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Photos: 2011 Sasquatch! Festival – Biffy Clyro

On their sixth studio album, Opposites, Biffy Clyro offer up an eclectic mix of music that soars to bombastic heights while charting vulnerable human emotions. Opener "Different People" builds slowly around frontman Simon Neil's vocals and space-age keyboards before bursting into frantic prog-rock fretwork. "Little Hospitals" wastes no time getting down to business, immediately rushing out of the gates with pummeling guitars that barely let up.

But the Scottish alt-rockers don't rely only that loud dynamic: there are plenty of thoughtful ballads and arena-ready theatrics, too. "Opposite" sways with swooning strings to soothing effect, while "The Thaw" inches towards a colossal eruption of orchestral grandeur. "Skylight" reaches even higher, with deeply resonating acoustic guitar, palpitating electronic drum beats and glistening synth arpeggios.

Opposites is due out in the U.S. on March 12th. Biffy Clyro will kick off a North American tour with Muse on April 9th in Toronto, visit both weekends of Coachella and wrap up in Quebec City on April 26th. For more information, visit the band's website.

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

Low Cut Connie Boogie Through 'Say Yes' Live in Philadelphia - Premiere

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Low Cut Connie Boogie Through 'Say Yes' Live in Philadelphia - PremiereRetro rockers power through album cut while snowstorm rages outside $(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(); } ); }); OO.ready(function() { OO.Player.create('ooyalaplayer', 'hvZnR2OTq3abnwdz4C5mubhofhIHEcPc', {'autoplay': true }); });By

Down home rock & rollers Low Cut Connie self-released their latest album, Call Me Sylvia, back in September, and now you can check out this exclusive new live clip of the band bashing out the album cut "Say Yes." Filmed at the band's favorite Philadelphia dive, Ray's Happy Birthday Bar, the band turned up the heat while a snowstorm raged outside.

"'Say Yes' is a Saturday night call-to-arms, essentially," pianist-songwriter Adam Weiner tells Rolling Stone of the track. "Let's all get weird and let it all hang out."

Thursday, March 7, 2013

Low Cut Connie Boogie Through 'Say Yes' Live in Philadelphia - Premiere

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"'Say Yes' is a Saturday night call-to-arms, essentially," pianist-songwriter Adam Weiner tells Rolling Stone of the track. "Let's all get weird and let it all hang out."

Wednesday, February 27, 2013

Aaron Neville Croons Through 'This Magic Moment'

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500 Greatest Songs of All Time: Aaron Neville, 'Tell It Like It Is'

Aaron Neville Croons Through 'This Magic Moment' R&B legend takes mic for spin through a pop classic $(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(); } ); });

Few can croon as gracefully as New Orleans legend Aaron Neville, and the soulful R&B singer recently stopped by Capitol Records to take part in their stripped-down "One Mic, One Take" series. Here, Neville gives his version of the 1960 classic "This Magic Moment," most famously sung by the Drifters, and adorns the agile jazz piano backing with his silky vocals.

Neville's rework of "This Magic Moment" is from his latest album, My True Story. He's currently in the middle of a string of four shows in Washington with the Aaron Neville Duo, and will tour with the Aaron Neville Quintet starting April 12th. For more information and full tour dates, visit Aaron Neville's website.

Aaron Neville Croons Through 'This Magic Moment'

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500 Greatest Songs of All Time: Aaron Neville, 'Tell It Like It Is'

Friday, January 4, 2013

R.E.M., James Franco Trudge Through 'Blue' L.A.

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R.E.M., James Franco Trudge Through 'Blue' L.A.Lindsay Lohan stars in hazy video for 'Collapse Into Now' cut $(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(); } ); });

Last year, James Franco linked up with R.E.M.'s Collapse Into Now Film Project to direct two music videos for "That Someone Is You" and "Blue," from the band's last album, Collapse Into Now. Until yesterday, the clips were lost in the ether, but the video for "Blue," which features Lindsay Lohan, has surfaced. Cameras trudge through hazy Los Angeles in nighttime scenes, blurry parties and Lohan photoshoots, while vocals from Michael Stipe and Patti Smith swirl around the grainy images. The City of Angels may look beautiful, but she's also strangely unsettling.

Thursday, January 3, 2013

R.E.M., James Franco Trudge Through 'Blue' L.A.

