Blabbermouth reports on a recent Aaron Lewis interview by Chris Mathews from the South Carolina classic rock radio station 104.9 The Surf. In the interview, Lewis was asked if he’s ready to return to the road with his old band Staind, which last toured together in 2011, but seems content on where he is in his solo country music career for the time being.
Lewis was asked about the “touring machine” that is Staind: He replied:
The touring machine, as you call it, of Staind will never be again. Not like that, no. Never. Never. I could never go back to playing six shows [a week] eight weeks in a row. I can’t do that. I have grown in my age and become very accustomed to playing Thursday, Friday and Saturday and being able to go home for a few days and unwind and try to kind of have a life aside from doing this. I worked really, really, really hard to get to this point where I can play three days a week and still do just fine.
In another recent interview conducted by Planet Weekly, Lewis once again talked about the future of Staind. He stated:
I definitely see it staying on hold for a while. I’ve got to stay focused on this [country career]. I’ve got to take this to where it needs to get to before I can start risking things with the good ole boy network reception and throwing in a handful of Staind shows in the summertime along with all of my country shows. But that’s down the road. I can’t even think about that right now.
Without reading too much into this, Lewis recently reunited with his old bandmates at his Aaron Lewis and Friends charity benefit concert on Aug. 4, at the Pines Theater in Northhampton, MA. The band played an encore, three-song acoustic set, that included the songs “Outside,” “Something To Remind You,” and “It’s been A While.”
Lewis released seven studio albums with Staind, and two solo efforts, The Road (2012), and Sinner (2016).
Over the years, Black Sabbath has been known to create not only the metal genre as a whole, but also inspired so many sub-genres from the roots of all things heavy. Because of the wall of sound and the occult themes, many fans were mesmerized by that approach and set out on pilgrimages to create their own form of occult rock. From bands like Candlemass, Angel Witch, whom brought the sound of wicked laced lyrics in their songs, to groups like Electric Wizard who brought the evil overtones with immense amounts of 60’s influence drug speak, it is fair to say Black Sabbath has given birth to so many great bands over the years with their influence. Among the children of Sabbath, we have Houston’s Venomous Maximus.
They started casting evil incantations with their debut album, Beg Upon The Light (released 2012 via Occulture), the band was eagerly accepted in the doom underground. Now it has been two years since their last spellbound of a record Firewalker (released 2015 via Shadow Kingdom Records). They came back from the crypt to cast one more feverishly dangerous of an album, No Warning (released via Shadow Kingdom Records), the doom rockers have once again unleashed hell and we love it!
No Warning is the third studio album from the band. The formula of New Wave of British Heavy Metal (NWOBHM) with the elements of Black Sabbath, this album hits you where it matters most. With Beg Upon The Light single “Give Up The Witch” we have the continuation of the story with “Return of The Witch.” Much like from the debut album, the vocals will have your skin crawling with excitement. Higgins (vocals/guitar) still sounds like an ominous banshee which you do not want to meet in a dark alley. Such a deep and very melancholy style of vocals, one will find themselves caught in the beauty of the darkness of the lyrical themes. With tracks like “All Of My Dreams” and “Pray For Me” displaying the most powerful of vocal creation, you will without a doubt be putting these tracks on repeat while you let the night take you away.
The band really knows how to make catchy songs while keeping that metal attitude alive. With Higgins, Larson (guitar/synth/backing vocals), Diles (bass), and Draungardy (Drums/percussion) working like an unholy covenant, the songs they create will have you banging at your next black mass! My personal favorite songs which I feel have the best girt type of mood would be “No Warning” and “Spellbound.” With such energy you will fall in love with Draungardy drumming and bass playing from Diles to penetrate into your mind the end of days is nye! It really will make those fans of Sabbath and Candlemass really feel as though the two groups made a Rosemary Baby and is offering the craft to the world! With the guitar work of Higgens and Larson working as one being, the 80’s guitar style is very clear in the tracks, with soaring guitar solos, but still carrying that doom induced dread that even the dead can enjoy rocking out to!
