FOX, Turner and ESPN fully expected to be back next year WATCH: Final Laps: Bristol battle between Kenseth, Kahne READ: Kenseth holds off Kahne to win night race at Bristol DAYTONA BEACH, Fla. – “Despite recent reports to the contrary, nothing substantive has been presented to NASCAR regarding broadcast partners’ plans to alter our TV agreement in 2014. We’re very happy with our current broadcast partners and fully expect and are excited to be back with FOX, Turner and ESPN next year. These types of discussions happen regularly across the sports television landscape, very rarely resulting in changes to a media rights agreement.” –Statement from NASCAR Vice President of Broadcasting and Production Steve Herbst on 2014 Broadcast PartnersREAD MORE: READ: Recapping the Bristol tripleheader weekend WATCH: Highlight Hub: Key moments from Bristol
Month: March 2021
View all articlesView all videos READ: Kenseth wins at rainy Chicagoland View all photos Watch: Live NASCAR Sprint Cup Series practice 12 p.m. ET FULL SERIES COVERAGE WATCH: Final Laps: Kenseth takes Chicagoland MORE: WATCH: Post-Race Reactions GEICO 400 READ: Engine failure halts Logano’s fast Chase start
When it comes to soul music, no one sings quite like Marvin Gaye. There’s a reason that just about anyone in the R&B cites him as an influence, as his soulful vocals are instantly recognizable to fans and casual listeners alike.That’s why we jumped for joy upon hearing the news that Gaye’s works are being compiled for a eight-disc vinyl box set, to be released on May 27th via Universal Records. Titled Marvin Gaye 1971 – 1981, the collection spans the majority of Gaye’s career, with the exception of his 1982 album Midnight Love (which featured the popular single, “Sexual Healing.”)To have a majority of Gaye’s music in one box set is a must for any fan, pressed on fresh 180-gram vinyl for the reissue edition. Pre-orders are underway via Amazon.
In 1993, seminal grunge rock band Nirvana recorded The Pachyderm Sessions as part of the recording process for their album In Utero. Not all of the songs at the session made it on to the album, and a post on a Nirvana message board (as reported by Qevaz) recently revealed two never-before-heard songs. Both songs were written by Dave Grohl.The first track, “Lullaby”, is a sci-fi freak-out reminiscent of The Doors, as it features drums, bass, and keyboards only.The second track is untitled, and features Grohl playing all instruments on a speedy AC/DC-esque romp.Thanks to youtube user Chinacat Sunflower for the videos!
For Pretty Lights fans, the anticipation leading into this past weekend was extremely high. After months of ambiguous videos, hidden cassette tapes and other teasers from the team, the first of five Pretty Lights Live Episodic Festival stops kicked off in Gilford, New Hampshire with two nights at the Bank of NH Pavilion. Derek Vincent Smith, the mind behind Pretty Lights, created context for the weekend by posting the theme of the two sets on social media: “Expanding Perspectives” – and, it did just that.The openers for Friday night’s set all seemed to be on the same page for setting the mood for Pretty Lights’ set. What started off as a rhythmic evening with Marvel Years quickly turned into a bass-heavy, grimy, dance-heavy few hours with the help of sounds from G Jones and Tipper. After hearing some of the familiar pre-Pretty Lights pump up anthems on the sound system, the excitement and energy was high throughout the crowd.After a few minutes of an analog intro, Pretty Lights broke into the Color of My Soul Remix – a treat that I, and am sure others, were more than happy to kick off the weekend with. Other highlight tracks from night one included the “King of Rock Remix”, “The Love You Left Behind,” “So Bright – Jam” and “Up and Down I Go” into a jam break. In addition to some of the higher energy songs, Derek and his band also brought on the feels on Friday with a rarely heard “Try To Remember” into a “Yellow Bird” jam break and a “Cold Feeling Remix” closer. As a whole, Friday’s night set was heavy on the jam transitions – to the point where I found myself asking those around me “what is going on?” multiple times. One minute you could have been rocking out to a break and then brought back down with a more down tempo song and then picked back up again. The range of emotions that could be felt throughout the set and long after was far-reaching.The band itself, sounded incredible for only having rehearsed for a short amount of time. While the brass from Eric “Benny” Bloom and Scott Flynn were missed, Smith, alongside Brian Coogan, Borahm Lee, Chris Karns and Alvin Ford, Jr., played beautifully and seemed as though they had been playing together for much longer than they have been. Their chemistry on stage was contagious, particularly during each of the jam breaks. From the audience, you could tell they were feeding off each other’s energy during their first live performance together and I think that’s a huge part of what made night one feel so special.Night two’s openers were strikingly different compared to night one, which I think served to the festival’s theme of expanding perspectives. Wax Future’s set was great, and seemed to set the tone perfectly for what lied ahead with the sets after. Big Wild brought the energy up with a danceable opener while Atmosphere’s positive lyricism and energy definitely hyped up the crowd. Having a hip-hop act on the festival line-up was a great addition considering the amount of hip-hop influences and samples that can be found on Smith’s work throughout the years.For those craving a more classic Pretty Lights set for night two, Smith went above and beyond to