Following an outpouring of tributes widow Vicky Cornell and her family have received since her husband Chris Cornell's death in May, Vicky Cornell has asked that fans submit their messages for her late husband to his official website so they may be shared.
"Since my husband's tragic passing, fans from all over the world have come together to share their feelings about what Chris and his music meant to them, leaving thousands of messages of love while visiting him at Hollywood Forever and online," she wrote on Twitter. "You have opened your hearts to me and our children and we are grateful to you for your sympathy, love and support in bringing us solace and helping us heal."
"You have given us hope and strength to endure the pain of these very dark days," Vicky Cornell continued in her Twitter post. "I want to thank all of you and I hope you will leave your tributes, personal stories and messages for our family, to be shared on Chris' site for everyone to read."
Demi Lovato has announced her sixth studio album. The follow-up to 2015's Confident, Tell Me You Love Me will be released on September 29th. The singer also teased the title track to preview the LP.
In the black-and-white clip for "Tell Me You Love Me," Lovato is seen in a close-up shot while she's singing the song in a recording studio. "Tell me you love me/ I need someone on days like this, I do," she belts. "On days like this/ Oh, can you hear my heart say, 'Oh, whoa-oh, oh, oh.'"
As the camera pulls back in the teaser, her eye is revealed. The shot eventually pulls back to unveil her presumable album cover, which features a black-and-white photo of the singer with her hands on her head. Tell Me You Love Me will be available for pre-order beginning at midnight on Wednesday.
Pre-sale tickets will be available exclusively via the Golf Media app on Thursday, August 24th at 10 a.m. local time, with general tickets on sale Friday, the 25th at 10 a.m. local time.
The MC's wacky Camp Flog Gnaw carnival-festival, set for October 28th and 29th at L.A.'s Exposition Park, will also feature performances from Lana Del Rey, Kid Cudi, Solange, A$AP Rocky, 2 Chainz, Vince Staples and Willow & Jaden Smith.
Tyler, the Creator promoted Flower Boy last month on The Late Show with a Soul Train-inspired version of "911." His new docu-series, Nuts Bolts, recently premiered on Viceland, and Adult Swim will be adding his original animated show, The Jellies, to their programming block later in 2017.
Tyler, the Creator 2017 Tour Dates
October 28-29 Los Angeles, CA @ Camp Flog Gnaw Carnival October 31 - San Francisco, CA @ The Warfield Theatre November 1 - Fresno, CA @ Rainbow Ballroom November 3 - Seattle, WA @ Showbox SoDo November 4 - Eugene, OR @ McDonald Theatre November 5 - Portland, OR @ Crystal Ballroom November 7 - Salt Lake City, UT @ The Complex November 8 - Denver, CO @ Ogden Theatre November 9 - Kansas City, MO @ The Truman November 11 - St. Louis, MO @ The Pageant November 12 - Cleveland, OH @ House Of Blues Cleveland November 13 - New York City, NY @ Terminal 5 November 15 - Worcester, MA @ The Palldium November 16 - Sayreville, NJ @ Starland Ballroom November 17 - Lancaster, PA @ Chameleon Club November 18 - Norfolk, VA @ The NorVa November 20 - New Orleans, LA @ The Joy Theater November 21 - Houston, TX @ Warehouse Live November 22 - Dallas, TX @ South Side Music Hall
Prince's 1987 concert film Sign o' the Times, which has been out of print in the U.S. since 1991, will be available to watch once again this summer. Showtime has acquired the right to the film and will debut it on September 16th at 9 p.m. EST.
The artist decided to make the movie as a companion piece to his double-album of the same name, which was also released in 1987 but had stalled in sales at mere platinum status. He shot much of the film at his own Paisley Park Studios and on tour in the Netherlands and Belgium. It features performances of many of the LP's now-classic songs – including the title track, "I Could Never Take the Place of Your Man," "Hot Thing," "If I Was Your Girlfriend" and "U Got the Look" – as well as the hit "Little Red Corvette" and a cover of Charlie Parker's "Now's the Time."
His band at the time featured musicians from both the Revolution, who'd backed him on Purple Rain, and the group that would become the New Power Generation. Sheila E. played drums, including an extended solo, and Sheena Easton sang "U Got the Look" with the artist.
