Beginning with an anthematic countdown to liftoff, the lead song from Nik Turner’s forthcoming Cleopatra Records studio effort couldn’t sound less like its name. “Fallen Angel STS-51-L,” quite simply, begins with all engines firing.
‘I was most embarrassingly wrong': A shocking discovery about the flute for Jethro Tull’s Ian Anderson
When Ian Anderson, then an itinerant guitar player, decided to focus on the flute, he did it in a largely self-taught way. As a result some unorthodox elements found their way into his style — not that you could initially convince the Jethro Tull frontman of that.
Aerosmith’s on-going world tour in support of their new album Music from Another Dimension is taking Steven Tyler and Co. into some never-before-played locales — and some very hot ones, too.
When self-described SoCal “sonic surf smoke punk” band 40 Watt Domain imploded in the early 2000s, front man and songwriter Andrew Heilprin hit the beach. Literally.
For producer Bob Ezrin, who’s worked on signature recordings with Pink Floyd, Peter Gabriel, Alice Cooper and countless others, working with Deep Purple meant a chance to return to rock’s rebel ways.
Or “Why Thou Shall Not Tamper with the Vegetation In the Garden of Eden” — A Combination Counterculture Sermon and Horticulture Guide by JC Mosquito …
Gene Simmons sorts through his stormy relationship with Kiss’ initial replacement for Ace Frehley, guitarist Vinnie Vincent — saying the split had less to do with artistic differences than it did with simple business.
A couple of years ago, the brilliantly creative Steven Bernstein and his Millennial Territory Orchestra made a Sly Stone tribute MTO Plays Sly, and after his band got done reconstructing Stone’s music, I wondered if there was a need to devote an album revisiting that body of work anymore.
‘If you don’t come, there’s something f*cking wrong with you': Roger Waters is pumped about The Wall
As Roger Waters brings his solo tour of The Wall to Europe this summer, the inevitable comparisons arise with his gala presentation of the Pink Floyd classic in 1990 in Berlin.
13, long-awaited and so very hard-fought, begins with a morbid and massive riff, so clean and so spooky — so free of gimmickry — that it’s utterly transportive: This is what made Black Sabbath such as scary-ass experience in the first place.