I have always been a huge fan of doom and occult themed bands. In fact it is one of my favorite genres of all time to enjoy with friends in the graveyard back in my youth. Doom metal will continue to haunt the underground and the passion for all things ominous. The genre will continue to be a favorite of the metal underground. With No Warning your passion will only grow with the genre and the band. This fine specimen gets an 8 out of 10 from me. You may go to the band’s bandcamp to get the album or Shadow Kingdom Records website. Get it out and may the spirit of the witch grace your ears!
Key Tracks: Return Of The Witch, Pray For Me, All Of My Dreams
Bruce Springsteen will make his Broadway debut in his “Springsteen on Broadway” run of shows in New York City. The marathon run of shows takes place throughout October and November.
Bruce Springsteen will play a total of 39 shows as part of his “Springsteen on Broadway” run of shows at New York City’s 960 seat Walter Kerr Theatre. The intimate shows will combine stories and music from his career, which began with 1973’s Greetings from Asbury Park, NJ. Springsteen is quoted on the “Springsteen on Broadway” website:
“I wanted to do some shows that were as personal and as intimate as possible. I chose Broadway for this project because it has the beautiful old theaters which seemed like the right setting for what I have in mind. In fact, with one or two exceptions, the 960 seats of the Walter Kerr Theatre is probably the smallest venue I’ve played in the last 40 years. My show is just me, the guitar, the piano and the words and music. Some of the show is spoken, some of it is sung. It loosely follows the arc of my life and my work. All of it together is in pursuit of my constant goal to provide an entertaining evening and to communicate something of value.”
While “The Boss” has kept busy over the course of his career, last year was a big year for him with The River Tour 2016 being named the top global tour according to both Billboard and Pollstar, the release of his memoir Born to Run and its companion album Chapter and Verse in September and being awarded the Presidential Medal of Freedom in November.
Previews for “Springsteen on Broadway” begin on Oct. 3. The official opening is Oct. 12. The shows take place Tuesday through Saturday at 8 p.m. with a final performance on Sunday, Nov. 26 at 3 p.m. to make up for taking Thanksgiving Day off. The show is expected to last approximately two hours.
Tickets for “Springsteen on Broadway” are being sold through Ticketmaster’s VerifiedFan program and go on sale at 10 a.m. on Aug. 30. Fans wishing to attend the shows must register with Ticketmaster by 10 p.m. on Sunday, Aug. 27. Verified fans will be confirmed on Tuesday, Aug. 29 and will receive a special code by text message on Wednesday, Aug. 30 prior to the 10 a.m. on sale time.
Glen Campbell, a country artist who successfully bridged the pop and country worlds in the late ’60s and early ’70s died from complications of Alzheimer’s disease Tuesday at the age of 81. Campbell’s Facebook page confirmed the death Tuesday afternoon.
Image: Getty Images
Campbell was diagnosed with Alzheimer’s in 2011 and was public about it as he embarked on a farewell tour backed by three of his children. What was supposed to have been a short five week tour, morphed into 151 shows, with his final show occurring in Napa, CA on Nov. 30, 2012. That tour was chronicled in the 2014 documentary, Glen Campbell: I’ll Be Me.
The film followed Campbell on that final tour and revealed the up close and personal experiences of a person suffering through the various stages of Alzheimer’s and its effects on loved ones. Campbell’s daughter, Ashley, who played keyboard and banjo on the tour, told The New York Times in 2014, “It was almost like a game of roulette. You’d have a great show and then a difficult show, and you’d start to wonder, ‘Oh no, is this getting towards the end?’”
Photo Credit: Henry Diltz
Following that tour, Campbell retreated to Nashville where he received long-term care until his death. His final studio album Adios! was recorded following the farewell tour. He was accompanied by such artists as Vince Gill and Willie Nelson, covering songs from Nelson, Bob Dylan and Harry Nilsson, and his longtime collaborator Jimmy Webb. The album was released this past June.
Campbell was the seventh of 12 kids, born to an Arkansas sharecropper on April 22, 1936. He began playing guitar at the age of four with a Sears and Roebuck guitar and was performing on local radio by age six. Campbell quit school, obsessed with Django Reinhardt at the age of 14 and moved in with his uncle, Dick Bills, who had a band in Albuquerque.
