Keller Williams is mastering his latest studio project, KWahtro, and taking to the road with the stellar band he assembled for a special run of fall dates. Fans of Williams’s many dimensions will be delighted at this new, acoustic take on classic jazz themes, along with plenty of improvisation. With longtime collaborator Gibb Droll flanking him on guitar, with drummer Rodney Holmes and bassist Danton Boller joining Keller on the road and in the studio, you can bet the songs are going to be forming before your eyes and ears at these upcoming shows.But the fall fun doesn’t stop there. Keller managed to find time for a couple of his legendary solo shows, a few co-headlining dates with fellow multi-instrumentalist Zach Deputy and even some bluegrass shenanigans with his friends The Infamous Stringdusters before ringing out the year in Baltimore. A few weeks ago our own Rex Thomson sat down with Keller Williams to talk about his upcoming album and the funky sound he and his fellow players were laying down.The first half of that lengthy interview, which focused on Williams’ amazing catalog, can be read here while the second part of the discussion Williams turns to the future. and his fall tour plans.Live For Live Music: In our last chat we went through the impressive amount of releases that have gone through in the past. Do you still get butterflies in your stomach when the big moment of sharing new music arrives?Keller Williams: No. Any bits of new material are so few and far between for me anymore that I end up playing them live immediately because I am so excited to have something to share. Having something new isn’t just fun for the fans, it excites me too. And actually getting to go into the studio and perfect these songs? I am ELATED to have new material to play.I learned long long ago that you can’t please everyone all the time. That taught me to make music that excites me, and my recordings are very self indulgent in the sense that I am documenting, in the highest quality possible, the music that most engages me. To use only the very best of takes, to try to have something that comes from it to show what is best to me, it always makes me excited.The process of making it, that recording and perfecting it, that makes it worth while whether the album sells or not. Usually not…L4LM: Awwww.KW: I know right? Awwwww. Ha!L4LM: Let’s talk about KWahtro. You’ve got your old buddy Gibb Droll with you. By my reckoning he is your most worked with collaborator, recording-wise at least. What is it about him that makes him so much of a pleasure to work with?KW: First off, he is a listener. He understands my thinking and my scales. My guitar playing is somewhat limited in a sense, in terms of scales and chords and places I can generally go. He knows what I know, and knows or can guess where I am going.Say I fall into a rhythm and I start to twist it up and try and take it somewhere different. He understand where I might be heading, even if sometimes I don’t. And then we can both fall back into where the song was going perfectly. It’s kinda a telepathy thing between he and I.I’m always glad to get some time with him because he is so busy. Since I saw him a few days ago, he has been out with Bruce Hornsby. Sometimes he’ll go from tour bus to tour bus and jump on the Brandi Carlisle bus. He’s one of the best and he’s all over the place.L4LM: The rhythm section for this project seems binary to me. Rodney Holmes seems to be doing the pocket work, while Danton Boller seems to be acting as a free agent and joining you and Droll in the forefront, musically. Is that an accurate summation of the situation to you?KW: I’ve never really thought of it in the context of being binary, but that is such a good word. Rodney is, first of all, a genius. He blows me away every time I play with him. You’d think you’d get used to it, but then he just plays some lick and you’re like “GOD DAMN!” I still freak out when he does that. I haven’t gotten used to it yet, and I kinda hope I never do.Every time I play with him it takes me a few minutes to get oriented to the level of his genius. But he is very numbers oriented, metronome -ish, though he can change time signatures at any time. He is definitely a bit more of a structure guy. If we say we’re gonna improvise from here to here in a song, then it is definitely ready to go down. And when you go on those journeys you know he is there, keeping the piece together. He is gonna keep the time.And that is one of the interesting dynamics of this band. Danton Boller, the bass player, is just another beautiful soul I am lucky enough to know and make music with. I’m incredibly grateful to be acquainted with him, and to be a part of his life. The four of us, together, when something kinda goes off Rodney gets it and comes along with us. Gibb and I