Plans have been approved to erect a statue of Motorhead legend Ian ‘Lemmy’ Kilmister in the charming town of Burslem, Staffordshire. As Lemmy’s birthplace, this location holds special significance for both him and his fans. Stoke-on-Trent City Council has given the green light for the construction of a grand 2.2-meter statue in Burslem’s Market Place.

The Vision and Approval

Lemmy, the founder of Motorhead, was born in Burslem in 1945. Throughout his career, he captivated audiences with his unique voice and talent, becoming a rock music icon. Sadly, Lemmy passed away in 2015 at the age of 70, leaving behind a legacy that continues to inspire.

Local sculptor Andy Edwards, known for his exceptional work, will create the statue. Edwards previously sculpted the famous Beatles statue at Liverpool’s Pier Head. Using genuine Staffordshire clay, he will craft the statue to capture Lemmy’s dynamic personality and musical prowess.

Despite initial concerns from the police about potential attention and incidents, Stoke-on-Trent City Council approved the plans. In response to these concerns, Edwards agreed to increase the height of the plinth from 2.5 meters to 3 meters, enhancing visibility and ensuring the statue’s safety. This decision underscores the council’s commitment to commemorating Lemmy and his cultural impact.

To fund this tribute, a dedicated fundraising campaign aims to raise £50,000. The campaign is led by Mark Curran, a commercial developer and owner of the Hard Days Night and Zimmerman’s bars in Stoke-on-Trent. During the 2020 lockdown, Curran searched for a sculptor to capture Lemmy’s spirit and found Andy Edwards, an internationally renowned artist residing in Stoke-on-Trent.

Honoring Lemmy: A Landmark in Burslem

The statue will be located in the heart of Burslem, in front of the iconic Town Hall and its Gold Angel. This prominent position ensures Lemmy’s statue will be a central attraction, surrounded by Burslem’s historic charm. The enthusiastic support from Stoke-on-Trent City Council highlights the community’s commitment to honoring Lemmy.

This is not the first statue erected in Lemmy’s honor. The Rainbow Bar & Grill in Los Angeles had its statue, constructed a year after his passing. Now, with approval from Stoke-on-Trent City Council, Lemmy’s memory will also be celebrated in the town that shaped his musical journey.

The forthcoming statue of Lemmy in Burslem is poised to become a testament to his life and achievements. As the fundraising campaign gains momentum, fans and admirers have the chance to contribute to this tribute. With the necessary funds secured, Andy Edwards will begin his artistic process, immortalizing Lemmy in the town where his story began.

Supported by the local community’s devotion and the approval from Stoke-on-Trent City Council, the statue of Lemmy promises to be a revered landmark in Burslem. This homage will honor the mark Lemmy left on the world of music and ensure his legacy endures for generations.

John Lennon, forever captured in countless photos and films, is one of the most iconic musicians in history. From his time with The Beatles to his groundbreaking solo career, Lennon’s musical legacy lives on. Fans are in for a treat with the upcoming release of a collector’s edition, featuring a never-before-seen music video that offers a fresh look into the life of this Beatle legend.

The newly unveiled music video accompanies Lennon’s timeless track “You Are Here,” presented in the form of the Ultimate Mix, giving new energy to this classic song. The footage features Lennon with his muse and partner, Yoko Ono, during his solo art show, You Are Here (To Yoko From John Lennon, With Love), filmed back in 1968.

While Lennon is credited with directing the video, it was shot by William Wareing and Dick Lorriemore and had been stored in the archives for decades. The visuals offer a fascinating glimpse into Lennon’s world as he, along with Robert Fraser and their team, prepares for the art show on June 30, 1968, with the grand opening the following day.

During this time, Lennon was deeply involved in writing and recording The Beatles’ famous self-titled album, known as The White Album, which would be released later that year in November.

“You Are Here” was originally released in 1973 on Lennon’s solo album Mind Games, which reached No. 9 on the Billboard 200 and earned a gold certification, selling over half a million units in the U.S.

Now, Mind Games – The Ultimate Collection is set to hit shelves on July 12, offering fans a deeper look into Lennon’s creative genius. Available in various formats, including a limited-edition Super Deluxe Edition, this collection promises to be a cherished piece for Lennon and Beatles enthusiasts worldwide, with only 1,100 copies available globally.

The Beatles, known for their profound impact on music, created some of the most enduring ballads in history. Among these, “If I Fell,” released in 1964 as part of their third album, “A Hard Day’s Night” (also their first movie soundtrack), stands out as a significant work. This song marked a mature phase where ballad composition became a key aspect of their music.

