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Paul McCartney: ‘I Was Depressed’ After Beatles Split

May 25th, 2016 · Guitar

Paul McCartney recalled his heavy drinking and depression after the Beatles broke-up in 1970 during a candid interview on BBC Radio 4′s Mastertapes.

“I was depressed at the time,” McCartney said, before paraphrasing Lesley Gore’s “It’s My Party”: ”‘You would be too if it happened to you.’ You were breaking from your lifelong friends. We used to liken it to the army where you’d been army buddies for a few years, and now you weren’t going to see them again.”

McCartney then referenced another song — the barbershop standard, “Wedding Bells Are Breaking Up That Old Gang of Mine” — and said the Beatles’ split came somewhat naturally, as the four members grew up, got married and moved away from each other. But the break-up still left McCartney uncertain about his future in music. 

“The thing was, how are you gonna do it if you’re gonna do it?” McCartney said. “You can’t play all the instruments yourself on stage. And I took to the bevvies, I took to a wee dram, and it was great at first and then after a while getting up in the morning, I was a bit far gone and suddenly I wasn’t having a good time.”

McCartney said it was his wife Linda who convinced him to start a new project. ”For some mad reason I wanted to go back to square one and do it as we’d done it in the Beatles. People said, ‘Linda can’t play keyboards!’ And it was true, but John [Lennon] couldn’t play guitar when we started — he was playing banjo chords … Looking back on it I’m really glad we did it. I could’ve just gone into a supergroup and rung up Eric [Clapton] and Jimmy Page, John Bonham, but I wanted to go back. We ended up playing universities and graduated to town halls, and it was funny because I’d been in Shea Stadium quite recently. You had to hold your nerve, but then you do in life.”

In the Mastertapes interview, McCartney spoke about Kanye West’s 2015 hit “All Day,” which recycled an unused Beatles melody originally inspired by Pablo Picasso’s painting, Man With a guitar. While McCartney said the explicit lyrics of “All Day” troubled some close to him, he called it “a great record, sonically it’s brilliant,” and added: “I love Kanye, and he loves me. He’s a monster, he’s a crazy guy who comes up with great stuff, so he inspires me.”

Paul McCartney played Prince favorite “Let’s Go Crazy” in the late singer’s hometown of Minneapolis. Watch here.

Article source: http://www.rollingstone.com/music/news/paul-mccartney-i-was-depressed-after-beatles-split-20160524?utm_source=yahoomusic&utm_medium=referral?utm_source=yahoomusic&utm_medium=referral

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Led Zeppelin: Spirit Lawyer Trying to ‘Taint the Jury Pool’

May 25th, 2016 · Guitar

Led Zeppelin have claimed the lawyer for the estate of former Spirit guitarist Randy Wolfe attempted to “taint the jury pool” by claiming the band would not appear in court when the copyright dispute over “Stairway to Heaven” goes to trial next month.

In a motion, the band’s lawyers wrote that Francis Malofiy falsely claimed that Jimmy Page, Robert Plant and John Paul Jones had refused to appear in court during a pretrial conference in April. They also claimed that Malofiy reasserted this claim to reporters outside the courthouse. The motion called the move a “PR stunt,” and added that after the reports died down, Malofiy attempted to revive them by filing a motion designed to make it seem like the court had ordered Zeppelin to appear. 

Zeppelin’s motion, however, called these claims “pure fiction,” and insisted that Plant and Page had always intended to attend the trial. It also noted that Jones would appear as a witness for the defense, even though the claims against the bassist were dismissed in April. 

Zeppelin’s lawyers accused Malofiy of attempting to delay the trial and refusing “to take ‘yes’ for an answer.” The motion additionally called out Malofiy for trying to serve subpoenas to Plant and Page that not only listed the wrong date, but were void because the two musicians resided in England outside the court’s jurisdiction. The band’s lawyers also claimed Malofiy wanted to submit videotaped testimony from a deposition, in lieu of live testimony, but failed to submit the proper transcripts in time. “Plaintiff’s gambit, and his ongoing efforts to try this case in the press, should be rejected,” the motion read.

