In 2005, R. Kelly ended his seventh studio album, TP. 3 Reloaded, with a five part mini ‘hip-hopera’ entitled ‘Trapped In The Closet’, hilariously telling a twisted soap opera-like story to an R&B beat. Twenty-two music videos later, Kelly shows no signs of slowing down, preparing to debut the next installments on IFC. Now, Rolling Stone is reporting that Kelly revealed at a recent Q&A that not only does he have 85 chapters complete in the studio, but that he is working on bringing ‘Trapped In The Closet’ to Broadway.This can be nothing but awesome. If you’ve seen the videos, they are jaw-droppingly hilarious. Kelly knows just how ridiculous they are, and plays along, whether it be with a twinkle in his smile, or terrible green screen effects. It ends up just being an absolutely over the top hilarious video, and you can’t help but want more, and more, and more.If R. Kelly himself appears in the Broadway show, I’m thinking this thing would be sold out for months. Seriously, run through Trapped In The Closet with Kelly on stage, then bring out a choir, bust out ‘I Believe I Can Fly’, and close the curtains. Instant Tony award. Between the TV Show on IFC and the Broadway Show, if he makes this a movie we could be talking EGOT.New chapters of ‘Trapped In The Closet’ premiere on November 23rd at 9/8c.Watch the ‘Trapped In The Closet’ Videos Here:
Initial plans for a Black Sabbath North American tour have been revealed by bassist Geezer Butler, as well as plans to tour South America and Europe from July through December, upon finishing the dates for their already announced tour dates. According to Butler, via Consequence of Sound:“We start at the end of April in New Zealand, then we go to Australia, then Japan. June, we’ll be promoting the album, then July and August [is] USA. Then October is South America and Europe in November and December.”Another interesting tidbit of information to come from Butler was regarding just who will be playing drums with Sabbath. What we definitely know is that original drummer Bill Ward will not be joining due to “contract disputes” stemming from last year’s reunion shows, which also kept him from playing those shows. Butler went on to comment that the gig is up between Rage Against the Machine‘s Brad Wilk, who is the drummer on their new album 13 (due out in June), and Tommy Clufetos, who tours with Ozzy Osbourne and played the kit for last year’s Sabbath reunion shows. Butler had to say this:“We’re not sure yet. We don’t know because I think Brad’s got commitments with Rage Against The Machine. So it’ll probably be either Tommy or Brad, depending on their commitments.”Well, if that wasn’t a bomb dropped out of the sky. Commitments with Rage Against the Machine? Are you kidding? Expect the rumor mills to start flowing, because that would be some of the biggest news of 2013. Though Tom Morello recently told Rolling Stone that there is no plans for the band to make a comeback, and they were just concentrating on XX, the 20th Anniversary reissue of their self-titled album, it seems that these days anything is possible. And, at this point, RATM fans would salivate at any inkling of hope that De La Rocha, Morello, Wilk, and Commerford would once again share the stage together.As we know more, with regards to both situations, Live for Live Music will keep you posted.
