Music News


Madonna went online to pay tribute to singer, model, Nick Kamen.

The two were long-time friends and collaborated on "Each Time You Break My Heart." The song was originally written for her album, True Blue, but Kamen ended up releasing it and had a top 5 hit with it.

On Twitter, she wrote: "It's heart breaking to know you are gone. You were always such a kind, sweet human, and you suffered too much."

Kamen died May 4, after a lengthy illness. He was 59.


  • Madonna has paid tribute to singer, model, Nick Kamen.
  • The two were friends and collaborated on "Each Time You Break My Heart."
  • Kamen died May 4, after a lengthy illness. He was 59.


Happy Birthday to Billy Joel, who turns 72 on Sunday (May 9th)!!! The "Piano Man" has just added a new concert to his itinerary, with an October 23rd show in Austin, Texas, set for the Formula 1 2021 Aramco United States Grand Prix. The show will play at the Germania Insurance Super Stage, with tickets for the Formula 1 Grand Prix and concerts now on sale now via

The show marks Billy's first Austin gig since November 17th, 1990 when he played the Frank Erwin Center, in support of his then-recent chart-topping 1989 set, Storm Front.

Last year, Billy and wife Alexis have announced that their Joel Foundation would be making a series of donations amounting to $500,000 for aid and relief for the coronavirus pandemic. The couple issued a statement explaining, "Our first donation will be $500,000 in the form of Personal Protective Equipment (PPE). BStrong (Bethenny Frankel's disaster relief initiative) will immediately purchase masks, corona (virus test) kits and hazmat suits for the doctors and nurses in hospitals that are in dire need."

The Joel Foundation also donated $25,000 to Greenwich Village's Smalls Jazz Club & Mezzrow. The club has created a nonprofit organization called SmallsLIVE Foundation for Jazz Art and Education.

Released in 2019 was the digital playlist, titled Live Through The Years, features 20 performances captured in concert between 1977 and 2006 -- a few of which have only been available via concert video sets. Included on the set are previously unreleased live cuts recorded at such historic venues as Carnegie Hall; Nassau Coliseum; Yankee Stadium; Frankfurt, Germany's Festhalle; the L.A. Sports Arena; and of course -- Madison Square Garden.

Highlights on Live Through The Years include "Scenes From An Italian Restaurant," "Prelude/Angry Young Man," "She's Got A Way," "Allentown," "The Ballad Of Billy The Kid," "Piano Man," "We Didn't Start The Fire," "My Life," "Big Shot," "River Of Dreams," and more.

Among the deep dives featured on the set are: "Sleeping With The Television On," "Vienna," "You're My Home," "Get It Right The First Time," and "A Room Of Our Own."

In July 2015, Billy married longtime girlfriend Alexis Roderick with the couple welcoming their first child, daughter Della Rose, the following month. On October 22nd, 2018 Billy's third daughter, Remy Anne Joel, was born at Manhattan's New York University Hospital, weighing seven pounds, three ounces. Billy has a daughter -- 35-year-old musician Alexa Ray Joel -- from his second marriage to Christie Brinkley.

August 2018 marked the 25th anniversary since Billy Joel released his last studio rock album, River Of Dreams. The album, which peaked at Number One on the Billboard 200, featured the Top Three hit -- and Billy's last Top Ten hit to date -- "The River Of Dreams."

During Billy's quarter-century exile from releasing rock music, aside from three live albums, he composed the 2001 classical album Billy Joel: Fantasies & Delusions (Music For Solo Piano) and in 2007 recorded two "pop" songs, the big band-inspired "All My Life" -- which was produced by the late-Phil Ramone -- and the rocker "Christmas In Fallujah" featuring vocalist Cass Dillon.

In March 2011, Billy released the CD/DVD set Billy Joel: Live At Shea Stadium, featuring appearances by Paul McCartney, Roger Daltrey, Steven Tyler, Garth Brooks, and Tony Bennett. That November, Billy underwent successful bilateral hip replacement surgery.

