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Rolling Stones Announce ‘Voodoo Lounge Uncut’ Concert Video

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The Rolling Stones are commemorating their tour in support of 1994’s Voodoo Lounge with Voodoo Lounge Uncut, which will arrive in several formats — including Blu-ray/two-CD, DVD/two-CD, limited-edition red vinyl three-LP and digital audio and video — on Nov. 16.Voodoo Lounge Uncut consists of a restored, remastered and remixed version of the Stones’ Nov. 25, 1994, concert at Joe Robbie Stadium (now Hard Rock Stadium) in Miami Gardens, Fla. That show, which was broadcast on pay-per-view, featured guest appearances by Sheryl Crow (“Live With Me”), Robert Cray (“Stop Breaking Down”) and Bo Diddley (“Who Do You Love?”), as well as the first performance of “Sweet Virginia” since 1973.Seventeen of the 27 songs played that night were released on VHS in 1995 as Voodoo Lounge Live. This new package collects the entire show for the first time; the video adds five songs from a tour stop at Giants Stadium in E. Rutherford, N.J. that weren’t performed in Miami.You can see the track listing below.The Rolling Stones toured Europe this past summer and may start work on a new album sometime soon. Back in February, Keith Richards said they were in the “early stages” of putting out their first collection of all-new material since 2005’s A Bigger Bang.“We have some stuff down, which is very interesting,” he said. “It’s more difficult for us to write together the further apart we are, but it also has its benefits in that we come back to it from a different angle.”Three weeks ago, Mick Jagger uploaded a video of himself playing harmonica on what he said were “new tunes.”The Rolling Stones, ‘Voodoo Lounge Uncut’ Track Listing 1. Whoopi Goldberg Introduction 2. “Not Fade Away” 3. “Tumbling Dice” 4. “You Got Me Rocking” 5. “Rocks Off” 6.”Sparks Will Fly” 7. “Live With Me” 8. “(I Can’t Get No) Satisfaction” 9. “Beast of Burden” 10. “Angie” 11. “Dead Flowers” 12. “Sweet Virginia” 13.”Doo Doo Doo Doo Doo (Heartbreaker)” 14. “It’s All Over Now” 15. “Stop Breakin’ Down” 16. “Who Do You Love?” 17. “I Go Wild” 18. “Miss You” 19. “Honky Tonk Women” 20. “Before They Make Me Run” 21. “The Worst” 22. “Sympathy for the Devil” 23. “Monkey Man” 24. “Street Fighting Man” 25. “Start Me Up” 26. “It’s Only Rock ‘n’ Roll (But I Like It)” 27. “Brown Sugar” 28. “Jumpin’ Jack Flash”Bonus Video Performances 1. “Shattered” 2. “Out of Tears” 3. “All Down the Line” 4. “I Can’t Get Next to You” 5. “Happy”window.twttr = (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0], t = window.twttr || {}; if (d.getElementById(id)) return t; js = d.createElement(s); js.id = id; js.src = “https://platform.twitter.com/widgets.js”; fjs.parentNode.insertBefore(js, fjs); t._e = []; t.ready = function(f) { t._e.push(f); }; return t; }(document, “script”, “twitter-wjs”)); (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = “//connect.facebook.net/en_US/sdk.js”; fjs.parentNode.insertBefore(js, fjs); }(document, “script”, “facebook-jssdk”));

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CVBZ Is On His Way Up With Electro Pop Gem “2 Gone”

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The Oregonian, LA-based songwriter and producer CVBZ stuns us with the release of 2 Gone as a sneak peek of his forthcoming EP called River. It could be his stunning bohemian fashion style that turns heads, but it’s obvious his dance-pop tracks fusing with chill wave and R&B beats are what is catching more of the likes of fans and other artists. ‘2 Gone’ is an electro-pop infused gem piece. Words by CVBZ on 2 Gone- “A song about the moment I realized we were over. In that moment, sitting in your car in Portland, I knew that you were nothing more than a thing of my future’s past. A good dream that you can hardly remember.” CVBZ isn’t brand new of releasing mesmerizing tracks that become a favorite in our music player. He has left an impressionable imprint in 2017 with his debut single, Be Like You via Ultra Records, gaining over 12 million streams. On top of that, his music video also gained over 1 million views. Working with the famed Cheat Codes and Fetty Wrap, the trio curated Feels Great which earned itself a spot on the Top 40 at #26. Listen to 2 Gone below whereas it will truly get you antsy for his new 5-track EP River out on August 17th. A perfect collection of pop and EDM that makes for a perfect summer anthem. BONUS TRACK: ‘Feels Great’ Follow CVBZ: Spotify| Facebook | Instagram|

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Bon Jovi Grow Up on ‘New Jersey’

