Jerry Lee Lewis Returns to Music: ‘I Thought I Would Never Play Again’ – Rolling Stone

When Jerry Lee Lewis entered a Nashville recording studio late last month, he had no idea what was going to happen. He had not played music since February 2019, when he suffered a serious stroke at his home in Nesbit, Mississippi. Though his team described the stroke as “minor” at the time, it wasn’t; Lewis was left with mobility issues, and those around him feared he wouldn’t survive. Lewis was more concerned about whether he would ever be able to play the piano again; he spent three months in a rehab facility relearning to walk and trying to gain use of his right hand. It was a struggle.

Late last month, the 84-year-old Lewis booked a recording session — his first in more than five years — to see if he could still make music. The idea was to begin a long-planned album of gospel classics that he’d known since his childhood in Ferriday, Louisiana — songs he knew before he helped kick-start rock & roll with hits like “Whole Lotta Shakin’ Goin’ On” and “Great Balls of Fire.” Before the session, Lewis told his team and producer T-Bone Burnett that he didn’t want a piano in the room at all: his right hand wasn’t working, and he just wanted to sing. But they kept one in the room just in case. When Lewis sat on its stool, he couldn’t help but lift his right hand onto the keys. To his own surprise, his fingers started moving.

“I couldn’t believe it, I couldn’t believe it,” Lewis says now, reflecting on that moment. “I never experienced anything like that. There I was playing piano with my right hand. I thought I would never play again.”

With his wife, Judith, sitting next to him, Lewis spent two days laying down tracks with a band that included guitarists Kenny Lovelace (who has played with Lewis since 1966) and James Burton, plus gospel legends the McCrary Sisters on backup vocals. After shaking off nerves, Lewis eventually loosened up; at one point, he told the band about the time, when he was a kid, he walked across a narrow bridge 150 feet above the Mississippi River on a dare. Though his vocals could be rough, there were flashes of his old power, and his piano playing remained loose, confident, and unmistakably the Killer.

“I was in shock, for starters, that we were even there,” says Burnett. “He went from saying, ‘I can’t play piano,’ to sitting down, picking up his right hand and playing. His family all welled up. That’s the power of love, you know?”

Lewis is sharp and upbeat on the phone a couple weeks after the session. He responds to compliments with, “Thank you, Killer,” and shows flashes of his old cockiness: Talking about the period when he stopped having hits, he says, “I thought I would just bow out, get out of the way, make room for somebody else.”

But Lewis doesn’t hold back describing the pain of last year. “I’ve never experienced anything like it,” he says of his stroke. “It was very challenging, and it was a very emotional experience. I didn’t know what was going on. I woke up in the hospital.” He couldn’t help but think about death. “And I just did some heavy praying, and tried to get back on the right track.”

Lewis is feeling much better now. “In reality, his health is better now than it’s been in the past five or six years,” says Judith. Lewis no longer needs additional oxygen, like he did for three years. He doesn’t take any pain medication, just the occasional Advil or Tylenol. The stress of the weekend recording in Nashville gave Lewis a major headache, Judith says, which took a toll: “His emotions are 100 times the average person, what he feels, because he’s a genius,” she says. “And it intensifies his emotions.”

After his successful return to the studio, Lewis has a new goal on his mind. He wants to be inducted into the Country Music Hall of Fame, which usually announces its inductees in March. Beginning with his 1969 album Another Place, Another Time, Lewis scored nearly two dozen Top 10 country hits, including “What Made Milwaukee Famous (Has Made a Loser Out of Me).” Four of those hits went to Number One, and he placed high on Rolling Stone’s 100 Greatest Country Singers of All Time. Still, he has yet to be inducted into the Country Music Hall of Fame. “I’d like that to happen,” Lewis says. “I don’t know any reason why not. You couldn’t be any more country than I am.”

As far as Lewis is concerned, “I think I’ve always been a country artist,” he says. ” ‘Whole Lotta Shakin’ Goin’ On’ was Number One in country. So was ‘Great Balls of Fire.’”

One reason Lewis isn’t already in the Hall of Fame may be his reluctance to play by Nashville’s rules. There’s one legendary story about the time he played the Grand Ole Opry in 1973. Rather than sticking to country songs, he played a fiery set of his rock & roll hits, and blasted well past his time limit. Lewis laughs at that memory today: “I went on and they introduced me and I don’t know who done it but I went ahead and played 56 minutes. They kept trying to get me off the stage and I didn’t pay any attention to ’em.” According to some reports, Lewis also cursed on the air, calling himself a “rock & rollin’, country-and-western, rhythm-and-blues-singin’ motherfucker.” But Lewis doubts this: “I could have; I was pretty wild back in the day. I doubt I said that, though. That don’t sound like me.” (His team says he said “mother lover.”)

These days, Lewis spends most of his time at home with his wife, taking it easy. “Oh, I mostly just lay around and rest, and watch old TV, and do my exercising and things I have to do,” he says. Sometimes, he’ll call Little Richard, one of the only other rock & roll innovators left. “Oh, I talk with Richard occasionally,” Lewis says. “We talk about old times, and good times, and what’s going on in our health. He’s a good friend of mine.”

Since Lewis lives near Memphis, occasionally he’ll ride past Sun Records Studio, where he, Sam Phillips, Elvis Presley, Johnny Cash, Carl Perkins, and others started a musical revolution that still echoes through the culture today. “I go by there sometimes,” Lewis says. What goes through his mind? “Precious memories,” he says.

Lewis’ stroke last year forced him to cancel a world tour that included major shows like the New Orleans Jazz Fest. Lewis hopes to perform again one day. “We’re thinking about it,” he says. “Whether it’ll come off or not, I don’t know.” But for now, he’s grateful to simply be playing again. “It feels like I’m home,” he says.

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Birdman Thinks Nicki Minaj Doesn’t Get Enough Credit For Changing The Game For Female Rappers | Genius

Cash Money co-founder Birdman recently stopped by MTV for an interview with Brian “B.Dot” Miller, during which he spoke about the record label’s legacy. After touching on the success of Hot Boys, Lil Wayne, and Drake, the New Orleans native said Nicki Minaj doesn’t get the credit she deserves.

“I come in an era when females, it was hard for ’em,” said Birdman. “Nicki broke the cycle for females. Nicki did more than any female artist, ever. And you have a lot of great artists before Nicki Minaj. But Nicki Minaj changed the game for females.”

He continued by remembering Nicki’s work ethic during the early stages of her career. “Nicki used to be in the studio with nine, ten n*ggas every night with us in Miami,” he said. “Every single night, putting in the body of work to become who she became. So, I don’t think Nicki get the credit she deserves, but you know, time tells it all.”

