The Big Takeover, the funky roots and reggae group out of the Hudson Valley, have released the music video for “Love Understands,” off their recent album Silly Girl. The 80s throwback video features singer NeeNee Rushie, Chas Montrose (saxaphone), Rob Kissner (bass), Andy Vogt (trombone) and Kerry Shaw (guitar) and was directed by Crazy Gringo, Liz Paradise and Zach Thomson. The track is now available now on iTunes and on .
Category: Genres
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Lamb of God Taking Hiatus
Metal Injection reports on a recent interview with Sixx Sense that Lamb Of God frontman Randy Blythe has stated the band will go on a hiatus following the bands summer tour. Blythe, in an recent interview, talked about needing rest from a busy last couple of years. In that time, he has dealt with being jailed in the Czech Republic for accidentally injuring a fan, leading to the fan’s death and a grueling touring cycle, in search of money after bills stemming from legal issues started to mount up.
Lamb Of God is on tour all summer, starting in South America on June 6, at Groove in Palermo, Argentina, with Carcass and Heaven Shall Burn. July and August finishes Lamb of God’s summer run in North America, before heading on hiatus following the Aug. 20 at the Comerica Theatre, in Phoenix, AZ with Slayer and Behemoth. The tour will bring Lamb of God to Madison Square Garden on July 27 for New Yorkers wanting one more chance to see the band before the hiatus kicks in.
Blythe stated:
I got out of prison and immediately went on tour, because I had five lawyers and they were just hemorrhaging money like crazy. I went from jail to home to, ten days later, being at Knotfest to home for a month or two, then out on tour with Lamb of God, then back to the Czech Republic to go to trial, found not guilty, then come home, then finish up the rest of our tour and finally end in South Africa. And then we took a little time off, but there were some changes in the organization and they started writing another record and we need to make money, so it was back in the studio. And it was back on tour again for this last record, and that cycle is not gonna end until August or September of this year, I guess. So it’s just been, like, grinding, grinding, grinding. And when I’m not on the road, I’m working on writing and photography.
[These are] things that make me happy. But it’s at a point now where it’s like, at the end of this tour cycle, it’s gonna be like, boom, it’s time to take a break for real and concentrate more on writing and being at home with the family. It’s time for me now, at the end of this… ‘Cause we got off, after I got done with the whole prison thing and then finishing that tour, we got off the road and then we started writing a new record, and then we recorded that record. And we didn’t tell anyone that we were recording — nobody knew. They thought we were just chilling at home, and then we go on tour before the record even comes out.
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Legendary DJ to Perform On Top Of Mt Everest
EDM Sauce reports that legendary electronic dance music DJ and producer Paul Oakenfold will add another first to his list of places that no other EDM artist, or any artist for that matter, has ever performed. Oakenfold’s next stop, on April 11, will see the British-born DJ take the long and dangerous 17,000 foot hike up Mt. Everest and perform at the highest party in the world at the mountain’s Base Camp to celebrate the 3o year anniversary of the Second Summer of Love, which was the name given to the period in the late 80’s when acid house music and rave parties were on the rise.
When it comes to performing in unique places, Oakenfold is no stranger. Oakenfold has been the first EDM artist to ever perform at the Great Wall of China, The Hollywood Bowl, Coachella’s main stage and Madison Square Garden.
The venture will be part of Oakenfold’s “Generations World Tour,” which will cover six continents with new visuals, music and extended sets, playing tracks from a career that has lasted over three decades. Oakenfold will perform on two turntables and two Denon SC5000’s. For fans who can’t make the trip and climb the mountain, don’t worry, Oakenfold will live stream the Mt. Everest event through EXTREME.
Oakenfold was voted DJ Magazine’s #1 Dj in 1998 and 1999. He has produced over 100 remixes for over 100 artists throughout his career including Madonna, Britney Spears, U2, Elvis Presley, Hans Zimmer, Dirty Vegas, P.O.D., Justin Timberlake, The Cure, Natasha Bedingfield, Moby, Massive Attack, The Rolling Stones, Crystal Method, Jennifer Lopez and The Doors. Oakenfold founded the EDM record label Perfecto, in 1989, which is still going strong.
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Hearing Aide: Formula 5 ‘All Points North’
On All Points North, the new album from Albany jam-rockers Formula 5, ‘North’ is not a physical direction, but a mental state. North is up, and up is good.And so we begin with a happy-go-lucky blast of B3 on album-opener “Come Along.” Even a dark turn toward a minor key on the following “Sad Bed” quickly escapes to a frenetic organ and guitar groove that mostly bobs and floats above the surface.
