Outspoken Red Hot Chili Peppers bassist Flea has already expressed his frustration with some of the Republican presidential candidates. But as the musician noted on Twitter, “I’m happier and more productive when I stay positive.” The Chili Peppers have been longtime supporters of Bernie Sanders, going so far as to headline a benefit show Friday night in Los Angeles to raise money for his campaign.
In an exclusive essay for Rolling Stone, Flea outlines why, despite having “absolutely no interest” in politics, he was drawn to the candidate and his ideas.
I first learned about Bernie Sanders through a teacher of mine who lived in Vermont. He was telling me that the state, in most categories, has the highest standard of life in the United States in terms of employment, education, health care and all the things that you measure a standard of life by. He told me about Bernie and how much he admired him, so he’s been on my radar for a while.
When we first started hearing about the Democratic [presidential] hopefuls, I saw that he was running and I just started paying attention. When I heard that he wasn’t taking money from any corporations, didn’t have any Super PACs and was doing it with a lot of small donations, I was amazed. The concept of a president in this country who is not beholden to corporate lobbyists is such a beautiful idea.
A year ago, nobody really cared about Bernie Sanders or knew who he was. And here’s a guy that is not relying on fear-mongering or Super PACs or billions of dollars. He’s just talking about issues that really affect us as human beings, like caring about each other and evening the playing field.
People try to demonize it like, “Socialism is the next step to communism.” That’s just insane silliness. Bernie isn’t talking about eliminating the spirit of capitalism in terms of the competitive spirit of people being able to lift themselves up by their bootstraps through discipline and hard work and creativity and ingenuity. He’s not trying to eliminate making something great of yourself and being part of the American dream. He’s just saying, “Let’s even the playing field so everybody can get a decent education and have an opportunity to get health care and take care of themselves and educate themselves.” That’s what civilization should be about.
“[Bernie] is just talking about issues that really affect us as human beings.”
The bottom line is that everybody deserves to get a good education. This country is completely capable economically of providing a high-grade education for everybody regardless of their economic class. And everybody deserves to have a high grade of health care regardless of their economic class. That is what’s going to help [reduce] crime and poverty. That is what’s going to make this country a beautiful, vibrant place.
People can still get rich, but it’s just giving everybody a chance that everybody deserves. I’m for Bernie Sanders all the way. I believe in him; I believe in what he says. I relate to people who realize that we’re all connected, and who realize that we have to look out for each other and love each other. And that’s what Bernie’s about.
Beyond economic issues, the thing that drives my interest the most in any presidential candidate is the one that’s least likely to go to war and least likely to start some bloodthirsty murderous war campaign in order to keep the Military Industrial Complex going and make billions for the corporations at the expense of human life. I think Bernie is the least likely to start a cockamamie war.
I just don’t care [that critics call him "unelectable"]. I think saying he’s unelectable is a silly thing. Clearly, he’s electable. He’s a guy who’s getting votes and just showed in Iowa that he’s neck-and-neck with Hillary. Consciously electing someone based on being a human being with integrity who actually speaks for the people of this country and the things that concern them — and not fear-mongering — is an amazing concept that’s really inspiring. And it gives me a little bit of faith in the political process.
The Chili Peppers are doing a show for Bernie this weekend and it’s something like $30,000 to rent the venue. We said, “Oh, we’ll pay for the cost of the venue rental.” And he wouldn’t accept it! He said, “We can’t accept you guys; you’re a group — you’re incorporated — so I can’t accept that money.” He can accept the ticket cost because each one is a small donation, but the 30 grand? “No, I don’t accept money like that.”
”The concept of politics itself is of absolutely no interest to me. The concept of human beings caring for one another holds great interest to me.”
If he’s elected, I would hope that a Sanders presidency would make it so 1) he wouldn’t go off into any wars unless if it really was to protect other human beings, 2) that he would make high-quality health care accessible to everybody regardless of how much money they have, and 3) that he would make higher education available for everybody. And that means everybody. That means people who live in very poor communities and are struggling who deserve as good as an education as people in rich communities. The playing field is rigged. And if you’re poor and a minority, you don’t have a chance, man. Or your chance is like a needle in a haystack. I want everybody to have an equal chance.
