Tag: David Lee Roth

Live Footage: the bird and the bee Cover Van Halen’s “Ain’t Talkin’ ‘Bout Love” with Dave Grohl on “The Late Late Show with James Corden”

Comprised of singer/songwriter Inara George and seven time Grammy Award-winning producer and multi-instrumentalist Greg Kurstin, who has worked with the likes of Sia,Adele, Beck, Kendrick Lamar, Foo Fighters and Paul McCartney, the Los Angeles-based indie pop act the bird and the bee can trace their origins to when they met  while working on George’s 2005 solo debut All Rise. Bonding over a mutual love of 80s pop and rock, the duo decided to continue to work together in a jazz-influenced electro pop project.

The Los Angeles indie pop duo’s debut EP Again and Again and Again and Again was released in late 2006. They quickly followed that up with their self-titled full-length debut in early 2007 — and with their earliest releases George and Kurstin quickly developed a reputation for bringing a breezy elegance to their work, which finds them putting their own idiosyncratic twist on time-bending indie pop.

Although serving as the long-awaited follow up to 2015’s Recreational Love, the bird and the bee’s fifth album, Interpreting the Masters, Vol. 2: A Tribute to Van Halen actually closely follows 2010’s critically applauded Interpreting the Masters, Vol. 1: A Tribute to Hall & Oates. And while Van Halen‘s most anthemic and beloved work may initially seem like an unlikely vessel for the Los Angeles-based duo’s sound and approach, George and Kurstin are both lifelong fans of David Lee Roth-era Van Halen. As the story goes back in 2007, George caught her first-ever Van Halen show, during the first tour to feature David Lee Roth as the band’s frontman since 1985. George was so charmed by Roth’s presence, that after that show, she approached Kurstin about writing a song for Roth. The end result was the swooning serenade “Diamond Dave,” which appeared on their 2008 sophomore album Ray Guns Are Not Just the Future. “We asked him to be in the video, but instead he signed a picture and gave me the yellow top hat he’d worn at the show I saw, which I thought was very sweet,” George says in press notes. “When we were trying to figure out who to cover for the second volume of Interpreting the Masters, we were both a little bit like, ‘Oh my god, can we really do it?’ But then we just went for it.”

Slated for an August 2, 2019 release through No Expectations/Release Me Records, the duo’s fifth album features an impressive backing band of guest musicians including Justin Meldal Johnsen (bass), who has worked with Beck and Nine Inch Nails; Joey Waronker (drums), who has worked with R.E.M and Elliott Smith; and Omar Hakim(drums), who has worked with the David Bowie and Miles Davis assisting the duo in making familiar David Lee Roth-era Van Halen anthems completely their own, imbuing even the most over-the-top tracks with a slinky intimacy.

Interestingly, for Kurstin, an accomplished jazz pianist, who once studied with Jaki Byard, a pianist that once played in Charles Mingus‘ band, one of the greatest challenges he had translating Eddie Van Halen’s virtuoso guitar work into piano arrangements that kept some of the spirit and vibe of the original. “I know there’s a jazz influence with the Van Halen brothers, so I tried to channel some of the things that I felt might’ve influenced Eddie,” Kurstin notes. “In a way ‘Eruption’ is almost like a piece of classical music, so I mostly treated it that way as I interpreted it for piano,” he adds, referring to the iconic instrumental guitar solo from Van Halen’s self-titled debut. 

While creating arrangements around Eddie Van Halen’s guitar work will reveal the duo’s ingenuity and playfulness as interpreters and arrangers paired with a deeply nuanced reading of the material, which is influenced by their deep and profound emotional connection to the band.“I remember being 10-years-old and seeing their videos and feeling both excited and totally terrified—I responded to them in this very visceral way,” George says in press notes. Kurstin, who also is a lifelong fan, actually got a chance to work with Eddie Van Halen in the early 80s when the Grammy Award-winning producer and multi-instrumentalist was a 12 year-old member of Dweezil Zappa’s band. “I got to hang out with him in the studio and go backstage when Van Halen played The Forum, which was a really big moment for my younger self,” Kurstin recalls.

