Scene and Heard

Trombone Shorty to play Headliners Music Hall April 2

Posted in Entertainment by sceneandheardblog on February 8, 2011

WFPK Presents

Trombone Shorty
Saturday April 2
18+ (Doors 8pm)
On Sale Now  – $17 / $20

Trombone Shorty meets the Bonnaroo Press

New Collisions to play Highlands Tap Room, March 22

Posted in Entertainment by sceneandheardblog on February 8, 2011

New Collisions Are Getting Ready to Hit the Road with All New Tracks!
Plan to Dominate SXSW

Before Releasing Music Video and 7″!

“Throughout, the band showers the listener with compelling melodies. A lot of bands travel this ground; few do it so well.”The Big Takeover

“Backed by a pantheon of rock and indie elite, New Collisions are getting ready to take over the world with their thought-provoking brand of pure pop-new-wave-punk.” Fuse

(photo by Jeff Fasano)

Following a mega 2010 where critics and fans sang praises of the fresh-faced New Collisions, 2011 is shaping up to be equally as epic. After heading back to the studio with famed producers Sean Slade and Paul Kolderie (Pixies, Dinosaur Jr., The Sounds), New Collisions recorded all new tracks for a 7″, which will be released in April. The 7″ will premier two songs off New Collisions’ next LP, expected to be released this summer, and one of those tracks will see a music video treatment. What should fans expect of these new recordings? Rooted in more adventurous pop and rock, citing XTC and Elvis Costello as inspiration, guitarist Scott Guild says, “The 7″ will be two sardonic stories of failure and conceit.” After the strong story-telling in their debut LP, The Optimist, we have a lot to look forward to.

The band will be taking their new material and electrifying live act on the road, playing huge shows and SXSW! Taking the stages of venues everywhere from Webster Hall with Brooklyn’s Deluka to the WorkPlay Theater with Marcy Playground,  singer Sarah Guild will be every bit of the “punk-rock firecracker” NY Press says she is. Be sure to check em out, as their live act has been lauded by critics everywhere, including New York MagazineBlackbook Magazine, and The Boston Globe.

New Collisions Spring Tour Dates

Thurs, 3/3: The Fire – Philadelphia, PA
Fri, 3/4: Union Hall w/Fast Romantics – Brooklyn, NY
Sat 3/5: Studio@Webster Hall w/Deluka – New York, NY
Wed 3/9: Cafe Nine – New Haven, CT
Fri 3/11: Vinyl Music Hall – Pensacola, FL
Sat 3/12: Respectable Street – West Palm Beach, FL
Sun 3/13: Brewsters – Jacksonville, FL
Mon 3/14: WorkPlay Theater – Birmingham, Alabama, w/Marcy Playground
Wed 3/16 – Sun 3/20: SXSW – Austin, TX
Mon 3/21: Cicero’s – St. Louis, MO
Tues 3/22: Highlands Taproom – Louisville, KY
Wed 3/23: The Whistler – Chicago, IL
Thurs 3/24: The Crofoot – Pontiac, MI
Fri 3/25: Melody Inn – Indianapolis, IN
Sat 3/26: Frankie’s Inner City – Toledo, OH
Sun 3/27: Bernie’s Distillery – Columbus, OH
Mon 3/28: The Bug Jar – Rochester, NY
Fri 4/1: Valentine’s – Albany, NY
Sat 4/2: Dover Brick House – Dover, NH
Sun 4/3: Great Scott – Boston, MA w/Protokoll, Young Adults
Sat 4/16 – Record Store Day – Newbury Comics Faneuil Hall, Boston

The Decemberists to play Iroquois Amphitheater

Posted in Entertainment by sceneandheardblog on February 7, 2011
 Production Simple,LLC
concerts & events

Iroquois Amphitheater Summer Concert Series
91.9 WFPK Presents:

The Decemberists with
Justin Townes Earle

 Tuesday April 26th @ 8pm
Gates 6:30pm
Iroquois Amphitheater
All Ages
General Admission Tickets $35

Tickets On Sale 2/11 @10am

Tickets can be purchased at, ear x-tacy 
and CD Central (Lexington)

 The Decemberists – The King Is Dead

Life as a musician means continual evolution. Over the course of a career, any band worth paying attention to will pursue a sound, a direction, until it triggers a different idea and they’re chasing some other distant dream. With their sixth album, The King Is Dead, The Decemberists illustrate the power that comes from this kind of creative call-and-response.