A move to Los Angeles in 1960 at the age of 22 kick started a professional career that had Campbell performing with the infamous Wrecking Crew, a loose-knit group of LA studio musicians who became Phil Spector’s house band. The Wrecking Crew acted as the backing band for dozens of the most popular artists of the ’60s, including Frank Sinatra, Nat King Cole, Bobby Darin, the Monkees, Merle Haggard, Elvis Presley, the Mamas and the Papas and the Beach Boys.
According to Rolling Stone, “In 1963 alone, he appeared on 586 cuts and countless more throughout the decade, including the Byrds’ “Mr. Tambourine Man,” Elvis Presley’s “Viva Las Vegas,” Merle Haggard’s “Mama Tried” and the Righteous Brothers’ “You’ve Lost That Lovin’ Feeling.”
After sitting in on some Beach Boys sessions, Campbell became a touring member of the band, replacing Brian Wilson, who had suffered a nervous breakdown. Campbell toured with the band through 1965.
His late ’60s collaborations with Jimmy Webb brought Campbell’s biggest success, with songs such as “Wichita Lineman,” “Where’s the Playground Susie,” “By the Time I Get to Phoenix” and “Galveston.” His popularity and status as a crossover artist took off in 1968 when he hosted a summer replacement show for The Smothers Brothers Comedy Hour. The gig led to his own variety show, The Glen Campbell Goodtime Hour, hosting such musical luminaries as Johnny Cash, Ray Charles, the Beatles, Neil Diamond and Linda Ronstadt on CBS. The show ran from 1969 through 1972.
Webb wrote a heartfelt tribute to his “big brother” in a post to Facebook.
Campbell’s career stumbled a bit in the early ’70s as problems due to alcohol and cocaine use created issues both personally and professionally. In 1975, he resurfaced with several of his most well-known songs topping both the country and pop charts. The Allen Toussaint-penned “Southern Nights” and his signature song, “Rhinestone Cowboy” both hit number one on the Billboard charts during this period.
His later years were spent championing younger country artists such as Keith Urban and Alan Jackson and recording albums of gospel music. He was inducted into the Country Music Hall of Fame in 2005. The album Ghost on the Canvas was released in 2011 and featured collaborations from indie rock icons Paul Westerberg of the Replacements, who wrote the title track, Smashing Pumpkins frontman Billy Corgan and Jakob Dylan of the Wallflowers.
Campbell is survived by his fourth wife Kimberly, their three children, Cal, Shannon and Ashley, Debby (from his first wife, Diane Kirk), Kelli, Travis and Kane (from his second wife, Billie Jean Nunley) and Dillon (from his third wife, Sarah Barg.
Webb eulogized, “Let the world note that a great American influence on pop music, the American Beatle, the secret link between so many artists and records that we can only marvel, has passed and cannot be replaced.”
The sort of plasmic, shape-shifting rock and roll spawned by The Southern Belles of Richmond, VA, has been released to humans everywhere for their listening and dancing pleasure on August 5. Their third album, In the Middle of the Night, is oddly akin to Willie Wonka‘s three course dinner chewing gum, in that, through the consumption of one product, several flavors can be indulgently experienced in a brief period. At least by listening to this album, no one will need a swarm of oompa loompas to roll them to the juicing room… that we know of.
This album dives deeper than their previous release Close to Sunrise, offering heavier jams, tighter instrumentation and an overall more spacious and grandiose sound. The Southern Belles is Adrian Ciucci (guitar), Tommy Booker (keys), Aaron Zarrow (drums), and Derrick Englert (bass). In the Middle of the Night was recorded at The Ward recording studio in Richmond.
“Everywhere 1” floods the eardrums with runaway guitar like an antsy racehorse exploding out of the starting gate. In under a minute the tune relaxes before getting groovier, continuously arousing the listener’s curiosity. Ciucci’s vocal tone is a crosshatch of Motion City Soundtrack’s Justin Pierre and Jimmy Eat World’s Jim Adkins. The song culminates with an uplifting message of gratitude: “Everything I try to be, there’s someone there reminding me/ Life is grand, we’re so lucky/ And it’s amazing everywhere it takes me.” This closing sentiment is a suiting cap to the opening song of an album, almost an anthem to their success, four musicians converging, playing their brand of music together in a way no other combination of musicians could exactly replicate. Something to be thankful for.
