A section from the Yellow Submarine painting by Alex Rossfeaturing the Blue MeaniesWith everyone happy with the outcome of the first collaboration, Apple Records heads decided last year to commission the follow up series. Each of the four prints captures on of the Beatles in a portrait style, as well as imagery from the film surrounding their characters. He quickly finished the first two, the John Lennon and Ringo Starr pieces and has been hard at work finishing the Paul McCartney and George Harrison versions to accompany them. The upcoming Apple Records re-release of The Beatles legendary film Yellow Submarine just got a little more powerful…super powerful actually. The Label tapped fan favorite comic book painter Alex Ross to provide a series of profile paintings, entitled John, Paul, George and Ringo. Ross’s photo-realistic style and his uncanny ability to make the fantastic plausible was a perfect match for bringing the unique designs of artist Heinz Edelmann to life. Yellow Submarine‘s release is seen as something of a landmark in animation history, heralding a new age of art house acceptance.Alex Ross burst onto the comics scene with Marvels, a mini series showing the world of super heroes through the eyes of the people on the street. It was an instant sell out and has been reprinted dozens of times. His paintings made the colorful heroes and villains look incredibly lifelike. From an early age, Ross had been a big fan of the rich visual spectacles of the comic book world, and found himself studying the vastly different styles of the different artists. At the American Academy of Art in Chicago, he perfected his blending of neo-classical painting with the kinetic styles of comics legends like Jack Kirby, Steve Ditko and Bernie Wrightson. He quickly developed a reputation as the go to artist when it came to portraying the most iconic versions of any character he painted. Superman by Alex RossRoss’s first attempt at a Beatles image, a beautiful 6 foot wide example of his famous panoramas highlighting the characters from the movie made even him nervous. “I was warned at the outset that they might not get approval from the [John Lennon and George Harrison] estates to release it formally — that it was a kind of test. I thought I might not get another chance at this, so I wanted to put everything plus the kitchen sink in one piece of art.” Luckily for Ross, his renditions of Edelmann’s visionary work wowed everyone. John by Alex RossRingo by Alex RossRoss gushed “Yellow Submarine has also been one of my favorite films since I was six years old. The opportunity to work with the Beatles’ likenesses in the very inspired context of the ‘Yellow Submarine’ film is an absolute dream come true. There is so much I love about these men, their legacy and this film.” The artist is excited to unveil the finished series when the box set goes on sale April 30th at the Beatles store in the Mirage Hotel in Las Vegas. Until they’re available for purchase, let’s have a small look at the last two prints in the series and another of Ross’s detailed production drawings. Information for this article was gathered from Rolling Stone, Comic Book Resources and AlexRoss.com
Back in 2010, Herbie Hancock stopped by the Swamp Raga Studios for a house-warming visit to Derek Trucks and Susan Tedeschi. The three came together for Hancock’s 2010 album, The Imagine Project, for the track “Space Captain” with additional members of TTB, including Oteil Burbridge (bass, vocals), Kofi Burbridge (keys), Mike Mattison (vocals), and Vinnie Colaiuta (drums).The married duo then toured with Hancock to perform this number for his 70th birthday concerts at Carnegie Hall and the Hollywood Bowl. The song is now featured in their setlists from time to time.Watch, and feel, the magic from the recording session below:
Last year, an ensemble called the Rockin’1000 made an impassioned rock and roll plea for the Foo Fighters to come to Cesena, Italy on their tour of Europe. The video naturally went viral and wound up being successful, as the Foos added a performance at Carisport on their Sonic Highways tour.When you have a thousand musicians already assembled, the next step is to put on a performance with all of them. That’s just what the Rockin’1000 did, when they hosted the “That’s Live” performance at Orogel Stadium last weekend. The band, split up into singers, guitarists, bassists, and drummers, performed a revue of rock and roll history.Among that revue was the song “Rebel Rebel,” played as a tribute to the late great David Bowie. Watch the video of that tribute below, as shared by the band.
