Sunday, January 31, 2016

SELENA GOMEZ at The Fundamentals of Caring Premiere at 2016 Sundance Film Festival

SELENA GOMEZ at The Fundamentals of Caring Premiere at 2016 Sundance Film Festival 01/29/2016:

SELENA GOMEZ at The Fundamentals of Caring Premiere at 2016 Sundance Film Festival 01/29/2016

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KIMIKO GLENN at Screen Actors Guild Awards 2016 in Los Angeles 01/30/2016

KIMIKO GLENN at Screen Actors Guild Awards 2016 in Los Angeles 01/30/2016:

KIMIKO GLENN at Screen Actors Guild Awards 2016 in Los Angeles 01/30/2016

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Elvis Presley's Albums to Comprise 60-Disc New Box Set

Elvis Presley's Albums to Comprise 60-Disc New Box Set:

A massive new, 60-disc box set of Elvis Presley's recordings will come out in the spring. The limited-edition set, Elvis Presley – The Album Collection, compiles 57 albums released between 1956 and 1977, as well as three discs of rarities. It will be available on March 18th, a few days before the 60th anniversary of the release of the King's debut LP, Elvis Presley.

The box set includes Presley's initial recordings for Sun Records, his early albums, compilations of his singles, all 17 of his film soundtracks and his many live albums. Each of the records features artwork resembling the original releases, including gatefold and die-cut sleeves, original inserts, stickers and other archival material as it appeared. It also includes a 300-page, hardcover book with liner notes by Elvis expert John Jackson and recording notes.

Although details of the rarities discs have not yet been revealed, each installment is dedicated to a decade – the Fifties, Sixties and Seventies – and contains what the set's producers consider the essentials.

The last year has seen a lot of Elvis-related activity. A new "forever" stamp was issued by the U.S. Postal Service with his face on it. His first recording, "My Happiness," sold at auction for $300,000, with Jack White later revealed as the buyer. (White subsequently reissued the track.) And Presley's estate commissioned a new compilation album, If I Can Dream, which added orchestral arrangements to many Elvis songs; versions of the title song and "American Trilogy" are available to stream.

Priscilla Presley, who was married to Elvis and is the caretaker of his estate, told Rolling Stone last year that, as with the orchestral album, she hoped to explore other ways to keep his music in the public consciousness in the future. "Our culture and music has changed so drastically, I think that we have to keep [Elvis] right in line and do whatever we can to keep him current," she said. "I'm not saying we'd change his voice. It will always be him singing. But it will be a new take on it. He would have been the first to jump in. We're just carrying out, really, the DNA of Elvis Presley and keeping him authentic."

Elvis Presley - The Album Collection contents:

Elvis Presley (1956)
Elvis (1956)
Loving You (1957)
Elvis Christmas Album (1957)
Elvis' Golden Records (1958)
King Creole (1958)
For LP Fans Only (1959)
A Date With Elvis (1959)
Elvis' Gold Records Volume 2 – 50,000,000 Elvis Fans Can't Be Wrong (1959)
Elvis Is Back! (1960)
G.I. Blues (1960)
His Hand in Mine (1960)
Something for Everybody (1961)
Blue Hawaii (1961)
Pot Luck (1962)
Girls! Girls! Girls! (1962)
It Happened at the World's Fair (1963)
Elvis' Golden Records Volume 3 (1963)
Fun in Acapulco (1963)
Kissin' Cousins (1964)
Roustabout (1964)
Girl Happy (1965)
Elvis for Everyone (1965)
Harum Scarum (1965)
Frankie and Johnny (1966)
Paradise, Hawaiian Style (1966)
Spinout (1966)
How Great Thou Art (1967)
Double Trouble (1967)
Clambake (1967)
Elvis' Gold Records Volume 4 (1968)
Speedway (1968)
Elvis Sings Flaming Star (1968)
Elvis (NBC-TV Special) (1968)
From Elvis in Memphis (1969)
From Memphis to Vegas/From Vegas to Memphis (1969)
Let's Be Friends (1970)
On Stage (1970)
Almost in Love (1970)
That's the Way It Is (1970)
Elvis Country (I'm 10,000 Years Old) (1971)
Love Letters From Elvis (1971)
C'mon Everybody (1971)
I Got Lucky (1971)
Elvis Sings the Wonderful World of Christmas (1971)
Elvis Now (1972)
He Touched Me (1972)
Elvis: As Recorded at Madison Square Garden (1972)
Aloha From Hawaii via Satellite (2 discs, 1973)
Elvis (Fool) (1973)
Raised on Rock (1973)
Good Times (1974)
Elvis: As Recorded Live On Stage in Memphis (1974)
Promised Land (1975)
Elvis Today (1975)
From Elvis Presley Boulevard, Memphis, Tennessee (1976)
Moody Blue (1977)
'50s Rarities (2016)
'60s Rarities (2016)
'70s Rarities (2016)

