grace

Grace Woodroofe Announces New Album on Modular

Australian folk-blues chanteuse, Grace Woodroofe, has been championed by fellow artists since she was barely sixteen. LA based artist collective The Masses heard demos she had entered into an Australian radio contest, and invited her to come to the US and record. Through this invitation she ended up collaborating with Mark Eitzel (American Music Club), Carlos Nino (Dublab Collective) and performer/arranger Justin Medal-Johnsen (NIN, Beck, Gnarls Barkley). After finishing her studies in Perth, Grace returned to LA and started work on Always Wantwith Ben Harper, who produced the debut album.

Always Wantis a collection of soul-stirring compositions that manage to explore darkness and discomfort and yet retain a mesmerizing tranquility. The fuzzed out guitars and thud in “Transformer” offset Grace’s gently seductive vocal. The melancholic twinkling of “Battles” underscores its story of a middle-aged waitress’ unsuccessful hunt for companionship. The heart-wrenching single “Quicksand” makes the Bowie classic soar from an understated and delicate arrangement to a spectacular climax replete with lush strings. Title track “Always Want” speaks to a not-so-unusual desire to want what feels just out of reach. The snarling garage stomper “Bear” is a tough love anthem that finds Grace on the hunt.

Grace’s live shows have been garnering raves across the globe. The LA Weekly recently declared her live show “powerful, dynamic, and striking."  She has toured with Cat Power and Edward Sharpe and the Magnetic Zeros, and will be on tour with Ben Harper throughout the Fall.

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Catch Grace Woodroofe On Tour This Fall

9/27: Montreal, QC  @ Metropolis
9/29: Philadelphia, PA @ Electric Factory
9/30: Boston, MA @ House of Blues
10/1: New York, NY @ Terminal 5
10/4: Washington, DC @ 9:30 Club
10/5: Washington, DC @ 9:30 Club
10/7: Atlanta, GA @ The Tabernacle
*all dates with Ben Harper

The Rapture Announces U.S. Tour Dates

The Rapture recently shared “How Deep Is Your Love?,” the first album track from In The Grace Of Your Love, along with Emperor Machine’s remix of the track via Adult Swim (downloads for both below!). Now, we’re excited to share the news of The Rapture’s first full U.S. tour in support of the album, which will see them on the road from late September through October!

The band has set the bar high with the first track, but this is just the beginning.  Produced by Philippe Zdar (Phoenix, Beastie Boys, Chromeo), the writing and recording process for In The Grace Of Your Love connected the band back to why they started playing music in the first place. Drummer Vito Roccoforte explains that they “focused on the process more than the results. We approached the album in a fearless manner, with nothing to lose.” By recapturing the fun and love for the process, the results were definitely a win.

Download “How Deep Is Your Love?” HERE or The Emperor Machine Remix via Adult Swim HERE

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Upcoming U.S. Tour Dates:

8/20 - New York, NY – Music Hall of Williamsburg

9/22 – Boston, MA – Royale

9/23 – New York, NY – Webster Hall

9/24 – Baltimore, MD – Sonar

9/25 – Washington, DC – U Street Music Hall

9/27 – Columbus, OH - TBD

9/28 – Chicago, IL – Metro

9/29 – Minneapolis, MN – The Varsity

10/1 – Denver, CO – Marquis Theater

10/3 – Scottsdale, AZ – Martini Ranch

10/4 – San Diego, CA – Belly Up

10/6 – Los Angeles, CA – The Music Box

10/7 – Pomona, CA – Glasshouse

10/8 – San Francisco, CA – The Sound Factory

10/10 – El Paso, TX – Club 101

10/11 – Dallas, TX – Granada Theater

10/12 – Austin, TX – La Zona Rosa

10/13 – Houston, TX – Warehouse Live

10/17 – Miami, FL – Grand Central

10/18 – Orlando, FL – The Beacham Theatre

10/19 – Atlanta, GA – Masquerade

10/21 – Philadelphia, PA – Making Time @ Voyeur

Grace Jones' Hurricane, first US release in 22 years

Acclaimed singer, songwriter and actress, Grace Jones is preparing to release Hurricane, a new album of original material, in the U.S. on September 6 via [PIAS] America. Produced by Jones and Ivor Guest, Hurricane has received widespread praise in the U.K. and Europe where it was released in 2009. The tracks “Williams’ Blood” and “Corporate Cannibal” have emerged as hits as has the video for “Corporate Cannibal” directed by Nick Hooker. The release will also include a brand new bonus disc dub version of the entire album.

