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“Bookends” by Simon and Garfunkel went to #1 sales in both America and the UK, and since then Rolling Stone magazine has ranked “Bookends” as the #21 album of the entire Sixties, as well as #234 on their Top 500 Albums of All Time. Art Garfunkel is my guest In the Studio for this ultra-rare classic rock interview.
With the rousing martial rhythms from Larry Mullen jr’s drums on the opening to “Sunday Bloody Sunday”, the tortured passion evident in Bono’s voice over The Edge’s stiletto guitar stabs on “New Year’s Day”, and Adam Clayton’s rolling bass on “Surrender” as well as “Two Heats Beat as One”, War by U2 was a musical proclamation of a serious contender on the unfolding Eighties rock vista. Hear the fortieth anniversary classic rock interview In the Studio.
This solo performance by Sting (his first ever) of “Message in a Bottle” at the second Amnesty International fundraiser in London 1981 , known as “The Secret Policeman’s Other Ball”, is extremely rare …(more)
Preparing this interview with Black Crowes co-founders singer Chris Robinson and his younger guitar-playing brother Rich Robinson to mark their second release, “The Southern Harmony and Musical Companion”, the deja vu was uncanny and not a little bit unsettling. Constantly I had to remind myself that the trends these Atlanta natives were seeing in the mid-1990s, and the predictions they made then, sound eerily like today’s headlines. Peering now into their spyglass in reverse, it is both remarkable in its accuracy but, I must admit, troubling in its sense of creeping inevitability.
‘Blackout”, the March 1982 big breakthrough in the US for the irrepressible Scorpions. Over the decades I’ve had countless famous musicians claim that rock & roll had become their life, but only John Kay of Steppenwolf and the members of The Scorpions knew that playing rock music could COST them their lives…
It’s the all-important 1981 “Don’t Stop” EP by Billy Idol. In the last spasms of the London Punk Rock scene circa 1980, Generation X and their front man Billy Broad had the career arc of a bottle rocket, briefly filling English dance floors with the celebratory single “Dancing with Myself”and a cover of “Mony Mony”. But Punk Rock’s purpose of being a disruptive force to reset all the tumblers of popular music was practically fulfilled by then, and had no second act, so Billy Idol needed a new start. Billy Idol is my guest In the Studio.
It is clear on the thirtieth anniversary of R.E.M.’s “Out of Time” album that the song from it, “Losing My Religion”, has weathered the time in between exceedingly well. “Pop culture, particularly in the US, everything comes and goes in cycles, as things do,” points out R.E.M. singer/ lyricist Michael Stipe, “which we all realize as we all grow older and wiser, whether it’s politics or music or pop culture…I always wanted to have a song that would be considered ‘the song of the Summer’. As it was, that song kind of became the song of the year,” he chuckled. Ten million copies sold and three Grammy Awards later, nobody could argue the case.
Kinks singer/songwriter Sir Ray Davies In the Studio discussing those essential Kinks recordings.
Beginning in 1979 and continuing all the way until 1987 with “Crest of a Knave”, Jethro Tull’s fate and fortunes would be quite unlike their first decade of success when the unique amalgam of blues rock, Scottish Highlands folk, and hard rock, led by Ian Anderson and exemplified by “Aqualung” and the worldwide #1-seller “Thick As a Brick”, packed arenas.
Cheap Trick actually delayed Dream Police, their studio follow-up to the brilliant 1978 third album Heaven Tonight, not because of a lack of strong songs written, but because their fluke live-in-Japan-only release At Budokan virtually blew up over the Winter 1979. Here’s proof: just before Christmas 1978, Cheap Trick performed the hypnotic “Need Your Love” […]