#2002 San Francisco Warfield
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Doom & Gloom 2022: The Year In Bootlegs
So many bootlegs! If you need to get caught up, here's a handy list of these Doom & Gloom exclusives. Some of the old standbys, some new faces. Thanks to all the tapers out there, you are the real heroes.
What will 2023 bring?! I don't know, but I'll still be here. Oh and hey, have you signed up for the Doom & Gloom Substack yet? It's a good time.
#SummerOfPavement
John Fahey - Great American Music Hall, San Francisco, California, July 14, 1976
Through Hills and Valleys, Over Creeks and Rivers: Crazy Horse’s Deep Cut Epics, 1984-2013
Public Image Limited - Toad’s Place, New Haven, Connecticut, April 4, 1983
Low - Johnny Brenda’s, Philadelphia, Pennsylvania, February 1, 2016
The Velvet Underground - Music Hall, Cleveland, December 1, 1968
Sonic Youth - Cat’s Cradle, Chapel Hill, North Carolina, November 14, 1982
Lou Reed - Mile End Sundown, London, United Kingdom, November 1, 1972
Richard Thompson - Toad’s Place, New Haven, Connecticut, October 16, 1994
John Cale - Lady Mitchell Hall, Cambridge, England, May 13, 1975
Elkhorn - Volume 2 at Never Ending Books, New Haven, Connecticut, September 12, 2022
Lou Reed - Shibuya Kokaido, Tokyo, Japan, October 26, 2000
Lou Reed - Palace Theater, New Haven, Connecticut, March 7, 1996
Lou Reed - The Bottom Line, New York City, February 25, 1983
Neil Young & The Transband - Westfalenhalle, Dortmund, West Germany, October 11, 1982
The Necks - Bimhuis, Amsterdam, Netherlands, September 26, 1998
R.E.M. - Toad’s Place, New Haven, Connecticut, April 14, 1982 / October 6, 1982 / July 17, 1983
jaimie branch’s FLY or DIE - Boot and Saddle, Philadelphia, Pennsylvania, December 18, 2016
John Cale - Oxford Ale House, New Haven, Connecticut, June 20, 1979
Silver Jews - 40 Watt Club, Athens, Georgia, March 10, 2006
Air with Amiri Baraka - WDR Studio, Köln, Germany, March 20, 1982
King Sunny Adé - Toad’s Place, New Haven, Connecticut, February 7, 1983
Patti Smith w/ Lou Reed - Central Park, New York City, June 27, 1977
John Fahey - Unknown Venue, Santa Barbara, California, January 1968
Neil Young - Acoustic H.O.R.D.E.
The Willies - The Peanut Gallery, Haledon, New Jersey, April 24, 1983
The Slits - Dingwalls, London, United Kingdom, May 13, 1977
Neil Young with Poncho and the MG’s - Rock Am Ring Festival, Nürburgring, Germany, May 18, 2002
Neil Young with Booker T. & the MGs - Warfield Theater, San Francisco, California, June 9, 1993
Lou Reed - Glastonbury Festival, Worthy Farm, Pilton, England, June 27, 1992
The Feelies - World Cafe Live, Philadelphia, Pennsylvania, March 19, 2022
Robyn Hitchcock - Robyn Sings Again
Wilco - Toad’s Place, New Haven, Connecticut, September 16, 2000
The Feelies - The Grotto, New Haven, Connecticut, August 30, 1986 / Toad’s Place, New Haven, Connecticut, May 11, 1991
Sonic Youth - This Ain’t No Picnic Festival, Oak Canyon Ranch, Irvine, California, July 4, 1999
Lou Reed - ZigZag Magazine, Conversation with John Tobler, December 1971
Television - Toad’s Place, New Haven, Connecticut, December 1, 1992
Tom Verlaine - Toad’s Place, New Haven, Connecticut, October 10, 1981 / May 26, 1982
Jerry Jeff Walker & David Bromberg - WBAI-FM, New York City, 1969
The Replacements - 7th Street Entry, Minneapolis, Minnesota, September 5, 1981
Lou Reed - The Robinson Apartment, New York City, March 1971
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Something Corporate Announce New Tour
Something Corporate have announced some new tour dates.
February 26, 2024 – It’s happening! Beloved early 2000s pop-punk band Something Corporate has announced the Out Of Office Tour 2024, marking the first official tour featuring the band’s five original members in over 20 years. The 16-date outing finds Something Corporate crossing the country throughout the summer and fall, kicking off June 21st in New York City at The Rooftop at Pier 17. The five-piece, with special guests to be announced, will be stopping in Philadelphia, Pittsburgh, Washington, DC, Asbury Park, Boston, Nashville, Atlanta, Orlando, Cleveland, Detroit, Denver, and Salt Lake City before wrapping back home in California at LA’s Hollywood Palladium on October 11th and The Warfield in San Francisco on October 12th. PRESS HERE to watch the tour promo video and PRESS HERE to read an exclusive interview with Rolling Stone about the tour.
Fan-club presale begins Tuesday, February 27th at 10am local time with Spotify and local presales available Wednesday, February 28th and Thursday, February 29th. The general on-sale will commence Friday, March 1st at 10am local time. See below for full list of upcoming tour dates and visit www.somethingcorporate.com for ticketing details and to purchase. The tour will be using a Face Value Exchange where, if needed, fans can resell their ticket to other fans at the original price paid. To help protect the Exchange, tickets for this tour will be mobile only and restricted from transfer. This applies to all shows except those in Illinois, Colorado, New York, and Utah where Face Value Exchange cannot be mandated.
“The band and I couldn’t be more excited for these upcoming dates,” shares front man Andrew McMahon. “We’re having more fun together than ever and the generosity of the fans, both online and at last year’s shows, made it impossible not to come back and do a few more. We hope to see you there!”
The core members of the Orange County, California quintet – Andrew McMahon(vocals, piano), Josh Partington (guitar), Kevin “Clutch” Page (bass), Brian Ireland (drums), and William Tell (guitar) – reunited in 2023 for main stage performances at the When We Were Young festival and three sold-out headlining shows in Las Vegas and Anaheim. These five special gigs, their first official shows together in 20 years, left their dedicated fanbase clamoring for more. The reunion performances also saw McMahon debut a one-of-a-kind upright piano fully wrapped in Christie MicroTiles LED displaying images and lyrics from throughout the band’s catalog, slated to be front and center once again on the Out Of Office Tour.
