For Fans, Band Merch Offers a Connection Deeper Than Commerce A discussion with emerging artists, Deloyd Elze and mer marcum, on how merch connects bands and fans on a deeper level, courtesy of our friends at Softside.
The post For Fans, Band Merch Offers a Connection Deeper Than Commerce appeared first on Hypebot.

New Ticketmaster President to lead ‘AI transformation’ amid legal battlesSaumil Mehta has been named Global Ticketmaster President. He has a strong background in tech including 6 years at Square and joins with a mandate to "accelerate an AI transformation."
The post New Ticketmaster President to lead ‘AI transformation’ amid legal battles appeared first on Hypebot.

The Doors Live at the Aquarius Theatre: The First Performance Out November 21On July 21, 1969, The Doors took the stage at the intimate Aquarius Theatre on Sunset Boulevard for what would become one of the most captivating—and criminally underrated—performances of their career. Live at the Aquarius Theatre: The First Performance captures Jim Morrison, Ray Manzarek, Robby Krieger, and John Densmore in peak form: loose, loud, and locked in.

On November 21st it will be available as a 180-gram 3-LP Set on Analogue Productions. This definitive edition, limited to just 2,000 copies, is pressed at Quality Record Pressings and features a 2016 mix by longtime Doors’ engineer Bruce Botnick, who revisited the original 8-track analog masters for a stunning new high-resolution transfer, using the same lacquer cut by Chris Bellman who did the Record Store Day release in 2016. The result is a crystal-clear, high-fidelity experience that transports listeners straight into the charged atmosphere of that summer night in 1969.

For over forty years, Acoustic Sounds has championed the art of vinyl, reissuing historic recordings with the utmost care and precision. The company was founded by Chad Kassem, whose unlikely journey from a small apartment-based vinyl resale operation to the helm of the world’s largest vertically integrated vinyl production facility has transformed the high-end audio industry. His Salina, Kansas-based company houses Acoustic Sounds in its entirety, a reissue label (Analogue Productions), including a state-of-the-art pressing plant (Quality Record Pressings). Kassem’s relentless dedication to sound quality and preservation of historical recordings has made Acoustic Sounds a trusted source for high-fidelity music. 

"The new mix is a revelation," says Botnick in the liner notes, which also feature Robby Krieger, Ray Manzarek, John Densmore, Danny Sugerman (who would go on to become the band’s second manager), music critic and former editor of the Los Angeles Times Robert Hilburn’s review of the show, which originally ran on July 28, 1969, and extensive production notes by Botnick. "It's almost like hearing the show for the first time. Using tools we didn’t have in 2001, we were able to remove most of the hum and buzz that permeated the original tapes,” says Botnick. “The resulting clarity gives this concert new life—and as a bonus, side six features material from the soundcheck that preceded the show, offering fans something they’ve never heard before."

The setlist spans the full range of The Doors’ alchemy—part blues ritual, part psychedelic seance. From a swaggering “Back Door Man” to a hypnotic, fever-dream reading of “The End,” the performance unfolds like a trance. Morrison teeters between mystic shaman and wry provocateur; Krieger’s guitar slices through the haze; Manzarek’s keys swirl like a haunted carnival; and Densmore’s pulse keeps it all tethered to earth. Live at the Aquarius Theatre: The First Performance isn’t just a live album—it’s a portal. A snapshot of a band at the height of its creative powers, caught between chaos and transcendence. Pressed on the highest-quality vinyl and restored with unprecedented clarity, this release invites listeners to step back in time and experience the timeless music of the Doors.

In 2011 I spoke with Bruce Botnick and asked what astounds him 40 years later listening to his collaboration with producer Paul Rothchild and the Doors.   

“The thing that still works for me is, first and foremost, the music. The musicianship. The performance. And all of those when these guys connected as a unit and became unconscious is good or better than anything I’ve ever heard.  And that’s one of the things I have to hand to my friend producer Paul Rothchild. That we went for performance and tried to stay out of it not to become too technically in the front of the albums that were manufactured. 

“In the case of the Doors, Paul was the man who drove the train and kept it on the tracks. But the reality is that there were six of us in the studio making these records together. And it wasn’t a matter of one person ‘being the person.’ Paul never took that point. At some point during the relationship and especially when Jim got busted in Miami, where Paul had to step up and take more control. Because somebody had too or otherwise it would have never got done.  But generally, his approach was to get the performance. And we weren’t afraid of editing between takes. You get an amazing first verse and second verse and a chorus and verse into the bridge and it would sort of fall apart and we would grab another take that had it and edited it all together. And it was about the performance. It wasn’t about overdubbing. Because in the majority of what the Doors played on their records was played live.”        

