Tina Turner, the iconic American singer who rose from a challenging farming community and escaped an abusive relationship to become one of the greatest recording artists in history, passed away on Wednesday at the age of 83.

According to her representative, Turner passed away peacefully at her residence in Küsnacht near Zurich, Switzerland after a prolonged illness.

During the early years of rock ‘n’ roll in the 1950s, Turner embarked on her musical journey, ultimately becoming an MTV sensation.

In the music video for her chart-topping song “What’s Love Got to Do with It,” Turner embodied the style of the 1980s as she confidently roamed the streets of New York City with her edgy blond hair, donning a cropped jean jacket, mini skirt, and stiletto heels. Her frank and experimental ballads resonated with music enthusiasts of the ’80s who embraced electronically produced sounds while rejecting the idealism of the hippie era.

Often referred to as the “Queen of Rock ‘n’ Roll,” Turner earned six out of her eight Grammy Awards in the 1980s. Throughout that decade, she achieved numerous hits on the Top 40 chart, including “Typical Male,” “The Best,” “Private Dancer,” and “Better Be Good to Me.” Notably, her 1988 concert in Rio de Janeiro attracted an audience of 180,000, making it one of the largest single-performer concerts in history.

By that time, Turner had been divorced from her former husband and guitarist, Ike Turner, for ten years.

Turner openly spoke about the abuse she endured during her marriage to Ike Turner, both personally and professionally, in the 1960s and 1970s. She shared stories of black eyes, split lips, a broken jaw, and other injuries that repeatedly landed her in the emergency room.

Describing Turner’s journey, singer Janet Jackson wrote in Rolling Stone that her story was not one of victimhood but an incredible triumph. Turner had transformed herself into an international sensation and an elegant powerhouse, according to Jackson.

In 1985, Turner explored a new facet of her talent as she portrayed the merciless leader of a settlement in a post-apocalyptic world, starring alongside Mel Gibson in the third installment of the Mad Max series, “Mad Max Beyond Thunderdome.”

While most of Turner’s hit songs were written by others, she infused them with her unique vocal instrument. New York Times music critic Jon Pareles described her voice as “one of the more peculiar instruments in pop,” with a three-tiered structure that encompassed a nasal low register, a yowling and piercing middle range, and a startlingly clear high register that resembled a falsetto.

Actress Angela Bassett, who received an Academy Award nomination for her portrayal of Turner in the 1993 film “What’s Love Got to Do with It,” expressed her gratitude for being able to introduce Turner to the world. Bassett stated that Turner had shared her authentic self and described her as a gift that will always be remembered as “simply the best.”

Mick Jagger of the Rolling Stones expressed his sadness over Turner’s passing, highlighting her inspirational, warm, funny, and generous nature. Jagger acknowledged the support he received from Turner during his early years and expressed everlasting gratitude.

Canadian singer Bryan Adams, who collaborated with Turner on the 1985 single “It’s Only Love,” stated that the world had lost an extraordinary force of a woman.

U.S. President Joe Biden referred to Turner as a talent of a lifetime and praised her remarkable personal strength. He emphasized that she overcame adversity, including abuse, to establish a career and leave behind a legacy that was entirely her own, stating so in a heartfelt statement.

In a recent interview with Linearock, Wolfgang Van Halen shed light on his musical journey and upcoming album, providing insights into his sources of inspiration. During the conversation, Barbara Caserta, the interviewer, drew parallels between Van Halen’s initial two studio albums and the debut and sophomore albums of his new project, Mammoth WVH, highlighting the similarities in their names.

Curious about the substance of the upcoming album, ‘Mammoth II,’ Caserta wondered if it would possess a more intense and passionate energy than its predecessor.

Wolfgang responded in a lighthearted manner, playfully correcting Caserta’s assumption about his influences and confessing to “borrowing” from Led Zeppelin. He went on to elaborate on the musical direction and sound that would be explored in the forthcoming production.

With a touch of humor, Wolfgang stated, “Well, let’s make one correction: instead of channeling the spirit of Van Halen, I’ve been channeling the essence of Led Zeppelin.

