Black Keys drummer Patrick Carney debuted the band's new single, “Turn Blue,” this morning on his SiriusXM show, “Serious Boredom.”
You can check it out below.
“Turn Blue” is the title track from the band's new album, their eighth, which will be released May 13. It was co-produced by Danger Mouse with Carney and Black Keys frontman Dan Auerbach.
You can buy the single — or get it as a free instant download with album pre-orders — at theblackkeys.com/turnblue.
This is a scalar run based on the F Lydian mode [F G A B C D E], which is the fifth mode of C major. It incorporates several different lead-playing techniques and sounds cool when played over an F or F5 chord.
I start off with an ascending F major triad [F A C] sweep across the top four strings, played in a rhythm of 16th-note triplets.
Once I hit the high E string, I switch to legato phrasing, continuing the triplet rhythm and using all four fret-hand fingers, spread out wide, to perform "stacked" hammer-ons and pull-offs, capped off by a pick-hand tap with the middle finger.
Once I come back down to the F note at the 13th fret, I skip over to the G string, where I play another legato sequence, this time incorporating a descending finger slide followed by two hammer-ons and three consecutive taps with the pick hand, using the first, second and fourth fingers.
When performing this tapping sequence, I temporarily clamp the pick between my thumb and the top side of the fretboard. I then jump back up to the high E string and perform another ascending legato sequence, incorporating taps with the first and third fingers.
After the last tapped note, I switch to straight alternate picking and play a descending sequence of cascading 16th notes and 16th-note triplets across the top four strings, followed by an ascending climb that finishes with a high bend. When practicing this lick, be mindful of the different rhythmic subdivisions used.”
This is an alternate-picking run based on an add9 arpeggio shape on the top three strings that’s moved up and down the neck to four different positions and tonal centers, with a slight variation in bar 2.
It begins in E, moves down to C with a little twist—more on that in a moment—then up to D and finally A.
The first thing you’ll notice is that the pinkie is the lead-off finger in each bar and that a five-fret stretch is required between it and the index finger for the first two notes. [Fret-hand fingerings are indicated throughout the run.]
Be sure to ease into these stretches and warm up with them in the upper area of the fretboard before attempting them in the lower positions.
For bar 2, I felt it sounded more colorful and interesting to alter the basic Cadd9 arpeggio [C D E G] by incorporating the #11, or #4, F#, into it, and in so doing the notes on the B and G strings are played two frets higher than where they would be if I would have simply applied the initial add9 shape from bar 1 to this position. In bar 3, the pinkie does a quick slide up to D, and the initial cell from bar 1 is used again, only a whole step lower.
Notice the common tones on the B and G strings in bars 2 and 3. The run concludes with a long pinkie slide up to A at the 17th fret—be careful not to overshoot it—and an Aadd9 arpeggio.
This is a single-note run based on the D Phrygian dominant mode [D Eb F# G A Bb C] that incorporates several different playing techniques to create an interesting, rolling contour.
I tune my guitar to drop-B, which is drop-D tuning down one and one half steps [low to high, B F# B E G# C#], so while I’m thinking of the run as being in D, it actually sounds in B [Phrygian dominant].
Bars 1–3 are played entirely on the G string and feature sextuplet phrasing [six-note groupings], with an extra two 16th notes tagged onto the end of each bar, which makes it an odd-meter lick [13/8 instead of 12/8]. I alternate pick the first three notes of each sextuplet with palm muting [P.M.], followed by an un-muted double pull-off, which creates a nice contrast, going back and forth from staccato to legato articulation.
There’s a four-fret stretch required in these first three bars, so make sure your fingers and wrist are thoroughly warmed up before playing the lick, to avoid uncomfortable cramping or possible injury. Be sure to palm mute the bottom three strings throughout these first three bars, even when doing the pull-offs on the G string, in order to keep them from ringing.
Bar 4 is built on diminished-seven arpeggio shapes and introduces some string skipping between the G and high E strings and ascending and descending legato finger slides, which I use to shift positions.
The run winds up in bar 5 with some unbroken alternate picking as I ascend the D Phrygian-dominant mode across the top four strings, leading to a high D note at the 10th fret, which I shake then slide down from. Notice that I add a couple of chromatic passing tones on the top two strings during this final ascent.
These extra notes serve to smooth out the contour of the line and make for an even number of notes per string [four], which works well with this kind of alternate-picked run.