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Saturday, October 27, 2012

Jack White Rips Through 'Dead Leaves and the Dirty Ground' Live at Third Man

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Click to listen to Jack White's 'Dead Leaves and the Dirty Ground (live at Third Man Third Anniversary)'

On March 8th, Jack White made his solo debut to help celebrate the third anniversary of his Third Man Records store and recording studio in Nashville. Now he's marking the performance with Vault Package #14, part of his subscription series, which includes a double album of the performance, Live At Third Man Records; a special seven-inch containing demo versions of "Freedom at 21," "Love Interruption" and "Hypocritical Kiss"; and a photo book from the Dead Weather's 2010 tour, Shark Infested Soda Fountain. Here, White reaches back for the White Blood Cells single "Dead Leaves and the Dirty Ground," tearing through the track with sludgy, rugged riffs.

Fans must sign up by October 31st to receive Vault Package #14. For more information, visit the Third Man Records website.

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

Friday, October 26, 2012

Jack White Rips Through 'Dead Leaves and the Dirty Ground' Live at Third Man

5:14 PM

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Click to listen to Jack White's 'Dead Leaves and the Dirty Ground (live at Third Man Third Anniversary)'

Fans must sign up by October 31st to receive Vault Package #14. For more information, visit the Third Man Records website.

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

Sunday, October 21, 2012

Peter Frampton Powers Through 'Show Me the Way' in Milwaukee – Premiere

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Peter Frampton Powers Through 'Show Me the Way' in Milwaukee – PremiereGuitarist offers peek at upcoming 'FCA! 35 Tour' collection $(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

Over the past year, Peter Frampton marked the 35th anniversary of his classic album Frampton Comes Alive! with a massive world tour. Now, taking footage from February 2012 tour stops at Milwaukee's Pabst Theater and New York's Beacon Theatre, Frampton is releasing a new two DVD/Blu-ray and three-CD set entitled FCA! 35 Tour: An Evening With Peter Frampton on November 13th. In this clip, Frampton rocks out with his talkbox on his 1975 single "Show Me the Way" in Milwaukee.

"I wrote 'Show Me the Way' in the morning and wrote 'Baby, I Love Your Way' in the afternoon of the same day," Frampton tells Rolling Stone. "I've been trying to figure out what I ate for breakfast that morning ever since!"

Peter Frampton Powers Through 'Show Me the Way' in Milwaukee – Premiere

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Saturday, September 15, 2012

Paul Simon Bounces Through 'Boy in the Bubble' at Webster Hall

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Paul Simon Bounces Through 'Boy in the Bubble' at Webster HallSong comes from singer's new 'Live in New York City' set $(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

During his U.S. tour last year, Paul Simon made a triumphant homecoming, performing at New York City's Webster Hall with a 20-song, 90-minute set list. The special night was captured for Paul Simon Live in New York City, a new DVD and double-CD release (listen to the whole thing). Here, Simon delves into Graceland opener "Boy in the Bubble," bouncing along with the raucous crowd.

Paul Simon Live in New York City is out September 18th.

Tuesday, August 14, 2012

Beck Cruises Through Catalog at 'Surprise' San Francisco Show

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Misha Vladimirskiy/ http://butchershopcreative.com

Is a "surprise show" packed with several hundred people that much of a surprise? Not really, but that's how Beck's gig was billed at Bimbo's last night in San Francisco. In town for the massive Outside Lands festival in Golden Gate Park this weekend, the singer squeezed in a show here at the last minute, and tickets sold out after going on sale at noon with little warning.

The show was a semi-surprise, but for the most part, the set list was not. It's been four years since Beck's last album, and in the absence of new material, the 90-minute performance drew from songs spanning most of his career, from his 1994 breakthrough Mellow Gold to 2008's Modern Guilt. The mild surprise these days lies not so much in what he'll play as in what order he'll play it. Most of his concerts, including this one, make room for favorites like the set-opening "Black Tambourine," "Girl," "Where It's At" (with a brief puzzling keyboard riff quoting Fleetwood Mac's "Rhiannon") and "Think I'm in Love," even if he did tease things out by waiting until the first encore to unleash the inevitable "Loser" (and, refreshingly, refrained from doing "Devil's Haircut" at all).

Even the most offbeat offering, a barely recognizable thumping blues-rock cover of Bob Dylan's "Leopard Skin Pill Box Hat," found release in 2009 on the War Child Presents Heroes benefit compilation. A little oddness peeped out elsewhere as well, with "Bad Blood" (from a soundtrack album to the HBO True Blood series) receiving only its second live performance. Oddest of all, the band tried out Neil Young's "Barstool Blues"without even having rehearsed it, as they cheerfully admitted onstage.

