QUEEN Release Queen The Greatest Special: The Drum Sound; Video

QUEEN Release Queen The Greatest Special: The Drum Sound; Video

To mark the release of the remixed, remastered and extended Queen 1 boxset, the band have released the sixth episode in their Queen The Greatest Special series.

A message states: “In this final episode of our Queen The Greatest Special series celebrating the release of the Queen 1 Boxset, Roger Taylor exclusively recounts how his experience of recording the debut album was far from enjoyable when he found himself at odds with the studio bosses over how the drums should sound.”

Watch the first fire Queen The Greatest Special episodes below:

Episode 1:

Episode 2:

Episode 3:

Episode 4:

Episode 5:

The 6CD + 1 LP Queen I box set (out now) contains 63 tracks with 43 brand new mixes, comprising the original album with its intended running order restored, intimate fly-on-the-wall audio of Queen in the studio, demos, rare live tracks, and previously unheard recordings from Queen’s first ever live performance in London, August 1970. Absent from the 1973 release, the song “Mad the Swine” has been reinstated to its original place in the running order. A 108-page book containing handwritten lyrics and memorabilia accompanies the release.

“This is not just a remaster,” writes Brian May in the CD sleeve insert notes, “this is a brand new 2024 rebuild of the entire Queen debut album, which, with the benefit of hindsight, we have re-titled QUEEN I.”

May continues, “All the performances are exactly as they originally appeared in 1973, but every instrument has been revisited to produce the ‘live’ ambient sounds we would have liked to use originally. The result is “Queen“ as it would have sounded with today’s knowledge and technology – a first.”

“Queen I is the debut album we always dreamed of bringing to you.”

Go to Queen’s official website for further details on the release.


THIN LIZZY Share Official Lyric Video For “Dublin” (Acoustic Version); Acoustic Sessions Album Out Now

THIN LIZZY Share Official Lyric Video For

Thin Lizzy is back with a fresh take on some of their most iconic tracks, marking their first new release in over four decades. This unique acoustic album reimagines beloved songs, offering a stripped-back sound that exposes the core of their songwriting. Original vocals from Phil Lynott are paired with brand-new guitar parts from founding member Eric Bell, creating an entirely new listening experience for fans.

Acoustic Sessions is out now via Decca. Watch a new lyric video for “Dublin” (Acoustic Version) below:

A new release trailer is streaming below:

Producer and mixer Richard Whittaker, working alongside Eric Bell, went to huge lengths to use the original tapes, vocals and instrumentation with the only new addition being Eric’s fresh acoustic guitar parts which were recorded with him in Belfast at the Oh Yeah! Centre Studios, a unique celebration of Irish artists and their craft.

Each track on the album is a freshly created version of songs featured on either the 50th-anniversary super deluxe editions of Vagabonds Of The Western World, considered Thin Lizzy’s breakthrough, alongside their self-titled debut and Shades Of A Blue Orphanage.

This album marks the first time since Bell’s exit that he has recorded under the Thin Lizzy name. Fans can now experience what might have been their “MTV Unplugged” moment—a chance to hear the band’s timeless music in its most intimate form.

The album is available in both CD and limited-edition marble vinyl formats, along with an ultra-limited vinyl edition featuring an exclusive bonus track.

Order here. For dedicated fans, a D2C edition includes an exclusive bonus track, “Slow Blues G.M,” a tribute to Gary Moore.

Tracklisting:

“Mama Nature Said” (Acoustic Version)
“A Song For While I’m Away” (Acoustic Version)
“Eire” (Acoustic Version)
“Slow Blues” (Acoustic Version)
“Dublin” (Acoustic Version)
“Whiskey In The Jar” (Acoustic Version)
“Here I Go Again” (Acoustic Version)
“Shades Of A Blue Orphanage” (Acoustic Version)
“Remembering Pt. 2” (Acoustic Version)
“Slow Blues G.M” (Gary Moore) (Acoustic Version)

“Slow Blues E.B” (Eric Bell Acoustic Version) lyric video:

“Whiskey In The Jar” (Acoustic Version) lyric video:

Album trailer:


BraveWords Records Announces New JACK STARR Solo Album; Out Of The Darkness Part II To Arrive In April; “Rise Up” Single Streaming

BraveWords Records Announces New JACK STARR Solo Album; Out Of The Darkness Part II To Arrive In April;

BraveWords Records is excited to announce the new Jack Starr solo album. Out Of The Darkness Part II will be released on April 25.

