B Sides for 09/03/2014
The band have been nominated for induction twice in 2013 and 2014, but have yet to make it in, but Glover says he isn't bothered. He tells radio show Noize In The Attic: "We're kind of ambivalent about The Hall Of Fame - we don't care about it that much. If they do induct us, then they're at least 20 years too late as far as I'm concerned. "They should have done it when Jon Lord was still alive when it probably would have had a bit more meaning. But if we do get in, and decide to accept it, which is up in the air, we might just say, 'Forget it.'" More here.
"It's not as much as people would think, but we've been offered money to do it. I think us not doing it kind of says that it's not about the money," He tells Classic Rock Revisited. "I'm not patting myself on the back, but with our past success, I have plenty of money. I am more about being happy at what I do." Earlier this year, Bach compared his relationship with Bolan to that of Mick Jagger and Keith Richards and accused his former band members of being "allergic to cash" at their refusal to reunite. See what Bolan had to say here.
The band's fifth studio outing launched last month - but while the frontman says the split shaped much of the material, he doesn't see it as a breakup album. Fallon tells Canoe: "It's what happened during that period, and a lot of the stuff in there is about that. A lot of it is my frustration and my struggle. But I'll tell you one thing: it's not Bob Dylan's Blood On The Tracks, that's for sure - but I'm developing my opinions as I go." He insists playing the songs from Get Hurt live won't trigger any emotional response from that period of his life. Read what he had to say about that here.
He tells MyGlobalMind.com: "It's been so long, it's a part of me now - I think it's part of all of us. It's not so much what's great about being in the band, but more of being terrified of it stopping. It's like a drug. "Everybody is just as excited as we were 30 years ago. I look back on my career with a great sense of gratitude. It's a privilege to be able to do something you love for all these years and make a living at it. I'm a very lucky person." More with Hill here.
The project, dubbed Lost on the River: The New Basement Tapes - which will culminate with a studio album and a Showtime documentary about the making of the album - doesn't arrive until later this year, but today brings the second taste of it. After sharing "Nothing to It," the collective, also including Dawes' Taylor Goldsmith, Carolina Chocolate Drops' Rhiannon Giddens and producer T-Bone Burnett, have released "Married to My Hack." The Costello-led track comes with a grainy, vintage-looking cartoon lyric video. The almost two-minute track is a reflection on and praise of marriage, accompanied by bluesy guitar riffs. Check it out here.
It's set for release on September 29 via Frontiers Records. Frontman Paul Gilbert says of the work: "It rocks. After 25 years I'm proud we can make an album that's melodic, powerful, interesting, groovy and emotional." The band play Koko in London on October 17 as the first date of their European tour. Drummer Matt Starr has been named as replacement for original man Pat Torpey, who's had to step back as a result of Parkinson's disease. Listen to the new song here.
Partnering with IBM, Murphy will be creating an algorithm that translates between music and the information contained in the variety of potential match situations. Serves, points and faults become notes - Murphy plays the role of interface. Soon you will be able to hear this music stream alongside the matches in real time; for now, go on the US Open website and listen to music Murphy created from old matches. Watch a video in which Murphy explains just how he came up with the algorithm, and how he learned to work with code here.
Bassist-vocalist Daev tells Prog: "This scene is the climax of the the movie - also known to ardent cinemagoers as 'The End.' So if you haven't seen this film before perhaps you would like to close your eyes and simply listen to our balls-out score. It's a rather emotional, fast-paced and violent finale, and we attempted to reflect that with electric guitars, drums, sax, violins and synthesisers. We hope you find yourself feeling as fearful as Christine, as relieved as Raoul and as demented as The Phantom." He adds: "The film was re-scored by none other than Rick Wakeman in 1990. That was by no means our inspiration - merely a coincidence. Great minds think alike!" Watch the video here.
The band have played alongside Orange Goblin, Kadaver, Orchid and others, delivering a sound described as merging "doom, punk and horror into one ghostly soundtrack." It's been compared to Black Sabbath, Sleep, Electric Wizard, Uncle Acid And The Deadbeats and others. Guitarist and vocalist Ian Graham says: "Writing dark, ominous music is how I deal with life. When we play live it's like expelling demons." Check out the song here.
"Midnight" came to life a few years ago in late fall, while I was staying at the Ace Hotel in NYC. I'd just checked into my room (room 1011 to be exact). I put my bags down and made a call to a good friend who lived in NYC. I remember for no reason that I could pinpoint, the conversation was tense at 'Hello.' I kept trying to clear the air but, my friend wouldn't bite. It was out of character for them. It was confusing for me. I'd driven into the city from Philly. It was late. I was exhausted and feeling impatient about the direction our talk was taking. The conversation was not going well. We ended the call with them saying words that really stung. I'd been pacing around the room while talking on the phone, but I had not been conscious of doing so. When the call ended I'd landed in the entrance of the doorway to the bathroom directly across from the mirror. My eyes fell onto a decal. It read, "Love is meant to make us glad." This decal by the way is on every bathroom mirror at The Ace. It was a miserable moment. I thought I'd lost one of my best friends. Then, as it mostly always happens, I heard lyrics and melody in my head at the same time. I stared at the decal, and sang the opening chorus and first and second verses of "Midnight". It was my way of processing that experience. The irony of moments like this is never lost on me. When something vivid and light rises out of ashes unexpectedly, I am always stunned. The visual was, me in a dark room except for the bathroom light, then me in the bathroom doorway as the words and melody to "Midnight" bounced off tile and tub. It was raw, but it had a lot of musicality. The chorus and verses were colorful, intentional, soulful, and whimsical. In juxtaposition, I was entirely gray. I was still holding my phone. I dialed my number, recorded the song into my voicemail and put it to sleep. Back in Philly several months later, I would sit and produce the song with MIDI keyboard, starting with the string arrangement, preliminary keys, lead and back up vocals. Singer-songwriter Naeemah Z. Maddox was also added into the back up vocal mix. My tracking engineer set a place holder with a basic electronic drum track and electronic bass track that would later be removed for live instruments and lush offerings, courtesy of a handful of elite Philly musicians including guitarist/producer Jake Morelli. Together, Jake and I flipped the song on it's side a couple few times, stripping it down, building it back up over the course of a year and hammering out what would become the final production. Oh, there's a happy ending. My good friend and I resolved our difference of opinion. Hearing is believing. Now that you know the story behind the song, listen for yourself here and learn more about Donn T right here!
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