Something Corporate first formed in 1998 when its members were in high school and in a short period of time created quite the stir before going on hiatus in 2005. During its tenure, the highly adored SoCal band released multiple albums, including their major label debut, Leaving Through The Window, in 2002 via MCA Records/Drive-Thru Records, which premiered at the top of the Billboard Heatseekers Chart, and 2003’s North, which entered the Billboard 200 at #24. During its heyday, the band toured extensively worldwide, including a summer on the Vans Warped Tour, graced the cover of Alternative Press magazine, and performed on late-night TV including an appearance on Jimmy Kimmel Live!. Collectively, Something Corporate – hailed as “one of the most respected groups in the scene with their incredible hooks and emotionally transparent music” (Alternative Press) – has sold over 1 million total records.
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◎ https://chorus.fm/news/something-corporate-announce-new-tour/
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The last concert where the characters talk to the audience from the Phase 1 tour! It’s nearly identical to the Seattle Paramount gig with very few changes.
Slight NSFW warning for faint Murdoc panting lol.
Audio taken from Blur Archive Project’s archive folder (with their permission), which you can find for yourself here:
https://mega.nz/folder/FNlQjQjA#rOWvMfq6rmdmI3W7ScOgSQ
Transcript/translation under the cut:
M1 A1
Noodle: Good evening, San Francisco peeps! How are you? It’s Noodle!
The Last Emperor: Aw yeah!
Noodle: Gorillaz, here we go!
Slow Country
2-D: *plays off-key intro and stops*
(at the end of the song)
The Last Emperor: Yeeeeeaaaaah!
5/4
Noodle: 5/4!
(at the end of the song)
The Last Emperor: Yeaaaah!
Murdoc: *grunting*
*crowd cheering*
Someone in the crowd: Murdoc!
Starshine
Russel: Yyyyyyyyyyo, yo.
*gibberish*
Russel: Yoooo, yip, bip. Oooooo, yoooo, yooo, yoooo.
Re-Hash
Noodle: Re-Hash!
Clint Eastwood (ft. The Last Emperor)
*crowd cheering*
The Last Emperor: *mimicking record scratches*
Rock, y’all.
Freak, freak, y’all.
To the beat, y’all.
We’re so unique, y’all.
Well, I was in ‘Frisco and I hit my brakes
‘cause I seen a primate maybe shimmer and shake.
So I stopped my call and jumped into the car
The people looked at me and said, “We know who you are.
So we seen you before, can’t forget your face.
Got style, got class for that save grace.”
I said, “Yeah, you’re right. I’m a little bit illa.
I came here tonight to rock with Gorillaz.”
‘Frisco, make some noise for Clint Eastwood!
*crowd cheering*
Rock the House
The Last Emperor: Ay yo, how many people out there ready to Rock the House?
*crowd cheering*
The Last Emperor: A’ight. Well, check this out.
Dracula
The Last Emperor: Aw yeah! Now it’s time for Dracula!
19-2000
The Last Emperor: Aw yeah!
Noodle: We did it! Banzai!
The Last Emperor: Bay Area, if you came to get a glimpse of the funky fresh band of Gorillaz and chimps, say hoooo!
*crowd yells “Hoooo!”
The Last Emperor: *laughing* A’ight.
(at the end of the song)
*demonic harmonizing*
The Last Emperor: Yeah!
Noodle: Yaaaay, San Franciscooooo!
Punk
The Last Emperor: A’ight now ‘Frisco, this is—
2-D (Damon): C’MOOOON!
Noodle: The next song is Punk!
(at the end of the song)
2-D: SHUT UP!
*crowd cheering*
Noodle: Bye byeeee! Until next time! Gorillaz did it!
#now that that's done I'm gonna reupload vids and songs on stuff daily#until the Phase 1 folder is empty#then I'll redesign my blog to have a Phase 2 aesthetic so I can start reuploading those stuff#Gorillaz#M1 A1#Slow Country#5/4#Starshine#Re-Hash#Clint Eastwood#Rock the House#Dracula#19-2000#Punk#2002 San Francisco Warfield#concert audio#Stereo I Want it On (Audio)
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Purple Reign – My Business with Prince and Paisley Park
" My introduction to Prince was at the Warfield Theatre in San Francisco on May 23rd 1986. It was his Parade, Hit n Run Tour. Generous friends had purchased third row seats and invited me to the "…O(+> 💜🎵💜
Marty Magic Blog
by marty
Posted on April 26, 2016
(Photo) > Crescent Moon Ear Wrap O(+> 💜🎵💜
(Photo) > Wave Ear Cuff O(+> 💜🎵💜
(Photo) > Rave Un2 the year 2000 – Dolphin Ear Wraps O(+> 💜🎵💜
(Photo) >Prince Crescent Ear Wrap Specs O(+> 💜🎵💜
(Photo) > Crescent Moon Ear Wrap with CZ’s O(+> 💜🎵💜
(Photo) > Prince Love Symbol Specs O(+> 💜🎵💜
Marty Magic Blog
(Photo) > Prince Entertainment Weekly and Rolling Stones Magazine O(+> 💜🎵💜
(Photo) > Marty with Prince Crescent Ear Wraps created especially for him. O(+> 💜🎵💜
Purple Reign – My Business with Prince and Paisley Park
O(+> 💜🎵💜
Marty Magic Blog
by marty
Posted on April 26, 2016
My introduction to Prince was at the Warfield Theatre in San Francisco on May 23rd 1986. It was his Parade, Hit n Run Tour. Generous friends had purchased third row seats and invited me to the concert.