But if the mostly younger-than-Beck crowd was impatient to hear evidence of more recent original material, they didn't show it. The crowd's mood was made merrier by clouds of marijuana smoke, the contact high reaching the stage when the band stumbled over lyrics on "Lost Cause" and had to start over (and then launched into the second verse). "Don't hold it against us if we're playing these a little slower than usual," advised the unruffled star, sporting a natty black hat as he delivered his catalog with calm assurance.

Misha Vladimirskiy/ http://butchershopcreative.com

While the five-man lineup Beck now fronts can't replicate all the sampling and miscellaneous special effects that give his studio work much of its exoticism, it also frees him to deliver a more straightforward sound unfettered by gimmickry. Few bands are as adept at combining rock and funk in equal measures, chest-thumping bass deftly supporting squealing rock guitar heroics. "Hotwax" mixed country blues (courtesy of Smokey Hormel's slide guitar), Steve Wonder and hip-hop without coming off as the forced genre-blender it would have sounded like in almost anyone else's hands.

And when Beck exchanged his electric guitar for an acoustic model for a sequence of rootsier songs in the middle of the evening, you almost wondered whether he might have missed his calling as a more sensitive country-blues-flavored singer-songwriter. He hit his most comfortable stride on the chorus of the most lilting of these, "Sunday Sun." Almost as if to make sure the crowd didn't get as comfortable as Beck, however, Hormel and bassist Justin Meldal-Johnsen concluded the song with some ear-piercing, amp-humping feedback.

Indeed, Meldal-Johnsen was more animated than the bandleader, leaping onto the drum riser at a couple points. Beck himself rarely strayed more than a few feet from his microphone. Only occasionally did he utter droll asides to the audience, enigmatically announcing, "We have come to tell you about the rhythms of . . . Glendale" before launching into the title cut from Modern Guilt. No comments were forthcoming on his just-announced December 2012 "album" Beck Hansen's Song Reader, featuring 20 songs and "existing only as individual pieces of sheet music, never before released or recorded." Perhaps actually playing them in concert might have been spoiling the fun, at least before those buying the album have the chance to play the tunes themselves.

Beck did have one more genuine surprise to unveil, however, before the evening was over. Barely had the second encore, "Mutherfuker," gotten off the ground before he brought it to a halt, finding it not "grooving" enough for a Thursday night San Francisco audience. Revving up their engines again, the band launched into a far faster and funkier version, somewhat along the lines of how Sly & the Family Stone might have played it. "Okay, that's enough dancing," Beck barked after a few minutes, ever the contrarian. "Stop!"

Misha Vladimirskiy/ http://butchershopcreative.com To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

Sunday, August 12, 2012

Beck Cruises Through Catalog at 'Surprise' San Francisco Show

8:57 PM

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Misha Vladimirskiy/ http://butchershopcreative.com

Misha Vladimirskiy/ http://butchershopcreative.com To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

Thursday, March 22, 2012

Sleigh Bells Tear Through Sweaty SXSW Set

10:07 AM

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Sleigh Bells perform at Vevo during SXSW at ACL Live at Moody Theatre in Austin, Texas.

While waiting for Sleigh Bells to start their half of a double bill with Nas at Austin City Limits Live at the Moody Theater on Saturday, excited audience members explained to friends what to expect (“It's like this guy who plays super loud guitar and a girl with a really pretty high voice”) and discussed the merits of the band's new LP Reign of Terror. Taking the stage in a blast of strobe lights and in front of their minimalist set – a black-and-white banner and a wall of Marshall amps – guitarist Derek Miller, singer Alexis Krauss, and touring guitarist Jason Boyner tore through nearly an hour's worth of material from their two albums.

Krauss has become an increasingly powerful performer since Sleigh Bells' last SXSW appearance in 2010, and the addition of another live guitarist has made them a more dynamic live act; punishingly loud from the start, they now have more modes than blowing the audience's hair back with volume. Two songs in, the Texas heat forced Krauss to ditch the signature studded leather jacket she wears on stage. She then strutted along the crowd barrier during "Riot Rhythm" and crowdsurfed without missing a note of "Rill Rill,” and by the end of the set she was glowing, bangs plastered back on her forehead.

