The Rocking Dead: For Stars Like The Who And Bob Seger, There’s Money In Mortality | Tampa Bay Times

For the Who’s 70-year-old singer Roger Daltrey and fellow arena-rattling oldsters, mortality helps ticket prices, sales and resales (think StubHub), one more way to squeeze out a buck before kicking the bucket.

5, is calling his latest, and perhaps last, go-round the “Ride Out Tour,” a comically creaky-bones title that makes it sound as if he’ll gently collapse right after a group sing-along of Against the Wind. Average face and resale value of Seger’s tickets $101, $211 are higher than those for, say, the Foo Fighters, led by 45-year-old Dave Grohl ($72, $208). Yes, the Who and Seger not to mention fellow touring oldsters Tony Bennett (age 88) and the Rolling Stones (Mick Jagger, 71; Keith Richards, 70; Charlie Watts, 73) have hits, history and huge fanbases. They also court older, well-heeled followers who can afford exorbitant fees. But there’s something else happening here, something akin to the old warning “It’s later than you think.” Townshend, who first threatened to retire in 1982, is, well, legitimately old now. He knows it; we know it, too. “With concerts, there’s money in mortality, absolutely,” says Dr.
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Sting feted at Kennedy Center Honors – Business Insider

“I’m not sure when I’ll wear it again, but I think I look rather fetching in it,” he quipped. “It’s still pretty overwhelming. I’m dealing with it quite well.” Bestowed by the nation’s premier performing arts center, the Kennedy Center Honors are regarded as the highest recognition of cultural achievement in the United States. Sting is the eighth British rock and pop musician to receive a Kennedy Center Honor. Others include Elton John, Roger Daltrey and Pete Townshend from The Who, Paul McCartney and Led Zeppelin’s John Paul Jones, Jimmy Page and Robert Plant. This year’s honorees were all smiles and laughter as they took their balcony places alongside President Barack Obama and First Lady Michelle Obama in the Kennedy Center’s vast opera house.
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Led Zeppelin Remastered: The Second Batch (IV & Houses of the Holy)

(December 4, 2014) Iconic guitarist Slash will receive the prestigious Les Paul Award during the 30th Annual NAMM Technical Excellence & Creativity Awards , to be held Saturday, January 24 in Anaheim, California. Comedian Sinbad will provide the laughs as the evenings host. The NAMM TEC Awards honors individuals and companies across 30 categories, for outstanding achievement in professional audio technology and production. The Les Paul Award named for the revolutionary inventor and esteemed musician, honors individuals or institutions that have set the highest standards of excellence in the creative application of audio and music technology.
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Slash to be Honored with Les Paul Award at the 30th Annual NAMM TEC Awards – (Los Angeles, CA)

Photo Credit: ©Niall Fennessy -   at 3Arena.

It may have rocked, and rocked hard, but Page’s ear for guitars layers and Jones’ rampant multi-instrumentalism (both born of years spent as studio musicians in the ’60s), along with Bonham’s ability to work in mixed meters even as he laid down grooves few could touch, all resulted in a groupand, here, an albumthat nobody else could have made. Even “Stairway to Heaven”overplayed and, consequently, parodied and sometimes (unfairly) ridiculedis, in fact, an epic blend of folkloric acoustic guitars and recorders that slowly builds, with the addition of Fender Rhodes, electric 12-string guitar and, ultimately, bass and drums into a powerhouse solo spot for Page that may be one of his best evera combination of blues-drenched bends and rapid-fire pull-offs that, nevertheless, is absolutely singableand one of Plant’s most memorable vocal deliveries on record. In fact, what makes Led Zeppelin IV such a success is not any one contributionthough Plant’s singing continues to evolve, his range reaching seemingly impossible heights and his ability to squeeze every possible meaning out of a single, cracking scream a rare thing of beautybut the confluence of everyone’s contributions. It’s not about posturing solosthough Page certainly did his fair share in performanceit’s about a group that hit the ground running with its first album, expanded its purview with its second and third, and here, with its fourth, reached a pinnacle that it would ultimately have a difficult time topping. The second disc contains a complete set of alternate versions and mixes that reveal more about the process of making the record and the matter of choice, but at the end of the day is incidental.
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