Delta Nove presents The Collab Lab weekly concert series taking place every Wednesday in Oct & Nov. at the Blue Cafe in downtown Long Beach, CA.
Each night will feature 2 complete sets of music and will feature a very special guest artist playing with the band. We may be doing some of our guest's songs, some of our songs, some covers, and some total improvisation, we've left it up to each guest and what they want to do. A unique live experience taking place each week that you don't want to miss.
Special collaboration guests include members of Ozomatli, Parliament/Funkadelic, String Cheese Incident, Black Crowes, the Mars Volta, Fishbone, Banyan, Karl Denson's Tiny Universe, Black Flag, and more TBA.
Doors open at 8pm and admission is only $10 each week. Check website for for complete details and dates for guests artists. This week to kick it off our very special guest is "Blackbyrd" McKnight from George Clinton and the P-Funk All-Stars. Definitely a show not to be missed!
Also...
This Thursday 10/2 David Byrne of the Talking Heads will be performing solo in concert at Humphreys on the Bay in San Diego, CA. at 7pm.
Delta Nove will be performing a special "after-party" inside the lounge at Humphrey's taking place from 10p-? This show is free to all ticket holders and only $5 to non-ticket holders. To purchase advance tickets to the David Byrne show please visit http://www.humphreysconcerts.com/ for more info.
http://www.myspace.com/deltanoveband
by Greg Lake
September 30, 2008
September 24, 2008
Keller Williams / Cornmeal on iClips Tonight
Tune in to www.iClips.net tonight - Wednesday, 9/24 - for an exclusive webcast of the Keller Williams w/ Moseley, Droll & Sipe concert at the Barrymore Theatre in Madison, WI. Cornmeal will be opening the show, and their set will also be broadcast on iClips. The show will begin at approximately 7:30pm (Central Time), with Keller hitting the stage around 8:45pm. No matter where you are located, you'll have the best seat in the house as iClips delivers the excitement of KW's live performance right into your home!
by Greg Lake
by Greg Lake
September 23, 2008
Guitar Solo Threeway
Guitar Solo Threeway
http://www.gooooooooooooooooooooooooooooooooooooooooooooooooooooogle.com/guitarsolo.html
by Greg Lake
http://www.gooooooooooooooooooooooooooooooooooooooooooooooooooooogle.com/guitarsolo.html
by Greg Lake
September 22, 2008
Slide Ranch/Grateful Dead Celebration
Tuesday, October 7 - 5:00 p.m. to 9:00 p.m.
Cavallo Point Lodge, Historic Ft. Baker, Sausalito, CA
Box office: 415-381-8758 Tickets are pretty pricey (this IS a fund-raiser)Info and reservations, please email: charles@slideranch.org
This is the 2nd Silver Trowel fund-raising Dinner honoring Slide Ranch, the Marin Co. treasure dedicated to environmental education and outreach to children and familes. Also honored will be the Grateful Dead, who have supported Slide Ranch for years. Special guests will include: Bob Weir and Henry Kaiser, who plan to join Wake The Dead on stage.
by Greg Lake
Cavallo Point Lodge, Historic Ft. Baker, Sausalito, CA
Box office: 415-381-8758 Tickets are pretty pricey (this IS a fund-raiser)Info and reservations, please email: charles@slideranch.org
This is the 2nd Silver Trowel fund-raising Dinner honoring Slide Ranch, the Marin Co. treasure dedicated to environmental education and outreach to children and familes. Also honored will be the Grateful Dead, who have supported Slide Ranch for years. Special guests will include: Bob Weir and Henry Kaiser, who plan to join Wake The Dead on stage.
by Greg Lake
September 18, 2008
Change Rocks: A Concert to Benefit Obama for America
Bryce Jordan Center, University Park, PA
Mon, Oct 13, 2008 05:30 PM
This is a concert in support of Obama for America and includes performances by Bob Weir, Phil Lesh, Bill Kreutzmann and Mickey Hart, as well as Gregg Allman, Butch Trucks, Jaimoe, Warren Haynes, Derek Trucks, Marc Quinones, Oteil Burbridge, and Jeff Chimenti.
For VIP tickets starting at $2,500, please email the campaign at changerocksvip@barackobama.com.
For security reasons, do not bring large bags. Please limit personal items. No signs or banners permitted.
To learn more about the campaign and how you can get involved, please visit http://www.pa.barackobama.com.to/ register to vote, please visit http://www.voteforchange.com/
Internet Onsale Info Onsale to General Public:Fri, 09/19/08 12:00 PM EDT
Why is this performance not billed as The Dead and The Allman Brothers Band? It likely has to do with the politics associated with the event. Fourty years later and the members of these two legendary bands still can't put their band names on a political cause that they support, now that's politics!
by Greg Lake
Mon, Oct 13, 2008 05:30 PM
This is a concert in support of Obama for America and includes performances by Bob Weir, Phil Lesh, Bill Kreutzmann and Mickey Hart, as well as Gregg Allman, Butch Trucks, Jaimoe, Warren Haynes, Derek Trucks, Marc Quinones, Oteil Burbridge, and Jeff Chimenti.
For VIP tickets starting at $2,500, please email the campaign at changerocksvip@barackobama.com.
For security reasons, do not bring large bags. Please limit personal items. No signs or banners permitted.
To learn more about the campaign and how you can get involved, please visit http://www.pa.barackobama.com.to/ register to vote, please visit http://www.voteforchange.com/
Internet Onsale Info Onsale to General Public:Fri, 09/19/08 12:00 PM EDT
Why is this performance not billed as The Dead and The Allman Brothers Band? It likely has to do with the politics associated with the event. Fourty years later and the members of these two legendary bands still can't put their band names on a political cause that they support, now that's politics!
by Greg Lake
Bridge School Benefit
The 22nd Bridge School Benefit Concert will be on October 25th and 26th, 2008 at the Shoreline Amphitheatre in Mountain View, California. Details about the line up and ticket sales are not yet available. We will post all concert related information on our website as we receive it.
They are announcing the line up tomorrow (Friday, September 19, 2008) at noon.
http://www.bridgeschool.org/events.html
by Matthew Burns
They are announcing the line up tomorrow (Friday, September 19, 2008) at noon.
http://www.bridgeschool.org/events.html
by Matthew Burns
New Year's Eve with Les Claypool
A NIGHT AT THE OPERA - Spend New Year's Eve with Les Claypool!
Spend an extra special NYE with Les this year at the beautiful War Memorial Opera House in San Francisco.
Ticket presale has begun, and the public on sale date is Sunday, 9/21 at 10am Pacific.
This very special venue offers private premium box seating, in groups of 6 or 8. These boxes are available through a special seating auction through Ticketmaster, starting Sunday, and will include souvenir posters, complimentary champagne and other beverages, waitress service and an exclusive box seat holder only lounge/bar with video broadcast of the show.
Presale tickets: claypooltickets.musictoday.com
by Matthew Burns
Spend an extra special NYE with Les this year at the beautiful War Memorial Opera House in San Francisco.
Ticket presale has begun, and the public on sale date is Sunday, 9/21 at 10am Pacific.
This very special venue offers private premium box seating, in groups of 6 or 8. These boxes are available through a special seating auction through Ticketmaster, starting Sunday, and will include souvenir posters, complimentary champagne and other beverages, waitress service and an exclusive box seat holder only lounge/bar with video broadcast of the show.