The concept of politics itself is of absolutely no interest to me. The concept of human beings caring for one another holds great interest to me. I care about the welfare of people. I care about love and kindness and empathy and reaching out to those who are less fortunate and struggling to get by in a really difficult world. The candidate who actually represents the well-being of human beings in the United States and cares about people is Bernie Sanders, and that’s why I stand by him.
Twenty-five years ago this week, iconic English rock maximalists Queen released one final classic album with their original lineup of Freddie Mercury, guitarist Brian May, bassist John Deacon and drummer Roger Taylor.
Innuendo fell into fans’ laps like a saving grace following the hijacking of Deacon’s signature bass line from “Under Pressure,” the group’s 1981 collaborative single with David Bowie, for Vanilla Ice’s 1990 pop-rap mega-hit “Ice Ice Baby,” a song still dominating Billboard’s Hot Dance Club Play chart by the time of the album’s release on February 5th, 1991. (“I first heard it in the fan club downstairs,” May said of ”Ice Ice Baby” in the March 1991 issue of Q Magazine. “I just thought, ‘Interesting, but nobody will ever buy it because it’s crap.’ Turns out I was wrong.”)
Following the death of Queen’s dear friend Bowie from liver cancer just days after the release of his final album, Blackstar, this past January, some compared the record’s tragic trajectory to that of Innuendo, released just nine months before Mercury himself passed away, succumbing to AIDS-related pneumonia. Rumors of Mercury’s declining health were rampant given his sickly presentation during appearances in the late Eighties, particularly in 1990 at London’s Dominion Theater where the band — with an incredibly gaunt-looking Mercury in tow — was present to receive the Brit Award for “Outstanding Contribution to British Music,” an event that would become the last time the singer was seen in public. Yet rumors of his failing condition were persistently denied, with drummer Roger Taylor insisting to one reporter that he was “healthy and working” and Mercury quickly staving off any inquiries about his health during a rare on-air interview for BBC’s Radio One.
“Freddie found an amazing tranquility, and I never really heard him complain,” May later proclaimed in a 2011 BBC documentary on Queen, Days of Our Lives. “I remember we went out one night, and he had horrible problems with his leg and I think Freddie saw me looking at it and he was like, ‘Oh, Brian, do you want to see what it’s like?’ And he showed me, and he reacted to my face and said, ‘I’m really sorry — I didn’t mean to do that to you.’ I never heard him go, ‘This is really awful. My life is shit. I’m going to die.’ Never, never, never. He was an amazingly strong person.”
Much like Blackstar, to listen to Innuendo isn’t to be confronted with the sorrow of a man with one foot in the grave. Rather, the album comes off as the work of an artist staring sickness right in the eye and vowing to “keep working until I fucking drop,” as Mercury was once quoted as saying.
And from the sound of Innuendo, he meant exactly what he said. In many ways, Innuendo looked to be a triumphant continuance of the return to Queen’s early-Seventies hard-rock roots that began on 1989′s underrated The Miracle, albeit with some adventurous detours into Floydian psychedelia, early EDM and Smiths-ian romanticism. The album kicked off with its six-and-a-half-minute title cut, which — with its bolero intro, flamenco breakdown and operatic hard-rock outro — was immediately tagged as “Bohemian Rhapsody II.” But clearly the song was its own beast, inspired by Led Zeppelin’s “Kashmir” (a medley of the two songs was performed by Plant and the surviving members of Queen in 1992 at the Freddie Mercury Tribute Concert at Wembley Stadium). It is also the only studio cut of the group’s to feature another guitarist: Steve Howe of Yes joined May in the song’s meticulously designed middle section.
