I know what you’re thinking: Uncle Blurt, you never gave us the slightest hint that you were down with Kendrick! Au contraire, frere. I’ve got all his records on vinyl, so there. And now I’ve got his entire Coachella set from this year burned to CDR, complete with downloadable artwork, thanks to the archivists at the Big O zine.
The show was ripped from an HD webcast, so the quality is sweet. Tracks from all his albums are spotlighted – check the tracklist, below. And let’s face it: being able to listen to Coachella shows without having to actually BE at that clusterfuck for rich people is second only to not having to be at the Fyre Festival.
. crowd 3:04
. DNA * 3:20
. Element * 3:12
. King Kunta 3:59
. Untitled 2:25
. Untitled 3:30
. Goosebumps (Travis Scott cover, with Travis Scott) 4:10
. Backseat Freestyle 3:13
. Bitch, Don’t Kill My Vibe 3:49
. That Part (ScHoolboy Q cover, with ScHoolboy Q) 3:33
Title track from the songwriter’s new album, out next week.
By Blurt Staff
Recognize the name Hunter Simpson? If not, you will soon. The guitarist/vocalist for eclectic NYC trio Daytona, whose self-titled LP for the Ernest Jenning Record Co. notched numerous critical kudos, is prepping the May 12 release of solo record Goldmine, also on Ernest Jenning, and we’ve got the title track to unveil for your video-hungry eyes. Check it out:
Simpson was original from North Carolina and nowadays he splits his time between Brooklyn and Copenhagen. He also stays busy playing guitar in the Wild Yaks. He did, however, carve out time to make a southern sojourn early last year to Fawn Forest Studio in Chatham County, NC, to work with producer Ari Picker of Lost in the Trees on his solo debut. Musical contributors to the album include Matt Douglas of the Mountain Goats and The Hot At Nights (saxophone) and Hunter’s father Bland Simpson of The Red Clay Ramblers (piano).
The label describes Goldmine as “a smooth, contemplative collection, its eight songs flowing languidly from a wellspring of fingerpicked nylon-string guitars, nimble saxophone runs and tender melodies sung with conviction—the title track is a prime example of these principles in action.”
Southern sonic savant found a helluva way to go out.
By Fred Mills
The jamband world —and indeed, most sentient creatures with any affinity for the musical universe — is mourning the death of Col. Bruce Hampton (Ret.) at the age of 70. Hampton was onstage at Atlanta’s Fox Theater last night (May 1) during a live birthday celebration when he apparently dropped to his knees — to some, it appeared to be part of the show — than collapsed while the musicians around him continued to play. Soon, however stage hands rushed out and carried him offstage and an ambulance was called. Hampton reportedly died a short time later. The concert featured Derek Trucks and Susan Tedeschi, Blues Traveler singer John Popper, The Wood Brothers’ Oliver Wood, Widespread Panic’s Dave Schools, Allman Brothers Band’s Chuck Leavell, Peter Buck, Phish’s Jon Fishman, Warren Haynes and actor Billy Bob Thornton.
The exact cause of death has not yet been announced
According to CNN, Haynes, of Gov’t Mule/Allman Brothers/Dead fame, and a close friend of Hampton’s, was playing with the artist at the time, and he subsequently posted to his Facebook page a brief statement from the Hampton camp:
“After collapsing on stage surrounded by his friends, family, fans and the people he loved, Col. Bruce Hampton has passed away. The family is asking for respect and privacy at this difficult time.”
By this morning, social media was crowded with posts from grieving fans and friends, one of whom posted, appropriately enough, “Godspeed and many thanks to one of the leaders/influencers of the jam band movement, Col. Bruce Hampton. What a way to go out.”
BLURT would like to extended our deepest condolences to Hampton’s family. Speaking personally, I was fortunate enough to see him perform numerous times, frequently with the ARU or the Codetalkers — I never caught him in his early days with the Hampton Grease Band, but their lone LP was a twisted favorite of mine as a teenager — and often as a featured guest at the annual Warren Haynes Christmas Jam concert in Asheville, NC. Two of my fondest abiding memories is of hanging with him backstage during a couple of the jams, one time watching him getting a hand massage along with Bob Weir while he and I compared notes on concerts we had potentially attended at the same time while growing up in the South, and another standing in a semicircle with others while he held court, telling jokes and talking baseball. He was a funny, funny guy and a supremely talented musician, a guy who commanded love and respect from any musician who came into his wild, spontaneous orbit.
Ace track culled from forthcoming album on the Ernest Jenning Record Company label—a TMOQ, natch.
By Blurt Staff
Sunshine & The Rain — husband and wife team Ashley Morey (vocals, bass) and Justin Morey (guitar), both formerly of critically acclaimed psych rockers The Black Hollies — formed around the same time as the 2014 dissolution of their former band, subsequently releasing the single “Can’t Stop Thinking About You” b/w “Pale Blue Skies” in late 2015. Now their debut full-length, In The Darkness Of My Night, is set to drop May 12 via the Ernest Jenning Record Company, and we are hereby authorized to give you, the gentle BLURT readership, an advance look (listen). Check out “Let’s Go”:
Thoughts, readers? How about “garage-punk with the four-on-the-floor drive of the Ramones, but cut with the grit of Big Black, the snarl of Joan Jett and the melodic sensibility of the Shirelles. Throw in some Jesus & Mary Chain and you’re almost there.”
Well, alright then! About the album:
In early 2016 the band headed into Sonic Youth’s Echo Canyon West studio with Jon Spencer to begin work on the album. Eschewing some of the lengthier psych leanings of their earliest days, Spencer coaxed the band towards a more immediate sound, cutting down track lengths and, according to the band, “leaving nothing but pointed pop gems with sugary hooks and a dirty Ramones grit cutting throughout.”
Among those “pop gems”: a Fugazi cover—yes, you read that correctly—in which the Moreys turn “Merchandise” into a personal statement.