“Yeah. Well, one correction is that rather than following Van Halen, I’m ripping off Led Zeppelin. Second of all, I think, after touring for two years and just really getting to experience the live setting with the band, I think you can hear a lot on this new album of just stuff that was written with the live show in mind. Just progressive, exciting, hard rock songs.”

Secondly, after spending two years touring and immersing myself in the live music experience with the band, you can expect to hear elements on this new album that were crafted with the live show in mind.

It’s all about delivering heavy rock songs that are both intricate and entertaining.” Fans were treated to a preview of what awaits them on ‘Mammoth II’ with the release of its lead track, ‘Another Celebration at the End of the World.’ The anticipation continues to grow as the complete album is set to be unleashed on August 4.

The Beatles can rightfully place themselves among the distinguished few rock bands that have traversed a flawless trajectory. While it would be erroneous to assert that every album by the illustrious ‘Fab Four’ ascends to the pinnacle of musical brilliance, their discography remains unblemished by any grossly flawed compositions that haunt the collective memory of the band members. Even the occasional misstep was deftly rectified by their esteemed producer, George Martin.

Throughout their tenure, Martin embodied the true essence of the ‘Fifth Beatle,’ infusing the band’s compositions with instrumental layers that surpassed their own inherent capabilities. His contributions extended well beyond mere embellishments on the piano or organ, as he played a pivotal role in crafting the group’s intricate orchestral arrangements. Notably, he orchestrated the breathtaking string sections on tracks such as ‘Eleanor Rigby’ and the latter half of the medley featured on ‘Abbey Road.’

Martin’s expertise transcended musical acumen; he actively participated in the band’s exploratory forays into experimental techniques, notably the manipulation of tape speeds. As The Beatles embarked on innovative endeavors, including the incorporation of reversed music, Martin tirelessly honed their approaches, ensuring their compatibility with the realm of pop songs. One can discern his mastery in the mesmerizing background vocals on the haunting track ‘Rain.’

As the band members embarked on individual creative journeys in their later careers, certain compromises made during the recording of their eclectic self-titled album, famously known as the White Album, failed to resonate with Martin. This magnum opus, amalgamating the creative visions of four distinct solo artists, witnessed a paradigm shift in dynamics, with John Lennon and Paul McCartney no longer functioning as a harmonious songwriting force.

While the White Album represented an audacious undertaking, Martin openly expressed his disappointment with the final outcome. In a candid YouTube interview, he revealed, “The White Album was the source of my disillusionment. I advocated for a more streamlined approach, condensing the album to include only the crème de la crème. However, they insisted on incorporating all the songs they had conceived. Some I found trite, while others I recognized as exceptionally potent. Had we distilled the essence, we could have crafted a truly unparalleled album.”

As the recording sessions progressed, creative disparities intensified, causing rifts within the band. They resorted to operating out of separate studios at Abbey Road, with each musician deeply engrossed in their individual compositions, devoid of collaborative input from their fellow Beatles. The atmosphere grew increasingly strained during the final stages, prompting both Martin and Starr to take individual respites from the project, succumbing to the mounting pressure and exasperation stemming from their bandmates.

While Martin’s inclination toward curating a more concise album featuring the crème de la crème is understandable, it is precisely the erratic ambiance that permeates the record, endowing it with enduring allure. It is as if the listener is granted a privileged glimpse into the Beatles’ creative process, bearing witness to the birth of their compositions. The White Album may stand as one of the most fragmented offerings from the Fab Four, but concurrently, it captures the band at their most human, navigating the intricate challenges of the studio environment.

Growing to despise your biggest song as an alternative musician is quite common. Being a commercial success as an anti-establishment person is akin to getting a free drink in a bar you despise. The majority of the time, this perplexed attitude causes musicians to regret their mainstream-leaning endeavors. This occurred to Radiohead with “Creep,” Led Zeppelin with “Stairway to Heaven,” and poor Neil Young was almost completely derailed.

Now, why does Neil Young regret releasing “Heart of Gold” specifically? You may argue that the song itself is very derivative, save from the magnificent heavy-strummed yet melodic entrance and the overall delicious performance. As explained by Bob Dylan:

“The only time it bothered me that someone sounded like me was when I was living in Phoenix, Arizona, in about ’72 and the big song at the time was ‘Heart of Gold’.”