When the band completed their wildly ambitious 2009 song cycle The Hazards of Love, frontman and primary songwriter Colin Meloy said that “doing this album took a lot out of me, and I’m definitely curious what will come out now that I’ve gotten it out of my system.”

The Hazards of Love, a narrative suite that grew out of old English folk tunes, met with widespread acclaim (Mojo wrote that “this spellbinding work peaks and soars with all the warmth and wonder of some great romantic adventure,” while Rolling Stone gave the album four stars), and was followed by a grand-scale tour in which The Decemberists performed the project in full. But by that time, Meloy was already feeling the pull of another approach.

Hazards was actually a bit self-destructive,” he says. “We knew people might have a hard time getting into it. On tour, we would play the whole thing—but once we were onstage at Bonnaroo or wherever, I just kind of wanted to play some normal songs!”

Inspired by a move to a more rural area outside the band’s base of Portland, Oregon, Meloy took a few songs that had been left off of Hazards and started working on the kind of project he had long been thinking about—a set of more stripped-down, country-based songs. The mostly-acoustic arrangements on The King Is Dead showcase the ways in which The Decemberists—Meloy, Chris Funk, Jenny Conlee, Nate Query, and John Moen—sound just as glorious in simple, concise compositions as they do on the elaborate structures that have defined their work for years.

As far back as 2004, the band released “The Tain,” an eighteen-and-a-half minute single based on an Irish myth. The Crane Wife (which NPR listeners voted their favorite album of 2006) took as its starting point an ancient Japanese folk tale, which was interpreted across three separate songs, and climaxed with “The Island,” a 13-minute, three-section murder ballad.

Meloy points out, however, that creating straightforward, unadorned songs can be at least as hard as building complicated musical epics. “For all my talk about how complex those records were, this one may have been harder to do,” he says. “It’s a real challenge to make simple music, and lot of times we had to deliberately hold off and keep more space. This record is an exercise in restraint.”

It’s no accident that songs like “All Arise!” and “Rise to Me,” complete with Funk’s plaintive pedal-steel guitar, echo the homespun sound of albums like Neil Young’s Harvest. Meloy describes that classic as “the quintessential barn record,” and it was the concept of the barn—as recording space and as attitude—that informed the making of The King Is Dead. The album was recorded in a converted barn at Pendarvis Farm—home of the annual Pickathon indie roots music festival—an 80-acre estate of lush meadows, forest, and Mt. Hood views outside of Portland. “We wanted that ethos,” he says. “That was the color we wanted the record to have.”

The country-rock sound of the 1970s was also behind the decision to bring in Americana luminary Gillian Welch, who sings on seven of the album’s ten songs. “Some of my favorite country-rock records had that consistent pairing with a female voice, like Gram Parsons and Emmylou Harris or Neil and Nicolette Larson on Comes a Time,” says Meloy. “We thought it’d be great if there was a female foil to my singing and Gillian was sweet enough to come on board.”

For some of the album’s other songs, The Decemberists were able to reel in one of their actual inspirations into the recording studio. “A few things, like ‘Down by the Water’ and ‘Calamity Song,’ were out-and-out homages to R.E.M.,” says Meloy. “Robyn Hitchcock was opening some of our shows, and Peter Buck plays in his group. I mentioned to him that I was writing some songs that were really ripping off his style, and he thought it was funny, so it seemed like, why not get him in and just wear it on our sleeves?” Buck wound up adding his signature propulsive, chiming guitar on those two songs, and contributing a mandolin part to the opener “Don’t Carry It All.”

