Latest news with #TheRollingStones'
RTÉ News
28-05-2025
- Entertainment
- RTÉ News
Rod Stewart and Ronnie Wood to reunite for Glastonbury
Rod Stewart has confirmed he will reunite with his former Faces bandmate Ronnie Wood for Stewart's set at the Glastonbury Festival next month. The 80-year-old singer is filling the coveted tea-time legends slot on Sunday 29 June. The 1975 (27 June), Neil Young (28 June), and Olivia Rodrigo (29 June) top the bill at this year's festival. Faces, who were known for hits including Stay with Me, formed in 1969 following the split of Small Faces. Bassist Ronnie Lane, keyboard player Ian McLagan, and drummer Kenney Jones were joined by Wood on guitar and Stewart on lead vocals. During an interview on That Peter Crouch Podcast, Stewart was asked if he keeps in touch with The Rolling Stones' members and "other people in music". "Not really," he replied. "Woody (Wood) I do a lot, just recently, because we're going to do Glastonbury together. "Elton (John), sometimes, you know, birthdays, but nowhere near how we used to. I think probably because he doesn't drink anymore and Woody doesn't drink, and I still do. They stay away from me. Bad influence." Stewart also told the podcast: "I've done it (Glastonbury) before. I did it in 2002, but this is on the legend stage. "I was only supposed to play for an hour and a quarter, but I've asked them, 'Please, another 15 minutes' because I play for over two hours every night and it's nothing. But yeah, looking forward to it." Faces released four studio albums and toured regularly until 1975 when the band split and Stewart went on to pursue a solo recording career. Earlier this week, the veteran rock star was presented with a prestigious lifetime achievement award by five of his children at the American Music Awards (AMAs). His best-known solo songs include Da Ya Think I'm Sexy?, Every Beat of My Heart, and Maggie May. In 2024, he promised he would not retire but confirmed his 2025 European and North American shows would bring an end to his "large-scale world tours", with his next slate to be held at more intimate venues.
Metro
27-05-2025
- Entertainment
- Metro
Grammy-winning 70s rock guitarist Rick Derringer dies aged 77
Classic rock guitarist, singer, and producer Rick Derringer has died at the age of 77. Tony Wilson, a long-time friend of Derringer's, shared the news on Facebook, saying Wilson and Derringer's wife, Jenda, were at the rock star's side at the time of his death. Wilson did not share a cause of death, but wrote: 'Derringer's legacy extends beyond his music, entertaining fans with his signature energy and talent. 'His passing leaves a void in the music world, and he will be deeply missed by fans, colleagues, and loved ones.' Born Richard Zehringer on August 5, 1947, in Fort Recovery, Ohio, Derringer rose to fame as a teenager in the 1960s with the band The McCoys, whose debut single Hang On Sloopy topped the Billboard Hot 100 in 1965, knocking The Rolling Stones' Satisfaction from the number one spot. The track's infectious energy marked the arrival of a prodigious young talent, and the musician went on to leave a major mark on rock music. He collaborated extensively with legends such as Johnny and Edgar Winter, Steely Dan, Alice Cooper, and 'Weird Al' Yankovic. His guitar work on tracks like Frankenstein and Free Ride helped define the sound of 1970s rock. In 1973, he released the solo album All American Boy, featuring the hit Rock and Roll, Hoochie Koo, which remains a classic. More Trending A versatile musician and producer, Derringer also made a name for himself behind the scenes, working on a wide range of albums across genres. He earned a Grammy Award for his production work with 'Weird Al' Yankovic and lent his talent to albums by Barbra Streisand, Todd Rundgren, and others. In the 1980s and beyond, he explored Christian rock and continued to tour and record prolifically. He is survived by his wife, Jenda, and their children. This is a breaking news story, more to follow soon… Check back shortly for further updates. If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. For more stories like this, check our entertainment page. Follow Entertainment on Twitter and Facebook for the latest celeb and entertainment updates. You can now also get articles sent straight to your device. Sign up for our daily push alerts here. MORE: Duck Dynasty star Phil Robertson dies aged 79 after Alzheimer's diagnosis MORE: Billy Joel, 76, cancels all tour dates after being diagnosed with brain condition MORE: 'Gigs don't have to cost £400 – the next Taylor Swift could be down the road'
Yahoo
07-05-2025
- Entertainment
- Yahoo
'Pink Floyd at Pompeii MCMLXXII' album offers "sublime" remix