Birdman added that he believes Nicki is still the biggest female rapper. “One thing they say, numbers don’t lie,” he said. “And her numbers speak for themselves.”

Indeed, each of Nicki’s four studio albums have debuted at either No. 1 or No. 2 on the Billboard 200 albums chart. More impressively, she is the most successful female artist in Hot 100 history, with 108 entries on the chart. The total puts her just behind Drake (207) and Lil Wayne (167) as the rappers with the most charting singles in the chart’s history.

Nicki herself has frequently expressed frustration with her status in hip-hop, particularly around the release of her 2018 album, Queen. In a contentious 2019 interview on The Joe Budden Podcast, she called out the retired rapper for “spreading lies” about her and trying to tear her down following her beef with rival female MC Cardi B.

“I still had to go through these things because of people like you who made a sport of tearing down a young black woman who has done nothing but come in this game with an authentic come-up, writing raps, and doing what’s actually necessary,” she said. “No Instagram, no reality shows, no sucking DJ’s d*cks. And then to have people who I think are smart enough to see that do nothing but tear me down… would not join in that. But in fact, it was the opposite. Those people came together to try to end me.”

Watch the full interview above, and read all the lyrics to Nicki Minaj’s biggest hits on Genius now.

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Primus Plot Rush Covers Tour – Rolling Stone

On November 16th, 1978, Rush came through the Bay Area on their Hemispheres tour. In the audience at the band’s Cow Palace show that night was a young Les Claypool, and 40-some years later, the Primus bassist still seems awed by what he witnessed.

Hemispheres was my first concert,” Claypool says. “Little 14-year-old guy who just threw up in the parking lot from drinking three Löwenbräus, having my mind blown by watching these guys do their thing.”

This spring and summer, he’ll have the chance to relive that adolescent thrill over and over, except this time he’ll be the one onstage. From late May through early August, Claypool and his Primus bandmates Larry LaLonde and Tim Alexander will honor their musical heroes on a massive tour where they’ll cover A Farewell to KingsHemispheres’ 1977 predecessor and the first Rush album Claypool ever heard — in full every night, before playing a full set of Primus’ own songs.

For Claypool, this will be the latest in a long series of surreal Rush-related milestones. Primus opened for Rush on tour in 1992, and since then the bassist has crossed paths with the prog legends many times. In 2006, Claypool performed at Rush’s Canadian Songwriters Hall of Fame induction, and last year, Geddy Lee sat in with the Claypool Lennon Delirium in Toronto.

But the upcoming tour, called A Tribute to Kings, will no doubt take on added significance in light of the death of iconic Rush drummer Neil Peart in January. The timing, as it turns out, is a complete coincidence; Primus’ Rush covers run had been in the works since last year.

“We’re trying to be very sensitive about doing the tour and not having it be, ‘Hey, all about Neil,’” Claypool says. “It’s about admiration for these amazing musicians and friends.”

On the phone from Colorado, where he was gearing up for the first Oysterhead show since 2006, Claypool discussed how the tour came about, what fans can expect from the shows, and why he’s already nervous about hitting those late-Seventies Geddy Lee high notes.

Primus have been covering Rush for decades now, but how did the idea of this particular tour come about?
Well, we had talked about doing an album in its entirety a while ago. Frog Brigade did Pink Floyd’s Animals in its entirety years ago, and it was an insane amount of work but it was also incredibly gratifying. We did the Willy Wonka thing with Primus, and we’d always talked about potentially doing Hemispheres because that was my first concert, and it may have been Ler’s [LaLonde] first concert too, actually. And when it finally came down to it, we started looking at the different records and settled on Farewell to Kings.

So when did you decide that you were definitely going to do this tour?
[Our manager] Brad brought it to us last summer, I believe; last spring he started talking to Live Nation. So Live Nation thought it was a good idea, and that’s the tour so away we’re going. We were going to do it last fall and then this whole Slayer thing came up. We had been talking about doing something with Slayer on and off over the years, and then the opportunity to do the final-final [tour in 2019] and send these guys off was a pretty cool thing, so we postponed the Kings tour.

Primus covered a bit of “Cygnus X-1 Book I” from A Farewell to Kings on that Slayer tour. Was that intended as a secret sneak preview?
Well, we had started learning the tunes, and I throw in the “Cygnus” bass teaser every now and then throughout the years. That’s the thing about Rush tunes: The three of us tend to know lots of bits and pieces but very few entire songs because it’s fuckin’ Rush; it’s just hard. So it’s always been a common ground for the three of us. In fact, I remember when the three of us first got together, that was one of the things we bonded on as we sat there and jammed on bits and pieces of Rush songs. So the notion of doing the Slayer thing and doing even more of “Cygnus” seemed like a fun thing to do, so we did it.

So I heard that you actually had a talk with Geddy Lee about this before the tour was confirmed. What do you recall about that conversation?
I talked to Geddy about it, yeah. I texted with him — I keep in touch with Geddy — just to make sure we weren’t trodding on something weird. So I checked in with him to see what he thought of it, and he was excited about the notion.

Do you remember anything in particular that he said?
He just got excited; he thought it was a great idea. You know, we go way back with those guys so I think it made him feel good that it was going to be us that was going to do this thing. But I don’t know, you’d have to ask him. I can’t put words in his mouth, but he seemed excited about it.

You toured with Rush back in ’92. Did you actually meet them on the road or before?
No, we met them backstage. I think Albuquerque was the first gig; I’m not absolutely sure. But, no, the three of us had been huge Rush fans in our teens, so when the opportunity came up to do that tour, it was pretty surreal. And then to meet those guys and then to befriend those guys and the subsequent years of friendship and whatnot was pretty amazing. And like I said it was surreal at first, just ’cause there’s frickin’ Geddy and Alex and Neil standing in front of us and banging on lockers and whatnot backstage. It was an interesting time for young fiery lads coming up the ladder.

Tell me more about the banging on lockers. You guys were jamming?
Yeah, we used to have little impromptu jams backstage. We had a little jam set up. And you know, we’re in all these locker rooms because we’re playing basketball arenas and whatnot, so we’d have these jams. And one day Neil would be banging on the kit; one day he’d be banging on the lockers; one day there’s Alex playing guitar using a tortilla chip for a pick. It was good times.

So in the subsequent years, you’ve remained pretty close to them?
Well, there’s been long periods where I hadn’t seen any of these guys. The last time I saw Neil was at Stewart Copeland’s house. He had one of his Sacred Grove jams, and it was he and I and Neil and Danny Carey, and Matt Stone was there. I haven’t seen Alex in a while; Geddy and I and Alex went to dinner a few years ago when they were in San Francisco. We just kind check in once in a while. But Geddy interviewed me for his book that he did, and we hung out. And part of the deal was, if I did his book he had to show me the correct way to play “YYZ,” which he did, and of course, I’ve been playing it wrong all these years. It’s always good to get schooled by Geddy Lee, you know? [Laughs] It keeps you humble.