"All right Austin! I want to see you guys losing your shit!" Krauss yelled at one point. It was nice of her to say Austin even though almost everyone was from somewhere else.

The floor crowd pumped their fists and sang along, and the set felt a lot more like a band playing to excited fans than an industry showcase. And that's probably exactly what was going on.

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

Sleigh Bells Tear Through Sweaty SXSW Set

12:21 AM

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Sleigh Bells perform at Vevo during SXSW at ACL Live at Moody Theatre in Austin, Texas.

"All right Austin! I want to see you guys losing your shit!" Krauss yelled at one point. It was nice of her to say Austin even though almost everyone was from somewhere else.

The floor crowd pumped their fists and sang along, and the set felt a lot more like a band playing to excited fans than an industry showcase. And that's probably exactly what was going on.

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

Saturday, March 17, 2012

'Smash' Recap: Better Living Through Chemistry

9:01 AM

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Debra Messing as Julia Houston and Brian d'Arcy James as Frank Houston on 'Smash.'

After a bit of a rocky start, Smash is finally finding its footing while walking a fine line between drama and camp. Things like Julia's unbearably boring adoption quest are out, while her juicy affair with "Joe DiMaggio" is in. Hallelujah!

This week kicks off with Ivy Lynn's voice unexpectedly cracking while she's getting ready in the morning. Half asleep in her bed is hot-and-cold director Derek, who she reassures that everything is OK. It is indeed not, folks.

Before rehearsal, Derek flips out on Julia and Tom because there's an important performance for potential investors coming up and the music for Marilyn: The Musical isn't finished. The burden falls on lyricist Julia, who blames her writer's block on the fact her husband's away and her son's been troubled. But it's pretty obvious that she's got boning on the brain.

When rehearsal starts, Ivy sounds a little off before her voice completely cracks, a la a bad American Idol audition. She's rushed to the doctor, since there are millions of investor dollars hanging in the balance. When Tom returns with news that it's nothing serious but Ivy refuses to take steroids to hasten her recovery, the execs decide to have a private powwow.

For the first time, director Derek admits there's "another Marilyn" they should consider bubbling up to replace Ivy. Tom warns of Ivy catching wind of the idea, since he thinks stress will only exacerbate her condition. Who is this backup, you ask? Karen Cartwright, of course. And Karen just so happens to hear the entire convo, because she's been inadvertently hiding behind a piano after dropping her bag. Oh, those clever Smash writers.

Derek then goes directly to Ivy's house to talk her into taking steroids, even though she's afraid of the "wolfman" side effects. Meanwhile, Karen rushes home to go over the songs, hoping to learn them quickly before getting the official call.

The next morning, Julia daydreams about her kiss with Michael while making pancakes, which she burns. Her clothes are covered in flour and her face has batter streaks all over it, because we all know that when you can't cook, things can get cartoonishly messy quite quickly. The show's clever writers have nailed it again! (Note to writers: This is the kind of camp I enjoy, so please don't stop now.)

As she tries to salvage breakfast for her son, her husband returns from his trip – and she acts as if he just fought in World War II, running into his arms and peppering him with powdery kisses and accolades normally reserved for, you know, people you haven't cheated on. All is right in the world, circa 1950.

Back at rehearsal, Ivy tells Derek the steroids make her feel shaky and nervous, but all he cares about is whether her voice is up to snuff. If it's not, he warns her, he'll ask Karen to step in.

Now comes this week's excuse for Katharine McPhee to sing: Karen replaces Ivy as a hired singer at a bar mitzvah, getting handed a business card from some bigwig in the process. It's becoming painfully obvious the show is running out of reasons to shine the spotlight on McPhee (see: hokey roadhouse karaoke). Perhaps there's a new drinking game here, now that Julia has stopped comically rolling her eyes?

At home, a doped-up Ivy hallucinates that Karen, dressed as Marilyn Monroe, is threatening to steal her role. When Tom finds her in a paranoid state, he discreetly texts Karen, saying he might need her to step in. But he recants the next day, as Ivy comes back down to planet earth. Foiled again!

Meanwhile, Julia gets a phone call at home from Michael, begging her to meet him at the studio that night. She scoffs . . . but later, in bed with her clueless hubby, Julia is fidgety. She claims she's going out for a walk to clear her head – at 10 o'clock at night, in her pajamas. Yeah, nothing to see here, people.

