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Showing posts with label About. Show all posts

Monday, March 11, 2013

Joss Whedon Brings Shakespeare Home in 'Much Ado About Nothing' Trailer

Joss Whedon Brings Shakespeare Home in 'Much Ado About Nothing' TrailerDirector cast friends in adaptation he filmed at his own house $(document).ready(function() { $('.socialActionsTop .pageActions .email-content').hover( function() { $('.socialActionsTop .bubble.email').show(); }, function() { $('.socialActionsTop .bubble.email').hide(); } ); $('.socialActionsTop .pageActions .print-page').hover( function() { $('.socialActionsTop .bubble.print').show(); }, function() { $('.socialActionsTop .bubble.print').hide(); } ); });

Joss Whedon's latest project isn't a brilliantly self-aware horror flick or the sequel to last year's superhero blockbuster – rather, the writer and director is set to release his adaptation of the William Shakespeare classic Much Ado About Nothing. Now you can check out the first trailer for the film, which was made on a shoestring budget, shot at Whedon's own home and stars his friends like Amy Acker, Alexis Denisof, Nathan Fillion, Reed Diamond and Clark Gregg. Shot in black-and-white and set to an up-tempo jazz tune, the trailer is packed with extravagant parties, budding love and witticisms that sound truly Whedon-esque – even if they were written by the Bard.


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Saturday, March 9, 2013

Joss Whedon Brings Shakespeare Home in 'Much Ado About Nothing' Trailer

Joss Whedon Brings Shakespeare Home in 'Much Ado About Nothing' TrailerDirector cast friends in adaptation he filmed at his own house $(document).ready(function() { $('.socialActionsTop .pageActions .email-content').hover( function() { $('.socialActionsTop .bubble.email').show(); }, function() { $('.socialActionsTop .bubble.email').hide(); } ); $('.socialActionsTop .pageActions .print-page').hover( function() { $('.socialActionsTop .bubble.print').show(); }, function() { $('.socialActionsTop .bubble.print').hide(); } ); });

Joss Whedon's latest project isn't a brilliantly self-aware horror flick or the sequel to last year's superhero blockbuster – rather, the writer and director is set to release his adaptation of the William Shakespeare classic Much Ado About Nothing. Now you can check out the first trailer for the film, which was made on a shoestring budget, shot at Whedon's own home and stars his friends like Amy Acker, Alexis Denisof, Nathan Fillion, Reed Diamond and Clark Gregg. Shot in black-and-white and set to an up-tempo jazz tune, the trailer is packed with extravagant parties, budding love and witticisms that sound truly Whedon-esque – even if they were written by the Bard.


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Sunday, February 3, 2013

Beyonce Opens Up About Miscarriage in New Documentary

Beyonce performs the National Anthem to conclude the 57th Presidential Inauguration.

In her upcoming self-directed documentary Life Is But a Dream, Beyoncé opens up about the miscarriage that preceded the birth of daughter Blue Ivy, calling it "the saddest thing I've ever been through," Us Weekly reports.

While husband Jay-Z mentioned the miscarriage on "Glory" – the song he recorded just days after Blue Ivy's birth – this is the first time Beyoncé has openly discussed the traumatic event. In one scene from the documentary, which premieres February 16th on HBO, the pop star recalls becoming pregnant for the first time: "I heard the heartbeat, which was the most beautiful music I ever heard in my life."

12 Albums We're Looking Forward to In 2013: Beyoncé, Title TBD (Date TBD)

Swelling with maternal love, Beyoncé remembers picking out names and envisioning what her new baby might look like – but early on something went wrong. "I flew back to New York to get my check up – and no heartbeat," she says. "Literally the week before I went to the doctor, everything was fine, but there was no heartbeat."

Heartbroken, Beyoncé turned to music: "I went into the studio and wrote the saddest song I've ever written in my life," she says, though she does not reveal the name of the track. "And it was actually the first song I wrote for my album. And it was the best form of therapy for me." 

Luckily, her second pregnancy was much more joyful, and in the documentary Beyoncé gushes, "Being pregnant was very much like falling in love. You are so open. You are so overjoyed. There's no words that can express having a baby growing inside of you, so of course you want to scream it out and tell everyone." 

You can check out this trailer for Life Is But A Dream, which is filled with intimate, behind-the-scenes footage of Beyoncé, and finds her talking candidly about how much to reveal about herself as well as her career aspirations, pushing herself, and balancing life in the spotlight with natural human fears and anxieties.

Beyoncé is also gearing up for the release of her forthcoming album, which includes collaborations with Justin Timberlake, Pharrell, Timbaland and The-Dream. She's also set to perform this Sunday at the Super Bowl halftime show, where she'll be joined by Michelle Williams and Kelly Rowland for a Destiny's Child reunion. She'll reportedly close the show with the premiere of a brand new song.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Beyonce Opens Up About Miscarriage in New Documentary

Beyonce performs the National Anthem to conclude the 57th Presidential Inauguration.

In her upcoming self-directed documentary Life Is But a Dream, Beyoncé opens up about the miscarriage that preceded the birth of daughter Blue Ivy, calling it "the saddest thing I've ever been through," Us Weekly reports.

While husband Jay-Z mentioned the miscarriage on "Glory" – the song he recorded just days after Blue Ivy's birth – this is the first time Beyoncé has openly discussed the traumatic event. In one scene from the documentary, which premieres February 16th on HBO, the pop star recalls becoming pregnant for the first time: "I heard the heartbeat, which was the most beautiful music I ever heard in my life."

12 Albums We're Looking Forward to In 2013: Beyoncé, Title TBD (Date TBD)

Swelling with maternal love, Beyoncé remembers picking out names and envisioning what her new baby might look like – but early on something went wrong. "I flew back to New York to get my check up – and no heartbeat," she says. "Literally the week before I went to the doctor, everything was fine, but there was no heartbeat."

Heartbroken, Beyoncé turned to music: "I went into the studio and wrote the saddest song I've ever written in my life," she says, though she does not reveal the name of the track. "And it was actually the first song I wrote for my album. And it was the best form of therapy for me." 

Luckily, her second pregnancy was much more joyful, and in the documentary Beyoncé gushes, "Being pregnant was very much like falling in love. You are so open. You are so overjoyed. There's no words that can express having a baby growing inside of you, so of course you want to scream it out and tell everyone." 

You can check out this trailer for Life Is But A Dream, which is filled with intimate, behind-the-scenes footage of Beyoncé, and finds her talking candidly about how much to reveal about herself as well as her career aspirations, pushing herself, and balancing life in the spotlight with natural human fears and anxieties.

Beyoncé is also gearing up for the release of her forthcoming album, which includes collaborations with Justin Timberlake, Pharrell, Timbaland and The-Dream. She's also set to perform this Sunday at the Super Bowl halftime show, where she'll be joined by Michelle Williams and Kelly Rowland for a Destiny's Child reunion. She'll reportedly close the show with the premiere of a brand new song.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Saturday, January 5, 2013

Mumford & Sons: Bob Dylan 'Didn't Give a Sh*t About Authenticity'

Mumford & Sons know the knocks against them, but in a new interview with The Guardian, the English folk group brush off detractors who question the band's authenticity, citing Bob Dylan as an inspiration. "The authenticity thing has never been an issue for me," frontman Marcus Mumford said. "Not since I came to the realization that Dylan, who's probably my favorite artist ever, the richest artist for me, didn't give a shit about authenticity. He changed his name. And modeled himself on Woody Guthrie. And lied to everyone about who he was."