Jack Starr talking about the new album, “This is the album I always hoped I would make, one that would be filled with power and glory but also melodic and passionate at the same time. This is the sequel to my 1984 album Out Of The Darkness, and it truly is a worthy successor that I believe will be embraced with the same affection that greeted the original. So yes, Out Of The Darkness Part II is here, and I urge everyone to listen to it. Keep the metal burning.”

A visualizer video for “Rise Up” from the album can be found below.

Out Of The Darkness Part II tracklisting:

“Hand Of Doom”
“Endless Night”
“Into The Pit”
“Rise Up”
“Underneath The Velvet Sky”
“Tonight We Ride”
“The Night Has A Thousand Eyes”
“Sahara Winds”
“The Greater Good”
“Soulkeeper”
“Savage At The Gate” (Bonus Track)
“The Lesson” (Bonus Track)

“Rise Up” visualizer:

Lineup:

Giles Lavery – Vocals (Warlord, Alcatrazz)
Jack Starr – Lead Guitar
Eric Juris – Lead Guitar (Warlord)
Gene Cooper – Bass
Rhino – Drums (ex-Manowar)

Guests:

Mark Zonder – Drums (Warlord, ex-Fates Warning)
Jimmy Waldo – Keyboards (Alcatrazz, Warlord, New England)

– Produced and mixed by Thomas Mergler
– Co-Produced by Giles Lavery & Jack Starr

About Jack Starr:

Starr emerged on the rock and metal scene in 1981, forming, together with Joey Ayvazian, David DeFeis and Joe O’Rielly, the first incarnation of the heavy metal band Virgin Steele. The new band was selected in 1982 by Mike Varney of Shrapnel Records to appear on the label’s compilation album U.S. Metal Volume 2. After only two albums, Virgin Steele of 1981 and Guardians of the Flame of 1982, Starr left Virgin Steele in 1983.

In 1984, Starr started his solo recording career with the album Out Of The Darkness, featuring former Riot vocalist Rhett Forrester, members of The Rods and former Rainbow drummer Gary Driscoll. It was released in Europe by Music for Nations and was picked as one of the best albums of the year by the music magazines Kerrang! and Metal Forces.

Starr changed the name of his band to Jack Starr’s Burning Starr and between 1984 and 1989 he produced albums, both solo and with the band. The music of those albums was classic American eighties heavy metal, a style between Poison and Metallica. In 1989 the band dissolved and Starr joined short-lived bands like Strider and Smoke Stack Lightning.

In the following years, Starr once again assembled a group of musicians for a new incarnation of Burning Starr, which performed at the Magic Circle Festival 2008 and released the album Defiance on Manowar’s label Magic Circle Music in 2009. In 2011 they released Land of the Dead with Limb Music. The albums includes ex-Manowar guest musicians Ross the Boss and David Shankle. The band played at the 2013 Keep It True festival and recorded a DVD.

About BraveWords Records:

BraveWords Records has released albums by Paul Di’Anno’s Warhorse, The Chris Slade Timeline, Rhett Forrester and Rob Robbins, Prophets of Addiction and future releases from Lillian Axe, Crimson Glory and ASKA.

There is a serious void which desperately needs to be filled, hard-working and creative bands that have yet to find a partnership and a mutual vision with a professional team. The music-fuelled minds behind BraveWords Records, Brian Adams, Giles Lavery, Tim Henderson and Michael Brandvold, have built the ultimate home for an artist that will take you where you want to be. Collectively, with nearly 100 years of music industry experience under our belts, the BraveWords Records team will take care of all the crucial aspects of your project from global distribution (digital and physical), publicity and media coverage (web, radio, visual), social media blanketing and streaming opportunities (such as Streaming For Vengeance). Where most labels have forgotten the concept of actually marketing a release sensibly, BraveWords Records will construct a viable and comprehensive marketing plan, including visibility at BraveWords.com, which attracts a million visitors monthly. BraveWords Records has all senses on high alert as the music industry continues its never-ending transitioning, so the artist will always be aware of new opportunities to build their brand and strive for world domination. BraveWords will also have a focus on licensing film and TV content, both contemporary and retrospective across many genres. As artists and labels transition to the many new mediums available today for their work, BraveWords intends to stay ahead of the curve in providing and actively seeking opportunities for our roster of clients.

