Aerosmith’s Comeback Gets Even Stronger on ‘Pump’


Aerosmith nearly fell apart in the late ’70s and early ’80s, with guitarists Joe Perry and Brad Whitford both leaving the lineup prior to 1982’s disappointing Rock in a Hard Place album.

They rejoined in 1984, and after getting off to a slow start with 1985’s relatively poor-selling Done With Mirrors LP, the band rejoined the multi-platinum ranks with 1987’s Permanent Vacation. But they still weren’t satisfied –- and they’d go on to prove it with their 10th album, Pump.

Released Sept. 12, 1989, Pump reunited Aerosmith with Permanent Vacation producer Bruce Fairbairn, and picked up almost literally where the previous album left off. In fact, Perry and vocalist Steven Tyler met up to start writing new songs in the fall of 1988, shortly after they finished the Vacation tour.

“Two months after the tour ended, we wanted to get started again,” recalled Perry in the Aerosmith biography Walk This Way. “We could feel something big was coming. On Nov. 1, Steven and I started writing. We just went to work.”

For Tyler, making sure Pump improved upon Permanent Vacation was partly a matter of tapping into the way he and Perry felt back when they were coming up the rock circuit. “I sat at my [keyboard] and talked to Joe and the guys a lot about kids who bought our records: what they listened to, what they wanted, what the younger bands were doing,” he later said. “Then it came to me that we didn’t have to give a shit. All we had to do was look inside and let out the kid. ‘Let out the kid.’ It was a big theme for me when I was making that record.”

How ‘Pump’ Became Aerosmith’s ‘Full Circle Album’

Bassist Tom Hamilton offered another perspective in the documentary The Making of Pump, calling it a “full circle album.”

“The band had a progression of albums in the ’70s, leading up to Rocks, where everyone got better, and our style got more and more boiled down to its essence,” Hamilton added. “Then we started getting distracted: We started getting corrupt, and all of a sudden our albums didn’t progress. Each album wasn’t better than the last one. Finally, the band broke up for three years. Then when we got back together, we didn’t come out with the album that was the next logical step: We were like a new band; we had to start the evolutionary process again.”

Whitford later argued that they “were in such a different head space. Suddenly we were much healthier and the music was flowing like it did in the early ’70s. Pump was written in the same way the first album was. We did tons and tons of playing and wood-shedding – just letting ideas flow.”

Watch the Video for ‘Janie’s Got a Gun’

Perry said they “got close with Permanent Vacation, but there was a lot of deadwood. We put 13 songs on the record and a lot of them: We never even played ’em live, and to me, that was a waste of time, music and plastic. We wanted to get closer to what Aerosmith is all about.”

They did it by getting further from everything else, congregating at a small studio in a small Massachusetts town so they could hunker down on their growing list of new songs free of distractions. Sessions started in December 1988 and went on for weeks, with Fairbairn periodically checking in to offer direction. “It was sort of isolated for us, which is a good way to work, really, when you really have to get a lot of busy work done,” recalled Hamilton. “Everybody would slog in in the morning, kick the snow off their shoes, and every couple of weeks, Bruce would show up.”

Tyler added: “He’s a town planner, Bruce Fairbairn. He’s the one who says, ‘No, move that bridge; it’s no good there. We should put a tunnel there, move the bridge, and then we can get from Point A to Point B.’ So when I walk in with all my scatterbrain stuff, he puts it in its place.”

Read More: How Aerosmith Got Their Wings Back on ‘Done With Mirrors’

Fairbairn’s guidance helped shape what might have otherwise been an ungainly mass of material. Tyler recalled of the early sessions, “We just jammed and wailed,” saying the band was in search of “just a little more of that sawtooth rough edge that Aerosmith was known for.” Added Perry, “We had all this extra material, and it wasn’t just a bunch of licks. On Vacation, we had a bunch of licks and then we had the songs we finished. This time we literally had an A list and a B list of songs and the B list had five or six tunes three-quarters done.”

More material didn’t necessarily mean they had an easier time of putting together a track listing, however. “He’s very objective about the songs, so it’s a lot easier for him to come in and cut and maim,” Perry admitted of Fairbairn’s approach. “By the end of the album, I usually hate him, because he’s a taskmaster. But after a few months, I start looking forward to talking with him again.”

That can be hard to remember in the heat of the moment, however, and among Fairbairn, the band members and the commercially-oriented dictums passed down by Aerosmith’s A&R man, the legendary John Kalodner, tensions ran high in the studio; before Pump was finished, they’d gone to war with one another over everything from which songs made the cut to what they should call the album.

“I am responsible for the title Pump; it’s my fault,” Whitford said with a laugh. “It truly is an epic, the whole tale of the title. I came up with the title shortly after our Permanent Vacation tour had ended. We were having a business meeting, and as usual I was daydreaming. I was looking around at all the titles of our previous albums which adorn our manager’s office. I was going, ‘Oh, we’ve got to do another of these now.’

“That’s where Pump originated was at that meeting,” Whitford added, “because I thought the Aerosmith logo looked the old Flying A gasoline sign, and I started going with the whole gas station theme and started working with that. […] Everybody thought it was great except the guys in my band.”

Watch the Video for ‘What It Takes’

Those sparks are somewhat evident in the Making of Pump video, in which drummer Joey Kramer jokes that Tyler “is the nervous twitch in my eye” and just about everyone fights with everyone else at some point.

They forged a tremendous collection of songs; like no Aerosmith album before or since, Pump strikes a balance between the band’s rock roots (Perry described writing the album’s opening track, “Young Lust,” by saying he was after “something that sounded like a dinosaur eating cars”) and its increasingly Top 40-oriented approach to making records.

“For me, it wasn’t about ‘letting out the kid,'” said Perry. “‘Young Lust’ wasn’t about kids, it’s about us at 40, having the same feelings we used to have, still listening to rock ‘n’ roll. I still have that side of me that loves Deep Purple and the Sex Pistols ... I still get goosebumps when I hear ‘Immigrant Song.'”

Perry’s pursuit of goosebumps contributed to what ultimately went down as one of the bigger smash hits in a catalog that already had its share of them. Pump peaked at No. 5 on the Billboard 200 and spawned a series of Top 40 singles that started with the No. 5 “Love in an Elevator” and grew to include “Janie’s Got a Gun” (No. 4), “What It Takes” (No. 9) and “The Other Side” (No. 22).

When it was all said and done, Aerosmith walked away with a Grammy for “Janie’s Got a Gun” and another seven million in U.S. sales. Against all odds, the group had not only worked its way back from the brink, but they were bigger than ever.

“We used to have a lot of problems in this band because emotions would arise out of hangovers,” joked Hamilton, alluding to the substance abuse issues that contributed to the splintering of Perry and Tyler’s creative partnership a decade before. “You’re just gonna get pain, you know?”

Perry concluded: “We did Pump for ourselves, just to have fun. Basically, it was real selfish. It’s great to make money – I like that part – but fortunately, that’s not why we’re in it. Otherwise, I’d get a fucking ulcer for sure.”

Top 100 ’80s Rock Albums

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Gallery Credit: Nick DeRiso and Michael Gallucci

Why Don’t More People Love This Aerosmith Album?





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Tears for Fears Returns With Live Album and Four New Songs


Tears for Fears has announced a live album. Songs for a Nervous Planet is due on Oct. 25 and will include 18 live songs plus four additional studio tracks.

Preorders are underway. Check out the LP’s complete track listing and stream the new song “The Girl That I Call Home” below. Live highlights include favorites like “Shout,” “Head Over Heels” and “Everybody Wants to Rule the World.”

These shows began in May 2022 just months after the release of The Tipping Point, Tears for Fears’ first album of original material since 2004’s Everybody Loves a Happy Ending. The dates were then extended with the Tipping Point Tour Part II in April 2023.

READ MORE: Why Tears For Fears Struggled to Complete ‘The Tipping Point’

The Tipping Point went on to become Tears for Fears’ third Top 10 Billboard hit, and their first since 1989’s The Seeds of Love. The other bonus cuts on Songs for a Nervous Planet will include “Say Goodbye to Mum and Dad,” “Emily Said” and “Astronaut.”

There’s Also a New Tears for Fears Concert Film

Songs for a Nervous Planet will be paired with a concert film recorded in the summer of 2023 at FirstBank Amphitheater at Graystone Quarry in Franklin, Tennessee, during their sold-out Tipping Point Tour Part II. Tears for Fears Live: A Tipping Point Film premieres in more than 1,100 cinemas on Oct. 24 and will play again on Oct. 26. Tickets go on sale on Thursday, Sept. 19.

This is Tears for Fears’ third concert release, following Live at Massey Hall Toronto, Canada (a classic-era 1985 recording released in 2021) and 2006’s Secret World: Live in Paris (a two-disc album from their 2005 stop at Parc des Princes Stadium in Paris, France).

Watch Tears for Fears Perform ‘The Girl That I Call Home’

Tears for Fears, ‘Songs for a Nervous Planet’ Track Listing

“Say Goodbye to Mum and Dad”
“The Girl That I Call Home”
“Emily Said”
“Astronaut”
“No Small Thing”
“The Tipping Point”
“Everybody Wants to Rule the World”
“Secret World”
“Sowing the Seeds of Love”
“Long, Long, Long Time”
“Break the Man”
“My Demons”
“Rivers of Mercy”
“Mad World”
“Suffer the Children”
“Woman in Chains”
“Bad Man’s Song”
“Pale Shelter”
“Break It Down Again”
“Head Over Heels”
“Change”
“Shout”

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From the B-52’s to XTC, Blondie to Talking Heads, a look at the genre’s best LPs.

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Tony Levin Ready for ‘Heavy Lifting’ on BEAT’s King Crimson Tour


Tony Levin has decades of experience playing the music of King Crimson. But you’d be correct to think that the act of performing it is no walk in the park.

“It’s some heavy lifting, the bass legend confirms during a conversation with UCR. “It’s a lot of difficult material.” But as he details in the below conversation, he and his longtime Crimson bandmate Adrian Belew are ready for the challenge — and their drafted associates, guitarist Steve Vai and drummer Danny Carey have been hard at work.

Collectively, the four are known as BEAT, a new union that is set to revisit the ’80s output of King Crimson. The outing has been highly anticipated and fans will finally get their first look tonight (Sept. 12) as the group takes the stage for their inaugural gig at the San Jose Civic. 

Levin checked in last week as rehearsals were well underway to preview what’s ahead. He also had new music in hand to discuss. The veteran bassist is set to unveil Bringing It Down to the Bass on Friday (Sept. 13). It’s his first solo set since 2007 and one which brings together a dizzying selection of players from his musical work over the years. As he told us, music, both in the studio and on stage, is what keeps him going. “Give me good music, hopefully with good players and I’m a happy guy,” he explains. “I just want to be a bass player playing good music with good players.”

How are rehearsals going? Fans are really excited about this tour.
Well, we’re excited about it. Rehearsals are kind of midway. I could spend all day describing what rehearsals are like, but it’s some heavy lifting. It’s a lot of difficult material, the King Crimson music of the ‘80s. But Steve Vai and Danny Carey have done their homework to the extreme, so they’re really ready. Me and Adrian Belew, not so much, because we knew this stuff to begin with. But we’re working hard. The exciting thing to me is not seeing if we can cover it — of course we can — but seeing where it’s going to go and how it’s going to differ from the way we did it in the ‘80s. That’s a lot of fun and that’s what’s exciting for me. It’s also nice to know that fans are so excited about it.

I loved hearing you say in a recent interview that you feel like you’re still learning elements of the King Crimson material and to a lesser extent, Peter Gabriel’s songs that you play. I once spoke with Bruce Hornsby and he likes to describe himself as a “lifelong student of music,” which is something that feels like it also applies to you.
That’s the way I feel. I know that one example that has come up a lot lately in the last few years, you see youngsters playing, in my case, the bass. They’re online and on YouTube, doing things technically that I not only never did, but I could never do. [Laughs] I had to process that and I’ve come to think of them as teachers, instead of thinking, “Oh, well, I’m an older guy, I must know how to do everything.” I look at little things in their fingers or their wrists and how they move and try and learn a little something from it, even though I know I could never play with quite the technique that they have.

READ MORE: Belew, Levin, Vai and Carey Expand King Crimson BEAT Tour

Listen to King Crimson’s ‘Sleepless’

Listening to your new album, I thought about how as a bass player, when it comes to being part of a rhythm section, you might lock in with one guy and that’s the guy for your whole career. But you’ve done that with so many folks. Let’s talk about three of them — what do you think you took from playing with Steve Gadd, Manu Katche and Bill Bruford?
Well, first comes Steve Gadd. Because how lucky was I? I went to classical music school at the Eastman School of Music in Rochester and there was Steve Gadd, a great drummer at that time. He was classically trained, but he was doing gigs and he had no bass players. All of us classical geek bass players didn’t want to do jazz gigs. [Laughs] But I was more willing than the others, so in a way, Steve quietly mentored me and taught me how to play jazz, just musically from being with him. He later moved in with me in New York and we both entered into playing rock. So we have a big history going back and locking in together was our ethic in trying to do that. I had to learn how to do that in a jazz way.

Manu Katche, when he joined Peter Gabriel’s band, I actually knew him and had played sessions with him in Paris where he’s from. Because i got around doing sessions with French artists too. So I knew his playing, I knew he was great and I knew he would work out really well with Peter. We’ve had a really wonderful history since then playing on each other’s records, touring with Peter Gabriel and interestingly, the title track of my new album, Bringing It Down to the Bass, I wanted Manu on it, I just could imagine him surprising me with his style of playing on that. He didn’t have time to do it in his studio in Paris, but I nabbed him while we were on the i/o tour last year. We had a day off in Montreal and I grabbed him and ran into the studio. He was happy to do it. I sound like I’m kidnapping him, but I wasn’t. Typically, the first take, it starts with just the bass playing a riff and then the drums come in. I said, “Come in with whatever you want.” The riff he played coming in just knocked me off my chair. I loved it and I still listen to it all of the time. At the end of the first take, I’m in the control room and I pushed the button and said, “Manu, that’s it, you’ve got it. You nailed it.” He said, “Oh, no, no, Tony, I need to do another take.” So we argued about that and compromised. He did one more take. But really, I like most of that first take the way he approached the first music, so it’s good fun playing with Manu.

Bill Bruford, when I first heard him back then in 1980, as fans of his know, he played differently than anybody. He really invented a style of playing. I had a big change in my musical direction when I started playing with Bill, because instead of locking it down, he did creative things — different with each take, by the way. He doesn’t lock into the part and then keep playing it, he keeps creating all of the time. So I decided early on in King Crimson to go with him and not to try to hold things down while he does this other stuff. I decided, “I’m going to be like Bill,” to the extent that I’m able to on the bass and Chapman Stick. So you’ve got to love working with a guy who changes your whole approach to music and gives you other options and other tools in your tool kit that you can pull out on other records.

You’re crossing streams in some cases here from different areas of your career. I wondered if there were instances where certain people hadn’t met each other?
Probably, there’s cases that they never met still. Because each person usually recorded in their home studio. Dominic Miller, I knew him and knew of his playing, but I got to be together with him a lot in 2016 when Peter Gabriel toured in conjunction with Sting. We did this wonderful thing, they alternated songs, but instead of leaving the stage — some guys left the stage, I stayed on stage for Sting’s pieces and what a treat to be sitting on the riser as Vinnie Colaiuita was playing the drums right behind me. And I’m right next to Dominic Miller, watching his foot, unlike other guitar players, he has this wah wah pedal, but it never sounds like one. He uses it to change the tone of the guitar with every note. It’s like a voice, like a person, as if he’s singing. I was so impressed and glad I had the chance to be next to that. So for “Bringing It Down to the Bass,” I thought, “I wonder if I could nab him?” He’s on the road all of the time with Sting, but he very kindly found a way, while he was on the road to record the track for me.

Listen to Tony Levin’s ‘Bringing It Down to the Bass’

READ MORE: Peter Gabriel and Sting Kick Off U.S. Tour

You mentioned the tour with Sting. How much did you two get a chance to get inside each other’s technique on that outing?
Well, in my case, a lot. As I mentioned, I stayed on stage while Sting was playing. He’s got so many techniques. He’s so locked in that people forget to pay attention what a great bass player someone is, who is also a great singer and a great performer. Paul McCartney is another example. But yeah, Sting, the guy really rocks on bass. He’s got many techniques and it’s so effortless that you can’t see that he’s working at it a lot. He’s performing and he’s doing something else. But there I was behind him watching it with a great deal of admiration, feeling like, “I’ve got the best seat in the house here.” I’m sitting in front of Vinnie and behind Sting. I know he was aware of my playing and he liked it.

One piece of Peter Gabriel’s, called “Big Time,” has a very tricky bass part that I play with funk fingers. Sting actually didn’t know that I play it with the funk fingers. He thought it was thumbs slapping. He said, “Do you mind if I play that piece? I’ll stay on stage and play that.” He’d come over to me and I’d just play a little synth bass and stay out of the way while he did his version of my funk fingers part of “Big Time.” It was a good time. Plus, he had one old beat-up vintage bass that was really a classic bass. He didn’t play it much in the show, but it was on the side. The more I saw it, I think I asked him and his bass tech if I could play it on one song. For a little part of the tour, I had to bring out my oldest, most beat-up bass, so he could see it on the side of the stage. We had good fun as bass players on the same tour.

READ MORE: Top 20 Genesis Solo Songs

What sticks with you about the experience of working with David Gilmour and Pink Floyd?
He’s a great guy. He called and asked me, “Do you want to play with Pink Floyd?” I thought, “Okay, I can do that.” It was kind of a short musical experience, playing on that album, A Momentary Lapse of Reason. It was really special. I was working with good players and David’s just a wonderful guy. I had worked before with Bob Ezrin, who produced the album. Even though I’d worked with him, I was impressed with the painstaking details. They would really think over things like, “Maybe we should record the Stick analog and then in the chorus, record the bass digitally.” There was that kind of attention to detail and then I thought, “Oh yeah, of course. It’s Pink Floyd. They do that.

I had mixed feelings that I couldn’t do the tour the following year. I wasn’t able to, because it overlapped a little bit with the Peter Gabriel tour. I felt bad that I couldn’t do the tour. I would have liked to have done it, but I couldn’t. But one example of what a really cool guy David is, at the end of that tour [a year later], they had the last show in New York. He called me at home — me, the guy who was too busy to do the tour — and he said, “Would you like to come to the last show and the party after? Because it’s that music that you played and we were thinking about you.” That’s pretty nice, when you think about it. A lot of people, maybe including me, wouldn’t think of who to invite to that. He’s a very, very sweet guy.

Watch Pink Floyd’s Video for ‘Learning to Fly’

You worked with Bob Ezrin in some really interesting situations, whether it’s that or Alice Cooper and certainly, Peter Gabriel. What do you think it is that Bob likes about what you do? Because those are three very different gigs, on paper at least.
You’re exactly right. I don’t think about stuff like that. I ought to. But I know it’s a fact that way back in the ‘70s when I was doing sessions of a lot of styles in New York, he heard in me a proclivity for rock and he started using me for heavy rock and [things like] Lou Reed, also. I did a couple of Alice Cooper records — I didn’t go on the road with Alice. I think I had an opportunity to. I don’t know why I didn’t do it. But Bob heard me that way and I never gave it a thought as far as why, but I’m glad that he did.

Weird Facts About Rock’s Most Famous Album Covers

Early on, LPs typically featured basic portraiture of the artists. Then things got weird.

Gallery Credit: Nick DeRiso





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Eric Clapton Announces ‘Crossroads Guitar Festival 2023’ Album


A new four-CD and two-Blu-ray set documenting Eric Clapton‘s 2023 Crossroads Guitar Festival will arrive on Nov. 29.

The seventh edition of the festival was held on Sept. 23 and 24 at the sold-out Crypto.com Arena in Los Angeles and included performances from Joe Bonamassa, Sheryl Crow, H.E.R., Los Lobos, John Mayer, Santana and others. The 2023 event marked the first time it was held in four years.

Profits from the shows benefited the Crossroads Centre Antigua, a treatment and education facility for chemically dependent persons founded by Clapton in 1998.

READ MORE: How Eric Clapton Opened His Heart and Made a Masterpiece With Derek and the Dominos

The upcoming live album and film Eric Clapton’s Crossroads Guitar Festival 2023, in addition to the four-CD/two-Blu-Ray version, will be available in six-LP vinyl, two-DVD and digital editions. You can watch Gary Clark Jr.’s performance of “Habits” from the set below.

What’s on Eric Clapton’s ‘Crossroads Guitar Festival 2023’ Album?

More than 50 tracks are spread out over the four discs of Eric Clapton’s Crossroads Guitar Festival 2023. Clapton guests with artists throughout, including the Del McCoury Band and Bradley Walker, as well as collaborating with Roger McGuinn and the Wallflowers on the Byrds‘ “Eight Miles High” and Stephen Stills and the Wallflowers on Buffalo Springfield‘s “Bluebird.”

Clapton also has solo turns at the end of the festival, playing covers of the Band‘s “It Makes No Difference” and Bob Marley‘s “I Shot the Sheriff.” He and Stevie Wonder team up for a finale of “Crossroads.”

You can the see track listing for the album below.

