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After two months on the road, rock legend Neil Young closed out his North American tour last night with a catalogue-spanning set at New York City’s Madison Square Garden. And the gig — a celebratory event with openers Wilco and Everest — drew a who’s who list of celebs, including actor Bill Murray, singer/songwriter Norah Jones, and Oasis’ Noel Gallagher.

Young protégés Everest welcomed the audience with tunes off their latest album, Ghost Notes, and a cover of Bob Dylan’s “You Ain’t Goin’ Nowhere,” which saw gorgeous country lasses the Watson Twins and Wilco bassist John Stirratt on backing vocals.

Wilco opened their short set with Sky Blue Sky’s pastoral “You Are My Face” and Yankee Hotel Foxtrot’s “I Am Trying to Break Your Heart.” A few songs later, frontman Jeff Tweedy invited Norah Jones to join the band on psych-country ballad “Jesus, Etc.” Jones, who covered the song at this year’s Bridge School Benefit, hit the stage with two unidentified galpals, a group that Tweedy dubbed “Puss in Boots,” and the trio sang backup to the track, which spurred a gleeful crowd sing-along. But Tweedy wasn’t finished: To celebrate his son’s birthday, the Chicago rocker invited 13-year-old Spencer to fill in on drums after the crowd sang a spirited “Happy Birthday.”

“It’s all down hill from here, son,” Tweedy joked as Spencer left the stage.

As Young’s stage hands prepared for his set, the stars began filling the seats near our stage-left perch. Bill Murray arrived with director Jim Jarmusch, Norah Jones and the rest of “Puss in Boots” plopped down next to us, and Noel Gallagher and Oasis (minus Liam) sat to our left.

“He’s still got it,” Gallagher told SPIN.com of Young’s timeless musicianship. “And most importantly, he still means it.”

And he does: Young, 63, ripped through his catalogue, making a joke during After the Gold Rush track “Oh Lonesome Me” by substituting “old” for “oh,” and playing lively versions of “Cinnamon Girl” and Powderfinger.” His new tunes proved both Young’s venomous and tender sides haven’t diminished; the gritty guitars of “Cough Up the Bucks” got the crowd pumping fists, and slow-strumming solo electric ballad “Off the Road” had longtime fans questioning their neighbors: “Which album is this on?”

Studio ace Chad Cromwell (drums), longtime collaborator Ben Keith (pedal steel/rhythm guitar), Rick Rosas (bass), Anthony Crawford (piano, guitar), and wife Peggi (piano, background vocals) worked as a seasoned team. And the group — usually playing within a three-foot radius in the center of the stage — knew when to give room to Young’s stomping solo fits, which highlighted tracks like “Cortez the Killer.”

Onstage, a painter laid wide brush strokes on a large canvas. “It’s some hippie stuff,” Norah Jones whispered to SPIN.com

It certainly was. In his paint-splattered suit jacket, ragged jeans, and tattered tennis shoes, Young, ever the ’60s idealist, played pipe organ on “Mother Earth (Natural Anthem),” a somber track lamenting the mistreatment of our planet. He strummed out a spot-on rendition of “The Needle and the Damage Done,” and showed his chops on the freewheelin’ “Cowgirl in the Sand.” Call it hippie stuff, but Young’s ever-changing style proves his staying power — especially on the set-closing rendition of the Beatles’ 1967 psych-classic “A Day in the Life,” which Young transformed into a riotous rocker as he stomped across the stage, screamed into the mic, and shook and rattled his guitar during the song’s final, noisy coda until the strings had ripped from the fretboard.

Neil Young setlist:
“Love and Only Love”
“Out of the Blue”
“Everybody Knows This is Nowhere”
“Powderfinger”
“Cortez the Killer”
“Cinnamon Girl”
“Old Lonesome Me”
“Mother Earth”
“Needle and the Damage Done”
“Light a Candle”
“Cough Up the Bucks”
“Fuel Line”
“Hit the Road and Go to Town”
“Get Around”
“Unknown Legend”
“Heart of Gold”
“Old Man”
“Back to the Country”
“Off the Road”
“Sing a Song”
“When Worlds Collide”
“Cowgirl in the Sand”
“Rockin’ in the Free World”

Encore:
“Get Behind the Wheel”
“A Day in the Life”

Neil Young / Photo by Jonathan Bayer

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After two months on the road, rock legend Neil Young closed out his North American tour last night with a catalogue-spanning set at New York City’s Madison Square Garden. And the gig — a celebratory event with openers Wilco and Everest — drew a who’s who list of celebs, including actor Bill Murray, singer/songwriter Norah Jones, and Oasis’ Noel Gallagher.

Young protégés Everest welcomed the audience with tunes off their latest album, Ghost Notes, and a cover of Bob Dylan’s “You Ain’t Goin’ Nowhere,” which saw gorgeous country lasses the Watson Twins and Wilco bassist John Stirratt on backing vocals.