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Parker Millsap Plans New Album 'The Very Last Day'

Parker Millsap Plans New Album 'The Very Last Day':

Oklahoma native Parker Millsap turned a lot of heads after releasing his self-titled album in 2014, whether from the striking maturity of his songs or the otherworldly blues-tinged howl that relayed them. Millsap's sophomore effort The Very Last Day promises more of both and will be available March 25th.

The 22-year-old singer-songwriter, who was nominated for Emerging Artist of the Year at the 2014 Americana Honors and Awards, frequently dealt with spirituality and sin on his self-titled album, notably with the rollicking "Truck Stop Gospel." Those themes re-emerge on The Very Last Day with songs like "Heaven Sent," which features backing vocals from roots trio I'm With Her — Sarah Jarosz, Sara Watkins and Aoife O'Donovan — and has Millsap embodying a gay man talking to his evangelical father. Likewise, "Hades Pleads" examines Greek mythology's god of the underworld.

Millsap co-produced The Very Last Day with Gary Paczosa (Alison Krauss and Union Station) and wrote 10 of its 11 tracks. The cover "You Gotta Move" is a blues and gospel standard that has been recorded by Fred McDowell and the Rolling Stones. (Watch the video below.)

The Very Last Day track listing:
1. Hades Pleads
2. Pining
3. Morning Blues
4. Heaven Sent
5. The Very Last Day
6. Hands Up
7. Jealous Sun
8. Wherever You Are
9. You Gotta Move
10. A Little Fire
11. Tribulation Hymn

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Watch Courtney Love's Raw Cover of Radiohead's 'Creep'

Watch Courtney Love's Raw Cover of Radiohead's 'Creep':

Courtney Love performed a raw, ferocious cover of Radiohead's "Creep" at a Linda Perry-hosted concert held in Los Angeles Tuesday night honoring the upcoming film Freeheld. "I feel like I'm on American Idol or something," Love said before launching into a faithful rendition of the Pablo Honey track, Billboard reports. However, on the song's bridge, Love stamps her own trademark snarl on the cover.

It was a night of unlikely covers at the Perry bash as Christina Aguilera delivered her version of John Lennon's "Mother" at the party. The Plastic Ono Band song has actually been in Aguilera's repertoire since 2007, when she covered the track for the Instant Karma: The Amnesty International Campaign to Save Darfur benefit tribute album.

The Freeheld show also featured actress Juliette Lewis trying her hand at AC/DC's "Dirty Deeds Done Dirt Cheap" and the Cult's Ian Astbury covering David Bowie's "Moonage Daydream" and the Doors' "Break On Through."

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Randy Rogers Band Bring Twang, Special Guests to New Album: Ram Report

Randy Rogers Band Bring Twang, Special Guests to New Album: Ram Report:

To many mainstream country music fans, the Texas Music Scene is an undiscovered nation. But the upcoming album from Randy Rogers Band may help shine a light on the bold sounds coming out of the Lone Star State. On January 15th, the group releases Nothing Shines Like Neon, a collection of twang-heavy anthems and barroom weepers.

Produced by Buddy Cannon, Neon also features some fellow keepers of the trad-country flame as special guests: Jamey Johnson, Alison Krauss and Jerry Jeff Walker all appear. Johnson lends his voice to the rowdy "Actin' Crazy," Krauss sings on the gorgeous "Look Out Yonder" and Walker croons on "Taking It As It Comes."

Rogers' last release was the duets album with Wade Bowen Hold My Beer, Vol. 1. That record appeared on many year-end lists in 2015, including Rolling Stone Country's 40 Best Albums. Now reunited with his namesake band, Rogers will hit the road in March in support of Nothing Shines Like Neon.

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Lemmy Kilmister's Memorial Service to Stream Online

Lemmy Kilmister's Memorial Service to Stream Online:

Lemmy Kilmister's memorial service will be broadcast live on YouTube between 3 p.m. and 4:30 p.m. PST on Saturday January 9th, Motörhead announced on Facebook.

