Yeah I have, it is up there with some of his best work...Grateful Dead and Dylan get a mention....

Loved Ramada Inn and Driftin' Back, just classic Crazy Horse jamming and Neil tearing shit up

Upcoming Paul McCartney Tribute Album to Feature Dylan, Daltrey, Billy Joel, Brian Wilson & More

A new Paul McCartney tribute album reportedly will be released in the coming months featuring an awe-inspiring list of famous artists playing the ex-Beatles star's compositions accompanied by the members of Sir Paul's own backing band. According to the Arctic Poppy Music website, The Art of McCartney will be a double album that will include recordings from Bob Dylan, Brian Wilson, Billy Joel, The Who's Roger Daltrey, Steve Miller Band, Electric Light Orchestra frontman Jeff Lynne, The Bee Gees' Barry Gibb, Willie Nelson and many others.

While no exact track list has been revealed, the songs that will be featured on the album include renditions of The Beatles' "Let It Be," "When I'm 64," "Yesterday," "Drive My Car," "All My Loving," "Things We Said Today, "The Long and Winding Road," "Hello Goodbye," "PS I Love You" and "Hey Jude," as well as versions of such solo McCartney tunes as "Live and Let Die," "Let Me Roll It," "Listen to What the Man Said" and "Every Night." A box set and collector's edition of The Art of McCartney is expected to be released during the summer, while a standard version of the album is due out in the fall.

Copyright 2014 ABC News Radio


Read On ABC News Radio: http://abcnewsradioonline.com/music-news/2014/4/8/upcoming-paul-mccartney-tribute-album-to-feature-dylan-daltr.html#ixzz2ynJuxKYv

The Who May Release New Music For 50th Anniversary

4/20/2014 11:05 AM ET



Pete Townshend has revealed that he's hoping to release some new material to celebrate the Who's 50th anniversary. He broke the news during a recent interview with Billboard, saying that he plans to dig through their archive to find anything that they may have missed in the past.

"I'm trying to [look] through my 20,000 hours of complete and utter disorganised music . . . I'll be pulling some songs out of Floss to give to Roger [Daltrey] to see if we've got enough to make an album. It might be a big waste of time, but I'm hoping there will be an album," he explained.

He also discussed the new track he recently penned for the television show The Americans:

"I wanted to keep it very simple. Here's this couple whose whole life is about duty, duty without honor, duty without explanation. There are no accolades. They're not living a lie but doing things they find hard to do. Everybody has a part of their life that's difficult to explain. For me it's why the f*ck am I in the Who?"

by RTT Staff Writer
http://www.rttnews.com/story.aspx?Id=2303916

Peter Gabriel on Genesis reunion: "I never say never"

By Justin Harp
Saturday, Apr 19 2014, 00:15 BST

Peter Gabriel has said that he will never rule out reuniting with Genesis.

The singer-songwriter was an early member of the rock band Genesis with Tony Banks, Mike Rutherford and Phil Collins.

Gabriel left the group in 1975 for a solo career, but he recently told Rolling Stone that he is not opposed to a reformation under the right circumstances.

"I never say never," he stressed. "It really didn't happen last time [that Genesis reformed in 2007]. I think there's a small chance, but I don't think it's very high."

Gabriel also spoke about his induction as a solo artist into the Rock and Roll Hall of Fame this year.

"I'm very relieved," he quipped, adding: "I was very happy to be first on so I could relax and have a glass of wine and enjoy the evening."

The singer went on to say: "Getting awards is nature's way of saying you're getting old, so you can get a little more reflective.

"There are very few good things about getting old except you care less about what people think."

Gabriel is currently working on a new studio album.

http://www.digitalspy.co.uk/music/news/a565607/peter-gabriel-on-genesis-reunion-i-never-say-never.html#~oC0uBLOBT3wCkk

The Grateful Dead and Bob Weir's long strange trip


By Doug Ganley, CNN

updated 11:08 AM EDT, Fri April 25, 2014

STORY HIGHLIGHTS
A documentary about Grateful Dead guitarist Bob Weir premiered this week
The director says even super fans will learn things about the band in the film
A Grateful Dead reunion may be in the works

(CNN) -- "The Deadheads had it wrong," says director Mike Fleiss.

And to rub it in, he says it while standing next to Bob Weir, the Grateful Dead's co-founder, at the Tribeca Film Festival premiere of "The Other One: The Long Strange Trip of Bob Weir."

Fleiss' new documentary about Weir's life follows the legendary guitarist from his troubled youth to today. And while Weir says the movie means he's now "off the hook" in terms of ever writing a memoir, he's still not very comfortable talking about himself and the way he's seen by fans.

