The ceremony began with The Roots, David Byrne and Kimbra performing Bowie’s “Fame” followed by Metallica’s Lars Ulrich giving a reverent speech about heavy metal pioneer Deep Purple. The group’s current lineup — Ian Gillan, Ian Paice and Roger Glover — appeared alongside Seventies-era singer/bassist Glenn Hughes and vocalist David Coverdale.
Steve Miller played his vintage hits like “The Joker” after being inducted by the Black Keys. The “Fly Like An Eagle” rocker gained attention for blasting the music industry, his label representative and the Hall of Fame itself in his post-induction interview. During his Hall of Fame performance, the Black Keys’ Dan Auerbach and Patrick Carney left the Barclays Center midway through Miller’s performance and did not return.
Other highlights of the evening included a tribute to the late Eagles singer Glenn Frey by Sheryl Crow and Grace Potter performing the Eagles’ “New Kid in Town” and Cheap Trick uniting for a joyous run through beloved hits “I Want You To Want Me,” “Dream Police” and “Surrender.”
N.W.A‘s MC Ren is still angry at Gene Simmons‘ negative statements about the Rock and Roll Hall of Fame inducting rap artists. “That dude is real arrogant,” the rapper tells Rolling Stone. “It’s like, how he’s looking at us, how he know that people before him in rock roll don’t look at him like that? How he know the Beatles or Muddy Waters, if he was still around, don’t look at him as a gimmick? Who is he to say anything if he’s wearing makeup and heels and sticking out his tongue every 10 seconds of his show? Come on, man, that’s a gimmick.”
When the gangsta-rap scene leaders were inducted into the Rock and Roll Hall of Fame earlier this month, MC Ren used his turn at the mic to target the Kiss singer-songwriter. “I want to say, to Mr. Gene Simmons, hip-hop is here forever,” he said. “Get used to it. … We supposed to be here.”
“What if Paul McCartney said, ‘You shouldn’t be in the Rock and Roll Hall of Fame?’” Ren says. “What if the Rolling Stones said, ‘Y’all shouldn’t be in the Rock and Roll Hall of Fame,’ how would he feel then? He would look stupid. If you asked around, and you asked enough rock roll greats, them dudes is a joke.
“He’s probably so salty because hip-hop groups got in before he did, like Run-DMC, Beastie Boys, Grandmaster Flash and the Furious Five and Public Enemy,” he continues. “I think he was mad they got in before he did, but that’s what it is. And, Im’ma tell you this right now, you can quote this: ‘Fuck tha Police’ is way more rock roll than ‘I want to rock roll all night and party every day.’ Come on, man.”
Ren also reiterated what he said at the Barclays Center podium. “Hip-hop is here to stay, man,” he says. “For real. You need to just get used to that. He don’t have a choice man. And they ain’t gonna kick us out of the Rock and Roll Hall of Fame because he says so. You don’t own the Rock and Roll Hall of Fame.”
Kiss vocalist Gene Simmons said he’s looking forward to the death of rap music. Watch here.
Pearl Jam performed their second of two Philadelphia shows Friday night at the city’s Wells Fargo Center, a concert that marked the band’s 10th consecutive sell-out at the venue. To celebrate, not only did the Wells Fargo Center put up a banner commemorating Pearl Jam’s achievement, the band also played their classic 1991 debut Ten in its entirety and in order for the first time.
Like Thursday night’s Philadelphia concert, Pearl Jam opened up with Ten‘s first track “Once,” but this time the band followed that up with “Evenflow,” and then “Alive” and then the full album performance of Ten was officially on.
In March, bassist Jeff Ament admitted to Rolling Stone that he’s “never been a fan” of full album performances. “I saw Cheap Trick do three albums and that was amazing. But for the most part I haven’t been a fan of that,” Ament said. “When we did those albums, we were on the plane going to the show and Ed said, ‘Hey, what do you feel about doing No Code tonight?’ And then we basically scrambled and learned the five songs we hadn’t played in 10 years right before the show. And it created, like, a good tension. By the second or third song, the fans started realizing what we were doing. We could sense that. I think the fact that we did it in Milwaukee and Moline was awesome. That was the greatest thing ever.”
