Classic Rock!

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Y'all know what I mean! We're talkin'

The Beatles (Best....band...EVER.)

Queen (Freddie freakin' Mercury!)

The Who (KEITH MOON AND JOHN ENTWISTLE! best drummer and bassist ever!)

Cream (ERIC CLAPTON! need i say more?)

Led Zepplin (John bonam, moby Dick!)

The Kinks (GIRL, YOU REALLY GET MEH GOIN! :D)

Supertramp (Take the long way home! ^^)

Wings (Do i have to tell you what a genius PAUL MCCARTNEY is?)

Pink Floyd (Mother do ya think they'll drop da bomb?! o_O)

just a treasure trove of musical gold! ^^ discuss! (and sorry if this is posted already) =p
 
Yes! I love Classic Rock, it's my favorite kind of music but I like everything haha! The Rolling Stones are actually my favorite band but MJ is my favorite musician and singer of course :p
 
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Zeppelin!!!!!!!!!!!!!!!!!!!!!!!! My all-time favorite band. Jimmy is god....

Let's not forget ZZ Top, Stevie Ray Vaughn and Fleetwood Mac.

Food for thought-do you think classic rock is a sound or an era? Back in the day the local classic rock station played new Tom Petty and ZZ Top, but not new Springsteen. And the local classic rock station where I live now rarely plays any Robert Plant, even though the age of his music qualifies. It also doesn't play any of Michael's stuff from the 80s, even though that qualifies too.....hmmmmm

Personally I think it's a sound. Thoughts, opinions?
 
Zeppelin!!!!!!!!!!!!!!!!!!!!!!!! My all-time favorite band. Jimmy is god....

Let's not forget ZZ Top, Stevie Ray Vaughn and Fleetwood Mac.

Food for thought-do you think classic rock is a sound or an era? Back in the day the local classic rock station played new Tom Petty and ZZ Top, but not new Springsteen. And the local classic rock station where I live now rarely plays any Robert Plant, even though the age of his music qualifies. It also doesn't play any of Michael's stuff from the 80s, even though that qualifies too.....hmmmmm

Personally I think it's a sound. Thoughts, opinions?

I've never heard Michael on a rock station, you must be talking about Top 40.
 
[video=youtube;jY37nItvyN8]https://www.youtube.com/watch?v=jY37nItvyN8[/video]
 
By Emily Zemler May 11, 2017 Rolling Stone
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Pink Floyd has never been a band that operates on a small scale. Whether it's creating a full-on theatrical stage show for The Wall or flying an out-of-control inflatable pig over Battersea Power Station, the British psychedelic-rock heroes have always done everything with grandeur. That was the challenge that faced Aubrey "Po" Powell, the group's creative director, when it came time to build a museum exhibition devoted to the band.

The idea for a comprehensive retrospective was initially conceived by the late Storm Thorgerson, who designed many of Pink Floyd's album covers and imagery alongside Powell as Hipgnosis. After Thorgerson's death in 2013, Powell took the project on.
"I said, 'Look, I know how we can do it, and the scale we've got to do it on has got to be huge,'" Powell told Rolling Stone. "I said, 'It's got to be the biggest exhibition anyone's ever put on, in the same way the stage shows are.' It had to be of that dimension – otherwise there was no point in doing it."

That idea served as the guiding principle for "Pink Floyd: Their Mortal Remains," a new exhibition at London's Victoria & Albert Museum, which arrives nearly 50 years to the date after the group's groundbreaking Games for May performance – the first-ever surround-sound concert – at Queen Elizabeth Hall. The exhibit, which opens to the public on Saturday and runs through October 1st, reflects back on those past five decades, charting the band's music and legacy both in Britain and on a global scale. It contains over 350 artifacts and objects, many previously unseen, and takes up 17,000 square feet.

Powell began building the exhibition in 2014 with the blessing of the surviving band members - David Gilmour, Nick Mason and Roger Waters – and their management. The original idea was to open it in Milan, but when that didn't work out Powell approached the Victoria & Albert Museum, which had recently wrapped its David Bowie retrospective "David Bowie is." It took Powell, alongside Stufish Entertainment Architects and curator Paula Webb Stainton, 18 months to put the exhibition together within the museum's space. They tapped Sennheiser to install the audio experience that follows visitors throughout the rooms, which unfold chronologically and thematically.
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"I tried to make the exhibition very much like Pink Floyd," Powell said. "Larger than life. Like an Alice in Wonderland trip. It's a celebration of 50 years of Pink Floyd, so what I decided was needed was to have a person have an immersive experience in it. You want to follow the band all the way through their career. Pink Floyd were very inventive in terms of how they progressed with technology and how they progressed with the stage visuals. They were innovative right up to the present day and hopefully this exhibition shows that."

You arrive into "Their Mortal Remains" via a life-size replica of the band's Bedford van, their black-and-white touring vehicle in the mid-Sixties. The lighting in the exhibition rooms is low, and the music shifts in your headphones as you move to different display areas. The story is told by letters, drawings, posters, video footage, newspaper clippings, music instruments, ticket stubs and odd objects, some of them replicas. There's everything from Roger Waters' technical drawings of the Cambridge railway station from 1962 to the Rank Aldis Tutor projector used by the band's lighting technician Peter Wynne Wilson in 1967 (who, apparently, "sometimes used stretched condoms" to create colored effects). The amount of detail can be overwhelming.

If you fail to look up in the early rooms you may miss the rotating flower-petal mirror ball or Syd Barrett's red-orange bicycle.
There are explanations on the writing and recording processes of seminal tracks, as well as video footage describing how various album covers were shot. For instance, stuntman Ronnie Rondell was set on fire a terrifying 15 times on the Warner Bros. backlot to create the cover of Wish You Were Here. Eventually you arrive in a massive room that contains part of The Wall's wall, several giant inflatables and a replica of Battersea Power Station with a pig soaring overhead. The Division Bell metal heads take up another room, which also lays out various statistics about the band's touring history (their Division Bell stage show took three days to build each time). Throughout, the exhibition offers glimpses into the psychology behind the band's creative process. Powell explains the infamous "Teacher" character in The Wall by showcasing the actual cane used on Waters during his early years.
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"We went back to Roger's old school in Cambridge and found the original caning book and the cane that was used to beat Roger," Powell said. "I think it was for throwing water. But also in that book was Syd Barrett and Storm, my partner. He was also caned. Those sort of links between something that happened when Roger was at school and creating The Wall are really important. When you see the inflatable teacher, which is 25 feet tall, and the original cane it all comes together. It makes you realize how a lot of these ideas and concepts in Pink Floyd were created."

