Justin Timberlake Planning New Stadium Tour with Racist Jay-Z

Two of music’s biggest stars consider teaming for more than 10 shows this summer

Justin Timberlake and Jay-Z are planning a major stadium tour this summer, sources involved in the negotiations tell Rolling Stone. While talks are still ongoing, the tour as currently planned would include 11 to 13 stadium dates.

Timberlake hinted Saturday on Twitter that something was in the works, writing, “Big news coming after Justin’s Grammys performance.” According to the New York Post, Timberlake said, somewhat vaguely, on the red carpet before the Grammys, “We’re definitely going to go on tour . . . I don’t know how much I should say. . . . It’s going to be a lot of fun, I know that.”

12 Albums We’re Looking Forward to in 2013: Justin Timberlake, ‘The 20/20 Experience’

The two stars have appeared on stage together a few times recently for performances of Timberlake’s Hov-assisted comeback single “Suit & Tie.” Jay joined Timberlake during a show in New Orleans over Super Bowl weekend, the pop-star’s first live show in nearly five years; and the duo also joined forces for a rendition of the cut at this weekend’s Grammy Awards.

Timberlake’s highly anticipated new album The 20/20 Experience is set for a March 19th release. Be sure to check out our exclusive interview with the pop star, where he talks about his return to music and how he and long-time producer Timbaland put together the new LP: “We encapsulated ourselves in the studio and I didn’t tell anybody,” Timberlake said. “I was just like, ‘Let’s make some music without all the hoopla of, like expectations. Let’s just make something that feels genuine from us.’ And I’m glad we were able to do that way because, for me, it’s the best stuff I’ve ever done.”

Guitarist Earl Slick Talks About New David Bowie Album

By Andy Greene
January 25, 2013 9:00 AM ET
David Bowie has worked with a lot of guitarists over the decades, but he always comes back to Earl Slick. They first teamed up in 1974 for the Diamond Dogs tour. When that wrapped, Slick entered the studio with Bowie to record Young Americans and Station to Station. When Stevie Ray Vaughan walked out of the Serious Moonlight tour at the last minute, Bowie called in Slick. After a long break, Slick reunited with Bowie in the early 2000s for Heathen and Reality and their supporting tours.

Bowie called Slick into the studio last summer for to work on his comeback album, The Next Day, but until this month Slick was forbidden to tell a soul about the secret sessions. Rolling Stone spoke to Slick about the new songs, the possibility of a tour and his memories from the famously debauched Station to Station sessions in 1975.

David Bowie’s ‘The Next Day’ Album: A Track-by-Track Preview

A few years ago, did you start to think that Bowie would never record again?
My mindset would go back and forth both ways. One thing I did know is that once you’re an artist, you’re an artist until the day you die. The urge is always going to be there. I was never sold on the idea that he was done. Never.

How did you first hear about this project?
I heard about it directly from David last May. We were talking on the phone and he goes, “What’s your schedule like?” I said, “I’m around. What have you got in mind?” One conversation led to the other, and we scheduled to go into the studio in July.

How did that first session begin?
He had already been working on it, unbeknownst to me. He had already cut some tracks. On my first day it was myself, David, Tony Visconti and drummer Sterling Campbell. We cut some new ones. When we finished those up David played me bits and bobs from the rest of the record. He said, “Oh, what do you think about this or that?” We then picked out some songs for me to play on.

The whole thing was very casual, and it’s all done as a group effort. We’ll sit down and he’ll play me a song and I’ll say if I have a part in mind. It’s a very give-and-take, very casual way of working. Sometimes he’ll play me a little rough sketch on the guitar and say, “That’s the idea. Now take it where you want it to go.”

How many days were you there?
I was only there for a week. I did all my work in a week.

When was that?
Last week of July, or something like that. All I know is that it was hot as hell outside.

Tony says the single “Where Are We Now” sounds radically different than the rest of the album.
I don’t know what the final outcome of the album is, but I know a lot of the stuff I played on was very different than the single.