“They played it and I was fucking blown away,” Howe told the British music magazine Prog in its March 2012 issue. “They all chimed in: ‘We want some crazy Spanish guitar flying around over the top. Improvise!’ I started noodling around on the guitar, and it was pretty tough. After a couple of hours, I thought: ‘I’ve bitten off more than I can chew here.’ I had to learn a bit of the structure, work out [what] the chordal roots were, where you had to fall if you did a mad run in the distance; you have to know where you’re going. But it got towards evening, and we’d doodled and I’d noodled, and it turned out to be really good fun. We have this beautiful dinner, we go back to the studio and have a listen. And they go: ‘That’s great. That’s what we wanted.’”
The heavy edge to the album, according to May in a 1991 promotional video on the making of Innuendo, was partially inspired by his listening to the likes of such late-Eighties guitar maestros as Steve Vai and Joe Satriani. But May’s playing on the record transcends bald-faced showmanship, providing a quintessential testament to how he and Mercury were two halves of a perfect whole on the frontlines of Queen, complemented by the excellent rhythm section of Deacon and Taylor.
“We’ve always been stronger together,” Roger Taylor stated in that promo video. “I feel very lucky that we’ve had those fantastic times. [Freddie] was just a tower of energy, really. Working with him, he always gets the best out of you and drives you, and inspires those around.”
“Headlong” originated from sessions for a scrapped Brian May solo album before he gave Mercury a go at the lead vocals and recognized how perfectly it worked as a Queen song. Deeper album cuts like “The Hitman” and “I Can’t Live With You” saw the band placing more emphasis on heavy guitars than arguably anything they had done since 1974′s Sheer Heart Attack. The return of the band’s glossy electric roar surely came as a refreshing salve for those who felt forced to endure Queen’s twists and turns through New Wave, RB and plastic synthpop during the 1980s.
“We’ve always been fairly eclectic in our time,” Taylor said in 1991. “And we did branch out. But whenever we got a little too far out, people started to moan and groan a bit. And what I think people really wanted to see was sort of this return to thickly textured guitar, drums, bass and now I suppose keyboards lineup and those big harmonies. This album is really all about that.”
Meanwhile, other parts of the album saw the group working outside of their comfort zone, exploring realms of form and texture that served to punctuate Innuendo‘s lyrics, in which Mercury reckoned with his worsening condition. He was literally dying before his bandmates’ very eyes while they worked on the record, an experience that drives some of the most poignant moments here. Despite the dark humor in the singer’s delivery of the song, “I’m Going Slightly Mad” recounted Mercury’s battle with the AIDS-related dementia said to have set in during the band’s time in the studio.
“Delilah,” on the other hand, was a sweet farewell to his beloved cat of the same name.
“Just savor every mouthful and treasure every moment when the storms are raging around you,” Mercury sang on the ballad “Don’t Try So Hard,” which, buoyed by May’s chiming guitars and producer David Richards on a preset Korg M1, suggests the faint influence of late-Eighties Britpop.
The conga-driven synth ballad “These Are the Days of Our Lives” is Innuendo‘s most significant single, given that it was released on Mercury’s 45th birthday, and that its video marked the last time his fans were able to see the singer alive, as it was filmed in May of ’91 during the final stages of his battle with AIDS. A ballad in the vein of “Love of My Life,” it was a song that carried a significant amount of weight given the frailty of Mercury’s appearance in the black-and-white video, later compounded when unreleased color footage from the filming emerged in Days of Our Lives.
“The sicker he got, the more he seemed he needed to record,” explains Roger Taylor in the documentary. “To give himself something to do, some sort of reason to get up, so he would come in whenever he could. So really, it was quite a period of fairly intense work.”
After seeing how well-received Innuendo was in its first two weeks out, Mercury pressed the band to strike while the iron was hot and work on new material.
“Freddie at the time said, ‘Write me stuff, I know I don’t have very long,’” May proclaimed in Days of Our Lives. “‘Keep writing me words, keep giving me things, I will sing, I will sing. And then you do what you like with it afterwards and finish it off.’”
