WORKERS OF THE WORLD UNITE AND HAVE A COLD ONE WITH PALS!
We have President Grover Cleveland for making today a national holiday in the United States. The catalyst, as with many positive changes in U.S. history, was prompted by bloodshed - the deaths of workers during the infamous Pullman Strike - but few things worth having happen without some loss. Now, Labor Day marks the beginning of football season and a long weekend for (some) laborers nationwide. Without getting all heavy on you, we thought we'd offer some tunes about work and a tiny encouragement to pause and reflect on those still struggling to get a day of rest and fair treatment in their labors. (Dennis Cook)
Here's the man who wrote the tune Tennessee Ernie Ford made so famous to get us started.
We time travel back to 1982 for Huey Lewis and the News backed by the Tower of Power horns.
Fans of the Drew Carey Show will know this one. Such a nifty sway!
Perhaps forgotten by anyone outside of the U.K. and hardcore 80s music nuts, this is a quality rocker for the blue collar set from a band that never quite got their critical due.
Johnny Paycheck may have gotten the big hit but this is the man who penned this classic.
Beatles' covers don't come any sillier than this.
No way we could skip BTO in our little Labor Day song cycle.
Workers around the world have been singing "The Internationale" since it was composed in the late 1800s. It is sung in many languages but means the same thing the world over - a cry for justice and equality and fairness. There are many, many variations on the basic tune & lyric, and here's a couple takes on the classic.
Sunset Strip Music Festival :: 08.26.10-08.28.10 :: House of Blues & Street Fest :: West Hollywood, CA
The Third Annual Sunset Strip Music Festival took place last weekend and our SoCal field operative L. Paul Mann was there to catch the opening night festivities and the all-day fest on Saturday.
Opening Night, Thursday, August 26
Slash by L. Paul Mann
Rock stars came out in force on August 26 to the Hollywood House of Blues to pay tribute to Slash on opening night of this year's Sunset Strip Music Festival. The iconic veteran rock guitarist received a fitting tribute from some well-known peers and city officials alike. The evening began with a red carpet reception for some of Hollywood's rock royalty, then the veteran musicians lingered in the maze of private upstairs rooms, sipping expensive cocktails and eating gourmet food. Below fans with VIP passes for the three-day Sunset Strip Music Festival were treated to free food and an open bar.
After rock stars and fans alike were well lubricated, the presentation began. Personal tributes came in the form of video salutes from entertainers currently on tour, including last year's honoree Ozzy Osbourne. Live tributes came from Motley Crue's Nikki Sixx, Motorhead's Lemmy Kilmister and Alice In Chains' Jerry Cantrell. Then, the mayor and city council of West Hollywood presented Slash with a plaque, making it officially Slash Day in the hair band capital of the world.
In his humble acceptance speech Slash told an anecdote about his first visit to the legendary Sunset Strip club scene. When he was 17, Slash decided to go to the Rainbow Club with his friend Steven Adler (who later became his bandmate in Guns N Roses). It was ladies night at the nightclub and a suspicious doorman spotted Slash's fake ID, although Adler managed to get in. A saddened Slash went home and solicited the help of his mother, an accomplished costume designer. Together, they concocted a drag outfit that fooled the doorman and got him into a Sunset Strip club for the first but definitely not the last time. Now the entire strip is honoring the legendary guitar player, who perhaps personifies the local music scene more than any other living musician today.
After the presentation, the doors were open to the general public for a free concert on a first come, first serve basis. The Head Cat played their first song joined by Slash for an ear piercing jam. Head Cat includes bassist-lead vocalist Lemmy, and his trademark primal scream growl was probably the first of this kind of guttural sound to became widely popular with hardcore metal bands over the years. Slim Jim Phantom (The Stray Cats), the most well known rockabilly drummer in America, kept the rhythm. Rounding out the trio is guitar virtuoso Danny B. Harvey (Lonesome Spurs, The Rockats), who gave Slash a run for his money in a blistering guitar war during the first song.
This new psychobilly band found their groove after Slash departed for another late night surprise gig at The Whiskey. With Lemmy's snarling voice and fanatical bass playing at the center, the other two more traditional rockabilly wizards exploded into a frenzy of American classic cover songs. The band has actually been getting together to jam for nearly a decade and released their first studio album in 2006, but their live performance is what makes Head Cat one of the most special groups to ever play this iconic American sound. It was truly a fitting opening for the bawdy atmosphere of the third annual Sunset Strip Music Festival.
