I Want You Back (Jackson 5), Got To Give It Up (Marvin Gaye), Strawberry Letter 23 (Brothers Johnson), Fantasic Voyage (Lakeside/Coolio), Mary Jane (Rick James), Every 1’s A Winner (Hot Chocolate), Machine Gun (The Commodores), Peg (Steely Dan), Dancing In the Streets (David Bowie/Mick Jagger), I Wanna Be Your Lover (Prince), Don’t You Want Me Baby (Human League), Life During Wartime (Talking Heads)Set Two: Get Low (Lil John), Country Grammar>Ride Wit Me (Nelly), Doo Wop [That Thing] (Lauren Hill), Can’t Nobody Hold Me Down (Puff Daddy w/ Mase), Return of The Mack (Mark Morrison), Always Be My Baby (Mariah Carey), Dance Yourself Clean (LCD Soundsystem), All Night (Chance The Rapper), Hearts on Fire (Cut Copy), I Can’t Go For That (Hall and Oates), Blue Monday (New Order), I Wish (Stevie Wonder), Jungle Love (The Time)Encore: Thriller (Michael Jackson)Photo: Dance Party Time Machine | Cervantes’ Masterpiece Ballroom | Denver, CO | 3/24/2018 | Credit: Trent Grogan Cervantes’ Masterpiece Ballroom was once again the place to be on Saturday night, as some of Denver’s finest musicians teamed up with Marc Brownstein, Aron Magner, and Allen Aucoin of The Disco Biscuits, Mike Greenfield of Lotus, Cory Wong and Antwaun Stanley of Vulfpeck, and Jeff Franca of Thievery Corporation for a night of musical time travel known as the Dance Party Time Machine. With so much talent packed onto one stage and the DPTM’s reputation for a no-holds-barred approach to song selection, the sold-out Cervantes’ crowd was treated to a truly unique and insanely fun musical experience. To kick things off, one Denver’s most soulful voices, SuCH, took the helm of the time machine and started the party with Ray Charles’ “Shake A Tail Feather”, Jacksons 5’s “I Want You Back”, and Marvin Gaye’s classic “Got To Give It Up”. By this point, it was obvious this isn’t your average super jam. On top of starting the show with such heavy-hitting covers, waves of musicians washed on and off the stage after almost every song. We weren’t even 30 minutes into the show and members of Thievery Corporation, Lotus, and Vulfpeck along with local favorites from Analog Son, Fox Street, and Tiger Party had hit the stage. The level of talent on the show was already ridiculous, and up to that point, nobody shined brighter than Cory Wong of Vulfpeck. Cory’s electric right hand brings a vibrant rhythmic style that is taylormade for the 70’s funk classics the band kept busting out. Cory’s Vulfpeck brethren, Antwaun Stanley, also showed off what he brings to that genre with a dazzling rendition of The Brothers Johnson’s “Strawberry Letter 23”. With Aron Magner and Allen Aucoin jumping on stage, the tune would also be our first taste of members of The Disco Biscuits collaborating with Antwaun and Cory, something the crowd was extremely interested in seeing unfold.As the Time Machine kept hurdling through musical time and space, the shackles of genre-appropriate jamming were tossed off. From Rick James’ “Mary Jane” to Steely Dan’s “Peg”, it was obvious that nothing was out of bounds, and song by song, the music brought out exuberant delight from the audience at nearly every turn.  Songs started jamming out of other songs like The Commodore’s “Machine Gun” seamlessly segueing into “Also Sprach Zarustrasta” (also known as “2001”) then back into “Machine Gun”. It was impossible to guess what was coming next, and at this point, it was time for Brownstein and Magner to get fully in the mix. Mr. Magner would do so in a way nobody has seen before, teaming up with good friend Blake Mobley of Tiger Party for a feel-good rendition of “Dancing In The Streets”. With Aron being the Mick Jagger to Blake’s David Bowie, the two paid tribute to the iconically hilarious 80’s music video. While the duo didn’t quite capture the magnitude of sexual tension aroused in the video, they delivered a show-stopping performance—one that many wouldn’t expect when they hear the words “Front Man Magner.”“Dancing In The Streets” Load remaining imageslast_img read more

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Blues Traveler Celebrates Annual 4th Of July At Red Rocks With G. Love, Duane Betts [Video/Photo]

first_imgLoad remaining images Ever since the early 1990’s, Blues Traveler has performed Red Rocks Amphitheatre to celebrate the Fourth of July. It’s become an annual tradition for fans of John Popper, Red Rocks, and Independence, in general. It’s a guaranteed good-time had by all, and for this year’s event, the lineup was joined by G. Love & Special Sauce, The Wailers, and The Devon Allman Project with special guest Duane Betts.During the headlining set, John Popper and company welcomed out special guests G. Love for an extended jam and Duane Betts (son of Allman Brothers Band’s Dickey Betts) for “Carolina Blues”. The show double served as the kick-off to Blues Travelers’ 30th-anniversary tour, which spans through August.You can watch a fan-shot video of a brand new song, expected to appear on the band’s upcoming album, below.[Video: Mattytally]There was also apparently a UFO in presence, or maybe it was just Col. Bruce Hampton. Check it out:[Video: Jake]Last month, Blues Traveler announced their 13th studio album, Hurry Up & Hang Around, following up 2015’s Blow Up The Moon, and an extensive fall tour.Check out the photos from Blues Travelers’ annual Fourth of July celebration below, courtesy of photographer Bill McAlaine.Setlist: Blues Traveler | Red Rocks Amphitheatre | Morrison, CO | 7/4/18Stand, Things Are Looking Up, Believe Me, Moby Dick, Bass Solo, Runaround, Accelerated Nation, Keyboard solo, Devil Went Down To Georgia, The Star-Spangled Banner, The Mountains Win Again, The Wolf Is Bumpin’, Jam (w/ G. Love), Carolina Blues (w/Duane Betts), Ode From the Respect, But Anyway, Drum Solo, HookE: Crash BurnBlues Traveler | Red Rocks Amphitheatre | Morrison, CO | 7/4/18 | Photos: Bill McAlainelast_img read more

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