Over a 40-year period, I interviewed Ray Manzarek a dozen times. 

During 2003, I asked him about Botnick and Rothchild, who helmed and guided the Doors in the recording studio. 

“Paul Rothchild was the guy who had produced the Paul Butterfield Blues Band and also Love, along with engineer Bruce Botnick. The two of them did those albums together. So, it was a great combination of six guys. That first album was basically the four Doors and the two other Doors in the control room making the sound. We made the music. They made the sound. And they did an absolutely brilliant job. And it was a real joy and a great learning experience. 

“Rothchild and Botnick were two alchemists with sound. We were the alchemical music makers but they were alchemists with sound-adding a bit of this-a bit of that. Some reverb. Some high end. Let’s hit it at 20k or 10k. Let’s dial in a bit of bass in there. They were making this evil witches brew concoction as we went along. And the sound just got better and better.” 

In a 2009 interview, Ray and I discussed the 1969 Doors.  

“After The Soft Parade and the Aquarius shows, we said, ‘Let’s go back to the blues. Let’s get dark and funky for Morrison Hotel.’ [Issued in January 1970]. 

“The Doors are a collective journey that's a good way of putting it. It's of course Jim Morrison as the charismatic lead singer, and I've got to address Jim Morrison, but it's Densmore, Krieger and Manzarek (too). It's a journey of these four guys, The Four Horsemen of The Apocalypse, the diamond-shaped, no bass player that made a five-point pentagram, shape of the diamond. It's the inverted pyramid, it's an archetypal journey of four young men into the unconscious, and coming out of that and creating a musical art form. 

“The whole Doors’ organ sound, what makes that work, that’s my whole Slavic upbringing. That’s being a ‘Polish Pianist.’ That’s that dark Slavic Stravinsky, Chopin, that great mournful Bartok type thing. Dark, mournful Slavic soul married so perfectly with the southern gothic American Florida ‘Tennessee Williams’ boy poetry, that the two of us went ‘Crunch!” and the whole thing came right together perfectly.       

“The Doors were never part of the folk-rock country rock/laid back ‘Peaceful Easy Feeling’ of Los Angeles. The Doors were part of Raymond Chandler, John Fante, Dalton Trumbo. It was the dark streets and The Day Of The Locust, Miss Lonely Hearts. That’s where The Doors come from. You see, nobody came here to make it. Jim and I came to go to the UCLA School of film school, and John [University High School] and Robby [Pacific Palisades High School] are natives. Westside boys who surfed for God’s sake. The Doors are L.A. The beach, and downtown L.A.,” Ray summarized. 

In 2017 I interviewed Jac Holzman, founder of Elektra Records, who signed the Doors to his label in 1966. 

“I saw myself as a midwife to their music. They recorded it. I helped supervise how it was going to be taken in and what I hoped would be willing ears. That’s my job. And it’s my job to talk tough when I need to. But I never had that kind of problem with the Doors. 

“The only time was when there was much screaming about Miami. I said, ‘If your shows are being canceled, we will figure something out about how we’re going to bring you back live. In the meantime, go into the studio and start writing another album.’ And that was Morrison Hotel. And then we did two evenings of Doors concerts at the Aquarius Theatre on Sunset Boulevard and those tickets were two dollars. We underwrote the rest. We picked up the tab. But it was there where we launched them. And that idea came from us. That’s kind of what you do when you live your artists’ anguish and you try and help them and you over the tough spots.”      

[In 1969 Morrison was found guilty of indecent exposure to an audience on March 1, 1969 at a concert at Miami’s Dinner Key Auditorium in Florida. Morrison appealed the conviction, but died in 1971 before the conviction was resolved. 39 years after his death he was cleared of the charges and received a pardon by Florida’s Board of Executive Clemency from outgoing Florida Gov. Charlie Crist]. 

I remember mulling around the Aquarius on Sunset Blvd after the Doors’ show and eating with pals at The Hollywood Ranch Market.  

I had to work earlier in the evening before their local appearance at the West Los Angeles Junior College library in Culver City. The school had just opened that month and I had to stack books and magazines for summer school the next morning. It just wasn’t cool for me to ask anyone on the campus to sub and do my $1.35 an hour job in a newly opened facility. 

Besides, in November 1968 I had already witnessed a Doors’ concert at The Inglewood Forum.  