The film got a theatrical release in late 1987, but it wasn't a box-office hit, attracting only $3 million in revenue, per Box Office Mojo, despite critical praise. Nevertheless, the 1988 home video release was also certified platinum two years later. Despite its popularity, and a VHS reissue in 1991, it has remained out of print in the States since then, though many countries internationally, including Canada, have seen the film come out on DVD in recent years.
Taylor Swift has announced her long-awaited follow-up to 1989, Reputation. The singer's sixth album will be released on November 10th.
Swift teased fans with an imminent announcement when she recently wiped all of her social media, including her Twitter, Instagram and Tumblr. Over the last few days, the pop star has been posting glitch-y, short, silent videos of a snake slithering in darkness. On Wednesday, a video showed the snake coming towards the camera.
Along with the title, Swift debuted the album cover, which features a much darker look than the bright neons of her 1989 era alongside her name in various newspaper-style fonts. Swift also confirmed that she would release an as-yet-untitled first single on Thursday evening.
Swift released 1989 in 2014, and the time before Reputation is the longest break she has taken between albums in her entire career. Of course, even after she wrapped her world tour to promote her most pop-leaning album yet, Swift dealt with a handful of controversies, including the resurgence of her feud with Kanye West, this time involving his wife Kim Kardashian, that occurred following an inappropriate line in West's single "Famous." The return of their feud — which began in 2009 when West interrupted Swift's MTV VMA acceptance speech — led to fans of Kardashian to send Swift a flood of snake emojis on social media, a potential reference the pop star is making with her snake videos.
Musically, Swift mostly moved to the background over the last few years. She co-wrote songs for Little Big Town and Calvin Harris. She had a hit last winter with "I Don't Wanna Live Forever" with Zayn Malik, which appeared on the Fifty Shades Darker soundtrack.
If you're looking for documentaries on the Beatles, you don't have a shortage of options, with two of the splashier offerings being, of course, the Anthology series, and Ron Howard's Eight Days a Week.
The latter is blessed with rich, high-quality, color footage of the years when the Beatles went global, a band as world-brightening rocket that would sometimes pause itself to blast out 30 minutes' worth of songs on a stage. The Anthology boasted amusing, fulsome commentary from the surviving Beatles, with John Lennon piped in from archival recordings. It was as close as you got to the four men sitting down for a repast, post-1970, and sharing what it had all been like.
But one Beatles doc you might not know – and its cause has not been helped by not having an authorized DVD release yet – is 1982's The Compleat Beatles, written by David Silver, directed by Patrick Montgomery, and narrated by Malcolm McDowell, chief droog from Stanley Kubrick's A Clockwork Orange. Clocking in at two hours – and titled in the spirit of The Compleat Angler, England's definitive book on fishing, from 1653 – The Compleat Beatles tells the band's entire story, from pre-fame days, with checkpoints at each album, right up through the breakup. It's brimming with keen musical analysis, and a coterie of voices you normally don't get with a Beatles documentary.
For a long time, in the VHS era, it was a staple of high-school music teachers, starting 35 years ago in the summer and fall of '82. If you were lucky enough to have had the TV set wheeled in by a Beatles-mad instructor, you know this is a special film.
Here are 10 reasons to check out this overlooked masterwork of the Beatles' cinematic canon.
1. Writer David Silver had a pitch-perfect understanding of the Beatles' career arc – and importance in their time and beyond. "Poets of a generation, heroes of an era," The Compleat Beatles begins, with Malcolm McDowell reciting Silver's lines with Shakespearean gravity. This is to be a proper assessment of a band that was so much more than a rock & roll collective, something we're made to feel immediately. "Like all poets and heroes, they reflected the spirt of their times." The early sequences in the film present footage of a bygone Liverpool, which looks pretty grim, as if nothing mercurial could emerge from this seaport. When the opening chords of the Beatles' cover of Chuck Berry's "Rock and Roll Music" kick in, the film itself seems to pop with possibility, as if infused with Beatle-esque spirit. There was nothing the band couldn't do, and now there will be nothing this movie can't do.