have no problem taking the back roads to get us to the finish line.L4LM: The new music has a bit of a jazzy vibe to it. How long have you been holding back tackling this side of your sound more definitively?KW: I think there are little pockets of jazz on a bunch of my records. I can think of a few, like “Warning,” off of my record Odd is a straight “Upright Bass-Guitar-Piano” thing. It is definitely a side of music that I connect with more along the lines of acid jazz, that swinging ride symbol and maybe the “Four-On-The-Floor” beat.Using these fun, out there chords like I do and the improvisation. I feel like jazz is a strong part of my sound, even though I could be considered a poser in my approach. I don’t really study it. I haven’t taken the time to learn all the standard jazz licks or the songs.I couldn’t go to a strict jazz jam and hang with those guys. I just don’t know the material. I am just more of a fan of the genre, but that’s why elements of the style show up in my material. Same with bluegrass. I don’t really know all those old bluegrass licks either, but I love the classic sound of the material. Those elements are gonna be popping up all the time.L4LM: You’ve got a lot of concerts lined up to show off the new tunes and feature the music from the album. Will there be any reinventions of old material to go along with the KWahtro line-up?KW: Now, can’t give away all the secrets in advance, can we? Folks DO need to come see the shows!L4LM: You’re throwing in a few solo dates among your upcoming KWahtro run. Are those basically mental musical palette cleansers, are you trying to keep yourself fresh or is it the old “Pick up gas money” sorta thing?KW: KWahtro is compiled of seasoned working players. It’s not easy to assemble this band. I’m grateful to get solo offers and take them when ever folks in the desired projects are not available. It’s a luxury.L4LM: You booked yourself a rather busy fall, with a wide variety of shows on the way. The two Thanksgiving shows are being billed as bluegrass related. Will these be straight Grateful Grass shows, or is there something different in the works?KW: I’m afraid I could never play straight up bluegrass. I’m a fan way more than a player. It will be bluegrass but not your fathers bluegrass. It will be tongue and cheek, rock and roll and pop songs mixed in with my material, all done with respect to the traditional bluegrass formula with no drums. It’s a feeble attempt to entertain myself and those on stage with me in the hopes that it will carry over to the audience.Here’s Keller from Summer Camp earlier this year performing his beloved “Freaker by the Speaker.”L4LM: Well, I hope you manage to squeeze a drumstick or something in. Maybe some of that crimson stuff shaped like a can?KW: Oh turkey will be eaten. Football will be watched. Naps will be taken. My shows are on Friday and Saturday after Thanksgiving. And what a lineup. I got lucky this year. Just like last year.L4LM: L4LM: You are gonna be sharing the stage with fellow one-man-band troubadour Zach Deputy a few times this fall. Somehow that seems like it should be illegal, in the same way we don’t like having all the heads of government in the same place at the same time.KW: Zack and I are bros. He will be the sole looper for these shows. I’m more than happy to utilize the amazing humans who will be on stage with me during these shows. It’s uncertain how many times I can assemble the KWahtro and I’m going to absorb every second of it without any looper involved.Zack has the soul of a spiritual leader and I’m looking forward to being inspired by his presence, which is always a present. And there is zero chance of a parade, but 100% chance of collaboration in real time. I’m ready.L4LM: Fair Enough. Well, once again, thanks for taking the time to give us a glimpse into your process. Can’t wait to see what you come up with next!KW: Thanks! I can’t wait either!You can see Keller’s full tour schedule below.
Through the last 25 years, Pearl Jam has defined themselves as one of the premier rock bands of a generation. The band puts so much energy into their music and performances, offering an array of musical styles within the confines of their high powered rock n’ roll. Sometimes, that array includes acoustic-driven music, which has become the focus for a new band playlist.Yesterday, Pearl Jam revealed a new playlist called “Acoustic Tracks”, dubbed “a collection of acoustic tracks hand picked from the band’s discography. This playlist includes entirely acoustic tracks and those with acoustic elements.” There are selections from the band’s MTV Unplugged session, from the band’s comprehensive discography, and additional live cuts that span the band’s career.So sit back and enjoy some acoustic Pearl Jam for the next two hours. That’s what we’ll be doing!