Friends and family of the late frontman are scheduled to gather for a ceremony at Forest Lawn Memorial Cemetery in Hollywood, but due to limited space on-site the band has asked that fans refrain from attending. The band, however, has set up a live-stream on their YouTube page in order to open up the event to the public.

"So wherever you are, please get together and watch the service with fellow Motörheadbangers and friends," the band wrote. "Go to your favorite bar, or your favorite club, make sure they have access to an Internet connection and toast along with us. Or simply invite your pals around and celebrate Lemm's life at home."

Motörhead also included information for fans wishing to send flowers, as well as a link to the Ronnie James Dio Stand Up and Shout Cancer Fund for those wanting to make a donation in Kilmister's name.

The livestream will coincide with a day-long celebration in Kilmister's honor centered around the Rainbow Bar and Grill in Los Angeles. The rocker's favorite watering hole had scheduled a 12-hour memorial service for January 9th starting at 2 p.m. PST, but the response was so overwhelming, the celebration was extended down the Sunset Strip. Both the Roxy and Whisky will be open to fans while the Rainbow hosts its own private service between 5 p.m. and 9 p.m. PST.

Kilmister died from an aggressive form of cancer on December 28th, days after his 70th birthday. The rocker's death has elicited outpourings of grief from fans and musicians including Ozzy Osbourne, Alice Cooper, Tom Morello and members of Metallica.

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Justin Timberlake to Pen New Music for Animated 'Trolls' Movie

Justin Timberlake to Pen New Music for Animated 'Trolls' Movie:

Justin Timberlake will write and perform new songs for the upcoming animated film, Trolls, in which he's also slated to voice one of the characters, according to The Hollywood Reporter.

Timberlake will also serve as executive music producer for the DreamWorks Animation film, which is based on the famous, frizzy-haired toys. "I have always envisioned bringing the two worlds of film and music together for one epic event," Timberlake said in a statement.

In the movie, Timberlake will voice Branch, previously described by the studio as "a hardcore survivalist who hides his surprising true colors." In the movie, Branch embarks on a journey to discover his roots alongside Princess Poppy, voiced by Anna Kendrick. Trolls is directed by Mike Mitchell (Shrek Forever After) and is scheduled to open November 4th.

Trolls will mark Timberlake's first movie since 2013, when he appeared in Runner Runner and the Coen Brothers' Inside Llewyn Davis. The new music he'll pen for the animated feature will also be his first since that same year, when he released his two-part album, The 20/20 Experience.

Timberlake has been relatively quiet since wrapping up his extensive tour behind The 20/20 Experience, in part to help raise his first child with wife Jessica Biel. Last November, Timberlake appeared alongside country music underdog Chris Stapleton at the CMA Awards for a show-stopping performance of George Jones' "Tennessee Whiskey" and his own 20/20 cut "Drink You Away."

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James Murphy Defends LCD Soundsystem Reunion, Plots Tour, New Album

James Murphy Defends LCD Soundsystem Reunion, Plots Tour, New Album:

LCD Soundsystem will release a new record and embark on an extensive tour this year, mastermind James Murphy wrote in a lengthy letter on the band's website that shifted tonally between defensiveness, contrition and exuberance.

"This isn't a victory lap or anything, which wouldn't be of much interest to us," wrote Murphy, who disbanded the beloved outfit in 2011 after their third LP This Is Happening. "This is just the bus full of substitute teachers back from their coffee break with new music and the same weird gear … and rambling around trying to be louder than everyone else."

Rumors of an LCD Soundsystem reunion were confirmed earlier this week when the band was announced as a Coachella headliner, but the extent of their plans was unclear until Murphy's letter. He opened the post explaining that over the past few years, he'd concocted countless songs in his head, but by early 2015 was unsure whether he should release them as a solo artist, form a new band, reconvene his old band under a new name or keep the tracks to himself.

Murphy brought his predicament to his LCD Soundsystem cohorts Pat Mahoney and Nancy Whang, and the trio ultimately decided to go ahead and make a new LCD Soundsystem record, regardless of the fallout. While Murphy wrote that he expected some to dismiss the reunion with "a certain amount of 'oh fuck that guy' over-it stuff," he admitted he did not foresee anger from fans who'd done everything they could to attend the band's "final" show at Madison Square Garden (later chronicled in the 2012 documentary, Shut Up and Play the Hits, and released as a massive box set, The Long Goodbye).