deliver the goods. Not that fans were disappointed after night one, but I personally found myself yearning a set similar to the ones that helped me fall in love with his music and live show in prior tours. After seeing over twenty Pretty Lights shows over the last few years across the country, few sets have compared to the second night in New Hampshire. The night carried over the emotional ups and downs of night one, but with shorter jam transitions that made for one hell of a two-hour set.Night two’s set started off with a jammy intro which transitioned into the always moving “Understand Me Now” into a fan favorite “High School Art Class.” Other classics that were played during night two were “Finally Moving “(perfectly transitioned into after “My Only Hope”) and “Hot Like Sauce.” “Can’t Stop Me Now” into “Out of Time” into “Gold Coast Hustle” was an emotional roller coaster-esque transition that covered an array of moods in a span of a few short minutes. The set ended on a high note with “Sunday School” into “Forever Lost” into the heavy “I Know The Truth” – closing the night with an intense amount of energy.In addition to the sounds, Greg Ellis, also known as the LazerShark, debuted a new stage and light show production this past weekend. Vastly different, in the best way possible, the lights veered away from the classic lasers over the crowd that have come to be commonly associated with the Pretty Lights live show during night one. Grids of lasers crossed the stage and colors melted into one another silhouetting the band in the foreground. The lights and lasers seemed to interact more with one another than with the audience, a stark contrast from tours and shows prior. Also, the light-up platforms across the stage that debuted during the Analog Future Tour of 2013, made a reappearance from above the stage, which served as a nice homage to Pretty Lights’ first tour with band members. The LazerShark brought back a light production more reminiscent of what the Pretty Lights live experience is known for during night two: lasers into the crowd and basically everywhere throughout the amphitheater. This definitely made sense given the nature of second night’s set, and again, served as a contrast factor between the two nights.What really set night two apart for me and what made it feel so special was the crowd. The audience was so excited and truly thriving off the music being played. Fans of Pretty Lights are known for their community-centered attitudes, but this was an entirely different level. From the rumbling banging on chairs echoing throughout the amphitheater to the loudest sing-a-long to “Finally Moving” ever… thinking back on it gives me the chills.Looking back at the Episodic Festival as a whole, it made a lot of sense. I remember leaving the amphitheater night one speechless. What had I just listened to for the last two hours? It was so incredibly different than any other set by Smith and team. The best way I can think to describe it was that I had truly felt as though I was taken on a journey during the two-hour set. There were ups, downs, moments of feeling lost in the long jam breaks to then snapping back to feeling familiar again when a different song was transitioned into. It was honestly a little uncomfortable at times but most situations where you grow from tend to be. It was unlike any other experience I’ve had when attending a PL live show and I’m grateful for it, as strange as it seemed when night one concluded.With night two, Smith and the band brought the crowd back to the Pretty Lights show we have all come to know and love – which sums up the theme of the first festival stop perfectly. Smith showed us two vastly different sides of the Pretty Lights production. From the gritty analog beats flowing in seamlessly throughout the jams to the classic song after song format with intermittent breaks that brought you through an entire emotional spectrum – the two nights did exactly what Smith intended: expanded my perspectives.Check out a full gallery of images below, courtesy of B.a.D Photography. Load remaining images
Before there was Jam, there was bebop. The style took form in a post WWII progressive jazz scene that begat bebop; a free form jazz movement that pushed boundaries with long improvisational jamming. From 1945 to the late 1950’s, big bands downsized into small combos, taking the best of swing and growing it into bebop. Bebop was hip, creating many moods and created a many great offshoots.One the best, was Dave Brubeck who flawlessly melded jazz into a classical music structure. His quartet had a secret weapon, the silky yet soulful Paul Desmond on alto sax. Brubeck’s masterpiece 1959 album Time Out put the music public on its ear. The quartet had seamlessly integrated Mozart’s short but famous piano piece, “Rondo alla turca” (a/k/a “Turkish March”) into a jazz masterpiece, “Blue Rondo a la Turk”. The seamless segue from classical to jazz and back is sublime. Brubeck created an original time signature for “Blue Rondo,” with three measures of 2+2+2+3 followed by one measure of 3+3+3. Brilliant and original, it is an all-time jazz classic. The album version is 6:43, a considerable length for a record back then.In 1963, Brubeck played NYC ‘s Carnegie Hall and delivered a smoking performance that truly stands the test of time. The 12-minute “Blue Rondo” from the show is so good, the crowd was demonstratively cheering for a full minute! Given an opportunity to really stretch, Paul gives an inspired sax solo that will take your breath away. Dave gets his turn on the grand piano with masterful trick of turning basic scales into an epic jam.Let’s listen in on this great jam below!