Former Pink Floyd bassist Roger Waters played a free concert at Mexico City’s Plaza de la Constitución last night to a crowd of over 200,000 people. The over two-hour performance saw Waters and his band take on a 25-song set of Pink Floyd classics and songs penned by the socio-political activist.As is typical during a Waters show, the fiery bassist took shots at various political figures, including well-deserving human punching bag and class clown Donald Trump. Watch a video of the entire performance below, which includes hits such as “Time,” “Fearless,” “Run Like Hell”, and “Comfortably Numb”:[Video courtesy of Live Concerts]Roger Waters Setlist – Mexico City, Mexico – 10/1/16:Speak to MeBreatheSet the Controls for the Heart of the SunOne of These DaysTimeBreathe (Reprise)The Great Gig in the SkyMoneyUs and ThemFearlessShine On You Crazy Diamond (Parts I-V)Welcome to the MachineHave a CigarWish You Were HerePigs on the Wing 1Pigs on the Wing 2DogsPigs (Three Different Ones)The Happiest Days of Our LivesAnother Brick in the Wall Part 2MotherRun Like HellBrain DamageEclipseEncore:Comfortably Numb[via Consequence of Sound]
This Friday, November 11th, a massive box set chronicling the earliest years of Pink Floyd’s career will be released. Titled The Early Years 1965-1972, the new collection will look at all of Floyd’s work before their seminal The Dark Side Of The Moon album. With unreleased music, videos and more, the box set looks to be the most definitive collection of early Floyd yet.With such an exciting release on the way, drummer Nick Mason will be involved with an unveiling for the new box set. The live event will feature a screening of unreleased material and a chat with Mason, all building up to the album’s release. The event is set for November 9th at 6:30 PM in UK time, which is 2:30 PM Eastern.You can find the stream of this event in the YouTube below. Enjoy!The full contents of the Early Years box set can be seen below.27 DISC COLLECTION ON CD/DVD/BLU-RAY INCLUDES:+ Many hours of rare and unreleased music & video+ 14 Hours of video includes restored footage+ original 4.0 Quad mixes / BBC sessions/live recordings+ rare tracks including more than 20 previously unreleased+ historic TV performances, live concerts and 3 feature films+ Remixed 5.1 audio for ‘Live At Pompeii’ footage+ collectable memorabilia+100+ photos, most previously unseen+ early singles + B sides on CD & vinyl* 7 book-style packages, each with multiple discs. 6 are dedicated to a specific period and include related memorabilia and many unseen photos.* Box bonus package includes collector’s audio and video. Box includes bonus larger replica memorabilia (posters, flyers, etc.) plus 5 x reissued replica 7″ singles, mastered from the original analogue tapes.ALSO AVAILABLE ON 11TH NOVEMBER 2016:+ 2-CD/Download/Streaming set – ‘The Early Years – CRE/ATION 1967-1972’* The 6 year-specific packages will be made available in early 2017. The bonus package and larger memorabilia is exclusive to this box set.
Marc Ford has been a fixture in the live music scene for years. As a seminal guitar player for the Black Crowes in the nineties, Ford went on to record with artists such as Widespread Panic, Gov’t Mule, Ben Harper and more after leaving the band, forming a succesful career as a studio musician and producer. Recently, Ford has been performing as a solo artist, releasing a bevy of solo albums that culminated with his impressive 2016 release The Vulture, and he’s also a part of Rich Robinson‘s crew of former Black Crowes bandmates called Magpie Salute. Over the years, Ford has proven himself to be an excellent blues guitarist as well as a proficient Americana songwriter.Back in November, Ford stopped by Futureappletree in Rock Island, IL to perform a session for online music subscription service Daytrotter. Ford performed the song’s lead single, “Devils in the Details”, as well as “The Ghetto Is Everywhere”, “The Vulture”, “Same Coming Up”, and “Shalimar Dreams”, all from The Vulture as well. It was a great and stirring performance that truly showcased the best of Marc Ford and what he has to offer.Thankfully for those who don’t subscribe to Daytrotter, Paste Magazine is streaming the show, and all five songs from the set are embedded below for your listening pleasure. Also included below is a recently released video of Ford performing with the Neptune Blues Club performing Deep Water” in a session for Reverb.com./