Banjo player Winston Marshall chimed in, "We get accused of inauthenticity because we play the instruments we play," but also pointed to British blues guitarist Peter Green of Fleetwood Mac and his background as an example of a misguided focus on authenticity. "He's from [East London District] Bethnal Green – and he's this fucking incredible blues guitarist. Nothing fucking authentic about that, right?" said Marshall. "But actually there is. He loves it. It's what he's good at. It's not like he's saying he's from the Delta. It's not like we're saying anything like that."

And despite Marcus Mumford's Christian family background and supposedly spiritually inclined lyrics, the band makes clear they're not a religious group. "We said we're not all Christian, so we can't be a Christian band," Marshall said of meeting a fan who asked how they defined themselves. "We're not all religious. In fact none of us are, really. We, er, we have a full spectrum of beliefs," added bass player Ted Dwane. "I don't know many artists who've managed to go a career without bringing these things up. "Saying the word 'God', 'Jesus' – it happens in a million rock songs."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Saturday, October 27, 2012

Lana Wachowski Opens Up About Difficult Past and Attempted Suicide

Lana Wachowski Opens Up About Difficult Past and Attempted SuicideTransgender 'Cloud Atlas' co-director speaks at Human Rights Campaign gala $(document).ready(function() { $('.socialActionsTop .pageActions .email-content').hover( function() { $('.socialActionsTop .bubble.email').show(); }, function() { $('.socialActionsTop .bubble.email').hide(); } ); $('.socialActionsTop .pageActions .print-page').hover( function() { $('.socialActionsTop .bubble.print').show(); }, function() { $('.socialActionsTop .bubble.print').hide(); } ); }); By

Cloud Atlas co-director Lana Wachowski opened up about her difficult past of growing up transgender in a speech at the Human Rights Campaign's gala fundraiser in San Francisco this weekend, according to the Hollywood Reporter.

Wachowski, one half of the sibling duo behind The Matrix trilogy, said that when she was a young adult, she nearly committed suicide on a subway platform before a man nearby stared her down. "I don't know why he wouldn't look away," said Wachowski. "All I know is that because he didn't, I am still here." Wachowski also shared an incident in which she was beaten by a Catholic nun for not joining a line of boys and shared the support she received from her mother and father upon coming out. "Having good parents is just like the lottery," she added.

Wachowski attended the gala to accept the Visibility Award for her recent decision to dispel her previous policy of avoiding press, public appearances and open acknowledgement of her "transition" into becoming a woman. She also noted that she dislikes that word "because of its complicity in a binary gender narrative."


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Saturday, October 20, 2012

What President Obama Should Have Said About High Gas Prices

barack obama Barack Obama participates in the second presidential debate at Hofstra University in Hempstead, New York.It's somehow fitting that the only question about energy in the presidential debates so far this year came from a 52-year-old registered Republican and owner of a Long Island strip club. About 20 minutes into this week's town hall debate, Phillip Tricolla asked President Obama: "Your energy secretary, Steven Chu, has now been on record three times stating it's not policy of his department to help lower gas prices. Do you agree with Secretary Chu that this is not the job of the Energy Department?"

President Obama did not answer the question. Instead, he launched into a long, obviously rehearsed speech about energy independence, rising U.S. oil production, the virtues of "clean coal" and the distant promise of clean energy. All boilerplate stuff. When it was Romney's turn to respond, he didn't answer the question either – breaking into a tired love song to oil, gas and coal that sounded like it was scripted by Koch Industries (which, given the fact that Charles Koch has promised to raise $400 million to help Romney defeat Obama, it probably was).

Let's do a little thought experiment and imagine for a moment that President Obama wanted to answer Tricolla's question honestly and directly. What might he have said? Here's one possibility:

"You are correct, Phillip. It is not the job of the Secretary of Energy to lower gas prices. The Secretary of Energy's job is to safeguard America's nuclear stockpile, direct energy research, and, as a member of my cabinet, advise me on broader energy issues.

"In fact, the truth is, Phillip, even the President of the United States doesn't have much control over gas prices. Gas prices are, of course, largely dependent on oil prices, and oil is a global commodity.  And America is only one player in a very large market. More importantly, we consume about 20 percent of the world's oil, but we produce only about two percent. So even if we doubled production of oil in the U.S., it would only have a small impact on the market – and it would do very little to lower gas prices.

"Nobody likes high gas prices. But the best solution is not to pretend that we can drill our way out of this, but to reduce our consumption. That's one reason why my administration recently issued rules to double the average fuel economy of vehicles by 2025, saving 12 billion barrels of oil in the coming years. But that's just a start. The best way to really cut consumption quickly is by making gasoline more expensive. Does that mean I have a covert agenda to do what I can to keep gas prices high? No. It means that Americans have to get over the idea that we have a God-given right to cheap gas. More importantly, we need to think seriously about the virtues of an economy-wide carbon tax, which would raise the price of oil, coal and gas. This is, I know, a tough argument to make in economic hard times, but the truth is, it would trigger a huge investment in clean energy and be the single best step we could take to solving our dependence on foreign oil and reducing the impact of high gas prices. And this is not some crazy liberal fantasy. Even one of Governor Romney's top economic advisors has advocated a $1 per gallon gas tax.

"I'd like to make one further point, Phillip. I understand why you would ask about gas prices, and why that is important to you. But focusing our discussion about energy on the price of gas is a distraction from the larger issues we face – especially climate change. In fact, talking about gas prices plays right into the hands of Big Oil – which is, of course, why Governor Romney brings it up whenever he can. The governor and his pals in the oil industry want to keep Americans whipped up in a hysteria about gas prices because as long as that is the subject, no politician – including myself – can make broader arguments about long term energy problems, which inevitably involve reducing our consumption of oil.

"The real threat America faces is not high gas prices, but a superheated climate. The science is very clear: climate change is real, it is happening, and it is largely caused by humans. Just consider what we've seen this year: the arctic is melting at unprecedented rate, 2012 is likely to be the warmest year on record and food prices are rising, largely because of the impact of drought on agriculture. The governor may think climate change is a joke, but I assure you, it is not. Just in economic terms, it is a very big deal – one study has found that climate change is already reducing the global GDP by $1.2 trillion, and predicts those costs will double by 2030.

"We can deal with rising gas prices. We can drive more efficient cars, take public transportation, move closer to work. It's not easy, but it's not catastrophic, either. What is catastrophic is rising sea levels, drought, heat waves, food shortages and all the other challenges we face on an overheated planet. The simple fact is, we need to get off fossil fuels as quickly as possible. We need to invest big in clean energy. We need to pass a carbon tax. We need to take the lead on a global agreement to reduce carbon pollution. But most of all, we need to admit the dangers we face by continuing to heat up the planet.

"I know this is not what you want to hear, Phillip. And I know that I bear some responsibility for failing to educate Americans about the risks of climate change. But my silence on this is ending now."

A response like this, of course, would have been political suicide. Or so the conventional wisdom goes.  But at least in the case of Phillip Tricolla, the President didn't have much to lose. Tricolla admitted to an AP reporter after the debate that after hearing the President's response to his question, he is going to vote for Romney.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Monday, August 20, 2012

Rihanna Opens Up About Chris Brown: 'I Lost My Best Friend'

In an TV interview set to air on August 19th, Rihanna opens up to Oprah Winfrey about ex-boyfriend Chris Brown and the infamous 2009 incident in which he beat her the night before she was to perform on the Grammys. Sobbing on camera, the singer says she felt protective of Brown and worried that he would be demonized. Still, the altercation left Rihanna in emotional tatters.