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When Bon Jovi completed their 16-month tour in support of Slippery When Wet, they intended to take time off and recharge. Four weeks to be exact. Then they started working on New Jersey.“We really didn’t do anything for three or four weeks,” Jon Bon Jovi told Classic Rock. Hot on the heels of the best-selling album of 1987, Jon Bon Jovi and guitarist Richie Sambora wasted no time getting down to business and writing the follow-up. Both men lived in New Jersey and their check-ins with each other shifted from personal to business. “They changed from ‘What’re you doing today?’ to ‘I got this really neat hook!’” Bon Jovi said.By Thanksgiving 1987, they were in full writing mode; by Christmas, the band had more than an album’s worth of material but something was amiss.“We demoed the first batch of songs, 17 in all and we really started to feel the pressure because we didn’t have the amazing song,” Bon Jovi recalled. “I panicked, to be honest. I really wanted to do it again. Not for the monetary reasons, but it was such an amazing feeling to have done what we’d done. … I’m walking around the house yelling, ‘I gotta pay for this place. We’ve got to write some fucking hot songs!’”While it would have been easy to record the first 10 songs they wrote, Sambora was obstinate about not repeating themselves. “The last thing we wanted to do here was put out Slippery Part 2” he said.But as the band rolled into 1988, it continued writing, eventually bringing key Slippery collaborator Desmond Child, along with Diane Warren and Holly Knight, into the process. Ultimately, the band penned 34 new songs and planned on making a double album until they met serious resistance from their record label, which was dead set against it.The band then went to Vancouver, returning to Little Mountain Studio to work again with producer Bruce Fairbairn and engineer Bob Rock, who would also mix the album. The key question was how to choose from the more than 30 songs. As it did with Slippery When Wet, the band sought out advice from fans. They had Fairbairn call up his babysitters and told them to invite all of their friends to the studio to listen to the demos.“They listened to everything, and we gave them all a piece of paper and a pen and told them to write it down what they thought of it and number it,” Bon Jovi recalled. “And they did. It works real well. Ultimately they are the ones who got to like the record.”The top-ranking song was “Born to Be My Baby,” but it was the high rankings of “Wild Is the Wind” and “Stick to Your Guns” that surprised Bon Jovi the most. “When I had the kids come in and listen to it, [“Wild Is the Wind”]  was the third song they picked,” he said. “I don’t feel any great attraction to it. I like it but I don’t love it.”Watch the Video for ‘Bad Medicine’ The album’s lead single, “Bad Medicine,” served as the perfect tongue-in-cheek rocker that heralded the band’s return in September 1988. “That was a funny situation,” Sambora told Metal Hammer in 1994, “because that chorus was essentially written when we were shooting a commercial for Fuji tape in Japan, standing in water up to our knees! I was in a rocky, volatile relationship at that point, and all of a sudden this title just banged up into my head: ‘Bad Medicine.’ I walked up to Jon on the set between takes and I said it to him, and he said, ‘Yeah, hang onto that because we’re going to make that real good.’ We rewrote it and rewrote it and rewrote it, until it was really, really very good.”The album’s second single, “Born to Be My Baby,” served as a thematic sequel to “Livin’ on a Prayer” with its focus on the everyday struggles ordinary people go through. (Tommy and Gina, the main characters from that earlier song, even got a shout-out in “99 in the Shade.”)The explosive album opener, “Lay Your Hands on Me,” was a studio creation that wasn’t demoed. During the recording, the band was visited by the video production team of producer Curt Marvis and director Wayne Isham, who encouraged the group to write a song that would open its show in a grand and mighty fashion. Using African drums inspired by Peter Gabriel, whom they had seen on his So tour during the summer of 1987, they created the song as “a way to say that, even after the success of Slippery, and say what you will about the band now, that we’re still accessible,” Bon Jovi said.Watch the Video for ‘Lay Your Hands on Me’ New Jersey also featured a pair of ballads that were eventually released as singles. “I’ll Be There for You” is distinguished by Sambora’s bluesy guitar and served as a showcase for his and Bon Jovi’s harmonies. “Living in Sin” was the only song from New Jersey to be written in California and the lone solo Jon Bon Jovi composition on the album. He tapped into his Catholic upbringing for the lyrics, which reflected the state of his relationship with Dorthea Hurley, who became his wife in April 1989 in the middle of the New Jersey tour.Even with those five singles, the record’s centerpiece, to many fans, was “Blood on Blood.” Inspired by Rob Reiner’s movie Stand by Me, the song brims with sentiment like no other in the band’s catalog. During press stops for the album, both Bon Jovi and Sambora pointed to this song as their proudest accomplishment as songwriters, with Sambora comparing it to the “emotional roller coaster of a movie. “As long as those pictures are painted still, with the lyrical content and you get that feeling at the end of a song,” he said. “We look to find what happens at the end? How do you feel at the end? … ‘Blood on Blood’ is something we really live by.”Watch the Video for ‘Blood on Blood’ New Jersey closed with “Love for Sale,” an acoustic blues jam lifted directly from the demo tape recording made by the band. “We let you inside the room where we write our songs,” Bon Jovi said. “Now you see how it goes down. … Just to show you a little more personality of the band.””Jon and I just sat down with a bottle of wine, a harmonica and just started to wail,” Sambora added.They originally wanted to title the record Sons of Beaches, with cover art that would take images from the Jersey Shore and mesh them with a design that referenced the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. But they changed their mind and named it after their home state instead.“It’s not necessarily the place ‘New Jersey,'” Bon Jovi explained. “It’s the same thing as I imagine Sheffield to be, or Liverpool to be, or Pittsburgh or Cleveland here in the States for point of reference. It’s a place you are from, but it’s an attitude that you carry around with you.”Because the press and fans had put such a heavy focus on their look, especially the members’ hair, Bon Jovi decided not to put themselves on the album’s cover. “I don’t feel that we need to depend on pictures of the band,” Bon Jovi said at the time. “I’d rather be known because we wrote great songs.” “Let the music do the talking,” Sambora added. “The videos and the magazines … they’ll overexpose you enough.”Released on Sept. 19, 1988, New Jersey debuted at No. 8 on the Billboard Top 200. One week later it surged to No. 1, where it stayed for four weeks before being supplanted by U2’s double album Rattle and Hum. It stayed on the chart through January 1990, selling 7 million copies in the U.S. and another 5 million overseas. It is still the only hard rock album to have five singles hit the Top 10 on the Billboard Hot 100, with “Bad Medicine” and “I’ll Be There for You” both reaching No. 1.Bon Jovi supported the album with a 16-month world tour of arenas and stadiums that started on Halloween in Dublin and concluded after 237 shows in February 1990. While the studio and the songwriting process were integral to Bon Jovi, the road is where they flexed their chops on a nightly basis, pushing themselves while cementing their legacy and circling the world. In a pre-tour interview in 1988, Sambora said it best when he reflected, “Your home is the stage. I think we will continue to be cowboys for as long as we live.”  window.twttr = (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0], t = window.twttr || {}; if (d.getElementById(id)) return t; js = d.createElement(s); js.id = id; js.src = “https://platform.twitter.com/widgets.js”; fjs.parentNode.insertBefore(js, fjs); t._e = []; t.ready = function(f) { t._e.push(f); }; return t; }(document, “script”, “twitter-wjs”)); (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = “//connect.facebook.net/en_US/sdk.js”; fjs.parentNode.insertBefore(js, fjs); }(document, “script”, “facebook-jssdk”));

