Breaking just after 4pm EST yesterday, July 9, New Found Glory announced their plans for a live record by releasing a teaser video featuring an introduction from the group. The album, which is titled Kill It Live, will hit stores October 8 and feature three new songs. You can view the video below.
New Found Glory recently celebrated the ten-year anniversary of their Sticks and Stones LP with a nationwide tour. Whether or not these recordings are from that tour remains to be seen, but having witnessed the group perform, we’re certainly excited to hear the album. Comment below and let us know your thoughts on this upcoming release. (more…)
It’s like looking at old pictures of your college roommates and then looking at the people that are sitting around your living room now, says Jason Isbell of the songs he wrote during his days with the Drive-By Truckers that remain part of his live set with his current band, Jason Isbell & The 400 Unit. The latter’s new release, Live From Alabama, includes a handful of Isbell-penned Truckers tunes, like Outfit, Decoration Day, and Danko/Manuel, along with songs from the three studio albums he’s cut since splitting from the Truckers in 2007.
I haven’t listened to those old arrangements of those [Truckers] songs for so long, says Isbell, compared to how many times I’ve heard this band play them, that I really don’t remember exactly what they sounded like [originally]. The songs still conjure up the same images for me, and I still think about the same things that inspired me to write the songs in the first place, but I guess it’s just different because I’m up there with different people.
While Isbell harbors no ill will towards his old bandmates, he’s definitively living a separate life from them these days. I don’t really have a relationship with ˜em, he says. We get along when we see each other, I talk to Patterson [Hood, DBT frontman] every once in a while. I saw him a couple of months ago in Nashville at the Americana Awards. We get along fine, but I don’t think there’s any need to have a working relationship at this point. They’re all busy, and Lord knows I am.
Listening to Live From Alabama makes it clear just how busy native Alabaman Isbell and his current accomplices have been. Over the last five years they’ve built up a worthy repertoire, a loyal audience, and a sound that has some relation to that of Isbell’s former band but bears its own identity. Both bands blend influences from alt rock and Americana to classic soul, but The 400 Unit shaves off some of the Neil Young & Crazy Horse fuzztone frenzy of the Truckers in favor of a more singer/songwriter-oriented approach to framing the tunes.
That doesn’t make them any less of a cohesive unit, though. Their all-for-one aesthetic is even apparent in Isbell’s account of the band name’s provenance. It was a mental treatment facility in Florence Alabama, he explains, it was the crazy house. I’ve had lots of family members in there over the years. I think we were downtown and saw the van get out one day with the folks that were day patients, they would give them 10 or 15 bucks and put a name tag on ˜em and let ˜em got to Subway or something. It occurred to me that it looked just like a band on the road for six or eight weeks trying to get out and find some food in a small town. Isbell reiterates that he often feels that way when he’s on the road with The 400 Unit, observing, I can tell we’re causing discomfort in the locals sometimes when we stop and get out.”
Explaining the thinking behind releasing a live recording now, Isbell says, I wanted to document the band like it is at this point in time. I think we’re connecting really well musically, we’re playing really well, we’re all having a good time. I wanted to capture that before it changed into something else, as it always does. And from a practical viewpoint, a lot of those songs that I did with the Truckers, people come up now who’ve never heard the Truckers records and say, ˜Where do I find this, how do I get this song?’ Personally, I’d rather sell ˜em something myself than steer ˜em to a record that [DBT’s label] New West put out.
Some think of Isbell as sort of the Bruce Springsteen of the South, in terms of his knack for chronicling the tragedies and triumphs of the region’s working-class denizens, but there’s little of the E Street Band-style onstage pageantry in The 400 Unit’s onstage m.o. Whether they’re tackling a Truckers tune like Outfit, in which Isbell receives some sardonic advice from his father, or a newer song like Tour of Duty, chronicling a soldier’s return home, the band squanders nary a note.
There are different kinds of energy that an audience can give you, says Isbell of his stage experience. You can usually tell if it’s gonna be a rowdy crowd, or if it’s gonna be a listening crowd, or if it’s just gonna be a crowd that’s not paying any attention to you whatsoever. I handle rowdy crowds and attentive crowds very differently but I feel like they’re pretty equal in value from a performer’s perspective. I love playing for people who are having a good time and I equally love playing for people who are studying everything you say and really paying attention. As long as they’re with me, as long as they’re in the room for a reason, doing something different than they would be doing at a bar next door, it’s always positive for me. The shows go better when people are with you, when they’re participating.
Turning philosophical about the prospect of live performance, Isbell calls up an unexpected analogy. I remember going to see Radiohead a long time ago, he says, when I was probably 21, 22 years old, and thinking, ˜Man I’m surrounded by a huge group of people who are very similar to me right now — all about my same age, and they all seem to be the nerdy kids from high school.’ And that felt really good to me. I think if you make yourself part of the experience, there’s still reasons go to see live music.