Out of curiosity, how many times did you see Rush, and when was the last time?
Last time I saw them was on the — what’s the tour they did that was like the Jules Verne…the last record they did?

Clockwork Angels.
Correct, correct. We saw it in Vegas. In fact, I brought Stewart to that show. So that was the last time I saw them live. I don’t know how many Rush shows I saw. Obviously, we played a shitload of them, but prior playing with them, I’d seen them at least once a year, maybe twice a year, from Hemispheres up through Signals.

So we have to speak about the elephant in the room, which is Neil’s death. Can you tell me how that might have affected these tour plans, if at all?
Well, it makes the plans a little more.…We’re trying to be as sensitive as we possibly can, so it doesn’t appear like we’re just jumping on the, “Hey, a superhero has died — let’s go out and do a tribute to him” type thing. So we’re trying to be sensitive to that, and also Neil was a very, very, very private person, so I don’t know how much he would want this or his family would want us talking about a lot of this stuff anyway. So I had known he had been sick for a while. Stewart was pretty close to him up ’til the end, so I would get little reports through Stewart every now and again as to what was happening. So it wasn’t a huge surprise, but it’s still a very jolting thing. When your heroes and friends start to leave the planet, it snaps you to.

“We’re trying to be as sensitive as we possibly can, so it doesn’t appear like we’re just jumping on the, ‘Hey, a superhero has died — let’s go out and do a tribute to him’ type thing.”

You said that you did have an idea that he was sick, so when this thing was being planned and you were texting with Geddy, did you know at that time that he was not doing well?
I mean, there were rumors that he wasn’t doing well, but we didn’t know to the extent. And I never really talked about it with Geddy. It wasn’t something I really wanted to talk about, and it wasn’t something that even Neil wanted people to talk about. It’s even uncomfortable talking to you about it right now, ’cause like I said, he’s very private, the family’s very private, so I don’t think anybody in that camp really wants to harp on it.

That makes perfect sense. So in terms of the specifics of the tour, why the Farewell to Kings record?
Well, like I said, originally we’d always kind of joked around about doing Hemispheres. That record has always had a very big place in my heart and head. But as we got to thinking about the record and how to tackle it — because it’s not going to be an easy feat, on many levels: A) I gotta try to sing Geddy Lee shit [laughs]. His older stuff is up in the stratosphere. I was texting with Geddy and saying, “Man, is any of this falsetto, or…?” And he was like, “Nope, that’s my full voice.” So I might need some help from the audience on some of this stuff. I gotta play the keyboard parts. But we settled on Kings, because A) it was the first Rush record I ever heard and B) it contains “Cygnus X-1,” which has always been my favorite Rush tune. It seems to be a good one for us to tackle; 2112 seemed a little obvious.

So will this be you guys playing that record and then a Primus set, or it’s just that record?
No, we’ve done this in the past. Like I said, I did it with Frog Brigade with Animals and when Primus did the Wonka thing, we did a set of Primus and then we did the Wonka performance. So this is going to be the Kings set, then a break, then the Primus set.

Obviously there are some other Rush classics on this record like “Xanadu.” What’s rehearsal been like so far with these songs?
Well, we’ve all been learning the material, but the only thing we’ve rehearsed together at this point has been “Cygnus.” And it was hard, but…that’s Rush! [Laughs]

Yeah, you kind of know that going in. So I know in the past, Primus have covered a few Rush songs, and I know you played “The Spirit of Radio” at the Canadian Songwriters Hall of Fame induction.
I usually don’t get nervous before performances, but I was scared to death for that performance, because it was extremely bizarre. A) The three of them were sitting there staring at us from their box, and B) it was an audience full of socialites; it was people in fancy clothes and jewelry, and I would imagine fake furs. It was an odd thing. It wasn’t a punter crowd.

But as far as Primus, we’ve done “YYZ,” we did “La Villa Strangiato” years ago. But lots of bits and pieces.

Geddy sat in with the Claypool Lennon Delirium last year, helping out on a cover of “Tomorrow Never Knows.” Has it been discussed that he could show up for one of these Tribute to Kings gigs?
Oh, I don’t know; it’s not really on the table. But you never know. I didn’t expect him to come out. Because I knew he was coming to the Toronto show when we did the Delirium show up there and I said, “Hey, you want to sit in on ‘Tomorrow Never Knows’?” And he’s like, “Well, you know, I’m not really a ‘sit-in’ kind of guy, but let me think about it.” And I was like, “Alright, don’t worry about it.” Because one thing that drives me insane is, I enjoy sitting in but sometimes I just want to go watch the show, and when you know you have to sit in at a certain point, it kind of makes you not necessarily relax and enjoy the show so much. So I just said, “Hey, look, don’t worry about it. Just come hang and have a good time.” And then when it came down to it, he’s like, “I’m in, and he jumped up there and away we went.” And it was amazing!

Was that the first time you’d been onstage with him?
I believe it was the first time. But then again, the old synapse doesn’t fire like it used to. My hard drive’s a bit fragmented. But it was the first time before a bunch of people. We’ve had little jams before.

This is a broader question, but do you feel that the success of a band as unusual as Rush helped to pave the way for a band like Primus later?
Oh, definitely. Especially when you get to open for them, it helps to leapfrog you into the position of being able to play a place that’s not empty [laughs]. And Rush fans are very…I used to go to those shows and watch the opening bands and watch them not be well-received, and I remember, I don’t know who in particular said it, but back in the day, those guys, even their crew, saying that we were one of the best-received bands that had ever opened for them. So that was a badge of honor right there because I know that fan base. I was there for so many years.

But definitely bands like that paved the way for all of us. And, you know, to me, watching a band like Rush, especially when we were playing with them back then, it was not really cool to be a Rush fan. It was like a guilty pleasure. We actually got a lot of shit, especially from European press, for touring Europe with Rush. Because we were supposed to be this young, new…whatever the hell we were, but we were part of that alternative punk scene, and all of the sudden, here we were. I remember reading some British press, “What’s the hell’s Primus doing playing with these old prog dinosaurs?”