With the rapid spread of the world wide web, BraveWords.com was born in 2000 and quickly became the CNN of heavy metal. With its team of global writers and photographers, the site flourished with 24/7 updated news, features, reviews, audio and video steams.

For nearly 30 years, BraveWords wears their metal heart loudly on their sleeve, as they celebrate the greatest genre of music with the most dedicated and passionate fans on the planet!


“Maybe Tom Hanks wasn’t ready for Kneecap smoking a joint on the red carpet.” Kneecap brush off Oscars snub, announce Dublin arena show

kneecap
(Image credit: BENJAMIN CREMEL/AFP via Getty Images)

Kneecap‘s dream of walking down the red carpet at the 97th Academy Awards has ended, with the announcement of the Oscars nominations list. Having been long-listed in the Best International Feature and Original Song categories, the west Belfast hip-hop trio failed to make the final shortlist for either category, when the full list of nominees was revealed yesterday, January 23.

The band can take some consolation in the fact that their self-titled ‘heightened reality’ film is nominated for six BAFTA Fiilm Awards, and received 17 nominations from the Irish Film and TV Academy. The British Academy Film Awards are set to take place in London on February 16, while the IFTA awards ceremony will be staged at the Dublin Royal Convention Centre on February 14. Last year Kneecap, the film, received seven awards, including the top honour, Best British Independent Film, at the British Independent Film Awards

Posting on their social media channels following their Oscars snub, the outspoken group offered a tongue-in-cheek suggestion that voters might have been motivated by factors unrelated to the film’s merits, writing, “Fuck the Oscars. Free Palestine” as a caption above a ‘doctored’ image of a left-wing political pamphlet from the 1990s – titled ‘The British Media and Ireland’ – which sought to analyse British media coverage of Ireland affairs, and concluded that Irish voices were often silenced.


Speaking with Louder late last year, DJ Próvaí joked, “if we win an Oscar, we’ll take it to Cash My Gold, melt it down and get some gold teeth made.”

“Maybe Tom Hanks wasn’t ready for Kneecap smoking a joint on the red carpet,” the film’s director Richard Peppiatt joked to The Guardian in the wake of the Oscars nominations announcement. “They didn’t get their big moment. I am not ecstatic, but we’ve achieved far beyond what we could have expected a year ago. It’s a controversial film, but we will go again and next time we will get there. We have the Baftas and Iftas [Irish film and TV awards] to come. I think this is an amazing moment for the local, indigenous industry.”

Kneecap can also look forward to another big night out later this year, having today announced a huge arena show In Ireland. The Northern trio will play Dublin 3Arena on December 17, having already sold out their summer show in the city at Fairview Park. Tickets for the 3Arena show go on sale at 10am on January 31l, and will be available here.

The band are also set to play a number of UK shows this year, most notably a headline show at the Wide Awake festival in London on May 23. They are currently working on their second album, with producer Toddla T.

The latest news, features and interviews direct to your inbox, from the global home of alternative music.

A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.

“Three guitars? I don’t get that. I’ll step down!” Iron Maiden fans rejoiced when Bruce Dickinson and Adrian Smith came back – but one member almost quit because of it

Bruce Dickinson and Adrian Smith rejoining Iron Maiden in 1999 kickstarted one of the greatest comebacks in heavy metal history. Re-endowed with two classic members (not to mention two top-notch songwriters), the metal legends quickly bounced from their leanest times back to festival headliner status. But the road to redemption was rocky.

Maiden bassist, founder and lead composer Steve Harris has already confessed that getting frontman Bruce back after he shed rank in 1993 was a hard sell. In 2004 biography Run To The Hills, he admitted that it was a reluctant case of “better the devil you know”. Plus, as it turns out, drummer Nicko McBrain had his own reservations about the 80s-era reunion – except they were directed at returning guitarist Adrian.

As far as we know, Nicko’s never had personal problems with Adrian. Not only had their respective stints in Maiden overlapped by more than half a decade at that point, but they both come across as loveable London scamps. What was daunting to the drummer was the idea of Maiden’s two-guitar attack, then dished out by Dave Murray and Janick Gers, expanding to include a trio of axes.

