Today's Day in Rock Stories

Eagles' Vince Gill Discusses Being Sexually Assaulted As A Child

"I'm not sure about the idea of Kiss coming to an end," he said. "We've built something that's so iconic, and I think it transcends any of the members so I can certainly see me not being there, seriously. There was a time where people said it had to be the four of us (Stanley, Gene Simmons, Ace Frehley and Peter Criss) and those people are already 50 percent wrong. So I'm betting (another absence) could be overcome, too."

"When I got into rock and roll music, one of the artists that I first really got into was David Bowie," said Stern, in a prepared statement. "He was always evolving, he was always on top of things, he was just a great musician and a great songwriter and a great singer. I want to make sure that people remember David Bowie."

Longtime Bowie associate Tony Visconti co-produced one of the tracks-a cover of "Moonage Daydream" by Kristeen Young.

The Pumpkins frontman has kept fans updated with a steady stream of studio posts as he, guitarist James Iha and drummer Jimmy Chamberlin wrap the record. Over the last few days he's shown mixing boards, drum kits and other studio equipment in various states of use.

The 13-track set - which includes 10 unreleased tunes - marks the third volume in a trilogy from the Hendrix archives, following 2010's "Valleys Of Neptune" and 2013's "People, Hell And Angels."

The project includes guest appearances by Johnny Winter, Stephen Stills, Lonnie Youngblood and original Jimi Hendrix Experience members Mitch Mitchell and Noel Redding.

"It was amazing just to watch him in the studio or live," explains Kramer, who engineered all of Hendrix's recordings. "The brain kicks off the thought process - it goes through his brain through his heart and through his hands and onto the guitar, and it's a seamless process. It's like a lead guitar and a rhythm guitar at the same time, and it's scary. There's never been another Jimi Hendrix, at least in my mind."

"Both Sides Of The Sky" will be issued via multiple formats, including CD, digital and a numbered, 180-gram audiophile double-vinyl.

"You can't love what you can't measure" - This lyric really seems to speak to folks who've been in relationships where they felt they didn't measure up, felt invisible, felt judged, needed OUT.

As is typical with my "process", this song started as a guitar riff, a primordial version of the offbeat rhythm of the verses that on the recording is shared by guitar, organ, and synth. I played this riff on acoustic guitar one evening while I sat in near darkness in a "comfy" chair in our bedroom. Usually my songs start with a guitar riff, powered more or less by some kind of rhythmic groove. The melody comes next, followed - usually much later - by lyrics.

So that I don't forget any ideas that in the moment seem "worthy", I record various bits of riff, melody, etc., as I come up with them, on the Voice Memos app of my iPhone. For this song I recorded and gradually pieced together the various parts of this song until I had basically the whole thing, chords and melody, but no lyrics. I named the first full voice recording of the full song "I Know I Know", a lyric I was using as a placeholder
for what became the "Oh no" part of the song.

The chorus melody just kind of came out all at once, and I remember thinking it was so simple (just descending notes of the scale, in order, and repeated) that it was too simple, possibly just junk. It turned out to be the song's compelling, anthem-like cry to be acknowledged, to be valued -- "I am more than this!". I tend to make things more complicated than they need to be, and I'm very glad that this time I stayed with the "too obvious" melody. That said, I wish I could remember where the lyrics came from. I mean, I know what they are about, but I have no idea how they emerged for this song - I hadn't been intending to write about this subject.

In my Storytown blog I have written about how lyrics are the hardest for me and about how mysterious lyric writing is. (Actually all of music creation is pretty mysterious, which is one reason I love it.) Here's what I said in the blog:

David Byrne, in his very excellent book "How Music Works", talks about how oftentimes music magically attracts the lyrics that are "meant" to be there. He says "... solving the puzzle of making words and phrases fit existing structures often resulted, somewhat surprisingly, in words that have an emotional consistency and sometimes even a narrative thread, even though those aspects of the texts weren't planned ahead of time".

