Pretty Lights made quite the impression in New Orleans earlier this month, playing three shows in less than 24 hours in a city that incubates creative flow and original musicianship. Having recently hinted at a new direction with more live band work through the release of a video for a new song called “Only Yesterday”, the electronic producer certainly used his time wisely to showcase exactly what he’s been brewing up.The party started at BUKU Music & Arts Festival, where he brought along the Pretty Lights’ Analog Future Band, featuring Adam Deitch (drums), Eric Krasno (guitar), and Eric Bloom (trumpet) from Lettuce, Borahm Lee (keys) of Break Science, and more. The festival got a taste of what’s to come, and word on the street is it’s pretty delicious.After proving himself with a new name in the game, PL brought his equipment over to the Joy Theater for another throwdown featuring the Preservation Hall Jazz Band Horns, then took the party even further with a secret late-late night set in the streets of New Orleans. You can watch videos of both those performances here. Additionally, we’ve got the full Buku set with the band, courtesy of Will Guy:Pretty Lights recently told fans that he is “no longer satisfied making ‘music’ to ‘release’ on ‘albums.’ Different is coming.” If the newly added instrumental live music is any indication of what we can expect Pretty Lights’ future to look like, then consider us first in line for the next time machine.
Fresh off the release of their new album, Joyride, powerhouse quintet Kung Fu will hit Brooklyn Bowl this Friday and Saturday for two nights of heavy funk fusion and a nonstop dance party. With fresh energy and a positive vibe, this funk army is ready to bring the heat. Sophistafunk will be on hand to open up the festivities on Friday, while Shwizz will serve as support on Saturday.Several exciting special guests have been announced for this weekend’s throwdown. On Friday, the band will be joined by Natalie Cressman (Trey Anastasio Band), Brandon “Taz” Niederauer (School of Rock), and Steve Molitz (Particle). Saturday will see Dopapod’s Rob Compa joining the lineup.Get tickets here, or enter to win a pair of VIP passes, access to a meet and greet on Friday and a signed CD below!
Earlier this year, LOCKN’ satisfied jam fans with a stacked lineup, featuring headlining sets from Phish, Ween and My Morning Jacket. The order of which these exciting acts would span out across the four-day weekend has since been a mystery, until now. The plot thickens with lineup additions, the daily schedule, and hints at how the site will look when the time comes this summer.Today, festival organizer Dave Frey announced three new artists: Peter Wolf (from J. Giles Band), The Wailers, and Khruangbin. In addition to these exciting new artists, he broke the schedule via Live Facebook video, revealing that Thursday’s music would start later and end later, as to account for everyone getting settled in with enough time, kicking things off with Vulfpeck, Umphrey’s McGee, and Ween with late night sets from EOTO and Joe Russo’s Almost Dead. Friday night’s schedule will bring both Ween and Phish (two sets), satisfying the heaviest of jam fans, before Tedeschi Trucks Band and My Morning Jacket rock Saturday night’s headlining sets. On Sunday, Phish will return and close out the festival with another two sets, following Gary Clark Jr., Chris Robinson Brotherhood, and The Wailers. Check out the full schedule below:In addition, Frey confirmed that more artists will eventually be announced in June, with heavy hints toward Phil Lesh & Friends and a definite “no” to String Cheese Incident, moe., and Slayer. As to resolve the mysterious “Garcia’s Forest” addition to the previously announced lineup, Frey described the triangle stage in the forest to remain “All Jerry, all the time.”He also mentioned that the festival will open it’s gates on Wednesday, and music will start later on Thursday, as to alleviate traffic problems. Beyond some advancements in the landscape and campgrounds, including a new bike trail, he also briefly mentioned a “rotating, turntable stage” that will take the place of the traditional interlocking stages that the festival was born upon. According to The Richmond Times, Frey explained it as “a huge turntable [that] it turns quickly,” where one band will play while the other is being set up. The stage will turn between sets, leaving little to no time between performances, and also no reason for audience members to have to move from their desired viewing area.In a recent interview with L4LM, festival founder Peter Shapiro spoke about the uniqueness that LOCKN’ brings to the table. “If you look at the other major festivals – and they’re great festivals, I’ve been to all of them and I love them – but if you took the name off the major festivals, and just looked at the lineups, it would be difficult to tell which one was which. I don’t think you’d be able to name which one was Outside Lands, which one was Lollapalooza, which one was ACL, which one was Bonnaroo, but you could identify LOCKN’.” Read more here.