Drummer/producer wunderkind Adam Deitch and Crown City Rockers founder Headnodic have connected on a ground-breaking new album of analog-future hip-hop entitled First Takes. With an avant-garde approach to creativity and recording, coupled with a shared affinity for the golden-era of Boom-Bap, this dynamic duet has the power to usher in a new exploratory era in beat-making. By embracing a no-rules philosophy First Takes has Deitch and Headnodic reimagining the (former) limits of hip-hop production, employing improvisation as a state of mind.Download the record here, and check out a review and interview below.“T’s Departure” is 1970’s blaxploitation vibe personified, a hard-driving funk groove thumping beneath dramatic strings and a big swirling hook. “King’s Town” transports you to the yardie spot, an organic, bare bones romp through the jazzy dancehall, runnin’ tings with rudebwoy swagger, as Deitch’s jungle rimshots and astounding hi-hat sizzle set a frenetic pace. Headnodic matches colors and sonics with Blunted in the Bomb Shelter-type aplomb. “Data Decimator” unleashes tribalized b-boy riddims with a nod to DJ Shadow, while at the same time hopping the pond to dip in the slowly oozing late 90’s Bristol UK Trip Hop ethos.The tragically short “Swivel” is a Creed Taylor wet dream, with luscious boom-bap breaks, Bob James Rhodes action, Headnodic bringing a flair for flamboyant like his name was Big L. “Neferttiti’s Theme” unveils a grown n’ sexy, the vibe akin to the Madlib Blue Note rare groove old-school; yet Headnodic’s lyrical, musical approach to on-the-fly sample-craftmanship, and the resulting future bass madness, undermines any period specific elements by catapulting the listener to newfound galaxies in sound.“Wamp Rats” is a class in new school blues, a track that locks into an undeniably hip hop format, only to be sliced to shreds with an eargasmic harmonica solo scratched to the surface by Pretty Lights turntable henchman Chris Karns. “The Stage” delivers the dearly departed Shaolin heyoka Ol’ Dirty Bastard to the forefront of a decidedly pimpadelic throwback sample, Headnodic spearheading an excursion to the depths of a chamber at once familiar yet unclaimed. “Nyx” is a clear and present nod to a generation sublime; Pretty Lights Music and it’s ever-evolving diaspora. A classic kick-snare Deitch beat powers the emotional, colorful lament filled with wah-wah guitars, triumphant horns, and soulful R&B crooning.With bombastic Adam Deitch beats storming the soundscape with both reckless abandon and military grade precision, the songs have more bounce to the ounce than your average quasi-loopdigga, or drunken-monkey beat tape. Headnodic’s exotic, imaginative sample collages, engineering mastery and a sixth sense for making heads bob like emergency brakes, the stage is serendipitously set for a wild ride to an even furthur side of lysergic synth dreaming. The duo can hang their fitteds (or five panel) on the fact that they have served the Blue Note and CTI legacies, showing love to Rudy Van Gelder, Creed Taylor, as well as the likes of Derek Vincent Smith (Pretty Lights).Deitch and Headnodic have done Madlib, J Dilla, Pete Rock, Marley Marl, Evil Dee, and countless other forefathers of the NY’s golden era proud, not to mention modern purveyors of sound design like DJ Shadow, Prefuse73 and Flying Lotus. A potent blend of sample-based collage culture, one-take studio magic betwixt virtuosos of the new millenium, and a chance capturing lightning in a bottle, First Takes is beyond merely just a successful mission; it is a tomorrow promised on this never-ending search for new land. On a day when we may need reminding of artistic and cultural freedom, principled bravery, and affirming ourselves a nation that holds one fact to be self evident: Deitch beats definitely don’t quit.Hot Takes with Berklee brothers in Boom-Bap: A Conversation with Adam Deitch and Headnodic. L4LM: Adam. Thanks for the making the time, and sliding L4LM this dope record for the premiere. Tell us more! Adam Deitch: I just did the album with Ethan (Headnodic). I went to Berklee with him back in the 90’s, he was the dopest producer, even way back then! Check the credits.[Founding member (and often producer and engineer) of the acclaimed Hip-Hop bands Mission: & Crown City Rockers. His career includes collaborations with indie Hip-Hop heavyweights MF Doom, Jr. Gong Damian Marley, Brother Ali, Mr. Lif, Lyrics Born, DJ Shadow, Zion I, Chali 2na, Moe Pope, Del The Funky Homosapien, & more. He is also one-third of the Hip-Hop supergroup The Mighty Underdogs with Gift Of Gab (Blackalicious) and Lateef The Truth Speaker (Latryx).]L4LM: So you recently connected with him in the studio? AD: He put together a bunch of sampled loops, and then I recorded live drums on top. He then came back and added the live bass, moogs, and other sounds. All of my drum tracks were First Takes, thus the album title. Really thing the Pretty Lights kids will love this analog tasty treat.I would like to add that Headnodic was, to me, representing the new breed of musicians, who were also capable of producing records and had knowledge of samplers, sequencers, mixing techniques etc. as well as a deep understanding of many styles of Hip Hop. He is going to give you a greater understanding of how this project came together.