"We’re in the planning stages for next year… we are planning on doing something.”
- Roger Daltrey
Following concerns about Pete Townshend's hearing issues, after they surfaced again this past year (see "The Who - What's Next"here), there's good news for fans of The Who: Roger Daltrey is talking about a 2011 tour. “We’re in the planning stages for next year…we are planning on doing something," Daltrey said. "I can’t really talk about specifics yet, but it will be based around a past work.”
But wait...there's more: "Pete is writing…you never know when that might turn up," Roger added. "So, between now and then, there might be a new album, plus Quadrophenia, and Tommy, and those things we haven’t visited for a while. That will be fun.”
Daltrey's comments are part of a fan Q&A session recorded for the band's website.
Roger says The Who are considering how to approach touring these days, given their age and changes in the industry. “The whole music business has been through a seismic shift, so we’re looking at new ways of doing it," said Daltrey. "At the age we are now, you can’t do the number of shows per week that we used to, and you need to do so many to maintain the kind of budget that will allow you to do it in the first place. So it’s kind of a catch-22 situation we’re in.”
When asked about The Who doing a “greatest hits” tour, Roger says, "We have thought about that. But what is a greatest hits show? All the hits and nothing else, and none of the obscure? That would bore me sh*tless.” Beyond that, pleasing themselves and fans is tough juggling act. "If we did a greatest hits tour, everybody would say we’re bored with that’ give us something else. We can never please everybody.”
Roger has his own thoughts on how he'd like to see things come together. “I would like to be on the road playing as many different kind of shows as we could: maybe doing Quadrophenia one night, do greatest hits the next night…this is what I would like to do. And Tommy…if I could still sing Tommy. That, to me, would be really good fun. And don’t keep going out with the same show every night - the audience would have to take a chance on what show they actually got.”
Check out audio of the full Daltrey Q&A session (runs 30 minutes plus) here.
The Who The Who - Who Are You The Kids Are Alright (1979)
The Who - Baba O'Riley The Kids Are Alright (1979)
A Las Vegas judge has set a new court date for Motley Crue’sVince Neil to address his DUI and speeding charges from an incident back in June.
Neil’s lawyers were in a Vegas court on Monday when a judge set October 11 as the next date for follow-up on the case; no plea was entered on Vince’s behalf.
On June 27, Neil was picked up for suspicion of DUI in Las Vegas (see original story here, mug shot here and police report details here) after his Lamborghini was pulled over for driving 60 mph in a 45 mph zone and for "weaving between the lanes."
At the time, TMZ reported that Vegas Police department files indicated the Vince failed a field sobriety test three times due to a blood-alcohol level almost three times the legal limit.
Neil — who admitted to having consumed three glasses of champagne at the Hilton hotel earlier in the night — eventually gave up by saying, "I can't do this," the report stated. Vince was then asked by the officer to take two breathalyzer tests and, according to the police report, he registered .215 and .216 — nearly three times the .08 limit.
Available October 12, the album is billed as “The Orb featuring David Gilmour.”
The Orb, the visionary UK 'ambient/house' collective, came to collaborate with Gilmour after working together on a version of Graham Nash's "Chicago" for a charity project. Youth (aka Martin Glover), a frequent Orb accomplice, was invited to create a remix, and he and Alex Paterson, as The Orb, were so energized by the task that they continued working until it was an album-length entity. Having asked Gilmour to bring his guitars to Youth's studio in South London to prolong and enrich their new creation, the trio worked up a sonic mixture in a range of styles.
The Metallic Spheres project was born.
"It's a collision that's been waiting to happen with Pink Floyd/David Gilmour and The Orb orbiting many of the same planets,” says Paterson.
The Orb featuring David Gilmour – trailer (2010)
Metallic Spheres is designed to be heard in two parts – 'Metallic Side' (24'48"), and 'Spheres Side' (25'09"). Each track, or side, consists of five movements. The album uniquely utilizes David Gilmour's electric guitar and lap steel guitar, Alex Paterson's sound manipulation, keyboards and turntables, and Youth's bass guitar and keyboards.