Presale tickets: claypooltickets.musictoday.com
by Matthew Burns
September 17, 2008
Langerado 2009
For 2009, the Langerado Music Festival moves to one of Miami's most scenic spots - Bicentennial Park on Biscayne Bay. It's a new home for the seventh annual event, which will take place March 6-8, 2009; Langerado has enjoyed impressive success and growth in Broward County since 2002. The move to downtown Miami promises to make Langerado a City Festival that the Magic City can truly call its own.
Initial artist lineup announcements and ticket information for Langerado 2009 - including VIP experiences, public transportation incentives and hotel/travel packages - will be announced in early November.
This looks to be a welcome change from the rainy conditions present at last year's event and looks to also make this festival a greener, Florida equivalent to Chicago's Lollapalooza, Seattle's Bumbershoot, San Francsico's Outside Lands, etc.
Greg Lake
Initial artist lineup announcements and ticket information for Langerado 2009 - including VIP experiences, public transportation incentives and hotel/travel packages - will be announced in early November.
This looks to be a welcome change from the rainy conditions present at last year's event and looks to also make this festival a greener, Florida equivalent to Chicago's Lollapalooza, Seattle's Bumbershoot, San Francsico's Outside Lands, etc.
Greg Lake
Greyboy Allstars NYE in SF
The Greyboy Allstars are pleased to announce New Year’s Eve 2008 at The Warfield in San Francisco. This will be a co bill with George Clinton and Parliament Funkadelic with both bands playing full shows.
Whether The Bay Area will get a Grateful Dead related New Years show still remains to be seen.
by Greg Lake
Whether The Bay Area will get a Grateful Dead related New Years show still remains to be seen.
by Greg Lake
September 16, 2008
Gov't Mule: New Bassist & NYE
GOV’T MULE WELCOMES NEW BASS PLAYER
New Bassist Jorgen Carlsson To Debut on Fall Tour
Balancing evocative songs and expressive improvisation, Gov't Mule is a band rooted in both the personal and musical chemistry between its members. "It's not one of those groups that can make a change overnight," explains founding guitarist/vocalist Warren Haynes. It is only after six months of rehearsing, jamming, and hanging out with bassist Jorgen Carlsson that he has been added to the band as their new permanent bass player, replacing Andy Hess, who joined in 2003.
Where this will take the band heading into 2009 and Warren Haynes possible involvement in a lineup of The Dead remains to be seen.
NEW YEARS 2008-2009
For the 7th consecutive year, Gov't Mule will celebrate New Year's in New York City. Due to the on-going renovations at the Beacon Theatre, the band will be relocating, and for the first ever during its New Year's Run, play 4 shows and do so in 2 different venues. On December 27th and 28th, Gov't Mule will play acoustically in the magnificent Angel Orensanz Center on The Lower East Side and then on December 30th and 31st Gov't Mule will play the historic Hammerstein Ballroom. Keeping with tradition, the band will play 3 sets on New Year's Eve.
The Anel Orensanz Center looks like an intriguing spot, I'd like to know more about anyone's experiences attending a concert there.
by Greg Lake
New Bassist Jorgen Carlsson To Debut on Fall Tour
Balancing evocative songs and expressive improvisation, Gov't Mule is a band rooted in both the personal and musical chemistry between its members. "It's not one of those groups that can make a change overnight," explains founding guitarist/vocalist Warren Haynes. It is only after six months of rehearsing, jamming, and hanging out with bassist Jorgen Carlsson that he has been added to the band as their new permanent bass player, replacing Andy Hess, who joined in 2003.
Where this will take the band heading into 2009 and Warren Haynes possible involvement in a lineup of The Dead remains to be seen.
NEW YEARS 2008-2009
For the 7th consecutive year, Gov't Mule will celebrate New Year's in New York City. Due to the on-going renovations at the Beacon Theatre, the band will be relocating, and for the first ever during its New Year's Run, play 4 shows and do so in 2 different venues. On December 27th and 28th, Gov't Mule will play acoustically in the magnificent Angel Orensanz Center on The Lower East Side and then on December 30th and 31st Gov't Mule will play the historic Hammerstein Ballroom. Keeping with tradition, the band will play 3 sets on New Year's Eve.
The Anel Orensanz Center looks like an intriguing spot, I'd like to know more about anyone's experiences attending a concert there.
by Greg Lake
Jimmy Herring :: Lifeboat
"Lifeboat" by Jimmy Herring
This outstanding effort which insiders and fellow musicians calling it an absolute musical masterpiece is full of surprises that elevates Jimmy's already fantastic reputation to be an outstanding guitarist. Jimmy Herring wrote six of the tunes along with Kofi Burbridge who wrote two tunes as well. They also do scintillating versions of Wayne Shorter's "Lost," as well the "Overture" from Walt Disney's "Jungle Book." Get ready for one of most impressive musical statements by one of our very favorite musicians.
Whether we will see Widespread Panic, Jimmy Herring's current project, perform any of these songs live on their upcoming fall tour remains to be seen.
by Greg Lake
This outstanding effort which insiders and fellow musicians calling it an absolute musical masterpiece is full of surprises that elevates Jimmy's already fantastic reputation to be an outstanding guitarist. Jimmy Herring wrote six of the tunes along with Kofi Burbridge who wrote two tunes as well. They also do scintillating versions of Wayne Shorter's "Lost," as well the "Overture" from Walt Disney's "Jungle Book." Get ready for one of most impressive musical statements by one of our very favorite musicians.
Whether we will see Widespread Panic, Jimmy Herring's current project, perform any of these songs live on their upcoming fall tour remains to be seen.
by Greg Lake
September 15, 2008
STS9 Red Rocks
We're pleased to welcome Andy Smith back to KyndMusic with his report from STS9 at Red Rocks in Colorado during his move out to Seattle, WA. We wish him the best of luck in the Pacific Northwest and hope for more of his contributions from the Seattle scene.
Sept 5th, 2008
I stumbled out of the car, wet misty fog greeting my flushed face, and scanned the parking lot of Friday nights STS9 show at the great Red Rocks. Skipping around me were the usual amalgamation of stylish tribe heads, but off on the horizon I spotted something that caught my eye. Perched on top of school buses, a group of people with sunglasses the size of Texas were already getting down. Dancing and popping, a sizable crowd was taking in the DJ set from the kids with The Basic Fund.
This group of philanthropic visionaries provides transportation to shows all over Colorado's front range. Each person riding in the bus pays a small fee to travel safely to and from the show, with optional after parties. With the money generated, The Basic Fund provides insurance for artists in need. As this tribe of beat-loving mammals grows ever bigger, it is nice to see some taking the honorable approach, turning our love of music into something helpful and representing the lot. Check out The Basic Funds at www.thebasicsfund.org.
"RRRRRKKKCX". The sound quality was poor as it burped out of the PA from atop the school buses. I was earnestly trying to hear what was being spun, but that became totally hopeless as I whipped around to hear what was making that terrible scraping sound. Not to worry, it was only my old buddy Alex Hull and his friend Josh. These two were dragging recycling bins around the lot, moving them as crowd dynamics changed, always trying to maximize usage. They had contacted www.friendsofredrocks.org and were not afraid to get down and dirty. Their stained gloves provided a slimy handshake as I complimented them on the clean parking lot. To have real faces validating that yes, these cans and bottles are actually getting recycled brings it on home. I saw them later at the show and I noticed they were getting down just a little bit harder than everybody else.
