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Posts Tagged ‘Duane’

Sat Eye Candy: Duane Allman

TRULY A HOLY ROLLIN’ SOUND

Duane Allman would have turned 64-years-old today. We couldn’t let the day pass without tipping our hat to Skydog and honoring the ever-lingering legacy of one of the 20th Century’s most influential musicians. (Dennis Cook)

We begin with some insights into Duane’s genius and contribution to music.

The combination of Duane Allman and Dickey Betts remains one of the finest, most unique pairings rock has ever produced. Here’s the pair in flight together.

Besides the Allman Brothers and his extensive session work, Duane was also a key ingredient in another of rock’s all-time greatest ensembles, Derek & The Dominoes. There’s no decent footage of him playing with the band but here’s an interesting outtake that shows Clapton and Allman sparring nicely.

Let’s jump on the stage with ABB back in the day. This is what one calls “putting your back into it.”

Another succinct blast of Duane’s studio brilliance.

Just the audio but what audio it is! This pairing of the Dead and Duane on a signature blues standard shows what honest, gritty interpreters of the blues these young cats were.

We wrap with a few more Allman Brothers moments with Duane. Rest in peace, buddy. We miss ya more than we can ever express.


Dog The Bounty Hunter Hospitalized After Blood Clot Scare

Duane “Dog” Chapman — best known for hunting down law dodgers on the A&E reality series Dog the Bounty Hunter — was rushed to a Los Angeles hospital on Saturday after developing symptoms consistent with a blood clot.Chapman was admitted to the emergency room of UCLA Medical Center over the weekend after suffering from [...]

moe. | 01.22.10 | NYC

Words & Images by: Jarrod Dicker

moe. :: 01.22.10 :: Roseland Ballroom :: New York, NY

moe. :: 01.22 :: Roseland Ballroom

“Thank you, NYC, and welcome to the show,” Rob Derhak announced while smiling after the conclusion of moe.‘s second selection of the evening, “Bearsong.”

“We are extremely pumped to be here, thank you all for coming and supporting WHY [World Hunger Year],” continued Derhak. “We have a lot of guests coming out tonight and a lot of fun in store. We’re here to have a good time, but the cause is what it’s all about. So, even though we’re all enjoying ourselves up onstage and you’re all dancin’ in the crowd, just know that the money that’s spent on this show will be feeding a lot of people.”

Cheers filled the Roseland Ballroom on what was truly an evening to remember. moe.’s New York City homecoming served somewhat as a “jam band prom” for all ye’ faithful in attendance, attracting fans and performers from all over the musical spectrum.

Publicized as a WHY benefit performance, the band announced on their website that the charitable contributions would be allocated accordingly to assist Haiti after the devastating earthquake that shocked that country on January 12.

The crowd eagerly awaited the Buffalo natives to hit the stage, as well as anticipating the much-publicized guests that were scheduled to appear on the benefit’s bill. The evening’s ensemble consisted of Butch Trucks (Allman Brothers), Jeff Austin (Yonder Mountain String Band), saxophonist David Sanborn, Marco Benevento, Danny Barnes (Bad Livers) and, of course, Rob, Chuck, Al, Jim and Vinnie.

Danny Barnes w/ moe. :: 01.22 :: Roseland Ballroom

The evening, which marked the kick off of moe.’s 20th anniversary tour, began with Headseed favorite “Timmy Tucker,” performed with extreme velocity. The crowd took well to the familiar introductory track, and further applauded the in-depth jam session that inevitably followed.

“Tucker” fed into “Bearsong,” which exhibited yet another unbelievable shred session, highlighting what makes moe. moe. – the high peak and plateau riding grooves that give up little if any energy throughout.

The band then welcomed their first two guests of the night, Danny Barnes on banjo and Marco Benevento on keys, for the infamous moe. tune “Captain America,” followed by Barnes’ “Caveman,” where Jeff Austin came out to contribute mandolin.

There was talk leading up the show that the presence of all these different players onstage together might produce a confusing, jumbled mess since the entire group as a whole have never all played with one another simultaneously. As soon as “Captain America” and “Cavemen” were played, all those concerns went right out the door.

Jeff Austin w/ moe. :: 01.22 :: Roseland Ballroom

“Nebraska” was next up in the first set, followed by “Happy Hour Hero.” moe. invited David Sanborn and Butch Trucks up to assist on “Hero,” hinting with Trucks’ presence at some classic Allman tunes to come. Sanborn’s saxophone mirrored the drum and guitar lines throughout “Hero,” creating a fresh – and possibly better – version than the original with the beautiful saxophone infusion.

At the conclusion of “Hero,” Derhak grabbed the mic and said, “We got a singer? Yes.” The bass line started and Jeff Austin took hold of the microphone. The Allman Brothers’ “Whipping Post” ensued, creating absolute musical mayhem (in a good way). It is hard for guitarists (even Al and Chuck) to mimic the hammering of Duane and Dickey, and even Warren and Derek. However, the band adopted the song rather well in terms of providing a complimentary and thorough version of the gem.

Returning from set break, the group (accompanied by Benevento and Trucks) went right into Dickey Betts’ “In Memory of Elizabeth Reed.” Marco on keys was unbelievable throughout, venturing beyond back beats to engage with the wide variety of musicians onstage.