"If you cared a lot about our band, and you put a lot of yourself into that moment (or anything about us you chose), and you feel betrayed now, then I completely understand that," Murphy wrote. "It's your right to define what you love about a band, and it's your right to decry their actions and words as you see fit, because it's you, frankly, who have done much of the work to sustain that relationship, not the band."

While Murphy apologized to those hurt by LCD Soundsystem's decision to reunite, he said it's providing fuel for both the upcoming tour (dates to be announced) and LP, which they're still recording but hope to release this year.

"It needs to be better than anything we've done before, in my mind, because it won't have the help of being the first time," Murphy wrote. "And we have to play better than we've ever played, frankly. Every show has to be better than the best show we've played before for anyone to even say, 'Well, that was good. I mean, not as good as they used to be. But, you know. It was good.' We know all that."

Read Murphy's whole statement below:

I write songs all the time. sometimes they’re just weird songs i sing while changing a baby, or songs about annoying things that i sing to myself, or to friends while sitting at a bar, or about christmas, or new york. sometimes these songs live in my head for years and have verses upon verses added to them, almost infinitely. sometimes they’re just ghosts of ideas, and sometimes they’re fully-formed things which float in front of me, seeming like they’d be easy to make flesh, only to fight furiously as soon as i try to pin them down in any way. some of them i make with friends in a room with instrument things. only a tiny fraction of these ever become songs; get recorded, feel like something that should be shared. those ones, i write the title or some lyrics of down on a page in a little book i carry around. or i sing a bit of them into a tape recorder (or now a phone, i guess). i’ve been doing this since i was a kid.

Early in 2015, i realized i had more of those than i’d ever had in my life. more of them than when i went in to make any lcd record, or when i recorded tapes upon tapes of terrible things in high school. just loads of them, and i found myself a little perplexed. if i record them, what do i do with them? maybe i shouldn’t record them at all? i considered that, which was in a way the easiest option, but it also seemed like a weird and arbitrary (and sort of cowardly) cop-out. but to record them—well then, suddenly i have, what—a record?

So i asked pat and nancy to come over to my apartment for coffee and told them: “i’m going to record some music. should i make up a band name, or make a “james murphy” record, or should it be lcd?” we all thought a good amount about it. we have had lives for the past 5 years, which has been nice, and those guys have made amazing music with museum of love, the juan maclean, and all sorts of other things. i’d managed to do a bunch of fun, dumb stuff which mostly annoyed people who were into the band because, well, subway turnstiles and a coffee aren’t lcd, basically.

At any rate, they both said “let’s make an lcd record." you see, if they didn’t want to, which i’d half assumed, then there’s no such thing as lcd. imagine this: me making a record, calling it lcd, and then you go to the show and there’s just some guy playing drums over there, or some other person playing keyboards. horrifying. then imagine this: i make a “james murphy” record, or, i don’t know, an “everteen” record, or whatever made-up name i come up with, and there’s pat playing drums, and nancy. maybe al isn’t too busy with hot chip so he comes to play. what the fuck is that? here were our choices: 1. make music with your friends and call it something else, which seems hilarious (everteen) or egomaniacal to the point of sociopathic (james murphy solo record). 2. make music, but willfully exclude your friends because of the horrors in option 1. 3. make an lcd record with your friends, who want to make said record, and deal with whatever fall-out together. 4. don’t make music, to avoid the horrors of all of the above. 5. make music and, like, hide it somewhere.

We decided, clearly, on option 3, and i was fully prepared for a certain amount of “oh fuck that guy” over-it stuff—in fact welcomed it. it’s strangely energizing to have people who don’t make music themselves take potshots at you from the internet. and there’s always been a current of o.f.t.g. with me (i’m saying me and not us because, let’s be honest… no one hates anyone else in lcd, partially because they’re unhateable, and also because they have the wisdom to not shoot their mouths off nearly as much), and that’s just fine. i’m pretty used to it, and find it relatively funny.

But in my naiveté i hadn’t seen one thing coming:

There are people who don’t hate us at all, in fact who feel very attached to the band, and have put a lot of themselves into their care of us, who feel betrayed by us coming back and playing. who had traveled for or tried to go to the msg show, and who found it to be an important moment for them, which now to them feels cheapened. i just hadn’t considered that. i know—ridiculous on my part. i saw some comments online a few days ago from people who felt that way, and it blindsided me, and made me incredibly sad. i saw some other people replying with stuff like “if that’s what you cared about, and you don’t want them to play anymore, maybe you liked the band for pretty weird reasons”, and it made me think. the truth is, while i get what the replier is saying, i kind of side with the original complaint: if you cared a lot about our band, and you put a lot of yourself into that moment (or anything about us you chose), and you feel betrayed now, then i completely understand that.

