Phish frontman Trey Anastasio is an example of how drug courts can work and today he spoke at a Drug Court Rally in Washington, D.C. Big Red spent 14 months
The first round of artist additions to the initial Jam Cruise 10 lineup have been announced and features old JC favorites as well as a few groups whose members were already
I made a point of getting up early on Saturday morning of the 15th Annual All Good Music Festival to catch some of the local talent at the Grassroots Stage. Having been told by numerous local media sources that they were a hot ticket, I made a point of seeing a bit of Fletcher’s Grove from nearby Morgantown. As usual, I was not as quick making the trek as I’d hoped and arrived about halfway through the fledgling jamband’s first set, just as they were finishing a very strong cover of Buddy Holly’s classic Not Fade Away.
The next few songs in the quintet’s inaugural All Good set proved once again that festivals are a great place to check out fresh talent. See more about Fletcher’s Grove in the All Good New Artist Spotlight below. As local favorites, Fletcher’s Grove brought a sizable audience to the campground stage that quckly cleared after their set. I waited around to see a bit of Chicago’s Lubriphonic whose funk and horns also proved danceable and fun, although it was a shame there wasn’t a larger audience.
Opening the main stage on Saturday was self-contained band Zach Deputy whose soulful vocals and looping guitar and beat lines made for a more relaxed set under the West Virginia hills’ intense mid-day sun. After Deputy, I caught only the first couple of songs by The Werks (which the audience seemed to enjoy) and headed back to the Grassroots Stage to see Michigan’s Greensky Bluegrass, where they performed only bluegrass covers of rock songs including Traffic’s Light Up or Leave Me Alone, Talking Heads’ Road to Nowhere, Arcade Fire’s City With No Children and Prince’s When Doves Cry.
READ ON for more thoughts and photos from Saturday at All Good…
[Originally Published: October 19, 2010]
Hey everybody, DaveO here – over the next few weeks I am turning Cover Wars over to some of the other Hidden Track contributors to change things up a bit. Please welcome, Andy Kahn.
Lefty Frizzell first recorded and released this haunting ballad in 1959. Written by Danny Dill and Marijohn Wilkin, it’s a first person, from the grave account of a man wrongly sentenced to death for a murder he didn’t commit. However, he’s unable to provide an alibi because that would reveal at the time in question he was sleeping with his best friend’s wife. The wife often goes to the narrator’s gravesite wearing the long black veil and mourning the secret that led to his execution. Since Frizzell’s original release plenty of other artists have tackled this heart-string-pulling ballad. A good lot of them are up for consideration below, but let me know in the comments if I missed your fav.
The Contestants:
Dave Matthews: Those not steeped in the earlier folk stylings of the song might be most familiar with one of Dave Matthews’ performances. A staple of the Dave Matthews Band repertoire for years now, having first appeared on the 1999 live album Listener Supported, Matthews has also played duets with Warren Haynes, Tim Reynolds and as part of a tribute to Johnny Cash with Emmylou Harris.
[audio:https://glidemag.wpengine.com/hiddentrack/wp-content/uploads/2010/07/daveveil.mp3]READ ON for the scoop on the rest of this week’s contestants…
We keep our eyes peeled for new tour dates announcements each week and compile them on Tuesdays for this handy column… On September 13, quirky funk-rock act Primus will release
Once Bob Weir finishes the current Furthur tour, the former Grateful Dead guitarist will head out on the road by his lonesome for a week of solo acoustic shows. Weir
Director Spike Jonze first worked with the Beastie Boys in 1993 for the Time For Livin’ music video, but his best known collaboration with the B Boys took place a
Our quick, random stabbing of ten new albums
A collection of old rhythm & blues and rockabilly tunes lovingly re-made by the likes of Wyman, Charlie Watts, Andy Fairweather-Low, Kenney Jones, Jimmy Page, Paul Rodgers and others, it was warmly received at the time of its release and holds up surprisingly well to this day.
Throughout the entirety of Ben Sollee’s second solo album, Inclusions, there’s a struggle waged between genre, between metaphor and the literal, between engaging and utterly distancing. Over the course of the album’s eleven tracks, Sollee presents music that jumps between traditional pop/folk and atonal structures with the ease and whimsy of a single chord, revealing Inclusions’ central investigation of aesthetic pollination. If anything, it appears that Sollee desires to question the experience of listening to and identifying with music.
