Albany’s The Late Shift have announced “The Last Shift,” a farewell concert celebrating the band’s 15th anniversary, to be held at The Hollow Bar + Kitchen on Saturday, November 27.
The celebration will occur in place of the bands annual Thanksgiving Eve performance at the same venue. 2020 excluded, this year’s concert will mark the group’s seventh consecutive Thanksgiving show at The Hollow Bar + Kitchen. The Late Shift will be performing two sets of music, with the first set a celebration of the group’s 15-year catalog, a greatest hits set, including songs like “Sweetness,” “Drink and Stone” and “Through It All.” This will be followed by a power packed second set, loaded with everyone’s favorite LateShift style covers to usher patrons into the evening. Both sets are sure to be full of surprises and special guests.
In addition to celebrating 15 years of The LateShift, this event will also serve as the official launch of Wooden Duck Entertainment, a brand-new Capital Region based music and events company owned by members of The Late Shift.
Tickets are on-sale now. Presale tickets are available for $12.50 until November 1. After that General Admission tickets will be available for $15. A limited number of VIP Packages are currently available for $30. For updates and additional information RSVP on Facebook.
For the Halloween episode of Saturday Night Live, former cast member and Ted Lasso star Jason Sudeikis returned to Studio 8H for his first time as host. Joining Sudeikis was country rock superstar Brandi Carlile, who played two songs off her new album, In These Silent Days.
Following a cold open that featured multiple versions of Joe Biden, including Sudeikis’ finger-gun shooting, aviator shade wearing rendition from Biden’s time as Vice President, Sudeikis launched into a reflective, funny and heartfelt look back at the stage and studio that SNL has been filmed in for 47 years. Sudeikis tugged heartstrings in the way only Coach Lasso can do, reminiscing on how SNL changed his life.
This room, here. To be here. This place is historic. For a second, just look around, for real. Even all you amazing people who work in the crew, just look around for a second. Think about all the brilliance that’s happened here. All your favorite sketches: Wild and Crazy Guys, Gilly, Cowbell, Wayne’s World, all happened in right here, in here, where you are.
This place changed my life, twice. Once as a castmember and a writer here. But most importantly as a kid watching from home. And there’s a good chance that if you’re watching tonight, there’s probably something from this place probably changed your life too.
Following three sketches perfect for Sudeikis – a frustrated host of a kids science show, Mellen (a male version of Ellen) and a hilarious open house sketch with Ego Nwodim and Kyle Mooney, Carlile performed her first song of the night, “Broken Horses.”
Wearing a gold tuxedo and singing into a golden mic with an orange electric guitar, Carlile was joined by collaborators Phil and Tim Hanseroth, who also backed her on harmonies, as well as Shooter Jennings on piano, who produced her 2018 album By the Way, I Forgive You. “Broken Horses” also doubles as the title of her recently released memoir.
https://www.youtube.com/watch?v=VDjeuXAME-A
After a lively Weekend Update that saw the return of Sudeikis’ turn as The Devil, the classic “What up With That?” appeared for the first time since 2012 (if you don’t count the remote April 2020 version from SNL at Home) with Kenan Thompson and surprise guests Oscar Isaac, Emily Ratajkowski, Nicholas Braun.
Brandi Carlile began her second song of the night, “Right on Time,” the lead single off her new album. Playing solo piano in a sequin-covered black and white tux, Carlile allowed the impressive tune a slow burn on the ivories, before picking up her guitar to join the band for the song about two embattled lovers, bursting forth with vocals that set the bar high for musical guests this season, only four episodes in.
https://www.youtube.com/watch?v=hWnVjSD6xzY
Saturday Night Live is off next week, and returns on November 6 with Succession actor Kieran Culkin and musical guest, Ed Sheeren.
Cassandra Kubinski announced show at Caffe Lena in celebration of her recently dropped #1MillionHearts EP. The celebration will take place on October 31, 2021 at 7PM at Caffe Lena in Saratoga Springs.
Cassandra Kubinski is an up and coming singer/songwriter who has hit the billboards multiple times. She has had music on TV, from Lifetime to ESPN to ABC and has collaborated with big names like the Goo Goo Dolls (including their collaborative release of her Autism anthem Not So Different), Chris Botti, 10,000 Maniacs, DJ Taz Rashid, and even her personal music hero, Billy Joel. You may have heard her songs that have supported important causes, such as “Not So Different” for Autism and “You Get Me” for pet rescue. She was also the composer and bandleader of Emmy-winning new media TV Show “The Never Settle Show” hosted by Mario Armstrong, and she serves as the Global Co-Chair of Membership for international non-profit Women in Music.
