Take a stroll down Sesame Street and witness the birth of the most impactful children’s series in TV history. From the iconic furry characters to the classic songs you know by heart, learn how a gang of visionary creators changed our world. In theaters April 23rd and available On Demand May 7th.
AC/DC’s Brian Johnson releasing new memoir, ‘The Lives of Brian,’ in October
Brian Johnson’s memoir The Lives of Brian: AC/DC, Me, and the Making of Back in Black, that will be published on October 26. It’ll reveal his story from growing up in a small town to starting his own band to ultimately replacing Bon Scott, the lead singer of one of the world biggest rock acts, AC/DC. They would record their first album together, the iconic Back in Black, which would become the biggest selling rock album of all time.
Brian Johnson was born to a steelworker and WWII veteran father and an Italian mother, growing up in New Castle Upon Tyne, England, a working-class town. He was musically inclined and sang with the church choir. By the early ’70s he performed with the glam rock band Geordie, and they had a couple hits, but it was tough going. So tough that by 1976, they disbanded and Brian turned to a blue-collar life.
Then 1980 changed everything. Bon Scott, the lead singer and lyricist of the Australian rock band AC/DC died at 33. The band auditioned singers, among them Johnson, whom Scott himself had seen perform and raved about. Within days, Johnson was in a studio with the band, working with founding members Angus and Malcolm Young, Cliff Williams, and Phil Rudd, along with producer Mutt Lange.
When the album, Back in Black, was released in July—a mere three months after Johnson had joined the band—it exploded, going on to sell 50 million copies worldwide, and triggering a years-long worldwide tour. It has been declared “the biggest selling hard rock album ever made” and “the best-selling heavy-metal album in history.”
The band toured the world for a full year to support the album, changing the face of rock music—and Brian Johnson’s life—forever.
Dave Grohl announces new documentary “What Drives Us”
WHAT DRIVES US is a testament to the musician’s life. WHAT DRIVES US will be released Friday, April 30th exclusively on The Coda Collection via Amazon Prime Video Channels in the U.S. and outside of the U.S. via Amazon Prime Video.
“This film is my love letter to every musician that has ever jumped in an old van with their friends and left it all behind for the simple reward of playing music. What started as a project to pull back the curtain on the DIY logistics of stuffing all of your friends and equipment into a small space for months on end eventually turned into an exploration of “why?” What drives us?” – Dave Grohl
Directed by Dave Grohl, this feature documentary film is a love letter to the rare club of rock and roll, as well as an inspiration to every young kid who dreams of a life playing music. Dave was that kid. And so was Ringo, Annie Clark, The Edge, Steven Tyler, and everyone in between. The list goes on forever. While they all have stories— outrageous, unbelievable, insane, as well as poignant stories— they all share a common bond. At some point, before anyone knew their name, they had an unstoppable drive to share their music with the world. Their passion led them to leave everything behind, throw caution to the wind, and chase their dream. Nobody was promised anything, but they all had a plan.
Featuring: Jennifer Finch of L7, Tony Kanal of No Doubt, Flea of The Red Hot Chili Peppers, Lars Ulrich of Metallica, Charlie Gabriel of Preservation Hall Jazz Band, Brian Johnson of AC/DC, St. Vincent, Dave Lombardo of Slayer, Steven Tyler of Aerosmith, The Edge of U2, Ben Harper, Kira Roessler of Black Flag, Ringo Starr of The Beatles, Slash & Duff McKagan of Guns N’Roses, D.H. Peligro of Dead Kennedys, Exene Cervenka of X, Starcrawler, Mike Watt of Minutemen, Pete Stahl of Scream, Radkey, and Ian MacKaye of Fugazi / Minor Threat.
It’s “Your Move…” Say Chicago-Based Rockers bluefront in New Single, “High Time”
On a quest for emotional peace and grappling with the question “could anything more have been done,” indie rocker Alan Zreczny and his Chicago-based band bluefront deliver this, their newest single and video “High Time” — available now.
“I think the song is about me reaching for an emotional space I have rarely, if ever, achieved,” Zreczny reveals of the song and its inspiration. “Although it was written with a relationship in mind, for me, it could apply whenever there comes a time — sometimes far too long in the making — where a certain kind of peace is achieved.
