Seems like this time of year everyone is making a list of some sort. Worst this and best that. We wanted in on that action. You’ve been waiting, longing even, to hear our opinions, we know, it’s ok. To keep it short: 2010 didn’t suck. Here are Three Grown Men’s favorite moments of 2010:
Jonathan Kosakow’s top musical moments of 2010
3. Joe Purdy – “4th of July”
I stumbled upon Joe Purdy by way of coincidence, luck and lack of other choices. The right place at the right time, he was playing his guitar alone on stage in one of the larger tents at the Mile High Music Festival this past August in front of a large crowd. Nobody else happened to be performing at that moment.
His beard struck me first, long and unkempt, hiding his face just like his dark sunglasses. His talent struck me next: a solemn and reminiscent voice, both lyrically and vocally, I thought of Ryan Adams and Ray LaMontagne; and a simple but catchy way of playing the acoustic guitar with single notes and melodies mixed into chord strums, I thought of Neil Young, among others. I was able to learn through his onstage mumblings that he is somewhat of a loner, and recorded his latest album alone in a shack in Arkansas. I went home tired and dirty later that night and found the album streaming online. 4th of July is simple: a lot of good songs.
2. Keith Richards – Life
For all the years he’s been in the spotlight, Keith Richards has somehow managed to stay somewhat of a mystery to the public. There are hundreds of stories floating around about him and his time on the road, but he has rarely, if ever, confirmed or denied them. Life is exactly that: a confirmation and a denial. Keef tells you everything, from the street he grew up on as a child to whether or not he had a voluntary blood transfusion to rid his cells of heroin. His memories of the Stones’ first gigs and their many recording sessions, his obsessive and detailed knowledge of the music that inspired them, and his reasoning for playing a 5-string guitar. It’s all in there: the music and the life.
READ ON for more of 3GM’s Top Musical Moments of ’10…
War Pigs is the first track on Black Sabbath’s 1970 release Paranoid, their best-selling album. On a personal note, I have two distinct early memories of this song. 1) Listening to my brother’s Faith No More CD and initially thinking it was their tune. 2) Later, at the age of 17, seeing Gov’t Mule destroy this song at BankBoston Pavilion as part of Summer Sessions (there were also sets from Galactic, SCI and moe.) Covers by both these bands will of course be included. Let’s have a listen.
The Contestants:
I know what you were thinking. You’re going to lead off with the version with all the trombones right? Yes, we are – thanks Bonerama. Audio Source: 2-13-2008
[audio:https://glidemag.wpengine.com/hiddentrack/wp-content/uploads/2010/07/bonerpigs.mp3]READ ON for more covers of Black Sabbath’s War Pigs…
With no immediate plans for more sustained touring, the members of the String Cheese Incident have announced plans for another special weekend-centric run of shows with their Winter Carnival, which
DJ and HT staff member Wade “Wyllys” Wilby penned an open letter to the promoters, production team, artists and fans of Jam Cruise.
I sit now at this computer reveling in the joy that was Jam Cruise. It takes a village to throw this kind of experience, and to all those involved from the top (Cloud 9) to the bottom (MSC Poesia Crew) my hat is off to you. Though words of any kind can never do this adventure justice, I must try to make this keyboard sing its praises, for the adventure, while based in music, is more indicative of a deeply emotional human experience we are all loosing day by day as technology pushes us further away from each other.
[Sunrise on Jam Cruise 9 by JRapp]
In the beginning of social networking, I was enthralled by the idea of reconnecting with people whom I had lost touch with for one reason or another, I was also horrified for the very same reason. As the medium began to grow from MySpace to Facebook it spread like wildfire from PC to PC, phone to phone, and into every home. Networking had never been easier and the pros seemed to well outweigh the cons. The information superhighway was now a road back to people you had considered lost forever.