Surprise, surprise, she winds up meeting Michael . . . to tell him she wants nothing to do with him anymore, natch. Uh huh, right. That's why she lied to her husband, snuck out of the house and went all the way crosstown to an empty, dimly lit space where a couch has magically appeared. Soon they're both half naked and making out on said couch. Oh, you two . . .

The next day, Julia and Michael are all smiles at rehearsal, shooting each other knowing glances as he sings and dances a newly penned number on the newly christened couch. Guess sex is one way to clear your head.

But when it's Ivy who loses concentration, Derek "humiliates" her. She in turn announces to everyone that he's "not that good in bed" before storming off. Ah, all in a day's work.

Last episode: Let's Be Bad

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

Saturday, March 10, 2012

All or Nothing Guy: Jay Reatard Through Atlanta's Eyes

9:30 AM

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Production still from 'Better Than Something: Jay Reatard'Production Still Courtesy of Press

Directors Alex Hammond and Ian Markiewicz originally intended to create a short film when they followed Memphis punk rocker Jay Reatard (born Jimmy Lee Lindsey Jr.) around his hometown in the spring of 2009. But when Lindsey unexpectedly overdosed less than a year later, the filmmakers fleshed out their work with interviews of his friends and family, resulting in the touching, accomplished feature documentary, Better Than Something. The film screened February 28th in Atlanta and began its first theatrical run on March 2nd, hitting several U.S. cities throughout the month.

Lindsey spent several pivotal months living in Georgia's capital city in the mid-2000s. The liner notes of his 2006 album, Blood Visions, read in part, "Recorded July – December 2005 at Carbonas Headquarters (Atlanta GA)…Mixed at The Die Slaughter Apt." The final credit in the brief thank-you section goes to "Atlanta folks."

Lindsey first started recording his feral punk rock at the age of 15, and by the time Blood Visions was released, he had been doing it under more than half a dozen different band names, co-founding a pair of record labels and touring Europe in the process. But it was during those months in Atlanta, when his latest and most serious project to date, The Lost Sounds, was going through a particularly nasty break-up, that he turned his attention toward the solo career that would find him flirting with the mainstream for a time before his tragic passing.

Lindsey's connection to Atlanta dates back to a night in 2004, in a Memphis warehouse space. Alix Brown of Atlanta punk band The Lids was on the road with her friends the Black Lips, who were on their way to play the South by Southwest festival in Austin, Texas. "There was some weird chemistry, I could tell, but I was ending a relationship at the time so I kept it short. Jay [eventually] got my number somehow and called me asking for my address to send me some posters for a show. Then, his story changed to him coming to stay with me in Atlanta cause he wanted a break from Memphis. I told him I would show him around when he was here. I knew something was going to happen after that." She and Lindsey began dating, and he moved into the apartment she shared with Die Slaughterhaus label founder and Lids bassist, Mark Naumann, and Black Lips bassist, Jared Swilley. It was in that very apartment where Lindsey would begin work on Blood Visions, while tensions would arise between him and much of Atlanta's underground rock community both inside and outside the residence.

His move was serendipitous in that both he and his new roommate Swilley were in the early stages of working with Los Angeles garage-punk imprint, In the Red. For reasons unknown to Swilley, Lindsey called label founder Larry Hardy and told him not to sign the Black Lips. "He claimed Cole [Alexander] was a thief and was gonna try and rip him off," Swilley says. "We ended up joking about it years later. It was weird, our relationship with him. We'd always butt heads and get in fights, and the next time we'd see each other, everything was cool."

His conflicts with Atlanta musicians were many at first, and they were inspired by anything from good-old fashioned rowdy behavior to outright dislike. There was the time he snatched a bandana from Tuk, lead guitarist for glam rockers the Heart Attacks, and tossed it onto the roof of local rock dive, Lenny's. At one of his first shows at that same venue, he got "insanely drunk," and the show's promoter, Ben "Bean" Worley, had to knock him out. Other times, his actions were a direct result of begrudging admiration or envy. "At first I thought [Deerhunter frontman] Bradford Cox and Jay were going to kill each other," Brown remembers. "It was like a battle of the egos."

Other times still, it was more personal, like when, fresh to Atlanta and now dating Carbonas singer Greg King's ex-girlfriend (Brown), Lindsey attended a Carbonas show, yelling out the headlining band's name (Baseball Furies) during the quiet pauses between their songs. "We were like, 'Fuck you, guy,'" says former Carbona Jesse Smith. "We knew who he was because we had all his records, not that that made us not think he was an asshole at the time."

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