“It’s definitely not a comfortable kind of peace,” he continues. “But there is resolve, there is determination, and that feels ‘good’ in that there is a certain understanding that, although the emotional repercussions could be dreadful, it’s okay. And now things are clear.
“It’s the thinking that: I have exhausted all avenues that could possibly have been travelled in order to make something work, and we are at the end of whatever it is. It’s really ‘it’ — it’s ‘High Time’ because I have nothing left.
“Your move…”
That said, Zreczny is the first to admit the concept may be a mountain climb of his own making. “The truth is,” he shares, “I’m not sure if ‘High Time’ is a testament to the fact that I actually got there at that time, or if it was just me projecting where I wanted to be.
“Maybe I wrote the song as a way to say I was there, and hopefully I would catch up with the song? That remains unclear…
“But what is clear is the ideal of being comfortable in the discomfort of whatever happens next.”
The latest to land from bluefront’s sophomore album offering, Aftershocks, “High Time” follows previous singles “It’s Not Over Yet,” and the release’s title track, “Aftershocks.”
Released in 2019, the seven-track LP registers on its own Richter scale with shimmering melodies and intricate instrumentation deftly demonstrated by Zreczny, alongside bandmates Jason Steele, Nick Kabat, and Mark Burns.
Zreczny and bluefront have performed at Uncommon Ground, The Elbo Room, The Gallery Cabaret, The Red Line Tap, Old Town Art Fair, Subterranean, The House Cafe, and The Cubby Bear, among others, and appeared on WGN Radio and the Chicago Acoustic Underground podcast.
Aftershocks was recorded at Electrical Audio by Scott Steinman, mixed at GardenView Sound Studio by Scott Steinman for Studiomedia Recording, and mastered by Matthew Barnhart at Chicago Mastering Services; it follows Zreczny’s debut, The Arbor Sessions.
Psychedelic Rock Visionary Ethan Larsh Bows Down to New Single, “The Emperor”
Psychedelic rocker Ethan Larsh is set to take audiences on an audible odyssey with this, his latest conception “The Emperor.”
The title track from the Frederick, Maryland-based artist’s forthcoming sophomore album, The Emperor, the single immediately pulls you in with its enthralling riffs and bass line before bringing you to your knees with the resounding force of the organ’s emphatic tone.
The pounding drums march along with the melodies to effectively usher in the message of “The Emperor.” Instrumentally, you’re reminded of and drawn towards what made legends — such as Hawkwind, Iron Butterfly and Deep Purple… All titans of the psychedelic rock genre. As such, the song’s nuanced lyrical restraint serves as a potent allegory to the conceptual foundation of the song itself.
At a runtime of three-minutes-twenty-two seconds in length, the track offers a more succinct experience for modern listeners to digest. The ‘less-is-more’ approach presented by Larsh is delectable and contrasts with the oftentimes girthy and grandiose opuses from the genre’s heyday. It doesn’t overstay its welcome; it leaves you wanting more!
The conception of “The Emperor,” Larsh reveals, came about as a stream-of-consciousness experience brought into existence through a jam session between himself and his drummer, Tim Weller.
“I quickly wrote down the lyrics and, within twenty minutes, the song was finished,” Larsh shares. “I follow The Mountain Goats’ John Darnielle’s philosophy when he wrote his masterpiece, All Hail West Texas; according to that philosophy, in those days, a song got exactly one day in which to either resolve its issues, or be cast forth from the company of its brethren.”
When describing the video for “The Emperor,” Larsh states his own personal philosophy was the opposite: the video, in his words, was meticulously planned, with fast food crowns, cartoonish over-sized animal masks, and pizza. Done in a one-take style, the operating budget for the video was approximately $50.00, yet shaped up to be both a captivating and entertaining experience. The video is complete with animations to accentuate the psychedelia and surrealism the single was intended to convey.
“The Emperor” features Ethan Larsh on vocals and guitar, accompanied by bandmates Sam Silbert on bass, organ and synths, as well as Tim Weller on drums. It was recorded at Echoes Studios and Johanna Baumann’s home studio. Sam Silbert is credited for mixing and Harold LaRue for mastering.