Billy Joel always credits the unique upbringing he received growing up as a baby boomer on Long Island as the son of a German father and a British mother: "A lot of music being played in then house -- mostly classical music, when I was a kid. Broadway musicals, y'know, pop music from New York radio. (My) father would play piano, my mother would sing in Gilbert & Sullivan operettas; that's where my parents met. It was a Jewish family, although I wasn't brought up with any religious upbringing. I used to go to mass, ‘cause all my friends were Catholic. I thought that's what you did on a Sunday -- you went to mass, that's what everybody did. Um, so, interesting mix of things."

Although Billy is known as one of the top musicians in all of rock, he says that his musical limitations could actually be responsible for helping him creating his greatest songs: "I never really applied myself the way I should. I never practiced my scales. I'm limited, and in a way, I think my limitations have helped me as a pop music writer. Sometimes I'll paint myself into a corner, and I don't know how to get out, so I just come up with my own solution to get myself out of that corner. And that, in a way, is what may make my material original."

The late-Phil Ramone was Billy's closest musical confidante, and produced such classic multi-platinum albums for Billy as The Stranger, 52nd Street, Glass Houses, Songs In The Attic, The Nylon Curtain, An Innocent Man, and The Bridge. He told us shortly before he died in 2013 that Billy's was a multifaceted man: "But, y'know, he's a wonderful animal. He's just so smart. And of course he comes off playing this tough Long Island kid -- which is part of his background -- but the rest of him is just amazing. He's an amazing guy. Extremely intelligent and well read."

Despite his fans clamoring for a new album, Billy says that he's happy touring and playing his greatest hits and deep album cuts, but is equally content quietly writing instrumental music: "I guess these days I just think of myself as a classical composer. I have a piano at home and I write classical pieces -- I don't ever wanna call it classical pieces, it's piano music. They could be used for an orchestra; some of these things might end up being used for a movie soundtrack. I'm not even all that anxious to have them performed. Right now all I'm interested is just composing."

Wings drummer Denny Seiwell produced the early sessions for Billy's 1971 solo debut Cold Spring Harbor. He recalls being amazed at his talent years before the rest of the world discovered "Billy Joel": "I started producin' Billy out in Long Island. All I remember was Billy was just awesome. He was phenomenal. In fact one night we were having a problem, we couldn't get him to -- he really had unbelievable piano chops and we couldn't get him to slow this (sings piano riff). He wouldn't slow down, so we said, 'How 'bout we get you a bottle of booze, man?' So we got him a bottle of gin (laughs), and he sat it on the piano bench and he just started sluggin' away at this thing. We said, 'Just let him chill out for a little while. We'll slow him down.' And the more he drank, the faster he got!"

Over the past two decades, Billy's problems with alcohol popped up frequently in the press, resulting in his last stay at the Betty Ford Clinic in 2005. Two years before that, he appeared on NBC's Dateline and spoke candidly about his relationship with the bottle: "I can abuse alcohol if the demons get me. I'll go on a bender. It's happened to me before. That's why I went into rehab, I was on a binge, I was on a bender. And I said 'This is stupid, I've got to stop.' Then I went and I did stop and I've learned to recognize what those signs are."

Billy Joel drew upon his high school years in Levittown, New York for his 1977 classic from The Stranger, "Scenes From An Italian Restaurant" -- rated among his best by die-hards. He explained the song's genesis during his appearance on Inside The Actors Studio: "That song started out, the middle part was called 'The Ballad Of Brenda And Eddie.' The thing I was trying to get across, and I'm sure we all know, there were people who peaked a little too early in life. When we were in high school, there were the people we thought were so cool -- I thought, 'Man, I wish I was that guy!' With a perfect pompadour, he always had great clothes, he always had the coolest shoes, he always went out with the coolest girl. And then I saw him at the 10-year reunion, and this guy was like a caved-in ashtray. In high school, it was so important to be with the right crowd -- in my era, maybe it's the same in this era, I'm assuming there's a certain amount of this that still goes on. But they were my heroes, these people. But then I said -- 'that's not enough.'"

