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Derek Trucks & Susan Tedeschi Reveal Band Lineup

March 29th, 2010 | No Comments

Derek & Susan Band Lineup Set For Savannah

Derek Trucks by Susan J. Weiand

The Derek Trucks & Susan Tedeschi Band is only a few days away from their debut at the Savannah Music Festival on April 1. We know fans have been eagerly awaiting news about the group’s lineup, so without further delay, here are the players who will join Derek & Susan in Savannah:

Derek Trucks ­– Guitar

Susan Tedeschi ­– Guitar, Vocals

Oteil Burbridge ­– Bass

Kofi Burbridge ­– Keyboards, Flute

JJ Johnson ­– Drums

Tyler Greenwell ­– Drums

Mike Mattison ­– Vocals

Nigel Hall ­– Vocals

Some of these names will sound familiar while others may be new to some of you, but all share a vision for the new project and have been among the rotating cast of musicians hanging in Jacksonville at the Trucks-Tedeschi studio. Expect a lot of brand new material in April produced over the last few months with collaboration and inspiration from the extended family.

Derek Trucks & Susan Tedeschi Band Tour Dates

04/01/2010 Savannah, GA Savannah Music Festival

04/17/2010 Live Oak, FL Wanee Music Festival

04/29/2010 New Orleans, LA House Of Blues – New Orleans

04/30/2010 New Orleans, LA New Orleans Jazz & Heritage Festival

06/03/2010 Boston, MA Bank Of America Pavilion Supporting Jeff Beck

06/05/2010 Hunter, NY Mountain Jam

07/02/2010 Hyannis, MA Cape Cod Melody Tent

07/04/2010 Oxford, ME Nateva Festival


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After Headley, Tiger Hanif to be test case for UK-India extradition

March 24th, 2010 | No Comments

Home Minister Palaniappan Chidambaram left for home Tuesday after meeting key British ministers days before a British judge is to rule on India’s request to extradite Tiger Hanif, a key suspect in the 1993 Surat twin bomb blasts.
Documents containing Indian evidence against Hanif, 49, are understood to have been handed over to British authorities ahead [...]

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Furthur & Friends | 03.12 | San Francisco

March 17th, 2010 | No Comments

Words by: Garrin Benfield | Images by: Dave Vann

Furthur & Friends :: 03.12.10 :: Bill Graham Civic Auditorium :: San Francisco, CA

Lesh & Robinson – Furthur :: 03.12 :: San Francisco

It’s safe to say I wouldn’t have been anywhere on March 12 other than with the guys ushering in the last Golden Age of the Grateful Dead. Furthur, the latest (and possibly greatest) reincarnation of The Boys, gathered for a tour-closing three set show at Bill Graham Civic to celebrate Phil Lesh’s 70th Birthday and to raise money for Haitian Earthquake relief. And though this was a benefit for the Unbroken Chain Foundation, the preeminent concern was throwing a party with and for one of the most important musicians in rock ‘n’ roll, and certainly one of the Bay Area’s most celebrated exports.


Ironically, Lesh has become more of a household name in the outside world since Jerry Garcia died, as various groups under the name “Phil Lesh and Friends” have relentlessly toured the country and become a staple at summer festivals. But Lesh’s contribution to popular (and weird!) music was felt early. Soon after he taught himself to play electric bass in The Warlocks, he quickly established a singular, linear approach to what was traditionally an instrument strictly reserved for a support role.

It would not be an exaggeration to include Lesh in a list that includes towering figures of the low-end like Charles Mingus, James Jamerson, and Jaco Pastorius, in terms of the indelible imprint he has left on the possibilities of his instrument. Phil’s approach and tone are unmistakable once you are familiar with them: a chunky, flat-picked attack that relentlessly propels, cloaked in an EQ wave that somehow allows for both the richest low end “bombs” conjurable and the treble necessary to cut through dense aggregations like the one we witnessed on this night.

Furthur & Friends :: 03.12 :: San Francisco

Like the other members of the Grateful Dead, Phil has a deserved reputation as possibly one of the coolest geeks in rock, a reputation aided by his interest in modern 20th century symphonic and experimental music, and involvement with such out-there projects as Seastones with composer Ned Lagin. But Phil always had deep groove and soul, and though some stories suggest the contrary, he was a great ally and supporter of Pigpen and has always gone out of his way to keep the R&B roots of the Dead alive. On this night alone, Phil chose to play three songs associated with Pig: the rare “Two Souls in Communion,” “Easy Wind” and “Hard to Handle,” a clear nod to the formative days of this band that began stretching out their limited repertoire at long, four-set shows in the mid-sixties and accidentally birthed a new genre of music.

As the Grateful Dead stretched its wings in the hugely inspired period that spilled over into the early-70s, however, it became clear that Jerry was Phil’s true musical brother. Together, on a nightly basis, they wove the single note improvisations that seared the band’s identity into our cultural consciousness. At my second Dead show in the mid-80s, I recall hearing a passing Head say, “When Phil’s on, the band’s on,” a phrase that intrigued me but I did not fully compute then. The rumbling, sometimes sub-sonic importance of Phil’s playing might be the last musical element to filter into a new listener’s head – especially at a questionably mixed stadium show – but once it’s in there, there is really no substitute (even Alfonso Johnson, who subbed for Phil in The Other Ones, comes to mind). Phil literally had to conceive and build the bass that could accomplish what he heard in his head, and for that he should also always be acknowledged as a progenitor of the modern, active pickup electric bass. And though never particularly celebrated for his singing (maybe an understatement), he still managed to compose one of the enduring classics of the country/folk rock period, the lilting, gorgeous “Box of Rain,” a song that elicits rich memories and emotions from people who were alive to hear it drifting from dorm room windows in 1970 and those who first encountered it on hissy third-generation bootleg cassettes.

