Iggy Pop, the undisputed godfather of punk, is slated to release another blistering sonic assault in July. Entitled “Beat ‘Em Up,” the album is a return to form for the astonishingly ageless Pop, whose last release was 1999’s “Avenue B.” “Beat ‘Em Up,” to be released from Virgin Records America, was produced by Iggy, and engineered by Danny Kader. Joining Iggy are Whitey Kirst (guitar), Alex Kirst (drums), Pete Marshall (guitar) and Lloyd “Mooseman” Roberts (bass). Sadly, Mooseman, formerly of Body Count, was murdered in a drive-by shooting this past winter. Pete Marshall will take over bass duties for Iggy’s… Read more »
The 13-track set contains collaborations with an eclectic roster of guest vocalists, including Ozzy Osbourne, Chris Cornell, Kid Rock, Ian Astbury and Iggy Pop.
Did you know Sid Vicious was not the original bass player of the Sex Pistols? The original bass player was Glen Matlock, who also co-wrote all but 2 songs on the classic and heavily influential album “Never Mind The Bollocks, Here’s The Sex Pistols.” The only Sex Pistols studio album. This week I have fellow bass player Glen Matlock on my show! Glen has also worked with Iggy Pop, Blondie, The Damned ect. We talk about all the good stuff!
This week we chat with Tana Douglas, known as the first female roadie. She has worked with artists such as AC/DC, The Police, Elton John, Red Hot Chili Peppers, Lenny Kravitz, Iggy Pop, and many more. Tana has released her first book entitled “Loud”, which gives an inside look into her life on the road from the 70’s until now.
Multifaceted designer, illustrator, and writer, Jefferey Everett. Under the alias Rockets are Red, Jeffrey has crafted designs for bands like Social Distortion, Flogging Molly, Foo Fighters, Jason Mraz, Flight of the Conchords, Gaslight Anthem, Lou Reed, Iggy Pop, The Bouncing Souls, New Found Glory, A Day to Remember, among others. Plus… King Charles III is donning his bravest face as he embarks on a cancer treatment journey, proving that even monarchs aren’t immune to life’s curveballs. Switching scenes to the U.S. Supreme Court, where the legal drama over Donald Trump’s ballot eligibility turns into an episode of “Law & Order:… Read more »
The day is finally here! Today marks the highly anticipated release of Green Day‘s fourteenth album, Saviors—a momentous occasion as the legendary trio unveils their first collection of new music in almost four years. As we delve into the 15-track album, each listener is bound to form their unique opinions, fall in love with and possibly loathe tracks based on moods, messages, and the overall approach to the sound and style. To add to the excitement, we’ve taken the liberty of ranking all the tracks based on our early listening experience—from favorites that resonated deeply, like “Bobby Sox” and “Father… Read more »
With his recent anti-trans comments, Alice Cooper has shown he doesn’t know what he’s talking about. But people are paying attention, and that’s dangerous.
Ahead of her soon-to-be-iconic performance supporting Iggy Pop in Las Vegas at The Pearl Theatre on April 29, Grace McKagan has issued a music video for her hypnotizing “Call Me Back (When I’m Dead).” Highlighted by a sensational bassline and McKagan’s 60s meets early aughts style of rock ‘n’ roll/pop-punk/alt-pop vocal fusion, “Call Me Back (When I’m Dead)” feels like it houses an old soul of its own. The visual for the recently released track complements its memorizing vibe, mixing close-up shoots of McKagan with blurry overlays that capture the somber yet introspective nature of the tune. Lyrically, “Call Me… Read more »
Pulling inspiration from a wide variety of artists including My Chemical Romance, 100 gecs, Smashing Pumpkins, Weezer, and even Lil Peep, LA-based Eli Hurts has released his highly-anticipated debut solo album, Ouch. Arriving today via Rude Records, Ouch has been brewing in Hurts since childhood. After releasing his debut EP, Future Accountants of America, Unite in 2020, Hurts set the tone of his forward-motion career through an array of alternative, emo, pop, punk, and a dash or two of synth. The culmination of these musical influences results in a motley of songs that are meant to be played at full
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