This song is about a relationship, of course, but inspired by a relationship between me and a job. In every job I have ever had (save a very early one I guess, long long ago), I loved what I did; I loved what I and other folks in the organization were trying to accomplish together, what we were trying to build together. TOGETHER. Each job was a relationship built on trust, mutual appreciation, a special kind of contract between me and the organization. I learned early on in my career that I don't ever want a job that's not like that. So this song is about a job that ended up NOT like that, one where neither of us was satisfied, where I felt that I was supposed to fit a kind of template that didn't reflect my individuality, what made me unique, all that stuff that should have been valued by the other "party". We each disappointed the other mightily. ("Ask yourself if this is how you think a partnership is meant to be�") It sucked.

It is famously hard to get out of bad relationships. (Why oh why can't I just leave you?") In the song's bridge I try to get at the quandary of having to choose between the relative "comfort" of an unhealthy but familiar relationship and the disorienting, lost, sometimes despairing feelings that can overwhelm you when you become unmoored ("Freedom shouldn't mean I've got no place to go.") What to do?

I've got no answer other than that we all need to thrive, to be happy, to be ourselves fully, even if it's not always easy. And so, whenever you feel you're not able to flourish just by being who you are, in whatever context and in whatever relationship, deep inside you will know, without a doubt, that you are "MORE THAN THIS!"

Well, in the meantime, I think the song has a pretty great groove, so maybe moving to beat will make you feel better while you're trying to decide what to do next.

The band announced the tour during a visit to The Ellen DeGeneres Show on Thursday (Feb. 8). Thirty Seconds to Mars was in a generous mood, giving everyone in the crowd tickets to a show on the tour.

The film will feature "Presley hits and alternate mixes," as well as an original score composed by Pearl Jam guitarist Mike McCready reports Rolling Stone. The soundtrack includes McCready's score, Elvis classics and rarities.

Bonus content includes a Tom Petty and the Heartbreakers cover of "Wooden Heart" and a collection of R&B, country and gospel music that inspired Elvis' musical style.

The album came together after Cash's children, John Carter and Rosanne Cash discovered a "monstrous amassment" of material written by their father that had never seen the light of day.

John Carter Cash and fellow producer Steve Berkowitz put together a studio band to record music, and inviting a cavalcade of stars to handle the vocals: Chris Cornell, Ruston Kelly & Kacey Musgraves, Rosanne Cash, Alison Krauss & Union Station, Brad Paisley, Kris Kristofferson & Willie Nelson, John Mellencamp, Elvis Costello, and more.

"Determining the artist for each song was truly a matter of the heart," John Carter Cash said in a press statement. "I picked the artists who are most connected with my father, who had a personal story that was connected with Dad. It became an exciting endeavor to go through these works, to put them together and present them to different people who could finish them in a way that I believed that Dad would have wanted."

The newly announced round of dates are set to kick off on May 22 in Anaheim, CA, zipping across the continent until the group winds up in Toronto, Canada, on June 11.

The bittersweet clip chronicles an idyllic relationship between the Strokes guitarist and Doubleday as they spend time together in a beach house. The video ends with a surprising twist, putting a tragic new perspective on the proceedings.

Available on CD, 2LP and digital formats, the latest additions to the Boston band's reissue series deliver the original albums alongside rare and unreleased songs, including demos, remixes and studio outtakes.

The title track of The Cars' fourth album, "Shake It Up", earned the group their first US Top 10 hit while the project reached No. 9 on the US Billboard 200 on its way to sales of more than 2 million copies.

Originally recorded with producer Roy Thomas Baker at the band's then-new studio, Syncro Sound, the 2018 reissue features an early version of "Since You're Gone," the demo for "Shake It Up" and an unreleased song called "Midnight Dancer."

Produced by Mutt Lange, "Heartbeat City" scored four US Top 20 hits, including a pair of Top 10s - "You Might Think" and "Drive" - with the set peaking at No. 3 on the US Billboard 200 while selling more than 4 million copies.