Sunday, May 3, 2015

Roger Waters Slams Silicon Valley's 'Rogues and Thieves'

Roger Waters is the latest artist to slam streaming music as the Pink Floyd great accused Silicon Valley execs of being "rogues and thieves" for the way they have reshaped the music industry. In a new interview, Waters talks about how difficult it is for an artist to thrive in an age where their music is nearly given away. He also clearly states that, for him, a Pink Floyd reunion "is out of the question."

"I feel enormously privileged to have been born in 1943 and not 1983," Waters told the Times UK (via NME). "To have been around when there was a music business and the takeover by Silicon Valley hadn't happened, and in consequence, you could still make a living writing and recording songs and playing them to people. When this gallery of rogues and thieves had not yet injected themselves between the people who aspire to be creative and their potential audience and steal every fucking cent anybody ever made."

Waters joins a growing number of artists who have either spoken out against Spotify and its ilk or who have pulled their catalogs from the services entirely. Much of the debate over streaming music centers around the low pay-per-stream these services offer artists while the services themselves rack up profits in subscriptions and advertising. "The amounts these services pay per stream is minuscule – their idea being that if enough people use the service those tiny grains of sand will pile up," David Byrne wrote in his own criticism of Spotify.

Waters' comments are also similar to those made by Pink Floyd drummer Nick Mason, who faulted Apple over the way U2's Songs of Innocence was distributed. "Look, U2 are a great band, and Bono's an extraordinary individual, so this isn't an anti-U2 tirade," Mason said. "But it highlights a vital aspect to the whole idea of music in the 21st century. What's also interesting is that Apple seem to have got off scot-free. No one's blaming them. Apple has done great things, but it has also contributed to the devaluation process [of music]."

Following the release of Pink Floyd's The Endless River, guitarist David Gilmour repeatedly stated in interviews that the LP would mark the final chapter in the Rock and Roll Hall of Fame band's story. However, the Times UK asked Waters whether he could rejoin Gilmour and Mason in the future, and the bassist reiterated that his Floyd days are over.

"A reunion is out of the question," Waters said. "Life after all gets shorter and shorter the closer you get to the end of it and time becomes more and more precious and in my view should be entirely devoted to doing the things you want to do. One can't look backwards."

Last October, after Waters was barraged with questions about The Endless River, he wrote a note on Facebook alerting fans, "I am not part of Pink Floyd. I left Pink Floyd in 1985, that's 29 years ago." Waters is currently working on a reissued, remixed version of his 1992 solo album Amused to Death.



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Saturday, May 2, 2015

Zac Brown Band Take Chances at Jekyll + Hyde Tour Opener

Zac Brown and his band of nimble-fingered shredders never shy away from taking risks and don't back down from broadening an already exceedingly eclectic sonic palate. And Friday night in Nashville, where — following a warm-up show Wednesday night in Tupelo, Mississippi — the band officially opened its bold and adventurous Jekyll + Hyde Tour at Bridgestone Arena, was no exception.

"Thank you for your patience throughout the evening," Brown bantered after leading his 10-piece band through an opening "Homegrown." "We've got a lot of new tricks up our sleeve."

That was an understatement. Among said tricks in the two-and-a-half-hour show: a tiered, three-story stage made of LED screens; guest appearances from the likes of Jewel, Kid Rock, Bela Fleck and up-and-coming fellow bearded-and-be-hatted country crooner, Drake White; covers of "Let It Be" and "Bohemian Rhapsody"; left-field forays into EDM territory; at least one fully dedicated faux show tune; and a 26-song set that featured no less than 14 of 15 cuts from Jekyll + Hyde, an album that, released last week, rivals Clash records in the amount of genres it tries to take on. Notably, the Chris Cornell collaboration, "Heavy Is the Head" was the one Jekyll track conspicuously absent from the set list.

It was an ambitious show, rife a head-spinning variety of sounds highlighted by vivid visuals, but not necessarily the type of loose, down-home, spontaneous shred-fest ZBB faithful have come to expect. With nine stadium dates on the books — including two shows at New York's Citi Field and a three-night stand at Boston's Fenway Park — this is Brown and company's biggest tour to date, and they want to make a statement: that they want to be, and can be, a million feel-good things to a million feel-good people. But, typical of a big, bold tour kickoff, at this early stage in the jaunt they're still figuring out how to strike that balance.