In between Mule’s two sets was a magical fireworks show at the top of the mountain, although I enjoyed it from a distance. Late night Saturday night was an act many, many people were extremely excited for: Pretty Lights‘ debut on Hunter Mountain. The festival even released special $35 late-night tickets for those individuals who strictly wanted to enjoy the electrofunkmixmaster from Colorado. He played a wide range of tracks, old and new, including some he very rarely drops or hasn’t for some time. The lasers were mesmerizing as they flickered into the mountains, especially through the fog machines. Props to the sound, light, and stage crew for working hard to set up all of that awesome equipment. I was upset I had to miss Jackie Greene‘s set for Pretty Lights, but I had recently seen him at the Brooklyn Academy of Music with Phil Lesh & Friends and Warren Haynes, so I opted for PL. From what I hear Greene played some Dead covers during his set. The festival began on Thursday, June 8, and although a couple of other bands played during the day, Dark Star Orchestra got the evening started in their classic, feel-good fashion. They are always a fun fan favorite at any festival. Umphrey’s McGee played the late-night set that evening. This was my first time seeing Umphrey’s live, and they definitely blew me away. Their sound switches so efforlessly from funky and groovy to completely rockin’ and heavy alternative/prog rock (Ryan Stasik is a boss on the bass). Umph performed their song, “Thin Air” with Warren Haynes to close out the first set, and ended their second set with, “Driven to Tears”, a cover of The Police. Mountain Jam Festival was graced with the luck of beautiful weather for its 10th anniversary, as well as outstanding performances from every artist on who stepped foot onstage. Perched atop Hunter Mountain in Hunter, NY, this annual music festival in the Catskills provided the perfect way to start the summer and festival seasons in the tri-state area. This was my first year at Mountain Jam, so I’m happy to say proudly that the festival was as amazing as I imagined it would be. The general atmosphere and vibe was warm and welcoming for the entirety of the weekend, and this sentiment rings true for the mood of the music, as well. Bob Weir with The Avett Brothers @ Mountain Jam X – “The Race is On” The Allman Brothers Band – “Dreams” – Mountain Jam X : Beats Antique played the late-night set on Friday, performing many of their popular tracks, including, “Roadworthy”, featuring Antibalas’ horn section, as well as, “Beelzebub” ft. Les Claypool. It was somewhat of a sentimental performance for Beats Antique, as it was their stage manager, Matt’s, last show after 10 years of working with the band. Dave Santori also mentioned that he and the lovely Zoe Jakes have been married for that same length of time. Zoe brought all her props, costumes, and drums, as she creatively blended the art of belly dance and traditional Indian folk dance/storytelling. I must note that I really appreciated the addition of ASL interpreters for select musical acts, notably Ratdog, Gov’t Mule, and The Allman Brothers. Next time you’re close up front to the stage at a show or festival, take a look and see if they have ASL interpreters for that artist. It’s a really thoughtful way to allow fans to enjoy music they may not be able to hear as clearly as they once did. Another cool thing to investigate is the charity created by Michael Franti & Spearhead. I know they always bring a special fan onstage, and this Mountain Jam was no different. They discussed their charity, Do It For The Love Foundation, which is “a nonprofit wish granting foundation, that brings people in advanced stages of life-threatening illness, children with severe challenges, and wounded veterans to live concerts”. In addition to having someone’s wish granted onstage through this charity, a man also was brought onstage to propose to his fiancee, followed by the song “Say Hey (I love You)”, which was also a notably magical moment. This whole festival felt like one big musical hug. I can’t wait to see what next year has in store ! On Friday, funk-arobeat horn/percussion ensemble, Antibalas, played an afternoon set on the East (Main) Stage. They also had a late-night set in Healey Hall, the indoor stage, at the same time as Beats Antique, although Beats was on the Main Stage for the Friday late-night spot. Some noteable afternoon performances from Friday include Mountain Jam staple, Robert Randolph & The Family Band, as well as a rookie band, The Weeks, who the crowd definitely seemed to enjoy. Other highlights from Friday include Trampled by Turtles and The Avett Brothers, featuring a cameo by Bob Weir. Bob and Ratdog will be playing a 90-minute set to open for The Avett Brothers at Red Rocks Ampitheatre July 11. Friday evening, indie band Moon Taxi opened up for Ratdog