We will be headlining the first ever @8123 tour this summer with 3 of our best friends! Get more info at 8123.me/tour
— The Maine (@themaine) April 8, 2013
The band, originally from the Phoenix area, first posted a video about their involvement in the afternoon. They told viewers that the opening bands on the tour would be announced every two hours Monday on the 8123 website.
The Maine recently completed their fourth studio album on April 2, tweeting "Album #4 is finished, mixed/mastered and ready for your ears! More info coming soon."
Althought details of the summer tour are limited for now, keep checking the 8123 website for dates and venues.
Below are the videos that the other performers posted today, announcing their involvement and excitement for the summer tour.
Check out this amazing video from the Latin Grammy nominated La Santa Cecilia. This Los Angeles band will be at the Rialto, Tuesday, April 9. Tickets are $10 presale or $15 at the door. They'll be playing with Santa Pachita, Vox Urbana, Salavdor Duran and Conjunto Imperial.
The video, sponsored by the the National Day Labor Organizing Network (NDLON), is for the group's new single "El Hielo" (I.C.E.). It was made in collaboration with director Alex Rivera, NDLON and La Santa Cecilia.
Former British Prime Minister Margaret Thatcher died today at the age of 87, and perhaps the best way to
celebrate note her death is with music.
Flip through the music magazines of the era—NME, Melody Maker, even Smash Hits—and you’ll be astonished by the number of references to Thatcherism (do they even mention David Cameron these days?), with musicians organizing the unfortunately-named pressure group “Red Wedge,” organized by musician Billy Bragg and former Jam frontman Paul Weller, to oppose Thatcher’s rule.
Their politics were frequently confused and immature—and in Morrissey’s case, psychopathically radical, beginning with "Margaret on the Guillotine," which reminds us that the former Smith's lead singer never held back his hatred of the Iron Lady—but the songs were often exceptionally good. So The Daily Beast has assembled the era’s best anti-Thatcher songs of the Thatcher decade, from the obvious (Elvis Costello’s “Tramp Down the Dirt”) to the obscure (The Pop Group’s “Justice”).
You can listen to all the music selection right here:
Twenty-five years later, one can presume that the former Smiths frontman is experiencing a rare moment of good cheer. Because like many British musicians of the era, Morrissey was fond of excitedly presaging the Iron Lady’s demise. “The entire history of Margaret Thatcher is one of violence, oppression, and horror,” Morrissey once told Rolling Stone. “She is only one person and can be destroyed. I just pray there is a Sirhan Sirhan [RFK’s assassin] somewhere. It’s the only remedy for this country at the moment.” When in 1984 the Irish Republican Army exploded a massive bomb at a Conservative Party conference, killing five and disabling many others, he expressed his “sorrow” that “Thatcher escaped unscathed.” The British punk band Angelic Upstarts responded with a song cheering the Brighton attack (“killers unite / killers with the right!”).
My favorites — Morrissey, of course, but a ska-moving version of Dylan's "Maggie's Farm," from the Specials:
As someone whose recent concert experiences have been so marred by idiots holding up cameras during performances (I may have bruised a few peoples' ribs at the Childish Gambino show last April, for instance), this sign that the Yeah Yeah Yeahs introduced at their Webster Hall show this weekend is now the reason I'd go check out them in concert:
Its full text:
"PLEASE DO NOT WATCH THE SHOW THROUGH A SCREEN ON YOUR SMART DEVICE/CAMERA.
PUT THAT SHIT AWAY as a courtesy to the person behind you and to Nick, Karen and Brian.
MUCH LOVE AND MANY THANKS!
YEAH YEAH YEAHS"
Karen O reiterated the band's request at the top of the second song (an incredible rendition of Show Your Bones' "Gold Lion"), telling the crowd to snap away as much as they liked for the next few minutes, but then "put those motherfuckers away," mining as though she was holstering a phone on the side of her banana-yellow "Violent Fuzz" suit. SPIN spotted a few violators on the floor of the venue throughout the 16-song set — which featured the live debuts of two Mosquito tracks, "Slave" and "Wedding Song" — but for the most part, the crowd respected the band's wishes.