The single will be included on the album of the same name later this year, and follows his 2017 breakthrough debut, Ethan Larsh Breaks Hearts.
Pop-Punk Skate-Rockers MOORE AVE UNDERGROUND Wrangle Bad Dreams + Good Wisdom in “6 Feet”
Canadian pop-punk skate-rockers Moore Ave Underground usher audiences into their dreamscapes with the release of this, their new single “6 Feet” — available now.
The song’s inspiration stems from a subliminal vision band member Josh Gaudette had where his dad was dying, the band — which also includes Josh’s brothers Joseph and Jack, as well as Shawn MacDonald — shares.
“Essentially, he was giving me his last words, and pieces of advice to take with me into the future,” Josh continues. “But with my dad still being alive and well, it was even weirder for me being at his bedside as he was ailing within the dream. Even more disturbing was receiving the call that he was gone…
“In the dream, it all seemed so real,” he adds. “It made me feel super creeped out, and the whole experience of writing the song had this super creepy vibe to it, as well. I think that comes through in the track.”
“We originally had more of a cinematic storyline planned for this video, but Covid had other plans,” Shawn reveals; he also directed the flick.
But they made-do, deciding “to make the best out of a less-than-ideal situation,” Joseph adds, “and used our resources to the fullest.”
“The whole video was shot in our home — the Underground,” Jack picks up, name checking the band’s title and ethos all in one. “And it helps to have a drummer that doubles as a director!”
As for that band title and ethos, Moore Ave Underground is more than what meets the eye.
“Moore Ave Underground refers to our family home’s basement,” Josh says. “When I took up music, the basement was already filled with a foosball table, a hockey table, and a bar that no one ever used. We convinced my mom and dad to make some hard choices, and ended up bidding a fond farewell to it all in order to make room for instruments.
“It became something special,” he continues. “Soon, friends, family and contributors started coming and going and creating. We have witnessed those who never believed their musical ability was possible grow into accomplished performers.
“Today, this is the goal: to provide a platform for talent, and encourage, inspire and see artists of any kinds and all ages realize their potential. For us, the motivation is to offer a window to the world that shows the talents and gifts we are blessed to see and be a part of every day.”
What that ultimately looks like is a lengthy series of single releases — including 2020’s “Beanies and Plaid Jackets,” “How You’ve Grown,” and “What’s Done” — and a debut EP, 2019’s It’s All in my Head; in addition to releasing “6 Feet,” the band are currently finishing up their forthcoming full-length.
“When we reflect on what Moore Ave is — both in what we are about, and what our moral codes and values are — there’s always one thing we’ve always been passionate about: equality,” Joseph says. “Since we could think for ourselves, there’s one thing all of us have strived for, and that’s acceptance.”
“For us, it doesn’t matter how you act, who you are, or what you look like,” Shawn adds. “No matter what, there’s a place for you to be yourself in the Underground.”
“Our house show motto is ‘everybody loves everybody,’ and it’s heavily enforced,” Jack underscores. “We think kindness towards each other is extremely important, and something we, as a band, do not take for granted.”
See also: how a bad dream of a father’s passing inspires a great song all its own.
Margo Price, Annie Nelson Join Farm Aid Board Of Directors
Farm Aid announced today that Grammy-nominated artist Margo Price and lifelong humanitarian and advocate for family farmers Annie Nelson have joined its Board of Directors.
Via unanimous vote, Price and Nelson will work alongside founders Willie Nelson, Neil Young and John Mellencamp, artist board member Dave Matthews, and six industry professionals and family farm supporters.
Price and Nelson join a committed board that has steered Farm Aid for 35 years, hosting a unique annual festival to galvanize support for family farmers, organizing against corporate consolidation, deploying funds and resources to strengthen farm families facing ongoing challenges, and nurturing a cultural movement that values the people who bring good food to our tables. Farm Aid stays true to its founding values and traditions; for example, Farm Aid President Willie Nelson signs every grant check distributed by the organization to its nonprofit partners, and the organization keeps its ear to the ground, listening to a group of farmers from diverse backgrounds who care for the soil and water.