on this same smaller (West) stage. Their ethereal sound echoed in the mountains and perfectly set the mood for Ratdog. Definitely check out Moon Taxi! I’ve heard some of their songs before, so I was super stoked to see them get the opening slot for Bob. Bob Weir & Ratdog were back on the mountain for the first time since 2008 (Moutain Jam IV), and put on one of the best Ratdog shows I’ve personally ever seen. Songs that featured cameos from other artists include “West L.A. Fadeaway” & “Don’t Let Go” ft. Jonathan Wilson, and “Dark Star”, “Playin’ in the Band”, and the encore “Johnny B. Goode” ft. Warren Haynes. Bobby and the boys also treated the crowd to an epic rendition of “Terrapin Station”, which featured a hilarious impromptu interlude by the drummer, Jay Lane (“On your cell phone vi-deee-oooo!”) when Bob took a discreet, yet short break. Bob really stays true to the classic improv style of jam made ever-so-popular by The Dead. You can catch Bob Weir & Ratdog with The Chris Robinson Brotherhood (who had a set on Sunday at Mtn Jam) at L4LM’s event at Pier 97 Monday, August 18th. Here is that impeccable performance of “Terrapin Station” by Ratdog: On Sunday, another fellow who has toured with Phil Lesh & Friends recently, Anders Osborne, played an early, yet still rockin’ set, followed by performances by London-natives The Treetop Flyers, as well as The Chris Robinson Brotherhood, who are currently on tour and will appear with Bob Weir in Manhattan at Pier 97 this August (as mentioned before). The highlight of Sunday, as well as the closer of the festival, was The Allman Brothers Band. This performance marks once of their last nine performances ever together as a band, as Trucks and Haynes will be leaving in 2014 to focus on their own respective projects. Allman Brothers treated the insanely packed crowd to their two first albums, Idlewild South and The Allman Brothers Band. Fans at Mountain Jam got to hear the original “Midnight Rider”, after hearing Pretty Lights’ rework of it the night prior. The Allman Brothers played through the sunset, a perfect end to a truly enjoyable festival. Snippet of Pretty Lights‘ illuminating set: Saturday’s lineup featured two sets by Sister Sparrow, an early set on the main stage, and an afternoon Led Zeppelin tribute set on the indoor stage. Damian Marley and co. radiated Jamaican pride during his reggaelicious set; I was really excited to hear “Make it Bun Dem” and “Welcome to Jamrock” performed live, as well as some original Bob Marley tunes mixed in. Tedeschi Trucks Band performed in the early evening, and they are always a pleasure to see. Such talent and love in that band, and they have also recently announced dates for a tour this Fall. Gov’t Mule headlined Saturday night, playing a bevy of their original tracks, in addition to some stellar covers. I heard a tease of The Beatles‘ “Norweigian Wood” at one point, as well as a mini “St. Stephen”. They most definitely covered Tom Petty‘s “Breakdown”, which was marvelous considering right around this time last year I saw Tom Petty at Bonnaroo. Gov’t Mule a fantastic cover of The Dead‘s “Sugaree”, and even brought Eric Krasno and the uber-talented Susan Tedeschi onstage for their rendition of “Tell Me Something Good”. Mule ended their set on an epic note, covering several classic tracks by The Doors: “People Are Strange”; “Five to One”; and “Break on Through”. -Alexandra Miller (@getbakedpetcats)(cover photo courtesy of Brenda Moran Waters)
The connection between Jack White and Loretta Lynn goes back for years, as White produced Lynn’s 2004 Grammy-winning album Van Lear Rose. White is known for revering legendary musicians, and Lynn, who has been active for over 50 years now, certainly falls under that category.Thus, it’s no wonder that Jack’s former band, The White Stripes, paid tribute to Lynn by covering her song “Rated X.” Along with Meg White, Jack recorded the cover in 2000, intending to release it as a B-side to a cover of Dolly Parton’s “Jolene.” Instead, “Jolene” became the B-side to “Hello Operator,” and “Rated-X” was locked in the vault for 15 years.Locked no more! The track, which can be streamed below, will be released with a live White Stripes version of Lynn’s “Whispering Sea” from 2005. That single will be packaged with a reissue of Van Lear Rose, with a special DVD that archives Lynn and White’s collaboration. It even includes some bonus “archival footage that [they] are actually legally prohibited from telling you about. Things you can’t even find on YouTube.”Check out “Rated X” below, and read the full statement accompanying the track:The album Van Lear Rose by Loretta Lynn is near and dear to us at Third Man Records. Not only did the album garner some of the best reviews of her fifty-plus years in the music business, but also her first-ever solo Grammy for Best Country Album in 2005. With Lynn having