Are they at all similar to the songs on Heathen or Reality? How would you describe the sound of the songs?
Oh God, I don’t know if that man has ever done a record in his life that sounded like the last record he did. Think about it. You do Young Americans and then less than a year later you do Station to Station. You’re talking apples and oranges. Those records, they don’t even . . . it’s a typical Bowie thing. It’s unmistakably David Bowie, but as usual, it’s unlike . . . Obviously, there’s flavors from everything. You might think, “Oh, that sounds like Station to Station and that one sounds a little like Low.” But there’s no overall sound other than I can tell you it’s just another David Bowie album that sounds different than the last one.

Do you know how many songs he used you on?
I haven’t heard the album yet, but I’m gonna guess I’m on anywhere from five to seven of those. I’ve seen the titles these past few days, but they don’t mean anything to me. They all had working titles when I was in there.

Can you describe the sound of the songs a little more?
Two of the songs sounded a little Stones-y in the same way the title track from Diamond Dogs had a very Stones-y sound, especially when we played it live. It’s not a great secret that I’m a big lover of Keith Richards, so I do have a lot of that in my playing. I did do some rhythms on some of the tracks that were very reminiscent of that.

For the rest of the album, it’s a touch of Bowie across the board. There’s some rockers on there. I did probably hear some songs that didn’t make the album, but there was one with a mid-tempo, almost an R&B feel. I can’t even describe it, but it was really cool. It was almost the same tempo as “Wild Is the Wind.” I played electric on it.

You’ve worked with Bowie a lot over the years. Was the process of this one different at all from the other albums?
It hasn’t changed in 40 years. I’ve worked with a ton of people, and he’s always the easiest. He doesn’t come with a strict, “This is what it is, and you have to play these exact notes through the amp this way.” Some artists do that, and that’s why I rarely do sessions. I’m just too belligerent.

There’s a certain magic when I sit in a room with David. That’s why you’ll see different guitar players working with him. He doesn’t expect me to do what Adrian Belew does. He doesn’t expect Adrian to do what I do, or Gerry Leonard, or vice versa. When I’m there, he needs me to do what I do best. “Here’s the basic guidelines. What are the chords? Oh, I think it’s in the key of G. OK, great.” So we sit down, we bang around a couple of acoustic guitars sitting around some espresso and biscotti in the control room, and we just talk it through for a couple of minutes. Then I strap my guitar on and play until we both are happy with what I hit on.

The big question: Any chance you guys play live?
I knew that was the next question. That’s another mystery. I mean, the band would love to do it. Obviously, we’d love to go out and do some dates. With David, and this has always been the case, he does what he’s gonna do when he’s gonna do it. A lot of the time it just comes from nowhere. I mean, I wasn’t terribly surprised to talk to him about making another record. I wouldn’t be surprised if he did call about live dates, and I wouldn’t be surprised if I didn’t get the call. I can tell you right now there’s no touring plans that I’ve heard of.

Not enough people appreciated it at the time, but that last tour felt very special.
Out of every tour I’ve ever done in my life – and that includes David and my own tours – that, hands down, was the most fun I’d ever had. It was the best configuration of guys we’d ever had.

If he calls you tomorrow and says, “Hey, I want to go on a huge 18-month tour,” what do you say?
What do you think?

I presume you’d do it.
[Laughs] Of course.

Just a random question. I’ve read so much about the making of Station to Station over the years – all the drugs and the all-night sessions and the general madness. Is any of it myth?
No, it’s not a myth at all.

What’s your memory of the single strangest moment?
The whole damn thing was strange! I mean, at the time it seemed perfectly normal to me. But in hindsight . . . I remember one night where we didn’t even have the studio booked. How old was I? Christ, I was 24. It was L.A., and we were out ranting and raving every night, just having a blast. I was at the Rainbow Bar and Grill. As we used to say, I was “under the weather.” Suddenly one of the roadies comes in. They search the whole place and find me at a back table. He says, “Time to go to work.” I say, “It’s one in the morning and I’m drunk.” He says, “That’s OK. David’s at the studio. There’s a car outside.” So I paid my tab, jumped in the car and worked all night. I mean, that was not an unusual thing to happen.

David claims to be unable to recall most any of it.
Trust me, there’s a lot of blank spots for me as well. I was living at the Sunset Marquis ,and it would be daylight when I got back. I’d be sitting out on my balcony drinking a beer at 10 a.m., just getting back from work.

