Pete Townshend calls Apple ‘a vampire’

The Who guitarist Pete Townshend has urged Apple’s iTunes to use its power to help new bands instead of “bleeding” artists like a “digital vampire”.

Townshend made the comments in BBC 6 Music’s inaugural John Peel Lecture, named in honour of the legendary DJ.

He also argued against unauthorised file-sharing, saying the internet was “destroying copyright as we know it”.

“The word ‘sharing’ surely means giving away something you have earned, or made, or paid for?” he said.

The rock legend listed eight services that record labels and music publishers have traditionally provided to artists, such as editorial guidance and “creative nurture”.

“Is there really any good reason why, just because iTunes exists in the wild west internet land of Facebook and Twitter, it can’t provide some aspect of these services to the artists whose work it bleeds like a digital vampire, like a digital Northern Rock, for its enormous commission?” he asked.

Apple should employ 20 talent scouts “from the dying record business” to give guidance to new acts and provide financial and marketing support to the best ones, he added.

ITunes accounts for more than 75% of all legal downloads. An Apple spokesman declined to comment on Townshend’s remarks.

The guitarist also said that people who downloaded his music without paying for it “may as well come and steal my son’s bike while they’re at it”.

If someone “pretends that something I have created should be available to them free… I wonder what has gone wrong with human morality and social justice”, he said.

But he also told listeners: “It’s tricky to argue for the innate value of copyright from a position of good fortune, as I do. I’ve done all right.”

Creative dilemma
And he added: “A creative person would prefer their music to be stolen and enjoyed than ignored. This is the dilemma for every creative soul: he or she would prefer to starve and be heard than to eat well and be ignored.”

The guitarist praised John Peel, who died in 2004, for his dedication to listening to the music he was sent by up-and-coming acts.

“Sometimes he played some records that no-one else would ever have played, and that would never be played on radio again,” he said.

“But he listened, and he played a selection of records in the course of each week that his listeners knew – partly because the selection was sometimes so insane – proved he was genuinely engaged in his work as an almost unconditional conduit between creative musicians like me to the radio audience.”

The talk, held as part of the Radio Festival, will become an annual event given by a different music figure every year.

Held at The Lowry theatre in Salford, it is intended to be the music industry’s equivalent of the annual MacTaggart Lecture, which is given by a leading media executive at the Edinburgh International Television Festival every August.
(VIA BBC)

Originally released in 1922 as Nosferatu, Eine Symphonie Des Grauens, director F.W. Murnau’s chilling and eerie adaption of Stoker’s Dracula is a silent masterpiece of terror which to this day is the most striking and frightening portrayal of the legend.

Nosferatu is in the public domain, and can be downloaded here for free:

http://www.archive.org/details/nosferatu

The Flaming Lips’ 24 Hour Song will be streaming over here starting at midnight on Halloween in Oklahoma. (Central Standard Time)

Well, this is odd and delightful: Ryan Adams, no stranger to offbeat Internet videos or heavy metal tributes, has conceived a new fake talk show–slash–video countdown called “Night Sweats” for your viewing pleasure. Yes, it’s partially a promotional bit for his new album Ashes & Fire, but Adams is charmingly self-deprecating about the shill: “Unfortunately, [the video for Lucky Now] is not as metal as I would like it to be, and it also talks about my feelings … [cringes].” The rest of the talk show is devoted to banter with goth co-host Balthazar, shout-outs to Adams’s favorite metal bands, and an interview with Joey Pizza, formerly of the group 106 Degrees, who has some thoughts on his beef with Crusty J. (Note: It’s definitely not too late to throw together a Joey Pizza Halloween costume.) Okay, don’t let us keep you any longer. Enjoy!

The Black Keys’ new single “Lonely Boy” is out today digitally. On November 25, as part of Record Store Day’s Black Friday series, it will be released on 12″ vinyl backed by “Run Right Back”. Listen to “Lonely Boy” below, via an amazing video the band posted on their Youtube.
Both tracks will appear on El Camino, the new Black Keys album, out December 6 on Nonesuch worldwide. As previously reported, the album was co-produced by the Black Keys and Danger Mouse.

Amy Winehouse died of excessive alcohol consumption, having consumed enough alcohol on the day of her death to render her more than four-and-a-half times over the drink drive limit, an inquest has heard.

The inquest, which took place today at St Pancras Coroners Court, has recorded that the singer’s death was as a result of “misadventure”, reports BBC News.

St Pancras coroner Suzanne Greenway, who conducted the hearing, said: “She [Winehouse] had consumed sufficient alcohol at 416mg per decilitre (of blood) and the unintended consequence of such potentially fatal levels was her sudden and unexpected death.”

Three empty vodka bottles, two large and one small, were found at her house in Camden, resulting in the singer’s blood containing 416mg of alcohol per 100ml. The legal drink-drive limit is 80mg.

Reports earlier today had suggested that the ‘Back To Black’ singer, who passed away in July at the age of 27, had died as a seizure from alcohol withdrawal, but the inquest has now said it was in fact excessive consumption of alcohol.

It was initially thought in the days after Winehouse’s death in July that the singer had died of a drug overdose, but this was formally ruled out earlier in the summer after results from the toxicology report found “no illegal substances” in Winehouse’s system.

An inquiry into how a report which outlined the circumstances surrounding Winehouse’s death was sent to a member of the public by mistake is now underway, police have said.

As previously reported, a documentary about Andrew Bird called Fever Year has been cycling through film festivals over the last couple of months. Indiewire has now posted the trailer for the film, which can be seen below.

Director Xan Aranda told IndieWire that Bird does not want the film released on DVD or in theaters, so for now, your only chance to see it is at film festivals.

Official Trailer (2:45) from Andrew Bird: Fever Year on Vimeo.

Via Matador Records
The first recordings from the classic Guided By Voices lineup of Robert Pollard, Tobin Sprout, Mitch Mitchell, Greg Demos and Kevin Fennell hit the stores on November 22 with the Matador single from their upcoming self-released album “Let’s go Eat The Factory.” The single is called “The Unsinkable Fats Domino” b/w “We Won’t Apologize,” and you can download an MP3 of the A-side here…

The single will be out on 7″ vinyl and digital single formats NOVEMBER 22…

In 1986, iconic Canadian singer-songwriter Neil Young organized the first Bridge School Benefit, a yearly charity concert held in Mountainview, California. Since its inception the Bridge concerts have showcased a diverse roster of high-profile artists including Bruce Springsteen, Bob Dylan, Sonic Youth, Brian Wilson, Grizzly Bear, and of course Young himself.

