Westside Gunn isn’t new to the music industry, with his first EP dating back to 2005. In that time, he has individually and collaboratively released over 20 projects. Yet, his latest LP — Who Made the Sunshine — (his first under Shady Records, a subsidiary of Interscope records) and what he claims will be his last ever, feels different and Westside Gunn is treating it differently.
From celebrating his Entertainment Weekly feature, to posting nostalgic pictures and videos of his journey, Westside Gunn displays a mixture of hubris and humility that comes with a certain level of ascendency.
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Over the past few years, we’ve seen the extravagant emcee and his Griselda cohorts slowly rise to mainstream stardom and it feels like the one they call “Fly God” is finally taking time out to revel in the fruits of his labor.
Only 3 more months left and I’m still at peace with my decision but this will be a dope 3 months I promise u that 🤲🏽🤲🏽 #FLYGOD
In the streaming era, lengthy waits between projects are no more, as this is his third project of the year. The first was the critically-acclaimed, Pray for Paris, which gained album of the year considerations. The second, was the more unassuming — but solid — Flygod Is an Awesome God 2. The last, an 11-track, 40-minute album that contains elements that are unique only to Westside Gunn.
The wrestling-themed song titles, unique and eye-catching covers, as well as the customary features. There are the usual suspects on Who Made the Sunshine, including Benny the Butcher and Conway the Machine (who have a long-standing family history of appearing on each other’s projects), Detroit emcee and Griselda signee Boldy James and the self-titled “first lady” of Griselda, Armani Caesar.
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Aside from his Griselda associates, Westside Gunn features hip hop legends the likes of: Black Thought, Jadakiss, Busta Rhymes and most surprising of all, Slick Rick. Recognized for his unique presentation, nothing is off the table for the Griselda head honcho and it’ll be interesting to see if he sticks to his retirement as a rapper once this much-anticipated album has been digested.
The Mid-Hudson Civic Center is not a particularly huge arena by normal standards, but the fact that it was less than half-full on this night made it seem that much bigger. This was a solid triple-bill of 1987 real metal – dubbed the ‘Hell on Wheels’ tour – featuring Helloween and Armored Saint, but headliners from the U.K., heavies Grim Reaper, had one hit single to their credit (“See You In Hell”), and that single success had not translated to arena-filling status for the Brits.
So the hall was not packed (a fact not helped by the fact that the much bigger British hard rockers Def Leppard was playing a gig a few hours north at the Glens Falls Civic Center that night), and frankly the audience that was there seemed to be present more for German newcomers/openers Helloween, there on their first US tour, and L.A. metal gods Armored Saint, who played the middle slot. This was a show that could have – and perhaps should have – been booked into The Chance around the corner.
photo by Marc Kurtzner
Helloween had a big buzz at the time with their ‘Keeper of the Seven Keys Pt. I’ album, were already pulling big crowds in the UK and Europe, and years later are considered to be trailblazers for the epic, Power Metal sound which still packs halls in Europe. This night they were a new young metal band with something to prove, and hit the stage fast and heavy, and got the less-than-capacity crowd going immediately, despite the fact that the house lights didn’t go down until halfway through the second song.
photo by Marc Kurtzner
The band played a set full of songs from the then-current Keeper album, including “Future World” and the 13-minute epic “Helloween”, and were given a third-on-the-bill encore by the enthusiastic crowd, and played older song “How Many Tears” to wrap things up. The band seemed primed for much bigger things in 1987, and returned a year or two later to play packed halls with Anthrax in ’89, but mass success did not ensue, in the U.S. anyway.
photo by Marc Kurtzner
As tight and entertaining as Helloween were, this writer was there for band #2, west coast heavies Armored Saint. “March of the Saint” kicked their set off, and from there the Saint (singer John Bush, bassist Joey Vera, drummer Gonzo Sandoval and the late, great guitarist Dave Prichard) attacked the stage with enough energy to melt icebergs.
