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Friday night’s “When Doves Cry: All-Star Prince Tribute” was a dance party of epic proportions. With incredible musicians coming together from all corners of the map to honor The Purple One, the music lasted deep into the night and provided a career-spanning set to a packed room in Brooklyn’s The Hall at MP. The All-Star Prince band came together in a heroic light, with Aron Magner (The Disco Biscuits), Marcus Rezak (Stratosphere All-Stars), Mike Greenfield (Lotus), and Louis Cato (Late Show With Stephen Colbert) holding ground. The horn section featured a powerful trio, with James Casey (Trey Anastasio Band) on saxophone, Maurice “Mobetta” Brown (Tedeschi Trucks Band, The Roots, Wyclef Jean & more) on trumpet, and Ian Gray (Swift Technique) on trombone. Con Brio’s Ziek McCarter, Mayteana Morales of The Pimps of Joytime, Hayley Jane of Hayley Jane and the Primates, and Nephrok of the Nephrok All-Stars shared earth-shattering vocals throughout the night, turning the room purple with a sense of wonderment. The band was hot, to say the very least.Watch this professionally shot video from the 1984 hit, “Let’s Go Crazy,” as produced by Sobokeh Exports:Thanks to photographers Dino Perrucci and Jay Sansone, you can relive some of the night through these incredible photos.Setlist: All-Star Prince Tribute at The Hall At MP, Brooklyn, NY – 5/6/16Set: I Wanna Be Your Lover, 1999, Raspberry Beret, Little Red Corvette, Cream, Let’s Go Crazy, DMSR, Lolita, Nothing Compares 2 You, A Love Bizarre, Kiss, Bambi, Purple Rain
On their newest release, The Threshold & The Hearth, Ann Arbor’s multi-cultural fusion band The Ragbirds celebrate the ties that bind us all with a concept album about the progression of new love. The band is no stranger to family, as it is comprised of the Zindle siblings, T.J. and Erin, along with Erin’s husband, percussionist Randall Moore. Not only that, but the material on The Threshold & The Hearth was written and recorded in the wake of the birth of the couple’s daughter. The joy of new life and the wonder of fresh eyes seeing the world for the first time infuses the entire album with an uplifting quality of hope, for the one and the whole.Blending elements of African, Latin, Middle Eastern, Celtic and Americana music with an effortless charm, The Ragbirds are amazingly sonically diverse. T.J. Zindle clearly cut his chops on the guitar licks of the seventies and eighties greats, and his range of influences allows him to switch back and forth between harder charging material and cleaner, more pop-oriented leads. His sister Erin uses her fiddle playing and bright, sweet voice to draw in listeners with her inescapable good cheer. The rhythm section of Moore, bassist Dan Jones and drummer Jon Brown have the most work to do, managing to mix so many different patterns and influences into such a strong and cohesive spine that both drives and compliments the material. With years of honing their playing skills and world spanning tours under their belt, The Ragbirds focus their considerable talents to incredible effect on The Threshold & The Hearth.You can listen to the album here, and follow along with our review below.“Lemon Grove,” the lead track, begins the cycle of the love story at the heart of the piece with a slightly on-the-nose track about birth and the importance of nurturing and strong roots for a successful life. On the second track, “Cosmos” we hear Erin Zindle at her best, with a lyrical look at the micro and macro workings of the universe paired with a scat singing, toe tapping musical score that features her fine fiddle work. “The Curse Of Finger Pointing” opens with one of the most complete takes on the band’s sound, with gypsy-esque percussive elements, clean guitar lines and Erin’s sing-song voice layering in progressively before each is afforded the opportunity to separate from the whole and shine individually. The infectious nature of the music of The Ragbirds can be hypnotic, and smart song placement helps keep the listener from being overwhelmed by the more lush and dreamlike material. The frenetic burst of “Sometimes Honestly” snaps the smiling reverie with a whip smart beat and a confessional set of lyrics that delve into the dichotomy of human nature. Straying further away from their more diverse sound on the album’s next track, “Alleyway Saints,” we see an example of the more traditional rock road that The Ragbirds could just as easily have trod.Continuing to show their