This weekend marked the twenty-fifth Bridge School Benifit, featuring Beck, Eddie Vedder, the Foo Fighters, Devendra Banhart, Dave Matthews, and Arcade Fire, among others. Judging by videos of the event that are surfacing, it was an outstanding show. Undoubtedly one of the highlights was Young’s performance of “Helpless” alongside his buds in the Arcade Fire. Above you can watch Young split vocal duties with Win Butler on the classic tune, backed by the rest of the award-hoarding Montreal outfit. And yes, there are harmonica solos.

Songs in this video include:
1:24 The Suburbs, 7:31 Empty Room, 12:16 Month of May, 15:50 Rebellion (Lies), 21:51 Intervention, 26:59 Helpless (with Neil Young) [Crosby Stills Nash & Young cover], 33:00 Wake Up

Blurt:
It will be available worldwide – for a price. In an intriguing twist, fans without tickets for this sold-out event will be able to purchase access codes for the live stream of the show on pjharvey.net, facebook.com/pjharvey and guardian.co.uk/music. (No word on whether fans with tickets will be able to access the stream for free and watch it on their smart phones while attending the show…)

This Is Fake DIY:
PJ Harvey has announced plans to stream one of her Royal Albert Hall shows online.
The 31st October date, her second at the iconic venue, will be streamed live via her official website, facebook and The Guardian…

PJ Harvey’s Website http://www.pjharvey.net

Record Store Day has announced a string of limited edition releases coming out on November 25, Black Friday. (Which they did last year, too.) While others fuel corporations with department store shopping sprees, Record Store Day will offer incentives to support artists and local, independent businesses, as they do once a year with their April holiday. Read the full list of releases here.
These releases can be found exclusively at RSD-affiliated independent record stores, although the organizers warn that not all stores will stock all items. Availability will also vary by country, and Black Friday titles for the UK, Netherlands, France, Canada, and Germany will be announced separately. (This list applies to the U.S. only.)

Check out a list of a few highlights from this year’s Black Friday releases, and watch a Record Store Day-produced video of Thurston Moore talking about record shops.

Beastie Boys: Hot Sauce Committee Part Two Book/Blu-Ray/DVD/CD
The Beatles: The Singles 7″ vinyl box set
The Black Keys: “Lonely Boy” 12″ single
Bob Dylan: “Can You Please Crawl Out Your Window?” 7″ vinyl box set
Iron & Wine: “Morning Becomes Eclectic” LP/CD (Live at KCRW)
John Cale: EP: Extra Playful
John Lennon: Imagine 40th Anniversary Box Set
Nirvana: Nevermind -The Singles 10″ vinyl box set
Pinback: “True North” 7″
Ryan Adams: “Do I Wait”/”Darkness” 7″
Sharon Jones & the Dap-Kings: Soul Time! LP
Soundgarden: Live on I-5–Before the Doors Soundcheck EP 10″ colored vinyl
Wilco: “Speak Into the Rose” 10″

Johnny Marr has teamed up with Best Coast, Tom Vek and Mona for a new side project..

The former Smiths man has pulled three acts in to record new songs from objects which inspired him for Ray-Ban’s ‘Raw Sounds’ project.

The axeman wrote a poem, took a conceptual photo in his hometown of Manchester, pulled a favourite quote from famous German philosopher Friedrich von Schiller, recorded a piece of music, and presented an old map of New York City’s Lower East Side to the acts.

He told Spin magazine: I just looked around my studio and life and took the parts of my world that are of interest to me, and then rolled with it.
Marr added: “It sounded confusing to me at first but it turned out to be amazing and it resulted in some excellent new music.”

Speaking about the Best Coast track entitled ‘In Your Sleep’, the guitarist, who recently admitted meeting up with his old bandmates from The Smiths, said he chose Bethany Cosentino’s band because he loved “good pop songs wrapped up in a garage sound.” She added: “I was inspired by Johnny’s photo, the man and woman looking at each other through vintage cameras, because my brain goes straight to romance.”

Other new tracks included in the project were Tom Vek’s ‘Film Your Own Television’, Mona’s ‘Jericho’ and Au Revoir Simone’s ‘How Long’.

The premium cable network is very hot on a script that 

Boardwalk Empire’s Terence Winter has turned in for an untitled 1970s rock ‘n’ roll project in development, sources tell The Hollywood Reporter. In addition to Winter, the potential series has a string of bold face names attached, including Martin Scorsese and Mick Jagger
, who met with HBO executives to discuss the project over lunch at Craft earlier this month.
The hourlong drama project follows the exploits of a cocaine-fueled record executive in New York City circa 1977, when punk, disco and a new form of music called hip-hop collided.


Boardwalk Empire’s Winter is attached to executive produce and write the pilot, with his Emmy-winning Boardwalk director Scorsese attached to executive produce and direct the pilot.
The Rolling Stones frontman, who initially conceived the idea as a film project, first at Disney and then at Paramount, will also executive produce. His producing partner Victoria Pearman as well as Scorsese’s manager Rick Yorn are attached as EPs. The project will serve as a reunion for Scorsese, Jagger and Pearman, who collaborated on the 2008 documentary Shine a Light.
The news comes as Showtime is developing a 1970s-set music industry project of its own. The latter, titled Vinyl, explores multiple aspects of the music business, from the perspective of record executives and rock stars to drug pushers and prostitutes.
Scorsese is repped by WME, while Winter, Jagger and Pearman are repped by CAA.

Mastodon performing “Black Tongue” from their new album The Hunter.

The Stone Roses confirm reunion and two homecoming shows for 2012 The Manchester legends line up two concerts at Heaton Park and reveal they are working on new material

The original line-up – frontman Ian Brown, guitarist John Squire, bassist Mani and drummer Reni – announced the news at London’s Soho Hotel at 3pm (BST) this afternoon where they revealed plans for two homecoming gigs at Heaton Park on June 29-30 in 2012 before embarking on an extensive world tour.

Brown declared: This is a live resurrection, and you’re invited, so you’d better be there.

They also revealed they are working on new material and intend to perform some at the shows. Tickets for the double header go on sale at 9.30am this Friday (October 21). For further information go to their newly launched The Stone Roses official website Thestoneroses.org.