photo by Marc Kurtzner
At the time AS were promoting their third Chrysalis Records LP, ‘Raising Fear’, and played several tracks from that release, like “Human Vulture”, “Book of Blood”, and the killer “Chemical Euphoria”, but didn’t ignore older songs like “Long Before I Die” and “Can U Deliver”, all served up with sweaty, infectious energy.
photo by Marc Kurtzner
The set finished with the then-new record’s high-velocity, headbanging title track, “Raising Fear”, before the band were summoned for an encore, the even faster, heavier “Madhouse” from their debut record.
photo by Marc Kurtzner
Headliners Grim Reaper finished the night, and seemed to get less front-of-the-stage energy from the crowd than the first two bands had. GR were solid metal, singer Steve Grimmett had (and has) a mighty howl, and guitarist Nick Bowcott is no slouch, but the band seemed superlative after the more exciting first two bands, and they played an hour of shrieking metal, culminating in the inevitable “See You In Hell” before a dwindling crowd. That said, a fine night of pure metal, perhaps in a hall bigger than was warranted by the headline act.
Le Couleur, an alternative pop group from Montreal comprised of vocalist, Laurence Giroux-Do, bassist Patrick Gosselin, and drummer Steeven Choudinard, has released their latest album Concorde. Despite COVID-19 cancelling numerous live performance schedules and release dates, that has not stopped Le Couleur from expressing fine work; Concorde is a well-tuned, melodic, and soothing album.
When performing live, Philippe Beaudin joins on percussion and Francis Do Monte plays guitar and keyboards. For their new show, they recently changed and showcased their new formation, consisting of six musicians in total. The French-Canadian group had put out EPs in 2013 and 2015, before finally releasing their critically acclaimed debut album P.O.P. in 2016. Le Couleur’s synth-pop sound is filled with intricate melodies, tight basslines, and the album is a very enjoyable listen for indie pop listeners and recent live performances at home are just as nice to listen to. Amid the pandemic, they have recorded home performances in place of in-person events. Interested readers can find these in-home performances on YouTube.
Concorde is named after an outdated airliner model that had a notable incident in 2000 when a fuel tank explosion on an Air France flight killed all onboard. The airliner would go out of service in 2003. Prior to the disastrous effect of the Concorde flight, it was positively perceived for its sleek design, and allowed faster flights in comparison to other airline models. The group was inspired by the ups and downs of the Concorde timeline along with the airliner’s symbolism. The Concorde’s sleek design represents that sexy, idealistic image of the carrier. The crash and its eventual retirement mark the “macabre” side that Le Couleur.
Key Tracks: Concorde, Comme une fin du Monde, Train de Minuit,
On Friday, September 25, NYC pop artist Nicolas McCoppin released his debut studio EP Loverboy. The eight-track EP includes four new tracks, as well as previous singles “Stuck,” “Ur Love,” “Remember That Night,” and “For Years.” New dance-pop song “Heaven” was released shortly before the EP:
Continuing the lovestruck nature of its singles, Loverboy is positively infatuated. Besides the whimsical and even naive lyrics, McCoppin channels a disco-fied Cupid on the album cover. But in addition to his proclamations of romantic love, the album is equally a love letter to his city.
New York City played a really huge role in the project. It’s where I wrote and recorded all the tracks. In my eyes, the project is not only about falling in love with a boy, but it also doubles as a love note to New York […] I touch on growing up in a small town in Upstate New York and then escaping to the city to find love.
Nicolas McCoppin
In addition to “Heaven” and “Remember That Night” shouting out Brooklyn and the Bronx, there are two whole tracks just about New York: “Subway Sunsets” and “City of Love.” The brief electric guitar bridge in “Subway Sunsets” is one of the album’s most creative moments, and “City of Love” feels like an East Coast “Teenage Dream.” Loverboy’s sound and lyrical content also borrow heavily from Carly Rae Jepsen’s Emotion and Dedicated albums, specifically her song “Now That I Found You,” but the added city homages help McCoppin make the 80s-inspired dance-pop sound his own.