Led Zeppelin declined to comment further on the trial. Malofiy did not immediately reply to a request for comment.

The copyright case over “Stairway to Heaven” dates back to 2014, when Michael Skidmore — a trustee for Randy Wolfe’s estate — sued Zeppelin, claiming the band stole the intro to the classic rock staple from Spirit’s 1968 song “Taurus.” The two bands played several shows together between 1968 and 1970, and Zeppelin reportedly played a medley of songs during their first tour that included Spirit’s “Fresh-Garbage,” which appeared on the same LP side as “Taurus.” Led Zeppelin have denied the claim.

While Zeppelin had hoped to avoid a trial, U.S. District Court Judge Gary Klausner ruled in April that “Stairway” and “Taurus” were similar enough to warrant a hearing in front of a jury. The trial is set to begins on June 14th.

Article source: http://www.rollingstone.com/music/news/led-zeppelin-spirit-lawyer-trying-to-taint-the-jury-pool-20160524?utm_source=yahoomusic&utm_medium=referral?utm_source=yahoomusic&utm_medium=referral

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Snoop Dogg Adds Two Sultry New Songs to Huge Label Compilation

May 25th, 2016 · Guitar

Snoop Dogg has unveiled two new songs, “Top Down” and “Love Around the World,” on The Return of Doggy Style Records, a 30-track SoundCloud compilation from the rapper’s recently revived label. 

“Love Around the World” opens the mixtape and finds the MC cruising over a beat of sultry synths and ominous pianos, weaving luxurious lines like “I’m smooth like suede with a touch of velour / On the rocks, Ciroc, glass and I pour / Snoop Dogg is the shit, now get your ass on the floor.”

“Top Down,” meanwhile, boasts a retro soul vibe with dusty snares, a charming vocal loop and a delicate, extended hook from October. Snoop again sounds effortless and carefree over the sparse beat, cheekily boasting, “Got a car full of gas, but no place to go.”

The Return of Doggy Style Records features a slew of artists and marks the first release since the rapper relaunched his long defunct Doggy Style Records earlier this month. Not long after, Snoop announced plans to release new music — potentially a whole album — in July. He’s also set to head out on tour with Wiz Khalifa starting July 20th in West Palm Beach, Florida.

Article source: http://www.rollingstone.com/music/news/snoop-dogg-adds-two-sultry-new-songs-to-huge-label-compilation-20160524?utm_source=yahoomusic&utm_medium=referral?utm_source=yahoomusic&utm_medium=referral

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Ben Folds on Kesha: ‘She’s the Real Deal’

May 24th, 2016 · Guitar

When Ben Folds played New York’s Beacon Theater in May, he shared a long anecdote with the crowd about the time he threw his phone in a hotel pool. The woman who jumped in and retrieved it for him was Kesha

“Just put it in rice,” Folds remembered the singer telling him. The encounter between the Top 40 pop star and the piano-rocker inspired a song (“Phone in a Pool”) and cemented an artistic friendship, which played out in two highly publicized performances last week.  

At the Billboard Music Awards, Folds accompanied Kesha on an emotional cover of Bob Dylan’s “It Ain’t Me Babe.” Days prior, Folds and Kesha performed the song onstage at the Orpheum Theater in Los Angeles before Dr. Luke’s label Kemosabe Records – which had originally cancelled Kesha’s performance – re-approved Kesha’s Billboard appearance.

Folds is currently touring North America with yMusic ensemble in support of So There, his recent LP composed of eight chamber rock songs and his Concerto for Piano and Orchestra performed with the Nashville Symphony. Folds spoke with Rolling Stone about his performances with Kesha, the absurdity of the North Carolina House Bill 2 and recording a track for the Hamilton mixtape

How did your ad-hoc performance with Kesha last Wednesday come about?
We were fortunate, musically. When we were told [Kesha's performance] wasn’t going to be on, I was just like [to Kesha], “Why don’t you come onstage and do it with us tonight, and we’ll arrange something quickly for it?” The song is only piano and vocals, but for that show we created a broader arrangement. I think it gave her a life raft – knowing it had gone over so well at my show.