The album will be available in three formats: standard and 2-disc deluxe versions on CD; digital download; and 180-gram vinyl. The deluxe 2-CD version includes an extra disc, featuring the new 3D60™ process, which allows a 360-degree sound experience on stereo tracks without any special equipment.
Green Day’sBillie Joe Armstrong will join the Broadway production of "American Idiot" this week for a series of eight shows.
“I'm gonna be playing the part of St. Jimmy in AI on broadway sept 28 thru Oct 3,” Armstrong posted to Twitter on Sunday. “All week! See ya there! Rage n love-billie joe.”
The Green Day frontman will be filling in for actor Tony Vincent, who has taken a short leave to deal with a family matter; he’ll return on October 12, with his understudies covering the second week of his absence.
Billie Joe will rejoin Green Day for the start of the band’s South American tour, which kicks off in Caracas, Venezuela on October 8.
This marks Armstrong’s Broadway performance debut. As “St. Jimmy,” a central character in the show, Billie Joe will perform “Know Your Enemy,” “Homecoming,” “Last Night on Earth,” and “St. Jimmy.”
Armstrong’s appearance is expected to boost ticket sales for the musical, which has seen slow sales in the first few weeks of fall, when Broadway attendance usually dips following the busy summer season.
Last night, Kiss streamed their live set from the Epicenter Twenty Ten Festival via Facebook's Nightclub City and Ustream, as well as through a network of rock radio stations in the States.
The feed marked the first time a band of Kiss’ stature has streamed a live show through a social gaming application.
Nightclub City - a popular music-centric social game and marketing platform for musicians on Facebook - is a digital game based around real-world music, and the KISS event represents a blurring of the lines between the real and digital worlds.
Kiss, headlining the first day of the festival at the Auto Club Speedway in Fontana, California, delivered a shortened set due to some poor scheduling by the fest and/or a p.r. move by the band. Set to hit the stage at 9:35 p.m. and facing the festival’s strict 11:00 p.m. curfew, Kiss were only able to play an 80-minute set versus their traditional 2-hour plus show.
"We were gonna rock you for two-and-a-half-hours,”Paul Stanley told the crowd, “but we were told we can't...they told us we've got a curfew."
People continue to buzz over the new Tom Jones record, “Praise & Blame.”
Over the past few days, I’ve posted a few items on the project (see “Tom Jones rocks Letterman”here and “Tom Jones gets 'Praise & Blame' from his own label”here), and hennemusic readers continue to respond in large numbers to the stories.
So…here’s some more of Tom’s live appearances in support of the new disc.
Judging by the response to my Tom Jones post yesterday (see “Tom Jones rocks Letterman”here), it appears Tom is doing a fine job of turning heads with his new album, “Praise & Blame.”
Ironically, one of the first heads that was turned belonged to Island Records’ vice-president, David Sharpe.
Upon first hearing Jones’ new music, Sharpe reportedly wrote an email to a colleague on May 19 calling the record “a sick joke,” insisting the label "pull back this project immediately or get my money back." Sharpe’s email was leaked to the press in early July, just weeks before “Praise” was released; some have speculated that this was a marketing stunt, while others believe it happened naturally, as reported.
I haven’t been able to locate a copy of the full email, but there are certainly enough quotes reported in the media to piece its key points together.
Here are parts of Sharpe’s email, as reported by several sources:
“Imagine my surprise when I walked into the office this morning to hear hymns coming from your office – it could have been Sunday morning. My initial pleasure came to an abrupt halt when I realised that Tom Jones was singing the hymns! I have just listened to the album in its entirety and want to know if this is some sick joke????”
“We did not invest a fortune in an established artist for him to deliver 12 tracks from the common book of prayer. Having lured him from EMI, the deal was that you would deliver a record of upbeat tracks along the lines of Sex Bomb and Mama Told Me…”
"As venerable and interesting as Tom's story is, this is not what was agreed and certainly not what we paid for. Please don't give me the art over commerce argument, it's run its course...what are you thinking when he went all spiritual?”