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Welcome into the Mind and Heart of “The Unicorn Slayer”, Markus Schulz [Exclusive Interview]

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Known as “the unicorn slayer” for his ability to magically hold down the dance floor with his open-to-close DJ sets, the Miami based Markus Schulz lets us in during our exclusive interview. As we pick the brain of a kingpin of dance music, we discover what it takes to build a proper set for various atmospheres, to develop a successful record label and DJ broadcast, what Schulz’s inspirations are and how Markus has grown into the person he is today. You will also get to learn about and listen to his latest nourishing release, “Upon My Shoulders” (Coldharbour | Cat Music), with Armenian singer/songwriter, Sebu Simonian, of the indie-pop duo Capital Cities. Then make sure to get a taste of how he got his call sign by listening to his 4-hour set during Coldharbour Day 2018.  Welcome into the mind and heart of “America’s Best DJ” (DJ Times Magazine 2012 & 2014), Markus Schulz. photo credit Markus Schulz 1) “Upon My Shoulders” is your first single off your upcoming full-length studio album, We Are The Light (Coldharbour | Black Hole) and it’s the pop song that will catapult Schulz from clubland royalty into the pop music stratosphere. This song is a revelation. What makes “Upon My Shoulders’ different from the rest of your music? Markus Schulz: I wouldn’t necessarily describe it as being a sea change from the rest, but more of a sequel. “Facedown” (with Soundland) from my Watch the World album was the first instance in which my productions had an emphasis on using an acoustic guitar, and “Upon My Shoulders” follows in similar vein. Both of the tracks in question were actually inspired by the same event, and that was Tomorrowland. I have had the very fortunate role in performing the opening set on the main stage during one of the festival days – the Daybreak Session. When you perform in that setting, you are essentially building up the day and building up the audience from nothing at all. After my first experience of it, I was inspired to create “Facedown”, because when I was getting set up to begin my set, I looked out and could see couples out there, sitting on the grass and wrapped in a blanket. It gave me the vision about two people struggling through life, who have nothing but each other. If Facedown was inspired by the beginning of the Daybreak Session, “Upon My Shoulders” was inspired by the ending – the big crescendo of a set, where the couples are having the time of their lives, and they demonstrate this bond with one carrying the other on top of their shoulders.  Markus Schulz ‘Upon My Shoulders’ Listen to Markus Schulz’s “Upon My Shoulders”(Coldharbour | Cat Music): Listen to “Facedown” from Schulz’s Watch the World album: 2) How did the collaboration with Sebu come to life for “Upon My Shoulders”? Sebu Simonian photo credit David Galstyan Markus Schulz: I had established a connection with Capital Cities a few years ago, due to remixing their tracks “Safe & Sound” and “One Minute More” alongside Grube & Hovsepian. When envisaging what “Upon My Shoulders” was about and had a rough idea of lyrically what it was going to represent, Sebu stood out to me as the obvious choice. So we reached out to Capital Cities, and Sebu came onboard right away. That vision of people carrying each other on their shoulders is incredibly powerful and stimulating and it sparks the imagination endlessly. Every one of those guys and girls has a connection with the other – a friendship and a story that very likely goes way, way beyond the physical bounds of the event. Having Sebu’s voice as the narration of those moments makes “Upon My Shoulders” carry a warmth and emotion few can convey. Okeechobee photo via Live Edits Lab Okeechobee photo via Live Edits Lab 3) What goes into planning one of your sets, especially at big festivals like Tomorrowland? Photo credit Alive Coverage — at Tomorrowland Markus Schulz: It ultimately depends upon the setting, because the key aspect to understand is that one set will not work in every single environment. With festivals, you usually only have between one hour and 90 minutes to do your thing, so there isn’t really a huge scope to explore. You tend to play a little safer, because if you make a programming mistake, it’s very difficult to recover in a short space of time. Festivals are also like a shop-window for DJs, because you’re playing alongside all the other top-tier guys, and in many ways, the fans may not necessarily be attending to see you yet they have the opportunity to enjoy what you do for the first time. Because of that, the festival sets are generally your signature tracks, presented in high intensity. And of course, you prepare some special surprises specifically for the occasion.With clubs however, you are almost always headlining, meaning everyone is there to see you perform, and more often than not you are presented with the opportunity to play longer.Festivals are hugely important, and I do enjoy the spectacular settings that somewhere like Tomorrowland presents, along with the opportunity to cast a wider net to your fanbase.  Tomorrowland photo credit Markus Schulz I think that our biggest privilege as a DJ should be paying tribute to the art behind it. What I don’t like are the club nights where a promoter tries to present a festival-style lineup within a club, meaning everyone plays short sets and there’s no room to breathe or explore. Markus Schulz Live at Tomorrowland 2017 (ASOT Stage): 4) What do you like most about creating music? As one of the leaders in trance, how would you define trance music and how does it make you feel inside? Markus Schulz: It’s undoubtedly the best method in which I can express myself to the world, because I have always tried to base my music on how I am feeling emotionally and mentally. To me, trance is the one genre within the dance music spectrum that touches the soul, connects and resonates deeply with people more than any other. The fans are the biggest source of influence and inspiration in my career, because ultimately, us DJs would be nothing without them.My biggest