"It was embarrassing, it was humiliating," Rihanna tells Winfrey. "I lost my best friend. Everything I knew switched, switched in a night, and I couldn't control that." The situation unsettled Rihanna, putting her in a "weird, confusing space" with layers of complexity. "As angry as I was – as angry and hurt and betrayed – I just felt like he made that mistake because he needed help. And who's going to help him?" she continues.

"Nobody's going to say he needs help. Everybody's going to say he's a monster, without looking at the source. And I was more concerned about him," she says.

Though Winfrey came into the interview expecting a battle-hardened Rihanna, she says the experience defied her preconceptions. "I thought she was going to be kind of a badass, kind of a hard-edged rocker, pop woman. Nothing could have been further from the truth," Winfrey said.

The Rihanna interview with Oprah Winfrey airs August 19th on Winfrey's OWN network.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Sunday, August 19, 2012

Rihanna Opens Up About Chris Brown: 'I Lost My Best Friend'

In an TV interview set to air on August 19th, Rihanna opens up to Oprah Winfrey about ex-boyfriend Chris Brown and the infamous 2009 incident in which he beat her the night before she was to perform on the Grammys. Sobbing on camera, the singer says she felt protective of Brown and worried that he would be demonized. Still, the altercation left Rihanna in emotional tatters.

"It was embarrassing, it was humiliating," Rihanna tells Winfrey. "I lost my best friend. Everything I knew switched, switched in a night, and I couldn't control that." The situation unsettled Rihanna, putting her in a "weird, confusing space" with layers of complexity. "As angry as I was – as angry and hurt and betrayed – I just felt like he made that mistake because he needed help. And who's going to help him?" she continues.

"Nobody's going to say he needs help. Everybody's going to say he's a monster, without looking at the source. And I was more concerned about him," she says.

Though Winfrey came into the interview expecting a battle-hardened Rihanna, she says the experience defied her preconceptions. "I thought she was going to be kind of a badass, kind of a hard-edged rocker, pop woman. Nothing could have been further from the truth," Winfrey said.

The Rihanna interview with Oprah Winfrey airs August 19th on Winfrey's OWN network.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Wednesday, August 8, 2012

Pusha T Reveals What He Can't Reveal About Kanye's G.O.O.D. Music Project

Pusha T

Pusha T has spent a significant amount of time over the past year working on Cruel Summer, the forthcoming album Kanye West is putting together with the stable of artists signed to his G.O.O.D.
Music label. The Clipse MC describes the tracks he's rhymed on as "emotional hip-hop mixed with trap music," but he admits that despite all the work he's done on the album, he can only guess what it will ultimately sound like.

"I've done about 20 verses, but the album's still a mystery to me because I don't know what's made it and what hasn't," he tells Rolling Stone. G.O.O.D. artists Kid Cudi, Big Sean, CyHi, Common, Q-Tip, John Legend and 2 Chainz have all contributed vocals, as have a few artists not signed to the label, but the only one who knows what the final product will include is West, who has sworn off interviews ever since a tense Today Show tete-a-tete with Matt Lauer in 2010.

"It wouldn't be right if the element of surprise wasn't there for everybody involved except Kanye," says Pusha. "That's his magic, man."

The album originated as a companion piece to a surreal, grandiose 30-minute film that West debuted as a seven-screen experience at the Cannes Film Festival in May. So far two singles ("Mercy" and "New God Flow") have been released, and West previewed a few other songs, including "Way Too Cold" and another, possibly titled "Perfect Bitch," during an unannounced visit to a New York City club at about 1:30 a.m. on August 5th. Rumors have swirled about various producers on the project.

"There is some guest production," confirms Pusha. "But I've never heard anyone say in an interview who else is up there production-wise, so I don't want to be the one to spoil it."

All the secrecy is nothing new for West. Pusha first noticed it during the sessions for My Beautiful Dark Twisted Fantasy.

"In the studio there would be sheets of paper that said, 'No tweeting, no talking, no emailing, no anything. Do not talk to anybody outside of this studio room.' Then there happened to be a leak, and I remember Kanye ranting and raving, like, 'Fuck this! We're not going to ever work there again! We're going to work in hotel rooms!'"

West was true to his word. Pusha says Cruel Summer was recorded entirely in hotels. West also refused to email files to his collaborators.

"'Ye would call me and be like, 'Yo, I've got this ill beat,'" explains Pusha. "I'd be like, 'All right, send it to me.' And he'd say, 'No, I'm not emailing it.'" Instead Pusha's manager would have to fly out to pick it up.

If such behavior seems a tad paranoid, it may not be entirely unwarranted. According to Pusha, the email addresses of West and most of his G.O.O.D. Music family have been hacked repeatedly.

"We get bogus emails from each other, from hackers," he says. "I don't even open my emails. If [West's tour manager] Don C. emails me something, before I touch it, I call Don and say, 'Don, did you email me?' So with that being said, I understand keeping things quiet."

Cruel Summer is due out September 4th.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Monday, July 16, 2012

'Breaking Bad' Cast Drops Hints About Darkest Season Yet at Comic-Con

Aaron Paul and Bryan Cranston from 'Breaking Bad' speak at a Comic-con panel in San Diego.

The cast of Breaking Bad offered some tidbits about the show’s fifth season during a Comic-Con International panel in San Diego on Friday night. While exact details remained elusive, one thing was clear: The season, which premieres on Sunday night, is the show’s darkest yet."This season is about winning; and what it means to stay on top," said executive producer Vince Gilligan. 

"This entire season is just creepy. Unsettling," added Aaron Paul, who plays meth dealer Jesse Pinkman.

The hour-long panel, moderated by TV Guide’s Michael Schneider, marked the first time Breaking Bad has made an appearance at Comic-Con. The panelists included Gilligan and seven of the show’s actors, including Bryan Cranston, who stars as chemistry teacher-turned-meth maker Walter White.

Some devoted fans had apparently shown up early – really early – to get a good seat. "I’m scared to leave this line up. I don’t want to miss breaking bad IN 5 HOURS. What is another 5 hours without peeing?" tweeted a user named @elizabutt.

Despite the show’s intensity, the panelists were clearly having a good time. Hitfix noted that Cranston and Paul came onstage dressed in yellow hazmat suits. Actor Dean Norris – who plays White’s DEA agent brother-in-law, Hank Schrader – was dressed in an outfit that made him look like Xena.

At one point, the cast started eating some of Walter White’s famous blue meth, reported TV Guide. Later, asked if his character had any redeeming qualities, Cranston said, "He makes damn good meth."

The fifth season is the show’s last, with 16 episodes set to air in two blocks of eight before it wraps up in 2013. In that time, Cranston’s character reaches new lows: Gilligan said Walt does something during the season that made Gilligan lose all sympathy for the character, though he wouldn’t specify what.

"He’s found a new power and it’s his ego," Cranston said, according to the show's Twitter feed.

The new season adds two new characters into the mix. Jesse Plemons of Friday Night Lights plays a guy named Todd, and Scottish actress Laura Fraser plays Lydia, a former associate of meth kingpin Gus Fring, who died at the end of the fourth season. Pinkman’s drug runner buddies Badger and Skinny Pete also make a return.

The show also brings in Madrigal, a German company that was bankrolling Gus’ operation. Gilligan said to expect more German subtitles on the show, noting that the second episode partially takes place in Hanover, Germany.