What did you think of her decision to cover “It Ain’t Me Babe”?
I thought the choice was great. She had a bunch of songs she was deciding between – Bob Dylan, some Beach Boys. This song, I thought, gave her a chance to ride that line so few people ride well, of making something hers and illuminating something different about the song.  You have to remember about these things [awards-show performances] – they’re mostly loud program music with choreography, sound effects; even the stripped-down stuff is still heavily choreographed. But in that performance, she played completely stripped-down music. I thought it was a safe place for her to do something gutsy like that because she knows I’ve got her back all down the chain. I’ve helped take care of her. I wouldn’t have shown up [at the Billboard Music Awards] if it wasn’t real.

When did you and Kesha become friends?
I’ve known Kesha for a while. I’m proud of her, personally and musically. She’s the real thing. I met her shortly after she broke through a mutual friend. She told me how she’d sneak into my shows when she was in high school. I’m not sure why she had to sneak in [laughs], but we’ve settled that.

Has she told you what her favorite Ben Folds album is?
I think it’s Rockin’ the Suburbs, for sure. It’s amazing the amount of female pop stars of her age and ilk that gravitated towards that album.

“I’ve helped take care of [Kesha]. I wouldn’t have shown up if it wasn’t real.”

When you invited her to perform, that was a crucial and rare moment for pop music. It flew in the face of artistic censorship, which is a huge topic right now. 
It’s so complicated. I’m mostly interested in the artistic part of this, but the artistic part is tied to the personal part, which is tied into the legal part. The main thing is that Kesha has had the same choice as everyone: take the tough road and stick up for herself or just get in line. The fact that her personal and artistic growth is so important to her that she’s willing to be kicked off television shows and not put a record out – that’s what people are responding to. It takes guts to develop your voice, reinvent and be yourself like David Bowie or any other great artist. She just took a big risk. Plus, she’s fuckin’ way good.

HB2 is also in the news right now. You’re from Winston-Salem originally – what do you think about the bill?
It’s just absurd. I mean, it’s truly absurd. What are you gonna do? Bring your fucking birth certificate in the bathroom? The whole thing is ridiculous.

Would you say you’re a political artist?
I’m not really. Well, I am to the extent that my manager was Al Gore’s press secretary for 15 years.

Wow.
Yeah, he’s very political. And he’s very well connected. But as a traveling musician, for instance, I’ve never done jury duty. I’m fuckin’ 50 years old and I’ve never done jury duty. And I voted in some elections, but sometimes it’s difficult to get an absentee ballot when I happen to be in Australia touring or something like that. I don’t have an excuse. 

Where do you stand on playing or not playing concerts in North Carolina in response to the bathroom bill, like Springsteen and other artists? 
I’m not going to have a gig in North Carolina then cancel the gig. Then a bunch of people took off work, bought tickets, planned to drive to my show. Then they can’t, because I canceled the show. Some of those people may have actually been the ones that voted down HB2. 

Your music has resonated with college-aged people across multiple generations at this point. How have the mentalities of that group changed?
I’ve been playing for college kids for nearly 30 years – that’s insane – 30 years? In my experience, the group coming along now is distinctly different from the ones who used to pick me up from the airports, take me to the gigs years ago. They’re different today. You’ll see the way they react with, for instance, authority. I’ve noticed kids who are coming through college now are very calm and empathetic about authority.

I was watching that new Netflix series Characters the other day and was delighted the first episode uses your song ”Brick.” Have you seen the clip?
No! I haven’t seen it. I heard it’s with somebody doing a pole dance to it? That’s amazing.