When Taylor’s T5 debuted in 2005, it won awards for “Best Acoustic” and “Best Electric” guitar from industry players.
Now the company is introducing the T5z, the smaller yet bolder version of the T5.
The hollowbody design features an active soundboard to produce a natural acoustic voice and incorporates three pickups: an acoustic body sensor, a concealed neck humbucker, and a visible bridge humbucker.
Crossover design features include dual compatibility with electric and acoustic amps, plus five-way switching and onboard tone controls that let you shift from shimmering acoustic to screaming electric in an instant.
Find out more at www.taylorguitars.com
Guitar Legends: 50 Greatest Classic Rock Guitar Songs— including an instructional DVD with tabs — is available now at the Guitar World Online Store for only $9.99.
It's a collection of the best classic rock songs of all-time, from Jimi Hendrix, Led Zeppelin and Lynyrd Skynyrd, to Nirvana, the Allman Brothers Band and the Eagles!
The editors of Guitar World, the world's best-selling guitar magazine, have compiled an entire issue dedicated to the 50 all-time greatest classic rock songs. The issue celebrates the finest of the classic rock anthems.
This diverse list not only details every song and artist, but also provides perspective on how each song has influenced musicians. In Guitar Legends: 50 Greatest Classic Rock Guitar Songs, you'll learn everything there is to know about how classic rock impacted the music world.
Also included inside the issue: a 60-minute instructional DVD featuring guitar tabs!
DVD video lessons on how to play songs from classic rock greats:
The Beatles - "I Saw Her Standing There"
The Rolling Stones - "Honky Tonk Women"
Grateful Dead - "Casey Jones"& "Friend of the Devil"
This is an excerpt from the May 2014 issue of Guitar World. For the rest of this story, plus features on Zakk Wylde & Joe Satriani, John Frusciante, how to build a pedal board, a complete finger picking lesson, columns, tabs and reviews of new gear from Line 6, Ibanez, Strymon, G&L, Ernie Ball and Orange, check out the May 2014 issue at the Guitar World Online Store.
Blood Sacrifice: In 1990, Death Angel were poised to be as big as Metallica until a horrific accident brought their ascent to a halt. Guitar Rob Cavestany looks back at the group’s rise and fall, and the rebirth that has brought them hard-won success.
Sitting in his home studio in Oakland, California, on a bright, breezy afternoon this past January, Cavestany appears to have come through Death Angel’s tribulations having regained a bit of his youthful optimism.
The 45-year-old guitarist looks fit and nonchalantly rocks a timeless thrasher look that includes a full head of long black hair, a sleeveless shirt and tattooed arms. He’s also beaming with smiles and, in charming Cali fashion, is hella stoked to explain how a group of teenage cousins won over the Eighties Bay Area thrash scene, imploded, rebuilt and now—30 years later—sound better than ever.
We’re soon joined by Cavestany’s six-string wingman, Aguilar, and his affable black lab, London. Over a plate of fresh fruit and cheese (the latter a particular favorite of London’s), Cavestany begins the Death Angel story at a familiar place for many budding rockers who came of age in the Seventies.
“Kiss were the main reason why we got into music,” he says between sips of beer. “We had posters all over and we worshipped them. The original lineup of Death Angel were all cousins, so we would give lip-sync performances at family functions.”
The jump from lip-syncing to really playing came after Cavestany and Dennis Pepa’s mothers took the boys to Kiss’ 1979 performance at the Cow Palace, outside of San Francisco. Witnessing the larger-than-life set lit a fire under the 11-year-old Cavestany, who made the decision then and there to play an instrument. He started off on drums, but it wasn’t until he picked up his father’s old acoustic guitar that he found his calling. He soon graduated to electric guitar and began exploring even heavier music.
“When I started to play guitar, at the very first it was Sabbath, Zeppelin and AC/DC,” Cavestany says. “Then came Priest, Maiden and Scorpions, then Accept, Tygers of Pan Tang, along with Eddie Van Halen, and Randy Rhoads of course, who would have to be my all-time hero.”
By 1983, when Cavestany was all of 15, Death Angel—at that time a four-piece featuring Galeon, Gus and Dennis Pepa, and Cavestany on both vocals and guitar—cut their first four-song demo, Heavy Metal Insanity, which reflected their classic metal and NWOBHM inspirations. Cavestany credits his discovery of Metallica as being the turning point when Death Angel’s style evolved into the manic thrashing sound they would become known for.
