Personal thanks to my 8,625 followers and many additional music readers in helping the MusicOfOurHeart WordPress blog achieve 600,000 views in eight years. It is rewarding to share a common bond of music amongst our respective hearts. I look forward to writing more about music and increasing your artistic enrichment.
I just love The Zombies musical group. I first saw The Zombies perform on the opening night of their U.S. Tour on February 6, 2004 at The Palace Theatre in Stamford, Connecticut. They knocked me out with their performance. I was amazed at Colin Blunstone’s vocal range. He sounded just like the studio recordings he made in 1964 and 1965.
Rod Argent was vivacious on stage, playing the keyboards with great command. When The Zombies switched gears and played the Argent hits, “Hold Your Head Up” and “God Gave Rock and Roll To You” I was totally psyched.
It would be eight years before I would see The Zombies play live again. This time it was a more intimate setting and free! We caught The Zombies at the Mohegan Sun Wolf’s Den on August 8th, 2012 in Uncasville, CT. My earlier blog post about that concert experience is available here.
I read with zeal that The Zombies are returning to the U.S. shores in the fall to perform Odessey & Oracle in its entirety with the four remaining Zombies who recorded that classic album.
Here is the Zombies’ teaser announcement:
ANNOUNCEMENT: USA, this has been a long time coming.
It has been 5 decades since the original Zombies’ line-up last toured the States. Our final album together was released in 1968, but we never got a chance to perform it live for our American fans.
Starting on September 30th in Dallas, that is all going to change!!!!
That’s right! The Zombies are returning to the USA, and bringing some special friends – the incredible Chris White and Hugh Grundy – to perform “Odessey & Oracle” in its entirety! The original line-up (minus the sorely-missed Paul Atkinson) will join the current line-up for a very special evening of Zombies music, past and present. Whether you missed us in the 1960’s, or just discovered us yesterday, we hope you can join us on this journey today!
Here’s a sneak peek at the tour schedule (and we hope to add a couple shows more if we can!). Stay tuned for ticket information – most shows will go on sale this week.
#TheZombies #BritishInvasion #OdesseyAndOracle
It just so happens there is a Connecticut concert date on the itinerary, Tuesday October 13th at The Ridgefield Playhouse, Ridgefield CT. I’d love to see them live in concert again. The Zombies have a special magic when they perform live.
In addition to the reunion tour, The Zombies hope to release their next studio album, the follow-up to 2011’s Breathe Out, Breathe In, in the fall. Terry Quirk, the artist/illustrator of Odessey & Oracle is creating the album art for that upcoming sixth album, Still Got That Hunger. I’d love to pick that recording up after the show :)
This video recorded at SXSW’s 5th Avenue Studio in Austin, TX this year will give you a taste of The Zombies fall lineup and perhaps the next album ;)
The Dead Weather – Alison Mosshart, Jack White, Dean Fertita and Jack Lawrence
Dodge & Burn, the band’s third LP will be released in September via Third Man Records and will feature eight new songs and four previously released (but now remixed and remastered) tracks.
A limited-edition version of the new album, called “Vault Package #25,” will be released the same week as the standard album release in September. It’ll include the following:
– A limited-edition Dodge & Burn LP on “yellow vinyl with black debris” in a soft-touch embossed sleeve, a Vault-exclusive alternate cover designed by Rob Jones, and a limited-edition bonus poster
– The only physical version of the new Dead Weather 7-inch and single from Dodge & Burn on yellow vinyl with black debris
– A deck of custom Dead Weather playing cards designed by Silent Giants featuring the band members as the King, Queen, Jack, and Joker
Subscribe to the Vault Package #25 here.
I think this is so cool! Fare Thee Well Grateful Dead.
Jazz at Lincoln Center takes a profound step in the evolution of their brand. Today marks the beginning of Blue Engine Records, the JALC record label. This will be an exclusive arrangement with Sony Music Entertainment. Jazz at Lincoln Center will release recordings as CDs and digital downloads and to streaming music services, with a few titles in vinyl format, through an agreement with RED Distribution, a division of Sony Music, for distribution in the United States and overseas. RED’s ’stache media, a marketing company, will offer publicity, branding and social media support.
The first release from Blue Engine Records is, “Live in Cuba,” featuring Mr. Marsalis and the Jazz at Lincoln Center Orchestra, to be released on Aug. 21 (available for pre-order online). Recorded over three nights at the Mella Theater in Havana in October 2010, “Live in Cuba” explores the connections between American jazz and Afro-Cuban music, from bebop to bolero.
I have focused more of late on folk music and New York City. I met with a lack of well researched Web information, which served as a frustration. As it turns out my resource needs were recently answered. The Museum of the City of New York has curated an exceptional show, Folk City: New York and the Folk Music Revival.