Furthur & Friends :: 03.12 :: San Francisco

How fitting then that Phil chose to open his birthday show with a gentle acoustic set that included three of the towering pieces of the Hunter/Garcia catalog that he has long publicly admired: “Ripple,” “Brokedown Palace” and the stunning “Attics of My Life.” Bobby sang/whispered “Ripple” with genuine, time-worn sensitivity, Jackie Greene paid perfect respect to “Brokedown,” and all the vocalists, including Chris Robinson (The Black Crowes), “the girls” (Zoe Ellis and Sunshine Garcia Becker) and John Kadlecik seemed to breathe with “Attics” until the room had truly unified. Phil’s beautiful take on “Mountains of the Moon” was also a highlight – it seems years of attempts at getting this song right have finally paid off, with Phil not forcing the vocal but rather very calmly allowing it to happen. With the new arrangement of “Mountains,” Phil has accomplished quite a feat, as the slow psychedelic dirge feels ancient in its roots and quite contemporary in its delivery. The forethought that went into this acoustic set clearly portended very good things for the night and also immediately thrust us into a contemplative state usually reserved for late in a second set. It was almost as if we were experiencing the normal emotional arc of a show in reverse. Disorienting and wonderful.

The electric segment of the evening began with a stand-alone “Scarlet Begonias,” sung by Jackie and driven by drummer Joe Russo in his first appearance of the evening. During the jam, Kadlecik revealed that over the past few months with Furthur he has been allowed, possibly for the first time in his professional career, to truly search for his own voice on lead guitar. The results were refreshingly un-Garcia like, including some microtonal bends that I associate more with Indian classical music than psychedelic rock. Weir followed with a surprise “New Minglewood Blues,” from which he has extracted the normal blues turnaround that we are so used to hearing. It’s so unexpected that the band still seems to struggle with it a bit. It was akin to the strange effect of Weir adding extra bars between verses of a song that you are used to hearing straight. This muscular version proved itself worthy of this important second set slot, though, and the rest of this long set got raunchy, bluesy and occasionally sloppy, and included so many twists and turns as to be pretty disorienting at times. “Viola Lee Blues,” the signature Furthur jam vehicle so far, was broken up into three separate appearances. Chris Robinson screamed mightily during “Hard to Handle,” and the set came to a joyous, if severely mid-tempo conclusion with “Like A Rolling Stone” and “Sugaree.” I tend to like my Dead humble and fragile, but if you lean towards the dark, heavy blues that emerges with this many people onstage, this set was for you.

Furthur & Friends :: 03.12 :: San Francisco

At just after midnight, the band casually reassembled onstage and broke into a very groovy “Not Fade Away” jam, led by Phil and the drummers (John Molo was now onstage) and decorated by the guitarists. As three floats festooned with Mardi Gras-like decorations slowly made their way across the floor, the band jammed on, but did not sing “Not Fade Away.” Instead, where the vocals would have begun, everyone broke into “Happy Birthday” for Phil and hundreds of balloons dropped onto the floor. The band resumed the Bo Diddley jam for another four minutes or so then just sort of stopped. I’m really not sure what happened at this point, but Bobby said, “Well, we’re going to take another short break, but this one’s going to be truly short.” The packed hall was vocal in its confusion, as some momentum had definitely been established, but then just laughed it off and chalked it up to one more strange Dead moment.


“Playin’ In The Band” was a good way to launch into new territory, establish a whole new direction, and erase any confusion from the last segment. The jam out of “Playin’” was dense, with three lead guitarists in Weir, Greene and Kadlecik trying to accommodate one another, and doing so quite well. Weir, in particular, demonstrated such a welcome hospitality all night to his fellow players, not indulging in any of the confusing hand signals or last minute cues we’ve come to expect from him at some of these high profile shows. “St. Stephen” began a show ending sequence of classic tunes that culminated in an inspired, unexpected choice for the ballad slot, “Comes a Time,” sung with real heart by Chris Robinson. It felt a bit off-kilter to have Kadlecik play a tearful, flanged-out solo, but then not resume the lead vocal. It occurred to me at this point in the show how little he had sung at all, in fact. (“Lazy River Road,” which he handled with grace, seemed like eons ago, being the second song of the night.) The last true surprise of the show came next, a breakneck “Cream Puff War,” played with all its mid-60s impatience and bluster intact, and accompanied by two female go-go dancers on either side of the stage. I actually heard some grousing from some Heads about this clearly ironic, showbiz move. I thought it was perfectly good-natured, especially since the song lasted all of two minutes. That’s gotta be a record for brevity for these guys!

“Franklin’s Tower” literally jumped out of “Cream Puff War” and signaled the end of an inspired night. And though the band frequently tests audience stamina these days, the huge, show ending ovations these guys have been getting attest to the feeling that few are anxious to see them go anywhere. It’s as if we are taking this opportunity to really express how lucky we feel to have been a part of this music, and how surreal it is that it’s still rumbling forward, and right here in the center of San Francisco no less, the place of its inception. Phil seemed genuinely humbled before the encore, saying, “Thank you for making this, I would have to say, THE most special birthday of my life.” The response? Another thunderous round of applause. Thank you, Phil!

Phil’s 70th Birthday :: 03.12.10 :: Bill Graham Civic Auditorium :: San Francisco, CA

Set I Acoustic without Russo and with Jackie Greene, Steve Molitz & Chris Robinson:

Ripple, Lazy River Road, Fennario, Two Souls in Communion, Brokedown Palace, A Hard Rain’s A-Gonna Fall, They Love Each Other, Mountains of the Moon, Attics of My Life

Set II without Lane and with Jackie Greene & Chris Robinson:

Scarlet Begonias, Minglewood Blues, Easy Wind > New Speedway Boogie, Viola Lee Blues > High Time > Caution Jam > Viola Lee Blues > Hard To Handle, Viola Lee Blues > Like A Rolling Stone > Sugaree

Set III without Lane and with Jackie Greene, Steve Molitz & John Molo:

Not Fade Away Jam* Float Parade, Happy Birthday Phil!*, Balloon Drop, Not Fade Away Jam >
Playing in the Band > Jam > St. Stephen > The Other One > Elevator > Unbroken Chain, Comes a Time > Cream Puff War* with dancers > Franklin’s Tower

Encore: Johnny B. Goode

Setlist courtesy of phillesh.net

Continue reading for more pics…

Furthur Tour Dates :: Furthur News :: Furthur Concert Reviews

JamBase | California

Go See Live Music!