Another of the album’s guest contributors is violinist Annalisa Tornfelt, a collaborator along with Funk, Conlee, and Query in the noir bluegrass band Black Prairie. Tornfelt’s rousing fiddle adorns “Don’t Carry It All,” “All Arise!,” and “Rox In The Box.”

For all of the album’s shift in musical direction, though, The King Is Dead is still clearly a Decemberists album, especially in the usage of imagery taken from landscapes, plants, and water throughout the lyrics. “The syntax of The Decemberists is definitely still there,” says Meloy. “I didn’t want it to be too much of a departure. But where the nature motifs were more mystical on The Hazards of Love, the flora of this record are more of a pastoral backdrop.”

To Colin Meloy, in some ways The King is Dead represents his own musical journey coming full circle. “Over the last eleven years or so, since I moved to Portland, I feel like I’ve been mining mostly English traditions for influence”, he says. “I guess I’ve kind of come back to a lot of the more American music that got me going in the first place – R.E.M. and Camper Van Beethoven and all these bands that borrowed from more American traditions like Neil Young and the Byrds.”

“Sometimes I kind of miss the epic-ness of the other albums,” he continues, “but it’s nice to get all of the information across in three minutes. It’s like going from reading a novel to reading a bunch of short stories.”





Iroquois Amphitheater 


Bassist helped put Austin on the blues map. Alex Napier: 1949-2011

Posted in Entertainment by sceneandheardblog on February 7, 2011

Alex Napier, who played bass for the Cobras with Stevie Ray Vaughan and in the bands of both Charlie and Will Sexton, died Thursday morning after a bout with liver cancer. He was 59.

He was one of the white musicians from the Dallas-Fort Worth area, including Jimmie and Stevie Ray Vaughan, Paul Ray, Denny Freeman and Doyle Bramhall, who helped establish Austin’s blues town reputation during the “cosmic cowboy” era.

During the late ’60s, he did light shows at the Vulcan Gas Company and opened a club in Westlake that eventually became Soap Creek Saloon.

A founding member of the Leroi Brothers, Napier passed away at his home in DeSoto, his nephew Mark Stanley said.

In addition to being a noted bassist, Napier was an unforgettable character, with a great sense of humor and a sly grin.

“He had more stories than any book will ever be able to write about the Texas blues days in the ’60s-2000s,” said Steve Dean, who often booked Napier’s bands at the old AusTex Lounge.

Alex Napier

Alex Napier

Rock legend Gary Moore found dead

Posted in Entertainment by sceneandheardblog on February 6, 2011

According to the Associated Press, Legendary rock guitarist and former Thin Lizzy star Gary Moore has died in Spain.


The 58-year-old, originally from Belfast, was found dead in a hotel room on the Costa del Sol.

Thin Lizzy founding member Brian Downey paid tribute to his friend.

“I am in total shock,” he said. “He will always be in my thoughts and prayers and I just can’t believe he is gone.”

Moore had a successful solo career but it was for his time in Thin Lizzy that he will be best remembered.

He joined the band in 1973 after the sudden departure of guitarist Eric Bell but only played with them for four months.

Four years later he returned and went on to play on the band’s Black Rose album.

Thin Lizzy guitarist Scott Gorham said it been a pleasure to share a stage with him.

“Playing with Gary during the Black Rose era was a great experience, he was a great player and a great guy,” he said.

Copyright (c) Press Association Ltd. 2011, All Rights Reserved.


The Del McCoury Band and the Preservation Hall

Posted in Entertainment by sceneandheardblog on February 4, 2011

American Legacies is Out April 12th

American music fans have an unprecedented opportunity to hear two masterful groups explore the common ground where bluegrass and jazz meet when the Del McCoury Band and the Preservation Hall Jazz Band release their collaborative American Legacies project on April 12th via McCoury Music and Preservation Hall Recordings.  Inspired by the success of the Del McCoury’s participation on 2010’s PRESERVATION, a PHJB project made with multiple artists to benefit New Orleans’ unique Preservation Hall venue and its Music Outreach Program, the set offers a dozen songs filled with deep respect and joyful virtuosity.  Complementing the release, the two groups have announced a joint tour that will feature them performing on their own and together in a groundbreaking concert experience.