But perseverance wins the game and those guys…I remember watching them on the Colbert show and going, “Oh, my God, all of the sudden, now Rush is fuckin’ hip!” [Laughs] They just got touched on the shoulder by the magic wand of hipness of Stephen Colbert. And it was a wonderful, wonderful thing. I’ve taken great pleasure in watching those guys become extraordinarily popular these last handful of years, and iconic. And even your entity paying more and more attention to them. Because back when I was a kid, you never read anything in Rolling Stone about Rush or very rarely even heard them on mainstream radio.

Yeah, it’s been amazing. Since the documentary, there’s been a groundswell of interest.
Yeah, and I think for Rush fans, part of that is a bit of a bitter pill, because they were always “our guys.” Those were our guys. It’s like being a Trekkie, or something. It’s a badge of honor; it’s something that not everybody understands or understood, but there was a big community of folks that you can identify with that did. And I’ve always joked that my wife is one of the few women I’ve ever met in my entire life that listened to Rush in her youth, and I always joke that that’s why we’ve been married for so long.

Getting back to the material, what’s it going to be like for you to tackle those Geddy vocals? Have you practiced much yet?
Oh, yeah, it’s gonna be hard! [Laughs] But you know, I’m just gonna have to do it my own way; that’s just the way it is.

And obviously there are also some pretty esoteric lyrics to these Farewell to Kings songs. “Xanadu” comes to mind, in particular.
[Sings “Xanadu”] “To seek the sacred river Alph/To walk the caves of ice.” Of course! I grew up on that stuff. And the lyrics on this record are unbelievable. I used listen to those records and try to put these stories together: [Sings “Cygnus X-1 Book I”] “Through the void/To be destroyed/Or is there something more?/Atomized at the core/Or through the astral door.” I mean, I remember watching that as a 14 year old, watching the Rocinante go through the black hole up on the screen and just shitting myself the entire time going, “Oh, my God, this is greatest thing I’ve ever seen!” So I’m stoked. I’m very excited. So I gotta get through these couple Oysterhead gigs tonight and tomorrow, and then I gotta get back hammering on this record.

It must be a real change in gears — it’s such a different sensibility from Oysterhead.
But it’s super fun. You know, I’ve been doing this a long time, and you’ve gotta keep finding stuff that gets you excited to sit down and play your instrument. And this excites me. You know, I bought an old Rickenbacker — I’m gonna sit there and jam on it, man [laughs].

Are you guys all doing that, in terms of re-creating Rush’s old gear setup?
You never know…

Can you say anything about the stage show?
Yeah, we’re working on it. It’s gonna be cool. I mean, I’m very excited, ’cause we get to throwback to being 14 again, maybe 16 [laughs].

Primus’ A Tribute to Kings Tour Dates

May 26 @ Irving, TX @ The Pavilion at Toyota Music Factory *^
May 27 Houston, TX @ Revention Music Center *^
May 29 Austin, TX @ ACL Live at the Moody Theater *^
May 30 New Orleans, LA @ Saenger Theater *^
June 1 Asheville, NC @ ExploreAsheville.com Arena *^
June 3 Orlando, FL @ Hard Rock Live Orlando *^
June 5 Atlanta, GA @ Coca-Cola Roxy *^
June 6 Charlotte, NC @ Charlotte Metro Credit Union Amphitheatre *^
June 7 Raleigh, NC @ Red Hat Amphitheater *^
June 9 Cincinnati, OH @ PNC Pavilion *^
June 10 Columbus, OH @ Express Live! – Outdoor *^
June 12 Manchester, TN @ Bonnaroo Arts And Music Festival
June 15 Richmond, VA @ Virginia Credit Union LIVE! *^
June 16 Baltimore, MD @ MECU Pavilion *^
June 17 New York, NY @ Beacon Theatre *^
June 19 Philadelphia, PA @ The Met Philadelphia *^
June 20 Asbury Park, NJ @ The Stone Pony Summer Stage *^
June 21 Essex Junction, VT @ Midway Lawn at Champlain Valley Exposition *^
June 23 Boston, MA @ Rockland Trust Bank Pavilion *^
June 24 Wallingford, CT @ Toyota Oakdale Theatre *^
June 26 Sterling Heights, MI @ Michigan Lottery Amphitheatre at Freedom Hill *^
June 27 Cleveland, OH @ Jacobs Pavilion at Nautica *^
June 28 Pittsburgh, PA @ Stage AE – Outdoor *^
June 30 Toronto, ON @ RBC Echo Beach *^
July 2 Lafayette, NY @ Beak and Skiff Apple Orchards *
July 3 Westbrook ME @ Main Savings Pavilion at Rock Row
July 6 Indianapolis, IN @ The Amphitheater at White River State Park *+
July 7 Milwaukee, WI @ BMO Harris Pavilion *+
July 8 Minneapolis, MN @ The Armory *+
July 10 Chicago, IL @ The Chicago Theatre *+
July 11 St Louis, MO @ Saint Louis Music Park *+
July 12 Kansas City, MO @ CrossroadsKC *+
July 14 Denver, CO @ The Mission Ballroom *+
July 15 Salt Lake City, UT @ The Complex *+
July 17 Berkeley, CA @ Greek Theater *+
July 18 Los Angeles, CA @ Greek Theatre *+
July 19 Las Vegas, NV @ Pearl Concert Theater at Palms Casino Resort *+
July 21 Boise, ID @ Outlaw Field at Idaho Botanical Garden *+
July 23 Bonner, MT @ KettleHouse Amphitheater *+
July 24 Redmond, WA @ Marymoor Park *+
July 25 Troutdale, OR @ Edgefield *+
July 28 Spokane, WA @ Riverfront Park Amphitheater *+”
July 29 Bend, OR @ Les Schwab Amphitheater *+
July 31 Paso Robles, CA @ Vina Robles Amphitheatre *+
August 1 San Diego, CA @ Cal Coast Credit Union Open Air Theatre at SDSU *+
August 2 Phoenix, AZ @ Arizona Federal Theatre *+

* w/ Wolfmother
^ w/ The Sword
+ w/ Battles

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Pharrell Williams Recording New Music With Buju Banton In Jamaica – Urban Islandz

Pharrell Williams and Buju Banton might have some new music on the way.

The late 90s and the early 2000s were glorious times for both hip hop and dancehall music. Big facts. The era produced timeless tracks that are still bumping in the clubs to this day. While the artistes are the ones who are usually praised in the public domain, it is the early grunt work of other persons such as the producers and songwriters that really set the tone for a certain that timeless piece of art.

One of Jamaica’s biggest producer’s Steven “Lenky” Marsden has recently revealed that he is linking up with famed hip hop producer, Pharrell Williams. Lenky posted a few pictures to his Instagram of himself and the “Happy” singer, which he captioned, “Jamaican Music! #reggaecrosstheworld #dancehall #jamaica #music #studiovibes #bujubanton #pharrellwilliams.” His post is seemingly hinting that both men are in talks concerning a fresh new sound for the Gargamel himself, Buju Banton.