inspiration for creating music actually occurs while on stage performing, because you see the passion and response of the fans, and how much this music means to them. That’s the one thing I feel trance has above any other genre. Many people regard it as this sort of antisocial music, but the people who follow trance love it with paramount importance. When we hear those arpeggiated melodies and complex chords, they invoke memories of places we have been and people we have met, and that’s what’s important.5) How did you first get introduced to electronic music? Who has been your biggest influences? Markus Schulz: I had a difficult childhood and as a result of that, I discovered that my best escape from it all was music. I would listen to the radio at night and get lost in the sounds. A lot of people will be surprised when I say this, but most of my influence comes from classic rock. Bands like Pink Floyd, Led Zeppelin, ELO, Manfred Mann and U2. The Dark Side of the Moon by Pink Floyd for me is the best album that has ever been made and continues to inspire me today.On the electronic side, the likes of Kraftwerk and Depeche Mode were really pushing boundaries, and that captivated my imagination too. I would go on to discover DJs playing this music, such as Mr. Magic, Red Alert, Tony Humphries and the Latin Rascals.6) What efforts did you make that made Coldharbour Recordings so successful? Coldharbour Recordings Markus Schulz: Coldharbour is one of my babies! I am incredibly proud of what it has become. What still amazes me is how passionate the fans are for the label, and how they feel part of it as much as the producers.What I’ve always strived to achieve with Coldharbour, along with Global DJ Broadcast, is to provide a platform for showcasing new talent. I think it’s really important for your legacy to take people under your wing and guide them, and I feel incredibly proud to contribute towards their growth through releases and remixes on the label. Our Coldharbour family is incredible, and I am so grateful to them all for their endeavors.The most important thing for me in any track is that it needs a melody and a groove that grabs my attention. Because of my solo sets and playing across the board, I am always open to differing styles, whether they are the peak-hour upfront tracks with aggressive leads, or the deeper progressive material that helps build a night.Developing relationships with the talent is absolutely vital. You need to be passionate, dedicated and open-minded. All of the producers on the roster combined feel like a big extended family to me, and each person is helping to contribute in their own unique way.One of the most important aspects for a producer is that they need to be flexible and alter a track if necessary. Sometimes I’ll hear a track and find something within it I like but need fixes in order to play it in my sets, so it’s important to have the producer on board and willing to adjust their piece. On many occasions, I’ll be in contact with them firing back notes until we get the product right.The Coldharbour club nights are all built with a team ethos. We imagine it as one overall presentation with each member playing a vital piece towards the story being told across the night. Every one of our members supports each other very well. Listen to Markus Schulz set for Coldharbour Day 2018: 7) Tell me what life was like for you in the 8th grade. Markus Schulz: Well, when I was 13 years old, I immigrated to the United States, without knowing a single word of English, and lived just outside of Boston. It was such a culture shock for me, and I struggled to become part of the fabric due to a lack of self-confidence. Again, this would be where the radio would save me – I would come home from school every day, put my headphones on and listen to the radio. When it was cloudy, I was able to tune in to some college radio stations at night, where they would be playing more interesting electronic music. Along with that, I quickly developed a love for breakdancing, and gravitated towards all the other misfits and outcasts at school as a result. Two things mattered to me when at school – creative writing and making mixtapes. I’d trade tapes with other people at school and as we got older, we would start organizing our breakdance parties. The creative writing is actually something that as an artist, I had been itching to rediscover for years, because when I started producing it was almost entirely all about making music and twisting the knobs in the studio. My previous artist album, Watch the World, provided me the platform to delve back into that creative writing world, and the new album coming, We Are the Light, facilitates the same passion.8) Since the 8th grade, how have you evolved into who you are today? photo credit Markus Schulz Markus Schulz: Incredibly fortunate, but I have gone from a 13 year old outcast, living in a foreign country without knowing the language and really struggling to find my purpose in life; to being able to connect and entertain people through a passion and love for music.I take absolutely none of this for granted, and I count my blessings every day that I am one of the lucky ones who get to do what they love for a living. There are so many talented producers and DJs out there who never get the breaks in their careers and have to give up their dream to find other jobs in order to support themselves and their families. I still feel as passionate about our scene as ever and am determined to continue adding those building blocks towards whatever may be my legacy at the end of it all.  Over the next couple months, Schulz is booked all around the world with stops in London, Australia, Malaysia, Japan, Philippines, Chicago, Canada, Kansas City, Mexico, Amsterdam, Czech Republic, Miami and New York. If you are fortunate enough to be in Canada or Chicago on the 6th and 7th of October, then you will be able to experience his open-to-close solo set. Also, on October 19th in Amsterdam you will be able witness him in full “Unicorn Slayer” fashion. Check out his tour dates and locations to find out when you can enter the state Markus provides. Follow Markus Schulz: Official | Facebook | Twitter | Instagram 

