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Tuxedo, the project of Mayer Hawthorne and Jake One, are gearing up for the holidays. Today, the pair share a cover version of Paul McCartney’s, “Wonderful Christmastime.”

The two Grammy-nominated artists have teamed up to release their debut album Tuxedo out March 3, 2015 on Stones Throw Records. You can now pre-order Tuxedo on iTunes and receive an instant download of their first single “Do It,” HERE. Tuxedo recently unveiled their debut video for “Do It,” watch it below.

Mayer Hawthorne (Aquarius) and Jake One (Taurus) are descendants of the one- word moniker family of funk, where you will find groups such as Chic, Shalamar, Plush & Zapp.

The Tuxedo collaboration began with an exchange of mixtapes back in 2006. The fruits of a long-standing kinship were three tracks that mysteriously showed up on Internet doorsteps nearly two years ago. In between personal projects, these three tracks became a full album’s worth of Tuxedo. The album was mixed by original disco don dada John Morales at his home studio in South Plainfield, New Jersey. “I flew out there,” Mayer says. “His wife made me spaghetti and everything.”

The duo are excited to release their upcoming debut album Tuxedo on Stones Throw Records, which also marks Mayer’s return to the label since his debut release of A Strange Arrangement in 2009. Until then, stay classy.

Stéphane Grappelli recorded a solo for the title track of Pink Floyd’s 1975 album Wish You Were Here. This was made almost inaudible in the mix, and so the violinist was not credited, according to Roger Waters, as it would be “a bit of an insult”. A remastered version, with Grappelli’s contribution fully audible, can be found on the 2011 Experience and Immersion editions of Wish You Were Here.

From Spin Magazine:

Australian radio station Triple J has found one of the most unique Nirvana interviews ever. They published audio of a 1992 interview with the band that had pretty much been lost in the ether since, and thanks to the trio’s exhaustion with sudden Nevermind fame, the results are awkward and amazing.

The chat happened during Nirvana’s only tour of Australia, when they headlined the first Big Day Out festival. “That chat was one for the ages — but for all the wrong reasons,” Triple J writers. “Tired, sick, and also just sick of the rigmarole of being the biggest band in the world, Kurt and bandmates Dave Grohl and Krist Novoselic gave one of the most awkward and confrontational interviews we’ve ever had on triple j.”

Confrontational is certainly one way to put it. They somewhat play along with host Jen Oldershaw’s questions and meet a few with mostly silence, and at one point, Cobain takes a scissor to the microphone. Apparently, Cobain kept his head on the desk of the studio for a portion of the interview and also does a Tom Waits-like voice when talk about vocal issues.

From The Fader:

The jolly fools over at Mad Decent couldn’t wait to get this new mixtape off their hands, for good reason: it’s a hilarious pack of remixes of your favorite Christmas jingles featuring Jesse Slayter, DJ Fire, and more. Davoodi’s flip of Tchaikovsky’s Nutcracker score sounds like the Yeezus Tour meets the Radio City Christmas Show, and Kstylis’s verse on “6th Gear” is drunk with holiday cheer. “Christmas was always lonely for me,” Diplo tells FADER. “I only got switches in my stockings. I wish I had an album like this to keep me warm… now you can!” Cop it here.

Alec Baldwin sits down with Ira Glass to compare notes on interviewing, the afterlife, and how to find one’s voice – with a microphone or a camera lens. Now the veritable kingmaker of public radio, Glass has revolutionized nonfiction storytelling by using a voice that’s personable, modest, and emotionally engaged. In this extensive interview, Glass lays it all out: politics (he’s a Democrat; finds the left insufferable), religion (went through Hebrew school; done with it), fact-checking (you can never be too careful), and that dog who went as him for Halloween.

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Anyone who feels that “they don’t write ‘em like they used to any more” is advised to just go back to Derek and the Dominos, one of the best blues rock band formed in the spring of 1970 by guitarist and singer Eric Clapton, keyboardist and singer Bobby Whitlock, bassist Carl Radle and drummer Jim Gordon. All four members had previously played together in Delaney & Bonnie and Friends, during and after Clapton’s brief tenure with Blind Faith. Dave Mason supplied additional lead guitar on early studio sessions, while another guy – George Harrison, participated in the sessions for the album since his own album All Things Must Pass marked the formation of Derek and the Dominos.

The band released only one studio album, the Tom Dowd-produced Layla and Other Assorted Love Songs, which also featured notable contributions on slide guitar from Duane Allman. A double album, the release stalled at first in sales and in radio airplay. It wasn’t until March 1972 that the album’s single “Layla” made the top ten in both the United States and the United Kingdom, and started the whole “Capton Is God” for the 6th time and forevermore.

1. The song was inspired by the classical poet of Persian literature, Nizami Ganjavi’s The Story of Layla and Majnun. The book moved Clapton profoundly, as it was the tale of a young man who fell hopelessly in love with a beautiful, unavailable woman and who went crazy because he could not marry her. Clapton could relate – he had a then-unrequited love for Pattie Boyd, the wife of his friend and fellow musician George Harrison.