The exhibition concludes in a square room with video screens on all four walls. The finale is a performance of "Comfortably Numb" at the 2005 Live 8 event in London, at which Gilmour, Mason, Waters and Wright reunited for the first time in more than 20 years. The performance has been remixed at Abbey Road Studios by Simon Rhodes, Simon Franglen and Andy Jackson and presented in AMBEO 3D using 18 monitor loudspeakers and seven subwoofers. The result is an intense sensory overload, as well as one of the only times during the exhibition you get to see the faces of the musicians up close. The exhibit is as much a celebration of technology, and sonic and visual evolution, as it is of the band.
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"We see this exhibition as a story of British culture, as a story of music, as story of technology, as a story of culture, design and innovation," said Tristram Hunt, Director of the V&A. "And one that is particularly unique in a sense to this country. There is an English pastoral idiom within Pink Floyd, which speaks very well, we think, to this museum. So this exhibition fits very naturally with what we want to do here."

Powell plans to take "Their Mortal Remains" around the world following its stay at the V&A. It's designed to travel for 10 years, although the size of the exhibition limits the sorts of museums that could potentially host it. "We'll see how it goes, but there are plans to take it out pretty much straightaway in 2018," Powell said.

There is a lot to learn inside the exhibition, regardless of what sort of fan you are. Those who know little about Pink Floyd will walk away with a strong understanding of their history and of what makes them unique, and longtime buffs will likely gain new insight. In the end, you realize that everything Pink Floyd made represented them and their vision completely, which is what "Their Mortal Remains" also strives to do.

"They always put the art first with the hope that the money would come later," Powell said. "It's a good adage to put out there to young people, because it ain't all about money. If you can create the art and then you make money out of that it's the best way because you're making something people can really enjoy. That's the great thing about Pink Floyd. They've always given me the freedom to whatever I want, and this exhibition is definitely within the same vein as that."
 
<time class="dateline" datetime="2017-05-18T09:02:15-04:00" itemprop="dateModified" content="2017-05-18T09:02:15-04:00">By CHRISTOPHER D. SHEA and CARYN GANZ • May 18, 2017 • New York Times
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Chris Cornell, the powerful, dynamic singer whose band Soundgarden was one of the architects of grunge music, has died at 52.

Mr. Cornell died Wednesday night in Detroit, said his representative, Brian Bumbery, in a statement that called the death “sudden and unexpected” and that said the singer’s family would be “working closely with the medical examiner to determine the cause.”

Dontae Freeman, a spokesman for the Detroit Police Department, said in an interview that at about midnight officers responded at the MGM Grand casino to an apparent suicide of a white man, born July 20, 1964, who was pronounced dead on the scene. He would not confirm the victim’s name; Mr. Cornell’s date of birth is July 20, 1964. Mr. Freeman said that the victim’s wife called a family friend to check on the victim; the family friend forced his way into the room and found the individual unresponsive on the bathroom floor.

The victim was found with a band around his neck, Mr. Freeman said. He said that the police were not confirming that the victim died of a suicide, though the preliminary determination was an “apparent suicide.” He said that more details would be released in a statement later Thursday.

Mr. Cornell was born in 1964 in Seattle and helped form Soundgarden 20 years later. Sub Pop, then a fledgling record label, released the group’s first single, “Hunted Down,” in 1987, as well as two subsequent EPs. The group’s debut album, “Ultramega OK,” came a year later.

“Badmotorfinger,” released in 1991, benefited from the swell of attention that was beginning to surround the Seattle scene, where Soundgarden, along with Nirvana and Pearl Jam, were playing a high-octane, high-angst brand of rock ’n’ roll. Soundgarden’s musical journeys tended toward the knotty and dark, plunging into off-kilter meters and punctuated by Mr. Cornell’s voice, which could quickly shift from a soulful howl to a gritty growl.

Three of Soundgarden’s studio albums have been certified platinum, including “Superunknown,” from 1994, which featured “Black Hole Sun,” “Fell on Black Days,” “Spoonman” and “My Wave.”

The group — which includes the guitarist Kim Thayil, the bassist Ben Shepherd and the drummer Matt Cameron — disbanded in 1997, but it reunited in 2010 and performed regularly since then. In a review of a 2011 concert at the Prudential Center in Newark, The New York Times chief pop critic Jon Pareles called Soundgarden “one reunited band that can pick up right where it left off.” In 2012, it released “King Animal,” its first album in 16 years, which Mr. Pareles said “sounds like four musicians live in a room, making music that clenches and unclenches like a fist.”

The group played at the Fox Theater in Detroit on Wednesday night, and it had been scheduled to perform in Columbus, Ohio, on Friday at the Rock on the Range festival.

Mr. Cornell appeared to be active on social media in the hours before his death. A post on his Twitter account on Wednesday announced that the group had arrived in Detroit, and a clip of the group’s 2012 release “By Crooked Steps” was posted to his official Facebook page hours before his death.

<blockquote class="twitter-tweet" data-lang="en"><p lang="en" dir="ltr"><a href="https://twitter.com/hashtag/Detroit?src=hash">#Detroit</a> finally back to Rock City!!!! <a href="https://twitter.com/soundgarden">@soundgarden</a> <a href="https://twitter.com/hashtag/nomorebullshit?src=hash">#nomorebullshit</a> <a href="https://t.co/BqXx9veFoD">pic.twitter.com/BqXx9veFoD</a></p>&mdash; Chris Cornell (@chriscornell) <a href="https://twitter.com/chriscornell/status/864995525686415360">May 18, 2017</a></blockquote>
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Mr. Cornell had admitted in interviews to struggling with drug use throughout his life. In a 1994 Rolling Stone article, he described himself as a “daily drug user at 13,” who had quit by the time he turned 14.

After Soundgarden disbanded in 1997, Mr. Cornell returned to heavy drug use, he told The Guardian in a 2009 interview, describing himself as a “pioneer” in the abuse of the opiate OxyContin, and saying that he had gone to rehab.

Mr. Cornell released five solo albums during and after his time with Soundgarden, starting with the 1999 LP “Euphoria Morning.” His 2007 album “Carry On” featured an acoustic cover of Michael Jackson’s “Billie Jean” that served as the inspiration for a well-received version of the song on “American Idol.” He contributed the song “Seasons” to the soundtrack of “Singles,” Cameron Crowe’s love letter to the Seattle music scene, and performed alongside other members of Soundgarden in the film.

In 2001, after Rage Against the Machine’s lead singer, Zack de la Rocha, left the group, Mr. Cornell and members of the band formed Audioslave. The group released three albums before announcing its split in 2007.

Rage Against the Machine posted a message on Twitter honoring Mr. Cornell shortly after news of his death began to spread online.