2. Gerry Marsden was an ace witness to what the Beatles were doing. The leader of Gerry and the Pacemakers, perpetual Liverpudlian also-rans, Gerry Marsden was always broad-spirited when it came to talking about the band that so outpaced his own, but you don't get to hear him very much on film. Here he explains how the Liverpool acts were able to transform skiffle into something far grittier from what he terms the "ackky dacky" sounds of Lonnie Donegan. First he whips out a guitar to show how Donegan would play "Jambalaya," before remarking "we'd get the record and we'd rock it up a little bit," entering forth into a cool little demonstration. It's a great primer for how the Northern bands were able to develop their own sound from what was a reductive, chipper genre in skiffle.
3. Early manager Allan Williams was quite the character. Williams liked his tall tales, and the Beatles basically screwed the guy over after he hooked them up with Hamburg and they jumped ship for Brian Epstein, but Williams clearly loved reminiscing about his relationship with the band, which would continue on for a while still. (And resurface later when the legality of the Hamburg Star Club tapes was in dispute.) He describes a letter from Howie Casey of Derry and the Seniors begging him not to send "that bum group the Beatles" over to Hamburg, for fear that this would mess up everyone else's good thing. Williams then goes on to (accurately) describe the style of then-drummer Pete Best as not very clever. Hardly a feeling-sparer, which is probably why the likes of John Lennon liked him – at least for a while.
4. George Harrison's mom deserves serious props. The Compleat Beatles does an excellent job of synthesizing how the Beatles came together in their pre-fame years (complete with an image of John Lennon's report card decrying his "insolence"), with a clear, concise chronology, and valuable insight directed towards the subject of George Harrison and his mother. Most Beatles studies focus, in terms of maternal subjects, on Lennon and his mother, Julia, and Paul McCartney and his late mother, Mary, but Mrs. Harrison knew a thing or two about rocking out. "To his classmates, George Harrison was the boy whose father drove the bus they all rode to school," McDowell states. "His mother sat up with him night after night as he taught himself how to play Buddy Holly songs," with his inclusion in the Quarrymen assured because "his mother could tolerate their noisy rehearsals." Way to go, Mrs. H.
5. Reeperbahn mainstay Horst Fascher was one badass MF. The Compleat Beatles makes commendable use of the underrated Star Club material to soundtrack several scenes, and it's a delight when self-professed Beatles protector Horst Fascher turns up on camera. He made sure that they didn't get in too much distress on their first Reeperbahn forays, or, as he puts it in the film, "If you are in trouble with some girls who are prostitutes, and you don't know the girls are prostitutes, and the pimps find out, you can get in a lot of trouble," which made Horst the guy to seek out to cure your ills and keep your ass intact, given that he was a former boxer who had been booted from competition for killing a sailor in a street fight. Ah, Hamburg.
6. The Litherland Town Hall show from December 27th, 1960, was the watershed gig of the Beatles' career. The film also features a number of segments with Bill Harry, a friend of the band who was instrumental in spreading the good word about them in Liverpool – even before they deserved it – with his Mersey Beat magazine, which documented the comings and goings of life on the local beat scene. Harry gives the backstory for the gig that would change the Beatles' career. "They came back from Hamburg still as an unknown band," Harry remembers, but he promoted they hell out of them, "because they were close friends of mine." This got a promoter to book them at Litherland Town Hall, shortly following Christmas in 1960. Allan Williams was there, too. "The moment the Beatles struck up and did their stomping, every kid froze, and then they ran to the stage and started screaming." That would be the gist of a lot of what was to follow.
7. According to George Martin, "Yesterday" was the crucial pivot point for the band's sonic development. Martin is eloquent throughout The Compleat Beatles: erudite, dapper, utterly sure of himself, being interviewed in a recording studio by his console, with no Beatles intruding with misremembered bits of info, something that dogged the Anthology. It's just Martin, holding a master class in what it was like from his end to work with these guys. "They always wanted to have new ideas and sounds coming through. I found that they were almost more inquisitive than I was. In fact, in the end, it kind of exhausted me. Sometimes they knew what they wanted to do, but more often than not, they didn't," coming across like Yoda both frustrated and blown away by the gifts of Luke Skywalker. Regarding "Yesterday": "It isn't really a Beatles song," Martin remembers saying to McCartney, then goes through how he made his pitch for the Beatles to forsake their standard drum-bass-guitar attack, which would become, through various methods, the mode of the future.