Can you tell me how you got involved in the Hamilton mixtape? There’s a pretty eclectic mix of artists on there with you, Regina Spektor, Busta Rhymes, Chance the Rapper.
That’s it [laughs]. Have you ever had qualms about other people using your songs in commercials and in TV?
No, never. I think it’s like, if someone thinks this song is about me taking my dog to the vet, there’s nothing I can do to change how they feel about it. How a song is characterized or how it’s [perceived] – it’s like you’re sending your kids off. You can’t spend all your time worrying about who they’re going to marry, or what decisions they’ll make. I’m amazed when a song is used in a way I wouldn’t have thought. 

It was more [Spektor's] thing than mine. I just came in and sang with her. And then we went and had margaritas and I forgot [laughs]. I thought it was interesting to hear such historical words in a heartfelt song. I think it’s cool that the words don’t have the vernacular of pop music, which is really narrow. It’s like: “baby” this and “baby” that. Whoever says “I cried for you” in public? I sing that shit all the time and no one says that. Pop music sounds good rolling off the tongue, but it doesn’t necessarily sound normal singing stuff about our great nation. You know what I mean? It’s unusual. So I love that it’s unusual.

Are you into American history? 
I don’t know. I mean, I like history when it can be presented in a human way. That’s interesting to me. I live in a house that was a 19th-century women’s department store. I love it because some walls have old gas lines coming out of the wall, before electricity. My house was built in 1890, the same year that Edison wired Wabash, Indiana, with the first incandescent lightbulbs.

That’s fascinating.
Right, then it’s like you feel it. But the other thing about history, is nobody can seem to be able to correctly report what happened yesterday, so I’m not sure how we get 150 years right [laughs]. I think what Hamilton got right was to investigate the human part. So it all felt like a surprise. Like, “Are they going to win that war?” Of course! You know that they won the war, but there was the sense of newness. When someone can present history like that, that’s great. That happens so rarely. But that’s why Lin-Manuel Miranda won the Pulitzer Prize – as he should have – because he actually taught people some fucking history.

Article source: http://www.rollingstone.com/music/news/ben-folds-on-kesha-shes-the-real-deal-20160524?utm_source=yahoomusic&utm_medium=referral?utm_source=yahoomusic&utm_medium=referral

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My Morning Jacket Plot One Big Holiday With Gary Clark Jr., Kurt Vile

May 24th, 2016 · Guitar

My Morning Jacket will perform three full shows at their third One Big Holiday festival, with Gary Clark Jr., Kurt Vile and the Violators and Deer Tick. One Big Holiday will take place February 4th through 8th, 2017 at the Hard Rock Hotel Riviera Maya in the Riviera Maya region of Mexico. 

The four-night event also includes: Head and the Heart, Preservation Hall Jazz Band, Lucius and Carl Broemel. The event will feature artist-hosted activities, workshops, poolside games, cooking demos and a Super Bowl viewing party on February 5th. 

Pre-sale tickets for returning One Big Holiday attendees starts June 7th at 12 p.m. ET via the One Big Holiday site, while general sale begins June 8th at 12 p.m. ET. Members of My Morning Jacket’s fan club, Roll Call, will be able to opt into the pre-sale by filling out a form between May 24th and May 31st (more info is available on the band’s website).

Article source: http://www.rollingstone.com/music/news/my-morning-jacket-plot-one-big-holiday-with-gary-clark-jr-kurt-vile-20160524?utm_source=yahoomusic&utm_medium=referral?utm_source=yahoomusic&utm_medium=referral

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Watch Florida Georgia Line’s Energetic Backstreet Boys Cover

May 24th, 2016 · Guitar

Florida Georgia Line’s Dig Your Roots tour kicked off May 12th in Tupelo, Mississippi, bringing hits like their current single “H.O.L.Y.” plus unreleased music from the duo’s forthcoming third album to the masses. Included near the end of their set is a medley of their favorite hits from the Nineties that features the Backstreet Boys’ 1997 hit “Everybody (Backstreet’s Back).”