“I’ve got to be honest with you – when I was first told, I was sitting in a sake bar in Roppongi, Japan, with Rod [Smallwood, Maiden’s longtime manager] and Janick,” he reflected during a 2018 interview with Classic Rock. “And Rod turned round and told me that Adrian was coming back with Bruce, what did I think about it? And I went: ‘Fuck me.’ I said: ‘I don’t think that’s a good idea.’”

As Nicko continued, he revealed that he was so confused by the idea of Maiden expanding to a six-piece that he threatened to quit outright. “And I said, ‘We’re traditionally a two-guitar band. Three guitars? I don’t get that. I’ll step down.’”

Fortunately Rod, having by this time managed the drummer for 15 years, instantly called his bluff. “And Rod said, ‘No, you won’t. You’re not going anywhere, mate.’”

Nicko concluded the reflection by retelling the wisecrack he gave to Rod, joking about how he now needed to pay a whole other person. “Then I looked at Rod – and this is the God’s honest truth – and I said, ‘By the way, are you going to cut your commission down?’ And he said, ‘What the fuck do you mean, cut me bloody commission down?’

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“And I said, ‘Well, there’s six of us in the band to be paid now.’ He just looked at me: ‘Fucking typical drummer!’”

Of course, the Bruce and Adrian reunion paid dividends almost instantly. The setlist for the tandem’s first tour back, 1999’s Ed Hunter run, was jammed with classics not pulled out in more than a decade. Then, 2000’s Brave New World was hailed as their best, most ambitious undertaking since Seventh Son Of A Seventh Son 12 years prior.

The 2002 Rock In Rio live album reaffirmed that Maiden were back at the best, and their reunion lineup continued to impress together until late last year, when Nicko retired from the stage age 72, almost two years after suffering a mini-stroke. The drummer even stated in that 2018 interview that Bruce and Adrian’s comeback saved the band.

“Really, if that hadn’t happened, I don’t know whether you and I would be having this conversation,” he said. “We are very blessed that Bruce came back. We pushed all of our angst aside. We wiped the slate clean and we got on with it.”

Iron Maiden – Brave New World (Live at Rock in Rio 2001) – YouTube Iron Maiden - Brave New World (Live at Rock in Rio 2001) - YouTube

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Cool new proggy sounds from Frost*, Dim Gray, Klone and more in Prog’s new Tracks Of The Week

Prog Tracks 24/1
(Image credit: Press)

Welcome to and all new Tracks Of The Week. Six brand-new and diverse slices of progressively inclined music for you to enjoy.

First up, massive congratulations to multi-national prog quintet Seventh Station, who basically battled it out all week with Scots prog metallers Tiberius, pipping them right at the last, and with Don Airey’s new solo single in third place.

The premise for Tracks Of The Week is simple – we’ve collated a batch of new releases by bands falling under the progressive umbrella, and collated them together in one post for you – makes it so much easier than having to dip in and out of various individual posts, doesn’t it?

The idea is to watch the videos (or listen if it’s a stream), enjoy (or not) and also to vote for your favourite in the voting form at the bottom of this post. Couldn’t be easier could it?

We’ll be bringing you Tracks Of The Week, as the title implies, each week. Next week we’ll update you with this week’s winner, and present a host of new prog music for you to enjoy.

If you’re a band and you want to be featured in Prog‘s Tracks Of The Week, send your video (as a YouTube link) or track embed, band photo and biog to us here.

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FROST* – WESTERN ATMOSPHERE

Jem Godfrey sprung a surprise on all Frost* fans earlier this week with the surprise release of a standalone single, Western Atmosphere. The track, which featured as a bonus track on the Japanese edition of the band’s recent Life In The Wires album was recorded with a totally different line-up, with Jem joined by Randy McStine (Steven Wilson, Porcupine Tree – live guitarist), Mike Keneally (Devin Townsend) & Nick D’Virgilio (Big Big Train). It certainly makes for interesting listening.

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“I sometimes wonder what would have happened had I stayed in bed 10 minutes longer than I did on Monday 11th of January 2010,” laughs Godfrey. “Perhaps my life would have gone in a completely different direction and Frost* would have ended up with the lineup of myself on keys, vocals and bass, Mike Keneally on guitar, Nick D’Virgilio on drums and Randy McStine on guitar and vocals. We’ll never know, I guess.”