Check out fan-shot footage of the Ten performance as well as the show’s setlist below:
This summer, Dweezil Zappa and his backing band will once again perform the music of his father Frank Zappa on a nationwide tour, but unlike the past decade, the guitarist will be playing under a different moniker. Instead of Zappa Plays Zappa, the touring unit will now be dubbed Dweezil Zappa Plays Frank Zappa, stemming in part from a bitter feud between Frank Zappa’s children over their father’s copyright, the New York Times reports.
In the wake of matriarch and longtime estate executrix Gail Zappa’s death in October, son Ahmet Zappa was tasked with handling the day-to-day operations of his father’s estate with help from youngest daughter Diva Zappa. Dweezil and Moon Unit Zappa are not trustees, but remain equal beneficiaries of their father’s estate with their other two siblings.
Earlier in April, Dweezil Zappa received legal notice from the Zappa Family Trust that continued use of the name Zappa Plays Zappa could result in copyright infringement damages of $150,000 per song performed. Gail Zappa had previously allowed Dweezil to use the Zappa Plays Zappa in exchange for an “exorbitant fee.”
“My last name is Zappa; my father was Frank Zappa,” Dweezil said. “But I am not allowed to use the name on its own. I’m not allowed to use a picture of him. I’m not allowed to use my own connection with him without some sort of deal to be struck.”
Dweezil added, “I just hope people will understand that the only thing I’m changing is the name.”
The Zappa Family Trust issues have created a rift between brothers: Dweezil and Ahmet released a pair of albums together in the Nineties; now, they only communicate through lawyers. The siblings have also split over the upcoming authorized Frank Zappa documentary.
Speaking to the New York Times, Ahmet Zappa said the trust’s stance against Zappa Plays Zappa isn’t personal and that they’re only preserving the integrity of their father’s legacy. “I am not standing in the way of Dweezil playing the music,” he said. “He would just have to be in accordance with the family trust.”
Jerrod Niemann and Lee Brice have teamed up on a new single called “A Little More Love,” and the track was released to iTunes on April 29th.
Written by Shane McAnally, Ross Copperman, Natalie Hemby and Kristi Neumann, the laid back tune is built for grooving and good times, with a theme that extols the virtues of working less and enjoying life more.
“Make a little more love / Make a little less money / Catch a little more buzz / Off a little less honey,” goes the chorus.
This is the first time Niemann and Brice — long-time friends who recently wrapped Brice’s Life Off My Years tour — have recorded a song together, and the track will serve as the lead single from Niemann’s forthcoming first album under the Curb Records banner. SiriusXM’s The Highway originally premiered the song in February and it has since become a part of their live performances.
“Lee and I have always talked about recording some music together,” Niemann says on his website. “We hope this tune will have our fans smiling and singing along with their windows down and the radio up all summer long!”
Check out a two-minute teaser of the sunny, easy living anthem below.
Tom DeLonge elaborated on his statement to Rolling Stonethat he’s still in Blink-182, the guitarist said in a lengthy Facebook message. The update arrives after the band announced their new album California, which will feature original members Mark Hoppus and Travis Barker as well as Alkaline Trio’s Matt Skiba in DeLonge’s place.
“I understand all the craziness out there in Internet-land,” DeLonge wrote. ”It is an odd time for fans of the Blink-182 legacy, I know — it’s odd for me, too.” DeLonge goes on to let fans know that he met with Hoppus and Barker after they had not spoken to one another in a year. ”I actually talk to Travis almost every day now,” he wrote. “In an odd way I’m almost closer to him more now than ever.”
“We DO have a future together if we want it, but for now we are busy doing separate things,” he wrote before detailing his movie, music and book projects, including Sekret Machines, which he is collaborating with the U.S. Department of Defense.
