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.

Impending death makes for good concert business, say industry insiders and academics. We want to see our heroes “one last time” before they die. Or, gulp, we die. For the Who 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. Their proximity to that “long goodbye” also allows them to charge more than many younger pop and rock acts. Bob Seger, the 69-year-old Detroit howler who plays Amalie Arena on Feb. 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.
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Sting feted at Kennedy Center Honors – Business Insider

“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. First to be honored was Green, with Earth, Wind and Fire putting the black-tie crowd in a soul-swinging groove, Usher crooning “Let’s Stay Together” and a huge chorus backing Mavis Staples and Sam Moore on “Take Me To The River.” Earlier, on the red carpet, Green — an ordained pastor in Memphis, Tennessee who branched out into gospel music in the 1980s — said the honor was merely a milestone in a career that is still unfolding. “They give me all these great accolades and then they tell you, ‘Alright, go out and earn it’,” he said. “So we gotta keep writing and keep making songs.” “Soul music is alive and well.
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Led Zeppelin Remastered: The Second Batch (IV & Houses of the Holy)

Eleven lanterns were lit during a vigil after dark near the U.S. Bank Arena on the city’s waterfront, one for each of the victims crushed to death on Dec. 3, 1979, outside the venue, then known as Riverfront Coliseum. In addition to the 11 fans who died, 26 others were injured when thousands of concertgoers waiting to get into the coliseum rushed the gates after they heard the band going through its sound check and thought that the performance had started. The British rockers went on with the concert, unaware of the tragedy until Pete Townshend and Roger Daltrey were informed after the show. “To help you bear that pain and to remember those who we lost 35 years ago tonight, I think it is proper and fitting to erect a memorial for them here on the Cincinnati riverfront,” Mayor John Cranley said to friends and relatives of the victims attending the vigil on Wednesday night. The stampede was blamed in part on the combination of unreserved general admission and festival seating, which prompted many fans to show up hours early to get as close to the stage as possible. Only 3,500 of the 18,348 tickets sold were reserved.
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Cincinnati marks 35th anniversary of Who concert tragedy – Yahoo News

As different a song as it is, what ties “Levee” to the album’s side two opener, “Misty Mountain Hop”what links every song on which he plays, in factis Bonham’s almost impossible fat snare, roaring toms and dark, splashing cymbal work. Every bit the virtuoso as The Who’s Keith Moon, what differentiates the two is that, as bombastic and busy as they both could be, Bonham grooves in ways that Moon never could; he also had a more sophisticated sense of time, as his playing on “Black Dog” demonstrates, playing across the rhythm of Jones and Page’s riff as effortlessly as he bolsters the aptly titled “Four Sticks” where he did, indeed, play with two sets of sticks, shifting between 5/8 and 6/8 time as effortlessly as Page’s layered acoustic and electric guitars and Jones’ blend of bass and VCS3 synth came together to create one of the band’s most abstract yet still positively grounded songs yet. What differentiated Zeppelin from some of its peers at the time was its degree of sophistication. 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. It may be played a few times for the sake of interest, but ultimately it will be the first disc that most will reach foras close to a perfect recording as Led Zeppelin would ever make, without a weak or questionable moment throughout 43 minutes that are by turns hauntingly lyrical, viscerally rocking and, as a whole, exhilaratingly cathartic. Led Zeppelin Atlantic 2014 (1973) With an album as perfect as IV, Led Zeppelin was faced with a significant challenge in delivering its follow-up, and it was a full 16 monthsthe longest gap between albums to datebefore its first titled album (and first album of all-original music), Houses of the Holy was delivered. It was the group’s first record to receive some critical drubbing and there are, indeed, some questionable moments, but even a less-than-perfect Zeppelin record is orders of magnitude better than those from many of its peers.
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Slash To Be Honored With The Les Paul Award At The 30th… — CARLSBAD, Calif., Dec. 4, 2014 /PRNewswire-USNewswire/ —

PR Newswire

The title track “World On Fire” ascended to #1 at U.S. Rock Radio. World on Fire features Slash with Myles Kennedy (vocals), Brent Fitz (drums) and Todd Kerns (bass). The album was released on Slash’s label Dik Hayd International, which is distributed through Caroline. Slash featuring Myles Kennedy and The Conspirators are on a world tour with additional U.S. dates to be announced in early 2015.
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