Frost* – Western Atmosphere – YouTube Frost* - Western Atmosphere - YouTube

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KLONE – UNSEEN

French prog rock sextet Klone’s most recent album, The Unseen, has been winning deserved plaudits for the band, as indeed they received for previous albums Le Grand Voyage (2019) and Meanwhile (2023). Big on atmospherics and with Yann Ligner soulful and impassioned vocal performances, they really deserve to be so much bigger. Here’s hoping the wider prog community wakes up to their charms soon…

“It’s a contemplative piece which takes time to fully open up,” Ligner explains of the title track from the recent album. “Musically, we tried to strike a delicate balance between melancholy and optimism and lyrically I tried to reflect the fleeting beauty of a vulnerable nature and, as such, the importance of embracing the present moment; whatever it may bring.”


DIM GRAY – FEATHERS

Norwegian art-rockers Dim Gray show their reflective side on new single Feathers, which is taken from the band’s upcoming third album, Shards, whch the band release on their own Dim Gray Records on February 28. The band’s earlier single Peril, also from the forthcoming album, picked up the accolade for Prog‘s Tracks Of The Week towards the end of last year, so undoubtedly hopes are high for their latest…

“I wrote Feathers when I was 20,” explains lead vocalist/keyboardist Oskar Holldorff, who also moonlights in Big Big Train. “Back then I thought it was the best song I had written, but it didn’t match with what we were trying to do with Dim Gray. However, I revisited the song a couple of years ago and tried to rework it into a more streamlined track, while preserving its original spirit. The band really brought the song to life; and the size of the choruses and bridge really shows the punch we now pack as a five-piece. I also had the great honour of working on this song with one of my favourite producers, Lars Horntveth, who inspired reharmonisation of parts of the song which helps keep the listener on their toes.”

Dim Gray – Feathers (lyric video) – YouTube Dim Gray - Feathers (lyric video) - YouTube

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PENELOPE TRAPPES – RED DOVE

Brighton-based Australian vocalist, producer, and multi-instrumentalist Penelope Trappes takes listeners on an intriguing journey. Red Dove was written following what she refers to as an “Armageddon dream” that ended with the vivid image of a boy holding a red dove. Trappes felt like this dream was about humanity becoming numb, stripped of emotion, and lost in their pain. The accompanying video, from Agnes Haus was inspired by a Werner Herzog documentary. Trappes releases her fifth full-length album A Requiem through One Little Independent on April 4.

“I felt like this dream was about humanity becoming numb, stripped of emotion, and completely lost in their pain,” Trappes explains. “Sleepwalking. Swallowing the Bitter Pill. The general acceptance of destructive, violent and toxic social norms. The Red dove being a conduit of the world’s negativity, yet held peacefully in the hands of an innocent child.”

Penelope Trappes – Red Dove (Official Video) – YouTube Penelope Trappes - Red Dove (Official Video) - YouTube

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MISSION JUPITER – HUMAN NATURE

Belarusian trio Mission Jupiter, who have previously featured in Tracks Of The Week, share another new single, Human Nature, ahead of the release of their latest album Aftermath, which is scheduled for release this Spring. The new song displays the far-reaching appeal of the band who mix atmospheric prog, the darker undercurrents of Cocteau Twins and up-tempo alternative metal into their sound. “It isn’t hard to imagine Adele having a hit with this,” muses the band’s label, and to be honest, it’s hard to disagree.

“People tend to be divided and not to look beyond their own doorstep, which is a major problem,” the band say. “This song asks if we are able to be less selfish and greedy to try and overcome this typical aspect of human nature, or at the very least attempt to be better?”

Mission Jupiter – Human Nature (demonstration) – YouTube Mission Jupiter - Human Nature (demonstration) - YouTube

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LIQUID BEAR – HEADLESS

Young French quartet Liquid Bear describe themselves as “a new kind of prog rock” and it’s not difficult to see what they mean with latest single Headless. Whilst words like that probably strike fear into the heart of the purist, this is the future. Young bands inspired by our heroes – in this case largely King Crimson, and creating vibrant new rock music of a very proggy persuasion. The band have released two EPs thus far and their debut album, Second Life, is released on February 7.

Second Life explores various aspects of the construction of our individuality and the influences of our social environment,” the band state.