Interpreting the Masters, Vol. 2: A Tribute to Van Halen‘s album’s second single “Ain’t Talkin’ Bout Love” is a slinky New Wave-like take on the original, centered around an angular and propulsive bass line, atmospheric electronics, shimmering and arpeggiated synths and while bearing an uncanny resemblance to New Order and It’s Blitz!-era Yeah Yeah Yeahs, the track is imbued with a feverish quality.

While much of Van Halen’s material, whether it was David Lee Roth-era or Sammy Hagar-era is seemingly familiar to the point of well-worn, the first two singles off Interpreting the Masters, Vol. 2: A Tribute to Van Halen finds the duo crafting a loving and thoughtful take on beloved material. And they manage to do so in a way that retains familiar elements but within a playful, post-modern, decidedly feminist fashion. 

The duo were recently on The Late Late Show with James Corden, where they performed their sultry rendition of “Ain’t Talkin’ ‘Bout Love” with a special guest — Dave Grohl, who played drums. 

New Audio: the bird and the bee’s Jazz-like Take on Van Halen’s “Hot For Teacher”

Last month, I wrote about the Los Angeles-based indie pop act the bird and the bee — singer/songwriter Inara George and seven time Grammy Award-winning producer and multi-instrumentalist Greg Kurstin, who has worked with the likes of Sia, Adele, Beck, Kendrick Lamar, Foo Fighters and Paul McCartney — and as you may recall, the act can trace their origins to when the duo met while working on George’s 2005 solo debut All Rise. Bonding over a mutual love of 80s pop and rock, the duo decided to continue to work together in a jazz-influenced electro pop project.

The Los Angeles indie pop duo’s debut EP Again and Again and Again and Again was released in late 2006. They quickly followed that up with their self-titled full-length debut in early 2007 — and with their earliest releases George and Kurstin quickly developed a reputation for bringing a breezy elegance to their work, which finds them putting their own idiosyncratic twist on time-bending indie pop.

Although serving as the long-awaited follow up to 2015’s Recreational Love, the bird and the bee’s fifth album, Interpreting the Masters, Vol. 2: A Tribute to Van Halen actually closely follows 2010’s critically applauded Interpreting the Masters, Vol. 1: A Tribute to Hall & Oates. And while Van Halen‘s most anthemic and beloved work may initially seem like an unlikely vessel for the Los Angeles-based duo’s sound and approach, George and Kurstin are both lifelong fans of David Lee Roth-era Van Halen. Back in 2007, George caught her first-ever Van Halen show — and it was the first tour to feature David Lee Roth as the band’s frontman since 1985. George was so charmed by Roth’s presence, that after that show, she approached Kurstin about writing a song for Roth. The end result was the swooning serenade “Diamond Dave,” which appeared on their 2008 sophomore album Ray Guns Are Not Just the Future. “We asked him to be in the video, but instead he signed a picture and gave me the yellow top hat he’d worn at the show I saw, which I thought was very sweet,” George says in press notes. “When we were trying to figure out who to cover for the second volume of Interpreting the Masters, we were both a little bit like, ‘Oh my god, can we really do it?’ But then we just went for it.”

Slated for an August 2, 2019 release through No Expectations/Release Me Records, the duo’s fifth album features an impressive backing band of guest musicians including Justin Meldal Johnsen (bass), who has worked with Beck and Nine Inch Nails; Joey Waronker (drums), who has worked with R.E.M and Elliott Smith; and Omar Hakim (drums), who has worked with the David Bowieand Miles Davis assisting the duo in making familiar David Lee Roth-era Van Halen anthems completely their own, imbuing even the most over-the-top tracks with a slinky intimacy.

Interestingly, for Kurstin, an accomplished jazz pianist, who once studied with Jaki Byard, a pianist that once played in Charles Mingus‘ band, one of the greatest challenges he had translating Eddie Van Halen’s virtuoso guitar work into piano arrangements that kept some of the spirit and vibe of the original. “I know there’s a jazz influence with the Van Halen brothers, so I tried to channel some of the things that I felt might’ve influenced Eddie,” Kurstin notes. “In a way ‘Eruption’ is almost like a piece of classical music, so I mostly treated it that way as I interpreted it for piano,” he adds, referring to the iconic instrumental guitar solo from Van Halen’s self-titled debut. 