Twelve years later, in 1998, I made the business connection via my shop at the Maryland Renaissance Festival. For over 30 years, I’ve had a shop at the Maryland Fair. In the fall of 1998, Steve Parke who was photographer and art director for Prince between 1988 – 2001, came to the Festival and purchased my Wave Ear Cuff in sterling silver. When he returned to Paisley Park, the Artist, formerly know as Prince, apparently took note of the ear cuff he was wearing and sent Steve back to my shop to purchase samples of my other ear cuff designs. (Steve has since told me that Prince asked him to photoshop the Wave Ear Cuff onto his ear.) My Maryland manager gave him one each of my ear cuff and ear wrap designs to take back to show to the ‘Artist’. The following weekend, Steve returned again to buy the few ear cuff designs that I had ready made in gold. In 1998, I was one of a very few ear cuff designers and my web site was number one on Google if you searched Ear Cuffs.
In January of the following year, Paisley Park called me and ordered several hundred of the Moon Face Ear Wrap both in sterling silver and in Vermille (gold plate.) They also ordered 100 sterling silver wave ear cuffs. This was a very large order for me at the time and the Marty Magic casting shop, in the Santa Cruz mountains, went into high gear. The order was time sensitive because Paisley Park was placing a full page ad in Wired Magazine, featuring both his Symbol Pendant and my ear cuff designs and I needed to guarantee fulfillment of the order.
For the next several years, I made many versions of the Moon Ear Wrap for Prince and his band. Both Prince and the members of his band wore pairs of these onstage. I also made several sets for Prince personally, cast in solid 14K gold and set with diamonds. Apparently Prince would occasionally forget their value and would toss them into the audience so the solid gold and diamond moon ear wrap orders soon ceased :)
http://www.vanityfair.com/hollywood/2016/03/prince-auction
It must have been in 1999 when I had a conversation with one of Prince’s assistants to discuss various custom ear wrap designs for Prince. In discussing possible themes, among other ideas, she mentioned dolphins. I already had a Dolphin Ear Wrap in my line and Paisley Park ordered several pairs of these. In Prince’s 2000 New Year’s concert video, Rave Un2 the Year, 2000, Prince is wearing a pair of my Dolphin Ear Wraps. In the August, 2000 Prince Calendar, Prince is wearing a pair of my Crescent Moon Face Ear Wraps.
By 2000, I was not only making Prince’s Moon ear wraps but I was making his Symbol Pendant and Symbol Key Ring in pewter to sell on their NPG web site, at concerts and at private events. My dealings were mostly with Mayte Garcia, his first wife and subsequently with Manuel Testolini, his second wife. Between them and numerous assistants to the Artist, I exchanged hundreds of e-mails. I never personally communicated with Prince but for a brief period of time I had the phone number to their personal residence in Toronto and a soft spoken male would answer the phone before passing on the call.
In 2002, Paisley Park requested that I create a simplified version of my Crescent Moon Ear Wrap. I removed the moon face and the star and configured it so that seven graduated CZ’s could be set along the curvature of the crescent. This is the Ear Wrap that Prince wore from 2002 until his death on April 21, 2016. As a professional courtesy, during his lifetime, I offered this version only to Prince although I had many requests for this ear wrap design.
2004 was a big year for Prince and subsequently a busy year for Marty Magic. Prince was featured on the April cover of Entertainment Weekly wearing the Crescent Ear Wrap embellished with diamonds. In May, Prince was on the cover of Rolling Stones Magazine wearing the same diamond encrusted, Crescent Ear Wraps.
In May of 2004 the NBA voted Kevin Garnett the MVP (most valuable player) award. Prince and Kevin were good friends so Manuela commissioned me to design and create a gold and diamond MVP Pendant for Prince to give to Kevin. In June of 2004, Paisley Park comped me 6 tickets to the Prince Concert at the HP Pavilion in San Jose, California. I hand delivered the MVP pendant to Manuela at the concert and she graciously thanked both me and my husband and made a point to acknowledge John and Alisha who at the time were 12 and 19 respectively. She thanked them for their contribution in packaging the many Love Symbol Pendants that Paisley Park had ordered in the past. (When a batch of 500 – 1000 Symbol Pendants were finished, they still needed to be chained and inserted into a zip lock bag. I would rent a couple of movies and hire both John and Alisha to help me package the order.)
In June of 2004, Prince was inaugurated into the Hall of Fame and Manuela commissioned me to create a gold and diamond pendant for her to wear to the award ceremony.
I never officially met Prince but I designed all of his ear wraps and was instrumental in producing much of the jewelry that he wore and sold under the Paisley Park, NPG label. I provided Pewter Symbol Pendant, his sterling silver Rose Symbol Pendant, 3121 Pendants, NPG Pendants and Love Symbol Pendants….and more…..
Source: http://blog.martymagic.com/…/purple-reign-business-prince-…/
Prince 4ever! O(+> 💜🎵💜
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Gorillaz on an old episode of KROQ's call-in radio show Loveline, with Dr. Drew & Adam Carolla. Loveline is a show on KROQ (now a podcast) with a call-in question and answer format with the goal of giving advice to youth and young adults on sexuality and relationship problems, often with the assistance of celebrity guests. In this episode, the guests was Gorillaz. This phase one interview was recorded a day before their gig at The Warfield, San Francisco, California on March 7th 2002.
(Thank you Gorillaz Trivia for finding this interview!)
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October 24 (Newly Released Recording)
For the first time ever, on the show’s 15th anniversary, proud to present a soundboard recording of Ryan’s show at the Warfield Theater in San Francisco. At the time, the Giants were in the World Series, so in between beautiful performances, we get Ryan bantering about baseball, which is a treat. Ryan also says he’s having “Oh, fuck me” day, which I believe is the precursor to FML.
I really love these shows with Ryan on acoustic accompanied by violin and cello. Until the end of the tour, the beginning of the set is mostly pretty similar from night to night (although strikingly beautiful each time). But where the sets start to get really wild are in the back half, and this one takes a particularly crazy path in the encore. “Let’s have some fun,” Ryan says, and not only does he sing a Madonna song while it plays on record (somewhat common this leg of the tour), but he invites a fan on stage to join him. That starts a run of covers, including the only ever performance of The Strokes’ The Modern Age (only a bit, although it sounds cool) and Ryan covering himself as the Cookie Monster. Then we get rare performances of Memphis (a really stunning tune) and Baby, I’m a Fool for You. Ryan apparently goes past the curfew and closes out with really lovely takes on AMY and Wonderwall (the strings crush this one). Terrific show.
https://archive.org/details/radams2002-10-24.sbd
Ryan Adams
Warfield Theater
San Francisco, CA
October 24, 2002
Taper: ?