At the time, I was still upset by the July 3, 1969 swimming pool misadventure sudden death of Rolling Stones’ founder, Brian Jones. 

On July 21, 1969 when the Doors gave two performances at the Aquarius Theatre in Hollywood, a poem Jim Morrison wrote for the occasion, Ode to L.A. while thinking of Brian Jones was printed as a four-page pamphlet on textured yellow paper with dark green ink, and distributed to concert goers. Morrison’s work is a meditation on the death of Jones.     

Last decade I asked two friends of mine who attended the Doors’ Aquarius Theatre booking to reminisce about the event: Musician, singer/songwriter and actor, Bill Mumy and boxing scholar and author Gene Aguliera.   

Bill Mumy: The day before Neil Armstrong walked on the moon, I was at the Aquarius Theatre with my Barnes and Barnes partner, Robert Haimer, seeing the Doors. We attended the early show and we got there early and secured seats in the very front row. The gig was great. Morrison was focused and low-key, but he was a mighty force. I thought he looked great. Thick beard, Mexican peasant shirt and orange Aviator sunglasses. Ray wore a white T-shirt. I took several photographs during the gig and have one of the few pics of Morrison onstage looking directly into a camera lens. ‘Celebration of the Lizard,’ ‘You Make Me Real’ and ‘Soul Kitchen’ were highlights for me. The Doors were such a unique band. To this day, I appreciate Morrison’s poetry and lyrics. He was a genuine artist. They all were great and had musical styles that were/are instantly recognizable. I consider myself fortunate to have been there.”  

Gene Aguilera:As an inquisitive teenager with a wandering mind, I used to love to look through the Los Angeles Free Press, the infamous, radical, undergroundnewspaper of the ’60s. One day, there it was: a small ad saying the Doors were coming to the Aquarius Theatre on July 21, 1969! Elektra Records, the Doors’ label, had begun a policy of renting the venue on Monday nights (this being the dark night of the play Hair) to showcase their roster. Naturally, I had to go, but was without wheels at that point; so, after much begging (my 16th birthday was coming soon), my aunt, Julie Gillis, agreed to take me and my two cousins to see one of my favorite bands. 

“As we departed East L.A., making our way toward the Sunset Strip, my aunt Julie began to worry about taking her 11-year-old daughter, Debbie, with us. Just a few months earlier in Miami, the Doors’ lead singer Jim Morrison had been arrested for indecent exposure onstage. She said, ‘What if he takes it out again? I don’t want Debbie to see any of this.’ But it didn’t matter to me, there was no other place in the world I would rather be. With its painted psychedelic exterior and an exquisite art-deco interior, we had arrived at the Aquarius Theatre and sat about halfway up from the stage. With the band still reeling from the Miami bust, an aura of danger lurked thick in the air; when suddenly to the stage strolls a dwarf (adding to the circus-like atmosphere), named Sugar Bear, to announce the band, ‘Ladies and Gentlemen... the Doors!’ 

“We were now ready for the Lizard King. Jim Morrison looked so much different in person than the album covers I had studied; he arrived with sunglasses, a thick beard, and a paunch around his waist. But for this hometown ‘live’ recording Morrison introduced an edgy new trick to his usual theatrical drama. With the spotlight on, Morrison appeared incredulously high up in the rafters, grabbed a rope and swung to the stage, Tarzan-style, leaving the entire crowd gasping at what they saw. My aunt Julie had her coat ready to cover Debbie’s eyes (if Jim was going to whip it out, as he did in Miami), but that never happened, thank God, Morrison instead throwing Styrofoam balls out to the crowd. 

“In my youthful excitement, I ran toward the stage and caught a few. A pretty hippie girl next to me was disappointed at not catching anything, so I gave her one, and in turn, she gave me a great big kiss; witnessed by all my group. This was the dawning of the age of Aquarius.”   

The Doors’ Live At The Aquarius Theatre - The First Performance

Track List

Side 1 

1. Tuning

2. Jim's Introduction

3. Back Door Man

4. Break On Through

5. What Do We Do Next?

6. Soul Kitchen

Side 2

1. You Make Me Real

2. Tuning

3. I Will Never Be Untrue

4. The Crowd Humbly Requests

5. When The Music's Over

Side 3

1. Universal Mind

2. The Crowd Requests Their Favorites And Tuning

3. Mystery Train / Crossroads

4. Build Me A Woman

Side 4

1. Tuning

2. Who Do You Love (False Start)

3. Who Do You Love

4. Light My Fire

Side 5

1. The Crowd Requests More

2. The Celebration Of The Lizard

Side 6

1. Soundcheck 

Produced and Mastered by Bruce Botnick

Recorded July 21, 1969 at The Aquarius Theatre in Hollywood, California 

“I knew Jim was a great poet,” Manzarek reiterated to me one afternoon in 1995 as we watched a UCLA NCAA championship basketball game on television with my brother Kenneth, father Marshall and Burton Cummings of the Guess Who.  