Tom was, naturally, not pleased with the news that a VP at his new label was slamming his first project for them. “People are going to read this and think the record company doesn’t like this or that I’ve made a mistake,” he told the Welsh paper, Western Mail. “It’s not coming from the creative people in the record company, because they’re backing it up all the way, I mean they’re thrilled with it, so I don’t understand it. When I questioned them and said ‘what the hell is this all about? Who is this fella? I don’t even know who he is, I found out that he’s some fella who signs cheques or something. But he’s not in the creative side of it and they’re 100% behind it, but people don’t know that.”
Tom added, “They’ve apologized, they can’t apologize enough – and they’ve said ‘we’ll make good on this’.”
To make matters worse, it’s been reported that Sharpe refused to back down on his stand following the leak; he’s been quoted as saying “Parts of this record company wanted to deliver an album for the typical Tom Jones fan and I don't know if that is what we got. Shall we say we've paid for a Mercedes - we've got the hearse that's arrived".
As for the stunt vs. reality angle, I can’t imagine why a label exec would make himself look this ignorant and out of touch in a public way – especially when the music has such an obvious amount of soul – so I suspect the email was written, as reported, and a leak did happen.
Look, Sharpe isn’t the first record exec in history to be ignorant and out of touch; heck, The Beatles were turned down by all kinds of music industry people who had no sense of vision and, historically, the industry is littered with stories of this kind.
Sharpe’s lack of musical sensibilities and his desire to play it safe, by simply having Jones do what he’s done before, is symptomatic of an ongoing problem in the music industry as a whole. Labels fall all over themselves to find artists and acts that sound just like someone else who’s had success: “let’s just copy that formula and make some money for ourselves.” Without making any connection between “safe” and declining music sales, the industry continues to want to make a quick buck profiting from trends and the public’s short attention span.
The other side of the coin is artist development: allowing an artist to grow their vision organically without interference from accountants disguised as management, like Sharpe. It’s rare to find long term thinking with artist development at major labels, and part of the reason artists have always debated the pros and cons of signing with a small or major label – or simply do it themselves.
Ironically, the success of “Praise” will make Sharpe look even more foolish while making his company more money.
Things to consider: if “Praise” succeeds in a big way, will Sharpe earn a bonus? On the other hand, if “Praise” stiffs, will Sharpe lose his job?
I suspect Sharpe was worried about his job - note the phrase: "pull back this project immediately or get my money back." How did Island’s investment become “his” money? Is that why he appeared to be in panic mode when he wrote his nasty email, or was he simply trying to cover his ass (like the contestants on “The Apprentice” do every week)?
Private company emails are one thing, but for Sharpe to continue to blast his own artist publicly is, essentially, an act of sabotage – is it enough to get him fired by his bosses?
Heart guitarist Nancy Wilson has filed for divorce from writer/director Cameron Crowe, after 24 years of marriage.
Court papers, citing irreconcilable differences, were filed September 16; the couple separated in June, 2008.
Wilson and Crowe have twin 10-year old sons, William and Curtis; Nancy has filed for joint custody of the pair.
Crowe won an Oscar for his screenplay of “Almost Famous,” based loosely on his early days as a young reporter for Rolling Stone magazine. His screenwriting career kicked off with 1982’s “Fast Times At Ridgemont High,” one of a few Crowe films that featured cameos by Nancy (she also showed up in 1984’s “The Wild Life.”); she also wrote music for some of his other movies. Crowe’s film credits include “Singles,” “Jerry McGuire” and “Vanilla Sky,” among others.
Heart has just released “Red Velvet Car,” their first studio effort in six years.
Motley Crue’s Tommy Lee has resurrected his Methods Of Mayhem project, 11 years after the band’s debut was released.
MOM’s new album, “A Public Disservice Announcement,” is out this week, and Tommy and the guys are making the media rounds to spread the word.