‘Eric Clapton’s Crossroads Guitar Festival 2023’ Track Listing
CD 1
1. GROOVY GODDESS – Sonny Landreth
2. EVERY NIGHT IS SATURDAY NIGHT – James Bullard
3. GIVE YOUR LOVE TO SOMEONE ELSE – Judith Hill with Eric Gales
4. HABITS – Gary Clark Jr.
5. 1952 VINCENT BLACK LIGHTNING – The Del McCoury Band, Sierra Hull, Jerry Douglas & Bradley Walker
6. WALK ON BOY – Sierra Hull
7. TODAY I STARTED LOVING YOU AGAIN – Bradley Walker
8. ALWAYS ON MY MIND – Bradley Walker & Eric Clapton
9. FALL LIKE RAIN – The Del McCoury Band with Eric Clapton
10. SMOKESTACK LIGHTNING – Eric Gales, Samantha Fish & Christone “Kingfish” Ingram
11. LAYLA – Eric Gales, Samantha Fish & Christone “Kingfish” Ingram
12. PUT THAT BACK – Eric Gales, Samantha Fish & Christone “Kingfish” Ingram
13. GOING DOWN – Samantha Fish & Christone “Kingfish” Ingram

CD 2
1. SIDEWAYS – Citizen Cope
2. I PUT A SPELL ON YOU – Samantha Fish with Eric Gales & Christone “Kingfish” Ingram
3. BREAKING UP SOMEBODY’S HOME – Joe Bonamassa
4. AIN’T NOBODY’S BUSINESS BUT MY OWN – Taj Mahal
5. EARLY IN THE MORNING – Taj Mahal
6. TEXAS FLOOD – Jimmie Vaughan with Gary Clark Jr.
7. SWEET HOME CHICAGO – Jimmie Vaughan
8. REDEMPTION DAY – Sheryl Crow
9. THE WAITING – The Wallflowers
10. TURN! TURN! TURN! – Roger McGuinn with The Wallflowers
11. EIGHT MILES HIGH – Roger McGuinn with Eric Clapton & The Wallflowers
12. BLUEBIRD – Stephen Stills with Eric Clapton & The Wallflowers
13. GIMME ALL YOUR LOVIN’ – ZZ Top

CD 3
1. FÜR ELISE/FOXY LADY – Robert Randolph with Eric Gales & Joe Bonamassa
2. SON’S GONNA RISE – Citizen Cope with Robert Randolph
3. KOKOPELLI – Kurt Rosenwinkel
4. IF THE RIVER WAS WHISKEY (DIVIN’ DUCK BLUES) – Keb’ Mo’ with Taj Mahal
5. MEMORIES OF MOTHER AND DAD – Molly Tuttle & Sierra Hull
6. INTRO – Marcus King
7. IT’S TOO LATE – Marcus King
8. HONKY TONK HELL – Marcus King
9. LANDSLIDE – Marcus King with Little Bird
10. RICE PUDDING – Marcus King
11. VALENTINA – Daniel Santiago & Pedro Martins
12. HOW COULD WE KNOW – Daniel Santiago & Pedro Martins with Judith Hill
13. CARRIED AWAY – H.E.R.
14. BEST PART – H.E.R.
15. HOLD ON – H.E.R. with John Mayer & Kenny Wilson
16. ARE YOU GONNA GO MY WAY – H.E.R.
17. SALT CREEK – Molly Tuttle & Sierra Hull

CD 4
1. THE HEALING – Gary Clark Jr.
2. OUR LOVE – Gary Clark Jr.
3. DON’T WORRY BABY – Los Lobos
4. THE STORM – Eric Gales
5. MY FAVORITE MISTAKE – Sheryl Crow with John Mayer
6. THE LAST OF US – Gustavo Santaolallad
7. JINGO – Santana
8. A LOVE SUPREME – Santana with John McLaughlin
9. IT MAKES NO DIFFERENCE – Eric Clapton
10. I SHOT THE SHERIFF – Eric Clapton
11. CROSSROADS – Eric Clapton with Stevie Wonder

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Eric Clapton had already carved out a respectable career for himself before he issued his first solo album.

Gallery Credit: Michael Gallucci





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Alex Van Halen Announces ‘Brothers’ Book Signing Events


Alex Van Halen has announced a series of book signing and live conversation events to support the release of his upcoming memoir, Brothers.

The book, which hits shelves on Oct. 22, will dive into Alex’s relationship with his brother and late guitar hero Eddie Van Halen. That same week, the drummer will host two book signings — Oct. 21 in New York City and Oct. 22 in Northvale, New Jersey — and a live conversation event in Los Angeles on Oct. 24.

You can see the details of each event below.

READ MORE: All 75 David Lee Roth-Era Van Halen Songs Ranked Worst to Best

‘Brothers’ Will Feature Alex and Eddie Van Halen’s Final Song

Van Halen fans have incentive to pick up the audio version of Brothers, as it contains the final song Alex and Eddie Van Halen ever wrote together, titled “Unfinished.” Alex teased the song on Instagram last week.

Brothers also promises a definitive account of the Van Halen brothers’ relationship and musical achievements. “I was with him from day one,” Alex writes of Eddie. “We shared the experience of coming to this country and figuring out how to fit in. We shared a record player, an 800-square-foot house, a mom and dad, and a work ethic. Later, we shared the back of a tour bus, alcoholism, the experience of becoming successful, of becoming fathers and uncles, and of spending more hours in the studio than I’ve spent doing anything else in this life. We shared a depth of understanding that most people can only hope to achieve in a lifetime.”

Alex Van Halen, ‘Brothers’ Book Signing and Live Conversation Events
Oct. 21 @ 12 Noon – New York City – Barnes & Noble
Oct. 22 @ 6 PM – Northvale, NJ – Books & Greetings
Oct. 24 @ 8 PM – Culver City, CA – Live Talks LA at the Frost Auditorium

Van Halen Albums Ranked

A ranking of every Van Halen album.

Gallery Credit: Ultimate Classic Rock Staff





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The Beatles’ 1964 U.S. Albums Make Up New Mono Vinyl Box


A new box set that collects the Beatles‘ U.S. albums from 1964 will arrive later this year.

The Beatles: 1964 U.S. Albums in Mono includes seven albums originally released by Capitol Records (and in one case United Artists) between January 1964 and March 1965 in mono sound. The vinyl collection was cut from the original mono masters of the LPs and will be available on Nov. 22.

The box gathers the albums from their debut Capitol release, Meet the Beatles!, through The Early Beatles, which collected songs from the group’s first U.K. album, Please Please Me, most of which were included on the Vee-Jay Records release from 1964, Introducing the Beatles.

READ MORE: Every Beatles Song Ranked

The mono mixes of these albums have been unavailable since 1995. You can watch a trailer for the upcoming box set below.

The Beatles’ U.K. albums differed from their U.S. editions until the June 1967 release of Sgt. Pepper’s Lonely Hearts Club Band. While some of the records were altered slightly (like 1966’s Revolver that had a revised track listing between markets), others – such as The Beatles’ Second Album and Something New – were exclusive to American listeners, compiling songs from the band’s U.K. singles and albums.

What’s on the Beatles’ ‘1964 U.S. Albums in Mono’?

The Beatles: 1964 U.S. Albums in Mono includes Meet the Beatles! (originally released on Jan. 20, 1964); The Beatles’ Second Album (April 10, 1964); A Hard Day’s Night (Original Motion Picture Sound Track) (June 26, 1964; released by United Artists); Something New (July 20, 1964); The Beatles’ Story (Nov. 23, 1964); Beatles ’65 (Dec. 15, 1964); and The Early Beatles (March 22, 1965).

Four of those albums reached No. 1; Something New made it to No. 2, The Beatles’ Story hit the Top 10 and The Early Beatles stalled just outside the Top 40.

All but the interview-only double LP The Beatles Story will also be available separately.

Beatles Albums Ranked

From the cheery ‘Please Please Me’ to the kinda dreary ‘Let It Be,’ we rank all of the group’s studio LPs.

Gallery Credit: Michael Gallucci





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David Gilmour Blames Greed for Lack of Next Pink Floyd


David Gilmour said greed was to blame for the absence of an obvious successor to Pink Floyd.

The guitarist looked back to a time when things seemed more positive, reflecting that he’d been fortunate to be in the right place at the right time for his band’s career to take off in the ‘60s.

“That was part of what was a golden age,” Gilmour told the U.K.’s ITV News in a new interview (below). “There were a lot of record companies who had ideologies that involved them investing money in the futures of young, talented people.”

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He continued: “And that doesn’t seem to be here right now in the same sort of way – unfortunately.” Asked why that was the case, he thought for a moment before replying: “Greed, maybe? Short-term thinking, I suppose is what I would say.”

And he emphasized that the original Pink Floyd would not figure in any musical resurgence. “Dream on,” he said when asked about his message for those who held out hope for a reunion. “I mean, it’s not gonna happen. There’s only three people left and we’re not talking, and are unlikely to – so it’s not gonna happen.”

David Gilmour’s Doubts Over Oasis Ticket Pricing

In the same interview, Gilmour – who just released new solo album Luck & Strange – was asked for his thoughts on the recent Oasis ticket fiasco, which saw dynamic pricing strategies boosting the price beyond the originally-quoted figures as demand grew. “I think Oasis should do exactly what they want to do,” he said.

But he added: “I’m not sure about his strange ticketing thing that’s going on. I think they should put a price on tickets and stick to it.”

Watch David Gilmour’s Interview

Pink Floyd Solo Albums Ranked

A ranking of solo albums by members of Pink Floyd, listed from worst to best.

Gallery Credit: Nick DeRiso





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20 Greatest New Wave Bands


As a musical movement, new wave is hard to pin down.

The phrase was first coined in the late ‘70s as a way to describe a burgeoning sonic style that strayed from punk rock’s heavy-handed sound. The genre that emerged maintained some of punk’s energy, but smoothed over the rough edges with pop sensibilities, dance rhythms and a quirky disposition.

Early on, new wave acts were portrayed as artsy, experimental and even weird. Early leaders included Elvis Costello and Blondie, two acts whose roots were planets in punk before evolving their own sound. As the new wave phrase caught on, many used it as a catch-all for any act that didn’t have a clearly defined genre. As such, bands labeled new wave could have a broad scope of sounds, ranging from aggressive to poppy, and gloomy to sunny.

READ MORE: Top 40 New Wave Albums

As the ‘80s dawned, technology became an important factor in music’s evolution. Keyboards and synthesizers became prominent, and those artists who capitalized on these new tools – such as Duran Duran, Depeche Mode and the Cure – were often lumped in with the new wave crowd. The era also saw a rise in female-fronted acts, as the Pretenders, the Go-Go’s, Eurythmics and the B-52’s all came to prominence.

New wave eventually became the dominant style in music, before hair metal and, later, grunge, sufficiently subdued the genre’s impact. Still, new wave ushered in an incredible array of legendary acts. We’ve highlight our favorite below in our ranking of the 20 Greatest New Wave Bands.

Top 20 New Wave Bands

As a musical movement, new wave is hard to pin down.

Gallery Credit: Corey Irwin





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Jon Bon Jovi Helps Save a Woman From Jumping Off a Bridge


He’s not just a legendary rock star, Jon Bon Jovi is a bona fide hero literally helping a distraught woman off the ledge of a bridge.

According to the Good News Movement Instagram page, Jon and his team were in Nashville, Tennessee shooting a music video.

It was Bon Jovi himself that noticed the woman on the other side of the railing and barrier standing on the ledge above the Cumberland River.

The Nashville Police Department arrived shortly after the woman was safe according to Chief John Drake.

A shout out to @jonbonjovi & his team for helping a woman on the Seigenthaler Ped Bridge Tue night. Bon Jovi helped persuade her to come off the ledge over the Cumberland River to safety. “It takes all of us to help keep each other safe.

According to WKRN-TV, it happened on Tuesday, September 10. The 36-year-old woman was thinking of jumping into the river below and surveillance video from a camera on the bridge shows several people simply walking by the woman.

However Jon and his film crew jumped into action and approached her.

While Jon’s crew stayed back a bit, Bon Jovi himself waved to her as he walked right up to her and started chatting with her. Then Jon slowly pulled her back over the railing, embracing her, and walking away from the ledge while continuing to comfort her.

She was taken to a hospital for observation according to the Nashville Police.

If you’re not familiar, Jon is very involved with helping the vulnerable. His JBJ Soul Foundation helps feed the homeless as well as works with those in need with various issues.

Our goal is to recognize and maximize the human potential in those affected by hunger, poverty and homelessness by offering assistance in establishing programs that provide food and affordable housing while supporting social services and job training programs.

Jon Bon Jovi has extensive training in speaking to individuals in crisis according to People Magazine. As a matter of fact, in February of this year, 2024, Jon Bon Jovi was recognized as the MusiCares Person of the Year for his philanthropic efforts.

September is Suicide Prevention Month. Click here if you need help or want more information about the National Alliance on Mental Illness or NAMI.

If you or someone you know need to speak with someone immediately, dial 988. 988 is the suicide and crisis lifeline.

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25 Rock Stars Who Made the Cover of ‘Time’ Magazine

Only a select few artists have graced the newsweekly’s cover.

Gallery Credit: Matthew Wilkening





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Jon Bon Jovi Keeps Suicidal Woman From Jumping off Bridge


Jon Bon Jovi is being praised for his poise under pressure, after the rock star helped talk a suicidal woman back from the edge of a bridge.

The incident took place in Nashville on Tuesday, Sept. 10. Bon Jovi was reportedly shooting a music video for his song “The People’s House” while walking on the John Seigenthaler Pedestrian Bridge, which stretches across the Cumberland River. The musician noticed a woman who had climbed over the guard railing and appeared ready to jump.

Video of the incident (which you can watch below) shows Bon Jovi approaching the unidentified woman, talking with her and even sharing a hug. The singer and one of his assistants then help her back to safety, where he continues to calm the woman. Local police and fire officials arrived on the scene soon afterward.

Local Officials Praise Bon Jovi for His Help

“A shout out to Jon Bon Jovi and his team for helping a woman on the Seigenthaler Ped Bridge Tue night,” noted a tweet from the Metro Nashville Police Department. “Bon Jovi helped persuade her to come off the ledge over the Cumberland River to safety.”

Bon Jovi, who owns a rooftop bar and restaurant in Nashville, has yet to comment on the incident. A source told TMZ: “Bon Jovi routinely deals with people in crisis from hunger to homelessness, among other issues, through his work with his foundation, the JBJ Soul Foundation. He has extensive training in speaking with individuals experiencing a crisis … but he did what anyone would have done in that situation.”

Bon Jovi Albums Ranked Worst to Best

A ranking of every Bon Jovi studio album.

Gallery Credit: Anthony Kuzminski





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‘Childless Dog Lady’ Stevie Nicks Echoes Swift’s Call to Vote


Stevie Nicks echoed her friend and pop superstar Taylor Swift in a new social media post urging Americans to research presidential candidates and cast their vote in the upcoming election.

“As my friend Taylor Swift so eloquently stated, now is the time to research and choose the candidate that speaks to you and your beliefs,” Nicks wrote alongside a selfie of her and her dog. “Only 54 days left until the election. Make sure you are registered to vote! Your vote in this election may be one of the most important things you ever do.”

She then linked to vote.gov and signed her post, “Love, Stevie Nicks, Childless Dog Lady.”

READ MORE: Stevie Nicks Channels History for ‘Show Them the Way’ Music Video

What Did Taylor Swift Say About the 2024 Presidential Election?

Nicks’ exhortation to vote arrived less than a day after Swift announced her endorsement of Vice President Kamala Harris, who debated former President Donald Trump on Tuesday.

“I will be casting my vote for Kamala Harris and Tim Walz in the 2024 Presidential Election,” Swift wrote in an Instagram post that has amassed more than 9 million likes as of Wednesday afternoon. “I’m voting for Kamala Harris because she fights for the rights and causes I believe need a warrior to champion them. I think she is a steady-handed, gifted leader and I believe we can accomplish so much more in this country if we are led by calm and not chaos. I was so heartened and impressed by her selection of running mate Tim Walz, who has been standing up for LGBTQ+ rights, IVF, and a woman’s right to her own body for decades.” She signed her message, “With love and hope, Taylor Swift, Childless Cat Lady.”

While Nicks did not explicitly endorse a candidate in her post, their similar signatures imply the Fleetwood Mac singer’s support for Harris — or rather, her opposition of Trump’s running mate J.D. Vance, who complained to Fox News in 2021 that the United States was being run by “a bunch of childless cat ladies who are miserable at their own lives and the choices that they’ve made and so they want to make the rest of the country miserable, too.”

Rockers With Presidents





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25 Rock Stars Who Made the Cover of ‘Time’ Magazine


In 1972 Dr. Hook & the Medicine Show sang about longing to be on the cover of Rolling Stone, but for rock stars, it’s a much rarer feat to appear on the cover of Time.

The popular news magazine launched in 1923 and has been published every week for most of the rock era, switching to every other week in 2020. However, rock musicians or bands have only served as the publication’s cover story 25 times.

You can see all the Time magazine covers featuring rock stars or rock music below.

Bruce Springsteen is the only rock star to appear by themselves on the Time cover twice. The first time was in 1975 when he famously also appeared on the cover of the magazine’s main rival Newsweek. He appeared again in 2002 when his post-9/11 album The Rising was discussed.

Three members of the Beatles have appeared twice: The group was featured on the Sept. 22, 1967 cover, Paul McCartney appeared solo in 1976 and John Lennon and George Harrison were given tribute covers following their 1980 and 2001 deaths. Bono has also appeared twice, alongside his U2 bandmates in 1987 and solo in 2002. To date the last rock star featured on the cover was David Bowie, following his 2016 death.

READ MORE: Revisiting Springsteen’s ‘Time’ and ‘Newsweek’ Magazine Covers

Time was most invested in rock music coverage in the ’70s, dedicating 11 covers to the subject that decade as compared to six in the ’80s and just two in the ’90s.

25 Rock Stars Who Made the Cover of ‘Time’ Magazine

Only a select few musicians have graced the famous magazine’s cover.

Gallery Credit: Matthew Wilkening





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The Beatles Track That Inspired Sabrina Carpenter to Write Songs


You’d be hard pressed to find a contemporary songwriter who hasn’t been influenced or inspired by the Beatles in some way. Pop singer Sabrina Carpenter, born well after the Fab Four split up, is no different.

Carpenter can actually trace her desire to write songs back to hearing one specific Beatles song: “Rocky Raccoon” from the White Album.

“I specifically remember driving with my dad to get his haircut,” she told Teen Vogue in 2018. “I don’t know why, he didn’t really have hair. … Anyways, we’re driving to get his hair cut, and I remember him turning on this song. And immediately I was like, this is music?”

READ MORE: 21 Songs About the Beatles

Even at a young age, she could see what made it an effective track, one that encouraged continued listening.

“This song, I think to a lot of people, they were probably just thinking, ‘Oh, the Beatles were high when they wrote this,'” she said. “I mean, they were high, but also, there’s such a story behind it, and they kinda did that with all their songs. And it made me really want to be a songwriter.”

At the time of this writing, Carpenter holds three of the Top 10 songs on the Billboard 100 chart — “Espresso,” “Please Please Please” and “Taste” — all of which she co-wrote.

When Sabrina Carpenter and Paul McCartney Met

Years later, Carpenter got the chance to meet Paul McCartney, the primary songwriter behind “Rocky Raccoon.” (The track was credited however, as many Beatles songs were, to Lennon-McCartney.)

“It was at a party, which is not the environment you want to meet your biggest icon in,” she explained to Grammy.com in 2023. “But he was so present, sweet and gracious with me. You know the kind of eye contact that someone makes with you and you’re like, ‘You’re a real person, I’m just not sure I believe it.’

“I’ve been so inspired by him my entire life, and I’m not sure a lot of people know that about me. I do think that sometimes when you’re writing pop music, or whatever genre it is, I pull from so many different genres and Paul has always been my number one. I definitely did start crying a little bit, which is not something I do often. I’ll remember it forever and I hope I can see him again.”

Listen to the Beatles’ ‘Rocky Raccoon’

Paul McCartney Through the Years: 1948-2023 Photos





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Van Zant Return With Christian Album ‘Always Look Up’


Van Zant – led by Lynyrd Skynyrd’s Johnny Van Zant and his brother, 38 Special’s Donnie Van Zant – have announced their return with their first album of Christian rock.

It’s titled Always Look Up and features the previously-released track “Jesus Christ” along with new release “There You Are.” The LP, which follows 2007’s My Kind of Country, arrives on Nov. 22 via the Frontiers label. It’s available for pre-order now.

Both songs, and a complete track list, are available below.

READ MORE: Skynyrd’s Rickey Medlocke Flips the Bird to Rock Hall Over Exclusion

“I’ll be honest… the Devil was my best friend at one time,” Johnny said in a statement. “[T]here ain’t too much that I didn’t try over the years, but I always kept hearing our dad speaking the Bible… Our dad should have been a preacher because, boy, when he started talking the gospel, you didn’t get up and move.”

He added: “I always believed in Jesus Christ, but I wasn’t saved… I felt like I had my personal connection, just like the song ‘It’s Up To You’ that’s on this new album. Over the years, that voice of my dad was reminding me to try to be a better person. I made lots of mistakes… [H]opefully I don’t get to the pearly gates and they’re closed for me. I’m trying to get through them now!”

