Interviews

Umphrey’s McGee has announced early 2011 tour plans. The band will begin their winter adventures with their 4th annual destination event, this year in sunny Mexico, where 1000 fans will join them for the sold-out Mayan Holidaze. Soon after, Umphrey’s McGee embarks on a two-month tour that takes them from coast to coast. Along the […]

Rounder Records is excited to announce that Robert Plant has confirmed a 15-date North American tour. Beginning January 18th in Asheville, NC, this will be the first tour on these shores since the triumphant release of his latest album, Band of Joy, which Rolling Stone magazine in its four-star review called "sweet, elegant folk that […]

They are devastatingly serious when it comes to their ass kicking hardcore punk style and hysterically uproarious with their song writing; they are the one and only No Redeeming Social Value from New York City.  In the tough guy/beat down world of Hardcore Metal NRSV’s style is a welcomed change of pace, never taking themselves to seriously, but constantly putting everything they have into their explosive style of playing; blood sweat and beers included.  

Despite ten years of music-making experience, New York's own The Walkmen pride themselves on reinventing their wheel. But originality isn't an easy thing to find time and time again. In fact, the band struggled to veer away from past albums' influences. It was only a matter of time, however, before The Walkmen found their muse, allowing them to explore creative territories they'd hadn't ever tried in order to put together their sixth album Lisbon.

Steve Berlin talks frankly and to the point about the creative process in general and in specific, dispelling any misconceptions about the means by which Los Lobos has created such memorable works as This Time and The Town and The City. In this age of iTunes, he may betray an old school mentality in referencing the concept of sequencing an album, but there’s no denying his passion for the process and the end result of music-making, especially when it comes to his bond with the other band members.

The young man sitting in Ardent Studios on a cold Memphis afternoon has his head in his hands, listening intently to a playback of a song called “Salvation”. He is feeling every note, every rise, every sensation that comes from this rerecorded version of a Honeytribe fan favorite. His head bobs here, his fingers glide out a note there and an occasional chill crawls down his spine. This is good and the man is pleased.

Self-described as “sonic brutality,” The UK’s Jim Jones Revue is a powerhouse of vintage 50s punk and soul.  Whipping crowds into a frenzy with their stripped down, piano-heavy, Jerry Lee Lewis flare, JJR is gaining momentum with early praise from the British music press – and nods from notable rockers like Jack White and Chris Robinson.  Now they confirm those praises with their sophomore release, Burning Your House Down. 

Donavon Frankenreiter is celebrating not only the release of his new album Glow, but his new record label, Liquid Tambourine, as well. Having just finished one phone interview, Frankenreiter graciously granted Glide another one from his home in Kauai while driving in his truck, getting ready to do some yard work.

The bulk of his conversation with Doug Collette is devoted to the latest Soulive project, their homage to The Beatles, Rubber Soulive. Interestingly enough, considering the freshness and economy of the recorded work, the concept has been in discussion for years.

When Michael Franti followed up his ambitious, politically-charged 2006 release Yell Fire! with dancehall mass-appeal on All Rebel Rockers back in 2008, it wasn’t entirely clear if he took a palpable 180° away from his activism, or more likely, just got swept up in his Jamaican studio environs. Apparently, the former proves truer as his latest effort, The Sound of Sunshine, takes it a step further as he reunites with Sly & Robbie in Jamaica for a portion of the record, and leans heavily on the formula that produced his first big hit the last time around: catchy-as-hell reggae grooves, dancehall sit-ins, and a fat dose of the Edge’s delay-laden guitar tone.