Sometimes people do nice things and it makes everyone happy. The non-profit Tipitina’s Foundation presented the non-profit Roots of Music student marching band with more than $40,000 worth of new and refurbished instruments. The student band received the instruments during a surprise donation ceremony following their last practice of 2016, along with a party catered by the Link Restaurant Group.Tipitina’s Foundation is a non-profit foundation that grew out of the legendary New Orleans music venue that remains a cultural icon today and continues to be instrumental in the development and promotion of Louisiana music around the world. Tipitina’s Foundation supports Louisiana and New Orleans’ irreplaceable music community and preserves the state’s unique musical cultures by promoting childhood music education, the professional development of adult musicians, and the increased profile and viability of Louisiana music as a cultural, educational, and economic resource.The Roots of Music provides music history and theory as well as instrumental instruction and ensemble performance preparation to kids ages 9-14 from low-income households. They provide students with hot meals and round-trip transportation to reduce common barriers to participation. Five days a week, 12 months a year, the program delivers over 2,500 hours of music education and other academic tutoring, over 30,400 nutritious hot meals, 1,400 bus journeys, and supplies over 150 instruments for student use. It’s simply beautiful.Both organizations go hand-in-hand in ensuring that the legendary sounds of New Orleans are kept alive through the growing potentials of its youth. Jeff Strout of the Tipitina’s Foundation was on site to capture this thoughtful exchange, which you can see in the photos below.
On April 17th, 2004, Yonder Mountain String Band took to the Fillmore Auditorium in San Francisco, California, for a special, jam-packed show. Audiences were in for a treat that fateful night, as the band, then with mandolinist Jeff Austin, debuted two new songs and saw banjo extraordinaire Danny Barnes sit-in for a good chunk of the first set. After opening up the set with “No Expectations” and “Another Day,” Yonder busted out a then-new track, “River.” A few songs later, Danny Barnes came out for “Crow Black Chicken,” “Where They Do Not Know My Name,” and his tongue-twisting track “Death Trip.” The band closed out the first set with a juicy “New Horizons” sandwich that housed “I’m Only Sleeping” square in the middle.The show continued to heat up for the second set, with the show’s energy building to a climax with the five-song non-stop jam sequence that ultimately closed out the set. Yonder debuted yet another new tune, “Sometimes I’ve Won,” during this climactic end following the first song of the sequence, “Lord Only Knows (Part One).” The debut built steadily into an “On The Run” sandwich to end this second set, this time containing “Peace Of Mind” as the sandwiches meat. The show was ended on a high note, with an encore of the classic “40 Miles From Denver” and a stellar cover of Ozzy Osbourne’s “Crazy Train,” an undeniable crowd-pleaser that never fails to get an audience riled up, regardless of where it falls in the show. You can listen to full audio of the show below, courtesy of taper Brad LeBlanc.Setlist: Yonder Mountain String Band | Fillmore Auditorium | San Francisco, CA | 4/17/2004Set One: No Expectations, Another Day, River*, Mental Breakdown, Sunday Afternoon, Left Me In A Hole, Crow Black Chicken^, Where They Do Not Know My Name^, Death Trip^, Near Me, Not Far Away, New Horizons > I’m Only Sleeping > New HorizonsSet Two: And Your Bird Can Sing > Sideshow Blues, Mossy Cow, Country Boy Rock & Roll, Sorrow Is A Highway, Troubled Mind > 20 Eyes, Kentucky Mandolin > Just The Same, Lord Only Knows (Part One) > Sometimes I’ve Won + > On The Run > Peace Of Mind > On The RunEncore: 40 Miles From Denver, Crazy Train