The brief video above from their May 19th stop in Rapid City, South Dakota opens with Brian Kelley explaining that Backstreet Boys were the first show he ever attended, followed by a self-aware “Big surprise!” Tyler Hubbard notes that one of his first CDs was Backstreet Boys. All this is a setup for this portion of the medley, so they break into Max Martin and Denniz PoP’s opening chant and are immediately joined by the crowd’s responding “Yeah” melody. Their band adds a more rock roll arrangement, but there’s still enough groove for Kelley and Hubbard to move around the stage. Other songs in their medley at recent shows include Toby Keith’s “Wish I Was a Cowboy,” Papa Roach’s “Last Resort,” Montell Jordan’s “This Is How We Do It” and House of Pain’s “Jump Around.”

FGL’s Dig Your Roots tour, with guests Cole Swindell, the Cadillac Three and Kane Brown, will roll through the summer with numerous amphitheater dates. Their next engagement is the Country 500 Festival on May 28th at Florida’s Daytona International Speedway.

Article source: http://www.rollingstone.com/music/news/watch-florida-georgia-lines-energetic-backstreet-boys-cover-20160524?utm_source=yahoomusic&utm_medium=referral?utm_source=yahoomusic&utm_medium=referral

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Dierks Bentley’s Interview With Foo Fighters Guitarist: 5 Things We Learned

May 24th, 2016 · Guitar

With his newest album, Black, set for release this Friday, May 27th, Dierks Bentley met up with Foo Fighters guitarist Chris Shiflett earlier this spring to tape an installment of Shiflett’s podcast. Their conversation drifted from Whitesnake’s “Still of the Night” to Hank Williams Jr.’s “Man to Man,” with both musicians swapping road stories and songwriting tips along the way. Their dialogue forms the basis of Shiflett’s newest Walking the Floor, a biweekly show that finds the guitarist talking shop with country stars and Americana icons.

Recorded in Nashville while Bentley prepared for a business trip to Europe, the Walking the Floor episode presents Bentley not only as a musician, but as a genuine music fan. Here are five of the biggest takeaways from the conversation, which doubles as the first installment of Shiflett’s podcast to be released by the PodcastOne network.

1. Bentley was a hair-metalhead.
Like Carrie Underwood, Bentley grew up on hair metal. He was a teenager during the late Eighties, when rock acts like Van Halen and Def Leppard blanketed the airwaves. When another friend expressed interest in learning the electric guitar, the two began working together to learn some of the era’s most popular riffs. . .although Bentley wasn’t as quick as his buddy to master those dive-bombs. “We were working on a Whitesnake riff or something,” Bentley remembers, humming the riff of “Still of the Night,” “and his pick and his fingers were so much more coordinated than me. It was frustrating. He was advancing so much further than I was, so much quicker. So I worked on more Look What the Cat Dragged In power chords, like Poison. I discovered early on that I was more of a strummer than a picker.”

2.When it comes to the tour bus, Bentley doesn’t pull rank.
Some of his bandmates have been playing with him since his earliest shows in Nashville, and they receive the same amenities as Bentley himself. “It’s really healthy for the long-term longevity of a band,” he says. “We’re super close. We all ride in the same bus together. I don’t have a bunk in the back; we’re all just in the center aisle. I try to treat it as equally as possible. I will look out for those guys, because I know when they’re happy and their families are happy, our show is gonna be better.”

3. As a kid, Bentley listened to a mix of his dad’s country music and his sister’s pop cassettes.
Country music had become increasingly popular during the Eighties, and, while growing up in Phoenix, Bentley tuned in at the right time. “By the time I was 15 or 16,” he says, “that was the ‘Class of ’89,’ so you had Alan Jackson, Garth Brooks, Marty Stuart, Dwight Yoakam, Steve Earle. There was a lot of good music coming out of Nashville.” At the same time, he also found himself drawn to his sister’s music, which included artists like U2, Madonna and Michael Jackson. That shared love of country twang and pop hooks would later find a home in his own music, although Bentley has left his teenaged attempts at mimicking a different artist — “I spiked my hair like Billy Idol,” he says proudly — in the past.