During the question-and-answer session, a fan asked if the season will include any "bottle episodes," low-budget productions designed to save on costs. Gilligan said the season’s fifth episode is actually the "polar opposite" of a bottle episode. It was also the first one of the series that was filmed outside of Albuquerque – all the way in Santa Fe, an hour’s drive away.

Asked what he plans to do after Breaking Bad, Gilligan said he’d love to do TV or movies. "In a very greedy sense, I hope that this is not the highlight of my career," he said.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Jennifer Lopez Still Uncertain About Future With 'American Idol'

jennifer lopez

Jennifer Lopez hinted again at a possible departure from the American Idol judges' table during a recent interview on Today.

"It's been on my mind a lot, as you can imagine," the singer/actress said. "You know, I signed on to American Idol to do one year and I wound up doing the two years. And now it's like, 'Ok, do we continue on this journey?"'

While Lopez voiced her love of the show, referring to her fellow judges and showmates as "family," she admitted that there were many other projects that she's put on hold for the show.

"At the end of the day, whichever way, it’s a heartbreaking decision if I’m going to have to go," Lopez added.

Still, as Today's Natalie Morales pointed out, Lopez seemed to have already made up her mind about leaving the show.

"Like I said, I’ve just enjoyed it so much," Lopez said. "But I am thinking that maybe it’s time for me to go and do other things that I really love to do, like films. Right now I'm on tour and performing."

"But then again, I really love the show," she added quickly. "All I can do is tell you what I'm thinking!" 

If Lopez does leave, it could be great news for former Idol runner-up Adam Lambert, who told UK radio station Capitol FM recently, "Listen, if – and I say 'if' with a capital I-F – if they were to approach me and if they were to say, 'We want you to be a judge on the show,' I would love that. I would jump at the chance."

Rumors about Lopez's departure from Idol have been circulating since May, when it was reported that she was "just too busy" to continue as a judge. The singer immediately refuted the rumors, tweeting, "There's no truth to reports that say I'm definitely leaving Idol. All I said was I haven't decided what I am doing next year."

Lopez's schedule is quite packed right now: She lent her voice to the new film Ice Age: Continental Drift  and is about to embark on a massive tour with Enrique Iglesias.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Wednesday, April 11, 2012

Eric Erlandson Talks About 'Letters to Kurt'

Eric Erlandson promotes 'Letters to Kurt' at Barnes & Noble Union Square in New York.

It’s afternoon in a downtown Los Angeles loft, and Eric Erlandson is about to share some new music. The former Hole guitarist slips a blank CD into his laptop and burns a copy of the raw instrumental demos he recorded to accompany his first book, the prose-poem memoir Letters to Kurt. He then scrawls a confrontational title onto the disc: "Contempt to Tape."

Nearly two decades after the 1994 suicide of Nirvana frontman Kurt Cobain, Erlandson looks just as he did at the height of grunge: tall, thin, stringy blond hair to his shoulders. Letters to Kurt is his accounting of that turbulent time, looking back with rage and affection for an era of great creative successes and a crushing wave of heroin and death.

"We were in the middle of that creative energy that was happening," Erlandson remembers. But at the same time, he tells Rolling Stone, "I was in the abyss. I quite literally had one foot in, one foot out. The one foot out was my anchor, which is my Buddhism. But sometimes I’d feel too clean and I’d want to get dirty. . . . There’s different forms of suicide. When you’re playing around with drugs, it’s a pretty clear suicide death wish."

He saw the self-destruction and depression up close, not just of Cobain but also in Hole bassist Kristen Pfaff, who died two months after the Nirvana leader. She was Erlandson’s ex-girlfriend and he was the last person to see her before her heroin overdose soon after the release of Hole's Live Through This.

"You know someone’s suicidal, you know someone’s playing with death, but you don’t know how to deal with it. You don’t really know what’s going on until somebody defines it for you in a clear way where you get it," says Erlandson. "I admit, I made some stupid mistakes with some people, and people are dead because of my stupid mistakes. That’s what I want to say. And I want to use that, so that other people don’t make the same mistakes that I made, and other people start understanding. I get emotional about this. We’ve all lost people."

There are other revelations from the opening pages of his book, including his romantic relationship with Hole leader Courtney Love – before her marriage to Cobain. Even other members of Hole were unaware of it until much later. "She buried it. She would never talk about it. She would always skip it," he says. "She’s going to brush it off and say it didn’t happen. At a certain age, you grow up and you have to say this happened, I did this, I did that."

The impact on his life continues, he says: "There was a relationship and it was very profound because it changed my life on so many levels. She gave me the darkness – crazy stories, drugs – but also the Buddhism. I still have a lot of confusion about my relationship with her. Obviously writing the book helped define it for me."

When Love released a new album as Hole with an all-new band, Erlandson was shocked. He insists they had a contract barring either of them from using the Hole name without the other. "Obviously I haven’t sued her," he says. "I’ve made mistakes, so I have to allow people to make what I feel is a big mistake."

Even so, Erlandson doesn’t rule out a musical reunion with Love. "I never say never," he says. "I don’t know what’s going to happen to her. I don’t know what’s going to happen to me. I like things to be open."

When Love first put the band on hiatus, just as Hole was crossing over to a larger mainstream pop audience, Erlandson says he was frustrated and confused, but now has no regrets that it ended when it did at the end of the 90s.

"We could have survived that and it could have been fine," he says. "But I think that happened for a reason – to force me to grow up and go inward and stop doing what I was doing. A lot changed right after that. I’m grateful."

He plans to write more on this period, and looks to the example of Patti Smith, who first published a small book of prose poems called The Coral Sea in 1996 that reflected on her relationship with photographer Robert Mapplethorpe. Only years later did she finish the more detailed autobiography in the form of Just Kids, winner of a National Book Award in 2010.

"I do want to write the prose book that tells the stories in another way," Erlandson explains. "Courtney will have her version of it. I’ll have my version. Everyone is behind their own camera. They’re all valid perspectives."

At his loft, he keeps an elegant Buddhist altar, and scattered nearby are several disassembled female mannequins, being prepared for a performance art project. On the wall is a brief list of his morning routine, beginning with "chant." Further down are "Write" and "Guitar."

He also keeps a manual typewriter, which he’d originally planned on using to write Letters to Kurt, but it was too clumsy for his fingers and he ended up writing the book by hand. He used the literary device of a one-sided correspondence with Cobain to get the stories out.

"I’m writing these letters to him, tapping something deep inside myself, but am I really talking to him? No," he says. "At the same time, I think he would really like this book. He had a really dark sense of humor and he loved wordplay. Look at his lyrics. He would know what I am talking about."

Erlandson put out an accompanying book of oblique photographs called "Cock Soup," which came with Letters to Kurt exclusively to readers who pre-ordered the book. Inside are 52 pictures of artifacts and ephemera from his life, including a rejection letter Warner Bros. Records sent to Hole in 1990: "We feel your work does not meet our needs and requirements."

Erlandson will read from the book this evening at the Basilica Hudson, the huge art and performance space owned by former Hole bassist Melissa Auf der Maur in upstate New York. There will also be a screening of Hit So Hard, the documentary on Hole drummer Patty Schemel. The three of them will then perform together for the first time since 1997.

In an email to Rolling Stone, Auf der Maur called the book and the documentary "two remarkable tales of survival. I am personally so moved by both of them and how far they have come in their commitment to healing and reflection on what was a very dark and chaotic time."