“I used to hate it when it came on the radio. I always liked Neil Young, but it bothered me every time I listened to “Heart of Gold.” I think it was up at number one for a long time, and I’d say, ‘Shit, that’s me. If it sounds like me, it should as well be me’.”

Unfortunately, it wasn’t Bob Dylan, and if it had been, I’m sure he would have hoped to add a little more uniqueness to the lyrics rather than relying on pop’s biggest cliché: the lonely-hearts ballad by a jaded star.

But none of these renders the music intrinsically flawed. Mawkish mundanity will always have a place in music as long as it is performed with a melody and performance that makes Dullsville feel like the place where the music actually belongs as if the middle of the road were the pinnacle of the mount that has been finely tuned. But Young’s problem is that he’s never wanted to live there.

Until then, his songs had poked fun at the mainstream; now, with only a few chords and a purified mood, he was being forced into it.

A decade into his glittering career and five years after its publication, he reflected: “This song put me in the middle of the road. Traveling there soon became a bore so I headed for the ditch. A rougher ride but I saw more interesting people there.” Since the liner notes of Decade imply, getting to the top proved to be a fork in the road since ‘Heart of Gold’ is Young’s lone US number one.

His next move, like that of many other musicians who detested their biggest success, was to reevaluate his role in culture and take a somewhat more personal leftfield. In Young’s case, this led to the creation of his potentially finest album, the follow-up masterwork On the Beach.

Given his statement about driving off the center of the road and into a ditch, it is revealing that the 1974 album’s cover art features a picture of a car that has crashed into the sand on a deserted beach. Perhaps the half-buried ornate tailfin and Young’s expression as he looks out to sea, while seemingly being inspired by the cover for J.G. Ballard’s Drought, also represent him giving up the trappings of the smooth ride and looking towards a more distinct horizon.

Recently, James Hetfield made some intriguing discoveries during a conversation with SiriusXM. He talked about a metal legend he’s always admired and the friendly competition he has with bandmate Lars Ulrich. ’72 Seasons,’ the new album from Metallica, has already caused a stir in the music industry, and this interview was released shortly after.

Tony Iommi, the guitarist for Black Sabbath, has had a big impact on Hetfield. He is the benchmark against which Hetfield measures himself and the source of the zeal with which he approaches his music. Along with Iommi, Hetfield, and their bandmate, Ulrich have a friendly rivalry.

Hetfield’s admission that he is a “wanna-be drummer” at heart during the interview immediately brought a humorous element to his friendship with Ulrich, who has always wanted to be a vocalist and a guitarist. The two performers reportedly have a profound desire to fill one other’s shoes, which has spurred healthy rivalry and driven them to always improve.

Regarding Tony Iommi and Lars Ulrich, James Hetfield said:

“All of it stems from Tony Iommi. I mean, I’m still trying to outdo him. I know I never will, but I will continue to try, man. So a lot of it is about him and his inspiration with me. But I would say that my being a ‘wanna-be drummer’ has a lot to do with it. I mean, that’s really what I do; I play the drums on the guitar. I get to move cool notes around, you know, and Lars [Ulrich] and I share that. He wants to be a singer and a guitar player, and I want to be a drummer. We try to continue to impress each other, and that’s where some of that healthy competition comes from.”

The fact that Metallica’s “72 Seasons” is currently dominating the radio proves that James Hetfield still has a strong ambition to surpass his idol Tony. When jamming out to the new album, you can hear that fresh vibe in the band’s most recent tracks thanks to that drive and the playful, friendly competition between Hetfield and Ulrich.

In a captivating live-stream event titled “Foo Fighters: Gearing Up for Live Performances,” the renowned band Foo Fighters jubilantly introduced Josh Freese, the virtuoso drummer, as the newest member of their touring ensemble. The announcement occurred on a Sunday (May 21), and was punctuated by humorous appearances from notable musicians like Flea from Red Hot Chili Peppers, Tommy Lee of Mötley Crüe, and Danny Carey from Tool.