Lee actually relaunched things last year, when he wrote and recorded songs for the new record, and then made the individual ‘parts’ available for download via thepublicrecord.com to anyone who wanted to add their own parts or remix the existing pieces…to create new soundscapes entirely.
In a way, Lee was offering to collaborate on the record with the whole world.
Between October 5, 2009 and the end of the ‘submission’ period this past February, Tommy received more than 10,000 submissions and more than 1 million page views. Lee reviewed everything, selected the best works, and integrated the tracks into the final album.
According to Tommy, about 50 submissions made the final cut, and everyone whose parts were used received credit and thanks on the disc.
There are special “guest” apparances on “Disservice,” as well: Nickelback's Chad Kroeger sings on "Fight Song," Deftones' Chino Moreno appears on "Only One," and Sum 41's Deryck Whibley is part of the opening track, "Drunk Uncle Pete."
To launch the record, MOM played The Tonight Show last night, performing the first single, “Time Bomb.”
Some Bruce Springsteen news on his birthday today, so let’s start with a Happy Birthday, Bruce!
Following its recent premiere at the Toronto International Film Festival (see “Springsteen Rocks Toronto Film Fest”here and “Watch Springsteen Toronto Film Fest interview”here), Springsteen’s new documentary, “The Promise,” is set for broadcast next month on HBO.
“The Promise: The Making Of Darkness On The Edge Of Town,” an in-the-studio look at the recording of Springsteen's 1978 album, will debut Thursday, October 7 (9:00-10:30 p.m. ET/PT), exclusively on HBO.
If you miss the debut, HBO will be running the film several times:
October 12 (3:30 p.m., 12:30 a.m.) October 16 (11:30 p.m.) October 21 (10:30 a.m., 1:55 a.m.) October 24 (5:00 p.m.) October 30 (2:00 p.m.)
“The Promise: The Making Of Darkness On The Edge Of Town,” goes into the studio with Bruce Springsteen and the E Street Band for the recording of their fourth album. Grammy- and Emmy-winning filmmaker Thom Zimny has collaborated with Springsteen on this documentary, gaining access to never before seen footage shot from 1976 to 1978, capturing home rehearsals and recording sessions that reveal Springsteen’s creative process at work.
Bruce Springsteen The Promise: The Making of Darkness On The Edge Of Town (clip)
Tom Jones is back with a new album, “Praise & Blame,” a collection of gospel and blues numbers.
It’s a stripped down, lean affair, thanks to producer Ethan Johns (Kings Of Leon), and it’s already being compared (favorably) to Rick Rubin’s work with Johnny Cash.
Jones and producer/guitarist Johns recorded the record with live sessions at Peter Gabriel’s Real World Studios in Bath, England with a small band that consisted of Johns on guitar, Jeremy Stacey on drums and Dave Bronze on bass. Guests include Booker T. Jones, BJ Cole and Gillian Welch.
Tom Jones – The making of Praise & Blame (2010)
At the age of 70, Jones is reinterpreting songs by Susan Werner, Bob Dylan and John Lee Hooker, as well as traditional repertoire from the works of The Staple Singers, Mahalia Jackson and Sister Rosetta Tharpe.
“Well, I’ve been wanting to do something like this for a long time, and some of the albums I’ve done in the past, one or two tracks sometimes have been like this–stripped down,” Tom told the Huffington Post. “I’ve always liked that…not for all songs, but for songs of this nature especially. I feel you don’t need a lot on them musician-wise. I think this is the best way to approach it, for me anyway. And I think it shows the voice off, and you can hear the tonal quality of the vocals. We took a lot of time picking the keys to get them in the right keys. We wanted to do some of the slower songs low because my voice over the years has become lower and richer.”
