As previously reported, the first major loan exhibition in an art museum dedicated entirely to the iconic instruments of rock and roll will go on view at The Metropolitan Museum of Art beginning April 8th, 2019.

Through more than 130 instruments that were used by such artists as Chuck Berry, The Beatles, Elvis Presley, Jimi Hendrix, Joni Mitchell, Jimmy Page, Steve Miller, St. Vincent, Metallica, The Rolling Stones, and many others, Play It Loud: Instruments of Rock & Roll will explore one of the most influential artistic movements of the 20th century and the objects that made the music possible.

Organized thematically, Play It Loud will explore how musicians embraced and advanced emerging technologies; the phenomenon of the “Guitar Gods”; the crafting of a visual identity through the use of instruments; and the destruction of instruments in some live performances, one of rock’s most defining gestures. The exhibition will include many of rock’s most celebrated instruments, including such guitars as Jimi Hendrix’s electric guitar “Love Drops,” originally decorated by him; Eric Clapton’s “Blackie;” Eddie Van Halen’s “Frankenstein;” Jerry Garcia’s “Wolf;” and Joan Jett’s “Melody Maker,” as well as drums from Keith Moon’s “Pictures of Lily” drum set. By displaying several rigs used in live performances and sound recordings, the exhibition will also demonstrate how artists created their own individual sounds, and some 40 vintage posters, costumes, and performance videos will illustrate key components of the musical movement’s visual style and impact.

Other highlights will include: Chuck Berry’s electric guitar ES-350T (1957), which was his primary guitar from 1957 until about 1963 and was used to record Johnny B. Goode; James Jamerson’s upright bass, which he likely used on many early Motown hits; Keith Emerson’s keyboard rig, consisting of the customized Moog Modular Synthesizer, electric tone-wheel organ, and rotary speakers; a reconstructed performance rig from Eddie Van Halen as it appeared onstage in 1978; Steve Miller’s electric guitar that was painted with psychedelic designs by artist Bob Cantrell by 1973; Jack Bruce’s electric bass, which was painted for him by the artist collective known as “The Fool” in 1967 while he was with Cream; St. Vincent’s electric guitar, which Annie “St. Vincent” Clark designed in collaboration with Music Man in 2015; and Jimmy Page’s dragon-embroidered costume (Los Angeles, 1975)—the elaborately hand-embroidered suit took over a year to complete and Page wore it during Led Zeppelin’s live performances from 1975 to 1977. 

The exhibition will also include a sculpture made from what was left of one of Pete Townshend’s electric guitars after he smashed the instrument during a photo shoot with Annie Leibovitz, that was published in Rolling Stone as “How to Launch Your Guitar in 17 Steps.”

Play It Loud: Instruments of Rock and Roll will be accompanied by a fully illustrated catalogue.

For more information, please visit metmuseum.org.

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Patrick Doyle of Rolling Stone spoke with Def Leppard, prior to the band’s induction to the Rock Hall. Excerpts from the interview appear below.

Rolling Stone: You played Madison Square Garden this last year, and you played Wembley just recently. What is it like to be in that position at this point in your career?

Phil Collen: We are having an Indian summer and it’s because we have this integrity. We never stopped actually in the 40-odd years that the band’s together, we just keep going through thick and thin, all the bad stuff, good stuff. And I think that shows, and we’re just enjoying this Indian summer.

Rolling Stone: Why do you think that’s happening right now?

Phil: Everyone else is falling off. There’s a lot of other bands who are not doing it. And to be quite honest, a lot of other bands don’t put the effort in. You’ll hear later on. I’ve got to say we’re really badass. We actually just improve all the time, and that’s because we are consistent and we love what we’re doing. The songs are great, we craft and we spend a lot of time. We used to get a lot of flak and shit for doing [that] and spending so long. But the reason we did that is so that we are here now.

Rolling Stone: What are you working on right now?

Phil: New album. We’re constantly working.

Rolling Stone: The last thing is: The Queen film you were talking about, does that bring to mind doing a Def Leppard movie?

Joe Elliott: We were subjects of a VH1 movie 20 years ago that was the biggest pile of s–t ever made. I doubt very much anybody would be really interest[ed] in making another one. We’ll see. We’re open to anything. Somebody comes along because we want to make a movie about you guys, why not?

Read more at Rolling Stone.

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With Dance Macabre becoming the band’s third No. 1 single at Rock Radio, Grammy Award-winning artist Ghost has announced a six-week North American headline tour that will see the Swedish rock band’s elaborate rock theater presentation metamorphose into a full-on arena production. Billed as the Ultimate Tour Named Death and produced by Live Nation, the tour will begin September 13th in at the Rabobank Arena in Bakersfield, California, following Ghost’s special guest summer slot on Metallica’s 25-date WorldWide European stadium tour. A series of ticket pre-sales begins tomorrow, April 2 at 10 a.m. local; tickets for the Ultimate Tour Named Death go on sale to the general public on April 5th at 10 a.m local.

San Antonio’s three-time Grammy-nominated alt/rock band Nothing More, which earned three Top 10 singles from their most recent album The Stories We Tell Ourselves, will provide support for the tour.