Pink Floyd Pink Floyd at Pompeii MCMLXXII Sony Music (LP) By Bill Kopp A legendary Pink Floyd live performance finally gets a standalone release, with a striking new mix by Steven Wilson. Pink Floyd at Pompeii MCMLXXII, released May 2. Debuting in theaters in 1972, Pink Floyd at Pompeii represented a radical departure from typical concert films. Where films like Woodstock, Monterey Pop and The Rolling Stones' Gimme Shelter focused on artist, spectacle and audience in nearly equal measure, Pompeii would be a nearly meditative experience. Outside of the extra studio footage director Adrian Maben shot in London to expand the film's runtime to theatrical length, not a word is spoken during the entire film. With their gear set up in the ancient ruins of Pompeii, Italy, the four members of Pink Floyd – joined only by a small sound crew and Maben's film team – get about the business of playing five songs. No audience is present. The songs played in Pompeii during the four-day shoot would be a mix of new pieces and older ones, some dating back four years to a time when the group was reeling from the loss of its founder and original leader, Syd Barrett. But by '72, Pink Floyd – bassist roger Waters, drummer Nick Mason, keyboardist Rick Wright, and Barrett's replacement David Gilmour on guitar – was well on the creative path that culminated in the 1973 epic work The Dark Side of the Moon. Pompeii captured the group at a critical juncture: its journey from deeply experimental music to cohesive, album-long pieces nearly completed, the foursome found itself in a position to showcase its musical strengths. Arguably, an audience would have only got in the way. The core of Maben's film would be the five set-pieces of music, a sampling from their second album (and first with Gilmour), 1968's experimental and often abstract A Saucerful of Secrets. The title track featured bracing and anti-melodic elements: Waters playing gong and cymbals, Wright hitting the keys of a grand piano with tightly clenched fists, Gilmour conjuring otherworldly sounds from his Stratocaster, and Mason laying down some brutal yet mesmerizing percussive work. In contrast to that avant-garde cacophony, 'Set the Controls for the Heart of the Sun' is a contemplative, hypnotic piece of music. A third 'old' piece, alongside that pair of older works, is a live reading of the band's 1968 B-side 'Careful With That Axe, Eugene.' The atmospheric and moody meditation is barely contained malevolence, with Waters' blood-curdling scream guaranteed to tingle spines. The third in a series of epic-length Pink Floyd works, 'Echoes' – from the band's 1971 Meddle LP – exemplified everything that the foursome had learned along the way. With peerless gentle vocal harmonies from Gilmour and Wright plus a clearly defined progressive character (complete with distinct musical movements), 'Echoes' encapsulated the Pink Floyd musical ethos in a single, 23-minute track. For Pompeii, the song was split into two pieces, the first ended by what sounded like the weight of the band crashing in on itself. As presented onscreen, 'One of These Days I'm Going to Cut You Into Little Pieces' is effectively a duet between Gilmour and Mason; the other two members of the band are barely seen. But the audio component of the song places Waters' throbbing bass front and center. Wilson's mix leverages The power and fury of the instrumental work. A lighthearted acoustic blues, 'Mademoiselle Nobs' is a loose variation on the Meddle track 'Seamus,' featuring Gilmour on harmonica, Waters on electric guitar and Wright holding a mic in front of a wailing dog. (Mason nowhere to be seen nor heard.) The tune's inclusion lightens the vibe a bit, neither enhancing the overall experience nor doing any harm. Its inclusion – if only for completists' sake – is nice enough. For listeners who appreciate the years of reinvention that the group explored between [Syd] Barrett's departure and the creation of The Dark Side of the Moon, Pink Floyd at Pompeii MCMLXXII is an essential artifact documenting the band's astounding progress of that period. The same is true for the abstract 'Pompeii Intro.' In the film, the studio track plays while static scenes of the desolate Pompeii landscape are shown. Establishing a mood for the audience-less concert to come, the piece consists of insistent percussion and spacey sonics, both courtesy of the revolutionary VCS3 synthesizer, a key tool in the creation of The Dark Side of the Moon. The soundtrack to Pink Floyd at Pompeii would not be released on record alongside the film's 1972 premiere. While the music from Pompeii would be bootlegged – sourced first from VHS or Beta video tapes and later from a 1982 laserdisc – no official release of the music would come until the massive 2016 boxed set The Early Years. Titled Live at Pompeii, it would be included as part of that collection's 1972: Obfusc/ation volume in a new stereo mix. That release, however, would not include 'Pompeii Intro' and 'Mademoiselle Nobs.' Ace remixer Steven Wilson – an artist with his own massive body of work, and