The Creation of “If I Fell”

John Lennon, the primary writer of the song, with notable input from Paul McCartney, ventured into new lyrical and musical territories with “If I Fell.” In an interview with David Sheff, captured in the book All We Are Saying: The Last Major Interview with John Lennon and Yoko Ono, Lennon shared insights into his creative process: “That’s my first attempt to write a ballad proper. That was the precursor to ‘In My Life.’ It has the same chord sequence as ‘In My Life’: D and B minor and E minor, those kinds of things. And it’s semi-autobiographical, but not consciously. It shows that I wrote sentimental love ballads, silly love songs, way back when.”

The song was born during a period when Lennon and McCartney were honing their craft, writing with newfound confidence evident throughout “A Hard Day’s Night.” McCartney’s unique approach to beginning the song with a pre-verse set a distinctive tone, echoing the structures found in the Great American Songbook. This technique enriched the song’s narrative depth and showcased McCartney’s versatility and broad musical appetite.

The Everly Brothers Influence and Musical Harmony

The influence of The Everly Brothers on “If I Fell” is unmistakable. The harmony-driven aesthetic, coupled with Lennon and McCartney’s decision to sing into the same microphone, created a poignant vocal blend that was both tender and compelling. George Harrison’s subtle guitar fills further colored the track, enhancing its emotional landscape.

Lyrical Depth and Narrative

The lyrics of “If I Fell” reflect a contemplation of new love tempered by past heartaches. They articulate a hesitation, pondering the risks of giving one’s heart again after being let down: “And I found that love was more than just holding hands.” This line signifies a growth in Lennon’s songwriting and a broader emotional awareness, contrasting with earlier, more naive love songs like “I Want to Hold Your Hand.”

The song’s lyrical depth is heightened in moments of vocal urgency shared between Lennon and McCartney, underscoring the stakes of this new romantic venture: “‘Cause I couldn’t stand the pain / And I would be sad if our new love was in vain.” The song’s structure, culminating in the conditional “If I fell in love with you,” leaves the narrative open-ended, a testament to its complex emotional layers and mature reflection on love and vulnerability.

Contribution to The Beatles’ Legacy

“If I Fell” exemplifies The Beatles’ evolving artistry during a pivotal time in their career. By 1964, their mastery in blending lyrical sincerity with innovative musical compositions was becoming apparent, a trend that would continue throughout their illustrious career. This track stands as a testament to their ability to connect with listeners on a more introspective level, setting the stage for more nuanced explorations in their later works.

“If I Fell” remains a beloved song from The Beatles’ extensive catalog, with its influence still felt today. It bridges the gap between Lennon and McCartney’s later, more intricate compositions and their early mainstream hits, showcasing their compositional prowess. This ballad remains one of The Beatles’ finest, revealing new depths of emotion and artistry with every listen.

Stevie Nicks is now known as one of the greatest rockers of all time, but there were times in her life when she struggled with a difficult choice: drugs or commercial success. Luckily, she chose the latter, but there was a period when her dreams nearly collapsed.

In the early days of her career, Nicks experimented with cocaine. However, after joining Fleetwood Mac with her then-partner Lindsey Buckingham, her drug use escalated. Surprisingly, group cocaine sessions before shows became a ritual, almost revered as a higher power.

But addiction’s consequences eventually caught up with her. Even after Fleetwood Mac disbanded, her reliance on drugs deepened. “All of us were drug addicts, but there was a point where I was the worst drug addict,” Nicks later recalled. “I was a girl, I was fragile, and I was doing a lot of coke. And I had that hole in my nose. So it was dangerous.”

To overcome her addiction, Nicks was prescribed Klonopin, which helped but also led to another addiction that lasted seven years. When she released her fifth album, Street Angel, its failure hit her hard, amplifying her feelings of regret.

“Even though I thought it was a terrible record, I loved the songs,” Nicks told Barnes and Noble. She was proud of her work, even during times when she felt disconnected from herself. “The songs were my children, you know. And I was very much grieving about the Klonopin and the Prozac because I had done many things in that eight years that I was not proud of, that were not me, things that I would never do.”

Around this time, Nicks met Tom Petty at the Ritz-Carlton, and he helped her reignite her passion. “He said, ‘You know what? Everybody makes mistakes. You can’t blame yourself for the Klonopin and the Prozac; you didn’t go out on the streets looking for that. That’s just a nasty thing that happened to you, so now get over it.’”

Petty continued, “‘You’re upset ’cause you’re 20 pounds overweight -lose it, you can do it. That’s not your problem. Your problem is knowing and remembering that you’re a great songwriter, Stevie. I’m not going to help you write songs, I don’t have to help you. You need to go home to your piano and sit down and do what you love to do.’”