<blockquote class="twitter-tweet" data-lang="en"><p lang="und" dir="ltr"><a href="https://t.co/FkiL6KbKSn">pic.twitter.com/FkiL6KbKSn</a></p>&mdash; RageAgainsTheMachine (@RATM) <a href="https://twitter.com/RATM/status/865127421275668480">May 18, 2017</a></blockquote>
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In November 2016, Mr. Cornell hit the road for the first time with another supergroup of sorts, Temple of the Dog, which features a blend of members of Soundgarden and Pearl Jam. The group was formed a quarter-century ago as a tribute to Andrew Wood, the lead singer of the Seattle bands Malfunkshun and Mother Love Bone, who died in March 1990 of a heroin overdose.

Speaking to The New York Times, Mr. Cornell said the group had decided to finally bring its songs to life to honor Mr. Wood. “I thought, well, this is one thing that I can do to remind myself and maybe other people of who this guy is and was and keep his story and in a way his life with us,” he said.
 
Re: Chris Cornell (July 20, 1964 - May 17, 2017)

I just saw Chris perform on The Tonight Show recently.
 
By Bill Friskics-Warren MAY 27, 2017 New York Times
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Gregg Allman and the Allman Brothers Band at the Beacon Theater in New York in 2011.

Gregg Allman, a founding member of the Allman Brothers Band, the incendiary group that inspired and gave shape to both the Southern rock and jam-band movements, died on Saturday at his home in Savannah, Ga. He was 69.

His death was announced in a statement on Mr. Allman’s official website. No cause was given, but the statement said he had “struggled with many health issues over the past several years.”

The band’s lead singer and keyboardist, Mr. Allman was one of the principal architects of a taut, improvisatory fusion of blues, jazz, country and rock that — streamlined by inheritors like Lynyrd Skynyrd and the Marshall Tucker Band — became the Southern rock of the 1970s.

The group, which originally featured Mr. Allman’s older brother, Duane, on lead and slide guitar, was also a precursor to a generation of popular jam bands, like Widespread Panic and Phish, whose music features labyrinthine instrumental exchanges.

Mr. Allman’s percussive Hammond B-3 organ playing helped anchor the Allman Brothers’ rhythm section and provided a chuffing counterpoint to the often heated musical interplay between his brother and the band’s other lead guitarist, Dickey Betts.
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From left, Duane Allman, Dickey Betts, Gregg Allman, Jai Johanny Johanson, Berry Oakley and Butch Trucks in 1969.

Gregg Allman’s vocals, by turns squalling and brooding, took their cue from the anguished emoting of down-home blues singers like Elmore James, as well as from more sophisticated ones like Bobby Bland. Foremost among Mr. Allman’s influences as a vocalist, though, was the Mississippi-born blues and soul singer and guitarist known as Little Milton.

“‘Little Milton’ Campbell had the strongest set of pipes I ever heard on a human being,” Mr. Allman wrote in his autobiography, “My Cross to Bear,” written with Alan Light (2012). “That man inspired me all my life to get my voice crisper, get my diaphragm harder, use less air and just spit it out. He taught me to be absolutely sure of every note you hit, and to hit it solid.”

The band’s main songwriter early on, Mr. Allman contributed expansive, emotionally fraught compositions like “Dreams” and “Whipping Post” to the Allman Brothers repertoire. Both songs became staples of their epic live shows; a cathartic 22-minute version of “Whipping Post” was a highlight of their acclaimed 1971 live album, “At Fillmore East.”

More concise originals like “Midnight Rider” and “Melissa,” as well as Mr. Allman’s renditions of blues classics like “Statesboro Blues” and “Done Somebody Wrong,” revealed his singular affinity with the black Southern musical vernacular.

Mr. Allman also enjoyed an enduring, if intermittent, career as a solo artist, both while a member of the Allman Brothers Band and during periods when he was away from the group. His recordings under his own name were typically more subdued, more akin to soulful singer-songwriter rock, than his molten performances with the Allmans.

A remake of “Midnight Rider” from “Laid Back,” his first solo album, reached the pop Top 20 in 1973. “Laid Back” also featured a cover of “These Days,” an elegiac ballad written by Jackson Browne, who on occasion roomed with Mr. Allman while he was living in Los Angeles in the 1960s.
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In 1977, Mr. Allman and the singer Cher, who were then married, performed in Brussels on tour for their album, “Two the Hard Way.”

“Low Country Blues,” Mr. Allman’s sixth studio recording as a solo artist, was nominated for a Grammy Award for best blues album in 2011. Produced by T Bone Burnett, it consisted largely of interpretations of blues standards made popular by performers like Junior Wells and Muddy Waters.

His final studio album, “Southern Blood,” produced by Don Was, was scheduled to be released this year. All his 2017 tour dates, including 10 nights at City Winery in New York in July, were canceled in mid-March.

In 1977, Mr. Allman and the singer Cher, to whom he was married at the time, released the album “Two the Hard Way.” (They were billed on the cover as Allman and Woman.) The project was poorly received by critics and the record-buying public alike.

Mr. Allman struggled for years with alcohol, heroin and other drugs, and entered treatment for them numerous times, before embarking on a path of recovery in the mid-1990s. He was later found to have hepatitis C and received a liver transplant in 2010.

As a member of the Allman Brothers Band, Mr. Allman was inducted into the Rock & Roll Hall of Fame in 1995. He was admitted to the Georgia Music Hall of Fame in 2006 and, with the Allman Brothers, received a Grammy Award for lifetime achievement in 2012.

Gregory LeNoir Allman was born on Dec. 8, 1947, in Nashville. He and his older brother were raised by their mother, the former Geraldine Alice Robbins, after their father, Willis Turner Allman, a combat veteran of World War II, was murdered by a hitchhiker in 1949. Captain Allman was killed in a robbery by a veteran he had befriended earlier in the day.
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The band’s lead singer and keyboardist, Mr. Allman — performing here in Macon, Ga., in 1978 — also enjoyed an enduring, if intermittent, career as a solo artist.

The brothers attended Castle Heights Military Academy in Lebanon, Tenn., until their mother, who was working as an accountant, moved the family to Daytona Beach, Fla., in 1959. Gregg Allman’s early aspiration was to become a dentist.

He took up the guitar before Duane did, but he was a keyboardist and vocalist by the time the two worked together in local bands while they were in high school. As the Allman Joys, they played clubs in the South and recorded a single, a version of Willie Dixon’s “Spoonful.”

The brothers moved to Los Angeles in the late ’60s and formed a group called the Hour Glass, which released a pair of psychedelic-leaning pop albums for Liberty Records. Neither was successful.

In 1968, everyone in the band, except for Gregg, moved back to Florida after being released from their recording contract. He stayed behind when executives at Liberty decided he had commercial potential.