The significance of the union is phenomenal as both men have helped to shape the sounds of popular we know today. In reference to dancehall music, one riddim had a certain infectious vibe and energy that was simply irresistible and inescapable during the early 2000s. The Diwali Riddim, which was released in 2003, still gives life to any dancefloors and is always at the forefront, helping to push dancehall music to various parts of the word. The producing genius of Steven “Lenky” Marsden can also be credited to other noteworthy riddim compilations such as Time Travel, Masterpiece, Silicone, and Bionic, just to name a few.

A post shared by Buju Banton (@bujuofficial) on

The Neptunes duo of Pharrell Williams and Chad Hugo have been on the scene since the early 90s and have written and produced tracks for some of the biggest names in the industry, such as Jay Z, N.O.R.E., Mystikal, Clipse, Mariah Carey, Britney Spears, Ludacris, Daft Punk, Beyonce and a host of other major acts. It seems Jamaica’s beloved singer Buju Banton, will soon be added to the list.

While the exact plans for Buju Banton have not yet been revealed, you get the sense that it is destined to be awesome and to go places, once Buju’s label Roc Nation, gives it their full support.

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Luke Combs coming to New Orleans in September

Country music artist Luke Combs will bring his “What You See Is What You Get Tour” to the Smoothie King Center in New Orleans on Sept. 22.

Presale ticket sales start on Tuesday, Feb. 25 at noon, followed by general sale tickets on Friday, Feb. 28 at 10 a.m.

Photo credit: Jim Wright

See also: Rascal Flatts bringing farewell tour to New Orleans this summer

Combs’ official fan club, The Bootleggers, will have early access to tickets through Ticketmaster Verified Fan pre-sale starting next Tuesday, Feb. 25 at 10 a.m. time.

Tour stops will also feature special guests Ashley McBryde, Drew Parker and Ray Fulcher.

Combs is known for his multi-platinum hits like “Beautiful Crazy,” “When It Rains It Pours,”  “She Got The Best of Me” and “Must’ve Never Met You.”

Combs recently made his debut as the musical guest on NBC’s “Saturday Night Live” earlier this month with host JJ Watt performing two songs from his critically new album, “What You See Is What You Get.”

In November, “What You See Is What You Get” debuted at No. 1 on the all-genre Billboard 200 chart as well as Billboard’s Top Country Albums chart with 172,000 equivalent units sold. The album also set streaming records for a country artist on Apple Music, Spotify and Amazon Music.

Combs has also received multiple honors from the Academy of Country Music, Country Music Association and CMT Music Awards.

For more information, visit Luke Combs’ website at www.LukeCombs.com.

Photo (c) 2019 David Bergman for Sony Records Nashville — Luke Combs photo shoot near Nashville, TN on May 1, 2019.

LUKE COMBS’ “WHAT YOU SEE IS WHAT YOU GET TOUR” DATES:

April 18—Albuquerque, NM—Isleta Amphitheater* (SOLD OUT)

April 19—Colorado Springs, CO—Broadmoor World Arena* (SOLD OUT)

April 21—Las Cruces, NM—Pan American Center* (SOLD OUT)

April 24—Corpus Christi, TX—American Bank Center* (SOLD OUT)

April 25—Houston, TX—Toyota Center* (SOLD OUT)

May 2—Boone, NC—Kidd Brewer Stadium* (SOLD OUT)

September 19—Raleigh, NC—PNC Arena*

September 22—New Orleans, LA—Smoothie King Center†

September 25—Dallas, TX—American Airlines Center†

September 26—Memphis, TN—FedEx Forum†

October 2—Grand Forks, ND—Alerus Center*

October 3—Sioux Falls, SD—Denny Sanford PREMIER Center*

October 15—Eugene, OR—Matthew Knight Arena†

October 17—San Francisco, CA—Chase Center†

October 20—Billings, MT—MetraPark – First Interstate Arena†

October 22—Salt Lake City, UT—Vivint Smart Home Arena†

October 23—Las Vegas, NV—T-Mobile Arena†

October 24—Bakersfield, CA—Mechanics Bank Arena†

November 6—Chicago, IL—United Center† (on-sale February 28 at 12:00pm CT)

November 7—St. Louis, MO—Enterprise Center†

November 19—Jacksonville, FL—VyStar Veterans Memorial Arena*

November 20—Fort Lauderdale, FL—BB&T Center*

November 21—Orlando, FL—Amway Center*

December 1—New York, NY—Madison Square Garden†

December 4—Boston, MA—TD Garden†

*with Ashley McBryde and Drew Parker

†with Ashley McBryde and Ray Fulcher

BOLD on-sale next Friday, February 28 at 10:00am local time

LUKE COMBS’ ADDITIONAL TOUR DATES

March 6—Berlin, Germany—Verti Music Hall

March 7—Amsterdam, Netherlands—AFAS Live

March 13—Glasgow, UK—Glasgow SSE Hydro

March 14—Dublin, Ireland—Dublin 3Arena

March 15—London, UK—London The O2

March 31—Nashville, TN—Grand Ole Opry

April 17—Florence, AZ—Country Thunder Arizona

April 23—Austin, TX—Austin City Limits Live at the Moody Theater

May 8—Key West, FL—Truman Waterfront Park Amphitheater

May 30—Cullman, AL—Rock the South

June 7—Myrtle Beach, SC—Carolina Country Music Fest

June 13—Winsted, MN—Winstock Country Music Festival

June 18—Canandaigua, NY—CMAC

June 19—Canandaigua, NY—CMAC

June 20—North Lawrence, OH—The Country Fest

June 26—North Platte, NE—Nebraskaland Days

June 27—Topeka, KS—Heartland Stampede

July 10—Fort Loramie, OH—Country Concert

July 12—Craven, SK—Country Thunder Saskatchewan

July 17—Brooklyn, MI—Faster Horses

July 18—Eau Claire, WI—Country Jam

September 4—Los Angeles, CA—SoFi Stadium‡

September 12—Philadelphia, PA—Citizens Bank Park‡

‡with Tim McGraw

The post Luke Combs coming to New Orleans in September appeared first on NOLA Weekend.

This content was originally published here.

Journey Fire Drummer Steve Smith and Bassist Ross Valory

Heads up to anyone wanting to see Journey on their upcoming tour with The Pretenders: You’ll only be seeing one of the band’s original members. The Rock and Roll Hall of Fame outfit has fired founding bassist Ross Valory and drummer Steve Smith amid a feud that’s culminated in a legal battle.