While creating arrangements around Eddie Van Halen’s guitar work will reveal the duo’s ingenuity and playfulness as interpreters and arrangers paired with a deeply nuanced reading of the material, which is influenced by their deep and profound emotional connection to the band.“I remember being 10-years-old and seeing their videos and feeling both excited and totally terrified—I responded to them in this very visceral way,” George says in press notes. Kurstin, who also is a lifelong fan, actually got a chance to work with Eddie Van Halen in the early 80s when the Grammy Award-winning producer and multi-instrumentalist was a 12 year-old member of Dweezil Zappa’s band. “I got to hang out with him in the studio and go backstage when Van Halen played The Forum, which was a really big moment for my younger self,” Kurstin recalls.

The album’s two singles found the members of the bird and the bee taking on Van Halen’s “Panama” and “Ain’t Talkin’ ‘Bout Love.” The duo turned “Panama” from a power chord-based arena rock anthem into a sultry club banger, centered around shimmering and arpeggiated synths, bright blasts of twinkling piano and cowbell, a wobbling Bootsy Collins-like bass line and George’s sensual vocal delivery. Their cover of”Ain’t Talkin’ ‘Bout Love” was a slinky and shimmering New Wave-like take that recalled New Order and It’s Blitz-era Yeah Yeah Yeahs while imbued with a feverish quality.  The album’s third latest single finds the band taking on “Hot For Teacher,” the last official single that band released with their original lineup.  Featuring drummer Omar Hakim, who has worked with David Bowie, Sting, Daft Punk, Weather Report, Madonna, Kate Bush and others and a spoken word cameo from Beck, the bird and the bee deliver a swinging bop jazz-inspired take that actually pulls, tugs and teases out the jazziness of the original — particularly within Eddie Van Halen’s dexterous guitar solo-ing. Interestingly, much like Easy Star All-Stars take on Dark Side of the Moon, the bird and the bee version of “Hot For Teacher” isn’t a purely straightforward cover — rather, it’s a subtle and mischievous modernization that retains the spirit and intent of the song in a thoughtful and loving way. 

Comprised of singer/songwriter Inara George and seven time Grammy Award-winning producer and multi-instrumentalist Greg Kurstin, who has worked with the likes of Sia, Adele, Beck, Kendrick Lamar, Foo Fighters and Paul McCartney, the Los Angeles-based indie pop act the bird and the bee can trace their origins to when they met  while working on George’s 2005 solo debut All Rise. Bonding over a mutual love of 80s pop and rock, the duo decided to continue to work together in a jazz-influenced electro pop project.

The Los Angeles indie pop duo’s debut EP Again and Again and Again and Again was released in late 2006. They quickly followed that up with their self-titled full-length debut in early 2007 — and with their earliest releases George and Kurstin quickly developed a reputation for bringing a breezy elegance to their work, which finds them putting their own idiosyncratic twist on time-bending indie pop.

Although serving as the long-awaited follow up to 2015’s Recreational Love, the bird and the bee’s fifth album, Interpreting the Masters, Vol. 2: A Tribute to Van Halen actually closely follows 2010’s critically applauded Interpreting the Masters, Vol. 1: A Tribute to Hall & Oates. And while Van Halen‘s most anthemic and beloved work may initially seem like an unlikely vessel for the Los Angeles-based duo’s sound and approach, George and Kurstin are both lifelong fans of David Lee Roth-era Van Halen. As the story goes back in 2007, George caught her first-ever Van Halen show, during the first tour to feature David Lee Roth as the band’s frontman since 1985. George was so charmed by Roth’s presence, that after that show, she approached Kurstin about writing a song for Roth. The end result was the swooning serenade “Diamond Dave,” which appeared on their 2008 sophomore album Ray Guns Are Not Just the Future“We asked him to be in the video, but instead he signed a picture and gave me the yellow top hat he’d worn at the show I saw, which I thought was very sweet,” George says in press notes. “When we were trying to figure out who to cover for the second volume of Interpreting the Masters, we were both a little bit like, ‘Oh my god, can we really do it?’ But then we just went for it.”