Eric Erlandson Book Tour:

April 8th, 6 p.m., Basilica Hudson, 110 Front Street. Hudson, New York (Includes reading, live music and screening of Hit So Hard)

April 10th, 7 p.m., Books on the Square, 471 Angell Street, Providence, RI

April 11th, 7 p.m., Clinton Book Shop 12 E. Main Street, Clinton, NJ

April 16th, 6 p.m. Newbury Comics, Harvard Square 36 JFK St., Cambridge, MA

April 21st, 11:30 a.m.-noon, Los Angeles Times Festival of Books, USC Campus booth #84, Los Angeles; 4 p.m.-4:45 p.m., booth #176

April 23rd, 8 p.m., Largo at the Coronet, 366 North La Cienega Blvd, Los Angeles

April 25th, 7:30 p.m., Moe's, 2476 Telegraph Rd., Berkeley, CA (Includes live acoustic music performance)

April 26th, 7 p.m., City Lights, 261 Columbus Ave., San Francisco

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Eric Erlandson Talks About 'Letters to Kurt'

Eric Erlandson promotes 'Letters to Kurt' at Barnes & Noble Union Square in New York.

It’s afternoon in a downtown Los Angeles loft, and Eric Erlandson is about to share some new music. The former Hole guitarist slips a blank CD into his laptop and burns a copy of the raw instrumental demos he recorded to accompany his first book, the prose-poem memoir Letters to Kurt. He then scrawls a confrontational title onto the disc: "Contempt to Tape."

Nearly two decades after the 1994 suicide of Nirvana frontman Kurt Cobain, Erlandson looks just as he did at the height of grunge: tall, thin, stringy blond hair to his shoulders. Letters to Kurt is his accounting of that turbulent time, looking back with rage and affection for an era of great creative successes and a crushing wave of heroin and death.

"We were in the middle of that creative energy that was happening," Erlandson remembers. But at the same time, he tells Rolling Stone, "I was in the abyss. I quite literally had one foot in, one foot out. The one foot out was my anchor, which is my Buddhism. But sometimes I’d feel too clean and I’d want to get dirty. . . . There’s different forms of suicide. When you’re playing around with drugs, it’s a pretty clear suicide death wish."

He saw the self-destruction and depression up close, not just of Cobain but also in Hole bassist Kristen Pfaff, who died two months after the Nirvana leader. She was Erlandson’s ex-girlfriend and he was the last person to see her before her heroin overdose soon after the release of Hole's Live Through This.

"You know someone’s suicidal, you know someone’s playing with death, but you don’t know how to deal with it. You don’t really know what’s going on until somebody defines it for you in a clear way where you get it," says Erlandson. "I admit, I made some stupid mistakes with some people, and people are dead because of my stupid mistakes. That’s what I want to say. And I want to use that, so that other people don’t make the same mistakes that I made, and other people start understanding. I get emotional about this. We’ve all lost people."

There are other revelations from the opening pages of his book, including his romantic relationship with Hole leader Courtney Love – before her marriage to Cobain. Even other members of Hole were unaware of it until much later. "She buried it. She would never talk about it. She would always skip it," he says. "She’s going to brush it off and say it didn’t happen. At a certain age, you grow up and you have to say this happened, I did this, I did that."

The impact on his life continues, he says: "There was a relationship and it was very profound because it changed my life on so many levels. She gave me the darkness – crazy stories, drugs – but also the Buddhism. I still have a lot of confusion about my relationship with her. Obviously writing the book helped define it for me."

When Love released a new album as Hole with an all-new band, Erlandson was shocked. He insists they had a contract barring either of them from using the Hole name without the other. "Obviously I haven’t sued her," he says. "I’ve made mistakes, so I have to allow people to make what I feel is a big mistake."

Even so, Erlandson doesn’t rule out a musical reunion with Love. "I never say never," he says. "I don’t know what’s going to happen to her. I don’t know what’s going to happen to me. I like things to be open."

When Love first put the band on hiatus, just as Hole was crossing over to a larger mainstream pop audience, Erlandson says he was frustrated and confused, but now has no regrets that it ended when it did at the end of the 90s.

"We could have survived that and it could have been fine," he says. "But I think that happened for a reason – to force me to grow up and go inward and stop doing what I was doing. A lot changed right after that. I’m grateful."

He plans to write more on this period, and looks to the example of Patti Smith, who first published a small book of prose poems called The Coral Sea in 1996 that reflected on her relationship with photographer Robert Mapplethorpe. Only years later did she finish the more detailed autobiography in the form of Just Kids, winner of a National Book Award in 2010.

"I do want to write the prose book that tells the stories in another way," Erlandson explains. "Courtney will have her version of it. I’ll have my version. Everyone is behind their own camera. They’re all valid perspectives."

At his loft, he keeps an elegant Buddhist altar, and scattered nearby are several disassembled female mannequins, being prepared for a performance art project. On the wall is a brief list of his morning routine, beginning with "chant." Further down are "Write" and "Guitar."

He also keeps a manual typewriter, which he’d originally planned on using to write Letters to Kurt, but it was too clumsy for his fingers and he ended up writing the book by hand. He used the literary device of a one-sided correspondence with Cobain to get the stories out.

"I’m writing these letters to him, tapping something deep inside myself, but am I really talking to him? No," he says. "At the same time, I think he would really like this book. He had a really dark sense of humor and he loved wordplay. Look at his lyrics. He would know what I am talking about."

Erlandson put out an accompanying book of oblique photographs called "Cock Soup," which came with Letters to Kurt exclusively to readers who pre-ordered the book. Inside are 52 pictures of artifacts and ephemera from his life, including a rejection letter Warner Bros. Records sent to Hole in 1990: "We feel your work does not meet our needs and requirements."

Erlandson will read from the book this evening at the Basilica Hudson, the huge art and performance space owned by former Hole bassist Melissa Auf der Maur in upstate New York. There will also be a screening of Hit So Hard, the documentary on Hole drummer Patty Schemel. The three of them will then perform together for the first time since 1997.

In an email to Rolling Stone, Auf der Maur called the book and the documentary "two remarkable tales of survival. I am personally so moved by both of them and how far they have come in their commitment to healing and reflection on what was a very dark and chaotic time."

Eric Erlandson Book Tour:

April 8th, 6 p.m., Basilica Hudson, 110 Front Street. Hudson, New York (Includes reading, live music and screening of Hit So Hard)

April 10th, 7 p.m., Books on the Square, 471 Angell Street, Providence, RI

April 11th, 7 p.m., Clinton Book Shop 12 E. Main Street, Clinton, NJ

April 16th, 6 p.m. Newbury Comics, Harvard Square 36 JFK St., Cambridge, MA

April 21st, 11:30 a.m.-noon, Los Angeles Times Festival of Books, USC Campus booth #84, Los Angeles; 4 p.m.-4:45 p.m., booth #176

April 23rd, 8 p.m., Largo at the Coronet, 366 North La Cienega Blvd, Los Angeles

April 25th, 7:30 p.m., Moe's, 2476 Telegraph Rd., Berkeley, CA (Includes live acoustic music performance)

April 26th, 7 p.m., City Lights, 261 Columbus Ave., San Francisco

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


Amazon Music and MP3 Center

Friday, March 30, 2012

Exclusive: Steven Van Zandt, Nils Lofgren Open Up About the New E Street Band

Nils Lofgren, Bruce Springsteen and Steven Van Zandt perform at the 54th Annual Grammy Awards.