In a lawsuit filed on behalf of Journey founder Neal Schon and longtime member Jonathan Cain (via Ultimate Classic Rock), Valory and Smith are accused of attempting a “corporate coup d’état” in hopes of gaining control over the band’s brand. Court documents from Schon and Cain’s lawyers claim the ousted members have been attempting to take over Nightmare Productions, the events entity created by former Journey manager Walter Herbert, since December 2019. Apparently, they believed the Journey name and mark rested under the Nightmare banner. However, former singer Steve Perry had entered into an agreement with Schon and Cain in 1998 that gave them “the sole, exclusive, irrevocable right to control the Journey Mark, including the Journey name.”

Schon and Cain’s lawyers assert that Valory and Smith wanted to “hold the Journey name hostage and set themselves up with a guaranteed income stream after they stop performing.” The result, says the suit, has “destroyed the chemistry, cohesion and rapport necessary for the band to play together… The actions taken by Smith and Valory shattered that trust… Schon and Cain have lost confidence in both of them and are not willing to perform with them again.”

Suing for breach of fiduciary duty on top of two counts of declaratory judgment, Journey are seeking damages “in excess of $10 million.”

 

Journey have gone through numerous lineup changes over the years, but next to Schon, Valory has been the longest tenured member. He played on all but one of the band’s albums (1986’s Raised on Radio). Smith, meanwhile, joined ahead of the group’s 1979 album Evolution. Both he and Valory were fired over creative differences in 1985, with the latter replaced by Randy “Yo Dawg” Jackson, now of American Idol fame. Journey split up two years later, but both Valory and Smith were welcomed back when they reunited in 1995. Smith again left in 1998, returning for the final time in 2016.

As for that summer tour with The Pretenders, Journey promise to fill out their ranks “with top musicians” to support “essential members” Schon, Cain, and current lead singer Arnel Pineda. To see who those additional band members may be, get tickets to all of Journey’s upcoming concerts here.

Since it seems an equitable reconciliation is unlikely, perhaps Valory and Smith can see about joining up with Anthrax singer Joey Belladonna’s new Journey tribute band.

Journey Fire Drummer Steve Smith and Bassist Ross Valory
Ben Kaye

This content was originally published here.

Bloodhound Gang Announces Hooray For Boobies 20th Anniversary Reissue

Bloodhound Gang’s early aughts platinum album Hooray For Boobies is receiving an expanded reissue in commemoration of its 20th anniversary. The album is of course best known for featuring the pre-viral viral hit “The Bad Touch”.

The expanded set adds 11 bonus tracks, including Bloodhound Gang’s cover of Black Sheep’s “The Choice Is Yours” and “Jackass” from the soundtrack to 2001’s Jay and Silent Bob Strike Back. The tracklist also collects remixes from Pet Shop Boys, KMFDM, and Eiffel 65, as well a hard-rock mix of “The Bad Touch”.

The reissue of Hooray For Boobies is available digitally as of today. A double-LP clear vinyl version will be released on March 27th.

 

Hooray For Boobies Expanded Reissue Tracklist:
01. I Hope You Die
02. The Inevitable Return Of The Great White Dope
03. Mama’s Boy
04. Three Point One Four
05. Mope
06. Yummy Down On This
07. The Ballad Of Chasey Lain
08. R.S.V.P.
09. Magna Cum Nada
10. The Bad Touch
11. That Cough Came With A Prize
12. Take The Long Way Home
13. Hell Yeah
14. Right Turn Clyde
15. This Is Stupid
16. A Lap Dance Is So Much Better When The Stripper Is Crying
17. The Ten Coolest Things About New Jersey
18. Along Comes Mary
19. The Choice Is Yours
20. Jackass
21. The Bad Touch – The Bully Mix
22. The Bad Touch – The God Lives Underwater Mix
23. The Bad Touch – The K.M.F.D.M. Mix
24. The Bad Touch – The Eiffel 65 Mix
25. The Bad Touch – The Rollergirl Mix
26. The Ballad Of Chasey Lain – The Flirt Mix
27. The Ballad Of Chasey Lain – The Tease Mix
28. The Ballad Of Chasey Lain – The Whore Mix
29. Mope – The Swamp Remix
30. Mope – The Pet Shop Boys Remix

Bloodhound Gang Announces Hooray For Boobies 20th Anniversary Reissue
Alex Young

This content was originally published here.

34 Years Ago: Metallica Unleash ‘Master of Puppets’

They had already established a blueprint. Now, all Metallica needed to do was create the next-level songs for their epochal third album, Master of Puppets, which they started writing in mid-1985 and released March 3, 1986.

It was easier said than done, but Metallica were up to the challenge. They had the momentum of a successful album and world tour behind them, and the confidence of a world class athlete an hour before a big game. Still, what Metallica accomplished in just six to eight weeks of writing was remarkable, especially considering the multifaceted nature of the songs they composed.

Today, Master of Puppets is widely acknowledged as the album that propelled thrash metal into the mainstream. The songs were pugnacious and explosive, but they were also meticulously crafted and expertly arranged. Combining machine gun tempos and barbed, staccato riffing (“Battery,” “Disposable Heroes,” “Damage, Inc.”), rhythmically variegated epics (“Master of Puppets,” “Welcome Home (Sanitarium)” offbeat mid-paced sluggers (“The Thing That Should Not Be,” “Leper Messiah”) and a cinematic instrumental (“Orion”) Master of Puppets raised the bar for both thrash and the entire metal genre. But understanding the album’s concrete-solid composition and immaculate song structures requires a glance back at Metallica’s groundbreaking second album Ride the Lightning.

More than a bridge between their debut Kill ‘Em All and Master of Puppets, Ride the Lightning gave Metallica the confidence to bend rules and established a game plan for the future. Both Master of Puppets and Ride the Lightning are landmarks of metal, but they’re also practically sister records. They start with classical undistorted arpeggios that burst into jackhammer thrash passages, continue with a multifaceted track featuring abrupt rhythm and tempo changes, then they progress through a slower, ominous chug n’ crunch fest. From there, both alternately delve into speedy thrash and more melody-based numbers. And both feature that soundtrack-style instrumental that instantly separates them from any and all competition.

Not to take anything away from the brilliance of Master of Puppets, but by the time Metallica started writing the album, they knew they wanted to build on the innovations of Ride the Lightning, only with longer songs, better riffs and more unrelenting metal-up-your-ass fury.

“We more or less wanted to redo Ride the Lightning, just a lot better,” agreed producer Flemming Rasmussen in a recent Rolling Stone article. “I’ve always thought Metallica raised the bar every time they went in the studio. They challenged their own technical ability all the time, which is the only way you can get better.”