Finally, it was time to make the march up to the amphitheater to see the show. On the way up the steep incline I bombarded my friends with factoids I had learned after a brief Wikipedia search of Red Rocks. Some the choice nuggets included the fact that Red Rocks has been open for shows since 1947 and hosted a fest of lanterns all the way back in 1908. The most conversational tidbit I learned concerned a Jethro Tull concert on June 10th, 1971. During what is now know as "The Riot at Red Rocks", tear gas used to break up ticket-less fans inadvertently drifted into the paying audience. What followed was a 5 year ban on rock shows at the amphitheater. Fortunately the ban was long dead and my friends and I mused about what kind of show we were going to see: rock, jam, electronic?
What we initially heard was none of the above. For it was Hip-Hop and the silky flows of Talib Kweli and his DJ High-Tec that greeted us. Talib, shinning in his blue jacket like the pleiades, his hands flowing with his verse like he was molding clay. For just two guys, they really got the crowd moving. Fortunately I was able to get close to the stage. Talib's stamina and breath control allowed for clean delivery of complex lyrics. They were using their noodle and their muscle. It was so nice to hear some lyrics and mingle before the instrumental heavy weight took the stage. With the current trajectory of STS9, it would not have surprised me if they had come flying into Red Rocks in an inky black stealth bomber and were transported to the stage using technology from the future, peaceblasting everything in their path. This sleek enigmatic stage presence allows for total focus and that is what we got Friday night at Red Rocks. Slipping past the Sector Inspector and gangs of vibing folk, my ears finally tuned in during the opening of Somesing. That effervescent into, like spacy ping-pong balls, gets me every time. The more I listen to that intro, the more I hear something like it in a new song, EHM. While different, they both exude that professional production that makes listening to STS9 such a treat. Somesing gave way to Water Song. Everybody could hear the rain and it coincided so nicely with the foggy precipitation that hovered in the amphitheater. It was downright chilly on Friday night. The natural fog blob swirled together with the fog machines coming from the stage, allowing Saxton's light fantastic to reach out even farther. While STS9's summer light rig was tight while touring with Umphrey's McGee, the set-up at Red Rocks held everyone's attention. The kaleidoscopic cartwheels, the whirling cones, the stacked layers, the LED UFO landing zone above the band, truly this was a visual feast. I asked Saxton recently how he got into lighting. He simply responded "By watching Kuroda". Referring to Phish's Chris Kuroda and his revered history behind the light-board. The second set went by in a blur. My buddy Sticky was especially pleased with the Equinox opener. One a Day held down the dance groove and Instantly took us farther. Instantly has become a song for Hunter Brown to show his triggering ability. As the breakdown gets stronger and more intense, he seems to weave the words Time and Instantly into one. This linguistic merger is ripe with opportunity for listener transportation. To close the set Rent was played. Easily one of the most danceable songs that Tribe does, I had not heard it played that well since Baltimore. A solid, full evening of STS9. While not as raucous as Saturday night, I enjoyed the smaller crowd and room to dance. They enocred with Empires. This was the first time I had really appreciated the cocoon of bass the song provides. With a highly unusual finish, the band soaked our souls in deep, almost sub-sonic bass. Casually waving bye as the sound still hit us in the chest. Definitely one of the most unorthodox endings to a STS9 show I have ever heard. I was lost in the wonderful museum at the venue during most of the Flying Lotus set-break and as a result I was not able to enjoy his set, but I heard it was fun. Set-up in the middle of the crowd, I heard it was almost like a raffle tent. I was nearly foolish enough to purchase a $7.25 can of Fat Tire. I heard rumors about a no-fly zone over Red Rocks because of the flashing lights, although this has yet to be confirmed. Rarely has a band been able to incorporate new material as seamlessly as STS9. Their new album PeaceBlaster is played strongly at nearly all of their shows. While more glitchy, dark, and unforgiving, the material speaks to the future of the band. With a documentary movie on the horizon, Re:Generation, STS9 continues to flesh out their organization to encompass much more than music. Their home page now provides updates from their sister page PEACEBLASTER.com and is a honest source of information. The future is bright for Sound Tribe and I look forward to watching, listening, and dancing where they go next. Their triumphant residence at Red Rocks put a glowing period on my summer, I really hope they do it again next year.
by Andy Smith
Sept 5th, 2008
I stumbled out of the car, wet misty fog greeting my flushed face, and scanned the parking lot of Friday nights STS9 show at the great Red Rocks. Skipping around me were the usual amalgamation of stylish tribe heads, but off on the horizon I spotted something that caught my eye. Perched on top of school buses, a group of people with sunglasses the size of Texas were already getting down. Dancing and popping, a sizable crowd was taking in the DJ set from the kids with The Basic Fund.
This group of philanthropic visionaries provides transportation to shows all over Colorado's front range. Each person riding in the bus pays a small fee to travel safely to and from the show, with optional after parties. With the money generated, The Basic Fund provides insurance for artists in need. As this tribe of beat-loving mammals grows ever bigger, it is nice to see some taking the honorable approach, turning our love of music into something helpful and representing the lot. Check out The Basic Funds at www.thebasicsfund.org.
"RRRRRKKKCX". The sound quality was poor as it burped out of the PA from atop the school buses. I was earnestly trying to hear what was being spun, but that became totally hopeless as I whipped around to hear what was making that terrible scraping sound. Not to worry, it was only my old buddy Alex Hull and his friend Josh. These two were dragging recycling bins around the lot, moving them as crowd dynamics changed, always trying to maximize usage. They had contacted www.friendsofredrocks.org and were not afraid to get down and dirty. Their stained gloves provided a slimy handshake as I complimented them on the clean parking lot. To have real faces validating that yes, these cans and bottles are actually getting recycled brings it on home. I saw them later at the show and I noticed they were getting down just a little bit harder than everybody else.
Finally, it was time to make the march up to the amphitheater to see the show. On the way up the steep incline I bombarded my friends with factoids I had learned after a brief Wikipedia search of Red Rocks. Some the choice nuggets included the fact that Red Rocks has been open for shows since 1947 and hosted a fest of lanterns all the way back in 1908. The most conversational tidbit I learned concerned a Jethro Tull concert on June 10th, 1971. During what is now know as "The Riot at Red Rocks", tear gas used to break up ticket-less fans inadvertently drifted into the paying audience. What followed was a 5 year ban on rock shows at the amphitheater. Fortunately the ban was long dead and my friends and I mused about what kind of show we were going to see: rock, jam, electronic?
