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Brian Kachejian 40 seconds ago

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Chappell Roan found herself in a career-defining moment on Sunday night as she took the stage alongside Elton John at his annual Oscars viewing party, an event known for its blend of star power and philanthropy. The Midwest-born rising pop star joined the legendary singer for an unforgettable night of music, celebration, and advocacy at the Elton John AIDS Foundation’s Academy Awards fundraiser. As John juggled his hosting duties with his own Oscar nomination for Best Original Song, he also took the time to spotlight Roan, a fast-rising voice in pop music who has embraced her role as a beacon for self-expression and LGBTQ+ representation.

Roan delivered a vibrant performance that included her dancefloor-ready anthem “Hot To Go” before slowing things down with a heartfelt rendition of John’s classic “Your Song.” The highlight of the evening, however, came when she and John teamed up for an emotional duet of “Don’t Let the Sun Go Down on Me.” As their voices intertwined, the moment became more than just a performance—it was a symbolic passing of the torch from one generation of queer artistry to the next.

Before the night wrapped up, Roan made sure to show her appreciation, presenting John with a pink cowboy hat—an emblem of her signature flamboyant aesthetic. In a heartfelt tribute, she acknowledged his lifelong advocacy for LGBTQ+ rights and the impact he has had on artists like herself. “You have sacrificed so much for the queer community and you made it so I can be the artist I can be,” she told him, her words met with cheers from the audience.

The grand finale saw the duo dive into Roan’s breakout hit, “Pink Pony Club,” turning the venue into a scene of pure joy. John, sporting his newly gifted pink hat, joined in on the choruses and danced alongside Roan, creating a euphoric energy that resonated far beyond the event itself. Fans watching from social media were quick to point out the generational significance of the moment, with many commenting on how John, a trailblazer in LGBTQ+ visibility, seemed to revel in seeing Roan thrive in a world that he helped make more accepting.

John later took to Instagram to reflect on the night, sharing a clip of their duet and calling it “nothing short of magical.” He described the event as a night where West Hollywood Park was transformed into “our own Pink Pony Club—a space filled with love and community, where everyone can be unapologetically themselves.”

Beyond the star-studded spectacle, the night carried a deeper significance. The event raised more than $8.6 million for the Elton John AIDS Foundation, funding crucial HIV prevention, treatment, and mental health services. John’s husband and foundation chairman, David Furnish, emphasized the importance of the contributions, expressing gratitude to everyone who attended and donated. “Because of your generosity, we were able to celebrate with purpose, helping communities around the world access life-saving HIV prevention, treatment, and mental health support,” Furnish wrote in a statement.

The performances, especially Roan’s duet with John, quickly spread across social media, capturing the hearts of fans who recognized the weight of the moment. One TikTok commenter summed it up: “The way he’s watching her with so much pride—like yeah, dude, you helped pave the way for this. Can’t imagine how emotional he must feel.” Another echoed the sentiment on X, writing, “You just know as a queer elder, Elton John is so happy to see how far our community has come since he was her age. Seeing Chappell dominate music must make his heart so happy.”

For Roan, the night marked not only a milestone in her career but also a validation of the artistic and personal identity she has fiercely embraced. For John, it was another reminder of the legacy he has built—not just in music, but in creating space for artists like Roan to shine without fear. And for those who witnessed it, either in the crowd or through the glow of their screens, it was a moment of pure magic—one that will be remembered long after the Oscars have faded into history.

If you love Elton, we have plenty more……… Check out our fantastic and entertaining Elton John articles all on ClassicRockHistory.com

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Top 10 Elton John Love Songs
A Look At Elton John’s Christmas Songs
Top 100 Elton John Songs
Top 10 Elton John Albums
Top 10 Elton John Album Covers
10 Best Non-Album Track Elton John B Sides
Top 10 Elton John Non-Album Singles
Elton John Discography and Retrospective
Why Elton John’s Captain Fantastic Album Was So Great
Why Elton John’s Honky Château Was A Turning Point
Elton John’s Beautiful “Cage The Songbird,” Featured Crosby & Nash
Elton John’s “White Lady White Powder,” Featured The Eagles (Classic Rock Gems Series)
Elton John’s Retirement Seems Genuine This Time
Why Elton John’s Looking Up is His Best Single in Years
Elton John’s mesmerizing performance of Tiny Dancer in 1971
Elton John Releases New Documentary On Lockdown Sessions
Elton John & Ed Sheeran Hit # 1 with ‘Merry Christmas’ Single
Why Elton John’s Don’t Shoot Me I’m Only the Piano Player Was One Of His Most Melodic LPs
Elton John’s Honky Château Album Gets Deluxe 50th Anniversary Reissue
Why There Were Many Overlooked Gems On Elton John’s Caribou LP

And let’s not forget Chappell Roan

Complete List Of Chappell Roan Songs From A to Z

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

Elton John And Chappell Roan’s Duet at Oscars Party Goes Viral article published on Classic RockHistory.com© 2025

About The Author

Brian Kachejian

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Brian Kachejian was born in Manhattan and raised in the Bronx. He is the founder and Editor in Chief of ClassicRockHistory.com. He has spent thirty years in the music business often working with many of the people who have appeared on this site. Brian Kachejian also holds B.A. and M.A. degrees from Stony Brook University along with New York State Public School Education Certifications in Music and Social Studies. Brian Kachejian is also an active member of the New York Press.

