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Common’s 2007 Studio Album, ‘Finding Forever’ Gets Re-Released On Black 2LP Vinyl & Limited Edition White 2LP Vinyl

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Today, Urban Legends releases Common’s seventh studio album, 2007’s Finding Forever, in black 2LP vinyl and limited edition white 2LP vinyl packages. Both versions feature the bonus track “Play Your Cards Right (featuring Bilal)” on vinyl for the first time.

Common’s follow-up to his hugely popular Be album, Finding Forever saw most of the production helmed by Kanye West and was also a part of GOOD Music’s wildly ambitious rollout, becoming a vibrant chart-topper for Common in his mid-career phase. In the wake of Dilla’s passing, the overall feel and vibe of the album is colorfully soulful, a tribute of sorts to the legendary producer, according to Kanye West. In fact, “So Far To Go (featuring D’Angelo)” is actually credited to Dilla himself, as is the intro to “Southside.”

The album is a solid work by Common, whose rhymes are as thoughtful here as in previous recordings—introspective, fluid, detailed storytelling with aplomb. Chart-wise, the album was a success, selling 155,000 units in its first week and topping the Billboard 200 at number one. The album was critically acclaimed, with Spin magazine rating Finding Forever 9 out of 10 stars. Finding Forever was certified gold and nominated for three GRAMMY Awards, for Best Rap Album, Best Rap Performance by a Duo or Group, and Best Rap Solo Performance.

Major guest spots are also plentiful. “Start the Show” features Kanye West, while “Drivin’ Me Wild” has vocal additions from celebrated, affable chanteuse Lily Allen. While the release is a later Common project, it’s a tight effort with lyrical content that’s gritty and descriptive, and inventive, as well; relaxed when the textured, boom-bap production needs to breathe. Finding Forever is a star-studded, production-fueled, later-in-the game triumph for the Chicago rap veteran.

Common: Finding Forever [2LP black vinyl; 2LP white vinyl]
Side A
1. Intro
2. Start The Show
3. The People
4. Drivin’ Me Wild (feat. Lily Allen)

Side B
1. I Want You
2. Southside (feat. Kanye West)
3.The Game

Side C
1. U, Black Maybe
2. So Far To Go (feat. D’Angelo)
3. Break My Heart

Side D
1. Misunderstood
2. Forever Begins
3. Play Your Cards Right (feat. Bilal)

Jack Black Plays Toy Sax In His Elaborate Tonight Show Entrance

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Jack Black breaks down the reason behind each move he did during his energetic Tonight Show entrance.

https://youtu.be/vMDWUep_XAc

‘Weird Al’ Yankovic Looks Like ‘Buddy Holly’ In Weezer’s Music Video of Toto’s ‘Africa’

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The blessings don’t stop??? Weezer’s new Africa video starring ‘Weird Al’ Yankovic is out now.

A Brief History of Electric Guitar Distortion

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Distortion and overdrive are forms of audio signal processing used to alter the sound of amplified electric musical instruments, usually by increasing their gain, producing a “fuzzy”, “growling”, or “gritty” tone. Distortion is most commonly used with the electric guitar, but may also be used with other electric instruments such as bass guitar, electric piano, and Hammond organ. Guitarists playing electric blues originally obtained an overdriven sound by turning up their vacuum tube-powered guitar amplifiers to high volumes, which caused the signal to distort. While overdriven tube amps are still used to obtain overdrive in the 2010s, especially in genres like blues and rockabilly, a number of other ways to produce distortion have been developed since the 1960s, such as distortion effect pedals. The growling tone of distorted electric guitar is a key part of many genres, including blues and many rock music genres, notably hard rock, punk rock, hardcore punk, acid rock, and heavy metal music. So let’s go back to the beginning.

Joni Mitchell’s performance at the 1970 Isle of Wight Festival is now available

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Joni Mitchell’s performance at the 1970 Isle of Wight Festival is now available on Blu-ray and Digital Video, Both Sides Now: Live At The Isle of Wight Festival. You can get it here.

In 1970, the Isle of Wight Festival was one of the largest musical events of its time. Bigger than Woodstock, and controversial from the get-go, with hundreds of thousands of people descending on the island. Many of those without tickets set up camp on a hill overlooking the festival site, opposing the consumerism of the event and intent on “taking the music back” by any means necessary. It was a celebration of hippy counter culture gone awry, and in Joni’s words “they fed me to the beast”.

Joni Mitchell took to the stage to deliver an outstanding performance against all odds. At times, it was a battle against the audience, as they tore down barriers and shouted obscenities. Her set was interrupted multiple times, including one man invading the stage to try address the crowd. She later commented, “It seemed like an appropriate time to flee…”, but still the seemingly fragile folk-rock singer stood her ground. Instead she returned to her piano, sitting on a fold-up wooden chair, and made an impassioned plea for respect from the audience, continuing her set with “My Old Man,” she won over the crowd and the atmosphere softened.