Later, Brown also said the band decided to finally reform because “at times like this you can uplift people” and they would carry on “until the wheels fall off”. Meanwhile, Mani said the reunion was a “suck it and see thing”, while Reni revealed he “would be happy with 12 months”.

When asked if the band were working on a new album Brown added: “We hope so. But we said that before didn’t we?”

He confirmed that they have been rehearsing in the studio and Mani added: “Something magical happens when us four are in the room together, you can’t put your finger on it. It’s just beautiful to capture it again. I’ve missed it.”

The bassist also said that he has been allowed to leave his current band Primal Scream to “follow his dream”.

The four-piece admitted they each had personal reasons for the reunion, while Brown criticised the current music scene, saying it was “boring, bland and corporate with nobody saying anything”.

Whispers of a Stone Roses reunion started to circulate back in 2005 after Mani joined Brown onstage during his solo gigs in Blackpool and Glastonbury. However, Mani was quick to put a lid on reports of a full band reunion, saying at the time they would only reform when “Manchester City win the European Cup”.

Meanwhile, on the 20th anniversary of the band’s self-titled debut album in 2009, reunion rumours began to surface again, only to be shot down by Brown and Squire. To underline his stance, the guitarist even released artwork which stated: “I have no desire whatsoever to desecrate the grave of seminal Manchester group The Stone Roses.”

However, it was in April this year that reunion rumours surrounding the group went into overdrive when Brown and Squire met at Mani’s mum’s funeral and reportedly buried the hatchet.

Mani once again angrily denied reports that the band were set to reunite, telling NME: “I’m disgusted that my personal grief has been invaded and hijacked by these nonsensical stories.” Squire added that reforming for a bumper payday would be “tragic”.

However, it seems that over the ensuing six months the band have ironed out their differences to some degree.

Reports that the band were back together surfaced on Friday (14), when a major music PR circulated an invite to a press conference for the following Tuesday, promising a “very important announcement” but refusing to deny or confirm suggestions that the band in question were The Stone Roses.

Subsequent tabloid stories suggested that Brown had revealed details of the reunion to his friend Dynamo, a street magician who claimed he received a text from the singer confirming the band was to reunite. Meanwhile, Reni was more cryptic about his involvement, contacting NME to say: “Not before 9T will I wear the hat 4 the Roses again”.

The reformation comes some 31 years after the seeds of the band were first planted, when Brown and Squire met at Altrincham Grammar School For Boys and formed short-lived Clash-inspired band The Patrol.

After short spells in other bands, the pair teamed up with future drummer with The Fall Simon Wolstencroft and bassist Peter Garner in 1984 to form the first incarnation of The Stone Roses, with Brown now taking up vocal duties. Within months Wolstencroft quit to join Terry Hall’s band The Colourfield, paving the way for long term sticksman Reni.

In 1985 The Stone Roses recorded their first ever single, double A-side ‘So Young/Tell Me’. Four years later they released their landmark self-titled debut LP, which entered the UK album chart at Number 32 in May 1989. They later scored their first Top 40 hit with ‘She Bangs The Drums’.

That same year the band gained widespread notoriety when the power cut out during a TV performance on BBC’s The Late Show. Brown repeatedly chanted “amateurs” at TV presenter Tracy MacLeod.

Signature anthem ‘Fool’s Gold’ put the band firmly on the map with a Number Eight hit later in 1989, before the band played in front of 27,000 fans at their legendary/infamous gig at Spike Island in Widnes the following year, dubbed a “Woodstock for the baggy generation”.

It took the band more than five years to release their second album, 1994′s ‘The Second Coming’. Although it marked a departure from their baggy debut and wasn’t as warmly received by fans and critics as their debut, it still spawned the four-piece’s highest-charting single when ‘Love Spreads’ went to Number Two.

Reni left the band in March 1995 and Squire followed suit a year later, citing “gradual social and musical separation” as the official reason for his departure.

The remaining line-up eventually split after a disastrous performance at Reading Festival in August 1996 – a gig that appeared to be the band’s shambolic swansong until today’s reunion announcement.

Here they are in the intimate setting of the NPR All Songs Considered Studios / Offices, stripping down three cuts from The Whole Love — “Dawned On Me,” “Born Alone,” and the title track — before closing with Yankee Hotel Foxtrot’s “War On War.” Watch Jeff Tweedy sing sans vocal microphone, Nels Cline shred unplugged on a resonator guitar, and Glenn Kotche take NPR’s “Tiny Desk” concept literally with a tiny percussion setup on a desk alongside a tape dispenser, telephones, and other essential office utensils above.

Tom Waits is set to stream his brand new album ‘Bad As Me’ online ahead of its official release date, October 25.

Members of Tom Waits’ mailing list will have already received a code to access the stream and fans without codes can sign up to listen to the album at badasme.com. Each unique code comes with five extra codes for ‘Bad As Me’ to share.

The single ‘Bad As Me’ is already available. The album marks the legendary punk jazz and bluesman’s first new solo material in seven years.

Waits’ last solo release was 2004′s ‘Real Gone’, which was co-produced by Waits and his wife Kathleen Brennan. Waits made an announcement regarding the new album on Tomwaits.com in August.

In a short video he previewed snippets of tracks from the new album before cutting the music, and blaming the internet for his doing so, explaining “apparently there’s no such thing as ‘private’ anymore.” He said:
I’m going to have to change everything. Here’s the way I see it – if you were having a birthday, and I came early, and I started eating your cake, maybe I opened up all your presents and I started playing with all your toys, you’d be OK with that?

Watch the Tom Waits’ Private Listening Party video below:

The ‘Bad As Me’ tracklisting is:

‘Chicago’
‘Raised Right Men’
‘Talking At The Same Time’
‘Get Lost’
‘Face To The Highway’
‘Pay Me’
‘Back In The Crowd’
‘Bad As Me’
‘Kiss Me’
‘Satisfied’
‘Last Leaf’
‘Hell Broke Luce’
‘New Year’s Eve’
‘She Stole The Blush’
‘Tell Me’
‘After You Die’

The Mixtape: Volume 2 by HowToMakeItInAmerica
Yes, the HBO hit show “How to make it in America” has a mixed tape.. hell, this is volume two. And it’s great! Enjoy.