Weir says in the film he doesn't "trust pride" and tells people he's more interested in looking forward than back, although he admits at his age "there's always something to remind you of your past."

For Weir, when it comes to looking back at all of the concerts and experiences he had, what he misses most now are the moments the band spent together offstage.

"I kind of miss the laughs, the yucks, because we kept each other amused," Weir says. "That's the only way we were able to stick together for all those years. People would come backstage, and they'd listen to some of the repartee, the interplay going back, and they'd just leave the room going (fanning himself) these guys are nuts! But we had a lot of fun."

That fun contributed to the improvisational style that made the band so popular. Weir says he was influenced by jazz pianists when it came to creating his signature style on the guitar. And while the band learned how to extend the rhythm of a song playing live for audiences high on LSD, their approach to writing songs was extemporaneous.

"The same song on a different day was a different song. As we were writing or arranging a tune that came to us, from whomever, we didn't have a formulaic way of approaching things," Weir says. "It was pretty much will-o'-the-wisp, if you will."

Although fans are hoping for a Grateful Dead reunion, the film might be the best way for Deadheads to get some new material from the band. All Weir says about the possibility of getting back together is, "We've got our best people on it."

Reunion show or not, Fleiss promises fans will learn something new in his film. A self-described Deadhead, Fleiss says he learned a lot during the making of this film because "most of the things the Deadheads thought about the band -- how they related to the fans and the music and the fans and the jams -- it was all wrong."

And with that in mind, here are five things you may not have known about Bob Weir and the Grateful Dead.

When Weir was a teenager he ran away with author and LSD advocate Ken Kesey and the Merry Pranksters after a Beatles concert.

Kesey wrote "One Flew Over the Cuckoo's Nest" and the "Pranksters" were immortalized by Tom Wolfe in "The Electric Kool-Aid Acid Test." Some of the Dead's first gigs were at the acid test parties Kesey would throw, where everyone was given an LSD-laced drink of Kool-Aid (the drug was legal at the time).

Weir remembers shows where he would see the guitars move like "snakes" and the musical notes were visible. He admits sometimes the band would have to "flee" when it all got to be too much. But when it came to the Deadheads who would later follow the iconic band around from show to show, Weir says he wasn't entirely comfortable with that. He considers the lifestyle in the film, saying if following the band rang "lofty bells for them, what's wrong with that? But if it takes your life down, that's another story." He expressed particularly limited sympathy for drug dealers, but if someone had the talent to make a living following the group, he tipped his hat to them.

Bob Weir and Jerry Garcia used to take scuba diving vacations together.

There's a scene in the film where the pair are diving on a reef and Garcia tickles an eel on the chin under water. Weir says the pair had "a lot of fun underwater," and that Garcia especially loved diving because underwater he was weightless.

Drugs and partying were always associated with the Grateful Dead.

Weir says there were times when the band members were worried about Jerry Garcia's drug use and considered holding an intervention for their frontman. Ultimately they decided to do what they could for him without that confrontation. Weir talks in the film about how he had to be Jerry Garcia's "bag man" for a time, holding Garcia's drugs. According to Weir, Garcia was doing heroin, marijuana and cocaine, and he would trust Weir to hold it because not only was the (relatively) health conscious Weir not going to use it, he would also limit how much Garcia could have at once.

Weir was also more than willing to have a good time on his own. In 1994 on the night the Dead were inducted into the Rock and Roll Hall of Fame, Weir says he spent the night "partying fairly heavily," and "when the fog lifted" he was under a table with the legendary Chuck Berry. "We saw the wrong end of sunrise," Weir says of the morning after the ceremony.

Their biggest hit "Touch of Grey" brought them a level of stardom they didn't really want.

Weir says the band always hoped to have success and sidestep fame. But after the release of that song, the entire group, and Jerry Garcia in particular, found themselves at the center of some outrageous behavior by their fans. In the film one story told is about how a fan purposefully tried to have a van driving Jerry Garcia injure him so he would have some connection to the star. After "Touch of Grey," according to Weir, they were unable to go out in public like they used to and often were forced to stay in their hotel rooms on the road.

He was the ladies man of the group, and always had the most women of the band.

