Posts Tagged ‘Hollywood’

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Tom Petty & the Heartbreakers played their first show of 2015 on December 19th – a surprise set during Mike Campbell and Jonathan Wilson’s fourth annual Merry Minstrel Musical Circus: A Holiday Gathering & Jamathon at the Troubadour in Los Angeles. Joining Petty onstage was none other than longtime Petty collaborator Jeff Lynne.

Since regular Heartbreakers drummer Steve Ferrone was unavailable, Dirty Knobs drummer Matt Laug filled his role for tunes like “Mary Jane’s Last Dance” and classic rock covers like “Little Red Rooster” and “I’m A Man.” 

The night also featured the rest of Campbell’s side band Dirty Knobs, Dawes, Jackson Browne, Duane Betts, and members of My Morning Jacket.

Jeff Lynne had recently powered up ELO after a much too long hiatus (since re-named Jeff Lynne’s ELO) and had released Alone in the Universe in November 2015.

This was the 4th annual Merry Minstrel Musical Circus at the Troubadour in Hollywood, CA. This show is put on by the Tazzy Fund ( Rock the Dogs (Mike & Marcie Campbell) and Jonathon Wilson, on behalf of musical education within the LA Unified School District.SHOW LESS

On February 2, 2018, Zappa Records/UMe will release

43 years ago in December 1973Frank Zappa played a series of legendary concerts at the famed Roxy Theatre on the Sunset Strip in Hollywood. Considered a high-water mark of his career, owing to the incredible, virtuosic performances of himself and his stellar band The Mothers, the five shows – across three nights – included a private invite-only performance/soundcheck/film shoot followed by back-to-back doubleheaders. A few days later, continuing this incredibly prolific week, Frank Zappa brought his band and camera crew to Ike Turner’s Bolic Sound in Inglewood for a filmed recording session. In typical Zappa fashion, he recorded it all.

Zappa Records presents The Roxy Performances. A 7-Disc Box Set that contains the MOTHERLODE of all things Roxy. All 4 public shows from December 9th & 10th 1973, remixed in 2016 and presented in their entirety for the first time. Also included is the sound check from December 8th and bonus content that features rehearsal nuggets and unreleased tracks along with highlights from the recording session at Bolic Studios that took place in conjunction with the filming dates.  The box set that collects all four public shows from December 9th-10th, 1973, and the December 8th film shoot/soundcheck, each presented in their entirety for the first time, along with bonus content featuring rarities from a rehearsal, unreleased tracks and highlights from the Bolic Studios recording session. This complete collection, totaling nearly eight hours, documents the Roxy shows as they happened and presents brand new 2016 mixes by Craig Parker Adams from new 96K 24 Bit transfers of the multi-track masters. The set is rounded out with a 48-page booklet that includes photos from the performances, extensive liner notes by Vaultmeister Joe Travers, essays from Zappa family friend, Australian writer Jen Jewel Brown,and American singer/songwriter Dave Alvin, who give their firsthand recollections about the shows, and a selection of archival press reviews.

This is one of my favorite Frank Zappa line-ups ever. This box contains some of the best nights of music Los Angeles has ever seen with their ears at an historic venue,” says Ahmet Zappa, who co-produced the collection along with Travers, “Hold on to your hotdogs people. This box is the be-all-end-all. This is it. This is all of it. It’s time to get your rocks off for the Roxy.”

While portions of these concerts have been released in various formats over the years – first in 1974 on the album Roxy and Elsewhere, which mixed material from the shows with performances recorded in different locations months later, followed by 2014’s Roxy By Proxy, which featured Zappa’s 1987 digital mixes of tracks from various shows, and most recently the 2015 film Roxy The Movie and its accompanying soundtrack – the shows have never been released in their entirety until now.

The Roxy Performances capture Zappa and The Mothers in peak condition as they play to rowdy sold-out crowds in the intimate, just-opened venue in their hometown Los Angeles following the release of Over-Nite Sensation. The extraordinary band was one of Zappa’s best with keyboardist George Duke, bassist Tom Fowler, trombonist Bruce Fowler, tenor saxophonist and vocalist Napoleon Murphy Brock, percussionist Ruth Underwood and drummers Ralph Humphrey and Chester Thompson all flawlessly in lockstep as Zappa led them through his musically adventurous compositions filled with complicated time signatures and sudden tempo changes. As the Los Angeles Times remarked in their review, “The content of any show starring Frank Zappa and the Mothers of Invention is unpredictable. But the quality of the show is predictable. I have seen this satirical rock group many times and every show has been excellent. True to form, the group performed sensationally at the Roxy on Sunday night.” The (long-defunct) Los Angeles Herald-Examiner was equally impressed: “This time around Zappa, the counter-culture’s John Cage, has assembled a remarkable group of musicians. Tim Fowler on bass, his brother Bruce on trombone, Ralph Humphrey on drums, and George Duke, whose keyboard skills almost upstaged the leader himself. Percussionist Ruth Underwood kept up with the band’s frenetic pace without missing a single swat of the gong, and she was incredible.”

The material expertly performed across the five shows consisted mostly of songs from 1969 and beyond and included a dizzying array of stylistic diverse tracks from Uncle Meat, Hot Rats, Waka/Jawaka and Over-Nite Sensation. The shows also include a number of live favorites like “Village Of The Sun,” “Pygmy Twylyte,” “Cheepnis,” “Penguin In Bondage,” “Echidna’s Arf (Of You),” and “Don’t You Ever Wash That Thing.” Many of these ended up on Roxy & Elsewhere.