8. The doc features the coolest, trippiest, most cost-effective visual evocation of "Tomorrow Never Knows" ever filmed. McDowell's narration intones that "Two of John's songs 'She Said She Said' and 'Tomorrow Never Knows' were the results of his recent experiments with drugs" – fair enough – as a quick tour of Revolver begins, but what follows is brilliant: Using only the cover of the album, director Montgomery, through a series of sweeps, pans and fast dissolves, gives us something of a visual acid trip, as "Tomorrow Never Knows" blasts from the soundtrack. Once you see the effect, it's hard to disgorge it from your mind each time going forward that you hear that mindblower of a track.
9. The band's final world tour was pure terror, and no film better evokes it. With a collage of on-the-street interviews, footage from Beatles record burnings and people getting hurt at shows as frantic MCs plead for calm, The Compleat Beatles provides a strong sense of why touring had to stop for the band. As the footage unfurls, there's a low droning figure in the soundtrack, sort of like the protracted hum of the final chord on the Sgt. Pepper album stretched out for several minutes. We also get a self-righteous cop in Minneapolis who goes on at some length about how much he hates the Beatles: "As far as Beatle music, I could care about it not one bit personally ... one of their group, with the British accent, told us they would never come back to Minneapolis, and I told him that would be too soon for me."
10. In Martin's view, the Beatles were fated to become huge. George Martin has a lot of key lines regarding his four upstarts and their career. At one point he states, "Without Brian Epstein, the Beatles wouldn't have existed," by which he means that success would not have come to them and they would not be the galvanic entity we all know. But Martin is in downright Socratic mode, though, when he ventures towards a larger explanation for that success. "I think that the great thing about the Beatles was that they were of their time, their timing was right. They didn't choose it – someone chose it for them. But the timing was right, and they left their mark in history because of it."
Mariah Carey said in a revealing new interview that she grapples with self-confidence issues – and often feels the outside world won't allow her to be a "regular human being." "I deserve the same respect as anybody else," the singer told Page Six Saturday before a concert at New York City's Madison Square Garden. "I have always had low self-esteem, and people do not recognize that ... I can't measure what type of respect I deserve – I really can't.”
The vocalist is currently touring with Lionel Richie for the co-headlining "All the Hits" trek. But the glamour of her stage show masks insecurities, which she traced back to her childhood. "Growing up different, being biracial, having the whole thing where I did not know if I fit in . . . That is why music became such a big part of my life, because it helped me overcome those issues," she said. "Sometimes it is hard to let your guard down."
Carey also reflected on the humble beginnings of her music career – when she struggled to get a record deal. "Making demos in the middle of the night, sleeping on the floor in the studio, being broke with no food," she recalled. "My go-to meal was [Newman's Own] sauce. Me and my friend would split the pasta and sauce for, like, a week. Or it was, like, a bagel and iced tea . . . The guy would give it to me at the deli for free."
Forget music critics: Queens of the Stone Age decided to focus group their new LP, Villains, by seeking out the opinions of … their previous albums. In a goofy promo video, director Liam Lynch quizzes the band's back catalog, with frontman Josh Homme voicing the highly opinionated album sleeves.
The earlier records each exhibit a distinct personality – from the drugged-out ramblings of their 1998 self-titled debut to the Minnesota accent of 2000's Rated R. Queens of the Stone Age's critical hallmark, 2002's Songs for the Deaf, mocks the bitterness of fans who stopped listening after the departure of bassist Nick Oliveri. "I'm not listening to [Villains] 'cause Nick's not on it," the album says, before inquiring about another previous member, drummer Dave Grohl.
Their underrated follow-up, 2005's Lullabies to Paralyze, refers to its own black sheep status, and the chain-smoking cracked lightbulb on the cover of 2007's Era Vulgaris complains that the band demoted him from artwork to "answering the phones like a chump." Finally, the vampire that graces 2013's …Like Clockwork adopts a Dracula-like delivery, pondering, "We were quite a spectacle, weren't we?"
Lynch concludes that fans will have to make up their own minds upon the new LP's August 25th release. "Opinions are like assholes," the director says. "Some are shitty. Some are really amazing. So what's your asshole of Villains?"
A new album captures a rare collaborative performance by Lou Reed and Kris Kristofferson. The artists met up at the New York club the Bottom Line in February 1994 and discussed songwriting and their histories with radio host Vin Scelsa. The album, a double-disc set titled In Their Own Words With Vin Scelsa – part of the Bottom Line Archive Series – is due out September 15th.