While this type of pure pop is rarely found on the Billboard Hot 100 these days, it still has a steady cult fanbase kept afloat by Jepsen, Kim Petras, and Charli XCX (at least when the latter leans into a more accessible sound). McCoppin fits right in with those artists on Loverboy, and their fans will definitely gravitate towards him.
On Saturday, September 28, 2019, Jimmy Herring played Brooklyn Bowl NYC with his new band The 5 of 7. The band consists of bassist Kevin Scott, drummer Darren Stanley, guitarist and singer Rick Lollar, and Matt Slocum on keyboards.
Herring is best known for being the lead guitarist for the band Widespread Panic. He is also the founding member of Aquarium Rescue Unit and Jazz is Dead. Jimmy is a guitar legend and has played with other legendary bands like The Allman Brothers, Phil Lesh and Friends, and The Dead.
The two hour set started with a Miles Davis cover of “Black Satin” and continued with songs from Jimmy Herring during his solo career like “The Big Galoot,” “Matt’s Funk” and “1911.” The show was also streamed live on The Relix Channel, seen below. The show was amazing and an absolute must for fans of jazz infused rock and roll with heavy guitar solos.
Setlist: Black Satin, The Big Galoot, Matt’s Funk, Sketch Ballad, Soulful Hang, Miss Maybelle, One Strut, 1911, Check the Hand, Former Lives, Buddy, Kaleidoscope Carousel, Two Good People (Zone 28 Grams, Baby Gas & King Cydal cover), Scapegoat Blues
What comes to mind when you think of the Allman Brothers Band? Likely it’s the fact that they were one of the finest live bands in rock history, the artists behind perhaps the genre’s most beloved live album.
What likely doesn’t come to mind is the indispensible role they played in getting Jimmy Carter, a brainiac peanut farmer/engineer from their home state of Georgia, elected 39th President of the United States.
Jimmy Carter Rock & Roll President is the name of a fascinating new documentary that demonstrates how Carter’s lifelong passion for music gave him an unexpected edge as a candidate, and as a charity champion in his post-Presidential years. It was a deep love that enabled him to not only build relationships with musos that filled his campaign coffers, but to transcend racial and generational divides to score a monumental upset in the 1976 Presidential contest.
The film boasts extensive interviews with a host of stars with whom Carter has enjoyed close friendships for decades. These include, but are not limited to, Bob Dylan, Willie Nelson, Bono, Jimmy Buffett, Paul Simon, Rosanne Cash, Nile Rodgers, Garth Brooks and, of course, the late Gregg Allman.
In the film, Allman reminisces about his first meeting with Carter, when he attend a party Jimmy threw for one of his most loved musicians, Bob Dylan, at the gubernatorial mansion.
NEW YORK, NY – APRIL 29: Singer Bono of U2, former President Jimmy Carter and co-founder of WAFF Nile Rodgers attend We Are Family Foundation 2016 Celebration Gala on April 29, 2016 in New York, New York. (Photo by Shahar Azran/Getty Images)
When Allman happened upon the shoeless, jeans-wearing Carter, he thought he looked like “a bum.” Carter began their discourse by telling him he was going to be “the next President of the United States.” The Allmans, their manager Phil Walden and his Capricorn stable of acts like Charlie Daniels and the Marshall Tucker Band, would play a vital, early role in getting Carter’s 1976 campaign underway, by playing a host of benefits to raise funds for his run.
But it is Carter’s close friendship with the mercurial Bob Dylan, and his deep appreciation of his music, that may be the true highlight of this film.