In the documentary, the Grateful Dead is referred to in the early years as "beautiful Bobby and the ugly brothers." Drummer Mickey Hart says they all used to "take Bob's runoff." Now a happily married father of two daughters, Weir says he spent 30 years "shopping around" before settling down. He met his wife Natascha after a show when she was 15 years old and she sneaked backstage. They say the relationship was platonic until years later, after Jerry Garcia's death and as Weir was "edging towards 50." He says he looked around to see if he could be an aging "rock and roll tomcat" gracefully and "it didn't look promising."

http://us.cnn.com/2014/04/25/showbiz/grateful-dead-bob-weir/index.html

The gems that Bob Dylan discarded

Bob Dylan has been remarkably prolific in the 48 years since his first album was released, and along the way some great songs have been 'lost’. As the singer prepares for his only UK date this year, Clinton Heylin picks 25 of his finest unheard tracks.


By Clinton Heylin

5:09PM BST 30 Jun 2010


When Bob Dylan makes his only UK appearance this weekend at the Hop Farm Festival, it is anyone’s guess which songs he will and won’t pull out of the bag. With any prolific writer, there is much that slips between the cracks.


In Dylan’s case, the periods when the songs flowed free and easy (notably 1961-67 and 1974-83) produced far more songs than his record label could comfortably accommodate on their annual album release. But he has also been guilty of discarding some of his best work because he felt it “wasn’t recorded right” (his own description of the immaculate Blind Willie McTell).


These songs have not been completely lost to posterity because they still exist in manuscripts, studio logs, out-takes, rehearsal track listings, session musicians’ memories or, in some cases, because they have been performed in concert.


Here, then, is just a sampling of some of the songs that got lost in the shuffle, plucked from some 610 song histories in my recently completed two-volume study of Dylan’s remarkable output.

1 Song to Brigitte

This was young Bobby’s first song, long lost. He says it was inspired by Bardot “because she had that baby-like quality and that grown-up woman quality all in one”.


2 I Was Young When I Left Home

A magnificent reworking of the traditional 900 Miles. Dylan played this just once, at a home session in Minneapolis at Christmas-time 1961. It was finally given a general release in 2005 on No Direction Home: The Bootleg Series Vol 7.


3 Ballad for a Friend

Originally called Reminiscence Blues and one of his earliest poems in naked wonder, the song was demoed for music publisher Leeds Music in January 1962. It was his first “north country blues”.


4 Liverpool Gal

Using the traditional When First Unto This Country as his template, Dylan reminisces some months later about a girl he met in England in January 1963. Liverpool Gal survives in manuscript form but was never recorded for record label or music publisher.


5 Love is Just a Four-Letter Word

Famous thanks to a 1968 Joan Baez cover version, but there is no known Dylan version of this Bringing It All Back Home-period classic. Dylan claimed he never finished it. Baez claimed he finished it eight different ways.


6 Sign on the Cross

Perhaps the last great “basement tape” original to still be unreleased, this seven-minute testifying spiritual seems to be largely improvised, and wholly inspired.


7 I’m Not There

Another great lost “basement tape” track, this magisterially mysterious song was finally put out on the soundtrack to Todd Haynes’s equally impenetrable movie of the same name.


8 Shirley’s Room

A song from August 1970 known only in manuscript form. One line – “It had been a long blind night” – may even be his way of describing the writing amnesia he was suffering at this time. Shirley was his wife Sara’s real name.


9 Goodbye Holly

One of three songs Dylan had initially written for the soundtrack to Sam Peckinpah’s valedictory western, Pat Garrett & Billy the Kid, to mourn the death of another member of Billy’s gang. It was forgotten when Dylan wrote Knockin’ on Heaven’s Door on the film set.


10 Belltower Blues

Written between Shelter from the Storm and Simple Twist of Fate, this heartfelt blues was superseded by Meet Me in the Morning when it came time to record 1974’s stunning return to form, Blood on the Tracks.


11 There Ain’t Gonna Be a Next Time

Another of the seven songs from the “little red notebook” that would be left unrecorded at the Blood on the Tracks sessions, this one seemed to suggest reconciliation with Sara was some way off.


12 Patty’s Gone to Laredo

This could well be the long-rumoured song he allegedly wrote about Patty Hearst in 1975. It was included in Dylan’s cinematic folly Renaldo & Clara (1978), but otherwise left unused.


13 Coming From the Heart

One of Dylan’s best love songs, co-written with backing singer Helena Springs. It was performed only once, at a concert in October 1978. It would be left to the Searchers to put it in the public domain.


14 More Than Flesh & Blood

Another brassy blast from the past, deriving from the period in 1978 when he was co-writing songs with Springs, this was rehearsed with Dylan’s touring band and then earmarked as Springs’s debut solo single, yet remains unreleased.