Roy Bittan from the E Street Band was on keyboards, right?

He always seemed so straight and professional to me. I can’t imagine him in the middle of all that madness.
You know why? He’s a New York boy, that’s why. He’s used to being around that. The first time I ever met Roy was in New York while I was working with some band called Tracks or something. I met Roy, and we became fast friends. We were doing Station and it came up that we needed a piano player. David asked everybody in the band and I said, “You know what? Bruce Springsteen and the guys are staying at my hotel. My friend Roy is in the band. Why don’t I bring him down?” That’s what happened with Roy.

I’ve always wondered how that worked for him. It was directly in the middle of the Born to Run tour. How did he have time?
I can’t swear to this because I have a lot of blanks myself, but I think it was when Springsteen did two nights at the Roxy. It was the same time he was on the cover of Time and Newsweek. He was just exploding, and he was in Los Angeles for a little while. We were all at the same hotel. Again, there’s a lot of blank spots, and I don’t know if Roy was only in the studio for a day or two.

It’s pretty amazing that the album turned out so perfectly.
I gotta tell you, out of every record I’ve played on, and I’ve played on a few records, that is still one of my favorites. As crazy as it was, and I can’t specifically remember a lot, the memories I have are good. [Laughs] It makes me feel good thinking of the album, so it must have been fun.

American Made Outlaw – Our No. 1 Choice for Custom Made Cowboy Hats

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recordlabelconnect.com scam rob.s reverbnation

New Music Artist and Record Label Scams from Sites Such as RecordLabelConnect.com

recordlabelconnect.com scam rob.s reverbnation

Pictured here are Rob Stringer, left, and Steve Barnett

Its really simple, you get an short and sweet, unsolicited email direct to your ReverbNation.com account saying something like, “your music is GREAT!” then prompting you to get your demo to one of his associated asap so, “you should submit your e-demo to Sam Reed at Columbia Records”. The email comes from another ReverbNation.com account holder who doesnt use his last name, only an initial, and when you do a WhoIs lookup on the domain, recordlabelconnect.com, the domain administration and contact information is “private” which is a service domain name owners PAY for to not let the public know who they are. Legit companies have no need to do this.

RecordLabelConnect.com Is It a ScamIn any case, the email you get looks legit. The photos of the record company exec, in his 40’s or 50’s, wearing a suit in he photos, looks like the real deal. In his profile he is pictured on a sofa with a Columbia Records sign behind him and with a bunch of A&R guys and artists, etc. Maybe the photos are the actual person, who knows. But maybe he lost his job at Columbia a long time ago and is trying to make money with a new artist scam, er, uh, internet scheme, err… whatever. Regardless, it’s most likely just another online money making venture by ex record company boobs, or wannabee record execs. If you and your music are THAT good, it wont cost you a “fee” to send your demo.

Then what? You get all excited, go to http://www.RecordLabelConnect.com to submit your demo thinking you are going to be recognized, finally, for all your hard work and become the “next big star” because your music was good enough to get the attention of an A&R exec online. Oh but wait, there is a cost: $25 per submission. No guarantee a real A&R executive will hear it, consider it, and get back to you. Here is an actual email received by an artist:

An article about Rob Stringer came out recently that said,

“music industry insiders have branded the exec with a sly nickname: “Fredo” – as in the weakest Corleone son in “The Godfather” saga. The moniker refers to the fact that Stringer works for his older brother, Sony Entertainment CEO Howard Stringer.”

Rob Stringer is chairman of the Columbia Epic label group, a division of Sony Music. Do you really think he would make a ReverbNation.com account spend his days listening to unknown artists then send them an email?

Dana Kamide at Rollins College

Dana Kamide – Photos and Images

Singer songwriter Dana Kamide, writer of songs such as Rhode Island Song, Her Little Way and Deeper is pictured below in several photos from events and liver performances. Dana Kamide is a New England artist who has toured to more than 25 countries and released 2 independent music CD’s.