Duane joined a Jacksonville band, called the 31st of February, led by the future Allman Brothers drummer Butch Trucks. (Mr. Trucks died in January at 69.)

Duane also worked as a session guitarist in Muscle Shoals, Ala., and New York, recording with Aretha Franklin, Wilson Pickett, the saxophonist King Curtis and other artists before talking Gregg into becoming the lead singer for Mr. Trucks’s band. Gregg had by then grown disenchanted with the West Coast music scene.

The group later added the bassist Berry Oakley, the percussionist Jai Johanny Johanson (known as Jaimoe) and Mr. Betts and became the Allman Brothers Band. They released their debut album in 1969 on Capricorn Records, an Atlantic imprint based in Macon, Ga. They also toured widely and developed a devoted following with their next two albums, “Idlewild South” and “At Fillmore East.”

On Oct. 29, 1971, just before the group achieved mainstream popularity, Duane Allman was killed in a motorcycle accident. Mr. Oakley, the band’s bassist, died in another motorcycle crash — both accidents were in Macon — a little more than a year later.

The Allman Brothers Band continued to perform and record, for various labels and with a variety of musicians, over the next four decades, despite disbanding and regrouping at points during the 1970s and ’80s. They sold out upward of 200 shows during their annual residencies, beginning in 1989, at the Beacon Theater on the Upper West Side of Manhattan before finally calling it quits after an appearance there in 2014.

Mr. Allman is survived by his wife, Shannon Allman; his sons, Michael, Devon and Elijah Blue; his daughters, Island and Layla; and three grandchildren. All of Mr. Allman’s five children except Island — each of the five has a different mother — have played music professionally.

“All My Friends: Celebrating the Songs and Voice of Gregg Allman,” an album recorded live in Atlanta that paid tribute to Mr. Allman’s enduring influence and reach, was released in 2015. It featured performances by Mr. Allman and by contemporaries and inheritors like the soul singer Sam Moore, the country star Vince Gill, Widespread Panic and the steel guitarist Robert Randolph, another jam-band favorite.

“It’s an exceptional feeling to see all those young folks at the shows,” Mr. Allman wrote in his autobiography, discussing the intergenerational appeal of the music that he and the Allmans created in the ’60s and ’70s.

“When I was a kid, I didn’t listen to Tommy Dorsey,” he continued. “There was a generational line drawn when it came to music. Kids today love Jimi Hendrix and the Grateful Dead — all kinds of good music. They love the Allman Brothers. There’s that old saying, ‘Fun for ages 6 to 60,’ and by God, that’s what our audience is.”
 
By Kory Grow, Andy Greene | October 2, 2017 | Rolling Stone
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Tom Petty, the dynamic and iconoclastic frontman who led the band the Heartbreakers, died Monday. He was found unconscious, not breathing and in full cardiac arrest at his Malibu home Sunday night, according to TMZ, and rushed to the hospital and placed on life support. EMTs were able to find a pulse when they found him, but TMZ reported that the hospital found no brain activity when he arrived. A decision was made to pull life support. CBS confirmed Petty's death. He was 66.

"It’s shocking, crushing news," Petty's friend and Traveling Wilburys bandmate Bob Dylan tells Rolling Stone in a statement. "I thought the world of Tom. He was great performer, full of the light, a friend, and I’ll never forget him."

Tom Petty and the Heartbreakers recently completed a summer tour last Monday with three nights at the Hollywood Bowl. The trek marked the band's 40th anniversary and found him playing rarely played deep cuts like their first album's opener, "Rockin' Around (With You)," and a selection of Wildflowers cuts. It was intended to be his "last trip around the country." He told Rolling Stone, though, that it wasn't his intention to quit playing. "I need something to do, or I tend to be a nuisance around the house," he said.

In the late Seventies, Petty's romanticized tales of rebels, outcasts and refugees started climbing the pop charts. When he sang, his voice was filled with a heartfelt drama that perfectly complemented the Heartbreakers' ragged rock & roll. Songs like "The Waiting," "You Got Lucky," "I Won't Back Down," "Learning to Fly" and "Mary Jane's Last Dance" all dominated Billboard's rock chart, and the majority of Petty's albums have been certified either gold or platinum. His most recent release, Hypnotic Eye, debuted at Number One in 2014. Petty, who also recorded as a solo artist and as a member of the Traveling Wilburys and Mudcrutch, was inducted into the Rock and Roll Hall of Fame in 2002.

Thomas Earl Petty was born in Gainesville, Florida, the son of an insurance salesman, on October 20th, 1950. He quit high school at age 17 to join the southern-rock group Mudcrutch, which was taking off at the time. The group's lineup featured two musicians Petty would collaborate with for much of the next five decades, guitarist Mike Campbell and keyboardist Benmont Tench. But while the band was taking off, they broke up upon moving to Los Angeles in the early Seventies.

Petty started his career in earnest in 1975 when he cut a demo with Campbell and Tench that also featured bassist Ron Blair and drummer Stan Lynch. They called themselves the Heartbreakers and recorded their debut, Tom Petty and the Heartbreakers, which came out in 1976. It failed to make an impact at the time (lead single "Breakdown" didn't even chart), but they picked up heat after touring England as support for future E Street Band member Nils Lofgren. They soon became headliners on the tour, and the album topped the U.K. chart.

The label reissued "Breakdown" in the U.S. and it reached the bottom rung of the Top 40 a year after it came out. Subsequent singles, from the group's second LP, You're Gonna Get It!, such as "Listen to Her Heart" and "I Need to Know" charted in the upper half of the pop chart. Around this time, one of Petty's most apparent influences, the Byrds' Roger McGuinn, recorded a cover of the self-titled album's closing track, "American Girl," proving Petty's ability to write hits.

But before the decade was up, Petty found himself bankrupt after the record label MCA attempted to buy out his contract from ABC Records, which disturbed Petty's original label. It took nine months of litigation for Petty to secure a new deal so he could put out the biggest record of his career, 1979's Damn the Torpedoes, which reached Number Two on the album chart and has since been certified triple-platinum. The album contained the singles "Don't Do Me Like That" and "Refugee," establishing him as a full-fledged hit maker.

Within two years, he was able to leverage this credibility in a standoff with MCA, which wanted to charge $9.98 for the follow-up LP to Damn the Torpedoes; Petty threatened to titled it $8.98 until they backed down and released the record, which contained "The Waiting," under the name Hard Promises, in 1981. He later scored a Number Three hit later that year with "Stop Draggin' My Heart Around," a duet with Stevie Nicks that appeared on her Bella Donna LP.