What we initially heard was none of the above. For it was Hip-Hop and the silky flows of Talib Kweli and his DJ High-Tec that greeted us. Talib, shinning in his blue jacket like the pleiades, his hands flowing with his verse like he was molding clay. For just two guys, they really got the crowd moving. Fortunately I was able to get close to the stage. Talib's stamina and breath control allowed for clean delivery of complex lyrics. They were using their noodle and their muscle. It was so nice to hear some lyrics and mingle before the instrumental heavy weight took the stage. With the current trajectory of STS9, it would not have surprised me if they had come flying into Red Rocks in an inky black stealth bomber and were transported to the stage using technology from the future, peaceblasting everything in their path. This sleek enigmatic stage presence allows for total focus and that is what we got Friday night at Red Rocks. Slipping past the Sector Inspector and gangs of vibing folk, my ears finally tuned in during the opening of Somesing. That effervescent into, like spacy ping-pong balls, gets me every time. The more I listen to that intro, the more I hear something like it in a new song, EHM. While different, they both exude that professional production that makes listening to STS9 such a treat. Somesing gave way to Water Song. Everybody could hear the rain and it coincided so nicely with the foggy precipitation that hovered in the amphitheater. It was downright chilly on Friday night. The natural fog blob swirled together with the fog machines coming from the stage, allowing Saxton's light fantastic to reach out even farther. While STS9's summer light rig was tight while touring with Umphrey's McGee, the set-up at Red Rocks held everyone's attention. The kaleidoscopic cartwheels, the whirling cones, the stacked layers, the LED UFO landing zone above the band, truly this was a visual feast. I asked Saxton recently how he got into lighting. He simply responded "By watching Kuroda". Referring to Phish's Chris Kuroda and his revered history behind the light-board. The second set went by in a blur. My buddy Sticky was especially pleased with the Equinox opener. One a Day held down the dance groove and Instantly took us farther. Instantly has become a song for Hunter Brown to show his triggering ability. As the breakdown gets stronger and more intense, he seems to weave the words Time and Instantly into one. This linguistic merger is ripe with opportunity for listener transportation. To close the set Rent was played. Easily one of the most danceable songs that Tribe does, I had not heard it played that well since Baltimore. A solid, full evening of STS9. While not as raucous as Saturday night, I enjoyed the smaller crowd and room to dance. They enocred with Empires. This was the first time I had really appreciated the cocoon of bass the song provides. With a highly unusual finish, the band soaked our souls in deep, almost sub-sonic bass. Casually waving bye as the sound still hit us in the chest. Definitely one of the most unorthodox endings to a STS9 show I have ever heard. I was lost in the wonderful museum at the venue during most of the Flying Lotus set-break and as a result I was not able to enjoy his set, but I heard it was fun. Set-up in the middle of the crowd, I heard it was almost like a raffle tent. I was nearly foolish enough to purchase a $7.25 can of Fat Tire. I heard rumors about a no-fly zone over Red Rocks because of the flashing lights, although this has yet to be confirmed. Rarely has a band been able to incorporate new material as seamlessly as STS9. Their new album PeaceBlaster is played strongly at nearly all of their shows. While more glitchy, dark, and unforgiving, the material speaks to the future of the band. With a documentary movie on the horizon, Re:Generation, STS9 continues to flesh out their organization to encompass much more than music. Their home page now provides updates from their sister page PEACEBLASTER.com and is a honest source of information. The future is bright for Sound Tribe and I look forward to watching, listening, and dancing where they go next. Their triumphant residence at Red Rocks put a glowing period on my summer, I really hope they do it again next year.
by Andy Smith
September 13, 2008
Win Tickets to Widespread Panic!
Win tickets to see Widespread Panic at Mud Island Amphitheater Wednesday, October 15th!
We're giving away a pair of tickets each week until the show. Each week is a different drawing and each week the tickets get better! Enter as many times as you like, as often as you like. Winners will be notified by email on the morning of each drawing.
Here are the dates for the weekly drawings:
5th Row 9/10 – 9/16 Drawing on 9/17.
4th Row 9/17 – 9/23 Drawing on 9/24.
3rd Row 9/24 – 9/30 Drawing on 10/1.
2nd Row 10/1 – 10/7 Drawing on 10/8.
1st Row 10/8 – 10/12 Drawing on 10/13.
by Greg Lake
We're giving away a pair of tickets each week until the show. Each week is a different drawing and each week the tickets get better! Enter as many times as you like, as often as you like. Winners will be notified by email on the morning of each drawing.
Here are the dates for the weekly drawings:
5th Row 9/10 – 9/16 Drawing on 9/17.
4th Row 9/17 – 9/23 Drawing on 9/24.
3rd Row 9/24 – 9/30 Drawing on 10/1.
2nd Row 10/1 – 10/7 Drawing on 10/8.
1st Row 10/8 – 10/12 Drawing on 10/13.
by Greg Lake
4th Annual Tunes For Tots
We are pleased to announce the 4th Annual Tunes For Tots Charity Concert will be held on October 19th at the newly renovated Tabernacle in Atlanta, GA.
Only 100 VIP cocktail party tickets will be sold at a cost of $500 per person. The Private VIP Cocktail Party with Widespread Panic is from 5 – 6:30 pm and includes: Heavy hors d’oeuvres, catered by the renown chef Hugh Acheson from Athens’ 5 & 10 restaurant, an open premium bar, early admittance into the venue and a 2008 Tunes for Tots poster autographed by the band.
For the concert , there will be only 1600 General Admission tickets available for $125, leaving plenty of dancing space. Doors are at 7pm with Showtime at 8pm. Tickets go on sale to the public on September 20th. Online sales ONLY at http://www.ticketmaster.com/
Proceeds from this concert go directly to purchase musical equipment for Georgia Public Schools. The 2007 recipients, Rothschild Middle School, received instruments for their orchestra and a 27 station music computer lab with the latest version of Music Maker Finale on them.
Widespread Panic believes that art education, and in particular music education, is integral to the overall education and advancement of children. Art allows for personal expression, appreciation of ideas, celebration of cultural awareness, sharing emotions, and gives purpose to life. Widespread Panic agrees with research findings that art education supports more traditional academic subjects as well as being a worthy pursuit in its own right.
We hope you can join us.
by Greg Lake
Only 100 VIP cocktail party tickets will be sold at a cost of $500 per person. The Private VIP Cocktail Party with Widespread Panic is from 5 – 6:30 pm and includes: Heavy hors d’oeuvres, catered by the renown chef Hugh Acheson from Athens’ 5 & 10 restaurant, an open premium bar, early admittance into the venue and a 2008 Tunes for Tots poster autographed by the band.
For the concert , there will be only 1600 General Admission tickets available for $125, leaving plenty of dancing space. Doors are at 7pm with Showtime at 8pm. Tickets go on sale to the public on September 20th. Online sales ONLY at http://www.ticketmaster.com/
Proceeds from this concert go directly to purchase musical equipment for Georgia Public Schools. The 2007 recipients, Rothschild Middle School, received instruments for their orchestra and a 27 station music computer lab with the latest version of Music Maker Finale on them.
Widespread Panic believes that art education, and in particular music education, is integral to the overall education and advancement of children. Art allows for personal expression, appreciation of ideas, celebration of cultural awareness, sharing emotions, and gives purpose to life. Widespread Panic agrees with research findings that art education supports more traditional academic subjects as well as being a worthy pursuit in its own right.
We hope you can join us.
by Greg Lake
Sweetwater Sessions
Monday, September 22, 2008 7:00 PM Doors: 5:30 PM
Sweetwater Station LARKSPUR, CA
Tuesday, September 23, 2008 7:00 PM Doors: 5:30 PM
Sweetwater Station LARKSPUR, CA
Wednesday, September 24, 2008 7:00 PM Doors: 5:30 PM
Sweetwater Station LARKSPUR, CA
Thursday, September 25, 2008 7:00 PM Doors: 5:30 PM
Sweetwater Station LARKSPUR, CA
Tickets for the Sweetwater Sessions are limited to 2 per show per person. Any orders that exceed this 2 ticket limit may be cancelled without notice. Ticket delivery is will call only and you may pick up your tickets at the venue no earlier than the day of the show. NO WILL CALL NAME CHANGES. When you place your order you must enter the name of the person who will pick up the tickets. If you do not enter a specific name, the tickets will be held at will call under the name of the person who placed the order for the tickets. Once your order is placed there are no will call name changes.