It’s your right to define what you love about a band, and it’s your right to decry their actions and words as you see fit, because it’s you, frankly, who have done much of the work to sustain that relationship, not the band. i was so clearly expecting the cynical cries of foul, that i hadn’t seen the heartfelt complaint coming. we’ve always talked about how we’d never betray anyone who cares about us, but here we are now. given the chance again to make new music with the people i care about, and who have given a big part of their lives to doing this weird thing together, and who wanted to do it again, i took it. and in doing so, i betrayed whoever feels betrayed by that action. i by no means think that everyone who liked our band feels bad right now. a lot of people who liked our band are very happy, and we’ve been pretty blown away by the almost overwhelmingly positive response.

Last night i sat with al and nancy in a weird italian bar and we talked about how fucking awesome it was that so many people were happy to have us back. but that doesn’t take away from those who feel hurt. to you i have to say: i’m seriously sorry. the only thing we can do now is get back into the studio and finish this record, and make it as fucking good as we can possibly make it. it needs to be better than anything we’ve done before, in my mind, because it won’t have the help of being the first time. and we have to play better than we’ve ever played, frankly. every show has to be better than the best show we’ve played before for anyone to even say “well, that was good. i mean, not as good as they used to be. but, you know. it was good.” we know all that. which is healthy for us, because it means we go back to war, like in the beginning. for us it was always war, but now it’s really with ourselves. maybe we have a chance to make it right.

In other, more pedantic news: we’re not just playing Coachella. we’re playing all over. we’re not just having some reunion tour. we’re releasing a record (sometime this year—still working on it, actually), so this isn’t a victory lap or anything, which wouldn’t be of much interest to us. this is just the bus full of substitute teachers back from their coffee break with new music and the same weird gear—or as much of it as we still have (it’s very interesting to re-buy the same gear, and in some cases buy gear back from people you sold it to), and rambling around trying to be louder than everyone else. thank fuck we were never skinny and young. or at least i wasn’t. that always happens with bands… they aren’t fat when they come back, typically, just, i don’t know, thicker. i was lucky to start this band kind of fat and old, so there’s no, like “look how young they were!” shit to even find on the internet. i mean, we were younger and everything, but we weren’t young, if you know what i mean.

One last note: thank you to everyone who has been absurdly kind to us over the past 14 (!) years. if you have moved on and don’t like us anymore, that’s obviously ok, too. but please, if we ever gave you any joy, just find something new and good that blows you away, and post it on our facebook page or something with, like, “hey fuck you guys! this is the real shit!” so we can hear new good stuff. that would be the best for all of us.

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Steely Dan's Donald Fagen Arrested for Domestic Assault

Steely Dan's Donald Fagen Arrested for Domestic Assault:

Steely Dan frontman Donald Fagen was arrested at his New York City home Monday night after a physical altercation with his wife, musician Libby Titus. A New York Police Department spokesperson confirmed to Rolling Stone that Fagen was charged with misdemeanor assault.

"[Titus] and Fagen were involved in a verbal dispute, at which point he grabbed her by the arm and pushed her," the spokesperson says. "She fell, bruising her arm."

A representative for Fagen declined to comment.
Fagen was released Tuesday morning without bail after his arraignment in Manhattan Criminal Court. Per The New York Post, Fagen was also issued an order of protection to keep away from Titus.

According to a criminal complaint obtained by the paper, Fagen allegedly pushed Titus into a marble window frame, "causing her to fall onto the frame and suffer bruising and swelling to her right arm, as well as substantial pain."

Fagen and Titus married in 1993. They met while attending Bard College in the mid-Sixties, during which time Fagen also co-founded Steely Dan with guitarist Walter Becker. The group has not released an album since 2003's Everything Must Go, but continues to tour regularly.

Titus has also had a fruitful music career, releasing a handful of solo albums and collaborating with a variety of artists and producers including Paul Simon, Phil Ramone, Robbie Robertson, Burt Bacharach and Carly Simon. Titus also helped Fagen produce the New York Rock and Soul Revue — a series of concerts featuring an array of top musicians — from 1989 to 1992.