The years that followed would prove to be tumultuous for Petty, seeing the departure of Blair from the lineup as they worked painstakingly on what would become 1985's Southern Accents; during this time, Petty became so frustrated that he punched a wall and broke his left hand. Nevertheless, it served as home to the Number 13 hit "Don't Come Around Here No More." The following year, just as the band was about to set out on a tour supporting Bob Dylan, Petty's house burned down – with arson being suspected – destroying most of his possessions. His wife, Jane Benyo, and two daughters were able to escape.

The latter part of the Eighties was marked by both a commercial disappointment, 1986's Let Me Up (I've Had Enough), and a success, 1988's Traveling Wilburys, Vol. 1. The latter found Petty collaborating with Dylan, Roy Orbison, George Harrison and Jeff Lynne, and it made it to Number Three on the album chart and was certified triple platinum on the strength of singles like "Handle With Care" and "End of the Line." Petty followed this success into his first solo album, 1989's Full Moon Fever (home to "Free Fallin'"), which Lynne produced.

The unexpected success of Full Moon Fever sent Petty into the 1990s with incredible momentum, more so than just about any artist from his generation. A second Traveling Wilburys record in 1990 failed to recapture the magic of the original, but the following year he brought the Heartbreakers into the studio with Jeff Lynne and cut Into The Great Wide Open, scoring radio hits with the title track and "Learning To Fly." "That record gave us some of our most evergreen songs," said Petty. "It's our biggest record in Europe. But suddenly we were in a business where you could feel bad about selling only a million and a half records and recording some songs that live forever."

In 1993, Petty agreed to cut two songs for a Greatest Hits album against his will. He'd just begun work on the solo album Wildflowers with producer Rick Rubin and didn't want the distraction, but he wanted to get out of MCA contract and this was the only way to appease them. One of the two songs was "Mary Jane's Last Dance," which hit Number 14 on the Hot 100 and, thanks to a creepy video featuring Kim Basigner as a corpse, went into heavy rotation on MTV. It should have been a moment of triumph for the Heartbreakers, but drummer Stan Lynch grew tired of feeling like a hired hand and left the group the following year.

Petty would reemerge late the following year with Wildflowers, which he and Rubin had cut down from a planned double LP. "It's Good to Be King," "You Don't Know How It Feels" and the title track would be key parts of his live show until the end of his career. The record also sold by the millions and earned him yet another new generation of fans. "[We are] getting the feeling the fans rather hear Wildflowers than anything else," Petty told Rolling Stone that year. "I think a lot of people out there know us mostly from this last album."

When the tour ended, Petty's marriage dissolved after 22 years together. He moved out of their house into what he called a "chicken shack." To numb the pain, he turned to heroin. A therapist convinced him to check into a detox clinic. "They shoot this drug into you that literally drives the heroin out and your body goes into spasms," he told biographer Warren Zanes. "It forces the detox process. When I woke up from that, I felt different. And I said to the nurse, 'So, it went OK?' She says, 'Yeah, it went OK.' I said, 'How long have I been asleep?' She says, 'Two days.'"

He poured all of his pain into 1999's Echo, the darkest album of his career. He would later refuse to play songs like "Room at the Top," "Counting on You" and "Free Girl Now" after the Echo tour concluded. "I recently had a fan stop me and tell me how much that record had helped her through a bad time," Petty told Rolling Stone in 2013. "And she said, 'I know you don't like it.' And I was like, 'It's not that I don't like it. It was just a really hard period in my life.'"

Making the period all the more difficult was Blair's replacement, Howie Epstein's growing reliance on heroin. The Heartbreakers bassist dealt with a drug problem throughout much of the Nineties, but by the early 2000s the four-stringer was missing shows and physically falling apart. Petty fired him shortly after the group was inducted into the Rock and Roll Hall of Fame in 2002, replacing him original Heartbreakers bassist Blair. Epstein died of an overdose in 2003. "It's like you got a tree dying in the back yard," Petty told Rolling Stone that year. "And you're kind of used to the idea that it's dying. But then you look out there one day, and they cut it down. And you just can't imagine that beautiful tree isn't there anymore."

The band soldiered on and hit the road hard in to support The Last DJ, a scathing indictment of a record industry without any regard for art or artists. "Everywhere we look, we want to make the most money possible," he told Rolling Stone in 2002. "This is a dangerous, corrupt notion. That's where you see the advent of programming on the radio, and radio research, all these silly things. That has made pop music what it is today. Everything – morals, truth – is all going out the window in favor of profit."

Unsurprisingly, radio didn't embrace The Last DJ, beginning a long period where Petty sold more concert tickets than new records. But 2006's solo LP, Highway Companion, and 2008's Mojo, a blues record he cut with the Heartbreakers, were still stellar albums packed with strong tunes like "Saving Grace," "Square One" and "Jefferson Jericho Blues."

With his days a radio hit-maker behind him, Petty felt tremendous freedom to do whatever he wanted with his career. In 2008, he shocked everyone – especially his old bandmates – by reforming Mudcrutch for a new album and tour. "I keep waiting for somebody to tap me on the shoulder and go, 'Uh, Tom, this is a dream and it's time to wake up,'" guitarist Tom Leadon, who hadn't played with Petty since 1972, told Rolling Stone in 2016. "What a wonderful turn of events this is." In 2016, they released another album and launched a more extensive tour.

"Tom is in a position where he could do anything he wants with anyone he wants," said Heartbreakers/Mudcrutch guitarist Mike Campbell. "The beauty of this is that he wants to reconnect with his old friends, not for money, but the pure joy of revisiting the energy that we started with. It's been very, very spiritual. It's commendable that he'd do something so generous."

Three years ago, Petty and the Heartbreakers reached a shocking milestone when their new LP, Hypnotic Eye, became their first Number 1 album. They supported it with a US tour, and in 2017 they went back on the road to celebrate their 40th anniversary. "I'm thinking it may be the last trip around the country," Petty told Rolling Stone shortly before it began. "It's very likely we'll keep playing, but will we take on 50 shows in one tour? I don't think so. I'd be lying if I didn't say I was thinking this might be the last big one. We're all on the backside of our sixties. I have a granddaughter now I'd like to see as much as I can. I don't want to spend my life on the road."

After years of swimming upstream, Petty was at ease with his legacy in the later years of his life. "As you're coming up, you're recognized song for song or album for album," he told Esquire in 2006. "What's changed these days is that the man who approaches me on the street is more or less thanking me for a body of work – the soundtrack to his life, as a lot of them say. And that's a wonderful feeling. It's all an artist can ask."
 
