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.
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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.
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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.
The Bob Seger catalog is the rock & roll equivalent of your skeletal system”you probably take it for granted to the point that you seldom think about it, but where would you be without it? In a crumpled, crippled heap on the floor, that’s where. Seger’s influence is so deeply embedded in American music that even some of his musical offspring might not realize it, as they’re inspired by artists who were in turn inspired by Seger himself, making for a kind of musical trickle-down theory. For instance, at least twenty-five percent of the current crop of male country artists owe their CMA awards to Seger’s heartland rock sound, even though they probably came of age soaking it up second-hand via John Mellencamp, et al.
Most people’s knowledge of Seger’s work extends about as far back as his 1976 breakthrough album, Night Moves, but the Detroit demon had already cut eight other albums before that, recording his first single while still in his teens back in 1961 and releasing his first record under his own name in ’68. He was turning out tough-minded, roots-rocking odes to the proles when Bruce Springsteen was still playing psychedelic guitar hero in Steel Mill, so even when most of the world came to know Seger for the first time some thirty-five years ago, he was already a well-traveled road dog. But after half a century in the business of rocking, sixty-six-year-old Seger seems to have no intention of settling into retirement.
It was thirty years ago that Moving Pictures bumped Rush up from successful journeymen with a respectable following to full-fledged rock stars. While its predecessor (Permanent Waves) was the Canadian power trio’s first commercial breakthrough in the US, Moving Pictures was the album that found Rush moving from the prog-rock extravaganzas of the past to a more concise approach, and reaching out in new directions” incorporating everything from New Wave to reggae in their stylistic mix. Since then, the alienation anthem Limelight and the video-game synthesizer riffs and octopus-on-speed drum fills of Tom Sawyer have soundtracked the teen travails of a few different generations, with countless air guitars raised aloft in tribute to the staying power of this crowning moment in Rush’s career.
Earlier this year, Geddy Lee, Neil Peart and Alex Lifeson decided to throw Moving Pictures a moving birthday party, taking the album in its entirety to stages all over the world, and Time Machine 2011: Live in Cleveland documents the occasion on both CD and DVD. Examining the motivations behind this kind of full-album tour, singer/bass player Lee says, I think it’s born out of two things: you’ve got an older fanbase that love those particular albums, and love the idea of hearing them in their entirety, and there is a younger fanbase¦they’ve been handed down those songs without ever having the experience of seeing them played live. So when a band like ourselves plays something like that in its entirety it draws from both those areas.
For a guy like Joe Jackson, who’s got a trail of great songs that go all the way back to the late ’70s, it must be tough to strike a balance in his shows between trotting out the tunes his fans adore and demand, and keeping things fresh for himself. Nevertheless, he’s an artist who loves the experience of laying down his tunes in front of an audience. In fact, he’s popped out a number of live records over the years, starting in the ’80s with Live 1980/86, and running up to his latest release, the generically titled Live Music. “I’ve done a few live records, because I’ve always loved playing live,” Jackson told us, “and I’ve always felt like that’s the best part of what I do.”
Jackson’s restless muse and his passion for performance have led him to reinvent his catalog onstage from the beginning. As early as the aforementioned ’80s live album, he was recasting his classic tunes in radically rearranged formats, delivering the new wave/power-pop hit “Is She Really Going Out With Him?” as an a cappella doo wop tune, and finding ways to re-imagine songs originally recorded by a guitar/bass/drums lineup for a band with two keyboardists and no guitarist. He manages a similar feat on Live Music, where he pumps out cuts from all across his career in piano-trio mode. “In some cases they never had guitar in the first place,” Jackson says. “People often forget that Night and Day had no guitars on it.” In fact, Live Music boasts a number of tunes from that 1982 album, Jackson’s biggest ever, including “Steppin’ Out,” “Slow Song,” “Another World,” “Cancer” and “Chinatown.”
Backing Jackson up on Live Music are the bassist and drummer from the original Joe Jackson Band, Graham Maby and Dave Houghton, with whom he seems to have found a brand new groove. “We’ve been doing this together for a few years now and it’s been great,” Jackson says. “For one thing, we’re old friends, and that’s always nice.” But beyond the bonhomie, Jackson enjoys interacting with Maby and Houghton in a trio format. “I feel like the trio is stripping it down to the absolute bare minimum and then seeing what you can do with it. It’s pretty amazing what you can do if you use your imagination. It can sound big, it can sound really varied.”
Besides redefining his old songs with the current live lineup, Jackson mixes things up by including a few carefully chosen cover tunes on Live Music. Probably the only artist whose songs have been covered by both Anthrax (“Got the Time”) and Tori Amos (“Real Men”), Jackson picks his own outside material with an ear for adventure. David Bowie‘s “Scary Monsters,” The Beatles‘ “Girl” and Ian Dury‘s “Inbetweenies” all get Jacksonized. “We actually do a lot of covers,” says Jackson. “I think it has to be something that I can get comfortable with vocally, and that I feel I can sing in my own way. But it also needs to be something where I can see a different way of doing it, because I don’t see the point in trying to imitate the original. I’m trying to make them as different as possible.”
In that spirit, Jackson has also got another project in the works, a tribute to the compositions of Duke Ellington. He’s been performing his own version of Ellington’s “Mood Indigo” for some time, but this recording will find him interpreting a whole host of Ellington tunes in typically eclectic fashion, aided by everybody from guitar hero Steve Vai to The Roots. “It’s starting to come together finally, after years of thinking about it and planning it. I’ve done so much touring over the last few years that I really haven’t had much time to work on anything else. I just spent a week in Amsterdam working with a [Brazilian] band called Zuco 103”they’re so good. We collaborated on two tracks. I’m gonna be in New York again picking it up with Amir from The Roots. We’ll have a good chunk of it done by June. I don’t know if it’ll be out this year, it may not be until next year.”
In the meantime, Live Music will serve to remind listeners that the man who spent the last three decades recording everything from big-band swing to orchestral suites never tires of offering up new sides of his musical personality. “We’ve done so much touring the last few years,” Jackson says, “we’ve done so many great shows”it needed to be captured. I’m really happy that it’s documented.” Of course, that’s no guarantee that by the next time Jackson toddles into your town, some of these tunes won’t have been drastically reinvented once more.