Last night, ZBB's best moments weren't the big ones planned out on paper — the star-studded guest appearances, Beatles and Queen covers or stadium-ready production — but instead came when they simply just did what they do best: emotionally delivered airtight renditions of sprightly Jimmy Buffett-indebted summer jams, soaring Southern rock stompers and lush, heartfelt ballads. Naturally, the band nailed it when handily delivering inevitable crowd-pleaser staples like "Sweet Annie," "Toes" and "Chicken Fried." And they executed Jekyll jams like the tender acoustic-turned-full-cranked power-ballad "Bittersweet" and the bouncy, confetti-cannon-featuring "Castaway" with the same confidence — while performances of gospel-Celtic mashup "Remedy," which featured Darrell Scott guesting on Dobro, and the breezy, blue-eyed R&B tune "Loving You Easy" were simply exquisite.

On the flipside were some more adventurous left-field moments, like the almost heroically hokey big band excursion "Mango Tree" (which, like a 6 a.m. alarm clock, jarringly interrupted a rousing arena-wide "USA! USA! USA!" chant in the wake of a dramatic dedication to fallen troops during Jewel's guest stint with ZBB on Jason Isbell's "Blue Dress"). Or like the transparently crossover-aiming, EDM-tinged endeavor "Beautiful Drug," which showed the band isn't quite comfortable in its new skin. . . yet.

On "Mango," Brown in crooner mode wore a nervous smirk like a first-time skydiver as he worked the stage in search of duet partner Jewel, never really finding a groove. And on "Beautiful Drug," it seemed the band was at war with its own song, battling throbbing bass loops and club-ready synths that threatened to swallow acoustic guitars and actual drums whole. That juxtaposition between processed sounds of the day and the organic tones of a traditional string band, might be at the musical heart of Jekyll + Hyde, but last night it was hard to tell which side of the fence Brown and band were on.

Certainly the most adventurous moment came in the encore, when the band reclaimed the stage dressed like 1800s coal miners for an elaborate performance of "Junkyard." Hammed-up dialogue between Brown and multi-instrumentalist John Driskell Hopkins was lovably self-aware and almost purpose-built for a This Is Spinal Tap moment. They came dangerously close to such a moment when, mid song, roadies emerged and placed connected portions of a cartoonish inflatable dragon atop band members’ heads. Bandmates then tried their best to keep coordinated while making a conga line loop around the stage, before stopping and finishing the song while dancing in place.

Earlier, during the main set, the band busted out an endearingly ramshackle cover of Queen's "Bohemian Rhapsody," which elicited almost as deafening a response to surprise guest Kid Rock. Rock sprinted out to lead the crowd through a campfire-like sing-along of Stephen Stills' "Love the One You're With" during a mid-show acoustic set on the B-stage. Far from perfect in execution (the fact that Rock even tried to pull off scream-singing that Stills classic in a key miles above his range is emblematic of his star-making bravado), those adventurous moments made the show.

Through it all, the band never lost the cold-beers-in-hand Friday night crowd, and near show's end, Brown, in a tone suggesting he himself wasn't fully convinced all the new tricks were working yet, thanked his rapt fans for following the band "wherever [the] adventure takes us." And that's what's long made ZBB one of modern country's most exciting acts — they're always headed somewhere.



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Paul McCartney: Kanye West's 'Only One' Inspired By 'Let It Be'

Paul McCartney has revealed in a new interview that he and Kanye West's collaborative single "Only One," written from the perspective of the rapper's late mother Donda West, was inspired by the Beatles' classic "Let It Be." Speaking to The Sun, McCartney also said that he and Kanye employed a similar process that McCartney and John Lennon used when they wrote Beatles songs together.

"When I wrote with John, he would sit down with a guitar. I would sit down. We'd ping-pong till we had a song," McCartney said. "[Working with West] was like that." From there, McCartney and West just chatted – at one point, West asked, "What was pussy like in the Sixties?" – before the topic eventually turned to "Let It Be." "We sat around and talked an awful lot just to break the ice," McCartney told The Sun. "One of the stories I told him was about how I happened to have written 'Let It Be.'"

McCartney, who like West lost his mother at a young age, told the rapper, "My mum came to me in a dream when she'd died years previously. I was in a bit of a state – it was the Sixties and I was overdoing it. In the dream she said, 'Don't worry it's all going to be fine, just let it be.' And I woke up and thought, 'Woah' and wrote the song." After sharing that anecdote, "[Kanye] said, 'I'm going to write a song with my mum.' So then I sat down at the piano," McCartney said, and "Only One" was born.

A representative for McCartney confirmed the accuracy of the quotes to Rolling Stone. In the interview, McCartney also admits he was initially apprehensive about working with West. "My first thought was, 'Woah, what am I going to get into here,'" the bassist wondered. "He is amazingly talented but controversial and can make eccentric moves. I realized if it didn't work out we'd just say so and shake hands and leave." Instead of leaving, the duo crafted "Only One" and later teamed with Rihanna for "FourFiveSeconds."