Tom was no stranger to the material. “I used to do songs like this in Wales growing up,” he said. “If I went to Sunday school at 2:30 on a Sunday afternoon, to the Presbyterian Chapel, we did a lot of gospel hymns which I didn't realize was gospel until later on. Not as much as they do in the Southern states, but the songs are definitely there with the gospel element. For instance, when I was in Las Vegas with Elvis Presley--God bless him when he was still alive--we would hang out at night in his suite and we would sing mostly gospel songs because he loved gospel, and he would start to sing these songs and I would join in. He asked me, "How come you know these songs?" and I said, "Well, we sing them in Wales, not exactly as you do." Now I do, but not when I was a kid so much. But the songs were definitely there.”
Last night, Tom rocked a John Lee Hooker classic on Letterman’s show….check it out:
Ray Davies is set to release “See My Friends,” an album of classic Kinks songs recorded in tandem with other artists, on November 1.
Ray collaborates with a formidable selection of artists on tracks from his songwriting career, revisiting his back catalogue and crafting new versions of his classic songs - everyone from Bruce Springsteen to Metallica features on a diverse collection of material.
"This project came about almost by accident," said Davies, which was kick-started when he recorded a version of “'Till The End Of The Day” in the summer of 2009, with Alex Chilton. "With some tracks, I had to appreciate the style of the other artists, otherwise it would have sounded unbalanced. And I wanted the album to work as an entire listening experience, but each track had a life of its own.”
Ray traveled wherever the music took him: Oslo via Denmark, Germany and Belgium to record with Metallica, New York to record with Jon Bon Jovi, New Jersey for Bruce Springsteen, Chicago for Billy Corgan from Smashing Pumpkins and his own north London base, the legendary KONK studios, for much of the rest. "This record is well-travelled already," said Ray.
Paloma Faith, Jackson Browne, Black Francis of the Pixies, Lucinda Williams, Amy MacDonald and Spoon also feature on the record, which follows Ray's acclaimed tour of North America and the UK, plus a stand out set on Glastonbury's Pyramid stage this summer.
Ray Davies – Waterloo Sunset Glastonbury Festival – June 27, 2010
“About a year ago, we had the honor of playing with Ray Davies at the Rock and Roll Hall of Fame 25th Anniversary concert in New York,” Metallica posted on their website. “It was the first time we had ever met Ray, and was definitely one of the highlights of our night. Fast forward a few months to the tuning room before the show in Oslo on April 14 and there we were recording with Ray!!! How cool is that?”
Ray Davies with Metallica – recording You Really Got Me (partial) Telenor Arena - Oslo, Norway – April 14, 2010
Metallica and Davies ended up laying down a new version of “You Really Got Me,” which they had also performed at the Rock and Roll Hall of Fame show. “Turns out that Ray has been planning to put out a record of collaborations on classic Kinks songs with a wide variety of today’s musicians and, lo and behold, we were actually asked to be included in this stellar group spanning many genres and styles,” the band said.
The tracklisting for 'See My Friends' is:
01. Better Things - Ray Davies & Bruce Springsteen 02. Celluloid Heroes - Ray Davies, Jon Bon Jovi & Richie Sambora 03. Days/This Time Tomorrow - Ray Davies & Mumford & Sons 04. Long Way From Home - Ray Davies, Lucinda Williams & The 88 05. You Really Got Me - Ray Davies & Metallica 06. Lola Ray - Davies & Paloma Faith 07. Waterloo Sunset - Ray Davies & Jackson Browne 08. 'Til The End of The Day - Ray Davies, Alex Chilton & The 88 09. Dead End Street - Ray Davies & Amy Macdonald 10. See My Friends Ray Davies & Spoon 11. This Is Where I Belong - Ray Davies & Black Francis 12. David Watts - Ray Davies & The 88 13. Tired Of Waiting - Ray Davies & Gary Lightbody (Snow Patrol) 14. All Day And All Of The Night/Destroyer - Ray Davies & Billy Corgan
Leonard Skinner, the no-nonsense, flat-topped basketball coach and gym teacher whose name is forever linked with Jacksonville’s legendary Lynyrd Skynyrd, died in his sleep early Monday morning after a lengthy battle with Alzheimer’s. He was 77.