[note: Deitch then connected L4LM to Headnodic, live and direct from the Bay Area.]L4LM: Ethan (Headnodic), thanks for making some time for Live for Live Music. Please tell us a bit about how you dreamt this up? And then brought it fruition? Adam is a very busy cat, always gigging, always moving. And you are out here on the West Coast, so couldn’t be easy. Headnodic: Adam’s band Lettuce was out here playing a several day run at the Fillmore in SF and I invited him to come record at my spot. I thought maybe I would get a handful of 2 bar drum breaks to loop up, maybe he’d track a full structured drum take to one of my “works in progress”, maybe even two.L4LM: I bet this session was a power hour personified. Tell us, what ended up going down when he came through? Headnodic: This dude came to my house with only an hour to play with (he was late for a flight to somewhere). Luckily, I prepped the night before and laid out a ProTools session with 15 or so beats that I had done (with the programmed drums muted). He walked in and we skipped the “hello hi” stuff, and he just threw on the headphones and sat down at the kit. The mics were prepped and the pre-amps were all warmed up. I hit play/record and the beat came on. What he did is what you hear on the record.L4LM: So it was like a jam session, with samples. And you just left them as is?Headnodic: I’m an editor and I love to chop and loop and fly and sample and yatta yatta, but I didn’t want to do sh*t to this drum take. It was game tight. By the time that song ended in his headphones, I had already slid the next one into the ProTools session and in real time he hit it in one take… Threw on another… First Take… Another… First Take… We only had an hour or so, but what he did is what you hear on the record… all first takes.L4LM: Philosophically, please tell our readers about what the First Takes record is all about. Kind of reminds me of Hov, just going in the booth, bars off top, letting it fly. Headnodic: I really wanted to produce this project with the feel of this session in mind. There’s a vibe to this collection of songs that stems from the narrative of it’s creation. This sh*t was live in the studio, dude was on fire and the excitement of that needed to stay on tape. Anything he played, I left as is.To structure the song, I edited the samples and instruments that I laid around his performance and even that editing was minimal. He naturally knew where my all of beats were going. A lot of that intuitive speak comes from the fact that we share the vocabulary of the same era of hip hop beats, but another good chunk of it is that I saw him play back in the late 90s when we were both at Berklee College in Boston and I began to steal his drum fills for the drum programming on my beats, so I’m guessing my tracks & arrangements felt a little like home for him.L4LM: The drums are mic’d so ILL. I mean, it’s has the juiciest, warmest analog feel, so loose and Jay Dee-drunk but still tight as nails. It goes so hard, too. How did you go about getting Adam to sound so right, Ethan?Headnodic: “I use a lot of mics on the kit, keep the drums dead and room dry, and spend a good amount of time dialing in the sound in post. Each track has a distinctly different sound and I wanted the drums to sit comfortably in each landscape, but I also wanted Adam to stick out in the mix and take a starring role. I made a bus of all of the room mics and overheads, and then another with the close mics with effects and coloration (a lot of gating & compression, but no sound replacer or anything like that). I then went back and forth with levels and side-chaining and all that good-good to really find the balance on each one. I go for that analog 70s feeling, and I’m glad you feel it came across on “tape”, but it’s actually all plugins and digital flim-flammerey. I pride myself on making stuff sound good on a budget.Our homie (drummer) Max MacVeety and I spent a good many dead-broke years experimenting with drums trying to make em sound like a million bucks.L4LM: Yes! Love Max. Got hip to him through Karl Denson but I know he runs with Lyrics Born these days. And he’s in that new D.J. Williams krewe Shots Fired! Shout out to