“Deja Vu” offers a more somber beginning, with higher octave backing vocals that emulate The Flaming Lips with a sea of airy voices echoing Ciucci. It shifts from whirring organ to bouncy guitar, offering an uplifting release from the heavier tone. “L.A. Moves” opens with delicate guitar and elements reminiscent of NY synth-rock band Jimkata. “Tryin” promptly brings the Vulfpeck vibes with playful keys before escalating into a rock-opera ballad replete with gospel-like vocals and undulating tempos. The album closes with “Everywhere II,” trickling in with calming water effects, muted organ and vocals with Pink Floyd connotations before Ciucci utters the heartening sentiment, “Just know in the end you’re gonna get where you’re goin, so take good care of your friends/ They’re the only ones who know you and the only ones who care so be kind and fair.” The song then picks up tempo and finishes on a high note with a cathartic swirl of guitar and pounding drums, bringing it full circle to the beginning of the album.
In the Middle of the Night was officially released on August 5 at The Broadberry in their hometown. The single is being streamed via Soundcloud and their website, and can be heard on SiriusXM’s Jam On. The Southern Belles have been touring the East Coast leading up to the album release, and will hit the road again for their fall tour. They will be playing Saturday August 12 in Capon Bridge, WV at La La Land, followed by the Peace of Mind Fest in Halifax, PA on August 31.
When you scan your ticket at the gate for admittance to the Chautauqua Amphitheater you don’t immediately enter a concert venue. You first gain admittance to the Chautauqua Institution, a self-contained gated community unlike any other. There is a surreal quality to the surroundings, only amplified on this cool, rain-drenched August evening. A group was gathered in the Chabad House to welcome the Sabbath a few steps from Palestine Street and just around the corner from the Ecumenical Society. Quiet, tree-lined and nearly carless streets led down to a town square where a group of kids were taking advantage of the extended summer evening with a pre-dusk soccer game. It felt like we were extras on a movie set, wandering through a story beyond our immediate grasp. Just past the square, the faint sounds of acoustic guitar emerged from a sunken wooden amphitheater. It was newly rebuilt and restored this past year, a unique space with stunning sound and excellent sight lines. People were gathered inside for the evening’s entertainment, being provided by American Acoustic. The location and entertainment overlapped in some sort of mystical is-this-real-life place, a dense mash of thick color in the middle of a complex Venn diagram.
American Acoustic is a dream-come-true tour for bluegrass and Americana fans. The all-male super-group-in-reverse Punch Brothers (featuring Chris Thile on mandolin, Paul Kowert on bass, Gabe Witcher on fiddle, Noam Pikelny on banjo and Chris Eldridge on guitar), joined forces with the all-female super group I’m With Her (featuring Sara Watkins, Sarah Jarosz and Aoife O’Donovan) and rogue guitar phenom Julian Lage for an all-out string feast.
Like a scene from The Wizard of Oz, two large wooden doors automatically opened to the side of the stage, and musicians would emerge from the darkness beyond. They ebbed and flowed from the lineup throughout the evening, displaying multitudes of unique combinations, providing moments upon moments of sheer brilliance.
Each was a verse in the poetic epic that comprised the entire show: In a duo with Chris Eldridge on “Things in Life,” off their recent release, Julian Lage snuck masterfully melodic picking in, around and under Eldridge’s vocals / Kowert accompanied the otherwise a capella I’m With Her for their set-closing take on Adele’s “Send My Love,” each of their beautiful voices weaved around each other in a magnificent groove / A perfectly placed dog bark rang out during the Punch Brothers’ performance of Claude Debussy’s “Passepied,” further knotting the connection between the place and performance, much to the delight of the crowd and band alike / In a cover of Josh Ritter’s sea-faring tale “Another New World” the closing improvisation section appropriately contained monster waves of sound, swelling with energy / Jarosz joined the band for an oozing and sparse rendition of Radiohead’s “The Tourist” / The entire ensemble combined for a hair-on-end words-can’t-describe it cover of the Beatles “Julia” / A show closing take on the traditional “Father Adieu” was a true vocal workout, each verse being sung by a different combination of voices, with the last round between the collective male and female voices, simply stunning.