  1. Hank Williams Jr. was his gateway drug to country music.
    Rock, metal and pop albums all had a place in Bentley’s tape collection as a teenager, but it was Hank Williams Jr.’s “Man to Man” that convinced him to focus on country music. “It was just testosterone-filled, rock roll guitars, attitude. . .nothing I’d ever heard before in my life,” he says of the song, which appeared on Bocephus’s Lone Wolf in 1990. “Honestly, that’s one of three moments in my life where it’s like a coin going down a slot machine, and all the letters go click, click, click. Boom! I was 17 and I moved to Nashville two years later. I was hooked.”

5. Bentley’s first Number One album was cut in little more than a week.
These days, it can take a year or longer to piece together a concept album like Black. Eleven years ago, though, Bentley cranked out Modern Day Drifter in less than a dozen days, sandwiching the studio sessions between a seemingly infinite string of tour dates. “We were on the road over 300 dates that year,” he recalls. “I came off the road for 11 days and made this record in an 11-day stretch. You can do that when you’re single, but even then, it wasn’t the most enjoyable experience, because we were just hitting the road so hard. I really appreciate the way rock bands do it, when you’re touring and then you stop touring and make a record, and you set it back up again. That’s kind of what we did for the first time in my career with this record that’s about to come out. But usually, in country, nothing links up that way. We’re always touring, so it’s hard to get that downtime to make a record.”

Article source: http://www.rollingstone.com/music/news/dierks-bentleys-interview-with-foo-fighters-guitarist-5-things-we-learned-20160523?utm_source=yahoomusic&utm_medium=referral?utm_source=yahoomusic&utm_medium=referral

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Justin Bieber Slams ‘Fake’ Awards Shows

May 24th, 2016 · Guitar

In his latest Instagram missive, Justin Bieber wrote about his disdain for awards shows after performing at the Billboard Music Awards on Sunday night.

“I don’t know about these award shows,” wrote the 22-year-old pop star. ”No disrespect to anybody at any of the shows or the people running it. Nothing but love for you guys and your support. But I don’t feel good when I’m there nor after … A lot of people in the audience there [seem to be] worried about how much camera time they will get or who they can network with … These award shows seem so hollow.”

Since the launch of his Purpose world tour, Bieber has taken to Instagram as a platform for discussing his discomfort with some of the more social aspects of being as famous a musician. He canceled all future meet-and-greets for his current tour, revealing how “drained and unhappy” they leave him. Earlier this month, he revealed that he would no longer take photos with fans because it makes him feel like a “zoo animal.” Unlike these free-roaming sheep: 

I don’t know about these award shows.. No disrespect to anybody at any of the shows or the people running it. Nothing but love for you guys and your support. But I don’t feel good when I’m there nor after. I try to think of it as a celebration but can’t help feeling like people are rating and grading my performance. A lot of people in the audience there to be seem worried about how much camera time they will get or who they can network with. When I’m doing a regular show I feel they are there for the right reasons and to strictly have a good time! But these award shows seem so hollow. I get the premise is to award people for their accomplishments, but is it really? Because when I look in the audience I see a bunch of fake smiles so that when the camera hits them they look happy. Sure there are people truly proud of others so I don’t want to knock them I’m just looking at the vast majority. I just think to myself if I’m living my purpose I want the reward to be fulfillment. I’m getting awarded for the things that I’m doing and not for who I am which is understandable I know it would probably be hard to calculate and award someone’s spirit lol. But When I do get these awards the temptation of putting my worth in what I do is so hard to fight!!!I am privileged and honored to be recognized by my peers in but in these settings I can’t feel the recognition. There’s an authenticity missing that I crave! And I wonder does anybody else.. Sorry not sorry about grammar it’s not my strong point