According to Nicks, Petty reminded her that “your love is songwriting,” and challenged her with a stern but necessary question: “What in the world is up with you telling me that you need me to help you write songs?” After their dinner, Nicks felt motivated to return to her music. “That was just that little kick in the butt that I really, really needed from somebody that I totally respect, that always has my best in mind,” she said.

Her next album, Trouble in Shangri-La, was her biggest success since 1983’s The Wild Heart. To thank Petty, she included the song “That Made Me Stronger,” showing that she had found herself again, needing only Petty’s affirmations to help her get there.

During the height of punk, it was hard to imagine a more grandiose band than Pink Floyd. John Lydon’s infamous shirt expressing his disdain for the group was a clear sign that Roger Waters’ elaborate stories were seen as everything wrong with rock and roll at the time. Yet, Pink Floyd showed they could keep up with changing trends, and David Gilmour believed their album “Animals” was the closest they came to punk.

Gilmour had always been on the lookout for new influences, even before punk emerged. While many punk bands criticized the excessive indulgence of established acts, Gilmour sought out fresh talent, discovering future stars like Kate Bush.

When Pink Floyd began working on “Animals,” they had already faced challenges with their record label. The success of “Dark Side of the Moon” had skyrocketed them to fame, but the pressure made the process of creating “Wish You Were Here” uneasy. Exhausted, the band’s tribute to former member Syd Barrett in “Wish You Were Here” was critical of the music industry, with songs like “Welcome to the Machine” serving as a cautionary tale for aspiring musicians.

“Animals,” however, was a different beast. Inspired by George Orwell’s “Animal Farm,” Waters crafted an album targeting those in power who exploited the lower class. Despite the length and style of the tracks, songs like “Dogs” and “Pigs” served as a defiant message to the wealthy elite who thrived while others struggled.

Despite the dominance of punk music at the time, Gilmour felt that this version of Pink Floyd resonated with the street-level ethos of punk. He remarked, “I really like it. It was sort of, I think, slightly influenced by the punk era, if you like – the Pink Floyd punk album. It was certainly a bit more aggressive than some of the other ones we’d previously done. But it’s a good album for me – I like it a lot.”

Lydon’s criticisms aside, Pink Floyd’s commentary on societal injustices aligned more with punk values than it might have seemed. Their messages echoed sentiments later expressed by bands like The Clash in albums such as “London Calling.”

Pink Floyd wasn’t alone in this crossover. Canadian band Rush also embraced new wave influences in albums like “Permanent Waves.” While prog and punk are often seen as opposites, any artist committed to evolving their music would do well to explore different styles.

For most musicians, respect is something they have to work hard to earn. For Tom Petty, it seemed to come naturally, even in his early days when he was driven by a passion for Elvis Presley and a dream of following in The King’s footsteps. Like many others, Petty’s life was changed forever when he saw The Beatles perform on The Ed Sullivan Show. That performance lit a fire in him, setting him on a path to become one of rock’s greatest heroes. It also gave him a keen eye for spotting talent.

Petty believed he could match The Beatles’ desire for revolution and innovation, no matter how impossible it seemed. “I knew I could do it,” he once said, noting how many bands tried to follow in The Beatles’ footsteps. The Beatles showed him the way, while The Rolling Stones demonstrated the raw power of rock ‘n’ roll as a serious art form.

For Petty, the Stones represented something monumental: the power of being a pioneer. While The Beatles led the charge in many ways, the Stones gave Petty a gritty, raw blueprint to follow. “They were grittier, it was rawer,” he said in a 2014 interview on Q with Jian Ghomeshi. “They were playing blues in this really energetic kind of raw way, but it wasn’t complicated. There wasn’t a lot of complicated harmony involved. It was sort of my punk music.”

The Stones’ impact on Petty was immense, which makes his admiration for another band even more surprising. Petty once described Guns N’ Roses as surpassing his favorite rockers. “They’re bigger than the Stones ever were,” he said, thrilled after meeting Izzy Stradlin and Duff McKagan in the late 1980s.

Petty first met Stradlin and McKagan outside Norm’s Rare Guitars in Reseda. They introduced themselves as members of Guns N’ Roses, and Petty immediately respected them. The band hailed from his adopted home of Los Angeles and embodied the innovation and forward-thinking that Petty had always admired. They reinvented their music for contemporary audiences, a trait Petty deeply appreciated.