Directed by Academy Award winning filmmaker Murray Lerner, Both Sides Now: Live At The Isle of Wight Festival features new interviews with Joni, discussing her recollections of the event intercut with festival footage, both onstage and behind the scenes, offering a fascinating insight into a now legendary concert from the artists point of view and putting the events of the day into context. Alternatively, fans can enjoy the uninterrupted live concert footage featuring classic songs such as “Woodstock,” “Both Sides Now,” and ”Big Yellow Taxi.”

Nile Rodgers opens up to Strombo about turning down Miles Davis and more

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“To me, records are the same as films. Every time I make a record, I’m actually making a holistic story about the way I see the world whether it is a the world as I see it now or as a period of time.”

Nile Rodgers opens up to Strombo about turning down Miles Davis, working with the Black Panther Party, the story behind Bowie’s “Let’s Dance,” the last conversations that he shared with Prince, his time panhandling, his parents’ heroin addiction, his fandom of John Coltrane, his work on Emeli Sande’s new record, what Madonna was best at, how Hendrix was their pack leader and so much more. You can listen to the fill audio here and the audio on YouTube is below.

Colin James Announces 24-Date Cross Canada Tour For 2019

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With his 19th album, Miles to Go out as of last week, Colin James is getting back to the blues. And he’s also getting back to the road, announcing a 24-date, 23-city Canadian tour. See below for the complete schedule.

Miles to Go, Colin James’ ambitious sequel to the critically acclaimed Blue Highways, continues James’ story with a collection of carefully curated songs handpicked from some of the greatest blues artists.

In the months leading up to the recording, as James was reflecting on songs for the album he decided to reacquaint himself with a beautiful red Gibson ES-335. It was just like the guitar he played as a teenager but regretfully had to sell for rent money.

While James reconnected with this guitar, Miles to Go seemed to just flow onto the studio floor.

This album blends songs old and new, some of them completely reimagined and some almost perfect homages. But all are unified by a theme of undying love for the blues and the highest respect for the creators that led the way.

Known as one of Canada’s best blues musicians, it wasn’t until 2016’s Blue Highways that James found himself on a blues chart: the album spent 10 weeks at No. 1 on the Roots Music Report’s Blues Chart. It also landed him one of his biggest hits: “Riding in the Moonlight”. A Willie Dixon song that James once covered when busking in the streets and subways of Toronto and Montreal that landed on a Spotify playlist garnering millions of streams.

When James set out to make Blue Highways, an album of blues covers recorded with his touring band, he always intended it to be the first of two installments. Now we have Miles to Go, in which James records nine new covers of his favourite artists (Howlin’ Wolf, Muddy Waters, Blind Willie Johnson, Blind Lemon Jefferson, Little Willie John, Robert Johnson, etc.) and adds two originals, “I Will Remain” and “40 Light Years.” “Blues has always been a pass-it-forward kind of thing,” says James. “It’s also surprisingly hard to write. You have to be careful how modern you get in your phrasing. Certain writers can write a song that sounds like it was done 40 years ago, but it’s deceptively hard.”

To be a blues musician is to always have a dialogue with the past. As with much blues music, it’s the performances on the original versions rather than the actual song that drew James to them. That said, what could he possibly bring to them in 2018? “You bring what you can,” he says. “If I feel like I’ve brought enough, then I put it out. I knocked a bunch of songs off this record when I realized that I can’t bring anything to them that isn’t there already. All my life I’ve tried to bring vitality to older songs. Hopefully my dedication to it is what floats it over the mark. That’s a subjective thing; some people will always prefer the original. However, there’s always a group of people coming up to see me after a show who might say, “Oh, I never would have heard ‘One More Mile’ by James Cotton—nothing in my life would have pointed me there.”

So much of Colin James’s career has pointed him to this moment: joyfully tangled up in the blues, which, as he notes, “is the only genre where you can maintain a young profile at the age of 53.”

Colin James “Miles To Go 2019 Tour”
March 17 – Victoria, BC – Royal Theatre
March 18 – Nanaimo, BC – Port Theatre
March 19 – Nanaimo, BC – Port Theatre
March 21 – Vancouver, BC – Orpheum Theatre
March 22 – Kamloops, BC – Sandman Arena
March 23 – Prince George, BC – CN Centre
March 25 – Kelowna, BC – Community Theatre
March 27 – Calgary, AB – Southern Jubilee
March 28 – Edmonton, AB – Northern Jubilee
March 29 – Regina, SK – Casino Regina
March 30 – Winnipeg, MB – Burton Cummings Theatre
April 2 – Thunder Bay, ON – Thunder Bay Community Auditorium
April 4 – North Bay, ON – Capital Theatre
April 5 – Hamilton, ON – FirstOntario Concert Hall
April 6 – Toronto, ON – Sony Centre For The Performing Arts
April 8 – London, ON – RBC Theatre at Budweiser Gardens
April 9 – Peterborough, ON – Showplace Performance Centre
April 10 – Kingston, ON – Grand Theatre
April 12 – Quebec City, QC – Palais Montcalm
April 14 – Fredericton, NB – The Playhouse
April 15 – Saint John, NB – Imperial Theatre
April 16 – Moncton, NB – Capitol Theatre
April 18 – Charlottetown, PEI – Confederation Centre of the Arts
April 19 – Halifax, NS – Rebecca Cohn Auditorium