writing credit on all thirteen of the album’s songs, it stands as a high-water mark in her ability to crossover beyond “country” audiences and appeal to music fans of all ages and persuasions. Produced by Jack White, Third Man Records is proud to give this landmark album the deluxe treatment it so deserves as package 24 in its Vault subscription service.Featuring songs like “Portland, Oregon” and “God Makes No Mistakes”, Van Lear Rose is a testament to Lynn’s enduring strength as one of the strongest songwriting voices of the past hundred years. The LP produced exclusively for part of the Vault is mastered directly from the original analog tapes and includes a previously unreleased song from the sessions titled “Just to Have You Back.” Housed in a sleeve that reinterprets the original artwork with embellishments of gold foil embossing, soft touch coating, spot UV varnish and pressed on “golden” vinyl, the fanciful re-imagination of the artwork is wholly vibrant and compelling.The accompanying 7” single is the White Stripes covering two of Lynn’s classic songs. Recorded in Detroit in 2000, Jack and Meg White’s interpretation of “Rated X” is a studio recording originally intended as the flipside to the Stripes’ cover of Dolly Parton’s “Jolene.” Buried in the Vault since then, the electric version complete with steel guitar accompaniment is tantalizing and the kind of material that the Vault was specifically created to release. On the b-side is a live rendition of Lynn’s “Whispering Sea” recorded live at the Gorge Amphitheater in George, WA on August 6, 2005…just up the road from where Lynn wrote the song back in the early 1960s. Pressed on white vinyl and housed in the inimitable Third Man Vault sleeve, these White Stripes renditions are the prefect pairing to Lynn’s landmark album.To top it all off and of supreme excitement is a new, exclusive DVD filmed in 2015 of both Lynn and White revisiting the time of “Van Lear Rose” to tell stories of its creation, its release and all the other subsequent hubbub and adoration. Shot by Third Man’s in-house video maestro Brad Holland, the entirety of the film is being created solely for Vault inclusion and enjoyment. Maybe Loretta and Jack will even grace us with a few stripped-down, acoustic versions of some of their favorite songs on the album. And don’t let our lawyer see this, but we’ll also be hiding some deep archival footage that we are actually legally prohibited from telling you about. Things you can’t even find on YouTube. The DVD will be jam-packed with goodness and good times.And because we’re just crazy enough to load you down with tasty extras, we’re including a custom 5 x 7” foil-stamped and embossed postcard playing on the album lettering. This thing is suitable for framing. Also suitable for framing…stunning unused photos from the original album art session. On top of that is an exquisitely-designed enamel rose pin done up in the deep apricot color of the floribunda rose named “Loretta Lynn Van Lear” in 2011 in honor of Lynn’s 50th anniversary in the music business.
While Phil Jackson is best known for his behemoth NBA dynasties and championships, we have a feeling that L4LM readers would be delighted to discover that Jackson is a devoted Deadhead. This isn’t exactly new information, but an article that appeared in the New York Post this morning highlights Jackson’s “special bond” with the Grateful Dead.Guitarist Bob Weir, who was on hand for the Grateful Dead’s induction into the Madison Square Garden Hall of Fame earlier today, spoke to the Post about Jackson. He said, “He’s a singularity in the world of sports… He’s a guy who is a pure manifestation of spirit — both in physical, mental and emotional form. A singularity. There’s nobody like him. He’s got a clarity about him as a player in his physical actions back then and as a coach/president. It’s the kind of clarity he imparts that motivates players. He’s a wonderful guy to hang with as well.”Weir continued, saying, “I’m quietly proud he’s a fan.” Jackson currently serves as the President of the New York Knicks organization, and also won championships with them as a player in the 1970s.Jackson has been attending Dead shows since his glory days as the coach of the Chicago Bulls in the 1990s, where he would stand behind drummers Mickey Hart and Bill Kreutzmann at concerts. Kreutzmann commented on this, saying “I appreciated him as friend and he liked us… He liked the music and liked to be behind Mickey [Hart] and I so he can see the interaction.”Jackson has also vacationed with Weir, though we have a feeling Bill Walton may still hold the title of the NBA’s biggest Deadhead… both literally (Walton is 6’11”, three inches taller than Jackson) and figuratively (Walton will be featured as an announcer during the ‘Fare Thee Well’ broadcast intermissions).You can read the full story on Phil Jackon via NY Post.