Her #1MillionHearts EP was officially released to all digital platforms on October 1, 2021. The Caffe Lena show follows up Kubinski’s NYC Release Show at The Cutting Room which took place on October 3, 2021 and the global virtual launch concert featuring multi platinum artists Ryan Cabrera, Jeff Timmons (98 Degrees), and Brad Fischetti (LFO) which took place on October 1, 2021.
Saratoga Springs holds a special place in Kubinski’s heart though which is why she’s going back there for a show at Caffe Lena. Kubinski’s previous Capital Region appearances includes multiple shows at Caffe Lena before she became a full time Saratoga Springs resident in 2020, the Saratoga Springs Preservation Foundation Virtual Holiday Homes Tour, airplay on WEXT and WEQS, and both artist workshops and performances at Wildwood School in Schenectady.
“I’m excited to bring my band back to Saratoga. #1MillionHearts is all about connection, community, and finding freedom after a time of darkness or constriction,” Said Kubinski. “I think many of us can relate to that in society and in ourselves at this time. We’re excited to give the audience an incredible, elevating show, and to support arts education and the upstate community as well.”
Tickets for both in-person seats and online viewing options are available here.
For more information on Cassandra Kubinski and her upcoming shows visit her website.
Eric Gales brought his incredible five-piece touring band to the Homer Center for the Arts on Monday, October 18, 2021. Gales starts his shows in a similar manner on the microphone by himself discussing the hardships he and all of us have taken on over our lifetime. Eric told the crowd, “If you haven’t cried the blues the past 18 months then god forgot to pass you out a soul.”
Photo by Out Loud Pictures, LaDonna Gales, Eric Gales, Nick Hayes
From this angle, Eric began his performance on the acoustic guitar talking about the same blues that his grandfather had. His grandfather used to play with Howling Wolf and Muddy Waters. Gales said he wanted to spread the spirit and the inspiration his grandfather instilled in him. During the fitting titled “Grandaddy Blues,” the rest of the band appeared behind him on stage following suit to the groove. On percussion and backing vocals was his wife, LaDonna Gales, Nick Hayes on drums, and on bass from Brooklyn, Nil Jones.
Photo by Out Loud Pictures, Eric Gales band
Eric made sure the microphones and sound were on point chuckling at the familiarity of its resonance in an old church. Gales is no stranger to Jimi Hendrix’s electric church. Eric was part of the cast touring with Jimi’s bassist Billy Cox, the jellyfish Buddy Miles on drums, and Stevie Rays’ Chris Layton for the “Experience Hendrix Tour.” Robert Ranndolph was there too,
He even educated the crowd that Jimi played a right handed guitar but strung it left handed. For clarification, Gales and bassist Nil Jones were playing completely upside down and backwards. So naturally as a salute they played Gales original “Southpaw Serenade.”
In between songs, Gales inner tales were serenading the crowd to a wide range of stories. From his funk playing days in Minnesota that caught the eye and ear of the legendary Prince to his overall approach on life. Eric told the crowd “I believe laughter and music are the best forms of communication and medication.” Gales took one four-minute break the whole night, while Jones helped rattle the brick inside Homer for a bass solo.
Gales returned to the stage fired up saying, “I’m getting tuned up I feel a sermon coming on, it’s been far too long.” At the end of a two and half hour performance, Eric treated the crowd to a bouncy funked up version of “Voodoo Child” that led to a blended jam of Led Zeppelin’s “Kashmir” and AC/DC’s “Back in Black” to remind the audience it is still Rocktober. Tony Hall told NYS Music after seeing Gales footage, “Hes a bad mother fucker”
Jimi Hendrix once said “When I get up on stage -well, that’s my whole life. That’s my religion. My music is electric church music.” Robert Cray looked to the ceiling at the Homer Center for the Arts last month during his performance and said “Jimi Can you hear me?” Eric Gales and his band channeled the same energy on a stormy Monday to start the week at the electric church in Homer.
Ana Popovic crushed the European leg of Experience Hendrix and The Center this year. Samantha Fish killed at the center Wednesday November 3rd. Mississippi’s Christone “Kingfish” Ingram took the Delta Roads from Mississippi to Homer, New York the night before Samantha. They are all blues disciples.