Founding Allman Brothers Band drummer Jai “Jaimoe” Johanson has had a tough year, losing two original Brothers in just four months (Butch Trucks in January and Gregg Allman last weekend). In the wake of these losses, the last remaining original band member (not counting Dickey Betts, who has been on the outs with the band for nearly 20 years) spoke to Allman Brothers biographer Alan Paul about his fond memories of Gregg in an interview for Rolling Stone. Jaimoe goes into a number of topics, including Gregg’s addition to the band in their nascent days, his unmatched abilities to woo the fairer sex, and how he ranks among the finest blues singers and keyboardists of his time. You can read excerpts from Jaimoe’s remembrance of Gregg Allman below:Photo: Richard E. Aaron/Redferns/Getty“Gregory was the last member to join the Allman Brothers band but there never was any question that he would do so. I was the first person Duane [Allman] signed on and he told me from the very start: ‘There’s only one person who can sing in the band I’m putting together and that’s my baby brother.’”“Two days after meeting Duane, all of my dreams came true. We didn’t have a nickel but we were all just as happy as could be, doing exactly what we wanted to do…We went to Jacksonville and lots of people started jamming with us as Duane put together everyone he wanted for the band: Dickey Betts on guitar, Berry Oakley on bass and another drummer, Butch Trucks. We drove to Jacksonville and he knocked on Butch’s door and said, “This is Butch, my old drummer. Meet Jaimoe, my new drummer.” And then he drove away and left me there! We didn’t know what to say to each other, so Butch and I set up our drums and just started playing. We never talked about working out parts. From that moment on, we just played and it just worked. He set me up beautifully. Everything I’ve ever played that someone said was great was because Butch set me up.So we had everyone there but Gregg and some people have said over the years that Duane was trying to do something different. Maybe they were fighting, but it’s not true. He told me that Gregg put a spell on women and all this stuff but there was never a doubt that he would be the singer. He was just waiting until he had all the other pieces in place before he called Gregory, who was in Los Angeles.Reese Wynans [who went on to play with Stevie Ray Vaughan] had been playing keyboards. But Gregory finally arrived, on March 26th, 1969, and my first impression was that he looked like a television star. He was so handsome. He looked like a star actor or athlete; he was kind of a big guy – a hell of a lot bigger than Duane – who weighed 80 pounds soaking wet. But when he started singing and I heard how good he was, I wasn’t surprised. Not at all.Duane had hipped me to what a great singer his baby brother was. It’s all he talked about, and Duane had a very specific vision in mind for the band. Everyone else he got was great and even greater together, so I figured Gregory would be the same. And he was. When the six of us got together, we became what we were looking for and who we were looking for and it was clear as a bell. It was just a great bunch of guys playing and it was just so natural. We never talked about what we were doing or told each other what to do. Everyone just played.”“At that time, I really thought that there were only a few special gifted white people that could play music and I was soon to discover the reason for a lot of that was simply the fact that they were so busy imitating that they never walked out of it and into themselves. It was sitting there waiting and Gregg and Duane did that right away. Hell, the first song he sang was Muddy Waters’ ‘Trouble No More’ and he sounded great but he sounded like himself. He had that right from the first day I met him. He had been working it out for years already, even though he was just maybe 21.”“I played with Otis Redding and Percy Sledge and saw Ray Charles and B.B. King and every other great and I’ll tell you this: there’s not anybody I ever heard who sang with more truth and passion than Gregory. He was at the very top of whatever what wars going on with singers. And that shit about him being “one of the great white blues singer” is straight bullshit. He’s a great blues singer. A great singer, period – and those lyrics he would write were incredible. The amazing thing about Gregory Allman is the fact that his music and influences were based on rhythm and blues but his songwriting was so influenced by people like [Bob] Dylan and Jackson Browne and other people who wrote poems. Combining those two things is what made him so unique. He came in with “My Cross to Bear” and “Whipping Post” and “Dreams” and all these great, great songs. My wife was just asking me: how does someone so young write songs so mature?”