15 No Man Righteous (No Not One)

The second song recorded for Dylan’s first album of righteous fundamentalism, Slow Train Coming (1979), this was prefaced in concert by Dylan claiming: “This is a song nobody knows. That’s how I can tell who really wants to stick with me.”


16 Ain’t Gonna Go to Hell (For Anybody)

This was consistently performed in concert between April and December 1980, with two entirely different sets of lyrics, but was never recorded in the studio. Some pithily pentecostal rhymes (“I had the visions/But they caused divisions”) and one of his best ever melodies, too.


17 Let’s Keep It Between Us

A song about a mixed-race relationship that seems to be causing ructions among so-called friends, this was performed throughout the tour of autumn 1980 tour, but was given – in demo form – to Bonnie Raitt, who just about did it justice on her 1982 studio recording.


18 Caribbean Wind

Probably Dylan’s greatest “lost” song, this masterpiece was – in Dylan’s own words – a latterday Visions of Johanna. But, although he recorded the song multiple times in sessions for the 1981 album Shot of Love, and performed it definitively at San Francisco’s Warfield Theatre in November 1980, it was the one that got away. The released version on Biograph (1985), the second rewrite of the song, is a pale shadow of its prodigal self.


19 Yonder Comes Sin

A seven-verse litany on the many sins of man, this update of Ma Rainey’s Yonder Comes the Blues features one of the great Dylan vocals, but the October 1980 demo would prove to be its one and only setting.


20 Blind Willie McTell

Many people’s favourite Eighties Dylan song, this masterful eulogy to a world on the brink was recorded in both electric and acoustic configurations for the 1983 album Infidels. However, it was pulled at the last minute, and when it was eventually released, on 1991’s Bootleg Series, it was the patently inferior acoustic “demo” that was preferred. Has become a live favourite in recent years.


21 Angel of Rain (Almost Done)

One of three new originals Dylan was threatening to play on his 1984 tour of European stadiums, this gorgeous song was worked on a number of times at pre-tour rehearsals, of which recordings remain, but was never performed or recorded at the post-tour sessions in New York.


22 Shirley Temple Don’t Live Here No More

Written during the Under the Red Sky sessions, and in the words of producer Don Was, “conjuring up images of a dying town and a disappearing way of life”, this was a song Dylan gave to Was, who later recorded it with his band Was Not Was as Mr Alice Doesn’t Live Here Anymore.


23 Time to End This Masquerade

Co-written with Gerry Goffin for Goffin’s 1995 solo album, Backroom Blood, this is Goffin fronting Dylan’s own polka band, having a hoot in a friend’s back room, and signing off in style: “I bid adieu to all of you/I think it’s time to end this masquerade.”


24 Red River Shore

Cut from 1997 comeback Time Out of Mind at the last minute, this old-time slice of real life – “It’s steamboat, civil war, Mark Twain,” as one musician put it – was finally released on the eighth Bootleg Series, Tell Tale Signs, in 2008.


25 Chicago After Dark

Described at length in a 2009 interview to promote the album Together Through Life, according to Dylan, it’s about “how sometimes we know people and we are no longer what we used to be to them”. In fact, this song never existed. He made it all up. How fitting.

http://www.telegraph.co.uk/culture/music/bob-dylan/7863940/The-gems-that-Bob-Dylan-discarded.html

[youtube]FN3jI6lFmFQ[/youtube]

[youtube]25ALsr5phZo[/youtube]

[youtube]6VxoXn-0Ezs[/youtube]

[youtube]WfM6nRVBvGs[/youtube]

[youtube]C6up076lSH8[/youtube]

[youtube]R5XJDxe7TVY[/youtube]

[youtube]wwyXQn9g40I[/youtube]

[youtube]abwC5mwlg94[/youtube]

Edited by Joffa: 2/5/2014 10:56:16 PM

Spam much?

I guess that depends on whether five posts in one thread in just over one hour directly related to a thread can be considered spam, doesn't it?

Five consecutive posts with no discussion.

is that the criteria then is it?

[youtube]sfR_HWMzgyc[/youtube]

[youtube]RlNhD0oS5pk[/youtube]

Edited by Joffa: 3/5/2014 10:03:58 AM

I appreciate your work Joffa

Edited by A16Man: 3/5/2014 11:50:04 AM

Folk legends Melanie, Arlo Guthrie stir memories of '60s-'70s with upcoming Ann Arbor shows



Roger LeLievre | Special to The Ann Arbor News By Roger LeLievre | Special to The Ann Arbor News
on May 07, 2014 at 5:25 AM, updated May 07, 2014 at 5:27 AM

May is turning out to be a pretty good month for local lovers of classic folk music.