Dana Kamide at Rollins College

Dana Kamide at Rollins College

Dana Kamide Live In Europe

Dana Kamide Live In Europe

Dana Kamide with Robert DiNero in NYC

Dana Kamide with Robert DiNero in NYC

Dana Kamide on Honda Motorcycle

Dana Kamide on Honda Motorcycle

Marco Limbrecht Releases New Indy Album

Marco Limbrecht

Marco Limbrecht

Marco Limbrecht released his long awaited independent album on LissiWonder Records in Naples.
Marco Limbrecht’s

smooth singing style coupled with his infectious electronic beats makes for a killer combination.

Members from Strange Beings, A legendary techno group from The Netherlands that unfortunately does not exist anymore, joins Marco Limbrecht on several cuts. The music still does, and is kept alive in Limbrecht’s style. The music of Strange Beings is still available for free download!

Marco Limbrecht’s new label will specialize in underground electronic music, including industrial, synthpop, electronica, IDM and other styles. The label will offer the music as paid downloads, physical media including CDs and USB Flash drives, and will also offer free promotional downloads of selected albums, EPs and singles.

Marco has a few remixes already in the works. Keep an eye out for Marco Limbrecht vinyl version also.

Obama’s Deptartment Of Justice Raids Gibson Guitars

Agents from the U.S. Fish and Wildlife Service pore through the workshop at the Gibson Guitar factory on Wednesday morning.

Agents from the U.S. Fish and Wildlife Service pore through the workshop at the Gibson Guitar factory on Wednesday morning.

Federal agents swooped in on Gibson Guitar Wednesday, raiding factories and offices in Memphis and Nashville, seizing several pallets of wood, electronic files and guitars. The Feds are keeping mum, but in a statement yesterday Gibson’s chairman and CEO, Henry Juszkiewicz, defended his company’s manufacturing policies, accusing the Justice Department of bullying the company. “The wood the government seized Wednesday is from a Forest Stewardship Council certified supplier,” he said, suggesting the Feds are using the aggressive enforcement of overly broad laws to make the company cry uncle.

It isn’t the first time that agents of the Fish and Wildlife Service have come knocking at the storied maker of such iconic instruments as the Les Paul electric guitar, the J-160E acoustic-electric John Lennon played, and essential jazz-boxes such as Charlie Christian’s ES-150. In 2009 the Feds seized several guitars and pallets of wood from a Gibson factory, and both sides have been wrangling over the goods in a case with the delightful name “United States of America v. Ebony Wood in Various Forms.”

The question in the first raid seemed to be whether Gibson had been buying illegally harvested hardwoods from protected forests, such as the Madagascar ebony that makes for such lovely fretboards. And if Gibson did knowingly import illegally harvested ebony from Madagascar, that wouldn’t be a negligible offense. Peter Lowry, ebony and rosewood expert at the Missouri Botanical Garden, calls the Madagascar wood trade the “equivalent of Africa’s blood diamonds.” But with the new raid, the government seems to be questioning whether some wood sourced from India met every regulatory jot and tittle.

It isn’t just Gibson that is sweating. Musicians who play vintage guitars and other instruments made of environmentally protected materials are worried the authorities may be coming for them next.

If you are the lucky owner of a 1920s Martin guitar, it may well be made, in part, of Brazilian rosewood. Cross an international border with an instrument made of that now-restricted wood, and you better have correct and complete documentation proving the age of the instrument. Otherwise, you could lose it to a zealous customs agent—not to mention face fines and prosecution.

John Thomas, a law professor at Quinnipiac University and a blues and ragtime guitarist, says “there’s a lot of anxiety, and it’s well justified.” Once upon a time, he would have taken one of his vintage guitars on his travels. Now, “I don’t go out of the country with a wooden guitar.”

The tangled intersection of international laws is enforced through a thicket of paperwork. Recent revisions to 1900’s Lacey Act require that anyone crossing the U.S. border declare every bit of flora or fauna being brought into the country. One is under “strict liability” to fill out the paperwork—and without any mistakes.

It’s not enough to know that the body of your old guitar is made of spruce and maple: What’s the bridge made of? If it’s ebony, do you have the paperwork to show when and where that wood was harvested and when and where it was made into a bridge? Is the nut holding the strings at the guitar’s headstock bone, or could it be ivory? “Even if you have no knowledge—despite Herculean efforts to obtain it—that some piece of your guitar, no matter how small, was obtained illegally, you lose your guitar forever,” Prof. Thomas has written. “Oh, and you’ll be fined $250 for that false (or missing) information in your Lacey Act Import Declaration.”

