UPDATE 2: McLagan’s official site has posted a statement: “It is with great sadness and eternal admiration that we report the passing of rock and roll icon Ian McLagan. Ian was a member of the ‘Small Faces’ and ‘Faces’ and was inducted into the Rock and Roll Hall of Fame in 2012. He died today, December 3, 2014, surrounded by family and friends in his adopted hometown of Austin, TX, due to complications from a stroke suffered the previous day. He was 69 years old. His manager Ken Hushnick says, ‘He was a beloved friend to so many people and a true rock n roll spirit. His persona and gift of song impacted the music across oceans and generations.’ Ian’s bandmate in Small Faces and Faces, Kenney Jones said, ‘I am completely devastated by this shocking news and I know this goes for Ronnie and Rod also.’ Ian’s artistry, generosity and warmth of spirit touched countless other musicians and music fans around the world. His loss will be felt by so many. Ian was scheduled to begin a North American tour today, opening for labelmate Nick Lowe.”
Details are scarce at the moment, but Ian McLagan, the great keyboardist for The Faces and Small Faces, frequent sideman with The Rolling Stones, and solo artist, has been hospitalized in his hometown of Austin TX with a reported head injury. He is said to be in critical condition.
McLagan currently leads the Bump Band, and has just come off the road. His website confirms the news of his hospitalization, saying he was admitted last night and asking fans to keep him in their thoughts and prayers. Ours are certainly with him.
Having recently been sidelined for Rolling Stones dates for medical reasons, Bobby Keys, longtime saxophone player with the Rolling Stones, has died. His death has been confirmed by Michael Webb, keyboardist for Bobby Keys and the Suffering Bastards (via Nashville Scene).
Keys is nothing short of a legend when it comes to rock and roll sidemen. He was a close friend of all the Stones, and especially Keith Richards. In addition to being a member of the touring band for decades, Bobby Keys played on most of their classic records, and his horn is an integral part of some of the Stones’ biggest hits.
RIP Bobby Keys.
I don’t know why I’m surprised. In this day and age, it seems musicians are doing just about everything, and as much as Keith Richards is probably one of the last people I’d peg to write a children’s book, it seems I’d be wrong. Billboard reports that Richards’ story, Gus & Me: The Story Of My Granddad and My First Guitar, details Richards’ own relationship with his grandfather, Gus Dupree. Illustrations will come from his daughter, Theodora Richards (ok, so that’s kind of sweet), and the book will be released this fall. Barnaby Harris and Bill Shapiro will assist in the writing, so I guess we don’t have to worry about any of that drug abuse and debauchery that appeared in his memoir, Life, popping up. Keep an eye out for Richards’ book, released on Little Brown Books For Young Readers this fall.
While Black Friday fanatics will be lining up at the doors of Kohl’s, Sears and various malls at unseemly hours on Friday, Nov. 23, to score the latest in electronics and appliances, music fanatics will be lining up in hopes to snag limited edition vinyl, box sets, CDs, and DVDs.
So get your travel mugs ready, and clear your early morning schedule, because this year is boasting some fantastic releases. Among them are a 7 of The Rolling Stones’ first EP, Nirvana‘s 20th anniversary edition of Incesticide 45RPM edition and releases by Coheed and Cambria, The Gaslight Anthem, and My Morning Jacket.
You can find the full list of releases here.
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We already know there’s an assortment of killer albums on the way from Green Day to 50 Cent, but what about the rest of the entertainment industry? This fall’s must-see movie list brings us teen angst, vampire love, spooks, scares, and video game heroes. So put your favorite Carly Rae Jepsen song on pause and check out what the world of cinema has to offer.
Fans can be forgiven if they thought the Swedish garage rockers The Hives had faded away. In truth, the band’s five-year absence was spent making their 5th studio album Lex Hives that was just released in the U.S. and immediately caught the ears of critics throughout the world including those at Rolling Stone magazine. The album’s first single Go Right Ahead, is full of bold riffs, blunt hooks, [and] snappy beats wrote a critic for the Stone reflecting the general critical consensus of the entire album.
But the recorded music is only part of the story for the Swedish band. Always known as a take-no-prisoners unit, the group left critics and fans breathless with their high-energy shows at the recent Coachella festival. No small feat when you consider Coachella held the exact sameevent ”down to the same set lists from the same bands at the same times” “ on two consecutive weekends. [Pelle] Almqvist is still one of rock’s most engaging front men”bringing to mind a young Mick Jagger with the way he struts around the stage with his hands on his hips before suddenly leaping in the air with a scissor kick, wrote a critic for the Los Angeles Times after the festival.
Just before The Hives kicked off the band’s U.S. tour with a sold-out show in Washington, D.C. on June 19, the high-flying front man Almqvist took time to talk to OurStage about Coachella, Lex Hives, and more.
OS: We heard you killed both weekends at Coachella. How was it for you?