The Doors began in Los Angeles, California, in 1965 when Jim Morrison and Ray Manzarek, who had met at UCLA’s film school, decided to form a band. They were soon joined by guitarist Robby Krieger and drummer John Densmore, completing the classic lineup. The band released their self-titled debut album in 1967, featuring the hit single “Light My Fire,” which propelled them to national fame. Over the next few years, The Doors released six studio albums with Morrison, all of which charted on the Billboard 200, including Strange Days (1967), Waiting for the Sun (1968), The Soft Parade (1969), Morrison Hotel (1970), and L.A. Woman (1971). Known for Morrison’s poetic lyrics and the band’s blend of rock, blues, and psychedelia, The Doors became one of the most successful American bands of the era.

Following Morrison’s death in 1971, the remaining members attempted to continue as a trio, releasing two more albums, Other Voices (1971) and Full Circle (1972), with Manzarek and Krieger taking over vocal duties. However, they disbanded in 1973, unable to sustain the same level of success. The Doors’ legacy continued to grow over the decades, with posthumous releases, live albums, and compilations keeping their music in circulation. The band’s influence was reinforced by the 1991 Oliver Stone-directed film The Doors, which introduced their music to a new generation.

The surviving members reunited in various forms throughout the years, including the short-lived “Doors of the 21st Century” in the early 2000s with Ian Astbury of The Cult on vocals. The Doors were inducted into the Rock and Roll Hall of Fame in 1993 and have sold over 100 million records worldwide. Their impact remains significant, with their albums frequently ranking among the greatest in rock history. Below is a detailed breakdown of each member, their contributions to the band, and their work outside of The Doors.

Jim Morrison

Jim Morrison was the lead singer and primary lyricist of The Doors from the band’s inception in 1965 until his death in 1971. He was the driving creative force behind many of their most famous songs, including “Break On Through (To the Other Side),” “The End,” and “Riders on the Storm.” His poetic and often provocative lyrics, combined with his unpredictable stage presence, helped define The Doors’ image and sound. Morrison contributed to all six studio albums released during his lifetime: The Doors (1967), Strange Days (1967), Waiting for the Sun (1968), The Soft Parade (1969), Morrison Hotel (1970), and L.A. Woman (1971). His deep involvement in the songwriting process and vocal performances made him one of the most recognizable frontmen in rock history.

Outside of The Doors, Morrison explored poetry and filmmaking. He published two volumes of poetry, The Lords and the New Creatures (1970) and An American Prayer (1978, posthumously set to music by The Doors). He also directed experimental short films, including HWY: An American Pastoral (1969). His fascination with literature, particularly the works of Arthur Rimbaud and William Blake, influenced his lyrical style. Morrison’s sudden death in Paris in 1971 at the age of 27 left a lasting mystery and fueled his legend.

Even after his passing, his influence endured, with numerous books, films, and tribute albums celebrating his legacy. His recorded vocals were later used in An American Prayer (1978), which combined spoken word poetry with new instrumental backing from his former bandmates. Morrison remains a cultural icon, often cited as one of the greatest rock vocalists of all time.

Ray Manzarek

Ray Manzarek was The Doors’ keyboardist and one of its founding members, playing with the band from 1965 until its initial disbandment in 1973. He was instrumental in crafting the band’s signature sound, often using his Fender Rhodes keyboard bass to cover basslines in lieu of a bassist. His classically influenced playing style was particularly prominent in songs like “Light My Fire,” “Riders on the Storm,” and “L.A. Woman.” Manzarek contributed to all eight of The Doors’ studio albums, from The Doors (1967) to Full Circle (1972), taking on lead vocals on several tracks after Morrison’s passing.

Following The Doors’ breakup, Manzarek pursued a solo career, releasing albums such as The Golden Scarab (1974) and The Whole Thing Started with Rock & Roll Now It’s Out of Control (1974). He also collaborated with numerous artists, including Iggy Pop, Philip Glass, and Echo & The Bunnymen. In the early 2000s, he co-founded The Doors of the 21st Century with Robby Krieger, later renamed Manzarek-Krieger, which performed Doors classics with various guest vocalists.

Manzarek also became an author, publishing his memoir Light My Fire: My Life with The Doors in 1998. He remained active in music and literature until his death in 2013. His influence on rock keyboard playing remains widely recognized, with his unique approach shaping countless bands in the genre.

Robby Krieger

Robby Krieger was the guitarist and songwriter for The Doors from their formation in 1965 until their initial disbandment in 1973. He contributed some of the band’s most well-known songs, including “Light My Fire,” “Love Me Two Times,” “Touch Me,” and “Love Her Madly.” His flamenco-inspired fingerpicking and blues-influenced electric guitar work were key elements in The Doors’ distinct sound. Krieger played on all eight studio albums, from The Doors (1967) to Full Circle (1972), and shared vocal duties on the band’s post-Morrison releases.