Beirut brought “East Harlem” to Midtown on Friday for The Late Show with David Letterman.
Beirut hits the road:
10/25 – Richmond, VA @ The National #
10/27 – Atlanta, GA @ Variety Playhouse #
10/29 – Austin, TX @ Stubb’s #
10/31 – Houston, TX @ Warehouse Live #
11/01 – Dallas, TX @ Prophet Bar #
11/04 – Mexico City, MX @ Salon Vive Cuervo
11/05 – Mexico City, MX @ Salon Vive Cuervo
11/07 – Nashville, TN @ Cannery
11/09 – Lexington, KY @ The Kentucky Theater
11/11 – Cincinnati, OH @ Bogarts
11/13 – Philadelphia, PA @ Electric Factory
11/26 – Providence, RI @ Lupo’s ^
11/28 – Cleveland, OH @ House of Blues ^
11/30 – Milwaukee, WI @ Turner Hall ^
12/02 – Minneapolis, MN @ First Avenue ^
12/04 – Knxoville, TN @ Bijou ^
12/05 – Asheville, NC @ Orange Peel ^
12/07 – Athens, GA @ Georgia Theater ^
12/08 – Carrboro, NC @ Cat’s Cradle ^
12/10 – Pittsburgh, PA @ Alter Bar ^
12/13 – Washington, DC @ 9:30 Club ^
12/29 – Melbourne, AU @ Falls Festival
12/31 – Marion Bay, AU @ Falls Festival
01/07 – Busselton, AU @ Southbound
01/10 – Melbourne, AU @ Forum Theatre
01/12 – Brisbane, AU @ The Hi Fi
01/18 – Tokyo, JP @ Club Quattro
01/20 – Osaka, JP @ Shangri-La

# = with Basia Bulat
^ = with Perfume Genius

Jay-Z and Kanye West’s long royal tour to accompany their joint album Watch the Throne has been pushed back, rescheduled, rerouted and then expanded. Now, the tour has been expanded once more to include two nights at Madison Square Garden in New York, along extra nights in both Chicago and Los Angeles. The updated tour schedule is below, along with the video for the duo’s “Otis”.
Jay-Z and Kanye West:

10-28-29 Atlanta, GA – Philips Arena
10-30 Greensboro, NC – Greensboro Coliseum
11-01 Baltimore, MD – 1st Mariner Arena
11-02 Philadelphia, PA – Wells Fargo Center
11-03 Washington, DC – Verizon Center
11-05-06 East Rutherford, NJ – Izod Center
11-07-08 New York, NY – Madison Square Garden
11-14 Fort Lauderdale, FL – BankAtlantic Center
11-15 Miami, FL – American Airlines Arena
11-18 Uncasville, CT – Mohegan Sun Arena
11-19 Atlantic City, NJ – Boardwalk Hall
11-21 Boston, MA – TD Garden
11-22 Montreal, Quebec – Bell Centre
11-23-24 Toronto, Ontario – Air Canada Centre
11-26 Detroit, MI – Palace of Auburn Hills
11-27 Pittsburgh, PA – Consol Energy Center
11-29 Kansas City, MO – Sprint Center
11-30-12-01 Chicago, IL – United Center
12-03 New Orleans, LA – New Orleans Arena
12-05 Houston, TX – Toyota Center
12-06 Dallas, TX – American Airlines Center
12-09 Las Vegas, NV – MGM Grand Garden Arena
12-10 San Jose, CA – HP Pavilion
12-12-13 Los Angeles, CA – Staples Center
12-16 Tacoma, WA – Tacoma Dome
12-17-18 Vancouver, British Columbia – Rogers Arena

If the demise of R.E.M. didn’t put the final nail in the ’90s alternative-rock dream, this news sure will: Sonic Youth super-couple Kim Gordon and Thurston Moore have split up after 27 years of marriage — and the future of the band they’ve played in together since 1981 is unclear.

The pair confirmed the news in a statement from their Matador Records rep that reads, “Musicians Kim Gordon and Thurston Moore, married in 1984, are announcing they have separated. Sonic Youth, with both Kim and Thurston involved, will proceed with its South American tour dates in November. Plans beyond that tour are uncertain. The couple has requested respect for their personal privacy and does not wish to issue further comment.”

There have been moments in Crooked Fingers’ consistent, decade-plus oeuvre when Eric Bachmann’s songwriting elevates to a startling new level of sophistication. On Breaks in the Armor, that aha feeling arrives during “The Counterfeiter,” a subtly rousing track constructed on plucky rhythms, sneaky vocal arrangements, and rueful lyrics (“All of the doctors know you’re faking”). Armor is Bachmann’s most vigorous post-Archers of Loaf full-length since 2003′s Red Devil Dawn. Only the drab, ramshackle “Back Candles” briefly weighs down an 
otherwise gorgeous, toothy record from indie rock’s most refreshingly unpretentious auteur.

Morrissey has criticised the way information is presented by the modern media, saying that he believes we “live in very dumbed-down times”.

The singer, who is still searching for a record label to release his new studio album, which, despite being complete and ready to go, is still without a release date.

Asked by Clash Magazine about his view of of the modern media, the singer replied: “We live in very dumbed-down times. Everything – news media, music, music magazines – are presented with the assumption that the people as a whole are utterly thick.”

The former Smiths man also accused the media of labeling him as ‘mad Morrissey’ so they could avoid actually dealing with the content of the comments he makes.

He added: I think I am officially ‘Mad Morrissey’ now, and everything I say must be ridiculed because that’s one way of not dealing with the contents of the actual comment. With the riots recently the media are obsessed with punishment as solution, but no-one has the intelligence to ask why the people did what they did.
The singer also spoke his reasons for starting out in a band and said he never wanted to be a musician, but someone who took audiences on a journey.

He said: I never wanted to be a musician. I wanted to stand upright and sing out. I didn’t want to look down as most people onstage do. I wanted to walk the plank, to dive in, to take it on the chin. I wanted to give too much, like Al Martino or Maria Callas or Edith Piaf or Tom Jones in his mad days. I loved it when singers were so over-emotional that onlookers would feel slightly embarrassed or uncomfortable and then absolutely love it. You very rarely see modern singers or modern groups taking the audience somewhere. Morrissey is planning to release his first autobiography in December 2012.

Radiohead’s Thom Yorke has revealed that the band are set to head to their Oxford studio this December and in January 2012 in order to work on new material.

The band will also tour next year, revealing that the reason they played so few shows in 2011 was because their additional drummer, Clive Deamer, was on the road with Portishead.

“It will be sort of on and off, with big gaps,” Yorke told Rolling Stone of their dates next year, adding “but not that big.”