According to the Angels and Airwaves frontman, the core issue with his involvement on the next Blink album had to do with writing approaches, stating that he disagreed with the band’s decision to partner with songwriter John Feldmann, known for his work with 5 Seconds of Summer and Good Charlotte. “I guess I’ve always just liked the songwriting we did together,” he wrote. “But, at the end of the day, I support their desires. And if they are happy, then that’s what matters.”
“I obviously want them to make the music they wish,” said Delonge. As for the future of him working on new music with the band, he notes that it could happen “if we can build back that ‘special something’ that was once there.”
With Skiba on board, Blink-182 announced that their seventh album will arrive on July 1st, the 182nd day of the year. They released their first single without DeLonge, “Bored to Death,” and announced an expansive tour across North America with A Day to Remember, All-American Rejects and All Time Low opening for them on various dates.
The Josh Abbott Band is most often described as Texas country, but lately they’ve been building a nationwide fan base with the release of their concept album Front Row Seat and progressive singles like “Wasn’t That Drunk,” featuring guest Carly Pearce.
The band has now released a music video to go along with that dramatic track, bringing to life a story about two friends who seem to think their fling will just be a one-night stand, but wake up feeling like they’ve stumbled into something deeper. With direction by Evan Kaufmann, the clip takes place at a glitzy (and glittery) New Year’s Eve party, but it’s the interplay between Abbott and Pearce — a Kentucky-born Grand Ole Opry favorite — that steals the show.
Speaking with Rolling Stone Countrylast summer, Abbott said Pearce was the missing piece in a song that he thinks moves his band into new territory.
“The minute I got it, I listened to it like six times in a row and I thought ‘This is it, this is a smash. We just gotta get the right girl on it,’” he explained. “It sounds like our band, but it’s got just enough pop elements to make radio happy, and it’s got just enough touch — fiddle and all that — to make our fans happy.”
The Josh Abbott Band and Carly Pearce will perform “Wasn’t That Drunk” on Jimmy Kimmel Live May 31.
“I’m always ready to take a risk. I don’t work in a bank,” Josh Homme said of Post Pop Depression, his new album with Iggy Pop, during a talk between the two collaborators Wednesday night at the Grammy Museum in Los Angeles. “I’m here to take a leap and see what’s out there.”
The onstage interview for an audience of 200 focused mostly on Depression, which debuted in March at Number 17 on the Billboard Top 200, the highest charting album of Pop’s career. Homme arrived in a black motorcycle jacket and jeans, while Pop slouched in a chair beside interviewer Scott Goldman, vice president of the Grammy Foundation.
Unlike most events in the series, there was no live music, though fans were shown two songs from the band’s performance in a still-unseen episode of Austin City Limits. During the interview of the Queens of the Stone Age leader and the protopunk icon, we learned some surprising details about their creative process, stretching from Iggy’s work with Bowie to the new album sessions last year in Joshua Tree, California.
1. Homme’s first Iggy record was Raw Power. Homme first heard Iggy and the Stooges when he was barely 11 years old, after picking up Raw Power at Tower Records during a trip to San Diego with his dad. He chose the album, he says now, based on the title and Mick Rock’s striking cover photo. “I didn’t understand any of it,” Homme said of the music with a laugh. “It kind of scared me and excited me.”
“Too much record for you, boy,” cracked Pop, who called it “my noisiest record. It hits harder. It’s going for a certain thing. I think that record just barely gets there. Most of the cuts are: ‘Is it a song or is it a problem?’”
2. Iggy played Raw Power for unsuspecting school children. During the recording of Raw Power in London with producer David Bowie, even Iggy thought the Stooges’ target audience should be schoolkids. Between sessions, he remembers playing the album-in-progress for random children. “I would take the guitar players in the Stooges and we’d look for kids in their school uniforms,” Iggy says. “We would say, ‘Come to our house. We’ve got this record we know you’re gonna love!’”