“And Gregory was a hell of a keyboard player, too, and his great singing overshadowed his organ playing. Less is more is supposed to be a big thing now; well, he was doing it big a long time ago. What’s interesting is he could play a solo that was just eight bars, but was perfect. With what he played, he didn’t need to play no more. He could play exactly what needed to be played.”“I will really miss playing with Gregg and hearing Gregg’s music, and I must say, those words, man. The words were as much a part of his life as the voice and they came from his life. Where else could they come from? We’re all reflections of the lives we lead. For years, I didn’t pay that much attention to his lyrics and then they hit me! So powerful. But I’ll miss the person more than anything. Yes, I’ll miss the person the most. I’ll miss Gregory very much.”[via Rolling Stone][Cover photo via Phierce Photo by Keith G (Gregg), Louis Montesanto (Jaimoe)]
Load remaining images Photo: Keith Griner After six long months off the road, Phish finally returned to the stage tonight in Chicago, kicking off their 2017 Summer tour with a fiery performance at the Huntington Bank Pavilion at Northerly Island. This show marked the first of three nights in the Windy City, and the first of only eight shows this summer that aren’t part of the eagerly-anticipated Baker’s Dozen residency at Madison Square Garden. Phish came out of the gate swinging in set one, showing that their week of rehearsal at Milwaukee’s BMO Bradley Harris Center was well worth the effort. However, an uneven second set left a little to be desired, as the mix of new songs, lackluster jams, and minimal experimentation left the show firmly cemented in “warm-up show” territory.Surprisingly, the Siket Disc fan-favorite “What’s The Use?” started things off in set one, the first time that it’s ever appeared in the show-opening slot. The song continues to evolve in 2017, going from epic rarity to reliable rotation favorite over the past few tours. While the song is typically associated with wild moments of ambient improvisation, this version was short and to the point, while the band was still able to achieve the blissful space that makes the song so revered. Big Boat‘s breezy “Breath & Burning” followed, and Phish certainly exceeded expectations while delivering a fun and ambitious version of the song. “Breath & Burning” wasn’t necessarily every Phish fan’s favorite song from the 2016 album, but the band is starting to harness the song’s powers, inserting a short-but-sweet improv section towards the end of the track.The beloved “Wolfman’s Brother” appeared in the three hole, which allowed for the band to truly let loose for the first time of the show, as they locked in for some jamming that featured interesting work on the snare drum by Lincolnville, Maine’s newest Selectman, Jonathan Fishman. Anastasio kicked into second gear when Fishman returned to the main groove, and he used his tension/release talents to full effect as the band worked their way through their first jam of the tour. Three songs in and the band already appeared to be firing on all cylinders.Oddly enough, the band followed up “Wolfman’s” with the debut of a new a capella cover, a song called “In The Good Old Summer Time,” which dates back to 1902 and composer George Evans. Guitarist/vocalist Trey Anastasio took a moment to express how much fun he and the band had performing that new song before they launched into “Everything’s Right,” a new song that was debuted by Anastasio with his Trey Anastasio Band this past April at Wanee Festival. The vocal harmonies were a little rough–keyboardist Page McConnell and bassist Mike Gordon don’t quite match the vocal prowess of Jennifer Hartswick and Natalie Cressman in TAB–but the song fit right in with the Phish catalog and provided a nice opportunity for some ambient jamming out of the song’s main form. The band settled in nicely, and they quickly found themselves in a comfortable groove, with Anastasio’s patient playing vibing well with McConnell’s use of his electronic piano and synthesizer elements. Anastasio then