The past month has been a time of frenzied activity for Bruce Springsteen and the E Street Band. They taped two TV appearances, played special gigs at the Apollo Theater and SXSW, and launched a world tour in support of Springsteen's new LP, Wrecking Ball. Late last week, Rolling Stone chatted separately with E Street Band guitarists Steven Van Zandt and Nils Lofgren about the new E Street Band and how they're carrying on after the loss of Clarence Clemons.

You guys almost always do rehearsal shows before launching a big tour. Why didn't those happen this time?
Nils: Previously, the rehearsal shows were kind of a last-minute thing. I think probably what happened is that we were putting our own show together, which inevitably heads towards rehearsal shows. But because of the new record, we made commitments. We did the Grammys, two nights on Jimmy Fallon and the Apollo Show. Next on the horizon was the SXSW show. All of a sudden it was like, "Gosh, we have five different shows to prepare." Bruce always takes the time to slant the shows to the occasion, and we had to get our own show up and we just ran out of time.

Steven: It was interesting to witness our own extremes with the Apollo Show and the SXSW show. We went from emphasizing soul music at the Apollo to flipping 180 degrees for a Woody Guthrie celebration at SXSW. It was quite interesting to have that reinforced and have it be totally integrated in the work – not doing either extreme as a sort of specialty, gimmicky show, but actually having those roots so firmly planted in the material – and to be reminded how wide and varied the identity of Bruce Springsteen and the E Street Band actually is at this point. It's some kind of example of Americana in all of its forms.

It was a pretty bold move to debut the new band and new show at the Apollo, considering it was being broadcast live.
Steven: To do our first show as a broadcast, that's real balls. I'm proud of us for pulling it off. It was pretty close to flawless, I have to say. Keep in mind, we have a brand new five-piece horn section. We're still working on horn parts. We're still working on vocal parts with the singers. We have a couple new people involved. I took it for granted, but they were probably a bit nervous. They did great, though. 

We spent a lot of time thinking about this show and talking about it. The horn section was a good answer to the unanswerable: "How do you replace Clarence Clemons?" Well, you don't. It's real simple. The same way you replace Danny Federici. You don't. You have somebody else playing those parts, but you have to do something else, you have to morph it into a hybrid of what you were. It's not going to be the same.

How long ago did rehearsals begin?
Nils: They've been off and on, but we got together in the second week of January. We had to address what was in front of us, which was a lot, and kind of take our time and experiment and let things evolve. There's so many changes. Certainly the biggest change of all is Clarence, which is a terrible loss. I've been in the band for 28 years, and I'm pretty sure it's accurate to say that the band has never gone on the road with three-and-a-half albums of new material. When Bruce put out the Darkness On The Edge of Town package, there were 23 unreleased songs and they never toured behind that. And then you had 11 new songs. All this material is really valid and great and we've never integrated it into our show, which is already hundreds of songs that we haven't presented in over two years. It was an abnormal amount of new material to disseminate. It's just a giant, beautiful jigsaw puzzle of music. 

Steven: Usually we start rehearsals two weeks before the first show and kick around some ideas for the set, maybe do six rehearsals, period. Each tour has its own energy, and the writing is the script for the show. It's like a Broadway show or a movie. You have to start with the script, and that's always a new album for us. We've never been a nostalgia band. Every single time we go out, we're saying something new, something that's been on Bruce's mind in that period. In this case, instead of our usual five or six days, we did 10 or 12. We probably had 40 horn charts. That's a lot of work just to outline the charts, never mind tweak them and really get into the details of arranging, which, of course, I love to do, and Bruce is also really good at.

So that's going on, and we have to integrate this new album, adapt it – in this case, a little more adaptation, because it was a solo album. This is the first time this has ever happened, where he's touring with the E Street Band behind a solo album. But it's good, and we had the whole new album down in two days. Then you start kicking around ideas and doing older things. "My City of Ruins" ended up playing a major role in this show, really for the first time. It's always been an emotional song but sort of a specialty song, maybe an encore. This time it ended up playing a very, very different and central role.

This is the most difficult task ever. How do you address Clarence and Danny? How do you address that? You talk to ten different people and they're going to have ten different ideas. But it's really not easy. You're trying to do something that's very, very emotional, and at the same time, you don't want to make the show a funeral. You want to make sure the show is a celebration of life. It's a very delicate, very fine line to walk. And (Bruce) comes up with this rap – it's so fucking great, and so perfect. I'm awestruck. This guy still inspires me after 45 fucking years of doing this. I'm like, "Jesus Christ, that's so fucking good, so important." It's such an important moment in the show...It's probably the best start of a tour, I think ever, honestly.

I'm sure it was hard the first time you walked onstage without Clarence.
Nils: The first time that hit me the hardest was the Grammys. I'm standing there, and there's nobody to my right. It hit me hard. That's someone I'll miss the rest of my life, but I still love playing and it doesn't take away from the power of the songs of the band. 

Steven: It's emotional for me to walk onstage without Clarence, and it always will be. I still honestly once in a while get that feeling with Danny. I look over there and say, "Oh yeah, Danny's no longer…" That's never going to change. So I think the more people onstage, the more that helps. The more the configuration is different, the more that eases your emotional pain. In other words, you're not trying to replace them, you're doing a different thing. Through the years, since we started playing in 1965, you do a lot of different things. I've been in horn bands. I've been in country bands. You go into 100 different configurations in your life. Now it feels like another one. It's almost like you're in a different band, in a sense, even though the core of the band is still there.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Thursday, March 29, 2012

Exclusive: Steven Van Zandt, Nils Lofgren Open Up About the New E Street Band

Nils Lofgren, Bruce Springsteen and Steven Van Zandt perform at the 54th Annual Grammy Awards.

The past month has been a time of frenzied activity for Bruce Springsteen and the E Street Band. They taped two TV appearances, played special gigs at the Apollo Theater and SXSW, and launched a world tour in support of Springsteen's new LP, Wrecking Ball. Late last week, Rolling Stone chatted separately with E Street Band guitarists Steven Van Zandt and Nils Lofgren about the new E Street Band and how they're carrying on after the loss of Clarence Clemons.

You guys almost always do rehearsal shows before launching a big tour. Why didn't those happen this time?
Nils: Previously, the rehearsal shows were kind of a last-minute thing. I think probably what happened is that we were putting our own show together, which inevitably heads towards rehearsal shows. But because of the new record, we made commitments. We did the Grammys, two nights on Jimmy Fallon and the Apollo Show. Next on the horizon was the SXSW show. All of a sudden it was like, "Gosh, we have five different shows to prepare." Bruce always takes the time to slant the shows to the occasion, and we had to get our own show up and we just ran out of time.

Steven: It was interesting to witness our own extremes with the Apollo Show and the SXSW show. We went from emphasizing soul music at the Apollo to flipping 180 degrees for a Woody Guthrie celebration at SXSW. It was quite interesting to have that reinforced and have it be totally integrated in the work – not doing either extreme as a sort of specialty, gimmicky show, but actually having those roots so firmly planted in the material – and to be reminded how wide and varied the identity of Bruce Springsteen and the E Street Band actually is at this point. It's some kind of example of Americana in all of its forms.

It was a pretty bold move to debut the new band and new show at the Apollo, considering it was being broadcast live.
Steven: To do our first show as a broadcast, that's real balls. I'm proud of us for pulling it off. It was pretty close to flawless, I have to say. Keep in mind, we have a brand new five-piece horn section. We're still working on horn parts. We're still working on vocal parts with the singers. We have a couple new people involved. I took it for granted, but they were probably a bit nervous. They did great, though. 