a longtime fan of Pink Floyd's music – is the man responsible for the new and vastly improved mix of the audio portion of the Pompeii material. His treatment of the recordings could be heard on the recent two-days-only screenings of a restored print of the film and is receiving release as a two-record set. Wilson's work is sublime. Beginning with a well-recorded performance made under controlled conditions, one might wonder what could be done to improve upon what already existed. But subtle and judicious choices in terms of stereo placement and in the relative volume of instruments and voices has resulted in a definitive aural experience of the Pompeii tracks. Wilson applies a light touch, avoiding radical changes yet tweaking the mix in a way that highlights the most remarkable ingredients in the performance without giving short shrift to supporting elements. Wilson's stereo mix (on double vinyl) is nothing short of glorious. The close vocal harmonies on 'Echoes' are brighter than on the 2016 CD (or in earlier prints of the film). And the stereo panning on parts of 'A Saucerful of Secrets' heightens the interstellar sonic overdrive of the work. The version of 'A Saucerful of Secrets' as seen and heard in the film is edited down to 10 minutes; the new 2-LP release includes that edit as well as a recording of the full piece, both with Wilson's new mix. An alternate take of 'Careful With That Axe, Eugene' is included as well; the performance differs little from the take shown in the film. It too was part of the 2016 CD release; here it receives the Wilson treatment. For listeners who appreciate the years of reinvention that the group explored between Barrett's departure and the creation of The Dark Side of the Moon, Pink Floyd at Pompeii MCMLXXII is an essential artifact documenting the band's astounding progress of that period. For those whose knowledge and appreciation of Pink Floyd begins with Dark Side, this new archival release helps answer the how-did-they-get there question. Either way, it's an important piece of the puzzle. Related items in the Goldmine Shop
Arabian Post
05-05-2025
- Entertainment
- Arabian Post
Abu Dhabi's Etihad Arena Resonates with Jazz Luminaries in Global Celebration
A constellation of jazz virtuosos illuminated Abu Dhabi's Etihad Arena on April 30, marking the culmination of the 14th International Jazz Day. The event, orchestrated by UNESCO and the Herbie Hancock Institute of Jazz, showcased a tapestry of performances that underscored jazz's enduring global resonance. Herbie Hancock, the event's artistic director, led a diverse ensemble of musicians from 14 countries. The concert featured luminaries such as Dee Dee Bridgewater, John McLaughlin, Dianne Reeves, and Marcus Miller, each bringing their unique flair to the stage. Hosted by Academy Award-winning actor Jeremy Irons, the evening was a testament to jazz's unifying power. The program commenced with Hancock's introspective rendition of 'Maiden Voyage,' setting a contemplative tone. A standout moment was the duet between Parisian pianist Hélène Mercier and Beijing's A Bu, who delivered a stirring interpretation of Gershwin's 'Rhapsody in Blue,' blending classical precision with jazz improvisation. Arturo Sandoval, David Sánchez, and Danilo Pérez paid homage to Dizzy Gillespie with a spirited performance of 'Tin Tin Deo,' while José James infused The Rolling Stones' 'Miss You' with soulful nuances. The finale, a collective rendition of John Lennon's 'Imagine,' encapsulated the evening's ethos of unity and hope, resonating deeply with the international audience. Earlier in the day, the Opening Ceremony at Qasr Al Watan, the presidential palace, featured addresses by Mohamed Khalifa Al Mubarak, Chairman of the Department of Culture and Tourism, and UNESCO Assistant Director-General for Culture Ernesto Ottone. The ceremony highlighted the UAE's commitment to cultural dialogue and the arts. Beyond the main concert, Abu Dhabi hosted a series of educational and outreach programs. Institutions like Berklee Abu Dhabi, Bait Al Oud, and the Cultural Foundation facilitated workshops and performances, engaging both youth and seasoned musicians. A notable collaboration with the Culture Summit Abu Dhabi included a panel discussion featuring Hancock and Financial Times CEO John Ridding, exploring jazz's role in contemporary culture. See also Dubai to Build 1.4km Bridge Linking Bur Dubai and Dubai Islands This year's International Jazz Day was observed in over 190 countries, with thousands of events celebrating the genre's rich heritage and its capacity to foster cross-cultural understanding. UNESCO Director-General Audrey Azoulay emphasized the day's significance, stating, 'This edition highlights the city's rich tapestry of creativity and cultural heritage while showcasing jazz's ability to connect communities and promote dialogue and peace across continents.'
