The Rolling Stones Olé Olé Olé!: A Trip Across Latin America will have its world premiere at this year’s Toronto International Film Festival, which runs from September 8 – 18.
Directed by Paul Dugdale, the film follows the band’s recent América Latina Olé tour, which culminated with a historic free gig in Havana, Cuba. This was the first time the band had played in Cuba so there were a few logistical issues to sort through. In the end, the band played a triumphant show to 1.2 million adoring fans.
Jack White has announced the release of JACK WHITE ACOUSTIC RECORDINGS 1998-2016, the 26-track double-LP and double-CD released physically and digitally worldwide on September 9th. Featuring alternate versions, mixes and previously unreleased recordings from The White Stripes, The Raconteurs and solo material all completely remastered, this is the essential Jack White songwriting collection. Find out more and preview the record below.
JACK WHITE ACOUSTIC RECORDINGS 1998-2016 is available for pre-order physically and digitally now. All digital pre-orders will receive an instant grat download of the spellbinding previously unreleased White Stripes track “City Lights” starting Friday, August 12th.
“City Lights” was written for The White Stripes’ GET BEHIND ME SATAN but then forgotten until White revisited the 2005 album for Third Man’s Record Store Day 2015 vinyl reissue and finished the recording in 2016. The track is the first new, worldwide commercially released White Stripes song since 2008.
“This, like (Son House’s) ‘Grinnin’ In Your Face,’ is mirror-music,” writes renowned music journalist Greil Marcus of “City Lights” in the album’s exclusive liner notes, “the singer talking to himself, trying to tell himself the truth, which he’s going to need if he’s going to step out of his door, walk into the world, and fool himself, for just a second, that he’s ready to take it on. As you listen, it’s no surprise at all that it took most of White’s music-making life to bring the song home.”
JACK WHITE ACOUSTIC RECORDINGS 1998-2016 collects 26 acoustic songs from throughout White’s wide-ranging musical career, spanning album tracks, B-sides, remixes, alternate versions, and previously unreleased tracks. The album, arranged in chronological order, includes acoustic songs made famous by The White Stripes, beginning with “Sugar Never Tasted So Good” (originally found on The White Stripes’ second-ever 7-inch single) and then lighting upon favorites like “Apple Blossom” and “I’m Bound To Pack It Up” (remixed here from the original recordings on 2000’s DE STIJL), “Hotel Yorba” and “We’re Going To Be Friends” (from 2001’s WHITE BLOOD CELLS), “You’ve Got Her In Your Pocket” and “Well It’s True That We Love One Another” (from 2003’s GRAMMY® Award-winning ELEPHANT), “Forever For Her (Is Over For Me),” “White Moon” and “As Ugly As I Seem” (from 2005’s GET BEHIND ME SATAN) “Effect & Cause” (from 2007’s ICKY THUMP), and the Beck-produced “Honey, We Can’t Afford To Look This Cheap,” first found on the B-side to The White Stripes’ final single, 2007’s “Conquest.”
Also featured are “Never Far Away” (recorded for 2003’s COLD MOUNTAIN: MUSIC FROM THE MIRAMAX MOTION PICTURE) and “Love Is The Truth” (written and recorded for Coca-Cola’s 2006 What Goes Around campaign) as well as the Bluegrass Version of “Top Yourself” and an acoustic mix of the epic murder ballad, “Carolina Drama,” both written by White and Brendan Benson for The Raconteurs’ GRAMMY® Award-winning 2008 album, CONSOLERS OF THE LONELY. White’s two chart-topping solo albums, 2012’s BLUNDERBUSS and 2014’s LAZARETTO, are represented by a remarkably diverse range of material including “Love Interruption,” “On And On And On,” “Blunderbuss,” “Entitlement,” “Want And Able,” and alternative mixes of “Hip (Eponymous) Poor Boy,” “Just One Drink,” “I Guess I Should Go To Sleep,” and B-side, “Machine Gun Silhouette.”