Yonder Mountain String Band had a very busy 2016, packing concert halls and festival stages across the nation with their brand of jam flavored bluegrass. Since the very beginning, guitarist Adam Aijala has been there helping call the tune and picking up a storm on his six string. A study in dichotomy his usual on-stage demeanor is tranquil no matter how furiously his fingers are moving.That calm presence has helped guide Yonder to the top of festival lineups and a relentless national touring schedule. Our own Rex Thomson managed to catch him after just returning from their annual Mexican holiday, Strings & Sol, with their beloved fans, AKA the Kinfolk. With New Year’s on the horizon (more info here), and both tours and new music planned for 2017, there’s no shortage of excitement in the Yonder universe!Live For Live Music: You’re back from Strings & Sol, just in time for a super cold stretch across America. A beach vacation music festival featuring friends like Railroad Earth and Greensky Bluegrass had to be a welcome change.Adam Aijala: Oh man, it sure was. Really though, 2016 has just been the most fun festival year I can remember. I mean, they’re always fun, but this year was special. This year’s Telluride, String Summit, Strings & Sol… our shows at Red Rocks were the most fun of those I’ve had as well.L4LM: A lot of the people who go to Strings & Sol, as well as the bands who play it, say it is one of the best pickin’ parties of the year.AA: You talk to the fans and a lot of them are like “This is my favorite festival, period.” Obviously the music is a big part of it, but when you take the other factors, like the stage is right there on the beach. There’s the water, like, right there. There are pools and stars and friends everywhere. All that combined is what makes it so great.L4LM: You even debuted a new song or two for the fans down in Mexico.AA: We actually showcased a song we’d never played, besides playing the couple from the new album we have played. It was fun.L4LM: For previous albums you have held the new material a bit closer to the vest. What was the reasoning behind sharing the material early this time around?AA: We’ve gone both ways with that. We did that for one of our old records and we tried that again with Black Sheep, holding songs back until the record came out. Part of me feels like, if we have the material we should be playing it. New material, especially if they are originals… it is always nice to have new material to play onstage.We have a jam band type mentality. I really have to give it to bands that play a similar show every night. That would just drive me nuts. Just playing the same songs over and over again. The songs would probably be tighter and sound more like the originals. For us, there are a lot of songs we play once a week or even once over an entire tour. Especially since we have so many people coming to multiple shows.It sounds incredibly boring to me. But at the same time, like I said, I also give props to those that can do it and do it well. Coming from the mindset we do, and most of our friends…it just seems honest to the crowd. We have to mix it up to keep ourselves engaged and to give the fans something new every night.L4LM: Is the album still on track for early 2017?AA: We are really trying to have it mixed and mastered by the first week of January. We’re trying to get word from all the various parties involved. You always hear things like “Oh, we need four months.” I’d really like to have it out before the end of spring tour, like while the tour is still happening though. That is my goal.I’m waiting to hear back on that. We’ll start mixing…I am going to start working on it around Christmas. We finished recording and I have sent stuff to everybody and they are compiling notes on stuff they would like to hear differently. It is mostly timing and tuning stuff.L4LM: Allie Kral and Jake Jolliff are working their way into the Yonder songwriting side of things now. How would you describe their assimilation into the group creative dynamic?AA: Allie has some great ideas for new songs, and we are definitely encouraging her. She is in a weird position. I try and put myself in her place. I mean, if you have been playing your whole life, but you never really wrote songs and then be asked to all of a sudden start…that is hard.First, you have to find a voice, even if it is not necessarily “your” voice yet, because you’re only just starting. It takes a while. I know when I first started everything I wrote was absolute crap. She has come up with some really cool melodies and some great