Liquid Bear – Headless (Official Music Video) – YouTube Liquid Bear - Headless (Official Music Video) - YouTube

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Writer and broadcaster Jerry Ewing is the Editor of Prog Magazine which he founded for Future Publishing in 2009. He grew up in Sydney and began his writing career in London for Metal Forces magazine in 1989. He has since written for Metal Hammer, Maxim, Vox, Stuff and Bizarre magazines, among others. He created and edited Classic Rock Magazine for Dennis Publishing in 1998 and is the author of a variety of books on both music and sport, including Wonderous Stories; A Journey Through The Landscape Of Progressive Rock.

Billy Gibbons Launches Solo Tour: Set List, Video

Billy Gibbons kicked off his solo tour with the BFGs on Jan.17, playing the first of several shows at the Blue Note Hawaii in Honolulu. Since then, he’s played seven more shows, including three at the Blue Note in Napa, California.

On Jan. 22 in Napa, Gibbons’ set focused on mostly ZZ Top songs, including classics like “Sharp Dressed Man,” “Gimme All Your Lovin'” and “Just Got Paid,” plus covers of “Foxy Lady” by the Jimi Hendrix Experience, “Pipeline” by the Chantays and “Wine, Wine, Wine” by the Nightcaps.

You can view a complete set list from Napa, plus fan-filmed footage from the show, below.

From here, Gibbons’ tour will make stops in places like Phoenix, Cleveland, Chicago and over a dozen more.

ZZ Top’s Upcoming Tour

Once Gibbons’ solo tour concludes on Feb. 20 in Bristol, Tennessee, he’ll have a little less than two weeks before hitting the road again with ZZ Top. The band’s 2025 Elevation Tour will begin on March 5 in Dothan, Alabama.

READ MORE: How ‘Sharp Dressed Man’ Remade ZZ Top as Kings of Cool |

“Each group, ZZ and the BFG’s serve up different players, different approaches and modestly different sounds. That diversity offers a chance for us all to stretch out a bit and do some things that somehow work spontaneously supernaturally within,” Gibbons explained in a recent interview with The Press Democrat. “Performing with ZZ Top is like being out with great friends; The BFG’s experience is like going local, not having previously stepped down any particular avenue. It generates a reward to chasing curiosity!”

Watch Billy Gibbons and the BFGs Perform ZZ Top’s ‘Just Got Paid’ in Napa, California

Watch Billy Gibbons and the BFGs Perform ZZ Top’s ‘Sharp Dressed Man’ in Napa, California

Watch Billy Gibbons and the BFGs Cover the Jimi Hendrix Experience’s ‘Foxy Lady’ in Napa, California

Billy Gibbons and the BFGs, 1/22/25, Blue Note, Napa, California, Set List:
1. “Q-Vo”
2. “Waitin’ for the Bus” (ZZ Top cover)
3. “Jesus Just Left Chicago” (ZZ Top cover)
4. “Gimme All Your Lovin'” (ZZ Top cover)
5. “Cheap Sunglasses” (ZZ Top cover)
6. “I Got Love If You Want It” (Slim Harpo cover)
7. “Blue Jean Blues” (ZZ Top cover)
8. “Foxy Lady” (The Jimi Hendrix Experience cover)
9. “Certified Blues” (ZZ Top cover)
10. “Francine” (ZZ Top cover)
11. “Nasty Dogs and Funky Kings” (ZZ Top cover)
12. “Just Got Paid” (ZZ Top cover)
13. “Sharp Dressed Man” (ZZ Top cover)
14. “Brown Sugar” (ZZ Top cover)
15. “La Grange” (ZZ Top cover)
16. “Pipeline” (The Chantays cover)
17. “Wine, Wine, Wine” (The Nightcaps cover)
18. “Thunderbird” (ZZ Top cover)

2025 Rock Tour Preview

Why Syd Barrett’s ‘The Madcap Laughs’ Took So Long to Make

Syd Barrett left Pink Floyd in 1968, but it would be another two whole years until his debut solo album, The Madcap Laughs, would be released in the U.K.

Two years may not sound like all that much time, but considering how prolific he had been for much of the ’60s — he wrote or co-wrote all but one song on Pink Floyd’s first album, The Piper at the Gates of Dawn, for example — the delay seemed unusual.

On the other hand, the gap made sense given Barrett’s erratic behavior and difficulty focusing in the studio. Even today, years after his death, Barrett’s exact condition is debated by people who knew him — psychedelic drugs no doubt played a role — but one thing was clear: his mental health, at that point, had taken a turn for the worse and it affected his ability to work efficiently.