The 26 tracks featured on JACK WHITE ACOUSTIC RECORDINGS 1998-2016 were remastered earlier this year by Andrew Mendelson at Nashville, TN’s Georgetown Masters. All songs were written and produced exclusively by Jack White, except “Never Far Away” (produced by T Bone Burnett), “Honey, We Can’t Afford To Look This Cheap” (produced by Beck), “Top Yourself (Bluegrass Version)” and “Carolina Drama” (written & produced by White & Brendan Benson), and “Machine Gun Silhouette” (written by White & Rob Jones). The complete track listing is below.
SIDE A
Sugar Never Tasted So Good
Apple Blossom (Remixed)
I’m Bound To Pack It Up (Remixed)
Hotel Yorba
We’re Going To Be Friends
You’ve Got Her In Your Pocket
Well It’s True That We Love One Another
Never Far Away
SIDE B
Forever For Her (Is Over For Me)
White Moon
As Ugly As I Seem
City Lights (Previously Unreleased White Stripes Track)
Honey, We Can’t Afford To Look This Cheap
Effect & Cause
SIDE C
Love Is The Truth (Acoustic Mix)
Top Yourself (Bluegrass Version)
Carolina Drama (Acoustic Mix)
Love Interruption
On And On And On
Machine Gun Silhouette (Acoustic Mix)
SIDE D
Blunderbuss
Hip (Eponymous) Poor Boy (Alternate Mix)
I Guess I Should Go To Sleep (Alternate Mix)
Just One Drink (Acoustic Mix)
Entitlement
Want And Able
SiriusXM Canada has made a majority vote in favor of receiving solely cash consideration in the pending recapitalization of the company—essentially, approving its efforts to go private. Its parent company announced Thursday that large shareholders Slaight Communications and Canadian Broadcasting Corp. are giving the pact a thumbs-up at an upcoming special shareholders meeting.
Slaight and CBC collectively own 22.5% of SiriusXM Canada’s outstanding shares.
The Canadian company said Thursday that as a result of the cash election, the total transaction consideration that may be paid, with the approval of shareholders, will increase to about 74% from about 50%. This would represent a current value of approximately C$4.83 per Class A Share, based on Wednesday’s closing, if all remaining shareholders elect the maximum SIRI share consideration—approximately 74% in SIRI share consideration and approximately 26% in cash consideration.
Nike celebrates the strength of unity and power of team with “Unlimited Together,” a moving film featuring original lyrics from Chicago-born artist Chance the Rapper.
The JUNO Awards and Slaight Music today announced the Top 10 artists that will advance to the final round of judging, as well as the 2017 Super Jury for theAllan Slaight JUNO Master Class, Canada’s premier artist development program.
The Allan Slaight JUNO Master Class is an initiative that provides the crucial tools to help the three winners develop their careers, build their own sustainable business and become ‘JUNO ready’. The ‘Master Class’ includes a week-long customized artist development program co-developed with Canada’s Music Incubator at Coalition Music. This development program provides hands-on mentoring, networking and collaboration opportunities.
The Top 10 artists advancing to the next round of judging include:
From the Top 10, a Super Jury made up of JUNO alumni will select three winners. Announced in September, these three artists will receive support to help them take their careers to the next level. You can check out the full prizing list here.
Canadian music industry heavyweights, including representatives from major and independent music labels, publishers, agents, managers and media partners narrowed down the submissions to the Top 10 artists. The program serves as a bridge between the two key pillars of CARAS; music education through MusiCounts and the celebration and promotion of music excellence through The JUNO Awards.
The final three winners will be determined by the 2017 Super Jury, which includes Lights, Kardinal Offishall,Max Kerman (of the Arkells), Gavin Brown (JUNO Award winning producer), Ali Slaight (Talent Development Coordinator at Slaight Music) and Allan Reid (President & CEO, CARAS/The JUNO Awards & MusiCounts).