With common roots in the rich musical gumbo of the American south in the 19th and early 20th centuries, bluegrass and jazz have sat alongside one another with a myriad of common influences and musical vocabularies that have nevertheless remained largely unexplored until now. American Legaciesis a no-holds-barred tour of songs and sounds that sum up the simultaneous (and often intersecting) histories of two distinctively American musical forms—the jazz that has drawn music lovers from around the world to New Orleans for more than a century, and the “hillbilly jazz” of bluegrass, created more than 60 years ago by Del McCoury’s one-time employer, Bill Monroe and his Blue Grass Boys.

Known as one of the premiere ambassadors of bluegrass, the Del McCoury Band is fronted by veteran Del McCoury,  A hero to east coast bluegrass audiences through the 1970s and 1980s, he stepped onto the national stage with a move to Nashville in the early 1990s that started the Del McCoury Band on an unprecedented streak of International Bluegrass Music Association awards and international acclaim.  Today, McCoury, along with a band that includes his sons Ron and Rob, are admired by hard-core bluegrass traditionalists and eclectic music fans and stars alike as they make appearances everywhere from the Bonnaroo Music Festival to late night network TV shows to their own popular Delfest.  For millions of fans across the US and around the world, the Del McCoury Band is simply the face of bluegrass.

Founded just a few years before McCoury joined Bill Monroe’s Blue Grass Boys, the Preservation Hall Jazz Band has been carrying the distinctive sound of New Orleans jazz around the world on behalf of Preservation Hall, a unique venue that embodies the city’s musical legacy.  With a cast of musicians schooled through first-hand experience and apprenticeship into the music’s historic traditions, the PHJB has served as an irreplaceable, vital link to the earliest days of one of America’s most beloved forms of popular music, evoking the spirits of times past in an ever-evolving modern context that has found them traveling around the world.


Posted in Entertainment by sceneandheardblog on February 4, 2011



 In recognition of the Oscar nomination for British director Lucy Walker‘s multi award winning documentary Waste Land, which prominently features many tracks from Moby’s album ‘Wait For Me’ on the soundtrack, Moby has announced that he will add this album to his free film music site,, making the full track listing available for all independent film makers to use for free. is a free film music resource for independent and non-profit filmmakers, film students, and anyone in need of free music for their independent, non-profit film, video, or short.

As well as the addition of ‘Wait for Me’, features music from Moby’s previous albums, plus special ambient versions of tracks, leftfield remixes of singles and albums and lots of previously unreleased music by Moby which is available exclusively to use via the site.

Moby’s music is available for free to filmmakers as long as it is being used in a non-commercial or non-profit film, video, or short. If any of the films go on to be commercially successful, then 100% of the music licensing proceeds from these facilitated projects are donated to the Humane Society.

Many of the films are available to watch at the Mobygratis Vimeo channel: 

Some Moby soundtracked films which have been made possible through include:

‘HitKids’ by Karen Mayer, which won an award for best score in the 2010 Seattle 48 Hour Film Project:

‘Displacement’ by Justin Litton, which won Best Student Film, 2010 West Virginia Filmmakers Festival and 3rd Place in the 2010 West Virginia International Film Festival:

‘One City, Many Faces’, by Tariq Chow, which was a runner up in the Tony Blair Faith Foundation’s Faith Shorts 2010 film competition:

Moby’s music has been used in numerous films, including Heat (Michael Mann), Any Given Sunday (Oliver Stone), Tomorrow Never Dies (Roger Spottiswoode) and The Beach (Danny Boyle).

