Day in Rock Report for 09/07/2017
Today's Day in Rock Stories
Timberlake had stopped by the studio to hear some of the new music the Foo Fighters were making, and he and Grohl struck up a fast friendship. "We'd drink whiskey in the parking lot," Grohl explained.
"He was really, really cool. Then the night before his last day, he says, 'Can I sing on your record? I don't want to push it, but - I just want to be able to tell my friends.'
"He nailed it," Grohl added. "I'm telling you - the guy's going somewhere." Read morehere.
The official lead single from the group's 14th studio album is the third tune previewed from the package: U2 previously debuted "The Little Things That Give You Away" during an appearance on ABC-TV's Jimmy Kimmel Live in May and issued a live performance video last week for "The Blackout."
"Songs Of Experience" is the companion release to 2014's "Songs Of Innocence"; the two titles draw inspiration from a collection of poems, "Songs of Innocence and Experience", by the 18th century English mystic and poet William Blake.
"Songs Of Experience" will be available on CD, vinyl and digital download, with the release date and pre-order details to be announced soon. Check out the new songhere.
The fundraiser will take place on Sunday, September 24, at UVA's Scott Stadium in Charlottesville. The lineup includes Pharrell Williams, Justin Timberlake, Chris Stapleton, Ariana Grande, Brittany Howard of Alabama Shakes, The Roots, Cage the Elephant and others.
Money raised will benefit victims of the events in Charlottesville on August 11 and 12, and their families, first responders, and organizations devoted to the promotion of healing, unity and justice locally and nationwide. Read morehere.
Five years later, a judge has decided to stay the pending charges because bringing those parties to trial had taken too long--violating defendants' rights to a speedy trial. The staying of the case means the charges are not currently moving forward.
"This case was a complex case that required more time than other cases in the system," Judge Ann Nelson ruled, according to CBC news. "After allowing for all of the exceptional circumstances that were in play, this case still will have taken too long to complete."
Canadian artist Caribou tweeted: "(As someone who was standing behind this stage when it collapsed and would have been on it an hour later…) This is complete bulls—."
Radiohead's Thom Yorke seemed to concur with Caribou's perspective, retweeting his message and adding "words utterly fail me…" Read morehere.
By 1981, Rush had built a fiercely loyal fan base through eight albums, only one of which did not sell more than its predecessor, and road-dog touring, all the while honing their chops, their arrangements and lyrical themes into a laser-tight focus. The result, Rush's worldwide blockbuster Moving Pictures.
So what did the band do for the follow-up, when all of their hard work paid off? Rush changed. The album, 1982's Signals. Because the album also contained the Top Ten hit "New World Man" and sold over a million copies in its first two months, there is tendency to assume that Signals was easily embraced by all of the Rush faithful. It wasn't. With back-to-back million sellers Permanent Waves in 1980 and then the massive Moving Pictures, Rush risked their new-found fame and fortune with Signals, expanding their sound with new instrumentation and additional layers of sound on songs "Subdivisions", "The Analog Kid", "Chemistry" and "The Weapon".
But if Rush had not challenged themselves and their fans by continuing to innovate and explore all four corners of the studio on Signals , would there even be a Rush in the 21st century? Geddy Lee, Alex Lifeson and Neil Peart all weigh in for this classic rock interview. Neil Peart shares some clues with
In The Studio producer and host Redbeard. "We were all looking for a new place for the guitar and Alex was looking for a new way to play it and present it. So Signals is very experimental for us." Stream the episode
"I feel very uncomfortable heading off out and doing another tour without having made new music," Gilmour said in a new promotional video for his Live at Pompeii release. "There are several songs which are close to being complete, which didn't make it onto this album. I can't see myself doing another tour without making another album first."
"That takes me a while. It took 10 years last time," he conceded. "I'm really hoping that, without making any promises, it won't take ten years this time, that I will get back in and start working again. Following that, yeah, I'll be out again." Read morehere.
"I think [it's about] being lost and then finding hope," singer Kellin Quinn told Alternative Press regarding the new album. "It's a dark record. It sounds dark, but there's a hopefulness in everything. That's always something I've tried to do as a vocalist. When I write about a sad topic, I always want there to be a light at the end of the tunnel."
"I think we're a completely different band as opposed to the last time you saw us," added guitarist Jack Fowler. "If you see us on this record [cycle], you're gonna have the best night of your life and the best show [from] our band. It's gonna make you dance, it's gonna make you cry."
Gossip is due for release on Sept. 22. Check out "Trouble"here.
Part of the band's ongoing "From The Vault" series, the package presents the group performing their legendary 1971 album in its entirety - for the first and only time - at The Fonda Theatre in Los Angeles on May 20, 2015.
The rare theater event was a warm-up show just days before the Stones launched their Zip Code tour of North America, and the release of an expanded reissue of the classic 1971 set.
The intimate setting of the 1,200 capacity Fonda Theatre was in contrast to the huge stadiums in which the band would perform for the rest of the tour
Launched with the lead single, "Brown Sugar", "Sticky Fingers" debuted at No. 1 and enjoyed a four-week stay atop the Billboard 200 on its way to US sales of more than 3 million copies.
"It is quite a mature album in its way," says Keith Richards in the new trailer. "Sticky Fingers: Live At The Fonda Theatre 2015" will be available on DVD, Blu-ray, DVD+CD, DVD+3LP and digital formats.