NYS Music loved that Eric started the week in Homer to only link up with Gary Clark Jr On “When my Train Pulls in” down the road in Greensboro. Flotations groovy I said a jelly fish will tell ya that. NYS Music agrees with Santana on Gales…its all a piece of the blues disciples history. Tony Hall and Arsenio Hall said it best “Yea he’s bad”
This weekend marks the anniversary of some of the greatest music ever performed by Derek and the Dominos, which happened to take place at the iconic Fillmore East in New York City. Although the band does have one studio album to their credit, Live At The FIllmore East may be their crowning achievement in terms of audio recordings.
This is an incredibly easy to listen to album, one that combines original Dominos songs and Eric Clapton tunes with a splash of cover songs mixed throughout. Derek and the Dominos was a band that, essentially, came together during the recording of George Harrison’s first solo album All Things Must Pass. And while their shelf life may have been short, thanks to this album their legacy will live on forever in a very positive way.
The band wastes no time getting into an immediate early groove for the album-opening “Got To Get Better In A Little While.” A song that was planned for the band’s second studio album that never came to fruition, it features Clapton and Bobby Whitlock going riff for riff on guitar and piano, respectively, in a tasteful jam that stretches out to nearly 14 minutes in length. Whitlock adds some nice vocal harmonies as well as the chorus rounds back into place with the music picking up a collective head of steam.
This first track was pulled from the opening night of music on October 23. Here’s a taste of the October 24 version that didn’t make the album cut.
For the next number, this time drummer Jim Gordon and Whitlock kick things off on “Why Does Love Got To Be So Sad?” Eventually, Clapton gets his guitar’s wah pedal going in full force and a crisp little jam ensues before the first word is ever sung. This is the first of many songs pulled from the group’s epic Layla And Other Assorted Love Songs album that would be released just weeks later. Co-written by Clapton and Whitlock, who again adds some impeccable backup vocals, it’s another one of the longer tracks on the album thanks to a whirlwind jam that never lets off the gas pedal, ably fueled by Carl Radle on bass. After coming a to head, the band shifts the tone into a much quieter, bluesy one for several minutes before the chorus comes back around one last time. The Fillmore crowd demonstrably shows their appreciation to the Dominos after this one.
This helps set the tone for “Key To The Highway,” a cover of an old blues standard that dates back to the 1940s. Clapton takes center stage and shows why he’s considered one of the great blues players of this generation, delivering one stinging guitar lick after another. Another Layla song, this one made it onto the album by pure happenstance. Allegedly Clapton and Duane Allman, who was prominently involved with the album’s studio recording – playing on 11 of the 14 tracks, heard the song being played in a neighboring studio and decided to play along to it. “Blues Power” slides in perfectly behind this, a song that appears on Clapton’s first solo album that Leon Russell helped write. These last two blues-heavy numbers are both taken from the October 24 recording.
The first of this two-disc releases out first with “Have You Ever Loved A Woman,” another blues cover that found its way onto Layla. This one is even slower and “bluesier,” if that’s possible, with the tempo never going past a slow shuffle. Clapton lets both his vocals and guitar do all the singing on this one while Whitlock adds some delicate piano fills throughout. Then “Bottle Of Red Wine” wraps up the first part of the album, another rollicking, blues-infused song that Clapton navigates with ease, with Whitlock jumping on the organ for assistance now.
The second half of this iconic albums begins with “Tell The Truth,” another Clapton-Whitlock collaboration pulled from Layla. The two essentially share lead vocals on this fun little number that ebbs and flows with emotion and soul. Once the vocals are out of the way, Clapton reverts back to rock legend mode and lays down a tremendous solo, spearheading one of the longer jams of the album. Up next is another sterling cover of a blues standard. This time it’s “Nobody Knows You When You’re Down And Out,” originally written by pianist Jimmie Cox in 1923. Clapton’s bluesy drawl is backed perfectly by Whitlock and Gordon on piano and drums, respectively.
The Dominos then return to their own catalog with “Roll It Over.” While it wasn’t on the original Layla release, it did make its way on to the 40th Anniversary Deluxe reissue. It’s a classic rock number the sees Clapton explore a few different tones in his guitar play during a steadily progressive jam. The Fillmore crowd immediately recognizes the next song as “Presence Of The Lord,” made famous by one of Clapton’s former bands, Traffic. It’s the only Traffic tune on the album, but the Dominos do it justice as a mellow, laid back composed section gives way to a rapid, intense sequence of music before reverting back.