Indeed, before they entered the studio, Lars Ulrich took drum lessons to improve his timing and agility and lead guitarist Kirk Hammett hooked back up with his old guitar teacher, Joe Satriani, for some pointers. The first song James Hetfield and Ulrich wrote at their dilapidated house in El Cerrito, Calif., was “Battery,” followed shortly after by “Disposable Heroes.”

“That song has some of my favorite lyrics that James has written,” Ulrich said. “He nailed the whole wasted irrelevance of a soldier going off to war and life playing out before his birth. Musically, it’s got a lot of classic Metallica elements: fast parts, mid-tempo verses, halftime things and a lot of interesting progressive stuff that weaves itself in and out of the whole middle section.”

Lyrically, Master of Puppets revolved around themes of control and manipulation, a cerebral advance over the less sophisticated penmanship of songs like “Metal Militia” and “Hit The Lights.” “Welcome Home (Sanitarium)” a song about an inmate trapped in an asylum was inspired by the Ken Kesey novel One Flew Over the Cuckoo’s Nest, “The Thing That Should Not Be” saw Metallica revisiting their fascination with HP Lovecraft and “Leper Messiah” took aim at TV evangelists. But it was “Master of Puppets,” which addresses the horrors of drug addiction (“Pain, monopoly / Ritual misery / Chop your breakfast on a mirror”) that featured Hetfield’s most pointed lyrics to date.

“I just went to this party in San Francisco and there was a bunch of sick freaks shooting up, and it made me sick,” he said. “It’s not about any drug in general but people being controlled by drugs and not the other way around.”

In addition to being the lyrical highlight of Master of Puppets, the title track is the most musically adventurous song. But it’s not far ahead of many of the other tracks. Throughout the record, Metallica throw traditional tempos in a blender and toys with extreme dynamics that veer between blinding speed and soft, delicate articulation. “We try hard to stay as unpredictable as possible,” Ulrich said in Enter Night: A Biography of Metallica by Mick Wall. “We don’t like the idea of playing it safe at all. We always like to try to do things that work out a bit different from what even we imagined them to be.”

While Hetfield and Ulrich wrote most of Master of Puppets together at their home, guitarist Kirk Hammett came up with ideas for five tracks. Bassist Cliff Burton co-wrote three and is widely credited for inspiring Metallica to incorporate more elements of classical music into their songs, as evident on “Battery” and “Orion.” “I was consumed with [classical music], Burton said in a 1986 interview with Wall. “Taking lessons, getting into theory – it leaves quite an influence. A lot of music will go in one ear and out the other, but you listen to that s— for a month and it stamps you; it leaves its mark.”

Metallica originally wanted Rush bassist and vocalist Geddy Lee to produce the album, but since they couldn’t coordinate schedules they called Rasmussen, who produced Ride the Lightning. Instead of using Rasmussen’s Sweet Silence studio in Copenhagen, Denmark, Metallica wanted to record in a studio in Los Angeles. The producer agreed and flew to L.A. to scout studios with Ulrich. After testing out numerous facilities and being unable to replicate the drum sounds he got on Ride the Lightning, Ulrich decided the band should return to Copenhagen and record at Rasmussen’s place. His bandmates reluctantly acquiesced. At least this time they didn’t have to spend the nights in sleeping bags on their producer’s apartment floor, having booked book rooms in the Scandinavia Hotel in the city center.

Prior to entering Sweet Silence on Sept. 1, 1985, Metallica demoed all of the songs on the album except “The Thing That Should Not Be” and “Orion,” which weren’t finished. The band worked in Silence from 7PM to about 5AM. before returning to their hotel for free breakfast and sleep. To warm up for the session to come and test the studio sound, Metallica recorded covers of Diamond Head’s “The Prince,” The Misfits’ “Green Hell” and Fang’s “The Money Will Roll Right In” before they started tracking their own material. Versions of the first two songs were later recorded and appeared on other releases.

Almost from the start of the session, the band members realized Ulrich’s snare sounded like a garbage can lid. So they called their management company QPrime and asked if they could send Def Leppard drummer Rick Allen’s high quality Tama “Black Beauty” snare. The company also represented Def Leppard, and since their drummer Rick Allen was recovering from a horrible car accident that left his left arm amputated, QPrime were able to send it to Ulrich. As luck would have it, while Ulrich was waiting for the drum to arrive, he found the same model in a Copenhagen music store, and better yet, the price tag had be unchanged since 1979.

With a drum sound everyone was happy with, Metallica started began tracking. The process was productive, but time consuming since Hetfield recorded at least six guitar tracks for every song in order to get the desired dense tone he was after. And instead of layering a single version of a take, Hetfield insisted on playing every single guitar riff over and over. Many of the rhythms were challenging to play, and the slightest deviation meant redoing the take.

“I’m always saying, ‘It’s not tight enough,’ Hetfield said in Birth School Metallica Death: Vol 1 by Paul Brannigan and Ian Winwood. People think I’m nuts. It’s something that absolutely haunts me. After we recorded ‘Hit the Lights,’ which appeared on the Metal Massacre compilation [in 1982] this guy heard the song and told me, ‘Oh, the rhythms aren’t very tight are they?’ Man. That was it! That started my lifelong quest. That was the Holy Grail for me – being tight.”

On the days when Hetfield was perfecting his rhythms there wasn’t much for Burton and Hammett to do. So they busied themselves with other activities. “We would stay up 24 hours at a time and just go out walking around Copenhagen kind of drunk, doing whatever we could to bide the time,” Hammett told Rolling Stone. “I remember at one point, we found a beach on a map. So we went there but it was so cold and there was absolutely no wave action or anything. Cliff and I were just bundled up on this weird beach in Copenhagen saying, ‘God, this place is driving us crazy!'”

On Sept. 14, Metallica took a break to play a set at the Metal Hammer Festival in Germany, where they debuted “Disposable Heroes.” Over the remaining three and a half months they were in Copenhagen, Metallica finished writing “The Thing That Should Not Be” and “Orion” and recorded both. The latter, in particular, demonstrated the band’s musical depth and diversity.

“For me, ‘Orion’ was Cliff Burton’s swan song,” Hammett told Rolling Stone. “It was a great piece of music, and he’d written the whole middle section. It kind of gave us a view into what direction he was heading. If he would have stayed with us, I think he would have gone further into [that] direction. Our sound would be different if he was still here.”

With Master of Puppets recorded, Metallica left Sweet Silence on Dec. 27. Then they handed over the master tapes to engineer Michael Wagener, who mixed the album at his Amigo Studios in Los Angeles. To date, most fans and critics consider the record the apex of thrash, the moment when the genre transcended previous limitations and smashed creative gates, giving Metallica and other artists more room for creative expression. However, for Ulrich, the record was an effort to escape from being labeled as anything other than a metal band.