What resulted from those sessions was 1995′s Made in Heaven, highlighted by the synth-heavy “Mother Love,” recorded only weeks before Mercury’s death and featuring his proclamation that ”I long for peace before I die.” However, given Innuendo‘s tone and context, Mercury’s true last word seemed to come in that album’s closing number, “The Show Must Go On.”
“Inside my heart is breaking,” Mercury sings on the song, a powerful goodbye only recently matched by Bowie’s “I Can’t Give Everything Away.” “My make-up may be flaking, but my smile still stays on.”
Colorado folk-rock band the Lumineers have announced their second album, Cleopatra. The LP, the follow-up to their Grammy-nominated 2013 self-titled album, will be released on April 8th. The Lumineers also previewed the forthcoming Cleopatra with their first new song in four years, “Ophelia.”
“It’s a heavier record,” frontman Wesley Schultz told Entertainment Weeklyabout Cleopatra. “A lot of the records that I grew up on were about being transitory; never being stuck. This lifestyle can make you crazy.”
On “Ophelia,” the darker tone of the Lumineers’ new music can be heard within the familiar stomps, claps and harmonies that made their more whimsical “Ho Hey” a hit. “‘Ophelia’ is a vague reference to people falling in love with fame,” Schultz told EW. “That spotlight can seem like an endless buffet, but in reality, you’re just shiny, bright and new to people for a quick moment — and then you have the rest of your life to live.”
Along with the single and album announcement, the Lumineers also revealed Cleopatra‘s track list and the dates for a world tour in support of the LP. Less than a week after the album’s release, the band will kick off their international trek in Bristol, UK and remain in Europe through mid-May. The folk band will be in North America from the end of May through mid-June before playing a pair of dates in Italy in July.
The Lumineers debuted in 2012 with their eponymous album. In 2013, they were nominated for two Grammy Awards, including Best New Artist and Best Americana Album. The album reached Number Two on the Billboard 200 while “Ho Hey” stayed in the Top 10 on the Hot 100 for 14 weeks.
Cleopatra track list
1. “Sleep On The Floor” 2. “Ophelia” 3. “Cleopatra” 4. “Gun Song” 5. “Angela” 6. “In The Light” 7. “Gale Song” 8. “Long Way From Home” 9. “Sick In The Head” 10. “My Eyes” 11. “Patience”
Lumineers World Tour Dates
April 14 - Bristol, UK @ O2 Academy April 15 - Glasgow, UK @ Barrowlands April 18 - Dublin, Ireland @ Olympia Theatre April 19 - Manchester, UK @ Albert Hall April 23 - London, UK @ O2 Shepherds Bush Empire April 27 – Paris, France @ Le Trianon April 28 - Brussels, Belgium @ Ancienne Belgique April 29 - Amsterdam, Netherlands @ Melkweg May 2 - Cologne, Germany @ E-Werk May 4 - Hamburg, Germany @ Gross Freiheit 36 May 6 - Berlin, Germany @ Admiralspalast May 8 - Stockholm, Sweden @ Berns May 9 - Oslo, Norway @ Rockefeller May 10 - Copenhagen, Denmark @ Vega May 21 - Houston, TX @ White Oak Music Hall May 22 - Dallas, TX @ The Bomb Factory May 25 - Salt Lake City, UT @ Red Butte Garden May 27 - San Diego, CA @ CalCoast Credit Union Open Air Theatre May 28 - Santa Barbara, CA @ Santa Barbara Bowl May 29 - Napa Valley @ Bottle Rock Festival May 31 - Portland, OR @ Arlene Schnitzer Concert Hall June 1 – Vancouver, BC @ Orpheum Theatre June 3 - Redmond, WA @ Marymoor Amphitheater June 7 - Morrison, CO @ Red Rocks Amphitheatre June 10 - Kansas City, MO @ KC Live! June 11 - Indianapolis, IN @ Murat Theatre June 12 - St. Louis, MI @ Peabody Opera House June 14 - St. Paul, MN @ Myth June 15 - Milwaukee, WI @ Riverside Theater June 19 - Chicago, IL @ Chicago Theater July 20 - Gardone Riviera, Italy @ Anfiteatro Del Vittoriale July 21- Sesto al Reghena, Italy @ Sexto ‘NPlugged
Madonna dove deep into her extensive catalog to perform her 1994 hit “Take a Bow” live for the first time in Taipei, Taiwan Thursday.