Billy Joel explained that it was written in the cards that barring a two year jaunt in L.A., playing in a piano bar -- Long Island was his natural habitat: "My perspective of things all come from a Long Island point of view. I've realized that. I've traveled all over the world, I've traveled a lot in the United States -- I wasn't really sure where I was gonna end up -- but the more I traveled, the more I felt this is where I'm from. I'm from this island that sticks out to the East of New York City. There really isn't a lot of other places like Long Island. Sure, there's a little bit of it in Jersey, a little bit of it in New England -- a little bit of it. But Long Island is an Island. We're isolated from everything else. We're with each other -- we all rub off on each other (laughs) for better or for worse, and that's what makes us Long Islanders."



Six strands of Kurt Cobain's hair are now up for auction as part of Iconic Auctions The Amazing Music Auction. The auction also includes personally owned, staged-used or signed musical memorabilia from Cobain and Nirvana, as well as The Beatles, Bob Dylan, Eric Clapton and Led Zepellin more.

In a statement Iconic Auctions said, "This one-of-a-kind artifact is entirely fresh-to-market and is accompanied by an impeccable lineage of provenance including photos of Kurt posing with the woman who cut this hair, scissors in hand, and a fantastic shot of the hair actually being cut!"

The statement continued, "The lucky friend who trimmed the Nirvana front man's iconic blond locks was an early confidant, Tessa Osbourne, who cut his hair in 1989 — well prior to his 'Nevermind' breakthrough — while on the 'Bleach' tour. Tessa presented the original lock to Seattle artist Nicole DePolo as a heartfelt gift after Kurt's passing, and she provided the original bag with handwritten provenance note, '29/10/89: Tess cut Kurt's hair in Birmingham, England, 27 Holy Rd., Handsworth, Birmingham B202BU.'"

A portion of proceeds from the auction will benefit Live Nation's Crew Nation, a global relief fund for helping live music crew workers negatively impacted by the coronavirus pandemic.


Dave Grohl recalled his early days with Nirvana whole traveling around the country in a rented van. The new doc, Dave Grohl's What Drives Us, is directed by Grohl, produced by Foo Fighters, and is based around various bands' war stories of making their bones during their early days traveling together on the road.

Grohl has tapped a wide range of friends and fellow musicians -- including such high-profile rockers as Ringo Starr, Flea, Slash & Duff McKagan, The Edge, Lars Ulrich, Brian Johnson, Steven Tyler, No Doubt's Tony Kanal, Black Flag's Kira Roessler, St. Vincent, Exene Cervenka of X, and many more

Dave Grohl chatted with The Hollywood Reporter and shared some of his war stories from Nirvana's pre-fame days: "I remember driving over the Rockies in our van on an early Nirvana tour, in a snowstorm, and stopping in the middle of the highway because there was a f***ing 10-foot moose in front of us, that we were afraid was going to attack our band. Everyone was like, 'Don't honk. Don't honk. It'll attack the van.' Just stupid s*** like that. When Nevermind came out and we started that tour in September of 1991, we were in a van. We were pulling a trailer, and it was all of us and our road crew in a van. And the album started blasting up the charts as we were playing venues that held 100, 200, maybe 300 people. And the 'Smells Like Teen Spirit' video was on MTV. We were pulling up to these venues in our van that were just overflowing with people in a, like, imminent riot situation. We're supposed to go in there and set up and incite this riot. So you're experiencing all of these things from a bench seat in a van. You're just like, 'What the f*** is going on right now?' So, yeah, I mean, every day there was something new. It was f***ing insane."

The began to chart its progress by the accomodations they kept on the road: "I mean, by the time Nirvana started touring on the 'Nevermind Tour," we would have hotel rooms. So I shared a hotel room with Kurt (Cobain). Krist (Novoselic) shared a hotel room with his wife. And the f***ing sound guy and the guitar tech shared another room. But I mean, it was like Motel Six s**. Even that felt like, 'Oh, I've arrived. I've made it. I have my own pillow. F***.' Before then, it was lined up like sardines in a can."

Grohl recalled some of the low points of living in the van: "There were nights that were so cold that the condensation from everyone's breath would freeze on the f***ing metal ceiling of the van, and then little drops of ice would fall and hit you in the face and wake you up. It was disgusting."