scratch lyrics. I’m like “Send me all that stuff!” Dave and I can listen and go through it all and come up with some lyrics. If there are any feeling these melodies are invoking in you let us know. and then we can work on stuff together.I’ve said this to both Allie and Jake. They are both very competent, musically. They both can sing really well, and I would prefer to have them singing originals as opposed to covers. I would always prefer playing originals. Those two seem very open to that. There are a couple of instrumentals that they wrote on the new album. I think getting into the process, songwriting, is hard.Getting into any new creative process, like drawing or painting, is hard. Unless you had some kind of crazy, natural talent you never knew you had it is going to take time. You have to put in the time. Hell, when I am working, if I come up with ten ideas for songs, only one of those has a chance of becoming something. Like say scratch lyrics. They’re good for when you are working on a song to have actual words instead of going “Blah blah blah” but sometimes they spark something else. A lot of times you can get a pretty good line out of it.No real expectations, just writing. It seems like Bob Dylan had that kinda vibe, way back in the day. I think you can tell by his playing that is how he got a lot of his songs. Obviously he was and is a one-of-a-kind player. In the band it is just getting more and more comfortable. It’s been comfortable on a personal level for a long time and it is getting more comfortable musically every day. The trust that I have in everybody onstage is strong and it is good.L4LM: How collaborative is the new album? Is it more of a “Work things up together” or a “Teach each other the song you wrote” kind of process?AA: It is all over the place. The last song I completely wrote without any help from anyone was a song on EP-13. We each had one song. That is the last time that we have done something where I said “Here. This is pretty much done.” There might be one song on Black Sheep like that, but I think on this new album there is collaboration on every single song.For an easy way to explain it, I’ll say, for every song that John Lennon or Paul McCartney wrote together for The Beatles, you can assume that whichever one of them sang it is the one who came up with the idea. That is pretty much the same for us.Dave (Johnston) and I write together a lot, and we have been working more with Jake. Jake is also really good at arranging, so he has been helping a lot with that. Ben (Kaufmann) comes to the table with ideas, but he lives in California. It is easier for Dave and I to write together. He’ll call and say he has a couple hours and he will come by and we’ll screw around with some lyrics or work on a melody and try and get something going.L4LM: Fans are always talking about songs they are chasing. Would you say the entire catalog is wide open now?AA: Our catalog of songs is so spread out over a lot of years but yeah, with the exception of Jeff’s originals, everything is wide open. It is just so hard to find space for them all. Some of them really feature one member, and there’s really only room for that once a set at most.There are still songs we haven’t played with this new line-up. In my opinion, and this is only my opinion, don’t get me wrong, but I care a lot about the ebb and flow. I don’t ever want to bring it down, and some of the slower darker tunes can bring down the energy. I feel like, if they’re going to happen they need to happen early on, when the show is still building. You can start with something big, then mellow out a little bit and then build it again. Basically, we are from the school of jam bands, the school of the Grateful Dead.I, mostly, am the guy doing the set list, though Ben does some as well. I try and think about how to make it flow the best. I want to make sure it never enters a lull.L4LM: Yonder has been employing some fun, themed sets for your special events. You’re run the gamut from punk rock to Ween all the way to Pink Floyd. With so many shows under your belt, the fresh challenge must be something the band enjoys, judging from the results. How do you guys decide what you’ll tackle?AA: Usually a brainstorm session. We wonder “What would be a cool thing for Yonder to do?” Actually, the Ween set was Ben Hines, our front of house engineer… it was his idea. And it was a good one, because that album is hilarious. I don’t really remember how the Pink Floyd one came about. I know at least half of us consider it our favorite album, it is definitely my favorite. Although, I