“Seeing Metallica play was the next thing after we saw Kiss, when we’re all like, Oh shit! We’ve got to change our style. We’ve got to get heavier and faster,” Cavestany says.
Metallica would play a pivotal role in the Death Angel story in more ways than one. After attending a Metallica in-store signing, the guys unexpectedly hit it off with Kirk Hammett. Over the next few years, as Death Angel continued to gig and refine their sound, they would pass their boom-box demos to the guitarist whenever they would run into him at local metal shows. Their persistence paid off when Hammett agreed to produce their second batch of songs, which would become their 1986 Kill as One demo.
“Kirk was really nice and always really supportive of us,” Cavestany recalls. “Eventually he heard enough potential to get himself involved, which was very major for us.”
Kill as One benefited from Hammett’s production insights as well as the addition of singer Mark Osegueda (another of Cavestany’s cousin), whose style gave the music a fresh thrash flavor and edge that was missing from the old-school sounds on Heavy Metal Insanity. Kill as One became popular among the tape-trading scene, and Death Angel scored key gigs opening for bands like Slayer. Soon, indie label Enigma approached the group with a contract for a full-length record.
“I’m sure the novelty is what first got people’s attention,” Cavestany says with a laugh. “Like, These guys are way young, they’re all cousins, and they look like small Chinese girls going crazy onstage!”
Riding a wave of youthful exuberance and unwavering confidence, Death Angel blazed through the recording of the songs that would become their debut album, 1987’s The Ultra-Violence. Tracked in three days and mixed in two, their fierce debut confirmed that these kids weren’t a novelty—this was serious thrash on par with many of the older more experienced bands of the scene. It had the speed of early Metallica, the unhinged quality of Slayer and the brazen attack of Anthrax.
“We didn’t really second-guess too many things that we were doing,” Cavestany says. “We just went at it relentlessly. We thought it was amazing. Now if I try to play along to that CD, I almost can’t do it because we are so out of control. [laughs] It’s so off, and everyone’s crazy. But it’s got that rawness.”
While Death Angel may have managed to get a full-length pressed and catch some people’s attention, they certainly weren’t living on easy street. The guys were still toiling at their day jobs and relying on their families’ support.
“I was working at Tower Records when The Ultra-Violence came out,” Cavestany recalls. “And my dad was my main roadie for the first couple of years, buying me equipment and driving me around. Our families couldn’t understand the kind of music we were trying to play, but they were proud of us. My grandmother would come to our shows, and my mom would be there wearing her Death Angel shirt.”
For the rest of this story, plus features on Zakk Wylde & Joe Satriani, John Frusciante, how to build a pedal board, a complete finger picking lesson, columns, tabs and reviews of new gear from Line 6, Ibanez, Strymon, G&L, Ernie Ball and Orange, check out the May 2014 issue at the Guitar World Online Store.
Photos: Jimmy Hubbard
Today, GuitarWorld.com presents the exclusive premiere of "La Boule Noire," a new instrumental track by jazz-inspired progressive rockers the Hedvig Mollestad Trio.
The super-jammy, guitar-heavy song — think Black Sabbath and Cream meet Miles Davis and the Grateful Dead — is from the band's new album, Enfant Terrible, which will be released April 18 by Rune Grammofon.
The band, which was founded in 2009, includes Hedvig Mollestad Thomassen on guitar, Ellen Brekken on bass and Ivar Loe Bjørnstad on drums. Thomassen formed the band after she was awarded the Young Jazz Talent of the Year prize at the Molde International Jazz Festival in Norway.
They released Shoot! in 2011 and All Of Them Witches in 2013. Their new album was recorded in December 2013.
For more about the band, visit them on Facebook and Twitter.
We’re thrilled to present you with the world premiere of Sevendust’s new album, Time Travelers & Bonfires.
Well known for their signature hybrid metal sound, Sevendust have abandoned the high gain on Time Travelers & Bonfires, leaving lush acoustic guitars in its place.
This all-acoustic release is collection of brand new songs, along with re-recorded versions of Sevendust classics including “Black,” “Gone,” “Denial,” “Karma,” “Trust,” and “Crucified.”
“Time Travelers & Bonfires was a perfect way to revisit some older songs and give them a different twist,” shares guitarist Clint Lowery. “It gives us a chance to showcase the melodic side of the band and focus on vocals.”