In the interview Yorke named one new song, called ‘Come To Your Senses’, which has already been partially worked out. “We have this version of it. It’s a five-minute rehearsal, but it has the essence of what we need.”

He went on to add that “there are a few of those,” going on to say: “It would be fun to have them ready when we go to play next year. I don’t know how we would release them… It would be nice to make it all part of the flow and just enjoy it – not think about it too much.”

eah Yeah Yeahs singer Karen O must have caught the Cover Songs Bug this year. One minute she’s wailing through Led Zeppelin’s “Immigrant Song” with Trent Reznor and Atticus Ross on the Girl With The Dragon Tattoo teaser trailer, the next she’s recording a new version of country music staple “Mammas Don’t Let Your Babies Grow Up To Be Cowboys” (famously recorded by Waylon Jennings and Willie Nelson on their 1978 collaborative album Waylon & Willie) for a new short film called Abandoned, commisioned by… wait for it… Chipotle. Yes, the burrito company. Seriously, I couldn’t make this stuff up if I tried.

Karen O Reveals New “Psycho Opera” Details
Listen Up: Trent Reznor And Karen O Cover Led Zeppelin
Chipotle To Run Boorito Halloween Campaign With Jamie Oliver

That’s right, The Chipotle Cultivate Foundation (learn more about them here) helped put together the four-minute clip to help raise awareness about the current economic hardships facing family farmers. Check it out right here (via Consequence Of Sound):

imagine that American farmers have bigger problems than marauding gangs of teenagers on bikes, but all kidding aside, it’s a serious issue that deserves some attention. Kudos to Chipotle for putting this thing together—definitely be sure to check out chipotle.com/boorito for more info on this year’s fundraising efforts. Meanwhile, I think it’s really cool to see Karen O getting involved… no offense, Willie, but Farm Aid could use a little indie cred. Her version of “Mammas” is stark, gorgeous, and compliments the videos somber undertones perfectly.

Daily Mail:

EMI owner Citigroup plans to press ahead with its auction of the music giant even though a number of bidders have lost interest.

Before last week’s deadline there were ten contenders, but it is understood that a number of private equity firms have dropped out.

The involvement of fewer bidders could mean that Citigroup will struggle to reach its target sale price of about $4billion (£2.56billion).

Universal Music, owned by France’s Vivendi, is understood to be a front runner for EMI’s recorded music division…

Bloomberg:

Warner Music Group’s owner, Len Blavatnik, is considering dropping his bid for EMI Group Ltd. because Citigroup Inc. (C) is taking too long to choose a buyer, a person with knowledge of the bidding process said.

Blavatnik has told people involved in the auction that he may drop his offer in several days, said the person, who requested anonymity because the negotiations are private…

As pointed out by Rock It Out! Blog, the Black Keys have released a comedic car commercial type trailer for their next album, El Camino, out December 6. It stars Bob Odenkirk from “Mr. Show” and “Breaking Bad”.

Find more hilarity over at WannaBuyaVan.com, which directs you to call (330) 510-1206 and hear a message from drummer Pat Carney about the van they are trying to sell you.

Scott Ian (via Brave Words):

My agent got the call asking if I wanted to come down and get made up to play a zombie in a webisode for AMC’s Walking Dead directed by Greg Nicotero (effects GOD, check out the resume: http://www.imdb.com/name/nm0630524/). I couldn’t say yes to this fast enough. Like I said in my Tweet, I’ve been wanting to do this my whole life. Zombies have always been my favorite genre of horror and to participate in something as killer as Walking Dead would just be amazing…

I got to the set and headed straight for the makeup trailer. I was told I was getting the full-on zombie “hero” makeup. That means I get the sick head/neck wounds done with silicone appliques. Garrett Immel was doing my makeup, he’s one of the top dudes doing this on the planet. He explained how there are the main “hero” zombies, then the second tier background zombies which are more just makeup and blood and then there are the third tier background zombies with just makeup and if it’s a night shoot, they wear masks that read well on camera. Makes sense, they couldn’t spend 90 minutes each on 500 people every time there was a zombie crowd scene…

And some footage…

Queens Of The Stone Age’s Josh Homme, Beck, and Mark Lanegan have remixed tracks by The White Stripes and The Raconteurs for Jack White’s latest Third Man Records release.

The tenth package from White’s subscription series ‘The Vault’ includes a double A-side 7 inch of Beck remixing ‘The Hardest Button To Button’ from 2003 album ‘Elephant’. On the flip side, Lanegan and Homme have teamed up to remix The Dead Weather’s ‘Hang You From The Heavens’.

The package also includes a live Raconteurs 12 inch recorded at a recent gig at the Third Man store in Nashville, as well as a DVD documenting Third Man’s Devil’s Night party in 2010.

It features the Greenhornes and Black Belles. Scroll down and click below to watch the trailer. For more information go to Thirdmanrecords.com.

White recently teamed up with Insane Clown Posse on their song ‘Leck Mich Im Arsch’ and b-side ‘Mountain Girl’.

Mikey Welsh, former bassist for the alternative rock band Weezer, has died. Welsh, who was 40, was found in a Chicago hotel room on Saturday afternoon. The cause of death is still undetermined pending autopsy results, but according to the Chicago Tribune, authorities suspect narcotics were involved. The Vermont-born Welsh performed with Weezer from 1998 to 2001 and played on the album Weezer (a.k.a., the Green Album), which contained the hit “Hash Pipe.” In 2001, Welsh left the band after suffering a nervous breakdown. (”I took some time to get some help for something and they basically took off on me, abandoned me,” Welsh told EW in 2002. ”The way it went down was pretty lame.”) After leaving Weezer, Welsh began a second career as a painter.

A statement posted on the official Weezer web site lauded Welsh as “a unique talent, a deeply loving friend and father, and a great artist,” calling his time in the band “vital, essential, wild, and amazing.” “Mikey was never one to shy away from the absurd, dangerous or strange, and he did so with a gusto few others had,” the post reads. “No one had quite the stage presence of Mikey, nor have there been many who pulled the types of shenanigans he did at shows.” According to the band’s site, Welsh had been planning to attend Weezer’s show on Sunday at Chicago’s RIOTfest. Current Weezer bassist Scott Shriner posted on Twitter, “Really bummed about Mikey. My heart goes out to his family and friends. Such a talent… He made a mark on the world with his art.”

Paul McCartney has married his fiancée Nancy Shevell this afternoon (October 9).