Ghost’s Ultimate Tour Named Death tour dates:

Sep. 13 - Rabobank Theatre, Bakersfield, CA 
Sep. 14 - Reno Events Center, Reno, NV 
Sep. 16 - Theater of the Clouds at Moda Center, Portland, OR 
Sep. 17 - Toyota Center, Kennewick, WA 

Sep. 19 - WaMu Theatre, Seattle, WA 
Sep. 20 - Pacific Auditorium, Vancouver, BC 
Sep. 21 - So. Okanagan Events Centre, Penticton, BC 
Sep. 24 - The Corral, Calgary, AB 
Sep. 26 - Spokane Arena, Spokane, WA 
Sep. 27 - Taco Bell Arena, Boise, ID 
Sep. 28 - Maverik Center, West Valley City, UT* 
Sep. 30 - Budweiser Events Center at The Ranch, Loveland, CO 

Oct. 1 -  Broadmoor World Arena, Colorado Springs, CO 
Oct. 3 -  Denny Sanford Premier Center, Sioux Falls, SD 
Oct. 4 -  Scheels Arena, Fargo, ND* 
Oct. 5 -  The Armory, Minneapolis, MN 
Oct. 7 -  Resch Center, Green Bay, WI 
Oct. 14 - DeltaPlex Arena, Grand Rapids, MI 
Oct. 19 - Cross Insurance Arena, Portland, ME 
Oct. 21 - DCU Center, Worcester, MA 
Oct. 22 - The Oncenter, Syracuse, NY 
Oct. 24 - GIANT Center, Hershey, PA 
Oct. 25 - Cure Insurance Arena, Trenton, NJ 
Oct. 26 - Cool Insuring Arena, Glens Falls, NY

* Nothing More will not appear on this dat
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Def Leppard were officially inducted into the Rock N’ Roll Hall of Fame on March 29th.

Def Leppard frontman, Joe Elliott, delivered an acceptance speech on the band’s behalf (which included: guitarists Phil Collen and Vivian Campbell, bassist Rick Savage and drummer Rick Allen — along with founding guitarist Pete Willis and their late guitarist Steve Clark). Read Elliott’s speech below (via Rolling Stone)

“First of all, massive love and gratitude to our very dear friend Brian May for such a flattering introduction. We love you, mate, and congratulations on the incredible success of the movie. It couldn’t have happened to a nicer chap..

I’d also like to congratulate all our fellow inductees tonight, it’s a real honor to be able to share this stage with the likes of Roxy Music, Stevie Nicks and the Zombies, artists that we’ve admired from a distance for many, many years.

Alright, so down to business, we’d like to take this opportunity to acknowledge a few people, and some significant moments that have played a very important role in getting this band to where it is today, starting off with our parents. Back then, we were just a bunch of teenage wannabes living at home, dreaming the dream, so without their help and encouragement it would be a lot tougher to be standing up here on this stage tonight. My mum for example, taught me my first three chords when I was eight years old. I’ve learned two more since, but I’ve come to realize you don’t actually really need them at all. My dad who lent us £150 to make our first very recording back in 1978 which was absolutely the launch pad for this very wild ride that we’ve been on ever since.

Now that’s just two examples of what our folks did for us along the way and I could stand here all night with great tales of parental support and what have you, but basically it’s of major significance, and it goes without saying that without their support, financial and otherwise, things may have turned out very differently.

Another significant moment in this band’s birth was the simple act of missing a bus, which is something that I did one August night in 1977. By deciding to walk home instead of waiting for the next one, fate would have it that I would bump into a young kid who I knew to be a pretty good guitar player. That kid was a guy called Pete Willis. Pete was a co-founder of the band and one of the best right hands in the business. Now sadly Pete couldn’t be with us tonight, but I want to emphasize how very important Pete’s role in this band was in the early days. He was a terrific player, had a very mischievous sense of humor, but he brought plenty of great musical ideas to the band.

And it was Pete, after a chance meeting in a college canteen, both reaching for the same guitar magazine, who introduced us to the late, great Steve Clark. Over the following 10 years, Steve made a massive musical contribution to this band, his incredible and unique riffs helped shape some of the most important songs we will ever write and it really does go without saying that we love him and we miss him every day.

Two gentlemen who helped take us to a level that we could only previously have dreamt about were Cliff Burnstein and Peter Mensch. They formed Q-Prime management and they looked after us for the best part of 25 years. We will always appreciate the fact that Peter bankrolled this band for years until things started to take off — and boy, did they take off!

But not before the most significant contribution that Peter and Cliff ever made, which was introducing our music to our future producer, co-writer and mentor, Mr. Robert John “Mutt” Lange. We first worked with Mutt in 1981 on an album called High & Dry, but it was 1983 that saw us move into a whole new orbit with the phenomenal success of the album Pryomania, where we were properly introduced to our new boss for the first time — our wonderfully loyal fanbase, without whom we wouldn’t be up here tonight, of that, I have no doubt. You’ve stayed on board for the best part of the following 36 years and supported us through some tough times along the way, but those tough times have helped us make this band what it is today — it’s solid, appreciative of who we are and what we stand for.