Lindsey Buckingham on Jimmy Kimmel Live! (October 2, 2018)

 
by Andy Greene February 8, 2019 Rolling Stone
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Former Fleetwood Mac guitarist Lindsey Buckingham underwent emergency open heart surgery last week and is now recuperating at his home. “Each day he is stronger than the last,” his wife Kristen Buckingham wrote in a statement. “While he and his heart are doing well, the surgery resulted in vocal cord damage. While it is unclear if the damage is permanent, we are hopeful it is not.”

Buckingham was forced out of Fleetwood Mac last year when Stevie Nicks made it clear to the rest of the band that she could no longer work with him. “After 43 years and the finish line so clearly in sight, it’s hard to escape the conclusion that for the five of us to splinter part would be the wrong thing,” Buckingham wrote in an e-mail to group co-founder leader Mick Fleetwood after learning the news. “At the moment, the band’s heart and soul has been diminished. But out center, which has seen us through so much, is only laying dormant.”

The appeal didn’t work and the band brought on Neil Finn of Crowded House and Mike Campbell of Tom Petty and the Heartbreakers to replace him. Buckingham sued the band over the termination, though they settled out of court. The guitarist spent the last few months playing solo gigs to promote his new three-disc set Solo Anthology: The Best of Lindsey Buckingham.

“This past year has been a very stressful and difficult year for our family to say the least,” Kristen Buckingham wrote. “But despite all of this, our gratitude for life trumps all obstacles we have faced at this moment. We feel so fortunate that he’s alive. As does he. He looks forward to recovery and putting this behind him. Needless to say, all touring and shows currently schedule have been put on pause for the moment as he gathers the strength to heal completely.”
 
[video=youtube;-NOp5ROn1HE]https://www.youtube.com/watch?v=-NOp5ROn1HE[/video]
 
new song
[video=youtube;QfenIwtoQzk]https://www.youtube.com/watch?v=QfenIwtoQzk[/video]
 
This is another of 4 new songs recorded for the soundtrack of The Dirt
[video=youtube;TeoL4WtjdqA]https://www.youtube.com/watch?v=TeoL4WtjdqA[/video]
Nikki Sixx & Allen Kovac interview about Netflix's The Dirt
[video=youtube;tnk7vTEfZ4c]https://www.youtube.com/watch?v=tnk7vTEfZ4c[/video]
 
By Shirley Halperin | September 13, 2019 | Variety
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Eddie Money, the prolific singer and songwriter whose songs &#8220;Baby Hold On,&#8221; &#8220;Two Tickets to Paradise,&#8221; &#8220;Shakin'&#8221; and &#8220;Take Me Home Tonight&#8221; soundtracked popular music in the 1980s, died Friday (Sept. 13). He was 70.

A statement provided by his family reads: &#8220;The Money Family regrets to announce that Eddie passed away peacefully early this morning. It is with heavy hearts that we say goodbye to our loving husband and father. We cannot imagine our world without him. We are grateful that he will live on forever through his music.&#8221;

Money recently revealed that he had been diagnosed with stage 4 esophageal cancer.
A reality television series about Money and his family, &#8220;Real Money,&#8221; had aired on AXS TV starting in April 2018. It chronicled his life at home, on the road and with his family, as well as his health struggles.

Money made his home in the Bay Area in the 1970s where he performed at the city&#8217;s clubs regularly. A star of MTV&#8217;s formative years, he saw major chart success with such songs as &#8220;Baby Hold On&#8221; and &#8220;Two Tickets to Paradise&#8221; and, in 1986, &#8220;Take Me Home Tonight,&#8221; a duet with Ronnie Spector, his biggest radio hit. He was signed to Columbia Records and released 11 albums throughout his career, starting with his self-titled debut in 1977 which saw three songs chart, &#8220;Baby Hold On,&#8221; &#8220;Two Tickets to Paradise&#8221; and &#8220;You&#8217;ve Really Got a Hold on Me.&#8221;

Born Edward Joseph Mahoney in Brooklyn, New York, Money, who grew up on Long Island, originally started out in law enforcement, his father&#8217;s profession, spending two years as a New York City police officer before deciding to try music. In Berkeley, Calif. following his move out west, he palled around with local musicians of the San Francisco club scene which led him to legendary promoter Bill Graham, whom Money met in 1976. Graham would become Money&#8217;s manager helping him achieve multi-platinum album sales in the 1980s.

Money&#8217;s arsenal of hits includes 1978&#8217;s&#8221;Baby Hold On&#8221; (peak position on the U.S. chart: No. 11) and &#8220;Two Tickets to Paradise&#8221; (No. 22), followed by &#8220;Maybe I&#8217;m a Fool&#8221; the following year (No. 22), &#8220;Think I&#8217;m in Love&#8221; (No. 16) and &#8220;Shakin'&#8221; (No. 63) in 1982, &#8220;Take Me Home Tonight&#8221; in 1986, which reached No. 4 (his highest charting song) and &#8220;Walk on Water&#8221; (No. 9) in 1988.
During that decade-plus, Money also descended into drug and alcohol abuse, nearly dying of an overdose that left him unable to walk for a year.

Eventually working his way back to performing live, Money was featured on a 2016 episode of &#8220;Oprah: Where Are They Now?&#8221; That led to the series &#8220;Real Money,&#8221; which debuted on AXS TV in 2018 and was on its second season.

Occasionally, Money was also the subject of controversy. Most recently, and not of his doing, music industry pundit Bob Lefsetz took issue with a crack Money made during a talk at the Grammy Museum in Los Angeles, calling it anti-Semitic. As Money explained to Rolling Stone: &#8220;I said, &#8216;My wife always looks like a million bucks and she spends so much money on clothes and I hate it. It&#8217;s the Jew in me.&#8217; And when I said that, because my mother is Jewish, Bob didn&#8217;t realize that and mentioned it [in his popular newsletter]. He thought I was Irish Catholic, Polish or German or something and all of a sudden he said I was anti-Semitic. &#8230; It was a misunderstanding and I thought it was a funny joke because I got Jewish blood in me.&#8221;
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Known also for his comedic manner, both in his music videos and in interviews, he said last year that, despite his string of hit songs, he &#8220;missed the boat when it [came] to the big money.&#8221; In his typically self-deprecating manner, Money capped the conversation with this view: &#8220;The kids aren&#8217;t in jail, they&#8217;re not in rehab, nobody&#8217;s wrecked the car this week and there&#8217;s still milk in the refrigerator. I&#8217;m having a good month.&#8221;

Money is survived by his wife Laurie and five children, daughter Jesse Money, and sons Zachary, Joseph, Desmond and Julian.