Adrock & Mike D Announce Six Nights of Readings, Conversation, Q&A Tour

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In celebration of the October 30 release of Beastie Boys Book (Spiegel & Grau), Adam “Adrock” Horovitz and Michael “Mike D” Diamond will embark on the six-night four-city Beastie Boys Book: Live & Direct event tour.

Each night of Beastie Boys Book: Live & Direct will feature readings, conversations between Mike D, Adrock and a special guest moderator, Q&A sessions–all with a live score provided by Mix Master Mike and a brand new Beastie Boys exhibit, curated by Beastie Boys & Beyond the Streets in partnership with adidas Skateboarding. Sonos will provide the sound experience at each exhibit, playing a mixtape curated by Adrock and Mike D.

As if that’s not enough, every ticket for Beastie Boys Book: Live & Direct comes with a physical copy of Beastie Boys Book—to be redeemed upon entrance to the event.

The full itinerary is as follows:
10/29 – New York – Town Hall – Tickets*
10/30 – Brooklyn – Kings Theatre – Tickets
11/3 – Los Angeles – Montalban Theatre – Tickets
11/4 – Los Angeles – Montalban Theatre – Tickets
11/5 – San Francisco – City Arts & Lectures at Nourse Theater – Tickets
11/30 – London – EartH – Tickets

Tickets are on sale to the public beginning Friday, September 28 at 10am local.

* Town Hall tickets are on sale 12 noon local time.

Written by Adrock and Mike D, with contributions from Amy Poehler, Colson Whitehead, Spike Jonze, Wes Anderson, Luc Sante, and more, Beastie Boys Book is a panoramic experience that tells the story of Beastie Boys for the first time in the band members’ own words. Adam “Adrock” Horovitz and Michael “Mike D” Diamond offer revealing and very funny accounts of their transition from teenage punks to budding rappers; their early collaboration with Russell Simmons and Rick Rubin; the debut album that became the first hip hop record ever to hit #1, Licensed to Ill—and the album’s messy fallout as the band broke with Def Jam; their move to Los Angeles and rebirth with the genre-defying masterpiece Paul’s Boutique; their evolution as musicians and social activists over the course of the classic albums Check Your Head, Ill Communication, and Hello Nasty and the Tibetan Freedom Concert benefits conceived by the late Adam “MCA” Yauch and more.

With a style as distinctive and eclectic as a Beastie Boys album, Beastie Boys Book is so much more than a musicians’ memoir. Alongside Horovitz and Diamond’s personal recollections are an overwhelming assortment of rare photos and original illustrations, a cookbook by chef Roy Choi, a graphic novel, a map of Beastie Boys’ New York, mixtape playlists, and many more surprises.

Announcing Spotlight on Poland and Eastern Europe at CMW 2020

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The 2020 ‘Spotlight on Poland’ marks the first-ever official music mission from Poland to CMW, and the first-ever official music mission from Canada to Poland.

As part of their outreach to Poland, CMW has organized an outbound mission from Canada to participate at the POLAND 2018 MUSIC EXPORT CONFERENCE in Warsaw, Poland (October 11-12, 2018) presented by The Ministry of Culture and National Heritage for the Republic of Poland.

The two-day conference is under the umbrella of Poland’s event, ‘Creativity Days’.

The mission participants will present panels on the Canadian Music Industry, to delve into the various support systems and how key industry organizations work together with government.

The Poland market is very interested in best practices and building their domestic industry and increase their ability to develop music exports.

More details on the process and the conference programming will follow. Check out the 2017 event for more information here.

Celine Dion will end her current residency at Caesars Palace, Las Vegas in June, 2019

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Celine Dion has announced that her current residency at Caesars Palace, Las Vegas will end on June 8, 2019.

“I definitely have mixed emotions about this final run. Las Vegas has become my home and performing at the Colosseum at Caesars Palace has been a big part of my life for the past two decades. It’s been an amazing experience and I’m so grateful to all the fans who have come to see us throughout the years. Every show we do at the Colosseum throughout this fall, and right up until the final one, will feel very special.”

An exclusive Team Celine pre-sale for the final shows (February 26 to June 8) will start on Tuesday, September 25 at 10 a.m. PT, before the public on-sale date of Friday, September 28 at 10 a.m. PT.