The final three tracks of Derek and the Dominos: Live At The Fillmore may be one of the best three-song sequences of the album, and, naturally it contains a pair of incredible covers. The first of these is Jimi Hendrix’s “Little Wing.” Whitlock’s organ fills give this cover more than a soulful feel as both he and Clapton take care of the vocals with ease. Not one to be outdone, Clapton then delivers a few bars of a psychedelic guitar solo that serves a truly fitting homage to the great Hendrix who passed away barely a month before this performance in 1970.
This jaw dropping cover is followed by what very well may be the best track on the album, a scintillating and exploratory “Let It Rain.” It’s the last of three singles from Clapton’s solo album and the Dominos stretch this one out and then some. Clapton and Whitlock go tit-for-tat with each screaming out, “Let It Rain” in succession towards the end of the composed section. Afterwards, all hell breaks lose starting with one more mesmerizing run by Clapton on the fretboard as the rhythm section just tries to keep up. Eventually, Clapton switches from wailing guitar mode to a heavy, funked out “wah” effect, taking the jam to another level. This eventually gives way to a Jim Gordon drum solo that goes on for well more than four minutes before the guitar finally reenters the mix. After a few more minutes of some fun Gordon and Clapton call and response interplay, the band explodes back in the chorus emphatically. It’s by far the longest track on the album, and arguably the most enjoyable as the “beautiful” Fillmore crowd (so labeled by Clapton at song’s end) would surely attest.
The album then closes with the last cover song of the evening made famous by another one of Slowhand’s former bands. This time it’s the great Robert Johnson’s “Crossroads,” although, in fitting with the tone of the album, it’s a much slower and soulful take than the version Cream made famous. It allows for one last great Clapton guitar solo which ends the album in grand fashion and serves as the last reminder of one memorable two-night run by Derek and the Dominos at the Fillmore that took place, truly, at the height of their powers.
This album is available to listen in its entirety on Youtube here. Also, be sure to check out the video below of all the great songs and outtakes that didn’t quite make the final cut.
Derek and the Dominos Live at the Fillmore East – New York, NY October 23 & 24
Renowned jazz musicians Robert Glasper and Terrace Martin began their annual October residency at Blue Note Jazz Club at the beginning of this month. If the other shows have been anything like the one I attended on the night of Wednesday, October 20th- crowds have been in for an absolute treat.
Robert Glasper at Blue Note Jazz Club, 10/20/21. Photo by Kunal Khunger
Glasper and Martin have been two of the most prolific popular jazz musicians working today, having done a range of production work for a range of artists, like Kendrick Lamar, YG, Mac Miller, Anderson Paak, and many more. That doesn’t even include their solo albums or their super-group Dinner Party, which includes other legends Kamasi Washington and 9th Wonder. Their work has reached critical acclaim within the jazz community, leading them to have a wide-reaching influence.
Terrace Martin at Blue Note Jazz Club, 10/20/21. Photo by Kunal Khunger
The chemistry was apparent between the two. Glasper and Martin cracked jokes for much of the night, talking about their upbringing and how they both have been friends since they were teenagers. One particular funny story was how Martin inadvertently got himself replaced on the piano parts of Kendrick Lamar’s To Pimp a Butterfly by Glasper. The vibe of the show was very easygoing. I felt like I was eavesdropping on a bunch of friends just jamming out.
Robert Glasper at Blue Note Jazz Club, 10/20/21. Photo by Kunal Khunger
Glasper and Martin performed a tribute to Herbie Hancock and some material off of their Dinner Party project, but then were shortly joined by a special appearance from Denzel Curry, a prolific rapper from Miami. Denzel joined everyone else in cracking some jokes and performed some songs off of his Unlocked collab project with Kenny Beats. Curry’s music is usually fairly high energy, so it was really interesting to see him perform in a more relaxed environment. He even commented how unusual it was for him to be performing while sitting down.
Denzel Curry at Blue Note Jazz Club, 10/20/21. Photo by Kunal Khunger
Right when the crowd settled down, Denzel Curry introduced another special guest: Brooklyn’s very own Joey Bada$$. The crowd immediately went into a frenzy, while Joey performed a few songs and joined in on all the jokes the whole group was having. One particular highlight was when both Joey and Denzel free-styled off of a lone baseline for fifteen minutes, back and forth.
Joey Bada$$ and Denzel Curry at Blue Note Jazz Club, 10/20/21. Photo by Kunal Khunger
The show was great and if anyone has a chance to go check out a show, please do so. Robert Glasper’s residency continues all October, with more dates listed here. Be sure to take a look at the full photo gallery down below.