Slated for an August 2, 2019 release through No Expectations/Release Me Records, the duo’s fifth album features an impressive backing band of guest musicians including Justin Meldal Johnsen (bass), who has worked with Beck and Nine Inch Nails; Joey Waronker (drums), who has worked with R.E.M and Elliott Smith; and Omar Hakim (drums), who has worked with the David Bowie and Miles Davis assisting the duo in making familiar David Lee Roth-era Van Halen anthems completely their own, imbuing even the most over-the-top tracks with a slinky intimacy.

Interestingly, for Kurstin, an accomplished jazz pianist, who once studied with Jaki Byard, a pianist that once played in Charles Mingus‘ band, one of the greatest challenges he had translating Eddie Van Halen’s virtuoso guitar work into piano arrangements that kept some of the spirit and vibe of the original. “I know there’s a jazz influence with the Van Halen brothers, so I tried to channel some of the things that I felt might’ve influenced Eddie,” Kurstin notes. “In a way ‘Eruption’ is almost like a piece of classical music, so I mostly treated it that way as I interpreted it for piano,” he adds, referring to the iconic instrumental guitar solo from Van Halen’s self-titled debut. 

While creating arrangements around Eddie Van Halen’s guitar work will reveal the duo’s ingenuity and playfulness as interpreters and arrangers paired with a deeply nuanced reading of the material, which is influenced by their deep and profound emotional connection to the band.“I remember being 10-years-old and seeing their videos and feeling both excited and totally terrified—I responded to them in this very visceral way,” George says in press notes. Kurstin, who also is a lifelong fan, actually got a chance to work with Eddie Van Halen in the early 80s when the Grammy Award-winning producer and multi-instrumentalist was a 12 year-old member of Dweezil Zappa’s band. “I got to hang out with him in the studio and go backstage when Van Halen played The Forum, which was a really big moment for my younger self,” Kurstin recalls.

Interpreting the Masters, Vol. 2: A Tribute to Van Halen‘s first single is the duo’s  “Panama,” which finds the them turning the beloved, power chord-based arena rock anthem into a sultry club banger, centered around shimmering and arpeggiated synths, bright blasts of twinkling piano and cowbell, a wobbling Bootsy Collins-like bass line and George’s sensual vocal delivery. The album’s second single “Ain’t Talkin’ Bout Love” is a slinky New Wave-like take on the original, centered around an angular and propulsive bass line, atmospheric electronics, shimmering and arpeggiated synths and while bearing an uncanny resemblance to New Order and Yeah Yeah Yeahs, the track is imbued with a feverish quality.

While much of Van Halen’s material, whether it was David Lee Roth-era or Sammy Hagar-era is seemingly familiar to the point of well-worn, the first two singles off Interpreting the Masters, Vol. 2: A Tribute to Van Halen finds the duo crafting a loving and thoughtful take on beloved material. And they manage to do so in a way that retains familiar elements but within a playful, post-modern, decidedly feminist fashion.

 

 

The bird and the bee will be embarking on a 15 date North American tour throughout the summer, and the tour will include an August 17, 2019 stop at Elsewhere. Check out the rest of the tour dates below.

