Tag Archive: Rolling Stone

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Yesterday, we posted the stream for Dave GrohlTrent Reznor, and Josh Homme’s epic collaboration, “Mantra”, which they recorded together for the soundtrack to Grohl’sSound City documentary. Today, Rolling Stone brings us the track’s corresponding video, featuring in-studio footage of the trio’s recording session. Watch it here, or below.

The soundtrack, Sound City: Real to Reel , officially hits stores March 12th via Grohl’s own Roswell Records. Read more here: http://bit.ly/14yzLQI



Roger Harry DaltreyCBE (born 1 March 1944), is an English singer, musician, songwriter and actor, best known as the founder and lead singer of English rock bandThe Who. He has maintained a musical career as a solo artist and has also worked in the film industry, acting in films, theatre and television roles and also producing films. In 2008 he was ranked number 61 on Rolling Stone magazine’s list of the 100 greatest singers of all time.
The Who, along with The Beatles and The Rolling Stones, changed music and started a rock and roll revolution. The band broke through the local scene in the 1960s and began to gain a huge following, producing many classic rock hits and performing at many famous festivals, such as Isle of Wight and Woodstock. These concerts, and incredible studio albums in the early 1970s (including Tommy, Who’s Next, and Quadrophenia) moved the band into elite status. The legendary band has sold 100 million records and charted 27 top 40 singles in the UK and US, in addition to producing 17 top ten albums. The Who‘s surviving members Pete Townshend and Roger Daltrey continue to tour and were recently honored at the Grammys for a lifetime achievement award and at the Kennedy Center Honors. As rated by AOL Radio listeners, here are the top 10 songs from the band that many consider to be the greatest rock band of all time.
Read more here: http://aol.it/15oPFPS
One of the earliest singles from the Who, was written by Townshend in 1967 and was titled ‘Pictures of Lily.’ One of Townshend’s narrative songs, this tune includes the singer beating insomnia due to a ‘picture of Lily,’ although he later finds out later that Lily is dead. Townshend has admitted that the song is merely “about masturbation.” Regardless of its meaning, the song became a top 5 hit in the UK and remains one of the Who’s most popular songs from the 1960s.
‘The Kids Are Alright’
The debut album from The Who, ‘My Generation,’ was released in 1965 and included this track, which was later released as a single. The song was written by Townshend as a tribute to the Mod Movement in England, specifically targeting the rebellious British youth. The song is still a radio favorite, and has been covered by many modern rock bands, including Pearl Jam and Green Day.
‘Happy Jack’
Happy Jack was the first single to make the top 40 in America and was a top 5 UK hit. The song is rare, in that bass player John Entwistle joins Daltrey on the lead vocals for the song. Townshend reportedly wrote the song about a man he saw on the beach, who didn’t mind the fact that children were laughing at him. The unique music video is still a treat to watch; It features the Who attempting to rob a safe before they get distracted by a cake, which leads to a lot of wacky behavior from the members of the band.
One of the more pop sounding rock songs from the Who was their 1981 single ‘You Better You Bet,’ written by Townshend for the album ‘Face Dances.’ The song, which contains references to T.Rex. and their own album ‘Who’s Next,’ was the last single by the Who to reach the top 20 on the Billboard Hot 100 and their last top 10 single in the UK. Daltrey has the lead vocals in this one, with Entwistle and Townshend both providing backing vocals.
Warner Brothers
‘Magic Bus’
Magic Bus was originally written by Townshend in 1965, but wasn’t officially released until 3 years later. It was one of the Who’s most popular songs and it became a live staple at concerts. The song is another simple one, telling the tale of a man who wants to buy a bus so he can visit his girlfriend, but the driver does not want to sell it. The musical arrangement was unique for containing Latin percussion instruments, known as claves.
When one thinks of ‘classic rock,’ it is hard not to think of this song, one of the most successful Who songs of all time. Included on the famous album Who’s Next, ‘Won’t Get Fooled Again,’ was a rebellious song written by Townshend about a revolution. The song is well known for Daltrey’s scream and for including one of the Who’s best instrumentals ever. The hit, which remains a concert staple, was the last song the original lineup ever performed together; It was played in 1978, four months prior to the death of drummer Keith Moon. The song charted in the UK and America, and has been covered multiple times, most notably from Van Halen.
‘Behind Blue Eyes’
‘Behind Blue Eyes’ is one of the softest ballads from the Who, but became an international hit for the band. Also released off of ‘Who’s Next,’ the song was originally written by Townshend as a character for his ‘Lifehouse’ project, a film that would have been similar to ‘Tommy.’ Townshend said he wrote this song, which is sung by Daltrey, to show “how lonely it is to be powerful.” The song begins acoustically, but turns into a rock anthem, with another strong guitar riff. The tune remains a favorite on radio stations and is played at nearly every Who concert.
‘Pinball Wizard’
As the most popular single off ‘Tommy,’ Pinball Wizard strongly connects the audience to the character of Tommy, who in the song becomes a pinball champion, despite being ‘deaf, dumb, and blind.’ This was the last song written for Tommy, and wasn’t originally going to be included. Although Townshend once said it was “the most clumsy piece of writing, [he’d] ever done,’ the song became a commercial success, peaking at Number 4 in the UK and charting in America. The song is a live favorite, and has been covered many times, most notably by Elton John, who sung it in the film version of ‘Tommy.’
‘Baba O’Riley’
Often mistaken for the title of ‘Teenage Wasteland,’ ‘Baba O’riley’ is one of the most recognized and most popular rock songs of all time, although it was never released as a single. ‘Baba Oriley’ was also written for Townshend’s Lifehouse project, and found its way onto ‘Who’s Next’ as the opening track. Daltrey sings most of this tune, although perhaps Townshend sings the most reconizable middle eight: “Don’t cry, don’t raise your eye, it’s only teenage wasteland.” Townshend claimed that the song in part was about what he witnessed during their performance at Woodstock. Part of his message was that, despite the fact many teenagers were on a lot of drugs and experiencing brain damage, they were celebrating. .
‘My Generation’
Arguably the band’s biggest hit, ‘My Generation’ was written by Townshend in 1965 about rebellious British youths and the message that older people “just don’t get it.” It was their highest charting song in their home country, reaching #2 in the UK and became a very influential rock track in America and all over the world. The famous lead vocals of Daltrey, contain a stutter, which is quite unique and was requested by their manager. ‘My Generation’ was Number 11 on Rolling Stone’s list of the 500 Greatest Songs of All Time and is mentioned more often than any other Who song as one that helped shape rock and roll.