There are plenty of extended instrumental moments to satisfy fans of the band’s penchant for live improvisation. “Trout Waters Pt I & II” is a two-part instrumental that begins rocking in a Widespread Panic sort of way, climaxes midway with some surprisingly nifty guitar howls, then finishes off with a funk that attempts to match the Headhunters in it’s depth and length but perhaps wanders on too long. “Excalibur” twists and turns in almost disorienting fashion, but always settles back to North. The highlight of the instrumental gymnastics comes in “Q & A,” a near twelve minute multi-section workout that hits all the sweet spots. Early moments borrow elements from Frank Zappa and the Grateful Dead, piano and guitar intermingle in a light and airy mid-section before it all builds to a triumphant finish.
Though, the best moments on All Points North, Formula 5’s third studio recording, come in the shorter, song-centric tracks. In the jam band world, this is remarkable and refreshing. A sign of maturation and of great things to come for this young band. There’s the feel-good blues of “It Goes…” and the Southern-rock-meets-soul anthem “The Birch Tree.” Strongest of all is the slinky groover, “Do Tell.” Vocals, guitar, keys, horns and cymbal-washed rhythms softly smudge together eliciting the moment where an early morning Sesame Street montage and a late night smokey jazz lounge meet halfway at a time that is either too late or too early. The set finishes strongly with “Figure Out a Feeling,” which finds a happy medium between the band’s songwriting and desire to stretch the limits.
Key tracks: Do Tell, Q & A, Sad Bed
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Sold Out: Steel Panther in New York City!
Steel Panther is the Amy Schumer of rock and roll; raunchy, smutty, not for the faint of heart and hilarious. I bet Ms. Schumer is a fan. I can completely visualize her rockin’ out in her NYC townhouse to “That’s When You Came In.” Or perhaps she was at their sold out Irving Plaza show last Thursday, April 6?
Steel Panther is a tongue-in-cheek parody of all the 80’s hair bands that we know and love, but witty banter and explicit lyrics aside, they are a skilled group of musicians as well that possess a deep love for the music of their youth. With the exception of the guitar solo tribute to some of the greats, including “The Sound of Music,” Steel Panther’s set is strictly original music. You might hear shreds of Van Halen, melodies of Ratt, big guitars a la Iron Maiden, bass lines of Guns and Roses, throw in some Amy Schumer raunch and lyrics that would make Dr. Dre’s mother collapse, finally sprinkle the glam glitter of Poison and Motley Crue and you have Steel Panther.Michael Starr’s larger than life David Lee Roth presence and incredible vocal range complements itself to Satchel’s white lightning speed on the guitar. Their music runs the gamete from hard and edgy to acoustic ballads that bring you back to the corner of Sunset and N. San Vicente Boulevard.
Playing to a sold out, mostly male crowd at Irving Plaza, the night was full of lots of great music and BOOBIES; talk about boobies, boobies on stage, girls with boobies, the Mercedes Benz of boobies and well, just plain boobies. The complete perfect night out for the guys! Favorite songs included “Just Like Tiger Woods,” “Asian Hooker,” “Poontang Boomerang” and their finale for the night, “Party All Day (F*ck All Night).”
After 5 studio albums since 2003, they seem to be gaining more and more momentum with each year that passes. Missed them in NYC? In support of their newest release, “Lower The Bar,” they are traversing the country with dates until mid-May. Click here for tickets!Setlist: Eyes of a Panther, Goin’ in the Backdoor, Just Like Tiger Woods, Fat Girl (Thar She Blows), Asian Hooker, That’s When You Came In, Poontang Boomerang, Guitar Solo, Anything Goes, Girl From Oklahoma, 17 Girls in a Row, Gloryhole, Death to All but Metal, Community Property, Party All Day (F*ck All Night)
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Foolin’ Around with moe. at The Paramount
On Saturday, April 1, at The Paramount, Buffalo-based moe. took April Fools’ Day to the next level by sonically messing with the minds of everyone in attendance. The die-hard moe.rons in the crowd knew that an inevitable prank was coming in some form, but the anticipation led to an even more exciting Saturday night show. Opening with “Defrost” the boys did not wait to get the venue dancing. The historically rare instrumental was the third appearance of “Defrost” in 2017 and it was frequently played in 2016, leading fans to assume that this oldie-but-goodie is not just getting a dusting, but being taken off the shelf permanently.