We spent a lot of time thinking about this show and talking about it. The horn section was a good answer to the unanswerable: "How do you replace Clarence Clemons?" Well, you don't. It's real simple. The same way you replace Danny Federici. You don't. You have somebody else playing those parts, but you have to do something else, you have to morph it into a hybrid of what you were. It's not going to be the same.

How long ago did rehearsals begin?
Nils: They've been off and on, but we got together in the second week of January. We had to address what was in front of us, which was a lot, and kind of take our time and experiment and let things evolve. There's so many changes. Certainly the biggest change of all is Clarence, which is a terrible loss. I've been in the band for 28 years, and I'm pretty sure it's accurate to say that the band has never gone on the road with three-and-a-half albums of new material. When Bruce put out the Darkness On The Edge of Town package, there were 23 unreleased songs and they never toured behind that. And then you had 11 new songs. All this material is really valid and great and we've never integrated it into our show, which is already hundreds of songs that we haven't presented in over two years. It was an abnormal amount of new material to disseminate. It's just a giant, beautiful jigsaw puzzle of music. 

Steven: Usually we start rehearsals two weeks before the first show and kick around some ideas for the set, maybe do six rehearsals, period. Each tour has its own energy, and the writing is the script for the show. It's like a Broadway show or a movie. You have to start with the script, and that's always a new album for us. We've never been a nostalgia band. Every single time we go out, we're saying something new, something that's been on Bruce's mind in that period. In this case, instead of our usual five or six days, we did 10 or 12. We probably had 40 horn charts. That's a lot of work just to outline the charts, never mind tweak them and really get into the details of arranging, which, of course, I love to do, and Bruce is also really good at.

So that's going on, and we have to integrate this new album, adapt it – in this case, a little more adaptation, because it was a solo album. This is the first time this has ever happened, where he's touring with the E Street Band behind a solo album. But it's good, and we had the whole new album down in two days. Then you start kicking around ideas and doing older things. "My City of Ruins" ended up playing a major role in this show, really for the first time. It's always been an emotional song but sort of a specialty song, maybe an encore. This time it ended up playing a very, very different and central role.

This is the most difficult task ever. How do you address Clarence and Danny? How do you address that? You talk to ten different people and they're going to have ten different ideas. But it's really not easy. You're trying to do something that's very, very emotional, and at the same time, you don't want to make the show a funeral. You want to make sure the show is a celebration of life. It's a very delicate, very fine line to walk. And (Bruce) comes up with this rap – it's so fucking great, and so perfect. I'm awestruck. This guy still inspires me after 45 fucking years of doing this. I'm like, "Jesus Christ, that's so fucking good, so important." It's such an important moment in the show...It's probably the best start of a tour, I think ever, honestly.

I'm sure it was hard the first time you walked onstage without Clarence.
Nils: The first time that hit me the hardest was the Grammys. I'm standing there, and there's nobody to my right. It hit me hard. That's someone I'll miss the rest of my life, but I still love playing and it doesn't take away from the power of the songs of the band. 

Steven: It's emotional for me to walk onstage without Clarence, and it always will be. I still honestly once in a while get that feeling with Danny. I look over there and say, "Oh yeah, Danny's no longer…" That's never going to change. So I think the more people onstage, the more that helps. The more the configuration is different, the more that eases your emotional pain. In other words, you're not trying to replace them, you're doing a different thing. Through the years, since we started playing in 1965, you do a lot of different things. I've been in horn bands. I've been in country bands. You go into 100 different configurations in your life. Now it feels like another one. It's almost like you're in a different band, in a sense, even though the core of the band is still there.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


Amazon Music and MP3 Center

Wednesday, March 28, 2012

Derek Trucks Talks About New Live Album, the Allman Brothers

derek trucks Derek Trucks performs with The Allman Brothers Band at the Beacon Theatre in New York.

In between touring Japan, winning a Grammy, performing for the Obamas and playing The Apollo, Derek Trucks found some time in February to produce and complete a new live album: Everybody’s Talking, due May 22nd. For the first live release with his latest musical embodiment, Tedeschi Trucks Band, Trucks called in legendary mastering engineer, Bob Ludwig, who took home a Grammy of his own this year for his work with The Derek and the Dominoes Layla re-issue. Ludwig and Trucks combed through 12 shows from TTB’s recent tour, all of which were recorded almost entirely with gear from Trucks’ home studio.

"Every night, we’d get off stage and I’d take the setlist and just take little notes," Trucks says. "If there were certain songs that I thought were great or ones that I thought were below the line of being usable, I’d mark it … Some of it was just, you kind of have a feeling when you walk off stage. You know when it’s right." Oddly enough, the show that proved most musically fruitful was the only one that almost never was.

"Bridgeport [Connecticut] was about to be canceled … It was the last show of the tour and there was a big snow and ice storm … It was sold out, but I think only about 60-70 percent of the crowd was even able to make it because most of the power in the town was shut down. It was one of those shows that nearly didn’t happen, but then when you finally hit the stage, you’re just happy to be playing. There was a real loose feeling to it, which ended up being great. We used a lot of stuff from that night."

As for the title of the album, Everybody’s Talking stems from the band's cover of the tune, a hybrid of Harry Nilsson and Bill Withers versions. "I think it’s the only song on the record that’s under eight minutes, so if there is a single, that would be it," he laughs. "That tune, we thought, was a highlight of the new tunes that we recorded this tour. And you know, you can see the buzz with the band in the last six months, so it’s kind of a nod to that, too."

Trucks has spent March in New York performing with the Allman Brothers Band 10-show Beacon Theatre run, which began March 9th and ended March 25th. "When we first got in, you know, it takes a minute … It’s like an old car, getting it revved up [laughs]! Once it fires up, it’s pretty amazing. Right when you feel like it’s not going to go, it goes!" With Gregg Allman recovering from various health issues, including a bulging disc that forced him to sit out the end of the run, the band is taking a different approach this year, honoring the 40th anniversary of Eat a Peach and incorporating sit-down acoustic sets to "showcase Gregg’s voice without him having to really sing over the band." It seems to be smooth sailing for the legendary southern rock group reincarnate. "The thing I like about this run and I guess the last few years is, the communication has been wide open. Just getting the band members only in the room and just communicating is something that, I don’t think happened for a long time [laughs]. I think it goes, I know it goes a long way."

"The Allman Brothers is such a shifting thing," he continues. "But we’ll plan and we’ll rehearse and then lo and behold … it kinda takes on a life of it’s own. Just the other day, we were working on a few acoustic tunes and Gregg just decides to break out an old tune off of one of his solo records. And he sounded like it was 30 years ago … His voice and strength just went back in time. It kind of stopped the room. I don’t think Oteil [Burbridge] was familiar with the tune, but it was pretty amazing, watching him kind of lock in, watching Gregg do his thing. Those are moments that it makes you realize that it really is a unique band."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


Amazon MP3 Download Center

Tuesday, March 27, 2012

Derek Trucks Talks About New Live Album, the Allman Brothers

derek trucks Derek Trucks performs with The Allman Brothers Band at the Beacon Theatre in New York.

In between touring Japan, winning a Grammy, performing for the Obamas and playing The Apollo, Derek Trucks found some time in February to produce and complete a new live album: Everybody’s Talking, due May 22nd. For the first live release with his latest musical embodiment, Tedeschi Trucks Band, Trucks called in legendary mastering engineer, Bob Ludwig, who took home a Grammy of his own this year for his work with The Derek and the Dominoes Layla re-issue. Ludwig and Trucks combed through 12 shows from TTB’s recent tour, all of which were recorded almost entirely with gear from Trucks’ home studio.