Last year’s winners include Vancouver-based indie-rock group Derrival, Newfoundland’s pop-folk duo Fortunate Ones, as well as Winnipeg’s Slow Leaves.
Partners of the 2017 Allan Slaight JUNO Master Class are Slaight Music, Canada’s Music Incubator at Coalition Music, MuchFACT, hmv Canada, Manitoba Film and Music and the Canadian Federation of Musicians (CFM).
CMRRA announced they have finalized a licensing agreement with YouTube for Canada. This marks the first major agreement for reproduction rights between YouTube and CMRRA in the Canadian territory. This is a major step forward for Canada and completely changes the landscape for rights administration in this country.
CMRRA is licensing the copies of audiovisual content made by YouTube in the course of delivering that content to users. This activity is similar to CMRRA’s Broadcast Mechanical licensing: each time audiovisual content is reproduced by YouTube or their users, so too is the music contained in that content. This type of licensing is an opportunity for an entirely new revenue stream for clients of CMRRA.
CMRRA will be collecting royalties on YouTube advertising revenue on their existing platform, as well as on subscription revenues on any subscription services they bring to Canada (including YouTube Red). The agreement also covers YouTube’s Electronic Sell Through (EST) and Transactional Video-On-Demand (TVOD) services.
CMRRA’s licensing agreement with YouTube is the first major step in our new audiovisual licensing activities, which CMRRA recently launched with a series of new tariff filings. CMRRA’s new tariffs shall apply to services that offer streams and downloads of music videos and all other audiovisual content, as well as to traditional broadcasters for audiovisual broadcasting and video-on-demand. CMRRA will use these tariffs, as well as privately negotiated agreements like this one with YouTube, to license the reproduction of musical works in our repertoire for the Canadian territory.
The song “American Woman” by The Guess Who wasn’t ever supposed to happen. It wasn’t planned, staged or pre-meditated. Yet you all know the iconic riff. Sometimes all it takes for a hit song to form is an accident, a bit of luck and a whole lot of inspiration. For Randy Bachman and The Guess Who, that’s exactly what happened.
When Dire Straits released their Brothers In Arms in 1985, it was one of the first albums to be directed at the CD market, and was a full digital recording at a time when most popular music was recorded on analog equipment. Leader Mark Knopfler had a keen interest in technology as a means of improving his music, and it paid off, with the classic selling upwards of 30 million albums to date. Music and high-quality sound has never looked back.
I’ve been music fan all my life, and while I’ve seen thousands of concerts, I’ve been living my music doc binge #LifeIn4K for the past few months enjoying Samsung’s 4K SUHD TV and the Rogers NextBox delivering stunningly vivid, authentic images and superior sound like you’ve never seen – or heard — before, just like what it must have felt over 30 years ago when the strains of “So Far Away” kicked off Brothers In Arms.
And as much as the CD transformed the album experience to the early-adopter music fan, really great music docs and series are best enjoyed in fully immersive 4K. Skip the traffic this week and stay in tonight for the best music series and documentaries on TV.
Created by Mick Jagger and Martin Scorsese and Rich Cohen and Terence Winter, Vinyl is set in 1970s New York. A ride through the sex- and drug-addled music business at the dawn of punk, disco, and hip-hop, the show is seen through the eyes of a record label president, Richie Finestra, played by Bobby Cannavale, who is trying to save his company and his soul without destroying everyone in his path. For Jagger and Scorsese, two of the greatest in their respective fields, and who both consistently are in search for inspiration, this series is a goldmine of stories and action rarely seen in television when it comes to the music industry. Forget the naysayers online, and remind yourself that Jagger and Scorsese have rarely put their foot wrong. This is an exuberant study of pop culture and society.