When pressed as to whether Kurt Cobain ever got behind the wheel of the van, Grohl said, "I think maybe he was one person we didn't allow to drive the van. I don't remember him driving ever. No, it was me and Novoselic and the sound guy. No, I don't think Kurt got behind the wheel. . . I remember the day that Nirvana got a tour bus. There was a tour in the winter of 1991, we did a tour, where it was Pearl Jam, Nirvana, and the Red Hot Chili Peppers. It was a run up the West Coast. And we show up, and there's a bus. . . We're like, 'Oh my God.' You could (have) microwave popcorn and watch movies, and there's a bunk."

Although Nirvana's brief-but brilliant career has been analyzed and marked as a turning point in modern rock, Dave Grohl told us a while back that the bottom line was that Nirvana simply loved to rock out: "There was a lot of that crazy, heavy element in Nirvana. Y'know, the one thing that Nirvana was against was just the bull***t."

Dave Grohl's What Drives Us is streaming now via The Coda Collection on Amazon Prime Video Channels.


Now streaming on Paramount is Dave Grohl's six-part series with his mom, Virginia Hanlon Grohl, From Cradle To Stage.

The series is based around Virginia's critically-acclaimed book, Cradle To Stage: Stories From The Mothers Who Rocked And Raised Rock Stars, and features numerous famed musicians and their mother's including Geddy Lee, Tom Morello, Brandi Carlile, Miranda Lambert, Dan Reynolds and Pharrell Williams.

Dave Grohl said of the new show: "Having the opportunity to travel the country and tell the stories of these amazing women behind the curtain not only shed some light on the music that they inspired, but also made me appreciate the love that I was given from my own mother, my best friend. It goes without saying that we are all indebted to the women who have given us life. For without them, there would be no music."



It was 51 years ago Saturday (May 8th, 1970) that the Beatles released what was technically their final album, Let It Be. Although the band's last album, Abbey Road had been released the previous fall, the Let It Be project -- which began 16-months before its release -- was issued nearly a month after Paul McCartney announced that the "Fab Four" had indeed split. The album served as the soundtrack to the film of the same name, which premiered in New York City on May 13th, 1970. The movie, which was shot in January 1969, was originally intended to be a TV special called Get Back featuring the group rehearsing for their first live show in over two years. The early rehearsals captured the group -- along with John Lennon's soon-to-be wife Yoko Ono -- clearly bored, with only Paul McCartney showing any real enthusiasm for the new material. The first part of the film shows the strain of the early morning sessions held in a cavernous soundstage at London's Twickenham film studios

The Beatles' late-producer George Martin recalled that the Let It Be project held great promise in the beginning: "They were going through a very, very revolutionary period at that time. And they were trying to think of something new. They did actually come up with a very good idea, which I thought was well worth working on; The wanted to write an album completely and rehearse it and then perform it in front of a large audience -- and for that to be a live album of new material. And we started rehearsing down at Twickenham film studios, and I went along with them."

George Harrison, who was the least invested member of the band in regards to returning to the stage, recalled the band's initial plan: "I think the original idea was to rehearse some new songs, and then we were going to pick a location and record the album of the songs in a concert. I suppose kinda like they do these days on Unplugged, except, y'know, it wasn't to be unplugged. It was to do a live album."

Among the songs featured in the film are "Let It Be," "Get Back," "Don't Let Me Down," "Maxwell's Silver Hammer," "For You Blue," "Octopus' Garden," "I Me Mine," "Across The Universe," "The Long And Winding Road," covers of "Besame Mucho," "Shake, Rattle And Roll," and "Kansas City," among others -- including the still unreleased originals "Jazz Piano Song" and "Suzy Parker."

The tracklisting to the Let It Be album is: "Two Of Us," "Dig A Pony," "Across The Universe," "I Me Mine," "Dig It," "Let It Be," "Maggie Mae," "I've Got A Feeling," "One After 909," "The Long And Winding Road," "For You Blue," and "Get Back."