Check out the William’s Blood (Aeroplane remix) radio edit MP3 where it premiered on RCRD LBL today or HERE!

In July 2009, Jones performed in a new show at The Hollywood Bowl in Los Angeles and the Hammerstein Ballroom in New York City. Collaborating with acclaimed Academy Award-winning costume and production designer Eiko Ishioka, Jones debuted songs from the new album for U.S. audiences.

The shows received overwhelming praise from audiences and critics alike.  Daily Variety wrote “...a commanding Grace Jones provided a finely tuned display of humanity” and “...the return of Jones was warm and uplifting”. The LA Times ran the headline “Grace Jones bowls over the Bowl” and the New York Times reported that Jones was “lithe, fierce and solid”. Rolling Stone wrote “So many performers are said to be larger than life, but the show biz cliché has never been truer than it is for Grace Jones…the crowd roared as if they’d seen the second coming”.

Born in Jamaica before relocating to Syracuse, New York with her family, Grace Jones embarked on a successful career as a model in New York City and Paris. In 1977 Jones secured her first record deal resulting in a string of dance-club hits including “I Need A Man” and her acclaimed reinvention of Edith Piaf’s classic “La Vie En Rose”. The three disco albums she recorded, “Portfolio” (1977), “Fame” (1978) and “Muse” (1979), generated considerable success in the market and established her as a major recording artist.

During this period Jones became a fixture on the international club scene and was often seen at New York City’s famed nightclub Studio 54. Jones also became a muse to Andy Warhol who photographed her extensively and created a series of iconic portraits of her.

Towards the end of the 1970’s Jones adapted the emerging New Wave music to create a different style for herself. Working with Island Records producers Chris Blackwell, Alex Sadkin and Compass Point All Stars, she recorded the critically acclaimed albums “Warm Leatherette” (1980) and “Nightclubbing” (1981). These included reimagining’s of songs by Sting (“Demolition Man”), Iggy Pop and David Bowie (“Nightclubbing”), Roxy Music (“Love is the Drug”), Astor Piazzolla (“I’ve Seen That Face Before (Libertango)”) and Tom Petty (“Breakdown”).

Both albums included tracks co-written by Jones herself including “A Rolling Stone”, “Feel Up” and most notably, the post-disco dance track “Pull Up to the Bumper” which spent seven weeks as #2 on the U.S. Billboard Hot Dance Club play chart and became a Top 5 single on the U.S. R&B chart.

Parallel to her musical shift was an equally dramatic visual makeover, created in partnership with artist Jean-Paul Goode, with whom she had a son. Jones adapted a severe, androgynous look with square-cut hair and angular, padded clothes. The cover photographs of “Nightclubbing” and “Warm Leatherette” as well as her subsequent albums exemplified this new identity.

Jones’ next release was the dub reggae-influenced “Living My Life” (1982) which featured the self-penned hit “My Jamaican Guy”. In 1985 she worked with Trevor Horn for the conceptual music collage “Slave to the Rhythm” and in 1986 she collaborated with Nile Rogers for “Inside Story” which produced the Billboard 100 Hit, “I’m Not Perfect (But I’m Perfect For You”), one of several songs she co-wrote with Bruce Wooley. “Bulletproof Heart” (1989) spawned the Number 1 U.S. Hot Dance Club Play hit “Love on Top of Love (Killer Kiss)” produced by C&C Music Factory’s David Cole and Robert Clivilles.