Donnie reported that the idea of a Christian album had long been a bucket-list entry for the brothers. “We’ve tried our very best to just write about truth, about people, about problems and situations and just try to be true to ourselves,” he said. “We try to touch people emotionally and spiritually. If we can do that, I think we’ve done our jobs.”

Watch Van Zant’s ‘Jesus Christ’ Video

Watch Van Zant’s ‘There You Are’ Video

Van Zant – ‘Always Look Up’ Track List

1. “Awesome God”
2. “Stand Up”
3. “Warrior”
4. “There You Are”
5. “Speak His Name”
6. “Why God Brought Me Here”
7. “Praying”
8. “It’s Up to You”
9. “Holy Moment”
10. “Leaning on the Cross”
11. “Jesus Christ”

Lynyrd Skynyrd Albums Ranked

From the classic lineup to the reunion era, we rank Skynyrd’s LPs from worst to best.

Gallery Credit: Michael Gallucci





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How One ZZ Top Fan Got Free Tickets for Life


ZZ Top once offered a unique fan club perk — a lifetime membership including a free pair of tickets for each tour as long as they continue to tour. While plenty of “lifetime” offers have come and gone for consumers, as of 2024, ZZ Top’s clock is still running.

Mike Flint, who lives in the Columbus, Ohio area, was one of the first hundred fans to take advantage of the band’s generous offer and signed up in 1984. Whenever they turn up their amps in Ohio, Flint is often there. “As long as I have these benefits and I’m still kickin’, I’ll go see ’em,” he tells UCR.

We hopped on the phone with Flint to discuss his history as a ZZ Top fan. The day we spoke, he was in the afterglow, having seen the band’s latest Columbus performance on Aug. 27 at KEMBA Live. He was happy to share his memories with UCR.

How did you first get into ZZ Top? What’s your origin story?
It was the early ‘80s. I was born in ‘63 and graduated in ‘82. Right around the time El Loco came out, our local radio station here, QFM, had “Tube Snake Boogie” and “Pearl Necklace” in heavy rotation. My other favorite bands were Rush and Journey, so that tells you, I’m kind of all over the place. [Laughs] But I started following ZZ Top a little bit. When Eliminator came out, with MTV [and all of the videos], I was hooked. The videos had a lot to do with that. I watched those videos a lot on MTV like a lot of people my age did back in the day. I started going to the shows and the first time I saw them was here in Columbus around 1983.

READ MORE: ZZ Top’s ‘Eliminator’: 40 Sharp-Dressed Facts

How did you end up joining the fan club?
I don’t remember exactly how I got involved with the fan club. It might have been in their [concert] program. Like, if you’re interested in the fan club, write us and send your information. You couldn’t pay for it online, you had to mail everything in back then. You had your choice of a yearly membership or a lifetime membership. The yearly membership was probably 10 or 15 bucks a year. But the lifetime membership was a hundred bucks. For that price, you got a satin tour jacket — which I still have to this day. You also got two tickets and two backstage passes for one show for every tour for the rest of their touring career, some bumper stickers and a signed poster. I have everything at the signed poster. I’ve moved a few times and I can’t find that. That was a big selling point, I thought, “Cool! Backstage passes. That would be awesome to meet the band.”

Watch ZZ Top’s ‘Legs’ Video

That’s great. How many times have you gotten to say hey to the band?
I’ve gotten to meet them three or four times. Sometimes, they don’t give you the backstage passes. It depends on the venue and whatever is going on with them. But it was great. We saw them on the Recycler tour at Richfield Coliseum [in 1991]. The Black Crowes opened for them and we went backstage. The “Legs” girls were there from the video. It was actually in the Cleveland Cavaliers locker room. They had meat trays, M&Ms and [the tour] was sponsored by Miller. I’d just started indulging in adult beverages. [Laughs] Chris Robinson [from the Black Crowes] was also back there and he was going around and saying hi to the fans. It was all pretty cool. I was hooked. I’ve gone to just about every tour since then. They were always very nice, great guys. I still follow them and I don’t travel too much to see them anymore. It’s still a good time. As long as I have these benefits and I’m still kickin’, I’ll go see ‘em.

READ MORE: Every ZZ Top Album, Ranked

What’s the best show that you’ve seen from ZZ Top?
I think it was the Eliminator tour. That was the tour where they got into lasers. Everybody went into lasers in the early ‘80s and when they played the Ohio Center, a venue that’s no longer here in Columbus, they had lasers throughout the whole show. It was just so unbelievable. Because the venue only held about seven or eight thousand people. That one really sticks out and that was before i got to meet them. The Recycler tour was really awesome [as well] and getting to go backstage there at Richfield Coliseum for that show, the bar was set pretty high. Because you were back there with the food, beverages and you got to at least say hi to the band a little bit. It was quick, “Hi, thank you for coming to the show” and you’d say a couple of sentences to them.

I was at that Richfield Coliseum show. I was always really impressed back then with some of the deeper cuts they’d pull out, like “Manic Mechanic.” For you, what were some of the things you really enjoyed hearing?
I wasn’t that familiar with their stuff off the first few albums at the time, so it was interesting to hear [those songs] live, because I hadn’t really heard it before. Then [with albums like] El Loco, it was pretty cool to hear “Ten Foot Pole.” There are definitely certain songs. “Tube Snake Boogie,” when I saw that for the first time, it was pretty awesome. It wasn’t like I had to hear songs like “Sharp Dressed Man” or “Legs” over and over, it’s always been more of their bluesy stuff that’s good with me. I love hearing that. The commercial stuff is great, but the blues songs are pretty awesome.

Listen to ZZ Top’s ‘Ten Foot Pole’

What do you think is underappreciated about ZZ Top at this point?
Boy, just their ability to keep entertaining fans. It’s kind of like the [Rolling] Stones, they’re still going at it and still sounding great. I wish they’d put out some new stuff — I’d like to see how it would go with Elwood [Francis]. But they still put on a great show and they’re still moving around on stage….they’re not just standing still up there. Frank Beard is still going at it on the drums. It’s still a very entertaining show. The latest show here was about an hour and 20 minutes and it was 95 degrees and high humidity.

READ MORE: How ZZ Top Began Their ’80s Transformation

It doesn’t seem like it would have been easy to do that over the years with the beards, right?
Yeah, that’s for sure — and it’s not like they’re out there wearing shorts. [Laughs] They’re always wearing [impressive] outfits, so it’s not like they’re dressing to [keep] cool or be comfortable. It’s pretty amazing to me that they can still keep going and doing the shows. The venue was extremely packed.

I’m sure you appreciate that ZZ Top has continued to honor the lifetime tickets. They seem like the kind of band that would do that.
Oh, absolutely. They deserve all of the credit in the world for honoring it. You know, anytime I send an email, I get a reply right away. There’s no hesitation. I’ve never had an issue with the tickets not being there. It’s just been fabulous and unbelievable.

Top 40 Albums of 1983

Pop, new wave, punk and rock collided in a year that opened possibilities.

Gallery Credit: Michael Gallucci





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Queen’s Debut Album Is Being Expanded Into Six-CD Box Set


Queen‘s 1973 debut album is being expanded into a six-CD/1-LP Collector’s Edition that will feature remixed and remastered versions of the original record’s songs.

Renamed Queen I for this reissue, the band’s debut included fan favorites “Keep Yourself Alive” and “Liar.” The upcoming box set features those songs and others as it charts the album from the demo stage to the concert hall.

The set includes a revised track listing of the 1973 album with the song “Mad the Swine,” omitted from the original release, now part of the lineup. The reworked album, out on Oct. 25, will also be available in abridged CD, vinyl, cassette and digital editions.

READ MORE: Top 35 Hard Rock Albums of the ’70s

Sixty-three tracks include demos, sessions, live cuts and a previously unreleased recording from Queen’s first-ever live performance in London in August 1970. There’s also a 108-page book featuring handwritten lyrics and memorabilia.

“This is not just a remaster,” guitarist Brian May writes in the notes. “This is a brand new 2024 rebuild of the entire Queen debut album, which, with the benefit of hindsight, we have retitled Queen I.

“All the performances are exactly as they originally appeared in 1973, but every instrument has been revisited to produce the ‘live’ ambient sounds we would have liked to use originally. The result is Queen as it would have sounded with today’s knowledge and technology – a first. Queen I is the debut album we always dreamed of bringing to you.”

What’s on the Expanded Reissue of Queen’s Debut Album?

Queen started work on their first album in May 1972, working for four months on the songs that would be released on July 13, 1973. The upcoming box charts the process, starting with demos the band recorded in London before sessions began.

From there, the set includes a disc of recording sessions featuring unused masters, guide vocals and different takes from those on the released album. A disc of backing tracks is also included.

The final two discs of Queen I feature performances of the album’s songs from the BBC throughout 1973 and 1974, and live tracks from the band’s shows at the Rainbow in 1974, from San Diego in 1976 and two songs from their August 1970 concert at Imperial College.

You can see the track listing for the set below.

‘Queen I’ Collector’s Edition
CD1: Queen I – 2024 Mix
1 Keep Yourself Alive
2 Doing All Right
3 Great King Rat
4 Mad The Swine
5 My Fairy King
6 Liar
7 The Night Comes Down
8 Modern Times Rock ‘n’ Roll
9 Son And Daughter
10 Jesus
11 Seven Seas Of Rhye…

CD2: De Lane Lea Demos – 2024 Mix
1 Keep Yourself Alive
2 The Night Comes Down
3 Great King Rat
4 Jesus
5 Liar

CD3: Queen I Sessions
1 Keep Yourself Alive (Trident Take 13 – Unused Master)
2 Doing All Right (Trident Take 1 – with Guide Vocal)
3 Great King Rat (De Lane Lea Take 1 – with Guide Vocal)
4 Mad The Swine (Trident Take 3 – with Guide Vocal)
5 My Fairy King (Trident Backing Track In Development)
6 Liar (Trident Take 1 – Unused Master)
7 The Night Comes Down (De Lane Lea Takes 1 & 2 – with Guide Vocal)
8 Modern Times Rock ‘n’ Roll (Trident Takes 8 & 9)
9 Son And Daughter (Trident Takes 1 & 2 – with Guide Vocal)
10 Jesus (De Lane Lea Take 2 – with Guide Vocal)
11 Seven Seas Of Rhye… (Trident Take 3)
12 See What A Fool I’ve Been (De Lane Lea Test Session)

CD4: Queen I Backing Tracks
1 Keep Yourself Alive
2 Doing All Right
3 Great King Rat
4 Mad The Swine
5 My Fairy King
6 Liar
7 The Night Comes Down
8 Modern Times Rock ‘n’ Roll
9 Son And Daughter
10 Jesus
11 Seven Seas Of Rhye…

CD5: Queen I At The BBC
1 My Fairy King (BBC Session 1, February 1973)
2 Keep Yourself Alive (BBC Session 1, February 1973)
3 Doing All Right (BBC Session 1, February 1973)
4 Liar (BBC Session 1, February 1973)
5 Keep Yourself Alive (BBC Session 2, July 1973)
6 Liar (BBC Session 2, July 1973)
7 Son And Daughter (BBC Session 2, July 1973)
8 Modern Times Rock ‘n’ Roll (BBC Session 3, December 1973)
9 Great King Rat (BBC Session 3, December 1973
10 Son And Daughter (BBC Session 3, December 1973
11 Modern Times Rock ‘n’ Roll (BBC Session 4, April 1974)

CD6: Queen I Live
1 Son And Daughter (Live at the Rainbow – March 1974)
2 Guitar Solo (Live at the Rainbow – March 1974)
3 Son And Daughter (Reprise) (Live at the Rainbow – March 1974)
4 Great King Rat (Live at the Rainbow – March 1974)
5 Keep Yourself Alive (Live at the Rainbow – March 1974)
6 Drum Solo (Live at the Rainbow – March 1974)
7 Keep Yourself Alive (Reprise) (Live at the Rainbow – March 1974)
8 Modern Times Rock ‘n’ Roll (Live at the Rainbow – March 1974)
9 Liar (Live at the Rainbow – March 1974)
10 Hangman (Live in San Diego – March 1976)
11 Doing All Right (Live in San Diego – March 1976)
12 Jesus (Live at Imperial College – August 1970)
13 I’m A Man (Live at Imperial College – August 1970)

25 Under the Radar Albums From 1973

Sure, you could listen to that classic LP again. Or you could give some of these records a spin.

Gallery Credit: Michael Gallucci





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Top 20 Genesis Solo Songs


Genesis‘ musical history spans 33 years and nearly a dozen members over a 15-album discography.

But it all comes down to just a handful of those members, starting with its three main cofounders: singer Peter Gabriel, keyboardist Tony Banks and bassist Mike Rutherford, who were later joined by guitarist Steve Hackett and drummer Phil Collins.

The band was later pared to a quartet with Gabriel’s 1975 exit and then a trio when Hackett left a couple of years later. Music history was then made as Genesis shifted their songs from 10-minute prog epics to the commercially safer confines of three-minute pop tunes. World domination with Collins at the microphone was not far behind. That said, it’s probably no surprise which two members dominate the below list of the Top 20 Genesis Solo Songs.

20. Mike + The Mechanics, “All I Need Is a Miracle”
From: Mike + The Mechanics (1985)

Like bandmates Phil Collins and Tony Banks, guitarist Mike Rutherford spent Genesis’ downtime on side projects. After releasing a pair of solo albums in the early ’80s, Rutherford used a break following a world tour supporting 1983’s Genesis to form Mike + The Mechanics with Sad Cafe singer Paul Young and former Ace and Squeeze member Paul Carrack. “All I Need Is a Miracle,” a Top 5 hit, comes from their debut.

 

19. Mike + The Mechanics, “The Living Years”
From: Living Years (1988)

Three years after their debut, and again between a Genesis album and tour, Rutherford resurrected Mike + The Mechanics for a second LP. This one reached No. 2 in the U.K. and Top 15 in the U.S., led by the album’s title track. “The Living Years,” with Paul Carrack on lead vocals, touched heartstrings worldwide. Inspired by his father’s death, Rutherford taps into universal regret of words not said when they still can.

 

18. Phil Collins, “You Can’t Hurry Love”
From: Hello, I Must Be Going! (1982)

Collins and producer Hugh Padgham challenged themselves to replicate the classic Motown sound on their cover of the Supremes‘ 1966 classic “You Can’t Hurry Love,” a note-for-note remake found on Collins’ second solo album in 1982. Pointless, though enjoyable, as it may be, the song became his first U.K. No. 1 and his first Top 10 hit in the U.S., setting the stage for bigger chart successes throughout the ’80s.

 

17. Phil Collins, “Sussudio”
From: No Jacket Required (1985)

Phil Collins’ third solo album took him to where no Genesis album could: No. 1. No Jacket Required spawned four hit singles, including its opening track, the nonsensical “Sussudio.” The singer and drummer has said he was messing around in the studio with a drum machine when the song’s title came out of his mouth. The synth-driven single raced to No. 1, too, his third consecutive chart-topper in little more than a year.

 

READ MORE: Peter Gabriel, ‘i/o’ Album Review

 

16. Phil Collins, “Another Day in Paradise”
From: … But Seriously (1989)

Phil Collins took the title of his fourth solo record to heart with its lead single, the homelessness-awareness track “Another Day in Paradise.” The heavy message was a reaction to some of the backlash Collins faced in light of “Sussudio” and Genesis’ pop-leaning Invisible Touch but didn’t affect the loyalty of his fans. The song (featuring a vocal assist from David Crosby) went to No. 1, Collins’ seventh, as did the album.

 

15. Peter Gabriel, “Mercy Street”
From: So (1986)

As he prepped his fifth solo and breakthrough mainstream LP, Peter Gabriel deliberately moved in more commercial directions. “Mercy Street,” however, has the closest ties to his past, from its stretched-out length (its 6:22 running time is just 11 seconds shy of So‘s longest song) to its unconventional subject (based on Pulitzer-winning poet Anne Sexton’s work). Its main drum track was initially slotted for another song, later a B-side.

 

14. Peter Gabriel, “Blood of Eden”
From: Us (1992)

The first version of “Blood of Eden” appeared in the 1991 Wim Wenders film Until the End of the World but wasn’t on the soundtrack album. A year later Gabriel reworked it for his sixth album, Us. Like the Kate Bush duet “Don’t Give Up” from So, “Blood of Eden” is a slow-burning ballad with a co-vocal by a woman at the peak of her career – in this case, Sinead O’Connor, who supplies warm harmonies beneath Gabriel’s rasp.

 

13. Peter Gabriel, “Digging in the Dirt”
From: Us (1992)

Six years after So made Peter Gabriel a worldwide star, he released the follow-up Us. The lead track, the worldbeat art-rock mash-up “Digging in the Dirt,” had little in common with the singles that attracted Top 40 listeners to his previous record. While a hit on the modern rock chart, “Digging in the Dirt” stalled outside the Top 50, though the album made it to No. 2. It was 10 years before Gabriel released more new music.

 

12. Peter Gabriel, “Red Rain”
From: So (1986)

The opening song on Peter Gabriel’s breakthrough fifth album promised more of the same from the musically tangled art rocker. But it didn’t stay that way. At five and a half minutes and building over a slow, brooding pace, “Red Rain” is an ominous opener to So, especially as it’s followed by the joyful and horny (in more ways than one) “Sledgehammer.” Nuclear war warning or AIDS parable? “Red Rain” is a little of both.

 

11. Peter Gabriel, “Big Time”
From: So (1986)

It’s pretty much “Sledgehammer Part Two” but that doesn’t take away the fun of “Big Time,” the third of So‘s four hit singles (and like “Sledgehammer” it made the Top 10 and featured an eye-popping animated video). This is Gabriel at his loosest, funkiest and, in a way, emptiest, which is sort of the point. Targeting ’80s greed and ego, the song carries its weight like a two-ton boulder, making its release all the more rewarding.

 

10. Philip Bailey & Phil Collins, “Easy Lover”
From: Chinese Wall (1984)

Phil Collins was inescapable in the mid-’80s, performing onstage with Led Zeppelin, appearing on TV, producing a record for a former ABBA member and making music with seemingly anyone who asked. After employing Earth, Wind & Fire‘s horn section for his solo debut, Collins struck up a friendship with the group’s singer Philip Bailey, producing his 1984 solo album and serving as a duet partner on the hit single “Easy Lover.”

READ MORE: Genesis: The UCR Roundtable

 

9. Phil Collins, “Against All Odds (Take a Look at Me Now)”
From: Against All Odds: Music From the Original Motion Picture Soundtrack (1984)

In between his collaboration with Earth, Wind & Fire’s Philip Bailey and producing and playing drums on Eric Clapton‘s 1984 album Behind the Sun, Phil Collins was asked to contribute a song to Taylor Hackford’s in-progress movie Against All Odds. Calling up a sketch of a ballad first considered for his debut solo album, 1981’s Face Value, Collins constructed “Against All Odds (Take a Look at Me Now),” his first of seven No. 1s.

 

8. Peter Gabriel/Kate Bush, “Don’t Give Up”
From: So (1986)

Kate Bush guested on two songs on Peter Gabriel’s second solo album in 1980, including the French-sung hook of “Games Without Frontiers.” She was coming off the massive success of 1985’s epochal Hounds of Love when she rejoined him in the studio for So‘s controlled-tension ballad “Don’t Give Up.” The six-and-a-half-minute simmering-to-boiling cut has since become a song of reassurance for a variety of people seeking it.

 

7. Peter Gabriel, “Shock the Monkey”
From: Security (1982)

For his fourth solo album (titled Security in the U.S. but, once again, Peter Gabriel everywhere else), the former Genesis singer moved more into the world music he began exploring in his preceding LP. But he also moved deeper into post-punk rhythms spliced with his usual art-pop. “Shock the Monkey,” thanks to much MTV support, became Gabriel’s first Top 40 hit. Not an animal rights song, but one about jealousy.

 

6. Peter Gabriel, “Games Without Frontiers”
From: Peter Gabriel (1980)

Peter Gabriel never shied away from political themes in his work, even though he rarely spoke of them outright, leaving direct interpretation to listeners. But it’s hard not to take away the anti-war message of “Games Without Frontiers” (the song’s video includes a clip from a 1950s education film about what children should do in the event of a nuclear attack). Kate Bush provides the sing-songy backing vocals, sung in French.

 

5. Peter Gabriel, “Biko”
From: Peter Gabriel (1980)

The most political song of Peter Gabriel’s career helped spur the anti-apartheid movement of the mid-’80s that included Bruce Springsteen, U2 and others. Taking as its main subject Steve Biko, a South African activist who died while in police custody in 1977, “Biko” employs an Afropop base to relate the matter-of-fact details of his fate (“It was business as usual in police room 619“). A musical protest that brought real change.

 

4. Peter Gabriel, “In Your Eyes”
From: So (1986)

“In Your Eyes” is a rare song that had two different runs on the chart. The first came in 1986 when it was released as the second single from Peter Gabriel’s hit So album; it reached No. 26 the first time around. Three years later the song was rereleased after serving in a pivotal scene from the teen rom-com Say Anything. This time, in a trimmed version, “In Your Eyes” peaked at No. 41. Both times it charted for 14 weeks.