took back over with his soaring guitar piercing through the dissonance. This is one of the most impressive debuts by the band, at least in terms of improv potential, in many years. At the peak of the jam, the band dropped back into the song’s driven, funky beat while Anastasio applied a “plinko” feel, reminiscent of the band’s jamming earlier in the 3.0 era.The brief “plinko” jam fizzled out into the familiar opening chords of “Limb By Limb”. The song’s exploratory jam section was the perfect fit for the moment, allowing the band to blow off some steam after building the tension tremendously with the previous song. This version of the song felt triumphant, as Anastasio led the band from one peak to another before the song was brought to its natural conclusion. Bluegrass classic “Nellie Kane” by Hot Rize. “Theme From The Bottom” came close on its heels, to the delight of the Chicago audience. “Theme” has turned into one of Phish’s go-to classics in the 3.0 era, and the band turned in another powerful version in Chicago. “Blaze On” emerged out of the final notes of “Theme.” It wasn’t a particularly memorable version of the song, with a mediocre piece of improvisation coming out of the song’s jam section before the band completed the song, took their bows, and left the stage. While the ending may have been slightly lackluster, the set as a whole was full of energy, and showcased a band that was simply ready to get the show on the road.After a lengthy setbreak, Phish led off set two with the funky “No Men In No Man’s Land.” The song’s “happy that we’re here” lyric got a big cheer from the crowd while the band made quick work of the song and used it as a platform for improvisation. McConnell made expert use of his arsenal of synthesizers, moving back and forth between different boards to create a call-and-response effect with himself, while Anastasio used his delay loop pedal to great effect. Trey eventually turned off the effect and started playing some Jimmy-Page-esque guitar stabs, screeching out into the night sky. Phish kept the jam going for a few more minutes, and, when no other clear direction emerged, the band moved swiftly into “Fuego.” “Fuego” featured a brief jam with a few quality moments (but nothing too special) before moving on to the sinister “My Friend, My Friend.” It was a typically rocking version of “MFMF”, before the band eschewed the “myfe” ending for the intro to the Chilling, Thilling Sounds of the Haunted House favorite, “Your Pet Cat.” McConnell was on fire during this version, slapping the clavinet while dropping samples and sound effects from the song’s narration throughout like a madman.“Your Pet Cat” transitioned smoothly into TV on the Radio‘s “Golden Age.” Just as the band was moving into the song’s jam section, they dropped back into “Your Pet Cat,” complete with “Golden Age” teases. After a few more minutes of speed-funk jamming, the band finished up this fun section and started up another new song, the soft ballad “Leaves.” “Leaves” fits well with many of the newer soft-rock songs in Phish’s catalog, which means many of the band’s hardcore fans will have strong opinions about it when they get to hear it tomorrow or over the course of the summer. Only time will tell if “Leaves” becomes a live staple for the band, but for now, consider that a lukewarm debut at best.Fishman’s tom-drum intro to “Harry Hood” brought the energy back up, as the band started up one of their most beloved songs. Anastasio delivered some bluesy playing reminiscent of the Allman Brothers Band‘s “Mountain Jam,” before linking up with the rest of the band for a soaring reprise of “What’s The Use?” in the middle of the jam. The band emerged from the “What’s The Use?” reprise and went right into the euphoric peak of the “Harry Hood” jam, capping off the improvisational highlight of the evening.The band caught their breath before starting up “Shine A Light” from The Rolling Stones‘ Exile on Main Street. Phish delivered a spirited take on the classic ballad, before moving on to a set-closing blues-rocker known as “Julius.” Julius was high-0octane as usual, but by all means this was a standard version of the song.For the encore, the band turned in their fourth debut of the night, a reggae-tinged ballad called “Love Is What We Are,” before