Source: Soundboard
Disc 1
1) Intro
2) Oh My Sweet Carolina
3) Tomorrow / Sweet Lil' Gal (23rd/1st)
4) Bartering Lines
5) The Fools We Are As Men
6) SYLVIA PLATH
7) To Be Young (Is To Be Sad, Is To Be High)
8) My Winding Wheel
9) The Rescue Blues
10) When the Stars Go Blue
11) Smelly Cat / Star Wars story
12) Dear Chicago
13) You Will Always Be The Same
14) Call Me on Your Way Back Home
Encore
15) (break)
Disc 2
16) "Let's have some fun"
17) Like a Virgin * (with a fan, sung over record)
18) Lovesick Blues @
19) Last Nite #
20) The Modern Age # (partial)
21) La Cienega Just Smiled
22) SYLVIA PLATH (cookie monster version)
23) Brown Sugar $
24) Memphis (aka Like the Twilight)
25) Baby, I'm a Fool For You
26) AMY (false start)
27) AMY
28) Wonderwall %
29) Outro
* Madonna
@ Hank Williams
# The Strokes
$ The Rolling Stone
% Oasis
Ryan Adams (Vocals / Guitar / Piano / Harmonica)
Ruth Gottlieb (Violin / Vocals)
Sarah Wilson (Cello / Vocals)
THANKS TO RYAN ADAMS AND EVERYONE ELSE WHO MADE THIS RECORDING POSSIBLE!
Please support the artist and purchase official merchandise.
Sources provided by Joel Swaney for
The Ryan Adams Archive
www.RyanAdamsArchive.com
THIS RECORDING IS NOT FOR SALE - DO NOT ALLOW THIS TO HAPPEN!
Part of the RAA Forever Project
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Trey Anastasio
Starts at 19:00:00 on 2019/08/13, in Gerald Ford Amphitheatre, Vail
Ernest Joseph "Trey" Anastasio III (, born September 30, 1964) is an American musician, singer, songwriter, and composer best known as the lead vocalist and guitarist for the rock band Phish, which he co-founded in 1983. He is credited by name as composer of 152 Phish original songs, 141 of them as a solo credit, in addition to 41 credits attributed to the band as a whole.In addition to his work with Phish, Anastasio has released 11 solo albums, and been part of several side projects including the Trey Anastasio Band, Oysterhead, Ghosts of the Forest, and Surrender to the Air.Trey Anastasio is a self-titled album by the guitarist and composer Trey Anastasio. It was released on April 30, 2002 by Elektra Records and recorded at "The Barn", his studio near Westford, Vermont.Recorded live at the Warfield Theater in San Francisco, California on May 31, 2003, this video features the Trey Anastasio Band (TAB) with Carlos Santana sitting in for a number of covers and Anastasio originals.
Read the full article
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So who made those ear cuffs Prince wore? Read on for another personal tale of working with Prince...
Purple Reign – My Business with Prince and Paisley Park - Marty Magic Jewelry Design
My introduction to Prince was at the Warfield Theatre in San Francisco on May 23rd 1986. It was his Parade, Hit n Run Tour. Generous friends had purchased third row seats and invited me to the concert.
Twelve years later, in 1998, I made the business connection via my shop at the Maryland Renaissance Festival. For over 30 years, I’ve had a shop at the Maryland Fair. In the fall of 1998, a sound man who worked at Paisley Park came to the Festival and purchased my Wave Ear Cuff in sterling silver. When he returned to Paisley Park, the Artist, formerly know as Prince, took note of the ear cuff he was wearing and sent him back to my shop to purchase samples of my other ear cuff designs. My Maryland manager gave him one each of my ear cuff and ear wrap designs to take back to show to the Artist. The following weekend, he returned again to buy the few ear cuff designs that I had ready made in gold. In 1998, I was one of a very few ear cuff designers and my web site was number one on Google if you searched Ear Cuffs.
In January of the following year, Paisley Park called me and ordered several hundred of the Moon Face Ear Wrap both in sterling silver and in Vermille (gold plate.) They also ordered 100 sterling silver wave ear cuffs. This was a very large order for me at the time and the Marty Magic casting shop, in the Santa Cruz mountains, went into high gear. The order was time sensitive because Paisley Park was placing a full page ad in Wired Magazine, featuring both his Symbol Pendant and my ear cuff designs and I needed to guarantee fulfillment of the order.
For the next several years, I made many versions of the Moon Ear Wrap for Prince and his band. Both Prince and the members of his band wore pairs of these onstage. I also made several sets for Prince personally, cast in solid 14K gold and set with diamonds. Apparently Prince would occasionally forget their value and would toss them into the audience so the solid gold and diamond moon ear wrap orders soon ceased
It must have been in 1999 when I had a conversation with one of Prince’s assistants to discuss various custom ear wrap designs for Prince. In discussing possible themes, among other ideas, she mentioned dolphins. I already had a Dolphin Ear Wrap in my line and Paisley Park ordered several pairs of these. In Prince’s 2000 New Year’s concert video, Rave Un2 the Year, 2000, Prince is wearing a pair of my Dolphin Ear Wraps. In the August, 2000 Prince Calendar, Prince is wearing a pair of my Crescent Moon Face Ear Wraps.
By 2000, I was not only making Prince’s Moon ear wraps but I was making his Symbol Pendant and Symbol Key Ring in pewter to sell on their NPG web site, at concerts and at private events. My dealings were mostly with Mayte, his first wife and subsequently with Manuela his second wife. Between them and numerous assistants to the Artist, I exchanged hundreds of e-mails. I never personally communicated with Prince but for a brief period of time I had the phone number to their personal residence in Toronto and a soft spoken male would answer the phone before passing the call onto Manuela.