The respect was mutual, and both Petty and Guns N’ Roses enjoyed surprising their fans. At the 1989 MTV Awards, McKagan and Steve Adler accepted an award in Axl Rose’s absence. Later, Petty began a live performance of “Free Fallin’,” which had just been released on his album Full Moon Fever. After the first verse, Rose joined Petty on stage, and the crowd went wild. Although Petty later wished they had more rehearsal time, the performance was unforgettable, especially when they paid tribute to another hero, Elvis Presley.

By comparing Guns N’ Roses to legends like The Rolling Stones, Petty saw something special in the band that excited him just as much as The Stones and The Beatles had done before.

Stevie Nicks always poured her heart and soul into any project bearing her name. In Fleetwood Mac, known for its democratic approach, it was clear when Nicks commanded the room, even if she was just adding harmonies to Christine McVie or Lindsey Buckingham’s songs. Despite the band’s issues over the years, Nicks felt the least connected to their iconic 1980s album, Tango in the Night.

By then, balancing the members’ solo careers was already a challenge. Nicks had launched successful solo hits, and Buckingham had his own string of successes. The band struggled to get everyone together, and personal issues added to the strain. Nicks, dealing with her own problems, entered rehab just before the album sessions began.

Songs like “Welcome to the Room…Sara” and “Seven Wonders” stand out as some of Fleetwood Mac’s best, but McVie truly shined. Buckingham and Nicks had their moments, but McVie consistently delivered hit after hit, and this album was no different with tracks like “Everywhere” and “Little Lies.”

Returning from rehab, Nicks felt sidelined in the album’s creation. She missed the democratic feel of earlier projects and expressed her frustration to Mick Fleetwood, saying in Gold Dust Woman, “It’s not even like I’m on this record. I can’t hear myself at all. Maybe I wasn’t in the studio that much. You know how sick I was. How is it going to look when the record comes out, and I might have to tell Rolling Stone that I didn’t work on the record?”

Nicks had a point. Though she appeared on the record, her backing vocals, particularly on “Everywhere,” were more felt than heard, blending more with McVie’s smoky voice than standing out with her usual distinct style. This was a sign of the band’s turmoil during this period.

Even after adding her vocals to “Everywhere,” Nicks struggled to finalize many songs. “Little Lies,” however, managed to showcase the entire band in the chorus, creating an illusion of unity. Despite these efforts, Tango in the Night marked a turning point. The album’s release saw the band unraveling further, eventually leading to Buckingham’s departure and highlighting the underlying discord among the members.

In a recent episode of The Joe Rogan Experience, Kid Rock shared a surprising and somewhat disappointing story about his connection with the late Tom Petty. During their discussion about Petty’s untimely passing in 2017, Kid Rock revealed that he used to be Petty’s “weed dealer” during some shows in Michigan. However, his encounter with the legendary musician did not go as he had hoped.

A Role as Petty’s Weed Dealer

Kid Rock recounted how Tom Petty would call him whenever he visited Michigan. Petty, who had married a girl from Saginaw, would ask Kid Rock if he could provide him with some weed. Remembering those moments, Kid Rock said, “F*ck, I’ll take him some weed.” He would then reach out to his brother’s friends to get the marijuana. For Kid Rock, it was a surreal experience, as he was a fan of Tom Petty’s music but didn’t really know the man behind the songs.

While Kid Rock was excited to meet Tom Petty and hoped for a connection, the actual encounter fell short of his expectations. When he arrived at Petty’s dressing room with the marijuana, Kid Rock realized they didn’t have much in common. He explained that Petty was “so f*cking high,” while he himself might have just been slightly intoxicated on a couple of beers. He admitted feeling a lack of connection, stating, “Well, that sucked. Guess I’ll just enjoy the music.”

Kid Rock’s Perspective

Reflecting on the incident, Kid Rock mentioned that this encounter with Tom Petty happened during a time when he was a “big star.” He initially had high hopes of hanging out with Petty and getting to know him on a personal level, but the reality was different. Kid Rock found himself in the unfamiliar territory of being in the presence of a musical idol without any real connection or shared experiences. Despite the letdown, Kid Rock did have the chance to pay homage to Tom Petty through his music.

Paying Tribute Through Music

In his 2015 album ‘First Kiss,’ Kid Rock took a detour into country music, exploring themes of nostalgia and small-town life. In the lead single, also titled ‘First Kiss,’ Kid Rock included a lyric that paid tribute to classic rock legends, including Tom Petty. The chorus prominently features the line: “Tom Petty on the radio / Going steady with nowhere to go.” This homage was Kid Rock’s way of showing respect and acknowledging the influence that Petty had on his own musical journey.