 

3. Peter Gabriel, “Sledgehammer”
From: So (1986)

After four albums of often complex and challenging art rock, Peter Gabriel burrowed into accessible areas for his fifth. In a sign that something new was afoot, he gave the album a title, instead of calling it Peter Gabriel again. So‘s first single, “Sledgehammer,” exalts in phallic imagery and reveals an artist willing to tear down his reputation as a solemn and occasionally despairing artist with a big hook and a huge grin on his face.

 

2. Peter Gabriel, “Solsbury Hill”
From: Peter Gabriel (1977)

Gabriel left the band he helped form in 1967 in late 1975; less than two years later he released his debut album (the first of four eponymously named LPs), led by a song in which he laid out his trepidations of going solo. “Solsbury Hill” directly addresses his move: “I was feeling part of the scenery / I walked right out of the machinery / … I will show another me.” A declaration of independence set to a wistful folk-rock beat.

 

1. Phil Collins, “In the Air Tonight”
From: Face Value (1981)

Phil Collins was facing dark times in 1981. Even though Genesis released the highest-charting U.S. album of their career up to that time only a year before (Duke, which just missed the Top 10), the singer, drummer and de facto leader of the now-lean trio had gone through a messy divorce, the scarring details of which made up the bulk of his debut solo album, Face Value. Collins has said he’s not sure of the exact meaning of “In the Air Tonight,” but “there’s a lot of anger, a lot of despair and a lot of frustration” in it. Over the years, the song has taken on many meanings shaped by its various interpreters, from rock and pop artists to hip-hop and electronic. Experimental at its core, with a slow leaking melody revealing itself over a tension-filled five and a half minutes, “In the Air Tonight” has come to be defined by its explosive drum break, a forest-clearing assault that is one of the most identifiable and famous in music history. A milestone moment that has lost none of its impact to thrill over the decades.

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Hear Black Label Society’s Storming New Song, ‘The Gallows’


Black Label Society has released a new single, “The Gallows.” The track arrives in the midst of a busy year for band mastermind Zakk Wylde, who has spent the bulk of 2024 on the road with both Pantera and his Black Sabbath tribute, Zakk Sabbath.

You can watch the video for ‘The Gallows’ below.

The song offers a preview of the next album from the band, and it’s a track which roars with the high energy fans have come to expect. “You know, if it needs to be a high caloric burning riff, that’s what it will become, it’s all based on that,” Wylde explains, discussing how “The Gallows” came together. “It’s all based on my powerlifting guru and life coach, Richard Simmons, the legend,” he adds with a humorous tone.

According to the guitarist, fans will have to wait a bit longer for a successor to 2021’s Doom Crew Inc., the most recent Black Label Society album. “I think in 2025, we’re going to be doing [more tour dates] with the Pantera celebration and I’ll be doing some Zakk Sabbath stuff as well,” he tells UCR. “With Black Label, we’re just going to keep writing and recording. Probably in 2026, we’ll put the new album out. But for [next year], it’s pretty much just going to be the Pantera celebration, us touring and doing that, honoring [Dimebag Darrell] and Vinnie [Paul]. I think in between that, we’ll do some Zakk Sabbath shows also.”

READ MORE: How Zakk Wylde’s Guns N’ Roses Jam Inspired Black Label Society Song

With the band celebrating its 25th anniversary, he marvels at how far things have come since his early moments working with Ozzy Osbourne, prior to forming Black Label Society. “It’s so funny, because when I think about the old days when we would track, when I first started with Ozzy, everyone would be in the studio. We’d write and go over these songs like we’re getting ready for a tour,” he recalls. “To me, it just sucks the living life out of them when you have a brand new song. I understand it fully, because it’s studio time, you want to get in there, knock it out and get out of there without being in there for a week to record half a song. But at the same time, the way we make the Black Label [songs], whether it’s “Stillborn,” Suicide Messiah” or the new one, “The Gallows,” I can just be jamming on this riff in my gym on my amp and then just go up to the Vatican [his recording studio] and track it.”

Wylde will return to the stage this weekend, hosting the debut edition of his own Berzerkus festival on Saturday, September 14 at Poconos Park in Bushkill, Pennsylvania. Black Label Society will co-headline the event with country star Cody Jinks. The inaugural run for Berzerkus will also feature performances by Clutch, Rival Sons, Black Stone Cherry and others.

READ MORE: Clutch and Rival Sons Launch Tour

Watch Black Label Society’s Video for ‘The Gallows’

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Prince’s Lawyer Claims Documentary Mixes ‘Facts With Falsehoods’


The back and forth over a yet-to-be-released Prince documentary continues to escalate.

The film, helmed by Academy Award-winning director Ezra Edelman, has been in production for over five years. A recent report in New York Times Magazine detailed the extensive degree to which the musician’s life is chronicled. Prince’s incredible talent – including his songwriting, virtuoso musicianship and prolific output – is put on display, but so are some of the unflattering aspects of his personality, including his demanding nature and occasionally violent temper.

In the New York Times story, writer Sasha Weiss praised the film, describing it as “a cursed masterpiece that the public may never be allowed to see.”

The reason, she explained, was that the Prince estate (which changed ownership during the years the film has been in production) was disappointed with the way the late musician was portrayed. Weiss singled out L. Londell McMillan, Prince’s longtime lawyer, as someone who was adamantly opposed to the documentary’s tone.

READ MORE: Was Prince’s Famous Rock Hall Guitar Solo an ‘Act of Revenge’?

According to Weiss, after a cut of the film was shown to the Prince estate for a factual review, “McMillan responded with 17 pages of notes demanding changes. Edelman, wanting to reach a compromise, made some adjustments. But he was adamant that he wouldn’t remove episodes or ideas that felt crucial for the film’s narrative and journalistic cohesion.”

McMillan was unwilling to budge on his demands, and in another meeting he reportedly claimed the documentary “would do generational harm to Prince.”

Prince’s Lawyer Defends His Stance

With the New York Times article generating renewed interest in the project, McMillan has defended his position.

“Let me ask YOU, if you found out that someone didn’t like you and/or hated how others loved you, would you trust them and let them make a major film story on your life, then you see the rough cuts mix facts with falsehood, speculation, omissions with opinions?” the lawyer wrote on X (formerly Twitter), followed by “GTHOH,” an acronym for “get the hell outta here.”

READ MORE: Underrated Prince: The Most Overlooked Song From Each Album

When a Prince fan asked McMillan why he didn’t respond to Weiss’ request for comment, the lawyer replied: “I would love it; I am still waiting for our partners to let me tell the story. Everyone is not fearless and as loyal to Prince.”

As Weiss pointed out in her article, McMillan is a “polarizing figure” in the music industry who has been described as “controlling and bullying.” “Several people I spoke to said they believe McMillan’s objections come down to a fear that the film will get Prince ‘canceled’ and devalue the estate’s bottom line,” she noted.

In a separate tweet, McMillian seemingly addressed critics who claim he’s unwilling to compromise. “In life, some people and things are worth fighting for,” the lawyer declared. “Do it right or do not do it at all, period!”

Prince Year by Year: 1977-2016 Photographs

The prolific, genre-blending musician’s fashion sense evolved just as often as his music during his four decades in the public eye.

Gallery Credit: Matthew Wilkening





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Nick Lowe, ‘Indoor Safari’: Album Review


For the past quarter century, Nick Lowe has quietly made some of the best albums of his five-decade recording career. Addressing age, lost love and the always-advancing steps of life moving on, the singer, songwriter and producer is just as sharp melodically and lyrically as he was when he made his two irrefutable classics, 1978’s Jesus of Cool and the following year’s Labour of Lust.

Now, though, Lowe has settled into the role of elder statesman, a new wave and power pop icon who looks back without much nostalgia, but with lessons learned, as he strides to the next stage of his life. Indoor Safari, his first album since 2013’s holiday offering Quality Street: A Seasonal Selection for All the Family, features backing by Los Straitjackets – the masked instrumental surf garage rock band from Nashville – and a dozen songs, some new, some pulled from his catalog to be retooled in new settings.

Lowe and Los Straitjackets have an easy chemistry, undoubtedly honed when the band backed him on a 2019 tour and a trio of EPs starting in 2018; several of the songs on those earlier records appear on Indoor Safari in newly recorded versions. At its loosest, such as in the opener “Went to a Party” and rockabilly throwback “Tokyo Bay,” the album breezes through its 37-minute playing time with few concessions to the 21st century. This is timeless music that could just as easily have been made 40 years ago.

READ MORE: Reviews of 2024’s Best Rock Albums

Like Lowe’s best work over the decades, Indoor Safari pulls from various stops, including new wave, pop, power pop, pub rock, Americana and traditional singer-songwriter music; Los Straitjackets bring other elements: garage, surf and classic rock ‘n’ roll. They also at times pull Lowe out of his recent self-reflection and into the more universal observations of his earlier records (“Went to a Party,” “Love Starvation”).

Indoor Safari mostly lifts the clouds that occasionally dampened Lowe’s aging spirit on 2007’s At My Age and 2011’s The Old Magic; however, they’re not quite shaken on the heartbroken “Different Kind of Blue” (first recorded during the sessions for 2001’s The Convincer) and “Blue on Blue.” “I’ve been wisecracking like the good old days, but pretty soon I’m going to slip away,” Lowe sings on “Crying Inside,” nodding to this uplift and ushering in a guitar solo with a casually cool “Here come the tears.” But as he sings at one point, “I’ll be back like a jet pac boomerang.” There’s no reason to doubt him.

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Gallery Credit: Michael Gallucci





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16 Totally Awesome ’80s Candies We Were Obsessed With


As someone who was born in the ’70s and shaped in the ’80s, I can tell you that trips to the “corner store” in search of candy weren’t just about pleasing our insatiable sweet teeth (tooths?)—they were also our first taste of independence and even a crash course in financial planning.

A Sugary Trip Down Memory Lane

The ’80s was all about standing out and proudly rocking bright colors, and that spirit extended to candy packaging too. With cartoonish designs, vivid primary colors, and neon everywhere, we often picked candy just because it looked fun—or because the container could be repurposed into something cool, even becoming a cherished plaything.

Awesome 1980s Candies

Bonkers were incredibly ’80s. (Candy Warehouse/Nabisco/Bonkers Print Ad)

RELATED: Try Guessing These Awesome ’80s Movies From a Single Freeze-Frame

Trading was a big part of childhood in the ’80s, so if your candy came with a collectible prize, all the better.

Candy as a Cultural Touchstone

Just like toy stores, candy racks in the ’80s were treasure troves of sweets that frequently made appearances in movies and TV shows. One standout example is a candy that played a starring role in an iconic film about an alien with a serious sweet tooth who just wanted to call home.

RELATED: Nostalgic ’90s Cartoons That Deserve a Comeback

If you Google some of your favorite candies from the past, you’ll find a host of companies dedicated to bringing these treats back. Sites like The Penny Candy Store and Candy Nation thrive on the fact that these candies aren’t just sweets—they’re time capsules from a cherished era.

From the sweet to the sour to the downright teeth-destroying, let’s unwrap some of the most awesome ’80s candies.

SWEET: 16 Totally Awesome ’80s Candies We Were Obsessed With

Get ready to dive into a list of the most awesome ’80s candies—those iconic treats that starred in movies, were sometimes more plastic than candy, and captured our hearts with their unforgettable flavors and wacky packaging.

Gallery Credit: Stephen Lenz

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Watch David Gilmour’s First Live Performance in Four Years


David Gilmour‘s first live performance in four years happened in an unexpected place: He played a Pink Floyd classic alongside daughter Romany Gilmour last night during an open-mic night at a pub in East Sussex.

Watch footage from their performance of the title track from 1975’s Wish You Were Here inside the Neptune Live Music Bar below. In a post on X, David Gilmour said he “very much enjoyed crashing” the gig “after finishing tour rehearsals.”

Shows in support of his just-released Luck and Strange include U.S. dates in October and November. Gilmour is also playing residencies at the Royal Albert Hall in London and Circo Massimo in Rome.

READ MORE: The Best David Gilmour Pink Floyd Songs

His most recent public appearances were in 2020, including the tribute concert for Fleetwood Mac co-founder Peter Green, held at the London Palladium.

Watch David Gilmour Perform ‘Wish You Were Here’

When Does David Gilmour Play the U.S.?

Gilmour took the stage after Romany asked if he wanted to “come and upstage me.” The venue later described what followed as an “electrifying evening.”

Luck and Strange, Gilmour’s first solo album in nine years, includes vocal and harp performances by Romany on “Between Two Points” and the bonus track, “Yes, I Have Ghosts.” The latter was released as a stand-alone single in 2020.

Their initial collaboration on “Yes, I Have Ghosts” was basically by happenstance. “I was working on this song just as we went into lockdown,” Gilmour said back then, “and had to cancel a session with backing singers – but, as it turned out, the solution was right here and I couldn’t be happier with the way Romany’s voice blends with mine and her beautiful harp playing has been another revelation.”

More From David Gilmour’s Surprise Appearance

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Kansas Has Found a Replacement for Their Longtime Bassist


Kansas turned to a familiar figure when replacing bassist and co-lead vocalist Billy Greer, who retired last week after nearly 40 years in the lineup. Dan McGowan, a recent sub for Greer, will take over.

A native of southern New Jersey, McGowan previously played bass with Kansas keyboardist Tom Brislin’s band Gold Rotation. His promotion means Kansas has completely rebuilt its rhythm section this year after stalwart drummer Phil Ehart’s recent health issues led to his replacement in February by long-time drum tech Eric Holmquist.

“I am thrilled and honored to be joining Kansas,” McGowan said in an official statement. “I am also deeply aware of the gigantic shoes that I will be filling. [Early-era Kansas bassist] Dave Hope and Billy Greer are among the best musicians in rock history.”

READ MORE: Phil Ehart Looks Back on Eight Key Kansas Albums

McGowan remains a member of the Tea Club, a progressive rock band, with his brother Patrick. Their sixth album is due later this year. McGowan also does all of the cover artwork.

Still, his passion for this new gig is evident. “I want the fans to know that I love the music of Kansas, and I hold it in highest reverence,” McGowan said. “I am committed to doing justice to the band’s incredible legacy, and I am so grateful for this unbelievable opportunity!”

Joining just before 1986’s surprise comeback Power, Greer had appeared on stage with Kansas for more than 2,300 concerts before leaving in early September after a show in Windsor, Ontario, Canada. Only Ehart and guitarist Rich Williams have had longer tenures. More recently, Greer also served as the group’s in-concert emcee.

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These American progressive rock heroes went on a dramatic career arc.

Gallery Credit: Gary Graff





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Why David Gilmour Didn’t Hire Rick Rubin to Produce His New Album


When David Gilmour was considering producers for his fifth solo album, a famous name came to mind.

“We had thought about Rick Rubin,” the former Pink Floyd rocker admitted during an appearance on The Rockonteurs podcast, adding that “a number of other people who’ve been around for quite a while” were also discussed. Rubin, of course, has a resume featuring some of the biggest names in the history of rock. Yet Gilmour ultimately decided he wanted to go in a different direction, instead enlisting a young rising star who could offer a fresh perspective.

“My lovely wife, Polly, came up with the notion of looking at who was younger and hot in the production world,” he explained. That idea led him to Charlie Andrew, best known for his work with U.K. indie rock groups Alt-J, Wolf Alice and London Grammar.

READ MORE: David Gilmour’s 10 Best Solo Songs

“There was a fresh thing in those records that really appealed to me,” Gilmour continued, adding that he initially reached out to Andrew via Instagram. “He came down and listened to the early formation of the demos, which some of them weren’t that early, but they were certainly unfinished. And he asked some pertinent questions and then said he’d love to work.”

Andrew Helped Gilmour Find a ‘Different Sound’

The result is Luck and Strange, an album Gilmour believes is his best work since Pink Floyd’s The Dark Side of the Moon. Stylistically, the rocker notes Andrew was able to help him capture “something different” than what older producers would have done.

READ MORE: All 167 Pink Floyd Songs Ranked Worst to Best

“There’s less of a crystal clear purity,” he explained. “And the cohesiveness of the whole album, to me, I find quite extraordinary. They have put all those sounds together and every track ties in in a certain way. It’s a different sound. I don’t think it’s any less brilliant or any less pure.”

Some of Andrew’s choices – like “distorted elements” and “out of tune elements” – initially made Gilmour shake his head, only for him to soon grasp the idea. “There are some things which were just, one of those moments you’re sitting there and going, ‘What? What the hell?’” the rocker admitted. “And the next day you’re going, ‘Yeah.’”

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A ranking of solo albums by members of Pink Floyd, listed from worst to best.

Gallery Credit: Nick DeRiso





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40 End of Summer Songs


We hate to break it to you, but summer is nearly over.

Ideally, you’ve spent the last few months blasting good tunes by the pool or beach while working on your tan, or maybe with your windows rolled all the way down in the car. But alas, we’ve reached the final weeks of the summer season. The temperature is beginning to drop, the days are getting every so slightly shorter and before long, autumn will fully sink in — unless, of course, you live somewhere where the weather is more or less summer all year long, in which case, good for you.

For those of us facing the impending colder months, it’s time to shift gears, and to help do that, we’ve compiled a list of 40 End of Summer Songs.

“Maggie May,” Rod Stewart
From: Every Picture Tells a Story (1971)

The end of summer, for many people, also spells the beginning of the academic year, which Rod Stewart acknowledges in 1971’s “Maggie May,” the song that essentially made the singer a household name. “It’s late September and I really should be back at school.”

 

“Boys of Summer,” Don Henley
From: Building the Perfect Beast (1984)

Sometime in the early ’80s, Mike Campbell of Tom Petty and the Heartbreakers brought the song “Boys of Summer” to Petty for possible inclusion on their next album. Petty wound up turning it down, so Campbell passed it off to Don Henley, who added lyrics about driving by the empty beach, reminiscing about his sun-kissed lover.

 

“Urge for Going,” Joni Mitchell
From: 1972 B-Side

Not all summer loves are meant to last. Joni Mitchell wrote what is possibly the most poignant song about this. “I had me a man in summertime / He had summer-colored skin,” she sings in “Urge for Going,” but the cruel hands of time continue. “I’d like to call back summertime and have her stay for just another month or so / But she’s got the urge for going so I guess she’ll have to go.”

 

“Summer’s End,” John Prine
From: The Tree of Forgiveness (2018)

John Prine’s “Summer’s End” is made even more touching when one learns it was included on Prine’s last album before his passing in 2020. “Summer’s end is around the bend just flying,” he sings. “The swimming suits are on the line just drying / I’ll meet you there per our conversation.”

 

“The Last Day of Summer,” The Cure
From: Bloodflowers (2000)

The Cure isn’t exactly a happy-go-lucky, summertime band. It makes a lot more sense that they wrote a song about summer ending instead of having fun during it. “The last day of summer never felt so cold,” Robert Smith laments. “The last day of summer never felt so old.”

 

“September,” Earth, Wind and Fire
From: The Best of Earth, Wind & Fire, Vol. 1 (1978)

Let’s make this perfectly clear: astronomically, summer does not officially end until the latter half of September when the autumnal equinox begins. This means that Sept. 21, the date mentioned in Earth, Wind & Fire’s 1978 hit “September,” is still a part of summer. So go ahead and keep blasting it.

 

“Wake Me Up When September Ends,” Green Day
From: American Idiot (2004)

When he was 10 years old, Billie Joe Armstrong’s father passed away in September of 1982 A little over 20 years later, Armstrong finally put some of those childhood feelings into the song “Wake Me Up When September Ends. “Summer has come and passed,” he sings at the top of the American Idiot track. “The innocent can never last / Wake me up when September ends.”

 

“Summer’s Almost Gone,” The Doors
From: Waiting for the Sun (1968)

Interestingly, the Doors’ “Summer’s Almost Gone” was a song the band had already made a demo of prior to guitarist Robby Krieger becoming a member of the group. As keyboardist Ray Manzarek would put it in 1997 box set liner notes, it was “a cool Latino-Bolero kind of thing with a Bach-like bridge. It’s about the ephemeral nature of life. A season of joy and light and laughter is coming to an end.”

 

“All Summer Long,” The Beach Boys
From: All Summer Long (1964)

The end of summer doesn’t have to mean the end of listening to the Beach Boys, but even they understand all good things must come to a conclusion at some point. After a few months of spilled Coca Cola, cut off shorts and miniature golf, it’s time to accept reality, this song emphasizes.

 

“We’re Going to Be Friends,” The White Stripes
From: White Blood Cells (2001)

Here’s another “end of summer” meets “back to school” song: “We’re Going to Be Friends” by the White Stripes. “Fall is here, hear the yell,” declares Jack White, painting a sweet, nostalgic portrait of school days gone by. (A fun fact: this was the very first White Stripes song to appear in a film, 2004’s Napoleon Dynamite.)

 

“The End of Summer,” Frank Black
From: Fast Man Raider Man (2006)

Leave it to Frank Black to write an awfully depressing end of summer song. “Save me, the end of the summer,” he sings in “The End of Summer” from his 2006 album Fast Man Raider Man. “Save me, I’m not feeling whole.”

