UPDATE Feb. 3: Ozzy Osbourne, Tony Iommi and Geezer Butler are telling Ward to stuff it. "We were saddened to hear yesterday via Facebook that Bill declined publicly to participate in our current Black Sabbath plans," they wrote. "We have no choice but to continue recording without him although our door is always open...We are still in the UK with Tony. Writing and recording the new album and on a roll...See you at Download!!!"

Drummer Ward unable to continue unless he gets "signable" contract.


By Blurt Staff / Photo by Marcus Blake


Things are not rosy in the Black Sabbath camp - and no, we're not talking about the genuinely distressing news of guitarist Tony Iommi's recent diagnosis of lymphoma. Today drummer Bill Ward issued a statement indicating that, due to business and managerial issues, he may be pulling out of the proposed reunion.

Read our coverage of the November press conference and reunion announcement, then have a look at what Ward has to say, below.

Dear Sabbath Fans, Fellow Musicians and Interested Parties,

At this time, I would love nothing more than to be able to proceed with the Black Sabbath album and tour. However, I am unable to continue unless a "signable" contract is drawn up; a contract that reflects some dignity and respect toward me as an original member of the band. Last year, I worked diligently in good faith with Tony, Ozzy and Geezer. And on 11/11/11, again in good faith, I participated in the L.A. press conference. Several days ago, after nearly a year of trying to negotiate, another "unsignable" contract was handed to me. 

Let me say that although this has put me in some kind of holding pattern, I am packed and ready to leave the U.S. for England.  More importantly, I definitely want to play on the album, and I definitely want to tour with Black Sabbath.

Since the news of Tony's illness, and the understanding that the band would move production to the U.K., I've spent every day getting to or living in a place of readiness to leave. That involves something of a task, and as I've tried to find out what's going on with the U.K. sessions, I've realized that I've been getting "the cold shoulder" (and, I might add, not for the first time). Feeling somewhat ostracized, my guess is as of today, I will know nothing of what's happening unless I sign "the unsignable contract."

The place I'm in feels lousy and lonely because as much as I want to play and participate, I also have to stand for something and not sign on. If I sign as-is, I stand to lose my rights, dignity and respectability as a rock musician. I believe in freedom and freedom of speech. I grew up in a hard rock/metal band. We stood for something then, and we played from the heart with honesty and sincerity. I am in the spirit of integrity, far from the corporate malady, I am real and honest, fair and compassionate.

If I'm replaced, I have to face you, the beloved Sabbath fans. I hope you will not hold me responsible for the failure of an original Black Sabbath lineup as promoted.  Without fault finding, I want to assure everyone that my loyalty to Sabbath is intact.

So here I am. I lay my truth down before you. I'm good to go IF I get a "signable" contract. I don't want to let anyone down, especially Black Sabbath and all the Sabbath fans. You know I love you. It would be a sad day in Rock if this current situation fell to the desires of a few.

My position is not greed-driven.  I'm not holding out for a "big piece" of the action (money) like some kind of blackmail deal. I'd like something that recognizes and is reflective of my contributions to the band, including the reunions that started fourteen years ago. After the last tour I vowed to never again sign on to an unreasonable contract.  I want a contract that shows some respect to me and my family, a contract that will honor all that I've brought to Black Sabbath since its beginning.

That's the story so far.

Stay safe and stay strong.

I love every single one of you.

- Bill Ward

Complaint stems from cancer organization's tussle with Planned Parenthood.


By Blurt Staff


On their website today the Decemberists issued a statement indicating they would no longer donate to the Susan G. Komen for the Cure foundation. Previously the band had been selling teeshirts labeled "Team Jenny" after member Jenny Conlee received a diagnosis of breast cancer and the proceeds had been going to the Komen group. However, Komen subsequently announced that it would be withholding its financial support of Planned Parenthood, a decision that rankled the Decemberists camp.