admirable musical dexterity, the haunting piano ballad “Strange Weather” is the sparsest song in this collection and one of the most beautifully done. Comparing the pressures of the atmosphere and their effect on the weather with the romantic and social pressures that threaten all romances at one point or another Erin Zindle’s palpable vulnerability and connects the song with everyone who’s ever swam in the changing tides of the seas of love.The fictionalized couple’s struggles continue in “Tough Love,” as a jamming back beat allows Zindle to express the age old feminine wish for their partners to listen to their problems, not to solve them. The music fits the sentiment perfectly, as the more composed and unified moments regularly give way to varied tempos and solo sections. The frustration she’s expressing escalates into full argument, and the importance of communication is expressed beautifully. In “Breakdown” we find the lovers driven apart by their issues, and the jangling, discordant overtones echo the turbulent emotions before finally unifying with a well thought out use of choral effects on the vocals to illustrate the strength of harmony. At last, in “On Your Side,” the lovers reunite and are strengthened by their trials and the song itself is one of the most powerful statements on hope and love the band makes on The Threshold & The Hearth. The remaining tracks focus on the twilight of love, and the comfort and ease that familiarity can bring. On The Threshold & The Hearth, The Ragbirds show a wisdom and confidence in their abilities that is truly impressive. The conceit of the piece, following a twenty year cycle of a romance and the trials and victories that happen along the way, rewards the listener with a true musical journey. The love brought into being over the course of the album is more than just a result of the connection between the characters, it’s a spot on metaphor for the cycle of life itself, set to a beautifully rich and diverse set of sonic styles and instrumentation. It takes so many different factors and circumstances for love to work, and it’s all wonderfully exemplified by The Ragbirds in a fresh, heartfelt and truly idiosyncratic way.The Ragbirds’ new album, The Threshold & The Hearth, is available HERE
After wrapping up two great shows at Terrapin Crossroads with “Darkness” and “Light” themes, bassist Phil Lesh surprised fans at his venue with a performance last night. Lesh called on some players that had been present for the last two nights, who incidentally comprise three-fourths of the famed instrumental group Circles Around The Sun: guitarist Neal Casal, keyboardist Adam MacDougall and drummer Mark Levy.Circles Around The Sun was a project borne out of “Fare Thee Well,” the Grateful Dead’s 50th anniversary show. The band was asked to compose instrumental music for the setbreaks, and wound up creating one of the most prized album releases of 2015 in the process. You can read our conversation with Casal about it here.Though the band didn’t play any Circles pieces, they did start each set out with instrumental jams that were reminiscent of them. The free show featured some Grateful classics like “It Must Have Been The Roses” and “Friend of the Devil.” You can watch some video highlights, courtesy of Troy Hooper, below.Peggy-ONo ExpectationsCheck out the full setlist below, courtesy of Jambands.Setlist: Phil Lesh & Friends at Terrapin Crossroads, San Rafael, CA – 7/7/16Set I: Jam > Peggy-O, She Belongs To Me, It Must Have Been The Roses, No Expectations, Friend of the DevilSet II: Jam > Mountains of the Moon, After Midnight, Mission In The Rain
Ween is bringing the brown to Beantown! The rockers just announced a performance at the House of Blues Boston, hitting the venue on August 23rd, 2016. Though Ween only reunited earlier this year for their first shows since 2011, this performance will mark the band’s first visit to Boston since 2007 at the Orpheum Theatre.Ween has a handful of dates on the schedule for 2016, playing assorted shows in Philadelphia, San Francisco, St. Paul and more. They’re also included on some upcoming festival lineups, including Project Pabst NW, Riot Fest and, of course, LOCKN’. With great shows in Colorado and New York earlier this year, it’s been a real treat to have Ween back in our lives.Pre-sale tickets will be released tomorrow, July 21st, at 10 AM via Ween’s Ticketstoday website, and the password is STALLION. The public on sale begins Friday, July 22nd at 10 AM Eastern, and can be found here.