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The Clash Tear Up 'Garageland' in 1977

The Clash Tear Up 'Garageland' in 1977:

"This is rock & roll," Clash guitarist Joe Strummer informed a curious Munich crowd. By the end of the show that night – October 4th, 1977 – he had led the band through most of their unstoppable debut album (released earlier that year), sweated so much that he poured beer on his head, and convinced the Germans that he was right. "Garageland" closed the Clash's set with a mighty exclamation point.

Things could go wrong for London punk groups when they traveled away from their hometown. Only a few months after this show, the Sex Pistols broke up at the end of a foreign tour that had gone off the rails – their abbreviated American jaunt in January 1978. And backstage on this night, Clash guitarist Mick Jones was bitterly complaining about the group's treatment in Munich. "My friend's in the slammer, they don't have a hotel for us," he told Wolfgang Buld's film crew, who were shooting the documentary Punk in London.

"The police came around and dragged us out from the hotel," explained bassist Paul Simonon. "We really want to like Germany. Well, I do, anyway."

"It's fucking horrible," Jones declared. "I never want to come back here again. It stinks."

Onstage, the Clash were powered by that anger like it was an electrical current. Strummer shouted "The truth is only known by guttersnipes" with such passion that he reduced the message to vowels. Wearing a ripped fishnet top, Simonon locked into the rolling rhythms of drummer Topper Headon. When cameraman Willy Brunner ventured onstage to get a closeup of the band members, obscuring the view of the crowd, Strummer firmly pushed him back to the side of the stage with his microphone stand. And Jones slashed away at his guitar like he could make everything in the world right with it.

"Garageland," which also ended the Clash's debut album, was a mission statement inspired by a bad review. The year before, journalist Charles Shaar Murray had seen one of the group's first gigs, and unimpressed, had written, "The Clash are the sort of band who should be returned to the garage immediately, preferably with the engine running."

Jones said, "That review really spurred us on, not only to write this song on behalf of all the garage bands, but to make us strong. Joe did the lyrics and it deserved a good tune."

With lyrics about "contracts in the offices" and "someone just asked me if the group would wear suits," the song is also a defense of the Clash's decision to sign to a major label, CBS Records, in a deal that provided an advance of £100,000. Facing accusations of selling out from other punks, the Clash were at pains to reassert their credibility. They did so by making themselves the stars of the song, an approach they also took on singles such as "Clash City Rockers" and "Complete Control." Singing about themselves so frequently rubbed some scenesters the wrong way, but that self-mythologizing instinct was intertwined with the group's ambition – and without that ambition, the Clash wouldn't have become one of the greatest bands of all time.

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Chris Stapleton to Play 'Saturday Night Live,' Coachella

Chris Stapleton to Play 'Saturday Night Live,' Coachella:

Like Sturgill Simpson before him, Chris Stapleton will bring rootsy stomp and Bible Belt twang to the California desert in April, serving as the only country artist on this year's Coachella bill. He recently added a Saturday Night Live performance to his schedule too, as the musical guest of the sketch comedy's January 16th episode, hosted by Star Wars villain Adam Driver.

Scheduled for the weekends of April 15th and 22nd, the upcoming Coachella festival will be headlined by two reunited bands: Guns N' Roses, now featuring the majority of the band's classic Appetite for Destruction-era lineup, and LCD Soundsystem, back after a half-decade break. Country acts are typically booked for Coachella's sister event, the annual Stagecoach Festival in late April, which makes Stapleton's inclusion all the more notable. His Coachella appearance is currently one of the final dates on a growing tour schedule that takes him from the Saturday Night Live stage to Mexico to the U.K. over the next four months, with nearly half of the shows already sold out.

Last year, Sturgill Simpson played both the Coachella and Stagecoach festivals, as well as Bonnaroo, Newport Folk Festival, New Orleans' Jazz Fest and the Austin City Limits festival. Likewise, Stapleton — who recently shared the stage with Kings of Leon during a New Year's Eve party in downtown Nashville, where the crew covered Lynyrd Skynyrd's "Simple Man" — seems poised for a similarly busy year.

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8 Unanswered Questions About the Guns N' Roses Reunion

8 Unanswered Questions About the Guns N' Roses Reunion:

After months of rumors, the official news finally hit last night that Guns N' Roses will reunite in April at this year's Coachella. Well, sort of. The California music festival's Saturday lineup merely lists "Guns N' Roses" as the headliner – with no clear indication of what exactly that means in 2016. Bassist Duff McKagan and guitarist Slash both shared the announcement via Twitter, essentially confirming their participation. McKagan played with Guns N' Roses during a series of shows in 2014, but Slash hasn't shared a stage with Axl Rose since the end of the Use Your Illusion tour in 1993. His return is a huge deal, and his presence in the lineup alone will help fill stadiums around the world – but there's still a ton that we simply don't know about the terms of this reunion. Here are just a few of the questions we have.