The band has issued a statement:

The Decemberists are deeply troubled by Komen for the Cure's recent decision to cut off funding to Planned Parenthood, a vital resource in the battle against breast cancer. Providing cancer screenings to low income women is integral to the prevention and defeat of breast cancer and it is unconscionable that Komen should politicize this very important issue by bowing to the fear campaign being waged against PP by the right. We've decided to redirect the proceeds of the Team Jenny t-shirts and buttons away from Komen for the Cure. 100% of the net profits of these items will be instead donated to Planned Parenthood's Breast Health Emergency Fund.

Please help to support this essential institution. And, if you've supported the Team Jenny effort in the past, please write to Komen for the Cure via their site or via twitter (@komenforthecure) and let them know that undermining women's health for political reasons is unacceptable.

Photo Credit: Autumn DeDwilde

First studio album since 2007. With Chris Goss in the mix, our 8-ball says "prognosis is good."

By Blurt Staff

Groundhog Day looms, and look who just popped their heads up to see their collective shadow: The Cult, with Choice of Weapon, the group's first studio album in five years. It was produced by Bob Rock and Chris Goss. It's the followup to 2007's Born Into This. The album is set for a May 22 release on the band's new label Cooking Vinyl, At the band's website - www.thecult.us  - the track "Lucifer" is now available as a free download teaser.

The album was written by Ian Astbury and Billy Duffy, recorded in New York City, Los Angeles, the California high desert, and the band's Witch Mountain studio between July and December 2011. The new release features founding members Astbury on vocals and Duffy on guitars, with drummer John Tempesta and bassist Chris Wyse. "We have had the opportunity to work with two of the most influential and talented producers in the world today," said Astbury, in a statement. "They pushed us beyond our comfort zone."

Jan. 29 in Mississippi Studios, the Bard O' Pop delivered, in spades.

By Tim Hinely /Photo by Martin Winch

Was excited to see Keene's touring partner, Austin's  Sally Crewe and the Sudden Moves but alas, they cancelled their tour due to bass player issues and then for some odd reason they had Keene, on the scene for nearly three decades with an armful of terrific records, open for Portland newbies Parson's Red Heads. Now, admittedly an early bird like me didn't mind but geez, give the guy some respect (not that the Parsons Red Heads aren't any good ‘cos they certainly are, but still).

Keene and crew hit the state at 9:15 PM and he has one helluva backing band, both the younger lead guitarist and drummer are shit hot and the bassist certainly was no slouch either, just more low-key (and according to Arena Rock Recording Co's Greg Glover the bassist played in ‘bama band Carnival Season nearly two decades ago and currently lives in Japan and heads to America to tour with Tommy).  Keene, no slouch on guitar either, can certainly bend some strings as well and he's not afraid to rock the hell out, either. He opened with a scorching version of "Call On Me" from his 1986 record Songs from the Film and played a few other from that record as well, namely "Places That Are Gone" as well as a few from, his latest release, the solid Behind the Parade (Second Motion Records) including the title track, and "Nowhere Drag" He also tossed in the terrific "Long Time Missing" from 1998's Isolation Party).  The guy (and his band) is a real pro who still s pours his heart out every night whether he's playing to 5 or 500 folks.  He still genuinely enjoys doing it, that much you can tell.

1987 classic gets a new airing.

By Blurt Staff

On May 4 erstwhile Bongos leader Richard Barone will reassemble his ‘80s solo band and recreate his classic 1987 album Cool Blue Halo album in its entirety, along with very special guests and added songs, at City Winery nearly 25 years to the day of the release of the original album. This performance will be recorded and filmed for CD and DVD release due out fall of 2012.

Heralded as introducing "chamber rock," the all-acoustic performances captured on the original Cool Blue Halo blended classical, jazz, and art-rock elements. It was recorded live at New York's Bottom Line on a single evening in May 1987 - the original album featured singer, songwriter and guitarist Barone leading an acoustic ensemble of cellist Jane Scarpantoni, acoustic guitarist Nick Celeste and percussionist/keyboardist Valerie Naranjo.