The rumored lineup for these shows includes Grateful Dead members Phil Lesh, Bob Weir, Mickey Hart and Billy Kreutzmann. Is it a warmup for a second Deadheads For Obama show in State College, PA?
by Greg Lake
Sweetwater Station LARKSPUR, CA
Tuesday, September 23, 2008 7:00 PM Doors: 5:30 PM
Sweetwater Station LARKSPUR, CA
Wednesday, September 24, 2008 7:00 PM Doors: 5:30 PM
Sweetwater Station LARKSPUR, CA
Thursday, September 25, 2008 7:00 PM Doors: 5:30 PM
Sweetwater Station LARKSPUR, CA
Tickets for the Sweetwater Sessions are limited to 2 per show per person. Any orders that exceed this 2 ticket limit may be cancelled without notice. Ticket delivery is will call only and you may pick up your tickets at the venue no earlier than the day of the show. NO WILL CALL NAME CHANGES. When you place your order you must enter the name of the person who will pick up the tickets. If you do not enter a specific name, the tickets will be held at will call under the name of the person who placed the order for the tickets. Once your order is placed there are no will call name changes.
The rumored lineup for these shows includes Grateful Dead members Phil Lesh, Bob Weir, Mickey Hart and Billy Kreutzmann. Is it a warmup for a second Deadheads For Obama show in State College, PA?
by Greg Lake
September 11, 2008
Experience Hendrix 2008 Tribute Tour
The critically acclaimed Experience Hendrix Tour returns this October and November with a 19-date nationwide tour that kicks-off October 15th in Hampton Beach, NH.
The 2008 Experience Hendrix Tour follows on the heels of successful mini tours in 2004 and 2007; this time featuring an expanded natiownide tour schedule and artist line-up the features the likes Mitch Mitchell, Billy Cox, Buddy Guy, Hubert Sumlin (Howlin' Wolf), Jonny Lang, Kenny Wayne Shepherd, Eric Johnson, Brad Whitford (Aerosmith), Doyle Bramhall II, Eric Gales, Mato Nanji (Indigenous), Chris Layton (Double Trouble) and special guests at selected locations including Cesar Rojas and David Hidalgo (Los Lobos), Bernard Allison, Robby Krieger (The Doors) and many more.
by Greg Lake
The 2008 Experience Hendrix Tour follows on the heels of successful mini tours in 2004 and 2007; this time featuring an expanded natiownide tour schedule and artist line-up the features the likes Mitch Mitchell, Billy Cox, Buddy Guy, Hubert Sumlin (Howlin' Wolf), Jonny Lang, Kenny Wayne Shepherd, Eric Johnson, Brad Whitford (Aerosmith), Doyle Bramhall II, Eric Gales, Mato Nanji (Indigenous), Chris Layton (Double Trouble) and special guests at selected locations including Cesar Rojas and David Hidalgo (Los Lobos), Bernard Allison, Robby Krieger (The Doors) and many more.
by Greg Lake
The Beacon Reborn
The Beacon Theater in New York is also re-opening in February of 2009. Glenn Collins of the New York Times provides an article of this event.
It almost became a grocery store in the 1970s. In the 1980s, it was nearly jackhammered into a cavernous disco with a triple-tiered restaurant. Somehow it escaped becoming a multiplex. And through 78 years, the neglect of the Beacon Theater in Manhattan — aside from occasional spasms of partial renovation — has often been profound.
Funny thing, though: neglect has an upside. The Beacon “is very worn, and there is damage throughout, but by luck and happenstance the theater survived,” said Christopher T. Cowan, an associate partner at Beyer Blinder Belle Architects and Planners, which is conducting an ambitious restoration of the ornate 1929 former movie palace. “Most of the interior detailing is intact,” he said, “and even most of the light fixtures are original as well.”
The Beacon, at 2124 Broadway, at West 74th Street, is familiar to generations of New Yorkers living on the West Side who grew up there when it was a movie house, performance space and, in recent decades, what some have called the Carnegie Hall of rock rooms.
The Beacon went dark last month for a six-month, $15-million restoration by Madison Square Garden Entertainment, a division of Cablevision Systems Corporation, which announced in 2006 that it was leasing the theater for 20 years. The interior face-lift is to be completed by Jan. 31, in time for a February opening.
Originally conceived as a sumptuous mecca for vaudeville acts and silent movies, it ultimately featured talkies and, through the decades, a galaxy of headliners including Bruce Springsteen, James Taylor, Jerry Garcia, Tina Turner, Aerosmith, Queen, George Carlin, the Dalai Lama and even Senator Hillary Rodham Clinton’s 60th birthday party.
And the theater was a star in the Martin Scorsese documentary “Shine a Light,” his celebration of the Rolling Stones’ 2006 performances at the Beacon.
The Beacon “has a great vibe, it’s not either a coliseum or a club,” said Gregg Allman, whose Allman Brothers Band holds the record with more than 180 performances at the Beacon since 1989, and whose appearances there have become an annual Manhattan rite of spring. “There’s a connection with the audience, and when they give back, we keep giving.”
But the theater’s condition meant “that you didn’t want the house lights all the way up, given those cobwebs with the big hunks of dust,” said Mr. Allman, 60.
Thomas J. Travers, a spokesman for the Beacon Broadway Company, which has long owned the theater, said that Cablevision “is doing a fine renovation; they guaranteed they would spend a minimum of $10 million on it, and obviously the theater needed it.”
The terms of the lease are closely guarded by officials of Madison Square Garden Entertainment, which also runs the Knicks and Rangers sports franchises, Radio City Music Hall and the Chicago Theater in Chicago.
Three years older than the Radio City Music Hall, the Beacon was never quite a sibling of its larger counterpart, since the theaters were owned by different companies. But they are together now in the Cablevision empire.
“Mr. Dolan wanted a state-of-the art restoration,” said Jay Marciano, president of Madison Square Garden Entertainment, referring to James L. Dolan, Cablevision’s chief executive. Since Mr. Dolan has been oft-criticized by New York Knicks fans during years of the team’s decline, did Mr. Dolan think of it as some form of penance to spend $5 million more on the Beacon restoration (and an additional $1 million on new air conditioning) than was required by its contract?
“I can’t speak for how he thinks,” Mr. Marciano said of Mr. Dolan. “But he has a lot of personal passion for this project. We view the Beacon as iconic, a beloved city landmark, and restoring the Beacon will be good for New Yorkers and a profitable business venture.” The cost will be recouped during the lease, and ticket prices, which range from $25 to $125, will not increase after the reopening. “Not one dollar,” Mr. Marciano said.
The refurbishment of the theater, whose interior was declared a landmark in 1979, began last month with the removal of 2,800 seats. An important part of the initial work has been a kind of detective story calling upon archival photographs, architectural plans and even the recollections of former theater employees.
Restoration researchers have peeled back layers of what is — literally — house paint slathered on through the decades, and conducted an extensive analysis of the original paint, said Marc Tarozzi, a vice president of facilities at Madison Square Garden.
The Beacon, which critics originally celebrated as a bit of old Baghdad on Upper Broadway, was the brainchild of the impresario Samuel L. Rothafel, known as Roxy, who commissioned a Chicago architect, Walter W. Ahlschlager, to design a vaudeville and silent-film theater called Roxy’s Midway.
It was intended to be part of the Roxy Circuit, joining Rothafel’s 1927 Roxy Theater on West 50th Street, billed as the “Cathedral of the Movies,” which was ultimately demolished in 1960. “The Beacon is a smaller version of the original Roxy,” Mr. Cowan said. “That’s why it’s so important — it’s a window to another world that existed then.”