Jones is equally famous for her motion picture roles in such features as “Conan the Destroyer” (1984) co-starring Arnold Schwarzenegger, “A View to a Kill” (1985) co-starring Roger Moore as James Bond, the vampire thriller “Vamp” (in which Keith Haring famously painted her body for her role as an undead exotic dancer) and “Boomerang” (1992) co-starring Eddie Murphy (for which she recorded the song “7 Day Weekend”). Her television work includes appearances on “Pee-Wee’s Playhouse Christmas Special” (1988), “Beastmaster” (1999) and “Shaka Zulu: The Citadel” (2001).

Grace Jones To Release "Hurricane" Album & Dub Version

Acclaimed singer, songwriter and actress, Grace Jones is preparing to release Hurricane, a new album of original material, in the U.S. on September 6 via [PIAS] America. Produced by Jones and Ivor Guest, Hurricane has received widespread praise in the U.K. and Europe where it was released in 2009. The band that plays on the album includes luminaries Brian Eno, Sly & Robbie, and Tricky. The tracks “Williams’ Blood” and “Corporate Cannibal” have emerged as hits overseas as has the video for “Corporate Cannibal” directed by Nick Hooker. The release will also include a brand new bonus disc dub version of the entire album. Download the MP3 of the track “Sunset Sunrisehere.

In July 2009, Jones performed in a new show at The Hollywood Bowl in Los Angeles and the Hammerstein Ballroom in New York City. Collaborating with acclaimed Academy Award-winning costume and production designer Eiko Ishioka, Jones debuted songs from the new album for U.S. audiences.

The shows received overwhelming praise from audiences and critics alike.  Daily Variety wrote “...a commanding Grace Jones provided a finely tuned display of humanity” and “...the return of Jones was warm and uplifting”. The LA Times ran the headline “Grace Jones bowls over the Bowl” and the New York Times reported that Jones was “lithe, fierce and solid”. Rolling Stone wrote “So many performers are said to be larger than life, but the show biz cliché has never been truer than it is for Grace Jones…the crowd roared as if they’d seen the second coming”.

Born in Jamaica before relocating to Syracuse, New York with her family, Grace Jones embarked on a successful career as a model in New York City and Paris. In 1977 Jones secured her first record deal resulting in a string of dance-club hits including “I Need A Man” and her acclaimed reinvention of Edith Piaf’s classic “La Vie En Rose”. The three disco albums she recorded, “Portfolio” (1977), “Fame” (1978) and “Muse” (1979), generated considerable success in the market and established her as a major recording artist.

During this period Jones became a fixture on the international club scene and was often seen at New York City’s famed nightclub Studio 54. Jones also became a muse to Andy Warhol who photographed her extensively and created a series of iconic portraits of her.

Towards the end of the 1970’s Jones adapted the emerging New Wave music to create a different style for herself. Working with Island Records producers Chris Blackwell, Alex Sadkin and Compass Point All Stars, she recorded the critically acclaimed albums “Warm Leatherette” (1980) and “Nightclubbing” (1981). These included reimagining’s of songs by Sting (“Demolition Man”), Iggy Pop and David Bowie (“Nightclubbing”), Roxy Music (“Love is the Drug”), Astor Piazzolla (“I’ve Seen That Face Before (Libertango)”) and Tom Petty (“Breakdown”).

Both albums included tracks co-written by Jones herself including “A Rolling Stone”, “Feel Up” and most notably, the post-disco dance track “Pull Up to the Bumper” which spent seven weeks as #2 on the U.S. Billboard Hot Dance Club play chart and became a Top 5 single on the U.S. R&B chart.

Parallel to her musical shift was an equally dramatic visual makeover, created in partnership with artist Jean-Paul Goode, with whom she had a son. Jones adapted a severe, androgynous look with square-cut hair and angular, padded clothes. The cover photographs of “Nightclubbing” and “Warm Leatherette” as well as her subsequent albums exemplified this new identity.

Jones’ next release was the dub reggae-influenced “Living My Life” (1982) which featured the self-penned hit “My Jamaican Guy”. In 1985 she worked with Trevor Horn for the conceptual music collage “Slave to the Rhythm” and in 1986 she collaborated with Nile Rogers for “Inside Story” which produced the Billboard 100 Hit, “I’m Not Perfect (But I’m Perfect For You”), one of several songs she co-wrote with Bruce Wooley. “Bulletproof Heart” (1989) spawned the Number 1 U.S. Hot Dance Club Play hit “Love on Top of Love (Killer Kiss)” produced by C&C Music Factory’s David Cole and Robert Clivilles.