1. Will Izzy Stradlin Be Involved?
The rhythm guitarist, who played a key role in the creation of Appetite For Destruction, the Lies EP and the Use Your Illusion albums, left GN'R in 1991. Since then, he's become one of rock's most mysterious figures, even as he maintained a steady release of under-the-radar solo albums. Stradlin joined his ex-bandmates in Velvet Revolver during their early rehearsals, but ultimately opted to stay out of the project. In 2006, he shocked Guns N' Roses fans when he played with the new lineup at a New York show, and since then he's made many guest appearances with the group, most notably during their 2012 European tour. But he didn't show up when the group got inducted into the Rock and Roll Hall of Fame that year, and there's absolutely no word on whether or not he'll play any role in this reunion.

2. If Izzy Doesn't Play Rhythm Guitar, Who Will?
DJ Ashba and Ron "Bumblefoot" Thal both left the group last year, though the status of third guitarist Richard Fortus is unclear. Might it be him on rhythm? If not Fortus, might Gilby Clarke return? He was Izzy's original replacement back in 1991, and he filled in for Izzy at the Rock and Roll Hall of Fame in 2012. Might there be a role for Velvet Revolver's Dave Kushner? Will Axl want two guitarists, like the old days, or will he want to stick with three? We have no idea.

3. Who Will Play Drums?
Frank Ferrer has been with Guns N' Roses for the past 10 years, and seems like a very likely pick. But there's also Matt Sorum. He joined in 1990 for Use Your Illusion and played in Velvet Revolver with Slash and Duff in the early 2000s. He certainly knows the material and is quite capable of pulling this off. He's been guesting on Late Night with Seth Meyers all week, but there's no word on his participation at Coachella. Then there's Appetite-era drummer Steven Adler. He famously left GN'R in 1990 due to a drug problem, and since then he's been the loudest voice calling for a reunion. He's been suspiciously quiet since this reunion noise started. He's never played the Use Your Illusion material in concert, and it's difficult to imagine him being the sole drummer on the tour. But might he have a role similar to the one Mick Taylor had on some recent Rolling Stones tours, where he comes onstage for a few songs every night? Once again, we have no idea.

4. Who Else From the Last GN'R Lineup Will Be Involved?
Keyboardist Dizzy Reed has been in the group since 1990, giving him a longer tenure in the group than any member besides Axl Rose, so his participation seems like a lock. Chris Pitman, another keyboardist, has been with the group since 1998. It's easy to imagine him returning. There won't be two bass players, so that means Tommy Stinson is gone. And as we previously said, the status of drummer Frank Ferrer and guitarist Richard Fortus is completely unknown. Some old-school fans would like to see a complete break from the most recent GN'R lineup, but that's probably unlikely.

5. What Happens After Coachella?There have been reports of a stadium tour, and it's hard to imagine the band going to all this trouble to play just two weekends at Coachella and nothing more. As of now, though, we remain in the dark about where this reunion is going. Remember, Led Zeppelin did a single show in 2007 and haven't played since. These things can fall apart very quickly, no matter how much money is at stake.

6. Will They Play Chinese Democracy Material?
Logic would indicate that the band will stay safely within the confines of 1987 to 1991 when picking a setlist – but there was another Guns N' Roses album released in 2008. Duff McKagan played those songs when he returned in 2014. Would Slash be willing to do the same thing? Then there's the Velvet Revolver catalog. "Fall To Pieces" began as a Guns N' Roses song. Might Axl consider singing it, possibly as a tribute to Scott Weiland? We'll see.

7. Will There Be New Material?Most reunion tours focus solely on old material, but Axl and Slash might want this to be more than a nostalgia trip. Is there any chance they've secretly recorded a new song or two? Might they actually head into the studio at some point down the road? Stranger things have happened.

8. How Exactly Did This Happen?
Did Axl reach out to Slash? Did Slash reach out to Axl? Is there a chance they haven't even spoken yet, and this whole thing was arranged by an army of lawyers and managers? Did Duff serve as a peace broker when he briefly returned to the band two years ago? Will this be an Eddie Van Halen/David Lee Roth situation, where they don't really speak offstage? Did Axl apologize for calling Slash "a cancer?" Let's hope they do some press soon and answer at least some of these questions, because right now we know very, very little.