Tedeschi Trucks Band keeps bringing the love in 2016! The band has continued to dominate this year, starting it off with their new album release Let Me Get By. The year has seen them on the road in support, bringing the heat on a nightly basis. Whether it was the two set shows earlier in the year or the current Wheels Of Soul summer tour with so many great guests, it’s been nothing but great music.Today the band has announced the first leg of a winter tour, including eight dates in six cities. The run includes shows from November 11-19, as well as a three night run at the Orpheum Theatre in Boston, MA. Amy Helm & The Handsome Strangers will open during the main run, and Jorma Kaukonen and Amy Ray opening the first two nights of the Orpheum run, respectively. These dates come a month after the band plays six nights at the Beacon, and the band has also promised another announcement in the near future.You can see the tour listing below, and head to the band’s website for ticket details.Tedeschi Trucks Band Winter Tour DatesNov 11 – Minneapolis, MN – Orpheum TheatreNov 12 – Milwaukee, WI – Riverside TheaterNov 13 – Peoria, IL – Peoria Civic Center TheatreNov 18 – Akron, OH – Akron Civic TheatreNov 19 – Pittsburgh, PA – Benedum CenterDec 1 – Boston, MA – Orpheum TheatreDec 2 – Boston, MA – Orpheum TheatreDec 3 – Boston, MA – Orpheum Theatre
Electric Daisy Carnival made its way to Orlando, FL earlier this month, boasting a stunning celebration of electronic music from around the globe. EDC Orlando welcomed a lineup that featured Bassnectar, The Chainsmokers, Porter Robinson and so many more. Of course, a major facet of EDC is the visual production, with incredible displays that are unparalleled.Fortunately, photographer Lauren Sea Photo & Design was on hand to capture this festival for us. Check out her work below. Load remaining images
Flyjack is an Austin-based funk and soul outfit consisting of Buck McKinney (Guitars, Vocals, Percussion), Brad Bradburn (Bass Vocals), Nigel Finely (Keyboards, Vocals), Andy Rumelt (Keyboards, Harmonica), Jeremy Portwood (Drums), Ari Dvorin (Sax) and Mike Shields (Trumpet). At the end of this month, on March 31st, the group will be releasing a brand-new album, New Day, which has been meticulously crafted over the last seventeen months.Flyjack’s album is a tribute to the grooves of the 60’s and 70’s, with seven of its tracks consisting of covers from the time. To deepen its authentic sound and fully capture that underground-funk vibe, the band utilized old-school gear from the 1970’s during the album’s recording. However, Flyjack’s New Day is not just a straight, traditional ode to that era; rather, the group has brought their own modern twist to New Day by presenting five of their own originals alongside the covers and using state-of-the-art recording and mixing during production.To get fans stoked for the release of New Day, Flyjack has been generous enough to share a new single off of the anticipated album, an immensely funky original number entitled “Motherlode.”A number of additional guest artists supplement the sound of the seven-piece ensemble on “Motherlode,” with Boombox Brass, Rudy Canales of Grupo Fantasma on congas, and Topaz McGarrigle of Golden Dawn Arkestra laying down a searing saxophone solo.Reminiscent of Stevie Wonder’s “Superstition,” both “Superstition” and “Motherlode” share similar themes, exploring the idea that when one stumbles into good fortune, he or she should be careful in assuming it will last. However, that’s not the only clear influence on the song, with guitarist Buck McKinney noting, “I was listening to a lot of Cornell Dupree at the time, and the beginning riff is a bit like the opening riff in his song ‘Teasin’,’ but backwards, with a different pattern at the end. There are two other parts that play off of that – a Wurlitzer pattern and a second guitar part – and the bass locks everything down to keep it moving.” You can listen to the Live For Live Music exclusive premiere of “Motherlode” off of Flyjack’s soon-to-be-released New Day below. If you’re diggin’ what you’re hearin’, you can pre-order the album or check the group’s touring schedule on Flyjack’s website.