Max MacVeety! Headnodic: As far as mixing, I pushed myself to keep the drums very human and push them way into the front. Often I’ll mix to get the Boom & Bap to dominate and it sets a pedestal for the emcee, but since this project is intentionally instrumental I wanted to let that polyrhythmic aspect of rhymes fall on the ghost note work on the snare and the hi-hat. Then push the Boom Bap back in a bit. It’s a delicate balance.”L4LM: Rest assured, every element is lining up right on this record. Great balance, on so many levels. There are a few features on the record. How did they come about? Headnodic: We were blessed with some amazing performances on this project. Chris Karns came in and laid down an amazing harmonica solo, made even more amazing when you take in the fact that he did with a turntable (it’ll make sense when you hear it). We also got some of my Crown City Rockers family Kat O1O & Raashan Ahmad as well as DJ Cutso (from the Bangerz) on a joint. As for the future, who knows? It’s just good to know that we only need an hour or so to get busy like this.L4LM: Adam Deitch, with some final thoughts on Headnodic, the First Takes album release (premiering on Live for Live Music), and the big question everyone wants to know: can the people hold out hope for some kind of live performances of this material with Ethan? AD: Most competent musicians I knew in the mid 90s weren’t even thinking of making their own tracks. Ethan was already doing that. His production aesthetic was an influence on my style of beats and it was a total honor for me to collaborate with him in this way. For this release, we decided to drop it for free, we were inspired by the “Pretty Lights method” of releasing music. And we absolutely will try to play a few shows in 2017 (schedules permitting).Words/Interview: B. GetzPhotos by John Coyne, Leo Docuyanan, B.a.D. PhotographyDon’t miss Adam Deitch pulling double duty at the upcoming Fool’s Paradise, playing with host band Lettuce as well as an exciting collaboration between Break Science and Manic Focus dubbed Manic Science. More information about the festival, which is held in St. Augustine, FL from March 31 – April 1, can be found here.
In late December of 2016, NIN dropped their latest EP, Not the Actual Events, three years after their 2013 Hesitation Marks. With two more releases on the books for this year, we look forward to hearing what the band has been up to during their time off. Nine Inch Nails have confirmed two performances in 2017, marking their triumphant return after a three year hiatus. The industrial rock band will be making two headlining appearances, at FYF Fest in Los Angeles, July 21 – 23, and again the next weekend at Panorama Music Festival in New York City, June 28 – 30. Earlier today, NIN shared an image on their social media pages that confirms the lineup for these upcoming shows.Frontman Trent Reznor will be joined by guitarist Robin Finck, keyboardist Alessandro Cortini, drummer Ilan Rubin, and their newest official member, Atticus Ross. See the illusive announcement below:
Drummer extraordinaire Sir Joe Russo and a choice assembly of musicians will congregate to re-imagine the music of Jerry Garcia and Howard Wales’s seminal 1971 album Hooteroll at The Capitol Theatre, in Port Chester, NY this weekend. The April 7 engagement is being billed as “Hooteroll? + Plus”. Russo reached back to his legendary, original Boulder, CO band Fat Mama for members Erik Deutsch (keyboards), Jonathan Goldberger (guitar), and Kevin Kendrick (vibraphone/percussion) to make the core of the group. Russo also recruited Darkside’s Dave Harrington (bass), Antibalas’ Stuart Bogie (reeds/flute), and Jordan McLean (trumpet) to perform Garcia and Wales’ revered jazz-jam record. In addition to unveiling their version of the LP in full, the initial event announcement teased of “other like-minded compositions.” Photo: Michael Weintrob I remember when, as a senior in high school in Cherry Hill, NJ, my older pal Ross Kaufman brought Fat Mama’s debut CD Mammatus back from CU Boulder, over a holiday break. Within a few spins, our squad was transfixed! Much as we found Grant Green by way of The Greyboy Allstars, I would navigate my way to Agharta, On the Corner, and Sextant through Fat Mama. Mammatus was our introduction to the band and the man himself, Sir Joe Russo. The fearless conglomerate evolved over time, from a Herbie Hancock-influenced style to a very textural, shoegaze electro-rage that incorporated much of what was to come, from contemporary behemoths like Radiohead, to the most niche, indie, avant-garde artists imaginable. Their musical fabric was sewn with