The DVD & Blu-ray include interviews with band members and Bonus Features that deliver songs cut from the concert film, including "All Down The Line," "When The Whip Comes Down" and "I Can't Turn You Loose", while the CD and 3LP feature the full show as performed on the night. Watch the trailerhere.
The project sees The Who guitarist create a new orchestral version of the band's 1973 concept album based around lead character Jimmy's search for an identity amongst the mods and rockers in mid-60s Brighton.
Boe, Billy Idol and a full symphony orchestra and chorus will join Townshend for the five-show run, while Pearl Jam's Eddie Vedder will make a guest appearance during the Chicago, IL stop on September 13
"I'm thrilled to be bringing Classic Quadrophenia stateside through the month of September," says Townshend. "Melding the contrasting sounds of Quadrophenia with a symphony has been a really unique and powerful way to reach a wide audience of classical and pop music lovers alike. I couldn't be more excited to see it continue in the U.S."
Townshend released Classic Quadrophenia on CD in 2015 in sync with its premiere at London's Royal Albert Hall, where he was joined by Boe alongside The Royal Philharmonic Orchestra conducted Zeigler and the London Oriana Choir; the performance was later issued on CD and DVD. Read more and watch the video for "Love Reign O'er Me"here.
Colors is set for release on October 13, and from all indications will be a spirited, freewheeling affair, and a far cry from his somber, Grammy-winning Morning Phase full-length from 2014.
The song was originally released in 2016 as part of the FIFA '17 soundtrack, but Beck has produced a new version for inclusion on Colors. The track arrives via a cool new music video, check it outhere.
Proceeds from the comp will be donated to ASPCA to help dogs affected by Hurricane Harvey. The release follows Hoppus' recent appeal that fans send clothing to Texans in need following Hurricane Harvey.
Listen to an online stream of Hoppus' explicit new track and see the post on donating clothinghere.
He co-wrote the airy, acoustic tune with singer/songwriter Becca Stevens. Both artists pulled from their time on the road for inspiration.
"We both spend a lot of time on the road," Crosby told Billboard, "and when you're on the road, after the second or third week you don't know where you are. You're out there somewhere, and all the cities look roughly the same, and you lose track. I know it sounds funny, but it happens to us road musicians all the time, and that leads to a kind of disorientation. There's no instruction book for this, you know?" Check out Crosby's latesthere.
The 10-song, 30-minute Tuesday afternoon set was delivered live from backstage at the MidFlorida Credit Union Amphitheatre in Tampa, where the group were performing later the same night.
Green Day mostly played rare tracks not regularly featured in their 2017 tour setlist, including "Only You" from their 1989 debut EP "1,000 Hours", "Paper Lanterns" from 1990's "Slappy" EP, "Christie Road" and "One Of My Lies" from 1991's "Kerplunk!", "J.A.R. (Jason Andrew Relva)" from the 2001 compilation "International Superhits!", and "Coming Clean" from 1994's "Dookie", which made its first appearance since 2013.
"Thanks to everyone who watched our Facebook live performance earlier to support Americares," said the band. "The money raised will go towards the relief of those affected by Hurricane Harvey."
According to Billboard, Green Day pledged $100,000 to the health-focused relief group's efforts.
"Americares is truly grateful to have Green Day's support," says Americares President and CEO Michael J. Nyenhuis. "Their generosity and dedication means so much to us, as we restore health and hope for those affected by Hurricane Harvey." Read more and watch the showhere.
"SMR GRLZ" was an interesting one. It was written so strangely and recorded about three different times before I got it right. I lived in San Diego when I wrote the line "I wanna feel your heart beat faster" but I didn't really know what to do with it. I sat on it for like a few years just in the back of my mind. I knew the line was special, but I had no idea where it would be placed, or even the melody exactly. It reminded me of driving on the west coast highway.
Fast forward a couple of years and I had started with this little silly riff on guitar. I just started building it, and it honestly came completely together over the course of a few days. I still have the voice memos from my phone.
It was missing a prechorus, and I just randomly remembered this line from years ago that I never even wrote down. It worked PERFECTLY, and added a weight and emotion that hadn't been as present prior. It honestly changed the whole context of the song to me.
I recorded it originally over a couple days in my home studio at my apartment, and it even had a guest spot by my friend Katelyn Turner. It was really fun but I wasn't nearly as good at recording and stuff as I am now, so i released it, but it wasn't very good. It wasn't radio quality.
I recorded a version in Nashville. The producer kinda dropped the ball and just left it… unfinished. It was really kind of weird. It really bummed me out; as an artist you develop an emotional bond with your work. They become this thing that's not just in your hand. Other people can hear it! It's very strange. It's like watching your child fail in life and you can do nothing about it. It really got me down.
So a couple months later I hit up the intern that was working under that producer. His name is Marshall Bastin, and he is BEAST. He is an amazing engineer. He is really young, and he is so intelligent and well rounded. He really got what I was trying to do.
We worked really hard on it. During the editing process we seriously edited for like 3 weeks, trying different things and making everything PERFECT. That Starbucks probably got so sick of our faces. We drank so much coffee. I remember hearing the rough cut after we wrapped the vocals, I remember crying. Hearing this real thing that I had such huge dreams of finally coming out of speakers was just a huge moment for me.
The opening synth was like a last minute addition. I'm talking I added it AFTER it was sent to mixing. I sent it to Matt (Qualls, mixing engineer) heard it was stoked on it.
It's crazy to reference those voice memos to what it became and it was just so wild!
Hearing is believing. Now that you know the story behind the song, listen for yourself here and learn more about Frenchieright here!