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Jack Johnson New Album To The Sea & Charity Tour

March 15th, 2010 | No Comments

JACK JOHNSON TO RELEASE NEW STUDIO ALBUM, TO THE SEA, ON JUNE 1, ON BRUSHFIRE RECORDS

JOHNSON ANNOUNCES U.S. SUMMER TOUR; TICKETS ON SALE APRIL 10

JOHNSON TO DONATE 100% OF TOUR PROFITS TO CHARITY

Jack Johnson

Hawaiian-born singer-songwriter Jack Johnson will release his new album, entitled To The Sea, on June 1, 2010, on his own label, Brushfire Records. The first single from the album, “You And Your Heart,” will be released to radio in early April.

To The Sea, Johnson’s fifth studio release, was co-produced by Johnson, his bandmates bassist Merlo Podlewski, keyboardist Zach Gill, and drummer Adam Topol, and Johnson’s longtime engineer Robert Carranza. To The Sea was recorded at Johnson’s two solar-powered studios: The Mango Tree in Hawaii and the Solar Powered Plastic Plant in Los Angeles. Johnson has sold more than 18 million albums worldwide, and over 9 million in the United States alone. His last album, Sleep Through The Static debuted at #1 and remained there for 3 weeks.


Johnson, who will embark on a world tour in support of To The Sea, has announced dates for his upcoming summer tour in the U.S., which begins July 9 in Hartford CT and ends on the West Coast with two nights at the Santa Barbara Bowl on October 13 and 14. Highlights include stops at Madison Square Garden, Jack’s first headline appearance at the Hollywood Bowl, and two nights at the Greek Theatre in Berkeley. Tickets will go on sale to the public on April 10. Visit jackjohnsonmusic.com for news and details about special ticket pre-sales.

For Johnson’s To The Sea tour, his production team, with the support of Reverb and MusicMatters, will continue to pave the way in green touring practices and community engagement. Greening actions include fueling tour vehicles with sustainable biodiesel, offering eco-friendly tour merchandise, and promoting ride share programs. In addition, venues and fans are encouraged to reduce waste, recycle, use water refill stations and offset carbon emissions. Visit jackjohnsonmusic.com/greening for all tour greening details.

Johnson’s tour will also collaborate with over 150 hand-chosen community groups around the world as part of Johnson’s All At Once Community. This year’s All At Once campaign will focus on supporting non-profit groups and engaging fans in the realms of plastic waste reduction and sustainable local food systems. As in 2008, Jack Johnson will donate 100% of his tour profits to charity. Visit AllAtOnce.org for additional information.


U.S. Tour dates are as follows:

07/09 Hartford, CT Comcast Theatre

07/10 Mansfield, MA Comcast Center

07/11 Camden, NJ Susquehanna Bank Center

07/13 Holmdel, NJ PNC Bank Arts Center

07/14 New York, NY Madison Square Garden

07/16 Virginia Beach, VA Virginia Beach Amphitheater

07/17 Columbia, MD Merriweather Post Pavilion

07/19 Toronto, ONT Molson Amphitheatre

07/20 Clarkston, MI DTE Energy Music Theatre

07/21 Cuyahoga Falls, OH Blossom Music Center

07/23 Noblesville, IN Verizon Wireless Music Center

07/24 East Troy, WI Alpine Valley Music Theatre

07/25 Somerset, WI River’s Edge

08/13 Salt Lake City, UT USANA Amphitheatre

08/16 Bonner Springs, KS Sandstone Amphitheater

08/17 Dallas, TX Superpages.com Center

08/18 The Woodlands, TX Cynthia Woods Mitchell Pavilion

08/20 Atlanta, GA Aaron’s Amphitheatre at Lakewood

08/21 Raleigh, NC Time Warner Cable Music Pavilion at Walnut Creek

08/22 Charlotte, NC Verizon Wireless Amphitheatre Charlotte

08/24 Orlando, FL Amway Arena

08/25 Tampa, FL Ford Amphitheatre

08/26 West Palm Beach, FL Cruzan Amphitheatre

10/01 Vancouver, BC General Motors Place

10/02 George, WA The Gorge Amphitheatre

10/03 Ridgefield, WA The Amphitheater at Clark County

10/05 Berkeley, CA Greek Theatre – Berkeley

10/06 Berkeley, CA Greek Theatre – Berkeley

10/08 Los Angeles, CA Hollywood Bowl

10/09 Chula Vista, CA Cricket Wireless Amphitheatre

10/10 Phoenix, AZ Cricket Wireless Pavilion

10/12 Irvine, CA Verizon Wireless Amphitheater

10/13 Santa Barbara, CA Santa Barbara Bowl

10/14 Santa Barbara, CA Santa Barbara Bowl

Jack Johnson Tour Dates :: Jack Johnson News :: Jack Johnson Concert Reviews


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Fix Your Drivers Problems And Make Your PC Faster Posted By : Pearson Johnson

March 13th, 2010 | No Comments

A device driver is a specific program that controls and runs a particular device in a computer for personal or business use.

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1% for the Planet Album Johnson, Browne, Potter, ALO

March 11th, 2010 | No Comments

Artists Raise Money and Awareness with 1% for the Planet Album

1% for the Planet, a global network of 1,200 companies that donate 1% of annual sales to environmental causes, has released a digital music compilation: 1% for the Planet: The Music, Vol. 1, the world’s first music compilation dedicated to supporting non-profit organizations working to create a healthy planet. The album aims to accelerate the 1% movement by engaging more people and inspiring more companies to join.


In early January the album hit #1 on Amazon.com’s MP3 download chart, and broke into the top 50 on iTunes’ bestselling album list. Featuring more than forty tracks for only $9.99, the album can be found on the 1% music web site, and on all major music download sites.

More than 40 musicians have donated music to the album and are featured on the 1% music site. Leading artists, including Jack Johnson, Jackson Browne, and Grace Potter, gave rare and exclusive tracks. “The artists are amazing. They have been incredibly supportive of the project from the beginning, and their passion is infectious. Fans hear the artists’ music and are inspired to get involved themselves” says Melody Grote, VP of Marketing and Acquisitions, 1%.