“Shoot First” came and went, followed by “Waiting for the Punchline.” During “Waiting,” Al adjusted the verse to compliment his new ‘supergroup’ bandmates: “Jeff Austin told me about the likes of you.” A hoedown jam arrived after the verses, and Rob yelled, “Jeff Austin and Danny Barnes, everybody – separated at birth!” The fusion of moe., Barnes and Austin was unbelievable, especially during this track, which fit the musicians’ instruments rather well.

moe. :: 01.22 :: Roseland Ballroom

After “Waiting,” Al said, “Mr. Marco, everybody. It’s our pleasure to get to play with Marco finally, and we get to do it with style. We’re going to play one of Marco’s songs now. He made a really cool video for this song that you can see on YouTube. It’s called ‘The Real Morning Party’ and it’s awesome!”

“The Real Morning Party” was followed by “Shake Your Hips.” Then, Austin grabbed the mic again, “So, I gotta say something. When I was first riding around playing music I met the moe. guys and they were just so nice to me. That was ten years ago and they’re still so great to me now. It’s just a pleasure to be playing with these guys. They’re just the best. So, give it up for this great band we got up here! And they wanted to learn one of my songs so we’ll play it right now.”

Austin offered lead vocals on moe.’s cover of Yonder’s “East Nashville Easter.” Benevento remained with the group through “Blue Jeans Pizza,” and then Butch came back out for the set closing “Mexico.”

All guests stepped back on the stage and assembled for the grand finale of this outrageous and unbelievable event. The guitar began, and it took the crowd less than two seconds to figure out the encore. It seemed fitting at this special event that the group closed with one from The Last Waltz. “The Weight” was performed exceptionally well, rotating vocals between members of moe., Austin and Barnes.

“Thank you very much NYC,” Rob graciously pronounced at the end of “The Weight.” “Have a great night everybody. Thank you for coming out. Let’s give a hand for the WHY Band, Marco Benevento on keyboards, Danny Barnes on banjo, Jeff Austin on mandolin and vocals, Mr. Butch Trucks on drums, Mr. David Sanborn, and the rest of you guys for making this all possible. Give yourselves a hand. Have a great night. We’ll see y’all tomorrow night.”

moe. :: 01.22.10 :: Roseland Ballroom :: New York, NY
Set I: Timmy Tucker > Bearsong, Captain America, Caveman, Nebraska, Happy Hour Hero, Whipping Post

Set II: In Memory Of Elizabeth Reed, Shoot First, Waiting For The Punchline, The Real Morning Party, Shake Your Hips, East Nashville Easter, Blue Jeans Pizza, Mexico

E: The Weight

moe. is on tour now; dates available here.

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KRS-One: The Gospel of Hip Hop

THE TEACHA PUTS OUT A TEXTBOOK

KRS-One

KRS-One‘s The Gospel of Hip Hop: The First Instrument – the first book from the I Am Hop Hop/powerHouse Books imprint – is set for a November release.

The philosophical masterwork of KRS ONE, The Gospel of Hip Hop: First Instrument is set in the format of a self-help book. The 800-plus-page opus is a spiritual manual for citizens of Hip Hop Kulture that combines classic philosophy with faith and practical knowledge for a fascinating, in-depth exploration of Hip Hop as a life path. Known as “The Teacha,” KRS-One developed his unique outlook as a homeless teen in Bronx, NY engaging his philosophy of self-creation to become one of the most respected emcees in Hip Hop history.

KRS-One painstakingly details the development of the culture and the ways in which we, as “Hiphoppas,” can and should preserve its future. The Teacha also discusses the origination of Hip Hop Kulture and relays specific instances in history wherein one can discover the same spirit and ideas that are at the core of Hip Hop’s current manifestation. He explains Hip Hop down to the actual meaning and liguistic history of the words “hip” and “hop,” and describes the ways in which Hiphoppas can change their current circumstance to create a future that incorporates Health, Love, Awareness and Wealth (H-LAW).

Committed to fervently promoting self-reliance, dedicated study, peace, unity and truth, the Teacha has drawn both criticism and worship from within and from outside Hip Hop Kulture. In this beautifully written, inspiring book, KRS ONE shines the light of truth, grounded in his own empirical research over a 14-year period into the fascinating world of Hip Hop.

KRS ONE is a philosopher, activist, author, lecturer, and emcee. Since founding canonical Hip Hop act Boogie Down Productions in the mid-1980s, he has released a catalog of 19 full-length albums, along with a star-studded list of collaborations. In 1988 he founded the Stop the Violence Movement, a collective of artists, activists, educators, and entertainers exploring the roots of violence while working to promote the development of positive conflict resolution methods. He is currently producing an album celebrating the organization’s 20th anniversary, with contributions by Nelly, Method Man, Busta Rhymes, the Game, Hakiem Green, Grant Parks, Duane “Da Rock” Ramos and many others. KRS ONE is an accomplished public speaker that’s delivered lectures at over 500 colleges, universities and other venues. In addition to The Gospel of Hip Hop, he is the author of The Science of Rap (self-published, 1995) and Ruminations (Welcome Rain, 2003). Currently KRS ONE is touring the United States with Stop the Violence, urging America’s urban centers to seek non-violent conflict resolution over revenge and war.