 

“The Other Side of Summer,” Elvis Costello
From: Mighty Like a Rose (1991)

Another way of putting it: the other side of summer. “The arrangement is a pastiche of the Beach Boys after the fashion of the Beatles‘ ‘Back in the U.S.S.R.,’ Elvis Costello explained of this track in 2002 liner notes. “The words are a catalog of pop conceits, deceits, hypocrisies and delusions. I include myself in this parade of liars and dupes.”

 

“Summer Nights,” John Travolta and Olivia Newton-John
From: Grease: The Original Soundtrack From the Motion Picture (1978)

“Summer Nights” is sort of like the teenybopper version of Henley’s “Boys of Summers” — nothing but cute, warm-weather moments with your honey. “Summer days drifting away,” John Travolta and Olivia Newton-John sing together. At least they have the memories.

 

“Night Moves,” Bob Seger and the Silver Bullet Band
From: Night Moves (1976)

Bob Seger’s “Night Moves” was inspired by his adolescence in Ann Arbor, Michigan — a coming of age story of sorts in which a shy kid comes out of his shell bit by bit with the help of music. “Nobody has ever told about how it was to grow up in my neck of the woods,” Seger recalled thinking to himself just before writing the song, with its lines about “sweet summertime” and “autumn closing in.”

 

“Hot Fun in the Summertime,” Sly and the Family Stone
From: 1969 Single

Sure, Sly and the Family Stone’s “Hot Fun in the Summertime,” an enormous hit for the band, is an ode to warm-weather fun, but there’s also a few lines about the end of it all. “First of the fall / And then she goes back / Bye, bye, bye, bye there / Them summer days / Those summer days.”

 

“Summer Days,” Bob Dylan
From: Love and Theft (2001)

Summer days and the summer nights are gone,” Bob Dylan declares in 2001’s “Summer Days,” a rockabilly-style tune. But fear not, he knows “a place where there’s still somethin’ going on.” And don’t miss the lines referencing The Great Gatsby, a story about summer extravagance if ever there was one.

 

“Summer’s Gone,” The Kinks
From: Word of Mouth (1984)

Turns out there’s quite a few songs about not only feeling sad that summer is over, but also about remembering happy summers from previous years. The Kinks’ “Summer’s Gone” is one of those. “When I think about what we wasted, makes me sad,” Ray Davies sings. “We never appreciated what we had.” Let this song be a lesson: savor every second of summer you can.

 

“Last Rose of Summer,” Judas Priest
From: Sin After Sin (1977)

Judas Priest singer Rob Halford appreciates the fact that 1977’s “Last Rose of Summer” can be interpreted different ways. “If you say to somebody, ‘the last rose of summer,’ that’s not only the changing of the seasons, but it could also be the changing of a relationship. It could be the completion of something,” he once explained to Songfacts. “It’s just got a multi-faceted opportunity, and I like it.”

 

“All Summer Long,” Kid Rock
From: Rock n Roll Jesus (2007)

If you have ever considered what Warren Zevon‘s “Werewolves of London,” Bob Seger’s “Night Moves” and Lynyrd Skynyrd‘s “Sweet Home Alabama” might sound like mashed together, Kid Rock already has you covered with his 2007 song “All Summer Long.” It is, to date, the biggest hit of his solo career.

 

“Indian Summer,” Al Stewart
From: Live/Indian Summer (1981)

Indian summers are becoming more and more common, periods of unseasonably warm and dry weather that carries over from summer into fall. It’s not entirely clear which part of the world Al Stewart is referring to in his 1981 song “Indian Summer,” but wherever it is, one can see the Northern Lights, the aerial phenomenon that begins to show itself at the end of August into the winter months.

 

“Summer Soft,” Stevie Wonder
From: Songs in the Key of Life (1976)

Here’s another song about the end of a summer love, snuffed out by autumn’s arrival. “Summer soft wakes you up with a kiss to start the morning off,” Stevie Wonder sings gently over a smooth groove. “But it breaks your heart in two when you find it’s October.”

 

“Come Monday,” Jimmy Buffett
From: Living and Dying in 3/4 Time (1974)

As previously noted, summer technically goes until the latter half of September, meaning Labor Day weekend isn’t really the end. And yet, it’s still awfully symbolic of the changing seasons, something Jimmy Buffett touched on in the first few lines of 1974’s “Come Monday,” one of his biggest hits — “Headin’ out to San Francisco / For the Labor Day weekend show.” Time to pack away the margarita supplies…

 

“Summer Is Over,” Dusty Springfield
From: 1964 Single

Well, the title of this 1964 single by Dusty Springfield sums it all up. “The grass that was green is now hay,” she sings, backed by an orchestral arrangement. Springfield wasn’t the only person to cover this song, originally written by Tom Springfield (her brother) and Clive Westlake, but her version went to the Top 10 in the U.K.

 

“I Didn’t Have Any Summer Romance,” Carole King
From: 1962 Single

While other people on this list are singing about a summer love who has left them, Carole King apparently never had one to begin with in 1962, the year she released  “I Didn’t Have Any Summer Romance” as a B-side single. “No one could be as blue as I was in the fall,” she sings at the end. “‘Cause I didn’t have any summer romance at all.”

 

“End of the Summer,” New York Dolls
From: Dancing Backward in High Heels (2011)

“End of the Summer” is not only a song about the conclusion of a summer fling, written by David Johansen and Sylvain Sylvain, it also serves as the very last track on the New York Dolls’ very last album, which certainly gives new meaning to lines like “regrets lose their luster in a carnival of time.”

 

“Indian Summer,” Poco
From: Indian Summer (1977)

“Indian Summer” is actually the title track to Poco’s 10th LP, released in 1977, so really it’s a whole album experience. But “Indian Summer” in particular is notable for being one of two tracks on the album that feature Donald Fagen of Steely Dan playing synthesizer.

 

“September Song,” Lou Reed
From: Lost in the Stars: The Music of Kurt Weill (1985)

Lou Reed is not the only person to have covered the American standard “September Song” — Lindsey Buckingham did so in 1981, Jeff Lynne in 1990, etc. — but his version is especially memorable for Reed’s spoken word style of singing against an excellent arrangement. “These few golden days,” Reed says, “I’d like to spend them with you.”

 

“Nightswimming,” R.E.M.
From: Automatic for the People (1992)

R.E.M. might win for the most poignantly painted image of late August with 1993’s “Nightswimming,” an ode to those late summer evenings with a striking string arrangement by John Paul Jones of Led Zeppelin. “Nightswimming, remembering that night,” Michael Stipe muses. “September’s coming soon.”

 

“Summer’s End,” Foo Fighters
From: Echoes, Silence, Patience & Grace (2007)

Like nearly all of the song’s on Foo Fighters’ 2007 album Echoes, Silence, Patience & Grace, “Summer’s End” is a co-write between all four members of the band then: Dave Grohl, Taylor Hawkins, Nate Mendel and Chris Shiflett. Both Grohl and Hawkins are credited as adding piano to this track, while Drew Hester, a longtime collaborator of the band’s, provided the extra percussion.

 

“Flaming September,” Marianne Faithfull
From: A Secret Life (1995)

In 1995, Marianne Faithfull joined forces with the composer Angelo Badalamenti, not long after his work appeared in the American TV series Twin Peaks, for her 12th album, A Secret Life. This was a much more classically-based project than many of Faithfull’s previous albums, and tracks like “Flaming September” definitely have the mysterious touch of Badalamenti. “The summer dying,” Faithfull sings. “September lives in flames.”

 

“Waiting in the Weeds,” Eagles
From: Long Road Out of Eden (2007)

As a Los Angeles-born band, it’s hard to feel bad for Eagles considering it’s basically summer all the time in their neck of the woods. In any case, 2007’s “Waiting in the Weeds” highlights the idea of, well, waiting for someone or something that simply never arrives. “Another summer’s promise almost gone,” Don Henley sings. “And though I heard some wise man say / That every dog will have his day / He never mentioned that these dog days get so long.”

 

“U.S. Blues,” The Grateful Dead
From: From the Mars Hotel (1974)

The Grateful Dead’s “U.S. Blues” gives off a more patriotic than end-of-summer vibe, but there is that line about “summertime done, come and gone.” This song was a co-write between Jerry Garcia and Robert Hunter, and the leading track to 1974’s From the Mars Hotel.

 

“(Only A) Summer Love,” REO Speedwagon
From: R.E.O. (1976)

What is it about warm weather romances never seeming to stretch into fall? Guitarist Gary Richrath penned REO Speedwagon’s “(Only A) Summer Love,” which appeared on their 1976 album R.E.O.I guess it was only a summer love,” he sings. “Nothing too serious and nothing to last / I feel like a fool to be longing for that lyin’ summer love.”

 

“Famous Last Words,” Billy Joel
From: River of Dreams (1993)

“Famous Last Words,” the final track on Billy Joel’s last rock album, serves as something of a broader metaphor. In it, Joel describes the cleanup after the Labor Day parade, the remaining tourist souvenirs and the boat moorings being pulled up, all of which is traded for “the apples in the early fall.” It’s an accurate description of a seaside town winding down for the summer, but also for the closing of one chapter of Joel’s life, to be replaced by another.

 

“These Are the Days,” Van Morrison
From: Avalon Sunset (1989)

Hats off to Van Morrison for writing possibly the only song on this list about savoring summer while you can and living in the moment, instead of lamenting its inevitable conclusion. “These are the days that will last forever,” he insists. “You’ve got to hold them in your heart.”

 

“Footprints,” Squeeze
From: Babylon and On (1987)

What’s a summer without some great parties? Certainly Squeeze would agree with that sentiment, having penned 1987’s “Footprints” about spending too much money and doing “much damage deep in our insides” — we’ve all been there. “Now the summer is over I can count the cost,” Glenn Tilbrook admits. “Footprints on the beaches are now footprints in the frost.”

 

“We Just Got Here,” Carly Simon
From: Have You Seen Me Lately (1990)

The beach is a haze and old love’s a ghost,” Carly Simon sings in “We Just Got Here,” conjuring up an image of an empty strand of sand that once hosted people in swimsuits and sunscreen. Now come the signs of fall, arriving just as quickly as summer left. “The apples are ripe and the corn is past / Everyone says summer goes by so fast / And we just got here.”

 

“Leaves That Are Green,” Simon and Garfunkel
From: Sounds of Silence (1966)

Arguably one of the most beautiful signs of the end of summer is the shift in color the leaves undergo, from a lush green to red, orange, yellow, brown and much in between. This is the metaphor Paul Simon adopted for “Leaves That Are Green,” which fade to brown and “crumble in your hand” like the love he once had for a girl.

 

“Kingdom of Days,” Bruce Springsteen
From: Working on a Dream (2009)

Oftentimes in his songs, Bruce Springsteen explores the uglier sides of love. But not in “Kingdom of Days” from 2009’s Working on a Dream. “I don’t see the summer as it wanes,” he says to his loved one, “just a subtle change of light upon your face.” Actually, the lyrics seem to emphasize, there’s something especially romantic about this time of year: “My jacket ’round your shoulders, the falling leaves / The wet grass on our backs as the autumn breeze drifts through the trees.”

 

“Time of No Reply,” Nick Drake
From: Time of No Reply (1987)

The song “Time of No Reply” by Nick Drake was released in 1987, over a decade after his death at the age of 26 in 1974. Drake has become posthumously famous for his wise-beyond-his-years lyricism and enigmatic songwriting. “Time of No Reply” sees him noting the sort of liminal space just before summer fully ends and fall begins — “Summer was gone and the heat died down / And Autumn reached for her golden crown.”

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New Janis Joplin Biopic Will Star Shailene Woodley


A new biopic about Janis Joplin will star Shailene Woodley as the powerful singer.

According to reporting by Variety, the project has received $2.5 million in funding from the California Film Commission. Woodley will also produce the film.

“California meant so much to Janis Joplin,” the actress said in a statement, “from the stoops of San Francisco to the wooden walls of Sunset Sound, the state became the stage upon which she explored not just the world of music, but the world of her vibrant humanity.”

Neither a title nor a release date has been confirmed.

Why Hasn’t a Janis Joplin Film Been Made Yet?

This is not the first time a film about Joplin has allegedly been in the works and subsequently scrapped. Amy Adams was slated to play Joplin in Janis: Get It While You Can in 2010. Before that, Zooey Deschanel was to take on the role for The Gospel According to Janis, later replaced by the singer Pink. There was also 2004’s Piece of My Heart starring Renee Zellweger. None of the films ever came to fruition.

READ MORE: How Janis Joplin Inspired Bette Midler Film ‘The Rose’

“I think there’s a lot of things that go into that. I think that it’s a lot harder to get a biopic done about a female, that’s why we don’t have that many,” Pink told Howard Stern in 2023. “And also, I just don’t think that Janis wants it made.”

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Judas Priest’s ‘Rocka Rolla’ Gets New Remix and Remaster


Judas Priest will release a remixed and remastered version of their debut album Rocka Rolla to commemorate the LP’s 50th anniversary. The digital remaster arrives on Friday, and vinyl and CD copies will hit shelves on Nov. 22.

“It’s great to look back and see our future unfurl — from little metal acorns mighty metal oaks do grow,” Judas Priest lead singer Rob Halford said in a statement. “One small step for metal, one giant leap for metalkind — a lifelong metal journey began with these songs. This album lit the eternal metal flame — as real and fresh as ever five decades on.”

The seeds of Judas Priest’s world domination were planted on Rocka Rolla, but listeners had to use their imaginations to envision the Metal Gods’ futures. The band — Halford, guitarists Glenn Tipton and K.K. Downing, bassist Ian Hill and drummer John Hinch — recorded the album during night-shift sessions to save money and had no say in the mixing and mastering processes. Consequently, the album suffered from subpar production and featured little of Judas Priest’s signature heavy metal thunder.

READ MORE: Judas Priest’s ‘Rocka Rolla’ Track-by-Track: Exclusive Excerpt

“I put the needle onto the groove and I sat back. And I just slowly started to deflate,” Halford recalled. “I was so disappointed with the way it was sounding … All of us were — we’d all worked so hard to get to this place. And now this music that we know when we play live is roaring — the heavy metal is roaring even in those early primitive days — none of that was coming out of the speakers.”

For a long time, it seemed like Judas Priest’s inauspicious debut would be doomed to “wasted potential” status. But in 2022, Gull Records — which originally released Rocka Rolla and its successor, Sad Wings of Destiny — sold the masters and publishing rights to Reach Music and Exciter Records in partnership with Judas Priest. Longtime producer Tom Allom helmed the remixing and remastering process.

“I’m just thrilled … because it just goes to show you when you get an expert involved in a project, it’s likely that you have a second chance,” Halford said. “And I think that Tom Allom is giving us a second chance here with the way that a lot of the elements were lost in Rocka Rolla. And it’s also nice, like a really nice feeling, especially to attach it to what will be a 50th anniversary moment. It’s just a beautiful feeling.”

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Heartbreakers Beach Party’ Coming to Theaters


Cameron Crowe’s directorial debut, 1983’s Tom Petty: Heartbreakers Beach Party, is coming to theaters this fall.

It’s been fully restored and also includes 20 additional minutes of footage starring Petty and his bandmates Mike Campbell, Benmont Tench and Stan Lynch. According to a press release, it features “in-depth interviews, electrifying live performances and unprecedented intimate access to [the band].”

For the first time ever, the film will be available to watch in theaters on Oct. 17 and 20, the latter being what would have been Petty’s 74th birthday. More information about tickets can be found here.

You can watch a trailer for the movie below.

READ MORE: Underrated Tom Petty: The Most Overlooked Song From Each Album

Heartbreakers Beach Party occupies a special place in my heart,” Crowe said in a statement. “Tom Petty and the Heartbreakers leaned into the making of the film with a kind of hilarious music-filled honesty that still feels fresh forty years later. It was also my first experience as a director. Thanks to Adria Petty and the Petty Estate, along with our co-filmmakers Danny Bramson, Phil Savenick, Doug Dowdle and Greg Mariotti, I’m so happy we’re bringing it back in all its reckless glory. The fact that it was yanked from MTV after only one airing at two a.m. [in 1983] just shows that it was indeed an outlandish feast for fans in all the best ways. Let that sucker blast!”

In Other Tom Petty News…

Later this month, the Petty estate will release a deluxe reissue of 1982’s Long After Dark. Included is a remastered version of the original album, plus recordings taken from French TV sessions, commentary from Jimmy Iovine and Crowe, as well as archival photographs.

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Crosby, Stills, Nash and Young Announce Unheard 1969 Live Album


On Aug. 18, 1969, at 3:30 in the morning, Crosby, Stills, Nash & Young made just their second appearance as a quartet at the Woodstock music festival, a performance where Stephen Stills famously quipped, “We’re scared shitless.”

The group soon hit the road for a series of concerts that helped set the stage for their 1970 album, Deja Vu. On Sept. 20, 1969, Crosby, Stills, Nash & Young played New York’s Fillmore East. Now, the multitrack tapes from that show are being released as Live at Fillmore East, 1969.

All four members – including the late David Crosby – were involved in the assembly of the album. The 17-song set arrives on Oct. 25 in CD and vinyl formats.

READ MORE: Top 10 Crosby, Stills & Nash Songs

The performance captured on the upcoming set was the group’s fourth show in two days at the historic venue. The concert included both acoustic and electric sets, with drummer Dallas Taylor and bassist Greg Reeves assisting onstage.

Following the release of a debut album as a trio in May 1969, Stills, Crosby and Graham Nash joined with Stills’ former Buffalo Springfield bandmate Neil Young for a tour later in the year. Woodstock really was their second show as a four-piece. An album would arrive in the first part of 1970.

“For me, CSNY was a chance to reunite with Steve Stills and carry on the Buffalo Springfield vibe,” Young says in the album’s notes. “Crosby’s great energy was always our catalyst. Graham and Stephen’s vocals, along with David’s and mine, were uplifting every night. Great moments I will never forget.”

“I remember the first Fillmore East shows with great fondness,” Nash adds. “Hearing the music again after all these years, I can tell how much we loved each other and loved the music that we were creating. We were so confident in what we were doing, and you can hear it in this recording.”

What’s on Crosby, Stills, Nash & Young’s ‘Live at the Fillmore East, 1969’ Album?

Live at Fillmore East, 1969 begins with an 11-song acoustic set launched with the trio’s “Suite: Judy Blue Eyes,” which was also played at Woodstock.

From there, Crosby, Stills, Nash & Young work their way through the trio’s debut (“Guinnevere,” “Lady of the Island”), Buffalo Springfield history (“On the Way Home”), Young’s solo career (“Down by the River”) and songs that would end up on March 1970’s Deja Vu (“Our House,” “4 + 20”).

You can see the track listing for the album below.

Crosby, Stills, Nash & Young’s ‘Live at the Fillmore East, 1969’ Track Listing
Acoustic Set
1. “Suite: Judy Blue Eyes”
2. “Blackbird”
3. “Helplessly Hoping”
4. “Guinnevere”
5. “Lady Of The Island”
6. “Go Back Home”
7. “On The Way Home”
8. “4 + 20”
9. “Our House”
10. “I’ve Loved Her So Long”
11. “You Don’t Have To Cry”
Electric Set
12. “Long Time Gone”
13. “Wooden Ships”
14. “Bluebird Revisited”
15. “Sea Of Madness”
16. “Down By The River”
17. “Find The Cost Of Freedom”

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Motley Crue Announces Shows at Three Famous Sunset Strip Clubs


Motley Crue will return to their roots with shows at three famous Los Angeles clubs next month.

The band will perform at the Troubador on Oct. 7, the Roxy on Oct. 9 and the Whisky a Go Go on Oct. 11 as part of their “Hollywood Takeover.” Motley Crue famously emerged from the Hollywood club scene in the early ’80s, performing their very first show at the Starwood Hotel in April 1981.

Hopefully they’ll get a slighter better reception this time around. “People were yelling ‘F— you!’ and flipping us the bird” during the kickoff song, ‘Take Me to the Top,'” singer Vince Neil wrote while recalling the band’s first show in the book The Dirt. “Then one meathead, in a black AC/DC shirt, hocked a loogey that landed on my white leather pants. Without even thinking, I leapt off the stage mid-phrase and put him in a headlock and started pummeling him.”

Read More: The Night Motley Crue Played Their First Show

Motley Crue Aim to Raise a Quarter-Million Dollars for Homeless Youth

In addition to promoting their new EP Cancelled, which includes a cover of the Beastie Boys’ “Fight for Your Right,” Motley Crue will use the Sunset Strip shows to launch a new charitable endeavor. They aim to raise $250,000 to benefit Covenant House by auctioning off instruments played at each of the shows, as well as a pair of tickets to the Troubadour concert. Covenant House is a non-profit organization supporting young people experiencing homelessness.

The group will also host a charity dinner at the Rainbow Bar and Grill on Oct. 8. A pop-up shop featuring exclusive merchandise will open at the venue on Oct 6. Tickets for the three concerts will be available only at the respective venue box offices beginning Saturday, Sept. 14 at 10AM PT.

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James Earl Jones, Beloved ‘Star Wars’ and ‘Lion King’ Star, Dies


One of the towering presences in movies, television, and theater — not to mention one of the most distinctive voices of the 20th century — has died. James Earl Jones passed away on Monday morning at his home in New York. He was 93 years old. His death was confirmed by Deadline. They did not list a cause of death.