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See Shawn Mendes, Camila Cabello Belt Duet on 'Tonight Show'

See Shawn Mendes, Camila Cabello Belt Duet on 'Tonight Show':

Teen pop sensations Shawn Mendes andFifth Harmony's Camila Cabello delivered the drama during their performance of duet "I Know What You Did Last Summer" on The Tonight Show With Jimmy Fallon Monday night. The single is featured on the re-release of Mendes' smash debut album Handwritten.

For their live performance, the pair gave a nod to the single's music video, featuring visuals of a sky during a thunderstorm before launching into their Roots-assisted live version. Both belted out the lyrics, which features a nod to Bill Wither's "Ain't No Sunshine" (the iconic soul singer has a songwriting credit on the single).

Since its November release, the single has been steadily climbing up the Hot 100 charts. While both Fifth Harmony and Mendes toured with Jingle Ball in December, the pair performed their duet during Mendes' sets. Mendes is set to play Radio City Music Hall in March, while Fifth Harmony will release their sophomore album later this year.

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Bob Dylan's 'Desire': An 'Exotic' Masterpiece Turns 40

Bob Dylan's 'Desire': An 'Exotic' Masterpiece Turns 40:

Country singer Emmylou Harris had no idea what she was in for the day she arrived at Columbia Studios to sing backup on her first Bob Dylan session. Harris had just received the lyrics to "Romance in Durango" and was practicing when she realized the tape had already started rolling. "I thought, 'Oh, I can fix anything that sounds funky or out of tune with the engineer later,'" she says. But there would be no second takes. "That album was like throwing paint on a canvas. And whatever happened was what it was supposed to be. I guess that's another part of the genius of Dylan: He knew exactly what he was doing."

Dylan thrived on chaos and chance while making Desire, a process that was a far cry from the heavily labored recording of his prior LP, 1975's Blood on the Tracks. One night, Dylan was walking around Greenwich Village and was approached by Jacques Levy, a playwright and director who had previously written songs with Roger McGuinn of the Byrds. Dylan invited Levy to hang out that night at the Other End, a long-standing folkie haunt; later on, at Levy's apartment, they wrote "Isis." "He said these magic words, 'I'd like you to write some stuff for me,'" Levy recalled before his death in 2004. They continued work at Dylan's summer home in the Hamptons, writing songs with a much different flavor than the reflective tone of his last album. "I guess I never intended to keep that going," Dylan said. "Sometimes you'll get what you can out of these things, but you can't stay there."

Instead, these were sprawling narratives of outlaws and wanderers, with clearer storylines than anything Dylan had written in more than a decade. They included the cowboy-on-the-run tale "Isis" and "Joey," the 11-minute saga of fallen gangster Joey Gallo. "I thought 'Joey' was a good song," Dylan said in 1981. "I know no one said much about it." Perhaps it was overshadowed by "Hurricane," the story of former boxer Rubin "Hurricane" Carter, who had been convicted of triple murder in 1966. "I read his book and it really touched me," said Dylan. "I felt that the man was innocent." Though Dylan and Levy's lyrics were riddled with factual errors (as was "Joey"), the song helped turn public attention to Carter's case; his conviction was overturned in 1985.

The album's atmosphere was also affected by a trip Dylan had taken to the South of France, where he had gone to a "gypsy festival" on his birthday. The gypsy imagery marked songs like "One More Cup of Coffee" and "Durango." "I think 'exotic' is a good word to put on it," said Levy. The only personal song on Desire is perhaps his most personal ever: "Sara," a plea to his then-estranged wife, Sara Lownds, to return to him. According to Levy, Lownds showed up at the studio the night they recorded the song. "You could have heard a pin drop," said Levy. "She was absolutely stunned by it."

During recording, Dylan kept several studios going at once, filled with musicians (including Dave Mason and Eric Clapton) and non-musicians. Says bassist Rob Stoner, "They had opened up all the adjacent studios to accommodate all these hangers-on and buffet tables. It was just like a huge party. And it wasn't conducive to getting any work done."

Eventually, the rooms were cleared and a core group cut the entire album over two long nights. "There was just a level of excitement," says Stoner. "Sessions were called for 7 p.m., and we only stopped at seven in the morning because that's when they tow your car on that street. We didn't want to lose the vibe. No drinking, no drugs, no nothing. It was pure adrenaline."

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