Josh Freese is no newcomer to the drumming scene, known for his recent work with Danny Elfman. He also toured with The Offspring until the previous year. His position was later filled by Brandon Pertzborn, ex-drummer for Suicidal Tendencies. Now, Freese takes up the mantle from Taylor Hawkins, the beloved longtime drummer of Foo Fighters, who unfortunately departed this world at 50 in March 2022.

Freese, a seasoned session drummer, has performed with an impressive roster of bands, including Guns N’ Roses, A Perfect Circle, Puddle Of Mudd, Nine Inch Nails, Weezer, Paramore, The Replacements, Sting, and The Vandals, to name a few. His wide-ranging discography includes more than 300 recordings spanning various genres, from pop to rock to country.

Upcoming Foo Fighters shows are set to kick off at the end of this month at the Bank of New Hampshire Pavilion on May 24. Other high-profile performances are also slated, such as Boston Calling on May 26, Chicago’s Riot Fest in September, Bonnaroo in June, Festival D’Ete De Quebec in July, Outside Lands and the Ohana Festival in August, among others.

The 11th album from the Foo Fighters, appropriately titled “But Here We Are,” is anticipated to hit the shelves on June 2, under the label of Roswell/RCA.

Hawkins’ unexpected death occurred in a hotel room in Colombia, just before the band was set to play a festival in Bogotá. His cause of death remains undisclosed, despite a toxicology report revealing the presence of several substances, including opioids, marijuana, and anti-depressants. Investigators refrained from commenting on the potential role of the substances.

Hawkins held the position of Foo Fighters’ drummer for an impressive 25-year span, taking over from the initial drummer, William Goldsmith, in 1997. He is survived by his wife Alison and their three children.

In remembrance of Hawkins, Foo Fighters organized two tribute concerts, the first of which was held on September 3, 2022, at Wembley Stadium in London. The second was hosted in Los Angeles on September 27, 2022, raising funds for the charities MusiCares and Music Support, and serving as a heartfelt goodbye to Hawkins’ adopted city.

You could tell there was a problem if a song was removed from the Grateful Dead’s live setlist. The Dead, arguably the greatest live band of all time, took great satisfaction in offering distinctive experiences that weren’t possible to obtain just by listening to the group’s studio recordings. Every time they entered the stage, the Grateful Dead demonstrated why the adage “there is nothing like a Grateful Dead concert” is well-known.

Therefore, the band’s decision to remove a song from their live set was noteworthy. Songs like “Dark Star” and “St. Stephen” came and went from the band’s live repertoire, leaving lengthy pauses between some of the band’s famous pieces. In the 1960s, those specific works were played almost nightly until being withdrawn at various stages in the 1970s due to overuse and boredom. But what happens if songs never catch on, to begin with?

A few prominent songs from the Grateful Dead’s original catalog only had one recognized live performance. The band’s concert on March 18, 1977, is recognized as the sole time “Alhambra” (also known as “L’Alhambra”) appeared, however, it is commonly mistakenly ascribed as the “Terrapin Station part “At a Siding”

There is just one official recording of the early band song “Can’t Come Down” on the recordings that are still in existence. It was made on January 7, 1966, during a performance at The Matrix Club. Even though there are only records of one live performance, the song is likely to have received further playing. Similar to how there is only one recording of Ron ‘Pigpen’ McKernan’s ‘You See a Broken Heart’ from the Dead’s March 12, 1966 concert, the song was probably played more than once.

Bob Weir’s “This Time Forever” is another song that inhabits a peculiar gray region. Although ‘This Time Forever’ was composed by Weir and resident Dead songwriter John Perry Barlow, “The Grateful Dead” never officially performed it. Instead, Weir performed the song during November 17, 1978, gig billed as “Bob Weir and Friends” alongside Jerry Garcia, Phil Lesh, and Robert Hunter.

The Aoxomoxoa song “What’s Become of the Baby” is considered to be the most well-known original work that has only had a single live performance. ‘What’s Become of the Baby,’ one of the Dead’s most avant-garde songs, was a composition that could only have been created in a recording studio and was thus impossible to perform live. The Dead, however, were determined to push the envelope for their performance in Chicago on April 24, 1969.