Todd Stoops is not wasting any time since parting ways from Kung Fu. The keyboardist has been slated as an artist-at-large for the upcoming Disc Jam Music Festival, June 13 & 14, following a stint with Electron at Brooklyn Bowl on Friday, June 12th.Top 5 Reasons To Attend Disc Jam Music FestivalOther artists making the rounds at the festival include Michael Carubba (Turkuaz), Craig Brodhead (Turkuaz), Garrick “Force” Perry (The Alchemystics) and Brian BT Thomas (The Akashic Record). Check out the festival’s daily schedule breakdown here.
In a SiriusXM interview, Kings of Leon brothers Nathan and Caleb Followill announced that they are working on a follow-up to 2013’s Mechanical Bull album. The band hopes to release their 7th studio album by the end of 2015.“We’ve been at home writing, trying to get some new stuff going,” said Nathan Followill. “And we kind of had to put it on hold because we have this and another festival coming up, but we have big enough breaks in between most of them to where I think we’re gonna be able to get the album written by the end of the year.”As of now, the band is still deciding where to record the album, but most of the songwriting has been completed. Their summer tour dates are rather scant, especially since their headlining slot at Firefly was cancelled due to weather, but we’re hoping that means the group is working diligently on their new music.You can listen to the interview below:
While the official box set releases of the Grateful Dead “Fare Thee Well” shows won’t be released until November 20th, New Hampshire radio station WMWV, also known as Quinfolk, has shared their audio of each night from the Chicago run at Soldier Field.The Funniest Things Overheard At The Grateful Dead’s Final Shows in Chicago (Part 2)You can listen in to each show, below, with the dates linking to our extensive recap of each performance:July 3rd: The Grateful Dead Were Simply Incredible For Chicago OpenerJuly 4th: The Grateful Dead Deliver Otherworldly July 4th Celebration On Night TwoJuly 5th: Grateful Dead Conclude Anniversary Celebration With Emotional ‘Fare Thee Well’[Via WMWV / Photo via Chad Smith]
A unique Phish tribute act is getting ready to hit the road and release an album with some incredible musicians. Brothers Adam and Matthew Chase of Phish tribute Strange Design have taken the “Jazz Is Dead” concept and molded it into their own Jazz Is Phish lineup, which features members of Snarky Puppy, The Giant Country Horns, Dave Matthews Band, Victor Wooten Band, and the Sun Ra Arkestra.Jazz Is Phish is ready to explore the framework of Phish’s music alongside the basic tenets of jazz music and take the music to new heights in a completely instrumental setting. With some extremely well-versed and talented musician’s helping to record the album proper, such as saxophonist Jeff Coffin (Dave Matthews Band/Bela Fleck), saxophonist Chris Bullock (Snarky Puppy), trombonist Don Glasgo (The Giant Country Horns), trumpeter Michael Ray (Sun Ra, Sun Ra Arkestra, Kool and the Gang), bassist Anthony Wellington (Victor Wooten Band), keyboardist/composer/producer Josh Thomas, and both Adam and Matthew Chase (Strange Design) rounding out the lineup on drums and bass, respectively, this is going to be one amazing musical experience.The live band hit the road in September for several already confirmed shows with a lineup that will feature some of the musician’s from the album, as well as additional prominent musician’s from the jazz and jam world. The group begins a 3-night run starting in Asheville at The Grey Eagle Sept. 9th, then onto Macon, GA’s Cox Capitol Theatre, and finishing up in Atlanta at Smith’s Olde Bar. Additional dates will be announced soon. Check out the Jazz Is Phish Facebook Page for additional information.Jazz Is Phish Tour Dates9/9 The Grey Eagle – Asheville, NC9/10 Cox Capitol Theatre – Macon, GA9/11 Smith’s Olde Bar – Atlanta, GA*** Check HERE for event and ticket information ***