As PopCrush points out, Madonna did sing the Number One single off Bedtime Stories at the 1995 American Music Awards, but has left it off set lists for her own shows. A fan-shot video captured the historic performance of the mournful pop ballad, after which Madonna remarked, “That was fun! First time ever. Hit a few bad notes, but it felt good to sing it.”
Madonna will continue to trek through Asia this February, before wrapping up her Rebel Heart Tour with a string of dates in New Zealand and Australia in March. The singer has been on the road for the better part of the past year in support of Rebel Heart, her 13th studio LP, which arrived last March.
Earth, Wind and Fire vocalist and co-founder Maurice White died in his sleep in Los Angeles on Wednesday evening. A rep for the band confirmed his passing to Rolling Stone. He was 74.
The singer had been battling Parkinson’s disease since 1992, according to TMZ. His health had reportedly deteriorated in recent months. Because of the disease, he had not toured with the pioneering soul and RB group since 1994. He nevertheless remained active on the business side of the group.
“My brother, hero and best friend Maurice White passed away peacefully last night in his sleep,” White’s brother and bandmate Verdine wrote in a statement. “While the world has lost another great musician and legend, our family asks that our privacy is respected as we start what will be a very difficult and life changing transition in our lives. Thank you for your prayers and well wishes.”
“The light is he, shining on you and me,” the band added on Twitter.
White, who formed the group with Verdine in 1969, helped innovate a lush, eclectic style with Earth, Wind and Fire that drew inspiration from funk, jazz, RB and Latin music – as well as Sly Stone and James Brown – for a unique sound that set the tone for soul music in the Seventies. The springy, elastic soul-pop of “Shining Star,” which White co-wrote, earned them their first Number One, and paved the way for hits like the joyful “Sing a Song,” the percussive and brassy “September,” their swinging cover of the Beatles’ “Got to Get You Into My Life” and the robotic disco of “Let’s Groove.” Rolling Stone included the group’s sweetly smooth 1975 single, “That’s the Way of the World,” on its list of the 500 Greatest Songs of All Time.
Earth, Wind and Fire have sold more than 90 million albums around the world, according to The Associated Press. Several of their albums went multiplatinum, including 1975′s That’s the Way of the World, the following year’s Spirit and 1977′s All ‘n’ All. They won six Grammys over the course of their career. In 2000, they were inducted into the Rock and Roll Hall of Fame. The group will be honored with a lifetime achievement award later this month at the Grammys, along with Run-DMC and Herbie Hancock.
Maurice White was born in Memphis on December 19th, 1941, the son of a doctor and grandson of a New Orleans honky-tonk pianist. He moved to Chicago with his family and sang gospel from a young age. He attended the Chicago Conservatory of Music in the mid Sixties and served as a session drummer at Chess Records, where he cut records with Muddy Waters, the Impressions and Billy Stewart. In the late Sixties, he played in the Ramsay Lewis Trio, where he learned kalimba, the African thumb piano which would become a big part of Earth, Wind and Fire’s sound.
White formed the first lineup of Earth, Wind and Fire with Verdine – who sang, played bass and performed percussion – in Los Angeles, naming the group after the elements on his astrological chart. Over the years, White would sing and play the kalimba, drums and produce. They signed to Capitol and put out two albums, and they didn’t garner much attention until he brought younger musicians into the lineup. Things changed with Head to the Sky, their 1973 release. It went gold and began a long streak of hits. That’s the Way of the World, the soundtrack to a Harvey Keitel flick that featured the group, contained “Shining Star,” which won them a Grammy, and propelled the band into arenas, where they put on elaborate, striking stage shows. By 1978, they were asked to appear in the movie Sgt. Pepper’s Lonely Heart’s Club Band, where they debuted their hit Beatles cover.
