The adventures Mark Evans shares in Dirty Deeds range from the funny (Angus and Malcolm playing in the snow) to the strange (encountering a ghost in an old hotel), from the dark (the creeping onset of depression) to the darkest (the death of his daughter). These are the early days of AC/DC and for Evans, he just wanted to share his stories.
Having been an integral part of the Widespread Panic sound for the past six years, he has just popped out a new record, Subject To Change Without Notice, that captures a lot of different spirits: Jazz, blues, rock, mystical mind explorations and good-time hootenanny banjo picking fun. Although Herring takes a humble approach to his career, having played with everyone from the Allman Brothers to Bob Weir and Phil Lesh to Bruce Hampton, his guitar playing is bordering on being flawless. Just don’t try and call him a genius.
Peggy Sue Play The Songs of Scorpio Rising features all twelve iconic pop hits from the original 1963 soundtrack, redone by the UK-based band. Enjoy the exclusive US premiere of Peggy Sue’s new video for “Hit The Road Jack” via Glide Magazine!
Call Brian Auger the unsung hero of jazz-rock fusion (but expect a riposte from the man himself) or see him as a Zelig-like figure in contemporary rock and jazz. It hardly matters so long as you listen to him on his instrument of choice, the iconic Hammond B3 organ (or the Fender Rhodes electric piano a close second).
Fly From Here is arguably the band's finest work since the '70s, due in large part to the resilient six-string elegance of guitar wizard Steve Howe. Glide recently caught up with the world's busiest guitarist as Yes (now with another new lead singer, Jon Davidson) were preparing for a highly-anticipated North American tour.
It may be only the end of July, but 2012 has already seen the release of so many fantastic albums that we thought it would be helpful to put together 20 of the records from this year that have blown us away.
Mickey Hart would be the first one to admit that his hobbies are a little out of the so-called “ordinary,” but then again, to the drumming legend and Grateful Dead member, converting light waves into sound, mic-ing up the Golden Gate Bridge to mine its aural possibilities,pondering the spiritual implications of dark matter – these things are downright quotidian.
With the band’s first new record in approximately five years, there was a lot of curiosity in what Astbury and guitarist Billy Duffy had been busy contemplating over all this time and what sounds they were preparing to unleash. Would it be another Sonic Temple or perhaps another “She Sells Sanctuary”? Or would it be something completely new and surreal,eerie and dark?
The alternative country movement occurred over ten years ago but don’t tell that to Burlington Vermont’s Waylon Speed. Not that they want to fit comfortably in any niche: they are as apt to cite Fugazi as an influence as the Grateful Dead. And the quartet really doesn’t sound like either of them. But the description on Twitter struggles mightily and fails to capture the essence of the band too: filthy rotten underground outlaw dirt rock.
No one in attendance finds it the least bit strange that the acclaimed singer-songwriter is performing in the living room of a tiny duplex in the Hampden neighborhood of Baltimore, Maryland. Instead, the small audience is completely captivated by the music: a slow and somber version of “Wolves at the Door” that is virtually unrecognizable from the album track.