The opulent theater with its neoclassical rotunda is a pastiche of Greek, Roman, Renaissance and Rococo elements, and an “Arabian Nights” fantasy motif. But when the stock market crashed in 1929, the theater was taken over by Warner Brothers, redesigned and opened as the Beacon on Dec. 24 of that year.
“There never has been a truly major restoration of the Beacon,” Mr. Tarozzi said. And so, a first look at the refurbishing reveals a host of upgrades, including a new maple stage floor and repairs to the roof to fix leaks that have caused damage to the theater’s original murals. New concession stands and dressing rooms will also be installed.
The 1929 sconces and lighting fixtures are being rewired, and the robust network of original ceiling, wall and mural lighting “will be brought back,” Mr. Cowan said. “The lights burned out, and nobody replaced them, so the theater hasn’t been seen in all its glory in 50 years.”
In the rotunda, the ceiling will be cleaned and repainted after decades of blackening from cigarette smoke and grime. A long-lost oil-on-canvas mural, depicting a classical scene, had been replaced by a sheet of now-peeling, faded scenic wallpaper. It will be recreated from historic photographs.
More than 2,100 square yards of custom-patterned wool carpeting in gold, yellow, green and maroon will adorn the lobbies, auditorium and stairways.
And in the auditorium, murals depicting caravans and elephants will be restored, and technicians will repair and repaint sculptures of animals, masks, urns and statues of Greek figures, not to mention richly decorated cornices, ceiling moldings, pilasters, scrolled brackets and medallions. A 30-foot high Venetian-inspired auditorium lighting fixture will be refurbished as well.
Also to be restored will be a multicolored, Moorish-inspired main theater ceiling that presents the stage as if it were behind the open flap of a giant tent.
As the restoration recovers more and more of the Beacon, the survival of so many of its architectural elements is “remarkable,” Mr. Cowan said, “since so few venues like this are left. We are unveiling a true work of art.”
by Greg Lake
It almost became a grocery store in the 1970s. In the 1980s, it was nearly jackhammered into a cavernous disco with a triple-tiered restaurant. Somehow it escaped becoming a multiplex. And through 78 years, the neglect of the Beacon Theater in Manhattan — aside from occasional spasms of partial renovation — has often been profound.
Funny thing, though: neglect has an upside. The Beacon “is very worn, and there is damage throughout, but by luck and happenstance the theater survived,” said Christopher T. Cowan, an associate partner at Beyer Blinder Belle Architects and Planners, which is conducting an ambitious restoration of the ornate 1929 former movie palace. “Most of the interior detailing is intact,” he said, “and even most of the light fixtures are original as well.”
The Beacon, at 2124 Broadway, at West 74th Street, is familiar to generations of New Yorkers living on the West Side who grew up there when it was a movie house, performance space and, in recent decades, what some have called the Carnegie Hall of rock rooms.
The Beacon went dark last month for a six-month, $15-million restoration by Madison Square Garden Entertainment, a division of Cablevision Systems Corporation, which announced in 2006 that it was leasing the theater for 20 years. The interior face-lift is to be completed by Jan. 31, in time for a February opening.
Originally conceived as a sumptuous mecca for vaudeville acts and silent movies, it ultimately featured talkies and, through the decades, a galaxy of headliners including Bruce Springsteen, James Taylor, Jerry Garcia, Tina Turner, Aerosmith, Queen, George Carlin, the Dalai Lama and even Senator Hillary Rodham Clinton’s 60th birthday party.
And the theater was a star in the Martin Scorsese documentary “Shine a Light,” his celebration of the Rolling Stones’ 2006 performances at the Beacon.
The Beacon “has a great vibe, it’s not either a coliseum or a club,” said Gregg Allman, whose Allman Brothers Band holds the record with more than 180 performances at the Beacon since 1989, and whose appearances there have become an annual Manhattan rite of spring. “There’s a connection with the audience, and when they give back, we keep giving.”
But the theater’s condition meant “that you didn’t want the house lights all the way up, given those cobwebs with the big hunks of dust,” said Mr. Allman, 60.
Thomas J. Travers, a spokesman for the Beacon Broadway Company, which has long owned the theater, said that Cablevision “is doing a fine renovation; they guaranteed they would spend a minimum of $10 million on it, and obviously the theater needed it.”
The terms of the lease are closely guarded by officials of Madison Square Garden Entertainment, which also runs the Knicks and Rangers sports franchises, Radio City Music Hall and the Chicago Theater in Chicago.
Three years older than the Radio City Music Hall, the Beacon was never quite a sibling of its larger counterpart, since the theaters were owned by different companies. But they are together now in the Cablevision empire.
“Mr. Dolan wanted a state-of-the art restoration,” said Jay Marciano, president of Madison Square Garden Entertainment, referring to James L. Dolan, Cablevision’s chief executive. Since Mr. Dolan has been oft-criticized by New York Knicks fans during years of the team’s decline, did Mr. Dolan think of it as some form of penance to spend $5 million more on the Beacon restoration (and an additional $1 million on new air conditioning) than was required by its contract?
“I can’t speak for how he thinks,” Mr. Marciano said of Mr. Dolan. “But he has a lot of personal passion for this project. We view the Beacon as iconic, a beloved city landmark, and restoring the Beacon will be good for New Yorkers and a profitable business venture.” The cost will be recouped during the lease, and ticket prices, which range from $25 to $125, will not increase after the reopening. “Not one dollar,” Mr. Marciano said.
The refurbishment of the theater, whose interior was declared a landmark in 1979, began last month with the removal of 2,800 seats. An important part of the initial work has been a kind of detective story calling upon archival photographs, architectural plans and even the recollections of former theater employees.
Restoration researchers have peeled back layers of what is — literally — house paint slathered on through the decades, and conducted an extensive analysis of the original paint, said Marc Tarozzi, a vice president of facilities at Madison Square Garden.
The Beacon, which critics originally celebrated as a bit of old Baghdad on Upper Broadway, was the brainchild of the impresario Samuel L. Rothafel, known as Roxy, who commissioned a Chicago architect, Walter W. Ahlschlager, to design a vaudeville and silent-film theater called Roxy’s Midway.
It was intended to be part of the Roxy Circuit, joining Rothafel’s 1927 Roxy Theater on West 50th Street, billed as the “Cathedral of the Movies,” which was ultimately demolished in 1960. “The Beacon is a smaller version of the original Roxy,” Mr. Cowan said. “That’s why it’s so important — it’s a window to another world that existed then.”
The opulent theater with its neoclassical rotunda is a pastiche of Greek, Roman, Renaissance and Rococo elements, and an “Arabian Nights” fantasy motif. But when the stock market crashed in 1929, the theater was taken over by Warner Brothers, redesigned and opened as the Beacon on Dec. 24 of that year.
“There never has been a truly major restoration of the Beacon,” Mr. Tarozzi said. And so, a first look at the refurbishing reveals a host of upgrades, including a new maple stage floor and repairs to the roof to fix leaks that have caused damage to the theater’s original murals. New concession stands and dressing rooms will also be installed.
The 1929 sconces and lighting fixtures are being rewired, and the robust network of original ceiling, wall and mural lighting “will be brought back,” Mr. Cowan said. “The lights burned out, and nobody replaced them, so the theater hasn’t been seen in all its glory in 50 years.”
In the rotunda, the ceiling will be cleaned and repainted after decades of blackening from cigarette smoke and grime. A long-lost oil-on-canvas mural, depicting a classical scene, had been replaced by a sheet of now-peeling, faded scenic wallpaper. It will be recreated from historic photographs.