The Velvet Underground, the band’s co-headliners the previous night, prohibited them from doing their normal set. The Dead were only allowed to perform a few songs before the venue’s curfew because the Velvets played for so long. When the Dead hit the stage the following day, they were out for vengeance and gave The Velvet Underground a taste of their own medicine.

The Dead performed a lengthy set that went well over the three-hour mark in order to stop the Velvets from entering the stage. With the exception of “Rosemary” and “Cosmic Charlie,” almost the entirety of Aoxomoxoa was performed before the album’s official release.

The Dead then gave a lengthy, extremely experimental encore that mainly relied on audience interaction to further emphasize their argument. The studio version of “What’s Become of the Baby” was playing over the PA system as the Dead improvised more feedback on top of it, in between screeching walls of feedback. Technically, the song’s lone “performance” was a version of “Feedback” that took place while “What’s Become of the Baby” was being played, but it’s safe to say that this was the only time live audiences heard the Dead perform the song.

On January 9th, 1997, Madison Square Garden was host to a huge celebration. David Bowie chose to have a large party to honor his 50th birthday, inviting everyone from Robert Smith to Billy Corgan. The Foo Fighters, who were in the process of recording their second studio album, The Colour, and The Shape, when they went out to New York to participate in the celebrations, were one of the bands who assisted Bowie.

Bassist Nate Mendel told Classic Rock in 2022, “It was kind of a milestone for us, because it ended up being the last time William Goldsmith, our first drummer, played with the band. It was our first time in Madison Square Garden, first time we met Bowie, first time that we probably played a stage anywhere near that big. We were about halfway through the recording of The Colour And The Shape, so it was pulling us out of the studio, going to New York, meeting a legend and just having all these firsts. It was pretty monumental. We were excited to be there.”

Mendel added, “I don’t recall exactly how the songs we ended up playing came down. I assume, based on where we were at the time, that it was probably more of an assignment; they weren’t gonna ask the Foo Fighters what they wanted to play. In comparison to what we would do now, which is listen to a song on an iPhone in a car on the way to whatever we’re going to do, we’d rehearsed a bit. We were doing ‘Hallo Spaceboy’, and we came in having prepped a little.”

He also said, “The day of the show, I remember seeing everybody backstage and being kind of intimidated but feeling the positive vibe in the room. Everybody was very supportive. I was quickly able to kind of get over those nerves of having been asked to do this thing. Bowie was so gracious and kind and approachable, so I just remember good vibes. And seeing my first rock legend snorting cocaine in the bathroom also. Like ‘Oh, I’ve heard about this, I’ve read about this in books, and there you are doing it.'”

Mendel continued, “Then we took that photo where everyone’s in black and looking like they’re in a rock band. And I get seated directly behind Bowie for the photo, which is unfortunate because I’m in a white button-up short-sleeve shirt that’s like ten times too big for me. It’s a bad look, and it’s a very prominent look due to the scope and the sizing and the colour. Every once in a while my wife will pull up the photo and just have a good laugh.”

In the end, Bowie’s touring drummer joined Dave Grohl and William Goldsmith on the drums for the performance of “Hallo Spaceboy.” Mendel explained, “I was a little nervous, but I remember it going well, actually being fun in the moment. I was able to focus on the fact that: ‘I’m twenty feet away from Bowie and we’re playing a song together, and it’s actually fun and it’s working.’ As opposed to: ‘What am I doing here?’ and ‘Let’s not f*** up!'”

Following the performance, Bowie gave the Foos some advice for the future. “It was just like you’d imagine a Bowie party to be – super-stylish, in a loft, everybody famous in the world is there. David said to us: ‘Nice job, kids. Keep at it and maybe you’ll figure this shit out in a few years.’ I’m kind of paraphrasing, I’m sure he said it more artfully than that.”

The 1976 studio album “Long May You Run” by The Stills-Young Band was a special project that brought two artists, Neil Young, and Stephen Stills, together. It was a remarkable partnership, but it also gave rise to a great deal of conflict between the two. The project’s history was fascinating, with several variables at work that contributed to its musical output.