Yahoo
16-04-2025
- Entertainment
- Yahoo
Bobby Brown Says Britney Spears 'Butchered' Her 2004 Cover of 'My Prerogative' and He 'Couldn't Take It'
Imitation may be the sincerest form of flattery, but not for Bobby Brown. During an April 16 appearance on Shannon Sharpe's podcast Club Shay Shay, the rapper revealed that he did not like Britney Spears' cover of his 1988 song "My Prerogative." Sharpe, 56, asked Brown, 56 what artist did the best job sampling his music. "I don't think they did justice," Brown began. "I don't think they really did justice to any of the samples that they have done to my songs." "Britney Spears butchered 'My Prerogative,' " Brown continued. "Teddy Riley produced it. But that was a butchering. I couldn't take it." Sharpe argued that Brown had cleared it, to which the singer countered that he cleared it because he thought Spears, 43, was going to "wow" him. Related: He Was the Astronaut in Britney Spears' 'Oops!...I Did It Again' Music Video. You'll Never Guess Where He Is Now (Exclusive) A music industry source tells PEOPLE of Brown's recent comments, "He's looking for press, but that's his prerogative." PEOPLE has reached out to Spears for comment. Fans online disagreed with Brown's take on Spears' cover of the song, defending Spears' synth-heavy sampling of the contemporary R&B song. "Bobby Brown really said Britney Spears butchered Prerogative despite him clearing the song. I DISAGREE WHOLEHEARTEDLY," one fan wrote on X. Another said, "Listen, I get it. I would also be mad if someone did a cover of my song and did it so much better than I did that everyone thought my song was theirs 🤷♂️." Related: Everything Britney Spears Says About the Celebrities Mentioned in Her Memoir — from Justin Timberlake to Madonna One user attributed their knowledge of the song being from Spears. "I personally only ever knew Bobby Brown's My Prerogative because of Britney's cover, and my parents played a s--- of ton of 80s while I was growing up …" Others agreed. "Ngl Britney Spears' version was so fire most didn't realize it was a cover 🤷🏾♀️🤷🏾♀️🤷🏾♀️," another fan said. Ultimately, many Spears fans defended her take on the song. "Bobby Brown can say all the crap he wants. But Britney left no crumbs when it came to her cover of My Prerogative. I prefer her version over his original version," someone else posted. Never miss a story — sign up for to stay up-to-date on the best of what PEOPLE has to offer, from celebrity news to compelling human interest stories. Spears has previously put her spin on other musicians' songs, adding her distinctive flair. She covered Sonny and Cher's song "The Beat Goes On," along with The Rolling Stones' "(I Can't Get No) Satisfaction" and Joan Jett & The Blackhearts' "I Love Rock 'n' Roll." Most recently in 2022, she collaborated with Elton John on the song "Hold Me Closer," which features the chorus of his classic "Tiny Dancer." Read the original article on People