Made possible entirely by fans in a direct-to-fan campaign, Time Travelers & Bonfires is proof of the loyal following the band has earned. Not surprisingly, Sevendust achieved 100% of their goal during the very first weekend of the 130-day campaign, reaching 235% by the campaign’s end. “The pledge support exceeded anything we imagined and is a true testimony to the diehard Sevendust fan base. We’re truly grateful,” Lowery comments.
The result is an album unlike any Sevendust release before it. The rhythm section simmers while remaining sharp, and frontman Lajon Witherspoon’s vocal delivery is perhaps his smoothest to date. "Time Travelers & Bonfires shows a side of the band a lot of folks didn't realize existed,” guitarist John Connolly shares.
Take a listen to the world premiere of Time Travelers & Bonfires below, and be sure to pick it up today via iTunes or Amazon.
Be sure to catch Sevendust on their current acoustic tour. View dates and find out more here.
Today, GuitarWorld.com presents the exclusive premiere of a new lyric video by Sebastian Bach.
The track, "Taking Back Tomorrow," is from Bach's new album, Give 'Em Hell, which will be released April 22 via Frontiers Records.
The graphic novel-inspired video, which you can check out below, features footage of Bach seamlessly interspersed with comic book-style graphics.
Give 'Em Hell was produced, mixed and recorded by Bob Marlette (Black Sabbath, Shinedown, Alice Cooper) and mastered by Tom Baker (Nine Inch Nails, Rob Zombie, Seether). The album features guest appearances by Duff McKagan (Velvet Revolver, Guns N’ Roses), John 5 (Marilyn Manson, Rob Zombie) and Steve Stevens (Billy Idol).
Rounding out the lineup on the album are Devin Bronson on guitars and Bobby Jarzombek on drums.
Fans who pre-order the album now from iTunes will receive two instant-grat tracks — “Temptation” and “Hell Inside My Head.” You also can pre-order the album at Amazon here.
Bach will hit the road for select tour dates around the album’s release; check out his itinerary below.
For more information, visit sebastianbach.com and Bach's Facebook page.
Sebastian Bach tour dates:
APRIL
24 New York, NY BB King’s
25 Sayreville, NJ Starland Ballroom
26 Columbia, MD M3 Festival/Merriweather Post Pavilion
27 Portland, ME Asylum
Photo: Lizzy Cupcake
In the recently posted video below, British guitarist Ben Higgins — who we've featured on GuitarWorld.com in the past— imitates 30 well-known shredders, but puts them in strange settings.
In the video, which is called "30 Misplaced Shredders," Higgins imitates the likes of Yngwie Malmsteen (over a Morbid Angel-style backing track), Steve Vai (over a Pantera-style backing track), Marty Friedman over Metallica, Zakk Wylde over Anthrax — etc.!
After he goes through his 30 imitations, he shows you how to play everything — complete with tabs. In fact, you can find the tabs, backing track and complete lesson right here.
For more about Higgins, head HERE and HERE.
Guitarists covered in this solo:
1. Michael Romeo (Motorhead) 05:11
2. Synyster Gates (Mercyful Fate) 06:41
3. Jeff Hanneman (Bathory) 09:03
4. Yngwie Malmsteen (Morbid Angel) 10:40
5. George Lynch (Iced Earth) 12:50
6. Steve Vai (Pantera) 14:40
7. Matthias Jabs (Ozzy Osbourne) 16:19
8. Marty Friedman (Metallica) 18:13
9. Glenn Tipton (Iron Maiden) 20:36
10. Adrian Smith (Queensryche) 22:24
11. Alexi Laiho (Skid Row) 24:24
12. Kirk Hammett (Motley Crue) 26:36
13. Michael Schenker (Opeth) 27:59
14. Joe Satriani (Nile) 29:29
15. Tony MacAlpine (Cradle of Filth) 32:00
16. Dave Murray (Judas Priest) 34:09
17. Zakk Wylde (Anthrax) 35:34
18. Dan Spitz (Slayer) 37:45
19. Kerry King (Megadeth) 39:36
20. Trey Azagthoth (Evile) 41:05
21. Rusty Cooley (Blind Guardian) 43:32
22. Jeff Loomis (Annihilator) 45:44
23. Jeff Waters (Testament) 47:32
24. Buckethead (Mayhem) 49:37
25. Vinnie Moore (Rammstein) 51:52
26. Dimebag (Scorpions) 53:22
27. Jason Becker (Symphony X) 55:02
28. Andy LaRocque (Manowar) 56:35
29. Alex Skolnick (Saxon) 58:29
30. Randy Rhoads (Arch Enemy) 1:00:38
31. Bonus shredda ;) - 1:04:32
According to several media reports posted earlier today (mostly out of Australia), AC/DC might be calling it quits very soon — due to the serious illness of guitarist Malcolm Young.