Jones is equally famous for her motion picture roles in such features as “Conan the Destroyer” (1984) co-starring Arnold Schwarzenegger, “A View to a Kill” (1985) co-starring Roger Moore as James Bond, the vampire thriller “Vamp” (in which Keith Haring famously painted her body for her role as an undead exotic dancer) and “Boomerang” (1992) co-starring Eddie Murphy (for which she recorded the song “7 Day Weekend”). Her television work includes appearances on “Pee-Wee’s Playhouse Christmas Special” (1988), “Beastmaster” (1999) and “Shaka Zulu: The Citadel” (2001).

Chamberlin Release Friend-Made Video for "Turn Around"

What could be better than making music you love surrounded by friends and sweeping views of the Green Mountains in Goshen, VT? For the guys in Chamberlin, not much. In advance of their debut album Bitter Blood, the band has made a video with the help of 23 friends that chronicles the making of the album.

The video for the reflective song “Turn Around” opens with a shot of a lonely dirt road that reveals the secluded cabin rehearsal space where Bitter Blood was created. The spot overlooks the Green Mountains of Goshen, VT, an undeveloped piece of land that hasn’t changed since the cabin was built in the late ’70s by one of the band member’s parents. Chamberlin and friends captured the footage for this video on a small point-and-shoot digital cameras, gathering clips of Bitter Blood recording sessions, beautiful landscape shots and live performances. While writing and rehearsing the record, late night liquor-fueled rehearsals, fireworks and bonfires became common practice for the band and ended up in the video.

Bitter Blood was produced by Scott Tournet, guitarist for Grace Potter & The Nocturnals and engineered by Ben Collette. The album captures a unique time for Chamberlin spent in an extraordinarily unique location. It will be released on February 14, 2011 via Roll Call Records/EMI. Chamberlin will be playing a show with Grace Potter & The Nocturnals on December 28 at Higher Ground in Burlington, VT.

Watch the video here.

Four Never-Before-Released Live Albums By Jefferson Airplane

The argument rages on, but for many music fans in the ’60s, the best live band from the Bay Area was Jefferson Airplane. Formed during the summer of 1965 in San Francisco, the group triumphed in 1967 with Surrealistic Pillow, one of the key recordings of the Summer of Love, containing the hits “Somebody to Love,” “White Rabbit” and “Today.” The Airplane featured three master instrumentalists (Jorma Kaukonen, Jack Casady and Spencer Dryden) and three vocalists: Grace Slick (replacing original singer Signe Anderson in 1966), Marty Balin and Paul Kantner. The Rock ’n’ Roll Hall of Fame inductees made a total of eight studio albums and released a smattering of live albums including 1969’s Bless Its Pointed Little Head.

But what most fans don’t know is that there are vast reserves of never-released live material by Jefferson Airplane capturing key moments in their history. On October 26, 2010, Collectors’ Choice Music Live will release four previously unreleased live albums: Live at the Fillmore Auditorium 10/15/66 Late Show — Signe’s Farewell, Live at the Fillmore Auditorium 10/16/66 Early & Late Shows — Grace’s Debut, Live at the Fillmore Auditorium 11/25/66 & 11/27/66 — We Have Ignition, and Return to the Matrix 2/1/68.

The first three releases document the astonishing growth of the band, and follow the near-seamless absorption of Grace Slick’s voice and material into the Airplane’s sound just as they were entering the studio to record Surrealistic Pillow. The fourth release captures the group triumphantly returning to their home turf at Marty Balin’s club The Matrix for a relaxed, exploratory set in an intimate setting, performing material from their first four albums, including Crown of Creation, seven months before its release. Taken together, the four releases confirm that at its best, when Jorma was soaring, Jack rumbling and the three voices joining in ecstatic melisma, no other band could ascend to the heights attained by the Airplane. Hand-picked by a team of devotees, annotated by frequent Airplane flyer Craig Fenton (author of the book Take Me To A Circus Tent: The Jefferson Airplane Flight Manual), and featuring rare photos inside handsome digi-packs, these concerts distill and express the dream and promise of the Haight-Ashbury scene.