Moe. brought out the heavy hitters early with a transition into an epic “Brent Black” in just the second slot. Al Schnier and Rob Derhak chiseled the signature song into form while Chuck Garvey used his guitar pick to work on the intricacies. Garvey celebrated his birthday on Thursday night in New Jersey, and on stage he has been having his cake and eating it too during the entire 3-show run. “Lost Along The Way” gave the already sweaty crowd a much needed breather which was followed by “Blue Jeans Pizza” off the decade old album, The Conch. One of the more lovey-dovey moe. originals, “Pizza” found Schnier switching from guitar to minimoog allowing Garvey to take full leadership of the solo to the delight of the crowd. The only annoying aspect of this part of the set was the crowd chatter being at an all-time high. While I felt that the energy from “Brent Black” never went away throughout the entire set, there are times to talk and times to STFU.Jim Loughlin lead the tribal transition into “Bring It Back Home” as Schnier jumped back onto his guitar for some added flare. Loughlin remained in the spotlight while Derhak and Vinnie Amico tag teamed the next tune, “Billy Goat” off the most recent release studio release, No Guts, No Glory. The surfer-rock jam found on the Smash Hits release, “Tailspin,” got the crowd spinning around again. The very impressive first set was praised throughout the break as moe. spanned their entire career in just seven songs.
The April Fools’ prank ensued as soon as the 5-piece reentered the stage for the second set. Over the 28-year career of moe., many different rumors have been spread describing the origin of the band’s name. One rumor was that moe. is a simple acronym for “monkeys on ecstasy” and on April 1, 2017, the monkey was brought to life in one of the stranger moe.ments I have seen a long time. As members began tuning up for the start of the second half of the evening a person dressed in a monkey costume with giant headphones appeared next to Amico’s drum kit, fist-pumping to what sounded like a mashup of “Plane Crash” and Beastie Boys’ “Brass Monkey.” The odd display transformed the rock venue into an electronic dance club and judging by the smile on Derhak’s face, even the band got a kick out of the gag. The prankster monkey seemed to fall into his own trap as he slipped and fell while trying to get off the stage. They covered it up nicely as the “too f**kin’ high” primate took off the giant headphones and put them on Derhak’s head before exiting the stage. Was the slip a set up or did the gag lead to an injury? The world may never know.
After the shenanigans ensued, “Rainshine> Understand” got the show back on track. As the light two-song combo fizzled out, a reggae-influenced intro to “Time Ed” got the room swaying back and forth. The band had a few laughs during the line, “Born a monkey from the sky (monkey, monkey)” before Loughlin returned to business as usual during his flying trapeze percussion section. Throughout the song, he switched back and forth from bongos to MalletKat to xylophone in harmonious fashion. The final segue of the set occurred during a strung-out “Haze” into one of their more euphoric songs off Dither, “So Long.” Every jam band has their own repertoire of songs that cuts to the core of their loyal fan base and mellows out the room. “So Long” is a chameleon of sorts because while it can act as the fluffy cloud to space out the heavier songs, it can also get pretty intense on its own, which is exactly what happened on Saturday night.Schnier came out as he usually does before the encore to read some fan shout-outs. On certain nights he has no problem deciphering what the writers are trying to say, but in Huntington after a night of debauchery, he seemed to struggle through the chicken scratch handwriting. There was some light banter from Loughlin as he announced the next song was one that he wrote. The dark lyrics and southern-rocking Widespread Panic-esque sound of “Don’t Wanna Be” is not really my cup of tea and with little head nodding in the crowd, I felt like there had to be one more crowd-pleaser to end the incredible weekend of moe. in the Northeast. Sure enough, “New York City” was served as the entrée of the encore and considering many fans came to The Paramount on a train from the Big Apple, the famoe.us tune was well received.