In 2002, Paisley Park requested that I create a simplified version of my Crescent Moon Ear Wrap. I removed the moon face and the star and configured it so that seven graduated CZ’s could be set along the curvature of the crescent. This is the Ear Wrap that Prince wore from 2002 until his death on April 21, 2016. As a professional courtesy, I offered this version only to Prince although I had many requests for this ear wrap design.
2004 was a big year for Prince and subsequently a busy year for Marty Magic. Prince was featured on the April cover of Entertainment Weekly wearing the Crescent Ear Wrap embellished with diamonds. In May, Prince was on the cover of Rolling Stones Magazine wearing the same diamond encrusted, Crescent Ear Wraps.
In May of 2004 the NBA voted Kevin Garnett the MVP (most valuable player) award. Prince and Kevin were good friends so Manuela commissioned me to design and create a gold and diamond MVP Pendant for Prince to give to Kevin. In June of 2004, Paisley Park comped me 6 tickets to the Prince Concert at the HP Pavilion in San Jose, California. I hand delivered the MVP pendant to Manuela at the concert and she graciously thanked both me and my husband and made a point to acknowledge John and Alisha who at the time were 12 and 19 respectively. She thanked them for their contribution in packaging the many Love Symbol Pendants that Paisley Park had ordered in the past. (When a batch of 500 – 1000 Symbol Pendants were finished, they still needed to be chained and inserted into a zip lock bag. I would rent a couple of movies and hire both John and Alisha to help me package the order.)
In June of 2004, Prince was inaugurated into the Hall of Fame and Manuela commissioned me to create a gold and diamond pendant for her to wear to the award ceremony.
I never officially met Prince but I designed all of his ear wraps and was instrumental in producing much of the jewelry that he wore and sold under the Paisley Park, Prince label. I provided Pewter Symbol Pendant, his sterling silver Rose Symbol Pendant, 3121 Pendants, NPG Pendants and Love Symbol Pendants….and more…..
HERE ARE SOME OF THE EAR WRAP DESIGNS FOR SALE: https://www.martymagic.com/prince-jewelry/
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Original concert poster for Bonnie Raitt at The Warfield in San Francisco, CA in 2002. 13x19 card stock. BGP283. Art by Chris Peterson.
Purchase HERE
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Harry Anderson, the amiable actor who presided over the NBC comedy “Night Court” for nine seasons, has died at his home in Asheville, N.C., according to a local media report. He was 65.
Anderson was found at his home by police officers early Monday morning, according to a report by WSPA-TV, the CBS affiliate in Spartanburg, N.C. No foul play was suspected, police told the station.
Anderson was a magician-turned-actor who was known as a rabid fan of jazz singer Mel Torme. The affection for Torme was woven into his TV alter ego, Judge Harry Stone, a quirky character who ruled the bench at a Manhattan night court. The sitcom was a mainstay of NBC from 1984 to 1992. Anderson earned three consecutive Emmy nominations for his work on the show from 1985-1987.
Anderson gained national attention after he guest starred as grifter Harry “the Hat” Gittes on NBC’s “Cheers” in the early 1980s. On “Night Court,” Anderson played a goofy but big-hearted judge who encountered a host of oddball characters and cases every week. The series also starred John Larroquette, Richard Moll, Charles Robinson, Marsha Warfield, and Markie Post. Anderson also directed two episodes of the series and wrote or co-wrote five episodes during its long run.
Related
After “Night Court,” Anderson co-starred as columnist Dave Barry in the CBS comedy “Dave’s World,” which ran for four seasons. Anderson moved to New Orleans in 2000 to open the nightclub Oswald’s Speakeasy, where he performed a mix of comedy and magic, and a magic and curio shop dubbed Sideshow.
Anderson logged a guest spot in FX’s “Son of the Beach” in 2002 and a 2008 appearance on NBC’s “30 Rock.” But for the most part, he stayed away from Hollywood. He moved to North Carolina in 2006 after New Orleans was ravaged by Hurricane Katrina.
Born in Rhode Island, Anderson reportedly had a difficult childhood and moved frequently with his mother, who he once described in an interview with Playboy as “a hustler.” He moved to California at the age of 16 to be with his father. He became a street performer and reportedly ran a lucrative shell game on the streets of San Francisco for a time.
Anderson made his way to L.A.’s famed Magic Castle in the early 1980s, where he connected with an agent, according to TCM.com. He made several appearances on “Saturday Night Live” around this time. After “Night Court” made him a star, Anderson hosted “SNL” in 1985.
Anderson’s other credits included guest shots on “Tales From the Crypt” and HBO’s “Tanner ’88,” “Parker Lewis Can’t Lose,” and “The John Larroquette Show.” He starred in the 1990 ABC miniseries adaptation of Stephen King’s “It.”
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Iron & Wine Announces New Album <i>Beast Epic</i>, Shares Video for New Song: Watch
Spoil me - I'm a DJ and I'm cute!
Sam Beam has announced a new Iron & Wine album: Beast Epic arrives August 25 via Sub Pop. It follows last year’s collaborative album with Jesca Hoop, Love Letter for Fire, as well as Beam’s 2015 covers album with Ben Bridwell. It also marks the first Iron & Wine album of new material since 2013’s Ghost on Ghost. Along with announcement, Beam has shared the video for a new track, “Call It Dreaming.” Directed by J. Austin Wilson, the visual features Beam riding in the back of a truck bed, picking up various hitchhikers on the road. Watch the “Call It Dreaming” music video below. Scroll down for the Beast Epic tracklist, Iron & Wine’s upcoming tour dates, and Sam Beam’s artist statement.