The First United Methodist Church Green Wood’s ongoing concert series continues with 1960s hitmaker Melanie at 8 p.m. on Friday, May 9. Ticket are $20.

Then, at The Ark, folk icon Arlo Guthrie checks in for two nights May 14-15, also at 8 p.m. Tickets are $50.

Melanie’s hits include “Lay Down: Candles in the Rain,” “Brand New Key,” “I’d Like to Teach the World to Sing” and the ultimate anti-record industry lament "What Have They Done To My Song, Ma?”

Both have performed before at the same venues, and Guthrie has also been an Ann Arbor Folk Festival headliner. Katie Geddes, who books the Green Wood series and who is a fine musician in her own right, says a Melanie show is really something special.

“For longtime, devoted fans, I think it's hearing the wonderful songwriting and unmistakable voice that you can't hear on the radio anymore. When you hear Melanie on the radio, it's typically "Brand New Key" on an oldies station,” Geddes explains.


“That song is great; however, it doesn't begin to represent Melanie's songwriting. For anyone attending, Melanie's charm onstage is delightful. She's funny and smart and a tad self-deprecating. She plays and sings with passion and gusto. Her son, Beau, accompanies on guitar. He is self-taught and very talented. Seeing Melanie at Green Wood, in particular, is special because she's definitely up close,” Geddes adds.

Guthrie is touring with a show that pays tribute to the life and work of his dad, social activist and folk balladeer Woody Guthrie, who would have turned 100 last July. The Ark shows are the last two of the tour.

The elder Guthrie’s most well-known song is “This Land Is Your Land. When his son performs it, he usually includes a folksy, humorous paraphrasing of the Biblical story of Joseph.

Guthrie says that on this tour he’s not performing his best-known work, the epic 1967 protest song “Alice’s Restaurant” (cue the groans of disappointment) but will spend most of the summer preparing for the "Alice's Restaurant 50th Tour" beginning in January 2015.

His band includes son Abe on keyboards and vocals, Bobby Sweet on guitar and vocals Terry A La Berry on drums and vocals.

In comments on his website, Guthrie says this will probably be the last time for a while that he’ll delve so deeply into his dad’s catalog.

“I don't imagine I'll get to do another tour with so many of my father’s songs again. I'll be leaving that to others,” he wrote. “Sometimes it's good to just let go of the world and enjoy the natural progression of things. There will always be more to do, and if it's helpful or useful someone will do it. For me, it has been a great joy to be a link in a long chain.”
http://www.mlive.com/entertainment/ann-arbor/index.ssf/2014/05/melanie_arlo_guthrie_stir_memo.html

Monty Python release unheard track with Graham Chapman

Eric Idle introduces The Lousy Song as an 'extraordinary, silly release', ahead of Monty Python's run of live shows at the O2 and a reissue of their Monty Python Sings LP

theguardian.com, Wednesday 7 May 2014 17.39 AEST   


Monty Python have released a previously unheard song featuring the late member Graham Chapman, ahead of their string of live dates at London's O2 arena and a rerelease of the Monty Python Sings album.

Entitled The Lousy Song, it features Chapman and Eric Idle listening back to a swinging orchestral number that Idle has recorded, with Chapman lampooning his partner's efforts. Introducing it on Simon Mayo's Radio 2 show, Idle called it an "extraordinary, silly release... It was sort of improvised over a bad song I wrote. It's sort of unusual as it's Python improv, but it's cute because it's Graham, and it's very off the wall... I couldn't tell if it was funny or not. It's absolutely a sketch and not a song." After listening to it again, he said it was "very Morecambe and Wise."

Reading on mobile? Click here for video

Idle also elaborated on the forthcoming live show at the O2. "I've been working on it for eight months, so I've had more than slight anticipation - I've got sheer terror," he told Mayo. "I have to put this show together in some way, shape or form. I'm doing the lifting on this one. We always split [the work] up; I've done the stage ones traditionally. I've got to fill the O2 with a silly show. We've spent about three million quid on it so far."

He said the show's content was made up of the team's favourite skits from down the years, and that "we've got lots of young people and dancing and stupid songs." Of the stage decor, he said that "it's all Gilliamised", referring to the vivid, psychedelic work of Terry Gilliam: "A lot of strange art deco... 60s art, cut-out art... It's a huge carnival, it's enormous."