3. For Iggy, possible retirement from rock roll doesn’t mean he’s tired. At 69, Iggy has been talking of making Post Pop Depression a possible farewell album as he slows down his music activity and focuses on acting and voice-over work. But that doesn’t mean he’s lost his protopunk nerve. “If I want to put pedal to the metal for five minutes on a given night, look the fuck out, right? That I can do.”
4. Iggy was initially drawn to Homme’s unflashy fashion sense. Iggy and Homme first connected at the Kerrang! Awards in 2001, where the godfather of punk was picking up a lifetime achievement honor. They also posed for a magazine cover that week with Marilyn Manson. “I was impressed with Josh,” Pop says. “He didn’t look like the others there. He was the only guy besides myself who wasn’t dressed up in some sort of satanic space outfit.”
5. Hearing Queens of the Stone Age sent Iggy on an emotional roller coaster. Shortly after that meeting, the two shared a bill at an Italian music festival. Most fans seemed to be waiting for Linkin Park, but Pop made an important discovery in Homme’s band. “I was looking for something I could sing with, and express myself through – and there was space in all the music,” he said of Homme’s work with QOTSA. In most contemporary music, he lamented, “There’s less and less feeling allowed. There are fewer and fewer happy songs, sad songs, reflective songs. I hear less and less of it. When I was listening to his ...Like Clockwork, there were several that really affected me emotionally. They made me moody. They made me a little bit lonesome. It was excellent music and it was the craft.”
6. A straight rock record was never the plan for Iggy and Homme. There was no chance that their project together would sound like a Stooges record. “There’s no such thing as doing that again,” Homme says, noting that Pop now has the potentially richer perspective of a rocker pushing 70. “It’s not supposed to sound like the goddamn Stooges … It should be a chance to be something else from what you do all the time. But every record should be that way.”
7. Iggy wrote Homme about his sex life as a way of recapturing his own mojo. In a “dossier” of materials he sent to Homme in preparation for their coming sessions, Iggy included a dozen essays on his own sex life. Some of that ended up in “Gardenia” and other songs. “I was having a dry spell in my life. It happens to everybody. I thought, how much of my life am I going to have to wreck to get my sex life back?” says Pop. “Let’s write about what it was to make sure it was worth it.”
8. Homme has created his own music factory in the SoCal desert. Iggy was impressed not only with Homme’s skills as a guitarist, songwriter, producer, but in his entire operation and a family of players and crew. “He’s got a little Motown going on in the valley in the desert,” the Detroit-born Pop says. “He has loyal technicians. The guys on the road with us are the same guys that recorded the album and tuned the guitars and lit the cigarettes then.”
9. Bowie urged Iggy to try a baritone. During the making of Lust for Life and The Idiot in Berlin, the producer suggested a new style for Iggy. “When I was doing the German records, David Bowie prompted me to drop the sneering and go for the baritone: ‘You’re more impressive that way.’ On those records, he was setting up these musical motifs, and I was just singing that way. It just came out of me.”
10. The pair view Post Pop Depression and the Berlin albums as spiritually linked. Since news of the Pop/Homme collaboration first emerged, there have been comparisons to the Bowie-produced records made in Berlin. For Homme, the main connection is a commitment to pushing the boundaries. “Those records were clearly made at the speed of inspiration,” Home says. “They sound like that, don’t they? They’re trying to stand on their own. It seems like this joyous, wonderful, effortless thing, and we tried to make a record we would enjoy too. They cared about those records and we cared about ours.” Iggy’s explanation was both more primal and metaphysical: “Once in a while a little monkey gets in your bones to do something a little more real.”
Drake has released his highly anticipated fourth album, Views (formerly known as Views From the 6) on Apple Music. The Canadian rapper has teased the album’s release since wrapping up his 2013/2014 tour in support of his third album, Nothing Was the Same.
Rihanna (“Too Good”), Future (“Grammys”), Pimp C (“Faithful”), WizKid (“One Dance”), Popcaan (“Controlla”) and Partynextdoor appear on the album, with Kanye West and Boi-1da among the producers alongside Drake’s longtime collaborator Noah “40″ Shebib.