Filmed over nearly three years, Waste Land (dir. Lucy Walker, 2010), follows renowned artist Vik Muniz as he journeys from his home base in Brooklyn to his native Brazil and the world’s largest garbage dump, Jardim Gramacho, located on the outskirts of Rio de Janeiro. There he photographs an eclectic band of “catadores”—self-designated pickers of recyclable materials. Muniz’s initial objective was to “paint” the catadores with garbage. However, his collaboration with these inspiring characters as they recreate photographic images of themselves out of garbage reveals both the dignity and despair of the catadores as they begin to re-imagine their lives. Director Lucy Walker (Devil’s Playground, Blindsight, Countdown To Zero) has great access to the entire process and, in the end, offers stirring evidence of the transformative power of art and the alchemy of the human spirit. For further information see:

Yelle Get Ready to Ignite Dance Floors Across North America, Starting With Coachella Performance

Posted in Entertainment by sceneandheardblog on February 4, 2011

Click HERE for the First Single, Safari Disco Club

Shortly after their new single, “Safari Disco Club,” has sparked excitement across the international blogosphere, French trio Yelle have announced a North American tour.  The dance-pop group’s upcoming dates kick off with a performance at Coachella, where their arsenal of infectious new anthems will be on full display.  Click HERE for pre-sale tickets for the tour, and the general on-sale begins this Friday, Feb 4th.  Yelle will also be making an appearance in New York during the upcoming fashion week.  They’ll be doing a DJ set for The W Hotel’s “Global Glam” at the Box on February 10th.

Yelle is fronted and named by Yelle, nee Julie Budet, a sparky gamine with a deceptively demure schoolgirl voice. Joined by producers GrandMarnier (Jean-Francois Perrier) and Tepr(Tanguy Destable), Yelle first arrived amid a flurry of 80’s inspired pop, with the likes of CSS and New Young Pony Club all revered for their take on brightly colored electro. Pop-Up stood out from the crowd with its wry, frothy and unashamedly fun outlook. This infectious appeal not only led to work with Robyn and Katy Perry, but gained them fans in fellow musicians such as M.I.A. and Mika, as well as mainstream personalities like Perez Hilton and Jessica Alba.

Since the release of their acclaimed debut album, Pop-Up, the band have been keeping busy.  They covered Robyn‘s “Who’s That Girl” as part of the iTunes international exchange, and she covered their track “A Cause Des Garçons” in return. They were also were asked by Katy Perry to remix her hit single “Hot n Cold” which has led to them supporting her UK tour in April.

Yelle North American Tour Dates:

04/16:  Indio, CA @ Coachella Music and Arts Festival
04/17:  Phoenix, AZ @ Rhythm Room
04/18:  Tuscon, AZ @ Club Congress
04/19:  Albuquerque, NM @ Launchpad
04/21:  Dallas, TX @ Granada Theatre
04/22:  Austin, TX @ Mohawk
04/23:  Houston, TX @ Fitzgerald’s
04/25:  Atlanta, GA @ Masquerde
04/26:  Chapel Hill, NC @ Cat’s Cradle
04/27:  Washington, DC @ 9:30 Club
04/29:  Boston, MA @ Royale Boston
04/30:  New York, NY @ Irving Plaza
05/02:  Quebec City, QC @ Le Circle
05/03:  Montreal, QC @ Le National
05/04:  Toronto, ON @ The Opera House
05/06:  Chicago, IL @ Bottom Lounge
05/07:  Minneapolis, MN @ First Ave.
05/08:  Madison, WI @ Majestic Theatre
05/10:  Denver, CO @ Bluebird Theater
05/11:  Salt Lake City, UT @ Urban Lounge
05/13:  Vancouver, BC @ The Commodore Ballroom
05/14:  Seattle, WA @ Neumo’s
05/15:  Portland, OR @ Wonder Ballroom
05/17:  Reno, NV @ Tonic Lounge
05/18:  Santa Cruz, CA @ Rio Theater
05/19:  San Francisco, CA @ Regency Ballroom
05/20:  San Diego, CA @ The Casbah
05/21:  Los Angeles, CA @ Henry Fonda Theathre

The White Strips finished! Band announces Breakup

Posted in Entertainment by sceneandheardblog on February 3, 2011

White Stripes at Bonnaroo 2007



NEW YORK — The White Stripes are done.