Carter’s son Chip tells how his father would listen to Dylan’s music with him and his brothers, knowing all the many words to the songs on every one of his albums, and often quoting them. When Carter finally met Dylan, they had profound talk about Christianity, which Dylan was then exploring. That was the beginning of a still-close friendship with a man whom Dylan calls “a kindred spirit.” In a speech captured in the film, Carter speaks optimistically about the state of the nation, by paraphrasing Dylan’s “It’s Alright,Ma” – “We have an America that is busy being born, not busy dying.”
Carter’s love of music was also evident in his pre-political days, when as a child he gravitated to music played on a battery-powered radio in his electric-free home, and when he spent $600 on a stereo for his young family, even though money was very tight.
In the film, the former President also waxes extensive and poetic on the central role of music in America. “Our music, our love of it, is what holds America together,” says Carter. Growing up in a county that was 80% black, Carter talks of his love of gospel music and how it bound him to the African-American community, and how church music helped give birth to rock and roll. Also addressed is how the folk music of ‘50s and early ‘60s helped form his political views.
Another highlight of the documentary is the wonderful performance footage, much of it from events Carter held at the White House during his term.
His love of jazz is evident in a clip where Carter sits in with Dizzy Gillespie to perform the stop-time vocalizing on “Salt Peanuts,” and in footage featuring Dexter Gordon, Herbie Hancock and a wheelchair-bound Charles Mingus. Also featured are wonderful performance of Paul Simon playing his “American Tune” and Aretha Franklin ”singing God Bless America” at his inauguration, as well as Ray Charles (singing “Georgia on My Mind”), James Brown and many more.
Former Secretary of State Madeline Albright discusses how Carter used music as “soft power,” to bring others to his way of thinking, be it the Republicans entertained at a South Lawn concert by his friend Willie Nelson, or by bringing the first Chinese Ambassador to the U.S. to Nashville grant his biggest wish – to meet country music’s royalty.
Rosanne Cash and David Crosby speak about the uniqueness of those times, how, in the post-Nixon years, it was the first time “the youth were in charge.” Crosby discusses how his band showed up unannounced at the White House and were ushered right in to meet the President, a reflection of these non-polarized and casual times.
At the ceremony where Carter was awarded the Nobel Peace Prize in 2002, Bono put it best, calling Carter “a rock star to the rock stars.” He was importantly “a man who knew all the words to the songs that were my generation’s telegraph” according to Bono.
Another profound thing the documentary shows is how much the world, and the man who occupies the Oval Office and his relationship with musicians today, have changed.
When it comes to the current President, the headlines are about how stars like Neil Young, John Fogerty, the Rolling Stones, Elton John, the estates of the late Tom Petty and Leonard Cohen, etc. etc., are sending “cease and desist” letters to stop the use of their music in Trump campaign stops.
What this film also brings to light is the inherent goodness and greatness of Carter, his true love of music and how it powers his seemingly inexhaustible passion for peace and charitable works.
Director Mary Wharton and music journalist/writer Bill Flanagan hit all the right notes in this documentary, making it a must-see for fans of music. The film is available now virtually at JimmyCarterMovie.com, and will see its home entertainment release on Friday, October 9 and debut via CNN on January 3.
This concert is seen as an historical moment, where one older punk band, The Who, passed the torch to a new, younger one, The Clash.
An expectadly rowdy crowd of more than 80,000 packed The Rich. David Johansen warmed up the crowd with a half-hour set, including “Stranded in the Jungle” and a medley of the Animals “We Gotta Get Out of This Place”, “Don’t Bring Me Down” and “It’s My Life.”
The Clash were just coming off the release of Combat Rock, recorded at Electric Lady Studios on West 8th Street in New York City. Hits including “Rock The Casbah,” which reached the Top 10 in America, and “Should I Stay Or Should I Go” gave The Clash a worldwide smash hit in 1982. Less than a year after this performance in Buffalo, guitarist Mick Jones would leave the band. Watch a slideshow of photos by Michael Mack of The Clash from the performance below.