Wilco opened their short set with Sky Blue Sky’s pastoral “You Are My Face” and Yankee Hotel Foxtrot’s “I Am Trying to Break Your Heart.” A few songs later, frontman Jeff Tweedy invited Norah Jones to join the band on psych-country ballad “Jesus, Etc.” Jones, who covered the song at this year’s Bridge School Benefit, hit the stage with two unidentified galpals, a group that Tweedy dubbed “Puss in Boots,” and the trio sang backup to the track, which spurred a gleeful crowd sing-along. But Tweedy wasn’t finished: To celebrate his son’s birthday, the Chicago rocker invited 13-year-old Spencer to fill in on drums after the crowd sang a spirited “Happy Birthday.”

“It’s all down hill from here, son,” Tweedy joked as Spencer left the stage.

As Young’s stage hands prepared for his set, the stars began filling the seats near our stage-left perch. Bill Murray arrived with director Jim Jarmusch, Norah Jones and the rest of “Puss in Boots” plopped down next to us, and Noel Gallagher and Oasis (minus Liam) sat to our left.

“He’s still got it,” Gallagher told SPIN.com of Young’s timeless musicianship. “And most importantly, he still means it.”

And he does: Young, 63, ripped through his catalogue, making a joke during After the Gold Rush track “Oh Lonesome Me” by substituting “old” for “oh,” and playing lively versions of “Cinnamon Girl” and Powderfinger.” His new tunes proved both Young’s venomous and tender sides haven’t diminished; the gritty guitars of “Cough Up the Bucks” got the crowd pumping fists, and slow-strumming solo electric ballad “Off the Road” had longtime fans questioning their neighbors: “Which album is this on?”

Studio ace Chad Cromwell (drums), longtime collaborator Ben Keith (pedal steel/rhythm guitar), Rick Rosas (bass), Anthony Crawford (piano, guitar), and wife Peggi (piano, background vocals) worked as a seasoned team. And the group — usually playing within a three-foot radius in the center of the stage — knew when to give room to Young’s stomping solo fits, which highlighted tracks like “Cortez the Killer.”

Onstage, a painter laid wide brush strokes on a large canvas. “It’s some hippie stuff,” Norah Jones whispered to SPIN.com

It certainly was. In his paint-splattered suit jacket, ragged jeans, and tattered tennis shoes, Young, ever the ’60s idealist, played pipe organ on “Mother Earth (Natural Anthem),” a somber track lamenting the mistreatment of our planet. He strummed out a spot-on rendition of “The Needle and the Damage Done,” and showed his chops on the freewheelin’ “Cowgirl in the Sand.” Call it hippie stuff, but Young’s ever-changing style proves his staying power — especially on the set-closing rendition of the Beatles’ 1967 psych-classic “A Day in the Life,” which Young transformed into a riotous rocker as he stomped across the stage, screamed into the mic, and shook and rattled his guitar during the song’s final, noisy coda until the strings had ripped from the fretboard.

Neil Young setlist:
“Love and Only Love”
“Out of the Blue”
“Everybody Knows This is Nowhere”
“Powderfinger”
“Cortez the Killer”
“Cinnamon Girl”
“Old Lonesome Me”
“Mother Earth”
“Needle and the Damage Done”
“Light a Candle”
“Cough Up the Bucks”
“Fuel Line”
“Hit the Road and Go to Town”
“Get Around”
“Unknown Legend”
“Heart of Gold”
“Old Man”
“Back to the Country”
“Off the Road”
“Sing a Song”
“When Worlds Collide”
“Cowgirl in the Sand”
“Rockin’ in the Free World”

Encore:
“Get Behind the Wheel”
“A Day in the Life”

Neil Young / Photo by Jonathan Bayer

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Sound of Urchin is a New York based band that has garnered much attention on the tour circuit, after the well-received Diamond (2005). The band members - Tomato (lead vocals, drums), Doo Doo Brown (bass), Rev. B-Ill (guitar) and Seahag (guitar) - have an enthusiastic approach to blending various musical styles, sounding sometimes like the Foo Fighters, other tracks set to a late 80s vibe, and an overall bonhomie that helps set the mood, particularly in live sets.

Their latest as-yet-unreleased album is Rejoice, quite appropriately touted as ‘the Return of the Rock Album’, which premiered at SXSW this year. The rhythms and vocals are well-produced, along with consistently good lyrics. It feels at times like a gospel-rock set, but there’s more here than just that.

“Jesse Tenser” begins with an extended riff on the guitars, before launching into a rant on the impact of fame on the self (you’ll remember everything you haven’t done/was it that bad or sometimes fun?Did you ever think it would come to this) The stanzas are interspersed with some impassioned fretwork that enlivens the song. The vocals go up a few notches as the song progresses before culminating in a pensive note on how ‘it takes you back to selfish acts/and just won’t let you be‘.

“Dig” keeps the tempo up, a strong thrash-metal beginning gives way to the driving urge that makes human achievement possible and keeps one going (I don’t care as long as I can get it/Wheels are turning/I am burning/Can’t you see it’s a part of me). The thrashing riffs never let up, and the vocals are expertly mixed through the chords, although not quite able to overpower them.

“Shake The Magic Eight Ball” lets the magic roll, friends, feeling and all. The bass and rhythm guitar vie for attention, and Tomato’s leads from the front.