• Live at the Fillmore Auditorium 10/15/66 Late Show — Signe’s Farewell: The Grace Slick era of the Airplane has understandably received most of the attention paid the band over the years. But they had released a good album (Jefferson Airplane Takes Off) and were already a powerful live outfit before Slick came aboard. The 10/15/66 release not only marks the first appearance on CD of a live recording featuring Signe Anderson with the band, but also her very last show. Both Marty Balin and the Fillmore’s Bill Graham give her shout-outs. Songs include “3/5ths of a Mile in Ten Seconds,” “Tobacco Road,” “Midnight Hour,” “High Flyin’ Bird” and “Chauffeur Blues” (which Grace never performed out of respect for Signe, who’d made the old blues tune her own). It was the end of an era. But a new one was about to begin the very next day, and is the subject of the 10/16/66 release.

• Live at the Fillmore Auditorium 10/16/66 Early & Late Shows — Grace’s Debut: The 10/16/66 volume chronicles the first set of concerts featuring Grace Slick as a member of the Airplane, a mere day after Signe Anderson officially left the band. The band has yet to add the material Slick brought to the band (“Somebody To Love” and “White Rabbit) to the set list, but Grace’s harmony work with Marty and Paul is impressive, and you can literally hear her confidence growing from the first set to the second. The album contains “The Other Side of This Life,” “Let Me In,” “Don’t Let Me Down,” “Run Around” and “High Flying Bird,” plus versions of “3/5ths of a Mile in 10 Seconds” and “Tobacco Road” with the new line-up, and Leiber & Stoller’s “Kansas City,” which has never appeared on any Airplane studio or live album. Surrealistic Pillow photographer Herbie Greene contributes photos. Things would never be the same for the band or for ’60s rock.

• Live at the Fillmore Auditorium 11/25/66 & 11/27/66 — We Have Ignition:  CCM Live subtitled these shows We Have Ignition as they believe this is when the Airplane transformed from a high-flying bird into a psychedelic spaceship (but not yet a Starship.) It’s difficult to believe, when comparing these November shows with Grace’s live debut on 10/16/66,  that only six weeks have elapsed. Not only has the band (particularly guitarist Jorma Kaukonen) progressed as musicians, but the infusion of Surrealistic Pillow material some four months before the album hit the stores shifts the focus of this folk-rock band to rock. Included are “Plastic Fantastic Lover,” “High Flyin’ Bird,” “Bringing Me Down,” “ D.C.B.A-25,” “My Best Friend,” “Go to Her,” “She Has Funny Cars,” “3/5ths of a Mile in 10 Seconds,” “Skip Spence’s “J.P.P. McStep B Blues,” “White Rabbit,” “Today” and more.  Two rarities are a mind blowing, 9:45-minute version of “The Other Side of Life” (performed for a photo session) that neither its author, the folk singer-songwriter Fred Neil, nor the band could ever have anticipated, and the only known recording of an instrumental known in some quarters as “My Grandfather’s Clock.” This is the Airplane at its early apex.

• Return to the Matrix 2/1/68: The Airplane returned to the first club they ever played, the Matrix, in 1968 for a 103-minute show at the height of their commercial prowess. They band premiered two songs from the Crown of Creation album (which was months away from being released): “Share a Little Joke” and an instrumental version of “Ice Cream Phoenix.” They also performed “Blues From an Airplane,” a song from its first (pre-Slick) album. Also here: “Somebody to Love,” “Young Girl Sunday Blues,” “She Has Funny Cars,” “Two Heads,” “Martha,” “Kansas City,” “Other Side of this Life,” “Today,” “Won’t You Try/Saturday Afternoon,” “It’s No Secret,” “Watch Her Ride,” “Plastic Fantastic Lover,” “Ballad of You and Me and Pooneil,” “White Rabbit,” “Fat Angel” and  “3/5ths of a Mile in 10 Seconds.”