closing things out with one of their earliest songs, “Golgi Apparatus.”In the end, tonight was an up-and-down show. There were some fun jams–namely, the “Everything’s Right” jam, “Your Pet Cat”->”Golden Age”->”Your Pet Cat”, and “Harry Hood” with “What’s The Use?” teases all stick out–however, overall, this show left something to be desired for hardcore Phish fans. With that in mind, it was your typical “first show on tour,” a show that will quickly fade into the ether while Phish builds momentum over the remaining twenty dates they have scheduled for this summer. Phish returns to Northerly Island Saturday evening for night two at the Huntington Bank Pavilion.Check out the gallery below, by Keith Griner of Phierce Photo | IG: @phiercephotoPhish | Huntington Bank Pavilion at Northerly Island | Chicago, IL | 7/14/2017I: What’s The Use?, Breath & Burning, Wolfman’s Brother, In The Good Old Summer Time*, Everything’s Right* > Limb By Limb, Nellie Kane, Theme From The Bottom > Blaze OnII: No Men In No Man’s Land > Fuego > My Friend, My Friend > Your Pet Cat -> Golden Age -> Your Pet Cat, Leaves*, Harry Hood^, Shine A LightE: Love Is What We Are*, Golgi Apparatus*Debut^”What’s The Use?” JamPhish | Northerly Island | Chicago, IL | 7/14/2017 | Photos by Keith Griner
Greensky Bluegrass blew minds at the Northwest String Summit this year with their mix of bluegrass, rock, and psychedelia. Due to the early (but healthy) arrival of Mike Devol‘s newborn son Jude, the bassist understandably tapped out of the gig to be home with his family. In his stead, Greensky invited friend and top-notch bassist in his own right, Johnny Grubb, to sub in at the last minute. After numerous gigs with bands across the scene, Grub was the perfect choice to handle the low end. The substitute bassist seemed to really enjoy vocal duties as well, sporting a wry grin on his face every time he approached the mic. No stranger to the Northwest String Summit, Grub was welcomed back to Horning’s Hideout with open arms and uproarious cheers. The rest of Greensky also stepped up to the challenge, with banjo guru Michael Bont leading the way. That is not to say that mandolin player Paul Hoffman wasn’t giving folks chills, Dave Bruzza wasn’t filling out the sound wave with his full-bodied guitar, and Anders Beck wasn’t melting faces as usual, of course. Rather, Bont’s cranky banjo tone just seemed to saw through the mix a little bit sharper than usual.Watch Yonder Mountain Perform All Of Pink Floyd’s 1971 Classic ‘Meddle’ At Northwest String SummitLuckily, you don’t don’t have to take our word for it. Our own Rex Thomson was on hand filming all weekend (including Yonder Mountain String Band’s Pink Floyd tribute set). Check out Rex’s clips from both of Greensky Bluegrass’s sets over the weekend ahead of his full review to see how well Greensky and the talented Mr. Grubb did on such short notice. The clips are below, including a set-closing heart-warming welcome to the newest member of the Greensky family, sung by the band and the crowd to the Devol family via the simulcast. Enjoy!“Out Of Control-Headed For A Breakdown”“Windshield”“Four-Hey Jude Outro”
Last night, multiple GRAMMY-winning Chicago artist Chance The Rapper joined Saturday Night Live (SNL) as their weekly guest host. The famously against-the-grain young artist proved to be a highly entertaining MC for the evening. First, in his opening monologue, Chance explained that he wasn’t there to promote any project–he was just trying to become the “Mariah Carey of Thanksgiving.” He used that as an introduction for a new holiday-appropriate song (“It’s Thanksgiving time, the one day a year/where you invite the folks that you normally fear./It’s Thanksgiving time when you are forced to see/every single bad apple on your whole family tree.).Watch Chance the Rapper’s opening monologue below via Saturday Night Live (SNL) on YouTubeChance The Rapper Inspires Chicago Bulls To Donate $1 Million To Chicago Public SchoolsChance appeared in a number of great skits and shorts throughout the episode, including playing an overly excited kid on school career day, a hockey announcer, a member of a scorned old-school 70’s hip hop pioneer speaking out about ignorant young rappers who don’t know their roots.Watch the “Rap History” sketch