“We had a strong leader,” Verdine told The Telegraphin 2013. “We really looked up to Maurice. … You have to understand that we were 21 years old when we started our journey with Earth, Wind and Fire and Maurice was 31, and so he had done a lot more things than we had. Maurice was interested in establishing a credibility of a different morality about musicians and their lifestyles. So we were into healthy food, meditation, taking vitamins, reading philosophical books, being students of life.”
Throughout the Seventies, White also started a career as a producer, working with the Emotions, Ramsey Lewis and Deniece Williams. He released a solo album, Maurice White, in 1985 and made a hit out his cover of “Stand by Me.”
“Being joyful and positive was the whole objective of our group,” White once said, according to SongwriterUniverse. “Our goal was to reach all the people and to keep a universal atmosphere – to create positive energy. All of our songs had that positive energy. To create uplifting music was the objective.”
Ozzy Osbourne is on the mend, according to his wife Sharon, but it hasn’t been an easy recovery. As Rolling Stone previously reported, Black Sabbath had to postpone several dates on its current tour after Ozzy Osbourne suffered a sinus infection. Sharon opened up about the singer’s health struggles and how he was dealing with the concert cancellations during CBS show “The Talk” on Thursday.
“He’s doing so much better. He had sinusitis, which went to bronchitis and he said that he felt like he had the Pacific Ocean in his ear,” she relayed. “And he couldn’t hear properly. It’s been a nightmare.”
In addition to the physical pain her husband was experiencing, she said he was also suffering from guilt because his illness had affected the tour and everyone involved with it.
“To have a responsibility of performing with his band Black Sabbath, the crew, the fans, even the opening act, just sat at home like this – waiting, waiting, waiting – and he feels that huge responsibility,” she said. “He feels guilty for being sick.”
Sharon added that the postponed dates are currently being rescheduled and that he will resume the tour on February 6th. “He will be in Seattle on Saturday,” she said. “He will be ready to rock!”
The End tour, which is billed to be Black Sabbath’s final tour, has 10 remaining dates in addition to the four that will be rescheduled. It’s slated to conclude on February 25th at Madison Square Garden.
The Rolling Stones kicked off the South American leg of their ongoing world tour at Santiago, Chile’s Estadio Nacional Wednesday night. Before the show, the band’s official website asked fans to pick between four rarities –“She’s a Rainbow,” “Anybody Seen My Baby,” “She’s So Cold” and “Like a Rolling Stone” – for the request portion of the evening. “She’s a Rainbow” won the most votes, and six songs into the night, they played the 1967 Their Satanic Majesties Request tune for the first time since 1998, and only the 11th time in their entire history.
This was also their first show with new backup vocalist Sasha Allen, best known for her appearance on the fourth season of The Voice in 2013. ”So glad first show is out of me now,” she wrote on Twitter. “I can’t wait to see it second to last!!! Growth…. Blessed to learn from the best!” Lisa Fischer has been the Stones’ primary vocalist dating to the Steel Wheels tour in 1989, but she had prior touring commitments that prevented her from making the trip down to South America.
The Stones tour continues on February 7th with a three-night stand at Argentina’s Estadio Unico and wraps up March 17th at Mexico City’s Foro Sol. It’s unclear what their plans are beyond that, but Keith Richards recently told Rolling Stone that he’s open to the idea of playing more shows in the USA. “It wouldn’t surprise me at all,” he said. “Up to now, I’ve gotten as far as South America at the beginning of next year, and I know up to then. But after that, who knows? See how the boys feel.”
The group also crammed in some studio time before heading down to South America, possibly paving the way for their first album since 2005′s A Bigger Bang. “[I want to] find a good room somewhere and stuff us all in there together,” Richards told Rolling Stone last year. “Put a few microphones in the right place, and away you go.”
Kanye West teased his new album, tentatively titled Waves, as “a gospel album with a whole lot of cursing on it,” during an interview with radio host Big Boy.