The former Beatle tied the knot for the third time at London’s Marylebone Register Office – the same venue where he married his first wife Linda Eastman. The wedding was also held on the same day as John Lennon’s birthday.

The couple waved to crowds behind security barries after they made the short drive from McCartney’s home in London’s St John’s Wood to the venue.

Earlier fellow Beatle, Ringo Starr was spotted arriving with around 30 other guests, reports the Daily Telegraph.

The couple then returned to their home in St John’s Wood for a reception with family and close friends.

When asked how he felt after tying the knot for a third time McCartney told waiting reporters: “Terrific, thank you. I feel married,” adding, “I feel absolutely wonderful.”

The newlyweds are reportedly planning a second ceremony next week in the Hamptons area of Long Island, New York, where they fell in love in 2007.

McCartney married Linda at the London register office in 1969. She died in 1998 and McCartney went on to marry Heather Mills. They separated in 2006 and divorced in 2008.

The Beatles broke up in 1969 an exhausted, fractured and embittered group of former friends, rivalries and resentments having torn apart the most brilliant and famous musical partnership of the 20th century. Eventually, though, relationships began to mend in the 1970s, and had tragedy not struck, Paul McCartney says the band would have reunited.

“If John and George were still here it’s highly likely we would’ve had a Beatles ­reunion. I think we would’ve mellowed to the point where we would’ve said, ‘Come on, let’s do it,’” he says in a new interview (via The Daily Express). “The thing was whenever we got ­together, no matter if we were arguing, we played great. We knew each other so well; we read each other. So if Ringo would speed up a little bit, we all would speed up. So we were like hands in a glove… It would’ve been great, but I’m not a great believer in ‘What if?’ You can’t do it, but I suppose it’s nice to speculate.”

Following the breakup, the members of the band often made cameos on each other’s albums, especially Ringo’s, but Lennon and McCartney, the legendary partnership turned rivals following the breakup, never collaborated on new material. The last time they played together was during a legendary jam session that took place amidst Lennon’s “lost weekend” spent in California; the recording session became known as “A Toot and a Snore in ’74.”

McCartney also describes the time that he and Lennon, sitting together and watching “Saturday Night Live” in 1976, nearly answered Lorne Michaels’ call for them to reunite on live television, but decided not to, since it “would’ve been work and we were having a night off.”

Just this past weekend, McCartney posed with Yoko Ono, Lennon’s widow with whom he has often bickered, on the red carpet at the premiere of Martin Scorsese’s documentary on George Harrison.

Steve Jobs, a co-founder of Apple Inc., who introduced simple, well-designed computers for people who were more interested in what technology could do than in how it was done, died Wednesday at age 56.

In a brief statement, Apple announced the death but did not say where he died. Mr. Jobs, who suffered from a rare form of pancreatic cancer and had a liver transplant in 2009, stepped down as Apple’s chief executive on Aug. 24.

An original thinker who helped create the Macintosh, one of the world’s most influential computers, Mr. Jobs also reinvented the portable music player with the iPod, launched the first successful legal method of selling music online with iTunes and reordered the cellphone market with the iPhone. The introduction of the iPad also jump-started the electronic-tablet market, and it now dominates the field.

Calculating that people would be willing to pay a premium price for products that signaled creativity, Mr. Jobs had a genius for understanding the needs of consumers before they did.

He knew best of all how to market: “Mac or PC?” became one of the defining questions of the late 20th century, and although Apple sold a mere 5 percent of all computers during that era, Mac users became rabid partisans.

Mr. Jobs was the first crossover technology star, turning Silicon Valley renown into Main Street recognition and paving the way for the rise of the nerds, such as Yahoo founders Jerry Yang and David Filo, and Google founders Larry Page and Sergey Brin.

And by changing the way people interacted with technology, Jobs and Microsoft founder Bill Gates transformed their era in much the same way Henry Ford and John D. Rockefeller revolutionized theirs with the mass-produced automobile and the creation of Standard Oil.

As a 21-year-old college dropout in 1976, Mr. Jobs founded Apple with his friend Steve Wozniak. He led the company to multimillion-dollar success within five years but was forced out by the time he was 30.

Mr. Jobs started another computer firm, Next, whose technology was used to create the World Wide Web. He later took over a foundering computer animation company and turned it into the Academy Award-winning Pixar, maker of “Toy Story” and “Finding Nemo.”

Returning to Apple in his 40s, Mr. Jobs restored the company to profitability by paring down the product line and being a leader in innovation.

Known for his complex and combative temperament, Mr. Jobs was a private man. But in a June 2005 commencement address at Stanford University, he talked openly about his pancreatic cancer, diagnosed in 2004, in a video that became an Internet sensation. He later became furious about speculation over his health in mid-2008, when he appeared in public looking gaunt. Later that year, he took a leave of absence from the company to have a liver transplant.

In January, he took another medical leave. On Aug. 24 he stepped down as Apple’s chief executive, becoming chairman of the board. Apple’s share price immediately dropped 5 percent on the news, but it rebounded the next day. “Steve Jobs running the company from jail would be better for the stock price than Steve Jobs not being CEO,” one stock analyst told Fortune magazine in early 2011.

Late last night in NYC Neutral Milk Hotel’s Jeff Mangum surprised the crowd gathered at the Occupy Wall Street protest tonight with a solo acoustic set. He lead singalongs to “Holland, 1945″, “Ghost”, “Song Against Sex”, “Two-Headed Boy Part 2″, “In the Aeroplane Over the Sea”, “The King of Carrot Flowers Part 1″, and “Oh Comely”. The “we know who our enemies are” line in the latter song got an especially big cheer. He also covered the Minutemen’s “Themselves”

After performing, he said, “You guys have done a beautiful fucking thing.”

As record labels, digital music stores, and music subscription services continue their struggle to convince music fans to pay for music, Google’s YouTube — itself a major repository of recorded music — claims that giving away music for free generates as much money for copyright holders as charging for it, with profound implications for freemium digital music services such as Spotify and the much-rumored Google music service.

According to what YouTube executives YouTube can make as much money for labels as paid services, following a massive, 200-to-300 percent increase in the revenue it generates for copyright holders over the past year. They said the growth was due to traffic increases, particularly on mobile phones; more profitable, optimized ad formats; the “Ad Word“-ization of video content (through which advertisers make videos that users “opt in” to watching); a new crop of curators who increase the viewership of free music videos through blogs and social networks; more effective sales teams, particularly as part of Vevo (a joint venture between Google, major labels, and Abu Dhabi); and YouTube’s Content ID system, which allows music copyright holders to profit from infringing use of their songs.