Now it seems we are all so dependant on these networks almost to the point of addiction. For some, it’s a healthy distraction at work, a convienient time waster that can get you through the day with a few laughs and some new songs to add to your playlists. At first glance, it seems like a harmless internet fad that even your parents are starting to take part in. This Jam Cruise, I suddently realized exactly what kind of damage these social networks were actually doing to human interaction and communication.
All kinds of folks take part in Jam Cruise, which is what makes it so magical. Fans of all ages, people of all different professions and backgrounds and cultures get together to collectively let their hair down in a way that is impossible from the shore. There is a complete disconnect from your phone and computer and when you let those technological chains loose from your heart, you really get to see the true beauty of the people and world around you. READ ON for more of Wade’s open letter about Jam Cruise…
The announcements continue to roll in this week as today Mountain Jam – the premier rock festival for mud, bikers, funnel cakes and ninjas – announced its preliminary batch of
Technically speaking, Akron/Family are a jamband: they look like hippies, cite early Grateful Dead as an influence and like to play long, spacey, psychedelic jams. That said, we bet the band
Previously, I recapped the start of the penultimate day of music on Jam Cruise 9 and now I’ll finish the job. We left off with coverage of the “prime time” shows, which leads us to the late night action.
Up in the disco, a number of Moog instruments including keyboards, a guitar and a theremin were set up by the Bob Moog Foundation for cruisers to play with. While I’m a novice bassist with no experience on the keys, it was quite a thrill to make some noise on these expensive devices – especially the theremin. Over at the main stage, The New Mastersounds threw down a nasty set of soul-infused funk that was versatile from song to song, unlike the straight-shot New Orleans funk, which can be found around every corner on Jam Cruise.
The New Mastersounds’ set was filled to the brim with sit-ins, so much so that the side stage area was the easiest place to find most musicians at that time. Zach Deputy, Jennifer Hartswick (on vocals and trumpet), Robert Walter, Roosevelt Collier, Skerik and James Brown horn section members Fred Wesley and Pee Wee Ellis were among those who led their talents to the Leeds-based band’s ferocious set. Down in the Zebra Bar, “Vote to the Boat” winners Papadosio mixed modern electronica with elements of jam and rock to create an untz-tastic blend of music that had more soul than most of the jamtronica I’ve heard in the past. I only caught a song, but was impressed enought to want to take in a whole show.
While The New Mastersounds’ Pool Deck set had the most guest spots, Colorado’s Big Gigantic nearly challenged as the duo welcomed Brock Butler, Adam Deitch, Eric Krasno and Joel Cummins at various points throughout the two-hour set in the Zebra Bar. Brock had never heard the band before, but rose to the occasion laying down subtle, washed out textures. Krasno went in the other direction and shredded his way to glory. Sax wiz Dominic Lalli and drummer Jeremy Salken filled the room with a group of fans who didn’t stop moving throughout the band’s performance thanks to an interesting blend of live music and DJ featuring Lalli’s otherworldly playing.
READ ON for more on Day Four of Jam Cruise 9…
Satriani’s releases have encompassed everything from straight ahead rock ‘n roll to funk, from blues to electronica, from epic jams to blink-and-you-miss-them ditties. Now, well over two decades into his career, Satriani talks about his passion for the music he loves so much and how that fervor has helped make his latest album, Black Swans & Wormhole Wizards, one of his most eclectic—and satisfying—releases in years.
There was a Mule Marathon at the Beacon Theatre on December 30th and 31st during which evenings Warren Haynes and co. celebrated not just the turn of the years but the history of their band. The first night in particular illustrated why The Mule has developed such a staunch following over its sixteen year career. Perhaps buoyed by the thought of the impending semi-hiatus in 2011 (postcards for Mountain Jam festival on the seats of the venue), the quartet played loose and free but with a clarity and purpose.
Coheed and Cambria are performing the band’s debut album in its entirety nearly two dozen times this spring to celebrate the group’s 10th anniversary. In fall 2008 the band booked