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2. Two versions of “Layla” made the charts – a rare feat. The first time was in 1972 and the second (without the piano coda) 20 years later as an acoustic “Unplugged” performance by Clapton. Clapton introduced this version to the unsuspecting live audience by stating “See if you can spot this one.”

3. Clapton’s “Unplugged” version of “Layla” won the 1992 Grammy Award for Best Rock Song, beating out “Smells Like Teen Spirit” by Nirvana, one of the ten biggest upsets in Grammy history, according to Entertainment Weekly.

4. THAT riff. One of the glorious in all of rock. Here’s the first 5 bars, so you can play at home.

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5. Shortly after recording the first part of the song, Clapton returned to the studio, where he heard Gordon playing a piano piece he had composed separately. Clapton, impressed by the piece, convinced Gordon to allow it to be used as part of the song. Though only Gordon has been officially credited with this part, Whitlock claimed, “Jim took that piano melody from his ex-girlfriend Rita Coolidge.

Originally inspired by a police brutality incident witnessed by Renaldo “Obie” Benson, “What’s Goin’ On” was composed by Benson, Al Cleveland and Gaye and produced by Gaye himself. Bassist James Jamerson was pulled into the session after Gaye located him playing with a band at a local bar. Respected Motown arranger and conductor David Van De Pitte said later to Ben Edmonds that Jamerson “always kept a bottle of [the Greek spirit] Metaxa in his bass case. He could really put that stuff away, and then sit down and still be able to play. His tolerance was incredible. It took a hell a lot to get him smashed.” The night Jamerson entered the studio to record the bass lines to the song, Jamerson couldn’t sit properly in his seat and, according to one of the members of the Funk Brothers, laid on the floor playing his bass riffs.

Find yourself submerged into the voyage depths of hell, and deep into the mind of Kurt Cobain. The tape was made on a 4-track cassette recorder grabbing cuts from Cobain’s own record collection, the radio, band demos and sounds he made or recorded himself and uploaded by Vimeo user SpaceEcho (who claims Cobain gave the tape to him personally). Presenting the full version of Kurt Cobain’s “Montage Of Heck” mixed-tape from 1986.

Kurt Cobain’s “Montage Of Heck” from SpaceEcho on Vimeo.

Montage of Heck Track List:
“The Men In My Little Girl’s Life” by Mike Douglas
“The Sounds of Silence” by Simon & Garfunkel
“Being for the Benefit of Mr. Kite!” by The Beatles
“A Day In The Life” by The Beatles
“Eruption” by Van Halen
“Hot Pants” by James Brown
“Gypsies, Tramps and Thieves” by Cher
“Go Away Little Girl” by Donny Osmond
“Rocky Mountain High” by John Denver
“Everybody Loves Somebody” by Dean Martin
“The Candy Man” by Sammy Davis, Jr.
“In A Gadda Da Vida” by Iron Butterfly
“Wild Thing” by William Shatner
“Taxman” by The Beatles
“I Think I Love You” by The Partridge Family
“Are You a Boy or Are You a Girl?” by The Barbarians
“Queen Of The Reich” by Queensryche
“Last Caress/Green Hell” covered by Metallica
“Whole Lotta Love” by Led Zeppelin
“Get Down, Make Love” by Queen
“ABC” by The Jackson Five
“I Want Your Sex” by George Michael
“Run to the Hills” by Iron Maiden
“Eye Of The Chicken” by Butthole Surfers
“Dance of the Cobra” by Butthole Surfers
“The Shah Sleeps in Lee Harvey’s Grave” by Butthole Surfers
“New Age” by The Velvet Underground
“Love Buzz” by Shocking Blue
Orchestral music from 200 Motels by Frank Zappa
“Help I’m A Rock” / “It Can’t Happen Here” by Frank Zappa
“Call Any Vegetable” by Frank Zappa
“The Day We Fall In Love” by The Monkees
“Sweet Leaf” by Black Sabbath (intro)
Theme from The Andy Griffith Show
Mike Love (of The Beach Boys) talking about “Transcendental Meditation”
Excerpts of Jimi Hendrix speaking at the Monterey Pop Festival
Excerpts of Paul Stanley from KISS’ Alive!
Excerpts of Daniel Johnston screaming about Satan
Excerpts from sound effects records
Various children’s records (Curious George, Sesame Street, The Flintstones, Star Wars)

“Shiver” is a track off Coldplay’s debut album, Parachutes, released in 2000. The track followed “Yellow” as the second single released and rose to #35 on the UK Singles chart and #26 on the Billboard Alternative Songs chart. The album was recorded at Matrix and Wessex in London, Parr Street in Liverpool and Rockfield Studios in Rockfield, UK and was produced by Ken Nelson and Coldplay.

Chris Martin admitted that “Shiver” was written for a specific woman, but hasn’t revealed a specific name. Martin actually wrote the song in a “glum” day, when he felt he would never find the right woman for him. He described it as something of a “stalking song”, admitting he wrote it for a specific woman. In addition, Martin wrote the song while listening to music of Jeff Buckley, and had claimed it is their “most blatant rip-off song”.