“Our larger music partners on the site are making millions of dollars per month,” YouTube director of content partnerships Chris Maxcy told Evolver.fm. “The other thing that’s astounding is the growth in this. We’ve seen the monetization levels increase two to three times, just in the last year… Our label partners have been pretty pleased with that level, and we expect to see that growth continue. A year from now, I’m hoping we’ll be able to say ‘we increased revenue and RPMs another 2-3x.’”

Even now, says YouTube, its free music pays as well as, well, paid music. And Google could eventually get into that too.

“We’re not tied to any one payment model, per se,” explained Phil Farhi, a product manager from Google’s YouTube monetization team. “We’ve been very focused on advertising so far, but there are users who will pay for content with their money, and users who will pay for content with their time and attention. We’ve been focused on [the latter]. What we’re seeing is that by really optimizing everything, you can make just as much money for a label as the others.”

Some don’t see the value of free music, he says, because they’re too focused on its price.

“These are the traps that people fall into: They look at price tags for advertising[-supported services] versus price tags for subscription or downloading services,” added Farhi. “But you really need to consider not just the price tag, but the scale of audience and views that you’re reaching with that.”

Offering something for free drastically increases the rate at which people consume it. This is basic micro-economics, and is to be expected. We all want a free lunch. What’s more surprising is YouTube’s claim that a well-optimized free music service generates revenue equivalent to that of paid services like iTunes.

“If you were to look at the numbers for Lady Gaga, the number of views she gets on YouTube versus downloads that she gets on iTunes, obviously, a single download on iTunes will pay her more than a single view on YouTube,” said Farhi. “But when you look at the traffic — the number of people that are coming back and watching her videos over and over again, watching her videos before they download the song, or discovering them on YouTube — you can see how that scale can compete with a paid service.”

The difference between offering music for free and charging for it has a special resonance as music is increasingly delivered by apps running on smartphones, computers and eventually televisions and car stereos. Small developers unable to negotiate their own licenses with the labels, but who nonetheless wish to integrate full-track playback into their apps, face a stark choice. They can either integrate YouTube videos for free (Discovr), or integrate a subscription service that limits non-subscriber listens to 30 seconds (MusicMapper).

Last week, we took YouTube to task for potentially damaging the music industry by providing users and app developers with a free, on-demand alternative to subscription services such as MOG, Rdio, Rhapsody or Spotify.

“You raised some interesting issues with respect to some of these applications out there,” YouTube director of content partnerships Chris Maxcy told Evolver.fm. “Our general philosophy is that we like to make our content as widely available as possible. We want to be the biggest entertainment platform in the world, and we think we are already. We want to make sure that we can get videos to people in a variety of ways… That’s the positive side, but whenever you have a goal like that, and you set your system up that way, there’s always the risk that there will be a small number of people in the world who abuse your good nature and the ability to get access to that content. With our APIs, the vast majority of developers are complying with our terms of service.”

YouTube’s API terms of service specify that developers who add full-track playback from YouTube can only make non-commercial apps (Update: that information came from our interview with Farhi, but YouTube apparently does allow commercial use of its API), must show the videos, as opposed to stripping them out and only playing the music, and must include YouTube’s ads with those videos.

Songza, Muziic, and other services crossed those lines in years past, after which YouTube denied or threatened to deny them access to its API.

“I think applications integrating music is a great idea, and there are plenty of robust music services out there. I think it’s better for an application developer to… make sure they’re complying properly, versus thinking that they can temporarily and maybe inappropriately access our platform,” said Farhi. “They’re going to get shut down, and it’s going to be a bad user experience because the YouTube videos won’t play anymore one day.”

So, that settles that: If app developers push the YouTube integration too far, they’ll get cut off, and YouTube has shown that it’s willing to take such steps in the past. However, its contention that free music pays as well as paid music indicates that app developers would be wise to include both options: YouTube videos for music fans who don’t want to pay, and Rdio or some other subscription service for those who do.

Ultimately, the real beneficiary of the revelation that free and paid music can generate equivalent revenues could be Spotify, or even Google itself.

Farhi noted Spotify’s success on the Facebook platform in Europe, where users embed Spotify songs within their feeds that anyone can hear (the free version plays up to 20 hours of music per month). In addition, Spotify integrates directly with Facebook as a music sharing network. In the United States, however, Facebook users overwhelmingly prefer YouTube for embedding music, as any U.S. music fan on Facebook has surely noticed.

Spotify has long maintained that its allure lies in being able to monetize the free listening that some people are always going to engage in, through advertising, while those who are eventually willing to pay for extra features (smartphone apps, offline playback, higher sound quality, and no ads) can do so without switching to a new music service and losing all of their playlist, ratings, and friends.

If the lesson of YouTube vs. paid music services should teach the music industry anything, it’s that Spotify — or something like it, which finally joins the equally lucrative sectors of free and paid music — could boost overall revenue to a struggling recorded music industry.

The Avett Brothers’ bass player, Bob Crawford, is taking time off from the group to focus on his 22-month-old daughter, Hallie, who is battling a brain tumor. The little girl began having seizures a month ago, which is when the tumor was first discovered.

“Surgeons were able to remove 90% of the tumor and decided to stop there as her vital signs were unsteady,” Bob shares on the band’s website. “Following surgery, she suffered a stroke. Her condition was critical for the next several days as her brain continued to swell. In an attempt to save her remaining good brain she was placed in a coma for five days.”

Hallie has already undergone a second surgery and continues to fight for her life. “The tumor is a Grade 3 Ependymoma,” her dad explains. “This is a very rare, but deadly brain tumor that affects roughly 100 children a year in the United States. We do not know what Hallie’s next step is in her treatment. Her situation is very fluid and there are a number of complicating factors, but we do know that she is fighting hard every day.”

The multi-instrumentalist is grateful for the support from friends and fans. “My wife Melanie and I would like to thank everyone for their love, care, and support during the most difficult time in our lives. I would like to thank everyone for their understanding of the gravity of this situation and ask for respect to our privacy. When people ask us what they can do to help, we ask them to pray for Hallie’s recovery. We feel that God has already worked miracles through Hallie and we pray they keep coming.”