“See that’s why we put the band together in the first place. It was going to be poetry together with rock ‘n’ roll.  Not like poetry and jazz. Or like it, it was poetry and jazz from the ‘50s, except we were doing poetry and rock ‘n’ roll. And our version of rock ‘n’ roll was whatever you could bring to the table. Robby bring your Flamenco guitar, Robby bring that bottle neck guitar, bring that sitar tuning. John bring your marching drums and your snares and your four on the floor. Ray bring your classical training and your blues training and your jazz training. Jim bring your Southern gothic poetry, your Arthur Rimbaud poetry. It all works in rock ‘n’ roll. Jim was a magnificent poet.”  

In July 1995, at the MET Theatre on Oxford Avenue in East Hollywood, I produced and co-curated a month-long Rock and Roll in Literature series with director Darrell Larson and associate producer Daniel Weizmann.

Manzarek, Densmore, and Krieger reunited and played “Peace Frog,” “Love Me Two Times,” and “Little Red Rooster” on July 8. Music journalist Kirk Silsbee read from Art Pepper’s Straight Life, John Densmore read an entry from his new novel, and actor Michael Ontkean recited Ode to L.A. by Jim Morrison.

Last decade I discussed the Doors, Morrison and their relationship to cinema with writer and novelist Weizmann. 

He subsequently emailed me Motel Money Murder Madness: Jim Morrison and the Noir Tradition. 

“Some like to make fun of Jim Morrison for his poetic ambitions—he was young, ultra-serious, and at times he had the somber college student’s yen for Hamlet-like navel-gazing. What’s more, like Michael Jackson and Elizabeth Taylor, the force of Morrison’s stardom at times threatens to overshadow his artistic gifts. Patti Smith recently wrote that she felt ‘both kinship and contempt’ watching Morrison perform. But Jim Morrison’s lyrics did introduce a whole new and highly literary sensibility to pop music—the Southern California noir of Raymond Chandler and the Southern Gothic tradition of William Faulkner. And pop music has never really been the same since.

“Of course, new things were already happening to the song lyric before Morrison made his move: Dylan shocked the airwaves with biblical passion and Whitmanesque frenzy. The Beatles followed with colorful utopian imagery that had roots in James Joyce, Lewis Carroll, and Edward Lear’s nonsense verse. But nobody brought the gravity, the hard realism and the psychological pressure of noir to the popular song before Jim. He represented a major leap toward adulthood in ’67 and the boomers flipped for it. After a youth saturated with sunshine and goody-goody-gumdrops consumerism, they had secretly been craving just such a counter-move. “The first album’s shadowy album cover and billboard, shot by Guy Webster, was a knowing nod to noir film posters like Out of the Past and In a Lonely Place. And Jim’s crooner voice and movie-star good looks defied the rock template, as well. But most of all, the words, their impressionistic, nightmare-like alienation, were strange and yet instantly recognizable. 

“We can’t know exactly what inspired Morrison to fuse the noir dreamscape to the popular song... but he was a military brat, raised in Florida and New Mexico. The South, with its backwoods quiet, its open highways, its malevolence, and its anti-culture, was in his bones. Throw a UCLA dose of Nietzsche, Rimbaud, the exotica of Eastern philosophy, Jungian psych, and the Native American tragedy into the mix, and you’ve got a potion powerful enough to challenge the lyrical norms as deeply as the sound of Hendrix’s guitar did.

“One of the last of the Venice Beach beatniks, Morrison self-published slim volumes of verse, even at the height of his rock stardom. He certainly had a hard time straddling his roles as shaman, youth leader, pop icon, and serious artist. But he struggled in earnest, and it’s impossible to talk about the Los Angeles tradition that stretches from Chandler, West and Fante to Didion herself, Bukowski and beyond, without seeing Morrison’s part. 