Between songs, as heard in audio from the release that's premiering here, Reed discussed his process and his friendship with Andy Warhol. With regard to songwriting, he said he felt the need to jump on his inspirations and write as quickly as he could and, if an idea wasn't good, he was content moving on to something else and leaving it unfinished.
He said he didn't feel like the other musicians in the Velvet Underground were essential to the songs he wrote for the group – "They were played by that particular combination of people, but ... they could havebeen played by others" – and commented on the non-role Warhol had as a producer inthe recording studio. "At one point the engineer would say, apropos ofsomething we'd done, 'Mr. Warhol, is that OK?' And he'd say, 'Oh, that's great.'And as a consequence of that, we experienced total freedom, because no onewould change anything because Andy said it was great."
He also talked about writing songs before forming the Velvet Underground, when he was an in-house writer at Pickwick Records. "We would write whatever was popular at the time, like death albums or surfing albums. We'd just write 10, 12 surfing songs and just go record them in about an hour or two and say we were the Surf Nuts or the Beach Bums or something and they'd sell it in Woolworth's in the 99-cent bin." He said it taught him how to "move fast" in the studio.
Kristofferson then piped up. "He learned how to write one of the most unforgettable lines in songwriting," he said, alluding to a line in "Strawman," a song off Reed's 1989 comeback LP New York. "It's one that I'll go my grave with this image in my mind: 'Does anyone need yet another politician caught with his pants down and money sticking in his hole?' That's something he didn't learn in Tin Pan Alley." Reed then later performed a stripped-down version of "Strawman." Victoria Williams sings backup on the track.
At the concert, Reed also sang "Sweet Jane," "Romeo Had Juliet," "Legendary Hearts" and a cover of Smokey Robinson's "Tracks of My Tears," while Kristofferson sang "Me and Bobby McGee," "Sunday Morning Coming Down," "Help Me Make It Through the Night" and a cover of Leonard Cohen's "Bird on a Wire," among others.
The album is one of several recorded at the Bottom Line that will be released in the years to come. Others include performances by Jack Bruce, Ralph Stanley, Harry Chapin and Pete Seeger with Roger McGuinn.
In Their Own Words Track List:
1. "Introduction" 2. "Vin Scelsa Introduces Lou Reed" 3. "Betrayed" 4. "Scelsa Introduces Kris Kristofferson" 5. "Shipwrecked" 6. "Lou Reed on Songwriting" 7. "Legendary Hearts" 8. "Kris Kristofferson on His Childhood & Songwriting" 9. "Sunday Morning Coming Down/The Pilgrim" 10. "Reed on New York" 11. "Strawman" 12. "Kristofferson talks about 'Strawman'" 13. "Sam's Song" 14. "Reed on Writing for Wim Wenders" 15. "Why Can't I Be Good" 16. "Reed on Autobiographical Songs"
1. "Kristofferson on Nashville" 2. "Help Me Make It Through the Night" 3. "Reed on Velvet Underground & Warhol" 4. "Sweet Jane" 5. "Kristofferson on Writing" 6. "To Beat the Devil" 7. "Reed on Writing Prose" 8. "Romeo Had Juliet" 9. "Burden of Freedom" 10. "Kristofferson on 'Me and Bobby McGee'" 11. "Me and Bobby McGee" 12. "Kristofferson on 'Bird on a Wire'" 13. "Bird on a Wire" 14. "Tracks of My Tears"
Keeping with the song title, the artfully constructed tale of betrayal and murder centers on a woman being chased down a dark road by a car driven by her partner, who is in pursuit of a cassette tape she stole from him.
In black-and-white flashbacks, the story is fleshed out, with the woman running off from their mansion after an argument before taking up residence in a motel, where she fixes herself a Molotov cocktail. The incendiary device comes into play during the Tarik Mikou-directed video's fiery climax.
The story actually ends in the opening seconds of "Run for Cover," with the woman emerging from the desolate road the following morning unscathed. Throughout the video, the Killers ominously hover over the action, as if they're the orchestrators of the chaos. The band never interacts with the characters.
The date on the cassette tape – 07/28/17 – cleverly corresponds with the exact date the Killers first released "Run for Cover" as a single and detailed Wonderful Wonderful.