“If you take the extremes of [the] album, which to my mind would be ‘Damage, Inc.’ and ‘Orion’ – the amount of ground we cover is so big, so vast, it really pisses me off that anybody would want to stick us with one label,” he said in Enter Night. “Yes, we do a few thrash songs, but that’s not all we like to do.”

It seems insane in retrospect, but when Master of Puppets was released it only debuted at No. 128 on the Billboard album chart. Even so, it sold 300,000 copies in its first three weeks – according to Billboard – and peaked at No. 29 thanks in part to tremendous exposure they gained from a tour opening for Ozzy Osbourne.

“[Touring with Ozzy] was a huge break for us,” Ulrich told Wall. “A the time, Ozzy was perceived as one of the most controversial metal stars in the US – he drew a really extreme type of crowd… Here we were as this even more extreme up-and-coming metal band that Ozzy was giving his seal of approval to by taking [us] out on tour with him.”

The only snag during the North American tour happened on June 26 when Hetfield broke his wrist in a skateboarding accident. Hammett called Anthrax guitarist Scott Ian to see if he could fly out to fill in for Hetfield, but his band was about to enter the studio and he was unable to make it happen. Instead, Hammett’s guitar tech John Marshall, who played in Metal Church, was able to perform on tour until Hetfield’s wrist healed.

Master of Puppets remained on the Billboard album chart for 72 weeks and on Nov. 4, 1986, Metallica had their first gold record. Tragically, Burton didn’t live long enough to receive the award. On Sept. 27, 1986, Burton died when the band’s tour bus crashed and tipped over in Kronoberg County, Sweden. Burton, who was asleep in his bunk at the time, fell out of the window and was crushed under the vehicle. The band was on its way from a show in Solna, Sweden to its next gig in Copenhagen.

After Burton’s funeral, Oct. 7, 1986, Metallica decided to continue with a new bassist. They held auditions and in the last week of October, dedicated Metallica fan and Flotsam and Jetsam member Jason Newsted auditioned for Metallica. His was hired soon after and played his first show with the band on Nov. 8, 1986 in Reseda, Calif.

On July 27, 1988, Master of Puppets was certified platinum by the RIAA. And despite Metallica’s dramatic musical shifts throughout the ‘90s, Master of Puppets continued to sell: On March 1, 1991, it went double platinum; June 28, 1994, triple platinum; November 3, 1997, quadruple platinum; November 18, 1998, quintuple platinum; and June 9, 2003, sextuple platinum.

“I remember holding the album in my hands and thinking, ‘Wow, this is a f—ing great album, even if it doesn’t sell anything,” Hammett told Wall. “It doesn’t matter because it is such a great musical statement that we’ve just created. I really felt that it would pass the test of time. Which it has.”

Loudwire contributor Jon Wiederhorn is the author of Raising Hell: Backstage Tales From the Lives of Metal Legends, co-author of Louder Than Hell: The Definitive Oral History of Metal, as well as the co-author of Scott Ian’s autobiography, I’m the Man: The Story of That Guy From Anthrax, and Al Jourgensen’s autobiography, Ministry: The Lost Gospels According to Al Jourgensen and the Agnostic Front book My Riot! Grit, Guts and Glory.

Top 50 Thrash Albums of All Time

This content was originally published here.

Dropkick Murphys and Rancid Announce New Co-Headlining Tour Dates

Dropkick Murphys and Rancid are teaming up for the “Boston to Berkeley II Tour” across North America this spring. The co-headlining run is the second time the punk acts have teamed up after their initial trek together in 2017.

Scottish singer-songwriter Gerry Cinnamon and Jesse Ahern will support the tour, which kicks off May 3rd at Epicenter Festival in Concord, North Carolina, and ends on May 24th in Lewiston, New York.

The name of the tour refers to the bands’ hometowns — Boston for Dropkick Murphys and Berkeley for Rancid — and not the actual tour routing. The route hits a number of major markets, including additional festival appearances at Welcome to Rockville on May 8th and Sonic Temple on May 17th.

“We’re excited to team up with our old friends Rancid again for the second edition of the Boston To Berkeley tour,” Dropkick Murphys’ Ken Casey said in a press release. “And we’ll be joined by Glasgow, Scotland superstar Gerry Cinnamon – on his first U.S. tour!”

Rancid’s Lars Frederiksen added: “Looking forward to getting out with the Dropkick Murphys again… This is one you won’t wanna miss.”

Dropkick Murphys and Rancid will alternate closing out shows, with both bands getting together for a jam and the end of the night.

It’s fitting the two acts find themselves touring together deep into their successful careers. It was Frederiksen who helped the Dropkick Murphys get a record deal after passing their debut EP on to Rancid bandmate Tim Armstrong for his Hellcat Records imprint.

As previously reported, Dropkick Murphys will precede the newly announced tour with a run of shows in the Boston area during the week of St. Patrick’s Day.

Check out a video promo and full list of dates below. Tickets are available now via Ticketmaster. Fans can also pick up tickets here.

Dropkick Murphys and Rancid 2020 North American Tour Dates with Jesse Ahern:
05/03 – Concord, NC @ Epicenter Festival +
05/04 – Richmond, VA @ Virginia Credit Union LIVE! *
05/05 – Atlanta, GA @ Coca-Cola Roxy
05/06 – Nashville, TN @ Municipal Auditorium *
05/08 – Daytona Beach, FL @ Welcome To Rockville +
05/10 – Houston, TX @ Revention Music Center *
05/11 – Austin, TX @ The Lawn at the Long Center *
05/12 – Corpus Christi, TX @ Concrete Street Amphitheater *
05/13 – Dallas, TX @ The Bomb Factory *
05/15 – Council Bluffs, IA @ Stir Concert Cove at Harrah’s *
05/16 – Sauget, IL @ Pop’s *
05/17 – Columbus, OH @ Sonic Temple Music Festival +
05/18 – Grand Rapids, MI @ The DeltaPlex Arena
05/20 – New York, NY @ Pier 17
05/21 – Asbury Park, NJ @ Stone Pony
05/22 – Laval, QC @ Place Bell
05/23 – Uncasville, CT @ Mohegan Sun Casino
05/24 – Lewiston, NY @ Artpark

* = with Gerry Cinnamon
+ = festival date (no Gerry Cinnamon or Jesse Ahern)

Dropkick Murphys and Rancid Announce New Co-Headlining Tour Dates
Jon Hadusek

This content was originally published here.