In 1970 John Lennon recalled the nearly month-long film shoot saying: "It was just a dreadful, dreadful feeling being filmed all the time. I just wanted them to go away. And we'd be there at eight in the morning and you couldn't make music at eight in the morning, or 10, or whatever it was . . . in a strange place with people filming you and colored lights."

The tension between the group is palpable, especially during the sequence where Harrison and McCartney argue over Harrison's playing on the song "Two Of Us."

McCartney explained that unconsciously, the Beatles were actually telling the world that they were breaking up: "In fact what happened was when we got in there we showed how the breakup of a group works because we didn't realize that we were actually breaking up, y'know as it was happening."

The movie lightens up considerably during the second half, when the filming moved to the group's new Apple basement studios, with the addition of keyboardist Billy Preston. A major highlight of the film is the final sequence, when the Beatles play in impromptu set on the Apple headquarters rooftop, featuring "Get Back," "Dig A Pony," "I've Got A Feeling," "Don't Let Me Down," and "One After 909." Filmed on January 30th, 1969, it would be the band's final public performance.

Reviews for the film, which was released a month after the group's breakup, were mixed, citing the sluggish and depressing nature of the film, as well as director Michael Lindsay-Hogg's sloppy editorial choices. But across the board, both critics and fans agreed on the power of the group's triumphant rooftop set.

Author Ritchie Unterberger chronicled the prolonged Get Back/Let It Be sessions in his book, titled The Unreleased Beatles: "They had bitten off more than they could chew. Y'know, even before they assembled in January, the idea was, 'Let's get back to playing as a live band' -- pretty good idea. But then it was, 'Let's make it an album and a film, and we're going to make the album a film of us doing a concert of songs we've never recorded before.' It's kind of like trying to do too much at once. And then you're recording it -- the comparison I made in the book is kind of Nixon's 'The Watergate Tapes,' you have no idea that this stuff is going to comeback to haunt you forever."

Beatlefan magazine's executive editor Al Sussman saw the film within days of its premiere and was left speechless by the group's live swan song: "It was really depressing. But, what made it worthwhile was the rooftop, y'know? Because when I left that theater, I was this far off the ground. Despite the fact that we knew everything that happened afterward. Yeah, that saves the film."

Ken Mansfield, the former U.S. manager of Apple Records, recently published his latest memoir on his time with working with the Beatles, titled The Roof: The Beatles' Final Concert. Mansfield was among the handful of insiders present at the rooftop concert that day. He recalled prior to the lunchtime gig walking in on the four Beatles who were using one of the Apple offices as a makeshift dressing room: "It was like walking in on a band, a nervous bunch of guys getting ready to do an audition. I don't know if it's because they hadn't played together, or whether they were trying to put the set together, but it was one of those kind of tense things where they were nervous. When we locked the doors upstairs, and the minute they started playing -- and y'know all the. . . everything that was going down, all the stuff. It's like it all went away and I really believe in my mind that they forgot everything and they were what they were. They were the Beatles."

George Martin said that he felt betrayed by Lennon and Harrison when they enlisted Phil Spector to rework the Let It Be tapes prior to their eventual release: "When the record came to be issued, EMI rang me up and said, 'They don't want your name on the record. It'll be 'Produced by Phil Spector.' I said, 'But I produced all the original stuff that they worked on.' I said, 'I'm not having that. Why don't you put on it, 'Produced by George Martin, over-produced by Phil Spector?' But they didn't seem to go for that."

The Let It Be album marks the only Beatles album to house three Number One songs -- albeit in different mixes to their single counterparts: "Get Back," "Let It Be," and the group's last chart-topper, "The Long And Winding Road."

The version of "Get Back" that closes the Let It Be album, which was long thought to be a live take, is actually a cheat -- Lennon and McCartney's pre and post-song comments were tagged by Phil Spector onto an abbreviated version of the studio-recorded single version.

Although never released in its entirety, most of the Beatles' "Rooftop Concert" has been widely bootlegged over the years. The Beatles themselves have also issued a lot of the rooftop concert over various releases. 1970's Let It Be album featured an edited live performance of "Dig A Pony," "I've Got A Feeling," and "One After 909." The group's final performance of "Get Back" was included on 1996's The Beatles Anthology 3 album, and the 2003 Let It Be. . . Naked collection included new composite takes from different versions of "Don't Let Me Down," and "I've Got A Feeling." In one form or another, at least one version of all the songs from the group's final performance has been officially released.