More than 2,100 square yards of custom-patterned wool carpeting in gold, yellow, green and maroon will adorn the lobbies, auditorium and stairways.
And in the auditorium, murals depicting caravans and elephants will be restored, and technicians will repair and repaint sculptures of animals, masks, urns and statues of Greek figures, not to mention richly decorated cornices, ceiling moldings, pilasters, scrolled brackets and medallions. A 30-foot high Venetian-inspired auditorium lighting fixture will be refurbished as well.
Also to be restored will be a multicolored, Moorish-inspired main theater ceiling that presents the stage as if it were behind the open flap of a giant tent.
As the restoration recovers more and more of the Beacon, the survival of so many of its architectural elements is “remarkable,” Mr. Cowan said, “since so few venues like this are left. We are unveiling a true work of art.”
by Greg Lake
The Warfield To Re-Open
An article about the upcoming re-opening of The Warfield, a San Francisco musical landmark, by Jim Harrington in the Contra Costa Times:
Five days before the re-opening of the Warfield, house manager Rick Bates looked around at all the construction and refurbishing going on inside the building. The sounds of driving nails and whirling drills brought a big smile to his face.
“It’s nice to see somebody put some money into her _ spruce up the old girl,” said Bates, who first captained the good ship Warfield back in the mid-‘90s. “Because she’s a great old gal.”
Well, now, that old gal is back. And most expect her to look _ and sound _ better than ever.
The legendary San Francisco venue, which opened on Market Street in 1922, will make its re-entry to the Bay Area live entertainment scene this weekend, as it hosts comedian George Lopez Saturday through Monday.
The theater has been closed since mid-May, following a five-night stand by Phil Lesh and Friends. Those Lesh gigs served as the last hurrah at the building for longtime operators, Live Nation/Bill Graham Presents.
Since May, the Warfield’s new management team _ Golden Voice/AEG Live _ has put in much effort and money to upgrade the facilities at the venue. Golden Voice is remaining silent as to how much cash is being poured into the building, but it’s clearly enough to make a noticeable difference at a venue that many believed needed some major attention.
The most noticeable change is that the soundboard has been moved downstairs, which opens up 30 prime new seats front and center in the balcony. Also of significance, the tenants have put in a new sound system and added permanent stage lighting. They’ve also improved the look, with new carpeting and a fresh coat of paint. Framed photographs of acts like Phish, Bjork and Jerry Garcia decorate the lobby and serve to underscore the venue’s distinguished history.
The new Warfield will be a key component in Golden Voice’s attempt to make a go of it in the Bay Area. The promoter, already a major force in Southern California, will bring such acts as the Dandy Warhols, Patti Smith and Nick Cave to the 2,250-capacity venue in the weeks ahead. Golden Voice also regularly hosts concerts at the 1,400-capacity Grand Ballroom at San Francisco’s Regency Center.
by Greg Lake
Five days before the re-opening of the Warfield, house manager Rick Bates looked around at all the construction and refurbishing going on inside the building. The sounds of driving nails and whirling drills brought a big smile to his face.
“It’s nice to see somebody put some money into her _ spruce up the old girl,” said Bates, who first captained the good ship Warfield back in the mid-‘90s. “Because she’s a great old gal.”
Well, now, that old gal is back. And most expect her to look _ and sound _ better than ever.
The legendary San Francisco venue, which opened on Market Street in 1922, will make its re-entry to the Bay Area live entertainment scene this weekend, as it hosts comedian George Lopez Saturday through Monday.
The theater has been closed since mid-May, following a five-night stand by Phil Lesh and Friends. Those Lesh gigs served as the last hurrah at the building for longtime operators, Live Nation/Bill Graham Presents.
Since May, the Warfield’s new management team _ Golden Voice/AEG Live _ has put in much effort and money to upgrade the facilities at the venue. Golden Voice is remaining silent as to how much cash is being poured into the building, but it’s clearly enough to make a noticeable difference at a venue that many believed needed some major attention.
The most noticeable change is that the soundboard has been moved downstairs, which opens up 30 prime new seats front and center in the balcony. Also of significance, the tenants have put in a new sound system and added permanent stage lighting. They’ve also improved the look, with new carpeting and a fresh coat of paint. Framed photographs of acts like Phish, Bjork and Jerry Garcia decorate the lobby and serve to underscore the venue’s distinguished history.
The new Warfield will be a key component in Golden Voice’s attempt to make a go of it in the Bay Area. The promoter, already a major force in Southern California, will bring such acts as the Dandy Warhols, Patti Smith and Nick Cave to the 2,250-capacity venue in the weeks ahead. Golden Voice also regularly hosts concerts at the 1,400-capacity Grand Ballroom at San Francisco’s Regency Center.
by Greg Lake
September 9, 2008
We the People Festival
Sept 27th, 2008
Los Angeles State Historic Park (Not a Cornfield)
Unity Through Diversity
The organization of the WE THE PEOPLE festival was conceived due to a great need for a stimulant in social awareness and an encompassing platform within the urban community to inspire the involvement and active participation of the conscious urban youth populous throughout the country.
While providing a vastly artistic and intellectually satisfying array of talent at the concert series, The WE THE PEOPLE festival's primary objective involves reaching out to the myriad of organizations, groups, like-minded promotion firms, and of course artists, in order to conceive the greatest arena in which to engage and then garner participation from a grossly uninformed youth audience, including all other age groups affected by contemporary matters that involve our communities.
By in large, the WE THE PEOPLE festival aspires to continue to promote and suggest a much needed platform that calls for a voice for the youth of our nation and those artists they credit with acknowledging their daily struggles within the environments that surround them, socially, culturally and politically.
The "We the People" festival promotes non-partisan, non-violent, environmental and politically conscious views.
by Greg Lake
Los Angeles State Historic Park (Not a Cornfield)
Unity Through Diversity
The organization of the WE THE PEOPLE festival was conceived due to a great need for a stimulant in social awareness and an encompassing platform within the urban community to inspire the involvement and active participation of the conscious urban youth populous throughout the country.
While providing a vastly artistic and intellectually satisfying array of talent at the concert series, The WE THE PEOPLE festival's primary objective involves reaching out to the myriad of organizations, groups, like-minded promotion firms, and of course artists, in order to conceive the greatest arena in which to engage and then garner participation from a grossly uninformed youth audience, including all other age groups affected by contemporary matters that involve our communities.
By in large, the WE THE PEOPLE festival aspires to continue to promote and suggest a much needed platform that calls for a voice for the youth of our nation and those artists they credit with acknowledging their daily struggles within the environments that surround them, socially, culturally and politically.
The "We the People" festival promotes non-partisan, non-violent, environmental and politically conscious views.
by Greg Lake
September 7, 2008
Phish 2008 Reunion
After two 'retirement' shows in Vermont more than four years ago, Phish reunited September 6, 2008 in New York City at the wedding of former road manager Brad Sands.
The band performed a three song set, "Suzy Greenberg," "Julius" and "Waste".
For a picture check out: http://www.glidemagazine.com/hiddentrack/breaking-phish-reunites-for-sandsios-wedding/
by Greg Lake
The band performed a three song set, "Suzy Greenberg," "Julius" and "Waste".
For a picture check out: http://www.glidemagazine.com/hiddentrack/breaking-phish-reunites-for-sandsios-wedding/
by Greg Lake
September 5, 2008
A Pissed Off Deadhead
The following letter references a blurb on the last page, the music charts, of Rolling Stone magazine, RS 1060 (http://www.rollingstone.com/issue1060).