Saturday, August 28 - Festival Day
Four blocks along West Hollywood's Sunset Strip were shut down on this beautiful Saturday afternoon. The infamous zone, where the vast majority of legendary rock clubs in the city are cloistered, became a veritable hair band heaven as the day wore on. With over 50 acts, playing simultaneously on two outdoor stages and in the five nightclubs in the area, it was a hard rock fan's dream. Although the music covered many genres from heavy metal to indie, the predominant theme was certainly a celebration of hair bands. The clubs featured short sets by aspiring new indie rock bands from across the country, while the main stages showcased more established groups. The carefully selected deluge of bands mainly shared one attribute enduring themselves to West Hollywood fans: Stage presence. There were no shoe staring emo musicians with their backs to the crowd to be seen anywhere on the Strip. But there were plenty of in your face performers ready to rock.
The opening act on the outdoor West Stage personified the ultimate hair band image, a sort of real life Spinal Tap type group. Steel Panther initially come off as a parody of 80s hair bands with their hilarious antics. For instance, bassist Travis Haley (Lexxi Foxxx), took time between songs to admire his long locks in a vanity mirror while applying copious amounts of hair spray. But aside from their comedic schtick, this band can really rock. The veteran rockers who make up the group, which formed almost a decade ago, have a real pedigree, playing in former well known groups like LA Guns. They currently have a recurring gig every Monday night at the Key Club. The band was well received and provided a perfect warm up to the acts yet to come.
Over on the East Stage, a great new indie band, Saint Motel, got things rolling with a lively enthusiasm, sans campy costumes and make up. With a great sound and unbridled energy, the band performed a frenetic set for the early bird crowd.
In the meantime, the action was already in full swing inside the iconic clubs. The poster child of metal clubs, The Whiskey, was a dark and dreary transition from the sunny street. Smelling a bit like a Midwest truck stop, the fragrance of sweat and beer hung in the dank air. It was somehow the perfect backdrop for the band which exploded onstage upon my arrival. The heavy metal band Yeti, appearing in a mist of fog and strobe lights, launched into a full frontal speed metal assault that Metallica would be impressed by.
Emerging back outside into the blinding afternoon sun, Neon Trees had taken to the East Stage. Although lead singer Tyler Glen sports a Mohawk these days, his persona is that of a larger than life lead singer of a classic hair band. Originally, a California group that became a pet project of The Killers when they moved to Provo, Utah, this band can rock and put on a dramatic performance at the same time.
Just down the street, in the tiny Cat Club, Lady Sinatra was also playing an explosive set of intense rock music. The tiny stage seemed to melt into the packed, sweaty crowd as fans tried to sway to the music. Emerging back outside, a glittering Semi Precious Weapons had just replaced Neon Trees on the East Stage. The New York glam band turned in a performance that was the epitome of West Hollywood. Sort of a cross between Iggy Pop and The New York Dolls, this group could also rock hard. Led by campy tranny Justin Trantner, the band offers their own brand of racy glam rock. Trantner's antics included an onstage change of clothes, including a new pair of sparklingly high heels; spraying the crowd with a bottle of champagne; and inviting the fans onstage a la M.I.A. at the end of the performance. The band played a frenzied rock beat led by guitarist Stevy Pyne, who was reminiscent in look and style to AC/DC guitarist Angus Young. The band definitely captured the spirit of the day.
As the sun began to set, the highlight of the festival was set to take place on the West Stage. On what was officially declared Slash Day in West Hollywood, the city introduced the man of the hour with his new band of veteran rockers. As soon as the iconic musician slapped on his first guitar, the band was off to the races. Playing some of their new material interspersed with Guns N' Roses classics, the group came off as the ultimate hair band. Led by lead vocalist Myles Kennedy (a new voice with an old soul), the group played the classic songs flawlessly. They probably sounded better playing the old tunes than the reunited Guns N' Roses, who recently got together for the first time in five years to play the Sturgis Rock Festival and a series of disastrous European dates. By the time the band finished their blistering set, thousands of people had crowded the streets. During the encore, a humble Slash thanked everyone for assembling in his honor. Then, he introduced Fergie of Black Eyed Peas fame as his special guest. They are apparently working on a new video together. Appearing in classic rocker chick garb, she proceeded to steal the show during the bands 20-minute encore. The voluptuous singer pranced about the stage, wailing, flailing and caressing the band members one by one. One of the most consummate performers in rock music today, she seemed to make personal eye contact with nearly everyone in the audience. When she sang the Heart classic "Barracuda" the crowd ignited in a screaming frenzy.