Perth, Australia, radio station 6PR reported that Young, 61, and his family are moving back to Australia due to Young's illness; entertainment commentator Peter Ford tweeted that there is a “sad detail” behind the band’s decision to not perform again.
Different sources imply that the "sad detail" is the stroke Young supposedly suffered several weeks ago.
Note that nothing has been confirmed, but we will provide updates on this story as we get them.
As you might remember, AC/DC were actively planning 40th anniversary reunion gigs earlier this year. According to an industry source, the band will still enter a Vancouver recording studio in May 1.
“I think we’ll be going into the studio in May in Vancouver. Which means, we should be getting ready,” frontman Brian Johnson said in February.
“It’s been 40 years of the band’s existence. So I think we’re gonna try to do 40 gigs, 40 shows, to thank the fans for their undying loyalty. I mean, honestly, our fans are just the best in the world, and we appreciate every one of them. So, like I said, we’ll have to go out, even though we’re getting a bit long in the tooth. You know what?! It’s been four years [since we last went out on the road], and I’m really looking forward to it.”
Soundgarden are celebrating the 20th anniversary of their hit record Superunknown with a couple special reissue packages, available on June 3, 2014 via A&M Records/UME. The Deluxe Edition is a 2-CD package featuring the remastered album along with disc two consisting of demos, rehearsals, B-sides and more.
The Super Deluxe Edition is a 5-CD package featuring the remastered album, additional demos, rehearsals and B-sides and the fifth disc is the album mixed in Blu-ray Audio 5.1 Surround Sound. The Super Deluxe Edition is incredibly packaged in a hardbound book with a lenticular cover, liner notes by David Fricke and newly reimagined album artwork designed by Josh Graham. It also features never before seen band photography by Kevin Westenberg. A 2-LP gatefold of the original 16 vinyl tracks remastered on 200-gram vinyl in a gatefold jacket will also be made available. In addition, the Superunknown singles and associated b-sides with newly interpreted artwork sleeves by Josh Graham will be reissued on Record Store Day, April 19th, as a set of five limited edition 10″ vinyl records.
Give a listen to their "Black Hole Sun" Demo, from this new release, below.
Yesway is the creation of best friends Emily Ritz and Kacey Johansing.
Johansing, in addition to a budding solo career following the release of her Grand Ghosts LP last year, has lent her talents to projects such as Geographer, while Ritz is an active member of the band DRMS.
Four years ago, the two began playing music together in the experimental folk ensemble Honeycomb, which initiated their path toward growing and weaving their creative songwriting and soulful expression into a power duo.
Yesway, their debut full length album, has an updated release date of June 3.
Below, listen to the single "Howlin' Face," which the duo describe as "somewhere in the resonance of the vibes, those low flying synth clouds, river running guitar acoustics, and heart beat emulating electronica — all these conjure images and essence of the Northern California fog that inhabits and occupies the West Coast's sleepy shorelines."
They first crossed paths in the San Francisco music scene in 2006, becoming close friends and admirers of each others music from the start. After years of pursuing separate projects they decided to go on tour together in Europe representing both of their bands, co-headlining and backing each other up.
Watch the video for Yesway track, “Whaocean”:
Yesway - "Woahcean" from Dominic Santos on Vimeo.
Their shows and experiences in Norway, especially, ignited the creative flame in both of them along with a feeling that this was something they had to further pursue together. In fact, the name "Yesway" is itself a variation on the very country that really sparked their collaboration.
In a live setting, their voices literally melt together and their performances are intimate yet expansive. They are often backed by Vibraphone player Andrew Maguire, who also plays with Will Sprott and Thao and Mirah.
Although their instrumentation is centered around vocal harmonies and two guitars, "folk" seems like a inaccurate description as many of their songs are in odd time signatures and do not follow a traditional song form. The results are songs that are truly celestial, shapeshifting across different moods that match their creative styles.