Good. Because this "recording shows with cell phones" bulllshit has become an epidemic, and I'm sick of it — and the worst part is, it's happening the most with my generation, who is apparently too enamored with uploading shitty cell phone video and audio to realize that they paid good damn money to enjoy a musician plying their trade.
Good on you, Yeah Yeah Yeahs. Let's hope this becomes a trend.
The new album, tying in with other Wayne lyrics, is no stranger to vulgarity. (In fact, if you look the album up on the ever so reliable Wikipedia, it has a count of all the the vulgar words and references, which is actually pretty comical. I don't know when skateboarding references became considered vulgar, though.)
His collaboration on the album with popular artists such as 2 Chainz, Drake, Nicki Minaj, and several other talents on the tracks brings an exciting flare to this album, the sequel to I Am Not A Human Being released in 2010.
"It's mixtape Weezy — straight street bangers you're going to hear in the club," Cortez Bryant, Wayne's manager and Chief Visionary Officer of his Young Money label, said according to Rolling Stone. "The sound is more urban, with no R&B hooks, and the wordplay is still incredible and shocking — every bar has some witty punchline. Wayne really took it back to his roots."
One of half-dozen or so widely influential songwriters who rose like a flying saucer out of West Texas in the 1980s, Robert Earl Keen brings to the Rialto a colorful array of songs about love, murder, good times, geography and the human condition. He might also sing a couple from his new record, Are You Ready for Confetti.
Last week he updated us on Guy Clark’s health, where he got his knack with a great story, some new trends in his writing and his quest for Charles Bowden.
Linda Ray: What do you remember from your previous visits to Tucson? Any anecdotes?
Robert Earl Keen: You know I've been through Tucson for a long time, from the mid-nineties. I think Tucson's … I like it it's a cool town. It's unique. The only thing that's frustrating is the grid and the lights. The downtown grid and the traffic lights.
Now what I'm really interested in, what is that play? Waiting for Godot? Or looking for somebody? I'm looking for Charles Bowden, is what I want to do now.
I almost had a revelation about Charles Bowden. Not about groundwater or bats or immigration or anything, but just the fact that how beautiful true journalism can be. (His work) completely changed my mind. Because I'd been, like, a fiction guy all my life and I love fiction. And was kind of snobbish about nonfiction and I read some of his stuff and just went “Wow!” This is the kind of writer I would like to be if I were a writer. He's fantastic.
Dallas Green, the Canadian soft-rock musician who's been going by the moniker of City and Colour for nearly a decade, has streamed a second song from his forthcoming record, The Hurry and the Harm.
Green announced the record last week in a Facebook message, about a week after streaming "of space and time," the first song to be released from the record. Today, in another Facebook post on the City and Colour's German Facebook page, the band released the newest song, "Thirst."
Judging by these two latest tracks, it looks like Green's upcoming album will continue down the same road that 2011's Little Hell turned down, which saw Green and his supporting band playing heavier songs, but still keeping simple, acoustic elements in a handful of tracks.
Various hints through Facebook posts have indicated that a tour for the record is imminent, so fans should keep their fingers crossed for a stop at the Marquee in Tempe. The Hurry and The Harm will drop on June 4, and an iTunes preorder will be available on April 9.
Although I grew up in the era of boy bands, where *NSYNC and the Backstreet Boys battled it out for the top spot in the charts as well as every teenage girls heart, I am refreshed to hear a different version of Justin Timberlake's new song, "Suit & Tie."
The song is on his new album, The 20/20 Experience, which was released March 19. Like I said, I am a sucker for Justin Timberlake and his vocal talent ever since his boy band and Mickey Mouse Club days, but the repetition of hearing that song every five minutes on the radio is driving me a little insane.
Luckily, Mindy White (current lead singer of States and formerly of Lydia) released a cover of this song to switch things up.
White, appropriately wearing a tuxedo T-shirt in the video for the song, puts a much needed spin on this already overplayed, but still amazing, track. Her sweet voice, mixed with the background piano and synth sounds make for a completely different vibe when compared to the pop version.
The cover will be available to download for free on Wednesday on SoundCloud. However, you can listen to the cover now in this video below.