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Jimi Hendrix’s ‘Electric Ladyland’ to Be Reissued as Deluxe Box

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The Jimi Hendrix Experience’s Electric Ladyland is being reissued with a massive 50th anniversary deluxe box set. Due on Nov. 9, the album will be available as either a three-CD/Blu-ray set or a six-LP/Blu-ray set.Both packages include the original double album, which has been newly remastered from the original analog tapes. The vinyl set features an all-analog direct-to-disc vinyl transfer. Among the set’s other highlights are Electric Ladyland: The Early Takes, which features demos and studio outtakes from the era; an expanded documentary on the making of Electric Ladyland; a book containing handwritten lyrics and unseen photos; Live at the Hollywood Bowl 9/14/68, a recently discovered two-track soundboard recording that’s part of Experience Hendrix’s Dagger Records official bootleg series; the feature-length documentary At Last … the Beginning: The Making of ‘Electric Ladyland’; and a new 5.1 surround sound mix of the album by original Hendrix engineer Eddie Kramer.Initially released on Oct. 16, 1968, this was the third album by the Jimi Hendrix Experience, the first produced by Hendrix himself and the last studio effort to arrive during his lifetime. Signature tracks include “Voodoo Child (Slight Return),” “Crosstown Traffic” and his definitive cover of Bob Dylan’s “All Along the Watchtower.””Electric Ladyland is a complete work. He pushed the limit musically; it went in different directions,” Kramer says in the video preview below. “It’s a body of work that Jimi was in control of right from the beginning. This is the definitive album that Jimi created.”This never-before-released 1968 performance at the Hollywood Bowl “captures the band and the mounting excitement that took place just weeks before the release of Electric Ladyland,” according to pre-release materials. The track listing for Live at the Hollywood Bowl 9/14/68 is below.The late Linda McCartney took the updated cover art, which finds the Jimi Hendrix Experience and a group children at the statue of Alice in Wonderland in New York’s Central Park. This was actually Hendrix’s choice for the album cover image, though it was later relegated to the inside of the U.S. version. The U.K. edition infamously featured a gatefold photo of 19 naked women instead, a decision Hendrix never agreed with.This period found Hendrix expanding his musical sphere with a series of collaborators as his relationship with Experience bassist Noel Redding deteriorated. Jefferson Airplane’s Jack Casady played bass on “Voodoo Chile,” while Hendrix took over on many of the other tracks – including “All Along the Watchtower.” Other guest stars on Electric Ladyland include Steve Winwood, Chris Wood and Dave Mason of Traffic; Al Kooper; and Hendrix’s future Band of Gypsys bandmate Buddy Miles.Previously unreleased versions of “Angel Caterina” and “Little Miss Strange” on The Early Takes also feature a guest appearance by Stephen Stills. Kramer’s new 5.1 surround-sound remix showcases uncompressed 24 bit/96 kz high resolution audio, a first for a Hendrix studio album.The Jimi Hendrix Experience, ‘Live at the Hollywood Bowl 9/14/68’ Track Listing “Introduction” “Are You Experienced?” “Voodoo Child (Slight Return)” “Red House” “Foxey Lady” “Fire” “Hey Joe” “Sunshine of Your Love” “I Won’t Live Today” “Little Wing” “Star Spangled Banner” “Purple Haze”Check Out Jimi Hendrix’s Guitar Hero Yearbook Picture window.twttr = (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0], t = window.twttr || {}; if (d.getElementById(id)) return t; js = d.createElement(s); js.id = id; js.src = “https://platform.twitter.com/widgets.js”; fjs.parentNode.insertBefore(js, fjs); t._e = []; t.ready = function(f) { t._e.push(f); }; return t; }(document, “script”, “twitter-wjs”)); (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = “//connect.facebook.net/en_US/sdk.js”; fjs.parentNode.insertBefore(js, fjs); }(document, “script”, “facebook-jssdk”));

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The 21st Chapter of the Shambhala Music Festival Story