The boys will play four sold-out shows at The Sinclair before departing for the South to cover some ground in warmer territories. The recently added set entitled “phil.moe.” at Lock’n was the latest news from the band, and from now until the special dead-inspired set, they will headline Summer Camp and the return of Moe.Down. The bright future and booked calendar gives the moe.rons hope that while the band may be up for a good time and a few pranks, they are in no way ready to cool it down.moe. – 4.1.17 – The Paramount – Long Island, NY
Set 1: Defrost > Brent Black, Lost Along The Way > Blue Jeans Pizza > Bring It Back Home, Billy Goat > Tailspin
Set 2: Rainshine > Understand, Time Ed, She, > Sensory Deprivation Bank, George, Haze > So Long
Encore: Don’t Wanna Be, New York City
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Hearing Aide: The Werks ‘Magic’
At this point in their career, The Werks are one of the best established jam acts on the circuit today. Through brilliant marketing with their festivals and events, relentless touring, and (most importantly) their entirely unique
brand of rock and roll. All of these facts considered, it should come as no surprise that their newest album, Magic, released on March 17, finds the Ohio natives sounding more comfortable in the studio than ever before. Their familiarity with the recording process is evident upon first listen, even without the knowledge that this is their fourth full length studio album since 2009; no small feat considering the studio presence (or lack thereof) that most groups of the genre display.
Written in their ‘sonic dojo’ The Werkspace, the album features eight inspiring tunes which traverse several different genres of rock. Right out of the gate with the first two tracks, the delightfully upbeat “Wide Awake,” followed by the title track, the listener realizes that this isn’t going to be another pentatonic wank session that seems much too common in today’s rock landscape. The Werks have an eclectic sound, reminiscent of 70’s rock gods yet avoids coming off as a cheap imitation. “Slab” really hits the spot, with a gut buster of a riff that offers a pleasantly abrasive counterpoint to the smooth lyrical caress of the first few tracks.“Moonset” sees the boys moving in an even more experimental realm; a trance-fusion arrangement matched with ruthlessly proficient lead guitar that could get any naysayer’s head bobbing as if they were raging the Big Tent around 3 AM at the old Bisco. The track took full advantage of the Sonic Lounge studio’s 1 of 13 in the world soundboard, found in Grove City, Ohio. “Moving On” is the longest track of the album, coming in at 8 minutes and 36 seconds, providing a well needed canvas for perhaps the single most diverse track of the record. Beautiful melodic hooks and a jaunty rhythm pull rock aficionados in like a sirens call, while the bridge section exhibits some bass runs that’d make Getty Lee pay attention. “Lights Out” wraps the album up with some assistance from Ohio’s own Hoodoo Soul Band, who laid down some one of a kind horn riffs over the concluding tune.
Key Tracks: Slab, Moonset, Moving On
Magic can be yours today for the wonderful Name Your Price option on The Werks’ bandcamp. Be sure to visit their website as well for upcoming tour dates, possibly near you!
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Hearing Aide: Gordon St. ‘Gordon St.’
From Schenectady comes Gordon St., a rock and roll band known for their unique music and diverse cover songs in concert. The band is made up of four members including Dan Noonan as the lead vocalist and bassist, Ritch Harrigan on the guitar, keyboardist Mark Bertini, and drummer Jason Nowak. The group’s upcoming debut, self-titled album will be released in its entirety on April 29.
Gordon St. features either original tracks including two singles on their album – “Right as Rain,” a song that seemingly begins as an acoustic number right before the electric sound kicks in with an ear-pleasing groove. “King of Hearts” has the listener following the infectious sounds of the drummer throughout the piece. Another featured song, “Until We Meet Again,” had me hooked from the beginning as it starts with a stripped down vocal accompanied by the organic sounds of snapping fingers.Other tracks that accentuate the raw musical talent of these musicians are “Peppermint Chamber” and “The Equation,” both consisting of instrumental intros. “Paranoid Jones” is yet another example of a song with a musical outro and exciting guitar riffs, which are commonly heard in the group’s music.
Although the band’s genre is generally classified as rock and roll, Gordon St. draws from their many influencers to create an original sound. A number of their tracks experiment with different styles of music and subtly cross over into other genres as well. Take a listen for yourselves on their album release!
Key Tracks: Peppermint Chamber, Right as Rain, Until We Meet Again
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Nameless Ghoul Speaks Out on Ghost Lawsuit
Metal Injection reports that former Ghost guitarist, Simon Soderberg, posted an lengthy post on Facebook about his pending lawsuit with former Ghost band members. Soderberg and three other ‘nameless ghoul’ former members of Ghost have launched a lawsuit against Ghost frontman Papa Emeritus, real name Tobias Forge, for cheating them out of royalties from music and live tours.