“What’s more, for better or worse, whole music genres have Morrison to thank for forging darkness to the pop song. Bowie’s Berlin Trilogy, post-punk, and even grunge couldn’t have happened without him. Some, like the Cult, seemed only to get the histrionics; others, like Jane’s Addiction, reached harder for poetry but lacked the warmth of Morrison’s highly intimate voice. Because, in the end, despite the shaman poses, the billboards and the spotlights, Morrison really portrayed himself as a lone human, in true noir fashion, struggling through the night. He wrote from the personal inner space that is poetry.” 

On January 28, 2018, I attended the memorial tribute and service to Rabbi Isaiah “Shy” Zeldin at the Stephen Wise Temple in the Bel-Air neighborhood of Southern California. Rabbi Eli Herscher praised Zeldin’s spiritual and visionary leadership in 1964 as he established an open-minded religious and musical community in the region, a mile from the UCLA campus where Manzarek and Morrison were then enrolled as students. From the Bima, Herscher politely encouraged the congregation of mourners “that today, memory is the only agenda.” 

The Rock and Roll Hall of Fame’s Library & Archives on July 10, 2017, invited me to be a guest speaker in their Author Series in Cleveland, Ohio. Before my appearance, one of the curatorial assistants took me into the private air-conditioned storage locker room not open to the viewing public. “We knew you were coming today and pulled out some specific items we wanted you to see.” 

I was given an envelope containing Jim Morrison’s UCLA diploma. 

It was a signal. Time to fly back home to Los Angeles. I was immediately reminded of Morrison's lyric line in "Celebration of the Lizard”: "Tomorrow we enter the town of my birth. I want to be ready."  

(Harvey Kubernik is the author of 20 books, including 2009’s Canyon Of Dreams: The Magic And The Music Of Laurel Canyon, 2014’s Turn Up The Radio! Rock, Pop and Roll In Los Angeles 1956-1972, 2015's Every Body Knows: Leonard Cohen, 2016's Heart of Gold Neil Young and 2017's 1967: A Complete Rock Music History of the Summer of Love. Sterling/Barnes and Noble in 2018 published Harvey and Kenneth Kubernik’s The Story Of The Band: From Big Pink To The Last Waltz. In 2021 the duo wrote Jimi Hendrix: Voodoo Child for Sterling/Barnes and Noble.  

Otherworld Cottage Industries in 2020 published Harvey’s Docs That Rock, Music That Matters. His Screen Gems: (Pop Music Documentaries and Rock ‘n’ Roll TV Scenes) is scheduled for a late 2025 publication.     

Harvey Kubernik wrote the liner notes to CD re-releases of Carole King’s Tapestry, The Essential Carole King, Allen Ginsberg’s Kaddish, Elvis Presley The ’68 Comeback Special, The Ramones’ End of the Century and Big Brother & the Holding Company Captured Live at The Monterey International Pop Festival. During 2006 Kubernik appeared at the special hearings by The Library of Congress in Hollywood, California, discussing archiving practices and audiotape preservation. In 2017 he lectured at the Rock and Roll Hall of Fame in Cleveland, Ohio, in their Distinguished Speakers Series. Amidst 2023, Harvey spoke at The Grammy Museum in Los Angeles discussing director Martin Scorsese's The Last Waltz music documentary. 

Kubernik is in The Sound of Protest documentarynow airing on the Apple TVOD TV broadcasting service. https://tv.apple.com › us › movie › the-sound-of-protest. Director Siobhan Logue’s endeavor features Smokey Robinson, Hozier, Skin (Skunk Anansie), Two-Tone's Jerry Dammers, Angélique Kidjo, Holly Johnson, David McAlmont, Rhiannon Giddens, and more. Harvey is interviewed along with Iggy Pop, Bruce Johnston, Johnny Echols, the Bangles' Susanna Hoffs and Victoria Peterson, and the founding members of the Seeds in director Neil Norman’s documentary The Seeds - The Seeds: Pushin' Too Hard now streaming online on Vimeo. This November 2025, a DVD/Blu-ray is scheduled for release via the GNP Crescendo Company).

The Doors’ Live At The Aquarius Theatre - The First Performance

Track List

Side 1 

1. Tuning

2. Jim's Introduction

3. Back Door Man

4. Break On Through

5. What Do We Do Next?

6. Soul Kitchen

Side 2

1. You Make Me Real

2. Tuning

3. I Will Never Be Untrue

4. The Crowd Humbly Requests

5. When The Music's Over

Side 3

1. Universal Mind

2. The Crowd Requests Their Favorites And Tuning

3. Mystery Train / Crossroads

4. Build Me A Woman

Side 4

1. Tuning

2. Who Do You Love (False Start)

3. Who Do You Love

4. Light My Fire

Side 5

1. The Crowd Requests More

2. The Celebration Of The Lizard

Side 6

1. Soundcheck 

Produced and Mastered by Bruce Botnick

Recorded July 21, 1969 at The Aquarius Theatre in Hollywood, CaliforniaThe post The Doors Live at the Aquarius Theatre: The First Performance Out November 21 first appeared on Music Connection Magazine.