While all this excitement was going on, rapper/movie star Common was having less success on the East Stage. Technical problems forced the popular singer to ditch some of his back-up musicians and cut his set short, much to the disappointment of a younger and more fashion conscious crowd gathered at that end of the Strip. Rapper Kid Cudi had more success with his minimalist set with just a backing DJ. However, his huge dance club hits fell a bit flat with the toned down approach. His new material, so popular with electronic dance fans, is actually more reminiscent of Moby than hip hop music. He might do well to follow the former electronic music guru and develop a live band for his shows.
Headliner Smashing Pumpkins hit the West Stage just after dark facing a huge crowd. Sounding like the Pumpkins of old, the band marched straight into a wall of ear piercing sound sure to please fans of the original lineup. Punctuated by Billy Corgan's trademark wail and piercing screams, his new armada of musicians performed admirably. Young drummer Mike Byrne offered an infusion of new blood into the Pumpkins' sound, and even did a classic hair band drum solo, perhaps the only one of the day.
As the music came to a close on the main stages, many fans headed home. But hardcore music lovers stayed on to enjoy more indie bands performing in the clubs well into the next morning. It was a scene right out of, well, Hollywood.
Stanley "Mouse" Miller, every Dead Head's favorite living poster artist, has opened a gallery of his own, Rockin Roses, on the square in Healdsburg, CA (243 A Healdsburg Ave.). It's got a ton of art, T-shirts, paintings and so forth, including his latest show, which focuses on the feminine figure like this painting below.
Official Bio
Stanley "Mouse" Miller was born to a Disney animator who took his family to live in Detroit in the 1950s. The combination of Motown music and the city's obsession with motorcars with his birthright genius at drawing made his life path very clear at a very early age. By the 7th grade he'd become known for his sketches of monster-driven muscle cars and mice, and earned his lifelong nom de crayon.
He found a niche in the Detroit hot rod culture by detailing extraordinary paint jobs on vehicles until no quality hot rod in town could be seen without a Mouse pinstriping job. Soon after, he began applying his favorite subjects to T-shirts with an airbrush. Now confident about working with unusual surfaces, he tried the freshly painted walls of a local teen hangout and was expelled from high school.
He enrolled at Detroit's School for the Society of Arts and Crafts, and found inspiration only in the work of a young woman in his painting class, who was depicting their models as monsters. "I was amazed and a little disappointed, maybe a little grossed out," said Mouse, "that she was making the beautiful model into a monster. That was something that I did on weekends at hotrod shows. I was in art school trying to learn how to paint the model like Rembrandt, not Picasso. It also showed me that by painting monsters, I was doing the right art movement at the right time. But there seemed to be a higher calling: to paint like the masters."
The psychedelic experienced expanded his vision and his style, and soon, like so many children of the '60s, he left for San Francisco - although he was probably one of the few who drove out in a Porsche. Hanging out with fellow Detroiters, he fell in with the original members of The Family Dog, a collective which produced SF's first rock dances. One of those Dogs was Alton Kelley, and they quickly became partners.
Mouse was the draftsman and Kelley held down the composition, conceptualization and promotion; better still, Kelley was left-handed and Mouse right-handed, so they could work on a poster simultaneously, side by side. Their work for the Avalon Ballroom swiftly became legendary. A combination of Art Nouveau elegance and grace with American pop-art sensibilities and stonededness made their posters the ideal depiction of the fabulous, innocent, dancing, laughing party that was San Francisco in the '60s.
It was far too good to last. Tourists flooded the Haight-Ashbury and the scene died of over-population. Mouse saw the writing on the wall, and it wasn't airbrushed; he split to London to paint flames on Eric Clapton's Rolls Royce - although the car was wrecked before he even arrived.
Back in San Francisco in the 1970s, he and Kelley resumed their work, creating dozens of iconic album covers, including the first eight of the Grateful Dead's releases. In the '80s, Mouse moved to Santa Fe, and studied plein air painting with the revered landscape artist Randall Stauss, now of Lake Tahoe. Fortunately for the Bay Area, he returned to live in Sonoma County a few years back, and continues to produce exquisite works.
He's been known to say that he's just an art cat who got lucky, who was in the right places at the right times, no biggie. Those who know his work would disagree. His work has helped define the visual fix of the past 50 years, and we are most fortunate to have him contribute to our visual stock.
My Morning Jacket :: 08.29.10 :: River Stage at Great Plaza :: Philadelphia, PA
On a normal day it's hard to top a My Morning Jacket concert, but it becomes extra special when it's the closing show of their summer tour. Filling shoes much bigger than maybe you or I had ever imagined, My Morning Jacket finds itself at the top of an ever-changing landscape of American rock bands. These travelers from Kentucky set Philadelphia's River Stage at Great Plaza ablaze as they crushed their way through 22 glorious songs that made the evening feel like it was over in two minutes not two hours.