Drake hinted at the imminent release of Views on New Year’s Eve at a Miami party he hosted. “Views From the 6 coming very soon,” he said to the crowd (via Vibe). He then released a pair of tracks in early April as a preview of the LP, including “Pop Style” featuring Jay Z and Kanye West (who are billed together as “The Throne”). Later, on his OVO Sound radio show, he confirmed the album’s release date of April 29th and its exclusivity with Apple Music. Apple later revealed a special OVO Sound show on April 28th would serve as a listening party for Views.
As promised during a surprise appearance at SXSW, the rapper announced a tour in support of Views. He’ll be heading out on a joint trek with Future, who he had last toured with in 2013 for Would You Like a Tour? The Summer Sixteen Tour launches in June in Austin and wraps in September in Vancouver.
Fans expected Drake to release his ode to Toronto back in 2015. Instead, he released two full-length mixtapes: If You’re Reading This It’s Too Late and his collaboration with Future, What a Time to Be Alive. Both mixtapes were released with little to no promotion beforehand. If You’re Reading This It’s Too Late, released in February and initially believed to be Views From the 6, was the first million-selling album of 2015 and broke Spotify’s first-week streaming record with over 17.3 million times in its first three days.
In between his two mixtapes, Drake also dominated the singles charts with three songs he debuted on episodes of OVO Sound Radio on Apple Music. The tracks included two diss records aimed towards Meek Mill, “Charged Up” and “Back to Back,” along with smash hit “Hotline Bling,” which reached Number Two on the Hot 100. His collaboration with Future, “Jumpman,” is currently inching towards the Top 10 on the Hot 100.
Oscar-winning director Kevin Macdonald will helm a documentary about Whitney Houston that has been authorized by the singer’s estate since her death in 2012.
Per a statement, the as-yet-untitled film will offer the “unvarnished and authentic” story of Houston’s life, from her early days singing in her church’s gospel choir to her astounding success as a global pop star, which included a string of seven straight Billboard Hot 100 Number Ones. The film will include interviews with Houston’s friends, family and collaborators, including famed record executive Clive Davis, who helped launch the singer’s career. It will also feature never-before-seen footage of Houston, as well as demo recordings and rare performances from her archives.
“The story that is never told about Whitney is just how brilliant she was as an artist; by many measures, she had the greatest voice of the last 50 years,” Macdonald said. “She changed the way pop music was sung — bringing it back full circle to its blues and gospel roots. She was also completely unique in being a black pop star who sold in countries where black artists don’t traditionally sell.”
But Macdonald added the film would not “shy away from the darker parts of Whitney’s life,” including her tumultuous marriage to Bobby Brown and struggles with drug abuse and addiction. Houston died in 2012 with an autopsy report naming accidental drowning as the cause of death, though cocaine use and a heart condition were listed as contributing factors.
While Macdonald’s film has the blessing of Houston’s estate, it’s not the only documentary in the works about the singer. Filmmaker Nick Broomfield — known for his controversial documentaries like Kurt and Courtney and Biggie and Tupac — is also helming a film about Houston for BBC Two that ”goes in search of the forces that made and then destroyed the singer.” A spokesperson for Houston’s family, however, told Rolling Stone the estate had “no involvement in this program whatsoever.”
Macdonald’s Houston documentary will be pitched to buyers at the Cannes Film Festival next month by Altitude Films. The production company also handled the heralded 2015 Amy Winehouse documentary, Amy.
As for Macdonald, the filmmaker took home the Oscar for Best Documentary in 2000 for One Day in September about the attack on Israeli athletes at the 1972 Summer Olympics in Munich. His other credits include the 2012 Bob Marley documentary, Marley, as well as The Last King of Scotland, for which Forest Whitaker won an Academy Award for his portrayal of Ugandan dictator, Idi Amin. Macdonald most recently directed the first episode of the J.J. Abrams-produced mini-series, 11.22.63, starring James Franco and based on the Stephen King book of the same name.