The lawsuit does not include former member Martin Persner, who many believe started the band. It’s said that the band may have gone through more than 10 members. With each band member’s identity being under a mask and known only as a Nameless Ghoul, there is no way to really tell how many former members Ghost really has. The four members in the lawsuit want Forge to disclose all financial income and expense statements, or be forced by the courts to pay a penalty in the $20,000 range.Ghost, with new band members will perform at The Palace Theatre in Albany on June 6.
Soderberg’s Facebook post stated:
https://www.facebook.com/simon.soderberg.52/posts/10154419061836127
As of yesterday we, four signatories from the band Ghost, have filed a lawsuit with the Linköping District Court. We are suing Tobias Forge (”Papa Emeritus”) – the band’s lead singer who has also been responsible for the finances of the band since its founding.
As of the filing of this lawsuit we are requesting that the court, under penalty, oblige Tobias Forge to declare the incomes as well as expenses of the band concerning the years between 2011 and 2016.Throughout all the years we have been on tour with Ghost (between 2011-2016 some of us have performed something like 500 shows with the band) and throughout the band’s album recordings, we have neither been allowed to share in the profits of the band, nor have we seen any of the incomes accounted for. The only thing we have received have been minimal advance payments to allow the band to keep going. This despite the fact that we had an agreement that any profits should be shared fairly between the members of the band.
When we have attempted to raise the issue of the band’s finances with Tobias Forge, his sole response has been that there are so far no profits to be share, but that everyone will be generously compensated once the band turns a profit.
The reason that this lawsuit is now being filed is a contract dispute that has escalated during the previous year (2016). Over the last year we have received multiple proposed contracts from Tobias Forge in which he seeks to redefine his role in the band.
Since the conception of Ghost, our common understanding and agreement has been that we are a band on equal terms, but that Tobias will act as band leader and manage the band’s finances through his own companies.
Through contracts received from Tobias and his lawyers during 2016, Tobias has attempted to make us sign an agreement that implies we are merely consultants working for his company, an agreement also stating that we would receive less that a minimal wage for our contributions to the band. According to this proposal, furthermore we would renounce any and all rights to music royalties.
All above despite the fact that some of us have been members of the band since its foundation, investing all of our time in the band during the past five years, with as much right to the recordings and trademark of the band Ghost as that of Tobias Forge.
Our vocalist and former friend is now attempting to, in a underhanded and shameless way, transform Ghost from a band into a solo project with hired musicians. Naturally this is not something we can accept.
When, in connection with the 2016 United States tour, approached a lawyer in order to sort out the situation of the contracts, we were informed that Tobias Forge no longer wanted us to participate in upcoming tours. Thus, Tobias Forge is now going ahead with the tour, which started March 24 2017 and is set to end in the UK on August 12, on his own together with rented musicians who have replaced all other band members. Tobias Forge has chosen this path of action without any permission from us to carry out the tour on his own. This under the name Ghost, which we regard as our commonly owned trademark.
The actions of Tobias Forge amount to nothing less than unabashed dishonesty, greed, and darkness. Not the darkness of which Ghost sings, but a darkness that pushes a person to betray his best friends when fame and fortune appear within reach.
We are terribly sorry that this afflicts the fans of the band as well, and that they too should suffer because of this betrayal and greed.
We who are suing Tobias Forge are:
Simon Söderberg (Alpha) – member of Ghost since 2010.
Mauro Rubino (Air) – member of Ghost since 2011.
Henrik Palm (Eather) – member of Ghost since 2015
Martin Hjertstedt (Earth) – member of Ghost since 2014
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Space Carnival Release New Song “Pleasure in Sin”
Space Carnival has released the debut of a new composition, “Pleasure in Sin” from their performance at Lefty’s in Des Moines, Iowa. The spacey track has remarkable synth work from Cameron “Ron” Fitch and a mellow groove that gets increasingly funkier as the track develops. The disco funk quartet wraps up their Midwest run with four shows before returning to the east coast next week for performances in Ithaca opening up for Dopapod and in Philadelphia with Formula 5.
Thursday April 6th in Chicago, IL at Emporium Arcade Wicker Park w/ Digiometric and Zoofunkyou
Friday April 7th in Mt Pleasant, MI at Rubbles w/Desmond Jones
Saturday April 8th in Grand Rapids, MI at Tip Top w/ Desmond Jones
Sunday April 9th in Cincinnati, OH at Stanley’s Pub w/ The Jared Presley Experience
Wednesday April 12th in Ithaca, NY at The Haunt, opening up for Dopapod
Thursday April 13th in Philadelphia, PA at Bourbon and Branch with Formula 5