While it’s undetermined when he will return to the band, Bob recently told Spinner’s sister site The Boot the Avett Brothers are working on the follow-up to their 2009 album, ‘I and Love and You,’ but are in no rush to release new tunes. “We used to put out an album a year, but now we are on a longer cycle. That means more time for the songs to mature and grow after they are written. This is just the next step for us, whatever that is.”

There’s no word yet on who will take over as bass player for the band while on tour. The Avett Brothers upcoming concert schedule includes shows in Tennessee, North Carolina and Texas. See their concert schedule here.

paidContent:
Rhapsody’s President Jon Irwin said of the acquisition that “scale is extremely important in this business.” He is, of course. entirely correct. Rights fees leave little in the way of margins. For sake of full disclosure, I’ve been a very long-term fan of Rhapsody, right since their earliest days. It was partly our experiences of Rhapsody that led me and my former colleague David Card to be so bullish about music subscriptions when we were helping build the Jupiter Research digital music forecasts. But the time has come for Rhapsody not just to change but to drive change.

The digital music market is a different world from that Rhapsody was built for. Unless Rhapsody wants to be limited to spending the next year or two simply trying to stay one subscriber ahead of Spotify, it needs to overhaul its product roadmap…

Cnet:
Rhapsody, one of the older subscription music services, has made it official. The company has acquired Napster subscribers and other assets from Best Buy, while the electronics retailer will obtain a minority stake in Rhapsody, the companies said today.

In a deal first reported by CNET, the acquisition is expected to close on Nov. 30, 2011, the companies said in a press release. Best Buy appears to be unloading a music service that struggled prior to being acquired by the merchant and only seemed to disappear after.

The total financial terms of the deal were not fully disclosed. Nonetheless, it doesn’t appear that Best Buy’s investment in Napster paid off…

AllThingsD:
The companies, which are claiming to have the two largest music subscriber bases in the U.S., did not disclose how many they will have together. Rhapsody said it will also use the assets to add to its product line. Separately, Rhapsody has reported that it has surpassed 800,000 subscribers.

In a statement, Jon Irwin, Rhapsody’s president, said, “There’s substantial value in bringing Napster’s subscribers and robust IP portfolio to Rhapsody as we execute on our strategy to expand our business via direct acquisition of members and distribution deals.”

The two companies likely have felt additional pressure as new subscription and ad-supported music services enter the U.S. market, such as Rdio and Spotify…

Mark Mulligan:
When 2+2=2.5

In the near-term the Napster acquisition will put more clear water between Rhapsody’s subscriber count and Spotify’s. It should also grant Rhapsody membership of the the ‘1 Million Club’, with its 800,000 subscribers swelled by a few hundred thousand from Napster. The last time Napster reported their numbers in December 2008 they had 700,000 subscribers. After three years in the Best Buy wilderness and shifts towards bundled download products I estimate there to be no more than 400,000 fully fledged subscribers left, probably more like 300,000…

Rhapsody needs unlimited MP3, now!

I’ve long advocated that if the record labels really want to ensure the extant premium subscription services don’t become extinct that they must empower them with dramatically more powerful licenses: namely unlimited MP3. Of course it will be a good year or two more of global music revenue decline before the labels hurt enough to really countenance unlimited MP3, but Rhapsody needs it now…

Kristin Gundred, a/k/a Dee Dee, is no actual dum dum, so she made good where Vivian Girls didn’t. One sonically buried experience (2010′s I Will Be) was enough to make her realize that with a big girl-group concept should come big songs, so she’d better write some. With help from the Raveonettes’ Sune Rose Wagner and “My Boyfriend’s Back” co-writer Richard Gottehrer, 2011 EP He Gets Me High wiped out that lo-fi crap with a husky new voice (not Gundred’s first metamorphosis — just dig up her Gossip-style work with Grand Ole Party) on two high-powered hooksongs, one sweet-enough ballad, and a Smiths cover that rocked. Six months later, she delivers an album that sounds like Chrissie Hynde backed by Hüsker Dü. Only in Dreams could make you wonder what other indie bands would jump up and thrive if only they had steamroller production. But the boiling guitar tones bind the songwriting tighter than Gundred’s leather jacket, even on the six-minute “Coming Down.” The Buddy Holly–esque “Heartbeat” helps balance the ’80s-isms, and every time she kisses something called “Bedroom Eyes” too wistfully there’s something around the corner like “Just a Creep” to bite down hard.

After 12 years, four albums, and a revolving door of close to 20 musicians, Canadian indie rock collective Broken Social Scene might be calling it quits for good. The alternative supergroup has decided to go on “indefinite hiatus,” according to our colleagues at the Huffington Post.

Speaking to Huffington Post backstage at the Hardly Strictly Bluegrass Festival, lead singer Kevin Drew explained, “There’s no bad blood, no problems, everyone is at peace. We’ve had a lot of inter-relationships, some have worked, some haven’t. But we all loved what we were doing. And I think we were always fair.” The festival was to be one of the band’s last North American shows before embarking on indefinite hiatus, that purgatorial term which has doomed many a rock group.

As one might imagine, trying to schedule band practice with close to 20 musicians is not an easy task. “It’s like wrangling cats,” Drew says. Not dogs. “Dogs would actually listen.”

Due to the fungible nature of the project, and their several attempts to disband, a full and complete ending to BSS seems hard to believe. Their most recent album, ‘Forgiveness Rock Record’ was completed after an “extended hiatus” during which many of the group’s multiple members embarked upon projects like Stars, Metric, Do Make Say Think, Land of Talk and many others. Drew and Brendan Canning, another founding member, have both released solo albums of their own. Most visible of these acts might be Leslie Feist, whose breakout single “1234″ launched her to international fame, and sold a whole bunch of iPods.

“I don’t want to dilute what we’ve done,” Drew said. “But I’d like to find other ways of telling the story of our band.” Here’s to hoping he does just that, or just makes another Broken Social Scene album.

It was certainly a lot of fun while it lasted, but Late Night With Jimmy Fallon’s week-long tribute to Pink Floyd ended last night. It was quite the send-off, though, as Pearl Jam chose to cover “Mother” off the band’s 1979 album, The Wall. As you might expect, Eddie Vedder and company do the song justice, from its varied instrumentation and time signatures to the gripping vocals. The performance leaves us wondering when another seminal, forward-thinking outfit’s expansive catalog will be celebrated on late-night TV. Also, which band will it be? Zeppelin? Zappa? Beatles? Beach Boys? Doors?

Watch the performance below.