Tour Dates
08/02/19 – Los Angeles, CA @ John Anson Ford Theater # – TICKETS
08/11/19 – St. Paul, MN @ Turf Club * – TICKETS
08/12/19 – Chicago, IL @ Sleeping Village * – TICKETS
08/14/19 – Pittsburgh, PA @ Mr. Smalls Theatre * – TICKETS
08/15/19 – Providence, RI @ Columbus Theatre * – TICKETS
08/16/19 – Philadelphia, PA @ World Cafe Live * – TICKETS
08/17/19 – Brooklyn, NY @ Elsewhere * –TICKETS
08/20/19 – Carrboro, NC @ Cat’s Cradle * – TICKETS
08/21/19 – Atlanta, GA @ Aisle 5 * – TICKETS
08/22/19 – Birmingham, AL @ The Saturn * – TICKETS
08/24/19 – Dallas, TX @ Trees * – TICKETS
08/25/19 – Austin, TX @ Parish * – TICKETS
08/28/19 – Phoenix, AZ @ Crescent Ballroom * – TICKETS
08/29/19 – San Diego, CA  @ Casbah * – TICKETS
08/30/19 – San Francisco, CA @ Rickshaw Stop * ^ – TICKETS
# = featuring Dave Grohl on drums and Justin Meldel-Johnsen on bass
* = support from Samantha Sidley and Alex Lilly
^ = additional support from DJ Aaron Exelson

New Video: A David Lee Roth Meets Fraggle Rock Party from Hell with Nicole Atkins

JOVM mainstay Nicole Atkins is a Neptune, New Jersey-born, Nashville, TN-based singer/songwriter, best known for a sound that draws influence from 50s crooner pop, 60s psych rock and psych pop, soul music and Brill Building pop; in fact, some critics have compared her sound favorably to the likes of Roy Orbison and others. Perhaps unsurprisingly, Atkins has publicly cited the favorites of her parents’ record collection as being major influences on her, including The Ronettes, Johnny Cash, The Beach Boys, The Sundays‘ Harriet Wheeler and Cass Elliot.

Now, as you may recall, Atkins’ fourth full-length album Goodnight Rhonda Lee was recorded at Fort Worth, TX‘s Niles City Sound, with a production team featuring Austin Jenkins, Josh Block and Chris Vivion and was mixed by the Alabama Shakes‘ Ben Tanner, and the album, which was written while Atkins was in alcohol rehab and afterward, and began to see her life with a different sort of clarity and honesty; in fact, Rhonda Lee was the name, she gave to her hard partying, hard living former life and self. Interestingly, the album, which was released last year was the first batch of original material from the New Jersey-born, Nashville-based singer/songwriter, and it marked a decided sonic departure from her three previously released albums. Goodnight Rhonda Lee‘s first single “A Little Crazy,” a duet with Chris Issak was a delicate and soulful ballad that clearly nods to some of Atkins’ earliest influences — in particular, Roy Orbison with a hint of Patsy Cline. “Darkness Falls So Quiet,” the album’s second single was a stomping and soulful track that nodded at  Dusty Springfield.  “Sleepwalking,” Rhonda Lee’s fourth single featured a shuffling early  Motown Records-like arrangement that immediately brought to mind  Smokey Robinson and The Miracles, Marvin Gaye, and even Charles Bradley. 

“Brokedown Luck,” Rhonda Lee’s latest single is a shuffling and stomping 12 bar blues-based track that finds Atkins and her backing band nodding at Muscle Shoals, Motown and Daptone, as well as a smidge of Sandra Rhodes sadly under-appreciated country meets soul album Where’s Your Love Been; however, the song captures a narrator, who has reached the end of her rope and recognized that she’s spent way too much time, drinking, fucking up, drinking some more, fucking up some more — and at the end, the same empty, ridiculous rut that she began with; but there’s some clarity and the hope that this time, the song’s narrator may be able to get it right.

Directed by puppet maker/puppeteer and filmmaker Kevin Kelly, the recently released video for “Brokedown Luck” was shot at Asbury Park’s The Asbury Hotel and is essentially a David Lee Roth-like party from hell featuring Elvis impersonators, Hunter S. Thompson, Floyd from The Shinning and hallucinatory scenes with animation and puppets. As Atkins explains of the video treatment, “When I was a kid there was so much cool stuff on tv to get into. I was obsessed with puppets, claymation and animation like Jim Henson’s Fraggle Rock and Gary Panter’s puppets and art in Pee Wee’s Playhouse and even the little David Lee Roth singing cheeseburger dude in the movie Better Off Dead. Those things stuck with me for my whole life. It was always a dream of mine to be able to combine some of those elements along with my music in a video.”