Those extra special moments were wrapped tightly amongst more folk-induced warmth and heat. Julian Lage and Noam Pikelny showcased their individual eye-popping talents with interspersed solo pieces. I’m With Her beefed up their minimal-but-growing catalog of originals like “Overland” and “Little Lies” with covers of Jim Croce’s “Walkin’ Back to Georgia” and John Hiatt’s “Crossing Muddy Waters.” The Punch Brothers took over after a short break, with a set spanning their catalog, hitting on “New York City,” “Julep,” “Familiarity” and the clever pairing of “Hops of Guldenberg” with “Rye Whiskey.” During the closing portion with everyone on stage, Thile presented a new song, ripped from the headlines, titled “Comey’s Waltz,” with lyrics like, “Now someone else has to come and stick it to ya, hallelujah” and “Sir, I’m already gone.”
With a fun romp through Randy Newman’s “Mama Told Me Not to Come” featuring everyone, as their encore, they sent the crowd back on their way. Exiting the gates of the community, like emerging from the corn fields in the “Field of Dreams,” we were mortal again. The real world beckoned, but we’ll always have that magical night with American Acoustic in Chautauqua.
Papa Roach frontman Jacoby Shaddix, once again had to go under the knife to fix his vocal cords, prompting the band to scrap the rest of its summer tour dates. No stranger to vocal cord surgery, Shaddix had a similar operation in 2012 to remove a nodule on his vocal cords which Shaddix stated in a past interview with Rolling Stone was like having a callus you would get on your hands, but on your vocal cords instead.
Canceled dates due to the surgery include Aug. 11 at the Douglas County Fair in Roseburg, OR; Aug. 19, at Moonstock 2017 in Carterville, IL and Aug. 25 at the Alaska State Fair in Palmer, AK. Fans who hold tickets for those events are instructed to contact their local ticketing company. Papa Roach hopes to return for their overseas run, and continue to tour in support of the band’s ninth studio album, Crooked Teeth, on Sept. 9, at The Circus, in Helsinki, Finland.
Papa Roach posted the following statement on social media:
It is with a heavy heart that we are forced to cancel our upcoming shows in the Oregon, Illinois and Alaska this month due to the need for Jacoby Shaddix to have immediate vocal cord surgery and rest.
This week, Jacoby was advised by his doctors and vocal specialists to have surgery on his vocal cord and to give his vocal muscles enough time to heal before Papa Roach resumes their current touring schedule in September. Jacoby had a similar surgery about five years ago.
Fortunately, the diagnosis was made early and full recovery should be soon. The vocal cords are a muscle and like any athlete, muscles can get injured in the course of their profession and we appreciate your understanding this diagnosis.
We wish to thank all of our fans in advance for your prayers and good wishes. We know some of you had travel plans and we will return next year to perform for you.
Please contact your local ticketing company for more information on the following shows.
Thanks again,
Jacoby, Tobin, Jerry, Tony, & Team Papa Roach
Rap metal heavyweights, Hollywood Undead and metalcore band Butcher Babies recently announced their North America 2017 tour. Anthology in Rochester will be one of their stops on Friday Nov. 17.
Both bands have new unreleased albums but only Hollywood Undead have officially released details on their new album titled Five (stylized as V), while Butcher Babies have only stated on social media that they have finished recording a third full length album only referred to as BB3, presumably Butcher Babies 3. Tickets go on sale Friday July 28 at 10:00 a.m., with prices ranging from $25 to $30. This show will be 16 and up.
Thousands gathered to listen to a preacher give thanks. Her boisterous voice echoed throughout the golden walls, as painted angels peered down from the ceiling. She removed her glasses to wipe the sweat from her brow and then threw her hands to the sky as she sang to the heavens in gratitude and desperation. Brittany Howard is the lead singer and guitarist of the Grammy nominated band, Alabama Shakes. On August 1, 2017 she was a preacher. The Palace Theater in Albany was the church. The sold out crowd of 2,800 ticket holders the congregation.