Birthday greetings today go out to Jimmy Page, one of the most successful musical artists of all time, whose work in Led Zeppelin etched his status as one of the great guitar players, songwriters, and producers of the modern age of rock and roll.

With Led Zeppelin as his crowning achievement, Page’s fretwork and versatile, speedy, soulful, intense work on his instrument pretty much put the band (along with the perfect chemistry of Robert Plant, John Paul Jones, and John “Bonzo” Bonham in musical tow) at the top of the heap. The band, although heavily wearing its blues influences on its sleeves, still managed to create a sound that was all their own and tallied a success rate that was on par with bands like The Beatles and The Rolling Stones, even outselling both and smashing attendance records set by those two bands prior, and created a body of work that is almost flawless in its approach, execution, arrangement, and attack.

While stories run legion and rampant about all the bloated excess during the band’s tenure in the musical world whilst existing, stories which range from groupies and shark heads to Page’s penchant for all things black magic, it still all takes a large backseat to what remains when stripped at the core, which is some good, electrified Willie Dixon/Muddy Waters/John Lee Hooker-style tunes, with arrangements that are at once complex and blended with basic rock and roll semantics. The image and urban legends surrounding Led Zeppelin and Jimmy Page have almost taken on their own identity, the day-to-day lifestyle for some is as important and acts as a measuring stick to what made the band tick. In the end, however, as a title track from their 1973 release and name of their 1976 live album/concert film proclaims, The Song Remains the Same. And it is in the beauty and royal magisterial result of what is heard between those grooves, what was laid down for musical posterity in the studio, that makes Led Zeppelin and the work of Jimmy Page, the true force to be reckoned with, their charter and musically driven manifesto of the influential and powerful.

Jimmy Page

Page pretty much crafted everything Led Zeppelin did in the studio, he had a perfect ear and a good sense of hunch, and for the most part, his guitar arrow hit the target again and again. Defiled by critics during the heyday, ignored for the most part, the fans relished each release by the band, and although live performances would sometimes suffer from the lifestyles that they chose or maybe it could be argued that it chose them, there are still many recorded and filmed performances which showcase the band at its dazzling peaks (witness for example, Paris 1971 – released on the Led Zeppelin DVD set; Los Angeles 1972 – released in audio form as the live set How The West Was Won); Earls Court 1975 and Knebworth 1980 – clips and highlights from both shows also on the Led Zeppelin DVD set).