Set 1: M.E.M.P.H.I.S.> Rockafella> Aquatic Ape [ending only], Hope [unfinished]> Svenghali [ending only]> Astronaut> Save The Robots [dyslexic]Set 2: Save The Robots [unfinished, dyslexic]> Astronaut [unfinished]> Spacebirdmatingcall> Air Song [inverted]> Spacebirdmatingcall [Cover Photo: Dave Vann],Setlist: The Disco Biscuits | Dominican Holidaze at Breathless Resort and Spa | Punta Cana, Dominican Republic | 12/3/2014 As reported back in December of 2014, at Dominican Holidaze in 2014, The Disco Biscuits struck an interesting deal with a fan. The Philadelphia-born jamtronica act agreed to play a dedicated fan’s setlist during the destination concert getaway, but under one condition—he had to get a tattoo of the setlist or artwork inspired by the setlist he wrote. Close to three years ago, we spoke to both this superfan and Biscuits’ bassist Marc Brownstein about this pact, and today, we’ve received an exciting follow-up about the status of the tattoo in question.In 2014, Brownstein laid out the simple terms of the deal, noting, “Last night was epic. The deal I made with the fan who wrote the set was this: He writes the set, we play the set to the best of our ability given time constraints etc., and he tattoos the setlist to his body.” Seems simple enough, however, the fan then weighed in, clarifying that he wouldn’t be getting the actual setlist tattooed on his body, rather he’d use the setlist as a guide to create “an actual detailed sketched tattoo.”Well, today, Live For Live Music received a long-awaited update on the status of his Biscuits setlist tattoo. While in 2014, he explained that he’d be getting a detailed sketched tattoo, in the end, he opted to get the straight setlist tattooed onto his upper thigh. In an email, he sent along a picture of his setlist tattoo and noted, “This isn’t newly done for the record. I never got to show many people that I was a man of my word, aside to Brownie and close friends.”You can check out the setlist that he wrote that the Disco Biscuits played at Dominican Holidaze on December 3rd, 2014, as well as a photo of his finished tattoo below.Setlist: The Disco Biscuits | Dominican Holidaze at Breathless Resort and Spa | Punta Cana, Dominican Republic | 12/3/2014
On Friday night, Gov’t Mule continued their ongoing tour, heading down to New Orleans for a performance at Saenger Theatre, which coincides with the tail end of the Crescent City’s annual musical extravaganza, New Orleans Jazz & Heritage Festival. During the group’s two-set show, Gov’t Mule welcomed a number of guests to the stage to join them, as is the Jazz Fest way, including Smokey Greenwell, Marcus King, and Don Was.The group’s fiery and tease-heavy first set saw the band offer up a healthy mix of selections from their long-spanning catalog, including numbers off Gov’t Mule’s most recent album, Revolution Come…Revolution Go. The band led by Warren Haynes also pulled from the Allman Brothers Band catalog, given that Haynes was formerly a guitarist for the southern rock icons, including a take on “King Of Bird” halfway through the set.However, Gov’t Mule truly shined during the show’s second set, with the band paying tribute to musicians who passed away in 2017 as well as inviting all three of their guests out. The band opened with Soundgarden’s “Feel On Black Days”, as a means to honor the icon rock act’s frontman Chris Cornell, and followed it up with Tom Petty’s “You Don’t Know How It Feels”, a song by another hugely influential artist who passed aways last year.During “You Don’t Know How It Feels”, New Orleans-based harmonica player, Smokey Greenwell joined Gov’t Mule, hinting at the string of sit-ins that were yet to come in the night. With Greenwell still on stage, the quickly rising young guitarist and vocalist, Marcus King, came out to join Gov’t Mule and Greenwell for a take on Albert King’s “Feel Like Breaking Up Somebody’s Home”. The special guests then departed from the stage, leaving Gov’t Mule to lay out renditions of “Millions Miles From Yesterday” and “Traveling Tune”, ahead of their next guest, Don Was, the well-known record producer, who replaced Jorgen Carlsson on bass for renditions of Van Morrison’s “He Ain’t Give You None” and the Grateful Dead’s “Bertha”.With Marcus King as an extended member of the Allman Brothers Band family along with Warren Haynes, after Gov’t Mule’s solo rendition of “Brighter Days”, King reemerged to help the band close the second set out with a take on the beloved classic “Whipping Post”. From there, the band, sans King, ended their night in full with an encore of Blind Willie Johnson’s “Dark Was The Night, Cold Was The Ground”.“Whipping Post” with Marcus King[Video: Brooke Nilson]Setlist: Gov’t Mule | Saenger Theatre | New Orleans, LA | 5/4/2018Set I: World Boss > Mr. High & Mighty, Lay Your Burden Down, Unring The Bell*, Kind Of Bird**, Thorns Of Life, Pressure Under Fire, Time To ConfessSet II: Fell On Black Days, You Don’t Know How It Feels+, Feel Like Breaking Up Somebody’s Home+&, Million Miles From Yesterday, Traveling Tune, He Ain’t Give You None^ > Bertha^, Brighter Days > Whipping Post&Encore: Dark Was The Night, Cold Was The Ground* with Get Up, Stand Up tease | ** with Happy Together tease | + with Smokey Greenwell | & with Marcus King | ^ Don Was replacing Jorgen Carlsson on bass