In the spirit of reducing waste generated from the distribution and disposal of traditional CDs, the album is an all-digital release. At the new 1% music web site, fans can sample and buy the music, see what the artists are saying about their involvement in the cause, and spread the word online. Supporters can visit the site to get a web badge to display on their site or blog, or use social media tools like Facebook and Twitter to spread the word.

Though the release is all-digital, the compilation is also available to offline purchasers. With a greater number of consumers buying CDs only to store them after they’ve saved the music digitally, 1% for the Planet offers consumers and retailers a more earth-friendly option in purchasing music. Eco friendly download cards allow the music to be merchandised in retail stores alongside regular CDs. The download card evokes the look and feel of a CD but is made entirely of recycled paper. Consumers purchase the download card with an enclosed access code which allows them to download the music. The new format is available now to retailers worldwide.

“1% for the Planet: The Music, Vol. 1 is an easy way to make a difference for anyone who loves good music,” says Grote. “Listeners can share the music online with their friends, family and colleagues in order to exponentially increase giving to the environment.”

Details on all 41 tracks can be found at music.onepercentfortheplanet.org.


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Federal Reserve Bank of Dallas President Richard Fisher Joins the Long List of Those Calling for Giant Banks to Be Broken Up

March 3rd, 2010 | No Comments

As Bloomberg notes:Federal Reserve Bank of Dallas President Richard Fisher called for an international pact to break up banks whose collapse would threaten the financial system, a position that goes beyond other Fed officials.While the international as…

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15 Years Ago, the Combined Assets of the 6 Biggest Banks Totaled 17% of GDP… By 2006, 55% … Now, 63%

March 2nd, 2010 | No Comments

You know the big banks have gotten bigger.As Rolfe Winkler noted last September:For the big have gotten even bigger since the start of the financial crisis. At the end of 2007, the Big Four banks — Citigroup, JPMorgan Chase, Bank of America and Wells…

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Bernanke: Pay No Attention to that Man Behind the Curtain

February 26th, 2010 | No Comments

In July 2009, ten Congress members sent Fed Chairman Bernanke the following letter because they were worried that Goldman “is not changing its business model” but is instead “using its regulatory freedom to evade capital requirements and take out…

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ALO | 02.20 & 02.14 | California

February 23rd, 2010 | No Comments

Words by: Dennis Cook | Images by: Josh Miller

ALO/Poor Man’s Whiskey :: 02.20.10 :: The Fillmore :: San Francisco, CA

ALO :: 02.20 :: San Francisco

To say the future feels precarious in 2010 seems a gross understatement. Even the days immediately in front of us seem shaky and unpredictable, and even if our own lives have some stability one need only switch on the news to see it’s not a shared state by much of the planet. Amidst such turbulence, a night of joyfully delivered, passionately built, high quality music is an oasis – an extra serving of solace for our dinged up souls and a respite from the quaking earth and falling bottom lines outside the theater walls. ALO and sympathetic opener Poor Man’s Whiskey created just this sort of environment, conjuring music that bypassed our cares as it dove straight for our collective pleasure center.

What made this pairing – further enlivened by tasty pre-show and ‘tweener sets in the upstairs Poster Room from gifted pop craftsman Chris Velan – so satisfying was not just their significant good time quotient but their ability to weave that vibe with subtle substance. The toss ‘n’ turn of the world isn’t absent in their compositions but neither is it as bloodied and bloodying as the news, politicians and Wall Street can make things. Within both ALO and PMW there lies a core desire to entertain – a yen to tap the lover or child within their listeners – that’s evolved over time to encompass the harder edges of adult reality. So, while many focus on the effervescent qualities of both groups, there’s been something deeper and ultimately more enduring creeping up in their songs for some time now. This marriage of the jubilant and the weighty – splashed by humor, effective showmanship and crowd pleasing covers – proved a very effective recipe at The Fillmore.

PMW with Gill :: 02.20 :: San Francisco

Poor Man’s kicked it off with significant twang that bloomed into a succulent psych groove. One finds the incongruous makes sense in PMW’s sphere, where strangely seamless transitions and a wide musical vocabulary lurk within their surface vaudevillian nature. While they convincingly invited us to “ball that jack,” they were also just as persuasive and emotionally on-point singing about coming home after a long time away. Those less familiar with PMW see them as a fiery, fun string band but increasingly they’re plugged in and anxious to carve out a dynamic sound much closer in spirit to S.F.’s pioneering ’60s rockers. ‘String bands’ don’t bust out extended, vaguely possessed Theremin solos or neatly sculpted space rock trips, and Poor Man’s did both in their rollicking 45-minute set, which also included a visit from all of ALO on an obvious but enjoyable cover of Men At Work’s “Land Down Under” performed because both bands are scheduled to play the Byron Bay Bluesfest in Australia this April. While PMW can come off a touch cartoony at times, yelping about spilling whiskey on the dance floor while winking at the clogging hippies stage front, there’s more to them than their rep sometimes accounts for. So, if you haven’t checked them out in a spell this is a good time to catch up.

A few songs into ALO’s first set – watching the smiling, giddily undulating crowd from the balcony – it occurred to me how easily this could be someone’s favorite band. Every tune, regardless of era or which guy brought it to the table, is so ridiculously well built and insidiously melodic. This music gets stuck in your head and you have no desire whatsoever to banish it. Without sounding precisely like any ancestor in particular – though there’s a pinch of almost every notable pop-rock heavyweight from the past 50 years floating around in their DNA – ALO delivers music with fundamental charm, killer construction and boffo vocals (keyboardist-lead singer Zach Gill, in particular, has one of those endlessly malleable, perfect pop voices on par with past standouts like Squeeze’s Glenn Tilbrook, Todd Rundgren and Paul Carrack). And The Fillmore performance simply accentuated every single positive in their makeup.

Zach Gill – ALO :: 02.20 :: San Francisco

While the setlist steered away from some of the darker currents on their newest and best-yet album, Man of the World (released February 9 and available for stream on JamBase), there were touches of the group’s advancing maturity sprinkled amongst diehard faves like opener “Hot Tub” and a sly, jazzy “Plastic Bubble,” the latter featuring a cool sit-in from guitarist Mark Karan (RatDog). For instance, the new record’s title cut seemed all sweetness and light if you just bopped to it, but parse the lyrics and you’re in the shit, brushing elbows with a man of war who don’t know why he’s waging it and can never quite seem to get enough. The ability to merge heft with lilt is rare and one of several elements in today’s ALO that remind me very acutely of late period Beatles, with the added bonus of rarely aping Lennon and McCartney’s moves.