Price grew up in Illinois on her family farm before she witnessed its loss in the Farm Crisis that inspired the first Farm Aid concert. Price has been a staunch advocate for Farm Aid’s mission long before her first performance at Farm Aid 2016 in Bristow, Virginia. She has not missed a Farm Aid festival since, and this past year, she joined Dave Matthews to announce Farm Aid 2020 on Good Morning America. Price is the second artist to be added to Farm Aid’s Board of Directors after its original founding, following Dave Matthews’ appointment in 2001.
“It is always a thrill to perform alongside my heroes on the Farm Aid stage, and it is one of the greatest honors of my life to become a member of the Farm Aid board,” said Price. “It’s been a dream of mine to help family farmers and communities across America ever since my family lost their farm in the fall of 1984 — a year before the first Farm Aid concert. I hope to use my voice to shine light on the issues of climate change, our health and the health of our soil and water, and most importantly, food justice.”
Annie Nelson — who met husband Willie Nelson shortly after the first Farm Aid concert in 1985 — has served an integral role in the annual Farm Aid music and food festival. She has worked for decades to stand up for family farm agriculture and create opportunities for local, independent farmers, and she is an activist on many issues that positively impact America’s family farmers.
“I am honored to join Willie and the other members on Farm Aid’s Board of Directors,” said Nelson. “I’ve witnessed the incredible strength and resilience of America’s family farmers through my involvement in Farm Aid, and I am eager to continue to help our family farm system thrive through this new role.”
For more information on Farm Aid’s Board of Directors, visit: farmaid.org/about-us/board-and-staff/.
Farm Aid’s mission is to build a vibrant, family farm-centered system of agriculture in America. Farm Aid artists and board members Willie Nelson, Neil Young, John Mellencamp and Dave Matthews host an annual festival to raise funds to support Farm Aid’s work with family farmers and to inspire people to choose family farm food. For more than 35 years, Farm Aid, with the support of the artists who contribute their performances each year, has raised more than $60 million to support programs that help farmers thrive, expand the reach of the Good Food Movement, take action to change the dominant system of industrial agriculture and promote food from family farms.
Inkbox Teams Up with Global Pop Icons, BTS for a Brand New Collection
Inkbox, the brand behind the world’s leading semi-permanent tattoo technology, announced its latest partnership with global superstars, BTS. The new collection invites customers around the world to connect with the beloved 21st century pop icons like never before, introducing special tattoo designs inspired by the Grammy-nominated single, “Dynamite.” The debut collection kicks off a year-long partnership with HYBE IP, with more special edition drops coming soon. To sign up now for the virtual waitlist, visit https://inkbox.com/g/bts-waitlist.
Joining Inkbox’s impressive roster of collaborations, the latest collection designed with BTS inspires a new wave of creativity and connection all over the world. Shoppers are invited to explore 11 special temporary tattoos channeling the energetic pop-disco vibe of “Dynamite”. Customers will be able to spot iconic elements from the single’s artwork, with designs featuring retro flowers, shooting stars, the recognizable “Dynamite” sign, and seven unique silhouettes starring each band member. As a bonus “gift” to enthusiastic shoppers, every order will include 1 of 3 special edition 8×10 “Dynamite” collectible prints, inserted in the specially designed BTS packaging (sourced from 100% sustainable materials). Individual tattoos in the collection retail for $16–$20 USD, with the complete set available for purchase at $130 USD.
The BTS Dynamite collection will be available to shop starting Apr 14, shipping worldwide from www.inkbox.com.
Cello Orchestra Covers Soundgarden’s “Black Hole Sun”
“Black Hole Sun” by Soundgarden, performed live by Break of Reality on cello and djembe.
Songs That Changed Music: Ian Dury & The Blockheads’ Hit Me With Your Rhythm Stick
With its distinctive 16-notes-to-the-bar bassline and unashamedly honky sax solo (played on two saxes at once), Ian Dury and the Blockheads’ “Hit Me with Your Rhythm Stick” was named the 12th best single of 1978 by the writers of British music magazine NME, and best single of 1979 in the annual ‘Pazz & Jop’ poll organised by music critic Robert Christgau in The Village Voice. It was also named the 3rd best post-punk 7″ ever made by Fact magazine. By September 2017, it had sold over 1.29 million copies in the UK, making it the 114th biggest selling single of all time in the UK.
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