Lumerians, Transmalinnia (Partisan Records)Even the most pointless and unusable departments of music have bands that do enough right that you have to sort of hand it to them. San Fran’s
After wrapping up its current European run with sold-out shows across the continent, The Low Anthem will return to the United States for spring and summer dates in support of
Even still, there’s always been an earnestness to Sarah McLachlan’s persona, as well as a captivating charm to her music that continues to make people pay attention. Her sold out show in February at Oakland’s Paramount Theatre is another testament to the fact that people are still very interested in Sarah McLachlan. All the frustrations with her seeming scarcity of ingenuity at this point in her career are valid and credible, but leave it to McLachlan to look those exasperated listeners square in the eye, crack a wry smile and belt out with that angelic voice, leaving behind all that disappointment.
Robbie Robertson credits Eric Clapton for much of the original impetus behind the recording of his new album, so it’s no coincidence that How to Become Clairvoyant is remarkably reminiscent of Slowhand’s studio productions as heard on 1998’s Pilgrim.
On the heels of their genre defying sonic tribute to the Big Easy entitled YA-KA-MAY, Glactic will be offering up a live counterpart to YA-KA-MAY with The Other Side Of
Grace Potter & the Nocturnals have been chosen to headline the inaugural Bonnaroo Buzz Tour. Support acts include fellow Bonnaroo acts Futurebirds and Gary Clark Jr. The band, who proved
The annual 80/35 music festival in Des Moines, Iowa, reveals a lineup featuring headliners Girl Talk and Grace Potter And The Nocturnals along with Galactic, Parlours and more. Presented by
Gomez’s seventh studio album, Whatever’s On Your Mind, will be released on ATO Records on June 21, 2011. Serving as the follow-up to their acclaimed 2009 release, A New Tide,
It seems like only yesterday that we started with the play-in game and had our 32 covers set up to compete. Today we’re down to our final showdown featuring Perpetual Groove’s cover of Live and Let Die squaring off against My Morning Jacket’s performance of It Makes No Difference.
The Final Matchup
Perpetual Groove – Live and Let Die (Paul McCartney) – A Play-In Selection
Perpetual Groove performing Live and Let Die by Paul McCartney from 10-30-2010
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VS.
My Morning Jacket – It Makes No Difference (The Band)
My Morning Jacket had the pleasure of recording It Makes No Difference for the 2007 compilation Endless Highway: The Music Of The Band at Levon Helm’s studio in Woodstock, NY. In 2006, prior to the release of Endless Highway, My Morning Jacket frequently covered the song in concert including their Bonnaroo festival set as well as in opening slots for Pearl Jam and Eddie Vedder frequently came out to trade verses with MMJ lead vocalist Jim James.
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Eddie Vedder with MMJ:
READ ON for the final vote!
Furthur @ Hampton Coliseum, April 1
Words: Mike Ross
Hampton Coliseum, known by many as “The Mothership,” is impressive from the outside, but looking around from our nosebleed seats on the outer edge of the bowl before the lights went down I couldn’t help but feel incredulous that this giant cavernous place doesn’t suck out the energy of anybody trying to emit anything from that stage. It’s almost self-defeating alienating in it’s sheer hugeness – alienation being precisely the thing that people are trying to escape in coming to a public event, perhaps especially a Grateful Dead-related one.
For the first set of Furthur’s April Fools’ Day performance, I was feeling like maybe I was right. The band seemed a little tired. Maggie’s Farm came up and I found myself wondering, Why do they bother with songs like this anymore? Is there any life left in these songs for this band? The Grateful Dead as a band was a finite entity with a beginning and an end, and doing songs like Maggie’s Farm in the first set was part of their natural progression. When Furthur convened 15 years later, they had the option of picking from the cream of the crop, starting fresh and interpreting the Grateful Dead ethos in a way that would be satisfying to them and their fans – so why play first-set filler? Why not fill both sets with awesome?
Of course, my wrongheaded thinking would be spun on its ass by the time the show was over. Furthur gave me the gentle reminder that, just like in the Grateful Dead before it, the magic either happens, or it doesn’t – and it doesn’t much matter where. It can come and go, and it can be prodded and some pretty good stuff can happen in the meantime – these are professionals, after all – but in the end you can’t really force it. This was proven in a second-set Black Peter – usually a bit of a snore-fest for me – that just ripped. It also showed another facet of the progenitors of this music: liftoff can come from any member or members of the band; in the case of this Black Peter it was the Pehrson-Sunshine-Chimenti show. Those thick organ swirls and those harmonies (“See here how everything / lead up to this day”) elevated the whole stage by about five feet, and before anyone knew what was happening, the Mothership was hovering in place somewhere above Hampton. READ ON for more on Friday night’s Furthur show…