The groundbreaking rock duo, which helped revive and reshape a stale rock scene with their scorching, guitar-fueled, blues-tinged songs, announced Wednesday they are splitting up after more than a decade and six albums together.

Jack and Meg White (who presented themselves as brother and sister but were actually ex-husband and wife) said no “Behind the Music”-type troubles doomed the band.

“The reason is not due to artistic differences or lack of wanting to continue, nor any health issues as both Meg and Jack are feeling fine and in good health,” a statement announced. “It is for a myriad of reasons, but mostly to preserve what is beautiful and special about the band and have it stay that way.”

The Grammy-winning, platinum-selling band started off in Detroit in 1997. Seen mainly as the brainchild of frontman Jack White (Meg was the drummer), the band’s breakthrough came at the start of the new millennium with the albums “White Blood Cells” and 2003’s “Elephant,” with the now-classic song “Seven Nation Army.”

But over the years, Jack White has focused attention on other projects, including the bands the Dead Weather and the Raconteurs, as well as his Nashville, Tenn.-based Third Man Records. He’s also acted as producer, helping revive the career of Loretta Lynn with the album “Van Lear Rose” and most recently, Rock and Roll Hall of Famer Wanda Jackson’s “The Party Ain’t Over.”

The last recording by the White Stripes was the live album “Under the Great White Northern Lights,” released last year, along with an accompanying DVD documentary.

In an interview with The Associated Press last year, White said being a part of the Stripes was “extremely hard,” but he liked the challenge.

“If it ever got easy to go out and do a White Stripes show, I think we would just end it. It’s always been hard. That’s what I get from it though. It forces me to create something that I wouldn’t have done before. That’s tricky,” he said. “It’s tricky to go out on stage with two people in front of 10,000 people and make them all interested and keep them all interested for an hour or two, and standing their proudly and say it’s finished, that’s the show. That’s hard to pull off.”

White Stripes Drummer Meg White

Jack White White Stripes


Posted in Entertainment by sceneandheardblog on February 3, 2011

Directed by Academy Award winner James Moll

Produced By Spitfire Pictures
Co-Financed by Exclusive Media Group and RCA Records


To Have World Premiere at 2011 SXSW Film Festival in Austin, TX



Los Angeles, CA (February 1, 2011) – Dave Grohl, Taylor Hawkins, Nate Mendel, Chris Shiflett and Pat Smear a/k/a the Foo Fighters and Nigel Sinclair, Co-Chairman of Exclusive Media Group, announced today that Exclusive’s documentary film division Spitfire Pictures are producing a feature documentary film about the Foo Fighters to be directed by Oscar and Emmy winner James Moll.  The film, which will be co-financed by Exclusive Media Group and RCA Records and produced by Spitfire Pictures in association with Allentown Productions will be released theatrically this Spring, coinciding with the Foo Fighters’ seventh full length studio album. Vh1 and Sony International Entertainment Group acquired domestic and international television rights respectively.
Moll’s documentary film will chronicle the 16 year history of the Foo Fighters: From the band’s very first songs created as cassette demos Grohl recorded during his tenure as Nirvana’s drummer through its ascent to their Grammy-winning, multi-platinum, arena and stadium headlining status as one of the biggest rock bands on the planet.   This chronicling of the Foo Fighters’ triumphs and tragedies will culminate in an in-depth behind the scenes perspective on the making of the new album: A process in which the band pushed itself forward by going fully back to basics and recording in Grohl’s garage completely on analog tape.  No computers, no software – just a band recording an album to tape in a garage.   The new record also marks the Foos’ first full-length effort with legendary producer Butch Vig, with whom Grohl worked on Nirvana’s classic album Nevermind. Former Nirvana member Krist Novoselic will also return along with other surprise guest artists.

Nigel Sinclair and Alex Brunner will serve as Producers for Exclusive Media Group.  Glen Zipper and Michele Farinola of Spitfire Pictures, and Jeanne Elfant Festa of Piper Cub Productions join the project as Executive Producers.