While a majority of the audience seemed most tickled by established, older material, it was the new songs – every last one of them – that laid me flat. The first set ending one-two punch of “I Love Music” crashing into a ballsy, delightfully calamitous version of “The Champ” proved a fantastic juxtaposition that first crept up one’s thigh with a grin only to eventually knock one for a loop with drummer-vocalist Dave Brogan‘s modern zeitgeist capturing lyrics:

Every morning when he wakes up
He looks out his window and wonders about leaving
He’s dialing in distant DJs
And thinking about feeling
And he starts thinking about all the signals he’s receivin’
And whether they’re worth believin’
Probably not

It’s a safe bet that ALO will always throw a damn fine shindig live, but my gut says it’s their growing depth and sophistication as players and composers that will put them in the rock history books. Two of the key themes ALO is exploring these days are the constant influx of input we all receive and the insidious notion that there’s never enough to satisfy the ache inside us. In exposing these ideas to sunlight, debunking them and offering a restorative respite to all the hustle ‘n’ bustle – as they did at The Fillmore – ALO is forging music that makes folks happy and maybe does them some greater good, too.

Continue reading for a review of ALO in Los Angeles earlier in the week…

Words & Images by: Patrick Mucha

ALO :: 02.13.10 :: The Troubadour :: Los Angeles, CA

ALO :: 02.13 :: Los Angeles

ALO‘s performance at The Troubadour in Los Angeles was a great reminder that music, like love, is supposed to be something fun that brings people together, and luckily, ALO bassist Steve Adams‘ mom was there to reinforce the lesson.

The proud mother, on tour with the band, was happily mingling in the front lobby of the famous L.A. venue, introducing herself to show-goers and telling stories from the “Tour d’Amor” opening performances that she had been a part of in the coastal cities of Southern California just days before.

The Troubadour seems an unlikely place to hang out with anyone’s mom, really. Though quaint and intimate, it’s a venue that has an outstanding timeline, housing some famous events in musical history – though usually the ones where elements of “family” and “love” were likely pretty heavily ignored. This, after all, was one of the venues Lenny Bruce was arrested at for public obscenity, the place where acts such as Cheech & Chong and Guns N’ Roses were discovered and made famous, and reportedly was one of the spots Janis Joplin partied the night before she was found dead of a heroin overdose in the nearby Landmark Hotel.

But ALO is not the type of band to get caught up in the self-destructive stereotypes of typical rock ‘n’ roll, and the fact that their families were a part of the tour was actually not such an anomaly: The band’s latest studio effort, Man of the World released just four days prior to this performance on Jack Johnson‘s Brushfire Records, contains the voices of ALO keyboardist-singer Zach Gill‘s daughter and Johnson’s children as well. The kids were onsite when the band tracked the recordings live over a three-week session at Johnson’s recording studio in Hawaii, and are frequently brought on tour with their families to support their fathers when scheduling permits.

Adams & Gill – ALO :: 02.13 :: L.A.

Many of the songs from Man of the World were nicely woven into to the band’s usual Tour d’Amor repertoire of sing-song, happy melodies and up-beat, dance-friendly jams, but the smooth combination wasn’t from any attempt at sneaking the new material in – the album’s title track kicked off the show opener after a supporting set from singer-songwriter Chris Velan. New songs “Big Appetite” and “Country Electro” soon followed, mixed in with the older fan-favorites “Walls of Jericho,” “Plastic Bubble,” “BBQ,” and an extended version of “Try” that contained a mashed up cover of Neil Young‘s epic ballad “Helpless” intermingled without breaking the rhythmic style of “Try” during an instrumental flurry.

Second set highlights included a formal introduction to the crowd of Adams’ parents and Gill’s mother, who was also in the VIP section of The Troubadour’s balcony for this performance. As the band introduced the song “Valentine’s Day,” Gill described its lyrical origins as a summary of an incident that occurred many Valentine’s Days ago when Adams’ car broke down in the small suburban town of Gilroy, CA, and their mothers rescued them from the ordeal.

The lengthy set two closer mashed up “I Love Music,” a song that also ends Man of the World, with the band’s older classic “Time is of the Essence,” and culminated with a breakdown from Michael Jackson’s “Wanna Be Startin’ Somethin’.” The song was introduced as a “time warp” by guitarist Dan Lebowitz, a fusion of young and old, and prefaced a double encore of “Put Away the Past” and “Maria” that would leave the audience with a love song ringing in their ears as they left, now after midnight and officially Valentine’s Day.

Though she did seem like the band’s biggest fan while cheering loudly and dancing freely in the balcony the entire evening, ALO definitely gave much more than a performance that only Steve Adams’ mother could love.

The Tour d’Amor concludes with four more dates in the Pacific Northwest with Galactic beginning Wednesday, February 24. Full ALO tour dates available here.

ALO :: 02.13.10 :: The Troubadour :: Los Angeles, CA

Set I: Man of the World, Monday, Big Apeptite, Try (Helpless), Walls of Jericho, Shine, Country Electro, Plastic Bubble, BBQ
Set II: Don’t Touch My Stuff, Valentine’s Day, Wasting Time (IV Song), Spectrum, Suspended, Girl I Wanna Lay You Down, I Love Music > Time is of the Essence (Wanna be Startin’ Somethin’)

E: Put Away the Past, Maria

For more on ALO see our recent feature/interview here. And don’t forget, you can stream ALO’s brand new album on JamBase.

Continue reading for more of Josh Miller’s ALO in San Francisco pics…

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ALO Tour Dates ::: ALO News ::: ALO Concert Reviews


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Valentine’s Day Crunch Crumbs: Tila Tequila Hospitalized After Fall; Lady Gaga Dating Single Dad; Dystonia Cheerleader Hoax

February 15th, 2010 | No Comments

-John Mayer’s Racist Penis Speaks!
-A tour bus carrying the band of country music singer Trace Adkins was involved in a fatal car crash in Louisiana on Saturday….
-Lady Gaga is dating a single dad she first met in college…..
-Magic Johnson is in talks to purchase Ebony and Jet Magazines…..
-”Pregnant” reality star Tila Tequila was hospitalized after [...]