Barone has established a PledgeMusic program to help fund the whole project from start to finish, and grassroots contributors will be eligible for downloads of the concert, deluxe editions of the physical release, bonus footage, even a VIP Access package for the actual event. Go here to find out more details and to watch Barone's intriguing pitch video.

Barone's recent solo album, Glow (Bar/None Records), was produced by Tony Visconti and others. His latest, Collection 2: Before & Afterglow, was released in December 2011.

Are ya sure Hank, er, Waylon & Willie would've done it this way? Yup.

By Blurt Staff

Sara Radle and Mary Lou Lord have covered the country classic "Mamas Don't Let Your Babies Grow Up To Be Cowboys."  It appears on Radle's new record Same Sun Shines, to be released on February 21^st on her Jeez Louise label.

Singer/songwriter Radle is a former member of Lucy Loves Schroeder & The Rentals and is a current member of LA's Walking Sleep.  This will be her 4th solo record. East coast troubadour Lord, of course, needs no introduction. Together, the two harmonize like a distaff version of Waylon & Willie, no lie!

MP3: "Mamas Don't Let Your Babies Grow Up To Be Cowboys."

Tour Dates 

Saturday,  2/18 @ PEHRSPACE // Los Angeles,  CA, w/ Kissing Cousins

Friday,  3/9 @ THE JAVA LOUNGE // Sacramento,  CA, w/ Sex Tape Scandal,  PETS

Saturday,  3/10 @ THE BLUE LAGOON // Santa Cruz,  CA

Thursday,  3/22 @ LA GRANGE // Dallas,  TX

Friday,  3/23 @ SKINNY'S BALLROOM // Austin,  TX

Thursday. 3/29 @ P.A.'s LOUNGE // Boston,  MA

Friday,  3/30 @ THE LIVING ROOM // NYC

Saturday,  4/7 @ ART BAR // Milwaukee

Today, You Shall Inherit the Earth! Let's listen to that entire 20-minute epic, below.

By Sarah Grant

Thousands of Rush fans, possibly including the New York Times' own Gail Collins, are rolling out the prayer rugs today, in deference to the Holy Trinity of progressive rock, Rush.

2112 is the name of, quite simply, the best concept album ever created. Recorded in 1976, the album was Rush's fourth studio album and arguably, best work. The 20-minute epic song "2112" is rife with tonal nuances, texture, and surprising combinations of hard rock and heavy metal elements. The lyrics, written by sci-fi obsessed drummer/philosopher, Neil Peart, were based heavily on Ayn Rand's 1938 novella, Anthem. The song is a like a libertarian future-fable set to music, about the pitfalls of individualism in a conformist society.

The year 2112 is revealed as a dystopian universe, governed by a totalitarian, Death Star-type assembly called the "Priests of Syrinx," who dictate what kinds of music can be heard, literature read, and art viewed (not like the SOPA bill, or anything...)

A young, unnamed hero ("The Starman" in Rush discourse) finds an "ancient miracle" object: a guitar. He stumbles through soft, melodic figurations, until he confidently comes to play major chords. Once adept, he expresses himself exclusively through his own "invented" musical tones. During a section called "Presentation," he stands before a court of stalwart priests, trying to convey the beauty of individual expression through Alex Lifeson's lilting rhythm and blues guitar solo. But the priests, identified by Geddy's Lee's feral shrieks and intense riffs, don't budge. They dismiss the guitar as "a waste of time and a silly whim."

Our failed Orpheus reflects on his "cold and empty life," as his/Lifeson's once major chords wither into smoky minor notes. At the end of his "Soliloquy," he commits suicide. The instrumental transition reprises the heavy metal priests and the song ends in violent distortion. Lee's deadpan repetitions reinforce the consuming chaos of the oppressive regime, like an empire of Kubrick's droogs, cackling through the demonic swells of Beethoven's Fifth Symphony. 