The venue sits on the banks of the Delaware River between the Ben Franklin and Walt Whitman Bridges. Hundreds of steps cascade down to the water's edge and are separated with manmade waterfalls and pathways. It slays that parking lot venue, the Festival Pier , to bits. Place My Morning Jacket on the stage during sunset and it's one heck of a show.
A slightly shaggier than normal Jim James made us Philadelphians feel extra special as he warmly thanked opener Scott McMicken from local favorite Dr. Dog. McMicken's own set was quite moving, and he sprinkled in several acoustic versions of Dr. Dog tunes including a tender version of "Jackie Wants a Black Eye" off Dr. Dog's latest, Shame Shame. His backdrop was a stellar homemade home façade complete with a suitcase, curtains, shelves and even a hole in the faux-wall for a mouse. Whether he plucked the banjo or strummed the guitar, his songs seemed to compliment the evening.
My Morning Jacket crept on stage through a haze of a manmade mist ready to produce a setlist that was packed with almost their entire catalog. The first half of the set grew superbly and got the blood flowing as we heard the band sink their teeth into "Mahgeetah," "Golden," a rare "Honest Man" and a new lavish, down tempo song called "Circuital." The new tune has tons of potential and is destined to take its royal place in the MMJ catalog. James demonstrated his ability to get loose on an acoustic guitar and started to really flex his vocals on the new tune.
During "I'm Amazed," bassist Tom Blankenship, guitarist Carl Broemel and Jim James huddled in front of Patrick Hallahan's green star covered drum kit. This has become the standard mode of operation for the group as they break out into wild undulations, fanatical changes, and some good old-fashioned head banging. The rest of the band played while James pulled a rubber donkey mask over his head to sway through the song's finish. He was super animated before going into the center cut of the show, which slowed for "Tonight I Want to Celebrate With You," "Steam Engine" and "Smokin' from Shootin." This trio gave the band time to play with the melodies and jam on some of the finer, softer moments. These calm songs offered a wonderful window to peek at this band's great depths.
The encore was loose and wild as MMJ rocked "Wordless Chorus," which took James's beatific voice to a whole new level. "Highly Suspicious" was an excuse to dance as James donned his black cap and channeled his inner Phantom of the Opera. James gave quite a show as he did a bevy of his best famous rockers imitations while heaving himself back and forth across the stage. The finale was the oh-so-fitting "One Big Holiday." Its swelling build and remarkable release left the entire venue in a state of exhilaration as they staggered toward the exits.
My Morning Jacket will play each of their records straight through over five nights in October. I'd say those five nights in New York City are going to be one tough ticket to come by but so worth doing everything in your power to acquire.
Setlist
Rollin Back (intro), The Way That He Sings, Gideon, Anytime, Mahgeetah, Golden, Circuital (NEW), It Beats 4 U, Honest Man, I'm Amazed, Easy Morning Rebel, Tonite I Want to Celebrate With You, Steam Engine, Smokin From Shootin, (end of) Run Thru, Touch Me I'm Going To Scream Pt.2, (end of) Lay Low E: Wordless Chorus, Touch Me I'm Going To Scream Pt.1, Highly Suspicious, Off The Record, One Big Holiday
Recorded live at Utopia Studios, Bearsville Theater and other local Woodstock venues exclusively for Radio Woodstock
Includes: Warren Haynes - SoulShine (Solo Acoustic); Los Lonely Boys - Heaven; Robert Randolph & The Family Band - Uncle Ted's Jam; Michael Franti & Spearhead - What I Be; moe. - New York City; Warren Zevon - Werewolves of London; John Mayer - Your Body is a Wonderland; Jorma Kaukonen - Hesitation Blues; plus Natalie Merchant, Keller Williams, Ani DeFranco, Jeffrey Gaines, Martin Sexton; Guster; Willy Porter; Joan Osborne, Damien Rice, Rhett Miller and more
Janis Joplin, Jimi Hendrix, The Band, Bob Dylan, Crosby, Stills, Nash & Young, The Youngbloods, Quicksilver Messager Service, The Doors, Sly & the Family Stone, Jefferson Airplane, The Grateful Dead, Richie Havens, Santana, Canned Heat, CCR, Joe Cocker, Country Joe McDonald, Ten Years After, Johnny Winter, War and many, many more.