Foo Fighters’ Dave Grohl says, “In October of 1994, I walked into Robert Lang’s Seattle studio with a guitar, a drum set, a bass, and 14 songs I thought nobody would ever hear. 5 days later I walked out with the first Foo Fighters record. 16 years and 7 studio albums later, with the help of Academy Award winning director James Moll, we’re finally able to tell the story of how that one demo cassette turned into the band that we are today. This is our side of the story. From the first rehearsal, to the completion of our new album, it’s all there. Through hours of interviews with all members of the band past and present, we tell you the truth and nothing but the truth. So help us Lemmy. Giving James mountains of never seen before footage, and unlimited access to the recording of the new record, the film presents an insight to the band never seen before (even to some band members!) and shows the process of making our new album, in my garage, totally analog, to 24 track tape machines. No computers. No auto-tune. No drum machines. Just real rock and roll. For me, it’s like watching my life flash in front of my eyes. Except with a mouth full of popcorn and Hot Tamales.  Hope you dig it. It’s been a wild 16 years…here’s to 16 more.”


Exclusive’s Nigel Sinclair adds, “In Christmas 2009, I watched James Moll’s stunning film Inheritance and was so moved by the journey that he took us on in that movie that I sought him out for a meeting.  James’ exploration of real life characters – in the case of Inheritance under extreme duress – was powerful beyond imagination. Shortly afterwards, we were approached at Spitfire Pictures by Dave Grohl, the Foo Fighters and their manager, John Silva, to explore the possibility of making a film set around the Foo Fighters recording a new album – in this case, under artistically challenging circumstances – specifically, in Dave’s garage in analog format.  Somehow it seemed to me that James Moll and Dave Grohl should meet and talk about this.  From that piece of wonderful serendipity, this film was born and we cannot wait to show it to the world.”

Dave Grohl has gone on record  that he never had youthful aspirations to be lead singer of a rock n roll band. So as a cassette demo became Foo Fighters’ platinum 1995 debut, Grohl was tasked with the career of a bonafide rock n roll frontman—one whose sophomore release The Colour & The Shape in 1997 went double platinum and yielded the hits Everlong, My Hero and Monkey Wrench. Borne by the hit learn To Fly, 1999’s platinum There Is Nothing Left To Lose netted the Foos their first Best Rock Album Grammy and 2002’s One By One (took out the core lineup line) resulted in another Best Rock Grammy and a fourth platinum plaque. For 2005’s In Your Honor, the band faced the self-imposed challenge of creating a double album opus, each disc showcasing a polar opposite of the Foo Fighters’ trademark sound—and triumphing with the biggest first week sales of the Foos’ career to date. The monster arena tour and subsequent intimate acoustic theater tour (documented on 2006’s Skin+Bones) inspired the enlisting of the expanded eight-piece Foo Fighters lineup on 2007’s Echoes, Silence, Patience & Grace, whose Grammy-winning run was capped by an intimidating two-night  booking at Wembley Stadium for which all 170,000+ tickets sold out.

The forthcoming Foo Fighters record, due out spring 2011, poses the band with possibly the ultimate challenge: Taking the band from the stadiums of the world—such as the July 2 & 3 Milton Keynes Bowl shows for which all 130,000 tickets blew out within hours of on-sale–back into Dave’s garage. For a group of world class musicians who have recorded everywhere from Abbey Road to their own state of the art 606 complex in Southern California, the gauntlet begs the question: Can they still rock a garage? Can they still bash out a dozen or so barn burners (no ballads this time, thank you very much) that rock as hard as the formative years that yielded the rough hewn melodies of “Monkey Wrench,” “This Is A Call,” “Everlong” “Learn To Fly” and “My Hero?” With Butch Vig at the helm and guests ranging from Grohl’s former Nirvana bandmate Krist Novoselic to Bob Mould, this is precisely what they aim to do. As to whether they’ll rise to that challenge? Given that this band’s career has been 15 years of decimating one seemingly insurmountable obstacle after another, come spring 2011, the smart money is on the Foo Fighters.