Edit this setlist | More Gov’t Mule setlists Just last week, beloved rockers Gov’t Mule hit the famed Red Rocks Amphitheatre in Morrison, CO, playing a sold out show with both moe. and Blackberry Smoke on the bill. While our own Rex Thomson provided an excellent review of the festivities, a new video has just emerged of Mule’s smokin’ performance on the Rocks.The band’s set was something to behold, opening with “Railroad Boy” and bringing out The Beatles, moe., and Pink Floyd covers during their set. The encore was even more fun, as all of moe. and members of Blackberry Smoke joined the band was an outrageous rendition of Bob Dylan’s “I Shall Be Released.”Check out the full video and setlist below, courtesy of Robb McKeever on YouTube.You can see the full setlist below.
When you need a couch restored, you call an upholstery business. When you’re the famous Sam Phillips Recording, and that couch once held the butts of legends like Bob Dylan, Johnny Cash and more, then you call Third Man Upholstery.Okay, let’s back track a bit here. Many fans of Jack White know that he worked in upholstery as a teenager, even famously hiding records in a handful of furniture items around the Detroit area. What the may not know is that White’s Third Man Records company has its own upholstery division, which is fully functional though presumably not a focus of the Third Man enterprise.White recently teamed with the famed Sun Records label, which notably discovered artists like Elvis Presley, Johnny Cash and more, on a massive project to release selections from the Sun Records catalog on high quality LPs. Logically speaking, if Sam Phillips’ family called Jack White to restore their old recordings, then it would only make sense for White to restore their old couch too. Apparently, according to Rolling Stone, White personally took the job of restoring the couch, choosing the new fabric and color scheme of the historic furniture.And that’s how Jack White came to restore a couch that Bob Dylan and Johnny Cash once sat on.
It’s no secret that I started an online fan club called the “Vulfpack” that is now exploding with like-minded weirdos who love the band Vulfpeck just as much as I do. From this Internet breeding environment, comes true nuggets of gold. We’ve seen a college a cappella group perform “Back Pocket”, entire playlists of Vulfpeck x Hip-Hop mashups, and 300+ person choirs sing “Christmas In LA”. It takes a certain type of creative mind to get in with the Vulf, who’s fandom seemingly results with out-of-left-field projects that stir the pot of greater gumbo.The latest from the random acts of Vulfness is this mash-up of “Dean Town” from their 2016 album The Beautiful Game and Weather Report‘s “Teen Town”. No comparison can truly be made between bassists Joe Dart and Jaco Pastorius, but to hear their licks side by side is a real treat. The resemblance between “Dean Town” and “Teen Town” is obvious right off the bat, so the mash-up was just waiting to happen.The video features two young players dominating their roles as Bushwick Bobby and Darth Fretless. Both players are actually performed by Andrew Whitbeck, who also arranged, recorded, and edited the piece.Thanks to the fellow Vulf-fan, you can see the songs side by side in the video below. “this video also gives insight into two contrasting types of musicians. it’s a message of unity. of love. of ghost notes. spread for awareness. hope you enjoy,” he writes. “pro tip: don’t expect to do multiple takes of basslines by joe dart AND jaco one after the other. RIP my right hand.” #heroFor comparison, check out Vulfpeck’s original “Dean Town” followed by Weather Report’s “Teen Town”:
It’s probably not huge news to anyone that weather can affect our mood. However, the folks over at Spotify teamed up with weather-reporting service, Accuweather, to gather and analyze data over the course of a year from November 2015 to November 2016 to better understand how weather affects our mood and our music-listening preferences. Enter Climatune, a website born of this collaboration that synthesizes the results of the data from Spotify and Accuweather’s research project and allows you to see trends in song choice based on location and weather.In a post on Spotify Insights, the company explained how they conducted the study. After developing five basic weather categories—sunny, cloudy, windy, rainy, and snowy (though now, they have added a sixth category: clear night)—Accuweather provided Spotify comprehensive data from the last year of the weather around the world. Spotify took this information and correlated it to users’ preferences when using the streaming service. They also used looked at the music frequently listened to for each weather pattern and analyzed its acoustic traits to determine whether a song sounds “happy” or “sad” based on its sound.For various locations around the world, Spotify created playlists of songs that users in that area disproportionately listened to during each of the different weather conditions. By bopping over to Climatune’s website, you can see what the other people in your area tended to listen to when it was sunny, cloudy, windy, rainy, snowy, or a clear night. You can also compare musical tastes from around the world by checking out what different cities listen to as the weather changes.All in all, Spotify and Accuweather’s ended up being the biggest research project to date on the connection between weather and music. Climatune is pretty cool to check out, or if you want to nerd out to some good ol’ fashioned bar graphs and the more nitty-gritty aspects of their study, check out a summary of some of their findings here.