from last night, featuring hilarious cameos from Questlove, Common, and, of course Chance The Rapper about fictional MC “Lil Doo Doo”, played by Pete Davidson:The highlight of Chance’s top-notch SNL stint, however, was a short music video featuring him alongside cast members Kenan Thompson and Chris Redd that channeled the vintage early-90s output of superstar R&B crooners Boyz II Men, featuring the same lavishly-decorated sets, spoken heartfelt interludes–the whole nine yards. The video begins as a familiarly wistful lament to a past flame that’s moved on, but it’s not until the song’s first chorus that you realize who they’re singing to: former President Barack Obama. As the parody trio (dubbed De-Von-Tre) sings, “Every night, I turn the TV on and cry / I say why, I feel like we’re all gonna die / So come back, Barack,” the trio sing. “Even though it’s not allowed / We want you back somehow / I need you in my life / So come back, Barack / We didn’t know what we had / Now things are looking bad / Like really bad, like world war bad, like nuclear bad / So come back, Barack.”Watch Chance The Rapper, Kenan Thompson, and Chris Redd’s “Come Back Barack” parody from Saturday Night Live:Watch Chance The Rapper Debut A New Song Live On The Late Show With Stephen ColbertChance also took great joy in announcing the episode’s musical guest, polarizing hip-hop heavyweight Eminem, who performed a medley of his 2017 track “Walk On Water”, his powerful 2000 classic “Stan”, and his 2010smash hit Rihanna collaboration “Love The Way You Lie”. You can watch the video below via SNL on YouTube:
Today, the Jimi Hendrix estate announced an upcoming posthumous release from the universally revered late guitarist. The album, entitled Both Sides of the Sky, presents thirteen studio recordings—including ten which have never before been released. This special release is the third volume in a trilogy of albums with Valleys Of Neptune (2010) and People, Hell and Angels (2013), intended to present the best and most significant unissued studio recordings remaining in the Hendrix archive. Both Sides of the Sky will be available March 9th, 2018 via Sony Legacy Recordings on multiple formats, including CD, digital and a numbered, 180-gram audiophile double-vinyl.The 13-track album compiles material recorded between January 1968 and February 1970. Engineer Eddie Kramer, who worked on every Hendrix project before the guitar legend’s death, co-produced the album with John McDermott and Janie Hendrix, Jimi’s sister. The majority of the material on the album features Billy Cox on bass and Buddy Miles on drums–the lineup that would eventually become Hendrix’s Band of Gypsys.Remember Jimi Hendrix At His Funkiest With These Five Fantastic Band Of Gypsys Covers [Videos]Several notable guest collaborators highlight the new release. Stephen Stills appears on two of the album’s tracks (a cover of Joni Mitchell‘s “Woodstock” and Hendrix original “$20 Fine). Johnny Winter is also featured on a newly remixed cover of Guitar Slim‘s “Things I Used to Do”. Vocalist/saxophonist Lonnie Youngblood (Hendrix’s pre-fame bandmate in Curtis Knight & the Squires).As engineer Eddie Kramer stated about the project, “Jimi’s true home was the studio – that’s where the music and the magic happened. He loved everything about recording, and it’s been my distinct pleasure and an honor to play a part in that process both then and now.”Pre-orders for Jimi Hendrix’s Both Sides of the Sky are live now here.To learn more about the new release, or to check out other collections of Jimi’s material, head to his website.Jimi Hendrix – Both Sides of the Sky Track List:1. “Mannish Boy” (previously unreleased)2. “Lover Man” (previously unreleased)3. “Hear My Train A Comin’” (previously unreleased)4. “Stepping Stone” (previously unreleased)5. “$20 Fine” (previously unreleased, featuring Stephen Stills)6. “Power Of Soul” (previously unavailable extended version)7. “Jungle” (previously unreleased)8. “Things I Used to Do” (featuring Johnny Winter)9. “Georgia Blues” (featuring Lonnie Youngblood)10. “Sweet Angel” (previously unreleased)11. “Woodstock” (previously unreleased, featuring Stephen Stills)12. “Send My Love To Linda” (previously unreleased)13. “Cherokee Mist” (previously unreleased)[h/t – Rolling Stone]