Devo Redux: Devo will perform its experimental music from 1974-1977 on a North American tour this summer. The 10-date North American tour is dedicated to the memory of the late Robert “Bob 2″ Casale, whose family will get a portion of the proceeds. According to Bob 2’s brother Gerald, Gerald Casale, Bob 2 “had no will or insurance.” — Slicing Up Eyeballs
Dylan’s Bed Jumping: Bob Dylan jumped on Johnny Cash’s bed the first time they met, according to the account the singer gave to his son, John Carter Cash which he commented about in a Reddit Q&A. Johnny Cash met Dylan in a New York City hotel room in the early Sixties. Although they had exchanged letters, upon finally meeting one another, “Dylan rushed into his room, jumped on the bed and began bouncing up and down chanting, ‘I met Johnny Cash, I met Johnny Cash.'” Although they fell out of touch as time went by, they remained friends. — Rolling Stone
Break the Code?: Fans think they’ve discovered the release date for ç upcoming album in a teaser video released this week. The date? May 26, 2014. Time will tell. — NME
Check out the video for yourself:
Gimme Money!: Neil Young’s PonoMusic Kickstarter campaign has now passed the $5 million mark. As of Saturday, March 29, 2014 14,808 people had contributed $5,006,618.
A Love Supreme: Six rolls of undeveloped film shot by Chuck Stewart during sessions for John Coltrane’s transcendent album, A Love Supreme, were found by his son. Check out a few of the photos at the NPR website. — NPR
-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –
The Strokes’ Julian Casablancas and his backing band the Voidz ripped through some loud and nasty new songs last night at the Chevrolet Courtyard, SXSW.
If you saw Casablancas during his first solo tour, then you already know the deal: It’s exceedingly weird to see him onstage with a bunch of hired guns backing him up, even if the newly added billing suggests he’s trying to create more of a “me & my band” vibe this time around. (The Voidz lineup is different than the group he toured with for Phrazes.) Even if there was a veneer of imitation and rich kid play-acting to it, the Strokes were one of the last great “band as gang of friends that eventually spontaneously combusts,” a band that genuinely looked and acted the part of real rock stars together. Given, it’s getting to the point that if the Strokes are still together in any fashion, you get the sense they’re just going through the motions to get back to their other things anyway. Which is fine; Casablancas’ solo work’s been pretty great so far. It’ll just take some adjustment to get used to seeing Casablancas playing “Ize Of The World” or “Reptilia” (which we didn’t hear last night, but they played at one of the previous shows) with a mulleted and mustachioed guitarist rather than Albert Hammond, Jr. and Nick Valensi next to him.
“[She] teaches men how to be intimate and make love,” Marquardt told Consequence of Sound. “Intimacy is one of the hardest things to learn in life and it is becoming increasingly challenging in our modern, technologically-driven society. Ultimately, ‘She’s Lost Control’ is a story about compassion and reaching out to other human beings.”
The film will have its North American debut at South by Southwest in March.
Now it turns out that “Human Sadness” is actually from a documentary that Casablancas and Taufique worked on in 2013, and is not in “She’s Lost Control.”.
On Facebook Taufique wrote me: “Actually, the song referenced in the article is one that Julian and I worked on together for a documentary last year, not SLC.”
Taufique tells me the documentary is called “Unseen Beauty,” and “it’s a doc about Julian’s stepfather, the painter, Sam Adoquei.”
Check out the song:
-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-
The Strokes singer Julian Casablancas has signed New York’s Cerebral Ballzy to his Cult Records label and will release the group’s second album, Jaded & Faded, next year.
The group has a Ramones-style punk-pop sound, as you can hear if you check out the video posted above. The black and white video is a tribute of sorts to the New York of the Velvet Underground’s mid-’60s, as well as French New Wave cinema and Edie Sedgwick.