For The Who, this was the first of many farewell tours, having lost drummer Keith Moon just 4 years prior. Kenney Jones (Small Faces, Faces) took over behind the kit, with Tim Gorman on keys, Roger Daltrey on harmonica, guitar, and vocals, John Entwistle on bass and Pete Townshend on guitar and vocals.
Given the packed stadium – with entrances only on the floor at the time – the temperature inside the stadium was warm to say the least, with fans drenched in sweat, and some passing even out. As if Keith were looking down from heaven, the skies that were overcast all day opened up during the emotionally charged “Love Reign O’er Me,” the only time of the evening it would rain. As the song ended, Daltrey remarked “How’d you like that one?,” with Townshend saying “Even the Rolling Bones couldn’t have done that one.”
via Matthew Heimberg
While no video or audio exists from this show of The Who, you can view a slideshow of photos by Michael Mack here, and watch below for The Who from December 17, 1982, closing our their North American tour in Toronto, Ontario, Canada.
The Clash setlist: London Calling, Career Opportunities, The Guns of Brixton, Police On My Back, Rock the Casbah, Magnificent 7, Train in Vain, Brand New Cadillac, Armagideon Time, Should I Stay or Should I Go?
Encore: Clampdown, I Fought the Law
The Who setlist: Substitute, I Can’t Explain, Dangerous, Sister Disco, The Quiet One, It’s Hard, Eminence Front, Behind Blue Eyes, Baba O’Riley, I’m One, The Punk And The Godfather, Drowned, A Man Is A Man, Cry If You Want, Who Are You, Pinball Wizard, See Me Feel Me, 5.15, Love Reign O’er Me, Long Live Rock, Won’t Get Fooled Again
Encore: Naked Eye, Summertime Blues, Twist And Shout
Lucas Garrett, a 27-year-old musician from Glens Falls, NY, has just released his album Familiar Floors. Since his EP Evening’s Come, but It’s Not Dark in 2017, he has come out with a few powerful singles. However, this album marks a transition in his career where he sings about his life in a new, but confusing light.
Lucas Garrett’s ‘Familiar Floors’ Album Cover
Consisting of four songs – “Wires Humming,” “All Around Me,” “Inside Out,” and “One More for the Road,” – his album’s lyrics speaks volumes. With a mixture of rock and roll and folk, Garrett shows his talents with great musicians by his side. Bandmates including Kevin Kosach on bass, Emmett Rozelle on drums, and Cassandra Pratt and Bob Bates on Violin, all who contribute to Lucas Garret’s musical vision.
Where am I right now? I cannot pretend To know where this room starts and Where it will end I have a strange feeling I’ve been here before Nervously make my way Across familiar floors
Lucas Garrett – ‘Inside Out’
The album’s name, Familiar Floors, resonates with anyone who has ever felt befuddled in their own life, not knowing what got them to where they are now or where it will take them in the future. Garrett has made this clear through his music that life takes you on unexpected journeys, but you always have to make the most out of where it takes you.
Two Tails Graphics and Consulting
Lucas Garrett has not had an easy life, but he is also very aware of how fortunate he has been. The singer-songwriter suffers from Pompe Disease which makes him wheelchair bound and in need of respiratory aid, but still he gets to live his dream of producing music. He understands the meaning of music and how music is different for every ear listening. Garrett says, “Music is an equalizer, ‘cause everyone gets it, you know? I play a lot better than some people, I play a lot worse than some people, and it has nothing to do with what I got goin’ on health-wise. And no matter what you do in life, there’s always gonna be someone better than you—and someone worse than you.” He does not let his condition define him, which continues to speak to his identity as an individual and as a musician.
I can see your ecstasy all around me We have eaten, now we wait for the new day
Lucas Garrett – ‘All Around Me’
In his new song “All Around Me,” he sings about ecstasy which expresses his feeling of great happiness. Not only does he speak of happiness in his lyrics but he demonstrates all emotions: sadness, anger, and enjoyment, to name a few. On “Wires Humming,” you can hear these emotions come to light.