"Every night, we’d get off stage and I’d take the setlist and just take little notes," Trucks says. "If there were certain songs that I thought were great or ones that I thought were below the line of being usable, I’d mark it … Some of it was just, you kind of have a feeling when you walk off stage. You know when it’s right." Oddly enough, the show that proved most musically fruitful was the only one that almost never was.

"Bridgeport [Connecticut] was about to be canceled … It was the last show of the tour and there was a big snow and ice storm … It was sold out, but I think only about 60-70 percent of the crowd was even able to make it because most of the power in the town was shut down. It was one of those shows that nearly didn’t happen, but then when you finally hit the stage, you’re just happy to be playing. There was a real loose feeling to it, which ended up being great. We used a lot of stuff from that night."

As for the title of the album, Everybody’s Talking stems from the band's cover of the tune, a hybrid of Harry Nilsson and Bill Withers versions. "I think it’s the only song on the record that’s under eight minutes, so if there is a single, that would be it," he laughs. "That tune, we thought, was a highlight of the new tunes that we recorded this tour. And you know, you can see the buzz with the band in the last six months, so it’s kind of a nod to that, too."

Trucks has spent March in New York performing with the Allman Brothers Band 10-show Beacon Theatre run, which began March 9th and ended March 25th. "When we first got in, you know, it takes a minute … It’s like an old car, getting it revved up [laughs]! Once it fires up, it’s pretty amazing. Right when you feel like it’s not going to go, it goes!" With Gregg Allman recovering from various health issues, including a bulging disc that forced him to sit out the end of the run, the band is taking a different approach this year, honoring the 40th anniversary of Eat a Peach and incorporating sit-down acoustic sets to "showcase Gregg’s voice without him having to really sing over the band." It seems to be smooth sailing for the legendary southern rock group reincarnate. "The thing I like about this run and I guess the last few years is, the communication has been wide open. Just getting the band members only in the room and just communicating is something that, I don’t think happened for a long time [laughs]. I think it goes, I know it goes a long way."

"The Allman Brothers is such a shifting thing," he continues. "But we’ll plan and we’ll rehearse and then lo and behold … it kinda takes on a life of it’s own. Just the other day, we were working on a few acoustic tunes and Gregg just decides to break out an old tune off of one of his solo records. And he sounded like it was 30 years ago … His voice and strength just went back in time. It kind of stopped the room. I don’t think Oteil [Burbridge] was familiar with the tune, but it was pretty amazing, watching him kind of lock in, watching Gregg do his thing. Those are moments that it makes you realize that it really is a unique band."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


Amazon Music and MP3 Center

Monday, March 12, 2012

On the Charts: How About the Return of Boy Bands!

The Wanted

WINNER OF THE WEEK: The Wanted. We could just keep printing Adele Adele Adele Adele Adele in this space, or perhaps deal yet again with Whitney Houston's morbid posthumous sales, but let's take a break for something fresh: the return of boy bands! The Wanted, a quintet of hunky Irish-British dudes who sing romantic party music, have logged more than 36 million YouTube views since their babes-at-the-club video "Glad You Came" arrived last August. If an American crossover is going to happen, this seems to be the week: The single sold 206,000 copies and jumped from Number Three to Number Two on Billboard's digital-songs chart, and (most likely due to those YouTube views) it climbed 23 notches, to Number Seven, on BigChampagne's Ultimate Chart.

LOSER OF THE WEEK: Katy Perry. Hey, it's a slow week! Not many losers or winners. But we may be starting to see the descent of Singles Queen Perry, who has turned just about everything since her 2010 album Teenage Dream came out into sales goodness. Her latest single, "Part of Me," which she premiered during the Grammy Awards two weeks ago, is a bit of a departure, a sad ballad that many assumed had to do with her ex-husband Russell Brand but actually was written in 2010. Interestingly, "Part of Me" isn't tied to any album release – Perry said recently she hasn't yet gone into the studio to record new material – so she's continuing her strategy of hanging around the singles chart for months at a time. The problem is that "Part of Me" sold just 124,000 digital singles this week, a drop of 24 percent, from Number Four to Number Seven.

AND NOW A BREAK FOR THE BIZ: Album sales increased in 2011 for the first time since 2004, by 1.3 percent, according to Nielsen Soundscan, and that trend seems to be continuing this year. Track sales are up 7 percent, compared to the same time in 2011, and album sales are up less than 1 percent. Those are happy numbers for the record business, plagued for more than a decade by piracy and a shift from high-profit CDs to low-profit digital tracks. But it'll be interesting to see what happens when Adele's 21 inevitably loses its momentum and drops off the charts. ("Rumour Has It," the latest single from the album, is anemic so far, lingering at Number 40 on the Ultimate Chart, although that may be due to competition from Adele's Grammy-boosted singles, like Number Five "Set Fire to the Rain," Number Eight "Rolling In the Deep" and Number Nine "Someone Like You.") Every label, not just Adele's own XL and Sony, should be paying royalties to the world's biggest pop star for propping up the business this long.

Last week: How Do You Spell Fun.?

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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On the Charts: How About the Return of Boy Bands!

The Wanted

WINNER OF THE WEEK: The Wanted. We could just keep printing Adele Adele Adele Adele Adele in this space, or perhaps deal yet again with Whitney Houston's morbid posthumous sales, but let's take a break for something fresh: the return of boy bands! The Wanted, a quintet of hunky Irish-British dudes who sing romantic party music, have logged more than 36 million YouTube views since their babes-at-the-club video "Glad You Came" arrived last August. If an American crossover is going to happen, this seems to be the week: The single sold 206,000 copies and jumped from Number Three to Number Two on Billboard's digital-songs chart, and (most likely due to those YouTube views) it climbed 23 notches, to Number Seven, on BigChampagne's Ultimate Chart.

LOSER OF THE WEEK: Katy Perry. Hey, it's a slow week! Not many losers or winners. But we may be starting to see the descent of Singles Queen Perry, who has turned just about everything since her 2010 album Teenage Dream came out into sales goodness. Her latest single, "Part of Me," which she premiered during the Grammy Awards two weeks ago, is a bit of a departure, a sad ballad that many assumed had to do with her ex-husband Russell Brand but actually was written in 2010. Interestingly, "Part of Me" isn't tied to any album release – Perry said recently she hasn't yet gone into the studio to record new material – so she's continuing her strategy of hanging around the singles chart for months at a time. The problem is that "Part of Me" sold just 124,000 digital singles this week, a drop of 24 percent, from Number Four to Number Seven.

AND NOW A BREAK FOR THE BIZ: Album sales increased in 2011 for the first time since 2004, by 1.3 percent, according to Nielsen Soundscan, and that trend seems to be continuing this year. Track sales are up 7 percent, compared to the same time in 2011, and album sales are up less than 1 percent. Those are happy numbers for the record business, plagued for more than a decade by piracy and a shift from high-profit CDs to low-profit digital tracks. But it'll be interesting to see what happens when Adele's 21 inevitably loses its momentum and drops off the charts. ("Rumour Has It," the latest single from the album, is anemic so far, lingering at Number 40 on the Ultimate Chart, although that may be due to competition from Adele's Grammy-boosted singles, like Number Five "Set Fire to the Rain," Number Eight "Rolling In the Deep" and Number Nine "Someone Like You.") Every label, not just Adele's own XL and Sony, should be paying royalties to the world's biggest pop star for propping up the business this long.

Last week: How Do You Spell Fun.?

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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