do have some others that enjoy almost the same level of love. The punk stuff a year earlier, that was mostly me. Dave and I grew up listening to that music. Seventh through tenth grade, that music was pretty important to me. To us.In band conversations it always comes to the same point though. If we are going to spend any amount of time on something, it seems like it would be so much more in our advantage to be working on new material, like original stuff. Every band, across the board, that I see at festivals or wherever, they all play covers. The fans like it and I totally get why. They might not be familiar with all of whoever they’re seeing’s music, but all of a sudden you hear something you recognize and love it is great.I even enjoy hearing a band play covers. It is a conundrum. You want to play originals but you also want to connect a bit. I feel like most bands would agree with that. Except cover bands I guess. So it becomes a thing where you try and choose songs that won’t be super time consuming. That is the mentality we have had. We want to do that but still have time to work on original stuff too.L4LM: There is a seemingly universal segment among the more dedicated fan bases that deride festival sets for their tendency to be more uptempo and packed with popular songs. It would seem that special sets, like the ones we are speaking of, are so universally enjoyed thanks to their unique use of the time. Seems like a good way for Yonder to catch some new fans unaware as well.AA: I agree. That makes sense. You want to showcase yourself, and like you said, one of the ways you do that is show how your band plays a cover. I would say almost every band, with few exceptions, plays a cover at least once-in-a-while. We kinda mix up our festival sets. Even though it is a festival we still just want to do what we do like our regular shows. We might choose to do something more on the upbeat side of our usual show.That might be my only difference, if I was putting together the set list, to keep it rocking more. Not to say that there wouldn’t be some slower or more moody tunes in there but mostly a set of the more upbeat stuff. Which is mostly what Yonder does anyway, honestly. Maybe we will come out of the gate a little stronger, or just have a long jam to start the thing.L4LM: Yonder Mountain is getting ready for the big NYE run in Boulder. Do you have any special themed sets up your sleeve or are you going to focus on pulling out all the stops from your own catalog?AA: Nothing crazy. We have some ideas floating around. We’re probably going to showcase some of the new stuff. We will probably pull out some of the cover stuff from the year, like we’ll put out some Ween and some Floyd and feature that. We have enough time on the 31st for either two real long sets or possibly a third set, like just start right off the bat. Nothing concrete yet. But I know it is going to be fun, like always.L4LM: That’s it for my questions, but I thought I would ask the Kinfolk for a couple of theirs. Got time for a few more?AA: Sure!L4LM: Ben Degani asks “I’ve noticed over the past couple of years that Adam’s eyes are doing all the work in guiding the other members, telling guests when it’s their turn to solo, etc. Has he always been Yonder’s silent jam leader? Does he really enjoy that part of his job?”AA: Yeah, generally, and we’ve used this since basically day one. We have had some issues with it, but having one person be in charge and orchestrating what is going on is so much easier than other people do it. Granted, you can have the mentality that says whoever is singing can control the solos and where they go. Some people like that, and I am fine with that as well. But in general, like if we have guests coming up, it is nice to have one person, not two or three, to keep from having overlap. So generally when Jake sings he calls out the solos, and the rest of the time I do.L4LM: The other one is from Kara Sterling who wonders “What did you ask from Santa for Christmas?”AA: Nothing! I feel like, I’m at the point where I am just grateful to be happy and healthy and alive. My wife and I, we try to plan trips and things like that, and don’t get material things for each other. My only gift obligations are for the children in my life, family and friends. But honestly, I couldn’t ask for anything more.L4LM: That’s a fine sentiment to end this chat on. Thanks for taking the time to look back at your impressive 2016. Can’t wait to hear what you do in 2017!AA: Thanks! We’re looking forward to playing new music in the new year! Happy holidays!