"Coach Skinner had such a profound impact on our youth that ultimately led us to naming the band, which you know as Lynyrd Skynyrd, after him,” said guitarist Gary Rossington. “Looking back, I cannot imagine it any other way. Our thoughts and prayers are with his family at this time."
The famous tale of how the southern rock kings got their name dates back to the ‘60s at Robert E. Lee High School in Jacksonville, Florida. The coach would send students to the principal’s office if he thought their hair was too long; included in the group of kids involved in this practice were some who would later form a band and decide to name it after him as a mocking tribute.
In the 70s, after his teaching days ended, Skinner went into the real estate business, and gained more notoriety after the band featured a realty lawn sign with his name and phone number on the inner sleeve of their third album, “Nuthin’ Fancy.” It wasn’t long before fans started calling Skinner at all hours to talk about the band with him.
As the years went by, Skinner eventually became friends with various members of the band.
Neil Young continues to reveal more of his new album, “Le Noise,” due out next Tuesday (see “Neil Young introduces Le Noise”here).
Neil has released two videos already – “Angry World” and “The Hitchhiker” – and another 2 have surfaced: “Walk With Me” and “Love And War.”
Half of the album’s 8 tracks are now visible online, in addition to the disc being streamed in full by NPR Radio (see “Preview Neil Young’s ‘Le Noise’"here).
Neil Young - Walk With Me A Conversation with Daniel Lanois
STP have postponed 12 dates on their current tour, with plans to resume things mid-October in Florida.
Without stating the reasons behind the unscheduled break, rumours are flying about singer Scott Weiland’s status following a series of strange events at the band’ Houston show on Sunday.
For starters, STP hit the stage late, about an hour after openers Black Rebel Motorcycle Club; once they did, Weiland began the show with a rambling speech that had many wondering if he was in full control of his faculties.
"On the 8th of December will be the time when I stopped doing dope," Weiland started, trying to hush the crowd when it cheered. "No, no, no, no," he said. "I started drinking again. My brother died, I got divorced to my wife, and my whole world basically spun around. So you know what? I'm going to take care of myself because that's what I need to take care of. Instead of just having a few shows, I want to have a whole hell of a lot of shows."
Stone Temple Pilots – Weiland intro speech / Crackerman Cynthia Woods Mitchell Pavilion - Houston, TX – September 19, 2010
The untitled track, believed to be called “Ripley,” was originally recorded during the sessions for the “1984” album, but didn’t make the final cut; Eddie then used the song when doing the music score for the 1984 film, “The Wild Life.”
Written by Cameron Crowe, “The Wild Life” was billed as being “from the creators of ‘Fast Times At Ridgemont High’ – something even faster.” Universal Pictures were clearly trying to capitalize on the success of “Ridgemont High,” tying in Crowe’s connection and going so far as to feature “Fast Time’s” star Sean Penn’s brother, Chris, in the lead role.
The song was recorded on a Ripley guitar (hence the assumed title), an unusual instrument itself: designed by Steve Ripley (leader of the country rock band The Tractors), each string on the guitar can be sent to different parts of the audio spectrum (think left/right in the stereo field) through the use of individual pan pots. Eddie used one of the very first original Ripley guitars on “1984’s” “Top Jimmy.”
While “The Wild Life” featured Eddie’s musical score in bits and pieces throughout the movie, the companion soundtrack release featured one full EVH song, “Donut City,” where Eddie played all the parts himself.
“Ripley” was recorded with Alex Van Halen on drums, and this is the first time a full version has surfaced.
The film remains available only on VHS and laser disc; no DVD has been released, reportedly due, in part, to the music rights issues concerning the artists on the soundtrack.
Eddie Van Halen – Ripley (full version) Partial clips featured in “The Wild Life” (1984)
Eddie Van Halen – Donut City (1984) The Wild Life soundtrack
R.E.M. have just finished recording their 15th studio album, set for release next Spring.
The band worked on the new album with producer Jacknife Lee, who teamed up with R.E.M. on 2008’s “Accelerate” (he’s also worked with U2, Kasabian and Snow Patrol, among others).