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Magic Johnson to buy publisher

February 15th, 2010 | No Comments

Retired NBA star Earvin Magic Johnson is in talks to purchase Johnson Publishing, home to Ebony and Jet magazines and an archive of iconic photographs documenting US black life for more than half a century. His company has partnerships with Starbucks Corp, 24 Hour Fitness Worldwide Inc and TGIF.Retired NBA star Earvin Magic Johnson is in talks to purchase Johnson Publishing, home to Ebony and Jet magazines and an archive of iconic photographs documenting US black life for more than half a century. His company has partnerships with Starbucks Corp, 24 Hour Fitness Worldwide Inc and TGIF.

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Vieira, Johnson make strong debut

February 11th, 2010 | No Comments

Roberto Mancini paid tribute to two players at either ends of their careers after Manchester City boosted their bid for a fourth-place finish in the Premier League with a 2-0 victory over Bolton. Carlos Tevez, from the penalty spot, and Emmanuel Adebayor scored the goals that secured the threeRoberto Mancini paid tribute to two players at either ends of their careers after Manchester City boosted their bid for a fourth-place finish in the Premier League with a 2-0 victory over Bolton. Carlos Tevez, from the penalty spot, and Emmanuel Adebayor scored the goals that secured the three

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Warren Sapp Arrested For Domestic Violence

February 7th, 2010 | No Comments

Warren Sapp — a retired all-star NFL lineman in South Beach for the Super Bowl — was arrested by Miami Beach Police Saturday after allegedly hitting his girlfriend.

Miami Beach Police detectives tell The Atlanta Journal-Constitution that Sapp was taken into custody at approximately 5 AM Saturday morning, following an alleged incident with a female [...]

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Casey Johnson Died Of Diabetes Ketoacidosis

February 4th, 2010 | No Comments

Johnson & Johnson heiress Casey Johnson struggled to control her almost lifelong battle against diabetes for more than 20 years — and the disease ultimately killed her. Johnson died of “diabetic ketoacidosis” — described as “an absolute shortage of insulin” — the Los Angeles Coroner announced on Thursday.
The cause of death was “natural.”

The [...]

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The Vic Shows: A Celebration of Vic Chesnutt’s Life and Music

February 3rd, 2010 | No Comments

The Vic Shows: A Celebration of Vic Chesnutt’s Life and Music

Legendary singer/songwriter Vic Chesnutt died on Christmas Day. On February 19 and 20, Athens GA’s 40 Watt Club is hosting a special two night tribute to the man. Billed as: “The Vic Shows: A Celebration of Vic Chesnutt’s Life and Music,” the shows will feature Bloodkin’s Daniel Hutchens, Widespread Panic/Brute drummer Todd Nance, Centro-matic’s Will Johnson, producer John Keane, Dave Barbe, Elf Power, Howe Gelb, Lambchop, Victoria Williams and more. Details below.

The Vic Shows: A Celebration of Vic Chesnutt’s Life and Music Lineup:

Vic Chesnutt

Night I | February 19

Five Eight

Daniel Hutchens (of Bloodkin)

Jack Logan and Kelly Keneipp

Ham1

Dave Barbe & the Quick Hooks

Todd McBride and Rob Veal

Kelly Hogan

Amorphous Strums

Ben Mize

Curtiss Pernice and Sam Mixon

Flash to Bang Time

Todd Nance and William Tonks

Jill Carnes

John Keane

Night II | February 20

Will Johnson (of Centro-matic)

Elf Power

Victoria Williams

Howe Gelb

Mercyland

Guy Picciotto and Mt. Zion

Lambchop

Tenement Halls

Mark Linkous

Jeffrey Richards

Tickets available at 40watt.com.


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Jack Johnson: Tour Dates

February 2nd, 2010 | No Comments

JACK JOHNSON ANNOUNCES TOUR DATES

Jack Johnson

Jack Johnson has announced 15 tour dates for 2010, spanning April, June and July. With no shows slated for the continental U.S., stops include Australia’s Byron Bay Bluesfest, England’s Glastonbury Festival and Hawaii’s Kokua Festival.

Given Johnson’s preferred, limited live appearance nature, it’s unsure whether the singer/songwriter will add additional 2010 dates.

Ticket and individual show information can be found here.

Jack Johnson Tour Dates

04/01/10 Thu East Coast Blues & Roots Music Fest Byron Bay, AU

04/03/10 Sat East Coast Blues & Roots Music Fest Byron Bay, AU

04/23/10 Fri Waikiki Shell Honolulu, HI

04/24/10 Sat Waikiki Shell Honolulu, HI

06/16/10 Wed Tempodrom Berlin, GER

06/18/10 Fri Southside Festival Neubiberg, GER

06/19/10 Sat Hurricane Festival Scheeßel, GER

06/21/10 Mon Heineken Music Hall Amsterdam, NL

06/23/10 Wed Zenith Paris, FRA

06/26/10 Sat Eden Project Cornwall, GB

06/27/10 Sun Glastonbury Festival Glastonbury, GB

06/29/10 Tue Cardiff International Arena Cardiff, GB

06/30/10 Wed O2 Arena London, GB

07/02/10 Fri Rock Werchter Festival Werchter, BEL

07/04/10 Sun Roskilde Festival Roskilde, DK

For more on Jack Johnson, see our exclusive feature/interview here.


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Fight Over “American Idol” Leads To Attempted Murder!

January 31st, 2010 | No Comments

A Florida woman was so upset and agitated after arguing with her boyfriend over the new season of American Idol, she stabbed him.
Police in St. Petersburg have arrested Cynthia Bettis-Ware, 52, on charges of first-degree attempted murder after she stabbed live-in love Kevin Johnson, 47, before scalding him with a cup of hot chocolate, [...]