Page not only played with extreme taste considering the genre he was in, but also with an awe-inspiring and formidable swiftness, though it it wasn’t of the Eddie Van Halen speed king variety. Page was jack-be-nimble, jack-be-quick with his Les Paul, make no mistake, but it always seemed that there was extra care to play emotionally and ardently expressive first; ultimately soulful. He approached his instrument the way John Coltrane played his saxophone, or Thelonious Monk approached the ivories; the way Frank Sinatra belted a hot tune or the way Jimi Hendrix played his guitar, and thus like those other artists, Jimmy Page also became quickly revered as one of the greats too, in an innovative class all by himself. There’s no question there have been other guitarists who have possibly exceeded him, succeeded him, outweighed him, and outdid him, but yet, if you have to put into account and consideration who meant more to his lineup and his craft, who anchored their band to levels scaled and attained by pure emotion, hunger, pride, and musical grit, then Jimmy Page remains one of the best, most efficacious, potent, and respected men of his personal artistry and ingenuity.

While Led Zeppelin broke up in 1980 due to the death of John Bonham, Page has been involved in numerous projects, held reunions with surviving members, the high watermark being a much loved, critically acclaimed and ultimately surprising triumph with a performance with Zep in 2007 at London’s O2 arena and which was released in theaters briefly as Celebration Day late last year, the mythology of the original Led Zeppelin still remains A number one in terms of what made Jimmy Page a legendary figure in music. There’s no denying what the man is, was, and in a way still can be. Zeppelin rumors of reuniting and touring have reached the point of ad nauseum, but no one ever tires of hearing the same old Zep songs and albums again and again and again. Recently, Page and his fellow surviving bandmates were one of the 2012 recipients of the Kennedy Center Honors. At the award ceremony, the now white-haired Page could be seen up in the balcony enjoying Ann & Nancy Wilson of Heart’s tribute to Led Zeppelin, a rousing rendition of “Stairway To Heaven,” the band’s most popular and enduring tune, one which has been numerously voted “Best Song of All Time.”

Jimmy Page

Like The Beatles, the work of Led Zeppelin and Jimmy Page have that fresh quality to it, whether it’s listened to now, then, years ago, or decades, or centuries from now. That kind of quality doesn’t come around too often, but when it does, the musical world is all the more better for it. Let’s hear it, and crank it as loud as one can take it, for the master administrator of the guitar and all it can do, all it can inspire and all it can conquer. For Jimmy Page, it seems that that’s the only blueprint to create the framework, to create the landscape, to create the mountain, to create the peaks.

Happy Birthday, Jimmy.


–words and images taken from geeksofdoom.com


Keith Richards’ 12 Most Kick Ass Riffs

If rock’n’roll could be turned into flesh and made to walk the earth, it would look and sound a lot like Keith Richards. It’s not the skull ring, the elegantly wasted appearance or the chemically-enchanced bloodstream that does it – although that all helps – but the fact that he has an unerring knack of hoovering up pretty much all of the greatest guitar riffs ever written. In the current Christmas double issue of NME, the man himself tells us exclusively about The Rolling Stones’ triumphant 50th anniversary shows, his plans for the New Year and reveals which of his many, many riffs is his favourite. But what are the candidates? On the day he turns 69, cheating death improbably for another year, here’s a dozen of my own personal selections. Believe me, it’s only the beginning:

12. Start Me Up

One of Keith’s most world-famous riffs, it’s sort of surprising to learn that this track was originally conceived as a reggae number and took the band six years to get right after originally trying it out in 1975. It’s now so instantly recognizable that it’s the riff that Keith uses to announce himself and Mick at the Rock’n’Roll Fantasy Camp in The Simpsons.

‘Beggars Banquest’ is the first in a flawless four-album run that lasted from 1968 to 1972, and this is its centre point. An exhilarating kicking-against-the-pricks moment, it also proves beyond question that great guitar riffs don’t have to be electric.

In his cracking autobiography ‘Life’, Richards talks lovingly about how much the open G guitar tuning changed his playing forever – and this is a great example of how it sounds at its best: deep-fried and filthy.