Let It Be earned the Beatles their only Academy Award, when they won the 1970 Oscar for Best Original Song Score. The film was briefly available on VHS in 1981, but is not yet available on DVD.

The Let It Be album hit Number One on June 13th, 1970, ending Paul McCartney's three-week run on top of the charts with his solo debut, McCartney. Let It Be went on to hold the top spot for a solid month until the soundtrack to Woodstock displaced it.


In January 2019, the Beatles announced that Academy Award-winning director, Peter Jackson -- best known for The Lord Of The Rings series, among others -- would head up a new film culled from the massive amount of film outtakes from the band's 1970 Let It Be movie.

Paul McCartney said in a statement: "I am really happy that Peter has delved into our archives to make a film that shows the truth about the Beatles recording together. The friendship and love between us comes over and reminds me of what a crazily beautiful time we had."

Ringo Starr added, "I'm really looking forward to this film. Peter is great and it was so cool looking at all this footage. There was hours and hours of us just laughing and playing music, not at all like the version that came out. There was a lot of joy and I think Peter will show that. I think this version will be a lot more peace and loving, like we really were."

This film -- titled The Beatles: Get Back -- is based around 55 hours of never-released footage of the Beatles rehearsing and recording at Twickenham Film Studios and Apple Studios, shot between January 2nd and January 31st, 1969.

The full-length, new movie which was set to hit theaters this past September -- was pushed back nearly a full calendar year, with a new opening date of August 27th, 2021.



It was 40 years ago today (May 7th, 1981) that George Harrison released his tribute to John Lennon, called "All Those Years Ago." The song is notable for being the first record since the Beatles' 1970 breakup to feature all three surviving group members, George Harrison, Paul McCartney, and Ringo Starr.

According to several sources, the song was originally taped the year before for inclusion on Ringo's 1981 Stop And Smell The Roses album. Harrison had written the song with different lyrics for him to sing, with the song's basic track featuring himself on guitar and Ringo on drums. The song was left off the album, and after Lennon's murder in 1980, Harrison revamped the song into a tribute to his late bandmate.

In early 1981, Harrison, Paul and Linda McCartney, and Wings co-founder Denny Laine recorded the song's distinctive backing vocals at Harrison's home studio Friar Park. The vocal sessions were supervised by legendary Beatles producer George Martin and engineer Geoff Emerick, who at the time were recording with McCartney for his Tug Of War album. During the session, Harrison was slated to lay down a lead guitar part for the McCartney track, "Wanderlust," but time ran out and Harrison never followed up on making good on the promise. The officially released version of "Wanderlust" features a brass ensemble playing where Harrison's guitar part would've been.

Denny Laine who had known the Beatles intimately since touring with them in the mid-'60s while still in the Moody Blues, says that there was no difference between watching Harrison and McCartney recording in the '80s and during their '60s heyday: "They were just the same as they always were. The same as the public sees them. Y'know, they just had a sort of natural way of doing things. They weren't any different in front of me and Linda than they would have been when they were in a Beatles session. They're just Paul and George as you know them."

Once "All Those Years Ago" hit the airwaves -- marking the first new solo Beatle release in the wake of Lennon's murder -- it surprised no one that George Harrison was able to take a more spiritual view of his friend's death than most: "I know John was, um, y'know, he knew who he was a soul that happened to be in this body for this period of time, and. . . Its just the method by which you die; y'know, I think its nicer if you can consciously leave your body at death, as opposed to some lunatic shooting you on the street, or having a plane crash -- something like that. I think it's unfortunate the way he went out, but it doesn't really matter -- he's okay, and life flows on within you and without you."

During a recent chat with CBS, Paul McCartney revealed that John Lennon worried about his legacy after he had gone, recalling: "I remember John was a bit insecure -- (feigns incredulousness) What???? John Lennon??? -- And I remember him once, particularly, strangely out of the blue, saying, 'I worry about how people are gonna remember me.' And I was, like, 'John, listen to me -- look at me: you're gonna be remembered as one of the greatest people (takes a deep breath) I'm getting choked up. And I say. . . ''Cause you are, y'know, you're fantastic.'"