Jen Jewel Brown and Dave Alvin give a glimpse at what it was like to be at these historic shows in their richly detailed essays in the liner notes that accompany the recordings. Alvin reflects about meeting Zappa on the Isle of Capri in 1982 while on tour with his band The Blasters and how Zappa’s eyes lit up when he told him he saw him at the Roxy. “You were at a Roxy show?,” he beamed. He goes on to write, “The Roxy Mothers were a grand combination of high art, low art, masterful technique and razor sharp humor with a touch of wild abandon.” In Brown’s reflection, “This is a cultural record and there’s some prime Zappanalia here. Frank had put the crippling disasters of December ’71 behind him and was plunged headlong into some of the most beautiful music and zestful, open-hearted engagement with life imaginable.”

In the middle of 2012, Tobias Jesso Jr. bottomed out. Hard. Reeling from a recent breakup, the Vancouver native was riding his bike through Los Angeles, where he had tried—and failed—to make it as a behind-the-scenes songwriter for a few years, when a Cadillac blindsided him, sending him flying, his hand smashing down on the car’s hood ornament. As the driver sped off, Jesso looked down to see a gnarly gash and lots of blood… and then looked up to see a man pedaling away with his bicycle. “He literally waved to me as he was leaving,” says Jesso over Skype, still in disbelief—he holds up his palm to reveal an emergency-room scar in the shape of a “J.” The next day, as he wondered whether his hand would ever work quite as well as it did before, he found out his mother had cancer. That was it. He moved back into his old bedroom in North Vancouver, utterly lost and dejected, feeling like a failure.

With all of his musical equipment in storage back in L.A., he turned to his sister’s abandoned piano, an instrument he had never really played in a serious way. were marked by a youthful desire for success, when he started putting chords and lyrics together at that piano, things were different.

His forthcoming album Goon, due out next year, features production from White, along with the Black Keys’ Patrick Carney, the New Pornographers’ John Collins, and studio guru of the moment Ariel Rechtshaid. It also boasts Jesso’s wonderfully plainspoken songs of heartbreak and apprehension, which bring to mind a less snarky Randy Newman or Harry Nilsson, or a more hopeful Nick Drake. On the classic-sounding “Hollywood”, he tells an autobiographical tale about going through the showbiz wringer. “I think I’m gonna die in Hollywood,” he sings near the end of the song, before unexpected horns swell up, suggesting an unlikely afterlife.

“How Could You Babe” from the debut album “Goon” out March 16/17th, the more varied production he’s bringing to the table on tracks like this and ‘Hollywood’ without losing the distinct piano-ballad style that drew me in to begin with. The vocal performance he gives on this track is kind of incendiary for Tobias. Plus, the fuzzy, aged-film aesthetic to this music video is completely his.. all I can say is that his album is going to be amazing from what I heard!!! This guy’s voice is phenomenal!


After cutting his teeth as a bassist for chintzy pop-rock group the Sessions, Vancouver’s Tobias Jesso Jr. took a moment of crisis before coming into his own. Within two 2012 days, Jesso suffered a harrowing collision with a car while he was riding his bike and then swiftly learned that his mother had cancer — a confluence of events that sent him back to his childhood home. Soon after, he took up playing a piano that his sister had left when she moved out, and began writing simple ballads that were dirgelike out of necessity — because his limited instrumental knowledge meant he couldn’t play the parts any faster. This year, Jesso has churned out a handful of unabashedly raw, lyrically incisive demos via a flexidisc series for True Panther. Though they feature little more than Jesso’s reedy voice and a creaky piano, his debut album, “Goon” produced in part by ex-Girls member J.R. White — allows him to stretch out. On “Hollywood,” the record’s lead single, he adds a dreamy sigh of horn parts to the song’s once-sparse outro.

Sounds Like: A young Randy Newman’s stripped-down demos,


Vancouver native Tobias Jesso Jr moved to LA some years ago to try to make it as a songwriter. It didn’t go well. Failure, a breakup, a traffic accident and his mother’s cancer diagnosis sent him home, his tail between his legs. Paradoxically, success found him there, when Jesso Jr’s piano-and-voice compositions began to take shape, and he began collaborating with Chet “JR” White, formerly of the band Girls. Fast-forward several months, and Jesso Jr’s debut album finds people such as producer-du-jour Ariel Rechtshaid (Vampire Weekend, Haim, Sky Ferreira) and the Black Keys’ Patrick Carney on board. Jesso Jr gravitates more towards the literate American 1960s of Harry Nilsson. Jesso Jr’s experiences in the entertainment industry into succinct takes on a classic sound. KE

Tobias Jesso Jnr has shared a new single called “Hollywood”, his first studio recording. It was produced by Chet “JR” White of Girls, and can be streamed below.

Additionally, he’s announced his first-ever U.S. shows. They’ll take place this week on November 18, 19, and 20 at a loft located in Brooklyn’s Williamsburg neighborhood. House shows are also planned for Los Angeles in the future.

“Hollywood” appears on Jesso’s debut album, which will be released in the spring of 2015 via True Panther Records. It features production from White, the Black Keys’ Patrick Carney, and Ariel Rechtshaid.




new single from the band BEACH DAY from Hollywood Florida, members  Kimmie Drake and Styler Black  had a love of 60’s girl groups this track is taken from the album “Native Echoes”  the album is released on August 19th Beach Day are a  Surf Beach Pop with a lo-fi feel perhaps in the Beach Coast style



LOST BOY ? pretty much the project of Davey Jones a Brooklyn Scene staple along with his bandmates from BAKED, effortless guitar that have an irresistable charm, A full length album is due later this year,