Said Mark Cuban, founder of AXS TV: &#8220;We are deeply saddened that we have lost the incomparable Eddie Money. Eddie was a true American original and a rock legend through and through. His enduring hits have been the soundtrack for generations of fans, and his one-of-a-kind sense of humor endeared him instantly to everyone he met. We have sincerely enjoyed working with him and his entire talented family on his reality show &#8216;Real Money&#8217;, and we extend our deepest condolences to his wife, Laurie; their children Zach, Jesse, Joe, Dez and Julian; and his many friends during this difficult time. He will be missed immensely by all of those who knew and loved him. But, if we know Eddie, he&#8217;s rocking right now in heaven, doing what he always loved.&#8221;

Donations on behalf of Eddie Money can made to the Eddie Money Cancer Research Fund at the USC Norris Comprehensive Cancer Center. Find more information here.
 
by Jon Pareles Sept. 16, 2019 New York Times
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Ric Ocasek, the songwriter, rhythm guitarist and lead singer for the Cars, was found dead on Sunday afternoon at his townhouse in Manhattan.

The New York Police Department confirmed the death but did not give a cause. Sources have differed on Mr. Ocasek&#8217;s age &#8212; some saying he was 70 &#8212; but a few public records and previous articles about him suggest that he was 75.

From 1978 to 1988, Mr. Ocasek (pronounced oh-CASS-eck) and the Cars merged a vision of romance, danger and nocturnal intrigue and the concision of new wave music with the sonic depth and ingenuity of radio-friendly rock. The Cars managed to please both punk-rock fans and a far broader pop audience, reaching into rock history while devising fresh, lush extensions of it.

The Cars grew out of a friendship forged in the late 1960s in Ohio between Mr. Ocasek and Benjamin Orr, who died in 2000. They worked together in multiple bands before moving to Boston and forming the Cars in the late 1970s with Elliot Easton on lead guitar, Greg Hawkes on keyboards and David Robinson on drums. It was the beginning of the punk era, but the Cars made their first albums with Queen&#8217;s producer, Roy Thomas Baker, creating songs that were terse and moody but impeccably polished.

In the Cars, Mr. Ocasek&#8217;s lead vocals mixed a gawky, yelping deadpan with hints of suppressed emotion, while his songs drew hooks from basic three-chord rockabilly and punk, from surf-rock, from emerging synth-pop, from echoes of the Beatles and glam-rock, and from hints of the 1970s art-rock avant-garde.

The five albums the Cars released from 1978 to 1984 each sold a million copies in the United States alone, with ubiquitous radio singles like &#8220;Just What I Needed&#8221; in 1978, &#8220;Shake It Up&#8221; in 1981, &#8220;You Might Think&#8221; in 1984 and &#8220;Drive&#8221; in 1984. Although Mr. Ocasek wrote them, &#8220;Just What I Needed&#8221; and &#8220;Drive&#8221; had lead vocals by Mr. Orr.

When the Cars were inducted into the Rock & Roll Hall of Fame in 2018, the group&#8217;s surviving members reunited, joined by Scott Shriner of Weezer on bass. In his induction speech, Brandon Flowers of the Killers described the band as &#8220;a slick machine with a 340 V8 under the hood that ran on synergy, experimentation and a redefined cool. They had it all: the looks, the hooks, Beat romance lyrics, killer choruses.&#8221;

Richard Theodore Otcasek was born in Baltimore. His father was a systems analyst for NASA. At the Cars&#8217; Rock Hall induction, Mr. Ocasek credited his grandmother for getting him to sing as a child and buying him his first guitar at 14. The family moved to Cleveland when he was a teenager, and he briefly attended Antioch College and Bowling Green State University before dropping out and turning to music.

After meeting Mr. Orr in Ohio, the two, performing in various bands, worked their way to the Boston area, where they started a folk-pop trio, Milkwood; it made one album, in 1972, before dissolving. But Mr. Ocasek and Mr. Orr continued to work together around Boston. Mr. Easton, the lead guitarist, joined them in the mid-1970s, playing with their band Cap&#8217;n Swing, which got airplay on Boston&#8217;s rock radio station WBCN but went no further.

With Mr. Easton, Mr. Hawkes and Mr. Robinson &#8212; who had been the drummer for the Modern Lovers, local heroes in Boston &#8212; the Cars coalesced in 1976, working in Mr. Ocasek&#8217;s basement in Newton, Mass. They would start with Mr. Ocasek&#8217;s basic recordings of songs, Mr. Easton told Rolling Stone in 1978, and &#8220;we just built the songs up.&#8221;

&#8220;When there was a space for a hook or a line &#8212; or a sinker &#8212; we put it in,&#8221; he added.

WBCN gave the band&#8217;s demo recordings extensive airplay, and Elektra Records signed them. The first Cars album was made in 21 days &#8212; 12 for recording, nine for mixing. It would go on to sell six million copies in the United States. The band became a staple of FM radio in the late 1970s and of MTV in the &#8217;80s, toying with textures and ironies but sticking to neat pop structures.

Mr. Ocasek&#8217;s songs were invariably terse and catchy, spiked with Mr. Easton&#8217;s twangy guitar lines and Mr. Hawkes&#8217;s pithy keyboard hooks. But they were also elaborately filled out by multitracked instruments and vocals. Lyrics that might initially seem like pop love songs were, more often, calmly ambivalent.

&#8220;Just What I Needed,&#8221;
the Cars&#8217; first single, revolves around negatives: &#8220;I don&#8217;t mind you coming here and wasting all my time/&#8217;Cause when you&#8217;re standing oh so near, I kind of lose my mind.&#8221; And the Cars&#8217; biggest United States hit, &#8220;Drive,&#8221; poses a series of glum questions even as it sounds like a stately ballad: &#8220;Who&#8217;s going to hold you down when you shake?/Who&#8217;s going to come around when you break?&#8221;
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Mr. Ocasek, left, in a 1978 group portrait with the Cars; from left, Benjamin Orr, David Robinson, Elliot Easton and Greg Hawkes.

The Cars disbanded in 1988 as Mr. Ocasek and Mr. Orr grew apart. Mr. Ocasek had begun making music on his own while still in the group and would eventually release seven solo albums from 1982 through 2005, though none achieved the popularity of his Cars catalog.

While he said he didn&#8217;t want people prying into his personal life, &#8220;I feel that my song lyrics are kind of an open book,&#8221; he told The Chicago Tribune in 1986. &#8220;I feel that writing songs for my solo albums is kind of like spilling my guts, telling people how I really feel subconsciously. When I&#8217;m writing, it&#8217;s like I&#8217;m not really in control.&#8221;

In 2003, he took a job at Elektra as senior vice president for artists and repertoire, charged with finding new hitmakers, but the label rejected his choices; he lasted in the post less than a year. While in the Cars, he had produced albums for punk pioneers he admired: Bad Brains and Suicide. And after the Cars disbanded, he produced music for Weezer, Bad Religion and No Doubt.
In a post on Twitter, Weezer said the group was &#8220;devastated&#8221; by Mr. Ocasek&#8217;s death and would &#8220;forever cherish the precious times we got to work and hang out with him.&#8221;
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Mr. Ocasek in 2001 with his wife at the time, the model and actress Paulina Porizkova.