youtube
Beast Epic:
01 Claim Your Ghost
02 Thomas County Law
03 Bitter Truth
04 Song in Stone
05 Summer Clouds
06 Call It Dreaming
07 About a Bruise
08 Last Night
09 Right for Sky
10 The Truest Stars We Know
11 Our Light Miles
Iron & Wine:
06-28 Portsmouth, NH - Prescott Park Arts Festival
06-29 Canadiagua, NY - CMAC @
07-22 Austin, TX - Paramount Theater ^
08-26 Fayetteville, AR - Roots Festival
08-27 Columbia, MO - The Blue Note %
08-28 Chattanooga, TN - Tivoli Theatre %
08-29 Birmingham, AL - Saturn %
08-30 Louisville, KY - WFPK on the Waterfront
10-12-13 Chicago, IL - Thalia Hall
10-14 St Paul,MN - Palace Theatre
10-15 Lincoln, NE - Rococo Theatre #
10-17 Missoula, MT - Wilma Theater #
10-18 Seattle, WA - Moore Theater
10-19 Eugene, OR - McDonald Theater #
10-20 Portland, OR - Aladdin Theater
10-21 San Francisco, CA - Warfield Theatre
10-26 Los Angeles, CA - The Cathedral Sanctuary at Immanuel Presbyterian
10-27 Pioneertown, CA - Pappy & Harriet’s
10-28 San Diego, CA - - Balboa #
10-29 Phoenix, AZ - Van Buren #
10-30 Albuquerque, NM - El Rey #
11-01 Dallas, TX - The Kessler #
11-02 San Antonio, TX - The Aztec Theater #
11-03 Houston, TX - The Heights #
11-04 New Orleans, LA - Joy Theater #
11-06 Ft Lauderdale, FL - Culture Room#
11-07 Orlando, FL - The Beacham #
11-09 Washington DC - Lincoln Theatre #
11-10 New Haven, CT - College Street Music Hall #
11-11 Boston, MA - Berklee Performance Center #
11-12 Northampton, MA - Calvin Theatre #
11-13 New York, NY - Town Hall #
11-14 Brooklyn, NY - Brooklyn Steel *
@ with Jason Isbell
^ with Joan Shelley
% with Lydia Loveless
# with John Moreland
* with OHMME
Sam Beam:
I must confess that I’ve always shied away from album introductions citing the usual “dancing to architecture” cop out. Speaking to their own work is uncomfortable for many artists, but I’ve made a new album called Beast Epic which is important to me and I wanted to take a moment to talk about why. I’ve been releasing music for about fifteen years now and I feel very blessed to have put out five other full lengths, many EPs and singles, a few collaborations with people much more talented than myself, and made contributions to numerous movie scores and soundtracks. This is my sixth collection of new Iron & Wine material and I’m happy to say that it’s my fourth for Sub Pop Records.
It’s a warm and serendipitous time to be reuniting with my Seattle friends because I feel there’s a certain kinship between this new collection of songs and my earliest material, which Sub Pop was kind enough to release. In hindsight, both The Creek Drank the Cradle (2002) and Our Endless Numbered Days (2004) epitomize a reflective and confessional songwriting style (although done with my own ferocious commitment to understatement, of course.) I have been and always will be fascinated by the way time asserts itself on our bodies and our hearts. The ferris wheel keeps spinning and we’re constantly approaching, leaving or returning to something totally unexpected or startlingly familiar. The rite of passage is an image I’ve returned to often because I feel we’re all constantly in some stage of transition. Beast Epic is saturated with this idea but in a different way simply because each time I return to the theme I’ve collected new experiences to draw from. Where the older songs painted a picture of youth moving wide-eyed into adulthood’s violent pleasures and disappointments, this collection speaks to the beauty and pain of growing up after you’ve already grown up. For me, that experience has been more generous in its gifts and darker in its tragedies.
The sound of Beast Epic harks back to previous work, in a way, as well. By employing the old discipline of recording everything live and doing minimal overdubbing, I feel like it wears both its achievements and its imperfections on its sleeve. Over the years, I’ve enjoyed experimenting with different genres, sonics and songwriting styles and all that traveled distance is evident in the feel and the arrangements here, but the muscles seemed to have relaxed and been allowed to effortlessly do what they do best.
I’ve been fortunate to get to play with some very talented musicians over the years who are both uniquely intuitive and also expressive in exciting ways. This group was no different. We spent about two weeks recording and mixing but mostly laughing at The Loft in Chicago.
To be honest, I’ve named this record BEAST EPIC mostly because it sounds really fucking cool! However, with that said and perhaps to be completely honest, “a story where animals talk and act like people” sounds like the perfect description for the life of any of us. If not that, then it’s at least perfect for any group of songs I’ve ever tried to make. I hope you enjoy it.
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IN MY Dreams
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Iron & Wine Announces New Album Beast Epic, Shares Video for New Song: Watch
Sam Beam has announced a new Iron & Wine album: Beast Epic arrives August 25 via Sub Pop. It’s Beam’s first Iron & Wine record since his 2015 covers album with Ben Bridwell; it’s also the first Iron & Wine album of new material since 2013’s Ghost on Ghost. Along with announcement, Beam has shared the video for a new track, “Call It Dreaming.” Directed by J. Austin Wilson, the visual features Beam riding in the back of a truck bed, picking up various hitchhikers on the road. Watch the “Call It Dreaming” music video below. Scroll down for the Beast Epic tracklist, Iron & Wine’s upcoming tour dates, and Sam Beam’s artist statement.