R.E.M. and Lee had been recording in New Orleans at the Music Shed and in Berlin at the famed Hansa Studios, where several legendary albums, including David Bowie's "Heroes,"U2's"Achtung Baby," and Iggy Pop's"Lust for Life" were made; additional recording and mixing was done at the venerable Blackbird Studio in Nashville.
Just two weeks ago, R.E.M. manager Bertis Downs shared an update with fans. “Band finishing work on the record in Nashville. All going well, songs sounding great; the band, ably assisted by Jacknife and team, in the homestretch of making what sounds to me like a great R.E.M. record. And between New Orleans, Berlin, and Nashville, you would be hard-pressed to find three more musical and inspiring places in which to work.”
Acclaimed photographer Anton Corbijn shot R.E.M. while they were in Nashville. “Having Anton Corbijn in town was pretty special, as it has been a while since any of us has seen Mills, Stipe, and Buck through Anton's eyes and lens,” wrote Downs. “And Nashville provided some pretty characterful backdrops. It was certainly memorable working with Anton on the eve of the release of his heralded new movie, THE AMERICAN, which opened at the top of the Box Office its first week-- go see it! More later, but that's about it for now. Can't wait for people to hear this one.”
R.E.M. – in the studio (2010) Filmed by Michael Stipe
While fans await the new record, “R.E.M. Live From Austin, TX” - taken from the band’s appearance on Austin City Limits - is set for release October 26 (for details, click here).
Told you last week about Neil Young’s new cd, “Le Noise” (see “Neil Young introduces Le Noise” here).
Neil worked with producer Daniel Lanois on the disc, recorded at Lanois’ L.A. home (the album title is a play on Daniel’s last name).
“Le Noise” is set for release on September 28, but you can check it out in advance, thanks to the folks at NPR radio, who are streaming the new disc for fans.
Following his extended stay in New York last week (see "Watch Robert Plant Rock NYC"here, Plant on Jimmy Fallonhere and Plant on The Today Showhere for more details), Robert Plant continues to make the media rounds to promo his new "Band Of Joy" album.
Jonny Lang joins Santana for the final track of the standard edition of the new disc, a cover of the Howlin’ Wolf classic, “I Ain’t Superstitious.”
Santana with Jonny Lang – I Ain’t Superstitious Originally recorded by Howlin’ Wolf (made famous by The Jeff Beck Group)
The deluxe edition of “Guitar Heaven” features two additional tracks and a DVD of “behind the scenes” footage from the studio, interviews with the guest vocalists on the album and the producers, as well as an extensive one-on-one interview with Carlos Santana and Clive Davis.
The “bonus” tracks are:
- “Fortunate Son” featuring Creed's Scott Stapp, originally recorded by Creedence Clearwater Revival - “Under the Bridge” featuring Andy Vargas, originally recorded by the Red Hot Chili Peppers
That wraps up our "Santana Sneak Peek" – thanks for checking it out and I hope you enjoyed it !
Joe Cocker joins Santana for track 11 on the new disc, a cover of the Jimi Hendrix classic, “Little Wing.”
Santana with Joe Cocker – Little Wing Originally recorded by Jimi Hendrix
Up next hour: the disc’s final track - Santana with Jonny Lang – “I Ain’t Superstitious,” originally recorded by Howlin’ Wolf, and made famous by The Jeff Beck Group.
Chester Bennington (Linkin Park) & Ray Manzarek (The Doors) join Santana for track 7 on the new disc, a cover of The Doors’ classic, “Riders On The Storm.”
Santana with Chester Bennington & Ray Manzarek – Riders On The Storm Originally recorded by The Doors
Up next hour: track 8 - Santana with Jacoby Shaddix from Papa Roach – “Smoke On The Water,” originally recorded by Deep Purple.
We’ve been talking about this all year, so it’s great news that Santana’s“Guitar Heaven: The Greatest Guitar Classics Of All Time,” finally sees its release tomorrow.