Reflections on the Encounter

Kid Rock’s revelation about his disappointing encounter with Tom Petty sheds light on the complexities of idolizing and connecting with musical legends. While he had the unique experience of being Petty’s “weed dealer,” Kid Rock discovered that even shared substances couldn’t bridge the gap between their individual experiences and personalities. Despite the letdown, Kid Rock expressed his admiration for Petty’s music through his own work, offering a lasting tribute to the late rock icon. This candid anecdote serves as a reminder that connections between artists, even in the same industry, can be elusive, and that the perception of fame and fanhood doesn’t always align with reality.

Watch the interview below:

David Lee Roth, the iconic rocker from Van Halen, is stirring up controversy with his bandmates once again. In a recently shared YouTube video titled ‘Where Is David Lee Roth Director’s Cut?’, Roth seems to have released a new song taking a jab at Sammy Hagar, reigniting their longstanding feud. The lyrics of the song highlight Roth’s disdain for Hagar, with lines like:

“Sammy Hagar’s not the same / You can drop that singer from extreme / But no matter where you walk around / There’s a little David everyone.”

Rivalry Renewed

This latest incident adds to a long history of disses between Hagar and Roth. Over the years, Roth has made disparaging remarks about Hagar, accusing him of being ‘sex-probed’ and claiming Hagar never invited him on tour. Roth has also targeted Wolfgang Van Halen, Hagar’s son and a former bandmate, alleging that Wolfgang didn’t give him attention on stage during their joint tour. In response, Hagar has addressed Roth’s comments, but Roth himself has remained silent about his remarks towards Wolfgang.

Hagar has offered his perspective on Roth’s behavior, suggesting that the disses might stem from jealousy. Hagar wonders if Roth feels left out or overlooked, saying:

“Look, if you really think about what he said, it’s like do I sense a little tinge of jealousy in there or something? Does he feel like he’s left out or something?”

Harmonies and Hostilities

The ongoing animosity between Roth and Hagar has captivated fans and sparked debate among music enthusiasts. Some view these frequent clashes as a demonstration of their artistic passion and the tumultuous nature of the music industry, while others argue that it harms Van Halen’s legacy. Nonetheless, fans eagerly anticipate each new development in their feud.

Whether Roth’s latest song will escalate tensions or offer a chance at reconciliation remains to be seen. However, it is clear that these verbal sparring matches continue to grab headlines and keep fans intrigued. As we wait to see what happens next, you can listen to the new song below and hear Roth’s latest dig at Hagar.

David Lee Roth’s latest song is another instance of him dissing Sammy Hagar and reigniting their age-old feud. The lyrics highlight Roth’s disdain for Hagar, and this ongoing animosity continues to fascinate fans of Van Halen and the music industry. While it’s unclear whether these clashes will lead to a resolution or further divisions, one thing is for sure – David Lee Roth’s provocative lyrics are sure to keep fans talking and eagerly waiting for what comes next.

In a recent chat on the Rolling Stone Music Now podcast, The Offspring’s lead singer, Bryan ‘Dexter’ Holland, shared that the band aimed to make an album inspired by U2’s approach. When discussing the direction of their eleventh studio album, he said:

“I think it’s a David Bowie quote that goes, ‘You’ve gotta make it the same, but different.’ It’s funny because it’s true. If your new record sounds too much like your old one, people say, ‘Oh, it just sounds like the last record.’ But if you change too much, it confuses people. And of course, you have to satisfy your own creativity and what you want to do. Luckily, we’ve really expanded the range of what we can do.”

Dexter then brought up U2, saying:

“We did ‘Gone Away’ on ‘Ixnay [On The Hombre]’ and we’ve done piano stuff and other things, but you have to balance the desire to grow with not wanting to become too grown-up, if that makes sense. You don’t suddenly want to say, ‘I’m gonna make a record like U2.’ That doesn’t necessarily work for who you are as a band. We’re trying to keep that in mind.”

The New Album Is Done

The band released their latest album, ‘Let The Bad Times Roll,’ in 2021. Their upcoming album will be their first new original music since then.

A few weeks ago, guitarist Noodles confirmed that the album is finished, but they haven’t named it yet. He explained during an interview with Atlanta’s 99X radio station:

“It’s done. It’s mastered. All the guys were on the bus, and we just listened to the masters of the new record. It’s just done.”

When asked about how long it took to record the new album, Noodles replied:

“It’s kind of how we work these days. We don’t lock ourselves in the studio for six months straight. We do it in pieces — a couple of weeks here, a couple of weeks there.”

You can listen to the interview below.