The only time these singers collaborated as a pair was on this record. Despite having played in bands like Buffalo Springfield and CSNY in the past, they didn’t duplicate this two-member band composition in their subsequent ventures. As a result, the record stands out in their discography as a unique collaboration.

In actuality, the CD was about to evolve into a new band endeavor. After the band broke up in 1974, David Crosby and Graham Nash focused on their careers as a pair instead of joining Stills and Young for the production. The other members of the band eventually removed their comrades’ contributions out of annoyance when they had to leave midway through to concentrate on their record, “Whistling Down the Wire.”

After Crosby and Nash left, Neil and Stephen carried on the project and contributed their own tunes. While they both performed lead vocals on the record, they both also contributed some guitar licks that they swapped, however, they lacked the same ferocity as their earlier guitar battles.

In June 1976, the pair wrapped up the ‘Long May You Run’ recording process, and soon after, they embarked on a pre-release tour. The Stills-Young performances, however, were cut short when Young unexpectedly left the band after nine appearances, citing a sore throat as the reason for his departure. He left his pal a brief telegram that he wanted him to read.

It was written in the message: “Dear Stephen, funny how some things that start spontaneously end that way. Eat a peach, Neil.”

Neil Young subsequently acknowledged that he ended their joint tour because it wasn’t going well. Stephen Stills was unduly preoccupied with critiques of their performances despite his counsel and cautions, to the point that he accused the tour staff of purposefully sabotaging his performance.

Stephen continued the tour until the album’s September 1976 release. Both reviewers and listeners liked “Long May You Run,” which became a gold hit. Fortunately, their conflict eased with time, even though they never again worked together.

Legendary singer Stevie Nicks has extended her solo tour schedule for 2023 by adding 13 more shows. Nicks, a Rock and Roll Hall of Famer, has achieved remarkable success as a groundbreaking and inimitable artist, having sold over 140 million albums both as a solo artist and as a member of Fleetwood Mac.

She holds the record for being the first woman to be inducted into the Rock & Roll Hall of Fame twice. The newly announced shows are listed below, and tickets will be available starting Friday, May 19 at 10 am on HERE.

Fleetwood Mac, with whom Nicks has been associated since 1974, has an incredible musical legacy that has resonated with people worldwide for over 50 years. Their album Rumours remains popular even today. In October 2020, the sold-out film Stevie Nicks 24 Karat Gold The Concert was released for two nights at select cinemas, drive-ins, and exhibition spaces worldwide.

The film allowed audiences to experience Stevie Nicks’ sold-out 24-Karat Gold Tour from the comfort of their own homes, offering a virtual front-row seat to her magical performances. Nicks, with her iconic live performances, unique songwriting, and enduring cultural influence, continues to inspire and mentor younger performers.

Tuesday, May 16 – Knoxville, TN – Thompson-Boling Arena

Monday, May 22 – Atlanta, GA – State Farm Arena

Thursday, May 25 – Orlando, FL – Amway Center

Tuesday, June 20 – Toronto, ON – Scotiabank Arena

Friday, June 23 – Chicago, IL – United Center

Tuesday, June 27 – Louisville, KY – KFC Yum! Center

Tuesday, August 08 — Milwaukee, WI — Fiserv Forum

Saturday, August 12 — Houston, TX — Toyota Center

Tuesday, August 15 — Austin, TX — Moody Center

Wednesday, September 27 — Pittsburgh, PA — PPG Paints Arena

Sunday, October 1 — New York, NY — Madison Square Garden

Wed October 4 — Buffalo, NY — KeyBank Center

Saturday, October 28 — Memphis, TN — FedExForum

Wednesday, November 1 — Savannah, GA — Enmarket Arena

Saturday, November 4 — Allentown, PA — PPL Center

Tuesday, November 7 — Detroit, MI — Little Caesars Arena

Wednesday, November 29 — San Diego, CA — Viejas Arena

Saturday, December 2 — Inglewood, CA — The Kia Forum

Tuesday, December 5 — Palm Desert, CA — Acrisure Arena

Tuesday, December 12 – Sacramento, CA – Golden 1 Center

Friday, December 15 – San Francisco, CA – Chase Center