Rumors that Elvis is alive suddenly seem possible when viewing the Elvis Tribute Spectacular. Shawn Klush and Cody Ray Slaughter’s talent and look has won them the endorsement of Elvis Presley Enterprises, which does not dole out such honors often or easily. They came to Westbury on August 21st, along with D.J. Fontana, the Sweet Inspirations, and the Fabulous Ambassadors. Long Island native Steve Mitchell added his ‘Elvis in the Movies’ segment, and the stage was set to rock around the clock. With Elvis’ original drummer (Fontana) and his backup singers on the stage, an aura of the mystery train had pulled into the station with a direct link leading to the King. At times the show was so accurate in detail and spirit, that it made you wonder if Elvis really had entered the building. It was certainly both fun and fulfilling to allow your imagination to follow that dream, while every stage of Elvis’ career was represented in one evening.Cody Ray Slaughter ‘made his bones’ in the Million Dollar Quartet, and he covered Elvis from his early gold lame suit days to the 1968 Comeback Special. Elvis was inspired to embark on the special when he saw an earlier TV offering aired starring his friend Tom Jones. The evening opened with “Shake, Rattle and Roll”, and D.J. Fontana displayed the skills that earned him the nickname ‘The Tennessee Thunder‘. D.J. co-starred in the film Jailhouse Rock with Elvis, and he can still play the drums like he was ringing a bell. The movie’s title track brought back memories both musical and cinematic. The first set also included “Don’t Be Cruel” and “Don’t Leave Me Now”. Slaughter played the part of magician, mesmerizing the crowd back in time to the explosion that was early Elvis setting new standards and throwing the rulebook out the window of his pink Cadillac. DJ Fontana Talks Elvis: Last Train To WestburyLong Island’s Steve Mitchell wore a replica red jacket that Elvis donned in the film Speedway to set the tone for the songs featured in films. Mitchell ripped into a rousing G.I. Blues, and followed with a dreamy version of Young and Beautiful (from the film King Creole). As he crooned Viva Las Vegas, Mitchell ran up among the crowd giving those in nearby seats a thrill. Mitchell lives in the area, and joins the show whenever it pulls into town like the great rock and roll shows of the 1950’s.Cody Ray returned in leathers like those Elvis wore in his Comeback Special, and the ladies seemed collectively to lose their breath for a second. A hot selection of songs from the period featured Trouble, It Hurts Me, and Rubberneckin‘. What Cody was selling, the audience was buying up in a red hot frenzy. The Sweet Inspirations (Portia Griffin & Estelle Brown) demanded The Power of My Love’s inclusion in the set, and it may have been the standout cut of the evening due in large measure to their background vocals. The Sweet Inspirations’ entrance brought a charisma and vibrancy that seems obtained only as a gift of birth. They offered a solo of their namesake tune, whose only fault was found in not being followed by a second number all their own. Intermission ended with Shawn Klush whisking all along with him into the Vegas years, in a vintage Elvis jumpsuit. Also Sprach Zarathustra was followed by the Elvis’ signature opener See, See Rider. Highlights of the set included Never Been To Spain (Elvis never did tour in Europe), A Little Less Conversation, and My Way. Paul Anka’s My Way was written for Elvis, but a greedy publishing fumble by Col. Tom Parker left the song in the hands of Frank Sinatra. Shawn Klush helped remind us that Elvis stole part of it back before the final note was played in the matter.‘The Sweets’ joined Klush for some of the Gospel music that Elvis loved so dearly. Just before Elvis passed, he confided to Nancy Sinatra that he felt he should have stayed in the church, and avoided secular music altogether. The power displayed in Amazing Grace and How Great Thou Art sent shivers down the spine, and reminded all of the wonderful gift that Elvis was given for the genre. Estelle Brown recounted a bit on Elvis sometimes holding all night Gospel marathons in his hotel suite after Vegas shows. If only Estelle’s memories of these jams could be played through speakers for us today, the airwaves certainly would be a respite and blessing. The evening serving was a heaping 36 songs, none of which were throwaways, as any bathroom breaks came with a heavy price. Bridge Over Troubled Water, Suspicious Minds, and a reverent American Trilogy closed out the proceedings. Elvis may have left the building in 1977, but his music and memories are marching on. They do so in no greater measure than in this show, and also in the audiences that have sold out so many of them. Look for it when the classic big rock and roll show unites multiple generations in your town as well as Walton’s Mountain. Words by: Bob Wilson Photographs by: Wayne Herrschaft See Bob Wilson’s L4LM Interview with the legendary D.J. Fontana here.