Beast Epic:
01 Claim Your Ghost02 Thomas County Law03 Bitter Truth04 Song in Stone05 Summer Clouds06 Call It Dreaming07 About a Bruise08 Last Night09 Right for Sky10 The Truest Stars We Know11 Our Light Miles
Iron & Wine:
06-28 Portsmouth, NH – Prescott Park Arts Festival 06-29 Canadiagua, NY – CMAC @07-22 Austin, TX – Paramount Theater ^08-26 Fayetteville, AR – Roots Festival08-27 Columbia, MO – The Blue Note %08-28 Chattanooga, TN – Tivoli Theatre %08-29 Birmingham, AL – Saturn %08-30 Louisville, KY – WFPK on the Waterfront10-12-13 Chicago, IL – Thalia Hall10-14 St Paul,MN – Palace Theatre10-15 Lincoln, NE – Rococo Theatre #10-17 Missoula, MT – Wilma Theater #10-18 Seattle, WA – Moore Theater10-19 Eugene, OR – McDonald Theater #10-20 Portland, OR – Aladdin Theater10-21 San Francisco, CA – Warfield Theatre10-26 Los Angeles, CA – The Cathedral Sanctuary at Immanuel Presbyterian10-27 Pioneertown, CA – Pappy & Harriet’s10-28 San Diego, CA – – Balboa #10-29 Phoenix, AZ – Van Buren #10-30 Albuquerque, NM – El Rey #11-01 Dallas, TX – The Kessler #11-02 San Antonio, TX – The Aztec Theater #11-03 Houston, TX – The Heights #11-04 New Orleans, LA – Joy Theater #11-06 Ft Lauderdale, FL – Culture Room#11-07 Orlando, FL – The Beacham #11-09 Washington DC – Lincoln Theatre #11-10 New Haven, CT – College Street Music Hall #11-11 Boston, MA – Berklee Performance Center #11-12 Northampton, MA – Calvin Theatre #11-13 New York, NY – Town Hall #11-14 Brooklyn, NY – Brooklyn Steel *
@ with Jason Isbell^ with Joan Shelley% with Lydia Loveless# with John Moreland* with OHMME
Sam Beam:
I must confess that I’ve always shied away from album introductions citing the usual “dancing to architecture” cop out. Speaking to their own work is uncomfortable for many artists, but I’ve made a new album called Beast Epic which is important to me and I wanted to take a moment to talk about why. I’ve been releasing music for about fifteen years now and I feel very blessed to have put out five other full lengths, many EPs and singles, a few collaborations with people much more talented than myself, and made contributions to numerous movie scores and soundtracks. This is my sixth collection of new Iron & Wine material and I’m happy to say that it’s my fourth for Sub Pop Records.
It’s a warm and serendipitous time to be reuniting with my Seattle friends because I feel there’s a certain kinship between this new collection of songs and my earliest material, which Sub Pop was kind enough to release. In hindsight, both The Creek Drank the Cradle (2002) and Our Endless Numbered Days (2004) epitomize a reflective and confessional songwriting style (although done with my own ferocious commitment to understatement, of course.) I have been and always will be fascinated by the way time asserts itself on our bodies and our hearts. The ferris wheel keeps spinning and we’re constantly approaching, leaving or returning to something totally unexpected or startlingly familiar. The rite of passage is an image I’ve returned to often because I feel we’re all constantly in some stage of transition. Beast Epic is saturated with this idea but in a different way simply because each time I return to the theme I’ve collected new experiences to draw from. Where the older songs painted a picture of youth moving wide-eyed into adulthood’s violent pleasures and disappointments, this collection speaks to the beauty and pain of growing up after you’ve already grown up. For me, that experience has been more generous in its gifts and darker in its tragedies.
The sound of Beast Epic harks back to previous work, in a way, as well. By employing the old discipline of recording everything live and doing minimal overdubbing, I feel like it wears both its achievements and its imperfections on its sleeve. Over the years, I’ve enjoyed experimenting with different genres, sonics and songwriting styles and all that traveled distance is evident in the feel and the arrangements here, but the muscles seemed to have relaxed and been allowed to effortlessly do what they do best.
I’ve been fortunate to get to play with some very talented musicians over the years who are both uniquely intuitive and also expressive in exciting ways. This group was no different. We spent about two weeks recording and mixing but mostly laughing at The Loft in Chicago.
To be honest, I’ve named this record BEAST EPIC mostly because it sounds really fucking cool! However, with that said and perhaps to be completely honest, “a story where animals talk and act like people” sounds like the perfect description for the life of any of us. If not that, then it’s at least perfect for any group of songs I’ve ever tried to make. I hope you enjoy it.
View Full Article Here: Iron & Wine Announces New Album Beast Epic, Shares Video for New Song: Watch
Iron & Wine Announces New Album Beast Epic, Shares Video for New Song: Watch was originally published on CALM | We Drive The Calmest, Strive Regardless
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Iron & Wine Announces New Album <i>Beast Epic</i>, Shares Video for New Song: Watch
Sam Beam has announced a new Iron & Wine album: Beast Epic arrives August 25 via Sub Pop. It’s Beam’s first Iron & Wine record since his 2015 covers album with Ben Bridwell; it’s also the first Iron & Wine album of new material since 2013’s Ghost on Ghost. Along with announcement, Beam has shared the video for a new track, “Call It Dreaming.” Directed by J. Austin Wilson, the visual features Beam riding in the back of a truck bed, picking up various hitchhikers on the road. Watch the “Call It Dreaming” music video below. Scroll down for the Beast Epic tracklist, Iron & Wine’s upcoming tour dates, and Sam Beam’s artist statement.
youtube
Beast Epic:
01 Claim Your Ghost
02 Thomas County Law
03 Bitter Truth
04 Song in Stone
05 Summer Clouds
06 Call It Dreaming
07 About a Bruise
08 Last Night
09 Right for Sky
10 The Truest Stars We Know
11 Our Light Miles
Iron & Wine:
06-28 Portsmouth, NH - Prescott Park Arts Festival
06-29 Canadiagua, NY - CMAC @
07-22 Austin, TX - Paramount Theater ^
08-26 Fayetteville, AR - Roots Festival
08-27 Columbia, MO - The Blue Note %
08-28 Chattanooga, TN - Tivoli Theatre %
08-29 Birmingham, AL - Saturn %
08-30 Louisville, KY - WFPK on the Waterfront
10-12-13 Chicago, IL - Thalia Hall
10-14 St Paul,MN - Palace Theatre
10-15 Lincoln, NE - Rococo Theatre #
10-17 Missoula, MT - Wilma Theater #
10-18 Seattle, WA - Moore Theater
10-19 Eugene, OR - McDonald Theater #
10-20 Portland, OR - Aladdin Theater
10-21 San Francisco, CA - Warfield Theatre
10-26 Los Angeles, CA - The Cathedral Sanctuary at Immanuel Presbyterian
10-27 Pioneertown, CA - Pappy & Harriet’s
10-28 San Diego, CA - - Balboa #
10-29 Phoenix, AZ - Van Buren #
10-30 Albuquerque, NM - El Rey #
11-01 Dallas, TX - The Kessler #
11-02 San Antonio, TX - The Aztec Theater #
11-03 Houston, TX - The Heights #
11-04 New Orleans, LA - Joy Theater #
11-06 Ft Lauderdale, FL - Culture Room#
11-07 Orlando, FL - The Beacham #
11-09 Washington DC - Lincoln Theatre #
11-10 New Haven, CT - College Street Music Hall #
11-11 Boston, MA - Berklee Performance Center #
11-12 Northampton, MA - Calvin Theatre #
11-13 New York, NY - Town Hall #
11-14 Brooklyn, NY - Brooklyn Steel *
@ with Jason Isbell
^ with Joan Shelley
% with Lydia Loveless
# with John Moreland
* with OHMME
Sam Beam:
I must confess that I’ve always shied away from album introductions citing the usual “dancing to architecture” cop out. Speaking to their own work is uncomfortable for many artists, but I’ve made a new album called Beast Epic which is important to me and I wanted to take a moment to talk about why. I’ve been releasing music for about fifteen years now and I feel very blessed to have put out five other full lengths, many EPs and singles, a few collaborations with people much more talented than myself, and made contributions to numerous movie scores and soundtracks. This is my sixth collection of new Iron & Wine material and I’m happy to say that it’s my fourth for Sub Pop Records.