More like this:
Still heartbroken about Thrice breaking up? Well don’t you worry. They understand, and just to show how much they care, they’ve put together a 24-song collection of select live recordings from their farewell tour. The limited edition physical 4-LP/2-CD box set is set to be released next week on October 30 by Staple Records, but you can hear it right now streaming on SoundCloud! So grab your buddies and some tissues, sit back, and enjoy the final recordings of Thrice as you weep for the demise of one of our generations greatest bands. (Suck it up. There’s probably gonna be a reunion anyway.)
If you like Thrice, then you might also like OurStage’s own This Armistice.
More Like This:
It’s something that I didn’t think I’d be doing again is the first comment out of Annie Haslam‘s mouth about the revitalization of Renaissance, the legendary British prog-rock band she led to fame in the ˜70s. On such classically tinged art-rock milestones as Ashes Are Burning, Turn of the Cards, and Scheherazade & Other Stories, Haslam’s crystalline vocals blended with Michael Dunford‘s deft acoustic guitar work and John Tout‘s vivid keyboard flourishes on epic tracks brimming with invention and energy in equal amounts. Renaissance was a leading light on the ˜70s progressive rock scene, but since the ˜80s, their live activities have been sporadic, and the 2001 release Tuscany has been their only studio album since 1983’s Time-Line.
I kind of wound down my solo singing career in about 2002, says the Bolton-born songbird, who now makes her home in Bucks County, Pa., and started painting, which is my other love, just as much as singing. I’ve been painting nonstop since 2002 now. So I didn’t really have any interest in going back into music, I liked the fact that it was just me, and not a lot of other personalities to deal with. Then Michael Dunford contacted me in 2008, and before he opened his mouth, I just knew. He said, ˜Annie¦’ I said, ˜No.’ [Laughs] And that’s basically how it started up again.
A revamped Renaissance ended up touring in 2009-’10, playing their classic cuts for grateful fans. Soon, some new work found its way into the set list. We added a new song Michael and I had written together called ˜The Mystic & The Muse,’ expains Haslam, We don’t ever remember having a standing ovation for a brand new song, which we had every time we played it, so that was very encouraging for our future writing. Before long, Renaissance was embarking on two equally ambitious projects”staging a new tour to perform Turn of the Cards and Scheherazade & Other Stories in their entirety, and putting together their first new album since 2001.
Turn of the Cards was really one of our most popular albums, says Haslam of the full-album shows they started doing in 2011, with ˜Mother Russia’ and ˜Running Hard’ on it, and Scheherazade we felt was really a huge album”when Michael and I decided to do that, we were talking about it and we both thought, ˜My gosh, this is a huge piece of work to give to the musicians to do.’ It was huge when we did it [originally]. Actually it was probably bigger [to undertake] in the ˜70s, because we didn’t have the technology. They pulled it off though, it was brilliant. I love that piece so much, ˜Scheherazade’ in particular. When I’m onstage I get so into the music that I just barely remember to come in with the tambourine and come to the front of the stage. There’s a lot of music in it so I kind of step back, and I just get lost in it.
You might recall that towards the end of 2011 Elvis Costello made news by issuing a statement on his Web site discouraging fans from purchasing the deluxe box set version of his live recording The Return of the Spectacular Singing Songbook. It turns out Elvis had tried unsuccessfully to get the label to lower the price for the limited-edition set, which was going for well over $200 (and is currently selling for more than $300). Sure, it included all sorts of schmancy extras, like a vinyl EP, hardcover book, etc., but Costello nevertheless opined that “the price appears to be either a misprint or a satire,” and encouraged people to buy a Louis Armstrong box instead for less money. At the time, he also informed fans that before too long, all the elements of the box would be available individually for a less usurious fee. That day of retail redemption for Elvis and his admirers comes on April 3 with the release of Spinning Songbook in its proletariat-friendly format”the live CD and DVD are available individually or together, and even the two-disc package goes for about 10 percent (at most) of the box set’s cost.
Costello did his first Spinning Wheel tour back in 1986, bringing a big, roulette-style wheel onstage, emblazoned with the names of numerous songs from his back catalog. Audience members where invited up to give the wheel a turn, and Costello was obliged to perform whichever song the arrow landed on. Needless to say, the gimmick was a big fan favorite, and he revived the idea in 2011, capturing a couple of shows for posterity in May at The Wiltern in Los Angeles for the live release in question. Seeing as how it’s finally time for the common man to sidle up to the Spinning Songbook album, it seems like the right moment to deconstruct the track list, examining the origins of each one of the sixteen songs from The Wiltern sets that ended up on the album.