exploratory sonic adventuring from Kendrick’s then-revolutionary turntablism, vibes and electronics, amid Miles-esque brass leads from the duo of Brett Joseph (tenor saxophone) and Jon Gray (trumpet and trombone). The focused team told mystical and melodic tales atop Russo’s lyrical, jazzy, breakbeat drumming and freewheeling bass gymnastics. For five years, Fat Mama redefined what was possible for our burgeoning scene, purveyors and surveyors on the never-ending search for new land.Former Relix Magazine Assistant Editor Wayan Zoey, who went to high school in Potomac, MD with Deutsch and bassist Jonti Siman, had this to say in reflection of the mighty Fat Mama:“Despite the Herbie Hancock reference in their name, Fat Mama was really the Miles Davis of the jamband universe. While clearly drawing from the jazz tradition, they managed to incorporate elements of nearly every other style of music that exists in the world, spinning them out in wholly original masterpieces of structured improvisation. Their decades-old recordings would still be considered ahead of their time if they came out today.”Read the ALLMusic Fat Mama band bio from the legendary Jesse Jarnow hereWith the approaching Hooteroll event, I found myself going on a Russo rabbit-hole all over the Internet. Beyond the usual mining of rare Benevento/Russo Duo recordings, I unearthed the above video, a barely-viewed Boulder performance from Fat Mama in 1996, clipped from Fat Mama: The Movie, directed by Goldberger’s brother Julian Goldberger. This is apparently the earliest known footage of Sir Joe Russo that circulates.We reached out to keyboardist Deutsch for some clarification: “It’s a medley… ‘Love the Life You Love’ by Kool and the Gang into ‘Camel Job’ by Jonathan Goldberger.”For good measure, because Live For Live Music loves you, bows at the throne of Sir Joe Russo, and mostly to illustrate just how far and wide Fat Mama’s sound and steez would extrapolate over the years, here’s “Knucklehead” from their 1999 live album Loadstar 8.1, and then their unique take on “Upon This Rock,” (a Joe Farrell song sampled by Erykah Badu, MF Doom, Pete Rock, RASCO, Common and more) from their 9/11/11 Brooklyn Bowl reunion. Words: B.Getz
Roger Waters has always been clear about his feelings about President Donald J. Trump. The Pink Floyd bassist has a long history of speaking out against political corruptness, and since before Trump was elected, Waters has been very clear expressing his anti-Trump stance. In October of last year, Waters performed in Mexico City and used the song “Pigs (Three Different Ones)” as a vehicle to express his outrage at the then-presidential candidate. During his Mexico City performance, Waters released hundreds of thousands of inflatable pigs onto the crowd while he performed to a backdrop of images of Trump giving the Nazi salute and surrounded by members of the KKK—Waters famously reposted the footage from that performance on Inauguration Day.Pink Floyd-Inspired Flying Pigs Will Block Chicago’s Trump Tower For A Day This SummerA few months ago, Roger Waters announced a massive world tour dubbed Us + Them, which will see the bassist travel extensively across the United States with over forty dates. Now, footage from tour rehearsals of Waters’ Us + Them tour has been leaked, and the outspoken musician has no plans to stop taking shots at Donald Trump. Again, the song “Pigs (Three Different Ones)” off Pink Floyd’s 1977 Animals was used as the medium to carry out Waters’ Trump takedown. During the eleven-minute performance of the song, neon pop-art images of Trump appeared, depicting the president with breasts, in a Klan hood, wearing lipstick, exposing a micropenis, with the head of a pig, and finally, with the word “charade” written across his face.During the rehearsal performance at Meadowlands Arena in East Rutherford, New Jersey, the screen also showed a giant robotic flying pig as well as some of Trump’s quotes on record about women, his daughter Ivanka, his border wall, 9/11, taxes, and more. The video also projected images of Donald Trump with dollars signs over his eyes and saying the word, “I won!” and ended with the words “Fuck Trump” across the screen. The Trump-themed imagery continued in the songs “Money” and “Us and Them” as well. You can watch videos of Roger Waters’ rehearsal below. “Pigs (Three Different Ones)” [Video courtesy of markit aneight “Comfortably Numb”[Video courtesy of markit aneight]“Time”[Video courtesy of Dan Morgan]“Wish You Were Here”[Video courtesy of Dan Morgan]“Another Brick In The Wall”[Video courtesy of Dan Morgan]“Great Gig In The Sky”[Video courtesy of Leon Feingold][H/T Rolling Stone]