Those songs we’ve written over the years were always our main priority, you just have to check out our misguided fashion sense over the years and you’ll understand where I’m coming from here. And although there seemed to be a looming sense of tragedy around every corner, we just wouldn’t let it in. But it’s true, it did seem that every time we made some musical headway, life would knock us back down somewhat. Pyromania is a raging success… then Rick has a life changing accident. He survived it and came out the other side stronger. Hysteria gave us the global success that we’d always craved… and then we lost Steve. But we survived and came out the other side stronger people. And that’s the way it’s always played out throughout our career. So let’s face facts here, if alcoholism, car crashes and cancer couldn’t kill us, the Nineties had no f–king chance.

So finally I’d like to bring this into the now and thank the people who are helping to keep this beautiful machine on the road, hopefully for many, many more years to come. Our manager Mike Kobayashi who took over the reigns from Howard Kaufman who looked after us from 2005 until his passing in 2017. Howard did an incredible job breathing new life into this band at a time when it could have gone either way and Mike continues to do so, so thank you, Mike.

To our friends at Universal Records, past and present, especially present. And to our families, to our wives, to our children, who help to keep us grounded and also give us a good reason to keep doing what we do. And last but absolutely not least, my fellow bandmates here. We’re not blood, but we’re the closest thing to brothers this only child has ever known. I couldn’t and wouldn’t want to do it without you guys.”

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Hookers & Blow, the now legendary project formed by long time Guns N’ Roses keyboardist Dizzy Reed and Quiet Riot guitarist Alex Grossi, are happy to announce they have signed a global merchandise and recording deal with the world’s fastest growing independent record label Golden Robot Records for a 2019 release. 

“We have been asked for years about putting out an actual recording since we started this thing in 2003,” says Alex Grossi “It never really made sense until now, as we have actually found the perfect record label in Golden Robot Records that actually gets “it” as far as what  Hookers & Blow  is all about. We are currently in the studio tracking some of our favorite songs with a very talented and diverse cast of characters, as well as working on some very outside the box merchandise ideas. We can’t fucking wait to share some of what we have planned for this thing.”

Hookers & Blow is now part of an international roster that includes such iconic artists as Skid Row, Rose Tattoo, King’s X, Guns N’ Roses keyboardist Dizzy Reed, John Sykes, Gilby Clarke, Little Ceasar, Raveneye, The Lazys and the all-star A New Revenge among many others. 

For more information, please visit:



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Singer Jim Crean, who along with drummer Carmine Appice and bassist Tony Franklin, were supposed to preform with guitarist Vinnie Vincent on Feburuary 8th and 9th, 2019 in Nashville, TN, discusses why he thinks the shows never materialized.

“I can’t speak on Vinnie Vincent’s behalf,” Crean told The Metal Voice in a new interview. “I never met him but I have my ideas … and so does Carmine and Tony. There’s a lot of heavy shredding that went into Vinnie’s songs. … I dissected every part of these songs, even with the guitar. When Vinnie did that KISS cruise … he didn’t really play any leads or anything like that; he just kind of came out and he looked a little nervous, like he was kind of unsure.”

He recalled that Vincent’s agent said to him, “I think Vinnie’s gonna be a little standoffish at first, but then once he sees and he hears you guys … he is gonna be so into it.”’

“I think that would have happened,” Crean noted. “I really think that Vinnie would have came out and it would have really been a good good career move for him … but I do think that maybe he had a little doubt.”

Crean insisted he, Appice and Franklin were well-rehearsed and ready to “be super-tight and deliver it for Vinnie.” “If Vinnie came out and he wasn’t exactly like he was 30 years ago, I think the fans would have still accepted him for just coming out onstage,” he said. “I truly do think that because his fans are very loyal to him and they just want to see him play.”

He said at one point the set list included “a lot of Vincent songs and a few KISS songs,” like Lick It Up, Unholy, A Million to Oneand Exciter. However, he explained that after they recorded three demo songs without the guitarist, Vincent made the decision to “go out there and shred” during the shows.

“After that, Vinnie decided that he just wanted … a shred show where he just goes out there and they just jam,” Crean recalled. “So basically Tony and Carmine just kind of keep a beat and Vinnie just plays. I guess a little later he decided that he just didn’t want to do that either.”

Drummer Carmine Appice, who spoke about the canceled shows, stated, “Something happened between Vinnie and the promoter. I know there was something going on. I talked to Vinnie a few times, and him and the promoter were not seeing eye to eye on a lot of stuff. But I always thought that if Vinnie messed this up, or whoever messed it up, I don’t know if there’ll be another chance. ‘Cause this is his comeback. He already canceled it once [before]. And if gets canceled again, nobody’s gonna care anymore. [They’ll say] ‘I’m not gonna go even buy a ticket. He’s not gonna show up. Or something’s gonna happen.’ But I was looking forward to it, because me and Tony Franklin — I love playing with Tony, and we were gonna play the Vinnie KISS songs, which would have been fun.”

additional source: Ultimate Classic Rock

[Dana’s note: Thank you, to Robert Davenport, for passing this along to me.]

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