After The Doors, Krieger pursued a solo career, releasing jazz-influenced albums such as Robby Krieger & Friends (1977) and No Habla (1989). He also formed The Butts Band with John Densmore, which released two albums in the mid-1970s. Krieger remained active in music, working with artists like Blue Öyster Cult and participating in numerous Doors reunions.

In the 2000s, he performed extensively with Manzarek in the Manzarek-Krieger group, keeping The Doors’ music alive for new audiences. Krieger has continued to tour and record, further cementing his reputation as a versatile and accomplished guitarist.

John Densmore

John Densmore was The Doors’ drummer from 1965 to 1973, known for his jazz-inspired drumming style that brought a distinctive rhythmic approach to the band’s sound. His contributions were evident on all eight studio albums, including The Doors (1967), Morrison Hotel (1970), and L.A. Woman (1971). Densmore’s dynamic playing can be heard on tracks like “Break On Through (To the Other Side)” and “The End,” where his ability to shift between rock, jazz, and Latin rhythms added depth to The Doors’ compositions.

After The Doors disbanded, Densmore co-founded The Butts Band with Krieger, releasing two albums before moving on to other projects. He also wrote the best-selling memoir Riders on the Storm (1990), offering an insider’s perspective on the band’s rise and Morrison’s struggles. Unlike Krieger and Manzarek, Densmore declined to participate in later reunion tours, opting instead to protect the band’s legacy through legal action against commercial exploitation of their music.

Densmore has remained active in music and theater, composing and performing in various productions. His contributions to The Doors’ catalog and his commitment to artistic integrity have made him a respected figure in rock history.

Check out more Doors articles on ClassicRockHistory.com Just click on any of the links below……

The Doors Most Underrated Songs

The Doors Albums Ranked

Top 10 The Doors Album Covers

Complete List Of The Doors Albums And Discography

The Doors : Artist Profile

Top 10 Doors Songs

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

Complete List Of The Doors Band Members article published on Classic RockHistory.com© 2025

In 1984 Clannad released one of their best-known albums. Legend was the soundtrack to the cult TV show Robin Of Sherwood and helped them become the first Irish band to scoop a BAFTA. Forty years on it was lovingly expanded with previously unreleased material, and performed at London’s Royal Albert Hall as the band’s farewell show. Prog took a journey through Sherwood Forest with Moya and Pól Brennan to uncover the story behind the album that made them household names.

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When Pól Brennan returned to his family band – 21 years after leaving to work with Peter Gabriel at Real World Studios – he had a specific ambition in mind. It took Clannad a further 13 years to realise that ambition, and it may be the last thing they’ll ever do.

The Irish group – Pól’s sister Moya, brother Ciarán and late uncles Pádraig and Noel Duggan – first turned heads in the wider world with 1982’s Theme From Harry’s Game: a haunting, dark, close-harmony ode for the TV series that lamented Ireland’s Troubles. The first Gaelic hit single outside their own country, it proved to be a levelling-up experience along with its parent album, 1983’s Magical Ring.

The most immediate result was an invitation to do more TV work. Screenwriter Richard ‘Kip’ Carpenter – known for creating golden-era British shows Catweazle, The Ghosts Of Motley Hall and The Boy From Space for the BBC’s Look And Read educational strand – wanted to retell the Robin Hood myth in a deeply different manner from his Hollywood predecessors.

He, producer Paul Knight and director Ian Sharp had been intrigued by Harry’s Game, and Magical Ring – featuring a balance of traditional folk and Clannad’s with new synthed-up direction – soon became essential listening as they put together future cult TV show Robin Of Sherwood.

“I was suspicious when the idea came in,” Pól tells Prog, taking a break from pre-production ahead of their recent celebratory concert at London’s Royal Albert Hall. “But when they told us what they were planning, it sounded really interesting.”

Moya loved the idea from the start. “It’s about someone becoming a hero and helping the poor – you’ve got to love it!” she says. Her interest was only to increase as the project continued.

Agreements made, work began in London’s Trident studios in October 1983 with Tony Clarke, who’d produced the first eight Moody Blues albums and also tried to have King Crimson signed to the Moodies’ record label. “Tony really climbed in with us for the whole thing – in with the music, in with trying things,” Moya says.

We each took characters; I went for Herne the Hunter, Ciáran did Lady Marian. We were picking out moods that could work

“Tony was magic, and he introduced us to some new toys,” Pól says, referring particularly to the recently developed Synclavier II synth and sequencer system. “It really solidified our development. They talk about ‘new age’ music; before that there was no new age – we were in the vanguard of the new age!”

From early on the TV scenes were being constructed around Clannad’s demos, and as a result the way their music was interpolated into the three seasons of Robin Of Sherwood from 1984 to 1986 changed perceptions of how soundtracks could work. “It was a different type of storytelling,” Moya says. “It wasn’t just adding music to whatever had already been done.”

Agreeing that Clannad’s character-driven motifs acted almost like extensions of the medieval myth’s auras, she offers an example: “Before you see Herne you hear his music – you know he’s either going to appear or he’s connected with what’s going on.”

Robin Of Sherwood put more meat on the bones of its mythical characters than any show before it, exploring the roots of the stories and introducing elements of magic and paganism that hadn’t previously been associated with the 14th-century tales of 12th-century England.

You wanted to be in fields or a forest… but you’d open the studio door and there you were in the middle of London!

Led by Michael Praed and later Jason Connery, the show was an in-depth exploration of how myths are built and why they last, transforming from real-life reports of rebellion against cruel overlords into verbal life lessons that last for generations. Little wonder it achieved cult status.

“What made the show so very different was the music,” Moya says, “but that came from Richard’s beautiful writing. It’s strange when you hear what it’s about, but he made it make sense. No one knows if Robin came from a rich family or a poor family, and Richard used both.”

She adds: “Paul Robinson from Goldcrest, the production company, was in the same office as David Puttnam [Chariots Of Fire producer] – and David told him he was mad to be doing what he was doing with Robin!”

Connections were made stronger still when Clannad visited a shooting location on the Welsh border (and managed to ruin a scene by standing behind a prop that didn’t hide their white trainers). “Going on location was very helpful, seeing the characters and how the show was put together,” says Moya. “Richard told us they’d been working things out to Magical Ring, so it was definitely on the back of that – he wanted that kind of ethereal earthiness.

“The whole show – the producers and the actor and us – had a feeling of a family. Last year there was an event near one of the locations they’d used, and we were there with the actors – Michael, Jason, Clive Mantle and others – and it was lovely. Some of them have come to our concerts over the years.”

As time went on and the themes developed, you got the feeling that something kinda special was going on

Moya recalls Pól and Ciáran rattling out compositions with apparent ease, such was the strength of Carpenter’s incredible storytelling. “We were working from the script or sometimes rushes from the show,” Pól explains. “We each took characters; I went for Herne the Hunter, Ciáran did Lady Marian. We were going through it, picking out moods that could work for the show.”

When the idea of an album related to the show was mooted, Pól jumped at it, not realising how much work it would entail. “If we had known what we’d signed up for we’d have wanted much, much more time,” he admits.

Suddenly Clannad were working to balance tight TV deadlines and record label requirements, and had relocated to the original Windmill Lane Studios in Dublin “Recording in the middle of Soho was probably the most difficult thing about it all,” Moya recalls. “You wanted to be in fields or a forest or something, recording that kind of music – but you’d open the studio door and there you were in the middle of London!

“They were still filming the show and we were doing the album as well, just trying to put the two together. Tony was fantastic. The record company just wanted another album after Magical Ring.” Clarke helped shield the band from the worst of that pressure. “And it was worth it, because it worked,” Moya points out.

Pól says Clannad tried to avoid thinking too much about the risk they were taking as a relatively young band trying out a new direction. He was given hope “when people from the production company dropped in to see how we were getting on, and their jaws dropped,” but, he adds: “We were all in. If it hadn’t worked, you know… But here we are, 40 years later, talking about it. So it did work!”

Moya appears to have been more confident from early on: “As time went on and the themes developed, you got the feeling that something kinda special was going on.”

I wanted to make Legend feel complete. But there had been a fire and we weren’t sure if our stuff had been in it

Legend – Clannad’s eighth album – was released in April 1984, and helped them become the first Irish band to win a BAFTA, for Best Original Television Music. Used as the show’s theme music, Robin The Hooded Man took its inspiration from a line Ciáran saw in an early script, while he was fighting to get the 1950s TV theme, ‘Robin Hood, Robin Hood / Riding through the glen’, out of his head.

The song featured just the title’s four words, delivered in the harmonic style of Harry’s Game. It was a moderately successful single, reaching No.41 in the UK and carrying as its B-side the instrumental Lady Marian, featuring Moya’s beautiful harp work.

Now Is Here and Scarlet Inside were also released as singles, while Ancient Forest – the last track to be recorded, finished around 4am just before deadline – was the only track with a co-writing credit for Moya, Pól and Ciáran; Pól was credited with five other songs and Ciáran with four.

Legend also helped push them on to bigger things – not least the prog-infused Sirius from 1987, and 1989 soundtrack albums Atlantic Realm and The Angel And The Soldier Boy. First, though, they went back to work at Windmill Lane for more Robin episodes – material that didn’t appear on Legend.

I had to do a bit of re-recording… but I was listening and thinking how it all fits together so well

The show ended after a third double-length season, featuring Connery as a new incarnation of Robin. When he returned to Clannad in 1991, Pól brought with him the determination to assemble all the material they’d contributed. The only problem was no one could find the later recordings. As early as 2003 the band reported: “The search is continuing and hopefully one day these recordings will be able to be released.”

Pól explains: “I wanted to make Legend feel complete. But there had been a fire and we weren’t sure if our stuff had been in it. Then just last year we got an email saying there was a possibility the tapes still existed.”

They did – but they were in appallingly poor condition. “We had to bake them and all kinds of things, and I had to tweak them and do a bit of re-recording. But they’re back. And I was listening to them and thinking how much it all fits together so well.”

Now released as Legend Extended, the body of work is finally complete. However, had it never been assembled, Pól had remained determined to bring the music back to life somehow. One previous plan was to stage a re-enactment performance at Lincoln Castle; over the years things changed until the band announced their one-off performance of all the music at the Albert Hall on October 30, 2024.

The siblings were vague, but seemed to have differing views when asked about Clannad’s future. Then, a week before the Legend show, the band announced: “As we began to prepare for this concert, it became clear that this was to be our last live performance together as a band. We always wanted to celebrate this album, and to end our live shows at such an iconic venue is the perfect way for us to finish.”

I wanted the show streamed live; I was going for all media. But in a way it’s nice that it’ll be a limited experience

Sadly, for rights reasons, the Albert Hall concert was bereft of playback from the TV show; and despite months of effort Pól couldn’t secure rights to shoot it for a future release. He hinted the performance would include appearances from some members of the Robin Of Sherwood cast, but pre-production was still underway when he spoke, and he couldn’t commit to anything. (They did! – Ed.)

“When we started I wanted it streamed live,” he says. “I was going for all media. But in a way it’s nice that it’ll be a limited experience.”

The fact that both of his long-held ambitions have been achieved just in time for the family from Gweedore, Donegal, to bow out must be the cause of bittersweet satisfaction. “Hope to see you out there somewhere,” he signs off as our interview ends. If not, it’s fitting that Clannad pass into legend with the completion of a 40-year saga.

Eric Clapton has announced that he will be touring the US this autumn.

The run will see the guitar legend travel across North America from September 8 with a show at the Bridgestone Arena in Nashville. He’ll then head on to Cleveland, Philadelphia, Boston, and New York before one final show in Uncasville on September 20.

For the performances, Clapton will be accompanied by guitarist Doyle Bramhall II, bassist/vocalist Nathan East, drummer Edward ‘Sonny’ Emory III, hammond player Tim Carmon, keyboardist Chris Stainton, and backing vocalists Sharon White and Katie Kissoon.

Clapton’s US dates will follow his UK tour this spring, which includes three nights at London’s historic Royal Albert Hall on May 21, May 23 and May 24. He’ll also be performing at Nottingham’s Motorpoint Arena on May 18.

Last October, Eric Clapton released his twenty-second solo studio album, Meanwhile, which featured cameos from Jeff Beck and Van Morrison, among others.

Tickets for his US live shows go on sale on March 7 at 10am local time, following pre-sales from March 6.

View the US tour dates below:

Sep 08: Nashville Bridgestone Arena, TN
Sep 11: Cleveland Rocket Arena, OH
Sep 13: Philadelphia Wells Fargo Center, PA
Sep 16: Boston TD Garden, MA
Sep 19: New York Madison Square Garden, NY
Sep 20: Uncasville Mohegan Sun Arena, CT

Since Ian Anderson revived Jethro Tull in 2022 with The Zealot Gene, the band’s first album of new material in more than two decades, the veteran progressive folk-rockers have been on a roll. That return-to-form record was quickly followed by RokFlote, a similar-sounding LP that started as an instrumental project before it evolved into Jethro Tull’s 23rd album.

Anderson wasted little time assembling the band’s latest lineup – bassist David Goodier, keyboardist John O’Hara, drummer Scott Hammond and guitarist Jack Clark – for work on Curious Ruminant, their third album of the 2020s. Using fragments of unreleased instrumentals plus newer songs that Anderson began writing shortly after the release of RokFlote in 2023, Jethro Tull settles into their 21st-century groove of recalling their past as they open a few new doors along the way.

One novel approach is for the 77-year-old Anderson to reflect and share thoughts on his golden years; “I count my life in seconds passed,” he observes in the title song, writing from a perspective more intimate than he has allowed in the past. Curious Ruminant contains several such moments, but more significantly, it includes many signposts regularly associated with a Jethro Tull album.

READ MORE: 2025 Album Reviews

Of course, there’s the flute, a mainstay of Tull records since their 1968 debut This Was and the guiding instrument in new tracks “Puppet and the Puppet Master,” “Dunsinane Hill,” “The Tipu House” and others. There are also throwbacks to the band’s folk roots, with mandolin, accordion and plenty of acoustic guitar running throughout songs; more so than its recent predecessors, Curious Ruminant is their most organic-sounding album in years.

It may also be their most satisfying work since the ’80s. Anderson has never shied away from lining his 16th-century musical frameworks with modern-day politics, from the religion-skewering of Aqualung through the condemning of The Zealot Gene‘s right-leaning “xenophobic scaremongers.” And while Curious Ruminant is more about personal reflection, Anderson hasn’t exactly mellowed in his old age. “Angry gods of retribution, driving hate without solution,” he sings in the headline-ripping “Over Jerusalem”; in the nearly 17-minute “Drink From the Same Well,” he shakes his head over those “displaying willful ignorance as to shifting tides of history.” Still, as Anderson concludes in “Curious Ruminant,” he’s reached the point where he’d rather “sit on the fence, enjoy the view.” Not bad advice from one who’s earned the right.

Jethro Tull Albums Ranked

Few bands have evolved in such a distinct way.

Gallery Credit: Ryan Reed

More From Ultimate Classic Rock

Paul McCartney has spoken up in support of Joe Cocker being inducted into the Rock & Roll Hall of Fame.

The late singer, who’s been eligible since 1994, is a first-time nominee this year, alongside Bad Company, the Black Crowes, Billy Idol, Chubby Checker, Mana, OutKast, and Phish. Mariah Carey, Oasis, Joy Division / New Order, Cyndi Lauper, the White Stripes and Soundgarden have previously been nominated.

In a letter addressed to “Rock and Rollers,” McCartney outlined why Cocker – who died in 2014 – deserved induction.

READ MORE: 5 Reasons Joe Cocker Should Be in the Rock and Roll Hall of Fame

“Joe was a great man and a fine singer whose unique style made for some fantastic performances,” he wrote. “He sang one of our songs, ‘With a Little Help From My Friends,’ a version produced by Denny Cordell, which was very imaginative.

“All the people on the panel will be aware of the great contribution Joe made to the history of Rock and Roll. And whilst he may not have ever lobbied to be in the Hall of Fame, I know he would be extremely happy and grateful to find himself where he deserves to be, amongst such illustrious company.

“Thank you and all the best, Paul McCartney.”

Joe Cocker’s Beatles Cover Blew Paul McCartney Away

In a separate press statement, the Beatles icon recalled his reaction to Cocker’s 1968 cover of “With A Little Help From My Friends,” saying: “He was a lovely Northern lad who I loved a lot, and, like many people, I loved his singing.

“I remember him and Denny Cordell coming round to the studio in Savile Row and playing me what they’d recorded… it was just mind-blowing – totally turned the song into a soul anthem; and I was forever grateful to him for doing that.”

Last year, McCartney recorded a short NSFW video to express support for Foreigner’s induction into the Rock Hall, saying: “Foreigner not in the Hall of Fame? What the fuck?

Hear Joe Cocker Perform ‘With a Little Help From My Friends’

Alex Lifeson has recalled the sadness he felt as Rush’s last-ever live performance wound to its end, because Neil Peart was expressing feelings of joy.

The drummer – who died in 2020 – had been persuaded to take part in the limited R40 Live tour in 2015. While it had seemed possible that more could follow, Peart finally called an end to his performing career, describing himself as “retired.”

In a new interview with Classic Rock, guitarist Lifeson said he’d shared bandmate Geddy Lee’s darkening mood as the clock counted down. “We were playing well, the show was so much fun for us and our audience, and we had good energy despite playing three-hour shows in our sixties,” he said.

READ MORE: Geddy Lee Resented Neil Peart After Final Rush Tour

“Ged and I were disappointed that Neil demanded playing only a limited number of dates, which precluded a UK and European run. I think a dozen or so more dates would have made us a bit more accepting.”

He recalled a moment when Peart was amenable to extending the run. “[B]ut then he got this painful infection in one of his feet… he could barely walk to the stage at one point. They got him a golf cart to drive him to the stage.

“And he played a three-hour show, at the intensity he played every single show. That was amazing, but I think that was the point where he decided that the tour was only going to go on until that final show in LA.”

Alex Lifeson Was Already Missing Rush During Their Rush Song

The guitarist admitted it had been a “weird feeling” as the closing notes of 1974 song “Working Man” approached. “I tried to soak in every moment… I counted down the minutes on the giant clock they have there – you can see it from the stage.

“And I stared at all these faces, people that I didn’t know personally, yet happily greeted when I saw them return to so many of our shows over so many years. I looked at my bandmates and missed them already; and I felt sad to see such joy in Neil’s face when we were down to the last few bars of our last song played together.”

Lee said it was “a beautiful moment” when Peart joined his colleagues for an onstage embrace once the final notes of “Working Man” had rung out. “[It was] the first time in 40 years he’d done that,” the frontman reflected.

Watch Rush Play Their Last-Ever Song in 2015

Rush Albums Ranked

We examine Rush’s 19 studio albums, from 1974’s muscular self-titled release to a series of remarkable late-career triumphs.

Gallery Credit: Eduardo Rivadavia

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Tom Petty would begin an interesting three-pronged career resurgence not long after the 21st Century got underway. He was also incredibly prolific: When he died in 2017, he’d already released three albums with the Heartbreakers, a solo album and two albums with his early band Mudcrutch.

It was a time of reunion, but not necessarily retrenchment. He’d worked with members of Mudcrutch before launching the Heartbreakers, but didn’t release any studio recordings with them until 2008’s Mudcrutch and 2016’s Mudcrutch 2. Both reached the Top 10.

By then, he’d already recorded 2006’s gold-selling Highway Companion with Jeff Lynne, who co-produced two Petty albums at the turn of the ’90s. In between, Petty and the Heartbreakers dug more deeply into their bluesy roots with 2010’s No. 2 smash Mojo.

READ MORE: Things Tom Petty Hated

He started the century with 2002’s Top 10 hit The Last DJ, probably the closest he got to nostalgia – even if much of it was bitter nostalgia. But none of the look-back projects that followed were stuck in the past. Petty moved well outside of expectations at every turn – even on Mojo, which thankfully didn’t get stuck in shotgun-shack tropes.

Then came his third 21st Century album with the Heartbreakers, 2014’s first-ever chart-topping Hypnotic Eye, and a complete return to form. Coupled with the subsequent Mudcrutch 2, the era represented some of the most vital music of Petty’s entire career.

As always, the albums were only as good as their songs. Here’s a look back at the 10 best:

No. 10. “Night Driver”
From: Highway Companion (2006)

Any Tom Petty album is ripe for a great car song – but “Night Driver” couldn’t be more different from the pedal-mashing charge of “Runnin’ Down a Dream.” It’s not just that this unfolds while hurtling down a dreamscape-like highway. It’s not just that Petty (not Benmont Tench) takes a deeply resonant turn on electric piano. It’s not just that Petty’s relationship with the road itself seems to have changed so much. (Instead of a pathway to escape, to finding your self, driving seemed to be an opportunity now for introspection, to ruminate more deeply on things.) Really, it’s all of those things – and one of Petty’s coolest turns of phrase: “I speed dial the judgment call.”

No. 9. “American Dream Plan B”
From: Hypnotic Eye (2014)

Prior to releasing Hypnotic Eye, Petty said he wanted to return to the straight-ahead rock of his earliest albums. “American Dream Plan B” certainly gave shape to that goal. It’s a foundation-cracking bruiser of a song, with a processed vocal that takes roundhouse swings at life, at love and — most particularly — at everything else that makes getting to Friday night so difficult most work weeks. Eventually, as the debts mount, mom turns sad and Daddy’s just pissed. Even the little things start to fail us: Our protagonist, for instance, can’t dance for s—. His existence is a jumble of uncertainty. Yet, somewhere deep inside, the flicker of optimism still burns. “Like a fool,” Petty barks, “I’m betting on happiness.”

No. 8. “Crystal River”
From: Mudcrutch (2008)

Petty floats down a seven-mile Citrus County tributary into Florida’s western Gulf coast on the longest song from Mudcrutch’s long-awaited debut. It’s fitting, since the group traces back to his pre-Heartbreakers days in Gainsville, about an hour and a half away. Like Petty’s early heroes in the Byrds, who used to take “Eight Miles High” on an extended psychedelic journey in concert, Mudcrutch eventually turned this nine-minute, vaguely Grateful Dead-ish song into a 15-minute Mike Campbell-fired jam. That gave them time to actually learn the song. The studio recording of “Crystal River” represents the first and only time that Mudcrutch had ever played the track.

No. 7. “High in the Morning”
From: Mojo (2010)

Time away, not to mention the critical success of the revived Mudcrutch, could very well have taken the wind out of the Heartbreakers’ sails. Instead, the band returned for the first time since 2002’s The Last DJ with a vengeance. They got there by trying to stay more true to what they actually sounded like at this point: a flinty group of blues-rocking vets. (“Every rehearsal started with the blues,” Petty admitted back then. “I thought we should stay where we naturally play.”) Still, Mojo was more than roadhouse stuff, as illustrated by the plucky throwback “High in the Morning.” They were recording in the band’s Los Angeles rehearsal space, typically in one or two takes, but this song boasted the spacious, polished feel of the Heartbreakers’ earliest sides. In other words, the happiest of homecomings.

No. 6. “U Get Me High”
From: Hypnotic Eye (2014)

There was something visceral, something of tangible release, in this blast of knuckle-dragging rock. At the same time, note the contemplative nature of “U Get Me High.” The guitar solo is a thrillingly smeared emotional outburst, but what stands out the most is what’s not there. This isn’t Tom Petty wearing the pissed-off old-man persona that perhaps he had every right to claim. Instead, Petty makes a series of whispered entreaties, running his imagination’s fingers down the shape of a lover. This kind of classically sharp wordplay can’t really be part of a cathartic tantrum like “American Dream Plan B.” There may be those who wondered if Petty could still summon this kind of moment, one that works in such smart juxtaposition between grinding groove and open-hearted reminiscence. “U Get Me High” answered that, and definitively.

No. 5. “Beautiful Blue”
From: Mudcrutch 2 (2016)

After reuniting for an upbeat, but occasionally lightweight 2008 debut, Mudcrutch took on more consequential subjects – and deeper musical complexity – with the follow-up. Songs like “Beautiful Blue,” so full of wistful longing, provided the emotional gravitas required of a studio project focused on coming to terms with life’s passages. “Beautiful Blue” is the romantic centerpiece of an LP that offered keen insights into how the choices we make turn into the lives we ultimately lead. All of Petty’s bandmates get a chance to shine, too.

No. 4. “Down South”
From: Highway Companion (2006)

This song feels more personal than it really is. Petty took an imaginary trip back home, but this time stayed in the character of his father, who Petty once described to NPR’s Terry Gross as a “cad” who “had many mistresses.” In a twist, Petty carefully wrote the lyrics out before creating the music. Marrying the two wasn’t easy, and “Down South” became one of the songs that took him the longest to complete. The laconic, smartly detailed result was more than the highlight on one of Petty’s most overlooked albums. It debunked, once again, the wrongheaded caricature of Petty – this decidedly literate writer of pinpoint narrative accuracy – as another in the long line of common-folk rockers.

No. 3. “Fault Lines”
From: Hypnotic Eye (2014)

A hard-charging Ron Blair-driven groover featuring one of Petty’s weariest vocals, “Fault Lines” smartly employed the imagery of fractured landmasses spidering across his adopted home state of California to craft a personal tale of overcoming past hurts. “Fault Lines” was finalized by a squalling harmonica, some greasy keyboard work and relentless stick work – to say nothing of Mike Campbell’s devastatingly cathartic solo. The second consecutive full-length project to feature Blair, who left as the Heartbreakers’ founding bassist following 1981’s Hard Promises, hailed a complete return to straight-ahead rock after a detour toward more blues-based sounds on 2010’s Mojo.

No. 2. “Dreamville”
From: The Last DJ (2002)

The Last DJ sometimes used nostalgia as a weapon – in particular on its title track – as Petty lashed out at the changing times. “Dreamville” was different. A song that could have easily fit among the more personal moments on 1985’s Southern Accents, “Dreamville” traces back to a simpler time when a youthful Petty – found here buying guitar strings and listening intently to early rock ‘n’ roll – could focus on music, rather than the music business. He began this life of wonder at the Glen Springs city pool in his hometown of Gainesville. The goal was to tap into a sense of lost idealism that everyone could share, regardless of their backstories. Introducing “Dreamville” during a 2002 concert in Los Angeles, Petty said it took place “back when times were good – whenever that was.”

No. 1. “Hungry No More”
From: Mudcrutch 2 (2016)

If Mudcrutch’s surprise 2008 debut seemed like the joyous first moments that surround a reunion, Mudcrutch 2 was the sound of perspective setting in. Their subject matter delved ever more deeply into roads not taken, coming to terms with life’s passages and the sweet reverie of memory. “Hungry No More,” the album’s soaring final number, puts period to a very grown-up record. Petty took chances here with the kind of mature subject matter that likely escaped the members of Mudcrutch as rough-housing youngsters – then wisely sat back as Campbell summed up his thoughts on an extended coda. It’s a richly rewarding experience, and final proof that Petty still had plenty to say.

Remembering Tom Petty

Gryphon’s Brian Gulland admits he was a callow youth with almost no experience of concerts when he first saw Yes in 1971. The multi-instrumentalist tells Prog about the unforgettable experience of supporting on their Relayer tour of 1974 – arguing that it was both bands’ most experimental periods.

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“In 1971 my cousin, who knew my musical tastes, said I should come to London to see this band that he’d discovered. So we left the Weald of Kent and ended up in Dagenham where Yes were playing. They’d just released The Yes Album. It was around the summer holidays of my first year at the Royal College of Music and, for me, it was the most important gig – I’d at last found a group who played with more than three chords, with different time signatures, wonderful lyrics, and who were all expert players.

I was a callow youth who didn’t really understand about gigs; but I had to go and say thank you and speak to the band afterwards. I knocked on the door of this tiny dressing room and Chris Squire answered it. I said how impressive the bass line was to Starship Trooper and mentioned it being in A. He asked how I knew and I told him I had perfect pitch, so we got talking about choristers and so on.

After that, I used to attend Yes rehearsal sessions. I got to know Jon Anderson very well. We were cosmic brothers! I was at Advision studios when they were recording Fragile too.

Later on, Gryphon were managed by Brian Lane, who looked after Yes, and we were invited to join the Relayer tour in the US and UK. We did 32 concerts in 39 days with Yes in America – every morning we’d air hop onto the next place.

Relayer was the furthest out they went experimentally… they really pushed the envelope

One day off, they invited me to join them in New York. Straight after the gig, we were whisked off in a big black limo to a private airfield and I joined them on board their Learjet. Jon had a suite at the Chelsea Hotel; and I overslept the next day because they were very generous with their spliffs!

When we played Madison Square Garden, the crowds received us very warmly. It was true everywhere we went – it was very humbling and gratifying that they enjoyed our music. We were probably at our most proggy at that stage with our album Red Queen To Gryphon Three, which people also seem to like these days. Although different from Yes’ music, at the same time it had a fair degree of intricacy.

After Gryphon had played, I stayed behind and watched every Yes gig on that tour. I couldn’t get enough of it. I absolutely adored Patrick Moraz’s playing, particularly the Moog solo in F minor in Sound Chaser where he just went completely berserk.

With that one and The Gates Of Delirium, I’d say Relayer was the furthest out they went experimentally. I suppose there were maybe those aspects in Tales From Topographic Oceans as well, but Yes really pushed the envelope with Relayer.”