The sold-out run begins on 1 July, while the reissued album is released on 9 June. A box set of nine Monty Python albums, Monty Python's Total Rubbish: The Complete Collection, will also get a release on 30 June, with CD and vinyl versions alongside Terry Gilliam artwork and Michael Palin liner notes.

http://www.theguardian.com/culture/2014/may/07/monty-python-graham-chapman-the-lousy-song

Been getting really into Yellow Magic Orchestra, early electronic music from Japan
[youtube]t5YU4TlOVPU[/youtube]

My Six Best Albums: Rock guitarist Jeff Beck

JEFF BECK, 69, was guitarist with The Yardbirds before forming the Jeff Beck Group with Rod Stewart and Ronnie Wood, whose biggest UK hit was Hi Ho Silver Lining. He has played guitar on many albums by other artists, from Stevie Wonder to Kate Bush. He is playing a series of dates in the UK from May 13. www.jeffbeckofficial.com/tour



Published: Fri, May 9, 2014

BB KING: Live At The Regal (MCA)

I was into blues around 1963 and stumbled across this. It’s an electrifying live performance of blues guitar and BB is a master of microphone technique. He brings his music down to a whisper then bursts out with amazing solos.

GENE VINCENT: Gene Vincent & His Bluecaps (Hallmark)

When Be-Bop-A-Lula came out, I was hooked. My older sister made the mistake of leaving this album around and I played it all day. No other band so encapsulated refined rockabilly. When my mother told me to take it off, I knew it was my kind of music.

JAN HAMMER: The First Seven Days (Eastworld)

The music on this is so graphic. Jan became my hero when he was in John McLaughlin’s Mahavishnu Orchestra. He was playing bendy notes with a keyboard so it sounded like a guitar and I became obsessed with how he did it.

MILES DAVIS: A Tribute To Jack Johnson (Sony)

This album got me out of the gutter after my split with Rod Stewart. I was working on a car outside my house when this amazing free-form shuffle came on the radio. Davis’s trumpet comes in randomly with the melody and that freedom appealed to me. McLaughlin played on this as well and gave me my next career move.

JIMI HENDRIX: Are You Experienced? (Sony)

Just before this came out, I saw Jimi live at an underground club. Dollybirds in Biba clothing were probably expecting a folk singer but he came on and blew the house down. It shook all of us – me, Eric Clapton, Jimmy Page. He was so good, we all wondered what we were going to do for our living.

MUDDY WATERS: At Newport 1960 (Soul Jam)

Muddy Waters could sing with the worst guitar player and still sound amazing because the voice is so deep and thick, with the bad grammar that blues singers have. This is live and he played up a storm.

http://www.express.co.uk/entertainment/music/474497/Guitarist-Jeff-Beck-s-favourite-albums?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+daily-express-music-news+%28Daily+Express+%3A%3A+Music+Feed%29

Doors, Grateful Dead and Allman Brothers Band Members Scheduled for SuperJams at Bonnaroo

Bonnaroo Music and Arts FestivalDoors guitarist Robby Krieger, Grateful Dead drummer Mickey Hart and Allman Brothers Band guitarist Derek Trucks are among the notable names participating in the scheduled SuperJam events at next month's Bonnaroo festival in Manchester, Tennessee.

Krieger and Hart will perform together June 14 with Damian "Jr. Gong" Marley -- son of late reggae legend Bob Marley -- and others. Trucks is scheduled to play June 13 with his wife, singer-guitarist Susan Tedeschi, as well as R&B singer Chaka Khan, plus more.

Prior SuperJam sessions at Bonnaroo have featured performances by the Dead's Phil Lesh, Led Zeppelin's John Paul Jones and Sly and the Family Stone's Larry Graham.


Read On ABC News Radio: http://abcnewsradioonline.com/music-news/2014/5/7/doors-grateful-dead-and-allman-brothers-band-members-schedul.html#ixzz31gTcJCp5

Paul McCartney On Musician Rich List

by Matt Shine | 15 May 2014

Sir Paul McCartney, U2, Sir Elton John, and Simon Cowell are among the wealthiest people in music.

The Beatles legend has scored fourth place in The Sunday Times' annual Rich List's Musician's list with a staggering £710 million fortune, with only record label bosses Len Balvantnik - who is worth £10 billion - and Clive Calder, and musicals supremo Sir Cameron Mackintosh placing higher.

Irish rockers U2 collectively placed sixth with a fortune of £428 million, considerably less than fifth-placed Lord Andrew Lloyd Webber, who is worth a huge £640 million.

Seventh place goes to 'American Idol' creator Simon Fuller, with 'X Factor' boss Simon placing eighth thanks to assets of £300 million, a figure £50 million higher than his fortune last year.