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Photo via Shambhala Music Festival After 21 years, Shambhala Music Festival 2018 welcomed thousands of attendees back home for another eye-opening experience at Salmo River Ranch, BC on August 10 – 13, 2018. The music and art festival offered an eclectic music style ranging between bass, funk, soul, breakbeats, techno and house. This year the festival brought a variety of underground producers to world renowned artists such as: Christian Loeffler, Liquid Stranger, Fisher, Rezz, A.Skillz, Justin Martin, ill.Gates, Claptone to name a few. The music was only half the experience of Shambhala. The incredible stage structures, visual production, and high-spirited souls that gathered all added to its euphoric atmosphere. Enjoy the Shambhala Music Festival 2018 official aftermovie: photo credit Shambhala Each stage had its own scenic charm that evoked a refreshing feeling upon entry. Shambhala was equipped with six spectacular stages that offered a wide range of music. Fractal Forest, Pagoda, The Village, AMP, Living Room, and The Grove were conveniently just out of ear shy, allowing anyone to hop from set to set instantly, as if to teleport. The giant sized doorways at each entrance resembled portals that led you into a new realm of music, energy, and scenery.  Rezz at Pagoda Stage – Photo by Oh Dag Yo The Pagoda stage was a large house structure that coincidentally welcomed a slew of house producers to perform on Friday evening. Tech-house prodigy Fisher shook up the dance floor with thumping beats and his latest anthem “Losing It”. Dirtybird’s favorite brothers, Justin and Christian Martin, each took the stage separately Friday night as well. Claude VonStroke controlled the dance floor, weaving Shiba San’s “Don’t Talk” seamlessly through the end of his mix. Other nights, the Pagoda stage saw bass heavy and mind-blowing sets from Adventure Club, Black Tiger Sex Machine, Feed Me and more. Rezz’s visuals transformed this house-like structure into a haunted mansion. Eerie scenes from her “Relax” video were perfectly displayed over the stage. Shadows of white light shined upon the background amongst the trees, resembling strikes of lightning. Fractal Forest was dressed with beaming lasers, hypnotizing sun-shaped panels, and a giant white pyramid.  Fractal Forest- Photo via Shambhala Music Festival Large hand-painted faces of Yoda, Chewbacca, and C-3PO centered around the stage. Fractal Forest offered a variety of breakbeat-influenced music that teetered off into other genres of funk, trip-hop, UK garage and bass. The stage saw the likes of funkadelic bass master Opiuo, glitch hop producer Slynk, bass and funk craftsman Gramatik, English electronic musician A.Skillz, Krafty Kuts, Dr. Fresch, and plenty more. Performing his 15th year at Shambhala, Stickybuds cohesively blended a range of funk, bass, reggae and breakbeats into his set while mixing in tracks from his latest album Take a Stand. Stanton Warriors brought the heat Saturday night for a 2 AM set, dropping bangers like “You Don’t” by Marten Hørger & Neon Steve. The crowd never stopped moving. Father Funk induced smiles across the crowd with an unheard funky remix to the Seinfeld theme song.   Bass stages embraced ear-bending vibrations. The Village – Photo by Oh Dag Yo The Village had a half-dome shaped structure that hovered the stage, hung with floating, glowing bulbs. Catwalks surrounded this tiki themed town giving attendees a better glimpse of the scene from above. The Village housed wobbley bass sets by LA based producer Stylust, vomit-step originator Snails, Dirt Monkey, Boombox Cartel, ill.Gates, Delta Heavy, and others. The Glitch Mob played a mix of their classic tracks as well as new music from their See Without Eyes LP. The trio played an unforgettable DJ set that blew ears away.   AMP was complete with body vibrating subs that showcased a variety of experimental and liquid dub music. AMP featured theatrical dancers that added a unique flavor to the stage with their locking movements. Freeform bass-master Liquid Stranger, psychedelic dub creator Space Jesus, rising bass producer Whipped Cream, Mr. Carmack, and Woolymammoth all graced the stage for the weekend and sent vibes to new heights. On Saturday night there was even a 1985 Label Showcase that featured old school beat stylists. Intimate Stages Activated Chill Sensations. photo credit Niko Flacka for Shambhala Music Festival Dirtwire at The Living Room- Photo by Frankie Spinosi Staged with staticky TVs, The Living Room was the place to relax and hear the occasional live set. Performances by the drippy melodic bass duo Dimond Saints, and the bluesy electronic world band Dirtwire. JPOD, Librarian, Mark Farina, Random Rab and many more continued the trancy grooves until the early morning. For an even more intimate and hypnotic set you could catch yourself at The Grove. Melodic styled bass and deep house swept across the air with magical sets by Goopsteppa, Christian Löffler, J:Kenzo, Kahn & Neek, to name a few. The Cedar Lounge (also known as the chill stage) also featured a variety of downtempo electronica. During the day the lounge offered workshops, including talks on herbal medicine, dance, and yoga activities. The Genuine foundation that Shambhala was built on will Perpetuate an everlasting music gathering. Photo taken by Robb McCaghren (Novus Photography ©) Shambhala is the Sanskrit term that means a place of peace and happiness. In Tibetan Buddhism texts, Shambhala refers to a mythical kingdom that is secretly surrounded by a chain of snowy mountains. It’s an enlightened society, where war and inequality are unknown.  photo credit Shambhala Shambhala is located on a 500-acre farm that houses many farm animals all year round. The flowing Salmo River and the Selkirk Mountains surround the land. Green furry pines encircle the permanent stage structures that remain standing year after year. Shambhala has a sustaining mission to decline any corporate sponsorship. Not one advertisement or corporate logo will ever be spotted on the farm. As stated on the Shambhala website: “This allows the festival to retain a true reflection of the people on the dance floor and their vision of what their community looks like.” The festival’s genuineness is not only apparent but also infectious. Shambhala unites like-minded individuals with honest and good intentions for an enlightening experience.   Heart-warming attendees pumped a magical energy into the Air. Photo via Shambhala Music Festival Facebook Frankie’s Story:  I arrived early Friday morning around 3:30 AM, when most of the camping spots were already taken. However, I was welcomed by the ‘Stranger Danger’ camp who offered my friend and I a place to build our tent. These by far were the friendliest strangers that I’d ever met – they even offered free candy! While on paper this might sound like a parent’s worst nightmare, the irony was a representation of their hospitality. The camp had been running for 5 years, its intention to openly welcome newcomers and returning attendees to Shambhala. A place where strangers from anywhere in the world could gather and feel comfortable in a friendly community. Not only did I see this respect at the campsite- I saw it at the stages as well. As I mentioned earlier, the music was only half the experience. The attendees themselves really brought this festival to new heights. From the sharing and kindness to the LED lit costumes and outrageous totem poles, this group of festival goers all had one main intention: to make one another smile. One small example of this intention presented itself to me on Saturday evening during Lady Waks’ set at Fractal Forest, when a girl randomly walked up and asked me to pick out of the ‘mystery box’. I reached my hand inside and pulled out a magic wand! Something so unexpected and purely imaginative left me blissfully amazed. There were also trading posts where you could trade anything from a trinket, to a flashlight to anything in between. Message boards were also set up in the downtown area where you could write friendly note to others. Stranger Danger Totem in Fractal Forest- Photo by Frankie Spinosi Photo via Shambhala Music Festival Facebook Shambhala Music Festival began in 1998 with only 500 attendees on the same grounds that it stands on today. By 2010, 15,000 artists and guests were arriving from around the globe to engage in a rich experience of nature and music. Shambhala is like no other festival. It’s genuineness and virtue have endured through the many years of its existence and will continue for many years to come. *Written with support from Frankie Spinosi Follow Shambhala Music Festival:

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Was Elton John Paid $6.5 Million for TV Commercial?

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Elton John reportedly was paid $6.5 million for four days of shooting for a British TV commercial.The annual ad for the department store chain John Lewis has become a holiday season event in the U.K., so it’s not unusual for the company to spend big on its production.The Daily Mail quoted a source who confirmed that John was filmed at London’s Pinewood Studios performing a new version of his classic track “Your Song,” which will be used behind a storyline that follows him through the 71 years of his life.“John Lewis wanted to win the battle of the Christmas adverts this year, and it has cost them a significant sum to do it,” the source said. “But they think having Elton on board will guarantee its popularity and blow [rival store chain] Marks & Spencer out the water.”The source noted that the commercial is a “tearjerker but also very sweet, and follows Elton from a child through his teenage years into how he is today. It is all very, very charming.”John Lewis refused to confirm or deny the claims. “We are lucky enough to enjoy lots of speculation around our TV ads, much of which is wildly inaccurate, and our one rule is to never comment on any aspect simply because we want to keep the magic,” a spokesperson said.John appeared in a Snickers commercial last month playing a rapper who’s unable to perform until he’s satisfied his hunger. He kicked off his Farewell Yellow Brick Road tour this past weekend. The show is scheduled to run until at least 2021.window.twttr = (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0], t = window.twttr || {}; if (d.getElementById(id)) return t; js = d.createElement(s); js.id = id; js.src = “https://platform.twitter.com/widgets.js”; fjs.parentNode.insertBefore(js, fjs); t._e = []; t.ready = function(f) { t._e.push(f); }; return t; }(document, “script”, “twitter-wjs”)); (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = “//connect.facebook.net/en_US/sdk.js”; fjs.parentNode.insertBefore(js, fjs); }(document, “script”, “facebook-jssdk”));

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Kompany Gets Down n’ Dirty in Latest Releases with Never Say Die Records

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If you’re a basshead, and you haven’t been introduced to Kyle Hagberg, aka the upcoming talent Kompany, now’s the time to listen up because this bass music producer’s innovative style mixed with his fresh energy pulsing through his music, is propelling this LA-based produced to the top. The emerging bass music DJ & producer appeared on the scene back in 2017, when he initially started serving up his meticulously crafted sound design to the world as a global audience. Getting his start in music as a drummer, Kompany developed quite the ear for rhythm; this crucial detail provided Kyle with the foundation he needed to find success in his current ventures in bass music as Kompany today! Having attended ICON Collective, which fellow ICON Collective alum JAUZ dedicated his stardom towards as he repeatedly gave the impressive music production school credit for his successful career in electronic music. As I discussed with JAUZ in this exclusive ThatDROP.com interview, this music production school is a shining beacon of talent, a strong collective of musical genius, that has produced one success story after the next for artists like NGHTMRE, Slander, Sullivan King, Boombox Cartel, and other ground-breaking talent. Earlier this year, Kompany continued his collaborations with Never Say Die Records, in the form of his four-track “New Reign” EP. Kompany‘s EP kicks off full-force in “Rapture”, building from a tranquil intro into a guttural bass masterpiece. Next is the trippy tune “Override”, which highlights Kompany’s experimental side, and his versatile production capabilities. “Stomp” is literally what it sounds like, with its crunchy bass jabs and heavy-hitting chaos. He wraps it up nicely with “Buck”, a juggernaut of a track with a haunting orchestral outro. The entire EP slaps SO hard with fast-paced energy complemented by Kompany’s signature meticulous sound design. “Extraterrestrial” by TYNAN & Kompany “Extraterrestrial” is out now on Never Say Die Records Stream / Buy ➤ NSD.lnk.to/NSDF029 Check out Kompany’s Newest EP via NSD below: Connect with Kompany on social media and head to his SoundCloud to grab free downloads of his tracks. Also, check out his remix of Illenium’s free fall. Follow Kompany: Follow Never Say Die:

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Paul McCartney to Livestream Secret New York Concert

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Paul McCartney announced a livestream of a secret concert he’ll perform from an unnamed location in New York on Friday at 8PM ET.The event ties in with the release of his new album, Egypt Station, on the same date, and follows appearance on The Howard Stern Show yesterday and on The Tonight Show With Jimmy Fallon today.“Over the last days, Paul has been teasing fans and hinting at something coming this week in New York City,” read a statement on his website. “Today he confirms he will be joining forces with YouTube Originals to livestream a secret concert via his channel this coming Friday 7th September to celebrate the release of his new album Egypt Station. Fans will be able to tune in to watch Paul perform tracks from Egypt Station along with Beatles, Wings and solo classics. … The venue is still to be confirmed.”During his interview with Stern, McCartney recalled his musician father advising the Beatles to sing “Yes, yes, yes” rather than “Yeah, yeah, yeah” on their early hit single “She Loves You.” “He had musical ability but he didn’t have hip ability,” he noted. He also recalled how John Lennon split the band by announcing he was leaving at a meeting. “Looking back on it, he’d reached that stage in his life,” McCartney said. “We all had.”Speaking of his feud with Lennon’s partner Yoko Ono, McCartney admitted that the rest of the band “thought she was intrusive because she used to sit in on the recording sessions and we’d never had anything like that. But looking back on it, you think, ‘The guy was totally in love with her. And you’ve just got to respect that.’ So we did. And I do.’”McCartney recently added a handful of U.S. dates to his Freshen Up tour schedule.  window.twttr = (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0], t = window.twttr || {}; if (d.getElementById(id)) return t; js = d.createElement(s); js.id = id; js.src = “https://platform.twitter.com/widgets.js”; fjs.parentNode.insertBefore(js, fjs); t._e = []; t.ready = function(f) { t._e.push(f); }; return t; }(document, “script”, “twitter-wjs”)); (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = “//connect.facebook.net/en_US/sdk.js”; fjs.parentNode.insertBefore(js, fjs); }(document, “script”, “facebook-jssdk”));

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Jayne Gray Finds Inspiration from Industrial Techno for Latest EP

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Jayne Gray’s Industrial Techno influenced “It Was All A Dream” I hear a to a lot of music on various electronic music stations. While I can listen to it 24/7 driving to and from work, some of it gets repetitive and sounds similar to the next song. I am always looking for something that stands out and sounds different. Every now and again I find someone with substance. photo credit Jayne Gray Her name is Jayne Gray, an artist originally from Virginia who moved to California to pursue her electronic dance music dreams. As an early fan of hip-hop music, Gray brings that tone in many examples of her work including the intro to this EP. In addition, her unique sound of trap and dubstep makes her an exciting artist to give a listen too. Her new EP, “It Was All A Dream” is a must listen. What can I say, I’m totally guilty of listening to “Heavy Fetish” on repeat. According to Gray, the influence of the song(s) can be traced back from a trip to Europe and the industrial techno scene in Berlin, Germany. A night at the “Kit Kat Club” inspired Gray to take some of the electric guitar riffs into her future work. ‘Heavy Fetish’ brings those inspirations right into the track. After traveling in Berlin this summer I was influenced by the industrial techno scene that I encountered over there and I wanted to let my new album reflect that. -Jayne Gray The songs vocals take on bit of a dark, mysterious, and rebellious tone. It comes across between psychedelic and somewhat erotic.  While you are on a ominous trip, the drop hits you with a spark of life and instant energy. The interaction of the snyths is what I find fascinating about this song.  Like I said above, it is something different that I rarely hear on the airwaves. Take a listen to it below. ‘Venus (Bleed Electric)’ brings an absolute blistering set of sound. It quite literally feels like your taking off for the planet Venus as the track entails. The high energy sound will have your heart pounding on every second of trap line. It is quite a change of pace from ‘Heavy Fetish’, but one that touches on the diversity of Gray’s work and makes the track(s) in this set that much more special. “Hunnie’s hands up like the rings came off” is a line off her song “Fall In My Love” (VIP).  Her lyrical reach and tone in this song is impressive. Mix that with her trap injections and you get Jayne Gray.  This might be one of my favorite tracks off this EP. I don’t think you can put Gray in a simple category, as all these songs have an identity and make her a truly special artist. Take a listen to Jayne Gray’s EP in full: If you like Gray’s sound as much as I do, you might find her performing in and around the California area. Gray has played at festivals such as Santa Cruz Music Festival, Emissions West Coast Bass Culture, and Stilldream Music Festival. She has supported such acts such as Bonnie X Clyde, Ivy Lab, Mr. Carmack, Rusko, among others. Finally, grab her acid trap for free download. Follow Jayne Gray:

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