To give you an advance listen to the disc, we’re going to preview a new track at the top of each hour today, starting at 6:00 a.m. eastern.
Here’s the final track listing and schedule for the "Santana Sneak Peek"...
06:00a - Whole Lotta Love - Chris Cornell (Led Zeppelin) 07:00a - Can’t You Hear Me Knockin' - Scott Weiland (The Rolling Stones) 08:00a - Sunshine Of Your Love - Rob Thomas (Cream) 09:00a - While My Guitar Gently Weeps - india.arie/Yo-Yo Ma (The Beatles) 10:00a - Photograph - Chris Daughtry (Def Leppard) 11:00a - Back In Black - Nas (AC/DC) 12:00p - Riders On the Storm - Chester Bennington/Ray Manzarek (The Doors) 01:00p - Smoke On the Water - Jacoby Shaddix (Deep Purple) 02:00p - Dance the Night Away - Pat Monahan (Van Halen) 03:00p - Bang A Gong - Gavin Rossdale (T. Rex) 04:00p - Little Wing - Joe Cocker (Jimi Hendrix) 05:00p - I Ain’t Superstitious - Jonny Lang (Howlin’ Wolf, Jeff Beck Group)
Michael's 1993 Hiboy Roadster and Yamaha Flame bass are part of the "Axes & Axles" exhibit at the NHRA Motorsports Museum, along with rides from fellow musicians Jeff Beck, Billy Gibbons, Eric Clapton, Jimmy Vaughan and Kenny Wayne Shepherd. The exhibit coincides with the 60th anniversary of the Fender Telecaster and will be open to the public until June 30, 2011.
“Axes & Axles: The Art of Building Cars and Guitars” is designed to show visitors the synergy between guitars (axes) and cars (axles), to see how a guitar is built, and understand how many of the same techniques, and even materials, are used in the construction of both cars and guitars.
Axes and Axles: The Art Of Building Cars and Guitars (2010)
A renowned collector, some of Michael’s cars are also on display at his Mad Anthony’s Café website here.
In other Anthony news, Michael will be featured on the new VH1 series, "Rock and Roll Fantasy Camp," which documents the real life dream inside every music fan – becoming a rock star!
The 5-part series follows 12 musicians ready to step out of their lives as 9 to 5′ers, truck drivers, teachers, dads and husbands and onto the stage – while learning the ropes from Michael Anthony, Ace Frehley, Lita Ford, Lemmy Kilmister, Matt Sorum, Eddie Kramer, and Bret Michaels. The series debuts October 16 on VH1.
Meanwhile, Chickenfoot are set to hit the studio this month to lay down some music for their second album. The biggest challenge facing the ‘Foot are issues involving the band member’s schedules – for more details, check out “Chickenfoot At A Crossroads”here.
Ex-Deep Purple keyboardist Jon Lord is revisiting his "Sarabande" suite from 1975, performing it live this fall for the very first time in its entirety, and in the same running order as the original recording.
One of Lord’s most successful and most loved orchestral works, Sarabande was recorded in Oer-Erckenschwick near Cologne in 1974 with the now defunct Philharmonica Hungarica orchestra conducted by Eberhard Schoener.
The original recording also featured Andy Summers on guitar (he later joined The Police), Pete York on drums, Mark Nauseef on percussion (he later played drums with Ian Gillan Band and Thin Lizzy) and Paul Karass on bass.
Lord’s performance of the suite premiered in Budapest on Saturday (18), and he turned some heads during rehearsals for the show: ignoring the keyboards in the room, he decided to try out the Purple classic, “Child In Time,” on piano (at the concert itself, Jon played the song on Hammond organ).
Singer Kasia Laska was at hand with her camera to capture the moment…
Jon Lord – Child In Time Concert rehearsal Budapest, Hungary – September 18, 2010
Lord is on tour across Europe this fall for several shows in support of his latest classical effort, “To Notice Such Things.” While not all performances on the tour will feature Sarabande, he will play the suite, again, at shows in Sofia, Bulgaria on October 30 and Essen, Germany on November 15.
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