He shares eighth place with power couple Mohammad and Kamaliya Zahoor, a record label boss and former Miss World.

'Rocket Man' star Sir Elton John rounds out the top 10 with his £260 million fortune.

Notable names filling out the top 20 include Sir Mick Jagger, who took 12th place with £215 million - two places higher and £15 million more than his Rolling Stones bandmate Keith Richards - and former Spice Girls singer-turned-fashion designer, whose joint empire with husband David sees them worth £210 million, putting them in 13th place.

Paul's Beatles bandmate Ringo Star took 18th place with a relatively more modest fortune - £170 million, while Olivia and Dhani Harrison - the widow and son of their late bandmate George Harrison - were placed 16th with assets of £190 million.

The list is based on land, property and other assets such as stocks and shares, racehorses and art.

Sunday Times Rich List 2014: Music millionaires:

1. Len Blavatnik: £10bn

2. Clive Calder: £1.4bn

3. Sir Cameron Mackintosh: £1bn

4. Sir Paul McCartney: £710m

5. Lord Lloyd-Webber: £640m

6. U2: £428m

7. Simon Fuller: £382m

8= Simon Cowell: £300m

8= Mohammad and Kamaliya Zahoor: £300m

10. Sir Elton John: £260m

11. Baron Palumbo, arts supporter: £250m

12. Sir Mick Jagger: £215m

13. David and Victoria Beckham: £210m

14. Keith Richards: £200m

15. Michael Flatley: £193m

16. Olivia and Dhani Harrison: £190m

17: Sting: £180m

18: Ringo Starr: £170m

19 Roger Waters: £160m

20 Denis Desmond and Caroline Downey: £153m


Read more: http://www.femalefirst.co.uk/celebrity/rich-musician-paul-mccartney-470055.html#ixzz31mRL1Vya

Bob Dylan Releases Frank Sinatra Cover, Plans New Album



By Andy Greene

May 13, 2014 11:50 AM ET

Without any warning or anticipation, Bob Dylan posted a cover of Frank Sinatra's 1945 hit "Full Moon and Empty Arms" on his website, the first song from an upcoming new album by the 72-year-old musician.

The 10 Greatest Bob Dylan Songs

​"This track is definitely from a forthcoming album due later on this year," a spokesperson for the singer tells Rolling Stone. While the rep wouldn't confirm an album title, Dylan posted an image of himself with the phrase "Shadows in the Night." With its distinct vertical bars and crisp, minimalist text, the image appears to be in the style of graphic designer Reid Miles' iconongraphic covers for jazz label Blue Note.

Dylan doesn't stray too far from Sinatra's original track, though his version replaces the string section with guitars. "Full Moon and Empty Arms" was written by Ted Mossmann and Buddy Kaye and based around Sergei Rachmaninoff's 1901 composition "Piano Concert No. 2 in C Minor." The song has been covered by everyone from Robert Goulet to The Platters, but Sinatra's rendition remains the most famous. Dylan's last few albums were strongly inspired by popular music from this era.

While the singer's last official album Tempest was released in 2012, Reggie Watts, Built to Spill and Elvis Perkins, among others, came together to record Bob Dylan in the '80s: Volume One, a set of cover songs honoring the singer's oft-maligned Eighties recordings.

Bob Dylan kicks off a European leg of his Never Ending Tour June 16th in Cork, Ireland. It runs though July 17th in Pori, Finland.


Read more: http://www.rollingstone.com/music/news/bob-dylan-releases-frank-sinatra-cover-plans-new-album-20140513#ixzz31mpQ9Wnr

The Practical Side Of The Great American Jam Band

by Krista Almanzan

July 25, 2012 4:37 PM ET

The Grateful Dead circa 1970. The band's members were quintessential rock hippies — but, a new exhibit reveals, savvy businessmen as well.

The band's members were quintessential rock hippies — but, a new exhibit reveals, savvy businessmen as well.

The Grateful Dead's eponymous live album started it all for Nicholas Meriwether.

It was 1985. He was studying history at Princeton and got hooked by psychedelic jams like "Wharf Rat." After his first concert, he knew: "I will spend the rest of my life thinking and studying this."

Meriwether now heads the Grateful Dead Archive at the University of California, Santa Cruz, which recently opened to the public. On the first floor of the school's library, he walks into a new exhibit space called Dead Central.

"One of the great things we have on display here is the band's conference table," he says. The table is where The Grateful Dead held meetings about matters such as upcoming tours or merchandising.

"So much of what's in the archive ... belies the myth that the Dead were a bunch of hippie, undisciplined ne'er-do-wells," he says. "No — they were an enormously disciplined group of musicians."