My mind is burning The world is burning What the hell can we do?
Where do we go? Gone before tomorrow We’ve been wasting Away our days Unrelenting dreams
Lucas Garrett – ‘Wires Humming’
It is not an easy task making lyrics that resonates with not only himself, but his listeners as well, and Lucas Garrett shows his talents better than ever in this new album.
Brooklyn based artist Wiley Watson today releases his new single “The Kid,” taking listeners on a journey inspired by a rambunctious night in York, England, post-breakup.
The song features a variety of styles blended to construct the party-induced instrumental. The vibe you can expect going into this track is cheerful regret, its the type of music that plays in the background of a dive bar with a PBR in hand and, that is what makes it “indie” in the best way.
The instrumentals fuse influence from across genres including pop, indie rock, and hints of hard rock but, with a heavy reliance on a new-wave funk swagger.
The alt-rock/pop artist promises to bring all the energy on his new track exclaiming, “The song is a party/bar fight type song,” exclaims Watson. “I want the listener to listen to this song before they go on a night out with the lads. It’s all about bad decisions, poor choices, and having a legendary night with your pals.” A statement which, is swiftly delivered as the track progresses.
Wiley is genuinely giving in his approach to writing his music and it’s content. You can feel robust with his upbeat rock anthems, can transcend into a memory with his melodic guitar riffs, or even feel melancholy through his sadder, ‘lost love’ songs. His style can be credited to a broad range of influences from classical composers, heavy metal shredders, arena singing pop stars, and even spaghetti western films; Wiley’s influences broadens his sound which allows for a wide audience appeal.
A former college athlete, Watson returned to New York City, a place that influenced his childhood and now lives in Brooklyn. Here is where Wiley would begin to challenge his sound and grow with influences of contemporary indie rockers such as Bleachers and F.U.N.
To find out more about Wiley Watson, visit his website, and for more music, check out his Soundcloud.
Shira, a fairy-folk singer-songwriter from Rochester, has released the first part of her new EP Birds of a Feather on Sept. 18. The four-song EP is the first part of a two-part release with the rest of her project, called Birds of a Feather Flock Together, coming in 2021. Shira’s radiant personality provides listeners with an infectious amount of hope on her latest project.
Courtesy of One in a Million Media
Shira released the music video for the song “Wait For Me” on Sept. 18 alongside her EP. The ukulele arrangement perfectly complements her journey from the US to reunite with her fiancé in Barcelona in the video. Shira’s nervousness for her international journey is also accompanied by a sense of hope as she sings, “One more breath before I go, there’s nothing left to hide.” While the lyrics reveal a level of vulnerability her graceful singing reveals optimism towards taking a risk as she did when she embarked on her journey.
“Usually” positively embraces anyone who is going through adversity, especially fitting during the COVID-19 pandemic. Her lyrics: “Don’t let fear kick in, it’s just trying to make your bright light disappear” encourages listeners to hold to hope even during times of uncertainty. Shira’s self-described “fairy folk” sound resonates through the lively orchestral arrangement on this track.
By Iraia Olivas Etxaniz
On her title track “Birds of a Feather,” Shira successfully blends her voice with the ensemble of drums, piano, and guitar as she sings about the value of strength and unity in partnership. Even through life’s adversity, Shira’s reassuring lyrics: “We’ll brave this storm, birds of a feather” emphasize the strong partnership displayed in her video when she traveled to her fiancé across the world. Shira’s violin filled arrangement on “Go Uncharted” captures the decision to take a leap of faith into the uncharted unknown. In a mission to bring healing to the world through music, Shira’s Birds of a Feather delivers a needed sense of unity to listeners.
Birds of a Feather is about finding yourself first, exploring, not being afraid to ask for what you want, struggling with the fear of never being seen, listening to your inner voice over outside noise, letting go and trusting.