"All Those Years Ago," which peaked at Number Two on the charts, was featured on Harrison's Somewhere In England album.

It was also on this date in 1973 that Harrison released his global ode to world peace, "Give Me Love (Give Me Peace On Earth)." The song, which was the lead single from his album Living In The Material World, went on to become Harrison's second Number One hit.

Both "Give Me Love (Give Me Peace On Earth)" and "All Those Years Ago" were featured on the most recent Harrison compilation Let It Roll: The Songs Of George Harrison.



Paul McCartney will be honored with a special set of 12 different stamps from Britain's Royal Mail. The Sun reported "Macca" worked closely to design the stamps, which feature McCartney at home and in the studio recording between 1969 and 1989.

Other stamps include full-on reproductions of such classics albums as 1970's McCartney, 1971's Ram, 1975's Venus And Mars, 1980's McCartney II, 1982's Tug Of War, 1989's Flowers In The Dirt, 1997's Flaming Pie, 2018's Egypt Station, and his most recent set, 2020's McCartney III. All the stamps go on sale on May 28th. McCartney follows David Bowie and Elton John, who got their own set of Royal Mail stamps in 2017 and 2019, respectively.

The Royal Mail's David Gold said in a statement: "Paul McCartney remains a vital figure at the center of rock and pop. An artist whose legacy is immense, but whose work continues to generate popular attention and critical acclaim. This dedicated stamp issue is a fitting tribute to one of the UK's much loved and revered musical icons."

Paul McCartney admits that after spending decades in the business, he'd be insane to think that he could top all the highlights of his past Beatles and solo career. He told us that at this stage of the game, he's far too busy having fun to be intimidated by his historic past: "You've got this body of work, and you could get a bit intimidated by it and go 'Oh my God, I've done this -- I can never write again!' But I kind of like it so much, I like the process so much that, perhaps foolishly, that doesn't really occur to me. I just go 'Yeah, I'm gonna have a go,' like I always did. I sort of start with nothing and end up with something."

To view and/or purchase the assorted Paul McCartney Royal Mail stamp sets, log on to:



Styx will release its 16th studio album, Crash Of The Crown on June 18th. posted the album "will be available on clear vinyl, black vinyl, CD and digital platforms." It's available for pre-order on the band's website now.

Frontman and keyboardist Lawrence Gowan said of the title track, which was dropped yesterday (May 6th): "I'm always looking for the one different thing we can do and still have it be Styx, and that's the song I'm most proud of. The beauty of it is that it's the culmination of all our talents crammed together into one song, Abbey Road-style. I also got to use some gear I never thought I'd have the chance to play on a Styx record like Tommy (Shaw)'s Hammond B3 organ, my mini-moog, and my mellotron."

When we last caught up to Lawrence Gowan he told us he knows exactly what the Styx fanbase will accept in terms of new material: "Just the manner in which we go about learning something and performing it for people, I just have a confidence with how they're gonna react to it."

Guitarist Tommy Shaw told us how his partner in crime, James "J.Y." Young, can come up with a legendary guitar part at the drop of a dime: "James Young is one of these guys, when he sits down, I'm always thinking -- 'Where's my phone?' when he has the guitar out (laughs). 'Cause the things that flu off of his hands, for one thing, for the life of me, I cannot figure out his thought process playing the lead guitar. So, I'm always listening to, 'okay, what's he doing there?' And then, if he continues down this thread, it's like, (laughs) 'where's my phone?' 'Cause you've gotta capture it."



Out today (May 7th) is You And Me, the debut solo album from Heart's Nancy Wilson. The album was recorded at the guitarist's home studio in California with guests contributing remotely. In addition to new original tunes, Wilson teams up with Sammy Hagar for a new take on Simon & Garfunkel's "The Boxer," along with covers Pearl Jam's "Daughter," Bruce Springsteen's "The Rising," and the Cranberries' "Dreams" -- featuring Liv Warfield best known from her work with Prince's New Power Generation, and Wilson's side-band, Roadcase Royale.