Jones won Emmys, Grammys, and Tony Awards for his work as an actor on screens and on stage, and as a recording artist. He won several Emmys, including one for his work on Gabriel’s Fire, a Grammy for his spoken word recording of Great American Documents, and Tonys for his performances in the Broadway productions of The Great White Hope and Fences. He also received an honorary Oscar in 2011.

But Jones will be best remember for a pair of vocal performances: As Darth Vader in the Star Wars saga and as Mufasa in the original animated version of The Lion King as well as its recent remake.

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Born in Mississippi in 1931, Jones studied drama at the University of Michigan. After serving in the military, he began working as a stage actor, making the biggest early impressions of his career in productions of Shakespeare plays like Othello. The Great White Hope, a play about the struggles of a boxer, became his acting breakthrough; the role won him a Tony for Best Actor, and solidified his career as an up-and-coming star in the theater world.

Success in movies came later — most prominently as the booming, menacing voice of Darth Vader, the iconic villain of Star Wars. Jones reprised the role in The Empire Strikes Back and Return of the Jedi, and then made additional appearances as Vader in later years, including in 2005’s Revenge of the Sith and 2016’s Rogue One: A Star Wars Story.

Jones’ career on film began in 1964 with a small role in Stanley Kubrick’s Dr. Strangelove; his best-known movies include The Great White HopeConan the BarbarianComing to AmericaField of DreamsThe Hunt for Red October, and the ’90s kids classic The Sandlot.

In 1994, Jones voiced the wise king Mufasa in the original Lion King. He then reprised the role in Disney’s 2019 remake. It’s hard to imagine anyone else playing the role — although a prequel is coming later this year, directed by Barry Jenkins, with Mufasa voiced by Aaron Pierre.

As for Vader, Jones quietly retired from the role in recent years; for the character’s appearance in the recent Disney+ series Obi-Wan Kenobi, it was revealed that Jones had “stepped back” from actively performing the part, and allowed Lucasfilm to create his dialogue using archival recordings of his voice as well as AI technology.

Jones’ accolades are almost too extensive to mention; he received the National Medal of Arts, was inducted into the American Theater Hall of Fame, and was the recipient of a Kennedy Center Honor. He appeared in many of the most famous plays and movies of the 20th century. No one will forget his presence — or that incredible, distinctive voice.

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Who Are the ‘Big 4’ of Rock Guitar?


America has had dozens of Presidents, but only four have their faces carved into the side of a mountain in South Dakota. Similarly, some very big and important names will be regrettably but unavoidably excluded from any ranking of the “Big 4” rock guitar players.

This list attempts to identify the four guitar players who have made the biggest impact on the evolution of rock music, on their peers and on future generations of guitar players. With apologies to Tony Iommi, Eric Clapton, Jeff Beck, Pete Townshend and many, many others, here are the ‘Big 4’ of Rock Guitar:

Keith Richards

Hulton Archive, Getty Images

Hulton Archive, Getty Images

Keith Richards‘ guitar playing is one of the main reasons the Rolling Stones have become the most enduring and successful band in rock history. He’s also the co-writer of nearly all of their biggest hits. He’s also the “how is he still alive?” embodiment of rock and roll, the guy who composed and recorded the famous riff to “(I Can’t Get No) Satisfaction” in his sleep. Although primarily acclaimed for his rhythm work, Richards can be heard playing lead guitar on many classic Stones songs, including “Sympathy for the Devil,” which also features him on bass.

But if he was writing this list he’d almost assuredly put somebody else first. “Chuck [Berry] is the granddaddy of us all,” Richards told Rolling Stone in 2017. “Even if you’re a rock guitarist who wouldn’t name him as your main influence, your main influence is probably still influenced by Chuck Berry.” Fair point, but Richards helped the Stones take the genre to even greater creative heights by steadily incorporating a wider range of influences and textures into landmark songs such as “Gimme Shelter,” “Jumpin’ Jack Flash,” “Miss You” and… this could go on forever.

Working together with three distinctly different guitar duo partners – Brian Jones, Mick Taylor and Ronnie Wood – Richards has helped the Rolling Stones build a recorded catalog that towers over every other rock band in terms of both quantity and quality, and inspired an unimaginable  number of younger rock stars. Plus, let’s be clear, the story isn’t over yet. In 2023 Richards, co-founder Mick Jagger and their band mates released the very well-regarded Hackney Diamonds album, and earlier this year they mounted a highly successful stadium tour of the United States.

 

Jimi Hendrix

AFP Contributor // Getty Images

AFP Contributor // Getty Images

It’s safe to say Jimi Hendrix made a strong first impression on the rock world. “After Pete Townshend and I went to see him play, I thought that was it, the game was up for all of us, we may as well pack it in,” Eric Clapton later said of his first time seeing Hendrix perform.

After paying his dues as a sideman for acts such as the Isley Brothers, Little Richard and Curtis Knight, in 1966 Hendrix moved to London and exploded onto the scene by completely re-writing the vocabulary of rock guitar with his use of feedback, distortion and effects such as wah-wah on singles such as “Hey Joe,” “Purple Haze” and “The Wind Cries Mary.” His talent, creativity and bold experimental streak helped him craft songs such as “Are You Experienced?,” that still sound like they’re from the future more than five decades after their release. But he was also a devoted student of the blues, capable of delivering a mesmerizing version of “Hear My Train A Comin'” with just a 12-string acoustic guitar.

Although he only released four albums of original material (three studio, one live) before his untimely death in 1970, Hendrix’s unique blend of rock, blues, soul and psychedelia instantly changed the way many of his peers played, and continues to inspire and influence countless generations of rock musicians. The demand for his music is so strong that nearly every studio session or live concert of his that was recorded and preserved has been released as part of one of the dozens of posthumous Hendrix releases.

Read More: Who are the ‘Big 4’ of Prog Rock?

Jimmy Page

Richard E. Aaron, Redferns, Getty Images

Richard E. Aaron, Redferns, Getty Images

After spending years honing his craft as a highly-sought after session musician, Jimmy Page took over and completely rewired a floundering late-era version of the Yardbirds, and wound up building and leading perhaps the most important band in hard rock history: Led Zeppelin.

“I wanted Zeppelin to be a marriage of blues, hard rock and acoustic music topped with heavy choruses – a combination that had never been done before. Lots of light and shade in the music,” Page explained in a 1993 Guitar World interview. The collective talent and chemistry of Page, singer Robert Plant, drummer John Bonham and John Paul Jones proved to be the perfect vessel for Page’s vision, with his guitar playing front and center at all times.

“I owe a lot to Jimmy Page, of course – the master of the riff and the master of deliberately getting lost in time signatures,” Queen‘s Brian May told Guitar World in 2023. “Those guys were not that far ahead of us in age, but the first time we heard Zeppelin, we thought, ‘Oh, my God, this is where we’re trying to get to, and they’re already there!”

Page’s hard-earned studio mastery also played a big role in the band’s recorded sound and overall success. He produced all of the band’s albums, using creative tunings, unique microphone placement techniques, violin bows and innovations such as reverse echo to enhance his playing on classic songs such as “Whole Lotta Love” and “Kashmir.”

Although Page has largely retreated from the public eye, only sporadically releasing new music or performing live since Zeppelin’s demise in 1980, his influence looms as large as ever. “Jimmy Page, to me, is the consummate guitarist,” Kiss star Paul Stanley declared in Guitar World. “He’s Beethoven. He paints with music in a way that’s just so stellar. He’s not rock or metal, he’s true world music that encompasses so much.”

 

Eddie Van Halen

Larry Murano, Getty Images

Larry Murano, Getty Images

As rock music was in danger of being pushed aside by punk and disco in the late ’70s, Eddie Van Halen and his namesake band exploded onto the scene. Just like Hendrix before him, Van Halen re-wrote the vocabulary of rock guitar, partly by popularizing (not inventing) the tapping technique of using both hands on the guitar neck.

His 1978 instrumental showcase “Eruption” almost instantly became the much-imitated gold standard for guitar solos, essentially serving as a new alphabet for a legion of hard rock and heavy metal players. But what kept Eddie elevated above the pack was how well he used his technique to enhance, not detract from, his band’s songwriting. Van Halen (the band) spent years on the club circuit before emerging on the national scene, playing covers of everything from Black Sabbath to disco. When the time came to write their own songs they used that knowledge to meld Eddie’s jaw-dropping riffs with big pop hooks and tightly disciplined arrangements. This helped Van Halen become the most popular rock group for both guitar nerds and mainstream fans.

“From the first moment I heard them, I knew straight away that they were something special. The way that Ed plays is very different. He came up with a style that’s been imitated a million times, and they had great songs,” Tony Iommi declared in a 2010 Guitar World interview. Van Halen was also a mad scientist off stage, custom-building and drastically modifying his guitars and amplifiers in an eternal pursuit of better sound.

Ironically, in 1984 Eddie Van Halen brought the band to even greater commercial and creative heights by briefly temporarily putting his guitar down (over the initial objections of singer David Lee Roth) for their first-ever No. 1 hit, the keyboard-dominated “Jump.” Almost immediately just about every other hard rock band added the instrument to their arsenal. It was yet another example of the boundary-smashing innovation that made Eddie not just one of the most influential guitarists, but one of the most important musicians of the rock era.

Ozzy Osbourne’s Guitar Players: A Complete History 1979-2022

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Heart Announces Rescheduled Shows for 2025


Heart has announced rescheduled North American tour dates for 2025 after postponing them in July after it was revealed singer Ann Wilson had undergone an operation to treat a cancer diagnosis.

The upcoming tour will start on Feb. 28 in Las Vegas and conclude on April 5 in Quebec. Heart will perform 19 dates in all. You can see the rescheduled dates below

“The best is yet to come!” guitarist Nancy Wilson said in a press release announcing the concerts. “We are so, so excited to resume this tour. We were just starting to fire on all cylinders and the vibe was entirely major. To be continued.”

READ MORE: Watch Heart Launch 2024 Tour

Back in July, North American tour dates for the band’s Royal Flush Tour were put on hold as Ann Wilson tended to ongoing health issues, which resulted in the cancellation of European tour dates in late May for what was referred to as a “time-sensitive but routine medical procedure.”

“I underwent an operation to remove something that, as it turns out, was cancerous,” she wrote in July. “The operation was successful and I’m feeling great but my doctors are now advising me to undergo a course of preventive chemotherapy and I’ve decided to do it. And so my doctors are instructing me to take the rest of the year away from the stage in order to fully recover.

“To the ticket buyers, I really do wish we could do these gigs. Please know that I absolutely plan to be back on stage in 2025. My team is getting those details sorted and we’ll let you know the plan as soon as we can. Thank you all for the support. This is merely a pause. I’ve much more to sing.”

Where Is Heart Playing in 2025?

After the rescheduled dates begin in late February in Las Vegas, Heart will perform shows in Los Angeles, Phoenix, Milwaukee and Buffalo, among other North American cities, before wrapping up the run of shows with three dates in Canada.

You can find more information on the shows at Heart’s website.

In August Nancy Wilson hinted that the band is working on an acoustic album. While no date was set for the record, Wilson did note that they “could finish that before we go back out on the road.”

Heart, 2025 Royal Flush Tour
February 28 – Las Vegas, NV – Fontainebleau Las Vegas
March 3 – Los Angeles, CA – Crypto.com Arena
March 4 – Sacramento, CA – Golden 1 Center
March 6 – Phoenix, AZ – Footprint Center
March 8 – West Valley City, UT – Maverik Center
March 9 – Boise, ID – ExtraMile Arena
March 11 – Spokane, WA – Spokane Arena
March 13 – Vancouver, BC – Pacific Coliseum
March 14 – Portland, OR – Moda Center
March 20 – Calgary, AB – Scotiabank Saddledome
March 21 – Edmonton, AB – Rogers Place
March 24 – Winnipeg, MB – Canada Life Centre
March 26 – Milwaukee, WI – Fiserv Forum
March 28 – Knoxville, TN – Thompson-Boling Arena
March 29 – Charleston, WV – Charleston Civic Center Coliseum
March 31 – Buffalo, NY – KeyBank Center
April 2 – Montreal, QC – Bell Centre
April 4 – Ottawa, ON – Canadian Tire Centre
April 5 – Québec, QC – Videotron Centre

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This list of Heart Albums, Ranked Worst To Best, wasn’t an easy one to compile, because unlike many long-running groups, the band has never made a bad record.

Gallery Credit: Annie Zaleski





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Eric Clapton and Steve Winwood Collaborator Will Jennings Dies


Will Jennings, whose many hit collaborations included work with Eric Clapton and Steve Winwood, has died at age 80. His agent Sam Schwartz told the Los Angeles Times that Jennings passed away at home in Texas but did not reveal a cause of death.

He first worked with as principal co-writer with Winwood on 1980’s million-selling Arc of Diver, including the Top 10 hit “While You See a Chance.” Their partnership peaked two albums later with 1986’s multi-platinum international smash Back in the High Life. Jennings co-wrote “Higher Love,” “Back in the High Life Again” and “The Finer Things” with Winwood, all of which reached the Top 20.

Their collaborations were decidedly low key, Jennings later revealed. “We hang out. We go down to the pub, drink some beer, take walks – just live and talk about this and that, spend some time,” he told Songfacts. “It’s not like you show up and start writing. Show up and take a look around, see what the weather’s like.”

READ MORE: Top 10 Steve Winwood Songs

Jennings also co-wrote “Valerie,” a 1982 single that peaked in the Top 10 in 1987 after Tom Lord-Alge remixed the song for the Winwood compilation Chronicles. Winwood’s 1988 chart-topping multi-platinum album Roll With It included his second No. 1 Billboard hit, the title track, and the Top 10 single “Don’t You Know What the Night Can Do?” Both were co-written with Jennings.

Among Jennings’ other collaborators were Jimmy Buffett, Roy Orbison, B.B. King and Christopher Cross. “I’m deeply saddened to learn of the passing of my friend and collaborator Will Jennings,” Cross wrote on X. “Working with Will was a master class in lyric writing for me. He was the consummate wordsmith and his gift to the world is eternal.”

Whitney Houston covered the Grammy-nominated “Higher Love,” which was Winwood’s first-ever Billboard chart-topping song. Jennings later co-wrote her No. 1 1987 song “Didn’t We Almost Have It All.” He also wrote the lyrics for the Oscar-winning songs “Up Where We Belong,” performed by Joe Cocker and Jennifer Warnes for An Officer and Gentleman, and Celine Dion‘s “My Heart Will Go On” from Titanic, the top-selling song of 1998.

Watch Steve Winwood’s ‘Higher Love’ Video

How Will Jennings Helped Eric Clapton Through Tragedy

Eric Clapton, Winwood’s former bandmate in Blind Faith, memorably co-wrote “Tears in Heaven” with Jennings for the 1991 film Rush – but the platinum Top 5 single was actually a tribute to Clapton’s son Conor, who’d recently died at age 4 after falling out of an open window in a New York City high rise.

“We wrote a song called ‘Help Me Up’ for the end of the movie,” Jennings told Songfacts, “then Eric saw another place in the movie for a song and he said to me, ‘I want to write a song about my boy.’ Eric had the first verse of the song written – which, to me, is all the song – but he wanted me to write the rest of the verse lines and the release.”

Jennings completed the track – including the lines “time can bring you down / time can bend your knees,” even though he said, “I told him that it was so personal he should write everything himself. He told me that he had admired the work I did with Steve Winwood, and finally there was nothing else but to do as he requested, despite the sensitivity of the subject. This is a song so personal and so sad … it is unique in my experience of writing songs.”

Watch Eric Clapton’s ‘Tears in Heaven’ Video

Eric Clapton Albums Ranked

Eric Clapton had already carved out a respectable career for himself before he issued his first solo album.

Gallery Credit: Michael Gallucci

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Was Prince’s Famous Rock Hall Guitar Solo an ‘Act of Revenge’?


Prince’s otherworldly guitar solo at the 2004 Rock & Roll Hall of Fame induction ceremony remains a timeless example of his extraordinary musical ability. Now, a documentary has shed some light on the context behind his performance.

In a recent story for New York Times Magazine, writer Sasha Weiss offered an in-depth examination of the yet-to-be-released documentary about Prince’s life. The film, directed by Academy Award winner Ezra Edelman, takes a strikingly honest look at the complex musical genius that Prince was.

Towards the end of the film – which currently sits at nine hours in length – Prince’s Hall of Fame performance is highlighted. On that night, the Purple One joined Tom Petty, Steve Winwood, Jeff Lynne and Dhani Harrison to honor George Harrison with a rendition of “While My Guitar Gently Weeps.” Prince remained unseen for much of the performance, lingering in the background as each of the other musicians played through their respective portions of the song. Then he stepped up and delivered a blistering guitar solo that remains unmatched in the history of Hall of Fame events.

Watch Prince Performing ‘While My Guitar Gently Weeps’

Prince Reportedly Felt Slighted by ‘Rolling Stone’

According to the new documentary, Prince had something to prove that night. The previous year, he had been left out of Rolling Stone’s list of the 100 Greatest Guitarists of All Time. Jann Wenner, Rolling Stone’s co-founder, was also one of the heads of the Hall of Fame.

“Prince nursed these kinds of slights,” Weiss reported in the New York Times Magazine article, “and his commandeering of the stage — at an event associated with Jann Wenner and Rolling Stone — was, in part, an act of revenge. There’s spite and aggression in the performance. But there’s also pain — in his wincing face, his apartness: a small, soigné Black man onstage with these rumpled white rockers.”

READ MORE: 145 Artists Not in the Rock and Roll Hall of Fame

In the documentary, Prince’s Hall of Fame performance is contrasted with scenes from his past, including his tumultuous childhood.

“Suddenly, this triumphant performance is given this other dimension of insecurity and insistence in the face of all doubters — the white rock establishment, his uncomprehending parents, the demons in his head,” Weiss explained. “The keening he elicits from the guitar is so plaintive, you want to weep too. A close friend of his later told me that Prince would watch this performance over and over.”

Why the Prince Documentary May Never Be Released

Edelman has been working on the Prince documentary since 2019, when he was recruited by executives at Netflix to helm the project. Despite five years of painstaking work, the film may never be released.

READ MORE: The Best Rock Movie From Every Year

The crux of the problem seemingly stems from a debate over final edit. When Edelman signed on, Prince’s estate was being administered by a bank in Minnesota. The filmmaker was given access to Prince’s expansive vault of material, along with a promise that the estate would have no influence over his documentary. However, years later the estate changed hands. Its new executors reportedly objected to Edelman’s portrayal of Prince – which included his prodigious talent, but also his controlling nature and, at times, confrontational manner.

“Last spring, [the estate] saw a cut and, claiming that it misrepresented Prince, entered into a protracted battle with Netflix, which owns the rights to the film, to prevent its release,” Weiss reported. “As of today, there is no indication that the film will ever come out.”

Prince Year by Year: 1977-2016 Photographs

The prolific, genre-blending musician’s fashion sense evolved just as often as his music during his four decades in the public eye.

Gallery Credit: Matthew Wilkening





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E Street Band’s Patti Scialfa Reveals Blood Cancer Diagnosis


Patti Scialfa, the longtime E Street Band member and wife of Bruce Springsteen, has revealed her ongoing battle with blood cancer.

In the new documentary Road Diary: Bruce Springsteen and the E Street Band, Scialfa shared her news publicly for the first time.

“In 2018, well, Bruce and I were doing a play on Broadway. I was diagnosed with early stage multiple myeloma,” the backing singer confessed (as reported by People). Scialfa also added that “touring has become a challenge for me” as a result of her condition.

READ MORE: When Bruce Springsteen Married Patti Scialfa

Multiple myeloma is a cancer that forms in plasma cells found in bone marrow. According to the Mayo Clinic, “Multiple myeloma treatment isn’t always needed right away. If the multiple myeloma is slow growing and isn’t causing symptoms, close watching might be the first step.” Multiple myeloma is rare. The American Cancer Society notes that less than 1% of women in the United States are diagnosed with the condition.

Patti Scialfa Details Her ‘New Normal’

Scialfa had been a member of the E Street Band since 1984. She and Springsteen married in 1991 and together they have three sons. In Road Diary, the singer addressed how her touring life has changed since the diagnosis.

“This affects my immune system so I just have to be careful what I choose to do and where I choose to go,” she explained. “Every once in a while, I come to a show or two and I can sing a few songs onstage, and that’s been a treat. That’s the new normal for me right now, and I’m OK with that.”

READ MORE: The Best Song From Every Bruce Springsteen Album

Road Diary: Bruce Springsteen and the E Street Band premiered at the Toronto International Film Festival on Sept. 8. It will be officially released via Hulu and Disney+ on Oct. 25.

Meanwhile, Springsteen and the E Street Band have been touring for much of 2024, with performances scheduled through November. Further concerts have also been announced for 2025 in Europe.

Bruce Springsteen Albums Ranked

From scrappy Dylan disciple to one of the leading singer-songwriters of his generation, the Boss’ catalog includes both big and small statements of purpose.

Gallery Credit: Michael Gallucci





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‘Walk on the Wild Side’ Bassist Herbie Flowers Dies at 86


Bassist Herbie Flowers, whose long and diverse career including work with David Bowie, Elton John, Harry Nilsson, Cat Stevens and three members of the Beatles, has died of unspecified causes at the age of 86.