A photo posted by Justin Bieber (@justinbieber) on May 23, 2016 at 8:42am PDT

Article source: http://www.rollingstone.com/music/news/justin-bieber-slams-fake-awards-shows-20160523?utm_source=yahoomusic&utm_medium=referral?utm_source=yahoomusic&utm_medium=referral

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Paul McCartney: Kanye West Made My ‘All Day’ Melody ‘Seriously Urban’

May 24th, 2016 · Guitar

Paul McCartney revealed in a new interview that he didn’t expect Kanye West to sample one of the Beatles great’s unused melodies to form the rapper’s 2015 hit “All Day,” and that he was even more surprised by the resulting track. “It’s a great record, sonically it’s brilliant, but quite a few people said, ‘You can’t be connected with this, there’s, like, 40 N-words,” McCartney said during a taping of Radio 4′s Mastertapes (via Radio Times).

“All Day” was borne out of the same sessions that resulted in the Rihanna collaboration “FourFiveSeconds.” In the interview, McCartney mentioned that he whistled West the 1969 melody that was originally inspired by a Pablo Picasso’s painting Man With a guitar. The bassist figured West wouldn’t use the melody… until he received West’s song a few months later.

“I get this track back, a thing called ‘All Day’: he’s taken my melody and he’s made it seriously urban, which is funny because the lyrics use the N-word – a lot! ‘How long have you been at the mall? All day, n-word,’” McCartney said.

Because of the explicit nature of the lyrics, there were those around McCartney who said the former Beatle should disassociate himself from “All Day,” but McCartney defended West’s single and his use of the N-word.

“People like Oprah, who’s a little conservative about that stuff, said, ‘You shouldn’t do it, even black people shouldn’t use that word. I said, ‘Yeah, but it’s Kanye! And he’s talking about an urban generation that uses that word in a completely different way,’” McCartney said. “It’s the context. So I was actually pleased with it.”

In the Mastertapes interview, McCartney also revealed that West recorded his vocals into an iPhone. “I love Kanye, and he loves me,” McCartney said. “He’s a monster, he’s a crazy guy who comes up with great stuff so he inspires me.”

Article source: http://www.rollingstone.com/music/news/paul-mccartney-kanye-west-made-my-all-day-melody-seriously-urban-20160523?utm_source=yahoomusic&utm_medium=referral?utm_source=yahoomusic&utm_medium=referral

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Watch Slash, Nikki Sixx Talk Motley Crue/GN’R Tour in ‘It’s So Easy’ Clip

May 23rd, 2016 · Guitar

It’s So Easy and Other Lies, a documentary based on Guns N’ Roses bassist Duff McKagan’s memoir begins screening this Friday at select theaters. In a new clip from film, McKagan looks back at GN’R's big break: opening for Mötley Crüe in 1987.

“We said, ‘Let’s take these guys on the road,” Crüe bassist Nikki Sixx says of recruiting Guns N’ Roses in the clip. “These guys have been great. They’re just like us, they’re coming up. Let’s give them a break. Ozzy [Osbourne] gave us a break.”

“That particular tour was awesome,” said Slash. “Two sort-of hell-raising bands from Los Angeles. One’s been successful for awhile, and one was on the way up. We were from the same gritty street environment in L.A. and we knew each other, so it was just cool.”

The following year, while on tour, Guns N’ Roses learned their debut Appetite for Destruction had hit Number One on the charts, and the record label execs celebrated by hand-delivering a sheet cake to the band backstage. “I remember thinking, ‘Wow, a fucking sheet cake,’” McKagan said.

Article source: http://www.rollingstone.com/music/news/watch-slash-nikki-sixx-talk-motley-crue-gnr-tour-in-its-so-easy-clip-20160523?utm_source=yahoomusic&utm_medium=referral?utm_source=yahoomusic&utm_medium=referral

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