Throughout the evening, she would pause to give thanks. Thanks to the Emily King, the opening folk act who drummed up the crowd’s excitement. Thanks to the fans for coming out on a Monday to show their support and hear them play. Thanks to her eight other band members for tearing it up. And a reminder to “take this message with you and make others feel good.”
Like a southern preacher, Howard was animated, soulful, serious and powerful. Entering onto the stage with a sample of David McCallum’s “The Edge” playing in the background, a feeling of intensity was shock waved throughout the building. The Shakes began with “Future People,” a song from their 2015 album Sound and Color. As she would do throughout the evening with songs like “I’m Yours” and “Dunes,” she began quietly but then abruptly pounced into action with volume and muscle.
The songs they played from the 2012 album, Boys and Girls, like “I Ain’t the Same,” and “Hang Loose” have a distinctly southern gospel rock to them. They’re playful and dance-inducing, providing opportunities for the band to shine. Every song from Sound and Color seemed to be more Howard focused. Her vocal range is bass to soprano, all with notes she holds. Her voice has an old-timey, soulful sound that pairs nicely with the instrumentals.
Before returning to the stage for a three-song encore, Howard and backup singer Lloyd Buchanan performed a sweet, romantic and somehow heartbreaking duet of “Gemini.” The two were able to convey a sense of unbounded and tender love. The evening ended with a soft “Over My Head,” like a lullaby to say goodnight.
Those lucky enough to witness the raw talent of Alabama Shakes at The Palace Theater went to bed that night feeling pure bliss and of course, gratitude.
The final weekend of Phish’s historic Baker’s Dozen, a run of 13 shows at Madison Square Garden, kicked off on Friday to much fanfare and a lot of fingers in the air, with Friday being lemon donut night.
These shows sold out in advance and were a hot and dwindling commodity throughout the week. On Friday, Phish came on stage and performed a cover of Blind Lemon Jefferson’s “See that my Grave is Kept Clean,” before jumping into a standard, but well played take on fan favorite “Punch You in the Eye,” which bled into a fun, short “Party Time.”
“Big Black Furry Creature from Mars,” “Dinner and a Movie,” a rousing and Trey-led “Ocelot,” “Poor Heart,” “Winterqueen” and “Bold as Love” continued what turned out to be a straight rock set without too much in the way of improvisation. Just when it felt that Phish may have laid a clunker set, they dropped into “First Tube,” which had the Garden shaking and crowd going absolutely ballistic heading into setbreak.
To open the second stanza, Phish performed an acapella “Dem Bones,” before leaping into “No Men in No Man’s Land.” A long and spacey jam followed, something Phish has displayed it can do with utmost patience this run. Out of “NMINML” came “Everything in its Right Place,” by Radiohead. There was confusion over what the song was, before word spread that Phish was playing Radiohead. It was well played, if not spectacular.
“What’s the Use?” blended into “Scents and Subtle Sounds,” which featured the most interesting jam of the night, a nearly 17-minute type-II journey that finished when Mike took the lead at the end. A nice and jammed out “Prince Caspian” led directly into “Fluffhead,” and it’s safe to say that the Garden crowd ended the set on the highest of notes. “Frankenstein” served as the encore, which was a fun ending to a rather unspectacular Phish show. But if you place this show in the middle of any typical tour, it will be talked about as a highlight for years to come. That’s how spoiled we have become during these 13 nights.
Set 1: See That My Grave Is Kept Clean[1], Punch You In the Eye > Party Time, Big Black Furry Creature from Mars, Dinner and a Movie, Ocelot,Poor Heart, Winterqueen, Bold As Love, First Tube
Set 2: Dem Bones, No Men In No Man’s Land > Everything In Its Right Place[1], What’s the Use? > Scents and Subtle Sounds[2] > Prince Caspian >Fluffhead
Encore: Frankenstein[3]
[1] Phish debut. [2] No intro. [3] Page on keytar.