Listen to more Yesway here.
We’ve all experienced it. Bad soundmen.
You know, the guy who just doesn’t seem to know what he’s doing and can’t quite get that ringing frequency out of the FOH (Font of House) as you’re microphone checking one-two-one-two.
If you’ve been performing long enough, it’s certainly happened to you. I know it’s happened to me.
Have you ever been in the audience at a show and noticed that the sound was completely horrible and had the artist on stage threatening the soundman, ”Turn me up, check check, turn me up soundman or I’m gonna come see you!”
This most likely happened at a hip-hop concert, but nevertheless one of the most annoying things to happen during a show is to have the sound all jacked up. I mean, music is sound, right? And we’re on stage for people to see an incredible performance, but most importantly to actually hear the performance. Sux when the guy on the board doesn’t seem to get that right, right?
But there’s nothing like a guy or girl who does get it right!
The truth is, despite the fact that most of us are the most amazing artists on the planet, and everyone in the world should be familiar with our music, the soundperson probably doesn’t know our music at all.
He or she probably does know the board pretty well and has probably mixed countless bands that don’t sound anything alike on that same system.
While it could help if the soundman was a little familiar with your music and how it was supposed to sound, the reality is, that prolly won’t happen. Being a soundman is a thankless job, so take a moment and let the ones who rock know they rock. Let the not-so-good-ones down easy. Besides, when you’re on stage acting like an ass in front of everybody, yelling at the soundman, the audience is facing you, not him.
Matter of fact, thank the great sound-guys. Thank the shitty sound-guys, too, that way nobody will ever make you out to be the bad guy. Besides, that same sound person may end up becoming huge, and he’ll never forget how you treated him on his way up.
Keep it professional. Everybody will remember that.
Divinity Roxx has wielded her bass guitar as a weapon in front of 50,000 screaming Beyoncé fans. She’s toured and appeared on recordings with Grammy Award Winning bass virtuoso Victor Wooten. She’s shared the stage with such artists as Kanye West, Jay-Z, George Michael, and Destiny’s Child. But it is in her solo performances where Divinity Roxx shines brightest. Find out more about her and her music at www.divinityroxx.com
With no member older than 16 years old, the Sleepy Man Banjo Boys might be the world's youngest bluegrass virtuosos.
Below, watch the Mizzone brothers – fiddle player Robbie, guitarist Tommy and banjo player Jonny – perform a blazing three song set during a TED Talk from February 2013.
Sleepy Man Banjo Boys hail from Lebanon Township, New Jersey – a part of the country Tommy jokingly calls “the bluegrass capital of the world.”
The band has recorded a pair of albums - America’s Music and The Farthest Horizon– which charted at #8 and #3 on the Billboard Bluegrass Album chart respectively. According to the band’s bio, they’re already hard at work on their third release. “We’re excited to expand our style of music on the next album, and maybe our audience, too,” says Robbie.
Watch closely as Jonny uses his banjo’s tuning pegs to alter a string’s pitch mid-song – a trick he gracefully pulls off.
Find out more about the Sleepy Man Banjo Boys here.
There's a new combo offer at the Guitar World Online Store!
Get Revolver magazine's April/May 2014 Pantera issue and a limited Far Beyond Driven T-shirt for $24.99!
The cover story of the newsstand edition of the latest issue of Revolver tells the story behind Pantera's Far Beyond Driven. The album, which still stands as the heaviest record to debut at Number 1 on the charts, turns 20 this year.
In commemoration of that anniversary, Revolver also has created a highly limited-edition T-shirt paying tribute to the album. Only 250 T-shirts have been printed, so take advantage of this issue AND T-shirt combo offer before they sell out!
It seems there's some sad truth behind the speculation surrounding AC/DC's imminent breakup due to Malcolm Young's health issues.
The classic hard rock band may not be breaking up, but their rhythm guitarist is, for the moment, stepping down to deal with health issues.
Here's the official statement from the band, which appeared earlier today on their official Facebook page:
"After forty years of life dedicated to AC/DC, guitarist and founding member Malcolm Young is taking a break from the band due to ill health. Malcolm would like to thank the group’s diehard legions of fans worldwide for their never-ending love and support.
"In light of this news, AC/DC asks that Malcolm and his family’s privacy be respected during this time. The band will continue to make music."