A few songs into The Dude of Life Band’s first set at Lark Hall, Steve Pollak (aka, The Dude of Life) announced that after the show, they’ll be streaming the Phish show from San Francisco, which started shortly after 11pm ET on Saturday, October 16. “So we’re opening for Phish a few time zones away,” said Pollak, much to the crowd’s delight. And in a way, the band was opening for Phish, a band with whom Pollak has a decades-long connection.
The Dude of Life Band, a genre-bending group led by the Dude of Life, Steve Pollak, includes Pollak on lead vocals and rhythm guitar, Fred Scholl on lead guitar, Charlie de Saint Phalle on bass, Doug Schneider on drums, and Jon Liebowitz of God Street Wine on keyboard and organ.
For several decades, The Dude has been writing songs in an ongoing collaboration with Phish, and first teamed up with Trey Anastasio while the two were in high school. The Dude wrote lyrics for a number of Phish’s most beloved songs, including “Fluffhead,” “Run Like an Antelope” and “Suzy Greenberg,” and has also been a mythical sideshow with the band, making random guest appearances often highlighted by the throwing of uniquely-inscripted rubber chickens into the crowd. The Dude’s debut album, Crimes of the Mind, was recorded with Phish for Elektra Records and released in 1994.
In recent years, The Dude of Life has developed a more refined sound, and a recent burst of creativity has yielded an album’s worth of new material which was recently recorded by acclaimed producer Bryce Goggin.
The Dude of Life Band performed some of these new songs – “Automatic Pilot,” “Dilaudid Nurse” and “In Case You Didn’t Know,” alongside his Phish classics, plus a handful of Grateful Dead covers, “Ruby Tuesday” by The Rolling Stones and “Badge” by Cream. The flow to the show was smooth and the hits kept coming as the evening progressed. Pollak wrapped up the show with an appropriate “Show of Life,” right before turning the mic over to Phish, live from the Chase Center in San Francisco
Setlist: Crazy Too, Althea, Can’t Always Listen, Ain’t No More Caine, Nobody Finer, Mississippi Blues, Automatic Pilot, Franklin’s Tower, Suzy Greenberg, Dilaudid Nurse, Fluffhead, She Belongs to Me, Sugaree, Space -> Lost Moments in Time, In Case You Didn’t Know, Crimes of the Mind, Ruby Tuesday, Badge, Goin Down the Road Feelin Bad -> Show Of Life
The festivities are almost upon us, and Darren Criss reminds us with his first-ever holiday album, A Very Darren Crissmas, from Decca Records. The Emmy, Golden Globe, and Screen Actors Guild award-winner and singer-songwriter invited special guests like by Adam Lambert, Evan Rachel Wood, and Lainey Wilson. Listen to the album here.
You better watch out, as in just two months you’ll have the opportunity to hear Darren live on his A Very Darren Crissmas Tour. He’ll be coming to Indianapolis, on December 3rd at the Murat Theatre then he’ll be on his merry way to Beacon Theatre on December 20. Tickets will be on sale at 10 a.m. on October 15th with artist pre-sales October 12th and 13th.
To help perfect this album Ron Fair aided in producing this album as an established multi-Grammy® nominee and producer of numerous GRAMMY-winning hits. “A Very Darren Crissmas” will be a 12 song set of wildly eclectic collection of tunes. Recorded at Nashville’s Faircraft Studios, Darren brings a bit of country to his sound along with chart topping country icon Lainey Wilson on Drunk on Christmas. Other A-list musicians include Pop star Adam Lambert joins in on (Everybody’s Waitin’ For) The Man With the Bag,bringing a touch of jazz to the festivities. Not to mention multihyphenate Evan Rachel Wood on the classic“Somewhere in My Memory,”and on the album’s sole original,. Darren illustrates his elasticity as an artist blending his sound with jazz and country.
The result is a new entry into the holiday-music canon, both delightfully unpredictable and touched with a timeless sense of Christmas magic.
In an effort to keep everyone’s best interest in regards to health and safety, concert-goers must provide proof of full vaccination and/or negative COVID-19 test at least 72 hours prior to the show date and time.