It’s a warm and serendipitous time to be reuniting with my Seattle friends because I feel there’s a certain kinship between this new collection of songs and my earliest material, which Sub Pop was kind enough to release. In hindsight, both The Creek Drank the Cradle (2002) and Our Endless Numbered Days (2004) epitomize a reflective and confessional songwriting style (although done with my own ferocious commitment to understatement, of course.) I have been and always will be fascinated by the way time asserts itself on our bodies and our hearts. The ferris wheel keeps spinning and we’re constantly approaching, leaving or returning to something totally unexpected or startlingly familiar. The rite of passage is an image I’ve returned to often because I feel we’re all constantly in some stage of transition. Beast Epic is saturated with this idea but in a different way simply because each time I return to the theme I’ve collected new experiences to draw from. Where the older songs painted a picture of youth moving wide-eyed into adulthood’s violent pleasures and disappointments, this collection speaks to the beauty and pain of growing up after you’ve already grown up. For me, that experience has been more generous in its gifts and darker in its tragedies.
The sound of Beast Epic harks back to previous work, in a way, as well. By employing the old discipline of recording everything live and doing minimal overdubbing, I feel like it wears both its achievements and its imperfections on its sleeve. Over the years, I’ve enjoyed experimenting with different genres, sonics and songwriting styles and all that traveled distance is evident in the feel and the arrangements here, but the muscles seemed to have relaxed and been allowed to effortlessly do what they do best.
I’ve been fortunate to get to play with some very talented musicians over the years who are both uniquely intuitive and also expressive in exciting ways. This group was no different. We spent about two weeks recording and mixing but mostly laughing at The Loft in Chicago.
To be honest, I’ve named this record BEAST EPIC mostly because it sounds really fucking cool! However, with that said and perhaps to be completely honest, “a story where animals talk and act like people” sounds like the perfect description for the life of any of us. If not that, then it’s at least perfect for any group of songs I’ve ever tried to make. I hope you enjoy it.
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Trey Anastasio
Starts at 19:30:00 on 2019/08/10, in Mission Ballroom, Denver
Ernest Joseph "Trey" Anastasio III (, born September 30, 1964) is an American musician, singer, songwriter, and composer best known as the lead vocalist and guitarist for the rock band Phish, which he co-founded in 1983. He is credited by name as composer of 152 Phish original songs, 141 of them as a solo credit, in addition to 41 credits attributed to the band as a whole.In addition to his work with Phish, Anastasio has released 11 solo albums, and been part of several side projects including the Trey Anastasio Band, Oysterhead, Ghosts of the Forest, and Surrender to the Air.Trey Anastasio is a self-titled album by the guitarist and composer Trey Anastasio. It was released on April 30, 2002 by Elektra Records and recorded at "The Barn", his studio near Westford, Vermont.Recorded live at the Warfield Theater in San Francisco, California on May 31, 2003, this video features the Trey Anastasio Band (TAB) with Carlos Santana sitting in for a number of covers and Anastasio originals.
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An Acoustic Evening with Trey Anastasio
Don't loose the chance to listen to Trey Anastasio live, Stern Auditorium / Perelman Stage at Carnegie Hall, New York, on 2019/10/29, buy the ticket and be sharp in time at 20:00:00.
Ernest Joseph "Trey" Anastasio III (, born September 30, 1964) is an American musician, singer, songwriter, and composer best known as the lead vocalist and guitarist for the rock band Phish, which he co-founded in 1983. He is credited by name as composer of 152 Phish original songs, 141 of them as a solo credit, in addition to 41 credits attributed to the band as a whole.In addition to his work with Phish, Anastasio has released 11 solo albums, and been part of several side projects including the Trey Anastasio Band, Oysterhead, Ghosts of the Forest, and Surrender to the Air.Trey Anastasio is a self-titled album by the guitarist and composer Trey Anastasio. It was released on April 30, 2002 by Elektra Records and recorded at "The Barn", his studio near Westford, Vermont.Recorded live at the Warfield Theater in San Francisco, California on May 31, 2003, this video features the Trey Anastasio Band (TAB) with Carlos Santana sitting in for a number of covers and Anastasio originals.
Read the full article
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Trey Anastasio
The event will be held at Mission Ballroom, Denver, on 2019/08/9 in 19:30:00
Ernest Joseph "Trey" Anastasio III (, born September 30, 1964) is an American musician, singer, songwriter, and composer best known as the lead vocalist and guitarist for the rock band Phish, which he co-founded in 1983. He is credited by name as composer of 152 Phish original songs, 141 of them as a solo credit, in addition to 41 credits attributed to the band as a whole.In addition to his work with Phish, Anastasio has released 11 solo albums, and been part of several side projects including the Trey Anastasio Band, Oysterhead, Ghosts of the Forest, and Surrender to the Air.Trey Anastasio is a self-titled album by the guitarist and composer Trey Anastasio. It was released on April 30, 2002 by Elektra Records and recorded at "The Barn", his studio near Westford, Vermont.Recorded live at the Warfield Theater in San Francisco, California on May 31, 2003, this video features the Trey Anastasio Band (TAB) with Carlos Santana sitting in for a number of covers and Anastasio originals.
Read the full article
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