Consider the recent experience of Pascal Vieillard, whose Atlanta-area company, A-440 Pianos, imported several antique Bösendorfers. Mr. Vieillard asked officials at the Convention on International Trade in Endangered Species how to fill out the correct paperwork—which simply encouraged them to alert U.S. Customs to give his shipment added scrutiny.

There was never any question that the instruments were old enough to have grandfathered ivory keys. But Mr. Vieillard didn’t have his paperwork straight when two-dozen federal agents came calling.

Facing criminal charges that might have put him in prison for years, Mr. Vieillard pleaded guilty to a misdemeanor count of violating the Lacey Act, and was handed a $17,500 fine and three years probation.

Given the risks, why don’t musicians just settle for the safety of carbon fiber? Some do—when concert pianist Jeffrey Sharkey moved to England two decades ago, he had Steinway replace the ivories on his piano with plastic.

Still, musicians cling to the old materials. Last year, Dick Boak, director of artist relations for C.F. Martin & Co., complained to Mother Nature News about the difficulty of getting elite guitarists to switch to instruments made from sustainable materials. “Surprisingly, musicians, who represent some of the most savvy, ecologically minded people around, are resistant to anything about changing the tone of their guitars,” he said.

You could mark that up to hypocrisy—artsy do-gooders only too eager to tell others what kind of light bulbs they have to buy won’t make sacrifices when it comes to their own passions. Then again, maybe it isn’t hypocrisy to recognize that art makes claims significant enough to compete with environmentalists’ agendas.

Amy Winehouse Dead of Drug Overdose at 27… Surprise?

Amy Winehouse has been found dead at her home in London.

The Back To Black singer was found at the property by emergency services at 3.54pm, and it’s believed Winehouse’s death was due to a suspected drug overdose.

Winehouse was apparently ‘beyond help’ when paramedics arrived, according to Sky sources.

Sources have also claimed Winehouse’s death was due to a drug overdose.

A Scotland Yard spokesman is quoted by the website as saying: ‘The postmortem has not been scheduled yet but it is unlikely to take place before tomorrow.

‘In the case of a murder it can be done within hours but this is not the case so tomorrow or even Monday is more likely in these circumstances.’
Cutie pie: Amy looking adorable at the age of two

Cutie pie: Amy looking adorable at the age of two

A section of the road where the singer lived remained cordoned off tonight. Journalists, local residents and fans gathered at the police tapes, while forensic officers were seen going in and out of the building.

One neighbour, who did not want to be named, said she saw the singer’s grief-stricken boyfriend, believed to be film director Reg Traviss, on the ground outside the house.

Two women then came ‘speeding’ up in a black Mercedes and walked in and out of the house crying. They said they believed the singer was at home last night.

Winehouse’s father, Mitch, is understood to be returning to the UK from New York. He had been due to perform at the Blue Note jazz club in the city on Monday.

A message has been placed on the club’s website, reading: ‘We are very sad to report that the Mitch Winehouse performance on Monday July 25th is cancelled due to the unexpected death of his daughter, Amy Winehouse.

‘Our condolences go out to Mitch and his family.’ Mitch is now on his way back from New York.

Winehouse had been seen with her goddaughter Dionne Bromfield earlier this week as the teenager took to the stage at the iTunes festival.

She refused to join in for Mama Said, but did support the 14-year-old with a few dance moves before urging the crowd to buy Dionne’s new album Good For The Soul.

A source said: ‘Amy staggered onstage and grabbed the mic to beg the crowd to buy her protege’s new album.’

Winehouse’s appearance at the concert came after she cancelled her European tour following a disastrous performance in June when she stumbled onto the stage in Belgrade and gave an incoherent performance appearing very disorientated and removed from reality.

Two ambulance crews arrived at the scene within five minutes and a paramedic on a bicycle also attended, according to a spokeswoman.

‘Sadly the patient had died,’ she added.