Celebrating "2112" on 2/1/12 is a little like showing up to a party 100 years early. But the themes of this prog rock powerhouse are prescient today, as they were thirty-five years ago. Our society is facing rapid changes in the way we share information, which will impact our means and modes of expression in the future. Rush and their compassionate, unyielding fans may be the best equipped to confront the threat of oppression, devastation and tyranny. After all, they face all those things year after year with the Rock and Roll Hall of Fame committee.

Make sure to catch Rush on tour in 2012...

Soul Train legend dead from apparent suicide. Let's pay tribute via the video clips, below.

By Fred Mills

Early news reports from Los Angeles today have confirmed that Soul Train founder and announcer Don Cornelius has died at the age of 75. His body was found this morning at his Sherman Oaks home with a gunshot wound to the head; suicide is presumed.

Cornelius is a music world legend, having launched the long-running program in 1971 and featuring a who's-who of African-American acts during its 4-decade tenure. Over the years such equally legendary artists as James Brown, Aretha Franklin, Marvin Gaye and Michael Jackson performed, and the theme music "TSOP (The Sound of Philadelphia)" became a huge chart hit as well.

A must-own 3-disc DVD box, The Best of Soul Train, was issued in 2010 featuring those artists as well as Sly Stone, Stevie Wonder, Lou Rawls, Curtis Mayfield, the Commodores, Isley Brothers and more, along with several key Cornelius-conducted interviews.

Cornelius was the host through 1993 (it ultimately lasted until 2006). We wish you love, peace and soul, sir.

African bluesman continues to generate international acclaim.

By Blurt Staff

A new Sidi Touré record, Koïma, will be out April 17th on Thrill Jockey. It's the followup to last year's acclaimed Sahel Folk, wherein our reviewer hailed the bluesman's slotting into the same classic North Malian tradition as Salif Keita and Ali Farka Toure. "[The record's] contours are geometrically precise and sharply delineated against deep silence," wrote contributing editor Jen Kelly. "Yet listen harder and the contours begin to bend and shimmer in the desert heat. Open spaces appear amid carefully plotted phrases, and antic falsetto runs skitter across the free spaces. Touré's voice, quietly resonant and full of shadows, booms up out of the picking, a counterpart that rises where the guitar riff falls.  The music is full of taut contradictions, disciplined rhythms and wild flights of fancy, deep serenity and palpable longing, the heat of rapid picking alongside unhurried, contemplative cool."

According to the label, "Koïma is the natural progression from Sahel Folk, as Sidi has moved from an album of duets, recorded all in one take in his sister's home in Gao, to a quintet recorded in a studio in Bamako. With Koïma, the intent is to record a different side of Songhaï music from the sparse style captured on Sahel Folk. The music is still distinctly Gao, but represented this time in a much richer and luxuriant way. We move from the intimacy of a quiet meeting between friends to the celebration of an evening of dance.

"The album title Koïma literally means "go hear." Koïma is an emblematic place of Gao, "a Dune with his feet in the waters of the river Niger, and with his head touching the sky," says Sidi. In Malian folklore, Koïma is the meeting place for the most powerful wizards of the world. This album is an offering to the mystical power of that place."

 Listen to/Download "Tondi Karaa (The White Stone)" off Koïma here: http://soundcloud.com/thrilljockey/sidi-toure-tondi-karaa This song refers to a legendary stone that sat in the center of Gao for 500 years, a symbol of purity and prosperity, that, in the 1970s, went missing. Sidi sings of how misfortunate has befallen Gao ever since, and the missing stone represents how individuality and money have damaged the unity of the Songhaï culture.

Something about a dog and Mexico. Watch a live version of it as well.

By Blurt Staff

The latest video from Feist's acclaimed 2011 album Metals is crowd-pleasing favorite "The Bad In Each Other." Directed by Martin de Thurah, it was filmed in Mexico, where strange things begin to happen. Watch it below, and then check out a live version of the song from the Later With Jules Holland show (originally aired on Oct. 18 of last year).