After two previous marriages, Mr. Ocasek married the model and actress Paulina Porizkova in 1989; they met in 1984 while the Cars were making the music video for &#8220;Drive.&#8221; She announced in 2018 that they had separated a year earlier. He is survived by their two children, Jonathan and Oliver Otcasek, and four sons from previous marriages: Christopher, Adam, Eron and Derek.

Mr. Ocasek often said that he did not enjoy the grind of touring, and Mr. Easton and Mr. Hawkes performed without him as the New Cars from 2005 to 2007, joined by Todd Rundgren as lead singer. But in 2011, Mr. Ocasek gathered the surviving members of the Cars for a final album, &#8220;Move Like This,&#8221; and a tour, although his stage presence had always been diffident.

&#8220;I don&#8217;t think I&#8217;m an entertainer,&#8221; he told The New York Times in 2011. &#8220;I never think, Wow, I can&#8217;t wait to get the crowd moving.&#8221;

In a pop world full of extroverts and peacocks, Mr. Ocasek presented himself as a detached, introverted craftsman, dedicated to songwriting rather than showmanship. He told The Times in 1987, &#8220;I&#8217;m happy that the pop songs have a bit of a twist. When I&#8217;m writing, I never know how it&#8217;s going to come out. I don&#8217;t think, Well, I&#8217;ve done a catchy one, now I can do a weird one. I read a lot of poetry, and that gives me a wide range of permission to say anything in a song &#8212; they&#8217;re more twisted than I&#8217;ll ever be.&#8221;

Joe Coscarelli and Daniel E. Slotnik contributed reporting.
 
by Mike Fleming Jr • January 6, 2020 • Deadline
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Searchlight Pictures has closed a deal with Ford v Ferrari helmer James Mangold to direct Timothée Chalamet as the young Bob Dylan, during the period when he was poised to become folk music’s most seminal figure. When Dylan instead embraced rock ‘n’ roll and traded his acoustic guitar for an amp and an electric guitar, it created a huge outcry. And it cemented the status of rock music. Dylan is working actively with Searchlight and Mangold on the film, which the studio said is untitled but has been referred to around town as Going Electric.

Negotiations are underway with Chalamet, who has gotten strong reviews for Little Women, and who next will make his London stage debut opposite Eileen Atkins in 4,000 Miles, the Old Vic production of Amy Herzog’s Pulitzer-nominated drama. The play bows April 16 and closes May 23. It is expected he will do Going Electric after that. Chalamet has the Wes Anderson-directed The French Dispatch coming from Fox Searchlight this year, though no release date has yet been firmed. He closes the year starring in the Denis Villenueve-directed adaptation of the seminal sci-fi Frank Herbert novel Dune, which Warner Bros and Legendary release December 18.

I am not sure if he will sing Dylan’s great songs, but I’ve heard that Chalamet already is taking guitar lessons so he can familiarize himself with the acoustic and electric guitar.

Mangold, whose Ford v Ferrari has crossed the $100 million domestic gross mark and $200 million worldwide for a film that has gotten uniformly strong reviews, will be doing his second film about an iconic musician after the 2005 Johnny Cash-June Carter film Walk the Line. He has done a rewrite on a script written by Jay Cocks (Gangs of New York). Searchlight acquired the project after it was turned loose by HBO following the regime change there, with Chalamet quietly attaching at that time. The movie includes rights to the book Dylan Goes Electric by Elijah Wald.

The film will be produced by Dylan’s longtime manager Jeff Rosen, Veritas Entertainment Group’s Bob Bookman, Alan Gasmer and Peter Jaysen, Automatik’s Fred Berger, The Picture Company’s Alex Heineman and Mangold. Dylan will be exec producer along with Brian Kavanaugh-Jones and Andrew Rona. Dylan’s music rights are part of the package.

Dylan was hailed as an acoustic prophet at age 19 when he exploded on the folk scene and seemed poised to follow in the footsteps of giants like Woody Guthrie and Pete Seeger. So when he plugged in his guitar at the Newport Folk Festival on July 25, 1965, the eruption was profound. Some folk purists labeled Dylan a traitor, and there were even attempts to unplug his amp — emblematic of the discord between folk and the growing power of rock music. Others appreciated the evolution of the artist whose place in electrified rock was cemented by hits that included “Like a Rolling Stone.” The drama revolves around Dylan and his interaction with ’60s music legends including Joan Baez, Seeger and everyone who was around during that time.

WME and Management 360 rep Mangold, and Chalamet is repped by UTA and attorney Lev Ginsburg.
 
Eddie Vedder - River Cross: One World Together At Home (April 18, 2020)

 
Christine McVie (July 12, 1943 - November 30, 2022)
by Jon Blistein | November 30, 2022 | Rolling Stone
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Christine McVie of rock band Fleetwood Mac - January 18, 1969

Christine McVie, the longtime co-lead vocalist, keyboardist, and songwriter for Fleetwood Mac, has died. She was 79.

The band confirmed McVie’s death in a note shared on social media. “There are no words to describe our sadness at the passing of Christine McVie. She was truly one-of-a-kind, special and talented beyond measure. She was the best musician anyone could have in their band and the best friend anyone could have in their life. We were so lucky to have a life with her. Individually and together, we cherished Christine deeply and are thankful for the amazing memories we have. She will be so very missed.”

In a statement, McVie’s family said she died today, Nov. 30, at a hospital “following a short illness.” The statement continued: “She was in the company of her family. We kindly ask that you respect the family’s privacy at this extremely painful time, and we would like everyone to keep Christine in their hearts and remember the life of an incredible human being, and revered musician who was loved universally. RIP Christine McVie.”

McVie, who began her career as a member of the band Chicken Shack, joined Fleetwood Mac in 1970. She went on to write (and co-write) some of the band’s most memorable songs, including the Rumours classics “Don’t Stop” and “You Make Loving Fun,” as well as “Hold Me,” “Little Lies,” “Everywhere,” and “Over My Head.”

This story is developing.
 
The story goes, they recorded this in one take.

"MAY 18, 1964 The Animals recorded House of the Rising Sun at De Lane Lea Studios, Kingsway, London"

Eric Burdon - vocals
Hilton Valentine - guitar
Alan Price - keyboards
Chas Chandler - bass
John Steel - drums

 
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