Speaking to Rolling Stone at the Rock and Roll Hall of Fame induction ceremony, where he enshrined his Beatle bandmate Ringo Starr, McCartney said of working with West, "Oh, it was great, man! It was really exciting. I didn't know what was going to happen from one minute to the next. But then he'd send me these hits! Suddenly I'm working with Kanye – and then suddenly I've got a hit with Rihanna! But it's cool!"



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U2 Reschedule 'Tonight Show' Appearance

U2 will guest on The Tonight Show on May 8th, nearly six months after a major bicycle accident forced Bono to cancel the band's weeklong residency on Jimmy Fallon's late night program. "You heard that right! U2 will be back on the show next Friday," The Tonight Show tweeted Friday night. U2 are currently listed as that episode's only guests according to the official Tonight Show site.

The Fallon visit will give U2 one last test run before the rockers kick off their Innocence + Experience Tour at Vancouver's Rogers Arena on May 14th. In November 2014, U2 suddenly withdrew from their Tonight Show appearances – scheduled to celebrate the release of Songs of Innocence – after Bono's "cycling spill." "It looks like we will have to do our Tonight Show residency another time – we're one man down," the band said in a statement at the time, promising they would "be back" to visit Fallon after Bono recuperated. (The accident also forced U2 to recruit some special guests to fill in for Bono for their World AIDS Day performance.)

Bono suffered numerous serious injuries following the "high energy bicycle accident" in New York's Central Park, including a facial fracture involving the orbit of his eye, three separate fractures of his left shoulder blade, a fractured left pinky finger and a fracture of his left humerus bone in his upper arm. The latter, most serious injury required three metal plates, 18 screws and months of "intensive and progressive therapy," his surgeon told Rolling Stone.

In a recent interview with the New York Times, Bono discussed his recovery, and while his facial and shoulder injuries have largely healed, he still hasn't regained complete feeling in his hand. "It feels like I have somebody else's hand," Bono said, adding that he currently can't play guitar. "They say that nerves heal about a millimeter a week, so in about 13 months I should know if it's coming back."

As the band works on new music in their mobile studio in Vancouver while they prepare for their tour, Bono admitted he now employs another guitarist during the writing process to strum out chords he can no longer play.



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Friday, May 1, 2015

Grooveshark Shuts Down After Eight Years

Music streaming service Grooveshark has ceased operation. The now-inactive site merely displays a message from the company, noting that a settlement agreement with major labels progressed the immediate shutdown.

According to Exclaim, Grooveshark — which launched in 2007 — had been served with a $17 billion lawsuit in 2011 from a coalition of the major music labels. The rights issues stemmed from the site's entire model that allowed users to upload and share copyrighted music with other users for free. A brief closure followed the lawsuit, and Grooveshark relaunched with a "tip jar" feature in the fall of 2012, giving users an opportunity to give back to artists (though they could still stream the music for free).

"That was wrong," the company said of failing to secure licenses from rights holders. "We apologize. Without reservation."

The message also offers some details of the settlement. Along with its immediate closure, Grooveshark has agreed to "wipe clean all of the record companies' copyrighted works and hand over ownership of this website, our mobile apps and intellectual property, including our patents and copyrights." They also acknowledge the ways in which both their innovations and mistakes have set a precedent for a variety of streaming sites that were created during the site's decline. Spotify, Google Play and Beats Music are just some of the platforms they cite specifically before adding a note that music creators should be paid for their art, linking to a site that helps fans find properly licensed services.

Read Grooveshark's entire message below.

Dear music fans, 

Today we are shutting down Grooveshark. 

We started out nearly ten years ago with the goal of helping fans share and discover music. But despite best of intentions, we made very serious mistakes. We failed to secure licenses from rights holders for the vast amount of music on the service. 

That was wrong. We apologize. Without reservation. 

As part of a settlement agreement with the major record companies, we have agreed to cease operations immediately, wipe clean all the data on our servers and hand over ownership of this website, our mobile apps and intellectual property, including our patents and copyrights. 

At that time of our launch, few music services provided the experience we wanted to offer ­and think you deserve. Fortunately, that's no longer the case. There are now hundreds of fan friendly, affordable services available for you to choose from, including Spotify, Deezer, Google Play, Beats Music, Rhapsody and Rdio, among many others. 

If you love music and respect the artists, songwriters and everyone else who makes great music possible, use a licensed service that compensates artists and other rights holders. You can find out more about the many great services available where you live here: http://ift.tt/1c3I5Dn;

It has been a privilege getting to know so many of you and enjoying great music together. Thank you for being such passionate fans. 