Jack Grace Band & Luther Wright and the Wrongs

With a new CD titled Drinking Songs for Lovers, one might be forgiven for believing that Jack Grace should ease up a little. A singer, songwriter and guitarist who has made a career out of following no one’s rules but his own is probably going to keep doing his thing until his liver lays down the law.

He’s earned praise from press and peers, and even a couple of legends. Opening for Jerry Lee Lewis afforded him a quotable anecdote after Lewis, listening to the band’s set backstage at BB Kings in NYC, quipped, “he sounds like that Cash kid, only good.” After Lewis’ set, Jack shook his hand and told him it had been an honor to share the stage with him. Lewis leaned in and said, "I really enjoyed your set."

A consummate live performer, lyricist, singer and guitarist, Jack is at the helm of a powerhouse band that plays kick the can with any musical genre that it stumbles across. Intelligence, humor and unpredictable cross-pollinations of musical categories await. But don’t take our word for it. "If you don't laugh and cry at the same time as Grace and his gracefully loose band navigate their way through such gems as ‘If You're Gonna Raise a Drunk’ and ‘Morning Margaritas,’ you better check your pulse. You might be disgracefully dead." – James Reaney, London Free Press (London, ON)

Luther Wright has been writing, recording and performing music for over 16 years now. In 1994 he joined up with Sarah Harmer to play lead guitar in the Canadian, pop-rock band, "Weeping Tile" (WEA/Atlantic). During the next 5 years of full-on touring and recording Luther and his roots compadres formed the now-renowned, country/punkgrass road daemons, "Luther Wright & The Wrongs".

Known on one hand for their brilliantly executed, country/bluegrass reworking of Pink Floyd’s classic The Wall, Luther and the band have also recorded and released three all-original albums, Hurtin' For Certain (1997), Rogers Waltz (1999), the valentine gone awry, Guitar Pickin' Martyrs (2003), and the recently released, Instrumentality. Also to boot, they made two cds of original childrens music under the guise of Butterfingers.

Wednesday June 9, 8:30pm

JACK GRACE BAND & LUTHER WRIGHT + THE WRONGS
w/A Steak Show & Dave Houghton
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Tickets are on sale through the Boulder Theater box office | Internet 24-7 at www.bouldertheater.com | Phone: During box office hours 303-786-7030

Jammin' With Rex: Dec. 13th Party with Grace Potter & The Nocturnals

Join us on Sunday, December 13th: Meet Grace Potter and The Nocturnals at a pre-concert party and enjoy their music at The Fillmore in San Francisco.  Our party will feature a special beer tasting compliments of San Francisco's Magnolia Brewery.

Now through December: Grateful Graphics will contribute to Rex $2 of every website purchase.

Purchase the special Rex Foundation 25th Anniversary Poster designed by Stanley Mouse as a gift for yourself or others.

As to direct contributions, consider Jammin' with Rex: Make a Gift ~ Get a Gift, where with your contribution of $25 you can choose either some delicious Rex Jam - a jar of organic strawberry spread made by Sweet Creek Foods or the 3-disc Jerry Jams-Jerry Cares CD.

Just as with the Rex Community Caravan that we started a few years ago to encourage contributions of $5 or more, we hope Jammin' with Rex is another way you can enjoy helping fund more and more programs like those receiving our recent grants.

It is because of the generous support you have provided these last eight years of renewal that the Rex Foundation has been able to distribute just over $1.1 million in seed grants to over 200 programs, now totaling $8.5 million in grants to over 1,000 programs across the U.S. and internationally since our inception in 1983.  Your support also enables us to produce events and create The World As It Could Be Human Rights Education Project .  This demonstrates the power of grassroots giving in every dimension - your contribution dollars, whether $5, $50, $500 or more, add up quickly to connect us as a philanthropic community, making a positive difference in many ways.

Grace Potter | Fox Theater | 7.1.09

With a voice as chilling as Janis Joplin’s and as sweetly strong as Eva Cassidy’s, Grace Potter proves that behind her girl-next-door bangs and thrift store-chic style, she has the chops to make rock ’n’ roll history.