Jam funk outfit lespecial has an intriguing new track out today, the second from their Cellar Sessions in-studio video project. The song is a cover of Skrillex’s dance hit “With You, Friends (Long Drive),” with musical interpretation from the three piece group. Toss in some film work from MK Devo, and you have yourself an awesome new release.Check out lespecial’s “With You, Friends (Long Drive),” below.Don’t miss the band on the road! Upcoming tour dates can be seen below.lespecial Tour Dates2/1 Philadelphia PA | Silk City2/2 Pittsburgh PA | The Rex Theatre2/3 Columbus OH | The Bluestone (Vibe in Color)2/4 Cleveland OH | Beachland Ballroom (Winter Werk Out Festival)
It’s been a whirlwind week for guitarist Gary Clark Jr.! After announcing a brand new live album of top cuts from 2016, Clark made his way to California for the upcoming Grammy Awards ceremony. He started the weekend by joining in for Tom Petty’s MusiCares Person Of The Year gala celebration, before cruising down the coast to Newport Beach, CA for an intimate “Lincoln Sessions” performance last night.The guitarist used the opportunity to rock out to some fan favorite tunes from his collection, treating the fans to his bluesy style of rock and roll. Fortunately, thanks to Live Nation, we can watch a full stream of the performance until 11 PM Eastern tonight, on February 12th. Don’t miss the action!Watch Gary Clark Jr.’s show, below, starting at around the 10:30 mark. Edit this setlist | More Gary Clark, Jr. setlists
Grammy Award-winning pianist and producer Robert Glasper took to NPR to explain the intersection between hip-hop and jazz. In the short video, which is part of the series Jazz Night In America, Glasper uses the legendary hip-hop producers J Dilla and Pete Rock to illustrate the jazz roots of modern hip-hop and the technique behind jazz samples. He notes, “Jazz is the mother and father of hip-hop music. They’re both musics that were born out of oppression, they’re both kind of like protest music, you know, going against the grain. If you’re a hip-hop producer that wants a lot of melodic stuff happening, you’re probably going to go to jazz first.”Robert Glasper was a close collaborator with the late producer J Dilla, making him the perfect person to share his knowledge of how hip-hop borrows from jazz, specifically with Dilla and Pete Rock being used as exemplars for their frequent samples of melodic jazz. In the short video, he goes on to dissect Pete Rock’s use of four bars from “I Love Music” by Ahmad Jamal in Nas’ “The World Is Yours” and J Dilla’s use of Herbie Hancock’s “Come Running To Me” in Slum Village’s “Get Dis Money” and his use of Jamal’s “Swahililand” in De La Soul’s “Stakes Is High.”You can watch Robert Glasper break down these connections below in the fascinating video below.
Over the weekend, festival fans flocked to the Candler Park Music Festival for two rhythm filled days of music in Atlanta, Georgia. With Joe Russo’s Almost Dead making their second-ever headlining performance in the ATL, alongside performances from Railroad Earth, Pigeons Playing Ping Pong, The Marcus King Band, The Motet, Matisyahu, Lake Street Dive, Ripe, Chelsea Shag, and Webster, this year’s turnout was definitely the best yet.Add to that over 20+ local food trucks and vendors, craft ales from event sponsor Terrapin Beer Co., and you had the makings of a real good time. Did we mention the charitable arm of the festival? The 5k run through Candler Park benefited Atlanta ContactPoint, a local 501c(3) nonprofit organization established in 2012 to engage children and adults through the power of play.Photographer Emily Butler was there to capture the magic, which you can see in the gallery below:Candler Park Music Fest 2017 | Atlanta, GA | Photos by Emily Butler Photo: Emily Butler Photography Load remaining images