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Evening Crunch Crumbs: ESPN’s Paul Shirley Fired Over Haiti Remarks; Snooki Snubs Springer; Mel Gibson’s Father Is Even Battier Than He Is

January 27th, 2010 | No Comments

-Only in New York! Some Looney Bird Johnson got caught molesting a poor chicken on NYC’s busy6 Train — which runs between Manhattan and The Bronx — on Tuesday night. Where’s PETA when you need them?
-ESPN.com blogger Paul Shirley has been fired over controversial comments he made in a blog about the Haitian earthquake:“I haven’t [...]

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Albums of the Week: January 22-28

January 22nd, 2010 | No Comments

JamBase Albums of the Week | January 22-January 28, 2010

Dennis’ Pick of the Week
The Society of Rockets: Future Factory (Underpop)

The future has of late not been so bright we need shades. Enter this under-known S.F. marvel to paint the sky with ROYGBIV colors as rhumba beats tickle our heels. An inscription on their site observes, “We’ve been thinking a lot about how buildings should be less like caves and more like treesÂ…about how the future looked brighter in the pastÂ…Here’s to new beginnings!” Sweet but not syrupy, Future Factory ladles Summer of Love vibes – bright strokes and beatific harmonies – over a thick, cerebral stew – a dish both homey in its immediate satisfaction yet modernly dense. There’s the tomorrow clang of H.G. Wells and the rocket ship ’50s wedded to batucada shimmy and a sonic inquisitiveness that’s positively intoxicating. A 21-track opus (available for download now and in March on double vinyl) is a ballsy move by any band, but Future Factory holds up under repeated spins, and in fact grows by leaps and bounds as one picks up on the connective tissue and observant, restorative lyrics. While it may not jump out as an immediate modern classic like their previous release, Our Paths Related (JamBase review), this song cycle full of breakneck changes, head snap inducing guitars, fabulously swoon-y vocals, and hip shaking rhythms continues the evolution of a truly terrific band hell-bent on making some of the most interesting, satisfying rock today. They have succeeded with flying colors once again. (Dennis Cook)

Ron’s Pick of the Week
Four Tet: There Is Love In You (Domino)

“I think a lot of Four Tets (sic) awesomeness roots in the contrast of slick/clean and random/dirty,” recently gushed someone in the comments sections of the recent “official leak” of Four Tet’s long-awaited new full-length on the Soundcloud website (the official release date is January 26). Given the complexity by which Kieran Hebden crafts his grooves, I was at first a little put off by reading this statement. How could someone deduce the agenda of this otherwise multifaceted artist to such black and white terms? But after giving some thought to this tidbit of wisdom left in the wake of the near 30,000 plays There Is Love In You has streamed on Soundcloud (posted by Hebden himself) over the course of this past week, especially when thinking in the context of the totality of the Four Tet catalog, it soon becomes clear that this kid’s clean/dirty theory to his music is actually spot-on. And whether or not you will consider There Is Love In You, the former Fridge guitarist’s fifth full-length under his longtime solo guise, to be a misstep or a masterpiece will likely depend on how you take your Tet. For those who like the chaotic cacophony of his recent work, particularly his brain-rattling collaborative LPs with legendary jazz drummer Steve Reid, as well as his last proper full-length, 2005′s Everything Ecstatic, the strong club vibe this new album gives off with its unapologetic use of cooing female voices and dubstep-inspired rhythmic hops might certainly be met with cries of “sell-out” from the experimental end of the Four Tet fanbase. However, for those who give this remarkable work a deeper and more educated listen – preferably with headphones or within the confines of a soundproof automobile at high volume – and take in all of the intricacies interwoven within these songs’ more dance-ready tendencies – the subtle use of Hebden’s beloved ring modulator, atmospheric Slint-like guitar passages, throwback illbient vibes, elements of such exotic instruments as harp and kora – and you will appreciate There Is Love In You as Hebden’s finest and yes, cleanest album since Rounds and most straightforward release since Pause. Amazing, amazing stuff right here. (Ron Hart)

Beach House: Teen Dream (Sub Pop)

Already shaping up to be this year’s Grizzly Bear-esque anointed joint, Beach House’s third long-player (arriving January 26) is decidedly more direct than Veckatimest, though there’s a shared harmonic reach and woozy beauty that’s pretty bloody charming. The duo of Victoria Legrand (niece of legendary composer Michel Legrand) and Alex Scally ooze ’60s melancholy pop vibes, though their candy colored lens is suitably cracked and teeth pocked for modern times. This spins along like a light bedecked carousel filled with the smitten and those smited by amour – a romantic haze that’s thick but not treacle-y and a fine update of what Dusty Springfield, Lesley Gore and Lee Hazelwood once wrought. (DC)

Emancipator: Safe In The Steep Cliffs (self-released)

Fresh out of Portland, Emancipator’s sophomore effort (released January 19) offers a revitalizing glimpse into auditory canvas of one the electronic scene’s budding new gems. Effortlessly meshing subtle melodies with delicious doses of downtempo and seductively silky songwriting, Emancipator builds around a beat to form a heavily layered, well-produced collection of 14 tracks. From opener “Greenland” and its sultry strings to the laid-back, dubby hand-clap “Kamakura” to the worldly melange of textures and samples of the album-closing title cut, he has a way of transforming live instrumentation into a multihued portrait that looks towards the likes of Bonobo, Bluetech and Sigur Ros, performed with its own potion of delicate intricacy. (Chris Clark)

Kevin Barker: You and Me (Gnomonsong)

As one man John Fahey tribute band Currituck County, Kevin Barker was an instrumental staple of the East Coast “freak folk” movement. But on his first album under his own name (released January 19), the go-to guitarist for such acts as Vetiver, Espers, Antony and the Johnsons and Devendra Banhart showcases his talents as a songwriter with this lovely collection of rural country rock gems crafted with the help of such pals as Wilco’s Pat Sansone, Shins sideman Eric Johnson and Drag City chanteuse Joanna Newsom among others. (RH)

Overmountain Men: Glorious Day (Ramseur)