The Beginning of ‘The Madcap Laughs’

Work on The Madcap Laughs began in May of 1968, the month after Barrett’s departure from Pink Floyd was formally announced. For the band, Barrett’s increasing unreliability — destroying equipment, not showing up to gigs — had become too much of a problem in terms of both recording music and performing it live. Removing him from the group seemed the most sensible option for everyone involved.

“How could we possibly survive?” Roger Waters would rather bluntly recall in a 2022 interview. “If the guy who writes the songs in the band goes crazy, you’re f*****, basically.”

Attempt Number One

If it had been up to Barrett, he may not have continued with a solo career at all, but at the behest of EMI Records, plus Peter Jenner and Andrew King from Pink Floyd’s management, who had also left the group, he reentered the studio. For a handful of months, they tried to record new songs, but Barrett’s capacity for consistent focus was limited.

“I was hoping that it would get finished,” Jenner recalled in a 2014 interview, “but with Syd it was really bits and pieces that would come through, bits of songs and bits of riffs and bits of lyrics. They would just come and then they would go and occasionally they would came back again. … It was incredibly frustrating.”

Listen to Syd Barrett’s ‘Terrapin’ 

Unfortunately, things came to a halt around July of 1968 when Barrett and his girlfriend Lindsay Corner broke up. As the story goes, Barrett went on a drive around Britain and ended up in psychiatric care in Cambridge, the city he was born in.

Attempt Number Two

After a period of recuperation, Barrett contacted EMI, who tasked Malcolm Jones, head of their new prog rock label, Harvest, to resume work on the The Madcap Laughs. This too would ultimately prove a fraught endeavor.

These sessions began in April of 1969 and several of the tracks started with Jenner were improved upon. Jones would later recall that at this point, Barrett “seemed very together — in contrast to all the rumors circulating at the time.” Within five hours, the two of them put down vocal and guitar tracks for four new songs and two old ones, with Jones finding that the swifter they worked, the more focused Barrett was.

READ MORE: When Syd Barrett Played His Last Show With Pink Floyd

Things moved along smoothly, with more sessions taking place and friends of Barrett’s, including Jerry Shirley of Humble Pie and Willie Wilson of Joker’s Wild, coming in to contribute parts. It appeared, finally, that considerable progress was being made. The primary problem, as session musician Robert Wyatt would later recall, was that Barrett didn’t have much of a specific vision for the album.

“He was very, very easygoing,” Wyatt said. “So easygoing that you didn’t necessarily know what he wanted, or whether he was pleased with it or not, because he seemed quite pleased with what you did. I think possibly he may have suffered as well from moving into the world of commercial culture, as [Pink Floyd] did. I think it might have been very confusing for him. Being an artist, working in an attic, to us — this may be a silly illusion, it’s just a silly romantic dream, just like being a pop star. But I don’t [think] his romantic dreams were anything to do with the responsibilities of commercial pop stardom.”

And then things changed again. Barrett told his roommate he was off for a drive, but instead he followed Pink Floyd to Ibiza, where he asked David Gilmour for help on the album. Jones’ services would no longer be required.

Attempt Number Three

This is how it came to be that both Gilmour and Waters lent their hands to The Madcap Laughs as producers. Gilmour had already taken an interest in what Barrett was working on, though at that time Pink Floyd was in the process of making Ummagumma, and EMI only granted Barrett a deadline extension on the condition that the album be finished on the double. It left little room for deliberation or patience.

Listen to Syd Barrett’s ‘Octopus’

“[These sessions] were pretty tortuous and very rushed,” Gilmour told Record Collector in 2003. “Syd was very difficult, we got that very frustrated feeling: Look, it’s your f****** career, mate. Why don’t you get your finger out and do something? The guy was in trouble, and was a close friend for many years before then, so it really was the least one could do.”

After just a handful of sessions, spread out on account of Pink Floyd’s own recording responsibilities and tour commitments, The Madcap Laughs was finally completed after over a year of studio time.

The Release of ‘The Madcap Laughs’

When The Madcap Laughs was released in January of 1970, the reception was relatively quiet. Though it did reach No. 40 on the U.K. charts, it didn’t sell very well, and critical reviews of it often noted that for every fun, whimsical song, there was also a jarring, confusing one.

Barrett was mostly pleased, if a bit ambivalent.