“Go To Your Room” has a catchy rhythm and fun lyrics,(”I’m hurt/I’m hurt/…/Go to your room/I’ve had it/And don’t come out till 7/I’m tired/…You’re rude and ugly and pretty disrepectful/You take up all my time/and suck up all my juice“) I intend to play this for my kids the next time they rip the place up with their antics. I love the ‘What did I do to deserve this?” riff. Best song on the album - “Black Helicopters Over Brooklyn” status? We’ll see.

“The Last From Me” eases the pace somewhat. Its pretty vacuous, though, for all the nifty beats. The final third somewhat redeems the track, but not entirely.

The segue into “Oh My God” is redeeming (pun intended). This is the space the band occupies best. Frenetic strumming, drums, and strong vocals - “satisfaction is guaranteed” I’d love to try this song on Rock Band or Guitar Hero, but doubt I could pull it off.

“Rejoicing The Majesty”, from the title sounds suspiciously like another Redeemer track. part of the Vatican Top 10. The lyrics don’t change the impression (time to get closer to your sweetness/…Desire/…/reach for the unknown/) and the track covers the gamut of any self-respecting thrash-metal godhead song.

“Don’t Walk Me Down That Road” is a rather more traditional rock gospel track,  I find the imagery memorable (”and then I get that feeling/my heart has a ceiling/and I can’t find the words to speak/…/I can’t get my breath to breathe/“) The lust for life is portrayed well (the forces of evil gently judge my soul/but I won’t go/the floor keeps calling me to come on down/but I’m living my life like I never did before/and I want more/) and if you believe there’s more to life than the heat and noise, this song will make you feel that other side all too close.

“I’m Not Surprised” retreats to familar territory. The extended refrains don’t seem overlong, rescued as they are by guitar solos.

“Rite To Fire” stays strong, with something resembling an 80s vibe.

“The Rooster Says Good Morning” seems to keep at the same pace. It’s another light track, saying much but not quite getting to its goal, going ‘on and on/and up and down/and round and round‘.

?Hag” is a great track, in the league of some of the best metal anthems around. Its instrumental, building the pace and giving room to all the instruments to blossom on the soundstage. The rhythm guitar enters late in the piece, and yet is the crowning achievement to this masterful number. (*****)

“A Better Place” gives one more chance to build and maintain the heavy pace, providing meaty support to the compelling lyrics. One of the longer songs on the album, it doesn’t lose pace along the way.

“Disappointment Has Come Upon Me” seems to take a breath at the beginning, and then returns to strong guitar work with a somewhat cheesy ‘la la la’ refrain. 

“All Reality Has Changed / Nosferatu” is a good book-ender, taking its time to settle into its pace, and deserving of a few listens. The second half (Nosferatu?) is a thrash-metal playfest, never easing up.

The final track “Living Well Lady” sounds like a concert outtake, and quite different from the rest of the album. The piece barely begins and ends, almost an afterthought.

Overall, a good effort, worth the listen, and will help cement the already strong cred of Sound of Urchin in their fanbase. Will it be a breakout album? Perhaps, it should resonate with rock fans, at the very least.

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Art67110
Technical Difficulties Rel16641

Hi All,

I may be too basic here, but what’s exactly a music server?

I mean, what’s for example the difference between my laptop with external HD for music storage, USB DAC connected to amplifier, and a “music server”?
Is a music server a pc dedicated only to music and nothing else?

I read for the first time about music servers on this forum and would kindly like to know more.

Thank you very much,
Francesco Roselli

Let The Truth Be Told Ft Lil Keke Mov N Slowed And Chopped Track636817
Wanna Get Up Maxi Rel3787

What? Superstar DJs the world across, from Paul Oakenfold to LCD Soundsystem’s James Murphy, know an eclectic mix of tunes is needed to keep the dance floor rockin’. That’s why New York dance and post-punk outfit the Rapture’s new 22-track compilation for dance label !K7, Tapes, spans a multitude of genres, from house to hip-hop. Featuring choice cuts by Ghostface Killah, the Bar-Kays, Armand Van Helden, and Daft Punk’s Thomas Bangalter, Tapes is perfect for tearing the roof off any rager.

Who? Though the Rapture are usually associated with New York, they started in La Mesa, CA, where the band was formed in 1998 by former keyboardist Christopher Relyea, drummer Vito Roccoforte, and vocalist/guitarist Luke Jenner. After releasing several rock-oriented EPs, the group collaborated with NYC production duo DFA (which counts James Murphy as a member) to craft dance-punk’s defining statement, 2003’s Echoes. In 2006, the band released their much-anticipated follow-up, Pieces of the People We Love, which featured production by Gnarls Barkley’s Danger Mouse. Currently, the Rapture is comprised of Jenner, Roccoforte, Matt Safer (bass/vocals), and Gabriel Andruzzi (keyboards/saxophone/percussion/vocals).

Fun Fact: In what’s possibly the most awesome choice for a sports team’s theme song since the first volume of Jock Jams hit stadiums, the Rapture’s “Whoo! Alright, Yeah