Rebel pluck, flamenco echoes and “Curtis Lowe” Skynyrd-isms – Overmountain has it all. From the “Death To Tyrants” and May 20, 1775 inscriptions and band photos that paint them as musical soldiers, this project – which includes unsung Avett Brothers bassist Bob Crawford – is actually more wide-angled and swinging than these signposts suggest. Underground mainstay David Childers‘ perfectly Haggard voice provides grit and a classic country feel (with a broader world view), and this debut (arriving January 26) exudes the boisterous bonhomie of its creation. Joe Strummer would’ve loved this. (DC)

The Silent League: Â…But You’ve Always Been The Caretaker (Something in Construction)

Named after the enigmatic line at the end of Stanley Kubrick’s The Shining, the latest title from sometime Mercury Rev keyboardist Justin Russo‘s chamber pop group looks to gap an unlikely bridge separating Van Dyke Parks’ Song Cycle and Kanye West’s 808s and Heartbreak on this strange, beautiful album about the future. Make sure you check out the bonus disc, however, which contains a bevy of worthwhile Silent League odds and ends, including great covers of ELO’s “Can’t Get It Out of My Head” and Alicia Keys’ “No One.” (RH)

Collin Herring: Ocho (self-released)

Herring arrives with a strange angled honesty, a dustbowl true voice whispering about doubts and the hard things he’s seen, yet also capable of gently hooky rockin’ and moody drift. Ocho, beautifully produced by Centro-matic‘s Will Johnson, is a dense half hour whose melancholy tendrils grip one long after it’s over. Kindred spirits include Clem Snide’s Eef Barzelay, Vic Chesnutt and Jim James, but Herring, particularly in these well carved settings, has a thoroughly compelling voice of his own that’s perfect for crawling inside and shutting out the day. (DC)

Elvis Costello & The Attractions: Live at Hollywood High (Hip-O/UMe)

Originally recorded for a promotional 7-inch that was given away with copies of Armed Forces in 1979, this explosive concert that went down on June 4, 1978 at the Hollywood High School auditorium finds a then 23-year-old Elvis and the original Attractions blasting their way through favorites from Costello’s first two albums, 1977′s My Aim Is True and 1978′s This Year’s Model, while previewing cuts from Forces, including a beautiful piano-only version of “Accidents Will Happen.” Produced by Nick Lowe, Universal’s Costello Show series continues to impress with this monumental showcase for the savage young Elvis at the peak of his punk powers. (RH)

The Len Price 3: Pictures (Wicked Cool)

Mods arise! Shamelessly lifting from the usual ’60s sources and more modern templates like Teenage Fanclub and Holly Golightly, the LP3 succeed in making exceedingly well-tread ground seem freshly furrowed. The songs are pure dynamite – from the ’60s Pete Townshend-esque title cut to the Help! era Beatles style of “After You’ve Gone” to the Jam-y growl of “If You Live Round Here” – and the spit ‘em out with apostolic gusto over a tight instrumental snap. No new ground broken but who gives a damn when the music’s this bloody fun? This could bring back the Frug and Hully Gully in a big way! (DC)

The Hotrats: Turn-Ons (Fat Possum)

As The Hotrats, Gaz Coombes and Danny Goffey of England’s venerable modern rock underdogs Supergrass unleash a fun, excellently executed collection of quality cover tunes that includes inventive remakes of the Beastie Boys’ “Fight For Your Right (To Party),” the Sex Pistols’ “EMI,” and The Doors’ “Crystal Ships” interspersed with faithful renditions of such AOR snob faves as Pink Floyd’s “Bike,” The Kinks’ “Big Sky,” David Bowie’s “Queen Bitch,” and a great take on Roxy Music’s “Love is the Drug.” Produced by the great Nigel Godrich (Beck, Radiohead), Turn-Ons sounds like the Grass boys secretly dubbed 40 minutes of my old radio show in college and decided to make it an album. Good show, lads! (RH)

Jason Boesel: Hustler’s Son (Team Love)

After more than a decade drumming for the likes of Rilo Kiley and Bright Eyes, Boesel drops his first solo album, and it’s every bit as well crafted and appealing as any of his associations. Hustler’s Son (released January 12) has the warmly caressed feel of ’70s FM, slipping between countryish chooglers (“Black Waves”), what could be prime Lindsey Buckingham (“French Kissing”) and Yacht Rock gold (“Miracles”). Aided by pals Jonathon Wilson, Benmont Tench, David Rawlings and Blake Sennett, this is a creeper likely to become a repeat spin favorite, its bittersweet, worldly-wise optimism finding a ready home in one’s breast. (DC)

Harvey Milk: Harvey Milk (Hydrahead)

The first recordings of the recently reunited Athens, GA, stoner/noise heavyweights Harvey Milk, produced by Shellac’s Bob Weston sometime in the early ’90s, have been floating around the Internet via various Mediafire and Megaupload links on more educated Blogger sites for years. But thanks to the band’s new label, Hydrahead, the barely audible, lo-fi hiss and sonic corrosion that made this ultra-rare debut album such a challenge to listen to has been cleaned up thanks to a beautiful remastering job worthy of the Maxell XL II 90 minute tape that graces the cover of this long-overdue reissue (arriving January 26). (RH)

Editors: In This Light And On This Evening (Fader)

This proffers a glass and chrome futurism that’s besmirched with the oils and complications of human fingerprints. Finally seeing a U.S. release on January 19, this set has already garnered serious European love, and if one is a fan of early Depeche Mode and other bastions of New Romanticism it’s easy to see why. Tom Smith‘s keening pipes suggest a (un)happy meeting point of Sisters of Mercy, Bauhaus and Muse, and the music’s grimy click ‘n’ thump proves fairly stirring, if one’s open to such baroque silicon constructions. (DC)

Fucked Up: Couple Tracks: Singles 2002-2009 (Matador)

One of the most inventive, original hardcore bands to ever set fire to North America gathers up all of the previously uncollected, one-off 7- and 12-inchers the Canadian sextet recorded for various labels over the course of the ’00s on this jam-packed two-disc set. For anyone who likes screaming vocals and throat-stomping riffs offset by jazz flute and a melodic style as influenced by Unrest as it is the Cro-Mags, this incidental anthology is a great beginner’s guide to the most exciting, innovative band on the hardcore circuit. (RH)

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