The BBC reports that Flowers’ death was confirmed on social media by close family members. He is best known for composing and performing the twin bass lines on Lou Reed‘s 1972 hit “Walk on the Wild Side.” He also plays the distinctive bass part on David Essex’s 1973 smash “Rock On” and Nilsson’s “Jump in the Fire.”

In a 2005 interview, Flowers confirmed that he was only paid about 30 pounds for his memorable contribution to Reed’s highest-charting single, double the usual fee at the time.

“It’s never ever occurred to me that I have any right whatsoever to ask for a commission or a royalty or an involvement in the composition of the piece,” Flowers explained. “It was a magical three days and it gave me all the confidence, and it reassured me that the style of a soul jazzist had never ever disappeared. …My favorite memory was [Reed] listening to Ronnie Ross putting that baritone sax solo on the end of ‘Walk on the Wild Side.’ He just looked and said, ‘that was divine.’ And that said it all, he was divine.”

Hear Bernie Flowers Perform on Lou Reed’s ‘Walk on the Wild Side’

Born in Isleworth, Middlesex, England in 1938, Flowers began his musical career in 1956 by playing tuba for the Royal Air Force, eventually switching to bass. In addition to his long list of session credits, he was at one point a member of Blue Mink, T. Rex and Sky. He co-wrote Clive Dunn’s 1970 novelty hit “Grandad.”

Flowers also performed on Bowie’s Space Oddity and Diamond Dogs albums, as well as Harry Nilsson’s Nilsson Schmilsson and Son of Schmilsson and albums from Paul McCartney (Give My Regards to Broad Street), Ringo Starr (Stop and Smell the Roses) and George Harrison (Somewhere in England, Gone Troppo and Brainwashed).

In Memoriam: 2024 Deaths

A look at those we’ve lost in 2024.

Gallery Credit: Allison Rapp





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Van Morrison and Robin Swann’s Defamation Lawsuit Settled


Nearly three years ago, Northern Ireland’s health minister Robin Swann filed a defamation lawsuit after Van Morrison accused him of mis-handling the COVID-19 pandemic. Swann is no longer the health minister, but the suit has finally been settled, just weeks before it was scheduled to go to trial.

Swann’s suit claimed that Morrison repeatedly referred to him as “dangerous” in public, as well as made similar comments to newspapers. At that time, the singer was often vocal about his disagreement with pandemic lockdown measures and what he called “pseudoscience.”

In response to some of these comments, Swann wrote an op-ed in 2021 for Rolling Stone.

“It’s entirely right and proper to debate and question policies,” he stated then. “It’s legitimate to ask if the right balance is being found in what is being done; if the right steps are being taken. None of this is easy or straightforward.”

He continued: “But Van Morrison is going way beyond raising questions. … His words will give great comfort to the conspiracy theorists – the tin foil hat brigade who crusade against masks and vaccines and think this is all a huge global plot to remove freedoms.”

Suit Settled

On Friday at the High Court in Belfast, a lawyer for Swann provided a statement. Neither party was present themselves.

“Sir Van, while not agreeing with a number of the steps adopted by government during the COVID crisis, acknowledges that in performing his then role as minister for health in Northern Ireland, Mr. Swann acted at all times honestly and in good faith and on the advice of responsible officials,” it read (via Rolling Stone). “Mr. Swann, while not agreeing with Sir Van’s views on the handling of the pandemic, acknowledges that those views were sincere and expressed in the context of Sir Van being prevented by government regulations from performing in a role for which he is justly famous.”

READ MORE: When Van Morrison Returned to His Roots With ‘Beautiful Vision’

In addition to the statement, there was also a note from Ireland’s Department of Health, which said that “any views they may have wished to express about Sir Van’s song lyrics might have been more appropriately expressed in the usual form of media interviews or statements provided to the Northern Ireland media, rather than providing copy to a U.S. rock music magazine.”

Irish Rock Stars: 17 Artists From the Emerald Isle

Ireland has given the world plenty of notable acts. 

Gallery Credit: Corey Irwin





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How Iron Maiden Became ‘King of the Castle’ With ‘Powerslave’


In an exclusive chapter-long excerpt from the newly updated edition of Martin Popoff’s Iron Maiden: Album by Album, Mike Portnoy, Nita Strauss and Blaze Bayley analyze the group’s Powerslave album.

Released in September of 1984, the album was home to the classic tracks “Aces High” and ‘2 Minutes to Midnight,’ as well as the nearly 14-minute historic epic “Rime of the Ancient Mariner.”

You can read the chapter below.

Powerslave is the pinnacle of my love for Iron Maiden,” declares Portnoy. “I think for the original classic period of the band, they took everything as far at they could possible to; to me, this is the most progressive album. Alice Cooper Band and solo guitarist Strauss, a former member of the all-female tribute band the Iron Maidens, called it “the one album we could’ve done from start to finish. We used to do every single song in our set, so I had a great appreciation for the lesser-known tracks.”

Read More: How Iron Maiden Wrote ‘2 Minutes to Midnight’

Iron Maiden: Album by Album (Updated Edition) is available for pre-order at all major retailers. In addition to exclusive interviews, the book contains live and off-stage photos, as well as pictures of rare memorabilia from every era of the band’s history.

Iron Maiden Albums Ranked

When ranking Iron Maiden albums, perhaps the most striking thing is that they succeeded despite changing lead singers on three separate occasions.

Gallery Credit: Eduardo Rivadavia





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How a Liberated David Gilmour Made ‘Luck and Strange’: Exclusive


David Gilmour isn’t about to turn his back on his legacy with Pink Floyd, but it’s clear in speaking with him that creatively, he’s got his feet firmly planted in the present.

“I just felt liberated from any idea of owing something to my past,” he tells UCR. “I was able to just move forward [and] do something different.”

The Pink Floyd guitarist and vocalist is celebrating the arrival of Luck and Strange, his first new solo album in nearly a decade. It’s a piece of work that’s colored by the unexpected period of isolation that came with the COVID-19 pandemic. During that time, he found himself sequestered with his family. They began hosting livestreams, dubbed the “Von Trapped” series, a clever nod to the 1965 film, The Sound of Music and the Von Trapp family.

As a result of those unexpected musical moments, Gilmour was energized and thought about how he might apply what he was feeling to the direction of his next solo LP. Discussions with Polly Samson, his wife and longtime collaborator, fueled further activity. “That led to finding a new, younger producer [Charlie Andrew] who was not tied to any of the old ways of thinking. In fact, he had no real idea about Pink Floyd, Pink Floyd’s career, me or my solo career or any of those things,” he explains. “A lot of elements from this are just starting from a fresh standpoint that I would describe as being liberated in some way. That’s not to say that I’m not full of pride and joy with the long career and the things that have happened in the past. But my focus is definitely looking forward.”

As he was preparing for upcoming live dates supporting Luck and Strange, Gilmour joined Ultimate Classic Rock Nights host Matt Wardlaw to talk about his new music and what fans can expect from the pending live shows.

You spent a day jamming with your band in your barn, back in 2007. One particular musical moment from that day helped to form the roots of the title track for this new record. What was the impetus for that jam?
It was really that we were on tour, during the On an Island tour. When we got to the end of that tour, I was thinking, “It feels like it’s a waste for these guys, who are cooking and hot…you know, we’re really in a groove together and playing really well.” I thought it was a waste not to do something else with that and the cohesiveness that we had. I got the core of the band, Rick [Wright], me, Guy [Pratt] and Steve DiStanislao to go to my house, into a barn. Of course, there were things that hadn’t occurred to me. It was January and the barn, the boards don’t even meet. There’s howling, icy winds blowing through it and it’s about five degrees below zero. [Laughs] But we managed.

So that was the plan and we did that. There are still 30 or 40 other bits of music, but that one was the first morning. It was the first thing that we did. I had that little piece of guitar. [Gilmour imitates musical section that became part of “Luck and Strange”]. I was just listening to that happening and listening to myself playing that and thinking, “That’s quite nice.” Gradually, they all joined in, one by one and we played it for 20 minutes. And that is the track. Obviously, we’ve worked on it a bit. We’ve added bridges and middle eights, choruses, but there was no rehearsal [with the original recording] and no second take. That is the take. They joined in so naturally and “Luck and Strange” all came out in that moment.

Listen to David Gilmour’s ‘Luck and Strange’

What brought you back to that particular piece of music?
It’s very hard to know or be able to explain why some pieces of music put their hand up and insist that now is their moment. I can’t explain it, really. That one, I mean, I had it in that basic form with the choruses and bridges before I did Rattle That Lock, but for some reason, it didn’t raise its hand and say, “Do me.” This time it did. I work a little bit that way. On the song “Sings,” there’s a sample of me, in which I recorded [myself] writing the chorus for that song in 1997 when my son was 2. You can hear him going, “Sing, Daddy, sing.” He’s now nearly 30. [Gilmour chuckles]. That was a chorus of a song that I tied it together with another piece of music that I wrote maybe six or seven years ago. There’s a lot of chance and a lot of accidents that happen on the way to this thing taking the form that it did.

You’ve spoken about how you have over a thousand “little tunes and stuff” that you’ve got catalogued. How did you get all of that organized? Because it seems like that would have been an interesting process.
To be honest, I’ve got lots of pieces of music going back into the ‘80s. I’ve got some whole songs, I’ve got some newer ones that I’ve done and I’ve got my trusty iPhone. I have recorded over a thousand tiny bits of something. I mean, it might just be a sound of a bird singing. I haven’t actually really been through those yet, but one of these days, I will — or I think I will — when I need something. [Laughs] It sounds like a hell of a lot, but to be honest, you play through them and 19 out of 20, you say, “That can go straight in the bin.”

The way you’re playing acoustically with the orchestra, building up to the solo, on “Scattered,” is pretty stunning. Just generally, that made me wonder how you work out your guitar solos. Is there any one way?
No, there’s no one way. I mean, it’s not like I sit down with a piece of paper and have that song [with] its components and parts, I’m afraid I just sort of let it happen. You know, you get to that point and I’m holding the nylon string guitar in my hand. I think, “Just keep playing, that’s nice.” I don’t know if I should mention this, but it’s a lot more haphazard than you would imagine. The moments for the different things just choose themselves and assert themselves onto you.

Listen to David Gilmour’s ‘Scattered’

You and Polly have been collaborating for a long time now. But you’ve got a lot of the family involved with this record. What do you think that added to the overall spirit of it?
The family thing is one issue. That really came out of the COVID experience and the locking down, where I was together with my family a lot more. The topics of these pandemic-type illnesses — at the beginning, we thought were going to be really much more dangerous than they eventually turned out to be. At the same time, Polly’s book, A Theatre for Dreamers, was coming out. Some events that we had booked in for promotion to get that known a little bit in the world had to be canceled. Charlie [Gilmour], our son, suggested that we do some livestreams. We didn’t know what that meant, at all. But that’s what we did. It tied in with Polly’s lovely book, doing readings from it and answering questions from people online while that was all going on, [with] me singing a song or two.

Usually, it was a cover of a Leonard Cohen song, because [he] appears in her book to some extent. I had Romany [Gilmour] there with us and she’d been learning the harp, playing it beautifully. It turned out that we were doing these songs with Romany singing harmony with me and playing the harp. That showed me what we could do together and how the sound of her voice with mine seemed to have something extra to it that’s not the usual thing when you get other people singing with you. You know, the Everly Brothers sound pretty good together, the Beach Boys. There’s a hundred elements due to the world and time and political situations that led us towards the way this album got made. There’s a liberation in there as well, with these livestream things and my daughter being a part of it.

Polly’s been a part of [my collaborative process] for [more than] 30 years. Getting Charlie in to help write some lyrics, I just felt liberated from any idea of owing something to my past. I was able to just move forward, do something different and that led to finding a new, younger producer who was not tied to any of the old ways of thinking. In fact, he had no real idea about Pink Floyd, Pink Floyd’s career, me or my solo career or any of those things. A lot of elements from this are just starting from a fresh standpoint that I would describe as being liberated in some way. That’s not to say that I’m not full of pride and joy with the long career and the things that have happened in the past. But my focus is definitely looking forward.

Watch David and Romany Gilmour Perform ‘Yes, I Have Ghosts’ on the ‘Von Trapped’ Series

What can you tell us about the upcoming shows?
I haven’t really gotten these shows very well worked out yet. I’ve got a very loose list of songs and things that I’m expecting to do, which do include one or two from the ‘70s. [Laughs] Everyone seems to want to know about that! I imagine that I’ll be doing all of this album, but maybe in a couple of chunks. It’s not quite clear yet. But a lot of the music will be newer and younger than 50 years old.

One area in your catalog that you don’t seem to revisit in the live setting is the first two solo records.
You know, I love both of those earlier two solo records. I’ve got nothing whatsoever against them. I listened to About Face and the sound is dated — that’s not overcomable — but some of the topics that are being discussed are also way out of date. Some of the themes aren’t quite as universal as you might want to be doing today. You’re right, I haven’t played any of them for years and probably won’t this time either. [Laughs] It’s just that thing that they don’t sound like me now.

t’s interesting how in the electronic press kit for this new album, you’ve got a lot of gear and pedals around you. But it doesn’t seem like you require much to get your sound.
No, I mean, I sound like me. That’s a great positive, but it’s inescapable. I can’t not sound like me. [Laughs] You know, I’ve always been a bit of an aficionado for pedals, but I don’t like to overuse them. I just bang one in when I want a bit more boost or something. Half the ones, I don’t even know what they are that I’m using, to be honest. I have a great tech guy, Phil Taylor, who looks after all of those things for me and says, “Try this.”

One of the other things about your guitar playing is the economy of your approach. You’ve demonstrated that you can express so much in your playing without using a lot of notes. What was the moment when you realized the fact that less can be more?
When I realized my fingers were just never going to go much faster. You’ve got to find your own path in this thing. I love making music and I love playing guitar, but to me, it’s like, I’m playing melodies over a bed of something. While it would be nice to occasionally whiz from one slow delicate melody to another through a flurry of 36 notes in five seconds, it’s just not really quite me. I do wish I could do it a bit better sometimes. [Laughs]

With this album, there’s the unmistakable feeling of mortality that we’re all facing at some point. I hear that in a song like “Sings.” It seems like it would have been an emotional thing recording some of these songs.
I love that song. I think Polly was worried that it was too sweet. But I told her it’s a work of genius. I am so happy with the way this record has formed itself. The way Polly has gotten herself into my brain and obviously, hers — and created subjects that she writes about so beautifully, so poetically, but so eloquently. They all tie in together. The subject of each song is not the same as the subject of other songs. We’re not talking a concept album here, but we are talking about a cohesion between all of the songs that creates something maybe a bit better than all of the parts.

Watch David Gimour Discuss ‘Luck & Strange’

Why 40 of Rock’s Biggest Reunions Haven’t Happened

A look at 40 of the biggest potential reunions in rock music, and why they most likely won’t happen.

Gallery Credit: Matthew Wilkening, except as noted below.





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Liam Gallagher Is ‘Gutted’ for Fans Who Didn’t Get Oasis Tickets


When tickets for Oasis‘ 2025 reunion concerts went up for sale recently, there was a mad dash. Liam Gallagher says he’s “gutted” for the fans who were unfortunately not able to secure tickets.

The singer has been noticeably quiet on social media, but is now back to replying to fans.

“I’m seriously gutted for people that can’t get tickets I can’t even go there it hurts my heart,” he wrote on Saturday. “I know people will think I’m taking the piss but I’m not I want to celebrate this biblical moment with everyone I gotta go I’m sorry.”

At the moment, Oasis is scheduled to perform shows in five different cities in the U.K., all of which have sold out. Plans are reportedly underway for dates in other continents, though further details on this have not been announced.

Liam Gallagher Is Saying Nice Things About His Brother

Tickets are not the only thing Liam is posting about. He’s also posted several kindly-worded messages about his older brother and primary songwriter of Oasis Noel Gallagher. When asked by one fan if Noel is “still a potato” — a belittling nickname Liam has previously used for his brother — he responded: “No he is bloody well not [I] won’t have a bad word said about that gorgeous talented young man.”

READ MORE: Underrated Oasis: The Most Overlooked Song From Each Album

Liam also addressed a post that insinuated the band is only participating in the reunion shows for the money. “How do you know mystic dickhead we could both be doing it for climate change and pot noodles,” he replied.

Oasis Albums Ranked Worst to Best

The Manchester-born band only released seven albums — and they ended on rough terms — but there’s a subtle arc to their catalog that both draws from clear influences and stands entirely alone. 

Gallery Credit: Allison Rapp





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Screamin’ Scott Simon of Sha Na Na Dead at 75


Screamin’ Scott Simon of Sha Na Na has died at the age of 75, following a lengthy battle with sinus cancer.

The news was confirmed by his daughter, Nina, in a social media post.

“My dad was a rock star. Literally,” she wrote, sharing a photo of her father and family. “A member of Sha Na Na for over 50 years. He loved early morning diners and late nights onstage. But he loved his girls most of all.”

Simon’s Background

Simon was born in Kansas City, Missouri in 1948, later graduating from Columbia in New York City in 1970. That same year, he joined Sha Na Na, the doo wop revival group who rose to fame covering ’50s rock ‘n’ roll songs and even performing at Woodstock in 1969.

With Sha Na Na, Simon wrote a number of the band’s songs. In 1978, the whole group appeared in Grease as “Johnny Casino and the Gamblers,” but Simon did more than just appear on screen — he also co-wrote the song “Sandy” with Louis St. Louis, which John Travolta sang.

Over the years, Sha Na Na performed with the likes of John Lennon and Yoko Ono, Steve Martin, Bruce Springsteen and Billy Joel. They also had their own television series named after themselves, which ran from 1977 to 1981 and included guests like Chuck Berry, the Ramones, Dusty Springfield, Billy Crystal and more.

Simon was a member of Sha Na Na until 2022, the year the band stopping touring.

Watch Screamin’ Scott Simon Perform on the ‘Sha Na Na’ Show

In Memoriam: 2024 Deaths

A look at those we’ve lost in 2024.

Gallery Credit: Allison Rapp





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Is ‘SNL’ Movie’s Early Release a Sign of Producers’ Confidence?


Columbia Pictures, producers of Saturday Night – the movie that explores the minutes leading up to Saturday Night Live’s first-ever broadcast in 1975 – has announced the feature will begin rolling out two weeks ahead of its original schedule.

It had been set to arrive everywhere on Oct. 11, but will now land in New York, Los Angeles and Toronto on Sept. 27, followed by a limited release farther afield on Oct. 4 and wide release on Oct. 11.

The news follows a series of positive reviews, with reports that test screenings also went better than might have been expected.

READ MORE: Meet the Cast of the Upcoming ‘Saturday Night Live’ Movie

Variety’s review said director Jason Reitman “isn’t the first to take audiences behind the scenes of SNL and its ilk – 30 Rock, Studio 60 and The Larry Sanders Show all demystified that world — but he does it so convincingly,” adding that the movie “seems destined to be the way we remember the night that changed television.” Variety also described it as a potential Oscar-winner, “thanks to its superb ensemble, sizzling script and expert craftsmanship.”

World of Reel shared comments from a contact who’d attended a test screening, who said: “Fantastic. Big response from audience…[I]t’s also hard to fully pinpoint a bonafide standout within the ensemble because it’s all over the place with the way it’s constantly moving and bouncing around to different characters (not a bad thing though, I thought it kept things fresh and avoided lingering/losing momentum).”

Rolling Stone called the production “extremely potent,” noting that while it was sometimes a “sloppy and overly reverent tribute,” it was also a “part hilarious 1970s gross-out romp, and an all-out assault to recreate the adrenaline rush of producing that inaugural SNL.”

Which Viewers Will Most Enjoy ‘Saturday Night’?

And while the Hollywood Reporter’s review tended towards the negative, it appeared more critical of the premise rather than the performances, arguing: “We go into the movie with high expectations, but only some of them are realized. … Those who remember the excitement of SNL‘s early years will want to catch up with this revolutionary moment in TV history, but younger viewers may not find enough here to tickle or tantalize.”

The cast includes Gabriel LaBelle as Lorne Michaels, Dylan O’Brien as Dan Aykroyd, Cory Michael Smith as Chevy Chase, Rachel Sennott as Rosie Shuster and Lamorne Morris as Garrett Morris. The soundtrack was composed by Grammy-winner Jon Batiste, who plays the show’s first musical guest, Billy Preston.

Watch a Trailer for ‘Saturday Night’

Original ‘Saturday Night Live” Cast: Where Are They Now?

What’s happened since that first episode in October 1975?

Gallery Credit: Dennis Perkins





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Kansas Bassist Departs After Nearly 40 Years in the Band


Billy Greer, the bassist and co-lead vocalist for Kansas, has retired after nearly 40 years in the band.

In a message announcing his departure, Kansas thanked Greer for his decades of service.

“For 39 years, Billy has been a loyal, dedicated, and immensely talented bandmate. He’s traveled around the world with us including USO tours,” drummer Phil Ehart wrote.

Guitarist Richard Williams added that Greer “stood shoulder to shoulder with us through both the ups and the downs. His voice, both singing and emceeing, has been a constant with us on stage. The entire Kansas family will miss him.”