Guns N' Roses bassist Duff McKagan and Foo Fighters drummer Taylor Hawkins are featured on the album's rocker "Party At The Angel Ballroom," with Wilson paying tribute to Eddie Van Halen on the new original, titled, "4 Edward."

Wilson spoke to Rolling Stone and gave the backstory to some of the album's tracks: "I had previously come to Taylor Hawkins' home studio to sing vocals on his great solo album Get The Money. When I later asked him if he had any jams in his back pocket, he sent me the jam he'd recorded with Duff. Such a great energy. So I rearranged it and finished it. Then Taylor added his great background vocals."

She went on to explain how her duet with Sammy Hagar on Simon & Garfunkel's '"The Boxer" came about, recalling, "I sang (it) through the last big Heart tour and the response was so big. So when I asked my buddy Sammy to lend his voice to the album, he wisely picked 'The Boxer.' Having been a boxer himself, it's no surprise how he embodies the energy of the character of the song."

Nancy Wilson has been playing guitar for most of her life. She recalled the moment she knew she would forever be a musician: "I got a guitar in my hands and it was. . . my guy. It was instantly my guy. I'd played piano and ukulele a little up to then, but it was like this rich, um, character of sound that was really responsive to the touch and to the intention of what you wanted it to say. And it had a lot to say on its own, the guitar."

Nancy Wilson will perform with the Seattle Symphony on July 9th at the city's Benaroya Hall. Joining Wilson will be collaborator and singer Liv Warfield.



Genesis has tagged three new stops onto its upcoming North American tour -- with additional nights now added for Montreal, Chicago, and New York City. Tickets for all dates go on sale today Friday, May 7th at 12 Noon local time.

In addition to Phil Collins, Mike Rutherford, and Tony Banks -- the band will be rounded out by Collins' 20-year-old son Nic Collins on drums and 43-year road veteran, guitarist/bassist Daryl Stuermer.

Mike Rutherford tells us that for the most part, Genesis has always been able to get along because they knew each other almost from before they were even musicians: "Because we grew up together, and it's hard to have egos when you saw these guys wearing short trousers. It was always about music and never about money. So many bands have fallouts about money. And I can't think of one row we had about money. In fact there was never a row about money. Music, yes, other stuff. But that's healthy. I think the financial side has never been a part of our ambition. It was kind of a bi-product."

UPDATED: Genesis 2021 tour dates (subject to change):

September 15, 16 - Dublin, Ireland - 3Arena
September 18 - Belfast, Northern Ireland The SSE Arena, Belfast
September 20, 21, 22 - Birmingham, England - Utilita Arena Birmingham
September 24, 25 - Manchester, England - AO Arena
September 27, 28 - Leeds, England - First Direct Arena
September 30 - Newcastle Upon Tyne, England - Utilita Arena Newcastle
October 1 - Newcastle Upon Tyne, England - Utilita Arena Newcastle
October 3 - Liverpool, England - M&S Bank Arena
October 7, 8 - Glasgow, Scotland - The SSE Hydro
October 11, 12, 14 - London, England - The O2
November 15 - Chicago, IL - United Center
November 16 - Chicago, IL - United Center
November 18 - Washington, DC - Capitol One Arena
November 20 - Charlotte, NC - Spectrum Center
November 22 - Montreal, QC - Centre Bell
November 23 - Montreal, QC - Centre Bell
November 25 - Toronto, ON - Scotiabank Arena
November 27 - Buffalo, NY - KeyBank Center
November 29 - Detroit, MI - Little Ceasars Arena
November 30 - Cleveland, OH - Rocket Mortgage FieldHouse
December 2 - Philadelphia, PA - Wells Fargo Center
December 5 - New York, NY - Madison Square Garden
December 6 - New York, NY - Madison Square Garden
December 8 - Columbus, OH - Nationwide Arena
December 10 - Belmont Park, NY - UBS Arena
December 13 - Pittsburgh, PA - PPG Paints Arena
December 15 - Boston, MA - TD Garden


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