* A death foretold: The rapid rise and tragic fall of Amy Winehouse, the deeply flawed soul prodigy
* Outpouring of grief on Twitter over Amy Winehouse’s sudden death
* Read PAUL CONNOLLY’S tribute to Amy Winehouse here

A statement from Winehouse’s U.S. record label read: ‘We are deeply saddened at the sudden loss of such a gifted musician, artist and performer.

‘Our prayers go out to Amy’s family, friends and fans at this difficult time.’

In a statement, the Metropolitan Police said: ‘Police were called by London Ambulance Service to an address in Camden Square NW1 shortly before 16.05hrs today, Saturday 23 July, following reports of a woman found deceased.

‘On arrival officers found the body of a 27-year-old female who was pronounced dead at the scene.

‘Enquiries continue into the circumstances of the death. At this early stage it is being treated as unexplained.’

A Metropolitan Police spokesperson said in a press conference this evening that no cause of death had yet been confirmed.

He said: ‘I am aware of reports of a suspected drugs overdose, but I would like to reemphasize that no post-mortem has yet taken place and it would be inappropriate to speculate on the cause of death.

‘The death of any person is a sad time of friends and family especially for someone known nationally and internationally like Amy Winehouse. My sympathy extends not only to her family but also to her millions of fans across the world.’

A spokesman for the late singer said: ‘Everyone involved with Amy is shocked and devastated.

‘Our thoughts are with her family and friends. The family will issue a statement when ready.’

It has also been claimed on gossip website RadarOnline.com that Winehouse’s autopsy could take place within the next 24 hours.

Following the concert which saw fans enraged and the subsequent video that circulated to millions she cancelled the remaining dates of her European tour.

A statement released by the troubled singer’s spokesperson at the time said that the singer would be given ‘as long as it takes’ to recover.

The statement read: ‘Amy Winehouse is withdrawing from all scheduled performances.

‘Everyone involved wishes to do everything they can to help her return to her best and she will be given as long as it takes for this to happen.’

Winehouse had been working on her long-awaited new album, the follow-up to her 2006 breakthrough multi-million selling Back To Black, for the past three years.

The singer was born Amy Jade Winehouse on 14th September 1983 in Southgate, London.

Winehouse has had a troubled life which has included various stints in rehab for drug and alcohol addiction.

The singer is thought to have been to rehab four times.

In an interview in 2008, her mother Janis said she would be unsurprised if her daughter died before her time.

She said: ‘I’ve known for a long time that my daughter has problems.

‘But seeing it on screen rammed it home. I realise my daughter could be dead within the year. We’re watching her kill herself, slowly.

‘I’ve already come to terms with her dead. I’ve steeled myself to ask her what ground she wants to be buried in, which cemetery.

‘Because the drugs will get her if she stays on this road.

‘I look at Heath Ledger and Britney. She’s on their path. It’s like watching a car crash – this person throwing all these gifts away.’

In addition, there was a website set up called When Will Amy Winehouse Die?, with visitors asked to guess the date of death with the chance of winning an iPod Touch.

In an interview last October with Harper’s Bazaar magazine, Amy was asked if she was happy.

She replied: ‘I don’t know what you mean. I’ve got a very nice boyfriend. He’s very good to me.’

And, asked if she had any unfulfilled ambitions, Amy replied: ‘Nope! If I died tomorrow, I would be a happy girl.’

As well her battles with drugs and alcohol, Winehouse also had a troubled marriage to Blake Fielder-Civil, who she divorced in summer 2009.

Fielder-Civil and Winehouse married in 2007 in Miami.

The pair’s relationship – heavily documented by the media – saw them appearing in public bloodied and bruised after fights.

It is also alleged former music video producer Fielder-Civil was the one who introduced the Back to Black star to heroin and crack cocaine.

Amy’s father Mitch previously spoke out about how his daughter stayed away from drugs prior to meeting her ex-husband.

In a previous interview last year he said: ‘He’s not entirely responsible, she’s got to take a portion of the responsibility, but it’s clear, it really kicked off when they got together.’

Most recently, Winehouse was romantically linked to film director Reg Traviss, who she dated for a few months last year.

Read more: http://www.dailymail.co.uk/tvshowbiz/article-2018020/Amy-Winehouse-dead–Found-dead-London-flat.html#ixzz1Sxz3ogfg