Yours in music, 
Your friends at Grooveshark 
April 30, 2015



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Miranda Lambert Reveals Ladies-Only Roadside Bars and Pink Guitars Tour

All year long, Miranda Lambert has been working a cover of the Dixie Chicks' "Cowboy Take Me Away" into her set, whipping up a makeshift girl group with help from whomever happens to be part of the Certified Platinum Tour that night. 

Some evenings, she's joined by backup singer Carolyn Dawn Johnson and opener RaeLynn. Other times, she swaps harmonies with bandmate Gwen Sebastian and The Voice champ Danielle Bradberry instead. Performed toward the end of Lambert's set, "Cowboy Take Me Away" isn't just a break from the amplified punch of her louder songs; it's a reminder that Lambert, who notched her first gold-certified single around the same time that the Dixie Chicks were wrapping up their swan song, Taking the Long Way, hasn't forgotten about the girl-powered pioneers who came before her. 

That same spirit convinced the recent ACM winner to resurrect her Roadside Bars and Pink Guitars Tour, this time with all-female cast of headliners and opening acts. RaeLynn will be back in the saddle for the entire run, which kicks off this fall. Other openers include Ashley Monroe, Lambert's Pistol Annies bandmate (and husband Blake Shelton's "Lonely Tonight" duet partner), and guitar shredder Clare Dunn, whose mix of Telecaster twang and female firepower has made her a favorite on SiriusXM's Highway station. Rounding out the bill is country newcomer Courtney Cole, a Louisiana native who competed in the first season of CMT's Next Superstar

The original Roadside Bars and Pink Guitars Tour took Lambert cross-country during the spring and summer of 2000, building up buzz for her recently released Revolution. That tour boasted its share of openers, too — from upcoming country kings like Luke Bryan and Eric Church to working class favorites like Cross Canadian Ragweed and Wade Bowen — but all of them were male, making Lambert one of the only females during a particularly dude-heavy run. Things have changed since then, with Lambert now pulling double duty not only as one of country music's leading ladies, but one of the top-selling acts of the entire genre. She's earned the right to call her shots — and this fall, the only boys hitting the Roadside Bars stage will be those in the backing band.



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'Stand By Me' Singer Ben E. King Dead at 76

Ben E. King, the legendary soul singer best known for his classic "Stand By Me," died Thursday of natural causes. He was 76. King's publicist confirmed the singer's death to the Telegraph, though no other details were provided.

After a stint with the doo-wop group the Five Crowns, the North Carolina-born, Harlem-raised King and his Five Crowns mates were hired to become the new faction of the Drifters. In King's yearlong tenure with the group, he sang lead on the Drifters' biggest singles, including "This Magic Moment," "Save the Last Dance for Me" and "There Goes My Baby." It was with the Drifters that King earned an induction into the Rock and Roll Hall of Fame in 1988. 

"Ben E. King was this younger singer just coming up, yet he had this mature style that was so unusual. He was always wonderful to work with, and we had a truly great run together," Leiber & Stoller said of King for Rolling Stone's 100 Greatest Artists of All Time, which featured the Drifters. "People have said that 'There Goes My Baby' was a very influential record because it helped set the stage for the Wall of Sound and Motown. Who are we to argue?"

By 1960, the singer had launched his own solo career with "Spanish Harlem," a hit written by Jerry Lieber and Phil Spector and "Stand By Me," which he penned along with Leiber and Mike Stoller.

Related: 500 Greatest Songs

"Stand By Me" would soon become King's most famous, enduring recording, a single that has been covered an innumerable amount of times – including classic renditions by John Lennon, Muhammad Ali and Spyder Turner – and received dozens of music achievements, from a spot on Rolling Stone's list of the 500 Greatest Songs of All Time to an induction into the Library of Congress' National Recording Registry.

"I think this is one of the greatest moments of my life," King told CBS News of his Library of Congress induction. "To think that my children's children's children's will look at that one day and say wow, Gramp did that, that's a feeling." 

In 1999, the BMI (Broadcast Music Inc.) announced that "Stand By Me" was the fourth most-played song of the 20th century, the BBC reports. King's version of the song also landed on the Billboard charts on two separate occasions: 1961 and 1986. King would later score a Top Five hit in 1975 with "Supernatural Thing."

"With an extremely heavy heart, I must say goodbye to one of the sweetest, gentlest and gifted souls that I have had the privilege of knowing and calling my friend for more than 50 years - Mr. Ben E. King," Gary U.S. Bonds wrote of King on Facebook. "I can tell you that Ben E. will be missed more than words can say. Our sincere condolences go out to Betty and the entire family. Thank you Ben E. for your friendship and the wonderful legacy you leave behind."

Watch King perform "Stand By Me" with Eric Clapton and Phil Collins below:



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