“Yes, I liked what came out, only it was released far too long after it was done,” he lamented in a subsequent interview. “I wanted it to be a whole thing that people would listen to all the way through with everything related and balanced, the tempos and moods offsetting each other, and I hope that’s what it sounds like. I’ve got it at home, but I don’t listen to it much now.”

In the end, the lengthy amount of time in the studio confirmed what a number of people, including Barrett himself, already understood: there would be no real getting to the bottom of a musician whose artistic intent seemed somehow too big for the world he inhabited, much less the studio he made The Madcap Laughs in.

“I don’t think I’m easy to talk about. I’ve got a very irregular head,” Barrett told Rolling Stone in 1971. “And I’m not anything that you think I am anyway.”

Listen to Syd Barrett’s ‘Late Night’

Pink Floyd Solo Albums Ranked

A ranking of solo albums by members of Pink Floyd, listed from worst to best.

Gallery Credit: Nick DeRiso

Watch Trailer for New Sly Stone Documentary

Watch Trailer for New Sly Stone Documentary
Michael Ochs Archives, Getty Images

Hulu has released a trailer for its upcoming Sly Stone documentary, titled Sly Lives! (aka The Burden of Black Genius).

The two-minute promo, available below, comes ahead of the movie’s release via the streaming service on Feb. 13.

With the exception of archive footage, Stone himself doesn’t appear in the movie, which includes new interviews with the musician’s children and some former bandmates, plus artists including Nile Rodgers, George Clinton, Chaka Khan, Vernon Reid and André 3000.

READ MORE: How Sly and the Family Stone Defined an Era With ‘Stand’

“From Ahmir ‘Questlove’ Thompson, the Oscar-Winning Director of Summer of Soul, i examines the life and legacy of Sly & The Family Stone, the groundbreaking band led by the charismatic and enigmatic Sly Stone,” a statement read.

“This film captures the rise, reign and subsequent fadeout of one of pop music’s most influential artists, but also shines a light on how Black artists in America navigate the unseen burden that comes with their success.

Sly Stone’s Self-Destructive Behavior Left Him Unable to Work

“Drawing from his own personal experience and relationships, Questlove tells an empathetic human story about the cost of genius, reframing the way we all engage with pop culture.”

The movie doesn’t avoid Stone’s self-destructive behavior at the height of his career, which has left him unable to work in recent years. “I have trouble with my lungs, trouble with my voice, trouble with my hearing and trouble with the rest of my body too,” he admitted in 2019, when he was 80 years old.

He added that his issues “haven’t stopped me from hearing music, but they have stopped me from making it,” noting: “I can hear music in my mind.”

Sly Lives! (aka The Burden of Black Genius) Trailer

Sly and the Family Stone Albums Ranked

They leveraged radio-friendly, era-equipped soul-pop music at the turn of the ’70s to become one of the most influential groups from the period.

Gallery Credit: Michael Gallucci

More From Ultimate Classic Rock

Rock’s Legendary Concert Venues: Then and Now Photos

Rock’s Legendary Concert Venues: Then and Now Photos
Getty Images / YouTube / UCR

From state of the art stages, to dingy dive bars, music venues continue to play a special role in rock history.

The best venues have been those that offer something no other location can. They create a distinct environment of their own, enhancing the experience for any concertgoer walking through the door.

Many of rock‘s most legendary clubs helped catapult musicians to stardom. Such was the case for Southern California’s famed Sunset Strip, featuring such revered locations like the Troubadour and the Whisky a Go Go, both of which were integral in launching multiple generations of rock stars ranging from the Eagles to Guns N’ Roses.

READ MORE: Top 15 Sunset Strip Bands Ranked

On the opposite side of the country, New York has enjoyed its fair share of iconic venues. Whether it was the raw aggression found at CBGB or the fashionable glam rock at Max’s Kansas City, the city that never sleeps produced plenty of legendary locales. Likewise, Seattle clubs became ground zero of the grunge revolution, while Washington D.C. emerged as a breeding ground for punk’s second wave.

Some famous venues have weathered the storm and continue to host concerts decades after originally opening. Others have changed locations or undergone modern facelifts, while many more been relegated to the history books, with cafes, banks and – in one case – a theme park, opening where they once stood. Here’s a look at 10 famous classic rock venues, then and now.

Famous Rock Venues: Then and Now

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