Exclusive Media Group is a vertically integrated independent film studio which was founded by strategic investment group, Cyrte Investments, in May 2008. Exclusive comprises:


  1. Three development & production labels –


  • Exclusive Films, whose maiden production is Peter Weir’s THE WAY BACK and who will also co-finance and co-produce George Clooney’s THE IDES OF MARCH, and fully finance and produce the Miley Cyrus action comedy SO UNDERCOVER.


  • Hammer Films, the iconic brand which has THE WOMAN IN BLACK starring Daniel Radcliffe in post-production, LET ME IN in release and THE RESIDENT being readied for release.


  • Spitfire Pictures, which has become the specialist documentary film production house.


  1. US theatrical distributor – Newmarket Films.


3.       International Sales & Marketing Operation for in-house and third party product – Exclusive Films International.


4.       Exclusive Films International also monetizes a significant film library of over 550 film titles.


Exclusive is run by Co-Chairmen Nigel Sinclair and Guy East.  Sinclair also serves as Group CEO and President of Newmarket Films, East as Chairman of Exclusive Films International.  Simon Oakes serves as Vice-Chairman of the Group Board as well as President and CEO of Hammer.  Marc Schipper and Andy Mayson serve on the Executive Board, as COO and Managing Director/CFO respectively, overseeing the operations, finance and strategic development of the worldwide group  Exclusive’s strategy is to build a vertically integrated global film entertainment group which develops and controls its own intellectual property and exploits it on a cross-media basis in the digitally converged era.  Exclusive has an active development slate and produces, finances and markets 3-5 high-quality commercial feature films and documentaries per year under its three production labels.  Exclusive actively acquires further feature films for international distribution through Exclusive Films International, and for US theatrical distribution through Newmarket Films.  The Group also develops and produces projects for television and digital platforms.


Exclusive continues to actively explore strategic expansion through M&A transactions and joint ventures – specific focus is on the acquisition of further high-quality film libraries and local territory distribution.


Spitfire, Exclusive’s dedicated documentary feature film unit, has a mandate to develop and produce films chronicling iconic figures and events in popular culture from a fresh and innovative perspective.

Spitfire is currently in post-production on “THE UNTITLED FORMULA 1 DOCUMENTARY” — the definitive Formula 1 racing documentary film, produced in cooperation with Bernie Ecclestone and Formula One Management, directed by Paul Crowder (“AMAZING JOURNEY: THE STORY OF THE WHO“) and written by Mark Monroe (writer of the Academy Award Winning documentary film “THE COVE”), as well as “THE UNTITLED GEORGE HARRISON PROJECT” directed by Academy Award winning director Martin Scorsese and co-produced by the Harrison family. Spitfire is also currently wrapping “UNDEFEATED” – an emotionally charged documentary film in the vein of HOOP DREAMS produced in collaboration with Ed Cunningham and Seth Gordon (“KING OF KONG: A FISTFULL OF QUARTERS”)

Spitfire recently delivered “THE LAST PLAY AT SHEA” (“Shea”) for Billy Joel’s Maritime Pictures, which premiered at the 2010 Tribeca Film Festival to rave reviews.   This film, also directed by Paul Crowder, chronicles Billy Joel’s final concerts at Shea Stadium, the venue’s storied history and the magical connection between the stadium and its blue-collar inhabitants.  Shea will be released by Lionsgate Films on DVD February 8, 2011.

Spitfire is also known for producing Martin Scorsese’s Grammy, Peabody and DuPont Award winning documentary film, “NO DIRECTION HOME: BOB DYLAN” in 2005, the Grammy nominated “AMAZING JOURNEY: THE STORY OF THE WHO” in 2007 and “THE WHO: AT KILBURN” in 2009, as well as “GUYS N’ DIVAS: BATTLE OF THE HIGH SCHOOL MUSICALS” in 2009 for Showtime and Lionsgate Films.

Spitfire is run by Exclusive Co-Chairman Nigel Sinclair and Spitfire President Chris Miller.  Glen Zipper and Michele Farinola serve as Co-Heads of Documentary Features for Spitfire.