Two days ago, Steven Tyler threatened to leave the only band that could tolerate his antics and instead form “Brand Tyler,” a nondescript project. Last night, Tyler surprised the crowd during a Joe Perry Project show in NYC and announced that he’s not quitting Aerosmith. Yeah, nobody would care about “Brand Tyler.”
The video is below.
The guy is a big goon. Joe Perry, however, seems level-headed enough. After all, Perry wanted to make another record in the vein of their bluesy sound from the 70s. Steven Tyler, however, wanted to write simple pop songs similar to “I Don’t Want to Miss a Thing.”
Word on the street is that Rush has parted ways with longtime label Atlantic to sign with Roadrunner, and with Working Men, Atlantic’s flogging of their slice of Rush’s catalog (the band signed with the label in 1989) has officially gone from ridiculous to hilarious. It’s a collection of tracks from the band’s live albums Rush in Rio, R30, and Snakes & Arrows Live, and since live albums are essentially a compilation of a band’s hits, that makes Working Men a one-CD compilation of two two-CD compilations and one three-CD compilation. In other words, this might be the most unnecessary album ever made, the Rush equivalent of those budget Super Hits compilations that clog the counters of the Gas ‘n Sips on the highway. There is one unreleased track, a version of “One Little Victory” from the R30 tour. But since “One Little Victory” appears on the Rush in Rio DVD and the R30 Blu-ray, the word “Unreleased” should come with an asterisk.
The performances of these songs, of course, are fantastic – though the audio on the DVD for the Rush in Rio and R30 tracks sounds positively awful – but chances are, if you’re a Rush fan, you own them already, and if you’re not, well, you’re not buying this album anyway. One of the more puzzling releases we’ve seen all year. (Anthem/Zoe/Rounder 2009)
Perhaps the greatest reward an older artist can have is the satisfaction of knowing a massive representation of their work is available for all to experience. Some musicians quit their bands or go on hiatus, only to reunite for all the wrong reasons. Others simply slap together one or several predictable compilations. Tom Petty and the Heartbreakers will never succumb to this level of triviality. The band has been together since 1976, constantly touring and recording. In watching them perform at last year’s Super Bowl, it’s obvious how important they are to American music.
Over the years, the band has created an impressive catalogue of studio albums, but their live act also continues to earn heaps of praise. On November 24, Reprise Records will unveil The Live Anthology, a 4-disc box set (also available for download) containing 48 tracks compiled by Tom Petty, Mike Campbell, and Ryan Ulyate from three decades worth of live material. The package also looks spectacular, featuring artwork from Shepard Fairey, who recently designed the “HOPE” poster for Obama’s presidential campaign.
Come November 22, Best Buy will have the honor of exclusively selling the deluxe version in the U.S. In addition to the standard package, buyers will receive an extra disc of live material, two previously unavailable DVDs, a Blu-ray disc featuring all 62 songs in pristine 96K 24-bit audio, and a seven LP vinyl box set of 51 tracks. Damn.
Still, retrospectives the size of Smart cars are nothing new. Tom Petty knows this, so instead of simply treating his fans to a delectable live package, his team created a one-of-a-kind sensation to up to the ante. It’s called the SuperHighway Tour, an online experience that augments The Live Anthology. By purchasing a “ticket” to the SuperHighway Tour, fans can access commentary, vintage photos, and a virtual merchandise booth, all the while surfing through its visually stunning website.
Here’s how the label describes it:
Fans will also be able to share their photos and stories from their favorite Tom Petty and The Heartbreakers shows. Then on the album’s November 24 release, ticketholders will receive the remaining 24 tracks on The Live Anthology, thereby completing the digital album.
Access to the Superhighway Tour will be available to fans that purchase “tickets” from Ticketmaster.com or through the Superhighway Tour box office.
Tickets for the entire 8-week Superhighway Tour are on sale now through Ticketmaster.com and TomPettySuperHighwayTour.com. The price of a Superhighway Tour ticket includes all 48 The Live Anthology digital tracks plus the 8-week online experience for $24.98 without any additional service fees. Downloads will be available in 256kbps MP3 or FLAC formats – fan’s choice.
A FREE PREVIEW of the SuperHighway Tour is now available at http://www.tompettysuperhighwaytour.com and includes a FREE DOWNLOAD of a track from the 1981 run of shows at Los Angeles’ Forum.
The release of The Live Anthology comes on the heels of two sold out tours, the Grammy winning documentary Runnin’ Down A Dream (directed by Peter Bogdanovich), and a headline performance at the Super Bowl XLII halftime show. Now, Tom Petty and the Heartbreakers – one of rock and roll’s greatest touring bands – will mark their unparalleled string of success with the release of this landmark collection of live recordings that is unlike anything previously available – the band’s story told through the music alone.