While moe.‘s Rob Derhak might not be giving audiences chills with his bass playing theatrics, he is inspiring a different kind of positive reaction among his dedicated fanbase. Derhak recently announced that he was diagnosed with oropharyngeal cancer, and his extended friends and “famoe.ly” have sprung into action to help the bassist with his medical bills.moe. Announces Indefinite Hiatus Starting August 1stWith moe. going on hiatus while Derhak undergoes treatment, concerned moe.rons have created a fundraising campaign they’re calling “Ribbons For rob.”. The fundraising site is selling baseball-style t-shirts emblazoned with a stylized ribbon featuring images of Derhak. Shirts are 30 dollars and donations are also being accepted. All proceeds are going directly to the Derhak family to help them be able to focus on rest and recovery. You can check out the site here.Campaign originator Leonard Nendza had this to say about his reasons for starting this kind-hearted initiative: “I dedicate this t-shirt design to Robert Derhak. Truly been blessed to watch you play your music the last 20 years with the boys in moe. Your music has inspired a continuous change in my life and brought it from emotional chaos to clarity. May the healing vibes of famoe.ly reach you.” His efforts have already begun to show results as word of the initiative begins to spread. Given the decades of goodwill built up by the band displays of appreciation are easily understood.We here at Live For Live Music are big fans of the guys in moe. and are happy to help spread the word about this wonderful gesture from their fans. It is always heartwarming to see what happens when a grateful audience gets a chance to return the love they have received from their favorite artists. While we wait for Derhak’s hopefully speedy recovery let’s take a moe.ment to enjoy his fan favorite tune “Rebubula.”“Rebubula-Four-Rebubula”
Joe Russo’s Almost Dead were scheduled to make their Red Rocks Amphitheatre headlining debut last April, but the performance was rescheduled to 1st Bank Center in Broomfield due to severe weather. It had a lot of fans, who traveled long distances to see the Grateful Dead-inspired quintet perform the beloved venue, bummed out about the change in plans. However, the band made up for it quickly with the announcement that they would return to Red Rocks Amphitheatre later in the year, on Thursday, August 31st (the night before Phish takes over Dick’s for the weekend!). Dave Dreiwitz will be on tour with Ween so Dead & Company‘s Oteil Burbridge will be stepping in. The Thursday performance will mark Burbridge’s fourth appearance with Joe Russo’s Almost Dead, following his shows at the Brooklyn Bowl this March and sit-in at Fool’s Paradise in April.Oteil Burbridge Opens Up About Playing With Joe Russo’s Almost DeadTo add to the excitement, Joe Russo’s Almost Dead has announced that they will be streaming the show through nugs.tv. Tune in at 7:30PM MST, 9:30PM EST to see Oteil Burbridge perform with Joe Russo’s Almost Dead.[photo by Andrew Blackstein]
The Rolling Stones are currently in the midst of their European No Filter tour, which will see the group perform thirteen shows at twelve different venues across September and October. Last night, the iconic rock group hit Letzigrund Stadion in Zurich, Switzerland, and during the performance, the band live debuted their cover of Little Walter’s “Hate To See You Go.”The Rolling Stones Share Psychedelic ‘2000 Light Years From Home’ VideoThe Rolling Stones previously recorded their own rendition of Little Walter’s “Hate To See You Go” on Blue And Lonesome, the twelve-track studio album they released last December, which marked their first studio album in over ten years. Blue And Lonesome is chock full of classic blues standards that inspired the group during the beginning stages of their career, with the album also featuring songs originally written or recorded by the likes of Howlin’ Wolf, Jimmy Reed, Willie Dixon, and Eddie Taylor. “Hate To See You Go” is the second Little Walter track on the album, joining Blue And Lonesome‘s lead single, a cover of “Just Your Fool.”In addition to the live debut of “Hate To See You Go” last night, the Rolling Stones also played a number of classic favorites including “Sympathy for the Devil”, “Tumbling Dice,” “You Can’t Always Get What You Want,” “Paint It Black,” “Start Me Up,” “(I Can’t Get No) Satisfaction”, and an encore of “Gimme Shelter” and “Jumpin’ Jack Flash.” The band also took the time to play another number from Blue & Lonesome with their rendition of Jimmy Reed’s “Ride ‘Em On Down.”You can check out video of the Rolling Stones’ live debut of Little Walter’s “Hate To See You Go” below, in addition to a number of songs from last night’s performance in Switzerland, courtesy of vaddernson livemusic.“Hate To See You Go”“Sympathy For The Devil”“Like A Rolling Stone”[Video: vaddernson livemusic]“You Can’t Always Get What You Want”“(I Can’t Get No) Satisfaction”“Gimme Shelter”“Jumpin’ Jack Flash”[H/T JamBase; Photo: Erik Kabik]