Grateful Dead drummer Mickey Hart agrees. He says the band's discipline was born of necessity.

"When you are desperate to make a sound and after something with all of your heart and soul, you know you become skilled in some shape or form," Hart says.

As Hart tells it, the band was all about the music and connecting with fans. But the archive reveals this other side — the business of the band's success.

There are boxes of press clippings, band newsletters and business receipts. But Hart says that stuff isn't his, or his bandmates'. He says the archive exists only because The Grateful Dead surrounded itself with the right people.

"You know, I didn't realize it was being collected," he says. "If it wasn't for Eileen Law, one of our dear friends that collected all this stuff and put it in boxes and put it in a closet and moved when we moved, it wouldn't be there."

Today, those materials are of great interest to academics. Scholars in fields from business to anthropology have written and published material on the group, including San Francisco State University lecturer Peter Richardson.

"The Grateful Dead are kind of ripe for this kind of review," Richardson says. "We've sort of been going on with sort of a two-dimensional picture of what the band is all about."

Nearly 50 years after the band formed, and almost 20 years since it dissolved, Richardson is writing a book on the cultural history of The Grateful Dead.

"We are right about the right time where people can really view the band historically," he says.

While Richardson is not a Deadhead, many scholars are, including Nicholas Meriwether.

"I think Deadheads are enormously thoughtful and enormously intelligent, even if they don't necessarily choose to comport themselves in that fashion or express it all the time," Meriwether says.

As the archive reveals, that's how the band was, too. Back on the conference table in Dead Central, Meriwether points to a funny letter the Dead wrote to President Nixon during the Watergate scandal.

Nearby, there's a second letter written to the band after the death of its first frontman, Ron "Pigpen" McKernan. It's from his dad, thanking the band for being a positive force in his son's life.

Meriwether says these stories underscore the band's humanity, revealing the little things that even the band's biggest fans didn't know.

"I just think it's an incredibly powerful expression of what an archive can do," he says.
http://www.npr.org/2012/07/25/157356379/the-practical-side-of-the-great-american-jam-band

[youtube]9r8aycpHmY0[/youtube]

[youtube]671AgW9xSiA[/youtube]

[youtube]dgqsP9BICNE[/youtube]

[youtube]mlANNjLnaVM[/youtube]

George Harrison Guitar Sells for $657,000 at Auction

An electric guitar played by George Harrison on British television before the Beatles' U.S. "invasion" fetched $657,000 at auction on Saturday in New York, topping pre-sale estimates, Julien's Auctions said.

Harrison, who died in 2001 at age 58, played the black-and-white 1962 Rickenbacker 425 electric guitar on 1963 appearances on the British TV shows "Ready Stead Go!" and "Thank Your Lucky Stars" with the Beatles.

Harrison also played the guitar during the sessions when the Beatles recorded "I Want to Hold Your Hand" and "This Boy" in October 1963, months before they brought "Beatlemania" to the United States, launching the British Invasion of rock bands.

The guitar was estimated to sell between $400,000 and $600,000, Julien's said ahead of the auction.

This undated photo provided by Julien's Auctions shows the 1962 Rickenbacker 425 guitar that George Harrison played as The Beatles recorded "I Want to Hold Your Hand."

Harrison bought the guitar in 1963 in Mount Vernon, Illinois, while visiting his sister in the United States, the auction house said.

Also sold at the auction was a handwritten placard with doodles signed by John Lennon and Yoko Ono from their 1969 anti-war "bed-in" in Montreal, which fetched $187,000. A Hofner bass rented by Paul McCartney in the mid-1960s sold for $125,000.

Other notable sales from the auction included a white jumpsuit worn by Elvis Presley during a 1971 concert that fetched $197,000, and 1990 red Rolls-Royce Corniche III convertible owned and used by Lady Gaga that sold for $125,000.

http://www.nbcnews.com/business/business-news/george-harrison-guitar-sells-657-000-auction-n108256

[youtube]NojUri3aX-Y[/youtube]

[youtube]EhVLiHPUOIM[/youtube]


[youtube]tjAsAgcGNIQ[/youtube]





this one is "country honk" which eventually ended up "honky tonk women"


Edited by batfink: 19/5/2014 11:32:01 AM

[youtube]h2h3TlHcLY0[/youtube]

[youtube]kCQct9-pxFg[/youtube]

Good stuff! I admittedly hadn't heard of them but I do like Kraftwerk, might give them more of a listen:)
[youtube]e11h73WhqK4[/youtube]