In the 1950s and 1960s, folk music blossomed in New York City, especially in Greenwich Village, where clubs and coffee houses showcased singers like Pete Seeger and Odetta and nurtured a generation of newcomers, including Bob Dylan, Judy Collins, Dave Van Ronk, Ramblin’ Jack Elliott, and Peter, Paul and Mary. The multi-media exhibition Folk City: New York and the Folk Music Revival, features original instruments, handwritten lyrics, and video film footage. The event traces the roots of the revival, its growth in New York City, the major players, and folk’s impact on American political and social culture during the tumultuous 1960s.
There is also a companion book, Folk City written by authors Stephen Petrus (curator of the Folk City: New York and the Folk Music Revival exhibit) and Ron Cohen. Their collaboration captures the exuberance of the times by introducing readers to a bevy of characters who brought a new style to one of the biggest audiences in the history of popular music. Among the savvy New York entrepreneurs committed to promoting folk music were Izzy Young of the Folklore Center, Mike Porco of Gerde’s Folk City, and John Hammond of Columbia Records. The authors portray Greenwich Village coffee houses not simply as lively venues but as incubators of a burgeoning counterculture, where artists from diverse backgrounds honed their performance techniques and challenged social conventions. Accessible and engaging, fresh and provocative, rich in anecdotes and primary sources, Folk City is lavishly illustrated with images collected for the accompanying major exhibition at the Museum of the City of New York in 2015.
Taylor Swift is the Joan of Arc for independent musicians and young songwriters who has helped to convince Apple Music to change their policy prior to the Apple Music launch on June 30th.
The original plan prior to Sunday’s social network back and forth between Taylor Swift and Eddie Cue, was that Apple would not pay any song royalty rights to artists, etc. during the 90 day trial period of Apple Music from June 30th through September 30th.
It was a bad business decision on Apple’s part. They had not budged on that decision since the Apple Music product announcement on June 8th. The blowback on the refusal of Apple Music to compensate artists has been significant and loud. There have been several independent music organizations writing petitions expressing their dismay with Apple about their unwillingness to pay artists royalties due during the 90 day trial period.
It took Taylor Swift who is a music artist with significant clout to sway the executive team at Apple. Personally I wondered when Apple Music would come to their senses about this ill executed decision on their part.
I mean after all Apple says it values music but not paying artists for the first 90 days of the trial devalues music and the artists who are entitled to compensation for their art. Spotify, TIDAL and other music streaming services pay music artists during the trial period. Apple chose to be rogue and exert its influence by not paying artists during a trial period. They were really coming across as we are Apple you are not.
Bravo Taylor Swift, once again you show sound judgment when it comes to streaming music and what its business model must become.
I’m glad Eddie Cue and Apple Music management changed their tune on this important matter. It’s a game changer for Apple Music for those of us who care about the artists and their future well-being.
Based upon Eddie Cue and the Apple Music executive team decision I will now trial Apple Music instead of letting it lie dormant for the first 90 days.
Open the Music of Your Heart to Make Music Day! Join the worldwide celebration of music on June 21!
Completely different from a typical music festival, Make Music is open to anyone who wants to take part. Every kind of musician — young and old, amateur and professional, of every musical persuasion — pours onto streets, parks, plazas, and porches to share their music with friends, neighbors, and strangers. All of it is free and open to the public.
Let the music set you free!
This is a story I have been wanting to read and dissect for the longest time. He was a powerful force in music business management.
Allen Klein was like no one the music industry had seen before. The hard-nosed business manager became infamous for allegedly catalyzing the Beatles’ breakup and robbing the Rolling Stones, but the truth is both more complex and more fascinating. As the manager of the Stones and then the Beatles, not to mention Sam Cooke, Donovan, the Kinks, and numerous other performers. He taught young soon-to-be legends how to be businessmen as well as rock stars. In so doing, Klein made millions for his clients and changed music forever. But Klein was as merciless with his clients as he was with anyone else, earning himself an outsize reputation for villainy that has gone unchallenged until now. Through unique, unprecedented access to Klein’s archives, veteran music journalist Fred Goodman tells the full story of how the Beatles broke up, how the Stones achieved the greatest commercial success in rock history, and how the music business became what it is today. http://www.hmhco.com/shop/books/Allen-Klein/9780547896861#sthash.CLm3STCs.dpuf
Fred Goodman is a former Rolling Stone editor and the author of the books Fortune’s Fool, The Secret City, and The Mansion on the Hill, which was a New York Times Notable Book and received the Ralph J. Gleason Award for Best Music Book.
This book becomes available on Wednesday June 23rd from Houghton Mifflin Publishing.