Our thoughts go out to Malcolm and his family.
We'll keep you posted as we hear more.
Outside Lands has announced the 2014 single-day lineup.
Single-day tickets will go on sale this Thursday at 10am PST via sfoutsidelands.com.
This announcement comes on the heels of the festival's three-day general admission tickets selling out in a record 24 hours.
After three consecutive sold-out years will once again take place in San Francisco's historic Golden Gate Park, August 8 - 10, 2014.
View the single-day Outside Lands 2014 lineup below.
Watch Paul McCartney perform an acoustic rendition of “Yesterday” from last year’s festival, along with the Kronos Quartet:
FRIDAY
Kanye West
Arctic Monkeys
Disclosure
Tegan & Sara
Tedeschi Trucks Band
Chromeo
Kacey Musgraves
Grouplove
Nicki Bluhm and The Gramblers
Phosphorescent
Run the Jewels (El-P & Killer Mike)
Holy Ghost!
Warpaint
Typhoon
Greensky Bluegrass
Bleachers
The Soul Rebels
Bear Hands
Mikal Cronin
Nahko and Medicine for the People
Aer
Night Terrors of 1927
RayLand Baxter
SATURDAY
Tom Petty & The Heartbreakers
Macklemore & Ryan Lewis
Death Cab For Cutie
Atmosphere
Duck Sauce
Haim
Capital Cities
Local Natives
John Butler Trio
Tycho
The Kooks
SBTRKT
Deer Tick
Dum Dum Girls
Christopher Owens
Big Freedia
Jagwar Ma
Woods
Valerie June
Finish Ticket
The Districts
Trails and Ways
Nocona
SUNDAY
The Killers
Tiësto
The Flaming Lips
Ray LaMontagne
Spoon
Cut Copy
Ben Howard
Lykke Li
Chvrches
Paolo Nutini
Boys Noize
Jenny Lewis
Flume
Lucius
Gold Panda
Vance Joy
Gardens & Villa
Watsky
Givers
Imelda May
The Brothers Comatose
Courtney Barnett
Jonathan Wilson
Tumbleweed Wanderers
Learn more at sfoutsidelands.com.
No doubt, you’ve seen Harry Dean Stanton in at least one of his 250 films.
But have you heard him sing?
The many facets of Harry Dean Stanton are explored in Harry Dean Stanton: Partly Fiction, a documentary directed by Sophie Huber that has been screened at more than 50 festivals, both internationally and in the US.
It documents the iconic actor in his intimate moments and features film clips, as well as Stanton performing his own heartbreaking renditions of country and folk songs.
The film explores Stanton’s enigmatic outlook on his life, his unexploited talents as a musician, and includes scenes with David Lynch, Wim Wenders, Sam Shepard, Deborah Harry, Kris Kristofferson, and others.
On June 3, Omnivore Recordings will release this intimate soundtrack recording (recorded in Harry Dean’s living room) on CD, digital and LP (first pressing on limited-edition orange vinyl) to bring Stanton’s musical talents to light. Stanton is accompanied by Jamie James on all tracks, and Don Was on select tracks.
Watch a trailer for the film’s soundtrack below:
The release contains both tracks from Omnivore’s Record Store Day 7” picture disc: a cover of the 1983 George Jones hit “Tennessee Whiskey” and a new version of “Canción Mixteca,” the Mexican folk song Stanton originally recorded with Ry Cooder for Wim Wenders’ Paris, Texas (winner of the Palme d’Or at the 1984 Cannes Film Festival).
Other classic covers in the set are “Blue Bayou,” “Danny Boy,” and “Help Me Make It Through the Night,” written by Stanton friend (and contributor to the film) Kris Kristofferson.
Harry Dean Stanton: Partly Fiction will appeal to fans of Stanton, as well as fans of American film and music. It’s a representative portrait of one of the great character actors, a familiar face and a distinctive voice.
According to director Huber, “Harry Dean Stanton and I met in the ’90s and we have been friends ever since. Years before I came up with the idea to make this portrait, I started recording songs with Harry Dean. There were hardly any recordings ever made with him, even though he had been invited by renowned musicians to record in their studios. I went up to his house with a microphone and a laptop and started recording songs with him there, where he felt most comfortable.”
The film, released theatrically late last year, will be released on iTunes in the U.S. in early May and on DVD (simultaneously with the soundtrack) on June 3.
Learn more here.