PA: Coachella was fun. It was unorthodox to say the least. I’m really glad Coachella booked us when we didn’t have a record done. We knew that if you put us in front of a crowd, it would work. It was great.
OS: Did you have any concerns about replicating your show?
PA: No, it wasn’t weird for us. My feeling was sort of, Isn’t it weird for fans going into the second weekend if they know about the Tupac hologram? If you know it will be there, isn’t that weird?” To me, that would have been kind of a bummer but hey, it went well. It was pretty great both weekends.
“I get high with a little help from my friends,” Ringo Starr sang on the Beatles‘ 1967 classic. These days, so do many of music’s top stars. Two’s company, and so is three and sometimes four. The more the merrier, the higher and higher they get.
On the charts, that is.
In the Top 40 of Billboard’s Hot 100 for the week ending December 10, seventeen songs were collaborations between separate recording entities. Four of them featured Drake, and three apiece featured Rihanna and Nicki Minaj, who both appeared on tracks with Drake and with each other. But will.i.am featuring Jennifer Lopez and Mick Jagger”and debuting at No. 36 with “T.H.E. (The Hardest Ever),” which the threesome performed on the November 20 American Music Awards”was probably the one that nobody saw coming.
Old-school Rolling Stones fans must be cringing at the idea of Jagger going anywhere near Lopez and will.i.am so soon after Maroon 5 featuring Christina Aguilera went to No. 1 by invoking his hallowed name on “Moves Like Jagger.” But for a sixty-something legend like him, hit records”even if in name only, a la Duck Sauce‘s GRAMMY-nominated “Barbra Streisand”are a near-impossible dream unless they’re in tandem with other, often younger, stars.
Bands are hard to keep together. People fight, quit, rejoin, remember, quit again, die and so forth. Sometimes that band member is so integral to the music that it’s pointless to go on”some bands realize this and pack it in. But often, the remaining members don’t want to give it up. Here is the good, the bad and the ‘meh’ of some big, post-departure acts.
The Rolling Stones
Thank you, Jeebus, that The Stones kept it going after the 1969 departure and subsequent death of band founder Brian Jones (but couldn’t they have stopped after 1981’s Tattoo You, oh mighty Jeebus?). Jones’ contributions to the band are not to be discounted, but by the time he left, he had been marginalized”for better or worse”by the Jagger-Richards power team (and by most accounts, by manager Andrew Loog Oldham, not to mention by booze and drugs). The Stones went on to produce some of their greatest work.
While some people swear by Syd Barrett-era Floyd, the mental unraveling and eventual canning of the former frontman heralded one of rock’s greatest and most unlikely metamorphoses. With Roger Waters taking the pole position (and with able assistance from Barrett’s replacement, David Gilmour), the band slowly shed their psych-pop identity in favor of spaced-out stadium rock.
Lindsey Buckingham occupies one of the odder positions in the already off-kilter business that is the modern-day music industry. Though Buckingham is the co-leader and driving force behind one of the bedrock bands of the classic-rock universe, the Fleetwood Mac singer/songwriter/guitarist’s long-standing, if sporadic, solo career is considerably more of a boutique operation. This is especially true with the arrival of his latest solo outing, Seeds We Sow, Buckingham’s first-ever release outside the major-label realm. Buckingham had been working under the Warner/Reprise umbrella ever since his band’s self-titled 1975 blockbuster album, but after his contract ran out following his last solo outing, he found the majors to be both uninspired and uninspiring in regard to his new work. As we all know, he says, the model of the large record company, you might say it’s broken. But you might just say it’s insensitive to the sense of possibility, the sense of risk-taking, the sense of nurturing that it used to provide artists. Consequently, he’s gone the indie route with Seeds.
Not only has Buckingham taken the means of production into his own hands for this album, he’s taken over responsibility for pretty much every other aspect of the record too, writing, playing, engineering and producing everything himself. How does the process of building a track work in this kind of one-man-band situation? You may start with a melody idea, you may start with a guitar idea, explains Buckingham, it’s kind of like painting, you commit to one thing to make a start. You could say it’s a more subconscious process. I’m not one of those people who necessarily sits down with something that’s completely finished¦the writing part of it kind of goes along with the recording part of it.
Of course, it doesn’t hurt that Buckingham is a world-class guitar stylist, and a number of the album’s songs are based around his unique acoustic finger-picking technique. Asked about how he developed his unconventional approach, he muses, It was just kind of a hybrid of things. Part of it is starting really young and not taking lessons, and not knowing what was correct or what wasn’t. Early on I was listening to a lot of Elvis, so you have [Presley’s lead guitarist] Scotty Moore, who played with a pick but also used his fingers. He was a pretty orchestral player. When the first wave of rock music died away, folk music took its place in terms of my interest¦and I did sort of dabble in banjo, enough to have that be a bit of a reference point. It was really just the fact that I started doing it myself and found my own way of approaching it. When I first started with Fleetwood Mac they said ˜Don’t you think you ought to use a pick?’ It’s a little late now, he jokingly reckons.