Saumil Mehta joins Ticketmaster as Global President to lead ‘AI transformation’ at the Live Nation-owned companyMehta will report directly to Live Nation CEO Michael Rapino.
Source

UMG AI Strategy Shifts from Reaction to InnovationUniversal Music Group (UMG) CEO Sir Lucian Grainge shared a memo outlining how the world’s largest record label is approaching artificial intelligence (AI) in music. His open letter blends optimism with caution, showing how UMG hopes to lead in generative AI while defending the rights of artists and songwriters.
The post UMG AI Strategy Shifts from Reaction to Innovation appeared first on Hypebot.

Behind the Scenes of Touring: Booking Artist Interviews and Media AccessIn a new episode of the Music Biz Weekly Podcast, Michael Brandvold and Jay Gilbert dive into one of the biggest hurdles for music journalists and artist teams - booking artist interviews during a tour.
The post Behind the Scenes of Touring: Booking Artist Interviews and Media Access appeared first on Hypebot.

L7 and Lunachicks Party at the BelascoPhoto credit: C. Elliot Photography

Over the years, L.A. band L7 has been tagged riot grrl, grunge, alt-rock, and a bunch of other sub-genres that semi-fit. But the reality is, L7 is and have always been a punk band. A musically untouchable, melodically gifted, ferocious, intelligent and inspiring punk rock band.

At the Belasco, Los Angeles, on a Friday night in early October, L7 was celebrating its 40th anniversary, and the idea that they would still be performing after four decades must have seemed far-fetched in the '90s when they were throwing a tampon "from source" into the crowd at the Reading Festival, U.K. Or appearing sans pants on The Word. But here we are, and here they are.

And ok, nowadays the four musicians--Donita Sparks, Suzi Gardner, Jennifer Finch and Dee Plakas--aren't so much into baring asses or lobbing tampon grenades (Sparks in both cases), but they've lost none of the fire, the unbridled energy, that mades records like Bricks Are Heavy, Hungry For Stink and Smell the Magic so utterly infectious.

Photo credit: C. Elliot Photography

We got tunes from all of those and more at the Belasco. The wonder-drone of "Andres" came first, the stomp-along of "Everglade" soon afterwards. And we were reminded that, as good as The Prodigy's cover of "Fuel My Fire" was, nothing beats the original.

"Monster" and "Freak Magnet" have the sludgy groove that L7 perfected, and "Dispatch from Mar-A-Lago" is appropriately topical. "Pretend We're Dead" remains one of the best songs that ever came out of the '90s, and "Shitlist" is the chaotic, rapid-fire punk anthem than served as the soundtrack to Mickey and Mallory shooting up a diner in Natural Born Killers. At the Belasco, it inspired some bouncing and that was perfect.

Forty year in and L7 is still this good. Maybe 40 more is too much to ask for, but who the fuck knows?

Photo credit: Brett Callwood

Earlier, New York band the Lunachicks performed their first set in L.A. for 20 years. Marching on stage to the sound of Harry Richman's "I Love a Parade," pom-poms held aloft, the musicians of the Lunachicks were soon joined by singer Theo Kogan who span and pirouetted around the stage before she'd sung a note.
 
The setlist focussed on tunes from their most recent album, 1999's Luxury Problem, with just two tracks from the first two albums "Jan Brady" and "C.I.L.L." The title track from the Jerk of All Trades album was particularly welcome, but the likes of "Bad Ass Bitch" and "Shut You Out" really stole the show.
 
This was L7's night, but the Lunachicks are old friends and the limelight was duly shared.
 
Earlier still, Brazilian dance-pop, new-rave group CSS did a great job of getting the Belasco bouncing early on. Fronted by the incomparable Lovefoxxx, CSS has songs as hooky as "Let's Make Love and Listen to Death From Above" to draw on. That said, the set was compelling from start to finish.
 
 

Edit this setlist | More L7 setlists
 

Edit this setlist | More Lunachicks setlists

The post L7 and Lunachicks Party at the Belasco first appeared on Music Connection Magazine.