A Very Darren Crissmas Tour Dates
FRIDAY, DECEMBER 3: MURAT THEATRE – INDIANAPOLIS, IN TICKETS
SATURDAY, DECEMBER 4: MICHIGAN THEATER – ANN ARBOR, MI TICKETS
MONDAY, DECEMBER 6: CYRUS NORTHROP MEMORIAL – MINNEAPOLIS, MN TICKETS
TUESDAY , DECEMBER 7: RIVERSIDE THEATER – MILWAUKEE, WI TICKETS
THURSDAY, DECEMBER 9: CHICAGO THEATRE – CHICAGO, IL TICKETS
FRIDAY, DECEMBER 10: THE LOUISVILLE PALACE THEATER – LOUISVILLE, KY TICKETS
SATURDAY, DECEMBER 11: THE GOODYEAR THEATER – AKRON, OH TICKETS
MONDAY, DECEMBER 13: CAPITAL ONE HALL – TYSONS, VA TICKETS
TUESDAY, DECEMBER 14: THE MET PHILADELPHIA – PHILADELPHIA, PA TICKETS
THURSDAY, DECEMBER 16: ORPHEUM THEATRE – BOSTON, MA TICKETS
FRIDAY, DECEMBER 17: AUDITORIUM THEATRE – ROCHESTER, NY TICKETS
SATURDAY, DECEMBER 18: MASSEY HALL – TORONTO, ON TICKETS
MONDAY, DECEMBER 20: BEACON THEATRE – NEW YORK, NYTICKETS
WEDNESDAY, DECEMBER 22: THE HERSHEY THEATRE – HERSHEY, PA TICKETS
Pigeons Playing Ping Pong were joined by Neighbor on October 15, for the second of a two night run at The Capitol Theatre in Port Chester. Dogs In A Pile started the party at Garcia’s at The Capitol Theatre.
The atmosphere at “The Cap” felt familiar and comfortable. It was that cool uncle with the cool T-shirts that was very excited about legalization of certain herbs. It was a relaxed vibe that did not take itself too seriously, which helped cultivate pure enjoyment from fans. Most employees resided at the venue since its reopening and seemed to love working there. The rich history of the venue contributed to a feeling of experience and familiarity. For those cautious to attend an indoor concert.
Fans of Pigeons filled with anticipatory excitement for the next cue in their favorite song. The crowd burst with joy every time their part in the collaboration, and were beautifully illuminated for each moment.
Pigeons Playing Ping Pong – The Capitol Theatre – Saturday, October 15, 2021
Setlist: Pop Off, Fall in Place, Melting Lights > Poseidon, Paperboy, Porcupine > Ocean Flows, My Own Way, Water, Skinner, Dawn A New Day, Snake Eyes, Living for the City (Stevie Wonder), King Kong, Day in Time, Overrun, Doc
The anonymous owners of the one-of-a-kind Wu Tang Clan album have been revealed. Once Upon a Time in Shaolin — formerly owned by disgraced hedge fund manager and pharmaceutical executive, Martin Shkreli, before being convicted of securities fraud — was seized in 2018 and recently sold by the U.S. government as a part of a $7.4 million forfeiture judgement.
After Shkreli was forced to sell the album, the original buyers were kept hidden from the public, with the sale being handled by NYC based lawyer, Peter Coolidge, who revealed that he has been one of the very few to listen to the project.
It didn’t disappoint at all. It was pretty reminiscent of the ‘90s stuff. The first album was really good. All the first solo albums were good, like, Return to the 36 Chambers, Liquid Swords, Ironman, Only Built 4 Cuban Linx, whatever,” he said. “And then they did some albums after that, that were perhaps not their best work. But this is like, up there with the best stuff.
Now, the new owners of the suis generis album have been revealed to be NFT investment collective, PleasrDAO. The group revealed itself as the anonymous entity that purchased the album from the federal government in July for a reported $4 million.
While Shkreli clashed with Wu Tang Clan almost immediately after purchasing the album, the new owners — who specialize in digitized art — may have more consumer-friendly plans in mind. While the album comes with a ton of contractual limitations (It can’t be commercially released until 2103; it can’t be remixed or recorded; and it can’t be played in front of large audiences, streamed, or even broadcast online), PleasrDAO Chief Pleasing Officer, Jamis Johnson, revealed to Rolling Stone plans to “bring the album back to the people.” With plans to curate listening parties throughout the world that will allow the general public a chance to hear the
They bonded together to form a collective more powerful than any individual had on their own. Fuck these middlemen for taking all the money that should be going to the artists perfectly aligns with the ethos of crypto.
Despite the limitations imposed on the album, PleasrDAO believe they have the same interests of the Clan, who began to encourage the album being made available on a wider scale as their dissatisfaction with Shkreli grew.