“I’m tryna open up hearts, minds,” West said, noting he was playing the record for gospel star Kirk Franklin when the description struck. “It’s the gospel according to ‘Ye. Not exactly what happened in the Bible, but it’s a story of this idea of Mary Magdalene becoming Mary.”
West also noted that the record still does not have an official title, despite last week’s proclamation that he’d changed it from Swish to Waves. West suggested he might return to the album’s original title, So Help Me God, which his wife Kim Kardashian included in a recent Twitter poll asking fans which name they liked best.
“I wanted to get people’s opinions,” West said of the poll. “What I’ve come to realize about being a celebrity or a musician or someone that’s on the other side of the Internet or TV, everybody is our family … When people can tweet or comment or chime in or say the vibrations they felt about something, we can have this continued conversation. There were so many times in my career when people thought I was out of there, no more, but obviously I had made a connection with people, a family-level connection, that they played my music in their houses. And we love any opportunity to involve all of our family in the creative process.”
Despite the minutiae still left to be settled, West sounded giddy when speaking about his album’s impending release. Recalling the visit Kendrick Lamar and the rest of Top Dawg made to approve the final mix of “No More Parties in L.A.” before it was released, West said, “This ultra light beam that we on right now is all coming together for this package, this delivery, this three-year-in-the-making gift.”
More than 50 studio albums into her iconic career, Loretta Lynn revisits her roots with an LP that takes her Full Circle. With the album’s “Who’s Gonna Miss Me?” the influence of the Carter Family takes center stage as the singer-songwriter humbly wonders, “Who’s gonna want to follow in my footsteps, maybe/ Who’s gonna miss me when I’m gone.”
As the lyrics look ahead to the uncertain future, the tune moves from spare, acoustic instrumentation in the first verse, featuring Mother Maybelle Carter-inspired guitar, then introduces piano in the rolling style of Floyd Cramer, echoing vintage Music Row production and Lynn’s early hits with producer Owen Bradley. But it’s the poignant lyrics and the hope Lynn expresses that she’s done something worthwhile, or at the very least made an impact on one person’s life, that shine throughout the simple tune, as she sings, “If there’s one thing I’ve done, I’d like to know I left someone who’s gonna miss me when I’m gone.”
In addition to exploring the music that inspired her with Full Circle, Lynn duets with Willie Nelson on the album and sings with Elvis Costello on “Everything It Takes,” a tune she co-wrote with Todd Snider and says they completed in about 30 minutes.
“Sometimes I can write a song real fast, and sometimes it’ll take me two, three days,” Lynn tells Rolling Stone Country. “And I get so aggravated that I’ll probably lay it down and go back to it later. But that song came easy. I’ll come up with the title first and, when I come up with the title, I always know I got a good title.”
In yet another testament to Lynn’s wide-ranging influence, the Country Music Hall of Fame member will be the subject of the documentary series, American Masters. The episode, titled “Loretta Lynn: Still a Mountain Girl,” airs March 4th on PBS, the same day that Full Circle is released.
Miley Cyrus will be joining NBC’s reality singing competition series, The Voice, which premieres this month. The singer announced her role as key adviser on Twitter on Wednesday. According to the Hollywood Reporter, Cyrus will serve as a key adviser for all four teams, which are picked by judges Adam Levine, Blake Shelton, Pharrell Williams and Christina Aguilera, who returns after Gwen Stefani’s stint on the show. It’s a role Taylor Swift also filled for the show in 2014.
“When Miley speaks everyone pays attention. Our artists are very lucky to have the benefit of her instincts and wisdom,” Paul Telegdy, NBC Entertainment President, Alternative and Late Night Programming, said in a statement. “Our viewers will be treated to an inside look at one of the brightest minds in music and the entertainment industry who is at the forefront of pop culture.”
In addition to Cyrus’ upcoming appearances on The Voice and her recent hosting and musical guest gig on Saturday Night Live, the singer will be getting even more screen time this year via her starring role in an upcoming Woody Allen TV series for Amazon Prime video streaming, which begins filming in March and is expected to air in 2016.
Season 10 of The Voice debuts on February 29th at 8 p.m. ET.