Dear Rolling Stone,
I am a longtime subscriber that has recently come to question the morality of your magazine because of an ethical issue that I have with a recent post. Now, when I first receive my magazine, I like to to look at the back cover page in the section where you present current, previous and a specific town's music charts as well as classic Rolling Stone covers. In issue RS 1060, you were showcasing a classic issue from 1993 with Jerry Garcia on the front cover. Underneath the picture you had a single excerpted quote from Mr. Garcia stating that if he didn’t change the way he was living he would be dead in two years. I’m personally appalled that you would print only this single quote and question your blatant disregard for human life. How his family and especially his daughters would feel upon reading this is beyond me. Jerry did indeed die two years later as we all know, after struggling to confront his demons in a rehabilitation center no less. That you had the audacity to even print this is horrid to say the least, but especially on the anniversary of his death, August 10th, 1995.
Have you no respect???
Sincerely,
A Pissed Off Deadhead
by Matthew Burns
This is our first article written by Matthew Burns. We at KyndMusic appreciate his contribution and look forward to more of his writing in the future.
Dear Rolling Stone,
I am a longtime subscriber that has recently come to question the morality of your magazine because of an ethical issue that I have with a recent post. Now, when I first receive my magazine, I like to to look at the back cover page in the section where you present current, previous and a specific town's music charts as well as classic Rolling Stone covers. In issue RS 1060, you were showcasing a classic issue from 1993 with Jerry Garcia on the front cover. Underneath the picture you had a single excerpted quote from Mr. Garcia stating that if he didn’t change the way he was living he would be dead in two years. I’m personally appalled that you would print only this single quote and question your blatant disregard for human life. How his family and especially his daughters would feel upon reading this is beyond me. Jerry did indeed die two years later as we all know, after struggling to confront his demons in a rehabilitation center no less. That you had the audacity to even print this is horrid to say the least, but especially on the anniversary of his death, August 10th, 1995.
Have you no respect???
Sincerely,
A Pissed Off Deadhead
by Matthew Burns
This is our first article written by Matthew Burns. We at KyndMusic appreciate his contribution and look forward to more of his writing in the future.
That ‘70s show keeps on rolling
http://www.newsreview.com/sacramento/Content?oid=794924
Interesting read to say the least, a couple of key excerpts that really struck me as being well, odd:
"Even the much-maligned Grateful Dead drew from such seemingly disparate genres as rock, blues, jug-band folk, country and various world-music forms."
'maligned'???!
ma·lign (m-ln) tr.v. ma·ligned, ma·lign·ing, ma·ligns
To make evil, harmful, and often untrue statements about; speak evil of.adj.1. Evil in disposition, nature, or intent.2. Evil in influence; injurious.3. Having or showing malice or ill will; malevolent.
http://www.thefreedictionary.com/maligned
"Gaffney is backed on the disc by Jackie Greene, another artist with a decided affinity for post-Blonde on Blonde Americana, along with jam-band staples Steve and Jim Kimock and Ben Harper’s band the Innocent Criminals."
Who is Jim Kimock?
by Greg Lake
Interesting read to say the least, a couple of key excerpts that really struck me as being well, odd:
"Even the much-maligned Grateful Dead drew from such seemingly disparate genres as rock, blues, jug-band folk, country and various world-music forms."
'maligned'???!
ma·lign (m-ln) tr.v. ma·ligned, ma·lign·ing, ma·ligns
To make evil, harmful, and often untrue statements about; speak evil of.adj.1. Evil in disposition, nature, or intent.2. Evil in influence; injurious.3. Having or showing malice or ill will; malevolent.
http://www.thefreedictionary.com/maligned
"Gaffney is backed on the disc by Jackie Greene, another artist with a decided affinity for post-Blonde on Blonde Americana, along with jam-band staples Steve and Jim Kimock and Ben Harper’s band the Innocent Criminals."
Who is Jim Kimock?
by Greg Lake
September 4, 2008
NEW YEARS 2008: DENVER, CO
Ring in the New Year with Widespread Panic and Yonder Mountain String Band December 30th-31st at the Pepsi Center in downtown Denver, Colorado!
Mail Order Tickets are available for the two-night run only; Orders will be accepted beginning September 8th.
Public on-sale for these shows will be on October 11th at 10am MST at The Pepsi Center, Ticketmaster & phone 303.830.8497.
On December 29th, Yonder Mountain String Band will be playing a benefit concert for Tunes For Tots at the Ogden Theater. All Mail Order participants will receive a special code with their tickets allowing them access to purchase tickets to the YMSB show on the 29th.
by Greg Lake
Mail Order Tickets are available for the two-night run only; Orders will be accepted beginning September 8th.
Public on-sale for these shows will be on October 11th at 10am MST at The Pepsi Center, Ticketmaster & phone 303.830.8497.
On December 29th, Yonder Mountain String Band will be playing a benefit concert for Tunes For Tots at the Ogden Theater. All Mail Order participants will receive a special code with their tickets allowing them access to purchase tickets to the YMSB show on the 29th.
by Greg Lake
September 2, 2008
Oakland Rocks For Change
Benefit concert event featuring jazz duo Tuck and Patti, legendary rocker Tommy Castro, comedian Marga Gomez, local songstresses Blame Sally, and post-modern stringband Hot Buttered Rum.
Additional performers and special guests to be announced soon!
Location Oakland Museum of CA
1000 Oak St. (10th Street entrance)Oakland, CA 94607(510) 238-2200
Ticket pricingFans: $50 General admission-outer garden seating
Roadies: $100 donation priority seating Groupies: $250 donation priority seating in first 10 rowsRockstars: $1000 includes VIP cocktail reception with special guests, priority seating in first 10 rows
Event Schedule5:30-6:30 p.m., VIP cocktail reception with special guests (TBA)6:00 p.m., Doors open for general admission 7:00 p.m. to 10 p.m., concert
General Information Our goal is to build awareness and support for Barack Obama in key swing states. This event also will help protect Democrats in U.S. Senate and House of Representatives' seats currently threatened by Republicans.
What better way to make that happen than through an evening of great music?
Come out and show your support: Buy Tickets Now!
Music for Democracy is a grassroots political action committee devoted to promoting and facilitating musical events that raise public awareness of crucial issues, progressive candidates for federal office, and the importance of getting involved in the electoral process.
by Greg Lake
Additional performers and special guests to be announced soon!
Location Oakland Museum of CA
1000 Oak St. (10th Street entrance)Oakland, CA 94607(510) 238-2200
Ticket pricingFans: $50 General admission-outer garden seating
Roadies: $100 donation priority seating Groupies: $250 donation priority seating in first 10 rowsRockstars: $1000 includes VIP cocktail reception with special guests, priority seating in first 10 rows
Event Schedule5:30-6:30 p.m., VIP cocktail reception with special guests (TBA)6:00 p.m., Doors open for general admission 7:00 p.m. to 10 p.m., concert
General Information Our goal is to build awareness and support for Barack Obama in key swing states. This event also will help protect Democrats in U.S. Senate and House of Representatives' seats currently threatened by Republicans.
What better way to make that happen than through an evening of great music?
Come out and show your support: Buy Tickets Now!
Music for Democracy is a grassroots political action committee devoted to promoting and facilitating musical events that raise public awareness of crucial issues, progressive candidates for federal office, and the importance of getting involved in the electoral process.
by Greg Lake
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