The producers made no fixes or overdubs, letting the newly mixed original recordings showcase the invention, spontaneity, craft, and the musicianship that has made Tom Petty and the Heartbreakers among the most celebrated live performers of their time. Along with powerful interpretations of their own classic hits and originals, The Live Anthology features the band tackling some of their best-loved cover material, from classics to obscure beauties to unexpected adaptations. The theme from Goldfinger, the Zombies’ “I Want You Back Again,” the Grateful Dead’s “Friend of the Devil,” early Fleetwood Mac’s “Oh Well,” Booker T. and the MGs’ “Green Onions,” James Brown’s “Good, Good Lovin'” and many more. Tom Petty and The Heartbreakers travel wide, paying their musical debts through song and showing just how confidently the band moves across genres and over time.
It’s like going to a concert and avoiding the long lines, body odor, and drunken idiots. Seriously though, this is an innovative idea — one that guarantees weeks of staring at your computer and rocking out like you’re actually in attendance.
Pavement guitarist Spiral Stairs recently spoke with NME about the possibility of a best-of Pavement compilation. As previously reported, the band will tour for the time since their breakup in 1999, including stops at various festivals across the globe.
Most Pavement crazies already own all of the band’s available material, so it’s nice to know that this prospective compilation will contain previously unreleased radio sessions.
The guitarist, real name Scott Kannberg, told NME.COM that the album would be likely to feature outtakes as well as the band’s best-known songs, and be released around the same time of their reunion gigs next year.
“There’s talk of doing a best of, with some really cool outtakes on that,” he explained. “The very first radio show that Pavement ever did has never been released. I don’t think anyone’s heard it, so we’ll put that out there sometime.”
The Pavement deluxe reissues are incredible. Each package contains the standard album, b-sides, outtakes, and live performances. For a price hovering around 16 bucks, it’s a great deal. I didn’t think Pavement would be the type of band to release a best-of, but I’m game if we get to hear an ancient radio session. The compilation will coincide with the reunion tour, so I guess it’s good to a have a new release out there.
They should just make an album of original material and be done with it. I’m sure they’ll get the itch later in life, but fans won’t want to hear Stephen Malkmus waxing nostalgic. We want their strange brand of rock and we it now!
Has anyone here ever heard of a music website called BlueBeat.com? Me neither. Well, they’ve recently made the news in a big way.
The online music store, owned by the audaciously-named Media Rights Technologies, has been selling downloads of Beatles albums and songs. Problem is, EMI is the only company licensed to distribute Beatles recordings. Despite the benefits of selling individual mp3s, the Beatles are absent on iTunes and other online music merchants. EMI has something else in mind. On December 7, EMI and Apple Records will release a “limited edition stereo USB” containing the Beatles entire catalogue in digital format.
Still, some fans just want individual Beatles songs, especially now that they’ve all been remastered.
Late last week, BlueBeat began selling Beatles song downloads for 25 cents a pop. It’s a great deal, but EMI isn’t jumping for joy. They’re suing.
BlueBeat is a division of Media Rights Technologies, a diversified Northern California digital media distribution firm. Execs at Media Rights Technologies did not respond to phone and email requests for comment.
Observers immediately viewed BlueBeat’s sale of Beatles tracks with suspicion, since even iTunes musicstore, digital music’s industry leader, has never had access to the Beatles’ music. The online sale of the band’s material has been the subject of protracted wrangling between EMI and Apple Corps (not to be confused with Apple Computer, parent company of iTunes).
Each album is offered as an unlimited free stream. Prices on full albums range from $3.50 for the Beatles’ debut “Please Please Me” to $7.50 for “The Beatles” (the so-called “White Album”).
In a twist ripe with irony, representatives of Media Rights Technologies recently wrote to the Librarian of Congress asking that the webcasting licenses of such firms as iTunes, Pandora and MSN Music be revoked on piracy grounds.
In a company press release issued in 2007, Media Rights co-founder and CEO Hank Risan accused Apple of failing to obtain the necessary licenses to distribute copyrighted material on the Internet, which prompted the company to remove all links to iTunes from BlueBeat.com.
Ha! Countersue!
Most of us don’t know who specifically makes money off the Beatles’ music. Obviously, Paul McCartney, Ringo Starr, and their respective families get their proper share, but most of us could give a damn about the executives from EMI. Still, the company has the distribution rights. I don’t know what loophole Hank Risan and his Media Rights Technologies found, but I doubt it’s legitimate.
How do we solve this dilemma?
Why not make the Beatles catalogue public property? When Paul and Ringo start to experience ill health, I hope they sign over the Beatles music to all their fans. The idea may sound ridiculous now, but give it some time.