9‘Beast Of Burden’

Part of Keith’s genius is his ability to make a great riff work for a slower ballad just as well as a foot-stomping rocker. He’s not concerned with being the centre of attention: Ronnie Wood plays the solo, and throughout the song their guitars weave interchangeably, but the woozy riff is pure Richards.

8. ‘Brown Sugar’

Now that’s how you announce a song: those opening staccato notes sound the alarm before the definitive hip-wiggling riff, the perfect companion for Jagger’s taboo-crushing tale sadomasochistic slave rape with a taste of heroin.

7. ‘Tumbling Dice’

Written late at night in the elegant front room of Keith’s French chateau, Villa Nellcôte, this is a Richards riff at his laidback, rolling best. The rest of the song just hangs on as best it can and lets it glide.

6. ‘All Down The Line’

Another cut from ‘Exile On Main Street’, Mick Taylor’s slide guitar is great but again it’s all about Richards’ driving riff that makes this track a classic.

5. ‘Bitch’

Back at the dawn of time, before MP3s had even been dreamt of and all records had to be turned over halfway through, this was the opener to side two of ‘Sticky Fingers’. Given that the opener of side one was ‘Brown Sugar’, this had to be special – and it might even be a better riff. As unstoppable as a freight train with burnt-out brakes.

4. ‘Rocks Off’

‘Exile’s’ opener turns around on itself a couple of times, then kicks into maybe the druggiest, most strung-out riff of all time – and that’s a category with a fair bit of competition. As Keith himself sings, it’s “zipping through the days at lightning speed.”

3. ‘Can’t You Hear Me Knocking’

Is there any sound more exciting that the opening lick of ‘Can’t You Hear Me Knocking’? No, frankly. Ted Demme knew this when he set the opening cocaine-production montage of the Johnny Depp-starring ‘Blow’ to this tune. As Keith himself wrote in ‘Life’: “‘Can’t You Hear Me Knocking‘ came out flying – I just found the tuning and the riff and started to swing it and Charlie picked up on it just like that, and we’re thinking, hey, this is some groove. So it was smiles all around. For a guitar player it’s no big deal to play, the chopping, staccato bursts of chords, very direct and spare.”

The legend goes that he wrote this one in his sleep. Or at least, he woke up just long enough to play it into a tape recorder before falling asleep – the recorder capturing him dropping the pick and then “snoring for the next forty minutes.” Keith wanted his riff sketch to be replaced by horns – as Otis Redding would eventually do on his cover – but manager Andrew Loog Oldham convinced him to release it as it was and his signature sound – and a legend – was born.

1. ‘Jumpin’ Jack Flash’

After mucking around with psychedelia – with dubious amounts of success – on ‘Their Satanic Majesties Request’, the Stones announced their return to rock’n’roll with Richards’ greatest ever riff. Mind-blowingly cool, it went on to soundtrack everything from Scorsese’s ‘Mean Streets’ to Johnny Depp’s Hunter Thompson driving off into the desert at the end of Terry Gilliam’s ‘Fear and Loathing in Las Vegas’. As for the riff itself? Well, as Keith himself puts it in the Christmas issue of NME: “It just floats there, baby”

Below the best solo ever made by Keith Richards

Articles made by Kevin EG Perry for NME. Images from NME Magz. 


Seven songs into the Rolling Stones’ set at the Prudential Center in Newark, New Jersey, last night, a roadie handed Mick Jagger a printout. “We’re going to do a request,” Jagger said, adding that fans voted for a song of their choice on the bands’ new mobile app. The winner? 1964’s “Around and Around.”

“That’s an old one isn’t it?” Jagger said. “We haven’t done that one in a long time!” (According to fan site It’s Only Rock and Roll, they last played the song at Toronto’s El Mocambo Club in March 1977). They tore through the Chuck Berry classic, Jagger clapping upward and dancing furiously as if channeling his old T.A.M.I. Show performance, Keith Richards and Ronnie Wood weaving double-string licks as the song swung in a way it never really has before. “Yes!” Jagger said with a grin afterward. “That’s right!”

The Rolling Stones 1963-1969: Behind-the-Scenes Snapshots

The Stones got loose last night, their fourth of five 50th-anniversary shows this year. Without the high-profile guests of the other recent shows (Jeff Beck, Eric Clapton), the band seemed to revel in playing with each other. Charlie Watts grinned ear to ear as he pounded the brooding intro to “Paint it Black,” Wood nearly bounced out of his chair while nailing the pedal steel lines to “Happy” while Keith belted the song with such glee he appeared emotional. Jagger was chatty and personable between possessed performances, at one point reflecting on playing Newark in the summer of 1965. “Thank you for 50 years of coming to our shows,” he told the crowd. “Thank you very much.”