Bootleg vinyl from Russia & China… and 3 other things you might have missed from the RIAA’s latest piracy revelationsUS recorded music revenues are still around $9 billion per year lower than they were before the age of digital piracy arrived, the RIAA says
Source

NIVA State of Live: How US Independent Venues Power Local EconomiesAcross the United States, independent music venues are doing far more than hosting concerts—they are fueling jobs, tourism, and cultural connection in every community. A new state level reports from the National Independent Venue Association (NIVA) shows just how vital these spaces are to state and local economies, while also highlighting the challenges threatening their survival.
The post NIVA State of Live: How US Independent Venues Power Local Economies appeared first on Hypebot.

Why Sign With a Label?Why Sign With a Label? Weighing the value against independent release strategies in today’s music landscape.
The post Why Sign With a Label? appeared first on Hypebot.

Musicians Guide To Spotify Wrapped 2025With the release of Spotify 2025 Wrapped just weeks away, the countdown is on for every musician to be part of this rare global cultural moment. Fortunately, Spotify makes it easy with a guide to help musicians get ready for Spotify Wrapped.
The post Musicians Guide To Spotify Wrapped 2025 appeared first on Hypebot.

Music Business News Last WeekMusic Business News last week included a Musician's Guide to Spotify Wrapped, two pieces on live show marketing, the Supreme Court saying no to Live Nation and more.
The post Music Business News Last Week appeared first on Hypebot.

Dennis "Roc.am" Jones Reaches for Solid State Logic's THE BUS+A profile from Solid State Logic (SSL) sent on Friday revealed that, "On any given day, engineer, producer and artist Dennis 'Roc.am' Jones might be remastering a Frank Sinatra collection, mixing a Rihanna album in Dolby Atmos or producing music for a movie soundtrack or for release under his own name. Whatever the project, he says, Solid State Logic’s THE BUS+ two-channel compressor is always in the chain."

"Roc, born in the borough of Brooklyn in New York City and regularly working on both the east and west coasts, is perhaps best known for his immersive mix projects, reimaging and remastering material by legendary artists like James Brown and Frank Sinatra, global icons such as Mary J Blige and Mariah Carey, and rising stars including Ice Spice and H.E.R.," they continue. "He has also contributed to movie soundtracks such as Pitch Perfect and the original immersive soundtrack for Wicked and releases original material as an artist under his own name."

“Since I installed THE BUS+, I've used it on every single project, religiously,” Roc reports. His principal focus currently is on reimagining and remastering releases from the Universal Music Group. When he embarks on a new project, he says, he carefully considers what using THE BUS+ can bring to it. “The obvious thing is that I can do standard compression, but I usually take it beyond that. With THE BUS+, I can go extreme, or I can add just a little touch. Often, multiple little touches, which add up to a much bigger whole, are my usual process. All the things this box can do: Saturation, dynamic EQ, transient enhancement, and the various compression types, they all make a difference while giving me so much flexibility across different genres. Just one- or two-dB gain reduction, a little bit of dynamic EQ and some 4K flavour to tie it all together. It gives me the tools to create a nice, smooth translation from what I'm imagining to delivering the final remaster.”

"Specifically, he says, he will often work with the MID SIDE mode selected. The mode engages THE BUS+’s Mid-Side encode-decode circuitry, enabling the left side of the unit to process the mid signal — the mono sum of the left and right channels — and the right to process the side signal — that is, the stereo differences when the left and right signals are subtracted from one another," they said.

“I'm compressing my sides to widen the records a little bit, to give the record and the stereo portion of the sounds more movement,” Roc explains — depending on what is appropriate to that piece of music, of course. “Sometimes I'll work with the mid to give more of a solid low end or presence to the midrange frequencies.”

4K and F/B feedback modes"But his favourite workflow through THE BUS +, he continues, is using 4K Mode, which offers 9 different levels of saturation, in combination with the D-EQ dynamic EQ," they say.

“That's my general day-to-day use with this box,” he says. “And a lot of times, if the record is very powerful or aggressive, I love being able to tone it down with THE BUS+ in F/B Mode to slow things down, so we're not just hitting everything so hard.”

Getting creative with SSL SiX

“I was traveling a lot — about every two weeks — from New York to L.A., so I was that guy on the plane with all this stuff in front of him, working. The SiX was cool because I could use its analogue circuitry to get all of the warmth and separation that I want from an SSL console, in a small, portable desktop unit.”