Who Is Billy Greer?

Though he was not an original member, Greer’s tenure was the third longest in Kansas history behind Ehart and Williams. The bassist joined in 1985, part of a new lineup following the group’s brief hiatus. He appeared on seven of the band’s studio albums: Power (1986), In The Spirit of Things (1988), Freaks of Nature (1995), Always Never the Same (1998), Somewhere to Elsewhere (2000), The Prelude Implicit (2016) and The Absence of Presence (2020). For the last 18 years, Greer has also taken a prominent role in Kansas’ live shows, serving as emcee.

READ MORE: Kansas Albums Ranked Worst to Best

“I consider myself lucky. There have been a couple of incarnations along the way, but we’ve managed to push through the rough times,” Greer explained during a 2023 interview with 100% Rock Magazine. “I was part of those rough times. In the ‘90s when grunge became the flavor of the month, that set us on a course for doom.”

“We kept going. Those were some dark times. Playing small clubs from Tuesday through Thursday to get to the good gigs on the weekends,” he continued. “It was a rough go for a lot of years, but we slowly made our way back.”

Greer’s final performance with Kansas took place Sept. 1 in Windsor, Ontario, Canada. The band has not announced a replacement, but assured fans that Greer’s departure “will not impact any Kansas performance scheduling.” The group’s next show is Sept. 7 in Spencer, Iowa.

Phil Ehart Looks Back at 8 Key Kansas Albums

Founding drummer goes in depth on a series of career-changing LPs from Kansas.

Gallery Credit: David Chiu





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Top 10 ‘Is She Talking About Me?’ Songs


The beauty of writing a song is that you can take inspiration from literally anywhere. You can also, if the mood strikes you, write about one specific person.

Often, songs end up a mixture of both of these approaches — certain lines prompted by real-life people and others more general in nature. This gray area is where it can become hard to tell where factuality ends and where fictional story-telling begins, and in turn, can lead to a whole lot of speculation.

Female singer-songwriters in particular have suffered for decades under the assumption that their creative output revolves around the men in their lives, an antiquated and sexist stereotype that holds little water. When male characters — real or otherwise – appear in women’s songs, it’s more likely because the artist is doing the same thing any other gender of songwriter does: write about the people, places and events they observe in their lives.

Still, when the rumor mill starts going it’s hard to stop it. Below, in no particular order apart from chronological, we’re taking a look at 10 of the best songs written by women, possibly inspired by specific men.

1. “A Case of You,” Joni Mitchell 
From: Blue (1971)

Joni Mitchell is famous for what was, in the early ’70s, referred to as “confessional songwriting,” as in the kind of emotionally personal writing that takes directly from one’s own life and exposes it to the world. It was Kris Kristofferson who heard Mitchell’s 1971 album Blue and allegedly warned her to “save something of yourself,” but this approach helped usher in an entire generation of singer-songwriters who scraped at the sides of their souls in the name of art. Because she was so prolific in writing about her emotions, Mitchell’s songs were often examined closely for hints of their potential subjects, and though parts of Blue contained material regarding one of her exes, Graham Nash, “A Case of You” is said to be more about a previous partner, Leonard Cohen, with its allusions to Shakespeare and lines he said to Mitchell.

 

2. “It’s Too Late,” Carole King 
From: Tapestry (1971)

In “It’s Too Late” we have something of a double-hitter. Lyricist Toni Stern penned the words in a single day after her relationship with James Taylor, who played guitar on Tapestry, ended. “I won’t say who ‘It’s Too Late’ is about — I don’t kiss and tell,” Stern said for Girls Like Us: Carole King, Joni Mitchell, Carly Simon — and the Journey of a Generation. That’s okay, we can put two and two together.

Meanwhile, King’s nearly decade-long marriage to Gerry Goffin had also ended and she’d gotten remarried to her bass player, Charles Larkey. “[Stern’s] lyrics, you know, speak for people who are going through divorces,” King noted to CBS in 2012.

 

3. “You’re So Vain,” Carly Simon
From: No Secrets (1972)

Any song that begins with the words “son of a gun” is bound to be juicy. Enter Carly Simon’s “You’re So Vain,” a track that has beget question after question over the subject’s identity. Among the people whose names have come up over the years: Mick JaggerDavid BowieWarren BeattyJames Taylor, David Cassidy, Cat Stevens, Dan Armstrong, David Geffen and Jack Nicholson. Simon has said that the song is indeed about a real-life man who walked into a party she was at in Los Angeles with an air of egotistic confidence, but has refused to name him specifically and has also insinuated it is a conglomerate of several people. Either way, if you recognize yourself in the lyrics to “You’re So Vain,” you may want to reevaluate your personality.

 

4. “Cold Blue Steel and Sweet Fire,” Joni Mitchell
From: For the Roses (1972)

James Taylor had the pleasure of dating several exceptionally talented women, including both Simon and Mitchell. Like several musicians of his time, Taylor struggled with substance abuse as his fame rose, which Mitchell witnessed firsthand and wrote about in 1972’s “Cold Blue Steel and Sweet Fire,” a troubling but also jazzy account of a lover’s descent into addiction — “Sparks fly up from sweet fire / Black soot of Lady Release / ‘Come with me, I know the way’ she says.”

Taylor knows the song is about him. “I’m not able to listen to it,” he told The Guardian in 2020.

 

5. “Diamonds & Rust,” Joan Baez
From: Diamonds & Rust (1975)

For many years, Joan Baez was better known for her interpretations of traditional folk songs. When she began releasing her original music, she proved to be an equally adept songwriter. In 1974, she was at work on a song about something else when she got a call from her old boyfriend Bob Dylan. “He read me the entire lyrics to ‘Lily, Rosemary and the Jack of Hearts,’ that he’d just finished from a phone booth in the Midwest,” Baez recalled to HuffPost in 2010. (That song would end up on Dylan’s 1975 album Blood on the Tracks.) Baez swiftly shifted gears, crafting the title track to her own 1975 album Diamonds & Rust with lyrics about Dylan being “the unwashed phenomenon, the original vagabond.” “I don’t remember what I’d been writing about,” she said in 2010, “but it had nothing to do with what it ended up as.”

 

6. “Silver Springs,” Stevie Nicks of Fleetwood Mac
From: 1976 Single

Not to pigeonhole her work, but Stevie Nicks is arguably the queen of writing songs like this — “Silver Springs” is just one of them. Nicks has never hidden the fact that the song, like others, was written about her relationship and breakup with Lindsey Buckingham. “‘I’m so angry with you. You will listen to me on the radio for the rest of your life, and it will bug you. I hope it bugs you,'” she said to The Arizona Republic in 1997, describing why she wrote it and what message she wanted to get across to Buckingham. That was the same year Fleetwood Mac reunited for an album and TV special both titled The Dance, in which Nicks could be seen staring a hole through Buckingham as the band performed “Silver Springs.” You’ll never get away from the sound of a woman that loved you.

 

7. “Barracuda,” Heart 
From: Little Queen (1977)

Being a female rock ‘n’ roll artist in the ’70s presented challenges, as the sisters of Heart became all too familiar with them. At one point, someone at Mushroom Records, the label responsible for releasing Heart’s first two albums, had the extraordinarily stupid idea to create a publicity stunt of sorts that implied Ann and Nancy Wilson were involved in an incestuous relationship. When a radio promoter at a concert asked Ann how her “lover” was doing and she realized what he was referring to, she was livid. Her sister was too, and they ended up writing the fiery “Barracuda” as a response.

 

8. “Songbird,” Christine McVie of Fleetwood Mac 
From: Rumours (1977)

Stevie Nicks is not the only member of Fleetwood Mac to have written some remarkable songs about lost love. Christine McVie’s “Songbird” was written before her 1976 divorce from bassist John McVie, while Fleetwood Mac was touring no less. “I broke up with John in the middle of a tour. I was aware of it being rather irresponsible,” she told Rolling Stone in 1977. McVie never explicitly stated who the song was about, but the poignancy of lyrics like “I wish you all the love in the world, but most of all, I wish it from myself” speak for themselves. “When Christine played ‘Songbird,’ grown men would weep,” John McVie once said. “I did every night.”

 

9. “Talk of the Town,” Chrissie Hynde of the Pretenders
From: Pretenders II (1981)

Some people assumed the Pretenders’ “Talk of the Town” was written about Ray Davies of the Kinks, who would later have a daughter with Chrissie Hynde in 1983 — “One thing leads to another I know / Was a time I wanted you for my mine.”

But actually, Hynde wrote it about a stranger. “I had in mind this kid who used to stand outside the soundchecks on our first tour,” she explained on the BBC Songwriters Circle program in 1999 (via Songfacts). “I never spoke to him. I remember that the last time I saw him I just left him standing in the snow, I never had anything to say to him. I kind of wrote this for him, so, in the unlikely event that you’re watching this, I did think about you.”

 

10. “You Oughta Know,” Alanis Morissette
From: Jagged Little Pill (1995)

Those who have been rumored to be the subject of Alanis Morissette’s “You Oughta Know” include the actor Dave Coulier, hockey player Mike Peluso and actor Matt LeBlanc, plus others. But Morissette’s lips have been sealed since the song came out in 1995.

“Well, I’ve never talked about who my songs were about and I won’t, because when I write them they’re written for the sake of personal expression,” she said to the Vancouver Sun in 2008. “So with all due respect to whoever may see themselves in my songs, and it happens all the time, I never really comment on it because I write these songs for myself, not other people.”

Rockers Who Dated Their Bandmates





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Clutch and Rival Sons Launch Tour: Set Lists and Video


Clutch and Rival Sons brought a prime selection of heavy rock to New York on Thursday as they began their Two Headed Beast co-headlining tour.

Both bands are celebrating the anniversaries of key albums. Rival Sons turned in an energetic set that covered a lot of their catalog, including six songs from 2014’s Great Western Valkyrie, including “Good Luck” for the first time since 2018. Clutch subsequently performed the bulk of 2004’s Blast Tyrant, honoring its 20th anniversary, while also mixing in additional cuts from their catalog. Set highlights included three songs from 1993’s Transnational Speedway League: Anthems, Anecdotes and Undeniable Truths, which marked its 30th anniversary last year and was the major label debut for the Maryland group.

READ MORE: How Rival Sons Swung for the Fences With ‘Great Western Valkyrie

Fellow stoner rock veterans Fu Manchu are opening the initial dates of the tour and delivered a tight performance that checked a lot of boxes despite their limited time on stage. Serving up two tracks from their latest album, 2024’s The Return of Tomorrow, they also made room for fan favorites like “Evil Eye” and the title track from 1999’s 10 inch, Eatin’ Dust.

For Rival Sons, the night’s performance at at the Brooklyn Paramount found them walking a bit of a wire. “We haven’t seen each other for a good month and a half. Generally, we’ll get together and rehearse for a few days, but we didn’t,” guitarist Scott Holiday tells UCR. “We were really working out the kinks and kicking the dust on deck, which is kind of fun. You show everything and there’s a certain excitement and energy about it.”

According to Buchanan, they eventually plan to play all of the songs from Great Western Valkyrie — including one that they’ve never performed before. “I think it was a really strong record for us and they’re songs that work well live, for the most part. So we regularly play a lot of songs from that record already,” he shares.”We’re really hoping to bring ‘Destination on Course [Slipped from the Rail)’ to the set.”

“It’s got some interesting parts that we weren’t able to work out quickly and for some reason, we just never circled back around on that one,” Holiday explains. “It has this huge choral section that we weren’t sure how we were going to accomplish that properly. It wasn’t going to be with us singing the background vocals. Now that we’re working with Jesse Nason as the keyboard player — he has a Mellotron and all of these interesting things that I think will be able to close these little gaps.”

The guitarist happily acknowledges that they’re the odd band of the tour. “Clutch and Fu Manchu are way more stoner rock than we are,” he laughs. “We’re just fans and kind of enjoy being this black sheep, you know, signing to a death metal label, booking a stoner tour! It was Clutch-heavy last night as far as the fans, but I think we won some fans [also] and it was a really fun night.”

The Two Headed Beast tour continues tonight (Sept. 6) in Atlantic City.

Watch Fu Manchu Perform ‘Evil Eye’ in Brooklyn

Watch Rival Sons Perform ‘Too Bad’ in Brooklyn

Watch Clutch Perform ‘Electric Worry’ in Brooklyn

Rival Sons Set List, Sept. 5, 2024, Brooklyn, New York
“Mirrors”
“Nobody Wants to Die”
“Tied Up”
“Too Bad”
“Good Luck”
“Electric Man”
“Belle Starr”
“Where I’ve Been”
“Open My Eyes”
“Pressure and Time”
“Torture”
“Do Your Worst”
“Keep on Swinging”
“Secret”

Clutch Set List, Sept. 5, 2024, Brooklyn, New York
“Mercury”
“Profits of Doom”
“The Mob Goes Wild”
“Cypress Grove”
“Promoter (of Earthbound Causes)
“The Regulator”
“Worm Drink”
“Army of Bono”
“Spleen Merchant”
“(In the Wake of) the Swollen Goat”
“Subtle Hustle”
“Ghost”
“(Notes from the Trial of) La Curandera”
“Spacegrass”
“A Shogun Named Marcus”
“El Jefe Speaks”
“Binge and Purge”
“Electric Worry”

Fu Manchu Set List, Sept. 5, 2024, Brooklyn, New York
“Eatin’ Dust”
“Evil Eye”
“Hands of the Zodiac”
“Hell on Wheels”
“Laserbl’ast”
“King of the Road”
“Loch Ness Wrecking Machine”
“Weird Beard”

Fall 2024 Rock Tours

Many of rock’s biggest artists will hit the road for performances once more in 2024.

Gallery Credit: Corey Irwin





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Weezer Launches Voyage to the Blue Planet Tour: Photos, Set List


Weezer launched their Voyage to the Blue Planet tour with a rousing performance in Saint Paul, Minnesota on Sept. 5.

The trek celebrates the 30th anniversary of the beloved alt-rockers’ self-titled album, commonly referred to as the Blue Album. While that LP was performed in its entirety, it was only part of a much broader show.

From the opening moments of their St. Paul performance, Weezer made clear that their sci-fi-themed tour name wasn’t just for show.

A large spacecraft started on the stage, then “blasted off” to reveal the band members, decked out in astronaut suits. Weezer – made up of frontman Rivers Cuomo, guitarist Brian Bell, bassist Scott Shriner and drummer Patrick Wilson – then proceeded to rock through material from throughout their career, as stars, planets and UFOs periodically appeared around them.

READ MORE: How a Trip to the Grocery Store Helped Weezer Make the Blue Album

The show was loosely separated into three parts. The first, Blue Voyage Takeoff, featured a collection of the band’s various hits, including “Hash Pipe,” “Beverly Hills” and “Island in the Sun.”

Next, the show’s plot, which was reminiscent of a campy Star Trek or Lost in Space episode, placed Weezer in the Pinkerton Asteroid Belt. Appropriately, the rockers delivered a series of tunes from their cult-classic second album, including “Why Bother?” and “Pink Triangle.”

Weezer Lands of the Blue Planet

Then came the moment everyone was waiting for. After their intergalactic travels, Weezer touched down on the Blue Planet, only to discover it was dying. What could bring it back to life? Why, playing their debut album in its entirety, of course. “That’s one small step for Weezer, one giant leap for Weezer-kind!” Cuomo declared, fully embracing the fun of the moment. The crowd then happily rocked out to such classic tracks as “My Name Is Jonas,” “”Undone – The Sweater Song” and “Buddy Holly.”

Pictures from the show and a full set list can be found below. Weezer’s Voyage to the Blue Planet tour continues through mid-October, with stops throughout the U.S.

Weezer, Xcel Energy Center, St. Paul, Set List

1. “Anonymous”
2. “Return to Ithaka”
3. “Dope Nose”
4. “Hash Pipe”
5. “Pork and Beans”
6. “Beverly Hills”
7. “Burndt Jamb”
8. “Island in the Sun”
9. “Any Friend of Diane’s”
10. “Perfect Situation”
11. “Run, Raven, Run”
12. “Getchoo”
13. “Why Bother?”
14. “Pink Triangle”
15. “You Gave Your Love to Me Softly”
16. “Across the Sea”
17. “My Name Is Jonas”
18. “No One Else”
19. “The World Has Turned and Left Me Here”
20. “Buddy Holly”
21. “Undone – The Sweater Song”
22. “Surf Wax America”
23. “Say It Ain’t So”
24. “In the Garage”
25. “Holiday”
26. “Only in Dreams”

Weezer ‘Voyage to the Blue Planet’ Tour Launch





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Sergio Mendes, Brazilian Jazz Legend, Dead at 83


Sergio Mendes, the influential Brazilian jazz musician known for bringing bossa nova to worldwide audiences, has died at the age of 83.

In a statement to the Los Angeles Times, the musician’s family said he died “peacefully.” No official cause of death was given, but the family noted he “had been challenged by the effects of long term COVID.”

Born in Niteroi, Brazil, Mendes began playing music at an early age and attended school in hopes of becoming a classical pianist. He eventually transitioned towards jazz, cutting his teeth in Brazilian nightclubs in the 1950s.

Mendes formed the band Sexteto Bossa Rio and released his debut album, Dance Moderno, in 1961. Soon, American jazz musicians came calling, including Cannonball Adderly and Herbie Mann, who recording with Mendes in the early ‘60s.

As his star continued to rise, Medes reallocated to the U.S.A. Still, American record companies were leery to sign him.

“We’d play three, four, five songs” Mendes recalled to NPR regarding his early U.S. auditions. “No answer, nothing,” was the reply, “just, ‘Oh, thank you. You guys sound great, bye.’ “

Listen to ‘Mas Que Nada’

However, Herb Alpert and Jerry Moss, founders of A&M Records, were intrigued by Mendes’ sound and eventually signed him to his first American record deal. The move immediately paid off, as Mendes and his newly formed backing band Brasil ‘66 scored a mainstream hit with their rendition of “Mas Que Nada.” The tune reached No. 47 on the Billboard Hot 100 and helped push their debut album to platinum sales.

“It was the first time that a song in Portuguese was a hit in America and all over the world,” Mendes noted.

An expansive career continued from there. In 1968, Dusty Springfield’s rendition of “The Look of Love” was nominated for an Oscar. Mendes and Brasil ‘66 covered the song during the award show telecast and turned it into another hit, reaching No. 4 on the Billboard chart.

Later in 1968 he’d put his own spin on “The Fool on the Hill,” resulting in another Top 10 single. It was one of many Beatles covers Mendes recorded over the years, with “All My Loving,” “Day Tripper,” “With a Little Help From My Friends” and “Norwegian Wood” among the others. Mendes’ also covered material from the Mamas & the Papas (“Monday, Monday”), Simon & Garfunkel (“Scarborough Fair”) and Buffalo Springfield (“For What It’s Worth”).

Listen to Sergio Mendes’ Version of ‘Fool on the Hill’

Medes’ popularity took him all over the world, and even resulted in performances at the White House for presidents Lyndon B. Johnson and Richard Nixon. Best known for his distinctive bossa nova style, Mendes began mixing his sound with funk and soul during the ‘70s. He collaborated with Stevie Wonder on “The Real Thing,” a minor hit in 1977.

Mendes enjoyed a late career resurgence with the 2006 album Timeless. The LP featured many modern hip-hop artists collaborating with the Brazilian legend on new versions of his classic material. The Black Eyed Peas, Justin Timberlake, Jill Scott and John Legend were among the guest appearances. Mendes also served as co-producer for the soundtrack albums for the popular animated films Rio (2011) and its sequel, Rio 2 (2014).

In total, Mendes released more than 40 albums in his influential career. He won a Grammy for his 1993 album Brasileiro and earned an Academy Award nomination in 2011 for the song “Real in Rio.”

In Memoriam: 2024 Deaths

A look at those we’ve lost in 2024.

Gallery Credit: Allison Rapp





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Judas Priest’s ‘Rocka Rolla’ Track-by-Track: Exclusive Excerpt


Just in time for the 50th anniversary of Judas Priest‘s 1974 debut album Rocka Rolla, rock journalist Martin Popoff is releasing a new book dedicated to the band.

Due in stores Nov. 12, Judas Priest: Album by Album examines the legendary metal band’s entire catalog, all the way up to and including 2024’s Invincible Shield. In our exclusive preview, you can find the entire chapter dedicated to Rocka Rolla below. in it, Popoff and fellow historians Pete Pardo and Matt Thompson break down each track on the album, illustrating how it hints at the band’s future ascendance.

The book features interviews with rock stars such as Slash, Marty Friedman and Charlie Benante. It also includes rare photos taken both onstage and off, as well as shots of vintage memorabilia.

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In a recent interview, Judas Priest bassist Ian Hill revealed that the band had regained the rights to Rocka Rolla and 1976’s Sad Wings of Destiny, and would soon be announcing the release of an upgraded version of their debut album. “It’s just been re-engineered by Tom Allom after all of these years,” he told Talking Rock with Meltdown. “The multi-tracks were in remarkably good condition, and he’s changed some of the sounds, made it more modern and obviously remixed it. And he’s done a great job.”

Judas Priest: Album by Album is available for pre-order at all major retailers.

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They don’t call ’em Metal Gods for nothing.

Gallery Credit: Ultimate Classic Rock Staff





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