Like the other recent shows, the set began with largely early- to mid-Sixties cuts; they played “Get Off of My Cloud” with machine-gun attack, and were triumphant on “The Last Time.” It’s a marvel to see them play these songs, all sounding fresh again after years of dormancy.

The night’s first truly bone-chilling moment came during “Gimme Shelter,” where the band conjured a dark musical storm while backup singer Lisa Fischer howled lead vocals alongside Mick for the first time since the Bigger Bang tour, reminding us no one does the job better. (Mary J. Blige sang with Jagger at one of two London shows and inBrooklyn, and Florence Welch handled the other London show). “I love you!” Jagger told Fischer afterward.

Jagger soon welcomed John Mayer for “Respectable,” a welcome surprise song choice. Mayer delivered with a manic, wicked solo; Ronnie Wood matched him with his own, grinning as he effortlessly pointed his guitar neck toward the crowd. Richards went next, firing away rhythmic blasts with intent focus. But Mayer took the last word with a frenzy of flashy notes. It felt like bad form, but Keith didn’t seem to care, flashing a giant grin – this was a party. They soon flashed forward, nailing the new time-shifting apocalyptic workout “Doom & Gloom,” a new live highlight.

“New Jersey is the only place you don’t have to be working out to wear a track suit!” Jagger joked. He also made reference to the “12-12-12” benefit at Madison Square Garden the night before. “We had an amazing time,” Jagger said. “We even had Bruce open up for us!” (Springsteen joins the band on Saturday in Newark). The night’s only weak moment was “One More Shot” where everybody seemed so lost it nearly fell apart, the band looking at each other for cues. Afterward, Keith shrugged at the crowd and laughed.

But there was nothing quite like seeing Mick Taylor play with the Stones again. For his first time playing with the band on U.S. soil since 1981 (he played with them in London late last month), he emerged unassumingly and unannounced, but as soon as Richards launched into an 11-minute “Midnight Rambler,” Taylor unleashed flourishes of virtuosic greatness that were unmistakably him. As Jagger howled furious harp lines, Taylor rocked back and forth, grooving harder than he did on the entire 1972 tour while the band gave him plenty of room to stretch out. “Mick Taylor!” Jagger said afterward. “He’s great! Really good!”

It was a marathon from there, the band nailing the slinky air-tight groove of “Tumbling Dice” – Keith played the riff eyes-closed, as if meditating in it and a raucous “Brown Sugar.” The guitars blared full force in “Jumpin’ Jack Flash” Richards grinning with each riff stab as Jagger punched the air as he sprinted the catwalk tirelessly; after a heavy “Satisfaction.” Taylor returned to take a bow with his old bandmates.

Earlier in the night during his solo set, Keith Richards referenced Hurricane Sandy while talking to crowd. “I know you guys had a rough time. We admire the way you stuck with it. Keep on trucking, you know?” We felt the same way about them.

(by patrick doyle for rollingstone.com)

Mick Jagger’s love letters sold in London auction

By Gerrick D. KennedyDecember 13, 2012, 11:15 a.m.

A set of letters written by Rolling Stones frontman Mick Jagger to a secret lover in the late 1960s sold big at a London auction Wednesday, with a buyer dropping more than 187,250 pounds ($301,000) on the notes.

The collection of 10 letters, dated from the summer of 1969 (when Jagger was just 25), were on the auction block at Sotheby’s in London.

Jagger’s love notes were written to the American-born singer Marsha Hunt while he was in Australia filming “Ned Kelly.”

Hunt, believed to be the inspiration for the band’s 1971 hit “Brown Sugar,” put the notes — which included song lyrics and a Rolling Stones playlist — up for sale because “the passage of time has given these letters a place in our cultural history,” according to the Guardian newspaper. She also said she needed the cash to pay bills.

Jagger’s relationship with Hunt was largely kept secret. In 1970, she gave birth to the rock star’s first child, Karis Jagger Hunt.

As for the buyer? It’s reported to be a private collector.

(From: latimes.com.)

(Photos: Sotheby’s/Associated Press)


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