“I discovered how versatile it was for music creation and production. There are all these inputs, so I would hook up my microphone to it, I would hook up my vintage synthesisers and my [Teenage Engineering] OP-1 [synth], and I would use SiX to bring together all my sounds in the analogue domain and create music. It's a cool tool and has an SSL console sound to it, you can tell that SSL have put their SuperAnalogueTM technology in it. It really is something unique. What's cool about SSL gear is that there’s an endless opportunity for creativity, and it's for us to discover more.”

"The SiX offers two mono recording channels featuring SuperAnalogue mic pres, two-band EQ and one-knob version of the classic SSL Channel Compressor, along with two stereo line-level channels, and the unique Listen Mic Compressor on the talkback," they say.

“I could hook up all these instruments, use the SiX as a mixer and just take a line out into my interface,” he says.

“My first board was the SSL Matrix, years and years ago, which still to this day is one of my favourite boards. I learned how to track and mix on it and do all sorts of things. I didn't go to school for any of this stuff; I learned everything by watching videos on YouTube.”

Summing up, he says, “I was into rap and hip-hop, and in the ‘90s SSL was a huge influence on hip-hop. I love Dre and Snoop, and they're using SSL boards. I love Jay Z, so I looked at what Jay Z's engineer, Young Guru, was doing. I remember the first time I was introduced to EQ and compression was on an SSL channel strip. I’ve always tried to incorporate as much as I can with the tools that I have. But if there's an opportunity for me to work with any new tool or something that I haven't worked with from SSL, I always go for it, because SSL has been part of my life.”The post Dennis "Roc.am" Jones Reaches for Solid State Logic's THE BUS+ first appeared on Music Connection Magazine.

Last Chance to Win Kurt Cobain’s MTV Unplugged Guitar PickThe iconic Kurt Cobain Unplugged exhibition at the Royal College of Music Museum in London is nearing its final days, and with it, your last opportunity to own a piece of rock history: one of Cobain’s original guitar picks used during Nirvana’s legendary MTV Unplugged performance.

This rare Dunlop 60mm plectrum was discovered in the case of Cobain’s Martin D-18E guitar, which was purchased at auction in 2020 for a record-breaking $6.01 million USD by RØDE Founder Peter Freedman AM. The guitar currently serves as the centerpiece of the exhibition, and now the plectrum becomes the focus of a global prize draw, with entries open worldwide for just £5 per entry.

All proceeds will directly support the Royal College of Music’s Future Music Fund, an initiative empowering the next generation of musicians from diverse backgrounds to shape the future of music.

True to his promise, Mr. Freedman has ensured that Cobain’s guitar has not been locked away in a private collection but has instead become a symbol of inspiration and support for the global creative community. “When I purchased this guitar, my intention was to have it begin a worldwide tour of exhibitions to support performing artists,” he said. “I wanted it to be seen, to inspire, and to give back to the creative community that helped shape my life. Its inclusion in this exhibition has honoured that intention, and I’m delighted that it has been realised at the Royal College of Music, an institution incredibly close to my heart.”

The Kurt Cobain Unplugged exhibition, running until November 18, 2025, has drawn thousands of visitors to experience the story behind one of music’s most iconic performances. At its heart is Cobain’s Martin D-18E guitar, alongside other legendary artifacts, including Cobain’s olive-green mohair cardigan from the MTV Unplugged performance. This exhibition marks the first time these items have been displayed together, offering fans a deeply personal glimpse into the artistry and legacy of Kurt Cobain and Nirvana.

Entries for the plectrum prize draw are open now and will close on November 18, 2025, the final day of the exhibition. Unlimited entries are allowed, and every £5 entry directly supports the Royal College of Music’s Future Music Fund.

Don't miss out on this once-in-a-lifetime opportunity to own a piece of rock history and support the future of music. Enter the prize draw now and help shape the next generation of musical talent.

For more information and to enter the prize draw, visit the Royal College of Music's official website.

Exhibition Dates:June 3rd – November 18th, 2025Royal College of Music Museum, Prince Consort Road, London

The post Last Chance to Win Kurt Cobain’s MTV Unplugged Guitar Pick first appeared on Music Connection Magazine.

Is StubHub doing all it can to police 10% Maine ticket resale cap?The new Maine concert ticket law is the toughest in America. Enforcing the landmark law will test its effectiveness. But leading ticket resale platform StubHub is not going out of their way to ensure compliance.
The post Is StubHub doing all it can to police 10% Maine ticket resale cap? appeared first on Hypebot.