Located on the banks of the Tennessee River, Muscle Shoals, Alabama is the unlikely breeding ground for some of the most creative and defiant music in American history. The music of Muscle Shoals is some of the most important and resonant of all time. “I’ll Take You There,” “Brown Sugar,” “When a Man Loves a Woman,” “I Never Loved a Man the Way That I Loved You,” “Mustang Sally,” “Tell Mama,” “Kodachrome,” and “Freebird” are just a few of the tens of thousands of tracks created there. At its heart is Rick Hall, who founded FAME Studios. A musician himself, who overcame crushing poverty and staggering tragedies, Hall brought black and white musicians together — including during times when the state’s governor wanted “segregation now, segregation tomorrow, segregation forever” — to create music that would last for generations while also giving birth to the unique Muscle Shoals sound. Freddy Camalier’s film provides drama and beauty, allowing legendary artists including Aretha Franklin, Duane’s brother Gregg Allman, Bono, Clarence Carter, Jimmy Cliff, Mick Jagger, Alicia Keys, Keith Richards, Percy Sledge, Steve Winwood to move with freedom to tell their stories, mixed with archival interviews with the late Wilson Pickett and Etta James, all who bear witness to the magnetism and mystery of Muscle Shoals and why it remains a global influence today.
One for the feels. Glen Campbell’s I’ll Be Me takes you inside country star’s Alzheimer’s diagnosis, final tour and farewell to fans. Simultaneously heart-warming and heart-wrenching, the parts that are hard to watch are balanced with performance footage, interviews and most importantly, Campbell’s charisma and courage. Rotten Tomatoes reports that the film has received a 100% “Fresh” rating, with 30 positive reviews and no negative ones, and the soundtrack won a Grammy for “Best Compilation Soundtrack for Visual Media” this year.
https://youtu.be/bGnG3Wh11kY
How much Tom Petty is too much? How can you even ask that question? Don’t let the length (4 hours!) of this movie turn you off — instead, clear off the schedule, and you’ll be looking online for his closest tour date to you by the time it’s done. Even if you own his pre-fame Mudcrunch releases, you’ll find something new in his visually-killer doc.
Hear My Train A Comin’, directed by Bob Smeaton, unveils previously unseen performance footage and home movies taken by Hendrix and drummer Mitch Mitchell while sourcing an extensive archive of photographs, drawings, family letters and more to provide new insight into the musician’s personality and genius. The film uses Hendrix’s own words to tell his story, illustrated through archival interviews and illuminated with commentary from family, well-known friends and musicians including Paul McCartney, band members Noel Redding, Mitch Mitchell, Billy Cox, long-time sound engineer Eddie Kramer; Steve Winwood, Vernon Reid, Billy Gibbons, Dweezil Zappa and Dave Mason. Hendrix had only four years of mainstream exposure and recognition, but his influential music and riveting stage presence left an enduring legacy. The payoff? poignant footage from his final performance in Germany in September 1970, just 12 days before his death at age 27.
I remember hearing stories about my grandparents getting their first television set, and not everyone in the neighbourhood having one. Today, its unusual to be in someone’s house without a TV in every room. My grandparents would never have believed that one day I could sit in my living room and spend hours searching hundreds of channels. It wasn’t that long ago when I rushed home on a Thursday night to watch “Friends,” knowing if I missed it, I would have to wait almost an entire year to catch it in a rerun. Now, we can watch anything we want, whenever we want, and all of this is to say nothing about the quality of the picture and sound on the 4K TV and Rogers NextBox I now have in our home. Like music and Dire Straits all those years ago, home entertainment is always continuing to take sound and vision to the next level. Right now, that next level is 4K. We’ve had our 4K television since the spring and have enjoyed everything from the Blue Jays chasing first place to House of Cards and Breaking Bad.
Spotify has released the first of original videos to help go head-to-head with Apple Music and YouTube. The three-minute clips produced in partnership with new media company ATTN are called “Deconstructed” and features animated shorts about national anthems, LGBT rappers, and artists. The first episode about the birth of house music will premier today in the Videos & Podcasts tab of Spotify’s app, with more coming later. Here it is:
