Author: wamdiness

Former Genesis, Frank Zappa and Weather Report drummer Chester Thompson has teamed up with Neal Morse (Transatlantic, Flying Colors) to form a brand new outfit, Cosmic Cathedral, who will release their debut album, Deep Water, through InsideOut Music on April 25.

“I am super excited for people to hear this album,” exclaims Thompson. “There was great communication between all the players. One of my favorite projects I’ve ever been a part of!”

Joining the pair are guitarist and vocalist Phil Keaggy (Glass Harp) and bassist Byron House, who featured on Morse’s 2003 solo album Testimony. The band have shared their first new music, Introduction and Launch Out, Pt. One, the opening section to the 38-minute-long Deep Water Suite. Morse describes the band’s sound as “prog meets yacht rock meets The Beatles” with an definite jazz fusion influence.

“These guys are real groovers: even if they’re playing proggy stuff, it has more of a Steely Dan feel to it, but when Phil and I start singing it sounds like The Beatles! In Deep Water, the New Revelation section is based on a jam that turned into something that could have been on a Sting album! So there’s a lot of variety here.”

“The album is a musical feast- full of creative imagination and heartfelt lyrics,” adds Keaggy. “In my opinion, this recording is one of the highlights of my musical career!”

Deep Water will be available as a limited CD Digipak, gatefold 2LP and as a digital album. Yiu can see the new album artwork and tracklisting below.

Pre-order Deep Water.

Cosmic Cathedral: Deep Water
1. The Heart Of Life
2. Time To Fly
3. I Won’t Make It
4. Walking In Daylight
5. Deep Water Suite I: Introduction
6. Deep Water Suite II: Launch Out, Pt. One
7. Deep Water Suite III: Fires Of The Sunrise
8. Deep Water Suite IV: Storm Surface
9. Deep Water Suite V: Nightmare In Paradise
10. Deep Water Suite VI: Launch Out, Pt. Two
11. Deep Water Suite VII: New Revelation
12. Deep Water Suite VIII: Launch Out, Pt. Three
13. Deep Water Suite IX: The Door To Heaven

Bernie Leadon‘s frustration with life in the Eagles reached a dramatic breaking point around the time of 1975’s One of These Nights, after a discussion over the band’s creative direction led to him pouring a beer over Glenn Frey‘s head.

According to his bandmates, the founding Eagles guitarist and multi-instrumentalist had grown increasingly displeased with the band’s shift away from country and towards rock music. “We were getting more and more rocked out, and I think Bernie was less and less happy about that,” One of These Nights producer Bill Szymczykk explained in the History of the Eagles documentary.

“Glenn and I always wanted the band to be a hybrid, to encompass bluegrass and country and rock and roll,” Don Henley agreed. “There was a part of Bernie that really resisted that. After a while it became a real problem, particularly between Bernie and Glenn.”

Henley also suggested the band’s growing commercial success was an issue for Leadon: “To Bernie, success on any scale was synonymous with selling out. He wanted us to remain sort of an underground band.”

Read More: Top 20 Eagles Songs Not Sung by Don Henley or Glenn Frey

For his part, Leadon admitted to being overwhelmed by the band’s skyrocketing career: “You’d have to remember how young we were, the fact that nobody had anything when we started, and you got all this stuff coming at you, meanwhile you’re touring all the time. It’s a lot.”

According to Frey, things came to a head at a concert at the Orange Bowl in Miami. “We were backstage and we were talking about what our next move what our next move was gonna be. I was animated and adamant about what we needed to do next, here there and everywhere, and Bernie comes over and pours a beer on my head and says, ‘you need to chill out, man.'”

Leadon’s account differs slightly. In a 2025 interview with Rock History Music, he says the beer pouring happened during a 1975 band meeting. “I said, ‘I’m gonna leave the band.’ It was about four months till the end of the year. I said ‘let’s do good shows, to prove how good we can do them, and then I’ll be gone.'” His departure became official in December 1975, and he was replaced by Joe Walsh the following month.

(In the History of the Eagles documentary, Frey doesn’t specify the date of the show, just the city and venue. There is no record of Eagles playing the Orange Bowl on the 1975-76 One of these Nights tour, although they did play there on July 7, 1974.)

Leadon says the beer attack wasn’t premeditated. “I have no idea, it was a spontaneous thing. I take that incident now quite seriously,” he declares in History of the Eagles. “That was a very disrespectful thing to do. Obviously it was intended to be humiliating to him, I would say, and is something I’m not really proud of. It did illustrate a breaking point.”

He also insists the issues weren’t just related to the Eagles’ evolving sound. “That’s an oversimplification,” he told Rolling Stone in 2008. “It implies that I had no interest in rock or blues or anything but country-rock. That’s just not the case. I didn’t just play Fender Telecaster. I played a Gibson Les Paul and I enjoyed rock & roll. That’s evident from the early albums. …I just wanted some time to regroup. I suggested we take some time off. They weren’t excited about that idea.”

How an Apology Letter Helped Bernie Leadon Reconnect with the Eagles

Although all seven current and former members of the Eagles, including Leadon, performed together at the group’s 1998 induction into the Rock and Roll Hall of Fame, it took much longer for him to make peace with Frey.

In the mid-2000s, after being unable to connect with him directly, Leadon sent a certified letter to Frey’s office, apologizing for his actions. “I became a recovering alcoholic and when you do recovery work, one of the things you do is you realize who you harmed and then you become willing to make amends to them,” he told Rock History Music.

“I didn’t hear anything back for like five, six years,” he recalled. “And then the request came to do the [History of the Eagles] documentary.” He was asked about the incident while being interviewed for the documentary, resulting in the “that was a very disrespectful thing to do” quote above.

Soon after recording that interview Leadon was approached by Eagles manager Irving Azoff, who asked if he’d be interested in being a guest star on the band’s career-spanning 2013-2014 History of the Eagles tour.

“So then Glenn called me, and in the course of that conversation he said, ‘I got your letter and appreciated it.’ And the fact that called me was evidence that he felt better about things. The fact that I cleared that up with him and apologized was the reason that it became possible to consider having me [join the tour.]”

In a 2013 Rolling Stone interview, Leadon said he had no regrets about leaving the Eagles, while pointing out that he may have been right about the band needing a break. “It was a great time in my life, but everything since then has been great, too. What’s funny is that a year after I left, they did wind up taking a long break.”

He did admit to Rock History Music that he would prefer if the incident didn’t define his legacy. “After Wikipedia became established and I looked at my own entry [on the site], it basically said, ‘Bernie Leadon left the band because he poured a beer on Glenn Frey’s head,’ which I thought, ‘Well, that’s kind of a funky legacy.’ They don’t talk about my guitar playing, they just talk about me pouring a beer on Glenn’s head.”

Some artists thrived in the ’80s — Michael Jackson, Prince, Madonna, etc. Others, arguably, did not. Even the most devoted of Bob Dylan fans don’t typically point to the ’80s as his best decade of musical output.

For one thing, Dylan’s conversion to Evangelical Christianity and religious music at the tail end of the ’70s left many people confused. He would return to secular music in 1983, but reception to the albums he released in these years varied. “Empire Burlesque puts the snarl back in Bob Dylan‘s music,” Rolling Stone said of the 1985 release. A year later, the same publication would describe Knocked Out Loaded as a “conceptual mess,” “ultimately a depressing affair.”

But that doesn’t mean there were not great Dylan songs to come out of the ’80s. In the below list, we’ve ranked 20 of them, taken from Dylan’s seven studio releases and two live ones.

20. “Tight Connection to My Heart (Has Anybody Seen My Love)”
From: Empire Burlesque (1985)

Even with an ’80s vibe, you know you’re in for a treat when Mick Taylor is on guitar and Sly and Robbie is your rhythm section, as is the case for “Tight Connection to My Heart (Has Anybody Seen My Love).” “I really enjoyed playing with him because he’s been an idol of mine since I was 14 or 15,” Taylor would later say. “I think his songs are brilliant, you know?”

19. “Had a Dream About You, Baby”
From: Down in the Groove (1988)

Down in the Groove was recorded over a period of at least four years, which is probably why the album as a whole doesn’t sound all that smooth. “Had a Dream About You, Baby” is a fun, rocking little number that comes at the end of side one. Of particular merit here is the guitar part by none other than Eric Clapton.

18. “Pressing On”
From: Saved (1980)

Saved, the second release in Dylan’s trilogy of Christian albums, expanded on themes he first wrote about for 1979’s Slow Train Coming. Considering Dylan was born and raised Jewish, he was surprisingly not all that bad at writing gospel music, as evidenced by a song like “Pressing On,” which has subsequently been covered by artists like John Doe and Alicia Keys.

17. “Brownsville Girl”
From: Knocked Out Loaded (1986)

“Working with Dylan is not like working with anybody else,” playwright Sam Shepard, who co-wrote “Brownsville Girl” with Dylan, told The Village Voice in 2004. “He had that little snatch of a chorus and melody lines that he’d laid out. He had ’em on tape and then he would play them on guitar. The way I found my way into it with him was to follow this story that started to evolve. All these characters started to pop into the story. Traveling around, visiting these characters, tracking people down. We met outdoors, in Malibu. Most of the writing was outdoors.”

16. “Dark Eyes”
From: Empire Burlesque (1985)

One of the tracks on Empire Burlesque is not like the others. “Dark Eyes” closes the album, but it sounds little like the rest of it. Sparsely arranged, it’s much more like Dylan’s old folk catalog than his overall ’80s output, which makes for a refreshing change.

15. “You Wanna Ramble”
From: Knocked Out Loaded (1986)

Dylan didn’t write this one, Little Junior Parker did — just one of a handful of covers on Knocked Out Loaded that the Los Angeles Times called in 1986 “a strange, intriguing lot.” Dylan’s version is an upbeat start to the album, even with that infamous thin ’80s drum sound.

14. “What Can I Do for You?”
From: Saved (1980)

The interesting thing about Dylan’s period of religious writing is that while many of his songs’ themes derived from biblical stories and lessons, the lyrics could still be interpreted in any number of secular ways. “What Can I Do for You?” is clearly in reference to Dylan’s own personal salvation — “You’ve chosen me to be among the few” — but it also can be thought of in a more worldly way, accepting one’s own identity and learning to be kinder to others.

13. “I Want You,” Live With the Grateful Dead
From: Dylan & the Dead (1989)

Not everyone likes or appreciates the style of the Grateful Dead. Fair. But in the second half of the ’80s, Dylan found himself in an awfully depressing position. “I had no connection to any kind of inspiration. Whatever was there to begin with had all vanished and shrunk,” he wrote in his autobiography Chronicles: Volume One. “Everything was smashed. My own songs had become strangers to me, I didn’t have the skill to touch their raw nerves, couldn’t penetrate the surfaces. It wasn’t my moment of history anymore. There was a hollow singing in my heart and I couldn’t wait to retire and fold the tent.” Enter the Grateful Dead, who toured with Dylan in 1987 and breathed new life into many of those older songs, which resulted in the 1989 live album Dylan & the Dead.

12. “Sweetheart Like You”
From: Infidels (1983)

Infidels could be described as Dylan’s triumphant return to mainstream music, but interestingly it was made using a lot of the same people that contributed to his Christian albums. An extra special thank you should be paid to Mark Knopfler of Dire Straits, who co-produced Infidels, and Mick Taylor, who plays the compelling guitar solo here on “Sweetheart Like You.” “Are you in love at the moment?” Rolling Stone asked Dylan in 1984, the year after Infidels was released. “I’m always in love,” he replied.

11. “Everything Is Broken”
From: Oh Mercy (1989)

At the tail end of the ’80s, Dylan released arguably his strongest album of the decade. And don’t just take our word for it — Oh Mercy went to No. 30 in America, Dylan’s highest-charting album in years. “Everything Is Broken” is one of Dylan’s listicle type songs, spurred along by a 12-bar blues arrangement. “With Bob, I wanted to make sure that his voice was captured powerfully, rendered with sincerity, and be viewed as great as it ever was,” producer Daniel Lanois said to MusicRadar in 2011. “The thing you have to ask yourself is, ‘What does a guy like Bob Dylan need?’ Here’s a man who has everything, who’s done everything. Well, he needs a friend and a curator, a guy who will say, ‘Bob, this one is better than that one. This one is really great — let’s do it.’ A friend is what he really wants from somebody who works with him.”

10. “Silvio”
From: Down in the Groove (1988)

Not for nothing: in 2024, Barack Obama named Dylan’s “Silvio” as one of his favorite songs of the summer. Talk about a deep cut. But this writer thinks the former president was onto something. “Silvio,” with its “hoo! hoo!” backing vocals by the Grateful Dead and upbeat tempo, is an exceptionally bright spot in an otherwise perplexing album.

9. “Tombstone Blues,” Live With Carlos Santana
From: Real Live (1984)

Carlos Santana ripping a guitar solo onstage with Dylan — it’s more likely than you’d think. In 1984, Dylan and Santana set out on a tour of Europe, where guests like Joan Baez, Chrissie Hynde, Bono, Van Morrison and more made guest appearances. But only one guest landed a spot on Dylan’s 1984 live album Real Live: Carlos Santana on an invigorating version of “Tombstone Blues.”

8. “Don’t Fall Apart on Me Tonight”
From: Infidels (1983)

“Don’t Fall Apart on Me Tonight” is a strong enough song lyrically we can look past that persistent ’80s drum sound — such were the times. As far as Knopfler was concerned, Dylan was king in terms of songwriting, both on the ’60s albums Knopfler grew up with and on Infidels. “Bob’s musical ability is limited, in terms of being able to play a guitar or a piano,” Knopfler told Guitar Player in 1984. “It’s rudimentary, but it doesn’t affect his variety, his sense of melody, his singing. It’s all there. In fact, some of the things he plays on piano while he’s singing are lovely, even though they’re rudimentary. That all demonstrates the fact that you don’t have to be a great technician. It’s the same old story: If something is played with soul, that’s what’s important.”

7. “Slow Train,” Live With the Grateful Dead
From: Dylan & the Dead (1989)

In 1995, Dylan spoke at Jerry Garcia‘s funeral, offering some beautiful words about someone he clearly thought was as talented as they come, if not more so. But the most poignant thing Dylan said that day happened after the service. John Scher, longtime promoter for the Dead, left Garcia’s funeral with Dylan, who turned to him and said: “‘You know what, John?’ I said, ‘What, Bob?’ He said, ‘The guy lying there [referring to Garcia], he’s the only one in the world and knows what it’s like to be me.’ Which was pretty profound.”

6. “License to Kill”
From: Infidels (1983)

Dylan was by no means the only artist to be disillusioned by a lot of what was going on in the ’80s, capitalistically speaking, but his words certainly held particular weight. In “License to Kill” he sang that “Man has invented his doom / First step was touching the moon.” “I have no idea why I wrote that line, but on some level, it’s like just a door into the unknown,” he said to Rolling Stone in 1984. “I mean, what’s the purpose of going to the moon? To me, it doesn’t make any sense. Now they’re gonna put a space station up there, and it’s gonna cost, what – $600 billion, $700 billion? And who’s gonna benefit from it? Drug companies who are gonna be able to make better drugs. Does that make sense? Is that supposed to be something that a person is supposed to get excited about? Is that progress?”

5. “Masters of War,” Live
From: Real Live (1984)

In 1966, Dylan famously said the following at one of his concerts, just before launching into a song called “I Don’t Believe You:” “It used to go like that but now it goes like this.” Some people think of Dylan’s penchant for reworking his older songs — trying out new arrangements, using new lyrics, etc. — as a detriment to his catalog. Others, including this writer, feel the opposite. Below is a raucous version of “Masters of War,” an entirely different ballgame than the 1963 original that’s just as worthy.

4. “Every Grain of Sand”
From: Shot of Love (1981)

Even the most dedicated of Dylan fans have their complaints about 1981’s Shot of Love. But if there is one track that fans seem to agree is one of Dylan’s best written, it’s “Every Grain of Sand,” which closes the album. Look past the slightly schmaltzy arrangement to the lyrical content, a compelling piece about what redemption, religious or otherwise, can mean to one person. “Sometimes I turn, there’s someone there,” Dylan sings, “other times it’s only me.”

3. “When the Night Comes Falling From the Sky”
From: Empire Burlesque (1985)

It’s remarkable how one of the single most ’80s-sounding songs of Dylan’s entire career is one of his most catchy, at least as far as we’re concerned. “When the Night Comes Falling From the Sky” barrels ahead at full steam and demonstrates that Dylan clearly wasn’t opposed to trying out new technology. “I don’t know how to do the thing with the studio where you use it as another instrument,” he admitted to Rolling Stone in 1985. “A lot of kids can. But it’s too late for me.” Au contraire.

2. “What Was It You Wanted”
From: Oh Mercy (1989)

“If you’ve ever been the object of curiosity,” Dylan wrote in Chronicles, “then you know what this song is about. It doesn’t need much explanation.” Make of that what you will. Suze Rotolo, Dylan’s girlfriend in New York City during the early ’60s and a formative figure in his life, once called “What Was It You Wanted” “the essence of Bob Dylan,” a song that “showcases his acerbic wit and his ability to twist multiple meanings around his finger.”

1. “Most of the Time”
From: Oh Mercy (1989)

To be fully transparent, this writer prefers the acoustic version of “Most of the Time” that appeared on The Bootleg Series Vol. 8: Tell Tale Signs: Rare and Unreleased 1989–2006. Even so, it’s staggeringly powerful lyric-wise, ’80s drum sound notwithstanding, and thanks to Lanois’ production has a bit of a dream-like quality to it.

Dirty Honey guitarist John Notto has a simple but profound revelation in the tour documentary accompanying their new live album Mayhem and Revelry, out today. “Something clicked tonight in my mind,” he says backstage at London’s Electric Ballroom. “I was like, ‘Oh yeah, it’s just rock ‘n’ roll. It’s just supposed to be simple fun.'”

The punchline comes from lead singer Marc Labelle, who replies incredulously, “You’re just learning this now?” But Notto’s epiphany, self-evident as it may sound, makes sense given his musical upbringing. “The bands that really swindled my soul and captured my imagination weren’t simple rock ‘n’ roll bands,” he tells UCR. “It was Queen, Pink Floyd, Allman Brothers, even Hendrix, and if you look at it, a lot of what Guns N’ Roses does.” Conversely, he adds, “there’s that realization of, ‘Oh, I’m in the AC/DC, Aerosmith thing. Even Aerosmith, over their 50-year career, gets a little out there, and we were starting to do it on the last record. But yeah, it’s exactly what you said: don’t overthink it.”

“The other angle of it,” Notto continues, “is just all the stress that goes with it on the road. Like, why didn’t this show up on time? Hey, tour manager, what’s wrong with this? And just thinking [about] the future, all that stuff, so much that makes it unfun. And then we had so much fun on stage, I just had that moment where I was like, ‘At the end of the day, this part is simple.'”

Split between North American and European shows on the band’s 2023-2024 Can’t Find the Brakes tour, Mayhem and Revelry presents Dirty Honey as seasoned road warriors, blending precision and spontaneity to create a live album that actually feels live. Notto proudly notes that the 16-track LP has no overdubs. “Nobody went back in to do a fix-it session,” he says. “We just basically just listened the crap out of 60 shows and found something where any discrepancies were listenable — where everybody played well enough and the song had spirit.”

Notto’s fiery blues-rock chops are matched by his scholarly knowledge of classic rock’s forebears, which informed the sound and aesthetic of Mayhem and Revelry. “Hopefully, you can comfortably put it on the proverbial shelf next to the other classic live albums and it’ll hold up,” he says. “That’s really what I was excited about, because I knew that live, we are a different beast that I think has another gear, and that’s what all of my favorite bands had. So to show that, I felt, was really important.”

Watch Dirty Honey’s ‘When I’m Gone (Live)’ off ‘Mayhem and Revelry’

Although Dirty Honey’s 2023 sophomore album Can’t Find the Brakes showed them expanding their sonic palette with smoldering ballads (“Roam”) and long-form jams (“Rebel Son”), Notto acknowledges that his band’s bluesy, hip-swiveling hard rock is less cerebral than the likes of Pink Floyd or late-period Guns N’ Roses. “For me, there’s a lot of the rock ‘n’ roll that I did love that is more about that motor that doesn’t change,” he explains. “And that’s a lot of the blues that influenced all that stuff. AC/DC and the Rolling Stones, to me, are the bands that most stuck to that tradition.”

To illustrate his point, he cites a live video of AC/DC in California in 1979, when the group was at the peak of its powers with Bon Scott. “They are just cooking,” he raves. “The intensity with which the bass player plays those staccato root notes over and over, the intensity him and the drummer have — I’ve never seen anyone do that. Anyone who covers them and thinks that AC/DC is simple, I’m like, ‘But you ain’t doing it. You’re not doing it.'”

Any conversation about Dirty Honey — or classic rock in general — invariably circles back to Led Zeppelin. Notto cites them in relation to Mayhem and Revelry, but not for the reasons one might expect. “I’m not listening to How the West Was Won going, ‘It needs to sound just like this,’ although that was a reference point, but more from an instrumentation standpoint,” he says. “That is the amount of instruments we’re dealing with. Zeppelin live is the same [as us], really. If you try to make it sound like Aerosmith live, that’s tough because they’ve got two guitar players, they have a keyboard player. The later it gets, they’ve got background singers. They have more things going on. So as much as they might be an influence as a band, comparing the mix, it gets difficult.”

By contrast, Mayhem and Revelry is the sound of four guys schooled on rock ‘n’ roll tradition capturing its simple, fun spirit. “We’re selling realness,” Notto declares. “It’s real amps. It’s no tracks. It’s expressive playing that deviates from the album page and comes back.”

2025 Rock Tour Preview

Feature Photo: Tinseltown / Shutterstock.com

Addison Rae Easterling’s rise from small-town Louisiana to global stardom is a testament to the power of social media and an unrelenting drive to expand creative horizons. Before she was a household name, she was simply a young girl with a passion for dance, competing nationally and sharpening her skills. However, the digital age provided an opportunity that would change the course of her life. In July 2019, Rae joined TikTok and quickly gained a massive following with her engaging dance routines. Within months, she had over a million followers, prompting her to leave Louisiana State University, where she was studying broadcast journalism, and move to Los Angeles to pursue a full-fledged career in entertainment.

Her massive online presence opened doors far beyond social media. In 2021, Rae made the leap into music with the release of her debut single, “Obsessed.” While the song had a mixed critical reception, it solidified her entry into the pop landscape. Determined to refine her sound, she continued working on music, and in August 2023, she released AR, an EP that showcased her artistic growth. The project included early material that had been leaked and subsequently polished for official release, giving fans insight into her musical evolution. Rae’s ability to transition from influencer to recording artist was further solidified with her 2024 single “Diet Pepsi,” which became her first entry on the Billboard Hot 100, peaking at number 54.

Beyond her success in music, Rae made her acting debut in the Netflix film He’s All That (2021), a gender-swapped remake of the 1999 teen classic She’s All That. While the movie received largely negative reviews, it was the most-streamed film on Netflix during its release week, proving her immense star power. She continued building her acting portfolio with a role in the 2023 horror film Thanksgiving, where she played Gabby. Looking ahead, Rae is set to appear in the 2025 film Animal Friends, marking yet another step in her growing film career.

Rae’s chart success has been driven by her strong fan engagement and ability to leverage her digital presence into tangible industry success. Her ability to dominate social media and branch into different entertainment avenues has set her apart from other influencers who attempted to break into mainstream music. While her career is still developing, her influence is undeniable, as she continues to balance multiple ventures, from music and acting to endorsements with major fashion brands.

Her popularity extends beyond entertainment, as she has become a force in fashion. Collaborations with luxury brands such as Saint Laurent and Marc Jacobs have further cemented her status as a style icon. Rae’s sense of fashion and ability to generate trends make her a valuable asset to designers looking to tap into younger demographics. She has seamlessly transitioned from TikTok star to a legitimate figure in the fashion world, attending major industry events and gracing the covers of top magazines.

Outside of entertainment, Rae has used her platform to support charitable causes. In January 2021, she donated her $1 million prize from an all-star Mario Tennis Aces tournament to No Kid Hungry, a nonprofit focused on ending child hunger in the United States. Her philanthropic efforts demonstrate that she is more than just an influencer—she is someone using her fame to make a positive impact.

Addison Rae’s rapid ascent is a testament to her ability to adapt, evolve, and capture the attention of millions across various entertainment fields. From TikTok sensation to pop artist, actress, and fashion icon, she has proven that social media success can translate into lasting stardom. As she continues to expand her career, she remains a dynamic presence in the industry, with a fan base eager to follow her next move.

Complete List Of Addison Rae Songs From A to Z

2 Die 4 (featuring Charli XCX) – AR – August 18, 2023
Aquamarine – 2024
Aquamarine / Arcamarine (Music Video, Directed by Lexee Smith) – 2024

Blueberry Faygo (with Lil Mosey) – Non-album single – 2020
Canceled (with Larray) – Non-album single – 2020
Diet Pepsi – 2024
Diet Pepsi (Music Video, Directed by Sean Price Williams) – 2024

Got It Bad –  2024
I Got It Bad – AR – August 18, 2023
It Could’ve Been U – AR – August 18, 2023
Lucifer (with A. G. Cook, Charli XCX) – Britpop – 2024
Nothing On (But the Radio) – AR – August 18, 2023
Obsessed – AR – March 19, 2021
Obsessed (Music Video, Directed by Diane Martel) – 2021

Von Dutch (with Charli XCX and A. G. Cook) – Brat and It’s Completely Different but Also Still Brat – 2024

You Only Love Me (with Rita Ora) – Non-album single – 2023

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

Complete List Of Addison Rae Songs From A to Z 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.

Kiss may have played their final show, but the commerce continues, and fans with seriously deep pockets may be keen to avail themselves of the band’s latest offering, a 5″ edition of the 1974 single Stutter made from 24-karat gold.

The single, which is available to buy now for a trifling $50,000, is limited to just five made-to-order copies worldwide, and is “specially remastered for gold metal playback from 96kHz 24-bit stereo analogue transfers and playable on any manual record player.”

The sales blurb continues: “The A-side also includes a special rim engraving with each record’s unique edition number engraved in gold and an exquisite KISS logo made of Swarovski crystals.

“A highly premium 12-inch x 12-inch x 4-3/8-inch luxurious coffee table display case is wrapped in imitation leather with gold foil details throughout and crowned off with a gold-plated Kiss logo showcased in Swarovski crystals. Containing two drawers, one housing the record in a protective sapphire crystal glass capsule, and the other containing a book signed by Gene Simmons and Paul Stanley.

“Accessories include the gold-detailed pen used to sign each book, a laser-engraved metal certificate of authenticity, a premium cork record mat, and a microfiber cleaning cloth. B-side engraving honours the original Casablanca Records 7-inch single label with a proof quality finish.”

We’ll take two.

In other Kiss news. Paul Stanley has revealed how much he misses playing live. Speaking on the first episode of the Stories To Tell with Richard Marx podcast, Stanley says, “The last tour was just a chance to really take in how valuable and how much this meant to me. But I couldn’t keep doing it any more than Michael Jordan could.

“I’ve always been more than a musician or performer. I’ve been an athlete, and you realise that you can only do that so long. I’ve been blessed to do it into my seventies, which if you told me that 50 years ago, I’d say you’re out of your mind. So, yeah, I miss it, but I don’t crave it.”

Rick Buckler, famous as the drummer with mod revivalists The Jam, has died at the age of 69. The news was confirmed in a statement by his agent, a month after Buckler was obliged to cancel a run of spoken word engagements due to “ongoing health issues.”

The statement read: “Rick Buckler, best known as the legendary drummer of The Jam, passed away peacefully on Monday evening in Woking after a short illness with family by his side.

“Rick was a loving husband, father and grandfather and was a devoted friend to many, who will be greatly missed. His family have asked for privacy and respect during this time.

“Formed in 1972 in Woking, Surrey, the powerhouse three-piece comprised of singer, guitarist Paul Weller and drummer Rick Buckler and later bassist Bruce Foxton. The Jam had 18 consecutive UK Top 40 singles from their debut in 1977 to their break-up in December 1982, including four number 1 hits.

“Rick was also successful with other avenues following The Jam which included furniture design and restoration, writing a number of books and keeping a strong relationship with his fans through his Q and A’s.”

Buckler was born in Woking in 1955, and formed The Jam, who quickly developed a reputation as an electrifying live act, with Weller and Foxton while still at school.

“There is no place to hide, and we learned that quite early on,” he told writer Malcolm Wyatt in 2018. “I think we were struggling to be a four-piece, so really felt we had to work hard, and that alone justified what the band were about.

“I think that’s why we were so powerful on stage – the fact that everybody’s pulling their weight and filling all those gaps with interesting things. We were big fans of cutting out the rubbish. If we thought it was getting boring or irrelevant, we’d drop it straight away – cut straight to the chase.”

After Weller broke up the band at the height of their success, Buckler formed Time UK and embarked on a short-lived career in production before leaving the music business. He returned in 2005 with a new band, The Gift – named after the final album by The Jam – before hooking up with Foxton again in From The Jam.

After four years, Buckler left From The Jam, unhappy at their reliance on The Jam’s catalogue and reluctance to write new material, and apparently annoyed by Foxton’s decision to work with Weller again.

“I’m shocked and saddened by Rick’s passing,” posted Weller in the wake of the news of Buckler’s death. “I’m thinking back to us all rehearsing in my bedroom in Stanley Road, Woking. To all the pubs and clubs we played at as kids, to eventually making a record. What a journey! We went far beyond our dreams and what we made stands the test of time. My deepest sympathy to all family and friends.”

“I was shocked and devastated to hear the very sad news today,” wrote Foxton. “Rick was a good guy and a great drummer whose innovative drum patterns helped shape our songs. I’m glad we had the chance to work together as much as we did. My thoughts are with Leslie and his family at this very difficult time.”